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Speaker 1: And that's what you really missed with Jenna and Kevin

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Speaker 1: and I heart radio podcast. Welcome to and that's what

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Speaker 1: you really missed. I'm Jenna, I'm Kevin. In this episode

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Speaker 1: we've been looking forward to. Um. We get to have

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Speaker 1: one of our very very very favorite direct directors, co

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Speaker 1: workers friends. I also like, I'm just a fan. We're

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Speaker 1: fans of his work. Yes, Um, the one and only

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Speaker 1: living legend, Paris Barclay. He has done everything under the

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Speaker 1: sun on television that you could think of. We bonded

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Speaker 1: over UM. I started watching Sons of Anarchy while we

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Speaker 1: were shooting Glee and he was still shooting it. So

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Speaker 1: he would come and bring me merch um in like

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Speaker 1: when he would come back to do an episode, and

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Speaker 1: I was very happy. But he was also a part

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Speaker 1: of our first like huge big episode for Artientina, so

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Speaker 1: very party mental. Yeah, and then also Tardy ended very quickly,

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Speaker 1: but he was there through it all. Anyway. It's a

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Speaker 1: wonderful conversation. He is just a gem ready to go.

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Speaker 1: When we asked him, he was like, I was wondering

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Speaker 1: when I would be asked. He was ready, Um, and

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Speaker 1: he did. He watched all of his episodes did them. Yeah,

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Speaker 1: it's a great conversation. He's very open and honest, which

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Speaker 1: we always appreciate. UM, so enjoy this incredible conversation with

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Speaker 1: the incredible Paris. Barclay Perez. Hi, guys, Hi, you are

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Speaker 1: aging backwards. You're it's great. Can you send that list

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Speaker 1: when we're done with this. It's good to see you.

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Speaker 1: It's great to see you, guys. You guys look very

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Speaker 1: youthful to you look like you just did two thousand nine.

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Speaker 1: That's very kind. I wish I could use a little

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Speaker 1: lifting here and there. You're all touching their faces now

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Speaker 1: on our hands. Where do we begin? That's the great question.

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Speaker 1: Where do we begin? Paris? Well, for those of you

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Speaker 1: who don't know, Paris is a living legend. Yeah, Paris

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Speaker 1: has done just about everything, has shaped our lives and

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Speaker 1: ways that you probably don't even know. Things that you

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Speaker 1: have seen. Paris has directed or executive produced, I mean

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Speaker 1: he created. Yeah, the people in his phone. I will

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Speaker 1: never forget this. The numbers he has in his phone

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Speaker 1: are unreal. I just about died one time when he

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Speaker 1: he was like I can text right now, and I

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Speaker 1: was like, I gotta go, I have to leave. But

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Speaker 1: that's the type of person Paris is. Everybody loves him.

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Speaker 1: You are universally adored and admired. I mean, that's true.

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Speaker 1: That's not even me just saying I would say this

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Speaker 1: to you in private as well. Actually, Paris, you've done

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Speaker 1: everything before us, during us, after us. Um, where do

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Speaker 1: where do we begin? Kevin? Well, let's our introduction to

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Speaker 1: Paris was a very monumental episode for us personally. Wheels, Wheels, wheels. Yes,

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Speaker 1: and it was Paris is your introduction to the Glee world,

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Speaker 1: our introduction really too acting acting and getting to watch

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Speaker 1: this episode back, it was definitely introduction to acting, because yeah,

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Speaker 1: but we we did hear so this is something that

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Speaker 1: I heard. That's new that when Ryan when when when

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Speaker 1: Glee started airing, he called you and said, Paris help?

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Speaker 1: Is that right? Not exactly. That's sort of the version

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Speaker 1: of the story. The longer the story is. After the

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Speaker 1: pilot had been done, Ryan thought of me as a

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Speaker 1: potential director. And I hadn't worked with Ryan, but Ryan

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Speaker 1: knew some things about my background. I think we may

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Speaker 1: have met, but I hadn't done Niptuck or any of

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Speaker 1: his other shows are popular things like that. But for

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Speaker 1: some reason he thought I would be perfect for the show.

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Speaker 1: So I was in New York shooting I think probably

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Speaker 1: in treatment then and Dante came by with Dante, who

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Speaker 1: was one of the executive producers deither right oh, with

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Speaker 1: the DVD of the pilot because you couldn't send it

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Speaker 1: no one, so super secret, super hush hush. It had

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Speaker 1: brought by a human before machine sat there while you

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Speaker 1: watched it and then took it away. Crazy, So I

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Speaker 1: launched UM. I was in tears. I was very moved,

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Speaker 1: and I said, I don't think there's been a show

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Speaker 1: on television, then I'm better suited for I've been in

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Speaker 1: acapella singing groups, including at Harvard. I was in the

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Speaker 1: Harvard Crocodile os Um, so I had that experience, that

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Speaker 1: pre Warbler experience. What was the name of it, Harvard Crocodiles.

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Speaker 1: They're very famous, Okay, okay, Yes, Yale has the Whiffin poo. Yes, yes,

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Speaker 1: they're very prestigious. And when I went to Harvard, it

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Speaker 1: was the only acapella group that you could be in.

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Speaker 1: So you had the audition and it was a process

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Speaker 1: and it was very um, very tough to get into,

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Speaker 1: but I was one. Eventually was the musical director of

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Speaker 1: the of the of the Crocodile. And I've done a

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Speaker 1: lot of musical theater too. I'd written musical theaters. I've

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Speaker 1: been a composer. I came to New York to be

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Speaker 1: a composer. I worked with Stephen Sondheim, who was my mentor,

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Speaker 1: and Stephen Schwortz writing musicals which got produced. You know that.

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Speaker 1: Actually we've done Adding Theater Club and done at the

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Speaker 1: Soho Rep Theater, and so I thought I was pretty

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Speaker 1: much on my way to being black Stephen Santeim. Meanwhile,

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Speaker 1: I had this job in advertising where I was, you know,

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Speaker 1: writing copy for you know, Chrisco Oil and other problems

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Speaker 1: hang the bills. And unfortunately for me, I wrote a

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Speaker 1: pro bono commercial for the American Foundation for Eight's Research

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Speaker 1: in which was, you know, one of the pro bono

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Speaker 1: things that my advertising company was doing. It happened to

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Speaker 1: star Elizabeth Taylor. The director was unable to fly on

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Speaker 1: his own dime to l A to shoot Elizabeth Taylor

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Speaker 1: because it was a super cheap commercial and Elizabeth Taylor

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Speaker 1: was going to pay for him to fly and had

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Speaker 1: just gotten started. So the agency sent me to director

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Speaker 1: Elizabeth Taylor. And that was my first directing gig. So

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Speaker 1: I've also had the experience of being confronted with enormous

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Speaker 1: starhurst all of a sudden and having to direct them.

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Speaker 1: When I said, he has done everything I didn't realize,

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Speaker 1: I left advertise and then watch this Glee. I became

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Speaker 1: a music video director and I did allotted very successful

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Speaker 1: music videos, including eight for Llo Cool j Moms to

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Speaker 1: Knock You Out in Jingling Baby, and I did The

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Speaker 1: New Kids in the Block, and I did you know

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Speaker 1: Harry Connick Jr. And Janet's and lots of different artists

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Speaker 1: of the early nineties. So all this is like, really

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Speaker 1: I didn't know. It's my pre training Torector in Glee,

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Speaker 1: real musical theater, background, acapella singing group. It was great

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Speaker 1: training for learning to bring people together and collaborate. And

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Speaker 1: then you know, lots of TV directing West Wing and

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Speaker 1: my PD Blue you know e Er. So I had

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Speaker 1: that experience as well. For those of you at mouths

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Speaker 1: are just hanging open because I know, I feel like

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Speaker 1: I knew everything about you Paris, and I really didn't.

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Speaker 1: That's why when I watched it, I said, Holy sh it,

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Speaker 1: this is like, this is a show that's like mad

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Speaker 1: for year about and then the whole outcast idea of it,

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Speaker 1: and and and just the feeling of it and the

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Speaker 1: way the music was used, and just everything about it.

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Speaker 1: And I didn't think the pilot is so brilliantly directed

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Speaker 1: in so many different ways, which we could do a

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Speaker 1: whole podcast on that. But I listened to all your

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Speaker 1: podcast by the way, in advance. I think you did

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Speaker 1: a really good job on the pilot. And I think

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Speaker 1: Ryan was awesome in a very humbowl realistic looking back away.

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Speaker 1: And I hope that I can be as honest as

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Speaker 1: he was. But anyway, I wanted to do it, and

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Speaker 1: so he said, well, I'm going to give you this episode.

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Speaker 1: It's not like early, it fits into your schedule and everything,

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Speaker 1: and it's called Wheels. I think it would be good

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Speaker 1: for you. Um, And I didn't read it. I didn't

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Speaker 1: read it until I came actually until I arrived at Lee,

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Speaker 1: I had not read the episode. Wow, that was that

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Speaker 1: intentional or was that just because I don't know if

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Speaker 1: you know this, but they're a little late with their script.

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Speaker 1: I was going to ask some days we'd be reading

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Speaker 1: a script that it started shooting tomorrow. The wording was nice.

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Speaker 1: I didn't read it until I got there, because you

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Speaker 1: didn't get it until you know. I didn't get it

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Speaker 1: after I got their accent. So I didn't know what

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Speaker 1: the songs were going to be, and so we could

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Speaker 1: sort of start planning that. But Um and I knew

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Speaker 1: kind of what the story would be in it. You know,

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Speaker 1: everyone would be in wheelchairs and our struggle would already

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Speaker 1: I didn't know which is I'm so grateful for now

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Speaker 1: that it would have so many deeper revelations about the characters,

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Speaker 1: particularly you two together really very moving and very touching

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Speaker 1: to me, And I didn't realize it would have so

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Speaker 1: much with Bert and with Kurt, which I was also

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Speaker 1: incredibly touched as a person by because you know, I

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Speaker 1: happened to be gay, so so those stories really resonated

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Speaker 1: with me on top of the music. So it was

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Speaker 1: really a perfect store. And you came in and you

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Speaker 1: were so sweet. You we were very very nervous, and

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Speaker 1: you were someone that I think because you have dealt

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Speaker 1: with the biggest, biggest stars in the world and have

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Speaker 1: done everything, you are just so good with people, making

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Speaker 1: people feel comfortable, making people feel supported. Um, and so

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Speaker 1: we were very lucky that that episode, you know, fell

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Speaker 1: in your hands as well, because we were the opposite

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Speaker 1: of you, very green, and yes, did not know what

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Speaker 1: we were doing, and little did we know that we

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Speaker 1: you know, we're dealing with somebody who had as a

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Speaker 1: first directing gig, you know, directed Elizabeth Taylor. I remember

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Speaker 1: when you came in you actually told me a story

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Speaker 1: about Elizabeth Taylor because I was nervous about crying in

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Speaker 1: the scene, and you had told me a personal story

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Speaker 1: about Elizabeth Taylor and how she got she she got

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Speaker 1: she slapped somebody in the face. Was there some story

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Speaker 1: like that? I can't remember. Oh, it's my Mike Nichols story. Yes,

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Speaker 1: And who's your favor Junior Wolf, Mike Nichols. She wasn't

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Speaker 1: quite getting there and one of those big emotional scenes

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Speaker 1: with George and you know, it's one of the drinking

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Speaker 1: and brain scenes that they do in that in that

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Speaker 1: fantastic movie, and Mike Nichols claims that he slapped her

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Speaker 1: across the face and rolled the camera and she loved it.

