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Speaker 1: I Am all in again.

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Speaker 2: Let's do.

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Speaker 1: Hi.

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Speaker 2: I Am all in Again with Scott Patterson and iHeartRadio Podcast.

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Speaker 1: Hey Everybody, Scott Patterson, I Am All One Podcast one

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Speaker 1: eleven Productions, iHeartRadio, iHeart Media, iHeart Podcast Recap Episode fourteen,

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Speaker 1: Season one. That Damn Donna reed with my very very

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Speaker 1: special guest and Christopher's Baby. Is it Christopher's Baby? Mama?

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Speaker 2: Yeah?

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Speaker 1: Macheen amk the One and Only. She's an American actress

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Speaker 1: television director, best known for her role as Shelley Johnson

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Speaker 1: and Twin Peaks, while also starring in Sleepwalker's Dream Lover,

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Speaker 1: which is of East End, and played Alice Cooper in Riverdale.

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Speaker 1: Machen made a recurring guest appearance on Gilmore Girls as

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Speaker 1: Sherry Tinsdale. Off screen, she has been married to David

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Speaker 1: Alexis since nineteen ninety two. They have two children together.

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Speaker 1: Along with their family, she founded a nonprofit, a Direct

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Speaker 1: Impact Foundation, Don't Mind Me, with initiatives focused on making

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Speaker 1: mental health care accessible for all. Machen Amy, welcome, good

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Speaker 1: to see you again. Yea, what did you think of

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Speaker 1: this episode?

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Speaker 2: I just rewatched it last night because I wanted to

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Speaker 2: refresh my brain and first of all, Okay, what year

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Speaker 2: was it? Season one, episode two, two thousand? Okay, so

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Speaker 2: the the.

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Speaker 1: Twenty twenty This is February twenty twenty one it aired,

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Speaker 1: but I guess yeah, okay.

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Speaker 2: Well so no, that was farther back, wasn't it. But anyway,

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Speaker 2: the opening credits look so deep. It just like this,

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Speaker 2: like it's like an homage to an old show from

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Speaker 2: the like eighties that I used to watch or something.

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Speaker 2: It was really really cute, but it's I thought they

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Speaker 2: tackled some really good topics without hitting you over the head.

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Speaker 2: But you know, Rory finding her way in romance and

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Speaker 2: then you know this like very old fashioned way of

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Speaker 2: women tending to men, and how does that sit with

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Speaker 2: her boyfriend? And you know, how is that sitting with

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Speaker 2: very modern women? And and so you know, it was

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Speaker 2: I thought it was a very cute way to sort

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Speaker 2: of tackle that subject matter without without getting too heavy

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Speaker 2: right with it. And then of course Lurlai is starting

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Speaker 2: to have a little light bulb that she might have

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Speaker 2: something for that guy and a diner that guy tends

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Speaker 2: to call on him when she's in knee.

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Speaker 1: No, they do. They love mocking. They're watching it down

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Speaker 1: to reach show with Dean and here comes the split

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Speaker 1: between these two. The first sign of trouble, I think

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Speaker 1: is like he's a traditional guy, he grew up this way,

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Speaker 1: and uh, you know they sense that. He says, well,

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Speaker 1: I think that's really nice. I really like that, and

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Speaker 1: they both look, you know, the expressions that they give

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Speaker 1: him are priceless.

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Speaker 2: Yes, anything honest, right, He's just like that seems really nice.

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Speaker 2: Which you're right, it does seem really nice. But really,

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Speaker 2: what does that mean for the woman that's in the

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Speaker 2: kitchen cooking all day to please you for that dinner.

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Speaker 1: So at different times, you know, he's different times. It's

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Speaker 1: a different you know, it's a post World War two mentality.

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Speaker 1: These guys came back from the war completely devastated, Yeah,

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Speaker 1: at what they had been through and what they'd served.

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Speaker 1: Vibed with all of this survivor's guilt. Yeah, you know,

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Speaker 1: they watched all their friends die and they just wanted

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Speaker 1: to get married, have kids, have a quiet, nice life.

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Speaker 2: Yeah everything.

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Speaker 1: That's a nice family. Yeah, you know, just a completely

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Speaker 1: different generation mentality. You know, here's the thing, as this

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Speaker 1: is what I'll say, and this Michael Cadelman, who I'm

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Speaker 1: very fond of, uh, directed this episode beautifully. There was

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Speaker 1: a lot of steady cam, a lot of you know,

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Speaker 1: continual shots.

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Speaker 2: Yeah, and very I noticed that it was like two

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Speaker 2: shots that just went there was I know that. I

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Speaker 2: commented to my daughter Mina. I was like realizing they're

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Speaker 2: not doing a lot of and close up cutting.

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Speaker 1: It up in that kitchen scene was spectacular. Yeah, and

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Speaker 1: it was probably like an eight pager that was a

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Speaker 1: long scene and they didn't cut it was just like

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Speaker 1: it was one shot. It was brilliant and they did

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Speaker 1: it again later on the episode. But Michael Cadaman, I

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Speaker 1: think just directed a beautiful episode. This is what you know.

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Speaker 1: I've seen it once now I'm going through it again.

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Speaker 1: So far this is my favorite episode.

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Speaker 2: Yeah.

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Speaker 1: I just thought the writing and the acting and the

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Speaker 1: thing is as good as Lauren is in her role,

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Speaker 1: everybody else is as good in their roles as she

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Speaker 1: is in hers. Absolutely right, There isn't a weak link

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Speaker 1: in this entire cast.

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Speaker 2: Yeah, I cominted how great alexis was.

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Speaker 1: Oh yeah, isn't she just incredible in their roles They're perfect.

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Speaker 1: It's perfect casting every character.

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Speaker 2: And every character's got a lot of meaty scenes and

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Speaker 2: needy dialogue. There aren't throwaway characters. You know, there might

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Speaker 2: be their on screen more than others, but everybody is

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Speaker 2: super important and has a lot to do, which is

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Speaker 2: great for an ensemble, right.

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Speaker 1: I mean, you know they write Sally Struther's one scene,

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Speaker 1: but what a scene it is. Yeah, I mean, you

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Speaker 1: don't forget it. Yeah, just remarkable writing and acting. I

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Speaker 1: thought this is absolutely my favorite episode so far of

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Speaker 1: the whole thing. All Right, so they're watching this show. Now,

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Speaker 1: she gets off the bus, Rory gets off the bus.

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Speaker 1: She's got a chick, which was it was it was

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Speaker 1: the best use of a bird in Yeah, in a

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Speaker 1: TV or film since on the Waterfront.

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Speaker 2: I think Lot's a good dog. Yeah, it's great. I'm

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Speaker 2: looking for a chick.

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Speaker 1: Just great, great stuff. And then they have their first

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Speaker 1: little disagreement. Yeah, Dean and Rory. You know that's that's

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Speaker 1: tough for sixteen year olds, isn't it to have a

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Speaker 1: to have a little falling out because they're so emotional

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Speaker 1: and it hurts so much, and they're so confused, and

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Speaker 1: they I thought they played it beautifully.

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Speaker 2: Yeah, and they're they're both standing firm what they believe in.

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Speaker 2: But then they're wanting to be respectful of the other one,

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Speaker 2: and it hurts, and and then you're left with wanting

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Speaker 2: to walk away, but you still have my chick.

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Speaker 1: But he did you know, he did open his mouth,

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Speaker 1: didn't he He started it?

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Speaker 2: He did.

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Speaker 1: He shouldn't have gone.

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Speaker 2: There, be ready for what comes when you.

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Speaker 1: Dan, what are you doing? You're picking a fight with

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Speaker 1: a Gilmour. There's great stuff though, great light conflict. But

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Speaker 1: I mean this show is so light and so airy

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Speaker 1: and so funny and fun that even a little tussle

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Speaker 1: like that feels deeper, you know. All right, So now

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Speaker 1: we got Luke and Larelei together. I like them so

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Speaker 1: much together in season one. I love them in this episode, yeah,

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Speaker 1: because it's all of this newness, this discovery, this how

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Speaker 1: do we feel about each other? We know how he

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Speaker 1: feels about her, but you know she's she's kind of

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Speaker 1: waken up to it little by little, and it's just

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Speaker 1: so great to watch. And you know, in the hands

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Speaker 1: of a lesser actress, I don't know if this would

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Speaker 1: have been as poignant.

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Speaker 2: You made it so well where you weren't like all

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Speaker 2: Doe I googly eyed, could have gone way too far,

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Speaker 2: and you just really kept that line of friendship and support,

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Speaker 2: and yet there's this bubbling underneath that You guys did

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Speaker 2: a really great job with your scenes in this episode.

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Speaker 1: Here's the thing. Here's the thing. The dialogue kind of

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Speaker 1: dictates what we're doing. That's how good the writing is. Yeah,

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Speaker 1: it's like I'm looking at these scenes and I'm thinking, Man,

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Speaker 1: this is good stuff. This is so well directed. These

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Speaker 1: scenes are so well crafted. And I always remember being

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Speaker 1: in there with her knocking these scenes out and the movement,

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Speaker 1: you know, where we move and how we move and

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Speaker 1: how we interact, and it was just such a wonderful dance.

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Speaker 2: Isn't Amy a great writer?

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Speaker 1: Oh god, Oh my god.

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Speaker 2: I loved the nu once and you choosing paint color

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Speaker 2: and like this whole undermeaning of the decision to choose

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Speaker 2: the paint combinations. Is it going to be orange and green?

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Speaker 2: They in blue? And but yeah, there's so much more

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Speaker 2: like text behind that decision, right.

