WEBVTT - Sarah Wayne Callies

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<v Speaker 1>When I came to the Mainland for college. I went

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<v Speaker 1>to school in New Hampshire, which is about as different

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<v Speaker 1>as you can get.

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<v Speaker 2>Yeah.

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<v Speaker 1>No, I actually didn't have any idea what I was

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<v Speaker 1>in for. I brought like a pair of sneakers and

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<v Speaker 1>a cotton hoodie and I was like ready for winter,

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<v Speaker 1>Like two comes up. I talked to this day. I

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<v Speaker 1>don't know why my parents didn't like buy me wool

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<v Speaker 1>or boots. I think they just I'm sure that I

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<v Speaker 1>was just sort of an arrogant little shit of a

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<v Speaker 1>kid who was like, I kN know what I'm doing,

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<v Speaker 1>and they were like, all right, you can learn the

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<v Speaker 1>hard way. Hi. My name is Sarah Wayne Kelly's. And

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<v Speaker 1>in the following podcast, I almost make Brian spittake, which

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<v Speaker 1>I am very proud of.

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<v Speaker 2>Hey, everybody, we're back. It's another episode of Off the

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<v Speaker 2>Beat here and I am your host, Brian Baumgartner. What

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<v Speaker 2>I want you all to do for a second is

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<v Speaker 2>think about things that give you nightmares. Maybe tornadoes, zombies

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<v Speaker 2>for sure, zombies give people nightmares, maybe aliens, I don't know.

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<v Speaker 2>Think about the things that give you nightmares, and then

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<v Speaker 2>whatever you're thinking about. My guest today has probably been

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<v Speaker 2>in a movie or a show about it. However, she

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<v Speaker 2>herself is a dream my guest today, as you just

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<v Speaker 2>heard Sarah Wayne Calli's You may know her from her

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<v Speaker 2>death Row drama prison Break, maybe the zombie thriller The

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<v Speaker 2>Walking Dead, the dystopian sci fi Colony, or from films

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<v Speaker 2>like Into the Storm, Black November, and Pay the Ghost.

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<v Speaker 2>She's also a writer, director, producer, former historian, and hula dancer,

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<v Speaker 2>as you will soon hear about. I did not know

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<v Speaker 2>Sarah before today, but let me just say this now

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<v Speaker 2>that I do. She's awesome. Yeah, and you're gonna think

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<v Speaker 2>so too. She's also just recently written, produced, directed, and

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<v Speaker 2>voice starred in a fantastic post apocalyptic episodic story a

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<v Speaker 2>podcast called after Shock, which she just premiered its second season.

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<v Speaker 2>It's kind of an adventure thriller about the world after

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<v Speaker 2>a big earthquake levels Los Angeles, which I don't like

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<v Speaker 2>to think about. Whoever, the story is fascinating. It's such

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<v Speaker 2>a cool project. You gotta check it out. But don't

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<v Speaker 2>take my word for it. Take her. She's better at

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<v Speaker 2>words anyway. The multi talented and very funny Sarah Wayne

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<v Speaker 2>Kelly's Bubble and squeak, I love it, bubble and squeakna

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<v Speaker 2>bubble and squeak.

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<v Speaker 1>I cook it every mo.

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<v Speaker 2>Lift over from the ninety before. Thanks Hi, Sarah, uh hi,

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<v Speaker 2>how are you. I'm so good. How are you doing.

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<v Speaker 1>I'm good. It's nice to see you.

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<v Speaker 2>It's very nice to see you. Thank you so much

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<v Speaker 2>for joining me today.

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<v Speaker 1>Oh my god, it's absolutely my pleasure. You gave me

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<v Speaker 1>all the cool points with the kids. They're enormous office fans,

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<v Speaker 1>and I think of everything I've done in the last

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<v Speaker 1>maybe like eighteen months, this is the.

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<v Speaker 2>One that like, this is this is the cool one.

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<v Speaker 1>Actually matters to them. So thank you.

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<v Speaker 2>How old are they?

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<v Speaker 1>Sixteen and ten?

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<v Speaker 2>Yeah, that's about right.

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<v Speaker 1>Well, and they just finished okay, it was on Netflix

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<v Speaker 1>here in Canada, and so like they just finished two

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<v Speaker 1>back to back binges of the whole thing for the

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<v Speaker 1>first time. It was very sweet. They came up to

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<v Speaker 1>me and they were like, have you ever seen the office?

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<v Speaker 1>It's great? And I was like, really, that's amazing. I'll

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<v Speaker 1>tell everyone I know. Thank you.

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<v Speaker 2>Yah.

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<v Speaker 1>They got to the party late, but they're here.

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<v Speaker 2>You've never heard of it? Where are you in Canada?

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<v Speaker 2>I'm on my way you are.

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<v Speaker 1>Where are you coming to.

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<v Speaker 2>I'm coming to Toronto.

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<v Speaker 1>Oh, I'm on the other side. I'm in BC.

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<v Speaker 2>Oh okay, yeah.

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<v Speaker 1>I'm on the warm side. How long are you going

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<v Speaker 1>to be there?

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<v Speaker 2>The war? Not that long. I think it's still I

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<v Speaker 2>think it's still I think it's still hot there. But

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<v Speaker 2>I've never been. I'm very excited. I've only been to

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<v Speaker 2>the the your side before. I've never I've never been

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<v Speaker 2>to Toronto. I'm excited. I'm excited to do it.

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<v Speaker 1>Great city.

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<v Speaker 2>I'm going to see Niagara Falls for the first time.

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<v Speaker 1>That is wonderful. I have good I've got good kind

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<v Speaker 1>of memories of that area. My husband's from quite near Rochester,

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<v Speaker 1>so you know, the falls were nearby. And when we

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<v Speaker 1>we just became dual citizens with the US and Canada

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<v Speaker 1>last year. Okay, I first landed. You have to land

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<v Speaker 1>as an immigrant, and we were staying with my husband's parents,

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<v Speaker 1>and so we just went up to Saint Catherine's, which

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<v Speaker 1>is really close. It's this teeny little town on the

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<v Speaker 1>border and you just cross the border and they stamped

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<v Speaker 1>the thing and you have to spend a night there.

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<v Speaker 1>But it's like it has a nice, warm, fuzzy oh

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<v Speaker 1>spot in my house. And I gotta tell you, Toronto

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<v Speaker 1>has some of my favorite food in the country. There's

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<v Speaker 1>just wonderful restaurants.

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<v Speaker 2>Okay, I'm very excited. Now.

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<v Speaker 1>Yeah, I was just there for a conference.

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<v Speaker 2>I'll send you a list, Okay, yeah, send me a list.

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<v Speaker 2>All right, Well you're in Canada. Now, you started out

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<v Speaker 2>you were born in Illinois, but you went to Hawaii

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<v Speaker 2>like immediately. So first off, how are you feeling about

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<v Speaker 2>what's going on in Hawaii right now? It's I mean,

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<v Speaker 2>it's it's devastating. What's what's happening over there in Hawaii?

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<v Speaker 2>You were on in a Wahu? Is that right?

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<v Speaker 1>I grew up on o Wahoo. Yeah, so you know,

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<v Speaker 1>I was born in Illinois. My parents both applied for

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<v Speaker 1>jobs as professors at universities all around the country. And

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<v Speaker 1>the only university that took them both. I don't know

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<v Speaker 1>why university was so hard to say just then, the

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<v Speaker 1>only place of higher education that took them both was

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<v Speaker 1>the University of Hawaii. So just a huge shout out

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<v Speaker 1>of gratitude to the board of regents there for bringing

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<v Speaker 1>me to Oahu where I grew up. As for what's

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<v Speaker 1>happening on Maui. I don't honestly know that I have

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<v Speaker 1>words yet. It's you know, Lahina was the capital of

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<v Speaker 1>the Kingdom of Hawaii before it was illegally overthrown as

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<v Speaker 1>a sovereign monarchy. It's such a deeply important place to

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<v Speaker 1>Hawaii's history before you even scratch the surface of just

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<v Speaker 1>the scale of the human loss. Yeah, you know, I

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<v Speaker 1>was just reading something today that of the plus bodies

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<v Speaker 1>that they have discovered, they can only identify five because

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<v Speaker 1>there's only enough left. And you just a friend of

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<v Speaker 1>mine has a brother who's this wonderful T shirt designer,

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<v Speaker 1>So you know, he's designed a T shirt and I'm

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<v Speaker 1>going to put a bunch of stuff out about like

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<v Speaker 1>all profits to whatever. But I don't think there's a way.

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<v Speaker 1>I don't know what you do. You can't rebuild. You

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<v Speaker 1>have to kind of re envision and recreate, and whatever

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<v Speaker 1>you build will still hold the kind of ghost of

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<v Speaker 1>what you've lost. But I will say that, like I

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<v Speaker 1>wonder if people in Hawaii don't have an extra set

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<v Speaker 1>of tools in their toolbox. It is a place where

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<v Speaker 1>I think most of us just were kind of raised

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<v Speaker 1>with a connection to community, a connection to the land,

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<v Speaker 1>itself to the stories about the land that will, I think,

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<v Speaker 1>create a kind of resilience and a kind of spirit

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<v Speaker 1>of I don't even know what like resurrection of whatever

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<v Speaker 1>comes next.

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<v Speaker 2>Right now, I get it. I mean, clearly it's a

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<v Speaker 2>very important place for you. I will say sadly, I've

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<v Speaker 2>never been to MAUI obviously heard so much about it.

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<v Speaker 2>What was it like for you growing up there with

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<v Speaker 2>that kind of a community. You feel like it's a

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<v Speaker 2>specifically different place that breeds a different kind of community

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<v Speaker 2>than anywhere else.

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<v Speaker 1>Super I mean when I came to the Mainland for college,

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<v Speaker 1>I went to school in New Hampshire, which is about

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<v Speaker 1>as different as you can get. Yeah, I know, I

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<v Speaker 1>actually didn't have any idea what I was in for.

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<v Speaker 1>I brought like a pair of sneakers and a cotton

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<v Speaker 1>hoodie and I was like ready for winter, like two

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<v Speaker 1>comes up. I don'd to this day. I don't know

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<v Speaker 1>why my parents didn't like buy me wool or boots.

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<v Speaker 1>I think they just I'm sure sure that I was

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<v Speaker 1>just sort of an arrogant little shit of a kid

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<v Speaker 1>who was like I knew what I'm doing, and they

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<v Speaker 1>were like, all right, you can learn the hard way.

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<v Speaker 1>I mean I felt culture shock. Okay, Like, first of all,

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<v Speaker 1>the native Hawaiian presence in Hawaii is vast and permeates everything, right,

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<v Speaker 1>Like I had Hawaiian friends, teachers, governors, legislators, police officers,

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<v Speaker 1>like there were just there were Hawaiian people everywhere, and

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<v Speaker 1>there was language everywhere, right like half the street signs.

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<v Speaker 1>There's a Hawaiian music radio station, a couple of them

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<v Speaker 1>that play like both modern and contemporary and traditional Hawaiian music,

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<v Speaker 1>most of it in Hawaiian. I took Hawaiian language in

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<v Speaker 1>high school. Like that just felt very normal and pretty

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<v Speaker 1>fair because I was like their land, you know, like

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<v Speaker 1>feels like we should be learning about the people and

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<v Speaker 1>how to say right, please and thank you, and you know,

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<v Speaker 1>what are the stories of the land. And then I

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<v Speaker 1>got to the mainland and I was like, oh, no,

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<v Speaker 1>nobody knows who's land there on. No, there's like there

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<v Speaker 1>was this deafening silence around those kinds of things, you know.

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<v Speaker 1>And I mean I'd asked all these people and I

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<v Speaker 1>was like, whose land are we on? They're like Darmouth College.

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<v Speaker 1>I was like, sure, but go back a little bit.

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<v Speaker 1>And partly you have to go back, so much farther

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<v Speaker 1>on the East coast than you do in Hawaii. But

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<v Speaker 1>it was really interesting. A part of the podcast actually,

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<v Speaker 1>and like writing some of these Native Hawaiian characters in

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<v Speaker 1>was just visibility.

