1 00:00:00,720 --> 00:00:17,800 Speaker 1: I am all in. Let's you. I Am all In 2 00:00:18,000 --> 00:00:22,000 Speaker 1: with Scott Patterson, an iHeartRadio podcast. Let's get a little 3 00:00:22,000 --> 00:00:23,880 Speaker 1: business out of the way. I'm going to be appearing 4 00:00:23,960 --> 00:00:27,440 Speaker 1: at the Motor City Comic Con taking place in Detroit, Michigan, 5 00:00:27,480 --> 00:00:32,760 Speaker 1: the week end of November ten through twelve, twenty twenty three. 6 00:00:32,920 --> 00:00:35,239 Speaker 1: I think it's a little bit outside the city, but 7 00:00:35,360 --> 00:00:39,680 Speaker 1: come and see me there. MotorCity Comic Con November ten 8 00:00:39,760 --> 00:00:44,880 Speaker 1: through twelve, twenty twenty three. Also Galaxy Con Columbus December 9 00:00:44,920 --> 00:00:48,000 Speaker 1: two and three, twenty twenty three. 10 00:00:48,120 --> 00:00:49,320 Speaker 2: Hope to see everybody there. 11 00:00:49,920 --> 00:00:54,880 Speaker 1: Let's have some fun. One on one interview with Alex Akerman. 12 00:00:55,280 --> 00:00:59,920 Speaker 1: Here's this bio. Alexander Akaman is an editor for wirecutter 13 00:01:00,080 --> 00:01:03,320 Speaker 1: Discovery team from the New York Times. He has worked 14 00:01:03,520 --> 00:01:07,600 Speaker 1: as a journalist and on documentary film projects. One on 15 00:01:07,600 --> 00:01:13,080 Speaker 1: one interview with Alex Ackerman. Here's his bio. Alexander Akaman 16 00:01:13,680 --> 00:01:17,280 Speaker 1: as an editor for Wirecutter's Discovery team from the New 17 00:01:17,360 --> 00:01:20,760 Speaker 1: York Times. He has worked as a journalist and on 18 00:01:20,880 --> 00:01:24,480 Speaker 1: documentary film projects, and he has also worked as a 19 00:01:24,520 --> 00:01:28,800 Speaker 1: screenwriter for Amazon and lions Gate. When he's not working, 20 00:01:29,040 --> 00:01:32,760 Speaker 1: can you can probably find him bird watching, running or 21 00:01:32,840 --> 00:01:37,440 Speaker 1: making pasta. We found the ultra pricey ice cream maker 22 00:01:37,480 --> 00:01:41,679 Speaker 1: larel I Gilmore got as a wedding gift. She should 23 00:01:41,720 --> 00:01:47,240 Speaker 1: have kept it. That's according to Alex's article. Even twenty 24 00:01:47,280 --> 00:01:50,360 Speaker 1: years after the episode's original air date, fans and chronic 25 00:01:50,440 --> 00:01:53,640 Speaker 1: rewatchers of Gilmore Girls, we'll probably ask themselves the same 26 00:01:53,720 --> 00:01:55,800 Speaker 1: question at some point, who gave laurel I the ice 27 00:01:55,840 --> 00:01:58,639 Speaker 1: cream maker. In the show's second season, win A Lello 28 00:01:59,400 --> 00:02:04,440 Speaker 1: forty eight Musso Lucino, a long time wirecutter pick arrives 29 00:02:04,480 --> 00:02:07,720 Speaker 1: at Larele's home just weeks after she's called off her weddings. Suki, 30 00:02:07,800 --> 00:02:12,040 Speaker 1: Ry and Lorelei all stand staring at the gleaming spaceship 31 00:02:12,200 --> 00:02:17,200 Speaker 1: like appliance shown in the scene above. I'm sure exactly 32 00:02:17,240 --> 00:02:19,200 Speaker 1: who sent it. There is no note, no card, no 33 00:02:19,280 --> 00:02:22,480 Speaker 1: return address. Lorelei is dead set on finding out who 34 00:02:22,560 --> 00:02:26,560 Speaker 1: sent it, but the gift giver's identity remains a mystery, 35 00:02:26,560 --> 00:02:30,200 Speaker 1: and Lorelei ultimately gives the appliance away. But we think 36 00:02:30,960 --> 00:02:37,640 Speaker 1: she should have kept it. And this young gentleman, this 37 00:02:37,760 --> 00:02:41,440 Speaker 1: young talented gentleman who is making his way through Hollywood 38 00:02:41,520 --> 00:02:47,040 Speaker 1: screenwriting projects, which he cannot discuss yet, but he will 39 00:02:47,080 --> 00:02:50,919 Speaker 1: if he comes back. Wrote an article about this ice 40 00:02:50,960 --> 00:02:56,760 Speaker 1: creammaker here he is, let's bring him in. Alex Ackerman, Alex, Hey, Hey, 41 00:02:56,760 --> 00:02:58,960 Speaker 1: how's it going. First of all, welcome to the show. 42 00:02:59,000 --> 00:03:03,000 Speaker 1: Great to have you. And what made you want to 43 00:03:03,000 --> 00:03:05,120 Speaker 1: write an article about an ice cream maker? Laurel I 44 00:03:05,200 --> 00:03:06,280 Speaker 1: was gifted in season two. 45 00:03:08,840 --> 00:03:12,239 Speaker 3: It's one of those things. So I work at Wirecutter, 46 00:03:12,280 --> 00:03:15,720 Speaker 3: and it's the New York Times product review service, and 47 00:03:16,160 --> 00:03:18,720 Speaker 3: it's one of the great thing about working there. It's 48 00:03:18,840 --> 00:03:26,120 Speaker 3: sort of this like effervescent collective process. And at some 49 00:03:26,280 --> 00:03:30,359 Speaker 3: point we were one of the writers was testing ice 50 00:03:30,440 --> 00:03:34,840 Speaker 3: cream makers and I jokingly asked if we tested the 51 00:03:34,840 --> 00:03:38,200 Speaker 3: one from Gilmore Girls, And as it turns out, they 52 00:03:38,240 --> 00:03:41,560 Speaker 3: had and it was really really good, and it just 53 00:03:41,720 --> 00:03:45,120 Speaker 3: sort of went from there. And I think that my 54 00:03:45,520 --> 00:03:47,800 Speaker 3: editor and I both knew that this was a show 55 00:03:47,840 --> 00:03:52,360 Speaker 3: that had this kind of like endurant love from its 56 00:03:52,360 --> 00:03:55,080 Speaker 3: fan base and like people coming to it every year 57 00:03:55,360 --> 00:03:59,680 Speaker 3: new because of you know, it's because of streaming, and 58 00:03:59,760 --> 00:04:02,000 Speaker 3: so I thought it would be fun. So it just 59 00:04:02,040 --> 00:04:04,640 Speaker 3: sort of just sort of came about. 60 00:04:05,920 --> 00:04:08,240 Speaker 1: Who do you think gave Laurel I the ice cream Maker. 61 00:04:09,280 --> 00:04:11,680 Speaker 3: I think it was Emily. I think her mom gave 62 00:04:11,680 --> 00:04:16,520 Speaker 3: it to her. I think that it's like extravagant enough, 63 00:04:17,279 --> 00:04:23,760 Speaker 3: and it's almost like a repudiation of the way that 64 00:04:24,480 --> 00:04:30,040 Speaker 3: they eat while also being like an endorsement of it 65 00:04:30,120 --> 00:04:33,080 Speaker 3: in her own Emily way. That's my theory. That's what 66 00:04:33,200 --> 00:04:33,599 Speaker 3: I think. 67 00:04:34,839 --> 00:04:37,240 Speaker 1: Have you written any other articles about Gilmore Girls or 68 00:04:37,320 --> 00:04:37,920 Speaker 1: just this one? 69 00:04:38,600 --> 00:04:41,600 Speaker 3: Not about Gilmore Girls. I did a sort of similar 70 00:04:41,640 --> 00:04:44,760 Speaker 3: thing earlier this summer, right before The Bear season two 71 00:04:44,800 --> 00:04:47,279 Speaker 3: came out, where we just went through all the different 72 00:04:47,360 --> 00:04:50,280 Speaker 3: wirecutter picks in the first season of The Bear. So no, 73 00:04:50,360 --> 00:04:52,000 Speaker 3: I haven't, but hopefully soon, you know, I'd love to 74 00:04:52,000 --> 00:04:53,400 Speaker 3: write more about Gilmore Girls. 