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Speaker 1: Hey everyone, it's Sophia. Welcome to Work in Progress. Welcome

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Speaker 1: back to Work in Progress, Whipsmarties. We have a guest

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Speaker 1: today who has been dubbed the Queen of Quirk by

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Speaker 1: The New York Times, and you know how I love

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Speaker 1: a quirky lady. Carrie Preston joins us on the show today.

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Speaker 1: I am so excited to talk to her about how

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Speaker 1: she built her unconventional attorney named Elsbeth Tousconi in her

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Speaker 1: hit series Elsbeth, because this character actually originated in a

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Speaker 1: guest episode on The Good Wife and just kept coming

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Speaker 1: back for more, then appeared on The Good Fight, and

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Speaker 1: then apparently thanks to a Colombo rewatch, the creators said,

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Speaker 1: hold the phone, that's the show that Elsbeth. I want

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Speaker 1: to talk to Carrie about how she's carried this incredible

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Speaker 1: character over fifteen years, how she figures out how to

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Speaker 1: make so many people in the world feel represented on screen,

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Speaker 1: what brings her joy as an artist, and how she

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Speaker 1: found her artistic voice it was earlier than you might think,

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Speaker 1: and what it's like to figure out ways to use

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Speaker 1: her platform for good being so rooted in joy from

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Speaker 1: supporting the LGBTQ community with glad to advocating for folks

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Speaker 1: with Parkinson's alongside Michael J. Fox and his foundation. Carrie

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Speaker 1: really takes her goodness on screen to off, and I

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Speaker 1: just can't wait to hear from her how she manages

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Speaker 1: to balance it all. Let's dive in with Carrie Preston.

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Speaker 1: Thank you for coming on the show. I'm so gigd

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Speaker 1: you're here. You're just the absolute coolest human and I'm

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Speaker 1: like really amped about it.

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Speaker 2: Well, I should say first that I was on a

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Speaker 2: jury once for an indie film festival and yeah, yeah,

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Speaker 2: was one of the in competition and it was like

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Speaker 2: such an easy this should be the winner for me.

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Speaker 2: Oh my gosh, it win.

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Speaker 1: So there you carry.

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Speaker 2: Thank you you and Michael. You guys were great together.

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Speaker 1: Oh thank you. We had such a special time making

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Speaker 1: that movie.

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Speaker 2: The two of you were just like electric together. I

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Speaker 2: don't even know. I mean, it was just like riveting

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Speaker 2: from the minute it started and it was brilliant the

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Speaker 2: whole thing.

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Speaker 1: Oh, thank you so much. That really means a lot.

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Speaker 1: I really appreciate that, and you were awesome. Thanks well,

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Speaker 1: You're so awesome, And I just I love when I

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Speaker 1: get to sit down with people whose work I adore

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Speaker 1: and who are just doing such cool things in the world.

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Speaker 1: But I kind of like to go back to catch

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Speaker 1: up to where we are are, because I feel like

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Speaker 1: when you're a person who you know, folks know they

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Speaker 1: love watching you on TV. You know, they know your

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Speaker 1: body of work, they know you, and I know you

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Speaker 1: as this person. But I wonder if you know you

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Speaker 1: got to be in you know, your own sci fi

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Speaker 1: movie and hang out with yourself when you were nine

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Speaker 1: or ten, you know, like have a day in the

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Speaker 1: park in the city with your younger self. Would you

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Speaker 1: do you think you would see yourself today in her?

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Speaker 1: And do you think she would be like, oh cool,

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Speaker 1: I see how I turned into you? Or did your

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Speaker 1: life just take like a totally unexpected series of turns

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Speaker 1: and you had no idea you'd be doing this for

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Speaker 1: a living.

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Speaker 2: You know, I grew up and making Georgia okay, And

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Speaker 2: you know that's a smaller town. It's not. It's not

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Speaker 2: the smallest, you know, it's a but it's in Georgia.

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Speaker 2: And you know, there weren't like actors that were coming

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Speaker 2: up in that town, you know what I mean. It

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Speaker 2: was It wasn't like that was the thing that you

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Speaker 2: you would you would aspire to do was to be

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Speaker 2: an actor.

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Speaker 1: Yeah, you didn't grow up like next to Times Square.

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Speaker 2: I wasn't like going to the professional after school or

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Speaker 2: any of that stuff. But I'm definitely a little bit

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Speaker 2: of what you might call a lifer, you know. I

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Speaker 2: started to doing az when I was eight years old.

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Speaker 2: My older brother John, he started doing community theater and

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Speaker 2: I was like, I want to be like him, So

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Speaker 2: I started doing plays and we had very supportive parents.

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Speaker 2: My mom. My mom's an artist. She was a painter,

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Speaker 2: a sculptor and did art therapy. Wow, even knew what

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Speaker 2: that was. I mean, she called it expressive art. She

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Speaker 2: didn't get a degree in art therapy, but she got it.

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Speaker 2: She got certified and expressive art, which is very similar,

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Speaker 2: So she was doing that kind of thing. My dad

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Speaker 2: geotechnical engineer, so he's like the left brain side of things, wow,

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Speaker 2: you know, and my mom was like the right brain

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Speaker 2: side of things. And luckily they they didn't try to

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Speaker 2: fight us on that, like, you know, they were like, oh,

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Speaker 2: you want to be creative, We're going to let you

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Speaker 2: do that. I mean I was I was when I

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Speaker 2: was like six years old. I remember playing in the

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Speaker 2: front yard and acting like there were cameras in the

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Speaker 2: trees and then trying to act natural. Wow, like why,

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Speaker 2: don't know why. I don't know how that feeling like

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Speaker 2: cameras were watching me. So that was just something that

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Speaker 2: I don't know was maybe ingrained in me. But you know,

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Speaker 2: by the time I'm twelve, I'm starting my own theater

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Speaker 2: company with the kids in the neighborhood. You know, I

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Speaker 2: was Now I was that kid who just was like,

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Speaker 2: I love to do this. Now. I don't know if

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Speaker 2: it was because I needed more order in my life.

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Speaker 2: I don't know what it was, but I was gravitating

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Speaker 2: towards it, and I started doing community theater and I

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Speaker 2: would you know, but I wasn't playing like the leads.

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Speaker 2: I was always playing the comic sidekick. I was always

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Speaker 2: playing like you know, and I would put on the

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Speaker 2: fanny pack and the flasses and the you know, I

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Speaker 2: would do the funny character voices. I was already pressing

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Speaker 2: around with that and not really knowing what I was doing.

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Speaker 1: Wow, it's so interesting that you say that. Every once

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Speaker 1: in a while, I think about moments in my own

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Speaker 1: childhood where I go, oh, there it was where you know,

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Speaker 1: my parents would be out and I was finally old

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Speaker 1: enough to stay home by myself, and I'd be like

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Speaker 1: doing a scene in the living room alone because I

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Speaker 1: felt like, oh, I've got a house all to myself,

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Speaker 1: and now I can work on this. And even now,

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Speaker 1: I mean this morning, I was, you know, walking from

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Speaker 1: one end of the subway station to the other to

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Speaker 1: catch a train, and I was like, God, this whole

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Speaker 1: thing just feels like a movie. And I catch myself realizing, like,

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Speaker 1: if I was shooting this, I'd have a camera on

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Speaker 1: a Delli track over there, and oh, look at that

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Speaker 1: cool and there's a guy with a you know, a

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Speaker 1: violin over here, and I'm always thinking about it that way,

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Speaker 1: but I I didn't. I guess I've never really even

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Speaker 1: thought to talk about that until you just did and

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Speaker 1: I went, oh, we do. We do have a weird

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Speaker 1: thing that we do, I guess when we're our day.

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Speaker 2: Yeah, I mean, because otherwise why would we be doing it?

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Speaker 2: Because it's a very hard business to get into.

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Speaker 3: So there must be you know, into me and to

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Speaker 3: be in yeah, and to maintain and do all of

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Speaker 3: the peripheral things that go go along with it, yeah,

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Speaker 3: you know, including the not getting the.

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Speaker 2: Job part, which is way more than the getting the job.

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Speaker 2: Oh so all of that stuff. If we didn't have this,

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Speaker 2: I don't know original kernel of Yeah, this is this

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Speaker 2: is what I this is what I want, what I

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Speaker 2: need to do, I at least need to try to

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Speaker 2: do it. Or I got to be creative in some way.

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Speaker 2: And I've always felt that way, like I got to

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Speaker 2: be creative in some way, Like even when I was younger. Yes,

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Speaker 2: it was the acting part, but I started directing and

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Speaker 2: writing and doing all that stuff at the same time

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Speaker 2: because I just wanted to make things, you know, And

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Speaker 2: I would also make puppets and paint and make you know,

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Speaker 2: because my mom was an artist. You know, we were

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Speaker 2: always doing, you know, some kind of arts. So there

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Speaker 2: was an appreciation for it and just a desire to

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Speaker 2: express myself in some way. And so that has come

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Speaker 2: in handy as my life has gone on in this

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Speaker 2: in this creative pursuit, because when I find that, Okay,

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Speaker 2: well maybe I'm not being hired right now, well I'm

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Speaker 2: going to go ahead and make my own stuff, right,

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Speaker 2: there's that empowerment there that I think, I think it

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Speaker 2: was nurtured. I'm lucky it was nurtured at a young

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Speaker 2: age by parents who didn't try to talk me out

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Speaker 2: of it, by teachers who were like, yeah, yeah, you

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Speaker 2: could do that. We don't quite know how to teach

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Speaker 2: how to do that, but we can get you to

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Speaker 2: the places that can you know, that kind of thing.

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Speaker 1: That's really really very cool because what I'm hearing you

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Speaker 1: talk about is the fact that, as the phrase goes,

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Speaker 1: because you could see it, you were empowered to believe

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Speaker 1: you could be it. Your mom was an artist, so

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Speaker 1: you could be an artist. And I think to be

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Speaker 1: given the tools to express yourself from such a young

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Speaker 1: age and then to have that natural inclination to want

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Speaker 1: to use those tools be fostered.

