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Speaker 1: I am all in again. Oh, let's just do I

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Speaker 1: Am all in again with Scott Patterson and iHeartRadio Podcast.

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Speaker 1: Hey everybody, Scott Patterson, I Am all in Podcast, one

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Speaker 1: of them productions. iHeartRadio, iHeart Media, iHeart podcasts. We are

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Speaker 1: doing a one on one interview with a recap of

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Speaker 1: season one, episode ten with none other than Sarah Wayne

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Speaker 1: Colli's is this is this the cret CREC? Did I

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Speaker 1: get it?

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Speaker 2: Nailed it? Nailed it.

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Speaker 1: I nailed it so happy I didn't even practice. Sarah

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Speaker 1: is and you all know her. She's known for starring

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Speaker 1: as Sarah Tankredi on on Fox's Prison Break, Grimes on

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Speaker 1: AMC's The Walking Dead. You may have heard of these shows,

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Speaker 1: and more recently, as Bertie Nicoletti in ABC's The Company

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Speaker 1: You Keep. She's the creator and voice behind sci fi

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Speaker 1: podcast Aftershock and co host with prison Breaking with Paul Adelstein,

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Speaker 1: a rewatch podcast for prison Break. With season two of

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Speaker 1: prison Breaking on the way, Sarah continues to connect with

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Speaker 1: audiences to orse work both on and off the screen.

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Speaker 1: She has appeared as an extra in this episode of

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Speaker 1: Gilmore Girls. Believe It or Not. We had the privilege

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Speaker 1: of working with her it's an extra and in a

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Speaker 1: very first what was not what's not true?

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Speaker 2: I've never been on Gilmour Girls.

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Speaker 1: You're not an extra in no, no, this is not you.

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Speaker 1: It since the very first hospital scene you can be

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Speaker 1: seen crossing cross the scene.

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Speaker 2: I've I've never done background work unless like I was

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Speaker 2: shooting something else on the same lot. But no, as

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Speaker 2: far as I.

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Speaker 1: Know, is that right.

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Speaker 2: I mean, you're welcome to show me the scene, but like,

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Speaker 2: I've literally never done background work.

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Speaker 1: There's a you know, people, I even have it on

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Speaker 1: my resume. I don't know how it got there that

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Speaker 1: I did stunt work on a couple of things, and

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Speaker 1: I never did any stunt work.

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Speaker 2: You know, I had for It took me like five

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Speaker 2: years to get off of my IMDb pro.

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Speaker 3: It said that I had been in an underwear model.

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Speaker 2: For a long time because my first job was opposite

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Speaker 2: Travis Fimmel, who was the Calvin Klein underwear model.

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Speaker 1: Oh was he?

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Speaker 2: And I think people just but it was like it

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Speaker 2: was like forget. I would get auditions and I was like, Okay,

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Speaker 2: so I think I know what you were expecting. I've

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Speaker 2: got like a degree in women's studies. I'm like I

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Speaker 2: never really took my clothes off it and people take

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Speaker 2: pictures of me. But hey, no judgment to be boo did.

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Speaker 2: It's hard to get those things off of your right

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Speaker 2: off of your resume. By the way, I bet you

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Speaker 2: would have been a terrific stump man. You would have

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Speaker 2: killed it.

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Speaker 1: I'm sure you know. I'm I really feel like I'm

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Speaker 1: doing that every day anyway.

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Speaker 2: So sorry to not have been in Gilmore Girls in

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Speaker 2: Killore Girls.

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Speaker 1: This is not you. I have two pictures of you.

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Speaker 2: Wait, wait, show me the pictures.

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Speaker 1: There is a resemblance, is there. Maybe it's not from

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Speaker 1: Gilmore Girls. Maybe I don't know. I don't know you

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Speaker 1: well enough to know your profile with your hair pinned back,

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Speaker 1: but it kind of looks.

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Speaker 3: Like you, I mean, honestly, Well.

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Speaker 1: Let's get to the bottom of this.

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Speaker 3: Well, because this was it was a WB show, right, Yeah,

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Speaker 3: wasn't it?

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Speaker 1: Yeah? Here it is. Can you see it? Is that

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Speaker 1: not you?

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Speaker 2: That's not me?

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Speaker 4: Okay, it's definitely not me, but I can see why

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Speaker 4: somebody might think it was m That is wild.

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Speaker 2: Wait, well who okay, sorry, listen.

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Speaker 1: We really want you to be an extra Gilmore gross

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Speaker 1: and the next iteration will you do you please come

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Speaker 1: on and be an extra I am.

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Speaker 2: I am promising you right now that if you do

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Speaker 2: another see another show of Gilmore Girls, I will cross

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Speaker 2: as a doctor in the background of any scene where

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Speaker 2: it's not appropriate.

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Speaker 1: That would be great. At least we would be telling

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Speaker 1: a complete lie here. I'm so sorry, We're sorry, we're show.

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Speaker 2: Off the whole premise of this thing.

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Speaker 1: I think you're going to be eligible for some wonderful

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Speaker 1: prizes as a result of our faux pas here.

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Speaker 2: Or possibly residuals. Do you know what, No, let's advise

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Speaker 2: the story that is me and I would be grateful

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Speaker 2: for whatever residual rate.

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Speaker 3: Background performers probably don't get it.

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Speaker 1: Prepare yourself to get a check that says one penny. Yeah,

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Speaker 1: and we've all we've all gotten those.

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Speaker 2: Do you remember that that bar called Residuals on Ventura

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Speaker 2: in Studio City where if you brought in a residual

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Speaker 2: check for under a dollar, they would give you a

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Speaker 2: free beer.

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Speaker 1: Oh, I heard, I heard about this place. I've never been.

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Speaker 1: I've never been.

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Speaker 2: I went a couple of times with friends who you

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Speaker 2: know you you do, like get your fifth residual check

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Speaker 2: for like the one episode you did of numbers back

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Speaker 2: in you know, is.

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Speaker 1: It still there? I don't know, because I could. I

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Speaker 1: could roll in with a lot of checks.

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Speaker 3: Man, I honestly, I have not been in like ten years.

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Speaker 1: So sometimes you get the big ones something most of

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Speaker 1: them are medium size, and then you get the tiny ones. Yeah. Yeah,

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Speaker 1: it's it's a lot like life.

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Speaker 2: Yeah it is that all right?

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Speaker 1: So you weren't so all of these questions are No,

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Speaker 1: they're irrelevant. Now I can't ask you what it was like.

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Speaker 1: You want to make it up? Yeah, pretend like you

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Speaker 1: were an extra, and.

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Speaker 2: I will say, Okay, So here's where here's where I

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Speaker 2: can hopefully come in with something that feels a little

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Speaker 2: bit like a save. I have so many ties who

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Speaker 2: I'm one degree of separation from, like half the cast

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Speaker 2: of Gilmore Girls. I just directed Jared Padlechi okay and

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Speaker 2: Fire Country. Paul Adelstein that I do the Prison Break

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Speaker 2: Rewatch podcast with was married to Lisa, who Liza Sorry,

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Speaker 2: who played Paris. I played myle event Emilia's sister. You

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Speaker 2: know what I mean? Like, right, Yeah, hit me with

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Speaker 2: the questions and I'll answer them.

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Speaker 1: You were an extra on Gilmore Girls? What was it like?

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Speaker 2: For you, Sarah. You know, I have to say everybody

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Speaker 2: was so nice. I didn't.

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Speaker 3: I was never treated like an extra.

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Speaker 2: I was. I was. Really it felt like I was

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Speaker 2: just treated like one of the family.

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Speaker 1: No, that's how we do it, man, that's how we

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Speaker 1: roll over there.

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Speaker 3: Did you shoot on the Warner Brothers lot?

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Speaker 1: Yeah, you were there. I was. I was.

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Speaker 2: I was. I was on the Warner Brothers lot. It

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Speaker 2: was entirely possible that I was walking to ADR.

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Speaker 1: And that's snapped a picture and you were walking to

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Speaker 1: ADR in a nurse nurse's uniform.

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Speaker 2: Well, I did play a doctor on prison Break, so

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Speaker 2: it's possible that. And we did our post on We

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Speaker 2: actually did our post on the Warner Brothers lot, so

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Speaker 2: it's possible that I just kept on the stethoscope and

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Speaker 2: the white coat all the way from where we filmed

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Speaker 2: in Chicago.

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Speaker 1: All right, Since you were never an extra ever in

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Speaker 1: your entire career, how long had you been in the

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Speaker 1: entertainment industry when you stepped on set as an extra?

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Speaker 2: When I stepped on set as an.

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Speaker 1: Extra, how long you've been in it? Yeah?

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Speaker 2: Well this, let's see, this is the second season of

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Speaker 2: your show, so this would have been what two thousand.

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Speaker 1: First season?

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Speaker 2: First season? So what's that?

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Speaker 1: Oh, it's two thousand, it's two thousand, two thousand. Well,

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Speaker 1: by episode ten it was probably got oh we started shooting.

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Speaker 1: Maybe it would have been earlier one.

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Speaker 3: Yeah, maybe it would have been earlier one.

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Speaker 2: Okay, yeah, so I was I got on a plane from.

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Speaker 3: Grad school in Denver, flew out to Los Angeles.

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Speaker 2: Who do it? So it would have been officially my

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Speaker 2: first professional television appearance.

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Speaker 1: When you got the call that you never got, yes,

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Speaker 1: you were going to be an extro on Gilmore Girls,

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Speaker 1: How excited were you?

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Speaker 2: Thrilled beyond belief. I literally couldn't believe it was happening.

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Speaker 1: Because it didn't happen. It was hard to believe that

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Speaker 1: it did.

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Speaker 2: But it was welfare. But it also, I mean, I

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Speaker 2: gotta say, like, in all seriousness, it was a show

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Speaker 2: that almost every woman I know was talking about because

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Speaker 2: it was a show where women sounded like women, right.