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<v Speaker 2>You know.

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<v Speaker 1>It's like before you can even get to the place

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<v Speaker 1>of equal rights and remedying certain things and you know,

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<v Speaker 1>issues of land and water, just like visibility, like, hey,

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<v Speaker 1>there are people here, maybe we should give a listen

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<v Speaker 1>to what's going on, right because you know, and like

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<v Speaker 1>not to get too nuts about this stuff, but you know,

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<v Speaker 1>I've been reading a lot of stuff lately about Maui

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<v Speaker 1>and it's tricky, right because the whole state relies on tourism.

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<v Speaker 1>We've vectored our economy exclusively towards tourism, and yet part

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<v Speaker 1>of why Maui was so dry was because all the

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<v Speaker 1>water was going to the hotels and golf courses and

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<v Speaker 1>not to like the rest of the island, which is

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<v Speaker 1>you know, they're like there have been a bunch of

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<v Speaker 1>native communities for a while being like, hey, this is

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<v Speaker 1>not going to work long term.

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<v Speaker 2>Has been discussion, that's been a discussion.

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<v Speaker 1>Yeah, yeah, there, I mean, you know, and it's not

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<v Speaker 1>getting a whole lot of coverage. But you know, for

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<v Speaker 1>those of us who like are kind of you know,

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<v Speaker 1>like there's a bunch of like protect Mono Kaa and Aamamana,

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<v Speaker 1>and like there's a bunch of different folks on social

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<v Speaker 1>media that you know, have been speaking from the Native

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<v Speaker 1>Hawaiian communities. Yeah, there are folks who are, like we've

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<v Speaker 1>been saying for a really long time that this this

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<v Speaker 1>sort of tourism first approach to land and water and

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<v Speaker 1>resources it is creating not only is it like vastly

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<v Speaker 1>unfair to the people whose land it is and all

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<v Speaker 1>of that, but right also creates this massive imbalance in

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<v Speaker 1>the land's resilience to things like fire.

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<v Speaker 2>Oh yeah, yeah, it's that's it's a very I mean,

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<v Speaker 2>I don't even know how you go back and begin

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<v Speaker 2>to un tangle and unwind those things. I mean, I

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<v Speaker 2>guess to your point, it's going to have to be

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<v Speaker 2>re envisioned. It's going to have to be rebuilt in

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<v Speaker 2>a new way. But that that catch twenty two that

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<v Speaker 2>you mentioned of we rely on the tourism yet we're

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<v Speaker 2>neglecting our ancestors, our history, our native peoples. It's very complicated.

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<v Speaker 1>It requires a lot of revisioning and I think I

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<v Speaker 1>have no answers, and so I take what I am

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<v Speaker 1>going to call a politically responsible cop out just to

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<v Speaker 1>say it's not for me to come up with answers.

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<v Speaker 1>I just want to listen, you know what I mean,

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<v Speaker 1>like sort of turn the mic over to like some

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<v Speaker 1>of the some of the organizers and the leaders and

0:13:10.880 --> 0:13:13.120
<v Speaker 1>the elders in those communities and be like, Okay, if

0:13:13.240 --> 0:13:17.200
<v Speaker 1>hypothetically I had no ideas, what are your ideas? What

0:13:17.240 --> 0:13:17.880
<v Speaker 1>do you need for me?

0:13:18.520 --> 0:13:22.400
<v Speaker 2>Right? I mean there's so much, as you said, music

0:13:22.480 --> 0:13:26.600
<v Speaker 2>and culture and performance. Were you did you begin performing

0:13:26.760 --> 0:13:32.360
<v Speaker 2>in like Native Hawaiian spectacle or no?

0:13:32.480 --> 0:13:35.320
<v Speaker 1>I mean, you know, I took the sort of you

0:13:35.360 --> 0:13:38.160
<v Speaker 1>know how like little girls on the mainland take ballet.

0:13:39.040 --> 0:13:40.640
<v Speaker 1>You turn four and they put you in a tutu

0:13:40.800 --> 0:13:43.040
<v Speaker 1>Like it's just it's like a thing that happens.

0:13:43.080 --> 0:13:43.760
<v Speaker 2>It's required.

0:13:43.920 --> 0:13:46.920
<v Speaker 1>Yes, yeah, and if you're like super alternative, it might

0:13:46.960 --> 0:13:50.640
<v Speaker 1>be like gymnastics and baseball, but like that's about as

0:13:50.679 --> 0:13:54.720
<v Speaker 1>far outside about as we get. So I actually did

0:13:54.720 --> 0:13:56.440
<v Speaker 1>take it year of ballet, and I think I think

0:13:56.480 --> 0:13:58.920
<v Speaker 1>the ballet teacher took my parents aside and was like,

0:13:58.920 --> 0:14:04.000
<v Speaker 1>I'm sure she's good at something it's not this. So

0:14:04.080 --> 0:14:06.400
<v Speaker 1>I ended up in you know, hula lessons, which is

0:14:06.480 --> 0:14:08.319
<v Speaker 1>what I think a lot of the like four or

0:14:08.360 --> 0:14:11.160
<v Speaker 1>five six year olds, you know, and I never got

0:14:11.440 --> 0:14:16.880
<v Speaker 1>any good but enjoyed it. I think what what I

0:14:17.040 --> 0:14:20.360
<v Speaker 1>really kind of came away with is a sense of

0:14:21.200 --> 0:14:23.200
<v Speaker 1>storytelling as really important.

0:14:23.720 --> 0:14:26.160
<v Speaker 2>Okay, you know, because you.

0:14:26.080 --> 0:14:29.000
<v Speaker 1>Grow up with like the stories in Hawaii, right, the

0:14:29.000 --> 0:14:31.880
<v Speaker 1>stories of Pelle of the volcano goddess and of where

0:14:31.880 --> 0:14:34.800
<v Speaker 1>the name for your valley comes from, or you know,

0:14:35.160 --> 0:14:41.320
<v Speaker 1>Cohala Opuna and the owls, and like those stories were everywhere,

0:14:42.000 --> 0:14:45.920
<v Speaker 1>and I was fascinated by them, and you know, everything

0:14:45.920 --> 0:14:48.680
<v Speaker 1>from picture books to like you know, certain teachers or

0:14:48.680 --> 0:14:51.440
<v Speaker 1>your Hawaiian studies teachers sharing things. And I think at

0:14:51.480 --> 0:14:54.280
<v Speaker 1>a certain point I started to realize how different those

0:14:54.320 --> 0:14:57.560
<v Speaker 1>stories were from the stories that I was like hearing

0:14:57.600 --> 0:15:01.600
<v Speaker 1>in church, right, especially when it came to women, you

0:15:01.640 --> 0:15:04.200
<v Speaker 1>know what I mean, Like lots of very powerful female

0:15:04.280 --> 0:15:08.520
<v Speaker 1>figures in Hawaiian storytelling. The Bible seems to be all

0:15:08.560 --> 0:15:12.080
<v Speaker 1>about like please don't have sex, but then do have

0:15:12.120 --> 0:15:13.720
<v Speaker 1>a baby. But that you know what I mean, Like

0:15:13.720 --> 0:15:17.120
<v Speaker 1>it's super complicated, very complicated, like Sarah in the Bible

0:15:17.200 --> 0:15:19.240
<v Speaker 1>is ninety nine and God tells her she's going to

0:15:19.280 --> 0:15:22.360
<v Speaker 1>have a kid, And in my imagination, her first response

0:15:22.720 --> 0:15:26.640
<v Speaker 1>was just like, you really don't know how this works.

0:15:26.960 --> 0:15:28.960
<v Speaker 1>I don't think you've thought this all the way through. Also,

0:15:29.160 --> 0:15:32.360
<v Speaker 1>who wants kids at ninety nine? I'm in my forties

0:15:32.360 --> 0:15:35.280
<v Speaker 1>and I don't want to stay awake that late. Yeah, no,

0:15:36.960 --> 0:15:39.400
<v Speaker 1>So so anyway, the point is that the storytelling, I think,

0:15:39.560 --> 0:15:42.720
<v Speaker 1>is what kind of hooked me into what we do.

0:15:43.800 --> 0:15:46.320
<v Speaker 1>What about you? I know that I'm supposed to be

0:15:46.320 --> 0:15:47.800
<v Speaker 1>interviewing me, but like, where did you know?

0:15:48.040 --> 0:15:51.000
<v Speaker 2>It's it's interesting. So I grew up in the South,

0:15:51.720 --> 0:16:00.200
<v Speaker 2>and I think similarly that tradition of storytelling, of history

0:16:00.320 --> 0:16:03.640
<v Speaker 2>of who owns the land, which again that becomes a

0:16:03.760 --> 0:16:08.760
<v Speaker 2>very complicated issue at its depth, but I think there

0:16:09.480 --> 0:16:12.600
<v Speaker 2>that was more important than I think it is say

0:16:12.800 --> 0:16:18.040
<v Speaker 2>in New Hampshire or Iowa or whatever like. There is

0:16:18.280 --> 0:16:22.080
<v Speaker 2>that sort of identity. Again, not all of it positive,

0:16:23.000 --> 0:16:26.600
<v Speaker 2>but the history in the South is is a part

0:16:26.640 --> 0:16:30.040
<v Speaker 2>of it. And my grandfather, I mean we two three

0:16:30.240 --> 0:16:33.720
<v Speaker 2>four years old, I mean me and my sister at night,

0:16:34.160 --> 0:16:37.360
<v Speaker 2>he would just tell stories. So yeah, I mean there

0:16:37.440 --> 0:16:41.280
<v Speaker 2>is I'm not equating it at all to be exactly

0:16:41.320 --> 0:16:43.440
<v Speaker 2>the same, but I think that there is some sort

0:16:43.440 --> 0:16:45.400
<v Speaker 2>of similarity there. You.

0:16:45.840 --> 0:16:46.880
<v Speaker 1>Yeah, that never.

0:16:46.720 --> 0:16:49.840
<v Speaker 2>Really even quite occurred to me in that same way

0:16:49.840 --> 0:16:52.480
<v Speaker 2>in terms of my personal history until hearing you talk,

0:16:52.520 --> 0:16:56.000
<v Speaker 2>because that really, that really was, that storytelling really was

0:16:56.120 --> 0:16:59.040
<v Speaker 2>a part of my early childhood.

0:16:58.800 --> 0:17:01.960
<v Speaker 1>Well and even the in the South. Yeah, I mean

0:17:02.000 --> 0:17:03.880
<v Speaker 1>I was what was I'm never going to remember this

0:17:03.960 --> 0:17:06.440
<v Speaker 1>exactly right, And I apologize to all the Kenny fans

0:17:06.440 --> 0:17:09.200
<v Speaker 1>out there, but there's that Kenny Rogers song the Coward

0:17:09.240 --> 0:17:12.640
<v Speaker 1>of Something County. Yes, I was listening to it came

0:17:12.640 --> 0:17:14.920
<v Speaker 1>on the other day, and I thought, this is this

0:17:14.960 --> 0:17:17.359
<v Speaker 1>is a movie in three minutes, do you know what

0:17:17.400 --> 0:17:20.760
<v Speaker 1>I mean about? Like a man whose dad tells him

0:17:21.160 --> 0:17:23.240
<v Speaker 1>don't get into fights and don't do what I did,

0:17:23.280 --> 0:17:24.679
<v Speaker 1>and then he falls in love with this woman and

0:17:24.680 --> 0:17:27.560
<v Speaker 1>then she's ps gang raped like literally that's in the song,

0:17:27.560 --> 0:17:30.439
<v Speaker 1>which is nice, and then he turns around and like

0:17:30.480 --> 0:17:34.800
<v Speaker 1>it's it's a story, and it's it's a like Steven

0:17:34.920 --> 0:17:39.240
<v Speaker 1>Spielberg worthy giant story. And if I think about a

0:17:39.280 --> 0:17:44.280
<v Speaker 1>lot of country music, that's you know, even bluegrass, right,

0:17:44.359 --> 0:17:46.200
<v Speaker 1>Like I don't know what part of the South you're from.

0:17:45.960 --> 0:17:50.280
<v Speaker 2>But no, Georgia. I mean as as deep as it goes.

