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Speaker 1: I always say like shows are like kids. I have

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Speaker 1: no children, So this is as close as I can

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Speaker 1: get to the analogy in that the oldest show is

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Speaker 1: like having a kid who's left the house and has

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Speaker 1: gone to college or is so when there's an emergency,

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Speaker 1: when there's a real issue, you check in. Yeah, you

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Speaker 1: celebrate birthdays, you know it's correct. You make yourself available

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Speaker 1: for whatever's necessary. But honestly, you you spend a lot

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Speaker 1: of time lauding them for their thriving survival in Hi,

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Speaker 1: I'm Betsy Beers and I make television.

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Speaker 2: Hi, everybody, you found us. If you were looking, you

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Speaker 2: have found us. We are off the beat and I

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Speaker 2: am your host. Brian Bamgartner. I'm very excited about today's gat.

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Speaker 2: You know, usually we talk to actors, or we talk

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Speaker 2: to athletes, sometimes musicians, but today I'm talking to a

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Speaker 2: powerhouse in television. She is the force behind many of

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Speaker 2: your favorite shows.

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Speaker 3: She is Betsy Beers.

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Speaker 2: Now she's not the face you see on screen, but

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Speaker 2: she is someone whose work you know and I promise

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Speaker 2: you love. She is the producing partner of Shonda Rhymes.

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Speaker 2: And even though Shonda's name is the one in the

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Speaker 2: title of Shonda Lant. Betsy has always been right beside

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Speaker 2: her from day one on Grey's Anatomy. She's also executive

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Speaker 2: produced Private Practice, The Catch, Scandal for the People, How

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Speaker 2: To Get Away with Murder Station nineteen Bridgerton, Inventing Anna,

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Speaker 2: and Upcoming The Residence. She is amazing and you are

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Speaker 2: going to love what she has to say today. Before

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Speaker 2: she was the other half of the Shondaland Empire, she

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Speaker 2: brought you some of your favorite indie classics like Safe

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Speaker 2: Passage with Susan Sarandon, Two Hundred Cigarettes with Ben Afflack

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Speaker 2: and Kate Hudson, High Fidelity, The Hoax, Just Chef's Kiss

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Speaker 2: to all of it. And apart from her amazing body

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Speaker 2: of work, she has an amazing story to tell as well,

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Speaker 2: from studying to be an actor to realizing maybe it

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Speaker 2: wasn't her calling to where she is today. This is

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Speaker 2: a fascinating conversation for me. I know it will be

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Speaker 2: for you as well. Here she is the incredible Betsy bears.

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Speaker 3: Bubble and Squeak.

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Speaker 2: I love it, Bubble and Squeakano.

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Speaker 1: Bubble and Squeaker, cook it every move from the Nuo.

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Speaker 2: Hi Betsy, Hi, Hi Brian, how are you.

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Speaker 1: I'm peachey. It's a Monday after holiday, and I'm peachee.

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Speaker 2: You said it was a Monday after the holiday. I

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Speaker 2: just I don't want to scare you. It's tuesday.

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Speaker 1: Oh no, oh no, I did it again.

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Speaker 3: It's tuesday.

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Speaker 1: It's the last weekend. Oh no?

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Speaker 3: Was it?

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Speaker 2: Was?

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Speaker 3: It a good weekend?

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Speaker 1: It was lovely. Thank you for asking. It was actually

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Speaker 1: relatively relaxing and relatively planned free, which sometimes is the

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Speaker 1: best thing personally for me. I just it was. It was.

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Speaker 1: It was pretty chill, which was good. How about you.

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Speaker 3: That's good.

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Speaker 2: Mine was the opposite, actually, and I'm with you. I

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Speaker 2: like I like your I think I had ree barbecues

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Speaker 2: in three days, my lord, I know well, and of

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Speaker 2: course I end up having to cook no matter, none

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Speaker 2: of them were at my house, yet I still somehow

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Speaker 2: managed to be behind the grill. But it was it

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Speaker 2: was nice. I mean, I appreciate you taking the time.

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Speaker 2: I'm glad you had a relaxing weekend.

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Speaker 3: You are well.

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Speaker 2: You're you're the busiest woman is showbiz. I think well,

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Speaker 2: and have been for a long time.

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Speaker 1: You know, you get in less trouble if you stay busy. Right, Yeah,

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Speaker 1: we're very, very fortunate to be busy and happily working

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Speaker 1: and all that other kind of good stuff. So it's, uh, yeah,

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Speaker 1: it's it's been a little aerobic, and you know it's good.

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Speaker 1: Everyone's well, just to sit and stare into space and

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Speaker 1: walk the.

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Speaker 3: Dog, that's right, you know.

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Speaker 2: Well, that's that's why I cook. That's because then I

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Speaker 2: don't have to think about anything else.

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Speaker 3: Exactly.

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Speaker 1: My husband does all the cooking, and that's partially why

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Speaker 1: he cooks. Is he just just like I'm going to

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Speaker 1: stand here and cook and y'all can greu what heck

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Speaker 1: you want to talk about?

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Speaker 2: All right, Well, we have a lot to talk about today,

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Speaker 2: I know, I know. Just don't get nervous. It's fine.

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Speaker 2: Just think of it this way. It's my this is

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Speaker 2: me auditioning you. Okay, that's all it is. So don't

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Speaker 2: get nervous.

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Speaker 1: Just as I don't have to do like an up

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Speaker 1: tempo and a ballot. I'm fine.

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Speaker 3: Oh here's here's the thing. It's just like they say,

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Speaker 3: when you're auditioning.

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Speaker 2: I want to like you, so I want I want

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Speaker 2: I want to think that you're right for this, Betsy.

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Speaker 2: So don't don't be nervous. There's no reasons.

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Speaker 1: Okay, that's good. Okay. Yeah.

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Speaker 2: Well, and I understand after my extensive research team and

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Speaker 2: myself did some research on you. You you you started

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Speaker 2: out acting. We're going to talk about that in a minute.

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Speaker 2: But you you grew up in Massachusetts. No, no, no, I.

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Speaker 1: Grew up to Long Island.

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Speaker 3: There you go.

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Speaker 1: Okay, where's that correct team? Right now?

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Speaker 3: That's what I There you go.

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Speaker 1: It's a it's a common mistake. Ran, it's a common mistake.

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Speaker 2: I love, okay, because you went to you went to

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Speaker 2: Milton there, the boarding school in Massachusetts, but you came

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Speaker 2: from Long Island. I was just there roundabouts last week,

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Speaker 2: beautiful area of the country. Tell me a little bit

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Speaker 2: about you growing up there on Long Island? Are you

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Speaker 2: interested in as a as a kid?

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Speaker 1: I was interested in mainly acting. Actually, Like I grew up.

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Speaker 1: To give you some backstory, my father was an agent.

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Speaker 1: He was older when he had me. He died when

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Speaker 1: I was pretty young, but I had a number of

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Speaker 1: formative years with him where we spent a lot of

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Speaker 1: time at home. My mother was working. He happened to

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Speaker 1: be there, and a lot of what I learned in

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Speaker 1: terms of how to identify people read, came from city

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Speaker 1: with him and watching television or reading books about plays

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Speaker 1: because he was a theater agent. Okay, And so from

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Speaker 1: a really early age, it seemed like the only thing

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Speaker 1: that was interesting was acting. I liked that, and I

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Speaker 1: liked reading, and I liked badminton weirdly because we had

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Speaker 1: a badminton.

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Speaker 3: That and I really long. That's a long island thing, right,

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Speaker 3: I don't know.

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Speaker 1: Man, I don't know. Like I think it was the

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Speaker 1: only thing we could fit in the yard, right, you know?

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Speaker 1: It was like so, and I loved to torture my

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Speaker 1: sister by following her around too is my older sister,

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Speaker 1: and desperately trying to get involved in every single thing

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Speaker 1: she was doing, which of course meant that she would

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Speaker 1: figure out jobs for me to do, like pick up

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Speaker 1: dog poop and that's what, So, this is your job?

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Speaker 1: You wanted to help so long, within a way of saying, like,

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Speaker 1: very very early on, I thought, wow, acting must be

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Speaker 1: great because my dad loves them and they're on TV

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Speaker 1: and they seem to be good. Well do you know

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Speaker 1: about that too? Since you're on TV?

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Speaker 2: Well, I mean I get I get a little bit

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Speaker 2: about why that would be attractive for people.

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Speaker 3: You But so when did you start? When did you

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Speaker 3: go to boarding school? Is this your board?

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Speaker 1: I went to boarding school. Now, it wasn't like Dickensie

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Speaker 1: and I was five type thing.

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Speaker 3: Okay, it was.

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Speaker 1: I went to boarding school when I was about fourteen

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Speaker 1: thirteen fourteen. It was my sophomore year in high school.

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Speaker 1: So my school, my elementary school, finished in ninth grade

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Speaker 1: and then you either had to go off to a

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Speaker 1: high school or go way to boarding school. So both

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Speaker 1: my sisters went to boarding school. A lot of the

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Speaker 1: people at the school went to boarding school, so it

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Speaker 1: was not it was not a you know, incredibly untoward

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Speaker 1: or unknown thing to me because I'd watched both sisters

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Speaker 1: go off.

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Speaker 3: And do it. Right. Do you do?

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Speaker 2: You do you feel like that being on your own early?

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Speaker 2: Was there an independence thing that you gained there? And

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Speaker 2: partly I'll tell you why I asked because because I

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Speaker 2: didn't go to boarding school, but I did go to

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Speaker 2: this program between junior and senior year of high school

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Speaker 2: where I went to Northwestern.

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Speaker 3: University for oh wow, eight.

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Speaker 2: Weeks or something and was studying theater there. And I

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Speaker 2: was like, probably too young to do that, but I

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Speaker 2: was like, oh wow, like, this is what it means

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Speaker 2: to like be on my own. And even I remember,

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Speaker 2: you know, taking is at the l right, taking it

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Speaker 2: in from from Northwestern into the city. I saw a

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Speaker 2: baseball game, like on my own. It's like, wait, this

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Speaker 2: doesn't happen at home. There's there's just sort of a

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Speaker 2: level of independence you have just just by having that space.

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Speaker 2: I feel like you you begin to do things on

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Speaker 2: your own a little bit earlier. You think that's true.

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Speaker 1: Can I ask you a question, did you ever go

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Speaker 1: to camp? I did, yes, because camp was sort of

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Speaker 1: like the starter kit in a way, Like I went

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Speaker 1: away to camp. I went to a sleepway camp, and yeah,

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Speaker 1: it's like boarding school. There there were house mothers and

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Speaker 1: there are people in charge and stuff. But it was

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Speaker 1: definitely the first time I was really away from home

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Speaker 1: and I sort of understood that, yeah, your your whole

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Speaker 1: life and sort of personality and the way you reacted

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Speaker 1: wasn't solely dependent on your home situation. Because I know,

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Speaker 1: like for me, I ended up loving camp and I

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Speaker 1: loved boarding school. I think it was a wise thing

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Speaker 1: at a particular point for me to get out of

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Speaker 1: the house. It just it was there was more for

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Speaker 1: me to explore and more to do. And at that

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Speaker 1: stage of the game, both my sisters, who were older

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Speaker 1: were out of the house and I was alone with

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Speaker 1: my mother.

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Speaker 2: So it's you know, which God bless her understanding here?

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Speaker 3: Yes, yes, you.

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Speaker 1: Might, you might, you might know what that that feels like. So, yeah,

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Speaker 1: it was. I found boarding school to be the most amazing,

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Speaker 1: delightful experience ever. And I I think I found a

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Speaker 1: lot of my own confidence there. I don't know if

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Speaker 1: you felt that way by going to your Stinton Northwestern,

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Speaker 1: but I really started to develop my own voice, I

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Speaker 1: really started to understand what and I had a great education.

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Speaker 1: Milton is a great school, and you know, I think

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Speaker 1: it was just this amazing exposure to all this all

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Speaker 1: these different areas of study and people who were both

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Speaker 1: the same and different, and it was I loved. I

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Speaker 1: loved the experience. I found incredibly liberating.

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Speaker 3: Yeah.

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Speaker 2: Uh, you go to Williams College, prestigious, Williams prestige college.

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Speaker 2: Uh and and you studied acting there. So at this point,

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Speaker 2: is this what you.

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Speaker 3: Want to do? You want to you want to be

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Speaker 3: repped by your dad or whatever, and you want to

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Speaker 3: be an actor.

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Speaker 1: Well, my father, unfortunately died to get out, clearly, clearly,

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Speaker 1: to get out of repping me. I think we should

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Speaker 1: just we should just make it clear.

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Speaker 3: I made it.

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Speaker 2: I made it. I made a choice, and you know what,

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Speaker 2: it failed.

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Speaker 1: Sorry, you know it, and it didn't fail. It just

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Speaker 1: was a choice. It's fine. And you couldn't comprol whether

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Speaker 1: he died or not. What are you freaking psychic?

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Speaker 3: No, no, no, that wasn't in my research.

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Speaker 1: Well, i'd be surprised. I'd worry about your researchers if

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Speaker 1: honestly they were sitting around going like life expectancy of

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Speaker 1: Betsy's family. No. I started actually like when I was

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Speaker 1: about five or six. I remember I was the I

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Speaker 1: was a butterfly in the local production of Noah's Ark.

