WEBVTT - Beverley Mitchell Meets World 0:00:18.720 --> 0:00:22.000 I was thinking, since mister Wilfordilla is not here, I know, 0:00:22.120 --> 0:00:27.040 what a bummer that we can talk directing. Oh yeah, 0:00:27.280 --> 0:00:29.920 talk about directing actors, those pisky actors. 0:00:30.080 --> 0:00:33.600 I was like, yeah, what's I mean? Because I love 0:00:33.680 --> 0:00:35.280 geeking out with you about this stuff. 0:00:35.000 --> 0:00:36.760 Because you're doing it all the time, and it's one 0:00:36.800 --> 0:00:40.440 of my favorite things because it's like having come from 0:00:40.440 --> 0:00:43.200 the other side, you know, like you get so used 0:00:43.240 --> 0:00:46.000 to so many different types of directors, so many bad directors, 0:00:46.360 --> 0:00:48.639 and like you know, and like the number one thing 0:00:48.680 --> 0:00:51.040 that scares the crap out of directors is talking to actors, 0:00:51.080 --> 0:00:53.560 Like if they've never been an actor, that's the number 0:00:53.600 --> 0:00:56.360 one thing. And so we have this like superpower just 0:00:56.400 --> 0:00:59.000 by having been an actor. So we walk onto a 0:00:59.040 --> 0:01:01.400 set and all the acts are so much happier with 0:01:01.520 --> 0:01:04.399 all comfortable, so comfortable, and they'll listen to us so much, 0:01:04.440 --> 0:01:06.320 so we just get a pass like automatically. 0:01:06.600 --> 0:01:08.360 And so I just wanted to hear, like how do 0:01:08.440 --> 0:01:09.800 you give notes? Like what do you do? 0:01:09.840 --> 0:01:12.240 How do you like go from take to take? Or 0:01:12.280 --> 0:01:13.720 like I don't know, I just wanted to geek out 0:01:13.720 --> 0:01:14.480 a little bit about it. 0:01:14.600 --> 0:01:20.000 Well, so much of what I remember being difficult about 0:01:20.040 --> 0:01:23.680 being an actor, and was was truly just the lack 0:01:23.720 --> 0:01:26.759 of information you get. We've talked about it a lot 0:01:26.840 --> 0:01:32.200 on the show how you'll hear hubbub and you'll hear talking, talking, talking, 0:01:32.560 --> 0:01:35.120 and then and then there's lots of time that passes 0:01:35.440 --> 0:01:40.680 last five, ten, sometimes even fifteen minutes, and no one 0:01:41.160 --> 0:01:43.720 comes and tells you what's going on. 0:01:43.840 --> 0:01:47.200 It's ten minutes of doubt and correct and eleit insecurity. 0:01:47.560 --> 0:01:51.320 All you spend all let's say, nine of those ten minutes. 0:01:51.360 --> 0:01:53.800 The first the first minute is oh, something went wrong, 0:01:53.840 --> 0:01:57.280 We're gonna We're gonna start again. The next nine minutes 0:01:57.480 --> 0:02:00.840 is you going through all the ways it was your fault, 0:02:01.120 --> 0:02:05.320 you screwed it up, your ugly face, your stupid body, 0:02:05.840 --> 0:02:09.320 your your inability to say words, and you just start 0:02:09.680 --> 0:02:11.040 and then by the time then they're ready to go, 0:02:11.120 --> 0:02:12.080 it's like, okay, it's time to go. 0:02:12.120 --> 0:02:14.440 And then it could go through past that too, well, 0:02:14.480 --> 0:02:17.120 why did they This show sucks anyway? 0:02:18.160 --> 0:02:20.799 And it was obviously the other it's like it's goes 0:02:20.840 --> 0:02:21.280 too long. 0:02:21.440 --> 0:02:23.520 Then by the time the director walks in, you're like, well, 0:02:23.560 --> 0:02:26.320 are you guys ready to do this stupid awful thing? 0:02:26.720 --> 0:02:28.720 Right? It's like it can go past. It's like because 0:02:28.720 --> 0:02:29.600 then the actors. 