1 00:00:00,760 --> 00:00:17,920 Speaker 1: I am all in again. Oh, I guess you. I 2 00:00:18,040 --> 00:00:22,360 Speaker 1: Smell pop culture with Eastern Allen and I heart Radio podcast. 3 00:00:22,520 --> 00:00:25,239 Speaker 1: Hey everybody, it's Easton Allen. I Smell pop Culture one 4 00:00:25,280 --> 00:00:28,240 Speaker 1: eleven productions. I Hurt Radio, I heart Media, I hurt Podcasts. 5 00:00:28,680 --> 00:00:32,080 Speaker 1: We're back. We're smelling pop culture. We're taking a big 6 00:00:32,120 --> 00:00:35,199 Speaker 1: deep breath, and we're smelling another reference. We're gonna get 7 00:00:35,280 --> 00:00:38,880 Speaker 1: to go so deep into a pop culture reference this week. 8 00:00:38,880 --> 00:00:43,159 Speaker 1: I'm really excited about it. So, you know, this one 9 00:00:43,240 --> 00:00:46,320 Speaker 1: has to deal with what is considered one of the 10 00:00:46,360 --> 00:00:52,720 Speaker 1: worst movies of old time, and I found that with 11 00:00:53,000 --> 00:00:57,440 Speaker 1: these types of movies, they're often not that bad. Like 12 00:00:58,240 --> 00:01:01,800 Speaker 1: there's a quote that says, the opposite of love is indifference. 13 00:01:02,400 --> 00:01:06,600 Speaker 1: It's not hate. If you hate something, then that means 14 00:01:06,640 --> 00:01:09,120 Speaker 1: you're giving it energy, you're giving it emotion, you are 15 00:01:09,200 --> 00:01:12,679 Speaker 1: remembering it. That's the most important part here. I think 16 00:01:12,720 --> 00:01:14,679 Speaker 1: truly the worst movies of all time are the ones 17 00:01:14,720 --> 00:01:18,240 Speaker 1: that just come and go, don't elicit any reaction in you, 18 00:01:18,640 --> 00:01:22,480 Speaker 1: that don't have any staying power. We're going to talk 19 00:01:22,959 --> 00:01:28,520 Speaker 1: to the person who wrote a movie that's on this list, 20 00:01:29,200 --> 00:01:33,440 Speaker 1: a movie that gets, in my opinion, an undeserved amount 21 00:01:33,520 --> 00:01:37,720 Speaker 1: of hate for the last twenty years. And it has 22 00:01:37,720 --> 00:01:40,000 Speaker 1: a connection to Gilmore Girls. I know that we're playing 23 00:01:40,000 --> 00:01:42,280 Speaker 1: fast and loose with what connects to the show, but 24 00:01:43,120 --> 00:01:46,240 Speaker 1: this does connect to Gilmore Girls, and we're going to 25 00:01:46,319 --> 00:01:51,520 Speaker 1: go deep into the world of glitter right after these words. 26 00:01:53,480 --> 00:01:54,920 Speaker 2: iHeart podcasts. 27 00:01:55,440 --> 00:02:00,360 Speaker 1: Listen on the iHeartRadio app. All right, Wow, you know, 28 00:02:00,800 --> 00:02:03,800 Speaker 1: every time I hear those commercials, I am just overcome 29 00:02:03,960 --> 00:02:07,640 Speaker 1: with the desire to purchase, to spend money, to use 30 00:02:07,680 --> 00:02:10,840 Speaker 1: promo codes. It's just so such a fun ride. This 31 00:02:10,919 --> 00:02:13,320 Speaker 1: is Easton Allen. We're here on I am all in. 32 00:02:13,400 --> 00:02:14,520 Speaker 1: I smell pop culture. 33 00:02:14,960 --> 00:02:15,160 Speaker 2: You know. 34 00:02:15,840 --> 00:02:18,800 Speaker 1: I'm the sound guy here. I always like we've been 35 00:02:18,800 --> 00:02:19,959 Speaker 1: doing the show for a few years now, and I 36 00:02:19,960 --> 00:02:23,040 Speaker 1: always make sure the Scott's microphone works, that it sounds good, 37 00:02:23,040 --> 00:02:25,680 Speaker 1: that his computer works. I do all that stuff. I'm 38 00:02:25,720 --> 00:02:27,560 Speaker 1: now in front of the microphone and I'm so grateful 39 00:02:27,560 --> 00:02:29,240 Speaker 1: to be doing that, and I'm grateful for you guys 40 00:02:29,280 --> 00:02:32,000 Speaker 1: to be in here with me. It's a lot of fun. 41 00:02:32,440 --> 00:02:35,120 Speaker 1: I need friends. I desperately need friends, and you guys 42 00:02:35,160 --> 00:02:40,040 Speaker 1: are my friends. Will you come to my birthday party? Please? 43 00:02:40,840 --> 00:02:43,600 Speaker 1: What we're doing today we're really excited about this is 44 00:02:44,880 --> 00:02:47,639 Speaker 1: I smell pop culture and we're going to dive deep 45 00:02:47,680 --> 00:02:53,320 Speaker 1: into a reference from season two. So let's take it. 46 00:02:53,400 --> 00:02:56,120 Speaker 1: Let's go back to season two here. This is season two, 47 00:02:56,200 --> 00:02:59,080 Speaker 1: episode eight. The episode is the ins and Outs of Inns. 48 00:03:00,080 --> 00:03:03,120 Speaker 1: Lorlai and Suki are trying to start their own in 49 00:03:03,840 --> 00:03:06,480 Speaker 1: but Lourai realizes that she has to tell me that 50 00:03:06,600 --> 00:03:10,200 Speaker 1: she's leaving her job to start her own to take 51 00:03:10,400 --> 00:03:12,960 Speaker 1: she wants to take over the Dragonfly. In this episode, 52 00:03:12,960 --> 00:03:15,360 Speaker 1: there's a part where she has to convince Fran to 53 00:03:15,400 --> 00:03:18,400 Speaker 1: sell her the Dragonfly. There's a lot of moments like that. 54 00:03:18,440 --> 00:03:22,680 Speaker 1: But while this is happening, Jess has been pulling some 55 00:03:22,680 --> 00:03:27,160 Speaker 1: pranks around town. In this episode, he draws a chalk 56 00:03:27,160 --> 00:03:29,640 Speaker 1: outline of a dead body in front of Docy's market, 57 00:03:30,200 --> 00:03:34,000 Speaker 1: and since Luke won't do anything about this, they hold 58 00:03:34,000 --> 00:03:37,880 Speaker 1: a town meeting to discuss Jess's crimes against the people 59 00:03:37,920 --> 00:03:40,160 Speaker 1: of stars Hollow, and they're kind of going around the 60 00:03:40,200 --> 00:03:43,600 Speaker 1: room and listing their grievances, like one person says he 61 00:03:43,680 --> 00:03:46,200 Speaker 1: stole a nome from Babbette's garden. He set off the 62 00:03:46,200 --> 00:03:49,760 Speaker 1: fire alarms at school and then Lorelai chimes in and says, 63 00:03:50,000 --> 00:03:52,040 Speaker 1: I heard he controls the weather and wrote the screenplay 64 00:03:52,080 --> 00:03:55,440 Speaker 1: to Glitter. The worst crime you could possibly commit is 65 00:03:55,560 --> 00:03:58,480 Speaker 1: writing the screenplay to Glitter at this point in time. 66 00:03:58,960 --> 00:04:02,600 Speaker 1: This puts a time stamp of when this was written. Glitter, 67 00:04:02,920 --> 00:04:06,800 Speaker 1: if you're not familiar, is a movie starring Mariah Carey. 68 00:04:07,160 --> 00:04:08,800 Speaker 1: It's a it's a it's kind of like a star 69 00:04:08,960 --> 00:04:11,920 Speaker 1: is born. It's it's about Uh, it's a fiction. It's 70 00:04:11,920 --> 00:04:14,120 Speaker 1: not about her life. It's a fictional story, but you know, 71 00:04:14,200 --> 00:04:17,600 Speaker 1: inspired by a lot of her life. But Mariah Carey 72 00:04:17,640 --> 00:04:21,560 Speaker 1: plays a character named Billy who gets separated from her 73 00:04:21,560 --> 00:04:24,080 Speaker 1: mother at a young age. And then she discovers that 74 00:04:24,160 --> 00:04:29,000 Speaker 1: she has a very powerful voice. And she hooks up 75 00:04:29,000 --> 00:04:32,000 Speaker 1: with a DJ named Dice and they create a hit 76 00:04:32,080 --> 00:04:33,839 Speaker 1: song and it kind of she kind of becomes the 77 00:04:33,880 --> 00:04:34,880 Speaker 1: biggest star in the world. 78 00:04:35,360 --> 00:04:35,640 Speaker 2: Uh. 79 00:04:35,760 --> 00:04:37,960 Speaker 1: But there are some challenges along the way. There are 80 00:04:38,000 --> 00:04:41,360 Speaker 1: some relationships that go awry. I have watched this movie. 81 00:04:41,480 --> 00:04:45,440 Speaker 1: I have watched Glitter. And if you want to watch Glitter, uh, 82 00:04:45,560 --> 00:04:49,239 Speaker 1: it's on YouTube ad free. You cannot stream this anywhere. 83 00:04:49,240 --> 00:04:52,680 Speaker 1: You can't rent it on Apple TV, you can't the 84 00:04:52,760 --> 00:04:56,719 Speaker 1: DVD isn't available. You you got to watch this on YouTube. 85 00:04:56,880 --> 00:04:59,839 Speaker 1: There are again, there are no ads. Uh So I say, 86 00:05:00,360 --> 00:05:02,320 Speaker 1: have yourself a good night and fire up Glitter. It's 87 00:05:02,360 --> 00:05:06,719 Speaker 1: really interesting. I was always aware of Glitter. Obviously when 88 00:05:06,720 --> 00:05:08,480 Speaker 1: it came out, it was just the butt of the joke. 89 00:05:08,520 --> 00:05:08,720 Speaker 3: It was. 90 00:05:08,839 --> 00:05:11,000 Speaker 1: The joke was that no one was watching it. And 91 00:05:11,040 --> 00:05:13,200 Speaker 1: the reason no one was watching it is because this 92 00:05:13,279 --> 00:05:18,040 Speaker 1: movie came out on September fourteenth, two thousand and one, 93 00:05:18,240 --> 00:05:20,920 Speaker 1: and if you can remember back to two thousand September 94 00:05:20,920 --> 00:05:23,279 Speaker 1: two thousand and one, something was happening in the country. 95 00:05:23,520 --> 00:05:26,320 Speaker 1: There's a thing called nine to eleven that kind of 96 00:05:26,400 --> 00:05:29,760 Speaker 1: changed the entire world, and people weren't really going to 97 00:05:29,800 --> 00:05:34,880 Speaker 1: the movie theater, especially that week. So I think that 98 00:05:34,960 --> 00:05:37,120 Speaker 1: had a lot to do with how this movie was received. 