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Speaker 1: And that's what you really missed with Jenna.

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Speaker 2: And Kevin an iHeartRadio podcast.

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Speaker 1: Welcome to and that's where you really miss podcasts. We

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Speaker 1: have an extra very extra very extra very special Guess.

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Speaker 2: Wow, that was the most special intro thus far, and

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Speaker 2: I think deserved well. It is the one and only

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Speaker 2: Eric Stoltz actor and director extraordinaire. He directed twelve episodes

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Speaker 2: of Glee. By the end of it so much.

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Speaker 1: So many episodes? Was that the most anybody directed? Maybe

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Speaker 1: maybe fat Track, I don't know, but close close.

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Speaker 2: Yeah, he's up there for sure, and like we fought

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Speaker 2: for him to keep coming back, not that we had to,

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Speaker 2: but like we'd let it be known that we loved him.

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Speaker 1: Yeah, anytime Ryan came around, we'd be like, we love

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Speaker 1: Eericiodes and he would kind of be like, why do

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Speaker 1: you love so much? And not that I think he

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Speaker 1: was like had disdain over it, but I think he

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Speaker 1: was just genuinely curious because, like you said, we never

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Speaker 1: did that and the people heard because he was there.

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Speaker 1: He was there for that whole journey and we are

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Speaker 1: better for it. So here, Eric stalts.

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Speaker 2: Yeah, she's in a suit?

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Speaker 3: What my friends? Wow?

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Speaker 2: Oh god, I haven't.

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Speaker 3: Seen you in over a decade.

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Speaker 2: My eyes are watering. I have to say. No one

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Speaker 2: has made me feel this way. We talk about how

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Speaker 2: much we love you, and here it is. It's happening

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Speaker 2: right now. I have goosebumps. I'm sweating.

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Speaker 1: Oh it's good to see you.

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Speaker 3: It's so good to see you, guys.

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Speaker 1: Oh my god, oh my god, so much to catch up.

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Speaker 2: Thank you so much. I know you're busy. Thank you

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Speaker 2: so much for one just like stopping by to chat

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Speaker 2: a little bit.

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Speaker 3: First of all, who's busy? There's a strike going well,

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Speaker 3: I don't.

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Speaker 1: Know you know the world everybody else I see.

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Speaker 2: Yeah, I assume you're busy. You should be busy. I

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Speaker 2: want you to be directing and acting and everything always.

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Speaker 3: So you're very kind.

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Speaker 1: I did watch I did watch all of your directing

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Speaker 1: in Madame Sack, which we absolutely love, love love.

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Speaker 3: So oh I'm so glad.

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Speaker 1: No, it's wonderful. I always we even started rewatching it.

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Speaker 3: Wow, it's a lot of watching.

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Speaker 1: It is a lot of watching, but it's really great.

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Speaker 1: It's really good TV. I think, thank you.

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Speaker 3: I rewatched the first two seasons of Glee in preparation

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Speaker 3: with this. I had to stop.

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Speaker 1: What that's a lot of Yeah.

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Speaker 3: Well I hadn't seen the show. I mean, I you know,

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Speaker 3: when Corey died, I couldn't. Yeah, I just couldn't. And

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Speaker 3: it's been ten years, and I have so many, so

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Speaker 3: many fond memories of it that I wanted to I

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Speaker 3: wanted to catch up with it as much as is Well,

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Speaker 3: I could not do all the ones that I directed

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Speaker 3: because there were just too many.

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Speaker 2: And he's like, do I need to watch all twelve episodes?

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Speaker 2: You no know?

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Speaker 1: No, no, so many episodes. Well, it's really good to

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Speaker 1: see you.

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Speaker 3: Good to see you guys all grown up and beautiful.

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Speaker 3: It's so nice to see.

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Speaker 1: Oh. Thanks, we're trying trying.

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Speaker 2: Yeah, we're four adults. We were still assholes like when

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Speaker 2: you met us.

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Speaker 3: But that's just not true.

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Speaker 1: Well, we have the wonderful Eric Stilts. Let's talk about

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Speaker 1: all the good things and all the good memories. We

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Speaker 1: talked about you a lot on this podcast because we

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Speaker 1: have so many fond memories. He became one of our

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Speaker 1: favorite directors, if not our favorite director, for many many reasons.

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Speaker 1: But you started as an actor, and I'm just interested.

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Speaker 1: I don't think we ever. I don't know if there

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Speaker 1: was time to ever know when you transition from actor

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Speaker 1: to director or what made you get into directing, and

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Speaker 1: because obviously you are an actor's director, and that's why

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Speaker 1: we loved you so much. So I'm just curious about

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Speaker 1: that transition before we get into the Glee stuff.

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Speaker 3: Gosh, I got into it in a very roundabout way.

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Speaker 3: I was annoyed at how I was being treated as

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Speaker 3: an actor by people whose job it was to treat

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Speaker 3: me that way. It was sort of spawning. And people

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Speaker 3: are hired to serve you in every way when you're

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Speaker 3: doing a big film anyway, certainly not an independent film,

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Speaker 3: and bringing your clothes and bringing your food and wake

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Speaker 3: you up and take you home and treat you as

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Speaker 3: though you are not quite a human. And I began

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Speaker 3: to bristle with that. So I thought, I love I

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Speaker 3: love the business, and I love what I do. Maybe

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Speaker 3: there's something else that would intrigue me. So a friend

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Speaker 3: of mine, Cameron Crow, was making his very first film,

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Speaker 3: Say Anything Wow. And I had introduced him to my

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Speaker 3: favorite ad Jerry Zizmer, who did Apocalypse Now, among other things,

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Speaker 3: in a podcast. Now he's the one who said with

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Speaker 3: extreme prejudice, and so Cameron hired Jerry, and he also

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Speaker 3: hired Laslo Kovacs, who I'd worked with on Mask. So

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Speaker 3: I realized this, and Polly Platt was the producer who's

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Speaker 3: the genius. And I realized, all these people that I

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Speaker 3: loved are making this film. So I asked Cameron if

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Speaker 3: I could be a PA on it Wow, and he

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Speaker 3: said sure, sure, man. So I was a PA, and

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Speaker 3: I also played a small part and say anything, but

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Speaker 3: I was a PA. And I found that I really

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Speaker 3: enjoyed being on the other side of the camera, and

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Speaker 3: I really enjoyed not caring how I looked, and I

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Speaker 3: really enjoyed watching how the actors interact. I mean, Cameron

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Speaker 3: is fantastic with actors. He's he's touched by genius. And

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Speaker 3: it was a real education. So I paid on a

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Speaker 3: couple more films, and then I started producing some independent

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Speaker 3: films and then on What I had one experience for

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Speaker 3: the director, the director pitched a fit. I'm looking around

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Speaker 3: as if he's in the room with it. Heed me

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Speaker 3: walk off the set and he insulted the crew. And

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Speaker 3: I was producing it. I thought, we can't we can't

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Speaker 3: lose this day. We're losing the light, We're losing the money.

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Speaker 3: So I stepped in and I said, Okay, here's what

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Speaker 3: we're gonna do. We're gonna put the camera over here,

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Speaker 3: We're gonna come over here, and I talked to the

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Speaker 3: actors and at the end of the day, I thought,

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Speaker 3: I really like that, and it never really occurred to

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Speaker 3: me before. So then I started doing some short films

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Speaker 3: and some television, and then I just started direct I

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Speaker 3: started bartering my acting for directing fair enough, which you know,

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Speaker 3: you gotta do what you gotta do.

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Speaker 2: You're good at both, which is crazy. You know, it's

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Speaker 2: hard to be good at one of them, and you

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Speaker 2: just happened to be very good at both things. Makes

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Speaker 2: a lot of sense though, Like people can hear you

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Speaker 2: talk like you're so nice, you're thoughtful, you really care

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Speaker 2: about and that's you know, our experience with you too,

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Speaker 2: is like the care you take in each conversation, each

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Speaker 2: set up with the crew, actors, whoever it is.

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Speaker 1: All the extras loved you the most because you gave

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Speaker 1: them direction, you gave them intention, you gave them action

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Speaker 1: like that. I think they were startled when a director

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Speaker 1: was talking to them, because that doesn't happen very often

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Speaker 1: on set at least the ones that I've been on,

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Speaker 1: and so I thought I was watching the episode. I

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Speaker 1: think it was Duets, and I was watching it recently,

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Speaker 1: and I was like, there are so many kids in

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Speaker 1: this hallway. This looks like high school. And I was like,

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Speaker 1: Eric directed this, yes, and some.

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Speaker 3: Of them are kissing. Yes. Yeah. I maybe doing Harry

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Speaker 3: Kiss a lot.

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Speaker 2: A lot. It was in the world Blame It on.

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Speaker 3: The alcohol, You guys were.

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Speaker 1: Just so many memories of you being like, Okay, you're

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Speaker 1: gonna kiss.

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Speaker 2: I watched Blame It on the Alcohol before this, and

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Speaker 2: I was like, Heather and I are making out the

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Speaker 2: entirety of the song. I was like, Eric starts at

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Speaker 2: it again.

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Speaker 3: I know my strength would have a field day with that.

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Speaker 3: But it was fun.

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Speaker 2: It was a lot of fun.

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Speaker 3: I couldn't complain so much fun with you guys.

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Speaker 1: When you came into the show. Did you feel prepared

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Speaker 1: for a musical TV show?

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Speaker 3: I did. I mean, I mean I did, because I

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Speaker 3: grew up doing musical I felt like, you know, I

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Speaker 3: listened to your podcast and I have to agree that

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Speaker 3: I Ryan with Ryan. I felt like I was part

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Speaker 3: of every one of you guys, like I was that

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Speaker 3: part of Ardi part of Dina and that part of Cory,

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Speaker 3: and I felt like I was a theater kid who

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Speaker 3: was also in the orchestra of the band, of the

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Speaker 3: jazz band. I did all the musicals. I think by

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Speaker 3: the time I got to college, I'd done forty two

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Speaker 3: plays and musicals, and some of them with Dante di Loretto.

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Speaker 2: No way, what that's right.

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Speaker 3: I grew up with Dante in Santa Barbara, California.

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Speaker 1: I don't think I knew that.

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Speaker 2: I don't know if I knew that either.

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Speaker 1: Oh wow, okay, okay, it's.

