WEBVTT - Don't Sit on Any Cold Benches (S1 E7, "Kiss and Tell") 0:00:00.760 --> 0:00:18.000 I am all in. Oh, I am all in with 0:00:18.120 --> 0:00:23.440 Scott Patterson and I Heart Radio podcast. Hey everybody, Uh, 0:00:23.480 --> 0:00:26.880 this is Scott Patterson. I am all in podcast, I 0:00:26.920 --> 0:00:32.320 Heart Radio and uh we are gonna talk about Kiss 0:00:32.320 --> 0:00:34.640 and Tell, episode seven, season one, and we have a 0:00:34.760 --> 0:00:39.440 very very very very special guest and and a good 0:00:39.479 --> 0:00:45.959 personal friend of mine, Mr George Bell. George Bell was 0:00:46.320 --> 0:00:51.360 the dialogue coach uh on Gilmour Girls. What what season 0:00:51.400 --> 0:00:53.280 three through seven through the end of the run. You 0:00:53.320 --> 0:00:57.920 came in like the first part of season three, um, 0:00:57.960 --> 0:01:02.960 and Mike Odd he saved the show. George literally saved 0:01:04.360 --> 0:01:07.240 when you know, I mean we were we were kind 0:01:07.240 --> 0:01:12.400 of kind of struggling along with all the dialogue, um 0:01:12.760 --> 0:01:14.680 until you showed up. And then when you showed up, 0:01:14.680 --> 0:01:17.920 it just, you know, the days became shorter, the scenes 0:01:17.959 --> 0:01:20.119 became better, it all, you know, it all, it all 0:01:20.160 --> 0:01:22.119 got easier when you were there because you were helping 0:01:22.160 --> 0:01:25.960 us out so much. So, so let me, uh, let 0:01:26.000 --> 0:01:29.640 me tell everybody who the heck you are. And you've 0:01:29.680 --> 0:01:33.720 got quite an impressive resume, young man, So let me 0:01:33.720 --> 0:01:36.560 put on the specs here. So, so, you played dual 0:01:36.680 --> 0:01:39.520 roles in in Gilmore Girls. It was first as dialogues 0:01:39.720 --> 0:01:43.759 set dialogue coach, and you also appeared as Professor Bell 0:01:45.680 --> 0:01:49.200 Fantastic and you were in A seven episodes from two 0:01:49.240 --> 0:01:51.400 thousand three two thousand seven. First time we saw it 0:01:51.440 --> 0:01:55.559 was season four, uh, episode six and Affair to Remember 0:01:55.560 --> 0:01:57.760 in the last time we saw you as Professor Bell 0:01:57.880 --> 0:02:01.680 was season seven, episode twenty. Laurel, Laurel I, Laurel I 0:02:01.800 --> 0:02:06.240 question mark question anyway? Um, George, what is a dialogue coach? 0:02:06.680 --> 0:02:08.799 What is it? What? What do you do? What is 0:02:08.840 --> 0:02:13.200 it specifically that you do well? Dialogue coach not to 0:02:13.280 --> 0:02:18.120 be confused with dialect coach. Uh. Dialogue coaches the keeper 0:02:18.200 --> 0:02:22.480 of the word so so to speak, and that uh 0:02:22.760 --> 0:02:29.160 when uh, the exactly producer they want the dialogue pretty 0:02:29.240 --> 0:02:32.640 much word for word. Uh, then I'm there to work 0:02:32.680 --> 0:02:35.840 with the actors to make sure they get it word 0:02:35.880 --> 0:02:40.040 for word. Um, dialect coach or people like if you 0:02:40.080 --> 0:02:43.200 talk with the British accent and Jamaican accent, so it's 0:02:43.240 --> 0:02:47.680 an accent for dialect, but for me it's dialogue. I 0:02:47.720 --> 0:02:52.600 don't give acting notes unless the actor would requested it 0:02:52.639 --> 0:02:55.800 from me. I'm just there to be, you know, the 0:02:55.840 --> 0:02:58.320 person to read their lines with them. And drill it 0:02:58.360 --> 0:03:02.280 in their head. And then and after each take, I'll 0:03:02.480 --> 0:03:04.840 go up to them with my little trustee notebook that 0:03:04.919 --> 0:03:10.200 show them UH if they've got something wrong. And generally 0:03:10.200 --> 0:03:13.280 with my my own method is UH. I try to 0:03:13.320 --> 0:03:16.360 write what the actors said incorrectly, because quite often as 0:03:16.400 --> 0:03:20.400 an actor, you think you're saying the line correctly, but 0:03:20.480 --> 0:03:23.400 then you're really not. So when the first things you 0:03:23.440 --> 0:03:25.280 show them something they did wrong, they said, what did 0:03:25.320 --> 0:03:27.520 I say? So if you can show them what they 0:03:27.560 --> 0:03:31.280 said incorrectly, then more often than not they can make 0:03:31.280 --> 0:03:35.160 the adjustment. Some actors, I don't tell them what they 0:03:35.160 --> 0:03:38.600 said incorrectly because they only would confuse them more. But 0:03:38.680 --> 0:03:41.960 other actors would like to know what they make that adjustment. 