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Speaker 1: I Am all in. Oh, let's just I Am all

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Speaker 1: in with Scott Patterson and I Hurt Radio Podcasty everybody,

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Speaker 1: Scott Patterson and this is the I Am All In

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Speaker 1: Podcast with my Heart Radio and one eleven Productions. And

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Speaker 1: we are joined by the ball Club Riley Pelusis. Did

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Speaker 1: I know Riley Pellusis is joining us? Danielle Romo, Oh

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Speaker 1: my god, this episode I have to ask you guys.

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Speaker 1: I know I'm jumping in, but so for Scott and

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Speaker 1: Danielle specifically, was it did you? Were you shocked? Like,

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Speaker 1: because you guys have you haven't seen it Scott since

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Speaker 1: you did it and Danielle never seen it, So like,

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Speaker 1: what did you guys think of the end? I thought

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Speaker 1: it was really kind of predictable the whole thing. It

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Speaker 1: was a little ham handed in my estimation. It kind

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Speaker 1: of lacked the I don't know, it lacked the style

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Speaker 1: and the wit structurally speaking, and then it's just like

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Speaker 1: they wanted to tie it up real fast in one episode.

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Speaker 1: So I saw it all coming. I saw coming from

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Speaker 1: a mile away, and I guess that's just TV, right.

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Speaker 1: I don't understand TV the way I understand film. Um,

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Speaker 1: So it was a fun ride, No question, I enjoyed it.

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Speaker 1: You weren't shocked when she ran in and was like,

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Speaker 1: puck backs, pack backs, Well, no, I was shocked. It

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Speaker 1: took her that long to say anything. I liked how

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Speaker 1: she ran and said pack your bags, pack your bags,

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Speaker 1: and let's get out of here. It's like wow, um,

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Speaker 1: But I think you know, they made him. They made

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Speaker 1: Max look as drab as they could possibly make him

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Speaker 1: in the wardrobe department. With that, you know, he looked

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Speaker 1: like a high school kid. He looked like kind of

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Speaker 1: a a high school kid who was unsure of himself

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Speaker 1: with the wide color shirt and and and the drab

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Speaker 1: and he slouched a little. He's such a good actor

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Speaker 1: that he made himself like that, right, because when he's

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Speaker 1: wearing the school uniform in the suit, he's looking kind

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Speaker 1: of kind of great, right, spectacular, But he looked a

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Speaker 1: little I don't know, when they got home and he's

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Speaker 1: untucking that shirt not he lives there, and you're like, yeah, yeah,

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Speaker 1: it's a whole different guy. And so that's that's Brenda

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Speaker 1: maybeen in the wardrobe department, you know, just just nailing

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Speaker 1: it right, because that's that's a whole conversation, right, there

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Speaker 1: with the creators, like, how do we make this guy

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Speaker 1: look a little schlumpy and like maybe not so appealing,

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Speaker 1: even though it's hard to make Scott Cohen look not appealing.

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Speaker 1: Buddy duddy, Yeah, he wasn't so sure of himself, and

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Speaker 1: that's in the dialogue. But I just I thought it

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Speaker 1: was very well executed. But I saw it coming a

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Speaker 1: mile away, you know, Yeah, yeah, did you? Yeah? I

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Speaker 1: totally saw it coming from a mile away. Part of

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Speaker 1: me wishes that it was on their wedding day that

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Speaker 1: she was like, let's go instead of like the week

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Speaker 1: of for you know, like just for the drama factor.

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Speaker 1: But yeah, I saw that coming because then there's no

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Speaker 1: coming back from that. Now the door is a little

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Speaker 1: bit open. I know he's gonna feel burned and horrible

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Speaker 1: with the door. They didn't get that far right, they

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Speaker 1: didn't get so pregnant in the process. I mean it

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Speaker 1: was pretty pretty pregnant a couple of days before and

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Speaker 1: she bails, But yeah, leave him at the altar would

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Speaker 1: have been like, you know, there's no coming back from this.

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Speaker 1: But he might come back from this. I don't know

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Speaker 1: if does he. I don't know. I actually am trying

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Speaker 1: to remember, yeah, Riley thoughts impressions. I think, I think

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Speaker 1: that's so mean to do it the day of I

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Speaker 1: know what happens, but I know Daniel wants drama. It

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Speaker 1: just seems so cruel. It's savage. Um no, but Lorela

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Speaker 1: is savage like that. That's her, you know, that's her.

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Speaker 1: That's the thing. That's the line he goes, can you

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Speaker 1: think about yourself? Can you not think about yourself for

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Speaker 1: a couple of seconds out of the day, I think

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Speaker 1: of somebody else, like boom, that was them to kill

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Speaker 1: or blow? That was so aggressive that wow, And you know,

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Speaker 1: I kind of don't blame him. Um, I knew they

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Speaker 1: were doomed when she called Christopher, oh god, which I

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Speaker 1: thought Christopher couldn't have been more charming and perfect? Yeah? Actually,

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Speaker 1: yeah he was great. It wasn't he great in that scene? Yeah? Perfect?

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Speaker 1: He was great in that scene. And it's not hard

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Speaker 1: to do. So let me ask you that, Like, he's

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Speaker 1: obviously supposed to be on the phone with her, So

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Speaker 1: where is is he in a room by himself? Is

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Speaker 1: he probably doing it with her? Though? No? No, no,

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Speaker 1: no no no. If it depends on if if she

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Speaker 1: has already filmed her side of it, and maybe he

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Speaker 1: gets the audio from her from what she did, so

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Speaker 1: he can, you know, but it's usually just a stand

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Speaker 1: in or somebody reading or the script supervisor reading the

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Speaker 1: lines from because he would never see that, like, actually,

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Speaker 1: is it back and forth? Because it would be impossible. No,

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Speaker 1: it's not necessary. Those are the type. Yeah, and then yeah,

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Speaker 1: it's but there's no reason to have two people doing

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Speaker 1: at the same time now to be ridiculous. All right,

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Speaker 1: we're already across the street, go ahead, or you know what,

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Speaker 1: we got a little No, we got a wiring problem.

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Speaker 1: We're gonna have to stop it, right, But yeah, he was.

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Speaker 1: That was a really good because you know, Emily tells

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Speaker 1: that story and then they're all calling their significant others

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Speaker 1: and she calls Christopher. Yeah that. I mean, look, she

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Speaker 1: was done way before that. I mean she was done

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Speaker 1: in the in the bedroom when she saw Max vying

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Speaker 1: for some kind of parental power and authority, like what

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Speaker 1: about Dean and Rory kissing outside? I mean, well, what's

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Speaker 1: my role here? And I'm thinking this guy's coming on

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Speaker 1: glued real fast here. I mean he's not even in yet,

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Speaker 1: and he wants, you know, he wants to take over

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Speaker 1: he wants some authority, and it's like and she made

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Speaker 1: the most salient point of their entire relationship, which is

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Speaker 1: she's already grown up. She's I mean, she's fully cooked.

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Speaker 1: I mean, there's nothing, there's nothing for you to do

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Speaker 1: except you know, make the the garlic bread and and

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Speaker 1: be my be my sex slave, fella, my old man.

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Speaker 1: I can't wrap my head around them. Like doing it

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Speaker 1: that still wigs me out, takes me back to that

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Speaker 1: weird shirtless scene. Well, okay, so here's the thing. The

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Speaker 1: imbalance for me is it's almost like, you know, she's

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Speaker 1: more aggressive, she's more manly than he is, almost on

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Speaker 1: a certain level. You know, you don't because she's quite

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Speaker 1: a substantial presence. I mean, Lauren Graham herself, right, She's

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Speaker 1: she's a powerful that's a powerful person, and and that

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Speaker 1: character is a powerful person, right with even with all

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Speaker 1: the insecurities and you know, temporary flights of fancy and

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Speaker 1: you know, visiting the insanity every once in a while.

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Speaker 1: But I think you're right. I think you're right. Though

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Speaker 1: she's it doesn't feel like it's a good match because

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Speaker 1: he seems overpowered you and I see what you think intellectually,

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Speaker 1: they're there. I think intellectually they're both there, and it's

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Speaker 1: a it's a ping pong match. And he might be

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Speaker 1: a little even more on the nerdy side, right, and

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Speaker 1: she's supposed to be some kind of a nerd right,

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Speaker 1: not as much as him obviously because he went and

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Speaker 1: got his degrees in a teaching degree and what whatnot. Um,

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Speaker 1: But yeah, don't they don't seem well matched physically to me.

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Speaker 1: It's even personality wise. He just seems like a push

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Speaker 1: over to her. Yeah, I can't put my finger on

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Speaker 1: but I think you're right. I think what you're saying

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Speaker 1: is accurate. Something is off. It's the Jerry Seinfeld thing, like,

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Speaker 1: what's wrong? Were there now? Jerry? She's just too nice?

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Speaker 1: You know, I can't there's nothing dirty about her, you know, Yeah,

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Speaker 1: you know she might be too nice for her. He

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Speaker 1: doesn't push back on her enough, even though he was

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Speaker 1: aggressive in this episode that you only think of yourself

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Speaker 1: and kind of that bedroom little tiff argument. But when

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Speaker 1: he tries to push back, it seems too much. It

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Speaker 1: seems out of character. When I do it, it's that's

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Speaker 1: who I am, that's my It's also just too soon.

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Speaker 1: They got engaged a witty too soon. Yeah, because if

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Speaker 1: Dean is schooling Max Medina like Dean knows more, it's weird.

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Speaker 1: I liked, I liked. I like Dean in this episode.

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Speaker 1: I thought it was super cool, great scenes, great, right

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Speaker 1: and great, really funny stuff. But you know, advising him

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Speaker 1: on the how they these people are? Um? But it's god.

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Speaker 1: I just, I just I just had a thought. I

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Speaker 1: lost it? What was it? Hang on? Observed Brazil. Hello Brazil.

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Speaker 1: We do like your jacket today. You know you're wearing

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Speaker 1: your eye am all in hat. I didn't that it? Now?

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Speaker 1: Where do they get it? You know what? I've got

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Speaker 1: my hat on. And if I were at a ballgame

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Speaker 1: or something or a soccer match watching my son, I

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Speaker 1: guess i'd have a steaming hot mug. You can get

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Speaker 1: this hat and this mug at my fan threads dot com.

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Speaker 1: I love it. Actually, the mug is legit. I'm not

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Speaker 1: gonna lie. I love both. I wear the hat out.

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Speaker 1: I wear the hat out to my birthday party. Danielle.

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Speaker 1: Do I have to pay for the mug or do

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Speaker 1: we get it for free? I have to pay for it, right,

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Speaker 1: we can get it for free for you. We just

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Speaker 1: have to pay shipping. I love it. Oh the perks

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Speaker 1: of working on this. I got a receipt? What did

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Speaker 1: I just pay for? Did I pay for this stuff?

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Speaker 1: Is it coming out of my end? There? Like you

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Speaker 1: keep in track for sure, we'll charge you back on that. Yeah. Okay, wait,

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Speaker 1: so let's talk more about Dean. So I liked him

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Speaker 1: in this episode two, and you know, he fits in

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Speaker 1: better with them well now that he knows the drill

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Speaker 1: and he's finally in a scene where he's like when

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Speaker 1: we first met him, he's in control and he's cool,

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Speaker 1: and he's he's just calm about everything and he's accepting

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Speaker 1: of everything. That's the first time i've you know, I

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Speaker 1: liked him in the beginning when he was a little

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Speaker 1: aloof and a little mysterious um, and then he kind

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Speaker 1: of lost that. But of course, you know he gets

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Speaker 1: he gets into that the chainsaw that is the Gilmore girls, right,

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Speaker 1: and it gets chewed up a little bit. Which is

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Speaker 1: wearing the necklace. I don't remember the necklace this time,

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Speaker 1: but he was he was doling out the good advice

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Speaker 1: to old Max, you know, like watching he I mean,

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Speaker 1: he knows them both, like you don't know what you're

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Speaker 1: you don't know what you're walking into. Pal But okay,

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Speaker 1: So the point I was gonna make is is what's

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Speaker 1: what's interesting is when you compare Luke and Max, right,

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Speaker 1: Luca's a known come on to those two, they know

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Speaker 1: if it's it's she's layalized, not losing any bit of

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Speaker 1: familiarity or any there's no real life change for her

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Speaker 1: if Luke comes into the scene, because they're so usy,

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Speaker 1: he's just there, right. The pancake ordering is the perfect examp,

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Speaker 1: perfect example. And he and he knows, he knows his boundaries,

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Speaker 1: he knows he's he's helped raise Rory too. He's cared

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Speaker 1: and he's not going to buy for power. He doesn't

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Speaker 1: want it right, and Max is like, and so really,

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Speaker 1: you know, Laurel I wakes up Roy and says, you know, uh,

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Speaker 1: there's a boy in my bed, in the whole thing,

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Speaker 1: but there's a boy in my room and all this stuff.

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Speaker 1: She's realizing what she's gonna lose. She's gonna lose that

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Speaker 1: intimacy with Rory. She's gonna lose. And again she stops

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Speaker 1: worrying about emptiness syndrome and what's going to happen, and

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Speaker 1: she sees all that, She sees the sea of possibilities.

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Speaker 1: Maybe with Luke, maybe with Christopher who knows, but not

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Speaker 1: this guy. She realizes she never bothered when you show

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Speaker 1: up a six in the morning, or you let yourself

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Speaker 1: into the house, or any of it. And I do

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Speaker 1: think the pancakes scene was so telling because they had

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Speaker 1: to change for Max. They're like, no, will wait, uh,

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Speaker 1: Like it threw them off their rhythm, and he even

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Speaker 1: acknowledges it, like my rhythm might be different than yours.

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Speaker 1: But you're just like, dude, what like they need their pancakes.

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Speaker 1: And you you were so funny in that scene because

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Speaker 1: it looks like I can't make more. Well that's you know,

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Speaker 1: that's just what I do. And then when they finally

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Speaker 1: order them, do you still have them? And you're like,

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Speaker 1: I already put him aside? So good. So they've got

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Speaker 1: that flow, they've got that familiarity. It is not a

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Speaker 1: big stretch to have Luke come into her life. He's

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Speaker 1: established that over the years. Poor Max, Poor Max, he

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Speaker 1: never had a chance to poor boy, he never had

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Speaker 1: a chance. Still, great hair, great hair, He's a handsome dude.

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Speaker 1: It's going back on what you said. I was really

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Speaker 1: intrigued by how you're saying. Luke doesn't even need to

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Speaker 1: have sort of power over them or her because he

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Speaker 1: doesn't care. And what's so interesting is I feel like

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Speaker 1: he has that power because he doesn't care. But he

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Speaker 1: he always is right, even with her, right right exactly.

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Speaker 1: But he can exert an opinion which may come off

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Speaker 1: as a authority, but it's not like he's grabbing for it.

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Speaker 1: It's not like he's demanding it. And that's a big deal.

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Speaker 1: I mean, that is just a bridge too far in

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Speaker 1: a relationship, even one that is supposed to be as

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Speaker 1: heartfelt and deep as as as Max and Laurel I.