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Speaker 3: True, although although I don't believe Dante is the one

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Speaker 3: that it brought me. Oh No, Dante did bring me

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Speaker 3: to Glee. But I had met Ryan through I was

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Speaker 3: in Shondaland. I was doing Gray's Anatomy's and Private Practice,

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Speaker 3: and there was a fantastic nurse on it named Linda Kleine.

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Speaker 1: Yes, Harry just talked about her.

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Speaker 3: Oh my god, just the biggest hoot in the world.

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Speaker 3: And I'd come in and say, good morning, how are you? Said,

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Speaker 3: I was on Booth Weekend with Ryan Murphy. You gotta

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Speaker 3: meet him. You're gonna love this guy. He's doing niptok

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Speaker 3: And I said oh great, okay, yeah, I meet him

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Speaker 3: and Linda set up a meeting no with Ryan, we.

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Speaker 2: Have to I guess she keeps getting mentioned. She's fantastic.

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Speaker 2: Had a meeting with Ryan.

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Speaker 3: I had to meet with Ryan, and I remember they

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Speaker 3: walked me in to a large conference room with large chamber,

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Speaker 3: and I was sitting at one end, and then Ryan

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Speaker 3: came in and sat at the other end, and she

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Speaker 3: had looked at me for a while because I think

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Speaker 3: he likes, you know, making people a little uncomfortable, which

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Speaker 3: is fun. And then he kind of went, so, what's

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Speaker 3: your favorite movie? And I immediately like thought, I think,

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Speaker 3: I asked him it from the forties, fifties, sixties, and

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Speaker 3: seventies foreign American. I am, I have these lists in

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Speaker 3: my head of films that I love and Ryan said,

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Speaker 3: minds Network and I said, oh, damn it because Network

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Speaker 3: was one of my favorite movies too. But I can't

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Speaker 3: say it after because then you seem like a sycophantic,

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Speaker 3: you know, right. So, but the meeting went well and

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Speaker 3: he hired me on Nip Tuk, which was difficult show.

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Speaker 3: It was in the the last few years of the show.

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Speaker 3: But I had a decent time and I met Chris Sioffa,

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Speaker 3: who went on to be the DP at Glee and

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Speaker 3: I'll never forget. I was setting up a shot on

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Speaker 3: Nip Tuck and said, I want the camera to sort

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Speaker 3: of drift behind and around on this line, and the

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Speaker 3: crew sort of looked at and Chris came out of me.

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Speaker 2: Said why, it's a very good impression.

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Speaker 3: And I said, well, because this is a shift, a

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Speaker 3: dramatic shift in the scene. This is the point where

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Speaker 3: it becomes a little more intimate, and I want the

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Speaker 3: camera to sort of move and help. Finally goes oh okay,

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Speaker 3: And later on I told that story he said, yeah,

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Speaker 3: I was kind of a dick, and I no, no, no,

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Speaker 3: I totally understand it, because when you come on as

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Speaker 3: a guest director, you are literally coming into someone's home

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Speaker 3: having dinner with them, and you can't be saying I

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Speaker 3: don't like this food, bring me something else. You have

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Speaker 3: to sort of say, what have you to offer and

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Speaker 3: how can I help? So I met a lot of

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Speaker 3: the crew from Glee on that, and I came onto

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Speaker 3: your show.

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Speaker 2: We've had a lot of actors on here, and actors

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Speaker 2: who weren't necessarily regulars but were there a lot and

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Speaker 2: the difficulty of when you're stepping in to do a

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Speaker 2: scene here, a scene there, how hard that is and

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Speaker 2: sort of sounds like when you're coming in to be

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Speaker 2: a guest director, where it's like, yeah, I can't come

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Speaker 2: into the kitchen and tell you how to cook this.

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Speaker 2: What are sort of the places where you can, though,

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Speaker 2: you know, scoot your elbows out and have little freedom

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Speaker 2: to because you every director that came in had a

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Speaker 2: different technique, had a different style, and you threw in

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Speaker 2: shots and you even like threw in some little story

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Speaker 2: moments that weren't even in the script and you managed

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Speaker 2: to get them in there and they were great. How

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Speaker 2: how do you go about sort of finessing that and

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Speaker 2: doing that when you are especially if it's your first

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Speaker 2: or second episode, right.

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Speaker 3: Well, what a good question, that's it. I always found

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Speaker 3: the best way to work was to and and Glee

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Speaker 3: was kind of wide open. That way is to do

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Speaker 3: it as written and make sure we got it as written,

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Speaker 3: and then come to you and say, hey, why don't

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Speaker 3: you try this, or is there something you want to

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Speaker 3: try or wouldn't it be fun if and then shoot

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Speaker 3: that as well. And then I would watch all the dailies.

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Speaker 3: I would like forty four hours watching dailies and I

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Speaker 3: go through to Kevin sneezed don tape free. I love

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Speaker 3: that and I give it. I remember I would send

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Speaker 3: I think the first episode I sent my editor in

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Speaker 3: post production thirty nine pages of notes on which takes

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Speaker 3: I thought had the best performances. And it probably wasn't

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Speaker 3: the Yeah they hate you or do it a gracious way.

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Speaker 3: I don't think they knew what to make of me,

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Speaker 3: and I I probably should not have done that, and

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Speaker 3: I later apologized to them because it's it is a

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Speaker 3: little rude, but I was so passionate about what you

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Speaker 3: guys were doing and what was what was coming out

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Speaker 3: in the story and the music, and it all came

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Speaker 3: from a good place. It wasn't you know, I'm the

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Speaker 3: director and I know what's best. It was wouldn't it

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Speaker 3: be great?

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Speaker 1: Right?

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Speaker 2: You did? I mean, because having been a fan of

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Speaker 2: your acting work for forever and also the first time

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Speaker 2: my family ever was impressed of like who I was

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Speaker 2: working with. My brothers was like you working with Eric Stoltz. Yeah,

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Speaker 2: I was like, this is the first time you showed

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Speaker 2: any interest in gleaning and so coming onto a set

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Speaker 2: knowing that you're working with an actor is very intimidating,

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Speaker 2: especially one that you respect as much as like we

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Speaker 2: all respect you, and you could it was that thing

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Speaker 2: that you just described where we'd get to the last

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Speaker 2: take and you'd be like, we got it already, we're done.

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Speaker 2: Do now whatever you want, or you would like throw

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Speaker 2: in a word or two. And for some reason, that

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Speaker 2: ability to or that permission was so liberating, and we

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Speaker 2: didn't know that was an option. Wait, we can do

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Speaker 2: this trying yes, And really, for somehow, you know, got

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Speaker 2: rid of all of that intimidation because you just wanted

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Speaker 2: to allow us to play, allow everyone to just play.

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Speaker 2: And we trusted you because you spoke to us differently,

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Speaker 2: and the way you ran a set was different and

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Speaker 2: also intimidating, which we should talk about because it was great,

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Speaker 2: but it challenged us in all these wonderful ways. And actually,

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Speaker 2: let's talk about that. You had some rules no sides

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Speaker 2: on set.

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Speaker 1: Well, Eric showed up in a suit and we were like,

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Speaker 1: who's this guy?

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Speaker 2: Because Eric was there before, not in a suit, when

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Speaker 2: we were not shooting, and then we shoot and he's

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Speaker 2: in it. Yeah, it's been great.

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Speaker 1: He's serious, but then our first day on set. I

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Speaker 1: remember no sides on set and we're like, who's this guy?

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Speaker 2: Who is this?

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Speaker 1: Who is this guy?

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Speaker 3: No?

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Speaker 1: And it was it was driving because as all the

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Speaker 1: other directors that had come in, everybody had some caliber

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Speaker 1: directorial work. Who they know how to approach a TV

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Speaker 1: show that has been on for at least a season

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Speaker 1: or two. Now that you're coming into somebody's health house,

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Speaker 1: but also getting things done with confidence and with you know,

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Speaker 1: making your days most of the time. But you it

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Speaker 1: was like, who's made this guy making all these rules

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Speaker 1: and who does he.

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Speaker 2: Think he is?

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Speaker 1: But it was really exciting because it was new for us.

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Speaker 1: It kind of like we were slumped in our chairs

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Speaker 1: and it like made us sit up in our chairs

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Speaker 1: a little bit. And that was exciting to me because

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Speaker 1: it was like somebody who actually cares somebody totally different.

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Speaker 1: There's this absolutely different strategy going on and everybody's eyes

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Speaker 1: are wide open, and it was really exciting. Talked us about, Yeah,

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Speaker 1: tell me about like when that rule came in place.

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Speaker 3: Well, I don't know if you remember, but I was

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Speaker 3: sort of hanging around your set for a couple episodes

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Speaker 3: before we started do as because I wanted to get

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Speaker 3: the lay of the land. I wanted to sort of

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Speaker 3: see how the crew worked with you, how you worked

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Speaker 3: with the crew, And I introduced myself to each of you, saying,

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Speaker 3: I am your next director. How do you like to work,

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Speaker 3: do you like to rehearse? Do you like to shoot

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Speaker 3: the rehearsal? What is missing? Or what would you like

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Speaker 3: or what did you feel your character needs that hasn't

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Speaker 3: been given to you, that kind of stuff, And so

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Speaker 3: I and I realized you were having a blast on

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Speaker 3: that show, and I thought, I'm gonna have fun too.

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Speaker 3: But I also I've always felt like unless you know

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Speaker 3: the lines, you can't really go off of them, you

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Speaker 3: can't really expand you can't really bring yourself to it

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Speaker 3: because you're struggling to figure out what the lines are,

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Speaker 3: as opposed to I know what my lines are, and

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Speaker 3: I know what my intention is, and I have feelings

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Speaker 3: about this and that it's kind of freeing. So I

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Speaker 3: thought i'd try, and I remember I did that, and

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Speaker 3: literally within an hour, Dante came down from the from

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Speaker 3: the his offices, which I found out later didn't happen

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Speaker 3: that often, and he pulled me aside, said, what are

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Speaker 3: you doing. I said, what do you mean? He said,

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Speaker 3: you take away their sides. What are you doing? And

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Speaker 3: I said, yeah, I did. I think it's I think

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Speaker 3: it'll be good. I think it'll be good for the show.

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Speaker 3: And he says, are you sure, because you know some

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Speaker 3: people are pissed off about it? And I said, just

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Speaker 3: give me a day or two and and we'll see.

