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

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Speaker 2: All about that high school drama girl drama girl, all about.

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Speaker 3: Them high school queens.

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Speaker 1: We'll take you for a ride.

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Speaker 2: And our comic girl shared for the right teams, Drama Queens,

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Speaker 2: my girl girl Fashion, which your tough girl, you could

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Speaker 2: sit with us Girl Drama, Queens, Drama, Queens Drama, Queens Drama,

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Speaker 2: drahn MC Queens Drama Queens.

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Speaker 4: Ladies and gentlemen, we have a real treat for you today.

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Speaker 4: We've been talking about having her on the podcast for

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Speaker 4: so long. She really changed the landscape of One Tree

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Speaker 4: Hill and made it what you know it as in

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Speaker 4: terms of a show that brought you new musicians, broke

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Speaker 4: musicians on the show, the sound, the feeling, all the

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Speaker 4: emotions that you experienced watching One Tree Hill that were

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Speaker 4: under the underscore literally of all of this music that

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Speaker 4: was brought in. This is Lindsay Wolfington and we're so

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Speaker 4: happy to have you here.

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Speaker 1: Hi the show. I'm so excited to be here. Thank

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Speaker 1: you guys for having me, Lindsay.

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Speaker 5: To I mean everyone's point, we've been talking about just

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Speaker 5: how desperate we've been to get you on the show,

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Speaker 5: So thank you for coming. I do hope that out

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Speaker 5: there in the ethers, it's felt nice to know how

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Speaker 5: often we talk about you and not weird and yeah,

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Speaker 5: we're just so weird. Okay, great, We're so amped that

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Speaker 5: you're here. And I just have to say, not only

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Speaker 5: for the fans, but you know, especially for all of

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Speaker 5: us here, what you gave us in terms of the

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Speaker 5: emotional experience for our characters, and certainly the ways that

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Speaker 5: you supported both Joy and I and every other member

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Speaker 5: of our cast who got to direct, Like, that's something

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Speaker 5: I'm jazz to talk to you about what it's like

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Speaker 5: to work with you as a director, but just to

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Speaker 5: paint a picture for all of our wonderful friends and

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Speaker 5: listeners at home.

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Speaker 1: That's literally what Lindsay does.

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Speaker 5: She manages to put the feeling in the moving picture

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Speaker 5: that you see on screen. She's worked in music supervision

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Speaker 5: for twenty years, known for her work on Our Show,

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Speaker 5: where she featured over seventeen hundred songs that range from breaking.

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Speaker 1: Artists to icons like led Zeppelin and You Too. More

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Speaker 1: recently for.

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Speaker 5: Her work on the Netflix sensation To All the Boys

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Speaker 5: I've Loved Before and its follow up sequel, also shows

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Speaker 5: about great emotion and falling in Love.

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Speaker 1: I love the teen drama exactly.

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Speaker 5: We love the teen drama you're working on a Typical

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Speaker 5: on Netflix, Virgin River on Netflix, Warrior Non on Netflix,

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Speaker 5: Drama Club on Nickelodeon, and two romantic comedies from the

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Speaker 5: producers of To All the Boys and Love at First Sight.

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Speaker 5: Your credits are actually too enumerative to read, so look

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Speaker 5: her up on IMDb because we want to talk to her,

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Speaker 5: and I don't want to spend nine more minutes reading

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Speaker 5: her own resume to her.

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Speaker 1: But thank you for being here.

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Speaker 5: I want to ask you the question I'm sure so

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Speaker 5: many folks at home who would love to do what

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Speaker 5: you do want to ask, which is, how did you

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Speaker 5: get your start working in music on production?

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Speaker 4: Yeah?

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Speaker 1: I got super lucky. First of all, I got into

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Speaker 1: it before it was popular and anybody knew it was

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Speaker 1: a thing. So I worked in radio in college. I

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Speaker 1: was actually a DJ at WBRU in Providence, which was

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Speaker 1: a modern rock radio station, but all the DJs were

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Speaker 1: actually students at Brown University. That is so cool. Yeah,

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Speaker 1: my DJ name was Maggie Wolf because I was like,

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Speaker 1: I don't want it to be my real name, but

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Speaker 1: my first name is Margaret. I was like, I'll be magil.

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Speaker 1: So I worked in radio and I did a cappella

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Speaker 1: in college, but then, like I knew the radio thing,

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Speaker 1: I didn't want to continue. Actually, it's funny, like everyone

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Speaker 1: wanted to move on and be a VJ, right, Like

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Speaker 1: we all wanted Hillary's job, but there were like three

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Speaker 1: people who could have that job. So I was actually

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Speaker 1: a huge fan of the TV show Felicity, which was

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Speaker 1: on the WB and I noticed they used music so well,

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Speaker 1: and a lot of music, and a lot of music

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Speaker 1: that wasn't necessarily like a radio hit, and I was like,

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Speaker 1: I bet that's someone's job. So that I went to

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Speaker 1: the movies once and I stayed for the end credits

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Speaker 1: and I saw the title music supervisor and I was like,

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Speaker 1: I bet that's what it is. So it was a

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Speaker 1: lot of like I bet that's someone's job, and I

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Speaker 1: bet that's what it's called. I moved, so I was like,

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Speaker 1: I'll go, I'll move to LA. I'm from the East

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Speaker 1: Coast originally, and I was like, I'll go to LA

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Speaker 1: for two years and then maybe end up back in

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Speaker 1: New York, but I'll go see what this is about.

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Speaker 1: My first week in LA was September eleventh, two thousand

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Speaker 1: and one, Like, not a good time to be cold

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Speaker 1: calling people. But eventually I connected with an alum of

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Speaker 1: my a cappella group who worked at Disney overseeing shows

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Speaker 1: like Alias and Felicity, and I was like, oh my god,

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Speaker 1: Felicity's my dream show. So he was like, I know

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Speaker 1: the women who work on it. Your best bet is

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Speaker 1: to start as an unpaid intern, like I can send

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Speaker 1: your resume over. And that was Jennifer pike In and

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Speaker 1: Madonna Wade Reed. They had a company called Daisy Music

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Speaker 1: and at the time they were doing Alias, Smallville, Felicity,

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Speaker 1: and Boston Public.

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Speaker 4: Wow, were there bigger shows on TV?

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Speaker 3: I think not?

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Speaker 1: No, Like so I ended up I met with them.

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Speaker 1: They were like behind on paperwork. They were like, yes,

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Speaker 1: we need help. It was right time, right place, and

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Speaker 1: I was ready to dig in. And I worked unpaid

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Speaker 1: for like a week and then they were like, we

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Speaker 1: can tell you really into it and we can tell

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Speaker 1: we need you. So so I stuck around. But yeah,

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Speaker 1: like that January they were in Rolling Stone as like

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Speaker 1: the It girls putting music to TV. So I learned

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Speaker 1: with the best right and they were awesome. It was

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Speaker 1: like Sophia you've been to the office. I don't know

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Speaker 1: if you remember coming to they too, and it was

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Speaker 1: like wall to wall CDs and it was just two

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Speaker 1: open rooms, so like you heard everything right, So it's

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Speaker 1: really an apprenticeship type business. And you know, I started

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Speaker 1: off obviously like doing paperwork and like finding the song

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Speaker 1: that you could barely hear in the cafe. But I remember,

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Speaker 1: like my first placement was a big breakup moment in

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Speaker 1: Felicity and it was this like super sad song by

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Speaker 1: an indie artist called Sarah Slean, and I was like, anyway,

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Speaker 1: those are my favorite type of scenes to place and

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Speaker 1: kind of side note, but like now another supervisor friend

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Speaker 1: and I have started a podcast called Sad Song Queens

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Speaker 1: because like we love sad songs and we love talking

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Speaker 1: about them.

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Speaker 6: That's great.

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Speaker 1: But anyway, that was that was like a long way

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Speaker 1: of So I worked with Jenna Madonna for four years

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Speaker 1: and they did all of Tolan Robbin's shows, So they

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Speaker 1: did Smallville and then like the following year we worked

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Speaker 1: on two shows that got canceled, so like of course

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Speaker 1: those were the show like we split up, who oversaw

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Speaker 1: a show? Like we all did creative on all the shows.

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Speaker 1: But we had a point person on each show that

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Speaker 1: so nothing fell through the cracks. That person did all

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Speaker 1: the paperwork on it. So I always had like the

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Speaker 1: lowest show on the Totem pole, which in my third

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Speaker 1: year was One Tree Hill. Wow, everybody loved it. But

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Speaker 1: we had Smallville and we had Las Vegas and both

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Speaker 1: of them are huge shows.

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Speaker 4: So yeah, no, I mean that was the narrative about

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Speaker 4: our show for a long time. I mean, they under

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Speaker 4: they would tell us like, you're the underdog, You're on

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Speaker 4: the bubble, You're gonna get you know. But I have

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Speaker 4: a question before we move into that, because we should,

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Speaker 4: but just to clarify for anybody who doesn't totally understand

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Speaker 4: how you do.

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Speaker 3: What you do.

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Speaker 4: They send, maybe you could just clarify, like you're sent

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Speaker 4: scenes with note, you know, with the sounds, just the

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Speaker 4: audio of the actors. You are you given the script?

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Speaker 4: Do you break down the script in terms of an

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Speaker 4: emotional arc? Like what do you do?

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Speaker 1: Yeah? Our process and my process always begins at the

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Speaker 1: script stage, and definitely with One Tree Hill, they were like,

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Speaker 1: we need music from the very first cut, Like the

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Speaker 1: editor's cut needs to already have music in it. So

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Speaker 1: they needed things to work with. So sometimes you make bins,

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Speaker 1: like like we always made a Karen's Cafe bin because

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Speaker 1: you knew you were going to be in there, right.

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Speaker 1: But basically I read the script and break down where

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Speaker 1: I think there will be music needs, and sometimes it's

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Speaker 1: a cafe or a bar, sometimes it's you know, on

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Speaker 1: One Tree Hill, it was almost always like an opening

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Speaker 1: montage and and montage. We always had our coda and montage,

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Speaker 1: and then you're kind of looking for moments like, oh,

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Speaker 1: if two characters are having their first kiss, like probably

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Speaker 1: going to be a moment we're going to want to

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Speaker 1: put a song in. On One Tree Hill we did

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Speaker 1: a lot of like trying to tie scenes together with

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Speaker 1: a song. Like you probably noticed, you're like, wait, we've

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Speaker 1: been using this song for three minutes. So like it

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Speaker 1: was looking for scenes that maybe had the same feel

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Speaker 1: to them, And so basically I make an Excel spreadsheet

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Speaker 1: that breaks down the scenes where I think we'll need music,

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Speaker 1: and then I take and then I kind of budget out.

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Speaker 1: So one, especially on season one, we had like no money,

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Speaker 1: so you had to be very careful about where you

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Speaker 1: spent your money, and obviously you'd rather spend your money

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Speaker 1: in the coda and like Karen's Cafe right right, So

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Speaker 1: I would kind of break that down and then put

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Speaker 1: on my headphones and send three to four choices for

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Speaker 1: every scene, and then I mean this is I would

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Speaker 1: burn a CD and send it to the editor with

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Speaker 1: my notes of like what went where. Now now I

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Speaker 1: can go on dropbox and make a folder for like

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Speaker 1: CNA scene and whatever. But yeah, there was a lot

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Speaker 1: of burning CDs and making sure, you know, you titled

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Speaker 1: the songs correctly, because there was inherently a time where

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Speaker 1: like you you know, you put this song and they

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Speaker 1: picked track twelve and you cleared track twelve, but actually

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Speaker 1: it was track thirteen because like someone just misread something right,

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Speaker 1: So you just had to make sure, yeah, things were

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Speaker 1: titled correctly, so you actually cleared what you were using.

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Speaker 5: Okay, So I have a follow up question to that,

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Speaker 5: because this is super interesting and I think it's in

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Speaker 5: the landscape of our show and the time. You know,

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Speaker 5: you're talking about Smallville, Las Vegas, all these shows that

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Speaker 5: were juggernauts in terms of audience, you know, rap all

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Speaker 5: the things, and then you had our show, which was

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Speaker 5: sort of like the little engine that could in the beginning.

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Speaker 1: That's what I called it too, but like.

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Speaker 5: That's also sort of what it was like for musicians.

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Speaker 5: You know, there were big bands or big artists at

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Speaker 5: the time, and then there were small indie artists really

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Speaker 5: trying to break through. I mean, what a trip to

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Speaker 5: think that we got Kid Cuddy when no one knew

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Speaker 5: who he was, and like, you know, now he's out

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Speaker 5: touring the world. How did you as a music supervisor?

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Speaker 5: Because I know the budget was part of it, right,

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Speaker 5: It's easy to be like, well, we can't afford this,

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Speaker 5: Like we couldn't afford led Zeppelin until season three, So

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Speaker 5: you can go to bat for smaller artists, But how

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Speaker 5: would you convince not just the people who ran our show,

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Speaker 5: like the big the big guys at Tolan Robbins. But

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Speaker 5: you know, how do you get a Warner Brothers to

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Speaker 5: buy into some unheard of indie artists? Would you would

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Speaker 5: you get them across the finish line by arguing that

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Speaker 5: they were less expensive, but would do the job?

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Speaker 1: Or were you having to be like.

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Speaker 5: You don't understand this band is really going to hit

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Speaker 5: trust me, like how does it work?

