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Speaker 1: This episode was recorded prior to the SAG after strike.

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Speaker 2: Unpacking the Toolbox is a production of Shondaland Audio in

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Speaker 2: partnership with iHeartRadio.

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Speaker 3: Is the stand watch.

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Speaker 1: Yazi Katie.

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Speaker 3: This episode today is literally, ugh, most people's when I

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Speaker 3: look up Scandal, this one is. If it's not everyone's

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Speaker 3: number one favorite, it's a close second to the Trail.

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Speaker 3: It's one or the other. This is my personal favorite

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Speaker 3: episode that Scandal ever made. Same it is is so special,

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Speaker 3: it is so beautiful. It should have been nominated and

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Speaker 3: won every single award that television can provide. Gama Diez's work,

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Speaker 3: and it is so stupid. It's so stupid what you

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Speaker 3: did in this fucking show, you dumb.

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Speaker 1: Listen everyone though, everyone, Oh, all the gladiators talking to

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Speaker 1: Huck while he's going through his you knowugh, his his

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Speaker 1: you know, reciting those numbers that are so significant, Like

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Speaker 1: you guys' work was so so beautiful it was.

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Speaker 3: It's such an episode will stand the test of time,

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Speaker 3: because my god, it is like one of the best

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Speaker 3: episodes of television. And we had to bring on a

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Speaker 3: guest today that I have not seen in a very

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Speaker 3: long time.

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Speaker 1: No I since she directed us the last episode she

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Speaker 1: directed us. I mean she did a few after this

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Speaker 1: episode and that's the last time I saw her.

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Speaker 3: And we had to bring her on as a special

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Speaker 3: special guest because this episode she was one of the

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Speaker 3: I guess, integral parts to making the episode as special

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Speaker 3: as it could have been. This episode was such a

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Speaker 3: collaboration between Giermo and Hawk and the writer and this

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Speaker 3: fucking amazing.

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Speaker 1: Director director who is fun as fuck. Also, like she's

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Speaker 1: such a down girl, like fuck h just happy, like

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Speaker 1: just brought joy to the set every single day, even

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Speaker 1: with this you know, the subject matter in this episode,

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Speaker 1: which is is super downer, but she was just a

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Speaker 1: light man and she she guided us through this heavy

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Speaker 1: shit man, especially me. I was like I was a

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Speaker 1: mess shooting this episode. I mean a literal a mess.

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Speaker 3: I can't even imagine the depths of despair and the

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Speaker 3: places in your brain and heart that you had to

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Speaker 3: go to to shoot this episode.

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Speaker 4: Yeah, today's guest is the.

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Speaker 3: One and only Lady Brown. She directed the episode IDLED

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Speaker 3: seven fifty two, which is episode two nineteen, and I

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Speaker 3: we are forever in her debt because again, like she

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Speaker 3: just led us and we had no time. We got

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Speaker 3: this script at like in the later part of the afternoon.

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Speaker 3: I sort of vaguely remember, and we were literally on

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Speaker 3: set at six o'clock in the morning already making.

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Speaker 1: Oh, starting to share this out.

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Speaker 3: Yeah, so I don't know what her prep time was.

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Speaker 3: I can't wait to ask her here, Mo, Like, you

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Speaker 3: didn't know leading into seven to fifty two that this

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Speaker 3: was coming down the pike for you, did you know?

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Speaker 1: Not at all? There was like rumblings, like writers would

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Speaker 1: be like, Oh, there's something really good coming up for you.

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Speaker 1: There's there's a really good script coming up. So that's

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Speaker 1: that was the extent of what I knew about this episode.

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Speaker 1: And I do remember we had that table read, remember,

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Speaker 1: and it was such an emotional table reader. Yes, it

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Speaker 1: wasn't a court room.

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Speaker 4: It was so sometimes listeners.

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Speaker 3: Normally we would always do the Scandal table reads in

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Speaker 3: a big like conference room on the stages on Sunset Gower,

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Speaker 3: which is the lot we shot on for all seven seasons.

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Speaker 3: But once in a while we would be shooting an

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Speaker 3: episode that, like on table read day, we wouldn't be

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Speaker 3: at the stages, and this was one of those where

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Speaker 3: we were actually shooting in a courtroom for whatever happened

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Speaker 3: in episode two eighteen.

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Speaker 4: That I can't remember anymore.

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Speaker 1: I can't remember.

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Speaker 3: And so they set up the table read where we

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Speaker 3: were in this sort of like ominous, huge courtroom that

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Speaker 3: you could was it also on a sound stage somewhere.

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Speaker 1: I believe, so yeah, yeah, yeah, yeah, I think it

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Speaker 1: was too Yeah. And they set up a big table. Yeah.

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Speaker 3: That room was just like completely it was almost like

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Speaker 3: sacred or something.

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Speaker 4: Yeah, it felt like we all went to church or

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Speaker 4: some shit.

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Speaker 1: Yes, yes, like.

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Speaker 4: It felt spiritual. The room felt changed.

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Speaker 3: We all felt changed at the table read of this episode.

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Speaker 1: I think we all knew. You could feel how special

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Speaker 1: the episode was and how different from all the others

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Speaker 1: it was palpable.

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Speaker 5: Yeah.

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Speaker 1: I remember having a hard time having a hard time

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Speaker 1: getting through reading the lines because I was getting emotional

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Speaker 1: as I was reading it, and I had never read

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Speaker 1: it before, you know what I mean? Who And then

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Speaker 1: as an actor, you're like, I gotta fucking learn, like

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Speaker 1: monologue after monologue and.

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Speaker 4: Like really go there there.

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Speaker 5: Yeah.

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Speaker 3: Oh, by the way, I was thinking, we should not

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Speaker 3: have Alison Liddy Brown unless you want to read the

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Speaker 3: synopsis and scandal pace. Maybe she should give us a

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Speaker 3: directing note.

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Speaker 1: Right Ooh, I like that Katie.

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Speaker 4: But I haven't seen her in one hundred years.

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Speaker 3: Like, I don't know what the last episode she directed

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Speaker 3: of Scandal was, but she directed a bunch. She was

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Speaker 3: a real fan favorite amongst the crew, amongst the cast,

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Speaker 3: amongst the writers. She just got it. She's got a

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Speaker 3: fucking cool vibe. The crew loves her. She's great at

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Speaker 3: giving direction to actors, and she's just like a one

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Speaker 3: of a kind. I think she directs it at Gray's Anatomy. Still,

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Speaker 3: I have no idea. We'll have to ask her when

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Speaker 3: she comes on because it's been forever.

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Speaker 1: I think he might have done Station nineteen.

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Speaker 4: Also, oh, maybe she did Station nineteen.

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Speaker 5: Oh.

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Speaker 1: She's a gem, man, She's a gem. Like you said,

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Speaker 1: she's one of those directors that they just kept asking back. Yeah,

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Speaker 1: because everyone loved her so much.

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Speaker 3: The question is, when you watch this episode back, are

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Speaker 3: you proud of your work?

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Speaker 1: Oh? My god, so so proud. And I texted Katie

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Speaker 1: last night or I video messaged her saying hey, and

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Speaker 1: I was sobbing. Mike was in the living room and

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Speaker 1: he he was like really and he left the room

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Speaker 1: like he was so mad because he was crying he

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Speaker 1: was like, really, I can't do this right now, like

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Speaker 1: it's eight in the morning.

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Speaker 4: I was like, it was a hysterical cry.

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Speaker 1: Yes, we both were, Yeah, yeah, it's we both were.

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Speaker 3: It's the most painful fucking episode for those you listening,

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Speaker 3: Like when Huck goes into the hole and they are

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Speaker 3: forcing you over and over again do you have a

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Speaker 3: wife and family and you're like no, yes, yes, yes,

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Speaker 3: until they beat it out of him and he's been

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Speaker 3: in the hole for a million months, until he finally says, no.

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Speaker 4: It is. It is the worst. It is fucking worst.

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Speaker 1: And the Wig progression brilliant, brilliant. Really, the Wig and

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Speaker 1: Beard progression.

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Speaker 4: Is just go down into a real hole. What did

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Speaker 4: they make? What was that constructed out of? Did they

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Speaker 4: in the ground? What the fuck was that?

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Speaker 1: What is the lot in Burbank? Like here where Ellen shoots.

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Speaker 1: There was like sound stages there and we shot there.

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Speaker 4: Yeah, and it was like a there's a hole there,

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Speaker 4: there's a hole.

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Speaker 1: Yeah, there's a hole there, y'all.

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Speaker 3: I've I never did anything surrounding or in the hole,

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Speaker 3: so I have no clue what we're talking about.

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Speaker 1: Now. What I heard that ain't what I heard.

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Speaker 3: Katie I've never been around it.

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Speaker 1: It was like to a two level thing, so they

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Speaker 1: could shoot from above obviously when you see me down

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Speaker 1: in the hole and then there were no walls around

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Speaker 1: the hole. I was just in this you know, in

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Speaker 1: in in this space that they created to look like

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Speaker 1: a you know, like a tight hole.

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Speaker 4: Were you scared in there?

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Speaker 1: No? No, because there were no walls so I didn't

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Speaker 1: feel cluster. You don't hear anything? Yeah, no, no, no, no, Oh,

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Speaker 1: that's good fun fact. There's there's some fun like blooper

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Speaker 1: stuff on on the DVDs of me and the hole

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Speaker 1: and uh.

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Speaker 4: What are you doing out there? Just like dancing around?

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Speaker 1: Yeah? No, I think when they're asking me about my family,

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Speaker 1: I start saying some stupid shit like maybe I don't know,

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Speaker 1: like something like that. It's just goofy. I start to

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Speaker 1: get goofy, and they put it in this.

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Speaker 4: Funny gebo, where's your wife and family? Do you have one? Maybe?

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Speaker 1: Maybe I don't know. Yeah, it was stupid.

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Speaker 4: It's so stupid, this fucking episode.

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Speaker 3: I can't be acting on everyone's Oh everyone gets their moment.

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Speaker 1: Yo even fits in Olivia like there their ship in

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Speaker 1: this episode is.

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Speaker 3: Freaking He's still in the hospital bed right, and like

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Speaker 3: she doesn't trust him, she doesn't know what's going on.

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Speaker 4: Yes, she's like, uh uh yeah, I.

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Speaker 1: Don't believe you.

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Speaker 4: I don't believe ye. I mean unbelievable.

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Speaker 3: We should look up wait, I'm gonna IMDb real quick

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Speaker 3: so that the listeners know the genius with which we

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Speaker 3: are about to be blessed is what Allison Lyddy Brown

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Speaker 3: else has done?

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Speaker 4: Or did you already look this up?

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Speaker 1: Oh, she's done a bunch of stuff. Yeah, lizanas yeah, yeah, yeah,

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Speaker 1: let me.

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Speaker 4: Se Oh my god. Also she's fucking gorgeous. What just

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Speaker 4: came up? Wait? Okay.

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Speaker 3: So she made her directorial debut on the first season

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Speaker 3: of the Nickelodeon series The Secret World of Alex Mack.

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Speaker 1: That's it, That's it, which I love.

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Speaker 3: She then went on to direct episodes for a number

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Speaker 3: of notable television series, namely The Mystery Files of Shelby

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Speaker 3: Wu Xena Warrior, Princess Beverly.

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Speaker 4: Hills nine o two one of them.

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Speaker 3: Gotta ask her about that Star Trek Voyager Evan Stevens

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Speaker 3: CSI Crime Scene Investigation CSA, every CSI under the Sun,

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Speaker 3: Chock Gray's anatomy. Oh, she directed A Bunch of Friday

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Speaker 3: Night Lights which is oh beautiful, directed shows.

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Speaker 4: Ever gossip Girl.