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Speaker 1: And I was like, is that what you're going to

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Speaker 1: do to me? Paris? Is that what's coming? I'm gonna

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Speaker 1: be slapped across the face. By my I wish you

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Speaker 1: told me to slap her across the face right before

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Speaker 1: the cameras, But actually you didn't need it, because I

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Speaker 1: watched Wheels too a long with every episode I directed

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Speaker 1: and Glee in preparation for this, and I thought it

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Speaker 1: was really good. I don't know, you guys sound like

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Speaker 1: you might not think you were great in that episode.

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Speaker 1: I thought you both were fantastically grounded. And I was

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Speaker 1: really in the scene in the you know, in the

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Speaker 1: empty hallway is so beautiful, and you know, I I didn't.

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Speaker 1: Part of my goal was coming on the show is

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Speaker 1: to try to keep it more real because it had

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Speaker 1: gotten a little bit around the vitamin D pre it

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Speaker 1: was great, Yeah, a little bit like here come to

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Speaker 1: jokes in Wheels. You notice everyone's throwing everything away beautifully,

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Speaker 1: and then when the real scenes landed, they really the

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Speaker 1: heart of it really landed. So that's what makes you

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Speaker 1: a really good director. Yeah, it wasn't. It was a

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Speaker 1: grounded episode. It was a mon little episode for like

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Speaker 1: you said, for so many big characters relevatory, you got

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Speaker 1: to direct a lot of episode compared to me too. Yeah,

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Speaker 1: outside of you know, Brad and Ryan you directed nine episodes,

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Speaker 1: Like did you when you kept coming back, what did

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Speaker 1: you notice or did you notice anything in terms of

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Speaker 1: what was changing around the set, what was happening publicly

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Speaker 1: in the media, Like what was your experience in your

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Speaker 1: relationship to the show as it started to go. It's

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Speaker 1: so strange, more than any other show that I've worked on.

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Speaker 1: I worked on a few shows where I just come back,

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Speaker 1: like C S I ORL come back somebody regularly. But

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Speaker 1: this show is a different show. Every time I came, yeah,

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Speaker 1: I would come once or crisis. Usually because I had

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Speaker 1: other commitments. I didn't come early in this season. I

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Speaker 1: usually came around episode twelve or thirteen or something, maybe

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Speaker 1: another one at the end because it would be my

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Speaker 1: hiatus from Sons of Anarchy or some other show that

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Speaker 1: I was doing, and there would be different people. You know,

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Speaker 1: they'd be like, you know, I have to watch all

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Speaker 1: the shows to say, like, who's in direction now? I

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Speaker 1: mean literally, as I watched through them, I just noticed

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Speaker 1: that there's not a single episode that's the same casts,

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Speaker 1: so true, keeping it moving every time he came there

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Speaker 1: and actually here he comes over here and and now

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Speaker 1: the dijon is gone and It's just like everybody was

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Speaker 1: like sleeping with someone different by the time I was like, okay,

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Speaker 1: So that was the that was the fun part. Off camera.

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Speaker 1: We we had so much to catch up, but like

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Speaker 1: parents never believe. He's like, tell me what's going on,

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Speaker 1: And it felt like parents would coming. It was just

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Speaker 1: like we'd kick it, like we would be like, listen

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Speaker 1: to this ship. Yeah, well he's seen it all. You've

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Speaker 1: seen it all, so nothing. Glee was a little bit different.

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Speaker 1: You were I know, you don't think of yourself as young,

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Speaker 1: but you were pretty young. Yeah. Were big show for

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Speaker 1: the network. I mean it was one of those shows

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Speaker 1: that was really holding up the network at that time.

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Speaker 1: It was they had a lot of value in you,

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Speaker 1: and the music was telling incredibly The music was probably

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Speaker 1: making more money than the show. I don't know this.

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Speaker 1: That's so you were quite a big enterprise, and that's

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Speaker 1: why I was really pleased to hear Ryan say that

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Speaker 1: he would have done things differently in terms of taking

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Speaker 1: care of you. Yeah. You know, if we had started

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Speaker 1: that show now, we would have had systems in place

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Speaker 1: really paid attention to you as opposed to the commercial

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Speaker 1: exploitation of the incredible project. Um which is natural because

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Speaker 1: that's what TV did and people didn't really expect it

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Speaker 1: to be what it was. But I'm glad that the

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Speaker 1: world has changed in such a way that now there

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Speaker 1: would have been you know, caretaking. There would have been

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Speaker 1: much more concerned and when things bubbled up and things bubbled,

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Speaker 1: when they bubbling, they could have been dealt with in

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Speaker 1: a probably you know, mannered HR kind of way. Yes,

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Speaker 1: you know, there would have been sit downs, and there

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Speaker 1: would have been conversations, and there would have been coot.

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Speaker 1: I mean when we did, we had to have conseling regularly.

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Speaker 1: They're available to everyone, right, the world is like now

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Speaker 1: In that case, it's because the subject matter in your

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Speaker 1: case is because of the personality. Yeah, we're not talking

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Speaker 1: about serial killers. No, no, no, we're talking about just

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Speaker 1: you know, young people being young people. Yes, exactly, that's right.

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Speaker 1: I'm curious because of your roster of working on so

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Speaker 1: many shows that were phenomenons of their own, right, you know,

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Speaker 1: from West Wing, you know, your sons, I mean and

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Speaker 1: treatment all of them, and then Glee, Like what did

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Speaker 1: was Glee different in any way to you, like than

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Speaker 1: these other hits or what was different? Yes, Glee was

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Speaker 1: different Um, how should I say this nicely? Um, you

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Speaker 1: don't have to. No, I won't be kind. I mean,

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Speaker 1: I want to be honest, but I also want to

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Speaker 1: be kind. Um. The biggest show that I worked on

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Speaker 1: that comparis would be Er, which is when I worked

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Speaker 1: on The R. It was the biggest show on television. Literally,

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Speaker 1: forty million people watched George Clooney and Julianna Marghlie's and

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Speaker 1: Company on a Thursday night live. Imagine if you have

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Speaker 1: those numbers today. I mean, in six people in America

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Speaker 1: were watching e erday night. It was. It was that big, right,

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Speaker 1: And when they did a storyline, it reverberated with all

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Speaker 1: these people. But the producers were extremely conscious of that,

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Speaker 1: and I think they did, you know, an excellent job

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Speaker 1: of taking care of the actors who happened to be,

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Speaker 1: for the most part, very mature in various stamps, including Cluney,

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Speaker 1: who was terrific and he was becoming a huge breakout

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Speaker 1: star and never gave you star attitude in any episode

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Speaker 1: that I ever. He was always the kindest, he was

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Speaker 1: always introducing himself, he was always you know, kind of

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Speaker 1: you know, holding things together. And they had a number

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Speaker 1: one with Anthony Edwards, who was very just stable and

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Speaker 1: conscientious and thoughtful, and it set a tone and they

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Speaker 1: had writers in that case that we're extremely disciplined. John

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Speaker 1: Wells did not have a late script. If the script

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Speaker 1: was late one day, John was very upset. Ran that

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Speaker 1: show like conckword. You didn't have that luxury. And I

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Speaker 1: think that that creates an incredible amount of stress, not

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Speaker 1: just for the actors and the directors, but for all

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Speaker 1: the crew members, for the props people in the department.

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Speaker 1: What do we doing? Every department works under enormous stress,

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Speaker 1: and everyone looks at the actions and well, will they

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Speaker 1: memorize their lines? And that's certainly a thing, but it's

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Speaker 1: not quite as bad as the proper person who suddenly

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Speaker 1: has to find this weird a cake or whatever it

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Speaker 1: is rather ass and do it. You know, they're really sweating,

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Speaker 1: and those people really care. And so you lived and

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Speaker 1: you worked in extraordinary attention for such a big show.

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Speaker 1: And you know, I'm sure if Ryan had to do

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Speaker 1: it all over again, he would try to get it

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Speaker 1: more disciplined and more organized as part of protecting you,

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Speaker 1: because that creates all the crew loved you. The crew

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Speaker 1: worked like dogs because they didn't have time. That was

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Speaker 1: and that was something we always talked about too, because

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Speaker 1: when people, let's say, like an r N would it's

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Speaker 1: like you are here, the crews here before us, they

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Speaker 1: leave after us. We're making a lot more money than

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Speaker 1: they are. They have family to support, and then we

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Speaker 1: show up and act like apples. It's like and we're kids.

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Speaker 1: It's like, who who are we to be? These people

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Speaker 1: are also working with scripts, coming in late and have

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Speaker 1: to do a lot more than we have to do

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Speaker 1: as we were told. When we had to sit down once,

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Speaker 1: I think it was with Dante, like our jobs were

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Speaker 1: to show up on time, had our marks and nowhere

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Speaker 1: lines and fundamentally, obviously there's more things, but fundamentally that's

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Speaker 1: what we had to do. But you were surrounded by

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Speaker 1: hundreds of people every single day who are having to do,

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Speaker 1: like what you said, find those cakes and that weird

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Speaker 1: ship to make to fill out every single shot in

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Speaker 1: those episodes, day after day, long hours. If we were

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Speaker 1: there in those first two seasons, we were there I

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Speaker 1: don't know, fifty easily fifteen hours a day, and think

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Speaker 1: about that, they were there longer than that. Yeah, And

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Speaker 1: I tried to think just from the directing standpoint, Yeah,

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Speaker 1: something like dancing with myself, just to be super precise

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Speaker 1: is so simple and so smooth and so graceful, the

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Speaker 1: way it moves in and out of each thing, and

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Speaker 1: it builds and we have the little stunt sequence that

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Speaker 1: you're doing the hallway, and there's the slow motion part.

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Speaker 1: But all of that is millions, not millions, but many

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Speaker 1: many meetings with many many people trying to figure out, Okay,

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Speaker 1: we need a double speed track and we gotta get

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Speaker 1: it to Kevin. Kevin's gotta learn a double speed. It's

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Speaker 1: just gonna be this section of it, So don't make

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Speaker 1: him focus on the whole thing. And when we do

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Speaker 1: the double where are we gonna get Let's get Adam

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Speaker 1: for the what's his name, Aaron fothering him. I think

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Speaker 1: you're double There is a fantastic credible there, you know

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Speaker 1: activists as well. Let's get him to come in and

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Speaker 1: do this and how we shoot it and all that

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Speaker 1: planning that goes into it, and the sweat people don't

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Speaker 1: really see. They just see the number. It seems to

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Speaker 1: just flow on the top of It's just like it's

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Speaker 1: just you're just swinging your hands and rolling around and

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Speaker 1: bok hundreds of people people Sweden play in little ukuleles, right,

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Speaker 1: And that was like I had to go back and

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Speaker 1: re record that song because like the first version Ryan

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Speaker 1: didn't like and so I had to go back. But

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Speaker 1: you also don't see, like for Paris, you coming into that.

