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Speaker 1: When I came to the Mainland for college. I went

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Speaker 1: to school in New Hampshire, which is about as different

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Speaker 1: as you can get.

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Speaker 2: Yeah.

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Speaker 1: No, I actually didn't have any idea what I was

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Speaker 1: in for. I brought like a pair of sneakers and

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Speaker 1: a cotton hoodie and I was like ready for winter,

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Speaker 1: Like two comes up. I talked to this day. I

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Speaker 1: don't know why my parents didn't like buy me wool

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Speaker 1: or boots. I think they just I'm sure that I

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Speaker 1: was just sort of an arrogant little shit of a

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Speaker 1: kid who was like, I kN know what I'm doing,

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Speaker 1: and they were like, all right, you can learn the

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Speaker 1: hard way. Hi. My name is Sarah Wayne Kelly's. And

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Speaker 1: in the following podcast, I almost make Brian spittake, which

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Speaker 1: I am very proud of.

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Speaker 2: Hey, everybody, we're back. It's another episode of Off the

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Speaker 2: Beat here and I am your host, Brian Baumgartner. What

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Speaker 2: I want you all to do for a second is

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Speaker 2: think about things that give you nightmares. Maybe tornadoes, zombies

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Speaker 2: for sure, zombies give people nightmares, maybe aliens, I don't know.

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Speaker 2: Think about the things that give you nightmares, and then

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Speaker 2: whatever you're thinking about. My guest today has probably been

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Speaker 2: in a movie or a show about it. However, she

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Speaker 2: herself is a dream my guest today, as you just

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Speaker 2: heard Sarah Wayne Calli's You may know her from her

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Speaker 2: death Row drama prison Break, maybe the zombie thriller The

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Speaker 2: Walking Dead, the dystopian sci fi Colony, or from films

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Speaker 2: like Into the Storm, Black November, and Pay the Ghost.

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Speaker 2: She's also a writer, director, producer, former historian, and hula dancer,

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Speaker 2: as you will soon hear about. I did not know

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Speaker 2: Sarah before today, but let me just say this now

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Speaker 2: that I do. She's awesome. Yeah, and you're gonna think

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Speaker 2: so too. She's also just recently written, produced, directed, and

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Speaker 2: voice starred in a fantastic post apocalyptic episodic story a

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Speaker 2: podcast called after Shock, which she just premiered its second season.

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Speaker 2: It's kind of an adventure thriller about the world after

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Speaker 2: a big earthquake levels Los Angeles, which I don't like

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Speaker 2: to think about. Whoever, the story is fascinating. It's such

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Speaker 2: a cool project. You gotta check it out. But don't

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Speaker 2: take my word for it. Take her. She's better at

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Speaker 2: words anyway. The multi talented and very funny Sarah Wayne

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Speaker 2: Kelly's Bubble and squeak, I love it, bubble and squeakna

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Speaker 2: bubble and squeak.

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Speaker 1: I cook it every mo.

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Speaker 2: Lift over from the ninety before. Thanks Hi, Sarah, uh hi,

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Speaker 2: how are you. I'm so good. How are you doing.

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Speaker 1: I'm good. It's nice to see you.

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Speaker 2: It's very nice to see you. Thank you so much

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Speaker 2: for joining me today.

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Speaker 1: Oh my god, it's absolutely my pleasure. You gave me

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Speaker 1: all the cool points with the kids. They're enormous office fans,

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Speaker 1: and I think of everything I've done in the last

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Speaker 1: maybe like eighteen months, this is the.

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Speaker 2: One that like, this is this is the cool one.

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Speaker 1: Actually matters to them. So thank you.

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Speaker 2: How old are they?

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Speaker 1: Sixteen and ten?

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Speaker 2: Yeah, that's about right.

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Speaker 1: Well, and they just finished okay, it was on Netflix

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Speaker 1: here in Canada, and so like they just finished two

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Speaker 1: back to back binges of the whole thing for the

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Speaker 1: first time. It was very sweet. They came up to

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Speaker 1: me and they were like, have you ever seen the office?

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Speaker 1: It's great? And I was like, really, that's amazing. I'll

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Speaker 1: tell everyone I know. Thank you.

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Speaker 2: Yah.

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Speaker 1: They got to the party late, but they're here.

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Speaker 2: You've never heard of it? Where are you in Canada?

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Speaker 2: I'm on my way you are.

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Speaker 1: Where are you coming to.

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Speaker 2: I'm coming to Toronto.

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Speaker 1: Oh, I'm on the other side. I'm in BC.

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Speaker 2: Oh okay, yeah.

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Speaker 1: I'm on the warm side. How long are you going

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Speaker 1: to be there?

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Speaker 2: The war? Not that long. I think it's still I

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Speaker 2: think it's still I think it's still hot there. But

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Speaker 2: I've never been. I'm very excited. I've only been to

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Speaker 2: the the your side before. I've never I've never been

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Speaker 2: to Toronto. I'm excited. I'm excited to do it.

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Speaker 1: Great city.

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Speaker 2: I'm going to see Niagara Falls for the first time.

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Speaker 1: That is wonderful. I have good I've got good kind

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Speaker 1: of memories of that area. My husband's from quite near Rochester,

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Speaker 1: so you know, the falls were nearby. And when we

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Speaker 1: we just became dual citizens with the US and Canada

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Speaker 1: last year. Okay, I first landed. You have to land

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Speaker 1: as an immigrant, and we were staying with my husband's parents,

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Speaker 1: and so we just went up to Saint Catherine's, which

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Speaker 1: is really close. It's this teeny little town on the

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Speaker 1: border and you just cross the border and they stamped

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Speaker 1: the thing and you have to spend a night there.

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Speaker 1: But it's like it has a nice, warm, fuzzy oh

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Speaker 1: spot in my house. And I gotta tell you, Toronto

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Speaker 1: has some of my favorite food in the country. There's

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Speaker 1: just wonderful restaurants.

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Speaker 2: Okay, I'm very excited. Now.

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Speaker 1: Yeah, I was just there for a conference.

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Speaker 2: I'll send you a list, Okay, yeah, send me a list.

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Speaker 2: All right, Well you're in Canada. Now, you started out

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Speaker 2: you were born in Illinois, but you went to Hawaii

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Speaker 2: like immediately. So first off, how are you feeling about

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Speaker 2: what's going on in Hawaii right now? It's I mean,

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Speaker 2: it's it's devastating. What's what's happening over there in Hawaii?

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Speaker 2: You were on in a Wahu? Is that right?

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Speaker 1: I grew up on o Wahoo. Yeah, so you know,

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Speaker 1: I was born in Illinois. My parents both applied for

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Speaker 1: jobs as professors at universities all around the country. And

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Speaker 1: the only university that took them both. I don't know

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Speaker 1: why university was so hard to say just then, the

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Speaker 1: only place of higher education that took them both was

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Speaker 1: the University of Hawaii. So just a huge shout out

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Speaker 1: of gratitude to the board of regents there for bringing

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Speaker 1: me to Oahu where I grew up. As for what's

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Speaker 1: happening on Maui. I don't honestly know that I have

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Speaker 1: words yet. It's you know, Lahina was the capital of

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Speaker 1: the Kingdom of Hawaii before it was illegally overthrown as

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Speaker 1: a sovereign monarchy. It's such a deeply important place to

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Speaker 1: Hawaii's history before you even scratch the surface of just

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Speaker 1: the scale of the human loss. Yeah, you know, I

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Speaker 1: was just reading something today that of the plus bodies

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Speaker 1: that they have discovered, they can only identify five because

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Speaker 1: there's only enough left. And you just a friend of

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Speaker 1: mine has a brother who's this wonderful T shirt designer,

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Speaker 1: So you know, he's designed a T shirt and I'm

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Speaker 1: going to put a bunch of stuff out about like

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Speaker 1: all profits to whatever. But I don't think there's a way.

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Speaker 1: I don't know what you do. You can't rebuild. You

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Speaker 1: have to kind of re envision and recreate, and whatever

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Speaker 1: you build will still hold the kind of ghost of

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Speaker 1: what you've lost. But I will say that, like I

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Speaker 1: wonder if people in Hawaii don't have an extra set

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Speaker 1: of tools in their toolbox. It is a place where

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Speaker 1: I think most of us just were kind of raised

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Speaker 1: with a connection to community, a connection to the land,

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Speaker 1: itself to the stories about the land that will, I think,

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Speaker 1: create a kind of resilience and a kind of spirit

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Speaker 1: of I don't even know what like resurrection of whatever

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Speaker 1: comes next.

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Speaker 2: Right now, I get it. I mean, clearly it's a

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Speaker 2: very important place for you. I will say sadly, I've

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Speaker 2: never been to MAUI obviously heard so much about it.

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Speaker 2: What was it like for you growing up there with

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Speaker 2: that kind of a community. You feel like it's a

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Speaker 2: specifically different place that breeds a different kind of community

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Speaker 2: than anywhere else.

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Speaker 1: Super I mean when I came to the Mainland for college,

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Speaker 1: I went to school in New Hampshire, which is about

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Speaker 1: as different as you can get. Yeah, I know, I

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Speaker 1: actually didn't have any idea what I was in for.

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Speaker 1: I brought like a pair of sneakers and a cotton

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Speaker 1: hoodie and I was like ready for winter, like two

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Speaker 1: comes up. I don'd to this day. I don't know

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Speaker 1: why my parents didn't like buy me wool or boots.

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Speaker 1: I think they just I'm sure sure that I was

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Speaker 1: just sort of an arrogant little shit of a kid

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Speaker 1: who was like I knew what I'm doing, and they

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Speaker 1: were like, all right, you can learn the hard way.

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Speaker 1: I mean I felt culture shock. Okay, Like, first of all,

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Speaker 1: the native Hawaiian presence in Hawaii is vast and permeates everything, right,

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Speaker 1: Like I had Hawaiian friends, teachers, governors, legislators, police officers,

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Speaker 1: like there were just there were Hawaiian people everywhere, and

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Speaker 1: there was language everywhere, right like half the street signs.

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Speaker 1: There's a Hawaiian music radio station, a couple of them

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Speaker 1: that play like both modern and contemporary and traditional Hawaiian music,

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Speaker 1: most of it in Hawaiian. I took Hawaiian language in

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Speaker 1: high school. Like that just felt very normal and pretty

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Speaker 1: fair because I was like their land, you know, like

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Speaker 1: feels like we should be learning about the people and

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Speaker 1: how to say right, please and thank you, and you know,

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Speaker 1: what are the stories of the land. And then I

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Speaker 1: got to the mainland and I was like, oh, no,

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Speaker 1: nobody knows who's land there on. No, there's like there

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Speaker 1: was this deafening silence around those kinds of things, you know.

