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Speaker 1: And That's what You Really Missed with Jenna.

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Speaker 2: And Kevin An iHeartRadio podcast.

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Speaker 1: Welcome to and That's what You're Really miss podcast. Hello,

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Speaker 1: we have the guest of all guests today, the one

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Speaker 1: and only Adam Shankman. He is a legend, a director

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Speaker 1: and icon, and most of all, a dear friend of ours.

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Speaker 1: He directed Glee, He's directed Hairspray, one of my favorite

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Speaker 1: movies ever. He directed A Walk to Remember, and he

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Speaker 1: is just such a special, special human being. And I

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Speaker 1: cannot wait for you guys to hear his interview. It

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Speaker 1: is there's so much inside that I you know what,

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Speaker 1: Without further ado, Adam Chankman.

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Speaker 2: Hi, guys, Hi, it's so nice to see you. Thanks

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Speaker 2: for you know, fitting us in. You are one of

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Speaker 2: the people in the world.

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Speaker 3: I'm no, I am busy right now, but it's not

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Speaker 3: that bad. It's like, I'm fine. You know how this works.

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Speaker 3: I mean, I was trying to explain to somebody last night.

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Speaker 3: I was talking because I was like, oh, I have

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Speaker 3: the podcast tomorrow, and I was explaining to a friend.

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Speaker 3: I was like, you don't understand what those people went through,

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Speaker 3: because I said, I said, you know, it's funny. I

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Speaker 3: always have like mixed feelings when I when people want

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Speaker 3: to talk about the show, because there strengthly is obvious

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Speaker 3: a lot of trauma around it. But I said, what

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Speaker 3: was really crazy was nobody will ever understand except that

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Speaker 3: pocket of people. What actually, especially those first two years

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Speaker 3: were like where it was like the bubble plus the

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Speaker 3: amount of work that was being piled on there with

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Speaker 3: no section and then blowing out and you're that famous,

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Speaker 3: but like when like what and you're like selling out

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Speaker 3: like amphitheaters, but you're like, I don't know who I am.

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Speaker 3: Like the whole thing was so fucking bloody crazy, and

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Speaker 3: then you get stuffed back into that work schedule yeah yeah,

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Speaker 3: oh and not getting paid a lot. And I was

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Speaker 3: just I was like you can sit and wax poetically

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Speaker 3: about the episodes, you know, and talk about like the content,

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Speaker 3: but the experience. I was like, there's no one who

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Speaker 3: could ever understand what that experience yeah, you know, and

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Speaker 3: it's so in the rear view mirror, like it's it

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Speaker 3: was like a kind of a long time ago.

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Speaker 2: Yeah oh yeah, oh yeah, yeah, that's like for us

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Speaker 2: when we've gone back and I've watched these things, like

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Speaker 2: oh this happened yeah, we did this and then brings

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Speaker 2: up all these you know, like you then you remember

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Speaker 2: the things, yeah, like what it took to film all that,

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Speaker 2: and like, oh right, so you're just trying to survive.

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Speaker 2: You're just trying to get through that.

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Speaker 3: Complete survivalism because it's not just the hours on set

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Speaker 3: then it's in the choreography of thing. Yeah, going into

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Speaker 3: the room without them and then going and like getting shuttled,

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Speaker 3: and I was just it was nuts, and everybody was

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Speaker 3: just kind of doing it.

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Speaker 1: Yeah, by the time you came to it was like

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Speaker 1: everybody was just in that machine kind of already. I

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Speaker 1: feel like you were used to like schedules like that, and.

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Speaker 3: Well I am, but most people are. I mean, I'm

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Speaker 3: a weirdo, like because of where I personally come from,

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Speaker 3: and I don't have a lot of thoughts about about

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Speaker 3: a hard schedule. But yours, actually, yours was abuse because

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Speaker 3: they're because and it was frankly abuse because of the tours.

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Speaker 3: You didn't get a break and I'm not talking about

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Speaker 3: like a vacation, and I'm talking about.

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Speaker 2: Like more than three days.

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Speaker 1: Yeah, time to sit down.

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Speaker 2: They didn't get paid.

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Speaker 3: Fairly for those tours.

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Speaker 1: Yeah, yeah, yeah, right.

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Speaker 3: And so, which you probably didn't even quite understand back then,

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Speaker 3: Like I mean maybe you knew.

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Speaker 1: Sort of, but it's like, yeah, Kevin actually had the

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Speaker 1: most wherewithal to understand what.

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Speaker 2: Yeah, I don't know if we've ever said this for

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Speaker 2: the tours, because I came from music and understood the

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Speaker 2: potential of what the tour could make, and that there

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Speaker 2: was like a clause in our contract where they had

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Speaker 2: us for a month, but they needed it to be

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Speaker 2: six weeks for it to make money. So therefore they

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Speaker 2: were breaking their contract. And so then we kind of

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Speaker 2: had them right where we can then go back and

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Speaker 2: ask for things for the second tour, the Arena tour,

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Speaker 2: and they offered us like a an increase in money,

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Speaker 2: but it still was not good, and.

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Speaker 3: They were going to mald tour worthy right.

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Speaker 2: And they had released the venues and the price of tickets,

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Speaker 2: and so I like did some easy math and I

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Speaker 2: was like, this is what they're probably going to make

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Speaker 2: between forty and fifty million dollars. So Jenna and I

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Speaker 2: called over the OG twelve eight eight eight, and we said,

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Speaker 2: here's what we think is going to happen.

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Speaker 3: Was this in la or was this was this was during.

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Speaker 1: During the season and pre tour, pre signing in the.

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Speaker 2: Spring, like at the end of the season two filming,

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Speaker 2: and we had everybody over at our house because we

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Speaker 2: were living together, and we said, what would what do

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Speaker 2: you guys want to ask for? Because I think if

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Speaker 2: we all go in together, because we were also hearing

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Speaker 2: rumors that, like the Modern Family people were going to

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Speaker 2: go in and negotiate and you know together and all that,

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Speaker 2: and it was sort of like fifty to fifty, you know,

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Speaker 2: half of us wanted more money, half of us just

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Speaker 2: wanted things like services in a private plane. We're like,

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Speaker 2: we're going to get that, yeah, And so then it

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Speaker 2: ended up just falling, falling apart, one of the people

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Speaker 2: sort of ruined it for the rest of us, and

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Speaker 2: and Jen and I and then the tour made forty

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Speaker 2: four million dollars exactly was in that window of what

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Speaker 2: I said. And I had almost everybody from that meeting

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Speaker 2: come up to me at some point during the tour

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Speaker 2: and say you were right. I was like, well, like, yeah,

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Speaker 2: this was our opportunity because you talked to the high

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Speaker 2: school musical kids. They made a ton of money from

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Speaker 2: the tours.

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Speaker 1: Were recapping Harrispray or we watched the movie because now

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Speaker 1: we finished, We finished the whole series and we recapped

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Speaker 1: all of it, and it's been a lovely experience along

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Speaker 1: with some you know, their reputic, a lot of therapeutic

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Speaker 1: moments and a lot of healing.

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Speaker 2: But so you were and have always been such a

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Speaker 2: bright spot. But you are always truthful, but nothing but

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Speaker 2: like joy. Like when you would come on to the set,

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Speaker 2: like you felt like you were one of us.

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Speaker 3: I was one of you. Yeah. I it's funny because

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Speaker 3: I felt the same way, like when I was on

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Speaker 3: when those freaking nine seasons I did so you think

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Speaker 3: you can dance? I felt like one of the contestants,

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Speaker 3: like yeah, yeah, the way that I related to what

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Speaker 3: was going on. And I wasn't there. I wasn't there

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Speaker 3: because I needed a job. I was there because I

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Speaker 3: wanted to get in the dirt with a bunch of

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Speaker 3: people who felt like like minded individuals. Yeah, to be

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Speaker 3: a part of something that felt very fun. Yeah. And

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Speaker 3: then I was exposed to how how intense and ruling

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Speaker 3: it was. Because I don't know if you know this,

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Speaker 3: but maybe I've told you, but I did. You guys,

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Speaker 3: right after I did an episode of Modern Family. Yes,

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Speaker 3: so we was right after that the Modern Family set.

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Speaker 3: I was working. I worked for five days for a

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Speaker 3: maximum of five hours a day. They were in and out.

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Speaker 2: Yeah, I remember you telling me that, and I used

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Speaker 2: that information to relay to other people of like do

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Speaker 2: you guys see this difference?

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Speaker 3: And I'm saying by like these are for real, like

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Speaker 3: fourteen fifteen sixteen hour day like it was that. And then,

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Speaker 3: as I recall, Adam Anders told me that I was

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Speaker 3: the first director who went in and recordings.

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Speaker 1: So you were the first and only only Yeah, and

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Speaker 1: Diane was there from the beginning, the very beginning, but yes, I.

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Speaker 3: Was also I'd also come into the choreography sessions, yes,

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Speaker 3: and and so because I was just doing because I

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Speaker 3: knew what I wanted, well, thank storytelling, and I also

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Speaker 3: wanted to understand what I had to shoot, like it.

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Speaker 1: Was yeah, it was yeah, well you're yeah, I mean

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Speaker 1: you so much of your body of work included the

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Speaker 1: scope of dance and choreography and.

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Speaker 3: In that way, yeah, yeah, I was we qualified, yes.

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Speaker 2: Yeah, way over class, like if only had a director.

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Speaker 2: Once Adam pulled me aside and asked me how.

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Speaker 1: To shoot to shoot it, and how do I shoot this?

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Speaker 2: I'm like, I understand that you don't know how to

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Speaker 2: shoot dance. That's you know, that's not a normal thing,

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Speaker 2: but like, damn you're asking me.

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Speaker 3: Also, what I will say about shooting dance specifically on

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Speaker 3: Glee was there was definitely a formula. Yeah, people knew

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Speaker 3: what to do and you know who you know, everybody,

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Speaker 3: it like had kind of gotten into a pretty lockdown,

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Speaker 3: standardized Yes. So if you had just trailed the director

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Speaker 3: of the week before saw how any of it worked

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Speaker 3: your homework, then you would kind of know, yeah, you're

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Speaker 3: just gonna you know, we're going to start here, We're

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Speaker 3: going to go there, We're going to you know, then

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Speaker 3: we and then do a steady campass and then but

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Speaker 3: you know, it's like so, I mean, by the way,

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Speaker 3: I don't want for any of the listeners to think

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Speaker 3: like any of that was easy. It was just a

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Speaker 3: very a figured out way to that work done because

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Speaker 3: the musical numbers could only be you know, it was

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Speaker 3: at the at the most it was half of it

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Speaker 3: of your work.

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Speaker 1: Day eight hours. Yeah, they're like maybe eight hours.

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Speaker 2: I mean compared to like we talked to JP who

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Speaker 2: was in Hairspray, and he was saying, like that final

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Speaker 2: sequence of you can't stop the beat too wait weeks Yeah,

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Speaker 2: and so there's the difference.

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Speaker 3: And like we also, I could tell it was eleven

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Speaker 3: days crazy. I don't know if JP remembered this, but

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Speaker 3: none of the actors were ever in the room at

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Speaker 3: the same time except for one day of crossover crazy.

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Speaker 1: Let's talk about for a second.

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Speaker 3: Okay, So can I just launch and just tell you

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Speaker 3: very quickly the strange kind of for true. So I

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Speaker 3: don't know. I also don't know if you know this

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Speaker 3: about you. I don't watch my movies. I don't watch

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Speaker 3: any of my old work ever period. Interesting, like, once

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Speaker 3: it's released, I never really need to see it again.

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Speaker 2: Is it because you spend so much time with it you,

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Speaker 2: I mean you're planning, your shooting, your editing, and then

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Speaker 2: you do press Like there's so much time with it

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Speaker 2: you just need a separation.

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Speaker 3: No, I think, well, there's part of it that's that,

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Speaker 3: like I've seen it, yeah at that point, and I've

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Speaker 3: seen it more than hopefully anybody ever. Yeah, but I

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Speaker 3: also know that for me, when I make something, when

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Speaker 3: I'm done with it, it's no longer than me, I

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Speaker 3: am now by making the kinds of any time you

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Speaker 3: make something that has that much heft or that kind

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Speaker 3: of like there's sort of that much story, like whatever,

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Speaker 3: any of that project is that intense. You're not the

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Speaker 3: same person that you were when you I mean, you're

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Speaker 3: the same person, but you're not. You don't feel the

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Speaker 3: same about many things because you've discovered things along the way,

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Speaker 3: and you've been through new things. You've learned new things

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Speaker 3: about actors filmmaking. But whatever, it is the newness of

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Speaker 3: telling any given stories. So what ends up happening is

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Speaker 3: it becomes strangely like an old prom picture. You have

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Speaker 3: funky skin, and your haircut is weird, and you don't

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Speaker 3: like what you're wearing and all. And I'm very very

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Speaker 3: nervous about seeing all the mistakes and all the course,

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Speaker 3: and so my rather than try to go in and

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Speaker 3: go like oh, because you can't change it, so I'd

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Speaker 3: rather just not look at it. And once I've done it,

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Speaker 3: it belongs to everybody else and all that. Now. I

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Speaker 3: was with somebody the other night who said, I've never

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Speaker 3: seen it, and I'd like to watch it, and I'd

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Speaker 3: like to watch it with you, And I was like

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Speaker 3: and it was not, so I like, so it was

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Speaker 3: so I was like.

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Speaker 2: Wow, that's a good line. Did it work on you?

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Speaker 2: It did?

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Speaker 3: But I had to have ground rules, yeah, which was

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Speaker 3: I said, if I'm going to be engaging with something

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Speaker 3: that I'm actually nervous about engaging with right now, it's

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Speaker 3: maybe rational, it might be irrational. But because I know

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Speaker 3: that people like this movie and that it's you know,

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Speaker 3: I remember loving making it and all that, but I

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Speaker 3: don't know what this experience is going to be like,

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Speaker 3: So please don't ask me questions during it. You can

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Speaker 3: ask me any questions you want afterwards. I kind of

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Speaker 3: wanted to be quiet. We're going to turn out the

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Speaker 3: lights and I know we're sitting together, but I'm going

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Speaker 3: to be sitting there having my.

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Speaker 2: Own This is not a romantic experience.

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Speaker 3: This is about me doing something that is tantamount to

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Speaker 3: like a very strange bungee jump into possibly a choice.

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Speaker 3: I'm hearing this. So my experience of seeing it for

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Speaker 3: the first time really since it came out was positive.

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Speaker 3: I'll not bury the lead. It was positive. There was

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Speaker 3: some very emotional parts for me. I was I had

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Speaker 3: it was a little outer body, my real headline was

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Speaker 3: this is a weird movie. Yeah, that was That was

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Speaker 3: a part of my experience. And then my other experience

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Speaker 3: was how good everybody is in it? Yeah, people are

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Speaker 3: really like and it's like I was like very taken

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Speaker 3: by how good people were in it, and so I

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Speaker 3: so so that was so So you're getting me having

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Speaker 3: just had a unique experience.

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Speaker 2: Anyway, I understand. I mean in the small way that

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Speaker 2: I can, I understand exactly that feeling of I haven't

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Speaker 2: directed films, so I don't have but.

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Speaker 3: Yeah, going back and watching something, well, they become like

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Speaker 3: your children and they become like, like you know, anything

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Speaker 3: that your part of ends up becoming a tattoo, aren't

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Speaker 3: you like?

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Speaker 2: And of course you see other things of like you

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Speaker 2: wouldn't direct things back now how you did back then,

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Speaker 2: or like anything in any department. Yeah, but our overall

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Speaker 2: feeling is that it is so good.

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Speaker 1: Oh my god, it is so good.

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Speaker 3: It is stupid good.