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Speaker 2: Remember, and I remember, I remember, Okay, it was it

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Speaker 2: was amazing.

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Speaker 1: It got clearly four stars on YELP.

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Speaker 3: So I.

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Speaker 1: Thought that it was terrific. And I kept acting all

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Speaker 1: the way through elementary school, and then acted all through

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Speaker 1: high school, and then acted all the way through college.

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Speaker 1: So by the time I think I was twelve thirteen,

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Speaker 1: I was pretty sure sure that that's what I wanted

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Speaker 1: to do. But I also knew that I had to

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Speaker 1: go through college, and I wanted to go through school

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Speaker 1: and you know, finish all that before I before I

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Speaker 1: hit the boards. So that was that was definitively what

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Speaker 1: I was going to do. There was one brief period

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Speaker 1: when I studied. I did a year abroad in London

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Speaker 1: to study theater and literature, and I had a great

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Speaker 1: literature professor who sort of said, you know, you might

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Speaker 1: have you ever thought of going into literary criticism because

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Speaker 1: you know how to analyze books and stories and I

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Speaker 1: loved reading. And I was like, no, I want to

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Speaker 1: be an actress. I just want to be loved, I

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Speaker 1: you know, like you normally do. And he was like, well,

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Speaker 1: this would be an interesting career path if you wanted to.

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Speaker 1: And you know, I haven't thought about that until very

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Speaker 1: recently when I realized, I guess that's what I'm sort

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Speaker 1: of doing, is evaluating literature. So basically, yeah, I went.

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Speaker 1: I got out of college, I went straight to New York.

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Speaker 1: I did some summer theater and then some really bad

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Speaker 1: dinner theater. Did you ever do dinner theater?

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Speaker 3: I never did. If they were I needed more attention

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Speaker 3: just about to.

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Speaker 1: Say that it's the worst. There's nothing like doing a

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Speaker 1: British force and running around like in your underwear on

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Speaker 1: a stage while people are asking for prime rip, like

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Speaker 1: there's just sauce. It's also like the clink clink clink

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Speaker 1: clink clink of silverware and stuff. It was. It was

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Speaker 1: just it was beyond humiliating and it should have been

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Speaker 1: an early harbinger for my career. But I got I

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Speaker 1: got to New York, and uh, it was very clear

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Speaker 1: I was never going to be like Lady Macbeth. So

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Speaker 1: I tried it and got into this improvisation group. And

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Speaker 1: I did that and realized, oh, I really love sketching,

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Speaker 1: improv comedy. Comedy seem like a real good plan.

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Speaker 3: You know.

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Speaker 2: I actually about the Dinner Theater though you know, this

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Speaker 2: was this was this is a number of years ago.

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Speaker 2: But I realized, and maybe the only person who has

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Speaker 2: like truly emerged from Dinner Theater Amy Adams chan Hassen

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Speaker 2: Dinner Theater musical theater in Minneapolis, because I spent some

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Speaker 2: time in Minneapolis.

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Speaker 3: So there you go. There's some fun. There's a fun

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Speaker 3: fact for you today.

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Speaker 1: Somebody, somebody, somebody succeeded in see you know what, you

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Speaker 1: know what Amy Adams got them to put their forks

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Speaker 1: and knives down for a second and focus on something

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Speaker 1: besides the lava tower.

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Speaker 3: That was that's right, Uh comedy, Yeah, that's I did

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Speaker 3: not know.

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Speaker 2: That about you. You were doing and so you fell

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Speaker 2: in love with like So it was improverse, like sketch

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Speaker 2: that was sketched like.

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Speaker 1: I started with improv and it was a group that

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Speaker 1: was around in New York when I graduated, which was

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Speaker 1: the early eighties, late seventies, early eighties. Yes I'm old,

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Speaker 1: and I found this group and it was kind of

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Speaker 1: an offshoot of the Proposition in Boston, which were people

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Speaker 1: who don't know is where, like Jane Curtin came from

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Speaker 1: and was one of the along with Second City, was

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Speaker 1: sort of one of the the og improv groups and

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Speaker 1: I did. I performed with them for a while and

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Speaker 1: then met a couple of people and we branched off

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Speaker 1: and started our own group where we did sketch. I

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Speaker 1: wrote the music, my friends did sketches that were based

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Speaker 1: on our things, and then we did like theme shows

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Speaker 1: and we performed them and I acted in commercials sometimes

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Speaker 1: to support that. But I wasn't very good at that.

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Speaker 1: I was way better at auditioning and making shit up

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Speaker 1: and then they would take the shit I made and

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Speaker 1: then they'd make it into the commercial, but they wouldn't

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Speaker 1: hire me, so which was okay. And then I got,

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Speaker 1: you know, the other kind of the the canary and

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Speaker 1: the coal mine when one of the AD execs took

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Speaker 1: me out to drink and he said, you ever thought

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Speaker 1: of being an AD executive? Because you'd be amazing And

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Speaker 1: I was like, no, I just want to be loved.

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Speaker 1: What kind of a doctor? And let's just say, Brian,

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Speaker 1: that's the way it went for a while.

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Speaker 2: Well that is I I'm telling you, I have not

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Speaker 2: I have not thought about this in years and years.

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Speaker 3: But see, and I was.

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Speaker 2: I was one of the protective ones, right like I

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Speaker 2: was when I was auditioning for commercials and it would

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Speaker 2: be like, just improv this moment eating pizza, and I

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Speaker 2: would be like, you know what, what I come up

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Speaker 2: with is better than what they're going to come up with,

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Speaker 2: and then they're going to steal it from me and

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Speaker 2: they're going to hire somebody else. So now, how how

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Speaker 2: do I how how can I possibly succeed in this scenario?

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Speaker 3: And exactly, yeah.

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Speaker 1: I see you were so much smarter if if I

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Speaker 1: had met you in the future, but the present for

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Speaker 1: me that the future, because you'd be in the future,

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Speaker 1: I would have said, you would have come to me

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Speaker 1: and you would have said, dude, you've got this all wrong.

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Speaker 1: They're just raping and pillaging your slightly crappy material to

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Speaker 1: less crappy. I mean, how long did you do commercials?

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Speaker 3: I did not very much.

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Speaker 2: I mean, I I know I didn't. I mean I

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Speaker 2: still have like visceral.

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Speaker 3: What is it, uh two oh one South Librea one

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Speaker 3: one oh one.

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Speaker 2: The enormous like I have like an actor's nightmare, but

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Speaker 2: not about forgetting my lines on stage, like that of

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Speaker 2: walking into that bullpen where they're simultaneously auditioning for twelve

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Speaker 2: commercials at one time, and I was, I was, I

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Speaker 2: was a good boy, Like I would go to the

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Speaker 2: doors that I actually had an appointment, and then I

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Speaker 2: would watch these people too, who are probably smarter than me,

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Speaker 2: probably Amy Adams, where they would want it would go,

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Speaker 2: and they would they would just walk around and if

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Speaker 2: they saw like a similar looking type person to that,

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Speaker 2: they would just go sign in and just go audition.

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Speaker 3: I'm like doing that.

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Speaker 1: Oh my god, that's so gutsy, that's so Gutsy. I

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Speaker 1: primarily auditioned badly in New York. I did some auditioning

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Speaker 1: badly in LA, but I really locked it up in

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Speaker 1: New York. And I remember thinking, I walked into one audition,

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Speaker 1: I haven't thought about this in years because I'm having

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Speaker 1: total PTSD right now right. And they also never knew

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Speaker 1: what to send me out for, so it was like

359
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Speaker 1: I was like twenty six and they sent me out

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Speaker 1: for like a Tampax commercial, and they're all these girls

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Speaker 1: who are twelve, and they're like, like, what am I

362
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Speaker 1: doing here? But I remember walking walking into this one

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Speaker 1: audition and Robert Morse was sitting there and he was

364
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Speaker 1: waiting to read, like, come, I don't know ben Gate commercial,

365
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Speaker 1: and I was like, oh my god, it's Robert Morrison.

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Speaker 1: For all of you who aren't listening, Robert Morse, one

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Speaker 1: of the finest actors, made his name for most people

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Speaker 1: and had to how to succeed in business without really

369
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Speaker 1: trying a Broadway ended up obviously a lot of people

370
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Speaker 1: know from mad Men, but this guy was a god

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Speaker 1: to me. And I remember walking in and you have

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Speaker 1: this moment you go like you can't go up to

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Speaker 1: him and go like what the fuck are you doing here?

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Speaker 1: Like why are you auditioning? Because like all the ship's

375
00:20:08,920 --> 00:20:12,120
Speaker 1: going on in my head and this weird jinga that's happening.

376
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Speaker 1: But part of me was going, this is not a

377
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Speaker 1: good route. This is this is this is not a

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Speaker 1: do not pass go, do not collect two hundred dollars.

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Speaker 1: This is yeah, so so many, so many warnings, Brian,

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Speaker 1: so many warnings.

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Speaker 2: Here here's the thing, Betsy. Still, I still deal with

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00:20:29,920 --> 00:20:35,080
Speaker 2: that to this very day. So you changed, you changed paths,

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Speaker 2: and that was that was very smart in.

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Speaker 1: That read I changed past and I actually, in fairness,

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Speaker 1: like I realized I got this job when I came

386
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Speaker 1: out to Los Angeles. I was a really good waiter

387
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Speaker 1: by the way, in New York, and I could not

388
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Speaker 1: get a job waitressing in LA because in the late eighties,

389
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Speaker 1: as a woman, you could not get a job in

390
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Speaker 1: a fine dining restaurant as a waiter, like it was

391
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Speaker 1: pretty much for Boton. You could go to a coffee,

392
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Speaker 1: you could go to like edd Bebeck's, which is this

393
00:21:02,960 --> 00:21:05,520
Speaker 1: old timy place that used to be, but you couldn't.

394
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Speaker 1: And a friend of mine suggested reading scripts, and so

395
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Speaker 1: I started reading scripts to make money. And I like

396
00:21:12,680 --> 00:21:15,040
Speaker 1: sent things out blindly. I didn't really know anybody, And

397
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Speaker 1: after like two weeks people started calling and they were like,

398
00:21:18,359 --> 00:21:20,800
Speaker 1: this is really good coverage because for people who don't know,

399
00:21:20,880 --> 00:21:23,600
Speaker 1: you read a script or a book and you write

400
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Speaker 1: down the whole plot synopsis like a book report, and

401
00:21:25,840 --> 00:21:27,359
Speaker 1: then you give sort of comments as to what you

402
00:21:27,359 --> 00:21:28,960
Speaker 1: would do to either make it better or whether or

403
00:21:29,000 --> 00:21:33,880
Speaker 1: not it sucked or And after like years of acting badly,

404
00:21:34,200 --> 00:21:37,760
Speaker 1: in like three months four months, I got a job

405
00:21:37,840 --> 00:21:42,160
Speaker 1: reading at a studio, at a movie studio, and they

406
00:21:42,200 --> 00:21:44,359
Speaker 1: offered me this full time job. And I sat and

407
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Speaker 1: I drove around Beverly Hills where the studio was with

408
00:21:47,680 --> 00:21:49,200
Speaker 1: my friend in a car, and I was like, I

409
00:21:49,680 --> 00:21:51,520
Speaker 1: don't know what to do? And he said, how do

410
00:21:51,560 --> 00:21:54,320
Speaker 1: you feel when you do this? And I said, it's easy.

411
00:21:54,400 --> 00:21:56,679
Speaker 1: I really like it. I can solve problems. It's like

412
00:21:57,119 --> 00:21:59,400
Speaker 1: my brain works like it's a puzzle. I love puzzles.

413
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Speaker 1: You said, how do you feel like when you're acting?

414
00:22:00,840 --> 00:22:03,840
Speaker 1: I said, I love acting, but I just it's so

415
00:22:04,040 --> 00:22:07,760
Speaker 1: painful and I'm just I feel like I'm not good enough.

416
00:22:07,760 --> 00:22:12,359
Speaker 1: And he was like, is that your answer? And you know,

417
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Speaker 1: dear reader, The best thing is that the super skill

418
00:22:16,720 --> 00:22:19,240
Speaker 1: it gives you is when you go into producing, you

419
00:22:19,320 --> 00:22:23,480
Speaker 1: love actors so much that and I genuinely love and

420
00:22:23,560 --> 00:22:25,679
Speaker 1: have so much respect for actors because I don't know

421
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Speaker 1: how the hell you do what you do, Like I think,

422
00:22:27,560 --> 00:22:29,960
Speaker 1: it's such a hard job. And I can tell you

423
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Speaker 1: for me, it was really hard.

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Speaker 3: That was at United Artists, right where you started. Yeah,

425
00:22:54,680 --> 00:22:55,480
Speaker 3: where you started.

426
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Speaker 2: You started reading, and so I've got a bunch of pieces,

427
00:22:59,560 --> 00:23:01,520
Speaker 2: but I want to kind of have you help me

428
00:23:02,320 --> 00:23:06,280
Speaker 2: navigate what happens. So you're reading scripts and then I

429
00:23:06,320 --> 00:23:10,600
Speaker 2: read you got into development at Booboo Productions. So was

430
00:23:11,320 --> 00:23:15,000
Speaker 2: this a natural transition or well.