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Speaker 1: And I mean I'd asked all these people and I

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Speaker 1: was like, whose land are we on? They're like Darmouth College.

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Speaker 1: I was like, sure, but go back a little bit.

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Speaker 1: And partly you have to go back, so much farther

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Speaker 1: on the East coast than you do in Hawaii. But

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Speaker 1: it was really interesting. A part of the podcast actually,

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Speaker 1: and like writing some of these Native Hawaiian characters in

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Speaker 1: was just visibility.

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Speaker 2: You know.

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Speaker 1: It's like before you can even get to the place

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Speaker 1: of equal rights and remedying certain things and you know,

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Speaker 1: issues of land and water, just like visibility, like, hey,

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Speaker 1: there are people here, maybe we should give a listen

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Speaker 1: to what's going on, right because you know, and like

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Speaker 1: not to get too nuts about this stuff, but you know,

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Speaker 1: I've been reading a lot of stuff lately about Maui

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Speaker 1: and it's tricky, right because the whole state relies on tourism.

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Speaker 1: We've vectored our economy exclusively towards tourism, and yet part

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Speaker 1: of why Maui was so dry was because all the

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Speaker 1: water was going to the hotels and golf courses and

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Speaker 1: not to like the rest of the island, which is

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Speaker 1: you know, they're like there have been a bunch of

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Speaker 1: native communities for a while being like, hey, this is

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Speaker 1: not going to work long term.

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Speaker 2: Has been discussion, that's been a discussion.

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Speaker 1: Yeah, yeah, there, I mean, you know, and it's not

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Speaker 1: getting a whole lot of coverage. But you know, for

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Speaker 1: those of us who like are kind of you know,

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Speaker 1: like there's a bunch of like protect Mono Kaa and Aamamana,

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Speaker 1: and like there's a bunch of different folks on social

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Speaker 1: media that you know, have been speaking from the Native

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Speaker 1: Hawaiian communities. Yeah, there are folks who are, like we've

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Speaker 1: been saying for a really long time that this this

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Speaker 1: sort of tourism first approach to land and water and

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Speaker 1: resources it is creating not only is it like vastly

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Speaker 1: unfair to the people whose land it is and all

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Speaker 1: of that, but right also creates this massive imbalance in

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Speaker 1: the land's resilience to things like fire.

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Speaker 2: Oh yeah, yeah, it's that's it's a very I mean,

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Speaker 2: I don't even know how you go back and begin

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Speaker 2: to un tangle and unwind those things. I mean, I

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Speaker 2: guess to your point, it's going to have to be

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Speaker 2: re envisioned. It's going to have to be rebuilt in

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Speaker 2: a new way. But that that catch twenty two that

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Speaker 2: you mentioned of we rely on the tourism yet we're

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Speaker 2: neglecting our ancestors, our history, our native peoples. It's very complicated.

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Speaker 1: It requires a lot of revisioning and I think I

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Speaker 1: have no answers, and so I take what I am

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Speaker 1: going to call a politically responsible cop out just to

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Speaker 1: say it's not for me to come up with answers.

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Speaker 1: I just want to listen, you know what I mean,

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Speaker 1: like sort of turn the mic over to like some

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Speaker 1: of the some of the organizers and the leaders and

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Speaker 1: the elders in those communities and be like, Okay, if

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Speaker 1: hypothetically I had no ideas, what are your ideas? What

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Speaker 1: do you need for me?

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Speaker 2: Right? I mean there's so much, as you said, music

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Speaker 2: and culture and performance. Were you did you begin performing

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Speaker 2: in like Native Hawaiian spectacle or no?

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Speaker 1: I mean, you know, I took the sort of you

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Speaker 1: know how like little girls on the mainland take ballet.

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Speaker 1: You turn four and they put you in a tutu

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Speaker 1: Like it's just it's like a thing that happens.

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Speaker 2: It's required.

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Speaker 1: Yes, yeah, and if you're like super alternative, it might

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Speaker 1: be like gymnastics and baseball, but like that's about as

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Speaker 1: far outside about as we get. So I actually did

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Speaker 1: take it year of ballet, and I think I think

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Speaker 1: the ballet teacher took my parents aside and was like,

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Speaker 1: I'm sure she's good at something it's not this. So

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Speaker 1: I ended up in you know, hula lessons, which is

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Speaker 1: what I think a lot of the like four or

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Speaker 1: five six year olds, you know, and I never got

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Speaker 1: any good but enjoyed it. I think what what I

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Speaker 1: really kind of came away with is a sense of

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Speaker 1: storytelling as really important.

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Speaker 2: Okay, you know, because you.

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Speaker 1: Grow up with like the stories in Hawaii, right, the

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Speaker 1: stories of Pelle of the volcano goddess and of where

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Speaker 1: the name for your valley comes from, or you know,

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Speaker 1: Cohala Opuna and the owls, and like those stories were everywhere,

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Speaker 1: and I was fascinated by them, and you know, everything

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Speaker 1: from picture books to like you know, certain teachers or

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Speaker 1: your Hawaiian studies teachers sharing things. And I think at

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Speaker 1: a certain point I started to realize how different those

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Speaker 1: stories were from the stories that I was like hearing

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Speaker 1: in church, right, especially when it came to women, you

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Speaker 1: know what I mean, Like lots of very powerful female

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Speaker 1: figures in Hawaiian storytelling. The Bible seems to be all

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Speaker 1: about like please don't have sex, but then do have

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Speaker 1: a baby. But that you know what I mean, Like

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Speaker 1: it's super complicated, very complicated, like Sarah in the Bible

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Speaker 1: is ninety nine and God tells her she's going to

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Speaker 1: have a kid, And in my imagination, her first response

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Speaker 1: was just like, you really don't know how this works.

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Speaker 1: I don't think you've thought this all the way through. Also,

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Speaker 1: who wants kids at ninety nine? I'm in my forties

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Speaker 1: and I don't want to stay awake that late. Yeah, no,

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Speaker 1: So so anyway, the point is that the storytelling, I think,

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Speaker 1: is what kind of hooked me into what we do.

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Speaker 1: What about you? I know that I'm supposed to be

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Speaker 1: interviewing me, but like, where did you know?

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Speaker 2: It's it's interesting. So I grew up in the South,

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Speaker 2: and I think similarly that tradition of storytelling, of history

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Speaker 2: of who owns the land, which again that becomes a

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Speaker 2: very complicated issue at its depth, but I think there

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Speaker 2: that was more important than I think it is say

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Speaker 2: in New Hampshire or Iowa or whatever like. There is

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Speaker 2: that sort of identity. Again, not all of it positive,

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Speaker 2: but the history in the South is is a part

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Speaker 2: of it. And my grandfather, I mean we two three

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Speaker 2: four years old, I mean me and my sister at night,

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Speaker 2: he would just tell stories. So yeah, I mean there

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Speaker 2: is I'm not equating it at all to be exactly

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Speaker 2: the same, but I think that there is some sort

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Speaker 2: of similarity there. You.

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Speaker 1: Yeah, that never.

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Speaker 2: Really even quite occurred to me in that same way

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Speaker 2: in terms of my personal history until hearing you talk,

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Speaker 2: because that really, that really was, that storytelling really was

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Speaker 2: a part of my early childhood.

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Speaker 1: Well and even the in the South. Yeah, I mean

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Speaker 1: I was what was I'm never going to remember this

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Speaker 1: exactly right, And I apologize to all the Kenny fans

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Speaker 1: out there, but there's that Kenny Rogers song the Coward

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Speaker 1: of Something County. Yes, I was listening to it came

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Speaker 1: on the other day, and I thought, this is this

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Speaker 1: is a movie in three minutes, do you know what

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Speaker 1: I mean about? Like a man whose dad tells him

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Speaker 1: don't get into fights and don't do what I did,

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Speaker 1: and then he falls in love with this woman and

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Speaker 1: then she's ps gang raped like literally that's in the song,

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Speaker 1: which is nice, and then he turns around and like

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Speaker 1: it's it's a story, and it's it's a like Steven

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Speaker 1: Spielberg worthy giant story. And if I think about a

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Speaker 1: lot of country music, that's you know, even bluegrass, right,

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Speaker 1: Like I don't know what part of the South you're from.

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Speaker 2: But no, Georgia. I mean as as deep as it goes.

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Speaker 1: Yeah, wait where in Georgia? I lived there for five

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Speaker 1: years Atlanta.

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Speaker 2: Okay, yeah, so I think you're exactly right. It's why

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Speaker 2: I you know, people say what's what's your favorite kind

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Speaker 2: of music, and I'll say old country, like like Willie

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Speaker 2: Nelson and yeah, Nylon Jennings and they're telling stories. My

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Speaker 2: least favorite is new country because I feel like it's

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Speaker 2: just bebop but he beep beepop I was drinking. Yeah, exactly,

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Speaker 2: and it's not as complex as story. Actually, his stories

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Speaker 2: are way simpler.

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Speaker 1: No, although I will say there are some do you

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Speaker 1: know what I mean? Like blown Away, there's there's definitely

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Speaker 1: some people still like Brad Paisley can still write some lyrics.

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Speaker 2: Man, that's but that's old country. So if it's if

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Speaker 2: it's in the old style that.

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Speaker 3: Counts, then that then that that counts.

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Speaker 2: So when you started becoming really involved in performing, I

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Speaker 2: understand you started acting in school plays and stuff. Was

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Speaker 2: this like a passion of yours? Was this an activity

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Speaker 2: like ballet when you were four or did you feel

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Speaker 2: like this was something that that that really moved you

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Speaker 2: that you wanted to do later on, and if not,

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Speaker 2: when did that moment occur?

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Speaker 1: Good question. I mean plays. Acting was the first thing

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Speaker 1: that I put myself in, you know, like your parents

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Speaker 1: put you into dancing whatever, blah blah blah. I joined

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Speaker 1: the track and field team because I thought that would

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Speaker 1: be useful. Blew my knee out in the very first practice.

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Speaker 1: There's I like anything that involves physical coordination. Basically, the

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Speaker 1: people in charge are like, again, I'm sure you're good

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Speaker 1: at something, go find it.

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Speaker 2: Wait a second track though, I mean running.

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Speaker 1: I know, I know that's not.

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Speaker 2: A ton of physical coordination this.

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Speaker 1: Is, but it's more than I have, and I have.

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Speaker 1: I will say I will now at this point in

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Speaker 1: my life, only run if someone's behind me with a firearm,

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Speaker 1: which weirdly describes like half of my career on camera.

