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

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Speaker 1: that high school drama, Girl Drama Girl, all about them

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Speaker 1: high school queens. We'll take you for a ride in

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Speaker 1: our comic Girl Cheering for the drama Queens Girl Fashion,

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Speaker 1: but you'll tough, girl, you could sit with us Girl Drama, Queens, Drama,

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Speaker 1: Queen's Drama, Queen's Drama, Drama, Queen's Drama Queens. Hey, sports fans,

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Speaker 1: we are back for another edition of Drama Queens, and

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Speaker 1: this one we are talking about episode twenty two in

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Speaker 1: season two, The Tide That Left and Never Came Back

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Speaker 1: Air date two thousand and five. Uh, here's what happens

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Speaker 1: in this episode. Um, Hillary cries a lot, Chad does

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Speaker 1: a really nice job of being very sincere, and uh

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Speaker 1: brand Greenberg is a full teen heartthrob. But really, it's

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Speaker 1: part one of season two finale and we have Jimmy

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Speaker 1: eat World, Lucas and Brook head to New York for

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Speaker 1: an overnight stay of Haley. Peyton and Jake's relationship hits

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Speaker 1: another bump in the road because if Nikki and Dan

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Speaker 1: is still out to destroy Karen, he's ruining our relationship

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Speaker 1: with Andy. And meanwhile, Andy's trying to find out what

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Speaker 1: Dan is hiding in his office. Bum bum, and Nathan's

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Speaker 1: got a really big decision to make about high Flyers

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Speaker 1: and his family. If you're wondering why it sounds a

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Speaker 1: little quiet here, it's because I am the only drama

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Speaker 1: queen and the only wine in the studio today. But

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Speaker 1: never fear, we have an awesome, awesome guest today, one

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Speaker 1: of my dearest dearest friends, uh who you may recognize

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Speaker 1: Maybe you might recognize him. Um. He was raised in Cologna,

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Speaker 1: British Columbia, as the son of an ice hockey player.

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Speaker 1: But he started his acting career on a soap opera

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Speaker 1: called Santa Barbara. And then he did Beverly Hills nine

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Speaker 1: O two and oh, and then he did soap Dish.

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Speaker 1: This guy was even in the notebook Ladies and Gentlemen,

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Speaker 1: A drama king in his own right, My dear friend,

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Speaker 1: Paul Johansson, Hello, Paul King. That's just because we share

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Speaker 1: our lives spartally, we know our dramas right, Drama king

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Speaker 1: and queen for sure. Oh my goodness, Wait, what did

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Speaker 1: it feel like to watch this episode back? I mean,

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Speaker 1: how long has it been since you've watched an episode

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Speaker 1: except for the one did you watch one before you did?

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Speaker 1: Our live episode? I have to admit I didn't watch it.

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Speaker 1: I watched part of it, No, I did. I watched

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Speaker 1: part of some of it because we discussed it. But

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Speaker 1: to really sit and just take it all in after yeah,

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Speaker 1: the season finale. Right, Yeah, it's been it's been a

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Speaker 1: long time. How did that feel? You know? Actually, um,

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Speaker 1: there's a lot of the you know, the world has

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Speaker 1: turned TV right. All the great filmmakers are making TV

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Speaker 1: shows now, all the big actors are big stars. Were like, oh,

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Speaker 1: they'll never do TV. They're all TV. It's all changed.

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Speaker 1: It's a huge different world out there. And so but

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Speaker 1: to go and see the simpleness and the sweetness, and

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Speaker 1: we were talking about it during the pot the episode

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Speaker 1: we're watching together, there was something really charming and and

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Speaker 1: the way that our creators made music the backbone of

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Speaker 1: our show. Yeah, give it a give it a kind

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Speaker 1: of like a poetry about it, don't you think? I am?

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Speaker 1: I totally think so. I felt like, Um, they introduced

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Speaker 1: me to a lot of bands that I didn't know about. Um,

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Speaker 1: I guess because I was never really into the modern

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Speaker 1: trendy music scene. I was always such like an old

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Speaker 1: hippie with music and listening to Carol King in my

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Speaker 1: room and Billy Joel and so it was really fun

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Speaker 1: to be able to hear what all the new bands

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Speaker 1: were and be introduced all this new talent um and

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Speaker 1: clearly Jimmy Eat World at the time was a really

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Speaker 1: big deal and got bigger. Um, so that was really fun.

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Speaker 1: Um do I sh'll have something to do with a

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Speaker 1: little bit bump in their careers? I think it did.

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Speaker 1: I mean I don't. I would love to ask them,

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Speaker 1: but uh, it had to have. I mean, the show

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Speaker 1: was huge at the time. Season two was when it

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Speaker 1: really started to lift off, Which is crazy because we've

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Speaker 1: been saying this whole time that it's was such a

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Speaker 1: boring season, like or just it's not boring, but kind

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Speaker 1: of a terrible season. It was just so over the

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Speaker 1: top and so many things that we didn't love. But um, yeah, no,

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Speaker 1: I you know what it reminds me when I you've mentioned,

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Speaker 1: um Santa Barbara, like nobody yes back in the day

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Speaker 1: is doing soap operas. The producer used to walk through

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Speaker 1: the set before everything going, Remember tension, everybody tension, like

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Speaker 1: they wanted conflict conflict. Every scene has that conflict, And

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Speaker 1: so I was watching this episode that was like, going,

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Speaker 1: this is kind of the formula for keeping people interested. Yeah, conflict,

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Speaker 1: and this episode is rife with conflict. It's non stop.

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Speaker 1: I mean, it was a finale, So I think that's

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Speaker 1: fair enough. I wouldn't have said this ten years ago

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Speaker 1: when I watched if I watched this episode, which I

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Speaker 1: think I did. But my favorite storyline in this episode

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Speaker 1: I really liked Jake and Hillary Store. I thought there

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Speaker 1: was something. I mean, she was literally sobbing in every scene,

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Speaker 1: every scene. I wish she was here right now because

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Speaker 1: she would have so many fun things to say about that.

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Speaker 1: But you know, he's got you know now that I'm

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Speaker 1: a single dad, Yeah, and I know and you're you know,

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Speaker 1: we both know what it's like to raise, you know,

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Speaker 1: a little one in in the in the in the

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Speaker 1: craziness of of having you know, family, cord and all

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Speaker 1: that kind of stuff, you know, and you see you know,

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Speaker 1: his you know, I just see a real kind of

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Speaker 1: honor about the way that he approached it, you know

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Speaker 1: what I mean, he's fighting hard, but he's but he's

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Speaker 1: but he's he's still got this great and I love

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Speaker 1: his love for his daughter, that it's it's more than

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Speaker 1: his love for even Peyton kind of be a great parent,

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Speaker 1: you kind of love with your kids more than your partner.

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Speaker 1: I don't know, you know what I actually have. I've

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Speaker 1: heard different sides on that, and I'm very curious about, Well,

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Speaker 1: that's something that actually is worth talking about because as

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Speaker 1: a parent, I mean, I'm a single mom, so I

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Speaker 1: don't I don't. I can't speak from experience on this,

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Speaker 1: but it does seem to me that in order to

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Speaker 1: give your child the stability that a child needs, that

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Speaker 1: making your partner the most important person in the the

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Speaker 1: family um to you and then the children come second

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Speaker 1: kind of eliminates an element of codependence with your child.

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Speaker 1: That you know, the child knows their place in the

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Speaker 1: structure of the family and their place in the world,

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Speaker 1: rather than feeling like they might be above the other parent.

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Speaker 1: That is a beautiful interpretation. I've never heard of put

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Speaker 1: that way before. But I really need to sit with

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Speaker 1: that and ponder that. I love it. Like what I

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Speaker 1: would submit to you would be one is that I

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Speaker 1: think they may be different loves, you know, and that

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Speaker 1: and the second part would be that um I've never

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Speaker 1: experienced either. I've come first before. It's usually know, my

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Speaker 1: career comes first. You know this is my favorite car.

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Speaker 1: You're never driving it? All right? Yeah, no, I've I

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Speaker 1: don't think i've ever I've never experienced that either. Um,

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Speaker 1: not my childhood, but first ever, ever, ever in someone's life, like,

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Speaker 1: you've never been you are my priority. I'm going to

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Speaker 1: make sure that this is the most pore thing to

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Speaker 1: me and you've never been made to feel that way. Um,

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Speaker 1: I don't. I think I have a couple of with

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Speaker 1: Like maybe I can think of maybe one or maybe

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Speaker 1: two boyfriends that I felt that way with, but it

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Speaker 1: always came with baggage of like there was actually a

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Speaker 1: neediness underneath it, where by them making me the priority,

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Speaker 1: it felt like they were. That was my follow up question.

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Speaker 1: Yeah it was. It was more about them than it right,

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Speaker 1: it was more about them than it was about me.

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Speaker 1: So so I think, No, I don't think I can

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Speaker 1: see why it's hard. It's hard for us as men

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Speaker 1: to know I'm gonna make you first. Well, if I

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Speaker 1: make a first, you won't respect me. So okay, I'm

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Speaker 1: gonna she is first, but I'm going to let her

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Speaker 1: know that I'm gonna act like you know, I'm not

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Speaker 1: gonna go with the guys tonight, you know, right. I

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Speaker 1: don't know if it's that it's that I wouldn't respect

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Speaker 1: it or don't respect it. I think it's just that

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Speaker 1: I don't want there to be any guile about it.

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Speaker 1: I don't want there to be any like like you're

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Speaker 1: trying to get something out of it by being the

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Speaker 1: Knight in Shining Armor. Like it's the quiet honor that

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Speaker 1: you actually talk about a lot, Paul, in your life

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Speaker 1: and the way that you function in your life, with

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Speaker 1: your relationships and with your son and with your work,

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Speaker 1: and there's a there's an internal honor code that and

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Speaker 1: that I think is what I'm looking for in the

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Speaker 1: context of what we're talking about, where it's not just um,

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Speaker 1: hey look at me, I'm then I in tchining armor. Okay,

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Speaker 1: now give me something for it. It's just a like

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Speaker 1: a genuine offering of you're my priority, and I don't

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Speaker 1: need you to give anything any back, because then I

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Speaker 1: will give above and beyond. But if I sense that

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Speaker 1: there's diyal, it freaks me out and I kind of

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Speaker 1: back off. Let me ask you a question about that

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Speaker 1: when you feel you're about to step over that line

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Speaker 1: of that code, ever, because they know you and I

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Speaker 1: have a lot of similarities with it. Yeah, it's almost

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Speaker 1: like an alarm is ringing inside of You're going, you're not.

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Speaker 1: This isn't who you are, this isn't. But even if

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Speaker 1: it's easy, fine, and you test that code sometimes even

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Speaker 1: if it's what say again, even if it's it's an

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Speaker 1: easy step over the line, like something you know that

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Speaker 1: you you like. It's a terrible example, but like taking

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Speaker 1: a job just for the money when you know that

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Speaker 1: it's like something you shouldn't be doing because your heart's

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Speaker 1: taking to be in it. Right. I know a lot

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Speaker 1: of people may not may not be able to understand that,

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Speaker 1: but from an artist point of view, that that's almost

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Speaker 1: like selling your soul and it's hameful, but we've all

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Speaker 1: kind of gone there, and you what you do is

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Speaker 1: you try not to be too hard in yourself, yeah,

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Speaker 1: and say, you know, I'm you know, it's like I've

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Speaker 1: got to be able to forgive myself for that moment

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Speaker 1: because there's a bigger picture if I can, if I

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Speaker 1: can really live the good life that I want to

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Speaker 1: live in, and most of all, wake up and look

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Speaker 1: in the mirror and not be disappointed, then everything else

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Speaker 1: will be okay. Yeah, you know what I mean. Yeah,

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Speaker 1: there has to be that internal honor code. And and

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Speaker 1: as artists, I think we as actors particularly, I guess,

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Speaker 1: we become professional bullshit detectors in a lot of ways,

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Speaker 1: and that, you know, bleeds into our relationships because I

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Speaker 1: know I do. My alarms all go crazy. Yeah, if

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Speaker 1: I feel like somebody's not being real with me, and

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Speaker 1: then I can just pick and pick and pick um.