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Speaker 1: You were catching us as the show was starting to

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Speaker 1: really blow up. The the album had just come out,

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Speaker 1: um in the middle of our episode. We also went

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Speaker 1: to upfronts in New York and came back and I

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Speaker 1: remember us all being very tired. Yeah, And so as

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Speaker 1: a director, you're coming in and you're having to manage

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Speaker 1: the personalities and sort of the outside schedule that we're

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Speaker 1: all sort of being thrust into because the show is

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Speaker 1: suddenly successful and now, like you said, the network wants

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Speaker 1: us to, you know, be out there, go to upfronts,

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Speaker 1: perform at upfronts, which is not a normal thing you

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Speaker 1: would do. And for those of you who don't know,

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Speaker 1: upfronts is basically where all the advertisers come and every

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Speaker 1: network shows they're going to buy yes, and every network

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Speaker 1: you know, flaunts out their new lineup of fall programming

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Speaker 1: and spring programming of here's what we're doing, Please buy

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Speaker 1: some ad space. Um. And so you go there and

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Speaker 1: it's basically a zoo and you are a clown and

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Speaker 1: everyone comes and takes pictures with you, and you're just like, yes,

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Speaker 1: pay pay for the ads so the show can keep going. Um.

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Speaker 1: And then you know we're in the middle of the wheels.

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Speaker 1: Specifically we're flying to New York to do this thing,

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Speaker 1: and then we fly back and Paris has to deal

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Speaker 1: with us on either end of that, which you know

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Speaker 1: didn't impact me too much, but unfortunately there's there's so

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Speaker 1: few musical numbers in it. That's the other thing that

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Speaker 1: I think cripple Glee honestly going down, you know through

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Speaker 1: the many years, is the more musical numbers that there were,

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Speaker 1: the more hell it was. Yeah, just for everybody. It

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Speaker 1: just involved you rehearsing constantly in that shed and you know,

390
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Speaker 1: not having any time. You've got a record and you've

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Speaker 1: got everyone's running around. But we only had three musical

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Speaker 1: number and I will say proud Mary counted his three numbers. Well,

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Speaker 1: we should tell the story of Round Mary. So so

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Speaker 1: we're gonna do a wheelchair number and then we quickly

395
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Speaker 1: utilized just doing it on a flat surface wasn't gonna happen, right,

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Speaker 1: So then some engineers and Mark ut in the productive designer,

397
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Speaker 1: had to figure out how we could create a set,

398
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Speaker 1: which I think looked like a weird batman and it's

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Speaker 1: like you want to wear it on your chest. But

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Speaker 1: that was like the third iteration of it. I don't

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Speaker 1: know if you guys remember, wasn't there originally one built

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Speaker 1: that you couldn't work with? We couldn't the ramps are

403
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Speaker 1: too steep. We couldn't get up and done. They would

404
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Speaker 1: have me tested and like, if he can't get up it,

405
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Speaker 1: then nobody else is gonna be able to get up it.

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Speaker 1: Ever fell to the side at one point on her

407
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Speaker 1: with your wheelchair. It was an interesting episode off this

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Speaker 1: I just have enough slope, but not to kill you.

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Speaker 1: They're telling tales out of school. Weren't there places you

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Speaker 1: could slip it in the back where you guys could

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Speaker 1: kind of be pushed into. Yes, yeah, at the top

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Speaker 1: off the wings and push us. Yeah. They would run

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Speaker 1: you up and then push you back on and said,

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Speaker 1: we don't really see, and I remember everyone complaining, and

415
00:24:16,080 --> 00:24:18,600
Speaker 1: then the gloves came in because your hands were all wrong.

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Speaker 1: People were bleeding and there needed to be cloves. They

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Speaker 1: cast didn't handle it well. Leah and Mercedes in particular,

418
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Speaker 1: Mercedes Amber in particular, we're completely displeased. But I think

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Speaker 1: there was on the day we filmed it, we were

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Speaker 1: in Long Beach, somebody, somebody apparently took one too many xanex.

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Speaker 1: Do you remember this? Yes, I don't remember, no wed

422
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Speaker 1: because we were like, what happened to them? They're glazed over.

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Speaker 1: They're like, I'm miserable, so drugged myself. That's an remain nameless. Yes,

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Speaker 1: we're not. We're not doing that. It's not wonderful about

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Speaker 1: it watching it again is that there's a couple of

426
00:25:06,520 --> 00:25:09,480
Speaker 1: little cuts of it where you're exhausted. There's one where

427
00:25:09,840 --> 00:25:15,399
Speaker 1: Leah is clearly like done and I love it. And

428
00:25:15,440 --> 00:25:18,200
Speaker 1: there's one where Mercedes draft comes down and she's trying

429
00:25:18,280 --> 00:25:20,280
Speaker 1: to say you get ready to saying and she pulls

430
00:25:20,320 --> 00:25:23,119
Speaker 1: her strap back up and I loved that that number

431
00:25:23,240 --> 00:25:26,440
Speaker 1: was allowed to be a little mesty. Yeah, Okay, even

432
00:25:26,480 --> 00:25:29,159
Speaker 1: though I don't know the kids built this ramp, I

433
00:25:29,200 --> 00:25:31,960
Speaker 1: don't know what was happening, but but somebody built this ramp,

434
00:25:32,320 --> 00:25:34,399
Speaker 1: I still sort of believe that you were doing it,

435
00:25:34,560 --> 00:25:38,040
Speaker 1: that the kids could do, in fact, everything in that show.

436
00:25:38,600 --> 00:25:41,159
Speaker 1: I believe these high school kids could do with you know,

437
00:25:41,320 --> 00:25:44,960
Speaker 1: just a slight elevation, right right, um, And then I

438
00:25:45,040 --> 00:25:46,800
Speaker 1: think the show sort of lost that and we just

439
00:25:46,960 --> 00:25:52,840
Speaker 1: did anything big budgets. You know, it's Lady Gaga all

440
00:25:52,880 --> 00:25:55,760
Speaker 1: the time. And I'm thinking I missed the show that

441
00:25:55,840 --> 00:25:57,680
Speaker 1: was Wheels, and that's I think that's why that's my

442
00:25:57,760 --> 00:26:00,760
Speaker 1: favorite episode, because I missed that show that was part

443
00:26:00,880 --> 00:26:03,840
Speaker 1: and every musical number was really part of the story.

444
00:26:03,960 --> 00:26:07,280
Speaker 1: Defined Granty was very much the middle of that story,

445
00:26:07,800 --> 00:26:10,800
Speaker 1: and it was the climax of that story. You know,

446
00:26:11,119 --> 00:26:13,600
Speaker 1: Dancing with Myself set up the whole romance that's going

447
00:26:13,640 --> 00:26:15,480
Speaker 1: to be that b story runner when you do your

448
00:26:15,760 --> 00:26:20,240
Speaker 1: episode breakdown, and then Wheels was the triumphant finish. So

449
00:26:20,359 --> 00:26:23,560
Speaker 1: it was like a real musical theater episode. It was

450
00:26:23,680 --> 00:26:25,439
Speaker 1: really well written. I think it was written by all

451
00:26:25,560 --> 00:26:29,959
Speaker 1: three and I looked through my little all three of them.

452
00:26:30,240 --> 00:26:33,600
Speaker 1: That episode in particular was excellent and it had that

453
00:26:33,760 --> 00:26:37,360
Speaker 1: hard and had Kurt and I think Bert was extraordinary

454
00:26:37,880 --> 00:26:43,320
Speaker 1: Michael Michael Maleys, but and so having him and he's

455
00:26:43,359 --> 00:26:45,720
Speaker 1: become a friend and we've done we did a pilot

456
00:26:45,760 --> 00:26:48,639
Speaker 1: together and other stuff. But he's just he's someone who

457
00:26:48,720 --> 00:26:51,640
Speaker 1: just missed up those moments, and he incurred together, we're

458
00:26:51,760 --> 00:26:57,280
Speaker 1: just parts of the Yeah. But you were mentioning your

459
00:26:57,280 --> 00:27:00,240
Speaker 1: favorite episodes, and then I saw a tweet recently and

460
00:27:00,320 --> 00:27:02,639
Speaker 1: you were listening to our podcast and one of your

461
00:27:02,960 --> 00:27:07,600
Speaker 1: most fun days was Diva though, and that's when we

462
00:27:07,720 --> 00:27:12,200
Speaker 1: really did lose the whole wheels of it all. But

463
00:27:12,400 --> 00:27:15,679
Speaker 1: that number that day was absolutely ridiculous, and I had

464
00:27:15,800 --> 00:27:18,720
Speaker 1: it's imprinted in my brain because it was so much fun,

465
00:27:19,119 --> 00:27:22,160
Speaker 1: so a lot of fun. That is not my favorite episode,

466
00:27:22,280 --> 00:27:24,720
Speaker 1: although it has good things in it, but that number

467
00:27:24,880 --> 00:27:28,040
Speaker 1: cracks me up. I mean I remember pixing it to Ryan.

468
00:27:28,119 --> 00:27:29,760
Speaker 1: I said, Ryan, so they're going to jump out of

469
00:27:29,760 --> 00:27:32,600
Speaker 1: the classroom and then they're gonna go backstage and the

470
00:27:32,680 --> 00:27:35,160
Speaker 1: ones that aren't singing in the number will be their service,

471
00:27:36,960 --> 00:27:41,840
Speaker 1: and said the performing We'll punish that for everything, whether

472
00:27:41,880 --> 00:27:44,919
Speaker 1: it's the way they spray their hair, and it's hilarious.

473
00:27:45,000 --> 00:27:47,040
Speaker 1: And then suddenly they come out on stage and I

474
00:27:47,119 --> 00:27:52,040
Speaker 1: don't know, it's like RuPaul's Drags, right, I mean, it's

475
00:27:52,119 --> 00:27:54,879
Speaker 1: this ramp and it's lights and it's photographers and the

476
00:27:54,960 --> 00:27:59,080
Speaker 1: costumes I thought were incredible. They really were. Unreally that's

477
00:27:59,080 --> 00:28:02,439
Speaker 1: a good TEENA and Paris got some good stuff together.