0:17:50.520 --> 0:17:53.040
<v Speaker 1>Yeah, wait where in Georgia? I lived there for five

0:17:53.119 --> 0:17:54.280
<v Speaker 1>years Atlanta.

0:17:54.760 --> 0:17:59.160
<v Speaker 2>Okay, yeah, so I think you're exactly right. It's why

0:17:59.280 --> 0:18:02.719
<v Speaker 2>I you know, people say what's what's your favorite kind

0:18:02.720 --> 0:18:08.000
<v Speaker 2>of music, and I'll say old country, like like Willie

0:18:08.000 --> 0:18:12.320
<v Speaker 2>Nelson and yeah, Nylon Jennings and they're telling stories. My

0:18:12.440 --> 0:18:15.120
<v Speaker 2>least favorite is new country because I feel like it's

0:18:15.240 --> 0:18:20.440
<v Speaker 2>just bebop but he beep beepop I was drinking. Yeah, exactly,

0:18:20.840 --> 0:18:24.320
<v Speaker 2>and it's not as complex as story. Actually, his stories

0:18:24.359 --> 0:18:25.240
<v Speaker 2>are way simpler.

0:18:25.640 --> 0:18:28.280
<v Speaker 1>No, although I will say there are some do you

0:18:28.359 --> 0:18:32.080
<v Speaker 1>know what I mean? Like blown Away, there's there's definitely

0:18:32.080 --> 0:18:34.840
<v Speaker 1>some people still like Brad Paisley can still write some lyrics.

0:18:34.840 --> 0:18:38.000
<v Speaker 2>Man, that's but that's old country. So if it's if

0:18:38.000 --> 0:18:40.120
<v Speaker 2>it's in the old style that.

0:18:40.000 --> 0:19:00.560
<v Speaker 3>Counts, then that then that that counts.

0:19:01.680 --> 0:19:08.639
<v Speaker 2>So when you started becoming really involved in performing, I

0:19:08.720 --> 0:19:12.479
<v Speaker 2>understand you started acting in school plays and stuff. Was

0:19:12.520 --> 0:19:16.240
<v Speaker 2>this like a passion of yours? Was this an activity

0:19:16.480 --> 0:19:19.720
<v Speaker 2>like ballet when you were four or did you feel

0:19:19.720 --> 0:19:22.199
<v Speaker 2>like this was something that that that really moved you

0:19:22.280 --> 0:19:25.040
<v Speaker 2>that you wanted to do later on, and if not,

0:19:25.640 --> 0:19:27.080
<v Speaker 2>when did that moment occur?

0:19:28.119 --> 0:19:31.080
<v Speaker 1>Good question. I mean plays. Acting was the first thing

0:19:31.080 --> 0:19:33.840
<v Speaker 1>that I put myself in, you know, like your parents

0:19:33.840 --> 0:19:36.760
<v Speaker 1>put you into dancing whatever, blah blah blah. I joined

0:19:36.760 --> 0:19:38.760
<v Speaker 1>the track and field team because I thought that would

0:19:38.760 --> 0:19:41.680
<v Speaker 1>be useful. Blew my knee out in the very first practice.

0:19:42.280 --> 0:19:45.440
<v Speaker 1>There's I like anything that involves physical coordination. Basically, the

0:19:45.480 --> 0:19:48.040
<v Speaker 1>people in charge are like, again, I'm sure you're good

0:19:48.040 --> 0:19:49.639
<v Speaker 1>at something, go find it.

0:19:50.040 --> 0:19:53.080
<v Speaker 2>Wait a second track though, I mean running.

0:19:53.200 --> 0:19:55.400
<v Speaker 1>I know, I know that's not.

0:19:55.640 --> 0:19:58.159
<v Speaker 2>A ton of physical coordination this.

0:19:58.080 --> 0:20:01.919
<v Speaker 1>Is, but it's more than I have, and I have.

0:20:02.680 --> 0:20:04.840
<v Speaker 1>I will say I will now at this point in

0:20:04.880 --> 0:20:06.920
<v Speaker 1>my life, only run if someone's behind me with a firearm,

0:20:07.000 --> 0:20:10.439
<v Speaker 1>which weirdly describes like half of my career on camera.

0:20:10.560 --> 0:20:15.240
<v Speaker 1>So I do a bit of running, but only if

0:20:15.280 --> 0:20:20.159
<v Speaker 1>there's like the Apocalypse is behind me. I basically flogged

0:20:20.160 --> 0:20:23.600
<v Speaker 1>out a track, which was amazing, And there were auditions

0:20:23.600 --> 0:20:25.840
<v Speaker 1>for the play the next day. So and it was

0:20:25.880 --> 0:20:28.600
<v Speaker 1>as you like it, and it was Shakespeare, and I

0:20:28.640 --> 0:20:31.879
<v Speaker 1>loved that and the chewiness of the words and the

0:20:31.960 --> 0:20:36.119
<v Speaker 1>language and the challenge of the language. It felt like

0:20:36.119 --> 0:20:40.080
<v Speaker 1>a puzzle. But I never thought I would do it professionally,

0:20:40.440 --> 0:20:43.119
<v Speaker 1>you know, because I mean I didn't come from a

0:20:43.119 --> 0:20:46.400
<v Speaker 1>family that like could support me, you know, so it

0:20:46.480 --> 0:20:48.800
<v Speaker 1>was like, you get your degree and you are on

0:20:48.880 --> 0:20:52.680
<v Speaker 1>your own right, which also, by the way, seemed completely fair.

0:20:53.320 --> 0:20:56.040
<v Speaker 2>Sure, no, they put up with you for long enough,

0:20:56.440 --> 0:21:00.240
<v Speaker 2>exactly an uncoordinated daughter. I mean, you can't expect get

0:21:00.280 --> 0:21:06.959
<v Speaker 2>into things came going. But now you went when you

0:21:07.080 --> 0:21:09.600
<v Speaker 2>left to go to New Hampshire, which is, by the way,

0:21:09.600 --> 0:21:13.480
<v Speaker 2>it's just hilarious, but you go to New Hampshire. You

0:21:13.520 --> 0:21:15.320
<v Speaker 2>but you went to study drama.

0:21:15.359 --> 0:21:17.800
<v Speaker 1>Right like I know, I went to study history.

0:21:18.040 --> 0:21:19.840
<v Speaker 2>You went to study I went to study history with.

0:21:19.800 --> 0:21:23.400
<v Speaker 1>An eye toward being a diplomat, which is hilarious because

0:21:23.400 --> 0:21:25.119
<v Speaker 1>people who know me, I mean you've known me now

0:21:25.160 --> 0:21:27.240
<v Speaker 1>for what eight minutes, You're like, this is the least

0:21:27.240 --> 0:21:30.639
<v Speaker 1>diplomatic person in the face of the earth. I can't

0:21:30.720 --> 0:21:33.840
<v Speaker 1>not say something that floats through my head. You know,

0:21:33.880 --> 0:21:36.600
<v Speaker 1>it's funny. This is this is becoming the podcast about

0:21:36.640 --> 0:21:39.480
<v Speaker 1>Sarah's failures, which I'm totally fine with. After my first

0:21:39.520 --> 0:21:40.240
<v Speaker 1>semester in the.

0:21:40.200 --> 0:21:44.040
<v Speaker 2>History that was not the attention, but go ahead, no.

0:21:43.480 --> 0:21:46.600
<v Speaker 1>But it's truly like the head of the teacher that

0:21:46.640 --> 0:21:48.760
<v Speaker 1>I had that taught me my first history seminar, she

0:21:48.800 --> 0:21:51.000
<v Speaker 1>said to me, and I quote, you are too creative

0:21:51.040 --> 0:21:53.360
<v Speaker 1>to be a historian. The drama department is that way.

0:21:53.400 --> 0:21:56.760
<v Speaker 1>And I was like, all right, really yeah, which, by

0:21:56.800 --> 0:21:59.040
<v Speaker 1>the way, might be part of the problem of the

0:21:59.080 --> 0:22:01.960
<v Speaker 1>way history was taught at the time, But at any

0:22:02.000 --> 0:22:05.440
<v Speaker 1>point I was out. I still never thought. I took

0:22:05.480 --> 0:22:07.359
<v Speaker 1>a bunch of drama classes, I did a bunch of plays.

0:22:07.400 --> 0:22:09.280
<v Speaker 1>I still never thought like, you can't make a living.

0:22:10.000 --> 0:22:11.439
<v Speaker 1>And so you know, I was going to get a

0:22:11.440 --> 0:22:13.320
<v Speaker 1>degree in something else and get a PhD and be

0:22:13.400 --> 0:22:17.520
<v Speaker 1>a professor like my parents. And right before I graduated

0:22:18.400 --> 0:22:22.520
<v Speaker 1>from university, I realized that I would have to fail

0:22:22.640 --> 0:22:26.119
<v Speaker 1>at acting before I could settle for anything else. I

0:22:26.160 --> 0:22:28.480
<v Speaker 1>had to try. I just had to give it a shot.

0:22:28.640 --> 0:22:30.679
<v Speaker 1>And you know, the thing is about it to me

0:22:33.160 --> 0:22:34.920
<v Speaker 1>and growing up actually in such a big family. I

0:22:34.920 --> 0:22:37.240
<v Speaker 1>wonder if this kind of lands with you too. I

0:22:37.359 --> 0:22:42.440
<v Speaker 1>love how collaborative it is. I love that, like whether

0:22:42.480 --> 0:22:44.720
<v Speaker 1>you're in a green room with a bunch of actors

0:22:46.119 --> 0:22:49.760
<v Speaker 1>or you're you know, chatting with the crew at lunch whatever,

0:22:49.920 --> 0:22:54.239
<v Speaker 1>like we are surrounded. We're in a big network of

0:22:54.359 --> 0:23:02.280
<v Speaker 1>people all trying to do good stories, trying to make

0:23:02.440 --> 0:23:05.879
<v Speaker 1>something out of whole cloth that will be meaningful and

0:23:05.920 --> 0:23:11.159
<v Speaker 1>beautiful and funny and human. And that is like just

0:23:11.200 --> 0:23:15.119
<v Speaker 1>the greatest thing to me to be with those people

0:23:15.200 --> 0:23:15.800
<v Speaker 1>all the time.

0:23:16.320 --> 0:23:21.000
<v Speaker 2>That is the greatest thing, you know, Jenna Elfman, she

0:23:21.080 --> 0:23:23.159
<v Speaker 2>said to me almost exactly the same thing that you

0:23:23.240 --> 0:23:24.680
<v Speaker 2>just said, and I love it, so I'm going to

0:23:24.760 --> 0:23:30.359
<v Speaker 2>share it with you. She talked about that in life

0:23:30.480 --> 0:23:33.439
<v Speaker 2>there are people who have agendas and you're looking out

0:23:33.480 --> 0:23:36.399
<v Speaker 2>for yourself, you're looking out for your family, or you know,

0:23:36.440 --> 0:23:41.080
<v Speaker 2>you're trying to accomplish different things. But the moment that

0:23:41.240 --> 0:23:46.560
<v Speaker 2>someone says action, every single person on screen off screen

0:23:47.400 --> 0:23:53.240
<v Speaker 2>is working toward one thing. In that moment, It's like

0:23:53.680 --> 0:23:57.800
<v Speaker 2>a time in life where everyone is just trying to

0:23:57.840 --> 0:24:00.840
<v Speaker 2>get this one thing right. Be it prop and yeah,

0:24:00.880 --> 0:24:04.400
<v Speaker 2>the look and the camera and the action the actors

0:24:04.440 --> 0:24:07.080
<v Speaker 2>are doing. It's exactly what you just said. But I

0:24:07.640 --> 0:24:08.680
<v Speaker 2>love that that.