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Speaker 1: So I do a bit of running, but only if

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Speaker 1: there's like the Apocalypse is behind me. I basically flogged

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Speaker 1: out a track, which was amazing, And there were auditions

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Speaker 1: for the play the next day. So and it was

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Speaker 1: as you like it, and it was Shakespeare, and I

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Speaker 1: loved that and the chewiness of the words and the

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Speaker 1: language and the challenge of the language. It felt like

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Speaker 1: a puzzle. But I never thought I would do it professionally,

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Speaker 1: you know, because I mean I didn't come from a

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Speaker 1: family that like could support me, you know, so it

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Speaker 1: was like, you get your degree and you are on

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Speaker 1: your own right, which also, by the way, seemed completely fair.

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Speaker 2: Sure, no, they put up with you for long enough,

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Speaker 2: exactly an uncoordinated daughter. I mean, you can't expect get

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Speaker 2: into things came going. But now you went when you

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Speaker 2: left to go to New Hampshire, which is, by the way,

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Speaker 2: it's just hilarious, but you go to New Hampshire. You

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Speaker 2: but you went to study drama.

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Speaker 1: Right like I know, I went to study history.

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Speaker 2: You went to study I went to study history with.

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Speaker 1: An eye toward being a diplomat, which is hilarious because

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Speaker 1: people who know me, I mean you've known me now

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Speaker 1: for what eight minutes, You're like, this is the least

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Speaker 1: diplomatic person in the face of the earth. I can't

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Speaker 1: not say something that floats through my head. You know,

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Speaker 1: it's funny. This is this is becoming the podcast about

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Speaker 1: Sarah's failures, which I'm totally fine with. After my first

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Speaker 1: semester in the.

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Speaker 2: History that was not the attention, but go ahead, no.

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Speaker 1: But it's truly like the head of the teacher that

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Speaker 1: I had that taught me my first history seminar, she

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Speaker 1: said to me, and I quote, you are too creative

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Speaker 1: to be a historian. The drama department is that way.

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Speaker 1: And I was like, all right, really yeah, which, by

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Speaker 1: the way, might be part of the problem of the

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Speaker 1: way history was taught at the time, But at any

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Speaker 1: point I was out. I still never thought. I took

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Speaker 1: a bunch of drama classes, I did a bunch of plays.

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Speaker 1: I still never thought like, you can't make a living.

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Speaker 1: And so you know, I was going to get a

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Speaker 1: degree in something else and get a PhD and be

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Speaker 1: a professor like my parents. And right before I graduated

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Speaker 1: from university, I realized that I would have to fail

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Speaker 1: at acting before I could settle for anything else. I

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Speaker 1: had to try. I just had to give it a shot.

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Speaker 1: And you know, the thing is about it to me

398
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Speaker 1: and growing up actually in such a big family. I

399
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Speaker 1: wonder if this kind of lands with you too. I

400
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Speaker 1: love how collaborative it is. I love that, like whether

401
00:22:42,480 --> 00:22:44,720
Speaker 1: you're in a green room with a bunch of actors

402
00:22:46,119 --> 00:22:49,760
Speaker 1: or you're you know, chatting with the crew at lunch whatever,

403
00:22:49,920 --> 00:22:54,239
Speaker 1: like we are surrounded. We're in a big network of

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Speaker 1: people all trying to do good stories, trying to make

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Speaker 1: something out of whole cloth that will be meaningful and

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Speaker 1: beautiful and funny and human. And that is like just

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Speaker 1: the greatest thing to me to be with those people

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Speaker 1: all the time.

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Speaker 2: That is the greatest thing, you know, Jenna Elfman, she

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Speaker 2: said to me almost exactly the same thing that you

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Speaker 2: just said, and I love it, so I'm going to

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Speaker 2: share it with you. She talked about that in life

413
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Speaker 2: there are people who have agendas and you're looking out

414
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Speaker 2: for yourself, you're looking out for your family, or you know,

415
00:23:36,440 --> 00:23:41,080
Speaker 2: you're trying to accomplish different things. But the moment that

416
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Speaker 2: someone says action, every single person on screen off screen

417
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Speaker 2: is working toward one thing. In that moment, It's like

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Speaker 2: a time in life where everyone is just trying to

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Speaker 2: get this one thing right. Be it prop and yeah,

420
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Speaker 2: the look and the camera and the action the actors

421
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Speaker 2: are doing. It's exactly what you just said. But I

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Speaker 2: love that that.

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Speaker 1: Idea, particularly in theater. Actually, from the moment the curtain

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Speaker 1: goes up to the moment it comes back down, at

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Speaker 1: the end. It's extraordinary how everybody on stage, backstage, in

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00:24:22,000 --> 00:24:26,200
Speaker 1: the audience, there's a single mindedness that we very rarely

427
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Speaker 1: get right. Like I my mind is never quieter than

428
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Speaker 1: it is when I'm acting because I'm thinking about this

429
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Speaker 1: one thing and we can't do it alone. That's I

430
00:24:36,400 --> 00:24:38,720
Speaker 1: think there's something so beautiful about this. You know, we

431
00:24:38,800 --> 00:24:44,359
Speaker 1: have this silly Marlborough man image of American achievement. That's

432
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Speaker 1: like I pulled myself up by my bootstraps.

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Speaker 2: Bullshit.

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Speaker 1: You took a staircase that somebody else built for you,

435
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Speaker 1: You took the hand that somebody else put down for you.

436
00:24:54,560 --> 00:24:57,680
Speaker 1: You walked shoulder to shoulder with people who were there

437
00:24:57,720 --> 00:25:01,159
Speaker 1: for you. Like, we don't do anything alone, not anything meaningful.

438
00:25:02,200 --> 00:25:09,080
Speaker 1: And I love how deeply interdependent we are on each

439
00:25:09,119 --> 00:25:13,280
Speaker 1: other making stories, and particularly with people who are not

440
00:25:13,600 --> 00:25:17,040
Speaker 1: like us, you know, like we've all got there's always

441
00:25:17,080 --> 00:25:19,280
Speaker 1: people on a set that you're like, we would never

442
00:25:19,320 --> 00:25:22,520
Speaker 1: I our paths would never cross, you know, with like

443
00:25:22,840 --> 00:25:25,439
Speaker 1: me and this guy who's working craft service, you know,

444
00:25:25,640 --> 00:25:27,879
Speaker 1: or like this driver. I mean, we've all had Like

445
00:25:28,080 --> 00:25:29,919
Speaker 1: drivers are amazing, man, and some of them are the

446
00:25:29,920 --> 00:25:32,320
Speaker 1: greatest ever and some of them, You're like, Wow, this

447
00:25:32,400 --> 00:25:34,399
Speaker 1: is not a conversation I ever thought in a million

448
00:25:34,480 --> 00:25:37,560
Speaker 1: years I would have, right, right, But we're driving from

449
00:25:37,600 --> 00:25:40,280
Speaker 1: Atlanta to Savannah, so we're gonna have it for three

450
00:25:40,440 --> 00:25:46,440
Speaker 1: and a half hours, and you end up like, I mean,

451
00:25:46,440 --> 00:25:48,439
Speaker 1: you know, walking down was really interesting because you know,

452
00:25:48,560 --> 00:25:52,920
Speaker 1: we shot in Sonoya the I mean after season one.

453
00:25:52,960 --> 00:25:55,800
Speaker 1: Season one was in Atlanta. There were a lot of

454
00:25:55,880 --> 00:25:59,440
Speaker 1: drivers down there that like, man, they don't have people

455
00:25:59,480 --> 00:26:00,360
Speaker 1: like me in their life.

456
00:26:00,480 --> 00:26:05,120
Speaker 4: You know, some like pink Ocamie tree hugging, rainbow flag flying,

457
00:26:06,520 --> 00:26:08,520
Speaker 4: but and like I don't have a lot of people

458
00:26:08,600 --> 00:26:12,000
Speaker 4: who pray and vote and think the way they do.

459
00:26:12,160 --> 00:26:16,960
Speaker 4: But we humanized each other, yes, And so I'm not

460
00:26:17,000 --> 00:26:22,040
Speaker 4: going to use unkind language to describe them because while

461
00:26:22,040 --> 00:26:24,600
Speaker 4: I may not agree with a lot, they are also

462
00:26:24,720 --> 00:26:26,760
Speaker 4: my brothers and sisters because we survived.

463
00:26:27,760 --> 00:26:32,720
Speaker 1: They survived the Georgia Woods together. Yes, And the Georgia

464
00:26:32,880 --> 00:26:34,360
Speaker 1: was the snakes.

465
00:26:34,359 --> 00:26:37,520
Speaker 2: Slash the Apocalypse. Did you see snakes?

466
00:26:38,640 --> 00:26:40,720
Speaker 1: Oh dude. We had a guy named Patrick whose job

467
00:26:40,760 --> 00:26:43,359
Speaker 1: it was to flush the snakes out of the set

468
00:26:43,920 --> 00:26:46,200
Speaker 1: before we got there, and he was always like think

469
00:26:46,240 --> 00:26:47,720
Speaker 1: I got him? And I was like you are the

470
00:26:47,720 --> 00:26:50,280
Speaker 1: bravest man I know. Also, what do you mean think?

471
00:26:50,760 --> 00:26:55,240
Speaker 1: Oh my gosh, oh dude, it was It was nuts.

472
00:26:55,400 --> 00:26:57,600
Speaker 1: We had a tick check every day after work. You'd

473
00:26:57,640 --> 00:26:59,840
Speaker 1: go to your trailer, you'd strip down, and you check

474
00:26:59,880 --> 00:27:01,399
Speaker 1: your body for ticks. You guys didn't do that with

475
00:27:01,440 --> 00:27:01,879
Speaker 1: the office.

476
00:27:07,640 --> 00:27:11,919
Speaker 2: No, Oh my god. That really made me. No, we

477
00:27:12,160 --> 00:27:15,720
Speaker 2: did not. We did not have tick checks. So I

478
00:27:15,760 --> 00:27:18,080
Speaker 2: have an issue right now. I don't know if anybody

479
00:27:18,080 --> 00:27:24,000
Speaker 2: wants to message me, message me about this. So I

480
00:27:24,040 --> 00:27:26,520
Speaker 2: have ticks I where I live now, and I have

481
00:27:26,560 --> 00:27:29,520
Speaker 2: a dog and the dog gets tick medication. Here is

482
00:27:29,520 --> 00:27:33,600
Speaker 2: a current problem. The medication is working, and the ticks

483
00:27:33,640 --> 00:27:36,320
Speaker 2: don't want to be on the dog. But now findings

484
00:27:36,400 --> 00:27:41,040
Speaker 2: everywhere dog goes outside tickets are right inside. Is like,

485
00:27:41,320 --> 00:27:44,960
Speaker 2: I don't want the dog and then I'm like seeing

486
00:27:45,000 --> 00:27:46,520
Speaker 2: them walk around on the ground.

487
00:27:47,000 --> 00:27:50,160
Speaker 1: But there's this Brian dude, that's the ticks freaked me out.