0:03:42.040 --> 0:03:44.880 So I know how each actor worked on the show, 0:03:45.120 --> 0:03:47.640 what their method us and UH, and I would work 0:03:47.680 --> 0:03:51.640 with them under that framework. Oh yeah, really interesting. So 0:03:51.640 --> 0:03:54.480 so I you would approach me differently than you'd approach 0:03:54.560 --> 0:03:58.360 Lauren than you'd approach Unique or so what were the differences? 0:03:58.480 --> 0:04:00.400 What were the differences? What was I like to to 0:04:00.480 --> 0:04:04.080 work with on set? And how did you approach You 0:04:04.200 --> 0:04:07.120 really love to run the lines over and over it 0:04:07.400 --> 0:04:11.360 and get it drilled in your head, uh, which was great. 0:04:12.000 --> 0:04:16.039 Um and um. And also you know, because I would 0:04:16.040 --> 0:04:18.520 come to your trailer, which was nice and quite offer, 0:04:18.600 --> 0:04:25.880 you would treat me with sushi, right right right. So, 0:04:25.960 --> 0:04:27.960 but but now we would we would work the scene 0:04:27.960 --> 0:04:31.400 and work the scene. You know. Sometimes it took ten times, 0:04:31.440 --> 0:04:34.280 fifteen times whatever it took for you to feel comfortable, 0:04:34.800 --> 0:04:39.760 and then you were there. Um. Uh. Lauren, she liked to, 0:04:40.160 --> 0:04:42.480 uh just do the maybe a couple of times and 0:04:42.839 --> 0:04:47.880 really at rapid speed. And also maybe just the que 0:04:48.040 --> 0:04:50.720 line sometimes like maybe a line or two, just to 0:04:50.760 --> 0:04:55.640 give it the cube. And so we would do that. Um. 0:04:55.720 --> 0:05:00.880 Alexis was to come the same, We would just do 0:05:00.920 --> 0:05:04.160 it quickly and uh. And also Lauren and alex Is 0:05:04.200 --> 0:05:07.120 what they would do they would write down their dialogue 0:05:07.160 --> 0:05:09.880 on the back of their sides because they said that 0:05:09.880 --> 0:05:13.240 that would help them memorize the line by writing down 0:05:13.920 --> 0:05:18.159 their lines, which I actually incorporate that as an actor now. Uh, 0:05:18.200 --> 0:05:20.200 and it's true it sometimes helps you when you write 0:05:20.200 --> 0:05:24.280 it down, it kind of somehow settles in the brain. Um. 0:05:24.360 --> 0:05:29.520 And then uh, Kelly, because she's some theater she I mean, 0:05:29.880 --> 0:05:32.279 she'd like to run the lines. So most people what 0:05:32.320 --> 0:05:35.400 we're like you, they'd like to run the lines. Uh, 0:05:35.440 --> 0:05:38.240 but I think you were the most diligent and wanting 0:05:38.279 --> 0:05:40.919 to uh you know, to run the lines and really 0:05:40.920 --> 0:05:42.680 get it locked in so that you you know that 0:05:42.760 --> 0:05:46.400 you were ready. Um. So yeah, for me, it was 0:05:46.440 --> 0:05:50.040 about the comedic timing. It's if you don't have the 0:05:50.080 --> 0:05:54.520 lines cold, you can't really focus on the timing. Right. 0:05:54.680 --> 0:05:57.320 The last thing I wanted to do was screw up 0:05:57.400 --> 0:06:00.280 Lauren on the timing things because she had so many 0:06:00.279 --> 0:06:02.120 of those great lines and I didn't want to get 0:06:02.120 --> 0:06:04.880 in the way of that. And you can really, you know, 0:06:05.000 --> 0:06:07.359 kill a scene if your timing isn't there, you know, 0:06:07.680 --> 0:06:09.400 if you don't know the lines. And that's that's the 0:06:09.440 --> 0:06:12.000 first thing. I mean, you gotta that's the first rule theater. 