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Speaker 1: Right, and uh, Taylor teasing them and you know, interrupting

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Speaker 1: and they're about to kiss. I mean it really, it

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Speaker 1: really got very close a couple of times there when

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Speaker 1: they were on the floor. Uh, he was going to

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Speaker 1: kiss her, and then they're interrupted by Kirk hilariously by Kirk, Yes, Taylor,

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Speaker 1: and then again when she's gonna leave or they stand

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Speaker 1: up and face each other. So, man, I just missed

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Speaker 1: that stuff. You know, that's the stuff I miss. Yeah,

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Speaker 1: having done so many jobs I have post this, it's

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Speaker 1: like that stuff is what I miss because that's like,

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Speaker 1: you know what it was like. It's like doing live theater. Yeah,

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Speaker 1: like doing really good live theater and you're just like,

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Speaker 1: you're just so in these moments and it's being directed

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Speaker 1: that way. And you didn't see very many cuts in

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Speaker 1: that scene too, right, cattleman just let you go. He

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Speaker 1: just said, you know, you guys are gonna tell the

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Speaker 1: stories with your movement and your interaction.

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Speaker 2: I'm like, yes, that's great. What compliments the cadence of

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Speaker 2: the writing too, because as it does, I remember coming

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Speaker 2: on and I remember having to like, who, I'm gonna

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Speaker 2: have to keep up with this like pace because not

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Speaker 2: playing around here like you got it memorized and on

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Speaker 2: and ready to just deliver with good rhythm and so

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Speaker 2: that like you said, like a like theater, like live theater,

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Speaker 2: you got you gotta be on and then and then

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Speaker 2: to have that under your belt and just be able

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Speaker 2: to be let go like that by a director. Is

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Speaker 2: that's a green.

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Speaker 1: Most of stude comment I've heard yet is what you

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Speaker 1: just said. Yeah, No, really, it's so true. It's so true.

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Speaker 1: How do you cut into any of this stuff? I

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Speaker 1: mean you have to yeah at times, Yeah, let it play,

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Speaker 1: let it run. Yeah, because that's what the writing is saying.

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Speaker 1: It's just so great. I'm gonna probably go back and

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Speaker 1: watch it again. I love watching perfect things. It's perfect.

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Speaker 1: She leaves, and then she calls him again. Yea because

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Speaker 1: the chick. The chick got out. So it comes over.

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Speaker 1: Another great scene, an hysterically funny scene, watching these two

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Speaker 1: interact and searching for this check, and it was just

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Speaker 1: wonderful stuff. It's not really like TV anymore. It feels

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Speaker 1: more like a film now to me, like a real

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Speaker 1: quality film now. So we see these two really having

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Speaker 1: fun together, doing sort of normal everyday stuff that everybody

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Speaker 1: does and likes, little inconveniencies, and the chick.

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Speaker 2: Got it in the house just gets destroyed, as you

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Speaker 2: guys are.

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Speaker 1: He falls down and breaks a lamp, this kind of thing.

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Speaker 1: And now at the same time, in a parallel universe,

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Speaker 1: Dean Roy are having their their Donna read moments, she

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Speaker 1: dresses up like Donna Reed, serves them dinner, makes the dinner.

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Speaker 1: Why do you suppose she did that?

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Speaker 2: I think she was testing the Oh well maybe I

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Speaker 2: think it could have been one of two things, and

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Speaker 2: she might have had both intentions. One was, well, let

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Speaker 2: me test this out, let me actually play into this

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Speaker 2: stereotype that he seems to like. Maybe I'll please him.

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Speaker 2: Maybe let me see what this feels like. But was

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Speaker 2: it also maybe a bit of a trap? How much

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Speaker 2: do you like this? Let me test you?

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Speaker 1: So?

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Speaker 2: Yeah, you had these like two opposite things happening just

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Speaker 2: side by side, well opposite, and yet the same two

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Speaker 2: couples navigating where they stand with each other, right under

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Speaker 2: two different circumstances.

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Speaker 1: Right, So he opened up his mouth and by the

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Speaker 1: gazebo mistake, she maybe overreacted. Mistake, Right, they both feel

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Speaker 1: responsible now, so she goes overboard trying to make up

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Speaker 1: for it. Right. I didn't think she was mocking him.

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Speaker 1: I don't think there was any No, this is just like, hey,

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Speaker 1: you know, I'm still going to stand my ground on

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Speaker 1: this issue, but you know, I don't want to lose

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Speaker 1: the relationship, right, It's not worth it, so she goes

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Speaker 1: over the top of this and it was very sweet.

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Speaker 1: It was a nice gesture, isn't it.

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Speaker 2: And I think they kept it grounded as it was

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Speaker 2: being performed, made it very genuine, like you said.

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Speaker 1: And then we have the moment where Luke is taking

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Speaker 1: out the trash of the broken lamp looking for the

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Speaker 1: chick and Dean is taking out the trash.

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Speaker 2: My favorite part of the episode. I love that interaction

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Speaker 2: where there what are you doing? What are you doing?

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Speaker 2: And then you both I'm you know, just taking taking

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Speaker 2: some treasure off. Well, me do because that's what guys do.

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Speaker 1: Right, And then they leave and now we've got Mother

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Speaker 1: and Laurla making fun of Rory's outfit like what the

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Speaker 1: heck are you wearing? Hell and the shoes? And that

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Speaker 1: was just great, great stuff.

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Speaker 2: And the women came out and see each other. What

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Speaker 2: are you doing? What are you doing? Yeah, and it

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Speaker 2: just ends with Laura like going, wow, you look ridiculous.

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Speaker 1: Just so let me let's talk about Sherry a little bit.

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Speaker 1: What's your first impression of Sherry when you when you

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Speaker 1: read the script and did you did you connect with

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Speaker 1: her right away? It took you some time to figure

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Speaker 1: it out.

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Speaker 2: I think I just saw that it was a good

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Speaker 2: tool to get in the way where, you know, create

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Speaker 2: some jealousy on Laura Lie's side, and probably perk up

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Speaker 2: her idea of like, oh he's moving on, m oh

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Speaker 2: do I do I still have feelings for him or not?

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Speaker 2: You know, I think it was just a good tool

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Speaker 2: to bring up where they were. But then just the

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Speaker 2: part itself was just fun to do. She was I

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Speaker 2: think her first episode was pretty straightforward, pretty innocent, and

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Speaker 2: I think I did three episodes altogether, and each the

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Speaker 2: next one and the next one just got more and

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Speaker 2: more outlandish. She just the characters seemed to unravel, like

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Speaker 2: just yeah, became a heightened version of frenzy.

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Speaker 1: You know, is it true what I hear that you

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Speaker 1: were Amy's first choice for Larela.

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Speaker 2: I don't know if I was her first choice, but

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Speaker 2: I know I went through a lot of rounds. I

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Speaker 2: tested a bunch of times.

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Speaker 1: Ash, really, what was that? Like?

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Speaker 2: Oh?

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Speaker 1: How many tell us? Okay? This is the thing I

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Speaker 1: think fans are really fascinated with because we always talk

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Speaker 1: about how difficult it is to get a job, and

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Speaker 1: you know, sometimes it's really easy, but most of the

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Speaker 1: time it's really hard take the fans through your audition

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Speaker 1: process to get because you were considered for Lorelei. Right, yeah,

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Speaker 1: but take us back to two thousand. You get a

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Speaker 1: call from your manager.

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Speaker 2: He says, what, yeah, I think it's just you know,

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Speaker 2: another audition comes in. You're going to need to show

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Speaker 2: up here. I think at that point I was able

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Speaker 2: to go straight into producers because you have to do

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Speaker 2: the rounds where you like, audition for an assistant casting director,

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Speaker 2: and then you can make it to the actual casting director,

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Speaker 2: and then the casting director decides that you can move

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Speaker 2: on to producers. So I got to slip into just producers.

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Speaker 1: Because that's it takes time and a good, really strong

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Speaker 1: resume just to go to producers right away. That's that's

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Speaker 1: a lot of trust.

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Speaker 2: Yeah, yeah, yeah. And then and then you know, I

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Speaker 2: don't really even remember reading, but I remember reading, and

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Speaker 2: I remember hitting it off with Amy a lot. And

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Speaker 2: then you leave and you don't know. But then you

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Speaker 2: get that call from your agent at some point. And

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Speaker 2: if you don't get a call from your agent within

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Speaker 2: a few days, you could pretty much write that one off.

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Speaker 2: You're that's not going to move forward. But the quicker

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Speaker 2: you get the call from your agent, which means the

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Speaker 2: quicker they called your agent means how much they're interested

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Speaker 2: in you. So it was a pretty quick she was great,

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Speaker 2: we loved her, We want to move her forward. So

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Speaker 2: then you have to go through auditioning and and it's

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Speaker 2: called testing, so you have to.

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Speaker 1: That's when you get the contract offer, that's when you

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Speaker 1: get the car gets real. Yeah.

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Speaker 2: Yeah, And so then you got to negotiate your contract

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Speaker 2: before you even walk in the door to text and

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Speaker 2: a studio because they don't want to see you unless

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Speaker 2: they know they have a deal.

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Speaker 1: Right, that's testing for the network executives. Yeah.

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Speaker 2: Well, so then I went through studio.

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Speaker 1: First, studio first, right.

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Speaker 2: And then you know, and you're there and you're in

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Speaker 2: the hallway with other actors and I don't remember who

316
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Speaker 2: else was in there, but it's just sort of like, uh,

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Speaker 2: you're looking at the competition.

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Speaker 1: And you never saw Lauren in the room.

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Speaker 2: No, as far as I know, she came in. She

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Speaker 2: was brought in after the fact because she had an

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Speaker 2: overall deal with the studio or the network and they

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Speaker 2: were looking for a new vehicle for her, so she

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Speaker 2: already was kind of under contract with them.