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Speaker 3: In twenty ten, she won the Director's Guild of America's

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Speaker 3: Award for Outstanding Directorial Achievement in Children's Programming for directing

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Speaker 3: the original movie Princess Protection Program starring Selena Gomez and

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Speaker 3: Demi Lovado with my neighbor and I want to ask

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Speaker 3: her about working with them anyway, she's here and we

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Speaker 3: don't want to waste her time. But drum roll, please

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Speaker 3: one the.

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Speaker 4: Alice.

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Speaker 1: Yes, you guys, Alison, what is happening right now? You

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Speaker 1: look exactly the same as you did ten years ago? Whatever,

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Speaker 1: what is happening?

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Speaker 3: We're just looking at your wiki, wiki, wiki page, and.

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Speaker 4: How look at this? Look at this? This is you,

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Speaker 4: this is Look at how gorgeous.

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Speaker 1: You have not age.

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Speaker 3: I'm showing a picture of her her winning a very fancy,

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Speaker 3: sexy ward.

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Speaker 5: Thank you.

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Speaker 3: Oh wait, I feel like this is you directing? Oh no,

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Speaker 3: this is you directing Gray's Anatomy. Yeah, look at that

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Speaker 3: fucking coat. Alison Liddy Brown always has fashion, cool glasses,

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Speaker 3: a cool director style.

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Speaker 4: There's always a.

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Speaker 5: Look at me, look at that coat?

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Speaker 1: Yeah yeah, but you were always comfortable, like looking good

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Speaker 1: and fly, but comfortable.

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Speaker 4: Got to be comfortable, right, Yeah, Well she's not an idiot.

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Speaker 4: She's like like, I could get on the floor with you, guys.

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Speaker 5: I had to make sure I could get on the ground.

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Speaker 1: Yes, be with you.

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Speaker 4: Yeah, I miss you.

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Speaker 3: We miss Alison Liddy Brown. Thank you for being here.

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Speaker 5: Well, thank you for asking me to be here. This

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Speaker 5: is my pleasure, you guys. I mean some shows I've

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Speaker 5: worked on, you know, I look back on them and

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Speaker 5: I think, oh, but this show nothing but good vibes.

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Speaker 5: I mean from the beginning.

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Speaker 1: Yeah, yeah, yeah, but how does it feel to direct?

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Speaker 1: You directed one of the most like loved episodes of Scandal.

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Speaker 4: When we do a deep dive.

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Speaker 1: About that, it's her favorite episode.

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Speaker 3: Seven fifty two, which is the episode we're talking about today. Yes,

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Speaker 3: when I go deep and I like look on the

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Speaker 3: internet of everyone's favorite Scandal episodes of all time, it's

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Speaker 3: either and it's split perfectly seven fifty two or the Trail.

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Speaker 4: And I like.

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Speaker 3: Seven fifty two is my personal favorite Scanned episode of

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Speaker 3: all time. It's gier MOA's favorite. It's Vince, our producer's favorite.

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Speaker 3: It's one of Shonda Rhime's favorite and you directed.

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Speaker 4: The shit out of it.

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Speaker 5: Yeah, well that's very nice of you guys, But you

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Speaker 5: guys acted the shit out of it. And the writer

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Speaker 5: was amazing. I mean that he you know. I called the.

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Speaker 6: Uh fantastic editor Matt Ramsey because he edited it, and

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Speaker 6: I called him yesterday and I was like, dude, I

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Speaker 6: just rewatched this fucking great.

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Speaker 1: Wow.

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Speaker 4: From an editing standpoint, I thought about.

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Speaker 1: That, Oh I did. Yeah, the transitions, the transition transitions, Allison,

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Speaker 1: how how like involved were you with the editing? Are

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Speaker 1: you there with him or does he do a pass

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Speaker 1: and then you sort of give notes or how does

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Speaker 1: it work?

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Speaker 5: Sure? And a lot of people probably don't know this,

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Speaker 5: but you know, episodic directors, we are mostly journey people.

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Speaker 5: We come in I do you know, nine different shows

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Speaker 5: a year. That's how I used to do it. And

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Speaker 5: some people think, oh, you're the only director. Are you

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Speaker 5: direct scandal? I'm like, no, no, no, I've directed a

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Speaker 5: few scandal. I don't want to think you know, they

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Speaker 5: put that on. Wait, that's not her name. So people

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Speaker 5: don't know that, and they should understand that the creative

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Speaker 5: process with the director is I have to it's like

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Speaker 5: I'm a little circus. I go from one to another

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Speaker 5: to another, and sometimes the vibe is so perfect. It

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Speaker 5: really is. And with with you, guys, it really was

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Speaker 5: just I mean from the beginning, like do your people

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Speaker 5: know that? Carrie Washington and I was lucky enough to

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Speaker 5: do episode three of season one. Hell have no Fury,

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Speaker 5: I think is what it was called. She started every episode,

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Speaker 5: all of us together in that okay.

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Speaker 4: This yet, I'm so glad you're bringing this.

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Speaker 1: I know you're the first.

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Speaker 5: How would she do it? Let's all do it right now,

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Speaker 5: if you're near a table, ready and go.

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Speaker 7: Yes, That's how we would start. So the blood was flowing,

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Speaker 7: the creativity was flowing, the trust was flowing.

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Speaker 5: And that's why that show's amazing. It's because of that.

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Speaker 4: I totally.

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Speaker 3: You guys, for Kerry Washington started this tradition. I want

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Speaker 3: to say, I don't. I might have been episode three,

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Speaker 3: it might have been the first episode you ever directed.

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Speaker 3: But every single episode she would gather the hire crew

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Speaker 3: and cast on day one, scream the episode number and

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Speaker 3: tell everyone to bang on any fucking our surface that

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Speaker 3: you could find and yelp and scream and gather like

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Speaker 3: the work everybody were Yeah.

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Speaker 7: Yes, everybody. Everybody gravitated toward it.

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Speaker 5: And I think that's what made because as I'm watching

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Speaker 5: it and I said to Matt Ramsey, I'm like, dude,

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Speaker 5: this happened ten years ago. What do you remember. To

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Speaker 5: go back to your question, Girma, I get four days,

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Speaker 5: The editor gets four days. So the editor puts together

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Speaker 5: what we call either an assemble or a cut, depending

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Speaker 5: on how you see it. And then I put together

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Speaker 5: a DC, a director's cut, and I get four days

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Speaker 5: in which to do that, unless there's some kind of

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Speaker 5: problem with air dates, and then they can peel it back.

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Speaker 5: But this is for the union. This is what the

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Speaker 5: union has given us. So I did get to sit

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Speaker 5: with Matt Ramsey, who is a blast in the editing room. Also,

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Speaker 5: he loves my shit, so that's why I also, I

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Speaker 5: can't believe you did this. I'm like, I know, right,

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Speaker 5: so it makes me happy this script.

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Speaker 3: Do you have any idea I know that like, first

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Speaker 3: of all, being like the episodic director that you are,

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Speaker 3: which honestly now I didn't know before Scandal because I

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Speaker 3: didn't work very much. How the ask that is being

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Speaker 3: made of you is practically impossible. Like I'm just like

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Speaker 3: being a director that thank you for saying it's impossible

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Speaker 3: to be a true episodic director and just in from

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Speaker 3: show to show and rally all these egos and personalities

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Speaker 3: and different job titles for better or for worse and

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Speaker 3: keep them on task and make an artistic, wonderful project

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Speaker 3: and make the hours and make the days and make

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Speaker 3: this the turnarounds is so insane and stressful.

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Speaker 1: To have answers for every department's question. It's like that

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Speaker 1: was my biggest thing, Like I just directed something and

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Speaker 1: it just everyone comes to you right for with questions

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Speaker 1: and you have to you have to be confident in

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Speaker 1: it and have answers. And that's like, oh my god.

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Speaker 4: You're the guest.

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Speaker 3: You have to have answers to all these departments who

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Speaker 3: they are there all the time. Yeah, all actually might

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Speaker 3: know better than you in some regard because you are

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Speaker 3: the guest. But you also have to walk this fine

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Speaker 3: line of like, but I'm the director and I make

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Speaker 3: the final say, but also I'm in collaboration with you

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Speaker 3: because this is your permanent home and not my permanent home.

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Speaker 4: It's weird, no joke, it's.

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Speaker 5: No joke, and it is It's kind of one of

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Speaker 5: the weirdest jobs I've ever heard of. But I actually

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Speaker 5: picked this job because I could wear these.

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Speaker 3: Yes makers she's seeing sneakers.

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Speaker 5: I had to sit back and think to myself, what

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Speaker 5: job can I wear whatever I want? Because really, clothes

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Speaker 5: are important to me and feel good, Like how do

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Speaker 5: I feel good in my body and in my clothing

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Speaker 5: and in and in? You know, Carrie Washington said to me,

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Speaker 5: I can't imagine you do doing any other job, you know,

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Speaker 5: like you just like you just And I remember thinking,

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Speaker 5: you're right, I would if you ask me what other

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Speaker 5: job could you do? I don't know what it would

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Speaker 5: be because I love it and I love it because

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Speaker 5: I love actors.

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Speaker 4: That you can feel it. That's the we really really

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Speaker 4: fear it fail.

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Speaker 1: Oh I'm glad Alison, you you were. You guided us

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Speaker 1: so beautifully.

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Speaker 3: Wait wait before we dive into scandal, because I'm a

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Speaker 3: fan and Garmu does this all the time. What was

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Speaker 3: it like directing Friday Night Lights? Because that's one of

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Speaker 3: my all time favorite shows, and I think the pilot

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Speaker 3: to Friday Night Lights honestly top five pilots of television.

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Speaker 3: Gray's Anatomy, Friday Night lights, those fucking pilots. I'm in

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Speaker 3: preschool with Scott Porter. I see him every day.

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Speaker 5: Oh my god. He has such a strong.

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Speaker 4: Every day the strongest.

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Speaker 5: We can't do that anyway, test ever.

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Speaker 4: So tell me about the direction Friday lights.

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Speaker 5: Real quick, Okay, real quick. We use three cameras all

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Speaker 5: the time. It was sixteen millimeter film. It was so beautiful.

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Speaker 5: The DP his name is David Boyd. He's a genius.

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Speaker 5: He would put park Hams outside of a real location.

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Speaker 5: And we did not use sets. There were no sets.

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Speaker 4: We read, no blocking.

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Speaker 5: No. Well, here's what we would do. I would walk

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Speaker 5: into uh, you know, Tammy Taylor's house and I'd say, okay, guys,

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Speaker 5: what do you need? And he would say I want

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Speaker 5: to be making bacon and I need this, And Julie

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Speaker 5: would come in and go, I need my backpack and

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Speaker 5: my books. All right, you're going to come in from there. Yes,

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Speaker 5: you're going to come in from there. Yes, you're gonna

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Speaker 5: come from there. Yes, there is a point where I'm

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Speaker 5: going to take you guys outside. Okay, great, you're gonna

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Speaker 5: grab those things and we're going to go outside to

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Speaker 5: the car. Very good, and then you're going to get

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Speaker 5: in the car, and that's what we're going to end it.

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Speaker 5: So that we would do what I would call like

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Speaker 5: a just a little skeleton blocking, and then the actors

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Speaker 5: would just go and then we put three cameras and

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Speaker 5: then I screamed things like crunch, you know, crash in,

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Speaker 5: get go to the mediums, go to the mediums. That

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Speaker 5: we go crash in and get to the to the

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Speaker 5: tight shocks. Then we flip the line. We do the

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Speaker 5: same thing, and we would be out in forty five minutes.

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Speaker 5: No way, And let me tell you something minute.

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Speaker 4: Gee, have you ever watched Friday Night Lights?

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Speaker 1: No, I've only seen the movie, and just start watching

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Speaker 1: the show.

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Speaker 4: Oh oh yeah, it's so beautiful.

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Speaker 5: I did seven episodes.

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Speaker 1: God jamn, I'm gonna start watching it.

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Speaker 4: Wow, Allison, Wait, how many did you do?