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Speaker 1: But but bring it back to the kids, which is

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Speaker 1: that you know, I have never been I haven't been

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Speaker 1: in a relationship long enough with my romantic relationship long

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Speaker 1: enough while I've had my daughter to be able to

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Speaker 1: say that this theory works. But in theory, it does

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Speaker 1: seem to make sense to me, and I appreciate what

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Speaker 1: Jake does. If there was if there was a say,

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Speaker 1: here's the here's the components that I need to be

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Speaker 1: in a relationship, like you have to be attracted to

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Speaker 1: of course you have to respect them, yes, and you

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Speaker 1: have to have similar long term goals yea, values and

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Speaker 1: long term goals. And I guess, yeah, else I'm missing

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Speaker 1: on that. No, I think, I think that's it. Values

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Speaker 1: is a huge one. And and then yeah, long term goals,

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Speaker 1: I think, well, long term goals changed. I mean the

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Speaker 1: long term goals I think I had when I was

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Speaker 1: twenty are very different than what I have now. For me,

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Speaker 1: it was only I just said to be traffic. That

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Speaker 1: was I think, really that was a cut off. How

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Speaker 1: many years did you live like that as a as

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Speaker 1: a as a handsome acting bachelor like party man out

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Speaker 1: there you had access to everything, I mean everything at

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Speaker 1: your feet, at your disposal. How long did you live

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Speaker 1: your life that way before you started to go, Okay,

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Speaker 1: I need a shift now. My dating life is an

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Speaker 1: HBO special. It is. It is a It is a

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Speaker 1: complicated long I mean I did a girl that we

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Speaker 1: were followed by the CIA one time. I did what Yeah,

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Speaker 1: I diated a girl who was involved in a very

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Speaker 1: big political scandal back in like the late nineteen um

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Speaker 1: and uh and you know he's quite a famous person.

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Speaker 1: And then you know, you know who else I've dated.

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Speaker 1: It's been very interesting. But you know I didn't. I

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Speaker 1: came from a small town, you said at the beginning

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Speaker 1: of the thing. From Cologna, British Columbia, beautiful little Twasia,

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Speaker 1: lake Town in in Canada, which and and you know,

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Speaker 1: and you like you you can from New Jersey and

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Speaker 1: now we you meet all these people that everyone has

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Speaker 1: this idea what they are. Nobody, nobody is like what

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Speaker 1: they perceived to be in there in the public persona.

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Speaker 1: Everybody's way more complicated, nuanced and deferent. I totally agree

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Speaker 1: with that. It's so hard to just take one glance

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Speaker 1: or no a character or no, you know, read some

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Speaker 1: interviews or whatever, see some interviews and feel like you

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Speaker 1: really have a whole rounded picture. When Jake was on

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Speaker 1: his motorcycle or you're like, would you say he said

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Speaker 1: he's such a teen heart throb, so that there you go,

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Speaker 1: see the image of a young, handsome, honorable single man

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Speaker 1: fighting for your hair. Los. I know, thanks, I'm having fun.

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Speaker 1: He's got the James Dean look over his shoulders, not

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Speaker 1: looking at that. He's gotta look over his shoulder over

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Speaker 1: it's gotta been going on. And you go, and you know,

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Speaker 1: I guess I could hear on the other side you sweating.

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Speaker 1: I can hear. And I was like, going, yeah, okay,

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Speaker 1: I get it. There's the image. But that sort of

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Speaker 1: plays into our thing. It's like, this is the presentation,

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Speaker 1: but we know he's goofy and lovable and intelligent and

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Speaker 1: funny and fun and like it's he's not just like

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Speaker 1: deep and tortured. He's you know, I mean, so we

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Speaker 1: get these fragments, you get glimpses, glimpses. Well, I loved

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Speaker 1: the glimpses we got of him and Hillary. I agreed

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Speaker 1: they did a really nice job and they had a

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Speaker 1: great storyline. And I also really liked to chat in

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Speaker 1: this episode a lot. I thought he was really sincere,

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Speaker 1: you know, being their moments. Yeah, I thought so too.

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Speaker 1: I thought he didn't stretch, he wasn't pushing hard. It

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Speaker 1: was very natural. I agree with you. I think he

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Speaker 1: was very good in Yeah, really since here and just

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Speaker 1: kind of the thread between all this all the story

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Speaker 1: you questioned the moment when he sits and judges Haley

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Speaker 1: for playing around. She wasn't it wasn't it wasn't sexual

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Speaker 1: in contest with you and and oh yeah, but come on,

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Speaker 1: he hasn't seen her in ages, Like the first time

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Speaker 1: he shows up to see her and she's like on

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Speaker 1: a couch, you know, mess wrestling with this guy. I

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Speaker 1: don't know. I get that he was annoying, giggling, and

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Speaker 1: then he's passing judgment. I was like, going, come on,

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Speaker 1: you know, yeah too, that's real. It is. And one

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Speaker 1: of the things about going back and watching this show, UM,

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Speaker 1: it's been fun to realize where we are now in

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Speaker 1: our maturity and our understanding of the gray areas of

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Speaker 1: life and how nothing is exactly what it seems. And

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Speaker 1: you know, there's just so many facets to a person

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Speaker 1: and their experiences, and when you're in high school or

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Speaker 1: when you're in your early twenties like we were when

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Speaker 1: we were filming it, UM, and you know, then there

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Speaker 1: you have so much judgment and the world seems much

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Speaker 1: more black and white. And I think you and I

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Speaker 1: see that with our kids too, because I know Maria's

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Speaker 1: like that the things are very black and white and

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Speaker 1: trying to explain, well, there's gray areas here. I mean,

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Speaker 1: I know, Quentn you're laughing, go ahead, especially as communists.

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Speaker 1: I'm this way, Dad, I'm like, yeah, tell me in

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Speaker 1: five years what you are. You know, it's funny. I

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Speaker 1: was thinking about what you're saying about the what we

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Speaker 1: our perception of people too, was like when I was

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Speaker 1: in high school. I knew what my my future wife

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Speaker 1: was gonna be. She was gonna be speak French and

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Speaker 1: where Chanelle all the time, and she was gonna be

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Speaker 1: speak nine languages and you know, have a PhD and philosophy,

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Speaker 1: and she's gonna love me and we're gonna be together

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Speaker 1: for a God, that's such a high box, right, and

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Speaker 1: then you know liketies and fifties just of a pulse.

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Speaker 1: It's like, literally, I'm gonna narrow it down way small. Right.

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Speaker 1: Oh god, now, um I was I'm looking at my

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Speaker 1: notes here because there was so there was so much

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Speaker 1: drama in this episode. For a second. Yeah, let's talk

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Speaker 1: about Dan because what the hell was that with Karen?

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Speaker 1: Oh my god, are you going to the kiss right away?

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Speaker 1: To go? Okay, we can build up to it. Go ahead. Well,

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Speaker 1: I just thought that, you know, I just see Okay,

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Speaker 1: First off, there was something early on with you, right,

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Speaker 1: we had a little thing there, right that it was

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Speaker 1: that that was a flashback when you brought me annulment papers.

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Speaker 1: That's okay, okay, that sets up this finale definitely, right,

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Speaker 1: And that's the papers that you gave Lucas right to

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Speaker 1: give it to him. Yeah, because you I think you've

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Speaker 1: forged Nathan's signature or something, but you gave me the

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Speaker 1: paperwork and told me that Nathan had signed it, and

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Speaker 1: so I believed you. How many times do people have

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Speaker 1: to be proven wrong by believing Dan and finding out

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Speaker 1: that he's just lying? What's that old adage again? It's

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Speaker 1: like when people show you who they are, believe him. Yeah,

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Speaker 1: but you know, I gotta be honest with you. Um,

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Speaker 1: even though I'm the actor playing the part. Um, I

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Speaker 1: really enjoyed Dan. I enjoyed when he came on. I went, Okay,

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Speaker 1: something's gonna happen. Yeah, that's a nice feeling, you know

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Speaker 1: what I mean? Yeah? Is that one of your favorite

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Speaker 1: things about playing Dan? Or playing a character that is

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Speaker 1: so um, instigating of things or I don't know, help

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Speaker 1: me with my vocabulary, because this is you're so like.

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Speaker 1: This is why you and our friends your instincts as

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Speaker 1: an artist are always so like like perfect. It's like,

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Speaker 1: I love talking because it Jore now with us. We know.

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Speaker 1: I know that you cut to stuff. When Karen comes

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Speaker 1: in and she's mad, she's like spitting fire man. You know,

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Speaker 1: she's Satan's mistress at the moment, and she comes in.

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Speaker 1: If you the first cut to me sitting in the chair,

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Speaker 1: I see her in my and immediately I started to go,

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Speaker 1: got her because peck somebody? And then my character smiling

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Speaker 1: because he knows I got her. Oh, why would he

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Speaker 1: do anything unless he go to reaction? Everything is for

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Speaker 1: a reaction. And that was the fun part of playing down,

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Speaker 1: was I get to make people react. Yes, son, Yes,

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Speaker 1: that's what that's the fun part about. Any anyone will

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Speaker 1: tell you playing a villain is fun mhm, because you

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Speaker 1: get to get a reaction out of people. Everything that

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Speaker 1: you do is very forward movement. Um, and it's it's

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Speaker 1: got a lot of energy behind it. It's really fun.

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Speaker 1: But then you don't play. You don't, you don't, you don't,

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Speaker 1: you don't want to. The really interesting and nuance to that,

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Speaker 1: which makes it really interesting is once you've got them,

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Speaker 1: is you play opposite their energy when they come in

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Speaker 1: the room. Yes, she's moving and I'm very still. Yeah,

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Speaker 1: and she's moving, I'm very still. It's like you want

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Speaker 1: and make them. Oh god, it's a classic. I mean,

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Speaker 1: I know you and I both have experienced with narcissists

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Speaker 1: in different areas in our life, and um, I it's that,

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Speaker 1: but that is so classic. That's what they do. They

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Speaker 1: pick at you and pick at you, and they do

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Speaker 1: enough things to where you explode because you're a normal

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Speaker 1: human being with a normal reaction. And then they turn

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Speaker 1: around and go, look how crazy you are? Oh you

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Speaker 1: really need help. Yeah, yeah, I know it's scary, but

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Speaker 1: you knew that, and you know, you knew how to

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Speaker 1: had those layers to dan, which I love. You know.

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Speaker 1: It's funny because you know, I mean, you know, there's

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Speaker 1: no specifics in this, because I don't think of course,

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Speaker 1: because we pull a lot of our you know, our

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Speaker 1: our work off of not one person, but just a

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Speaker 1: plethora of life experience. Absolutely, But I will say that

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Speaker 1: the people that have irritated me, that have got under

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Speaker 1: my skin the most are the ones that I I,

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Speaker 1: against my better nature, still trusted, like yeah, because they

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Speaker 1: weren't good. They were like, you know, supportive and loving

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Speaker 1: and this and this, But something inside of me was going, yeah,

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Speaker 1: it doesn't feel authentic, but I still wanted to give

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Speaker 1: the benefit the doubt. Yeah, what is that gut feeling?

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Speaker 1: It's hard to get in touch with your gut sometimes

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Speaker 1: if you I spent a lot of years of my

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Speaker 1: life believing that my instincts were bad and and and

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Speaker 1: um it just messed up like they was something wrong

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Speaker 1: with my instincts, and so I needed to trust other

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Speaker 1: people's instincts for me. And I spent a lot of

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Speaker 1: time handing out my autonomy to other people that I trusted.

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Speaker 1: Some people were lovely people that I trusted, and some

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Speaker 1: people did terrible things to me because I trusted them,

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Speaker 1: and um, I shouldn't have. But at the end of

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Speaker 1: the day, that's my fault for not not um oh,

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Speaker 1: I guess. I mean, you're a kid when I was,

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Speaker 1: especially when you're young. You know, those things get taught

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Speaker 1: to you in such a strange ways. But um, at

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Speaker 1: the end of the day, it is our responsibility to

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Speaker 1: learn how to come out of that and and trust

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Speaker 1: that nobody knows better for us than us. We're the

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Speaker 1: only people that have our gut. We're the only people

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Speaker 1: living our lives. And you know, walking through life, not

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Speaker 1: taking chances, not not risking, trusting the wrong people is

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Speaker 1: no way to live. So I think you kind of

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Speaker 1: have to do that. You have to experiment with that.

