1 00:00:01,760 --> 00:00:04,439 Speaker 1: And That's what You Really Missed with Jenna. 2 00:00:04,480 --> 00:00:07,119 Speaker 2: And Kevin an iHeartRadio podcast. 3 00:00:09,280 --> 00:00:12,720 Speaker 3: Welcome to and That's What You Really miss podcast. We 4 00:00:12,760 --> 00:00:16,000 Speaker 3: have a very special special guest today. It is the 5 00:00:16,200 --> 00:00:20,320 Speaker 3: one and the only Brad. 6 00:00:20,000 --> 00:00:24,959 Speaker 2: Ellis Brad the piano guy, but he's so much more. 7 00:00:26,000 --> 00:00:29,800 Speaker 2: Brad is fundamental, foundational to Glee. 8 00:00:30,240 --> 00:00:33,880 Speaker 3: He was there from the very beginning before we were Yes, 9 00:00:33,920 --> 00:00:37,800 Speaker 3: that's right, truly, and such a sweet man there from 10 00:00:37,800 --> 00:00:42,680 Speaker 3: the very beginning all the way until the end and 11 00:00:42,960 --> 00:00:44,080 Speaker 3: in between. 12 00:00:44,120 --> 00:00:46,440 Speaker 2: Held our hand in the beginning, got us through some 13 00:00:46,520 --> 00:00:48,040 Speaker 2: of that when we didn't know what was going on 14 00:00:48,080 --> 00:00:49,760 Speaker 2: and we all figured it out together. 15 00:00:50,200 --> 00:00:51,960 Speaker 3: You got to be with Brad a lot more than 16 00:00:52,000 --> 00:00:55,160 Speaker 3: I did in the audition process. But we'll talk about 17 00:00:55,160 --> 00:00:57,200 Speaker 3: it in the in the podcast. 18 00:00:57,600 --> 00:01:01,360 Speaker 2: But hind demand, this is Brad Alice. 19 00:01:01,640 --> 00:01:05,559 Speaker 3: Hi, Brad, Hello, so good to see you. 20 00:01:06,360 --> 00:01:06,800 Speaker 4: Brad. 21 00:01:07,840 --> 00:01:09,480 Speaker 2: I don't know if your ego needs it today, but 22 00:01:09,600 --> 00:01:14,160 Speaker 2: you are one of the most requested guests that people 23 00:01:14,319 --> 00:01:15,319 Speaker 2: keep asking for you. 24 00:01:16,000 --> 00:01:18,320 Speaker 4: I think that's wonderful. I've never understood that. I think 25 00:01:18,319 --> 00:01:19,039 Speaker 4: that's terrific. 26 00:01:20,080 --> 00:01:22,080 Speaker 2: Well, as people who know you and work with you, 27 00:01:22,120 --> 00:01:24,880 Speaker 2: we get it, Yes, we understand. 28 00:01:24,440 --> 00:01:30,000 Speaker 3: Everybody wants to hear from Brad very kind. Well, welcome 29 00:01:30,000 --> 00:01:32,479 Speaker 3: to the show. We're very excited to have you, as 30 00:01:32,520 --> 00:01:38,640 Speaker 3: well as our fans and listeners are. We just finished 31 00:01:38,720 --> 00:01:42,759 Speaker 3: the episode where you got to speak about the Glee 32 00:01:42,800 --> 00:01:48,000 Speaker 3: Club with such disdain and hatred for us. But it 33 00:01:48,080 --> 00:01:50,520 Speaker 3: was nice to hear you speak finally, But we want 34 00:01:50,520 --> 00:01:52,160 Speaker 3: to hear all about that. But we definitely want to 35 00:01:52,160 --> 00:01:56,640 Speaker 3: hear about how you actually got invited to be a 36 00:01:56,680 --> 00:01:58,640 Speaker 3: part of the show. Can you tell you, like take 37 00:01:58,720 --> 00:02:01,880 Speaker 3: us back to the beginning, what what that experience was 38 00:02:01,920 --> 00:02:02,280 Speaker 3: for you. 39 00:02:03,400 --> 00:02:09,520 Speaker 4: Yes, there's an amazing casting director, Robert Ulrich, who just 40 00:02:09,960 --> 00:02:12,240 Speaker 4: he absorbs who people are and figures out where they 41 00:02:12,320 --> 00:02:15,720 Speaker 4: need to go. He feels like it's when he meets 42 00:02:15,919 --> 00:02:19,840 Speaker 4: new talented people, he feels his responsibility to make them 43 00:02:19,919 --> 00:02:23,280 Speaker 4: land where they belong. You know which most casting agents are? 44 00:02:23,560 --> 00:02:26,320 Speaker 4: You know who can I find? Let me feel this right? 45 00:02:27,160 --> 00:02:28,680 Speaker 4: And as a matter of fact, he kind of helped 46 00:02:29,000 --> 00:02:32,600 Speaker 4: shape the show in certain ways, Like there was no 47 00:02:32,919 --> 00:02:38,320 Speaker 4: character for Chris Colfer in the original. So I've done 48 00:02:38,360 --> 00:02:43,359 Speaker 4: some musical stuff with Robert when he was casting anything musical. Uh, 49 00:02:43,639 --> 00:02:45,679 Speaker 4: he'd asked me to help and. 50 00:02:46,960 --> 00:02:47,080 Speaker 3: Uh. 51 00:02:47,400 --> 00:02:49,880 Speaker 4: I got Robert Ulrich through Eric Vitro, who you may 52 00:02:49,919 --> 00:02:50,440 Speaker 4: know as the. 53 00:02:50,800 --> 00:02:56,400 Speaker 2: Yes Yes vocal Coach, super vocal CoA everyone under. 54 00:02:57,360 --> 00:03:00,600 Speaker 4: You know she's about to do you know those things 55 00:03:00,639 --> 00:03:05,200 Speaker 4: called Masterclass. Yes, there's a British version BBC does called 56 00:03:05,320 --> 00:03:08,760 Speaker 4: Maestro or Maestro, and he's going to do one of those. 57 00:03:08,800 --> 00:03:11,000 Speaker 4: I'm going to play for him. It's going to be amazing. 58 00:03:11,560 --> 00:03:13,079 Speaker 2: No, I wish I. 59 00:03:13,040 --> 00:03:18,280 Speaker 4: Had more link information, but we're filming it in the 60 00:03:18,320 --> 00:03:18,840 Speaker 4: next week. 61 00:03:19,080 --> 00:03:20,040 Speaker 3: Oh incredible. 62 00:03:20,680 --> 00:03:22,240 Speaker 2: People need they are going to need to sign up 63 00:03:22,280 --> 00:03:26,120 Speaker 2: for that because yeah, he's just the absolute best and 64 00:03:26,160 --> 00:03:27,400 Speaker 2: the two of you together. 65 00:03:30,240 --> 00:03:33,440 Speaker 4: Well it'll be it'll be a little like it'll be 66 00:03:33,520 --> 00:03:35,360 Speaker 4: reminiscent of Glee for me because I'm going to do 67 00:03:35,400 --> 00:03:38,560 Speaker 4: my best not to speak very much because it's like 68 00:03:38,600 --> 00:03:41,800 Speaker 4: he's Eric, he doesn't need my help. And uh so 69 00:03:42,120 --> 00:03:44,120 Speaker 4: Eric got me involved with Robert and they got me 70 00:03:44,160 --> 00:03:48,440 Speaker 4: involved with Ryan and h I find you know there 71 00:03:48,480 --> 00:03:53,240 Speaker 4: we are amazingly talented people coming through. And Ryan is 72 00:03:53,320 --> 00:03:58,080 Speaker 4: a really interesting guy to audition for, right because first 73 00:03:58,080 --> 00:04:00,840 Speaker 4: of all, he'll find out something working and interesting and 74 00:04:00,920 --> 00:04:05,760 Speaker 4: unusual about you. And then when the actor gets the 75 00:04:05,800 --> 00:04:09,040 Speaker 4: first scene there in it's in that scene, right, you know, 76 00:04:09,680 --> 00:04:12,400 Speaker 4: like something weird the chord did in the auditions. I 77 00:04:12,400 --> 00:04:15,440 Speaker 4: can't remember what was the hook into hit who he Is? 78 00:04:15,840 --> 00:04:18,440 Speaker 4: And that became something that he did the first time 79 00:04:18,480 --> 00:04:21,320 Speaker 4: he was on the show. So it helped him, you know, 80 00:04:21,720 --> 00:04:26,880 Speaker 4: find his beat. And so I just it was really 81 00:04:26,960 --> 00:04:30,760 Speaker 4: fun working kind of elbow to elbow with Ryan, and yeah, 82 00:04:31,520 --> 00:04:35,200 Speaker 4: helping him because there's there's people like you who come in, 83 00:04:35,760 --> 00:04:39,320 Speaker 4: very experienced singers, also actors, and there were people who 84 00:04:39,400 --> 00:04:42,880 Speaker 4: came in like Corey, a very experienced actor, not a 85 00:04:43,000 --> 00:04:51,080 Speaker 4: very experienced singer, and I could help Ryan pull him out, 86 00:04:51,480 --> 00:04:54,080 Speaker 4: you know, although it wasn't so it wasn't so much 87 00:04:54,120 --> 00:04:55,960 Speaker 4: true with Corey, although I did get to work with 88 00:04:56,000 --> 00:04:58,880 Speaker 4: him later. His first audition had no singing. He sent 89 00:04:59,000 --> 00:05:04,320 Speaker 4: in a video where he's I'm on a table, that's right. Yeah. Yeah, 90 00:05:04,880 --> 00:05:12,760 Speaker 4: So we're doing uh studio auditions, network auditions. Uh. You know, 91 00:05:13,080 --> 00:05:15,560 Speaker 4: it's exciting being in the room almost to fly in 92 00:05:15,600 --> 00:05:19,120 Speaker 4: the wall sometimes and at one point I do a 93 00:05:19,200 --> 00:05:22,320 Speaker 4: terrible Ryan impression, but you'll get the inner him. He 94 00:05:22,360 --> 00:05:30,360 Speaker 4: looks at me, he goes get used to wearing black, right, 95 00:05:31,200 --> 00:05:34,640 Speaker 4: And I thought Okay, you know, maybe that'll help me 96 00:05:34,640 --> 00:05:37,280 Speaker 4: disappear while we're doing these auditions. And he was like, Nope, 97 00:05:38,080 --> 00:05:41,679 Speaker 4: not for the auditions, but when you're on the show. 98 00:05:42,920 --> 00:05:44,960 Speaker 4: And I thought, oh so not the auditions when. 99 00:05:44,800 --> 00:05:46,159 Speaker 3: I'm what yeah, what? 100 00:05:46,640 --> 00:05:47,080 Speaker 2: Oh wow? 101 00:05:48,320 --> 00:05:51,919 Speaker 4: And then I thought, oh, he he'd liked me there 102 00:05:52,000 --> 00:05:54,599 Speaker 4: because you know, maybe it's sort of comforting to have 103 00:05:54,680 --> 00:05:57,400 Speaker 4: someone you worked with when you were auditioning and I'll 104 00:05:57,440 --> 00:06:00,200 Speaker 4: be kind of relaxing presence. And his first note, first 105 00:06:00,200 --> 00:06:05,480 Speaker 4: thing we did, it was Kevin, you're singing, sit down, 106 00:06:05,520 --> 00:06:08,040 Speaker 4: You're rock in the boat. One of the my first things. 