0:24:08.760 --> 0:24:13.199
<v Speaker 1>Idea, particularly in theater. Actually, from the moment the curtain

0:24:13.240 --> 0:24:15.960
<v Speaker 1>goes up to the moment it comes back down, at

0:24:15.960 --> 0:24:21.919
<v Speaker 1>the end. It's extraordinary how everybody on stage, backstage, in

0:24:22.000 --> 0:24:26.200
<v Speaker 1>the audience, there's a single mindedness that we very rarely

0:24:26.200 --> 0:24:28.800
<v Speaker 1>get right. Like I my mind is never quieter than

0:24:28.800 --> 0:24:31.840
<v Speaker 1>it is when I'm acting because I'm thinking about this

0:24:32.040 --> 0:24:36.399
<v Speaker 1>one thing and we can't do it alone. That's I

0:24:36.400 --> 0:24:38.720
<v Speaker 1>think there's something so beautiful about this. You know, we

0:24:38.800 --> 0:24:44.359
<v Speaker 1>have this silly Marlborough man image of American achievement. That's

0:24:44.400 --> 0:24:46.359
<v Speaker 1>like I pulled myself up by my bootstraps.

0:24:46.400 --> 0:24:46.880
<v Speaker 2>Bullshit.

0:24:47.359 --> 0:24:50.800
<v Speaker 1>You took a staircase that somebody else built for you,

0:24:51.320 --> 0:24:54.560
<v Speaker 1>You took the hand that somebody else put down for you.

0:24:54.560 --> 0:24:57.680
<v Speaker 1>You walked shoulder to shoulder with people who were there

0:24:57.720 --> 0:25:01.159
<v Speaker 1>for you. Like, we don't do anything alone, not anything meaningful.

0:25:02.200 --> 0:25:09.080
<v Speaker 1>And I love how deeply interdependent we are on each

0:25:09.119 --> 0:25:13.280
<v Speaker 1>other making stories, and particularly with people who are not

0:25:13.600 --> 0:25:17.040
<v Speaker 1>like us, you know, like we've all got there's always

0:25:17.080 --> 0:25:19.280
<v Speaker 1>people on a set that you're like, we would never

0:25:19.320 --> 0:25:22.520
<v Speaker 1>I our paths would never cross, you know, with like

0:25:22.840 --> 0:25:25.439
<v Speaker 1>me and this guy who's working craft service, you know,

0:25:25.640 --> 0:25:27.879
<v Speaker 1>or like this driver. I mean, we've all had Like

0:25:28.080 --> 0:25:29.919
<v Speaker 1>drivers are amazing, man, and some of them are the

0:25:29.920 --> 0:25:32.320
<v Speaker 1>greatest ever and some of them, You're like, Wow, this

0:25:32.400 --> 0:25:34.399
<v Speaker 1>is not a conversation I ever thought in a million

0:25:34.480 --> 0:25:37.560
<v Speaker 1>years I would have, right, right, But we're driving from

0:25:37.600 --> 0:25:40.280
<v Speaker 1>Atlanta to Savannah, so we're gonna have it for three

0:25:40.440 --> 0:25:46.440
<v Speaker 1>and a half hours, and you end up like, I mean,

0:25:46.440 --> 0:25:48.439
<v Speaker 1>you know, walking down was really interesting because you know,

0:25:48.560 --> 0:25:52.920
<v Speaker 1>we shot in Sonoya the I mean after season one.

0:25:52.960 --> 0:25:55.800
<v Speaker 1>Season one was in Atlanta. There were a lot of

0:25:55.880 --> 0:25:59.440
<v Speaker 1>drivers down there that like, man, they don't have people

0:25:59.480 --> 0:26:00.360
<v Speaker 1>like me in their life.

0:26:00.480 --> 0:26:05.120
<v Speaker 4>You know, some like pink Ocamie tree hugging, rainbow flag flying,

0:26:06.520 --> 0:26:08.520
<v Speaker 4>but and like I don't have a lot of people

0:26:08.600 --> 0:26:12.000
<v Speaker 4>who pray and vote and think the way they do.

0:26:12.160 --> 0:26:16.960
<v Speaker 4>But we humanized each other, yes, And so I'm not

0:26:17.000 --> 0:26:22.040
<v Speaker 4>going to use unkind language to describe them because while

0:26:22.040 --> 0:26:24.600
<v Speaker 4>I may not agree with a lot, they are also

0:26:24.720 --> 0:26:26.760
<v Speaker 4>my brothers and sisters because we survived.

0:26:27.760 --> 0:26:32.720
<v Speaker 1>They survived the Georgia Woods together. Yes, And the Georgia

0:26:32.880 --> 0:26:34.360
<v Speaker 1>was the snakes.

0:26:34.359 --> 0:26:37.520
<v Speaker 2>Slash the Apocalypse. Did you see snakes?

0:26:38.640 --> 0:26:40.720
<v Speaker 1>Oh dude. We had a guy named Patrick whose job

0:26:40.760 --> 0:26:43.359
<v Speaker 1>it was to flush the snakes out of the set

0:26:43.920 --> 0:26:46.200
<v Speaker 1>before we got there, and he was always like think

0:26:46.240 --> 0:26:47.720
<v Speaker 1>I got him? And I was like you are the

0:26:47.720 --> 0:26:50.280
<v Speaker 1>bravest man I know. Also, what do you mean think?

0:26:50.760 --> 0:26:55.240
<v Speaker 1>Oh my gosh, oh dude, it was It was nuts.

0:26:55.400 --> 0:26:57.600
<v Speaker 1>We had a tick check every day after work. You'd

0:26:57.640 --> 0:26:59.840
<v Speaker 1>go to your trailer, you'd strip down, and you check

0:26:59.880 --> 0:27:01.399
<v Speaker 1>your body for ticks. You guys didn't do that with

0:27:01.440 --> 0:27:01.879
<v Speaker 1>the office.

0:27:07.640 --> 0:27:11.919
<v Speaker 2>No, Oh my god. That really made me. No, we

0:27:12.160 --> 0:27:15.720
<v Speaker 2>did not. We did not have tick checks. So I

0:27:15.760 --> 0:27:18.080
<v Speaker 2>have an issue right now. I don't know if anybody

0:27:18.080 --> 0:27:24.000
<v Speaker 2>wants to message me, message me about this. So I

0:27:24.040 --> 0:27:26.520
<v Speaker 2>have ticks I where I live now, and I have

0:27:26.560 --> 0:27:29.520
<v Speaker 2>a dog and the dog gets tick medication. Here is

0:27:29.520 --> 0:27:33.600
<v Speaker 2>a current problem. The medication is working, and the ticks

0:27:33.640 --> 0:27:36.320
<v Speaker 2>don't want to be on the dog. But now findings

0:27:36.400 --> 0:27:41.040
<v Speaker 2>everywhere dog goes outside tickets are right inside. Is like,

0:27:41.320 --> 0:27:44.960
<v Speaker 2>I don't want the dog and then I'm like seeing

0:27:45.000 --> 0:27:46.520
<v Speaker 2>them walk around on the ground.

0:27:47.000 --> 0:27:50.160
<v Speaker 1>But there's this Brian dude, that's the ticks freaked me out.

0:27:50.200 --> 0:27:53.560
<v Speaker 1>The whole line is these thing like it's worse than

0:27:53.560 --> 0:27:55.400
<v Speaker 1>a zombie apocalypse as far as I'm concerned.

0:27:55.600 --> 0:28:02.720
<v Speaker 2>Well, that's true. I so, yeah, you shot obviously the

0:28:02.800 --> 0:28:06.320
<v Speaker 2>walking Dead in Georgia. Yeah, I mean you're doing so

0:28:06.440 --> 0:28:12.080
<v Speaker 2>many nights too, right nights and hot days and snakes.

0:28:11.600 --> 0:28:16.160
<v Speaker 1>And the one Actually we didn't have many nights. It's interesting,

0:28:16.200 --> 0:28:19.080
<v Speaker 1>like if you watch the first even the first two seasons,

0:28:19.320 --> 0:28:22.240
<v Speaker 1>we didn't do many nights. I don't really know why.

0:28:22.680 --> 0:28:27.280
<v Speaker 1>Season one was odd because in order to permit downtown Atlanta,

0:28:27.560 --> 0:28:30.600
<v Speaker 1>we could only shoot there Saturday Sunday, so our days

0:28:30.680 --> 0:28:33.800
<v Speaker 1>off for Monday Tuesday, which is just a little odd

0:28:33.840 --> 0:28:37.160
<v Speaker 1>because it means right that you're like extra freaky as

0:28:37.200 --> 0:28:40.440
<v Speaker 1>a circus freak actor anyway, do you know what I mean.

0:28:40.520 --> 0:28:43.120
<v Speaker 4>It's like you try and make new friends and you're like,

0:28:43.120 --> 0:28:44.800
<v Speaker 4>you want to come over for dinner Monday night.

0:28:44.640 --> 0:28:49.680
<v Speaker 1>And you're like, what, No, not at all? Right, Okay,

0:28:49.760 --> 0:28:50.360
<v Speaker 1>that's fine.

0:28:50.800 --> 0:28:54.200
<v Speaker 2>I have to ask you. You said you you were

0:28:54.240 --> 0:28:55.800
<v Speaker 2>not going to be able to move on to something

0:28:55.800 --> 0:28:58.600
<v Speaker 2>else until that didn't work out. You end up going

0:28:58.640 --> 0:29:02.360
<v Speaker 2>to the National Theater Conservative in Denver for your MFA,

0:29:02.480 --> 0:29:05.040
<v Speaker 2>which is a very big deal at the time. You

0:29:05.160 --> 0:29:08.120
<v Speaker 2>get your equity card, which I didn't know that when

0:29:08.120 --> 0:29:13.560
<v Speaker 2>you graduate from there, for you theater or film, film, slice.

0:29:13.280 --> 0:29:20.560
<v Speaker 1>Television, there's such different muscles and such different media. I

0:29:20.600 --> 0:29:23.440
<v Speaker 1>did a play right after I left Walking Dead at

0:29:23.440 --> 0:29:30.000
<v Speaker 1>the Kennedy Center, Okay, And I was so scared to

0:29:30.040 --> 0:29:34.160
<v Speaker 1>do it. And it was actually Jeff Demon who kind

0:29:34.160 --> 0:29:36.400
<v Speaker 1>of talked me into it. He's like, you need to

0:29:36.480 --> 0:29:41.320
<v Speaker 1>sharpen that muscle because there is nothing like the sustained

0:29:41.320 --> 0:29:43.920
<v Speaker 1>attention of a two and a half hour play. It'll

0:29:43.960 --> 0:29:44.880
<v Speaker 1>make you a better actor.

0:29:45.320 --> 0:29:46.320
<v Speaker 2>Blah blah blah.

0:29:46.600 --> 0:29:50.320
<v Speaker 1>The economics of it I struggle with. I struggle with

0:29:50.360 --> 0:29:53.880
<v Speaker 1>the fact that the tickets were too expensive for most

0:29:53.920 --> 0:29:58.080
<v Speaker 1>people to see. It was the whitest audience I have

0:29:58.240 --> 0:30:02.960
<v Speaker 1>ever performed for. And I made no money and lost

0:30:03.040 --> 0:30:06.160
<v Speaker 1>my health insurance and had to go on Cobra and

0:30:06.240 --> 0:30:11.600
<v Speaker 1>so wow, Like that's not romantic, man, it's really not,

0:30:11.760 --> 0:30:13.200
<v Speaker 1>you know. And like the Kennedy saide it's a good

0:30:13.360 --> 0:30:15.920
<v Speaker 1>it's a good theater, Like they pay you, but I'm

0:30:15.920 --> 0:30:18.080
<v Speaker 1>the sole breadwinner for a family of foreman, Like, it's

0:30:18.120 --> 0:30:21.360
<v Speaker 1>not it did not it did not do it I,

0:30:23.080 --> 0:30:28.240
<v Speaker 1>you know. And so it's usually the writing's better in

0:30:28.360 --> 0:30:32.480
<v Speaker 1>theater and there's a devotion, there's rehearsal, which is such

0:30:32.480 --> 0:30:36.120
<v Speaker 1>a gift. But to the extent that I believe that

0:30:36.240 --> 0:30:41.040
<v Speaker 1>stories are powerful when they are shared. More people saw

0:30:41.080 --> 0:30:46.320
<v Speaker 1>the first episode of The Walking Dead, than would see

0:30:46.600 --> 0:30:49.600
<v Speaker 1>every show I would ever do if I spent my

0:30:49.920 --> 0:30:55.160
<v Speaker 1>entire career on Broadway correct and they saw it for

0:30:55.320 --> 0:30:59.520
<v Speaker 1>so much less money, And so that's a that's a

0:30:59.560 --> 0:31:02.040
<v Speaker 1>tough one. I would love to go back and do

0:31:02.080 --> 0:31:07.680
<v Speaker 1>another play, but I can't afford to make that my career.