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Speaker 1: And he's flipping out in her bedroom in the first night,

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Speaker 1: he's their second night, he's are wanting power over Rory

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Speaker 1: and it's like, what are you doing? It was it

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Speaker 1: was it was a bad move. It was too much

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Speaker 1: as a guy, what do you shut up? What are

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Speaker 1: you do when you're blowing it? And she's like, you know,

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Speaker 1: taking it back and trying to sit an the thing.

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Speaker 1: She's trying to save him from destroying the relationship. But

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Speaker 1: it's too late. Cats out of the bag can't unring

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Speaker 1: a bell. And he was ringing the bells all through

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Speaker 1: that episodes, like each scene was so important, The breakfast

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Speaker 1: at the diner, that scene, Dean knowing more, Emily at

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Speaker 1: the bachelorette party, explaining how you should feel the week

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Speaker 1: of your wedding. That was the best for me. That

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Speaker 1: was the best scene in the whole I mean, besides

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Speaker 1: the Luke scenes. Let's not be silly, let's not kid ourselves,

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Speaker 1: but the Emily scene was brilliant. That was brilliant, brilliantly

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Speaker 1: delivered and uh, really impactful. And you could just see

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Speaker 1: Laurel I just like, wow, you know she's right so

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Speaker 1: one time, so one time her mother got to speak

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Speaker 1: uninterrupted listen to and it impacted everybody and the way

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Speaker 1: the friends like Emily, you know what I mean, Like

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Speaker 1: we all know lord la has her drama, but of

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Speaker 1: course Michelle, that's his bestie, but they like her. The

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Speaker 1: only thing that was funny, I don't know if you

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Speaker 1: guys know that fully stands out to me how old

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Speaker 1: the cell phones are. And then did you guys see

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Speaker 1: Rory's like a O L pager, like the flip phone,

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Speaker 1: flip phone, It doesn't feel dated too often, but the phones,

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Speaker 1: you're like Oh my god. They did mention the word

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Speaker 1: gay in a somewhat derogatory sense at one point in

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Speaker 1: the show, which right now wouldn't fly. You know, yeah,

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Speaker 1: there's a few things we we have another show we

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Speaker 1: work on about Beverly Hills nine o two and oh,

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Speaker 1: and that came up in there. There's some things that

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Speaker 1: were acceptable at the time that are not acceptable. And

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Speaker 1: it was, you know, and and unique dancing up there.

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Speaker 1: He needed to move his thing, right, Melissa said, Oh,

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Speaker 1: he needed to move his thing, his his stuff or

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Speaker 1: what did she say? He needed to move? I don't

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Speaker 1: want it to be X rated. I thought dancing was

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Speaker 1: pretty solid. He's got move, slap him or I will.

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Speaker 1: And now they're all hung over the next day and

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Speaker 1: again so much. It's like and and Max isn't even

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Speaker 1: even in sync with the hangover. And he had one too,

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Speaker 1: but he had a lighter one because he didn't drink

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Speaker 1: as much. So he's not even in he's speaking too loud.

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Speaker 1: She's like everything. It's like, give the guy some bad shirts,

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Speaker 1: make him slouch, you know, make him inappropriate, make him

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Speaker 1: vibe for power, I mean talk about blowing up a

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Speaker 1: character and whatever. He sort of got dork here and

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Speaker 1: dork he did. I mean, they just did. They ruined him.

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Speaker 1: It's like, that's it. Here's no coming back for that guy. Yeah,

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Speaker 1: because at first I did, I mean back if we

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Speaker 1: look back on the first day they met at Chiltern,

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Speaker 1: he was so dreamy and you you liked them, and

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Speaker 1: then as it went on, you're like, look, they did

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Speaker 1: a nice run, you know they did. Yeah for them, Yeah, hey,

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Speaker 1: for Max and Morla, you know, seriously. And that she

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Speaker 1: called Christopher and not Luke, well mm hmmm mmm m m.

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Speaker 1: I did not like that. My only thought is that

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Speaker 1: you knew everything, so she can't really call and tell

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Speaker 1: you she's at her bachelor et. I think she called

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Speaker 1: me and did dad, It would be far too suggestive, totally,

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Speaker 1: I like you, Yeah, she couldn't do that, So she

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Speaker 1: had to call somebody who was who knew her better

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Speaker 1: than anybody and was just a friend. And interesting that

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Speaker 1: Christopher called Rory to say, something's up with your mom

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Speaker 1: watch calling me on her bachelorette party. Right, I mean,

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Speaker 1: he's still the dad. He's still you know, he's still

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Speaker 1: you know, a valued member of that family, even though

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Speaker 1: he's not there every day. So and it gave Roy

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Speaker 1: that inkling of like, oh maybe not yeah, totally um yeah,

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Speaker 1: interesting episode, interesting episode, how they disposed of Mac. What's

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Speaker 1: the name of the episode again? Red? What is it

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00:17:53,440 --> 00:17:56,400
Speaker 1: called red light? And what? Oh it's called red Light

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Speaker 1: on the wedding night, Red red Light on the wedding Night. Perfect.

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Speaker 1: And then it's also you know, acknowledging that there's the

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Speaker 1: stoplight that went in. Yeah, that's good. Oh my god.

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Speaker 1: Did you guys all notice the background actors so much

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Speaker 1: more now after we talked to Carol V Now I'm

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Speaker 1: like noticing the background actor. I always focus on them.

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Speaker 1: It's like, don't screw it up. And they're all so good.

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Speaker 1: Weren't they all so good? It's doing something that's a

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Speaker 1: hard job to concentrate for that long and that many

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Speaker 1: takes and keep repeating and repeating and repeating. All right, everybody,

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Speaker 1: we're back from a little break. I got a little sweaty,

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Speaker 1: so I had to change my shirt. Uh I have

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Speaker 1: I was. I'm so obsessed with this episode that I

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00:18:44,600 --> 00:18:47,800
Speaker 1: went back and I watched it again, and I found

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00:18:47,800 --> 00:18:50,840
Speaker 1: a couple of very interesting things. There are some tidbits,

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Speaker 1: and there are some some production gaffs and I know,

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Speaker 1: I know the fan base loves this stuff. They traffic

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Speaker 1: this stuff, and it's really and you know, now I'm

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Speaker 1: I'm such a fan at this point. I'm like really

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Speaker 1: hunting for things, you know, like you guys with the

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Speaker 1: clown pillow that never done. So now I got a

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Speaker 1: couple of things, and I'm pretty proud that I you know,

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00:19:13,080 --> 00:19:14,879
Speaker 1: and I want to learn him on it. And you

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Speaker 1: guys don't know what I'm gonna say. Okay, so there's

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00:19:20,080 --> 00:19:22,520
Speaker 1: there's there's actually three things, and I'm going to start

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Speaker 1: with the lesser and then end with the big macgilla,

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00:19:26,600 --> 00:19:28,639
Speaker 1: which is like kind of a huge thing and we

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00:19:28,680 --> 00:19:30,879
Speaker 1: can really bat it around. So the first thing, the

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Speaker 1: first thing is this, uh and if Eastern could queue

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Speaker 1: up the Babette line red hot Poker during the stoplight dedication,

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Speaker 1: seen you got that Easton? Yeah, okay, so we'll just

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Speaker 1: keep it going here. Hey, uh, two camels walk into

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Speaker 1: a bar and they were they sassafras juice. Uh. Anyway,

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Speaker 1: so listen after Babette's line red hot poker, right, you know,

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Speaker 1: you get a red hot poker up here, you know what?

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00:20:06,040 --> 00:20:10,480
Speaker 1: They go over to Laura Laone Suki and our sound

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Speaker 1: guy Dennis. Dennis is on his knees right behind Lauren,

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Speaker 1: fully visible, fully visible way. I love these kind of things.

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Speaker 1: And that guy, let me tell you something that Dennis,

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Speaker 1: it was the hardest working sound guy in the business,

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Speaker 1: um because he you know, at the time, he was

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Speaker 1: like I think he was in his fifties or his sixties,

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Speaker 1: late fifties maybe early sixties, and still had all this

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Speaker 1: great energy and optimism and he loved coming to work

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Speaker 1: and he loved he just loved being there. Now, can

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Speaker 1: you explain how that would happen? Because you need to

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Speaker 1: capture Babbett's line. He couldn't figure out how to capture

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Speaker 1: Babbett's line clean without getting behind Laurel. I thinking he

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Speaker 1: was hidden by Laura Leone Suki and with the boom

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Speaker 1: mic you know like that everyone by a boom or

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Speaker 1: does anyone wear a mic pack with like a mike

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Speaker 1: hidden in there? Get? I get they wanted Yes, I

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00:21:10,520 --> 00:21:13,280
Speaker 1: think everybody in that scene had the pack, had their

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Speaker 1: mic pack right, and they have the little tiny invisible

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Speaker 1: mike right here right there, but they want they need

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Speaker 1: to cover it also for what they call background tone

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Speaker 1: and room tone and all that stuff. All that even

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Speaker 1: the tone has to match. So if somebody's speaking on

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Speaker 1: a line you don't have the proper room tone and

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Speaker 1: editing you cut to a scene, Well, well we can't

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Speaker 1: use that. We've got to use the mic. The mic

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Speaker 1: pack thing. It's gonna sound different. It's not the sound

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Speaker 1: won't match the tone of the sound. That's specific. Yeah. So, um,

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Speaker 1: that's so everything's got to be covered by mike pack

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00:21:49,960 --> 00:21:53,159
Speaker 1: and by by um what do they call there's a

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Speaker 1: term for it that escapes me. Now, Um, gosh, it's

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Speaker 1: it'll come to me and I'll just blurt it out.

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Speaker 1: It will shock everybody. We do a show, we do

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Speaker 1: a show like this with Jenny Garth and Tory Spelling

382
00:22:03,840 --> 00:22:06,199
Speaker 1: all about Beverly Hills nine o two and now, and

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Speaker 1: Jenny Garth finds a boom mic in almost every apisode.

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00:22:13,640 --> 00:22:16,199
Speaker 1: It's like she loves it. It's the hardest job in

385
00:22:16,240 --> 00:22:18,760
Speaker 1: the world being a boom guy. That I mean, their

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00:22:18,920 --> 00:22:21,440
Speaker 1: arms just gets their shoulders get so tired because they're

387
00:22:21,440 --> 00:22:25,879
Speaker 1: like this. They're standing on apple boxes above us because

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00:22:26,000 --> 00:22:28,800
Speaker 1: you know, they try to stand at our level and

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00:22:28,840 --> 00:22:31,120
Speaker 1: get the boom mic in the right position. But it's

390
00:22:31,160 --> 00:22:34,040
Speaker 1: always Dennis, can you can you stand on an apple box?

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Speaker 1: And then they've got to sort of balance themselves and

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Speaker 1: can you stand on another apple box? How long they

393
00:22:38,880 --> 00:22:41,560
Speaker 1: could hold that? Because sometimes my arm gets soreed just

394
00:22:41,640 --> 00:22:45,359
Speaker 1: taking something out. Oh they're there for hours doing that.

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Speaker 1: Oh my goodness. And they're sweat You can see them,

396
00:22:48,240 --> 00:22:50,280
Speaker 1: like their arms shaking and their sweating, and they're just

397
00:22:50,359 --> 00:22:52,840
Speaker 1: focusing and that, you know, and they don't want to

398
00:22:52,840 --> 00:22:55,000
Speaker 1: mess up the scene at all because you know, let's

399
00:22:55,000 --> 00:22:58,760
Speaker 1: see what happened. Oh there it is, yeah there and okay, okay,

400
00:22:58,800 --> 00:23:04,320
Speaker 1: so we gotta get to Babbett's line watching it now. Okay,

401
00:23:04,320 --> 00:23:09,440
Speaker 1: so Dennis is not there now, okay's best start talking now.

402
00:23:09,440 --> 00:23:11,479
Speaker 1: When they when they go back to the two shots

403
00:23:12,640 --> 00:23:16,080
Speaker 1: of Lauren and Suki and Lauren and Melissa, he's gonna

404
00:23:16,160 --> 00:23:23,880
Speaker 1: he's going to appear there you you, Sam is there?

405
00:23:23,880 --> 00:23:28,600
Speaker 1: He is there, he is. There's Dennis, my buddy. It's

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Speaker 1: actually amazing. How did you not just yeah straight up

407
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Speaker 1: with the headphones on production gearh my god? Wait now

408
00:23:40,880 --> 00:23:42,960
Speaker 1: when he goes and look? Okay, so now they went

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00:23:43,040 --> 00:23:46,720
Speaker 1: back and he's gone, right, So we'll put that on

410
00:23:46,720 --> 00:23:51,119
Speaker 1: the Instagram. For anyone. It's God. That just goes to

411
00:23:51,119 --> 00:23:54,720
Speaker 1: show you how difficult it is to shoot a show.

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00:23:55,840 --> 00:23:58,760
Speaker 1: I think they referred to as here's the term ambient sound.

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00:23:59,560 --> 00:24:02,920
Speaker 1: Them being sound has to match what's the guy's name? Again?

414
00:24:02,960 --> 00:24:05,200
Speaker 1: We got to try to Dennis, I forget. I think

415
00:24:05,200 --> 00:24:11,879
Speaker 1: it was um mix something we'll find good Irish name.

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00:24:11,920 --> 00:24:16,400
Speaker 1: I think Dennis trying to find him. Oh my god,

417
00:24:16,440 --> 00:24:18,240
Speaker 1: I can't wait for what's next. If that was the

418
00:24:18,280 --> 00:24:20,439
Speaker 1: small one. All right, now, Eastern, I want you to

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00:24:20,520 --> 00:24:23,919
Speaker 1: queue up for me if you would, good sir, uh

420
00:24:23,960 --> 00:24:29,520
Speaker 1: the diner scene when when Max comes into the diner,

421
00:24:31,320 --> 00:24:33,520
Speaker 1: when you're like you a great brown but like that,

422
00:24:34,520 --> 00:24:36,359
Speaker 1: I want you to queue it up to the scene,

423
00:24:36,880 --> 00:24:40,200
Speaker 1: to the part of the scene where um, I bring

424
00:24:40,240 --> 00:24:43,480
Speaker 1: the coffee cups. Okay, so this was earlier in the episode.

425
00:24:44,080 --> 00:24:45,680
Speaker 1: It was a little I think it was earlier in

426
00:24:45,720 --> 00:24:49,800
Speaker 1: the episode. Yeah, yeah, And I think you guys are

427
00:24:49,800 --> 00:24:52,440
Speaker 1: going to really like this one. Okay, here we are,

428
00:24:52,440 --> 00:24:56,240
Speaker 1: here we are, and let's move it forward. And cups

429
00:24:56,240 --> 00:25:00,440
Speaker 1: are coming in and there's there's cups. Those are three

430
00:25:00,840 --> 00:25:05,040
Speaker 1: cups right there, and then Luke makes a little speech.

431
00:25:05,119 --> 00:25:08,040
Speaker 1: Now watch the cups. Watch what happens to the cups. Ready,

432
00:25:08,080 --> 00:25:13,120
Speaker 1: here we go, Magic, magic, Magic, it's coming. Wait till

433
00:25:13,200 --> 00:25:17,720
Speaker 1: Luke walks away. Here we go. Luke's about to walk away,

434
00:25:17,920 --> 00:25:26,359
Speaker 1: and then he's still talking. Luke is still going boom,

435
00:25:27,440 --> 00:25:31,960
Speaker 1: blue cups. They're blue. Now, hang on, keep going, keep going.