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Speaker 1: These are the great takeaways from our show, though, imagine

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Speaker 1: our audience watches all these scenarios. In this episode, there

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Speaker 1: was fifty different scenarios of people be manipulated or feeling

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Speaker 1: bad or situation is not going the way you wanted

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Speaker 1: them to, and it was about how people reacting to them.

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Speaker 1: And so what all of our fans come up to

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Speaker 1: us at conventions on the street and they want to

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Speaker 1: talk about the show and they want to hear about it.

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Speaker 1: You know, you realize that they're living through these characters

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Speaker 1: and they're bringing in their own life experiences and going

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Speaker 1: and it helps in a way. And I don't mean

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Speaker 1: like to educate, but the more you see it going

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Speaker 1: bad and the more you see it going good, more

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Speaker 1: you see and help people react to situations, the more

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Speaker 1: that you can say, oh, this is why I need

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Speaker 1: to watch the show because it gives me at least

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Speaker 1: some sort of um um confirmation that I'm not crazy

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Speaker 1: and that I'm not the bad person or I'm not

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Speaker 1: doing anything wrong. Life just happens, and it's how I'm

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Speaker 1: back to it and finds who I am. Yeah, I

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Speaker 1: totally agree with that. All. That's a really sweet way

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Speaker 1: of looking at the show too. I love that you said,

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Speaker 1: speaking of trust issues, you said. When we were watching

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Speaker 1: this episode, Lucas and Haley were laying in bed. They

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Speaker 1: were just, you know, it was a late night best friends,

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Speaker 1: just laying there, staring out at the moon shining in

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Speaker 1: the window and talking about as it does, and you know,

425
00:23:24,280 --> 00:23:28,480
Speaker 1: talking about life. And he says, I noticed you're not

426
00:23:28,520 --> 00:23:30,920
Speaker 1: wearing your wedding ring. And she says, it's not because

427
00:23:30,960 --> 00:23:32,679
Speaker 1: I don't love him, and it's not because of the

428
00:23:32,720 --> 00:23:36,960
Speaker 1: press tour of the record label. It's because I feel

429
00:23:36,960 --> 00:23:40,920
Speaker 1: like I don't deserve to. And you didn't buy it. No,

430
00:23:41,040 --> 00:23:43,639
Speaker 1: I didn't, And I think that's a really genuine So

431
00:23:43,680 --> 00:23:45,600
Speaker 1: tell okay, tell me what you think, Tell me what

432
00:23:45,720 --> 00:23:49,800
Speaker 1: why that bothered you something. We're good friends. You tell

433
00:23:49,920 --> 00:23:53,200
Speaker 1: me why you think I didn't buy and then I'll

434
00:23:53,200 --> 00:23:56,520
Speaker 1: tell you if you're right. You know me and I

435
00:23:56,520 --> 00:23:58,439
Speaker 1: want to see this is like, this is like that

436
00:23:58,680 --> 00:24:00,639
Speaker 1: you know what I said on the any game? They go,

437
00:24:00,720 --> 00:24:02,719
Speaker 1: how well do you know your part? Oh? Gosh, okay,

438
00:24:02,920 --> 00:24:08,680
Speaker 1: all right, um, okay, let's see. You felt like it

439
00:24:08,760 --> 00:24:12,000
Speaker 1: was a you felt like it was an evasive answer,

440
00:24:13,960 --> 00:24:18,399
Speaker 1: and uh, I think you were bothered by the fact

441
00:24:18,440 --> 00:24:22,720
Speaker 1: that she wasn't being completely honest. With herself. You felt

442
00:24:22,720 --> 00:24:25,040
Speaker 1: like she wasn't being honest with herself or with Lucas.

443
00:24:25,359 --> 00:24:30,440
Speaker 1: I think it also bothered you because I know you've

444
00:24:30,480 --> 00:24:34,200
Speaker 1: been lied to many times by women in your life,

445
00:24:34,520 --> 00:24:36,639
Speaker 1: and I'm sure that's built up a pattern. So I

446
00:24:36,680 --> 00:24:40,520
Speaker 1: wonder if maybe your immediate distrust of that answer it

447
00:24:40,680 --> 00:24:43,679
Speaker 1: was partly because you felt like you've been lied to

448
00:24:43,800 --> 00:24:49,760
Speaker 1: a lot. I don't know. You are, in my mind,

449
00:24:49,840 --> 00:24:54,439
Speaker 1: you know me better than anybody, and you answered it beautifully.

450
00:24:54,800 --> 00:24:59,840
Speaker 1: You are the money. Really, yeah, it was I was

451
00:25:00,000 --> 00:25:05,320
Speaker 1: listening to myself, a much prettier version of myself, and

452
00:25:05,560 --> 00:25:10,000
Speaker 1: so you thought the real answer maybe would be, uh,

453
00:25:10,640 --> 00:25:14,560
Speaker 1: I'm confused, I don't know what I want, and you

454
00:25:14,680 --> 00:25:16,359
Speaker 1: know you've got a better The first time when you

455
00:25:16,400 --> 00:25:18,640
Speaker 1: said that there was this, there was a bit of

456
00:25:18,800 --> 00:25:22,080
Speaker 1: dishonesty to herself about it. You know, I think that

457
00:25:22,200 --> 00:25:25,520
Speaker 1: she knows why she take it off, but admitting it

458
00:25:25,600 --> 00:25:31,199
Speaker 1: is to um is to um accountable. It would make

459
00:25:31,240 --> 00:25:34,159
Speaker 1: her too accountable for what she's really feeling, which is

460
00:25:34,200 --> 00:25:37,080
Speaker 1: what do you think? Which is like, I mean, not

461
00:25:37,119 --> 00:25:40,040
Speaker 1: what what's what's on the show, but what Paul Johnson

462
00:25:40,080 --> 00:25:43,400
Speaker 1: interprets those types of behad. But yes, that's what I'm asking, right, okay,

463
00:25:43,520 --> 00:25:45,040
Speaker 1: because I want to make sure there's definitely in it.

464
00:25:45,200 --> 00:25:49,280
Speaker 1: So my interpretation of that is like, I'm a good girl.

465
00:25:49,800 --> 00:25:54,200
Speaker 1: I'm I'm I'm never gonna cheat on my husband. I'm

466
00:25:54,680 --> 00:25:56,520
Speaker 1: never gonna put it out there that I'm available even

467
00:25:56,560 --> 00:25:58,479
Speaker 1: I'm still married, blah blah blah blah blah. But I'm

468
00:25:58,480 --> 00:26:01,359
Speaker 1: gonna pick off my ring and and tickle and you know,

469
00:26:01,440 --> 00:26:03,879
Speaker 1: my my best friend on the sofa gigglily giggli with

470
00:26:03,920 --> 00:26:07,119
Speaker 1: some sexual you know, vibes to it. But I'm medicine,

471
00:26:07,119 --> 00:26:10,920
Speaker 1: though I'm innicine. My feeling is, I'm a diehard romantic.

472
00:26:11,280 --> 00:26:13,879
Speaker 1: I always have been. I believe in love. I'm just

473
00:26:13,920 --> 00:26:16,920
Speaker 1: not very good at it. And my feeling is is

474
00:26:17,119 --> 00:26:22,720
Speaker 1: if I truly loved somebody, you would have to cut

475
00:26:22,760 --> 00:26:25,280
Speaker 1: my finger off before you give my wedding, and off

476
00:26:25,760 --> 00:26:31,080
Speaker 1: even after we divorced, because my love, like is immutable,

477
00:26:31,160 --> 00:26:33,560
Speaker 1: it is strong, and I believe in it. I believe

478
00:26:33,600 --> 00:26:35,600
Speaker 1: in that. I believe in marriage. I believe in that stuff.

479
00:26:36,000 --> 00:26:38,560
Speaker 1: I just wish that you know that there was like

480
00:26:39,040 --> 00:26:42,000
Speaker 1: you and I lived in a fairytale world where, like

481
00:26:42,280 --> 00:26:44,480
Speaker 1: you know, love could survive anything if it was real,

482
00:26:44,640 --> 00:26:47,239
Speaker 1: you know what I mean, But I can't. You know,

483
00:26:47,440 --> 00:26:49,840
Speaker 1: it's it's a it's a romantic vision of the world

484
00:26:49,840 --> 00:26:51,960
Speaker 1: that doesn't exist, and so it bothers me that it

485
00:26:51,960 --> 00:26:56,080
Speaker 1: doesn't exist. You know what I mean? Yes, I do

486
00:26:56,200 --> 00:27:01,520
Speaker 1: know what you mean, as would you say. It's not

487
00:27:01,560 --> 00:27:04,720
Speaker 1: a perfect answer, but it's mine. Yes, so that I

488
00:27:04,840 --> 00:27:07,280
Speaker 1: still just don't understand it though I don't understand mean,

489
00:27:07,320 --> 00:27:10,160
Speaker 1: I get generally what you're saying, but I don't quite

490
00:27:10,240 --> 00:27:14,760
Speaker 1: understand what you love. Does she still love? Yes? Does

491
00:27:14,760 --> 00:27:18,399
Speaker 1: she like? And he knows that she loves her? So

492
00:27:18,480 --> 00:27:21,960
Speaker 1: that's that's real. So that's all the ring means. Taking

493
00:27:22,000 --> 00:27:25,240
Speaker 1: the ring off is not like taking up ease deserve it.

494
00:27:25,240 --> 00:27:28,679
Speaker 1: Taking the ring off is saying, you know, I'm basically

495
00:27:28,720 --> 00:27:32,040
Speaker 1: saying unavailable. My heart is not taken by one person anymore.

496
00:27:33,080 --> 00:27:35,440
Speaker 1: That's what the simbolism to me meant. That's why I

497
00:27:35,440 --> 00:27:38,959
Speaker 1: would I call so it was like almost like us,

498
00:27:39,520 --> 00:27:44,040
Speaker 1: it's a way of deceiving yourself. That's really what you're doing,

499
00:27:44,240 --> 00:27:48,359
Speaker 1: is uh, notifying the world that you are available again,

500
00:27:49,000 --> 00:27:51,600
Speaker 1: and do you think any more? Love story was more

501
00:27:51,640 --> 00:27:54,080
Speaker 1: profound on this series one to real for ten or

502
00:27:54,160 --> 00:27:57,960
Speaker 1: nine years, that story, that was the love story of

503
00:27:58,080 --> 00:28:01,359
Speaker 1: the show. Yeah, it was my favorite one to watch.

504
00:28:01,400 --> 00:28:03,399
Speaker 1: And I was there when he proposed to you. I

505
00:28:03,440 --> 00:28:08,600
Speaker 1: shot that episode, Oh you did? Oh my gosh, Paul,

506
00:28:08,640 --> 00:28:11,920
Speaker 1: I forgot about that shot, the one where you guys were,

507
00:28:12,000 --> 00:28:14,680
Speaker 1: you know, falling off the bed leaving the voice message together.

508
00:28:14,840 --> 00:28:17,600
Speaker 1: And I mean, I loved shooting you guys together. So

509
00:28:17,760 --> 00:28:20,879
Speaker 1: I'm gonna I'm gonna bat back at that response. And

510
00:28:21,280 --> 00:28:25,000
Speaker 1: you're not totally wrong. Actually, Uh, in my opinion, based

511
00:28:25,040 --> 00:28:28,280
Speaker 1: on me being me as Haley listening to that response,

512
00:28:28,320 --> 00:28:30,720
Speaker 1: I wouldn't say you're totally wrong. But what I would

513
00:28:30,720 --> 00:28:34,840
Speaker 1: say is that, um, there's an element of feeling like

514
00:28:35,040 --> 00:28:41,160
Speaker 1: she doesn't deserve it because she knows that she hasn't

515
00:28:43,600 --> 00:28:46,760
Speaker 1: lived up to Nathan's expectations of her, and that she

516
00:28:46,880 --> 00:28:49,760
Speaker 1: has sort of allowed herself to open her heart to

517
00:28:50,040 --> 00:28:53,040
Speaker 1: the possibility of other people or someone else and maybe

518
00:28:53,040 --> 00:28:59,600
Speaker 1: the marriage ending and like that that would lead her

519
00:28:59,640 --> 00:29:03,400
Speaker 1: then to feeling that self loathing of I don't even

520
00:29:03,440 --> 00:29:06,800
Speaker 1: deserve this anyway, which it's kind of like a double

521
00:29:06,920 --> 00:29:08,800
Speaker 1: edged Is it a double edged sword? Is that the

522
00:29:08,880 --> 00:29:14,800
Speaker 1: right analogy? It's definitely. Um. Yeah, I mean I think

523
00:29:14,800 --> 00:29:18,400
Speaker 1: I've been in Can we joy? Can we love? Can

524
00:29:18,480 --> 00:29:23,440
Speaker 1: you love two men at the same time with two guys?