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Speaker 2: What a cool.

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Speaker 1: Just what a cool series of empowering events that must

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Speaker 1: have felt like as a kid.

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Speaker 2: Yeah, yeah, it did. And also just the the joy

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Speaker 2: of it, you know, the you know how it is

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Speaker 2: like when you when you key and when you're doing

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Speaker 2: the role and it just starts to take over and

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Speaker 2: you just feel like you're expressing something bigger, You're in

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Speaker 2: charge of giving something bigger to the world. You know, yes,

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Speaker 2: you know, the the translation of what it is to

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Speaker 2: be a human through you know, through your your instrument.

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Speaker 2: You know, I don't know that. There's just something very

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Speaker 2: thrilling about that, and it's it feels like a contribution.

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Speaker 1: Yeah yeah, I always I talk about this sort of

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Speaker 1: singularity I experience where it feels like for me, the

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Speaker 1: journey into the character, where it really comes alive in me.

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Speaker 1: It's the amount of work it requires and the creativity

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Speaker 1: and the excitement and the joy you're talking about. And

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Speaker 1: then suddenly I feel feelings that I know are not mine,

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Speaker 1: but my body doesn't know we're not mine. And in

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Speaker 1: that moment, it's like those feelings can represent everyone who

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Speaker 1: might watch it. At some point I can give it

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Speaker 1: away and it's you know, it's like the it's like

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Speaker 1: the two butterfly wings, and I feel like I'm just

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Speaker 1: in the body in the center and it's so.

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Speaker 2: Cool. Yeah yeah, like Martha Graham says, the body never lies. Yeah,

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Speaker 2: you know, And so it maybe a little you got

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Speaker 2: to like work on your own mental health because sometimes majorly,

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Speaker 2: like you just said, your body doesn't know and so

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Speaker 2: sadly you're carrying some kind of trauma around that you

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Speaker 2: actually don't have.

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Speaker 1: So yeah, yeah, I feel like that's an interesting part

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Speaker 1: of our job nobody ever really talks about is like

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Speaker 1: you you really have to have some mental health practices

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Speaker 1: if you want to stay sane and do this for

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Speaker 1: a living. Yes, it sounds like you got to build

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Speaker 1: such a big toolkit from such an early age. But

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Speaker 1: to your point, you know, making Georgia is not times square.

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Speaker 1: Was it a surreal kind of adjustment for you to

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Speaker 1: leave home and come to Juilliard and be in the

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Speaker 1: mix of this city and that kind of professional pursuit.

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Speaker 2: Well, I got the great privilege and benefit of going

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Speaker 2: to some undergraduate schools before I went, so I got

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Speaker 2: to have a little bit of a bridge. Okay, you know,

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Speaker 2: so I went first, I went to the College of

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Speaker 2: Charleston for a couple of years, and then I met

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Speaker 2: a professor there who said, let's get you some stronger

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Speaker 2: training than we have here. So they got me. He

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Speaker 2: got me to audition for a very tiny, but very powerful,

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Speaker 2: little liberal arts school in southern Indiana called the Ununiversity

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Speaker 2: of Evansville. And there was a Loudes who had started

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Speaker 2: that program uh and and fostered the program and turned

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Speaker 2: it into really a world class little training womb. And

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Speaker 2: so I went there for a couple of years and

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Speaker 2: really got some really solid training. And one of the

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Speaker 2: things that he and the professors there take great pride

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Speaker 2: in is that they helped place their students in the

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Speaker 2: top graduate acting schools in the country. Yeah, and so

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Speaker 2: they really have like an incredible rate still of student

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Speaker 2: to you know, Juilliard, Yale, m y u UCSD like

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Speaker 2: the you know, some some really solid solid training grounds.

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Speaker 2: And I loved school. I was one of those wirdos

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Speaker 2: that just loved me too, and I got the top

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Speaker 2: of it. So I just kept going, you know, so

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Speaker 2: because I ended up going from undergrad to four years

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Speaker 2: at Julia Julias was at the time when I was there,

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Speaker 2: a four year program, and so you know, that was

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Speaker 2: an additional four years. But it was a really good

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Speaker 2: way for a small town girl to acclimatize herself to

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Speaker 2: that what you were saying, large ocean of a place,

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Speaker 2: you know. And uh and so I had that, I

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Speaker 2: had the the you know, the benefit of being in

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Speaker 2: a in a school that could prepare me for it,

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Speaker 2: and so having that kind of insulated vibe, but still

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Speaker 2: being right smack in the middle of Manhattan, you know,

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Speaker 2: Lincoln Center, you know, which had its wonderful you know benefits,

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Speaker 2: which was going getting to go see all those shows

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Speaker 2: and you know around all those different artists at that school. Yeah,

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Speaker 2: all the different disciplines you know, really shaped me and

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Speaker 2: had you know, gave me even more of an appreciation

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Speaker 2: of all the fellow artists that you know, I had

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Speaker 2: the privilege of being around.

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Speaker 1: What were some of your favorite things that you got

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Speaker 1: to do as a student there.

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Speaker 2: I mean we were there, you know, from eight am

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Speaker 2: until like midnight, you know, every day we were there,

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Speaker 2: and so we would have these like classroom projects, you know,

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Speaker 2: so it felt like we were just doing these plays

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Speaker 2: for each other and for the faculty and for each other,

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Speaker 2: and so that we were able to feel like less

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Speaker 2: of the pressure of performance. The school, the the program

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Speaker 2: is built to kind of lead you up to the

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Speaker 2: public performance side of things, and you know, to get

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Speaker 2: you in a place where you feel free and stuff

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Speaker 2: and you're working with the same people. You know, you

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Speaker 2: have your core class, and that's who you go through

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Speaker 2: this four years with, you know, for better and sometimes

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Speaker 2: for worse. I mean it's a lot, you know, it's

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Speaker 2: a little bit like boot camp for acting. You know,

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Speaker 2: there's a joke that some people call it the jail

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Speaker 2: yard school because you know, you're kind of stuck in

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Speaker 2: this like you know, pressure cooker. In some ways, I

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Speaker 2: found it to be invigorating. I'm still very close to

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Speaker 2: a lot of my classmates, and we had a crazy class.

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Speaker 2: But along the way, we formed our own theater company,

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Speaker 2: and we ended up doing a season, a couple of

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Speaker 2: plays in between in the summer between our second and

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Speaker 2: third year of school, and so that was like a

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Speaker 2: really special thing too. To to to get this group

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Speaker 2: of people and take what we were learning out into

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Speaker 2: the world, and.

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Speaker 1: That's really cool. And the desire to keep going, you know,

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Speaker 1: it's your summer break, and all you want is more

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Speaker 1: of what you're doing in school. What a great indicator

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Speaker 1: that you're on the right life path, right.

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Speaker 2: Yeah, exactly.

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Speaker 1: It's so cool.

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Speaker 2: Got to because I was studying the classics, you know,

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Speaker 2: I was learning how to do Shakespeare and stuff. From

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Speaker 2: the very beginning of college, I started auditioning for summer

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Speaker 2: Shakespeare programs, and pretty much every summer I would go

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Speaker 2: to you know, Georgia Shakespeare, Utah Shakespeare, California Shakespeare. I

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Speaker 2: would do I would get to do Shakespeare even when

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Speaker 2: we did our little Juilliard company, we did a Shakespeare play,

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Speaker 2: so you know, I was constantly cutting my teeth on

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Speaker 2: you know, some of the the most you know, iconic literature,

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Speaker 2: dramatic literature, that they're the stuff that we all keep

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Speaker 2: going back to.

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Speaker 1: Yeah, artists, I love that.

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Speaker 2: How fun.

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Speaker 1: We'll be back in just a minute after a few

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Speaker 1: words from our favorite sponsors. I imagine when you get

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Speaker 1: to reflect, you you know, they say hindsight's twenty twenty, right,

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Speaker 1: like you see everything so clearly. You see what you

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Speaker 1: were building and what you loved and was coming back

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Speaker 1: to this character of Elsbeth. Did it kind of feel

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Speaker 1: as exciting as the way you're talking about looking back

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Speaker 1: on that Shakespeare period. Because it's not lost on me

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Speaker 1: that you started playing this character fifteen years ago and

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Speaker 1: then played her across two shows and now you're playing

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Speaker 1: her in this third show. It's like, it feels like

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Speaker 1: a thing you get to revisit and build and build

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Speaker 1: and build on in a world. And you know, maybe

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Speaker 1: it's a stretch, but in my observation in this moment,

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Speaker 1: I'm like, hold on, it almost feels like you returning

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Speaker 1: to Shakespeare over and over and over again. It's like

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Speaker 1: you're getting to do a version of that now, or

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Speaker 1: does that track or does it feel crazy that tracks?

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Speaker 2: I hadn't really connected that those dots, So thank you

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Speaker 2: for that, because it really, it really is making me

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Speaker 2: think about it in a in a in a way

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Speaker 2: that feels like it's part of a longer trajectory. You know,

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Speaker 2: there's not a day that goes by that I'm not amazed, grateful,

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Speaker 2: and humbled by getting to play this character. Not a

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Speaker 2: day goes by because it is, like you just said,

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Speaker 2: it's not lost on me. It is really not lost

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Speaker 2: on me. I'm I'm a fifty eight year old woman

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Speaker 2: who has been doing character roles my whole career, happily supporting.

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Speaker 2: I've had played leads in movies, et cetera, indies and stuff,

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Speaker 2: but mostly I'm you know, I've been there to support you,

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Speaker 2: and happily. I love it, you know, I love being

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Speaker 2: trusted with those kinds of roles. You know, when it

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Speaker 2: first started out, you know, everybody who always wants to

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Speaker 2: kind of pigeonhole you and tell you like this is

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Speaker 2: your type, you know, And so when I was young,

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Speaker 2: it was like you're the ingenoux and I was always like, okay,

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Speaker 2: but I don't make that angeneu really interesting because like

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Speaker 2: I want to just play you know, like the pretty

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Speaker 2: young thing, like especially in Shakespeare. Yeah, And when I

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Speaker 2: first got out of Juilliard, I got to audition for

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Speaker 2: The Tempest, which was being done as Shakespeare in the Park.