0:06:12.080 --> 0:06:16.120 You you come in walking, I mean, sorry, you cat, 0:06:16.160 --> 0:06:19.280 you walk in talking, You have you have to come 0:06:19.320 --> 0:06:22.040 in walking. You maybe sometimes you walk in crawling or 0:06:22.080 --> 0:06:25.120 I have no idea, but you've got to You've got 0:06:25.120 --> 0:06:28.960 to know your lines. Um. Yeah, So what about on 0:06:28.960 --> 0:06:32.640 this set? What was the experience, Like, we're different actors 0:06:33.240 --> 0:06:35.760 that you approached on set to correct their dialogue where 0:06:35.800 --> 0:06:38.960 they you know, it can get a little testy sometimes 0:06:39.040 --> 0:06:42.400 because people that are they're very tired. They've been there 0:06:42.440 --> 0:06:46.480 for sixteen hours and they blow. They do a brilliant 0:06:46.520 --> 0:06:49.719 monologue or a brilliant scene and one word is off 0:06:50.839 --> 0:06:53.280 and you have to go up until the with the 0:06:53.360 --> 0:06:59.680 bad news and lamp. You had a tough job. Man 0:07:00.040 --> 0:07:01.159 knew you had to go up and you had to 0:07:01.160 --> 0:07:03.919 tell the director you know, look, we got to do 0:07:03.960 --> 0:07:06.440 it again because they didn't get that one word right. 0:07:06.480 --> 0:07:08.240 And then you have to go up to whoever it was, 0:07:08.279 --> 0:07:10.640 you know, me or whoever said listen, you know, you 0:07:10.720 --> 0:07:13.840 got that word wrong, and you're just like, oh no, no, 0:07:13.920 --> 0:07:17.680 we can't write that take on right. So what was 0:07:17.680 --> 0:07:21.320 that experience like for you? Well, that's also in part 0:07:21.400 --> 0:07:24.560 the reason why I would write down what the actors 0:07:24.640 --> 0:07:27.880 said if I could, because sometimes if it was so tiny, 0:07:28.360 --> 0:07:31.040 I could lobby in there on their behalfs and look 0:07:31.360 --> 0:07:34.560 they just said this instead of that, you know, I mean, uh, 0:07:34.760 --> 0:07:40.360 you know close enough, you know. Especially it was helpful 0:07:40.520 --> 0:07:44.040 if amy and then we're directing, because you know they 0:07:44.040 --> 0:07:47.120 would the final say so with them, you know, they 0:07:47.360 --> 0:07:50.080 they would give you, guys a little bit more leagal 0:07:50.120 --> 0:07:54.480 we actually than some of the other guest directors. Uh so, 0:07:55.120 --> 0:07:58.000 but yeah, I know. But I think for all of 0:07:58.080 --> 0:08:00.880 the regulars on the show, they kind of knew the 0:08:01.000 --> 0:08:05.040 routine and so and so with one even though I 0:08:05.080 --> 0:08:07.840 was coming up there to give them the correction. You know, 0:08:08.040 --> 0:08:10.480 for the most part, everyone took it and stride and 0:08:10.720 --> 0:08:14.800 they understood. Uh. But sometimes the guests actors that would 0:08:14.840 --> 0:08:18.800 kind of crash and burn, and you know, I would 0:08:18.800 --> 0:08:22.680 want to crucify me because you know, they're like, what 0:08:22.720 --> 0:08:27.520 the hell. You know. I was like, sorry, don't, don't, 0:08:27.520 --> 0:08:30.840 don't shoot the messenger. Right, you remember that guy, that 0:08:31.120 --> 0:08:34.679 nice guy. He was a little bit older and uh, 0:08:35.600 --> 0:08:38.920 you know, he was an experienced Broadway theater actor, and 0:08:39.520 --> 0:08:43.400 he just got this deer in the headlights thing going 0:08:43.440 --> 0:08:45.439 on about. And he looked at me and he goes, 0:08:45.480 --> 0:08:47.520 do we really have to go this fast? He goes, 0:08:47.600 --> 0:08:53.640 I said, yeah, we do. Unfortunately, he was like, I 0:08:53.640 --> 0:08:55.400 don't know if I can do this. They said, you 0:08:55.440 --> 0:08:57.480 can do this. If I can do this, you can 0:08:57.520 --> 0:09:01.199 do this. Um you know, you're they were The guest 0:09:01.200 --> 0:09:05.560 actors would