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Speaker 2: It is so. I think the thing is that you

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Speaker 2: make it look easy, and I don't think at that

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Speaker 2: time we knew how good we had it as a

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Speaker 2: public of having you do that, because you capture the

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Speaker 2: tone of what that show is. This sort of like

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Speaker 2: tongue in cheek we're aware of we're saying, like you know,

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Speaker 2: like hint, hint, not nod to the camera, but also

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Speaker 2: telling this really beautiful story. You're bringing out the best

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Speaker 2: of all of these incredible actors, whether they're brand new

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Speaker 2: or legendary, and you are shooting this out of these

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Speaker 2: dansical numbers, and like the dancing is incredible, the dancing,

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Speaker 2: And we just said we have a lot of questions

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Speaker 2: and thoughts because we just enjoyed it front to back

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Speaker 2: so so much, and I think people need to remember

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Speaker 2: and revisit if they haven't recently, because it is pretty

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Speaker 2: damn flawless.

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Speaker 3: Yeah, I appreciate that. Thank you so much. We mean

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Speaker 3: it because.

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Speaker 2: I was like on every on every technical level, and

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Speaker 2: it takes.

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Speaker 3: Technically a very good it's a technically a well made movie.

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Speaker 2: It is it is. It's very well made. And I

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Speaker 2: think I think back of like when you did Rocky

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Speaker 2: Horror for us, that was the first one, but when

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Speaker 2: you go back and watch it, but it looks and

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Speaker 2: feels different. It looks it feels like a film, and

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Speaker 2: it is so smart and intentional, like of course he

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Speaker 2: did that. Of course this is the same director, and

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Speaker 2: I don't think you know, we were in like Glee world,

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Speaker 2: and like obviously I had already seen Hairspray, so I

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Speaker 2: wasn't necessarily connecting the dots at the time, but going

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Speaker 2: back now and looking at it, like, damn, you're good. Yeah,

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Speaker 2: like you are able to create feeling through I mean,

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Speaker 2: Jenna and I talk about like wedding planner and walk

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Speaker 2: to remember all the time because you're able to You

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Speaker 2: have hits on hits on hits, but you create like

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Speaker 2: this like safety net in your films, where like you

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Speaker 2: know it's going to be good, Like whatever genre you're doing,

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Speaker 2: you know it's going to be that, and it's going

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Speaker 2: to be quality within that genre. And like for you

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Speaker 2: to be able to take a great stage musical like

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Speaker 2: Hairspray and then translate it and elevate it and maybe

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Speaker 2: it's even better than the stage musical. Yeah, it is

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Speaker 2: a really impossible thing to do. And I just don't

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Speaker 2: think people realize how.

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Speaker 1: Hard, how hard that is.

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Speaker 3: Yeah, well that was a lot.

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Speaker 2: Sorry, it wasn't pent up since we watched it, and

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Speaker 2: I you.

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Speaker 3: Know, I think it's really important and especially at this

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Speaker 3: phase of my life for the career, but like my life,

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Speaker 3: it's like being able to sit and actually authentically take

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Speaker 3: in that kind of kindness is very very important because

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Speaker 3: it's very easy to like go like yeah, yeah, thanks,

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Speaker 3: I appreciate you because you know, you don't know what

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Speaker 3: anybody's agendas or like what the thing. You know, like,

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Speaker 3: you know, compliments are pretty easy and cheap currency. So

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Speaker 3: I but you guys, having the appreciation for you know,

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Speaker 3: the form and you know, being able to see what

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Speaker 3: I was trying to do and feeling like I accomplished

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Speaker 3: some of it is a big deal to me. So

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Speaker 3: thank you. And the reality is, I think that the

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Speaker 3: movie was able to be the think because what really

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Speaker 3: struck me when I went back and watched it was

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Speaker 3: it was two things. Like, like I said, it's a

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Speaker 3: weird movie. But a lot of what makes it weird

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Speaker 3: is that a lot of the narrative scenes really just

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Speaker 3: do go from song to song. There's no dialogue scenes

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Speaker 3: in between them, and that that's weird. And I had

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Speaker 3: the I do remember by the time that I started shooting,

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Speaker 3: I knew exactly what I was going to do. There

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Speaker 3: was nothing to be so I had more time to

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Speaker 3: prepare and to figure out how I was going to

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Speaker 3: do that movie and also work inside of the writing

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Speaker 3: in order to accomplish that, because I always that was

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Speaker 3: like the big difference for me between the you know

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Speaker 3: and people talk about the transition from stage to screen

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Speaker 3: is close ups and being like look in people's eyes

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Speaker 3: and understanding if there's an authenticity there and what something

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Speaker 3: actually means to them and is And when you have

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Speaker 3: that kind of level of distance between a stage and

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Speaker 3: an audience, are you going to be able to still

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Speaker 3: sell the same kind of the depth of the emotional

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Speaker 3: stakes because comedy is still I'm very much like, if

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Speaker 3: I can't pitch it as a drama, I can't make

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Speaker 3: it as a comedy. So if the if the emotional

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Speaker 3: steaks aren't very authentic for all the characters, then I

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Speaker 3: don't know to you know, there's no hiding anything, yeah, right,

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Speaker 3: unless you never get close you know, everything at a

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Speaker 3: white chop. So I I thought about that a lot,

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Speaker 3: and then I was like, well, how am I going

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Speaker 3: to jump from this scene to that scene of this

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Speaker 3: and something? But what what new line gave me at

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Speaker 3: that time, which I said I needed and it was

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Speaker 3: very luxurious, was I said I since this is my

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Speaker 3: first movie I'm choreographing. I'm coming back as a choreographer

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Speaker 3: my former career. Yeah, and I haven't done it since

367
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Speaker 3: this is now my fifth movie. I hadn't done it

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Speaker 3: for four movies before then. I mean I'd staged little

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Speaker 3: musical nights, yeah, but I had done choreography. This was

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Speaker 3: statt Yeah, And I said, if I'm going to do that,

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Speaker 3: I'm going to need X amount of months by myself.

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Speaker 3: I'm going to start with one person in a room.

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Speaker 3: Then two weeks later I'm going to add two more,

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Speaker 3: and then three weeks later I'm going to add two more,

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Speaker 3: and then so I can build a skeleton crew because

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Speaker 3: I need to choreograph the entire movie before I start

377
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Speaker 3: preparing the actual shoot. Wow, all out of the way.

378
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Speaker 3: How long was that process? Like from you?

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Speaker 2: Almost like three months?

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Speaker 3: It was almost three months because I started because it

381
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Speaker 3: was a little stop and start, and it certainly wasn't

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Speaker 3: like every day I was in the studio, it was

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Speaker 3: me and and Fletcher, And then a couple of weeks later,

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Speaker 3: I was just sort of sketching the scenes and talking

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Speaker 3: about what each of the numbers kind of needed to be,

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Speaker 3: and then I brought in Zach and Jamal Zach Woodley

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Speaker 3: and Jamal Sims and then and Joey Pc. Then for

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Speaker 3: the next maybe it was about two months. Two months

389
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Speaker 3: we were then we were like in it. And then

390
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Speaker 3: finally in the last week I added, like, we brought

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Speaker 3: in like ten dancers if everything that we were doing

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Speaker 3: was actually going to work, because when there's five of

393
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Speaker 3: us doing all group numbers, it's just a bunch of

394
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Speaker 3: steps and talking about formations and all that, and and

395
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Speaker 3: I just needed the bodies, and so we did that.

396
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Speaker 3: That all happened in la and then we all shipped

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Speaker 3: out to Toronto. And now during all of that, I

398
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Speaker 3: was casting, right, So I was casting during all of that.

399
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Speaker 3: And the casting, you know, we saw easily over two

400
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Speaker 3: thousand girls for Tracy. But but the but in terms

401
00:24:18,359 --> 00:24:20,560
Speaker 3: of the casting of the dancers, we went to a

402
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Speaker 3: lot of cities really and all around looking for dancers well,

403
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Speaker 3: because I knew I could only bring so many from

404
00:24:27,480 --> 00:24:29,520
Speaker 3: the States, and then I also had to hire out

405
00:24:29,560 --> 00:24:34,680
Speaker 3: of Toronto. Wow, So it ended up being this very

406
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Speaker 3: strange split of people, and like the kids from the

407
00:24:39,080 --> 00:24:42,040
Speaker 3: Corny Collins Show ended up being we carried them through

408
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Speaker 3: the entire rehearsal and movie because wow, that schedule was.

409
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Speaker 2: That's why they were so clean.

410
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Speaker 3: So that they clean, but they that is a lot

411
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Speaker 3: of bank for a dancer on a movie that's crazy

412
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Speaker 3: money and so and a crazy big job, and good

413
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Speaker 3: on them. And then then slightly then for there was

414
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Speaker 3: slightly less kids that I had for the Seaweed group,

415
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Speaker 3: and that was mostly also La New York. The Corny

416
00:25:17,960 --> 00:25:23,520
Speaker 3: Collins kids were half La and half Toronto. Almost all

417
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Speaker 3: the Maybell group, the more adulty kind of dancers were

418
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Speaker 3: almost all Toronto all and those were the three groups basically,

419
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Speaker 3: and so but there was a lot of them, God

420
00:25:38,640 --> 00:25:45,960
Speaker 3: damn yeahcers yeah so there so I but by the

421
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Speaker 3: time we hit Toronto, Jamal and Zach and Joey, what

422
00:25:51,320 --> 00:25:54,879
Speaker 3: I did is they handled them, teaching everything, cleaning it.

423
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Speaker 3: And then as the adults started to come in and

424
00:25:59,520 --> 00:26:03,040
Speaker 3: the kid and the lead kids, oh, we actually had Zach, Nikky,

425
00:26:07,880 --> 00:26:11,920
Speaker 3: Elijah and Brittany very early also into that next rehearsal period.

426
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Speaker 3: They came in and they were they were just part

427
00:26:17,080 --> 00:26:18,840
Speaker 3: of the core dancers. That's all they were doing was

428
00:26:18,840 --> 00:26:23,320
Speaker 3: they were just they were also exceptionally clean y. They

429
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Speaker 3: they rehearsed, not like they were leads in a movie.

430
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Speaker 3: They were they were just part of a dance core

431
00:26:29,520 --> 00:26:32,240
Speaker 3: at that. That's great. Wow, that shows though.

432
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Speaker 2: That's I think that's the difference of some of these things.

433
00:26:35,840 --> 00:26:38,919
Speaker 3: Yeah, it was. It was very tailored in that way.

434
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Speaker 3: And then things got a little when John Travolta and

435
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Speaker 3: Chris walkin and Michelle and they started to come in.

436
00:26:45,480 --> 00:26:49,159
Speaker 3: Then those rehearsals were a little more private and like

437
00:26:50,359 --> 00:26:57,159
Speaker 3: like I think Joey was assigned. I think Zach was

438
00:26:57,160 --> 00:27:02,520
Speaker 3: a sign. No, Anne was assigned to Michelle, Joey was

439
00:27:02,760 --> 00:27:08,680
Speaker 3: John Travolta, Zach I don't know. Zach ended up kind

440
00:27:08,680 --> 00:27:13,800
Speaker 3: of floating, Yeah, I don't Anyway, it was like that.

441
00:27:13,920 --> 00:27:16,600
Speaker 3: It was like how we were hitting it. But I

442
00:27:16,640 --> 00:27:18,720
Speaker 3: would just be coming in and out of those rehearsals

443
00:27:18,720 --> 00:27:23,440
Speaker 3: and performancy things and all that. But they were drilling them.

444
00:27:23,880 --> 00:27:25,919
Speaker 3: What was that casting process like for everyone?

445
00:27:26,840 --> 00:27:29,800
Speaker 1: Especially like John.

446
00:27:29,160 --> 00:27:33,200
Speaker 3: John okay, So John is okay, So Craigs and Neil

447
00:27:33,280 --> 00:27:38,720
Speaker 3: Marren the producers had been talking about John doing it

448
00:27:38,760 --> 00:27:41,440
Speaker 3: and they were friends with him and for quite some time.

449
00:27:41,520 --> 00:27:43,199
Speaker 3: So when I came into the movie, it was the

450
00:27:43,200 --> 00:27:46,680
Speaker 3: first thing they said, is we would really think it's

451
00:27:46,720 --> 00:27:53,840
Speaker 3: great if it was John, And I said, yeah, I

452
00:27:53,840 --> 00:27:59,080
Speaker 3: mean if he would be down, Yeah, he can do everything. Yeah,

453
00:27:59,359 --> 00:28:01,760
Speaker 3: it would be you know. It's his return to musicals

454
00:28:01,800 --> 00:28:09,160
Speaker 3: from Greece. So and he is a song and dance guy. Yeah.

455
00:28:09,320 --> 00:28:13,640
Speaker 3: So they set up and he was the first one

456
00:28:13,960 --> 00:28:18,240
Speaker 3: and they set up a meeting, which John's I don't

457
00:28:18,240 --> 00:28:19,920
Speaker 3: know if you know any of the stories about John,

458
00:28:19,920 --> 00:28:26,320
Speaker 3: but he's a late night person. Oh yeah. I had

459
00:28:26,320 --> 00:28:28,200
Speaker 3: to meet him for dinner at like one thirty in

460
00:28:28,240 --> 00:28:32,240
Speaker 3: the morning. No, yeah, at a hotel in New York

461
00:28:32,280 --> 00:28:34,720
Speaker 3: it was, or maybe it was one, and it was

462
00:28:34,720 --> 00:28:37,480
Speaker 3: at a hotel in New York in the meatpacking district.

463
00:28:38,640 --> 00:28:41,480
Speaker 3: And I sat down with him for dinner at that

464
00:28:41,600 --> 00:28:44,440
Speaker 3: hour and we just talked and talked and talked. But

465
00:28:44,440 --> 00:28:46,840
Speaker 3: we talked a lot about musicals, and we talked about things.

466
00:28:47,000 --> 00:28:49,640
Speaker 3: He just kept saying over and over again, like none

467
00:28:49,640 --> 00:28:51,520
Speaker 3: of this works if you're not if you don't have

468
00:28:51,600 --> 00:28:53,560
Speaker 3: the right eye, and if you're not like a musical

469
00:28:53,560 --> 00:28:55,680
Speaker 3: person and you're not a musical you know what I mean.

470
00:28:55,720 --> 00:28:59,360
Speaker 3: It's like you to know that he was in what

471
00:28:59,400 --> 00:29:03,800
Speaker 3: he considered, you know, really stands yeah. And he was

472
00:29:03,840 --> 00:29:07,480
Speaker 3: also very clear at that point that we were not

473
00:29:07,560 --> 00:29:11,640
Speaker 3: going to like in his interpretation, in his version, we

474
00:29:11,680 --> 00:29:13,400
Speaker 3: were not playing in his drag he was a woman.

475
00:29:14,320 --> 00:29:17,080
Speaker 3: And so I think that was also a big leap

476
00:29:17,120 --> 00:29:19,480
Speaker 3: for him, is like he it was not going to

477
00:29:19,520 --> 00:29:23,000
Speaker 3: be in his mind, can't be. It was like he

478
00:29:23,160 --> 00:29:25,040
Speaker 3: was going to be playing a character that is a woman,

479
00:29:25,120 --> 00:29:28,480
Speaker 3: and this is what I'm going to do it Like, yes, sir,

480
00:29:29,320 --> 00:29:33,680
Speaker 3: sign me up. This is exactly what I want, because

481
00:29:33,760 --> 00:29:37,320
Speaker 3: if you're playing the other thing again in close ups,

482
00:29:37,360 --> 00:29:39,760
Speaker 3: I'm not sure I can get like Edna's more thing.