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Speaker 1: Oh, she had a holding deal. Okay, so I.

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Speaker 2: Went through the studio and then nerve wrackingly made it

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Speaker 2: to the next round.

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Speaker 1: Tell us about the difference between the producer room and

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Speaker 1: then here you're studio level testing, right, tell us about

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Speaker 1: the difference between in those rooms and who who's populating

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Speaker 1: those rooms?

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Speaker 2: Right, So when you go in for producers, you're going

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Speaker 2: into somebody's office, usually casting director's office, or maybe those

333
00:20:10,359 --> 00:20:14,320
Speaker 2: producers have an office on a lot or something. And

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Speaker 2: you go in and there's probably a handful of people

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Speaker 2: in that room. So you if you have a director attached,

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Speaker 2: the director might be there. You definitely have your showrunners,

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Speaker 2: your producers, and so you know, and then.

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Speaker 1: You're might be like five to ten people, max, the

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Speaker 1: max five to seven, right, five to seven. Right.

340
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Speaker 2: Then you go in on the studio level, and now

341
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Speaker 2: you're in a full theater stage, usually on a studio lot.

342
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Speaker 2: So you're on stage with the theater filled up like

343
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Speaker 2: at least a quarter to halfway. Executives right that have

344
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Speaker 2: the most stone cold look on their face, absolutely no

345
00:21:02,880 --> 00:21:06,960
Speaker 2: motion one way or another, and you're just you know,

346
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Speaker 2: you're in the hot seat, the lights on you, you're the

347
00:21:10,560 --> 00:21:12,639
Speaker 2: hell you're sweating, You're just trying to not have your

348
00:21:12,720 --> 00:21:15,119
Speaker 2: voice crack. You just want to get lines out, and

349
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Speaker 2: you feel like you have to like do it perfect

350
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Speaker 2: one time. You know, Sometimes you're like, I totally fucked up?

351
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Speaker 2: Can I start over? And then you do it and

352
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Speaker 2: you have to go out in the back in the

353
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Speaker 2: hallway and wait, and they a lot of they are

354
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Speaker 2: usually testing a lot of roles, so there's a lot

355
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Speaker 2: of people, so you can be there for hours, right

356
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Speaker 2: and you're kind of waiting to see when are you next?

357
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Speaker 2: And then once you've done it, you're having flop sweats

358
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Speaker 2: in the in the hallway as you're waiting for the

359
00:21:43,760 --> 00:21:46,560
Speaker 2: rest of everybody to audition. And you have to wait

360
00:21:46,760 --> 00:21:49,359
Speaker 2: because they may want to bring you back in to

361
00:21:49,440 --> 00:21:51,639
Speaker 2: read again, or they may want to match you up

362
00:21:51,640 --> 00:21:54,359
Speaker 2: with another partner in your scene because they want to

363
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Speaker 2: see if somebody works better with somebody else. So then

364
00:21:58,920 --> 00:22:02,240
Speaker 2: you are only released. Oh you know what's the worst though?

365
00:22:02,359 --> 00:22:06,680
Speaker 2: Sometimes you wait, you wait, you wait, You hear the

366
00:22:06,760 --> 00:22:09,720
Speaker 2: laughter that's happening in the in the room, and everybody

367
00:22:09,720 --> 00:22:13,560
Speaker 2: seems getting along, and then they come out and they

368
00:22:13,560 --> 00:22:15,960
Speaker 2: literally turned in and go. You can leave. You release

369
00:22:20,840 --> 00:22:23,520
Speaker 2: so then you leave that, and then you're just waiting

370
00:22:23,840 --> 00:22:27,479
Speaker 2: every minute that goes by on the clock, waiting to

371
00:22:27,560 --> 00:22:31,320
Speaker 2: get the call from your agent you're released or they're

372
00:22:31,359 --> 00:22:35,160
Speaker 2: they're going to move you ahead to network. So then

373
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Speaker 2: it was you're going to move, we're ahead to network.

374
00:22:37,040 --> 00:22:39,119
Speaker 2: So then you got to do the thing all over again.

375
00:22:48,240 --> 00:22:51,159
Speaker 1: Do you know who else was in contention at the

376
00:22:51,200 --> 00:22:53,080
Speaker 1: network level? Do you know who you were up against?

377
00:22:53,160 --> 00:22:55,240
Speaker 1: Did you want to know? Did you ask?

378
00:22:55,600 --> 00:22:57,800
Speaker 2: I'm sure I knew, and I probably saw them, and

379
00:22:57,880 --> 00:22:59,520
Speaker 2: it was probably a lot of the same people I

380
00:22:59,560 --> 00:23:03,480
Speaker 2: see a lot that I would go against. I blacked

381
00:23:03,520 --> 00:23:08,280
Speaker 2: it out because it's all trauma to me. It's I

382
00:23:08,359 --> 00:23:11,639
Speaker 2: focus on the things I get, you know. And but

383
00:23:12,760 --> 00:23:16,560
Speaker 2: so same thing again for the network. And then at

384
00:23:16,760 --> 00:23:19,000
Speaker 2: this point you also have studio in there as well,

385
00:23:19,040 --> 00:23:22,840
Speaker 2: so now you've got a lot of extra suits in there.

386
00:23:23,040 --> 00:23:26,520
Speaker 2: And then they're debating with each other throughout the casting

387
00:23:26,560 --> 00:23:29,280
Speaker 2: process in between, so somebody's like, nah, I don't like

388
00:23:29,320 --> 00:23:31,680
Speaker 2: that person. Somebody well, well no, wait, I think they're good.

389
00:23:33,040 --> 00:23:36,199
Speaker 2: So same thing all over again. And as I went

390
00:23:36,240 --> 00:23:40,040
Speaker 2: through all of the rounds, I know Amy was really

391
00:23:40,119 --> 00:23:44,200
Speaker 2: rooting for me and the big feedback that kept coming

392
00:23:44,240 --> 00:23:47,359
Speaker 2: back was we don't believe that she's old enough to

393
00:23:47,440 --> 00:23:50,280
Speaker 2: have a daughter that age. She doesn't look old enough.

394
00:23:51,200 --> 00:23:53,879
Speaker 2: And Amy was saying, but that's a whole point of

395
00:23:53,960 --> 00:23:58,320
Speaker 2: the show that they like sisters. And I had already

396
00:23:58,480 --> 00:24:00,240
Speaker 2: had kids at that point, so if they it was

397
00:24:00,280 --> 00:24:06,000
Speaker 2: like two thousand, my kids were, you know, eight to

398
00:24:06,080 --> 00:24:07,720
Speaker 2: nine something like that. So I was like, but I

399
00:24:07,760 --> 00:24:09,800
Speaker 2: have kids, because they were like, she's not believable as

400
00:24:09,800 --> 00:24:11,879
Speaker 2: a mother at all, and I was like, but I

401
00:24:11,920 --> 00:24:16,720
Speaker 2: am a mother. So that's what Amy was fighting against

402
00:24:16,880 --> 00:24:20,879
Speaker 2: was that they just thought I was too young looking

403
00:24:21,680 --> 00:24:26,040
Speaker 2: for that role, and she kept fighting, but that's the point,

404
00:24:26,080 --> 00:24:30,280
Speaker 2: that's what I like. And then just like, you know,

405
00:24:30,440 --> 00:24:34,080
Speaker 2: last minute, it was like, you know what, they already

406
00:24:34,080 --> 00:24:36,480
Speaker 2: have a relationship. They already have a deal with Lauren Graham.

407
00:24:36,560 --> 00:24:42,560
Speaker 2: She's getting it. And so I hadn't seen anybody since

408
00:24:42,640 --> 00:24:46,800
Speaker 2: until I came back. I think I think I saw

409
00:24:46,840 --> 00:24:50,760
Speaker 2: Amy in a hotel hell, because we were both working

410
00:24:50,800 --> 00:24:52,679
Speaker 2: in the same town and it wasn't even on the

411
00:24:52,680 --> 00:24:54,960
Speaker 2: same show, and we ran into each other and she

412
00:24:55,040 --> 00:24:57,840
Speaker 2: was like, oh, I was so like bummed, you know

413
00:24:57,960 --> 00:25:00,240
Speaker 2: that it didn't it didn't go through, but I really

414
00:25:00,280 --> 00:25:02,400
Speaker 2: want to bring you back, and so I think that's

415
00:25:02,440 --> 00:25:05,000
Speaker 2: why she brought me back as the guest start.

416
00:25:06,160 --> 00:25:08,800
Speaker 1: So what period of time are we talking about here

417
00:25:08,920 --> 00:25:12,159
Speaker 1: between you're getting the first call from your manager, you

418
00:25:12,200 --> 00:25:16,320
Speaker 1: have this audition for Kill More Girls, and then finding

419
00:25:16,359 --> 00:25:19,919
Speaker 1: out it's not going to work, it's not going to happen.

420
00:25:20,400 --> 00:25:23,920
Speaker 2: I mean that usually happens within a couple of weeks

421
00:25:23,920 --> 00:25:26,959
Speaker 2: to no more than a month, right, because usually you

422
00:25:26,960 --> 00:25:29,760
Speaker 2: have this very small window to shoot pilots, or at

423
00:25:29,800 --> 00:25:33,080
Speaker 2: least we used to. Now Now now the structure is

424
00:25:33,200 --> 00:25:34,840
Speaker 2: just blown out of the streaming.

425
00:25:35,040 --> 00:25:36,600
Speaker 1: But there's no structure.