431
00:23:14,880 --> 00:23:15,440
Speaker 3: It's greed.

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Speaker 1: You know what. I got a mini upgrade while I

433
00:23:19,040 --> 00:23:21,800
Speaker 1: was still United Artists because I got there. I started

434
00:23:21,800 --> 00:23:25,359
Speaker 1: reading scripts and the same thing happened there that had

435
00:23:25,359 --> 00:23:27,840
Speaker 1: happened actually with companies before I took the job, which

436
00:23:27,880 --> 00:23:32,639
Speaker 1: is I started to get invited upstairs to give notes

437
00:23:32,640 --> 00:23:35,159
Speaker 1: to actors like I made. I went to all the

438
00:23:35,200 --> 00:23:37,360
Speaker 1: different executives and met them to try to figure out

439
00:23:37,359 --> 00:23:40,920
Speaker 1: what they wanted. And one executive in particular, Ruth Vitally,

440
00:23:41,000 --> 00:23:43,560
Speaker 1: who still is in the business, who was one of

441
00:23:43,560 --> 00:23:46,600
Speaker 1: my first mentors. She would call me and say, I've

442
00:23:46,600 --> 00:23:50,159
Speaker 1: got a writer up here. Can you basically explain what

443
00:23:50,200 --> 00:23:52,960
Speaker 1: you think the script needs and give them notes? And

444
00:23:52,960 --> 00:23:55,280
Speaker 1: so I didn't know. I mean, I just gave notes.

445
00:23:55,680 --> 00:23:58,280
Speaker 1: And I have to tell you, Brian, like sometimes they

446
00:23:58,280 --> 00:24:00,400
Speaker 1: were really famous writers and I had no idea who

447
00:24:00,400 --> 00:24:02,280
Speaker 1: they were. So like Ron Shelton came in and I

448
00:24:02,320 --> 00:24:05,000
Speaker 1: told him miss scrip sucked. And it was great because

449
00:24:05,000 --> 00:24:06,959
Speaker 1: I would say, to blame it on me, and if

450
00:24:06,960 --> 00:24:09,920
Speaker 1: it's good, you take it like it's fine. Then Ruth

451
00:24:09,960 --> 00:24:13,800
Speaker 1: got a job. UA closed down and I was free

452
00:24:13,880 --> 00:24:17,280
Speaker 1: lancing again, and Ruth got a job with Gary Ye

453
00:24:17,280 --> 00:24:21,679
Speaker 1: of Goldberg Ubu for this short lived but mighty film development.

454
00:24:22,359 --> 00:24:25,040
Speaker 1: And I had done what I think is sort of

455
00:24:25,760 --> 00:24:29,679
Speaker 1: baby development in fixing people's scripts. But then we had

456
00:24:29,720 --> 00:24:33,359
Speaker 1: we had a very large discretionary fund because Gary brand

457
00:24:33,440 --> 00:24:38,720
Speaker 1: family ties, and you know pretty much they were incredibly generous,

458
00:24:39,119 --> 00:24:42,359
Speaker 1: and I like to say, like God bless them. I

459
00:24:42,400 --> 00:24:45,800
Speaker 1: got paid to learn how to develop and kind of produce,

460
00:24:46,600 --> 00:24:50,320
Speaker 1: and we would basically take the discretionary fund and go

461
00:24:50,400 --> 00:24:54,440
Speaker 1: out and go this person looks nice, let's try writing

462
00:24:54,520 --> 00:24:56,480
Speaker 1: us a good lay had and I learned a ton

463
00:24:56,600 --> 00:24:58,119
Speaker 1: and it was real boots on the ground and it

464
00:24:58,200 --> 00:25:01,160
Speaker 1: was great. And so from there I went after they

465
00:25:01,200 --> 00:25:06,880
Speaker 1: shut down. You might see a pattern starting here. It's okay,

466
00:25:07,040 --> 00:25:08,400
Speaker 1: the pattern changes, you'll see.

467
00:25:08,480 --> 00:25:11,600
Speaker 3: Yeah, I was gonna ask you.

468
00:25:13,440 --> 00:25:16,000
Speaker 1: Yeah, after twenty two years, I think she's probably gonna

469
00:25:16,040 --> 00:25:20,080
Speaker 1: go Yeah, I got you too. This woman, she's just

470
00:25:20,200 --> 00:25:20,960
Speaker 1: got the mark.

471
00:25:21,480 --> 00:25:21,600
Speaker 3: Uh.

472
00:25:22,000 --> 00:25:24,680
Speaker 1: Then I went to work with Galen Hurd and ended

473
00:25:24,760 --> 00:25:28,960
Speaker 1: up running her development and she's doing just fine. Yeah,

474
00:25:29,000 --> 00:25:32,080
Speaker 1: so the curse of non Harry Potter stopped.

475
00:25:32,119 --> 00:25:38,840
Speaker 2: Okay, okay, it's interesting your story about giving notes to

476
00:25:38,880 --> 00:25:41,680
Speaker 2: famous writers and not just not knowing who they were.

477
00:25:41,800 --> 00:25:44,600
Speaker 2: So you were just saying, there is a parallel that

478
00:25:44,680 --> 00:25:48,679
Speaker 2: for me as well, which was I hadn't done the

479
00:25:48,880 --> 00:25:52,080
Speaker 2: film and tell like I hadn't been beaten down in

480
00:25:52,160 --> 00:25:55,720
Speaker 2: a way like everyone else. I had, just I was

481
00:25:55,720 --> 00:25:59,840
Speaker 2: like I was working on theater production after theater production.

482
00:26:00,080 --> 00:26:03,000
Speaker 2: I was just trying to do the best I could

483
00:26:03,040 --> 00:26:06,040
Speaker 2: to create a character within this and make this the

484
00:26:06,040 --> 00:26:09,159
Speaker 2: best show. And so when I came and I think

485
00:26:09,400 --> 00:26:11,920
Speaker 2: meeting the folks on the office so fast and having

486
00:26:11,920 --> 00:26:15,959
Speaker 2: that happen, definitely that was a part of I believe

487
00:26:16,119 --> 00:26:18,520
Speaker 2: why that happened for me at the time, because I

488
00:26:18,640 --> 00:26:22,320
Speaker 2: was too dumb slash an experience to know any better

489
00:26:22,400 --> 00:26:27,080
Speaker 2: or be nervous about anything. Anyway, there's something kind of

490
00:26:27,080 --> 00:26:30,720
Speaker 2: beautiful about that. I mean within your story as well,

491
00:26:30,760 --> 00:26:35,600
Speaker 2: that you were given the freedom to say what you

492
00:26:36,000 --> 00:26:39,520
Speaker 2: thought because you didn't know you weren't supposed to maybe right.

493
00:26:40,040 --> 00:26:42,200
Speaker 1: I think that's absolutely I think that's really well put.

494
00:26:42,280 --> 00:26:44,880
Speaker 1: I do think what you're describing in terms of your

495
00:26:44,920 --> 00:26:47,320
Speaker 1: experience is very similar. So you don't know to be afraid,

496
00:26:48,040 --> 00:26:50,760
Speaker 1: and what it did was it taught me there's no

497
00:26:50,840 --> 00:26:54,680
Speaker 1: point in being afraid. I also, as anybody who knows

498
00:26:54,840 --> 00:26:58,400
Speaker 1: pretty well can tell you that I have a tendency

499
00:26:58,760 --> 00:27:01,440
Speaker 1: if I feel really strongly about something, you can see

500
00:27:01,480 --> 00:27:03,560
Speaker 1: it all over my face. Anyway. I'm a really bad

501
00:27:03,560 --> 00:27:08,680
Speaker 1: facial liar, like I learned. Actually, one place is when

502
00:27:08,720 --> 00:27:13,760
Speaker 1: you're on a set and you're watching something film. It's

503
00:27:13,880 --> 00:27:17,960
Speaker 1: really important to learn not to make weird faces because

504
00:27:18,320 --> 00:27:20,320
Speaker 1: we may not be doing it about the acting, but

505
00:27:20,440 --> 00:27:22,840
Speaker 1: every poor actor will come up and go what I do.

506
00:27:22,920 --> 00:27:26,879
Speaker 1: I'm like nothing, I just the sandwich was bad, and

507
00:27:26,880 --> 00:27:32,320
Speaker 1: they're like no, So I think sadly, I have a

508
00:27:32,320 --> 00:27:35,159
Speaker 1: bad poker face, and I do think what it does

509
00:27:35,400 --> 00:27:39,920
Speaker 1: is it does encourage you to really to act how

510
00:27:39,960 --> 00:27:43,440
Speaker 1: you feel, or to follow your instinct or to because

511
00:27:43,480 --> 00:27:46,040
Speaker 1: it got you that far. And when you realize that

512
00:27:46,080 --> 00:27:48,399
Speaker 1: somehow or another, you gave notes to a fancy person

513
00:27:48,400 --> 00:27:50,520
Speaker 1: and you didn't know that they were fancy, the next

514
00:27:50,520 --> 00:27:53,240
Speaker 1: time you give notes to somebody's fancy or you're in

515
00:27:53,280 --> 00:27:58,440
Speaker 1: a situation with a director or a show, you feel

516
00:27:58,480 --> 00:28:00,560
Speaker 1: very confident in your own choices because I have not

517
00:28:00,720 --> 00:28:01,560
Speaker 1: worked once.

518
00:28:02,520 --> 00:28:09,320
Speaker 3: Right, right, twice exactly. No, that is very true.

519
00:28:09,400 --> 00:28:12,520
Speaker 2: I will about about you having a poco face. I

520
00:28:12,560 --> 00:28:15,800
Speaker 2: will tell you I remember the first time we met.

521
00:28:16,040 --> 00:28:17,360
Speaker 2: I don't know if you remember.

522
00:28:17,080 --> 00:28:17,479
Speaker 3: This or not.

523
00:28:17,640 --> 00:28:20,399
Speaker 2: This is a long long time ago, and I can't

524
00:28:20,400 --> 00:28:25,080
Speaker 2: remember exactly what it was, but it was either something

525
00:28:25,320 --> 00:28:29,399
Speaker 2: in or around the Emmys, some event, and or in

526
00:28:29,520 --> 00:28:32,720
Speaker 2: or around the Screen Actors Guild Awards. It was some

527
00:28:32,840 --> 00:28:34,440
Speaker 2: awards party.

528
00:28:34,280 --> 00:28:36,240
Speaker 1: Were we were on that same circuit.

529
00:28:36,520 --> 00:28:40,920
Speaker 2: I thought, that's right, absolutely, and you were. You were

530
00:28:41,040 --> 00:28:45,680
Speaker 2: just unapologetically kind to me. And I spoke about you

531
00:28:45,840 --> 00:28:49,200
Speaker 2: afterward to some of my other cast mates at the time,

532
00:28:49,240 --> 00:28:52,120
Speaker 2: and I was like, you know it was just really nice,

533
00:28:52,280 --> 00:28:54,719
Speaker 2: and I'm sure because you were saying nice things, I

534
00:28:54,760 --> 00:28:57,320
Speaker 2: was like, Betsy Beers is so she's she was just

535
00:28:57,360 --> 00:29:02,400
Speaker 2: so there was something about your openness and directness and

536
00:29:02,520 --> 00:29:06,440
Speaker 2: unpretension to just tell me very clearly what you thought

537
00:29:06,560 --> 00:29:10,160
Speaker 2: about the show, and I know I found it like

538
00:29:10,320 --> 00:29:15,720
Speaker 2: so incredibly refreshing, and I've I've we don't know each

539
00:29:15,760 --> 00:29:18,680
Speaker 2: other very well at all, but I've always had just

540
00:29:18,720 --> 00:29:23,520
Speaker 2: such positive thoughts about you because of that, not trying

541
00:29:23,560 --> 00:29:28,000
Speaker 2: to hide, you know, not say something because oh you

542
00:29:28,040 --> 00:29:30,360
Speaker 2: get that all the time, right, like people being guarded

543
00:29:30,360 --> 00:29:32,680
Speaker 2: because they think they should be guarded for like why

544
00:29:32,880 --> 00:29:36,479
Speaker 2: like we're just working on two different television shows, like

545
00:29:36,480 --> 00:29:40,360
Speaker 2: like what difference does it make? But anyway, I didn't want.

546
00:29:40,200 --> 00:29:40,520
Speaker 3: To tell you.

547
00:29:41,000 --> 00:29:44,440
Speaker 1: That makes me really really happy. And I do believe

548
00:29:44,720 --> 00:29:48,480
Speaker 1: that so much of what we do is it's got

549
00:29:48,480 --> 00:29:51,800
Speaker 1: to be genuine enthusiasm, and I was genuinely enthusiastic about you.

550
00:29:51,880 --> 00:29:54,200
Speaker 1: I was genuinely enthusiastic at the show, but especially like

551
00:29:54,280 --> 00:29:57,200
Speaker 1: what you do and what you did, so I am

552
00:29:57,400 --> 00:30:00,840
Speaker 1: very I feel like people don't share that enough too.