0:02:29.280 --> 0:02:31.920 Could start turning, especially when their boat if it's more 0:02:31.960 --> 0:02:33.840 than one, they're well, what's going on? I don't know, 0:02:34.040 --> 0:02:37.080 Well it couldn't have been us. 0:02:38.080 --> 0:02:40.440 Okay, okay, so it wasn't me. Okay, yeah, so you 0:02:40.480 --> 0:02:41.120 can't No. 0:02:41.280 --> 0:02:43.920 That's my number one thing is the silence after cut. 0:02:44.200 --> 0:02:46.480 Like that's like the one thing that I always do 0:02:46.800 --> 0:02:48.760 every set. It's like, just even if it was the 0:02:48.760 --> 0:02:51.480 worst take ever and I can't scream out like yeah 0:02:51.880 --> 0:02:55.680 or just okay, just somebody has to say we got it, 0:02:56.360 --> 0:02:57.840 hold on now, we got to adjust. 0:02:57.880 --> 0:03:00.000 Because that's so true, especially on film sets. 0:03:00.040 --> 0:03:03.080 It's like at video village because these days everyone's at 0:03:03.120 --> 0:03:06.280 video Village are so far away and if there's just 0:03:06.320 --> 0:03:08.560 nothing so you don't even hear cuts. Sometimes they won't 0:03:08.600 --> 0:03:10.480 even say they're just like okay, you know. And also 0:03:10.600 --> 0:03:12.600 because you just hear a tone doesn't matter, they just 0:03:12.680 --> 0:03:14.600 keep wroing yeah exactly, and they want to like just 0:03:14.680 --> 0:03:17.000 keep and you'll just hear nothing and you're just sitting 0:03:17.040 --> 0:03:18.079 there like I did a thing. 0:03:18.160 --> 0:03:20.919 I know I did it, and anything any sort of 0:03:20.919 --> 0:03:24.400 feedback I'll take, I'll take a criticism then Just so 0:03:24.520 --> 0:03:27.760 my number one thing that I try to do is 0:03:28.720 --> 0:03:33.200 communicate with them as much as possible about what's going on. 0:03:33.760 --> 0:03:37.840 And when something happens, I always like and it's not 0:03:38.080 --> 0:03:40.960 about them, even if it is sometimes about them, I 0:03:41.040 --> 0:03:44.280 tell them, not you. This is for me, and and 0:03:44.400 --> 0:03:47.400 for me means something happened with camera, whether there was 0:03:47.440 --> 0:03:50.520 a bump or we didn't get it or whatever, like guys, 0:03:50.560 --> 0:03:52.200 I need it one more time. This is it was 0:03:52.240 --> 0:03:55.080 for me, or I go out there and I'll say, listen, 0:03:55.080 --> 0:03:57.800 they're going to do a rewrite, so it might take 0:03:57.800 --> 0:04:00.240 a few minutes. They're they're tossing around some all else 0:04:01.440 --> 0:04:03.360 wasn't you performance was great. We're just going to try 0:04:03.400 --> 0:04:07.120 to get some some different alts. And so that is. 0:04:07.160 --> 0:04:08.640 Also everybody at ease. 0:04:08.800 --> 0:04:09.560 Everybody to ease. 0:04:09.680 --> 0:04:11.760 Everybody feel like they did something that and I. 0:04:11.720 --> 0:04:13.240 Can tell them it's going to be about five or 0:04:13.280 --> 0:04:15.240 ten minutes. So get a drink of water, go sit 0:04:15.240 --> 0:04:18.960 down in your chair, have have a fun conversation amongst yourselves. 0:04:19.120 --> 0:04:21.040 We're not going to be going again in twenty seconds, 0:04:21.080 --> 0:04:24.440 so you've got a little bit of time. The other 0:04:24.640 --> 0:04:28.200 thing that I think I've had to learn to do 0:04:28.520 --> 0:04:31.960 based on depending on who you're working with. When you're 0:04:32.000 --> 0:04:37.080 working with kids, it's much easier to come out and 0:04:37.320 --> 0:04:42.320 just tell them directly this time, let's try it a 0:04:42.440 --> 0:04:46.480 different way. Let's try it, and then I can give 0:04:46.520 --> 0:04:49.040 them some sort of subtext I want them to play with, 0:04:49.520 --> 0:04:53.440 or or a bigger emotion. You know, let's this time, 0:04:53.480 --> 0:04:56.600 play it more surprised, play it more. I can. It's 0:04:56.680 --> 0:05:00.159 much easier that way. When you're working with adults, and 0:05:00.160 --> 0:05:05.760 