75 00:04:53,920 --> 00:04:59,760 Speaker 1: And why do you think it is so well received 76 00:05:00,120 --> 00:05:05,800 Speaker 1: by ever new generations of people, younger audiences. What is 77 00:05:05,839 --> 00:05:09,080 Speaker 1: it about this show? That's a really good question, because 78 00:05:09,080 --> 00:05:11,240 Speaker 1: it really is a phenomenon, isn't it. I mean, it 79 00:05:11,320 --> 00:05:15,720 Speaker 1: is a cultural phenomenon. Really, is there any other show 80 00:05:15,760 --> 00:05:19,760 Speaker 1: like it in the history of television that has continued 81 00:05:21,480 --> 00:05:23,960 Speaker 1: to gain a fan base? I mean, it's really not 82 00:05:24,000 --> 00:05:27,880 Speaker 1: a fair question, because you know, streaming didn't exist back 83 00:05:27,920 --> 00:05:30,480 Speaker 1: in the day, so it's a whole new landscape now. 84 00:05:30,520 --> 00:05:32,720 Speaker 1: But why do you think the show endures? 85 00:05:33,120 --> 00:05:36,039 Speaker 3: I think there are I think there are a very 86 00:05:36,120 --> 00:05:38,839 Speaker 3: select handful of other shows, like I think The Office 87 00:05:39,000 --> 00:05:42,720 Speaker 3: and The Sopranos have been able to like. But you know, 88 00:05:42,760 --> 00:05:45,680 Speaker 3: we're talking about like the crrndules of TV shows, you 89 00:05:45,680 --> 00:05:48,800 Speaker 3: know what we're talking about, those three. But I think 90 00:05:48,839 --> 00:05:51,800 Speaker 3: it's I mean, I'm someone who came to it new, 91 00:05:51,880 --> 00:05:55,159 Speaker 3: So I only really started watching it in maybe twenty eighteen, 92 00:05:55,240 --> 00:05:57,800 Speaker 3: twenty nineteen because my fiance is a big fan of 93 00:05:57,800 --> 00:06:00,000 Speaker 3: it and I'd never seen it. So we started watching it, 94 00:06:00,320 --> 00:06:03,400 Speaker 3: and then I was living in LA for a little 95 00:06:03,400 --> 00:06:05,640 Speaker 3: bit and she'd sent me like a list of all 96 00:06:05,720 --> 00:06:09,400 Speaker 3: her favorite episodes and I sort of was working my 97 00:06:09,520 --> 00:06:13,200 Speaker 3: way through them while I was there alone, and I 98 00:06:13,240 --> 00:06:16,440 Speaker 3: fell in love with it. I think it's very similar 99 00:06:16,480 --> 00:06:20,440 Speaker 3: to I mean, it's sort of the same reason that 100 00:06:20,440 --> 00:06:25,159 Speaker 3: people love like it's a wonderful life or like you know, 101 00:06:25,240 --> 00:06:31,000 Speaker 3: old Frank Capra movies. It's because there's something ethereal and 102 00:06:31,160 --> 00:06:36,599 Speaker 3: timeless about like the exchange between like this world that 103 00:06:36,720 --> 00:06:41,000 Speaker 3: is like really really warm and serene and tender, but 104 00:06:41,120 --> 00:06:45,360 Speaker 3: also that is like populated with people that are experiencing 105 00:06:45,360 --> 00:06:48,800 Speaker 3: their own turmoil in search of connection. Like that feels 106 00:06:48,839 --> 00:06:53,160 Speaker 3: like a very timeless story. And when it's written and 107 00:06:54,080 --> 00:06:59,120 Speaker 3: executed as I think as so expertly as Gilmore Girls is, 108 00:06:59,120 --> 00:07:02,000 Speaker 3: I think you have that kind of like magic winning combination. 109 00:07:02,360 --> 00:07:04,560 Speaker 3: That's that's my theory. 110 00:07:06,839 --> 00:07:11,080 Speaker 1: I don't recall a show ever having the lead character 111 00:07:11,280 --> 00:07:14,880 Speaker 1: Lorela Gilmour basically be a stand up comedian through the 112 00:07:15,040 --> 00:07:20,280 Speaker 1: entire seven seasons. She just did joke after joke after joke, 113 00:07:20,600 --> 00:07:23,800 Speaker 1: and we still took her seriously as a character, and 114 00:07:23,880 --> 00:07:27,920 Speaker 1: she was doing fairly sophisticated humor that was going off 115 00:07:28,000 --> 00:07:29,360 Speaker 1: for everybody's head. 116 00:07:31,120 --> 00:07:33,120 Speaker 3: Was it that way on set? Were you like, wow, 117 00:07:33,480 --> 00:07:36,560 Speaker 3: I'm just amazed by Like was that the experience of 118 00:07:37,360 --> 00:07:38,080 Speaker 3: filming the show? 119 00:07:39,080 --> 00:07:42,000 Speaker 1: Well, the thing about the show was always the dialogue. 120 00:07:42,040 --> 00:07:44,760 Speaker 1: So it was dialogue, the dialogue, the dialogue that was 121 00:07:44,800 --> 00:07:48,000 Speaker 1: the focus. Are we going to be able to execute 122 00:07:48,800 --> 00:07:52,560 Speaker 1: and serve this dialogue at the speed and with the 123 00:07:52,600 --> 00:07:55,880 Speaker 1: intention with which it was written? So that was the 124 00:07:55,960 --> 00:08:02,160 Speaker 1: challenge every day. So it was really more about the technical, 125 00:08:03,040 --> 00:08:08,360 Speaker 1: mechanical aspects of what we do as actors, as opposed 126 00:08:08,360 --> 00:08:12,960 Speaker 1: to over analyzing everything and trying to, you know, get 127 00:08:13,000 --> 00:08:16,080 Speaker 1: the deeper meaning of it. It was just such a 128 00:08:16,640 --> 00:08:19,880 Speaker 1: from from the start of the first episode, the first 129 00:08:19,880 --> 00:08:23,960 Speaker 1: senior shooting of that season, and then nine months later 130 00:08:24,040 --> 00:08:27,360 Speaker 1: you're you feel like a train ran over you and 131 00:08:27,440 --> 00:08:30,000 Speaker 1: backed up and did it again, because it is just 132 00:08:30,120 --> 00:08:34,840 Speaker 1: such the pace and the hours and the volume. We 133 00:08:34,880 --> 00:08:37,440 Speaker 1: did eighty pages and it was all black inks. So 134 00:08:37,520 --> 00:08:43,720 Speaker 1: it was fifty percent more dialogue or one hundred percent 135 00:08:43,760 --> 00:08:46,640 Speaker 1: more dialogue than anybody was doing, or two hundred percent 136 00:08:46,679 --> 00:08:48,080 Speaker 1: more dialogue. 137 00:08:48,520 --> 00:08:50,840 Speaker 3: I mean, that's sort of thing that blows me, is 138 00:08:50,880 --> 00:08:57,080 Speaker 3: I know that, like you know, those fifteen hour days 139 00:08:57,160 --> 00:09:03,800 Speaker 3: that just I can't imagine like what any of you, like, 140 00:09:04,040 --> 00:09:06,560 Speaker 3: the amount of energy. But also just like especially like 141 00:09:06,679 --> 00:09:10,000 Speaker 3: someone like Lauren Graham who was in every single scene 142 00:09:10,080 --> 00:09:15,480 Speaker 3: like and then being able to like show up and 143 00:09:15,520 --> 00:09:20,000 Speaker 3: then do that sort of like Ernst Lubitch, like excellent, 144 00:09:20,720 --> 00:09:24,040 Speaker 3: perfect timing, delivery, amazing rerippart that like I don't know how, 145 00:09:24,120 --> 00:09:25,920 Speaker 3: I don't know how you did it. It's it's amazing. 146 00:09:28,720 --> 00:09:31,800 Speaker 1: Okay, So here's now I think I answered my own question. 