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Speaker 3: But uh, and there were some you guys, some of

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Speaker 3: you guys are a little grumpy about it. And I

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Speaker 3: understand because you know, you get you find your ways

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Speaker 3: to work and it's comfortable for you. But I do

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Speaker 3: think that it paid off because then when we got

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Speaker 3: to episodes like Blame It on the Alcohol, which were

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Speaker 3: just chaos and just you know, the improvisational, wacky, you

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Speaker 3: know stuff, you were able to come to play.

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Speaker 1: Yeah, that's right, that's right.

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Speaker 2: So was this the first time you've ever done that

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Speaker 2: on a show?

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Speaker 3: Well? No, no, no, I had done it. I had

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Speaker 3: done a TV movie with mainly kids, I mean Katerina

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Speaker 3: SCARSONI I think it's nineteen and Alison mac And I said,

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Speaker 3: you know, no signs on set MM, because you know

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Speaker 3: you have limited time. I want you guys to come

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Speaker 3: ready to do your best, and I think it's hard

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Speaker 3: to do your best when you're sort.

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Speaker 1: Of you know, yeah, fair you laid the land for

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Speaker 1: us though. For sure in terms of.

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Speaker 2: The ripples that's sent through base camp, we got that

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Speaker 2: note we're in hair and makeup.

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Speaker 3: Yeah, I think nay I came up to me and say, Stills,

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Speaker 3: what the hell is this? Like, she's like right in

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Speaker 3: my face. Also try it.

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Speaker 1: She doesn't need signe. That's the problem that she photogram.

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Speaker 1: So I don't know what she's all upset about now.

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Speaker 1: But you you made our days. You shot, you know,

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Speaker 1: your takes were shoot the rehearsal to three takes. We

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Speaker 1: got it move on And that was new for us too.

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Speaker 1: A lot of the time we were doing five, six,

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Speaker 1: seven takes of each, you know, a setup and and

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Speaker 1: so there was something like refreshing about it. And you

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Speaker 1: came prepared and all your notes and your binder and

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Speaker 1: everything was printed out, and we always felt like he

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Speaker 1: cared so much. So it raised the bar for us

390
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Speaker 1: because number one, we really had to know our lines.

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Speaker 1: Number two, number two, we you were giving everything so

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Speaker 1: much focus that when we came onto set, it made

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Speaker 1: us kind of like strap up our boots a little

394
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Speaker 1: bit and get to work, which in a fun way though,

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Speaker 1: like we still had a lot of fun.

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Speaker 4: So we oh, you know, I do remember the first

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Speaker 4: couple of days, and particularly I remember Leah and Corey.

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Speaker 3: Were a little mistrustful and stand offish, and it made

399
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Speaker 3: me think, you know, I don't know. Well, no, I

400
00:22:20,400 --> 00:22:22,040
Speaker 3: figured it out. I mean, you guys had been through,

401
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Speaker 3: like we made a pilot. We're usually famous. Everybody wants

402
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Speaker 3: something from us, yes, And I remember I was giving

403
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Speaker 3: a direction like if you're the camera, I was talking

404
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Speaker 3: to Corey, I'm Corey, and Corey was given the line like, hey,

405
00:22:38,520 --> 00:22:40,960
Speaker 3: doing this, and I said, it's really Notice the intention

406
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Speaker 3: is great, but when you go like this and the

407
00:22:43,040 --> 00:22:45,239
Speaker 3: camera's here, I can't use it. If you limit your

408
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Speaker 3: range of motion to just this, then I see both

409
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Speaker 3: eyes and I'm more likely to use the reaction. And

410
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Speaker 3: they said, oh okay, And then they would try it

411
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Speaker 3: and they'd say, yeah, that kind of makes sense. So

412
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Speaker 3: they realized I wasn't just trying to con troll their performance,

413
00:23:02,359 --> 00:23:05,200
Speaker 3: you know, but yeah, enhance them.

414
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Speaker 2: I mean that was sort of the beauty, though, of

415
00:23:07,760 --> 00:23:11,320
Speaker 2: your communication, is that you would communicate those things to

416
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Speaker 2: us that had never been communicated to us.

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Speaker 3: See that's the thing that the thing like, don't tell

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Speaker 3: the actors the truth. Yeah, don't don't let the actors

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Speaker 3: make a decision other than lunch, you know, bring them

420
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Speaker 3: what they want, infantalize the actors. And I found that, Uh,

421
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Speaker 3: it didn't sit well with me as an actor. So

422
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Speaker 3: I always thought, we want to direct, and I'll just

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Speaker 3: tell you the truth, right, here's what we need.

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Speaker 1: And must must want that.

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Speaker 2: Yeah, it goes a long way because I remember too,

426
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Speaker 2: like explaining to people, you know, like at the time

427
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Speaker 2: Lindsay Lohan was having a rough go of it publicly, right,

428
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Speaker 2: You had to understand when you're on a set, you

429
00:23:55,760 --> 00:23:58,239
Speaker 2: are catered to in every possible way. When we're doing

430
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Speaker 2: a musical number, there are multi people dabbing off our

431
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Speaker 2: brow from any sweat, we have fans, we have people

432
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Speaker 2: bringing a site like you know, we have full teams

433
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Speaker 2: like we don't. We're basically getting lifted and carried onto

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Speaker 2: the set. And so when you get taken away from that,

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Speaker 2: it's you can see how it could be hard for

436
00:24:19,680 --> 00:24:24,760
Speaker 2: people to adjust to not being in that yeah, all

437
00:24:24,800 --> 00:24:28,760
Speaker 2: the time. And when you do have somebody on set,

438
00:24:29,000 --> 00:24:32,159
Speaker 2: who is in charge, Like a director being honest with you,

439
00:24:32,240 --> 00:24:35,400
Speaker 2: It goes a very long way because that's all you want.

440
00:24:35,440 --> 00:24:36,639
Speaker 2: It's like, yeah, just tell me we need to do

441
00:24:36,680 --> 00:24:37,280
Speaker 2: I'm going to do it.

442
00:24:37,880 --> 00:24:40,359
Speaker 3: Yeah, that's most people. Most people just want to hear

443
00:24:40,400 --> 00:24:42,840
Speaker 3: the truth, not and you can all I remember when

444
00:24:42,880 --> 00:24:46,119
Speaker 3: I was acting, you can just always tell when a

445
00:24:46,160 --> 00:24:48,560
Speaker 3: director is coming at you with some sort of bullshit, like,

446
00:24:49,280 --> 00:24:52,199
Speaker 3: you know, wouldn't it be good if you stood up

447
00:24:52,240 --> 00:24:58,400
Speaker 3: on this word? And my immediate reaction was like backleg No,

448
00:24:59,119 --> 00:25:02,240
Speaker 3: why that's instinct, you know, as opposed to I would

449
00:25:02,240 --> 00:25:04,560
Speaker 3: come up you guys, say at some point, you need

450
00:25:04,600 --> 00:25:07,159
Speaker 3: to get to the door, right, because that's got to

451
00:25:07,160 --> 00:25:08,840
Speaker 3: be the last shot on scene, because it says you

452
00:25:08,880 --> 00:25:11,840
Speaker 3: exit and I'm into the next shot. So let's figure

453
00:25:11,880 --> 00:25:13,920
Speaker 3: out when that is. Show me what feels right to you,

454
00:25:14,280 --> 00:25:16,679
Speaker 3: and we'll shoot it. So I would figure out how

455
00:25:16,720 --> 00:25:18,399
Speaker 3: I needed to get in and out of scenes, the

456
00:25:18,440 --> 00:25:21,480
Speaker 3: transitions from one scene to another, and I would tell

457
00:25:21,560 --> 00:25:23,320
Speaker 3: you guys, like I'm going to start on the door

458
00:25:23,359 --> 00:25:25,919
Speaker 3: knob and then pull back and then let's see what

459
00:25:25,960 --> 00:25:28,920
Speaker 3: happens and we'll cover it. And then the ending has

460
00:25:28,960 --> 00:25:31,800
Speaker 3: to be you go out shoes office. So you guys

461
00:25:31,800 --> 00:25:36,040
Speaker 3: were really helpful figuring out the meat of the scene.

462
00:25:36,080 --> 00:25:40,439
Speaker 3: I had this sort of you know, intros and outros,

463
00:25:40,480 --> 00:25:44,280
Speaker 3: and you guys had a fair amount of freedom within that.

464
00:25:45,320 --> 00:25:47,560
Speaker 1: Speaking of introts, an actress, do you remember, I can't

465
00:25:47,600 --> 00:25:50,320
Speaker 1: remember what season it was, but you started directing back

466
00:25:50,359 --> 00:25:55,640
Speaker 1: to back episodes and it was very rare that any

467
00:25:55,760 --> 00:25:59,720
Speaker 1: director should should have to do that ever, because that's

468
00:25:59,800 --> 00:26:02,320
Speaker 1: so difficult. You have no time to prep. You're prepping

469
00:26:02,320 --> 00:26:04,919
Speaker 1: while you're directing, if you're prepping at all. But I

470
00:26:04,960 --> 00:26:06,720
Speaker 1: remember that happening. Do you remember that?

471
00:26:07,840 --> 00:26:11,080
Speaker 2: Nope, it was I must.

472
00:26:11,200 --> 00:26:13,400
Speaker 1: It might have been a prom episode, or it might

473
00:26:13,400 --> 00:26:16,600
Speaker 1: have been a finale. I can't remember. All I remember

474
00:26:16,640 --> 00:26:18,000
Speaker 1: is you being like, We're just going to do it.

475
00:26:19,119 --> 00:26:22,480
Speaker 1: We're here, I'm just going to do it. I was like, wait,

476
00:26:22,560 --> 00:26:23,080
Speaker 1: I do remember.

477
00:26:23,119 --> 00:26:26,080
Speaker 3: There was one season opener I did. I can't.

478
00:26:26,280 --> 00:26:28,240
Speaker 1: It was Purple Piano Project.

479
00:26:28,440 --> 00:26:32,520
Speaker 3: Oh three, yeah, three, And it was I was told

480
00:26:32,520 --> 00:26:34,879
Speaker 3: after as by Leo Bauer or Genius A d that

481
00:26:34,920 --> 00:26:36,760
Speaker 3: it was my first episode, that it was done in

482
00:26:36,800 --> 00:26:37,320
Speaker 3: eight days.