483
00:29:40,000 --> 00:29:43,600
Speaker 3: The other thing that he the biggest thing for him

484
00:29:43,640 --> 00:29:46,720
Speaker 3: in that was that he wanted to He wanted to

485
00:29:47,560 --> 00:29:50,600
Speaker 3: have the audience understand that she had once sort of

486
00:29:50,680 --> 00:29:54,040
Speaker 3: been a little sexier, which is insisted on her having

487
00:29:54,040 --> 00:29:58,040
Speaker 3: a waste, having a belt. He always wanted to have

488
00:29:58,080 --> 00:30:02,040
Speaker 3: a shape and I and so so I was like, oh,

489
00:30:02,120 --> 00:30:06,240
Speaker 3: he thinks Edna has a sexiness to her. I think

490
00:30:06,840 --> 00:30:11,040
Speaker 3: it was reflective of women from his family in his past,

491
00:30:12,120 --> 00:30:16,200
Speaker 3: bigger Italian women who had you know, big boobs and

492
00:30:16,280 --> 00:30:17,880
Speaker 3: a little bit more of a way and big hips

493
00:30:17,920 --> 00:30:20,440
Speaker 3: and all that, but weren't like trying to hide it,

494
00:30:20,560 --> 00:30:23,400
Speaker 3: So that to me is what that was.

495
00:30:23,960 --> 00:30:27,560
Speaker 2: Yeah, and that comes through in the movie.

496
00:30:28,000 --> 00:30:32,600
Speaker 3: Yeah, I mean he loves to shake all that around. Yeah.

497
00:30:32,680 --> 00:30:37,680
Speaker 3: So so anyway, so that was that one, and then

498
00:30:38,040 --> 00:30:42,640
Speaker 3: after that came, I immediately went to Latifa for me

499
00:30:43,520 --> 00:30:45,240
Speaker 3: and I had made Bringing Down the House with her,

500
00:30:45,280 --> 00:30:45,880
Speaker 3: so we were.

501
00:30:47,000 --> 00:30:52,640
Speaker 2: I had one of the most fun movie theater experiences

502
00:30:52,680 --> 00:30:54,880
Speaker 2: with my mom going to see that. Like, I remember

503
00:30:55,040 --> 00:30:56,400
Speaker 2: dying laughing in the theater.

504
00:30:56,440 --> 00:31:01,960
Speaker 3: Literally could not make that movie today. It out and

505
00:31:02,080 --> 00:31:03,680
Speaker 3: certainly I would be allowed to.

506
00:31:07,320 --> 00:31:09,560
Speaker 1: Different times tis time capsule.

507
00:31:09,960 --> 00:31:15,480
Speaker 3: Yeah, so I I remember boy died. I love making

508
00:31:15,520 --> 00:31:17,920
Speaker 3: that movie. Just being with those two every day. Oh

509
00:31:18,160 --> 00:31:22,640
Speaker 3: my god, crazy fun anyway, So Geenie Smart is so

510
00:31:22,840 --> 00:31:30,240
Speaker 3: funny in it, and Pile and like and Eugene.

511
00:31:29,360 --> 00:31:32,640
Speaker 2: Comedic legend, truly icons.

512
00:31:32,680 --> 00:31:35,200
Speaker 3: So anyway, Yes, so I asked Dana to do it

513
00:31:35,520 --> 00:31:42,320
Speaker 3: and she very quickly said yes. The next one I

514
00:31:42,520 --> 00:31:47,640
Speaker 3: hit was Michelle. Michelle was the only person I wanted. Wow,

515
00:31:48,560 --> 00:31:51,280
Speaker 3: I really wanted her to do it, And we flew

516
00:31:51,480 --> 00:31:56,120
Speaker 3: up to San Francisco where she was living at the time,

517
00:31:56,800 --> 00:32:03,560
Speaker 3: and had lunch and I virtually begged her to do it.

518
00:32:03,760 --> 00:32:11,719
Speaker 3: And I and the and her trepidation was she has

519
00:32:11,720 --> 00:32:17,200
Speaker 3: a mixed race daughter and she and Claudia, she was

520
00:32:17,360 --> 00:32:19,840
Speaker 3: very concerned about how Clauda would feel about her playing

521
00:32:20,480 --> 00:32:23,440
Speaker 3: a racist in that way, Like she had a lot

522
00:32:23,480 --> 00:32:29,160
Speaker 3: of feelings about it. Yeah, And so after she'd had

523
00:32:29,240 --> 00:32:33,120
Speaker 3: long talks with Claudia, and Claudia actually encouraged her to

524
00:32:33,120 --> 00:32:36,760
Speaker 3: do the movie. She said, yes, wow, So I had

525
00:32:36,760 --> 00:32:38,320
Speaker 3: the stars of Greece one and Greece two.

526
00:32:38,520 --> 00:32:42,400
Speaker 2: Yes, and she's brilliant in it. I also, I had

527
00:32:42,400 --> 00:32:47,360
Speaker 2: talked about how hard it is, I think in this

528
00:32:47,960 --> 00:32:51,680
Speaker 2: tone of movie, like you said, like to buy the

529
00:32:51,760 --> 00:32:54,840
Speaker 2: drama and the seriousness of it when everything is so heightened,

530
00:32:55,640 --> 00:32:59,640
Speaker 2: and seeing Michelle Feiffer just not a single break in

531
00:32:59,680 --> 00:33:03,680
Speaker 2: her eye of any of this, and it is unbelievable.

532
00:33:03,960 --> 00:33:06,440
Speaker 3: There's she has some moments that are actually kind of

533
00:33:06,520 --> 00:33:10,840
Speaker 3: chilling to like they're like like she meets Edna for

534
00:33:10,880 --> 00:33:13,320
Speaker 3: the first time and she says, you'll stop traffic, and like,

535
00:33:13,800 --> 00:33:17,160
Speaker 3: I think that's just so like I was like, oh wow,

536
00:33:17,280 --> 00:33:21,360
Speaker 3: or like her frustration while she's trying to seduce Wilbur.

537
00:33:21,320 --> 00:33:28,120
Speaker 4: Like, yeah, there is there's something that I will never

538
00:33:28,720 --> 00:33:33,040
Speaker 4: the scene that I.

539
00:33:31,400 --> 00:33:34,360
Speaker 3: I just like go like, how did I get away with? It?

540
00:33:34,480 --> 00:33:37,880
Speaker 3: Was her and Brittany in those gold dresses in that

541
00:33:37,920 --> 00:33:40,760
Speaker 3: white room with the cat and all of that, like

542
00:33:40,840 --> 00:33:46,560
Speaker 3: sitting there like what are they wearing? What? Like? It

543
00:33:46,720 --> 00:33:54,760
Speaker 3: was so crazy that Rita riot and those costumes beautiful.

544
00:33:54,360 --> 00:33:58,640
Speaker 2: Oh good, and so many, so many like every department

545
00:33:58,840 --> 00:34:01,040
Speaker 2: just as firing on all cylinders.

546
00:34:00,640 --> 00:34:16,360
Speaker 3: Yes, yes, So there was Michelle and then Chris. I

547
00:34:16,440 --> 00:34:19,600
Speaker 3: got on the phone with him and he just was like,

548
00:34:19,640 --> 00:34:20,480
Speaker 3: do I get to Hoof?

549
00:34:20,560 --> 00:34:22,920
Speaker 2: And I was like, yeah, whose idea was Chris?

550
00:34:23,520 --> 00:34:25,600
Speaker 3: I want to say it was me, But it was

551
00:34:25,719 --> 00:34:29,080
Speaker 3: very communal at the time, like like I think what

552
00:34:29,280 --> 00:34:32,000
Speaker 3: happened like it wasn't like and it was like we

553
00:34:32,080 --> 00:34:35,799
Speaker 3: had a list, yeah, go to and on the list,

554
00:34:35,840 --> 00:34:38,399
Speaker 3: I said Chris, and everybody very quickly was like, oh

555
00:34:38,440 --> 00:34:40,760
Speaker 3: my god, if you could get that, that would be amazing.

556
00:34:41,080 --> 00:34:43,759
Speaker 3: It wasn't like it wasn't like I was in the

557
00:34:43,760 --> 00:34:47,440
Speaker 3: shower and I went to Chris walking I had But

558
00:34:47,640 --> 00:34:50,640
Speaker 3: like you know, if you've seen any of his old

559
00:34:50,719 --> 00:34:53,920
Speaker 3: like even panties from Heaven, like any like his, you

560
00:34:53,960 --> 00:34:57,640
Speaker 3: know he was a great dancer and a and again

561
00:34:57,719 --> 00:35:01,239
Speaker 3: a true song and dance Man and so that was

562
00:35:02,040 --> 00:35:05,239
Speaker 3: that was that was a pretty easy thing. He just

563
00:35:05,320 --> 00:35:09,080
Speaker 3: said yes fast. But at that time, remember I had John,

564
00:35:09,200 --> 00:35:12,200
Speaker 3: I had Latisa, and I had Michelle who he done

565
00:35:12,239 --> 00:35:18,040
Speaker 3: Batman with. Right, Oh my god, so he had it

566
00:35:18,080 --> 00:35:19,680
Speaker 3: was like and he was going to do scenes with

567
00:35:19,719 --> 00:35:26,040
Speaker 3: Michelle again. Yeah, it was like this. It was like

568
00:35:26,160 --> 00:35:28,680
Speaker 3: it was it really came together for him. Then the

569
00:35:28,719 --> 00:35:32,359
Speaker 3: one that was Craig and Neil, the only other one

570
00:35:32,360 --> 00:35:35,560
Speaker 3: that Greg and Neil really were like, we'd really like

571
00:35:35,600 --> 00:35:37,239
Speaker 3: you to look at him. Oh, and actually no, it

572
00:35:37,320 --> 00:35:40,080
Speaker 3: was David Rubin, David Rubin, the casting director. It's like,

573
00:35:40,160 --> 00:35:43,800
Speaker 3: can you please look at James Marston for Corney Collins.

574
00:35:43,800 --> 00:35:47,879
Speaker 3: And I was like really, I mean I'd never seen

575
00:35:48,000 --> 00:35:51,319
Speaker 3: sing and he sent me something of him singing. I

576
00:35:51,360 --> 00:35:57,240
Speaker 3: was like, oh, like from Alan McBeal. And then I

577
00:35:57,280 --> 00:36:00,359
Speaker 3: sat down with him. It was so brilliant. We were

578
00:36:00,400 --> 00:36:03,600
Speaker 3: at Centralley in New York where barcent Trolley and New

579
00:36:03,680 --> 00:36:08,560
Speaker 3: York craiganil and it was like pre showtime. It was

580
00:36:08,600 --> 00:36:12,200
Speaker 3: that weird like you know, late afternoon light coming in

581
00:36:12,239 --> 00:36:15,600
Speaker 3: those We were what I thought was alone. There was

582
00:36:15,680 --> 00:36:18,279
Speaker 3: one other table in the place that the people are

583
00:36:18,320 --> 00:36:21,400
Speaker 3: at and we sat down there and it was like

584
00:36:21,680 --> 00:36:25,239
Speaker 3: for him, it was fairly like he wanted the job.

585
00:36:26,280 --> 00:36:30,080
Speaker 3: It's more like that, and I quote unquote I was

586
00:36:30,080 --> 00:36:31,840
Speaker 3: being sold. But the second I met him, I was like,

587
00:36:32,800 --> 00:36:36,000
Speaker 3: sweet baby Jesus, like yeah, like there's no way, yeah,

588
00:36:36,040 --> 00:36:39,960
Speaker 3: and we're finishing up the conversation and he's so charming

589
00:36:40,000 --> 00:36:44,600
Speaker 3: and yeah, you know, he's so yeah, and he was

590
00:36:44,680 --> 00:36:47,440
Speaker 3: so game. And then all of a sudden I heard

591
00:36:47,440 --> 00:36:50,759
Speaker 3: a rustling and the people from the back table came by,

592
00:36:50,920 --> 00:36:54,000
Speaker 3: and imagine, his back is to those windows. So I'm

593
00:36:54,040 --> 00:36:56,840
Speaker 3: looking at the windows and it's silhouetted, and all of

594
00:36:56,880 --> 00:36:59,759
Speaker 3: a sudden, this face leans in and she goes, I

595
00:37:00,040 --> 00:37:02,880
Speaker 3: loved you in the notebook, and I look and it

596
00:37:02,920 --> 00:37:09,960
Speaker 3: was Julia Roberts. No I shouted, and he saw her.

597
00:37:10,000 --> 00:37:12,680
Speaker 3: He goes, and I love you in everything.

598
00:37:14,960 --> 00:37:15,920
Speaker 2: Accurate response.

599
00:37:16,120 --> 00:37:18,759
Speaker 3: That is a correct response. And it was when she

600
00:37:18,840 --> 00:37:20,279
Speaker 3: was on Broadway, and so she was.

601
00:37:20,239 --> 00:37:23,840
Speaker 1: Like, oh my gosh.

602
00:37:23,880 --> 00:37:25,360
Speaker 3: It was kind of a it was kind it was

603
00:37:25,400 --> 00:37:29,359
Speaker 3: a moment, but so that's how that So that's how

604
00:37:29,400 --> 00:37:32,000
Speaker 3: that that happened together. And then the kids we're all

605
00:37:32,640 --> 00:37:34,879
Speaker 3: just casting. I mean, I you know, I think it's

606
00:37:34,920 --> 00:37:37,880
Speaker 3: kind of out there, you know, like Zach did a

607
00:37:37,960 --> 00:37:42,000
Speaker 3: terrible first audition. Yeah, I didn't want to cast him.

608
00:37:42,040 --> 00:37:44,080
Speaker 3: And then my sister, who was a producer on the movie,

609
00:37:44,200 --> 00:37:46,640
Speaker 3: was like, you're casting him. He's going to be a

610
00:37:46,719 --> 00:37:49,719
Speaker 3: huge star. And I was great in this movie any

611
00:37:49,760 --> 00:37:51,879
Speaker 3: thing like that. And I remember the big thing when

612
00:37:51,960 --> 00:37:54,280
Speaker 3: I called him back was he was it was still

613
00:37:54,320 --> 00:37:57,600
Speaker 3: this big. It just feil still felt so Disney when

614
00:37:57,600 --> 00:38:00,120
Speaker 3: we were talking to him, and when I want there

615
00:38:00,120 --> 00:38:02,040
Speaker 3: was no sex appeal there. It was just like he

616
00:38:02,080 --> 00:38:04,760
Speaker 3: was super cute and handsome, but there was nothing really

617
00:38:04,800 --> 00:38:07,040
Speaker 3: smoldery like link. And then all of a sudden, I went,

618
00:38:07,560 --> 00:38:09,560
Speaker 3: oh my god, can you do it again? And don't

619
00:38:09,600 --> 00:38:12,960
Speaker 3: smile this time? And he said don't smile. I said, yeah,

620
00:38:13,040 --> 00:38:17,200
Speaker 3: just do the whole thing and don't smile, and he

621
00:38:17,320 --> 00:38:19,719
Speaker 3: never it was and there it was, and I was like, well,

622
00:38:19,719 --> 00:38:21,279
Speaker 3: thank you, And I said, can you just wink at

623
00:38:21,320 --> 00:38:26,359
Speaker 3: me that we're good? We're good? Crazy, I just get

624
00:38:26,400 --> 00:38:31,719
Speaker 3: you that that's really really good. Writtany just went on

625
00:38:32,480 --> 00:38:37,400
Speaker 3: record in talking about how she screwed up her first

626
00:38:37,400 --> 00:38:41,600
Speaker 3: audition and what we and what you know, how she

627
00:38:41,680 --> 00:38:44,440
Speaker 3: got back in to it and how she the movie

628
00:38:44,600 --> 00:38:47,560
Speaker 3: and I really wanted her for the movie, so when

629
00:38:47,840 --> 00:38:51,759
Speaker 3: and but her taped audition was terrible, right, and so

630
00:38:52,080 --> 00:38:56,600
Speaker 3: I was like she was just so clearly nervous. And

631
00:38:56,640 --> 00:38:58,360
Speaker 3: I made a movie with her already before, and so

632
00:38:58,440 --> 00:39:03,080
Speaker 3: I was like, I know, I know winning, but there

633
00:39:03,120 --> 00:39:05,080
Speaker 3: was a long line of girls who wanted to play

634
00:39:05,080 --> 00:39:09,400
Speaker 3: that part. Oh sure, and so a big stars and

635
00:39:09,480 --> 00:39:15,520
Speaker 3: so I was like, but she asked to come back in,

636
00:39:15,560 --> 00:39:17,080
Speaker 3: and I was like, I want you to come back in.