99 00:05:37,160 --> 00:05:39,560 Speaker 1: I think if it had come out six months earlier, 100 00:05:39,640 --> 00:05:41,680 Speaker 1: it would have been much It would have been held 101 00:05:41,720 --> 00:05:48,159 Speaker 1: in a much higher regard. But Lorelei says Jess wrote 102 00:05:48,200 --> 00:05:50,640 Speaker 1: the screenplay to Glitter. He didn't. He did not. He 103 00:05:50,720 --> 00:05:53,479 Speaker 1: is a fictional character. He doesn't exist. If you go 104 00:05:53,560 --> 00:05:57,040 Speaker 1: on the if you go on the Wikipedia for Glitter, 105 00:05:57,080 --> 00:05:59,360 Speaker 1: it does say Jess. Mariano is the writer of Glitter. 106 00:05:59,400 --> 00:06:03,080 Speaker 1: We're gonna we're gonn to fix that. But the actual 107 00:06:03,120 --> 00:06:06,800 Speaker 1: writer is a woman named Kate Lanier, and she is incredible. 108 00:06:06,839 --> 00:06:10,080 Speaker 1: She has a huge resume. I mean, listen to these movies. 109 00:06:10,120 --> 00:06:12,800 Speaker 1: She's written What's Love Got to Do with It? That's 110 00:06:12,960 --> 00:06:16,080 Speaker 1: the Teama Turner story. Set it off with Queen Latifa, 111 00:06:16,720 --> 00:06:20,880 Speaker 1: I mean set it off. That is an iconic, historic movie. 112 00:06:21,040 --> 00:06:25,400 Speaker 1: She wrote Beauty Shop, another Queen Latifa joint, The Mod Squad, 113 00:06:26,560 --> 00:06:30,000 Speaker 1: and of course Glitter. In two thousand and one. She 114 00:06:30,040 --> 00:06:33,960 Speaker 1: wrote Glitter with Mariah Carey. I think that is incredible 115 00:06:34,080 --> 00:06:38,160 Speaker 1: to collaborate with a star of that power on her 116 00:06:38,240 --> 00:06:42,240 Speaker 1: first movie. So we're going to talk to Kate Lanier today. 117 00:06:42,320 --> 00:06:44,520 Speaker 1: We're going to get the whole story behind Glitter. We're 118 00:06:44,520 --> 00:06:46,960 Speaker 1: going to find out how it feels to be to 119 00:06:47,120 --> 00:06:50,960 Speaker 1: contribute to popular culture, to be I'm going to break 120 00:06:51,040 --> 00:06:54,960 Speaker 1: the news to her that unfortunately Jess actually wrote this movie. 121 00:06:55,000 --> 00:06:57,320 Speaker 1: She did not write it. We're going to get into 122 00:06:57,400 --> 00:06:59,960 Speaker 1: all that. I see Kate in the waiting room right now. 123 00:07:00,040 --> 00:07:02,479 Speaker 1: I'm going to open the door here and let her in. 124 00:07:02,960 --> 00:07:05,600 Speaker 1: Kaitlinear thanks to doing this. We're so excited. 125 00:07:06,160 --> 00:07:07,479 Speaker 2: Yes, I'm excited to. 126 00:07:08,080 --> 00:07:10,640 Speaker 1: So I want to start at the beginning. You've written 127 00:07:10,680 --> 00:07:15,560 Speaker 1: so many incredible movies. Your resume is just so impressive. Well, 128 00:07:16,160 --> 00:07:19,360 Speaker 1: how did you first discover that you loved screenwriting? Like, 129 00:07:19,400 --> 00:07:20,760 Speaker 1: how did you discover that passion? 130 00:07:21,120 --> 00:07:25,840 Speaker 2: Well? I actually started as an actor. So I was 131 00:07:25,880 --> 00:07:28,280 Speaker 2: in you know, a kid. I grew up in Harlem 132 00:07:28,480 --> 00:07:31,960 Speaker 2: and you know, just because there was nothing, like, we 133 00:07:32,040 --> 00:07:34,400 Speaker 2: just played on the street. So when I was like, 134 00:07:35,360 --> 00:07:39,400 Speaker 2: I know, eleven twelve, my mom put me and my 135 00:07:39,480 --> 00:07:44,400 Speaker 2: brother into different like free acting workshop things around town. 136 00:07:44,480 --> 00:07:47,640 Speaker 2: So we ended up being in you know, The Sound 137 00:07:47,680 --> 00:07:52,119 Speaker 2: of Music and all these like off off Broadway theater 138 00:07:52,240 --> 00:07:56,320 Speaker 2: productions and then by so I did that kind of 139 00:07:56,440 --> 00:08:03,240 Speaker 2: through high school and then I started doing some indie 140 00:08:03,520 --> 00:08:11,720 Speaker 2: movies for like NYU has this great film program Tish School. Yeah, 141 00:08:12,080 --> 00:08:14,480 Speaker 2: and so I somehow hooked up with these guys who 142 00:08:14,560 --> 00:08:21,040 Speaker 2: were making shorts you know, for their for their you know, thesises, 143 00:08:21,760 --> 00:08:26,600 Speaker 2: and I ended up being in this movie that Alan Taylor, 144 00:08:26,800 --> 00:08:28,840 Speaker 2: who's now a big director. 145 00:08:28,640 --> 00:08:31,560 Speaker 1: Yeah, Sopranos, stuff like that, right exactly. 146 00:08:32,200 --> 00:08:35,040 Speaker 2: This was his first movie. It was called That Burning Question, 147 00:08:35,840 --> 00:08:41,680 Speaker 2: and it was me and John like Guizamo and Andrew 148 00:08:41,720 --> 00:08:45,160 Speaker 2: this other actor and it was like a thirty minute 149 00:08:45,240 --> 00:08:50,800 Speaker 2: black and white but very clever, very smart, well written piece. 150 00:08:51,120 --> 00:08:56,800 Speaker 2: Alan wrote and directed it, and that blew up. It 151 00:08:56,840 --> 00:08:59,480 Speaker 2: was in the you know, New York Film Festival at 152 00:08:59,600 --> 00:09:04,319 Speaker 2: one a Nissan Focus Award, and he had that kind 153 00:09:04,360 --> 00:09:07,880 Speaker 2: of big picture experience at being flown out to LA 154 00:09:08,040 --> 00:09:12,800 Speaker 2: and meeting you know, David Geffen and Spielberg and agents 155 00:09:12,920 --> 00:09:19,359 Speaker 2: and whatever. Meanwhile, I had been writing some plays and screenplays, 156 00:09:19,360 --> 00:09:23,680 Speaker 2: but just like privately, you know, like I just you know, 157 00:09:23,840 --> 00:09:27,880 Speaker 2: just I had ideas because I'd been acting, and Alan 158 00:09:28,320 --> 00:09:32,520 Speaker 2: very generously passed on a script that I'd written to 159 00:09:33,360 --> 00:09:37,520 Speaker 2: this agent at Triad that he was meeting with, Rondi Gomez, 160 00:09:37,559 --> 00:09:41,880 Speaker 2: and so she ended up calling me and saying, I 161 00:09:41,920 --> 00:09:44,559 Speaker 2: love this. We can sell it. You know, here, make 162 00:09:44,640 --> 00:09:47,440 Speaker 2: some changes and we can you know, we can sell it. 163 00:09:47,480 --> 00:09:56,000 Speaker 2: So I didn't initially really go into screenwriting as like, oh, 164 00:09:56,040 --> 00:09:57,840 Speaker 2: this is gonna be my career. I really thought it 165 00:09:57,840 --> 00:10:02,000 Speaker 2: wouldn't be an actor, and then I just got diverted 166 00:10:03,440 --> 00:10:09,320 Speaker 2: into writing, which now I'm actually really glad that I did. 167 00:10:10,280 --> 00:10:13,160 Speaker 1: You have such a talent for it, but one of 168 00:10:13,160 --> 00:10:16,360 Speaker 1: your first like big movies. Is what's love got to 169 00:10:16,360 --> 00:10:18,959 Speaker 1: do with it? Tina Turner story? And you got to 170 00:10:19,000 --> 00:10:21,439 Speaker 1: act in that one too, Yes, yes, I. 171 00:10:21,400 --> 00:10:22,600 Speaker 2: Had a little small part. 172 00:10:22,720 --> 00:10:22,880 Speaker 3: Yes. 173 00:10:24,480 --> 00:10:27,280 Speaker 1: What was the experience like of writing that script? I mean, 174 00:10:27,600 --> 00:10:29,840 Speaker 1: do you take this like iconic person and you have 175 00:10:29,880 --> 00:10:32,000 Speaker 1: to condense their life down into a movie? You know, 176 00:10:32,200 --> 00:10:32,920 Speaker 1: how does that work? 177 00:10:33,160 --> 00:10:39,079 Speaker 2: Yeah? It was, Well, she had written a book it Tina, right, 178 00:10:39,240 --> 00:10:45,319 Speaker 2: and but it was really dense, and I had to 179 00:10:45,400 --> 00:10:48,160 Speaker 2: find sort of the emotional through line of what her 180 00:10:48,200 --> 00:10:52,160 Speaker 2: story was, right, like going from this talented little girl 181 00:10:52,520 --> 00:10:56,320 Speaker 2: to you know, her success, and then how she was 182 00:10:56,360 --> 00:11:00,440 Speaker 2: going to essentially reinvent herself get away from I like 183 00:11:00,520 --> 00:11:03,120 Speaker 2: I could. I just sort of could see the pieces 184 00:11:03,720 --> 00:11:09,400 Speaker 2: of the arc of it. And so just picking out 185 00:11:09,520 --> 00:11:15,040 Speaker 2: those those pieces and stringing them together right was was key. 186 00:11:15,120 --> 00:11:17,960 Speaker 2: It was like being selective. But then also I did 187 00:11:18,640 --> 00:11:23,760 Speaker 2: speak to her a few times and she I don't 188 00:11:23,800 --> 00:11:27,200 Speaker 2: even know, I probably still have these in a box somewhere. 189 00:11:28,240 --> 00:11:36,320 Speaker 2: She made type recordings where she would talk about her life. Yeah, 190 00:11:36,360 --> 00:11:39,040 Speaker 2: it was like, well, when Tina was a little good 191 00:11:39,080 --> 00:11:41,160 Speaker 2: and she talked about herself as a third person. Right, 192 00:11:42,400 --> 00:11:44,880 Speaker 2: when Tina was a little girl, she loved to have 193 00:11:44,920 --> 00:11:48,480 Speaker 2: a tall glass of milk after she came back from working, 194 00:11:48,640 --> 00:11:51,360 Speaker 2: you know, and she she would like give, you know, 195 00:11:51,559 --> 00:11:55,400 Speaker 2: talk about these little moments in her life. And yeah. 196 00:11:55,400 --> 00:11:56,280 Speaker 2: It was fantastic. 