436
00:25:36,800 --> 00:25:50,360
Speaker 1: You would love Now they're red again, They're red. It happened.

437
00:25:50,920 --> 00:25:54,760
Speaker 1: I don't know what happens. Happened where you suddenly switched

438
00:25:54,760 --> 00:25:59,880
Speaker 1: out to blue cups and didn't you realize it? Oh man?

439
00:26:00,560 --> 00:26:03,199
Speaker 1: You know, oh my god. First of all, did were

440
00:26:03,240 --> 00:26:06,080
Speaker 1: you in Easton and cahoots? Because like, did you because

441
00:26:06,119 --> 00:26:07,600
Speaker 1: we did not know you were going to talk to

442
00:26:07,680 --> 00:26:10,280
Speaker 1: us about this? I no, no, no, we're not in cahoots. No.

443
00:26:10,400 --> 00:26:12,320
Speaker 1: I just texted him right before we came on. Can

444
00:26:12,359 --> 00:26:14,679
Speaker 1: you just make sure you cue up these scenes and

445
00:26:14,720 --> 00:26:17,560
Speaker 1: have them ready so you know you're aware of these

446
00:26:17,600 --> 00:26:21,920
Speaker 1: three scenes. Easton's our engineer, and he's just ready with these.

447
00:26:22,640 --> 00:26:25,320
Speaker 1: They're quite high deaf here on the zoom. You know,

448
00:26:25,400 --> 00:26:28,280
Speaker 1: I don't know how that could happen. I'm trying to

449
00:26:28,280 --> 00:26:30,479
Speaker 1: think of a scenario where could there ever have been

450
00:26:30,520 --> 00:26:34,480
Speaker 1: a rehearsal that you shoot where they may be shot

451
00:26:35,200 --> 00:26:37,000
Speaker 1: and then when you actually did it for real, you

452
00:26:37,080 --> 00:26:39,000
Speaker 1: switched out the color of the cups. I can't even

453
00:26:39,040 --> 00:26:42,760
Speaker 1: figure out why. I don't know. It's just one of

454
00:26:42,760 --> 00:26:45,880
Speaker 1: those things. Yeah, it's just one of these. Yeah. There's

455
00:26:45,920 --> 00:26:48,800
Speaker 1: so much going on on that set in terms of props,

456
00:26:48,880 --> 00:26:51,199
Speaker 1: especially in the diner. There's a million props. There's a

457
00:26:51,200 --> 00:26:53,520
Speaker 1: million things to take keep track of, you know, the

458
00:26:53,520 --> 00:26:55,800
Speaker 1: script script supervisor supposed to be on top of that,

459
00:26:55,920 --> 00:26:58,600
Speaker 1: the prop guys are on top of it. Sometimes that happens.

460
00:26:58,960 --> 00:27:04,120
Speaker 1: Sometimes that happens, yes, and there is a but it's

461
00:27:04,200 --> 00:27:08,640
Speaker 1: kind of magical, you know. It goes from it's like

462
00:27:08,680 --> 00:27:10,800
Speaker 1: this heightened reality where the cups are red and then

463
00:27:10,800 --> 00:27:13,160
Speaker 1: they're blue, and then they're red. It's like, what's happening? God,

464
00:27:13,200 --> 00:27:15,760
Speaker 1: I can't wait for the next one. That's wonderful. All right,

465
00:27:17,720 --> 00:27:20,760
Speaker 1: all right, so well, I mean, I mean, don't give

466
00:27:20,760 --> 00:27:23,160
Speaker 1: me the credit. It happened on you know, they did

467
00:27:25,640 --> 00:27:34,280
Speaker 1: um Okay, the last one, which I think is really huge.

468
00:27:34,400 --> 00:27:38,320
Speaker 1: I think it's a massive symbol. Okay, And this is

469
00:27:38,320 --> 00:27:43,000
Speaker 1: gonna be a little more serious, but Eastern, if you would, sir,

470
00:27:44,040 --> 00:27:48,240
Speaker 1: queue up the very last part of the final scene

471
00:27:48,520 --> 00:27:52,520
Speaker 1: where they pull up to the to the stoplight. Yes,

472
00:27:53,240 --> 00:27:56,200
Speaker 1: here we go, and they're coming in and I want

473
00:27:56,240 --> 00:28:00,119
Speaker 1: you guys to see if you can, and I'll tell

474
00:28:00,160 --> 00:28:03,399
Speaker 1: you when to look for it. M hmm. Okay. So

475
00:28:03,440 --> 00:28:07,240
Speaker 1: they're running away from she's running laurealized, running away from Max.

476
00:28:08,880 --> 00:28:12,600
Speaker 1: They're coming through the empty town. They're coming And isn't

477
00:28:12,600 --> 00:28:18,120
Speaker 1: it interesting that's there stopped at the corner of Luke

478
00:28:18,200 --> 00:28:22,240
Speaker 1: Steiner right now. I want to now wait for the

479
00:28:22,240 --> 00:28:26,080
Speaker 1: wide shot, wait for the winde shot. She's running away

480
00:28:26,080 --> 00:28:31,720
Speaker 1: from Max and maybe the door is opened to Luke's

481
00:28:31,720 --> 00:28:34,720
Speaker 1: Oh my god, did you see the door? That was

482
00:28:34,760 --> 00:28:38,400
Speaker 1: almost scary. I mean I got goose bumps. The door

483
00:28:38,560 --> 00:28:42,560
Speaker 1: was wide open. The door was wide open. It was

484
00:28:42,960 --> 00:28:47,400
Speaker 1: six it's five am, six am. The door is wide open.

485
00:28:48,320 --> 00:28:53,080
Speaker 1: It's like, come on in. There's the symbolism of being

486
00:28:53,280 --> 00:28:58,400
Speaker 1: stopped at the stop light saying like, hold up, girl,

487
00:28:59,720 --> 00:29:02,640
Speaker 1: you don't need to run out of town. There's your

488
00:29:02,680 --> 00:29:10,160
Speaker 1: solution exactly. That's what the scene is telling. Well done.

489
00:29:10,320 --> 00:29:18,280
Speaker 1: Door is wide open. Yes, just come inside, Just come inside,

490
00:29:18,360 --> 00:29:23,440
Speaker 1: pull over and come inside. There you go. How to

491
00:29:23,480 --> 00:29:26,760
Speaker 1: give it to you? I really do. That was very enjoying.

492
00:29:26,920 --> 00:29:30,600
Speaker 1: Not bad, and I agree with the symbolism. It's huge

493
00:29:30,680 --> 00:29:33,520
Speaker 1: because they pay it way too much attention to detail

494
00:29:33,880 --> 00:29:36,440
Speaker 1: for that to not be a detail. Would we would

495
00:29:36,480 --> 00:29:40,600
Speaker 1: the kids call that an easter egg? Daniel, that is

496
00:29:40,760 --> 00:29:45,040
Speaker 1: the correct usage of easter egg. Well done, Amy, well done,

497
00:29:46,520 --> 00:29:49,000
Speaker 1: My god, Scott, you got to try and do this

498
00:29:49,040 --> 00:29:52,400
Speaker 1: every episode. I'm gonna try. I don't know if I

499
00:29:52,440 --> 00:29:54,280
Speaker 1: can want. I don't know if I can find the

500
00:29:54,360 --> 00:29:57,760
Speaker 1: gems every episode. People will help us to. I might

501
00:29:57,880 --> 00:30:01,680
Speaker 1: need to start staffing up on my like you guys,

502
00:30:01,880 --> 00:30:04,200
Speaker 1: you know you. I mean, I need a staff of

503
00:30:04,280 --> 00:30:08,800
Speaker 1: people looking at com Hopefully people will start um messaging

504
00:30:08,880 --> 00:30:12,040
Speaker 1: us so much stuff. They're hidden messages in these shows.

505
00:30:12,600 --> 00:30:16,760
Speaker 1: It makes me want to start our whole podcast over this, right,

506
00:30:17,240 --> 00:30:20,800
Speaker 1: imagine what we potentially missed. I feel like we have

507
00:30:20,880 --> 00:30:23,400
Speaker 1: to go back and we're mucking around with clown pillows

508
00:30:23,440 --> 00:30:26,280
Speaker 1: all over the place. But what else are we missing? What?

509
00:30:26,480 --> 00:30:29,800
Speaker 1: Ex week we're just like, hello, everybody, this is Gilmore

510
00:30:29,840 --> 00:30:34,320
Speaker 1: Girl's season one Everisode one. This could you know it

511
00:30:34,320 --> 00:30:37,240
Speaker 1: creates the show could be doling out and these hidden

512
00:30:37,240 --> 00:30:41,000
Speaker 1: messages the meaning of life itself that we're not paying

513
00:30:41,000 --> 00:30:46,640
Speaker 1: attention that was legit rad Eastern. Excellent work, excellent, excellent, Raaston,

514
00:30:46,760 --> 00:30:49,480
Speaker 1: thank you so much. And that's all I got. I mean,

515
00:30:49,520 --> 00:30:52,440
Speaker 1: that's it. That's that's why I wanted to come back

516
00:30:52,560 --> 00:30:56,520
Speaker 1: and reconvene. And no, we are way here for stoplight

517
00:30:56,600 --> 00:31:05,440
Speaker 1: symbolism and finding what was his name, Dennis spot Dennis.

518
00:31:07,440 --> 00:31:10,000
Speaker 1: It's like that Saturday Night Live, but back in the seventies.

519
00:31:10,000 --> 00:31:12,520
Speaker 1: Find the popes in the pizza. Find the pope in

520
00:31:12,520 --> 00:31:17,040
Speaker 1: the pizzas. Find the popes in the pizza. Oh, I've

521
00:31:17,080 --> 00:31:21,080
Speaker 1: been sent a message. Yeah, we have surprised for you.

522
00:31:21,160 --> 00:31:25,719
Speaker 1: We have someone surprising you from the bachelorette party. Are

523
00:31:25,760 --> 00:31:28,960
Speaker 1: you what are you talking about? Well, I mean there

524
00:31:29,040 --> 00:31:33,400
Speaker 1: was some there's some famous faces, as we say in

525
00:31:33,480 --> 00:31:37,120
Speaker 1: that in that bachelorette party. Bar. Would you call that

526
00:31:37,160 --> 00:31:40,560
Speaker 1: a bar? Club? I guess we're a club. I mean

527
00:31:40,600 --> 00:31:43,880
Speaker 1: it's a Yeah, it's a club. So do you want

528
00:31:43,880 --> 00:31:47,960
Speaker 1: to bring in our friend? Who is it? So? Straight

529
00:31:48,000 --> 00:31:54,640
Speaker 1: from the Bachelorette Party portraying Janet Jackson. The actress's name

530
00:31:54,800 --> 00:31:59,400
Speaker 1: is Jasmine. Have her here? Oh? Good god, relive the

531
00:31:59,440 --> 00:32:09,840
Speaker 1: bachelorett party memory, jas Many, Hi, Jasmine, Hello, how are

532
00:32:09,880 --> 00:32:14,000
Speaker 1: you doing I'm well, thank you. Nice to see you.

533
00:32:14,760 --> 00:32:17,200
Speaker 1: Get to see you as well. What a great episode.

534
00:32:18,400 --> 00:32:22,240
Speaker 1: Oh nice, it's a long time ago. That's twenty years ago.

535
00:32:23,000 --> 00:32:25,800
Speaker 1: It's a long time ago. Well, it's nice, it's nice

536
00:32:25,840 --> 00:32:28,720
Speaker 1: to meet you. Um. I just saw the episode for

537
00:32:28,760 --> 00:32:31,520
Speaker 1: the first time, and you played which character in the

538
00:32:31,600 --> 00:32:36,000
Speaker 1: in the club scene? I think I was like Janet Jackson, Jackson,

539
00:32:36,040 --> 00:32:40,400
Speaker 1: Janet Jackson. Um. Okay, so let's get into this. How

540
00:32:40,440 --> 00:32:45,520
Speaker 1: did you hear about this particular acting opportunity and howd

541
00:32:45,560 --> 00:32:51,000
Speaker 1: you heard of Gilmore Girls prior to filming it? Um?

542
00:32:51,040 --> 00:32:53,800
Speaker 1: I got the job through my management team at the time,

543
00:32:54,440 --> 00:32:58,160
Speaker 1: the Literarious Group and Mars and you know who was

544
00:32:58,240 --> 00:33:01,400
Speaker 1: with Yellow Rules. I think at that time this is

545
00:33:01,440 --> 00:33:05,400
Speaker 1: like two thousand correct, yes, well this would be two

546
00:33:05,400 --> 00:33:08,320
Speaker 1: thousand and one season two thousand and one. Yeah, I

547
00:33:08,400 --> 00:33:13,720
Speaker 1: was with that particular team of people, and I had

548
00:33:13,760 --> 00:33:16,040
Speaker 1: heard of it. I believe it was on kt LH

549
00:33:16,080 --> 00:33:20,480
Speaker 1: channel five, but I hadn't seen it, and so um,

550
00:33:20,600 --> 00:33:22,800
Speaker 1: when I went to the audition show, wasn't really familiar

551
00:33:22,840 --> 00:33:26,520
Speaker 1: with this show. But like a lot of times, you know,

552
00:33:26,640 --> 00:33:29,960
Speaker 1: actors are not familiar with every show they're appearing. So

553
00:33:30,200 --> 00:33:33,920
Speaker 1: when I was told that they wanted to see me.

554
00:33:33,960 --> 00:33:36,680
Speaker 1: I was like, awesome, but they wanted it a character.

555
00:33:36,760 --> 00:33:40,200
Speaker 1: They wanted like a Celebriting impersonation. And I think Janet

556
00:33:40,240 --> 00:33:43,640
Speaker 1: Jackson was popular at the time, really popular. So I

557
00:33:43,680 --> 00:33:47,320
Speaker 1: had my someone to call, my lover outfit and they

558
00:33:47,320 --> 00:33:52,760
Speaker 1: picked me and I got I got shows. That's exciting. Yeah,

559
00:33:52,760 --> 00:33:56,360
Speaker 1: it was, It really was. That's really exciting. Wow. Um,

560
00:33:56,400 --> 00:33:58,400
Speaker 1: But you knew did you know about the stature of

561
00:33:58,440 --> 00:34:00,160
Speaker 1: the show at that point? It had gotten so many

562
00:34:00,240 --> 00:34:02,960
Speaker 1: great reviews and it was kind of a little bit

563
00:34:03,000 --> 00:34:07,840
Speaker 1: on the radar of the entertainment business at that time. Yes,

564
00:34:08,320 --> 00:34:12,400
Speaker 1: it was really popular, yet it was Yeah, it happened fast.