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Speaker 6: Allison?

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Speaker 1: Ten? Seven, seven, And the number seven keeps coming up

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Speaker 1: and then seven fifty two, seven fifty two and five

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Speaker 1: plus two is seven? What the fuck? You guys?

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Speaker 4: Get them a lottery tickets, a baby.

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Speaker 1: Seven seven.

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Speaker 4: We will be.

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Speaker 3: Back with more after the break.

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Speaker 4: Everybody, We're gonna this real quick. At Scandal Pace.

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Speaker 3: We're talking about episode two nineteen titled seven fifty two,

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Speaker 3: which aired on April twenty fifth in twenty.

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Speaker 1: Thirteen, and it was written by Mark Fish and directed

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Speaker 1: by The Alison Lady Brown y'all.

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Speaker 3: It was guest starring Scott Foley as Jake Ballard, George

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Speaker 3: Newburn as Charlie, Jesse, Cott Nicole as Kim, Joe Morton

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Speaker 3: as Mysterious.

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Speaker 1: Man, Stony Westmoreland as Hal Rimbau, David Mounier as Crosby,

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Speaker 1: and Jordan Carretas as Hobby.

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Speaker 3: And the synopsis if you don't know, do yourself a

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Speaker 3: favor and watch this episode multiple times because it it

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Speaker 3: will stand the test of time in my opinion. Okay

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Speaker 3: Hawks break down after being held in a trunk Sparks.

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Speaker 3: The OPA's team attempts at pulling him back from the

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Speaker 3: brink by sharing their very personal experiences working for Olivia.

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Speaker 3: As we dive into hucks past, we learn all of

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Speaker 3: the terrible things he's done for b six thirteen, from

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Speaker 3: the start of his recruitment, all the way until he

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Speaker 3: was held in the hole, until he renounced his family.

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Speaker 1: Meanwhile, in the present Fifthen Olivia finally air their grievances

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Speaker 1: about defiance before giving into love, albeit for a brief moment,

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Speaker 1: Jake Ballad wants off of the case with Olivia, but

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Speaker 1: the mystery Man has other plans.

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Speaker 3: And finally, as Olivia returns from the hospital, she's able

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Speaker 3: to snap Huck out of his trance as we learn

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Speaker 3: what seven point fifty two actually means. Oh yay, you

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Speaker 3: notes maybe just less sincere.

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Speaker 5: You're just a little too sincere.

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Speaker 1: Take that out, fake it up, take it out a

443
00:22:24,720 --> 00:22:25,560
Speaker 1: little bit, fake it up.

444
00:22:25,640 --> 00:22:25,800
Speaker 5: Yeah.

445
00:22:25,960 --> 00:22:29,320
Speaker 3: Yeah, Alison, when you were watching back this episode, do

446
00:22:29,359 --> 00:22:35,359
Speaker 3: you have any favorite memories of shooting any certain scenes

447
00:22:35,440 --> 00:22:37,760
Speaker 3: that you were like, oh my god, that that was

448
00:22:37,840 --> 00:22:41,280
Speaker 3: a huge scene for me, or scenes that were really hard,

449
00:22:41,400 --> 00:22:42,840
Speaker 3: or scenes that something like that.

450
00:22:43,520 --> 00:22:47,560
Speaker 5: Well, I think everything on the platform was amazing to me,

451
00:22:47,800 --> 00:22:53,880
Speaker 5: everything on the subway platform. So the teaser just incredible,

452
00:22:54,440 --> 00:22:58,520
Speaker 5: all of it. And I remember being like, I think

453
00:22:58,560 --> 00:23:02,080
Speaker 5: it was lated night. It was definitely late at night,

454
00:23:02,280 --> 00:23:04,520
Speaker 5: and I was wondering, did we do it two nights

455
00:23:04,680 --> 00:23:05,320
Speaker 5: or one night?

456
00:23:05,600 --> 00:23:07,240
Speaker 1: I feel like because I didn't, I feel like we

457
00:23:07,240 --> 00:23:10,240
Speaker 1: did two nights, but I don't quite remember.

458
00:23:10,000 --> 00:23:13,280
Speaker 5: Nights too, like at six hour chunks or something like that. Yeah,

459
00:23:13,320 --> 00:23:18,440
Speaker 5: but I remember that being incredible to me. Between Germo

460
00:23:18,480 --> 00:23:24,280
Speaker 5: and I and just our discussions and working toward his pain,

461
00:23:25,000 --> 00:23:29,160
Speaker 5: which was so beautifully evident and so well crafted. I mean,

462
00:23:29,240 --> 00:23:32,160
Speaker 5: come on, I just did so great and just all

463
00:23:32,200 --> 00:23:36,439
Speaker 5: of that between Jouseka and then the little Boy Hobby

464
00:23:36,960 --> 00:23:41,359
Speaker 5: and all of that, that night was very special to me.

465
00:23:41,520 --> 00:23:43,800
Speaker 1: I remember at one point, I don't know if you remember,

466
00:23:43,840 --> 00:23:46,520
Speaker 1: but you sat with me on the couch outside of

467
00:23:46,640 --> 00:23:49,720
Speaker 1: Huck's room. And it might have been when we were

468
00:23:49,720 --> 00:23:53,159
Speaker 1: doing the ending scenes where uh where Carrie ends up

469
00:23:53,200 --> 00:23:56,520
Speaker 1: coming in and out of you know, his trance that

470
00:23:56,600 --> 00:23:58,960
Speaker 1: he's in. But you sat with me and held my

471
00:23:59,080 --> 00:24:03,399
Speaker 1: hand and rubbed my hand for like twenty minutes and

472
00:24:03,520 --> 00:24:05,760
Speaker 1: just talking to me and taking care of and I

473
00:24:05,800 --> 00:24:09,520
Speaker 1: was like, it was so special and I'll never ever

474
00:24:09,600 --> 00:24:11,600
Speaker 1: forget that. I don't know if you do you remember.

475
00:24:11,240 --> 00:24:13,160
Speaker 5: That, It's be yeah.

476
00:24:14,359 --> 00:24:17,560
Speaker 1: And I don't know if I could have done what

477
00:24:17,640 --> 00:24:19,119
Speaker 1: I did in this episode without you.

478
00:24:19,320 --> 00:24:23,960
Speaker 5: It's the truth, Well I believe you could. But anyway,

479
00:24:24,080 --> 00:24:27,159
Speaker 5: I'm glad I was there to be a conduit, because

480
00:24:27,200 --> 00:24:29,960
Speaker 5: that's all I am. I'm there to just to guide

481
00:24:30,119 --> 00:24:31,359
Speaker 5: and to try to get to the truth.

482
00:24:31,520 --> 00:24:34,119
Speaker 3: By the way, the other craziness that was asked, I

483
00:24:34,200 --> 00:24:37,240
Speaker 3: think of directors on Scandal, was that you weren't given

484
00:24:37,400 --> 00:24:40,719
Speaker 3: a script until Yes, Like on other shows, you might

485
00:24:40,760 --> 00:24:42,680
Speaker 3: be giving a script far in advance that you could

486
00:24:42,720 --> 00:24:45,879
Speaker 3: really prep your shot list or make decisions on what

487
00:24:46,000 --> 00:24:48,159
Speaker 3: a still shot would be, or who's having the focus

488
00:24:48,280 --> 00:24:48,600
Speaker 3: or whatever.

489
00:24:48,920 --> 00:24:51,320
Speaker 4: Did you have any of that for seven fifty two?

490
00:24:52,119 --> 00:24:56,159
Speaker 5: Well, here's what's great. Because of Friday night Lights. That

491
00:24:56,480 --> 00:25:02,359
Speaker 5: trained me to be unafraid of anything that wasn't planned.

492
00:25:02,960 --> 00:25:10,160
Speaker 5: It trained me to be fearless and to rely on actors.

493
00:25:10,080 --> 00:25:12,879
Speaker 1: Met on set. Right, that's it?

494
00:25:13,080 --> 00:25:13,240
Speaker 5: Yeah?

495
00:25:13,320 --> 00:25:13,800
Speaker 1: Yeah, yeah.

496
00:25:14,160 --> 00:25:15,919
Speaker 5: Also, and I think I can say this, and if

497
00:25:15,960 --> 00:25:19,679
Speaker 5: I can't, you guys you get it out. But they

498
00:25:19,760 --> 00:25:21,880
Speaker 5: hadn't shot Olivia's office yet.

499
00:25:21,960 --> 00:25:22,520
Speaker 1: Oh shit.

500
00:25:22,720 --> 00:25:24,760
Speaker 5: So I'm in there and I'm like looking at you.

501
00:25:24,880 --> 00:25:26,639
Speaker 5: I'm looking at your I'm looking at what's going to

502
00:25:26,640 --> 00:25:29,440
Speaker 5: be your office, I'm looking at what your So I'm

503
00:25:29,520 --> 00:25:31,879
Speaker 5: just like making notes and what looks cool and what

504
00:25:32,000 --> 00:25:35,359
Speaker 5: I could use. And I hear something in Olivia's office.

505
00:25:36,440 --> 00:25:38,720
Speaker 5: I'm in the back and I look like this. It's

506
00:25:38,760 --> 00:25:44,119
Speaker 5: Shonda Rhymes. She's all alone and she's moving in Olivia's office,

507
00:25:44,640 --> 00:25:48,680
Speaker 5: like scanning the room out of here and I'm in

508
00:25:48,760 --> 00:25:54,480
Speaker 5: the back over there, and I'm like, I should I

509
00:25:54,640 --> 00:25:56,720
Speaker 5: say hi? But she was in the think of that.

510
00:25:56,800 --> 00:26:00,840
Speaker 5: You could see your mind working, sitting at the desk,

511
00:26:01,040 --> 00:26:03,000
Speaker 5: and she looked behind her and they had put some

512
00:26:03,280 --> 00:26:07,720
Speaker 5: pictures I think, like frames of like Olivia's personal life.

513
00:26:08,160 --> 00:26:09,800
Speaker 5: She went and I could see on her face.

514
00:26:09,840 --> 00:26:10,440
Speaker 4: I didn't like that.

515
00:26:10,640 --> 00:26:13,080
Speaker 5: She didn't want that, but I don't. I don't remember

516
00:26:13,119 --> 00:26:14,920
Speaker 5: if she took them down, or if she made a

517
00:26:15,040 --> 00:26:17,280
Speaker 5: note or somebody came in. I really don't know how

518
00:26:17,320 --> 00:26:19,640
Speaker 5: it happened, but I do know that all those things

519
00:26:19,680 --> 00:26:20,680
Speaker 5: got Did you ever say?

520
00:26:21,000 --> 00:26:23,879
Speaker 1: Did you say or did you just stay quiet?

521
00:26:23,960 --> 00:26:26,919
Speaker 5: I think I think it was quiet, and then something

522
00:26:27,000 --> 00:26:29,000
Speaker 5: did shift or something I was like hey, Like in

523
00:26:29,040 --> 00:26:32,720
Speaker 5: the back, lind I never say hello, how are you today?

524
00:26:33,920 --> 00:26:37,159
Speaker 5: So far away? But that I'll never forget that.

525
00:26:37,160 --> 00:26:39,879
Speaker 4: Wow, that was I can't believe that memory.

526
00:26:40,040 --> 00:26:43,400
Speaker 3: Like being the first person to direct in Olivia Pope's

527
00:26:43,520 --> 00:26:45,760
Speaker 3: arm this and like Shonda was probably sitting in there

528
00:26:45,800 --> 00:26:47,560
Speaker 3: thinking about like how does she talk in here? What

529
00:26:47,680 --> 00:26:50,120
Speaker 3: are the scenes that happen? What does she want in here?

530
00:26:50,320 --> 00:26:52,400
Speaker 3: Like way she how does your brain work in here?

531
00:26:52,640 --> 00:26:55,840
Speaker 3: Like oh my god, and it was just.