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Speaker 2: And in two thousand and one, there were not a

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Speaker 2: lot of women writing for women. There were not a

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Speaker 2: lot of women's showrunners who, if they wrote for women,

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Speaker 2: wouldn't get rewritten by male showrunners. There were not a

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Speaker 2: lot of shows that routinely passed the Bechdel test. It was,

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Speaker 2: and it wasn't until years later that I started to identify,

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Speaker 2: like I even know what a showrunner was in two

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Speaker 2: thousand and one, right, I've never done anything with theater,

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Speaker 2: but it once I did the math and the tracking

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Speaker 2: and went Amy Sherman, Palladino is doing something that really

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Speaker 2: hadn't been done very much, if at all, which was

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Speaker 2: right women, the way we talk for women, and an

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Speaker 2: honor a very non traditional set of female relationships, which

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Speaker 2: is like, this is the woman who got pregnant super

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Speaker 2: young at a time where we were just coming out

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Speaker 2: of the era of like only terrible girls get pregnant

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Speaker 2: in high school, you know what I mean? And like,

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Speaker 2: here's a whole show basing like it was a kind

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Speaker 2: of feminist revolution, which was a really exciting thing.

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Speaker 3: To see and to hear about. So when I got

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Speaker 3: the call to be an extra.

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Speaker 2: I'm shrilled to be a part of the revolution.

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Speaker 1: It's what I'm saying, right, right, right, Oh.

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Speaker 2: Scott, I'm so sorry. I did not know that the

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Speaker 2: whole premise of this interview was based on me having

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Speaker 2: been in your show. I'm so sorry.

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Speaker 1: But you were on the show you were. Did you

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Speaker 1: learn anything from your Gilmour from the Gilmore set that

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Speaker 1: you still use today.

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Speaker 2: Yes, I learned that you have to talk very quickly

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Speaker 2: certain kinds of shows that there was a because the

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Speaker 2: same way, like okay, in two thousand and one, I

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Speaker 2: was really in grad school the same way we were

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Speaker 2: learning the difference between Shakespeare, Shaw and Moliere. There is

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Speaker 2: a difference between Amy's writing and Shanda's writing, which is

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Speaker 2: don't think, talk and all of your thinking happens on

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Speaker 2: the line, and these sort of more attenuated moody like

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Speaker 2: you get a forty two page script and that's an

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Speaker 2: entire episode, as opposed to you get a sixty page

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Speaker 2: script and that shoots in forty two minutes, which is

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Speaker 2: a totally different way of performing. So yeah, I learned

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Speaker 2: a lot from that.

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Speaker 1: It was like Shakespeare, you just had to learn the lines, yeah,

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Speaker 1: and then open your mouth, the words pour out, the

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Speaker 1: meaning reveals itself. Yeah, that's what it was. That's right,

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Speaker 1: that's what it was like.

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Speaker 2: And was that a new way of working for you?

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Speaker 1: No, because I've done Shakespeare before and I know it's

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Speaker 1: really just about and it was similar because it had

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Speaker 1: the same kind of emotional logic, so it was very

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Speaker 1: easy to remember.

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Speaker 2: Oh cool.

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Speaker 1: Yeah, because when I first tackled Shakespeare, you know, you're

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Speaker 1: always intimidated. But it's like, wait a minute, this is

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Speaker 1: far easier than I realized it was going to be.

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Speaker 1: And then after a couple of days you're like, wow,

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Speaker 1: I've got almost half of this down now, So it's

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Speaker 1: odd how quickly it comes. And this is the same.

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Speaker 1: This is the same. And when you trust the writer

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Speaker 1: so much, you trust the writing so much, yeah, you

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Speaker 1: don't have to think about how it could be better

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Speaker 1: or what you know, or there's awkward yeah, minds are

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Speaker 1: awkward sentences. There was never any of that. It was

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Speaker 1: just like, okay, let's get this down, say as fast

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Speaker 1: as you can the rest of you know, it'll move

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Speaker 1: you where it needs to take you, both physically and emotionally.

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Speaker 2: Because good writing is easy to learn. Yeah, Like I

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Speaker 2: find now having done this for a while, if I

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Speaker 2: read a script four or five times and I can't

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Speaker 2: learn the lines, I'm still going to learn them and

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Speaker 2: do my job. But in the back of my head,

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Speaker 2: I'm like, I think there's something happening in this scene

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Speaker 2: that like, either my character is being asked to say

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Speaker 2: or do something that doesn't quite a line or that

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Speaker 2: you know, like it's yeah, but good writing, good writing,

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Speaker 2: you learn really quickly.

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Speaker 1: Yeah, that's rue.

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Speaker 2: What was it like like you'd worked in television before? Obviously?

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Speaker 1: Yeah?

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Speaker 3: Did it feel like.

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Speaker 2: A totally different experience as you were, because you know

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Speaker 2: episode ten by then, you're probably what like about airing?

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Speaker 2: Like you start, you've got the first nine in the can.

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Speaker 2: The show is about to come out or it's just

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Speaker 2: come out. The world is starting to react and go,

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Speaker 2: oh shit, this is something really new.

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Speaker 1: We knew we had something just because the trade papers

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Speaker 1: were lauding it right, very glowing reviews in the Hollywood

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Speaker 1: Reporter and Variety. So we knew we were onto something.

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Speaker 1: We knew it. We all knew it. Anyway, when we

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Speaker 1: first read the pilot to prepare for our auditions, Okay,

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Speaker 1: I didn't think I would have a chance. I thought

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Speaker 1: this is not going to happen, and this is too

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Speaker 1: good because film actors were crossing over into TV at

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Speaker 1: that point, you know, they just started doing that. And

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Speaker 1: I said, well, they're going to get a bunch of names,

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Speaker 1: and hey, I'll go in and enjoy myself and much

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Speaker 1: to my surprise. I really have never been so shocked

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Speaker 1: in my life. Yeah. I mean I thought I did

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Speaker 1: a good job, but I was, you know, I was

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Speaker 1: nailing auditions all over the place and not getting the offer.

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Speaker 1: And you're always coming in second or third place or

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Speaker 1: whatever it is. And that's good. Yeah, you know, that's

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Speaker 1: you can build a you build your career and your

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Speaker 1: reputation that way. That's all good stuff. Yeah, for sure,

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Speaker 1: were you aware of the show in two thousand when

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Speaker 1: it came out, you absolutely you saw it and you

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Speaker 1: react and.

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Speaker 2: No, I mean, that's that's what I'm saying. Like that

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Speaker 2: every woman I know was having this conversation about like

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Speaker 2: they're doing something over there because there again they're just there.

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Speaker 3: Hadn't been that much.

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Speaker 2: That felt it felt like it was by women about

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Speaker 2: women for women, and that there'd been a few, but

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Speaker 2: they all kind of felt like one offs to me

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Speaker 2: and gilmore girls came along and it started to feel

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Speaker 2: like this is the sharp end of a spear. There's

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Speaker 2: gonna be more of this because getting over that like

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Speaker 2: black death thing.

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Speaker 1: Oh right, it's going around.

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Speaker 2: Everybody's got it's like proto pneumonia.

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Speaker 3: But for like, even in the beginning of my career.

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Speaker 2: Being a leading lady very often meant your job is

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Speaker 2: to make sure that the arc of the leading man

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Speaker 2: makes sense. So he's got to get from here to here,

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Speaker 2: and they're gonna plug you into scenes to make sure

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Speaker 2: that he gets there. There may or may not be

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Speaker 2: an internal logic to your character. You may be asked

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Speaker 2: to do some things that do or do not fully

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Speaker 2: track for you. Your job is to figure out how

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Speaker 2: to get them to track, to create whatever internal logic

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Speaker 2: you need to so that his journey is complete. Gilmore Girls,

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Speaker 2: being a leading lady meant the show it was your

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Speaker 2: arc that made sense, and two concurrent female arcs were

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Speaker 2: playing out that had their own fully articulated logic. And

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Speaker 2: again it wasn't the first time it happened, But I

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Speaker 2: think it also came an interesting point in kind of

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Speaker 2: you know, our social, political, cultural vibes. You know, the

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Speaker 2: early two thousands, we were at the the beginning of

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Speaker 2: women taking a certain kind of creative and cultural power

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Speaker 2: in a sustainable way, and this show was very much

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Speaker 2: a part of that, which is it's a wild legacy.

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Speaker 1: Yeah, we witnessed that too. With Yeah, I will admit

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Speaker 1: there was a little bit of a tension between Amy

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Speaker 1: and the studio. And I don't think she was really

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Speaker 1: I think she was listening to ideas, but I think

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Speaker 1: her entire being was about this is my show, this

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Speaker 1: is my voice. No, I will not implement this storyline.

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Speaker 1: No I will not get them together faster. No. And

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Speaker 1: she she, you know, she voraciously defended her show well,

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Speaker 1: and it was quite something to watch.

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Speaker 2: She must have. I imagined she had to because it

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Speaker 2: was it was so new that the the impulse would be, well,

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Speaker 2: if we make it a little bit more like Friends,

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Speaker 2: or a little bit more like the West Wing, or

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Speaker 2: I mean like Warner Brothers back then had this insane

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Speaker 2: catalog of wildly successful television. Yes, and I can only

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Speaker 2: imagine that, you know, you put a lot of money

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Speaker 2: into TV, that there are a lot of folks in

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Speaker 2: the check writing offices going if you just kind of

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Speaker 2: do this and sometimes mean, you know, not for nothing.

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Speaker 2: Frank Derbat was the same way with Walking Dead, like

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Speaker 2: he was he was there to.

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Speaker 3: Make his show and it's hard to do.

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Speaker 2: Like Amy, he was right, you know, he was right.

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Speaker 2: And then but then, of course, the tricky thing for

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Speaker 2: the people in the check writing offices. Has got to

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Speaker 2: be that sometimes people I'm sure are just as ferocious.

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Speaker 3: In defense of their vision and they're wrong.

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Speaker 2: I'm sure there are showrunners who you know, we've never

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Speaker 2: heard of because they stamped their feet and said, I'm

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Speaker 2: not going to make any changes, and the audience was like, yeah,

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Speaker 2: we don't like this very much.

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Speaker 1: You know, I almost see her and Dan as indie

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Speaker 1: rock stars who don't care about commercial success per se.

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Speaker 1: I think they just always want they wrote their songs.

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Speaker 1: This is how we're not changing them. This is who

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Speaker 1: we are. We have to stay true to who we are,

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Speaker 1: and if you don't like it too bad, then don't

349
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Speaker 1: come to our shows. And they that's they dug in.