565
00:34:12,920 --> 00:34:16,800
Speaker 1: Yeah yeah, wow, So that was exciting. To tell me

566
00:34:16,840 --> 00:34:18,799
Speaker 1: about the first day of filming. Did you did you

567
00:34:18,840 --> 00:34:22,000
Speaker 1: do a wardrobe session with Brenda and the whole thing

568
00:34:23,760 --> 00:34:26,520
Speaker 1: years ago? Twenty years ago, twenty years ago? Yeah, I

569
00:34:26,640 --> 00:34:33,200
Speaker 1: most definitely. M had to do, um um a custom

570
00:34:33,840 --> 00:34:37,719
Speaker 1: check to make sure that I wasn't wearing certain colors

571
00:34:38,080 --> 00:34:41,800
Speaker 1: and that it wouldn't clash with anybody else's right. Yeah. There,

572
00:34:41,800 --> 00:34:46,719
Speaker 1: it's very very specific. Yeah. So what was the Queen

573
00:34:46,800 --> 00:34:49,759
Speaker 1: Victoria's set like, uh, and What stood out to you

574
00:34:50,360 --> 00:34:52,000
Speaker 1: if you don't remember it was I think it was

575
00:34:52,000 --> 00:34:55,920
Speaker 1: a nightclub scene, all right, something like that. What I

576
00:34:56,000 --> 00:34:59,399
Speaker 1: remember the most about that wear took the episode because

577
00:34:59,560 --> 00:35:02,680
Speaker 1: I knew some of the other performers that were appearing,

578
00:35:03,480 --> 00:35:06,480
Speaker 1: Dolly Leave. I worked at the Queen Mary at the time.

579
00:35:07,239 --> 00:35:08,960
Speaker 1: I think I was still working at a club on

580
00:35:09,640 --> 00:35:12,719
Speaker 1: Sunda monicable of our tol Peanuts. I don't think it

581
00:35:12,760 --> 00:35:16,720
Speaker 1: exists anymore, but it was right um between Crescent Heights

582
00:35:16,760 --> 00:35:22,160
Speaker 1: and and Fair Facts, and I would appear there, and

583
00:35:22,200 --> 00:35:24,120
Speaker 1: I knew a couple of the other girls that appeared

584
00:35:24,120 --> 00:35:28,000
Speaker 1: and some of the other nightclubs and throughout Los Angeles,

585
00:35:27,840 --> 00:35:32,319
Speaker 1: and so that was very um but you knew each other. Yeah,

586
00:35:32,440 --> 00:35:34,840
Speaker 1: all right, well that makes for a fun day of shooting.

587
00:35:35,640 --> 00:35:40,080
Speaker 1: There's that iconic sort of moment where you're dancing. We're

588
00:35:40,120 --> 00:35:42,479
Speaker 1: pretty sure because that would it looked like Janet Jackson

589
00:35:43,000 --> 00:35:47,760
Speaker 1: with with the Uma Thurman was perfect from pulp Fiction

590
00:35:47,960 --> 00:35:50,040
Speaker 1: and then Michelle So that was a kind of a

591
00:35:50,040 --> 00:35:53,840
Speaker 1: cool moment to be dancing with them. No, it was

592
00:35:53,880 --> 00:35:59,960
Speaker 1: a really a great time for me. Um. Just in general,

593
00:36:00,520 --> 00:36:03,719
Speaker 1: I was I was working a lot at that time,

594
00:36:03,760 --> 00:36:06,520
Speaker 1: and when I got the job was a surprise. I

595
00:36:06,520 --> 00:36:08,640
Speaker 1: mean they all are at the end of the day,

596
00:36:08,120 --> 00:36:11,160
Speaker 1: but that particularly when they were like, oh they want you,

597
00:36:11,680 --> 00:36:14,160
Speaker 1: and I was like, oh, that's wonder phone. So you know,

598
00:36:14,200 --> 00:36:17,240
Speaker 1: I showed up and it was just really pleasant set.

599
00:36:17,320 --> 00:36:20,240
Speaker 1: That's what I remember the most. It was really pleasant,

600
00:36:20,360 --> 00:36:24,240
Speaker 1: easy set toward Yeah, it always was. It was nice

601
00:36:24,239 --> 00:36:28,480
Speaker 1: and easy. And so do you remember dancing with Johnny

602
00:36:28,520 --> 00:36:34,600
Speaker 1: Truesdale on stage? I don't know, yes, yeah, I think

603
00:36:34,640 --> 00:36:36,719
Speaker 1: you get up there and you're you're dancing around with

604
00:36:36,719 --> 00:36:39,319
Speaker 1: you unique and who all was in there? So it

605
00:36:39,360 --> 00:36:45,040
Speaker 1: was Janet Jackson and Luma Thurman, May West, Riley and Daniel.

606
00:36:45,120 --> 00:36:48,040
Speaker 1: Can you guys remember all the characters that were in

607
00:36:48,080 --> 00:36:55,480
Speaker 1: that club, Celine Dion and it was pretty like. The

608
00:36:55,520 --> 00:36:59,760
Speaker 1: thing I love about the scene is that all the

609
00:37:00,000 --> 00:37:02,440
Speaker 1: were a lie and her friends made total perfect sense

610
00:37:02,480 --> 00:37:04,879
Speaker 1: to be there. But having Emily Gilmore, who I don't

611
00:37:04,880 --> 00:37:06,880
Speaker 1: know if you've seen the show, but she plays loyalized

612
00:37:06,920 --> 00:37:10,200
Speaker 1: mother and she's very proper and very so she's in

613
00:37:10,280 --> 00:37:13,120
Speaker 1: that club and it's just like made it that much

614
00:37:13,200 --> 00:37:18,800
Speaker 1: better ordering her drinks from Maywest. Yeah, So you've played

615
00:37:19,239 --> 00:37:21,200
Speaker 1: a broad range of characters. Let me read off the

616
00:37:21,280 --> 00:37:24,760
Speaker 1: list of characters that you have played. It's very impressive.

617
00:37:24,840 --> 00:37:31,359
Speaker 1: Diana Ross, Tina Turner, Janet Jackson. Who's your favorite? Well,

618
00:37:31,360 --> 00:37:33,880
Speaker 1: I used to um, they're all my favorite because they

619
00:37:33,920 --> 00:37:36,759
Speaker 1: all bring, you know, different elements to the table. But

620
00:37:37,080 --> 00:37:38,960
Speaker 1: I used to work at a club on Las Ariannaga

621
00:37:39,239 --> 00:37:42,040
Speaker 1: when it used to be the restaurant row called the

622
00:37:42,120 --> 00:37:45,120
Speaker 1: Kaja Fall, and so that's where I really got to

623
00:37:45,200 --> 00:37:50,320
Speaker 1: exercise and learn exercise my craft and learn um uh

624
00:37:50,640 --> 00:37:55,400
Speaker 1: you know, how to create those uh wonderful the essence

625
00:37:55,440 --> 00:37:59,480
Speaker 1: of those wonderful people. And um, a lot of times

626
00:37:59,520 --> 00:38:02,399
Speaker 1: people she came to see me perform, Like I met

627
00:38:02,400 --> 00:38:07,200
Speaker 1: Grace Jones. She came to Lakaja Phone when I've performed there. Um,

628
00:38:07,320 --> 00:38:10,120
Speaker 1: oh my god, I met Grace. I met Grace Jones

629
00:38:10,160 --> 00:38:12,799
Speaker 1: a long time ago. Yeah, she actually came to see

630
00:38:12,840 --> 00:38:16,959
Speaker 1: the show. She's she's a she's a fantastic Yeah, she's

631
00:38:17,000 --> 00:38:22,719
Speaker 1: a great person to hang out with. And then um,

632
00:38:22,760 --> 00:38:25,600
Speaker 1: you know, after after, you know, while I was doing that,

633
00:38:25,640 --> 00:38:28,720
Speaker 1: I started auditioning for like TV shows. So my first

634
00:38:28,719 --> 00:38:32,239
Speaker 1: TV shows with John Larra kat So I did the

635
00:38:32,360 --> 00:38:36,719
Speaker 1: show for a few seasons and then the hits just

636
00:38:36,800 --> 00:38:42,800
Speaker 1: kept on coming. Shortly after I did um give those girls?

637
00:38:42,880 --> 00:38:46,480
Speaker 1: I did um? What was that movie for? Yo? Version

638
00:38:46,560 --> 00:38:50,359
Speaker 1: like a couple of years later, Steve Correll. Yeah, so

639
00:38:50,719 --> 00:38:53,200
Speaker 1: it's been a it's been funny. Can you sing? So

640
00:38:53,239 --> 00:38:56,640
Speaker 1: when you're portraying those Tina Turner, Janna Jackson, do you

641
00:38:56,719 --> 00:39:00,080
Speaker 1: sing as well? I think? But I live thinking and

642
00:39:00,120 --> 00:39:02,799
Speaker 1: I'm God and got when I'm doing my celebrity. Mine

643
00:39:02,880 --> 00:39:05,759
Speaker 1: is more the essence, right, It's the moves, It's it's

644
00:39:05,800 --> 00:39:10,960
Speaker 1: the persona right. You know some awesome artists that you

645
00:39:10,960 --> 00:39:16,280
Speaker 1: can actually see right and you know performance right right right? Um?

646
00:39:16,320 --> 00:39:19,719
Speaker 1: So wow, So you're so that takes acting skills for

647
00:39:19,760 --> 00:39:22,279
Speaker 1: you to to to really get into the skin of

648
00:39:22,320 --> 00:39:26,120
Speaker 1: another performer, another person and bring it to left. Yeah,

649
00:39:26,120 --> 00:39:29,279
Speaker 1: it's it's a whole process. Yeah, it's a total. Yeah.

650
00:39:29,400 --> 00:39:31,000
Speaker 1: You need to be you know, you know, you need

651
00:39:31,080 --> 00:39:34,000
Speaker 1: to learning mannerisms. You want to make sure you know

652
00:39:34,080 --> 00:39:38,960
Speaker 1: their music and your style history about right, you know,

653
00:39:39,400 --> 00:39:42,480
Speaker 1: you know, just um, you know you want to study

654
00:39:42,520 --> 00:39:46,040
Speaker 1: your character, study the character. So did you take acting

655
00:39:46,080 --> 00:39:50,000
Speaker 1: classes and I work with acting coaches. Yes, I've taken

656
00:39:50,040 --> 00:39:55,920
Speaker 1: some classes interesting oftentimes on various sets. They've been generous

657
00:39:55,960 --> 00:40:00,200
Speaker 1: and they would provide coaching for me. So I have

658
00:40:00,239 --> 00:40:04,920
Speaker 1: out a private coaching on different on different jobs. Who

659
00:40:05,120 --> 00:40:08,080
Speaker 1: who do you remember from the set, if anybody do

660
00:40:08,120 --> 00:40:11,080
Speaker 1: you remember? Do you remember Kelly Bishop or Lauren or

661
00:40:12,200 --> 00:40:15,120
Speaker 1: daughter and the main daughter and the main mother? Oh

662
00:40:15,239 --> 00:40:19,160
Speaker 1: so so so Emily and Rory so so, Alexis Bloodell

663
00:40:19,239 --> 00:40:22,960
Speaker 1: and Kelly Bishop. Yeah, yeah, the main mother because she

664
00:40:23,040 --> 00:40:26,680
Speaker 1: was like a single mother. Lauren, that's Lauren Graham. Yeah,

665
00:40:26,719 --> 00:40:30,200
Speaker 1: oh yeah, yeah, Laura Lai. Yeah, I remember the single

666
00:40:30,239 --> 00:40:34,520
Speaker 1: mother and the daughter. Right, all right? Interesting? Interesting? So

667
00:40:34,600 --> 00:40:39,600
Speaker 1: you did that gig and then after that gig, was

668
00:40:39,680 --> 00:40:42,440
Speaker 1: it easier for you to get work because you had

669
00:40:42,480 --> 00:40:44,920
Speaker 1: that on your resume and people took notice of and say, oh,

670
00:40:44,960 --> 00:40:46,960
Speaker 1: you were on Gilmore Girls. Will you know? I don't

671
00:40:47,000 --> 00:40:50,279
Speaker 1: even know, because to be honest, that particular show I

672
00:40:50,280 --> 00:40:51,560
Speaker 1: didn't have I don't even know if I had a

673
00:40:51,640 --> 00:40:55,560
Speaker 1: name or our lines on this show, like I was

674
00:40:55,600 --> 00:40:58,480
Speaker 1: a guest star or co star. It was more you

675
00:40:58,520 --> 00:41:03,160
Speaker 1: stood out because of who you were portraying. Yeah, I

676
00:41:03,239 --> 00:41:05,319
Speaker 1: had nothing to do what I said or did. Really,

677
00:41:05,640 --> 00:41:08,680
Speaker 1: I mean, most none of them had lines other than Maywest.

678
00:41:09,320 --> 00:41:12,080
Speaker 1: It was more the presence and that you were Janet

679
00:41:12,440 --> 00:41:18,919
Speaker 1: and dancing with the waiter headlines, the waiter headlines. Yeah, yeah,

680
00:41:18,920 --> 00:41:20,960
Speaker 1: so I wouldn't. I don't. I don't know if they

681
00:41:20,960 --> 00:41:23,000
Speaker 1: would have seen me. And oh my god, we gotta

682
00:41:23,120 --> 00:41:27,120
Speaker 1: we gotta have jacks from that particular show, right, But

683
00:41:27,200 --> 00:41:30,200
Speaker 1: I think it looks good on my resume. I was

684
00:41:30,960 --> 00:41:32,799
Speaker 1: even today when I say that people like you were

685
00:41:32,840 --> 00:41:35,160
Speaker 1: and I was like, well, I didn't have any lines

686
00:41:35,239 --> 00:41:37,560
Speaker 1: when I was on the show, embellish, Come on, you

687
00:41:37,560 --> 00:41:39,319
Speaker 1: had a speech, you got cut you know, I had

688
00:41:39,400 --> 00:41:43,239
Speaker 1: hold ten ten scenes I filmed with Luke and Laureline

689
00:41:43,239 --> 00:41:45,160
Speaker 1: and where you know, and they just you know, of

690
00:41:45,200 --> 00:41:47,960
Speaker 1: course sometimes these things happen in the business. They end

691
00:41:48,040 --> 00:41:51,520
Speaker 1: up on the cutting room floor. But it was gonna

692
00:41:51,560 --> 00:41:55,000
Speaker 1: be my big shot. It's gonna make a break. Yeah,

693
00:41:55,080 --> 00:41:58,040
Speaker 1: that's that's thing. And uh, you know, and they owe

694
00:41:58,120 --> 00:42:00,839
Speaker 1: me and I'm sure they'll call you anyway. Even when

695
00:42:00,920 --> 00:42:03,839
Speaker 1: I got the call, but that you know, you guys

696
00:42:03,840 --> 00:42:05,920
Speaker 1: were interested in him. I was like, what did I

697
00:42:05,920 --> 00:42:09,000
Speaker 1: actually do on the show? And I was thinking, how

698
00:42:09,120 --> 00:42:12,120
Speaker 1: sweet to want to remember me twenty years later for

699
00:42:12,239 --> 00:42:18,240
Speaker 1: basically for effortlessly doing very little right right, right, right right. Well, Jasmine,

700
00:42:18,280 --> 00:42:22,600
Speaker 1: it has been a blast talking to thanks for joining us. Um,

701
00:42:22,680 --> 00:42:26,720
Speaker 1: this was thoroughly enjoyable, and uh, you know, we loved

702
00:42:26,719 --> 00:42:29,640
Speaker 1: watching that episode and we particularly love watching that scene.