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Speaker 2: It was George C. Wolfe, the Great Director's first Shakespeare

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Speaker 2: that he'd ever directed. It was Patrick Stewart playing Prospero.

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Speaker 2: And I was auditioning for Miranda, which is, you know,

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Speaker 2: one of the news in the Shakespeare cannon. But I

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Speaker 2: was like, yeah, but if your girl, who's you know,

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Speaker 2: fifteen and you have only since you were a baby,

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Speaker 2: lived on an island with a bunch of dudes, your

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Speaker 2: dad a monster affair, you know you're gonna be like

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Speaker 2: the pretty girl.

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Speaker 1: In the dress.

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Speaker 2: Like how are you going to do that?

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Speaker 1: No way, You're going to be.

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Speaker 2: One of the lost boys, gonna be a tomboy you

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Speaker 2: want to be. So I went whole hard on that,

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Speaker 2: you know, hot off on my hair, went for the tomboy,

356
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Speaker 2: the damming you know thing, and really turned that, tried

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Speaker 2: to turn that character into somebody a different interpretation of

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Speaker 2: that role. And got you know, got the park, got

359
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Speaker 2: to do it. We moved it to Broadway and I

360
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Speaker 2: may mayor Broadway debut doing that, and I thought, no,

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Speaker 2: you don't have You can be a character actor in

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Speaker 2: a conta news package. You can be is what we're

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Speaker 2: always doing character acting. I mean we're creating characters, right, Like,

364
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Speaker 2: aren't we supposed to be doing that. We're not supposed

365
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Speaker 2: to be doing the audience's interpretation of what the leading

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Speaker 2: lady is. We're supposed to bring who we are married,

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Speaker 2: well read on the page, the text work that we do,

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Speaker 2: the work we do with the other actors, the work

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Speaker 2: we do with the director, and create something that's fresh.

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Speaker 2: So I felt that and that's part of just because

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Speaker 2: I went to school and I was taught to do

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Speaker 2: the deep, you know, mining of the character. So when

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Speaker 2: I got the role, this is all leading up to

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Speaker 2: when I got the role of Elsbeth, I tried to

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Speaker 2: apply the same principles to that as I add to

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Speaker 2: these Shakespeare roles, like what are we going to do

377
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Speaker 2: with this character that makes her different?

378
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Speaker 1: Yeah?

379
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Speaker 2: How do I bring myself? What am I going to do?

380
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Speaker 2: How does this woman think? You know? Just started doing

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Speaker 2: that deeper work and not just be now part of

382
00:23:05,880 --> 00:23:07,760
Speaker 2: it was that was written, but you know, not just

383
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Speaker 2: be like the the lawyer of the week, like what

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Speaker 2: can we do this? Something something singular, and the fact

385
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Speaker 2: that they were given they gave me that license, the

386
00:23:22,160 --> 00:23:26,800
Speaker 2: fantastic that always starts with the page, but they gave

387
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Speaker 2: me that license and then kept inviting me back to

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Speaker 2: well yeah, and then it became this alchemy between what

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Speaker 2: they were writing and what I was doing and you know,

390
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Speaker 2: here we are, but there's no guarantee that like we

391
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Speaker 2: would get to do a show that way. Well, like

392
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Speaker 2: when they told me this was in twenty twenty, when

393
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Speaker 2: Robert Michelle you know, reached out to me because it

394
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Speaker 2: was COVID. We were all locked down. They were seeing

395
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Speaker 2: the end of the good fight. They knew that that

396
00:24:01,720 --> 00:24:03,800
Speaker 2: was going to be coming to an end soon, and

397
00:24:03,840 --> 00:24:05,200
Speaker 2: they were like, what are we going to do next?

398
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Speaker 2: And they had been rewatching episodes of Colombo and they

399
00:24:09,480 --> 00:24:11,840
Speaker 2: were like, huh, maybe that's maybe we could put Elsbeth

400
00:24:11,880 --> 00:24:18,440
Speaker 2: Tasioni in a situation like that. Then simultaneously, Elizabeth Vincent Telly,

401
00:24:18,440 --> 00:24:20,959
Speaker 2: who's a writer at the New York Times, wrote an

402
00:24:21,040 --> 00:24:25,280
Speaker 2: article about what she was doing during COVID was watching

403
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Speaker 2: episodes of Colombo, and the last line of the article was,

404
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Speaker 2: we don't need a reboot of Colombo. Just give Elsbeth

405
00:24:33,320 --> 00:24:38,000
Speaker 2: Tasioni her own show. No, yes, And then I'm just

406
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Speaker 2: saying hills, right. So Robert and Michelle they saw that

407
00:24:43,480 --> 00:24:46,200
Speaker 2: Robinda Michelle King and they saw that and they were like, Okay,

408
00:24:46,640 --> 00:24:48,879
Speaker 2: that's like, this is weird because this is how what

409
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Speaker 2: we were thinking. And then they started the process. But

410
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Speaker 2: that was in twenty twenty and they called and they

411
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Speaker 2: were like, do you want to do this? I was like,

412
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Speaker 2: uh yeah, I mean obviously, obviously, and then it just

413
00:25:00,680 --> 00:25:03,280
Speaker 2: wouldn't happen, wouldn't happen for years, and I was like, Okay,

414
00:25:03,320 --> 00:25:05,560
Speaker 2: I guess it's not going to happen. And then, you

415
00:25:05,600 --> 00:25:07,240
Speaker 2: know whatever, a year and a half ago.

416
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Speaker 1: And now Elizabeth is vack. When you look back to

417
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Speaker 1: the beginning, you know, when you talk about that character work,

418
00:25:15,480 --> 00:25:18,119
Speaker 1: you know, the ways you wanted to build her into

419
00:25:18,800 --> 00:25:21,840
Speaker 1: more than just a lawyer of the week. What are

420
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Speaker 1: the things that you started to noodle with fifteen years

421
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Speaker 1: ago that have become so core to your character.

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Speaker 2: Now, Yeah, that's a good question because I don't like

423
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Speaker 2: to revisit like my past work too much. Yeah, in

424
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Speaker 2: my head, I also am like, oh I look so

425
00:25:39,760 --> 00:25:41,720
Speaker 2: much younger, you know, and I go to like crazy

426
00:25:41,760 --> 00:25:42,960
Speaker 2: places everybody else.

427
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Speaker 1: It's really weird to have to watch yourself be a

428
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Speaker 1: human on film.

429
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Speaker 2: Oh my god.

430
00:25:48,040 --> 00:25:50,919
Speaker 1: Mostly they're just in our bodies looking out. So it

431
00:25:50,960 --> 00:25:53,040
Speaker 1: happened to look at yourself all the time. It's weird.

432
00:25:53,080 --> 00:25:54,159
Speaker 1: It's a weird experience.

433
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Speaker 2: It's a weird experience, and it can really mess you up.

434
00:25:56,840 --> 00:25:59,399
Speaker 2: So I try not to do that. But or we

435
00:25:59,480 --> 00:26:04,560
Speaker 2: started the series that L was at the series, I thought, well,

436
00:26:05,119 --> 00:26:09,640
Speaker 2: just go back because I'd like to see like what

437
00:26:09,680 --> 00:26:12,040
Speaker 2: I did back then, because I don't remember it was fifteen,

438
00:26:13,080 --> 00:26:17,200
Speaker 2: I'd like to see. So I watched Elsa's first appearance

439
00:26:17,880 --> 00:26:19,720
Speaker 2: and it was fascint. First of all, it was like,

440
00:26:20,520 --> 00:26:22,600
Speaker 2: I know what, I know, you must relate to this.

441
00:26:22,840 --> 00:26:24,400
Speaker 2: It's like watching somebody else.

442
00:26:24,840 --> 00:26:29,639
Speaker 1: Yeah, it's like it's almost like watching your sister. Yeah yeah, yeah,

443
00:26:29,640 --> 00:26:33,120
Speaker 1: they look like you. Yeah, they look like you were familiar,

444
00:26:33,160 --> 00:26:35,880
Speaker 1: but also like a stranger, like a stranger.

445
00:26:36,000 --> 00:26:40,400
Speaker 2: Yeah, it's like revisiting this person that you used to be. Yeah.

446
00:26:40,800 --> 00:26:43,119
Speaker 2: Or it's like maybe she was like my child or something.

447
00:26:43,160 --> 00:26:45,960
Speaker 2: There was something I felt very I felt very maternal

448
00:26:46,000 --> 00:26:52,000
Speaker 2: towards her, you know, like this, but I could tell

449
00:26:52,040 --> 00:26:55,200
Speaker 2: that I was, you know, I was finding my way.

450
00:26:55,320 --> 00:26:58,439
Speaker 2: I mean, this was like a guest spot, you know, so,

451
00:26:58,720 --> 00:27:01,080
Speaker 2: and you're there. When you're a guest spot, which I've

452
00:27:01,119 --> 00:27:03,920
Speaker 2: done so very many of it in my career. You're

453
00:27:03,960 --> 00:27:04,679
Speaker 2: there to serve.

454
00:27:04,800 --> 00:27:06,920
Speaker 1: Oh yeah, you're.

455
00:27:06,800 --> 00:27:10,159
Speaker 2: There to serve what they need to do, to be

456
00:27:10,200 --> 00:27:13,159
Speaker 2: a support to those other actors. And I love I

457
00:27:13,200 --> 00:27:16,520
Speaker 2: love that. But there's a lot of pressure too, because

458
00:27:17,040 --> 00:27:20,119
Speaker 2: you can't go in there and start like messing or it.

459
00:27:21,200 --> 00:27:24,040
Speaker 2: You know, they they've hired you. They've hired you to

460
00:27:24,080 --> 00:27:26,359
Speaker 2: be the pinch hitter to come in, do you know,

461
00:27:26,440 --> 00:27:28,160
Speaker 2: do the same, because we don't have time. We've got

462
00:27:28,160 --> 00:27:30,560
Speaker 2: to get this thing done. But I knew sit on

463
00:27:30,640 --> 00:27:34,399
Speaker 2: the page there was something that was a sparkle to

464
00:27:34,520 --> 00:27:38,200
Speaker 2: this character that I knew they wanted me to do

465
00:27:38,280 --> 00:27:42,120
Speaker 2: something different. And then fifteen years ago, Robert King said

466
00:27:42,160 --> 00:27:44,560
Speaker 2: to me, we're thinking about her like a female Columbo.