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Speaker 1: But I never really saw that side of them. You know,

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Speaker 1: you don't see an unpleasant side of them. It was

352
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Speaker 1: always sort of a carnival. When they would show up

353
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Speaker 1: on Saturday they were directing an episode. It was always

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Speaker 1: just such an enhanced experience. Not that anybody else was

355
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Speaker 1: was was terrible or boring. I mean, they had great directors,

356
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Speaker 1: but I mean when Amy was on set directing an episode,

357
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Speaker 1: it was a fun eight days. Yeah, I mean it

358
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Speaker 1: was just filled with stories and laughter. She just brought

359
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Speaker 1: this energy. She brings this sort she's like a nuclear

360
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Speaker 1: reactor of comedy. Yeah, she's very she's she's like a

361
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Speaker 1: volcano of joy, you know what I mean. It's just

362
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Speaker 1: a it's it's just all of this positive, high volume

363
00:21:00,920 --> 00:21:06,120
Speaker 1: laughter and stories and yeah, just great, just great stuff.

364
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Speaker 1: Really miss her, Yeah.

365
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Speaker 2: Well, And I mean what's interesting is to see the

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Speaker 2: way that she's sort of iterated her work since you know,

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Speaker 2: like she's got this ferociously creative, creative impulse. And I

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Speaker 2: what I love about it is that she articulates female

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Speaker 2: power in ways that are not male power, right, Like

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Speaker 2: I have a pet peeve, And anybody who's ever seen

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Speaker 2: me interviewed about anything, we'll probably know this when somebody

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Speaker 2: decides to write a strong woman and she's just a

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Speaker 2: man and a woman's body, right, meaning like, and I'll

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Speaker 2: be honest, it happened on Walking Dead. Sometimes someone would

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Speaker 2: be like, oh, to fucking kick your ass, and I

376
00:21:53,200 --> 00:21:57,800
Speaker 2: was like, you won't though, like you won't. And you know,

377
00:21:58,520 --> 00:22:00,239
Speaker 2: for anybody who's ever been in a fight, like if

378
00:22:00,280 --> 00:22:02,200
Speaker 2: you get punched in the face by somebody who's forty

379
00:22:02,200 --> 00:22:04,359
Speaker 2: pounds heavier than you, you go down and it's over,

380
00:22:04,480 --> 00:22:12,360
Speaker 2: and so that kind of false, like machismo just seemed

381
00:22:12,440 --> 00:22:15,520
Speaker 2: so it just seemed like a lie to me, because

382
00:22:15,520 --> 00:22:19,400
Speaker 2: you're like, well, now the guy you're acting opposite has

383
00:22:19,440 --> 00:22:23,440
Speaker 2: to act scared of you, and quite frankly, that's dumb,

384
00:22:23,440 --> 00:22:25,120
Speaker 2: and that puts him in a weird position.

385
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Speaker 1: And that ruins his character, and it.

386
00:22:26,800 --> 00:22:28,520
Speaker 2: Ruins his character. It makes the whole scene look like

387
00:22:28,560 --> 00:22:38,320
Speaker 2: a lie. Whereas when female power is humor, is cunning,

388
00:22:38,480 --> 00:22:44,320
Speaker 2: is intelligence, is shame, is manipulation, is empowerment, is inclusion,

389
00:22:44,920 --> 00:22:48,280
Speaker 2: is community. When we articulate female power the way women

390
00:22:48,440 --> 00:22:52,320
Speaker 2: experience power, then all of a sudden, it feels really true.

391
00:22:52,359 --> 00:22:55,400
Speaker 2: And that's the word that I would use. Actually, when

392
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Speaker 2: I saw the show is it felt true, not like documentary,

393
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Speaker 2: do you know what I mean. I'm not like, oh,

394
00:23:02,320 --> 00:23:03,639
Speaker 2: I live in a town just like this and we

395
00:23:03,680 --> 00:23:09,040
Speaker 2: talked just like this, but it the way female power

396
00:23:09,400 --> 00:23:15,960
Speaker 2: was articulated, felt true and felt much more. And I

397
00:23:15,960 --> 00:23:18,080
Speaker 2: saw it on the West Wing too, actually, you know

398
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Speaker 2: what I mean, like another big Warner Brothers show at

399
00:23:20,320 --> 00:23:23,200
Speaker 2: the time, Like, yes, this is the way women are powerful,

400
00:23:24,960 --> 00:23:28,240
Speaker 2: and it was great. It was great to see. And

401
00:23:28,280 --> 00:23:30,080
Speaker 2: she's still doing it Amy, you know, I mean with

402
00:23:30,119 --> 00:23:32,760
Speaker 2: what she did with MASL, Like there is an extraordinary

403
00:23:32,840 --> 00:23:36,639
Speaker 2: articulation of female power there in ways that are familiar

404
00:23:36,680 --> 00:23:42,040
Speaker 2: to women but often really I think underrepresented or were

405
00:23:42,200 --> 00:23:43,280
Speaker 2: underrepresented in TV.

406
00:23:43,960 --> 00:23:49,080
Speaker 1: Right. You know, in the beginning, I didn't understand this,

407
00:23:49,720 --> 00:23:53,439
Speaker 1: and then I gained understanding as we went along that

408
00:23:53,600 --> 00:23:57,280
Speaker 1: this was a show rooted in female power.

409
00:23:58,240 --> 00:23:58,480
Speaker 2: Yeah.

410
00:23:58,600 --> 00:24:02,879
Speaker 1: That, and that I was in a situation where I

411
00:24:03,040 --> 00:24:06,840
Speaker 1: was sort of just helping tell these stories, you know

412
00:24:06,840 --> 00:24:09,920
Speaker 1: what I'm saying, Okay, Yeah, And it was it, It

413
00:24:09,960 --> 00:24:12,480
Speaker 1: was It was a strange adjustment for me, but but

414
00:24:12,560 --> 00:24:14,880
Speaker 1: I was used to that. I was. I was always

415
00:24:15,359 --> 00:24:17,920
Speaker 1: from a man's point of view, and it like like

416
00:24:18,119 --> 00:24:20,520
Speaker 1: I'm an alpha dude and all that stuff always have been.

417
00:24:20,560 --> 00:24:25,760
Speaker 1: So it was odd being in this environment that I

418
00:24:25,800 --> 00:24:29,639
Speaker 1: thoroughly enjoyed all of the time and felt it felt

419
00:24:29,800 --> 00:24:34,199
Speaker 1: really right walking into that room meeting Amy and Gavin

420
00:24:34,240 --> 00:24:38,280
Speaker 1: Polone and the director and casting it just you know,

421
00:24:38,320 --> 00:24:40,160
Speaker 1: you walk into a room and it's like, oh, this

422
00:24:40,240 --> 00:24:44,000
Speaker 1: is this is right, and because because you walk in

423
00:24:44,160 --> 00:24:46,560
Speaker 1: rooms and it doesn't feel right, and there's all kinds

424
00:24:46,560 --> 00:24:48,159
Speaker 1: of reasons for that have that have nothing to do

425
00:24:48,240 --> 00:24:51,359
Speaker 1: with you. But but but this felt like, oh, there,

426
00:24:51,520 --> 00:24:57,000
Speaker 1: we're connecting very quickly here and this is this this

427
00:24:57,040 --> 00:25:00,840
Speaker 1: could be nice. But yeah, it was an adjustment for me.

428
00:25:01,240 --> 00:25:04,719
Speaker 1: It didn't take long, but it was an adjustment. It

429
00:25:04,760 --> 00:25:07,880
Speaker 1: was it was It was not an entirely new experience

430
00:25:07,880 --> 00:25:10,240
Speaker 1: because I'd worked with all, you know, a lot of

431
00:25:10,240 --> 00:25:13,479
Speaker 1: the top women in TV, Julia, Louis Dreyfus, Deborah Messing,

432
00:25:13,560 --> 00:25:18,600
Speaker 1: Sharon Lawrence, and it was perfectly comfortable just serving them,

433
00:25:18,680 --> 00:25:27,000
Speaker 1: you know, and and being being that supporting actor guy, right, Yeah,

434
00:25:27,080 --> 00:25:29,680
Speaker 1: and this was this Sometimes this was a little confusing

435
00:25:29,760 --> 00:25:35,040
Speaker 1: because you know, as I was telling my wife earlier,

436
00:25:35,080 --> 00:25:38,240
Speaker 1: you know, Amy and Dan put me in situations that

437
00:25:38,400 --> 00:25:43,600
Speaker 1: all of the that that sort of mimicked all of

438
00:25:43,680 --> 00:25:46,640
Speaker 1: these great movie moments from the forties and the fifties

439
00:25:46,680 --> 00:25:51,200
Speaker 1: and you know, the golden era of filmmaking. And Luke

440
00:25:51,359 --> 00:25:56,600
Speaker 1: was in those situations and having to to realize all

441
00:25:56,640 --> 00:25:58,679
Speaker 1: that and and act through that, and it was just

442
00:26:00,600 --> 00:26:03,600
Speaker 1: the greatest gift of my career was doing that role.

443
00:26:04,720 --> 00:26:08,760
Speaker 1: And you know, you wonder why people see you as

444
00:26:08,800 --> 00:26:12,000
Speaker 1: that character wherever you go, and they get confused when

445
00:26:12,080 --> 00:26:14,760
Speaker 1: you try to play another character. They don't get it.

446
00:26:14,760 --> 00:26:17,000
Speaker 1: It's like, what are you doing? It's like, can't you

447
00:26:17,119 --> 00:26:21,280
Speaker 1: just put the hat on and be that guy? But

448
00:26:21,359 --> 00:26:24,680
Speaker 1: a very special experience to be in the belly of

449
00:26:24,720 --> 00:26:27,040
Speaker 1: the beast for so long and continually after twenty five

450
00:26:27,119 --> 00:26:33,680
Speaker 1: years at this groundbreaking show where women did take over

451
00:26:35,560 --> 00:26:40,680
Speaker 1: and stake their claim, and like, this is far more interesting, nuanced,

452
00:26:41,000 --> 00:26:46,719
Speaker 1: intelligent storytelling than you have seen before and here and

453
00:26:46,760 --> 00:26:49,960
Speaker 1: this is what it looks like, like wake up, you know.