703
00:42:29,640 --> 00:42:31,520
Speaker 1: We're breaking it down right now, and it was it

704
00:42:31,600 --> 00:42:34,200
Speaker 1: was a lot of fun, uh to watch it. I

705
00:42:34,200 --> 00:42:36,960
Speaker 1: wish I was there filming it wasn't you know. I

706
00:42:37,000 --> 00:42:39,279
Speaker 1: wasn't in the scene, but at least I get to

707
00:42:39,320 --> 00:42:41,400
Speaker 1: see it. So thank you for your contribution to the show,

708
00:42:42,040 --> 00:42:45,040
Speaker 1: and thanks for coming on. We really appreciate it. Thank

709
00:42:45,040 --> 00:42:50,120
Speaker 1: you for having me. Okay, Jasmine, alright bye. I love

710
00:42:50,200 --> 00:42:55,480
Speaker 1: in that scene that Michelle was invited to the bachelorette park, Well,

711
00:42:55,520 --> 00:42:58,480
Speaker 1: of course, I mean, you know, he's he's got to

712
00:42:58,520 --> 00:43:01,520
Speaker 1: be there and been that Michelle. I mean, I know

713
00:43:01,560 --> 00:43:04,880
Speaker 1: we mentioned it, but that Michelle invites Emily like that

714
00:43:05,080 --> 00:43:10,360
Speaker 1: is so classic. But what a world that Jasmine occupies.

715
00:43:10,400 --> 00:43:13,520
Speaker 1: I mean, it's isn't it interesting how they the work

716
00:43:13,600 --> 00:43:17,160
Speaker 1: that they put into that to be so exacting with

717
00:43:17,320 --> 00:43:20,719
Speaker 1: every move and every you know, And she said, it's

718
00:43:20,760 --> 00:43:23,080
Speaker 1: like getting the essence of somebody. It's like character acting

719
00:43:23,480 --> 00:43:27,200
Speaker 1: and sane, didn't Janet Jackson wasn't as prominent, but the

720
00:43:27,360 --> 00:43:33,040
Speaker 1: Uma Thurman from Pulp Fiction literally had it down perfect,

721
00:43:33,360 --> 00:43:36,440
Speaker 1: just the whole, not just the dance to that, but

722
00:43:36,520 --> 00:43:41,280
Speaker 1: like the body language, and you're like, WHOA got is legit?

723
00:43:42,280 --> 00:43:46,600
Speaker 1: Fascinating subculture. It's a fascinating subculture. Well, she was fun.

724
00:43:48,200 --> 00:43:50,400
Speaker 1: That's a great scene and perfect that that's where they

725
00:43:50,440 --> 00:43:54,560
Speaker 1: had the bachelorette party. Um, what else do we need

726
00:43:54,600 --> 00:43:57,360
Speaker 1: to unpack here? Well? I love Emily that she says,

727
00:43:57,400 --> 00:43:59,080
Speaker 1: if you say you're going to have a party at

728
00:43:59,120 --> 00:44:03,480
Speaker 1: eight o'clock, we hear it moralized, Like I don't even

729
00:44:03,560 --> 00:44:08,440
Speaker 1: invite you. You gotta keep that tension. You gotta keep

730
00:44:08,480 --> 00:44:12,040
Speaker 1: that tension between mother and daughter. You gotta do it. Um.

731
00:44:12,080 --> 00:44:15,200
Speaker 1: I love the tailor stuff. I think it's it's it's

732
00:44:15,239 --> 00:44:18,560
Speaker 1: it's some of the first I mean, it's it's the

733
00:44:18,600 --> 00:44:20,480
Speaker 1: first time. Was it is it the first time that

734
00:44:20,600 --> 00:44:22,920
Speaker 1: Luke has really popped a tailor? It's not the first time,

735
00:44:23,200 --> 00:44:26,640
Speaker 1: the most noticeable really because I think there was that

736
00:44:26,719 --> 00:44:29,759
Speaker 1: time in the town meeting where you got you know

737
00:44:30,120 --> 00:44:33,239
Speaker 1: about the reenactor. Yeah alright, alright, but I really like

738
00:44:33,400 --> 00:44:36,479
Speaker 1: me watching the episode before we came on the air.

739
00:44:37,560 --> 00:44:40,200
Speaker 1: I really It was really felt so assaulted that a

740
00:44:40,239 --> 00:44:42,839
Speaker 1: traffic light was going up outside my diner because it's

741
00:44:42,840 --> 00:44:44,600
Speaker 1: such a sleepy little town. What do you need to

742
00:44:45,520 --> 00:44:51,480
Speaker 1: traffic It's so stupid. Right sign is giant yellow sign?

743
00:44:51,680 --> 00:44:54,759
Speaker 1: I mean it said everything about what's wrong with that

744
00:44:55,760 --> 00:45:00,880
Speaker 1: is like, and we have time to stop light the

745
00:45:00,960 --> 00:45:05,240
Speaker 1: oldest member of our our town to get across the street.

746
00:45:05,640 --> 00:45:09,160
Speaker 1: I mean, how Finn was that? That was a tough

747
00:45:09,239 --> 00:45:13,040
Speaker 1: scene too, because there's so much background and lower Lie

748
00:45:13,640 --> 00:45:18,200
Speaker 1: and uh Suki have their conversation going, and then you're

749
00:45:18,280 --> 00:45:21,400
Speaker 1: having your sort of going at Taylor all in the

750
00:45:21,440 --> 00:45:25,000
Speaker 1: same scene, and it's just like, oh my god, and

751
00:45:25,040 --> 00:45:28,560
Speaker 1: I think, Sukie, I think I'm sorry. Go ahead, now,

752
00:45:28,640 --> 00:45:31,200
Speaker 1: go ahead, Danielle, you were going to say something. I

753
00:45:31,239 --> 00:45:33,839
Speaker 1: was waiting for my chance to talk about Michelle after

754
00:45:33,880 --> 00:45:37,040
Speaker 1: The Bachelor at party because that was my favorite scene.

755
00:45:38,040 --> 00:45:41,120
Speaker 1: We can go out of order, go to it. So

756
00:45:41,160 --> 00:45:44,439
Speaker 1: afterwards when everyone's hungover and this is my favorite lines,

757
00:45:44,520 --> 00:45:47,480
Speaker 1: I'm saying it early, but he goes, I feel like

758
00:45:47,560 --> 00:45:50,799
Speaker 1: crap on toast and I literally belly laughed. I was like,

759
00:45:51,040 --> 00:45:54,680
Speaker 1: I love him so so do I I deeply love

760
00:45:54,760 --> 00:45:59,279
Speaker 1: that character. I just He's the He's the greatest. If

761
00:46:00,360 --> 00:46:03,920
Speaker 1: Max is waiting for you outside, if you don't slep

762
00:46:04,000 --> 00:46:09,319
Speaker 1: in like well, it really is like such the best

763
00:46:09,320 --> 00:46:11,799
Speaker 1: part of it, the best part of it. Oh my god,

764
00:46:11,800 --> 00:46:15,840
Speaker 1: we didn't talk about the huppa. Oh my god. Should

765
00:46:15,840 --> 00:46:18,680
Speaker 1: take a break. We gotta take a break, take a break. Yeah,

766
00:46:19,000 --> 00:46:20,719
Speaker 1: I gotta get my guitar too, because I gotta get

767
00:46:20,760 --> 00:46:26,280
Speaker 1: ready for I gotta bone up for Riley. Oh yeah,

768
00:46:26,640 --> 00:46:29,040
Speaker 1: because we're gonna you know, Riley, it's all different now,

769
00:46:29,080 --> 00:46:33,439
Speaker 1: we're gonna bombard pop culture. Were bombard, and I feel

770
00:46:33,480 --> 00:46:35,520
Speaker 1: that it's in the offing. It's it's like, right there,

771
00:46:35,880 --> 00:46:40,200
Speaker 1: it's breathing down our necks. We're not trying to throw

772
00:46:40,239 --> 00:46:42,520
Speaker 1: you off your game at all, not at all. We're

773
00:46:42,560 --> 00:46:45,600
Speaker 1: just we're just only a little bit, a little bit,

774
00:46:47,239 --> 00:46:54,520
Speaker 1: all right. I gotta get the guitar. Hang on, okay, everybody,

775
00:46:54,560 --> 00:46:57,680
Speaker 1: we're back and we're gonna get into a little bit

776
00:46:57,680 --> 00:47:00,960
Speaker 1: of huppa conversation here, like what, Oh my god, that

777
00:47:01,120 --> 00:47:04,239
Speaker 1: was shocking. I didn't realize it came that earlier, or

778
00:47:04,480 --> 00:47:08,400
Speaker 1: it was a very surprising appearance of of Luke with

779
00:47:08,440 --> 00:47:11,920
Speaker 1: a hippa and that you Luke put his sort of

780
00:47:11,960 --> 00:47:15,880
Speaker 1: like his own sort of angst sadness over the marriage

781
00:47:15,920 --> 00:47:20,640
Speaker 1: aside to make her that extraordinary gift that's hands down

782
00:47:20,640 --> 00:47:23,040
Speaker 1: going to be the best gift she's ever received. Right,

783
00:47:23,040 --> 00:47:25,160
Speaker 1: And he's so casual. But I saw a picture of it,

784
00:47:25,280 --> 00:47:28,120
Speaker 1: a carved that it's gotta go, you like goats. Yeah,

785
00:47:28,320 --> 00:47:30,200
Speaker 1: I'm not going, I'm gonna you gotta go, you know,

786
00:47:30,719 --> 00:47:34,000
Speaker 1: And didn't you think very intentional the scene of the

787
00:47:34,040 --> 00:47:38,680
Speaker 1: backs of you, your back and Lauren's back. So Luke

788
00:47:38,719 --> 00:47:43,360
Speaker 1: and lore Lye with the yeah, they're just they're basically

789
00:47:43,360 --> 00:47:45,360
Speaker 1: just hitting me in the face with it. You know.

790
00:47:47,600 --> 00:47:55,640
Speaker 1: It's not subtle. It's like the carved to goat, carved

791
00:47:55,680 --> 00:47:58,880
Speaker 1: to go. No big deal. Let's stand under the hoopa together,

792
00:47:59,400 --> 00:48:02,080
Speaker 1: Let's have our let's have our scene where we're talking

793
00:48:02,080 --> 00:48:06,040
Speaker 1: about the right wand and marriage and how it should

794
00:48:06,040 --> 00:48:08,960
Speaker 1: be you know a certain way and feel a certain way,

795
00:48:09,120 --> 00:48:13,399
Speaker 1: and yeah, it just changes you. But you know, let's

796
00:48:13,400 --> 00:48:15,440
Speaker 1: go back to the not to go away from the hope.

797
00:48:15,560 --> 00:48:17,200
Speaker 1: We're going to return to the hupet real quick. But

798
00:48:17,320 --> 00:48:19,879
Speaker 1: Suki got even with me a little bit, didn't she.

799
00:48:19,880 --> 00:48:24,239
Speaker 1: She shut me up. Well when I was ranting about marriage. Yeah,

800
00:48:24,320 --> 00:48:26,640
Speaker 1: when at the at the at the light Sarah stop

801
00:48:26,719 --> 00:48:30,440
Speaker 1: light ceremony, right, She's like, you called me crotchety man.

802
00:48:30,920 --> 00:48:33,839
Speaker 1: We're going away from you now, crotchety man. Right, So

803
00:48:33,880 --> 00:48:37,120
Speaker 1: she got she got even, she got even interesting sort

804
00:48:37,160 --> 00:48:40,719
Speaker 1: of that she kind of calls you out and she

805
00:48:40,800 --> 00:48:43,600
Speaker 1: sort of has been in always a loving way. I

806
00:48:43,600 --> 00:48:48,600
Speaker 1: think she genuinely likes Luke a lot, but she is like,

807
00:48:49,160 --> 00:48:52,000
Speaker 1: I'm not listen to because that's her girl. He's messing with,

808
00:48:52,040 --> 00:48:54,600
Speaker 1: he's getting in her head. You think Luke was doing

809
00:48:54,640 --> 00:48:57,600
Speaker 1: it on purpose? Do you think he was being manipulative? Well,

810
00:48:57,640 --> 00:49:00,560
Speaker 1: obviously you know her better than any one, and you

811
00:49:00,600 --> 00:49:03,319
Speaker 1: know she's not going to marry this dude, right. But

812
00:49:03,400 --> 00:49:07,080
Speaker 1: I think that was an unconscious attack on marriage. He

813
00:49:07,120 --> 00:49:11,080
Speaker 1: didn't even know why he was saying that. I mean exactly.

814
00:49:11,120 --> 00:49:14,040
Speaker 1: How about when Max comes into the diner and you're like, oh, hey,

815
00:49:14,080 --> 00:49:19,480
Speaker 1: they're good, buddy Brown, you do right? You just think

816
00:49:19,520 --> 00:49:21,359
Speaker 1: that holds things a joke and it's not gonna work

817
00:49:21,360 --> 00:49:25,520
Speaker 1: the lunch menu because we only a breakfast. You're just like,

818
00:49:26,160 --> 00:49:29,280
Speaker 1: get out of here. There, there's some insecurity there, because

819
00:49:29,520 --> 00:49:31,640
Speaker 1: why else would he go on a rand about marriage

820
00:49:31,680 --> 00:49:34,960
Speaker 1: at the ceremony at the supple, right, he sort of

821
00:49:35,040 --> 00:49:38,919
Speaker 1: flexes with Max. But then yeah, because I think he's

822
00:49:39,080 --> 00:49:41,840
Speaker 1: I think that's the first time we see him, not

823
00:49:41,920 --> 00:49:43,760
Speaker 1: the first time, it's the only time in that episode

824
00:49:43,760 --> 00:49:46,840
Speaker 1: where he's really irritated about it. He's not irritated in

825
00:49:46,920 --> 00:49:49,760
Speaker 1: front of her and the diner. He's not irritated the Max.

826
00:49:50,440 --> 00:49:53,960
Speaker 1: He's irritated in character as a as an owner who's

827
00:49:54,000 --> 00:49:57,520
Speaker 1: out of sync with how my two girls order and

828
00:49:58,160 --> 00:49:59,880
Speaker 1: eye rolls and like, are you kidding me with this?

829
00:50:00,040 --> 00:50:03,560
Speaker 1: I right, well, and yeah, I mean I totally agree

830
00:50:03,560 --> 00:50:05,040
Speaker 1: with you. And when she asked you if you're going

831
00:50:05,080 --> 00:50:07,759
Speaker 1: to come to the wedding, you blow it off. It's

832
00:50:07,760 --> 00:50:10,799
Speaker 1: in a stack of papers. That's why the hoopa was

833
00:50:10,880 --> 00:50:15,400
Speaker 1: so surprising, because you've made this beautiful gift that actually

834
00:50:15,440 --> 00:50:19,960
Speaker 1: acknowledges this wedding. That's a hell Mary. That's like I'm

835
00:50:20,000 --> 00:50:22,640
Speaker 1: throwing an eight yard bomb. I hope she catches it

836
00:50:22,680 --> 00:50:26,640
Speaker 1: for the touchdown for Team Luke. You know, it's like

837
00:50:26,719 --> 00:50:32,520
Speaker 1: he he really is, like it's unexpected how he I mean,

838
00:50:32,560 --> 00:50:36,360
Speaker 1: if he if it's conscious and he's manipulative um and

839
00:50:36,400 --> 00:50:39,360
Speaker 1: he's trying to get her off of Max, and and

840
00:50:39,400 --> 00:50:42,880
Speaker 1: it's not subconsciousness, not just coming out out of sheer frustration.