483
00:26:39,200 --> 00:26:42,320
Speaker 2: What see? This is my point. I've always said we

484
00:26:42,320 --> 00:26:44,320
Speaker 2: were always scheduled. People ask how many days it takes

485
00:26:44,320 --> 00:26:46,480
Speaker 2: to shoot an episode, like, well, we were always scheduled

486
00:26:46,520 --> 00:26:49,320
Speaker 2: for eight days, but never did we ever make that

487
00:26:50,040 --> 00:26:50,760
Speaker 2: except for.

488
00:26:51,880 --> 00:26:54,159
Speaker 3: It was hard too because and I understand it, you know.

489
00:26:54,320 --> 00:26:57,879
Speaker 3: I remember we were doing one giant tap dance number

490
00:26:57,920 --> 00:27:02,640
Speaker 3: with Chris Kolfer and everybody, and you know, we would

491
00:27:02,640 --> 00:27:05,080
Speaker 3: show Ryan the numbers before we shot them, and Ryan

492
00:27:05,119 --> 00:27:07,280
Speaker 3: came in and he sat down and we did the

493
00:27:07,280 --> 00:27:10,280
Speaker 3: whole number. And I turned to Ryan, and Ryan said,

494
00:27:10,480 --> 00:27:15,359
Speaker 3: I hate it. Let's wrap. We're doing it over and

495
00:27:15,440 --> 00:27:18,439
Speaker 3: I said, oh my god, okay, and Leo Kimelmer said,

496
00:27:18,720 --> 00:27:20,600
Speaker 3: I don't worry about it. It is what it is,

497
00:27:20,760 --> 00:27:25,160
Speaker 3: this happens. Yes, we'll do it on another day. Get

498
00:27:25,200 --> 00:27:28,240
Speaker 3: them back to the shed with Zach and Brooke, and

499
00:27:29,119 --> 00:27:32,119
Speaker 3: I was I tried not to take it personally, but

500
00:27:32,200 --> 00:27:37,240
Speaker 3: you can't take anything personally, and you know it's all subjective.

501
00:27:37,359 --> 00:27:40,199
Speaker 3: But things like that would happen for the better of

502
00:27:40,200 --> 00:27:43,520
Speaker 3: the show, by the way, you know, most shows didn't

503
00:27:43,600 --> 00:27:47,480
Speaker 3: have an overlord would come down and say that really

504
00:27:47,520 --> 00:27:50,240
Speaker 3: works or what are you thinking? No, start from this.

505
00:27:50,560 --> 00:27:52,199
Speaker 3: I don't care if it costs money, I don't care

506
00:27:52,200 --> 00:27:54,639
Speaker 3: if it costs time. We wanted to make it the

507
00:27:54,640 --> 00:27:55,760
Speaker 3: best thing possible.

508
00:27:56,080 --> 00:27:58,879
Speaker 2: It did suck too, because we'd have to that would happen,

509
00:27:58,880 --> 00:28:00,280
Speaker 2: and we like, damn it, we have to go back

510
00:28:00,320 --> 00:28:03,240
Speaker 2: and do this. But he was unfortunately always right yeah

511
00:28:03,240 --> 00:28:05,399
Speaker 2: about those things, like damn he was.

512
00:28:05,520 --> 00:28:07,879
Speaker 3: Yeah, the really tough part was going back to that

513
00:28:07,920 --> 00:28:14,080
Speaker 3: bloody cheated shd that that or Zack and Brook where

514
00:28:14,080 --> 00:28:15,480
Speaker 3: you guys had to rehearse.

515
00:28:16,200 --> 00:28:19,960
Speaker 1: Until he moved to the Powerhouse. The Powerhouse that was

516
00:28:19,960 --> 00:28:23,080
Speaker 1: a magical place. There was I don't remember which season

517
00:28:23,119 --> 00:28:26,840
Speaker 1: it was, but you we were sitting on this one

518
00:28:26,880 --> 00:28:29,000
Speaker 1: of the smaller stages. I think we were shooting in

519
00:28:29,040 --> 00:28:33,920
Speaker 1: the library or we had like a mini cafeteria set

520
00:28:34,000 --> 00:28:37,240
Speaker 1: up thing. It was like a little like one room

521
00:28:37,280 --> 00:28:42,760
Speaker 1: thing and you were talking. You're like, I just wish

522
00:28:42,800 --> 00:28:45,160
Speaker 1: like this character would do this because this is what

523
00:28:45,240 --> 00:28:47,440
Speaker 1: happens and you but this is how you would think,

524
00:28:47,480 --> 00:28:51,640
Speaker 1: and you were, you know, verbalizing it, and I was like, damn,

525
00:28:51,680 --> 00:28:53,800
Speaker 1: how do we get him to be a writer on

526
00:28:53,840 --> 00:28:57,680
Speaker 1: the show, because like, seeing how much you cared. You

527
00:28:57,680 --> 00:28:59,840
Speaker 1: were talking to one of the other writers as well,

528
00:28:59,880 --> 00:29:02,920
Speaker 1: so must have been you know, season three and beyond

529
00:29:03,520 --> 00:29:05,840
Speaker 1: and there were great ideas. And that started with duets.

530
00:29:05,840 --> 00:29:09,360
Speaker 1: When you had like Heather show up to to like

531
00:29:09,400 --> 00:29:13,360
Speaker 1: do the meatball push with her nose. That was like, yeah, breadsticks.

532
00:29:14,040 --> 00:29:15,840
Speaker 1: And since then.

533
00:29:15,720 --> 00:29:18,440
Speaker 2: We're like, yeah, he's got like great ideas for Tina

534
00:29:18,800 --> 00:29:21,360
Speaker 2: and Artie and Finn and Rachel.

535
00:29:21,080 --> 00:29:22,200
Speaker 1: Like could he just write it?

536
00:29:22,640 --> 00:29:25,000
Speaker 2: And I remember thinking, because we had done it a

537
00:29:25,000 --> 00:29:27,240
Speaker 2: couple times for things, we're like we had harry on

538
00:29:27,280 --> 00:29:29,880
Speaker 2: recently and we talked about how he and I sort

539
00:29:29,880 --> 00:29:32,480
Speaker 2: of incepted Ryan to get the Michael Jackson songs we wanted,

540
00:29:32,880 --> 00:29:35,880
Speaker 2: and I remember trying to plot how we could get you.

541
00:29:37,280 --> 00:29:39,000
Speaker 2: I didn't even know if you were interested in writing.

542
00:29:39,040 --> 00:29:40,800
Speaker 2: I didn't know if you were a writer. I was like,

543
00:29:40,840 --> 00:29:43,560
Speaker 2: but we need him in there. I was like, he

544
00:29:43,880 --> 00:29:46,719
Speaker 2: goes home and is thinking about what these characters are

545
00:29:46,720 --> 00:29:50,840
Speaker 2: doing in the future, and he's right, and I need

546
00:29:50,920 --> 00:29:54,880
Speaker 2: him to get some pens and paper and do this

547
00:29:54,960 --> 00:29:55,760
Speaker 2: for us.

548
00:29:56,720 --> 00:29:59,360
Speaker 3: Well, that's very sweet. I know I'm not a writer,

549
00:29:59,440 --> 00:30:02,479
Speaker 3: and I'm I wasn't interested in it, but I would.

550
00:30:02,560 --> 00:30:06,200
Speaker 3: In fact, I have a place in New Mexico that

551
00:30:06,360 --> 00:30:09,520
Speaker 3: has some cows and things, and I remember so clearly

552
00:30:10,920 --> 00:30:16,280
Speaker 3: walking with a script through the cows and saying to myself,

553
00:30:16,440 --> 00:30:22,880
Speaker 3: if I was a gay high school cheerleader, how would

554
00:30:22,880 --> 00:30:28,400
Speaker 3: I feel if I was rejected by my lover and

555
00:30:28,800 --> 00:30:31,160
Speaker 3: I'd sort of acted out, I mean, with the script

556
00:30:31,160 --> 00:30:36,800
Speaker 3: in my head. The cows were very entertains, riveted, patient

557
00:30:36,880 --> 00:30:39,240
Speaker 3: by it. But you know, a grown man's sort of

558
00:30:39,480 --> 00:30:44,760
Speaker 3: why was a teenage girl cheerleader? How would I deal

559
00:30:44,800 --> 00:30:49,360
Speaker 3: with this? Which is silly, but I was very invested.

560
00:30:49,440 --> 00:30:52,080
Speaker 3: I just I love you guys, and I love the stories.

561
00:30:52,200 --> 00:30:56,280
Speaker 3: And by the way, I heard your podcast on duets,

562
00:30:56,600 --> 00:30:58,840
Speaker 3: and I have to say that the nudging of the

563
00:30:58,880 --> 00:31:02,040
Speaker 3: meat ball I remember quite clearly. I had asked Heather,

564
00:31:02,320 --> 00:31:03,400
Speaker 3: did we bring Heather in?

565
00:31:03,760 --> 00:31:04,040
Speaker 2: Yes?

566
00:31:04,280 --> 00:31:05,560
Speaker 3: And there was a bit of an uproak because she

567
00:31:05,600 --> 00:31:09,600
Speaker 3: wasn't in the script and there was nothing written for her,

568
00:31:09,680 --> 00:31:11,680
Speaker 3: and she'd had a long day or something, I can't

569
00:31:11,680 --> 00:31:13,760
Speaker 3: remember what, but I said begged, and she brought her

570
00:31:13,800 --> 00:31:16,040
Speaker 3: in and I did the shot and I came over

571
00:31:16,360 --> 00:31:20,400
Speaker 3: and she wasn't nudging the meatball. And Kenneth Silverstein, do

572
00:31:20,440 --> 00:31:23,480
Speaker 3: you remember Kenneth the function manager. He was standing there

573
00:31:23,480 --> 00:31:26,000
Speaker 3: because he was a little you know, he was kind

574
00:31:26,040 --> 00:31:28,520
Speaker 3: of in charge of the money in the hours, and

575
00:31:28,560 --> 00:31:31,400
Speaker 3: he sort of sidled up to me. He said, why

576
00:31:31,440 --> 00:31:34,880
Speaker 3: don't you have her nudge the meatball? And I said,

577
00:31:35,200 --> 00:31:40,360
Speaker 3: can I do that? And he said, she's here, and

578
00:31:40,440 --> 00:31:43,960
Speaker 3: so we had the take where she doesn't nudge the meatball,

579
00:31:44,720 --> 00:31:48,000
Speaker 3: and then we had her nudge the meatball. Oh, I

580
00:31:48,160 --> 00:31:51,760
Speaker 3: cut it in And I thanked Kenneth for that because

581
00:31:51,920 --> 00:31:54,120
Speaker 3: what that did was that opened up a little door

582
00:31:54,160 --> 00:31:58,080
Speaker 3: for me where I thought, I can try things and

583
00:31:58,120 --> 00:32:00,560
Speaker 3: I can cut them in and if they don't work,

584
00:32:00,880 --> 00:32:02,480
Speaker 3: they'll say what the hell are you doing? That's about?