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Speaker 1: Well, there's not that much. So I was never on

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Speaker 1: notes calls so like I'm not talking interesting head of

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Speaker 1: Warner Brothers. I'm I'm working with our showrunners and the

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Speaker 1: editors and getting the songs in and then I'm working

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Speaker 1: with the music department over there, and really what they

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Speaker 1: care is about his budget. But they're the ones that

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Speaker 1: are like, you're going over you need to let us know.

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Speaker 1: So in it began of necessity, okay, and because we

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Speaker 1: used so much music that like, actually, you know in retrospect,

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Speaker 1: one Tree Hills music budget is bigger than most budgets

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Speaker 1: you see today. But we used ten songs in episode,

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Speaker 1: so like the money went fast so season one. So

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Speaker 1: so the way you would do it is when you

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Speaker 1: know those things at the end of the episode that

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Speaker 1: said tonight you use music by so that gave us

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Speaker 1: a discount from the labels, and that was a big

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Speaker 1: you know, it was like a advertisement for.

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Speaker 6: An album is unique to our show.

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Speaker 1: It was unique to the WB and then the CW,

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Speaker 1: and then they got rid of it. I'm not even

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Speaker 1: sure it was existing in the last season. I feel

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Speaker 1: like it was, but in the early twenty tens it

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Speaker 1: went away, but it was it was kind of like

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Speaker 1: the WB and CW were the only places you could,

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Speaker 1: you could have that opportunity, and then I think ABC

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Speaker 1: Family adopted it, but it gave you a discount. And

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Speaker 1: basically any major label artist we used in season one

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Speaker 1: pretty much had to take that for us to be

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Speaker 1: able to afford them.

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Speaker 4: Wow, it's like product placement actually exactly well.

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Speaker 1: And I talked to a label person once and she

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Speaker 1: was like, you know, getting a band's name in someone's

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Speaker 1: head is about impressions. So getting that ad card is

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Speaker 1: a second impression, right, Like you hear it once in

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Speaker 1: the episode, and then you hear it again at the end.

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Speaker 1: And the more pressions you can give a song, the

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Speaker 1: more traction you can get it. But in terms of

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Speaker 1: everything else and all these indie artists, you know, we

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Speaker 1: had Peyton as a character, so like from the start,

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Speaker 1: like I think, like in the beginning, like in the

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Speaker 1: in the early scripts, like they wrote in the ataris

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Speaker 1: who weren't really didn't license a ton I think we

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Speaker 1: used one song by them, but she had this punk

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Speaker 1: indie thing about her anyway, so it was very clear.

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Speaker 1: We used to make a separate mixtape that was called

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Speaker 1: like Peyton's Playlist and so like, and the editors knew that,

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Speaker 1: like if you were in Peyton's room, you would pull

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Speaker 1: from that. Yeah, that's so fun to know. So yeah,

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Speaker 1: I didn't even know this was happening.

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Speaker 3: I love it.

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Speaker 1: Yeah, I mean it was fun too, right, Like you know,

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Speaker 1: any person who works in music is like a little

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Speaker 1: bit Peyton Sawyer at heart right, Yeah, totally so yeah,

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Speaker 1: so and so we got some really cool so I

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Speaker 1: would you would have people send you music that also

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Speaker 1: was just like indie up and coming, like either Punky

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Speaker 1: or Vibe. So she was supposed to listen to indie

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Speaker 1: music anyway, So that that also like made things a

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Speaker 1: little bit easier. And then I remember there was a

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Speaker 1: point in a later season because literally every episode I

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Speaker 1: came to the spotting session, which is have you guys

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Speaker 1: talked about a spotting session?

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Speaker 6: That is?

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Speaker 1: So the spotting session is when like the episode is

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Speaker 1: locked and we sit in the room with the editor

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Speaker 1: and the composer and the music editor and the music

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Speaker 1: supervisor and we and post production supervisor, and we we

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Speaker 1: watched the episode and we talk about every music cue,

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Speaker 1: so like score and song.

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Speaker 4: Before there's any music put in, you just talk about

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Speaker 4: what it needs to feel like.

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Speaker 1: It's been tempt up. No so this is like, you know,

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Speaker 1: this is after the studio has approved everything.

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Speaker 5: It's like you're making alteration, the final alteration on the dress, right.

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Speaker 1: Exactly, Okay, and so and most of the stuff that's

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Speaker 1: been score wise, especially most of the stuff that is

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Speaker 1: tempt in is not final. Like we had something Nathan

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Speaker 1: and Haley had a theme, so like that got reused

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Speaker 1: a couple times.

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Speaker 4: I don't even know if I would know what that

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Speaker 4: is if I mean, I guess if I start somewhere

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Speaker 4: in the recesses in my mind, I might be like,

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Speaker 4: that's familiar. But I didn't know there was like a

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Speaker 4: someone scored a theme.

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Speaker 1: Well there were two and it was like and I'm

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Speaker 1: sure we like used it on other people just because

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Speaker 1: like it was. I remember season one and two, they're

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Speaker 1: like the composer had created some Q and it was

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Speaker 1: just so good. It worked like everywhere, like it was

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Speaker 1: like a romantic que and if you had a romantic moment,

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Speaker 1: it worked. Did we have the same composer the whole time? No,

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Speaker 1: So the first two seasons it was or maybe the

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Speaker 1: first just the first season it was Mark Snow who

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Speaker 1: was the composer on Smallville.

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Speaker 3: Yeah. Yeah.

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Speaker 1: Then then we hired John Nordstrom, and I was part

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Speaker 1: of that hiring process. It must have been season three

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Speaker 1: because so the first two seasons I worked on the

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Speaker 1: show with Jennifer Pike and madonnoid Reid as their coordinator.

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Speaker 1: So I'm not credited, but I was there. Yeah, And

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Speaker 1: then season three and then they split up their partnership

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Speaker 1: and One Tree Hill kept me. So season three on

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Speaker 1: it was like me doing twenty two episodes a year.

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Speaker 1: I was like, actually, it's funny. There's a guy who

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Speaker 1: worked in our office who set me up with my husband.

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Speaker 1: But like when he first came in, he thought I

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Speaker 1: was a bitch because I was just like, I have

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Speaker 1: a job to do, like stop talking to me, like

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Speaker 1: you knows in a week, and I had a clear

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Speaker 1: not here to socialize those Season three we hired John Nordstrom.

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Speaker 1: We found that often we would like temp with songs

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Speaker 1: like instrumental versions of songs by a band, like not

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Speaker 1: necessarily songs you would know, but just you can probably tell,

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Speaker 1: like the score sounds like members of a band, right,

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Speaker 1: like it's real guitar. There are drums in there, you know,

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Speaker 1: especially when like Explosions in the Sky came out like,

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Speaker 1: you know, that score definitely inspired some of our score,

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Speaker 1: So we hired a composer who would do that, who

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Speaker 1: would like bring in like basically a band and like

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Speaker 1: write our songs because you know, our producers were like

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Speaker 1: band people. They wanted everything to sound like a song.

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Speaker 1: So we had so much original music totally. But Haley

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Speaker 1: and Nathan's theme, there's definitely a moment and I haven't

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Speaker 1: rewatched everything, but there's a moment. I think, does he

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Speaker 1: repropose to you by a lake somewhere?

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Speaker 3: Does he? I mean we got married?

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Speaker 1: He repropos There's a moment anyway, now, definitely in that

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Speaker 1: scene wherever.

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Speaker 4: That is, Okay, i'll look for it. At a cabin.

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Speaker 4: He reproposes at a cat. I have no memory of this.

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Speaker 4: Oh I'm sorry, guys.

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Speaker 3: Don't hate me.

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Speaker 1: It's when we go to Rachel's cabin. Yeah, but I

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Speaker 1: don't remember Nathan reproposing.

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Speaker 5: I'm remembering it because we were all so surprised when

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Speaker 5: we watched it on the podcast because there was that

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Speaker 5: doc behind his cabin. But we all remembered the nighttime

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Speaker 5: scenes where we were all closing around fire coat.

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Speaker 1: I think, so, isn't it funny? The things that come through.

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Speaker 1: You're like, here's the coat color. I'm like, there's a lake. Yeah,

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Speaker 1: it was in a green coat and my hair was down.

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Speaker 3: That's right.

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Speaker 4: I remember this now. Okay ah sweet, okay wait. I

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Speaker 4: do have a question now about our theme song, because

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Speaker 4: were you there from the beginning? Which did you find

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Speaker 4: Gavin with Gavin a friend of one of the higher

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Speaker 4: ups on the show, Like, how did that come together?

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Speaker 3: Because that theme song is so epic.

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Speaker 1: Totally I can't take credit for the theme song, but

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Speaker 1: Donna Wade Reid brought Gavin's song to the table. So

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Speaker 1: we made like a CD of ideas, and I believe

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Speaker 1: he was on it. I think a couple of songs

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Speaker 1: from him were on it. And Joe Devola was just

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Speaker 1: like this is yeah, Like oh my god, so yeah,

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Speaker 1: And so that album it was on Jay Records. Nothing

382
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Speaker 1: was really going on with him at the time, and

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Speaker 1: it had been out a little bit right, So and

384
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Speaker 1: actually our showrunner had a get up kids song in

385
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Speaker 1: mind called Overdue, which we actually did end up using

386
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Speaker 1: in the show and putting on one of our soundtracks,

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Speaker 1: but it was a little less uptempo. So obviously, like

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Speaker 1: Gavin made a Bigger Splash. Yeah, totally, and everybody loved

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Speaker 1: it because that song comes in with such energy and

390
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Speaker 1: it's interesting.

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Speaker 5: We are currently on the podcast in season eight and

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Speaker 5: season eight every artist covers it. And I don't mean

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Speaker 5: this to be critical in any way. They're all incredible

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Speaker 5: and it's cool to see how someone reimagines something.

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Speaker 1: But every time I hear a cover, I'm like, but

396
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Speaker 1: that's not the energy of the song, you know.

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Speaker 5: And maybe it's because we spent eight years getting so

398
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Speaker 5: used to the song, but it is. It's sort of

399
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Speaker 5: surreal when you realize that the actual music in a

400
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Speaker 5: song can be energetically thematic of a show itself.

401
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Speaker 6: I gotta say I came to the party very late, Lindsay. Obviously,

402
00:20:08,880 --> 00:20:11,560
Speaker 6: I joined season seven. When I got the job, I

403
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Speaker 6: went and bought the DVD box sets of seasons five

404
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Speaker 6: and six, and I remember the first night I sat down,

405
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Speaker 6: there's a group of my friends over and who started

406
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Speaker 6: to watch it. My very first impression of the show was,

407
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Speaker 6: holy crap, this show has incredible music, Like, so, you

408
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Speaker 6: did such a good job, and now it's like, are

409
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Speaker 6: we watching every episode? It's just it's crazy how consistently

410
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Speaker 6: strong it is, so I guess it's just I just

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Speaker 6: wanted to say, like, you, you did such a wonderful

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Speaker 6: job on this because as someone who's not very like

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Speaker 6: my wife makes money because I listened to the same

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Speaker 6: music I've listened to for like everybody else. Yeah, like,

415
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Speaker 6: like our Spotify playlists are so funny because mine is

416
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Speaker 6: like thirty two songs and hers is like thirty two

417
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Speaker 6: thousand songs because she's always flooring, and I'm like, I'll

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Speaker 6: stay within these six artists. So every episode and there's

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Speaker 6: so many new people, it always blows in mind. I'm like, how,

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Speaker 6: like how how do you do that? Like how do

421
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Speaker 6: you constantly keep so much new music in your orbit?

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Speaker 3: You're just out watching bands like every week, are you.

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Speaker 1: I guess it's.

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Speaker 4: Different now with streaming versus back then when you had

425
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Speaker 4: to catch new bands live or get a tape or

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Speaker 4: record or whatever.

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Speaker 1: I don't know if Sophia you in this when you

428
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Speaker 1: walked in, but we had like huge buckets for mail, yeah,

429
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Speaker 1: like two like people sent us CDs all the time,

430
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Speaker 1: and then figuring out what was actually good was the

431
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Speaker 1: hard part. Yeah, But it was also like, you know,

432
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Speaker 1: being still working now and there's great music always, but

433
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Speaker 1: I you know, it was a really great time for music,

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Speaker 1: and especially like indie rock, which which was like a lane.

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Speaker 1: We lived in a lot and I was twenty four

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Speaker 1: when the show started, so I really lived and breathed

437
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Speaker 1: this show like I was. I was into it. I

438
00:22:04,840 --> 00:22:07,520
Speaker 1: was a fan of it. I loved the music we used.