525
00:29:23,480 --> 00:29:27,040
Speaker 1: Like I don't know, you know what I mean, I

526
00:29:27,080 --> 00:29:31,840
Speaker 1: don't know. I know that I can't. Yeah, because I

527
00:29:31,880 --> 00:29:33,680
Speaker 1: know me now, after all these years, I know that

528
00:29:33,720 --> 00:29:35,960
Speaker 1: I can really love a present of the time. I

529
00:29:36,000 --> 00:29:38,760
Speaker 1: mean I could love people in different ways. Yeah, but

530
00:29:38,800 --> 00:29:41,960
Speaker 1: you know what I'm talking about. No, it's been It's hard.

531
00:29:43,000 --> 00:29:45,480
Speaker 1: There's always like if I'm really in love with someone,

532
00:29:46,440 --> 00:29:48,880
Speaker 1: I've I've done it where I've been in love with someone,

533
00:29:48,880 --> 00:29:50,520
Speaker 1: it's not working. And then I go out with other

534
00:29:50,560 --> 00:29:54,160
Speaker 1: people and Um, as much as I try, great as

535
00:29:54,200 --> 00:29:59,840
Speaker 1: they are, just I just can't. No, it's too hard. Yeah.

536
00:30:00,840 --> 00:30:05,080
Speaker 1: Um well, yeah was the was the like you know

537
00:30:05,120 --> 00:30:11,040
Speaker 1: we've commented on the the um Karen and Karen. Yeah,

538
00:30:11,080 --> 00:30:12,920
Speaker 1: I was going to go to them next, because that's

539
00:30:12,920 --> 00:30:17,800
Speaker 1: another another thing of of the tragedies of not to

540
00:30:18,000 --> 00:30:20,200
Speaker 1: not to Well, I should go onto this quote. The

541
00:30:20,280 --> 00:30:22,280
Speaker 1: quote was there two tragedies in life? This is the

542
00:30:22,360 --> 00:30:25,760
Speaker 1: quote of the episode. There are two tragedies in life. Yes,

543
00:30:25,960 --> 00:30:28,480
Speaker 1: to gain the desire of your heart or to lose

544
00:30:28,480 --> 00:30:30,560
Speaker 1: the desire of your heart and also to gain it.

545
00:30:31,480 --> 00:30:36,320
Speaker 1: So another loss here Karen and Andy. But I love

546
00:30:36,400 --> 00:30:39,720
Speaker 1: the two actors. I love them very much. I really

547
00:30:39,720 --> 00:30:44,800
Speaker 1: love them. The love that that felt forced a little

548
00:30:44,800 --> 00:30:48,080
Speaker 1: bit to me, It felt a little bit unearned in

549
00:30:48,200 --> 00:30:51,480
Speaker 1: terms of the way that it ended to me. What

550
00:30:51,520 --> 00:30:54,480
Speaker 1: do you mean because you because they just didn't feel

551
00:30:54,520 --> 00:30:59,440
Speaker 1: like they had enough history. That's that's really the crux

552
00:30:59,480 --> 00:31:02,720
Speaker 1: of the point. You capted immediately as as you do, Joy,

553
00:31:02,840 --> 00:31:04,959
Speaker 1: But are also is that I felt that, you know,

554
00:31:05,000 --> 00:31:07,520
Speaker 1: they maybe there was something edited out of the episode

555
00:31:07,560 --> 00:31:09,680
Speaker 1: that might have given us a little bit more to

556
00:31:10,040 --> 00:31:13,640
Speaker 1: Oh that's interesting, I mean yeah, I mean but also

557
00:31:13,760 --> 00:31:16,720
Speaker 1: you haven't been watching the last you know, twenty two

558
00:31:16,720 --> 00:31:23,080
Speaker 1: episodes and there, husband, come on, we know you don't

559
00:31:23,080 --> 00:31:25,400
Speaker 1: have time for that. You fancy that You've got so

560
00:31:25,480 --> 00:31:28,480
Speaker 1: much going on. That last line that he threw out

561
00:31:28,520 --> 00:31:31,560
Speaker 1: at her, Oh that was rough. That felt like it

562
00:31:31,600 --> 00:31:34,520
Speaker 1: didn't need to be said. What did he say? I

563
00:31:34,560 --> 00:31:38,120
Speaker 1: love you? I love you too? It was just seems

564
00:31:38,160 --> 00:31:46,800
Speaker 1: like it just isn't enough. Yeah, wow, ouch, that was rough. Um, yeah,

565
00:31:47,080 --> 00:31:50,120
Speaker 1: that was rough. But Karen had a Karen had a

566
00:31:50,160 --> 00:31:53,440
Speaker 1: big episode here. Oh she was when she came firing

567
00:31:53,520 --> 00:31:57,760
Speaker 1: in man she does she does that irish anger. Really

568
00:31:58,400 --> 00:32:00,760
Speaker 1: we were staying. In the other episode, her whole chest

569
00:32:00,840 --> 00:32:03,680
Speaker 1: went red in her face when she got angry with

570
00:32:03,760 --> 00:32:10,320
Speaker 1: Lucas for something a few episodes ago. It was great. Yeah,

571
00:32:10,400 --> 00:32:12,880
Speaker 1: And she's such a calm and kind person in life,

572
00:32:12,880 --> 00:32:17,000
Speaker 1: so it's great to see that her her her her

573
00:32:17,160 --> 00:32:21,120
Speaker 1: her as what they called her her paint, her canvas.

574
00:32:21,120 --> 00:32:23,320
Speaker 1: Her canvas is so beautiful with colors that she can

575
00:32:23,400 --> 00:32:26,960
Speaker 1: just raw them in, you know what I mean. There

576
00:32:27,040 --> 00:32:29,160
Speaker 1: was one moment in this that felt strange to me,

577
00:32:29,600 --> 00:32:33,440
Speaker 1: which was when after Andy leaves your office and you

578
00:32:33,520 --> 00:32:40,640
Speaker 1: throw the award through the new glass window, presumably the

579
00:32:40,640 --> 00:32:44,640
Speaker 1: new glass window. You know what budged me about it, Paul,

580
00:32:44,840 --> 00:32:47,200
Speaker 1: is that I just didn't believe Dan would ever give

581
00:32:47,240 --> 00:32:51,280
Speaker 1: anyone the satisfaction of knowing that they had piste him off. No,

582
00:32:51,400 --> 00:32:53,800
Speaker 1: I agree with you. I think there was some There

583
00:32:53,840 --> 00:32:55,880
Speaker 1: were some conversations on this set about it was an

584
00:32:55,960 --> 00:33:01,440
Speaker 1: un unmotivated overreaction to me, and I think that I

585
00:33:01,480 --> 00:33:04,400
Speaker 1: remember having the conversation. But what they wanted was the bookends,

586
00:33:05,480 --> 00:33:07,680
Speaker 1: the window back to back for you know, for the

587
00:33:07,760 --> 00:33:10,280
Speaker 1: drama of the finale, and so we had to get

588
00:33:10,280 --> 00:33:13,160
Speaker 1: there somewhere. My job is to give them what they

589
00:33:13,160 --> 00:33:16,040
Speaker 1: wish in a way that feels truthful, um, and if

590
00:33:16,080 --> 00:33:20,960
Speaker 1: it honestly um. Sometimes you can't fully achieve those things

591
00:33:21,240 --> 00:33:23,720
Speaker 1: when requested, even when you put your very best work

592
00:33:23,720 --> 00:33:33,520
Speaker 1: into it. You know, what was your experience like on

593
00:33:33,560 --> 00:33:35,560
Speaker 1: other shows with things like that, because I think in

594
00:33:35,640 --> 00:33:38,320
Speaker 1: TV that happens a lot where something is just on

595
00:33:38,360 --> 00:33:41,640
Speaker 1: a page or you know, a writer's room decided here's

596
00:33:41,800 --> 00:33:45,000
Speaker 1: what we need for the poetry of the of the episode,

597
00:33:45,200 --> 00:33:49,000
Speaker 1: and they're not taking into consideration that an actor you know,

598
00:33:49,560 --> 00:33:52,640
Speaker 1: may be able to bring to light reasons why it

599
00:33:52,640 --> 00:33:56,080
Speaker 1: would not be organic to do it that way. Um.

600
00:33:56,120 --> 00:33:58,200
Speaker 1: And yet it's television, it's not film. We don't have

601
00:33:58,280 --> 00:34:01,640
Speaker 1: time to rehearse and a just all those things. Do

602
00:34:01,640 --> 00:34:05,200
Speaker 1: you Was it was it, uh the similar on other

603
00:34:05,200 --> 00:34:07,240
Speaker 1: TV shows that you had been on that there was

604
00:34:07,280 --> 00:34:08,839
Speaker 1: a lot of that all the time, or was it

605
00:34:08,880 --> 00:34:11,359
Speaker 1: mostly on more on One Tree Hill or less? Or

606
00:34:11,719 --> 00:34:14,440
Speaker 1: you've had such a long career. There's two answers to

607
00:34:14,480 --> 00:34:16,600
Speaker 1: that that I would like to like to put forward.

608
00:34:17,120 --> 00:34:19,440
Speaker 1: First off, is because it's a really great question for

609
00:34:19,520 --> 00:34:22,759
Speaker 1: people that are listening, that have you know, ideas of

610
00:34:23,000 --> 00:34:25,560
Speaker 1: theater or acting whatever, and so they may run in

611
00:34:25,640 --> 00:34:28,000
Speaker 1: these situations. So it's nicely to talk about the process,

612
00:34:28,400 --> 00:34:32,239
Speaker 1: especially the collabor process on that level. On procedural shows,

613
00:34:32,280 --> 00:34:34,399
Speaker 1: you know, you know them all, there's so many of them.