107 00:06:08,640 --> 00:06:12,320 Speaker 4: It's just amazing. And and we did kind of a 108 00:06:12,400 --> 00:06:17,800 Speaker 4: you know camera rehearstle and he says, you hate all 109 00:06:17,839 --> 00:06:24,200 Speaker 4: of them, you just spies them, and you hate Matthew 110 00:06:24,240 --> 00:06:26,240 Speaker 4: even more because you think you should have had his job. 111 00:06:29,240 --> 00:06:30,840 Speaker 4: So now I created that. 112 00:06:31,160 --> 00:06:34,200 Speaker 2: Yeah, from the very beginning he knew. 113 00:06:34,680 --> 00:06:38,719 Speaker 4: Yeah, yeah, And I remember like, so, you know, I'm 114 00:06:38,760 --> 00:06:41,839 Speaker 4: a musician. I've worked a lot with actors. I do 115 00:06:41,880 --> 00:06:44,160 Speaker 4: a lot of m seeing, but I'm not an actor. 116 00:06:44,360 --> 00:06:47,960 Speaker 4: You know. It's happened to me a bunch before where 117 00:06:48,000 --> 00:06:52,240 Speaker 4: they're like, you're here, here's some lines you know, but 118 00:06:52,320 --> 00:06:55,000 Speaker 4: I'm not an actor. You're just so charming and likable. 119 00:06:55,160 --> 00:06:57,680 Speaker 4: You know, sometimes you can't help it, got to get 120 00:06:57,720 --> 00:06:59,880 Speaker 4: you in front of a camera. But I remember the 121 00:07:00,240 --> 00:07:03,280 Speaker 4: first time I met Jane Lynch on set, first time 122 00:07:03,320 --> 00:07:05,839 Speaker 4: she came into the music room. I was running through 123 00:07:05,880 --> 00:07:07,919 Speaker 4: something with Matthew. I don't even know if it was 124 00:07:07,960 --> 00:07:09,520 Speaker 4: for the show. It might have been for we do 125 00:07:09,560 --> 00:07:13,160 Speaker 4: an outside show. And she looked at me playing the 126 00:07:13,160 --> 00:07:16,680 Speaker 4: piano for him, and she says, oh, oh, you play 127 00:07:16,720 --> 00:07:20,640 Speaker 4: the piano. I just assumed you were an actor who 128 00:07:20,680 --> 00:07:23,760 Speaker 4: pretended to play the piano, And I thought, no, I'm 129 00:07:23,760 --> 00:07:25,520 Speaker 4: a piano player who pretends to be an actor. 130 00:07:26,040 --> 00:07:26,400 Speaker 2: That's right. 131 00:07:26,600 --> 00:07:28,960 Speaker 3: She wasn't a part of the beginning process with us, 132 00:07:29,120 --> 00:07:32,600 Speaker 3: nor was she Uh did she probably have to audition 133 00:07:32,640 --> 00:07:36,280 Speaker 3: for the role anyway, so she wouldn't know that you were. 134 00:07:36,760 --> 00:07:38,640 Speaker 4: Yeah, he claimed if he couldn't get her, he wouldn't 135 00:07:38,680 --> 00:07:39,240 Speaker 4: have done the show. 136 00:07:39,880 --> 00:07:46,920 Speaker 2: Yeah, yeah, yeah, she was the household name then, you know, yeah, 137 00:07:45,800 --> 00:07:47,560 Speaker 2: she wasn't who. 138 00:07:47,440 --> 00:07:49,320 Speaker 4: Wants to be a millionaire or you know. 139 00:07:49,880 --> 00:07:55,480 Speaker 3: Right, Christopher guest actress? You know, yeah, yeah. 140 00:07:55,640 --> 00:07:59,480 Speaker 2: What's so unique is that you have such very few 141 00:07:59,480 --> 00:08:02,200 Speaker 2: people on that set had the perspective that you had 142 00:08:02,240 --> 00:08:06,880 Speaker 2: because you started at the very very beginning of the 143 00:08:06,920 --> 00:08:10,320 Speaker 2: casting process and so you saw not just all of 144 00:08:10,400 --> 00:08:14,920 Speaker 2: us audition because you were in the room for three 145 00:08:15,120 --> 00:08:18,440 Speaker 2: out of my four auditions. Well, and you helped. I 146 00:08:18,440 --> 00:08:22,560 Speaker 2: mean you helped me a lot because I my first audition, 147 00:08:22,680 --> 00:08:25,120 Speaker 2: I messed up. Let it be and it was just 148 00:08:25,160 --> 00:08:26,840 Speaker 2: me and Robert in the room. But the next one 149 00:08:26,840 --> 00:08:29,480 Speaker 2: they're like prepared two songs, so they had to show 150 00:08:29,560 --> 00:08:32,880 Speaker 2: up early. We came into the room in Ryan's office 151 00:08:32,880 --> 00:08:36,440 Speaker 2: at Paramount and I had that moment with you, which 152 00:08:36,480 --> 00:08:40,880 Speaker 2: is also very nerve wracking because you know, you're clearly 153 00:08:41,520 --> 00:08:44,440 Speaker 2: very professional experience, you know what you're doing, and I 154 00:08:44,480 --> 00:08:46,840 Speaker 2: was like, I don't feel like I can match this guy, 155 00:08:47,400 --> 00:08:51,520 Speaker 2: but you were so you know, going into audition is terrible, 156 00:08:52,600 --> 00:08:54,880 Speaker 2: lots of nerves, especially when you know you're going in 157 00:08:54,880 --> 00:08:57,679 Speaker 2: for a show that you like. It's something that they want, 158 00:08:57,720 --> 00:08:59,200 Speaker 2: it's all the things that you like to do. Yeah, 159 00:08:59,240 --> 00:09:02,200 Speaker 2: you want to do it. And you just put me 160 00:09:02,240 --> 00:09:05,880 Speaker 2: at ease because we went through the songs and you 161 00:09:05,920 --> 00:09:08,600 Speaker 2: were like, oh, you know what, let's just do this instead, 162 00:09:08,720 --> 00:09:11,000 Speaker 2: and like you made you simplified it for me. I 163 00:09:11,040 --> 00:09:13,720 Speaker 2: don't know if you could read the fear on my face, 164 00:09:14,360 --> 00:09:16,920 Speaker 2: but I remember we ended up only having to do 165 00:09:17,000 --> 00:09:21,520 Speaker 2: let it be. And I think I might have I 166 00:09:21,600 --> 00:09:23,280 Speaker 2: might have started to mess up again. And I looked 167 00:09:23,280 --> 00:09:25,640 Speaker 2: over at you and you were just like nodding, and 168 00:09:25,679 --> 00:09:27,560 Speaker 2: you just went with me, and I was like, Oh, 169 00:09:27,600 --> 00:09:31,080 Speaker 2: thank god. I was like, oh, this is great. And 170 00:09:32,040 --> 00:09:33,840 Speaker 2: what was that like for you though, to be able 171 00:09:33,840 --> 00:09:35,560 Speaker 2: to see all the different because you saw so many 172 00:09:35,559 --> 00:09:38,559 Speaker 2: different people auditioned for all the parts that we eventually 173 00:09:39,240 --> 00:09:43,520 Speaker 2: were lucky enough to get. Yeah, Like, are you normally 174 00:09:43,600 --> 00:09:45,760 Speaker 2: involved in that sort of process? Like do a casting 175 00:09:45,800 --> 00:09:47,520 Speaker 2: process often? 176 00:09:47,920 --> 00:09:53,160 Speaker 4: Often? And wow? Maybe it's uh because I don't like 177 00:09:53,200 --> 00:09:56,080 Speaker 4: to get beat up, you know. I don't like I 178 00:09:56,120 --> 00:09:59,079 Speaker 4: don't like situations where they're shouting. I don't like aggression, 179 00:10:00,800 --> 00:10:04,240 Speaker 4: which you know, Jenna, As a Broadway performer, you know 180 00:10:04,880 --> 00:10:08,840 Speaker 4: that the environment is sometimes hostile, not always, but there's 181 00:10:08,880 --> 00:10:13,520 Speaker 4: some you know, and I've never liked that about some 182 00:10:13,559 --> 00:10:17,640 Speaker 4: aspects of this profession where people get super aggressive. And 183 00:10:17,720 --> 00:10:20,959 Speaker 4: so I've been on the side of the table where 184 00:10:21,000 --> 00:10:23,600 Speaker 4: people are walking in for a Broadway show or an 185 00:10:23,640 --> 00:10:29,800 Speaker 4: off Broadway show, and they always feel almost always are terrified, 186 00:10:29,920 --> 00:10:34,040 Speaker 4: like these people are going to hate me. They have 187 00:10:34,120 --> 00:10:36,200 Speaker 4: the same reaction as if behind the table there were 188 00:10:36,600 --> 00:10:41,160 Speaker 4: three major producers and a live tiger without a leash. 189 00:10:41,760 --> 00:10:45,480 Speaker 4: And there's some truth to that. I mean, I've I've 190 00:10:45,480 --> 00:10:48,960 Speaker 4: been behind the table sometimes where people can be brutal. 191 00:10:49,400 --> 00:10:51,960 Speaker 4: You know, someone walks out and then they're laughing and 192 00:10:51,960 --> 00:10:54,440 Speaker 4: going can you believe they wore that? And I just 193 00:10:54,480 --> 00:10:57,280 Speaker 4: I hate that. But I've also been in many environments 194 00:10:57,320 --> 00:11:01,240 Speaker 4: where people are really super supportive. And Kevin, when you 195 00:11:01,240 --> 00:11:02,840 Speaker 4: said that, it meant a lot to me because that's 196 00:11:03,160 --> 00:11:05,760 Speaker 4: what I want to be, is supportive. To remind you 197 00:11:05,840 --> 00:11:08,760 Speaker 4: that to mind anyone on the tough side of the 198 00:11:08,800 --> 00:11:12,800 Speaker 4: table that they need you. The people on the table, 199 00:11:12,800 --> 00:11:15,320 Speaker 4: those producers, they need you. And you're walking in and 200 00:11:15,360 --> 00:11:18,080 Speaker 4: you're offering something. Here's something I can do. Will that 201 00:11:18,200 --> 00:11:21,040 Speaker 4: help you? You know? And if you can walk in 202 00:11:21,080 --> 00:11:23,000 Speaker 4: with that attitude, you can get rid of all of that, 203 00:11:23,880 --> 00:11:27,240 Speaker 4: the rest of that aggressive crap. So I'm a pianist. 