488
00:27:50,200 --> 00:27:53,560
Speaker 1: The whole line is these thing like it's worse than

489
00:27:53,560 --> 00:27:55,400
Speaker 1: a zombie apocalypse as far as I'm concerned.

490
00:27:55,600 --> 00:28:02,720
Speaker 2: Well, that's true. I so, yeah, you shot obviously the

491
00:28:02,800 --> 00:28:06,320
Speaker 2: walking Dead in Georgia. Yeah, I mean you're doing so

492
00:28:06,440 --> 00:28:12,080
Speaker 2: many nights too, right nights and hot days and snakes.

493
00:28:11,600 --> 00:28:16,160
Speaker 1: And the one Actually we didn't have many nights. It's interesting,

494
00:28:16,200 --> 00:28:19,080
Speaker 1: like if you watch the first even the first two seasons,

495
00:28:19,320 --> 00:28:22,240
Speaker 1: we didn't do many nights. I don't really know why.

496
00:28:22,680 --> 00:28:27,280
Speaker 1: Season one was odd because in order to permit downtown Atlanta,

497
00:28:27,560 --> 00:28:30,600
Speaker 1: we could only shoot there Saturday Sunday, so our days

498
00:28:30,680 --> 00:28:33,800
Speaker 1: off for Monday Tuesday, which is just a little odd

499
00:28:33,840 --> 00:28:37,160
Speaker 1: because it means right that you're like extra freaky as

500
00:28:37,200 --> 00:28:40,440
Speaker 1: a circus freak actor anyway, do you know what I mean.

501
00:28:40,520 --> 00:28:43,120
Speaker 4: It's like you try and make new friends and you're like,

502
00:28:43,120 --> 00:28:44,800
Speaker 4: you want to come over for dinner Monday night.

503
00:28:44,640 --> 00:28:49,680
Speaker 1: And you're like, what, No, not at all? Right, Okay,

504
00:28:49,760 --> 00:28:50,360
Speaker 1: that's fine.

505
00:28:50,800 --> 00:28:54,200
Speaker 2: I have to ask you. You said you you were

506
00:28:54,240 --> 00:28:55,800
Speaker 2: not going to be able to move on to something

507
00:28:55,800 --> 00:28:58,600
Speaker 2: else until that didn't work out. You end up going

508
00:28:58,640 --> 00:29:02,360
Speaker 2: to the National Theater Conservative in Denver for your MFA,

509
00:29:02,480 --> 00:29:05,040
Speaker 2: which is a very big deal at the time. You

510
00:29:05,160 --> 00:29:08,120
Speaker 2: get your equity card, which I didn't know that when

511
00:29:08,120 --> 00:29:13,560
Speaker 2: you graduate from there, for you theater or film, film, slice.

512
00:29:13,280 --> 00:29:20,560
Speaker 1: Television, there's such different muscles and such different media. I

513
00:29:20,600 --> 00:29:23,440
Speaker 1: did a play right after I left Walking Dead at

514
00:29:23,440 --> 00:29:30,000
Speaker 1: the Kennedy Center, Okay, And I was so scared to

515
00:29:30,040 --> 00:29:34,160
Speaker 1: do it. And it was actually Jeff Demon who kind

516
00:29:34,160 --> 00:29:36,400
Speaker 1: of talked me into it. He's like, you need to

517
00:29:36,480 --> 00:29:41,320
Speaker 1: sharpen that muscle because there is nothing like the sustained

518
00:29:41,320 --> 00:29:43,920
Speaker 1: attention of a two and a half hour play. It'll

519
00:29:43,960 --> 00:29:44,880
Speaker 1: make you a better actor.

520
00:29:45,320 --> 00:29:46,320
Speaker 2: Blah blah blah.

521
00:29:46,600 --> 00:29:50,320
Speaker 1: The economics of it I struggle with. I struggle with

522
00:29:50,360 --> 00:29:53,880
Speaker 1: the fact that the tickets were too expensive for most

523
00:29:53,920 --> 00:29:58,080
Speaker 1: people to see. It was the whitest audience I have

524
00:29:58,240 --> 00:30:02,960
Speaker 1: ever performed for. And I made no money and lost

525
00:30:03,040 --> 00:30:06,160
Speaker 1: my health insurance and had to go on Cobra and

526
00:30:06,240 --> 00:30:11,600
Speaker 1: so wow, Like that's not romantic, man, it's really not,

527
00:30:11,760 --> 00:30:13,200
Speaker 1: you know. And like the Kennedy saide it's a good

528
00:30:13,360 --> 00:30:15,920
Speaker 1: it's a good theater, Like they pay you, but I'm

529
00:30:15,920 --> 00:30:18,080
Speaker 1: the sole breadwinner for a family of foreman, Like, it's

530
00:30:18,120 --> 00:30:21,360
Speaker 1: not it did not it did not do it I,

531
00:30:23,080 --> 00:30:28,240
Speaker 1: you know. And so it's usually the writing's better in

532
00:30:28,360 --> 00:30:32,480
Speaker 1: theater and there's a devotion, there's rehearsal, which is such

533
00:30:32,480 --> 00:30:36,120
Speaker 1: a gift. But to the extent that I believe that

534
00:30:36,240 --> 00:30:41,040
Speaker 1: stories are powerful when they are shared. More people saw

535
00:30:41,080 --> 00:30:46,320
Speaker 1: the first episode of The Walking Dead, than would see

536
00:30:46,600 --> 00:30:49,600
Speaker 1: every show I would ever do if I spent my

537
00:30:49,920 --> 00:30:55,160
Speaker 1: entire career on Broadway correct and they saw it for

538
00:30:55,320 --> 00:30:59,520
Speaker 1: so much less money, And so that's a that's a

539
00:30:59,560 --> 00:31:02,040
Speaker 1: tough one. I would love to go back and do

540
00:31:02,080 --> 00:31:07,680
Speaker 1: another play, but I can't afford to make that my career.

541
00:31:09,160 --> 00:31:10,600
Speaker 2: See, I started in theater too.

542
00:31:11,440 --> 00:31:14,520
Speaker 1: Yeah, so what do you think would you go back?

543
00:31:14,680 --> 00:31:17,959
Speaker 1: Would you if somebody said, here you go, We'll give you,

544
00:31:17,960 --> 00:31:23,760
Speaker 1: you know, forty eight weeks a year for Oh no, no, babe?

545
00:31:24,000 --> 00:31:25,840
Speaker 1: Would you By the way, are you a musical theater person?

546
00:31:25,840 --> 00:31:26,840
Speaker 1: Do you sing? No?

547
00:31:27,400 --> 00:31:31,040
Speaker 2: I talk sing. I talked sing really really well, which

548
00:31:31,360 --> 00:31:36,600
Speaker 2: you know for comedic musical theater roles is good. But yeah, no,

549
00:31:36,680 --> 00:31:39,520
Speaker 2: it's I mean it's I mean, you talk about the

550
00:31:39,560 --> 00:31:44,440
Speaker 2: circus Freaks with you know, you, during a short period

551
00:31:44,440 --> 00:31:46,720
Speaker 2: of time on The Walking Dead had Monday and Tuesday off,

552
00:31:46,800 --> 00:31:50,640
Speaker 2: like for your life, having Mondays off. I mean, it's

553
00:31:50,760 --> 00:31:53,440
Speaker 2: like so difficult. I mean, it's I mean, the short

554
00:31:53,480 --> 00:31:55,400
Speaker 2: answer is I want to go back and do something.

555
00:31:56,000 --> 00:31:59,960
Speaker 2: You know, that's all I did essentially prior to the Office.

556
00:32:00,120 --> 00:32:02,960
Speaker 1: That's right. The Office was the like big TV break.

557
00:32:03,360 --> 00:32:06,960
Speaker 2: That's right, what a trip? Yeah?

558
00:32:07,080 --> 00:32:08,240
Speaker 1: Did that just do your headed?

559
00:32:09,560 --> 00:32:10,560
Speaker 2: Did I say it again?

560
00:32:10,600 --> 00:32:13,080
Speaker 1: Well, to go from like, you know, on a good week,

561
00:32:13,080 --> 00:32:15,280
Speaker 1: a couple thousand people a week, see what I'm doing

562
00:32:15,360 --> 00:32:21,080
Speaker 1: to like giant massive, Yeah, you know it.

563
00:32:21,200 --> 00:32:25,880
Speaker 2: We started so not strong that it didn't feel like

564
00:32:25,960 --> 00:32:31,000
Speaker 2: that early on, but it you know, I mean it

565
00:32:31,080 --> 00:32:34,960
Speaker 2: quickly became what it was so so it like ramped up.

566
00:32:35,280 --> 00:32:37,880
Speaker 2: But yeah, so that was different. But yeah, no, I

567
00:32:37,920 --> 00:32:41,320
Speaker 2: mean it's obviously a huge change. And yeah, I mean

568
00:32:41,360 --> 00:32:44,680
Speaker 2: to your point, Yeah, yeah, I could do that forty

569
00:32:44,840 --> 00:32:48,240
Speaker 2: eight you know, weeks a year at eight shows a week,

570
00:32:48,320 --> 00:32:52,440
Speaker 2: and yeah, no one's going to see the exposure is impossible.

571
00:32:52,960 --> 00:32:56,560
Speaker 2: But there's a live theater experience. There's something that happens

572
00:32:56,560 --> 00:32:59,960
Speaker 2: in a room every single day that's different. And you know,

573
00:33:00,200 --> 00:33:03,440
Speaker 2: that's the part for me that I miss is that

574
00:33:03,720 --> 00:33:05,840
Speaker 2: experience live in the room.

575
00:33:06,480 --> 00:33:09,280
Speaker 1: You want to hear a fun theater story real quick. Yes,

576
00:33:10,280 --> 00:33:12,440
Speaker 1: So speaking of live in the room. When I was

577
00:33:12,440 --> 00:33:15,040
Speaker 1: in grad school, we did a production of Doubt. Okay

578
00:33:15,360 --> 00:33:18,080
Speaker 1: I know it, which is yeah for people who don't.

579
00:33:18,760 --> 00:33:21,160
Speaker 1: The short version is it's a story about a woman

580
00:33:21,240 --> 00:33:24,400
Speaker 1: in the hospital dying of cancer and she's a she's

581
00:33:24,440 --> 00:33:26,720
Speaker 1: a scholar of the poet John Dunn. And we did

582
00:33:26,720 --> 00:33:29,080
Speaker 1: it in the round, which was kind of insane hospital

583
00:33:29,120 --> 00:33:31,080
Speaker 1: Journey's everywhere, and I had like that four lines in

584
00:33:31,120 --> 00:33:33,000
Speaker 1: the whole thing. Dude, I mean, we're grad students. We're

585
00:33:33,000 --> 00:33:36,240
Speaker 1: just there to little tiny parts. I think it's almost

586
00:33:36,240 --> 00:33:39,320
Speaker 1: a one woman show. There's like two roles when they

587
00:33:39,320 --> 00:33:41,360
Speaker 1: did it on Broadway, but they added a bunch of

588
00:33:41,400 --> 00:33:46,880
Speaker 1: other students and things like that. And I'm in one

589
00:33:46,880 --> 00:33:48,840
Speaker 1: of the three scenes I think I'm in in the

590
00:33:48,920 --> 00:33:52,640
Speaker 1: entire thing. We're playing the leading woman is a flashback

591
00:33:52,680 --> 00:33:54,520
Speaker 1: of her teaching, and I'm playing one of the students.

