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

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Speaker 2: We all about that high school drama Girl Drama Girl,

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Speaker 2: all about them.

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Speaker 1: High school queens. We'll take you for a ride. And

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Speaker 1: our comic girl cheering for the right Teams. Drama Queens

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Speaker 1: jlis go up girl Fashion, which your tough girl? You

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Speaker 1: could sit with us? Girl Drama Queen Drama, Queens Drama,

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Speaker 1: Queens Drama Drama, Queens Drama Queens Okay, Season seven, Episode ten,

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Speaker 1: You are a Runner and I Am my father's son.

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Speaker 1: Air date November sixteenth, two thousand and nine.

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Speaker 2: Hey, Drama Queens, you have me and mister Robert Buckley

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Speaker 2: and mister Paul Joe Hanson, who directed this episode.

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Speaker 1: Say hello to your fans, Paul.

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Speaker 3: Hello to my fans, and not hello to the other people.

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Speaker 4: Well played. Well, let's just start, let's set the tone

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Speaker 4: at Petty and just run with it.

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Speaker 3: I'm feeling a little Dan Scottish, Paul.

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Speaker 1: Will you read the synopsis for.

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Speaker 3: Nathan reaches the breaking point with Clay, causing a rift

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Speaker 3: between Haley and Quinn. Quinn is played by right everyone

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Speaker 3: remember that? And uh, let's see Brook comes clean with

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Speaker 3: Julian about her worries regarding his growing connection to Alex.

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Speaker 1: You're always just ornery on purpose always meanwhile skills.

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Speaker 3: I wonder how I got that name. Pursues a new

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Speaker 3: career in Los Angeles, California, on the West Coast, and

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Speaker 3: Millicent's drug problems worsened.

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Speaker 4: We saw that coming, boy, oh boy, did we ever?

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Speaker 4: Directed by the incomparable Paul Johansson Paul Elizabeth Johansson Old

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Speaker 4: p e J.

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Speaker 3: Paul Been.

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Speaker 4: Oh no, I'm so glad you could be here for

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Speaker 4: this episode, Paul, because especially after watching it, it's just

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Speaker 4: a perfect one. Because this was also really the first

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Speaker 4: time you and I ever interacted.

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Speaker 1: This is the first time as.

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Speaker 4: Character and also pretty much is human being.

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Speaker 3: I wanted to be your friend, but you really were

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Speaker 3: not interested. So it's to work with.

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Speaker 4: You, you know.

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Speaker 3: It was.

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Speaker 4: I was capped off at friends who were a little

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Speaker 4: older than me, and so I just you got waitlisted,

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Speaker 4: but you made it eventually we got there. You also

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Speaker 4: drowned me on our first day of work, so like,

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Speaker 4: don't make it sound like you came in being charming

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Speaker 4: and sweet. Okay, do you remember that scene? Do you

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Speaker 4: remember shooting it?

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Speaker 3: I remember everything about that scene and remember how they

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Speaker 3: were more concerned about the cameras than they were about

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Speaker 3: you and I getting swept away into the What happened, Well,

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Speaker 3: it was just it wasn't calm. It was a bit wavy,

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Speaker 3: and but you know, but look, these the crew is fantastic.

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Speaker 3: They were awesome. They were really cool. But the water

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Speaker 3: was always nice, right, water was wasn't that? It was

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Speaker 3: pretty good. It was actually fun day to get on

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Speaker 3: the waves and kind of like blow as much time

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Speaker 3: there as you could before you had to go back

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Speaker 3: in the studio.

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Speaker 4: And it was funny because I remember you saying you

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Speaker 4: had your hand. Your wrist was really bothering you at

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Speaker 4: the time, and you said, hey, why my wrist has

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Speaker 4: really bothered me? And I I said, oh, absolutely, yeah, yeah,

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Speaker 4: no worries. I'll you know, be off it, be ginger

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Speaker 4: with it. And then I realized the only thing I

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Speaker 4: had to hold on to was your wrist. So it

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Speaker 4: was this game of me balancing getting drowned and also

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Speaker 4: being so delicate with one of your raisks.

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Speaker 3: So wasn't I'm here.

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Speaker 4: Right, yes, but I was grabbing your it right, yeah?

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Speaker 3: Yeah, I just I was worried about choking. You were

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Speaker 3: worried about hurting you too.

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Speaker 1: Those seemed like hard scenes to shoot. When you're pretending

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Speaker 1: to drown someone in the ocean. It's not even a

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Speaker 1: controlled environment, like if you're on a sound stage with

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Speaker 1: it with a tub or something like that seems really difficult.

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Speaker 3: Except the thing is with him was I didn't he

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Speaker 3: it would look bad. I think if you just kind

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Speaker 3: of made himself fall into the water. So I do

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Speaker 3: remember being a little bit kind of like, you know,

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Speaker 3: I'm you know, I'm a bit playful, But I remember

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Speaker 3: kind of like sweeping his feet one time until he splashed.

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Speaker 1: Rob did that piss you off?

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Speaker 4: I didn't remember that. I didn't remember that I swept

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Speaker 4: your feet one time. I think it's a great choice.

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Speaker 4: I wonder how I felt. It's about it because I

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Speaker 4: was curious about Paul coming into this, like because like

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Speaker 4: I said, we hadn't really had any off camera time together.

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Speaker 3: Are you scared?

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Speaker 4: I would say it was a mix of, uh, there was.

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Speaker 4: There was probably an elephant, excuse me, an elephant, an

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Speaker 4: element of intimidation because you you had been there a while,

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Speaker 4: and you're also you you know, you're lovable, but you're dickish,

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Speaker 4: and so I didn't know how to read that at first,

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Speaker 4: like I didn't know if it was. Of course, back

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Speaker 4: then I was taking everything personally, so it was does

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Speaker 4: he not like me? Is this just the way he riffs?

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Speaker 4: So it wasn't until the second time you directed an

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Speaker 4: episode that I really had a moment where I realized, Oh,

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Speaker 4: he's as a director. You gave me a really good

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Speaker 4: note and I and I just remember thinking, oh, like

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Speaker 4: he's he has a lot to say and to teach me. Okay,

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Speaker 4: this guy can this guy can be a teacher, like

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Speaker 4: this is okay. It was great, It was really helpful.

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Speaker 4: But yeah, early early days, I was very much like,

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Speaker 4: don't know, don't know.

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Speaker 3: I do want to comment on that idea because I

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Speaker 3: think Joyce brought it up, and I think some of

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Speaker 3: the other actors have too. And that's the on set

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Speaker 3: way for me not to get snidly whiplash bad guy

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Speaker 3: mode head where I'm just being bad in the character.

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Speaker 3: Is to make it fun for me to be bad.

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Speaker 3: And I know you understand that because you do it

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Speaker 3: too when you're in the work and you have to

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Speaker 3: do things that are outside of your I'm Canadian, so

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Speaker 3: I apologize for everything all the time.

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Speaker 4: M hm.

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Speaker 3: So in order to get away from that as an actor,

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Speaker 3: because it's really not serving me as an actor to

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Speaker 3: constantly apologize when I'm playing a character that doesn't even

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Speaker 3: know what the word apology means. It's I try to

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Speaker 3: make it playful for me so that when you say that,

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Speaker 3: I don't know if you said dickish or whatever it was,

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Speaker 3: that is true, But that's a way of tapping into

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Speaker 3: a way my brain for me to make the character

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Speaker 3: kind of more have a twinkle in my eye as

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Speaker 3: I do the stuff like them doing. Does that make sense?

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Speaker 1: Yeah, yeah, Yeah, every character has to be approached differently,

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Speaker 1: and when you play a character like that for so

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Speaker 1: many years, on and on and on. Yeah, there's there's

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Speaker 1: got to be ways to sort of figure out how

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Speaker 1: do I how do I stay in this zone but

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Speaker 1: also not just fall into misery about like living in

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Speaker 1: the life of the brain of this character.

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Speaker 3: Yeah, but it's also for you guys too on the

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Speaker 3: set and for the crew the other people that have

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Speaker 3: to be around like a Dan Scott kind of character,

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Speaker 3: to when you're walking around and you're kind of being

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Speaker 3: a little bit playful in between scenes, so that because

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Speaker 3: that energy, as I said, in many other podcasts, especially

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Speaker 3: with you Joy. I think I've said before is it's

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Speaker 3: it's kind of can be misconstrued as me now I

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Speaker 3: am kind of super I love to test boundaries sometimes.

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Speaker 3: I like to see I don't want to know who

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Speaker 3: they are. I do enjoy that process. But the truth is,

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Speaker 3: and this is gonna I'm going to get Robert's gonna

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Speaker 3: like laugh and his his you know, pink fur or

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Speaker 3: yellow fur coats about it, like a ripped in pieces

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Speaker 3: because he's not gonna believe this. I'm actually super shy,

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Speaker 3: I really am. And so all of that is like

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Speaker 3: a Jim Carrey kind of way of making me not

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Speaker 3: have to be me in order to play able to

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Speaker 3: play the part. If it makes.

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Speaker 1: Anything, Yeah, I think that's intrinsic to a lot of

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Speaker 1: artists and the idea of pushing boundaries and you know,

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Speaker 1: I mean, I think so many artists are like that.

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Speaker 1: We try and figure out what the boundaries are so

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Speaker 1: that we know how to play, we know how far

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Speaker 1: we can go.

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Speaker 4: Yeah. Yeah, it's you're always testing the fence, you know.

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Speaker 4: Do you remember Jurassic Park that you metaphor making and

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Speaker 4: they say what's wrong with the fence and they say, Oh,

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Speaker 4: the veloci raptors are constantly testing the fence, looking for

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Speaker 4: a weakness. It's like, yeah, always always testing. And by

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Speaker 4: the way, when I say dittish, I don't mean mean

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Speaker 4: you just like you freely give shit. And I was

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Speaker 4: a new kid on, you know, in school, and so

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Speaker 4: I was just and you know, back, I was just

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Speaker 4: constantly like, what's the read? Does this person like me?

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Speaker 4: Not like me? Whoa what did he do?

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Speaker 3: You know?

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Speaker 4: And so it was like I just took me a

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Speaker 4: while to figure you. It took me longer to figure

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Speaker 4: you out. And also we only had work where we

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Speaker 4: were antagonists, Like we only had we never like we're

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Speaker 4: like joy and I like we had loving scenes which

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Speaker 4: also give us more time to talk and to be warm.

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Speaker 4: It was like I saw you for a scene you

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Speaker 4: drowned me. I saw you for a scene I told

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Speaker 4: you to off. It was like they gave us no

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Speaker 4: opportunities for like sweet bonding.

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Speaker 1: Yeah, that was a surprise on the beach when you

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Speaker 1: looked up and you're like sorry, you just keep moving.

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Speaker 1: I was like, I'm not going to acknowledge you.

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Speaker 3: Do you guys ever read what the fans were saying

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Speaker 3: about that move on the beach.

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Speaker 4: No, no, never read all this up there writing.

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Speaker 3: No, it built sympathy for you. It built huge like

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Speaker 3: it built a really good kind of like people were

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Speaker 3: seeing a side where because you're usually like totally in

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Speaker 3: charge and then somebody's coming in and going, yeah, how's

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Speaker 3: water taste? You know, and boom boom, you know. So

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Speaker 3: it's kind of sort of building people to understand a

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Speaker 3: little more sympathetic towards your character, I thought.

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Speaker 1: But here my question is did this I mean, I

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Speaker 1: guess we'll bounce around a little bit. But since we're

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Speaker 1: talking about this and you know, Clay has gotten fired

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Speaker 1: from being Nathan's agent, he's also been fired now in

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Speaker 1: front of Nathan and Haley and his other bosses from

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Speaker 1: his agency, I'm not sure I understood the purpose of

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Speaker 1: this moment in the story of Dan drowning Clay or

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Speaker 1: Foe drowning Clay and being like your new life starts today,

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Speaker 1: And I mean, I get that's stick right now. But

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Speaker 1: Clay at the end then goes and gives a speech

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Speaker 1: to Nathan and he's apologizing, and I'm not wouldn't he

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Speaker 1: have done that anyway? Like, did it really accomplish anything

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Speaker 1: different for Clay being drowned.

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Speaker 4: I hadn't. I had the opposite experience of you. It

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Speaker 4: made complete sense to me.

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Speaker 1: Okay, tell me, well, Dan is still.

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Speaker 4: Looking out for his son, even though he wants nothing

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Speaker 4: to do with him. He used a talk show to

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Speaker 4: get rid of the renee problem. He found out Clay misstepped,

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Speaker 4: and he checked Clay real hard. And what was interesting

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Speaker 4: about that scene was there was scary Dan. But then

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Speaker 4: as he's as Clay's like you're alone, I did walking away,

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Speaker 4: Dan hits him with some serious life coaching. Yeah, and

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Speaker 4: he and he tells him, like, you want to be

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Speaker 4: an agent, go be an agent. So it's it wasn't malice.

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Speaker 4: It was a wake up call. It was done in

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Speaker 4: a very Dan Scott way.

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Speaker 1: Yeah, but did it work? Like was Clay all? Was

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Speaker 1: Clay mopey enough that he was going to quit?

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Speaker 4: And like, I don't know about that because his makes

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Speaker 4: a point of saying, I made a promise to my

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Speaker 4: dead wife that I'm never going to quit. But you

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Speaker 4: can't argue that. Like it shook him up, It got

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Speaker 4: his attention, and it it certainly didn't take away any

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Speaker 4: fire under his butt, you know what I mean?

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Speaker 1: Yeah, that's true. That's true.

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Speaker 4: So to me, while you know it was wildly aggressive

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Speaker 4: and unexpected, like it's it kind of fit perfectly for

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Speaker 4: me in Dan Scott's trajectory.

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Speaker 1: Paul, how did you direct something like that when you

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Speaker 1: have to be in it? How do you know that

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Speaker 1: you're getting the material that you want and you're getting

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Speaker 1: the shots that you want.

