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Speaker 1: First of all, you don't know me.

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Speaker 2: We all about that high school drama.

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Speaker 1: Girl drama, girl, all about them high school queens. We'll

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Speaker 1: take you for a ride, and our comic girl shared

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Speaker 1: for the right teams drama queens, girl fashion, but your

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Speaker 1: tough girl, you could sit with us.

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Speaker 3: Girl Drama, Queens drama, quise drama, Queens Drama, Drahna, Queens Drama, Queens.

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Speaker 1: Guys.

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Speaker 4: This was the best episode of the season, hands down,

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Speaker 4: best episode of the season so far. Like, I love

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Speaker 4: this episode so much and enjoy you as the director

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Speaker 4: and crashed it.

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Speaker 1: You crashed it, thanks, babe. I had so much fun.

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Speaker 1: It was a good one.

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Speaker 2: It's such a fun episode, and I think like having

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Speaker 2: you direct it as well, because we were all having

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Speaker 2: these really surreal experiences being faced with our own characters,

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Speaker 2: Like I think it added such a realism to the

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Speaker 2: comedy because we were six years into really being able

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Speaker 2: to be out in the world without being met by

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Speaker 2: people who knew us from TV in the way that

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Speaker 2: our characters were being met by these people who thought

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Speaker 2: they knew us either from a book or a breakdown,

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Speaker 2: and I was like, oh my god, it's so crazy.

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Speaker 1: And people who were identifying with us. They were like,

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Speaker 1: I'm such a Brook, I'm such a Peyton, I'm such aude. No,

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Speaker 1: we've got rooms full of them. So funny.

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Speaker 2: Yeah, I love you.

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Speaker 4: So you were the only person that could have directed this.

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Speaker 2: It was.

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Speaker 4: It was so meta and so weird. Give us the

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Speaker 4: rundown show it. What's the breakdown you got at the beginning?

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Speaker 1: I got Season six, Episode sixteen, Screenwriters Blues, Air date

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Speaker 1: February second, two thousand and nine. Lucas wrestles with casting

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Speaker 1: for his movie, while Peyton tries to prepare for their future.

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Speaker 1: Dan advises Jamie on a school crash. Brooke meets the

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Speaker 1: actress who will play her my favorite so this is

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Speaker 1: so fun, while Nathan gets exciting news and Haley has

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Speaker 1: to make a tough decision at school. There was a

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Speaker 1: lot packed into this and it was written by Mike

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Speaker 1: Harrow and David Strauss.

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Speaker 4: Everybody had storylines.

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Speaker 1: Yeah, yeah, everybody had something to do.

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Speaker 2: We should have done that all the time.

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Speaker 1: Even Vaughn showed up, like brought him in again, which

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Speaker 1: it's been a while since we'd seen him. It was great.

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Speaker 1: Everybody had a little something.

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Speaker 4: Yeah, loved it. I didn't even bring my notes down

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Speaker 4: here into the office because I was like, OK, I

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Speaker 4: don't need the notes. I love this so and I remember,

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Speaker 4: I'll be honest, I remember being a little bit nervous

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Speaker 4: because Chad had directed, but you were directing, and I

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Speaker 4: was like, oh no, is this an opportunity to like

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Speaker 4: talk us out of the ticks that we'd all developed

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Speaker 4: after six years of doing this show. I was like,

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Speaker 4: is this going to be the time I find out

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Speaker 4: that like Joy really hates when I deliver a line

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Speaker 4: this way, or I make like this dumb face, or

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Speaker 4: I didn't know how it would feel to be directed

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Speaker 4: by a female peer like the boys we were always

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Speaker 4: kind of separate from. But I was like, yeah, oh no,

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Speaker 4: And instead it turned into this opportunity where you could

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Speaker 4: feel there were some things in the script that were

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Speaker 4: kind of cheesy, and you found a way to make

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Speaker 4: those moments really funny and like play with the dialogue

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Speaker 4: in a way that just felt really collaborative and good.

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Speaker 4: You did it in the scene with you and Lucas,

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Speaker 4: you did it in the scene with you and me,

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Speaker 4: Like the cheesy lines became paunchlines.

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Speaker 1: Like what else do children get into your heart?

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Speaker 2: Your heart?

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Speaker 4: That's exactly the line I'm thinking of that, And I

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Speaker 4: think that's part.

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Speaker 2: Of why I love the way the dynamics feel in

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Speaker 2: the episode so much, is because we were all making decisions,

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Speaker 2: like you were leading a female perspective to make choices,

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Speaker 2: and so we all got to be the team that normally,

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Speaker 2: to your point, Hill, we were up against like it

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Speaker 2: would normally be one of us or two of us,

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Speaker 2: occasionally three of us together in a scene being like

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Speaker 2: girls don't talk like this, and having a guy like

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Speaker 2: it's on the page, you have to do it, and

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Speaker 2: it says right here, she's emotional or she's crying or whatever.

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Speaker 2: We didn't have to follow any of those rules with

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Speaker 2: you because you were sick of following those rules too.

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Speaker 2: And what I sort of love is that not only

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Speaker 2: do we get to clearly have more fun, but also

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Speaker 2: all the stuff that I was worried that we were

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Speaker 2: getting made fun of. For Like the episode opens on

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Speaker 2: a Nathan and Haley and she's in the poncho and

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Speaker 2: it's like, oh god, how many how many hits are

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Speaker 2: the writers going to take at us because they get

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Speaker 2: to make fun of our characters, And instead it was like,

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Speaker 2: oh yeah, well, all the boys will be shirtless because

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Speaker 2: that's what you guys try to do to us, and

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Speaker 2: all the boys are going to snap and not be

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Speaker 2: able to handle the pressure, and we're all going to

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Speaker 2: be cool. Like it just it flipped the dynamic in

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Speaker 2: a way that was really fun to watch. And I

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Speaker 2: don't know, I felt like I felt like we got

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Speaker 2: some good shots in at what we were dealing with

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Speaker 2: by the scenes.

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Speaker 1: I loved it, Yeah, totally. Yeah, it was a really

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Speaker 1: nice space us to be able to throw in those

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Speaker 1: shots in a way that felt fair and totally believable

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Speaker 1: and within the context of the story.

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Speaker 2: Yeah. And then and then it still wound up being funny, right, like, yeah,

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Speaker 2: we still got that comic relief even though Nathan sits

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Speaker 2: and goes, you know, why am I not wearing a shirt?

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Speaker 4: Like what's going on here?

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Speaker 2: Weird? Right? And then you still get Brooke walking into

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Speaker 2: like a you know, a sea of dudes that are

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Speaker 2: built like fitness models and being like, oh my god,

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Speaker 2: you know a human would So it wasn't like it

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Speaker 2: was all one sided. But I don't know, it just

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Speaker 2: it felt it felt ripe.

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Speaker 4: Right. How early did you get the script?

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Speaker 1: A week and a half maybe, two. What it was,

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Speaker 1: it was like pretty pretty fast. There was a week

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Speaker 1: of prep, so it was there was. It was a

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Speaker 1: lot thrown at me. And if it had not been

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Speaker 1: our show, I don't know how I wouldn't have been

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Speaker 1: able to do it. I mean, we had our there

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Speaker 1: was so much of it. It was just a well

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Speaker 1: oiled machine. Our crew knew exactly what to do. I

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Speaker 1: mean I was there for quality control and sort of

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Speaker 1: guidance of my vision and opinion of how how to

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Speaker 1: shape things. But the clay was basically molded. We'd been

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Speaker 1: doing that for so long, so it wasn't an incredibly

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Speaker 1: tall order from that point of view. But you guys,

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Speaker 1: I remember being really generous and patient with me as

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Speaker 1: I was learning. Was the first thing I'd ever directed.

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Speaker 1: And to come in and direct people who I respect,

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Speaker 1: and I you know, I know what great performance you

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Speaker 1: guys were. And I didn't want to I didn't want

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Speaker 1: to create tension or like make something. I don't know,

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Speaker 1: it just I just didn't know what to expect. I

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Speaker 1: knew that we would all be respectful, but like I

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Speaker 1: wanted to make it good, and I didn't want to

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Speaker 1: put my foot in my mouth or step in it

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Speaker 1: or hurt anybody's feelings or whatever, and still trying.

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Speaker 2: Are you really going to make base? Is that your bad?

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Speaker 1: Chad's the only person I could ever say that too,

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Speaker 1: and he would just you know, it was like somehow

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Speaker 1: I got away with it with.

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Speaker 2: Him, well the same.

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Speaker 4: That's why I was like when Chad directed, I've always

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Speaker 4: been able to be really frank with Chad because that's

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Speaker 4: just the dynamic of our relationship. It was different when

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Speaker 4: it was like a peer that I felt closer to,

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Speaker 4: you know what I mean, Like it's having I don't know,

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Speaker 4: it's a weird thing where pushing back feels dangerous if

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Speaker 4: it's someone that you care about, because you're like, oh, yeah, no,

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Speaker 4: how are we going to navigate this well?

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Speaker 2: And we were all in it together as a cast obviously,

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Speaker 2: and you know, joy for you and for Chad directing

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Speaker 2: for the first time this year. It's not just that

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Speaker 2: you're saying to a director like, I don't know that

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Speaker 2: I necessarily agree with this because fill in the blank

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Speaker 2: six years of backstory with your character. But you're looking

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Speaker 2: at your friend that you know is nervous because this

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Speaker 2: is a really big deal, and you're like, you might

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Speaker 2: not remember that last year my character did this, But

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Speaker 2: I remember, and I don't know how to say this

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Speaker 2: to you in a way where it will not feel personal,

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Speaker 2: And I really don't mean to stress you out. I

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Speaker 2: have a thought like they're just the panic of like

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Speaker 2: I don't want to hurt your feelings. It's like such

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Speaker 2: a real thing, and I don't think we felt that

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Speaker 2: even with the directors we were friends with. We didn't

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Speaker 2: feel that with other directors because they were all, you know,

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Speaker 2: older than us, and they'd been doing this for a

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Speaker 2: long time. And it's funny you saying that. It like

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Speaker 2: my chest feels tight, like in a sweet way of

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Speaker 2: like I just want to make sure you're okay, but

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Speaker 2: also I want to be okay, And how do we

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Speaker 2: do this together. It's such a big professional leap that

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Speaker 2: we all, you know, took on these journeys.

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Speaker 1: I felt the weight of responsibility of that that it

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Speaker 1: like I even looking back now, I mean, I think

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Speaker 1: we all I don't know. I don't know exactly how

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Speaker 1: the old adage like the quote is, but basically like

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Speaker 1: everybody already knows what their biggest problems are, and they're

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Speaker 1: like what their flaws and faults are and like, looking back,

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Speaker 1: I I know that my stubbornness in particular was like

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Speaker 1: probably my worst flaw, qualled personal character flaw at the time.

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Speaker 1: So so stubborn when I saw something and I thought

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Speaker 1: it needed to be a certain way, like that was it.

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Speaker 1: I really had a hard time getting around it. Part

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Speaker 1: of it was the ADH shape, but some of it

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Speaker 1: was just like there's a lot of it. It was just

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Speaker 1: other stuff.

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Speaker 4: We've learned so much about brains in the last twenty years.

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Speaker 1: Yeah, I know, I know, right, but whatever. Some of

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Speaker 1: it's just that was just where I was in life.

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Speaker 1: But so the weight of responsibility of wanting to be

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Speaker 1: open and get over that thing that I knew was

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Speaker 1: my flaw of being so stubborn when I would see

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Speaker 1: something a certain way and trying to be able to

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Speaker 1: listen and then and then change it and improvise it

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Speaker 1: the last second because somebody else had a different idea

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Speaker 1: and you want to be open to that. Like, I

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Speaker 1: learned so much. I learned so much on this episode

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Speaker 1: End with you guys in particular, it was really it

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Speaker 1: was a really cool experience and you were all so generous.

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Speaker 4: It's a perfect episode. I think whatever you did you

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Speaker 4: did it right, because it is a perfect episode. There

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Speaker 4: wasn't a single scene where I was like, when's this over.

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Speaker 2: Usually there's like a.

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Speaker 4: Couple snoozer scenes per episode. This one was like all

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Speaker 4: the hits. It was a whole CD of the hits.

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Speaker 1: The secret is keep the camera moving. That's it. You

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Speaker 1: just keep it moving as much as you can. If

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Speaker 1: there's anything that feels slow, just keep going. Eventually it

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Speaker 1: all just blends together like one long music video.