841
00:50:43,520 --> 00:50:45,799
Speaker 1: Doesn't even understand why he's saying these things. Then it's

842
00:50:46,600 --> 00:50:49,239
Speaker 1: you know, it's equally as interesting. But um, that hope

843
00:50:49,239 --> 00:50:52,319
Speaker 1: of thing. Wow, what a hail Mary, though, I mean,

844
00:50:52,360 --> 00:50:55,920
Speaker 1: how do you? How do you not love a person

845
00:50:56,400 --> 00:50:59,440
Speaker 1: that does some makes that kind of a gesture. Who's

846
00:50:59,480 --> 00:51:04,480
Speaker 1: got the most to lose? He's she knows how he feels, right,

847
00:51:04,560 --> 00:51:07,280
Speaker 1: She's not an idiot. She knows exactly how he feels.

848
00:51:07,760 --> 00:51:12,799
Speaker 1: And the like I said in previous UH episodes, his

849
00:51:13,000 --> 00:51:15,960
Speaker 1: only move, his only chance to get her is to

850
00:51:16,120 --> 00:51:20,359
Speaker 1: dismiss it. It's a foregone conclusion and act like he's

851
00:51:20,400 --> 00:51:26,720
Speaker 1: supportive and good luck. I don't think he you Luke

852
00:51:27,560 --> 00:51:33,200
Speaker 1: puts her first, so unlike Max, who's making it like

853
00:51:33,239 --> 00:51:36,280
Speaker 1: where's my keys? And what's my role? And I'm supposed

854
00:51:36,320 --> 00:51:40,960
Speaker 1: to parent? Rory you who she knows this is painful,

855
00:51:41,719 --> 00:51:44,600
Speaker 1: make her not just an amazing gift, but in a

856
00:51:44,760 --> 00:51:49,240
Speaker 1: gift for the wedding. Who's the better man? Yep, who's

857
00:51:49,239 --> 00:51:53,520
Speaker 1: the most selfless man? Exactly, which is why she bailed,

858
00:51:53,520 --> 00:51:56,919
Speaker 1: because she knows, not that Max sucks or anything, He's

859
00:51:56,920 --> 00:52:01,000
Speaker 1: just not right for her. He was justifiably set. I

860
00:52:01,040 --> 00:52:05,719
Speaker 1: don't blame him because it's like considerament. So he got

861
00:52:05,800 --> 00:52:10,080
Speaker 1: nervous because he may be figured she didn't love him

862
00:52:10,200 --> 00:52:15,279
Speaker 1: as the way he wanted to be loved, Like why

863
00:52:15,320 --> 00:52:17,440
Speaker 1: am I here asking for the keys? Like what is

864
00:52:17,480 --> 00:52:20,399
Speaker 1: going on? You know? And it's like he was justified

865
00:52:21,360 --> 00:52:24,520
Speaker 1: and he and he popped at her. So that really

866
00:52:24,560 --> 00:52:27,600
Speaker 1: just shows how hurt he was knowing that this thing

867
00:52:27,680 --> 00:52:30,200
Speaker 1: is going off the rails. It also just keeps making

868
00:52:30,200 --> 00:52:33,040
Speaker 1: me think about like when Richard was in the hospital

869
00:52:33,680 --> 00:52:36,920
Speaker 1: that Luke steps up, tells her to get in the

870
00:52:36,960 --> 00:52:41,560
Speaker 1: car handles, everything stays about. It's just Luke is. It's

871
00:52:41,640 --> 00:52:47,000
Speaker 1: so clear he's always going to do what's best for her,

872
00:52:47,440 --> 00:52:52,600
Speaker 1: whether she that, whether they're dating or whether they're just friends,

873
00:52:53,080 --> 00:52:58,040
Speaker 1: it doesn't matter to him. Yeah, so's I don't know

874
00:52:58,040 --> 00:53:00,680
Speaker 1: if he's a better man. I me take that back.

875
00:53:00,680 --> 00:53:02,160
Speaker 1: I don't want to say that I'm the better man

876
00:53:02,239 --> 00:53:04,640
Speaker 1: than Max, but I think maybe he's obviously, you know,

877
00:53:04,680 --> 00:53:08,640
Speaker 1: obviously the better man for her. Yeah, And it's like

878
00:53:08,680 --> 00:53:11,480
Speaker 1: they don't even try to make us wonder it's like,

879
00:53:12,400 --> 00:53:14,239
Speaker 1: now they're they're punching us in the face with it.

880
00:53:14,800 --> 00:53:19,640
Speaker 1: It's it's not subtle. Do you guys see me just spit?

881
00:53:19,800 --> 00:53:25,879
Speaker 1: Did you see the spit? Sorry, I'm sorry, perfect moment. Look,

882
00:53:26,000 --> 00:53:28,640
Speaker 1: we gotta keep it in the podcast we got that's yeah,

883
00:53:28,760 --> 00:53:30,719
Speaker 1: Oh yeah, you can keep the spinning. That might be

884
00:53:30,800 --> 00:53:35,040
Speaker 1: the first projectile that is visible. I actually think it was.

885
00:53:35,719 --> 00:53:40,880
Speaker 1: I don't remember. Anyone's spitting or sitting is so not cool. Well,

886
00:53:40,920 --> 00:53:44,920
Speaker 1: we're gonna have to help coronavirus. Yeah, no, that's very true. Sneezing,

887
00:53:45,000 --> 00:53:47,960
Speaker 1: coughing and spitting. What do you care how many houses

888
00:53:48,000 --> 00:53:49,880
Speaker 1: you have? You can contaminate one house and go to

889
00:53:49,880 --> 00:53:54,879
Speaker 1: the other one. Yeah, coughing went out. No, no, it's

890
00:53:54,880 --> 00:53:58,160
Speaker 1: not it's not in jogue anymore. We don't cough. We

891
00:53:58,160 --> 00:54:01,080
Speaker 1: don't sneeze. Remember when we've sneeze and you used to

892
00:54:01,080 --> 00:54:03,000
Speaker 1: say bless you and now pops knees and you're like,

893
00:54:03,200 --> 00:54:08,759
Speaker 1: I'm addie. You're like, don't do it, don't do it,

894
00:54:09,640 --> 00:54:11,200
Speaker 1: or you just throw a bag over their head and

895
00:54:11,239 --> 00:54:16,879
Speaker 1: contain it. Right, Oh my god, Riley, get your eye.

896
00:54:16,880 --> 00:54:20,640
Speaker 1: Am all in anti sneeze bag? Just use the hat

897
00:54:20,719 --> 00:54:29,879
Speaker 1: to fit over. Is it time for pop culture? With

898
00:54:30,000 --> 00:54:34,839
Speaker 1: Riley Pelusis it sure is? And speaking of spitting mut spit,

899
00:54:34,880 --> 00:54:42,839
Speaker 1: these facts throw it down all right? Here we go.

900
00:54:43,320 --> 00:54:45,040
Speaker 1: We might need to soften that a little bit, just

901
00:54:45,080 --> 00:54:47,120
Speaker 1: so I can hear Riley hell Man, I just want

902
00:54:47,120 --> 00:54:50,040
Speaker 1: to play my guitar. Everybody's always going down on me. Man,

903
00:54:51,520 --> 00:54:55,279
Speaker 1: I thought I was the show. Here we Go is

904
00:54:55,280 --> 00:54:58,520
Speaker 1: putting together wedding invitations, and Laura I says, okay, um,

905
00:54:58,520 --> 00:55:00,959
Speaker 1: what is love? Is it the morning in the evening star? Uh?

906
00:55:01,120 --> 00:55:04,719
Speaker 1: Roy says Sinclair Lewis. She reads another line and Roy

907
00:55:04,760 --> 00:55:08,040
Speaker 1: says Lord Byron Harry Sinclair Lewis was an American writer

908
00:55:08,080 --> 00:55:10,600
Speaker 1: and playwright. In he became the first American to win

909
00:55:10,640 --> 00:55:14,880
Speaker 1: the Nobel Prize in Literature. Byron was an American English poet,

910
00:55:15,719 --> 00:55:18,960
Speaker 1: pure politician, and leading figure in the Romantic movement. Byron

911
00:55:19,080 --> 00:55:21,879
Speaker 1: had a pet bear that he would walk around Cambridge's

912
00:55:21,920 --> 00:55:25,520
Speaker 1: campus on a leash. Laura LII follows up with Byron

913
00:55:25,560 --> 00:55:27,840
Speaker 1: and Lewis together again. This is a reference to the

914
00:55:27,880 --> 00:55:31,879
Speaker 1: comedy team of Dean Martin and Jerry Lewis. Yeah, Martin

915
00:55:31,960 --> 00:55:34,600
Speaker 1: was terrified of closed in spaces. He flat out refused

916
00:55:34,640 --> 00:55:37,120
Speaker 1: to ride an elevator and once he actually went out

917
00:55:37,120 --> 00:55:39,480
Speaker 1: of his way to walk eighteen flights of stairs instead.

918
00:55:39,760 --> 00:55:42,279
Speaker 1: Totally understand because I don't go in elevators here. They

919
00:55:42,320 --> 00:55:46,319
Speaker 1: were huge. Martin and Lewis were like rock stars. They

920
00:55:46,360 --> 00:55:51,040
Speaker 1: were huge. There were sex symbols. Both of them were Jerrenny.

921
00:55:51,719 --> 00:55:53,640
Speaker 1: People were trying to rip their clothes off. I'm not

922
00:55:53,680 --> 00:55:57,600
Speaker 1: kidding the Dean Martin was a babe, but not Yeah, no,

923
00:55:57,760 --> 00:55:59,959
Speaker 1: they loved him. He did all those wacky movies. Well

924
00:56:00,000 --> 00:56:04,279
Speaker 1: maybe that was Laura Leon Rory see Max sleeping on

925
00:56:04,280 --> 00:56:06,040
Speaker 1: the couch during the movie, and they've worn him out.

926
00:56:06,120 --> 00:56:08,719
Speaker 1: Laura Lie says, well, we are Electoral Woman and Dinah Girl.

927
00:56:09,320 --> 00:56:11,640
Speaker 1: Elector Woman and Dinah Girl is a live action science

928
00:56:11,680 --> 00:56:15,800
Speaker 1: fiction children's television series nineteen seventy six, Cyndi Lauper actually

929
00:56:15,800 --> 00:56:18,279
Speaker 1: saying the show's theme song, and although said to be

930
00:56:18,360 --> 00:56:22,080
Speaker 1: a teenager Judy Strangers, Dina Girl was only two years

931
00:56:22,120 --> 00:56:25,000
Speaker 1: younger than Electoral Woman Deetre Hall. A show I have

932
00:56:25,200 --> 00:56:30,640
Speaker 1: never heard of, like, never heard of any Yeah, I

933
00:56:30,680 --> 00:56:33,959
Speaker 1: had never heard of it. Max is in the Max

934
00:56:34,080 --> 00:56:36,680
Speaker 1: Another show, Max in the Hospital tending to his brother

935
00:56:36,840 --> 00:56:38,560
Speaker 1: when they asked why he decided to leap over the

936
00:56:38,560 --> 00:56:41,160
Speaker 1: parking meter, Max says he's the middle child. Laura Lie

937
00:56:41,200 --> 00:56:44,239
Speaker 1: says poor jan. Jan Brady was portrayed by Eve Plum

938
00:56:44,280 --> 00:56:46,440
Speaker 1: in the TV series as well as The Brady Girls

939
00:56:46,440 --> 00:56:49,239
Speaker 1: Get Married, The Brady Brides, A Very Brady Christmas, and

940
00:56:49,280 --> 00:56:52,120
Speaker 1: The Bradies. Jan, being the middle child of six, always

941
00:56:52,239 --> 00:56:55,320
Speaker 1: did her best to stand out and be her own person.

942
00:56:56,040 --> 00:57:01,360
Speaker 1: A few famous Jam quotes are Marcia Marsha Marsha Marsia

943
00:57:02,200 --> 00:57:04,960
Speaker 1: and she said, glasses, Oh no, Mom, not glasses, they'll

944
00:57:05,000 --> 00:57:09,320
Speaker 1: make me look absolutely positively goofy and the wig episode.

945
00:57:09,440 --> 00:57:12,719
Speaker 1: Don't be silly, it's a wig. Oh yeah, that's right.

946
00:57:12,840 --> 00:57:15,080
Speaker 1: She got the dark wig because she wanted to like

947
00:57:15,320 --> 00:57:19,800
Speaker 1: look different even though she was blonde, very black wig.

948
00:57:19,840 --> 00:57:23,160
Speaker 1: I love everything Brady Bunch, didn't I tell you guys

949
00:57:23,200 --> 00:57:25,240
Speaker 1: that I'm afraid I can't look Barry Williams in the eyes.

950
00:57:25,320 --> 00:57:27,160
Speaker 1: I mean, I don't want to. We won't bring that

951
00:57:27,240 --> 00:57:29,120
Speaker 1: up again. It was it was he is he dreaming

952
00:57:29,200 --> 00:57:34,440
Speaker 1: to you? Uh, like was dreaming, but he just isn't

953
00:57:34,440 --> 00:57:37,440
Speaker 1: Greg Brady anymore. So for me, it's like I can't,

954
00:57:37,520 --> 00:57:42,080
Speaker 1: I cannot I can't do it. In the Independence in kitchen,

955
00:57:42,160 --> 00:57:45,000
Speaker 1: Suki is describing her hangover like a baseball the size

956
00:57:45,000 --> 00:57:47,280
Speaker 1: of a candalope in your head. Laura Liz says, good one.

957
00:57:47,680 --> 00:57:50,560
Speaker 1: So he says what Lorrel says, because of baseball can

958
00:57:50,600 --> 00:57:53,120
Speaker 1: only be one size. So if you're Yogi Barra type thing.

959
00:57:53,760 --> 00:57:56,800
Speaker 1: So Lawrence Peter Yogi Barrow was an American professional baseball

960
00:57:56,880 --> 00:57:59,560
Speaker 1: catcher who later took on the roles of manager and coach.

961
00:58:00,280 --> 00:58:03,400
Speaker 1: Bara played in more World Series games than any player

962
00:58:03,440 --> 00:58:06,680
Speaker 1: in the Major League history. I think he's got eight

963
00:58:06,720 --> 00:58:11,600
Speaker 1: World Series rings. Eight that's crazy. Maybe more. Yeah, And

964
00:58:11,680 --> 00:58:18,600
Speaker 1: he's famous for malapros and there thank you that way.