553
00:30:00,920 --> 00:30:03,440
Speaker 1: I guess the deal is, you know that is it's

554
00:30:03,560 --> 00:30:05,400
Speaker 1: it's exactly what you say it and it kind of

555
00:30:05,960 --> 00:30:08,840
Speaker 1: it bugs me. And ask people what my pet peeves are,

556
00:30:08,880 --> 00:30:11,640
Speaker 1: and one of them is just say what you mean,

557
00:30:11,800 --> 00:30:17,000
Speaker 1: like just I mean I I do it to a fault.

558
00:30:17,040 --> 00:30:21,360
Speaker 1: Sometimes there have been moments where you know, I've I

559
00:30:21,400 --> 00:30:24,520
Speaker 1: think I've made actors freak out a little bit, or

560
00:30:25,040 --> 00:30:27,080
Speaker 1: you know, great writers or whoever, where I just go

561
00:30:27,160 --> 00:30:29,160
Speaker 1: up and I just I either gush or I say

562
00:30:29,160 --> 00:30:32,560
Speaker 1: something really really specific. But then I don't care because

563
00:30:32,600 --> 00:30:37,880
Speaker 1: I just virtually nobody hates to be told that you're

564
00:30:38,280 --> 00:30:42,160
Speaker 1: they're seen, at the very least, maybe if you're actually

565
00:30:42,240 --> 00:30:45,120
Speaker 1: talking to the fake president from twenty four and telling

566
00:30:45,200 --> 00:30:47,280
Speaker 1: him you wish it was the real president from twenty

567
00:30:47,320 --> 00:30:50,520
Speaker 1: four and he's a little weirded out. That might have

568
00:30:50,640 --> 00:30:57,280
Speaker 1: happened once at a party late, but I try to

569
00:30:57,360 --> 00:31:01,880
Speaker 1: keep it, you know, generally. Okay, that's great, I'm glad.

570
00:31:01,880 --> 00:31:02,640
Speaker 1: I'm glad to hear it.

571
00:31:02,720 --> 00:31:03,000
Speaker 3: I do.

572
00:31:03,240 --> 00:31:10,800
Speaker 1: I do think. I think kindness and and honestly listening.

573
00:31:11,720 --> 00:31:14,600
Speaker 1: Just listen to what somebody has to say. I know

574
00:31:14,640 --> 00:31:17,120
Speaker 1: it sounds simple, but you're doing a podcast, you have

575
00:31:17,200 --> 00:31:21,400
Speaker 1: to listen. I've done them. It's but it's just you

576
00:31:21,480 --> 00:31:23,800
Speaker 1: learned so much. I don't know, it's good, but thank you.

577
00:31:23,840 --> 00:31:25,720
Speaker 1: That's a really nice compliment that means a lot coming

578
00:31:25,760 --> 00:31:26,040
Speaker 1: from you.

579
00:31:26,200 --> 00:31:28,760
Speaker 3: Well, and it's it's it's it's true.

580
00:31:30,120 --> 00:31:34,520
Speaker 2: You eventually become president, which sounds like a fancy worder.

581
00:31:34,600 --> 00:31:36,840
Speaker 1: United States of America.

582
00:31:36,920 --> 00:31:39,400
Speaker 2: Is an amazing transition from the story you just told

583
00:31:40,360 --> 00:31:45,360
Speaker 2: of Dog Star films, two hundred cigarettes, high fidelity, pushing

584
00:31:45,440 --> 00:31:51,400
Speaker 2: ten and at this point, at this point, you're you're

585
00:31:51,440 --> 00:31:55,880
Speaker 2: a producer. Now, how do you define the work that

586
00:31:55,960 --> 00:31:59,239
Speaker 2: you do as a producer because and I say that,

587
00:31:59,400 --> 00:32:03,280
Speaker 2: one because I'm genuinely interested and want to listen, And two,

588
00:32:03,280 --> 00:32:05,040
Speaker 2: there are so many different types.

589
00:32:05,080 --> 00:32:08,360
Speaker 3: So for people out there, how would you define.

590
00:32:07,920 --> 00:32:12,280
Speaker 2: The role that you play in these projects starting then

591
00:32:12,000 --> 00:32:13,520
Speaker 2: and then moving forward.

592
00:32:14,640 --> 00:32:18,880
Speaker 1: It's such a hard question to answer succinctly, because first

593
00:32:18,920 --> 00:32:22,040
Speaker 1: of all, they're the same job in movies and TV.

594
00:32:22,200 --> 00:32:26,240
Speaker 1: You just the focus is different in movies, and just

595
00:32:27,040 --> 00:32:29,400
Speaker 1: in movies, the person who's really in charge of the

596
00:32:29,440 --> 00:32:32,280
Speaker 1: vision is the director. So as a producer, your job

597
00:32:32,560 --> 00:32:38,240
Speaker 1: is to me to take I believe it's everywhere from

598
00:32:38,520 --> 00:32:42,120
Speaker 1: starting with an idea to acquiring piece of material to

599
00:32:42,720 --> 00:32:48,560
Speaker 1: finding a writer to putting together and developing, and by

600
00:32:48,560 --> 00:32:53,320
Speaker 1: that I mean working on story and figuring out different

601
00:32:53,360 --> 00:32:55,440
Speaker 1: beats and how a story should play and why you

602
00:32:55,480 --> 00:32:59,800
Speaker 1: want to do it, through conversations with the writer, to pitching,

603
00:33:00,680 --> 00:33:06,040
Speaker 1: through production, then post and then out in the world publicity. Right, So,

604
00:33:06,080 --> 00:33:08,240
Speaker 1: if I'm being cute, I would say, it's those piece

605
00:33:08,840 --> 00:33:12,440
Speaker 1: but the way I see and then in TV, take

606
00:33:12,480 --> 00:33:14,640
Speaker 1: the director, take that person out and make it the writer,

607
00:33:14,720 --> 00:33:17,680
Speaker 1: because the writer is the showrunner. The director was always

608
00:33:17,680 --> 00:33:21,680
Speaker 1: the sort of core creative vision. Fancy producers, yes, but

609
00:33:21,960 --> 00:33:25,680
Speaker 1: it's usually the directors you know, the last name, And

610
00:33:26,160 --> 00:33:28,880
Speaker 1: for me, it's always meant I want to make sure

611
00:33:28,960 --> 00:33:32,640
Speaker 1: that I am there to help articulate the vision of

612
00:33:32,720 --> 00:33:37,520
Speaker 1: the show, which means that I am I'm in service

613
00:33:37,560 --> 00:33:40,240
Speaker 1: of the show. I'm always in service of whatever anybody

614
00:33:40,320 --> 00:33:42,920
Speaker 1: needs to make the show as good as it can be,

615
00:33:43,000 --> 00:33:45,160
Speaker 1: and that means I will I will do anything that

616
00:33:45,200 --> 00:33:48,880
Speaker 1: I'm vaguely qualified to do and part of my job

617
00:33:49,360 --> 00:33:55,040
Speaker 1: which I'm like vaguely qualified, but if needed, I don't

618
00:33:55,040 --> 00:33:58,440
Speaker 1: go off and do it. But if needed, the important

619
00:33:58,440 --> 00:34:00,240
Speaker 1: thing is that I can look at the writer, the

620
00:34:00,280 --> 00:34:01,959
Speaker 1: creator and the showrunner and say what do you need

621
00:34:02,000 --> 00:34:04,560
Speaker 1: me to do? Or this is what I think needs

622
00:34:04,560 --> 00:34:07,840
Speaker 1: to be done, And it might be different showrunners and

623
00:34:07,880 --> 00:34:10,760
Speaker 1: you know this too. Different creators of shows have different

624
00:34:10,760 --> 00:34:13,239
Speaker 1: areas where they feel incredibly strongly about input, and then

625
00:34:13,239 --> 00:34:15,200
Speaker 1: they have other areas where they really love to delegate.

626
00:34:15,800 --> 00:34:18,080
Speaker 1: I love to be involved in every single piece that

627
00:34:18,160 --> 00:34:22,799
Speaker 1: I can be, and a lot of it is how

628
00:34:22,800 --> 00:34:26,160
Speaker 1: do I contribute to making the best product possible? And

629
00:34:26,239 --> 00:34:29,719
Speaker 1: different people need different things. I've worked with showrunners who

630
00:34:30,640 --> 00:34:32,480
Speaker 1: and you know, the folks that I work with here

631
00:34:32,480 --> 00:34:35,560
Speaker 1: at Chanelan who are great, want very specific things in

632
00:34:35,680 --> 00:34:39,440
Speaker 1: order to help shore up and articulate their vision. I

633
00:34:39,480 --> 00:34:44,319
Speaker 1: work with other showrunners and creators who want a much

634
00:34:44,360 --> 00:34:49,239
Speaker 1: more wide partnership. You know, I think it's an I

635
00:34:49,360 --> 00:34:54,440
Speaker 1: frankly love partnerships. I love working closely because I think

636
00:34:54,960 --> 00:34:56,239
Speaker 1: this is going to surprise you. I have a lot

637
00:34:56,280 --> 00:35:02,560
Speaker 1: to say, hah. And I think that collaboration very often

638
00:35:02,640 --> 00:35:10,520
Speaker 1: makes for the most fun and great television and movies.

639
00:35:11,440 --> 00:35:12,120
Speaker 3: It's the best.

640
00:35:12,680 --> 00:35:12,879
Speaker 1: Yeah.

641
00:35:14,040 --> 00:35:16,319
Speaker 2: Yeah, I mean, if you can do everything on your own,

642
00:35:17,200 --> 00:35:20,279
Speaker 2: then you don't need anybody else. And no matter how

643
00:35:20,360 --> 00:35:23,680
Speaker 2: great your vision is as a writer or a director.

644
00:35:24,200 --> 00:35:27,560
Speaker 2: As you indicated on the medium, you're bringing other people

645
00:35:27,600 --> 00:35:29,440
Speaker 2: around to try to make it better than what you

646
00:35:29,440 --> 00:35:30,440
Speaker 2: can create yourself.

647
00:35:30,760 --> 00:35:33,680
Speaker 1: Yeah. Yeah, And I think one of the great things

648
00:35:33,680 --> 00:35:37,799
Speaker 1: about having experiences. I've told this story before, but when

649
00:35:37,800 --> 00:35:40,200
Speaker 1: I was doing two hundred Cigarettes was my first movie.

650
00:35:40,239 --> 00:35:43,000
Speaker 1: We had five dollars in ninety five cents. It was

651
00:35:43,080 --> 00:35:45,960
Speaker 1: four billion five year old actors. Not really you know,

652
00:35:46,920 --> 00:35:49,440
Speaker 1: they were all really cool kids in their early twenties, lateeens.

653
00:35:50,320 --> 00:35:52,840
Speaker 1: And it was me standing for thirty eight days, freezing

654
00:35:52,880 --> 00:35:55,040
Speaker 1: my ass off all night long, every night in New York.

655
00:35:55,040 --> 00:35:58,200
Speaker 1: And I'd never done anything like it before. I'd done

656
00:35:58,400 --> 00:36:00,160
Speaker 1: all the steps before, but it was my first just

657
00:36:00,200 --> 00:36:04,800
Speaker 1: real like almost so adventure. And I remember like somebody

658
00:36:04,840 --> 00:36:07,279
Speaker 1: asked me a question and I did, like that, well,

659
00:36:07,320 --> 00:36:09,680
Speaker 1: I you know, think blah blah blah blah, and it

660
00:36:09,760 --> 00:36:13,680
Speaker 1: was I clearly had no idea what I was talking about.

661
00:36:13,719 --> 00:36:17,080
Speaker 1: And a dude, I was like two in the morning,

662
00:36:17,120 --> 00:36:21,239
Speaker 1: and I still remember we were like downtown and this

663
00:36:22,239 --> 00:36:24,640
Speaker 1: it's somebody I think was like a grip was moving

664
00:36:24,719 --> 00:36:26,879
Speaker 1: something and he said, can I can I just give

665
00:36:26,920 --> 00:36:30,160
Speaker 1: you a piece of piece? And I said, yeah, sure,

666
00:36:30,239 --> 00:36:33,000
Speaker 1: I'm I'm sure I know the answer, and he said,

667
00:36:33,040 --> 00:36:35,480
Speaker 1: you know, it's fine to admit you don't know what

668
00:36:35,520 --> 00:36:37,839
Speaker 1: you're doing. People love it when you ask for help

669
00:36:38,080 --> 00:36:41,440
Speaker 1: because they love to teach you what they know. So

670
00:36:43,040 --> 00:36:46,080
Speaker 1: that's okay. And I went, oh, I get it. That's

671
00:36:46,200 --> 00:36:50,400
Speaker 1: that's really you're smart, that's you're not I'm not fooling anybody.

672
00:36:50,480 --> 00:36:52,520
Speaker 1: And you know that. I mean, Brian, you've been through

673
00:36:52,560 --> 00:36:55,600
Speaker 1: that where it's like, Okay, dude, you clearly have never

674
00:36:55,640 --> 00:36:58,839
Speaker 1: done a shot list before, so just ask someone how

675
00:36:58,880 --> 00:37:01,080
Speaker 1: to do the shot say you don't need a shot

676
00:37:01,120 --> 00:37:05,200
Speaker 1: list or whatever the heck kid it, but I will.