467
00:27:46,400 --> 00:27:48,280
Speaker 2: And I said, oh, okay, I think I know what

468
00:27:48,320 --> 00:27:54,640
Speaker 2: that means. That they want her to be unexpected unconventional. Oh,

469
00:27:55,119 --> 00:27:58,199
Speaker 2: I want her to be somebody that the audience and

470
00:27:58,240 --> 00:28:01,439
Speaker 2: then the people around her don't seek coming. So I

471
00:28:01,520 --> 00:28:03,720
Speaker 2: just thought, let me pick that out. And you can

472
00:28:03,800 --> 00:28:07,160
Speaker 2: see that I was tentatively doing it. But it was there,

473
00:28:08,240 --> 00:28:12,320
Speaker 2: you know, the the kind of odd way in which

474
00:28:12,359 --> 00:28:15,119
Speaker 2: she thinks and stuff. It was there, but I wasn't

475
00:28:15,160 --> 00:28:19,040
Speaker 2: really letting the full freak flag flaw yet because I

476
00:28:19,080 --> 00:28:22,760
Speaker 2: didn't know if it was okay to do that, you know, right,

477
00:28:23,920 --> 00:28:25,879
Speaker 2: And so I did a couple of episodes at the

478
00:28:25,920 --> 00:28:28,719
Speaker 2: end of season one, and then I didn't hear anything

479
00:28:28,760 --> 00:28:31,359
Speaker 2: for an entire season. So I thought I blew it.

480
00:28:32,160 --> 00:28:34,520
Speaker 2: I thought I didn't do enough or I did too

481
00:28:34,560 --> 00:28:38,360
Speaker 2: much for something, so I let it go, said goodbye.

482
00:28:38,400 --> 00:28:39,960
Speaker 2: I was like, oh, well, I did it. I did it.

483
00:28:39,960 --> 00:28:42,680
Speaker 2: It was fun. People seem to like it, but you know,

484
00:28:43,320 --> 00:28:46,120
Speaker 2: that's it. And then they caught me back in season

485
00:28:46,160 --> 00:28:47,840
Speaker 2: three and they were like, okay, we have a whole

486
00:28:47,960 --> 00:28:48,239
Speaker 2: like her.

487
00:28:48,920 --> 00:28:49,240
Speaker 1: Wow.

488
00:28:49,360 --> 00:28:52,200
Speaker 2: And then I was able to go, oh, okay. And

489
00:28:52,240 --> 00:28:55,440
Speaker 2: then I worked with the director and the show, you know,

490
00:28:55,480 --> 00:28:58,400
Speaker 2: I worked with them and and they they kind of

491
00:28:58,440 --> 00:29:01,200
Speaker 2: pushed me, you know, to to go further with what

492
00:29:01,320 --> 00:29:02,440
Speaker 2: I was starting to do.

493
00:29:02,600 --> 00:29:06,560
Speaker 1: Yeah. Well, it's interesting because as someone who's observing, you know,

494
00:29:06,640 --> 00:29:09,840
Speaker 1: from the outside into your world, I see that there's

495
00:29:09,920 --> 00:29:15,840
Speaker 1: so much wonderful praise for your depiction of this character

496
00:29:15,960 --> 00:29:19,440
Speaker 1: that people feel really seen and really represented, and they

497
00:29:19,480 --> 00:29:25,080
Speaker 1: talk about how she is a really positive example of

498
00:29:25,160 --> 00:29:29,280
Speaker 1: neurodivergence and brilliance, and folks talk about, you know, she's

499
00:29:29,320 --> 00:29:32,440
Speaker 1: got traits of ADHD and I'm like, thank you for

500
00:29:32,480 --> 00:29:35,160
Speaker 1: putting us on TV too, you know, traits that could

501
00:29:35,160 --> 00:29:38,360
Speaker 1: be identified as being on the autism spectrum? Are those

502
00:29:38,360 --> 00:29:42,960
Speaker 1: things that you have studied and consciously thought about, you know,

503
00:29:43,040 --> 00:29:49,360
Speaker 1: do you get into a Colombo esque character with obsession

504
00:29:49,400 --> 00:29:52,600
Speaker 1: for detail and pattern recognition and things that we now

505
00:29:52,640 --> 00:29:58,080
Speaker 1: know are often signs of that sort of like neurodivergence, sparkliness.

506
00:29:59,600 --> 00:30:03,240
Speaker 1: Did they come naturally because of something like you said

507
00:30:03,240 --> 00:30:05,440
Speaker 1: that was on the page and then you started to

508
00:30:05,480 --> 00:30:07,760
Speaker 1: realize what you were representing or is it kind of

509
00:30:07,760 --> 00:30:09,240
Speaker 1: a mixed bag of all of it.

510
00:30:10,720 --> 00:30:14,080
Speaker 2: Well, I'm very careful and the writers and everyone on

511
00:30:14,120 --> 00:30:18,480
Speaker 2: the show is are very careful to never diagnose Yes.

512
00:30:18,640 --> 00:30:24,320
Speaker 2: I find that that would then become a definitive and

513
00:30:24,360 --> 00:30:29,360
Speaker 2: then I would have to represent Zach thing and then

514
00:30:30,800 --> 00:30:35,680
Speaker 2: I would ultimately and we would ultimately not live up

515
00:30:35,720 --> 00:30:43,520
Speaker 2: to that because everybody is different. What I find really

516
00:30:43,600 --> 00:30:49,440
Speaker 2: fascinating about playing her is that, and what people seem

517
00:30:49,480 --> 00:30:53,160
Speaker 2: to respond to is that she is decidedly that who

518
00:30:53,200 --> 00:31:01,239
Speaker 2: she is, and it's a unique and singular just like

519
00:31:01,400 --> 00:31:06,920
Speaker 2: anybody who's on what the spectrum of humanity. And you

520
00:31:06,960 --> 00:31:11,440
Speaker 2: know what I mean. And so I've honored you know

521
00:31:11,680 --> 00:31:19,720
Speaker 2: that I'm given that responsibility but also that gift and

522
00:31:19,800 --> 00:31:24,200
Speaker 2: of playing somebody that has that kind of mind that

523
00:31:24,480 --> 00:31:33,440
Speaker 2: is so unique, that is ingenious, and that also tender,

524
00:31:34,200 --> 00:31:45,240
Speaker 2: vulnerable mind and and smart and extremely capable. So what

525
00:31:45,320 --> 00:31:49,720
Speaker 2: I love about it is that I feel like it's

526
00:31:50,040 --> 00:31:54,680
Speaker 2: it's a story about a unique person who is entrusted

527
00:31:54,840 --> 00:31:57,760
Speaker 2: with a great amount of responsibility. But it's also about

528
00:31:57,760 --> 00:32:03,160
Speaker 2: a woman who's of a certain age who is reinventing herself. Yeah,

529
00:32:03,480 --> 00:32:09,400
Speaker 2: he isn't settled into who. She's trying to improve herself.

530
00:32:09,680 --> 00:32:14,600
Speaker 2: She's trying to change things that she's done in the past. Yeah,

531
00:32:15,120 --> 00:32:15,400
Speaker 2: you know.

532
00:32:15,880 --> 00:32:20,200
Speaker 1: To love that path, the journey of self discovery, of

533
00:32:21,160 --> 00:32:24,440
Speaker 1: learning self inventory. What I love about what you're saying

534
00:32:24,600 --> 00:32:28,760
Speaker 1: is it's it's so universal. And then I imagine in

535
00:32:28,800 --> 00:32:33,680
Speaker 1: a way, because you can see, you see who she is,

536
00:32:33,760 --> 00:32:36,600
Speaker 1: you have a representation to how her brain works in

537
00:32:36,640 --> 00:32:39,440
Speaker 1: its own way. But I think the sort of ingenious

538
00:32:39,520 --> 00:32:43,080
Speaker 1: thing about not to your point deciding on any specific

539
00:32:43,240 --> 00:32:48,360
Speaker 1: term or specific diagnosis, is that by being in that spectrum,

540
00:32:49,040 --> 00:32:51,920
Speaker 1: so many people get to see themselves in you on screen.

541
00:32:52,680 --> 00:32:56,680
Speaker 1: You know, in a way, being so incredibly specific about

542
00:32:56,760 --> 00:33:00,040
Speaker 1: who Elsbeth is allows you to be universal for so

543
00:33:00,080 --> 00:33:00,600
Speaker 1: many people.

544
00:33:01,600 --> 00:33:03,840
Speaker 2: And I think you just put your finger on I

545
00:33:03,840 --> 00:33:09,800
Speaker 2: think just acting, you know, and onsibilities as actors is

546
00:33:10,000 --> 00:33:13,400
Speaker 2: as specific as possible, so that, yeah, it has become

547
00:33:14,000 --> 00:33:16,760
Speaker 2: something that everyone can find a way into.

548
00:33:17,080 --> 00:33:19,840
Speaker 1: Yeah, I think it's a good.

549
00:33:19,680 --> 00:33:21,160
Speaker 2: Actor because you understand that.

550
00:33:21,440 --> 00:33:26,120
Speaker 1: Oh that's so kind coming from you. I think about

551
00:33:26,160 --> 00:33:28,640
Speaker 1: the women that you've built this world with as well.

552
00:33:28,680 --> 00:33:31,520
Speaker 1: I mean, talk about the three of you, incredible actors.

553
00:33:31,560 --> 00:33:36,640
Speaker 1: You Juliana Marghlis, the iconic Christine Baranski. I once was

554
00:33:36,680 --> 00:33:39,200
Speaker 1: at some event with her and she like walked by

555
00:33:39,240 --> 00:33:41,120
Speaker 1: and I heard myself and I know she heard me.