204 00:11:27,280 --> 00:11:30,080 Speaker 4: I'm an accompanist by nature. That's support. I try to 205 00:11:30,080 --> 00:11:33,079 Speaker 4: extend that to We're just we're trying to find out 206 00:11:33,120 --> 00:11:35,720 Speaker 4: what makes you comfortable, what you're great at you know. 207 00:11:36,240 --> 00:11:39,000 Speaker 4: It's funny because in later auditions, once Glee was super 208 00:11:39,120 --> 00:11:44,120 Speaker 4: established and we were doing what would my space remember 209 00:11:44,200 --> 00:11:47,959 Speaker 4: my space? My Space competition, and I think some of 210 00:11:48,000 --> 00:11:50,840 Speaker 4: our actual performers ended up coming out of that process. Yeah, 211 00:11:51,040 --> 00:11:55,600 Speaker 4: of course the Glee project. But Ryan wants to find 212 00:11:55,600 --> 00:11:57,880 Speaker 4: out who you are and then write to it. Yes, 213 00:11:57,960 --> 00:12:01,240 Speaker 4: you know, And once it was established, everyone coming in 214 00:12:03,080 --> 00:12:06,360 Speaker 4: wanted to be someone in the cast. Specifically, they wanted 215 00:12:06,400 --> 00:12:10,200 Speaker 4: to show you you know, I could be a Rachel 216 00:12:10,600 --> 00:12:13,640 Speaker 4: you know, and it's like they have one of those 217 00:12:13,679 --> 00:12:20,319 Speaker 4: who are you? I mean it. Ryan cast brilliantly, and 218 00:12:20,760 --> 00:12:23,680 Speaker 4: so did Robert and yeah, I got to meet a 219 00:12:23,679 --> 00:12:26,040 Speaker 4: bunch of actual people, and Ryan would often pull that 220 00:12:26,120 --> 00:12:28,040 Speaker 4: out of them. You know. It was often the little 221 00:12:28,160 --> 00:12:30,240 Speaker 4: discussion time between what you're doing when you think, oh, 222 00:12:30,240 --> 00:12:33,240 Speaker 4: it doesn't matter right now. He's just asking a casual question. 223 00:12:33,440 --> 00:12:37,520 Speaker 4: It's how It's how Chris Kolfer's character got named because 224 00:12:37,559 --> 00:12:39,480 Speaker 4: he was sort of saying, are you like someone who 225 00:12:39,480 --> 00:12:41,640 Speaker 4: do sound of music? You know? He goes, yeah, I 226 00:12:41,720 --> 00:12:44,080 Speaker 4: just played I played Kurt and Sound of Music and 227 00:12:44,080 --> 00:12:46,680 Speaker 4: he goes like, you know, and as he's going, like 228 00:12:47,160 --> 00:12:51,040 Speaker 4: do you know what humble figurinesiety and there's like on 229 00:12:51,080 --> 00:12:53,960 Speaker 4: the spot the character was created and written. But yeah, no, 230 00:12:54,040 --> 00:12:58,520 Speaker 4: it was so exciting to be there because it was 231 00:12:58,559 --> 00:13:02,120 Speaker 4: a supportive kind of audition and if if an actor 232 00:13:02,240 --> 00:13:04,960 Speaker 4: is open to it, they want you just to be you. 233 00:13:05,600 --> 00:13:07,760 Speaker 2: Yeah, and it felt like you were an ally in 234 00:13:07,800 --> 00:13:10,600 Speaker 2: the room, you know. That second audition. It really went 235 00:13:10,640 --> 00:13:13,400 Speaker 2: from me and Robert in the first audition and the 236 00:13:13,440 --> 00:13:16,400 Speaker 2: second audition it looked like the Last Supper. Do you 237 00:13:16,400 --> 00:13:18,360 Speaker 2: remember it was like that long table at the end 238 00:13:18,400 --> 00:13:21,400 Speaker 2: of the room and it was everybody. There were like 239 00:13:21,440 --> 00:13:24,400 Speaker 2: fifteen people on the other side of the table and 240 00:13:24,440 --> 00:13:26,760 Speaker 2: so and the next time when we did Studio network tests, 241 00:13:26,760 --> 00:13:29,520 Speaker 2: it went to like thirty people. So it just kept doubling. 242 00:13:30,280 --> 00:13:33,080 Speaker 2: And it felt like because of our little five minute 243 00:13:33,080 --> 00:13:36,520 Speaker 2: interaction of rehearsal or run through before, it was like, 244 00:13:36,640 --> 00:13:39,120 Speaker 2: I know, to my right he may be out of 245 00:13:39,360 --> 00:13:42,000 Speaker 2: like eyesight, you know, but I know I sort of 246 00:13:42,040 --> 00:13:46,440 Speaker 2: have this person who is there to help me. And 247 00:13:46,520 --> 00:13:48,439 Speaker 2: it made me feel a little more you know, grounded 248 00:13:48,440 --> 00:13:52,679 Speaker 2: and centered in the middle of that very intimidating process. 249 00:13:52,920 --> 00:13:56,360 Speaker 4: Yeah, secretly, I always wanted it for you, so I 250 00:13:56,400 --> 00:13:57,440 Speaker 4: tanked everybody else. 251 00:13:58,320 --> 00:14:01,240 Speaker 2: Thank you so much. I really that's what I need. 252 00:14:01,320 --> 00:14:08,400 Speaker 4: Here's the t raised the key. You'll never be an actor, never. 253 00:14:10,800 --> 00:14:11,040 Speaker 2: See. 254 00:14:11,040 --> 00:14:15,199 Speaker 3: That's the type of support I need, exactly. Brad there 255 00:14:15,240 --> 00:14:15,840 Speaker 3: all the time. 256 00:14:17,400 --> 00:14:21,000 Speaker 2: So we talk a lot about in the very beginning 257 00:14:21,000 --> 00:14:24,000 Speaker 2: of the pilot, the four of us, Jenna, myself, Amber 258 00:14:24,080 --> 00:14:29,520 Speaker 2: and Chris had this song rehearsal period where we spent 259 00:14:29,560 --> 00:14:33,880 Speaker 2: a lot of time with you and with Zach Woodley, 260 00:14:34,760 --> 00:14:38,920 Speaker 2: and actually that was basically it. You're sort of going 261 00:14:38,960 --> 00:14:42,120 Speaker 2: between the two of you and and Adamanders would pop 262 00:14:42,120 --> 00:14:44,360 Speaker 2: in every once in a while, but we were all 263 00:14:44,400 --> 00:14:47,680 Speaker 2: sort of figuring out what was the deal, like what 264 00:14:47,720 --> 00:14:51,960 Speaker 2: are we doing? Are we singing? What songs are we singing? 265 00:14:52,320 --> 00:14:53,960 Speaker 2: But it was sort of like a really nice getting 266 00:14:54,000 --> 00:14:57,160 Speaker 2: to know you period going into it. What was that 267 00:14:58,200 --> 00:15:00,880 Speaker 2: you because you were involved in that and so do 268 00:15:00,920 --> 00:15:03,280 Speaker 2: you remember what you were originally a task at for 269 00:15:04,440 --> 00:15:04,920 Speaker 2: that time? 270 00:15:05,320 --> 00:15:07,760 Speaker 4: Oh, it was all pretty nebulous, you know. And it's 271 00:15:07,760 --> 00:15:12,280 Speaker 4: sort of like Ryan wanted to do the pilot kind 272 00:15:12,320 --> 00:15:14,720 Speaker 4: of like a feature film, you know. The process was 273 00:15:14,760 --> 00:15:18,480 Speaker 4: way different for the pilot for everything else. And because 274 00:15:18,520 --> 00:15:20,280 Speaker 4: of that, he also wanted to be kind of like 275 00:15:20,680 --> 00:15:23,520 Speaker 4: a Broadway show that had been transferred. You know, remember 276 00:15:23,560 --> 00:15:29,680 Speaker 4: we had a big chorus line number one. Yeah. By 277 00:15:29,720 --> 00:15:31,080 Speaker 4: the way, before I forget, I did want to say 278 00:15:31,080 --> 00:15:33,800 Speaker 4: one of the greatest things about Jenna's audition on tape 279 00:15:35,080 --> 00:15:37,000 Speaker 4: was you sang from Once on This Island, which you 280 00:15:37,080 --> 00:15:41,880 Speaker 4: ended up producing. That's right, and it was wonderful. It 281 00:15:41,920 --> 00:15:45,160 Speaker 4: was great. You sang terrifically. You understood the song and 282 00:15:45,440 --> 00:15:48,720 Speaker 4: the show that it was from the character, and then 283 00:15:48,760 --> 00:15:51,680 Speaker 4: at the very end you sort of had a shy 284 00:15:51,720 --> 00:15:55,320 Speaker 4: little disappear laugh, you know what I mean. And you 285 00:15:55,400 --> 00:15:57,560 Speaker 4: didn't edit that out. And I thought, first of all, 286 00:15:57,880 --> 00:16:02,000 Speaker 4: Ryan will love that he's seeing you. And the second 287 00:16:02,040 --> 00:16:04,320 Speaker 4: thing I thought is and she may be a genius 288 00:16:04,320 --> 00:16:05,520 Speaker 4: and left that in on purpose. 289 00:16:08,160 --> 00:16:11,080 Speaker 3: Well, thank you for that. I'm not a genius. That 290 00:16:11,200 --> 00:16:14,040 Speaker 3: actually was in the casting room, so it wasn't a 291 00:16:14,080 --> 00:16:17,120 Speaker 3: self submission. It was I was in the room with 292 00:16:17,160 --> 00:16:23,960 Speaker 3: the casting director a different accompanist in New York, and Ryan, Dante, 293 00:16:24,960 --> 00:16:27,200 Speaker 3: Mike and Ian were all there. 294 00:16:28,160 --> 00:16:31,320 Speaker 4: Oh okay, So that's the laugh was. 295 00:16:31,360 --> 00:16:35,200 Speaker 3: Me probably being uncomfortable after singing, and there's the last 296 00:16:35,200 --> 00:16:36,200 Speaker 3: supper in front of me. 297 00:16:37,000 --> 00:16:39,760 Speaker 4: Yeah, you go, But that's that's the moment. Ryan goes, 298 00:16:40,400 --> 00:16:41,040 Speaker 4: that's the one. 299 00:16:41,160 --> 00:16:45,480 Speaker 3: Yeah, exactly. Well don't how many lines in the pilot either, 300 00:16:45,640 --> 00:16:47,480 Speaker 3: So he's like, I don't know who this girl is, 301 00:16:48,480 --> 00:16:48,680 Speaker 3: you know. 302 00:16:49,520 --> 00:16:51,160 Speaker 4: Yeah, he took a while to find it. 303 00:16:51,240 --> 00:16:55,760 Speaker 2: Yeah, yeah, yeah, lesson though. That's such a I feel like, Brad, 304 00:16:55,840 --> 00:16:59,840 Speaker 2: that's a very for any like aspiring actors performers out there. 305 00:17:00,400 --> 00:17:02,560 Speaker 2: There's always like if you go to acting class or anything, 306 00:17:02,600 --> 00:17:05,880 Speaker 2: that there's a lot of like put yourself into the role, 307 00:17:06,880 --> 00:17:08,679 Speaker 2: not to play everything the same or be yourself, but 308 00:17:09,080 --> 00:17:11,879 Speaker 2: those little things, when you have people like Ryan on 309 00:17:11,920 --> 00:17:15,360 Speaker 2: the other side of the table, they're able to now 310 00:17:15,520 --> 00:17:19,040 Speaker 2: see what this character is on two feet and realize 311 00:17:19,080 --> 00:17:22,400 Speaker 2: in three D, and like those tiny little things paint 312 00:17:22,440 --> 00:17:25,160 Speaker 2: a picture because you know, when they're going in they're like, well, 313 00:17:25,160 --> 00:17:26,399 Speaker 2: we have it in black and white. I have it 314 00:17:26,440 --> 00:17:28,560 Speaker 2: in my head. And then you have Jenna standing in 315 00:17:28,560 --> 00:17:31,439 Speaker 2: front of you and this sings her face off and 316 00:17:31,480 --> 00:17:34,400 Speaker 2: does this little giggle. You're like, that's Tina there. 