147 00:09:32,800 --> 00:09:37,200 Speaker 1: I think there are two reasons that the show endors 148 00:09:37,280 --> 00:09:39,360 Speaker 1: I think it's because it's so fast, and it's so 149 00:09:39,480 --> 00:09:43,840 Speaker 1: filled with pop culture references in clever, little funny anecdotes 150 00:09:44,640 --> 00:09:49,000 Speaker 1: and stories and jokes, jokey jokes that people miss half 151 00:09:49,040 --> 00:09:53,560 Speaker 1: of it or they get it and they react after 152 00:09:53,600 --> 00:09:55,960 Speaker 1: the fact, but they want to experience it again and 153 00:09:56,000 --> 00:10:01,000 Speaker 1: again and again and again. There's so much. It's so compact. 154 00:10:01,360 --> 00:10:04,560 Speaker 3: You just keep discovering new things everything. 155 00:10:04,679 --> 00:10:07,800 Speaker 1: Yes, it's far more interesting to watch it than it 156 00:10:08,040 --> 00:10:13,199 Speaker 1: was ever to make it. It's not okay. So when 157 00:10:13,200 --> 00:10:15,120 Speaker 1: you're on a writing jack, Let's say you get into 158 00:10:15,120 --> 00:10:18,280 Speaker 1: a writing jack, you're writing a screenplay, you're writing something, 159 00:10:18,960 --> 00:10:22,600 Speaker 1: and you know, I don't know what your process is, 160 00:10:22,679 --> 00:10:25,959 Speaker 1: but you know a lot of writers talk about their 161 00:10:26,000 --> 00:10:30,400 Speaker 1: process like they'll sit with their characters for a long 162 00:10:30,600 --> 00:10:33,760 Speaker 1: time until the characters start talking to them and demanding 163 00:10:33,800 --> 00:10:36,960 Speaker 1: that they'd be written and that you follow those characters. 164 00:10:37,000 --> 00:10:39,600 Speaker 1: You don't impose anything on those characters, but they're real, 165 00:10:39,679 --> 00:10:42,800 Speaker 1: living things inside your head, inside your being. And you 166 00:10:42,840 --> 00:10:44,760 Speaker 1: get on a three four day writing jag and you 167 00:10:44,840 --> 00:10:48,240 Speaker 1: blast out a first draft and it's like you didn't sleep, 168 00:10:49,280 --> 00:10:51,160 Speaker 1: and it just goes by. And that's kind of what 169 00:10:51,360 --> 00:10:56,679 Speaker 1: like filming the show was. Every week you're just occupied, 170 00:10:56,720 --> 00:10:57,560 Speaker 1: you're taken over. 171 00:10:58,679 --> 00:11:02,960 Speaker 3: You can do that with one like I just don't 172 00:11:03,080 --> 00:11:07,480 Speaker 3: know how like even I mean even just as like 173 00:11:07,600 --> 00:11:12,080 Speaker 3: a writer, like I like, writing a sixty page script 174 00:11:12,160 --> 00:11:14,960 Speaker 3: is hard enough, and then doing four of them in 175 00:11:15,000 --> 00:11:18,520 Speaker 3: a year is like, I don't know how it gets done. 176 00:11:18,640 --> 00:11:22,640 Speaker 3: It's it's either it's the old I mean there, but 177 00:11:22,679 --> 00:11:24,360 Speaker 3: there is so much like one of the I mean, 178 00:11:24,360 --> 00:11:27,560 Speaker 3: one of the things that I feel like i've and 179 00:11:27,640 --> 00:11:30,199 Speaker 3: I'd be curious to hear like sort of like how 180 00:11:30,200 --> 00:11:32,440 Speaker 3: it came about. Like one of the things that you 181 00:11:32,480 --> 00:11:34,520 Speaker 3: sort of notice as you rewatch this show is that 182 00:11:34,559 --> 00:11:38,400 Speaker 3: you in particular sort of like I don't know, like 183 00:11:38,520 --> 00:11:41,160 Speaker 3: you move very very gracefully. It's almost like a ballroom dance. 184 00:11:41,200 --> 00:11:43,400 Speaker 3: It's like it seems like the more stuff that they're 185 00:11:43,440 --> 00:11:48,120 Speaker 3: putting in your hands, the more graceful movements become. And 186 00:11:48,160 --> 00:11:51,840 Speaker 3: then there's also this like moving master that the that 187 00:11:51,920 --> 00:11:54,480 Speaker 3: the show is shot in, and those two things just 188 00:11:54,520 --> 00:11:59,760 Speaker 3: really seem to like have this like wonderful symbiotic inter 189 00:12:00,120 --> 00:12:03,200 Speaker 3: like it they like it just seems to suit everything, 190 00:12:03,360 --> 00:12:05,320 Speaker 3: like it just works together so well. And like that 191 00:12:05,360 --> 00:12:06,640 Speaker 3: was one of the things that I noticed, like when 192 00:12:06,679 --> 00:12:08,599 Speaker 3: I rewatched it recently, I was like, that's kind of 193 00:12:08,600 --> 00:12:13,560 Speaker 3: an amazing touch that that manages to come out. 194 00:12:13,840 --> 00:12:17,720 Speaker 1: That's really interesting that you point that out, because I 195 00:12:17,840 --> 00:12:24,040 Speaker 1: just remember my best memories of doing that show were rehearsals, 196 00:12:24,400 --> 00:12:28,760 Speaker 1: and you know, you rehearse and you rehearse and you 197 00:12:28,800 --> 00:12:31,559 Speaker 1: figure out the dance steps right, and it was always 198 00:12:32,760 --> 00:12:38,400 Speaker 1: and you're always with Lauren, You're with you know who 199 00:12:38,400 --> 00:12:40,280 Speaker 1: am I with? In the dynam with Lauren most of 200 00:12:40,280 --> 00:12:44,640 Speaker 1: the time, you know, and we speak pretty much the 201 00:12:44,679 --> 00:12:48,760 Speaker 1: same language and our approach to the work, and it's 202 00:12:48,880 --> 00:12:55,439 Speaker 1: really about making sure that we can justify every single 203 00:12:56,120 --> 00:13:00,640 Speaker 1: line of dialogue, every single movement that we make. It 204 00:13:00,720 --> 00:13:05,440 Speaker 1: has to be supported by something that is real. It's like, 205 00:13:05,520 --> 00:13:07,959 Speaker 1: we can't do it unless we have to do it. 206 00:13:08,720 --> 00:13:13,280 Speaker 1: So we we would spend a painstaking amount of time 207 00:13:13,320 --> 00:13:16,679 Speaker 1: in rehearsal getting it right before we shot it, and 208 00:13:17,000 --> 00:13:20,480 Speaker 1: everybody had to be And the thing that I miss 209 00:13:20,600 --> 00:13:24,040 Speaker 1: most about working with her is is having a partner 210 00:13:25,480 --> 00:13:31,080 Speaker 1: that knows how to construct a scene, choreograph a scene 211 00:13:31,440 --> 00:13:35,400 Speaker 1: with another person, you know, because it's because you know 212 00:13:35,440 --> 00:13:37,600 Speaker 1: what it's like if you've tried to co write with somebody, 213 00:13:37,640 --> 00:13:41,920 Speaker 1: it's a it's a lot of back and forth. And 214 00:13:42,000 --> 00:13:46,720 Speaker 1: when you've got two people as stubborn and uh and 215 00:13:48,640 --> 00:13:55,080 Speaker 1: Lourene and myself, and I think that's that's why it 216 00:13:55,200 --> 00:14:00,160 Speaker 1: was so electric between us, because we were acting out 217 00:14:00,240 --> 00:14:03,800 Speaker 1: choices that we both fought for in the rehearsal process, 218 00:14:04,120 --> 00:14:06,520 Speaker 1: not each other. We didn't fight each other, it's just 219 00:14:06,600 --> 00:14:09,959 Speaker 1: we we had to state our case as to why 220 00:14:10,080 --> 00:14:13,200 Speaker 1: I listen, I can't move over there because of X, 221 00:14:13,520 --> 00:14:15,600 Speaker 1: and I think I need to go around the diner. 