556
00:33:41,200 --> 00:33:44,520
Speaker 1: I went oh, and I was like, oh, don't be

557
00:33:44,640 --> 00:33:48,520
Speaker 1: the weirdo who like gasps, because you see this amazing woman.

558
00:33:48,760 --> 00:33:52,120
Speaker 1: And and I think about these shows, you know, three

559
00:33:52,200 --> 00:33:55,480
Speaker 1: of these shows that have built out this world and

560
00:33:55,640 --> 00:34:00,000
Speaker 1: your your your creators. You've mentioned them, Robert and Michelle.

561
00:34:00,080 --> 00:34:04,280
Speaker 1: Oh are they just the coolest people to work with?

562
00:34:04,360 --> 00:34:04,440
Speaker 2: It?

563
00:34:04,880 --> 00:34:07,520
Speaker 1: I feel as a viewer like they really love and

564
00:34:07,600 --> 00:34:12,880
Speaker 1: respect women and our intellect, not just our capabilities as

565
00:34:13,160 --> 00:34:18,200
Speaker 1: you know, mothers or leaders or whatever, but but our prowess.

566
00:34:18,840 --> 00:34:19,920
Speaker 2: Is it just.

567
00:34:21,640 --> 00:34:26,520
Speaker 1: What's your sort of experience like on that side? You know,

568
00:34:26,560 --> 00:34:28,400
Speaker 1: how do you all work as a team, How do

569
00:34:28,440 --> 00:34:30,200
Speaker 1: you figure out what you want the show to look

570
00:34:30,280 --> 00:34:32,239
Speaker 1: like and feel like? Or have you just been doing

571
00:34:32,239 --> 00:34:35,800
Speaker 1: it together for so long now that it's almost second nature?

572
00:34:36,800 --> 00:34:39,560
Speaker 2: Yeah? I mean, well, the thing about Robert and Michelle

573
00:34:39,640 --> 00:34:47,080
Speaker 2: King is they are incredibly strong leaders. And part of

574
00:34:47,080 --> 00:34:53,480
Speaker 2: that leadership is that they empower all of their team. So,

575
00:34:53,840 --> 00:34:56,759
Speaker 2: and I know this because I've also worked with them

576
00:34:56,840 --> 00:35:02,600
Speaker 2: as a director, because I've directed some I directed some

577
00:35:02,640 --> 00:35:06,000
Speaker 2: episodes of The Good Fight, and so I got to

578
00:35:06,040 --> 00:35:08,400
Speaker 2: be a part of, you know, the prep, which is

579
00:35:08,400 --> 00:35:13,400
Speaker 2: where you really see how how the people who are

580
00:35:13,440 --> 00:35:16,640
Speaker 2: in charge of the show convey what it is that

581
00:35:16,680 --> 00:35:22,399
Speaker 2: they need uh director to do. And so I also

582
00:35:22,400 --> 00:35:29,239
Speaker 2: feel like they they build like a real ensemble of

583
00:35:29,360 --> 00:35:34,000
Speaker 2: actors that they keep going back to and they enjoy

584
00:35:34,120 --> 00:35:36,600
Speaker 2: working with, Like they find the people that they that

585
00:35:36,680 --> 00:35:38,760
Speaker 2: speak the same language as them, and then they continue

586
00:35:38,800 --> 00:35:42,440
Speaker 2: to employ them. When I when we went into Elsbeth

587
00:35:44,400 --> 00:35:46,839
Speaker 2: uh and this show got picked up to series, you know,

588
00:35:47,080 --> 00:35:49,000
Speaker 2: one of the first thing I did was I texted

589
00:35:49,560 --> 00:35:53,000
Speaker 2: Christine Baranski and I texted Julianna Margalliz, and I thanked

590
00:35:53,040 --> 00:35:59,239
Speaker 2: them because I wouldn't be here without them, and that

591
00:35:59,360 --> 00:36:05,400
Speaker 2: I felt this great responsibility and privilege of kind of

592
00:36:06,280 --> 00:36:11,920
Speaker 2: picking up the baton and carrying it forward. Robert and

593
00:36:11,960 --> 00:36:15,680
Speaker 2: Michelle did the same thing with one of their former

594
00:36:15,840 --> 00:36:19,640
Speaker 2: writers who had been with them, Jonathan Tolans. They passed

595
00:36:19,719 --> 00:36:24,520
Speaker 2: the baton to him. And John Plans is our showrunner,

596
00:36:25,239 --> 00:36:30,440
Speaker 2: so their exec producer runs our show, He runs our

597
00:36:30,440 --> 00:36:35,600
Speaker 2: writers room. He's the one who has really created this world.

598
00:36:36,880 --> 00:36:39,320
Speaker 2: He took what Robert and Michelle did with the pilot,

599
00:36:40,080 --> 00:36:44,120
Speaker 2: honored it, and then they gave him the power to

600
00:36:44,520 --> 00:36:48,360
Speaker 2: really shape it into his show. They're they're involved, of course,

601
00:36:48,880 --> 00:36:51,839
Speaker 2: but John is is our is our guy I call

602
00:36:51,960 --> 00:36:53,680
Speaker 2: when he comes to set, I call him Daddy.

603
00:36:54,520 --> 00:36:56,040
Speaker 1: I'm him.

604
00:36:56,760 --> 00:37:01,640
Speaker 2: He's very receptive to any input that I need to have,

605
00:37:01,719 --> 00:37:04,680
Speaker 2: which is pretty I don't really have that much that

606
00:37:04,760 --> 00:37:07,400
Speaker 2: I need to say because the writing is so great

607
00:37:07,800 --> 00:37:10,759
Speaker 2: and I do so so great about it. But if

608
00:37:10,760 --> 00:37:15,759
Speaker 2: I have a question, very receptive. So there is, you know,

609
00:37:15,840 --> 00:37:20,320
Speaker 2: this sense of not controlling but leading.

610
00:37:21,080 --> 00:37:25,040
Speaker 1: Yeah, gosh, that's beautiful. And now a word from our

611
00:37:25,080 --> 00:37:33,360
Speaker 1: sponsors that I really enjoy and I think you will too.

612
00:37:34,280 --> 00:37:36,600
Speaker 1: It must just be the kind of place that constantly

613
00:37:36,640 --> 00:37:38,359
Speaker 1: makes you feel like you get to grow. I mean,

614
00:37:38,400 --> 00:37:41,480
Speaker 1: I think about you know, even as you said, you

615
00:37:41,520 --> 00:37:46,839
Speaker 1: know you're I can't believe you're fifty eight. That's I mean,

616
00:37:47,160 --> 00:37:51,799
Speaker 1: I'm like, what, But you know, you talk about your

617
00:37:51,840 --> 00:37:55,359
Speaker 1: early career and everyone's looking for the next entrenou and

618
00:37:55,960 --> 00:38:03,160
Speaker 1: it is really profound two at least for me as

619
00:38:03,160 --> 00:38:05,719
Speaker 1: a viewer, and I would imagine for you as an

620
00:38:05,800 --> 00:38:10,160
Speaker 1: actor to continue the fact that you're continuing to build

621
00:38:10,200 --> 00:38:13,400
Speaker 1: your own world, you know, in a in an industry

622
00:38:13,400 --> 00:38:15,399
Speaker 1: where we've all been told, well, once you're forty, you'll

623
00:38:15,440 --> 00:38:16,840
Speaker 1: never work again, and it's like, I'm.

624
00:38:16,680 --> 00:38:19,040
Speaker 2: Gonna work forever, and look at you.

625
00:38:19,040 --> 00:38:24,040
Speaker 1: You're building this space and this show is so wonderful,

626
00:38:24,160 --> 00:38:28,279
Speaker 1: and the reception to it is so wonderful. And you know,

627
00:38:28,360 --> 00:38:30,080
Speaker 1: you get to work with people that you love, you

628
00:38:30,120 --> 00:38:32,279
Speaker 1: get to be partners with Jonathan, you know.

629
00:38:32,239 --> 00:38:34,120
Speaker 2: Your husband came and guest starred on your show.

630
00:38:34,160 --> 00:38:37,880
Speaker 1: It's like, you look like you're having a really good time.

631
00:38:38,600 --> 00:38:41,239
Speaker 2: I am. I'm having the time of my life. I am.

632
00:38:41,560 --> 00:38:44,840
Speaker 2: And when I'm not, you know, because it's hard. The schedules,

633
00:38:46,000 --> 00:38:46,640
Speaker 2: you do, know what I mean.

634
00:38:46,719 --> 00:38:46,959
Speaker 1: Tough.

635
00:38:47,120 --> 00:38:49,520
Speaker 2: You know, it's a tough schedule. Like you know, we're

636
00:38:49,560 --> 00:38:52,040
Speaker 2: doing those episodes in eight or nine days, and I'm

637
00:38:52,080 --> 00:38:55,880
Speaker 2: in pretty much every you know scene. So it's it's

638
00:38:56,239 --> 00:38:59,200
Speaker 2: I don't have very much. And whenever I'm not on,

639
00:38:59,560 --> 00:39:01,920
Speaker 2: whenever I'm not saying words, I'm learning other words. And

640
00:39:01,960 --> 00:39:04,600
Speaker 2: so it's you know, it's there's a lot of juggling.

641
00:39:05,160 --> 00:39:08,200
Speaker 2: But I'm like, I've always been a multitasker. I mean,

642
00:39:08,239 --> 00:39:10,799
Speaker 2: I think one thing that Elsbetasioni and I have in

643
00:39:10,840 --> 00:39:14,640
Speaker 2: common is that we both are pretty good at multitasking. Yeah,

644
00:39:14,840 --> 00:39:17,319
Speaker 2: I love that, so I can bring that, you know,

645
00:39:17,840 --> 00:39:20,800
Speaker 2: to the character and stuff. But I am having the

646
00:39:20,840 --> 00:39:23,319
Speaker 2: time of my life because that it has come at

647
00:39:23,320 --> 00:39:27,560
Speaker 2: this time. I mean, I said, I was fifty eight,

648
00:39:27,560 --> 00:39:28,960
Speaker 2: I will be at fifty eight and two months, but

649
00:39:28,960 --> 00:39:31,359
Speaker 2: I feel like I'm already fifty eight. Fifty seven will

650
00:39:31,360 --> 00:39:33,840
Speaker 2: be fifty eight and two months. But but yeah, so

651
00:39:33,960 --> 00:39:37,239
Speaker 2: I feel like, you know, it's not I don't want

652
00:39:37,280 --> 00:39:41,440
Speaker 2: to waste a moment. You know, well, you're you're on fire,

653
00:39:42,280 --> 00:39:44,239
Speaker 2: although as long as they'll let me do it, I'm

654
00:39:44,760 --> 00:39:46,240
Speaker 2: you don't want to do it.