197 00:11:57,080 --> 00:11:59,440 Speaker 1: I mean, how lucky to be able to hear her 198 00:11:59,480 --> 00:12:01,280 Speaker 1: talk about her in her own words and you can 199 00:12:01,320 --> 00:12:04,240 Speaker 1: like learn her voice and like one incredible resource to 200 00:12:04,280 --> 00:12:05,440 Speaker 1: have for working on that script. 201 00:12:06,040 --> 00:12:06,679 Speaker 2: Oh my god. 202 00:12:06,840 --> 00:12:09,040 Speaker 1: Yes, and you were on the set when they were 203 00:12:09,040 --> 00:12:11,520 Speaker 1: filming that, right, yeah, yeah. 204 00:12:11,320 --> 00:12:13,960 Speaker 2: And I thought, you know, my, it was like my 205 00:12:14,400 --> 00:12:17,320 Speaker 2: you know, I'd sold a couple of scripts prior to that, 206 00:12:17,480 --> 00:12:20,760 Speaker 2: and but it was really my first experience of having 207 00:12:20,800 --> 00:12:25,200 Speaker 2: a movie made that had like a sizeable budget. Right. 208 00:12:25,320 --> 00:12:25,480 Speaker 1: Yeah. 209 00:12:28,040 --> 00:12:31,040 Speaker 2: They were you know, the producers and the director. They 210 00:12:31,040 --> 00:12:33,719 Speaker 2: were all like, come on, be on the set and 211 00:12:34,240 --> 00:12:37,320 Speaker 2: if we need some rewriting, you're there. And I was like, oh, 212 00:12:37,400 --> 00:12:41,000 Speaker 2: this is what it's like, you know, be a screenwriter. 213 00:12:42,080 --> 00:12:46,240 Speaker 2: And of course that is no, it's like you know, 214 00:12:46,840 --> 00:12:52,560 Speaker 2: in general, you know, directors and producers are like, see 215 00:12:52,840 --> 00:12:56,520 Speaker 2: thanks for the script. Yeah yeah, later, you know, we're 216 00:12:56,520 --> 00:12:59,439 Speaker 2: going to do what we want with it. So it 217 00:12:59,480 --> 00:13:03,720 Speaker 2: was an amazing experience with the the two producers, Doug 218 00:13:03,840 --> 00:13:09,240 Speaker 2: Chapin and Barry Cross were phenomenal and so smart, and 219 00:13:09,280 --> 00:13:14,000 Speaker 2: I ended up from that movie Doug became my manager 220 00:13:14,679 --> 00:13:21,199 Speaker 2: awesome for thirty years. Wow, were just retired, and he 221 00:13:22,800 --> 00:13:26,839 Speaker 2: is like a freak literary genius. You know, he could 222 00:13:26,880 --> 00:13:32,000 Speaker 2: like read something and figure out exactly you know, what 223 00:13:32,040 --> 00:13:36,640 Speaker 2: wasn't working, what was working, and yeah, amazing. But I 224 00:13:36,720 --> 00:13:39,960 Speaker 2: met him on the set you know, of What's Love. 225 00:13:40,160 --> 00:13:43,360 Speaker 1: Yeah, So I mean, did you, uh, what kind of 226 00:13:43,400 --> 00:13:47,440 Speaker 1: training did you go through to write these feature film scripts? 227 00:13:47,480 --> 00:13:50,560 Speaker 1: Was it just like from being an actor or. 228 00:13:50,679 --> 00:13:53,320 Speaker 2: H Yeah, I mean, I, like I said, I had 229 00:13:53,320 --> 00:13:57,080 Speaker 2: written stuff on my own. I was an English major, 230 00:13:57,360 --> 00:14:00,480 Speaker 2: you know, I did go I got a skullarp to 231 00:14:00,559 --> 00:14:04,040 Speaker 2: college and I wrote you know, pros like fiction like 232 00:14:04,080 --> 00:14:09,240 Speaker 2: short stories, right, But I hadn't. I think it's one 233 00:14:09,280 --> 00:14:13,840 Speaker 2: of those things that you you you just get an 234 00:14:13,880 --> 00:14:16,760 Speaker 2: instinct for. And I don't think I'm any more talented 235 00:14:17,000 --> 00:14:20,720 Speaker 2: than the next screenwriter. I just kind of got lucky 236 00:14:20,920 --> 00:14:25,360 Speaker 2: and who I met, you know, and how like where 237 00:14:25,800 --> 00:14:28,960 Speaker 2: I was sort of placed in the right time, the 238 00:14:29,040 --> 00:14:33,480 Speaker 2: right place. But I think also being an actor, you 239 00:14:33,560 --> 00:14:37,440 Speaker 2: get a feel and I feel for like what works 240 00:14:37,480 --> 00:14:42,200 Speaker 2: in terms of dialogue and character. So I think that 241 00:14:42,920 --> 00:14:44,280 Speaker 2: really helps, you know. 242 00:14:44,720 --> 00:14:46,600 Speaker 1: You know, whenever people say like, oh I was lucky, 243 00:14:46,600 --> 00:14:48,160 Speaker 1: I was in the right place. There's a quote that 244 00:14:48,200 --> 00:14:52,640 Speaker 1: I love. That's luck is when preparation meets opportunity. Yes, 245 00:14:52,880 --> 00:14:55,040 Speaker 1: someone else could have been that exact same position and 246 00:14:55,040 --> 00:14:56,600 Speaker 1: not done what you were able to do because you 247 00:14:56,640 --> 00:14:59,880 Speaker 1: were prepared and you had all these experiences. Uh so 248 00:15:00,120 --> 00:15:02,840 Speaker 1: let's you're just lucky, Kate. You you were you know, 249 00:15:04,240 --> 00:15:06,520 Speaker 1: so you know, you do. What's love got to do 250 00:15:06,560 --> 00:15:08,960 Speaker 1: with it is Angela Bassett's is a huge movie, and 251 00:15:09,000 --> 00:15:11,120 Speaker 1: then what do you go straight from there? To set 252 00:15:11,120 --> 00:15:14,520 Speaker 1: it off? Is that the next no I wrote, like. 253 00:15:14,720 --> 00:15:20,720 Speaker 2: I think three movies at Disney, at Touchstone at that point, 254 00:15:21,560 --> 00:15:26,240 Speaker 2: and then I got then I wrote set it off. Yeah, 255 00:15:26,760 --> 00:15:29,240 Speaker 2: so that I got that stat script was originally like 256 00:15:29,280 --> 00:15:37,080 Speaker 2: a rewrite project, and the original script was not for women. 257 00:15:37,560 --> 00:15:41,320 Speaker 2: It was completely different characters, but the general sense of 258 00:15:41,360 --> 00:15:45,680 Speaker 2: it was, you know, bank robbers who are in a 259 00:15:45,760 --> 00:15:51,480 Speaker 2: desperate situation in the hood, go rob banks, right, Yeah, 260 00:15:51,520 --> 00:15:57,320 Speaker 2: But the characters were like, you know, klios, like very 261 00:15:57,400 --> 00:16:01,480 Speaker 2: much based on my sister Sheiba, right, who's like all 262 00:16:01,640 --> 00:16:11,520 Speaker 2: boy and completely you know But anyways, the once we 263 00:16:11,640 --> 00:16:17,440 Speaker 2: knew that Jada and Dana Queen Letsifa had had like 264 00:16:17,640 --> 00:16:21,280 Speaker 2: joined you know, sign on, then it was easier to 265 00:16:21,400 --> 00:16:23,720 Speaker 2: kind of figure out who the characters were going to be. 266 00:16:25,400 --> 00:16:27,480 Speaker 2: And Yeah, that was great. 267 00:16:28,000 --> 00:16:30,320 Speaker 1: I've always been so curious, like how you you know, 268 00:16:30,400 --> 00:16:32,720 Speaker 1: because I know a lot of screenplays come together before 269 00:16:32,760 --> 00:16:34,920 Speaker 1: there's an actor attached to it or something like that. 270 00:16:34,960 --> 00:16:37,160 Speaker 1: But in this situation, you're able to kind of tailor 271 00:16:37,200 --> 00:16:39,560 Speaker 1: it knowing who was going to be bringing this character 272 00:16:39,560 --> 00:16:39,840 Speaker 1: to life. 273 00:16:39,840 --> 00:16:43,560 Speaker 2: That's so cool, exactly exactly. I've had both experiences, you know, 274 00:16:43,600 --> 00:16:47,560 Speaker 2: I've had the experience where you know, there's an executive 275 00:16:47,800 --> 00:16:51,840 Speaker 2: at a studio who says, hey, we want a comedy 276 00:16:52,160 --> 00:16:56,000 Speaker 2: for you know, X, y Z, Like can you come 277 00:16:56,080 --> 00:16:59,360 Speaker 2: up with something for her or him? So you get 278 00:16:59,400 --> 00:17:03,160 Speaker 2: sort of parames to work through, which in a way 279 00:17:03,960 --> 00:17:07,240 Speaker 2: makes it easier. You know, you have like a sense 280 00:17:07,280 --> 00:17:11,600 Speaker 2: of like, oh, I know what that actor can do, right, 281 00:17:11,720 --> 00:17:14,080 Speaker 2: I know the kind of character they can do, so 282 00:17:14,240 --> 00:17:17,160 Speaker 2: I know how to write this. Yeah. And then other 283 00:17:17,240 --> 00:17:20,119 Speaker 2: times you write a script and you know you have 284 00:17:20,280 --> 00:17:23,600 Speaker 2: no idea who they're going to cast. Yeah, No, it's 285 00:17:23,640 --> 00:17:29,360 Speaker 2: completely different. Every project is different that way, you know. Interesting. 286 00:17:29,960 --> 00:17:34,560 Speaker 1: Yeah, so at the point you come into Set it Off, 287 00:17:35,000 --> 00:17:38,360 Speaker 1: you said you were brought in for a rewrite. Yeah, 288 00:17:38,440 --> 00:17:41,400 Speaker 1: how did it feel to watch? Like, because you get 289 00:17:41,440 --> 00:17:43,240 Speaker 1: you brought in, you put your spin on it. You 290 00:17:43,320 --> 00:17:45,360 Speaker 1: kind of add, in my opinion, you add the elements 291 00:17:45,359 --> 00:17:47,679 Speaker 1: that make it the movie that it is. It's a 292 00:17:47,720 --> 00:17:52,240 Speaker 1: beloved movie at this Like, uh, so I loved Set 293 00:17:52,240 --> 00:17:54,400 Speaker 1: it Off, like all my friends like still we talk 294 00:17:54,440 --> 00:17:57,320 Speaker 1: about it all the time. So how did it feel 295 00:17:57,359 --> 00:17:59,080 Speaker 1: watching it come to get like come to life and 296 00:17:59,119 --> 00:18:01,000 Speaker 1: then watching it release in theaters? I'm so interested in 297 00:18:01,040 --> 00:18:02,120 Speaker 1: that part of the process too. 298 00:18:02,240 --> 00:18:09,159 Speaker 2: Yeah, it was amazing, Like, uh, you know, yeah, it 299 00:18:09,200 --> 00:18:13,600 Speaker 2: was incredible. Part of I remember when they were shooting 300 00:18:14,119 --> 00:18:16,720 Speaker 2: the rooftop scene. I don't know if you remember, it's like, 301 00:18:16,760 --> 00:18:19,800 Speaker 2: oh yeah, four the girls were like on the rooftop 302 00:18:20,000 --> 00:18:23,800 Speaker 2: and I had worked on that dialog, like had changed 303 00:18:23,800 --> 00:18:26,960 Speaker 2: it like maybe five or six times, you know, because 304 00:18:27,000 --> 00:18:30,480 Speaker 2: I wanted it to feel like natural but also reflective 305 00:18:30,640 --> 00:18:33,120 Speaker 2: of who each of the characters were. But I didn't 306 00:18:33,119 --> 00:18:35,760 Speaker 2: want it it didn't. I didn't want it to feel 307 00:18:35,840 --> 00:18:39,119 Speaker 2: kind of stagy and like this is what I feel, 308 00:18:39,200 --> 00:18:42,000 Speaker 2: this is what I you know, so I worked on 309 00:18:42,200 --> 00:18:46,000 Speaker 2: that a lot and then that was I remember when 310 00:18:46,040 --> 00:18:50,320 Speaker 2: I saw like The Daily's and the final foot I 311 00:18:50,359 --> 00:18:54,320 Speaker 2: was like, oh that works, you know that it really works. 