222 00:14:15,640 --> 00:14:18,960 Speaker 1: And you know, it was all very, very very It 223 00:14:19,040 --> 00:14:26,960 Speaker 1: was technical based on the impetus of an emotional life. 224 00:14:27,200 --> 00:14:30,080 Speaker 1: It had to be real. It's gotta be real. You 225 00:14:30,200 --> 00:14:33,840 Speaker 1: gotta you can't move until you till you feel it. 226 00:14:33,920 --> 00:14:36,120 Speaker 1: And if I didn't feel it and she didn't feel it, 227 00:14:37,400 --> 00:14:39,640 Speaker 1: we weren't. We were going to continue to rehearse until 228 00:14:39,640 --> 00:14:42,960 Speaker 1: we found something. And then you have these wonderful directors 229 00:14:43,000 --> 00:14:45,000 Speaker 1: come in. They have all kinds of ideas, and they 230 00:14:45,280 --> 00:14:48,480 Speaker 1: they know well enough to stay away when we're sort 231 00:14:48,520 --> 00:14:50,960 Speaker 1: of getting into it and creating it. But if we 232 00:14:51,040 --> 00:14:53,320 Speaker 1: hit a glitch, then they'll, you know, they could say 233 00:14:53,320 --> 00:14:56,680 Speaker 1: the magic words and we go ah. So I love 234 00:14:56,760 --> 00:15:00,240 Speaker 1: that collaboration, and I love that kind of collaboration with 235 00:15:00,240 --> 00:15:03,840 Speaker 1: with really gifted artists like you know, Lauren and and 236 00:15:03,920 --> 00:15:07,160 Speaker 1: all the other actors. I mean, it's Kelly Bishop. I mean, imagine, 237 00:15:07,640 --> 00:15:10,400 Speaker 1: you know, crafting scenes with these people. I miss that 238 00:15:10,680 --> 00:15:13,480 Speaker 1: so very much. But I'm getting to do it now. 239 00:15:13,880 --> 00:15:15,680 Speaker 1: I'm doing a new series up in Canada, and I'm 240 00:15:15,680 --> 00:15:17,640 Speaker 1: getting to do it now. So I it's what I 241 00:15:17,720 --> 00:15:20,240 Speaker 1: miss about acting the most is the rehearsal process. So 242 00:15:20,840 --> 00:15:23,920 Speaker 1: thank you for noticing that. And we took great care 243 00:15:24,040 --> 00:15:26,600 Speaker 1: in crafting those the movement as well. 244 00:15:26,400 --> 00:15:28,280 Speaker 2: We've we because. 245 00:15:28,000 --> 00:15:31,360 Speaker 1: We saw it from you know, ten thousand feet Yeah, 246 00:15:31,440 --> 00:15:33,600 Speaker 1: and we wanted it to look a certain way too. 247 00:15:33,720 --> 00:15:35,680 Speaker 2: Yeah. So that's cool. That's very cool. 248 00:15:36,480 --> 00:15:42,480 Speaker 1: So so look, gil more questions. We have big fans 249 00:15:42,480 --> 00:15:44,480 Speaker 1: who write in. They want to know how many times 250 00:15:44,480 --> 00:15:49,480 Speaker 1: you've seen this series. This is Jane from Walla, Walla, Washington. 251 00:15:49,560 --> 00:15:50,760 Speaker 1: Jane from Walla, Walla. 252 00:15:53,040 --> 00:15:56,280 Speaker 3: There's no good answer to that. Like, there's some episodes 253 00:15:56,320 --> 00:16:00,480 Speaker 3: that I've seen once, and then some episodes that I've 254 00:16:00,520 --> 00:16:05,560 Speaker 3: seen like nine times. It's sort of the math. I 255 00:16:05,560 --> 00:16:10,600 Speaker 3: don't know, I like, maybe collectively, like maybe four three, 256 00:16:10,720 --> 00:16:15,040 Speaker 3: four times. Truly, it's like disproportionate. 257 00:16:14,560 --> 00:16:25,680 Speaker 1: Right, Amanda from Amarillo, Texas. Who is your favorite character 258 00:16:25,800 --> 00:16:29,360 Speaker 1: from the show? Uh? 259 00:16:30,880 --> 00:16:34,000 Speaker 3: I think I think Laurel is probably my favorite character. 260 00:16:34,000 --> 00:16:37,200 Speaker 3: I think that sort of as as I said, the 261 00:16:37,240 --> 00:16:40,560 Speaker 3: show has a sort of like you know, his Girl Friday, 262 00:16:40,640 --> 00:16:44,840 Speaker 3: like Earn Slubitch style like component to it, like this 263 00:16:45,000 --> 00:16:49,920 Speaker 3: really old Hollywood feel, and I feel like Laurel I 264 00:16:49,960 --> 00:16:54,440 Speaker 3: really really brings that sort of high. It's the tragic 265 00:16:54,560 --> 00:16:58,160 Speaker 3: com like even when something is going dismally or something 266 00:16:58,200 --> 00:17:02,960 Speaker 3: really tragic is happening, like there's this she finds this 267 00:17:03,120 --> 00:17:07,399 Speaker 3: vein of irony and finds a way. And also you 268 00:17:07,440 --> 00:17:11,720 Speaker 3: know that irony I think, especially from old movies, comes 269 00:17:11,720 --> 00:17:14,040 Speaker 3: from characters deflecting. And I feel like I do that 270 00:17:14,480 --> 00:17:19,480 Speaker 3: too personally, like in something the the the unwillingness to 271 00:17:19,520 --> 00:17:22,879 Speaker 3: take seriously a really bad thing just to deflect, and 272 00:17:22,920 --> 00:17:26,000 Speaker 3: so I couldn't relate to that impulse. But so that 273 00:17:26,520 --> 00:17:27,399 Speaker 3: I think is my answer. 274 00:17:28,480 --> 00:17:32,399 Speaker 1: Yeah, no one has ever had more sass. I refer 275 00:17:32,480 --> 00:17:41,040 Speaker 1: to it as sassy. She's say, uh okay, Charmaine from Buffalo, 276 00:17:41,160 --> 00:17:44,639 Speaker 1: New York, what is your favorite episode and why? If 277 00:17:44,680 --> 00:17:46,120 Speaker 1: you have a favorite episode. 278 00:17:47,080 --> 00:17:49,000 Speaker 3: I do have a favorite episode. I think my favorite 279 00:17:49,000 --> 00:17:51,360 Speaker 3: episode it's a big it's actually a big Luke episode. 280 00:17:51,400 --> 00:17:58,080 Speaker 3: It's in the first season, and it's when Richard has 281 00:17:58,400 --> 00:18:04,400 Speaker 3: a heart attack. I think that there is like, it 282 00:18:04,440 --> 00:18:09,679 Speaker 3: does have this tragic comic effect to it. There's something really, 283 00:18:10,840 --> 00:18:15,200 Speaker 3: I don't know how it becomes such a warm, intimate episode, 284 00:18:16,160 --> 00:18:22,159 Speaker 3: but it does. And there's something. And then especially you 285 00:18:22,200 --> 00:18:28,240 Speaker 3: know at the very end when you're watching the Christmas 286 00:18:28,240 --> 00:18:30,040 Speaker 3: carollers and you were lucky to turn off the lights, 287 00:18:30,080 --> 00:18:32,000 Speaker 3: there's something really, I don't know, there's and then also 288 00:18:32,040 --> 00:18:38,400 Speaker 3: that conversation that you know, Luke and Emily have. I 289 00:18:38,480 --> 00:18:40,320 Speaker 3: it's a I think it's a really beautiful episode. 290 00:18:40,480 --> 00:18:45,880 Speaker 1: Let me see Laura Lee from Portland, Oregon. If there 291 00:18:46,119 --> 00:18:50,040 Speaker 1: was a storyline you could change, what would it be? 292 00:18:51,080 --> 00:18:54,760 Speaker 3: That that's kind of this might be controversial. I think 293 00:18:55,880 --> 00:18:59,720 Speaker 3: personally my least favorite storyline was when Richard and Emily separated. 