317 00:17:34,320 --> 00:17:38,080 Speaker 4: You go, yeah, yeah, help create the character. I also 318 00:17:38,200 --> 00:17:41,320 Speaker 4: like to tell people in auditions and especially video auditions, 319 00:17:43,240 --> 00:17:47,160 Speaker 4: you can make a ninety second tape or shorter thirteen 320 00:17:47,240 --> 00:17:50,800 Speaker 4: separate auditions. You can as you slate, you can be 321 00:17:51,000 --> 00:17:53,840 Speaker 4: specifically different than as you go into character. We see 322 00:17:53,840 --> 00:17:58,719 Speaker 4: that you've made a transition in a show. If you're singing, 323 00:17:59,560 --> 00:18:03,680 Speaker 4: let them hear you from ragtime. It's kind of monolithic. 324 00:18:04,119 --> 00:18:07,280 Speaker 4: You're one place the whole time. But when you're auditioning, 325 00:18:07,320 --> 00:18:11,239 Speaker 4: it's okay for it to be twelve different moments. You 326 00:18:11,320 --> 00:18:13,719 Speaker 4: start with doubt and you build with strength. And then 327 00:18:13,720 --> 00:18:16,359 Speaker 4: another great thing, and I'm sorry to digress a little. 328 00:18:16,400 --> 00:18:21,120 Speaker 4: A great thing about video auditions is you control your 329 00:18:21,160 --> 00:18:23,520 Speaker 4: own cinematography, and that you have a bunch of shots 330 00:18:23,840 --> 00:18:26,160 Speaker 4: you have to quiet close up, you know what I mean, 331 00:18:26,840 --> 00:18:30,360 Speaker 4: farther back and you know you and I always tell 332 00:18:30,359 --> 00:18:32,480 Speaker 4: people who like themselves more from one side than the other, 333 00:18:32,680 --> 00:18:34,359 Speaker 4: so that when they're in doubt they can go to 334 00:18:34,359 --> 00:18:36,080 Speaker 4: the darkness, and when they realize where it is, they 335 00:18:36,119 --> 00:18:37,320 Speaker 4: can go to the light. You know what I mean. 336 00:18:37,480 --> 00:18:40,800 Speaker 4: If you create a bunch of different moments, you get 337 00:18:41,000 --> 00:18:43,000 Speaker 4: ten times as many auditions as other people get. 338 00:18:43,200 --> 00:18:44,560 Speaker 2: Yeah, wow, it. 339 00:18:44,560 --> 00:18:47,119 Speaker 4: Just got off track, didn't I No, that's great. 340 00:18:48,240 --> 00:18:49,640 Speaker 2: I'm writing this down for myself. 341 00:18:50,440 --> 00:18:52,159 Speaker 4: Lean towards your dark side. Now there you got it. 342 00:18:52,240 --> 00:18:56,879 Speaker 3: Yeah, we have a lot of performers listening, so I'm 343 00:18:56,960 --> 00:18:58,399 Speaker 3: sure they appreciate all of this. 344 00:18:58,840 --> 00:19:01,080 Speaker 4: So there we were in what was it called kit 345 00:19:01,160 --> 00:19:03,200 Speaker 4: Cat Studios or something like a big. 346 00:19:04,840 --> 00:19:07,400 Speaker 3: It was. It was in Hollywood, right like. 347 00:19:07,400 --> 00:19:09,359 Speaker 4: Your gower maybe or exactly. 348 00:19:09,440 --> 00:19:10,440 Speaker 2: It was near that Denny's. 349 00:19:10,600 --> 00:19:13,639 Speaker 4: Yes, yeah, yes, that's right. And I went ahead and 350 00:19:13,760 --> 00:19:16,160 Speaker 4: I went after that's right. 351 00:19:16,240 --> 00:19:18,439 Speaker 2: Yeah, you treated us to Denny's. It was very sweet. 352 00:19:19,040 --> 00:19:21,960 Speaker 4: Yeah, yeah, that's right. I remember all of that. But yeah, 353 00:19:22,000 --> 00:19:25,040 Speaker 4: I love that space because that was like a Grand 354 00:19:25,119 --> 00:19:28,080 Speaker 4: Broadway rehearsal space. You know, you can roll the piano 355 00:19:28,119 --> 00:19:31,840 Speaker 4: wherever you want. And one of my great memories of 356 00:19:31,920 --> 00:19:36,119 Speaker 4: that is the woman who went on to meet to 357 00:19:36,240 --> 00:19:41,400 Speaker 4: win Dancing with the Stars walked in bound a chair 358 00:19:41,440 --> 00:19:44,920 Speaker 4: and said, oh no, I don't dance, Come over something 359 00:19:44,920 --> 00:19:48,000 Speaker 4: else for me to do. Amber. Amber came in with 360 00:19:48,040 --> 00:19:50,520 Speaker 4: her own retinue by the way, with her family members. 361 00:19:51,040 --> 00:19:53,359 Speaker 3: Yes, yes, exactly exactly. 362 00:19:54,000 --> 00:19:56,120 Speaker 4: She's nineteen. I think, I don't know, and she went 363 00:19:56,160 --> 00:19:59,239 Speaker 4: to there was sort of like, I hope you can 364 00:19:59,280 --> 00:20:01,240 Speaker 4: find something for me do because I don't dance. 365 00:20:02,560 --> 00:20:03,760 Speaker 2: That's so funny. 366 00:20:03,880 --> 00:20:05,560 Speaker 3: I give her the most growth in. 367 00:20:07,040 --> 00:20:10,280 Speaker 4: Yes, O my god as an actress. I mean, did 368 00:20:10,320 --> 00:20:12,600 Speaker 4: you guys ever see her dream Girls in London? 369 00:20:12,960 --> 00:20:15,880 Speaker 3: I did? Yes, she was astounding. 370 00:20:16,640 --> 00:20:19,840 Speaker 4: That's it. That's a show that is all on the 371 00:20:19,920 --> 00:20:24,919 Speaker 4: shoulders of the star. It's you can be called starring 372 00:20:24,920 --> 00:20:27,280 Speaker 4: in a Broadway show and being kind of an ensemble, 373 00:20:27,320 --> 00:20:31,000 Speaker 4: but there are roles like Mama Rose or or or 374 00:20:31,080 --> 00:20:35,920 Speaker 4: Funny Girl or or dream Girls where it's you. Yes, 375 00:20:36,240 --> 00:20:41,840 Speaker 4: she carried that show. Her first scenes in Glee, Ryan 376 00:20:41,880 --> 00:20:43,680 Speaker 4: would be careful to have a cutaway to a to 377 00:20:43,840 --> 00:20:47,360 Speaker 4: a more experienced actor so that whatever she gave them 378 00:20:47,840 --> 00:20:49,359 Speaker 4: you'd see it on their face as if it had 379 00:20:49,400 --> 00:20:51,680 Speaker 4: been there, you know what I mean. And then before 380 00:20:51,680 --> 00:20:55,480 Speaker 4: the first season is over, she could carry complete scenes totally. 381 00:20:56,000 --> 00:20:59,760 Speaker 4: You know. Now she can take over the world. 382 00:21:00,840 --> 00:21:03,320 Speaker 3: We were just texting her for this this morning. She's like, 383 00:21:03,359 --> 00:21:07,040 Speaker 3: I'm sorry, who is this new phone? Just kidding, She's like, 384 00:21:07,320 --> 00:21:10,160 Speaker 3: let me block them. 385 00:21:10,840 --> 00:21:14,080 Speaker 2: You remember that, right, I mean, oh yeah, oh yeah. 386 00:21:14,240 --> 00:21:16,399 Speaker 2: We were just talking before you hopped on. Jenna was 387 00:21:16,400 --> 00:21:20,720 Speaker 2: saying how we worked on Don't Stop Believing the dos 388 00:21:20,880 --> 00:21:23,080 Speaker 2: and like breaking down the parts for us to actually 389 00:21:23,119 --> 00:21:25,639 Speaker 2: do as if we were going to really sing it. 390 00:21:25,880 --> 00:21:30,160 Speaker 4: Yeah, yeah, which which you were able to do which yeah. 391 00:21:30,280 --> 00:21:31,920 Speaker 4: It was like it's going to be a Broadway show, 392 00:21:32,000 --> 00:21:34,400 Speaker 4: I think, And we retained that enough that I think 393 00:21:34,440 --> 00:21:38,080 Speaker 4: for the Foreign Press Association, uh gig that you know, 394 00:21:38,400 --> 00:21:40,960 Speaker 4: when they came and sought didn't we do that number? 395 00:21:40,960 --> 00:21:43,040 Speaker 4: And we just kind of reviewed the bass or am 396 00:21:43,080 --> 00:21:44,359 Speaker 4: I conflating a couple of things? 397 00:21:46,040 --> 00:21:49,600 Speaker 3: Your remember is probably better than ours, to be honest. 398 00:21:49,240 --> 00:21:52,040 Speaker 2: It did help them with the lip singing, because that 399 00:21:52,240 --> 00:21:55,320 Speaker 2: was our first experience doing all of that and doing 400 00:21:55,320 --> 00:21:58,480 Speaker 2: all these complicated backgrounds that weren't just you know, the melody. 401 00:21:59,240 --> 00:22:01,840 Speaker 2: And I think the only reason I knew how to 402 00:22:01,880 --> 00:22:03,600 Speaker 2: do any of that was because we had spent days 403 00:22:03,920 --> 00:22:07,320 Speaker 2: learning the real backgrounds to don't stop Believing and doing 404 00:22:07,720 --> 00:22:10,080 Speaker 2: sit Down, you Rock in the boat. You also, luckily 405 00:22:10,119 --> 00:22:12,439 Speaker 2: selfishly for all of us, you have all of us 406 00:22:12,440 --> 00:22:15,439 Speaker 2: go around the room and sing our audition songs, and 407 00:22:15,440 --> 00:22:18,040 Speaker 2: so that was also such a wonderful way for all 408 00:22:18,080 --> 00:22:20,480 Speaker 2: of us to see each other's and hear each other's talent, 409 00:22:21,320 --> 00:22:23,479 Speaker 2: which is what I remember the most from that period. 