426
00:25:36,800 --> 00:25:39,080
Speaker 2: There's no structure, But they used to be, you know,

427
00:25:39,960 --> 00:25:44,920
Speaker 2: January was all of your dramas, you know, trickling into

428
00:25:44,960 --> 00:25:47,960
Speaker 2: February because they needed more time to produce those dramas,

429
00:25:47,960 --> 00:25:51,000
Speaker 2: so they would always go first, and then by February

430
00:25:51,040 --> 00:25:55,320
Speaker 2: March you're doing your comedies. And then everybody's got to

431
00:25:55,359 --> 00:25:58,360
Speaker 2: be in production by April because you need to turn

432
00:25:58,400 --> 00:26:01,680
Speaker 2: around your show to be able to have it considered

433
00:26:01,720 --> 00:26:05,680
Speaker 2: to then be available for upfront in May. So there's

434
00:26:05,720 --> 00:26:08,080
Speaker 2: short windows and very intense and a lot of times

435
00:26:08,119 --> 00:26:10,760
Speaker 2: you're driving from one audition to another, and you're changing

436
00:26:10,760 --> 00:26:17,119
Speaker 2: in the car and you're getting it's last second. And

437
00:26:17,160 --> 00:26:20,119
Speaker 2: then remember the Thomas Guide days.

438
00:26:19,359 --> 00:26:22,240
Speaker 1: Thomas Guide, Oh yes, oh yeah, before.

439
00:26:22,080 --> 00:26:24,080
Speaker 2: Map Quest and anything on your phone, you had.

440
00:26:23,920 --> 00:26:27,800
Speaker 1: To Thomas Guide in my sixty six pontiac leamons that

441
00:26:28,240 --> 00:26:29,399
Speaker 1: may or may not start.

442
00:26:30,119 --> 00:26:33,760
Speaker 2: Yeah, mine was Thomas Guide and chevele my mom shovelet's

443
00:26:34,000 --> 00:26:37,919
Speaker 2: chevlay citation that I blew the transmission out of.

444
00:26:40,000 --> 00:26:44,760
Speaker 1: I had a meeting at Radford CBS, Bradford and the

445
00:26:44,880 --> 00:26:47,719
Speaker 1: car died on me as I was pulling through the

446
00:26:47,760 --> 00:26:53,320
Speaker 1: gates and I just got it into a space. You know,

447
00:26:53,600 --> 00:26:56,960
Speaker 1: it was somebody's space, but the car was dying and

448
00:26:57,000 --> 00:26:59,239
Speaker 1: there was nowhere else to leave it. So I just

449
00:26:59,359 --> 00:27:02,560
Speaker 1: like I was doing in is running in and picking

450
00:27:02,600 --> 00:27:05,040
Speaker 1: up sides. That's all I was doing from the casting office,

451
00:27:05,320 --> 00:27:09,600
Speaker 1: right and it and the car died and I said, okay, well,

452
00:27:09,640 --> 00:27:12,399
Speaker 1: this is somebody's space. I forget who it was. It

453
00:27:12,480 --> 00:27:16,360
Speaker 1: was an actress's space. And I ran into the office.

454
00:27:16,760 --> 00:27:20,760
Speaker 1: I said, Hi, I'm Scott Sides for this thing. Oh yeah,

455
00:27:20,800 --> 00:27:23,800
Speaker 1: here you go, thank you. Ran out. The actress had

456
00:27:23,840 --> 00:27:28,520
Speaker 1: showed up. She was reuming she said, I get the

457
00:27:28,560 --> 00:27:31,520
Speaker 1: hell out of my space now, and I'm like, I'm

458
00:27:32,520 --> 00:27:38,159
Speaker 1: the car died. It wouldn't start, it would She wanted

459
00:27:38,200 --> 00:27:38,879
Speaker 1: to kill me.

460
00:27:41,640 --> 00:27:44,239
Speaker 2: Okay, I have a car story on a lot. So

461
00:27:44,320 --> 00:27:47,000
Speaker 2: I was need the show Freddy and it was Freddy

462
00:27:47,040 --> 00:27:53,240
Speaker 2: Prince Junior's sitcom Brian Austin Green Freddy Prince. It was

463
00:27:53,560 --> 00:27:55,879
Speaker 2: such a fun show to do. It only went a season.

464
00:27:55,960 --> 00:27:59,960
Speaker 2: But I had my car ship across country and it

465
00:28:00,160 --> 00:28:04,040
Speaker 2: was in seventy two Mercedes and so it was a

466
00:28:04,240 --> 00:28:07,200
Speaker 2: full vintage car like it, you know, and it finally

467
00:28:07,440 --> 00:28:10,359
Speaker 2: so it showed up and they dropped it off and

468
00:28:10,400 --> 00:28:12,399
Speaker 2: it was parked right outside the stage, even though it

469
00:28:12,440 --> 00:28:14,399
Speaker 2: wasn't supposed to be parked right outside the stage, but

470
00:28:14,440 --> 00:28:16,040
Speaker 2: they need somewhere to drop it. I was going to

471
00:28:16,119 --> 00:28:19,720
Speaker 2: deal with it, and we're filming something that all of

472
00:28:19,800 --> 00:28:24,640
Speaker 2: a sudden production is shut down because there's a full

473
00:28:24,680 --> 00:28:28,480
Speaker 2: fleet of fire trucks that have showed up because my

474
00:28:28,960 --> 00:28:34,600
Speaker 2: gas tank had cracked in the shipment and then gas

475
00:28:34,640 --> 00:28:38,240
Speaker 2: all over, you know, was a huge fire hazard and

476
00:28:38,280 --> 00:28:43,280
Speaker 2: they're ye pellets And I never lived that one down.

477
00:28:43,360 --> 00:28:50,800
Speaker 1: But which studio with Warner Brothers, Oh yeah, tough lot.

478
00:28:51,160 --> 00:28:53,040
Speaker 2: It's very hard to get on. There are people that

479
00:28:53,080 --> 00:28:54,880
Speaker 2: have been on shows for ten years and if you

480
00:28:54,880 --> 00:28:56,160
Speaker 2: don't have your ID coming in the.

481
00:28:56,080 --> 00:28:58,960
Speaker 1: Gate, you're not getting no, no, you're not getting that

482
00:28:59,280 --> 00:29:02,520
Speaker 1: yeah getting It's it's very very tough to get on

483
00:29:02,560 --> 00:29:07,200
Speaker 1: that lot. And then you did. You worked with Lauren Graham.

484
00:29:07,240 --> 00:29:07,880
Speaker 1: What was that like?

485
00:29:08,840 --> 00:29:13,640
Speaker 2: She's great, she was very gracious, really great. I feel

486
00:29:13,640 --> 00:29:18,800
Speaker 2: like she it's very hard to come on as a

487
00:29:18,800 --> 00:29:21,120
Speaker 2: as a guest star onto a show and people are

488
00:29:21,160 --> 00:29:24,080
Speaker 2: already rolling, they already have their rhythm, they already know

489
00:29:24,160 --> 00:29:26,800
Speaker 2: each other. You know, it's like the new kid in school.

490
00:29:27,320 --> 00:29:31,320
Speaker 2: You're just like hi. And she was very, very gracious,

491
00:29:31,440 --> 00:29:33,840
Speaker 2: very welcoming, wanted to make sure that I felt comfortable,

492
00:29:33,960 --> 00:29:38,120
Speaker 2: and and I remember Alexis was so sweet, you know,

493
00:29:39,640 --> 00:29:42,880
Speaker 2: so new to the business and kind of wide eyed, like, whoa,

494
00:29:43,040 --> 00:29:47,800
Speaker 2: this is this is how it goes, this is the

495
00:29:47,840 --> 00:29:49,600
Speaker 2: fervor of which we film.

496
00:29:49,840 --> 00:29:57,560
Speaker 1: Okay, Well, you know Shary got some strong reactions from fans,

497
00:29:57,960 --> 00:30:02,320
Speaker 1: and were you aware at that time of how people

498
00:30:02,360 --> 00:30:03,560
Speaker 1: felt about Sherry.

499
00:30:05,280 --> 00:30:08,720
Speaker 2: No, I don't, I think, and I think that's why

500
00:30:08,760 --> 00:30:12,440
Speaker 2: the character kind of morphed in the next couple of

501
00:30:12,480 --> 00:30:17,560
Speaker 2: episodes they needed to lean in and go ahead and

502
00:30:17,600 --> 00:30:23,400
Speaker 2: embrace her. Not that she was a battie, but you

503
00:30:23,440 --> 00:30:26,000
Speaker 2: know that people were not not happy with her, so

504
00:30:26,040 --> 00:30:28,080
Speaker 2: they I think they leaned in a little bit more

505
00:30:28,080 --> 00:30:32,480
Speaker 2: and made her a bit more easier to hate, Like

506
00:30:32,640 --> 00:30:33,560
Speaker 2: just really lean.

507
00:30:33,400 --> 00:30:40,040
Speaker 1: Into it, right right. Well, you know you eventually leave

508
00:30:40,120 --> 00:30:45,960
Speaker 1: for for Paris and we don't really see you again.

509
00:30:47,280 --> 00:30:51,560
Speaker 1: And did you know your storyline from the start was

510
00:30:51,600 --> 00:30:53,560
Speaker 1: going to be you know, short lived.

511
00:30:54,320 --> 00:30:56,800
Speaker 2: I didn't expect any more than the one guest star.

512
00:30:58,000 --> 00:30:59,800
Speaker 2: I was surprised when they asked me to come back,

513
00:30:59,840 --> 00:31:03,080
Speaker 2: so it was you know, it was enjoyable when they

514
00:31:03,160 --> 00:31:05,560
Speaker 2: when they did, and I was always like, absolutely.