312 00:18:54,760 --> 00:18:58,639 Speaker 2: And also, you know, the actors were all incredible. You know, 313 00:18:58,800 --> 00:19:03,440 Speaker 2: every single one of those women was phenomenal. So if 314 00:19:03,440 --> 00:19:08,159 Speaker 2: you had lesser, you know, lesser talented actors, it wouldn't 315 00:19:08,160 --> 00:19:10,240 Speaker 2: have been the same same movie. 316 00:19:10,359 --> 00:19:14,760 Speaker 1: You know, had you had you wanted to write like 317 00:19:14,800 --> 00:19:17,679 Speaker 1: an action kind of movie like that before or was 318 00:19:17,680 --> 00:19:18,720 Speaker 1: it oh yeah, yeah. 319 00:19:19,160 --> 00:19:24,000 Speaker 2: Oh totally like I had wanted to do. It's weird 320 00:19:24,080 --> 00:19:25,680 Speaker 2: because there is like kind. 321 00:19:25,480 --> 00:19:30,200 Speaker 3: Of a a little bit of a sexist thing in 322 00:19:30,200 --> 00:19:34,359 Speaker 3: Hollywood about like, you know, the people have broken through, 323 00:19:34,560 --> 00:19:38,600 Speaker 3: definitely women who have broken through and directed. 324 00:19:38,200 --> 00:19:43,080 Speaker 2: Action, but not very many. For of all, not many 325 00:19:43,359 --> 00:19:48,720 Speaker 2: directors are women because the culture is, you know, if 326 00:19:48,720 --> 00:19:51,960 Speaker 2: you're the director, you're the boss. You got to make 327 00:19:52,040 --> 00:19:55,359 Speaker 2: all the hard calls, and like a woman can't really 328 00:19:55,440 --> 00:19:59,840 Speaker 2: do that, right, So the percentage of directors who are 329 00:20:00,000 --> 00:20:04,560 Speaker 2: women is this small, and the percentage of women who 330 00:20:04,720 --> 00:20:08,119 Speaker 2: are doing action stuff, you know, for the same reason 331 00:20:08,280 --> 00:20:11,480 Speaker 2: like oh can't make that call, can't do that, you know, 332 00:20:11,680 --> 00:20:16,959 Speaker 2: thing I've always loved, like, you know, the ship I 333 00:20:17,040 --> 00:20:23,240 Speaker 2: like to watch is like violent serial killers on a rampage, 334 00:20:24,760 --> 00:20:29,720 Speaker 2: you know action. So yeah, I've always wanted to do that. 335 00:20:30,560 --> 00:20:33,880 Speaker 1: Is there is there a style or like a genre 336 00:20:33,920 --> 00:20:36,199 Speaker 1: of movie that you've always wanted to do and you 337 00:20:36,280 --> 00:20:36,840 Speaker 1: haven't yet. 338 00:20:37,480 --> 00:20:41,520 Speaker 2: Hmm. That's funny because I've almost done like every single 339 00:20:41,600 --> 00:20:48,080 Speaker 2: genre except for like a superhero oh wow kind of film, 340 00:20:48,119 --> 00:20:50,000 Speaker 2: Like I haven't done that, and I'm that I have 341 00:20:50,080 --> 00:20:54,520 Speaker 2: a lot of curious curiosity about how you develop, like 342 00:20:54,680 --> 00:20:58,680 Speaker 2: some of the good ones, right, like spider Man, right 343 00:20:58,920 --> 00:21:04,760 Speaker 2: that the Toby McGuire one like is my favorite, and 344 00:21:05,720 --> 00:21:10,639 Speaker 2: the evolution of who he starts out as and then 345 00:21:10,800 --> 00:21:13,960 Speaker 2: becomes like, to me, that's such a great character arc. 346 00:21:14,160 --> 00:21:17,360 Speaker 2: And you know there's something that's such a metaphor, right, 347 00:21:17,480 --> 00:21:22,320 Speaker 2: Like superheroes are just like pure symbol, but you're gonna 348 00:21:22,320 --> 00:21:25,040 Speaker 2: have so much fun with what they can do, right 349 00:21:26,119 --> 00:21:27,800 Speaker 2: because it's so unreal. 350 00:21:27,960 --> 00:21:28,720 Speaker 1: Yeah, there's no rules. 351 00:21:28,840 --> 00:21:30,040 Speaker 2: Yeah, I've never done that. 352 00:21:31,040 --> 00:21:35,080 Speaker 1: Well, I can't wait to see the Kittlinear created superhero. 353 00:21:35,160 --> 00:21:39,400 Speaker 1: That's that's gonna show it exactly. We have so much 354 00:21:39,400 --> 00:21:42,280 Speaker 1: more to get into with the great Kitlinear. Thank you 355 00:21:42,320 --> 00:21:44,560 Speaker 1: so much for for sticking around. We're gonna take a 356 00:21:44,600 --> 00:21:53,720 Speaker 1: really quick break and we'll be back after these words. 357 00:21:55,840 --> 00:21:59,720 Speaker 1: Kaitlinear is with us, the U screenwriter behind so many 358 00:21:59,760 --> 00:22:02,400 Speaker 1: great movies. Set it off. We're just talking about what's 359 00:22:02,440 --> 00:22:05,040 Speaker 1: love got to do with it? But now there's a 360 00:22:05,040 --> 00:22:06,720 Speaker 1: big part of your resume that we have to talk 361 00:22:06,720 --> 00:22:11,840 Speaker 1: about today. That's a movie called Glitter from Chasen to One. Yes, 362 00:22:11,960 --> 00:22:15,640 Speaker 1: I watched Glitter for the first time recently, and I 363 00:22:15,800 --> 00:22:18,480 Speaker 1: was I loved it. I thought it was great. I 364 00:22:18,480 --> 00:22:22,480 Speaker 1: thought it was great because it has a reputation. Yeah, 365 00:22:22,520 --> 00:22:25,399 Speaker 1: So I went in, like a lot of the movies 366 00:22:25,440 --> 00:22:27,560 Speaker 1: that people say are like, you know, the worst movies 367 00:22:27,600 --> 00:22:29,679 Speaker 1: of all time or whatever, I feel like they're not. 368 00:22:29,880 --> 00:22:32,320 Speaker 1: Actually they're never that bad, Like like the worst movies 369 00:22:32,320 --> 00:22:34,600 Speaker 1: are truly forgettable, you know, like you don't think about them. 370 00:22:35,240 --> 00:22:38,080 Speaker 1: And so I went into I was like, Okay, let's 371 00:22:38,119 --> 00:22:40,320 Speaker 1: let's just see what this is. And I was actually 372 00:22:40,400 --> 00:22:41,600 Speaker 1: had a great time during it. 373 00:22:42,119 --> 00:22:45,320 Speaker 2: Yeah, well, let me tell you the backstory please, Yes, 374 00:22:45,920 --> 00:22:50,159 Speaker 2: Because all right, I was initially approached, you know, to 375 00:22:50,320 --> 00:22:53,800 Speaker 2: write something for Mariah, not a biopic. She had an 376 00:22:53,880 --> 00:22:59,359 Speaker 2: idea for a real story right about a character that 377 00:22:59,520 --> 00:23:04,520 Speaker 2: was not her. And she was working and had been 378 00:23:04,520 --> 00:23:08,200 Speaker 2: working for years with this acting coach, Sheila Gray. And 379 00:23:08,240 --> 00:23:12,520 Speaker 2: Sheila is like a famous, famous acting coach. She's coached 380 00:23:12,640 --> 00:23:16,639 Speaker 2: de Niro, you know, I mean, if you go to 381 00:23:16,680 --> 00:23:23,120 Speaker 2: her website, right, you'll see her client list is unreal. Right. 382 00:23:24,600 --> 00:23:29,240 Speaker 2: She was working with Mariah and they they were just 383 00:23:30,320 --> 00:23:33,240 Speaker 2: you know, really getting into the craft of acting. And 384 00:23:33,720 --> 00:23:38,200 Speaker 2: Maria had wanted to act from the beginning. So I 385 00:23:38,960 --> 00:23:43,959 Speaker 2: met with Mariah and Sheila and the three of us 386 00:23:43,960 --> 00:23:46,640 Speaker 2: sort of hit it off, and we had she Ryan 387 00:23:46,720 --> 00:23:51,600 Speaker 2: had this idea of doing a real alan On story 388 00:23:52,119 --> 00:23:55,840 Speaker 2: like a Star is Born, where like, you know, there's 389 00:23:55,880 --> 00:24:02,920 Speaker 2: a couple and the guy's so heavy into drugs that 390 00:24:03,600 --> 00:24:08,360 Speaker 2: everything turns to shit and she tries to save him 391 00:24:08,400 --> 00:24:13,399 Speaker 2: and gets dragged down but then eventually has to walk away. 392 00:24:13,840 --> 00:24:17,879 Speaker 2: But the way that we had conceived of it and 393 00:24:17,960 --> 00:24:20,680 Speaker 2: pictured it and all the notes you know, I'd written, 394 00:24:21,200 --> 00:24:25,600 Speaker 2: and we were really dark, really gritty. I spent two 395 00:24:25,680 --> 00:24:29,800 Speaker 2: years with her, Like I was traveling with Mariah, like wow, 396 00:24:30,440 --> 00:24:34,520 Speaker 2: oh yeah. We would come up with scenes and she 397 00:24:34,560 --> 00:24:37,000 Speaker 2: would act them out. Here's the thing about Mariah that 398 00:24:37,280 --> 00:24:42,760 Speaker 2: people always underestimate her. They think she's this character