585
00:32:03,080 --> 00:32:06,320
Speaker 3: But if they if they do work. Like my favorite

586
00:32:06,320 --> 00:32:10,600
Speaker 3: moment I think of the whole run of Glee, was

587
00:32:10,640 --> 00:32:14,600
Speaker 3: you Kevin in that pool scene going into the pool

588
00:32:14,640 --> 00:32:18,640
Speaker 3: in your wheelchair. Was like, you can't do that. He's

589
00:32:18,680 --> 00:32:20,320
Speaker 3: in a wheelchair. You can't do that.

590
00:32:21,520 --> 00:32:25,120
Speaker 5: Like done everything else, So yes we can. Let's we

591
00:32:25,200 --> 00:32:28,960
Speaker 5: have to talk about this, do you know? Because I'm

592
00:32:29,040 --> 00:32:32,360
Speaker 5: like terminally online, I'm on Twitter all the time.

593
00:32:32,920 --> 00:32:36,440
Speaker 2: How in the past like two years, the gift of

594
00:32:36,480 --> 00:32:40,520
Speaker 2: me being pushed into the wheelchair has become such a

595
00:32:40,600 --> 00:32:44,120
Speaker 2: viral thing. I get asked about it more than anything.

596
00:32:44,520 --> 00:32:46,920
Speaker 2: People bring it up to me all the time. I

597
00:32:46,960 --> 00:32:49,360
Speaker 2: get sent it on Twitter several times a week, or

598
00:32:49,400 --> 00:32:53,040
Speaker 2: on TikTok or on Instagram, and when it happened. I

599
00:32:53,040 --> 00:32:56,960
Speaker 2: remember when it aired, like I was really excited for

600
00:32:57,000 --> 00:33:02,240
Speaker 2: it personally, but you know, it happened, the episode aired, whatever,

601
00:33:02,360 --> 00:33:05,200
Speaker 2: we moved on, and then all of a sudden, there's

602
00:33:05,240 --> 00:33:08,960
Speaker 2: been this like re emergence of this one little clip

603
00:33:09,000 --> 00:33:13,640
Speaker 2: and I'm like, yes, finally, because I remember, like you said,

604
00:33:13,720 --> 00:33:16,800
Speaker 2: you know, if we do everything as scripted, and we did,

605
00:33:17,360 --> 00:33:20,600
Speaker 2: and then you walk up to me because everyone was

606
00:33:20,640 --> 00:33:22,720
Speaker 2: sort of talking if I remember this correctly, and you can,

607
00:33:23,240 --> 00:33:24,880
Speaker 2: but I think we were all sort of joking about

608
00:33:24,920 --> 00:33:26,640
Speaker 2: it the entire time, like I need to get in

609
00:33:26,680 --> 00:33:29,680
Speaker 2: the pool. While in the pool, and I remember like

610
00:33:29,760 --> 00:33:32,720
Speaker 2: Leah and All was like shouting like push this, yeah,

611
00:33:32,800 --> 00:33:34,080
Speaker 2: just get him in the pool. And then you came

612
00:33:34,160 --> 00:33:36,320
Speaker 2: up to me and like whisper to me, Hey, so

613
00:33:36,440 --> 00:33:38,720
Speaker 2: like we got it, We're done. I want to do

614
00:33:38,760 --> 00:33:43,560
Speaker 2: one more. How are you with being pushed into the pool.

615
00:33:43,560 --> 00:33:45,880
Speaker 2: I was like, push my ass in the pool, please,

616
00:33:46,920 --> 00:33:49,280
Speaker 2: and not no ear in years did I ever think

617
00:33:49,320 --> 00:33:51,120
Speaker 2: it actually get cut in? Like I didn't think it

618
00:33:51,120 --> 00:33:53,720
Speaker 2: would make the edit, and I think we ended up

619
00:33:53,720 --> 00:33:57,960
Speaker 2: doing it twice or something. But I was so happy

620
00:33:58,360 --> 00:34:01,080
Speaker 2: because also, if any director was going to be like, yeah,

621
00:34:01,120 --> 00:34:05,040
Speaker 2: let's try it, it would have been you. And it's become

622
00:34:05,160 --> 00:34:07,600
Speaker 2: such a random Is that how that happened? Is my

623
00:34:07,680 --> 00:34:08,440
Speaker 2: memory correct?

624
00:34:08,719 --> 00:34:11,040
Speaker 3: Your memory is correct. I think the idea happened on

625
00:34:11,080 --> 00:34:13,720
Speaker 3: the day and it didn't make any sense because everyone

626
00:34:13,760 --> 00:34:15,239
Speaker 3: was diving in and you would just sort of roll

627
00:34:15,280 --> 00:34:18,360
Speaker 3: by and it looks kind of weak. And then I

628
00:34:18,760 --> 00:34:20,719
Speaker 3: remember I pitched it to the team. You always got

629
00:34:20,719 --> 00:34:22,359
Speaker 3: to pitch it sort of your AD and your DP,

630
00:34:22,440 --> 00:34:25,480
Speaker 3: and they all said, oh hell no, right, no, you

631
00:34:25,560 --> 00:34:29,160
Speaker 3: got to get a stuntman. You don't have permission. What

632
00:34:29,239 --> 00:34:32,200
Speaker 3: Ifrian doesn't like it. I mean all these reasons, I said,

633
00:34:32,200 --> 00:34:34,520
Speaker 3: those are all really good reasons. But I just think

634
00:34:34,560 --> 00:34:39,960
Speaker 3: it'll be good. And I had sort of a I

635
00:34:40,000 --> 00:34:42,400
Speaker 3: had done a movie in a wheelchair. I think I

636
00:34:42,400 --> 00:34:44,879
Speaker 3: told you this my worth together. I did a sun

637
00:34:44,960 --> 00:34:47,160
Speaker 3: Dance film called The Water Dance with Helen Hunt and

638
00:34:47,719 --> 00:34:50,800
Speaker 3: I was playing a quad and one of the fellows

639
00:34:50,840 --> 00:34:53,839
Speaker 3: who wrote and directed that, Neil Jimenez, who sadly just died,

640
00:34:54,560 --> 00:34:57,360
Speaker 3: was in a chair. The whole time, and so I

641
00:34:57,360 --> 00:35:00,479
Speaker 3: stayed in my chair the whole time, and he would

642
00:35:00,480 --> 00:35:02,560
Speaker 3: give me these books like he Won't get far on foot,

643
00:35:03,160 --> 00:35:07,640
Speaker 3: and these really sort of darkly funny, weird takes on

644
00:35:07,760 --> 00:35:11,040
Speaker 3: being in a wheelchair. And he said, we just hate

645
00:35:11,040 --> 00:35:14,400
Speaker 3: it when anyone pities us or tries to take the chair.

646
00:35:14,680 --> 00:35:16,440
Speaker 3: I mean, he would taught me through it. And so

647
00:35:16,480 --> 00:35:20,239
Speaker 3: I thought, this is something that already can do. It's

648
00:35:20,280 --> 00:35:24,480
Speaker 3: like a giant finger to the world. Yeah, And it

649
00:35:24,520 --> 00:35:28,520
Speaker 3: makes total sense because it's it's not it's not a

650
00:35:28,560 --> 00:35:33,040
Speaker 3: pitying thing. It's a joyful, crazy act that a teenager

651
00:35:33,080 --> 00:35:33,440
Speaker 3: would do.

652
00:35:34,960 --> 00:35:37,560
Speaker 2: I also that reminds me that he came up to

653
00:35:37,600 --> 00:35:41,120
Speaker 2: me and you're like, they don't want to do that.

654
00:35:41,560 --> 00:35:44,200
Speaker 2: He told me that, But you're like, I told I

655
00:35:44,239 --> 00:35:46,279
Speaker 2: think it was Andrew, and you're like, I'm going to

656
00:35:46,320 --> 00:35:47,279
Speaker 2: have Andrew's day on you.

657
00:35:48,640 --> 00:35:52,279
Speaker 1: And Andrew will get it. Andrew would definitely get it.

658
00:35:52,680 --> 00:35:54,680
Speaker 3: Oh, I got you a partner in crime.

659
00:35:54,880 --> 00:35:56,400
Speaker 2: Yeah, because I was like, if we have one take, like,

660
00:35:56,480 --> 00:35:59,879
Speaker 2: I need to throw my body into this water.

661
00:36:00,560 --> 00:36:02,399
Speaker 3: And you know what, it was kind of foolish because

662
00:36:02,440 --> 00:36:05,200
Speaker 3: you could have hurt yourself. You could have heard yourself

663
00:36:05,200 --> 00:36:07,440
Speaker 3: that wheelchair could have snapped your neck. You don't know,

664
00:36:07,480 --> 00:36:11,200
Speaker 3: and it is always better to plan things and discuss

665
00:36:11,239 --> 00:36:13,640
Speaker 3: it with stunt coordinators and the official But every once

666
00:36:13,640 --> 00:36:14,919
Speaker 3: in a while, you just got to say, hey.

667
00:36:14,800 --> 00:36:17,000
Speaker 2: What the hell is it pretty safe? Like I was

668
00:36:17,040 --> 00:36:19,319
Speaker 2: going into the water. There wasn't a lot of risk

669
00:36:19,440 --> 00:36:21,080
Speaker 2: in that one, Like it was true.

670
00:36:21,600 --> 00:36:24,960
Speaker 3: That's true. But now that I have back then, I

671
00:36:25,000 --> 00:36:26,480
Speaker 3: was just a director saying how can we make this

672
00:36:26,560 --> 00:36:29,319
Speaker 3: episode sing? Now I've sort of been producing shows, and

673
00:36:29,320 --> 00:36:33,440
Speaker 3: I think if you did that to me, that's kind

674
00:36:33,520 --> 00:36:37,279
Speaker 3: of a liable You're opening yourself up to a lot

675
00:36:37,320 --> 00:36:42,840
Speaker 3: of a lot of questions. So but I would enlist

676
00:36:43,239 --> 00:36:47,120
Speaker 3: you guys. You guys would do anything, which is fantastic

677
00:36:47,160 --> 00:36:47,560
Speaker 3: I mean.

