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

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Speaker 2: And Kevin an iHeartRadio podcast.

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Speaker 1: Welcome to you, and that's what you really miss podcast.

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Speaker 1: It is another movie.

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Speaker 2: Musical, specifically another zach Efron movie musical. This is the

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Speaker 2: zach Efron Movie Podcast. Now next week we're doing seventeen again.

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Speaker 1: Don't say that we're not doing that.

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Speaker 2: Is there a musical number in seventeen again?

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Speaker 1: I don't think so.

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Speaker 2: But Shankman directed this and.

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Speaker 1: That also great film. What a director, that guy.

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Speaker 2: He's just got I feel like he's just got like

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Speaker 2: sleeper hits on hits on hits, meaning like he's not

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Speaker 2: super famous like out there.

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Speaker 1: Yeah, but he is. He he does it all. Wedding

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Speaker 1: planner walk to remember. Yes, I'm like, get out of hearing. Okay,

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Speaker 1: all right, well but today is hair Spray and there's

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Speaker 1: a lot of Glee over you know, crossover crossover, waterfalling, Shankman,

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Speaker 1: Zach Woodley, There's that's a lot of dancer friends we

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Speaker 1: have in this film. So what a stacked cast.

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Speaker 2: I just when we were talking about what we were

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Speaker 2: going to do with this podcast, and we were talking

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Speaker 2: about films and TV shows and things, I feel like

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Speaker 2: you know we're naming like Molan Rouge Chicago Cabaret. However,

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Speaker 2: when somebody brought up hair Spray, we were like, oh,

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Speaker 2: I have to be honest. I only want you to

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Speaker 2: be honest.

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Speaker 1: I don't remember watching this film and being like and

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Speaker 1: maybe this was because it was like in the in

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Speaker 1: like I was so deep in the musicals that like

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Speaker 1: everything just felt like, oh this is fun but whatever.

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Speaker 1: But watching it back now, like I was going in like, yeah,

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Speaker 1: sure we'll watch Hairspray. Unlike if we were to be like, oh, Chicago,

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Speaker 1: which I know we'll do. I'm like one of my

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Speaker 1: favorite films of all time, musical or not, Hairspray not

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Speaker 1: so much. But watching this film last night brought me

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Speaker 1: mm hmmm, immense joy and feeling correct. It was wow,

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Speaker 1: blown away.

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Speaker 2: When you're not a hater, the amount of joy that

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Speaker 2: you can let into your life. And I'm saying that

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Speaker 2: as a hater m because I think I probably I

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Speaker 2: remember thinking this movie was really good and you know,

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Speaker 2: having some critiques like oh, well, this person's not a

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Speaker 2: great vocalist or this like who cares?

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Speaker 1: This was so good, top to bottom, so good. I

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Speaker 1: didn't stop moving the performances were unreal. It was just

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Speaker 1: everybody was giving you You were texting.

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Speaker 2: We were texting each other last night because we were

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Speaker 2: both watching this. Yeah, and I think part of you know,

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Speaker 2: maybe why this one didn't stick out to you or

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Speaker 2: it was wasn't one of the first things that came

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Speaker 2: to mind. We were talking about musicals. Watch is because

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Speaker 2: we were sort of at that time, between like two

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Speaker 2: thousand and this Camp two thousand and seven, there were

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Speaker 2: a lot of great movie musicals or musical things happening.

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Speaker 2: We were done at a high level. We were a

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Speaker 2: bit spoiled, that's right, And I think we've sort of

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Speaker 2: gotten at that point we were. We were a little

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Speaker 2: desensitized to like how hard it is to make a

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Speaker 2: great sure musical, and like how to how it translates

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Speaker 2: from the stage to film, and also the journey of

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Speaker 2: this one. This was film to stage to film, right.

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Speaker 1: I When I saw this on Broadway, I really enjoyed it.

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Speaker 1: It was not these feel good musicals were not what

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Speaker 1: I was looking for at that time. I was looking

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Speaker 1: for an angsty musical that made me feel like I

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Speaker 1: wanted to cry. I was a teenager in my early twenties,

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Speaker 1: like I wanted Michelle Schoenberg opera style musicals like Miss

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Speaker 1: Saigone Lay, Miss like give Me the Big Ones. So

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Speaker 1: Hairspray at the time was like this, like wonderful ras

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Speaker 1: sort of like a musical that like came in and

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Speaker 1: was like it was powerful, the message was great and

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Speaker 1: it was also feel good, right, and I don't know

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Speaker 1: what it was. But I didn't like, turn on Hairspray

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Speaker 1: and listen to the cast album, right, But I'm turning

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Speaker 1: on the album snacked to the cast album.

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Speaker 2: Now you had a different point in your life.

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Speaker 1: Now, Wow, it's wonderful. You know, the music is great.

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Speaker 2: Yes, I have questions for you because I've never seen

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Speaker 2: the Stage Musical. And I was talking with Austin last

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Speaker 2: night because yeah, I came up after I watched it.

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Speaker 2: I was like, oh god, that movie's so good, and

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Speaker 2: he's like, it's amazing. He's like that being said, he's like,

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Speaker 2: I even like the Stage Musical more and he's and

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Speaker 2: he was saying he loves the movie. So what what

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Speaker 2: was what is the experience like? Because there are arson

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Speaker 2: differences between the movie and the musical. They changed some lyrics,

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Speaker 2: they had some songs for the movie do you see

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Speaker 2: that Morrison in it?

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Speaker 1: Yes, I did see that Marson in it. I actually

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Speaker 1: think I liked the movie more hmmm. I don't remember

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Speaker 1: vividly this Hairspray Broadway experience. I was also seeing, like

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Speaker 1: in volume I was seeing musicals at this point, and like, yes,

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Speaker 1: you had to be really spectacular for to like really

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Speaker 1: stick out of my mind. I enjoyed it. I remember that,

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Speaker 1: and I remember seeing that, but I don't remember it

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Speaker 1: being like life changing to me. And I think that

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Speaker 1: the camp was really harnessed in the film, yes, versus

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Speaker 1: the camp on musical on a musical theater stage can

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Speaker 1: come across as to musical theater e not campy. So

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Speaker 1: it felt a little too elevated without like the juxtaposition

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Speaker 1: of like what was going on in the world and

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Speaker 1: like creating the world more vividly in the movie.

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Speaker 2: I think that was one of the Yeah, because one

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Speaker 2: of my favorite parts of the movie. And I think

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Speaker 2: this is a testament probably to Adam Shankman who directed it.

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Speaker 2: The you're as an audience member, we're able to buy

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Speaker 2: into the absurdity and that camp that you're talking about

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Speaker 2: out of the movie immediately. Yes, there's a lot of

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Speaker 2: sensitive topics in this show. There's a lot of things

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Speaker 2: that feel like they haven't aged well necessarily. However, in

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Speaker 2: context with like the world that they have created in

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Speaker 2: this film and the show, it's all sort of when

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Speaker 2: something is said like out of pocket, there's a character

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Speaker 2: reaction acknowledging that in the movie, yes, and like that

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Speaker 2: feels very real and I and I feel like that's

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Speaker 2: such a delicate balance. And I feel like because you

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Speaker 2: have these ground, really grounded moments mixed with the complete

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Speaker 2: opposite in every single scene, and it's just so so impressive.

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Speaker 2: And I think technically this movie is done perfect so well,

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Speaker 2: it's perfect, Like the lighting is beautiful, it looks there's

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Speaker 2: some shots of Michelle Pfeiffer there's like a pan, Oh,

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Speaker 2: it's just Michelle Feiffer on film is also just like

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Speaker 2: stupid stunning. But there were some of these shots where

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Speaker 2: I was like this, if you had shown me this

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Speaker 2: movie and said this is from like the fifties or sixties,

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Speaker 2: I would have believed you right, Like how it's colored, Yes, yes,

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Speaker 2: it just looks really really stunning. I mean how they

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Speaker 2: did up like John Travolta, Oh my god, absolutely insane

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Speaker 2: like so good. I don't I don't understand how Shankman

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Speaker 2: was able to accomplish that.

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Speaker 1: I know, yeah, it's it's pretty amazing. I mean, a

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Speaker 1: good director or a fabulous director, a really great cast,

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Speaker 1: a great story, wonderful music, like you just have to

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Speaker 1: buy in, right, And obviously it takes a village, but

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Speaker 1: like all the pieces worked because they were all acting

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Speaker 1: at the highest level.

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Speaker 2: Right, It's just how much we love this for an hour?

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Speaker 1: No, I know. Okay, well, let's talk about some of

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Speaker 1: the things and then we can get deeper into it.

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Speaker 2: We fully got the number. You and I haven't like

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Speaker 2: to sit so into it. When we text each other

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Speaker 2: about these things, we really keep it limited because we

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Speaker 2: want to keep saving the past. And then we don't

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Speaker 2: do an intro.

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Speaker 1: We just go into it. I also watched this on

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Speaker 1: my computer last night because to save David usually watched

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Speaker 1: TV at the end of the night together. It's like

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Speaker 1: something we do or like, you know, we converse or whatever.

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Speaker 1: And I was like, I'm going to save you. I

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Speaker 1: have to watch Hairspray Musical on my computer. But all

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Speaker 1: I wanted was to watch this on big screen, like

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Speaker 1: so desperately. I was like, oh please.

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Speaker 2: It's it's sort of an insane movie, like as you

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Speaker 2: would say with an album. There's no skips, you know,

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Speaker 2: like you do this casting department, this casting director out

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Speaker 2: of their mind.

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Speaker 1: This is Hairspray and it premiered July twentieth, two thousand

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Speaker 1: and seven, and the number one song was Umbrella Byriama

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Speaker 1: featuring Jay Z and.

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Speaker 2: We've never been the same Never No, that honestly changed

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Speaker 2: the world.

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Speaker 1: Honestly, these number ones right now are hitting hard. Do

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Speaker 1: you know?

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Speaker 2: Two thousand and seven was a great year, great year

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Speaker 2: minus the Writer's strike, great year. Number one movie Harry

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Speaker 2: Potter and The Order of the Phoenix.

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Speaker 1: I mean, one of the best Harry Potter films.

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Speaker 2: My favorite Harry Potter book, so good.

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Speaker 1: This was released the week prior to Hairspray, the fifth

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Speaker 1: book and movie in the series. And there's no glean

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Speaker 1: news obviously since this is preakly, but here's some pop

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Speaker 1: culture snapshots. There was summer TV. It means a lot

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Speaker 1: of reality shows. So American Idol season six had just

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Speaker 1: wrapped in May with Jordan's Sparks as the winner. Can

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Speaker 1: you remember that?

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Speaker 2: Yep?

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Speaker 1: Ooh, and so you think you can Dance, one of

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Speaker 1: my favorite shows at the time, was a big summer staple.

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Speaker 1: Obviously I watched every episode. Shankin was eight was it

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Speaker 1: Judge on that as well? He's just in everywhere.

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Speaker 2: Disney Channel had Hannah Montana and Sweed Life, a second

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Speaker 2: Cody pre High School Musical two release which came out

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Speaker 2: in August, and Harry Potter and the Deathly Hallows, the

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Speaker 2: final book of the Harry Potter series, was released the

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Speaker 2: very next day at midnight, and I dragged my mom

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Speaker 2: to the.

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Speaker 1: Store, Oh, Burne's and Noble to.

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Speaker 2: Go get it. We're on vacation. Oh wow, which take me?

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Speaker 2: Oh yeah?

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Speaker 1: Yeah.

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Speaker 2: I was at Barnes and Noble for hours and I

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Speaker 2: read it in two days.

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Speaker 1: Hey, listen, if you're if you're trying to drag your

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Speaker 1: mother to a bookstore, Like if my child was like,

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Speaker 1: please take me to this bookstore, I'd be like willingly,

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Speaker 1: like you take sit what you do? Yeah? No, yeah.

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Speaker 1: Facebook was just beginning to explode beyond colleges. We had

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Speaker 1: talked about this in the previous episode Kevin, I Think

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Speaker 1: and and my Space was still very big.

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Speaker 2: Also, it was like the golden era of like gossip magazines, Paris, Hilton,

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Speaker 2: Lindsay Lowe and Britney Spears. For better or for Worse,

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Speaker 2: they were remember that everywhere, So as we've already been

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Speaker 2: talking about. Hairspray was directed and choreographed by Adam Shankman.

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Speaker 2: He is a director, a producer, a writer, a dancer

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Speaker 2: and author, and actor and obviously a choreographer. He began

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Speaker 2: in musical theater and was a dancer in music videos

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Speaker 2: for Paul Abdul and Janet Jackson. He's choreographed a bunch

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Speaker 2: of movies, including Hairspray. He directed The Wedding Planner, as

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Speaker 2: we said, a walkcher, remember bringing down the house, the pacifier,

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Speaker 2: cheaper Bary that doesn't two Rock of Ages, which I'm

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Speaker 2: sure we're gonna get to at some point too. I

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Speaker 2: was even more Glee crossover, Yeah, and disenchanted. He's also

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Speaker 2: produced the Step Up movies, the Step Up TV show.