that 399 00:24:42,800 --> 00:24:47,879 Speaker 2: she presents as like the diva, right, but she is 400 00:24:49,640 --> 00:24:53,760 Speaker 2: one of the smartest, most creative people I've ever met. 401 00:24:53,800 --> 00:24:58,760 Speaker 2: Like she's sharp and has brilliant ideas. Like she's completely different, 402 00:24:59,560 --> 00:25:02,840 Speaker 2: you know, one on one, like she is really really 403 00:25:03,880 --> 00:25:08,439 Speaker 2: on the ball and super smart, super creative, willing to 404 00:25:08,480 --> 00:25:11,960 Speaker 2: do anything. You know. We would go like we were 405 00:25:12,960 --> 00:25:15,760 Speaker 2: staying in some house, you know, a friend of hers 406 00:25:15,920 --> 00:25:20,959 Speaker 2: house in Acapulco, coming up with these scenes for the 407 00:25:21,000 --> 00:25:24,520 Speaker 2: movie Wow, which at the time was gonna be called 408 00:25:24,640 --> 00:25:29,040 Speaker 2: like not everything that glitters is gold, right, working on 409 00:25:29,080 --> 00:25:33,840 Speaker 2: this stuff, She's improving, crying sobbing, like we're doing all 410 00:25:33,880 --> 00:25:39,440 Speaker 2: this stuff. And what happened was, you know, we we 411 00:25:39,640 --> 00:25:47,000 Speaker 2: finished the script after two years, and Sony, the studio 412 00:25:47,119 --> 00:25:53,800 Speaker 2: that I wrote it for, suddenly whatever they realized Mariah's 413 00:25:53,840 --> 00:25:58,600 Speaker 2: audience is like fourteen year old girls, Oh so we 414 00:25:58,760 --> 00:26:03,560 Speaker 2: have to make this PEG thirteen and they essentially cut 415 00:26:04,280 --> 00:26:09,399 Speaker 2: everything out of the script. So it became like like 416 00:26:09,440 --> 00:26:11,800 Speaker 2: when I finally saw it, I went and I saw 417 00:26:11,840 --> 00:26:15,280 Speaker 2: it with Sheila in a movie theater and we both 418 00:26:15,440 --> 00:26:18,600 Speaker 2: left like crying because we were like, this has nothing 419 00:26:18,640 --> 00:26:23,160 Speaker 2: to do with what we originally had conceived of. Right. 420 00:26:23,880 --> 00:26:26,640 Speaker 2: Not only that they released it like two days after 421 00:26:26,800 --> 00:26:27,720 Speaker 2: nine to eleven, it is. 422 00:26:27,720 --> 00:26:29,760 Speaker 1: It September fourteenth, I think it came out. 423 00:26:30,200 --> 00:26:34,320 Speaker 2: It's like everyone was watching The Towers fall on TV. 424 00:26:34,520 --> 00:26:37,040 Speaker 2: No one was going to see a movie. But anyway, 425 00:26:37,119 --> 00:26:43,119 Speaker 2: So that's really the backstory, is that it was really 426 00:26:43,200 --> 00:26:45,920 Speaker 2: compromised from what it was supposed to be. 427 00:26:46,640 --> 00:26:49,320 Speaker 1: You know, I wish we could have seen that original version, 428 00:26:49,520 --> 00:26:51,400 Speaker 1: that's the thing. Yeah, I would. I mean, I'd love 429 00:26:51,400 --> 00:26:54,679 Speaker 1: to read that script too, But I wish like that 430 00:26:54,800 --> 00:26:57,400 Speaker 1: had been made because I I hear you talking about 431 00:26:57,440 --> 00:26:59,919 Speaker 1: what went into and you can see kind of echo 432 00:27:00,119 --> 00:27:02,520 Speaker 1: of that in the movie. Yeah, And that would have 433 00:27:02,560 --> 00:27:04,560 Speaker 1: been such a more compelling story, I think, especially for 434 00:27:04,640 --> 00:27:05,320 Speaker 1: Mariah to be. 435 00:27:05,680 --> 00:27:09,720 Speaker 2: Totally totally and and and it would it would have 436 00:27:09,760 --> 00:27:16,760 Speaker 2: been more, you know, distinct from her sort of singer persona. Right. 437 00:27:17,359 --> 00:27:20,760 Speaker 2: She really wanted to do a character who goes through 438 00:27:20,920 --> 00:27:24,840 Speaker 2: like something traumatic, right, Yes, and all that was cut out. So, 439 00:27:25,960 --> 00:27:28,639 Speaker 2: I mean it's just what happens in Hollywood. You know, 440 00:27:29,040 --> 00:27:34,200 Speaker 2: you have like people. It's that marriage of creativity and business. Yeah, 441 00:27:34,320 --> 00:27:37,640 Speaker 2: there's always one, right, because the business side is like, hey, 442 00:27:38,040 --> 00:27:42,359 Speaker 2: we need to sell this to thirteen year olds fourteen 443 00:27:42,480 --> 00:27:42,840 Speaker 2: year olds. 444 00:27:42,880 --> 00:27:45,520 Speaker 1: So yeah, was it always going to be set in 445 00:27:46,320 --> 00:27:48,800 Speaker 1: the eighties? Was that always part of the idea? Or Okay, 446 00:27:48,920 --> 00:27:50,640 Speaker 1: I love that. I thought that was such a cool detail. 447 00:27:51,200 --> 00:27:51,440 Speaker 2: Yeah. 448 00:27:51,600 --> 00:27:53,200 Speaker 1: Yeah, I mean the music's so fun too. 449 00:27:53,440 --> 00:27:56,560 Speaker 2: You know, only I worked in. One of the reasons 450 00:27:56,640 --> 00:28:00,800 Speaker 2: is that we like I was a bar tender in 451 00:28:00,960 --> 00:28:04,679 Speaker 2: nightclubs in the eighties in New York. Wow, like this 452 00:28:04,880 --> 00:28:10,840 Speaker 2: club area, Madame Roses, the Palladium, like I bartended all 453 00:28:11,000 --> 00:28:14,640 Speaker 2: all these different clubs, right, And it was such New 454 00:28:14,720 --> 00:28:19,080 Speaker 2: York at the time was such a different scene because 455 00:28:19,240 --> 00:28:23,119 Speaker 2: you could be like or dirt poor and have like 456 00:28:23,160 --> 00:28:26,520 Speaker 2: an apartment on the Lower East Side and be an 457 00:28:26,680 --> 00:28:30,879 Speaker 2: artist and be creative and you know, you didn't have 458 00:28:30,920 --> 00:28:33,720 Speaker 2: to have a lot of money. So these clubs were like, 459 00:28:35,200 --> 00:28:38,760 Speaker 2: you know, people like Zo Michel Bascot and Andy Warhol 460 00:28:39,320 --> 00:28:43,640 Speaker 2: and mixing with like Fab five Freddy and you know, 461 00:28:43,760 --> 00:28:48,920 Speaker 2: it was like this great mix of people who were 462 00:28:49,000 --> 00:28:53,800 Speaker 2: all doing something interesting and creative but not necessarily like 463 00:28:53,880 --> 00:28:55,840 Speaker 2: super successful yet you know. 464 00:28:56,120 --> 00:28:59,720 Speaker 1: Yeah, did you read do a lot of guys like 465 00:28:59,760 --> 00:29:00,840 Speaker 1: Die the DJ? 466 00:29:01,240 --> 00:29:04,800 Speaker 2: Yeah, exactly, exactly totally. 467 00:29:05,920 --> 00:29:09,600 Speaker 1: Okay. So my favorite line from the movie is when 468 00:29:09,640 --> 00:29:13,720 Speaker 1: they're they're making the music video and the director walks 469 00:29:13,760 --> 00:29:16,640 Speaker 1: over while they're on the setter's confetti raining down and 470 00:29:16,680 --> 00:29:20,280 Speaker 1: he says, the glitter can't overpower the artists. And I 471 00:29:20,960 --> 00:29:22,240 Speaker 1: still have been cheered during that par I thought that 472 00:29:22,280 --> 00:29:26,000 Speaker 1: was a great line. Yes, was that. I don't know 473 00:29:26,000 --> 00:29:29,200 Speaker 1: if you remember or not, but like, was that that part? 474 00:29:29,320 --> 00:29:31,280 Speaker 1: Was that anything? Was that? Did it come from you 475 00:29:31,720 --> 00:29:34,640 Speaker 1: or was that a Mariah idea or Yeah? 476 00:29:34,760 --> 00:29:38,880 Speaker 2: I I remember correctly, I had. We did like different 477 00:29:38,960 --> 00:29:42,040 Speaker 2: versions of it. There were like three or four takes, yeah, 478 00:29:42,120 --> 00:29:45,120 Speaker 2: where the actor tried different things, you know what I mean, 479 00:29:45,200 --> 00:29:48,280 Speaker 2: Like I had some lines written and then he also 480 00:29:48,400 --> 00:29:52,280 Speaker 2: improv some it. So I can't remember like which of 481 00:29:52,320 --> 00:29:55,520 Speaker 2: the takes was whose, But yeah, it was a general 482 00:29:55,600 --> 00:30:01,280 Speaker 2: sense of that, you know, pompous whatever kind of director. 483 00:30:01,360 --> 00:30:05,400 Speaker 1: Yeah, how did it feel? The movie comes out? You know, again, 484 00:30:06,040 --> 00:30:09,280 Speaker 1: like we're setting the context here. It's September. The soundtrack 485 00:30:09,360 --> 00:30:12,240 Speaker 1: came out on nine to eleven. The movie came out 486 00:30:12,440 --> 00:30:15,400 Speaker 1: on that Friday, and eleven was on Tuesday. It comes 487 00:30:15,400 --> 00:30:17,640 Speaker 1: out on Friday. There's this there's a scene, there's a 488 00:30:17,640 --> 00:30:20,440 Speaker 1: picture that goes around of like a glitter billboard with 489 00:30:20,480 --> 00:30:23,000 Speaker 1: the twin towers like coming down in the background. It's 490 00:30:23,000 --> 00:30:29,320 Speaker 1: this really powerful image. I mean, you're you're thinking, like, Okay, 491 00:30:29,920 --> 00:30:31,360 Speaker 1: no one's going to go to the movie theater, Like, 492 00:30:31,400 --> 00:30:32,960 Speaker 1: no one's going to go see this. The country is 493 00:30:32,960 --> 00:30:35,160 Speaker 1: in such a weird place right now. But then it 494 00:30:35,240 --> 00:30:38,800 Speaker 1: also gets this like it gets a terrible response from 495 00:30:38,840 --> 00:30:41,280 Speaker 1: the public, like Saturday Night Lives making fun of every 496 00:30:41,480 --> 00:30:44,440 Speaker 1: It becomes the butt of a joke. How did that 497 00:30:44,480 --> 00:30:47,480 Speaker 1: feel as