get shocked. Um. Yeah, they wouldn't realize what 0:09:05.600 --> 0:09:07.840 they were walking into the speed of it, you know, 0:09:08.160 --> 0:09:11.400 not not at all I think how I got Professor Bell, 0:09:11.840 --> 0:09:14.280 uh said, many of the people who are playing the 0:09:14.360 --> 0:09:20.880 teachers crashed and burned. And there was there was one time, uh, 0:09:21.360 --> 0:09:25.760 this lady who was a teacher, Jamie Babbitt, was directing 0:09:26.200 --> 0:09:28.840 that that episode, I remember. And so when I was 0:09:28.880 --> 0:09:31.240 in the hallway with her running the lines and everything 0:09:31.320 --> 0:09:34.440 like that, and you know, and she kind of had it, 0:09:34.520 --> 0:09:37.120 but but I could I kind of see that look 0:09:37.200 --> 0:09:41.160 coming over them, like, oh oh danger, will Warminson Dungeon, 0:09:41.360 --> 0:09:44.800 and and she just quiet and said, I want to 0:09:44.840 --> 0:09:49.960 go home. And I said, why, I can't do this. 0:09:50.040 --> 0:09:53.480 I want to go home. I said no, no, no, no, 0:09:53.520 --> 0:09:56.280 you could know. No, I need to go home now. 0:09:57.320 --> 0:09:58.880 And so I said, oh, no, no, You'll be fine. 0:09:59.400 --> 0:10:02.280 And so we ended up having to write cue cards 0:10:02.920 --> 0:10:05.240 in the back of the classroom so she could read 0:10:05.320 --> 0:10:08.679 the lines because she just had so pigned herself out 0:10:09.040 --> 0:10:11.600 and couldn't take the stress of it all that we 0:10:11.640 --> 0:10:14.040 had to write it on two cards and and that 0:10:14.160 --> 0:10:19.120 was the only way she got through it. Uh. And then, UM, 0:10:19.160 --> 0:10:20.400 I don't know if it was the actor that you 0:10:20.440 --> 0:10:22.959 were talking about. It was in the little movie theater. 0:10:23.800 --> 0:10:27.000 It was a couple and an older guy, and he 0:10:27.360 --> 0:10:31.520 just I had to literally, especially for his coverage, just 0:10:31.600 --> 0:10:34.320 speed him every line. I would say the line, and 0:10:34.360 --> 0:10:36.360 then he would say the line. Then I would say 0:10:36.400 --> 0:10:38.360 the next line, and then he would say that was 0:10:38.400 --> 0:10:39.840 the only way he was going to get to it. 0:10:39.880 --> 0:10:42.880 It just he had just that was it, you know. 0:10:43.280 --> 0:10:47.800 And so so we we had those moments, Oh George, 0:10:48.000 --> 0:10:50.880 it was you know, you fore, it's been so long 0:10:50.920 --> 0:10:53.400 and you forget what a pressure cooker the series was. 0:10:53.440 --> 0:10:57.560 I mean, the reboot was a lot more relaxed. Yeah, 0:10:57.920 --> 0:11:01.400 we had more time to prep uh the scenes and 0:11:01.440 --> 0:11:03.520 all that kind of stuff. But and they weren't as 0:11:03.559 --> 0:11:08.640 strict about the dialogue because it was just uh Dan 0:11:08.800 --> 0:11:12.480 and Amy directing, so they were okay. So that's why 0:11:12.720 --> 0:11:14.480 I tried to write it down so they could see. 0:11:14.720 --> 0:11:17.679 And it's like and rarely did we have to go 0:11:17.760 --> 0:11:19.960 back and do it because of the dialogue. It was 0:11:20.160 --> 0:11:22.600 unless it was just really you know, like a whole 0:11:22.679 --> 0:11:25.720 line was omitted or something or you know, and so 0:11:25.960 --> 0:11:28.760 and I also I had to I wrote down what take, 0:11:29.400 --> 0:11:32.400 what was said on what take? So on tape three, 0:11:32.480 --> 0:11:35.400 they missed this word or that sentence. On tape four 0:11:36.160 --> 0:11:38.480 that was a better one. But but they missed this, 0:11:38.559 --> 0:11:40.560 but they got that one right on take so they 0:11:40.640 --> 0:11:43.200 knew which one. So so that she said, so we 0:11:43.240 --> 0:11:45.679 have it, I said, well, and take maybe two and 0:11:45.679 --> 0:11:49.680 six you have it, you know. And so so it's 0:11:49.720 --> 0:11:52.240 really interesting. So I want to take us back a 0:11:52.240 --> 0:11:54.200 little bit. How did you get the job as a 0:11:54.240 --> 0:11:59.200 dialect coach on the show? Carla mccloski, who is a 0:11:59.320 --> 0:12:03.680 very very dear friend. I actually I sang in their wedding. 