294 00:19:00,119 --> 00:19:07,800 Speaker 1: Feel did that leave? It left a massivoid? It did? 295 00:19:07,840 --> 00:19:10,719 Speaker 3: And seeing Ed Herman and Kelly Bishop on set like 296 00:19:11,240 --> 00:19:13,320 Speaker 3: on screen together is like to not have that was 297 00:19:13,640 --> 00:19:16,439 Speaker 3: right kind of disappointing. I mean, what was that like 298 00:19:16,800 --> 00:19:20,960 Speaker 3: to experience like, do you you know, is that something 299 00:19:20,960 --> 00:19:23,880 Speaker 3: that like you've you've like was that also felt. 300 00:19:24,040 --> 00:19:30,240 Speaker 1: Yes, no, but rewatching it as we did recently, because 301 00:19:30,280 --> 00:19:32,720 Speaker 1: I've never seen any of these episodes, by the way, 302 00:19:32,760 --> 00:19:36,199 Speaker 1: except the pilot. So when I saw that, I, uh, 303 00:19:36,480 --> 00:19:40,000 Speaker 1: you know, the writer in me went crazy and I said, 304 00:19:40,080 --> 00:19:44,200 Speaker 1: what are they doing? You know you built you build 305 00:19:44,200 --> 00:19:48,639 Speaker 1: this house, This foundation is built upon this. You don't 306 00:19:48,720 --> 00:19:51,320 Speaker 1: wreck this. You don't even. 307 00:19:54,480 --> 00:19:54,879 Speaker 2: I don't know. 308 00:19:55,680 --> 00:19:58,000 Speaker 1: We we uh, we took it to task. We took 309 00:19:58,000 --> 00:19:59,080 Speaker 1: them to task over that. 310 00:19:59,760 --> 00:20:04,760 Speaker 3: I mean, I one of the few north stars in 311 00:20:04,800 --> 00:20:09,040 Speaker 3: the show is that Emily see ida eye on a 312 00:20:09,080 --> 00:20:12,560 Speaker 3: lot of things, and to take that away as can be, 313 00:20:12,680 --> 00:20:16,000 Speaker 3: I feel like a little destabilizing for the ecosystem of 314 00:20:17,080 --> 00:20:17,720 Speaker 3: the show. 315 00:20:17,960 --> 00:20:21,280 Speaker 1: You know, mm hmmm. I don't know if you're I 316 00:20:21,280 --> 00:20:23,320 Speaker 1: don't know if you're a fan of it or familiar 317 00:20:23,320 --> 00:20:25,200 Speaker 1: with it, but I love the actors in it. There's 318 00:20:25,240 --> 00:20:28,800 Speaker 1: a show called Billions, yea Dami, Damian Lewis and Paul 319 00:20:28,840 --> 00:20:33,440 Speaker 1: Giamaudi and it's a real Shakespearean mono imano type deal. 320 00:20:35,080 --> 00:20:38,399 Speaker 1: When Maelan Ackerman left him took the kids away from him, 321 00:20:38,480 --> 00:20:41,240 Speaker 1: I thought that was a big mistake. She was his 322 00:20:41,359 --> 00:20:44,720 Speaker 1: moral compass, and now he was alone, without his sons, 323 00:20:44,880 --> 00:20:48,680 Speaker 1: without his family. I thought it really weakened his character. 324 00:20:49,119 --> 00:20:52,080 Speaker 1: And I don't understand maybe she got another gig and 325 00:20:52,119 --> 00:20:54,480 Speaker 1: she wanted off the show, or she wasn't getting enough, 326 00:20:54,520 --> 00:20:56,880 Speaker 1: but she was a really integral part of the show. 327 00:20:56,920 --> 00:20:59,560 Speaker 1: And I think actors don't understand the effect they have 328 00:20:59,640 --> 00:21:06,760 Speaker 1: on our own audience. But I thought that that particular 329 00:21:06,840 --> 00:21:10,920 Speaker 1: example was unfortunate for that show. He needed to have 330 00:21:10,960 --> 00:21:13,399 Speaker 1: a moral compass and you just can't take that away. 331 00:21:13,800 --> 00:21:14,960 Speaker 3: No, it's the beginning of the end. 332 00:21:15,359 --> 00:21:16,399 Speaker 1: It's the beginning of the end. 333 00:21:16,760 --> 00:21:21,359 Speaker 3: They I will say, they got back together on Gilmore Girls. 334 00:21:21,440 --> 00:21:25,120 Speaker 1: So I'm. 335 00:21:25,200 --> 00:21:27,360 Speaker 3: I think it was figured out that this that having 336 00:21:27,440 --> 00:21:30,040 Speaker 3: those two actors not on screen at the same time 337 00:21:30,200 --> 00:21:34,520 Speaker 3: was doing nobody anyways, right right, right? 338 00:21:34,680 --> 00:21:39,400 Speaker 1: Okay? So was that the most upsetting thing you saw 339 00:21:39,720 --> 00:21:42,720 Speaker 1: on I would say that that was the most of 340 00:21:42,800 --> 00:21:44,240 Speaker 1: saying right, right, okay? 341 00:21:46,280 --> 00:21:46,600 Speaker 2: Okay. 342 00:21:46,640 --> 00:21:51,560 Speaker 1: So this is from Trish from Fort Lee, New Jersey. 343 00:21:51,680 --> 00:21:55,240 Speaker 1: Was your favorite boyfriend for Rory? Do you find any 344 00:21:55,320 --> 00:21:56,720 Speaker 1: of them intolerable? 345 00:21:59,160 --> 00:22:05,640 Speaker 3: Uh? I'm gonna give the most diplomatic answer that I can. 346 00:22:07,000 --> 00:22:10,280 Speaker 3: I think that they were all good boyfriends that didn't 347 00:22:10,320 --> 00:22:14,560 Speaker 3: meet them at the right time, that they all cross 348 00:22:14,640 --> 00:22:16,320 Speaker 3: paths at the wrong time with each. 349 00:22:16,200 --> 00:22:22,760 Speaker 1: Other artfully, artfully expressed, artful. That is a wonderful dodge. 350 00:22:24,080 --> 00:22:24,399 Speaker 2: Thank you. 351 00:22:26,680 --> 00:22:32,399 Speaker 1: Okay, So this is this is uh Shanikwa from the 352 00:22:32,440 --> 00:22:36,800 Speaker 1: Bronx wants to know do you think Logan is a 353 00:22:36,840 --> 00:22:41,480 Speaker 1: bad influence on Rory? 354 00:22:41,880 --> 00:22:47,840 Speaker 3: I mean, I think Rory is a bad influence on Rory. 355 00:22:49,520 --> 00:22:51,280 Speaker 1: You know, you know a lot of people are going 356 00:22:51,320 --> 00:22:53,840 Speaker 1: to agree with you in this fan base. 357 00:22:54,640 --> 00:22:56,720 Speaker 3: He can be a little jerky sometimes, but I don't 358 00:22:56,760 --> 00:23:01,640 Speaker 3: think you know, he means well. Whether he does well 359 00:23:01,800 --> 00:23:03,600 Speaker 3: is different. But I don't think he's trying to push 360 00:23:03,680 --> 00:23:04,719 Speaker 3: someone in the wrong direction. 361 00:23:05,320 --> 00:23:13,639 Speaker 1: Mm hmm. All right, here's a big, big question, alex uh. Okay, 362 00:23:13,720 --> 00:23:17,919 Speaker 1: this is from Ramola from New York City. Do you 363 00:23:17,960 --> 00:23:20,399 Speaker 1: think Emily and Richard are good parents to Laurel I? 364 00:23:21,680 --> 00:23:24,159 Speaker 1: Or maybe the question should be were good parents to 365 00:23:24,240 --> 00:23:27,440 Speaker 1: Laurel I? Because I mean, there she's what thirty six now? 366 00:23:27,480 --> 00:23:31,360 Speaker 1: So thirty seven? So yeah, he stopped. I mean, when 367 00:23:31,400 --> 00:23:32,440 Speaker 1: does the parenting end? 368 00:23:33,359 --> 00:23:41,840 Speaker 3: I maybe I think they did the best at what 369 00:23:41,880 --> 00:23:43,800 Speaker 3: they thought was right. I think and Also, I think 370 00:23:43,840 --> 00:23:45,879 Speaker 3: Laurel I says that too in that episode that I mentioned. 