and very sometimes very successful adults, they have already thought 0:05:05.839 --> 0:05:08.120 of all the ways that there is to do it, 0:05:09.200 --> 0:05:12.080 and they made a choice to do it that way, 0:05:13.000 --> 0:05:16.200 and so I don't want to try it a different way. 0:05:17.040 --> 0:05:20.560 I like the way I did it. Your suggestion is 0:05:20.600 --> 0:05:24.680 not as good as mine, And so a lot of 0:05:24.720 --> 0:05:30.200 times I have to win on the showrunner writer side. 0:05:30.279 --> 0:05:32.960 I'm getting a note that's like, why are they saying 0:05:33.000 --> 0:05:36.000 it like that? I think it's funnier if they say 0:05:36.040 --> 0:05:38.880 it like this, and I'm like, I can't go tell 0:05:38.920 --> 0:05:44.440 them that. So I have to be very creative in 0:05:44.520 --> 0:05:48.279 the way I can deliver that note to get the 0:05:48.320 --> 0:05:53.039 writers in the showrunner what they want while still making 0:05:53.120 --> 0:05:58.200 the actor feel like what they did was genius, but 0:05:58.600 --> 0:06:02.880 also give them the idea that they're going to come 0:06:03.000 --> 0:06:06.400 up with the idea to do it in a new way. 0:06:07.520 --> 0:06:10.200 And that part is where you have to be very 0:06:10.279 --> 0:06:15.040 creative because that translation has to happen in ten seconds. 0:06:15.600 --> 0:06:17.760 They I have to hear the note from the show runner, 0:06:18.200 --> 0:06:20.760 like why can't he just say it like this? And 0:06:20.800 --> 0:06:23.000 I have to then go, how am I going to 0:06:23.000 --> 0:06:27.600 deliver this note to this adult, very successful actor in 0:06:27.640 --> 0:06:30.000 a way that's going to make him feel comfortable wanting 0:06:30.040 --> 0:06:31.080 to try it a different way? 0:06:31.279 --> 0:06:32.039 Yep, yep. 0:06:32.320 --> 0:06:35.799 And it's that's extremely difficult on well, in television in general, 0:06:35.839 --> 0:06:37.600 but especially on like a sitcom. 0:06:37.240 --> 0:06:38.839 Set, because. 0:06:40.240 --> 0:06:42.640 I feel like in film or in single camera, there's 0:06:42.720 --> 0:06:44.720 much more of a sense throughout the whole process where 0:06:44.760 --> 0:06:47.520 the director is a collaborator with the actors, whereas on 0:06:47.720 --> 0:06:50.160 multiicam the actors often get into the sense that they're 0:06:50.240 --> 0:06:53.280 like presenting their finished performance or they're presenting their performance, 0:06:53.520 --> 0:06:55.800 and then the director is like kind of going to 0:06:55.839 --> 0:06:58.040 the other team and then coming back and there's the 0:06:58.160 --> 0:06:59.760 you know, and it's like, well, I did the thing, 0:07:00.080 --> 0:07:01.920 you know, and so you have to like what I 0:07:02.000 --> 0:07:03.800 realized is you just have to spend the whole week 0:07:03.839 --> 0:07:04.240 getting on. 0:07:04.240 --> 0:07:06.960 Their side so that by the time you're actually taping, 0:07:07.080 --> 0:07:08.440 they they they. 0:07:08.200 --> 0:07:10.600 Know that you know what they're doing and that there's 0:07:10.680 --> 0:07:12.680 like this sense of like, so, you know, so it's 0:07:12.720 --> 0:07:15.280 more like we didn't get the scene, you know, like 0:07:15.560 --> 0:07:17.160 we didn't get the thing. We got to try something, 0:07:17.160 --> 0:07:19.840 and then hopefully they can hear that as like, oh, 0:07:20.200 --> 0:07:22.520 you know, I'm this person's with me trying to get it. 0:07:22.680 --> 0:07:26.200 But I imagine if it's a gigantic name actor and 0:07:26.240 --> 0:07:28.800 who's been in the business for you know, twenty years 0:07:28.840 --> 0:07:33.280 before we were born, that's so difficult. But I my 0:07:33.280 --> 0:07:36.680 my biggest thing that you