637
00:39:17,640 --> 00:39:21,359
Speaker 3: So so she did and she was great. Yeah that

638
00:39:21,400 --> 00:39:24,880
Speaker 3: happened there. Elijah was the first Seaweed that I saw

639
00:39:24,960 --> 00:39:28,520
Speaker 3: and he left and I said, that's him. I'm done. Yea,

640
00:39:28,680 --> 00:39:31,600
Speaker 3: I saw a lot more. Yeah, I got him.

641
00:39:32,040 --> 00:39:34,200
Speaker 2: Do you know? I sort of grew up with Elijah

642
00:39:34,239 --> 00:39:36,400
Speaker 2: and like when he like I've known him, said, I

643
00:39:36,400 --> 00:39:39,719
Speaker 2: was like fourteen or fifteen, and I remember when he

644
00:39:39,800 --> 00:39:42,239
Speaker 2: got that movie and I was like one of us

645
00:39:42,440 --> 00:39:46,800
Speaker 2: like got something and like in this huge thing, and

646
00:39:46,840 --> 00:39:50,759
Speaker 2: I was like, of course, I'm ridiculously talented, so charismatic

647
00:39:51,040 --> 00:39:54,040
Speaker 2: and charming, like of course he's But I didn't even

648
00:39:54,080 --> 00:39:56,120
Speaker 2: know he was an actor, Like I knew him as

649
00:39:56,120 --> 00:39:59,680
Speaker 2: a singer, and like a dancer. And then I remember

650
00:39:59,760 --> 00:40:01,480
Speaker 2: like talking to him like, oh, I just did this

651
00:40:01,560 --> 00:40:05,120
Speaker 2: movie called Hairspray, Like what is that? Like I knew

652
00:40:05,120 --> 00:40:08,200
Speaker 2: nothing about it? And then there was billboard Like I

653
00:40:08,239 --> 00:40:11,520
Speaker 2: grew up, you know, like going to Millennium and Synthesis

654
00:40:11,520 --> 00:40:14,000
Speaker 2: on Lancaship in North Hollywood and we'd hang out like

655
00:40:14,080 --> 00:40:17,759
Speaker 2: right across from Synthesis and there's like a billboard there.

656
00:40:17,880 --> 00:40:20,640
Speaker 2: And then one day we looked up and there's Elijah

657
00:40:20,719 --> 00:40:24,680
Speaker 2: on the billboard for Hairspray. We're like, what is happening.

658
00:40:26,120 --> 00:40:28,480
Speaker 2: I was like, I can't believe a lie.

659
00:40:28,719 --> 00:40:35,920
Speaker 3: Like bro, he came in, he sang run until that

660
00:40:36,120 --> 00:40:39,960
Speaker 3: and Mark and Scott were there, and the composer and

661
00:40:39,960 --> 00:40:43,560
Speaker 3: there's and Mark and Scott were there, and he left

662
00:40:43,600 --> 00:40:45,719
Speaker 3: and there he was just like I don't get better

663
00:40:45,760 --> 00:40:56,480
Speaker 3: than that. So and then I will tell the truth

664
00:40:56,680 --> 00:40:59,640
Speaker 3: is like there was a long line of people to

665
00:40:59,640 --> 00:41:05,560
Speaker 3: play any and New Line wanted Amanda and I was

666
00:41:05,560 --> 00:41:10,800
Speaker 3: on the fence about it, and they actually came to me.

667
00:41:10,960 --> 00:41:13,879
Speaker 3: They because Amanda was a big star back then. Yeah

668
00:41:14,239 --> 00:41:19,800
Speaker 3: on work. I just said I'm not sure. I'm not sure,

669
00:41:20,400 --> 00:41:24,719
Speaker 3: and they said, if you cast Amanda we'll let you

670
00:41:24,800 --> 00:41:32,720
Speaker 3: have Zach. Oh. I wanted Zach and they weren't sold

671
00:41:33,280 --> 00:41:37,680
Speaker 3: at that. Wow, okay, so they said, if you can,

672
00:41:38,480 --> 00:41:43,520
Speaker 3: I'll let you have Okay. I ast Amanda, I.

673
00:41:43,480 --> 00:41:44,560
Speaker 1: Mean slam down.

674
00:41:45,040 --> 00:41:47,800
Speaker 2: I mean she was great. She's a commedy genius.

675
00:41:48,360 --> 00:41:58,160
Speaker 3: She brought the craziest illius wonderful. Yes, like it's like

676
00:41:58,360 --> 00:42:07,279
Speaker 3: lascivious innocence, like and like she was just so awkwardly

677
00:42:07,320 --> 00:42:07,840
Speaker 3: on fire.

678
00:42:08,560 --> 00:42:11,799
Speaker 1: Yes, and uh, it really was.

679
00:42:12,320 --> 00:42:14,320
Speaker 3: It was. It was just wonderful.

680
00:42:14,680 --> 00:42:16,640
Speaker 2: And her and Alison Janney together were.

681
00:42:18,280 --> 00:42:22,480
Speaker 3: Yeah, oh Allie. Like when I asked, Allison, that's crazy

682
00:42:22,520 --> 00:42:23,760
Speaker 3: that Allison was in this movie.

683
00:42:23,920 --> 00:42:26,440
Speaker 2: Yes, I know. Look, I hadn't seen this movie in

684
00:42:26,440 --> 00:42:29,319
Speaker 2: a really long time. And as you know, characters start

685
00:42:29,360 --> 00:42:31,879
Speaker 2: getting introduced, him like, what we still have more?

686
00:42:32,520 --> 00:42:35,200
Speaker 3: Yes, Allison was like, well, my schedule in this and

687
00:42:35,239 --> 00:42:38,080
Speaker 3: I was like, you're in and you're out. Yes, Yes,

688
00:42:38,280 --> 00:42:40,719
Speaker 3: the thing it's like you only have these and I'll

689
00:42:40,760 --> 00:42:44,040
Speaker 3: shoot you out. Brilliant. She had done primary colors with

690
00:42:44,120 --> 00:42:48,239
Speaker 3: John and they and if you haven't seen her scene,

691
00:42:48,280 --> 00:42:50,960
Speaker 3: it's very early, it's very it's the beginning of the movie.

692
00:42:51,360 --> 00:42:53,880
Speaker 3: It's some of the best physical comedy. I feel like

693
00:42:53,880 --> 00:42:54,400
Speaker 3: I've ever.

694
00:42:54,280 --> 00:42:56,799
Speaker 2: Seen it's like her tripping over the table in hairspray.

695
00:42:57,000 --> 00:42:59,000
Speaker 1: Is you don't get to see her do that all

696
00:42:59,040 --> 00:42:59,359
Speaker 1: the time.

697
00:42:59,480 --> 00:43:03,000
Speaker 3: No, no, no, no, She's just a she's just a freaking

698
00:43:03,320 --> 00:43:07,000
Speaker 3: genius anyway. So so yeah, so that's how all of

699
00:43:07,320 --> 00:43:08,440
Speaker 3: that ended up happening.

700
00:43:08,840 --> 00:43:10,520
Speaker 1: And now, of course you have Niki.

701
00:43:11,120 --> 00:43:14,160
Speaker 3: So with Niki, we always knew it was going to

702
00:43:14,200 --> 00:43:18,080
Speaker 3: be a very very very long, big process, and I

703
00:43:18,120 --> 00:43:21,000
Speaker 3: think part of it was also to be you know,

704
00:43:21,440 --> 00:43:23,719
Speaker 3: part of it was the marketing element of like the

705
00:43:23,760 --> 00:43:27,399
Speaker 3: search turn pund Yeah. So yeah, And what I will

706
00:43:27,400 --> 00:43:30,600
Speaker 3: say is in over the months and in all of

707
00:43:30,640 --> 00:43:35,040
Speaker 3: the people that I saw, when I saw Nicky's audition,

708
00:43:37,239 --> 00:43:40,600
Speaker 3: I remember going, oh, and then I went past it,

709
00:43:41,000 --> 00:43:43,759
Speaker 3: and then I went back to it, like in that

710
00:43:43,840 --> 00:43:46,560
Speaker 3: same watching session of watching like and I literally had

711
00:43:46,560 --> 00:43:50,759
Speaker 3: like fifty that I was watching, and I went back

712
00:43:50,800 --> 00:43:56,719
Speaker 3: to her, and then I went and watched some more,

713
00:43:56,760 --> 00:43:59,640
Speaker 3: and I went back to her again, and I watched

714
00:43:59,680 --> 00:44:04,040
Speaker 3: it a third time, and I remember texting or emailing

715
00:44:04,120 --> 00:44:07,040
Speaker 3: David Craig and Neil and I said, I think I

716
00:44:07,040 --> 00:44:10,560
Speaker 3: think I found her. I said, I think it's I

717
00:44:10,560 --> 00:44:13,759
Speaker 3: think it's going to be this girl, and they were

718
00:44:13,800 --> 00:44:16,520
Speaker 3: like what, oh, okay, you know, you know, it's like

719
00:44:16,560 --> 00:44:18,399
Speaker 3: all that it was still going to be a big,

720
00:44:18,440 --> 00:44:22,799
Speaker 3: long process because she hers I didn't see like it

721
00:44:22,840 --> 00:44:25,120
Speaker 3: was a taped audition that she had submitted.

722
00:44:28,560 --> 00:44:32,560
Speaker 1: And yeah, what were you looking for with Tracy? Like

723
00:44:32,600 --> 00:44:34,480
Speaker 1: what was could you explain?

724
00:44:34,800 --> 00:44:38,160
Speaker 3: I wanted her to be her age. I wanted her

725
00:44:38,160 --> 00:44:40,319
Speaker 3: to actually kind of be her age. I didn't want

726
00:44:40,480 --> 00:44:43,960
Speaker 3: the whole thing to be like how they did, you know,

727
00:44:44,040 --> 00:44:47,479
Speaker 3: Greece where everybody was thirty and that, Like I knew

728
00:44:47,480 --> 00:44:49,360
Speaker 3: that I wanted the kids to be young, So that

729
00:44:50,160 --> 00:44:58,400
Speaker 3: part of it I was looking for. It was like

730
00:44:58,480 --> 00:45:03,839
Speaker 3: a very authentic confidence inside of that kind of body shape.

731
00:45:04,480 --> 00:45:11,239
Speaker 3: But also this there's just a level of naivete and

732
00:45:11,280 --> 00:45:14,200
Speaker 3: a lack of consciousness, a lack of self consciousness, and

733
00:45:14,280 --> 00:45:18,440
Speaker 3: a lot of a lot of theater performers are very

734
00:45:18,480 --> 00:45:24,879
Speaker 3: self conscious there when they're performing, they're very aware of

735
00:45:25,040 --> 00:45:26,640
Speaker 3: who they are and what they're doing and all that

736
00:45:26,719 --> 00:45:29,759
Speaker 3: kind of thing. She just seemed like I'm singing and

737
00:45:29,800 --> 00:45:32,000
Speaker 3: here I am and like I'm just like gonna try

738
00:45:32,000 --> 00:45:33,239
Speaker 3: to do my bat you know what I mean? And

739
00:45:33,239 --> 00:45:37,440
Speaker 3: there was something very of it, something just really innocent

740
00:45:37,480 --> 00:45:41,000
Speaker 3: about it all though. Just it was like she felt

741
00:45:41,120 --> 00:45:47,960
Speaker 3: very untouched by all the outside. Yeah, to a certain extent.

742
00:45:48,160 --> 00:45:50,040
Speaker 3: I didn't know at that time that she was still

743
00:45:50,080 --> 00:45:53,560
Speaker 3: in high school, So I didn't I did. I had

744
00:45:53,560 --> 00:45:57,319
Speaker 3: no idea, so because that wouldn't have been that would

745
00:45:57,360 --> 00:46:01,440
Speaker 3: have been like kind of prohibitive because of like, well,

746
00:46:02,560 --> 00:46:04,319
Speaker 3: oh now I have to school her and like that,

747
00:46:04,480 --> 00:46:07,920
Speaker 3: Like yeah, I wouldn't have thought about it. Now, as

748
00:46:07,920 --> 00:46:10,279
Speaker 3: it turns out, she was graduating and she you know,

749
00:46:10,560 --> 00:46:14,520
Speaker 3: we told her like the day before she graduated, like

750
00:46:15,719 --> 00:46:20,160
Speaker 3: we might have told her the day of her prom. Yeah,

751
00:46:20,200 --> 00:46:24,239
Speaker 3: So she went the day she found out she got

752
00:46:24,280 --> 00:46:30,239
Speaker 3: the movie. Wow Yeah, so wow yeah. And you know,

753
00:46:30,400 --> 00:46:32,560
Speaker 3: I mean it's all out there about her working in

754
00:46:32,600 --> 00:46:36,880
Speaker 3: the ice cream store and all that stuff by Scream

755
00:46:36,880 --> 00:46:42,840
Speaker 3: Store and all that. So yeah, but it still was

756
00:46:42,880 --> 00:46:45,239
Speaker 3: a long haul and we had to really sell it

757
00:46:45,400 --> 00:46:47,120
Speaker 3: and there was a lot of you know, we had

758
00:46:47,160 --> 00:46:50,040
Speaker 3: to do screen tests, and she she had to fly

759
00:46:50,120 --> 00:46:54,799
Speaker 3: out to rehearse, like to audition dancing. So that's a lot.

760
00:46:55,160 --> 00:46:56,759
Speaker 3: And then she lived in New York, so she went

761
00:46:56,760 --> 00:46:58,160
Speaker 3: over to Mark and Scott's and she had to sing

762
00:46:58,160 --> 00:47:00,319
Speaker 3: for Mark on what they said, because I was there

763
00:47:00,320 --> 00:47:06,760
Speaker 3: actually for that, And what they said was, she nailed

764
00:47:06,760 --> 00:47:09,239
Speaker 3: good Morning Baltimore. But it's kind of easy to nail

765
00:47:09,280 --> 00:47:11,920
Speaker 3: good Morning Baltimore if you're one of those girls, they said.

766
00:47:12,040 --> 00:47:15,440
Speaker 3: What they the thing that always tripped up girls that

767
00:47:15,480 --> 00:47:19,040
Speaker 3: they were always looking for is could they really nail

768
00:47:19,080 --> 00:47:22,319
Speaker 3: I can hear the bells? They sell I can hear

769
00:47:22,360 --> 00:47:25,479
Speaker 3: the bells, so which I was like, Okay, I'm trying

770
00:47:25,480 --> 00:47:27,440
Speaker 3: to figure out, what about I can hear the bells?

771
00:47:27,640 --> 00:47:33,040
Speaker 3: Was would make you look for in that? But that

772
00:47:33,200 --> 00:47:34,359
Speaker 3: was Mark's thing for.

773
00:47:34,360 --> 00:47:35,879
Speaker 2: Sure, and she smashed it.

774
00:47:36,719 --> 00:47:37,399
Speaker 3: So she got it.