532
00:26:55,920 --> 00:26:57,359
Speaker 5: That's why I didn't want to interrupt it with a

533
00:26:57,400 --> 00:27:00,720
Speaker 5: dumb hello. I just want I could see. It's sort

534
00:27:00,720 --> 00:27:02,720
Speaker 5: of like when I get to a set early, and

535
00:27:02,840 --> 00:27:06,720
Speaker 5: I really like doing that because I'm alone and I

536
00:27:06,800 --> 00:27:09,520
Speaker 5: can move around. Does this feel right? Does this feel right?

537
00:27:09,560 --> 00:27:12,159
Speaker 5: Because I'm going to make suggestions to you guys, but

538
00:27:12,320 --> 00:27:14,399
Speaker 5: you can say, oh, I don't know, I don't know

539
00:27:14,440 --> 00:27:16,520
Speaker 5: if that's right. Let me try what you said, Alison.

540
00:27:17,240 --> 00:27:19,000
Speaker 5: You know that's how I like to do it. I

541
00:27:19,119 --> 00:27:21,679
Speaker 5: give you a sort of an idea, but then if

542
00:27:21,720 --> 00:27:23,959
Speaker 5: it doesn't feel right, it's like a bad pair of shoes.

543
00:27:24,000 --> 00:27:25,800
Speaker 5: I'm not going to ask it a wear. We're going

544
00:27:25,880 --> 00:27:28,359
Speaker 5: to do it feels Hey, You're going to do it

545
00:27:28,440 --> 00:27:31,159
Speaker 5: feels true, right, That's what we're all going for, what

546
00:27:31,359 --> 00:27:34,720
Speaker 5: feels true. So I like it in there early. But

547
00:27:34,800 --> 00:27:38,080
Speaker 5: the problem is people think they're there for you to

548
00:27:38,240 --> 00:27:41,440
Speaker 5: ask answer questions. I'm sitting down and people.

549
00:27:41,280 --> 00:27:43,600
Speaker 1: Are like, hey, Allison, non stop.

550
00:27:44,000 --> 00:27:46,480
Speaker 5: People don't give me the thing that Shonda got from me,

551
00:27:46,760 --> 00:27:51,320
Speaker 5: which I understand in the person let her be in

552
00:27:51,400 --> 00:27:53,639
Speaker 5: the freaking zone. And I've had to now that i'm older,

553
00:27:53,640 --> 00:27:56,520
Speaker 5: I've had to say excuse me nice when you see

554
00:27:56,600 --> 00:27:59,840
Speaker 5: me here early, I'm working right now, so I know

555
00:28:00,040 --> 00:28:02,240
Speaker 5: you want me to answer which pillow And I'm not

556
00:28:02,320 --> 00:28:04,560
Speaker 5: going to do that right now. So you go over

557
00:28:04,640 --> 00:28:07,320
Speaker 5: there away from me and let me sit at his desk.

558
00:28:07,600 --> 00:28:09,720
Speaker 4: Oh my god, like you have to teach you.

559
00:28:10,600 --> 00:28:15,359
Speaker 1: I've directed seven fifty two. Leave me alone. Leave me alone.

560
00:28:15,400 --> 00:28:20,720
Speaker 5: I know what I'm doing. I'm an out gay director

561
00:28:21,200 --> 00:28:23,560
Speaker 5: and so it's scared.

562
00:28:24,400 --> 00:28:29,479
Speaker 1: And so it's just I was going to talk about this, yes, huge.

563
00:28:30,200 --> 00:28:32,000
Speaker 4: I forgot about Jessica too.

564
00:28:33,040 --> 00:28:33,680
Speaker 1: I have chill.

565
00:28:35,119 --> 00:28:35,880
Speaker 6: I'm chilly.

566
00:28:36,280 --> 00:28:38,120
Speaker 5: And when you and I we were there and we

567
00:28:38,240 --> 00:28:40,880
Speaker 5: were working and there's this stuff. We're in Hollywood and

568
00:28:40,960 --> 00:28:43,480
Speaker 5: there's tons of people around and I'm telling them all

569
00:28:43,520 --> 00:28:46,520
Speaker 5: what to do, and he's over there doing all the feeling,

570
00:28:47,080 --> 00:28:50,680
Speaker 5: and she's over there and we're all great. And I thought,

571
00:28:51,200 --> 00:28:56,280
Speaker 5: that's shondaland right there, all these little misfits coming together,

572
00:28:56,920 --> 00:29:00,960
Speaker 5: creating art in a subway hole in the middle of

573
00:29:01,240 --> 00:29:04,360
Speaker 5: you know, fricking wherever North hollywo or wherever we were. Yeah,

574
00:29:04,760 --> 00:29:08,000
Speaker 5: and I hugged them both. We remember, I was hugging you,

575
00:29:08,480 --> 00:29:10,440
Speaker 5: and then I hugged her and we were just I

576
00:29:10,480 --> 00:29:12,600
Speaker 5: don't know if we took pictures. I wish we we did.

577
00:29:12,880 --> 00:29:14,520
Speaker 1: Have a bunch of house and I'll send them to you.

578
00:29:15,040 --> 00:29:17,120
Speaker 1: I have a ton of pictures of us in the subway.

579
00:29:17,560 --> 00:29:21,240
Speaker 5: Yeah, oh god, I just I remember that was being

580
00:29:21,640 --> 00:29:22,280
Speaker 5: very powerful.

581
00:29:22,360 --> 00:29:25,360
Speaker 1: There was there was an unspoken like bomb there between

582
00:29:25,560 --> 00:29:27,440
Speaker 1: especially with you and I, and then of course whenever

583
00:29:27,520 --> 00:29:30,600
Speaker 1: we were we worked with Jessica. But just knowing that

584
00:29:31,440 --> 00:29:35,360
Speaker 1: we were, you know, these queer artists doing this amazing work,

585
00:29:35,440 --> 00:29:38,720
Speaker 1: it just felt so special and so so rare, right,

586
00:29:38,800 --> 00:29:40,160
Speaker 1: And I was like, oh man.

587
00:29:40,160 --> 00:29:44,200
Speaker 5: This is what a dream. Yes, imagine whispering to little

588
00:29:44,400 --> 00:29:45,840
Speaker 5: ten year old Germa.

589
00:29:45,760 --> 00:29:49,080
Speaker 1: Listening to be fine, to.

590
00:29:49,080 --> 00:29:52,200
Speaker 3: Be an artist, got TV and like and they're going

591
00:29:52,280 --> 00:29:55,479
Speaker 3: to give you all. And it's not like some indie

592
00:29:55,640 --> 00:29:57,560
Speaker 3: indie thing, you know what I mean. It's like, this

593
00:29:57,720 --> 00:29:59,880
Speaker 3: is like, like you said, there's a lot of people

594
00:30:00,040 --> 00:30:02,600
Speaker 3: listening to you and supporting you and spending a shitload

595
00:30:02,600 --> 00:30:04,320
Speaker 3: of money on this. Like I think our budget was

596
00:30:04,360 --> 00:30:05,800
Speaker 3: like two million an episode or something.

597
00:30:05,800 --> 00:30:07,280
Speaker 1: I mean, it was crazy, like.

598
00:30:09,000 --> 00:30:11,840
Speaker 3: Everybody was watching it. I mean, by the time seven

599
00:30:11,960 --> 00:30:14,600
Speaker 3: fifty two air, this is episode two nineteen, so all

600
00:30:14,760 --> 00:30:18,040
Speaker 3: first season Scandal was not on people's radar, but by

601
00:30:18,120 --> 00:30:22,280
Speaker 3: episode two nineteen, this show was on people's radar. So

602
00:30:22,480 --> 00:30:26,120
Speaker 3: the stuff you three made and created in this episode

603
00:30:26,800 --> 00:30:31,600
Speaker 3: was huge and made it into the everybody's living room.

604
00:30:32,800 --> 00:30:35,400
Speaker 5: Isn't that something we made? Everybody's amazing.

605
00:30:36,240 --> 00:30:42,640
Speaker 4: That's amazing and should be and it's just like, yeah.

606
00:30:42,640 --> 00:30:44,800
Speaker 3: I'm so glad you brought that up. Wow, Giermo, what

607
00:30:44,920 --> 00:30:46,840
Speaker 3: stood out do you when you watched the episode back?

608
00:30:46,920 --> 00:30:50,280
Speaker 3: Same question, like, do you have specific memories that you

609
00:30:50,520 --> 00:30:54,200
Speaker 3: can't let go like that or just oh my god,

610
00:30:54,280 --> 00:30:55,080
Speaker 3: right there, Well.

611
00:30:55,280 --> 00:30:57,640
Speaker 1: Let's just get it out now. Like one of the

612
00:30:57,720 --> 00:31:00,960
Speaker 1: most traumatizing things about shooting this episode is having to

613
00:31:01,160 --> 00:31:04,760
Speaker 1: shave my beard, to shave my scruff. I had to

614
00:31:04,840 --> 00:31:09,720
Speaker 1: be clean shaven for the majority of this episode, and

615
00:31:09,840 --> 00:31:14,440
Speaker 1: that is always work you no, because you know that

616
00:31:14,640 --> 00:31:18,400
Speaker 1: covers you know, your double chin or whatever flaws as

617
00:31:18,440 --> 00:31:19,200
Speaker 1: a guy that you have.

618
00:31:19,920 --> 00:31:20,760
Speaker 4: Oh yeah, forget it.

619
00:31:20,840 --> 00:31:23,360
Speaker 3: If I could have a full fucking beard, I would

620
00:31:23,880 --> 00:31:26,440
Speaker 3: if I could hear the bearded lady to take away

621
00:31:26,520 --> 00:31:29,320
Speaker 3: this full moon of a face, So do it in

622
00:31:29,440 --> 00:31:30,080
Speaker 3: one second.

623
00:31:30,600 --> 00:31:33,240
Speaker 4: You're like one particular But you know what I love

624
00:31:33,360 --> 00:31:34,200
Speaker 4: so much about it?

625
00:31:34,280 --> 00:31:39,360
Speaker 3: Though, is you're acting in this episode when you are

626
00:31:39,560 --> 00:31:44,280
Speaker 3: shaved and you are so happy, like we never we've

627
00:31:44,400 --> 00:31:47,560
Speaker 3: never seen Huck like that before, and it's so rare

628
00:31:47,760 --> 00:31:50,000
Speaker 3: in the whole seven years that we see you like

629
00:31:50,880 --> 00:31:53,760
Speaker 3: like bounding down the stairs and like making out with

630
00:31:53,880 --> 00:31:56,360
Speaker 3: Jessika and like meeting your son and like you're just

631
00:31:56,720 --> 00:32:02,320
Speaker 3: so happy and full, and like did you work on that?

632
00:32:02,480 --> 00:32:05,040
Speaker 3: Did you know you wanted to be so juxtaposit Like

633
00:32:05,080 --> 00:32:05,680
Speaker 3: how did you know?

634
00:32:05,960 --> 00:32:08,320
Speaker 1: We had no time? Aliston? You know, we had no

635
00:32:08,480 --> 00:32:10,960
Speaker 1: I had no time to even think about it, which

636
00:32:11,160 --> 00:32:13,880
Speaker 1: I cherished, probably why it was so great exactly. I

637
00:32:14,040 --> 00:32:16,360
Speaker 1: love that because then I get it. You sometimes is

638
00:32:16,400 --> 00:32:18,720
Speaker 1: a crazy artist that we are, you getting your head

639
00:32:18,800 --> 00:32:21,320
Speaker 1: and you overthink shit and you're like and then it

640
00:32:21,480 --> 00:32:24,440
Speaker 1: just yeah, but we had no time. I remember feeling

641
00:32:25,120 --> 00:32:28,160
Speaker 1: super anxious when I read the episode at the table

642
00:32:28,200 --> 00:32:30,440
Speaker 1: read and being like, oh my god, we have a

643
00:32:30,640 --> 00:32:32,560
Speaker 1: lot of work to do. But then we were thrust

644
00:32:32,640 --> 00:32:35,040
Speaker 1: into it and we just started to work and it

645
00:32:35,240 --> 00:32:37,520
Speaker 1: just felt right and all of that sort of fell away.