know, it's very like I 0:07:37.600 --> 0:07:40.480 and this is true with writing notes too. 0:07:40.480 --> 0:07:43.240 It's like I've learned to just tell them what I 0:07:43.360 --> 0:07:45.320 saw or tell them what I read. Do you know 0:07:45.360 --> 0:07:45.760 what I mean? 0:07:46.120 --> 0:07:48.160 And if you if you just let them know like 0:07:48.920 --> 0:07:53.120 you did this in that line, then they're like, oh, 0:07:53.160 --> 0:07:56.040 I got it, My point got across, and then they're 0:07:56.040 --> 0:07:58.520 willing to listen to Now let's try. 0:07:58.320 --> 0:07:59.360 It this way. Do you know what I mean? 0:07:59.800 --> 0:08:02.840 Or you say what you saw and it isn't what 0:08:02.880 --> 0:08:05.000 they get and then they know like it's not getting 0:08:05.000 --> 0:08:07.119 out like it's right. I get that to be sad, 0:08:07.280 --> 0:08:09.320 you know, and you said I was confused, what do 0:08:09.320 --> 0:08:11.520 you mean? You know, and then they're like oh, and 0:08:11.520 --> 0:08:14.520 then you're communicating, you know, then you can adjust. But yeah, 0:08:14.560 --> 0:08:17.480 I just like running out and being like you did 0:08:17.480 --> 0:08:19.720 this thing with this and blah blah blah. And it's 0:08:19.760 --> 0:08:22.080 just sort of you know, telling them acknowledging like I 0:08:22.120 --> 0:08:24.720 saw that, and then they'll be like cool, you get me. 0:08:24.800 --> 0:08:28.200 And then you're like, I'm doing completely different right right now, Okay, 0:08:28.200 --> 0:08:28.720 we got that. 0:08:28.920 --> 0:08:30.200 You know, there's a lot of that for me. I'm 0:08:30.200 --> 0:08:31.040 always like, we got that. 0:08:31.320 --> 0:08:31.600 Cool. 0:08:32.000 --> 0:08:34.720 I love it. Yes, I always start with, oh my gosh, 0:08:34.960 --> 0:08:37.440 I love that. That was great. I loved what you 0:08:37.480 --> 0:08:40.560 did there. Now let's do it this way. 0:08:40.679 --> 0:08:42.559 You're overwhelmingly positive, right I am. 0:08:42.800 --> 0:08:46.040 I'm too Oh overwhelming. I'm just you should want to 0:08:46.080 --> 0:08:48.319 slap me in the face with how excited I am 0:08:48.320 --> 0:08:49.280 about everything you're doing. 0:08:49.320 --> 0:08:51.160 I never tell somebody they did a bad like. 0:08:51.160 --> 0:08:53.320 I mean, I would never. It's just not worth it. 0:08:53.320 --> 0:08:55.360 It's just like you, how many more bullets do you 0:08:55.360 --> 0:08:56.800 have in your gun? You know, like, let's just keep 0:08:56.800 --> 0:08:58.119 going like that was great. 0:08:57.960 --> 0:09:00.320 Even if it was, so sometimes it's not. You know, 0:09:00.360 --> 0:09:02.840 it's like it's like if you're alerting, you think about 0:09:03.000 --> 0:09:05.640 everything the actor has to do out there. It is 0:09:05.720 --> 0:09:07.920 like a dance every time because they have to they 0:09:07.920 --> 0:09:09.600 have to know where to hit their marks, they have 0:09:09.640 --> 0:09:11.520 to pick up their props, they have to hit the 0:09:11.600 --> 0:09:13.880 jokes with the certain intonation that's going to get the laugh. 0:09:14.160 --> 0:09:15.599 They have to listen to the person, they have to 0:09:15.640 --> 0:09:20.080 hold for the laughs like they've learned a dance, and 0:09:20.080 --> 0:09:24.480 and sometimes they're still thinking about the step right before, 0:09:25.760 --> 0:09:27.960 like their brain they're not it fully in the moment 0:09:28.000 --> 0:09:30.320 because they're like, did I do that? If even for 0:09:30.360 --> 0:09:33.720 a second, your brain goes, did I grab that prop 0:09:33.760 --> 0:09:37.079 at the right time, you're out, and then the next 0:09:37.160 --> 0:09:39.680 line may not be as funny as it it was 0:09:40.080 --> 0:09:42.240 