614
00:34:34,800 --> 00:34:39,440
Speaker 1: There's no conversations. This is what's happening. The committee. The

615
00:34:39,480 --> 00:34:42,719
Speaker 1: committee has has just passed down the lecture and this

616
00:34:42,760 --> 00:34:45,399
Speaker 1: is what's happening to do because they shoot them fast,

617
00:34:45,440 --> 00:34:48,480
Speaker 1: you get out and you don't have debate. You know,

618
00:34:49,000 --> 00:34:53,120
Speaker 1: on that, it's it's happening um on. On a show

619
00:34:53,160 --> 00:34:57,319
Speaker 1: with a really hands on kind of showrunner like a

620
00:34:57,360 --> 00:35:01,000
Speaker 1: Matt Weiner who've worked for people like that, there's intelligent

621
00:35:01,080 --> 00:35:03,759
Speaker 1: conversations which help you understand the process is where they

622
00:35:03,800 --> 00:35:07,359
Speaker 1: got to and these aren't you know, these sort of

623
00:35:07,360 --> 00:35:12,400
Speaker 1: like quick decisions. They're very thought out and they have

624
00:35:12,960 --> 00:35:16,440
Speaker 1: meaningful collaborations without actors and you get to to figure

625
00:35:16,520 --> 00:35:19,200
Speaker 1: things out which which work and they will make adjustments

626
00:35:19,200 --> 00:35:22,279
Speaker 1: in order to make that work. But to turn it

627
00:35:22,320 --> 00:35:25,480
Speaker 1: all around from a directing point of view, as a director,

628
00:35:25,680 --> 00:35:27,799
Speaker 1: and you've worked with me as a director, if an

629
00:35:27,800 --> 00:35:31,239
Speaker 1: actor says to me, uh, this isn't. I'm not just

630
00:35:31,280 --> 00:35:33,760
Speaker 1: doesn't feel or good. I feel like I'm I'm taking

631
00:35:33,760 --> 00:35:36,840
Speaker 1: this to me. That is like the death of anything

632
00:35:36,880 --> 00:35:40,239
Speaker 1: I ever want filmed. Yeah, the same way, you know,

633
00:35:40,320 --> 00:35:42,360
Speaker 1: Yeah you are. And I remember one time, you know,

634
00:35:42,440 --> 00:35:45,000
Speaker 1: you and I were working on a scene and you

635
00:35:45,040 --> 00:35:47,359
Speaker 1: were supposed to what you were supposed to get really

636
00:35:47,360 --> 00:35:48,920
Speaker 1: mad into something, and you said, I just feel like

637
00:35:48,960 --> 00:35:51,480
Speaker 1: I want to like wipe this table theme and smash everything,

638
00:35:51,680 --> 00:35:54,040
Speaker 1: and said, well do it, and you're like, I can't

639
00:35:54,080 --> 00:35:56,760
Speaker 1: do that, and you kind of stopped. Remember in your draft,

640
00:35:57,520 --> 00:35:59,000
Speaker 1: I can do it. I went yea And I said,

641
00:35:59,000 --> 00:36:00,640
Speaker 1: well then they'll have to clean up. And I said,

642
00:36:00,880 --> 00:36:04,239
Speaker 1: then they'll have to clean it over, Like that's no

643
00:36:04,360 --> 00:36:07,359
Speaker 1: disrespect to the but that's their job. Yeah, sure, we'll

644
00:36:07,400 --> 00:36:09,799
Speaker 1: have a job. Your job is to be truthful, and

645
00:36:09,800 --> 00:36:11,560
Speaker 1: our job is to give you the environment to be

646
00:36:11,680 --> 00:36:15,399
Speaker 1: truthful in Yes, you know, so you figure it out,

647
00:36:15,480 --> 00:36:20,640
Speaker 1: you know, Yeah, that's really cool. Yeah, I remember, Yeah,

648
00:36:20,640 --> 00:36:23,239
Speaker 1: I remember on soaps there was there was such a

649
00:36:23,280 --> 00:36:27,480
Speaker 1: fast pace with that schedule, and I don't know if

650
00:36:27,480 --> 00:36:29,239
Speaker 1: they were shot differently in l A. Than they were

651
00:36:29,400 --> 00:36:31,920
Speaker 1: in New York, because did you guys do camera blocking,

652
00:36:32,680 --> 00:36:35,239
Speaker 1: like you went in and did like rehearsal blocking in

653
00:36:35,280 --> 00:36:37,839
Speaker 1: a blank room. Then you did camera blocking, and then

654
00:36:37,880 --> 00:36:40,359
Speaker 1: everybody shot. They had like a slot between one and

655
00:36:40,520 --> 00:36:42,400
Speaker 1: five that they would go in and shoot their scenes

656
00:36:42,400 --> 00:36:45,160
Speaker 1: in the afternoon. That's how we shout our total three

657
00:36:45,200 --> 00:36:48,080
Speaker 1: of those. We didn't have a rear. We had an

658
00:36:48,120 --> 00:36:54,640
Speaker 1: onset read through where the director and the producers would

659
00:36:54,680 --> 00:36:57,759
Speaker 1: walk through the set cold and the director would go,

660
00:36:58,320 --> 00:37:00,520
Speaker 1: this is where you stand, and then you over here.

661
00:37:00,600 --> 00:37:03,319
Speaker 1: Then you move over here, and it's literally paint lines

662
00:37:03,360 --> 00:37:04,840
Speaker 1: on the floor, so you wouldn't miss it, you know.

663
00:37:06,239 --> 00:37:09,279
Speaker 1: But then they always had it was four, you know what,

664
00:37:10,000 --> 00:37:13,520
Speaker 1: always three or four cameras going same time, and then

665
00:37:13,560 --> 00:37:15,760
Speaker 1: in the afternoon you'd block out your pieces and shoot

666
00:37:15,800 --> 00:37:18,480
Speaker 1: them and you usually do them twice, right, because there

667
00:37:18,480 --> 00:37:22,000
Speaker 1: were some soaps that would you would go in and

668
00:37:22,120 --> 00:37:24,200
Speaker 1: everything was done all at once, so you would go

669
00:37:24,280 --> 00:37:27,640
Speaker 1: in and do your blocking, then you would immediately do

670
00:37:27,719 --> 00:37:30,840
Speaker 1: camera blocking, and then you would shoot your scene. So

671
00:37:30,960 --> 00:37:33,920
Speaker 1: everybody just went in hair and makeup at different times,

672
00:37:33,920 --> 00:37:37,000
Speaker 1: but everything would happen at once, and I never liked

673
00:37:37,040 --> 00:37:38,799
Speaker 1: the idea of that. I'm glad we didn't do that.

674
00:37:38,920 --> 00:37:43,239
Speaker 1: Because we gave us time to process after our blocking rehearsal.

675
00:37:43,719 --> 00:37:45,520
Speaker 1: You'd have time to process before you went back to

676
00:37:45,560 --> 00:37:48,040
Speaker 1: camera blocking and said, wait, something feels wrong, something doesn't

677
00:37:48,080 --> 00:37:53,040
Speaker 1: feel right about this country. Hill was every director kind

678
00:37:53,040 --> 00:37:55,839
Speaker 1: of their own vibe, but we always kept the same

679
00:37:55,920 --> 00:37:59,960
Speaker 1: kind of formula, right you know, yeah, yeah, that was

680
00:38:00,080 --> 00:38:02,520
Speaker 1: that everybody. You would come in and get your makeup done.

681
00:38:03,320 --> 00:38:07,320
Speaker 1: You'd really just get to set and start. You'd rehearsed quickly.

682
00:38:07,480 --> 00:38:10,400
Speaker 1: There was a twenty minute break for camera blocking or

683
00:38:10,440 --> 00:38:14,480
Speaker 1: two hours, depending on depending on what was going on

684
00:38:14,560 --> 00:38:20,000
Speaker 1: that day, and then shoot we did among the fans

685
00:38:20,040 --> 00:38:23,640
Speaker 1: would have loved to have been in the in the

686
00:38:23,680 --> 00:38:26,399
Speaker 1: makeup room where all the gossip was going down and

687
00:38:26,560 --> 00:38:28,920
Speaker 1: we're talking about the weekends and who did wet and

688
00:38:28,960 --> 00:38:32,080
Speaker 1: wet and where and now, and it's like bonding and

689
00:38:32,280 --> 00:38:36,640
Speaker 1: friendships and people bringing in cookies. It was. It was fun.

690
00:38:36,640 --> 00:38:38,000
Speaker 1: It was There was also a lot of drama in

691
00:38:38,000 --> 00:38:41,239
Speaker 1: there and makeup trailer and I we've We've talked a

692
00:38:41,280 --> 00:38:43,359
Speaker 1: lot Hillary, Sophia and I on the show. I've talked

693
00:38:43,400 --> 00:38:46,560
Speaker 1: a lot about um. You know, there's just there's so

694
00:38:46,600 --> 00:38:49,839
Speaker 1: many so easy to have so many misunderstandings and and

695
00:38:51,000 --> 00:38:53,719
Speaker 1: it's so it is a place for gossip a lot

696
00:38:53,760 --> 00:38:56,399
Speaker 1: of the time. And something I can say that I've

697
00:38:56,440 --> 00:39:01,000
Speaker 1: noticed in this business is as time has gone on,

698
00:39:01,320 --> 00:39:03,239
Speaker 1: it's not like it used to be. In the hair

699
00:39:03,360 --> 00:39:07,279
Speaker 1: makeup trailer it's talking about someone behind their back or

700
00:39:07,400 --> 00:39:09,880
Speaker 1: gossip or you know where the whole trailer is just

701
00:39:09,920 --> 00:39:14,000
Speaker 1: like up in arms talking about something that's not happening anymore.

702
00:39:14,040 --> 00:39:15,759
Speaker 1: I haven't seen that on a set in a very

703
00:39:15,800 --> 00:39:20,040
Speaker 1: long time. Good. Yeah, So, I don't know, it's just tracking.

704
00:39:20,160 --> 00:39:22,240
Speaker 1: And a lot of times I would wear headphones because

705
00:39:22,280 --> 00:39:25,279
Speaker 1: I just couldn't hear. I have to go do a

706
00:39:25,280 --> 00:39:27,080
Speaker 1: scene with somebody, and I'm finding all these things out

707
00:39:27,080 --> 00:39:29,240
Speaker 1: about them that have nothing to do with my scene,

708
00:39:29,239 --> 00:39:31,439
Speaker 1: and I really want to be focused on the work,

709
00:39:32,120 --> 00:39:36,480
Speaker 1: preparing my performance and preparing mental place for that character

710
00:39:36,480 --> 00:39:38,839
Speaker 1: you're walking into the scene. You know this whole thing

711
00:39:38,840 --> 00:39:42,239
Speaker 1: that people um one thing that is always lacking in

712
00:39:42,280 --> 00:39:45,839
Speaker 1: conversations about watching shows. When you watch neib to watch

713
00:39:45,880 --> 00:39:50,680
Speaker 1: TV show UM and a new scene starts, you remember

714
00:39:50,960 --> 00:39:54,120
Speaker 1: that character is coming in with all the history of

715
00:39:54,200 --> 00:39:56,920
Speaker 1: everything that just happened to that character before. When you're

716
00:39:56,920 --> 00:40:00,480
Speaker 1: an actor. That's what you're reviewing before you go into

717
00:40:00,560 --> 00:40:03,160
Speaker 1: the you're walking into the set, your head is going,

718
00:40:03,680 --> 00:40:05,360
Speaker 1: what's the last time I saw this person? Where did

719
00:40:05,400 --> 00:40:07,240
Speaker 1: they say to me? How did I react? What happened

720
00:40:07,239 --> 00:40:09,640
Speaker 1: since then? What a new information I learn? I'm walking

721
00:40:09,640 --> 00:40:11,560
Speaker 1: in the scene and I have something to say. But

722
00:40:11,680 --> 00:40:13,680
Speaker 1: it doesn't just happen when you walk out and see

723
00:40:13,719 --> 00:40:18,000
Speaker 1: your lines. The whole prime event value going on there.

724
00:40:18,920 --> 00:40:21,359
Speaker 1: Audiences when they watch it, they go, oh, this person

725
00:40:21,400 --> 00:40:23,560
Speaker 1: has always got coming in with something. It's like it's

726
00:40:23,600 --> 00:40:26,120
Speaker 1: because they're doing their work. Yeah, and you have to

727
00:40:26,120 --> 00:40:27,880
Speaker 1: have the space to be able to do that in

728
00:40:27,960 --> 00:40:31,480
Speaker 1: an undistracted space like that. It's super important that That's

729
00:40:31,560 --> 00:40:33,759
Speaker 1: probably why I think it's one of the reasons why

730
00:40:33,840 --> 00:40:38,280
Speaker 1: artists get bad rap as being really fussy sometimes because

731
00:40:38,360 --> 00:40:41,280
Speaker 1: you can be in a moment where you're really trying

732
00:40:41,320 --> 00:40:44,960
Speaker 1: to give the prepare to give the most authentic performance

733
00:40:45,080 --> 00:40:48,080
Speaker 1: so that the audience can have the most authentic experience.