478
00:28:02,640 --> 00:28:05,639
Speaker 1: We had a lot of stuff together. We had a

479
00:28:05,720 --> 00:28:09,160
Speaker 1: good run and I think but you, I think came

480
00:28:09,240 --> 00:28:11,720
Speaker 1: to play. I mean when you that's why if you

481
00:28:11,800 --> 00:28:16,360
Speaker 1: looked at my also tweeted out as Harparbar my favorite,

482
00:28:18,160 --> 00:28:20,080
Speaker 1: and I really picked them trying not to think about

483
00:28:20,200 --> 00:28:21,560
Speaker 1: you know, I'm going to be happy to look at

484
00:28:21,600 --> 00:28:27,760
Speaker 1: you guys. But it's a great list. It's a really

485
00:28:27,800 --> 00:28:31,479
Speaker 1: good you know, there's a couple of teams because when

486
00:28:31,480 --> 00:28:34,240
Speaker 1: you guys chanced to shine, you really shown. And when Kevin,

487
00:28:34,320 --> 00:28:38,240
Speaker 1: when you get to sang, you always like we will

488
00:28:38,360 --> 00:28:42,000
Speaker 1: rock you. I think you did a fantastic vocal in you. Yeah,

489
00:28:42,040 --> 00:28:44,600
Speaker 1: and we also got I mean the episodes you directed,

490
00:28:45,080 --> 00:28:47,800
Speaker 1: so just what people know you did Wheels Home, special Education,

491
00:28:48,520 --> 00:28:56,640
Speaker 1: Spanish with Somebody Diva. Yeah, you had in two thou nine,

492
00:28:56,760 --> 00:29:00,880
Speaker 1: you had crazy episodes. Every episode you had we did

493
00:29:01,120 --> 00:29:04,880
Speaker 1: a hundred and twenty one episode or something, so some

494
00:29:05,000 --> 00:29:07,080
Speaker 1: of them, you know, blend together and run together. Everyone

495
00:29:07,200 --> 00:29:10,920
Speaker 1: you had had some sort of like monumental moment for

496
00:29:11,200 --> 00:29:15,960
Speaker 1: us on the show and behind the scenes in and like,

497
00:29:16,120 --> 00:29:19,480
Speaker 1: that's how I think you're associated with us and our brains,

498
00:29:19,640 --> 00:29:22,440
Speaker 1: that you are so ingrained in the fabric of this

499
00:29:22,560 --> 00:29:25,800
Speaker 1: whole experience, because every time you came back, we're doing

500
00:29:26,400 --> 00:29:30,000
Speaker 1: some crazy ess like you did the hundred episode, and

501
00:29:30,080 --> 00:29:35,120
Speaker 1: we're doing this beautiful rendition of this questionable loser like

502
00:29:35,280 --> 00:29:39,640
Speaker 1: me song, Oh my god, that's rights. And then one

503
00:29:39,680 --> 00:29:41,680
Speaker 1: of my other favorites is two thousand nine, which you did,

504
00:29:41,760 --> 00:29:43,800
Speaker 1: which I like all the nostalgia in the world. Yet

505
00:29:44,400 --> 00:29:47,200
Speaker 1: the nine, which I just I didn't want to watch

506
00:29:47,320 --> 00:29:49,719
Speaker 1: until this morning. I did watch it this morning. Um,

507
00:29:49,840 --> 00:29:52,120
Speaker 1: it just breaks my heart. I think after Wheels, that's

508
00:29:52,160 --> 00:29:54,920
Speaker 1: my second favorite episode because we had the whole thing,

509
00:29:55,000 --> 00:29:57,880
Speaker 1: and how do you represent Corey in this story? You're

510
00:29:57,880 --> 00:30:01,120
Speaker 1: going back to the beginning. So they created I think,

511
00:30:01,320 --> 00:30:04,040
Speaker 1: very well and crafted. We got to see everyone's backstory,

512
00:30:04,360 --> 00:30:07,080
Speaker 1: and I love that Tina in her voiceover admits that

513
00:30:07,200 --> 00:30:09,080
Speaker 1: she doesn't have a stutter, and it's just filled with

514
00:30:09,360 --> 00:30:14,120
Speaker 1: easter eggs. Watched the show would really enjoy. But then

515
00:30:14,160 --> 00:30:18,560
Speaker 1: at the end, when when Corey appears just suddenly and

516
00:30:18,600 --> 00:30:20,840
Speaker 1: we go back to that film from the pilot, it's

517
00:30:20,880 --> 00:30:26,880
Speaker 1: just sup Yeah, yeah, I kind of think that would

518
00:30:26,920 --> 00:30:30,200
Speaker 1: have been a good ending of the series, just to

519
00:30:30,280 --> 00:30:33,160
Speaker 1: stop at that, just like Ryan says he may have

520
00:30:33,240 --> 00:30:36,560
Speaker 1: wanted to stop after Corey died. Yeah, that might have

521
00:30:36,640 --> 00:30:39,520
Speaker 1: been place to stop. Yeah, when we shot that, Jenna,

522
00:30:39,600 --> 00:30:43,560
Speaker 1: did we the order in which we I thought two

523
00:30:43,920 --> 00:30:47,960
Speaker 1: nine was going to was that the second to last episode? Yes,

524
00:30:49,000 --> 00:30:51,440
Speaker 1: and for some reason, remember they were toying with that

525
00:30:51,640 --> 00:30:54,080
Speaker 1: being the last episode and we were shooting them in tandem,

526
00:30:54,200 --> 00:30:58,480
Speaker 1: I think, and they don't go like we were. Yeah,

527
00:30:58,720 --> 00:31:00,360
Speaker 1: there was a lot going on and there were we

528
00:31:00,440 --> 00:31:02,400
Speaker 1: were pressed for time, and that was that was the

529
00:31:02,440 --> 00:31:04,240
Speaker 1: big shift obviously. You know, the big shift in the

530
00:31:04,280 --> 00:31:08,000
Speaker 1: show was Corey and I missed. I wasn't there at

531
00:31:08,040 --> 00:31:10,800
Speaker 1: the beginning of that season. I think I was still

532
00:31:10,840 --> 00:31:13,440
Speaker 1: on Sons. I may have been doing like Sun season six.

533
00:31:14,360 --> 00:31:16,960
Speaker 1: I heard about Corey's death while I was doing Sons.

534
00:31:18,000 --> 00:31:20,360
Speaker 1: You know, I knew that everything was going on out

535
00:31:20,440 --> 00:31:22,640
Speaker 1: there and you know kind of what you guys are

536
00:31:22,680 --> 00:31:25,000
Speaker 1: going through, and like you, I felt an enormous amount

537
00:31:25,000 --> 00:31:27,920
Speaker 1: of guilt because you know, I'm sober alcoholic, and I

538
00:31:28,080 --> 00:31:30,560
Speaker 1: didn't feel like I had done enough. You know, I

539
00:31:30,680 --> 00:31:33,160
Speaker 1: recognized signs. I mean there were times that you know,

540
00:31:33,400 --> 00:31:35,920
Speaker 1: they had to rouse him out of his room, and

541
00:31:36,040 --> 00:31:38,000
Speaker 1: you know, we have happed to shoot around him until

542
00:31:38,000 --> 00:31:41,120
Speaker 1: he got to set, and I felt that I should

543
00:31:41,200 --> 00:31:45,120
Speaker 1: have been more proactive with he's such a good kid

544
00:31:45,400 --> 00:31:48,800
Speaker 1: or was such a um so. I mean, everyone was

545
00:31:48,880 --> 00:31:51,440
Speaker 1: playing their own tapes, but in my tape, I just

546
00:31:51,600 --> 00:31:55,200
Speaker 1: felt I wish I had done more. I wish UM

547
00:31:56,000 --> 00:31:57,280
Speaker 1: really let him know that I could have been a

548
00:31:57,360 --> 00:32:00,840
Speaker 1: resource to him, and I just I feel like I failed.

549
00:32:02,440 --> 00:32:06,120
Speaker 1: I mean, I think in hindsight, it's easy or for

550
00:32:06,320 --> 00:32:08,680
Speaker 1: us to look back and see, like, you know, those moments,

551
00:32:08,680 --> 00:32:13,360
Speaker 1: I think we've all reflected upon that, but we the

552
00:32:13,600 --> 00:32:16,520
Speaker 1: moments that you were there in filming with us. I

553
00:32:16,560 --> 00:32:18,680
Speaker 1: think we're such a gift for all of us, including Corey,

554
00:32:19,360 --> 00:32:22,440
Speaker 1: because your presence was always so soothing and calming, and

555
00:32:22,640 --> 00:32:24,880
Speaker 1: like I said before, like we all opened up to

556
00:32:24,920 --> 00:32:28,240
Speaker 1: you and share this experience with you because that you

557
00:32:28,400 --> 00:32:33,440
Speaker 1: invite that, and um, I gotta say, we're being honest.

558
00:32:33,480 --> 00:32:35,800
Speaker 1: I also exploited the fact that you guys seem to

559
00:32:35,840 --> 00:32:40,080
Speaker 1: think a lot of me to sort of pretend like

560
00:32:41,880 --> 00:32:45,720
Speaker 1: that was true, and since it was true, I rarely

561
00:32:45,840 --> 00:32:49,760
Speaker 1: misbehaved in my presence. Yeah, no, I didn't see, you know,

562
00:32:49,920 --> 00:32:52,239
Speaker 1: and hearing all the stories about various things that were

563
00:32:52,280 --> 00:32:55,400
Speaker 1: said and do you know I scratching out moments. I

564
00:32:55,520 --> 00:32:59,400
Speaker 1: just didn't see a lot of that. People were on

565
00:32:59,520 --> 00:33:02,360
Speaker 1: their very good behavior around you, and I will say

566
00:33:02,400 --> 00:33:04,720
Speaker 1: we we thought the best of you. You brought the

567
00:33:04,800 --> 00:33:07,680
Speaker 1: best out in us and in the show, and when

568
00:33:07,760 --> 00:33:10,280
Speaker 1: you came on set, it was like we were on time,

569
00:33:10,800 --> 00:33:13,240
Speaker 1: we were working, we were we knew what we were

570
00:33:13,560 --> 00:33:16,320
Speaker 1: there for. Again, like you were a wrong reminder for

571
00:33:16,520 --> 00:33:18,640
Speaker 1: us in a way of like why we were there

572
00:33:18,760 --> 00:33:22,040
Speaker 1: and you had you had such prestige and and experience,

573
00:33:22,160 --> 00:33:24,320
Speaker 1: and I think there was like a little bit of

574
00:33:24,440 --> 00:33:28,760
Speaker 1: fear because you were you had so much. Um. We

575
00:33:28,880 --> 00:33:31,960
Speaker 1: just have so much respect for you, And there are

576
00:33:32,000 --> 00:33:33,600
Speaker 1: other directors that you're like, oh, I don't know what

577
00:33:33,720 --> 00:33:36,600
Speaker 1: you're doing. Like we kind of like had our room

578
00:33:36,680 --> 00:33:41,120
Speaker 1: to play if you will. Um, but bad kid, Yeah

579
00:33:41,160 --> 00:33:43,720
Speaker 1: we're bad kids. But yeah. I think there was a

580
00:33:43,840 --> 00:33:46,920
Speaker 1: level of respect that we had when you were around.

581
00:33:47,600 --> 00:33:52,120
Speaker 1: I think it's also reflected in the how you direct,

582
00:33:52,360 --> 00:33:54,680
Speaker 1: Like how you said, you know the show right before

583
00:33:54,720 --> 00:33:57,600
Speaker 1: you did Wheels was getting crazy, and how you brought

584
00:33:57,640 --> 00:34:01,920
Speaker 1: it back down and sort of made approachable and humble

585
00:34:01,960 --> 00:34:04,080
Speaker 1: and all of that. When you walked on too, said,

586
00:34:04,120 --> 00:34:06,760
Speaker 1: that's also how it felt. You grounded all of us.