454
00:26:50,760 --> 00:26:55,919
Speaker 2: And intergenerationally, I mean, I've noticed when I did Council

455
00:26:55,920 --> 00:26:59,080
Speaker 2: of Dad's, which was an NBC show in twenty twenty,

456
00:27:01,160 --> 00:27:05,879
Speaker 2: I'd been in the business for ninety seventeen years, and

457
00:27:05,960 --> 00:27:07,400
Speaker 2: it was the first time I'd ever had a mother

458
00:27:07,480 --> 00:27:09,520
Speaker 2: on screen, and it was the first time I ever

459
00:27:09,520 --> 00:27:12,120
Speaker 2: had a female showrunner. And I was like, oh, that's

460
00:27:12,119 --> 00:27:18,080
Speaker 2: an interesting Like you know, I'd played I'd played leading

461
00:27:18,160 --> 00:27:21,600
Speaker 2: ladies more often than not, and nobody ever gave my

462
00:27:21,680 --> 00:27:22,679
Speaker 2: character a mother, which.

463
00:27:22,600 --> 00:27:25,680
Speaker 3: Is the central, most complex.

464
00:27:25,200 --> 00:27:29,680
Speaker 2: And foundational relationship in a woman's life. And all of

465
00:27:29,720 --> 00:27:31,480
Speaker 2: a sudden, I didn't even notice until I read it,

466
00:27:31,480 --> 00:27:34,280
Speaker 2: and I was like, oh my god, I have a mom.

467
00:27:34,440 --> 00:27:38,240
Speaker 2: Oh my god, it's because Joan Raider is writing this now.

468
00:27:38,320 --> 00:27:40,080
Speaker 2: But to go back to Luke, this is something that

469
00:27:40,119 --> 00:27:43,680
Speaker 2: I noticed, especially actually in the episode that we're talking about, right,

470
00:27:43,720 --> 00:27:50,120
Speaker 2: because there's so much Laura lies in such a precarious position.

471
00:27:51,600 --> 00:27:54,720
Speaker 2: And one of the things that I think is really

472
00:27:55,520 --> 00:27:59,640
Speaker 2: cool about watching the dynamic between Laura I and Luke

473
00:27:59,800 --> 00:28:05,359
Speaker 2: is that you're actually, in some ways modeling like what

474
00:28:05,400 --> 00:28:08,439
Speaker 2: does it look like to be an alpha dude who's

475
00:28:08,520 --> 00:28:14,080
Speaker 2: still supporting an alpha lady? Like and I actually kind

476
00:28:14,119 --> 00:28:17,360
Speaker 2: of hate those terms, because the whole concept of alpha male,

477
00:28:17,400 --> 00:28:20,480
Speaker 2: I think has been super stump. I just read something

478
00:28:20,560 --> 00:28:22,800
Speaker 2: yesterday about how like an alpha wolf is actually the

479
00:28:22,840 --> 00:28:27,359
Speaker 2: wolf who's responsibility it is to like feed the community.

480
00:28:27,480 --> 00:28:31,240
Speaker 2: Like it's much more anyway, But when you were kind

481
00:28:31,240 --> 00:28:33,720
Speaker 2: of like there was a level of like, as I

482
00:28:33,800 --> 00:28:35,919
Speaker 2: was watching it, I found it really moving because I

483
00:28:35,960 --> 00:28:38,320
Speaker 2: was like, Oh, this is what it looks like for

484
00:28:38,400 --> 00:28:40,920
Speaker 2: a strong man to show up for a strong woman

485
00:28:41,080 --> 00:28:48,240
Speaker 2: without diminishing either himself or her right. And that's it's

486
00:28:48,280 --> 00:28:50,840
Speaker 2: hard to write and it's hard to play, especially in

487
00:28:50,880 --> 00:28:52,959
Speaker 2: two thousand and one when there's not a ton of

488
00:28:53,000 --> 00:28:56,960
Speaker 2: that in heterosexual relationships out there. You know, what I mean,

489
00:28:56,960 --> 00:28:59,360
Speaker 2: like there's will and grace and like two thumbs up.

490
00:28:59,440 --> 00:29:04,400
Speaker 2: But that's a very kind of that's in a different paradigm.

491
00:29:05,720 --> 00:29:07,640
Speaker 3: And so I kind of love that while.

492
00:29:09,440 --> 00:29:11,360
Speaker 2: While there was all this work being done in sort

493
00:29:11,400 --> 00:29:14,800
Speaker 2: of female identities, in a lot of ways, the work

494
00:29:14,840 --> 00:29:18,040
Speaker 2: that you were doing model the kind of masculinity that

495
00:29:18,240 --> 00:29:22,840
Speaker 2: wasn't I didn't see a lot of it in TV.

496
00:29:25,280 --> 00:29:28,520
Speaker 2: I don't know. I just think that's kind of I

497
00:29:28,600 --> 00:29:31,120
Speaker 2: think we need a lot of that even now, you

498
00:29:31,160 --> 00:29:31,600
Speaker 2: know what I mean.

499
00:29:40,560 --> 00:29:43,960
Speaker 1: When I read the pilot, I thought there's only really

500
00:29:44,080 --> 00:29:47,000
Speaker 1: one anchor here. It needs another one because everything's so

501
00:29:47,160 --> 00:29:52,160
Speaker 1: light and airy and fun and fluffy if you will, yeah, yeah.

502
00:29:52,320 --> 00:29:54,680
Speaker 1: And Emily provided that, but I didn't know how much

503
00:29:54,720 --> 00:29:59,320
Speaker 1: she was going to be represented in the show. And

504
00:29:59,400 --> 00:30:04,800
Speaker 1: I thought, Okay, this is Luke's job too. Mmm, I've

505
00:30:04,840 --> 00:30:07,560
Speaker 1: got to I've got to be an anchor. That's it.

506
00:30:07,560 --> 00:30:10,880
Speaker 1: It's just he's got to be a rock and that's all.

507
00:30:11,040 --> 00:30:16,040
Speaker 1: That's my job. I tried to understand my job, you know,

508
00:30:16,360 --> 00:30:18,480
Speaker 1: before I went in, and I said, Okay, I need

509
00:30:18,480 --> 00:30:21,000
Speaker 1: to communicate. It's not so much about the reading. I

510
00:30:21,000 --> 00:30:22,760
Speaker 1: know I can do the reading but it's like it's

511
00:30:22,800 --> 00:30:26,760
Speaker 1: got to be in my body. Yeah, and if I

512
00:30:26,760 --> 00:30:28,800
Speaker 1: don't communicate that, I'm not going to get the offer.

513
00:30:28,920 --> 00:30:30,080
Speaker 1: I won't have a chance.

514
00:30:30,720 --> 00:30:32,280
Speaker 3: So how did you put it in your body?

515
00:30:32,320 --> 00:30:34,360
Speaker 2: Like what were the choices that you were making as

516
00:30:34,400 --> 00:30:36,240
Speaker 2: an actor to throw away?

517
00:30:36,360 --> 00:30:42,360
Speaker 1: Throw away, relax, relax, relax, underplay, underplay. But it's an attitude.

518
00:30:42,520 --> 00:30:46,000
Speaker 1: So I just you know, I went in you know,

519
00:30:46,040 --> 00:30:49,920
Speaker 1: where I'm from. There's a swagger, there's an attitude, you know,

520
00:30:50,080 --> 00:30:52,360
Speaker 1: and I just put that on where are you from?

521
00:30:52,960 --> 00:30:55,000
Speaker 1: I'm from. I was born in Philadelphia but raised in

522
00:30:55,000 --> 00:30:58,440
Speaker 1: South Jersey. So it's a it's it's a real it's

523
00:30:58,440 --> 00:31:03,560
Speaker 1: a different type of play. It's I don't know, they

524
00:31:03,600 --> 00:31:08,600
Speaker 1: kind of call it. There's always a simmering kind of

525
00:31:12,200 --> 00:31:18,200
Speaker 1: very working class, very unexpressed, not anger so much, but

526
00:31:18,240 --> 00:31:21,800
Speaker 1: there's an intensity to the people that I grew up around,

527
00:31:22,600 --> 00:31:25,680
Speaker 1: and they, you know, they call Philadelphia the fighting City

528
00:31:25,720 --> 00:31:28,800
Speaker 1: for a reason. It's like everybody, everybody's like a hair

529
00:31:28,840 --> 00:31:32,600
Speaker 1: trigger away from like yeah, okay, let's go, you know,

530
00:31:33,600 --> 00:31:37,800
Speaker 1: very fast to fight physically, I'm talking. So that's what

531
00:31:37,880 --> 00:31:40,760
Speaker 1: I grew up with. So that's always simmering and I

532
00:31:40,760 --> 00:31:44,800
Speaker 1: thought that that's you know that to me is Northeast,

533
00:31:44,840 --> 00:31:49,040
Speaker 1: that's the East coast, that's the northeastern part of the country,

534
00:31:49,080 --> 00:31:51,920
Speaker 1: and especially this character. So it kind of.

535
00:31:51,840 --> 00:31:56,720
Speaker 2: Worked especially I think, and I haven't spent really any

536
00:31:56,760 --> 00:32:00,240
Speaker 2: time in Philly, like a weekend here and there. I

537
00:32:00,280 --> 00:32:04,880
Speaker 2: went to school in New Hampshire, and there's this especially

538
00:32:04,920 --> 00:32:11,800
Speaker 2: in rural communities and in smaller communities, because everybody knew

539
00:32:11,800 --> 00:32:13,959
Speaker 2: how to do everything, you know what I mean. It's like,

540
00:32:14,360 --> 00:32:17,800
Speaker 2: even if you're a professor, you're cleaning your gutters and

541
00:32:17,840 --> 00:32:20,640
Speaker 2: you're patching your roof, and you're fixing the wood stove

542
00:32:20,640 --> 00:32:24,920
Speaker 2: and you're chopping, like there's a sense of everybody being

543
00:32:24,960 --> 00:32:28,080
Speaker 2: able to handle themselves, you know, not full Winter's bone,

544
00:32:28,160 --> 00:32:31,840
Speaker 2: but like there's a there's a touch of like of

545
00:32:31,880 --> 00:32:35,320
Speaker 2: like I'm really not afraid to get my hands dirty,

546
00:32:35,480 --> 00:32:37,840
Speaker 2: if that's what it takes. It's funny when you were

547
00:32:37,840 --> 00:32:39,920
Speaker 2: talking about South South Jersey and some of this I had,

548
00:32:40,160 --> 00:32:42,680
Speaker 2: I was getting images of Bruce Springsteen in my head.