0:12:04.440 --> 0:12:07.400 Her husband and I went to college together. We were 0:12:07.760 --> 0:12:11.120 theater majors. Okay, so let's tell Let's tell the audience 0:12:11.120 --> 0:12:14.360 who Carla. Carla is, what what was her role over there? 0:12:15.559 --> 0:12:20.360 Carlo was the first a d assistant director on the series, 0:12:20.760 --> 0:12:25.439 and she's like the main person, uh you know, I mean, 0:12:25.600 --> 0:12:29.040 they they're like the heartbeat of the show. And so 0:12:29.679 --> 0:12:32.400 I guess when the decision was made in the third 0:12:32.400 --> 0:12:35.760 season to bring in a dialogue coach, in part, it 0:12:35.800 --> 0:12:39.280 was because they were going through script supervisors, like it 0:12:39.400 --> 0:12:43.040 was like a revolving door, you know. And finally I 0:12:43.080 --> 0:12:45.240 think they realized, well, you know what, maybe it's too 0:12:45.360 --> 0:12:48.679 much to expect the script supervisor to do all what 0:12:48.720 --> 0:12:52.679 they do and then to be on top of the dialogue. Uh. 0:12:52.800 --> 0:12:55.280 So they said, let's bring in let's bring in a 0:12:55.360 --> 0:12:59.080 dialogue coach, and Carla said, I have just the person. 0:12:59.840 --> 0:13:04.640 And so uh. But I interviewed with several of the 0:13:04.679 --> 0:13:06.600 people and I think they got it down before people. 0:13:07.360 --> 0:13:12.120 And then the four of us interviewed with Lauren really 0:13:12.320 --> 0:13:17.160 and yeah, yeah, so we interviewed with Lauren, and in 0:13:17.160 --> 0:13:20.160 in the interview with Lauren and she said, now your 0:13:20.200 --> 0:13:22.720 friends with Carla, right, I said, yeah, yeah, that's a 0:13:22.840 --> 0:13:24.640 very close friend. So I think that was my ace 0:13:24.679 --> 0:13:29.400 in the whole and so uh and I was selected. 0:13:29.440 --> 0:13:33.080 So that's how UM and I. Then I also interviewed 0:13:33.120 --> 0:13:38.480 first with my first interviewed with UM Patricia Palmer and 0:13:38.600 --> 0:13:45.560 Amy so Falmer was producer, one of the supervising producers 0:13:45.720 --> 0:13:49.600 or one of the main producers of the show, right right, 0:13:49.800 --> 0:13:52.680 So so my first interview was with them, and then 0:13:52.760 --> 0:13:54.600 I think they whittled it down to four of us 0:13:54.679 --> 0:13:58.000 who met with Lauren and then Lauren had the final 0:13:58.520 --> 0:14:02.480 say as to who you wanted, and so she selected me. 0:14:04.040 --> 0:14:07.840 I brought on board and I remember my first day, 0:14:08.120 --> 0:14:11.160 you said, I can't believe they did. They actually brought 0:14:11.160 --> 0:14:12.960 that they sprung some money and brought in a tile 0:14:13.040 --> 0:14:18.080 up book. I can't believe. You were really happy, you know, 0:14:18.280 --> 0:14:23.920 but you couldn't believe it. Yeah, I don't know. I 0:14:23.960 --> 0:14:26.960 think I think Brown season three they were starting to 0:14:27.000 --> 0:14:29.600 cut the budget on craft service. So the craft service 0:14:29.680 --> 0:14:33.120 wasn't as you know, I mean, it was nice, it 0:14:33.160 --> 0:14:36.800 was always nice, right, it's uh, but the craft services 0:14:36.800 --> 0:14:38.880 where you know, all the food is the snacks and 0:14:38.920 --> 0:14:42.440 the fruits and the veggies and right the water and 0:14:42.480 --> 0:14:45.880 the soda and all that stuff, but it was, um, yeah, 0:14:45.960 --> 0:14:48.240 well there they there was. There was always sort of 0:14:48.240 --> 0:14:52.200 a budgetary constraints to consider, and that's perfectly understandable. Those 0:14:52.240 --> 0:14:55.240 shows are very very expensive to produce, so I mean, 0:14:55.240 --> 0:14:58.120 if you're doing multiple shows over there, you know you're 0:14:58.160 --> 0:15:01.240 gonna you're gonna try to trying to keep it in 0:15:01.280 --> 0:15:06.720 accounting wise, but perfectly understandable. But anyway, um, that's so interesting. 