a you know, as the creative force behind it? 498 00:30:47,960 --> 00:30:50,040 Speaker 1: How did how did how did you deal with that? 499 00:30:50,120 --> 00:30:51,960 Speaker 1: I would have been I would have called new hole 500 00:30:52,000 --> 00:30:53,640 Speaker 1: and never wanted to come out. How did you deal 501 00:30:53,680 --> 00:30:54,400 Speaker 1: with that? At the time? 502 00:30:54,920 --> 00:30:59,640 Speaker 2: What was it? You know? Because I at that point 503 00:31:00,040 --> 00:31:04,720 Speaker 2: written enough movies that I'd gotten enough of a thick 504 00:31:04,800 --> 00:31:10,080 Speaker 2: skin and the ability to detach, right because a very 505 00:31:10,120 --> 00:31:14,200 Speaker 2: specific part to blaye in the making of a movie, 506 00:31:14,280 --> 00:31:17,360 Speaker 2: and then the rest of it is out of my control, 507 00:31:17,480 --> 00:31:19,320 Speaker 2: so you have to let go of it, you know. 508 00:31:20,600 --> 00:31:23,040 Speaker 2: And so I at that point I was used to 509 00:31:23,600 --> 00:31:26,800 Speaker 2: like having the leg even if I put my heart 510 00:31:26,840 --> 00:31:30,880 Speaker 2: and soul into a script, I had no idea what 511 00:31:30,920 --> 00:31:34,960 Speaker 2: would happen once I turned it over, right, So I 512 00:31:35,480 --> 00:31:38,880 Speaker 2: kind of was used to that, but I will say 513 00:31:38,920 --> 00:31:43,239 Speaker 2: it was devastating because it was something that I really thought. 514 00:31:43,600 --> 00:31:48,920 Speaker 2: I really thought Mariah deserved to show her skill and 515 00:31:48,960 --> 00:31:52,640 Speaker 2: her talent and her ability and also her creativity and 516 00:31:52,720 --> 00:31:55,120 Speaker 2: smarts all of that, Like she really deserved that because 517 00:31:55,160 --> 00:31:58,800 Speaker 2: she worked so hard. And so that was devastating. Like 518 00:31:58,840 --> 00:32:03,280 Speaker 2: I said, I went, Sheila, and I went, you know, 519 00:32:04,280 --> 00:32:06,880 Speaker 2: into a movie theater, thinking like, okay, let's just see 520 00:32:06,880 --> 00:32:10,840 Speaker 2: it like very neutral, not a big red carpet screening. 521 00:32:10,920 --> 00:32:13,320 Speaker 2: Let's walk into a movie theater and watch it with 522 00:32:13,400 --> 00:32:16,360 Speaker 2: other people. We walk into this movie theater and it's 523 00:32:16,600 --> 00:32:21,520 Speaker 2: wrecking empty because it's after nine eleve right, like no one, 524 00:32:21,960 --> 00:32:25,280 Speaker 2: no one's going out to see movies. So we're in 525 00:32:25,320 --> 00:32:28,880 Speaker 2: this movie theater, there's like two other people there, you know, 526 00:32:29,720 --> 00:32:32,640 Speaker 2: and we're watching it and we both like looked at 527 00:32:32,640 --> 00:32:37,800 Speaker 2: each other and started crying, just crying, crying, like and 528 00:32:37,840 --> 00:32:41,120 Speaker 2: it wasn't about like the reviews or the reputation or anything. 529 00:32:41,160 --> 00:32:47,280 Speaker 2: It was the loss of something that could have been great, 530 00:32:47,640 --> 00:32:51,960 Speaker 2: you know. And so that was really that felt really 531 00:32:52,000 --> 00:32:53,320 Speaker 2: sad and really tragic. 532 00:32:53,480 --> 00:32:57,320 Speaker 1: You know, Yeah, Marie could have she could have had 533 00:32:57,320 --> 00:32:59,360 Speaker 1: a like she's a great I thought she was a 534 00:32:59,400 --> 00:33:02,040 Speaker 1: great perform in the movie, and she could have had 535 00:33:02,040 --> 00:33:04,440 Speaker 1: like a Lady Gaga, you know style, like career. I 536 00:33:04,480 --> 00:33:08,960 Speaker 1: think totally. Obviously, Marie Carey is doing just fine, obviously, 537 00:33:09,000 --> 00:33:14,200 Speaker 1: but Joe recovery, She'll get back on her feet. But 538 00:33:14,560 --> 00:33:16,440 Speaker 1: how much I want to know how much of your 539 00:33:16,520 --> 00:33:20,480 Speaker 1: life went into that script, like other story? 540 00:33:20,520 --> 00:33:24,400 Speaker 2: A lot? Yeah, yeah, a lot. I mean, just because 541 00:33:25,360 --> 00:33:30,280 Speaker 2: you know, I had been like a crazy club you 542 00:33:30,280 --> 00:33:34,200 Speaker 2: know kid. I mean I started like going out to 543 00:33:34,320 --> 00:33:38,840 Speaker 2: clubs when I was like fourteen fifteen downtown. I started 544 00:33:38,880 --> 00:33:41,640 Speaker 2: bartending when I was seventeen. I mean the drinking gage 545 00:33:41,640 --> 00:33:44,560 Speaker 2: at the time was eighteen. So it was a huge leap, 546 00:33:45,240 --> 00:33:48,240 Speaker 2: right to say, like, oh, I'm eighteen. No one was 547 00:33:48,240 --> 00:33:52,400 Speaker 2: looking at anyone's ID at that point. But looking back, 548 00:33:52,560 --> 00:33:55,000 Speaker 2: when I look at pictures of myself at seventeen, I 549 00:33:55,040 --> 00:33:59,200 Speaker 2: look like I'm twelve. You know, how anyone could have 550 00:33:59,240 --> 00:34:03,600 Speaker 2: put me behind the bar, I don't know, But yeah, 551 00:34:03,960 --> 00:34:06,920 Speaker 2: definitely was a lot of There's a lot of sort 552 00:34:06,920 --> 00:34:11,319 Speaker 2: of life experience in that in that era. 553 00:34:11,840 --> 00:34:15,120 Speaker 1: Uh So there's a There's a social media site that 554 00:34:15,160 --> 00:34:18,719 Speaker 1: I go to called Letterbox where people like rate movies. Okayeah, yeah, 555 00:34:18,800 --> 00:34:22,120 Speaker 1: you're probably familiar Letterbox. I went on there to uh 556 00:34:22,360 --> 00:34:25,400 Speaker 1: to log my review of Glitter, and I saw so 557 00:34:25,520 --> 00:34:28,040 Speaker 1: many good reviews on there from people that are watching 558 00:34:28,080 --> 00:34:30,400 Speaker 1: it now and people that are going back and be like, 559 00:34:30,440 --> 00:34:32,680 Speaker 1: hey what is Glitter? Let's go watch it? And you 560 00:34:32,800 --> 00:34:35,200 Speaker 1: go like, hey, this is actually this is a fine movie. 561 00:34:35,239 --> 00:34:36,320 Speaker 1: You know, it's not like terrible. 562 00:34:37,040 --> 00:34:37,239 Speaker 2: Yeah. 563 00:34:37,520 --> 00:34:39,640 Speaker 1: Do you have how often do you like talk to 564 00:34:39,840 --> 00:34:41,399 Speaker 1: Do you ever talk to people that are like that, 565 00:34:41,640 --> 00:34:45,239 Speaker 1: really like realize that you wrote Glitter and have something 566 00:34:45,280 --> 00:34:48,000 Speaker 1: good to say about it or curious about it. Do 567 00:34:47,800 --> 00:34:49,760 Speaker 1: you hear people come up? Yeah? 568 00:34:49,920 --> 00:34:53,960 Speaker 2: Totally. There was the review of Glitter in the New 569 00:34:54,080 --> 00:34:57,400 Speaker 2: York Times that came out like if you I don't know, 570 00:34:57,440 --> 00:35:01,040 Speaker 2: if you can google it or whatever, it's actually pretty good. Yeah, 571 00:35:01,080 --> 00:35:04,000 Speaker 2: And I can't remember who wrote it, but there was 572 00:35:04,040 --> 00:35:10,680 Speaker 2: a there was a point that I met him, whoever 573 00:35:10,680 --> 00:35:13,080 Speaker 2: that reviewer was, I mean it was this is again 574 00:35:13,160 --> 00:35:17,080 Speaker 2: we're talking twenty years ago, and he was like, you 575 00:35:17,120 --> 00:35:19,520 Speaker 2: know what, that was not a terrible movie like it 576 00:35:19,560 --> 00:35:24,200 Speaker 2: has really been, you know, underrated, like it was not bad. 577 00:35:24,440 --> 00:35:27,520 Speaker 1: So yeah, thank you so much for your time. 578 00:35:27,560 --> 00:35:27,799 Speaker 2: Today. 579 00:35:27,800 --> 00:35:29,680 Speaker 1: We have again, we have more to get into. We 580 00:35:29,680 --> 00:35:31,759 Speaker 1: got to take a really quick break here. We're going 581 00:35:31,800 --> 00:35:35,319 Speaker 1: to talk about Gilmore Girls. When we get back. It's Kaitlinear. 582 00:35:35,560 --> 00:35:38,040 Speaker 1: This is I am all in. I Smell pop Culture. 583 00:35:38,080 --> 00:35:49,920 Speaker 1: We'll be back after these words. Kaitlinear hanging out with 584 00:35:50,000 --> 00:35:53,200 Speaker 1: us on I Smell pop Culture this week. So in 585 00:35:53,520 --> 00:35:59,040 Speaker 1: season two of Gilmore Girls, they they mentioned Glitter, Laura, 586 00:35:59,239 --> 00:36:02,960 Speaker 1: I mean character they're talking about Jess who is it, 587 00:36:02,960 --> 00:36:05,560 Speaker 1: who is one of Rory's boyfriends at a certain point, 588 00:36:05,600 --> 00:36:08,280 Speaker 1: and he'd been pulling a lot of pranks around town. 589 00:36:08,520 --> 00:36:10,440 Speaker 1: There's a part where there's like a town meeting and 590 00:36:10,480 --> 00:36:13,279 Speaker 1: everybody's going around listing all the crimes he's committed. And 591 00:36:13,520 --> 00:36:15,840 Speaker 1: Laura Lai says, I heard he controls the weather and 592 00:36:15,920 --> 00:36:21,080 Speaker 1: he wrote the screenplay to Glitter. And as we record this, 593 00:36:21,200 --> 00:36:23,920 Speaker 1: if you go to the Wikipedia page for Glitter, it 594 00:36:24,000 --> 00:36:27,440 Speaker 1: says the writer is Jess Mariano, who is the character 595 00:36:27,520 --> 00:36:31,879 Speaker 1: from Kilmore Girls. And I thought it was so it's 596 00:36:31,920 --> 00:36:35,359 Speaker 1: such a It makes so much sense to take an 597 00:36:35,360 --> 00:36:37,840 Speaker 1: accomplishment from a woman and then give the credit to 598 00:36:37,920 --> 00:36:42,799 Speaker 1: a fictional. Man, I think that, right, that is hysterical. 