439
00:22:08,800 --> 00:22:11,040
Speaker 1: I loved how we used music, which I know, like

440
00:22:11,240 --> 00:22:15,880
Speaker 1: it's a lot for some people. Not all shows want

441
00:22:15,920 --> 00:22:18,760
Speaker 1: wall to wall music, but it was so much fun

442
00:22:18,920 --> 00:22:22,000
Speaker 1: and to like your point, Rob, I also think there

443
00:22:22,040 --> 00:22:25,520
Speaker 1: was like there was trust. Like for me it was

444
00:22:25,560 --> 00:22:29,320
Speaker 1: really amazing too, because the editors would be told like,

445
00:22:29,640 --> 00:22:32,080
Speaker 1: don't just throw in your own music, like use what

446
00:22:32,119 --> 00:22:35,199
Speaker 1: Lindsay sends you. And part of that was budget, but

447
00:22:35,240 --> 00:22:38,320
Speaker 1: there was that was also like every once in a while,

448
00:22:38,320 --> 00:22:40,000
Speaker 1: someone would like throw in a song and you'd be like,

449
00:22:40,040 --> 00:22:42,959
Speaker 1: whoa that that's for a forty year old audience. Like that,

450
00:22:43,119 --> 00:22:46,360
Speaker 1: we are catering to fifteen year olds. And I think

451
00:22:46,400 --> 00:22:49,920
Speaker 1: the other thing about catering to a young audience, they're

452
00:22:50,040 --> 00:22:56,199
Speaker 1: into music discovery, So using new artists is is like

453
00:22:56,320 --> 00:23:00,000
Speaker 1: exciting and and breaking an artist, or like using an

454
00:23:00,119 --> 00:23:02,520
Speaker 1: artist or a song you've never heard before and connecting

455
00:23:02,560 --> 00:23:07,240
Speaker 1: it with characters that you really care about is right,

456
00:23:07,320 --> 00:23:09,080
Speaker 1: Like it's a it's a It can be a pivotal

457
00:23:09,119 --> 00:23:11,800
Speaker 1: moment for a person, and it can be a pivotal

458
00:23:11,800 --> 00:23:16,680
Speaker 1: moment for the artist. Like honestly, oh my god, Joy,

459
00:23:16,680 --> 00:23:18,480
Speaker 1: I almost called you, Haley. I was like, I can't

460
00:23:18,520 --> 00:23:21,960
Speaker 1: call them, their character will be bad. But like when

461
00:23:21,960 --> 00:23:24,399
Speaker 1: you cut when you made Halo and we put that

462
00:23:24,480 --> 00:23:29,399
Speaker 1: on the second soundtrack that that song was used in

463
00:23:29,440 --> 00:23:32,159
Speaker 1: the episode. The day the soundtrack came out and the

464
00:23:32,280 --> 00:23:34,919
Speaker 1: label Maverick Records, I think was a little bit worried

465
00:23:34,960 --> 00:23:36,720
Speaker 1: that were like, wait, like, why is this the song

466
00:23:36,760 --> 00:23:39,600
Speaker 1: we're leading it? I was like, you, guys, everybody loves

467
00:23:39,640 --> 00:23:42,400
Speaker 1: Nathan and Haley. If this is the Nathan and Haley song,

468
00:23:43,000 --> 00:23:45,800
Speaker 1: that's a song they're gonna identify with. And it did

469
00:23:45,840 --> 00:23:49,160
Speaker 1: great for sure. Yeah, yeah, it was huge. By the way,

470
00:23:49,200 --> 00:23:51,199
Speaker 1: how kick ass was that song? I'm so jealous that

471
00:23:51,240 --> 00:23:51,960
Speaker 1: you got to sing it.

472
00:23:51,960 --> 00:23:55,120
Speaker 4: Like ah no, I mean she she Kara Diogorda, who

473
00:23:55,160 --> 00:23:58,160
Speaker 4: wrote that is super super talented, so lucky I got

474
00:23:58,200 --> 00:24:03,440
Speaker 4: to But what you were saying about characters, how how

475
00:24:03,440 --> 00:24:06,080
Speaker 4: it can support these different characters I think it's also

476
00:24:06,160 --> 00:24:11,080
Speaker 4: because the music and maybe you or you and the composer,

477
00:24:11,119 --> 00:24:14,600
Speaker 4: but you kind of created a character that was in

478
00:24:14,640 --> 00:24:17,520
Speaker 4: the show with us at all times. So that's what

479
00:24:17,640 --> 00:24:20,280
Speaker 4: the audience was feeling. It's not just like a score

480
00:24:20,320 --> 00:24:23,760
Speaker 4: that supports things. And you're right, not every show lends

481
00:24:23,760 --> 00:24:28,880
Speaker 4: itself to having wall to wall music. But because the music,

482
00:24:29,280 --> 00:24:33,200
Speaker 4: the musical sensibility that you guys had really became its

483
00:24:33,200 --> 00:24:37,359
Speaker 4: own character that we all were interacting with emotionally. I

484
00:24:37,359 --> 00:24:39,879
Speaker 4: think that's what made it so powerful. And then you

485
00:24:39,960 --> 00:24:43,199
Speaker 4: have the actual characters that came on the show, like

486
00:24:43,359 --> 00:24:46,080
Speaker 4: we got Cheryl Crowe, we got and we got Tyler

487
00:24:46,119 --> 00:24:51,480
Speaker 4: who came in how many of these musicians Kate, Michelle Featherstone.

488
00:24:52,520 --> 00:24:53,640
Speaker 1: I don't know if people knew.

489
00:24:53,520 --> 00:24:54,560
Speaker 3: Jana saying when she came on.

490
00:24:54,600 --> 00:24:56,960
Speaker 4: I'm not sure how that worked, but like, what was

491
00:24:57,040 --> 00:25:01,480
Speaker 4: your role in bringing in actual character onto our show

492
00:25:01,480 --> 00:25:02,760
Speaker 4: who would sing yeah?

493
00:25:02,800 --> 00:25:06,680
Speaker 1: So I was definitely involved in that. So Cheryl crow

494
00:25:06,760 --> 00:25:11,560
Speaker 1: started it all right. Gavin being on camera in season

495
00:25:11,600 --> 00:25:14,840
Speaker 1: one was part of the soundtrack deal. That was like sorry,

496
00:25:15,160 --> 00:25:16,359
Speaker 1: part of the theme song deal.

497
00:25:16,920 --> 00:25:21,440
Speaker 4: Wow, that he'd get to play it on camera exactly smart.

498
00:25:21,080 --> 00:25:24,600
Speaker 1: And then the Cheryl Crow thing happened because she had

499
00:25:24,680 --> 00:25:28,840
Speaker 1: a best of album and Interscope Records called us and

500
00:25:28,960 --> 00:25:31,680
Speaker 1: was like, oh my god, we'd love to get Cheryl

501
00:25:32,200 --> 00:25:34,600
Speaker 1: to perform live on a show. And she was calling

502
00:25:34,680 --> 00:25:36,920
Speaker 1: us as people who were working on four shows, right,

503
00:25:37,400 --> 00:25:41,879
Speaker 1: she called us, she called Daisy Music. I think they

504
00:25:41,920 --> 00:25:45,120
Speaker 1: were like so to be like, does Las Vegas, does Smallville?

505
00:25:45,200 --> 00:25:49,200
Speaker 1: Does whatever? We where? We have four shows? Yeah, And

506
00:25:49,240 --> 00:25:53,040
Speaker 1: they were like, we wanted to air in February because

507
00:25:53,040 --> 00:25:54,119
Speaker 1: that maybe that's when it came out.

508
00:25:54,280 --> 00:25:57,720
Speaker 4: She was on tour, wasn't she Yeah she was because

509
00:25:57,720 --> 00:25:59,639
Speaker 4: it was fast. She was in and out very fast.

510
00:26:00,040 --> 00:26:01,920
Speaker 1: They wanted to air in February. And the only show

511
00:26:01,960 --> 00:26:04,560
Speaker 1: we were working on that hadn't filmed all their episodes

512
00:26:04,560 --> 00:26:06,520
Speaker 1: that were gonna air in February was One Tree Hill

513
00:26:06,880 --> 00:26:10,359
Speaker 1: WHOA and of course Gotable was like a huge Cheryl

514
00:26:10,400 --> 00:26:12,600
Speaker 1: Crow fan before. Anyways, it was like we have to

515
00:26:12,640 --> 00:26:18,120
Speaker 1: hear this happened, and Jimmy Iveen used his private jet

516
00:26:18,119 --> 00:26:20,320
Speaker 1: to fire out on it was Super Bowl Sunday. She

517
00:26:20,400 --> 00:26:24,399
Speaker 1: flew in and out. Who's Jimmy Iveen, He's a Interscope.

518
00:26:26,400 --> 00:26:29,120
Speaker 6: As the only musician in the group, the three of us.

519
00:26:29,119 --> 00:26:29,560
Speaker 6: I love that.

520
00:26:29,720 --> 00:26:31,000
Speaker 1: You should watch that documentary.

521
00:26:31,000 --> 00:26:35,520
Speaker 6: Though there's a documentary all that this Steven Spielberg.

522
00:26:35,000 --> 00:26:42,480
Speaker 7: Guy see like a big deal just before we transition

523
00:26:42,600 --> 00:26:45,520
Speaker 7: off of theme songs, because obviously One Tree Hill's theme

524
00:26:45,560 --> 00:26:48,680
Speaker 7: song is like kind of it's pretty iconic, and there's

525
00:26:48,720 --> 00:26:53,200
Speaker 7: just been such a change in television where every show used.

526
00:26:53,040 --> 00:26:55,320
Speaker 6: To have a theme song, and they used to be like,

527
00:26:55,440 --> 00:26:57,359
Speaker 6: I can tell you every word of the Golden Girls

528
00:26:57,359 --> 00:26:59,679
Speaker 6: theme song. I'm sure everyone has a couple that they

529
00:26:59,800 --> 00:27:04,280
Speaker 6: just I love so much. What percentage of shows today

530
00:27:04,440 --> 00:27:07,640
Speaker 6: would you say, actually even have a proper theme song.

531
00:27:07,880 --> 00:27:10,199
Speaker 1: I mean, I don't have an answer to that, but

532
00:27:11,960 --> 00:27:15,040
Speaker 1: they here's the thing, so, so it cost a lot

533
00:27:15,040 --> 00:27:17,719
Speaker 1: of money to license I don't want to be as

534
00:27:17,760 --> 00:27:20,840
Speaker 1: our theme song now. Of course when it started, you know,

535
00:27:20,880 --> 00:27:23,520
Speaker 1: when they do the deal, they plan, you know, they

536
00:27:23,520 --> 00:27:25,879
Speaker 1: look ahead that you know, so the show could go

537
00:27:25,920 --> 00:27:28,320
Speaker 1: on for multiple seasons. I don't negotiate that deal. The

538
00:27:28,320 --> 00:27:33,080
Speaker 1: studio negotiates theme song deals. Yeah, but so, like you know,

539
00:27:33,400 --> 00:27:35,720
Speaker 1: it probably didn't cost that much much to have to

540
00:27:35,800 --> 00:27:38,119
Speaker 1: license a theme song season one, but then by like

541
00:27:38,160 --> 00:27:41,879
Speaker 1: season five or season eight, I know, because we basically

542
00:27:42,960 --> 00:27:44,959
Speaker 1: took the theme song fee and that's how we were

543
00:27:44,960 --> 00:27:48,360
Speaker 1: able to have those original covers made. But so that

544
00:27:48,440 --> 00:27:50,920
Speaker 1: costs money every episode, right, and you have to pay

545
00:27:50,960 --> 00:27:53,359
Speaker 1: for you when you license songs you have to get

546
00:27:53,640 --> 00:27:55,520
Speaker 1: you have to pay the songwriter, so that's the publishing,

547
00:27:55,600 --> 00:27:58,560
Speaker 1: and then you have to pay the label or recording owner.

548
00:27:59,160 --> 00:28:03,280
Speaker 1: So it's time too. So it became much more popular

549
00:28:03,440 --> 00:28:07,000
Speaker 1: to create theme songs that the studios own. Like if

550
00:28:07,000 --> 00:28:10,840
Speaker 1: there is a theme song these days, it's usually created

551
00:28:10,880 --> 00:28:13,280
Speaker 1: for the show and owned by the studio that owns

552
00:28:13,320 --> 00:28:16,080
Speaker 1: the show, and then they can use it for marketing purposes.

553
00:28:16,600 --> 00:28:18,960
Speaker 1: They can use it wherever they want because they own it, right,

554
00:28:19,040 --> 00:28:21,040
Speaker 1: So that makes a lot of sense. But you're right,

555
00:28:21,960 --> 00:28:24,359
Speaker 1: Even in the later seasons of One Tree Hill, you

556
00:28:24,400 --> 00:28:27,879
Speaker 1: see us just using the title card and you just

557
00:28:27,960 --> 00:28:31,679
Speaker 1: get into the show. So I agree. Sometimes I like

558
00:28:31,720 --> 00:28:33,399
Speaker 1: that we can just get into the show. Like Virgin

559
00:28:33,480 --> 00:28:36,239
Speaker 1: River doesn't have a theme song. We just do a

560
00:28:36,280 --> 00:28:40,520
Speaker 1: title card, but there's usually there's actually like a there's

561
00:28:40,560 --> 00:28:42,680
Speaker 1: definitely a theme that the composer has made that is

562
00:28:42,760 --> 00:28:44,320
Speaker 1: usually used over that.

563
00:28:44,520 --> 00:28:48,360
Speaker 5: Yeah, you get in musically, but you don't necessarily have

564
00:28:48,520 --> 00:28:53,960
Speaker 5: the montage of cuts and people and characters and things that.

565
00:28:54,880 --> 00:28:56,600
Speaker 5: I mean, it's fun for us to watch. It feels

566
00:28:56,640 --> 00:28:59,600
Speaker 5: very nostalgic. But it also to Rob's point, because people

567
00:28:59,600 --> 00:29:01,800
Speaker 5: don't really do it anymore, it does feel a little dated.

568
00:29:02,520 --> 00:29:05,520
Speaker 4: I just don't think audiences care anymore. They're too they're

569
00:29:05,520 --> 00:29:07,480
Speaker 4: too short of attention.

570
00:29:07,560 --> 00:29:09,960
Speaker 1: So well, they want to get into the show, right. Yeah.