775
00:47:38,000 --> 00:47:42,560
Speaker 2: When someone like that comes in and is leading a

776
00:47:42,600 --> 00:47:48,120
Speaker 2: movie full of legendary seasoned actors, even Zach and Brittany

777
00:47:48,280 --> 00:47:53,319
Speaker 2: had been working consistently at that point, do you have

778
00:47:53,400 --> 00:47:56,960
Speaker 2: to take or what is your extra consideration if any

779
00:47:57,200 --> 00:48:01,280
Speaker 2: about sort of guiding her through that process rehearsal shooting,

780
00:48:01,360 --> 00:48:04,319
Speaker 2: like is there you know something you do too?

781
00:48:05,360 --> 00:48:11,319
Speaker 3: Yeah? Well, again, she was rehearsing a lot before the

782
00:48:11,360 --> 00:48:16,200
Speaker 3: adults got there, so she knew the movie way better

783
00:48:16,239 --> 00:48:18,959
Speaker 3: than they did by the time they got it. So

784
00:48:19,160 --> 00:48:23,799
Speaker 3: a she had the confidence of a couple months of

785
00:48:23,880 --> 00:48:27,200
Speaker 3: working with me before she ever met any of them great,

786
00:48:28,120 --> 00:48:31,920
Speaker 3: I mean Zach and Britney. She met Quick and Elijah,

787
00:48:31,960 --> 00:48:34,839
Speaker 3: and because we were all thrown together into a rehearsal thing,

788
00:48:35,120 --> 00:48:37,560
Speaker 3: so any of her stuff about meeting Amanda Binds or

789
00:48:37,680 --> 00:48:41,080
Speaker 3: all that, it went away really really fast because they

790
00:48:41,120 --> 00:48:44,040
Speaker 3: were like, hey, hi, good to see blah blah blah.

791
00:48:44,040 --> 00:48:48,040
Speaker 3: And now you're in and you are exactly the same

792
00:48:48,040 --> 00:48:50,799
Speaker 3: as each other and none of you are getting separated out.

793
00:48:50,840 --> 00:48:52,840
Speaker 3: You are learning it at exactly the same time with

794
00:48:52,960 --> 00:48:55,799
Speaker 3: these same people who are dragging your ass along with them.

795
00:48:56,640 --> 00:48:59,080
Speaker 3: Probably going to be frustrated because the dancers are all

796
00:48:59,120 --> 00:49:01,279
Speaker 3: picking up, you know, I mean, but everybody was learning

797
00:49:01,360 --> 00:49:04,000
Speaker 3: the choreography literally at the exact same time. It's nice

798
00:49:04,920 --> 00:49:08,040
Speaker 3: playing field. Yeah, it made it much, and you know

799
00:49:08,080 --> 00:49:11,880
Speaker 3: what that is. It's like you're there's no room for

800
00:49:12,000 --> 00:49:15,840
Speaker 3: getting like overwhelmed about it job and you're all trying

801
00:49:15,840 --> 00:49:17,799
Speaker 3: to do it. So nobody all trying to do it.

802
00:49:17,960 --> 00:49:19,879
Speaker 3: Then you take breaks and you're all talking to each

803
00:49:19,920 --> 00:49:21,719
Speaker 3: other and you're.

804
00:49:21,760 --> 00:49:24,320
Speaker 2: You now have this common sort of like trauma bond.

805
00:49:24,840 --> 00:49:29,160
Speaker 3: You are all trauma bonded, everybody And if you're a

806
00:49:29,200 --> 00:49:33,680
Speaker 3: decent person, which all of them were. Yeah, and then

807
00:49:33,800 --> 00:49:36,399
Speaker 3: you're also trying to be friends with the dancers because

808
00:49:36,400 --> 00:49:40,120
Speaker 3: you're really impressed by the dancers. Yes, dancers are always

809
00:49:40,160 --> 00:49:42,960
Speaker 3: the best. Yeah, you know they're they're always an easy

810
00:49:43,000 --> 00:49:47,919
Speaker 3: hang like like they were. They became part of that

811
00:49:48,160 --> 00:49:51,839
Speaker 3: culture inside. Those are really their friends during the movie,

812
00:49:51,920 --> 00:49:56,240
Speaker 3: like they the actually became all really good friends and

813
00:49:59,040 --> 00:50:02,400
Speaker 3: there were really no sour that's great nice, which was

814
00:50:02,480 --> 00:50:03,000
Speaker 3: super cool.

815
00:50:03,040 --> 00:50:05,880
Speaker 1: Now since you rehearsed like for so long, like all

816
00:50:05,920 --> 00:50:08,279
Speaker 1: the core dancers and a lot of musical numbers were

817
00:50:08,320 --> 00:50:13,879
Speaker 1: all done before going in and filming, and yet you

818
00:50:13,920 --> 00:50:19,920
Speaker 1: can't stop me or it was eleven days, like was

819
00:50:20,000 --> 00:50:23,920
Speaker 1: the filming process also like Fast and Furious or was

820
00:50:23,960 --> 00:50:25,640
Speaker 1: that bitcomer.

821
00:50:25,480 --> 00:50:28,319
Speaker 3: You know it was? It was there was still too

822
00:50:28,440 --> 00:50:31,799
Speaker 3: much to do, and particularly that sequence, there's so much

823
00:50:31,920 --> 00:50:35,920
Speaker 3: narrative story going inside of the dance stuff that I

824
00:50:36,080 --> 00:50:39,000
Speaker 3: had because it's it's one thing to just cover the dancing,

825
00:50:39,040 --> 00:50:41,640
Speaker 3: it's another thing to be covering all the leads and

826
00:50:41,800 --> 00:50:43,960
Speaker 3: what each one is going through in the machinations of

827
00:50:44,000 --> 00:50:48,800
Speaker 3: all their plans, right, they had everybody scheming in that totally,

828
00:50:49,400 --> 00:50:52,200
Speaker 3: and I only I remember for that sequence, I only

829
00:50:52,239 --> 00:50:55,879
Speaker 3: had Michelle for two and a half days. We did

830
00:50:56,280 --> 00:50:58,520
Speaker 3: Thanksgiving and she had to leave to go to Thanksgiving,

831
00:50:58,560 --> 00:51:04,200
Speaker 3: I remember, and so she actually I was like, Michelle,

832
00:51:04,520 --> 00:51:06,600
Speaker 3: I'm trying to figure out how to move you around them,

833
00:51:06,880 --> 00:51:10,759
Speaker 3: and she was like, Adam, I will just stand over here.

834
00:51:11,239 --> 00:51:12,879
Speaker 3: I will, but most of the time if you want

835
00:51:12,880 --> 00:51:14,879
Speaker 3: me just pacing back and forth, but things like that,

836
00:51:15,120 --> 00:51:17,439
Speaker 3: then you never have to do it. And I said, okay, great,

837
00:51:17,480 --> 00:51:19,560
Speaker 3: so then I can. I can on this on this

838
00:51:19,960 --> 00:51:22,359
Speaker 3: third day, I can do every shot where you cross

839
00:51:22,440 --> 00:51:25,719
Speaker 3: onto the stage and leave all of that, and then

840
00:51:25,880 --> 00:51:28,840
Speaker 3: on the other day. So those first two days of

841
00:51:28,840 --> 00:51:32,440
Speaker 3: shooting her was all of that, her tabulating the things

842
00:51:32,440 --> 00:51:36,840
Speaker 3: and looking and all that. John was not there except

843
00:51:36,840 --> 00:51:40,000
Speaker 3: for the one day where she walked on stage and

844
00:51:40,239 --> 00:51:43,719
Speaker 3: they crossed. Crazy. That was the only day that they

845
00:51:43,719 --> 00:51:46,759
Speaker 3: were there at the same time. Was not there the

846
00:51:46,760 --> 00:51:49,520
Speaker 3: whole time. Like it was like I had to shoot

847
00:51:49,520 --> 00:51:52,680
Speaker 3: those out separate. I had to keep everybody so separate

848
00:51:53,320 --> 00:51:57,520
Speaker 3: that I could fabricate them there at the same time

849
00:51:58,440 --> 00:52:02,040
Speaker 3: and also get all that done. The other part of

850
00:52:02,120 --> 00:52:08,080
Speaker 3: that sequence is that John Bolta's hair and makeup was

851
00:52:08,160 --> 00:52:09,600
Speaker 3: like a five and a half hour.

852
00:52:09,920 --> 00:52:11,719
Speaker 1: Oh my gosh.

853
00:52:12,120 --> 00:52:19,120
Speaker 3: So by Wednesday, our call time is four thirty, no

854
00:52:19,320 --> 00:52:25,200
Speaker 3: interior stage. So we didn't start dancing some days until

855
00:52:25,239 --> 00:52:31,320
Speaker 3: three in the morning, no stop what not to shoot

856
00:52:31,800 --> 00:52:32,880
Speaker 3: the acting.

857
00:52:32,560 --> 00:52:37,200
Speaker 1: Out, Oh my gosh, and then.

858
00:52:37,120 --> 00:52:42,399
Speaker 3: We'd start dancing. And it was There were days when

859
00:52:42,440 --> 00:52:47,400
Speaker 3: I was like happening, I was in the scene, like

860
00:52:47,480 --> 00:52:48,680
Speaker 3: I like the whole.

861
00:52:48,640 --> 00:52:52,279
Speaker 2: Like yes, like I loved all the cameos, I loved

862
00:52:52,320 --> 00:52:53,319
Speaker 2: seeing we.

863
00:52:53,200 --> 00:52:54,799
Speaker 3: Were trying to figure out where to put Ricky and

864
00:52:54,840 --> 00:52:57,400
Speaker 3: Mark and Scott and so I was like, let's just

865
00:52:57,440 --> 00:53:03,400
Speaker 3: be the William Morris agents, you know, Zach, and I

866
00:53:03,440 --> 00:53:05,439
Speaker 3: stuffed them all in there. I got them all in there.

867
00:53:05,520 --> 00:53:12,560
Speaker 1: Yeah, you're always in everything, like the bad Alfred Hitchcock.

868
00:53:17,160 --> 00:53:19,560
Speaker 2: Uh, gayday Alfred Hitchcock.

869
00:53:19,640 --> 00:53:25,719
Speaker 3: Yeah, it makes weird movies. And so that was that

870
00:53:25,880 --> 00:53:29,680
Speaker 3: was particularly hard. Now, the thing that was kind of

871
00:53:29,680 --> 00:53:32,480
Speaker 3: the surprise in that scene, because nothing else was much

872
00:53:32,480 --> 00:53:33,640
Speaker 3: of a surprise.

873
00:53:34,160 --> 00:53:34,399
Speaker 4: Was.

874
00:53:36,040 --> 00:53:40,399
Speaker 3: When I went to put it together, I realized I

875
00:53:40,480 --> 00:53:45,680
Speaker 3: had forgotten one number and I hadn't staged Hairspray. The

876
00:53:45,760 --> 00:53:50,440
Speaker 3: song Hairspray I forgotten. I had forgotten to make it

877
00:53:50,520 --> 00:53:55,960
Speaker 3: up and they're like, because in the script it was

878
00:53:56,280 --> 00:54:01,120
Speaker 3: legitimately just written as background stuff, never supposed to be

879
00:54:01,239 --> 00:54:04,480
Speaker 3: like a featured thing. It was just what was right

880
00:54:04,640 --> 00:54:08,120
Speaker 3: down and everybody was doing anything like that, right. I

881
00:54:08,239 --> 00:54:14,799
Speaker 3: made that up in fifteen minutes. No in it. It

882
00:54:14,880 --> 00:54:17,279
Speaker 3: was a Saturday. It was a rehearsal a Saturday, but

883
00:54:17,320 --> 00:54:18,600
Speaker 3: we were shooting it the next week.

884
00:54:19,200 --> 00:54:20,240
Speaker 1: Oh my god.

885
00:54:20,719 --> 00:54:23,360
Speaker 3: And I just was like, walk around, give me some cans,

886
00:54:23,560 --> 00:54:27,520
Speaker 3: just make a fountain to do a thing. And I

887
00:54:27,600 --> 00:54:30,640
Speaker 3: put that on their box and then you know, then

888
00:54:31,160 --> 00:54:34,040
Speaker 3: back and Joey went and sort of drilled them a

889
00:54:34,040 --> 00:54:36,200
Speaker 3: little bit, but it was fast, like they had not

890
00:54:36,760 --> 00:54:39,919
Speaker 3: any length of rehearsal for that, and Jimmy and I

891
00:54:39,960 --> 00:54:40,400
Speaker 3: was like, I.

892
00:54:40,719 --> 00:54:44,359
Speaker 1: Forgot, I forgot, how dare you?

893
00:54:46,280 --> 00:54:53,600
Speaker 3: Of course, the balls on hairspray when I was shooting it,

894
00:54:55,000 --> 00:54:58,239
Speaker 3: I remember as that was one where I was just

895
00:54:58,280 --> 00:55:00,960
Speaker 3: sort of off to fly. I did that one on

896
00:55:01,000 --> 00:55:06,120
Speaker 3: the fly, and while we were shooting it, the intention

897
00:55:06,320 --> 00:55:11,600
Speaker 3: was still to keep it his background. I loved it

898
00:55:11,960 --> 00:55:14,759
Speaker 3: so much that I totally kept the whole thing in there,

899
00:55:14,880 --> 00:55:18,560
Speaker 3: like like I remember when the editor cut it together,

900
00:55:18,600 --> 00:55:21,160
Speaker 3: I was like, oh no, no, no, this is in the movie.

901
00:55:21,320 --> 00:55:23,800
Speaker 3: This is going to be in This is too dumb

902
00:55:23,880 --> 00:55:27,160
Speaker 3: to not be in them so good, it's so it's

903
00:55:27,360 --> 00:55:27,839
Speaker 3: so good.

904
00:55:36,440 --> 00:55:39,719
Speaker 1: Kevin has a burning question, but he has to ask you.

905
00:55:39,760 --> 00:55:42,920
Speaker 1: Remember Jenna, of course, I remember you were talking about

906
00:55:42,920 --> 00:55:47,080
Speaker 1: the cans. I have a stupid question. How does the

907
00:55:47,120 --> 00:55:49,880
Speaker 1: hairspray quote unquote look so good coming out of the

908
00:55:49,880 --> 00:55:50,800
Speaker 1: cans on film?

909
00:55:51,080 --> 00:55:51,600
Speaker 3: Is it water?

910
00:55:53,360 --> 00:55:54,640
Speaker 1: Just Water's so good?

911
00:55:54,880 --> 00:55:55,600
Speaker 3: It's beautiful.

912
00:55:56,400 --> 00:55:57,480
Speaker 1: Ken must have it.

913
00:55:57,600 --> 00:56:02,879
Speaker 3: Something in it. It's not hairspray. No, no, no, they would

914
00:56:02,880 --> 00:56:08,080
Speaker 3: have all been choking to death. The I do think

915
00:56:08,800 --> 00:56:14,680
Speaker 3: I know during that number it was water. However, I

916
00:56:14,719 --> 00:56:16,880
Speaker 3: think it's some of the backstagey stuff whe they're doing it.

917
00:56:16,920 --> 00:56:20,400
Speaker 3: I think that was hairspray. It looks great. It looks

918
00:56:21,920 --> 00:56:25,840
Speaker 3: like in the opening of I Believe in right before

919
00:56:25,920 --> 00:56:29,799
Speaker 3: Nicest Kids in the Town, where they're all backstage getting

920
00:56:29,840 --> 00:56:32,600
Speaker 3: ready to come on to camera. I think that is

921
00:56:32,640 --> 00:56:37,520
Speaker 3: actual hairspray. But I think I still have those ultra

922
00:56:37,560 --> 00:56:41,719
Speaker 3: clutch kins somewhere. Oh my god, Oh my god, come

923
00:56:41,760 --> 00:56:43,280
Speaker 3: over and steal them.