592
00:33:54,960 --> 00:33:56,600
Speaker 1: And I opened my mouth to say one of the

593
00:33:56,640 --> 00:33:59,760
Speaker 1: two or three lines I have, and Annette Held, who

594
00:33:59,800 --> 00:34:02,600
Speaker 1: is the role, points at me and then points past

595
00:34:02,680 --> 00:34:04,959
Speaker 1: me and goes, Sarah, I'm sorry. Is she okay? And

596
00:34:05,240 --> 00:34:08,800
Speaker 1: for somebody who notices, who knows theater, for an actor

597
00:34:08,880 --> 00:34:12,359
Speaker 1: to go off script and break the wall like that

598
00:34:13,120 --> 00:34:17,760
Speaker 1: was like for probably three heartbeats, nobody moved, nobody breathed,

599
00:34:18,239 --> 00:34:20,520
Speaker 1: and then she looked up into the booth and she goes,

600
00:34:20,560 --> 00:34:22,640
Speaker 1: I'm sorry, we need the lights on, and the lights

601
00:34:22,640 --> 00:34:24,840
Speaker 1: come on and there's this elderly woman slumped over, not

602
00:34:24,920 --> 00:34:27,160
Speaker 1: moving in her seat. Again, we're in the round, so

603
00:34:27,160 --> 00:34:28,959
Speaker 1: the audience is looking at us and we're looking at them.

604
00:34:29,400 --> 00:34:33,799
Speaker 1: And the brilliant, quick thinking stage manager comes on and

605
00:34:33,920 --> 00:34:37,040
Speaker 1: goes the gentleman, they'll be an unscheduled fifteen minute or mission,

606
00:34:37,400 --> 00:34:42,080
Speaker 1: please buy them the lobby. They kick us backstage. Backstage

607
00:34:42,120 --> 00:34:45,080
Speaker 1: is full of hospital to trytus right, the hospital beds

608
00:34:45,080 --> 00:34:48,839
Speaker 1: and gurneys and people dressed in scrubs. And in record time,

609
00:34:48,920 --> 00:34:52,520
Speaker 1: the doors to the backstage bang open and incomes the

610
00:34:52,560 --> 00:34:55,960
Speaker 1: ambulance crew and they freeze and they're like, what the fuck?

611
00:34:56,000 --> 00:34:57,719
Speaker 1: This is a hospital, what's going on? And we're like,

612
00:34:57,719 --> 00:34:59,000
Speaker 1: we're actors, we can't help you.

613
00:34:59,040 --> 00:34:59,680
Speaker 2: Go bag.

614
00:35:01,040 --> 00:35:03,560
Speaker 1: And they go and they pull this woman out and

615
00:35:03,640 --> 00:35:05,600
Speaker 1: I look over at a net and she has wrapped

616
00:35:05,640 --> 00:35:09,200
Speaker 1: her arms around herself and she is physically holding her

617
00:35:09,239 --> 00:35:11,880
Speaker 1: performance in because it's a beast of a role and

618
00:35:11,920 --> 00:35:14,279
Speaker 1: she was brilliant at it. And they take the woman

619
00:35:14,280 --> 00:35:16,680
Speaker 1: out to the ambulance and the stage manager says, what

620
00:35:16,680 --> 00:35:18,600
Speaker 1: do you want to do? She says, is the woman alive?

621
00:35:19,120 --> 00:35:21,440
Speaker 1: And stage manager said yeah. She goes all right, well,

622
00:35:21,520 --> 00:35:23,879
Speaker 1: let's get back out there. And we got back out there,

623
00:35:23,920 --> 00:35:26,760
Speaker 1: and at the very end of the play spoiler alert,

624
00:35:26,760 --> 00:35:29,879
Speaker 1: but the play is like thirty years old. The lead

625
00:35:30,000 --> 00:35:33,719
Speaker 1: dies and she drops her clothes and she looks up

626
00:35:33,719 --> 00:35:37,480
Speaker 1: and this bright white light shines on her. And usually

627
00:35:37,520 --> 00:35:39,960
Speaker 1: that's where the audience starts applotting. But the lights came

628
00:35:40,040 --> 00:35:41,759
Speaker 1: up and it was dead silent, and the audience was

629
00:35:41,800 --> 00:35:45,200
Speaker 1: on their feet, and we'd just been in a play

630
00:35:45,280 --> 00:35:48,600
Speaker 1: of death, and like death was in the audience that night,

631
00:35:49,160 --> 00:35:51,480
Speaker 1: and we just stood there, the cast and the actors

632
00:35:52,160 --> 00:35:55,920
Speaker 1: and the audience, looking at each other for like again

633
00:35:56,040 --> 00:35:58,560
Speaker 1: a few heartbeats, and then they started applauding and we left.

634
00:35:59,280 --> 00:36:00,880
Speaker 1: It was one of the most profound things I've ever

635
00:36:00,960 --> 00:36:04,520
Speaker 1: been a part of. And that only happens in a

636
00:36:04,520 --> 00:36:05,000
Speaker 1: live show.

637
00:36:05,880 --> 00:36:09,880
Speaker 2: That's beautiful. Yeah, that's what I'm talking about.

638
00:36:10,680 --> 00:36:13,160
Speaker 1: Yeah, you're right, You're right.

639
00:36:14,280 --> 00:36:18,640
Speaker 2: You just gotta do seven thousand, one hundred and forty

640
00:36:18,680 --> 00:36:43,480
Speaker 2: two performances before it happens again. Your career is amazing.

641
00:36:44,000 --> 00:36:47,480
Speaker 1: You know, your career is amazing.

642
00:36:48,080 --> 00:36:51,319
Speaker 2: I have I have a quote from you. I'm not

643
00:36:51,480 --> 00:36:55,279
Speaker 2: a badass. I just play one on TV. This by

644
00:36:55,320 --> 00:36:59,440
Speaker 2: the way, based on this conversation is clearly is clearly

645
00:36:59,560 --> 00:37:03,320
Speaker 2: not true. But you can't run, and you're an actor,

646
00:37:04,120 --> 00:37:09,520
Speaker 2: you're a director, you're a producer, writer, voice, actor, podcast

647
00:37:09,640 --> 00:37:15,560
Speaker 2: or mom, you work with the International Rescue Committee, you tango,

648
00:37:16,000 --> 00:37:20,759
Speaker 2: you trapeez, I mean, clearly hula at least as a

649
00:37:20,800 --> 00:37:24,879
Speaker 2: four year old mite for the list goes on, how

650
00:37:25,000 --> 00:37:29,520
Speaker 2: much because you were an uncoordinated person? How much extra

651
00:37:29,680 --> 00:37:33,000
Speaker 2: work did you have to do? Was it difficult for you?

652
00:37:33,080 --> 00:37:37,480
Speaker 2: And I'm talking prison break obviously the Walking Dad. Did

653
00:37:37,520 --> 00:37:41,360
Speaker 2: you do a lot outside to be ready when it

654
00:37:41,440 --> 00:37:44,480
Speaker 2: was like physically yeah, when your number was called?

655
00:37:45,600 --> 00:37:50,120
Speaker 1: Yeah, yeah, I mean after season one of Walking Dead,

656
00:37:50,400 --> 00:37:53,759
Speaker 1: first of all, I think we all lost about ten pounds,

657
00:37:54,120 --> 00:37:58,399
Speaker 1: like ten to fifteen, me and John, the entire crew. Yeah,

658
00:37:58,640 --> 00:38:01,800
Speaker 1: sweat and just like because we're outdoors all day. Yeah,

659
00:38:01,880 --> 00:38:03,880
Speaker 1: and it's too hot to eat. We had like forty

660
00:38:03,960 --> 00:38:05,719
Speaker 1: days over ninety degrees. You know. It was just like

661
00:38:05,840 --> 00:38:08,680
Speaker 1: the and we realized coming back for season two, like

662
00:38:08,800 --> 00:38:10,480
Speaker 1: you have to be in the best shape of your life.

663
00:38:11,000 --> 00:38:15,000
Speaker 1: There's just no right getting around it. By the way, later,

664
00:38:15,320 --> 00:38:17,080
Speaker 1: many years later, I did a show called Letter Kenny,

665
00:38:17,120 --> 00:38:18,720
Speaker 1: which is a Canadian comedy and I'll.

666
00:38:18,560 --> 00:38:21,880
Speaker 5: Say, oh, you guys really have it figured out. Finally,

667
00:38:22,520 --> 00:38:26,560
Speaker 5: these comedians like if only I were funny. You guys

668
00:38:26,600 --> 00:38:30,160
Speaker 5: have the right idea. You shoot inside, you make each

669
00:38:30,200 --> 00:38:33,879
Speaker 5: other laugh. You're not screaming and crying. There's no firearms.

670
00:38:34,400 --> 00:38:37,920
Speaker 1: Nobody's talking to you about dead babies like I congratulations

671
00:38:38,040 --> 00:38:41,600
Speaker 1: on landing in the right part of our industry, or

672
00:38:41,719 --> 00:38:43,160
Speaker 1: long term mental.

673
00:38:42,840 --> 00:38:45,840
Speaker 2: Health, and that's so funny.

674
00:38:46,040 --> 00:38:48,200
Speaker 1: Quality of life. I salute you, sir.

675
00:38:48,760 --> 00:38:52,960
Speaker 2: You know it was an accident for me. I wasn't well. Yeah,

676
00:38:53,000 --> 00:38:55,239
Speaker 2: I mean people, I mean I told you I came

677
00:38:55,239 --> 00:38:58,759
Speaker 2: from theater, like you know. I mean people assume that

678
00:38:59,000 --> 00:39:02,319
Speaker 2: I was at Improva, Olympic or Second City or the

679
00:39:02,360 --> 00:39:05,799
Speaker 2: Groundlings or Stand Up or one of those. I mean,

680
00:39:05,920 --> 00:39:08,880
Speaker 2: I did just as much drama as I mean, I

681
00:39:08,880 --> 00:39:11,200
Speaker 2: probably did more drama than comedy.

682
00:39:11,960 --> 00:39:14,359
Speaker 1: Favorite theater role. Don't think about it to go.