734
00:40:48,960 --> 00:40:52,279
Speaker 1: And uh, if you if you get annoyed with someone

735
00:40:52,280 --> 00:40:55,160
Speaker 1: who's bouncing around the set shit chit chatting, or you know,

736
00:40:55,360 --> 00:40:58,040
Speaker 1: just being super distracting, or if somebody who's standing next

737
00:40:58,040 --> 00:40:59,920
Speaker 1: to you and just gossiping or trying to rope you

738
00:41:00,040 --> 00:41:02,680
Speaker 1: to something and if you, you know, in your zone,

739
00:41:03,200 --> 00:41:04,960
Speaker 1: go I can't. I can't deal with that right now,

740
00:41:05,000 --> 00:41:07,520
Speaker 1: can we? You know, because it's so hard to stay

741
00:41:07,560 --> 00:41:11,040
Speaker 1: focused and also turn to someone and go into a

742
00:41:11,040 --> 00:41:15,239
Speaker 1: completely different zone of Hey, listen, um, I'm just trying

743
00:41:15,280 --> 00:41:18,160
Speaker 1: to focus right now on my work, and I totally

744
00:41:18,200 --> 00:41:21,160
Speaker 1: respect that you want to have this conversation. Would you

745
00:41:21,160 --> 00:41:24,840
Speaker 1: mind doing it somewhere else? Like my brain? It's really

746
00:41:24,920 --> 00:41:30,200
Speaker 1: hard for me to maintain, um, but yeah, but to

747
00:41:30,239 --> 00:41:32,680
Speaker 1: maintain that duel like I don't know how to stay

748
00:41:32,680 --> 00:41:34,000
Speaker 1: and I can't stay in my zone. I have to

749
00:41:34,040 --> 00:41:36,319
Speaker 1: come out of my zone in order to take care

750
00:41:36,320 --> 00:41:39,160
Speaker 1: of someone else's problem and then try and find my

751
00:41:39,200 --> 00:41:42,719
Speaker 1: way back into my zone. And that's really hard joy

752
00:41:43,560 --> 00:41:46,960
Speaker 1: to work with. I can't believe she asked me not

753
00:41:47,040 --> 00:41:51,160
Speaker 1: to talk about my new gardening on my back. Was

754
00:41:51,200 --> 00:41:53,560
Speaker 1: in the middle of toner about my beats being planted,

755
00:41:53,640 --> 00:41:58,160
Speaker 1: and she said, I'm safe, right, No, but I wanted

756
00:41:58,200 --> 00:42:02,240
Speaker 1: to bring your beat. But person, I think on the set,

757
00:42:02,360 --> 00:42:06,040
Speaker 1: you know, everyone has an onset demeanor, right, everyone, Like

758
00:42:06,040 --> 00:42:09,240
Speaker 1: we're sitting in chairs, we're yakking away where the rehearsing

759
00:42:09,280 --> 00:42:11,400
Speaker 1: or we're talking. We're chatting about whatever. We're sitting in

760
00:42:11,400 --> 00:42:14,200
Speaker 1: our in our director chairs waiting to go and shoot

761
00:42:14,200 --> 00:42:16,439
Speaker 1: a scene them while chiming around. There was one person

762
00:42:16,480 --> 00:42:19,239
Speaker 1: who's my favorite person I've ever worked with, and her

763
00:42:19,320 --> 00:42:21,799
Speaker 1: name is I'll name some of her movies. You told

764
00:42:21,800 --> 00:42:25,320
Speaker 1: me who it is. She is in um uh, the

765
00:42:25,640 --> 00:42:31,000
Speaker 1: Daniel day Lewis movie, but Lincoln, Okay, she was in

766
00:42:31,440 --> 00:42:37,560
Speaker 1: Fried Green Tomatoes, Tender Mercies, Mary Stuart Masterson, Sally Field,

767
00:42:37,880 --> 00:42:43,800
Speaker 1: Sally Field, Oh my god, favorite onset demeanors. Sally comes

768
00:42:43,800 --> 00:42:50,080
Speaker 1: with her own chair and a bag, and she's fully,

769
00:42:50,120 --> 00:42:53,000
Speaker 1: fully rehearsed, knows not only her lines, but everybody's lines.

770
00:42:53,360 --> 00:42:56,320
Speaker 1: She's the smartest person in the room. She sits down

771
00:42:56,840 --> 00:43:05,000
Speaker 1: and she just needle points all day and listens in

772
00:43:05,040 --> 00:43:09,600
Speaker 1: the minutes churn down and she's amazing. It's like one

773
00:43:09,640 --> 00:43:13,759
Speaker 1: of those things where she doesn't mean even when she's

774
00:43:13,800 --> 00:43:17,800
Speaker 1: not in the scene, she's still there needle. You worked

775
00:43:17,800 --> 00:43:20,920
Speaker 1: with her on Soap Dish, one of my favorite movies,

776
00:43:22,000 --> 00:43:24,600
Speaker 1: very funny movie, very funny movie was that the Jim

777
00:43:24,640 --> 00:43:26,560
Speaker 1: Doing likeness from Father Corey told me, your experience to

778
00:43:26,560 --> 00:43:30,560
Speaker 1: the soap kitchen. You are right, and I'm my shirts

779
00:43:30,560 --> 00:43:35,239
Speaker 1: off and I'm glistening. Oh so good. I love that.

780
00:43:35,320 --> 00:43:38,360
Speaker 1: You know who else on our show sounds very similar

781
00:43:38,360 --> 00:43:43,400
Speaker 1: to that. Actually, Sharon Lawrence is stellar at that. She

782
00:43:43,680 --> 00:43:48,840
Speaker 1: is a dynamite actress and also can really manage um.

783
00:43:49,120 --> 00:43:51,759
Speaker 1: She's just said, it's such a Southern genteel woman. She

784
00:43:51,840 --> 00:43:56,399
Speaker 1: knows how to manage every personality around her. I love

785
00:43:56,440 --> 00:43:59,680
Speaker 1: her too. She's we talked to was it the party

786
00:43:59,680 --> 00:44:02,480
Speaker 1: that you had? It goes from Christmas point Christmas party. Yeah,

787
00:44:03,160 --> 00:44:05,600
Speaker 1: she was just you know, we talked about you and

788
00:44:05,680 --> 00:44:11,640
Speaker 1: she's like she gets what I get. Sweet, thank you. Yeah,

789
00:44:11,680 --> 00:44:14,440
Speaker 1: It's it's an interesting thing to be an artist in

790
00:44:14,480 --> 00:44:17,600
Speaker 1: this in this world. Games had a very sort of

791
00:44:17,840 --> 00:44:24,879
Speaker 1: solo alone vibe in this episode, suffering by himself, kind

792
00:44:24,920 --> 00:44:27,680
Speaker 1: of like you know, people come in and go, but

793
00:44:27,719 --> 00:44:30,640
Speaker 1: then nobody stays with him. Yeah, he's kind of I

794
00:44:30,880 --> 00:44:32,799
Speaker 1: really like the way they designed that to make him

795
00:44:33,200 --> 00:44:35,439
Speaker 1: kind of like a man alone, you know what I mean.

796
00:44:35,600 --> 00:44:37,799
Speaker 1: That's a great point. I hadn't thought about that. I

797
00:44:37,840 --> 00:44:39,799
Speaker 1: really like that too, because all we've seen of him

798
00:44:39,960 --> 00:44:44,600
Speaker 1: is with Lucas in the last few episodes where um

799
00:44:44,760 --> 00:44:47,319
Speaker 1: or or dealing with stuff with Dan, And this was

800
00:44:47,360 --> 00:44:50,160
Speaker 1: the first time even the dinner table or the barbecue

801
00:44:50,160 --> 00:44:54,000
Speaker 1: table that Dan set out set out flowers. Apparently. I

802
00:44:54,040 --> 00:44:56,600
Speaker 1: was like, Wow, the lavender's out on the table. Okay, Dan,

803
00:44:58,440 --> 00:45:03,520
Speaker 1: give me a second life back. What are you trying

804
00:45:03,520 --> 00:45:06,640
Speaker 1: to turn on? Just popped off? Oh yeah, go ahead,

805
00:45:07,120 --> 00:45:10,440
Speaker 1: She'll turn out his life. Um. But I was gonna say,

806
00:45:10,480 --> 00:45:14,040
Speaker 1: well you do that that? Uh? I love seeing even

807
00:45:14,080 --> 00:45:17,400
Speaker 1: though he had that moment with Dan over the barbecue. Uh,

808
00:45:18,480 --> 00:45:22,480
Speaker 1: horrible about Dan telling him about Deb's addiction was just

809
00:45:22,520 --> 00:45:27,879
Speaker 1: such a bad parenting moment. But um, I think you're right.

810
00:45:28,000 --> 00:45:32,880
Speaker 1: I love seeing that. Giving James the opportunity to just wrestle,

811
00:45:33,560 --> 00:45:36,120
Speaker 1: have Nathan wrestle with himself and his own issues rather

812
00:45:36,200 --> 00:45:40,520
Speaker 1: than wrestling with everyone else's interpretation of Nathan's issues. He

813
00:45:40,680 --> 00:45:44,520
Speaker 1: just had to be alone with himself. Yeah, really nice.

814
00:45:44,600 --> 00:45:48,880
Speaker 1: I liked it too. Can we talk about Lee and Catherine?

815
00:45:49,040 --> 00:45:53,120
Speaker 1: Oh yeah, oh yeah, I love it. Go ahead. She

816
00:45:53,400 --> 00:45:57,680
Speaker 1: threw herself at him, right. It's it's a nice place

817
00:45:57,680 --> 00:45:59,239
Speaker 1: for him to be at as a as a as

818
00:45:59,280 --> 00:46:02,200
Speaker 1: a as a care you know, to have this charming,

819
00:46:02,320 --> 00:46:07,440
Speaker 1: sweet fun southern you know, full of life girl, like

820
00:46:07,640 --> 00:46:10,400
Speaker 1: make him number one, and it's kind of nice to

821
00:46:10,440 --> 00:46:15,800
Speaker 1: see him kind of like like just seeping that. Yeah. Yeah,

822
00:46:16,040 --> 00:46:18,359
Speaker 1: I love Mouth. We all love Mouth. He's our He's

823
00:46:18,360 --> 00:46:21,960
Speaker 1: our favorite go to anytime guy. You know, like he's

824
00:46:22,000 --> 00:46:26,680
Speaker 1: always there for you, he's always reliable. Um, but we're

825
00:46:26,680 --> 00:46:31,360
Speaker 1: gonna go, oh he is. Yeah, that's right. You know

826
00:46:31,400 --> 00:46:34,920
Speaker 1: where We're going to go to listener questions. But before

827
00:46:34,960 --> 00:46:39,799
Speaker 1: we do, in the interest of the the book ends

828
00:46:39,920 --> 00:46:43,800
Speaker 1: that we talked about and the theme of this episode,

829
00:46:44,480 --> 00:46:47,839
Speaker 1: the two tragedies in life. At the end of the episode,

830
00:46:48,000 --> 00:46:53,040
Speaker 1: Mouth disagrees. Speaking of Mouth, he disagrees and says, no,

831
00:46:53,719 --> 00:46:58,279
Speaker 1: it's you know, whoever, whoever. George Bernard Shaw was never

832
00:46:58,360 --> 00:47:02,399
Speaker 1: kissed Derika Marsh Right, but the sentiment of gaining your

833
00:47:02,400 --> 00:47:07,400
Speaker 1: heart's desire isn't a tragedy. Uh. I'm curious as to

834
00:47:07,440 --> 00:47:13,880
Speaker 1: what you think about that quote. I think George Burroshaw

835
00:47:14,080 --> 00:47:18,560
Speaker 1: was a genius, and I think he's right. I do absolutely.

836
00:47:19,239 --> 00:47:21,520
Speaker 1: I mean, you must, you must feel the same way.