678
00:36:47,440 --> 00:36:49,200
Speaker 1: For you specifically for you.

679
00:36:49,320 --> 00:36:52,040
Speaker 3: Yeah, well, I think you do anything because you were

680
00:36:52,400 --> 00:36:56,320
Speaker 3: enormously talented and at that point free enough to say,

681
00:36:56,520 --> 00:36:58,080
Speaker 3: why don't we try that? Why don't we?

682
00:36:58,480 --> 00:36:58,719
Speaker 1: Yeah?

683
00:36:58,800 --> 00:36:59,120
Speaker 3: Why not?

684
00:36:59,719 --> 00:37:00,640
Speaker 1: Yeah?

685
00:37:00,960 --> 00:37:03,240
Speaker 3: It is a great place to approach acting.

686
00:37:13,120 --> 00:37:16,080
Speaker 2: When you came on the beginning of season two for Duets,

687
00:37:16,719 --> 00:37:22,960
Speaker 2: we were probably pretty well behaved, yeah, mostly, And then

688
00:37:23,360 --> 00:37:26,520
Speaker 2: when blaming on the alcohol your next episode, I think, right,

689
00:37:26,600 --> 00:37:38,839
Speaker 2: was that your next episode? Yes, how was that? I

690
00:37:38,920 --> 00:37:43,520
Speaker 2: remember because that episode was written sort of as a

691
00:37:43,560 --> 00:37:45,680
Speaker 2: telling off of us in real life, because we got

692
00:37:45,719 --> 00:37:49,480
Speaker 2: caught coming back from lunch a little under the influence,

693
00:37:49,960 --> 00:37:53,319
Speaker 2: some of us more than others. And so when we

694
00:37:53,360 --> 00:37:58,120
Speaker 2: did that episode, you were very adamant, obviously about nobody

695
00:37:58,200 --> 00:38:01,279
Speaker 2: actually drink. We're not going method, and you taught us

696
00:38:01,320 --> 00:38:04,840
Speaker 2: this technique of you know, spinning around in circles adah

697
00:38:04,880 --> 00:38:06,439
Speaker 2: and then and then.

698
00:38:06,360 --> 00:38:08,000
Speaker 3: Start trying to stand still.

699
00:38:08,320 --> 00:38:12,960
Speaker 2: Yes, which was great, But I don't know if I

700
00:38:13,000 --> 00:38:17,680
Speaker 2: do know that not everybody followed that, you know, how

701
00:38:17,840 --> 00:38:20,200
Speaker 2: was that experience comparatively?

702
00:38:21,239 --> 00:38:24,920
Speaker 3: It's interesting because I felt like in watching the season

703
00:38:24,960 --> 00:38:31,920
Speaker 3: two h for me, I felt like I was being tested,

704
00:38:33,040 --> 00:38:35,960
Speaker 3: maybe unintentionally because you never know how the scripts are written.

705
00:38:36,000 --> 00:38:40,120
Speaker 3: But I mean, Duet's was obviously an intimate, sort of

706
00:38:40,520 --> 00:38:47,960
Speaker 3: relational about you know, Kurt rejected, Arty is rejected. It's

707
00:38:48,000 --> 00:38:53,279
Speaker 3: about love that isn't working out. And there were two

708
00:38:53,320 --> 00:38:55,120
Speaker 3: guest stars and they each had a line. You know,

709
00:38:55,200 --> 00:38:59,960
Speaker 3: I think the librarian went shush to to do you

710
00:39:00,080 --> 00:39:03,759
Speaker 3: and Mike, and there was Jonathan Wolf in the cafeteria

711
00:39:03,840 --> 00:39:07,640
Speaker 3: where Santana comes in and says she's just using you already.

712
00:39:07,880 --> 00:39:10,040
Speaker 3: Everyone slept with her, hey you hey kid, and this

713
00:39:10,080 --> 00:39:12,240
Speaker 3: guy turns around, Jonath Wilma says, oh, yeah, I slept

714
00:39:12,239 --> 00:39:15,000
Speaker 3: with her. Those are the only two guest stars. So

715
00:39:15,040 --> 00:39:17,440
Speaker 3: I think, you know, I was the new director. I thought, okay,

716
00:39:17,760 --> 00:39:22,279
Speaker 3: Duet's was probably the easiest production wise episode. Let's try

717
00:39:22,320 --> 00:39:24,520
Speaker 3: the new guy out on that. And then when we

718
00:39:24,560 --> 00:39:27,680
Speaker 3: had a good time and it worked, they might have said, oh,

719
00:39:28,000 --> 00:39:34,960
Speaker 3: let's give him the most crazy, anarchic, chaotic episode, depending

720
00:39:35,000 --> 00:39:38,040
Speaker 3: on the alcohol and see what happens. And luckily, I

721
00:39:38,080 --> 00:39:39,880
Speaker 3: mean Ian had written all three of these, so I

722
00:39:39,960 --> 00:39:43,080
Speaker 3: was I was triple blessed with that. And you guys

723
00:39:43,160 --> 00:39:49,799
Speaker 3: were maniacs, main alcohol maniacs, maniacs.

724
00:39:51,200 --> 00:39:52,040
Speaker 2: But I loved it.

725
00:39:52,480 --> 00:39:56,000
Speaker 3: I loved it. I just kept shooting, and the ones

726
00:39:56,040 --> 00:40:00,480
Speaker 3: that were drunk or drinking, I said, well, let's just

727
00:40:00,600 --> 00:40:02,279
Speaker 3: keep shooting. Do it again, let's go back, We'll keep

728
00:40:02,320 --> 00:40:05,960
Speaker 3: shooting and get a real close on his face. And

729
00:40:06,040 --> 00:40:07,640
Speaker 3: it was, you know, like the crew was sort of

730
00:40:07,719 --> 00:40:08,839
Speaker 3: at that party.

731
00:40:08,520 --> 00:40:15,040
Speaker 2: Too, yes, and that so that's my favorite episode. Has

732
00:40:15,080 --> 00:40:18,319
Speaker 2: always been my favorite episode. It is because because it's

733
00:40:18,360 --> 00:40:20,040
Speaker 2: so different, like we're never going to go to a

734
00:40:20,040 --> 00:40:25,440
Speaker 2: house party. It really was teens being teens outside of school.

735
00:40:25,480 --> 00:40:28,000
Speaker 3: For them, it's such a mixed message to the adults

736
00:40:28,040 --> 00:40:31,600
Speaker 3: are getting drunk absolutely so they may want to. They

737
00:40:31,719 --> 00:40:34,160
Speaker 3: may have wanted to have taught you a lesson, but

738
00:40:34,200 --> 00:40:37,279
Speaker 3: the lesson was like this weird double edged sword, like

739
00:40:37,320 --> 00:40:40,120
Speaker 3: it's fun, but you shouldn't do it, but we do it,

740
00:40:40,160 --> 00:40:41,800
Speaker 3: but don't right.

741
00:40:42,400 --> 00:40:44,520
Speaker 2: And we talked to about how like we never really

742
00:40:44,520 --> 00:40:48,160
Speaker 2: got to improv that much on the show. Oh but

743
00:40:48,560 --> 00:40:54,400
Speaker 2: yeah with you, and I remember that was probably like

744
00:40:54,560 --> 00:40:57,960
Speaker 2: the most like you said, chaotic thing, because I remember

745
00:40:58,040 --> 00:40:59,640
Speaker 2: us having a pow wow, I think sort of in

746
00:40:59,680 --> 00:41:02,120
Speaker 2: the middle that day, like okay, what is everybody's thing?

747
00:41:02,640 --> 00:41:04,560
Speaker 2: Like what are because we had talked about with the

748
00:41:04,600 --> 00:41:07,239
Speaker 2: writers about the different drunk types and who would be

749
00:41:07,280 --> 00:41:09,799
Speaker 2: funny to see in each type of thing, and you

750
00:41:09,840 --> 00:41:13,520
Speaker 2: really like encouraged us to just really go for it

751
00:41:13,600 --> 00:41:16,000
Speaker 2: and play and like set up these things on the

752
00:41:16,080 --> 00:41:18,959
Speaker 2: day as we're in rehearsal, like what if you guys

753
00:41:18,960 --> 00:41:21,040
Speaker 2: were over here and what if you guys said this,

754
00:41:21,160 --> 00:41:23,680
Speaker 2: what does that look like? And having the freedom in

755
00:41:23,719 --> 00:41:29,399
Speaker 2: that situation to really just be pure maniacs. I think

756
00:41:29,480 --> 00:41:31,920
Speaker 2: probably why it's my That's probably why it's my favorite

757
00:41:31,960 --> 00:41:36,600
Speaker 2: episode because we felt like we were also at a

758
00:41:36,600 --> 00:41:40,560
Speaker 2: party the entire day and sitting there.

759
00:41:39,760 --> 00:41:42,680
Speaker 3: And by the way, you would do anything like what

760
00:41:42,719 --> 00:41:45,680
Speaker 3: if Heather did a backflip and then you did blow

761
00:41:45,840 --> 00:41:49,560
Speaker 3: on her belly? Just like what I don't think the

762
00:41:49,600 --> 00:41:56,880
Speaker 3: blow made the final but no, Heather, the back flip, like,

763
00:41:56,880 --> 00:41:59,480
Speaker 3: what is happening over there? Get away real quick? Yeah?

764
00:41:59,480 --> 00:42:02,840
Speaker 2: The daily from that, but the must be nuts nuts?

765
00:42:03,920 --> 00:42:04,480
Speaker 6: Oh they are.

766
00:42:04,880 --> 00:42:05,839
Speaker 3: I watched them all.

767
00:42:07,040 --> 00:42:07,759
Speaker 2: Guess you did.

768
00:42:08,680 --> 00:42:11,200
Speaker 1: Do you have a favorite episode that you directed?