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Speaker 4: But that's actually that's how it felt. The transitions from

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Speaker 4: scene to scene really felt smooth. You know, we talked

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Speaker 4: a bit in the past about just recently about how

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Speaker 4: our episodes felt kind of disjointed, like Sophia was on

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Speaker 4: a horror movie and I'm doing, you know, baby boom,

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Speaker 4: and like everybody was doing different shit. And this really

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Speaker 4: felt cohesive and cool. And not only did you have

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Speaker 4: to deal with your core players, but you had like,

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Speaker 4: you know, James Vanderbeek is here, Austin's here, you have

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Speaker 4: all of these doppelgangers here. It was the episode of Doppelgang.

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Speaker 4: It was.

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Speaker 1: Fun. It was really fun. Well let's get into it

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Speaker 1: because I loved this. I love these storylines. The fake

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Speaker 1: Brook was I just I just could not stop smiling

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Speaker 1: every time the two of you were on screen together.

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Speaker 2: It was so fun. It was so so fun because

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Speaker 2: being able to make choices, you know, with another actor

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Speaker 2: who was like essentially we talked about it and the

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Speaker 2: idea was anything I did, She'd do, and so we

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Speaker 2: really leaned into it. And like the literal mirror image

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Speaker 2: of physicality, screaming, hugging, yelling. It's such good comedy, and

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Speaker 2: I think you make a really good point.

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Speaker 3: Hill.

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Speaker 2: Part of the reason it works so well in the

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Speaker 2: structure of this episode is because this whole episode is

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Speaker 2: a rom com. Even the even the serious stuff, you know,

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Speaker 2: joy your storyline with Ashley, the Hayle, Sam and the

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Speaker 2: school dynamic, it still essentially works in a rom com structure.

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Speaker 2: It's somebody saying, hey, you're really great and I'm here

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Speaker 2: to support you.

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Speaker 1: Yeah, wholesome and uplifting.

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Speaker 2: Yeah, it's it's a platonic energy obviously with a student

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Speaker 2: and a teacher, but it's it's still very sweet and

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Speaker 2: kind and loving. And so instead of having you know,

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Speaker 2: one person getting accosted by a stalker and another person

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Speaker 2: trying on baby clothes, it's like the cohesion in the

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Speaker 2: episode really works, and I don't know, I think it

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Speaker 2: allows for some of that comedy to play even bigger,

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Speaker 2: which you know, Carissa and I got to do together.

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Speaker 4: Yeah. Well, this was a whole episode about casting. How

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Speaker 4: much did you play a part in the casting, because

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Speaker 4: that's what I want to know before we talk about

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Speaker 4: like the actual stories.

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Speaker 2: Yeah.

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Speaker 1: I think I I remember playing a pretty big part

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Speaker 1: in casting. I mean I was there for all. I

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Speaker 1: saw the tapes I saw. Was I in the room

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Speaker 1: for any of them?

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Speaker 2: I don't know.

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Speaker 1: If I was in the room, I can't remember, but

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Speaker 1: I did see a lot of tapes and definitely hand

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Speaker 1: picked Alexandra who played eventually played Peyton. Huh, Carissa, I

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Speaker 1: feel like maybe had already I had been picked by

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Speaker 1: producers or something. There was I feel I feel like that.

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Speaker 1: Alison Munn was played Miss Lauren. That was her first

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Speaker 1: episode with us, and Alison and I had done a

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Speaker 1: play together in la We did The Outsiders the musical

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Speaker 1: and she was Cherry Vallance and I was Sandy, girlfriend

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Speaker 1: of Soda Pop or somebody, so that was really fun

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Speaker 1: to bring her in. I think all the boy everybody else,

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Speaker 1: I think I just kind of watched tapes.

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Speaker 4: I felt really protected in the meta casting of this

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Speaker 4: episode because there's that whole conversation. Yeah, there's this whole

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Speaker 4: conversation of like, dew we cast the do we cast

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Speaker 4: the boobs? Do we cast? You know, like what are

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Speaker 4: we casting for? And So the girl that ultimately became

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Speaker 4: Peyton in the table read, I loved her, like I

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Speaker 4: just loved like watching how innocent she was and how

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Speaker 4: I don't know, there was like a really protective nature

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Speaker 4: to that.

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Speaker 1: She felt so much like Peyton season one to me

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Speaker 1: that there was an innocence, there was a softness that

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Speaker 1: could easily have a hard exterior, but she was It's

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Speaker 1: that same sort of like Michelle Williams quality, Like there's

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Speaker 1: a sensitivity there that is so deep, like the well

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Speaker 1: is so deep. Really good actress. I don't know what

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Speaker 1: she's been doing since then, but she's good.

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Speaker 4: And then Nathan character too, like he was, oh, he

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Speaker 4: was so little, like he was just a kid.

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Speaker 2: They seem so young.

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Speaker 4: Yeah, how weird to cast within a casting storyline.

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Speaker 1: It was weird, super weird, But I think it was

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Speaker 1: fun to be able to do that from my end

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Speaker 1: because I know, you guys so well, Like I kind

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Speaker 1: of wouldn't have wanted anybody else to come in and

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Speaker 1: make those choices. I would have wanted only one of

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Speaker 1: us to be able to do that because we all

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Speaker 1: knew each other. Somebody else coming in would I wouldn't

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Speaker 1: have trusted their judgment.

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Speaker 4: You're ultimately Lucas in the episode.

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Speaker 1: Yeah, oh, because I'm making all these decisions.

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Speaker 4: Yeah, I know.

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Speaker 2: Part of the metanists that I really appreciate is, you know,

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Speaker 2: Mike Harrow and David Strauss wrote this episode, and Mike

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Speaker 2: Harrow was one of the guys who really grew up

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Speaker 2: with us like on the show. You know, he I

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Speaker 2: don't remember if he was a writer's assistant or just

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Speaker 2: like you know, one of the junior writers when the

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Speaker 2: show started, but Mike was one of the people who,

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Speaker 2: especially in later seasons, I know, really had our backs.

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Speaker 2: Were things that he shared to protect us and to

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Speaker 2: like illuminate certain things. You know, he he shared a

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Speaker 2: lot of things with me in later years, you know, Hill,

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Speaker 2: even after you left it, I hadn't known that, Like

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Speaker 2: I really cherish him for because that was a risk

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Speaker 2: for him. And there's things happening in this episode where

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Speaker 2: I'm like, oh, wow, you were really brave because he

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Speaker 2: wrote James Vanderbeek to say some exact things that our

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Speaker 2: boss had said to us. They were gross. Yeah, and

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Speaker 2: you get to see how gross it is and you

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Speaker 2: get to see that he's taking shots at this guy,

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Speaker 2: being like, this is how you treat people, and this

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Speaker 2: is how you talk to women, and this is how

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Speaker 2: you're trying to cast your show.

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Speaker 4: And uh, it's so ballsy, man, it's so ballsy to

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Speaker 4: hold the mirror up.

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Speaker 2: Yeah, he really did it, and I was like, whoa.

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Speaker 2: You know even that a lot of it got through,

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Speaker 2: and you know, maybe some of that is when you

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Speaker 2: think you're all powerful, you know, your ego makes you

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Speaker 2: think no criticisms will ever get through. But it kind

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Speaker 2: of took my breath away and I thought he did

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Speaker 2: it so smartly in that he jumbled up who the

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Speaker 2: boss said what to but some of those things really

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Speaker 2: came out of our boss's mouth and I went ooh,

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Speaker 2: and I was like, oh, yeah, you just get to

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Speaker 2: see how totally inappropriate and disgusting it is and there's

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Speaker 2: no there's no defense for it. It's really nice to

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Speaker 2: watch the scenes play out.

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Speaker 1: Yeah, because he's so grow like, oh, so great, because

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Speaker 1: Vanderbeek is great. He does it really well.

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Speaker 2: But what I love about Vanderbeek is he really commits

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Speaker 2: as an actor and he's like, oh you want me

349
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Speaker 2: to be slammy watch this and you're like, thank you.

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Speaker 4: Yeah.

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Speaker 2: He doesn't judge his characters, and it was very important

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Speaker 2: that that character was portrayed. Honestly, I was.

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Speaker 4: Impressed well and that he's not He's not far fetched.

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Speaker 4: Like that is literally how we were being spoken about.

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Speaker 4: It's how day players on our show were spoken about

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Speaker 4: in front of me and spoken to.

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Speaker 1: And there was no mustache twisting. He wasn't being a villain.

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Speaker 1: He was being like a normal quote unquote, nice, likable

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Speaker 1: guy who just happens to say some gross things, you know,

360
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Speaker 1: on the offset and then it just the closer you get,

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Speaker 1: the ickier it.

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Speaker 2: Gets, cause it's funny.

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Speaker 1: Yeah, but he didn't seem like he wasn't trying to

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Speaker 1: be dastardly he or you know, awful. He was just

365
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Speaker 1: being he was being real.

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Speaker 2: Oh, which is so wool, but it's so I got

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Speaker 2: to say, like, there's something you know, all of us

368
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Speaker 2: having been through it, there's something I really appreciate about

369
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Speaker 2: watching it, and how we didn't pull back from it,

370
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Speaker 2: and how it was Vanderbeek essentially portraying our boss, who

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Speaker 2: was being written by one of the writers who'd been

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Speaker 2: with us the whole time, who'd heard all the stories,

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Speaker 2: who told us a lot of a lot of what

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Speaker 2: was happening in the writer's room in la and that

375
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Speaker 2: you were directing it, and by the way, directing it

376
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Speaker 2: with our crew who'd been there for so long. You

377
00:19:09,880 --> 00:19:13,359
Speaker 2: know that all these people have relationships with Like our

378
00:19:13,400 --> 00:19:16,560
Speaker 2: camera crew came from Dawson's. So even if you think

379
00:19:16,560 --> 00:19:20,760
Speaker 2: about it that way, our DP, we know, was able

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Speaker 2: to say to Vanderbeek, like, yeah, this is what these

381
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Speaker 2: girls are going through, and it just I don't know,

382
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Speaker 2: like the four of you somehow making this stuff get

383
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Speaker 2: from the page to the screen.

384
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Speaker 4: It's like Captain Plantage, Yeah, it's like I.

385
00:19:34,400 --> 00:19:37,280
Speaker 2: Feel like we got away with something in a way

386
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Speaker 2: to be like, you want to know what it was like,

387
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Speaker 2: It was like this but worse.

388
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Speaker 1: Yeah, the irony of our boss creating this whole storyline

389
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Speaker 1: and then having it get used exactly against him in

390
00:19:48,040 --> 00:19:52,000
Speaker 1: the way you like, that's pretty great. I mean, you

391
00:19:52,600 --> 00:19:55,600
Speaker 1: can't write this stuff even though you can't apparently like.

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Speaker 2: There's so much about it that wasn't great, but this

393
00:19:58,359 --> 00:19:59,520
Speaker 2: is great. Yeah.

394
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Speaker 4: Well it made it so easy to side I Beak,

395
00:20:01,800 --> 00:20:03,800
Speaker 4: Like each one of us had a moment with him

396
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Speaker 4: where it was like, uh, wait, don't want this, like

397
00:20:06,440 --> 00:20:11,960
Speaker 4: whenever you are pass, yeah, which hard pass feels redemptive.

398
00:20:24,920 --> 00:20:27,520
Speaker 4: The one thing though, in the Beak storyline, you know

399
00:20:27,560 --> 00:20:31,119
Speaker 4: now that you're bringing up Mike crafting this thing and

400
00:20:31,160 --> 00:20:32,960
Speaker 4: really touching on some of the stuff that was actually

401
00:20:32,960 --> 00:20:37,040
Speaker 4: going on. The thing that I found most triggering in

402
00:20:37,160 --> 00:20:41,680
Speaker 4: this episode was Julian and his complacency with the way

403
00:20:41,760 --> 00:20:45,679
Speaker 4: the work was being depicted. Because I don't necessarily mind

404
00:20:45,680 --> 00:20:51,040
Speaker 4: a bad guy. My biggest trigger in life is a coward.

405
00:20:51,240 --> 00:20:55,479
Speaker 4: Like cowards infuriate me in a way that's probably not normal.