837
00:47:21,520 --> 00:47:26,160
Speaker 1: I mean, I've never suffered more than when I'm in love. Yes,

838
00:47:27,000 --> 00:47:29,680
Speaker 1: you know what I mean, I can handle in tragedy

839
00:47:29,800 --> 00:47:34,479
Speaker 1: but when I'm in love everything, it's like magnified. Yes,

840
00:47:34,800 --> 00:47:38,439
Speaker 1: that's true. But also you know what made me think

841
00:47:38,440 --> 00:47:42,800
Speaker 1: of that gaining the desire of your heart there is

842
00:47:42,840 --> 00:47:45,680
Speaker 1: a tragedy in it because then you've got it and

843
00:47:45,719 --> 00:47:48,879
Speaker 1: now what Now you have to find something else. It's

844
00:47:48,920 --> 00:47:53,279
Speaker 1: like the death of the chase when you spent when

845
00:47:53,320 --> 00:47:56,680
Speaker 1: you spend so long chasing a desire. Once you once

846
00:47:56,719 --> 00:48:02,160
Speaker 1: you have it, uh, it's it's scary. It's because it's like, well,

847
00:48:02,200 --> 00:48:04,239
Speaker 1: what do I do now? Now I have it? And

848
00:48:04,400 --> 00:48:07,000
Speaker 1: let's hear the child of an alcoholic and you think

849
00:48:07,040 --> 00:48:09,880
Speaker 1: that you don't deserve it, and so it's going to

850
00:48:09,960 --> 00:48:12,120
Speaker 1: leave you at one point. You've better work really hard

851
00:48:12,200 --> 00:48:17,120
Speaker 1: to keep it interesting, you know, um, you know, tension,

852
00:48:17,680 --> 00:48:24,320
Speaker 1: to prove you're worthy of keeping that low. Oh wow, right, yeah,

853
00:48:24,440 --> 00:48:27,680
Speaker 1: oh that's interesting. I don't I don't know that I

854
00:48:27,680 --> 00:48:31,440
Speaker 1: feel that way. I think I do have a Uh

855
00:48:31,480 --> 00:48:34,600
Speaker 1: I love the chase, and then once I catch it,

856
00:48:34,719 --> 00:48:37,200
Speaker 1: there's a little part of me and it's anything. It's

857
00:48:37,239 --> 00:48:44,600
Speaker 1: not love necessarily, but but professional things projects anything. It's

858
00:48:44,640 --> 00:48:47,000
Speaker 1: like once you once you get it, then it's I

859
00:48:47,000 --> 00:48:49,360
Speaker 1: think it's kind of a human nature thing. Just okay,

860
00:48:49,360 --> 00:48:50,879
Speaker 1: now what I'm going to move on to something else.

861
00:48:50,920 --> 00:48:54,000
Speaker 1: And that's why we is it. The tragedy is that

862
00:48:54,080 --> 00:48:56,680
Speaker 1: we keep climbing, We keep reaching for the next thing

863
00:48:56,680 --> 00:48:58,239
Speaker 1: and the next thing and the next thing, thinking we're

864
00:48:58,239 --> 00:49:02,040
Speaker 1: gonna arrive somewhere, but we never do what's above love?

865
00:49:02,160 --> 00:49:03,239
Speaker 1: What are you? What are you going to reach for

866
00:49:03,239 --> 00:49:06,600
Speaker 1: about love? Like? What is there above that? Like how

867
00:49:06,640 --> 00:49:08,680
Speaker 1: can you reach for anything higher than that? Yeah, but

868
00:49:08,719 --> 00:49:11,040
Speaker 1: then you get into the whole esoteric conversation of what

869
00:49:11,239 --> 00:49:13,720
Speaker 1: is love and like where you know, is love a choice?

870
00:49:13,800 --> 00:49:21,239
Speaker 1: And then the responsibilities Actually, let me take that, let

871
00:49:21,239 --> 00:49:22,640
Speaker 1: me take that. Let me just say this, and this

872
00:49:22,680 --> 00:49:25,080
Speaker 1: is a comes you have to quit. And when I

873
00:49:25,120 --> 00:49:26,960
Speaker 1: have a very special eleven year old, so we do

874
00:49:27,000 --> 00:49:31,040
Speaker 1: have these conversations, I tell him that it doesn't matter

875
00:49:32,239 --> 00:49:35,120
Speaker 1: necessarily because I always talk about, like, you know, this

876
00:49:35,239 --> 00:49:37,320
Speaker 1: pursuit of happiness by it that goes around, I'm not

877
00:49:37,480 --> 00:49:40,920
Speaker 1: believe it. I don't believe that happiness is something to pursue.

878
00:49:41,239 --> 00:49:48,320
Speaker 1: It's the byproduct of of finding yourself on your purpose.

879
00:49:49,280 --> 00:49:51,720
Speaker 1: Happiness is is kind of like it is the result

880
00:49:51,719 --> 00:49:54,520
Speaker 1: of something rather than a goal in itself and in

881
00:49:54,640 --> 00:49:58,600
Speaker 1: love as your as you said, it's like there is

882
00:49:58,840 --> 00:50:02,839
Speaker 1: definitely value in to want, just the words to want.

883
00:50:02,960 --> 00:50:06,840
Speaker 1: I want this, I want that job, I want that money,

884
00:50:06,880 --> 00:50:10,520
Speaker 1: I want that person, I want that acclaim to want

885
00:50:10,680 --> 00:50:13,680
Speaker 1: is a wonderful thing because it gives a lot of

886
00:50:13,800 --> 00:50:16,200
Speaker 1: a lot of direction and a lot of motivation, and

887
00:50:16,200 --> 00:50:20,680
Speaker 1: and But it's really that in itself that to want

888
00:50:20,760 --> 00:50:24,040
Speaker 1: part of the life is really what life is. To

889
00:50:24,200 --> 00:50:27,719
Speaker 1: get is not what life is, but to want is

890
00:50:29,000 --> 00:50:32,200
Speaker 1: you know what I mean? I do this reminds me

891
00:50:32,239 --> 00:50:35,600
Speaker 1: of something. My French hairdresser told me. This is perfect.

892
00:50:38,640 --> 00:50:42,160
Speaker 1: He said, I said, I'm hungry. I was sitting in

893
00:50:42,200 --> 00:50:48,399
Speaker 1: the chair. I said I'm hungry and he said, so well,

894
00:50:48,480 --> 00:50:50,080
Speaker 1: I don't know. I was thinking of ordering some food.

895
00:50:50,120 --> 00:50:52,640
Speaker 1: He said, you will be done and we'll be done

896
00:50:52,640 --> 00:50:54,480
Speaker 1: in about an hour. Are you fine? You know you

897
00:50:54,600 --> 00:50:57,800
Speaker 1: do swait And I was like, well, but I'm hungry.

898
00:50:57,840 --> 00:51:01,440
Speaker 1: He goes, It's okay to be hungry. That's that's his life.

899
00:51:01,719 --> 00:51:05,000
Speaker 1: It's it's just a feeling that exists. You just are hungry.

900
00:51:05,080 --> 00:51:09,840
Speaker 1: So what's if you're unhappy? So what you would be

901
00:51:09,840 --> 00:51:14,960
Speaker 1: happy again? Just live through the hunger, live through the

902
00:51:15,040 --> 00:51:17,480
Speaker 1: unhappiness and you will be fed and you will be

903
00:51:17,520 --> 00:51:21,560
Speaker 1: happy again. This is the French way of life, he says,

904
00:51:21,719 --> 00:51:25,879
Speaker 1: It's okay to be hungry. This is so perfect. We

905
00:51:25,880 --> 00:51:28,399
Speaker 1: were in Paris, not five four or five days ago.

906
00:51:29,120 --> 00:51:32,239
Speaker 1: We've gotten the kids in the car, Sammy's driving. We're

907
00:51:32,280 --> 00:51:35,759
Speaker 1: going to a restaurant. It's ten minutes away. We're four

908
00:51:35,880 --> 00:51:40,000
Speaker 1: minutes into the drive, and in the bat seat, I hear,

909
00:51:40,760 --> 00:51:44,000
Speaker 1: can we just going at that restaurant? I'm hungry? What

910
00:51:44,080 --> 00:51:46,520
Speaker 1: about that pizza place right there? And Sammy's got a

911
00:51:46,600 --> 00:51:48,880
Speaker 1: place for us. He's what he loves in Paris is

912
00:51:48,920 --> 00:51:51,080
Speaker 1: my wife. He knows what we're going, and he's like,

913
00:51:51,280 --> 00:51:55,880
Speaker 1: we're six minutes away, yes, but I'm hungry. And I

914
00:51:55,960 --> 00:51:58,239
Speaker 1: was like thinking to myself, is he going to like

915
00:51:58,320 --> 00:52:01,920
Speaker 1: throw his plans away for us? But it was like

916
00:52:02,040 --> 00:52:05,680
Speaker 1: this is so We had such a passive aggressive fight

917
00:52:05,760 --> 00:52:08,000
Speaker 1: in the car, you and I. By the way, it

918
00:52:08,080 --> 00:52:10,800
Speaker 1: wasn't six it wasn't four minutes in You said, I

919
00:52:10,840 --> 00:52:12,120
Speaker 1: was like, at least long, are not gonna be in

920
00:52:12,160 --> 00:52:13,600
Speaker 1: the car for like a half an hour? How long's

921
00:52:13,640 --> 00:52:16,239
Speaker 1: a ride? You said? Ten minutes? And then twenty minutes later,

922
00:52:16,280 --> 00:52:17,920
Speaker 1: I'm in the car, like, are we still there? And

923
00:52:17,920 --> 00:52:20,520
Speaker 1: he says another ten minutes and then I started to

924
00:52:20,560 --> 00:52:24,279
Speaker 1: have the monster come out, my angry monster. But at

925
00:52:24,320 --> 00:52:26,319
Speaker 1: the end of the day, you're right, at the end

926
00:52:26,320 --> 00:52:29,520
Speaker 1: of the day, it's okay to exist in the feelings

927
00:52:29,560 --> 00:52:32,279
Speaker 1: that you're feeling because they will pass and something new

928
00:52:32,320 --> 00:52:37,200
Speaker 1: will come along. That's all the feelings are. Yeah, they

929
00:52:37,280 --> 00:52:43,840
Speaker 1: never stay. Yeah. I wish we could tell Peyton and Chad, Peyton, Peyton,

930
00:52:43,880 --> 00:52:46,799
Speaker 1: Lucas and Brooke and Haley and Nathan that in this

931
00:52:46,840 --> 00:52:49,640
Speaker 1: episode and Karen, but we can't. We'll have to wait

932
00:52:49,719 --> 00:52:54,560
Speaker 1: until next week where Sophia and me. We'll have a

933
00:52:54,600 --> 00:53:06,480
Speaker 1: special guest, Miss Lindsey mckehon. Very excited for that. So

934
00:53:06,480 --> 00:53:08,960
Speaker 1: we're gonna have a couple of listener questions and we'll

935
00:53:08,960 --> 00:53:11,080
Speaker 1: do a spin a wheel and we'll say goodbye. The

936
00:53:11,120 --> 00:53:13,440
Speaker 1: first listener question, Paul, do you if your chat open?

937
00:53:13,760 --> 00:53:16,600
Speaker 1: Fire away? Okay, you read the first one, the Triana

938
00:53:16,840 --> 00:53:20,040
Speaker 1: go ahead. I have always wondered how they decorate the

939
00:53:20,080 --> 00:53:23,160
Speaker 1: homes with family pictures. Do they have a photo shoot

940
00:53:23,280 --> 00:53:26,160
Speaker 1: before the episode had stoned? Also, did they use your

941
00:53:26,200 --> 00:53:29,360
Speaker 1: real baby pictures or use random people They do both.

942
00:53:29,760 --> 00:53:33,040
Speaker 1: They do both. Yeah, I've had every new job I have.

943
00:53:33,160 --> 00:53:37,080
Speaker 1: When if if I'm in the house they asked me to,

944
00:53:37,280 --> 00:53:39,359
Speaker 1: I usually pawn it off to my mom. I usually

945
00:53:39,400 --> 00:53:40,839
Speaker 1: send the email to my mom and I'm like, can

946
00:53:40,840 --> 00:53:42,840
Speaker 1: you send them baby pictures of mean please? Are like

947
00:53:42,880 --> 00:53:46,160
Speaker 1: family photos. Yeah, but they also throw us in like

948
00:53:47,080 --> 00:53:49,759
Speaker 1: clothes from another period in time in our lives. And

949
00:53:49,760 --> 00:53:52,920
Speaker 1: then they don't. Maybe they photoshop our faces sometimes, remember like,

950
00:53:52,960 --> 00:53:58,480
Speaker 1: oh yeah, yeah, definitely lots of photoshopping happening. Yeah. Our

951
00:53:58,520 --> 00:54:02,080
Speaker 1: next question comes from Frank. How does it work when

952
00:54:02,120 --> 00:54:04,719
Speaker 1: someone who is directing the episode is also in it,

953
00:54:05,520 --> 00:54:10,879
Speaker 1: like Paul with episode seventeen. Um, I've done this too.