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Speaker 2: That night was on seventeen again, the last song, And

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Speaker 2: as I was watching this movie and as we you know,

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Speaker 2: just got done recapping Glee, and how I keep coming

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Speaker 2: back to the rocky horror Glee show and how beautiful

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Speaker 2: it was and how it felt different than all the

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Speaker 2: other episodes in a way he shoots and watching this movie. Yeah,

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Speaker 2: it all just came together. That Shankman is the thing here.

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Speaker 1: Shankman also likes to put himself in his own films

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Speaker 1: and make a very very small cameo. Did you see him?

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Speaker 2: I sure did. There were a lot of cameos in

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Speaker 2: this movie.

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Speaker 1: Yes, yes, he also was he Yeah, he always makes

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Speaker 1: a cameo in his film. Maybe not in his TV show,

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Speaker 1: not in Glee, but in all of his movies. This

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Speaker 1: screenplay was by Leslie Dixon Smashed It Smashed and the

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Speaker 1: associate choreographers our very own Zach Woodley. And this was

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Speaker 1: based on the two thousand and two broad A musical,

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Speaker 1: which in turn was based on John waters nineteen eighty

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Speaker 1: eight film Hairspray The.

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Speaker 2: Year I Was Born Wow, which was also so it

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Speaker 2: starred Ricky Lake.

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Speaker 1: Mm hmmm.

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Speaker 2: And did you see Ricky Lake?

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Speaker 1: What?

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Speaker 2: No, I didn't see cameo sitting next to Adam Shankman.

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Speaker 2: Did you see John Waters cameo?

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Speaker 1: No, I didn't see that one either.

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Speaker 2: John Waters cameo was the flasher Flasher in the beginning

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Speaker 2: of the movie. And Jerry Stiller, Yes, Jerry Sailor, but

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Speaker 2: Jerry Stiller played Wilbur and the and the movie. Yep,

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Speaker 2: he's mister Pinky, the dress shop owner, and this Ricky

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Speaker 2: Lake Zach Zach Woodley played one of the smoking guys.

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Speaker 2: I loved this is so out of but when she

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Speaker 2: does go into the teacher's lounge and they're all smoking,

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Speaker 2: I loved it. I loved it. I don't have anything

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Speaker 2: else to say it beyond.

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Speaker 1: No notes, no notes. This cast is stacked.

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Speaker 2: This cast is dumb.

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Speaker 1: John Travolta, what in their minds was like, I know

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Speaker 1: who ed Na turn Blad should be, John Travolta, And

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Speaker 1: I feel.

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Speaker 2: Like John Travolta is probably knocking down their door to

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Speaker 2: play this.

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Speaker 1: You know what, I don't know. I don't know. Either

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Speaker 1: way it worked, they both clearly wanted to do it.

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Speaker 2: Harvey Firestein, who originated this role on Broadway, is a

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Speaker 2: goddamn national icon, hero icon and those are some big

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Speaker 2: shoes to fill.

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Speaker 1: Right and and Harvey is so one of a kind

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Speaker 1: to create a role like this, or to originate this

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Speaker 1: version of the role, like to then have somebody step

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Speaker 1: into it, like you were saying, like it's it's it's

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Speaker 1: a tough one and has to be made originally again

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Speaker 1: in a way, right, like you can't replicate Harvey's performance

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Speaker 1: or him, so yeah, you have to create this new thing.

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Speaker 1: And I was reading about John Javolta playing Edna Turnblatt,

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Speaker 1: and I was kind of curious about like having John

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Speaker 1: play this role and like what the people thought, and

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Speaker 1: like is this something that should have done and happened?

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Speaker 1: And of course, like this all started with a man

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Speaker 1: playing Edna in the original right, right, And as we've

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Speaker 1: gone through these different iterations of the film and musical,

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Speaker 1: like John said that he wanted to not not make

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Speaker 1: this an ode to drag like as it was originally

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Speaker 1: kind of created, but really played this as a woman,

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Speaker 1: not a not a man in drag like. It just

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Speaker 1: it was and that is his version that made this.

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Speaker 1: So this version is so there was something So I'm

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Speaker 1: trying to look for the right word.

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Speaker 2: Endearing.

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Speaker 1: Yeah, yeah, close, warming, endearing, joyful, like honest, Like I

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Speaker 1: just was like I sunk my teeth so deeply into

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Speaker 1: this character, and I was like, I am in, I'm in.

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Speaker 1: I love Edna. I think it is the sweetest. I

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Speaker 1: love their relationship. I both totally believed John, like it

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Speaker 1: was just everything it was everything.

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Speaker 2: And I believed I it makes sense that he would

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Speaker 2: say that because I think if you try to come

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Speaker 2: across what you can do on stage is one thing,

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Speaker 2: and what right I can do on film is a

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Speaker 2: completely different thing. Right, And I think if you had

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Speaker 2: someone playing it like they did on stage, it would

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Speaker 2: probably work. But it's a completely different feeling. And how

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Speaker 2: this role is written and how John Travolta played it

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Speaker 2: so sensitively yep, just works on film. And who is

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Speaker 2: better who have the capability more than John Travolta who

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Speaker 2: has been in numerous musical movies.

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Speaker 1: Is Danny Zuka, Yeah, exactly.

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Speaker 2: And like can dance, can sing and is also just

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Speaker 2: as good at acting.

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Speaker 1: Yeah. Yeah.

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Speaker 2: And there's not a lot of those triple threats around.

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Speaker 1: No, but clearly in here there are.

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Speaker 2: So they're all in this movie.

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Speaker 1: Michelle Viiffer, lis Velma, Christopher walk In. I mean one

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Speaker 1: and only Michelle Pfeiffer. So when I'm talking about someone

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Speaker 1: who's let's say not a vocalist, yep, Michelle Viiffer might

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Speaker 1: be that person actors first. Yeah, However, I every second

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Speaker 1: like you need a big vocalist for this role. No,

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Speaker 1: And I bought every minute of what she did.

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Speaker 2: Her presence is the most important thing. And she's such

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Speaker 2: an incredible actor, gorgeous. Again, when you are in this

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Speaker 2: hyped up musical, campy world, think about any scene she's in,

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Speaker 2: how that could have been a caricature? Totally and not

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Speaker 2: for one second do you feel Yes, all of them,

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Speaker 2: but I feel like especially her, like you know, like, yeah,

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Speaker 2: you're dressed. I think her John Travolta's rolls because it's

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Speaker 2: so easily been caricatures.

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Speaker 1: Totally, totally and the most elevated Christopher Walking Amanda Binds.

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Speaker 2: Christopher Hawking makes me laugh.

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Speaker 1: It's the toy Shop, uh musical number. I just was like,

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Speaker 1: this is actually everything I've ever Walking can do anything.

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Speaker 1: Just like I was watching this and David was watching

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Speaker 1: Dune and he popped up on the screen and I

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Speaker 1: was like, man, this really this guy really can do

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Speaker 1: it all.

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Speaker 3: Well.

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Speaker 2: I was just about to say the only time Christopher

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Speaker 2: walking doesn't really work for me watching Dune too, and

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Speaker 2: he pops up and he's just he's Christopher Walking, and

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Speaker 2: do you know what I mean?

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Speaker 1: Like you know, he's always Christopher.

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Speaker 2: It totally works in this It works. And catch me

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Speaker 2: if you can it works in everything he does, and

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Speaker 2: doone too, just like this is like, what's what's Chris walking?

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Speaker 2: I just picture Chord doing the accent. You have Timmy

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Speaker 2: shallow May who was like very serious and this whole

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Speaker 2: thing is so serious and Christopher walk stop. But I

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Speaker 2: feel like he doesn't necessarily get a chance to be

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Speaker 2: like when he's so sweet, like in this movie he

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Speaker 2: loves Edna adores and and he loves his daughter, and

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Speaker 2: like those moments are so touching, and I feel like

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Speaker 2: we don't get a lot of Christopher walking like that.

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Speaker 1: Correct, that's right, that's right.

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Speaker 2: And he's so sweet and heartbreaking in these moments. Like

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Speaker 2: everyone really makes so much of their time. And also

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Speaker 2: you know, of course that's a testament to the writing.

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Speaker 1: Yep. And yeah, it's a really big cast in a happens,

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Speaker 1: But none of it seems cut short, Like none of

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Speaker 1: it seems like you don't get the full picture right.

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Speaker 2: Amanda Binds hardly speaks in this movie. However, in the

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Speaker 2: back of my head.

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Speaker 1: She is a gigantary part part of this movie, huge part,

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Speaker 1: huge part.

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Speaker 2: And I feel like she doesn't speak for like the

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Speaker 2: first twenty minutes of this movie and when she does,

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Speaker 2: it's like a word.

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Speaker 1: Like but with the lollipop and the hair and the

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Speaker 1: looks and the reactions and the physical comedy and.

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Speaker 2: Like the whole thing is just and she just really

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Speaker 2: sticks out. Amanda Binds again not a vocalist, genius casting

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Speaker 2: because she is a she is a community. Yeah, like

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Speaker 2: absolutely brilliant and what she can bring to that role

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Speaker 2: like that is that's what she brought.

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Speaker 1: Was like Amanda to Penny and it worked beautifully.

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Speaker 2: Oh my god, we talked, but her Alison Janny plays

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Speaker 2: her mom stupid every time I say stupid. By the way,

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Speaker 2: for those of you who don't know me, it's a

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Speaker 2: huge compliment. Alison Janny and Amanda Bynes his mother and daughter.

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Speaker 2: Are you kidding me?

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Speaker 1: Alison Jenny's in about three scenes in this movie, and

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Speaker 1: is also makes a big.

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Speaker 2: Splash when she falls over that coffee table.

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Speaker 1: Oh my god, it's Alison God. Everybody like you get

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Speaker 1: like you get there.

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Speaker 2: Sorry to everyone listening.

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Speaker 1: I just keep saying, you get their revenge, you know,

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Speaker 1: like all these characters like the Michelle Pfeiffer, like Velma

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Speaker 1: and Prudy, you know, Prudy and all these characters that

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Speaker 1: are like the evil characters Britney Snow's character, you know Amber,

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Speaker 1: they're all they say such outlandish, terrible, inappropriate things. They're mean,

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Speaker 1: they're not good, but like you still they're still human

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Speaker 1: to this movie, Like they're still human and their comedic

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Speaker 1: moments are funny and they're the revenge of like them

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Speaker 1: not winning at the end is it's fulfilling, and it's

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Speaker 1: just really well like all the arcs are well played

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Speaker 1: out and seen and shown displayed in like such a

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Speaker 1: beautiful way.

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Speaker 2: It reminds me of high school musical of where good

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Speaker 2: just always wins, right, And this obviously has a bit

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Speaker 2: more of as some dialogue and story that would never

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Speaker 2: be on a Disney Channel movie, right, But at the

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Speaker 2: end of the day, we don't like we don't really

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Speaker 2: drill down into those too far before we can get

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Speaker 2: ourselves out of it. And so at the end of

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Speaker 2: the day, like our good people, our good characters constantly

401
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Speaker 2: are winning, even when Christopher Walkin gets accused of doing

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Speaker 2: something bad, you know, like that's the least bad thing

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Speaker 2: to happen in this movie.

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Speaker 1: Right, right exactly. But and the thing was that like

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Speaker 1: Tracy knows the good, like she sees the good in

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Speaker 1: him and is like she didn't. You have to know

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Speaker 1: he would never do that, right, Like there's this like

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Speaker 1: level of trust and giving people the benefit of the

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Speaker 1: doubt in this way, like Tracy in particular in this

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Speaker 1: character that like she just believes so deeply and knows

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Speaker 1: who they are and is like, but they would never

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Speaker 1: do that, like she I like it pulls everybody else

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Speaker 1: out of it.

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Speaker 2: Our main character is someone we can trust, yes, and

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Speaker 2: she's smart, Like she's not stupid at any turn. No,

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Speaker 2: it's not just blind optimism exactly like she happens. It's

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Speaker 2: sort of like she's she's like anything she wants and

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Speaker 2: she sees or envisions happens, and it's always a positive thing.

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Speaker 2: It's always a good thing. And it's like even her

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Speaker 2: love for Link, it's like it just happens and it's easy,

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Speaker 2: and it's like we love her for it.

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Speaker 1: Before we get too deep in theos again. James Marsden,

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Speaker 1: Corney Collin, Queen, Latifa Motormouth, Maybell, Britney snow and Raman Telsa,

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Speaker 1: zac Efron, Link, Elijah, Kelly Seaweed, Alison, Jenny Nicki, Blonsky,

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Speaker 1: are Star, Taylor Parks, Lily Nez, Jane Eastwood, Miss w Lindsay,

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Speaker 1: Paul Dooley, and just I could go on and on

427
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Speaker 1: about these actors.

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Speaker 2: We should probably do a whole separate episode just.

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Speaker 1: Talking about this cast list, honestly.

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Speaker 2: So, I saw something on I think it was TikTok

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Speaker 2: a couple of weeks ago about Britney Snow talking about

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Speaker 2: getting cast in this movie. Yeah, and how she auditioned

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Speaker 2: the first time and didn't get it and she's like,

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Speaker 2: I know this sounds crazy. Yeah, She's like, I know

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Speaker 2: this sounds crazy. She went to a psychic or something

436
00:25:47,240 --> 00:25:49,840
Speaker 2: like that. Sam, did you see this too? Am I Right?