515
00:31:05,720 --> 00:31:08,520
Speaker 1: Did you want to rewrite it? Did you have a

516
00:31:08,520 --> 00:31:11,719
Speaker 1: different vision for the character? If you had the power,

517
00:31:12,200 --> 00:31:14,440
Speaker 1: what would you have done with her storyline?

518
00:31:14,960 --> 00:31:16,360
Speaker 2: I think the only thing that I was trying to

519
00:31:16,360 --> 00:31:20,560
Speaker 2: do in my performance was just keep her grounded and

520
00:31:20,880 --> 00:31:25,880
Speaker 2: keep her as genuine as she could be, like to herself,

521
00:31:26,040 --> 00:31:31,160
Speaker 2: you know, like she's genuine. She may be obnoxious, but

522
00:31:31,160 --> 00:31:34,080
Speaker 2: but she believes it, and she believes she's doing the

523
00:31:34,120 --> 00:31:36,800
Speaker 2: right thing. And just to try to keep her human,

524
00:31:36,960 --> 00:31:39,640
Speaker 2: you know, because I really didn't. I really didn't know

525
00:31:40,120 --> 00:31:43,920
Speaker 2: where they wanted to go with her and how they

526
00:31:43,960 --> 00:31:47,400
Speaker 2: wanted to use her as a tool, you know, of

527
00:31:47,440 --> 00:31:51,880
Speaker 2: the relationships. So I kind of was just I am here,

528
00:31:52,720 --> 00:31:54,280
Speaker 2: use me as you need me, and I'll do the

529
00:31:54,280 --> 00:31:54,960
Speaker 2: best I can.

530
00:31:55,120 --> 00:31:58,600
Speaker 1: You know, Wow, I let's say you did get cast

531
00:31:58,600 --> 00:32:03,720
Speaker 1: as Laura I, what would your interpretation, Ben, How would

532
00:32:03,760 --> 00:32:04,400
Speaker 1: it have been different?

533
00:32:05,480 --> 00:32:10,520
Speaker 2: I think I think it was really suited for Lauren Graham.

534
00:32:10,680 --> 00:32:18,080
Speaker 2: I think she handled the cadence so naturally, you didn't

535
00:32:18,720 --> 00:32:21,959
Speaker 2: question that wasn't just something the way that she just

536
00:32:22,120 --> 00:32:25,720
Speaker 2: exists naturally. I think she was really good at that.

537
00:32:25,840 --> 00:32:28,840
Speaker 2: And I don't know if I would have been as

538
00:32:28,920 --> 00:32:30,800
Speaker 2: good as that, as much as I always like to

539
00:32:30,800 --> 00:32:33,120
Speaker 2: say I can tackle anything and I can do anything,

540
00:32:33,200 --> 00:32:37,000
Speaker 2: but I think that would have been quite a challenge

541
00:32:37,040 --> 00:32:40,560
Speaker 2: and a really big feat, and I might have even

542
00:32:40,560 --> 00:32:43,440
Speaker 2: pushed back on it a little bit, like, but why

543
00:32:43,520 --> 00:32:45,480
Speaker 2: do we have to talk this fast all the time?

544
00:32:45,560 --> 00:32:48,360
Speaker 2: Like why can't we do? You know? I probably I

545
00:32:48,360 --> 00:32:50,240
Speaker 2: probably would have struggled with it a little bit, to

546
00:32:50,280 --> 00:32:54,960
Speaker 2: be honest, But I do think that there was a pure,

547
00:32:55,040 --> 00:32:57,800
Speaker 2: really great thing between the mother daughter relationship and I

548
00:32:57,800 --> 00:33:03,320
Speaker 2: would have really enjoyed that. You know, I think Alexis

549
00:33:03,360 --> 00:33:05,640
Speaker 2: did an amazing job, and I think I would have

550
00:33:05,880 --> 00:33:09,360
Speaker 2: I think that would have been something that I would

551
00:33:09,400 --> 00:33:12,200
Speaker 2: have really enjoyed and probably would have worked really well.

552
00:33:12,560 --> 00:33:16,280
Speaker 1: Right, So let me ask you this, if there's a

553
00:33:16,360 --> 00:33:19,440
Speaker 1: second reunion, would you like to come back and revisit

554
00:33:19,480 --> 00:33:20,040
Speaker 1: that character?

555
00:33:20,360 --> 00:33:23,920
Speaker 2: I would love to. I wanted to do the first reunion.

556
00:33:23,960 --> 00:33:32,560
Speaker 2: I was like, hello, here, was it fun? Was it

557
00:33:32,600 --> 00:33:33,120
Speaker 2: fun to do that?

558
00:33:33,440 --> 00:33:35,520
Speaker 1: It really was. It was fun. It was fun because

559
00:33:35,560 --> 00:33:39,720
Speaker 1: it was Netflix put so much money into it, and

560
00:33:39,760 --> 00:33:42,080
Speaker 1: it was different. It was it was like being on

561
00:33:42,440 --> 00:33:43,920
Speaker 1: a big budget film set.

562
00:33:44,520 --> 00:33:44,720
Speaker 2: Great.

563
00:33:44,760 --> 00:33:47,240
Speaker 1: The equipment had changed, you know, the technology had changed.

564
00:33:47,280 --> 00:33:50,600
Speaker 1: They had all of this top technology, so many cameras,

565
00:33:52,440 --> 00:33:54,960
Speaker 1: so many cranes, so many of you know, the sets

566
00:33:54,960 --> 00:33:59,239
Speaker 1: were brighter and better. It was just everything just popped yea,

567
00:33:59,400 --> 00:34:00,600
Speaker 1: and we knew it was it's just going to be

568
00:34:00,680 --> 00:34:03,200
Speaker 1: like three and a half months. So it was this

569
00:34:03,360 --> 00:34:05,760
Speaker 1: limited amount of time because we never got any closure

570
00:34:06,880 --> 00:34:08,759
Speaker 1: because it was canceled in two thousand and seven and

571
00:34:08,840 --> 00:34:10,200
Speaker 1: I was, you know, I was in Canada on a

572
00:34:10,239 --> 00:34:13,239
Speaker 1: set and people were you know, cast of the four

573
00:34:13,280 --> 00:34:15,759
Speaker 1: Wins and you know, we didn't get a chance to

574
00:34:15,760 --> 00:34:18,239
Speaker 1: say goodbye or anything. There was no rap party or

575
00:34:18,239 --> 00:34:20,120
Speaker 1: anything like that. But now here we had a chance

576
00:34:20,160 --> 00:34:23,560
Speaker 1: to sort of say goodbye every single day, right, you just.

577
00:34:23,440 --> 00:34:26,200
Speaker 2: Got to catch up. And then how many years after,

578
00:34:26,400 --> 00:34:28,920
Speaker 2: like what was the reunion for you guys? How many years?

579
00:34:29,040 --> 00:34:29,400
Speaker 2: Was it?

580
00:34:29,640 --> 00:34:30,520
Speaker 1: Nine years?

581
00:34:31,080 --> 00:34:34,920
Speaker 2: Okay? Because because when I did the the it was

582
00:34:34,960 --> 00:34:38,000
Speaker 2: called the Return of Twin Peaks, it was twenty five

583
00:34:38,120 --> 00:34:39,759
Speaker 2: years later.

584
00:34:39,840 --> 00:34:42,120
Speaker 1: At twenty five twenty five.

585
00:34:43,680 --> 00:34:47,600
Speaker 2: It was just like mind blowing, and it was very

586
00:34:47,640 --> 00:34:51,640
Speaker 2: emotional for me every day, you know, seeing someone I

587
00:34:51,680 --> 00:34:54,719
Speaker 2: hadn't seen in a long time. David brought back all

588
00:34:54,760 --> 00:34:58,600
Speaker 2: of all of original casting crew that he possibly could.

589
00:34:58,680 --> 00:35:03,120
Speaker 2: So we're seeing theseeople that you know, we haven't seen

590
00:35:03,120 --> 00:35:06,160
Speaker 2: it so long and putting the waitress uniform back on.

591
00:35:06,320 --> 00:35:11,320
Speaker 2: I'm bawling. And he lived in and you know, I'm bawling,

592
00:35:11,440 --> 00:35:15,080
Speaker 2: you know, David Lynch's bawling like it was. And it

593
00:35:15,120 --> 00:35:17,600
Speaker 2: took and it took us a year to do that season.

594
00:35:17,840 --> 00:35:19,920
Speaker 2: So given a year.

595
00:35:20,280 --> 00:35:23,000
Speaker 1: Total, that's great, that's dice.

596
00:35:23,960 --> 00:35:27,279
Speaker 2: Yeah, And he filmed it as one feature film. I

597
00:35:27,280 --> 00:35:31,759
Speaker 2: think it was a total of maybe it was I

598
00:35:31,800 --> 00:35:34,520
Speaker 2: don't remember how many episodes we did, maybe say like

599
00:35:34,560 --> 00:35:39,320
Speaker 2: eighteen episodes. He's eighteen hour film and he just chose

600
00:35:39,920 --> 00:35:41,960
Speaker 2: places to cut it to be an episode.

601
00:35:42,520 --> 00:35:43,000
Speaker 1: Wow.

602
00:35:43,600 --> 00:35:44,520
Speaker 2: Yeah, it's pretty cool.

603
00:35:45,239 --> 00:35:48,600
Speaker 1: I'm so sorry for your loss. I mean, what a

604
00:35:48,719 --> 00:35:53,440
Speaker 1: what a giant, Yeah, what a unique individual. Yeah, what

605
00:35:53,920 --> 00:35:56,279
Speaker 1: a real artist this guy was.