677
00:37:05,239 --> 00:37:07,640
Speaker 1: I will go into I always say it's a successful

678
00:37:07,680 --> 00:37:12,120
Speaker 1: show or movie or project when I can walk away

679
00:37:12,280 --> 00:37:13,719
Speaker 1: at the end of it and say I didn't know

680
00:37:13,800 --> 00:37:15,839
Speaker 1: that thing, and I learned that I didn't know how

681
00:37:15,840 --> 00:37:18,719
Speaker 1: to handle that kind of person. I didn't. I think

682
00:37:18,760 --> 00:37:22,759
Speaker 1: it's a great job because there's an endless opportunity for

683
00:37:22,880 --> 00:37:27,920
Speaker 1: learning and growth if you just listen, and like we

684
00:37:27,960 --> 00:37:31,520
Speaker 1: always say, here and Sean and I've talked about this

685
00:37:31,560 --> 00:37:33,319
Speaker 1: for reason. I think it's true. With Alison Akel and

686
00:37:33,400 --> 00:37:36,080
Speaker 1: all the wonderful people in development, the whole company but

687
00:37:37,160 --> 00:37:41,040
Speaker 1: I we don't want to do anything we've done again, Like,

688
00:37:41,080 --> 00:37:43,520
Speaker 1: we don't do the same thing twice. And that's the biggest.

689
00:37:43,920 --> 00:37:46,960
Speaker 1: One of the biggest things initially that I think we

690
00:37:47,080 --> 00:37:50,480
Speaker 1: discovered when we were first starting out on Grays was,

691
00:37:51,120 --> 00:37:53,239
Speaker 1: you know, ABC wanted to spin off of Grays and

692
00:37:53,280 --> 00:37:57,799
Speaker 1: I think they wanted, you know, Gray's Chicago. So it's like,

693
00:37:58,280 --> 00:38:03,000
Speaker 1: here's here's a girl named you know, Beredith and she's

694
00:38:03,280 --> 00:38:05,960
Speaker 1: you know, it's that was terrible. I'm sorry, I don't

695
00:38:06,000 --> 00:38:08,279
Speaker 1: why I said that, but you get the idea. And

696
00:38:08,360 --> 00:38:09,480
Speaker 1: so we looked at each other.

697
00:38:09,520 --> 00:38:09,840
Speaker 3: Idea.

698
00:38:10,160 --> 00:38:14,719
Speaker 1: Yeah, we looked at it, and you know, and the doggie,

699
00:38:15,040 --> 00:38:17,879
Speaker 1: and we looked at each other and we were like,

700
00:38:18,200 --> 00:38:19,360
Speaker 1: do you want to do that? I was like, I

701
00:38:19,400 --> 00:38:20,600
Speaker 1: don't want to do it all over again, do you?

702
00:38:20,760 --> 00:38:22,120
Speaker 1: And it would have I'm sure it would have been

703
00:38:22,120 --> 00:38:25,799
Speaker 1: gigantic success. But we did private practice because it was

704
00:38:25,880 --> 00:38:28,040
Speaker 1: much more interesting to say, hey, those are people in

705
00:38:28,040 --> 00:38:30,520
Speaker 1: their twenties, they're just starting out. What happens if you

706
00:38:30,560 --> 00:38:33,480
Speaker 1: take a group of doctors that we know, some we know,

707
00:38:33,600 --> 00:38:35,440
Speaker 1: so we don't, and you put them in a different

708
00:38:35,440 --> 00:38:38,520
Speaker 1: time of their lives, which is late thirties early forties,

709
00:38:38,800 --> 00:38:41,680
Speaker 1: when the decisions are getting really hard, you experience death,

710
00:38:41,800 --> 00:38:43,759
Speaker 1: you have to make decisions about your relationships and and

711
00:38:43,800 --> 00:38:45,880
Speaker 1: all that kind of stuff. And I think from that

712
00:38:45,880 --> 00:38:48,160
Speaker 1: point on we both were sort of like, at least

713
00:38:48,200 --> 00:38:51,720
Speaker 1: I can say for me, what I love is getting

714
00:38:51,719 --> 00:38:55,640
Speaker 1: the opportunity to say what you want in different formats

715
00:38:55,680 --> 00:38:56,920
Speaker 1: and stories and different ways.

716
00:38:56,719 --> 00:38:57,320
Speaker 3: Of saying.

717
00:38:58,840 --> 00:39:02,759
Speaker 2: You. I mean, it's time to make sure everybody knows

718
00:39:02,760 --> 00:39:03,759
Speaker 2: what we're talking about here.

719
00:39:03,920 --> 00:39:04,360
Speaker 3: Betsy.

720
00:39:04,520 --> 00:39:07,520
Speaker 2: You're at the Mark Gordon Company. You meet a writer

721
00:39:08,000 --> 00:39:12,719
Speaker 2: named Shonda Rhymes. Shonda Rhymes has created a show, Gray's Anatomy.

722
00:39:13,440 --> 00:39:17,080
Speaker 2: You began working with her and on the show since

723
00:39:17,200 --> 00:39:18,719
Speaker 2: day one. No, that's not true.

724
00:39:18,840 --> 00:39:23,520
Speaker 1: There was no show. So basically we developed a pilot

725
00:39:23,560 --> 00:39:27,600
Speaker 1: together the first year that we met that was about

726
00:39:27,600 --> 00:39:31,200
Speaker 1: work correspondence. It didn't get picked up, okay, so the

727
00:39:31,320 --> 00:39:34,560
Speaker 1: second year we definitely wanted to work together again. It

728
00:39:34,600 --> 00:39:37,160
Speaker 1: was for those of you who you probably all know

729
00:39:37,160 --> 00:39:38,719
Speaker 1: because you listen to this podcast, and I'm sure he

730
00:39:38,800 --> 00:39:41,200
Speaker 1: talked about this a lot. But there's a pitching season

731
00:39:41,239 --> 00:39:43,160
Speaker 1: and network in the old days, and it was summertime

732
00:39:43,400 --> 00:39:45,959
Speaker 1: and you came up with your ideas and you'd pitch

733
00:39:46,000 --> 00:39:49,160
Speaker 1: it and then you'd write the script and the fall,

734
00:39:49,200 --> 00:39:51,840
Speaker 1: and then you get picked up around after the holidays,

735
00:39:51,880 --> 00:39:54,880
Speaker 1: and then you'd film your pilot. So we heard that

736
00:39:55,040 --> 00:39:59,880
Speaker 1: ABC was looking for a medical show, and she was like,

737
00:40:00,080 --> 00:40:01,839
Speaker 1: I was going to go to medical school. And I said,

738
00:40:01,840 --> 00:40:03,879
Speaker 1: I hate medical shows. I think they suck. I don't

739
00:40:03,960 --> 00:40:07,280
Speaker 1: understand what's going on. They're screaming and yelling. They're scary.

740
00:40:07,320 --> 00:40:10,399
Speaker 1: I don't get it. And she was like, it's so weird.

741
00:40:10,440 --> 00:40:13,560
Speaker 1: I said, because you need a you know, she was.

742
00:40:13,719 --> 00:40:15,160
Speaker 1: We basically talked about it. She was like, there are

743
00:40:15,160 --> 00:40:17,719
Speaker 1: these things called interns, and I was like, those sound good.

744
00:40:18,760 --> 00:40:20,680
Speaker 1: In turns sound good because they don't know what they're

745
00:40:20,680 --> 00:40:23,440
Speaker 1: doing either. So we sat and we had a lot

746
00:40:23,440 --> 00:40:25,279
Speaker 1: of conversations, which is what we've done in the other

747
00:40:25,320 --> 00:40:28,920
Speaker 1: script developed, you know, talked, and then she went off

748
00:40:29,239 --> 00:40:34,520
Speaker 1: and based on conversations around Big Brain, she did what

749
00:40:34,960 --> 00:40:38,399
Speaker 1: I now call the percolating process, which is she takes

750
00:40:38,440 --> 00:40:41,200
Speaker 1: all these things I'm making weird finger moves for people

751
00:40:41,239 --> 00:40:45,319
Speaker 1: who don't know what I'm doing, weird finger moves, not

752
00:40:45,480 --> 00:40:47,200
Speaker 1: those kind of weird finger moves stopping.

753
00:40:47,800 --> 00:40:49,000
Speaker 3: I didn't say a word.

754
00:40:49,080 --> 00:40:53,239
Speaker 1: I'm saying it. I'm saying it too some listener. But

755
00:40:54,000 --> 00:40:58,920
Speaker 1: she she will go off and take things and do

756
00:40:59,000 --> 00:41:02,680
Speaker 1: this incredible work where all of a sudden she came

757
00:41:02,760 --> 00:41:05,319
Speaker 1: back and she handed me this piece of paper which

758
00:41:05,360 --> 00:41:08,520
Speaker 1: was the pitch, and it was unbelievable and it was

759
00:41:08,880 --> 00:41:12,160
Speaker 1: the first episode. Is pretty much the first episode. And

760
00:41:12,840 --> 00:41:17,400
Speaker 1: so we got the pilot picked up for a script

761
00:41:17,520 --> 00:41:20,480
Speaker 1: and then they couldn't decide if they wanted to pick

762
00:41:20,480 --> 00:41:23,160
Speaker 1: it up to make a pilot. We were the last

763
00:41:23,160 --> 00:41:26,719
Speaker 1: show to get picked up. We had to do all pitch. Yeah,

764
00:41:26,760 --> 00:41:30,960
Speaker 1: nobody got it except the executives who were behind it

765
00:41:31,040 --> 00:41:34,200
Speaker 1: were really pro it. But up top there was one

766
00:41:34,239 --> 00:41:36,719
Speaker 1: woman named Susan Lyne who was a co president with

767
00:41:36,800 --> 00:41:38,960
Speaker 1: Lloyd Bron at that time. I think at ABC I

768
00:41:39,000 --> 00:41:43,640
Speaker 1: could be wrong, and Seanda I went in and basically

769
00:41:44,560 --> 00:41:47,279
Speaker 1: made a plea and told her why we thought it

770
00:41:47,320 --> 00:41:49,520
Speaker 1: was important. I made up a bunch of stuff. I

771
00:41:49,520 --> 00:41:53,520
Speaker 1: have no idea what I was thinking. And God bless her,

772
00:41:53,560 --> 00:41:55,520
Speaker 1: and God bless Lloyd Bron or whoever else who. By

773
00:41:55,560 --> 00:41:57,920
Speaker 1: the way, there is a real Lloyd Braun for all

774
00:41:57,920 --> 00:42:01,719
Speaker 1: of you who watch side Field. Anyway, they picked up

775
00:42:01,719 --> 00:42:03,680
Speaker 1: the pilot and then we were the last show to

776
00:42:03,680 --> 00:42:06,360
Speaker 1: get picked up for series and they put us on

777
00:42:06,400 --> 00:42:10,960
Speaker 1: a mid season and that's when we started. So I

778
00:42:11,040 --> 00:42:13,719
Speaker 1: went through the whole one hole pilot and then this

779
00:42:13,760 --> 00:42:18,319
Speaker 1: whole journey, and then I went off to continue to

780
00:42:18,360 --> 00:42:20,960
Speaker 1: work on the first season of Grey's Anatome while I

781
00:42:21,000 --> 00:42:23,600
Speaker 1: still had my job at Mark Gordon Company, where I

782
00:42:23,680 --> 00:42:26,279
Speaker 1: was producing a movie in Italy called Casanova, and I

783
00:42:26,320 --> 00:42:29,160
Speaker 1: was commuting back and forth every couple of weeks to

784
00:42:29,239 --> 00:42:33,160
Speaker 1: work on Grays and then go work on Casanova. And

785
00:42:35,960 --> 00:42:39,200
Speaker 1: shortly after that I ended up quitting that job and

786
00:42:39,239 --> 00:42:42,400
Speaker 1: going to work full time with Shonda on Grace.

787
00:42:43,719 --> 00:42:45,960
Speaker 3: Wow, those early days.

788
00:42:47,040 --> 00:42:49,359
Speaker 2: Now you're commuting back and forth from Italy, so you're

789
00:42:49,400 --> 00:42:52,239
Speaker 2: not there every day. How much are you working on

790
00:42:52,320 --> 00:42:56,560
Speaker 2: the day to day scripts? Production, reviewing cuts?

791
00:42:57,000 --> 00:43:00,440
Speaker 1: It's a TV show, so initially when the scripts are

792
00:43:00,480 --> 00:43:03,440
Speaker 1: being written, I would be giving notes on scripts. But

793
00:43:03,480 --> 00:43:05,200
Speaker 1: there was a writer's room for the first time. Up

794
00:43:05,280 --> 00:43:07,239
Speaker 1: until then, it had just been the two of us.