437
00:25:51,000 --> 00:25:53,000
Speaker 2: So she went to a psychic and the psychic told

438
00:25:53,040 --> 00:25:56,040
Speaker 2: her it was her part, so she like fought for

439
00:25:56,200 --> 00:26:00,320
Speaker 2: and went back in and did it again, and you

440
00:26:00,359 --> 00:26:03,800
Speaker 2: know the rest is history. Hey, and I also loved

441
00:26:03,840 --> 00:26:08,399
Speaker 2: as a huge fan of American Dreams, where her and

442
00:26:08,440 --> 00:26:12,080
Speaker 2: Vanessa Lunji starred, which is also in this era. Yeah,

443
00:26:12,119 --> 00:26:16,359
Speaker 2: it feels just right seeing Britney Snow in the sixties.

444
00:26:16,600 --> 00:26:18,600
Speaker 1: Right, Oh, yes, yes, yes, I see what you're saying.

445
00:26:19,400 --> 00:26:23,600
Speaker 1: I I can't I can see other people playing this role.

446
00:26:23,640 --> 00:26:26,600
Speaker 1: This is probably the most castable role of them all

447
00:26:27,080 --> 00:26:29,480
Speaker 1: in a way that's like the Regina George and the

448
00:26:29,680 --> 00:26:34,240
Speaker 1: you know, Ameron Tusslo, like the beautiful blonde villain, right.

449
00:26:35,040 --> 00:26:44,160
Speaker 1: But Brittany, I don't. She's so likable even in this

450
00:26:44,280 --> 00:26:47,000
Speaker 1: character of like I think that's what I was talking about,

451
00:26:47,000 --> 00:26:50,280
Speaker 1: like the human side of it, right, even though she's

452
00:26:50,359 --> 00:26:52,679
Speaker 1: the villain and she says all these awful things and

453
00:26:52,800 --> 00:26:56,960
Speaker 1: is in the wrong and is not a good person, right, Like,

454
00:26:57,080 --> 00:27:01,439
Speaker 1: she's still human and I still like want to watch

455
00:27:01,440 --> 00:27:03,880
Speaker 1: her and I want to see what happens, and I'm

456
00:27:03,960 --> 00:27:07,240
Speaker 1: still like invested in it versus like somebody that you

457
00:27:07,359 --> 00:27:09,320
Speaker 1: a character that you hate so deeply that you're like,

458
00:27:09,359 --> 00:27:11,639
Speaker 1: I don't even I can't watch this movie. You know,

459
00:27:13,119 --> 00:27:15,440
Speaker 1: she does such a really good job with it. But

460
00:27:15,480 --> 00:27:18,320
Speaker 1: that's so interesting. I love when people actors like campaign

461
00:27:18,560 --> 00:27:21,160
Speaker 1: for things that they really believe because they're like, yeah,

462
00:27:21,640 --> 00:27:23,760
Speaker 1: I'm like, get.

463
00:27:23,240 --> 00:27:29,520
Speaker 2: It, genius, genius move from all sides of zach Efron

464
00:27:29,560 --> 00:27:32,840
Speaker 2: going from my school musical to this singing it's his

465
00:27:32,880 --> 00:27:37,359
Speaker 2: real singing voice. Oh good, like cut being one of

466
00:27:37,359 --> 00:27:42,359
Speaker 2: the sort of bigger male characters in this movie. And

467
00:27:42,440 --> 00:27:47,200
Speaker 2: also I feel like when we write to high school musical.

468
00:27:48,640 --> 00:27:53,080
Speaker 2: The way he's able. I think he's such a good

469
00:27:53,119 --> 00:27:58,560
Speaker 2: actor mm hmm. And he's able to do heightened things

470
00:27:58,600 --> 00:28:01,800
Speaker 2: like anything with Disney or even this, yes, where it's

471
00:28:01,800 --> 00:28:04,560
Speaker 2: not easy to sort of be like the well, your

472
00:28:04,560 --> 00:28:07,480
Speaker 2: whole character trait, we were one character trait is that

473
00:28:07,520 --> 00:28:07,920
Speaker 2: you're hot.

474
00:28:08,760 --> 00:28:09,840
Speaker 1: Yeah, yeah, right, like.

475
00:28:09,760 --> 00:28:12,280
Speaker 2: There's nothing else to you other than oh, he's just

476
00:28:12,320 --> 00:28:16,679
Speaker 2: really good looking and he's nice, Like that's that that

477
00:28:16,680 --> 00:28:21,480
Speaker 2: can get tired. It's like a superhero. Yeah. And he's

478
00:28:21,520 --> 00:28:25,080
Speaker 2: so charismatic and you never see the doubt in his

479
00:28:25,200 --> 00:28:27,439
Speaker 2: eyes or the corniness in his eyes of like what

480
00:28:27,520 --> 00:28:31,520
Speaker 2: he's doing. He's so fully invested and committed. And you

481
00:28:31,560 --> 00:28:33,640
Speaker 2: can tell the difference obviously when you see someone who's

482
00:28:33,680 --> 00:28:36,600
Speaker 2: not naturally as good as he is, and he was

483
00:28:36,600 --> 00:28:40,200
Speaker 2: super young when he's doing these things and it's so good. Yeah.

484
00:28:40,480 --> 00:28:42,600
Speaker 2: I wish there were more opportunities for people to do

485
00:28:42,760 --> 00:28:46,960
Speaker 2: movies like this, because you get to see other sides

486
00:28:47,000 --> 00:28:50,200
Speaker 2: of actors like this, and so many actors can do

487
00:28:50,280 --> 00:28:52,280
Speaker 2: what he's able to do. I don't know if they're

488
00:28:52,280 --> 00:28:54,880
Speaker 2: as good as him, but he's.

489
00:28:55,360 --> 00:28:59,120
Speaker 1: He's very i mean excellent what he does, and he

490
00:28:59,160 --> 00:29:02,600
Speaker 1: does it all right, but this is Yeah.

491
00:29:02,560 --> 00:29:07,040
Speaker 2: Did you know I know Elijah Kelly. No, I grew

492
00:29:07,080 --> 00:29:08,000
Speaker 2: up with Elijah Kelly.

493
00:29:08,520 --> 00:29:10,440
Speaker 1: Oh my god, wow.

494
00:29:11,040 --> 00:29:12,080
Speaker 2: My boy band days.

495
00:29:14,880 --> 00:29:16,080
Speaker 1: So Elijah was out in La.

496
00:29:16,760 --> 00:29:20,320
Speaker 2: Yes. And Elijah Kelly was always maybe the most talented

497
00:29:20,320 --> 00:29:23,920
Speaker 2: person I've had ever known. I mean, like I remember

498
00:29:23,960 --> 00:29:27,080
Speaker 2: meeting him. I heard him saying we were in the

499
00:29:27,080 --> 00:29:29,360
Speaker 2: recording studio. Actually, I don't know why he was there.

500
00:29:29,960 --> 00:29:33,880
Speaker 2: I don't know who he knew. He got on the drums,

501
00:29:33,920 --> 00:29:36,200
Speaker 2: he started playing the drums like he is just so

502
00:29:36,480 --> 00:29:41,480
Speaker 2: musically gifted. Wow, I saw him. I saw him like

503
00:29:41,480 --> 00:29:43,760
Speaker 2: a year and a half ago, two years ago, first

504
00:29:43,760 --> 00:29:45,800
Speaker 2: Simon a while and I remember when he got this,

505
00:29:45,960 --> 00:29:49,400
Speaker 2: and I it just made so much sense. I need

506
00:29:49,440 --> 00:29:52,600
Speaker 2: to know he acted, and I knew him as like

507
00:29:52,600 --> 00:29:56,560
Speaker 2: a musician and yeah, of course, of course he's gonna

508
00:29:56,600 --> 00:29:59,120
Speaker 2: be incredible in this. And it was like at the

509
00:29:59,160 --> 00:30:01,360
Speaker 2: time zac Efron had blown up and it's John Travolta,

510
00:30:01,400 --> 00:30:04,920
Speaker 2: Michelle Pfeiffer, Like Elijah Kelly is on these billboards like

511
00:30:05,880 --> 00:30:08,000
Speaker 2: Hollywood where we all used to like hang out, and

512
00:30:08,080 --> 00:30:13,280
Speaker 2: like there's Elijah. He's seaweed, yes, and he's a standout

513
00:30:13,320 --> 00:30:17,920
Speaker 2: in this movie talk about one of my naturally gifted

514
00:30:17,960 --> 00:30:22,040
Speaker 2: and charismatic Yeah, like, he's up there. I don't doubt

515
00:30:22,040 --> 00:30:25,040
Speaker 2: for one second that he does not belong with Zach

516
00:30:25,080 --> 00:30:29,280
Speaker 2: Effron and Michelle Pfeiffer and John Travolta and Christopher Walking

517
00:30:29,400 --> 00:30:30,320
Speaker 2: and Queen Latifa.

518
00:30:30,480 --> 00:30:32,200
Speaker 1: Oh he held his own for sure. I mean he

519
00:30:32,360 --> 00:30:40,440
Speaker 1: was that. He was extraordinary. He's so good, He's so good,

520
00:30:40,640 --> 00:30:42,560
Speaker 1: and his voice is something else.

521
00:30:43,480 --> 00:30:46,800
Speaker 2: Oh my god, have you seen the original movie, the

522
00:30:46,840 --> 00:30:48,920
Speaker 2: John Waters version of this movie.

523
00:30:49,440 --> 00:30:53,840
Speaker 1: No, I am not. I should. I have either no

524
00:30:54,000 --> 00:30:57,120
Speaker 1: need to watch it. I barely have time to watch

525
00:30:57,280 --> 00:30:59,600
Speaker 1: the movies for this podcast, so I guess.

526
00:31:01,160 --> 00:31:02,920
Speaker 2: We'll have to make it an official assignment.

527
00:31:02,960 --> 00:31:05,600
Speaker 1: So then yeah, yeah, yeah, for sure. No, but I

528
00:31:05,640 --> 00:31:09,760
Speaker 1: can imagine in the eighties what this musical movie was.

529
00:31:09,960 --> 00:31:13,000
Speaker 1: I mean I've seen pictures, you know, film styles from it.

530
00:31:13,040 --> 00:31:18,040
Speaker 1: But like, h even more so, I think this musical

531
00:31:18,080 --> 00:31:20,600
Speaker 1: probably meant it was a lot of it was so

532
00:31:20,800 --> 00:31:26,840
Speaker 1: relevant to the political times and to the I'm sure

533
00:31:26,960 --> 00:31:33,640
Speaker 1: that some of the other topics were a little more

534
00:31:34,520 --> 00:31:40,680
Speaker 1: digestible at that point as well, in terms of like

535
00:31:41,360 --> 00:31:44,560
Speaker 1: having Tracy Turnblad be a Kurby girl as the lead

536
00:31:44,640 --> 00:31:50,080
Speaker 1: of this musical, right, and having I'm sure having uh

537
00:31:50,760 --> 00:31:53,160
Speaker 1: Edna be played by a man also because it was

538
00:31:53,200 --> 00:31:57,480
Speaker 1: always played by a male actor. Right, Yes, it was

539
00:31:57,520 --> 00:31:59,360
Speaker 1: the drag queen and actor Divine.

540
00:32:01,040 --> 00:32:05,840
Speaker 2: Wait, Divine was in the original Hairspray. Yeah, good god, Jenna,

541
00:32:06,320 --> 00:32:07,360
Speaker 2: we are bad gays.

542
00:32:07,400 --> 00:32:10,280
Speaker 1: We have to go watch that now, I know. Wow.

543
00:32:15,480 --> 00:32:18,360
Speaker 3: Hi, I'm Terry Hatcher and you may remember me as

544
00:32:18,400 --> 00:32:20,280
Speaker 3: Susan Meyer from Desperate Housewives.

545
00:32:20,400 --> 00:32:22,959
Speaker 4: I'm Andrea Bowen, though you may know me as Terry's

546
00:32:22,960 --> 00:32:24,600
Speaker 4: on screen daughter Julie Meyer.

547
00:32:24,640 --> 00:32:27,040
Speaker 5: And I'm Emerson Tenney, Terry's real life daughter.

548
00:32:27,200 --> 00:32:31,480
Speaker 3: And this is desperately devoted a rewatch podcast dedicated to

549
00:32:31,520 --> 00:32:36,280
Speaker 3: the iconic series Desperate Housewives, with two actors and a writer, one.

550
00:32:36,120 --> 00:32:38,920
Speaker 1: Of whom is watching the show for the very first time. Yes,

551
00:32:39,080 --> 00:32:40,280
Speaker 1: that's me Andrea.

552
00:32:40,320 --> 00:32:42,400
Speaker 3: Can you imagine if I had let her watch it

553
00:32:42,440 --> 00:32:43,360
Speaker 3: as a six year old.

554
00:32:44,240 --> 00:32:46,880
Speaker 1: We will dive into all the behind the scenes stories

555
00:32:46,880 --> 00:32:47,960
Speaker 1: of Osteria Lane.

556
00:32:47,880 --> 00:32:51,080
Speaker 5: And look at how the show continues to inform conversations

557
00:32:51,080 --> 00:32:53,800
Speaker 5: about relationships, identity, and culture today.