410 00:22:24,280 --> 00:22:28,760 Speaker 4: I had totally forgotten that and it was one of 411 00:22:28,800 --> 00:22:31,400 Speaker 4: those it was a moment where because I also think 412 00:22:32,040 --> 00:22:34,720 Speaker 4: because of a miscommunication about what we were supposed to 413 00:22:34,720 --> 00:22:39,399 Speaker 4: do next, there would otherwise have been dead air. Yes, 414 00:22:39,640 --> 00:22:42,960 Speaker 4: this is amazing, Well it might be sort of like Dante, 415 00:22:43,040 --> 00:22:45,160 Speaker 4: who would frequently did this to me in the first 416 00:22:45,200 --> 00:22:48,760 Speaker 4: three seasons, would sometimes say, so you got something you 417 00:22:48,800 --> 00:22:53,840 Speaker 4: know like that, like the show with the great Beyonce song, 418 00:22:54,080 --> 00:22:57,600 Speaker 4: We couldn't use it another time in the show without 419 00:22:57,640 --> 00:22:59,520 Speaker 4: paying more money. So he said, so, have you've written 420 00:22:59,520 --> 00:23:01,920 Speaker 4: some dance music we could use here? And I said, 421 00:23:02,000 --> 00:23:05,040 Speaker 4: as a Broadway person is trained to do, yes, I have. 422 00:23:06,200 --> 00:23:07,760 Speaker 4: And it goes like this, and I go to the 423 00:23:08,080 --> 00:23:11,040 Speaker 4: you know, but yes, But I think Dante said, we 424 00:23:11,560 --> 00:23:13,399 Speaker 4: lost the rights. We haven't gotten rights to what we 425 00:23:13,400 --> 00:23:16,520 Speaker 4: were supposed to start working on. Now what can we 426 00:23:16,520 --> 00:23:18,320 Speaker 4: do with this time? And that's why I came up? 427 00:23:18,440 --> 00:23:19,280 Speaker 4: And that worked out great? 428 00:23:19,560 --> 00:23:20,040 Speaker 3: Right it did? 429 00:23:20,200 --> 00:23:20,840 Speaker 2: Yeah, it did. 430 00:23:29,160 --> 00:23:31,080 Speaker 3: So Ryan told you you were going to be wearing 431 00:23:31,080 --> 00:23:33,439 Speaker 3: black and in the show, and so you were in. 432 00:23:33,680 --> 00:23:35,479 Speaker 3: You found out you were going to be in the 433 00:23:35,520 --> 00:23:39,920 Speaker 3: show and in the pilot. How did the rest transpire? 434 00:23:40,280 --> 00:23:43,320 Speaker 3: Did you get a contract? Where was it week by week? 435 00:23:43,400 --> 00:23:45,159 Speaker 3: And then you kind of learned that you were going 436 00:23:45,200 --> 00:23:47,200 Speaker 3: to be there? How did that happen for you? 437 00:23:48,119 --> 00:23:56,040 Speaker 4: Well, two different unions are involved, Musicians Union and uh AFA, 438 00:23:56,119 --> 00:24:00,359 Speaker 4: which at the time was Sage, not after. And I 439 00:24:00,400 --> 00:24:03,359 Speaker 4: had to join after to do two weeks of the 440 00:24:03,359 --> 00:24:05,639 Speaker 4: Glee project before they were joined, and I wouldn't have 441 00:24:05,640 --> 00:24:09,080 Speaker 4: had to. So yeah, so that's fifteen hundred dollars. I regret, no, 442 00:24:09,320 --> 00:24:14,399 Speaker 4: but but no. And I felt guilty sometimes because like 443 00:24:14,720 --> 00:24:18,280 Speaker 4: every once in a while, we're doing like that dance 444 00:24:18,359 --> 00:24:20,960 Speaker 4: thing I just mentioned, I'd written it, so I'm you know, 445 00:24:22,520 --> 00:24:28,399 Speaker 4: I get that piece and I'm there as a musician, 446 00:24:29,560 --> 00:24:33,119 Speaker 4: and we recorded it live on the date, so there's 447 00:24:33,200 --> 00:24:35,760 Speaker 4: two musicians, one the guy on camera and the other 448 00:24:36,480 --> 00:24:41,800 Speaker 4: the you know, the decession of musician if you will. 449 00:24:42,080 --> 00:24:45,720 Speaker 4: And then then I was there as a fifth guy 450 00:24:46,280 --> 00:24:50,199 Speaker 4: who is because there was some close up of my 451 00:24:50,320 --> 00:24:53,680 Speaker 4: hands or especially whenever they go by my face that 452 00:24:53,800 --> 00:24:59,800 Speaker 4: counts as after lines. It's like, it doesn't didn't matter 453 00:24:59,800 --> 00:25:02,919 Speaker 4: if I can't speak out loud, if it was in 454 00:25:03,000 --> 00:25:05,520 Speaker 4: some way something an actor would do, and an actor 455 00:25:05,560 --> 00:25:07,800 Speaker 4: would do it better night did it, but it would 456 00:25:07,840 --> 00:25:10,560 Speaker 4: be And I think, like I've just had five days 457 00:25:10,560 --> 00:25:13,320 Speaker 4: of work. It really doesn't That doesn't seem right, but 458 00:25:13,359 --> 00:25:18,960 Speaker 4: I'll take it. It's you know, yeah, but so yeah, 459 00:25:19,000 --> 00:25:23,359 Speaker 4: amazing when it says, you know, whenever my name was 460 00:25:23,400 --> 00:25:25,720 Speaker 4: mentioned in the script, it was definitely on. 461 00:25:26,080 --> 00:25:30,760 Speaker 3: After And then did you so like each episode, did 462 00:25:30,760 --> 00:25:33,800 Speaker 3: you get a script? Was it like Brad in the 463 00:25:33,840 --> 00:25:35,960 Speaker 3: script and then you knew you were going to be 464 00:25:36,119 --> 00:25:38,040 Speaker 3: there or did they say, like, you're going to do 465 00:25:38,240 --> 00:25:39,600 Speaker 3: twenty two episodes. 466 00:25:40,760 --> 00:25:42,920 Speaker 4: My understanding was that, yeah, it was going to be 467 00:25:42,960 --> 00:25:45,119 Speaker 4: there for the season, you know, after we've done the pilot. 468 00:25:46,320 --> 00:25:49,920 Speaker 4: And but I don't think you know, I don't think 469 00:25:49,960 --> 00:25:54,080 Speaker 4: I had a no, like, they could have dumped me. 470 00:25:54,119 --> 00:25:55,200 Speaker 4: I could have left at any. 471 00:25:55,000 --> 00:25:56,160 Speaker 2: Time, got it? 472 00:25:56,960 --> 00:25:57,399 Speaker 3: Got it? 473 00:25:57,440 --> 00:25:59,000 Speaker 4: Why would I? And why would they? 474 00:25:59,200 --> 00:25:59,440 Speaker 1: Yeah? 475 00:25:59,600 --> 00:26:02,080 Speaker 2: Sure surely had a bit of a different relationship with them, 476 00:26:02,080 --> 00:26:04,040 Speaker 2: because we've talked to you know, a lot of the 477 00:26:04,160 --> 00:26:06,040 Speaker 2: people come on from the Glee project or people who 478 00:26:06,040 --> 00:26:09,400 Speaker 2: are just technically, you know, on paper guest stars, even 479 00:26:09,400 --> 00:26:11,879 Speaker 2: though they were in so many episodes, right, they just 480 00:26:11,880 --> 00:26:13,960 Speaker 2: didn't know if they were coming back from episode to episode. 481 00:26:14,040 --> 00:26:18,000 Speaker 2: But you knew the guys up top, you started in 482 00:26:18,000 --> 00:26:21,280 Speaker 2: the very beginning, You knew the very innermost workings of 483 00:26:21,359 --> 00:26:23,119 Speaker 2: the show. So it was a bit of a different 484 00:26:23,160 --> 00:26:27,399 Speaker 2: relationship that you had and understanding of your part in 485 00:26:27,480 --> 00:26:27,840 Speaker 2: the show. 486 00:26:28,880 --> 00:26:31,280 Speaker 4: Yeah, and I was able to sort of finesse time 487 00:26:31,320 --> 00:26:36,359 Speaker 4: that I needed for other projects, because at first times 488 00:26:36,359 --> 00:26:37,920 Speaker 4: when it was conflicted should I be on the cet 489 00:26:37,960 --> 00:26:39,880 Speaker 4: or should I be doing this other thing? The other 490 00:26:39,960 --> 00:26:43,680 Speaker 4: thing was related to Glee, it was playing for someone 491 00:26:43,760 --> 00:26:46,640 Speaker 4: at an event or or or stuff like that. So 492 00:26:47,240 --> 00:26:49,600 Speaker 4: then they're you know, then it's their choice and I'll 493 00:26:49,600 --> 00:26:50,960 Speaker 4: go whichever way they want. 494 00:26:50,720 --> 00:26:52,639 Speaker 3: Me, you know, got it. 495 00:26:54,359 --> 00:26:59,199 Speaker 4: Then then as Matthew Morrison and I started doing gigs 496 00:26:59,200 --> 00:27:02,199 Speaker 4: with a band and with orchestra on the weekends and 497 00:27:02,200 --> 00:27:04,399 Speaker 4: so forth, there'd be a thing where like I'd have 498 00:27:04,440 --> 00:27:06,359 Speaker 4: to leave the day before him, so I rehearse the 499 00:27:06,480 --> 00:27:10,359 Speaker 4: orchestra and with him helping me request it and called like, 500 00:27:10,359 --> 00:27:14,040 Speaker 4: oh okay, yeah, no, that's that's fine. We don't It's 501 00:27:14,080 --> 00:27:17,000 Speaker 4: not like there's many points in the show where if 502 00:27:17,040 --> 00:27:19,480 Speaker 4: you had removed me, the show would have fallen apart, 503 00:27:20,880 --> 00:27:24,160 Speaker 4: you know. And then there was one moment, well, Eric 504 00:27:24,200 --> 00:27:26,840 Speaker 4: Stoltz wanted a specific thing. No, it wasn't Eric, it 505 00:27:26,920 --> 00:27:31,720 Speaker 4: was that great choreographer who became Adam No, but it 506 00:27:31,840 --> 00:27:37,200 Speaker 4: was there's one of our fine directors was also directed 507 00:27:37,200 --> 00:27:38,879 Speaker 4: with Ryan on Eat, Pray Love. He did all the 508 00:27:38,920 --> 00:27:41,640 Speaker 4: location shots. He's a great cinematographer guy that he came 509 00:27:41,640 --> 00:27:44,160 Speaker 4: from me. That's what No Adams school through. But anyway, 510 00:27:44,320 --> 00:27:47,080 Speaker 4: he wanted me, and he really wanted me in a 511 00:27:47,119 --> 00:27:48,560 Speaker 4: shot and I was going to be gone that day. 512 00:27:48,760 --> 00:27:53,480 Speaker 4: And it's taken from another episode, an outtake from another episode. 513 00:27:53,760 --> 00:27:59,480 Speaker 3: So wow. 514 00:28:00,040 --> 00:28:02,199 Speaker 4: But yeah, So then with the Matthew things, they'd make 515 00:28:02,240 --> 00:28:04,960 Speaker 4: a little space for that, and then on a couple 516 00:28:04,960 --> 00:28:07,320 Speaker 4: of things that sort of you know, I do a 517 00:28:07,320 --> 00:28:10,639 Speaker 4: lot for Donate Life and Donate Life Hollywood. I'm a 518 00:28:10,760 --> 00:28:15,000 Speaker 4: two time heart transplant recipient as well as a kidney transplant. 519 00:28:15,000 --> 00:28:18,080 Speaker 4: Now I'm very hard to kill. I made out of legos, 520 00:28:19,119 --> 00:28:20,960 Speaker 4: and so I really wanted to do one of those events. 