606
00:35:56,840 --> 00:35:59,799
Speaker 2: And as much as like you said, a giant in

607
00:36:00,160 --> 00:36:03,040
Speaker 2: what he did and his talent and what he accomplished,

608
00:36:04,440 --> 00:36:09,120
Speaker 2: he was almost the opposite personally in that he was

609
00:36:09,280 --> 00:36:15,640
Speaker 2: so sweet and humble and when you got to know him,

610
00:36:16,239 --> 00:36:19,200
Speaker 2: you just become family. And he was there for me,

611
00:36:19,560 --> 00:36:21,880
Speaker 2: you know, beyond being my mentor or when I was

612
00:36:21,880 --> 00:36:25,520
Speaker 2: stepping behind the camera to direct. He was super supportive.

613
00:36:25,560 --> 00:36:27,680
Speaker 2: But I could call him up with anything and just say,

614
00:36:27,680 --> 00:36:31,839
Speaker 2: hey David, i'n't oh my god. And he would give

615
00:36:31,880 --> 00:36:37,080
Speaker 2: me like great advice through pregnancy and hey David, this

616
00:36:37,120 --> 00:36:39,319
Speaker 2: is happening in my life. And hey David, I think

617
00:36:39,360 --> 00:36:40,920
Speaker 2: I want to leave the business. What do I do?

618
00:36:42,120 --> 00:36:44,000
Speaker 2: You know? So he was a good friend.

619
00:36:44,400 --> 00:36:48,080
Speaker 1: So he was just a gentle soul. Yeah, super supportive,

620
00:36:48,280 --> 00:36:49,080
Speaker 1: lovely guy.

621
00:36:49,600 --> 00:36:53,160
Speaker 2: Ye, reading about the people that was around him so

622
00:36:54,120 --> 00:36:55,680
Speaker 2: and showed it. Yeah.

623
00:36:56,160 --> 00:36:59,680
Speaker 1: Yeah, it's really nice to be on a set like that. Yeah.

624
00:36:59,760 --> 00:37:05,160
Speaker 1: The leader is really grounded and just open and soft

625
00:37:05,280 --> 00:37:08,680
Speaker 1: and gentle and supportive and intelligent.

626
00:37:09,719 --> 00:37:10,080
Speaker 2: Yeah.

627
00:37:10,239 --> 00:37:14,320
Speaker 1: Oh man, wow, So what'd you learn from them? What

628
00:37:14,760 --> 00:37:18,839
Speaker 1: the what are the big takeaways from being around that guy?

629
00:37:19,719 --> 00:37:20,719
Speaker 2: To not compromise?

630
00:37:21,760 --> 00:37:28,800
Speaker 1: Yes, yep, and never right, like, never compromise your choice. Yeah, okay,

631
00:37:29,400 --> 00:37:31,160
Speaker 1: you can discuss it, right.

632
00:37:31,840 --> 00:37:34,600
Speaker 2: And and and by discussing it, you might change your

633
00:37:34,600 --> 00:37:37,399
Speaker 2: mind because exactly something came up that made a lot

634
00:37:37,440 --> 00:37:39,960
Speaker 2: of sense and you're like, oh, yeah, I get it.

635
00:37:40,000 --> 00:37:43,920
Speaker 1: Okay, tell us about how important that is and what

636
00:37:43,960 --> 00:37:47,720
Speaker 1: it actually means. Because fans, we have some very knowledgeable fans.

637
00:37:47,760 --> 00:37:51,280
Speaker 1: But but in the moment, when you're in rehearsal process,

638
00:37:51,320 --> 00:37:53,560
Speaker 1: when you're going through the scene, when you're building that

639
00:37:53,600 --> 00:37:56,640
Speaker 1: scene before you shoot, before before they start lighting it,

640
00:37:57,920 --> 00:38:01,319
Speaker 1: tell us about arriving at a choice voice and then

641
00:38:01,360 --> 00:38:05,040
Speaker 1: fighting for it. Tell us about that process, because that's

642
00:38:05,080 --> 00:38:07,880
Speaker 1: the most important thing we do. Yeah.

643
00:38:07,960 --> 00:38:12,040
Speaker 2: I feel so for for me and my process. I'll

644
00:38:12,080 --> 00:38:16,680
Speaker 2: read something and I usually get a really immediate take

645
00:38:17,480 --> 00:38:22,000
Speaker 2: on not only the character, but what I think they

646
00:38:22,080 --> 00:38:25,719
Speaker 2: mean to do with the story, right, and even as

647
00:38:26,040 --> 00:38:29,719
Speaker 2: specific as like the tone of it, the feel of it,

648
00:38:30,000 --> 00:38:33,560
Speaker 2: the rhythm. Is it a really dark, slow thing or

649
00:38:33,640 --> 00:38:42,399
Speaker 2: is it this you know, lofty, fun, bouncy thing. And

650
00:38:44,239 --> 00:38:47,359
Speaker 2: you know, you hopefully have the luxury to talk with

651
00:38:47,680 --> 00:38:50,839
Speaker 2: the director and the writers on what they intend and

652
00:38:50,880 --> 00:38:54,719
Speaker 2: what they're hoping to get from your character and how

653
00:38:54,760 --> 00:38:56,879
Speaker 2: it fits into the story. You a lot of times

654
00:38:56,960 --> 00:38:59,759
Speaker 2: don't have that luxury, but if you do, that's great.

655
00:39:00,120 --> 00:39:03,160
Speaker 1: That's great if you have that communication, you know, yeah, so.

656
00:39:03,160 --> 00:39:06,120
Speaker 2: Hopefully there's maybe some conversations, even if it's over the phone.

657
00:39:06,239 --> 00:39:10,480
Speaker 2: You're very it's very rare anymore that you actually get

658
00:39:10,520 --> 00:39:14,799
Speaker 2: rehearsal time. So if it's a because most films now

659
00:39:14,800 --> 00:39:17,760
Speaker 2: don't have a budget, so you don't have the luxury

660
00:39:17,840 --> 00:39:20,880
Speaker 2: to have rehearsal time, you're filming it in the least

661
00:39:20,920 --> 00:39:24,320
Speaker 2: amount of days possible, so you're just running and gunning.

662
00:39:25,360 --> 00:39:27,960
Speaker 1: It's just amazing to me they give so much time

663
00:39:28,040 --> 00:39:33,680
Speaker 1: to DP to light it, and yet so they just

664
00:39:33,760 --> 00:39:36,239
Speaker 1: try to rush you through a rehearsal process and I'm like,

665
00:39:37,200 --> 00:39:42,520
Speaker 1: you know, like whoa stop. This is where this is

666
00:39:42,560 --> 00:39:46,440
Speaker 1: where we make the show right here, Okay, so let's

667
00:39:46,440 --> 00:39:49,279
Speaker 1: get this right let's take the time to get this right.

668
00:39:50,080 --> 00:39:52,640
Speaker 2: I've had to fight for that so many times. Yeah,

669
00:39:53,560 --> 00:39:57,239
Speaker 2: I've had to just dig my heels in and say stop, no,

670
00:39:57,920 --> 00:40:00,839
Speaker 2: we need to know what we're do. Others we're going

671
00:40:00,880 --> 00:40:04,320
Speaker 2: to be spending so much more time burning film because

672
00:40:04,320 --> 00:40:06,319
Speaker 2: we're trying to find it, Like, let's find it now.

673
00:40:15,400 --> 00:40:18,640
Speaker 1: Did you ever find yourself in a situation where you

674
00:40:18,760 --> 00:40:21,759
Speaker 1: got a network note and that was communicated to the

675
00:40:21,800 --> 00:40:26,480
Speaker 1: director after a long fight for defending a choice, and

676
00:40:26,520 --> 00:40:31,920
Speaker 1: then you're like, oh god, really, yeah, oh yeah, are

677
00:40:31,920 --> 00:40:34,600
Speaker 1: you kidding me? They want me to do that?

678
00:40:34,960 --> 00:40:36,279
Speaker 2: I know, And a lot of times they make it

679
00:40:36,280 --> 00:40:39,440
Speaker 2: seem like it's their their decision because they know if

680
00:40:39,480 --> 00:40:40,799
Speaker 2: they know if they come to you and say, okay,

681
00:40:40,840 --> 00:40:44,080
Speaker 2: we got a network note, that we're going to be like,

682
00:40:44,200 --> 00:40:54,880
Speaker 2: are you kidding me? So they pretended it's their idea,

683
00:40:55,120 --> 00:40:57,640
Speaker 2: and so you're like, huh, okay, that's interesting because that's

684
00:40:57,640 --> 00:41:01,000
Speaker 2: not really the you know, the path we were going

685
00:41:01,080 --> 00:41:04,680
Speaker 2: down for the last eight episodes. But let me try

686
00:41:04,680 --> 00:41:07,120
Speaker 2: to figure this out. And at point I've gotten so

687
00:41:07,160 --> 00:41:09,879
Speaker 2: savvy that I'm like, this is a network note, isn't

688
00:41:09,880 --> 00:41:10,759
Speaker 2: it right? Yeah?

689
00:41:10,840 --> 00:41:13,160
Speaker 1: No, I can tell I guess I'm a mile I.

690
00:41:13,120 --> 00:41:19,239
Speaker 2: Know, I know, but but I will say, you know,

691
00:41:19,560 --> 00:41:23,280
Speaker 2: because of these years of acting, when I started directing,

692
00:41:24,080 --> 00:41:28,760
Speaker 2: and I really bristle a lot of first AD's feathers,

693
00:41:29,080 --> 00:41:32,640
Speaker 2: but I insist I send everybody away. Go coffee break,

694
00:41:32,640 --> 00:41:34,759
Speaker 2: smoke break, pee break, whatever you guys got to do.