646
00:32:37,920 --> 00:32:41,800
Speaker 1: And having you there, you know, guiding me and being

647
00:32:41,880 --> 00:32:46,040
Speaker 1: so protective and loving and good and you knew what

648
00:32:46,160 --> 00:32:49,400
Speaker 1: I love about like directors that I love is directors

649
00:32:49,440 --> 00:32:52,000
Speaker 1: that know exactly what they want. And you always knew

650
00:32:52,040 --> 00:32:54,600
Speaker 1: exactly what you wanted. Of course you were open to,

651
00:32:54,840 --> 00:32:57,200
Speaker 1: you know, suggestions or if somebody didn't feel that was

652
00:32:57,280 --> 00:32:59,880
Speaker 1: right or whatever, but it just I felt again we

653
00:33:00,040 --> 00:33:02,240
Speaker 1: keep saying it, but I just felt super super safe

654
00:33:02,640 --> 00:33:02,880
Speaker 1: with you.

655
00:33:03,040 --> 00:33:03,400
Speaker 5: And it was.

656
00:33:04,200 --> 00:33:08,640
Speaker 3: Godes doing all that, which Alison brought out. But it's like,

657
00:33:08,680 --> 00:33:10,960
Speaker 3: you can't believe how many fucking people you tortured and

658
00:33:11,080 --> 00:33:11,560
Speaker 3: murdered and.

659
00:33:11,640 --> 00:33:15,320
Speaker 5: Like so many and then wrap their live faces. You

660
00:33:15,360 --> 00:33:16,400
Speaker 5: know they weren't really dead.

661
00:33:17,080 --> 00:33:22,160
Speaker 1: Emplastic, yes, yes, yeah, folding.

662
00:33:21,840 --> 00:33:24,240
Speaker 5: Them up and then like hurry up and cut like.

663
00:33:25,760 --> 00:33:31,120
Speaker 1: Breathing. H But how hilarious that all these actors that

664
00:33:31,200 --> 00:33:33,600
Speaker 1: they cast that you. I'm sure you chose them right,

665
00:33:33,800 --> 00:33:35,840
Speaker 1: I'm sure they came to you with pictures and then

666
00:33:35,880 --> 00:33:37,960
Speaker 1: all of a sudden they're like, take off all your clothes,

667
00:33:38,440 --> 00:33:43,120
Speaker 1: get into these skin colored like bi yeah, we're gonna

668
00:33:43,120 --> 00:33:45,920
Speaker 1: cut your toe off. Yeah, but they were all game,

669
00:33:46,160 --> 00:33:46,960
Speaker 1: they were leg down.

670
00:33:47,840 --> 00:33:50,680
Speaker 5: But you brought up something so great, the juxtaposition. And

671
00:33:51,160 --> 00:33:52,840
Speaker 5: again I go back to the writing. You know that

672
00:33:53,040 --> 00:33:55,760
Speaker 5: that marked it so well with you know, and and

673
00:33:56,240 --> 00:33:58,960
Speaker 5: and the acting, the screaming when you were in such

674
00:33:58,960 --> 00:34:01,920
Speaker 5: a good mood because you knew that your your wife

675
00:34:01,960 --> 00:34:06,120
Speaker 5: had was pregnant, pregnant, and you said, I'm in a

676
00:34:06,160 --> 00:34:09,920
Speaker 5: good mood today, and just the way like yes, magic

677
00:34:10,080 --> 00:34:15,320
Speaker 5: to see the disassociation, the compartmentalization, like the heck Jekyl

678
00:34:15,360 --> 00:34:18,080
Speaker 5: and hide quality. This is stuff we don't talk about.

679
00:34:18,280 --> 00:34:21,040
Speaker 5: I'm telling you we really didn't have to because he

680
00:34:21,160 --> 00:34:23,440
Speaker 5: had this great way of having a good mood. This

681
00:34:23,600 --> 00:34:26,200
Speaker 5: is great. And then it went from the guy going yeah,

682
00:34:27,120 --> 00:34:29,719
Speaker 5: did you see that transition?

683
00:34:30,040 --> 00:34:31,840
Speaker 1: That was such a beautiful transition was.

684
00:34:31,840 --> 00:34:34,200
Speaker 3: Amazing, And then she says, she's like, you know, there's

685
00:34:34,200 --> 00:34:36,280
Speaker 3: gonna be a lot of blood and all this they're gay,

686
00:34:37,200 --> 00:34:40,120
Speaker 3: like good, I got this, daddy.

687
00:34:40,160 --> 00:34:41,360
Speaker 5: There's gonna be a lot of blood.

688
00:34:41,440 --> 00:34:44,160
Speaker 1: Do you remember the baby? The baby? Didn't they smother

689
00:34:44,280 --> 00:34:47,040
Speaker 1: it in like jelly, like grape jelly and like cream

690
00:34:47,120 --> 00:34:47,840
Speaker 1: cheese or whatever the.

691
00:34:47,840 --> 00:34:51,719
Speaker 5: Fuck it was. We used cream cheese and strawberry jam.

692
00:34:51,880 --> 00:34:54,760
Speaker 5: My god, but it was when we could use real babies.

693
00:34:55,080 --> 00:34:57,080
Speaker 5: During COVID, none of us could use real babies. So

694
00:34:57,120 --> 00:34:59,480
Speaker 5: you'll see all these all these TV shows.

695
00:35:00,120 --> 00:35:07,560
Speaker 4: With plastic as dollies. That is so funny. That's really

696
00:35:07,719 --> 00:35:08,320
Speaker 4: really funny.

697
00:35:08,840 --> 00:35:10,879
Speaker 5: I thought, oh my god, it's a real baby. It's

698
00:35:10,920 --> 00:35:13,719
Speaker 5: a really good baby. And we shot the fingers and

699
00:35:14,680 --> 00:35:18,320
Speaker 5: as shown so beautiful.

700
00:35:19,000 --> 00:35:20,080
Speaker 1: We'll be right back, guys.

701
00:35:24,040 --> 00:35:26,880
Speaker 3: I want to add one quick thing about my memory

702
00:35:26,920 --> 00:35:29,080
Speaker 3: of this episode, even though it is not about Quinn.

703
00:35:29,200 --> 00:35:32,600
Speaker 3: And that's okay, I like to say, and I bow

704
00:35:32,680 --> 00:35:34,400
Speaker 3: down to both of you and all the work you

705
00:35:34,480 --> 00:35:36,759
Speaker 3: did in my personal favorite Scandal episode of all time.

706
00:35:37,600 --> 00:35:41,920
Speaker 3: But I remember doing the table read in this courtroom

707
00:35:42,080 --> 00:35:46,359
Speaker 3: set you mean on location, Yes, in a courtroom that's

708
00:35:46,400 --> 00:35:50,239
Speaker 3: where this episode was red was first read, Yes, and

709
00:35:50,360 --> 00:35:54,120
Speaker 3: it was very spiritual and sacred, and it almost felt

710
00:35:54,200 --> 00:35:55,520
Speaker 3: like we were I know it was a courtroom, but

711
00:35:55,560 --> 00:36:00,920
Speaker 3: it would almost felt like church or something. It was crazy, right, Yes,

712
00:36:01,280 --> 00:36:04,919
Speaker 3: And then I read the Quinn monologue and then Mary

713
00:36:05,000 --> 00:36:07,000
Speaker 3: Howard comes running up to me and says, you're gonna

714
00:36:07,040 --> 00:36:08,000
Speaker 3: be first up at six am.

715
00:36:08,120 --> 00:36:08,840
Speaker 4: You think you can do it?

716
00:36:09,120 --> 00:36:09,279
Speaker 5: Oh?

717
00:36:09,560 --> 00:36:12,239
Speaker 1: Fuck? Of course, of course fuck.

718
00:36:12,719 --> 00:36:15,840
Speaker 3: And of course I'm like, okay, okay, I got this,

719
00:36:15,960 --> 00:36:18,719
Speaker 3: I got this, and that's it. Like I think we

720
00:36:18,800 --> 00:36:20,920
Speaker 3: get out of there at like three four pm. From

721
00:36:20,920 --> 00:36:22,759
Speaker 3: the table read by the time I get home and

722
00:36:22,880 --> 00:36:24,879
Speaker 3: have some dinner. Maybe I start working on this shit

723
00:36:24,960 --> 00:36:27,040
Speaker 3: around seven pm. And I'm in the makeup chair at

724
00:36:27,120 --> 00:36:31,840
Speaker 3: like five or something, and I've got it. But here's

725
00:36:31,920 --> 00:36:39,160
Speaker 3: the worst part. Shonda Rhymes her dang self shows up

726
00:36:39,760 --> 00:36:43,120
Speaker 3: because she wants to watch the monologues and do never

727
00:36:43,360 --> 00:36:46,799
Speaker 3: on three of them, never onset because she's too busy

728
00:36:46,840 --> 00:36:48,520
Speaker 3: writing and she can't be on set.

729
00:36:49,000 --> 00:36:50,799
Speaker 1: Yes, she can't every monologue.

730
00:36:51,040 --> 00:36:56,480
Speaker 3: My monologue was first, then went Darby, then went Harrison

731
00:36:56,880 --> 00:36:58,719
Speaker 3: and you better be word perfect.

732
00:36:58,960 --> 00:37:05,120
Speaker 4: And she's there watching and I am diarrhea nervous.

733
00:37:05,360 --> 00:37:10,080
Speaker 8: I mean I am talking like, yeah, I am unwell,

734
00:37:11,040 --> 00:37:15,120
Speaker 8: like they to jump here a whole other level of

735
00:37:15,320 --> 00:37:18,359
Speaker 8: like was already stressed because I was given no time.

736
00:37:18,880 --> 00:37:21,680
Speaker 3: I was already stressed because you know, I was so

737
00:37:21,840 --> 00:37:24,160
Speaker 3: excited to get a monologue that I loved and like

738
00:37:24,239 --> 00:37:26,360
Speaker 3: you said, the writing was so brilliant and this was

739
00:37:26,360 --> 00:37:27,840
Speaker 3: such a special episode and so I.

740
00:37:27,920 --> 00:37:30,520
Speaker 1: Felt, right, you want to do it justice, like yeah.

741
00:37:30,360 --> 00:37:32,040
Speaker 4: And then I was going to go first, and I

742
00:37:32,160 --> 00:37:33,879
Speaker 4: was like, why is this going first?

743
00:37:33,960 --> 00:37:36,400
Speaker 3: But okay, I'm the baby of the show, and a

744
00:37:36,480 --> 00:37:39,719
Speaker 3: lot of times that's what happens, and that's fine, right,

745
00:37:39,760 --> 00:37:42,360
Speaker 3: and I better show the fuck up. But then for

746
00:37:42,520 --> 00:37:46,400
Speaker 3: the Queen herself to be there watching when.

747
00:37:46,280 --> 00:37:46,960
Speaker 5: She never was.

748
00:37:47,200 --> 00:37:48,680
Speaker 4: I was terrified.

749
00:37:48,800 --> 00:37:50,000
Speaker 5: Um believable.

750
00:37:50,239 --> 00:37:51,360
Speaker 4: But you just said that.

751
00:37:52,080 --> 00:37:55,520
Speaker 5: But now I have something to say about this, she said, God,

752
00:37:55,719 --> 00:37:58,680
Speaker 5: should I read it? I don't know. I do it?

753
00:37:58,800 --> 00:37:59,000
Speaker 6: Do it?