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Speaker 3: You have to buy into it. You have to you

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Speaker 3: have to buy into what the writers are leading you

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Speaker 3: to because if you have any reservations about shooting it

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Speaker 3: in trying, I'm going to try to you know, d

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Speaker 3: you know, I don't know what it is is take

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Speaker 3: take the fangs out of this scene and just make

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Speaker 3: it kind of work for me in a way. A

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Speaker 3: lot of times I think you're in this type of

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Speaker 3: tell you have to know who your audience is, right

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Speaker 3: in this type of scenario, you I think you have

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Speaker 3: to just fully buy into what they're attempting to do

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Speaker 3: and give the bublocity to it that exists. And I

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Speaker 3: really didn't feel like I would be doing a good

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Speaker 3: job with this scene if I was like to, you know,

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Speaker 3: to really play you know, underplay it or maybe not

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Speaker 3: such a big thing. But I just went for it

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Speaker 3: with Augusta, thinking, you know what, the audience is gonna

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Speaker 3: love this. You know, they're gonna, they're gonna, they're gonna

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Speaker 3: they a lot of things that we do in that

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Speaker 3: show that you have to believe they're gonna buy, and

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Speaker 3: they have to buy that this is and I do

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Speaker 3: what I always do, which is as as he very

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Speaker 3: appropriately pointed out, the justification from Dan's side, from a

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Speaker 3: racion actor, was all about my son. It was all

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Speaker 3: about what's going to be good for him in the

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Speaker 3: long run, and getting this guy, you know, on board

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Speaker 3: in the right way is going to be good for longle.

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Speaker 3: Directing wise, I will say this, there's a lot of

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Speaker 3: putting together. Uh God, whenever we shoot with water or animals,

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Speaker 3: it's going to be logistically a nightmare and you're going

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Speaker 3: to be there all day. So I just wanted to

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Speaker 3: make it simple. But I wanted to make it, you know,

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Speaker 3: look like I put in you know, the right amount

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Speaker 3: of understanding. You know, I didn't want to do too

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Speaker 3: many underwater things or crazy shots. Just get the shots

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Speaker 3: and let's get onto the next scene. Don't overdo it.

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Speaker 3: It didn't seem the big thing other than I know

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Speaker 3: that the camera has be waterproofs, so I wanted to

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Speaker 3: be at the beach for a shot before that so

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Speaker 3: that they could have time to set up the second

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Speaker 3: camera to go to the water, so we weren't just

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Speaker 3: waiting around. So I did a scene before I did

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Speaker 3: that scene so they'd be able to set up the

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Speaker 3: underwater rig so when we finished, we could go right

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Speaker 3: to it and not have to wait around.

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Speaker 1: You always were very efficient with your time management as

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Speaker 1: a director. That is true.

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Speaker 4: You popped on your producer hat and got real efficient

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Speaker 4: with your setups.

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Speaker 3: I put the druma Queen's audience to sleep those more

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Speaker 3: about the personality it.

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Speaker 4: Killed with Joy and I. Our audience may have tuned out,

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Speaker 4: but Joy and I were hanging on everywhere.

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Speaker 3: They're a sophisticated audience we have. This is what so

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Speaker 3: great about this audience. They're just you know, they're curious,

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Speaker 3: and you know, my favorite people are curious people. You know.

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Speaker 3: I love that about that they want to know everything.

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Speaker 1: While we're talking about Dan, because I have a question

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Speaker 1: about this. So in this episode, Rachel goes with Dan

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Speaker 1: back to tree Hill and she's standing in the high

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Speaker 1: school hallway. She asks him Dan to meet her there

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Speaker 1: and says, we should shoot an episode here in the

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Speaker 1: hallway where you killed your brother. And Dan's response is

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Speaker 1: so wide eyed, and Rachel's being so obviously entitled and

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Speaker 1: just has this general disdain for humanity that feels so palpable.

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Speaker 1: Can you give us an insight into it? Seems so anti?

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Speaker 1: I mean, Dan's so smart, he's so calculated. How does

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Speaker 1: he not see that she's being so manipulative? Or does

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Speaker 1: he see it and he's playing her too? Like, why

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Speaker 1: between just the two of you, would you have had

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Speaker 1: this sort of doe eide response of like, oh yeah,

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Speaker 1: oh gosh, that might be really I don't know what

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Speaker 1: the line was that you said, but your whole demeanor

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Speaker 1: was very sincere and sort of doe eyed, and Rachel

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Speaker 1: was being so obviously villainous.

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Speaker 4: It was Rachel pitches the idea, and you take a beat, Paul,

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Speaker 4: and then you say a little insensitive, isn't it? And

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Speaker 4: without skipping a beat, she says, not as insensitive as

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Speaker 4: murdering your brother.

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Speaker 3: Well, I mean, first off, I do sometimes like to

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Speaker 3: give credit for our A lot of our writing team

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Speaker 3: really sometimes would give us some very interesting things to

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Speaker 3: do with and I thought that was a pretty interesting choice.

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Speaker 3: I always played Dan. The one secret I always played

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Speaker 3: with Dan was he's in the know. Dan is never

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Speaker 3: not in the note. So the fact that I'm aware

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Speaker 3: of what she's doing exploiting a terrible, terrible school shooting

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Speaker 3: and a huge, huge issue that I had with even

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Speaker 3: shooting the scene in the first place, and having to

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Speaker 3: kind of roll over in my head as a as

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Speaker 3: a human being to play the part that would do that,

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Speaker 3: and then seeing well, look, you know, you if you

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Speaker 3: point out ugly things to the world, then people can

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Speaker 3: see that there's there's broken people in the world that

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Speaker 3: do terrible things. And as opposed to you know, being

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Speaker 3: unaware or we have to be sophisticated in our approach

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Speaker 3: to to horrific in humanities that our planet and pretending

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Speaker 3: them away in television does nobody at a good job,

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Speaker 3: a good service. So I was okay with with with

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Speaker 3: my character pulling that off. I didn't, you know, I

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Speaker 3: didn't anticipate it being such a you know, a profound

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Speaker 3: thing and actually saving the show from, you know, from

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Speaker 3: being canceled.

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Speaker 1: It's from what I understand, Oh the oh, the shootings. Yeah.

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Speaker 3: Yeah, But so now when we're talking about exploiting that

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Speaker 3: as a person. My first so that was, ooh, this

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Speaker 3: is gonna be touchy. How am I going to do this?

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Speaker 3: And then I thought about it from the character's point

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Speaker 3: of view, and he you know, I don't think Dan

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Speaker 3: has the same motivation as her. In the end, in

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Speaker 3: a weird way, they're both using each other. She's using me, money, fame, glory.

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Speaker 1: So Dan knows. Dan's fully aware and so but there's

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Speaker 1: an agreement.

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Speaker 3: I almost feel like the Rachel Dan marriage, they sat

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Speaker 3: down and negotiated, they didn't fall in up.

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Speaker 1: Oh I love that.

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Speaker 3: I always felt that, you know, Yeah, part of the

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Speaker 3: negotiation wasn't that I was exploit my brother's killing situation

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Speaker 3: and you know that this is not in the contract

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Speaker 3: kind of a woman. I feel like that's the way

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Speaker 3: that I had dealt with in my head. Does that

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Speaker 3: make sense?

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Speaker 1: Yeah?

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Speaker 4: And can I say as a viewer, I liked it

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Speaker 4: because I this season has done a good job of

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Speaker 4: blurring the line on whether Dan has changed or he's

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Speaker 4: still the same guy with a great hustle. And I

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Speaker 4: liked this line because it was a moment to me

365
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Speaker 4: where I was I couldn't figure out whether I was

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Speaker 4: getting a peak behind the curtain at who he is becoming,

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Speaker 4: or if it's just it's just a great long con hustle.

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Speaker 3: I think we have to play that that line, that balanced,

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Speaker 3: stay on that line if I ever commit to either

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Speaker 3: side on that line. Which was part of my conversation

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Speaker 3: with the creatives was that I can't truly show that

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Speaker 3: either I'm this is all a big act, or that

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Speaker 3: I've actually converted. I have to balance the line as

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Speaker 3: often as I can, as close as I can, to

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Speaker 3: not let me not even know which side of that

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Speaker 3: line I'm on, so that it creates a more compelling,

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Speaker 3: you know, dramatic twist for the series.

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Speaker 1: It works, It really works. I mean, it's why he's

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Speaker 1: one of the great villains of television.

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Speaker 3: Well, that's what I loved about this rule. You know,

381
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Speaker 3: you guys have all these incredible interactions with each other,

382
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Speaker 3: and you're all the same age, and you're all you know,

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Speaker 3: you're having kids and falling in love and you're doing

384
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Speaker 3: this and all these things. And I get this character

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Speaker 3: that kind of gets all these incredibly nuanced things that

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Speaker 3: have to be you know, kind of winterwoven. So I

387
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Speaker 3: really that's why I was so grateful to be able

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Speaker 3: to play the part.

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Speaker 1: You know, it's fun to watch. I mean, it's really

390
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Speaker 1: fun to sit and try and figure out what am

391
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Speaker 1: I watching? Like, what am I seeing? Is this a

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Speaker 1: person who is like you said, Rob, Has he changed

393
00:19:18,320 --> 00:19:20,600
Speaker 1: or has he This is a long game. This is

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Speaker 1: a long game hustle, And I'm really enjoying the interaction

395
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Speaker 1: between Dan and Rachel. That is that is the biggest

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Speaker 1: surprise of this whole season that I never knew I

397
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Speaker 1: needed in my life, but because when the show was airing,

398
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Speaker 1: I didn't. I wasn't watching it at the time. By

399
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Speaker 1: then I was in my own world and just going

400
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Speaker 1: to work and doing my job. So to come now

401
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Speaker 1: and watch it, Oh, it's so satisfying.

402
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Speaker 5: And let's give her some credit, Daniel some credit, because yeah,

403
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Speaker 5: I like, really love actually working with people that roll

404
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Speaker 5: with my insanity. So when I'm as seen as Dan

405
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Speaker 5: and I can't always tell you where it's going, She's

406
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Speaker 5: always like one step with me.

407
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Speaker 3: She's she's never not picking up on what I'm doing.

408
00:20:08,880 --> 00:20:11,480
Speaker 3: She's going, oh, that's what we're doing, then let's do it.

409
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Speaker 3: She's so game as an actress that it made it

410
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Speaker 3: super fun and super sort of fresh. Every scene was

411
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Speaker 3: so fresh because she she knows her stuff.

412
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Speaker 1: She's she's fully always prepared.

413
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Speaker 3: When you wake up and go to the set for

414
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Speaker 3: suing Reek through the lines, she's off book like that

415
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Speaker 3: the way that I like to work and ready to

416
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Speaker 3: roll man, and I just I love that about her,

417
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Speaker 3: and it made that playing that character in that season

418
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Speaker 3: so much more fun.

419
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Speaker 4: You know, well, you guys, Shine, I mean, I take

420
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Speaker 4: notes obviously for this for every episode, and at least

421
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Speaker 4: half of the episodes there's just a random note that's like,

422
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Speaker 4: holy shit, Paul is so compelling, you know, Dan is quickly.

423
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Speaker 4: It's funny because when you know, we started doing conventions,

424
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Speaker 4: I had a little backstory. I've never or like, I

425
00:21:00,600 --> 00:21:03,400
Speaker 4: don't know the show. When I signed on, I quickly

426
00:21:03,400 --> 00:21:05,840
Speaker 4: binged I think five and six, but I've never seen

427
00:21:05,840 --> 00:21:08,560
Speaker 4: one through four. So when this podcast opportunity came around,

428
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Speaker 4: I've said I'm basically approaching this as a first time viewer,

429
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Speaker 4: because when the show ended, I was like, great, done,

430
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Speaker 4: never going back. So I am now watching this basically

431
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Speaker 4: as a first time viewer. And so when we were

432
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Speaker 4: doing conventions and I would see so many people loving

433
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Speaker 4: your character and all I knew was sort of the

434
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Speaker 4: big broad strokes. I think that's so interesting. And I

435
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Speaker 4: got to say, now that I'm actually watching it as

436
00:21:30,359 --> 00:21:34,040
Speaker 4: a viewer, I totally get it because even though you've

437
00:21:34,160 --> 00:21:37,399
Speaker 4: done some bad things, I'm like, but I'm interested. When

438
00:21:37,440 --> 00:21:39,919
Speaker 4: he's on the screen, my eyes go to him. I

439
00:21:39,960 --> 00:21:41,720
Speaker 4: want to know what he's up to. I'm on for

440
00:21:41,760 --> 00:21:42,240
Speaker 4: the ride.

441
00:21:42,840 --> 00:21:43,119
Speaker 1: Yeah.

442
00:21:43,400 --> 00:21:45,840
Speaker 4: Yeah, you kill it man, and Daniel does as well.

443
00:21:46,000 --> 00:21:49,480
Speaker 4: You two together are so much fun to watch well.

444
00:21:49,560 --> 00:21:53,879
Speaker 3: I mean, I think Nathan and Haley have really one

445
00:21:53,920 --> 00:21:57,200
Speaker 3: of my favorite dynamics. And for me working with Joy,

446
00:21:57,320 --> 00:22:00,320
Speaker 3: I think that's what that's how we became friends was

447
00:22:00,359 --> 00:22:03,879
Speaker 3: because we just had such a good professional you know,

448
00:22:03,960 --> 00:22:08,359
Speaker 3: chemistry or characters. Was so interesting to watch Dan and

449
00:22:08,400 --> 00:22:11,600
Speaker 3: Ailey scenes and I haaling that alien Dan.

450
00:22:15,200 --> 00:22:16,679
Speaker 1: Yeah, we did. We had a lot of fun. It

451
00:22:16,720 --> 00:22:18,680
Speaker 1: was it was easy, I mean talk about just rolling

452
00:22:18,720 --> 00:22:20,840
Speaker 1: with it like we I think we recognized that in

453
00:22:20,840 --> 00:22:24,080
Speaker 1: each other and that's always a fun thing to encounter

454
00:22:24,240 --> 00:22:24,800
Speaker 1: in an actor.

455
00:22:25,280 --> 00:22:27,879
Speaker 3: Did you have Greek chemistry with Robert? Like did you

456
00:22:27,880 --> 00:22:31,760
Speaker 3: figure your character had the best chemistry with like you know.

457
00:22:31,800 --> 00:22:36,960
Speaker 4: Oh, I mean I would say by virtue of our relationship,

458
00:22:36,960 --> 00:22:40,200
Speaker 4: I mean Sean Tell and I because we we we

459
00:22:40,240 --> 00:22:42,240
Speaker 4: went into it sort of in like we got thrown

460
00:22:42,240 --> 00:22:44,640
Speaker 4: into a foxhole together. We were the only two new

461
00:22:44,680 --> 00:22:48,119
Speaker 4: people and we had most of our stuff together, so

462
00:22:49,080 --> 00:22:51,239
Speaker 4: we bonded real quick, and then we just developed kind

463
00:22:51,280 --> 00:22:54,719
Speaker 4: of a nice shorthand and it made the work very easy,

464
00:22:54,880 --> 00:22:58,320
Speaker 4: very natural. I really enjoyed working with James.