954
00:54:10,920 --> 00:54:13,080
Speaker 1: I don't like this at all. I do not like

955
00:54:13,160 --> 00:54:15,640
Speaker 1: directing an episode that I'm in. I would much prefer

956
00:54:15,880 --> 00:54:18,879
Speaker 1: just to sit back and because it's just so hard

957
00:54:18,920 --> 00:54:21,640
Speaker 1: to be in the moment of the scene. I'm so

958
00:54:21,800 --> 00:54:24,799
Speaker 1: fully in the moment as an actor that to have

959
00:54:24,920 --> 00:54:28,200
Speaker 1: to not be to have to be watching the other

960
00:54:28,239 --> 00:54:30,399
Speaker 1: actor in the scene and thinking of notes to give

961
00:54:30,440 --> 00:54:32,560
Speaker 1: them while we're actually just trying to do a scene.

962
00:54:32,680 --> 00:54:36,680
Speaker 1: It's very hard for me. How do you feel, Um,

963
00:54:36,680 --> 00:54:40,040
Speaker 1: it's different from me. You know, I'm you know, I

964
00:54:40,040 --> 00:54:43,279
Speaker 1: I set it up. Um, I'd like to see, you know,

965
00:54:43,320 --> 00:54:45,120
Speaker 1: the framing. So I want to see somebody kind of

966
00:54:45,160 --> 00:54:46,960
Speaker 1: walk through the paces where we're going to be, what

967
00:54:47,080 --> 00:54:49,680
Speaker 1: the camera's gonna see as it goes along. And once

968
00:54:49,719 --> 00:54:52,600
Speaker 1: I'm comfortable with what the framing is, you know, Um,

969
00:54:52,800 --> 00:54:55,799
Speaker 1: I trust usually we always had and we had very

970
00:54:55,840 --> 00:54:58,960
Speaker 1: good people. In fact, our dps all directed, yes, so

971
00:54:59,560 --> 00:55:05,000
Speaker 1: they're there there. Um, their insight was very valuable and

972
00:55:05,000 --> 00:55:08,040
Speaker 1: and I like to lean on people that I trust.

973
00:55:08,160 --> 00:55:09,600
Speaker 1: I've actually worked with a lot of people that I

974
00:55:09,640 --> 00:55:12,960
Speaker 1: don't trust their opinion. But on One Tree Hill, all

975
00:55:13,040 --> 00:55:16,360
Speaker 1: of the technical crew was fantastic, and I trusted Peter

976
00:55:16,680 --> 00:55:19,120
Speaker 1: and and and you know, and and everybody that was

977
00:55:19,480 --> 00:55:21,319
Speaker 1: was working with. So yeah, I didn't even a problem

978
00:55:21,360 --> 00:55:24,480
Speaker 1: when I started getting into a scene and and acting. Um,

979
00:55:24,520 --> 00:55:26,960
Speaker 1: you know, it's like I'm I'm one of those I'm

980
00:55:27,040 --> 00:55:29,839
Speaker 1: one of those fortune kind of people where I kind

981
00:55:29,840 --> 00:55:33,800
Speaker 1: of I'm not too overly harder on myself, you know

982
00:55:33,800 --> 00:55:36,840
Speaker 1: what I mean, My my my outside vision of myself

983
00:55:37,320 --> 00:55:42,280
Speaker 1: doesn't overpower my you know, my wanting to be present

984
00:55:42,600 --> 00:55:45,640
Speaker 1: for that other actor that's I make that a priority.

985
00:55:45,719 --> 00:55:47,480
Speaker 1: So a lot of times I'm not sure how it

986
00:55:47,520 --> 00:55:49,399
Speaker 1: went because I kind of let it go and then

987
00:55:49,400 --> 00:55:53,000
Speaker 1: I trust that, you know, Peter Costo will go great man,

988
00:55:53,080 --> 00:55:55,200
Speaker 1: move on. But how do you give another actor that

989
00:55:55,239 --> 00:55:58,799
Speaker 1: you're in the scene with a note? Well, usually you've

990
00:55:58,920 --> 00:56:01,879
Speaker 1: done the rehearsal right here and you'll kind of know

991
00:56:02,000 --> 00:56:04,920
Speaker 1: what they're going to be throwing out there. Yeah, and

992
00:56:05,120 --> 00:56:08,200
Speaker 1: eating major is going to be addressed in that. But

993
00:56:08,239 --> 00:56:12,160
Speaker 1: if they're if they're having issues, nuanced issues generally, you

994
00:56:12,280 --> 00:56:15,160
Speaker 1: know this, you know, most actors kind of know when

995
00:56:15,160 --> 00:56:18,279
Speaker 1: they've you know, kind of not being able to hit

996
00:56:18,320 --> 00:56:20,759
Speaker 1: there what they want, what they needed to hit to

997
00:56:20,760 --> 00:56:23,600
Speaker 1: make the scene work. And you know, I think I

998
00:56:23,640 --> 00:56:27,239
Speaker 1: think especially on that show where it wasn't terribly sophisticated,

999
00:56:27,400 --> 00:56:32,640
Speaker 1: you know, yeah, that's true, straightforward, good training ground. Okay,

1000
00:56:32,719 --> 00:56:35,960
Speaker 1: so guys, we're going to spin a wheel here and Paul,

1001
00:56:36,120 --> 00:56:39,760
Speaker 1: this is our every every episode we do most likely

1002
00:56:39,800 --> 00:56:43,399
Speaker 1: to like a yearbook. So who is most like who?

1003
00:56:43,440 --> 00:56:46,000
Speaker 1: Which character in which real life person is most likely

1004
00:56:46,080 --> 00:56:49,200
Speaker 1: to go ahead and read it for us? Please become

1005
00:56:49,239 --> 00:56:57,799
Speaker 1: a detective? Oh gosh, well Dan would be Yes, she's

1006
00:56:57,840 --> 00:57:01,840
Speaker 1: such a super sleuth. Absolutely, we didn't even talk about

1007
00:57:01,840 --> 00:57:05,880
Speaker 1: her on this episode. I know she was so charmingsh

1008
00:57:07,000 --> 00:57:09,080
Speaker 1: she her heart out there, and I was gonna bring

1009
00:57:09,120 --> 00:57:10,840
Speaker 1: it up a couple of times, and we kept getting

1010
00:57:10,840 --> 00:57:13,520
Speaker 1: other stuff that she you know, the one look away

1011
00:57:13,600 --> 00:57:15,960
Speaker 1: in the car when she was you know, when she

1012
00:57:16,080 --> 00:57:17,640
Speaker 1: was kind of like and I know you like Peyton

1013
00:57:17,680 --> 00:57:20,320
Speaker 1: and then you look away and they zurrat focused her

1014
00:57:20,560 --> 00:57:24,720
Speaker 1: and you just want to put yeah, we we needed

1015
00:57:24,720 --> 00:57:27,560
Speaker 1: her in this episode actually, just to I mean, there

1016
00:57:27,640 --> 00:57:30,960
Speaker 1: was so much weight and sadness. Her floating in and

1017
00:57:30,960 --> 00:57:35,520
Speaker 1: out of so great with Tyler, isn't she. Yes, she's funny. Yes,

1018
00:57:36,000 --> 00:57:38,040
Speaker 1: I wonder those two characters ever did end up in

1019
00:57:38,080 --> 00:57:40,520
Speaker 1: bed together. That would have been really funny. Oh you

1020
00:57:40,560 --> 00:57:43,240
Speaker 1: know what if they didn't missed opportunity, because those guys

1021
00:57:43,240 --> 00:57:45,640
Speaker 1: are Yeah, for me, they're the two funniest people on

1022
00:57:45,680 --> 00:57:49,480
Speaker 1: the show. For sure. They're very very funny. Yes, I

1023
00:57:49,680 --> 00:57:54,320
Speaker 1: love actually really I loved you to. Her energy was

1024
00:57:54,360 --> 00:57:56,000
Speaker 1: so good in that episode. You know. The one thing

1025
00:57:56,040 --> 00:57:57,720
Speaker 1: I was gonna say, also, we got a quickly point

1026
00:57:57,760 --> 00:58:01,720
Speaker 1: of this. This was a very strong voice of the

1027
00:58:01,760 --> 00:58:05,120
Speaker 1: opening where the three girls talked about what's inside their minds.

1028
00:58:05,480 --> 00:58:09,400
Speaker 1: I wasn't in the opening, No, that they were reading, Um,

1029
00:58:09,680 --> 00:58:11,680
Speaker 1: they were. They were reading the quote and then they

1030
00:58:11,720 --> 00:58:16,080
Speaker 1: were talking. It was like Hilary Sophia and then um.

1031
00:58:16,120 --> 00:58:18,920
Speaker 1: But we were hearing inside their minds for as we

1032
00:58:19,000 --> 00:58:21,800
Speaker 1: got into and I thought, you know, I love that

1033
00:58:21,880 --> 00:58:25,760
Speaker 1: our show gave that privilege to us as an audience. Right, yeah, like,

1034
00:58:25,960 --> 00:58:29,120
Speaker 1: here's here's the thoughts of Because we always talked about

1035
00:58:29,160 --> 00:58:31,480
Speaker 1: what's the influence of the show on young people, here's

1036
00:58:31,560 --> 00:58:34,160
Speaker 1: young people talking. You know, this is what my Emry

1037
00:58:34,200 --> 00:58:36,600
Speaker 1: noses is happening. I thought that was a nice way

1038
00:58:36,600 --> 00:58:39,439
Speaker 1: to make a connection with your audience. Yeah. I think

1039
00:58:39,480 --> 00:58:43,240
Speaker 1: so too. I love that. I love that they allowed

1040
00:58:43,360 --> 00:58:46,160
Speaker 1: us to take over the monologue that previously had only

1041
00:58:46,240 --> 00:58:51,800
Speaker 1: been Lucas is. Yeah, it's really nice. Well, guys, thank

1042
00:58:51,800 --> 00:58:56,560
Speaker 1: you for joining us for this very special episode. Paul.

1043
00:58:56,600 --> 00:59:01,120
Speaker 1: You were awesome. I love love chatting with you always. Um,

1044
00:59:01,160 --> 00:59:09,600
Speaker 1: next time, we'll do it later with wine dinner at Okay, Hey, everybody,

1045
00:59:09,600 --> 00:59:12,320
Speaker 1: come on back next week. We're gonna be watching the

1046
00:59:12,440 --> 00:59:17,360
Speaker 1: season finale, Season two finale number twenty three, the Lever's Dance,

1047
00:59:17,440 --> 00:59:21,120
Speaker 1: and we will pull a scenario from the virtual most

1048
00:59:21,160 --> 00:59:24,520
Speaker 1: likely too hat See you later. Hey, thanks for listening.

1049
00:59:24,640 --> 00:59:26,880
Speaker 1: Don't forget to leave us a review. You can also

1050
00:59:26,960 --> 00:59:30,080
Speaker 1: follow us on Instagram at Drama Queens O t H.

1051
00:59:30,600 --> 00:59:33,880
Speaker 1: Or email us at Drama Queens at I heart radio

1052
00:59:34,000 --> 00:59:38,480
Speaker 1: dot com. See you next time. We are all about

1053
00:59:38,480 --> 00:59:41,320
Speaker 1: that high school drama. Girl, Drama Girl, all about them

1054
00:59:41,400 --> 00:59:44,560
Speaker 1: high school queens. We'll take you for a ride at

1055
00:59:44,560 --> 00:59:49,720
Speaker 1: our comic girl cheering for the right drama queens up

1056
00:59:49,800 --> 00:59:52,480
Speaker 1: girl fashion, but you'll tough. Girl. You can sit with us.

1057
00:59:52,520 --> 00:59:57,000
Speaker 1: Girl Drama Queens, Drama, Queens Drama, Queen's Drama, Drama, Queen's Drama,

1058
00:59:57,080 --> 00:59:58,320
Speaker 1: Queens