0:15:07.000 --> 0:15:11.880 So so yeah, and then tell us about when they 0:15:11.880 --> 0:15:16.920 were going to let you go. Well, I think I 0:15:17.000 --> 0:15:20.040 quit four times. Really it was about four times. It 0:15:20.120 --> 0:15:24.520 was about four times, didn't Yeah, yeah, because I do 0:15:24.600 --> 0:15:28.920 remember one time you were just when you heard that fact, 0:15:28.920 --> 0:15:31.760 who was it was it Dan Church, the sound card 0:15:31.840 --> 0:15:35.760 or someone. Usually when you if you were um out 0:15:35.800 --> 0:15:38.120 for a few days, you know, they uh, and then 0:15:38.160 --> 0:15:41.160 you come then you come up to the sound truck 0:15:41.240 --> 0:15:43.760 or something and I think you said, okay, so who 0:15:43.760 --> 0:15:47.560 got fired today? Got fired this time? And they said, 0:15:47.640 --> 0:15:50.200 well George quit and he said and you said, what 0:15:50.440 --> 0:15:52.240 oh no, no, no, no, no, no, this can't happen. 0:15:52.400 --> 0:15:55.000 And you went to particial. You can't know. This cannot happen. 0:15:55.160 --> 0:15:57.440 You can't this cannot know. We cannot lose him. We 0:15:57.480 --> 0:16:00.120 cannot lose him. You know, we're not gonna let so 0:16:01.040 --> 0:16:03.880 And it didn't happen. You were the mean, there's no 0:16:03.960 --> 0:16:06.440 way we could have done that were kind of work 0:16:06.600 --> 0:16:11.040 at that level. Um without you, there's just no way. 0:16:11.880 --> 0:16:13.920 I mean, it's not like I was going. We weren't 0:16:13.920 --> 0:16:18.040 going in each other's trailers running lines. Everybody's too busy. 0:16:18.280 --> 0:16:20.800 Everyone was busy doing their own other things, and so 0:16:20.800 --> 0:16:23.280 so I was resting around, you know, and I worked 0:16:23.280 --> 0:16:26.200 with everybody. If you had one line h as a 0:16:26.240 --> 0:16:29.600 guest actor, Uh, if I had the time, I would 0:16:29.600 --> 0:16:32.200 go there and just you know, give you that attention, 0:16:32.280 --> 0:16:35.280 just to make sure because quite often, especially with the 0:16:35.360 --> 0:16:39.160 guest actors the first ad relied on me to see 0:16:39.360 --> 0:16:42.520 if they were how they were doing. And I remember 0:16:42.560 --> 0:16:44.640 this one guy who was a minister and it was 0:16:44.680 --> 0:16:50.000 in the dinner scene at the Gilmore House. And when 0:16:50.040 --> 0:16:52.880 I ran lines with them, he just it just they 0:16:52.920 --> 0:16:57.760 weren't sticking. And and so as I'm running the lines, uh, 0:16:58.040 --> 0:17:02.560 where he's not looking at me? And Sean Kavan, who 0:17:02.600 --> 0:17:05.760 was the other first a d uh was looking at me, 0:17:06.040 --> 0:17:09.000 you know, to see how things are going. And I 0:17:09.080 --> 0:17:15.040 would I did did this so and it was like 0:17:15.640 --> 0:17:18.080 so then everyone kind of knew what was going on, 0:17:18.359 --> 0:17:20.919 you know. Uh I said that, no, it's not you know. 0:17:21.040 --> 0:17:23.520 I would go to the director and saying and and 0:17:23.520 --> 0:17:25.919 and and and uh you know. And I mean I 0:17:26.080 --> 0:17:29.399 was the ladys on between the actor and the video 0:17:29.560 --> 0:17:33.520 village where the director and all the technical people would be. 0:17:33.920 --> 0:17:37.000 And especially for the guest actors because I knew all 0:17:37.160 --> 0:17:39.840 you guys personality. I knew. I knew if you were 0:17:39.840 --> 0:17:43.880 having a tough day or things were kind of you know, uh, 0:17:43.960 --> 0:17:45.840 you were struggling a little bit or you know this, 0:17:46.280 --> 