587
00:34:07,240 --> 00:34:09,320
Speaker 1: You brought us all together, and we're like, oh, this

588
00:34:09,440 --> 00:34:13,080
Speaker 1: is serious. We need to focus up and actually remember

589
00:34:13,160 --> 00:34:15,960
Speaker 1: why we are here to do this. Well, I have

590
00:34:16,080 --> 00:34:19,200
Speaker 1: to say I was doing it not because I needed

591
00:34:19,239 --> 00:34:20,640
Speaker 1: to do it, but I was doing it out of

592
00:34:20,719 --> 00:34:24,600
Speaker 1: respect for you, because I think there was such You

593
00:34:24,760 --> 00:34:28,480
Speaker 1: really have to appreciate that the cast, the original cast,

594
00:34:28,560 --> 00:34:31,240
Speaker 1: and some of the additions were lightning in a bottle.

595
00:34:31,520 --> 00:34:34,920
Speaker 1: I mean, you guys are an extraordinary group of you know,

596
00:34:35,080 --> 00:34:39,279
Speaker 1: triple quadruple threats were brought all in one place by

597
00:34:39,400 --> 00:34:42,759
Speaker 1: you know, the Dawson overs all those peeps that brought

598
00:34:42,840 --> 00:34:45,759
Speaker 1: me together. And I recognized that from when I first

599
00:34:45,800 --> 00:34:47,640
Speaker 1: looked at the pilot. I said, this isn't going to

600
00:34:47,719 --> 00:34:50,800
Speaker 1: happen again. You're not going to have this kind of

601
00:34:50,960 --> 00:34:54,600
Speaker 1: talent in this place. And so, unlike many directors that

602
00:34:54,640 --> 00:34:58,200
Speaker 1: I produced in the past, my responsive has to be

603
00:34:58,280 --> 00:35:01,000
Speaker 1: extremely prepared. I really worked hard to be ready for

604
00:35:01,080 --> 00:35:02,960
Speaker 1: each day with the kinds of shots I wanted to

605
00:35:03,080 --> 00:35:04,960
Speaker 1: I don't like to improvise us on the day or

606
00:35:05,080 --> 00:35:09,520
Speaker 1: let's decide this now. I felt I owed it to

607
00:35:09,600 --> 00:35:11,319
Speaker 1: you to be efficient. And you know, if you really

608
00:35:11,360 --> 00:35:13,720
Speaker 1: look at my episodes as I have now, they're probably

609
00:35:13,840 --> 00:35:20,160
Speaker 1: the simplest shot episodes of shots like that threw attention

610
00:35:20,200 --> 00:35:24,440
Speaker 1: to themselves or would startle you. And the reason behind that, honestly,

611
00:35:24,520 --> 00:35:26,400
Speaker 1: is because I wanted to have time to work in

612
00:35:26,440 --> 00:35:29,360
Speaker 1: the performance. I wanted to give you more takes and

613
00:35:29,520 --> 00:35:32,200
Speaker 1: less complicated shots that would take hours to set up

614
00:35:32,560 --> 00:35:34,400
Speaker 1: when I could be doing another take and giving you

615
00:35:34,440 --> 00:35:36,960
Speaker 1: another chance to do something or to try and or

616
00:35:37,040 --> 00:35:39,520
Speaker 1: to find a tone. So I don't I don't do

617
00:35:39,640 --> 00:35:42,040
Speaker 1: a lot of crazy ship and the musical numbers. I do,

618
00:35:42,200 --> 00:35:44,960
Speaker 1: but in the scenes, I keep it really simple and

619
00:35:45,120 --> 00:35:47,440
Speaker 1: let the acting work. It's magic because I realized you

620
00:35:47,520 --> 00:35:50,200
Speaker 1: had the magic, UM, so my job was just to

621
00:35:50,280 --> 00:36:02,319
Speaker 1: be the conduit to the audience. You found times also

622
00:36:02,400 --> 00:36:07,560
Speaker 1: to do UM really special things in those musical numbers. UM.

623
00:36:08,320 --> 00:36:12,160
Speaker 1: To go back to wheels again when I remember you

624
00:36:12,200 --> 00:36:14,080
Speaker 1: were the first one to sort of do the transition,

625
00:36:14,280 --> 00:36:16,239
Speaker 1: you know, behind the heads of everyone in the back

626
00:36:16,360 --> 00:36:18,160
Speaker 1: row of the choir room, and it was switching and

627
00:36:18,280 --> 00:36:21,600
Speaker 1: defying gravity, and I remember being like, oh, this is

628
00:36:21,680 --> 00:36:26,160
Speaker 1: some fancy, like this is fancy. The spotlight's on and

629
00:36:26,320 --> 00:36:28,399
Speaker 1: I had we I think you were the first one

630
00:36:28,480 --> 00:36:31,240
Speaker 1: to do slow motion and one of the musical numbers.

631
00:36:31,800 --> 00:36:34,640
Speaker 1: And I was very excited to be the guinea pig

632
00:36:34,800 --> 00:36:38,279
Speaker 1: of learning the fast because then I was the best

633
00:36:38,360 --> 00:36:40,200
Speaker 1: at it. And I well, for people who don't know,

634
00:36:40,840 --> 00:36:43,400
Speaker 1: when you do the slow motion, you have to do

635
00:36:43,560 --> 00:36:46,800
Speaker 1: it and double the speed. So Kevin was was singing

636
00:36:46,920 --> 00:36:51,160
Speaker 1: that song twice the speed. So when I when we

637
00:36:51,360 --> 00:36:54,880
Speaker 1: started the um the cafeteria shot, you had already practiced this.

638
00:36:55,000 --> 00:36:57,080
Speaker 1: We weren't privy to it, so when you came in,

639
00:36:57,160 --> 00:36:59,719
Speaker 1: I was like, what the what isn't it kind of

640
00:37:00,040 --> 00:37:05,919
Speaker 1: okay that you get the emotion from watching that scene.

641
00:37:05,960 --> 00:37:11,759
Speaker 1: It's a complete opposite and practicality. I'm always looking for

642
00:37:11,880 --> 00:37:16,080
Speaker 1: what's the story. And and Tina cohen Chen at that

643
00:37:16,200 --> 00:37:18,920
Speaker 1: point was having so much fun with her friends, and

644
00:37:19,040 --> 00:37:21,600
Speaker 1: you were invisible to her. You know, you guys are

645
00:37:21,640 --> 00:37:23,759
Speaker 1: throwing things and blah blah blah, and that's all in

646
00:37:23,800 --> 00:37:26,080
Speaker 1: slow motion, so it sort of became like your view

647
00:37:26,239 --> 00:37:29,120
Speaker 1: of her, you're a ghost that could actually be within

648
00:37:29,280 --> 00:37:31,959
Speaker 1: that world of her for a moment that she doesn't see,

649
00:37:32,400 --> 00:37:34,399
Speaker 1: and I just thought it's it's a device I've used

650
00:37:34,440 --> 00:37:36,719
Speaker 1: in music videos. You've seen the music videos before a

651
00:37:36,800 --> 00:37:38,680
Speaker 1: number of times, but I thought it would be just

652
00:37:38,800 --> 00:37:41,880
Speaker 1: perfect for that, that little moment and the going to

653
00:37:41,960 --> 00:37:44,040
Speaker 1: behind the heads. I was just figuring out, how do

654
00:37:44,160 --> 00:37:47,719
Speaker 1: we switch between Rachel and Kurt and just not do

655
00:37:47,840 --> 00:37:52,000
Speaker 1: a cut that wouldn't it be great if it just

656
00:37:52,120 --> 00:37:54,359
Speaker 1: reveals and you're not sure and it doesn't always reveal

657
00:37:54,440 --> 00:37:56,399
Speaker 1: the other person. Sometimes the head goes through it. It's

658
00:37:56,480 --> 00:37:59,400
Speaker 1: you're at the same person, your rhythm is always thrown

659
00:37:59,440 --> 00:38:02,839
Speaker 1: off a little bit, and um, that just became a thing.

660
00:38:02,920 --> 00:38:05,600
Speaker 1: And that's not the first time we did the spotlights

661
00:38:05,800 --> 00:38:07,520
Speaker 1: on the people in the choir room, and I think

662
00:38:07,520 --> 00:38:10,760
Speaker 1: it was only the second time because it was christ first,

663
00:38:11,000 --> 00:38:17,720
Speaker 1: and then you got Gwyneth, I got, and I got Kristen.

664
00:38:18,760 --> 00:38:21,360
Speaker 1: I would take Kristen if I had to, if it

665
00:38:21,480 --> 00:38:24,520
Speaker 1: was if I was teen. I mean, I love Gwyneth.

666
00:38:24,600 --> 00:38:26,920
Speaker 1: And but if you may recall, we were doing an

667
00:38:27,080 --> 00:38:30,560
Speaker 1: entirely another song for the end of that episode. I

668
00:38:30,640 --> 00:38:32,759
Speaker 1: think that was hundred right at the end of that,

669
00:38:33,000 --> 00:38:36,360
Speaker 1: and then someone I think when it wanted to do Happy,

670
00:38:37,120 --> 00:38:40,360
Speaker 1: and so that shooting the Happy was delayed by a

671
00:38:40,400 --> 00:38:42,600
Speaker 1: couple of weeks. I was like just hanging out and

672
00:38:42,680 --> 00:38:44,920
Speaker 1: you guys were doing another episode and we didn't do

673
00:38:44,960 --> 00:38:49,400
Speaker 1: it Happy. We got the rights, got the track preographed Happy,

674
00:38:50,000 --> 00:38:52,320
Speaker 1: and did that. So that pushed me into like a

675
00:38:52,400 --> 00:38:56,759
Speaker 1: whole another job. But I do like that number though.