406
00:20:56,040 --> 00:20:59,080
Speaker 4: And the cowardice of Julian to let that breakdown go

407
00:20:59,200 --> 00:21:02,440
Speaker 4: out and then try to like spin it later irritated

408
00:21:02,440 --> 00:21:06,480
Speaker 4: the out of me. I couldn't deal with all the

409
00:21:06,520 --> 00:21:10,760
Speaker 4: other men in the room going along with that personification

410
00:21:10,800 --> 00:21:12,240
Speaker 4: of Brook. It really biked me.

411
00:21:12,600 --> 00:21:13,399
Speaker 1: Yeah.

412
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Speaker 2: And the thing is, by the way, I fully agree,

413
00:21:16,600 --> 00:21:19,800
Speaker 2: and it is one of those moments where I can

414
00:21:19,840 --> 00:21:23,159
Speaker 2: see why It's necessary because it is the device. It is,

415
00:21:23,640 --> 00:21:27,880
Speaker 2: it is what makes as Brooke and Missy are spending

416
00:21:27,920 --> 00:21:30,680
Speaker 2: time together, what makes them like in the way they

417
00:21:30,760 --> 00:21:34,240
Speaker 2: meet perfectly, then they start having these near misses. You

418
00:21:34,359 --> 00:21:38,000
Speaker 2: need the confusion. I liked getting to stand up for

419
00:21:38,080 --> 00:21:41,919
Speaker 2: myself because it also felt very meta to me in

420
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Speaker 2: that you know, I have felt that way and we've

421
00:21:45,320 --> 00:21:47,760
Speaker 2: talked about it on the show, Like it was really

422
00:21:47,800 --> 00:21:52,840
Speaker 2: hard for me coming onto the show and then receiving

423
00:21:52,960 --> 00:21:56,880
Speaker 2: treatment in public and being like, oh, people think I'm

424
00:21:57,400 --> 00:22:02,880
Speaker 2: this promiscuous part like Brooke Davis, which, by the way,

425
00:22:03,160 --> 00:22:04,959
Speaker 2: have sex with as few or as many people as

426
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Speaker 2: you want. I don't actually care about that. What I

427
00:22:07,280 --> 00:22:10,400
Speaker 2: care about is the way we treat women differently if

428
00:22:10,400 --> 00:22:14,400
Speaker 2: we believe they are sexual. And it was really scary

429
00:22:14,440 --> 00:22:17,160
Speaker 2: for me, like growing up in a mostly all girls'

430
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Speaker 2: school environment, I did three years of a co ed college,

431
00:22:20,040 --> 00:22:21,840
Speaker 2: and then I came on this show and I was like,

432
00:22:22,040 --> 00:22:25,840
Speaker 2: what is happening? Well, like why why are people talking

433
00:22:25,880 --> 00:22:28,080
Speaker 2: to me this way in public? Why do people touch

434
00:22:28,200 --> 00:22:31,520
Speaker 2: me in public? And I watch them not touch other people,

435
00:22:31,640 --> 00:22:35,399
Speaker 2: Like it was very hard for me, and so what

436
00:22:35,520 --> 00:22:38,960
Speaker 2: I loved in this episode was getting to say things

437
00:22:39,000 --> 00:22:41,199
Speaker 2: that I had said then and that I say sometimes now,

438
00:22:41,240 --> 00:22:43,560
Speaker 2: where I'm like, of all the cool shit I have

439
00:22:43,680 --> 00:22:47,240
Speaker 2: done as a woman, you want to talk about who

440
00:22:47,280 --> 00:22:50,280
Speaker 2: I dated or what dips cheated on me, or who

441
00:22:50,320 --> 00:22:52,439
Speaker 2: I figured out wasn't who I thought they were, Like

442
00:22:52,880 --> 00:22:55,600
Speaker 2: that has to do with other people's bad behavior, Like

443
00:22:56,119 --> 00:22:58,760
Speaker 2: I've done this cool thing, I've been this advocate, I've

444
00:22:58,800 --> 00:23:02,240
Speaker 2: built this company or nonprofit or whatever.

445
00:23:02,359 --> 00:23:06,119
Speaker 4: Why Why don't the things women do matter more productive?

446
00:23:06,560 --> 00:23:09,080
Speaker 2: Yeah, than the way other people treat us or want

447
00:23:09,080 --> 00:23:13,159
Speaker 2: to sleep with us? And so yeah, I don't know.

448
00:23:13,200 --> 00:23:15,720
Speaker 2: In the way that I loved it, Beek personified our

449
00:23:15,800 --> 00:23:18,720
Speaker 2: boss being gross. I loved that I got to sort

450
00:23:18,760 --> 00:23:22,200
Speaker 2: of vent about my own experience and experiences by the

451
00:23:22,240 --> 00:23:25,560
Speaker 2: way that I know you've both had where it's like you,

452
00:23:25,640 --> 00:23:27,600
Speaker 2: that's that's the thing you want to ask me about

453
00:23:27,640 --> 00:23:31,240
Speaker 2: in my whole day life. And so, I don't know,

454
00:23:31,400 --> 00:23:35,919
Speaker 2: there's a I hated obviously that Julian was a coward

455
00:23:35,920 --> 00:23:39,399
Speaker 2: because I'm like you, and cowardice triggers the out of me. Yeah,

456
00:23:39,440 --> 00:23:41,359
Speaker 2: because we always had to stand up for ourselves, and

457
00:23:41,400 --> 00:23:43,760
Speaker 2: I get annoyed when people with more power don't. But

458
00:23:44,600 --> 00:23:47,879
Speaker 2: I did like it as a writing device. Because I

459
00:23:48,040 --> 00:23:49,920
Speaker 2: liked it, I got my moment to be like, how

460
00:23:50,000 --> 00:23:52,600
Speaker 2: dare you? And then I got to say yeah, and

461
00:23:52,680 --> 00:23:54,040
Speaker 2: I got to say it to Missy and I got

462
00:23:54,080 --> 00:23:55,640
Speaker 2: to say it to Julian and I was like, yeah,

463
00:23:55,680 --> 00:23:57,879
Speaker 2: I'm pork. Davis is a badass. Women are bad asses.

464
00:23:57,960 --> 00:24:01,280
Speaker 2: Leave me alone, and I sort of I loved the payoff,

465
00:24:01,359 --> 00:24:04,200
Speaker 2: even if I hated him having to be a little

466
00:24:04,200 --> 00:24:06,159
Speaker 2: bitch to get me. Well, no, one not.

467
00:24:06,280 --> 00:24:09,920
Speaker 4: Everyone's born with a backbone, right like some people. Some

468
00:24:09,960 --> 00:24:12,639
Speaker 4: people's story is that they grow one. And so if

469
00:24:12,720 --> 00:24:17,199
Speaker 4: Julian is growing a backbone, neat. I love that he

470
00:24:17,280 --> 00:24:18,440
Speaker 4: fedexes your bone.

471
00:24:20,960 --> 00:24:27,119
Speaker 2: FedEx super cool. Guys.

472
00:24:27,200 --> 00:24:29,400
Speaker 4: Have we ever been in a situation where we had

473
00:24:29,400 --> 00:24:34,520
Speaker 4: the FedEx our yearbook to the location we were at? Oh?

474
00:24:34,560 --> 00:24:36,800
Speaker 4: He really wanted to make that point. He's like, I

475
00:24:36,800 --> 00:24:39,240
Speaker 4: showed you to see the butt cut that I had

476
00:24:39,359 --> 00:24:40,520
Speaker 4: in nineteen ninety eight.

477
00:24:41,760 --> 00:24:44,000
Speaker 2: The butt cut. What a term.

478
00:24:45,160 --> 00:24:47,400
Speaker 1: And Brooke gets to go home after all of it

479
00:24:47,560 --> 00:24:51,560
Speaker 1: and the relationship she has with Sam. It's like, I

480
00:24:52,160 --> 00:24:56,040
Speaker 1: love that in spite of all of the stuff that's

481
00:24:56,080 --> 00:24:58,359
Speaker 1: being thrown at her, she just gets to go home

482
00:24:58,520 --> 00:25:03,600
Speaker 1: and continue to do what really makes her, investing in

483
00:25:03,640 --> 00:25:06,800
Speaker 1: the people that she cares about, building up this young woman.

484
00:25:07,280 --> 00:25:11,280
Speaker 1: It's like, that's what we do. Just go ahead, keep

485
00:25:11,320 --> 00:25:14,040
Speaker 1: throwing it at me. I'm I'm gonna just keep being me.

486
00:25:14,200 --> 00:25:18,080
Speaker 1: And Brooke does that non stop in this episode. I

487
00:25:18,160 --> 00:25:22,680
Speaker 1: just see her. It's so fun to watch her or

488
00:25:22,720 --> 00:25:25,560
Speaker 1: you whatever, like dealing with all of this stuff coming

489
00:25:25,560 --> 00:25:27,960
Speaker 1: at Brook and then just being like, but you know what,

490
00:25:28,600 --> 00:25:30,200
Speaker 1: this is what really matters, and then that's what I'm

491
00:25:30,200 --> 00:25:34,160
Speaker 1: gonna focus on. That's what makes her so great and lovable.

492
00:25:35,200 --> 00:25:38,040
Speaker 4: Well, all the girls had that storyline this episode. It

493
00:25:38,160 --> 00:25:41,240
Speaker 4: was like, hey Hayley, you're gonna lose your job. Hey Peyton,

494
00:25:41,320 --> 00:25:44,080
Speaker 4: you're on your own kid. Hey Brooke, you're a whore forever,

495
00:25:44,359 --> 00:25:47,280
Speaker 4: you know. Like yeah, everybody had these things and the

496
00:25:47,320 --> 00:25:51,720
Speaker 4: women just had to be fine. And then Lucas got

497
00:25:51,720 --> 00:25:52,760
Speaker 4: to have a temper tantrum.

498
00:25:53,640 --> 00:25:57,320
Speaker 1: Yeah yeah, yeah right. I did fill out with Peyton though.

499
00:25:57,359 --> 00:26:00,160
Speaker 1: I was just watching you at the fireplace. I was like,

500
00:26:01,440 --> 00:26:04,840
Speaker 1: I feel that, like how many times I would be

501
00:26:04,880 --> 00:26:07,480
Speaker 1: a millionaire if I had a quarter for every time

502
00:26:07,920 --> 00:26:12,400
Speaker 1: I had to suck it up? Swallow it down. Yeah, Yeah,

503
00:26:12,440 --> 00:26:15,640
Speaker 1: I'm good. Everything's great, great.

504
00:26:16,080 --> 00:26:20,720
Speaker 2: Call me later, Yeah, I'll be here. You broke my heart.

505
00:26:22,000 --> 00:26:22,520
Speaker 1: Everything.

506
00:26:22,520 --> 00:26:26,959
Speaker 4: Oh, the hormones are real, though I don't know how

507
00:26:27,040 --> 00:26:29,520
Speaker 4: much I realized that when we filmed this. You know,

508
00:26:29,560 --> 00:26:32,000
Speaker 4: you say words that are on the paper and you're like, eh,

509
00:26:32,320 --> 00:26:37,080
Speaker 4: I don't and then you know, a year later, I

510
00:26:37,160 --> 00:26:39,760
Speaker 4: was pregnant for real. I guess yeah, if this aired

511
00:26:39,800 --> 00:26:42,600
Speaker 4: February second of two thousand and nine, I had gus

512
00:26:42,640 --> 00:26:45,320
Speaker 4: March of twenty ten. Yeah, and all of a sudden,

513
00:26:45,440 --> 00:26:48,919
Speaker 4: all that hormone. This was like a premon mission. This

514
00:26:49,119 --> 00:26:53,320
Speaker 4: was practice. The hormone stuff is super real, and even

515
00:26:53,359 --> 00:26:56,119
Speaker 4: now in our early forties, girls, I'm gonna cry on

516
00:26:56,160 --> 00:26:59,840
Speaker 4: a dime. I walk around, Yeah, I walk around like

517
00:27:00,119 --> 00:27:03,320
Speaker 4: forty percent ready to cry at all times. And it's

518
00:27:03,480 --> 00:27:05,600
Speaker 4: just a matter of what the trigger's gonna be. And

519
00:27:05,680 --> 00:27:09,680
Speaker 4: that crib I could feel, I could feel the venom

520
00:27:09,840 --> 00:27:14,199
Speaker 4: in my body with the crib, with the foreign language instructions,

521
00:27:14,240 --> 00:27:18,720
Speaker 4: because I feel like we've all lived that. It's like, yeah,

522
00:27:18,760 --> 00:27:19,879
Speaker 4: thanks for the gift.