558
00:32:54,160 --> 00:32:57,360
Speaker 3: So, whether you are a diehard fan or you're watching

559
00:32:57,480 --> 00:33:00,560
Speaker 3: it Mike Emerson for the very first time. We are

560
00:33:00,640 --> 00:33:03,840
Speaker 3: so excited to welcome you back to Hysteria Lane because

561
00:33:03,840 --> 00:33:06,760
Speaker 3: we are desperately devoted to you.

562
00:33:07,280 --> 00:33:11,080
Speaker 5: Listen to desperately devoted on the iHeartRadio app, Apple podcasts,

563
00:33:11,160 --> 00:33:15,040
Speaker 5: or wherever you get your podcasts.

564
00:33:16,360 --> 00:33:19,080
Speaker 1: I was thinking about like kind of the all the

565
00:33:19,120 --> 00:33:23,720
Speaker 1: different things that didn't age as well right in this movie.

566
00:33:24,040 --> 00:33:30,680
Speaker 1: But I'm sure how meaningful it is to have Tracy

567
00:33:30,800 --> 00:33:36,320
Speaker 1: term blad be this adorable young like curby girl is

568
00:33:36,360 --> 00:33:40,440
Speaker 1: not what you normally see as a young angenou in

569
00:33:40,480 --> 00:33:44,280
Speaker 1: a movie or a musical leading a show, and how

570
00:33:45,960 --> 00:33:49,560
Speaker 1: you know that's like it's another part of like having

571
00:33:49,680 --> 00:33:53,680
Speaker 1: such representation for women out there saying like young girls

572
00:33:53,720 --> 00:33:57,480
Speaker 1: out there saying, Wow, that's looks like me. That's me.

573
00:33:57,760 --> 00:34:01,080
Speaker 1: I can do things just like anybody else, even though

574
00:34:01,120 --> 00:34:08,040
Speaker 1: I'm not this like leading lady m mirror thing that

575
00:34:08,080 --> 00:34:09,320
Speaker 1: we've created, right.

576
00:34:09,560 --> 00:34:12,160
Speaker 2: And she's like complex, she doesn't fall fall. I feel

577
00:34:12,160 --> 00:34:16,520
Speaker 2: like when you have like stereotypes and cliches of certain

578
00:34:16,520 --> 00:34:21,880
Speaker 2: types of people as characters, there's obviously certain archetype features

579
00:34:21,880 --> 00:34:24,920
Speaker 2: that you fall into, and I feel like she doesn't

580
00:34:27,080 --> 00:34:28,640
Speaker 2: that balance and like no.

581
00:34:28,760 --> 00:34:32,000
Speaker 1: Question that like link just falls like falls for her, right,

582
00:34:32,120 --> 00:34:37,360
Speaker 1: She's so charming, she's she's outspoken, she's smart, she sees

583
00:34:37,400 --> 00:34:40,839
Speaker 1: the world like in a different way, Like she's exciting,

584
00:34:41,120 --> 00:34:43,759
Speaker 1: and like there's no question that, Like, yeah, he's with

585
00:34:43,920 --> 00:34:47,520
Speaker 1: like ambervon Tussle, but like she's also a terrible person.

586
00:34:47,640 --> 00:34:51,160
Speaker 1: So he just naturally gravitates for Tracy and that's it.

587
00:34:51,239 --> 00:34:55,239
Speaker 1: Like there's no huge ifans or butts about it, which

588
00:34:55,280 --> 00:34:55,880
Speaker 1: I get loved.

589
00:34:56,239 --> 00:34:59,120
Speaker 2: I wanted to talk about some of the the behind

590
00:34:59,120 --> 00:35:02,000
Speaker 2: the scenes of how this movie actually got made real quick.

591
00:35:02,040 --> 00:35:03,400
Speaker 1: Okay, great, great.

592
00:35:03,719 --> 00:35:06,040
Speaker 2: Obviously, the movie came out eighty eight. The musical was

593
00:35:06,080 --> 00:35:08,960
Speaker 2: in two thousand and two and won eight Tonies, no

594
00:35:08,960 --> 00:35:14,440
Speaker 2: big deal, and the New Line started developing the film

595
00:35:14,480 --> 00:35:17,319
Speaker 2: project in two thousand and four because Chicago did so

596
00:35:17,400 --> 00:35:20,239
Speaker 2: well and had the same producers. But it took a

597
00:35:20,320 --> 00:35:26,560
Speaker 2: year to find Shankman to choreograph and direct this. And

598
00:35:26,600 --> 00:35:29,200
Speaker 2: in the meantime, the original book writers for the stage

599
00:35:29,200 --> 00:35:33,239
Speaker 2: show wrote the first draft and this is why I

600
00:35:33,320 --> 00:35:37,440
Speaker 2: think this is probably so good, as we keep saying,

601
00:35:37,800 --> 00:35:42,800
Speaker 2: they brought in Leslie Dixon to rewrite it, and Leslie

602
00:35:42,800 --> 00:35:47,439
Speaker 2: Dixon famously wrote Missus, Doubtfire and Freaky Friday. Yeah, talk

603
00:35:47,520 --> 00:35:53,120
Speaker 2: about being able to be funny, heartfelt, satirical, all these

604
00:35:53,160 --> 00:35:56,080
Speaker 2: things all at once, and warm, which also I feel

605
00:35:56,080 --> 00:36:01,279
Speaker 2: like matches Adam's directing style so well where I was.

606
00:36:01,400 --> 00:36:05,000
Speaker 2: Whoever decided to call up Leslie Dixon to write this

607
00:36:05,080 --> 00:36:09,799
Speaker 2: thing just absolutely brilliant. M Did you also notice there

608
00:36:09,800 --> 00:36:13,120
Speaker 2: were several cameos. We saw Zach but Jamal Simms, I

609
00:36:13,239 --> 00:36:17,160
Speaker 2: noticed he's in it a lot. Really, Yes, Jamal Sims

610
00:36:17,160 --> 00:36:19,480
Speaker 2: a US for drag Race. Jenna and I worked with

611
00:36:19,560 --> 00:36:23,640
Speaker 2: him Celebrity drag Race. He's all in this movie. And

612
00:36:23,680 --> 00:36:28,240
Speaker 2: then Anne Fletcher also had a cameo.

613
00:36:28,400 --> 00:36:31,640
Speaker 1: And Anne and Adam are like via Fax and so

614
00:36:31,760 --> 00:36:32,800
Speaker 1: they always worked together.

615
00:36:33,600 --> 00:36:37,360
Speaker 2: They were all on as assistant choreographers all in this movie.

616
00:36:38,640 --> 00:36:40,840
Speaker 1: Pause for a second. Do you also remember the open

617
00:36:40,920 --> 00:36:47,879
Speaker 1: casting call, uh for like the little nationwide search for

618
00:36:48,080 --> 00:36:49,000
Speaker 1: Tracy startin Blood?

619
00:36:49,560 --> 00:36:52,000
Speaker 2: Yes, I remember when that was happening, do you I.

620
00:36:51,920 --> 00:36:54,520
Speaker 1: Remember this very vividly because this was around that time,

621
00:36:54,640 --> 00:36:56,920
Speaker 1: Like I think they had done it for Annie as well,

622
00:36:58,400 --> 00:37:00,440
Speaker 1: back in the day when we were a little bit younger,

623
00:37:00,480 --> 00:37:02,560
Speaker 1: and so, like I remembered, they were doing like the

624
00:37:02,600 --> 00:37:06,240
Speaker 1: legally Blonde one for finding the star for the musical,

625
00:37:06,920 --> 00:37:12,080
Speaker 1: and I remember Nikki worked at a cold streamery on

626
00:37:12,120 --> 00:37:16,480
Speaker 1: Long Island. Really yeah, And when Shangrin called her that

627
00:37:16,560 --> 00:37:20,759
Speaker 1: she got the job, she was working at Coltstone. I

628
00:37:20,800 --> 00:37:24,239
Speaker 1: remember like she was wearing her uniform and like they

629
00:37:24,280 --> 00:37:27,800
Speaker 1: called her, and I remember like, I don't remember, I

630
00:37:27,840 --> 00:37:30,080
Speaker 1: don't know, it messed up, been in the news. I guess.

631
00:37:30,280 --> 00:37:32,680
Speaker 1: I don't think it was like a show of Uddy Start.

632
00:37:32,760 --> 00:37:35,040
Speaker 1: But I always remember being like, oh, yeah, she's from

633
00:37:35,080 --> 00:37:36,080
Speaker 1: Long Island, that's right.

634
00:37:36,560 --> 00:37:41,000
Speaker 2: They filmed it over four months in two thousand and

635
00:37:41,000 --> 00:37:44,200
Speaker 2: six in Toronto and Hamilton, Ontario.

636
00:37:47,640 --> 00:37:47,920
Speaker 1: Wow.

637
00:37:48,080 --> 00:37:51,359
Speaker 2: The opening clouds plus news newspaper drop are the only

638
00:37:51,400 --> 00:37:56,120
Speaker 2: shots actually from Baltimore. And they made it for seventy

639
00:37:56,160 --> 00:37:58,799
Speaker 2: five mil. Wow it made. It ended up making two

640
00:37:58,840 --> 00:38:02,040
Speaker 2: hundred and three million dollars, and Don made for a

641
00:38:02,080 --> 00:38:03,800
Speaker 2: Golden Globes two hundred and three million.

642
00:38:04,239 --> 00:38:08,200
Speaker 1: We have a couple of Hairspray Glee crossovers. We had

643
00:38:08,200 --> 00:38:11,359
Speaker 1: some songs that we covered on Glee from Hairspray, one

644
00:38:11,400 --> 00:38:13,839
Speaker 1: of them being you Can't Step the Beat, which we performed.

645
00:38:13,480 --> 00:38:17,160
Speaker 2: Which I feel so stupid because I sing the apart.

646
00:38:17,239 --> 00:38:23,920
Speaker 2: Elijah sings and last night. I last night. My thoughts

647
00:38:24,040 --> 00:38:26,160
Speaker 2: in this morning, my thoughts were about how cool is

648
00:38:26,160 --> 00:38:30,000
Speaker 2: it that Elijah and I saying the same parts? And

649
00:38:30,040 --> 00:38:33,960
Speaker 2: I am so dumb because I never realized it. Oh,

650
00:38:34,440 --> 00:38:38,279
Speaker 2: and then because I'm seeing it with Chris and like

651
00:38:38,360 --> 00:38:42,320
Speaker 2: Kurt says Artie instead of Seaweed. And then I was

652
00:38:42,400 --> 00:38:45,400
Speaker 2: thinking about, oh, does any other character in Glee get

653
00:38:45,440 --> 00:38:49,920
Speaker 2: their name put into so many songs? Larti is mentioned

654
00:38:50,000 --> 00:38:54,239
Speaker 2: in several songs you do yeah mentioned? Anyway, That's where

655
00:38:54,239 --> 00:38:55,760
Speaker 2: I was going last night, falling asleep.

656
00:38:57,320 --> 00:39:01,080
Speaker 1: There's also uh, the icon I know where I've been

657
00:39:01,200 --> 00:39:03,200
Speaker 1: sung by Unique in season six.

658
00:39:05,360 --> 00:39:10,640
Speaker 2: Which makes me want to talk about Queen Latifa, who

659
00:39:10,680 --> 00:39:14,040
Speaker 2: Shankman you know, worked with on Bringing Down the House,

660
00:39:14,080 --> 00:39:23,120
Speaker 2: which was a classic movie. Yeah, yeah, died laughing. Chicago, obviously,

661
00:39:24,480 --> 00:39:27,200
Speaker 2: there's such a Yeah, there's such a good amount of

662
00:39:27,239 --> 00:39:31,680
Speaker 2: crossover from different things happening here. There's Chicago, there's Grease, Yeah,

663
00:39:32,320 --> 00:39:38,040
Speaker 2: there's high school musical. Yeah, there's Grease too between Michelle Pfeiffer,

664
00:39:38,440 --> 00:39:43,400
Speaker 2: right right, And it's just so like Shankman is so

665
00:39:43,560 --> 00:39:47,359
Speaker 2: good at doing these intentional things, and he does them

666
00:39:47,400 --> 00:39:51,560
Speaker 2: tastefully and it's not just like, oh, we have cameos,

667
00:39:51,640 --> 00:39:54,319
Speaker 2: or we have these people that you know have been

668
00:39:54,360 --> 00:39:56,360
Speaker 2: a famous musical. They're also right for these roles and

669
00:39:56,400 --> 00:40:01,880
Speaker 2: they're making this story even better. Yeah, there was supposed

670
00:40:01,880 --> 00:40:04,920
Speaker 2: to be a sequel that ended up not happening. It

671
00:40:04,960 --> 00:40:06,879
Speaker 2: was announced in two thousand and eight and John Waders

672
00:40:06,960 --> 00:40:10,160
Speaker 2: actually wrote a treatment and it's going to be set

673
00:40:10,640 --> 00:40:14,040
Speaker 2: in the late nineteen sixties. It would talk about British

674
00:40:14,040 --> 00:40:17,600
Speaker 2: invasion and psychedelic hippie culture in the Vietnam War, and

675
00:40:17,640 --> 00:40:21,600
Speaker 2: Shankman was supposed to direct again, and then it got

676
00:40:21,600 --> 00:40:22,759
Speaker 2: canceled in twenty ten.