676
00:38:56,800 --> 00:39:00,120
Speaker 1: I like she looked great and she founded great love

677
00:39:00,160 --> 00:39:03,920
Speaker 1: the way everyone plays in that, but Christian Channaway, I

678
00:39:03,960 --> 00:39:09,960
Speaker 1: would kill right home home that she does with that

679
00:39:10,040 --> 00:39:12,040
Speaker 1: more soon. I'd love to come back when you do that. Ever,

680
00:39:12,800 --> 00:39:16,400
Speaker 1: she that's a scene she just that was such a

681
00:39:16,600 --> 00:39:20,160
Speaker 1: scene and the two of them and Ryan came that day,

682
00:39:20,200 --> 00:39:21,759
Speaker 1: and you know, Ryan doesn't come to the set and

683
00:39:21,880 --> 00:39:24,960
Speaker 1: hang out rehearsals very long. Because she was so interested

684
00:39:25,000 --> 00:39:27,800
Speaker 1: in that, and we really worked together with the actors

685
00:39:27,880 --> 00:39:30,080
Speaker 1: on how that would be choreographed and how they would

686
00:39:30,120 --> 00:39:32,239
Speaker 1: get to the bed and what that would mean and

687
00:39:32,320 --> 00:39:35,279
Speaker 1: watch you again, that's just a beautiful little sequence. I

688
00:39:35,320 --> 00:39:39,600
Speaker 1: think that's top probably top three performance sequences for me

689
00:39:39,680 --> 00:39:42,719
Speaker 1: in this time series. I was obsessed with that, and

690
00:39:42,760 --> 00:39:46,440
Speaker 1: it's one of those things where because we there's eight

691
00:39:46,520 --> 00:39:48,320
Speaker 1: billion people in the show. You don't see what everybody

692
00:39:48,360 --> 00:39:50,759
Speaker 1: else is doing. You read it, you don't know how

693
00:39:50,800 --> 00:39:52,960
Speaker 1: it's going to lift off the page and they come

694
00:39:53,040 --> 00:39:57,400
Speaker 1: to life. And I remember gasping watching that number, like

695
00:39:57,560 --> 00:40:00,440
Speaker 1: how did they do this? Because it's not easy. It's

696
00:40:00,480 --> 00:40:05,600
Speaker 1: a it's a complicated arrangement, and visually it's reflected perfectly

697
00:40:06,200 --> 00:40:09,400
Speaker 1: and not everybody. And we've talked about this before in

698
00:40:09,440 --> 00:40:12,600
Speaker 1: the show. It's hard directing musical numbers. It's hard directing

699
00:40:12,680 --> 00:40:18,520
Speaker 1: choreography because you have done music videos, gigantic music videos,

700
00:40:19,719 --> 00:40:23,000
Speaker 1: and that makes a difference when your musicality and understanding

701
00:40:23,640 --> 00:40:28,719
Speaker 1: of how that works on film made those numbers so

702
00:40:29,000 --> 00:40:31,120
Speaker 1: much better than if they were in the hands of

703
00:40:31,200 --> 00:40:33,320
Speaker 1: somebody else who didn't know how to do that. And

704
00:40:34,120 --> 00:40:38,600
Speaker 1: I think when you're watching the show, you I remember

705
00:40:38,640 --> 00:40:40,920
Speaker 1: that in my head and I sometimes I forget, but

706
00:40:41,000 --> 00:40:43,960
Speaker 1: who directed this? Who did this? But it makes complete

707
00:40:44,000 --> 00:40:47,040
Speaker 1: sense that it's like, of course that's you, because that's

708
00:40:47,160 --> 00:40:51,359
Speaker 1: that one sticks with me. I think about it often. Yeah,

709
00:40:51,719 --> 00:40:54,520
Speaker 1: but I do think that's very nice for you to

710
00:40:54,600 --> 00:40:56,719
Speaker 1: say that way, thank you, But I think it's more

711
00:40:57,719 --> 00:41:00,279
Speaker 1: can you get the actors at the top of their game.

712
00:41:01,360 --> 00:41:05,000
Speaker 1: You have Matt and you're Christian CHANNONWI also, can I

713
00:41:05,120 --> 00:41:07,000
Speaker 1: create an environment because I don't have all the ideas,

714
00:41:07,080 --> 00:41:08,960
Speaker 1: I don't come with all the ideas. Can I create

715
00:41:09,000 --> 00:41:12,399
Speaker 1: an environment where they can participate? That's something wonderful really

716
00:41:12,440 --> 00:41:14,400
Speaker 1: comes out of it. That's why I loved days and

717
00:41:14,440 --> 00:41:17,719
Speaker 1: those we did that were kind of mesty And what's

718
00:41:17,760 --> 00:41:27,640
Speaker 1: the one? I really don't matter what it's. At the

719
00:41:27,719 --> 00:41:33,200
Speaker 1: end of an episode, you say you started it's you

720
00:41:33,280 --> 00:41:36,440
Speaker 1: and Mercedes are on state. My love is your love?

721
00:41:37,040 --> 00:41:39,320
Speaker 1: I love is your love. Those numbers that kind of

722
00:41:39,440 --> 00:41:43,880
Speaker 1: feel like they're improvised, but that's what I mean. You

723
00:41:44,040 --> 00:41:47,680
Speaker 1: started those things where dog Days we then that was

724
00:41:47,760 --> 00:41:50,759
Speaker 1: such a monumental thing for us that when you weren't there,

725
00:41:51,040 --> 00:41:53,480
Speaker 1: it would be written into the script that we needed

726
00:41:53,520 --> 00:41:57,319
Speaker 1: to mimic that vibe in that fay because you liked

727
00:41:57,360 --> 00:41:59,640
Speaker 1: when things were a little rough around the edges, that

728
00:41:59,719 --> 00:42:02,720
Speaker 1: felt more real as these high school kids coming together.

729
00:42:03,239 --> 00:42:06,000
Speaker 1: And that's why those numbers feel so special, because you

730
00:42:06,120 --> 00:42:08,560
Speaker 1: create like the environment felt like that where we were

731
00:42:08,640 --> 00:42:11,400
Speaker 1: allowed to play. You gave us sort of the boundaries

732
00:42:11,480 --> 00:42:13,920
Speaker 1: or lack of boundary to just feel it and go

733
00:42:14,080 --> 00:42:16,080
Speaker 1: with it set up within you know, the way you

734
00:42:16,160 --> 00:42:18,239
Speaker 1: wanted it to be done. Before we let you go.

735
00:42:18,600 --> 00:42:21,279
Speaker 1: You're never letting me go. We're letting you coming back,

736
00:42:21,400 --> 00:42:23,360
Speaker 1: for sure, but before we let you go in this

737
00:42:23,640 --> 00:42:29,479
Speaker 1: very moment um. What what is the feeling that Glee

738
00:42:29,560 --> 00:42:36,120
Speaker 1: leaves you with? Your experience ugly left you with? I

739
00:42:36,200 --> 00:42:41,160
Speaker 1: would say Glee is when I think practically, it's emotional.

740
00:42:41,440 --> 00:42:46,960
Speaker 1: That's the word. I get so emotional. Some shows I

741
00:42:47,080 --> 00:42:51,239
Speaker 1: feel that was stressful, Some shows I feel that was hilarious.

742
00:42:51,640 --> 00:42:56,200
Speaker 1: That's not too often, but I feel very emotional about Glee,

743
00:42:56,520 --> 00:43:00,359
Speaker 1: and and I have to say it's often tinged with sadness. Um.

744
00:43:01,000 --> 00:43:05,240
Speaker 1: It's sort of like a youth, a period of longing

745
00:43:05,320 --> 00:43:09,360
Speaker 1: for you that you can't get back, and sometimes saddened

746
00:43:09,440 --> 00:43:11,160
Speaker 1: to me, I'll be totally honest, because I sort of

747
00:43:11,239 --> 00:43:16,359
Speaker 1: look at what's transpired postally from Afar and I saw

748
00:43:16,480 --> 00:43:19,640
Speaker 1: the Michelle and Funny Girl last night, and she was fantastic.

749
00:43:19,760 --> 00:43:22,880
Speaker 1: By the way, I realized that part of our family

750
00:43:23,040 --> 00:43:26,200
Speaker 1: is kind of ruptured around things that people did then,

751
00:43:26,840 --> 00:43:31,160
Speaker 1: and that really makes me sad. You know, I wish,

752
00:43:31,840 --> 00:43:36,640
Speaker 1: I wish, I wish I had to go to the festival. Uh.

753
00:43:38,440 --> 00:43:41,200
Speaker 1: I wish there were some more forgiveness in it. I

754
00:43:41,280 --> 00:43:43,680
Speaker 1: think Ryan said a great tone at the beginning of

755
00:43:43,760 --> 00:43:46,000
Speaker 1: your podcast because he was kind of owning up to

756
00:43:46,120 --> 00:43:49,120
Speaker 1: his own mistakes and kind of forgiving himself in a

757
00:43:49,239 --> 00:43:52,600
Speaker 1: really beautiful way. And I feel like I've definitely made mistakes,

758
00:43:52,680 --> 00:43:54,880
Speaker 1: and I certainly made more mistakes when I was the

759
00:43:55,000 --> 00:43:57,560
Speaker 1: age that you were in Blee, and I just wish

760
00:43:57,680 --> 00:43:59,920
Speaker 1: that that would rain. I wish that people would just

761
00:44:00,160 --> 00:44:03,120
Speaker 1: let things go and just hold on to the fact

762
00:44:03,200 --> 00:44:06,880
Speaker 1: that there was a beautiful, beautiful show that moved a

763
00:44:07,000 --> 00:44:09,560
Speaker 1: lot of people and talked about a lot of really

764
00:44:09,640 --> 00:44:12,400
Speaker 1: important things. I will never forget. It's also in Wheels,

765
00:44:12,960 --> 00:44:16,680
Speaker 1: you know, when Sue Sylvester brings in Lauren and that

766
00:44:16,960 --> 00:44:20,240
Speaker 1: story that then becomes a story with Robin. That story

767
00:44:20,360 --> 00:44:23,560
Speaker 1: had a huge impact on that community and people who

768
00:44:23,640 --> 00:44:27,320
Speaker 1: love people who have Down syndrome. That's really really emotional

769
00:44:27,400 --> 00:44:32,320
Speaker 1: and powerful and little known fact. Robin Troki, who played

770
00:44:32,400 --> 00:44:37,200
Speaker 1: Sue's sister Jean, has exactly my birthday. She was born

771
00:44:37,320 --> 00:44:40,480
Speaker 1: on the same day of the same year the I,

772
00:44:41,520 --> 00:44:44,719
Speaker 1: which I didn't go until after we had finished the episode.

773
00:44:45,840 --> 00:44:49,240
Speaker 1: Susie is so beautiful with her and I saw myself

774
00:44:49,360 --> 00:44:56,320
Speaker 1: and her in and she died en she finally succumbed

775
00:44:56,360 --> 00:44:59,680
Speaker 1: to Alzheimer's. But her appearance on those episodes of Glee

776
00:44:59,760 --> 00:45:01,759
Speaker 1: when came back, I think she was in like five

777
00:45:01,840 --> 00:45:06,920
Speaker 1: times Lawrence role as she became a cheerio and she

778
00:45:07,080 --> 00:45:11,000
Speaker 1: developed and she even started to get comedy lines or

779
00:45:11,239 --> 00:45:16,200
Speaker 1: things is part of Glee flexing its real power. So

780
00:45:16,480 --> 00:45:19,239
Speaker 1: I I rather than the you're a racist, you can't

781
00:45:19,320 --> 00:45:23,520
Speaker 1: read everything that's going on, since I didn't think we

782
00:45:23,640 --> 00:45:26,560
Speaker 1: really have to look at in comedy and then balance,

783
00:45:26,719 --> 00:45:31,080
Speaker 1: we did so much much over. The Krovsky storyline comes

784
00:45:31,120 --> 00:45:35,440
Speaker 1: to mind. It's Out is an episode that's often impugned,

785
00:45:35,600 --> 00:45:39,640
Speaker 1: but Lake Jenner was awesome in that episode, as was Becca.