371 00:23:45,880 --> 00:23:49,000 Speaker 3: She's like, my you know, my dad is from a 372 00:23:49,040 --> 00:23:51,199 Speaker 3: time and a place. He has these values, he believes 373 00:23:51,200 --> 00:23:53,160 Speaker 3: in these things. He did right by his family as 374 00:23:53,160 --> 00:23:56,880 Speaker 3: far as he saw. And I think, I mean, first, 375 00:23:56,920 --> 00:23:58,960 Speaker 3: I don't think you can necessarily look at Laurel I 376 00:23:59,000 --> 00:24:01,600 Speaker 3: and be like, I mean, this is the person who like, 377 00:24:01,720 --> 00:24:04,399 Speaker 3: I don't think that they did a decent job like 378 00:24:04,480 --> 00:24:07,639 Speaker 3: she turned out okay. But I would also say that 379 00:24:07,720 --> 00:24:11,399 Speaker 3: I think that they did what they thought was best 380 00:24:11,600 --> 00:24:14,880 Speaker 3: and they did that well. So I think that whether 381 00:24:14,960 --> 00:24:17,720 Speaker 3: or not they're good parents is a hard thing to answer, 382 00:24:17,760 --> 00:24:18,560 Speaker 3: but I do think that. 383 00:24:20,040 --> 00:24:20,399 Speaker 2: I don't. 384 00:24:20,800 --> 00:24:23,439 Speaker 3: I think that they had a vision of the world 385 00:24:23,440 --> 00:24:25,120 Speaker 3: and I think they lived by that and I think 386 00:24:25,160 --> 00:24:26,359 Speaker 3: they did that well. 387 00:24:27,040 --> 00:24:36,040 Speaker 1: Right, lots of questions about Luke and is that her 388 00:24:36,080 --> 00:24:40,040 Speaker 1: best lorealized best match? All right, so let's just let's 389 00:24:40,040 --> 00:24:43,120 Speaker 1: just talk about Luke, because we never really talk about 390 00:24:43,200 --> 00:24:47,760 Speaker 1: Luke that much. Did you think that Luke was her 391 00:24:47,760 --> 00:24:50,280 Speaker 1: best match loraalized best match? 392 00:24:53,200 --> 00:24:56,719 Speaker 3: I do, And I also and I think that the 393 00:24:57,440 --> 00:24:59,880 Speaker 3: I think that the writers did as well. I think 394 00:25:00,119 --> 00:25:03,240 Speaker 3: that I actually I would love to know if my 395 00:25:03,280 --> 00:25:05,679 Speaker 3: theory is correct, and maybe it's too far back of 396 00:25:05,720 --> 00:25:10,360 Speaker 3: an answer, but like I feel like you can tell 397 00:25:11,320 --> 00:25:15,000 Speaker 3: when the season two pick up order came based on 398 00:25:15,040 --> 00:25:18,640 Speaker 3: when they sort of pull off the gas for the 399 00:25:19,040 --> 00:25:23,600 Speaker 3: Luke and Loral like they're like it's like they are 400 00:25:23,760 --> 00:25:27,320 Speaker 3: not saving any any energy for the swim back to shore, 401 00:25:28,440 --> 00:25:30,800 Speaker 3: and then at a certain point, like it's clear, like, well, 402 00:25:30,800 --> 00:25:34,160 Speaker 3: we can't do it right now because presumably they got 403 00:25:34,160 --> 00:25:40,080 Speaker 3: renewed for a second season, like in that hospital episode, 404 00:25:40,200 --> 00:25:42,520 Speaker 3: like you you know, that feels like it's the beginning 405 00:25:42,600 --> 00:25:47,000 Speaker 3: of something incredibly magic and charming, and it doesn't really 406 00:25:47,600 --> 00:25:51,119 Speaker 3: come back there for another for some years. So I mean, 407 00:25:51,160 --> 00:25:54,600 Speaker 3: I would I would love to note that that's my theory. 408 00:25:54,800 --> 00:25:55,880 Speaker 3: That's my theory about. 409 00:25:55,640 --> 00:26:00,119 Speaker 1: The time of things. From what I can tell and 410 00:26:00,160 --> 00:26:05,560 Speaker 1: what I have gleaned, I think the network wanted it sooner, 411 00:26:06,960 --> 00:26:09,159 Speaker 1: and I think Amy and Dan fought him tooth and 412 00:26:09,240 --> 00:26:13,760 Speaker 1: nail to drag it out, which I think was the 413 00:26:13,840 --> 00:26:16,520 Speaker 1: smart move obviously, and I actually think they could have 414 00:26:16,640 --> 00:26:23,600 Speaker 1: milked it for another couple of seasons. 415 00:26:22,320 --> 00:26:26,120 Speaker 3: That that would have been a controversial move. I meant 416 00:26:28,520 --> 00:26:30,600 Speaker 3: that I actually have a new question for you. I'd 417 00:26:30,600 --> 00:26:35,280 Speaker 3: love to know, Okay, when you I guess like when 418 00:26:35,320 --> 00:26:38,840 Speaker 3: as an actor, I you know, you you shut the 419 00:26:38,920 --> 00:26:42,320 Speaker 3: door on a character when the show ends, and then 420 00:26:43,240 --> 00:26:46,520 Speaker 3: nine or so years later, like you have to you're 421 00:26:46,600 --> 00:26:50,199 Speaker 3: you know, like you have to find a way to 422 00:26:50,240 --> 00:26:55,399 Speaker 3: open that door again, like well like and to do 423 00:26:55,480 --> 00:26:59,280 Speaker 3: that very seamlessly and to be to sort of rediscover 424 00:26:59,359 --> 00:27:03,920 Speaker 3: that character, Like did you have a process for doing that? 425 00:27:04,080 --> 00:27:09,600 Speaker 3: Like during the not the reboot, but the like, what 426 00:27:09,640 --> 00:27:11,480 Speaker 3: were you like, did you have tools? Did you have 427 00:27:11,600 --> 00:27:13,800 Speaker 3: like a touchstone? Did you like how did you know 428 00:27:14,240 --> 00:27:14,840 Speaker 3: that so well? 429 00:27:15,960 --> 00:27:20,520 Speaker 1: Because the band got back together and you're playing with 430 00:27:20,600 --> 00:27:25,000 Speaker 1: your old players and it's like we didn't forget how 431 00:27:25,040 --> 00:27:28,720 Speaker 1: to play. And the panic was in the beginning that 432 00:27:28,800 --> 00:27:32,160 Speaker 1: I didn't feel like this guy anymore. But then I 433 00:27:32,160 --> 00:27:34,399 Speaker 1: put the clothes on and put the hat on, and 434 00:27:34,440 --> 00:27:38,720 Speaker 1: I took a walk around stars Hollow, which they built 435 00:27:38,760 --> 00:27:43,400 Speaker 1: back up again Netflix did, and it was a better, brighter, 436 00:27:44,240 --> 00:27:48,679 Speaker 1: shinier version of what we remember. There was a bigger 437 00:27:48,680 --> 00:27:54,320 Speaker 1: budget for these four you know, hour and a half 438 00:27:54,359 --> 00:28:02,840 Speaker 1: movies is basically what they were. And just talking with 439 00:28:02,920 --> 00:28:06,560 Speaker 1: Lauren again and talking with Michael Winners and talking with 440 00:28:07,640 --> 00:28:10,320 Speaker 1: you know, Rory and doing scenes with them again and 441 00:28:10,359 --> 00:28:13,760 Speaker 1: rehearsing again. It all just, you know, it all flooded back, 442 00:28:13,880 --> 00:28:20,080 Speaker 1: and I, you know, the time that went by was 443 00:28:20,359 --> 00:28:24,720 Speaker 1: no longer an issue. You know, I changed a great deal. 444 00:28:24,760 --> 00:28:28,920 Speaker 1: I'd gotten married and had a son, so I didn't 445 00:28:29,359 --> 00:28:32,880 Speaker 1: I couldn't relate to Luke as he was, But how 446 00:28:32,920 --> 00:28:36,280 Speaker 1: could you. He wasn't that Luke anymore. He was this 447 00:28:36,400 --> 00:28:39,600 Speaker 1: guy now. And it's just this time went by and 448 00:28:40,320 --> 00:28:42,920 Speaker 1: I looked different, and Lauren didn't look that much different, 449 00:28:42,960 --> 00:28:48,840 Speaker 1: so it was a little more and h But yeah, 450 00:28:49,120 --> 00:28:51,479 Speaker 1: it's really just being around the old players again and 451 00:28:52,480 --> 00:28:55,000 Speaker 1: you know, playing the music again and it all sort 452 00:28:55,000 --> 00:28:55,960 Speaker 1: of comes back. 453 00:28:57,160 --> 00:29:00,840 Speaker 3: That's that's kind of a that's a I know, it's 454 00:29:00,880 --> 00:29:04,959 Speaker 3: a very it's a very heartwarming thing to hear as 455 00:29:04,960 --> 00:29:08,640 Speaker 3: a fan because like you do sort of imagine, like 456 00:29:09,600 --> 00:29:11,880 Speaker 3: I know, you see a lot, you see a lot 457 00:29:11,880 --> 00:29:14,520 Speaker 3: of reboots of a lot of shows that don't go 458 00:29:14,720 --> 00:29:18,720 Speaker 3: so well, and then on this one, like I know, 459 00:29:18,800 --> 00:29:23,120 Speaker 3: people had varying, very strong, varying opinions, but I don't 460 00:29:23,160 --> 00:29:25,520 Speaker 3: think that anyone felt that anyone was not in the 461 00:29:25,600 --> 00:29:30,000 Speaker 3: scene and not in the moment. That's I don't know, 462 00:29:30,160 --> 00:29:32,840 Speaker 3: so it's I was just always amazed by that aspect 463 00:29:32,920 --> 00:29:33,120 Speaker 3: of it. 464 00:29:33,240 --> 00:29:38,560 Speaker 1: Certainly, I really think that, you know, the other actors. 