677
00:40:23,160 --> 00:40:26,120
Speaker 1: While I would have loved a second Hairspring, I'm also like,

678
00:40:27,000 --> 00:40:32,279
Speaker 1: don't touch it. Don't touch it. I'm just the way

679
00:40:32,320 --> 00:40:37,440
Speaker 1: I feel about sequels in general that have really strong

680
00:40:38,600 --> 00:40:42,360
Speaker 1: original pieces that like, I just don't touch it. What

681
00:40:43,920 --> 00:40:46,319
Speaker 1: why you said you wanted to talk about all the

682
00:40:46,360 --> 00:40:48,320
Speaker 1: Queen Latifa did? We cover everything?

683
00:40:49,160 --> 00:40:53,640
Speaker 2: Queen Latifa has been a staple our entire lives. Can

684
00:40:53,680 --> 00:40:54,880
Speaker 2: do everything.

685
00:40:55,200 --> 00:40:56,120
Speaker 1: She raised us.

686
00:40:56,360 --> 00:41:01,520
Speaker 2: Is there anybody else who has done why variety of things?

687
00:41:01,600 --> 00:41:02,680
Speaker 2: And successfully? Is her?

688
00:41:05,560 --> 00:41:05,680
Speaker 5: Like?

689
00:41:06,000 --> 00:41:08,760
Speaker 2: Do you know what I mean? Like, she's an iconic

690
00:41:09,160 --> 00:41:14,120
Speaker 2: hip hop artist, She's an Oscar nominated actor. She's an

691
00:41:14,160 --> 00:41:21,960
Speaker 2: incredible singer, Like what can't she do? She's hosted TV shows.

692
00:41:22,560 --> 00:41:26,280
Speaker 2: It's just it's I love that we keep her around

693
00:41:26,320 --> 00:41:29,880
Speaker 2: and I feel I hope as a public she knows

694
00:41:29,920 --> 00:41:33,719
Speaker 2: how grateful we are, and I don't think you can

695
00:41:33,760 --> 00:41:34,880
Speaker 2: cast her too often.

696
00:41:37,760 --> 00:41:40,600
Speaker 1: I have a question, isn't that people didn't like John

697
00:41:40,640 --> 00:41:41,600
Speaker 1: Child's casting?

698
00:41:43,480 --> 00:41:47,279
Speaker 2: Yeah, people didn't like it. Do they not like it

699
00:41:47,320 --> 00:41:50,120
Speaker 2: because of him or because of the role itself?

700
00:41:50,719 --> 00:41:52,480
Speaker 1: Like casting him as a woman.

701
00:41:53,280 --> 00:41:56,120
Speaker 2: People want to cast a drag queen, which I understand,

702
00:41:56,840 --> 00:42:01,279
Speaker 2: especially when Divine originated the original role.

703
00:42:01,520 --> 00:42:03,360
Speaker 1: Yes, yes, yes.

704
00:42:03,160 --> 00:42:05,600
Speaker 2: I think that's a fair complaint. I think I think

705
00:42:05,640 --> 00:42:07,120
Speaker 2: if John Travolta was trying to.

706
00:42:07,120 --> 00:42:09,200
Speaker 1: Do drag, that would be a different story.

707
00:42:09,239 --> 00:42:11,319
Speaker 2: That would be an issue. It's also not for us

708
00:42:11,320 --> 00:42:14,279
Speaker 2: to say either way, but right right, I know John

709
00:42:14,320 --> 00:42:17,279
Speaker 2: Waters was heavily involved in this, and John Waters gave

710
00:42:17,320 --> 00:42:22,000
Speaker 2: Adam Shankman the blessing to like put his spin on it, right, right,

711
00:42:22,120 --> 00:42:24,640
Speaker 2: So I feel like if John Waters is co signing

712
00:42:24,719 --> 00:42:28,799
Speaker 2: this this version of it, yeah, yeah, I think if

713
00:42:28,800 --> 00:42:30,200
Speaker 2: he was trying to do drag and it was going

714
00:42:30,239 --> 00:42:33,880
Speaker 2: to be compared and being you know, those performances. I

715
00:42:33,920 --> 00:42:37,120
Speaker 2: think that's a whole different story, right, And maybe I

716
00:42:37,120 --> 00:42:39,280
Speaker 2: also feel like I'm wondering if people were more upset

717
00:42:39,400 --> 00:42:42,040
Speaker 2: speculating about it until it came out, or once it

718
00:42:42,080 --> 00:42:43,360
Speaker 2: came out they were also no.

719
00:42:43,440 --> 00:42:45,560
Speaker 1: I'm sure that when I came out there was some issues.

720
00:42:45,800 --> 00:42:49,040
Speaker 1: I think also because John was in the costume and

721
00:42:49,080 --> 00:42:51,880
Speaker 1: given a fat suit, and also in prosthetics. There's just

722
00:42:51,920 --> 00:42:55,000
Speaker 1: a lot of things that I think, no long like

723
00:42:55,040 --> 00:42:58,880
Speaker 1: we've learned from and so I think that it's definitely

724
00:42:59,480 --> 00:43:04,000
Speaker 1: not something that would have happened now given the situation

725
00:43:04,160 --> 00:43:06,640
Speaker 1: that he was in with what he had. I thought

726
00:43:06,640 --> 00:43:09,799
Speaker 1: he didn't want job, and I loved it, but I

727
00:43:09,920 --> 00:43:15,080
Speaker 1: understand the the pushback, of course. And I would have

728
00:43:15,120 --> 00:43:20,359
Speaker 1: loved to see a drag queen do this. Oh yeah,

729
00:43:20,560 --> 00:43:24,120
Speaker 1: Like there's a lot of there's a lot of really

730
00:43:25,000 --> 00:43:28,400
Speaker 1: incredible drag queens that are It's like some of our

731
00:43:28,440 --> 00:43:31,520
Speaker 1: favorite stars that I think would be really good. Maybe

732
00:43:31,520 --> 00:43:32,680
Speaker 1: there's another version of this.

733
00:43:33,320 --> 00:43:38,520
Speaker 2: Who played who played that role in the NBC was

734
00:43:38,560 --> 00:43:41,399
Speaker 2: the NBC did the live version of it NBC Live

735
00:43:42,239 --> 00:43:45,759
Speaker 2: with Ariana and Christian Shannaman. Oh was Harvey Firesteine. Oh,

736
00:43:45,760 --> 00:43:48,720
Speaker 2: Harry Firesteine came back and did it okay? Hell yeah?

737
00:43:48,800 --> 00:43:51,520
Speaker 1: Then yeah, that's fine. There's so much music in this

738
00:43:51,600 --> 00:43:53,000
Speaker 1: I'm not even to name on these songs.

739
00:43:53,080 --> 00:43:56,080
Speaker 2: None of these musical members are filmed, simply that most

740
00:43:56,080 --> 00:43:59,600
Speaker 2: of these musical numbers take place in multiple locations. Yes,

741
00:44:00,680 --> 00:44:03,560
Speaker 2: and it's not a lazy shot. There's not a lazy

742
00:44:03,560 --> 00:44:05,000
Speaker 2: shot to be seen, right.

743
00:44:05,480 --> 00:44:10,960
Speaker 1: I know that this last number of you can't stop

744
00:44:10,960 --> 00:44:13,680
Speaker 1: the beat like Hairspray, So you can't stop the beat

745
00:44:13,840 --> 00:44:17,840
Speaker 1: took like days to film, like multiple days.

746
00:44:18,040 --> 00:44:20,759
Speaker 2: Yeah, that makes sense. There's so many moving parts in that.

747
00:44:21,080 --> 00:44:22,799
Speaker 1: Yeah. There's a lot of friends that we have in

748
00:44:22,840 --> 00:44:28,720
Speaker 1: this show, in this movie. And so I actually texted

749
00:44:28,719 --> 00:44:32,520
Speaker 1: our wonderful friend JP Faery, who was in one of

750
00:44:32,520 --> 00:44:33,080
Speaker 1: the dancers.

751
00:44:33,360 --> 00:44:35,560
Speaker 2: I don't know JP was in this, and when he

752
00:44:35,680 --> 00:44:39,760
Speaker 2: came on, I started screaming. It was just like baby Jp,

753
00:44:40,280 --> 00:44:44,600
Speaker 2: Baby Spencer neat baga Like what? Yeah?

754
00:44:44,920 --> 00:44:50,320
Speaker 1: So I texted Jp, our dear friend, and he wanted

755
00:44:50,360 --> 00:44:54,040
Speaker 1: to say Hi, Hi Jenna, Hi Kevin.

756
00:44:54,400 --> 00:44:57,040
Speaker 4: It's crazy to think now because this upcoming July, it's

757
00:44:57,080 --> 00:45:00,239
Speaker 4: going to be twenty years since we started rehearsal. And

758
00:45:00,280 --> 00:45:04,480
Speaker 4: filmed it. So one thing, You Can't Stop the Beat

759
00:45:04,520 --> 00:45:07,560
Speaker 4: I remember took about I think two to three weeks

760
00:45:07,600 --> 00:45:10,680
Speaker 4: just to film that whole number in the entirety because

761
00:45:10,719 --> 00:45:13,480
Speaker 4: there were so many moving parts and other scenes involved.

762
00:45:15,480 --> 00:45:16,719
Speaker 1: Started off with the whole.

763
00:45:16,520 --> 00:45:20,719
Speaker 4: Hairspray and the whole Miss Hairspray pageant, all of that,

764
00:45:21,000 --> 00:45:24,400
Speaker 4: and then into the actual you Can't Stop the Beat number,

765
00:45:26,120 --> 00:45:28,360
Speaker 4: and I remember we were filming all the way, you know,

766
00:45:29,920 --> 00:45:31,920
Speaker 4: all the way until you know, four o'clock in the

767
00:45:31,920 --> 00:45:33,520
Speaker 4: morning towards the end of the week, and.

768
00:45:35,680 --> 00:45:36,760
Speaker 1: Yeah, it was crazy.

769
00:45:38,760 --> 00:45:40,960
Speaker 4: One thing for me that was cool was that I

770
00:45:41,640 --> 00:45:44,480
Speaker 4: remember Adam Shankman telling me that I was one of

771
00:45:44,560 --> 00:45:48,600
Speaker 4: the first or yeah, I was the first dancer to hire,

772
00:45:49,000 --> 00:45:53,560
Speaker 4: which was kind of crazy to me. But yeah, Hairspray

773
00:45:53,640 --> 00:45:56,760
Speaker 4: it's going to be twenty years and twenty twenty seven,

774
00:45:56,760 --> 00:46:00,320
Speaker 4: which is kind of crazy to me. But but yeah,

775
00:46:00,680 --> 00:46:02,360
Speaker 4: I love you guys.

776
00:46:03,360 --> 00:46:09,479
Speaker 1: Grandma we call him Grandma, but we love Grandma. JP

777
00:46:09,640 --> 00:46:13,439
Speaker 1: was one of the council members, and JP is also

778
00:46:13,480 --> 00:46:19,600
Speaker 1: an amazing dancer. Was also in Newsy's the Musical and uh,

779
00:46:20,400 --> 00:46:22,879
Speaker 1: I can't believe that it was in the days it.

780
00:46:22,800 --> 00:46:28,799
Speaker 2: Was weeks weeks, which again makes sense. You get two

781
00:46:28,840 --> 00:46:31,560
Speaker 2: thousand and seven different time, you have budget, you have

782
00:46:31,680 --> 00:46:36,719
Speaker 2: the time. I mean that opening number, Good Morning Baltimore, Like,

783
00:46:36,800 --> 00:46:39,680
Speaker 2: think about all the places Tracy goes, all the little

784
00:46:39,680 --> 00:46:42,840
Speaker 2: things that are the hijinks, all these.

785
00:46:42,760 --> 00:46:43,919
Speaker 1: Numbers so long.

786
00:46:44,960 --> 00:46:47,240
Speaker 2: Oh god, I love that Tuck.

787
00:46:48,280 --> 00:46:52,719
Speaker 1: It got me so good. He's so good, you know what.

788
00:46:52,840 --> 00:46:56,439
Speaker 2: Some of those moments reminded me of like the Truman Show,

789
00:46:56,880 --> 00:47:00,080
Speaker 2: Yes right where like the garbage truck drivers, like, what

790
00:46:59,920 --> 00:47:01,240
Speaker 2: the hell is happening?

791
00:47:01,360 --> 00:47:05,000
Speaker 1: No, no, no, no, I thought she was gonna get hit. Yeah,

792
00:47:05,040 --> 00:47:06,680
Speaker 1: And there she is on top of the world.

793
00:47:07,600 --> 00:47:12,640
Speaker 2: Oh man, James Marsden when the nicest kids in town,

794
00:47:12,760 --> 00:47:13,919
Speaker 2: like who knew?

795
00:47:14,000 --> 00:47:17,600
Speaker 1: What a what a heart throb you have? Don zach

796
00:47:17,680 --> 00:47:23,840
Speaker 1: Efron in one movie What heart? What heart Throbs?