as it normally would have been. But so I see 0:09:42.280 --> 0:09:44.920 all of that. So even like there isn't really a 0:09:45.000 --> 0:09:48.000 bad it's just it wasn't it wasn't the perfect in sync. 0:09:48.120 --> 0:09:50.319 It wasn't perfectly in sync, and so let's do it 0:09:50.360 --> 0:09:53.319 again until we get the dance in sync, and then 0:09:53.480 --> 0:09:56.120 you'll hit all the beats. And like on a sitcom, 0:09:56.360 --> 0:09:59.120 you have the full week to work there like on 0:09:59.160 --> 0:10:01.640 a film set, it was so much harder. And you, 0:10:01.679 --> 0:10:05.160 when I directed that movie for two Be Classmates, you 0:10:05.200 --> 0:10:07.559 were the person who told me, like, you're going to 0:10:07.600 --> 0:10:12.000 find that you don't have much time for blocking, and 0:10:12.080 --> 0:10:14.240 yet your actors are going to want to feel like 0:10:14.320 --> 0:10:16.280 they have a hand in it. But really, what you 0:10:16.320 --> 0:10:17.719 have time to do is walk in and go. You're 0:10:17.720 --> 0:10:19.199 going to sit here, Then you're going to walk there, 0:10:19.280 --> 0:10:20.520 and you're going to stand and you're gonna talk it. 0:10:20.520 --> 0:10:22.000 It's like, because we only have five minutes to shoot 0:10:22.640 --> 0:10:24.040 and we can only shoot this direction. 0:10:24.320 --> 0:10:26.440 Oh yes, Oh it's so yes, And it's. 0:10:26.320 --> 0:10:29.079 So frustrating because you want them to feel like they 0:10:29.120 --> 0:10:32.480 have agency and that they're a part of the collaborative process. 0:10:32.720 --> 0:10:35.480 So I mean, I for so many reasons, I prefer 0:10:35.640 --> 0:10:38.040 the sitcom set up. I also like to involve actors 0:10:38.080 --> 0:10:41.040 on a sitcom in as many especially if there's something 0:10:41.040 --> 0:10:44.800 emotional going on for them, a big story arc or 0:10:44.800 --> 0:10:47.600 something big happening from the very beginning of the week, 0:10:47.720 --> 0:10:51.040 involving them in the planning process as much as possible 0:10:51.080 --> 0:10:53.960 for when we shoot it, and where would you do 0:10:54.000 --> 0:10:56.120 you do you want us to get a couple of 0:10:56.160 --> 0:10:58.400 gos at this where we're not focusing on your coverage 0:10:58.720 --> 0:11:02.200 and then so nice and then go and then go 0:11:02.280 --> 0:11:04.440 to you. You know, I'll let you know so you 0:11:04.480 --> 0:11:06.520 can save the emotion or do you want to do 0:11:06.520 --> 0:11:07.920 it right off the bat? Are you going to come 0:11:07.960 --> 0:11:11.160 in from your dressing room having pretty ready to go 0:11:11.280 --> 0:11:13.160 and we'll start with you and everything. 0:11:13.200 --> 0:11:16.600 We'll just focus on every interest question Like that must 0:11:16.600 --> 0:11:20.079 make actors feel so good because yeah, it's like. 0:11:20.080 --> 0:11:22.360 I don't you know this, This whole thing is going 0:11:22.400 --> 0:11:25.760 to revolve around you feeling your best in the moment, 0:11:26.280 --> 0:11:28.719 and we all want a great performance. You want to 0:11:28.760 --> 0:11:30.640 give a good performance, so just tell us that you 0:11:30.760 --> 0:11:31.560 up for that success. 