924
00:56:43,360 --> 00:56:46,600
Speaker 1: Right and all the things you've done. I mean, I

925
00:56:46,640 --> 00:56:49,080
Speaker 1: know one of my favorites of yours. But in all

926
00:56:49,080 --> 00:56:51,799
Speaker 1: the things you've done. Where does hair spray lie on

927
00:56:51,880 --> 00:56:53,080
Speaker 1: your love? Love a meter?

928
00:56:54,880 --> 00:57:00,919
Speaker 3: I have three movies that I know I feel very

929
00:57:00,960 --> 00:57:05,040
Speaker 3: good about making that I have less of a complicated

930
00:57:05,080 --> 00:57:08,560
Speaker 3: relationship with than the other movies. How about that have

931
00:57:08,560 --> 00:57:12,040
Speaker 3: a complicated relationship with a bunch of my movies. Okay,

932
00:57:12,520 --> 00:57:16,560
Speaker 3: the movie that is still the most sticky for me

933
00:57:16,960 --> 00:57:18,880
Speaker 3: in terms of my heart.

934
00:57:21,480 --> 00:57:22,680
Speaker 1: Yes, that's my favorite.

935
00:57:23,120 --> 00:57:29,680
Speaker 3: Yeah, so now it's it's the certainly not my Best Maid,

936
00:57:31,240 --> 00:57:34,840
Speaker 3: It's It was a very short schedule. It was the

937
00:57:34,840 --> 00:57:38,920
Speaker 3: closest I had ever done to an independent. It was

938
00:57:38,920 --> 00:57:43,360
Speaker 3: only my second movie, my first movie when I started

939
00:57:44,960 --> 00:57:47,160
Speaker 3: working on Walkermer. I don't think Wedding Planter are even

940
00:57:47,200 --> 00:57:52,040
Speaker 3: come out yet, and so so I was, I can't

941
00:57:52,080 --> 00:57:56,840
Speaker 3: believe Wedding plan it was your first movie. Yeah, crazy right.

942
00:57:57,240 --> 00:58:00,520
Speaker 2: Wow, because it just feels so gigantic like that was

943
00:58:00,520 --> 00:58:02,480
Speaker 2: such a huge part of.

944
00:58:03,480 --> 00:58:07,320
Speaker 3: It was it launched those two into their whole like

945
00:58:08,080 --> 00:58:09,080
Speaker 3: rom com thing.

946
00:58:09,400 --> 00:58:13,200
Speaker 1: Yeah, like, oh, it's so good. It's still so good.

947
00:58:13,960 --> 00:58:17,840
Speaker 3: That is one I definitely I want, I say, to

948
00:58:17,880 --> 00:58:19,200
Speaker 3: see my first thing.

949
00:58:19,320 --> 00:58:21,760
Speaker 1: Yeah, oh yeah, it'll just.

950
00:58:21,680 --> 00:58:24,080
Speaker 3: Be like I know, it'll feel like a document of mistakes.

951
00:58:24,200 --> 00:58:27,680
Speaker 3: I just can't. I can't because there were things I

952
00:58:28,480 --> 00:58:31,240
Speaker 3: would have never done the same way in that movie

953
00:58:31,280 --> 00:58:31,960
Speaker 3: that I would do now.

954
00:58:32,080 --> 00:58:34,680
Speaker 1: You know, there's still really a great movie that I

955
00:58:34,800 --> 00:58:35,800
Speaker 1: love to watch all the time.

956
00:58:36,680 --> 00:58:40,600
Speaker 3: Yeah. I mean I remember very charming in it.

957
00:58:40,920 --> 00:58:41,120
Speaker 4: Yeah.

958
00:58:44,120 --> 00:58:45,920
Speaker 3: And there are some really good actors in that one too,

959
00:58:46,160 --> 00:58:49,480
Speaker 3: Judy Greers and that, Yes, but just good in it.

960
00:58:49,600 --> 00:58:54,160
Speaker 3: And as I remember, and Joanne Gleeson really fun.

961
00:58:55,520 --> 00:58:55,800
Speaker 1: Wow.

962
00:58:56,320 --> 00:58:59,880
Speaker 3: Yeah. I walked to Remember, Like I always feel like

963
00:59:00,720 --> 00:59:03,800
Speaker 3: Walk to Remember is the kindest thing I've ever put

964
00:59:03,800 --> 00:59:07,880
Speaker 3: out in the world, like that that has Like when

965
00:59:07,880 --> 00:59:10,560
Speaker 3: I made Walk to Remember, I was also like kind

966
00:59:10,600 --> 00:59:14,320
Speaker 3: of pretty in love, and so I felt like I

967
00:59:14,360 --> 00:59:17,880
Speaker 3: was making that for the person who, of course come

968
00:59:17,920 --> 00:59:20,320
Speaker 3: home to find out that you're screwing around on me

969
00:59:20,360 --> 00:59:25,440
Speaker 3: the whole time. But my heart was very much in

970
00:59:25,760 --> 00:59:32,440
Speaker 3: the space of love when I made that, and we

971
00:59:32,480 --> 00:59:37,040
Speaker 3: were all very innocent back then, you know, see the

972
00:59:37,120 --> 00:59:42,080
Speaker 3: other kids in the mood, like I felt very I

973
00:59:42,160 --> 00:59:44,800
Speaker 3: was really new to my job, you know, this particular

974
00:59:44,920 --> 00:59:50,200
Speaker 3: job I had very there's no money to make that thing,

975
00:59:50,480 --> 00:59:54,040
Speaker 3: and I was just kind of running and gunning. I mean,

976
00:59:54,080 --> 00:59:58,840
Speaker 3: the scene where this is actually the truth the scene

977
00:59:58,880 --> 01:00:03,160
Speaker 3: where she is is standing on two sides of the

978
01:00:03,320 --> 01:00:06,240
Speaker 3: state lines on the state yard in two places at

979
01:00:06,280 --> 01:00:10,200
Speaker 3: the same time, like that scene in the lit by

980
01:00:10,400 --> 01:00:13,760
Speaker 3: car headlights was we had to shoot that and I

981
01:00:13,800 --> 01:00:16,800
Speaker 3: shot that entire scene, both sides and everything in twenty

982
01:00:16,840 --> 01:00:21,320
Speaker 3: minutes because she had run out of time. I mean

983
01:00:21,360 --> 01:00:23,600
Speaker 3: there are scenes where people we were running onto set

984
01:00:23,640 --> 01:00:26,760
Speaker 3: and the actors are wiring themselves, and like it was.

985
01:00:27,640 --> 01:00:30,720
Speaker 1: It didn't matter though the Andy's hours ran out.

986
01:00:30,760 --> 01:00:33,520
Speaker 3: She was seventeen. She pumpkined. She turned into it.

987
01:00:34,920 --> 01:00:37,840
Speaker 1: The feeling of that movie, of sitting in that movie

988
01:00:37,880 --> 01:00:39,480
Speaker 1: theater and watching that film.

989
01:00:39,560 --> 01:00:44,120
Speaker 3: She turned seventeen the first day of shooting Stop, we

990
01:00:44,160 --> 01:00:49,200
Speaker 3: had her birth, which was in the graveyard. We had

991
01:00:49,520 --> 01:00:55,160
Speaker 3: in the graveyard graveyard.

992
01:00:55,320 --> 01:00:59,840
Speaker 1: Oh my god, it's truly, it's just one of those

993
01:01:00,360 --> 01:01:05,800
Speaker 1: It's a very also like Innocent tender film that none

994
01:01:05,840 --> 01:01:09,840
Speaker 1: of it mattered. The story was there. They were so committed.

995
01:01:09,920 --> 01:01:13,080
Speaker 1: It was so hardfelt. I mean, I burst into tears

996
01:01:13,080 --> 01:01:15,520
Speaker 1: one hundred times in that film. I'm never I will

997
01:01:15,560 --> 01:01:18,080
Speaker 1: never forget sitting in that movie theater and like how

998
01:01:18,120 --> 01:01:20,920
Speaker 1: my life changed after watching that film. I'm not kidding.

999
01:01:23,120 --> 01:01:26,080
Speaker 3: That's one I think, I like, I feel like game

1000
01:01:26,200 --> 01:01:33,680
Speaker 3: Changer again. I can't say if the how anybody can

1001
01:01:33,680 --> 01:01:35,600
Speaker 3: perceive the movie is good or bad. It doesn't matter.

1002
01:01:36,520 --> 01:01:38,240
Speaker 3: I just feel like I did a good thing by

1003
01:01:38,240 --> 01:01:38,880
Speaker 3: making that movie.

1004
01:01:39,120 --> 01:01:40,920
Speaker 1: You did you know you did so?

1005
01:01:41,400 --> 01:01:44,000
Speaker 3: That really did so. I think that that one is

1006
01:01:44,120 --> 01:01:48,800
Speaker 3: really sticky. I think that Hairspray is obviously it's it's

1007
01:01:48,840 --> 01:01:51,680
Speaker 3: in my you know, it's in the top two of that.

1008
01:01:52,160 --> 01:01:58,400
Speaker 3: I have a very unique fondness for bringing down the House.

1009
01:01:58,600 --> 01:02:03,040
Speaker 3: Not because of it again, but because working with Steve

1010
01:02:04,000 --> 01:02:10,880
Speaker 3: particularly changed me. Like that, to have this person that

1011
01:02:11,160 --> 01:02:15,640
Speaker 3: I had looked up to for most of my life

1012
01:02:15,840 --> 01:02:22,200
Speaker 3: as a crew a genius, a very formative voice in

1013
01:02:22,280 --> 01:02:25,680
Speaker 3: my head to help me that made me laugh and

1014
01:02:26,040 --> 01:02:28,280
Speaker 3: pulled me through things. And also I just I just

1015
01:02:28,880 --> 01:02:33,320
Speaker 3: to have that man tell me he thought I was great.

1016
01:02:33,480 --> 01:02:41,400
Speaker 3: Like more like that. I now here's a fun fact

1017
01:02:43,160 --> 01:02:45,600
Speaker 3: that guy who cheated on me and walked to remember

1018
01:02:47,280 --> 01:02:51,640
Speaker 3: we broke up three two weeks, three weeks before I

1019
01:02:51,640 --> 01:02:54,960
Speaker 3: started shooting bringing down the house, we ended up breaking up.

1020
01:02:56,320 --> 01:03:02,280
Speaker 3: I was in I was destroyed. I started antidepressants, but

1021
01:03:02,400 --> 01:03:05,280
Speaker 3: there was like I remember one day where I was

1022
01:03:05,320 --> 01:03:08,920
Speaker 3: crying so hard in my office that and Steve and

1023
01:03:09,000 --> 01:03:11,960
Speaker 3: Latifa were out in the lobbie waiting to come rehearse,

1024
01:03:12,280 --> 01:03:15,160
Speaker 3: and I was like, I can't, don't bring them in there. No.

1025
01:03:15,400 --> 01:03:19,040
Speaker 3: I put myself together, trying to pull myself together, pulled

1026
01:03:19,040 --> 01:03:21,040
Speaker 3: myself together. They came in, they saw me, they were like,

1027
01:03:21,120 --> 01:03:22,880
Speaker 3: oh my god, what's going on? And I was like,

1028
01:03:24,200 --> 01:03:27,880
Speaker 3: and they were they were like's anyway, those two rallied

1029
01:03:27,880 --> 01:03:34,080
Speaker 3: around me. What it did, what it gave me, because

1030
01:03:34,080 --> 01:03:37,440
Speaker 3: I was so psychologically kind of blown out in a

1031
01:03:37,480 --> 01:03:41,720
Speaker 3: different way I had. I suddenly lost all my fear

1032
01:03:41,720 --> 01:03:45,320
Speaker 3: about directing. Steve like I walked in and he would like,

1033
01:03:45,400 --> 01:03:47,040
Speaker 3: he'd do a take and he'd come back, and he

1034
01:03:47,160 --> 01:03:49,240
Speaker 3: was like and it would have been great, and he

1035
01:03:49,320 --> 01:03:51,360
Speaker 3: was like eh, and I was like, it been funnier

1036
01:03:53,080 --> 01:03:55,479
Speaker 3: and he was like and so like you'd go back

1037
01:03:55,560 --> 01:04:00,320
Speaker 3: and do things and so so what became really really

1038
01:04:00,400 --> 01:04:04,440
Speaker 3: beautiful between us was he really loved making me laugh.

1039
01:04:05,400 --> 01:04:10,040
Speaker 3: He loved making me laugh, and I loved him loving

1040
01:04:10,120 --> 01:04:14,880
Speaker 3: making me laugh with him and her and that, and

1041
01:04:15,080 --> 01:04:20,680
Speaker 3: to see these people treat me like a colleague, those

1042
01:04:20,800 --> 01:04:25,479
Speaker 3: people who I had revered for so to actually treat

1043
01:04:25,520 --> 01:04:29,320
Speaker 3: me with the respect and the like a colleague. That

1044
01:04:29,560 --> 01:04:33,560
Speaker 3: was completely changing for me. I like Betty white'es in

1045
01:04:33,600 --> 01:04:39,960
Speaker 3: that movie Joan plow Right, like Dame Joan Plowright, Laurence

1046
01:04:39,960 --> 01:04:44,040
Speaker 3: Olivier's why that Like I had like the group of

1047
01:04:44,080 --> 01:04:46,480
Speaker 3: people that I had the opportunity to work with on that.

1048
01:04:47,120 --> 01:04:50,320
Speaker 3: So that has a very very special place in my

1049
01:04:50,520 --> 01:04:54,640
Speaker 3: heart and one of the few things I've shot in LA.

1050
01:04:54,800 --> 01:04:59,160
Speaker 3: In fact, I think Lee was the first thing I

1051
01:04:59,160 --> 01:05:03,520
Speaker 3: shot in LA since I had made that movie. Wow.

1052
01:05:04,000 --> 01:05:06,840
Speaker 2: Yeah, it was like a total return us and Modern

1053
01:05:06,840 --> 01:05:09,800
Speaker 2: Family got you back to LA got back.

1054
01:05:10,000 --> 01:05:13,840
Speaker 3: But you guys need to know, like I really really

1055
01:05:14,880 --> 01:05:17,560
Speaker 3: loved my time in the studio with you guys, Like

1056
01:05:17,800 --> 01:05:22,120
Speaker 3: I really and then you guys in the craziness of

1057
01:05:22,160 --> 01:05:25,400
Speaker 3: that moment always being available to do those benefits for.

1058
01:05:25,400 --> 01:05:29,640
Speaker 1: Me and coming in, Oh, we love doing that for you.

1059
01:05:29,840 --> 01:05:32,760
Speaker 3: Yes it was I mean it wasn't for me, but

1060
01:05:32,800 --> 01:05:33,920
Speaker 3: it was for them. I know.

1061
01:05:34,000 --> 01:05:38,480
Speaker 1: Of course, we were so happy to I.

1062
01:05:38,480 --> 01:05:42,120
Speaker 3: Would ask you guys would be there, and it just

1063
01:05:42,200 --> 01:05:43,640
Speaker 3: meant the world to me, you know.

1064
01:05:43,760 --> 01:05:46,160
Speaker 2: But I think our relationship with you has always been

1065
01:05:46,400 --> 01:05:49,240
Speaker 2: different than I think our standard relationship with like a

1066
01:05:49,240 --> 01:05:52,520
Speaker 2: director who came in where like seeing that you only

1067
01:05:53,000 --> 01:05:57,160
Speaker 2: directed three episodes feels crazy because it feels like you

1068
01:05:57,200 --> 01:06:00,120
Speaker 2: were a part of the entire experience with us. And

1069
01:06:00,160 --> 01:06:04,080
Speaker 2: I think it's because you you're so open. You've always

1070
01:06:04,080 --> 01:06:06,720
Speaker 2: been so open. You always did sort of integrate yourself

1071
01:06:06,720 --> 01:06:09,560
Speaker 2: into like our group, like I said earlier.