797
00:47:23,880 --> 00:47:24,319
Speaker 2: I gave her.

798
00:47:25,480 --> 00:47:29,840
Speaker 1: Also, I can hear the bells. It's just it's Tracy's

799
00:47:29,880 --> 00:47:32,520
Speaker 1: I want song, right, And she comes out of the

800
00:47:32,520 --> 00:47:38,560
Speaker 1: classroom and the spotlight on her in the hallway and beautiful,

801
00:47:38,719 --> 00:47:40,480
Speaker 1: my gosh, her voice.

802
00:47:41,080 --> 00:47:43,560
Speaker 2: Oh she's she's incredible in this, you see.

803
00:47:43,600 --> 00:47:47,239
Speaker 1: It's just the tone is just like, oh, it's so good.

804
00:47:48,040 --> 00:47:52,000
Speaker 2: So Lady's choice which is zach Efron's song they wrote

805
00:47:52,040 --> 00:47:55,359
Speaker 2: for this movie. They wrote Lady's Choice, they wrote Come

806
00:47:55,440 --> 00:47:59,640
Speaker 2: So Far, Got So Far to Go, and the New

807
00:47:59,640 --> 00:48:02,640
Speaker 2: Girl in Town, which was originally written for Broadway but

808
00:48:02,719 --> 00:48:03,120
Speaker 2: it got.

809
00:48:02,960 --> 00:48:07,400
Speaker 1: Cut and then they brought it into the film. Is

810
00:48:07,440 --> 00:48:09,040
Speaker 1: the Dynamites numbers?

811
00:48:09,160 --> 00:48:12,520
Speaker 2: Yeah, I loved all those things as well. I loved

812
00:48:13,160 --> 00:48:16,240
Speaker 2: using the dynamites. I loved all the interaction in different

813
00:48:16,280 --> 00:48:20,520
Speaker 2: musical numbers with TVs or looking at the picture that moved.

814
00:48:20,480 --> 00:48:27,560
Speaker 1: Yes when in link song. Also how funny, like the

815
00:48:27,560 --> 00:48:31,040
Speaker 1: physical comedy again with a man of mines, Like when

816
00:48:31,200 --> 00:48:34,680
Speaker 1: Tracy ends up on the show and she's running home,

817
00:48:35,160 --> 00:48:42,120
Speaker 1: running to Tracy's parents' house, She's like, yes, it's so good,

818
00:48:42,160 --> 00:48:49,520
Speaker 1: it's so memorable. Yeah, these numbers obviously I know where

819
00:48:49,520 --> 00:48:55,440
Speaker 1: I've been. So beautiful. It's also a really nice moment

820
00:48:55,680 --> 00:49:02,760
Speaker 1: to slow the film down because it moves so fast.

821
00:49:02,840 --> 00:49:06,440
Speaker 1: It's not too fast, but it's like, I think this

822
00:49:06,760 --> 00:49:09,399
Speaker 1: music takes up half the film, if not more.

823
00:49:10,080 --> 00:49:15,600
Speaker 2: Right, Oh yeah? Do you think that's because for something

824
00:49:15,640 --> 00:49:20,040
Speaker 2: to get to Broadway and then to work on Broadway,

825
00:49:20,520 --> 00:49:24,520
Speaker 2: it has to go through so much, right, like so

826
00:49:24,600 --> 00:49:28,399
Speaker 2: much sort of like vetting, workshopping and previews. All these

827
00:49:28,400 --> 00:49:32,600
Speaker 2: things get so much attention to make sure it works properly,

828
00:49:32,640 --> 00:49:35,600
Speaker 2: and you're getting real feedback from audience and from producers

829
00:49:35,600 --> 00:49:39,239
Speaker 2: and the director, you know, all these different departments. And

830
00:49:39,280 --> 00:49:43,319
Speaker 2: because this show probably works so well on stage, do

831
00:49:43,400 --> 00:49:46,759
Speaker 2: you think that's why, like in movie form, it is

832
00:49:46,800 --> 00:49:49,759
Speaker 2: able like that pacing is so great or are they

833
00:49:49,960 --> 00:49:51,720
Speaker 2: not necessarily directly correlated?

834
00:49:51,840 --> 00:49:51,960
Speaker 3: Now?

835
00:49:52,000 --> 00:49:54,040
Speaker 1: I don't think the directly correlated. I think it's all

836
00:49:54,239 --> 00:49:58,280
Speaker 1: based upon the director and the pace of the filming

837
00:49:58,360 --> 00:50:01,000
Speaker 1: because I think you can mess up paste very easily,

838
00:50:01,239 --> 00:50:04,480
Speaker 1: I think. Yeah, And like getting the beats in between

839
00:50:04,520 --> 00:50:07,400
Speaker 1: the music is just as important, if not more important,

840
00:50:07,440 --> 00:50:10,000
Speaker 1: because that's part of you know, that's the story lead

841
00:50:10,040 --> 00:50:13,120
Speaker 1: into the bigger you know, the elevated story of the music.

842
00:50:13,880 --> 00:50:14,400
Speaker 2: Yeah.

843
00:50:14,480 --> 00:50:16,759
Speaker 1: I think it's just like the magic of having a

844
00:50:16,800 --> 00:50:22,000
Speaker 1: really great musical that has really good story, really good characters,

845
00:50:22,360 --> 00:50:25,800
Speaker 1: really great pacing. Really like all the pieces come together

846
00:50:25,840 --> 00:50:29,000
Speaker 1: in a way that's like this will make for a

847
00:50:29,040 --> 00:50:31,520
Speaker 1: really great film if it translates and you do it well,

848
00:50:31,680 --> 00:50:35,040
Speaker 1: but like it could also just fall flat. So like

849
00:50:35,600 --> 00:50:40,160
Speaker 1: imagine like Spring Awakening, which is so such an incredible musical.

850
00:50:40,480 --> 00:50:45,920
Speaker 1: The music is so good. The the music is a

851
00:50:45,960 --> 00:50:50,080
Speaker 1: bit superior to the story because the story is so

852
00:50:50,400 --> 00:50:54,000
Speaker 1: old and it's it's more about the duxtaposition of the

853
00:50:54,840 --> 00:50:58,920
Speaker 1: you know, the time in which that was happening, all happening,

854
00:50:59,040 --> 00:51:02,200
Speaker 1: and then like the the modern music, right, and the

855
00:51:02,320 --> 00:51:04,600
Speaker 1: lights and the neon lights and the microphones and all that.

856
00:51:07,560 --> 00:51:10,920
Speaker 1: I mean, you really need to like, I don't know

857
00:51:10,960 --> 00:51:14,960
Speaker 1: that that would translate correctly, Like I think stage might

858
00:51:15,000 --> 00:51:18,120
Speaker 1: be the place that that actually should live forever, right.

859
00:51:18,000 --> 00:51:20,600
Speaker 2: Especially because of the ages of the kids doing these

860
00:51:20,640 --> 00:51:23,040
Speaker 2: things right, right, that'd be very complicated.

861
00:51:23,120 --> 00:51:27,040
Speaker 1: No, no, exactly exactly, And it's all about that, right, the awakening,

862
00:51:27,120 --> 00:51:31,640
Speaker 1: the exploration, you know, all of that. So yeah, no,

863
00:51:31,719 --> 00:51:33,680
Speaker 1: I do think that there's a part of it that like,

864
00:51:33,719 --> 00:51:37,200
Speaker 1: of course, if you get a musical, right, it's because

865
00:51:37,200 --> 00:51:39,000
Speaker 1: of all the work that went into the workshopping of

866
00:51:39,040 --> 00:51:42,160
Speaker 1: it again it right, But I don't know that translates

867
00:51:42,200 --> 00:51:45,799
Speaker 1: to like the film inevitably being really good.

868
00:51:46,440 --> 00:51:50,279
Speaker 2: But there are plenty of instances of stage musicals that

869
00:51:50,360 --> 00:51:54,680
Speaker 2: are great and they do not necessarily work on film, right,

870
00:51:54,920 --> 00:52:07,759
Speaker 2: We won't we won't mention those, but should we rate

871
00:52:07,840 --> 00:52:09,439
Speaker 2: some of these performances while we're here.

872
00:52:09,719 --> 00:52:11,480
Speaker 1: Well, we just talked about Good Morning Baltimore, and I

873
00:52:11,520 --> 00:52:12,520
Speaker 1: give them an A plus.

874
00:52:12,239 --> 00:52:19,200
Speaker 2: Plus, absolutely a plus plus. And uh, is this just

875
00:52:19,239 --> 00:52:20,400
Speaker 2: gonna be a's all around.

876
00:52:20,560 --> 00:52:24,400
Speaker 1: Saying nicest Kidston Town. Yeah, it takes two. I can

877
00:52:24,440 --> 00:52:27,880
Speaker 1: hear the bells. Yeah, I feel like across the board today,

878
00:52:27,920 --> 00:52:30,000
Speaker 1: like obviously I know where I've been. Gets like an

879
00:52:30,040 --> 00:52:34,879
Speaker 1: A plus plus plus for me, actually, definitely.

880
00:52:34,520 --> 00:52:38,279
Speaker 2: I was just thinking about me miss Baltimore Crabs. The

881
00:52:38,440 --> 00:52:44,280
Speaker 2: choreography in this movie. The choreography in this entire movie

882
00:52:44,960 --> 00:52:50,120
Speaker 2: is incredible, and everybody is so clean. Obviously, JP said

883
00:52:50,160 --> 00:52:52,560
Speaker 2: they started rehearsing in July. They didn't start shooting n

884
00:52:52,560 --> 00:52:57,080
Speaker 2: till September, so they had months of choreography. And obviously

885
00:52:57,160 --> 00:52:59,920
Speaker 2: there are so many musical numbers, and their long musical numbers,

886
00:53:00,120 --> 00:53:04,600
Speaker 2: many of them. It just it makes so much sense. Yeah,

887
00:53:04,600 --> 00:53:07,600
Speaker 2: And I think you also coming off of watching High

888
00:53:07,600 --> 00:53:12,560
Speaker 2: School Musical, where this obviously is a much bigger budget.

889
00:53:12,600 --> 00:53:14,440
Speaker 2: They have much more time to do these things. You

890
00:53:14,480 --> 00:53:16,480
Speaker 2: see the difference in that the scale of it is

891
00:53:16,480 --> 00:53:20,120
Speaker 2: obviously very different. Yeah, and so even you can a

892
00:53:20,280 --> 00:53:22,799
Speaker 2: be it with Zach Efron's performance because he's in both

893
00:53:22,840 --> 00:53:25,759
Speaker 2: of them. And see he's a great dancer in high

894
00:53:25,800 --> 00:53:29,399
Speaker 2: school musical, but in Hairspray he's just as good as all.

895
00:53:29,280 --> 00:53:30,880
Speaker 1: The professional dancers totally.

896
00:53:32,160 --> 00:53:35,880
Speaker 2: And you have that with time, I mean Adam Shankman,

897
00:53:36,000 --> 00:53:40,200
Speaker 2: and you have all those those three incredible choreographers as

898
00:53:40,200 --> 00:53:44,040
Speaker 2: assistant choreographers on this movie. Bryan Fletcher jamals so like.

899
00:53:44,000 --> 00:53:46,680
Speaker 1: The way you shoot people, you make them look good.

900
00:53:46,760 --> 00:53:50,200
Speaker 1: You play into their strengths, you play into what's going

901
00:53:50,280 --> 00:53:52,399
Speaker 1: to make them look really good, right, And he.

902
00:53:52,360 --> 00:53:55,760
Speaker 2: Had a beautiful balance of shooting choreography and also shooting

903
00:53:55,840 --> 00:53:58,120
Speaker 2: stories where he did fit in a lot of close ups,

904
00:53:58,120 --> 00:54:01,320
Speaker 2: but you also did get a lot of beautiful wides

905
00:54:01,360 --> 00:54:05,880
Speaker 2: about this choreography. Yeah, yeah, I'm sorry, I got distracted.

906
00:54:06,239 --> 00:54:08,040
Speaker 1: No, no, no, I think you're right though. I think

907
00:54:08,080 --> 00:54:12,680
Speaker 1: they all go across the board as like as.

908
00:54:12,040 --> 00:54:14,560
Speaker 2: So Lady's Choice, how do you feel about that?

909
00:54:15,160 --> 00:54:21,480
Speaker 1: You know, I actually gave Lady's Choice a B and

910
00:54:21,560 --> 00:54:26,680
Speaker 1: I don't know why. I just feel like it. It

911
00:54:27,440 --> 00:54:31,160
Speaker 1: didn't push the story along as much as like some

912
00:54:31,200 --> 00:54:34,000
Speaker 1: of these other ones that also had such a great

913
00:54:34,040 --> 00:54:36,880
Speaker 1: hook in the song and was like a bigger number.

914
00:54:37,320 --> 00:54:40,959
Speaker 1: I think it kind of it's great, but I don't

915
00:54:41,160 --> 00:54:44,360
Speaker 1: I don't know that I necessarily was like, oh I should,

916
00:54:44,640 --> 00:54:46,239
Speaker 1: I should just give it an A because it's great.