465
00:22:58,560 --> 00:23:00,560
Speaker 1: Yeah. I was going to say, like you were so

466
00:23:00,600 --> 00:23:01,760
Speaker 1: easy to watch on camera.

467
00:23:02,200 --> 00:23:05,320
Speaker 4: It worked. And it's funny because James. I have a

468
00:23:05,359 --> 00:23:08,800
Speaker 4: couple friends in my life who, for some reason, when

469
00:23:08,840 --> 00:23:12,160
Speaker 4: I get around them, it's like catnip. I can't help,

470
00:23:12,600 --> 00:23:16,520
Speaker 4: but just the just want to make them laugh. And

471
00:23:16,560 --> 00:23:18,200
Speaker 4: I'm like hyper and James is one of the I

472
00:23:18,200 --> 00:23:23,280
Speaker 4: thinks because he's he's pretty quiet still, you know, just

473
00:23:23,400 --> 00:23:25,840
Speaker 4: it brings out like my inner kid, and I'm like,

474
00:23:26,040 --> 00:23:27,640
Speaker 4: let's let's laugh together.

475
00:23:28,000 --> 00:23:30,240
Speaker 1: So you just want to poke him like hey, hey,

476
00:23:30,320 --> 00:23:31,280
Speaker 1: hey hey.

477
00:23:31,440 --> 00:23:32,000
Speaker 3: Yeah.

478
00:23:32,240 --> 00:23:34,320
Speaker 4: I was always trying to make him laugh and do

479
00:23:34,400 --> 00:23:37,560
Speaker 4: the outrageous. So yeah, he's a great humor.

480
00:23:37,640 --> 00:23:41,040
Speaker 3: He laughs really easily. He's so easy to be around. Yes,

481
00:23:41,320 --> 00:23:43,280
Speaker 3: one person that each of you and I intoer this

482
00:23:43,320 --> 00:23:45,120
Speaker 3: too would have loved more.

483
00:23:45,000 --> 00:23:48,639
Speaker 1: Scenes with Oh gosh, well Dan, I mean you and

484
00:23:48,640 --> 00:23:50,199
Speaker 1: I would we would have had way more fun. But

485
00:23:50,200 --> 00:23:52,720
Speaker 1: I mean it was so so few and far between

486
00:23:52,720 --> 00:23:54,600
Speaker 1: when we actually did get to interact together.

487
00:23:54,880 --> 00:23:55,399
Speaker 3: What about you?

488
00:23:55,920 --> 00:23:58,160
Speaker 4: I found myself. It's funny because we watched this episode,

489
00:23:58,160 --> 00:23:59,800
Speaker 4: I didn't remember it all that you and I had

490
00:23:59,800 --> 00:24:02,159
Speaker 4: a scene in the bar where I'm drinking and You're like,

491
00:24:02,200 --> 00:24:03,960
Speaker 4: this isn't what I meant by get your life together,

492
00:24:04,040 --> 00:24:06,840
Speaker 4: you know, and then you invite me to have a

493
00:24:06,880 --> 00:24:08,880
Speaker 4: drink with you, And so I didn't remember the scene

494
00:24:08,880 --> 00:24:10,760
Speaker 4: at all, and I thought this, I want to see

495
00:24:10,800 --> 00:24:13,440
Speaker 4: this scene. I want to see these two dudes sit

496
00:24:13,520 --> 00:24:16,840
Speaker 4: down and talk. They both got history, they have a

497
00:24:16,840 --> 00:24:19,200
Speaker 4: shaky relationship. They've only met once and it was during

498
00:24:19,200 --> 00:24:21,760
Speaker 4: a drowning. I want to see this scene. So I

499
00:24:21,760 --> 00:24:24,920
Speaker 4: would have loved I would have loved to have seen

500
00:24:24,960 --> 00:24:27,320
Speaker 4: more of Clay and Dan. Although I will say honorable

501
00:24:27,359 --> 00:24:31,800
Speaker 4: mention Victoria. Oh yeah, dude, she's an assassin. I would

502
00:24:31,880 --> 00:24:34,520
Speaker 4: love to watch the banter between Clay and Victoria.

503
00:24:34,800 --> 00:24:36,600
Speaker 3: I was just going to say, if I had one

504
00:24:36,680 --> 00:24:38,200
Speaker 3: character on the show, I would have liked to had

505
00:24:38,240 --> 00:24:41,440
Speaker 3: more scenes with because it would have been deaf.

506
00:24:42,040 --> 00:24:45,040
Speaker 1: They could have created such an amazing storyline for the

507
00:24:45,080 --> 00:24:47,640
Speaker 1: two of you for some reason to get into koohoots

508
00:24:47,680 --> 00:24:50,840
Speaker 1: together about something that would have been a ball to

509
00:24:50,920 --> 00:24:54,159
Speaker 1: watch Dan and Victoria have to try and one up

510
00:24:54,160 --> 00:24:58,760
Speaker 1: each other try, you know, negotiating something or I don't know, well,

511
00:24:58,800 --> 00:25:00,400
Speaker 1: speaking of negotiating and.

512
00:25:02,119 --> 00:25:03,160
Speaker 4: Good segue, Joyce.

513
00:25:03,280 --> 00:25:06,560
Speaker 1: Yeah, I gotta say there's some real bad agent ing

514
00:25:06,840 --> 00:25:09,600
Speaker 1: happening in this episode. I don't know. I mean, I

515
00:25:09,640 --> 00:25:13,040
Speaker 1: get from Clay's perspective that he's like, you know, holding

516
00:25:13,080 --> 00:25:16,359
Speaker 1: out for the best. But Millie getting an agent and

517
00:25:16,400 --> 00:25:20,800
Speaker 1: the agent asking for five hundred thousand dollars for a

518
00:25:20,840 --> 00:25:23,840
Speaker 1: post campaign, like she's already done it, She's already worked

519
00:25:23,880 --> 00:25:26,159
Speaker 1: for free. I'm so confused.

520
00:25:26,359 --> 00:25:28,959
Speaker 4: Listen, this is this is going to be an unpopular opinion.

521
00:25:29,040 --> 00:25:34,760
Speaker 4: Probably I can't stand this storyline. Yeah, please, Also don't

522
00:25:34,800 --> 00:25:38,080
Speaker 4: hear what I'm not saying. I love Lisa Goldstein, and

523
00:25:38,160 --> 00:25:40,919
Speaker 4: she did this role as well as you could have,

524
00:25:40,960 --> 00:25:43,840
Speaker 4: as well as anyone could have. She did great, But

525
00:25:43,960 --> 00:25:48,080
Speaker 4: this is just such a heavy handed after school special

526
00:25:48,119 --> 00:25:52,720
Speaker 4: cautionary tale where where they've even changed. It was sort

527
00:25:52,720 --> 00:25:55,920
Speaker 4: of like, like I said, like they etcha sketched her

528
00:25:56,040 --> 00:25:59,960
Speaker 4: character and we're like, give us a cliche model. True,

529
00:26:00,480 --> 00:26:04,639
Speaker 4: Like she's done one thing for Brooke. She has an

530
00:26:04,720 --> 00:26:07,440
Speaker 4: agent asking for half a million dollars. She's already doing

531
00:26:07,480 --> 00:26:09,600
Speaker 4: cocaine to keep up with it. It's been like two

532
00:26:09,720 --> 00:26:14,680
Speaker 4: weeks and she has completely hit rock bottom. Like, what

533
00:26:14,720 --> 00:26:18,760
Speaker 4: the what? What the hell is that? It was so dumb? Also,

534
00:26:18,960 --> 00:26:21,119
Speaker 4: come on, you don't leave coke out in the open

535
00:26:21,600 --> 00:26:24,240
Speaker 4: on the mirror. You put it away, You say it

536
00:26:24,240 --> 00:26:26,439
Speaker 4: because that's precious to you, you know, And like you

537
00:26:26,440 --> 00:26:28,600
Speaker 4: don't leave the dollar bill rolled up on the ground

538
00:26:28,800 --> 00:26:30,440
Speaker 4: so much. And I was curious about how you felt

539
00:26:30,440 --> 00:26:32,280
Speaker 4: about directing this, Dan, because I know it was all

540
00:26:32,280 --> 00:26:32,919
Speaker 4: in the script.

541
00:26:34,200 --> 00:26:37,239
Speaker 3: The same as the water. You you have to you

542
00:26:37,320 --> 00:26:40,760
Speaker 3: have to buy into it, and you have to put

543
00:26:40,800 --> 00:26:43,600
Speaker 3: it all on display, and you try to make it

544
00:26:43,640 --> 00:26:47,199
Speaker 3: as real as you can and leave the judgment to

545
00:26:47,280 --> 00:26:50,320
Speaker 3: the audience. You have to. You can't. You can't re

546
00:26:51,080 --> 00:26:53,800
Speaker 3: envision things that you may not be fully on board with,

547
00:26:54,160 --> 00:26:57,600
Speaker 3: and and then try to recreate the show for the

548
00:26:57,720 --> 00:27:01,040
Speaker 3: for the creators. I think if I there's a feature film,

549
00:27:01,400 --> 00:27:04,439
Speaker 3: we sit down, we talk it through, we work it

550
00:27:04,480 --> 00:27:08,560
Speaker 3: out we cut what doesn't isn't essential, and we say,

551
00:27:08,600 --> 00:27:11,159
Speaker 3: can we play this instead of show this? Is there

552
00:27:11,200 --> 00:27:12,679
Speaker 3: a way we can play this as an artist, as

553
00:27:12,720 --> 00:27:16,120
Speaker 3: an actor? Can the actress play this instead of indicate

554
00:27:16,160 --> 00:27:18,919
Speaker 3: with all these little things around her? Can she be

555
00:27:19,080 --> 00:27:21,119
Speaker 3: demanded as an actress to go inside and show us

556
00:27:21,200 --> 00:27:23,240
Speaker 3: the trimoal she's going through, the depth of the pain,

557
00:27:23,480 --> 00:27:25,560
Speaker 3: the frustration with these choices. Is she doing the right

558
00:27:25,560 --> 00:27:28,520
Speaker 3: thing all that through her behavior without it being as

559
00:27:28,520 --> 00:27:31,719
Speaker 3: you said, you know, these these these these are cliche troubles.

560
00:27:32,200 --> 00:27:34,760
Speaker 3: But I can't do that as a hired gun on

561
00:27:34,840 --> 00:27:38,160
Speaker 3: a show that has asked me to facilitate their ideas.

562
00:27:38,920 --> 00:27:40,560
Speaker 3: It's not a battle I want to take on, and

563
00:27:40,600 --> 00:27:42,280
Speaker 3: it's not appropriate for me to do that. I took

564
00:27:42,280 --> 00:27:44,679
Speaker 3: the job. So what I do is I go, Okay,

565
00:27:45,200 --> 00:27:47,639
Speaker 3: let's put everything they've asked for in here. Let's do

566
00:27:47,720 --> 00:27:50,520
Speaker 3: our very very best. Let's give them plenty of coverage

567
00:27:50,680 --> 00:27:53,040
Speaker 3: so that they can cut around what isn't working, and

568
00:27:53,119 --> 00:27:56,200
Speaker 3: let's just tell, you know, talk to your actors and say,

569
00:27:56,560 --> 00:28:00,000
Speaker 3: do me one favor, Do not lie, Just tell the truth.

570
00:28:00,160 --> 00:28:02,720
Speaker 3: If you don't touch it, if that if you don't

571
00:28:02,760 --> 00:28:04,679
Speaker 3: know how to hold a rolled up you know, one

572
00:28:04,720 --> 00:28:06,920
Speaker 3: hundred dollars bill to do your blow. Don't touch it.

573
00:28:07,160 --> 00:28:09,400
Speaker 3: Just do your scene as truthfully knownice as you can,

574
00:28:09,640 --> 00:28:11,159
Speaker 3: and we'll make it look great for you. We're going

575
00:28:11,200 --> 00:28:13,439
Speaker 3: to protect you. I don't want anybody faking it. So

576
00:28:13,520 --> 00:28:14,920
Speaker 3: that's the only way you can get through a scene

577
00:28:14,920 --> 00:28:15,680
Speaker 3: like that. Does it make sense.

578
00:28:15,720 --> 00:28:17,720
Speaker 1: That's one of my favorite things about you as a director,

579
00:28:17,880 --> 00:28:20,960
Speaker 1: because I have we worked with so many on the show,

580
00:28:21,080 --> 00:28:24,800
Speaker 1: and I've worked with directors who feel awkward about the

581
00:28:24,840 --> 00:28:29,960
Speaker 1: material and they lean into they lean more into their

582
00:28:30,040 --> 00:28:33,520
Speaker 1: shots and more they just kind of try and almost

583
00:28:33,520 --> 00:28:36,400
Speaker 1: stay away from the material, like pretend like it's not there,

584
00:28:36,640 --> 00:28:39,040
Speaker 1: and they focus more on the lighting and the shots,

585
00:28:39,080 --> 00:28:40,560
Speaker 1: and it's like, well, just get through the scene and

586
00:28:40,600 --> 00:28:44,440
Speaker 1: then we'll move on. And you always lean into it,

587
00:28:44,680 --> 00:28:50,000
Speaker 1: which seems so counterintuitive, but actually by pushing in and

588
00:28:50,040 --> 00:28:52,480
Speaker 1: making it much more human and just about the human

589
00:28:52,560 --> 00:28:56,560
Speaker 1: interaction that's happening between the people, then the sets don't matter,

590
00:28:56,560 --> 00:28:58,479
Speaker 1: the lighting doesn't matter, the costumes do't matter. Nothing else

591
00:28:58,560 --> 00:29:00,920
Speaker 1: matters except the emotions that that the two people in

592
00:29:00,920 --> 00:29:04,440
Speaker 1: the scene, or however many are feeling. And I will

593
00:29:04,480 --> 00:29:08,560
Speaker 1: buy almost anything in that scenario, and I learned that

594
00:29:08,640 --> 00:29:11,680
Speaker 1: from you. It's really such a valuable lesson as an artist,

595
00:29:12,240 --> 00:29:13,800
Speaker 1: and that's what we see here in this scene.