523
00:27:21,800 --> 00:27:24,199
Speaker 2: Well, and there was no one of the things that

524
00:27:24,240 --> 00:27:26,439
Speaker 2: really struck me watching you do that. I was like,

525
00:27:26,600 --> 00:27:29,840
Speaker 2: we had none of the stuff then that helps you. Now,

526
00:27:29,880 --> 00:27:32,480
Speaker 2: there was no like Google app on your iPhone that

527
00:27:32,520 --> 00:27:35,880
Speaker 2: can translate any menu into English. No, there was no

528
00:27:35,920 --> 00:27:39,040
Speaker 2: task rabbit. Turns out skills is the task rabbit. He's like,

529
00:27:39,080 --> 00:27:40,960
Speaker 2: oh yeah, I baby proof, I'm.

530
00:27:40,760 --> 00:27:41,640
Speaker 1: A handy hand.

531
00:27:42,200 --> 00:27:44,960
Speaker 2: That was so funny. He was so funny in that

532
00:27:45,040 --> 00:27:45,640
Speaker 2: scene with you.

533
00:27:47,040 --> 00:27:48,880
Speaker 4: But that's also who he is in real life.

534
00:27:49,000 --> 00:27:51,480
Speaker 2: It is exactly how Antonina is. But I wrote it down.

535
00:27:51,520 --> 00:27:54,120
Speaker 2: I was like, she has no task rabbit, she has

536
00:27:54,200 --> 00:27:57,600
Speaker 2: no translate, she has nothing, she has nothing to help her.

537
00:27:57,680 --> 00:28:04,199
Speaker 2: She's just stuck mea who maybe is Italian Catalano. Yeah,

538
00:28:04,720 --> 00:28:06,640
Speaker 2: so silly. I just remember.

539
00:28:06,640 --> 00:28:10,000
Speaker 1: I don't know why I that crib. I hated that

540
00:28:10,080 --> 00:28:13,520
Speaker 1: crib so much. Yeah, it was in the way or something,

541
00:28:13,560 --> 00:28:15,600
Speaker 1: and maybe it just took them too long to set up.

542
00:28:16,400 --> 00:28:18,960
Speaker 1: I don't know why. It was, Like, really it was

543
00:28:18,960 --> 00:28:21,320
Speaker 1: annoy I remember, and I noticed it in the episode

544
00:28:21,359 --> 00:28:24,720
Speaker 1: because you not that you're gonna go back, because who

545
00:28:24,720 --> 00:28:27,560
Speaker 1: has time. But like, if you notice, there's a lot

546
00:28:27,600 --> 00:28:31,520
Speaker 1: of shots that are just kind of instead of directly

547
00:28:31,600 --> 00:28:33,720
Speaker 1: over each other's shoulders, It's like we did a two

548
00:28:33,720 --> 00:28:35,280
Speaker 1: shot and then we sort of just did the like

549
00:28:35,960 --> 00:28:38,000
Speaker 1: cross I don't know how to explain it. Yeah, cross

550
00:28:38,040 --> 00:28:40,920
Speaker 1: coverage that was like slightly wider, but just like, how

551
00:28:40,960 --> 00:28:42,840
Speaker 1: do we get out of this faster? Because this is

552
00:28:42,880 --> 00:28:44,719
Speaker 1: this crib is really irritating.

553
00:28:45,280 --> 00:28:47,480
Speaker 4: Well for it to fall apart all four sides like

554
00:28:47,520 --> 00:28:50,160
Speaker 4: that a setup. You know, you're putting together an erector

555
00:28:50,200 --> 00:28:54,480
Speaker 4: set with just enough parts not connected to fall apart

556
00:28:54,640 --> 00:28:58,520
Speaker 4: on cue. That was a nightmare. Yeah, handled handled though

557
00:28:58,680 --> 00:28:59,320
Speaker 4: the comedy.

558
00:29:00,200 --> 00:29:03,480
Speaker 2: Well that's it for our friends at home. Sometimes the

559
00:29:03,600 --> 00:29:07,200
Speaker 2: thing that looks the easiest is literally the hardest chain

560
00:29:07,280 --> 00:29:09,480
Speaker 2: in the ass on the day, like to make that

561
00:29:09,520 --> 00:29:12,240
Speaker 2: thing stick together but then also fall down, like the

562
00:29:12,480 --> 00:29:16,000
Speaker 2: the one side at a time. It's just a night

563
00:29:16,120 --> 00:29:17,720
Speaker 2: They had a fishing wire.

564
00:29:18,080 --> 00:29:21,000
Speaker 1: Yeah, it has to be great, and a fishing wire

565
00:29:21,480 --> 00:29:22,440
Speaker 1: it's just terrible.

566
00:29:22,920 --> 00:29:26,040
Speaker 2: Yeah, And that's that's just the stuff that nobody, you know,

567
00:29:26,040 --> 00:29:29,840
Speaker 2: who's not on set would know. But oh man, it's

568
00:29:29,880 --> 00:29:31,840
Speaker 2: like if you've ever had a friend come visit on

569
00:29:31,880 --> 00:29:33,640
Speaker 2: a day where you have to do a little gag

570
00:29:33,720 --> 00:29:36,200
Speaker 2: like that, that's when the people are like, this is

571
00:29:36,200 --> 00:29:38,160
Speaker 2: what you guys do all day? This is really boring.

572
00:29:38,400 --> 00:29:40,760
Speaker 2: You're like saying, thank you it's great.

573
00:29:40,880 --> 00:29:43,280
Speaker 4: Yeah, believe in the power of the edit.

574
00:29:44,360 --> 00:29:47,280
Speaker 2: The edit will make it funny. Loved it.

575
00:29:48,840 --> 00:29:53,240
Speaker 4: Speaking of funny, Dan and Jamie like their whole the

576
00:29:53,280 --> 00:29:56,640
Speaker 4: beginning though, Like I loved the blocking of the beginning

577
00:29:56,680 --> 00:29:59,040
Speaker 4: where Jamie's walking on that wall, so then he and

578
00:29:59,120 --> 00:30:02,840
Speaker 4: Dan are goals like I and them talk. You could

579
00:30:02,880 --> 00:30:04,840
Speaker 4: just feel how much fun Paul was having.

580
00:30:05,800 --> 00:30:09,160
Speaker 1: Yeah, I could do. He really was having a good time.

581
00:30:09,280 --> 00:30:12,560
Speaker 1: It seemed almost out of character for it was so

582
00:30:12,680 --> 00:30:17,000
Speaker 1: much Paul and so little Dan. But well, you know,

583
00:30:17,080 --> 00:30:18,800
Speaker 1: he likes to mess with the audience that way too,

584
00:30:18,840 --> 00:30:19,400
Speaker 1: so who knows.

585
00:30:20,400 --> 00:30:23,800
Speaker 2: I also think, though, in a way what I like

586
00:30:23,920 --> 00:30:27,480
Speaker 2: and I have seen this, you know, with people I love, certainly,

587
00:30:28,040 --> 00:30:30,760
Speaker 2: especially now that you know so many of our friends

588
00:30:30,960 --> 00:30:34,959
Speaker 2: are parents, people who didn't have great relationships with some

589
00:30:35,000 --> 00:30:38,280
Speaker 2: of their parents. Their parents are getting a second shot

590
00:30:38,760 --> 00:30:41,840
Speaker 2: with the grandkids. They're getting to be the parents they

591
00:30:41,880 --> 00:30:45,840
Speaker 2: never got to be, and it's it's like kind of

592
00:30:45,920 --> 00:30:50,680
Speaker 2: profound And I feel like that's almost what we're seeing

593
00:30:50,680 --> 00:30:53,000
Speaker 2: with Dan, and it probably is because Paul just had

594
00:30:53,080 --> 00:30:56,520
Speaker 2: so much fun with Jackson and they're so charming together,

595
00:30:56,560 --> 00:30:59,000
Speaker 2: and you can tell how much fun Jackson has with Paul.

596
00:30:59,240 --> 00:31:01,800
Speaker 2: But you know you were traveling last week, Joy, But

597
00:31:01,840 --> 00:31:03,479
Speaker 2: I was saying to Hill and Kate, I was like,

598
00:31:03,920 --> 00:31:06,640
Speaker 2: I hate that I love Dan Scott in this episode,

599
00:31:06,680 --> 00:31:08,760
Speaker 2: and I'm having the same experience in this one. I

600
00:31:08,880 --> 00:31:11,680
Speaker 2: just love him and I know better, but my god,

601
00:31:11,720 --> 00:31:13,720
Speaker 2: I love him. And maybe it's because I really, you know,

602
00:31:13,800 --> 00:31:18,960
Speaker 2: really love Paul, but it is so freaking sweet to

603
00:31:19,040 --> 00:31:23,400
Speaker 2: see them like this, and I don't know, I just

604
00:31:23,520 --> 00:31:26,040
Speaker 2: I want more of it. I want so much more

605
00:31:26,120 --> 00:31:28,240
Speaker 2: of this Dan and Jamie dynamic.

606
00:31:28,560 --> 00:31:30,959
Speaker 4: Well, let's be for real, like if we're Miss Lauren,

607
00:31:31,680 --> 00:31:36,640
Speaker 4: we're kissing Grandpa Dan all yeah, yeah, yeah, yeah, Like

608
00:31:36,960 --> 00:31:39,040
Speaker 4: showing up at that dude's beach house and he's so

609
00:31:39,160 --> 00:31:42,600
Speaker 4: charming and he's just his hair has never looked better.

610
00:31:42,880 --> 00:31:45,880
Speaker 4: He's so good with the child.

611
00:31:46,640 --> 00:31:51,200
Speaker 1: He reads The Time Traveler's Wife. On what planet? Does

612
00:31:51,320 --> 00:31:54,000
Speaker 1: Dan Scott read the Time Traveler's Wife?

613
00:31:54,480 --> 00:31:55,280
Speaker 4: Of course he does.

614
00:31:55,400 --> 00:31:55,680
Speaker 2: Listen.

615
00:31:55,680 --> 00:32:00,720
Speaker 4: That prison library is small, Joy.

616
00:32:00,120 --> 00:32:01,640
Speaker 2: He's gonna read whatever is there.

617
00:32:01,840 --> 00:32:03,320
Speaker 1: That's right, that's right.

618
00:32:03,440 --> 00:32:04,320
Speaker 4: I loved it.

619
00:32:04,360 --> 00:32:10,040
Speaker 2: And Shamie back he was in prison.

620
00:32:10,960 --> 00:32:14,960
Speaker 4: She's just like, oh, okay, that's great to know.

621
00:32:15,520 --> 00:32:16,640
Speaker 1: Cool to do with that?

622
00:32:17,320 --> 00:32:19,040
Speaker 4: Oh, I loved it because you could tell she's like

623
00:32:19,160 --> 00:32:23,200
Speaker 4: vibeing a little bit with him, And there is no

624
00:32:23,240 --> 00:32:26,240
Speaker 4: greater buzzkill then that he was in prison.

625
00:32:26,280 --> 00:32:28,520
Speaker 2: Bob, No, that kind of wrecks it.

626
00:32:29,280 --> 00:32:33,560
Speaker 1: I still think it's weird that after the kidnapping, Dan

627
00:32:33,720 --> 00:32:37,479
Speaker 1: brings Jamie back. There's the whole hallabaloo about that, and

628
00:32:37,520 --> 00:32:39,960
Speaker 1: now it's just it's a free for all. He just

629
00:32:39,960 --> 00:32:42,720
Speaker 1: picks up Jamie enter school, he's the babysitter. It's like

630
00:32:42,760 --> 00:32:46,960
Speaker 1: it's all good now. Everything from the past just wiped slate,

631
00:32:47,000 --> 00:32:51,520
Speaker 1: wiped clean because he you know, he showed up saved

632
00:32:51,600 --> 00:32:55,400
Speaker 1: zero for an afternoon, which is amazing, But like, what's

633
00:32:55,480 --> 00:32:58,880
Speaker 1: going on, dude, I don't know. It seems strange to me.