683
00:39:16,920 --> 00:39:20,360
Speaker 2: I don't know, I know, I'm thinking. I mean, I

684
00:39:20,360 --> 00:39:23,440
Speaker 2: mean the standard answer, which it just happens too much.

685
00:39:23,680 --> 00:39:30,520
Speaker 2: And for an American male now regardless of race. Willie

686
00:39:30,560 --> 00:39:33,040
Speaker 2: Lowman and death of a Salesman's greatest.

687
00:39:32,760 --> 00:39:36,520
Speaker 1: Roll of fall Time, Oh yeah, sure, I mean yeah, sure,

688
00:39:36,560 --> 00:39:41,600
Speaker 1: although legendarily like Rex actors. Yes, the play I did

689
00:39:41,719 --> 00:39:44,040
Speaker 1: at the Kennedy Center was opposite Finn Whitrock, who had

690
00:39:44,160 --> 00:39:47,160
Speaker 1: just done Phil Hoffman's Death of the Salesman, and he

691
00:39:47,280 --> 00:39:52,520
Speaker 1: was like, it broke him. I mean it just like Phil. Yeah,

692
00:39:52,680 --> 00:39:55,920
Speaker 1: I just I can't imagine what it takes to go

693
00:39:56,000 --> 00:40:01,040
Speaker 1: through that. It's like Lear, right, Yeah, it's big. Yeah,

694
00:40:01,080 --> 00:40:04,440
Speaker 1: it's awful. Stacy Keach actually said to me once he

695
00:40:04,480 --> 00:40:07,080
Speaker 1: did Lear right after the first season of Prison Break,

696
00:40:07,080 --> 00:40:08,520
Speaker 1: and I was supposed to do it with him. He

697
00:40:08,520 --> 00:40:10,080
Speaker 1: asked me to play one of his daughters, but then

698
00:40:10,160 --> 00:40:12,160
Speaker 1: they moved the show from Chicago to Dallas. He was

699
00:40:12,200 --> 00:40:14,200
Speaker 1: doing it at the Goodman but I called him like

700
00:40:14,360 --> 00:40:16,160
Speaker 1: right before first preview, I was like, how's it going?

701
00:40:17,160 --> 00:40:19,319
Speaker 1: He said, you know, Sarah, the tragedy of Lear is

702
00:40:19,320 --> 00:40:22,120
Speaker 1: that by the time you're old enough to understand the role,

703
00:40:22,640 --> 00:40:25,520
Speaker 1: you're too old to keep up with it physically. And

704
00:40:25,800 --> 00:40:29,680
Speaker 1: you know, He's like, I'm losing my voice. I'm exhausted

705
00:40:29,719 --> 00:40:32,080
Speaker 1: all the time. And I think there's something to it

706
00:40:32,080 --> 00:40:35,000
Speaker 1: that some of those roles, and I think they wrote

707
00:40:35,280 --> 00:40:37,360
Speaker 1: more of them for men than women back then, But

708
00:40:37,480 --> 00:40:40,279
Speaker 1: like some of those roles. Just I mean, it's just

709
00:40:40,320 --> 00:40:42,919
Speaker 1: got to feel like a marathon every night.

710
00:40:43,880 --> 00:40:47,520
Speaker 2: Have you ever seen the movie? Now we're going to

711
00:40:47,600 --> 00:40:49,640
Speaker 2: really keep here. Have you ever seen the movie The

712
00:40:49,719 --> 00:40:56,400
Speaker 2: Dresser Albert Finney? Oh, Tom Courtney? Long time Ago, A

713
00:40:56,440 --> 00:40:59,640
Speaker 2: long time ago. By the way, if you're listening and

714
00:41:00,080 --> 00:41:04,719
Speaker 2: you want an old classic drama, I'm not even going

715
00:41:04,800 --> 00:41:06,920
Speaker 2: to get the decade right. I would say it was

716
00:41:06,920 --> 00:41:11,040
Speaker 2: probably in the eighties. But it is about an old

717
00:41:11,080 --> 00:41:15,080
Speaker 2: Shakespearean company that takes place during World War Two, I believe,

718
00:41:16,239 --> 00:41:21,000
Speaker 2: and they could be one I don't know. Albert Finney

719
00:41:21,040 --> 00:41:23,880
Speaker 2: is playing Lear and Tom Courtney is his dresser, and

720
00:41:23,920 --> 00:41:29,600
Speaker 2: it is essentially about him descending into madness on the

721
00:41:29,640 --> 00:41:34,640
Speaker 2: trajectory that Lear is and that for me is theater.

722
00:41:36,960 --> 00:41:38,960
Speaker 1: Well there is. I mean, like you have to be

723
00:41:39,040 --> 00:41:39,919
Speaker 1: able to lose your mind.

724
00:41:40,760 --> 00:41:44,520
Speaker 2: I have done. I've had the good fortune and I

725
00:41:44,560 --> 00:41:49,719
Speaker 2: say good fortune seriously of playing a role over an

726
00:41:49,800 --> 00:41:54,120
Speaker 2: extended period of time, like over a year, of playing

727
00:41:54,160 --> 00:41:58,399
Speaker 2: the same role which was heavy makeup and sitting there

728
00:41:58,480 --> 00:42:02,920
Speaker 2: before the show putting on the makeup's going Can I

729
00:42:03,000 --> 00:42:03,560
Speaker 2: do this one?

730
00:42:03,640 --> 00:42:04,760
Speaker 1: I don't know if I can do this again?

731
00:42:04,920 --> 00:42:08,640
Speaker 2: Can I do this one more time, and it was great.

732
00:42:09,040 --> 00:42:12,320
Speaker 2: It was called The Green Bird with a fantastic theater

733
00:42:12,400 --> 00:42:15,280
Speaker 2: company called Theater de la June Loan. That was French

734
00:42:16,120 --> 00:42:22,359
Speaker 2: slash Minneapolis, and I played the evil old woman in

735
00:42:22,560 --> 00:42:24,240
Speaker 2: full kabuki makeup.

736
00:42:24,600 --> 00:42:29,440
Speaker 1: WHOA, yeah, that's so into. First of all, I really

737
00:42:29,440 --> 00:42:33,400
Speaker 1: would love to see that. I'm curious about everything at

738
00:42:33,400 --> 00:42:38,280
Speaker 1: every level. But I think, you know, in some ways,

739
00:42:38,640 --> 00:42:40,879
Speaker 1: I think there's something very cool in what we do.

740
00:42:41,040 --> 00:42:43,880
Speaker 1: In you do touch a little bit of madness, you know.

741
00:42:44,080 --> 00:42:46,960
Speaker 1: I mean, even just on an eight show week. I

742
00:42:47,000 --> 00:42:50,040
Speaker 1: remember being in a Sunday matinee performance when you've done

743
00:42:50,080 --> 00:42:52,960
Speaker 1: Friday Night, Saturday matinee, Saturday night, and now it's Sunday

744
00:42:53,440 --> 00:42:56,840
Speaker 1: going I don't know if I just said this line

745
00:42:57,040 --> 00:43:01,640
Speaker 1: or if I'm remembering saying it yesterday, but I know

746
00:43:01,680 --> 00:43:03,360
Speaker 1: I'm gonna have to say it again tonight. And just

747
00:43:03,400 --> 00:43:05,279
Speaker 1: like a little part of your brain just goes wh

748
00:43:05,680 --> 00:43:05,920
Speaker 1: and it.

749
00:43:06,040 --> 00:43:10,520
Speaker 2: Like totally totally, and you's.

750
00:43:10,000 --> 00:43:12,680
Speaker 1: A little crazy. You go a little crazy. I've lost

751
00:43:12,719 --> 00:43:14,400
Speaker 1: myself a couple of times, But then I think you

752
00:43:14,480 --> 00:43:19,080
Speaker 1: find yourself too, and you learn a little bit about

753
00:43:19,440 --> 00:43:21,640
Speaker 1: who you are and what you're capable of, and you are,

754
00:43:21,680 --> 00:43:24,839
Speaker 1: in theory in a safe enough environment that there are

755
00:43:24,880 --> 00:43:28,440
Speaker 1: people there to pull you back. And actually, I think

756
00:43:28,480 --> 00:43:32,160
Speaker 1: that's what makes for great storytelling, and I imagine it's

757
00:43:32,160 --> 00:43:33,640
Speaker 1: got to be the same thing in comedy. But like

758
00:43:34,120 --> 00:43:36,560
Speaker 1: the directors, that producers, the writers and the other actors,

759
00:43:36,640 --> 00:43:40,280
Speaker 1: creating an environment where you can do super dangerous work

760
00:43:40,640 --> 00:43:44,040
Speaker 1: knowing the people around me are gonna they're not going

761
00:43:44,080 --> 00:43:47,160
Speaker 1: to make fun of me, They're not gonna let me fail.

762
00:43:47,480 --> 00:43:51,840
Speaker 1: You know, they're gonna there. There's again that community that

763
00:43:51,880 --> 00:43:52,800
Speaker 1: we're kind of enmeshed in.

764
00:43:53,600 --> 00:43:56,799
Speaker 2: Yeah. By the way, I feel like I have to

765
00:43:56,800 --> 00:43:58,840
Speaker 2: give us credit here. I feel like we've done a

766
00:43:58,880 --> 00:44:01,680
Speaker 2: fantastic job of talking about our careers and our work

767
00:44:01,800 --> 00:44:05,359
Speaker 2: during of this writer strike. So I'm just gonna give

768
00:44:05,440 --> 00:44:10,440
Speaker 2: us both just an amazing tip of the cat to

769
00:44:10,560 --> 00:44:17,919
Speaker 2: that tip of the cat. Cap I cat, I'm gonna

770
00:44:17,920 --> 00:44:20,880
Speaker 2: I'm gonna tip. I'm gonna tip the cat. We do

771
00:44:20,960 --> 00:44:23,160
Speaker 2: have something very important that we need to talk about,

772
00:44:23,320 --> 00:44:40,520
Speaker 2: which is Aftershock, which is your podcast. You're basically lord, dictator, king, queen, writer, creator, producer, actor, beverlord, technician,

773
00:44:41,200 --> 00:44:45,879
Speaker 2: microphone operator. You kind of mentioned it before I want

774
00:44:45,920 --> 00:44:48,120
Speaker 2: you to tell me a little bit about where the

775
00:44:48,200 --> 00:44:50,799
Speaker 2: idea came for after Shock. By the way, for those

776
00:44:50,840 --> 00:44:56,920
Speaker 2: of you who don't know, it's a scripted podcast, uh

777
00:44:56,960 --> 00:45:02,600
Speaker 2: that Sarah is doing to great a. I'm so in

778
00:45:02,640 --> 00:45:06,400
Speaker 2: love and excited by it. Did this come at all

779
00:45:06,800 --> 00:45:11,600
Speaker 2: from your childhood in Hawaii? I mean it takes place

780
00:45:11,600 --> 00:45:12,200
Speaker 2: on an island.