549
00:32:42,840 --> 00:32:45,640
Speaker 2: I don't know if that feels it all accurate, but

550
00:32:45,880 --> 00:32:49,400
Speaker 2: just that like super laid back, like yeah, man, whatever,

551
00:32:49,480 --> 00:32:50,480
Speaker 2: it might be a rock star.

552
00:32:51,000 --> 00:32:53,760
Speaker 1: Well, he's a beach guy. You know, that's it. They're different,

553
00:32:54,040 --> 00:32:57,600
Speaker 1: you know, Okay, he's Asbury Park and he's like, you know,

554
00:32:57,680 --> 00:32:59,120
Speaker 1: that's that's on the coast.

555
00:33:00,920 --> 00:33:03,040
Speaker 2: This nuance is totally lost. I grew up in Hawaii,

556
00:33:03,400 --> 00:33:06,360
Speaker 2: so this you say. Also, when you say beach guy,

557
00:33:06,400 --> 00:33:06,760
Speaker 2: I'm like.

558
00:33:06,680 --> 00:33:08,040
Speaker 3: No, shitty serves like.

559
00:33:09,480 --> 00:33:11,120
Speaker 1: How he was played music. But yeah, he grew up

560
00:33:11,480 --> 00:33:16,240
Speaker 1: near the ocean. Those ocean city people, and they're different

561
00:33:16,280 --> 00:33:18,400
Speaker 1: from from from everybody else.

562
00:33:18,760 --> 00:33:22,560
Speaker 2: Those ocean city people. That fascinating. I just like touched

563
00:33:22,600 --> 00:33:27,840
Speaker 2: into some like cool New England identity world.

564
00:33:27,960 --> 00:33:30,280
Speaker 1: But it was but it was a great dynamic because

565
00:33:30,520 --> 00:33:32,840
Speaker 1: you know, Lauren would come in with all of this

566
00:33:33,440 --> 00:33:38,800
Speaker 1: glory and power and intelligence and uh, it was a

567
00:33:38,800 --> 00:33:41,240
Speaker 1: lot of bright lights going off all at the same time,

568
00:33:43,440 --> 00:33:45,360
Speaker 1: and there was no way to match that. I mean,

569
00:33:45,400 --> 00:33:48,000
Speaker 1: there's just like, forget it right, you know, you gotta

570
00:33:48,040 --> 00:33:50,640
Speaker 1: go the other way. Yeah, you got to balance it,

571
00:33:51,200 --> 00:33:55,560
Speaker 1: you gotta letter shine right. Basically my job was just

572
00:33:55,600 --> 00:33:57,440
Speaker 1: to stay out of her way, you know.

573
00:33:58,240 --> 00:34:02,120
Speaker 2: But also I don't know, I totally hear that, but

574
00:34:02,160 --> 00:34:03,800
Speaker 2: it feels like you're under selling it.

575
00:34:03,880 --> 00:34:07,000
Speaker 1: Well, she was driving most of the scenes, sure, but

576
00:34:07,320 --> 00:34:10,799
Speaker 1: she was coming, so it's like she's at the wheel d.

577
00:34:10,800 --> 00:34:14,680
Speaker 2: Percent, Yeah, hundred percent. But like, but it had there

578
00:34:14,719 --> 00:34:17,560
Speaker 2: has to be contrast in order for it to mean anything, right, Like,

579
00:34:18,280 --> 00:34:20,480
Speaker 2: I'm always I heard something really interesting in an acting

580
00:34:20,520 --> 00:34:23,360
Speaker 2: class a bazillion years ago in grad school, and it

581
00:34:24,080 --> 00:34:26,880
Speaker 2: always stuck with me that you can't take status, you

582
00:34:26,880 --> 00:34:29,759
Speaker 2: can only give it. And so the queen is not

583
00:34:29,840 --> 00:34:32,120
Speaker 2: the woman who sits. The queen is the woman who

584
00:34:32,200 --> 00:34:36,080
Speaker 2: sits while everyone else stands. And one of the things

585
00:34:36,160 --> 00:34:40,120
Speaker 2: that I see the more I like, I've been mostly

586
00:34:40,120 --> 00:34:43,640
Speaker 2: directing the last sort of eight years, and what's interesting

587
00:34:43,680 --> 00:34:46,040
Speaker 2: is when somebody refuses to give up status in a

588
00:34:46,080 --> 00:34:49,600
Speaker 2: scene where they need to give it up, the scene

589
00:34:49,640 --> 00:34:54,640
Speaker 2: doesn't work. And what I love is that Luke immediately

590
00:34:56,080 --> 00:34:59,319
Speaker 2: gives up the status, which gives her the status, which

591
00:34:59,360 --> 00:35:04,040
Speaker 2: allows those lights to go off, but also then creates

592
00:35:04,080 --> 00:35:07,360
Speaker 2: an identity for him as someone who doesn't need status.

593
00:35:07,719 --> 00:35:10,960
Speaker 2: And all of a sudden, you're really curious because it's like, wait, wait,

594
00:35:11,160 --> 00:35:15,200
Speaker 2: what makes you so secure? How come you're so relaxed

595
00:35:15,200 --> 00:35:16,880
Speaker 2: about the fact that this woman's going to show up

596
00:35:16,880 --> 00:35:18,959
Speaker 2: and dazzle and use her cell phone even though there says,

597
00:35:18,960 --> 00:35:22,360
Speaker 2: no cell phones and all this shit like it creates.

598
00:35:22,600 --> 00:35:25,960
Speaker 2: It creates a really interesting dynamic. And it's almost a

599
00:35:26,000 --> 00:35:28,080
Speaker 2: little bit of an uptown girl right.

600
00:35:28,800 --> 00:35:33,080
Speaker 1: A thing right, which is like absolutely, it's it's him

601
00:35:33,160 --> 00:35:37,200
Speaker 1: feeling like he's not worthy. It's him feeling like that.

602
00:35:37,719 --> 00:35:41,520
Speaker 1: You know, he melts in her presence because he just man,

603
00:35:42,600 --> 00:35:43,320
Speaker 1: he loves.

604
00:35:43,080 --> 00:35:47,200
Speaker 2: Her, but also he knows she needs him, right. And

605
00:35:47,280 --> 00:35:48,719
Speaker 2: I don't mean needs as in like I want, he

606
00:35:48,719 --> 00:35:52,280
Speaker 2: needs a man, but like people up there, they need

607
00:35:52,320 --> 00:35:55,560
Speaker 2: the grounding, you know, like and I don't know if

608
00:35:55,560 --> 00:35:57,160
Speaker 2: Amy and Dan were that way. I never saw them,

609
00:35:57,160 --> 00:36:01,520
Speaker 2: but I know so many creative couples my showrunners.

610
00:36:02,000 --> 00:36:03,640
Speaker 1: You know what, Yeah, they are kind of like that.

611
00:36:03,880 --> 00:36:04,839
Speaker 1: He is kind of like that.

612
00:36:05,080 --> 00:36:06,440
Speaker 2: Tony and Joan Rader are like that.

613
00:36:06,680 --> 00:36:10,440
Speaker 1: Yeah, he's kind of grounding. He's grounding and calls yeah.

614
00:36:10,000 --> 00:36:12,160
Speaker 2: All of this energy all like she will tell a

615
00:36:12,239 --> 00:36:15,680
Speaker 2: story and the entire crew is like right, and then

616
00:36:15,719 --> 00:36:19,960
Speaker 2: there's Tony just kind of sitting there going there she is.

617
00:36:20,480 --> 00:36:24,480
Speaker 2: But they are a brilliant like yes, she writes, he directs,

618
00:36:24,640 --> 00:36:27,719
Speaker 2: she creates, he and it's like it's you have to

619
00:36:27,800 --> 00:36:32,840
Speaker 2: have that. And so actually I wonder how much you

620
00:36:32,840 --> 00:36:34,759
Speaker 2: guys were based on Amy and Dan. I've never had

621
00:36:34,760 --> 00:36:37,319
Speaker 2: that thought before, but like, if there's that sparkle and

622
00:36:37,360 --> 00:36:39,279
Speaker 2: the grounding, I wonder if there was a little bit

623
00:36:39,320 --> 00:36:41,520
Speaker 2: of and they never talked about that auto a.

624
00:36:41,760 --> 00:36:47,800
Speaker 1: No, now, I always thought they were Paris and Doyle,

625
00:36:48,400 --> 00:36:51,560
Speaker 1: oh part of it. But you're right, it could be

626
00:36:52,000 --> 00:36:56,239
Speaker 1: like they eject themselves in all of these relationships I see.

627
00:36:56,280 --> 00:36:59,320
Speaker 1: I see a lot of Richard and Emily in them too, Okay,

628
00:36:59,680 --> 00:37:01,320
Speaker 1: I think there are a lot a lot of people

629
00:37:01,400 --> 00:37:02,720
Speaker 1: going on inside both.

630
00:37:02,560 --> 00:37:05,239
Speaker 3: Of them, you know, there must be for them to

631
00:37:05,280 --> 00:37:05,839
Speaker 3: create them all.

632
00:37:06,080 --> 00:37:08,320
Speaker 1: Oh yeah, yeah.

633
00:37:08,360 --> 00:37:10,719
Speaker 3: So you've never seen the show before, is that right?

634
00:37:11,280 --> 00:37:11,440
Speaker 2: Well?

635
00:37:11,480 --> 00:37:13,480
Speaker 1: I have now, I have now, Yeah.

636
00:37:13,560 --> 00:37:15,920
Speaker 3: Yeah, but you're watching this for the first time.

637
00:37:16,320 --> 00:37:19,440
Speaker 1: Second time now, first time where we're on our second

638
00:37:19,480 --> 00:37:21,360
Speaker 1: go round, you're your second go round. Yeah, we've been

639
00:37:21,400 --> 00:37:23,200
Speaker 1: doing this for three and a half years, almost four

640
00:37:23,320 --> 00:37:27,560
Speaker 1: years almost Oh wow, yeah wow, yeah, but no, i'd

641
00:37:27,600 --> 00:37:32,160
Speaker 1: never seen I'd seen the pilot. Obviously. I saw Winter

642
00:37:32,520 --> 00:37:35,600
Speaker 1: from the Netflix episodes because we went to the premiere

643
00:37:35,640 --> 00:37:39,120
Speaker 1: and we were forced to watch it. Yeah, but that's it.