634
00:32:59,800 --> 00:33:01,320
Speaker 4: If if I didn't do the show that I do

635
00:33:01,400 --> 00:33:06,040
Speaker 4: for Sundance, where I literally just cover small town cases

636
00:33:06,080 --> 00:33:09,600
Speaker 4: of murder, I wouldn't believe the storyline. But you would

637
00:33:09,640 --> 00:33:12,200
Speaker 4: be amazed what people just turn their heads off to.

638
00:33:12,400 --> 00:33:14,600
Speaker 4: They're like, I don't want to think about that. He's fine,

639
00:33:14,680 --> 00:33:18,520
Speaker 4: I need a babysitter, he's available. Wow. You know, like, yeah,

640
00:33:18,600 --> 00:33:21,720
Speaker 4: you can super compartmentalize.

641
00:33:21,960 --> 00:33:23,440
Speaker 1: Yeah, you can talk yourself into anything.

642
00:33:23,640 --> 00:33:24,960
Speaker 4: Yeah, he didn't mean it.

643
00:33:25,080 --> 00:33:28,000
Speaker 2: Yeah, but when I really try to think about it too,

644
00:33:29,200 --> 00:33:33,520
Speaker 2: you know, Dan got kidnapped by her, he got tortured,

645
00:33:33,600 --> 00:33:37,040
Speaker 2: he missed a heart. If we really get granular on

646
00:33:38,440 --> 00:33:40,600
Speaker 2: not even touching on the Dan and Keith of it all.

647
00:33:40,680 --> 00:33:43,880
Speaker 2: But I wonder how much of that too, where you

648
00:33:43,960 --> 00:33:47,080
Speaker 2: go like, this man, whatever I may think of him,

649
00:33:47,160 --> 00:33:53,120
Speaker 2: shares trauma with my grandson, with this crazy person, he's

650
00:33:53,120 --> 00:33:55,960
Speaker 2: the only person who understands let's let them spend time together.

651
00:33:56,000 --> 00:33:57,880
Speaker 2: To your point, I think you can kind of rationalize

652
00:33:57,960 --> 00:34:02,480
Speaker 2: or compartmentalize any thing. And maybe that's part of why

653
00:34:02,480 --> 00:34:04,360
Speaker 2: it feels so weird for us to be watching these

654
00:34:04,400 --> 00:34:07,280
Speaker 2: episodes and loving Dan because we're like, I'm supposed to

655
00:34:07,320 --> 00:34:11,240
Speaker 2: not like him. But the human mind and heart operate

656
00:34:11,719 --> 00:34:14,800
Speaker 2: very differently from like black and white lists on a

657
00:34:14,840 --> 00:34:15,440
Speaker 2: piece of paper.

658
00:34:16,160 --> 00:34:16,560
Speaker 1: Yeah.

659
00:34:16,640 --> 00:34:20,640
Speaker 4: Yeah, if you only start the clock at like Jamie's

660
00:34:20,640 --> 00:34:24,719
Speaker 4: awareness of Dan, like when they actually meet, Dan's a

661
00:34:24,800 --> 00:34:28,920
Speaker 4: victim and that's all Jamie knows him, as it's like

662
00:34:29,000 --> 00:34:34,160
Speaker 4: a fellow victim kid doesn't know, doesn't know all. You know,

663
00:34:34,920 --> 00:34:38,520
Speaker 4: the backstory wasn't there for it. But Haley and Nathan

664
00:34:38,640 --> 00:34:42,600
Speaker 4: news where's deb Like Where did Deb go?

665
00:34:42,760 --> 00:34:43,560
Speaker 2: Where is she?

666
00:34:44,200 --> 00:34:46,640
Speaker 1: I really don't know. It's been It's pretty strange.

667
00:34:46,840 --> 00:34:49,480
Speaker 4: They had a good thing going with her babysitting.

668
00:34:49,960 --> 00:34:52,680
Speaker 1: Yeah, I don't know. There's too many other storylines. I

669
00:34:52,680 --> 00:34:54,440
Speaker 1: guess maybe they tried to get her for this episode

670
00:34:54,480 --> 00:34:55,920
Speaker 1: and she was not available.

671
00:34:56,239 --> 00:34:56,600
Speaker 2: Something.

672
00:34:56,680 --> 00:34:59,880
Speaker 4: Vanderbeek telling me that I'm too old to play Peyton,

673
00:35:00,040 --> 00:35:03,600
Speaker 4: that I'd make a great deb feels like right now

674
00:35:03,680 --> 00:35:09,919
Speaker 4: in twenty twenty four, very full circle. Yeah, oh yeah,

675
00:35:09,960 --> 00:35:10,880
Speaker 4: I guess.

676
00:35:11,160 --> 00:35:11,600
Speaker 1: I guess.

677
00:35:11,800 --> 00:35:14,160
Speaker 2: Yeah, I guess that is what we'd be doing now.

678
00:35:14,320 --> 00:35:15,560
Speaker 2: We would be the mom's no.

679
00:35:15,920 --> 00:35:19,359
Speaker 4: Yeah, I'll be Deb. I like how messy she can

680
00:35:19,440 --> 00:35:34,640
Speaker 4: be great too? Man, was it this cohesive on the paper?

681
00:35:35,280 --> 00:35:37,239
Speaker 1: No, I think we added in a lot, like there

682
00:35:37,280 --> 00:35:41,479
Speaker 1: was a lot of transitions that were disjointed and things

683
00:35:41,520 --> 00:35:45,200
Speaker 1: that felt like I remember working a lot on the

684
00:35:45,200 --> 00:35:48,120
Speaker 1: transitions in particular, and just trying to make sure that

685
00:35:48,200 --> 00:35:53,200
Speaker 1: everything flowed and figuring out thematically, like where the ties

686
00:35:53,239 --> 00:35:57,239
Speaker 1: were and how to just keep it moving. I think

687
00:35:57,280 --> 00:35:59,560
Speaker 1: that at that point that was probably my biggest complaint

688
00:35:59,600 --> 00:36:01,360
Speaker 1: about the sh If I would watch it, it's like

689
00:36:02,239 --> 00:36:06,640
Speaker 1: we just had we had too many episodes that felt

690
00:36:06,680 --> 00:36:09,440
Speaker 1: stagnant or like destoyed to disconnect it as we've been

691
00:36:09,440 --> 00:36:12,479
Speaker 1: talking about, And there were plenty that were really good too,

692
00:36:12,640 --> 00:36:16,440
Speaker 1: and that moved. But yeah, this is just the whole

693
00:36:16,480 --> 00:36:20,320
Speaker 1: thing felt like it should be fun and there was

694
00:36:20,360 --> 00:36:24,240
Speaker 1: no need to stop and be super serious with anything

695
00:36:25,640 --> 00:36:28,600
Speaker 1: other than a couple of key moments. Everything else was

696
00:36:28,760 --> 00:36:31,680
Speaker 1: just let's just keep it moving, let's keep everybody having fun.

697
00:36:32,960 --> 00:36:35,920
Speaker 2: And then the moments really played up, like when the

698
00:36:36,000 --> 00:36:39,040
Speaker 2: camera would stop when you go into the new principal's office,

699
00:36:39,920 --> 00:36:41,600
Speaker 2: you know, and you can't decide if you're gonna sit

700
00:36:41,680 --> 00:36:44,480
Speaker 2: or stand or sit or stand. There's motion, and then

701
00:36:44,520 --> 00:36:48,920
Speaker 2: when she says the thing, everything stops and it the

702
00:36:50,560 --> 00:36:53,439
Speaker 2: choices that you and the DP made together in those

703
00:36:53,480 --> 00:36:58,920
Speaker 2: ways help the energy of like wait what did she say?

704
00:36:59,440 --> 00:37:03,480
Speaker 2: Like that reveal that thing that feels so bad literally

705
00:37:03,560 --> 00:37:08,080
Speaker 2: causes a stop motion and it increases for as an

706
00:37:08,120 --> 00:37:12,800
Speaker 2: audience member, the shock of what's happening? Do you remember

707
00:37:12,800 --> 00:37:15,880
Speaker 2: because obviously we weren't in that, We weren't in that scene.

708
00:37:16,800 --> 00:37:19,799
Speaker 2: Where does this new principle come from? Why is this

709
00:37:19,880 --> 00:37:21,719
Speaker 2: going to be like a big storyline? For Haley, I

710
00:37:21,760 --> 00:37:24,480
Speaker 2: was like wait, wait, wait, who is this woman I like,

711
00:37:24,800 --> 00:37:25,800
Speaker 2: I just didn't remember.

712
00:37:26,200 --> 00:37:29,080
Speaker 1: She does come back. She, by the way, was from Seinfeld.

713
00:37:29,239 --> 00:37:36,200
Speaker 1: She was Malva, the best, the best.

714
00:37:36,719 --> 00:37:37,560
Speaker 4: Did you cast her?

715
00:37:37,840 --> 00:37:38,520
Speaker 1: I don't remember.

716
00:37:39,320 --> 00:37:40,239
Speaker 4: She's scary man.

717
00:37:40,840 --> 00:37:44,359
Speaker 1: Yeah, yeah, she's serious. I think she does come back.

718
00:37:44,360 --> 00:37:47,000
Speaker 1: It becomes a bigger a little bit of a bigger storyline.

719
00:37:47,040 --> 00:37:52,240
Speaker 1: She was lovely, really lovely person. Yeah. I don't remember

720
00:37:52,280 --> 00:37:54,719
Speaker 1: much about that, but it was those are what you

721
00:37:54,719 --> 00:37:57,120
Speaker 1: were saying. Those are fun, fun things to learn how

722
00:37:57,160 --> 00:38:02,000
Speaker 1: to do and just create create story with camera, you know,

723
00:38:02,080 --> 00:38:05,239
Speaker 1: pulling away and leave people alone or long lenses and

724
00:38:05,280 --> 00:38:08,360
Speaker 1: how that creates a feeling of part of being a

725
00:38:08,360 --> 00:38:11,000
Speaker 1: part of a community. And it's just it was was

726
00:38:11,040 --> 00:38:12,560
Speaker 1: really it was really cool to learn a lot a

727
00:38:12,560 --> 00:38:14,200
Speaker 1: lot of that stuff. I don't know how you so,

728
00:38:14,360 --> 00:38:16,040
Speaker 1: how soon after this did you direct?

729
00:38:17,080 --> 00:38:20,240
Speaker 2: I directed in the following season in season seven?

730
00:38:20,840 --> 00:38:23,160
Speaker 1: Okay, did you feel like had you did you do

731
00:38:23,239 --> 00:38:26,520
Speaker 1: anything before you directed to sort of prep for that

732
00:38:26,560 --> 00:38:29,520
Speaker 1: in terms of learning or was it on the fly?

733
00:38:29,719 --> 00:38:31,520
Speaker 1: I was learning a lot of this on the fly, like, oh,

734
00:38:31,560 --> 00:38:33,600
Speaker 1: if we if we pull out, she feels really alone,

735
00:38:33,680 --> 00:38:35,759
Speaker 1: let's do that, you know, me just kind of pick

736
00:38:35,800 --> 00:38:37,080
Speaker 1: it up along the way.

737
00:38:37,239 --> 00:38:40,400
Speaker 2: I agree. I mean, I think if anything, the stuff

738
00:38:40,440 --> 00:38:46,440
Speaker 2: that I really felt like I intentionally wanted to observe

739
00:38:47,440 --> 00:38:51,200
Speaker 2: was you know, pacing, how how you would keep a

740
00:38:51,239 --> 00:38:53,880
Speaker 2: set organized and keep to a schedule, because you know,

741
00:38:53,920 --> 00:38:57,320
Speaker 2: we were shooting time. You know, it's a lot shocker,

742
00:38:59,040 --> 00:39:03,800
Speaker 2: And for me, it was about like, you know, blocking efficiency,

743
00:39:04,160 --> 00:39:08,279
Speaker 2: like really watching the things that directors we felt close

744
00:39:08,400 --> 00:39:13,279
Speaker 2: enough to pester with questions we're doing. And then yeah,

745
00:39:13,040 --> 00:39:17,040
Speaker 2: the more technical stuff. Even now, even after all those

746
00:39:17,080 --> 00:39:20,520
Speaker 2: episodes we did and all the things like me being

747
00:39:20,520 --> 00:39:22,680
Speaker 2: a little dyslexic, it's like very hard for me to

748
00:39:22,719 --> 00:39:25,239
Speaker 2: remember which lenses which, like I always have to ask

749
00:39:25,320 --> 00:39:31,320
Speaker 2: a like a confirming question. But yeah, beginning to figure

750
00:39:31,320 --> 00:39:37,239
Speaker 2: out what technical things you could do to increase a

751
00:39:37,480 --> 00:39:42,759
Speaker 2: feeling you know, of closeness or distance, or how you

752
00:39:42,800 --> 00:39:47,319
Speaker 2: could block something to make someone appear very alone in

753
00:39:47,360 --> 00:39:51,719
Speaker 2: a crowd, you know that stuff. I feel like, on

754
00:39:51,800 --> 00:39:53,879
Speaker 2: the one hand, we were learning in real time because

755
00:39:53,880 --> 00:39:55,960
Speaker 2: we just did it every day, and then on the

756
00:39:56,000 --> 00:39:58,080
Speaker 2: other hand, like there were things you'd learn on the

757
00:39:58,160 --> 00:40:00,319
Speaker 2: day because thank god, we had a cru that had

758
00:40:00,320 --> 00:40:02,879
Speaker 2: been with us for so many years. Yes, and such

759
00:40:02,960 --> 00:40:05,440
Speaker 2: good camera department that could be like, hey, here's a

760
00:40:05,480 --> 00:40:08,240
Speaker 2: quick tip, like I learned this thing in film school,

761
00:40:08,239 --> 00:40:10,040
Speaker 2: and you'd be like, oh, okay, great.