781
00:45:12,320 --> 00:45:14,160
Speaker 1: Yeah, a lot of it, I will say. You know,

782
00:45:14,239 --> 00:45:17,560
Speaker 1: the original idea was brought to me by a writer,

783
00:45:18,000 --> 00:45:21,759
Speaker 1: a Ya writer novelist named Patrick Carmon, and he and

784
00:45:21,880 --> 00:45:25,320
Speaker 1: my producing partner Ben Haber cooked up this thought about

785
00:45:25,320 --> 00:45:27,120
Speaker 1: what would happen if a new island rose up out

786
00:45:27,120 --> 00:45:29,719
Speaker 1: of the sea. And I thought, oh, that's really interesting,

787
00:45:30,160 --> 00:45:32,680
Speaker 1: and we talked about a lot of it. It felt

788
00:45:32,680 --> 00:45:34,440
Speaker 1: to me from the beginning like a little bit of

789
00:45:34,440 --> 00:45:38,360
Speaker 1: a re exploration of like westward expansion, right, like new Land.

790
00:45:39,080 --> 00:45:41,360
Speaker 1: We tell that story a lot in westerns, you know

791
00:45:41,360 --> 00:45:44,960
Speaker 1: what I mean, And it's cowboys and Indians and women

792
00:45:45,000 --> 00:45:47,800
Speaker 1: in whorehouses, and it's like, well, what if we examined

793
00:45:47,880 --> 00:45:51,920
Speaker 1: some of those Like what if we took some different

794
00:45:51,960 --> 00:45:54,160
Speaker 1: people and tried to tell the story in a new way,

795
00:45:54,160 --> 00:45:56,560
Speaker 1: and what would it look like now. But yeah, immediately

796
00:45:56,960 --> 00:46:00,560
Speaker 1: the new Pacific Island thing came up, and I started

797
00:46:00,600 --> 00:46:04,319
Speaker 1: thinking about what were the female relationships that I most

798
00:46:04,360 --> 00:46:07,680
Speaker 1: wanted to see that we're maybe more complicated than some

799
00:46:07,719 --> 00:46:10,000
Speaker 1: of the ones I've had a chance to portray, which

800
00:46:10,000 --> 00:46:11,759
Speaker 1: is where a lot of the stuff between Cassie and

801
00:46:11,800 --> 00:46:14,480
Speaker 1: Mikayla came up with, you know, like, what does it

802
00:46:14,520 --> 00:46:16,680
Speaker 1: mean when the person that you need for your own

803
00:46:16,719 --> 00:46:19,680
Speaker 1: survival Cassie and Mikayla's case, is the person that you

804
00:46:19,719 --> 00:46:23,200
Speaker 1: hate most in the world. And how do you atone

805
00:46:24,000 --> 00:46:26,200
Speaker 1: in Cassie's case, for the things you've done that hurt

806
00:46:26,200 --> 00:46:30,040
Speaker 1: of the people. And actually the second season. First season

807
00:46:30,120 --> 00:46:31,920
Speaker 1: ends well, most people have a lot of blood on

808
00:46:31,960 --> 00:46:33,680
Speaker 1: their hands at the end of the first season, and

809
00:46:33,920 --> 00:46:38,000
Speaker 1: the second season is really about atonement and forgiveness and

810
00:46:38,080 --> 00:46:40,000
Speaker 1: how do you ask for it and how do you

811
00:46:40,040 --> 00:46:44,120
Speaker 1: grant it? And what does that look like? Yeah, and

812
00:46:44,160 --> 00:46:47,520
Speaker 1: then I realized, it's interesting. There's a woman that I've

813
00:46:47,600 --> 00:46:49,399
Speaker 1: been following for a long time and I really loved

814
00:46:49,400 --> 00:46:51,000
Speaker 1: her work, and I've gotten to know her a little bit.

815
00:46:51,280 --> 00:46:54,600
Speaker 1: She's deeply involved in the Hawaiian land activism, and I

816
00:46:54,600 --> 00:46:57,120
Speaker 1: asked her to go over a couple of scripts with

817
00:46:57,160 --> 00:46:59,239
Speaker 1: me for season two, so I wanted to make sure

818
00:46:59,280 --> 00:47:01,239
Speaker 1: that there weren't like blind spots and some of the

819
00:47:01,239 --> 00:47:04,680
Speaker 1: more cultural things I was doing. And she pointed out

820
00:47:04,680 --> 00:47:08,920
Speaker 1: a fundamental flaw in season one and I was like, oh, okay,

821
00:47:08,920 --> 00:47:10,239
Speaker 1: and she goes, it's no problem. You know, you can

822
00:47:10,280 --> 00:47:12,200
Speaker 1: rewrite it, and I was like, no, season one is out.

823
00:47:13,600 --> 00:47:18,840
Speaker 1: And I asked the bed on this and she's like, okay,

824
00:47:18,960 --> 00:47:21,800
Speaker 1: So from a cultural perspective, I would say this instead

825
00:47:21,800 --> 00:47:25,279
Speaker 1: of what you did. And I went great. So my

826
00:47:25,360 --> 00:47:28,239
Speaker 1: stomach turned to water and I went, oh god, I

827
00:47:28,239 --> 00:47:31,680
Speaker 1: blew it. And then I thought, okay, so this can

828
00:47:31,719 --> 00:47:34,919
Speaker 1: become the character's journey then, and this will come up

829
00:47:35,080 --> 00:47:37,160
Speaker 1: more in kind of the back half of the season.

830
00:47:37,600 --> 00:47:42,440
Speaker 1: Episodes like six, seven or eight, Lay goes on a

831
00:47:42,600 --> 00:47:46,040
Speaker 1: very kind of emotional journey of trying to figure out,

832
00:47:46,440 --> 00:47:49,960
Speaker 1: with all the best intentions, I took this action and

833
00:47:50,719 --> 00:47:53,080
Speaker 1: I'm now being told by the people who know more

834
00:47:53,080 --> 00:47:54,879
Speaker 1: than me that it was the wrong action. So how

835
00:47:54,880 --> 00:47:57,440
Speaker 1: do I make that right? And this? So there was

836
00:47:57,480 --> 00:48:01,560
Speaker 1: a lot of humility involved in writing this season, because

837
00:48:01,600 --> 00:48:03,560
Speaker 1: of course, you know, I'm a writer's room one, and

838
00:48:04,320 --> 00:48:06,279
Speaker 1: you need other people to bounce things off of. Tatti

839
00:48:06,360 --> 00:48:08,720
Speaker 1: Gabrielle was kind enough to help me break this season.

840
00:48:08,920 --> 00:48:11,200
Speaker 1: She did such a brilliant job playing Mikayla. I was like,

841
00:48:11,280 --> 00:48:14,879
Speaker 1: I'd love to hear what you feel, what you hear,

842
00:48:14,960 --> 00:48:17,359
Speaker 1: what you think. She's at a different generation than I am,

843
00:48:17,400 --> 00:48:18,800
Speaker 1: she's a different race than I am. And I was like,

844
00:48:19,040 --> 00:48:21,680
Speaker 1: you know, your perspective will only broaden this thing. And

845
00:48:21,719 --> 00:48:23,680
Speaker 1: so we got to do a bunch of that together.

846
00:48:23,719 --> 00:48:26,239
Speaker 1: But still, you know, the wearing of many hats is

847
00:48:26,280 --> 00:48:28,440
Speaker 1: a necessity. If we had the budget, I would very

848
00:48:28,480 --> 00:48:32,960
Speaker 1: happily start delegating thing. I needed a lot of help

849
00:48:33,080 --> 00:48:38,080
Speaker 1: from outside. And yeah, eight some humble pie.

850
00:48:38,840 --> 00:48:41,719
Speaker 2: As I was writing, well, you have a great cast.

851
00:48:41,760 --> 00:48:45,319
Speaker 2: You mentioned Tati Gabrielle, David Harber, Jeffrey Dean Morgan. How

852
00:48:45,320 --> 00:48:47,640
Speaker 2: did you cast it? Are these people you knew out.

853
00:48:47,520 --> 00:48:49,840
Speaker 1: On my phone? Yeah, David, I went to college together

854
00:48:50,360 --> 00:48:52,560
Speaker 1: along with Mindy Kaling, who you know was on your show.

855
00:48:52,600 --> 00:48:54,680
Speaker 1: Like there was a sort of small I've heard of her,

856
00:48:54,960 --> 00:48:57,080
Speaker 1: but yeah, ye, she's coming up.

857
00:48:57,200 --> 00:48:57,360
Speaker 2: You know.

858
00:48:57,480 --> 00:48:59,520
Speaker 1: I think we'll see great things from her in the future,

859
00:48:59,640 --> 00:49:02,720
Speaker 1: that Kaling. But there was a sort of small knot

860
00:49:02,719 --> 00:49:04,960
Speaker 1: of us that we're fortunate enough to have careers. And

861
00:49:05,040 --> 00:49:06,799
Speaker 1: Dave was one of them. So yeah, I mean they

862
00:49:06,800 --> 00:49:09,440
Speaker 1: were all just people that I knew and I called

863
00:49:09,480 --> 00:49:13,160
Speaker 1: them and you know, I have nothing to offer, right,

864
00:49:13,400 --> 00:49:17,000
Speaker 1: Like there's no money, there's no you know, like this

865
00:49:17,040 --> 00:49:18,960
Speaker 1: isn't going to be the role that like wins you

866
00:49:19,040 --> 00:49:22,040
Speaker 1: the Oscar. You know, it's just, hey, there's this thing

867
00:49:22,160 --> 00:49:24,040
Speaker 1: that I really want to do. I want to tell

868
00:49:24,040 --> 00:49:26,560
Speaker 1: this story because I don't see it being told anywhere else.

869
00:49:27,200 --> 00:49:30,600
Speaker 1: And I think you probably know that feeling of you

870
00:49:30,680 --> 00:49:33,759
Speaker 1: get that call from your friend and you know, well,

871
00:49:33,800 --> 00:49:37,080
Speaker 1: the only way this gets done is if we sign

872
00:49:37,160 --> 00:49:39,320
Speaker 1: on to do it, even though it is the wrong

873
00:49:39,440 --> 00:49:42,000
Speaker 1: professional decision, It is the wrong but you know, like

874
00:49:42,400 --> 00:49:45,239
Speaker 1: there's no benefit to Dave for being in this. It's

875
00:49:45,239 --> 00:49:48,360
Speaker 1: not going to like change Jeffrey's life. And yeah, you know,

876
00:49:48,400 --> 00:49:49,759
Speaker 1: look I told them. I was like, hey, if this

877
00:49:49,840 --> 00:49:53,040
Speaker 1: goes somewhere, if this becomes a film or a television series,

878
00:49:53,120 --> 00:49:55,719
Speaker 1: like the role is yours. But you know, I mean

879
00:49:55,840 --> 00:49:58,480
Speaker 1: one of the odds, like first of all, you know,

880
00:49:58,560 --> 00:50:00,840
Speaker 1: Dave's gonna be like thanks, but I'll be running Sony

881
00:50:00,960 --> 00:50:04,640
Speaker 1: by then like I will, I will own a studio

882
00:50:04,719 --> 00:50:08,840
Speaker 1: with my rack of Emmys. So it's just the goodness

883
00:50:08,920 --> 00:50:12,160
Speaker 1: of their hearts. In that same sense of collaboration, What.