521 00:28:21,000 --> 00:28:24,240 Speaker 4: I was going to Washington to speak to all of 522 00:28:24,240 --> 00:28:28,640 Speaker 4: these transplant workers, doctors versus credible. I wanted that day off, 523 00:28:29,720 --> 00:28:33,080 Speaker 4: and so I brought it up without mentioning that it 524 00:28:33,119 --> 00:28:37,159 Speaker 4: wasn't a Glee related event. I just said, if I'm 525 00:28:37,200 --> 00:28:41,160 Speaker 4: not needed next Friday, that will work out well. And 526 00:28:41,920 --> 00:28:44,920 Speaker 4: either I had enough cachet that that was fine, or 527 00:28:45,240 --> 00:28:47,480 Speaker 4: they just assumed I was doing some gig with Matthew. 528 00:28:48,080 --> 00:28:49,040 Speaker 4: I didn't bring it up. 529 00:28:49,640 --> 00:28:55,400 Speaker 5: Yeah, they say, yes, did you get chet music for 530 00:28:55,520 --> 00:28:58,200 Speaker 5: the music that we were the songs we were doing, 531 00:28:58,280 --> 00:29:00,280 Speaker 5: or did you have to improvise. 532 00:29:02,280 --> 00:29:06,520 Speaker 4: Let's see, Uh, virtually never sheet music. You know, I 533 00:29:06,560 --> 00:29:09,840 Speaker 4: generated sheet music like for when you know, like Don't 534 00:29:09,840 --> 00:29:12,520 Speaker 4: Stop Believing and stuff like that, when you're working like 535 00:29:12,560 --> 00:29:16,880 Speaker 4: a feature film and not like you know, a iTunes factory. 536 00:29:17,680 --> 00:29:18,160 Speaker 3: Exactly. 537 00:29:18,800 --> 00:29:24,160 Speaker 4: Amazing. No, Sometimes I would generate parts, or so would 538 00:29:25,560 --> 00:29:28,240 Speaker 4: Christine Day's husband would generate parts to make it easier 539 00:29:28,600 --> 00:29:31,280 Speaker 4: to drum synk and bass sync. 540 00:29:32,800 --> 00:29:35,320 Speaker 3: Wow, but wow. 541 00:29:35,520 --> 00:29:37,520 Speaker 4: No, if I hadn't been involved with recording, I'd get 542 00:29:37,520 --> 00:29:40,080 Speaker 4: the recording and I just absorb it and do what 543 00:29:40,120 --> 00:29:40,440 Speaker 4: it does. 544 00:29:42,880 --> 00:29:45,520 Speaker 3: I always thought it was so funny when they would randomly, 545 00:29:45,760 --> 00:29:48,680 Speaker 3: and you mentioned this in your monologue of like how 546 00:29:48,720 --> 00:29:50,720 Speaker 3: you're just supposed to they say, hit it, and you're 547 00:29:50,760 --> 00:29:54,360 Speaker 3: supposed to know what song? Do you think that Bradon 548 00:29:54,680 --> 00:29:58,640 Speaker 3: just knew every song there ever was and he had magic? 549 00:30:00,320 --> 00:30:02,640 Speaker 4: Well? Yeah, I think that's a great Ryan moment where 550 00:30:03,000 --> 00:30:05,320 Speaker 4: there's something that people have pointed out just doesn't make 551 00:30:05,400 --> 00:30:08,040 Speaker 4: sense in reality. That's part of the hyperreality of the show. 552 00:30:08,680 --> 00:30:12,160 Speaker 4: So let's just complain about it and move on. You know. 553 00:30:12,480 --> 00:30:15,320 Speaker 4: It's like, instead of denying the problem, just just have 554 00:30:15,400 --> 00:30:18,720 Speaker 4: somebody shout about it. And then it's how the show 555 00:30:18,760 --> 00:30:21,479 Speaker 4: has to work anyway. And it's like, why do they 556 00:30:21,520 --> 00:30:24,840 Speaker 4: always rehearse one number for regionals and sing another number 557 00:30:24,920 --> 00:30:27,280 Speaker 4: of regionals. It's because you want to sell three different 558 00:30:27,320 --> 00:30:30,320 Speaker 4: songs on iTunes. Fact, you don't want to speak the 559 00:30:30,320 --> 00:30:32,920 Speaker 4: whole episode. It's not like Smash, where we do the 560 00:30:32,920 --> 00:30:34,240 Speaker 4: same song over and over again. 561 00:30:34,120 --> 00:30:36,920 Speaker 2: Right, you see it once we're moving on. 562 00:30:38,440 --> 00:30:40,280 Speaker 4: By the way, I got to speak for the first 563 00:30:40,320 --> 00:30:44,760 Speaker 4: time twice because there's another episode where I speak, and 564 00:30:44,760 --> 00:30:47,120 Speaker 4: there's a bunch of theories. But first of all, Michael 565 00:30:47,160 --> 00:30:50,640 Speaker 4: Hitchcock told me that he the second time. It's uh, 566 00:30:50,720 --> 00:30:55,840 Speaker 4: when I'm complaining about gambling debt and Darren Chris's character 567 00:30:55,920 --> 00:31:00,080 Speaker 4: is about to hallucinate, or maybe it's already hallucinating of 568 00:31:00,120 --> 00:31:02,520 Speaker 4: the gas lead, and I think it's the puppet episode. 569 00:31:02,840 --> 00:31:05,080 Speaker 3: Yeah, I got a puppet too, you know. 570 00:31:05,120 --> 00:31:08,160 Speaker 4: I gotta, I gotta, yes, I believe it was an 571 00:31:08,160 --> 00:31:11,520 Speaker 4: old Hasidic rabbi that they just you know, it had 572 00:31:11,560 --> 00:31:18,840 Speaker 4: this big super beer, you know, but uh, but so uh. 573 00:31:19,040 --> 00:31:22,120 Speaker 4: Michael Hitchcock said, how he pitched that I would speak 574 00:31:22,240 --> 00:31:26,040 Speaker 4: that second time, as I think Brad should speak for 575 00:31:26,080 --> 00:31:28,000 Speaker 4: the first time. And Ryan said, no, wait, no, no, 576 00:31:28,080 --> 00:31:31,160 Speaker 4: we did that. He said, no, and everyone's done that. 577 00:31:31,160 --> 00:31:33,360 Speaker 4: Everyone has their silent characters speaks for the first time. 578 00:31:33,600 --> 00:31:36,520 Speaker 4: Will be the first show where our silent character speaks 579 00:31:36,560 --> 00:31:40,800 Speaker 4: for the first time. A second time you speaking for 580 00:31:40,840 --> 00:31:45,160 Speaker 4: the second time. It's like no. So at that point, 581 00:31:45,320 --> 00:31:48,520 Speaker 4: you know, Michael said Ryan, he said, like, okay, do that, 582 00:31:49,000 --> 00:31:52,600 Speaker 4: you know, And and the theory is I was not speaking. 583 00:31:54,040 --> 00:31:56,200 Speaker 4: Darren was hallucinating already. 584 00:31:56,680 --> 00:31:59,920 Speaker 3: Oh my god, Oh so funny. 585 00:32:00,720 --> 00:32:03,360 Speaker 4: Is that the same one? There's one where I'm going 586 00:32:03,400 --> 00:32:07,880 Speaker 4: through pictures of women's feet, But I think that's a different. 587 00:32:08,200 --> 00:32:09,200 Speaker 2: I think it's a different one. 588 00:32:09,320 --> 00:32:10,080 Speaker 3: It's a different one. 589 00:32:10,080 --> 00:32:12,520 Speaker 4: I think I think it's just because it was filmed 590 00:32:12,520 --> 00:32:14,000 Speaker 4: from the same angles. I think of them as the 591 00:32:14,040 --> 00:32:17,160 Speaker 4: same scene. Plus everything was you know, how long ago? 592 00:32:17,280 --> 00:32:18,440 Speaker 4: Was it twenty years ago? Now? 593 00:32:18,760 --> 00:32:19,360 Speaker 2: Oh god? 594 00:32:19,920 --> 00:32:23,400 Speaker 3: Yeah, quite, let's not push it. 595 00:32:23,960 --> 00:32:27,880 Speaker 4: Yeah, yeah, people exactly. It's like, oh, are you guys 596 00:32:27,920 --> 00:32:31,360 Speaker 4: still in the air, And I always say yes, yes, 597 00:32:31,920 --> 00:32:33,840 Speaker 4: we're on the Glean network. Do you have that it's 598 00:32:33,840 --> 00:32:35,600 Speaker 4: a streaming service exactly? 599 00:32:36,280 --> 00:32:38,800 Speaker 2: Somebody asked the other day. I was like, nope, it's 600 00:32:38,840 --> 00:32:39,400 Speaker 2: been a while. 601 00:32:41,680 --> 00:32:46,840 Speaker 3: Yeah. A lot of people ask in our ask Me 602 00:32:46,880 --> 00:32:52,000 Speaker 3: anything episodes, if you're really playing the piano on top 603 00:32:52,200 --> 00:32:55,600 Speaker 3: of the pre record obviously that we are recording too, 604 00:32:55,760 --> 00:32:57,400 Speaker 3: and did the piano work. 605 00:32:57,600 --> 00:33:02,640 Speaker 4: Almost always the piano worked mechanically correctly, great, and as 606 00:33:02,640 --> 00:33:06,760 Speaker 4: long as the playback is going on live, therefore there 607 00:33:06,760 --> 00:33:10,440 Speaker 4: will be no audio recorded. And it's you know, especially 608 00:33:10,440 --> 00:33:13,160 Speaker 4: if I know the cans coming around to the piano 609 00:33:13,240 --> 00:33:16,480 Speaker 4: keys or something, I'd absolutely played the piano. There are 610 00:33:16,480 --> 00:33:21,280 Speaker 4: a few times. There's one time where I played live 611 00:33:21,560 --> 00:33:23,760 Speaker 4: for something. I don't know if it was Blackbird, it 612 00:33:23,800 --> 00:33:28,160 Speaker 4: was something, and then I had to look like I 613 00:33:28,240 --> 00:33:31,720 Speaker 4: was playing, but we couldn't do it at the same time, 614 00:33:33,800 --> 00:33:37,640 Speaker 4: so they put barriers in the piano so that made 615 00:33:37,680 --> 00:33:40,880 Speaker 4: it silent, so that I could still because somebody pretending 616 00:33:40,920 --> 00:33:43,000 Speaker 4: to push the keys down but their fingers aren't going down. 617 00:33:43,160 --> 00:33:46,480 Speaker 4: Is yea yes, dumb Oh, I especially love how Yeah, 618 00:33:46,760 --> 00:33:51,120 Speaker 4: but yeah, because it turns out when you're playing the piano, 619 00:33:51,160 --> 00:33:52,720 Speaker 4: there doesn't have to be a lot of motion but 620 00:33:52,760 --> 00:33:54,880 Speaker 4: it has to really look specifically, like you. 621 00:33:54,880 --> 00:33:55,960 Speaker 2: Have to press the keys down. 622 00:33:56,400 --> 00:33:59,600 Speaker 4: Yeah. Yeah, So mostly the piano played out loud, and 623 00:34:00,960 --> 00:34:03,440 Speaker 4: I tried to keep to a minimum, especially if Ryan 624 00:34:03,560 --> 00:34:06,320 Speaker 4: was in the room early on. I'd always be trying 625 00:34:06,320 --> 00:34:09,080 Speaker 4: to get him, for example, to stand up and sing 626 00:34:09,080 --> 00:34:10,959 Speaker 4: a little Rose's Turn, which he did at one point, 627 00:34:11,160 --> 00:34:15,560 Speaker 4: you know, just by silently perfuming the room. They used 628 00:34:15,560 --> 00:34:21,120 Speaker 4: to call that subliminal now, uh, perceiving without realizing or 629 00:34:21,120 --> 00:34:24,719 Speaker 4: there's an expression for that, you know that that hypnotists use. 630 00:34:25,080 --> 00:34:26,840 Speaker 4: And if I can get him to think it was 631 00:34:26,840 --> 00:34:28,759 Speaker 4: his idea to sing something from. 632 00:34:28,680 --> 00:34:31,359 Speaker 3: Gypsy, that's always That's always the key. 633 00:34:31,480 --> 00:34:34,160 Speaker 2: Never would did you get him to do any other songs? 