599 00:36:42,960 --> 00:36:46,799 Speaker 1: I'm going to change it when we're done here so 600 00:36:46,840 --> 00:36:49,120 Speaker 1: that it's accurate. But I did think that was a 601 00:36:49,160 --> 00:36:54,400 Speaker 1: funny thing to notice, how I mean, like especially you know, 602 00:36:55,280 --> 00:36:57,520 Speaker 1: after it came out, but like even still today, like 603 00:36:57,640 --> 00:37:00,040 Speaker 1: glitter pops out, like you'll hear people reference it and 604 00:37:00,040 --> 00:37:01,759 Speaker 1: in TV shows and movies and stuff like that. How 605 00:37:01,800 --> 00:37:04,400 Speaker 1: does that feel to like have contributed to pop culture 606 00:37:04,400 --> 00:37:05,480 Speaker 1: in such a significant way. 607 00:37:06,239 --> 00:37:09,040 Speaker 2: I don't know. I don't really know, because there's also 608 00:37:09,200 --> 00:37:12,719 Speaker 2: like this, you know, there's like also a group of 609 00:37:12,800 --> 00:37:18,200 Speaker 2: like rabid glitter fans. Like there was someone showed me 610 00:37:18,280 --> 00:37:22,440 Speaker 2: a website that was like, you know, it was a 611 00:37:22,480 --> 00:37:27,000 Speaker 2: Mariah website and all these girls were like I love glitter, 612 00:37:27,080 --> 00:37:29,360 Speaker 2: I love gletter And I was like really, yeah, it 613 00:37:29,400 --> 00:37:35,640 Speaker 2: was really surprising. You know that people you know have 614 00:37:35,920 --> 00:37:41,400 Speaker 2: very very mixed feelings, right, so it's waited then the 615 00:37:41,480 --> 00:37:45,680 Speaker 2: people who love it. So yeah, it's it's a weird 616 00:37:45,800 --> 00:37:49,279 Speaker 2: experience definitely, And also to have it it was it 617 00:37:49,320 --> 00:37:54,080 Speaker 2: was such a quick sort of mention on Gilmore girls, 618 00:37:54,080 --> 00:37:57,839 Speaker 2: but they're so snappy. Yeah, you sometimes missed stuff, and 619 00:37:57,880 --> 00:38:03,600 Speaker 2: I was like, oh wait, oh wait, Yeah. 620 00:38:02,440 --> 00:38:03,680 Speaker 1: That was been exciting to hear. 621 00:38:05,640 --> 00:38:06,120 Speaker 2: Yeah. 622 00:38:06,160 --> 00:38:08,600 Speaker 1: So, you know, Gilmore Girls, we always talk on this. 623 00:38:08,600 --> 00:38:10,839 Speaker 1: This is the Gilmore Girl's podcast obviously, and we talk 624 00:38:10,880 --> 00:38:13,399 Speaker 1: a lot about you know that that show is about 625 00:38:13,520 --> 00:38:18,640 Speaker 1: relationships between mothers and daughters. And I know your mother was. 626 00:38:19,000 --> 00:38:21,719 Speaker 1: She was creative, she was a painter, she was an activist. 627 00:38:22,239 --> 00:38:23,960 Speaker 1: Were you guys close growing up? 628 00:38:24,000 --> 00:38:26,720 Speaker 2: Oh yeah, yeah, I mean she was a Holocaust survivor, 629 00:38:27,440 --> 00:38:33,560 Speaker 2: so she was deeply troubled a lot of the time, 630 00:38:36,160 --> 00:38:39,719 Speaker 2: you know, as people who've been through trauma, serious trauma are, 631 00:38:41,000 --> 00:38:46,400 Speaker 2: but she always she focused that on into her art. Right. 632 00:38:47,280 --> 00:38:51,799 Speaker 2: So as like my dad was writer, mom was a painter. 633 00:38:52,040 --> 00:38:54,960 Speaker 2: Like not, they didn't make any money, you know, we 634 00:38:54,960 --> 00:38:58,799 Speaker 2: were on like food stamps. But I did get like, 635 00:39:00,360 --> 00:39:04,560 Speaker 2: you know, you can channel your feelings, you can channel 636 00:39:04,640 --> 00:39:09,000 Speaker 2: your thoughts, your experience into art, right. So that was 637 00:39:09,040 --> 00:39:13,239 Speaker 2: like a great, you know, great lesson that I got 638 00:39:13,239 --> 00:39:15,799 Speaker 2: from her. And yeah, we were super close. She died 639 00:39:15,840 --> 00:39:26,080 Speaker 2: in twenty sixteen, I believe at ninety two. Wow, And yeah, 640 00:39:26,120 --> 00:39:28,520 Speaker 2: she was pretty amazing person. 641 00:39:29,080 --> 00:39:32,520 Speaker 1: There's there's this there's a moment in Glitter that that 642 00:39:32,640 --> 00:39:37,000 Speaker 1: got me in my heart where Billy played by Maria 643 00:39:37,320 --> 00:39:41,000 Speaker 1: was talking about performing on TV and saying like, I, 644 00:39:41,880 --> 00:39:45,560 Speaker 1: I hope my mom sees this and realizes that we've 645 00:39:45,680 --> 00:39:47,600 Speaker 1: made it, because my mom will always be a part 646 00:39:47,640 --> 00:39:51,120 Speaker 1: of me, right, and that that always, I mean, that 647 00:39:51,160 --> 00:39:53,279 Speaker 1: stuck with me when I when I watched it. But 648 00:39:53,920 --> 00:39:57,800 Speaker 1: is do you feel like connection you feel like connections 649 00:39:57,840 --> 00:40:00,480 Speaker 1: with your own mother? Was that? Did that? Did you 650 00:40:00,520 --> 00:40:02,680 Speaker 1: bring that relationship into that scene or. 651 00:40:03,280 --> 00:40:06,120 Speaker 2: Yeah, a little bit. But also it was part of 652 00:40:07,360 --> 00:40:13,839 Speaker 2: really understanding the psychology of people who get in that 653 00:40:14,640 --> 00:40:19,479 Speaker 2: kind of elan on situation right where you are trying 654 00:40:19,520 --> 00:40:25,439 Speaker 2: to rescue someone, okay, and a lot of times those 655 00:40:25,440 --> 00:40:30,440 Speaker 2: are women or men who have been abandoned by their 656 00:40:30,480 --> 00:40:36,239 Speaker 2: own parent right and feel or that parent was you know, 657 00:40:37,400 --> 00:40:42,879 Speaker 2: not present mentally, emotionally, and so they feel like they 658 00:40:42,920 --> 00:40:46,759 Speaker 2: need to rescue, right, And so that dynamic was what 659 00:40:46,920 --> 00:40:50,360 Speaker 2: we were trying to go for in terms of abilities 660 00:40:50,440 --> 00:40:57,400 Speaker 2: like backstory and so yeah, you know, I definitely related 661 00:40:57,480 --> 00:41:01,120 Speaker 2: to that and have felt that and a lot of 662 00:41:01,160 --> 00:41:02,920 Speaker 2: people I've known, you know. 663 00:41:03,719 --> 00:41:06,920 Speaker 1: And I appreciate your vulnerability for sharing that. That's uh, 664 00:41:07,440 --> 00:41:14,080 Speaker 1: it's incredible stuff. Before we wrap things up here, so 665 00:41:14,360 --> 00:41:17,400 Speaker 1: you say you're a Girlmore Girls fan, Yeah, would you 666 00:41:17,840 --> 00:41:21,239 Speaker 1: what would you order Luke's diner? What if you got 667 00:41:21,280 --> 00:41:22,759 Speaker 1: to go there? What would you order from him? 668 00:41:22,800 --> 00:41:25,480 Speaker 2: Oh? My god, Like, I don't know, pancakes or something, 669 00:41:25,640 --> 00:41:32,000 Speaker 2: you know, some breakfast, Like there's always some great like breakfast, 670 00:41:32,600 --> 00:41:34,840 Speaker 2: you know, a thing on the menu. I mean what 671 00:41:34,960 --> 00:41:39,680 Speaker 2: I loved and what I appreciate about Gilmore Girls. I mean, now, 672 00:41:40,640 --> 00:41:43,839 Speaker 2: since it's come out, there have been other shows that 673 00:41:43,920 --> 00:41:48,320 Speaker 2: have done this, but Gilmore Girls really was the first 674 00:41:48,360 --> 00:41:56,480 Speaker 2: show where women were not primit merrily there s sex objects, right, 675 00:41:57,000 --> 00:42:02,279 Speaker 2: they were not just someone's girlfriend, someone's wife right on 676 00:42:02,480 --> 00:42:07,759 Speaker 2: someone's they said, smart, witty, you know. Although it was 677 00:42:07,840 --> 00:42:11,920 Speaker 2: you know, it was a little elevated for reality. 678 00:42:11,400 --> 00:42:11,640 Speaker 1: But. 679 00:42:13,040 --> 00:42:17,319 Speaker 2: You had the sense of like, oh, these are intelligent 680 00:42:17,440 --> 00:42:24,439 Speaker 2: human beings. They are not just you know, the other half, right, 681 00:42:25,040 --> 00:42:30,120 Speaker 2: Like there was something about that that was really surprising 682 00:42:30,480 --> 00:42:35,080 Speaker 2: and new and hadn't been done really on TV, you know, 683 00:42:35,960 --> 00:42:38,640 Speaker 2: and that's what hooked me. I was like, oh, okay, oh, 684 00:42:38,680 --> 00:42:41,880 Speaker 2: it's not only about who she's going to fall in 685 00:42:41,880 --> 00:42:44,319 Speaker 2: love with. I mean, yes, there were moments, whether there 686 00:42:44,440 --> 00:42:47,680 Speaker 2: was a boyfriend or this, but that was not what 687 00:42:47,719 --> 00:42:52,040 Speaker 2: it was about, you know, about their humanity and there 688 00:42:52,160 --> 00:42:56,920 Speaker 2: and they're smarts and their intelligence and their relationship and 689 00:42:57,000 --> 00:43:01,399 Speaker 2: so that was I thought something that was really new. 690 00:43:02,360 --> 00:43:08,680 Speaker 2: You know, like most think about shows TV shows prior 691 00:43:08,719 --> 00:43:15,640 Speaker 2: to that, like women's roles were really like either sexualized 692 00:43:16,719 --> 00:43:21,600 Speaker 2: or minimal. You know, they were not driving characters for 693 00:43:22,000 --> 00:43:24,640 Speaker 2: the action or the arc of the show, right, they 694 00:43:24,680 --> 00:43:29,080 Speaker 2: were like part of some set piece of looking good. 695 00:43:29,320 --> 00:43:32,560 Speaker 2: You know, not that of course, Gilmore. You know, both 696 00:43:32,600 --> 00:43:37,640 Speaker 2: the women, both Rory and Laura, are beautiful, but that 697 00:43:37,880 --> 00:43:42,520 Speaker 2: is not what they're about. You know, that's not what's 698 00:43:42,560 --> 00:43:45,840 Speaker 2: going for them. That's not what the show's about. You know, 699 00:43:47,000 --> 00:43:49,000 Speaker 2: I appreciate that. 700 00:43:49,080 --> 00:43:51,160 Speaker 1: I mean, we love the show for the same reasons. 