884
00:50:12,040 --> 00:50:14,840
Speaker 2: Do you feel like you can do in terms of

885
00:50:14,880 --> 00:50:18,760
Speaker 2: the type of storytelling you can do through this medium

886
00:50:19,040 --> 00:50:21,319
Speaker 2: that you can't do other places.

887
00:50:21,920 --> 00:50:25,120
Speaker 1: Well, look, I mean I think I've talked about this

888
00:50:25,160 --> 00:50:27,440
Speaker 1: a lot, but I still think it's the best example

889
00:50:27,440 --> 00:50:29,000
Speaker 1: that I know of. You know, you remember all those

890
00:50:29,000 --> 00:50:32,560
Speaker 1: stories from when Orson Wells's were the World's this broadcast

891
00:50:32,760 --> 00:50:35,279
Speaker 1: on the radio and people tuned in and they thought

892
00:50:35,320 --> 00:50:37,960
Speaker 1: that the aliens had landed. There is a power in

893
00:50:38,040 --> 00:50:44,200
Speaker 1: audio storytelling, I think, because it engages the imagination of

894
00:50:44,280 --> 00:50:49,600
Speaker 1: the listener. So whatever three hundred million dollars of you know,

895
00:50:50,160 --> 00:50:54,120
Speaker 1: pyrotechnics a VFX department might be able to put together

896
00:50:54,400 --> 00:50:57,160
Speaker 1: is still not going to be as tailored to you

897
00:50:58,000 --> 00:51:00,480
Speaker 1: as what your own brain serves up. You know. So

898
00:51:00,600 --> 00:51:02,840
Speaker 1: if you've got a fear, if you've got a joy,

899
00:51:03,320 --> 00:51:06,520
Speaker 1: the door creaks open, your brain's going to put on

900
00:51:06,560 --> 00:51:08,400
Speaker 1: the other side of it the thing that scares you

901
00:51:08,480 --> 00:51:10,799
Speaker 1: the most. Yeah, and I think that makes it a

902
00:51:10,840 --> 00:51:12,960
Speaker 1: really potent medium.

903
00:51:13,760 --> 00:51:18,440
Speaker 2: Yeah, I agree, and freeing in a way. And I

904
00:51:18,480 --> 00:51:23,600
Speaker 2: think for actors also an ability to create a character

905
00:51:23,880 --> 00:51:28,120
Speaker 2: without so many of the obstacles that we regularly are

906
00:51:28,160 --> 00:51:31,880
Speaker 2: put in front of us. That for me, you know,

907
00:51:31,960 --> 00:51:35,200
Speaker 2: for me it's mostly been animation stuff, but still in

908
00:51:35,719 --> 00:51:38,640
Speaker 2: the same way, you know, I'll let somebody else worry

909
00:51:38,680 --> 00:51:41,920
Speaker 2: about exactly what it looks like or exactly what you know,

910
00:51:42,080 --> 00:51:46,800
Speaker 2: how pressed the suit is, or how fuzzy the bear's

911
00:51:47,080 --> 00:51:50,719
Speaker 2: hair is, or whatever it is, you know, but just

912
00:51:50,760 --> 00:51:53,080
Speaker 2: being able to create a character with voice, I find it.

913
00:51:53,160 --> 00:51:55,720
Speaker 2: I find it very freeing in a way and really

914
00:51:55,960 --> 00:51:59,680
Speaker 2: really enjoy it. So congratulations to you on that.

915
00:52:00,719 --> 00:52:03,360
Speaker 1: Thanks you want to be in season three?

916
00:52:04,680 --> 00:52:07,520
Speaker 2: Yeah, give me a call. Figure out. Can I play

917
00:52:07,520 --> 00:52:07,879
Speaker 2: a bear?

918
00:52:08,320 --> 00:52:11,200
Speaker 1: Not that I can totally write a bear? Okay, we'll

919
00:52:11,200 --> 00:52:14,080
Speaker 1: write exit pursued by a bear bear played by Brian Bumkin.

920
00:52:17,360 --> 00:52:19,279
Speaker 1: We're tying it back. This is by the way, you

921
00:52:19,280 --> 00:52:21,920
Speaker 1: guys can't see this, but we're on squadcast, so I

922
00:52:22,000 --> 00:52:23,799
Speaker 1: know we're on the riverside, so I can actually see Brian.

923
00:52:23,840 --> 00:52:25,640
Speaker 1: And I almost got a spit take out of you.

924
00:52:25,640 --> 00:52:28,160
Speaker 2: You did, you almost got a spit take. And by

925
00:52:28,200 --> 00:52:31,560
Speaker 2: the way, you made me laugh harder than anyone has

926
00:52:31,600 --> 00:52:35,279
Speaker 2: made me laugh in a long, long time earlier. So

927
00:52:35,320 --> 00:52:38,160
Speaker 2: we're going to write that down for the record book.

928
00:52:38,400 --> 00:52:40,200
Speaker 1: Uh all I needed today.

929
00:52:40,520 --> 00:52:43,880
Speaker 2: We're on strike, but we're not on strike here in

930
00:52:44,480 --> 00:52:51,240
Speaker 2: the iHeart Podcasting world. Congratulations on everything and on after Shock.

931
00:52:51,480 --> 00:52:54,719
Speaker 2: And when the strike is done, we're going to come

932
00:52:54,719 --> 00:52:56,920
Speaker 2: and we're gonna we're going to reconvene. We're going to

933
00:52:57,000 --> 00:52:59,000
Speaker 2: talk about We're going to talk about all the other

934
00:52:59,120 --> 00:53:01,520
Speaker 2: a magent, amazing acting projects that you have with the

935
00:53:01,520 --> 00:53:04,680
Speaker 2: Ewel Studios going right now, we'll pretend to like them.

936
00:53:05,480 --> 00:53:09,440
Speaker 1: By the way, small asterisk. We did call SAG about

937
00:53:09,560 --> 00:53:11,479
Speaker 1: Aftershock and I was like, how do you feel about

938
00:53:11,520 --> 00:53:14,719
Speaker 1: us promoting it? And they're like, we don't care at all. Right,

939
00:53:14,920 --> 00:53:17,759
Speaker 1: So this promotion has been brought to you with the

940
00:53:17,800 --> 00:53:21,880
Speaker 1: permission of the Great Actors Guild because we do not

941
00:53:21,960 --> 00:53:22,880
Speaker 1: cross picket lines.

942
00:53:23,400 --> 00:53:27,120
Speaker 2: We don't. No, we don't. Sarah. Thank you so much.

943
00:53:27,480 --> 00:53:30,239
Speaker 2: It's very nice to meet you. I feel like I've

944
00:53:30,239 --> 00:53:30,960
Speaker 2: got a new friend.

945
00:53:31,680 --> 00:53:34,400
Speaker 1: Likewise, yeah, I hope we get to meet a person

946
00:53:34,400 --> 00:53:36,479
Speaker 1: a person at some point. Until then, Thanks for having

947
00:53:36,520 --> 00:53:37,440
Speaker 1: me be well.

948
00:53:37,400 --> 00:53:53,440
Speaker 2: Thanks so much. Thanks Sarah. Or should I say mahalo

949
00:53:53,719 --> 00:53:57,839
Speaker 2: for coming in today. I loved hearing your thoughtful perspective

950
00:53:58,080 --> 00:54:01,120
Speaker 2: on the disaster in Hawaii that is happening right now.

951
00:54:01,160 --> 00:54:06,840
Speaker 2: And you're very funny comments. Yeah, nearly made me do

952
00:54:06,920 --> 00:54:12,160
Speaker 2: a spittake. You are truly you're a badass folks. As

953
00:54:12,200 --> 00:54:15,640
Speaker 2: you know what's been happening on Maui, it's absolutely devastating.

954
00:54:16,560 --> 00:54:20,280
Speaker 2: I mean, it can't be overstated. So after hearing Sarah

955
00:54:20,360 --> 00:54:23,160
Speaker 2: talk about this today, and if you're looking for a

956
00:54:23,200 --> 00:54:26,600
Speaker 2: way to help, check out an organization she likes Maui

957
00:54:27,160 --> 00:54:32,440
Speaker 2: Rapid Response. That's Maui Rapid Response dot org. They're on

958
00:54:32,480 --> 00:54:36,560
Speaker 2: the ground there in Maui. They're providing some food, shelter supplies,

959
00:54:36,680 --> 00:54:40,800
Speaker 2: and other resources to those impacted by the fire. And look,

960
00:54:41,080 --> 00:54:44,480
Speaker 2: if you're on Maui right now, know that me and

961
00:54:44,880 --> 00:54:48,480
Speaker 2: I know so many of my listeners are thinking about you.

962
00:54:48,600 --> 00:54:51,080
Speaker 2: Our heart is going out to you, and know that

963
00:54:51,120 --> 00:54:54,440
Speaker 2: you can go to Maui Rapid Response to connect to

964
00:54:54,520 --> 00:54:58,600
Speaker 2: resources across the island. Thanks for listening, everybody. That was

965
00:54:58,600 --> 00:55:02,719
Speaker 2: a fun one. Have a a very very happy and

966
00:55:02,920 --> 00:55:13,680
Speaker 2: safe week. Off the Beat is hosted and executive produced

967
00:55:13,719 --> 00:55:18,080
Speaker 2: by me Brian Baumgartner, alongside our executive producer Lang Lee.

968
00:55:18,360 --> 00:55:22,600
Speaker 2: Our senior producer is Diego Tapia. Our producers are Liz Hayes,

969
00:55:22,719 --> 00:55:26,640
Speaker 2: Hannah Harris and Emily Carr. Our talent producer is Ryan

970
00:55:26,960 --> 00:55:31,200
Speaker 2: Papa Zachary, and our intern is Thomas Olsen. Our theme

971
00:55:31,320 --> 00:55:35,000
Speaker 2: song Bubble and Squeak, performed by the one and only

972
00:55:35,400 --> 00:55:36,160
Speaker 2: Creed Bratton,