786
00:45:39,840 --> 00:45:41,960
Speaker 1: When they actually talked about what had happened to them

787
00:45:42,000 --> 00:45:45,360
Speaker 1: as children. That opened up some kids. And obviously the

788
00:45:45,440 --> 00:45:49,600
Speaker 1: Kurt's humble story. So you were on a very powerful,

789
00:45:49,920 --> 00:45:53,920
Speaker 1: very entertaining vehicle, and there should be some joy with that,

790
00:45:54,120 --> 00:45:56,960
Speaker 1: and there's and I think, you know, to now be

791
00:45:57,080 --> 00:45:59,279
Speaker 1: grown ups and to be sniping at each other and

792
00:45:59,400 --> 00:46:01,800
Speaker 1: doing all this other ship to me, it disappoints me.

793
00:46:02,239 --> 00:46:04,680
Speaker 1: I just wish we had more forgiveness. Amen to that.

794
00:46:04,800 --> 00:46:06,319
Speaker 1: That's what you know. I think that's why we're doing

795
00:46:06,360 --> 00:46:08,600
Speaker 1: the podcast. Who is trying to hold onto those better,

796
00:46:09,080 --> 00:46:12,040
Speaker 1: really special moments that we had and sharing those with

797
00:46:12,080 --> 00:46:16,440
Speaker 1: the world because it does get it's frustrating, um when

798
00:46:16,520 --> 00:46:20,080
Speaker 1: people do have, you know, within our group, UM, these

799
00:46:20,440 --> 00:46:25,240
Speaker 1: feelings about the show that are so negative and dark.

800
00:46:25,640 --> 00:46:30,720
Speaker 1: And where we were kids, we were nobody was perfect.

801
00:46:31,040 --> 00:46:34,799
Speaker 1: Every of course, nobody was perfect. This thing became um

802
00:46:35,160 --> 00:46:38,920
Speaker 1: much way bigger than anybody could have imagined their wildest dreams,

803
00:46:39,120 --> 00:46:42,640
Speaker 1: and so yes, things go off the rails, but all

804
00:46:42,719 --> 00:46:44,520
Speaker 1: in all, like you said, we got to go to

805
00:46:44,600 --> 00:46:47,440
Speaker 1: work every day, got to be clowns and sing and

806
00:46:47,560 --> 00:46:51,400
Speaker 1: dance and impact some real things with real people, and

807
00:46:52,600 --> 00:46:54,319
Speaker 1: you know, our first taste of that. And I think

808
00:46:54,400 --> 00:46:58,080
Speaker 1: this is why Paris, especially for me and Jenna, we

809
00:46:58,560 --> 00:47:03,399
Speaker 1: feel so attached to you because with Wheels we went

810
00:47:03,480 --> 00:47:07,440
Speaker 1: around and really got to meet those people. I mean,

811
00:47:07,520 --> 00:47:09,520
Speaker 1: think of all the things I never we never did

812
00:47:09,560 --> 00:47:12,200
Speaker 1: that with any other director or any other episode, where

813
00:47:12,719 --> 00:47:15,440
Speaker 1: we went to so many events for kids and wheelchairs

814
00:47:15,840 --> 00:47:19,319
Speaker 1: and met the parents and met the people in wheelchairs. Um,

815
00:47:20,040 --> 00:47:21,960
Speaker 1: and we got to do so many special screenings of

816
00:47:22,000 --> 00:47:26,279
Speaker 1: this episode, and that was the first moment that we

817
00:47:26,480 --> 00:47:29,719
Speaker 1: really got to feel that. And I think that's what

818
00:47:29,840 --> 00:47:32,400
Speaker 1: I've always and Jen, I think you have to like

819
00:47:32,719 --> 00:47:35,440
Speaker 1: because we got to experience those things, we hold on

820
00:47:35,600 --> 00:47:39,080
Speaker 1: to and remember those parts about the show, and so

821
00:47:40,000 --> 00:47:42,440
Speaker 1: I we agree with you that I think it's important

822
00:47:42,480 --> 00:47:46,080
Speaker 1: for people to remember that because that was very very

823
00:47:46,120 --> 00:47:49,719
Speaker 1: special and unique. Two, you know, get a job, get

824
00:47:49,760 --> 00:47:51,359
Speaker 1: hired to do this wonderful thing that we all got

825
00:47:51,400 --> 00:47:55,040
Speaker 1: to love, make new best friends, and then also you know,

826
00:47:55,520 --> 00:47:59,359
Speaker 1: be a part of some real impactful stuff for people. Yeah,

827
00:47:59,400 --> 00:48:02,000
Speaker 1: and that's the genus of Ryan. Actually, I think he's

828
00:48:02,080 --> 00:48:04,880
Speaker 1: not He's not done a show that I know of

829
00:48:05,239 --> 00:48:08,480
Speaker 1: that didn't matter in some way beyond the show that

830
00:48:08,680 --> 00:48:12,760
Speaker 1: didn't cause you know, some kind of rupture in the force,

831
00:48:13,360 --> 00:48:16,400
Speaker 1: even though it was disguised is about plastic surgery, or

832
00:48:16,400 --> 00:48:20,800
Speaker 1: it was disguised about high school or music groups. And

833
00:48:20,920 --> 00:48:23,360
Speaker 1: you were part of that, and you were the carriers

834
00:48:23,520 --> 00:48:26,120
Speaker 1: of that message that changed people's lives. And Gale is

835
00:48:26,120 --> 00:48:28,040
Speaker 1: gonna go on forever. I mean, it's not just Hulu.

836
00:48:28,120 --> 00:48:30,479
Speaker 1: People are gonna keep watching this, you know, they're gonna

837
00:48:30,520 --> 00:48:33,480
Speaker 1: keep going back and it will become a nostalgic time capsule.

838
00:48:34,120 --> 00:48:36,800
Speaker 1: But one of the things that will really encapsulated is

839
00:48:36,920 --> 00:48:40,279
Speaker 1: what we cared about, and that show was on the edge,

840
00:48:40,480 --> 00:48:44,920
Speaker 1: unique character, what we dealt with there so much we

841
00:48:45,040 --> 00:48:47,319
Speaker 1: went there, and I think you should be really really

842
00:48:47,400 --> 00:48:51,319
Speaker 1: proud of that experience. And now before you leave, though,

843
00:48:51,320 --> 00:48:54,480
Speaker 1: I have to tell you my auchies and my favorite

844
00:48:54,520 --> 00:49:00,080
Speaker 1: quotes for meals I have. I have some nominations. You

845
00:49:00,160 --> 00:49:03,319
Speaker 1: guys could argue about it next week, but I had

846
00:49:03,480 --> 00:49:07,000
Speaker 1: three huge ouches and wheels. I think this is probably

847
00:49:07,040 --> 00:49:10,040
Speaker 1: the worst and it's I know they meant this with love,

848
00:49:10,480 --> 00:49:13,440
Speaker 1: but when Dad says to Principle fig in so his office,

849
00:49:13,840 --> 00:49:16,680
Speaker 1: you can't discriminate against my kid because of his sex, religion,

850
00:49:16,800 --> 00:49:18,680
Speaker 1: or the fact that he's queer as a three dollar bill,

851
00:49:19,760 --> 00:49:26,719
Speaker 1: I just thought we would do that day. I mean,

852
00:49:26,800 --> 00:49:29,200
Speaker 1: I know what they were going for, the kind of

853
00:49:29,280 --> 00:49:32,279
Speaker 1: like just getting into it at all, but it was

854
00:49:32,480 --> 00:49:35,640
Speaker 1: like wow and sweet really delivering it in like the

855
00:49:35,719 --> 00:49:39,000
Speaker 1: most genuine way he can as well, probably cringing at

856
00:49:39,040 --> 00:49:42,120
Speaker 1: that moment. And already I'm sure you will never live

857
00:49:42,200 --> 00:49:45,200
Speaker 1: down the day that you said I want to be

858
00:49:45,360 --> 00:49:51,400
Speaker 1: very I still have the use of my penis. You know, priorities.

859
00:49:51,680 --> 00:50:00,279
Speaker 1: You gotta wa yea to Tina's face really cut to

860
00:50:00,360 --> 00:50:04,319
Speaker 1: Jenna's face. Yeah, there was. This is like the first

861
00:50:04,400 --> 00:50:07,200
Speaker 1: episode there was a lot of us and this. Yeah,

862
00:50:08,200 --> 00:50:09,920
Speaker 1: well there's a lot of Tina nerdy to you. So

863
00:50:11,280 --> 00:50:13,040
Speaker 1: but then on the other side there is you know

864
00:50:13,160 --> 00:50:16,319
Speaker 1: when when Finn says this one's for you already at

865
00:50:16,360 --> 00:50:22,279
Speaker 1: the beginning and in the track of Wheels, yep, this

866
00:50:22,440 --> 00:50:26,120
Speaker 1: one's for you. Yeah, I was I had to like,

867
00:50:26,880 --> 00:50:31,040
Speaker 1: look away. It was it was very much. It's so corey.

868
00:50:31,520 --> 00:50:34,239
Speaker 1: It really is any other super Bad ones, but that

869
00:50:34,400 --> 00:50:36,600
Speaker 1: was probably my favorite line of it. Oh yeah, so

870
00:50:36,640 --> 00:50:41,440
Speaker 1: I did have one more when Will Schuster says, well, first,

871
00:50:42,600 --> 00:50:48,680
Speaker 1: Amber says, is my chocolate thunder and his response is,

872
00:50:48,840 --> 00:50:55,360
Speaker 1: We'll find something for you to dip in chocolate. M m.

873
00:50:56,120 --> 00:50:59,360
Speaker 1: You know. Abrew was like, what is this. I was like,

874
00:50:59,520 --> 00:51:05,440
Speaker 1: three white guys wrote this. That's good. That's good okay,

875
00:51:05,480 --> 00:51:09,160
Speaker 1: And again it's still in character, I guess for Will Schuster,

876
00:51:09,440 --> 00:51:16,320
Speaker 1: but it made me, yeah, we need to implement that.

877
00:51:17,080 --> 00:51:19,560
Speaker 1: To implement that. And on the other side, Cude in

878
00:51:19,640 --> 00:51:21,920
Speaker 1: that same scene I think that's where Corey says, you know,

879
00:51:22,000 --> 00:51:24,680
Speaker 1: we're so busy. We got homework, we got football, we

880
00:51:24,719 --> 00:51:31,400
Speaker 1: got te pregnancy. So good, so good. That's how great

881
00:51:31,520 --> 00:51:35,279
Speaker 1: Corey was that he just does that line like a

882
00:51:35,400 --> 00:51:41,040
Speaker 1: picture who always pitches strikes yes, and then his wheelchair kick,

883
00:51:42,360 --> 00:51:48,480
Speaker 1: the wheelchair kick, the bake sale. It's so good, Yeah, Corey,

884
00:51:49,520 --> 00:51:52,160
Speaker 1: all right, last inside story then then if you were done.