1072
01:06:09,600 --> 01:06:12,720
Speaker 3: Like we would you'd come over for game nights, yes, yeah,

1073
01:06:12,840 --> 01:06:14,600
Speaker 3: or we would or we would you know, and you

1074
01:06:14,680 --> 01:06:18,600
Speaker 3: always like were there for like to do extracurricular you know,

1075
01:06:18,640 --> 01:06:21,840
Speaker 3: the benefit all that kind of stuff, and you know,

1076
01:06:22,320 --> 01:06:25,000
Speaker 3: of course we were capitalizing on the moment of what

1077
01:06:25,040 --> 01:06:26,840
Speaker 3: was going on with you guys. But at the same

1078
01:06:27,720 --> 01:06:31,160
Speaker 3: that is the only good about being famous is that

1079
01:06:31,200 --> 01:06:33,120
Speaker 3: you bring attention to something.

1080
01:06:33,280 --> 01:06:37,000
Speaker 2: Yes, and that's most people were not asking us to

1081
01:06:37,000 --> 01:06:43,280
Speaker 2: do good things like that, and you very quickly started

1082
01:06:43,280 --> 01:06:45,520
Speaker 2: bringing us in on those things. And that felt like

1083
01:06:45,520 --> 01:06:48,040
Speaker 2: such a privilege to be asked to be able to

1084
01:06:48,040 --> 01:06:50,200
Speaker 2: be a part of those things because I think we

1085
01:06:50,240 --> 01:06:52,720
Speaker 2: didn't even know that that was a possibility of like

1086
01:06:53,360 --> 01:06:55,280
Speaker 2: doing giving back in that way.

1087
01:06:55,600 --> 01:07:00,960
Speaker 3: Yeah, it was very early in your yeah that chapter

1088
01:07:01,040 --> 01:07:01,880
Speaker 3: for you guys.

1089
01:07:01,680 --> 01:07:04,200
Speaker 2: Like yeah, but you always included us and it always.

1090
01:07:04,560 --> 01:07:06,880
Speaker 2: I think we're forever grateful for that. It always felt

1091
01:07:06,920 --> 01:07:09,680
Speaker 2: like such a cool thing that we didn't know we needed.

1092
01:07:10,120 --> 01:07:13,320
Speaker 3: Yeah, I appreciate that. I'm going to keep you guys around.

1093
01:07:14,240 --> 01:07:16,240
Speaker 1: Oh you're not getting rid of Yeah, We're always here,

1094
01:07:16,280 --> 01:07:16,800
Speaker 1: don't worry.

1095
01:07:16,920 --> 01:07:17,880
Speaker 3: Yeah.

1096
01:07:18,040 --> 01:07:20,520
Speaker 2: Yeah, I mean even during you know, like the pandemic,

1097
01:07:21,400 --> 01:07:24,720
Speaker 2: like we when you could like start seeing people again,

1098
01:07:24,840 --> 01:07:27,240
Speaker 2: we like you were one of the few people one

1099
01:07:27,240 --> 01:07:28,600
Speaker 2: of the first people I saw.

1100
01:07:29,240 --> 01:07:29,560
Speaker 1: Yeah.

1101
01:07:29,680 --> 01:07:31,080
Speaker 2: We hung out in a park or something.

1102
01:07:31,640 --> 01:07:36,240
Speaker 3: Yeah, yes, it was god, Yes, yes, made cookies and.

1103
01:07:36,160 --> 01:07:38,120
Speaker 2: You were like Adina has been recording in her closet

1104
01:07:38,160 --> 01:07:39,120
Speaker 2: for this movie.

1105
01:07:39,640 --> 01:07:45,560
Speaker 3: Right, disenchanted. But like, wasn't I mean, not to bring

1106
01:07:45,640 --> 01:07:47,440
Speaker 3: up the dark stuff? But wasn't that right around when

1107
01:07:47,480 --> 01:07:50,760
Speaker 3: the Naya tra Yes, so I remember that kind of

1108
01:07:50,760 --> 01:07:51,920
Speaker 3: brought us back. Yeah.

1109
01:07:52,000 --> 01:07:55,840
Speaker 1: Yeah, well it's funny also, Shan, because I remember the

1110
01:07:55,960 --> 01:08:02,200
Speaker 1: day after Corey's news came out, we were in New York. You, me, Harry,

1111
01:08:02,240 --> 01:08:04,880
Speaker 1: and Cord were all in New York and everybody else

1112
01:08:04,960 --> 01:08:09,920
Speaker 1: is in LA So we met up, right, like to

1113
01:08:09,960 --> 01:08:13,520
Speaker 1: bring up the darker, you know, but like we always

1114
01:08:13,840 --> 01:08:17,280
Speaker 1: like found ourselves like with you in these times and

1115
01:08:17,360 --> 01:08:20,400
Speaker 1: like you were part of the family, and it felt

1116
01:08:20,439 --> 01:08:22,479
Speaker 1: like that, you know, and it just was interesting.

1117
01:08:22,720 --> 01:08:24,840
Speaker 3: It felt like I was but I wasn't, but I

1118
01:08:24,960 --> 01:08:28,439
Speaker 3: was enough, and you know, it was like but which

1119
01:08:28,479 --> 01:08:34,200
Speaker 3: is all very right, because again, regardless of anything that

1120
01:08:34,640 --> 01:08:38,280
Speaker 3: happened internally, that OG group is the only one who

1121
01:08:38,280 --> 01:08:44,400
Speaker 3: knows h really understands and knows. Yeah, and you can

1122
01:08:44,560 --> 01:08:48,960
Speaker 3: relate and tell the stories all you want, no one

1123
01:08:48,960 --> 01:08:53,240
Speaker 3: will ever really understand. But you know, it was you know,

1124
01:08:53,280 --> 01:08:56,559
Speaker 3: it's like anything, it's a personal experience. Yeah, and it was,

1125
01:08:56,760 --> 01:09:01,760
Speaker 3: and it was a shared experience. Yes, to watch the

1126
01:09:01,840 --> 01:09:05,960
Speaker 3: play that people spun their own plates and did you

1127
01:09:06,000 --> 01:09:15,880
Speaker 3: know own thing was pretty pretty wild. I mean, the

1128
01:09:15,880 --> 01:09:20,200
Speaker 3: the sadness of like, you know, losing our friends was obviously,

1129
01:09:21,080 --> 01:09:24,439
Speaker 3: you know, super profound, and how those things happened was

1130
01:09:24,479 --> 01:09:29,200
Speaker 3: like so ending. But at the same time, it's like

1131
01:09:29,720 --> 01:09:37,000
Speaker 3: they they were such an important part of my life

1132
01:09:37,120 --> 01:09:44,599
Speaker 3: and my experience and my and they were like those guys,

1133
01:09:44,720 --> 01:09:49,800
Speaker 3: they were friends. Those were friends. Yeah, like I I

1134
01:09:49,960 --> 01:09:55,920
Speaker 3: actually I will never I have pictures of freaking and

1135
01:09:56,000 --> 01:09:58,320
Speaker 3: I are right behind me. Actually right, no, some are

1136
01:09:58,400 --> 01:10:04,080
Speaker 3: back there still, Like I still talked to her every

1137
01:10:04,120 --> 01:10:06,080
Speaker 3: once in a while, I'm like, girl, you would have

1138
01:10:06,120 --> 01:10:10,639
Speaker 3: died if you saw this, you know, did I tell

1139
01:10:10,680 --> 01:10:13,400
Speaker 3: you this? Like, I mean, this is sort of dark,

1140
01:10:13,439 --> 01:10:17,120
Speaker 3: but it's still funny. Like the day before it happened,

1141
01:10:17,320 --> 01:10:21,160
Speaker 3: when I talked to her and she because we were

1142
01:10:21,160 --> 01:10:22,360
Speaker 3: talking about what we were going to do the first

1143
01:10:22,400 --> 01:10:23,559
Speaker 3: thing we were going to do when we come out

1144
01:10:23,600 --> 01:10:28,559
Speaker 3: of COVID, and I said, I said, uh, I think

1145
01:10:28,600 --> 01:10:32,320
Speaker 3: I just like want to go like do like a

1146
01:10:32,560 --> 01:10:35,400
Speaker 3: like a huge restaurant thing. And I and she was

1147
01:10:35,439 --> 01:10:39,000
Speaker 3: like serious, and I said, so what are you going

1148
01:10:39,040 --> 01:11:00,559
Speaker 3: to do? She's like, botox my dance? Oh god, you know.

1149
01:11:01,960 --> 01:11:06,680
Speaker 3: But so I still talk to everybody and yeah, all

1150
01:11:06,880 --> 01:11:09,599
Speaker 3: it's it's all where does it sit for you guys?

1151
01:11:09,680 --> 01:11:11,960
Speaker 3: I mean, do you have like what I can only

1152
01:11:12,040 --> 01:11:14,639
Speaker 3: imagine you have, like a really complicated relationship with it all?

1153
01:11:14,640 --> 01:11:17,240
Speaker 3: But at the same time, is it sitting now in

1154
01:11:17,320 --> 01:11:20,679
Speaker 3: a more happy place or kind of a more like place?

1155
01:11:21,560 --> 01:11:25,160
Speaker 1: I think after doing the podcast, it's it's it's actually

1156
01:11:25,200 --> 01:11:30,200
Speaker 1: the latter, Like I think, going through this again and

1157
01:11:30,240 --> 01:11:35,360
Speaker 1: giving ourselves grace for what we realized we went through

1158
01:11:35,600 --> 01:11:38,719
Speaker 1: and what we were doing while we were going through

1159
01:11:38,760 --> 01:11:43,679
Speaker 1: it definitely is a lot. I'm a lot more forgiving

1160
01:11:43,720 --> 01:11:48,360
Speaker 1: of myself and everybody around us, who I think I've

1161
01:11:48,400 --> 01:11:51,519
Speaker 1: come to realize nobody really knew what they were doing

1162
01:11:51,840 --> 01:11:55,479
Speaker 1: or were equipped to do this thing at the best.

1163
01:11:55,520 --> 01:11:57,760
Speaker 1: Like we were all just doing our best, right. Yeah,

1164
01:11:57,920 --> 01:12:02,880
Speaker 1: nobody got training, nobody was how to run this whole thing,

1165
01:12:03,840 --> 01:12:06,680
Speaker 1: be the leader you want, like be a part of

1166
01:12:06,680 --> 01:12:08,760
Speaker 1: this and be happy every day. Like there's just like

1167
01:12:08,840 --> 01:12:13,360
Speaker 1: nobody really knew how to do it. I'm much more

1168
01:12:13,400 --> 01:12:17,720
Speaker 1: forgiving of everybody and of myself for going through all

1169
01:12:17,720 --> 01:12:19,920
Speaker 1: of that. So I think definitely now I look back

1170
01:12:19,960 --> 01:12:22,439
Speaker 1: on it in a much more peaceful and happy place

1171
01:12:22,520 --> 01:12:25,760
Speaker 1: than I think I did two three years ago. You know.

1172
01:12:27,120 --> 01:12:33,559
Speaker 2: Yeah, Yeah, I've always had a generally positive outlook on it.

1173
01:12:35,960 --> 01:12:38,240
Speaker 2: I agree with Jenna. Watching it back has actually been

1174
01:12:38,360 --> 01:12:40,680
Speaker 2: very helpful and therapeutic, you know.

1175
01:12:40,800 --> 01:12:44,400
Speaker 3: If not, there's a lot of really funny that show.

1176
01:12:44,560 --> 01:12:47,439
Speaker 2: Yeah, there's like a lot to be proud of. And

1177
01:12:48,280 --> 01:12:52,120
Speaker 2: I think, you know, going through each episode, you are

1178
01:12:52,200 --> 01:12:54,880
Speaker 2: remembering who worked on that episode, remembering like our experiences

1179
01:12:54,920 --> 01:12:57,200
Speaker 2: with you or whoever might have been on that week,

1180
01:12:58,080 --> 01:13:02,720
Speaker 2: and how it did. Ultimately, I think like when dark

1181
01:13:02,760 --> 01:13:05,280
Speaker 2: Things happen. When sad things happen, they take up more space.

1182
01:13:06,000 --> 01:13:08,000
Speaker 2: They sort of you know, like poison the well, what

1183
01:13:08,040 --> 01:13:11,280
Speaker 2: they plague the waters. And I think those are the

1184
01:13:11,280 --> 01:13:15,320
Speaker 2: things that and you know, understandably talk about and remember

1185
01:13:15,760 --> 01:13:20,200
Speaker 2: a lot from that. And what I think for both

1186
01:13:20,200 --> 01:13:21,960
Speaker 2: of us, what we've been able to do is sort

1187
01:13:21,960 --> 01:13:25,640
Speaker 2: of obviously those things have happened, and we acknowledge that,

1188
01:13:25,840 --> 01:13:30,559
Speaker 2: and it doesn't erase that. You know, situations weren't perfect

1189
01:13:30,640 --> 01:13:33,920
Speaker 2: some of the time, and we've lost really really close

1190
01:13:34,000 --> 01:13:38,160
Speaker 2: friends and family members. However, you know, we did that

1191
01:13:38,240 --> 01:13:40,400
Speaker 2: show for it was seven years of our life, and

1192
01:13:40,560 --> 01:13:42,920
Speaker 2: most of the time we had a great time and

1193
01:13:42,920 --> 01:13:45,680
Speaker 2: we got to play dress up and be clowns, and

1194
01:13:45,880 --> 01:13:47,800
Speaker 2: even though tours were tough, like we got to sell

1195
01:13:47,840 --> 01:13:52,520
Speaker 2: out arenas and do some of these things. So it's complicated.

1196
01:13:52,720 --> 01:13:54,240
Speaker 2: It's all those things at once.

1197
01:13:54,560 --> 01:13:59,639
Speaker 3: Yeah, Because it's like you're sitting there going by millions

1198
01:13:59,640 --> 01:14:02,559
Speaker 3: and millions and millions and millions of people would have

1199
01:14:03,560 --> 01:14:07,640
Speaker 3: quite literally killed to be you, yeah, you know, to

1200
01:14:07,840 --> 01:14:11,599
Speaker 3: have those opportunities to do those things, and you're like, well, yes,

1201
01:14:11,680 --> 01:14:14,040
Speaker 3: but you don't really know that. And they would have

1202
01:14:14,040 --> 01:14:15,479
Speaker 3: said they had said I don't care.

1203
01:14:15,680 --> 01:14:18,839
Speaker 2: Right, yeah, And I think growing up in like music stuff,

1204
01:14:19,160 --> 01:14:20,519
Speaker 2: I had a lot of that. And I think you

1205
01:14:20,560 --> 01:14:23,080
Speaker 2: were saying because like you come from dance world and

1206
01:14:23,120 --> 01:14:25,920
Speaker 2: like crazy schedules. I was also used to like sort

1207
01:14:25,960 --> 01:14:30,880
Speaker 2: of not being treated the best and used to crazy hours.

1208
01:14:30,880 --> 01:14:34,639
Speaker 3: So to me, it was those things did not affect

1209
01:14:34,640 --> 01:14:35,720
Speaker 3: me a lot.

1210
01:14:36,240 --> 01:14:39,720
Speaker 2: Yeah, and so I could just sort of for better

1211
01:14:39,760 --> 01:14:42,000
Speaker 2: for worse. I don't know if that's healthy or not, but.