0:11:31.880 --> 0:11:34.000 And yeah, I mean, and it's so funny because every 0:11:34.000 --> 0:11:36.080 actor is different, right, Like there's so many different types 0:11:36.120 --> 0:11:38.360 of actors. There are those actors who are like day one, 0:11:38.679 --> 0:11:41.000 I know exactly every lie. I mean, like Bill Daniels, right, 0:11:41.000 --> 0:11:42.800 he showed up at the day of Wreed. He knew 0:11:42.800 --> 0:11:47.120 exactly every intonation, every inflection, and it never changed, no, 0:11:47.240 --> 0:11:49.800 and it never had to. That's what's crazy is that 0:11:49.840 --> 0:11:52.400 he was able to make that seem fresh and alive 0:11:52.679 --> 0:11:55.679 and deliver perfect you know, like unless he got a note, 0:11:55.840 --> 0:11:57.600 he was not going to change. And I don't even 0:11:57.600 --> 0:11:59.480 think Michael really ever gave him notes. I mean I 0:11:59.480 --> 0:12:02.440 don't remember that, like oh or yeah, it's so crazy, 0:12:02.480 --> 0:12:05.200 like so Bill was just like you know, and looking 0:12:05.240 --> 0:12:07.600 back now, he's such an amazing actors. 0:12:07.440 --> 0:12:09.160 Like it still feels alive. 0:12:10.320 --> 0:12:12.040 So yeah, And then there are other actors who are 0:12:12.080 --> 0:12:14.640 like different every time show up, and it's like or 0:12:14.720 --> 0:12:16.400 then there are some actors who just start out with 0:12:16.480 --> 0:12:18.600 nothing and you're like, oh, we know, in any what. 0:12:18.559 --> 0:12:19.840 Are we going to do? And then the day of 0:12:20.559 --> 0:12:22.200 what happens like magic shows up. 0:12:22.240 --> 0:12:25.600 It's like, yeah, it's a magical, mysterious process. 0:12:25.720 --> 0:12:28.480 And and like we talked about on doing sitcoms, if 0:12:28.480 --> 0:12:31.559 you only have one week you have you could never 0:12:31.880 --> 0:12:34.720 you can't adjust because after the first week you go, 0:12:34.920 --> 0:12:38.080 I see, I've now learned every actor on this set 0:12:38.320 --> 0:12:39.439 and what they need. 0:12:39.280 --> 0:12:41.600 To bring a whole new director, right, and that's like. 0:12:41.840 --> 0:12:44.320 You're out of here. So you you know, it really 0:12:44.679 --> 0:12:47.680 really helps to get more than one episode of something 0:12:47.720 --> 0:12:49.360 if you want to leave a good, good impression. 0:12:49.400 --> 0:12:51.960 Well, And I also just love that like who we 0:12:52.000 --> 0:12:53.679 thought was a great director. 0:12:53.559 --> 0:12:56.320 Was entirely based on how they treated us. We had 0:12:56.400 --> 0:12:57.360 no idea what's. 0:12:57.200 --> 0:13:00.160 Going on behind the scenes, behind production and camera, and 0:13:00.200 --> 0:13:02.240 it's like, yeah, once I started directing, it was like, oh, 0:13:02.240 --> 0:13:04.680 there's a whole other fifty percent of this job. Yeah, 0:13:04.679 --> 0:13:07.520 the actors will never know about her. And it's like, 0:13:07.760 --> 0:13:09.400 sometimes you have to pick your team. 0:13:09.640 --> 0:13:12.440 Who might you know? You want to please everybody, but like, yeah, 0:13:13.240 --> 0:13:14.040 I'll always side with. 0:13:14.000 --> 0:13:17.200 The actors, but say blackwise, also as long as I 0:13:17.240 --> 0:13:19.720 have the shots there, as long as the editor has 0:13:19.760 --> 0:13:24.080 the shots to choose from. Executives and showrunners would do 0:13:24.160 --> 0:13:27.080 really well to stick with directors their actors, Like yes, 0:13:27.280 --> 0:13:30.160 because the energy throughout the whole week and throughout the 0:13:30.200 --> 0:13:32.240 whole process is going to be better when they're happy 0:13:32.280 --> 0:13:35.000 with who is at the helm. And unless when you 0:13:35.000 --> 0:13:36.880 get into the editing room you're like, this person may 0:13:36.920 --> 0:13:39.000 be great to work with, but they're not getting anything 0:13:39.040 --> 0:13:41.760 on camera. That that's who you should that's who you 0:13:41.760 --> 0:13:44.080 should continue to hire. So I love geeking out about 0:13:44.120 --> 0:13:46.480 directing with you is so fun. We're gonna miss Wilfred 0:13:46.480 --> 0:13:48.959 Dell today, but we're gonna have as much fun as possible. 