754
00:37:59,560 --> 00:38:02,880
Speaker 5: Okay? Wait, hold on everyone, hold on. Okay, okay, this

755
00:38:03,000 --> 00:38:05,719
Speaker 5: is what he says. So I call him and I say, hey,

756
00:38:06,160 --> 00:38:08,520
Speaker 5: I'm doing this thing. Do you have any good memories

757
00:38:08,600 --> 00:38:10,560
Speaker 5: like what happened in that editing room? Did we talk

758
00:38:10,600 --> 00:38:12,960
Speaker 5: about this? We talk about that? Do we switch anything around?

759
00:38:13,120 --> 00:38:15,560
Speaker 5: Did we move anything? I said, it's been thirteen or

760
00:38:15,640 --> 00:38:18,799
Speaker 5: ten years and had the choice of music. I asked

761
00:38:18,840 --> 00:38:19,760
Speaker 5: them about all that stuff.

762
00:38:19,800 --> 00:38:20,600
Speaker 4: Okay, you're the best.

763
00:38:20,640 --> 00:38:23,520
Speaker 5: So here's what he says. Hello, I remember one thing,

764
00:38:24,239 --> 00:38:27,160
Speaker 5: which was the montage of Huck killing set to a

765
00:38:27,239 --> 00:38:32,400
Speaker 5: song I can see clearly now. Originally it was supposed

766
00:38:32,440 --> 00:38:35,960
Speaker 5: to be my showy a Moore, but Stevie Wonder and

767
00:38:36,080 --> 00:38:38,440
Speaker 5: is a state wouldn't let us do it because of

768
00:38:38,480 --> 00:38:41,240
Speaker 5: all the blood and violence, oh Shada, and I probably

769
00:38:41,320 --> 00:38:45,160
Speaker 5: tried fifty songs and then we landed on I can

770
00:38:45,239 --> 00:38:49,520
Speaker 5: see clearly now. I thought it was a brilliant turn. Also,

771
00:38:50,080 --> 00:38:53,560
Speaker 5: and I can show you this for real. I'm not lying. Also,

772
00:38:53,840 --> 00:38:56,800
Speaker 5: Katie Lowe's monologue was played in a wunner, I believe.

773
00:38:57,280 --> 00:38:59,759
Speaker 5: I remember you shot tons of setups, but as soon

774
00:38:59,800 --> 00:39:03,360
Speaker 5: as I saw that take, I thought, quote, I cannot

775
00:39:03,440 --> 00:39:05,360
Speaker 5: cut this up because it's perfect.

776
00:39:05,520 --> 00:39:06,919
Speaker 1: Oh my god, I'm gonna cry.

777
00:39:07,160 --> 00:39:09,239
Speaker 5: I also remember that you shot out of it. I'm

778
00:39:09,239 --> 00:39:12,040
Speaker 5: just gonna go on. And it was a joy to

779
00:39:12,239 --> 00:39:13,399
Speaker 5: edit for you, as.

780
00:39:13,320 --> 00:39:17,399
Speaker 4: It always is. That I miss you, Okay, I love

781
00:39:17,560 --> 00:39:22,399
Speaker 4: that so much. So thank you reaching out to him.

782
00:39:23,360 --> 00:39:25,080
Speaker 4: Thank you for reading that.

783
00:39:26,160 --> 00:39:31,160
Speaker 3: And I am so proud of that monologue and my

784
00:39:31,320 --> 00:39:34,960
Speaker 3: diary because I do I do remember it being a

785
00:39:35,040 --> 00:39:37,200
Speaker 3: wonner and I couldn't mess up the word, you know

786
00:39:37,239 --> 00:39:37,600
Speaker 3: what I mean.

787
00:39:37,680 --> 00:39:40,239
Speaker 4: Like I was like, I can do this, but.

788
00:39:42,360 --> 00:39:45,320
Speaker 3: I will never forget it. I will just it's like

789
00:39:45,480 --> 00:39:47,320
Speaker 3: of the seven years of scandal.

790
00:39:47,360 --> 00:39:50,640
Speaker 1: You know, you have like your special.

791
00:39:51,760 --> 00:39:55,560
Speaker 3: Memories that are like imprinted in like the deepest parts

792
00:39:55,800 --> 00:39:59,280
Speaker 3: of your brain, and that scene and that whole story

793
00:39:59,360 --> 00:40:01,319
Speaker 3: leading up to it, it is like one of them

794
00:40:01,560 --> 00:40:04,920
Speaker 3: for me. So thank you for helping me through that.

795
00:40:05,360 --> 00:40:07,080
Speaker 1: Yeah, and I think one of the reasons that they

796
00:40:07,200 --> 00:40:10,320
Speaker 1: chose you to to go first is because y'all, Katie

797
00:40:10,560 --> 00:40:16,759
Speaker 1: will no memorize her lines and memorize mine, know when

798
00:40:16,840 --> 00:40:19,279
Speaker 1: Olivia should come in with a certain line, like you

799
00:40:19,400 --> 00:40:22,160
Speaker 1: are the most I don't know how your brain works.

800
00:40:22,080 --> 00:40:23,920
Speaker 4: Josh Blena has it better than me, Joshina.

801
00:40:24,600 --> 00:40:28,120
Speaker 1: Katie would recite soliloquies from Shakespeare while we were like,

802
00:40:28,320 --> 00:40:30,520
Speaker 1: I'm waiting to shoot, and I'd be like, I don't

803
00:40:30,560 --> 00:40:32,560
Speaker 1: remember what I have to say when we're about to

804
00:40:32,600 --> 00:40:36,440
Speaker 1: shoot right now? How the fuss do you remember Ophelia's monologue?

805
00:40:36,800 --> 00:40:38,920
Speaker 3: But that's why you're a better actor than me, because

806
00:40:38,960 --> 00:40:42,120
Speaker 3: you are so present and I am so stuck in

807
00:40:42,239 --> 00:40:44,440
Speaker 3: being right and correct.

808
00:40:45,160 --> 00:40:47,640
Speaker 4: You're so good at being right here right now.

809
00:40:47,880 --> 00:40:50,480
Speaker 3: I'm just like, now, I've already figured out all my turns,

810
00:40:50,640 --> 00:40:51,439
Speaker 3: like what I'm doing.

811
00:40:52,239 --> 00:40:56,759
Speaker 1: I'm also constantly diarrhea nervous. That's mostly why I'm holding the.

812
00:40:56,840 --> 00:41:00,960
Speaker 4: Sides is I was very nervous.

813
00:41:01,320 --> 00:41:03,160
Speaker 3: Can we all give it up to for the monologues?

814
00:41:03,200 --> 00:41:06,799
Speaker 3: I mean Garry's analogue to Hawk at the end.

815
00:41:07,080 --> 00:41:11,160
Speaker 5: I mean I was hoping, Germo, you would remember something

816
00:41:11,200 --> 00:41:15,600
Speaker 5: about this, like the way everybody sat like it was

817
00:41:15,640 --> 00:41:18,560
Speaker 5: all very deliberate. When Katie came to sit, she sat

818
00:41:19,000 --> 00:41:22,279
Speaker 5: next to you like equals. They were like that, You

819
00:41:22,360 --> 00:41:25,200
Speaker 5: were like this. When Darby came in, her character is

820
00:41:25,320 --> 00:41:28,360
Speaker 5: very flinty, and you know, I don't feel anything anymore.

821
00:41:29,640 --> 00:41:31,560
Speaker 4: She sat up on that table.

822
00:41:32,320 --> 00:41:35,160
Speaker 5: She was a little above you. When Columbus came in,

823
00:41:35,400 --> 00:41:38,680
Speaker 5: he also was above you. He was somewhere up high

824
00:41:38,880 --> 00:41:41,479
Speaker 5: and he was basically was sitting, but he was above

825
00:41:41,560 --> 00:41:45,480
Speaker 5: you that. When Carrie came in, she sat across from you,

826
00:41:46,040 --> 00:41:50,400
Speaker 5: I to eye and it was so cool. How that,

827
00:41:51,040 --> 00:41:55,760
Speaker 5: how just the positioning of the actors makes such a difference.

828
00:41:55,800 --> 00:41:57,520
Speaker 5: Because I'm sitting there as a director, like, I'm going

829
00:41:57,560 --> 00:41:59,239
Speaker 5: a bunch of monologues, How am I going to make

830
00:41:59,239 --> 00:42:01,879
Speaker 5: these different? They mean by where they sit and all

831
00:42:01,960 --> 00:42:05,319
Speaker 5: of that. Yeah, but I wanted to ask you if

832
00:42:05,360 --> 00:42:07,080
Speaker 5: you remember, I think it was in the script there

833
00:42:07,160 --> 00:42:12,279
Speaker 5: was something about Carrie helping you up, touching you, and

834
00:42:12,400 --> 00:42:15,320
Speaker 5: then helping you up, and it was her touch that

835
00:42:15,680 --> 00:42:16,560
Speaker 5: had you stop.

836
00:42:16,880 --> 00:42:20,560
Speaker 1: Yes, the hat has me stopped saying seven to fifty two. Yeah,

837
00:42:20,840 --> 00:42:23,800
Speaker 1: she's she's the only one that touches me out of

838
00:42:23,880 --> 00:42:27,080
Speaker 1: all the all the Gladiators. Yeah yeah, yeah, yeah, yeah,

839
00:42:27,320 --> 00:42:28,760
Speaker 1: she touched.

840
00:42:28,440 --> 00:42:30,960
Speaker 5: You, and that's why you stop.

841
00:42:31,280 --> 00:42:33,080
Speaker 4: Broke in the bicycle.

842
00:42:33,719 --> 00:42:38,000
Speaker 5: Contact and you can't lie about that stuff you can

843
00:42:38,080 --> 00:42:38,720
Speaker 5: feel and stuff.

844
00:42:38,840 --> 00:42:43,040
Speaker 1: Yeah, listen, it's honestly, it's it's rare. Like me and

845
00:42:43,160 --> 00:42:45,680
Speaker 1: Katie talk about the tearstick all the time. You know

846
00:42:45,760 --> 00:42:48,879
Speaker 1: what a tearstick is, Alison. Obviously, when an actor can't

847
00:42:48,920 --> 00:42:52,440
Speaker 1: emotionally get there, you get a tearstick and you, you know,

848
00:42:52,560 --> 00:42:55,839
Speaker 1: sort of conjures up tears because it's mental being blown

849
00:42:55,880 --> 00:42:58,520
Speaker 1: into your eyes. But this is one of the few

850
00:42:58,719 --> 00:43:04,640
Speaker 1: times that I was emotionally raw every single take, every

851
00:43:04,760 --> 00:43:08,480
Speaker 1: take on when you were covering Carrie ever she did,

852
00:43:08,600 --> 00:43:12,000
Speaker 1: I don't know, like maybe eight or more takes sobb

853
00:43:12,080 --> 00:43:14,640
Speaker 1: it like I couldn't, I couldn't stop crying. And then

854
00:43:14,760 --> 00:43:16,800
Speaker 1: of course when it turned on me, it was it

855
00:43:16,920 --> 00:43:20,319
Speaker 1: was I don't know, it was it was. I've never

856
00:43:20,400 --> 00:43:23,600
Speaker 1: experienced anything like that before where I was just so

857
00:43:24,080 --> 00:43:24,560
Speaker 1: raw in it.

858
00:43:24,680 --> 00:43:26,520
Speaker 4: My god, when you say I think I used to

859
00:43:26,640 --> 00:43:27,719
Speaker 4: have a family.

860
00:43:28,080 --> 00:43:30,799
Speaker 1: Yeah yeah, yeah, yeah, but I don't remember. I could

861
00:43:30,920 --> 00:43:33,279
Speaker 1: cry right now about.

862
00:43:33,040 --> 00:43:36,640
Speaker 5: It, I know. So do you think it Do you

863
00:43:36,800 --> 00:43:40,400
Speaker 5: think it was? Because it was so it just felt

864
00:43:40,840 --> 00:43:44,400
Speaker 5: so real. His background just it felt so real. And

865
00:43:44,480 --> 00:43:47,800
Speaker 5: do you think it touched something in you that that

866
00:43:48,360 --> 00:43:49,600
Speaker 5: maybe yeah.