1212
01:14:42,160 --> 01:14:44,799
Speaker 3: I think no, no, no, I think I could just especially

1213
01:14:44,840 --> 01:14:47,120
Speaker 3: at that age. I think when you're in your early

1214
01:14:47,479 --> 01:14:54,160
Speaker 3: look when anybody asks me, like, what's your advice, the

1215
01:14:54,200 --> 01:14:56,800
Speaker 3: only advice I was just say yes, Like like, don't

1216
01:14:56,840 --> 01:15:00,000
Speaker 3: say no to opportunities, like when you have the opportunit

1217
01:15:00,880 --> 01:15:03,080
Speaker 3: unless something is that you think is going to physically

1218
01:15:03,160 --> 01:15:06,519
Speaker 3: harm you or like is going to compromise you morally

1219
01:15:06,640 --> 01:15:09,720
Speaker 3: in a way that you could never never look in

1220
01:15:09,760 --> 01:15:12,840
Speaker 3: yourself in the mirror and just say yes, because you

1221
01:15:13,000 --> 01:15:15,000
Speaker 3: never know where something is going to lead you, and

1222
01:15:15,040 --> 01:15:19,280
Speaker 3: you definitely don't succeed by saying no, right right, you know,

1223
01:15:19,479 --> 01:15:22,880
Speaker 3: I mean because we all know people who have self

1224
01:15:22,880 --> 01:15:27,519
Speaker 3: sabotaged themselves out of big careers. Oh yeah, by you know,

1225
01:15:28,080 --> 01:15:31,920
Speaker 3: expect you know, either whether it's ego or fear or

1226
01:15:32,320 --> 01:15:36,200
Speaker 3: a healthy combination. Yeah, stops them like, oh, I think

1227
01:15:36,200 --> 01:15:37,400
Speaker 3: it's either going to be this or that like that,

1228
01:15:37,520 --> 01:15:39,400
Speaker 3: but really it's sort of self solvatory. And I'm like,

1229
01:15:39,800 --> 01:15:43,320
Speaker 3: I got nothing by saying no. I only have had

1230
01:15:43,360 --> 01:15:45,200
Speaker 3: the opportunities that I've had by saying yes.

1231
01:15:45,560 --> 01:15:47,519
Speaker 2: And you were all learning on the job, and it's

1232
01:15:47,520 --> 01:15:49,679
Speaker 2: like we're learning how to deal with you say yes,

1233
01:15:49,800 --> 01:15:52,000
Speaker 2: and then as the next opportunity happens, you figure out

1234
01:15:52,000 --> 01:15:52,360
Speaker 2: how to do.

1235
01:15:52,320 --> 01:15:54,559
Speaker 3: It and then guess what, it never looks like you

1236
01:15:54,560 --> 01:15:55,559
Speaker 3: think it's going to look like.

1237
01:15:55,640 --> 01:15:58,559
Speaker 2: Right exactly, And it's like we've made some of the

1238
01:15:58,600 --> 01:16:01,840
Speaker 2: best friends that I could ever have dreamt of, you know,

1239
01:16:02,640 --> 01:16:04,680
Speaker 2: well beyond my wildest beliefs, and it had some of

1240
01:16:04,720 --> 01:16:08,120
Speaker 2: the most life changing, great experiences in the.

1241
01:16:07,960 --> 01:16:15,599
Speaker 3: Craziest rooms with the craziest people. Absolutely it's like yeah, yeah.

1242
01:16:15,720 --> 01:16:17,960
Speaker 2: Like we had a great time. We got to have

1243
01:16:18,000 --> 01:16:19,880
Speaker 2: game nights with you, you know what I mean. Like those

1244
01:16:19,920 --> 01:16:23,479
Speaker 2: types of things are things I'm eternally grateful for and

1245
01:16:23,520 --> 01:16:26,920
Speaker 2: like I always say, like being able to drive through

1246
01:16:26,920 --> 01:16:29,839
Speaker 2: the paramount gates every day for work, or after hiatus

1247
01:16:29,840 --> 01:16:32,599
Speaker 2: to come back like this is crazy. It is crazy.

1248
01:16:32,640 --> 01:16:34,759
Speaker 2: We get to sit in this room with the hundreds

1249
01:16:34,800 --> 01:16:37,280
Speaker 2: of people who are on this set every day, and

1250
01:16:37,360 --> 01:16:40,840
Speaker 2: everybody generally was happy to be there for the most part.

1251
01:16:41,280 --> 01:16:45,200
Speaker 2: And now you know that people enjoy the show. Like

1252
01:16:45,240 --> 01:16:46,960
Speaker 2: when you know people are enjoying the thing you're doing,

1253
01:16:47,040 --> 01:16:49,880
Speaker 2: it's like when you're singing and you're dancing and we're

1254
01:16:49,880 --> 01:16:52,320
Speaker 2: making people laugh and feel good. It's it's such a

1255
01:16:52,520 --> 01:16:54,559
Speaker 2: We were so lucky to be a part of something

1256
01:16:54,640 --> 01:16:56,200
Speaker 2: like that, even though there were some you know.

1257
01:16:57,080 --> 01:17:00,320
Speaker 3: Don't think about those poors who would come in in

1258
01:17:00,439 --> 01:17:03,679
Speaker 3: season three as like either semi regulars or new people,

1259
01:17:03,840 --> 01:17:06,640
Speaker 3: and I was like, oh god, what is then getting.

1260
01:17:06,360 --> 01:17:18,360
Speaker 1: Into there was something about like when you came in

1261
01:17:18,439 --> 01:17:21,439
Speaker 1: that was like there is Zach already knew you and

1262
01:17:21,479 --> 01:17:23,479
Speaker 1: we had known who you were from Like so it's

1263
01:17:23,520 --> 01:17:26,240
Speaker 1: a building trust. Yeah, there's a building trust that. I

1264
01:17:26,240 --> 01:17:27,960
Speaker 1: feel like people were just like willing to go a

1265
01:17:27,960 --> 01:17:30,519
Speaker 1: little bit farther for you, which was awesome, you know,

1266
01:17:30,680 --> 01:17:32,160
Speaker 1: and Rocky Horror too.

1267
01:17:33,360 --> 01:17:37,120
Speaker 3: Rocky Horror of it all just fell really it was

1268
01:17:37,160 --> 01:17:40,960
Speaker 3: really fun and I remember Amber was happy to have

1269
01:17:41,000 --> 01:17:41,599
Speaker 3: that song.

1270
01:17:41,960 --> 01:17:44,679
Speaker 1: Yes, oh you had that name. Shows Too.

1271
01:17:47,360 --> 01:17:51,960
Speaker 3: Is crushing so good? Crushing it is again, I haven't

1272
01:17:52,000 --> 01:17:53,120
Speaker 3: seen it and forever.

1273
01:17:53,920 --> 01:17:57,720
Speaker 2: Listen to it. You were in that recur studio.

1274
01:17:58,560 --> 01:18:00,280
Speaker 3: I remember all I remember.

1275
01:18:00,520 --> 01:18:03,040
Speaker 2: Oh my gosh, I was so scared to be in

1276
01:18:03,040 --> 01:18:08,040
Speaker 2: a recording studio with you. I was terrified and I

1277
01:18:08,080 --> 01:18:08,880
Speaker 2: wasn't even really singing.

1278
01:18:08,920 --> 01:18:11,840
Speaker 1: That's so I used to having people like directors there too,

1279
01:18:12,560 --> 01:18:13,120
Speaker 1: And you were.

1280
01:18:13,120 --> 01:18:15,240
Speaker 2: Seeing so many movies that I had seen and loved

1281
01:18:15,280 --> 01:18:17,519
Speaker 2: that I just was really really nervous.

1282
01:18:17,960 --> 01:18:20,120
Speaker 3: Oh that's crazy. And all I was saying was just

1283
01:18:20,439 --> 01:18:23,800
Speaker 3: to the left though, intimidating. You guys know me now

1284
01:18:23,920 --> 01:18:28,479
Speaker 3: I am. I'm People are like, I'm like, you must

1285
01:18:28,479 --> 01:18:32,160
Speaker 3: be getting me scared in this world.

1286
01:18:32,280 --> 01:18:33,920
Speaker 1: Yeah, no, it's shan.

1287
01:18:36,840 --> 01:18:37,880
Speaker 3: Yeah.

1288
01:18:37,960 --> 01:18:40,040
Speaker 1: Well, it was really good to see you.

1289
01:18:40,600 --> 01:18:42,240
Speaker 2: Thank you for giving us so much of your time.

1290
01:18:43,280 --> 01:18:47,720
Speaker 2: You're just so talented and so kind. And thank you

1291
01:18:47,760 --> 01:18:50,360
Speaker 2: for the gift of hairspray and your friendship.

1292
01:18:50,240 --> 01:18:54,680
Speaker 3: And and thank you for making my time on your

1293
01:18:54,680 --> 01:18:58,800
Speaker 3: show so special and being my friends. I really appreciate and.

1294
01:19:00,680 --> 01:19:06,160
Speaker 2: I'm so excited for you have so many great things happening.

1295
01:19:06,840 --> 01:19:11,719
Speaker 3: I start scoring yesterday for Man with the Bag, which

1296
01:19:11,880 --> 01:19:17,320
Speaker 3: is my Christmas movie with Arnold Schwartzenegger Alan and a

1297
01:19:17,400 --> 01:19:20,880
Speaker 3: host of great theater people in it, Jay Harrison, g

1298
01:19:21,880 --> 01:19:29,120
Speaker 3: Murray Hill, Uh right, like Asakochy, Kyle Mooney. There, there's

1299
01:19:29,240 --> 01:19:33,120
Speaker 3: so there's it's it's inane, funny and it's sweet. And

1300
01:19:33,240 --> 01:19:36,800
Speaker 3: I am Jane Krakowski is so crazy in this movie.

1301
01:19:37,120 --> 01:19:40,479
Speaker 2: I can even it's everything you do best.

1302
01:19:41,000 --> 01:19:49,080
Speaker 3: Yes, just there's something for everybody, that's what and h

1303
01:19:49,520 --> 01:19:53,960
Speaker 3: and working with Arnold was absolutely dreamy, which was you

1304
01:19:54,040 --> 01:19:55,640
Speaker 3: gonna knocked me over with the feather. I had no

1305
01:19:55,720 --> 01:20:00,600
Speaker 3: idea what to expect, you know, and he's just so

1306
01:20:00,800 --> 01:20:06,200
Speaker 3: freaking lovely anyway, and so I I enjoyed that. And yeah,

1307
01:20:06,280 --> 01:20:11,719
Speaker 3: then I'm starting this uh crazy independent world of Wonder

1308
01:20:11,760 --> 01:20:17,160
Speaker 3: movie that I'm doing that's like it's like an airplane

1309
01:20:17,160 --> 01:20:17,800
Speaker 3: style movie.

1310
01:20:17,960 --> 01:20:24,160
Speaker 2: Yeah, on a train. It's a plane. Train, it's a train.

1311
01:20:25,200 --> 01:20:30,120
Speaker 3: The President of the United States President, Yes, I mean

1312
01:20:31,200 --> 01:20:35,759
Speaker 3: and uh but yes, it's a trained disaster movie. Times

1313
01:20:35,760 --> 01:20:39,360
Speaker 3: do come true, yes, and so there will be much

1314
01:20:39,360 --> 01:20:42,760
Speaker 3: stupidity in my immediate future. But that's you know, it's

1315
01:20:42,800 --> 01:20:47,800
Speaker 3: an independent project that we're doing the power of saying

1316
01:20:47,840 --> 01:20:50,880
Speaker 3: yes a year and a half ago. They were like,

1317
01:20:50,920 --> 01:20:52,840
Speaker 3: would you go? And I was like, you why not? Hey,

1318
01:20:52,880 --> 01:20:55,040
Speaker 3: we'd be fun here we are.

1319
01:20:55,280 --> 01:21:00,160
Speaker 2: Yeah, you are such a great Like it's great every

1320
01:21:00,240 --> 01:21:03,799
Speaker 2: year on every season of Drag Race there's you and Jamal,

1321
01:21:04,160 --> 01:21:06,320
Speaker 2: and it's like you continue to do all these like

1322
01:21:06,360 --> 01:21:09,280
Speaker 2: you show up in all the right places, you know.

1323
01:21:09,720 --> 01:21:13,400
Speaker 3: I started that when I when I went on Drag Race,

1324
01:21:13,479 --> 01:21:18,320
Speaker 3: I realized, like, I've never as queer coded as all

1325
01:21:18,360 --> 01:21:23,439
Speaker 3: of my work might be. I've never made anything or

1326
01:21:23,479 --> 01:21:29,680
Speaker 3: with queer people as characters, and I need to start

1327
01:21:30,000 --> 01:21:38,120
Speaker 3: being a part of the community a little bit more. Yeah, yeah, yeah,

1328
01:21:38,800 --> 01:21:42,840
Speaker 3: And you know, I don't. I don't think of life

1329
01:21:42,840 --> 01:21:46,600
Speaker 3: in that way. I was like, gosh, i feel like

1330
01:21:46,840 --> 01:21:51,400
Speaker 3: I've been out for so long obviously, and I've been

1331
01:21:52,320 --> 01:21:55,719
Speaker 3: I'm not quiet, and I've raised some funny for causes

1332
01:21:56,560 --> 01:21:59,439
Speaker 3: like that, but it's like it's almost like I've lived

1333
01:21:59,439 --> 01:22:04,080
Speaker 3: on the fringe is creatively, and so I was like,

1334
01:22:04,200 --> 01:22:06,080
Speaker 3: I might as well jump in now, you know.

1335
01:22:06,400 --> 01:22:09,920
Speaker 1: Yeah, Yeah, we're excited for it, beautiful.

1336
01:22:10,240 --> 01:22:13,719
Speaker 3: I'm just excited to make stupid that makes people laugh. Yes,

1337
01:22:14,160 --> 01:22:16,120
Speaker 3: you're too good at it. I'm glad you haven't stopped.

1338
01:22:16,720 --> 01:22:20,200
Speaker 3: You don't ever stop. All right, you guys, all right?

1339
01:22:20,320 --> 01:22:21,080
Speaker 3: Thanks Adam.

1340
01:22:21,200 --> 01:22:23,240
Speaker 1: We love you, it's good to see you.

1341
01:22:23,280 --> 01:22:29,320
Speaker 3: Thank you for time. God, thank you like hanging out

1342
01:22:29,360 --> 01:22:29,960
Speaker 3: with my friends.

1343
01:22:30,280 --> 01:22:31,960
Speaker 1: Yeah, I know, so nice.

1344
01:22:32,080 --> 01:22:34,879
Speaker 2: I love you, Love you bye.

1345
01:22:35,320 --> 01:22:37,679
Speaker 1: Thank you Adam for doing all this time to come

1346
01:22:37,720 --> 01:22:42,440
Speaker 1: on the show and spill the beans, spill the tea.

1347
01:22:43,680 --> 01:22:47,760
Speaker 1: We are so grateful to Adam for his friendship and

1348
01:22:47,840 --> 01:22:51,040
Speaker 1: everything that he has given the world with his art

1349
01:22:51,439 --> 01:22:55,360
Speaker 1: and also given Glee and just giving back. And we

1350
01:22:55,400 --> 01:22:59,080
Speaker 1: are just so grateful for Adam Chankman. We hope you

1351
01:22:59,080 --> 01:23:04,040
Speaker 1: guys enjoyed the episode. Your homework assignment is Zoe's Extraordinary playlist,

1352
01:23:04,160 --> 01:23:08,679
Speaker 1: and there may be a Skylar Aston interview as well,

1353
01:23:08,840 --> 01:23:11,400
Speaker 1: So hold on tight and come back next week. And

1354
01:23:11,439 --> 01:23:12,360
Speaker 1: that's what you really missed.

1355
01:23:13,000 --> 01:23:16,160
Speaker 2: Thanks for listening, and follow us on Instagram at and

1356
01:23:16,200 --> 01:23:18,439
Speaker 2: that's what you really miss pod. Make sure to write

1357
01:23:18,479 --> 01:23:20,800
Speaker 2: us a review and leave us five stars. See you

1358
01:23:20,800 --> 01:23:21,200
Speaker 2: next time.