762
00:40:10,040 --> 00:40:13,000
Speaker 1: Yeah, fantastic. I remember that with the d with the

763
00:40:13,080 --> 00:40:16,200
Speaker 1: Jamie and Dan stuff we had. There was a shot

764
00:40:16,239 --> 00:40:18,120
Speaker 1: of him walking down the stairs and I was like,

765
00:40:18,880 --> 00:40:20,719
Speaker 1: just now watching it, I went, why are we in

766
00:40:20,800 --> 00:40:21,280
Speaker 1: a crane?

767
00:40:21,400 --> 00:40:21,640
Speaker 2: Why?

768
00:40:21,719 --> 00:40:23,880
Speaker 1: Why the world would we using a crane for this?

769
00:40:23,920 --> 00:40:26,680
Speaker 1: That seems so unnecessary? And then I remember that they

770
00:40:26,800 --> 00:40:30,040
Speaker 1: had there was some kind of thing where they like

771
00:40:30,160 --> 00:40:32,520
Speaker 1: had this crane. They had to use it because they

772
00:40:32,520 --> 00:40:34,279
Speaker 1: had I don't know if it had to be sent back.

773
00:40:34,320 --> 00:40:35,560
Speaker 1: I didn't have to be sent back. I don't know

774
00:40:35,640 --> 00:40:37,719
Speaker 1: what was going on. There was something that they were like, no,

775
00:40:37,840 --> 00:40:40,480
Speaker 1: you have the crane and you should you know, you

776
00:40:40,520 --> 00:40:42,120
Speaker 1: need to use it. And I remember being like, can

777
00:40:42,120 --> 00:40:44,600
Speaker 1: we use it a trick? And they're like, well, you're inside,

778
00:40:44,600 --> 00:40:46,320
Speaker 1: it's a whole thing to get it upstairs, Like is

779
00:40:46,360 --> 00:40:48,280
Speaker 1: there any outdoor location we could just use the crane?

780
00:40:48,320 --> 00:40:51,560
Speaker 1: I was like all right, fine, great, So getting to

781
00:40:51,680 --> 00:40:53,719
Speaker 1: learn from the crew, how do you you know those

782
00:40:53,800 --> 00:40:55,960
Speaker 1: kinds of things on the fly where the day before

783
00:40:56,000 --> 00:40:58,960
Speaker 1: they're like, let's use a green Okay, great, figuring out

784
00:40:59,520 --> 00:41:03,680
Speaker 1: a crane make it interesting. But you know, anyway, I

785
00:41:03,760 --> 00:41:10,120
Speaker 1: was gonna say, I really liked watching Peyton. I know

786
00:41:10,160 --> 00:41:11,759
Speaker 1: we talked about the crib, but that was from a

787
00:41:11,760 --> 00:41:14,680
Speaker 1: different perspective. But I liked watching Peyton struggle through with

788
00:41:14,719 --> 00:41:18,800
Speaker 1: this whole doing things on her own without Lucas around,

789
00:41:18,880 --> 00:41:21,520
Speaker 1: because she's she's so capable, and that's you know, she's

790
00:41:21,560 --> 00:41:23,040
Speaker 1: kind of used to being a loner, and it was

791
00:41:23,080 --> 00:41:29,239
Speaker 1: really sweet to see her in a space where she

792
00:41:29,400 --> 00:41:31,279
Speaker 1: is so used to being alone and handling things on

793
00:41:31,320 --> 00:41:34,360
Speaker 1: her own and she really doesn't want to be now

794
00:41:34,600 --> 00:41:38,920
Speaker 1: and like to struggle from that place. I feel like

795
00:41:38,920 --> 00:41:40,560
Speaker 1: we've all been there, you know, when you're single for

796
00:41:40,600 --> 00:41:42,919
Speaker 1: a long time and you're used to just getting done,

797
00:41:42,960 --> 00:41:44,759
Speaker 1: and then you fall in love and you start to

798
00:41:44,760 --> 00:41:47,160
Speaker 1: rely on the other person and then they're suddenly not around,

799
00:41:47,200 --> 00:41:48,560
Speaker 1: and then you have to go back to being the

800
00:41:48,600 --> 00:41:50,839
Speaker 1: way that you were, but you don't want to because

801
00:41:50,840 --> 00:41:54,800
Speaker 1: you're soft now open. It was really sweet.

802
00:41:55,239 --> 00:41:56,279
Speaker 2: The shell is off.

803
00:41:56,480 --> 00:41:58,799
Speaker 1: I know, how did you feel about that? All that

804
00:41:58,920 --> 00:42:01,080
Speaker 1: stuff that you guys were Once you guys were together,

805
00:42:01,120 --> 00:42:03,480
Speaker 1: it was all super lovey, DeBie.

806
00:42:03,200 --> 00:42:06,960
Speaker 4: But we were a part a lot. Like I talked

807
00:42:07,000 --> 00:42:10,280
Speaker 4: before about the isolation of Peyton in this whole season,

808
00:42:10,360 --> 00:42:13,640
Speaker 4: and this episode was a nice departure because she goes

809
00:42:13,680 --> 00:42:16,200
Speaker 4: to Tricks, She's with me, she's with Brooks, she's with Haley.

810
00:42:16,280 --> 00:42:18,560
Speaker 4: Like Peyton's getting a little like pop ins from skills,

811
00:42:18,680 --> 00:42:22,359
Speaker 4: you know, Like I got to maybe that's why I

812
00:42:22,480 --> 00:42:24,560
Speaker 4: like this episode so much, because.

813
00:42:24,280 --> 00:42:24,840
Speaker 1: She wasn't so.

814
00:42:27,040 --> 00:42:31,919
Speaker 4: It wasn't all by myself, you guys. Yeah, it is

815
00:42:32,200 --> 00:42:37,640
Speaker 4: really hard for me to work on stuff around my

816
00:42:37,680 --> 00:42:40,400
Speaker 4: house with someone because I'm just conditioned to do stuff

817
00:42:40,400 --> 00:42:44,439
Speaker 4: by myself. And every year I go through the same

818
00:42:44,480 --> 00:42:46,960
Speaker 4: process of where I get really comfortable with my husband

819
00:42:46,960 --> 00:42:49,480
Speaker 4: being home and like helping me pick the kids up

820
00:42:49,840 --> 00:42:52,359
Speaker 4: and helping me with the groceries and like doing all

821
00:42:52,400 --> 00:42:56,080
Speaker 4: of that, and he leaves tomorrow to go start filming

822
00:42:56,160 --> 00:42:59,399
Speaker 4: his show, and I feel Peyton's anxiety in this where

823
00:42:59,400 --> 00:43:02,759
Speaker 4: it's like no, but I finally let someone in it,

824
00:43:03,000 --> 00:43:07,040
Speaker 4: Like I'm I'm just codependent enough to feel comfortable and

825
00:43:07,200 --> 00:43:10,759
Speaker 4: you're not here. Yeah, I just want to dash of

826
00:43:10,840 --> 00:43:17,960
Speaker 4: codependency because it's fleeting. They always have to go somewhere. Fine,

827
00:43:18,680 --> 00:43:23,279
Speaker 4: but when Lucas shows up at the ultrasound that undid me,

828
00:43:23,680 --> 00:43:29,400
Speaker 4: like hot a nice still cry about that? Yeah, that

829
00:43:29,400 --> 00:43:33,000
Speaker 4: that stuff, especially if you've ever suffered pregnancy loss, is

830
00:43:34,560 --> 00:43:38,640
Speaker 4: it's hard to explain the terror of going to those

831
00:43:38,840 --> 00:43:46,640
Speaker 4: part appointments because there's no guarantee that they're gonna go right,

832
00:43:47,440 --> 00:43:51,520
Speaker 4: and you are with a stranger who you know. You

833
00:43:51,560 --> 00:43:55,560
Speaker 4: feel like a guinea pig and it's much easier to

834
00:43:55,719 --> 00:43:59,160
Speaker 4: face tragedy when you have your person with you, but

835
00:43:59,200 --> 00:44:01,600
Speaker 4: there's there's no else, and worse than when the tech

836
00:44:01,960 --> 00:44:03,960
Speaker 4: is like can you just go sit back in the

837
00:44:03,960 --> 00:44:05,560
Speaker 4: waiting room, I'll have someone come talk to you in

838
00:44:05,600 --> 00:44:08,239
Speaker 4: a minute, you know, like it's it's really bad. And

839
00:44:08,280 --> 00:44:14,080
Speaker 4: so I completely Peyton's terror. And what's weird to me

840
00:44:14,920 --> 00:44:17,080
Speaker 4: is that we had to depict this stuff before it

841
00:44:17,160 --> 00:44:19,520
Speaker 4: happened to us in real life, like none of us

842
00:44:19,600 --> 00:44:23,520
Speaker 4: had had kids, yeah, you know, like we were guessing

843
00:44:24,360 --> 00:44:28,440
Speaker 4: uh and so yes, So much of this episode is meta,

844
00:44:28,480 --> 00:44:32,719
Speaker 4: but it feels meta for me personally because I lived

845
00:44:32,760 --> 00:44:35,279
Speaker 4: it not long after, and I don't know that gets

846
00:44:35,280 --> 00:44:37,239
Speaker 4: in your head. That's when you start to wonder, like

847
00:44:37,280 --> 00:44:41,680
Speaker 4: if you conjure shit, like what is happening? But Lucas

848
00:44:41,680 --> 00:44:46,319
Speaker 4: showing up made me love Lucas and Peyton so much.

849
00:44:46,360 --> 00:44:48,880
Speaker 4: People pick on us for being cheeseballs. Once we're together,

850
00:44:49,040 --> 00:44:50,920
Speaker 4: I don't give a shit. I don't care what you think.

851
00:44:51,600 --> 00:44:54,839
Speaker 4: We are in love. He showed up. He was like

852
00:44:55,280 --> 00:44:59,200
Speaker 4: you told me last week, like what you had that?

853
00:45:00,800 --> 00:45:04,120
Speaker 1: Yeah, Like that's Lucas Scott, That's who he is. He's

854
00:45:04,280 --> 00:45:06,479
Speaker 1: you kidding me. No matter what's going on, no matter

855
00:45:06,520 --> 00:45:08,680
Speaker 1: how crazy the day is, no matter how much his

856
00:45:08,760 --> 00:45:12,319
Speaker 1: world is exploding or getting weight on his shoulder, putting

857
00:45:12,320 --> 00:45:14,760
Speaker 1: weight on his shoulders, He's going to show up for Bayton.

858
00:45:14,960 --> 00:45:15,319
Speaker 1: That's why.

859
00:45:15,320 --> 00:45:19,839
Speaker 4: Well it was so romantic and it didn't cost a thing.

860
00:45:19,960 --> 00:45:26,759
Speaker 4: He just showed up. And remember, well don't cost I mean.