867
00:43:51,480 --> 00:43:55,120
Speaker 1: Yeah, yeah I connected to Hucks.

868
00:43:55,320 --> 00:43:59,520
Speaker 3: It's the saddest thing ever, those shots when you realize

869
00:43:59,560 --> 00:44:01,960
Speaker 3: that seven fifty two is the fucking time and the

870
00:44:02,000 --> 00:44:05,399
Speaker 3: fucking train where he sees her and him, and then

871
00:44:06,160 --> 00:44:08,319
Speaker 3: I'm so angry that this is so emotional, but it's

872
00:44:08,360 --> 00:44:10,279
Speaker 3: like and then the sun comes up to him and

873
00:44:10,400 --> 00:44:13,520
Speaker 3: finally puts money in his cup, like and that is.

874
00:44:15,560 --> 00:44:23,080
Speaker 4: It's just like all so much and perfect and also

875
00:44:23,200 --> 00:44:25,640
Speaker 4: we're seeing the making. It's so cool. I love when

876
00:44:25,840 --> 00:44:28,000
Speaker 4: shows do this, but god, this one did it so well.

877
00:44:28,080 --> 00:44:30,680
Speaker 4: But I love that it took.

878
00:44:32,000 --> 00:44:36,279
Speaker 3: Nineteen plus seven episodes to figure for us to realize

879
00:44:36,440 --> 00:44:38,920
Speaker 3: and learn what Mads.

880
00:44:39,160 --> 00:44:42,200
Speaker 4: Hawk the huck we know, oh right, yeah, what happened

881
00:44:42,200 --> 00:44:42,520
Speaker 4: to him.

882
00:44:42,800 --> 00:44:45,320
Speaker 3: It's like, we've spent so many hours with this character

883
00:44:45,440 --> 00:44:47,400
Speaker 3: who's so fucked up, and we love that he's so

884
00:44:47,520 --> 00:44:49,520
Speaker 3: fucked up, and he's so dark and he murders people

885
00:44:49,560 --> 00:44:52,000
Speaker 3: and he has no issues with it, and he has

886
00:44:52,080 --> 00:44:55,320
Speaker 3: a whiskey addiction, which is really just metaphor for hurting people.

887
00:44:55,440 --> 00:44:57,319
Speaker 3: And why is he like this, and why is he's

888
00:44:57,600 --> 00:44:59,880
Speaker 3: why is he like this? What could have possibly happened

889
00:44:59,880 --> 00:45:02,880
Speaker 3: to this person to make him who he is? And

890
00:45:03,000 --> 00:45:06,400
Speaker 3: seven fifty two is when we learn what was taken

891
00:45:06,480 --> 00:45:09,239
Speaker 3: from him and how and how brutal that was, and

892
00:45:09,560 --> 00:45:14,040
Speaker 3: just it's it's it's it and it answers every it makes.

893
00:45:14,200 --> 00:45:16,359
Speaker 4: It's like, oh my god, that's why he is who

894
00:45:16,440 --> 00:45:16,759
Speaker 4: he is.

895
00:45:17,160 --> 00:45:22,640
Speaker 5: It's just yeah, so good, it's so true, so good,

896
00:45:22,880 --> 00:45:25,680
Speaker 5: it's so How about the and also the locations?

897
00:45:26,040 --> 00:45:28,000
Speaker 1: Yeahba, my wife.

898
00:45:28,080 --> 00:45:34,480
Speaker 5: I was like, we see that that empty refrigerator, that huge,

899
00:45:34,800 --> 00:45:38,880
Speaker 5: empty fucking refrigerator. That this woman who did the locations

900
00:45:38,880 --> 00:45:42,040
Speaker 5: And why can't I think of her? She's Mary Howard's buddy.

901
00:45:42,480 --> 00:45:43,360
Speaker 1: Yes, I can't.

902
00:45:45,560 --> 00:45:45,799
Speaker 5: Woman.

903
00:45:46,520 --> 00:45:48,960
Speaker 4: Wait which refrigerator? Wait, what are you talking about?

904
00:45:49,080 --> 00:45:51,120
Speaker 5: It's an well you probably didn't know it was a refrigerator,

905
00:45:51,160 --> 00:45:54,239
Speaker 5: but it's huge. It was a commercial refrigerator. Happens to

906
00:45:54,280 --> 00:45:56,960
Speaker 5: be in my neighborhood weirdly in South pass Over here.

907
00:45:57,000 --> 00:45:58,920
Speaker 5: I always see it. I always see the bill, like

908
00:45:59,120 --> 00:46:02,239
Speaker 5: that's what we did. We did all that stuff on

909
00:46:02,280 --> 00:46:04,600
Speaker 5: the east side because Mary Howard's brilliant about finding stuff

910
00:46:05,000 --> 00:46:10,400
Speaker 5: and it was a really big commercial freezer or refrigerator,

911
00:46:10,400 --> 00:46:13,799
Speaker 5: I'm not sure what. It was. All metal, metal top,

912
00:46:13,880 --> 00:46:16,719
Speaker 5: metal size, metal bottom. And that's where we killed the guy.

913
00:46:17,640 --> 00:46:19,359
Speaker 5: I don't know. He's probably the second or third guy

914
00:46:19,440 --> 00:46:22,759
Speaker 5: we killed. And at the last the last shot is

915
00:46:23,280 --> 00:46:31,399
Speaker 5: Garmo tiny tiny in the frame and this room where

916
00:46:31,440 --> 00:46:32,879
Speaker 5: you could stream all day.

917
00:46:35,360 --> 00:46:38,160
Speaker 1: You do you remember that the other set, Allison, where

918
00:46:38,200 --> 00:46:41,640
Speaker 1: it's the hallway where Huck is walking with Charlie and

919
00:46:41,800 --> 00:46:44,279
Speaker 1: he's like, so, how do you feel it feels good? Right,

920
00:46:44,320 --> 00:46:47,080
Speaker 1: and like, yeah, it feels really good. Oh, that's such

921
00:46:47,160 --> 00:46:51,400
Speaker 1: a beautiful shot. That long, long, sort of amber lit hallway.

922
00:46:51,880 --> 00:46:53,439
Speaker 1: Oh so good, very.

923
00:46:53,400 --> 00:46:56,160
Speaker 5: Famous hallway which I have seen really huge movies now

924
00:46:56,360 --> 00:46:58,000
Speaker 5: at least three times I.

925
00:46:58,000 --> 00:46:58,440
Speaker 3: Would go to.

926
00:47:00,280 --> 00:47:00,320
Speaker 7: That.

927
00:47:01,000 --> 00:47:03,520
Speaker 5: I'm starting to be like that person shout that all

928
00:47:03,520 --> 00:47:07,719
Speaker 5: the way, you know, so you're right, it was. It's spectacular.

929
00:47:08,120 --> 00:47:11,920
Speaker 5: That whole complex, which is this weird it's in Arcadia, right,

930
00:47:12,000 --> 00:47:14,560
Speaker 5: who's in Arcadia or something on the east side, and

931
00:47:14,680 --> 00:47:18,080
Speaker 5: that ugly nondescript room which you're so smart. I love

932
00:47:18,120 --> 00:47:22,239
Speaker 5: you in that scene when Charlie's there, did I guess

933
00:47:22,280 --> 00:47:25,120
Speaker 5: we had to feel like if Huck did not do

934
00:47:25,320 --> 00:47:28,640
Speaker 5: this it wasn't about going back on tour. He looked

935
00:47:28,680 --> 00:47:32,879
Speaker 5: over and he saw Charlie with his hands get killed,

936
00:47:34,440 --> 00:47:36,920
Speaker 5: so you might as well do whatever and see what happens.

937
00:47:37,200 --> 00:47:42,080
Speaker 1: Yes, that's about having always popula right.

938
00:47:42,200 --> 00:47:44,960
Speaker 3: Also, this is the episode where we learn right, like

939
00:47:45,360 --> 00:47:49,160
Speaker 3: how Huck got to o p A yes, right, right,

940
00:47:49,239 --> 00:47:52,080
Speaker 3: Like we learned in this episode that Charlie lets him

941
00:47:52,120 --> 00:47:55,560
Speaker 3: go and says, right, isn't that what happens in here?

942
00:47:55,640 --> 00:47:57,200
Speaker 4: Yeah, let go and.

943
00:47:57,320 --> 00:47:59,640
Speaker 3: Reports back to the mysterious man that is that he

944
00:47:59,719 --> 00:48:01,480
Speaker 3: killed dulls Oh yeah, right.

945
00:48:01,800 --> 00:48:04,560
Speaker 1: And so basically Charlie like saves Huck in a way

946
00:48:05,160 --> 00:48:06,879
Speaker 1: like he saves his life totally. Yeah.

947
00:48:06,960 --> 00:48:09,840
Speaker 3: Yeah, and then he has nowhere to go except be homeless,

948
00:48:10,120 --> 00:48:13,880
Speaker 3: which is the reason that you know Olivia picks him up.

949
00:48:13,920 --> 00:48:18,080
Speaker 4: But oh god, this episode. Wait, Elson Lee Brown.

950
00:48:18,239 --> 00:48:20,000
Speaker 3: I'm sure you have to go and you have like

951
00:48:20,280 --> 00:48:21,800
Speaker 3: a life to lead, but wait, I just want to

952
00:48:21,840 --> 00:48:22,960
Speaker 3: read you a couple of things, and we have to

953
00:48:23,040 --> 00:48:25,120
Speaker 3: do a couple tweets of the time, and I just

954
00:48:25,160 --> 00:48:26,640
Speaker 3: want to hear about what you're doing now, and then

955
00:48:26,680 --> 00:48:28,440
Speaker 3: can we just hang out forever and ever and ever?

956
00:48:29,760 --> 00:48:34,040
Speaker 3: Fun facts Olivia's speech to Huck mirrors one that fits

957
00:48:34,080 --> 00:48:36,000
Speaker 3: gave to her a call back to the significance they

958
00:48:36,040 --> 00:48:39,520
Speaker 3: hold in each other's life. Yes, another fun fact, Joshua

959
00:48:39,760 --> 00:48:43,200
Speaker 3: Fucking Molina has a credit in this episode despite not

960
00:48:43,320 --> 00:48:46,040
Speaker 3: appearing in it at all, which you know, classic Josh.

961
00:48:46,120 --> 00:48:48,600
Speaker 4: Malina was so psyched to get paid and not work.

962
00:48:51,440 --> 00:48:52,480
Speaker 5: Josh loved.

963
00:48:52,880 --> 00:48:54,840
Speaker 3: I used to get calls like, oh, you're not going

964
00:48:54,920 --> 00:48:57,000
Speaker 3: to be in this episode because it's a flashback before

965
00:48:57,120 --> 00:48:59,400
Speaker 3: like Quinn was even around, and I'd be so bummed

966
00:48:59,400 --> 00:49:01,839
Speaker 3: because I just love to work so much, whereas Josh

967
00:49:01,960 --> 00:49:03,320
Speaker 3: is the polar opposite because.

968
00:49:03,080 --> 00:49:06,560
Speaker 4: I'm not this episode. He'd be like, yeah, like he's getting.

969
00:49:06,360 --> 00:49:10,680
Speaker 1: Kay, don't gotta work. And now we do tweets at

970
00:49:10,719 --> 00:49:11,560
Speaker 1: a time Yo.

971
00:49:11,600 --> 00:49:14,719
Speaker 3: Tweet, tweet, twee tweet two tweetweet tweets at the time

972
00:49:16,160 --> 00:49:20,200
Speaker 3: At Caspine fifteen. This aired on April twenty six, twenty thirteen.

973
00:49:20,440 --> 00:49:22,360
Speaker 4: That's ten years ago. Tweeted.