769
00:42:12,560 --> 00:42:14,759
Speaker 3: Well, you know, like I said, I only watched the

770
00:42:14,800 --> 00:42:18,799
Speaker 3: first couple of seasons, so I didn't. I didn't get

771
00:42:18,840 --> 00:42:23,520
Speaker 3: how dare you? But I'd say, you know, I would

772
00:42:23,600 --> 00:42:28,799
Speaker 3: say I did love prom just because you know a

773
00:42:28,880 --> 00:42:33,640
Speaker 3: musical number that ends in people puking. Oh no, that

774
00:42:33,760 --> 00:42:36,640
Speaker 3: was that was blaming on the alcohol. Prom. Oh prom

775
00:42:36,680 --> 00:42:38,560
Speaker 3: was the one that entited dance.

776
00:42:39,719 --> 00:42:46,200
Speaker 4: With the prom Queen dancing, hurt dancing, Queen dancing Queen right,

777
00:42:46,840 --> 00:42:49,880
Speaker 4: that was park. I loved them jar Parks.

778
00:42:51,080 --> 00:42:55,600
Speaker 2: Did you just multiple proms? I feel like, yeah, you got.

779
00:42:55,680 --> 00:42:58,440
Speaker 2: I think like how Brad Beeker got stuck with all

780
00:42:58,480 --> 00:42:59,360
Speaker 2: the competitions.

781
00:42:59,719 --> 00:43:02,799
Speaker 1: You got got practical dances, Yeah, it was that Heather

782
00:43:02,960 --> 00:43:08,000
Speaker 1: pro Dinosaurs.

783
00:43:05,719 --> 00:43:09,360
Speaker 3: I got that. Yeah, weird.

784
00:43:09,840 --> 00:43:14,160
Speaker 1: Those were so much fun, fun because Eric, Yeah, you

785
00:43:14,239 --> 00:43:15,120
Speaker 1: made them really fun.

786
00:43:15,120 --> 00:43:18,560
Speaker 3: And I think I rented a pale blue prompt suit.

787
00:43:18,680 --> 00:43:21,880
Speaker 1: Yes, you did one of them.

788
00:43:22,000 --> 00:43:24,360
Speaker 2: Yes, I remember that because the crew and one of

789
00:43:24,400 --> 00:43:28,800
Speaker 2: them a crew dressed up too, like everybody problem Joey Patrick.

790
00:43:29,400 --> 00:43:33,279
Speaker 3: Yeah, Andrew, Yes, everybody got dressed up.

791
00:43:33,320 --> 00:43:35,240
Speaker 1: It was a you know, it was a problem.

792
00:43:35,719 --> 00:43:39,160
Speaker 3: It was a prom and it was that show as

793
00:43:39,200 --> 00:43:42,719
Speaker 3: hard as it was to do overall, as hard as

794
00:43:42,719 --> 00:43:44,400
Speaker 3: it was to do, and as much of a strain

795
00:43:44,440 --> 00:43:46,799
Speaker 3: as it was on everybody, particularly you guys. I mean

796
00:43:46,840 --> 00:43:49,520
Speaker 3: at that point, I think you had just gotten back

797
00:43:49,520 --> 00:43:52,520
Speaker 3: from touring in between seasons, so you were wiped out

798
00:43:52,680 --> 00:43:56,240
Speaker 3: starting a season, which is insane, right, But there really

799
00:43:56,400 --> 00:44:02,160
Speaker 3: was a feeling like we just loved what we were doing,

800
00:44:03,360 --> 00:44:08,680
Speaker 3: you know, and and all your your characters. It meant

801
00:44:08,680 --> 00:44:12,399
Speaker 3: a lot. I mean, I went to high school at

802
00:44:12,440 --> 00:44:17,400
Speaker 3: a time in the seventies where one of my best friends,

803
00:44:17,760 --> 00:44:24,360
Speaker 3: Scotti Durnovich, just gayer than you can imagine. In the

804
00:44:24,440 --> 00:44:30,160
Speaker 3: seventies before it was cool, and I remember we were

805
00:44:30,200 --> 00:44:32,920
Speaker 3: walking outside the gym at school or something, and I

806
00:44:33,040 --> 00:44:37,520
Speaker 3: was a tiny, loud and obnoxious kid and some jocks

807
00:44:37,520 --> 00:44:41,080
Speaker 3: walked by and said, hey, fag and they like punched it.

808
00:44:42,520 --> 00:44:47,359
Speaker 3: And I remember like that feeling of oh my god,

809
00:44:47,480 --> 00:44:52,800
Speaker 3: and he was like, it's okay, it happens. I was shocked, because,

810
00:44:52,880 --> 00:44:54,839
Speaker 3: you know, we would do plays together in the theater world,

811
00:44:54,880 --> 00:44:58,399
Speaker 3: the music world. We love everybody. It's like the Dyscapellian church.

812
00:44:58,440 --> 00:45:00,799
Speaker 3: You know, hey, you're straight a woman, you're a man,

813
00:45:00,920 --> 00:45:01,800
Speaker 3: what are you? Who cares?

814
00:45:01,800 --> 00:45:02,160
Speaker 2: We love it.

815
00:45:02,960 --> 00:45:05,960
Speaker 3: And to have seen that happen growing up in a

816
00:45:06,000 --> 00:45:10,280
Speaker 3: school situation, and then to come around and be able

817
00:45:10,320 --> 00:45:12,880
Speaker 3: to work with you guys on a show that is

818
00:45:13,160 --> 00:45:19,600
Speaker 3: probably the most inclusive, open, helpful show for kids who

819
00:45:19,640 --> 00:45:24,560
Speaker 3: are struggling to perhaps come out in a place that

820
00:45:24,680 --> 00:45:29,720
Speaker 3: is not welcoming or caring or loving, it meant something,

821
00:45:29,920 --> 00:45:35,480
Speaker 3: you know, and it was. It sounds ridiculous to say important,

822
00:45:35,520 --> 00:45:40,000
Speaker 3: but I think the fact of it mattered. And I

823
00:45:40,040 --> 00:45:43,080
Speaker 3: should love those curtain bird scenes too, because of the

824
00:45:43,120 --> 00:45:48,880
Speaker 3: best Father's sons and Michael Mathews, Michael, Chris Colper. Truly,

825
00:45:49,320 --> 00:45:52,640
Speaker 3: Mike was a beast and Chris, you know, Chris was

826
00:45:52,640 --> 00:45:56,080
Speaker 3: a guy. I think I owe an apology to Chris

827
00:45:56,120 --> 00:46:00,279
Speaker 3: because I felt like my job as a director was

828
00:46:00,320 --> 00:46:03,719
Speaker 3: to sort of connect with each of you and get

829
00:46:03,800 --> 00:46:06,520
Speaker 3: you guys to try stuff that I thought you might

830
00:46:06,840 --> 00:46:12,280
Speaker 3: have in you. And that's a bit egotistical, and sometimes

831
00:46:12,280 --> 00:46:14,160
Speaker 3: it works, sometimes it doesn't. And I tried some things

832
00:46:14,160 --> 00:46:15,960
Speaker 3: with Chris and I remember him looking at me like

833
00:46:16,160 --> 00:46:20,239
Speaker 3: what no, And I'm just said, come on, man, let's

834
00:46:20,280 --> 00:46:23,040
Speaker 3: just try it. And I was insistent, and I didn't

835
00:46:23,080 --> 00:46:27,000
Speaker 3: need to be because his instincts were oh my god,

836
00:46:27,360 --> 00:46:30,239
Speaker 3: oh my god, that man's instincts or that boy at

837
00:46:30,239 --> 00:46:33,600
Speaker 3: the time. And I don't think I used a single

838
00:46:33,640 --> 00:46:38,000
Speaker 3: take of me directing him. It was always go back

839
00:46:38,000 --> 00:46:39,840
Speaker 3: to Chris's first couple of takes, go back to what

840
00:46:39,960 --> 00:46:43,840
Speaker 3: he how he saw it, because he was touched.

841
00:46:44,400 --> 00:46:50,160
Speaker 1: Yeah, not unbelievable, undoubtedly so, and the two of them

842
00:46:50,160 --> 00:46:56,200
Speaker 1: together like just yeah fire. Michael Malley, Michae O'Malley. He

843
00:46:56,320 --> 00:47:00,600
Speaker 1: was always like a like a parent said to us.

844
00:47:00,680 --> 00:47:03,239
Speaker 1: He always gave words of advice. He always loved to

845
00:47:03,920 --> 00:47:07,680
Speaker 1: be nice to everybody. Be nice to everybody, Be be

846
00:47:07,840 --> 00:47:10,560
Speaker 1: kind to the people you work with. No, they're learn

847
00:47:10,600 --> 00:47:14,160
Speaker 1: their names, and it really it hit. He's like invest

848
00:47:14,200 --> 00:47:17,080
Speaker 1: in real estate, don't blow your money. Just a really

849
00:47:17,160 --> 00:47:21,920
Speaker 1: smart guy with the best tickbits of advice for new,

850
00:47:22,040 --> 00:47:24,760
Speaker 1: young successful actors that I never ever.

851
00:47:24,680 --> 00:47:27,439
Speaker 2: Forgot, like on an acting and getting to watch him

852
00:47:27,480 --> 00:47:33,439
Speaker 2: like rehearse the scene. Yeah, was also like you Eric, Yeah,

853
00:47:33,640 --> 00:47:38,839
Speaker 2: thought deeply came in prepared. I had ideas, wanted to

854
00:47:38,960 --> 00:47:43,919
Speaker 2: really make sure every emotional beat was going to be hit.

855
00:47:44,080 --> 00:47:46,200
Speaker 2: And yeah, like a.

856
00:47:46,280 --> 00:47:49,640
Speaker 3: Racehorse he was. He was ready to and he was

857
00:47:50,120 --> 00:47:53,080
Speaker 3: so good. Oh my god, And I'm glad to hear

858
00:47:53,120 --> 00:47:57,400
Speaker 3: that he gave that advice to you guys, because I

859
00:47:57,400 --> 00:47:59,319
Speaker 3: will never forget. I think it was season four or

860
00:47:59,360 --> 00:48:04,200
Speaker 3: five Mark and I think it was cored and I

861
00:48:04,200 --> 00:48:08,240
Speaker 3: think it was Corey came up to me in between setups,

862
00:48:08,239 --> 00:48:09,600
Speaker 3: so we were waiting around and said, hey, man, you

863
00:48:09,640 --> 00:48:12,839
Speaker 3: got any No, they didn't start with the advice. They said,

864
00:48:13,680 --> 00:48:16,080
Speaker 3: it's my birthday. One of them was having a birthday.