644
00:37:39,160 --> 00:37:41,320
Speaker 1: And I've seen little clips here and there, other shows,

645
00:37:41,360 --> 00:37:45,600
Speaker 1: but I've never I never got into the library of

646
00:37:45,680 --> 00:37:49,280
Speaker 1: the show, and yeah, I didn't, and it was shocking

647
00:37:49,320 --> 00:37:51,520
Speaker 1: to me when I first sat down and went through

648
00:37:51,520 --> 00:37:53,640
Speaker 1: the first season. Absolutely shocking to me.

649
00:37:54,600 --> 00:37:58,919
Speaker 2: Well, because we're on our prison Break podcast, we're we're

650
00:37:58,920 --> 00:38:01,520
Speaker 2: on season two right now, and I saw most of

651
00:38:01,560 --> 00:38:03,839
Speaker 2: season one when it aired because I was just trying

652
00:38:03,840 --> 00:38:08,399
Speaker 2: to learn how to backed on camera. But a lot

653
00:38:08,440 --> 00:38:13,319
Speaker 2: of season two is new, and I never I wasn't

654
00:38:13,360 --> 00:38:16,000
Speaker 2: in season three and then came back for season four.

655
00:38:16,120 --> 00:38:18,719
Speaker 2: And one of the things that we're noticing, you know,

656
00:38:19,040 --> 00:38:21,719
Speaker 2: your show was a little bit older than ours, well

657
00:38:21,840 --> 00:38:24,680
Speaker 2: a lot, I guess, like seven years older, but no,

658
00:38:24,840 --> 00:38:30,480
Speaker 2: only five. But I am finally able to see myself

659
00:38:30,960 --> 00:38:32,120
Speaker 2: as a totally different person.

660
00:38:33,080 --> 00:38:35,200
Speaker 3: Part of why I didn't watch back then was I

661
00:38:35,239 --> 00:38:36,160
Speaker 3: was like, I don't.

662
00:38:35,960 --> 00:38:39,480
Speaker 2: Need to no, no, thank you, it's all self critical

663
00:38:40,480 --> 00:38:45,920
Speaker 2: monster inside now, no way. But it's like, looking back,

664
00:38:47,239 --> 00:38:50,640
Speaker 2: My eldest right now is seventeen and closer to the

665
00:38:50,680 --> 00:38:53,879
Speaker 2: age I was when I did that than I am

666
00:38:54,000 --> 00:38:57,360
Speaker 2: to her, and it's kind of cool. I mean, do

667
00:38:57,400 --> 00:38:58,239
Speaker 2: you enjoy it at all?

668
00:38:58,239 --> 00:38:59,839
Speaker 3: Like, are you able to look back and go look

669
00:38:59,840 --> 00:39:00,000
Speaker 3: at it?

670
00:39:00,480 --> 00:39:00,920
Speaker 2: Guy? He did.

671
00:39:01,160 --> 00:39:04,600
Speaker 1: Yeah, it's like a completely different person. Yeah, it's I

672
00:39:05,080 --> 00:39:10,880
Speaker 1: don't recognize him and and uh yeah, it's it's it's

673
00:39:10,880 --> 00:39:14,279
Speaker 1: it's it's kind of fun, you know. Yeah, it's fun

674
00:39:14,320 --> 00:39:17,600
Speaker 1: to watch because I just I don't remember virtually all

675
00:39:17,640 --> 00:39:22,879
Speaker 1: of it. I don't remember really, I don't remember doing

676
00:39:22,880 --> 00:39:23,400
Speaker 1: the scenes.

677
00:39:23,520 --> 00:39:25,759
Speaker 2: That's wild. And you guys were on the lot the

678
00:39:25,800 --> 00:39:26,239
Speaker 2: whole time.

679
00:39:26,360 --> 00:39:29,200
Speaker 1: Yeah, we had a parking has parking space that's special

680
00:39:29,400 --> 00:39:32,279
Speaker 1: with our names on it. Yeah, no one else could

681
00:39:32,360 --> 00:39:35,280
Speaker 1: park there. Yep, that's valuable real estate.

682
00:39:35,360 --> 00:39:37,719
Speaker 2: Man, that's well, and it's a different feeling. Most of

683
00:39:37,760 --> 00:39:40,120
Speaker 2: my career was on location, Like Christ and Break and

684
00:39:40,120 --> 00:39:44,000
Speaker 2: Walking Dead were all on location, right, And I just

685
00:39:44,080 --> 00:39:45,920
Speaker 2: did a show. The last thing I ever did on

686
00:39:45,960 --> 00:39:49,799
Speaker 2: the acting side was on the Paramount lot, and man,

687
00:39:50,000 --> 00:39:54,600
Speaker 2: like driving through the gates of an LA studio, it's

688
00:39:54,680 --> 00:40:01,320
Speaker 2: good and belonging there, and like I was already twenty

689
00:40:01,320 --> 00:40:02,960
Speaker 2: some years into the business and I was like, oh,

690
00:40:02,960 --> 00:40:21,000
Speaker 2: I finally feel like I belong Like it was a wild.

691
00:40:15,239 --> 00:40:18,040
Speaker 1: Now on the other end of the opposite of that coin,

692
00:40:19,200 --> 00:40:23,200
Speaker 1: imagine having seven years of that and then going off

693
00:40:23,200 --> 00:40:26,040
Speaker 1: onto location all the times on all these indie projects.

694
00:40:26,040 --> 00:40:29,000
Speaker 1: And things. It's like, whoa, it's quite an adjustment.

695
00:40:29,400 --> 00:40:33,440
Speaker 3: It must be, it must be. Now, I say, here's

696
00:40:33,440 --> 00:40:33,719
Speaker 3: the thing.

697
00:40:33,760 --> 00:40:36,680
Speaker 2: What I love about being on location is a cast

698
00:40:36,920 --> 00:40:40,080
Speaker 2: usually has to get quite close because you don't know

699
00:40:41,280 --> 00:40:45,440
Speaker 2: anyone else, you know, I mean we part of Walking

700
00:40:45,520 --> 00:40:49,880
Speaker 2: Dead Magic was season one, no one knew anyone in Georgia,

701
00:40:50,520 --> 00:40:54,600
Speaker 2: not just Atlanta, like the entire state. And there were

702
00:40:54,600 --> 00:40:56,560
Speaker 2: only two people who were local Hires and the rest

703
00:40:56,600 --> 00:40:58,480
Speaker 2: of it in the regular cast and everybody else, like

704
00:40:59,280 --> 00:41:01,279
Speaker 2: you know, we were all young. A couple of us

705
00:41:01,280 --> 00:41:06,080
Speaker 2: had brand new kids or whatever. Like you you get

706
00:41:06,120 --> 00:41:08,600
Speaker 2: really close, So I think there's value in that. But yeah,

707
00:41:09,560 --> 00:41:11,279
Speaker 2: you know, waking up in your own damn bed and

708
00:41:11,360 --> 00:41:14,720
Speaker 2: driving to your own parking space and there's a glamour

709
00:41:14,800 --> 00:41:15,880
Speaker 2: to that. That's pretty cool.

710
00:41:16,239 --> 00:41:19,440
Speaker 1: Yeah, six miles away from Warrenbush. I get there in

711
00:41:19,560 --> 00:41:20,280
Speaker 1: fifteen minutes.

712
00:41:20,360 --> 00:41:22,840
Speaker 2: Yeah, did you bike? No?

713
00:41:24,480 --> 00:41:25,960
Speaker 1: You know Michael Rooker's are friends?

714
00:41:26,800 --> 00:41:27,080
Speaker 2: Is he?

715
00:41:27,719 --> 00:41:28,719
Speaker 1: Yeah? I love him?

716
00:41:28,760 --> 00:41:35,600
Speaker 2: Speaking of not remembering, Michael showed up to the table

717
00:41:35,640 --> 00:41:37,320
Speaker 2: read of I think it was episode two of the

718
00:41:37,320 --> 00:41:41,759
Speaker 2: first season, walking Down and did his work and he

719
00:41:41,800 --> 00:41:44,239
Speaker 2: was brilliant because he always is. And I walked up

720
00:41:44,239 --> 00:41:46,200
Speaker 2: to him and I was like, Michael, hey, it's Sarah

721
00:41:46,200 --> 00:41:50,439
Speaker 2: and he goes hi and I was like we from

722
00:41:51,000 --> 00:41:55,480
Speaker 2: from Whisper and he goes honey, and I was like

723
00:41:56,560 --> 00:42:00,120
Speaker 2: we were in a movie together a couple of years ago.

724
00:42:00,480 --> 00:42:07,839
Speaker 2: Were we? I lost a lot of years? How was I?

725
00:42:08,040 --> 00:42:10,160
Speaker 2: And I was like, I don't even talk about it.

726
00:42:10,160 --> 00:42:16,200
Speaker 2: It's nice to see you again. Laid me. Please give

727
00:42:16,280 --> 00:42:17,759
Speaker 2: him my love the next time you talk to you.

728
00:42:18,360 --> 00:42:20,440
Speaker 1: I think I'm gonna I do a lot of conventions

729
00:42:20,640 --> 00:42:23,320
Speaker 1: and so he's on this. We have the same agent,

730
00:42:23,400 --> 00:42:25,600
Speaker 1: So I see him sometimes nice and we get to

731
00:42:25,600 --> 00:42:28,120
Speaker 1: go to dinner and have too much sake and laugh

732
00:42:28,239 --> 00:42:32,400
Speaker 1: until we're like we burst a blood vessel in our eye.

733
00:42:33,200 --> 00:42:35,359
Speaker 2: That's a nice thing about conventions, is you get to

734
00:42:35,400 --> 00:42:39,480
Speaker 2: have with your friends. Yeah. Yeah, yeah. In fact, I

735
00:42:39,520 --> 00:42:41,000
Speaker 2: think the last time I saw worker was at a

736
00:42:41,000 --> 00:42:43,839
Speaker 2: convention and he just become a grandfather and I was like,

737
00:42:44,000 --> 00:42:48,479
Speaker 2: that was not on my Michael Ricker Bingo card. Right, Yeah,

738
00:42:48,840 --> 00:42:49,799
Speaker 2: he's such a good guy.