596
00:29:14,040 --> 00:29:16,240
Speaker 3: I just want to thank you for being such giving

597
00:29:16,240 --> 00:29:18,520
Speaker 3: me such a beautiful compliment. It means everything.

598
00:29:18,720 --> 00:29:21,200
Speaker 1: Absolutely, it's so true, and that's what we see in

599
00:29:21,200 --> 00:29:24,080
Speaker 1: this scene. A Lee did such a beautiful job. I

600
00:29:24,200 --> 00:29:29,440
Speaker 1: was really he was so still, he was so un

601
00:29:29,760 --> 00:29:35,480
Speaker 1: I mean, he was disturbed, not flustered. You know, we're

602
00:29:35,600 --> 00:29:38,720
Speaker 1: used to seeing mouth be I think flustered is a

603
00:29:38,760 --> 00:29:40,640
Speaker 1: word I think of with him a lot. And to

604
00:29:40,760 --> 00:29:45,880
Speaker 1: see him grounded in his place as a human and

605
00:29:45,960 --> 00:29:49,160
Speaker 1: a friend and a fellow traveler in life in a

606
00:29:49,280 --> 00:29:52,640
Speaker 1: really grounded way, and just watching this unfold with someone

607
00:29:52,640 --> 00:29:54,560
Speaker 1: that he really loves, and he wasn't trying to fix it.

608
00:29:54,560 --> 00:29:57,240
Speaker 1: He wasn't trying to solve it. He was just present.

609
00:29:58,320 --> 00:30:00,120
Speaker 1: I don't know what kind of conversations you and he

610
00:30:00,160 --> 00:30:03,320
Speaker 1: had on set, but that was beautiful work from him.

611
00:30:03,480 --> 00:30:06,560
Speaker 3: Well, he's holding callfield to me in the series anyway,

612
00:30:06,600 --> 00:30:11,920
Speaker 3: because in that you know, the alter ego, somebody is

613
00:30:12,080 --> 00:30:14,880
Speaker 3: an observer. Maybe he's journaling this whole thing in his head.

614
00:30:14,920 --> 00:30:17,120
Speaker 3: Is the way that I always look at him. That

615
00:30:17,200 --> 00:30:17,640
Speaker 3: makes sense.

616
00:30:18,120 --> 00:30:21,000
Speaker 1: I love that he's journaling and the whole show is

617
00:30:21,040 --> 00:30:21,800
Speaker 1: in his head.

618
00:30:22,160 --> 00:30:23,280
Speaker 3: I always thought of him like that.

619
00:30:24,040 --> 00:30:29,640
Speaker 1: Yeah, wow, exploded my brain.

620
00:30:30,840 --> 00:30:47,320
Speaker 4: We were the we were lost before Lost was lost. Guys,

621
00:30:49,040 --> 00:30:51,840
Speaker 4: let me ask a quick question, Joy, because I I'm

622
00:30:51,920 --> 00:30:54,960
Speaker 4: aware that I'm coming at this with a limited scope

623
00:30:55,080 --> 00:30:58,680
Speaker 4: of the characters and their histories, but because you've spent

624
00:30:58,760 --> 00:31:02,840
Speaker 4: more time with mill when you are watching this particular

625
00:31:02,920 --> 00:31:06,560
Speaker 4: story arc, do you see any of Milly in it?

626
00:31:07,160 --> 00:31:10,920
Speaker 1: I was looking for her and I didn't. And that's

627
00:31:11,640 --> 00:31:12,960
Speaker 1: it goes back to what you were saying about the

628
00:31:13,040 --> 00:31:17,760
Speaker 1: edge just sketch it. They just they used a character,

629
00:31:19,440 --> 00:31:22,480
Speaker 1: they needed a storyline, and hers fit the best. At

630
00:31:22,680 --> 00:31:24,719
Speaker 1: you know, somebody in the in the writer's room probably

631
00:31:24,760 --> 00:31:28,760
Speaker 1: said what about Millie and it was like, yeah, sure,

632
00:31:28,800 --> 00:31:32,520
Speaker 1: that works great. And because of the time constraints and

633
00:31:32,880 --> 00:31:34,680
Speaker 1: all the other storylines that were happening in the way

634
00:31:34,680 --> 00:31:36,640
Speaker 1: that those had to intersect, I think they just sped

635
00:31:36,680 --> 00:31:39,360
Speaker 1: it all up. I just wish that when they first

636
00:31:39,360 --> 00:31:44,200
Speaker 1: introduced Milly it's hins Hindsight's twenty twenty. I wish they

637
00:31:44,200 --> 00:31:46,120
Speaker 1: had known when they brought Milly on the show that

638
00:31:46,160 --> 00:31:48,160
Speaker 1: this is where they were going, so that something could

639
00:31:48,160 --> 00:31:49,680
Speaker 1: have been set up a little earlier.

640
00:31:50,120 --> 00:31:52,040
Speaker 4: Yeah, but you know, it.

641
00:31:51,960 --> 00:31:52,479
Speaker 1: Is what it is.

642
00:31:52,840 --> 00:31:54,920
Speaker 4: Yeah, planned a couple of seeds, Paul. One thing I

643
00:31:54,960 --> 00:31:56,760
Speaker 4: noticed that I wanted to ask you about was there

644
00:31:56,800 --> 00:32:00,960
Speaker 4: is a scene when Millie is an Alex his hotel room,

645
00:32:01,600 --> 00:32:07,160
Speaker 4: rifling through her closet, And what I found really interesting

646
00:32:07,400 --> 00:32:12,400
Speaker 4: was it looked like her makeup was done the same

647
00:32:12,440 --> 00:32:15,600
Speaker 4: way that Alex's was when she kind of arrived in

648
00:32:15,600 --> 00:32:18,120
Speaker 4: tree Hill, like it was very dark above the eye.

649
00:32:18,640 --> 00:32:22,640
Speaker 4: Her hairstyle kind of reminded me of Alex's. And I

650
00:32:22,760 --> 00:32:26,320
Speaker 4: was curious if there was was there a note anywhere

651
00:32:26,320 --> 00:32:28,960
Speaker 4: in there of sort of because also in that same scene,

652
00:32:28,960 --> 00:32:31,800
Speaker 4: I think Alex is wearing like a cute plaid outfit.

653
00:32:31,960 --> 00:32:33,680
Speaker 1: It's not I switched roles.

654
00:32:33,840 --> 00:32:36,000
Speaker 4: That's what I was wondering, And so I kind of questioned,

655
00:32:36,040 --> 00:32:37,960
Speaker 4: are we doing a subtle freaky Friday here?

656
00:32:38,360 --> 00:32:38,560
Speaker 1: Is that?

657
00:32:38,640 --> 00:32:39,240
Speaker 4: What's happening?

658
00:32:39,800 --> 00:32:41,480
Speaker 3: Was it single white female? What is the one where

659
00:32:41,480 --> 00:32:42,720
Speaker 3: the girl takes up of her roommates agent?

660
00:32:42,960 --> 00:32:44,760
Speaker 1: Oh, yeah, that is what it was.

661
00:32:44,920 --> 00:32:45,920
Speaker 4: But was that intentional?

662
00:32:46,240 --> 00:32:48,680
Speaker 3: I'll be honest with you, I actually don't remember. This

663
00:32:48,840 --> 00:32:50,080
Speaker 3: was how many years ago?

664
00:32:50,160 --> 00:32:52,840
Speaker 4: Was this six? Paul? It's only been six I.

665
00:32:52,880 --> 00:32:55,440
Speaker 3: Should know, And I really I've failed the podcast and

666
00:32:55,480 --> 00:32:57,920
Speaker 3: I think I should be booted since I can't actually

667
00:32:58,000 --> 00:32:59,120
Speaker 3: remember that. I do remember.

668
00:32:59,520 --> 00:33:02,160
Speaker 1: I'm sure you did in the production meetings and stuff.

669
00:33:02,160 --> 00:33:03,520
Speaker 1: That seems like something that would have come up.

670
00:33:03,520 --> 00:33:07,080
Speaker 3: But I know that that Lisa was such a gamer

671
00:33:07,160 --> 00:33:08,640
Speaker 3: that she would have gone for it. I mean, I

672
00:33:08,680 --> 00:33:10,960
Speaker 3: was very proud of her. And I think that you

673
00:33:10,960 --> 00:33:12,560
Speaker 3: know she you know where she came from, right, you

674
00:33:12,600 --> 00:33:15,600
Speaker 3: know how she was, what her job was before working

675
00:33:15,640 --> 00:33:16,520
Speaker 3: on our show. Do you guys know?

676
00:33:17,240 --> 00:33:19,440
Speaker 1: Tell the fans for people who don't I don't.

677
00:33:19,840 --> 00:33:20,960
Speaker 4: You don't, I don't.

678
00:33:22,000 --> 00:33:24,720
Speaker 3: I think she was snow white in disney World.

679
00:33:24,680 --> 00:33:28,840
Speaker 1: And Jasmine and Bell. She was a Disney World girl.

680
00:33:29,560 --> 00:33:31,080
Speaker 4: We got to have her on because I want to

681
00:33:31,120 --> 00:33:32,200
Speaker 4: I need to know a lot about that.

682
00:33:32,440 --> 00:33:34,560
Speaker 1: I know. I want to talk to Lisa.

683
00:33:34,840 --> 00:33:37,280
Speaker 4: So perfect, Joey, you could have done that. You could

684
00:33:37,280 --> 00:33:37,840
Speaker 4: still do that.

685
00:33:38,200 --> 00:33:39,920
Speaker 1: I could still do that. This is my plan. I'm

686
00:33:40,000 --> 00:33:41,720
Speaker 1: just going to retire and go to Disney World and

687
00:33:41,760 --> 00:33:43,640
Speaker 1: be like, guys, just put me to princess dress. Let

688
00:33:43,640 --> 00:33:45,320
Speaker 1: me hug little kids. That's all I want to do.

689
00:33:46,840 --> 00:33:50,719
Speaker 3: Pollice, Yeah, No, I'm very I was very very thrilled

690
00:33:50,760 --> 00:33:53,680
Speaker 3: with her work ethic and her willingness and and you know,

691
00:33:53,720 --> 00:33:55,960
Speaker 3: you guys know, it's like it's there's a lot of

692
00:33:56,400 --> 00:33:57,880
Speaker 3: I try to make it safe, and there's a lot

693
00:33:57,920 --> 00:34:01,480
Speaker 3: of ask to dig deeper and stuff like that, and

694
00:34:01,520 --> 00:34:04,040
Speaker 3: she was so game. So although I don't remember the

695
00:34:04,040 --> 00:34:06,800
Speaker 3: makeup question, which I think is really interesting, and there's

696
00:34:06,840 --> 00:34:10,160
Speaker 3: something in my head that there was something about that,

697
00:34:10,200 --> 00:34:11,960
Speaker 3: but I just can't be one hundred percent certain, but

698
00:34:12,000 --> 00:34:13,160
Speaker 3: I was really proud of her work.

699
00:34:13,880 --> 00:34:16,320
Speaker 1: I think there was a lot intentional about the makeup

700
00:34:16,320 --> 00:34:19,239
Speaker 1: because I noticed under the darkness under her eyes that

701
00:34:19,320 --> 00:34:21,879
Speaker 1: was happening. So whether that was something that y'all talked

702
00:34:21,920 --> 00:34:24,200
Speaker 1: about in the production meeting or just something.

703
00:34:23,960 --> 00:34:27,320
Speaker 3: That it was something about that that, yes, I just

704
00:34:27,320 --> 00:34:29,200
Speaker 3: don't remember match Alex's look.

705
00:34:29,440 --> 00:34:31,120
Speaker 1: Yeah, but she did great.

706
00:34:31,480 --> 00:34:33,840
Speaker 4: It's something I noticed earlier. It was there's a scene

707
00:34:33,880 --> 00:34:38,560
Speaker 4: with Antoine and Alison Munn Lauren, Oh, miss Lauren. So

708
00:34:38,960 --> 00:34:41,080
Speaker 4: it's the scene where he wakes up and he rolls

709
00:34:41,080 --> 00:34:44,600
Speaker 4: over to check his phone and she says, Antoine, what

710
00:34:44,640 --> 00:34:47,120
Speaker 4: are you doing? And this was the first time I

711
00:34:47,160 --> 00:34:51,160
Speaker 4: had ever heard his character's actual name. I didn't know

712
00:34:51,200 --> 00:34:54,520
Speaker 4: they shared a namesake, and so I gasped, going, no

713
00:34:55,040 --> 00:34:58,919
Speaker 4: freaking way they accidentally let his real name slip through

714
00:34:58,960 --> 00:35:02,000
Speaker 4: the final cut, and then there's no dumb dwn. They

715
00:35:02,120 --> 00:35:05,200
Speaker 4: just probably named the character Antoine.

716
00:35:06,600 --> 00:35:11,279
Speaker 1: Yeah, Antoine Taylor, not Antoine Tanner, but pretty.

717
00:35:10,920 --> 00:35:12,600
Speaker 4: Close on Taylor.

718
00:35:12,719 --> 00:35:12,959
Speaker 3: Wow.

719
00:35:13,120 --> 00:35:16,160
Speaker 4: Very I love that. Okay, cool, Yeah, I want.

720
00:35:16,040 --> 00:35:18,040
Speaker 1: To see more of them. That was such a strange

721
00:35:18,120 --> 00:35:20,480
Speaker 1: kind of random. I mean, hopefully we'll get to see

722
00:35:20,480 --> 00:35:22,920
Speaker 1: more of that storyline develop. It seemed so bizarre that

723
00:35:22,960 --> 00:35:28,480
Speaker 1: it was interjected. It didn't go anywhere, like nothing. I mean,

724
00:35:28,520 --> 00:35:30,040
Speaker 1: I guess he was waiting for a phone call and

725
00:35:30,080 --> 00:35:32,200
Speaker 1: then he gets the and then he gets the information,

726
00:35:32,360 --> 00:35:36,759
Speaker 1: so it resolved. But I don't know. I'm curious as

727
00:35:36,800 --> 00:35:39,600
Speaker 1: to where that's going. I wasn't sure what's happening with that,

728
00:35:39,760 --> 00:35:45,319
Speaker 1: although it did make me really want to reinvigorate this

729
00:35:45,520 --> 00:35:49,479
Speaker 1: idea of stopping by friends places or where they are

730
00:35:49,560 --> 00:35:52,120
Speaker 1: just to ask a random question instead of texting people.