965
00:58:19,280 --> 00:58:24,200
Speaker 1: That one right, his famous one of his famous baseball's

966
00:58:24,240 --> 00:58:32,960
Speaker 1: half mental are. Another one is when you come to

967
00:58:32,960 --> 00:58:37,560
Speaker 1: a fork in the road, take it. Oh my god,

968
00:58:37,600 --> 00:58:42,000
Speaker 1: I could read those all day. So Rory and Dean

969
00:58:42,080 --> 00:58:43,800
Speaker 1: are talking about what movie they're gonna watch, and Rri

970
00:58:43,960 --> 00:58:46,120
Speaker 1: says we can watch Holy Girl and tape again, and

971
00:58:46,240 --> 00:58:50,760
Speaker 1: Dean says Life of Brian. So Holy Girl. British comedy

972
00:58:50,760 --> 00:58:54,920
Speaker 1: star filming John Klice, Eric Idle and Graham Chapman, led Zeppelin,

973
00:58:54,960 --> 00:58:57,920
Speaker 1: Pink Floyd and Genesis all contributed to this movie's budget

974
00:58:58,240 --> 00:59:01,200
Speaker 1: and the clapping of coconuts, which is my favorite. The

975
00:59:01,240 --> 00:59:03,840
Speaker 1: clapping of coconuts together came from the fact that the

976
00:59:03,840 --> 00:59:05,840
Speaker 1: group did not have enough money in the budget to

977
00:59:05,880 --> 00:59:10,520
Speaker 1: afford actual horses. Life of Brian nineteen seventy nine British

978
00:59:10,520 --> 00:59:13,640
Speaker 1: comedy film, also starring and written by the comedy group

979
00:59:13,720 --> 00:59:17,040
Speaker 1: Monty Python. When Brian appears nude in front of the

980
00:59:17,080 --> 00:59:19,400
Speaker 1: huge crowd, Graham Chapman was actually nude in front of

981
00:59:19,400 --> 00:59:23,360
Speaker 1: two thousand people. Oh yeah, those those guys weren't shy.

982
00:59:23,680 --> 00:59:25,800
Speaker 1: They were not cheaking of food. We didn't even talk

983
00:59:25,800 --> 00:59:30,320
Speaker 1: about Kirk wanting to be the photographer and submitting the

984
00:59:30,400 --> 00:59:40,000
Speaker 1: nude shot. Anyway, keep going right, and he was wearing

985
00:59:40,000 --> 00:59:42,920
Speaker 1: a speedop so it's okay. Lorea l talks about how

986
00:59:42,920 --> 00:59:45,000
Speaker 1: different her night is with Max in her bed. Lorea

987
00:59:45,040 --> 00:59:47,200
Speaker 1: l I says, no, we're not dying, but the life

988
00:59:47,240 --> 00:59:49,400
Speaker 1: we had is going to morph into this like mutation

989
00:59:49,640 --> 00:59:52,440
Speaker 1: that we could never possibly have conceived. Roy says, like

990
00:59:52,520 --> 00:59:55,640
Speaker 1: giant ants and them. So Them is a nineteen form

991
00:59:55,800 --> 00:59:58,720
Speaker 1: and black and white science fiction monster film. The flamethrowers

992
00:59:58,880 --> 01:00:01,400
Speaker 1: used in the movie were entered World War Two weapons

993
01:00:01,400 --> 01:00:05,040
Speaker 1: and were loaned by the U. S. Army. The film

994
01:00:05,040 --> 01:00:08,640
Speaker 1: made the fineless villains come to life using combination of

995
01:00:08,640 --> 01:00:13,360
Speaker 1: animatronics and puppetry. Yeah, that's interrupting a heck of a

996
01:00:13,400 --> 01:00:18,520
Speaker 1: way to describe Max and Jesus, Like he's a plague.

997
01:00:18,840 --> 01:00:22,040
Speaker 1: There's a plague in the house. Basically, like if you

998
01:00:22,080 --> 01:00:26,720
Speaker 1: didn't know it was over by then, I mean, Jesus,

999
01:00:26,760 --> 01:00:30,200
Speaker 1: your battery powered right, Like what's going on? It's like,

1000
01:00:30,320 --> 01:00:33,320
Speaker 1: what a way? I mean? Man, did that guy fall

1001
01:00:33,520 --> 01:00:36,400
Speaker 1: from a lofty height? Didn't he? He fell from the

1002
01:00:36,480 --> 01:00:41,320
Speaker 1: tops of Mount Olympus down into hades Man Max, Max,

1003
01:00:43,280 --> 01:00:45,960
Speaker 1: Laura Leon Rory recite quotes from the movie Billy Jack

1004
01:00:46,000 --> 01:00:48,520
Speaker 1: as they watched with Moss. Laura Lee says, how fast

1005
01:00:48,560 --> 01:00:52,040
Speaker 1: do you learned? Billy Jack? Billy Jackson one Western and

1006
01:00:52,160 --> 01:00:54,800
Speaker 1: second of four films centering on the character Billy Jack,

1007
01:00:54,880 --> 01:00:58,240
Speaker 1: starring Tom Woughlin and Dolora's Taylor. Initially, the movie was

1008
01:00:58,280 --> 01:01:01,160
Speaker 1: a dud at the box office, so Tom Laughlin set

1009
01:01:01,240 --> 01:01:04,080
Speaker 1: up a rerelease in nineteen. This time it was an

1010
01:01:04,160 --> 01:01:08,920
Speaker 1: enormous hit, and Quentin Tarantino and Brad Pitt Somebody's favorite

1011
01:01:09,440 --> 01:01:14,200
Speaker 1: watch this movie, watched the watch this movie at Tarantino's

1012
01:01:14,200 --> 01:01:16,600
Speaker 1: house to prepare for filming Once upon a Time in Hollywood,

1013
01:01:16,640 --> 01:01:23,000
Speaker 1: which he got in hit. No problem, not Tarantino, I

1014
01:01:23,000 --> 01:01:26,280
Speaker 1: mean if he has to be there at the Queen

1015
01:01:26,360 --> 01:01:29,800
Speaker 1: Victoria Suki says you need to struck Tony Tony Manero

1016
01:01:30,000 --> 01:01:32,400
Speaker 1: when she's taking about the show, which is a Saturday

1017
01:01:32,440 --> 01:01:37,120
Speaker 1: Night Fever reference. So Saturday Night Fever is n American

1018
01:01:37,200 --> 01:01:41,160
Speaker 1: dance film. Tony, played by John Travolta, ran two miles

1019
01:01:41,200 --> 01:01:43,160
Speaker 1: a day and danced for three hours to get in

1020
01:01:43,160 --> 01:01:45,240
Speaker 1: shape for this film, and the end he dropped twenty

1021
01:01:45,320 --> 01:01:49,200
Speaker 1: pounds and filming was almost interrupted when a local mafia

1022
01:01:49,240 --> 01:01:52,200
Speaker 1: group tried to extort protection from the crew. In fact,

1023
01:01:52,480 --> 01:01:55,680
Speaker 1: the nightclub where they filmed was shot and hit with

1024
01:01:55,720 --> 01:02:00,600
Speaker 1: a fall up small fireball. Right, can you do a

1025
01:02:00,720 --> 01:02:04,960
Speaker 1: classic line from Saturday Night Weaver, He touched my hair.

1026
01:02:06,000 --> 01:02:08,800
Speaker 1: Don't touch my hair. I worked on it for an hour.

1027
01:02:09,240 --> 01:02:15,520
Speaker 1: Don't touch my hair. He hit my hair, MA, don't

1028
01:02:15,600 --> 01:02:20,400
Speaker 1: hit my hair. And wait wait wait, and and and

1029
01:02:20,440 --> 01:02:26,800
Speaker 1: the local mafia trying to extort money protection protection from

1030
01:02:26,840 --> 01:02:29,800
Speaker 1: you know, people do that if you're shooting on location

1031
01:02:30,560 --> 01:02:33,840
Speaker 1: and they know that they if they're knowledgeable, they know

1032
01:02:33,920 --> 01:02:36,360
Speaker 1: that they can turn their you know, they've plugging their

1033
01:02:36,400 --> 01:02:38,840
Speaker 1: electric guitars and start blasting away, knowing that they're going

1034
01:02:38,880 --> 01:02:40,880
Speaker 1: to come over. The production is gonna come over and

1035
01:02:40,880 --> 01:02:46,600
Speaker 1: pay him two or fifty to shut up. Constant happens constantly. Yeah, yeah,

1036
01:02:46,760 --> 01:02:49,080
Speaker 1: music blaring? Could you turn it off? Well, you know,

1037
01:02:49,160 --> 01:02:55,840
Speaker 1: I'm relaxing. Oh my god. Yeah, so somebody's shooting a

1038
01:02:55,880 --> 01:02:57,720
Speaker 1: movie in your neighborhood. Just just make all kinds of

1039
01:02:57,720 --> 01:03:00,000
Speaker 1: noise and you can make a couple of my neighbor

1040
01:03:00,040 --> 01:03:03,120
Speaker 1: it all the time, Kirby, Your enthusiasm is like constantly,

1041
01:03:03,200 --> 01:03:06,000
Speaker 1: yeah really, oh yeah, did you guys not watch the

1042
01:03:06,040 --> 01:03:08,320
Speaker 1: first one? It's all the Brentwood Country Mark. Wait a minute,

1043
01:03:08,440 --> 01:03:12,200
Speaker 1: oh one of your houses in Brentwood. Okay, it's a rental.

1044
01:03:12,280 --> 01:03:15,520
Speaker 1: It's a rental guy doing very well. It's an apartment.

1045
01:03:15,520 --> 01:03:19,959
Speaker 1: It's a rental apartment. Rank the music, and I would

1046
01:03:20,000 --> 01:03:22,800
Speaker 1: never do that to Larry Larry David. No, I love

1047
01:03:22,840 --> 01:03:28,160
Speaker 1: that theme song. No, okay. Max is worried about his

1048
01:03:28,240 --> 01:03:31,440
Speaker 1: role in Rory's life the plague. Max Loralai says, oh, Max,

1049
01:03:31,600 --> 01:03:34,320
Speaker 1: Roy's very low maintenance kind of like that robot kid

1050
01:03:34,320 --> 01:03:39,120
Speaker 1: in AI, only way less Mother Obsessed so AI is

1051
01:03:39,160 --> 01:03:41,680
Speaker 1: a two thousand one American science fiction drama film written

1052
01:03:41,760 --> 01:03:44,919
Speaker 1: directed by Steven Spielberg. In order to further his non

1053
01:03:44,960 --> 01:03:49,440
Speaker 1: human appearance, each day before filming, any exposed skin, face, arms, hands,

1054
01:03:49,440 --> 01:03:52,640
Speaker 1: in et cetera was shaved and given more plastic look

1055
01:03:53,160 --> 01:03:55,440
Speaker 1: in order to keep the film's PG thirteen rating. A

1056
01:03:55,480 --> 01:04:00,640
Speaker 1: building resembling a male part was digitally moved from the

1057
01:04:00,760 --> 01:04:04,520
Speaker 1: Rouge City set, and Drew Lost studied peacocks and my

1058
01:04:04,680 --> 01:04:09,959
Speaker 1: movements for his role as Giggelo. Joe, Christopher and Laura

1059
01:04:10,040 --> 01:04:12,120
Speaker 1: Lee are going back on fourth on the phone when

1060
01:04:12,120 --> 01:04:16,439
Speaker 1: they're talking at Queen Victoria, and Christopher lists off all

1061
01:04:16,480 --> 01:04:20,880
Speaker 1: the different music and artists that Max might have on

1062
01:04:24,480 --> 01:04:28,320
Speaker 1: It was just Chriss, says Bono. Maybe Brian Ferry, a

1063
01:04:28,400 --> 01:04:30,920
Speaker 1: young Tom Waits. Are we talking? A dozen soundtracks, a

1064
01:04:30,960 --> 01:04:34,160
Speaker 1: few beatles of Bob Dylan, Atlanta's Morrisette, Dave Matthews, and

1065
01:04:34,280 --> 01:04:37,480
Speaker 1: you have one of Vista Social Club. So some of

1066
01:04:37,520 --> 01:04:40,320
Speaker 1: these hits going in that order of Vertico. In two

1067
01:04:40,320 --> 01:04:43,800
Speaker 1: thousand four, Slave to Love Nive, I hope that I

1068
01:04:43,800 --> 01:04:46,000
Speaker 1: don't fall in love with You nineteen seventy three, Here

1069
01:04:46,000 --> 01:04:48,840
Speaker 1: Comes the Sun nineteen sixty nine, Knocking on Heaven's Door

1070
01:04:48,960 --> 01:04:53,320
Speaker 1: nineteen nine, Ironic nine, Crash Into Me nineteen ninety six,

1071
01:04:53,720 --> 01:05:05,400
Speaker 1: and Enya seven chan chan And that is your pop culture. Yeah, yeah,

1072
01:05:08,800 --> 01:05:11,280
Speaker 1: so quickly before we run out of time. My quote.

1073
01:05:11,920 --> 01:05:13,880
Speaker 1: I guess if you can find that one person you

1074
01:05:13,920 --> 01:05:16,000
Speaker 1: know who's willing to put up with all your crap

1075
01:05:16,200 --> 01:05:18,080
Speaker 1: and doesn't want to change you or dress you, or

1076
01:05:18,120 --> 01:05:20,440
Speaker 1: you know, make you eat French food, then marriage can

1077
01:05:20,440 --> 01:05:22,400
Speaker 1: be all right. But that's only if you find that

1078
01:05:22,440 --> 01:05:28,160
Speaker 1: person that's you, Luke, that's your favorite line? Yeah, I

1079
01:05:28,200 --> 01:05:31,240
Speaker 1: like that, the freaking mouthful and it's not even funny.

1080
01:05:31,680 --> 01:05:35,240
Speaker 1: Well it doesn't have to be funny to be my favorite. Yeah,

1081
01:05:35,280 --> 01:05:38,520
Speaker 1: you're right. It's called best lines. Jesus, it's like twenty lines.

1082
01:05:38,680 --> 01:05:42,240
Speaker 1: That's not is that one line? It's one sentence? Well,

1083
01:05:42,240 --> 01:05:49,560
Speaker 1: it's one read it again, favorite lines. I guess if

1084
01:05:49,560 --> 01:05:51,800
Speaker 1: you can find that one person you know who's willing

1085
01:05:51,840 --> 01:05:53,680
Speaker 1: to put up with all your crap and doesn't want

1086
01:05:53,680 --> 01:05:56,040
Speaker 1: to change you or dress you, or you know, make

1087
01:05:56,080 --> 01:05:58,280
Speaker 1: you eat French food, then marriage can be all right.

1088
01:05:58,400 --> 01:06:00,600
Speaker 1: But that's only if you find that first, and I

1089
01:06:00,680 --> 01:06:03,840
Speaker 1: also find that funny that line two sentences. I don't

1090
01:06:03,840 --> 01:06:07,840
Speaker 1: know if they're quality. Let's listen where that's going to

1091
01:06:07,920 --> 01:06:10,840
Speaker 1: be under review. That we respect that you submitted that,

1092
01:06:10,880 --> 01:06:13,360
Speaker 1: but we're gonna put that under review. It's two sentences.