0:13:50.960 --> 0:13:53.600 Welcome to Pod meets World. I'm Daniel fishal, I'm right 0:13:53.679 --> 0:14:11.120 or strong, and we have no seat for c. So 0:14:11.240 --> 0:14:13.760 if you spend any time on TikTok, you are sure 0:14:13.800 --> 0:14:17.199 to see a throwback scene with this week's guest involved 0:14:17.240 --> 0:14:22.280 in some wild storyline like Jessica bial going from popular 0:14:22.360 --> 0:14:26.680 basketball star to vandalizing a school, stealing money, getting fired 0:14:26.720 --> 0:14:29.640 from her job, and moving to Buffalo. And that was 0:14:29.680 --> 0:14:33.000 all in one season. Seventh Heaven may now look like 0:14:33.120 --> 0:14:36.760 the most unhinged drama ever aired on television, but it 0:14:36.840 --> 0:14:41.560 aired for eleven seasons from nineteen ninety six to two 0:14:41.600 --> 0:14:44.960 thousand and seven, making it the longest running family drama 0:14:45.280 --> 0:14:46.240 of all time. 0:14:46.720 --> 0:14:50.200 Wow, yeah, that's wow. Okay. See when I saw that 0:14:50.240 --> 0:14:51.200 she had done two hundred. 0:14:50.960 --> 0:14:53.640 And fifty two episodes, I was like, that's bonkers, and 0:14:53.720 --> 0:14:54.640 it is okay. 0:14:54.760 --> 0:14:58.560 It really is longest running family drama of all time. 0:14:59.280 --> 0:15:02.360 It's also the only show to have a character threatened 0:15:02.360 --> 0:15:05.040 to jump off a roof because his mom made him 0:15:05.080 --> 0:15:11.480 wear bad pants. What oh my god, this sounds like 0:15:11.520 --> 0:15:15.600 something Adler would do. I will not wear these vants. 0:15:18.320 --> 0:15:21.400 The world also knows our guest from movies like The Crow, 0:15:21.520 --> 0:15:24.520 City of Angels, Saw Too, and a film I am 0:15:24.560 --> 0:15:27.960 most definitely going to ask her about called the Dog 0:15:28.080 --> 0:15:32.240 Who Saved Easter. She was also seen on TV shows 0:15:32.320 --> 0:15:35.360 like The Secret Life of the American Teenager, Hollywood Darlings, 0:15:35.560 --> 0:15:39.280 which Wilfredell guests starred on, and The d Coom Right 0:15:39.320 --> 0:15:42.680 on Track with Bree Larson, a fellow child actor who 0:15:42.760 --> 0:15:46.480 is genuinely one of the nicest people around. This week 0:15:46.520 --> 0:15:48.920 on Pod Meets World, it's Beverly Mitchell. 0:15:49.920 --> 0:15:53.000 How how are you. 0:15:53.040 --> 0:15:55.240 We're so sorry that it's just the two of us 0:15:55.280 --> 0:15:57.880 and there's no fun. Wilfredell in the room. 0:15:57.720 --> 0:16:00.920 With us list that's okay. You guys are just is fun. 0:16:01.120 --> 0:16:08.480 Oh, I don't know about it. I Beverly, thank you 0:16:08.520 --> 0:16:11.520 so much for joining us. I coure not that long ago. 0:16:11.640 --> 0:16:14.680 Spent five or so weeks cheering you on from my 0:16:14.800 --> 0:16:20.480 couch as you defied death doing military drills on Special Forces. 0:16:20.920 --> 0:16:23.440 I mean I did not think that through. 0:16:24.960 --> 0:16:27.120 Okay, I need I want to know about this when 0:16:27.160 --> 0:16:29.640 they came to you, So writer, do you know about 0:16:29.640 --> 0:16:30.280 special Forces? 0:16:30.280 --> 0:16:32.040 I think I've heard about this is where they like 0:16:32.080 --> 0:16:34.640 trained you to be like a Navy seal basically, or. 0:16:34.840 --> 0:16:39.160 Yeah, well they they yes, they try and. 0:16:39.120 --> 0:16:41.160 Do you get kicked off if you can't do stuff 0:16:41.240 --> 0:16:42.880 or do you just have to do this workout no 0:16:42.920 --> 0:16:43.280 matter what? 0:16:43.840 --> 0:16:47.520 No, No, yeah, you if you can't perform a task 0:16:47.640 --> 0:16:50.840 or won't perform a task, you are asked to leave. 0:16:51.000 --> 0:16:53.600 And they can at any point in time pull you 0:16:53.680 --> 0:16:55.280 if they just think. 