695
00:41:35,480 --> 00:41:40,319
Speaker 2: Set is mine and it's me and the actors. Yes,

696
00:41:40,840 --> 00:41:43,360
Speaker 2: not even an AD or a DP exactly.

697
00:41:44,040 --> 00:41:47,719
Speaker 1: They really try to crowd you out and don't give

698
00:41:47,719 --> 00:41:49,919
Speaker 1: you your space, and you do have to dismiss them.

699
00:41:50,160 --> 00:41:53,280
Speaker 1: That is essential. This is just our space. No good.

700
00:41:53,440 --> 00:41:53,880
Speaker 1: I like him.

701
00:41:54,239 --> 00:41:59,120
Speaker 2: I want to give the actors a safe place to

702
00:41:59,400 --> 00:42:03,439
Speaker 2: just bitch about what they were about to have to do. Right,

703
00:42:03,760 --> 00:42:06,160
Speaker 2: want them to let me know where are we at?

704
00:42:06,640 --> 00:42:09,200
Speaker 2: Are you doing this? Do you not believe it? What

705
00:42:09,239 --> 00:42:10,879
Speaker 2: do you need to fight for? What do I need

706
00:42:10,920 --> 00:42:13,600
Speaker 2: to help you fight for? I want to get it

707
00:42:13,640 --> 00:42:15,920
Speaker 2: out now, you know? Or maybe let's talk it through.

708
00:42:15,960 --> 00:42:17,800
Speaker 2: Maybe there's something you weren't thinking of, and maybe you

709
00:42:17,880 --> 00:42:23,080
Speaker 2: know and it's literally like one reading through. Maybe there's

710
00:42:23,120 --> 00:42:25,680
Speaker 2: a little something to discuss. It doesn't take much time,

711
00:42:25,680 --> 00:42:28,200
Speaker 2: but I'm telling you it saves so much time for

712
00:42:28,239 --> 00:42:31,640
Speaker 2: the rest of the day, and then I invite the

713
00:42:31,680 --> 00:42:34,520
Speaker 2: next wave in and then we run it through again.

714
00:42:35,080 --> 00:42:37,640
Speaker 2: And then usually there's a writer on set that chimes

715
00:42:37,680 --> 00:42:41,239
Speaker 2: in and goes, well, I don't know, you know, well,

716
00:42:41,280 --> 00:42:43,520
Speaker 2: I'm sure if they would walk over the window there

717
00:42:43,560 --> 00:42:45,719
Speaker 2: and be like, okay, hear what you're saying, but this

718
00:42:45,760 --> 00:42:48,680
Speaker 2: is why they chose to do that. And then you

719
00:42:48,760 --> 00:42:51,960
Speaker 2: invite everybody else in to watch the full rehearsal. But

720
00:42:52,239 --> 00:42:55,520
Speaker 2: I'm adamant about that, and everybody can be as mad

721
00:42:55,560 --> 00:42:59,319
Speaker 2: as they want me. I don't care. We need we

722
00:42:59,360 --> 00:43:02,000
Speaker 2: need to send our take a breath and then move

723
00:43:02,040 --> 00:43:02,480
Speaker 2: through this an.

724
00:43:02,640 --> 00:43:06,200
Speaker 1: And the inexperienced actors get so freaked out by that

725
00:43:06,800 --> 00:43:09,960
Speaker 1: because they think, oh god, what's happening here, you know.

726
00:43:10,040 --> 00:43:14,440
Speaker 1: They they think that it's some kind of unusual uh,

727
00:43:15,400 --> 00:43:19,120
Speaker 1: you know, things are getting heated, and oh, this is

728
00:43:19,239 --> 00:43:22,239
Speaker 1: just really scary and I don't know if I can do,

729
00:43:22,520 --> 00:43:25,799
Speaker 1: you know, And and it's like, no, this is how

730
00:43:25,840 --> 00:43:28,640
Speaker 1: you knock it out. This is how you this is

731
00:43:28,680 --> 00:43:33,640
Speaker 1: how you sculpt something into uh into some kind of

732
00:43:33,680 --> 00:43:37,160
Speaker 1: beautiful shape. You got it. It takes it's it's an

733
00:43:37,400 --> 00:43:41,239
Speaker 1: it's kind of violent almost. I mean, I'm not saying physically,

734
00:43:41,320 --> 00:43:45,240
Speaker 1: but I mean you if my best rehearsal is at Kilma.

735
00:43:45,320 --> 00:43:47,360
Speaker 1: This is what I love so much about Gilmore. You

736
00:43:47,440 --> 00:43:52,120
Speaker 1: had all of these you know, high level theater actors,

737
00:43:52,920 --> 00:43:57,600
Speaker 1: Broadway actors who know this stuff, who are gladiators, who

738
00:43:57,680 --> 00:44:01,480
Speaker 1: get in there and they say small things and rehearsal,

739
00:44:01,960 --> 00:44:05,040
Speaker 1: they do smart things and they and they bat away

740
00:44:05,200 --> 00:44:07,839
Speaker 1: any kind of idiotic choices. It doesn't matter where it

741
00:44:07,880 --> 00:44:10,600
Speaker 1: comes from. And you'd better have a thick skin because

742
00:44:10,640 --> 00:44:14,200
Speaker 1: nobody cares how you feel. That's you know, that's the

743
00:44:14,280 --> 00:44:17,320
Speaker 1: training that I had. So when I go on a

744
00:44:17,400 --> 00:44:20,640
Speaker 1: set and I and I do it like you do it,

745
00:44:20,680 --> 00:44:23,040
Speaker 1: I read it. I get an impression right away.

746
00:44:23,760 --> 00:44:23,960
Speaker 2: Yeah.

747
00:44:24,200 --> 00:44:26,400
Speaker 1: Then I like to have the conversations right.

748
00:44:26,560 --> 00:44:28,759
Speaker 2: Yeah, and a lot of and sometimes I'm off like.

749
00:44:29,080 --> 00:44:31,279
Speaker 1: Sometimes right, sometimes you miss it.

750
00:44:31,400 --> 00:44:34,560
Speaker 2: Yes, I imagine something so much better and my opinion.

751
00:44:34,760 --> 00:44:42,120
Speaker 2: And I was like that version, like.

752
00:44:42,080 --> 00:44:44,680
Speaker 1: What the hell is this guy talking about? Yeah, we

753
00:44:44,760 --> 00:44:46,319
Speaker 1: just wanted to go pick up the cup? What is he?

754
00:44:46,360 --> 00:44:47,239
Speaker 1: What is he talking?

755
00:44:50,520 --> 00:44:53,080
Speaker 2: Yeah? But you know, circling all the way back to

756
00:44:53,160 --> 00:44:56,320
Speaker 2: David Lynch, it's you know, he it was a blessing

757
00:44:56,400 --> 00:44:59,960
Speaker 2: and a curse altogether because I got to see someone

758
00:45:00,040 --> 00:45:06,600
Speaker 2: and put his instinct out there, hold strong to his

759
00:45:06,760 --> 00:45:11,400
Speaker 2: instinct even when everybody, everybody didn't understand it or didn't

760
00:45:11,480 --> 00:45:14,239
Speaker 2: like it. You know, when we when we aired, the

761
00:45:14,320 --> 00:45:17,920
Speaker 2: network did not or studio network did not like us.

762
00:45:17,960 --> 00:45:20,240
Speaker 2: I don't know what individuals in the studio or network.

763
00:45:20,239 --> 00:45:21,759
Speaker 2: I know there was some batting for us, and there

764
00:45:21,840 --> 00:45:24,560
Speaker 2: was some that just wanted to like get rid of us.

765
00:45:24,560 --> 00:45:25,799
Speaker 2: So we were a mid season.

766
00:45:25,560 --> 00:45:28,759
Speaker 1: Replacement, I mean the original series, the.

767
00:45:28,719 --> 00:45:33,040
Speaker 2: Original series, and they and they put us against the

768
00:45:33,080 --> 00:45:37,319
Speaker 2: season premiere Cheers, which was gigantic. They just wanted to

769
00:45:37,360 --> 00:45:41,239
Speaker 2: burn us off, get us out of there because I

770
00:45:41,360 --> 00:45:49,600
Speaker 2: couldn't control David, and so I then went into you know,

771
00:45:49,800 --> 00:45:53,000
Speaker 2: Hollywood beyond that after the show is over, and I

772
00:45:53,040 --> 00:45:56,160
Speaker 2: would say for the next six years, I really I

773
00:45:56,200 --> 00:45:59,600
Speaker 2: had a hard time finding my way because I just

774
00:45:59,680 --> 00:46:04,240
Speaker 2: cut kept coming up to these like very formulaic ways

775
00:46:04,280 --> 00:46:07,640
Speaker 2: to go about things and expressions like well, no, you

776
00:46:07,680 --> 00:46:11,160
Speaker 2: can't do that, and I would be like, yeah, you can.

777
00:46:11,280 --> 00:46:14,560
Speaker 2: I've seen it. I've actually seen it, and I've and

778
00:46:14,600 --> 00:46:15,960
Speaker 2: I've been on it and it was one of my

779
00:46:16,000 --> 00:46:18,960
Speaker 2: first things I've ever done. So he set me up

780
00:46:19,040 --> 00:46:26,800
Speaker 2: in this, you know, thinking of understand what you're portraying,

781
00:46:27,320 --> 00:46:33,760
Speaker 2: Stick to your guns, don't compromise, and deliver right and

782
00:46:34,320 --> 00:46:36,920
Speaker 2: people either get it or not. Don't worry about it,

783
00:46:37,080 --> 00:46:37,880
Speaker 2: keep moving.