731
00:35:52,920 --> 00:35:56,760
Speaker 1: I love this. He's got his phone, he could easily

732
00:35:56,800 --> 00:35:58,319
Speaker 1: just call him, but he goes to the River Court

733
00:35:58,360 --> 00:35:59,759
Speaker 1: I was like, man, why do I do that? More

734
00:35:59,800 --> 00:36:02,200
Speaker 1: off to swing by my friend's houses and be like, hey,

735
00:36:02,239 --> 00:36:04,120
Speaker 1: I forgot to tell you blah blah blah blah, buck,

736
00:36:04,120 --> 00:36:06,280
Speaker 1: I'll see you later. So fun.

737
00:36:06,480 --> 00:36:09,799
Speaker 4: Oh. I assumed that Julian had called him and they

738
00:36:09,880 --> 00:36:11,680
Speaker 4: planned to meet at the river Court. Is that not

739
00:36:11,719 --> 00:36:12,399
Speaker 4: how it went down?

740
00:36:12,640 --> 00:36:16,439
Speaker 1: They probably did, but like for what, they had three

741
00:36:16,520 --> 00:36:18,680
Speaker 1: lines and then Julian's like, I gotta go. This chick

742
00:36:18,760 --> 00:36:22,240
Speaker 1: is text on me, Like, I don't know, it seems

743
00:36:22,239 --> 00:36:23,080
Speaker 1: so strange.

744
00:36:23,440 --> 00:36:26,200
Speaker 4: Let's do it, Poppins. Let's bring them back. People.

745
00:36:26,560 --> 00:36:29,719
Speaker 3: One is so well liked. I remember even before One

746
00:36:29,760 --> 00:36:31,600
Speaker 3: Tree Hill two thousand and three, when the show started.

747
00:36:31,640 --> 00:36:35,200
Speaker 3: Before that, in the late nineties and early two thousands,

748
00:36:35,560 --> 00:36:38,480
Speaker 3: we played in the NBA Entertainment League together with James,

749
00:36:38,840 --> 00:36:41,160
Speaker 3: who I knew before the show, playing in that league.

750
00:36:41,320 --> 00:36:42,040
Speaker 1: Oh, that's right.

751
00:36:42,440 --> 00:36:44,160
Speaker 3: We all knew each other from that. And you know,

752
00:36:44,200 --> 00:36:46,800
Speaker 3: I was on a team with Leo DiCaprio and Toby

753
00:36:46,840 --> 00:36:51,480
Speaker 3: maguire and all these actors Chris Kevin Connolly and James

754
00:36:51,520 --> 00:36:54,760
Speaker 3: Is on an opposing team, and Antholin's on another team,

755
00:36:54,840 --> 00:36:57,279
Speaker 3: and we're all like mortal enemies playing against each other

756
00:36:57,560 --> 00:36:59,439
Speaker 3: and then we got here and was just like, oh man,

757
00:36:59,440 --> 00:37:03,520
Speaker 3: we hated we hated you because we all played basketball together.

758
00:37:03,600 --> 00:37:05,640
Speaker 3: We for Scott to and I was much older. But

759
00:37:06,000 --> 00:37:08,200
Speaker 3: it was so great that we knew each other, you know,

760
00:37:08,480 --> 00:37:11,160
Speaker 3: from a basketball life, and it really helped a lot,

761
00:37:11,200 --> 00:37:14,320
Speaker 3: I think our in our time together working together because

762
00:37:14,360 --> 00:37:16,359
Speaker 3: we had that shorthand like you guys say.

763
00:37:16,320 --> 00:37:18,160
Speaker 4: Was that E League? Because I've heard of that before?

764
00:37:18,239 --> 00:37:20,719
Speaker 4: This Entertainment League? Was it like Rayah where you have

765
00:37:20,800 --> 00:37:22,840
Speaker 4: to have someone vouch for you to get in or

766
00:37:22,880 --> 00:37:24,759
Speaker 4: do you have to be vetted before you can join it?

767
00:37:25,520 --> 00:37:26,800
Speaker 1: That's brilliant.

768
00:37:30,040 --> 00:37:34,640
Speaker 3: Train Tree. No, it wasn't a mental test either. Let's see. No,

769
00:37:34,760 --> 00:37:37,520
Speaker 3: there's a there was you had. I think you had

770
00:37:37,520 --> 00:37:42,719
Speaker 3: to be of some entertainment value to be part of

771
00:37:42,760 --> 00:37:45,040
Speaker 3: the teams, but you could also be an agent or

772
00:37:45,040 --> 00:37:47,279
Speaker 3: a manager, or a lawyer or something. He had to

773
00:37:47,320 --> 00:37:49,000
Speaker 3: be in the entertainment industry. That's all it was.

774
00:37:49,400 --> 00:37:51,759
Speaker 1: Okay, speaking of agent, I want to go back to this.

775
00:37:51,960 --> 00:37:55,040
Speaker 1: What do you what's your perspective on this, Robert? Do

776
00:37:55,080 --> 00:37:57,279
Speaker 1: you think that Clay should have locked up the deal

777
00:37:57,480 --> 00:37:59,719
Speaker 1: or do you think that he did the right thing

778
00:37:59,719 --> 00:38:03,080
Speaker 1: by holding out and you know case, I think.

779
00:38:02,960 --> 00:38:05,279
Speaker 4: Clay took his eye off the ball. I think he

780
00:38:05,400 --> 00:38:10,520
Speaker 4: had good intentions, but I think you gotta know that

781
00:38:10,560 --> 00:38:13,160
Speaker 4: there's another thing going on. And it's just it's such

782
00:38:13,200 --> 00:38:16,439
Speaker 4: a bad look to take your eye off the ball

783
00:38:16,520 --> 00:38:19,000
Speaker 4: at a time when you have the one person he's

784
00:38:19,040 --> 00:38:21,560
Speaker 4: asked you not to spend time with over and it's

785
00:38:21,640 --> 00:38:24,520
Speaker 4: so it was so painful. And then you know they've

786
00:38:24,560 --> 00:38:27,080
Speaker 4: been they've they kissed like all of a day ago,

787
00:38:27,120 --> 00:38:29,120
Speaker 4: and Charity comes in like, Babe, do you have that

788
00:38:29,239 --> 00:38:34,279
Speaker 4: bear for me? He's like, ah, not because you know,

789
00:38:34,440 --> 00:38:36,080
Speaker 4: like I said, I think he's a good agent and

790
00:38:36,160 --> 00:38:38,600
Speaker 4: that he was fighting for more because he believes in him.

791
00:38:38,840 --> 00:38:41,759
Speaker 4: But I think you got you gotta be keeping your

792
00:38:41,760 --> 00:38:44,040
Speaker 4: finger on the pulse of everything going on right there.

793
00:38:44,280 --> 00:38:46,239
Speaker 3: Did you ask him to not say babe? Do you

794
00:38:46,280 --> 00:38:48,080
Speaker 3: say just strike the babe part?

795
00:38:49,239 --> 00:38:51,360
Speaker 4: I mean to me, it was a little it was

796
00:38:51,400 --> 00:38:54,680
Speaker 4: a little heavy hand. I think my note was, first

797
00:38:54,719 --> 00:38:58,279
Speaker 4: of all, it's pretty soon for pet names, uh, because

798
00:38:58,280 --> 00:38:59,680
Speaker 4: if it feel like it's sort of like the Millie thing,

799
00:38:59,719 --> 00:39:02,640
Speaker 4: it's like they've been they've been kissing, they've been more

800
00:39:02,680 --> 00:39:06,280
Speaker 4: than friends for sixteen hours. And we're already dropping babes

801
00:39:06,320 --> 00:39:06,839
Speaker 4: on each other.

802
00:39:07,160 --> 00:39:09,120
Speaker 1: Babe, so casual.

803
00:39:09,960 --> 00:39:12,560
Speaker 3: Yeah, you're the Jerry Maguire, right, that's what we were

804
00:39:12,680 --> 00:39:13,600
Speaker 3: fashioned after.

805
00:39:13,600 --> 00:39:15,000
Speaker 4: Yeah, the wounded Jerry Maguire.

806
00:39:16,040 --> 00:39:19,200
Speaker 1: Yeah. Nathan ran that scene though, man. I mean I

807
00:39:19,239 --> 00:39:23,960
Speaker 1: love seeing him just plow in and be It broke

808
00:39:24,000 --> 00:39:27,920
Speaker 1: my heart, like, after everything that he just went through

809
00:39:28,080 --> 00:39:32,600
Speaker 1: with Renee and all the anxiety about losing his contract

810
00:39:32,600 --> 00:39:34,680
Speaker 1: with the Bobcats and that he was all going to

811
00:39:34,760 --> 00:39:37,040
Speaker 1: go away, and we were on the edge of our

812
00:39:37,080 --> 00:39:39,279
Speaker 1: seats and we finally get this big win and Dan

813
00:39:39,400 --> 00:39:41,719
Speaker 1: saves the day with Renee, and all of it just

814
00:39:41,880 --> 00:39:44,719
Speaker 1: is all working out, and then the rug just gets

815
00:39:44,800 --> 00:39:48,840
Speaker 1: ripped out from underneath us because Clay is doing what

816
00:39:48,920 --> 00:39:52,080
Speaker 1: he should be doing. He's healing, he's moving on, He's

817
00:39:52,120 --> 00:39:55,240
Speaker 1: like good things are happening in his life. And Quinn

818
00:39:55,320 --> 00:39:58,200
Speaker 1: is getting, you know, this, this moment of joy and

819
00:39:58,239 --> 00:40:01,480
Speaker 1: peace in her life after you know how difficult her

820
00:40:01,520 --> 00:40:05,319
Speaker 1: marriage has been, and for everybody to finally be in

821
00:40:05,640 --> 00:40:09,719
Speaker 1: a great place and have this happen, it feels it's

822
00:40:09,760 --> 00:40:11,359
Speaker 1: so much like real life. I feel like that kind

823
00:40:11,360 --> 00:40:13,120
Speaker 1: of stuff happens in real life all the time.

824
00:40:14,080 --> 00:40:18,000
Speaker 4: And what's great about it is it's a it's a

825
00:40:18,040 --> 00:40:23,719
Speaker 4: wonderful conflict because you can understand both parties point of view.

826
00:40:24,280 --> 00:40:26,719
Speaker 4: Like they didn't make it easy to choose who was right.

827
00:40:27,160 --> 00:40:30,719
Speaker 4: Nathan was completely in the right to be livid. Lay

828
00:40:30,840 --> 00:40:33,239
Speaker 4: was also in the right to be fighting for what

829
00:40:33,320 --> 00:40:36,400
Speaker 4: he believed Nathan's value was. So I like that they

830
00:40:36,480 --> 00:40:40,080
Speaker 4: muddied the water. It wasn't some egregious error, yeah you know,

831
00:40:40,360 --> 00:40:43,160
Speaker 4: but yeah, it was great seeing Nathan come down hard.

832
00:40:43,320 --> 00:40:45,520
Speaker 4: Which also it's funny because it's sort of even more

833
00:40:45,760 --> 00:40:49,200
Speaker 4: lends to Dan drowning Clay because can you imagine the

834
00:40:49,239 --> 00:40:52,680
Speaker 4: effort he went to to get Renee to build this

835
00:40:53,000 --> 00:40:56,720
Speaker 4: whole ruse. He gambles his ass off, it pays off,

836
00:40:56,920 --> 00:41:01,080
Speaker 4: he saves the day, and then this kid below his kids,

837
00:41:00,880 --> 00:41:06,360
Speaker 4: his son's deal. So in rate huwugh love actually really

838
00:41:06,440 --> 00:41:07,720
Speaker 4: makes sense for that scene.

839
00:41:08,440 --> 00:41:11,799
Speaker 1: Yes, okay, I'm glad you said that. It all came

840
00:41:11,840 --> 00:41:14,040
Speaker 1: full circle to me now I get it.

841
00:41:14,040 --> 00:41:17,080
Speaker 3: It's nice, isn't a joy?

842
00:41:17,600 --> 00:41:21,000
Speaker 4: How did you guys feel about I don't mean as

843
00:41:21,000 --> 00:41:23,400
Speaker 4: a director, Dan. Oh well, there's a lot of in

844
00:41:23,400 --> 00:41:28,640
Speaker 4: this episode of Quinn telling Nathan and Haley that they

845
00:41:28,719 --> 00:41:32,800
Speaker 4: need to be more understanding towards Clay, and it creates

846
00:41:32,840 --> 00:41:37,080
Speaker 4: this really uncomfortable dynamic which eventually Nathan calls out with going,

847
00:41:37,600 --> 00:41:39,520
Speaker 4: do you like living in my house for free?

848
00:41:40,040 --> 00:41:40,520
Speaker 1: Yeah?

849
00:41:40,680 --> 00:41:44,080
Speaker 4: You know, yeah, But it's also she has a point,

850
00:41:44,400 --> 00:41:46,400
Speaker 4: you know, but it's that awkward thing of like, I

851
00:41:46,400 --> 00:41:48,280
Speaker 4: don't know if this is the right time.

852
00:41:48,600 --> 00:41:51,720
Speaker 1: No, she's pushing way too hard, and this is Yeah,

853
00:41:51,760 --> 00:41:55,680
Speaker 1: this is a great example of someone who feels out

854
00:41:55,719 --> 00:41:58,319
Speaker 1: of control and they are looking for control somewhere to

855
00:41:58,400 --> 00:42:02,200
Speaker 1: make themselves feel better about needing about like I can

856
00:42:02,239 --> 00:42:05,480
Speaker 1: solve something. At least I can do something. And we've

857
00:42:05,520 --> 00:42:07,359
Speaker 1: all done it. We have people in our lives who

858
00:42:07,400 --> 00:42:10,799
Speaker 1: do it. It's I think, a super human thing to do.

859
00:42:12,480 --> 00:42:16,920
Speaker 1: But yeah, don't I don't like it. I don't like it.

860
00:42:16,920 --> 00:42:18,440
Speaker 4: It's you got and you got to be able to

861
00:42:18,440 --> 00:42:19,680
Speaker 4: read the room, you know.

862
00:42:19,760 --> 00:42:21,120
Speaker 1: Yeah, it's not my place.

863
00:42:21,719 --> 00:42:24,439
Speaker 4: Literally two hours after he found out he lost a job.

864
00:42:24,520 --> 00:42:26,799
Speaker 4: Is not the time to be going. Let's turn that

865
00:42:26,880 --> 00:42:28,120
Speaker 4: other cheek.