571
00:29:09,960 --> 00:29:11,560
Speaker 4: It's like, I don't care who these actors are. I

572
00:29:11,600 --> 00:29:13,760
Speaker 4: don't care who's telling me this story. Just tell it

573
00:29:13,760 --> 00:29:16,320
Speaker 4: to me. Nobody even stays for credits after movies. I

574
00:29:16,320 --> 00:29:18,840
Speaker 4: watch people after Broadway shows lead before the curtain call.

575
00:29:18,920 --> 00:29:20,440
Speaker 4: People are just so self flashing.

576
00:29:21,160 --> 00:29:24,440
Speaker 6: It's like it's crazy crazy pop. Like we know it's there,

577
00:29:24,440 --> 00:29:26,440
Speaker 6: it just takes too long. Let's just get right to it.

578
00:29:26,640 --> 00:29:29,720
Speaker 1: Really, cursive actually makes your life easier.

579
00:29:29,840 --> 00:29:33,040
Speaker 4: It's a whole other story. You will write faster if

580
00:29:33,040 --> 00:29:35,680
Speaker 4: you learn cursive. Yeah wait, but tell us more about

581
00:29:35,680 --> 00:29:37,160
Speaker 4: I want to know about how. I do want to

582
00:29:37,160 --> 00:29:39,920
Speaker 4: know about how Tyler and you know we got Cheryl Crow,

583
00:29:40,040 --> 00:29:41,720
Speaker 4: but I want to know more about this.

584
00:29:41,920 --> 00:29:44,320
Speaker 1: Oh yeah, Cheryl Crow. We took advantage of an opportunity

585
00:29:44,360 --> 00:29:46,560
Speaker 1: and then we were like, hey, this is really cool

586
00:29:47,280 --> 00:29:49,920
Speaker 1: instead of and it was like a rush so and right,

587
00:29:50,000 --> 00:29:52,520
Speaker 1: like it was like a lame setup. It was like

588
00:29:53,000 --> 00:29:55,360
Speaker 1: she stops by the cafe for a coffee, and it's

589
00:29:55,440 --> 00:29:57,520
Speaker 1: like a coffee for a song, you know. I was

590
00:29:57,680 --> 00:29:59,560
Speaker 1: just like I didn't know how to move.

591
00:29:59,680 --> 00:30:01,800
Speaker 4: I was paralyzed because I'd been listening to her since

592
00:30:01,840 --> 00:30:04,360
Speaker 4: I was like fourteen years old. She was my music

593
00:30:04,440 --> 00:30:05,720
Speaker 4: idol other than Billy Joel.

594
00:30:06,040 --> 00:30:08,240
Speaker 1: Did you get to connect with her much or not?

595
00:30:08,600 --> 00:30:09,360
Speaker 1: We didn't know.

596
00:30:09,440 --> 00:30:11,840
Speaker 4: I mean, we just no, because I was afraid to

597
00:30:11,880 --> 00:30:14,080
Speaker 4: talk to her, like we were all in between steps.

598
00:30:14,480 --> 00:30:17,320
Speaker 1: We're so intimidating. That's how I felt when I came

599
00:30:17,360 --> 00:30:19,640
Speaker 1: to set, because I was like, like, I'm not usually here,

600
00:30:19,760 --> 00:30:21,480
Speaker 1: Like you guys probably don't even know I was there.

601
00:30:22,080 --> 00:30:23,160
Speaker 1: I don't really remember.

602
00:30:23,280 --> 00:30:25,760
Speaker 5: I just remember I was actually really glad that I

603
00:30:25,920 --> 00:30:28,120
Speaker 5: was also such a fanboy that I was like, I'm

604
00:30:28,160 --> 00:30:30,440
Speaker 5: just gonna can I come to work? Like I remember asking,

605
00:30:30,560 --> 00:30:31,960
Speaker 5: I'm not in the scene. Am I allowed to come?

606
00:30:32,000 --> 00:30:34,280
Speaker 5: And they were like, well, yeah, you work here, And

607
00:30:34,760 --> 00:30:37,560
Speaker 5: I remember just standing there and then being like, how

608
00:30:37,560 --> 00:30:38,800
Speaker 5: do I explain why I'm here?

609
00:30:38,800 --> 00:30:39,760
Speaker 1: I'm not in the scene.

610
00:30:40,480 --> 00:30:43,400
Speaker 5: But it was such a relief, Lindsay, for Joy and

611
00:30:43,440 --> 00:30:45,840
Speaker 5: I to have each other because essentially the show had

612
00:30:45,920 --> 00:30:47,320
Speaker 5: just started, and.

613
00:30:47,480 --> 00:30:49,440
Speaker 1: Thank god, like we were in the corner being like.

614
00:30:49,360 --> 00:30:50,560
Speaker 6: What do you think we do?

615
00:30:50,600 --> 00:30:53,000
Speaker 1: We like say something to her? We know we should

616
00:30:53,320 --> 00:30:55,080
Speaker 1: we should like what should we talk? We should? We

617
00:30:55,080 --> 00:30:57,120
Speaker 1: should we be okay, we should be talking to each other.

618
00:30:57,200 --> 00:30:59,080
Speaker 5: And then it was like we were talking about what

619
00:30:59,120 --> 00:31:01,360
Speaker 5: we should be talking about. When Cheryl Crow was looking

620
00:31:01,400 --> 00:31:05,320
Speaker 5: at us instead of just talking. It was so ridiculous

621
00:31:05,320 --> 00:31:07,040
Speaker 5: and juvenile and embarrassing and sweet.

622
00:31:08,360 --> 00:31:11,160
Speaker 1: Well now you know how people probably feel around you, guys. Yeah, no,

623
00:31:11,320 --> 00:31:12,520
Speaker 1: she was so nice.

624
00:31:12,240 --> 00:31:14,840
Speaker 5: But like, I'm glad we had each other's hands to

625
00:31:14,880 --> 00:31:15,840
Speaker 5: hold in the corner.

626
00:31:16,080 --> 00:31:18,400
Speaker 1: Usually, yeah, when I'm on camera, I know what I'm doing.

627
00:31:18,440 --> 00:31:20,080
Speaker 4: I feel like I could be in control to see

628
00:31:20,280 --> 00:31:22,000
Speaker 4: in whatever way I need too, which she was on

629
00:31:22,080 --> 00:31:24,080
Speaker 4: care I felt like I was in her music video.

630
00:31:24,160 --> 00:31:26,840
Speaker 4: And just the sheer props of me having to like

631
00:31:27,000 --> 00:31:28,920
Speaker 4: get money out of the cash register and hand her

632
00:31:28,960 --> 00:31:31,160
Speaker 4: her coffee. I mean, thank god my character was supposed

633
00:31:31,200 --> 00:31:32,280
Speaker 4: to be starstruck, because I.

634
00:31:32,240 --> 00:31:33,600
Speaker 1: Definitely it worked.

635
00:31:33,680 --> 00:31:36,480
Speaker 4: Was not behaving like a series regular on my own

636
00:31:36,560 --> 00:31:38,560
Speaker 4: you know, our show, it's just ridiculous.

637
00:31:39,280 --> 00:31:41,960
Speaker 1: And then what about Tyler Well And just to jump

638
00:31:41,960 --> 00:31:44,760
Speaker 1: off Cheryl Crow, I think they were like, wait, these

639
00:31:44,880 --> 00:31:47,200
Speaker 1: labels and musicians might want to be on the show,

640
00:31:47,240 --> 00:31:49,800
Speaker 1: Like that's the coolest thing ever. Instead of having it

641
00:31:49,840 --> 00:31:52,960
Speaker 1: be Karen's Cafe, like, let's create Trick so that when

642
00:31:52,960 --> 00:31:55,720
Speaker 1: people come, they're playing a venue and it makes sense.

643
00:31:55,880 --> 00:31:59,680
Speaker 5: Right, Oh, that's so great because you can't keep getting

644
00:31:59,720 --> 00:32:02,560
Speaker 5: big artists to do what is essentially an open mic night.

645
00:32:02,720 --> 00:32:03,360
Speaker 1: Yes, exactly.

646
00:32:04,600 --> 00:32:08,000
Speaker 4: Wow, So Trick wasn't even a plan on anybody's schedule

647
00:32:08,040 --> 00:32:09,760
Speaker 4: until we were like, oh we could get real artists.

648
00:32:09,800 --> 00:32:11,560
Speaker 3: They need a place to play, let's have that.

649
00:32:11,760 --> 00:32:14,440
Speaker 1: Just open up a bar. That's my understanding of it. Yeah,

650
00:32:14,640 --> 00:32:15,840
Speaker 1: whoa wow.

651
00:32:16,080 --> 00:32:19,440
Speaker 4: Yeah. Again, the character of the music itself and what

652
00:32:19,480 --> 00:32:22,840
Speaker 4: you guys created, that is how the writers would write.

653
00:32:22,880 --> 00:32:24,800
Speaker 4: They would watch what's going on with the characters and go,

654
00:32:24,880 --> 00:32:26,640
Speaker 4: you know what, I think this character is going to

655
00:32:26,680 --> 00:32:30,080
Speaker 4: do this next. And so if the music really had

656
00:32:30,200 --> 00:32:32,280
Speaker 4: its own body in.

657
00:32:32,280 --> 00:32:34,240
Speaker 5: A way, wait, and that makes me want to ask

658
00:32:34,280 --> 00:32:38,680
Speaker 5: a question because I was I was wondering earlier, given

659
00:32:38,680 --> 00:32:40,880
Speaker 5: the fact that you guys would make these playlists and

660
00:32:41,000 --> 00:32:45,680
Speaker 5: essentially suggest songs for scripts. I was like, oh, I

661
00:32:45,680 --> 00:32:47,840
Speaker 5: wonder if we ever changed a script or wrote a

662
00:32:47,840 --> 00:32:50,760
Speaker 5: scene around a specific song. Clearly we wrote a whole

663
00:32:50,800 --> 00:32:53,360
Speaker 5: scene around Cheryl Crow coming to say.

664
00:32:53,400 --> 00:32:55,840
Speaker 1: Question, But did that continue to happen?

665
00:32:56,040 --> 00:32:58,240
Speaker 5: Like if you guys would read a script and some

666
00:32:58,440 --> 00:33:02,840
Speaker 5: song would feel perfect. Would would the songs actually inspire

667
00:33:02,880 --> 00:33:05,120
Speaker 5: the scenes as the show developed?

668
00:33:05,280 --> 00:33:05,520
Speaker 4: Well?

669
00:33:05,880 --> 00:33:08,040
Speaker 1: So I made we made mixes, so we had we

670
00:33:08,120 --> 00:33:10,120
Speaker 1: called it hand picked, so we would make a mix

671
00:33:10,400 --> 00:33:12,640
Speaker 1: that was just like stuff we generally thought was good

672
00:33:12,640 --> 00:33:14,480
Speaker 1: for the show. And then there was like the Peyton's mix,

673
00:33:14,560 --> 00:33:16,160
Speaker 1: and then there was a Karen's Cafe mix, but that

674
00:33:16,240 --> 00:33:18,600
Speaker 1: was usually just like in D singer songwriter to go

675
00:33:18,600 --> 00:33:23,480
Speaker 1: in the background and you know, uh yeah, our producers

676
00:33:23,520 --> 00:33:26,280
Speaker 1: would listen to them and like, I think right with

677
00:33:26,360 --> 00:33:31,200
Speaker 1: them while listening to them. So so there would be

678
00:33:31,240 --> 00:33:33,680
Speaker 1: conversations like, oh my gosh, I really liked that song.

679
00:33:33,760 --> 00:33:36,080
Speaker 1: I'm thinking of it for this sing. I don't know

680
00:33:36,120 --> 00:33:40,000
Speaker 1: that it would necessarily inspire a scene, but you know,

681
00:33:40,480 --> 00:33:42,760
Speaker 1: you know, the whole schedule of like shooting kind of

682
00:33:42,880 --> 00:33:47,000
Speaker 1: July to or at least like end of April, right

683
00:33:47,120 --> 00:33:49,320
Speaker 1: end of April, but my job continued through May, so yeah,

684
00:33:49,360 --> 00:33:51,560
Speaker 1: the job was usually almost like August to May. So

685
00:33:51,680 --> 00:33:58,440
Speaker 1: in June there was usually like I remember, I think

686
00:33:58,480 --> 00:34:00,680
Speaker 1: it was after season. I don't know what year it was,

687
00:34:00,720 --> 00:34:06,160
Speaker 1: but like I just remember discovering the Frightened Rabbit album

688
00:34:06,440 --> 00:34:07,840
Speaker 1: that like we used a bunch of songs off of.

689
00:34:07,880 --> 00:34:09,560
Speaker 1: I can't remember the name of it right now, but

690
00:34:09,640 --> 00:34:11,719
Speaker 1: like I remember just like listening to it in May

691
00:34:11,760 --> 00:34:15,040
Speaker 1: or June and like handing it over to them and

692
00:34:15,080 --> 00:34:17,240
Speaker 1: being like, I think this is the sound of next season.

693
00:34:17,320 --> 00:34:22,440
Speaker 1: Like even for score, like sentrumentation was so cool, and

694
00:34:22,480 --> 00:34:24,400
Speaker 1: then like a week later being like, yeah, I think

695
00:34:24,440 --> 00:34:26,520
Speaker 1: you're right, Like this is so cool. I love it.