655
00:39:45,840 --> 00:39:51,399
Speaker 1: Does this experience at this stage because to your point,

656
00:39:51,440 --> 00:39:53,360
Speaker 1: you know, you've you've been a working actor for a

657
00:39:53,400 --> 00:39:58,520
Speaker 1: long time, You've got an incredible career. But does this

658
00:39:58,680 --> 00:40:01,279
Speaker 1: moment you know, the tough of the schedule, sure, but

659
00:40:01,280 --> 00:40:04,160
Speaker 1: also the excitement to be doing it and you so

660
00:40:04,320 --> 00:40:07,319
Speaker 1: clearly love the work, the writing, all of it. Does

661
00:40:07,360 --> 00:40:11,680
Speaker 1: it shift your perspective on your own midlife? Does it

662
00:40:11,800 --> 00:40:18,239
Speaker 1: kind of reconstitute for you what longevity means? Feels like, looks.

663
00:40:18,000 --> 00:40:22,360
Speaker 2: Like, yeah, yeah, it really does. I mean sometimes I

664
00:40:22,400 --> 00:40:24,439
Speaker 2: have these thoughts of like why did I give this?

665
00:40:25,239 --> 00:40:28,279
Speaker 2: Did somebody give me this responsibility? When I was like

666
00:40:28,320 --> 00:40:31,319
Speaker 2: in my you know, where it was, I had this

667
00:40:31,480 --> 00:40:33,640
Speaker 2: endless amount of energy, and I thought, well, because that

668
00:40:33,680 --> 00:40:38,600
Speaker 2: wasn't the time, like you know, and it wasn't lined up.

669
00:40:39,160 --> 00:40:42,040
Speaker 2: It wasn't lined up. When I was doing shows in

670
00:40:42,040 --> 00:40:44,600
Speaker 2: my thirties, they were all like, all the leads were

671
00:40:44,600 --> 00:40:47,239
Speaker 2: like dudes, you know, so you know what I mean.

672
00:40:47,280 --> 00:40:50,359
Speaker 2: It was just like, yeah, it had to be now,

673
00:40:50,480 --> 00:40:53,680
Speaker 2: It had to be time when you know, I was

674
00:40:53,719 --> 00:40:56,480
Speaker 2: going to be the show that comes on after Kathy Bates. Yeah,

675
00:40:56,560 --> 00:40:59,720
Speaker 2: you know, like it just sort of needed to be that,

676
00:41:01,400 --> 00:41:04,240
Speaker 2: and maybe I needed to have a little bit more

677
00:41:05,000 --> 00:41:07,120
Speaker 2: of it. Maybe I needed to be a little more

678
00:41:07,440 --> 00:41:12,560
Speaker 2: seasoned to bring you know, some of the I don't know,

679
00:41:13,239 --> 00:41:15,239
Speaker 2: just some of what it is to be at this

680
00:41:15,520 --> 00:41:18,480
Speaker 2: at this late in my late fifties and doing this.

681
00:41:18,680 --> 00:41:21,239
Speaker 2: You know, it's a different person than was back then.

682
00:41:22,040 --> 00:41:23,480
Speaker 2: And I also but.

683
00:41:23,400 --> 00:41:25,239
Speaker 1: It's just tremendously interesting.

684
00:41:26,320 --> 00:41:28,240
Speaker 2: Sting to cut you off there, but I'm like, wait,

685
00:41:28,360 --> 00:41:31,719
Speaker 2: it's so cool. Yeah, I know. I feel that I

686
00:41:31,719 --> 00:41:34,560
Speaker 2: feel that way, and I feel I feel a responsibility

687
00:41:34,600 --> 00:41:39,360
Speaker 2: to represent a woman of that age who's not attached

688
00:41:39,920 --> 00:41:44,160
Speaker 2: to a man, who's not a who's not about, you know,

689
00:41:44,360 --> 00:41:46,680
Speaker 2: beauty on the outside as much as she is about

690
00:41:47,280 --> 00:41:52,640
Speaker 2: beauty in the brain and and love and joy and

691
00:41:52,680 --> 00:41:58,200
Speaker 2: positivity and overcoming things and beyond things and just all

692
00:41:59,120 --> 00:42:02,560
Speaker 2: She's infectious. It infects me, yeah, play.

693
00:42:02,920 --> 00:42:08,120
Speaker 1: And everything about her, you know, from the way her

694
00:42:08,120 --> 00:42:11,480
Speaker 1: brain works to even the way she moves through the world.

695
00:42:11,560 --> 00:42:15,839
Speaker 1: I mean, I'm obsessed with her obsession with tote bags.

696
00:42:16,920 --> 00:42:19,400
Speaker 2: You know, it's such a fun little quirk.

697
00:42:19,480 --> 00:42:21,799
Speaker 1: It's a detail that is fun for me as an

698
00:42:21,840 --> 00:42:24,279
Speaker 1: actor to think about you coming up with and I

699
00:42:24,719 --> 00:42:29,000
Speaker 1: you know, I love having like the big, motivational, artistic conversation,

700
00:42:29,080 --> 00:42:31,640
Speaker 1: and then part of me is so curious, like, what

701
00:42:31,680 --> 00:42:33,800
Speaker 1: do you think is the weirdest thing in her bag?

702
00:42:36,000 --> 00:42:38,239
Speaker 2: Well, we did a whole episode where we had a

703
00:42:38,400 --> 00:42:42,680
Speaker 2: con Mari type person played by the brilliant Mary Luise Parker,

704
00:42:42,880 --> 00:42:47,480
Speaker 2: who I'm obsessed with icon icon I mean the icons

705
00:42:47,520 --> 00:42:51,400
Speaker 2: that I've gotten to work with on this show Yond Beyond.

706
00:42:52,760 --> 00:42:56,160
Speaker 2: But anyway, she makes me go through my toes and

707
00:42:56,239 --> 00:42:59,680
Speaker 2: I was very worried. I even said to John Tolanz,

708
00:42:59,719 --> 00:43:02,560
Speaker 2: I was like, I called him. I don't usually do that,

709
00:43:02,600 --> 00:43:04,960
Speaker 2: but I called him and said, I am worried. I

710
00:43:05,040 --> 00:43:07,560
Speaker 2: don't know if we want to open up the mystery bag.

711
00:43:08,200 --> 00:43:11,759
Speaker 2: Don't you think it's more interesting curious about what's in

712
00:43:11,760 --> 00:43:17,959
Speaker 2: the bag than showing showing what's you know, because it's

713
00:43:18,000 --> 00:43:20,120
Speaker 2: sort of like, we don't want to talk too much

714
00:43:20,160 --> 00:43:23,840
Speaker 2: about her brain because it's more interesting and surprising to

715
00:43:24,000 --> 00:43:28,879
Speaker 2: just watch her do her thing. And he assured me that,

716
00:43:29,280 --> 00:43:30,480
Speaker 2: you know, that we would do it in a way

717
00:43:30,480 --> 00:43:32,560
Speaker 2: that was responsible, and I was, and I, you know,

718
00:43:32,640 --> 00:43:34,800
Speaker 2: I said, well, we need to at least talk about

719
00:43:34,800 --> 00:43:38,600
Speaker 2: her emotional connection to it. That it's not just just

720
00:43:38,600 --> 00:43:41,520
Speaker 2: carrying much of random things around. There's a really carrying

721
00:43:41,520 --> 00:43:44,080
Speaker 2: them around. And I always think about it in terms

722
00:43:44,080 --> 00:43:48,040
Speaker 2: of it's like a security blanket, or it's something that

723
00:43:48,280 --> 00:43:52,120
Speaker 2: you know, makes her feel confident, armored. It's like armored

724
00:43:53,640 --> 00:43:58,000
Speaker 2: she's bringing out into the world. And that just means

725
00:43:58,280 --> 00:43:59,840
Speaker 2: that there are a lot of things in there that

726
00:44:00,040 --> 00:44:02,440
Speaker 2: you think she said you might need. That could be

727
00:44:02,480 --> 00:44:06,120
Speaker 2: a sandwich because she's hungry later, and some string cheese,

728
00:44:06,440 --> 00:44:12,120
Speaker 2: but also you know some uh you know, the Encyclopedia

729
00:44:12,160 --> 00:44:16,680
Speaker 2: Britannica and Atticus, like just whatever it is that she

730
00:44:16,800 --> 00:44:22,239
Speaker 2: thinks she might need to help unlock something, you know,

731
00:44:22,920 --> 00:44:25,600
Speaker 2: And so I think about it that way. And then,

732
00:44:25,680 --> 00:44:29,600
Speaker 2: and I've talked about this before, I made the decision

733
00:44:29,680 --> 00:44:35,520
Speaker 2: pretty early on that when Elspeth shows up to solve

734
00:44:35,560 --> 00:44:39,440
Speaker 2: the crime, to make the arrest. She doesn't have the

735
00:44:39,480 --> 00:44:43,480
Speaker 2: bags because she is an.

736
00:44:45,000 --> 00:44:46,919
Speaker 1: She's not in the process of solving.

737
00:44:48,440 --> 00:44:53,440
Speaker 2: Right. I love, she's an encumbered and she's you know,

738
00:44:53,760 --> 00:44:58,680
Speaker 2: stands in her own you know, confidence and truth in

739
00:44:58,719 --> 00:44:59,240
Speaker 2: that moment.