701 00:43:51,280 --> 00:43:55,840 Speaker 1: And you know, you think about like the Bechdel Test, 702 00:43:56,280 --> 00:44:01,560 Speaker 1: and if for anyone ure's here's a white man explained 703 00:44:01,560 --> 00:44:03,000 Speaker 1: to you what the Bechdel test is going to be. 704 00:44:03,400 --> 00:44:04,040 Speaker 2: That's perfect. 705 00:44:04,239 --> 00:44:05,880 Speaker 1: If you don't know what the Bechdeal test is, it's 706 00:44:05,960 --> 00:44:09,680 Speaker 1: it's a it's a very simple test. You can put 707 00:44:09,719 --> 00:44:13,120 Speaker 1: anything through that will tell you if it's and it's 708 00:44:13,120 --> 00:44:15,480 Speaker 1: surprising how few things pass. And it's it's why there's 709 00:44:15,480 --> 00:44:18,480 Speaker 1: two female characters that have a conversation about something that 710 00:44:18,520 --> 00:44:23,040 Speaker 1: isn't a man. Yes, and it's wild how often things 711 00:44:23,080 --> 00:44:27,120 Speaker 1: do not pass that exactly. Yeah, but uh but gimmergirls, 712 00:44:27,160 --> 00:44:29,879 Speaker 1: you know, that's that's the story and that's why why 713 00:44:29,880 --> 00:44:31,480 Speaker 1: we love it totally. 714 00:44:31,960 --> 00:44:34,759 Speaker 2: And like young Melissa McCarthy, you know. 715 00:44:34,840 --> 00:44:36,319 Speaker 1: Yeah right she. 716 00:44:36,600 --> 00:44:40,279 Speaker 2: I mean, she's always been brilliant, you know, like from 717 00:44:40,320 --> 00:44:44,799 Speaker 2: the get go. I was literally just watching on YouTube 718 00:44:45,640 --> 00:44:51,319 Speaker 2: if you google like funny outtakes Melissa McCarthy. There is 719 00:44:51,480 --> 00:44:58,000 Speaker 2: the most brilliant like riff where she's clearly improving on 720 00:44:59,000 --> 00:45:03,440 Speaker 2: This is forty right, that movie and as Paul Rudd 721 00:45:03,719 --> 00:45:09,080 Speaker 2: and Amy I can't remember her the actress's name, but anyways, 722 00:45:09,680 --> 00:45:13,080 Speaker 2: it is so brilliant because she's just going off on 723 00:45:13,120 --> 00:45:14,839 Speaker 2: this insane tangent and. 724 00:45:14,800 --> 00:45:19,480 Speaker 4: They're laughing so hard, like you know, you can hear 725 00:45:19,560 --> 00:45:24,120 Speaker 4: the director yelling cut, but she's just going on and 726 00:45:24,239 --> 00:45:25,879 Speaker 4: everyone is hysterical. 727 00:45:26,200 --> 00:45:31,120 Speaker 2: Anyway, it's fun to see, like looking now seeing the show, 728 00:45:31,280 --> 00:45:36,320 Speaker 2: like how young she was then and just fresh starting out. 729 00:45:36,600 --> 00:45:38,040 Speaker 1: It's one of those things where like you turn it on, 730 00:45:38,080 --> 00:45:40,720 Speaker 1: you're like, oh, yeah, most McCarthy, this is like okay, 731 00:45:40,760 --> 00:45:42,360 Speaker 1: you know, this is early in her career. This is 732 00:45:42,360 --> 00:45:46,000 Speaker 1: really cool to watch. Yeah, you you were working on 733 00:45:46,080 --> 00:45:48,840 Speaker 1: a lot of stuff right now, and I want to 734 00:45:48,840 --> 00:45:51,120 Speaker 1: talk about it just a bit here. So you've got 735 00:45:51,160 --> 00:45:54,200 Speaker 1: a we call it a proof of concept, a short 736 00:45:54,239 --> 00:45:56,680 Speaker 1: called Lucky that you wrote and direct. You tell us 737 00:45:56,719 --> 00:45:57,319 Speaker 1: a bit about that. 738 00:45:58,160 --> 00:46:01,680 Speaker 2: I mean, well, that came about because I really am 739 00:46:01,840 --> 00:46:06,160 Speaker 2: sort of obsessed with this line between tragedy and comedy, 740 00:46:06,760 --> 00:46:09,919 Speaker 2: Like there's a fine line, right, And I had thought 741 00:46:09,960 --> 00:46:13,520 Speaker 2: of these like very sort of absurd, deluded characters who 742 00:46:13,520 --> 00:46:17,319 Speaker 2: are actually kind of tragic, but then find themselves in 743 00:46:17,360 --> 00:46:21,200 Speaker 2: this really comic situation, right, which is, you know, to 744 00:46:21,200 --> 00:46:25,560 Speaker 2: make a long story short, they believe that this guy's 745 00:46:25,600 --> 00:46:29,400 Speaker 2: actually a matred d at a restaurant and has been 746 00:46:29,480 --> 00:46:32,200 Speaker 2: kicked out by he's sleeping in his car. But he's 747 00:46:32,200 --> 00:46:36,120 Speaker 2: a good looking guy and they think he's Bobby Kennedy Jr. 748 00:46:36,840 --> 00:46:40,399 Speaker 2: And they're broke, so they decide to kidnap him, and 749 00:46:40,480 --> 00:46:45,680 Speaker 2: the kidnapping just turns into total chaos and it turns 750 00:46:45,680 --> 00:46:49,680 Speaker 2: into a dance party. Anyway, that's the essential story of it. 751 00:46:49,800 --> 00:46:53,719 Speaker 2: But the theme in the idea, if it were to be 752 00:46:53,760 --> 00:46:57,760 Speaker 2: picked up as a series, is just the way life 753 00:46:58,080 --> 00:47:02,719 Speaker 2: is so chaotic that your best laid plans, you know, 754 00:47:02,960 --> 00:47:07,320 Speaker 2: are often, you know, often turned into something completely different. 755 00:47:09,480 --> 00:47:12,440 Speaker 2: And I love the idea of these sort of cringey 756 00:47:12,680 --> 00:47:18,920 Speaker 2: characters who are you know, like really clueless but funny 757 00:47:19,000 --> 00:47:20,759 Speaker 2: and tragic at the same time. 758 00:47:21,239 --> 00:47:24,279 Speaker 1: Clueless characters getting themselves into going over their head in 759 00:47:24,320 --> 00:47:27,000 Speaker 1: situations is like my favorite style. I love, I love 760 00:47:27,000 --> 00:47:30,560 Speaker 1: sort of. I can't wait to see Lucky as it 761 00:47:30,719 --> 00:47:32,879 Speaker 1: becomes a serious because I'm going to speak it into 762 00:47:32,920 --> 00:47:35,960 Speaker 1: the world. It's going to happen. Okay, Uh, you have 763 00:47:36,000 --> 00:47:38,480 Speaker 1: a You've written a feature called Lost and Found. We'll 764 00:47:38,520 --> 00:47:39,600 Speaker 1: talk a bit about that too. 765 00:47:40,280 --> 00:47:42,359 Speaker 2: Well, that's kind of a story, like it's like a 766 00:47:42,440 --> 00:47:46,439 Speaker 2: crash type story where you have very disparate like you're 767 00:47:46,920 --> 00:47:50,719 Speaker 2: jumping from you know, a father and his son and 768 00:47:50,760 --> 00:47:52,759 Speaker 2: the son's having a hard time in school, and then 769 00:47:52,800 --> 00:47:56,160 Speaker 2: you you're jumping to a guy who's in prison, and 770 00:47:56,200 --> 00:47:58,960 Speaker 2: then you're jumping to a woman who's a cop and 771 00:47:59,000 --> 00:48:04,560 Speaker 2: she's alcoholic and she's you know, on a case. And 772 00:48:05,320 --> 00:48:11,120 Speaker 2: the very different desperate characters end up impacting each other 773 00:48:11,239 --> 00:48:13,840 Speaker 2: and changing each other's lives right in a way that 774 00:48:14,000 --> 00:48:17,799 Speaker 2: is really surprising, And there are connections there that are 775 00:48:17,840 --> 00:48:22,200 Speaker 2: really unexpected. So yeah, that's what it is, and it's 776 00:48:22,360 --> 00:48:24,440 Speaker 2: very much it's not a comedy, it's very much a 777 00:48:24,480 --> 00:48:27,880 Speaker 2: heart heartfelt piece. Yeah. 778 00:48:28,600 --> 00:48:32,040 Speaker 1: Well, I mean so excited to see everything coming from 779 00:48:32,080 --> 00:48:35,080 Speaker 1: the world of Kate Lnear. Thank you so much for 780 00:48:35,120 --> 00:48:36,160 Speaker 1: hanging out with us today. 781 00:48:36,719 --> 00:48:37,719 Speaker 2: Yes, I loved it. 782 00:48:37,960 --> 00:48:40,520 Speaker 1: If people want to keep up with you and see 783 00:48:40,560 --> 00:48:42,840 Speaker 1: everything you're working on, where should they go. Do you 784 00:48:42,880 --> 00:48:45,520 Speaker 1: have a website or a social media You. 785 00:48:45,600 --> 00:48:51,520 Speaker 2: Probably Instagram, which is you know at Lanear Kate there is. 786 00:48:51,680 --> 00:48:54,440 Speaker 2: We're doing a website right now for Lucky, So that 787 00:48:54,520 --> 00:48:57,799 Speaker 2: will be up and a few days and that will 788 00:48:57,840 --> 00:49:05,360 Speaker 2: just be you know, Lucky, it'll say Lucky the film. Yeah, 789 00:49:05,520 --> 00:49:07,399 Speaker 2: that's you know, that's it. 790 00:49:08,280 --> 00:49:11,920 Speaker 1: Awesome. Well, thank you again for doing this my pleasure. 791 00:49:12,560 --> 00:49:14,000 Speaker 1: I have a great rest of your day. This has 792 00:49:14,040 --> 00:49:14,720 Speaker 1: been so much fun. 793 00:49:15,400 --> 00:49:46,840 Speaker 2: Yeah, thank you so much. Hey, everybody, and don't forget 794 00:49:46,880 --> 00:49:50,960 Speaker 2: follow us on Instagram at I Am all In podcast 795 00:49:51,040 --> 00:50:00,000 Speaker 2: and email us at Gilmore at iHeartRadio dot com.