696
00:34:27,920 --> 00:34:29,799
Speaker 1: So there were things like that, right, and then there

697
00:34:29,800 --> 00:34:32,520
Speaker 1: were things like I would get a tip like hey,

698
00:34:33,000 --> 00:34:35,400
Speaker 1: I think we're going to write in a character like

699
00:34:35,440 --> 00:34:37,680
Speaker 1: Peyton's gonna sign an artist, right, so with Kate Fogel,

700
00:34:37,680 --> 00:34:40,719
Speaker 1: they're like Peyton's gonna sign an artist this year. I'd

701
00:34:40,760 --> 00:34:42,839
Speaker 1: love some ideas of who you think would be good

702
00:34:42,920 --> 00:34:46,239
Speaker 1: for it. So I like went away and like was

703
00:34:46,280 --> 00:34:49,400
Speaker 1: like you know, like looking up who I thought was

704
00:34:49,520 --> 00:34:54,480
Speaker 1: or like going into my iTunes when I used to

705
00:34:54,480 --> 00:34:58,400
Speaker 1: listen to and being like who would who would be

706
00:34:58,400 --> 00:35:01,640
Speaker 1: cool for this, and maybe talking and talking to the

707
00:35:01,719 --> 00:35:04,560
Speaker 1: labels being like, you know, would they be open to this,

708
00:35:04,760 --> 00:35:06,120
Speaker 1: or like who do you think who has a new

709
00:35:06,120 --> 00:35:08,200
Speaker 1: album coming that might want to promote it by being

710
00:35:08,200 --> 00:35:11,759
Speaker 1: on the show, so for Kate's role, like and then

711
00:35:11,800 --> 00:35:14,279
Speaker 1: I like walked in to their office with like a

712
00:35:14,280 --> 00:35:17,120
Speaker 1: bunch of CDs and I was like, Okay, here is

713
00:35:18,040 --> 00:35:20,520
Speaker 1: Suzie Sue, who's an artist, like an independent artist we

714
00:35:20,560 --> 00:35:22,319
Speaker 1: had used a bunch of times. And then I was like,

715
00:35:22,680 --> 00:35:25,840
Speaker 1: wouldn't it be cool if Haley from Paramore was like

716
00:35:25,920 --> 00:35:29,680
Speaker 1: this girl right, she felt very Peyton's vibe. But of course,

717
00:35:30,760 --> 00:35:32,560
Speaker 1: so she was on the list. The labels like she's

718
00:35:32,560 --> 00:35:38,440
Speaker 1: not doing solo stuff, so like sorry, And then I

719
00:35:38,480 --> 00:35:42,680
Speaker 1: remember like them being like what about this girl Sarah

720
00:35:42,719 --> 00:35:45,320
Speaker 1: Burrellis And I was like, okay, I'll bring that album

721
00:35:45,360 --> 00:35:47,920
Speaker 1: over anyway. So they are all these and then Kate's

722
00:35:47,960 --> 00:35:51,880
Speaker 1: album was in front of us, which really had a

723
00:35:51,920 --> 00:35:54,279
Speaker 1: lot of songs. So part of what we listened for

724
00:35:54,520 --> 00:35:56,399
Speaker 1: was like songs on the album that we knew would

725
00:35:56,440 --> 00:35:58,600
Speaker 1: work for the show, because like, if you can't use

726
00:35:58,640 --> 00:36:01,000
Speaker 1: the artist music, then the doesn't make sense to put

727
00:36:01,040 --> 00:36:05,760
Speaker 1: them on the show. And Kate was managed by Debbie Wilson,

728
00:36:05,800 --> 00:36:09,759
Speaker 1: who had managed Gavin. She was like she knew the

729
00:36:09,880 --> 00:36:15,319
Speaker 1: drill to like she knew the value and and Kate

730
00:36:15,400 --> 00:36:17,919
Speaker 1: was young too, like so she like she like fit

731
00:36:18,040 --> 00:36:22,439
Speaker 1: the mold and was obviously awesome. So that worked out

732
00:36:22,640 --> 00:36:27,120
Speaker 1: really well. So cool she was on my Space records.

733
00:36:27,160 --> 00:36:33,400
Speaker 1: Like that's like such a oh my gosh, so so cool.

734
00:36:46,000 --> 00:36:46,719
Speaker 1: I imagine.

735
00:36:46,880 --> 00:36:48,880
Speaker 5: I mean, to Rob's point about the length of a

736
00:36:48,920 --> 00:36:52,520
Speaker 5: playlist you have, I mean, you have a like a

737
00:36:52,600 --> 00:36:57,520
Speaker 5: National Library length of playlists in your world, in your brain,

738
00:36:59,120 --> 00:37:03,040
Speaker 5: I'm like, how do you ever even remember all the music?

739
00:37:03,080 --> 00:37:06,720
Speaker 5: And then in this other way, I wonder for you,

740
00:37:06,800 --> 00:37:10,600
Speaker 5: because you know music so well, are there songs that

741
00:37:10,719 --> 00:37:14,120
Speaker 5: immediately bring you back? Like if you hear a song,

742
00:37:14,160 --> 00:37:15,759
Speaker 5: you feel like you're back on One Tree Hill, you

743
00:37:15,800 --> 00:37:18,200
Speaker 5: hear another song, you feel like you're on Smallville. Does

744
00:37:18,280 --> 00:37:22,040
Speaker 5: music just pull you into all these kind of memories

745
00:37:22,120 --> 00:37:23,920
Speaker 5: as you're out in the world.

746
00:37:24,719 --> 00:37:30,600
Speaker 1: I mean definitely, just like you would like when you're

747
00:37:30,640 --> 00:37:32,600
Speaker 1: in a relationship and you have like songs from that

748
00:37:32,640 --> 00:37:35,319
Speaker 1: time period, right, I actually so, I don't know if

749
00:37:35,320 --> 00:37:37,480
Speaker 1: you guys know, but my I lost my home and

750
00:37:37,520 --> 00:37:42,960
Speaker 1: the Palasa's fire like when I'm so sorry. I have

751
00:37:43,080 --> 00:37:46,440
Speaker 1: lost all those CDs, but I did have in my

752
00:37:46,640 --> 00:37:50,839
Speaker 1: car one of those. I still had a CD player

753
00:37:50,840 --> 00:37:53,279
Speaker 1: in my car. But one of those things you put

754
00:37:53,280 --> 00:37:57,120
Speaker 1: on your visor that has likes, I have that. And

755
00:37:57,160 --> 00:38:00,960
Speaker 1: most of them are mixtapes from like know or mix

756
00:38:01,040 --> 00:38:04,200
Speaker 1: CDs right that I made from like two thousand and

757
00:38:04,320 --> 00:38:08,560
Speaker 1: seven on or whatever, So those things because I used

758
00:38:08,560 --> 00:38:10,719
Speaker 1: to make them for myself to like, or I'd make

759
00:38:10,760 --> 00:38:12,560
Speaker 1: them for the show and then i'd also like take

760
00:38:12,840 --> 00:38:16,440
Speaker 1: them home and listen and in my car. So I

761
00:38:16,560 --> 00:38:19,920
Speaker 1: do have those, and they're definitely there's definitely songs that

762
00:38:19,920 --> 00:38:22,200
Speaker 1: we don't even use that like I just thought would

763
00:38:22,239 --> 00:38:24,120
Speaker 1: be so right and tried to get in the show

764
00:38:24,200 --> 00:38:26,720
Speaker 1: so many times. So like some of those bring back memories.

765
00:38:27,160 --> 00:38:30,880
Speaker 1: I definitely have some favorite placements. I definitely also have

766
00:38:30,920 --> 00:38:34,680
Speaker 1: some like Heartache there were you know we got not

767
00:38:34,800 --> 00:38:38,080
Speaker 1: everybody said yes, yeah, who did you? Who were you after?

768
00:38:38,360 --> 00:38:39,640
Speaker 6: This is what I wanted to ask you.

769
00:38:39,680 --> 00:38:40,120
Speaker 4: I was dying.

770
00:38:40,200 --> 00:38:42,480
Speaker 6: I was dying to know, like who is your white whale?

771
00:38:42,520 --> 00:38:44,520
Speaker 6: Like is there an artist or a track that you

772
00:38:44,600 --> 00:38:45,719
Speaker 6: just were never able to.

773
00:38:45,680 --> 00:38:48,799
Speaker 1: Get well, I wouldn't even say well, I guess a

774
00:38:48,880 --> 00:38:51,919
Speaker 1: career white whale. I've never been able to license no doubt,

775
00:38:52,000 --> 00:38:55,240
Speaker 1: and I am a huge no doubt fan. We actually

776
00:38:55,760 --> 00:38:58,640
Speaker 1: season one there was a scene where like Brook drives

777
00:38:58,680 --> 00:39:00,439
Speaker 1: to the or I don't know what's he was, Brook

778
00:39:00,520 --> 00:39:03,719
Speaker 1: drives to the river court and her like blue bug, right, yeah,

779
00:39:04,200 --> 00:39:09,160
Speaker 1: And we had tempted No doubt It's my Life, which

780
00:39:09,200 --> 00:39:11,680
Speaker 1: was big at the time, and of course we did

781
00:39:11,719 --> 00:39:14,160
Speaker 1: not get approval on that. It wasn't a that was

782
00:39:14,200 --> 00:39:17,239
Speaker 1: a kind of a throwaway moment. It's not like the

783
00:39:17,280 --> 00:39:19,760
Speaker 1: song hinged on the montage. Yeah, how did they.

784
00:39:19,760 --> 00:39:23,760
Speaker 4: Go with direct You know, it's so many incoming directors

785
00:39:23,760 --> 00:39:26,400
Speaker 4: on the show, so many guest directors. It was a

786
00:39:26,440 --> 00:39:30,799
Speaker 4: constant revolving door where there are many times when a

787
00:39:30,880 --> 00:39:33,480
Speaker 4: director would really insist on their like music that they

788
00:39:33,480 --> 00:39:35,319
Speaker 4: really liked, and you're like, this does not work, this

789
00:39:35,400 --> 00:39:37,160
Speaker 4: is not what we should be doing. But you had

790
00:39:37,160 --> 00:39:39,400
Speaker 4: to sort of just let it go. Or was it

791
00:39:39,440 --> 00:39:41,000
Speaker 4: always up to the producers at the end of the

792
00:39:41,040 --> 00:39:43,000
Speaker 4: day to be like a Lindsay fix it.

793
00:39:43,000 --> 00:39:44,840
Speaker 1: It was always up to the producers. I mean that

794
00:39:44,960 --> 00:39:47,160
Speaker 1: was the interesting thing, right, Like the directors come in

795
00:39:47,239 --> 00:39:49,759
Speaker 1: and out, so it's really up to the producers to

796
00:39:50,640 --> 00:39:53,120
Speaker 1: keep the tone. I'm sure you felt that too from

797
00:39:53,200 --> 00:39:56,879
Speaker 1: like you know, Range Hartley and those people ton't really

798
00:39:57,080 --> 00:40:01,000
Speaker 1: like every so we definitely had there was one director

799
00:40:02,760 --> 00:40:04,920
Speaker 1: who was like everyone. It was different, right, Like some

800
00:40:04,960 --> 00:40:07,160
Speaker 1: people were really into music and had strong opinions and

801
00:40:07,200 --> 00:40:10,120
Speaker 1: others didn't. And yeah, there was only like one who

802
00:40:10,239 --> 00:40:13,480
Speaker 1: was like super opinion about music, but he was he

803
00:40:13,560 --> 00:40:15,680
Speaker 1: had good music tastes. We just couldn't afford it all.

804
00:40:16,120 --> 00:40:18,560
Speaker 6: So yeah, okay, he was like, in this scene, we're

805
00:40:18,560 --> 00:40:19,680
Speaker 6: going to use the Beatles again.

806
00:40:22,360 --> 00:40:25,040
Speaker 5: So that's actually something I really want to touch on

807
00:40:25,120 --> 00:40:28,000
Speaker 5: because you know, you've alluded to when I got to

808
00:40:28,000 --> 00:40:31,520
Speaker 5: come and visit your office, and it's what we were

809
00:40:31,560 --> 00:40:36,759
Speaker 5: mentioning early in the conversation. You know, as directors, it's

810
00:40:36,760 --> 00:40:40,359
Speaker 5: so exciting to work with all your department heads and

811
00:40:40,400 --> 00:40:44,240
Speaker 5: to plan amazing things with your camera department and figure

812
00:40:44,239 --> 00:40:45,440
Speaker 5: out what equipment you're going to.

813
00:40:45,360 --> 00:40:45,839
Speaker 1: Get to rent.

814
00:40:45,880 --> 00:40:49,400
Speaker 5: Like I remember when we were doing our seasons as directors,

815
00:40:49,440 --> 00:40:50,720
Speaker 5: it was like, am I going to get a crane

816
00:40:50,719 --> 00:40:51,600
Speaker 5: in my episode?

817
00:40:52,239 --> 00:40:54,120
Speaker 1: And it was a really big deal.