795
00:43:07,360 --> 00:43:09,839
Speaker 1: And then obviously there was a writer's room. We had

796
00:43:09,880 --> 00:43:12,759
Speaker 1: a great guy come in who you know, helped sort

797
00:43:12,760 --> 00:43:15,600
Speaker 1: of organize stuff. So it's a hard question. To answer,

798
00:43:15,680 --> 00:43:19,920
Speaker 1: because initially I was involved and aware of everything that

799
00:43:20,040 --> 00:43:22,680
Speaker 1: was going on, but the writer's room was sacras anct,

800
00:43:22,840 --> 00:43:26,280
Speaker 1: and they would write scripts. I would look at stuff,

801
00:43:26,680 --> 00:43:30,360
Speaker 1: and then I was pretty much back and forth whenever

802
00:43:30,400 --> 00:43:33,000
Speaker 1: it was necessary. And then when cut started to come in,

803
00:43:33,040 --> 00:43:36,600
Speaker 1: definitively I was there. That started around the time that

804
00:43:36,640 --> 00:43:39,080
Speaker 1: I was there more than I was in Italy. I

805
00:43:39,080 --> 00:43:40,799
Speaker 1: went back and forth to Italy a few times. And

806
00:43:41,800 --> 00:43:44,680
Speaker 1: true story, I was sitting on set after being on

807
00:43:44,719 --> 00:43:48,520
Speaker 1: the pilot and sitting on set in La, and I

808
00:43:48,600 --> 00:43:51,440
Speaker 1: was sitting in Piazza San Marco, and I was waiting

809
00:43:51,480 --> 00:43:54,880
Speaker 1: for the sun to be perfect, because the DP needed

810
00:43:54,920 --> 00:43:58,480
Speaker 1: a perfect son. And I didn't understand why it was

811
00:43:58,480 --> 00:43:59,799
Speaker 1: taking so long at this point. I mean, I came

812
00:43:59,800 --> 00:44:01,920
Speaker 1: from movies, Brian, this is so ridiculous. But I was

813
00:44:01,920 --> 00:44:05,080
Speaker 1: sitting there. I'm by nature really impatient person, as you

814
00:44:05,120 --> 00:44:08,439
Speaker 1: can tell, but I was like, what's taking so long?

815
00:44:09,239 --> 00:44:11,799
Speaker 1: And I think, I said, you know what, if I've

816
00:44:11,800 --> 00:44:15,040
Speaker 1: been back in La, we could have gotten ten setups

817
00:44:15,040 --> 00:44:18,399
Speaker 1: in this amount of time. And Jeremy Irons comes over,

818
00:44:18,680 --> 00:44:22,279
Speaker 1: who is in the movie, and he looks at me

819
00:44:22,360 --> 00:44:26,320
Speaker 1: and he goes, you know, dear girl, you really should

820
00:44:26,320 --> 00:44:29,680
Speaker 1: go back to Los Angeles because you're more I think

821
00:44:29,680 --> 00:44:32,279
Speaker 1: you're more of a television person than you are a

822
00:44:32,280 --> 00:44:35,480
Speaker 1: movie person. I was like, you're right. I think you're

823
00:44:35,520 --> 00:44:38,719
Speaker 1: probably right. And you know, in the movie version, I

824
00:44:38,719 --> 00:44:40,520
Speaker 1: would have packed everything up. But I went back and

825
00:44:40,520 --> 00:44:43,319
Speaker 1: forth and it was wonderful during the movie. But that

826
00:44:43,400 --> 00:44:45,279
Speaker 1: was the moment when a penny dropped and I was like,

827
00:44:45,760 --> 00:44:50,120
Speaker 1: I love TV. People just keep working. Nobody stands around,

828
00:44:50,320 --> 00:44:51,600
Speaker 1: you know, no one stands around.

829
00:44:51,719 --> 00:45:14,480
Speaker 2: Nope, you just finished your twentieth year, became the longest

830
00:45:14,520 --> 00:45:20,000
Speaker 2: running drama in ABC history. Do you ever give yourself

831
00:45:20,040 --> 00:45:21,759
Speaker 2: a moment to go back and think of those early

832
00:45:21,880 --> 00:45:25,359
Speaker 2: days and think, oh my gosh, we're still doing it

833
00:45:25,440 --> 00:45:27,560
Speaker 2: twenty years later.

834
00:45:27,400 --> 00:45:30,080
Speaker 3: And how does that? What does that mean to you?

835
00:45:31,680 --> 00:45:37,440
Speaker 1: I mean, it's a stand it's astounding. Like I remember

836
00:45:37,600 --> 00:45:41,560
Speaker 1: season one where we were just like throwing the kitchen

837
00:45:41,600 --> 00:45:44,839
Speaker 1: sink because this is probably our last. And the great

838
00:45:44,840 --> 00:45:48,400
Speaker 1: thing about Shanda, Shanda is fearless when it comes to storytelling, obviously,

839
00:45:48,480 --> 00:45:51,520
Speaker 1: so it was just like, I just pull all the

840
00:45:51,560 --> 00:45:56,279
Speaker 1: stops out and I don't know, it's such a testament

841
00:45:56,360 --> 00:46:01,320
Speaker 1: to both our fans I mean have such incredible, crazy

842
00:46:01,360 --> 00:46:06,480
Speaker 1: loyal fans, and something about the show keeps resonating. I

843
00:46:06,480 --> 00:46:08,640
Speaker 1: mean it does for me. It's better for me because

844
00:46:08,680 --> 00:46:11,399
Speaker 1: you know that would be embarrassing, but it didn't. And there's

845
00:46:11,400 --> 00:46:14,759
Speaker 1: so many talented people involved, and I think it means

846
00:46:14,760 --> 00:46:17,799
Speaker 1: so much to me that over the years, like now,

847
00:46:17,840 --> 00:46:21,759
Speaker 1: we have Meg Morenis, who started with us in like

848
00:46:21,880 --> 00:46:24,920
Speaker 1: season two as an assistant as a runner and who

849
00:46:24,960 --> 00:46:28,480
Speaker 1: is now running the show. And I think there's something

850
00:46:28,600 --> 00:46:32,280
Speaker 1: so wonderful and incredible about so many of our actors directing,

851
00:46:32,280 --> 00:46:36,359
Speaker 1: and I it just it means a ton. It's it's

852
00:46:36,480 --> 00:46:39,560
Speaker 1: mind boggling. I mean, if you had said to me,

853
00:46:40,680 --> 00:46:43,560
Speaker 1: if you had said to the way younger less wrinkled

854
00:46:43,680 --> 00:46:47,160
Speaker 1: me like years ago, that we would be going, I'd go,

855
00:46:47,600 --> 00:46:57,359
Speaker 1: that's unbelievable. But yay, I mean it's it's definitely it's

856
00:46:57,360 --> 00:47:00,920
Speaker 1: definitely crazy. But I'm very proud of you.

857
00:47:01,560 --> 00:47:06,680
Speaker 2: In addition to Gray's Anatomy, served as producer on Private Practice,

858
00:47:07,239 --> 00:47:11,200
Speaker 2: among others, The Catch Scandal for the People, How to

859
00:47:11,239 --> 00:47:16,000
Speaker 2: Get Away With Murder Station nineteen, and now of course

860
00:47:16,239 --> 00:47:25,799
Speaker 2: the smash Sensation, Bridgerton Inventing Anna and upcoming the Residents,

861
00:47:26,000 --> 00:47:28,840
Speaker 2: who I just was able to talk to Susan collect you.

862
00:47:29,160 --> 00:47:31,319
Speaker 1: Susan, right, yeah, how did you?

863
00:47:31,520 --> 00:47:34,440
Speaker 2: How did you know that? Now now you don't research me.

864
00:47:35,280 --> 00:47:40,520
Speaker 2: I talked to Susan. I talked to Susan, and she

865
00:47:40,680 --> 00:47:43,040
Speaker 2: told us, by the way, everything that happens. So I

866
00:47:43,080 --> 00:47:46,120
Speaker 2: don't even know if you need to run it. Do

867
00:47:46,200 --> 00:47:47,719
Speaker 2: we have a release date on that yet?

868
00:47:47,760 --> 00:47:52,080
Speaker 1: By the way, No, we don't, but I'm sure whatever

869
00:47:52,080 --> 00:47:54,120
Speaker 1: release date it will be, it will be a terrific one.

870
00:47:55,239 --> 00:47:56,200
Speaker 3: She's lying everyone.

871
00:47:56,239 --> 00:47:59,239
Speaker 2: She knows exactly when she knows, she knows exactly when

872
00:47:59,239 --> 00:47:59,879
Speaker 2: it's coming out.

873
00:48:00,600 --> 00:48:01,040
Speaker 3: I don't know.

874
00:48:01,200 --> 00:48:04,640
Speaker 2: I didn't I didn't do the math. I don't do

875
00:48:04,760 --> 00:48:09,240
Speaker 2: numbers that well. This is like a combined nine hundred

876
00:48:09,239 --> 00:48:14,600
Speaker 2: and seventy three years of television, it appears to me.

877
00:48:15,680 --> 00:48:18,920
Speaker 2: So this I'm going to ask this question again in

878
00:48:18,920 --> 00:48:22,799
Speaker 2: a in a slightly different way. I mean, at one

879
00:48:22,880 --> 00:48:25,720
Speaker 2: point in time, you've got at least Gray's Anatomy, Private

880
00:48:25,800 --> 00:48:31,720
Speaker 2: Practice and Scandal that's on the air. At the same

881
00:48:31,800 --> 00:48:36,200
Speaker 2: time you now have other you know, Bridgerton, at the

882
00:48:36,200 --> 00:48:40,000
Speaker 2: same time that Inventing Ana is happening, and now the Residents.

883
00:48:40,480 --> 00:48:44,239
Speaker 2: So you have to be more macro now right, I mean,

884
00:48:44,280 --> 00:48:46,840
Speaker 2: are you are you reviewing scripts for these shows?

885
00:48:46,880 --> 00:48:47,200
Speaker 3: Still?

886
00:48:47,520 --> 00:48:49,839
Speaker 1: It depends on the screen, It depends on the show.

887
00:48:50,000 --> 00:48:53,120
Speaker 1: Is I think if I always say like shows are

888
00:48:53,160 --> 00:48:55,600
Speaker 1: like kids, I have no children. So this is as

889
00:48:55,600 --> 00:48:58,840
Speaker 1: close as I can get to the analogy in that

890
00:48:59,640 --> 00:49:02,759
Speaker 1: the oldest show is like having a kid who's left

891
00:49:02,800 --> 00:49:05,560
Speaker 1: the house and has gone to college or is So

892
00:49:05,840 --> 00:49:08,040
Speaker 1: when there's an emergency, when there's a real issue, you

893
00:49:08,120 --> 00:49:13,279
Speaker 1: check in, You celebrate birthdays, you know it's correct, You

894
00:49:13,320 --> 00:49:16,840
Speaker 1: make yourself available for whatever's necessary. But honestly, you you

895
00:49:16,920 --> 00:49:22,120
Speaker 1: spend a lot of time lauding them for their thriving survival.

896
00:49:22,239 --> 00:49:22,840
Speaker 3: In my opinion.

897
00:49:23,440 --> 00:49:27,080
Speaker 1: On the other spectrum, on the other end is when

898
00:49:27,080 --> 00:49:29,200
Speaker 1: a new show is around, it's a baby and that

899
00:49:29,239 --> 00:49:32,680
Speaker 1: needs a lot of Karen feeding. So when Bridgerton was

900
00:49:32,680 --> 00:49:36,360
Speaker 1: starting out, I was involved in every aspect of Bridgerton.

901
00:49:37,320 --> 00:49:40,880
Speaker 1: Now I'll be involved in different aspects of Bridgerton, but

902
00:49:40,880 --> 00:49:43,680
Speaker 1: it's not the same. That's only been four seasons with

903
00:49:44,280 --> 00:49:47,000
Speaker 1: eight episodes, as opposed to something like Gray Is Where

904
00:49:47,800 --> 00:49:50,640
Speaker 1: And you remember this, Brian, like we made TV and

905
00:49:50,680 --> 00:49:51,920
Speaker 1: it was twenty four episodes.

906
00:49:52,000 --> 00:49:56,080
Speaker 3: You know, so we were doing thirty. By the way,

907
00:49:56,080 --> 00:50:02,160
Speaker 3: you guys, thirty thirty right against you guys.

908
00:50:02,000 --> 00:50:03,560
Speaker 1: That is rape and pillage thirty.

909
00:50:04,040 --> 00:50:04,919
Speaker 3: I mean it's a lot.

910
00:50:05,200 --> 00:50:07,640
Speaker 1: Yeah, that was a lot. Like you so you had

911
00:50:07,680 --> 00:50:10,719
Speaker 1: like a bathroom break and a trip to Disneyland, and

912
00:50:10,719 --> 00:50:12,839
Speaker 1: then you came back and you started again. It's like there,

913
00:50:13,000 --> 00:50:14,120
Speaker 1: that's no hiatus.

914
00:50:14,480 --> 00:50:16,480
Speaker 3: No, no, thirty is a lot.

915
00:50:17,520 --> 00:50:20,560
Speaker 1: Thirty, Yeah, I think. So bottom line is every it

916
00:50:20,600 --> 00:50:22,800
Speaker 1: goes back to what I said about producing. I'm here

917
00:50:22,880 --> 00:50:26,960
Speaker 1: for whatever is necessary for whatever is going on. And also,

918
00:50:27,000 --> 00:50:31,640
Speaker 1: remember when we were doing it was like Gray's Private Scandal,

919
00:50:31,760 --> 00:50:35,240
Speaker 1: how to get Away with Murder. We are also developing shows,

920
00:50:35,440 --> 00:50:39,439
Speaker 1: so on top of it, I would be theoretically keeping

921
00:50:39,480 --> 00:50:42,280
Speaker 1: an eye on a bunch of shows and then trying

922
00:50:42,280 --> 00:50:44,200
Speaker 1: to get new shows on the art because why not,

923
00:50:44,320 --> 00:50:48,840
Speaker 1: I mean, we have there's time for bathroom break.