0:31:09.160 --> 0:31:10.600
<v Speaker 2>See, I started in theater too.

0:31:11.440 --> 0:31:14.520
<v Speaker 1>Yeah, so what do you think would you go back?

0:31:14.680 --> 0:31:17.959
<v Speaker 1>Would you if somebody said, here you go, We'll give you,

0:31:17.960 --> 0:31:23.760
<v Speaker 1>you know, forty eight weeks a year for Oh no, no, babe?

0:31:24.000 --> 0:31:25.840
<v Speaker 1>Would you By the way, are you a musical theater person?

0:31:25.840 --> 0:31:26.840
<v Speaker 1>Do you sing? No?

0:31:27.400 --> 0:31:31.040
<v Speaker 2>I talk sing. I talked sing really really well, which

0:31:31.360 --> 0:31:36.600
<v Speaker 2>you know for comedic musical theater roles is good. But yeah, no,

0:31:36.680 --> 0:31:39.520
<v Speaker 2>it's I mean it's I mean, you talk about the

0:31:39.560 --> 0:31:44.440
<v Speaker 2>circus Freaks with you know, you, during a short period

0:31:44.440 --> 0:31:46.720
<v Speaker 2>of time on The Walking Dead had Monday and Tuesday off,

0:31:46.800 --> 0:31:50.640
<v Speaker 2>like for your life, having Mondays off. I mean, it's

0:31:50.760 --> 0:31:53.440
<v Speaker 2>like so difficult. I mean, it's I mean, the short

0:31:53.480 --> 0:31:55.400
<v Speaker 2>answer is I want to go back and do something.

0:31:56.000 --> 0:31:59.960
<v Speaker 2>You know, that's all I did essentially prior to the Office.

0:32:00.120 --> 0:32:02.960
<v Speaker 1>That's right. The Office was the like big TV break.

0:32:03.360 --> 0:32:06.960
<v Speaker 2>That's right, what a trip? Yeah?

0:32:07.080 --> 0:32:08.240
<v Speaker 1>Did that just do your headed?

0:32:09.560 --> 0:32:10.560
<v Speaker 2>Did I say it again?

0:32:10.600 --> 0:32:13.080
<v Speaker 1>Well, to go from like, you know, on a good week,

0:32:13.080 --> 0:32:15.280
<v Speaker 1>a couple thousand people a week, see what I'm doing

0:32:15.360 --> 0:32:21.080
<v Speaker 1>to like giant massive, Yeah, you know it.

0:32:21.200 --> 0:32:25.880
<v Speaker 2>We started so not strong that it didn't feel like

0:32:25.960 --> 0:32:31.000
<v Speaker 2>that early on, but it you know, I mean it

0:32:31.080 --> 0:32:34.960
<v Speaker 2>quickly became what it was so so it like ramped up.

0:32:35.280 --> 0:32:37.880
<v Speaker 2>But yeah, so that was different. But yeah, no, I

0:32:37.920 --> 0:32:41.320
<v Speaker 2>mean it's obviously a huge change. And yeah, I mean

0:32:41.360 --> 0:32:44.680
<v Speaker 2>to your point, Yeah, yeah, I could do that forty

0:32:44.840 --> 0:32:48.240
<v Speaker 2>eight you know, weeks a year at eight shows a week,

0:32:48.320 --> 0:32:52.440
<v Speaker 2>and yeah, no one's going to see the exposure is impossible.

0:32:52.960 --> 0:32:56.560
<v Speaker 2>But there's a live theater experience. There's something that happens

0:32:56.560 --> 0:32:59.960
<v Speaker 2>in a room every single day that's different. And you know,

0:33:00.200 --> 0:33:03.440
<v Speaker 2>that's the part for me that I miss is that

0:33:03.720 --> 0:33:05.840
<v Speaker 2>experience live in the room.

0:33:06.480 --> 0:33:09.280
<v Speaker 1>You want to hear a fun theater story real quick. Yes,

0:33:10.280 --> 0:33:12.440
<v Speaker 1>So speaking of live in the room. When I was

0:33:12.440 --> 0:33:15.040
<v Speaker 1>in grad school, we did a production of Doubt. Okay

0:33:15.360 --> 0:33:18.080
<v Speaker 1>I know it, which is yeah for people who don't.

0:33:18.760 --> 0:33:21.160
<v Speaker 1>The short version is it's a story about a woman

0:33:21.240 --> 0:33:24.400
<v Speaker 1>in the hospital dying of cancer and she's a she's

0:33:24.440 --> 0:33:26.720
<v Speaker 1>a scholar of the poet John Dunn. And we did

0:33:26.720 --> 0:33:29.080
<v Speaker 1>it in the round, which was kind of insane hospital

0:33:29.120 --> 0:33:31.080
<v Speaker 1>Journey's everywhere, and I had like that four lines in

0:33:31.120 --> 0:33:33.000
<v Speaker 1>the whole thing. Dude, I mean, we're grad students. We're

0:33:33.000 --> 0:33:36.240
<v Speaker 1>just there to little tiny parts. I think it's almost

0:33:36.240 --> 0:33:39.320
<v Speaker 1>a one woman show. There's like two roles when they

0:33:39.320 --> 0:33:41.360
<v Speaker 1>did it on Broadway, but they added a bunch of

0:33:41.400 --> 0:33:46.880
<v Speaker 1>other students and things like that. And I'm in one

0:33:46.880 --> 0:33:48.840
<v Speaker 1>of the three scenes I think I'm in in the

0:33:48.920 --> 0:33:52.640
<v Speaker 1>entire thing. We're playing the leading woman is a flashback

0:33:52.680 --> 0:33:54.520
<v Speaker 1>of her teaching, and I'm playing one of the students.

0:33:54.960 --> 0:33:56.600
<v Speaker 1>And I opened my mouth to say one of the

0:33:56.640 --> 0:33:59.760
<v Speaker 1>two or three lines I have, and Annette Held, who

0:33:59.800 --> 0:34:02.600
<v Speaker 1>is the role, points at me and then points past

0:34:02.680 --> 0:34:04.959
<v Speaker 1>me and goes, Sarah, I'm sorry. Is she okay? And

0:34:05.240 --> 0:34:08.800
<v Speaker 1>for somebody who notices, who knows theater, for an actor

0:34:08.880 --> 0:34:12.359
<v Speaker 1>to go off script and break the wall like that

0:34:13.120 --> 0:34:17.760
<v Speaker 1>was like for probably three heartbeats, nobody moved, nobody breathed,

0:34:18.239 --> 0:34:20.520
<v Speaker 1>and then she looked up into the booth and she goes,

0:34:20.560 --> 0:34:22.640
<v Speaker 1>I'm sorry, we need the lights on, and the lights

0:34:22.640 --> 0:34:24.840
<v Speaker 1>come on and there's this elderly woman slumped over, not

0:34:24.920 --> 0:34:27.160
<v Speaker 1>moving in her seat. Again, we're in the round, so

0:34:27.160 --> 0:34:28.959
<v Speaker 1>the audience is looking at us and we're looking at them.

0:34:29.400 --> 0:34:33.799
<v Speaker 1>And the brilliant, quick thinking stage manager comes on and

0:34:33.920 --> 0:34:37.040
<v Speaker 1>goes the gentleman, they'll be an unscheduled fifteen minute or mission,

0:34:37.400 --> 0:34:42.080
<v Speaker 1>please buy them the lobby. They kick us backstage. Backstage

0:34:42.120 --> 0:34:45.080
<v Speaker 1>is full of hospital to trytus right, the hospital beds

0:34:45.080 --> 0:34:48.839
<v Speaker 1>and gurneys and people dressed in scrubs. And in record time,

0:34:48.920 --> 0:34:52.520
<v Speaker 1>the doors to the backstage bang open and incomes the

0:34:52.560 --> 0:34:55.960
<v Speaker 1>ambulance crew and they freeze and they're like, what the fuck?

0:34:56.000 --> 0:34:57.719
<v Speaker 1>This is a hospital, what's going on? And we're like,

0:34:57.719 --> 0:34:59.000
<v Speaker 1>we're actors, we can't help you.

0:34:59.040 --> 0:34:59.680
<v Speaker 2>Go bag.

0:35:01.040 --> 0:35:03.560
<v Speaker 1>And they go and they pull this woman out and

0:35:03.640 --> 0:35:05.600
<v Speaker 1>I look over at a net and she has wrapped

0:35:05.640 --> 0:35:09.200
<v Speaker 1>her arms around herself and she is physically holding her

0:35:09.239 --> 0:35:11.880
<v Speaker 1>performance in because it's a beast of a role and

0:35:11.920 --> 0:35:14.279
<v Speaker 1>she was brilliant at it. And they take the woman

0:35:14.280 --> 0:35:16.680
<v Speaker 1>out to the ambulance and the stage manager says, what

0:35:16.680 --> 0:35:18.600
<v Speaker 1>do you want to do? She says, is the woman alive?

0:35:19.120 --> 0:35:21.440
<v Speaker 1>And stage manager said yeah. She goes all right, well,

0:35:21.520 --> 0:35:23.879
<v Speaker 1>let's get back out there. And we got back out there,

0:35:23.920 --> 0:35:26.760
<v Speaker 1>and at the very end of the play spoiler alert,

0:35:26.760 --> 0:35:29.879
<v Speaker 1>but the play is like thirty years old. The lead

0:35:30.000 --> 0:35:33.719
<v Speaker 1>dies and she drops her clothes and she looks up

0:35:33.719 --> 0:35:37.480
<v Speaker 1>and this bright white light shines on her. And usually

0:35:37.520 --> 0:35:39.960
<v Speaker 1>that's where the audience starts applotting. But the lights came

0:35:40.040 --> 0:35:41.759
<v Speaker 1>up and it was dead silent, and the audience was

0:35:41.800 --> 0:35:45.200
<v Speaker 1>on their feet, and we'd just been in a play

0:35:45.280 --> 0:35:48.600
<v Speaker 1>of death, and like death was in the audience that night,

0:35:49.160 --> 0:35:51.480
<v Speaker 1>and we just stood there, the cast and the actors

0:35:52.160 --> 0:35:55.920
<v Speaker 1>and the audience, looking at each other for like again

0:35:56.040 --> 0:35:58.560
<v Speaker 1>a few heartbeats, and then they started applauding and we left.

0:35:59.280 --> 0:36:00.880
<v Speaker 1>It was one of the most profound things I've ever

0:36:00.960 --> 0:36:04.520
<v Speaker 1>been a part of. And that only happens in a

0:36:04.520 --> 0:36:05.000
<v Speaker 1>live show.

0:36:05.880 --> 0:36:09.880
<v Speaker 2>That's beautiful. Yeah, that's what I'm talking about.

0:36:10.680 --> 0:36:13.160
<v Speaker 1>Yeah, you're right, You're right.

0:36:14.280 --> 0:36:18.640
<v Speaker 2>You just gotta do seven thousand, one hundred and forty

0:36:18.680 --> 0:36:43.480
<v Speaker 2>two performances before it happens again. Your career is amazing.

0:36:44.000 --> 0:36:47.480
<v Speaker 1>You know, your career is amazing.