465 00:29:39,000 --> 00:29:45,880 Speaker 1: Actors breathe life into each other, and we're solely dependent 466 00:29:45,960 --> 00:29:49,920 Speaker 1: on each other, you know, and it's an exchange. It's 467 00:29:49,920 --> 00:29:54,240 Speaker 1: like an exchange of energy and light, if if you will, 468 00:29:55,720 --> 00:29:59,800 Speaker 1: And that just sort of activates the whole process and 469 00:29:59,840 --> 00:30:03,520 Speaker 1: it and it becomes, oh, yeah, this is how it feels, 470 00:30:03,520 --> 00:30:05,280 Speaker 1: and this is who we are, and this is how 471 00:30:05,320 --> 00:30:07,280 Speaker 1: we relate to one another, and this is what it is, 472 00:30:07,320 --> 00:30:08,920 Speaker 1: and this is what it sounds like, and this is 473 00:30:08,960 --> 00:30:14,440 Speaker 1: what it feels like, and let's go. Give us the words, 474 00:30:14,600 --> 00:30:14,960 Speaker 1: let's go. 475 00:30:15,680 --> 00:30:18,320 Speaker 3: That's very similar to writing. I mean, because I when I, 476 00:30:18,680 --> 00:30:21,760 Speaker 3: you know, do any screenwriting, I write with a very 477 00:30:21,760 --> 00:30:27,000 Speaker 3: good friend of mine, and like there's this sort of 478 00:30:27,120 --> 00:30:31,160 Speaker 3: kinetic exchange, and then there's also this like like damn, 479 00:30:31,200 --> 00:30:33,280 Speaker 3: that guy really just come up with that awesome line. 480 00:30:33,320 --> 00:30:34,480 Speaker 3: I got to come up with a better line. I 481 00:30:34,520 --> 00:30:37,480 Speaker 3: got to do better than that. It's like the most 482 00:30:38,520 --> 00:30:42,000 Speaker 3: exciting thing is to find yourself in a situation where 483 00:30:42,040 --> 00:30:44,720 Speaker 3: you're playing cap with people. So I feel like it 484 00:30:44,720 --> 00:30:45,600 Speaker 3: sounds very similar. 485 00:30:46,120 --> 00:30:49,720 Speaker 1: I think you're right. I think you've nailed it. It's, 486 00:30:50,640 --> 00:30:52,920 Speaker 1: you know, just keeping that ball in the air and 487 00:30:53,320 --> 00:30:57,960 Speaker 1: making it go higher and higher and higher. So let's 488 00:30:57,960 --> 00:31:02,560 Speaker 1: talk about your screenwriting. How did you how long have 489 00:31:02,640 --> 00:31:05,720 Speaker 1: you been wanting to write? And did you want to 490 00:31:05,760 --> 00:31:09,360 Speaker 1: write novels or how did you sort of rotate into 491 00:31:09,400 --> 00:31:13,840 Speaker 1: writing screenplays? Not not that that's that's it's an extremely 492 00:31:13,880 --> 00:31:18,280 Speaker 1: difficult thing to do. Yeah, to write a good screenplay 493 00:31:18,360 --> 00:31:23,640 Speaker 1: is no mean task. No, it's it's it's not it's daunting. 494 00:31:24,440 --> 00:31:27,200 Speaker 1: It is did you grow up loving literature and and 495 00:31:27,800 --> 00:31:32,000 Speaker 1: you were well read kid, and and you admired certain 496 00:31:32,000 --> 00:31:33,160 Speaker 1: writers growing. 497 00:31:32,960 --> 00:31:36,560 Speaker 3: Up completely totally. And but I also sort of like 498 00:31:36,680 --> 00:31:41,920 Speaker 3: very parallel to that, really really loved movies. I really 499 00:31:42,080 --> 00:31:45,680 Speaker 3: liked old movies. I was and still am a big 500 00:31:45,840 --> 00:31:49,560 Speaker 3: movie nerd in high school. And a lot of my 501 00:31:49,680 --> 00:31:52,680 Speaker 3: favorite writers did. But like Graham Green and Raymond chandl 502 00:31:52,880 --> 00:31:57,280 Speaker 3: like did they did both, you know, novels and screenplays, 503 00:31:57,280 --> 00:31:59,800 Speaker 3: And so I feel like a lot of that is 504 00:32:00,440 --> 00:32:04,600 Speaker 3: very very very close together. And I and so, as 505 00:32:04,600 --> 00:32:07,560 Speaker 3: I mentioned, I write mainly with you know, a very 506 00:32:07,560 --> 00:32:10,440 Speaker 3: good friend of mine, and we both sort of love 507 00:32:10,520 --> 00:32:15,800 Speaker 3: the same movies, and eventually we were just, you know, 508 00:32:16,000 --> 00:32:21,240 Speaker 3: just just happened, and it's a really exciting, really fun thing. 509 00:32:21,400 --> 00:32:25,680 Speaker 3: Very can be very frustrating sometimes in the development. 510 00:32:26,080 --> 00:32:32,800 Speaker 1: But anything anything worth it is right, it's yes, but birth. 511 00:32:32,720 --> 00:32:39,560 Speaker 3: Pangs, yeah, it's it's and then you know, obviously there's 512 00:32:39,600 --> 00:32:46,720 Speaker 3: a unlike journalism, I feel like there's also sort of 513 00:32:46,760 --> 00:32:50,200 Speaker 3: like a very. You have to be willing to say 514 00:32:50,240 --> 00:32:54,000 Speaker 3: goodbye to projects that you really love almost as quickly 515 00:32:54,040 --> 00:32:57,440 Speaker 3: as you fell in love with them. For you know, 516 00:32:57,520 --> 00:33:01,360 Speaker 3: let's say producers move on, or someone drops out, or 517 00:33:01,360 --> 00:33:04,640 Speaker 3: this happens, that that happens, or the weather changes, and 518 00:33:04,800 --> 00:33:09,120 Speaker 3: you have to be willing and able to like close 519 00:33:09,320 --> 00:33:11,800 Speaker 3: the door on something and move on. 520 00:33:12,880 --> 00:33:17,360 Speaker 1: I remember falling in love with movies as a young boy. 521 00:33:18,600 --> 00:33:20,560 Speaker 1: We went to a lot of movies. It was my 522 00:33:20,680 --> 00:33:23,840 Speaker 1: generation went to tons of movies. I remember seeing, you know, 523 00:33:23,880 --> 00:33:27,240 Speaker 1: the Exorcist came out and I don't know, I was 524 00:33:27,320 --> 00:33:30,360 Speaker 1: all of ten or eleven years old, and my mother 525 00:33:30,520 --> 00:33:32,480 Speaker 1: was like, you're not going to see that film, and 526 00:33:32,520 --> 00:33:34,640 Speaker 1: I said, no, I'm going to see that film. We're 527 00:33:34,680 --> 00:33:38,000 Speaker 1: going with my Italian friend and he's going to wear 528 00:33:38,040 --> 00:33:41,040 Speaker 1: a Crucifix. We're gonna be fine, don't worry about