866
00:42:28,320 --> 00:42:31,719
Speaker 1: Also, like Haley's her sister, Nathan's been her brother in

867
00:42:31,840 --> 00:42:35,400
Speaker 1: law for however many years they've been married now, it's

868
00:42:35,719 --> 00:42:39,080
Speaker 1: five six years now, maybe ten I don't know, but

869
00:42:39,719 --> 00:42:41,239
Speaker 1: a sorry fans for all of you who are mad

870
00:42:41,239 --> 00:42:42,960
Speaker 1: at me for not knowing. I don't know how long

871
00:42:42,960 --> 00:42:48,439
Speaker 1: they've been married, but yeah, and Quinn just started making

872
00:42:48,520 --> 00:42:51,839
Speaker 1: out with this dude, Like why would she immediately take

873
00:42:51,880 --> 00:42:54,560
Speaker 1: his side and be like against her family? But that

874
00:42:54,680 --> 00:42:56,840
Speaker 1: is also it's a childish thing to do because you

875
00:42:56,840 --> 00:42:58,719
Speaker 1: know your family safe and what are they going to leave?

876
00:42:59,000 --> 00:42:59,680
Speaker 1: What are you going to leave?

877
00:42:59,760 --> 00:43:00,000
Speaker 3: You?

878
00:43:00,080 --> 00:43:02,640
Speaker 1: Like, it's your family. So she can sort of push

879
00:43:02,680 --> 00:43:05,840
Speaker 1: buttons and be on Clay's side because that's what she

880
00:43:05,960 --> 00:43:09,320
Speaker 1: needs to do. She needs to feel like she's defending someone,

881
00:43:09,360 --> 00:43:11,640
Speaker 1: a part of something that she belongs somewhere, because she's

882
00:43:11,680 --> 00:43:16,200
Speaker 1: kind of floating around in life right now. So I

883
00:43:16,200 --> 00:43:19,600
Speaker 1: think it checks with Quinn's personality, it checks out, it

884
00:43:19,640 --> 00:43:21,960
Speaker 1: makes sense with where she's at in her life. But

885
00:43:22,000 --> 00:43:24,440
Speaker 1: it was it was too heavy handed. I think I

886
00:43:24,480 --> 00:43:27,360
Speaker 1: would have deferred much more of like a hey, listen,

887
00:43:27,400 --> 00:43:30,960
Speaker 1: can we talk. These are my feelings. I think maybe

888
00:43:31,000 --> 00:43:33,879
Speaker 1: you're emotional and you're overlooking some things. But the fact

889
00:43:33,920 --> 00:43:35,920
Speaker 1: that we're in a bedroom. I had a visceral memory

890
00:43:36,000 --> 00:43:38,680
Speaker 1: being in that bedroom filming that scene with Chantelle Paul.

891
00:43:38,680 --> 00:43:41,520
Speaker 1: I feel like we did it like twelve times or something.

892
00:43:41,560 --> 00:43:44,920
Speaker 1: But do you remember that too? The master took us

893
00:43:44,960 --> 00:43:45,560
Speaker 1: so long?

894
00:43:46,000 --> 00:43:49,040
Speaker 3: So long exactly? It's probably because I over blocked the

895
00:43:49,080 --> 00:43:51,440
Speaker 3: scene or let you guys just do whatever you want,

896
00:43:51,719 --> 00:43:53,360
Speaker 3: and then had to cover from nine different angles. I

897
00:43:53,400 --> 00:43:53,880
Speaker 3: don't remember.

898
00:43:54,200 --> 00:43:57,200
Speaker 1: I think it was the energy was slow. I think

899
00:43:57,280 --> 00:44:00,920
Speaker 1: it was. Actually we may have been trying to do

900
00:44:01,080 --> 00:44:04,360
Speaker 1: what I just said, which was to slow down and

901
00:44:04,400 --> 00:44:08,520
Speaker 1: have more of a reasonable conversation. And you you knew

902
00:44:08,560 --> 00:44:10,759
Speaker 1: that it needed the energy and that it's okay for

903
00:44:10,840 --> 00:44:12,359
Speaker 1: characters to be flawed, like we just.

904
00:44:12,360 --> 00:44:15,120
Speaker 3: Have to fight a lot before we shot too, Yes,

905
00:44:15,360 --> 00:44:16,280
Speaker 3: I remember correctly.

906
00:44:16,760 --> 00:44:17,040
Speaker 1: Yes.

907
00:44:17,880 --> 00:44:21,120
Speaker 3: Did you find much on that show before we shot?

908
00:44:21,160 --> 00:44:21,719
Speaker 3: I don't think we did.

909
00:44:22,200 --> 00:44:24,359
Speaker 1: No, we didn't do a lot of rehearsal, but with

910
00:44:24,440 --> 00:44:26,000
Speaker 1: that scene.

911
00:44:26,680 --> 00:44:29,280
Speaker 3: I remember one scene we rehearsed for a long time,

912
00:44:29,440 --> 00:44:31,120
Speaker 3: and then we changed it after we rehearsed it a

913
00:44:31,160 --> 00:44:33,080
Speaker 3: bunch of times, so we decided was working. Do you

914
00:44:33,120 --> 00:44:33,920
Speaker 3: know what scene it was?

915
00:44:34,160 --> 00:44:35,280
Speaker 1: I thought it was that one.

916
00:44:35,320 --> 00:44:42,000
Speaker 3: And Quinn and your other sister Lindseyndy by the pool. Oh,

917
00:44:42,200 --> 00:44:45,000
Speaker 3: it was a different episode, but we had to rehearse

918
00:44:45,040 --> 00:44:48,279
Speaker 3: that forever. Something wasn't clicking immediately. I think we were

919
00:44:48,640 --> 00:44:53,080
Speaker 3: going so far so fast that we wasn't like feeling organic.

920
00:44:53,800 --> 00:44:55,560
Speaker 3: We kept rehearsing, trying to figure it out. I don't

921
00:44:55,680 --> 00:44:56,640
Speaker 3: know if you remember that scene.

922
00:44:56,719 --> 00:44:57,080
Speaker 1: I do.

923
00:44:57,600 --> 00:45:02,120
Speaker 4: I remember that going back to just pre this this

924
00:45:02,239 --> 00:45:05,520
Speaker 4: bit when when Clay gets fired in front of your

925
00:45:05,560 --> 00:45:07,800
Speaker 4: whole family, in front of you know, Nathan and Haley.

926
00:45:09,280 --> 00:45:12,160
Speaker 4: It was funny, though, was the super German he does,

927
00:45:12,280 --> 00:45:14,400
Speaker 4: like the Charlie Brown walk out of the house and

928
00:45:14,440 --> 00:45:16,520
Speaker 4: he stops and he picks up a picture of all

929
00:45:16,560 --> 00:45:20,040
Speaker 4: of them and then puts it face down on the counter.

930
00:45:21,640 --> 00:45:27,800
Speaker 4: I thought, oh, that's so funny. That's such a listen.

931
00:45:28,120 --> 00:45:31,759
Speaker 4: I'm like you, Paul. My north star is like, let's

932
00:45:31,840 --> 00:45:34,000
Speaker 4: keep it honest. My north star is always how can

933
00:45:34,040 --> 00:45:36,240
Speaker 4: this be as subtle and grounded and honest as possible.

934
00:45:36,280 --> 00:45:37,960
Speaker 4: There is no way between the two of us that

935
00:45:38,000 --> 00:45:40,560
Speaker 4: we thought that's a killer idea. That was one hundred

936
00:45:40,600 --> 00:45:41,440
Speaker 4: percent in the script.

937
00:45:42,000 --> 00:45:44,920
Speaker 1: A photo that's never been seen before on the countertop,

938
00:45:45,320 --> 00:45:47,120
Speaker 1: on a part of the countertop where you never would

939
00:45:47,160 --> 00:45:50,400
Speaker 1: put pictures anyway, Well, in my house, I wouldn't. No,

940
00:45:50,800 --> 00:45:51,680
Speaker 1: it was absurd.

941
00:45:52,160 --> 00:45:53,920
Speaker 4: The last thing you'd be doing in that moment, is

942
00:45:53,960 --> 00:45:57,320
Speaker 4: spending any extra seconds in that house? Could you imagine

943
00:45:57,360 --> 00:45:59,560
Speaker 4: that awkward tension in the room and you stopped to

944
00:45:59,600 --> 00:46:03,000
Speaker 4: look at a photo. And then there's this other funny

945
00:46:03,040 --> 00:46:06,400
Speaker 4: beat though, where Nate and Nathan asks Haley, hey, like

946
00:46:06,880 --> 00:46:09,160
Speaker 4: he's he's questioning it. He goes, I don't know. Do

947
00:46:09,560 --> 00:46:13,040
Speaker 4: you think I made the right decision firing Clay? And

948
00:46:13,080 --> 00:46:14,960
Speaker 4: you take a beat and you go, I don't know.

949
00:46:16,120 --> 00:46:19,279
Speaker 4: You know, on one hand, he's Clay. You guys have

950
00:46:19,360 --> 00:46:24,560
Speaker 4: been friends for over a year, laughed toy Like, First

951
00:46:24,600 --> 00:46:26,200
Speaker 4: of all, it's so funny that they wanted to write

952
00:46:26,200 --> 00:46:29,000
Speaker 4: that into like tell the audience the timetable, but also

953
00:46:29,040 --> 00:46:33,359
Speaker 4: that is not enough time to make that counteragent a year.

954
00:46:33,760 --> 00:46:34,719
Speaker 4: You're new friends.

955
00:46:34,920 --> 00:46:36,080
Speaker 1: Your new friends.

956
00:46:35,880 --> 00:46:38,840
Speaker 3: Don't a network note to me, it does? It sounds

957
00:46:38,840 --> 00:46:40,480
Speaker 3: like they to put that in.

958
00:46:40,440 --> 00:46:43,080
Speaker 4: Completely, you know what I mean, because it works if

959
00:46:43,120 --> 00:46:44,680
Speaker 4: you just if you drop the end of it, and

960
00:46:44,719 --> 00:46:47,879
Speaker 4: it's just I don't know. On one hand, he's Clay. Boom,

961
00:46:48,239 --> 00:46:50,719
Speaker 4: that's enough. Abben's is going to fill in the rest

962
00:46:50,760 --> 00:46:53,040
Speaker 4: on their own. You don't need to tell them it's

963
00:46:53,080 --> 00:46:56,399
Speaker 4: been three hundred and seventy two days of friendship. Yeah,

964
00:46:56,400 --> 00:46:59,640
Speaker 4: it's like, that's weird. Yeah.

965
00:46:59,680 --> 00:47:01,239
Speaker 1: I also thought it was really strange that he got

966
00:47:01,280 --> 00:47:03,120
Speaker 1: fired in front of everybody, Like he shows up at

967
00:47:03,160 --> 00:47:05,040
Speaker 1: the house and like, why couldn't they have just said it.

968
00:47:05,040 --> 00:47:06,879
Speaker 1: Feels like it would have been professional for them to say,

969
00:47:06,960 --> 00:47:08,719
Speaker 1: let's talk about this at the office, but they're just

970
00:47:08,760 --> 00:47:13,600
Speaker 1: gonna fire you right there on the spot. It seemed

971
00:47:13,600 --> 00:47:16,919
Speaker 1: like a pissing contest, which maybe maybe that's realistic. That's

972
00:47:16,920 --> 00:47:17,760
Speaker 1: what it is, I guess.

973
00:47:17,920 --> 00:47:20,080
Speaker 4: Well, and the weird thing too, is that Clay comes

974
00:47:20,120 --> 00:47:23,880
Speaker 4: in hot at them. First, Clay comes in and goes, Nathan,

975
00:47:23,920 --> 00:47:25,719
Speaker 4: this is this is BS. They're going to promise you

976
00:47:25,760 --> 00:47:28,480
Speaker 4: the moon and under deliver. He's still their employee at

977
00:47:28,480 --> 00:47:31,520
Speaker 4: that point. Yes, So it's odd because if you're a

978
00:47:31,520 --> 00:47:34,200
Speaker 4: team player, even though you lose the client, you want

979
00:47:34,239 --> 00:47:38,000
Speaker 4: the agency to keep it. So he's he's already on

980
00:47:38,080 --> 00:47:42,600
Speaker 4: some loaner stuff, you know when he comes in the room.

981
00:47:42,760 --> 00:47:43,360
Speaker 1: Yeah.

982
00:47:43,400 --> 00:47:44,960
Speaker 4: But yeah, so I think it was just sort of

983
00:47:44,960 --> 00:47:47,719
Speaker 4: a pissing match and I'm going, cool, pack your shoes.

984
00:47:47,719 --> 00:47:50,920
Speaker 1: Yeah bye, And then they give the girl, the one,

985
00:47:50,960 --> 00:47:54,080
Speaker 1: the one random girl, his assistant or whoever who gets

986
00:47:54,080 --> 00:47:56,600
Speaker 1: one shot and she's like, sorry, Clay, we've never seen

987
00:47:56,640 --> 00:47:58,680
Speaker 1: her before and we never see her again.

988
00:47:59,680 --> 00:48:02,840
Speaker 4: Or the male agent they're like like like Kevin and

989
00:48:02,880 --> 00:48:05,319
Speaker 4: I go shut up Kevin. Just a shot of him

990
00:48:05,360 --> 00:48:10,040
Speaker 4: going shaking his head. Also, I didn't realize it. I

991
00:48:10,040 --> 00:48:12,840
Speaker 4: think it's an easter egg. Do you realize Dan Scott

992
00:48:13,440 --> 00:48:18,000
Speaker 4: is the creator of Clay's agency's name. Now in that

993
00:48:18,080 --> 00:48:23,600
Speaker 4: scene of the drowning, you talk about fortitude. You're the

994
00:48:23,600 --> 00:48:24,960
Speaker 4: one who says the word fortitude.

995
00:48:25,040 --> 00:48:26,640
Speaker 3: Now I remember, and.

996
00:48:26,600 --> 00:48:29,360
Speaker 4: I thought, oh my gosh, how funny. I never remembered

997
00:48:29,880 --> 00:48:32,520
Speaker 4: that the egg was the seed was planted by Dan.

998
00:48:33,120 --> 00:48:37,279
Speaker 1: Wait a second, I thought Clay worked for Fortitude.