0:36:48.080 --> 0:36:51.319
<v Speaker 2>I have I have a quote from you. I'm not

0:36:51.480 --> 0:36:55.279
<v Speaker 2>a badass. I just play one on TV. This by

0:36:55.320 --> 0:36:59.440
<v Speaker 2>the way, based on this conversation is clearly is clearly

0:36:59.560 --> 0:37:03.320
<v Speaker 2>not true. But you can't run, and you're an actor,

0:37:04.120 --> 0:37:09.520
<v Speaker 2>you're a director, you're a producer, writer, voice, actor, podcast

0:37:09.640 --> 0:37:15.560
<v Speaker 2>or mom, you work with the International Rescue Committee, you tango,

0:37:16.000 --> 0:37:20.759
<v Speaker 2>you trapeez, I mean, clearly hula at least as a

0:37:20.800 --> 0:37:24.879
<v Speaker 2>four year old mite for the list goes on, how

0:37:25.000 --> 0:37:29.520
<v Speaker 2>much because you were an uncoordinated person? How much extra

0:37:29.680 --> 0:37:33.000
<v Speaker 2>work did you have to do? Was it difficult for you?

0:37:33.080 --> 0:37:37.480
<v Speaker 2>And I'm talking prison break obviously the Walking Dad. Did

0:37:37.520 --> 0:37:41.360
<v Speaker 2>you do a lot outside to be ready when it

0:37:41.440 --> 0:37:44.480
<v Speaker 2>was like physically yeah, when your number was called?

0:37:45.600 --> 0:37:50.120
<v Speaker 1>Yeah, yeah, I mean after season one of Walking Dead,

0:37:50.400 --> 0:37:53.759
<v Speaker 1>first of all, I think we all lost about ten pounds,

0:37:54.120 --> 0:37:58.399
<v Speaker 1>like ten to fifteen, me and John, the entire crew. Yeah,

0:37:58.640 --> 0:38:01.800
<v Speaker 1>sweat and just like because we're outdoors all day. Yeah,

0:38:01.880 --> 0:38:03.880
<v Speaker 1>and it's too hot to eat. We had like forty

0:38:03.960 --> 0:38:05.719
<v Speaker 1>days over ninety degrees. You know. It was just like

0:38:05.840 --> 0:38:08.680
<v Speaker 1>the and we realized coming back for season two, like

0:38:08.800 --> 0:38:10.480
<v Speaker 1>you have to be in the best shape of your life.

0:38:11.000 --> 0:38:15.000
<v Speaker 1>There's just no right getting around it. By the way, later,

0:38:15.320 --> 0:38:17.080
<v Speaker 1>many years later, I did a show called Letter Kenny,

0:38:17.120 --> 0:38:18.720
<v Speaker 1>which is a Canadian comedy and I'll.

0:38:18.560 --> 0:38:21.880
<v Speaker 5>Say, oh, you guys really have it figured out. Finally,

0:38:22.520 --> 0:38:26.560
<v Speaker 5>these comedians like if only I were funny. You guys

0:38:26.600 --> 0:38:30.160
<v Speaker 5>have the right idea. You shoot inside, you make each

0:38:30.200 --> 0:38:33.879
<v Speaker 5>other laugh. You're not screaming and crying. There's no firearms.

0:38:34.400 --> 0:38:37.920
<v Speaker 1>Nobody's talking to you about dead babies like I congratulations

0:38:38.040 --> 0:38:41.600
<v Speaker 1>on landing in the right part of our industry, or

0:38:41.719 --> 0:38:43.160
<v Speaker 1>long term mental.

0:38:42.840 --> 0:38:45.840
<v Speaker 2>Health, and that's so funny.

0:38:46.040 --> 0:38:48.200
<v Speaker 1>Quality of life. I salute you, sir.

0:38:48.760 --> 0:38:52.960
<v Speaker 2>You know it was an accident for me. I wasn't well. Yeah,

0:38:53.000 --> 0:38:55.239
<v Speaker 2>I mean people, I mean I told you I came

0:38:55.239 --> 0:38:58.759
<v Speaker 2>from theater, like you know. I mean people assume that

0:38:59.000 --> 0:39:02.319
<v Speaker 2>I was at Improva, Olympic or Second City or the

0:39:02.360 --> 0:39:05.799
<v Speaker 2>Groundlings or Stand Up or one of those. I mean,

0:39:05.920 --> 0:39:08.880
<v Speaker 2>I did just as much drama as I mean, I

0:39:08.880 --> 0:39:11.200
<v Speaker 2>probably did more drama than comedy.

0:39:11.960 --> 0:39:14.359
<v Speaker 1>Favorite theater role. Don't think about it to go.

0:39:16.920 --> 0:39:20.360
<v Speaker 2>I don't know, I know, I'm thinking. I mean, I

0:39:20.360 --> 0:39:23.440
<v Speaker 2>mean the standard answer, which it just happens too much.

0:39:23.680 --> 0:39:30.520
<v Speaker 2>And for an American male now regardless of race. Willie

0:39:30.560 --> 0:39:33.040
<v Speaker 2>Lowman and death of a Salesman's greatest.

0:39:32.760 --> 0:39:36.520
<v Speaker 1>Roll of fall Time, Oh yeah, sure, I mean yeah, sure,

0:39:36.560 --> 0:39:41.600
<v Speaker 1>although legendarily like Rex actors. Yes, the play I did

0:39:41.719 --> 0:39:44.040
<v Speaker 1>at the Kennedy Center was opposite Finn Whitrock, who had

0:39:44.160 --> 0:39:47.160
<v Speaker 1>just done Phil Hoffman's Death of the Salesman, and he

0:39:47.280 --> 0:39:52.520
<v Speaker 1>was like, it broke him. I mean it just like Phil. Yeah,

0:39:52.680 --> 0:39:55.920
<v Speaker 1>I just I can't imagine what it takes to go

0:39:56.000 --> 0:40:01.040
<v Speaker 1>through that. It's like Lear, right, Yeah, it's big. Yeah,

0:40:01.080 --> 0:40:04.440
<v Speaker 1>it's awful. Stacy Keach actually said to me once he

0:40:04.480 --> 0:40:07.080
<v Speaker 1>did Lear right after the first season of Prison Break,

0:40:07.080 --> 0:40:08.520
<v Speaker 1>and I was supposed to do it with him. He

0:40:08.520 --> 0:40:10.080
<v Speaker 1>asked me to play one of his daughters, but then

0:40:10.160 --> 0:40:12.160
<v Speaker 1>they moved the show from Chicago to Dallas. He was

0:40:12.200 --> 0:40:14.200
<v Speaker 1>doing it at the Goodman but I called him like

0:40:14.360 --> 0:40:16.160
<v Speaker 1>right before first preview, I was like, how's it going?

0:40:17.160 --> 0:40:19.319
<v Speaker 1>He said, you know, Sarah, the tragedy of Lear is

0:40:19.320 --> 0:40:22.120
<v Speaker 1>that by the time you're old enough to understand the role,

0:40:22.640 --> 0:40:25.520
<v Speaker 1>you're too old to keep up with it physically. And

0:40:25.800 --> 0:40:29.680
<v Speaker 1>you know, He's like, I'm losing my voice. I'm exhausted

0:40:29.719 --> 0:40:32.080
<v Speaker 1>all the time. And I think there's something to it

0:40:32.080 --> 0:40:35.000
<v Speaker 1>that some of those roles, and I think they wrote

0:40:35.280 --> 0:40:37.360
<v Speaker 1>more of them for men than women back then, But

0:40:37.480 --> 0:40:40.279
<v Speaker 1>like some of those roles. Just I mean, it's just

0:40:40.320 --> 0:40:42.919
<v Speaker 1>got to feel like a marathon every night.

0:40:43.880 --> 0:40:47.520
<v Speaker 2>Have you ever seen the movie? Now we're going to

0:40:47.600 --> 0:40:49.640
<v Speaker 2>really keep here. Have you ever seen the movie The

0:40:49.719 --> 0:40:56.400
<v Speaker 2>Dresser Albert Finney? Oh, Tom Courtney? Long time Ago, A

0:40:56.440 --> 0:40:59.640
<v Speaker 2>long time ago. By the way, if you're listening and

0:41:00.080 --> 0:41:04.719
<v Speaker 2>you want an old classic drama, I'm not even going

0:41:04.800 --> 0:41:06.920
<v Speaker 2>to get the decade right. I would say it was

0:41:06.920 --> 0:41:11.040
<v Speaker 2>probably in the eighties. But it is about an old

0:41:11.080 --> 0:41:15.080
<v Speaker 2>Shakespearean company that takes place during World War Two, I believe,

0:41:16.239 --> 0:41:21.000
<v Speaker 2>and they could be one I don't know. Albert Finney

0:41:21.040 --> 0:41:23.880
<v Speaker 2>is playing Lear and Tom Courtney is his dresser, and

0:41:23.920 --> 0:41:29.600
<v Speaker 2>it is essentially about him descending into madness on the

0:41:29.640 --> 0:41:34.640
<v Speaker 2>trajectory that Lear is and that for me is theater.

0:41:36.960 --> 0:41:38.960
<v Speaker 1>Well there is. I mean, like you have to be

0:41:39.040 --> 0:41:39.919
<v Speaker 1>able to lose your mind.

0:41:40.760 --> 0:41:44.520
<v Speaker 2>I have done. I've had the good fortune and I

0:41:44.560 --> 0:41:49.719
<v Speaker 2>say good fortune seriously of playing a role over an

0:41:49.800 --> 0:41:54.120
<v Speaker 2>extended period of time, like over a year, of playing

0:41:54.160 --> 0:41:58.399
<v Speaker 2>the same role which was heavy makeup and sitting there

0:41:58.480 --> 0:42:02.920
<v Speaker 2>before the show putting on the makeup's going Can I

0:42:03.000 --> 0:42:03.560
<v Speaker 2>do this one?

0:42:03.640 --> 0:42:04.760
<v Speaker 1>I don't know if I can do this again?

0:42:04.920 --> 0:42:08.640
<v Speaker 2>Can I do this one more time, and it was great.

0:42:09.040 --> 0:42:12.320
<v Speaker 2>It was called The Green Bird with a fantastic theater

0:42:12.400 --> 0:42:15.280
<v Speaker 2>company called Theater de la June Loan. That was French

0:42:16.120 --> 0:42:22.359
<v Speaker 2>slash Minneapolis, and I played the evil old woman in

0:42:22.560 --> 0:42:24.240
<v Speaker 2>full kabuki makeup.

0:42:24.600 --> 0:42:29.440
<v Speaker 1>WHOA, yeah, that's so into. First of all, I really

0:42:29.440 --> 0:42:33.400
<v Speaker 1>would love to see that. I'm curious about everything at

0:42:33.400 --> 0:42:38.280
<v Speaker 1>every level. But I think, you know, in some ways,

0:42:38.640 --> 0:42:40.879
<v Speaker 1>I think there's something very cool in what we do.

0:42:41.040 --> 0:42:43.880
<v Speaker 1>In you do touch a little bit of madness, you know.

0:42:44.080 --> 0:42:46.960
<v Speaker 1>I mean, even just on an eight show week. I

0:42:47.000 --> 0:42:50.040
<v Speaker 1>remember being in a Sunday matinee performance when you've done

0:42:50.080 --> 0:42:52.960
<v Speaker 1>Friday Night, Saturday matinee, Saturday night, and now it's Sunday

0:42:53.440 --> 0:42:56.840
<v Speaker 1>going I don't know if I just said this line

0:42:57.040 --> 0:43:01.640
<v Speaker 1>or if I'm remembering saying it yesterday, but I know

0:43:01.680 --> 0:43:03.360
<v Speaker 1>I'm gonna have to say it again tonight. And just

0:43:03.400 --> 0:43:05.279
<v Speaker 1>like a little part of your brain just goes wh

0:43:05.680 --> 0:43:05.920
<v Speaker 1>and it.

0:43:06.040 --> 0:43:10.520
<v Speaker 2>Like totally totally, and you's.