784
00:46:37,960 --> 00:46:42,680
Speaker 1: Right because it's that courage that translates and every screen.

785
00:46:42,480 --> 00:46:48,839
Speaker 2: So that, in my opinion, the creators are taking all

786
00:46:48,920 --> 00:46:51,160
Speaker 2: of the notes from the studios and the networks and

787
00:46:51,200 --> 00:46:55,040
Speaker 2: all that, and it's more and more vanilla and more

788
00:46:55,040 --> 00:46:58,600
Speaker 2: and more watered down. The ones that do well are

789
00:46:58,640 --> 00:47:00,960
Speaker 2: the ones that have a true vision and they stick to

790
00:47:01,000 --> 00:47:06,200
Speaker 2: it and they don't get picked up or they you know,

791
00:47:06,360 --> 00:47:09,359
Speaker 2: but they stuck to it and in it it had

792
00:47:09,360 --> 00:47:12,239
Speaker 2: a strong voice and it had a strong opinion. And

793
00:47:12,440 --> 00:47:16,600
Speaker 2: you'd much rather go down with that than piecing out

794
00:47:16,600 --> 00:47:18,040
Speaker 2: your baby and making it vanilla.

795
00:47:18,239 --> 00:47:22,000
Speaker 1: That's what That's what Amy did. She stuck to her vision,

796
00:47:22,120 --> 00:47:25,759
Speaker 1: she stuck to her guns. She fought the good fight

797
00:47:26,400 --> 00:47:31,440
Speaker 1: until she had to walk away. Yeah, and that's why

798
00:47:31,480 --> 00:47:36,680
Speaker 1: this show, and that's why Twin Peaks continues to resonate

799
00:47:36,719 --> 00:47:43,040
Speaker 1: with people. These are unforgettable creators, you know, unique voices,

800
00:47:43,200 --> 00:47:49,160
Speaker 1: unique talents that never buckled hard to do takes a

801
00:47:49,200 --> 00:47:55,560
Speaker 1: tremendous amount of courage and just belief in what you're doing. Yeah, gosh,

802
00:47:55,680 --> 00:48:00,440
Speaker 1: I admire them. I admire these people so much. Oh,

803
00:48:00,760 --> 00:48:04,399
Speaker 1: you know, I could talk to you for the next week.

804
00:48:04,520 --> 00:48:06,040
Speaker 1: What are you doing for the next week? You want

805
00:48:06,040 --> 00:48:08,440
Speaker 1: to come on every day so much? Sure we have,

806
00:48:12,120 --> 00:48:15,080
Speaker 1: But I do want to acknowledge in this episode, the

807
00:48:15,200 --> 00:48:19,200
Speaker 1: absolutely brilliant Friday night dinner scenes. I thought they were

808
00:48:19,280 --> 00:48:22,279
Speaker 1: the best I've ever seen. I thought that the living

809
00:48:22,360 --> 00:48:25,480
Speaker 1: room scenes with Emily and Richard Tho, that was the

810
00:48:25,480 --> 00:48:27,520
Speaker 1: best one I've seen. And there have been some great

811
00:48:27,560 --> 00:48:32,200
Speaker 1: living room sceness. The humor, the brevity of it, the dialogue,

812
00:48:33,200 --> 00:48:39,360
Speaker 1: just fantastic. Sick this Michael Catleman, if you're listening, hats

813
00:48:39,360 --> 00:48:43,120
Speaker 1: off to you, buddy, Messiah. Let's do something together and

814
00:48:43,160 --> 00:48:45,640
Speaker 1: they're not too distant future, because this guy's a hell

815
00:48:45,680 --> 00:48:48,960
Speaker 1: of a director. Yeah, just a hell of a director

816
00:48:48,960 --> 00:48:51,600
Speaker 1: to get these performers, just to translate this stuff the

817
00:48:51,640 --> 00:48:56,719
Speaker 1: way he did in this episode. Just a pleasure to

818
00:48:56,800 --> 00:48:59,840
Speaker 1: see you again and talk to you, and please, please

819
00:49:00,120 --> 00:49:04,400
Speaker 1: please come back. Absolutely we will be in touch for more.

820
00:49:05,200 --> 00:49:07,920
Speaker 1: You want to talk about don't mind me? Your project,

821
00:49:08,520 --> 00:49:09,680
Speaker 1: your mental health project.

822
00:49:09,960 --> 00:49:15,840
Speaker 2: Yes, so we founded our nonprofit mental health foundation, Don't

823
00:49:15,840 --> 00:49:19,719
Speaker 2: Mind Me, because my son lives with my polar disorder

824
00:49:20,040 --> 00:49:23,640
Speaker 2: and he had a mental health break in freshman year

825
00:49:23,680 --> 00:49:27,239
Speaker 2: of college. And it's been really hard thirteen years and

826
00:49:27,360 --> 00:49:31,319
Speaker 2: navigating a very broken mental health care system. So we

827
00:49:31,400 --> 00:49:33,799
Speaker 2: rolled up our sleeves in twenty twenty one founded Don't

828
00:49:33,840 --> 00:49:37,000
Speaker 2: Mind Me. We have a scholarship fund to help people

829
00:49:37,000 --> 00:49:39,719
Speaker 2: get into primary mental health treatment that wouldn't otherwise be

830
00:49:39,760 --> 00:49:41,719
Speaker 2: able to afford it, which, by the way, it is

831
00:49:41,719 --> 00:49:46,840
Speaker 2: completely unaffordable and unaccessible. So we have a scholarship program

832
00:49:46,880 --> 00:49:49,279
Speaker 2: to help people get into treatment. And then now we're

833
00:49:49,280 --> 00:49:53,240
Speaker 2: in the beg gaining stages of opening our own treatment

834
00:49:53,320 --> 00:49:57,399
Speaker 2: center in Pump Springs, and the whole goal behind it

835
00:49:57,480 --> 00:50:01,800
Speaker 2: is a full recovery campus taking you through all levels

836
00:50:01,840 --> 00:50:08,640
Speaker 2: of care, treating the whole body, all preventative, all supportive

837
00:50:08,920 --> 00:50:11,880
Speaker 2: around it, you know, along with all of the regular

838
00:50:11,920 --> 00:50:17,720
Speaker 2: treatments and therapies. And we're holding a big gala March eighth.

839
00:50:17,960 --> 00:50:22,720
Speaker 2: If you'll come out to Palm Springs, please come. People

840
00:50:22,800 --> 00:50:28,040
Speaker 2: can buy tickets on Don'tmindme dot org and we're honoring

841
00:50:28,120 --> 00:50:33,120
Speaker 2: Mollie Ringwald. kJ Appa's going to present to her lance.

842
00:50:33,160 --> 00:50:38,080
Speaker 2: Bask's going to present to Angel Carter conrad twin sister,

843
00:50:38,360 --> 00:50:42,040
Speaker 2: the late Aaron Carter, actually Kalia with a mental health

844
00:50:42,080 --> 00:50:46,400
Speaker 2: storytelling Coalition, which is so important for the way we

845
00:50:46,440 --> 00:50:49,479
Speaker 2: tell stories in film and television when we're talking about

846
00:50:49,480 --> 00:50:53,120
Speaker 2: mental health, doing it the right way. And I'm pulling

847
00:50:53,200 --> 00:50:56,520
Speaker 2: my twin Peaks cast up on stage to do some music.

848
00:51:00,239 --> 00:51:01,880
Speaker 1: If I'm in town, I will be there because I'm

849
00:51:01,920 --> 00:51:04,480
Speaker 1: doing a ton of conventions. But if I'm not somewhere,

850
00:51:04,920 --> 00:51:07,359
Speaker 1: I will definitely show up and support you. I would

851
00:51:07,360 --> 00:51:11,239
Speaker 1: love to be there. Do me a favor give. I'm

852
00:51:11,239 --> 00:51:13,440
Speaker 1: gonna give your email. I'm sure they already have it,

853
00:51:13,480 --> 00:51:16,320
Speaker 1: but I'll get it from Emma or Jackie and I'll

854
00:51:16,480 --> 00:51:18,719
Speaker 1: because I want to support you in your your foundation,

855
00:51:19,440 --> 00:51:23,120
Speaker 1: because because because it's it's a really important endeavor, really

856
00:51:23,200 --> 00:51:28,920
Speaker 1: really important that people have access. Uh. I love talking

857
00:51:28,920 --> 00:51:32,319
Speaker 1: to you a great seeing you again. Hope to see

858
00:51:32,360 --> 00:51:35,960
Speaker 1: you soon, maybe in Palm Springs, maybe back on a zoom.

859
00:51:36,320 --> 00:51:38,520
Speaker 1: But I'm gonna I'm gonna email you and we'll get

860
00:51:38,520 --> 00:51:43,520
Speaker 1: into other things. Okay, Yes, makee you Amic, the one

861
00:51:43,520 --> 00:51:48,280
Speaker 1: and only, the brilliant macheen Amic member of support. Don't

862
00:51:48,360 --> 00:51:54,960
Speaker 1: mind me, that's your foundation. Uh late of Twin Peaks,

863
00:51:55,040 --> 00:51:57,520
Speaker 1: Gilmore Girls, the one and only major naming. Thank you

864
00:51:57,560 --> 00:52:02,240
Speaker 1: so much and everybody out there appreciate your downloads. Remember

865
00:52:02,239 --> 00:52:34,840
Speaker 1: where you lead, we will follow. Stay safe everyone, Hey everybody,

866
00:52:34,840 --> 00:52:38,160
Speaker 1: and don't forget. Follow us on Instagram at I Am

867
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Speaker 1: All In podcast and email us at Gilmore at iHeartRadio

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Speaker 1: dot com