it. 529 00:33:41,520 --> 00:33:44,120 Speaker 1: The devil can't get to us. And we were so 530 00:33:45,320 --> 00:33:48,680 Speaker 1: terrified by that film because she she acquiesced and we 531 00:33:48,720 --> 00:33:50,760 Speaker 1: went to the theater and she actually was sitting in 532 00:33:50,840 --> 00:33:54,040 Speaker 1: the back of the theater, you know, just sort of 533 00:33:54,080 --> 00:34:00,240 Speaker 1: watching us to see what anybody would pass out to 534 00:34:00,280 --> 00:34:07,000 Speaker 1: protect you. Yeah, she wasn't buying it. So we ended 535 00:34:07,080 --> 00:34:09,279 Speaker 1: up sleeping though there was three of us that went 536 00:34:09,360 --> 00:34:12,719 Speaker 1: to see A three uh, my other friend Tommy, and 537 00:34:12,760 --> 00:34:16,880 Speaker 1: we stayed at the Italian boys home that night. We 538 00:34:16,920 --> 00:34:19,040 Speaker 1: slept on his floor in his living room floor and 539 00:34:19,080 --> 00:34:23,359 Speaker 1: sleeping bags to be protected from from Satan because we 540 00:34:23,360 --> 00:34:29,600 Speaker 1: were also freaked out from that film. And and I 541 00:34:29,680 --> 00:34:33,280 Speaker 1: really must say that it is not a horror film, 542 00:34:33,640 --> 00:34:36,400 Speaker 1: and it and it defined horror for me and my 543 00:34:36,520 --> 00:34:39,600 Speaker 1: generation in a different way that horror is defined. It's 544 00:34:39,640 --> 00:34:44,480 Speaker 1: really a film about the fear of a woman losing 545 00:34:44,520 --> 00:34:47,879 Speaker 1: her little girl, and that's all it is. That's what 546 00:34:47,920 --> 00:34:50,799 Speaker 1: it that's the that's the horror. And it's such a 547 00:34:50,840 --> 00:34:55,560 Speaker 1: beautifully written and such a beautifully acted and beautifully directed film. 548 00:34:56,120 --> 00:34:59,320 Speaker 1: And when I saw so, I was always fascinated with 549 00:34:59,360 --> 00:35:01,880 Speaker 1: the power of film, and I didn't understand it was 550 00:35:01,920 --> 00:35:05,799 Speaker 1: the It was really the writing that was the thing, 551 00:35:06,920 --> 00:35:08,800 Speaker 1: because great writing is going to find a great director, 552 00:35:08,920 --> 00:35:10,520 Speaker 1: is going to find great actors, going to find a 553 00:35:10,560 --> 00:35:13,760 Speaker 1: great studio starts with the writing. So I see Altered States. 554 00:35:14,680 --> 00:35:17,320 Speaker 1: I don't know if you've seen the film, and I 555 00:35:17,360 --> 00:35:19,319 Speaker 1: don't know what you think of Patachevsky, but I just 556 00:35:19,800 --> 00:35:24,560 Speaker 1: felt I fell in love with acting because of that film, 557 00:35:25,560 --> 00:35:30,160 Speaker 1: because of Hert's performance, because of the concepts behind what 558 00:35:30,280 --> 00:35:37,960 Speaker 1: he was representing that entire world academia, and knowing that 559 00:35:38,120 --> 00:35:44,319 Speaker 1: Chayevsky moved to Cambridge, lived there for three years and 560 00:35:44,400 --> 00:35:47,280 Speaker 1: did his really did his research, I mean, really dug 561 00:35:47,280 --> 00:35:51,960 Speaker 1: in it's it's it's very similar to how todd Field 562 00:35:52,160 --> 00:35:58,400 Speaker 1: is now behaving. I just saw tar on their on 563 00:35:58,440 --> 00:36:01,479 Speaker 1: the airplane and say what you want about the ending, 564 00:36:01,520 --> 00:36:04,799 Speaker 1: but I thought, this is as well researched and and 565 00:36:04,880 --> 00:36:09,400 Speaker 1: Toddfield has learned the language of classical music on a 566 00:36:09,480 --> 00:36:11,480 Speaker 1: level of a Tchaievsky and level. 567 00:36:13,040 --> 00:36:16,520 Speaker 3: Yeah, and well, I mean, one of the amazing things 568 00:36:16,560 --> 00:36:20,560 Speaker 3: about Chaiovski is that like it wasn't just like it 569 00:36:20,640 --> 00:36:24,880 Speaker 3: just feels like everything that he writes is like like, 570 00:36:24,960 --> 00:36:28,080 Speaker 3: how can you know so intimately? So many things like 571 00:36:28,120 --> 00:36:30,279 Speaker 3: how can you? And then like network and you're like what, 572 00:36:30,560 --> 00:36:32,440 Speaker 3: like how did now you know? 573 00:36:32,480 --> 00:36:32,719 Speaker 1: How? This? 574 00:36:32,920 --> 00:36:35,799 Speaker 3: Like it just it was one thing. And he's an 575 00:36:35,840 --> 00:36:40,480 Speaker 3: incredible writer. And I don't know if you've read Sydney 576 00:36:40,560 --> 00:36:43,440 Speaker 3: Lumet's book Making Movies, which is one of my favorites. 577 00:36:44,800 --> 00:36:47,520 Speaker 3: He has a lot of very very funny stories about 578 00:36:47,560 --> 00:36:50,120 Speaker 3: Patty Chaowski having tantrums with the studio. 579 00:36:50,520 --> 00:36:53,080 Speaker 1: Oh, okay, I will, I will read it. I have 580 00:36:53,200 --> 00:36:54,880 Speaker 1: not read that one. I've read most of them, but 581 00:36:54,920 --> 00:36:56,439 Speaker 1: I have not. I will read that one. 582 00:36:56,600 --> 00:37:01,839 Speaker 3: It's it's a it's like half memoir, like There's a 583 00:37:01,880 --> 00:37:06,640 Speaker 3: great Thing where he very very very poorly disguised as 584 00:37:06,680 --> 00:37:10,440 Speaker 3: the fact that Robert Redford wanted to play in the 585 00:37:10,560 --> 00:37:13,600 Speaker 3: like the leader on the Verdict, and kept trying to 586 00:37:13,600 --> 00:37:16,600 Speaker 3: like make the actor more virtuous and better and not 587 00:37:16,680 --> 00:37:19,800 Speaker 3: an alcoholic and not mean, and then at some point 588 00:37:20,320 --> 00:37:22,200 Speaker 3: he was like, no, that's a fire Redford, and just 589 00:37:22,200 --> 00:37:26,560 Speaker 3: bring back Paul Newman. And it worked great. It's very funny. 590 00:37:26,600 --> 00:37:27,640 Speaker 3: It's a really funny book. 591 00:37:29,200 --> 00:37:31,840 Speaker 1: Will I will, I will. I'm on location, so I 592 00:37:31,920 --> 00:37:33,840 Speaker 1: will have plenty of free time to read and I 593 00:37:33,840 --> 00:37:37,480 Speaker 1: will read that one. Thank you for that recommendation. All right, 594 00:37:37,520 --> 00:37:40,120 Speaker 1: so we'll have you back on after the strike is resolved. 595 00:37:40,600 --> 00:37:44,000 Speaker 1: We can continue the conversation. You're a fascinating young man. 596 00:37:44,280 --> 00:37:47,960 Speaker 1: Thank you, and then we can we can talk about 597 00:37:48,440 --> 00:37:49,720 Speaker 1: some of your work maybe. 598 00:37:50,200 --> 00:37:53,359 Speaker 3: Okay, it's it was a pleasure meeting you and me too, 599 00:37:53,840 --> 00:37:56,120 Speaker 3: and yeah, thank you so much for having me. 600 00:37:56,200 --> 00:37:56,960 Speaker 1: Thanks for coming on. 601 00:37:57,360 --> 00:37:58,440 Speaker 3: Yep, take care. 602 00:37:58,560 --> 00:38:29,399 Speaker 2: All right, bye, Hey everybody to forget. 603 00:38:29,480 --> 00:38:33,560 Speaker 1: Follow us on Instagram at I Am all In podcast 604 00:38:33,640 --> 00:38:46,680 Speaker 1: and email us at Gilmore at iHeartRadio dot com.