0:17:49.520 you know are you there was no more correction should 0:17:49.520 --> 0:17:53.320 be given, you know. And I and I was literally 0:17:53.359 --> 0:17:55.119 a couple of times with the directors, I would saying no, 0:17:55.520 --> 0:18:00.720 I wouldn't give them that note. I was, good, you 0:18:00.760 --> 0:18:02.840 need to let them just let them know, let them 0:18:02.880 --> 0:18:05.600 have another go at it. Uh, you're gonna go in? 0:18:05.640 --> 0:18:10.840 I thought, no, no, that they're on the edge, you know, 0:18:10.960 --> 0:18:14.840 let them, uh, let them figure it out, you know. 0:18:15.400 --> 0:18:18.560 And so, you know, unless it was something I absolutely 0:18:18.640 --> 0:18:21.080 had to go in, you know. Uh. And so yeah, 0:18:21.119 --> 0:18:24.360 as I was there longer, U and I felt more secure, 0:18:24.880 --> 0:18:27.240 you know, I felt I could make that call sometimes 0:18:27.280 --> 0:18:30.320 just to say no, and I and I would you know, 0:18:30.480 --> 0:18:36.040 warned the directors, especially the new ones, Uh no, they're 0:18:36.040 --> 0:18:43.600 not having you right now, so let them alone. So 0:18:45.400 --> 0:18:47.600 I don't know who it was, but and they were 0:18:47.640 --> 0:18:49.959 all delightful, and they were all such good directors. But 0:18:50.040 --> 0:18:52.239 some of some of them, not not a lot of them, 0:18:52.240 --> 0:18:56.000 but some of them would come in onto the set, 0:18:56.720 --> 0:19:01.240 they'd leave video village, they take their ears off. They 0:19:00.920 --> 0:19:05.719 they come into video village after every single take and 0:19:05.760 --> 0:19:10.119 talk and would just be like, really, this is happening again, 0:19:10.320 --> 0:19:13.240 Like it's the second take, you know, Yeah, well we'll 0:19:13.280 --> 0:19:15.879 get there. Well we'll get you know. And it was 0:19:15.960 --> 0:19:18.879 just and then they go to each actor and it 0:19:18.880 --> 0:19:21.760 would take forever to do it. So, um, so you 0:19:21.840 --> 0:19:25.879 were back there with a leash on them. That's that's interesting. 0:19:26.080 --> 0:19:29.000 I was. Yeah, I was trying to, like you say it. 0:19:29.119 --> 0:19:32.080 Then most of the time the directors would listen to me, 0:19:32.320 --> 0:19:36.760 you know, and and take my lead. Um, but sometimes 0:19:36.760 --> 0:19:39.720 they didn't and they found out that I was right, 0:19:42.200 --> 0:19:46.119 so they defied you. They didn't take your advice, and 0:19:46.119 --> 0:19:48.360 then they got chewed up and came back to your 0:19:48.359 --> 0:19:53.040 tail between their legs. Yeah, yeah, yeah, so you know, 0:19:53.520 --> 0:19:57.879 uh so, yeah that happened. And and I and but 0:19:58.080 --> 0:20:02.960 also script supervisors, Oh my god, I had There were 0:20:03.000 --> 0:20:05.840 a couple of script supervisors who were just the very 0:20:05.880 --> 0:20:09.320 first script supervisor that uh when I first started. She 0:20:09.320 --> 0:20:12.640 started four days before me. And instead of her being 0:20:12.680 --> 0:20:16.640 happy that I was there to kind of relieve the pressure, 0:20:16.880 --> 0:20:22.159 she was very territorial. And she was jealous because you know, 0:20:22.160 --> 0:20:25.800 the actors had taken to me so quickly, and she 0:20:26.000 --> 0:20:29.840 was she gave me all kinds of problems, you know, 0:20:30.480 --> 0:20:34.159 and uh and it was just like, so, I'm just 0:20:34.200 --> 0:20:37.000 trying to help you out. She one time she didn't 0:20:37.000 --> 0:20:39.160 even want me on the set, you know, and uh. 0:20:39.200 --> 0:20:43.520 But eventually she was let go. And and you know, 0:20:44.160 --> 0:20:47.159 there were, like I said, a revolving door of script 0:20:47.160 --> 0:20:51.119 supervisors and I probably into the six or seventh season, 0:20:51.119 --> 0:20:53.880 I can't remember. There was this one young girl who 0:20:53.960 --> 0:20:58.040 had