818
00:40:54,160 --> 00:40:58,760
Speaker 5: To figure out your music, and I think especially for us,

819
00:40:58,840 --> 00:41:01,360
Speaker 5: you know, whether it was cast directing or some of

820
00:41:01,400 --> 00:41:04,279
Speaker 5: the folks you mentioned Lindsay like Greg, who directed I

821
00:41:04,280 --> 00:41:07,000
Speaker 5: think maybe more episodes of our show than anyone, because

822
00:41:07,000 --> 00:41:11,560
Speaker 5: he was our on site executive producer. You know, it

823
00:41:11,640 --> 00:41:14,759
Speaker 5: was exciting for us to know the show so well

824
00:41:14,760 --> 00:41:17,759
Speaker 5: but also know our place and understand as directors we

825
00:41:17,760 --> 00:41:21,640
Speaker 5: were very new and I know I said thank you

826
00:41:21,680 --> 00:41:24,560
Speaker 5: at the time, but I want to reiterate it. I'm

827
00:41:24,560 --> 00:41:26,560
Speaker 5: still so tickled when I think about the fact that

828
00:41:26,600 --> 00:41:28,640
Speaker 5: when I flew to LA for my first day in

829
00:41:28,680 --> 00:41:33,040
Speaker 5: the editing room, I called you because A I wanted

830
00:41:33,040 --> 00:41:34,960
Speaker 5: to come in and really see how you did your job,

831
00:41:35,080 --> 00:41:38,480
Speaker 5: and B I was bringing one of my best friends, Jenny,

832
00:41:38,880 --> 00:41:41,160
Speaker 5: who was shadowing me as a director, who now, by

833
00:41:41,160 --> 00:41:44,000
Speaker 5: the way, is producing on like Marvel and Showtime and

834
00:41:44,080 --> 00:41:47,960
Speaker 5: crushing proud. I'm like, I'm so proud of her. But

835
00:41:48,000 --> 00:41:50,359
Speaker 5: at the time, her dream was to be a music supervisor.

836
00:41:50,960 --> 00:41:53,759
Speaker 5: And you were so generous with your time because not

837
00:41:53,880 --> 00:41:57,319
Speaker 5: only did you bring us in and go over song

838
00:41:57,400 --> 00:41:59,560
Speaker 5: options with me and how things work and show us

839
00:41:59,600 --> 00:42:02,839
Speaker 5: the bin and explain, you know, how you would get

840
00:42:02,880 --> 00:42:07,120
Speaker 5: to these playlists you suggested for us as directors on

841
00:42:07,160 --> 00:42:11,680
Speaker 5: these episodes. But you answered all of our young person

842
00:42:11,920 --> 00:42:15,000
Speaker 5: questions about work and getting jobs and all the things.

843
00:42:15,320 --> 00:42:18,000
Speaker 5: And I remember when we left your office, you'd given

844
00:42:18,120 --> 00:42:19,640
Speaker 5: Jenny a stack of CDs.

845
00:42:20,480 --> 00:42:21,600
Speaker 1: I was like, please take this.

846
00:42:22,040 --> 00:42:24,000
Speaker 5: Yeah, by the way, you probably were like, get this

847
00:42:24,040 --> 00:42:25,799
Speaker 5: out of my office, but she was like, I can't

848
00:42:25,840 --> 00:42:28,719
Speaker 5: believe Lindsay gave me all this music, and it was

849
00:42:28,920 --> 00:42:32,600
Speaker 5: it was just like it's a memory of a time

850
00:42:32,680 --> 00:42:34,719
Speaker 5: in my life that I will never ever forget. So

851
00:42:35,200 --> 00:42:37,839
Speaker 5: from the professional side to the personal side, just thank

852
00:42:37,880 --> 00:42:40,839
Speaker 5: you because you're a great coworker and you're also a

853
00:42:40,880 --> 00:42:42,520
Speaker 5: really great mentor and friend.

854
00:42:43,080 --> 00:42:46,560
Speaker 1: Oh, I mean, thank you. That's what I really appreciate.

855
00:42:48,160 --> 00:42:54,759
Speaker 1: Maggie Wolf is that mysterious person. I remember feeling that

856
00:42:54,840 --> 00:42:59,040
Speaker 1: way right, Like I remember, and I was still, you know,

857
00:42:59,200 --> 00:43:03,200
Speaker 1: kind of young enough to remember how that felt to

858
00:43:03,360 --> 00:43:05,759
Speaker 1: like come in with so many questions and to like

859
00:43:06,320 --> 00:43:09,040
Speaker 1: it's you know, I actually I teach music supervision now,

860
00:43:09,080 --> 00:43:12,399
Speaker 1: so I like I always tell my students because now

861
00:43:12,440 --> 00:43:14,000
Speaker 1: that I'm like so far into this, I'm like, if

862
00:43:14,040 --> 00:43:17,080
Speaker 1: i say something that you don't understand and it's even

863
00:43:17,120 --> 00:43:19,200
Speaker 1: happened in this conversation. I'm like, oh, a spotting session.

864
00:43:19,200 --> 00:43:21,759
Speaker 1: You're like, wait, wait, wait, let's talk about what that is. Like,

865
00:43:21,800 --> 00:43:24,319
Speaker 1: stop me and ask me what it is, because I

866
00:43:24,360 --> 00:43:27,319
Speaker 1: am beyond the stage of remembering what I didn't know,

867
00:43:27,400 --> 00:43:29,520
Speaker 1: But when you were close to beginning out, you kind

868
00:43:29,520 --> 00:43:32,120
Speaker 1: of remember, like, oh, what did I want to know?

869
00:43:32,280 --> 00:43:35,600
Speaker 1: And yeah, I mean I remember going to my first

870
00:43:35,640 --> 00:43:37,759
Speaker 1: spotting session on Felicity and I was like, and there

871
00:43:37,840 --> 00:43:39,880
Speaker 1: was like a five minute conversation about like does the

872
00:43:39,960 --> 00:43:42,720
Speaker 1: queue start on him or her? And I was like, WHOA,

873
00:43:42,760 --> 00:43:46,959
Speaker 1: Like people really think about this stuff. It's yeah, so yeah,

874
00:43:47,040 --> 00:43:50,959
Speaker 1: And to your point, Sophia, like, there was always music

875
00:43:50,960 --> 00:43:52,800
Speaker 1: in the editor's cut, and then we would revise in

876
00:43:52,840 --> 00:43:54,719
Speaker 1: the director's cut with what they want. Then we would

877
00:43:54,719 --> 00:43:58,840
Speaker 1: revise like and sometimes, but for me it was important.

878
00:43:59,080 --> 00:44:02,799
Speaker 1: I actually really liked connecting with the directors because the

879
00:44:02,880 --> 00:44:05,280
Speaker 1: more music could be in a good place before getting

880
00:44:05,360 --> 00:44:07,719
Speaker 1: to the producers, the more the job is tup, you

881
00:44:07,760 --> 00:44:10,399
Speaker 1: know what I mean? Like that, and actually to your

882
00:44:10,480 --> 00:44:13,320
Speaker 1: original question of like, how did you convince studio people

883
00:44:13,360 --> 00:44:16,080
Speaker 1: to let you use indie artists? And I always say this,

884
00:44:16,200 --> 00:44:17,920
Speaker 1: and I think we proved it multiple times on One

885
00:44:17,960 --> 00:44:20,840
Speaker 1: Tree Hill, like if the song works in the scene,

886
00:44:21,400 --> 00:44:24,400
Speaker 1: nobody's going to complain about it. Like we had a

887
00:44:24,440 --> 00:44:28,280
Speaker 1: couple times where we would temp with a bigger artist.

888
00:44:28,800 --> 00:44:31,759
Speaker 1: Actually I have two examples. One was like there was

889
00:44:31,760 --> 00:44:35,600
Speaker 1: like a Scavenger Hunt episode in season two with like Felix.

890
00:44:35,280 --> 00:44:37,680
Speaker 3: Or right yeah, and it begins.

891
00:44:37,320 --> 00:44:39,600
Speaker 1: They're all around a table deciding what they're going to

892
00:44:39,680 --> 00:44:43,319
Speaker 1: do well in Like when I when I walked into

893
00:44:43,320 --> 00:44:45,239
Speaker 1: the spotting session, there was a Green Day song at

894
00:44:45,239 --> 00:44:48,799
Speaker 1: the beginning of it and it was their massive hit,

895
00:44:49,200 --> 00:44:53,600
Speaker 1: and they didn't always license so and we always we

896
00:44:53,640 --> 00:44:56,239
Speaker 1: only have usually like a week turnaround between, like when

897
00:44:56,239 --> 00:44:58,400
Speaker 1: we locked music and then when we mixed, and then

898
00:44:58,440 --> 00:45:00,440
Speaker 1: the episode aired like a week after that. Like it

899
00:45:00,480 --> 00:45:04,680
Speaker 1: was the opposite of how we do TV now. But

900
00:45:04,840 --> 00:45:08,120
Speaker 1: I was like, I can't guarantee that Green Day's gonna clear,

901
00:45:08,200 --> 00:45:10,200
Speaker 1: so I need you to pick a backup. And so

902
00:45:10,239 --> 00:45:12,440
Speaker 1: I brought three options to like play a picture in

903
00:45:12,480 --> 00:45:15,080
Speaker 1: the room, and we played one of them and it

904
00:45:15,080 --> 00:45:16,920
Speaker 1: was an indie band and they were like, oh, we

905
00:45:17,080 --> 00:45:20,120
Speaker 1: like this better forget about green Day, And the same

906
00:45:20,160 --> 00:45:24,440
Speaker 1: thing happened Joy when the character of your mom passed

907
00:45:24,440 --> 00:45:29,399
Speaker 1: away where we used Landslide Fleetwood Mac. Yes, we were like,

908
00:45:29,520 --> 00:45:32,640
Speaker 1: there's like a twenty five percent Fleetwood Mac's gonna clear

909
00:45:32,760 --> 00:45:35,399
Speaker 1: this like it's you know, it's a huge song. It's

910
00:45:35,400 --> 00:45:37,680
Speaker 1: precious to them. Sometimes they don't get back to you.

911
00:45:38,520 --> 00:45:40,080
Speaker 1: So I was like, I need to walk away from

912
00:45:40,080 --> 00:45:42,799
Speaker 1: the spotting session with a backup so that like, I'll

913
00:45:42,800 --> 00:45:45,480
Speaker 1: take the time to clear it, but then also clear

914
00:45:45,520 --> 00:45:47,120
Speaker 1: this other song so that we have it at the end.

915
00:45:47,040 --> 00:45:47,399
Speaker 3: Of the day.

916
00:45:48,200 --> 00:45:52,080
Speaker 1: And the backup was Adele's make You Feel My Love

917
00:45:53,160 --> 00:45:57,800
Speaker 1: and Joe Dimall I think it directed that episode because

918
00:45:58,440 --> 00:46:00,919
Speaker 1: he took both to the mixtage. He was like, wait,

919
00:46:01,680 --> 00:46:04,239
Speaker 1: I thought I loved Landslide, but I love this too,

920
00:46:04,480 --> 00:46:06,360
Speaker 1: Like what am I going to choose? And he ultimately

921
00:46:06,400 --> 00:46:10,560
Speaker 1: went with Landslide Landslide of course, But that's like, I'm

922
00:46:10,640 --> 00:46:13,000
Speaker 1: the best version of myself. If I can find you

923
00:46:13,040 --> 00:46:14,759
Speaker 1: a backup for the first song you wanted, that you

924
00:46:14,880 --> 00:46:18,560
Speaker 1: like even better, right, And the first one was an

925
00:46:18,600 --> 00:46:21,080
Speaker 1: indie artist too, So like that happened a lot.

926
00:46:21,280 --> 00:46:23,640
Speaker 5: That's so cool though, that's a really neat way to

927
00:46:23,719 --> 00:46:27,759
Speaker 5: think about it, and even as an actor, that resonates

928
00:46:27,760 --> 00:46:32,480
Speaker 5: with me, because it's so healthy as an artist to

929
00:46:32,840 --> 00:46:35,960
Speaker 5: have a vision and then be willing to play and

930
00:46:36,040 --> 00:46:38,520
Speaker 5: do something in a completely opposite way and see what

931
00:46:38,640 --> 00:46:39,320
Speaker 5: works best.

932
00:46:40,320 --> 00:46:41,480
Speaker 1: And that's really cool.

933
00:46:41,520 --> 00:46:44,759
Speaker 5: Like what a stage piece of advice to say, I'm

934
00:46:44,800 --> 00:46:47,080
Speaker 5: the best version of myself. If I can find you

935
00:46:47,120 --> 00:46:49,480
Speaker 5: an option too that you might like even better, that's

936
00:46:50,560 --> 00:46:54,359
Speaker 5: that's nice that sheels like very sparkly. Does everyone you

937
00:46:54,440 --> 00:46:56,400
Speaker 5: know ask you to make them epic playlists?

938
00:46:56,400 --> 00:46:58,719
Speaker 1: Because I know, I.

939
00:46:58,640 --> 00:47:00,920
Speaker 5: Know the three of us are doing, by the way,

940
00:47:01,320 --> 00:47:02,640
Speaker 5: the number of times I want to be like, but

941
00:47:02,760 --> 00:47:04,839
Speaker 5: we oh, oh, can you just make us a list

942
00:47:04,880 --> 00:47:06,600
Speaker 5: of the songs we've been talking about today?

943
00:47:07,560 --> 00:47:10,719
Speaker 1: Does everybody ask what for playlists?

944
00:47:10,760 --> 00:47:10,800
Speaker 4: No?

945
00:47:10,880 --> 00:47:12,960
Speaker 1: I mean I definitely In college, I made a mix

946
00:47:13,000 --> 00:47:17,120
Speaker 1: every semester, a mix tape. Yeah, yes, so I did

947
00:47:17,120 --> 00:47:19,200
Speaker 1: that for all my friends, which which would sometimes be

948
00:47:19,280 --> 00:47:20,759
Speaker 1: like a mixture of like what I thought was cool,

949
00:47:20,800 --> 00:47:23,360
Speaker 1: but also like what were the songs we were listening to?