0:43:10.000 --> 0:43:12.680
<v Speaker 1>A little crazy. You go a little crazy. I've lost

0:43:12.719 --> 0:43:14.400
<v Speaker 1>myself a couple of times, But then I think you

0:43:14.480 --> 0:43:19.080
<v Speaker 1>find yourself too, and you learn a little bit about

0:43:19.440 --> 0:43:21.640
<v Speaker 1>who you are and what you're capable of, and you are,

0:43:21.680 --> 0:43:24.839
<v Speaker 1>in theory in a safe enough environment that there are

0:43:24.880 --> 0:43:28.440
<v Speaker 1>people there to pull you back. And actually, I think

0:43:28.480 --> 0:43:32.160
<v Speaker 1>that's what makes for great storytelling, and I imagine it's

0:43:32.160 --> 0:43:33.640
<v Speaker 1>got to be the same thing in comedy. But like

0:43:34.120 --> 0:43:36.560
<v Speaker 1>the directors, that producers, the writers and the other actors,

0:43:36.640 --> 0:43:40.280
<v Speaker 1>creating an environment where you can do super dangerous work

0:43:40.640 --> 0:43:44.040
<v Speaker 1>knowing the people around me are gonna they're not going

0:43:44.080 --> 0:43:47.160
<v Speaker 1>to make fun of me, They're not gonna let me fail.

0:43:47.480 --> 0:43:51.840
<v Speaker 1>You know, they're gonna there. There's again that community that

0:43:51.880 --> 0:43:52.800
<v Speaker 1>we're kind of enmeshed in.

0:43:53.600 --> 0:43:56.799
<v Speaker 2>Yeah. By the way, I feel like I have to

0:43:56.800 --> 0:43:58.840
<v Speaker 2>give us credit here. I feel like we've done a

0:43:58.880 --> 0:44:01.680
<v Speaker 2>fantastic job of talking about our careers and our work

0:44:01.800 --> 0:44:05.359
<v Speaker 2>during of this writer strike. So I'm just gonna give

0:44:05.440 --> 0:44:10.440
<v Speaker 2>us both just an amazing tip of the cat to

0:44:10.560 --> 0:44:17.919
<v Speaker 2>that tip of the cat. Cap I cat, I'm gonna

0:44:17.920 --> 0:44:20.880
<v Speaker 2>I'm gonna tip. I'm gonna tip the cat. We do

0:44:20.960 --> 0:44:23.160
<v Speaker 2>have something very important that we need to talk about,

0:44:23.320 --> 0:44:40.520
<v Speaker 2>which is Aftershock, which is your podcast. You're basically lord, dictator, king, queen, writer, creator, producer, actor, beverlord, technician,

0:44:41.200 --> 0:44:45.879
<v Speaker 2>microphone operator. You kind of mentioned it before I want

0:44:45.920 --> 0:44:48.120
<v Speaker 2>you to tell me a little bit about where the

0:44:48.200 --> 0:44:50.799
<v Speaker 2>idea came for after Shock. By the way, for those

0:44:50.840 --> 0:44:56.920
<v Speaker 2>of you who don't know, it's a scripted podcast, uh

0:44:56.960 --> 0:45:02.600
<v Speaker 2>that Sarah is doing to great a. I'm so in

0:45:02.640 --> 0:45:06.400
<v Speaker 2>love and excited by it. Did this come at all

0:45:06.800 --> 0:45:11.600
<v Speaker 2>from your childhood in Hawaii? I mean it takes place

0:45:11.600 --> 0:45:12.200
<v Speaker 2>on an island.

0:45:12.320 --> 0:45:14.160
<v Speaker 1>Yeah, a lot of it, I will say. You know,

0:45:14.239 --> 0:45:17.560
<v Speaker 1>the original idea was brought to me by a writer,

0:45:18.000 --> 0:45:21.759
<v Speaker 1>a Ya writer novelist named Patrick Carmon, and he and

0:45:21.880 --> 0:45:25.320
<v Speaker 1>my producing partner Ben Haber cooked up this thought about

0:45:25.320 --> 0:45:27.120
<v Speaker 1>what would happen if a new island rose up out

0:45:27.120 --> 0:45:29.719
<v Speaker 1>of the sea. And I thought, oh, that's really interesting,

0:45:30.160 --> 0:45:32.680
<v Speaker 1>and we talked about a lot of it. It felt

0:45:32.680 --> 0:45:34.440
<v Speaker 1>to me from the beginning like a little bit of

0:45:34.440 --> 0:45:38.360
<v Speaker 1>a re exploration of like westward expansion, right, like new Land.

0:45:39.080 --> 0:45:41.360
<v Speaker 1>We tell that story a lot in westerns, you know

0:45:41.360 --> 0:45:44.960
<v Speaker 1>what I mean, And it's cowboys and Indians and women

0:45:45.000 --> 0:45:47.800
<v Speaker 1>in whorehouses, and it's like, well, what if we examined

0:45:47.880 --> 0:45:51.920
<v Speaker 1>some of those Like what if we took some different

0:45:51.960 --> 0:45:54.160
<v Speaker 1>people and tried to tell the story in a new way,

0:45:54.160 --> 0:45:56.560
<v Speaker 1>and what would it look like now. But yeah, immediately

0:45:56.960 --> 0:46:00.560
<v Speaker 1>the new Pacific Island thing came up, and I started

0:46:00.600 --> 0:46:04.319
<v Speaker 1>thinking about what were the female relationships that I most

0:46:04.360 --> 0:46:07.680
<v Speaker 1>wanted to see that we're maybe more complicated than some

0:46:07.719 --> 0:46:10.000
<v Speaker 1>of the ones I've had a chance to portray, which

0:46:10.000 --> 0:46:11.759
<v Speaker 1>is where a lot of the stuff between Cassie and

0:46:11.800 --> 0:46:14.480
<v Speaker 1>Mikayla came up with, you know, like, what does it

0:46:14.520 --> 0:46:16.680
<v Speaker 1>mean when the person that you need for your own

0:46:16.719 --> 0:46:19.680
<v Speaker 1>survival Cassie and Mikayla's case, is the person that you

0:46:19.719 --> 0:46:23.200
<v Speaker 1>hate most in the world. And how do you atone

0:46:24.000 --> 0:46:26.200
<v Speaker 1>in Cassie's case, for the things you've done that hurt

0:46:26.200 --> 0:46:30.040
<v Speaker 1>of the people. And actually the second season. First season

0:46:30.120 --> 0:46:31.920
<v Speaker 1>ends well, most people have a lot of blood on

0:46:31.960 --> 0:46:33.680
<v Speaker 1>their hands at the end of the first season, and

0:46:33.920 --> 0:46:38.000
<v Speaker 1>the second season is really about atonement and forgiveness and

0:46:38.080 --> 0:46:40.000
<v Speaker 1>how do you ask for it and how do you

0:46:40.040 --> 0:46:44.120
<v Speaker 1>grant it? And what does that look like? Yeah, and

0:46:44.160 --> 0:46:47.520
<v Speaker 1>then I realized, it's interesting. There's a woman that I've

0:46:47.600 --> 0:46:49.399
<v Speaker 1>been following for a long time and I really loved

0:46:49.400 --> 0:46:51.000
<v Speaker 1>her work, and I've gotten to know her a little bit.

0:46:51.280 --> 0:46:54.600
<v Speaker 1>She's deeply involved in the Hawaiian land activism, and I

0:46:54.600 --> 0:46:57.120
<v Speaker 1>asked her to go over a couple of scripts with

0:46:57.160 --> 0:46:59.239
<v Speaker 1>me for season two, so I wanted to make sure

0:46:59.280 --> 0:47:01.239
<v Speaker 1>that there weren't like blind spots and some of the

0:47:01.239 --> 0:47:04.680
<v Speaker 1>more cultural things I was doing. And she pointed out

0:47:04.680 --> 0:47:08.920
<v Speaker 1>a fundamental flaw in season one and I was like, oh, okay,

0:47:08.920 --> 0:47:10.239
<v Speaker 1>and she goes, it's no problem. You know, you can

0:47:10.280 --> 0:47:12.200
<v Speaker 1>rewrite it, and I was like, no, season one is out.

0:47:13.600 --> 0:47:18.840
<v Speaker 1>And I asked the bed on this and she's like, okay,

0:47:18.960 --> 0:47:21.800
<v Speaker 1>So from a cultural perspective, I would say this instead

0:47:21.800 --> 0:47:25.279
<v Speaker 1>of what you did. And I went great. So my

0:47:25.360 --> 0:47:28.239
<v Speaker 1>stomach turned to water and I went, oh god, I

0:47:28.239 --> 0:47:31.680
<v Speaker 1>blew it. And then I thought, okay, so this can

0:47:31.719 --> 0:47:34.919
<v Speaker 1>become the character's journey then, and this will come up

0:47:35.080 --> 0:47:37.160
<v Speaker 1>more in kind of the back half of the season.

0:47:37.600 --> 0:47:42.440
<v Speaker 1>Episodes like six, seven or eight, Lay goes on a

0:47:42.600 --> 0:47:46.040
<v Speaker 1>very kind of emotional journey of trying to figure out,

0:47:46.440 --> 0:47:49.960
<v Speaker 1>with all the best intentions, I took this action and

0:47:50.719 --> 0:47:53.080
<v Speaker 1>I'm now being told by the people who know more

0:47:53.080 --> 0:47:54.879
<v Speaker 1>than me that it was the wrong action. So how

0:47:54.880 --> 0:47:57.440
<v Speaker 1>do I make that right? And this? So there was

0:47:57.480 --> 0:48:01.560
<v Speaker 1>a lot of humility involved in writing this season, because

0:48:01.600 --> 0:48:03.560
<v Speaker 1>of course, you know, I'm a writer's room one, and

0:48:04.320 --> 0:48:06.279
<v Speaker 1>you need other people to bounce things off of. Tatti

0:48:06.360 --> 0:48:08.720
<v Speaker 1>Gabrielle was kind enough to help me break this season.

0:48:08.920 --> 0:48:11.200
<v Speaker 1>She did such a brilliant job playing Mikayla. I was like,

0:48:11.280 --> 0:48:14.879
<v Speaker 1>I'd love to hear what you feel, what you hear,

0:48:14.960 --> 0:48:17.359
<v Speaker 1>what you think. She's at a different generation than I am,

0:48:17.400 --> 0:48:18.800
<v Speaker 1>she's a different race than I am. And I was like,

0:48:19.040 --> 0:48:21.680
<v Speaker 1>you know, your perspective will only broaden this thing. And

0:48:21.719 --> 0:48:23.680
<v Speaker 1>so we got to do a bunch of that together.

0:48:23.719 --> 0:48:26.239
<v Speaker 1>But still, you know, the wearing of many hats is

0:48:26.280 --> 0:48:28.440
<v Speaker 1>a necessity. If we had the budget, I would very

0:48:28.480 --> 0:48:32.960
<v Speaker 1>happily start delegating thing. I needed a lot of help

0:48:33.080 --> 0:48:38.080
<v Speaker 1>from outside. And yeah, eight some humble pie.

0:48:38.840 --> 0:48:41.719
<v Speaker 2>As I was writing, well, you have a great cast.

0:48:41.760 --> 0:48:45.319
<v Speaker 2>You mentioned Tati Gabrielle, David Harber, Jeffrey Dean Morgan. How

0:48:45.320 --> 0:48:47.640
<v Speaker 2>did you cast it? Are these people you knew out.

0:48:47.520 --> 0:48:49.840
<v Speaker 1>On my phone? Yeah, David, I went to college together

0:48:50.360 --> 0:48:52.560
<v Speaker 1>along with Mindy Kaling, who you know was on your show.

0:48:52.600 --> 0:48:54.680
<v Speaker 1>Like there was a sort of small I've heard of her,

0:48:54.960 --> 0:48:57.080
<v Speaker 1>but yeah, ye, she's coming up.

0:48:57.200 --> 0:48:57.360
<v Speaker 2>You know.

0:48:57.480 --> 0:48:59.520
<v Speaker 1>I think we'll see great things from her in the future,

0:48:59.640 --> 0:49:02.720
<v Speaker 1>that Kaling. But there was a sort of small knot

0:49:02.719 --> 0:49:04.960
<v Speaker 1>of us that we're fortunate enough to have careers. And

0:49:05.040 --> 0:49:06.799
<v Speaker 1>Dave was one of them. So yeah, I mean they

0:49:06.800 --> 0:49:09.440
<v Speaker 1>were all just people that I knew and I called

0:49:09.480 --> 0:49:13.160
<v Speaker 1>them and you know, I have nothing to offer, right,

0:49:13.400 --> 0:49:17.000
<v Speaker 1>Like there's no money, there's no you know, like this

0:49:17.040 --> 0:49:18.960
<v Speaker 1>isn't going to be the role that like wins you

0:49:19.040 --> 0:49:22.040
<v Speaker 1>the Oscar. You know, it's just, hey, there's this thing

0:49:22.160 --> 0:49:24.040
<v Speaker 1>that I really want to do. I want to tell

0:49:24.040 --> 0:49:26.560
<v Speaker 1>this story because I don't see it being told anywhere else.