come on and she was like trying to give 0:20:58.040 --> 0:21:00.119 me all kind of grief and I and I just 0:21:00.160 --> 0:21:04.560 told her so I said, uh, excused me, but there's 0:21:04.560 --> 0:21:08.040 a reason why I'm still here. And I said, uh, 0:21:09.000 --> 0:21:12.720 you know, there's been a lot of scripture advisors, So 0:21:13.960 --> 0:21:15.760 I would think that you would want to listen to 0:21:15.760 --> 0:21:19.119 what I have to say, because you know, there's a 0:21:19.119 --> 0:21:25.359 reason why I have survived and so place to survive. Right, No, No, 0:21:25.800 --> 0:21:30.520 And sure enough, I don't know. Maybe she lasted two shows, 0:21:30.600 --> 0:21:34.440 maybe three episodes, I don't know, and then she was gone. George, 0:21:34.600 --> 0:21:41.720 So George, you know, yeah, it was it was something 0:21:41.960 --> 0:21:44.560 like the Octagon and there wasn't it. It was like 0:21:44.600 --> 0:21:49.360 a Chuck Norris film. Good God, So let me let 0:21:49.359 --> 0:21:53.639 me ask you this, um um. I wrote down this question, 0:21:54.119 --> 0:21:57.440 what was the script? What script was the toughest one 0:21:58.359 --> 0:22:02.639 that you had the opportunity to coach on. Do you 0:22:02.680 --> 0:22:05.720 remember if there was one particular script that because they 0:22:05.720 --> 0:22:09.240 were all pretty dense with dialogue. So it was there 0:22:09.320 --> 0:22:12.119 one particular that you remember, and if not, it's okay, 0:22:12.600 --> 0:22:21.440 we won't be don't. I don't remember a script per se. Uh, 0:22:21.600 --> 0:22:24.879 I think what I would do, I would judge it. 0:22:24.960 --> 0:22:27.159 But if it was going to be a tough day, 0:22:27.240 --> 0:22:31.000 depending upon the actor who was in and the amount 0:22:31.040 --> 0:22:35.880 of dialogue they had to do. So certain actors who 0:22:35.920 --> 0:22:40.800 shall remain nameless, uh, weren't very good with dialogue, handling 0:22:40.840 --> 0:22:43.640 dialogue and some of the other rules. And if they 0:22:43.680 --> 0:22:48.359 had a particularly big scene with a lot of dialogue, 0:22:48.440 --> 0:22:52.439 I knew my work was gonna be uh kind of 0:22:52.600 --> 0:22:56.240 difficult that day because uh, they just weren't quick with 0:22:56.280 --> 0:22:58.479 the lines. And what didn't mean they weren't a good actor. 0:22:58.960 --> 0:23:02.960 It's just that certain people could retain lines pretty well 0:23:03.600 --> 0:23:08.520 and certain people couldn't. Um uh and so so I 0:23:08.680 --> 0:23:11.600 so if I saw a particular day that certain actor 0:23:11.720 --> 0:23:13.679 was in and I look and I see all the 0:23:13.680 --> 0:23:16.480 page and then they had a lot of dogs, I'm like, okay, 0:23:16.600 --> 0:23:19.520 we're going to have a long day to day, you know. 0:23:20.720 --> 0:23:23.600 So you know, and there were certain actors, you know, 0:23:23.680 --> 0:23:25.679 if I saw that they had a lot of dialogue 0:23:26.359 --> 0:23:29.080 and they'll be like, Okay, you know I know that 0:23:29.119 --> 0:23:32.960 they were going to breeze right through it, so uh 0:23:33.200 --> 0:23:36.600 so yeah, it was not so much descript it. It's 0:23:36.640 --> 0:23:40.359 just the actor. Uh and how well they you know, 0:23:40.920 --> 0:23:43.440 couldn't learn their lives and you know how well they 0:23:43.440 --> 0:23:45.960 worked under pressure. All right, let's take a little break. 0:23:45.960 --> 0:23:49.080 George great talking to We're gonna come back and uh 0:23:49.920 --> 0:23:52.919 and recap the episode. This is Scott Patterson. I am 0:23:52.960 --> 0:23:59.359 all in. We'll be back after these messages. Yeah. First 0:23:59.359 --> 0:24:03.679 of all, you know we all about that high school drama, 0:24:03.720 --> 0:24:07.440 Girl Drama Girl, all about them high school queens. We'll 0:24:07.440 --> 0:24:10.520 take you for a rod in our comic girl cheering 0:24:10.560 --> 0:24:15.560