917
00:54:46,320 --> 00:54:49,280
Speaker 2: Right as far as songs written for a movie musical,

918
00:54:50,160 --> 00:54:52,279
Speaker 2: I feel like it fits in pretty seamlessly. But I

919
00:54:52,320 --> 00:54:59,120
Speaker 2: think you are pointing out the reasons why it may bump. Yeah, right, yeah, yeah,

920
00:54:59,400 --> 00:55:02,960
Speaker 2: because every something else does further the story a lot. Yes,

921
00:55:03,480 --> 00:55:08,960
Speaker 2: New Grown Town I loved. I also thought it was so,

922
00:55:09,920 --> 00:55:13,920
Speaker 2: for lack of a better word, up how detention had

923
00:55:13,960 --> 00:55:16,760
Speaker 2: all the black kids?

924
00:55:16,920 --> 00:55:18,719
Speaker 1: Yeah, I mean, I think that one of the critics

925
00:55:19,280 --> 00:55:22,000
Speaker 1: issues in some of the things, the qualms that they've

926
00:55:22,000 --> 00:55:24,200
Speaker 1: had with this film in general, which I agree with,

927
00:55:24,320 --> 00:55:29,840
Speaker 1: is like it undermines the story of the civil rights

928
00:55:29,880 --> 00:55:33,920
Speaker 1: movement and segregation and how you know it wasn't so

929
00:55:34,040 --> 00:55:37,040
Speaker 1: easily fixed, right, There wasn't just a march and everything

930
00:55:37,120 --> 00:55:43,120
Speaker 1: is seemingly right. You know, people are hugging and together right, like, Yes,

931
00:55:43,360 --> 00:55:45,759
Speaker 1: the journey and the experience.

932
00:55:45,200 --> 00:55:47,319
Speaker 2: Feels like this is the white version of it, right,

933
00:55:47,400 --> 00:55:50,839
Speaker 2: with a white lead. Yes. Part of it though, did

934
00:55:50,880 --> 00:55:54,960
Speaker 2: feel like a little satirical though to me, because there's

935
00:55:55,000 --> 00:55:58,600
Speaker 2: those moments where Queen Latifa's like, you know, you're like

936
00:55:58,680 --> 00:56:00,560
Speaker 2: chipping away once up at a time. But it also

937
00:56:00,680 --> 00:56:05,799
Speaker 2: feels like this movie isn't that serious, right, where like

938
00:56:06,280 --> 00:56:07,520
Speaker 2: it feels.

939
00:56:07,040 --> 00:56:09,520
Speaker 1: Like they're making it trying to be.

940
00:56:10,040 --> 00:56:12,160
Speaker 2: It feels like they're making fun of how easy they're

941
00:56:12,160 --> 00:56:15,279
Speaker 2: making it seem right. But maybe that's me doing a

942
00:56:15,280 --> 00:56:18,440
Speaker 2: lot of work as an audience member. Yeah, but I

943
00:56:18,480 --> 00:56:21,640
Speaker 2: felt like I felt like it was a little edgyar

944
00:56:21,719 --> 00:56:26,319
Speaker 2: in that way mmmm or like, you know, there's other

945
00:56:26,360 --> 00:56:26,839
Speaker 2: things to do.

946
00:56:27,160 --> 00:56:35,480
Speaker 1: I appreciate, like Tracy being the the like the one

947
00:56:35,520 --> 00:56:38,080
Speaker 1: who kind of sways back and forth and does the

948
00:56:38,120 --> 00:56:41,400
Speaker 1: right thing. I just I really like that hero aspect

949
00:56:41,480 --> 00:56:42,480
Speaker 1: from her. I don't know.

950
00:56:42,560 --> 00:56:44,600
Speaker 2: I just and it wasn't a love story, Like her

951
00:56:44,640 --> 00:56:48,000
Speaker 2: story wasn't didn't have to be right about.

952
00:56:48,239 --> 00:56:51,120
Speaker 1: Her finding a man right right right, that was.

953
00:56:51,080 --> 00:56:54,280
Speaker 2: Just part of her story. Run until that A plus plus,

954
00:56:55,719 --> 00:56:59,879
Speaker 2: Like come on, Elijah doing Olympics. He's like hurdling, he's

955
00:57:00,160 --> 00:57:03,560
Speaker 2: big things. It does the splits on the grass, get

956
00:57:03,719 --> 00:57:09,200
Speaker 2: out of here, big blonde and beautiful. Yes, just yes, yes, everybody.

957
00:57:09,200 --> 00:57:10,640
Speaker 2: I feel like we said like it's.

958
00:57:10,440 --> 00:57:14,560
Speaker 1: All gonna be A's right, and like everything is it

959
00:57:14,560 --> 00:57:16,840
Speaker 1: has been great, but like we love it.

960
00:57:17,720 --> 00:57:20,320
Speaker 2: We like, don't get a troupe number because I feel

961
00:57:20,360 --> 00:57:23,000
Speaker 2: like we're going to be doing a lot of movies

962
00:57:23,040 --> 00:57:25,120
Speaker 2: and TV shows. Not everything is going to be all

963
00:57:25,120 --> 00:57:28,360
Speaker 2: peachy like this. No, but like when it's good, it's good.

964
00:57:29,640 --> 00:57:33,360
Speaker 1: And this one was great. Yeah, like all of it

965
00:57:33,480 --> 00:57:38,959
Speaker 1: your time lists to me at the sweetest cutest number ever,

966
00:57:40,640 --> 00:57:41,120
Speaker 1: I can't get.

967
00:57:41,760 --> 00:57:42,560
Speaker 2: I can't get enough.

968
00:57:42,960 --> 00:57:46,920
Speaker 1: No, you know, honestly, as for all of these, I

969
00:57:46,960 --> 00:57:49,360
Speaker 1: know and like a special shadow for I know where

970
00:57:49,360 --> 00:57:53,400
Speaker 1: I've been a plus plus plus plus. I can't believe

971
00:57:53,440 --> 00:57:55,760
Speaker 1: it's you know, hairspray. You can't stop. The beat took

972
00:57:55,840 --> 00:58:00,400
Speaker 1: like weeks. I can well, it's just the way that

973
00:58:00,480 --> 00:58:03,720
Speaker 1: we record and shoot and do things. That was like

974
00:58:04,400 --> 00:58:06,920
Speaker 1: in a half a day, and you're like, oh, what

975
00:58:07,000 --> 00:58:10,120
Speaker 1: is it like to have weeks to like do something

976
00:58:10,160 --> 00:58:12,480
Speaker 1: and perfect? Are you sick of it? Are you? It's like,

977
00:58:12,520 --> 00:58:15,200
Speaker 1: don't stop believing that took us, you know, three days

978
00:58:15,240 --> 00:58:17,560
Speaker 1: to do, but like, are you sick of it?

979
00:58:17,560 --> 00:58:20,120
Speaker 2: At that point? We it took us for forever, but

980
00:58:20,200 --> 00:58:22,360
Speaker 2: it was a much shorter sequence. You can't stop the

981
00:58:22,360 --> 00:58:25,080
Speaker 2: beat isn't just the number, there's no like JP said,

982
00:58:25,080 --> 00:58:28,560
Speaker 2: there's a huge scene before and there's a lot going on.

983
00:58:28,600 --> 00:58:30,400
Speaker 2: I mean, how many minutes of the movie is that?

984
00:58:30,920 --> 00:58:32,160
Speaker 1: And also a big part.

985
00:58:32,600 --> 00:58:37,200
Speaker 2: Shankman was shooting this out of this and I mean

986
00:58:37,200 --> 00:58:39,680
Speaker 2: that in a positive way. Yeah, well, like it was

987
00:58:39,720 --> 00:58:43,040
Speaker 2: almost shocking to see. I know where I've been. There's

988
00:58:43,080 --> 00:58:46,360
Speaker 2: probably the simplest number in the entire movie, but they

989
00:58:46,920 --> 00:58:50,480
Speaker 2: go and it's perfect. Yeah, but like that's how intricate

990
00:58:50,720 --> 00:58:53,640
Speaker 2: I think, you know, Shankman was doing it, and it's

991
00:58:53,680 --> 00:58:55,840
Speaker 2: like when we get to Chicago Mulan Rouge, think about

992
00:58:55,840 --> 00:59:00,120
Speaker 2: how intricate those things are. And so I know I

993
00:59:00,200 --> 00:59:07,520
Speaker 2: can without Love a perfect number, truly perfect because talk

994
00:59:07,560 --> 00:59:13,520
Speaker 2: about comedy, the acting, singing, like everything is just wonderful.

995
00:59:14,520 --> 00:59:18,440
Speaker 2: A plus that Without Love is one of the things

996
00:59:18,440 --> 00:59:23,320
Speaker 2: that has always stuck with me. Yeah, I think because

997
00:59:23,360 --> 00:59:25,960
Speaker 2: I just thought, like Amanda Binds especially, I feel like

998
00:59:25,960 --> 00:59:29,120
Speaker 2: it's sort of like her moment to shine, like her

999
00:59:29,160 --> 00:59:31,920
Speaker 2: comedy genius really comes.

1000
00:59:31,720 --> 00:59:34,880
Speaker 1: Through there and it's so funny.

1001
00:59:35,480 --> 00:59:37,520
Speaker 2: It's also like, you know, it's it's turning point in

1002
00:59:37,520 --> 00:59:42,120
Speaker 2: the movie for me or to me where like the

1003
00:59:42,200 --> 00:59:46,720
Speaker 2: kids are finally like coupled up like finally doing what

1004
00:59:46,800 --> 00:59:50,080
Speaker 2: they set out to do in like a more meaningful way.

1005
00:59:51,680 --> 00:59:55,880
Speaker 1: It's cute. Yeah, I loved it.

1006
00:59:57,840 --> 01:00:01,520
Speaker 2: Did you like doing you Can't Stop the beat? On Glee?

1007
01:00:02,640 --> 01:00:05,720
Speaker 1: Aside from the fact that I could never remember the words,

1008
01:00:05,760 --> 01:00:09,480
Speaker 1: like even up until we were recording, like filming on

1009
01:00:09,600 --> 01:00:14,560
Speaker 1: the day, like something about those words can will not

1010
01:00:14,680 --> 01:00:18,160
Speaker 1: stick for me. But I remember doing that ugly and

1011
01:00:18,200 --> 01:00:25,080
Speaker 1: it was so much fun with uh, with the Heather's

1012
01:00:25,120 --> 01:00:28,280
Speaker 1: face that she had that character she was doing for Stolets,

1013
01:00:28,320 --> 01:00:32,000
Speaker 1: and like, yeah, I had the best time doing that.

1014
01:00:32,040 --> 01:00:33,640
Speaker 1: I mean, I don't know that you can sing that

1015
01:00:33,720 --> 01:00:36,480
Speaker 1: song and jump up and down and dance to that

1016
01:00:36,600 --> 01:00:38,920
Speaker 1: number and not have a good time, do you know

1017
01:00:38,920 --> 01:00:40,720
Speaker 1: what I mean? Even if you're like, oh, I hate

1018
01:00:40,720 --> 01:00:42,439
Speaker 1: this song, it's kind of like how I felt about

1019
01:00:42,480 --> 01:00:43,760
Speaker 1: ABBA for a long time.

1020
01:00:43,840 --> 01:00:45,240
Speaker 2: Correct, But.

1021
01:00:46,720 --> 01:00:48,080
Speaker 1: Now I'm like, yeah, I.

1022
01:00:50,720 --> 01:00:54,840
Speaker 2: Still Yeah, there's like a second hook section that I

1023
01:00:54,880 --> 01:00:55,520
Speaker 2: will never know.

1024
01:00:56,960 --> 01:00:59,760
Speaker 1: Yeah, no, we'll never know it. I think there was

1025
01:00:59,760 --> 01:01:01,440
Speaker 1: a lot of head turning on that one.

1026
01:01:01,600 --> 01:01:04,000
Speaker 2: Oh yeah, I was so confident. I was at a

1027
01:01:04,000 --> 01:01:07,160
Speaker 2: gay bar a couple of weeks ago, and you know,

1028
01:01:07,200 --> 01:01:10,440
Speaker 2: they played like the musical theater things and they played

1029
01:01:10,760 --> 01:01:13,160
Speaker 2: that from the movie and I was like, oh, I

1030
01:01:13,200 --> 01:01:15,280
Speaker 2: know this one, and I was like, Nope, still don't

1031
01:01:15,320 --> 01:01:17,480
Speaker 2: know the same sections. I never know when we shot.

1032
01:01:17,280 --> 01:01:21,920
Speaker 1: It, never know it. No, what was he gonna My love?

1033
01:01:22,000 --> 01:01:22,439
Speaker 1: Is your Love?

1034
01:01:25,320 --> 01:01:28,880
Speaker 2: That one? I know? No, I don't know, but it's

1035
01:01:28,880 --> 01:01:30,600
Speaker 2: only because I sang a lot of it.

1036
01:01:30,880 --> 01:01:34,880
Speaker 1: Yeah, so I had to you did, Okay, fair enough, Okay,

1037
01:01:34,960 --> 01:01:36,000
Speaker 1: let's do some tarty takes.

1038
01:01:36,160 --> 01:01:36,840
Speaker 2: Okay, great?