950
00:47:23,680 --> 00:47:27,840
Speaker 1: You know? Yeah, I feel like I don't make mixes

951
00:47:27,840 --> 00:47:31,399
Speaker 1: that often unless it's for my shows. Yeah, because it's

952
00:47:31,400 --> 00:47:31,799
Speaker 1: your job.

953
00:47:31,840 --> 00:47:35,960
Speaker 4: It's like a massage therapist, right, family asked for massage

954
00:47:36,000 --> 00:47:37,839
Speaker 4: and you're like, you know what, go this off?

955
00:47:39,800 --> 00:47:41,960
Speaker 1: It's true like I do. Like my son this morning

956
00:47:42,040 --> 00:47:43,239
Speaker 1: was like what are we going to listen to on

957
00:47:43,280 --> 00:47:45,040
Speaker 1: the way to school? And I was like, dude, I

958
00:47:45,160 --> 00:47:47,640
Speaker 1: do that all day long. You can pick you know, yeah,

959
00:47:47,680 --> 00:47:51,479
Speaker 1: you pick please our Sad Song Queens podcast. Like part

960
00:47:51,520 --> 00:47:53,480
Speaker 1: of the inspiration for it is I some of these

961
00:47:53,520 --> 00:47:56,400
Speaker 1: mixes that I would make for our producers. There was

962
00:47:56,440 --> 00:48:00,120
Speaker 1: one I made and they called me and we're like, are.

963
00:48:00,000 --> 00:48:00,680
Speaker 6: Are you okay?

964
00:48:00,880 --> 00:48:02,799
Speaker 1: And I was like yeah, why And they were like

965
00:48:03,440 --> 00:48:06,560
Speaker 1: this is really depressing music, like are you like we're

966
00:48:06,560 --> 00:48:09,120
Speaker 1: worried about you? And I was like, oh yeah, but

967
00:48:09,160 --> 00:48:11,640
Speaker 1: like I'm fine, And I just really like depressing music,

968
00:48:11,760 --> 00:48:12,560
Speaker 1: like it's all good.

969
00:48:12,920 --> 00:48:15,080
Speaker 6: You're like, have you seen what happens in your show?

970
00:48:15,400 --> 00:48:18,399
Speaker 1: I know, right, I know it was like it was

971
00:48:18,520 --> 00:48:21,720
Speaker 1: it was sad, but like my favorite moments were like ooh,

972
00:48:21,880 --> 00:48:26,680
Speaker 1: like you know someone's dying, like amazing, can't wait guneral songs?

973
00:48:26,680 --> 00:48:26,920
Speaker 4: You know?

974
00:48:27,680 --> 00:48:27,919
Speaker 1: Well.

975
00:48:27,960 --> 00:48:30,719
Speaker 4: Actually the flip side to Sophia's question then, is are

976
00:48:30,800 --> 00:48:34,400
Speaker 4: your friends constantly throwing music at you? Like is your

977
00:48:34,400 --> 00:48:36,080
Speaker 4: phone just blowing up with people be like do you

978
00:48:36,120 --> 00:48:36,640
Speaker 4: know this band?

979
00:48:36,640 --> 00:48:37,920
Speaker 1: Have you have you heard the night Game.

980
00:48:38,000 --> 00:48:39,640
Speaker 4: Have you heard like short Drive, have you heard like

981
00:48:39,719 --> 00:48:41,640
Speaker 4: all of the you know, just like throwing things at

982
00:48:41,640 --> 00:48:42,399
Speaker 4: you all day long.

983
00:48:42,600 --> 00:48:45,000
Speaker 1: I mean not my friend. So my friends probably like

984
00:48:45,040 --> 00:48:49,160
Speaker 1: my like non work friends are like not that into music.

985
00:48:49,320 --> 00:48:51,719
Speaker 1: So they're just like, Okay, whatever you said, I don't

986
00:48:51,760 --> 00:48:54,239
Speaker 1: have to talk. They're like rob They're still listening to

987
00:48:54,280 --> 00:48:57,400
Speaker 1: the same thirty songs. They're tuppy with whatever like Spotify

988
00:48:57,440 --> 00:49:01,360
Speaker 1: throws them. And then I think my work friends wouldn't

989
00:49:01,400 --> 00:49:06,000
Speaker 1: do that to me. Oh that's good. Well, so, like

990
00:49:06,040 --> 00:49:08,000
Speaker 1: I do a lot of work with another music supervisor,

991
00:49:08,080 --> 00:49:11,200
Speaker 1: Laura web and so you know, especially with like the

992
00:49:11,280 --> 00:49:14,000
Speaker 1: sad song thing, like where we'll be like, well have

993
00:49:14,040 --> 00:49:16,080
Speaker 1: you heard this one? Or like, oh my god, I

994
00:49:16,160 --> 00:49:17,560
Speaker 1: hope I have a scene for this, or like this

995
00:49:17,680 --> 00:49:21,960
Speaker 1: album's really good. But definitely, you know, I'm sure you

996
00:49:22,000 --> 00:49:24,640
Speaker 1: guys kind of get this in some way, but like

997
00:49:25,080 --> 00:49:27,200
Speaker 1: you also, every show is a little bit different. Like

998
00:49:27,239 --> 00:49:29,040
Speaker 1: one of the really fun things about win Tree Hill

999
00:49:29,120 --> 00:49:32,480
Speaker 1: is we had so many characters and we have an

1000
00:49:32,480 --> 00:49:35,200
Speaker 1: action sequence with like a basketball montage where we need

1001
00:49:35,239 --> 00:49:37,799
Speaker 1: something rocking or maybe like hip hop. Then we have

1002
00:49:37,840 --> 00:49:40,600
Speaker 1: this like quiet singer songwriter moment over here, but then

1003
00:49:40,640 --> 00:49:43,359
Speaker 1: we need like a pop song over there. So like

1004
00:49:43,400 --> 00:49:45,840
Speaker 1: we got to use so many different genres of music

1005
00:49:46,480 --> 00:49:48,919
Speaker 1: and then sometimes you like I work on Virgin River

1006
00:49:48,960 --> 00:49:51,319
Speaker 1: and it's it's a like the heart and soul of

1007
00:49:51,320 --> 00:49:54,719
Speaker 1: it is singer songwriter and folk. Yes, right, So like

1008
00:49:54,920 --> 00:49:56,960
Speaker 1: I'm listening to a lot of music like that because

1009
00:49:56,960 --> 00:49:58,759
Speaker 1: that's what I need to listen to for my job.

1010
00:49:58,840 --> 00:50:00,839
Speaker 1: And I worked on a show called Hunters and they

1011
00:50:00,840 --> 00:50:04,319
Speaker 1: were like nothing acoustic. We want like all like it

1012
00:50:04,360 --> 00:50:07,040
Speaker 1: should have some form of electronic electric guitars.

1013
00:50:07,040 --> 00:50:10,719
Speaker 6: Yeah, wall the wall, synthpop, I have. You clearly have

1014
00:50:10,800 --> 00:50:14,319
Speaker 6: a just an incredible recall for the work you've done.

1015
00:50:14,360 --> 00:50:17,120
Speaker 6: So when you think about your nine seasons that you

1016
00:50:17,120 --> 00:50:18,880
Speaker 6: were on trial, like when you think back on it,

1017
00:50:18,920 --> 00:50:21,560
Speaker 6: is there a scene or two that you were like

1018
00:50:21,760 --> 00:50:24,920
Speaker 6: especially proud of or when you watch your like, damn,

1019
00:50:24,960 --> 00:50:26,600
Speaker 6: we really nailed that one.

1020
00:50:26,880 --> 00:50:29,480
Speaker 1: Yes. So actually someone interviewed me in like twenty twelve

1021
00:50:29,560 --> 00:50:31,719
Speaker 1: and we're like, what were your top favorite sinks? And

1022
00:50:31,920 --> 00:50:35,520
Speaker 1: they they they're still kind of the same. I really

1023
00:50:35,600 --> 00:50:38,160
Speaker 1: loved season two, that whole plotline of Joy going on

1024
00:50:38,320 --> 00:50:41,400
Speaker 1: or Haley going on tour, plus it was so cool

1025
00:50:41,480 --> 00:50:45,640
Speaker 1: that like the tour really happened, and like, yeah, so cool.

1026
00:50:46,120 --> 00:50:48,759
Speaker 1: But also I had that like I broke up with

1027
00:50:48,800 --> 00:50:51,560
Speaker 1: my college boyfriend because I was like, gonna go pursue music.

1028
00:50:51,719 --> 00:50:54,160
Speaker 1: Like so I like that Nathan Haley storyline. I was like,

1029
00:50:54,160 --> 00:50:58,280
Speaker 1: I get it, Hailey, I get it. But so actually,

1030
00:50:58,280 --> 00:51:00,400
Speaker 1: the song where she leaves and he finds out that

1031
00:51:00,400 --> 00:51:04,520
Speaker 1: she's left for tour is a six minute montage, and

1032
00:51:05,120 --> 00:51:08,640
Speaker 1: they had originally tempted something we had already used that

1033
00:51:08,680 --> 00:51:10,320
Speaker 1: we wouldn't use again because we had already used it

1034
00:51:10,360 --> 00:51:12,440
Speaker 1: in a big montage. So I was like, okay, Like

1035
00:51:12,960 --> 00:51:15,680
Speaker 1: I literally sat down with the boombox and the TV

1036
00:51:16,000 --> 00:51:19,799
Speaker 1: and played songs to picture and the song we used

1037
00:51:20,520 --> 00:51:24,400
Speaker 1: is Keen she Has No Time, And I was like

1038
00:51:24,440 --> 00:51:25,919
Speaker 1: that album was great. So I was just like, let's

1039
00:51:25,920 --> 00:51:29,960
Speaker 1: see what's on this album and I started it. It

1040
00:51:30,080 --> 00:51:33,840
Speaker 1: started with the scene and it's Brooke, you're like running

1041
00:51:33,840 --> 00:51:37,359
Speaker 1: for student council, so you're giving that speech, Brooke. I

1042
00:51:37,400 --> 00:51:39,960
Speaker 1: just called you, Brooke. I'm so sorry, Sophia Brook is

1043
00:51:40,040 --> 00:51:46,040
Speaker 1: running for student council anyway, And I played it and

1044
00:51:46,120 --> 00:51:49,120
Speaker 1: it started and it built and built and it hit

1045
00:51:49,160 --> 00:51:51,520
Speaker 1: the moment where he like throws her keyboard into the wall,

1046
00:51:51,560 --> 00:51:56,000
Speaker 1: which is so like intense and dramatic, and the lyric

1047
00:51:56,120 --> 00:51:58,000
Speaker 1: is she has no time, right, like she has no

1048
00:51:58,040 --> 00:52:01,520
Speaker 1: time for you know it was written for it, yes,

1049
00:52:02,080 --> 00:52:04,040
Speaker 1: and so like that's one of those moments where I'm like,

1050
00:52:04,640 --> 00:52:07,920
Speaker 1: thank you, like thank Lord for making me like pick

1051
00:52:08,000 --> 00:52:11,800
Speaker 1: this up. But yes, when things work start to finish

1052
00:52:11,880 --> 00:52:15,360
Speaker 1: and actually the Wheepies world spins madly on, which we

1053
00:52:15,480 --> 00:52:20,600
Speaker 1: use when Pain spreads her mom's ashes. That was temped

1054
00:52:20,600 --> 00:52:23,120
Speaker 1: in with something different, and that's actually like a two

1055
00:52:23,160 --> 00:52:25,960
Speaker 1: and a half minute montage, so it wasn't like but

1056
00:52:26,000 --> 00:52:27,520
Speaker 1: it was temped in with something and I was like,

1057
00:52:27,560 --> 00:52:30,040
Speaker 1: this is good, but I feel like we could do better,

1058
00:52:30,120 --> 00:52:32,560
Speaker 1: So like I wonder if there's anything better out there,

1059
00:52:32,600 --> 00:52:34,799
Speaker 1: And that was one and I brought it to the

1060
00:52:34,800 --> 00:52:38,239
Speaker 1: spotting session and you literally start it, you play it,

1061
00:52:38,360 --> 00:52:41,640
Speaker 1: and it like ends on like black, right, So that

1062
00:52:41,719 --> 00:52:46,360
Speaker 1: was another one of those moments, and you know, and

1063
00:52:46,400 --> 00:52:50,120
Speaker 1: then obviously the whole led Zeppelin thing was just it

1064
00:52:50,160 --> 00:52:53,960
Speaker 1: wasn't my idea. When a producer tempts and led Zeppelin,

1065
00:52:54,000 --> 00:52:58,040
Speaker 1: you're like, oh my god, oh my god. It all

1066
00:52:58,080 --> 00:53:00,400
Speaker 1: never clear, like in it at the time, they really

1067
00:53:00,480 --> 00:53:07,000
Speaker 1: had that was the first network television show, like they

1068
00:53:07,040 --> 00:53:10,719
Speaker 1: had approved Sopranos and that was it and that's it.

1069
00:53:11,120 --> 00:53:13,840
Speaker 1: But basically getting led Zeppelin was a coup. We picked

1070
00:53:13,840 --> 00:53:15,880
Speaker 1: it back up like we were like ready to go

1071
00:53:15,960 --> 00:53:16,960
Speaker 1: that it wouldn't clear.