634 00:34:34,600 --> 00:34:38,600 Speaker 4: Yeah, yeah, from time to time. You know, do you 635 00:34:38,600 --> 00:34:41,000 Speaker 4: guys agree with this theory I've had. I've never expressed 636 00:34:41,000 --> 00:34:44,160 Speaker 4: it to any of the other cast members that Rachel 637 00:34:45,040 --> 00:34:47,480 Speaker 4: maybe everyone knows this. I don't know, Rachel is Ryan 638 00:34:47,520 --> 00:34:50,000 Speaker 4: in high school that you. 639 00:34:49,960 --> 00:34:52,880 Speaker 3: Know, I always thought, you know, we always thought like Chris, 640 00:34:52,960 --> 00:34:56,680 Speaker 3: you know, Kurt was kind of Ryan's dream of how 641 00:34:56,719 --> 00:34:59,239 Speaker 3: he lived out he wished, you know, high school. 642 00:34:58,960 --> 00:35:03,200 Speaker 4: W way you had Bert Hummel as a dad, right, exactly. 643 00:35:03,880 --> 00:35:06,239 Speaker 3: That's so interesting Now I feel. 644 00:35:05,960 --> 00:35:10,080 Speaker 2: Like maybe there are two sides of the same coin. Yeah, 645 00:35:10,239 --> 00:35:13,560 Speaker 2: a little Kurt like Kurt on the inside, maybe Rachel 646 00:35:13,600 --> 00:35:14,440 Speaker 2: Moore exterior. 647 00:35:14,800 --> 00:35:17,440 Speaker 4: Yes, something I've always felt about bleet. I was on 648 00:35:17,520 --> 00:35:21,319 Speaker 4: the music end of the show, you know, in some 649 00:35:21,400 --> 00:35:23,879 Speaker 4: way it was like the Lawrence Welk Show fifty years later. 650 00:35:23,920 --> 00:35:27,080 Speaker 4: It was, you know, these great songs. There's two sides 651 00:35:27,120 --> 00:35:32,200 Speaker 4: of the coin. Not only were you know, adults getting 652 00:35:32,239 --> 00:35:35,040 Speaker 4: to watch with their kids songs they would never have 653 00:35:35,080 --> 00:35:38,719 Speaker 4: heard from Kanye on so forth, but also kids are 654 00:35:38,719 --> 00:35:41,560 Speaker 4: getting to hear some of their adults old favorite songs 655 00:35:42,200 --> 00:35:43,960 Speaker 4: that they would never hear. But that was just a 656 00:35:44,040 --> 00:35:47,440 Speaker 4: musical thing, and that was nice. But the show was important, 657 00:35:47,640 --> 00:35:50,840 Speaker 4: you know, like because I happened to be a musician, 658 00:35:50,880 --> 00:35:52,840 Speaker 4: I got to be part of something that was socially 659 00:35:53,440 --> 00:35:55,839 Speaker 4: important due to no fault on my own. I got 660 00:35:55,880 --> 00:35:57,279 Speaker 4: to be a fellow traveler on that. 661 00:36:05,040 --> 00:36:09,160 Speaker 1: Do you have any favorite songs that we did that 662 00:36:09,239 --> 00:36:12,680 Speaker 1: you enjoyed the most or playing the most, or being 663 00:36:12,680 --> 00:36:15,080 Speaker 1: a part of or being there for. 664 00:36:16,800 --> 00:36:25,759 Speaker 4: Yeah, well, boy, you know, out of the hundred, the 665 00:36:25,760 --> 00:36:29,080 Speaker 4: pilot all comes to by. I remember you and I 666 00:36:29,440 --> 00:36:35,399 Speaker 4: Jenna did Kiss the Girl on No Notice Live. That's right, 667 00:36:36,239 --> 00:36:37,680 Speaker 4: you know what I mean. And the exact kind of 668 00:36:37,719 --> 00:36:39,399 Speaker 4: thing is that that you know, as I say, I'm 669 00:36:39,400 --> 00:36:42,239 Speaker 4: a supportive person. I like to feel needed. So when 670 00:36:42,320 --> 00:36:44,440 Speaker 4: Dante said, do you know this song? And I kind 671 00:36:44,440 --> 00:36:46,600 Speaker 4: of knew it, and I'm like getting my back when 672 00:36:46,600 --> 00:36:49,520 Speaker 4: we actually used to use wired earbuds into my phone 673 00:36:49,560 --> 00:36:54,080 Speaker 4: and and you knew it and we just set a key. 674 00:36:54,600 --> 00:36:57,359 Speaker 4: We went out to the auto tune grand piano on 675 00:36:57,400 --> 00:37:00,760 Speaker 4: the real stage down at the school a long beach, 676 00:37:01,080 --> 00:37:02,240 Speaker 4: you know, and. 677 00:37:03,880 --> 00:37:05,440 Speaker 3: Just at the seat of our pants. 678 00:37:05,800 --> 00:37:09,319 Speaker 4: Yeah, and that kind of thing is always great. I 679 00:37:09,320 --> 00:37:12,480 Speaker 4: have a weird memory. I did an event with Darren 680 00:37:12,520 --> 00:37:16,319 Speaker 4: Chris at Lincoln Center. Uh, he kind of flew me 681 00:37:16,360 --> 00:37:18,520 Speaker 4: in last minute. We added a few songs to his show. 682 00:37:18,760 --> 00:37:22,600 Speaker 4: Whi's a benefit for something and like he wanted to 683 00:37:22,640 --> 00:37:26,440 Speaker 4: do I coached a minute. He did it on Broadway. 684 00:37:27,320 --> 00:37:30,200 Speaker 4: How does you see it in business? I believe in you. 685 00:37:30,320 --> 00:37:32,959 Speaker 4: He wanted to do that. Uh, And I just knew 686 00:37:32,960 --> 00:37:35,880 Speaker 4: it because I've known that Broadway show. There was a 687 00:37:35,920 --> 00:37:37,759 Speaker 4: little kid and I coached him on it and we 688 00:37:37,840 --> 00:37:39,920 Speaker 4: just played through it and that was great and then 689 00:37:39,920 --> 00:37:44,080 Speaker 4: he said, oh, and I'd like to do there Safer Fire, 690 00:37:45,080 --> 00:37:52,440 Speaker 4: you know, Adele rolling roll and and he said, can 691 00:37:52,440 --> 00:37:54,200 Speaker 4: you play that? And I said, oh, I don't know 692 00:37:54,200 --> 00:37:56,279 Speaker 4: if I know that. I know it's a big pop song. 693 00:37:56,320 --> 00:37:59,200 Speaker 4: Now that he said no, I just I just want 694 00:37:59,239 --> 00:38:02,120 Speaker 4: you to play it, I thought, yeah, okay, let me 695 00:38:02,239 --> 00:38:05,960 Speaker 4: and he goes, Brad. We filmed that on Tuesday. We 696 00:38:06,040 --> 00:38:08,200 Speaker 4: went through it seven hundred times. You don't remember this. 697 00:38:08,360 --> 00:38:10,399 Speaker 4: I was like, oh, yeah, oh that one. Okay, okay, okay, man. 698 00:38:11,760 --> 00:38:15,000 Speaker 2: That makes me feel so much better. I'm glad because 699 00:38:15,040 --> 00:38:19,040 Speaker 2: that's how we're all like that, and so you understand. 700 00:38:20,120 --> 00:38:22,800 Speaker 2: I feel like you're the responsible and professional one. So 701 00:38:22,840 --> 00:38:24,479 Speaker 2: if you also feel like that, it makes me feel 702 00:38:24,480 --> 00:38:25,080 Speaker 2: a little better. 703 00:38:25,520 --> 00:38:29,080 Speaker 4: Absolutely. But I and then I loved the filming of 704 00:38:29,120 --> 00:38:31,680 Speaker 4: that with Jonathan Groff. I think coming down the aisle 705 00:38:31,880 --> 00:38:36,640 Speaker 4: and you know that all the cast members are you know, 706 00:38:36,760 --> 00:38:41,440 Speaker 4: or they're really the background actors are are drumming on 707 00:38:41,680 --> 00:38:45,000 Speaker 4: pieces of scenery, and you know, it's like, I've totally 708 00:38:45,040 --> 00:38:46,840 Speaker 4: forgotten it three days later, but now I think of 709 00:38:46,880 --> 00:38:48,760 Speaker 4: it is that was really cool. 710 00:38:49,640 --> 00:38:50,160 Speaker 3: Exactly. 711 00:38:50,239 --> 00:38:51,600 Speaker 4: You guys love Jonathan. 712 00:38:51,239 --> 00:38:59,279 Speaker 3: Groff, Right, Oh yeah, I mean Tony. 713 00:38:57,080 --> 00:39:01,319 Speaker 4: Jonathan Groff in the Greatest Hit show with Memory We 714 00:39:01,400 --> 00:39:06,240 Speaker 4: roll along right now, did you guys see the Tony's themselves. 715 00:39:05,040 --> 00:39:05,640 Speaker 3: Just a little bit? 716 00:39:05,760 --> 00:39:09,840 Speaker 2: Yeah, clips from it, and he and Daniel Radcliffe and 717 00:39:09,600 --> 00:39:10,240 Speaker 2: and and. 718 00:39:12,160 --> 00:39:15,400 Speaker 4: I've worked with years ago. I love her, you know, 719 00:39:15,480 --> 00:39:19,319 Speaker 4: and just they are they are? You know they are 720 00:39:19,960 --> 00:39:22,240 Speaker 4: they are if you know the show Memory, we roll along. 721 00:39:22,680 --> 00:39:24,680 Speaker 4: In the show, they end up hating each other, right, 722 00:39:24,760 --> 00:39:26,560 Speaker 4: but they start out hating each other because the show 723 00:39:26,560 --> 00:39:29,520 Speaker 4: goes backwards, so they are who they are at the 724 00:39:29,560 --> 00:39:31,239 Speaker 4: end of the show. And I think, thank god they 725 00:39:31,239 --> 00:39:33,480 Speaker 4: get to end every night where they really are incredibly 726 00:39:33,480 --> 00:39:36,759 Speaker 4: sort of friends. I ended up, you know, screaming at 727 00:39:36,800 --> 00:39:37,160 Speaker 4: each other. 728 00:39:37,320 --> 00:39:39,680 Speaker 3: Yeah, it looks like they have a very special connection 729 00:39:39,760 --> 00:39:40,520 Speaker 3: on that stage. 