861
00:45:27,320 --> 00:45:32,840
Speaker 2: But it speaks to that that really important and sometimes

862
00:45:32,880 --> 00:45:36,120
Speaker 2: I think hard to define, but you know when you

863
00:45:36,160 --> 00:45:40,480
Speaker 2: see it experience of really being seen, when you feel seen,

864
00:45:40,600 --> 00:45:45,480
Speaker 2: when you feel valued, like you can design a whole life,

865
00:45:46,320 --> 00:45:48,400
Speaker 2: and if you don't feel seen, it will feel empty.

866
00:45:49,239 --> 00:45:53,160
Speaker 2: And I think that's why those moments feel so special.

867
00:45:53,239 --> 00:45:55,920
Speaker 2: That moment that I told you made me cry last

868
00:45:55,920 --> 00:45:59,799
Speaker 2: week for you guys, you know when when you I

869
00:45:59,880 --> 00:46:03,920
Speaker 2: was telling Hillary Joy when you were traveling that she

870
00:46:04,000 --> 00:46:06,799
Speaker 2: and Chad had this scene last week about Keith's ring,

871
00:46:07,600 --> 00:46:10,319
Speaker 2: and like, what struck me as as a viewer was, Oh,

872
00:46:10,360 --> 00:46:13,840
Speaker 2: Peyton is literally choosing her dream come true. She's saying,

873
00:46:13,920 --> 00:46:19,920
Speaker 2: I want the thing I've always wanted. It was so like, Oh,

874
00:46:20,120 --> 00:46:22,640
Speaker 2: it just like squeezed my heart in the best way.

875
00:46:22,960 --> 00:46:26,279
Speaker 2: And this felt like a continuation of that, which is

876
00:46:26,400 --> 00:46:29,080
Speaker 2: especially I think, nice to see for Peyton and everything

877
00:46:29,120 --> 00:46:33,040
Speaker 2: she's been through you In that scene, he walks in

878
00:46:33,080 --> 00:46:36,080
Speaker 2: the door and it's like, Oh, she is seen and

879
00:46:36,160 --> 00:46:41,600
Speaker 2: heard and loved, and that's everything.

880
00:46:42,000 --> 00:46:47,240
Speaker 4: Safe Peyton is a totally different animal. Safe Peyton is cheesy,

881
00:46:47,440 --> 00:46:49,520
Speaker 4: She's making bad mom jokes.

882
00:46:49,200 --> 00:46:51,360
Speaker 2: All the time, like magic.

883
00:46:51,600 --> 00:46:54,360
Speaker 1: But what a beautiful arc to go from where she

884
00:46:54,440 --> 00:46:56,760
Speaker 1: came from to be here now Save.

885
00:46:56,680 --> 00:47:02,279
Speaker 4: Peyton, because trauma can make some people real, right, And

886
00:47:02,560 --> 00:47:04,760
Speaker 4: I like that our girls have all been through different

887
00:47:04,840 --> 00:47:09,440
Speaker 4: kinds of trauma and are trying to be the best version,

888
00:47:09,880 --> 00:47:12,440
Speaker 4: not the you know, not the gross version.

889
00:47:12,719 --> 00:47:13,440
Speaker 2: I liked that.

890
00:47:15,200 --> 00:47:17,240
Speaker 4: When you were talking about camera lenses and like different

891
00:47:17,239 --> 00:47:21,560
Speaker 4: techniques to make things feel a certain way. I liked

892
00:47:21,600 --> 00:47:23,759
Speaker 4: that you had me take my jacket off at that

893
00:47:23,880 --> 00:47:28,440
Speaker 4: scene by the fire, because there's something really vulnerable about

894
00:47:28,480 --> 00:47:30,960
Speaker 4: like your full arms showing like Peyton had been in

895
00:47:30,960 --> 00:47:33,920
Speaker 4: this Blazer the whole episode, which feels like I'm holding

896
00:47:33,960 --> 00:47:36,480
Speaker 4: it together. I'm holding it together, I'm structured, I'm a

897
00:47:36,520 --> 00:47:37,399
Speaker 4: business lady, I'm.

898
00:47:37,320 --> 00:47:38,560
Speaker 2: A boss, I'm fine, grown up.

899
00:47:39,640 --> 00:47:43,800
Speaker 4: And then taking off that layer. Is this really subliminal

900
00:47:43,880 --> 00:47:45,960
Speaker 4: because I'm like rubbing my arm in the scene, and

901
00:47:46,000 --> 00:47:49,239
Speaker 4: I remember when we watched it thinking just like, oh,

902
00:47:49,280 --> 00:47:53,360
Speaker 4: what like a weird self soothing mechanism and there was

903
00:47:53,400 --> 00:47:55,319
Speaker 4: just like a vulnerability to it. And those are those

904
00:47:55,320 --> 00:47:58,520
Speaker 4: little things that a great director can figure out, Like

905
00:47:59,239 --> 00:48:01,319
Speaker 4: we can say the word words, but we can add

906
00:48:01,400 --> 00:48:04,360
Speaker 4: this layer and it will feel even sadder.

907
00:48:05,200 --> 00:48:07,840
Speaker 1: Or remove a layer that might have been your choice

908
00:48:07,880 --> 00:48:10,399
Speaker 1: though too, you know you you. I mean that's also

909
00:48:10,480 --> 00:48:12,280
Speaker 1: one of the things we get to do as actors

910
00:48:12,360 --> 00:48:16,399
Speaker 1: is come up with these things that will feel will

911
00:48:16,440 --> 00:48:18,759
Speaker 1: help us tell the story. So I don't remember if

912
00:48:18,760 --> 00:48:20,879
Speaker 1: that was me or you, but either way, I liked

913
00:48:20,880 --> 00:48:21,480
Speaker 1: the choice.

914
00:48:21,560 --> 00:48:24,200
Speaker 4: How did you jump from directing to doing all your though?

915
00:48:24,239 --> 00:48:27,040
Speaker 4: Because your stuff was really serious this episode. I mean,

916
00:48:27,080 --> 00:48:29,839
Speaker 4: Haley is not only dealing with this thing of work,

917
00:48:29,880 --> 00:48:33,680
Speaker 4: but she's also counseling Lucas, and she's counseling Peyton and

918
00:48:33,920 --> 00:48:36,239
Speaker 4: dealing with you know, Nathan's got big stuff. You know,

919
00:48:36,280 --> 00:48:38,560
Speaker 4: like it was. It's not like they gave you an

920
00:48:38,560 --> 00:48:39,319
Speaker 4: episode off.

921
00:48:40,200 --> 00:48:42,920
Speaker 1: No, they certainly didn't. I don't know that I felt

922
00:48:43,760 --> 00:48:46,719
Speaker 1: like it was all that serious. I think the material

923
00:48:46,880 --> 00:48:51,760
Speaker 1: felt manageable for me. It felt like a natural place

924
00:48:51,800 --> 00:48:55,400
Speaker 1: to go to. The conversations were pretty easy. The dialogue

925
00:48:55,480 --> 00:49:00,799
Speaker 1: wasn't too complicated, so there was a second nature to

926
00:49:00,840 --> 00:49:03,279
Speaker 1: a lot of that that didn't throw me off too much.

927
00:49:03,360 --> 00:49:09,080
Speaker 1: I just really did not enjoy, uh, trying to be

928
00:49:09,200 --> 00:49:13,279
Speaker 1: in a scene with someone and also trying to be

929
00:49:13,360 --> 00:49:15,840
Speaker 1: out of my body and imagining what the scene looks like.

930
00:49:17,280 --> 00:49:20,319
Speaker 1: As an actor, I I don't like it. I want

931
00:49:20,320 --> 00:49:22,520
Speaker 1: to be fully present, So I didn't enjoy that. I

932
00:49:22,520 --> 00:49:24,080
Speaker 1: would prefer not to do that again.

933
00:49:24,320 --> 00:49:26,000
Speaker 4: Did you have someone like helping you?

934
00:49:26,480 --> 00:49:31,520
Speaker 1: Greg might have? Rick was r A D two. He

935
00:49:31,680 --> 00:49:35,239
Speaker 1: was super hopeful. Remember seeing Chad in this episode. Chad

936
00:49:35,680 --> 00:49:36,920
Speaker 1: the bar one.

937
00:49:37,520 --> 00:49:40,160
Speaker 4: Chad Graves was our other first assistant director for you

938
00:49:40,160 --> 00:49:42,640
Speaker 4: Guys at Home. There were there was like our stand in.

939
00:49:42,719 --> 00:49:45,800
Speaker 4: Steven played one of the Nathans else was a little

940
00:49:46,000 --> 00:49:48,520
Speaker 4: a little treat in here now.

941
00:49:49,000 --> 00:49:54,520
Speaker 2: Yeah, Steven and Chad Graves were super exciting to see

942
00:49:54,680 --> 00:49:57,520
Speaker 2: and and when when the girls, you know, when we're

943
00:49:57,560 --> 00:50:00,120
Speaker 2: talking about these guys, Chad Graves and Rick Clark for

944
00:50:00,160 --> 00:50:04,640
Speaker 2: our friends at home. The first ads on our shows

945
00:50:05,920 --> 00:50:09,960
Speaker 2: are really like the steadiness on set. Every episode you've

946
00:50:09,960 --> 00:50:12,400
Speaker 2: got a different director. Sometimes a director will do two

947
00:50:12,520 --> 00:50:15,480
Speaker 2: or three episodes in a season, but the first ads,

948
00:50:15,719 --> 00:50:19,240
Speaker 2: one of them takes all the odd episodes like one, three, five,

949
00:50:19,360 --> 00:50:21,480
Speaker 2: and then one of them takes all the even episodes,

950
00:50:21,560 --> 00:50:24,279
Speaker 2: you know, two, four, six, et cetera. And so every

951
00:50:24,360 --> 00:50:28,200
Speaker 2: other week you flip flop between these two people. And

952
00:50:28,239 --> 00:50:29,920
Speaker 2: so to get to put Chad Graves in was so

953
00:50:30,040 --> 00:50:34,360
Speaker 2: cool and really random, just continuation of how our little

954
00:50:34,360 --> 00:50:37,879
Speaker 2: Wilmington family has stayed so tight. I got to spend

955
00:50:37,880 --> 00:50:39,960
Speaker 2: a couple more years working with Rick Clark because he

956
00:50:40,080 --> 00:50:41,600
Speaker 2: came in to be one of the first AD's on

957
00:50:41,680 --> 00:50:44,840
Speaker 2: Chicago Met so on all my crossover episodes, I was

958
00:50:44,880 --> 00:50:47,680
Speaker 2: working with Rick, and so it's like, I don't know,

959
00:50:47,719 --> 00:50:54,439
Speaker 2: it's so special for us, those really long relationships, and yeah,

960
00:50:54,600 --> 00:50:56,600
Speaker 2: it feels like it feels so cool and you get

961
00:50:56,640 --> 00:50:59,319
Speaker 2: to throw your friends on screen, and then you know

962
00:50:59,440 --> 00:51:01,320
Speaker 2: the people who no, no, it's like a it's like

963
00:51:01,360 --> 00:51:02,600
Speaker 2: a fun little inside joke.

964
00:51:03,400 --> 00:51:06,400
Speaker 4: Well I like it because those cocky anpholes are always

965
00:51:06,600 --> 00:51:10,680
Speaker 4: like actors actors, and then when you're shining the light

966
00:51:10,719 --> 00:51:12,640
Speaker 4: on them and you're like, okay, hit your mark go,

967
00:51:13,400 --> 00:51:14,239
Speaker 4: all of a sudden.

968
00:51:14,040 --> 00:51:15,960
Speaker 2: They're like, oh, yeah, no, I'm cool.

969
00:51:15,960 --> 00:51:19,320
Speaker 4: I'm cool. Yeah, I'm a little flustered.

970
00:51:32,680 --> 00:51:33,560
Speaker 2: Let's spin a wheel.

971
00:51:34,400 --> 00:51:46,920
Speaker 4: I want to spin that wheel. Okay, Oh who is

972
00:51:47,000 --> 00:51:51,560
Speaker 4: most likely to sell everything and travel the world for

973
00:51:51,680 --> 00:51:53,480
Speaker 4: three years?

974
00:51:54,360 --> 00:51:55,839
Speaker 1: It's a specific amount of time.

975
00:51:56,040 --> 00:51:59,319
Speaker 4: Yeah, really, yeah, sell everything?

976
00:52:00,160 --> 00:52:00,720
Speaker 2: Not Sophia.