1039
01:01:37,520 --> 01:01:43,680
Speaker 1: U Ow, she's I think the you know, the Treval's

1040
01:01:43,760 --> 01:01:46,840
Speaker 1: casting was, while it was controversial, I thought what he

1041
01:01:46,880 --> 01:01:49,560
Speaker 1: did with the choices he made and what he went

1042
01:01:49,640 --> 01:01:52,640
Speaker 1: into doing like I think actually was he was. We

1043
01:01:52,720 --> 01:01:57,920
Speaker 1: loved clar but like, you know, the costuming and the

1044
01:01:57,960 --> 01:01:59,800
Speaker 1: fat suit of it all and the whole thing, Like

1045
01:01:59,840 --> 01:02:03,720
Speaker 1: I think that's not you know, it doesn't still work.

1046
01:02:03,840 --> 01:02:06,880
Speaker 1: But yeah, yeah.

1047
01:02:06,600 --> 01:02:11,440
Speaker 2: If you can isolate him as an actor.

1048
01:02:11,360 --> 01:02:16,320
Speaker 6: As an actor within the movie, great work, Yeah, great work.

1049
01:02:17,560 --> 01:02:25,960
Speaker 6: Best dance move Seaweed, Seaweed, Peyton's Place after Midnight, honest.

1050
01:02:26,080 --> 01:02:29,360
Speaker 2: Best single dance move I think is Elijah jumping into

1051
01:02:29,360 --> 01:02:31,000
Speaker 2: that half split mmmm.

1052
01:02:32,600 --> 01:02:35,280
Speaker 1: Yes. And also little and as solo and you can

1053
01:02:35,280 --> 01:02:39,160
Speaker 1: stop the beat. Yes, I like teared up when that

1054
01:02:39,600 --> 01:02:40,160
Speaker 1: moment came.

1055
01:02:41,160 --> 01:02:46,280
Speaker 2: So also like vocals, oh yeah, vocals.

1056
01:02:47,400 --> 01:02:52,520
Speaker 1: All the choreography though, like Shankman and and Zach, everybody

1057
01:02:52,600 --> 01:02:53,560
Speaker 1: really a plus.

1058
01:02:53,320 --> 01:02:58,040
Speaker 2: Place outstanding every it was so clean and nothing looked

1059
01:02:58,960 --> 01:03:02,680
Speaker 2: how do I say this respect Actually nothing looked musical

1060
01:03:02,680 --> 01:03:07,360
Speaker 2: theater it all. This is my problem. I'm going to

1061
01:03:07,400 --> 01:03:11,680
Speaker 2: bring it up as we watch these movies when shows

1062
01:03:11,720 --> 01:03:16,640
Speaker 2: don't have a definitive style or like dance language.

1063
01:03:17,000 --> 01:03:17,840
Speaker 1: Yeah, yeah, yeah, yeah.

1064
01:03:18,640 --> 01:03:22,560
Speaker 2: All of this fit so perfectly within the setting and

1065
01:03:22,600 --> 01:03:25,720
Speaker 2: the story and the time period. You don't even notice

1066
01:03:25,760 --> 01:03:28,960
Speaker 2: it right, like it's all part of the scenes and

1067
01:03:29,040 --> 01:03:32,600
Speaker 2: it works so well, and that I think is usually

1068
01:03:32,640 --> 01:03:35,480
Speaker 2: not the case. But that's because Shankman and Zach and

1069
01:03:35,560 --> 01:03:38,720
Speaker 2: it are like they're incredible and they have great taste

1070
01:03:38,880 --> 01:03:42,200
Speaker 2: and they really understand how to use dance as a.

1071
01:03:42,240 --> 01:03:49,040
Speaker 1: Lang story exactly. Best song, you know, I will say

1072
01:03:49,080 --> 01:03:52,919
Speaker 1: without Love really now that I yes, is like really good.

1073
01:03:53,000 --> 01:03:55,000
Speaker 1: I was thinking about it because like on its own,

1074
01:03:55,080 --> 01:03:57,600
Speaker 1: the song alone, like it's a really good song. It

1075
01:03:57,720 --> 01:04:00,880
Speaker 1: is also I know where I've been obviously mm hmm.

1076
01:04:01,320 --> 01:04:05,160
Speaker 1: And I will say when we when the when when

1077
01:04:05,200 --> 01:04:10,440
Speaker 1: the show opened with Good Morning Baltimore. I was like, oh, okay,

1078
01:04:10,880 --> 01:04:14,320
Speaker 1: I'm here. I think something about that milk.

1079
01:04:14,520 --> 01:04:17,040
Speaker 2: I think good Morning Baltimore and you Can't Stop the

1080
01:04:17,040 --> 01:04:20,600
Speaker 2: Beat are like the biggest earworms. Yeah, yeah, yeah, those

1081
01:04:20,640 --> 01:04:27,480
Speaker 2: songs will stay in your head for days. But I

1082
01:04:27,520 --> 01:04:30,600
Speaker 2: think I'll run until that is probably I know where

1083
01:04:30,600 --> 01:04:31,960
Speaker 2: I've been. Are probably my favorite song.

1084
01:04:32,000 --> 01:04:36,120
Speaker 1: Okay, fair enough, fair enough? Uh performance by a prop

1085
01:04:37,000 --> 01:04:39,440
Speaker 1: Oh my god, there's so many.

1086
01:04:39,840 --> 01:04:41,600
Speaker 2: This is gonna be very hard doing movies with this.

1087
01:04:42,120 --> 01:04:43,200
Speaker 1: I mean the hairspray.

1088
01:04:45,840 --> 01:04:50,360
Speaker 2: I want to ask Shankman about how do you get

1089
01:04:50,400 --> 01:04:54,200
Speaker 2: that spray for film? You're like, that's a good spray.

1090
01:04:54,360 --> 01:05:00,640
Speaker 2: I feel like it's like, is that just water? Maybe

1091
01:05:00,680 --> 01:05:04,760
Speaker 2: they it's a beautiful spray. Yeah, I don't know. That's

1092
01:05:04,800 --> 01:05:05,400
Speaker 2: a good question.

1093
01:05:05,520 --> 01:05:12,439
Speaker 1: Well say that the giant hairspray bottles were pretty great.

1094
01:05:12,560 --> 01:05:13,280
Speaker 1: Oh beautiful.

1095
01:05:13,760 --> 01:05:18,320
Speaker 2: Also the yeah, the giant hairspray bottle that Britney snow

1096
01:05:18,400 --> 01:05:20,040
Speaker 2: eventually gets caught in.

1097
01:05:20,320 --> 01:05:25,920
Speaker 1: Yes, exactly. I think those are great speaks to the movie. Yes,

1098
01:05:26,120 --> 01:05:30,440
Speaker 1: or then the show best line.

1099
01:05:31,080 --> 01:05:32,360
Speaker 2: I don't know if this is the best line, but

1100
01:05:32,400 --> 01:05:36,240
Speaker 2: it's one of my favorites. You see, if I let

1101
01:05:36,240 --> 01:05:38,040
Speaker 2: you leave the house right now, you'd be in prison

1102
01:05:38,040 --> 01:05:44,800
Speaker 2: fighting horse or cigarettes. That Tracy term but always was

1103
01:05:44,840 --> 01:05:50,640
Speaker 2: a bad influence. Well, you never are ever sorry. You

1104
01:05:50,680 --> 01:05:55,400
Speaker 2: are never ever gonna see the beehived Harlot again. It's

1105
01:05:55,440 --> 01:05:56,000
Speaker 2: so good.

1106
01:05:58,240 --> 01:05:59,040
Speaker 1: Oh no.

1107
01:05:59,720 --> 01:06:05,040
Speaker 2: I also think Penny says, oh no, and Tracy goes what.

1108
01:06:05,240 --> 01:06:08,440
Speaker 2: Thenny goes your hair deflated and Tracy goes, oh, let it.

1109
01:06:08,440 --> 01:06:10,439
Speaker 2: It was just a symbol of my conformity to the man.

1110
01:06:10,600 --> 01:06:12,560
Speaker 1: Yeah, that was a good fun That was a really

1111
01:06:12,600 --> 01:06:14,680
Speaker 1: good one. I also don't know how I'll right this

1112
01:06:14,720 --> 01:06:17,040
Speaker 1: one is either, but this is America. Baby, gotta think

1113
01:06:17,080 --> 01:06:20,400
Speaker 1: big to be big. Big, ain't the problem in this family?

1114
01:06:20,440 --> 01:06:26,080
Speaker 1: Wil b oh Man, Oh god, the show is great,

1115
01:06:26,680 --> 01:06:31,880
Speaker 1: right right? Okay? It really is so good? Uh performance

1116
01:06:32,200 --> 01:06:38,920
Speaker 1: MVP oh Man. I mean it's gotta be Nicky. She

1117
01:06:39,080 --> 01:06:43,200
Speaker 1: carried this She really did with ease. I mean you

1118
01:06:43,200 --> 01:06:43,960
Speaker 1: wouldn't even know.

1119
01:06:45,120 --> 01:06:49,000
Speaker 2: Social media star Nicky Blonski carried this movie so.

1120
01:06:49,000 --> 01:06:51,919
Speaker 1: Good on her shoulders, but I mean shoulders.

1121
01:06:51,960 --> 01:06:54,440
Speaker 2: Everyone was incredible. Yeah, truly mean that.

1122
01:06:56,720 --> 01:06:59,560
Speaker 1: Okay, Okay, what you got for me? Camon Genta?

1123
01:07:00,280 --> 01:07:04,080
Speaker 2: Mmmm we found on TikTok oh No, Yes, Jen I

1124
01:07:04,120 --> 01:07:07,400
Speaker 2: get into it, Get into it. It is a shot

1125
01:07:07,480 --> 01:07:16,400
Speaker 2: for shot remake, Run Joey Run, Oh my gosh, Corona Films.

1126
01:07:16,400 --> 01:07:18,960
Speaker 2: All right, listen, So Jenny doesn't care about Glee, then

1127
01:07:18,960 --> 01:07:21,320
Speaker 2: explain why we did this as our film degree project

1128
01:07:21,440 --> 01:07:24,960
Speaker 2: and it is a shot for shot Listen.

1129
01:07:25,040 --> 01:07:30,080
Speaker 1: I am not one to hate on a good a

1130
01:07:30,120 --> 01:07:35,200
Speaker 1: good project, and this the effort was there. They did

1131
01:07:35,240 --> 01:07:38,800
Speaker 1: it like good work, you guys, I run jo Anyone

1132
01:07:38,960 --> 01:07:41,520
Speaker 1: may not be my cup of tea, but this project

1133
01:07:41,840 --> 01:07:42,960
Speaker 1: was unbelievable.

1134
01:07:42,960 --> 01:07:46,680
Speaker 2: Look at the when he sits up and Betty the curtain.

1135
01:07:46,560 --> 01:07:52,360
Speaker 1: The editing of this all, yeah, it's very good. Kevin,

1136
01:07:52,400 --> 01:07:59,600
Speaker 1: guess what our guest Adam Shankman h all You're dying

1137
01:07:59,640 --> 01:08:01,320
Speaker 1: clash will be answered.

1138
01:08:01,760 --> 01:08:03,720
Speaker 2: I'm so excited me too.

1139
01:08:04,840 --> 01:08:06,240
Speaker 1: I guess like I feel like we get to talk

1140
01:08:06,240 --> 01:08:07,800
Speaker 1: to him about Glee all the time and stuff, but

1141
01:08:07,880 --> 01:08:09,160
Speaker 1: like to be able to talk to him about a

1142
01:08:09,160 --> 01:08:11,560
Speaker 1: completely different project is very exciting.

1143
01:08:12,760 --> 01:08:17,120
Speaker 2: I also, I'll never mind. I'll save it for the pod.

1144
01:08:17,280 --> 01:08:20,040
Speaker 2: All right, Okay.

1145
01:08:19,960 --> 01:08:20,880
Speaker 1: Thanks for this.

1146
01:08:20,960 --> 01:08:24,920
Speaker 2: Was Hairspray. I loved it so much. Beyond If you

1147
01:08:24,960 --> 01:08:26,479
Speaker 2: haven't seen it a long time, or if you've never

1148
01:08:26,479 --> 01:08:29,040
Speaker 2: seen it. Please do yourself a favor and go watch

1149
01:08:29,080 --> 01:08:29,880
Speaker 2: it immediately.

1150
01:08:30,000 --> 01:08:31,719
Speaker 1: I hope this made you want to watch it, because

1151
01:08:32,040 --> 01:08:34,440
Speaker 1: I would watch it again absolutely.

1152
01:08:34,560 --> 01:08:36,599
Speaker 2: This is now going to be added to my comfort

1153
01:08:36,640 --> 01:08:37,160
Speaker 2: movie list.

1154
01:08:37,520 --> 01:08:39,000
Speaker 1: Yes, who knew?

1155
01:08:41,200 --> 01:08:44,200
Speaker 2: And that's what you really missed. Thanks for listening and

1156
01:08:44,320 --> 01:08:46,960
Speaker 2: follow us on Instagram at and that's what you really

1157
01:08:46,960 --> 01:08:49,120
Speaker 2: miss pod. Make sure to write us a review and

1158
01:08:49,240 --> 01:08:51,160
Speaker 2: leave us five stars. See you next time.