885
00:51:52,400 --> 00:51:54,680
Speaker 1: But I do have to tell you because no one

886
00:51:54,760 --> 00:51:58,240
Speaker 1: tells this story, and you probably But in the scene

887
00:51:58,400 --> 00:52:06,120
Speaker 1: in which Quick and Buck are making a cake and

888
00:52:06,680 --> 00:52:08,560
Speaker 1: I'm supposed to have her baking and they have a

889
00:52:08,880 --> 00:52:12,640
Speaker 1: food fight. Um, that scene was stopped from being filmed

890
00:52:13,040 --> 00:52:16,560
Speaker 1: by our director of photography, who was convinced that the

891
00:52:16,680 --> 00:52:21,080
Speaker 1: aeration of the flower could cause a fire. Now I

892
00:52:21,120 --> 00:52:23,600
Speaker 1: don't know if you've heard of this, but that's what

893
00:52:23,760 --> 00:52:28,120
Speaker 1: he believed. That flower in the air with lights could

894
00:52:28,280 --> 00:52:33,520
Speaker 1: create ignition and the set could burn down. So we

895
00:52:33,680 --> 00:52:38,200
Speaker 1: stopped filming. And I didn't know quite what to do

896
00:52:38,440 --> 00:52:40,560
Speaker 1: because I hadn't heard of this, and this is before

897
00:52:40,640 --> 00:52:44,800
Speaker 1: we do everything wherever, we're still in my space, and

898
00:52:45,160 --> 00:52:47,480
Speaker 1: so I ran to Dante and said, I have to

899
00:52:47,520 --> 00:52:49,720
Speaker 1: shoot the scene, and we can't shoot because the director

900
00:52:49,719 --> 00:52:53,000
Speaker 1: of photography thinks they'll be a fire. And so Dante

901
00:52:53,080 --> 00:52:55,040
Speaker 1: comes down. We all talked to him, but he's convinced.

902
00:52:55,080 --> 00:52:57,319
Speaker 1: He stops his crew from working. All of us sit

903
00:52:57,440 --> 00:53:04,880
Speaker 1: down because of the potential a narrated flower fire. So

904
00:53:05,400 --> 00:53:08,000
Speaker 1: how does this resolved is we bring the fire marshal

905
00:53:08,080 --> 00:53:10,600
Speaker 1: in and the fire marshal We asked the fire marshal,

906
00:53:10,719 --> 00:53:14,000
Speaker 1: is this a possibility and this flower caused the fire?

907
00:53:14,120 --> 00:53:15,840
Speaker 1: Do we will we never get through the episode of

908
00:53:15,880 --> 00:53:21,440
Speaker 1: wheels and he said, yeah, technically there's a possibility that

909
00:53:21,600 --> 00:53:26,640
Speaker 1: the spar could ignite perfectly aerrated flower and cause of fire.

910
00:53:28,200 --> 00:53:30,440
Speaker 1: That's not the answer he was supposed to get. No, No,

911
00:53:30,680 --> 00:53:34,960
Speaker 1: that's not like yes in the world of every single possibility. Sure.

912
00:53:36,160 --> 00:53:37,880
Speaker 1: So that was enough to say we're not doing this

913
00:53:38,000 --> 00:53:40,120
Speaker 1: till we do something else. So then I made up

914
00:53:40,160 --> 00:53:44,240
Speaker 1: the idea that if you combine the sugar with the flower,

915
00:53:44,520 --> 00:53:47,200
Speaker 1: I say, you know, as if they're baking the cake,

916
00:53:47,239 --> 00:53:51,600
Speaker 1: would that stop the aeration process from possibly ignorant? And

917
00:53:51,719 --> 00:53:57,960
Speaker 1: the fire Marshal said yes. Paris, he said, oh, look

918
00:53:58,000 --> 00:54:07,200
Speaker 1: at your chemistry with the flower. In order to continue shooting,

919
00:54:07,760 --> 00:54:09,600
Speaker 1: when you woke up that day. You did not think

920
00:54:09,680 --> 00:54:13,759
Speaker 1: you were gonna have to, and that's what you really miss.

921
00:54:14,120 --> 00:54:24,680
Speaker 1: Oh my gosh, ship you have to go through Sugar Butter, Harris,

922
00:54:24,840 --> 00:54:29,759
Speaker 1: You're just you. Please come back, keep doing it. I'll

923
00:54:29,760 --> 00:54:31,800
Speaker 1: be happy to come back, and you let us know

924
00:54:31,880 --> 00:54:33,960
Speaker 1: which episode you want to come back for. You come

925
00:54:34,000 --> 00:54:36,879
Speaker 1: back anytime, anytime. I love the show. I just think

926
00:54:36,920 --> 00:54:38,359
Speaker 1: and I think you guys are doing a great job.

927
00:54:38,440 --> 00:54:42,200
Speaker 1: I love your simplified recaps. By storyline is great. Thank you.

928
00:54:44,440 --> 00:54:46,040
Speaker 1: You do you mention the director. You never know who

929
00:54:46,080 --> 00:54:50,640
Speaker 1: wrote an episode, really, you just have to kind of guess.

930
00:54:51,920 --> 00:54:54,319
Speaker 1: But it's nice that you mentioned the directors and remember them.

931
00:54:54,400 --> 00:54:58,600
Speaker 1: And we appreciate that. Of course, just who are directors? Say?

932
00:54:58,960 --> 00:55:01,719
Speaker 1: You acknowledge that. Yeah, keep doing it. Brings some joy

933
00:55:01,800 --> 00:55:05,520
Speaker 1: to people's lives, get them to watch more Glee. Thanks Paris, Paris,

934
00:55:05,640 --> 00:55:07,919
Speaker 1: thank you so so so good to see your face.

935
00:55:09,040 --> 00:55:10,719
Speaker 1: If you want to text me the products you use

936
00:55:10,800 --> 00:55:14,760
Speaker 1: on your face. I would greatly appreciate that the Korean

937
00:55:14,920 --> 00:55:20,680
Speaker 1: sail mucus. I had one of those you know, scrubber

938
00:55:21,160 --> 00:55:25,960
Speaker 1: machine things that the microdermrobration microderm thing that's good for

939
00:55:26,040 --> 00:55:27,839
Speaker 1: you when you're you know, when you were as old

940
00:55:27,880 --> 00:55:31,680
Speaker 1: as I, my dear, oh my gosh, please please um

941
00:55:32,239 --> 00:55:35,320
Speaker 1: I will. I also just one last quick memory that

942
00:55:35,360 --> 00:55:38,560
Speaker 1: I thought was really wonderful. You were getting honored by

943
00:55:38,560 --> 00:55:40,600
Speaker 1: the d g A. You were, I mean, you were

944
00:55:40,680 --> 00:55:43,439
Speaker 1: president for a billion years of the DJ as well. Yeah,

945
00:55:43,800 --> 00:55:45,879
Speaker 1: in DJ terms, I feel like that's a long time.

946
00:55:48,160 --> 00:55:52,560
Speaker 1: And seeing that people who showed up for you, seeing um,

947
00:55:53,320 --> 00:55:57,080
Speaker 1: the collection of your work at that point, because obviously

948
00:55:57,160 --> 00:56:00,480
Speaker 1: it's expanded and grown since then, it was I felt

949
00:56:00,560 --> 00:56:02,520
Speaker 1: honored to have been invited and to have been there

950
00:56:03,280 --> 00:56:07,239
Speaker 1: and getting to be a small part in your real

951
00:56:08,080 --> 00:56:11,200
Speaker 1: um means a lot. And I get to check that

952
00:56:11,320 --> 00:56:14,480
Speaker 1: off because that's done. UM, So thank you for always

953
00:56:16,480 --> 00:56:18,640
Speaker 1: because I have to get rid of the chat. That

954
00:56:18,800 --> 00:56:21,880
Speaker 1: was an exciting evening and my family was so thrilled.

955
00:56:21,960 --> 00:56:24,840
Speaker 1: My family was every family that watches Glee. We're so

956
00:56:25,000 --> 00:56:26,840
Speaker 1: thrilled to meet you guys, and to be able to

957
00:56:26,920 --> 00:56:30,719
Speaker 1: take pictures with you was that's super exciting. That we're

958
00:56:30,800 --> 00:56:33,960
Speaker 1: just people from Chicago, you know, we're not like, we're

959
00:56:34,000 --> 00:56:37,279
Speaker 1: not all fantacy show business directors. So for them that

960
00:56:37,440 --> 00:56:39,560
Speaker 1: was like a big, big deal. So well you're a

961
00:56:39,600 --> 00:56:42,440
Speaker 1: big deal. Thank you for you know, spending time with

962
00:56:42,560 --> 00:56:46,719
Speaker 1: us today and remembering the good days, the good old days.

963
00:56:47,480 --> 00:56:53,879
Speaker 1: Love you, thank you, Thanks Paris, Love you, Paris. Isn't

964
00:56:53,920 --> 00:57:00,279
Speaker 1: he the best? Paris is literally my favorite? You're my right,

965
00:57:01,040 --> 00:57:03,200
Speaker 1: Like I was on the verge tiers for most of that.

966
00:57:03,680 --> 00:57:09,080
Speaker 1: I know. It's just he's such a warm, open kind

967
00:57:09,400 --> 00:57:12,680
Speaker 1: person and then and it just shows in all of

968
00:57:12,760 --> 00:57:15,759
Speaker 1: his work, right, it like extends to the kind of

969
00:57:15,840 --> 00:57:19,560
Speaker 1: work that he does and um, but most importantly, just

970
00:57:19,640 --> 00:57:22,200
Speaker 1: like a great, a great person to be around. Even

971
00:57:22,240 --> 00:57:24,840
Speaker 1: if he was using the knowledge that we all were

972
00:57:24,880 --> 00:57:28,080
Speaker 1: obsessed with him, I don't care because we were and

973
00:57:28,160 --> 00:57:31,439
Speaker 1: we still are. Yeah, you know what, that's a smart man. Yeah,

974
00:57:32,160 --> 00:57:34,040
Speaker 1: smart man. You don't get to where he is if

975
00:57:34,080 --> 00:57:36,800
Speaker 1: you don't do some of those things. That's right, that

976
00:57:36,960 --> 00:57:40,000
Speaker 1: is right. Thank you Paris for coming on here. You

977
00:57:40,160 --> 00:57:42,960
Speaker 1: have to come back, Please come back. He was always

978
00:57:43,040 --> 00:57:46,520
Speaker 1: there those big times he was. You're right, you're right.

979
00:57:46,840 --> 00:57:49,440
Speaker 1: Join us next week. Thanks for hanging out with us.

980
00:57:49,480 --> 00:57:53,040
Speaker 1: I hope you guys enjoyed this conversation and we'll see

981
00:57:53,040 --> 00:57:56,160
Speaker 1: you soon. See you next time by Thanks for listening

982
00:57:56,520 --> 00:57:59,000
Speaker 1: and follow us on Instagram at and that's what you

983
00:57:59,120 --> 00:58:01,280
Speaker 1: really miss POD. Make sure to write us a review

984
00:58:01,400 --> 00:58:03,560
Speaker 1: and leave us five stars. See you next time.