924
00:50:49,080 --> 00:50:53,319
Speaker 3: Yeah, yes, exactly.

925
00:50:54,239 --> 00:50:58,200
Speaker 2: Well, Look, I was told I needed to ask you

926
00:50:58,360 --> 00:51:00,880
Speaker 2: what's happening in Bridgerton third season?

927
00:51:01,560 --> 00:51:03,280
Speaker 3: I mean I need all the answers.

928
00:51:03,520 --> 00:51:07,800
Speaker 1: What's happening third season in Bridgerton? You can see it.

929
00:51:07,800 --> 00:51:11,759
Speaker 1: It's it's it's on it's on the it's on the

930
00:51:11,960 --> 00:51:12,800
Speaker 1: streaming device.

931
00:51:13,080 --> 00:51:15,640
Speaker 3: It's all it's all, you're all done, it's all out.

932
00:51:15,920 --> 00:51:18,680
Speaker 1: No, it's out. The second part is out in a

933
00:51:18,719 --> 00:51:20,520
Speaker 1: couple of weeks. The first part is out.

934
00:51:20,760 --> 00:51:24,239
Speaker 2: Yes, right, So what happens in the first part No,

935
00:51:24,719 --> 00:51:26,440
Speaker 2: in the second part, Oh, I thought.

936
00:51:26,280 --> 00:51:28,840
Speaker 1: You just want to know in general. Oh, in the

937
00:51:28,880 --> 00:51:30,240
Speaker 1: second part, a lot of stuff happens.

938
00:51:30,320 --> 00:51:33,759
Speaker 3: Yeah. Oh see, that's not that's not the kind of

939
00:51:33,920 --> 00:51:35,439
Speaker 3: you know, breaking news we need.

940
00:51:35,680 --> 00:51:37,879
Speaker 1: No, no, you're yeah, you won't get any breaking news

941
00:51:37,880 --> 00:51:41,239
Speaker 1: for me. There will be wearing corsets. There will be

942
00:51:41,280 --> 00:51:45,760
Speaker 1: some dancing, undoubtedly, there might be some romance.

943
00:51:47,280 --> 00:51:49,080
Speaker 3: Romance or sex, you know.

944
00:51:49,560 --> 00:51:51,240
Speaker 1: I think sometimes there's both.

945
00:51:51,680 --> 00:51:57,879
Speaker 2: Okay, this show is I mean, this has taken over

946
00:51:57,920 --> 00:51:59,279
Speaker 2: the zeitgeist here.

947
00:51:59,360 --> 00:52:03,719
Speaker 3: This is like a cultural uh what do you call it? Phenomenon?

948
00:52:04,239 --> 00:52:04,920
Speaker 3: Is that it.

949
00:52:07,239 --> 00:52:11,480
Speaker 1: I it's a lot of people love, have a lot

950
00:52:11,480 --> 00:52:14,720
Speaker 1: of love, which is really good because it's really bad

951
00:52:14,760 --> 00:52:19,640
Speaker 1: when they don't. But no, it's it is. And I think, look,

952
00:52:19,800 --> 00:52:23,799
Speaker 1: I feel incredibly lucky that when we first debuted this

953
00:52:23,960 --> 00:52:27,240
Speaker 1: it was the middle of COVID. I had no idea

954
00:52:27,400 --> 00:52:29,719
Speaker 1: because I don't I'm not a big social media person.

955
00:52:29,760 --> 00:52:32,480
Speaker 1: Although everybody here keeps starting to change that and I'm like,

956
00:52:32,880 --> 00:52:36,960
Speaker 1: you just don't want this. But I was like sequestered

957
00:52:37,000 --> 00:52:40,880
Speaker 1: during the holiday, and I started getting phone calls to

958
00:52:40,880 --> 00:52:42,719
Speaker 1: my friends in London and stuff, and it was like

959
00:52:43,000 --> 00:52:45,520
Speaker 1: this amazing thing when everybody was all separate and we

960
00:52:45,520 --> 00:52:48,160
Speaker 1: were all kind of everything was kind of grim that

961
00:52:48,200 --> 00:52:51,279
Speaker 1: the timing I think worked incredibly well for us too,

962
00:52:51,360 --> 00:52:55,279
Speaker 1: and it got It was a little beacon of you know,

963
00:52:55,680 --> 00:52:59,399
Speaker 1: X case escapism and hope distraction, distraction, and I think

964
00:52:59,440 --> 00:53:02,040
Speaker 1: everybody got. Really what I love about this show is

965
00:53:02,080 --> 00:53:05,120
Speaker 1: you really engage in the whole family and the families,

966
00:53:05,560 --> 00:53:08,840
Speaker 1: and so you have a kind of a fighting rooting

967
00:53:09,880 --> 00:53:14,000
Speaker 1: side for every couple as they come up right. And

968
00:53:14,239 --> 00:53:16,440
Speaker 1: the thing that has been hardest for people to understand

969
00:53:16,520 --> 00:53:18,560
Speaker 1: is that we really do mean that happily ever after

970
00:53:18,600 --> 00:53:20,120
Speaker 1: at the end of a season and then the next

971
00:53:20,120 --> 00:53:22,880
Speaker 1: season starts, and after the first season, people I think

972
00:53:23,120 --> 00:53:26,880
Speaker 1: used to seeing our serialized shows, We're like, but when's

973
00:53:26,920 --> 00:53:29,839
Speaker 1: the duke going to come back and leave her and

974
00:53:29,880 --> 00:53:35,400
Speaker 1: do something? Really, No, Jolia Quinn, It's these are nice stories.

975
00:53:35,480 --> 00:53:43,080
Speaker 2: No, Well, you may not know social media, but you

976
00:53:43,120 --> 00:53:45,000
Speaker 2: know other things. I don't know what that was a

977
00:53:45,080 --> 00:53:46,960
Speaker 2: terrible transition. But you didn't.

978
00:53:47,120 --> 00:53:48,680
Speaker 3: You didn't. You didn't take my bait.

979
00:53:48,880 --> 00:53:55,000
Speaker 2: So anyway, it has become such a cultural phenomenon. You

980
00:53:55,480 --> 00:54:00,880
Speaker 2: are the host of a companion podcast A side the

981
00:54:01,080 --> 00:54:03,160
Speaker 2: ton Get it, Bridgerton.

982
00:54:03,640 --> 00:54:04,960
Speaker 3: Are you having fun doing that?

983
00:54:05,760 --> 00:54:08,360
Speaker 1: I love doing it? But also, Brian, I used to

984
00:54:08,400 --> 00:54:11,600
Speaker 1: do Most people don't know this, but back in the

985
00:54:11,640 --> 00:54:15,239
Speaker 1: old old days, Shonda and I did a podcast which

986
00:54:15,280 --> 00:54:19,560
Speaker 1: was called we just called it Gray's Anatomy, and we

987
00:54:19,600 --> 00:54:21,520
Speaker 1: would do that. In the beginning, we'd be like, I'm bad,

988
00:54:21,520 --> 00:54:26,239
Speaker 1: super like Gray's Anatomy, and we would just talk. I

989
00:54:26,239 --> 00:54:28,400
Speaker 1: don't even think we had guests. I think we just talked.

990
00:54:28,920 --> 00:54:30,759
Speaker 1: So we started with that and I ended up sort

991
00:54:30,800 --> 00:54:33,839
Speaker 1: of asking a lot of questions. And then after that

992
00:54:34,080 --> 00:54:37,640
Speaker 1: I did a Scandal podcast, and then I did I

993
00:54:37,680 --> 00:54:39,640
Speaker 1: did a Gras Anatomy podcast, I think, and then I

994
00:54:39,640 --> 00:54:44,120
Speaker 1: did an Inside Shondaland podcast, And so now I'm doing

995
00:54:44,160 --> 00:54:47,720
Speaker 1: this and it's I really I love I love the medium,

996
00:54:47,800 --> 00:54:52,720
Speaker 1: and yours are delightful, like you are, like, you're really

997
00:54:52,719 --> 00:54:55,879
Speaker 1: really good at this, and I think, oh me, oh yeah,

998
00:54:56,480 --> 00:54:58,600
Speaker 1: I think you're really really good at it, and you're

999
00:54:58,800 --> 00:55:03,440
Speaker 1: you just get people to tell great stories and and

1000
00:55:03,600 --> 00:55:06,200
Speaker 1: everyone just always it always sounds like everyone's having a

1001
00:55:06,200 --> 00:55:08,240
Speaker 1: really good time, which they are because I'm actually genuinely

1002
00:55:08,280 --> 00:55:11,919
Speaker 1: having a good time, which well, thanks deep until now

1003
00:55:11,960 --> 00:55:15,640
Speaker 1: today was not as sunny. But I'm I'm not going

1004
00:55:15,719 --> 00:55:17,520
Speaker 1: to go punch someone in the face now because you've

1005
00:55:17,520 --> 00:55:21,960
Speaker 1: been so lovely. That's good. But no, I just think

1006
00:55:21,960 --> 00:55:25,560
Speaker 1: they're great. I think it's yeah, I think I think

1007
00:55:25,560 --> 00:55:26,279
Speaker 1: you're really good at it.

1008
00:55:26,600 --> 00:55:28,920
Speaker 2: Well that's very nice. I will tell you this, and

1009
00:55:28,960 --> 00:55:31,440
Speaker 2: this is not a joke. It's my favorite thing that

1010
00:55:31,480 --> 00:55:34,160
Speaker 2: I do. I love having these conversations with people like

1011
00:55:34,239 --> 00:55:36,840
Speaker 2: you and others. And again, I mean, it goes back,

1012
00:55:37,440 --> 00:55:39,719
Speaker 2: you know, a good a good storyteller always goes back

1013
00:55:39,760 --> 00:55:42,000
Speaker 2: to the beginning. But it is what you talked about,

1014
00:55:42,080 --> 00:55:44,760
Speaker 2: the grip telling you like, don't act like you know everything,

1015
00:55:44,800 --> 00:55:47,560
Speaker 2: and if you can learn something from somebody over the

1016
00:55:47,600 --> 00:55:51,640
Speaker 2: course of a conversation, well my day feels better.

1017
00:55:51,800 --> 00:55:54,200
Speaker 3: So I truly do love doing it.

1018
00:55:55,440 --> 00:55:56,080
Speaker 1: You can tell you.

1019
00:55:56,800 --> 00:55:58,320
Speaker 3: Can tell thank you for saying it well.

1020
00:55:58,160 --> 00:56:03,520
Speaker 1: Because you genuinely ask questions and that come from other questions.

1021
00:56:03,000 --> 00:56:04,960
Speaker 3: Like you your I'm listening.

1022
00:56:05,239 --> 00:56:08,560
Speaker 1: It's but that's the thing That's where we go back to.

1023
00:56:08,760 --> 00:56:11,200
Speaker 1: If there's one thing I could say about everything in

1024
00:56:11,239 --> 00:56:15,560
Speaker 1: the world right now is if everybody, if everybody listened better,

1025
00:56:15,600 --> 00:56:19,600
Speaker 1: if we all listened, there might be I don't know

1026
00:56:19,600 --> 00:56:21,600
Speaker 1: if there'd be solutions to problems, but at least there

1027
00:56:21,600 --> 00:56:25,960
Speaker 1: wouldn't be so much intense and hideous frustration. Maybe, I

1028
00:56:26,000 --> 00:56:26,319
Speaker 1: don't know.

1029
00:56:26,560 --> 00:56:28,240
Speaker 3: I find that divisiveness, Yeah.

1030
00:56:28,080 --> 00:56:32,879
Speaker 1: Divisiveness, but hey, I'm an idealist, yes, which is.

1031
00:56:33,040 --> 00:56:35,880
Speaker 2: Well, I know me too, But it does feel in

1032
00:56:35,960 --> 00:56:38,680
Speaker 2: some ways that that would make things a hell of

1033
00:56:38,719 --> 00:56:45,120
Speaker 2: a lot better, for sure. I I gotta let you go,

1034
00:56:45,200 --> 00:56:49,000
Speaker 2: But I do have to mention again after my conversation

1035
00:56:49,080 --> 00:56:52,640
Speaker 2: with Susie who, Susan who? By the way, By the way,

1036
00:56:52,680 --> 00:56:57,120
Speaker 2: I just made Susan Colecchi Susie. So I don't know

1037
00:56:57,120 --> 00:56:59,160
Speaker 2: if she would appreciate that or not, but I did it.

1038
00:56:59,560 --> 00:57:02,920
Speaker 2: The rest it's coming out. She would give me no information.

1039
00:57:03,040 --> 00:57:04,600
Speaker 2: You want to tell me any more about that. You

1040
00:57:04,680 --> 00:57:06,080
Speaker 2: want to tell me what happens.

1041
00:57:06,680 --> 00:57:09,360
Speaker 1: What I can tell you probably exactly what she told you,

1042
00:57:09,360 --> 00:57:12,960
Speaker 1: which is a it's a very funny murder mystery set

1043
00:57:13,000 --> 00:57:14,239
Speaker 1: in the White House. And I'm going to.