999
00:48:37,600 --> 00:48:40,680
Speaker 4: No, that's the agency I create. Yeah, Clay, Clay starts

1000
00:48:40,760 --> 00:48:41,600
Speaker 4: up Fortitude.

1001
00:48:42,120 --> 00:48:44,520
Speaker 1: You're about to create Fortitude?

1002
00:48:44,640 --> 00:48:45,560
Speaker 4: Yes, correct.

1003
00:48:45,600 --> 00:48:48,400
Speaker 1: Oh that's good. That's juicy.

1004
00:48:48,640 --> 00:48:51,160
Speaker 3: So the drowning full circle on this episode of Drama

1005
00:48:51,239 --> 00:48:55,759
Speaker 3: Queens is that the drowning names and the change did

1006
00:48:55,800 --> 00:48:57,880
Speaker 3: happen and all the things we asked the beginning of

1007
00:48:57,920 --> 00:49:00,319
Speaker 3: this episode were, you know, does it really to you?

1008
00:49:00,360 --> 00:49:03,239
Speaker 3: Did it change yound? It started a whole new company

1009
00:49:03,280 --> 00:49:05,880
Speaker 3: and in the direction and maybe a more commitment to

1010
00:49:05,920 --> 00:49:08,440
Speaker 3: his client's position on that situation.

1011
00:49:08,960 --> 00:49:13,240
Speaker 1: Dan Scott so complicated, such a villain and changing people's

1012
00:49:13,239 --> 00:49:14,440
Speaker 1: lives at the same time.

1013
00:49:15,120 --> 00:49:18,200
Speaker 4: I think what we're saying on a larger scale everyone is,

1014
00:49:18,239 --> 00:49:20,840
Speaker 4: if you are in some sort of rut in your life,

1015
00:49:21,320 --> 00:49:23,920
Speaker 4: have a friend, give you a light drowning, you know,

1016
00:49:24,200 --> 00:49:38,960
Speaker 4: shake things up a bit. It's gonna work out.

1017
00:49:40,920 --> 00:49:43,200
Speaker 1: Broken Victoria, I just want to make sure we touch

1018
00:49:43,239 --> 00:49:47,759
Speaker 1: on them because this storyline of broke not be you know,

1019
00:49:47,800 --> 00:49:50,160
Speaker 1: finding out that she can't have children. Hearing that from

1020
00:49:50,200 --> 00:49:54,320
Speaker 1: the doctor is so heartbreaking. Sophia did such a beautiful

1021
00:49:54,400 --> 00:49:57,239
Speaker 1: job in this scene. She always shows up when there's

1022
00:49:57,440 --> 00:50:00,360
Speaker 1: just especially with the real raw emotion. I mean, she

1023
00:50:00,680 --> 00:50:02,279
Speaker 1: just it broke my heart.

1024
00:50:02,400 --> 00:50:03,359
Speaker 4: She really.

1025
00:50:05,920 --> 00:50:10,120
Speaker 1: That's heartbreaking for that character. And the fact that she

1026
00:50:10,960 --> 00:50:14,560
Speaker 1: had Victoria come into town and Victoria says, you called me,

1027
00:50:14,600 --> 00:50:16,080
Speaker 1: and Brooks says, no, I didn't. She goes well, a

1028
00:50:16,160 --> 00:50:21,920
Speaker 1: midnight call with no message is a call, and Victoria

1029
00:50:22,000 --> 00:50:24,360
Speaker 1: shows up, and we really we start to see the

1030
00:50:24,400 --> 00:50:29,120
Speaker 1: beginnings of Brooke in Victoria as partners instead of two

1031
00:50:29,120 --> 00:50:31,960
Speaker 1: people who just hate each other and have no idea

1032
00:50:32,000 --> 00:50:34,919
Speaker 1: how to function with each other, and it was really

1033
00:50:34,920 --> 00:50:35,719
Speaker 1: exciting to see that.

1034
00:50:35,960 --> 00:50:36,120
Speaker 4: Well.

1035
00:50:36,800 --> 00:50:40,080
Speaker 3: My favorite scene in the episode of Honance with you. Yes,

1036
00:50:40,360 --> 00:50:42,440
Speaker 3: I thought they were both, you know, sublime.

1037
00:50:42,640 --> 00:50:44,680
Speaker 1: You're talking about the Brook and Julian scene when she

1038
00:50:44,880 --> 00:50:46,680
Speaker 1: confesses to him she can't have kids.

1039
00:50:46,760 --> 00:50:49,560
Speaker 4: Yeah, dude, they were so good in that scene. I'm

1040
00:50:49,560 --> 00:50:52,200
Speaker 4: glad that we didn't wrap the episode without talking about that.

1041
00:50:52,200 --> 00:50:55,320
Speaker 4: That scene was so well done. It was so gentle

1042
00:50:55,880 --> 00:51:01,319
Speaker 4: and honest and sweet. I thought they both crushed it.

1043
00:51:03,080 --> 00:51:04,759
Speaker 3: For the show. I don't think we had anybody have

1044
00:51:04,840 --> 00:51:08,279
Speaker 3: that problem for once real until then. Yeah, you need

1045
00:51:08,400 --> 00:51:08,759
Speaker 3: to get that.

1046
00:51:09,480 --> 00:51:12,359
Speaker 1: It felt so real that it seemed to me like

1047
00:51:12,520 --> 00:51:16,439
Speaker 1: it probably got shot very quickly, like they both were

1048
00:51:16,520 --> 00:51:18,520
Speaker 1: so dropped in. I don't I don't know. I don't

1049
00:51:18,560 --> 00:51:20,800
Speaker 1: mean I wasn't there. I don't remember you or no

1050
00:51:20,840 --> 00:51:26,399
Speaker 1: if you remember, but it just seems so simple and

1051
00:51:26,520 --> 00:51:28,279
Speaker 1: clean and.

1052
00:51:28,239 --> 00:51:32,680
Speaker 4: On a lighter note, Victoria at Trick telling Grubs after

1053
00:51:32,719 --> 00:51:35,759
Speaker 4: he correctly predicts her exact drink, I'm looking for a

1054
00:51:35,840 --> 00:51:38,839
Speaker 4: lover and you just made the list was probably the

1055
00:51:38,880 --> 00:51:40,319
Speaker 4: line of the episode for me.

1056
00:51:40,520 --> 00:51:46,200
Speaker 1: So great, so great. Victoria being toasty at closeover bros

1057
00:51:46,239 --> 00:51:48,800
Speaker 1: And leaning on all the clothing racks as she's talking.

1058
00:51:48,840 --> 00:51:51,359
Speaker 1: It was such a great example of acting drunk by

1059
00:51:51,360 --> 00:51:54,719
Speaker 1: acting sober. And then she goes to the bar and

1060
00:51:54,840 --> 00:51:56,960
Speaker 1: I love this barstool wrap up that we did too,

1061
00:51:57,000 --> 00:51:59,000
Speaker 1: by the way, it's just go although characters kind of

1062
00:51:59,040 --> 00:52:01,720
Speaker 1: having their own little moment. But then, yeah, her sitting

1063
00:52:01,719 --> 00:52:06,120
Speaker 1: and talking with Grubbs for one more martini, that's pretty great.

1064
00:52:06,600 --> 00:52:09,640
Speaker 4: Yeah, and her dropping the dime on Alex and Milly

1065
00:52:10,040 --> 00:52:14,959
Speaker 4: drinking and driving and twist Millie's driving setting it all up,

1066
00:52:15,239 --> 00:52:17,839
Speaker 4: and Mouth not not going to jail to pick her up.

1067
00:52:17,840 --> 00:52:19,839
Speaker 4: Good for you, Mouth, good for you.

1068
00:52:20,360 --> 00:52:22,279
Speaker 1: And good for Brooke. Brooke didn't do it either.

1069
00:52:22,640 --> 00:52:26,920
Speaker 4: Yeah, that's right. Yeah, listen, half a million dollars when

1070
00:52:26,960 --> 00:52:28,520
Speaker 4: you've done one job.

1071
00:52:29,120 --> 00:52:32,280
Speaker 1: Come on, you need a new agent.

1072
00:52:32,680 --> 00:52:35,080
Speaker 4: Sounds like you need a new agent and a healthy

1073
00:52:35,120 --> 00:52:40,399
Speaker 4: slice of reality pie. All right. Susanne asks, how has

1074
00:52:40,440 --> 00:52:43,160
Speaker 4: your experience working on this show or in the industry

1075
00:52:43,239 --> 00:52:46,239
Speaker 4: impacted your life outside of work? Has it changed how

1076
00:52:46,239 --> 00:52:49,600
Speaker 4: you approach personal relationships or other aspects of your life?

1077
00:52:50,239 --> 00:52:53,120
Speaker 3: Paul, it's too big of an answers too much. I'll

1078
00:52:53,120 --> 00:52:56,839
Speaker 3: do my best to make a pithy write that down.

1079
00:52:57,080 --> 00:52:58,680
Speaker 4: How about how about One Tree Hill. Let's not say

1080
00:52:58,719 --> 00:53:00,880
Speaker 4: the industry. Let's just say this job working on.

1081
00:53:01,800 --> 00:53:05,960
Speaker 3: I have my second family because of it. I have

1082
00:53:06,040 --> 00:53:09,320
Speaker 3: my lifelong friends because of it. I have this beautiful

1083
00:53:10,400 --> 00:53:12,319
Speaker 3: people I can go to with all those years we

1084
00:53:12,360 --> 00:53:16,160
Speaker 3: spent together, I sometimes wish we had kept together more,

1085
00:53:16,160 --> 00:53:19,239
Speaker 3: but I will. It's that's the greatest gift from it.

1086
00:53:19,480 --> 00:53:21,680
Speaker 3: The fans. I've never had any fans from any of

1087
00:53:21,680 --> 00:53:23,120
Speaker 3: the show I've ever done, and I've been on a

1088
00:53:23,120 --> 00:53:27,480
Speaker 3: few like this. And how does it approach my personal relationships.

1089
00:53:27,920 --> 00:53:32,239
Speaker 3: It's complicated because you know, it's it's part of now.

1090
00:53:32,320 --> 00:53:34,759
Speaker 3: I know this sounds maybe a bit there's a little

1091
00:53:34,840 --> 00:53:38,440
Speaker 3: hubrist in here, but there's if the show had impact

1092
00:53:39,120 --> 00:53:40,759
Speaker 3: more than I ever thought when we were shooting it.

1093
00:53:41,160 --> 00:53:45,040
Speaker 3: Twenty years later, I'm still approached on airplanes and in

1094
00:53:45,080 --> 00:53:47,840
Speaker 3: restaurants and stuff like that, and it's a huge and

1095
00:53:47,880 --> 00:53:49,920
Speaker 3: I go, oh, that's right. I was on a TV

1096
00:53:49,960 --> 00:53:52,600
Speaker 3: show Because you know, I forget why you're coming up

1097
00:53:52,640 --> 00:53:56,160
Speaker 3: to me. And it's sweet. It's very sweet. It's all

1098
00:53:56,280 --> 00:53:58,200
Speaker 3: how you take it. You know, I had one girlfriend

1099
00:53:58,200 --> 00:54:00,560
Speaker 3: one time, a long long time ago. It was really

1100
00:54:00,640 --> 00:54:02,640
Speaker 3: irritated that I was being approached all the time, and

1101
00:54:02,680 --> 00:54:04,400
Speaker 3: I said, what bothers you better when she goes, well,

1102
00:54:04,400 --> 00:54:08,160
Speaker 3: they don't know you, And I said, no, no, they do.

1103
00:54:09,560 --> 00:54:11,400
Speaker 1: To them, they do, and you should.

1104
00:54:11,200 --> 00:54:14,680
Speaker 3: Be your fans. You should be. There're the reason we're here.

1105
00:54:14,880 --> 00:54:17,080
Speaker 3: You know, it's silly.

1106
00:54:17,239 --> 00:54:19,640
Speaker 1: It's a little light answer, but it's no, it's kind

1107
00:54:19,640 --> 00:54:21,040
Speaker 1: of the same one that I was going to have.

1108
00:54:21,280 --> 00:54:23,920
Speaker 1: I don't I mean, is it's a huge there's a

1109
00:54:24,000 --> 00:54:27,120
Speaker 1: huge answer. I think any profession has a massive effect

1110
00:54:27,160 --> 00:54:30,759
Speaker 1: on your personal life. And what's hard can be the

1111
00:54:30,840 --> 00:54:34,239
Speaker 1: hours I mean, I've definitely had. I mean, if we're

1112
00:54:34,239 --> 00:54:36,000
Speaker 1: going to stick with this show, I think it's the

1113
00:54:36,000 --> 00:54:38,440
Speaker 1: same thing that Paul was saying, like, you never quite

1114
00:54:38,480 --> 00:54:41,880
Speaker 1: know when I'm making a new friend, I don't know

1115
00:54:41,920 --> 00:54:45,680
Speaker 1: if they've seen the show or not, and sometimes that

1116
00:54:45,719 --> 00:54:54,440
Speaker 1: can be awkward and sometimes it's not. I don't know.

1117
00:54:55,200 --> 00:54:58,360
Speaker 1: I mean, the industry in general has affected my life

1118
00:54:58,360 --> 00:55:02,440
Speaker 1: in terms of it's mostly just the time that a

1119
00:55:02,440 --> 00:55:04,680
Speaker 1: lot of people don't have our schedule, and I have

1120
00:55:05,520 --> 00:55:08,719
Speaker 1: lost friendships because there are people who just can't They

1121
00:55:08,760 --> 00:55:12,840
Speaker 1: can't understand the time constraint and they can't understand the

1122
00:55:12,920 --> 00:55:16,720
Speaker 1: demand that's put on us and it's like I've called you,

1123
00:55:16,719 --> 00:55:18,640
Speaker 1: you know, where have you been the last four weeks?

1124
00:55:19,160 --> 00:55:22,880
Speaker 1: And I'm like, I'm so sorry. I was filming fourteen

1125
00:55:22,920 --> 00:55:23,520
Speaker 1: hours a day.

1126
00:55:23,560 --> 00:55:26,759
Speaker 3: I just in Bulgaria and a castle in a cool drift.

1127
00:55:27,080 --> 00:55:30,000
Speaker 1: Well yeah, well I usually don't say that. What are

1128
00:55:30,040 --> 00:55:30,800
Speaker 1: your glass slippers?

1129
00:55:30,800 --> 00:55:31,320
Speaker 4: To type?