739
00:42:50,360 --> 00:42:52,200
Speaker 1: Yeah, he so is.

740
00:42:52,719 --> 00:42:53,759
Speaker 2: How do you guys know each other?

741
00:42:53,800 --> 00:42:57,200
Speaker 1: Did you work together just from the convention circuit?

742
00:42:57,640 --> 00:42:57,879
Speaker 2: Oh?

743
00:42:58,000 --> 00:42:58,560
Speaker 3: No way.

744
00:42:58,840 --> 00:43:00,560
Speaker 2: He wasn't an extro and girl girls is what.

745
00:43:00,520 --> 00:43:02,480
Speaker 1: You're saying he was, but he doesn't remember.

746
00:43:02,960 --> 00:43:06,160
Speaker 2: Oh yeah, maybe that's what happened to me. No, he

747
00:43:06,760 --> 00:43:07,440
Speaker 2: maybe it is me.

748
00:43:07,920 --> 00:43:12,759
Speaker 1: He was never an extra in anything. Let me tell you. Yeah, uh,

749
00:43:13,200 --> 00:43:13,839
Speaker 1: not that guy.

750
00:43:14,640 --> 00:43:14,839
Speaker 2: I mean.

751
00:43:14,880 --> 00:43:17,839
Speaker 1: The whole story of how he started his career is

752
00:43:18,080 --> 00:43:20,520
Speaker 1: one of the most fascinating stories I've ever heard.

753
00:43:20,640 --> 00:43:23,279
Speaker 2: Oh, I've never heard it. I'll have to ask you.

754
00:43:22,320 --> 00:43:25,600
Speaker 1: That you've got Let him tell you. Let him tell

755
00:43:25,600 --> 00:43:29,360
Speaker 1: you this story. Get him to tell you the story

756
00:43:30,320 --> 00:43:34,880
Speaker 1: of how he got eight men out. Okay, please, you

757
00:43:35,040 --> 00:43:35,680
Speaker 1: have to hear this.

758
00:43:35,680 --> 00:43:37,520
Speaker 2: Okay, I can't wait.

759
00:43:37,840 --> 00:43:40,440
Speaker 1: Go to dinner, have a couple of drinks, and then

760
00:43:40,680 --> 00:43:42,480
Speaker 1: and then wind him up and get them going. Man,

761
00:43:43,239 --> 00:43:46,640
Speaker 1: it'll be just like it's glorious. The story is glorious.

762
00:43:46,840 --> 00:43:47,600
Speaker 2: He is amazing.

763
00:43:47,800 --> 00:43:50,200
Speaker 1: He is amazing, absolutely amazing human.

764
00:43:50,360 --> 00:43:52,680
Speaker 2: He's also in a couple of wild stories. There was

765
00:43:52,680 --> 00:43:56,560
Speaker 2: a Frank Dermunt had a party at a house in

766
00:43:56,640 --> 00:43:59,600
Speaker 2: Malibu for I think the beginning of the second season

767
00:43:59,680 --> 00:44:02,759
Speaker 2: or something. And we were all there and then there's

768
00:44:02,800 --> 00:44:05,320
Speaker 2: a knock on the door and I opened the door

769
00:44:05,480 --> 00:44:09,799
Speaker 2: and it's Michael Rooker wearing only a pair of overalls.

770
00:44:10,080 --> 00:44:14,600
Speaker 2: At a ball cap only no shoes, no shirt, I

771
00:44:14,640 --> 00:44:18,120
Speaker 2: didn't check, but probably no underwear. Also no wallet, and.

772
00:44:18,040 --> 00:44:21,080
Speaker 3: We're like, where the fuck did you come from?

773
00:44:21,120 --> 00:44:24,520
Speaker 2: Like he just materialized. There was no uber at that point,

774
00:44:24,640 --> 00:44:27,319
Speaker 2: like did he take a tap? But he didn't. There

775
00:44:27,360 --> 00:44:30,120
Speaker 2: was nothing in his hands. He had no money, and

776
00:44:30,120 --> 00:44:33,480
Speaker 2: we're like, Michael Rooker can materialize anywhere in the universe.

777
00:44:34,520 --> 00:44:37,400
Speaker 2: We're like, he's a superhero. Clearly, that is the only

778
00:44:37,480 --> 00:44:40,200
Speaker 2: explanation for this. And at the end of the night

779
00:44:40,239 --> 00:44:44,200
Speaker 2: he was like somebody, uh, somebody get me home. We're like, yeah, man, we.

780
00:44:44,160 --> 00:44:45,239
Speaker 1: Should, we got you.

781
00:44:46,040 --> 00:44:47,240
Speaker 2: Oh god.

782
00:44:47,920 --> 00:44:51,600
Speaker 1: The first time I met him, I think we're in

783
00:44:51,600 --> 00:44:56,720
Speaker 1: Connecticut at Mohegan's son, Okay, and they've got a great

784
00:44:57,040 --> 00:44:58,879
Speaker 1: you know, you stay in the hotel there, right, you're

785
00:44:58,960 --> 00:45:01,000
Speaker 1: right there in the in the and the and the

786
00:45:01,080 --> 00:45:03,879
Speaker 1: space is you know, you walk to it from it's

787
00:45:04,040 --> 00:45:10,080
Speaker 1: inside that complex and they have this fantastic sushi restaurant

788
00:45:10,200 --> 00:45:13,240
Speaker 1: right off the lobby. So we all congregated down there,

789
00:45:14,120 --> 00:45:16,680
Speaker 1: and you know, you don't know how you're gonna vibe

790
00:45:16,680 --> 00:45:20,840
Speaker 1: with somebody or whatever, but you know, usually it's it

791
00:45:20,920 --> 00:45:29,120
Speaker 1: goes pretty well. But with him, oh man, I hooked

792
00:45:29,120 --> 00:45:32,640
Speaker 1: into his world and we were just riffing back and

793
00:45:32,680 --> 00:45:37,600
Speaker 1: forth until we were on the floor. I mean, he's

794
00:45:37,640 --> 00:45:40,000
Speaker 1: like a long lost brother or something from another planet.

795
00:45:40,200 --> 00:45:40,919
Speaker 2: Well, I love that.

796
00:45:41,080 --> 00:45:41,840
Speaker 1: It's just wild.

797
00:45:42,160 --> 00:45:45,719
Speaker 3: That means you're nuts. You understand that. Well, that's okay, nuts.

798
00:45:46,200 --> 00:45:49,080
Speaker 2: So to bring it back to your podcast, if Michael

799
00:45:49,160 --> 00:45:52,360
Speaker 2: Rooker were to play a character on Gilmour Girls, Yeah,

800
00:45:52,920 --> 00:45:53,719
Speaker 2: who would he play?

801
00:45:54,160 --> 00:45:55,600
Speaker 1: He would be Kirk's father.

802
00:45:56,200 --> 00:45:57,560
Speaker 2: I don't think I know the show that well.

803
00:45:58,239 --> 00:46:02,640
Speaker 1: Okay, he'd be my father. Now he'd be Kirk's father. Okay,

804
00:46:02,760 --> 00:46:05,560
Speaker 1: he would be Kirk's father. Or who would be Kirk's uncle,

805
00:46:06,360 --> 00:46:09,640
Speaker 1: like Uncle Michael or something. Kirk is the guy who

806
00:46:09,719 --> 00:46:13,040
Speaker 1: had you know, he's the guy who has a million

807
00:46:13,120 --> 00:46:16,799
Speaker 1: different jobs. He's always inventing a job for himself, okay,

808
00:46:16,920 --> 00:46:19,439
Speaker 1: not succeeding. Yeah.

809
00:46:20,920 --> 00:46:21,200
Speaker 2: Sure.

810
00:46:22,360 --> 00:46:26,640
Speaker 1: He's a serious comic relief, the terrific physical comedian and

811
00:46:27,040 --> 00:46:28,360
Speaker 1: just a great comedic actor.

812
00:46:28,520 --> 00:46:32,000
Speaker 2: I love the idea of Michael Rooker in Gilmore Girls.

813
00:46:32,200 --> 00:46:36,120
Speaker 2: There's something so extraordinarily incongruous about that that, oh my god,

814
00:46:36,400 --> 00:46:38,719
Speaker 2: it's also possible that that's the day that Gilmore Girls

815
00:46:38,760 --> 00:46:41,640
Speaker 2: turns into like the craziest horror story you've ever seen.

816
00:46:41,760 --> 00:46:42,160
Speaker 1: It's like that.

817
00:46:42,920 --> 00:46:45,759
Speaker 2: It'd be the like Friday the Thirteenth meets Gilmore, Girl's

818
00:46:45,800 --> 00:46:49,439
Speaker 2: episode or something Henry Portrait of a serial Killer comes

819
00:46:49,440 --> 00:46:49,799
Speaker 2: to town.

820
00:46:49,960 --> 00:46:53,480
Speaker 1: Oh my god. Oh, I'll never forget the first time

821
00:46:53,520 --> 00:46:55,080
Speaker 1: I saw that movie.

822
00:46:55,400 --> 00:46:58,080
Speaker 2: I've never seen it. Actually, I saw the trailer and

823
00:46:58,080 --> 00:47:02,399
Speaker 2: I was like, I can't I can't thing. Yeah i've heard.

824
00:47:02,440 --> 00:47:04,400
Speaker 2: I mean, i've heard he's brilliant, but it's too I

825
00:47:04,440 --> 00:47:06,600
Speaker 2: can't watch. Or I couldn't watch. I couldn't watch Longington.

826
00:47:06,680 --> 00:47:07,800
Speaker 2: It was too scary, it.

827
00:47:07,680 --> 00:47:10,239
Speaker 1: Was too real. He made it too real. It was

828
00:47:10,320 --> 00:47:13,880
Speaker 1: just like whoa. Yeah, anyway, let's talk about the episode

829
00:47:13,920 --> 00:47:15,120
Speaker 1: a little bit totally.

830
00:47:15,200 --> 00:47:18,120
Speaker 2: Yeah, we've got we've got seven minutes before I have.