1093
01:06:13,360 --> 01:06:15,640
Speaker 1: It's too it's too long. You can do that, all right,

1094
01:06:15,800 --> 01:06:19,800
Speaker 1: all right, all right, Danielle. Okay, so I said my

1095
01:06:19,880 --> 01:06:22,320
Speaker 1: Michelle line already, but I have another one from Suki.

1096
01:06:22,880 --> 01:06:25,640
Speaker 1: And this is when they're going into the club and

1097
01:06:25,760 --> 01:06:33,360
Speaker 1: Rory gets in and she goes dungish on cutie. You

1098
01:06:33,440 --> 01:06:36,880
Speaker 1: gotta pay attention to to McCarthy man. She's quick with

1099
01:06:36,920 --> 01:06:41,120
Speaker 1: the she's lightning. Mine comes from a bet when she

1100
01:06:41,160 --> 01:06:43,480
Speaker 1: says she can't make the bachelor party, and she says, yeah,

1101
01:06:43,600 --> 01:06:45,760
Speaker 1: we'll stick your hand down the front of some guys

1102
01:06:45,760 --> 01:06:50,480
Speaker 1: pant for me, would you? And then she says and

1103
01:06:50,520 --> 01:06:52,560
Speaker 1: then Laurel I says like a good looking guy or

1104
01:06:52,560 --> 01:06:55,320
Speaker 1: a cute can she goes our stripper and she goes

1105
01:06:55,760 --> 01:07:01,200
Speaker 1: whatever that makes me realize we have to announce our

1106
01:07:01,280 --> 01:07:03,360
Speaker 1: next Hang on a second, what about me? I don't

1107
01:07:03,360 --> 01:07:05,880
Speaker 1: get to do my favorite favorite line. Of course you do,

1108
01:07:05,960 --> 01:07:10,000
Speaker 1: but this moment is perfect for announcing the Friends Giving guest.

1109
01:07:11,040 --> 01:07:13,520
Speaker 1: Because somebody's sticking their hands down to pants of a stripper.

1110
01:07:13,520 --> 01:07:15,640
Speaker 1: What are you talking about? How's that a perfect moment?

1111
01:07:16,280 --> 01:07:24,640
Speaker 1: It's Sally Strother I forgot it's Sally. Sally is gonna

1112
01:07:24,640 --> 01:07:31,760
Speaker 1: be joining us? November eleventh, Virtual Live podcast Friends Giving

1113
01:07:31,840 --> 01:07:36,560
Speaker 1: November eleven, five pm Pacific, eight pm Eastern Sally Strothers,

1114
01:07:36,640 --> 01:07:42,600
Speaker 1: Jackson Douglas, Grantly Phillips, and Emily Corona. Boy, it's getting

1115
01:07:43,080 --> 01:07:45,880
Speaker 1: crowded hot in here, it's getting hot. It's getting crowded.

1116
01:07:46,200 --> 01:07:50,280
Speaker 1: Looped live dot com, looped live dot com. That's where

1117
01:07:50,280 --> 01:07:53,240
Speaker 1: you get the tickets. Looped live dot com, l O

1118
01:07:53,240 --> 01:07:56,640
Speaker 1: O p e d live dot com. First I thought

1119
01:07:56,720 --> 01:08:02,919
Speaker 1: Daniel said Luke Live. I was like, true, yeah Live.

1120
01:08:03,400 --> 01:08:07,919
Speaker 1: Well it's it's again Michelle. It's Michelle. If you don't

1121
01:08:07,920 --> 01:08:16,960
Speaker 1: slap him, I will bet he's the best. Next week,

1122
01:08:17,280 --> 01:08:20,240
Speaker 1: the road trip to Harvard. That's right as that's where

1123
01:08:20,280 --> 01:08:22,840
Speaker 1: they're going now that they jumped in the Oh my god,

1124
01:08:23,280 --> 01:08:28,040
Speaker 1: she gets stopped at the stop, like perfect ending, And

1125
01:08:28,080 --> 01:08:31,519
Speaker 1: that's sort of another iconic Gilmore image, like you on

1126
01:08:31,560 --> 01:08:33,320
Speaker 1: the bench with the three girls then stuck at that

1127
01:08:33,520 --> 01:08:37,760
Speaker 1: it's in the opening credits. I believe. Yeah, you know.

1128
01:08:37,800 --> 01:08:40,439
Speaker 1: I counted how many cuts the girls got in the

1129
01:08:40,439 --> 01:08:42,600
Speaker 1: open I watched the opening credits, so I analyze the

1130
01:08:42,600 --> 01:08:46,360
Speaker 1: opening credits. So it's Laura, it's Lauren first, she has

1131
01:08:46,439 --> 01:08:51,799
Speaker 1: six photos. She has six spliced edited photos to introduce

1132
01:08:51,840 --> 01:08:55,320
Speaker 1: her character. Six and Rory's and all of them. And

1133
01:08:55,360 --> 01:09:00,280
Speaker 1: then Rory is next, she has five and Laura and

1134
01:09:00,360 --> 01:09:03,160
Speaker 1: Lauren is in all of those but one. So the

1135
01:09:03,240 --> 01:09:06,280
Speaker 1: first so ten, the first ten out of eleven images

1136
01:09:06,920 --> 01:09:11,879
Speaker 1: associated with that show those two dropping good knowledge, good knowledge.

1137
01:09:11,920 --> 01:09:15,599
Speaker 1: I usually click skip it. And then and then Suki

1138
01:09:15,680 --> 01:09:19,560
Speaker 1: gets one shot, and then I think Michelle gets on.

1139
01:09:19,760 --> 01:09:23,120
Speaker 1: I get one shot with Lauren, and it's say she

1140
01:09:23,160 --> 01:09:25,280
Speaker 1: comes up and says coffee, coffee, coffee, and the first

1141
01:09:25,280 --> 01:09:28,479
Speaker 1: time they keep the same thing the whole seven years

1142
01:09:28,760 --> 01:09:31,360
Speaker 1: they changed. I'm getting to that. And then and then

1143
01:09:31,360 --> 01:09:33,439
Speaker 1: when we get to finally we get to the last two,

1144
01:09:33,479 --> 01:09:35,840
Speaker 1: we get to Kelly, Bishop and Ed they each get

1145
01:09:35,840 --> 01:09:40,320
Speaker 1: two shots. Oh yeah, but then they did change it, yes,

1146
01:09:40,400 --> 01:09:48,920
Speaker 1: because um, people join, well yeah, people joined, and then um,

1147
01:09:48,960 --> 01:09:51,400
Speaker 1: you know, cast numbers changed, like you got one too,

1148
01:09:51,479 --> 01:09:55,360
Speaker 1: You get a cast number one main cast members whatever.

1149
01:09:55,400 --> 01:09:57,320
Speaker 1: So those numbers changed. The one and the two don't

1150
01:09:57,400 --> 01:10:00,519
Speaker 1: change the but the but the other. Some people get promoted,

1151
01:10:00,560 --> 01:10:05,040
Speaker 1: other people get demotive people on the call sheet? Correct? Correct?

1152
01:10:07,880 --> 01:10:11,000
Speaker 1: Where were you? I think? I think I started out

1153
01:10:11,040 --> 01:10:14,679
Speaker 1: as six on the call sheet and then I became

1154
01:10:15,640 --> 01:10:17,080
Speaker 1: Did you ever get up to number three? I was

1155
01:10:17,160 --> 01:10:19,559
Speaker 1: number three? Yeah, I think for the last But what

1156
01:10:19,560 --> 01:10:21,720
Speaker 1: do they do with ed Herman? Because he would be

1157
01:10:21,800 --> 01:10:26,000
Speaker 1: like special or something. He would be tenth on the

1158
01:10:26,040 --> 01:10:30,320
Speaker 1: call sheet. He's too special, I think, I don't know.

1159
01:10:30,560 --> 01:10:32,720
Speaker 1: I'll look on I'll look on an old script. That's

1160
01:10:32,760 --> 01:10:37,000
Speaker 1: sort of an interesting to look at the scripts I got.

1161
01:10:37,040 --> 01:10:40,919
Speaker 1: I got all these, you know, I have thousands of scripts.

1162
01:10:41,080 --> 01:10:45,720
Speaker 1: Try and get one for the virtual event for sure. Sorry,

1163
01:10:45,720 --> 01:10:48,360
Speaker 1: it's just like it's I'll do it. I'll try, you

1164
01:10:48,400 --> 01:10:50,120
Speaker 1: know what. Before we go, I do have one question.

1165
01:10:50,840 --> 01:10:56,240
Speaker 1: Have you guys eaten all that gum come we're talking about?

1166
01:10:56,280 --> 01:10:58,880
Speaker 1: Remember when you moved into your house and the owner

1167
01:10:59,000 --> 01:11:04,280
Speaker 1: left gum behind the owner of my house, So you

1168
01:11:04,320 --> 01:11:07,080
Speaker 1: bought your new house and you told us on the

1169
01:11:07,080 --> 01:11:10,960
Speaker 1: air that the owner left like a huge Oh yeah,

1170
01:11:11,040 --> 01:11:17,880
Speaker 1: we went through that. We went through that, I said,

1171
01:11:17,920 --> 01:11:19,400
Speaker 1: I showed up at the gym or at the golf

1172
01:11:19,439 --> 01:11:22,280
Speaker 1: course or something with a huge like wad and like cheek.

1173
01:11:24,680 --> 01:11:26,800
Speaker 1: Did you choot gum when you played baseball? Or tobacco?

1174
01:11:28,120 --> 01:11:30,599
Speaker 1: Not even allowed to choose. Of course everybody chewed tobacco.

1175
01:11:31,600 --> 01:11:34,160
Speaker 1: Here's the reason you chew tobacco is in the beginning

1176
01:11:34,160 --> 01:11:37,360
Speaker 1: of the season. It's cold. It is when you're playing.

1177
01:11:37,360 --> 01:11:39,640
Speaker 1: It's not warm. It's very cold. And like if you

1178
01:11:39,680 --> 01:11:41,439
Speaker 1: go to Syracuse and play at the beginning of the

1179
01:11:41,479 --> 01:11:45,719
Speaker 1: season of Rochester's freezing, it can be snow. Yeah, gets

1180
01:11:45,720 --> 01:11:49,000
Speaker 1: you kind of gets you high, it does. I'm surprised

1181
01:11:49,040 --> 01:11:51,240
Speaker 1: they allow it. Seems like a drug. It's not good

1182
01:11:51,280 --> 01:11:53,280
Speaker 1: for you. I mean you burn, I burn a hole

1183
01:11:53,320 --> 01:11:56,439
Speaker 1: in my cheek. You can get like mouth camp. Yeah,

1184
01:11:56,439 --> 01:11:58,400
Speaker 1: it's not good stuff. But we used to we used

1185
01:11:58,439 --> 01:12:01,320
Speaker 1: to um, you know, we used to wrap it in

1186
01:12:01,400 --> 01:12:12,559
Speaker 1: bubblegum to lessen the severity of it. Uh yeah, So

1187
01:12:12,640 --> 01:12:16,280
Speaker 1: we're chewing and spitting, chilling and spitting, waiting for our

1188
01:12:16,360 --> 01:12:20,680
Speaker 1: opportunity in the cold weather, wearing tight baseball suits. Thank you.

1189
01:12:22,120 --> 01:12:25,800
Speaker 1: The hell of a way to make a living road

1190
01:12:25,800 --> 01:12:28,960
Speaker 1: trip to Harvard a better way to make a living

1191
01:12:30,280 --> 01:12:34,320
Speaker 1: there is. Thanks everybody. Uh we we really appreciate the

1192
01:12:34,360 --> 01:12:37,519
Speaker 1: downloads and the attention, the emails keeping coming. We're having

1193
01:12:37,520 --> 01:12:41,640
Speaker 1: a blast. Um. Thank you, Danielle Romo, Thank you, Riley Pelusis,

1194
01:12:41,720 --> 01:12:45,920
Speaker 1: Thank you Amy Sugarman. Um the ball Club as I

1195
01:12:46,000 --> 01:12:50,040
Speaker 1: refer to them, the Council, the style counsel. Oh yeah,

1196
01:12:50,160 --> 01:12:54,320
Speaker 1: virtual Thanksgiving. Okay, let's uh, let's give a shout out

1197
01:12:54,360 --> 01:12:57,640
Speaker 1: to Sally Struthers who's joining us, and Grantly Phillips and

1198
01:12:57,880 --> 01:13:01,799
Speaker 1: Jackson Douglas and Emily Coroda No. Number eleven at looped

1199
01:13:02,160 --> 01:13:06,080
Speaker 1: live dot com for tickets looped live dot com, l

1200
01:13:06,120 --> 01:13:11,240
Speaker 1: O p E d Live dot com. We are having

1201
01:13:11,280 --> 01:13:15,000
Speaker 1: a virtual event. Can I please give a shout out

1202
01:13:15,080 --> 01:13:18,360
Speaker 1: to the awesome person on Instagram that wrote in the

1203
01:13:18,400 --> 01:13:21,360
Speaker 1: comments I was today years old when I realized that

1204
01:13:21,439 --> 01:13:29,000
Speaker 1: Jackson's real name is jack I love that person so anyway,

1205
01:13:29,040 --> 01:13:32,600
Speaker 1: so get your tickets now at looped live dot com,

1206
01:13:32,800 --> 01:13:36,680
Speaker 1: we have pretty awesome merch and I gotta tell you

1207
01:13:37,080 --> 01:13:39,280
Speaker 1: I love drinking out of this cup. It's a very

1208
01:13:39,320 --> 01:13:42,920
Speaker 1: attractive cup on any color table. By the way. Also,

1209
01:13:43,120 --> 01:13:46,799
Speaker 1: November nine one, I'm gonna be down in Houston, Texas,

1210
01:13:46,880 --> 01:13:50,160
Speaker 1: at the Bayous City Comic Con. So go to Biou

1211
01:13:50,200 --> 01:13:54,240
Speaker 1: City Comic Con dot com and uh and get your

1212
01:13:54,240 --> 01:13:56,920
Speaker 1: tickets there. I'd love to see everybody, and that's gonna

1213
01:13:56,960 --> 01:13:59,400
Speaker 1: be a I am Scott Patterson and this is the

1214
01:13:59,640 --> 01:14:03,440
Speaker 1: I Am All In Podcast. I Heart Radio one eleven productions.

1215
01:14:04,080 --> 01:14:35,920
Speaker 1: Be safe. Everyone got one. Hey everybody, and don't forget

1216
01:14:36,000 --> 01:14:40,080
Speaker 1: Follow us on Instagram at I Am all In Podcast

1217
01:14:40,160 --> 01:14:45,080
Speaker 1: and Emailie at Gilmore at I heart radio dot com.

1218
01:14:45,080 --> 01:14:46,680
Speaker 1: Oh you gil More fans. If you're looking for the

1219
01:14:46,680 --> 01:14:48,840
Speaker 1: best cup of coffee in the world, go to my

1220
01:14:49,240 --> 01:14:52,920
Speaker 1: website from my company scott ep dot com, s CEO T. T.

1221
01:14:53,200 --> 01:14:56,240
Speaker 1: Y P dot com, scott ep dot com Grade one

1222
01:14:56,600 --> 01:15:05,160
Speaker 1: Specialty Coffee