977
00:52:00,880 --> 00:52:03,319
Speaker 4: She's a hoarder. And I'm like you, I could never

978
00:52:04,360 --> 00:52:06,520
Speaker 4: and not me. I don't leave my fucking house. Joey,

979
00:52:06,600 --> 00:52:08,160
Speaker 4: you're the one that's traveling right now.

980
00:52:09,200 --> 00:52:11,320
Speaker 1: I guess I could do that. I could see myself

981
00:52:11,360 --> 00:52:13,200
Speaker 1: doing that. I don't know if I'd sell everything for

982
00:52:13,280 --> 00:52:15,839
Speaker 1: three years of travel, I might sell everything for ten

983
00:52:15,920 --> 00:52:18,200
Speaker 1: years of travel. If I was just like peace out,

984
00:52:18,280 --> 00:52:20,840
Speaker 1: like Maria's at college, I'm gonna go just bounce.

985
00:52:21,239 --> 00:52:23,120
Speaker 2: Do you want to be like those people who figured

986
00:52:23,120 --> 00:52:25,399
Speaker 2: out that if they just live on cruises they don't

987
00:52:25,920 --> 00:52:29,520
Speaker 2: taxes anymore, and so they're spending all their retirement money

988
00:52:29,640 --> 00:52:32,400
Speaker 2: because they don't live anywhere. They live in international waters.

989
00:52:32,719 --> 00:52:36,000
Speaker 2: There was this big article about this couple. They've taken

990
00:52:36,040 --> 00:52:38,600
Speaker 2: their whole retirement savings and they are just living on

991
00:52:38,680 --> 00:52:40,520
Speaker 2: cruise ships for the next fifteen years.

992
00:52:40,840 --> 00:52:45,200
Speaker 4: Yep, the horror of that. To me, I could never

993
00:52:45,320 --> 00:52:46,440
Speaker 4: That sounds like my worst lay.

994
00:52:46,800 --> 00:52:51,400
Speaker 2: But if it's what you like. I am passionate about

995
00:52:51,440 --> 00:52:55,400
Speaker 2: my things and my chotchkeys. I get made fun of

996
00:52:55,520 --> 00:52:58,319
Speaker 2: very often when I talk about my chochkeys, I get

997
00:52:58,360 --> 00:53:01,960
Speaker 2: teased about my trinkets and trash. One man's trash is

998
00:53:02,000 --> 00:53:03,640
Speaker 2: another woman's treasure. Thank you very much.

999
00:53:04,040 --> 00:53:07,439
Speaker 4: You're a bit of an overpacker, which I appreciate because

1000
00:53:07,440 --> 00:53:09,360
Speaker 4: I'm always the one that's like, I didn't bring shoes.

1001
00:53:09,520 --> 00:53:12,120
Speaker 2: I need a bad Yeah, you need shoes, you need earrings?

1002
00:53:12,160 --> 00:53:15,400
Speaker 4: Got it? Where? Yeah? Where do you go for three years?

1003
00:53:15,440 --> 00:53:16,280
Speaker 4: Where are you going?

1004
00:53:16,960 --> 00:53:17,200
Speaker 2: Well?

1005
00:53:17,280 --> 00:53:21,560
Speaker 1: I guess I'm gonna go. I mean I'm gonna travel.

1006
00:53:21,560 --> 00:53:24,279
Speaker 1: I'm gonna get on trains. I'll probably do Europe for

1007
00:53:24,320 --> 00:53:26,399
Speaker 1: a year, I'll do Asia for a year. I go

1008
00:53:26,440 --> 00:53:31,879
Speaker 1: to I don't know, maybe Australia. Just go wander, Yeah,

1009
00:53:32,040 --> 00:53:34,560
Speaker 1: see what's out there, say hi to people, get to

1010
00:53:34,560 --> 00:53:37,160
Speaker 1: know people that are different, say hellout.

1011
00:53:37,160 --> 00:53:40,240
Speaker 4: Which character is doing this? Is it? Also? Hayley?

1012
00:53:41,040 --> 00:53:43,920
Speaker 1: It feels like a Lucas thing if he didn't have Peyton,

1013
00:53:44,040 --> 00:53:45,080
Speaker 1: like if.

1014
00:53:47,880 --> 00:53:51,839
Speaker 2: Yeah, yeah, it feels like he would vagabond around and

1015
00:53:51,920 --> 00:54:00,799
Speaker 2: like write a second very book vagabonding novel. Yeah yeah,

1016
00:54:00,800 --> 00:54:02,600
Speaker 2: and Haley would like rib him and be like, what

1017
00:54:02,600 --> 00:54:04,680
Speaker 2: do you think you are? Jack Kerouac, and you'd be

1018
00:54:04,680 --> 00:54:07,480
Speaker 2: like yeah, like it would be very that and I

1019
00:54:07,520 --> 00:54:08,799
Speaker 2: think it would be cutie.

1020
00:54:09,360 --> 00:54:11,480
Speaker 4: Mm hmmm, all right, I like this.

1021
00:54:11,719 --> 00:54:12,359
Speaker 2: I like it.

1022
00:54:12,520 --> 00:54:14,720
Speaker 4: Now we have a question, guys. We have a question,

1023
00:54:15,280 --> 00:54:16,280
Speaker 4: uh from Lisa.

1024
00:54:17,000 --> 00:54:17,320
Speaker 2: Lisa.

1025
00:54:17,400 --> 00:54:20,120
Speaker 4: This is a very broad question. I'm not mad at

1026
00:54:20,120 --> 00:54:23,280
Speaker 4: it though. She wants to know what your favorite genre

1027
00:54:23,880 --> 00:54:29,320
Speaker 4: of music is. Oh like today because it change changes.

1028
00:54:30,560 --> 00:54:36,160
Speaker 5: I mean today today, Cowboy Carter. Yeah, I'm like, I'm

1029
00:54:36,200 --> 00:54:40,000
Speaker 5: like Act too. The full album is currently my favorite.

1030
00:54:40,000 --> 00:54:43,040
Speaker 5: Everything happening, but it changes all the time. It depends

1031
00:54:43,040 --> 00:54:43,600
Speaker 5: on my mood.

1032
00:54:44,640 --> 00:54:47,640
Speaker 1: Yeah, you know me too. Is there one genre that

1033
00:54:47,680 --> 00:54:50,160
Speaker 1: you can always listen to no matter what's going on,

1034
00:54:50,280 --> 00:54:51,920
Speaker 1: you can always be like, I'm done.

1035
00:54:51,760 --> 00:54:53,680
Speaker 2: With this, well is do you have one?

1036
00:54:53,880 --> 00:54:55,960
Speaker 4: I wasn't on to listen to modern radio growing up.

1037
00:54:57,440 --> 00:55:02,799
Speaker 4: I absolutely like nothing modern, and I only listened to

1038
00:55:02,920 --> 00:55:08,719
Speaker 4: like motown and more sixties music. Like the sixties was

1039
00:55:08,800 --> 00:55:12,000
Speaker 4: a whole vibe. And that was before you could get

1040
00:55:12,520 --> 00:55:16,880
Speaker 4: serious radio or any kind of yeah, satellite radio to

1041
00:55:17,040 --> 00:55:18,839
Speaker 4: like selectively pick things out.

1042
00:55:19,239 --> 00:55:19,720
Speaker 1: I heart.

1043
00:55:19,920 --> 00:55:23,640
Speaker 4: Yeah. So there was, Yes, there was a whole oldies station,

1044
00:55:24,080 --> 00:55:27,000
Speaker 4: and I learned every word to every oldie song ever.

1045
00:55:27,640 --> 00:55:30,920
Speaker 4: Oh yeah, it's my comfort zone. The kids know, Like

1046
00:55:30,960 --> 00:55:33,319
Speaker 4: if they come in the kitchen and that's blaring, they're like.

1047
00:55:33,320 --> 00:55:36,440
Speaker 2: Oh, she had a day Okay, Yeah, mom's fantastically good.

1048
00:55:37,239 --> 00:55:37,920
Speaker 4: Yeah Motown.

1049
00:55:37,960 --> 00:55:41,440
Speaker 1: I love oldies. That's good. I feel like this is

1050
00:55:41,440 --> 00:55:43,719
Speaker 1: a that's a zone, the classic rock zone. I can

1051
00:55:43,760 --> 00:55:46,239
Speaker 1: get into a lot pretty easily. The Carol King and

1052
00:55:46,280 --> 00:55:51,040
Speaker 1: the Beatles and the seventies stuff. I'm pretty I'm pretty into.

1053
00:55:51,160 --> 00:55:52,960
Speaker 1: That's what my parents listened to, So I think it's

1054
00:55:52,960 --> 00:55:54,640
Speaker 1: the same type of thing. It's like whatever the comfort

1055
00:55:54,719 --> 00:55:55,960
Speaker 1: zone is from when you're a kid.

1056
00:55:57,320 --> 00:56:00,800
Speaker 2: Maybe, Yeah, It's like I always listened anytime I was

1057
00:56:00,840 --> 00:56:03,640
Speaker 2: alone in the car with my mom, we'd blare motown

1058
00:56:03,800 --> 00:56:06,080
Speaker 2: and anytime I was alone in the car with my dad,

1059
00:56:06,400 --> 00:56:10,200
Speaker 2: we'd always turn on like the original Eagles records, And

1060
00:56:10,280 --> 00:56:14,000
Speaker 2: so I have this like sweet, like solo date with

1061
00:56:14,040 --> 00:56:17,560
Speaker 2: my parents' energy about both of those things. So anytime

1062
00:56:18,360 --> 00:56:20,799
Speaker 2: I get in a car and like either of those

1063
00:56:20,800 --> 00:56:24,279
Speaker 2: genres is on the radio, I always leave it. But yeah,

1064
00:56:24,400 --> 00:56:27,000
Speaker 2: I feel like maybe because we're actors and like part

1065
00:56:27,000 --> 00:56:29,920
Speaker 2: of the way we really get into things is music.

1066
00:56:30,080 --> 00:56:33,520
Speaker 2: Like I make a soundtrack for every character I've ever played,

1067
00:56:33,920 --> 00:56:36,880
Speaker 2: So I feel like it's so hard to pick something.

1068
00:56:36,960 --> 00:56:39,400
Speaker 1: Yeah, we have an appreciation for so many different things.

1069
00:56:39,680 --> 00:56:46,160
Speaker 2: Yeah, but yeah that anytime, keep it on feels nice.

1070
00:56:46,440 --> 00:56:47,280
Speaker 2: All right, you guys.

1071
00:56:47,400 --> 00:56:50,640
Speaker 4: Next episode is season six, episode seventeen.

1072
00:56:50,920 --> 00:56:52,120
Speaker 2: You and Me and.

1073
00:56:52,040 --> 00:56:58,480
Speaker 4: The Bottle makes three sounds like my life story. Oh tonight, Yeah,

1074
00:56:58,640 --> 00:57:01,440
Speaker 4: forgot the tonight Park makes three millions tonight.

1075
00:57:03,200 --> 00:57:03,919
Speaker 2: Next week you later.

1076
00:57:04,840 --> 00:57:05,960
Speaker 1: Hey, thanks for listening.

1077
00:57:06,080 --> 00:57:08,320
Speaker 2: Don't forget to leave us a review. You can also

1078
00:57:08,360 --> 00:57:11,000
Speaker 2: follow us on Instagram at Drama Queens o.

1079
00:57:11,120 --> 00:57:15,320
Speaker 4: T H or email us at Drama Queens at iHeartRadio

1080
00:57:15,400 --> 00:57:16,200
Speaker 4: dot com.

1081
00:57:16,440 --> 00:57:17,440
Speaker 2: See you next time.

1082
00:57:18,680 --> 00:57:22,080
Speaker 1: We all about that High school Drama Girl, Drama Girl,

1083
00:57:22,120 --> 00:57:25,240
Speaker 1: all about them High School Queens We'll take you for

1084
00:57:25,360 --> 00:57:27,040
Speaker 1: a ride at our comic Girl.

1085
00:57:27,600 --> 00:57:31,960
Speaker 2: Cheering for the right teams, Drama, Queens, up girl Fashion,

1086
00:57:32,000 --> 00:57:32,919
Speaker 2: what's your tough girl?

1087
00:57:33,000 --> 00:57:36,040
Speaker 3: You could sit with us Girl Drama, Queens Drama, Queens Drama,

1088
00:57:36,120 --> 00:57:39,760
Speaker 3: Queens Drama, Drama, Queens Drama, Queens