730 00:39:40,840 --> 00:39:41,560 Speaker 2: You can feel that. 731 00:39:42,200 --> 00:39:45,399 Speaker 4: And he brought that to you know, Groff loved him 732 00:39:45,400 --> 00:39:45,839 Speaker 4: on the set. 733 00:39:46,360 --> 00:39:49,720 Speaker 3: Yes, I was so lovely. He's just the nicest human 734 00:39:49,760 --> 00:39:53,400 Speaker 3: and deserves all the good things. He's so wildly talented. 735 00:39:55,400 --> 00:39:57,680 Speaker 3: Before we let you go, we have a question for you. 736 00:39:58,480 --> 00:40:02,680 Speaker 3: It is what is the feeling that Glee leaves you with? 737 00:40:04,880 --> 00:40:08,839 Speaker 4: Hmm, what is the feeling that Glee leaves me with? 738 00:40:10,239 --> 00:40:16,399 Speaker 4: Just great good fortune? I'm incredibly lucky in my life 739 00:40:16,400 --> 00:40:21,279 Speaker 4: in many ways. My life partner, that's number one. And 740 00:40:21,320 --> 00:40:23,719 Speaker 4: we've been together well over a quarter of a century now, 741 00:40:24,280 --> 00:40:25,920 Speaker 4: so about as long as you guys have been alive, 742 00:40:25,960 --> 00:40:31,520 Speaker 4: I think, if I remember correctly, And I'd had a 743 00:40:31,520 --> 00:40:35,000 Speaker 4: heart transplant and hadn't been able to work for a while, 744 00:40:35,600 --> 00:40:38,320 Speaker 4: and I was doing smaller things like helping Robert Ulwrich 745 00:40:38,360 --> 00:40:45,360 Speaker 4: with with auditions, and Glee was at the perfect time 746 00:40:46,239 --> 00:40:50,880 Speaker 4: with exciting people. Ryan in the early days was a 747 00:40:50,920 --> 00:40:53,080 Speaker 4: guy you kind of hung out with, you know, and 748 00:40:53,200 --> 00:40:58,480 Speaker 4: just made bitchy jokes about musical theater, you know, And 749 00:41:01,000 --> 00:41:06,480 Speaker 4: I retained that I, you know, for the longest time, 750 00:41:06,520 --> 00:41:08,080 Speaker 4: I was Brad from Glee, and now I'm back to 751 00:41:08,120 --> 00:41:11,319 Speaker 4: being Brad again. And I never never minded being Brad 752 00:41:11,360 --> 00:41:14,440 Speaker 4: from Glee, and I was able to use it, for example, 753 00:41:14,560 --> 00:41:19,600 Speaker 4: to help with heart transplantation causes. I would sometimes fly 754 00:41:19,680 --> 00:41:24,280 Speaker 4: out on the weekend and join a state high school choir, 755 00:41:25,120 --> 00:41:28,040 Speaker 4: h and do you know, don't stop believing with them, 756 00:41:28,160 --> 00:41:31,080 Speaker 4: and then you know, talk to them and their audience 757 00:41:31,080 --> 00:41:34,399 Speaker 4: about how in Wisconsin, I think it's a red dot 758 00:41:34,440 --> 00:41:39,600 Speaker 4: that you put on your license, you know. And my 759 00:41:39,719 --> 00:41:43,400 Speaker 4: recovery was helped My health recovery was helped by Glee, 760 00:41:44,239 --> 00:41:48,520 Speaker 4: and Glee helped me pay it back. M hm, So gratitude, 761 00:41:48,560 --> 00:41:53,640 Speaker 4: I'd say, first thing is gratitude, and then then you know, 762 00:41:55,760 --> 00:42:02,400 Speaker 4: there's always a poignancy about French. We've lost, you know, 763 00:42:03,080 --> 00:42:06,920 Speaker 4: and exactly shocking to me that it's the cast that 764 00:42:06,960 --> 00:42:10,640 Speaker 4: played the high school students where we've lost people, you know. 765 00:42:10,680 --> 00:42:12,760 Speaker 3: Yeah, yeah, exactly. 766 00:42:13,080 --> 00:42:17,160 Speaker 4: I've lived twenty five years past my original expiration date, 767 00:42:17,239 --> 00:42:19,759 Speaker 4: you know, you know, how am I still here and 768 00:42:19,840 --> 00:42:24,239 Speaker 4: some of our friends are not? But overwhelmingly gratitude. How 769 00:42:24,239 --> 00:42:25,759 Speaker 4: about you, guys, how do you feel about it? 770 00:42:28,440 --> 00:42:29,600 Speaker 2: I think gratitude is right. 771 00:42:31,800 --> 00:42:32,480 Speaker 4: I think. 772 00:42:34,120 --> 00:42:37,279 Speaker 2: Being able to work with the people we got to 773 00:42:37,320 --> 00:42:40,960 Speaker 2: work with, getting, like you said, all the opportunities you're 774 00:42:40,960 --> 00:42:44,439 Speaker 2: afforded outside of that, meeting the people that show means 775 00:42:44,480 --> 00:42:51,719 Speaker 2: something too was just such an unexpected and very pleasant 776 00:42:52,000 --> 00:42:57,680 Speaker 2: surprise and actually made it so much better, something that 777 00:42:57,719 --> 00:43:00,600 Speaker 2: you know, you can't ever predict that's going to happen. 778 00:43:00,640 --> 00:43:01,279 Speaker 4: And I think, you. 779 00:43:01,320 --> 00:43:04,759 Speaker 2: Know, grateful for just these relationships and that we got 780 00:43:04,760 --> 00:43:07,080 Speaker 2: to do something that we all loved, we all believed in, 781 00:43:08,000 --> 00:43:12,399 Speaker 2: and got to show up to that beautiful set every 782 00:43:12,440 --> 00:43:17,200 Speaker 2: single day and you know, make something that made people 783 00:43:17,600 --> 00:43:20,480 Speaker 2: happy and that they get to watch with their families, 784 00:43:20,600 --> 00:43:23,160 Speaker 2: or they got to see themselves on screen for the 785 00:43:23,200 --> 00:43:25,279 Speaker 2: first time and felt that they weren't alone, and so 786 00:43:25,320 --> 00:43:28,840 Speaker 2: all those things were just it was a really beautiful 787 00:43:29,320 --> 00:43:32,560 Speaker 2: moment that popped out of Ian and Ryan and Brad's 788 00:43:32,560 --> 00:43:35,719 Speaker 2: heads and we're all better for it. 789 00:43:36,120 --> 00:43:40,239 Speaker 3: Yeah. Yeah, I think like gratitude and family such a 790 00:43:40,320 --> 00:43:44,640 Speaker 3: huge machine, and like what it left me with after 791 00:43:44,800 --> 00:43:47,520 Speaker 3: and the many many years after is like family, like 792 00:43:47,600 --> 00:43:50,279 Speaker 3: you pop on and we see you years and years later, 793 00:43:50,360 --> 00:43:52,480 Speaker 3: but it's like, you know, we left right where we 794 00:43:52,560 --> 00:43:55,600 Speaker 3: left off. So it just feels like we have this 795 00:43:55,719 --> 00:44:00,960 Speaker 3: bond that nobody else will take from us because it 796 00:44:01,120 --> 00:44:08,120 Speaker 3: was unique and special. Well, we're so grateful for you, Brad, 797 00:44:08,160 --> 00:44:10,719 Speaker 3: and for you taking the time to come chat with us, 798 00:44:10,800 --> 00:44:14,440 Speaker 3: and uh, you're just a huge part of the show 799 00:44:14,680 --> 00:44:17,440 Speaker 3: and people are so happy to hear from you and 800 00:44:17,480 --> 00:44:18,880 Speaker 3: it's so great to see you. 801 00:44:20,560 --> 00:44:23,080 Speaker 4: Just thank you for including me, thanks for inviting me, 802 00:44:23,360 --> 00:44:26,640 Speaker 4: thanks for reminding me what a special thing this was. 803 00:44:27,120 --> 00:44:29,640 Speaker 3: Yeah, yeah, we're so grateful for you. 804 00:44:29,680 --> 00:44:32,960 Speaker 2: Thank god you were hired and the audition rooms and 805 00:44:33,040 --> 00:44:35,360 Speaker 2: on the set every day and you look great. 806 00:44:35,719 --> 00:44:38,839 Speaker 3: Yes, and we're so happy for you and just you're 807 00:44:38,880 --> 00:44:39,280 Speaker 3: the best. 808 00:44:40,480 --> 00:44:41,840 Speaker 4: Thank you. It means a lot to me if you 809 00:44:42,200 --> 00:44:43,759 Speaker 4: remember me as having been supportive. 810 00:44:44,200 --> 00:44:47,920 Speaker 3: Yes, yes, that's it for me, that's my biscuit. Absolutely, 811 00:44:49,320 --> 00:44:51,759 Speaker 3: thank you, Thank you, Brank you so much, Brad. So 812 00:44:51,800 --> 00:44:56,719 Speaker 3: great to see you. Bye for now, bye, hopefully see 813 00:44:56,719 --> 00:45:02,040 Speaker 3: you very soonious. Yes, what a sweet man. Also, I 814 00:45:02,040 --> 00:45:05,839 Speaker 3: feel like he's aging backwards, I know. Just happy he's 815 00:45:06,320 --> 00:45:12,000 Speaker 3: doing well after his two transplants. Yeah, it's absolutely defying 816 00:45:12,040 --> 00:45:14,680 Speaker 3: all odds. He's incredible and we're so happy for him 817 00:45:14,719 --> 00:45:18,480 Speaker 3: and happy for you, Brad, and grateful that we got 818 00:45:18,520 --> 00:45:19,880 Speaker 3: to chat with you about the show. 819 00:45:20,000 --> 00:45:24,759 Speaker 2: And I'm glad people can hear him and like experience 820 00:45:24,800 --> 00:45:27,200 Speaker 2: his energy because that's how it was having him on 821 00:45:27,280 --> 00:45:30,400 Speaker 2: set every day. He was there all the time, obviously, 822 00:45:30,800 --> 00:45:33,839 Speaker 2: and just to go to That's why people who are 823 00:45:33,880 --> 00:45:37,319 Speaker 2: performing around like Matt and Darren would call on him 824 00:45:37,320 --> 00:45:41,399 Speaker 2: because he's the most professional, so so talented and like. 825 00:45:41,480 --> 00:45:44,920 Speaker 3: Would say yes to anything. Yes, he's just such a 826 00:45:45,000 --> 00:45:47,160 Speaker 3: kind soul, very giving. 827 00:45:47,760 --> 00:45:50,520 Speaker 2: Thank you Brad so much for coming on and we 828 00:45:50,600 --> 00:45:55,440 Speaker 2: hope you enjoyed hearing from Brad. He's the absolute best. 829 00:45:56,080 --> 00:45:59,360 Speaker 2: See you next time, That's what you really miss Thanks 830 00:45:59,360 --> 00:46:02,480 Speaker 2: for listening and follow us on Instagram at and That's 831 00:46:02,520 --> 00:46:04,680 Speaker 2: what you Really miss pod. Make sure to write us 832 00:46:04,680 --> 00:46:07,279 Speaker 2: a review and leave us five stars. See you next time.