0:49:27.200 --> 0:49:30.600
<v Speaker 1>And I think you probably know that feeling of you

0:49:30.680 --> 0:49:33.759
<v Speaker 1>get that call from your friend and you know, well,

0:49:33.800 --> 0:49:37.080
<v Speaker 1>the only way this gets done is if we sign

0:49:37.160 --> 0:49:39.320
<v Speaker 1>on to do it, even though it is the wrong

0:49:39.440 --> 0:49:42.000
<v Speaker 1>professional decision, It is the wrong but you know, like

0:49:42.400 --> 0:49:45.239
<v Speaker 1>there's no benefit to Dave for being in this. It's

0:49:45.239 --> 0:49:48.360
<v Speaker 1>not going to like change Jeffrey's life. And yeah, you know,

0:49:48.400 --> 0:49:49.759
<v Speaker 1>look I told them. I was like, hey, if this

0:49:49.840 --> 0:49:53.040
<v Speaker 1>goes somewhere, if this becomes a film or a television series,

0:49:53.120 --> 0:49:55.719
<v Speaker 1>like the role is yours. But you know, I mean

0:49:55.840 --> 0:49:58.480
<v Speaker 1>one of the odds, like first of all, you know,

0:49:58.560 --> 0:50:00.840
<v Speaker 1>Dave's gonna be like thanks, but I'll be running Sony

0:50:00.960 --> 0:50:04.640
<v Speaker 1>by then like I will, I will own a studio

0:50:04.719 --> 0:50:08.840
<v Speaker 1>with my rack of Emmys. So it's just the goodness

0:50:08.920 --> 0:50:12.160
<v Speaker 1>of their hearts. In that same sense of collaboration, What.

0:50:12.040 --> 0:50:14.840
<v Speaker 2>Do you feel like you can do in terms of

0:50:14.880 --> 0:50:18.760
<v Speaker 2>the type of storytelling you can do through this medium

0:50:19.040 --> 0:50:21.319
<v Speaker 2>that you can't do other places.

0:50:21.920 --> 0:50:25.120
<v Speaker 1>Well, look, I mean I think I've talked about this

0:50:25.160 --> 0:50:27.440
<v Speaker 1>a lot, but I still think it's the best example

0:50:27.440 --> 0:50:29.000
<v Speaker 1>that I know of. You know, you remember all those

0:50:29.000 --> 0:50:32.560
<v Speaker 1>stories from when Orson Wells's were the World's this broadcast

0:50:32.760 --> 0:50:35.279
<v Speaker 1>on the radio and people tuned in and they thought

0:50:35.320 --> 0:50:37.960
<v Speaker 1>that the aliens had landed. There is a power in

0:50:38.040 --> 0:50:44.200
<v Speaker 1>audio storytelling, I think, because it engages the imagination of

0:50:44.280 --> 0:50:49.600
<v Speaker 1>the listener. So whatever three hundred million dollars of you know,

0:50:50.160 --> 0:50:54.120
<v Speaker 1>pyrotechnics a VFX department might be able to put together

0:50:54.400 --> 0:50:57.160
<v Speaker 1>is still not going to be as tailored to you

0:50:58.000 --> 0:51:00.480
<v Speaker 1>as what your own brain serves up. You know. So

0:51:00.600 --> 0:51:02.840
<v Speaker 1>if you've got a fear, if you've got a joy,

0:51:03.320 --> 0:51:06.520
<v Speaker 1>the door creaks open, your brain's going to put on

0:51:06.560 --> 0:51:08.400
<v Speaker 1>the other side of it the thing that scares you

0:51:08.480 --> 0:51:10.799
<v Speaker 1>the most. Yeah, and I think that makes it a

0:51:10.840 --> 0:51:12.960
<v Speaker 1>really potent medium.

0:51:13.760 --> 0:51:18.440
<v Speaker 2>Yeah, I agree, and freeing in a way. And I

0:51:18.480 --> 0:51:23.600
<v Speaker 2>think for actors also an ability to create a character

0:51:23.880 --> 0:51:28.120
<v Speaker 2>without so many of the obstacles that we regularly are

0:51:28.160 --> 0:51:31.880
<v Speaker 2>put in front of us. That for me, you know,

0:51:31.960 --> 0:51:35.200
<v Speaker 2>for me it's mostly been animation stuff, but still in

0:51:35.719 --> 0:51:38.640
<v Speaker 2>the same way, you know, I'll let somebody else worry

0:51:38.680 --> 0:51:41.920
<v Speaker 2>about exactly what it looks like or exactly what you know,

0:51:42.080 --> 0:51:46.800
<v Speaker 2>how pressed the suit is, or how fuzzy the bear's

0:51:47.080 --> 0:51:50.719
<v Speaker 2>hair is, or whatever it is, you know, but just

0:51:50.760 --> 0:51:53.080
<v Speaker 2>being able to create a character with voice, I find it.

0:51:53.160 --> 0:51:55.720
<v Speaker 2>I find it very freeing in a way and really

0:51:55.960 --> 0:51:59.680
<v Speaker 2>really enjoy it. So congratulations to you on that.

0:52:00.719 --> 0:52:03.360
<v Speaker 1>Thanks you want to be in season three?

0:52:04.680 --> 0:52:07.520
<v Speaker 2>Yeah, give me a call. Figure out. Can I play

0:52:07.520 --> 0:52:07.879
<v Speaker 2>a bear?

0:52:08.320 --> 0:52:11.200
<v Speaker 1>Not that I can totally write a bear? Okay, we'll

0:52:11.200 --> 0:52:14.080
<v Speaker 1>write exit pursued by a bear bear played by Brian Bumkin.

0:52:17.360 --> 0:52:19.279
<v Speaker 1>We're tying it back. This is by the way, you

0:52:19.280 --> 0:52:21.920
<v Speaker 1>guys can't see this, but we're on squadcast, so I

0:52:22.000 --> 0:52:23.799
<v Speaker 1>know we're on the riverside, so I can actually see Brian.

0:52:23.840 --> 0:52:25.640
<v Speaker 1>And I almost got a spit take out of you.

0:52:25.640 --> 0:52:28.160
<v Speaker 2>You did, you almost got a spit take. And by

0:52:28.200 --> 0:52:31.560
<v Speaker 2>the way, you made me laugh harder than anyone has

0:52:31.600 --> 0:52:35.279
<v Speaker 2>made me laugh in a long, long time earlier. So

0:52:35.320 --> 0:52:38.160
<v Speaker 2>we're going to write that down for the record book.

0:52:38.400 --> 0:52:40.200
<v Speaker 1>Uh all I needed today.

0:52:40.520 --> 0:52:43.880
<v Speaker 2>We're on strike, but we're not on strike here in

0:52:44.480 --> 0:52:51.240
<v Speaker 2>the iHeart Podcasting world. Congratulations on everything and on after Shock.

0:52:51.480 --> 0:52:54.719
<v Speaker 2>And when the strike is done, we're going to come

0:52:54.719 --> 0:52:56.920
<v Speaker 2>and we're gonna we're going to reconvene. We're going to

0:52:57.000 --> 0:52:59.000
<v Speaker 2>talk about We're going to talk about all the other

0:52:59.120 --> 0:53:01.520
<v Speaker 2>a magent, amazing acting projects that you have with the

0:53:01.520 --> 0:53:04.680
<v Speaker 2>Ewel Studios going right now, we'll pretend to like them.

0:53:05.480 --> 0:53:09.440
<v Speaker 1>By the way, small asterisk. We did call SAG about

0:53:09.560 --> 0:53:11.479
<v Speaker 1>Aftershock and I was like, how do you feel about

0:53:11.520 --> 0:53:14.719
<v Speaker 1>us promoting it? And they're like, we don't care at all. Right,

0:53:14.920 --> 0:53:17.759
<v Speaker 1>So this promotion has been brought to you with the

0:53:17.800 --> 0:53:21.880
<v Speaker 1>permission of the Great Actors Guild because we do not

0:53:21.960 --> 0:53:22.880
<v Speaker 1>cross picket lines.

0:53:23.400 --> 0:53:27.120
<v Speaker 2>We don't. No, we don't. Sarah. Thank you so much.

0:53:27.480 --> 0:53:30.239
<v Speaker 2>It's very nice to meet you. I feel like I've

0:53:30.239 --> 0:53:30.960
<v Speaker 2>got a new friend.

0:53:31.680 --> 0:53:34.400
<v Speaker 1>Likewise, yeah, I hope we get to meet a person

0:53:34.400 --> 0:53:36.479
<v Speaker 1>a person at some point. Until then, Thanks for having

0:53:36.520 --> 0:53:37.440
<v Speaker 1>me be well.

0:53:37.400 --> 0:53:53.440
<v Speaker 2>Thanks so much. Thanks Sarah. Or should I say mahalo

0:53:53.719 --> 0:53:57.839
<v Speaker 2>for coming in today. I loved hearing your thoughtful perspective

0:53:58.080 --> 0:54:01.120
<v Speaker 2>on the disaster in Hawaii that is happening right now.

0:54:01.160 --> 0:54:06.840
<v Speaker 2>And you're very funny comments. Yeah, nearly made me do

0:54:06.920 --> 0:54:12.160
<v Speaker 2>a spittake. You are truly you're a badass folks. As

0:54:12.200 --> 0:54:15.640
<v Speaker 2>you know what's been happening on Maui, it's absolutely devastating.

0:54:16.560 --> 0:54:20.280
<v Speaker 2>I mean, it can't be overstated. So after hearing Sarah

0:54:20.360 --> 0:54:23.160
<v Speaker 2>talk about this today, and if you're looking for a

0:54:23.200 --> 0:54:26.600
<v Speaker 2>way to help, check out an organization she likes Maui

0:54:27.160 --> 0:54:32.440
<v Speaker 2>Rapid Response. That's Maui Rapid Response dot org. They're on

0:54:32.480 --> 0:54:36.560
<v Speaker 2>the ground there in Maui. They're providing some food, shelter supplies,

0:54:36.680 --> 0:54:40.800
<v Speaker 2>and other resources to those impacted by the fire. And look,

0:54:41.080 --> 0:54:44.480
<v Speaker 2>if you're on Maui right now, know that me and

0:54:44.880 --> 0:54:48.480
<v Speaker 2>I know so many of my listeners are thinking about you.

0:54:48.600 --> 0:54:51.080
<v Speaker 2>Our heart is going out to you, and know that

0:54:51.120 --> 0:54:54.440
<v Speaker 2>you can go to Maui Rapid Response to connect to

0:54:54.520 --> 0:54:58.600
<v Speaker 2>resources across the island. Thanks for listening, everybody. That was

0:54:58.600 --> 0:55:02.719
<v Speaker 2>a fun one. Have a a very very happy and

0:55:02.920 --> 0:55:13.680
<v Speaker 2>safe week. Off the Beat is hosted and executive produced

0:55:13.719 --> 0:55:18.080
<v Speaker 2>by me Brian Baumgartner, alongside our executive producer Lang Lee.

0:55:18.360 --> 0:55:22.600
<v Speaker 2>Our senior producer is Diego Tapia. Our producers are Liz Hayes,

0:55:22.719 --> 0:55:26.640
<v Speaker 2>Hannah Harris and Emily Carr. Our talent producer is Ryan

0:55:26.960 --> 0:55:31.200
<v Speaker 2>Papa Zachary, and our intern is Thomas Olsen. Our theme

0:55:31.320 --> 0:55:35.000
<v Speaker 2>song Bubble and Squeak, performed by the one and only

0:55:35.400 --> 0:55:36.160
<v Speaker 2>Creed Bratton,