740
00:45:02,000 --> 00:45:07,120
Speaker 1: That's very very cool. That's very cool. Are there other

741
00:45:07,680 --> 00:45:14,320
Speaker 1: things you've found her through in terms of decision making?

742
00:45:14,440 --> 00:45:17,440
Speaker 1: Like do you know what her favorite cocktail is? Does

743
00:45:17,480 --> 00:45:20,960
Speaker 1: she have a favorite snack? Is there is there like

744
00:45:21,000 --> 00:45:24,240
Speaker 1: a must have wardrobe item for her that goes along

745
00:45:24,360 --> 00:45:27,560
Speaker 1: with her toolkit in her bags? You know, what are

746
00:45:27,640 --> 00:45:30,440
Speaker 1: some of the things you've selected for her that we

747
00:45:30,520 --> 00:45:31,960
Speaker 1: might know or that we might not.

748
00:45:33,280 --> 00:45:35,840
Speaker 2: Yeah, I mean well, first of all, I there we

749
00:45:35,920 --> 00:45:38,760
Speaker 2: have the most genius costume designer working in the business,

750
00:45:38,880 --> 00:45:44,280
Speaker 2: Daniel lot awesome, who's costumed good Wife, Good Fight Elsbeth

751
00:45:44,640 --> 00:45:47,839
Speaker 2: like the through line, the character doesn't exist without him.

752
00:45:48,320 --> 00:45:52,160
Speaker 2: I go up and stand there like a paper doll,

753
00:45:52,400 --> 00:45:56,720
Speaker 2: and he hands me the character. Yes, so I totally

754
00:45:56,719 --> 00:46:02,319
Speaker 2: completely trust him. Our fittings are epic. The closet that

755
00:46:02,360 --> 00:46:07,320
Speaker 2: he builds for me is it takes like the almost

756
00:46:07,360 --> 00:46:10,920
Speaker 2: half of the whole. You know, thousands of clothes and

757
00:46:10,960 --> 00:46:17,600
Speaker 2: they're just so so delightful and so specific. Started coming

758
00:46:17,680 --> 00:46:20,960
Speaker 2: up with this idea that because Elizabeth has moved to

759
00:46:20,960 --> 00:46:22,520
Speaker 2: New York and she's such a tourist and she loves

760
00:46:22,520 --> 00:46:26,560
Speaker 2: New York so much. Yeah, wherever she goes in, whatever

761
00:46:26,640 --> 00:46:29,279
Speaker 2: crime in the world of the crime that she goes into,

762
00:46:29,560 --> 00:46:32,520
Speaker 2: she gets a little something from it. Yeah, you know

763
00:46:32,560 --> 00:46:34,640
Speaker 2: what I mean. So we find like tope bags from

764
00:46:34,680 --> 00:46:37,600
Speaker 2: the little We had an episode about tennis, so I

765
00:46:37,640 --> 00:46:39,279
Speaker 2: have like a little brooch sometimes that I wear these

766
00:46:39,400 --> 00:46:43,040
Speaker 2: tennis reckets and then the like towards the end of

767
00:46:43,040 --> 00:46:45,120
Speaker 2: the season, Dan came in and he was like, don't

768
00:46:45,160 --> 00:46:48,200
Speaker 2: you think Elsbeth is probably playing pickleball by now? I mean,

769
00:46:48,320 --> 00:46:51,440
Speaker 2: I would have never thought of that, but I'm like,

770
00:46:51,600 --> 00:46:55,480
Speaker 2: of course she's playing kickballs because everyone's playing pickleball, and

771
00:46:55,520 --> 00:46:57,880
Speaker 2: I'm sure she's satelite, but she's going to go in

772
00:46:57,920 --> 00:46:59,719
Speaker 2: there and try to do it. So he had this

773
00:46:59,719 --> 00:47:03,880
Speaker 2: little roaches that was pickleball, a little pickleball how and

774
00:47:04,000 --> 00:47:08,319
Speaker 2: we just put that on. So he I work so

775
00:47:08,480 --> 00:47:12,960
Speaker 2: closely with the costume department and with him. You know,

776
00:47:13,200 --> 00:47:16,399
Speaker 2: I'll come, I'll find some some knitted thing and I'll say,

777
00:47:16,560 --> 00:47:18,880
Speaker 2: don't you think that she needs to be wearing this?

778
00:47:19,440 --> 00:47:23,120
Speaker 2: And we will put that in there, or you know,

779
00:47:23,200 --> 00:47:25,880
Speaker 2: a certain boat or whatever. And so we we find

780
00:47:25,960 --> 00:47:30,640
Speaker 2: those little details together as far as like way way

781
00:47:30,680 --> 00:47:35,200
Speaker 2: earlier on and good Wife Elisath said, you don't want

782
00:47:35,200 --> 00:47:36,960
Speaker 2: to see me drunk. You don't want to see me drinking.

783
00:47:37,040 --> 00:47:42,960
Speaker 2: I'm I'm so she doesn't drink, so it's right, but

784
00:47:43,000 --> 00:47:46,360
Speaker 2: she but she loves Shirley Temples. So the prop department

785
00:47:47,160 --> 00:47:49,840
Speaker 2: what they will do with a Shirley Temple for me,

786
00:47:50,160 --> 00:47:51,759
Speaker 2: Like we will show up and they'll say, see, there's

787
00:47:51,760 --> 00:47:53,560
Speaker 2: a place for you to have a Shirley Temple if

788
00:47:53,600 --> 00:47:55,200
Speaker 2: we've do like a scene in a restaurant or a bar.

789
00:47:55,800 --> 00:47:58,480
Speaker 2: And so we did this. We did this episode that

790
00:47:58,560 --> 00:48:00,439
Speaker 2: was set in a restaurant. It was about a chef

791
00:48:00,520 --> 00:48:04,120
Speaker 2: played by the again another person I worship, Pamela Adlin

792
00:48:04,560 --> 00:48:10,120
Speaker 2: played a chef brilliant and we're in this like super

793
00:48:10,239 --> 00:48:15,840
Speaker 2: high end restaurant and they had, you know, Shirley temple,

794
00:48:15,920 --> 00:48:18,120
Speaker 2: and I was like, no, let's put it in the

795
00:48:18,200 --> 00:48:23,839
Speaker 2: tiniest little glass because all the food is tiny, yes,

796
00:48:24,600 --> 00:48:28,200
Speaker 2: tiny Shirley Temple. And then I'm gonna try to drink it. Yes,

797
00:48:31,040 --> 00:48:33,239
Speaker 2: So they put it there and I was like, they're

798
00:48:33,280 --> 00:48:35,360
Speaker 2: going to cut this, but I did this whole lotsy

799
00:48:35,440 --> 00:48:38,359
Speaker 2: with this whole bit, with the trying to drink the thing,

800
00:48:38,440 --> 00:48:40,520
Speaker 2: with the thing and the little umbrella and stuff, and

801
00:48:40,640 --> 00:48:42,800
Speaker 2: just like having the hardest time with it, and thankfully

802
00:48:42,840 --> 00:48:45,640
Speaker 2: they kept it in the cut. They fighting a lot

803
00:48:45,640 --> 00:48:49,880
Speaker 2: of my little I call them El's bits, caught the

804
00:48:50,000 --> 00:48:53,680
Speaker 2: l's bits because you know, they have to time and

805
00:48:53,800 --> 00:48:57,840
Speaker 2: plot and story. But when they keep my little, my

806
00:48:57,880 --> 00:49:01,920
Speaker 2: little moments in, I'm always very vitorius, so much fun.

807
00:49:02,600 --> 00:49:05,440
Speaker 1: And you know, it isn't lost on me that you,

808
00:49:06,280 --> 00:49:08,880
Speaker 1: with this platform that you've built, you've you know, not

809
00:49:09,040 --> 00:49:14,440
Speaker 1: only leaned into such great content, but you use your

810
00:49:14,480 --> 00:49:20,280
Speaker 1: platform for advocacy. You know, you support LGBTQ rights with glad,

811
00:49:20,520 --> 00:49:25,600
Speaker 1: you work with Michael Fox Foundation and support folks battling Parkinson's.

812
00:49:25,680 --> 00:49:29,080
Speaker 1: You know, how how do you decide what you're going

813
00:49:29,160 --> 00:49:33,719
Speaker 1: to lend your time to and and and how you're

814
00:49:33,760 --> 00:49:34,440
Speaker 1: going to show.

815
00:49:34,320 --> 00:49:37,759
Speaker 2: Up Like, yeah, I can think it's just you know,

816
00:49:38,680 --> 00:49:46,960
Speaker 2: being raised by my parents were very much about you know,

817
00:49:48,160 --> 00:49:57,560
Speaker 2: supporting acceptance, love and uh and and advocating for people

818
00:49:57,640 --> 00:50:02,040
Speaker 2: who maybe don't have a voice, or people who disenfranchised,

819
00:50:03,880 --> 00:50:07,320
Speaker 2: and you know, early early on, like in college and stuff.