0:16:55.520 --> 0:17:00.480 Your life is in dangerous you can't do it. Number one. 0:17:00.520 --> 0:17:02.280 I mean, like the second they were like carry this 0:17:02.320 --> 0:17:04.000 from here to here, I'm like done. 0:17:04.560 --> 0:17:08.680 It was it was so bizarre because when they called 0:17:08.920 --> 0:17:09.800 I was like. 0:17:09.920 --> 0:17:13.240 Are you sure, Like do you have the right Beverly Mitchell? 0:17:13.960 --> 0:17:15.400 And then I was thinking. I was like, well, there's 0:17:15.400 --> 0:17:19.880 not very many Beverly's right, right. And then I was like, oh, 0:17:19.880 --> 0:17:22.640 it's I get it. I'm the first to be picked off. 0:17:22.680 --> 0:17:25.560 Like that's why they're calling me. They like need an 0:17:25.560 --> 0:17:30.200 easy like sacrificial lamb, and so that's what I thought. 0:17:30.359 --> 0:17:33.320 And they're like, no, we just really want you, guys 0:17:33.359 --> 0:17:36.760 to like we want you the whole point of it. 0:17:36.800 --> 0:17:39.479 And what was so intriguing about it was They're like, 0:17:39.800 --> 0:17:41.960 we want you to see what you're made of. 0:17:42.119 --> 0:17:44.400 Yeah, And I'm like that's curious, right. 0:17:44.840 --> 0:17:48.840 Never really done that. And we had such a killer 0:17:48.960 --> 0:17:52.240 cast except for I was with all Olympians like I 0:17:52.359 --> 0:17:56.680 was with like Dwight Howard. You know, he's done well 0:17:56.680 --> 0:18:01.119 for himself. I've got Mascia Lucan who one Olympic medal. 0:18:01.280 --> 0:18:04.200 I've got Danny Amadola, he's got a few. Uh yeah, 0:18:04.200 --> 0:18:09.160 he super Bowl rings. You know. I've got like we 0:18:09.240 --> 0:18:12.919 literally I Melby, who's just like incredible. 0:18:13.040 --> 0:18:14.760 Uh huh. 0:18:15.000 --> 0:18:19.320 We've got Gus Kenworthy, another Olympian, Mike Piazza. He's one 0:18:19.640 --> 0:18:22.920 you know like me, But I. 0:18:22.880 --> 0:18:25.440 Know I didn't. One of the coaches come out recently 0:18:25.480 --> 0:18:28.760 and say that you were one of the toughest competitors 0:18:28.760 --> 0:18:29.680 he's ever worked with. 0:18:30.080 --> 0:18:32.840 That was Billy, And I think it's because they kept saying, 0:18:33.040 --> 0:18:35.080 like from the get go, we thought you were gonna die. 0:18:35.119 --> 0:18:36.080 We always thought you were. 0:18:39.240 --> 0:18:40.560 We were like, she's not gonna make it. 0:18:40.680 --> 0:18:43.280 So that's what they said. They said. They're like they're 0:18:43.320 --> 0:18:45.639 like there was no after night one. They're like, there's 0:18:45.720 --> 0:18:47.520 no way you were going to make it through the night. 0:18:47.560 --> 0:18:51.760 And I was like, I was hell bent on giving 0:18:51.920 --> 0:18:54.719 everything I had and even when I left, like I 0:18:54.800 --> 0:18:58.280 was talking to Carly Lloyd again, another superhero, and she's like, 0:18:58.320 --> 0:19:00.320 no bev. It was like time to leave, like we 0:19:00.320 --> 0:19:03.399 were going to like you needed to go. They're like 0:19:03.440 --> 0:19:07.520 you had pushed yourself so far. We were afraid that you, 0:19:08.240 --> 0:19:09.879 like we were afraid for you. And I was like, 0:19:10.800 --> 0:19:12.399 I think that's a couple of it. 0:19:12.560 --> 0:19:16.200 But what was the most difficult aspect of. 0:19:16.200 --> 0:19:22.400 It, honestly the mental? It was the mental. I mean 0:19:22.480 --> 0:19:25.480 I wasn't physically I knew I wasn't physically strong enough. 0:19:25.520 --> 0:19:29.640 Like I got the call and had one week to prepare, 0:19:29.840 --> 0:19:32.440 and I one week of preparing was like in full 0:19:32.480 --> 0:19:34.680 Mammy dum. So I was like I put my kid 0:19:34.720 --> 0:19:37.240