865
00:48:16,360 --> 00:48:18,800
Speaker 3: It's my birthday next month. Hey, stults, what do you

866
00:48:18,800 --> 00:48:20,680
Speaker 3: think I should do for my birthday? Do you think

867
00:48:20,719 --> 00:48:24,760
Speaker 3: I should rent a plane with for fifty my friends

868
00:48:24,760 --> 00:48:27,600
Speaker 3: would fly to Vegas for the weekend, or do you

869
00:48:27,600 --> 00:48:29,839
Speaker 3: think we should rent a yacht and do this and that,

870
00:48:30,000 --> 00:48:32,719
Speaker 3: and they were all happy and excited, like what did

871
00:48:32,760 --> 00:48:35,040
Speaker 3: we do with our money in our fame? And I

872
00:48:35,080 --> 00:48:37,000
Speaker 3: looked at them and I was I was in drunky mood.

873
00:48:37,000 --> 00:48:39,080
Speaker 3: I thought, I said, you want my honest answer, here's

874
00:48:39,120 --> 00:48:41,279
Speaker 3: what you should do. You should take that money and

875
00:48:41,440 --> 00:48:44,920
Speaker 3: get in therapy and buy a house, a small house

876
00:48:45,120 --> 00:48:47,560
Speaker 3: that you can keep forever, because it's not always going

877
00:48:47,640 --> 00:48:49,640
Speaker 3: to be like this. And I remember they looked at

878
00:48:49,640 --> 00:48:53,640
Speaker 3: me like I shot their dog looked at me like, oh,

879
00:48:54,080 --> 00:49:00,000
Speaker 3: stones down, getting it away from him. But it is

880
00:49:00,040 --> 00:49:00,520
Speaker 3: good advice.

881
00:49:01,520 --> 00:49:03,360
Speaker 1: Home therapy and homes.

882
00:49:03,440 --> 00:49:07,560
Speaker 3: Very those were the three wrong guys to be talking.

883
00:49:07,280 --> 00:49:10,400
Speaker 1: To you, that's right at that point time.

884
00:49:10,840 --> 00:49:11,640
Speaker 3: Mark, Corey and.

885
00:49:14,360 --> 00:49:15,960
Speaker 2: Yeah, there was no talking about that.

886
00:49:16,360 --> 00:49:21,839
Speaker 1: No, No, they definitely probably Vegas. What before we let

887
00:49:21,920 --> 00:49:27,600
Speaker 1: you go? Which is so sad. What feeling does Glee

888
00:49:27,640 --> 00:49:28,160
Speaker 1: leave you with?

889
00:49:30,680 --> 00:49:33,200
Speaker 3: Well, I tell you I watched. When I got to duets,

890
00:49:34,040 --> 00:49:42,400
Speaker 3: I wept. I wept because you were all so so

891
00:49:42,760 --> 00:49:47,239
Speaker 3: beautiful and talented and and it was such a lovely experience.

892
00:49:47,280 --> 00:49:53,200
Speaker 3: And then I wept for Nya and Corey m and

893
00:49:53,280 --> 00:49:56,400
Speaker 3: even Mark. You know, Mark was yeah, a piece of

894
00:49:56,440 --> 00:49:57,880
Speaker 3: work and he wasn't easy.

895
00:49:58,000 --> 00:50:07,040
Speaker 6: But yeah, yeah, it's a sort of a sad loveliness

896
00:50:07,400 --> 00:50:10,680
Speaker 6: that I look at that that time because I so

897
00:50:10,880 --> 00:50:11,800
Speaker 6: loved you guys.

898
00:50:12,000 --> 00:50:16,080
Speaker 3: I just you know, I cherished being able to get

899
00:50:17,600 --> 00:50:20,720
Speaker 3: get there with you and do what I did. Yeah,

900
00:50:21,800 --> 00:50:26,000
Speaker 3: I mean, I haven't watched the rest of the seasons.

901
00:50:26,239 --> 00:50:27,640
Speaker 1: Yeah, there really were.

902
00:50:28,160 --> 00:50:30,160
Speaker 2: The feeling I can say I can speak for all

903
00:50:30,200 --> 00:50:34,600
Speaker 2: of us is very mutual. We felt that from you.

904
00:50:34,800 --> 00:50:39,080
Speaker 2: We're still obsessed with you. Yeah, you're not going to

905
00:50:39,080 --> 00:50:40,760
Speaker 2: get rid of us that easily.

906
00:50:42,400 --> 00:50:42,600
Speaker 3: Ok.

907
00:50:43,280 --> 00:50:49,440
Speaker 1: Yeah, well, thanks for taking your time to prepare for

908
00:50:49,480 --> 00:50:55,799
Speaker 1: this podcast number one. Refresh your memory, always prepared, hang

909
00:50:55,840 --> 00:51:00,040
Speaker 1: out with us, share your feelings. Yeah, Like I just

910
00:51:00,120 --> 00:51:03,160
Speaker 1: echo Kevin, like anytime you were coming on, we knew

911
00:51:03,239 --> 00:51:05,680
Speaker 1: we saw stilts on the roster and be like, oh,

912
00:51:06,040 --> 00:51:10,319
Speaker 1: like a breath, like a sigh relief and such a

913
00:51:10,400 --> 00:51:12,880
Speaker 1: joy and always just kind of like picked us up

914
00:51:13,160 --> 00:51:16,759
Speaker 1: and back out of our choir slump. So thank you.

915
00:51:17,000 --> 00:51:19,240
Speaker 2: It is true. And I don't know if you knew

916
00:51:19,280 --> 00:51:22,759
Speaker 2: that where you know, we could get into the the

917
00:51:22,880 --> 00:51:25,960
Speaker 2: rut of the process of the exhaustion of it all,

918
00:51:26,560 --> 00:51:31,480
Speaker 2: and there absolutely was an injection of you know, positivity,

919
00:51:31,640 --> 00:51:36,239
Speaker 2: and absolutely picked us back up and injected us with

920
00:51:36,280 --> 00:51:36,800
Speaker 2: some energy.

921
00:51:37,120 --> 00:51:37,600
Speaker 1: That's right.

922
00:51:37,760 --> 00:51:40,799
Speaker 3: No, I'm glad, I'm glad. I mean, look, you guys

923
00:51:40,800 --> 00:51:42,760
Speaker 3: didn't really need any help with the energy department.

924
00:51:43,560 --> 00:51:45,200
Speaker 1: I could now, I mean I do now.

925
00:51:47,440 --> 00:51:50,640
Speaker 3: We all grow older. But at that point, literally like

926
00:51:50,960 --> 00:51:54,080
Speaker 3: you had toured all summer and you were making another

927
00:51:54,160 --> 00:51:57,960
Speaker 3: twenty two episodes and you were partying in the on

928
00:51:58,000 --> 00:52:01,040
Speaker 3: the weekends. It was you guys. Correct, You guys are

929
00:52:01,080 --> 00:52:03,000
Speaker 3: living the dream we were.

930
00:52:03,160 --> 00:52:03,879
Speaker 1: We really did.

931
00:52:04,239 --> 00:52:04,879
Speaker 2: Yeah we did.

932
00:52:05,120 --> 00:52:06,640
Speaker 1: I wonder I don't want to leave my house over.

933
00:52:07,160 --> 00:52:08,239
Speaker 2: Yeah we did it all.

934
00:52:08,320 --> 00:52:08,800
Speaker 1: I didn't.

935
00:52:09,280 --> 00:52:10,160
Speaker 2: Yeah, I did it.

936
00:52:10,320 --> 00:52:13,000
Speaker 1: No need truly, we've done it. We've seen it all.

937
00:52:13,239 --> 00:52:13,840
Speaker 2: No fomo.

938
00:52:16,160 --> 00:52:18,839
Speaker 1: Well, thanks Eric. We we love you and adore you.

939
00:52:19,719 --> 00:52:21,080
Speaker 3: Thank you, I love you right there.

940
00:52:21,160 --> 00:52:23,239
Speaker 2: Thanks for spending so much time with us, and so

941
00:52:23,480 --> 00:52:23,920
Speaker 2: good to.

942
00:52:23,880 --> 00:52:25,279
Speaker 3: See you you too.

943
00:52:25,960 --> 00:52:28,160
Speaker 1: He hasn't changed a bit. I mean he's I'm sure

944
00:52:28,160 --> 00:52:30,400
Speaker 1: he's evolved, but he hasn't changed at all.

945
00:52:30,719 --> 00:52:32,960
Speaker 2: No, in all the great ways, he's the same and

946
00:52:33,239 --> 00:52:37,720
Speaker 2: just wonderful, caring and so prepared.

947
00:52:37,719 --> 00:52:41,759
Speaker 1: Always so prepared, more prepared than we are for this podcast.

948
00:52:41,960 --> 00:52:45,000
Speaker 2: Yeah, so you know, going forward, when you're rewatching the

949
00:52:45,000 --> 00:52:48,520
Speaker 2: show with us, just pay attention to who's directing and

950
00:52:48,560 --> 00:52:51,640
Speaker 2: you'll see it's a little more loose around the edges

951
00:52:51,920 --> 00:52:54,799
Speaker 2: with us. I think when Stultz is directing, that's right,

952
00:52:55,160 --> 00:52:56,640
Speaker 2: that's totally great and a great way.

953
00:52:56,960 --> 00:53:00,120
Speaker 1: Well, thanks Stoltz for coming on. We really if you

954
00:53:00,120 --> 00:53:02,560
Speaker 1: couldn't tell by the episode, you guys, we really loved

955
00:53:02,640 --> 00:53:08,480
Speaker 1: Erek being one of our directors. And that's that's this

956
00:53:08,520 --> 00:53:09,360
Speaker 1: week's episode.

957
00:53:09,520 --> 00:53:12,040
Speaker 2: So that's what you really missed.

958
00:53:12,440 --> 00:53:13,239
Speaker 1: See you next week.

959
00:53:13,920 --> 00:53:17,040
Speaker 2: Thanks for listening, and follow us on Instagram at and

960
00:53:17,160 --> 00:53:19,399
Speaker 2: that's what you really miss pod. Make sure to write

961
00:53:19,440 --> 00:53:21,680
Speaker 2: us a review and leave us five stars. See you

962
00:53:21,760 --> 00:53:22,160
Speaker 2: next time.