1044
00:57:14,239 --> 00:57:17,680
Speaker 3: Say upstairs, downstairs, Susie yep.

1045
00:57:17,520 --> 00:57:23,160
Speaker 1: And Susie aka Susan Glad Susie formally known as Susan

1046
00:57:24,280 --> 00:57:29,240
Speaker 1: Desperately Seeking Susie. She's so good, I mean, she's she's

1047
00:57:29,320 --> 00:57:33,320
Speaker 1: so good, she's and she's such a delightful human like yes,

1048
00:57:33,680 --> 00:57:37,360
Speaker 1: she's just genuinely couldn't be lovelier, but she's everybody in

1049
00:57:37,400 --> 00:57:40,600
Speaker 1: it's wonderful. Uzzo dubo, like the whole. But it's one

1050
00:57:40,640 --> 00:57:48,000
Speaker 1: of the most incredibly delightful, talented, joyful casts I've ever encountered.

1051
00:57:48,800 --> 00:57:52,080
Speaker 2: The cast, the cast is incredible. I remember mentioning it

1052
00:57:52,080 --> 00:57:54,360
Speaker 2: with her. I don't have it in front of me,

1053
00:57:54,440 --> 00:57:58,160
Speaker 2: but you know, it feels like it's lacking. It's lacking

1054
00:57:58,240 --> 00:58:00,760
Speaker 2: me for sure, So let's just get out of the way.

1055
00:58:00,960 --> 00:58:02,240
Speaker 1: I think that's about.

1056
00:58:02,680 --> 00:58:07,160
Speaker 2: Other than that, it sounds like it's spectacular, a spectacular

1057
00:58:07,240 --> 00:58:12,520
Speaker 2: cast that I know will be yet another massive hit

1058
00:58:13,440 --> 00:58:20,920
Speaker 2: for Shondaland last question, what makes your partnership with her

1059
00:58:21,520 --> 00:58:23,800
Speaker 2: work so well?

1060
00:58:24,200 --> 00:58:29,720
Speaker 1: You know, I think from my point of view, when

1061
00:58:29,760 --> 00:58:31,920
Speaker 1: I work with her and when I work on things

1062
00:58:31,960 --> 00:58:35,080
Speaker 1: with her, I do my best work. I feel like

1063
00:58:35,240 --> 00:58:37,080
Speaker 1: I'm challenged to do my best work. I feel like

1064
00:58:37,120 --> 00:58:42,720
Speaker 1: I'm engaged to do my best work, and I genuinely,

1065
00:58:43,320 --> 00:58:46,760
Speaker 1: I genuinely respect what she does. And two she is

1066
00:58:46,920 --> 00:58:50,800
Speaker 1: and and I don't. I don't know, you know, it's

1067
00:58:50,840 --> 00:58:53,680
Speaker 1: sort of like what makes it work so well? I

1068
00:58:53,720 --> 00:58:56,920
Speaker 1: think we both listen and we both have my guesses.

1069
00:58:57,080 --> 00:58:58,640
Speaker 1: You could ask her me if she'll say no, but

1070
00:58:59,000 --> 00:59:01,320
Speaker 1: I think we both have a genuine that would be

1071
00:59:01,400 --> 00:59:04,840
Speaker 1: really embarrassing when like I don't respect her what I

1072
00:59:04,880 --> 00:59:09,600
Speaker 1: think we have. I just she won't leave the office.

1073
00:59:09,680 --> 00:59:15,360
Speaker 1: It's so it's so incredibly uncomfortable. That's not true, you guys.

1074
00:59:15,560 --> 00:59:17,800
Speaker 1: I do feel like I feel like, you know's there's

1075
00:59:17,840 --> 00:59:21,320
Speaker 1: that old improv thing which is yes, and it's yes,

1076
00:59:21,400 --> 00:59:24,880
Speaker 1: And I always feel with her. I can, you know,

1077
00:59:24,880 --> 00:59:26,240
Speaker 1: say I don't like this or blah blah blah, but

1078
00:59:26,320 --> 00:59:29,240
Speaker 1: there's always a yes, and there's always a yeah. But

1079
00:59:29,280 --> 00:59:32,080
Speaker 1: what if we did this? Yeah? But what? And I

1080
00:59:32,200 --> 00:59:35,480
Speaker 1: know if I'm genuinely excited or interested about something, the

1081
00:59:35,720 --> 00:59:38,880
Speaker 1: likelihood is there'll be a real conversation that we're having

1082
00:59:38,880 --> 00:59:41,200
Speaker 1: and vice versa. That there's always something at the core

1083
00:59:41,240 --> 00:59:45,760
Speaker 1: of it where there's something really meaningful to discuss. And

1084
00:59:46,600 --> 00:59:49,080
Speaker 1: I think That's an incredible privilege in a world where

1085
00:59:49,160 --> 00:59:51,480
Speaker 1: you get to work with somebody Because people are like, wow,

1086
00:59:51,480 --> 00:59:53,760
Speaker 1: you worked together for so many years. I'm like, why

1087
00:59:53,800 --> 00:59:57,440
Speaker 1: wouldn't we Like, why wouldn't I right, it seems to

1088
00:59:57,440 --> 01:00:00,560
Speaker 1: be doing okay, and I still I think she's one

1089
01:00:00,560 --> 01:00:01,919
Speaker 1: of the most delightful people on earth.

1090
01:00:02,000 --> 01:00:05,960
Speaker 2: So well, after this many years, that is an amazing

1091
01:00:06,240 --> 01:00:08,959
Speaker 2: thing to hear. You know, I've never done this before,

1092
01:00:08,960 --> 01:00:11,280
Speaker 2: I've never said this before. I've never used these words

1093
01:00:11,800 --> 01:00:16,840
Speaker 2: here before. But there's to steal from a good buddy

1094
01:00:16,840 --> 01:00:20,440
Speaker 2: of mine, Dan Patrick, who talks mostly about sports and

1095
01:00:20,440 --> 01:00:23,520
Speaker 2: some entertainment. At the end of every show, they go

1096
01:00:23,560 --> 01:00:25,480
Speaker 2: around the room and say, what did you learn today?

1097
01:00:26,040 --> 01:00:28,120
Speaker 2: And let me just say, the combination of what you

1098
01:00:28,320 --> 01:00:32,160
Speaker 2: just said combined with something that I've never really occurred

1099
01:00:32,160 --> 01:00:35,040
Speaker 2: to me before, which is really stupid on my part.

1100
01:00:35,680 --> 01:00:38,280
Speaker 2: But the fact that you all have or that you

1101
01:00:38,360 --> 01:00:40,640
Speaker 2: have made a decision that you don't want to do

1102
01:00:40,680 --> 01:00:45,600
Speaker 2: the same thing over and over, and the diversity of

1103
01:00:46,120 --> 01:00:49,880
Speaker 2: style within the work that you guys have been creating

1104
01:00:50,200 --> 01:00:55,200
Speaker 2: now for twenty years is astounding. And the fact that

1105
01:00:55,240 --> 01:00:58,320
Speaker 2: you all are able to listen to each other and

1106
01:00:58,360 --> 01:01:02,320
Speaker 2: that you work well together, you must despite her wanting

1107
01:01:02,360 --> 01:01:05,400
Speaker 2: you to leave the office sometimes like each other, and

1108
01:01:05,440 --> 01:01:09,120
Speaker 2: that you're creating work that is different. I mean, you

1109
01:01:09,200 --> 01:01:11,640
Speaker 2: look at because I have a list here, because you know,

1110
01:01:11,680 --> 01:01:15,360
Speaker 2: I'm very prepared, but you look at like Bridgerton and

1111
01:01:15,440 --> 01:01:19,720
Speaker 2: Scandal and Grays and even Private Practice how to get

1112
01:01:19,760 --> 01:01:22,520
Speaker 2: away with murder inventing on it. I mean you, the

1113
01:01:22,600 --> 01:01:27,440
Speaker 2: diversity with which you continue to explore within the medium

1114
01:01:27,440 --> 01:01:30,160
Speaker 2: of television is great. I'm sure the residence is going

1115
01:01:30,200 --> 01:01:33,360
Speaker 2: to be incredible, And I just want to thank you

1116
01:01:33,400 --> 01:01:36,120
Speaker 2: so much for taking the time out of your very

1117
01:01:37,000 --> 01:01:40,160
Speaker 2: very busy schedule to have a conversation with me today.

1118
01:01:40,600 --> 01:01:41,520
Speaker 3: Yeah, right, I appreciate it.

1119
01:01:41,520 --> 01:01:44,160
Speaker 1: I know, I really appreciate you asking. And look, I

1120
01:01:44,160 --> 01:01:46,000
Speaker 1: also want to give a shout out to all the

1121
01:01:46,040 --> 01:01:50,160
Speaker 1: writers and creators that we work with, because Shanda creates

1122
01:01:50,280 --> 01:01:54,000
Speaker 1: some of the shows, but you know, Paul Davies and

1123
01:01:54,160 --> 01:01:57,160
Speaker 1: Pete Nook and Alan High, like, there's a bevy of

1124
01:01:57,200 --> 01:02:02,120
Speaker 1: folks that I feel like we're also incredible, incredibly fortunate

1125
01:02:02,240 --> 01:02:05,840
Speaker 1: to be trusted with their vision. And I appreciate your

1126
01:02:05,920 --> 01:02:09,160
Speaker 1: kind words, and uh, this has been really really fun.

1127
01:02:09,280 --> 01:02:12,880
Speaker 1: I anytime you're just sitting around doing a podcast and

1128
01:02:13,040 --> 01:02:15,200
Speaker 1: if you want someone to pop on, just.

1129
01:02:15,160 --> 01:02:17,880
Speaker 3: Give me a I got you anytime.

1130
01:02:18,080 --> 01:02:21,840
Speaker 1: I'm always sitting here pretty much pretty much here. Yeah,

1131
01:02:22,040 --> 01:02:26,560
Speaker 1: so easy to find. It's easy to find desperate to talk.

1132
01:02:27,040 --> 01:02:30,360
Speaker 2: Oh, I know that that's not true, but thank you

1133
01:02:30,440 --> 01:02:30,920
Speaker 2: so much.

1134
01:02:31,000 --> 01:02:31,760
Speaker 3: And listen.

1135
01:02:32,120 --> 01:02:35,000
Speaker 2: After the Residence here wins an Emmy or two, and

1136
01:02:35,040 --> 01:02:38,520
Speaker 2: that becomes that becomes more of a grown up than

1137
01:02:38,960 --> 01:02:42,480
Speaker 2: at the very least, when you've got something else, your

1138
01:02:42,560 --> 01:02:45,760
Speaker 2: next major hit that is about to launch, that you

1139
01:02:45,800 --> 01:02:50,400
Speaker 2: won't give me any freak information about. Yeah, then the end,

1140
01:02:50,480 --> 01:02:51,439
Speaker 2: we'll talk then for sure.

1141
01:02:52,000 --> 01:02:52,440
Speaker 1: Awesome.

1142
01:02:53,800 --> 01:02:55,400
Speaker 3: Thank you, Betsy, Thanks so much.

1143
01:02:55,480 --> 01:03:10,520
Speaker 2: Thank you, Brian, Betsy, thank you so much for being on.

1144
01:03:10,720 --> 01:03:13,600
Speaker 2: I appreciate your time so much. I know how busy

1145
01:03:14,120 --> 01:03:17,400
Speaker 2: you are. Thank you for your openness, for your insight

1146
01:03:17,880 --> 01:03:19,720
Speaker 2: to a part of the process a lot.

1147
01:03:19,600 --> 01:03:23,480
Speaker 3: Of us don't always see. So thank you. I enjoyed

1148
01:03:23,480 --> 01:03:24,240
Speaker 3: this conversation.

1149
01:03:24,560 --> 01:03:29,760
Speaker 2: Everybody, go watch the new season of Bridgerton out on Netflix.

1150
01:03:30,040 --> 01:03:33,800
Speaker 2: Part two coming very very soon, although Betsy wouldn't tell

1151
01:03:33,840 --> 01:03:39,640
Speaker 2: me about it, And listen to Betsy's podcast Inside the Ton,

1152
01:03:39,920 --> 01:03:42,960
Speaker 2: And of course we're all going to be waiting for

1153
01:03:43,280 --> 01:03:46,760
Speaker 2: the residents. I'm going to see you here next week.

1154
01:03:46,920 --> 01:03:59,760
Speaker 2: Until then, everybody, you guys have a great week. Of

1155
01:04:00,080 --> 01:04:04,000
Speaker 2: A Beat is hosted and executive produced by me Brian Baumgartner,

1156
01:04:04,280 --> 01:04:08,240
Speaker 2: alongside our executive producer Lang Lee. Our senior producer is

1157
01:04:08,320 --> 01:04:12,360
Speaker 2: Diego Tapia. Our producers are Liz Hayes, Hannah Harris, and

1158
01:04:12,400 --> 01:04:16,800
Speaker 2: Emily Carr. Our talent producer is Ryan Papa Zachary, and

1159
01:04:16,920 --> 01:04:21,040
Speaker 2: our intern is Ali Amir Saheed. Our theme song Bubble

1160
01:04:21,120 --> 01:04:25,120
Speaker 2: and Squeak, performed by the one and only Creed Bratton.