1072
00:53:16,960 --> 00:53:19,000
Speaker 4: But it was so epic. I'm so glad it did.

1073
00:53:19,120 --> 00:53:21,320
Speaker 4: Like what that was unbelievable.

1074
00:53:21,560 --> 00:53:24,720
Speaker 1: That was edited to the song, so yeah, yeah, yeah,

1075
00:53:24,760 --> 00:53:28,840
Speaker 1: And apparently they're like three writers and historically like maybe

1076
00:53:28,880 --> 00:53:30,799
Speaker 1: one would approve but the other two wouldn't, or two

1077
00:53:30,800 --> 00:53:33,719
Speaker 1: would approve then the third wouldn't, and they all said yes.

1078
00:53:33,800 --> 00:53:36,680
Speaker 1: And I remember I was driving to Coachella and the

1079
00:53:36,719 --> 00:53:38,960
Speaker 1: publisher called me and was like, you'll never believe it,

1080
00:53:39,160 --> 00:53:42,840
Speaker 1: but yees, oh my gosh, show so killer.

1081
00:53:43,239 --> 00:53:47,279
Speaker 5: That's amazing. I also bet for led Zeppelin. I mean a,

1082
00:53:47,480 --> 00:53:49,759
Speaker 5: the sequence was so incredible and we got to use

1083
00:53:49,760 --> 00:53:52,480
Speaker 5: the whole song. But talk about a way to introduce

1084
00:53:52,560 --> 00:53:55,960
Speaker 5: your amazing music to a younger audience, Like, well, it was.

1085
00:53:56,080 --> 00:53:58,680
Speaker 1: Perfect totally, and I think that was that was part

1086
00:53:58,680 --> 00:54:02,840
Speaker 1: of our pitch obviously, And honestly, I hadn't been a

1087
00:54:02,920 --> 00:54:05,880
Speaker 1: huge led Upland fan, like historically but if I had

1088
00:54:05,920 --> 00:54:08,400
Speaker 1: heard that song, maybe I would have been like I

1089
00:54:08,440 --> 00:54:11,480
Speaker 1: had the song before we used it, so, oh it's

1090
00:54:11,600 --> 00:54:12,200
Speaker 1: so cool.

1091
00:54:24,320 --> 00:54:26,759
Speaker 6: Why don't we ask Lindsay that listener question about the

1092
00:54:26,800 --> 00:54:28,759
Speaker 6: if One Tree Hill had a music festival, the one

1093
00:54:28,800 --> 00:54:30,720
Speaker 6: we just skipped on.

1094
00:54:31,360 --> 00:54:33,360
Speaker 1: Yes, am I going to have the list of bands?

1095
00:54:34,200 --> 00:54:36,640
Speaker 6: Yeah, it doesn't. It does have to be like longer

1096
00:54:36,719 --> 00:54:38,719
Speaker 6: thought out, Lindsay, you can just sort of like just

1097
00:54:39,600 --> 00:54:40,400
Speaker 6: music festival.

1098
00:54:40,480 --> 00:54:43,719
Speaker 4: What bands for sure are you bringing in to do

1099
00:54:43,960 --> 00:54:45,520
Speaker 4: the One Tree Hill Music Festival?

1100
00:54:45,960 --> 00:54:50,000
Speaker 1: I mean, let's let's make it a wish list. Yes, right,

1101
00:54:50,560 --> 00:54:53,520
Speaker 1: so it should be Gavin, it should be the Records,

1102
00:54:53,960 --> 00:54:58,360
Speaker 1: Oh yeah, Joy Tyler Pate right.

1103
00:54:58,239 --> 00:55:01,880
Speaker 3: Like yeah, visual suspects, oh yeah, Grace.

1104
00:55:01,680 --> 00:55:06,120
Speaker 1: Potter a great call. And then I would say Jimmy World,

1105
00:55:07,600 --> 00:55:12,880
Speaker 1: Keen Snow Patrol, uh kind like seminal artists who we

1106
00:55:12,960 --> 00:55:16,040
Speaker 1: used early on. Oh yeah, Angels and Airwaves, Fallout Boy,

1107
00:55:16,760 --> 00:55:18,640
Speaker 1: Oh my god, I'll bring back Jack's mannequin.

1108
00:55:19,200 --> 00:55:21,120
Speaker 6: Oh oh, Jack's manniquin.

1109
00:55:21,320 --> 00:55:23,680
Speaker 1: Right. I was there for that for a couple I

1110
00:55:23,719 --> 00:55:25,719
Speaker 1: wasn't always on set, but I was there for that one,

1111
00:55:26,440 --> 00:55:29,440
Speaker 1: which was super fun. And then I'd probably throw in

1112
00:55:29,560 --> 00:55:32,400
Speaker 1: like who I think today's yes, like who would we

1113
00:55:32,480 --> 00:55:37,879
Speaker 1: use today? Right? Like who would that be? Which I'm

1114
00:55:37,880 --> 00:55:39,440
Speaker 1: trying to think if I can name anybody off the

1115
00:55:39,440 --> 00:55:40,600
Speaker 1: top of my head, I mean.

1116
00:55:40,520 --> 00:55:45,040
Speaker 5: I would say Lord, Charlie XCX, yeah, Tyler, I mean

1117
00:55:45,040 --> 00:55:47,360
Speaker 5: if we're doing if we're going wishless, I'm like, I'm really.

1118
00:55:48,600 --> 00:55:53,000
Speaker 1: Yes, totally, I would even do people like Aurora or

1119
00:55:53,360 --> 00:55:55,919
Speaker 1: like just people. I'm Indie Rock.

1120
00:55:56,280 --> 00:55:59,000
Speaker 5: I feel like Gracie Abrams is very in our wheelhouse now.

1121
00:55:59,120 --> 00:56:02,200
Speaker 6: Yes, yeah, I'm so out of touch that you all

1122
00:56:02,239 --> 00:56:04,520
Speaker 6: could be making up names right now, and I'm just

1123
00:56:05,600 --> 00:56:07,880
Speaker 6: I'm just gonna believe you all that these are real people.

1124
00:56:08,040 --> 00:56:08,879
Speaker 1: Please give me.

1125
00:56:08,800 --> 00:56:11,200
Speaker 5: Some Benson Boone and Maren Morris.

1126
00:56:11,440 --> 00:56:14,160
Speaker 3: Yes, how about some Avi brothers too.

1127
00:56:14,320 --> 00:56:17,360
Speaker 1: Yeah, Avitt Brothers. Yes. What's the great thing is we

1128
00:56:17,400 --> 00:56:20,520
Speaker 1: would have those people next to like exactly well you

1129
00:56:20,600 --> 00:56:24,520
Speaker 1: had it heard of and always a great mix of things. Yeah,

1130
00:56:24,760 --> 00:56:25,360
Speaker 1: so fun.

1131
00:56:26,320 --> 00:56:29,560
Speaker 4: Well it's been a wheel guys. This has been great

1132
00:56:29,719 --> 00:56:31,680
Speaker 4: on the show. Thank you so much.

1133
00:56:32,000 --> 00:56:36,160
Speaker 6: Okay, Lindsey, you clearly remember a good deal about the show.

1134
00:56:36,239 --> 00:56:39,560
Speaker 6: So this week's question is most likely to win a

1135
00:56:39,719 --> 00:56:40,480
Speaker 6: cooking show.

1136
00:56:40,680 --> 00:56:45,840
Speaker 1: This is characters and actors character and actor. Yeah, yeah,

1137
00:56:45,920 --> 00:56:48,680
Speaker 1: who cooked? Did we ever see anyone cook on the show?

1138
00:56:48,840 --> 00:56:52,120
Speaker 1: I mean Broke burned the turkey? Yeah, I definitely wouldn't

1139
00:56:52,120 --> 00:56:52,560
Speaker 1: be broke.

1140
00:56:53,280 --> 00:56:57,320
Speaker 6: I'd say Haley and Joy would be would be my answer.

1141
00:56:57,480 --> 00:56:59,239
Speaker 1: Yeah, you look you look like you could cook a

1142
00:56:59,320 --> 00:57:00,560
Speaker 1: mean Neil.

1143
00:57:00,840 --> 00:57:03,279
Speaker 4: I'm a pretty good cook if I know what I'm

1144
00:57:03,280 --> 00:57:04,120
Speaker 4: doing and I'm focused on.

1145
00:57:04,200 --> 00:57:05,439
Speaker 3: I don't know if i'd win the show.

1146
00:57:05,480 --> 00:57:07,920
Speaker 4: I feel like I could be creative and do some

1147
00:57:08,000 --> 00:57:12,200
Speaker 4: things that might be a little unexpected, but I also

1148
00:57:12,880 --> 00:57:15,239
Speaker 4: experiment too much, and often it's a.

1149
00:57:15,280 --> 00:57:17,680
Speaker 3: Fifty to fifty with me when I'm cooking dinner, Like.

1150
00:57:18,200 --> 00:57:20,560
Speaker 4: It's like the Chanelle quote, always take off the last

1151
00:57:20,560 --> 00:57:22,680
Speaker 4: thing you put on, but you can't do that with food,

1152
00:57:22,920 --> 00:57:23,680
Speaker 4: like once it's on.

1153
00:57:23,600 --> 00:57:25,800
Speaker 1: There, right Yeah, And they feel like that happens to

1154
00:57:25,840 --> 00:57:27,720
Speaker 1: me a lot. I'm like this needs something? What does

1155
00:57:27,760 --> 00:57:28,040
Speaker 1: it need?

1156
00:57:28,080 --> 00:57:29,840
Speaker 3: And then I try something, I'm like, Nope, that wasn't it.

1157
00:57:29,880 --> 00:57:30,240
Speaker 3: But now.

1158
00:57:32,520 --> 00:57:34,800
Speaker 1: Nailing And could have a cooking show too, They would

1159
00:57:35,000 --> 00:57:38,880
Speaker 1: like a good watch, right Yeah. Excuse Oh my god,

1160
00:57:39,160 --> 00:57:42,080
Speaker 1: skills in deb yeah.

1161
00:57:41,640 --> 00:57:44,640
Speaker 5: Oh my god, skills in deb in the kitchen, Oh,

1162
00:57:44,720 --> 00:57:46,680
Speaker 5: your top is just always an apron.

1163
00:57:46,840 --> 00:57:49,640
Speaker 1: Wait, that would be like the Netflix one where they

1164
00:57:49,720 --> 00:57:52,520
Speaker 1: don't ever make things. Well, what's that show? Nailed it,

1165
00:57:52,600 --> 00:57:55,520
Speaker 1: nailed it, nailed it, Devin skills On nailed it done.

1166
00:57:56,000 --> 00:57:58,200
Speaker 6: It would just be funny if every episode they never

1167
00:57:58,480 --> 00:58:00,880
Speaker 6: finished the dish because they always end up just like

1168
00:58:00,960 --> 00:58:04,040
Speaker 6: making out and falling off camera. Yeah, it's like they

1169
00:58:04,080 --> 00:58:06,320
Speaker 6: always start, but it just never quite gets there.

1170
00:58:07,440 --> 00:58:10,280
Speaker 1: I feel that I didn't really answer how Tyler got cast,

1171
00:58:10,360 --> 00:58:11,800
Speaker 1: but I know, like we you know.

1172
00:58:12,160 --> 00:58:14,280
Speaker 6: We're gonna save that for when you come back. Lindsay, Oh,

1173
00:58:14,280 --> 00:58:16,280
Speaker 6: good do to lure you back.

1174
00:58:17,200 --> 00:58:18,920
Speaker 3: That's right, we do need that, We need that.

1175
00:58:19,160 --> 00:58:21,120
Speaker 1: You so talented and you guys are so awesome. This

1176
00:58:21,240 --> 00:58:22,800
Speaker 1: was really fun. Thank you for having me.

1177
00:58:23,080 --> 00:58:27,600
Speaker 6: Thank you so much overdue, thanks for coming out, Lindsay,

1178
00:58:27,640 --> 00:58:28,479
Speaker 6: all right, have a good.

1179
00:58:28,400 --> 00:58:33,920
Speaker 1: One you hey, thanks for listening. Don't forget to leave

1180
00:58:34,000 --> 00:58:34,560
Speaker 1: us a review.

1181
00:58:34,800 --> 00:58:38,080
Speaker 5: You can also follow us on Instagram at Drama Queen's o.

1182
00:58:38,200 --> 00:58:42,400
Speaker 4: T H or email us at Drama Queens at iHeartRadio

1183
00:58:42,480 --> 00:58:43,200
Speaker 4: dot com.

1184
00:58:43,520 --> 00:58:44,520
Speaker 1: See you next time.

1185
00:58:45,760 --> 00:58:49,160
Speaker 2: We all about that high school drama girl, Drama Girl,

1186
00:58:49,200 --> 00:58:49,960
Speaker 2: all about.

1187
00:58:49,680 --> 00:58:52,880
Speaker 1: Them high school queens. We'll take you for a ride

1188
00:58:52,960 --> 00:58:53,400
Speaker 1: at our.

1189
00:58:53,280 --> 00:58:59,400
Speaker 2: Comic Girl shared for the right Drama Queens Girl Fashion.

1190
00:58:59,080 --> 00:58:59,680
Speaker 1: But You'll tough.

1191
00:59:00,160 --> 00:59:03,120
Speaker 4: You could sit with us Girl Drama, Queens Drama, Queens Drama,

1192
00:59:03,200 --> 00:59:06,120
Speaker 4: Queens Drama, Drama, Queens Drama, Queens