831
00:47:18,120 --> 00:47:22,600
Speaker 1: The recap episode it. But what what did you think

832
00:47:22,640 --> 00:47:24,960
Speaker 1: about the episode? You watch the episode, what did you

833
00:47:24,960 --> 00:47:26,759
Speaker 1: think about? What do you think? I mean, it's a

834
00:47:26,800 --> 00:47:32,280
Speaker 1: it's a you know, Richard ends up in the hospital. Uh,

835
00:47:32,320 --> 00:47:35,720
Speaker 1: you know, it's it's it's one of the rare episodes

836
00:47:36,600 --> 00:47:41,600
Speaker 1: in the entire series where we're dealing with death or

837
00:47:41,600 --> 00:47:42,440
Speaker 1: the potential of it.

838
00:47:42,920 --> 00:47:43,920
Speaker 2: That's really interesting.

839
00:47:44,160 --> 00:47:47,040
Speaker 1: Yeah, it really we really never have to deal with

840
00:47:47,080 --> 00:47:51,719
Speaker 1: anything this heavy. Usually that's that's sort of the charm

841
00:47:51,760 --> 00:47:54,799
Speaker 1: of the show. It's like, yeah, but it doesn't deal

842
00:47:54,840 --> 00:47:57,880
Speaker 1: with the you know, weapons or car chases or deaths

843
00:47:57,960 --> 00:47:58,960
Speaker 1: or anything like that.

844
00:47:59,360 --> 00:48:00,839
Speaker 2: In front of my right.

845
00:48:02,760 --> 00:48:09,200
Speaker 1: That's all I do, ay bad And I've done plenty

846
00:48:09,200 --> 00:48:14,480
Speaker 1: of that too, and I love it so But we

847
00:48:14,560 --> 00:48:19,200
Speaker 1: see this bond, this this back and forth between Luca Lorelei. Yeah,

848
00:48:19,360 --> 00:48:21,320
Speaker 1: what do you think of all that? And the crowning

849
00:48:21,400 --> 00:48:24,200
Speaker 1: of with the with the blue hat that was a

850
00:48:24,239 --> 00:48:29,000
Speaker 1: significant moment for guilds. What do you think of all that?

851
00:48:29,440 --> 00:48:31,560
Speaker 3: I mean, you know, as I said earlier, I think

852
00:48:31,600 --> 00:48:32,680
Speaker 3: it's a really.

853
00:48:34,080 --> 00:48:38,520
Speaker 2: Beautiful primer in like, how do you stand up for

854
00:48:38,640 --> 00:48:40,839
Speaker 2: somebody the way they need you? Two.

855
00:48:41,719 --> 00:48:45,560
Speaker 3: A lot of times in the hospital, I think.

856
00:48:45,520 --> 00:48:49,120
Speaker 2: People are at a loss for how to be how

857
00:48:49,120 --> 00:48:52,320
Speaker 2: to be there for someone who's hurting or who's scared,

858
00:48:56,120 --> 00:48:59,959
Speaker 2: and often there's nothing you can really do except be there.

859
00:49:00,800 --> 00:49:06,600
Speaker 2: And I think I think Luke does that really beautifully. Also,

860
00:49:06,680 --> 00:49:10,400
Speaker 2: I think he has a brilliant intuitive sense that like,

861
00:49:10,760 --> 00:49:14,040
Speaker 2: you stay out of the dynamics between mothers and daughters,

862
00:49:14,080 --> 00:49:19,960
Speaker 2: you give that space. I thought, I don't know her name,

863
00:49:19,960 --> 00:49:23,440
Speaker 2: but the actress who played lorealised mom.

864
00:49:24,080 --> 00:49:24,760
Speaker 1: Kelly Bishop.

865
00:49:25,920 --> 00:49:29,799
Speaker 2: I thought she did a marvelous job, like there was

866
00:49:29,880 --> 00:49:37,760
Speaker 2: something about her work that was super understated and grounded

867
00:49:37,800 --> 00:49:43,759
Speaker 2: and real. But I don't know, I mean, at least

868
00:49:43,760 --> 00:49:47,160
Speaker 2: for me. By the end of the episode, I'm sort

869
00:49:47,200 --> 00:49:50,560
Speaker 2: of screaming at the television like, if you need a

870
00:49:50,600 --> 00:49:53,680
Speaker 2: man in your life, this is the one, you know.

871
00:49:54,360 --> 00:49:59,400
Speaker 1: Interesting that they dragged it out for four seasons until

872
00:49:59,520 --> 00:50:03,359
Speaker 1: Mark No, very very smart, Absolutely the way to go,

873
00:50:03,640 --> 00:50:08,480
Speaker 1: there's no question. Yeah, but to drop that episode in

874
00:50:08,480 --> 00:50:12,000
Speaker 1: in the middle of the first season, yeah, like, here's

875
00:50:12,360 --> 00:50:15,480
Speaker 1: this is what it could be. This is maybe what

876
00:50:15,600 --> 00:50:17,840
Speaker 1: it should be, but we're not giving it to you

877
00:50:17,920 --> 00:50:18,440
Speaker 1: for a while.

878
00:50:19,400 --> 00:50:22,520
Speaker 2: Well, and also maybe it's important that this woman not

879
00:50:22,600 --> 00:50:26,160
Speaker 2: be paired up for a while, right, you know. I

880
00:50:26,520 --> 00:50:28,440
Speaker 2: also think that there was and I wonder if this

881
00:50:28,520 --> 00:50:31,000
Speaker 2: is one of those kind of pushback moments that Amy

882
00:50:31,120 --> 00:50:37,640
Speaker 2: was working with. When it comes to studio and network notes,

883
00:50:38,920 --> 00:50:43,560
Speaker 2: I think there's often a drive to get couples paired

884
00:50:43,640 --> 00:50:47,040
Speaker 2: up early. And I remember on prison Break they wanted

885
00:50:47,120 --> 00:50:50,040
Speaker 2: us kissing by like episode six or seven or something,

886
00:50:50,440 --> 00:50:52,799
Speaker 2: and it actually came from us Wentworth and I were like, no,

887
00:50:53,080 --> 00:50:57,760
Speaker 2: we're not going to do it, because the longer you

888
00:50:57,880 --> 00:51:01,799
Speaker 2: draw it out, the more interesting saying it becomes, the

889
00:51:01,840 --> 00:51:05,320
Speaker 2: more it means, and kind of once you get together,

890
00:51:06,080 --> 00:51:09,440
Speaker 2: there's not as many places to go right when you

891
00:51:09,480 --> 00:51:11,879
Speaker 2: read it. Did you read it and go, oh, okay, we're

892
00:51:11,880 --> 00:51:14,799
Speaker 2: getting together in the next episode, or like, what was

893
00:51:14,840 --> 00:51:16,840
Speaker 2: your sense of it when you well you said you

894
00:51:16,840 --> 00:51:17,680
Speaker 2: don't remember any of this.

895
00:51:19,440 --> 00:51:25,280
Speaker 1: No, but I remember those I remember thinking and hoping

896
00:51:25,560 --> 00:51:30,040
Speaker 1: because I knew that the struggle she was, she was

897
00:51:30,080 --> 00:51:34,319
Speaker 1: at odds the way you just described. Yeah, I think

898
00:51:34,360 --> 00:51:37,439
Speaker 1: there was some pressure brought to bear to get those

899
00:51:37,480 --> 00:51:38,480
Speaker 1: two together sooner.

900
00:51:39,040 --> 00:51:43,640
Speaker 2: Hmmm. Did you get a lot of it from fans

901
00:51:43,680 --> 00:51:46,440
Speaker 2: at the time, Like if you'd see fans in the

902
00:51:46,440 --> 00:51:48,839
Speaker 2: middle of season two, would they be like, just get

903
00:51:48,880 --> 00:51:51,919
Speaker 2: together already or were they along for the ride to wait?

904
00:51:52,360 --> 00:51:55,040
Speaker 3: Both okay, okay, fair enough?

905
00:51:55,080 --> 00:51:57,440
Speaker 2: Oh, both properly split?

906
00:51:57,800 --> 00:52:01,160
Speaker 1: Yeah, but no, I mean but both at the same time.

907
00:52:01,239 --> 00:52:06,719
Speaker 1: People feeling that both those ways Okay, they love it

908
00:52:06,760 --> 00:52:09,200
Speaker 1: and they hate it. I think a given what they want,

909
00:52:09,239 --> 00:52:13,440
Speaker 1: they go away. I think you're right, you can't do it.

910
00:52:14,719 --> 00:52:18,640
Speaker 1: If you have something that powerful, Yeah, use it. Just

911
00:52:18,760 --> 00:52:21,200
Speaker 1: use it, just milk it as long as you can.

912
00:52:21,400 --> 00:52:23,320
Speaker 1: I think they could have they could have gone another

913
00:52:23,360 --> 00:52:29,400
Speaker 1: season before they got together, and in true style, a

914
00:52:29,520 --> 00:52:32,359
Speaker 1: naked Kirk I was running through the middle of it. So,

915
00:52:35,120 --> 00:52:39,560
Speaker 1: Sarah Wayne Collie's thank you for your time and your insights,

916
00:52:39,880 --> 00:52:41,560
Speaker 1: and let's do this again.

917
00:52:41,840 --> 00:52:43,759
Speaker 2: Let's do this again, or we should have you on

918
00:52:43,800 --> 00:52:45,879
Speaker 2: our podcast. Come on prison Breaking with Sarah and Paul.

919
00:52:45,880 --> 00:52:47,760
Speaker 2: You can talk about prison Break and we'll talk about

920
00:52:48,280 --> 00:52:54,360
Speaker 2: your cameo as a prison guard exactly which clearly happened.

921
00:52:54,640 --> 00:52:58,920
Speaker 1: Actually be very believable. Yeah, it doesn't take much of

922
00:52:58,960 --> 00:53:04,000
Speaker 1: an imagination. Again, awesome, right, thank you, Sarah, Thank you.

923
00:53:04,040 --> 00:53:04,719
Speaker 2: You have a good one.

924
00:53:04,719 --> 00:53:36,160
Speaker 1: All right, take care, Cheers everybody, and don't forget Follow

925
00:53:36,239 --> 00:53:40,080
Speaker 1: us on Instagram at I Am all In podcast and

926
00:53:40,239 --> 00:53:53,319
Speaker 1: email us at Gilmore at iHeartRadio dot com.