1130
00:55:31,960 --> 00:55:36,719
Speaker 1: But you know, like you try, but not everyone is

1131
00:55:37,080 --> 00:55:40,120
Speaker 1: cut out for being in relationship for someone who's in

1132
00:55:40,120 --> 00:55:43,280
Speaker 1: this industry too, because it's the circus and you can't

1133
00:55:43,320 --> 00:55:46,239
Speaker 1: be as consistent as what some people need. So you

1134
00:55:46,320 --> 00:55:49,360
Speaker 1: find different ways of connecting with people. And that's okay.

1135
00:55:49,800 --> 00:55:53,239
Speaker 1: But that's been hard, a hard lesson to learn. But

1136
00:55:53,360 --> 00:55:55,760
Speaker 1: I've been given so many gifts and so I've learned

1137
00:55:55,760 --> 00:55:57,840
Speaker 1: so much as an artist and as a human just

1138
00:55:57,880 --> 00:56:01,759
Speaker 1: from it's too big of an answer. I've learned so

1139
00:56:01,920 --> 00:56:04,080
Speaker 1: much and I love it. What about you, Rob?

1140
00:56:04,520 --> 00:56:07,759
Speaker 4: Yeah? Friends, Uh, definitely, Like when we do these you know,

1141
00:56:07,800 --> 00:56:10,480
Speaker 4: like this show and when we do conventions, it's it's

1142
00:56:10,520 --> 00:56:12,480
Speaker 4: fun for me because it's like I really get to

1143
00:56:12,480 --> 00:56:14,520
Speaker 4: see this group of people I like, you know, and

1144
00:56:14,600 --> 00:56:17,560
Speaker 4: we have this incredible shared experience. So I'm very grateful

1145
00:56:17,560 --> 00:56:20,320
Speaker 4: for that. And to be honest, with you. This show

1146
00:56:22,400 --> 00:56:24,479
Speaker 4: helped me get to a place where I finally found

1147
00:56:24,480 --> 00:56:27,960
Speaker 4: my way to therapy. Really yeah, because you know, it's

1148
00:56:28,000 --> 00:56:29,719
Speaker 4: like I came on and it was just weird, right

1149
00:56:29,719 --> 00:56:32,480
Speaker 4: because everyone in the town knew where we knew who

1150
00:56:32,560 --> 00:56:35,280
Speaker 4: we were. So there was a lot of like isolating

1151
00:56:35,280 --> 00:56:37,040
Speaker 4: because I was already kind of going through a tough time.

1152
00:56:37,080 --> 00:56:38,680
Speaker 4: So I would just sort of withdrawing, like all just

1153
00:56:38,719 --> 00:56:42,600
Speaker 4: hang out in my apartment and yeah, like my mental

1154
00:56:42,600 --> 00:56:44,759
Speaker 4: health wasn't great, and I finally it was like I

1155
00:56:44,880 --> 00:56:47,240
Speaker 4: hit a point where I was just like, ah, something

1156
00:56:47,320 --> 00:56:50,120
Speaker 4: has to change, and and so like that was the

1157
00:56:50,120 --> 00:56:52,400
Speaker 4: first time I got introduced to my very first therapist

1158
00:56:52,440 --> 00:56:54,400
Speaker 4: halfway through One Tree Hill or about two thirds of

1159
00:56:54,400 --> 00:56:57,920
Speaker 4: the way through, and that began. It was sort of

1160
00:56:57,960 --> 00:57:00,160
Speaker 4: like the ending of that chapter of my life and

1161
00:57:00,239 --> 00:57:03,600
Speaker 4: the beginning of this journey of like actually figuring out

1162
00:57:03,760 --> 00:57:06,600
Speaker 4: who the hell I am and what I want to

1163
00:57:06,600 --> 00:57:09,960
Speaker 4: do what makes me happy. So I'm incredibly great. Like

1164
00:57:10,200 --> 00:57:11,920
Speaker 4: I've said on this show, it's like it was a

1165
00:57:11,960 --> 00:57:15,839
Speaker 4: tough experience for me personally, but I'm immensely grateful for it.

1166
00:57:16,040 --> 00:57:18,680
Speaker 1: You touch on something really interesting that I think a

1167
00:57:18,680 --> 00:57:22,080
Speaker 1: lot of people who don't know anything about the entertainment industry.

1168
00:57:22,880 --> 00:57:26,640
Speaker 1: They look at lives of actors who are working and

1169
00:57:26,680 --> 00:57:29,760
Speaker 1: they think, oh, it's so glamorous. Yeah they work hard,

1170
00:57:29,800 --> 00:57:31,640
Speaker 1: blah blah blah. But look at all they get to

1171
00:57:31,640 --> 00:57:33,200
Speaker 1: go to all the parties and they get to you know,

1172
00:57:33,280 --> 00:57:37,640
Speaker 1: get where of reservations, wherever they want. But the isolation

1173
00:57:38,480 --> 00:57:44,680
Speaker 1: is so real because, especially depending on your level of success,

1174
00:57:45,680 --> 00:57:48,320
Speaker 1: not knowing who you can trust, not knowing if someone's

1175
00:57:48,360 --> 00:57:50,760
Speaker 1: talking to you because and being nice to you because

1176
00:57:50,760 --> 00:57:55,520
Speaker 1: they're a nice person and you're having a genuine, lovely interaction,

1177
00:57:55,640 --> 00:57:58,520
Speaker 1: or if somebody's just blowing smoke up your ass because

1178
00:57:58,720 --> 00:58:03,600
Speaker 1: you're a celebrity. There's also just having people know things

1179
00:58:03,600 --> 00:58:05,560
Speaker 1: about your life. You know, you're you're trying to be

1180
00:58:05,600 --> 00:58:08,080
Speaker 1: a private person, just have your own life, and people

1181
00:58:08,120 --> 00:58:11,280
Speaker 1: following you around and gossiping about you. It's a small town,

1182
00:58:11,400 --> 00:58:14,080
Speaker 1: so you say something, you look at somebody sideways, you're

1183
00:58:14,080 --> 00:58:16,480
Speaker 1: having a bad day. Boy does that get spread around?

1184
00:58:17,760 --> 00:58:21,160
Speaker 1: And that's really hard. It just makes you want to

1185
00:58:21,200 --> 00:58:23,720
Speaker 1: go into a shell and like, everybody, just leave me alone.

1186
00:58:23,720 --> 00:58:25,600
Speaker 1: I just want to hide. And then you get isolated,

1187
00:58:25,640 --> 00:58:26,960
Speaker 1: and then you don't have anybody to talk to.

1188
00:58:28,000 --> 00:58:31,320
Speaker 3: It's hard get about sharing an opinion about anything important.

1189
00:58:31,600 --> 00:58:33,520
Speaker 4: Yeah, and it's one thing like if you're shooting in

1190
00:58:33,520 --> 00:58:35,480
Speaker 4: New York, no one in New York cares. They see

1191
00:58:35,520 --> 00:58:37,920
Speaker 4: bigger and better all the time on the sidewalk. But

1192
00:58:38,000 --> 00:58:42,880
Speaker 4: in Wilmington, literally every single person knew who we were

1193
00:58:43,720 --> 00:58:46,320
Speaker 4: and what that did. Is because I'm like Paul, if

1194
00:58:46,360 --> 00:58:48,360
Speaker 4: someone wants to say, like coach to me and say hey,

1195
00:58:48,520 --> 00:58:50,040
Speaker 4: I love this thing you did, like I want to

1196
00:58:50,040 --> 00:58:53,160
Speaker 4: take a moment to hear that, validate it, tell them

1197
00:58:53,200 --> 00:58:57,040
Speaker 4: thank you, maybe snap a picture like one moment, right.

1198
00:58:57,280 --> 00:59:00,720
Speaker 4: But the problem is when you're and you're having a

1199
00:59:00,720 --> 00:59:03,480
Speaker 4: hard day, when you're a court low and you just

1200
00:59:03,520 --> 00:59:06,200
Speaker 4: don't have it in you to do that. And you know,

1201
00:59:06,240 --> 00:59:09,520
Speaker 4: when you leave your door, that's all you're going to get,

1202
00:59:09,800 --> 00:59:12,560
Speaker 4: you know, going for coffee, sitting down for breakfast. It's

1203
00:59:12,720 --> 00:59:15,200
Speaker 4: just easier to go I'm just going to stay. I'm

1204
00:59:15,200 --> 00:59:17,360
Speaker 4: just going to stay here by myself in all order something,

1205
00:59:17,880 --> 00:59:19,200
Speaker 4: you know. So like there was just like I said,

1206
00:59:19,200 --> 00:59:21,600
Speaker 4: I just isolated a lot. But yeah, but like it

1207
00:59:21,640 --> 00:59:23,680
Speaker 4: was also the beginning of me going like oh cool,

1208
00:59:24,320 --> 00:59:26,800
Speaker 4: I think I know who I am, but let's find out.

1209
00:59:27,000 --> 00:59:28,720
Speaker 3: Tell us about your book tour real quick.

1210
00:59:29,120 --> 00:59:29,200
Speaker 4: Me.

1211
00:59:29,400 --> 00:59:31,960
Speaker 1: Oh yeah, I'm going out a book t You're so sweet, Paul. Yeah,

1212
00:59:32,000 --> 00:59:34,440
Speaker 1: my book tour for my memoir Dinner for Vampires is

1213
00:59:34,440 --> 00:59:38,480
Speaker 1: coming out. We are on a book tour on October,

1214
00:59:40,000 --> 00:59:44,200
Speaker 1: the week that it goes out, October twenty first. It's great, Yeah,

1215
00:59:44,200 --> 00:59:47,400
Speaker 1: I mean, it's really the story is really about my

1216
00:59:47,400 --> 00:59:49,200
Speaker 1: own mess. I mean, One Tree Hill is this setting.

1217
00:59:49,200 --> 00:59:54,440
Speaker 1: It's a backdrop, but the story is about my own

1218
00:59:56,560 --> 00:59:59,760
Speaker 1: huge mistakes that I made in my own life. But

1219
01:00:00,320 --> 01:00:02,600
Speaker 1: hopefully it'll it'll make people feel like they're not so

1220
01:00:02,720 --> 01:00:03,840
Speaker 1: alone and isolated.

1221
01:00:04,040 --> 01:00:04,560
Speaker 3: Yeah.

1222
01:00:04,800 --> 01:00:07,040
Speaker 4: Yeah, to use that book about twenty years ago.

1223
01:00:07,120 --> 01:00:08,440
Speaker 3: Joy, yeh, wait to read it?

1224
01:00:08,880 --> 01:00:09,280
Speaker 1: Thank you?

1225
01:00:09,800 --> 01:00:12,480
Speaker 4: All right, everybody, let's spin a wheel.

1226
01:00:14,400 --> 01:00:14,680
Speaker 1: Paul.

1227
01:00:14,800 --> 01:00:17,360
Speaker 4: When it lands, would you mind telling the listeners what

1228
01:00:17,480 --> 01:00:22,160
Speaker 4: it is? Oh? Perfect, read it?

1229
01:00:22,200 --> 01:00:29,440
Speaker 3: Paul the winner of the spinny wheel most likely to

1230
01:00:29,560 --> 01:00:30,160
Speaker 3: sleep walk.

1231
01:00:30,400 --> 01:00:32,400
Speaker 4: I'm just going to jump right in and say, Clay,

1232
01:00:33,080 --> 01:00:35,640
Speaker 4: and for those who know you know, I agree.

1233
01:00:35,880 --> 01:00:40,800
Speaker 1: I agree. Oh yeah, Clay for sure. And Paul, I

1234
01:00:40,840 --> 01:00:43,880
Speaker 1: feel like you do you sleepwalk? You seem like a sleepwalker.

1235
01:00:46,240 --> 01:00:48,360
Speaker 3: I have, but I'm a sleep talker.

1236
01:00:48,960 --> 01:00:50,480
Speaker 1: Ooh, that's juicy.

1237
01:00:50,960 --> 01:00:54,360
Speaker 3: Yeah, so it's yeah, it's I'm sure it's revealed.

1238
01:00:54,360 --> 01:00:57,680
Speaker 1: All have fun for your girlfriends.

1239
01:00:59,480 --> 01:01:01,680
Speaker 4: Paul, Joe Anson, never not talking.

1240
01:01:03,720 --> 01:01:09,080
Speaker 3: That's that's my novel coming out free order. All right.

1241
01:01:09,160 --> 01:01:13,120
Speaker 4: Next week we have season seven, episode eleven, seven eleven.

1242
01:01:13,800 --> 01:01:17,120
Speaker 4: You know I love you, don't you do too? Paul?

1243
01:01:17,440 --> 01:01:21,040
Speaker 4: You are lovely an utter delight as per usual, my friend.

1244
01:01:22,360 --> 01:01:23,600
Speaker 3: Thank you for inviting me.

1245
01:01:24,480 --> 01:01:27,200
Speaker 1: Thank you, love you. It's great to see you. We'll

1246
01:01:27,240 --> 01:01:29,200
Speaker 1: talk to you soon, all right.

1247
01:01:29,160 --> 01:01:31,720
Speaker 4: See you, buddy. Hi everybody, So everybody have a great week.

1248
01:01:32,240 --> 01:01:34,880
Speaker 1: Hey, thanks for listening. Don't forget to leave us a review.

1249
01:01:35,160 --> 01:01:38,240
Speaker 1: You can also follow us on Instagram at Drama Queen's

1250
01:01:38,360 --> 01:01:41,800
Speaker 1: o t h or email us at Drama Queens at

1251
01:01:41,840 --> 01:01:47,320
Speaker 1: iHeartRadio dot com. See you next time. We all about

1252
01:01:47,360 --> 01:01:50,160
Speaker 1: that high school drama. Girl Drama, Girl, all about them

1253
01:01:50,240 --> 01:01:53,440
Speaker 1: high school Queens. We'll take you for a ride at

1254
01:01:53,440 --> 01:01:57,000
Speaker 1: our comic girl Sharing for the right team Drama Queens

1255
01:01:58,480 --> 01:01:59,400
Speaker 1: Up Girl Fashion.

1256
01:01:59,440 --> 01:01:59,960
Speaker 4: What you'll tell me?

1257
01:02:00,160 --> 01:02:02,720
Speaker 1: Girl? You could sit with us Girl Drama Queens, Drama,

1258
01:02:02,800 --> 01:02:06,480
Speaker 1: Queens Drama, Queens Drama drah MC Queens Drama Queens