974
00:49:22,600 --> 00:49:25,120
Speaker 3: I know I'm late, but hashtag scandal was so good.

975
00:49:25,200 --> 00:49:28,600
Speaker 3: I like that, Olivia hashtag kW that's good.

976
00:49:28,840 --> 00:49:32,279
Speaker 4: I loved it. You stood your ground okay yeah, and.

977
00:49:32,480 --> 00:49:37,080
Speaker 1: Worldwide Boss Underscore four tweeted, so why were people saying

978
00:49:37,120 --> 00:49:39,560
Speaker 1: seven fifty two was how many people are killed last

979
00:49:39,640 --> 00:49:42,440
Speaker 1: night liars hashtag scandal.

980
00:49:42,719 --> 00:49:43,920
Speaker 4: Oh that would have been good though.

981
00:49:44,440 --> 00:49:45,160
Speaker 5: That's interesting.

982
00:49:46,040 --> 00:49:49,840
Speaker 1: I love in Abby's monologue that she says seven hundred

983
00:49:49,840 --> 00:49:51,600
Speaker 1: and fifty two are probably the amount of things that

984
00:49:51,719 --> 00:49:54,759
Speaker 1: you had to do for Olivia. I love that. I

985
00:49:54,920 --> 00:49:56,920
Speaker 1: love that part of it. That's part of her monologue.

986
00:49:57,320 --> 00:50:02,440
Speaker 3: Me too, Oh, she's great at Michelle Kudso tweeted got

987
00:50:02,480 --> 00:50:05,000
Speaker 3: a feeling Huck was ordered to kill his wife and child,

988
00:50:05,200 --> 00:50:06,640
Speaker 3: Luno hashtag scandal.

989
00:50:06,680 --> 00:50:09,680
Speaker 4: That would have been terrible. Oh God, that's been horrible.

990
00:50:09,760 --> 00:50:12,560
Speaker 5: Right he did he told you to do it, didn't

991
00:50:12,640 --> 00:50:14,600
Speaker 5: Charlie say you got to get rid of him. You

992
00:50:14,640 --> 00:50:16,320
Speaker 5: got to get rid of He's like you said, I know,

993
00:50:16,480 --> 00:50:18,080
Speaker 5: I know he goes you do it or I'm going

994
00:50:18,120 --> 00:50:20,880
Speaker 5: to do it. Oh, she says to you in the backyard,

995
00:50:21,880 --> 00:50:24,680
Speaker 5: which I got like, and then you I know, I

996
00:50:24,800 --> 00:50:25,239
Speaker 5: know what to do.

997
00:50:25,719 --> 00:50:28,399
Speaker 1: That was one of my favorite scenes. He walks into

998
00:50:28,440 --> 00:50:33,560
Speaker 1: his house and he sees Charlie holding Hobby holding that baby.

999
00:50:33,760 --> 00:50:37,520
Speaker 4: The baby, It's that's one of my hobby favorite scenes.

1000
00:50:37,680 --> 00:50:41,920
Speaker 1: Favorite scenes. Okay you Ni Chris at Underscore Criss Cross tweeted,

1001
00:50:42,000 --> 00:50:44,359
Speaker 1: oh lord, how many of y'all going to tweet seven

1002
00:50:44,440 --> 00:50:47,800
Speaker 1: fifty two at seven fifty two hashtag scandal. I love that.

1003
00:50:48,800 --> 00:50:49,480
Speaker 5: That's a great one.

1004
00:50:49,800 --> 00:50:54,240
Speaker 3: Brian Waller Scott at BK Prodigy tweeted, damn, I'm officially

1005
00:50:54,280 --> 00:50:55,600
Speaker 3: hooked from this last episode.

1006
00:50:55,680 --> 00:50:58,680
Speaker 4: That was really sad hashtag scandal true.

1007
00:50:59,560 --> 00:51:03,279
Speaker 1: True at Jenna and Ge tweeted one thing about last

1008
00:51:03,320 --> 00:51:05,799
Speaker 1: night's hashtag scandal is how the hell was fits able

1009
00:51:05,880 --> 00:51:08,440
Speaker 1: to stay with live for so long? Doesn't he have

1010
00:51:08,520 --> 00:51:09,399
Speaker 1: a country to run?

1011
00:51:10,480 --> 00:51:10,640
Speaker 7: Yo?

1012
00:51:12,400 --> 00:51:16,960
Speaker 4: Yo, she ain't wrong, that's so true.

1013
00:51:17,800 --> 00:51:22,280
Speaker 3: At Pope Grant, Oh, Pope Grant tweeted, bro Olivia, Pope's

1014
00:51:22,360 --> 00:51:26,320
Speaker 3: face here, So y'all let me go priceless flawless acting

1015
00:51:26,440 --> 00:51:29,200
Speaker 3: At Columbus short one hashtag scandal hashtag seven fifty two,

1016
00:51:29,280 --> 00:51:37,080
Speaker 3: Oh my god, Columbus shorts has at Lauren x Nicole

1017
00:51:37,120 --> 00:51:40,080
Speaker 3: tweeted seriously hashtag scandal. Olivia is way too strong of

1018
00:51:40,120 --> 00:51:41,680
Speaker 3: a woman to put up with Fitz's shit.

1019
00:51:43,480 --> 00:51:46,880
Speaker 1: Not wrong, well, but yeah. Cynthia Spain tweeted, I know

1020
00:51:46,920 --> 00:51:48,960
Speaker 1: I'm late, but scandal was so good.

1021
00:51:49,040 --> 00:51:49,400
Speaker 5: I liked that.

1022
00:51:49,480 --> 00:51:52,720
Speaker 1: Olivia Kerrie Washington, I loved it. You stood your ground.

1023
00:51:52,960 --> 00:51:55,360
Speaker 1: Cool nice hell yeah right, Oh my.

1024
00:51:55,440 --> 00:51:58,720
Speaker 3: Gosh tweets at the time. Next episode up is called

1025
00:51:58,840 --> 00:52:02,239
Speaker 3: a Woman's School. That's episode two twenty. I can't remember

1026
00:52:02,280 --> 00:52:04,720
Speaker 3: what it's about. I don't garma, I have no idea

1027
00:52:04,800 --> 00:52:07,680
Speaker 3: what it's about. Alison Liddy Brown. When we Germo and

1028
00:52:07,760 --> 00:52:10,000
Speaker 3: I went back to watch all the episodes and we

1029
00:52:10,120 --> 00:52:12,320
Speaker 3: wrote down like who would be our dream guests for

1030
00:52:12,400 --> 00:52:16,279
Speaker 3: each episode, you know, like depending on if Cyrus had

1031
00:52:16,320 --> 00:52:18,359
Speaker 3: a huge monologue's like we'd love to get him or whatever.

1032
00:52:18,719 --> 00:52:21,600
Speaker 3: And seven fifty two came and Gearmo and I were both.

1033
00:52:21,480 --> 00:52:22,399
Speaker 4: Like, al was of Liddy Brown?

1034
00:52:22,680 --> 00:52:26,840
Speaker 1: Yeah, yeah, we love you so much. You're so happy you.

1035
00:52:26,920 --> 00:52:30,160
Speaker 3: Did this, and this episode would not I mean, Scandal

1036
00:52:30,160 --> 00:52:32,440
Speaker 3: would not have been scandal without you and all the

1037
00:52:32,920 --> 00:52:36,200
Speaker 3: thank you but truly, you are one of the greatest

1038
00:52:37,440 --> 00:52:41,640
Speaker 3: episodic directors and directors period. Nothing comes before that word.

1039
00:52:41,920 --> 00:52:44,160
Speaker 1: Yeah, I would a treat you've given to the listeners

1040
00:52:44,719 --> 00:52:47,840
Speaker 1: with the stories and you know, so good, so.

1041
00:52:47,960 --> 00:52:50,640
Speaker 3: Good, here's so effective on how it's shot and stuff

1042
00:52:50,680 --> 00:52:53,239
Speaker 3: like you really don't talk about that much. Oh oh good,

1043
00:52:53,719 --> 00:52:56,319
Speaker 3: like how it's shot and things like that at all,

1044
00:52:56,640 --> 00:52:59,640
Speaker 3: Like because we just act as, although Gamo.

1045
00:52:59,440 --> 00:53:02,480
Speaker 1: Is YO, that shit is not easy.

1046
00:53:03,120 --> 00:53:03,880
Speaker 5: What did you direct?

1047
00:53:04,239 --> 00:53:06,439
Speaker 1: This indie film called Dear Luke Love Me. A friend

1048
00:53:06,480 --> 00:53:09,120
Speaker 1: of mine wrote this beautiful script and I directed it.

1049
00:53:09,440 --> 00:53:12,560
Speaker 1: Kia Kia, who was one of our ads on Scandal What.

1050
00:53:12,800 --> 00:53:15,600
Speaker 1: I hired her to be my first ad and she

1051
00:53:15,880 --> 00:53:20,800
Speaker 1: was amazing. But I listen, I realized how unprepared I

1052
00:53:21,080 --> 00:53:22,759
Speaker 1: was to direct. I mean, I did it, and I

1053
00:53:22,840 --> 00:53:24,960
Speaker 1: loved it. I loved working with the actors and working

1054
00:53:25,040 --> 00:53:27,680
Speaker 1: on the scenes and stuff. But all that technical stuff

1055
00:53:27,760 --> 00:53:29,879
Speaker 1: is still I still there's I have so much to learn,

1056
00:53:30,719 --> 00:53:32,800
Speaker 1: you know, but it was I want to do it

1057
00:53:32,840 --> 00:53:34,200
Speaker 1: again a long time.

1058
00:53:34,600 --> 00:53:38,240
Speaker 3: Yeah, Yeah, Alison Laddy Brown, you are one of a kind,

1059
00:53:38,400 --> 00:53:42,480
Speaker 3: gem of an artist, leader, human director.

1060
00:53:42,719 --> 00:53:46,640
Speaker 4: I can't wait for the day when I get to

1061
00:53:46,719 --> 00:53:49,120
Speaker 4: work with you again and you give me to.

1062
00:53:49,280 --> 00:53:51,680
Speaker 1: You guys like we'll always have seven fifty two.

1063
00:53:52,000 --> 00:53:56,040
Speaker 5: We can we just say that too, we always will.

1064
00:53:56,880 --> 00:53:59,960
Speaker 5: Touched me very deeply. Thank you, guys, thanks for having

1065
00:54:00,800 --> 00:54:03,560
Speaker 5: Thank you Allison Liddy Brown continued success.

1066
00:54:03,960 --> 00:54:08,680
Speaker 1: Thank you, Thank you lah Lah bye guys, bye bye.

1067
00:54:11,040 --> 00:54:14,359
Speaker 1: Thank you guys for joining us on Unpacking the Toolbox.

1068
00:54:14,719 --> 00:54:18,239
Speaker 1: If you enjoyed the show. Please subscribe, share with your friends, rate,

1069
00:54:18,440 --> 00:54:19,360
Speaker 1: or leave us a review.

1070
00:54:19,560 --> 00:54:23,480
Speaker 3: Scandal is executive produced by Sandy Bailey, Alex Alcea, Lauren Homan,

1071
00:54:23,840 --> 00:54:27,560
Speaker 3: Tyler Klang, and Gabrielle Collins. Our producer and editor is

1072
00:54:27,640 --> 00:54:31,320
Speaker 3: Vince De Johnny, with music by Chad Fisher. Unpacking the

1073
00:54:31,360 --> 00:54:34,640
Speaker 3: Toolbox is a production of Shondaland Audio in partnership with iHeartRadio.

1074
00:54:35,080 --> 00:54:38,560
Speaker 3: For more podcasts from Shondaland Audio, visit the iHeartRadio app

1075
00:54:38,640 --> 00:54:40,760
Speaker 3: or anywhere you subscribe to your favorite shows.