820
00:50:07,360 --> 00:50:10,160
Speaker 2: I always feel feel like I still am feel like

821
00:50:10,280 --> 00:50:12,239
Speaker 2: even I'm married to a man, I'm very much part

822
00:50:12,280 --> 00:50:14,600
Speaker 2: of the queer community. So I feel like I want

823
00:50:14,719 --> 00:50:20,160
Speaker 2: to bring a voice to them, and especially now when

824
00:50:20,840 --> 00:50:26,400
Speaker 2: their voices are being taken away. Early on in my career,

825
00:50:26,800 --> 00:50:32,560
Speaker 2: when I started directing, I started making movies and projects

826
00:50:33,360 --> 00:50:40,440
Speaker 2: for the LGBTQ audience. Twenty five years ago, there wasn't

827
00:50:40,480 --> 00:50:44,400
Speaker 2: as much content and so and I wanted my my

828
00:50:44,400 --> 00:50:48,840
Speaker 2: producing partners, and I wanted to make, you know, projects

829
00:50:48,840 --> 00:50:53,799
Speaker 2: that were less about uh maybe romantic relationships and more

830
00:50:53,920 --> 00:50:58,560
Speaker 2: about you know, coming coming of age. Or we made

831
00:50:58,600 --> 00:51:01,080
Speaker 2: a movie called Ready Okay about a little boy who

832
00:51:01,120 --> 00:51:04,319
Speaker 2: wants to be a cheerleader and just mother and how

833
00:51:04,360 --> 00:51:06,960
Speaker 2: she's struggling with her kid being different. And so, you know,

834
00:51:07,040 --> 00:51:09,920
Speaker 2: making something that you could show at a p FLAG meeting,

835
00:51:10,719 --> 00:51:12,640
Speaker 2: you know, something that you could take your parents to

836
00:51:12,760 --> 00:51:15,399
Speaker 2: and go, this is this is this is what I'm

837
00:51:15,440 --> 00:51:19,520
Speaker 2: going through Your ways to do that and tell stories

838
00:51:19,520 --> 00:51:22,280
Speaker 2: that way. I do believe that stories have the power

839
00:51:22,280 --> 00:51:25,080
Speaker 2: to change the world and so we as artists are

840
00:51:25,120 --> 00:51:28,920
Speaker 2: responsible for changing the world a lot of the time.

841
00:51:29,080 --> 00:51:34,640
Speaker 2: And so I feel, you know a lot of privilege

842
00:51:34,640 --> 00:51:38,560
Speaker 2: and responsibility in telling those stories and bringing them to light.

843
00:51:39,120 --> 00:51:42,040
Speaker 2: And then also, you know, my father passed away from

844
00:51:42,040 --> 00:51:46,560
Speaker 2: complications from parkinson So watchould and go through that for

845
00:51:46,719 --> 00:51:48,920
Speaker 2: twenty years. One of my best best friends has partners

846
00:51:49,000 --> 00:51:51,560
Speaker 2: is my you know, a cousin mine has part like

847
00:51:51,600 --> 00:51:53,800
Speaker 2: it's there are a lot of people we have Parkinson's

848
00:51:54,160 --> 00:51:58,200
Speaker 2: in this world and they're making great strides. Michael J. Fox.

849
00:51:58,280 --> 00:52:01,120
Speaker 2: I remember I did an episode to Spend City way back,

850
00:52:02,560 --> 00:52:05,480
Speaker 2: got to you know, meet Michael J. Fox and when

851
00:52:05,480 --> 00:52:08,080
Speaker 2: he was first starting to deal with Pardinson's and just

852
00:52:08,120 --> 00:52:10,600
Speaker 2: being so impressed with how he was using his platform,

853
00:52:11,200 --> 00:52:16,799
Speaker 2: and it said his organized organization has made Yeah, it's

854
00:52:16,840 --> 00:52:20,200
Speaker 2: just so important to keep an eye on that so

855
00:52:20,239 --> 00:52:25,880
Speaker 2: that we as you know, as as the as the

856
00:52:26,000 --> 00:52:30,160
Speaker 2: audience and we as fellow humans can continue to support

857
00:52:30,200 --> 00:52:32,960
Speaker 2: that and bring you know, a light to that so

858
00:52:33,000 --> 00:52:34,200
Speaker 2: that it continues to grow.

859
00:52:34,239 --> 00:52:37,719
Speaker 1: And yeah, it's beautiful. And I think when you get

860
00:52:37,760 --> 00:52:41,719
Speaker 1: to harness you know, the attention that your job comes with,

861
00:52:41,880 --> 00:52:45,279
Speaker 1: and help make sure you can transmute that toward other

862
00:52:45,320 --> 00:52:48,360
Speaker 1: folks who needed. It's such a it's such a gift

863
00:52:48,480 --> 00:52:51,319
Speaker 1: that comes with all the other crazy stuff that you know,

864
00:52:51,360 --> 00:52:56,000
Speaker 1: we do and deal with. And yeah, it's always really

865
00:52:56,040 --> 00:52:58,560
Speaker 1: exciting for me to to see the things that people

866
00:52:58,560 --> 00:52:59,640
Speaker 1: are so passionate about.

867
00:53:00,520 --> 00:53:02,200
Speaker 2: Yeah, I know, I know, and I do it in

868
00:53:02,239 --> 00:53:06,000
Speaker 2: a quieter way, I think, maybe than some people would wish.

869
00:53:06,400 --> 00:53:09,400
Speaker 2: But I just feel like I want to be you know,

870
00:53:10,400 --> 00:53:12,400
Speaker 2: I want to just do the work and be authentic

871
00:53:13,080 --> 00:53:19,040
Speaker 2: to to the to the activism. Also being you know myself,

872
00:53:19,120 --> 00:53:22,319
Speaker 2: which is somebody who is just a loving and you know,

873
00:53:22,440 --> 00:53:26,800
Speaker 2: joyful person you know out in the world as well,

874
00:53:26,960 --> 00:53:31,960
Speaker 2: you know, somebody who's appreciative, appreciative of of the place

875
00:53:32,000 --> 00:53:35,200
Speaker 2: that I'm you know, a privileged to be in as well.

876
00:53:35,840 --> 00:53:42,919
Speaker 1: I think that's great. And now a word from our sponsors.

877
00:53:48,280 --> 00:53:51,320
Speaker 1: When you sit and you think about you know, continuing

878
00:53:51,360 --> 00:53:55,359
Speaker 1: this show you love, uh, being in this place in

879
00:53:55,400 --> 00:53:58,640
Speaker 1: your life that you love and you know what comes next?

880
00:53:59,040 --> 00:54:02,160
Speaker 1: What what feels like You're work in progress now?

881
00:54:04,080 --> 00:54:09,680
Speaker 2: I mean, I'm constantly trying to do this. Do it

882
00:54:10,840 --> 00:54:16,719
Speaker 2: a spiritual work, you know. I mean, I like my parents,

883
00:54:17,000 --> 00:54:20,600
Speaker 2: we weren't. We weren't religious per se, but we were

884
00:54:20,719 --> 00:54:25,279
Speaker 2: very and you know, my parents were always you know,

885
00:54:25,320 --> 00:54:27,440
Speaker 2: my parents had a commune at one point. You know,

886
00:54:27,480 --> 00:54:30,640
Speaker 2: we were very like trying to find an alternative way

887
00:54:30,760 --> 00:54:36,600
Speaker 2: of thinking love that been interested in mindfulness, practice Buddhism,

888
00:54:37,360 --> 00:54:40,439
Speaker 2: you know, uh meditation. And it took me a long

889
00:54:40,520 --> 00:54:42,400
Speaker 2: time to get to a place where I had like

890
00:54:42,440 --> 00:54:45,759
Speaker 2: a daily practice because I'm a hummingbird.

891
00:54:45,880 --> 00:54:48,520
Speaker 1: Really hard to like subtle, I feel that.

892
00:54:50,239 --> 00:54:55,160
Speaker 2: H And so that's my work, is that I'm constantly

893
00:54:55,239 --> 00:55:02,879
Speaker 2: trying to ground down into uh mindfulness and finding compassion

894
00:55:03,200 --> 00:55:07,960
Speaker 2: and empathy for myself and for and that's sort of

895
00:55:08,000 --> 00:55:12,920
Speaker 2: my daily I just started at what I'm calling a

896
00:55:12,960 --> 00:55:18,200
Speaker 2: grat text thread with my closest some of my day ones,

897
00:55:19,040 --> 00:55:23,640
Speaker 2: my wride dies, girlfriends, and you know, we're just every

898
00:55:23,680 --> 00:55:27,759
Speaker 2: day we grat text and it's just got to do

899
00:55:27,920 --> 00:55:31,279
Speaker 2: just three things, just three things you're grateful for. And

900
00:55:31,280 --> 00:55:35,000
Speaker 2: it really does open up a conversation and open up

901
00:55:35,200 --> 00:55:39,440
Speaker 2: a way of looking at your life. And I'm looking

902
00:55:39,480 --> 00:55:44,160
Speaker 2: at the world and trying to be aware of constantly

903
00:55:44,200 --> 00:55:49,520
Speaker 2: aware of you know, not everybody has the privileges that

904
00:55:49,560 --> 00:55:54,560
Speaker 2: I have. And you know, figuring out a way to

905
00:55:55,560 --> 00:55:59,640
Speaker 2: harness that empathy and compassion for the good.

906
00:56:00,120 --> 00:56:04,200
Speaker 1: Yeah, that's beautiful because you're you know, you're talking about

907
00:56:04,200 --> 00:56:06,480
Speaker 1: the things out there and the things in here, and

908
00:56:07,400 --> 00:56:11,200
Speaker 1: I think it's special to try to hold all that space.

909
00:56:13,239 --> 00:56:14,160
Speaker 1: It's special work.

910
00:56:16,000 --> 00:56:19,080
Speaker 2: Yeah, it's necessary, I think, especially for where we are

911
00:56:19,080 --> 00:56:20,760
Speaker 2: in the world right now, which is kind of divided.

912
00:56:20,840 --> 00:56:23,960
Speaker 2: And yeah, yeah, well I.

913
00:56:23,920 --> 00:56:27,600
Speaker 1: So appreciate it. I mean, I'm I'm so inspired by

914
00:56:27,640 --> 00:56:29,920
Speaker 1: you as an artist and it's a real treat to

915
00:56:29,960 --> 00:56:32,000
Speaker 1: get to sit and just be inspired by you as

916
00:56:32,000 --> 00:56:35,720
Speaker 1: a human. We all love the show. Thank you for

917
00:56:35,920 --> 00:56:38,799
Speaker 1: all that hard work and all those crazy hours. You

918
00:56:38,880 --> 00:56:41,160
Speaker 1: really you bring us all a lot of joy.

919
00:56:42,239 --> 00:56:44,520
Speaker 2: Thank you, Thank you, and thanks for having thanks for

920
00:56:44,560 --> 00:56:47,520
Speaker 2: such a lad nurturing the conversation.

921
00:56:47,880 --> 00:56:50,960
Speaker 1: Thank you, Thank you for joining us. It means a

922
00:56:50,960 --> 00:56:51,160
Speaker 1: lot