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Speaker 1: I am all in again.

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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 in again. Podcast

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Speaker 1: one eleven productions, iHeart Radio, iHeart Media, iHeart Podcast Season one,

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Speaker 1: Episode three, which is entitled kill Me. Now we have

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Speaker 1: a very very special guest, the man responsible for directing

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Speaker 1: this wonderful episode, Adam kneem Oy. Yes, that kneem Oy.

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Speaker 2: Uh.

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Speaker 1: May the Force be with us all. I mean, it's

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Speaker 1: just like, how iconic is this moment?

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Speaker 3: First of all, did you see what Adam just did?

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Speaker 3: Because I've already been so excited for Adam and now

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Speaker 3: I'm losing my mind. He literally just gave us the spock.

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Speaker 1: So grad your dad famously Leonard Nimoy of Star Trek Fame,

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Speaker 1: Legend icon.

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Speaker 3: He's gonna save all my Star Trek fan girling for

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Speaker 3: the end. But maybe I have.

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Speaker 1: To be just let it out, Just let it out,

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Speaker 1: let it out. O. Adam, Thanks for joining us, Thanks

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Speaker 1: for having me.

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Speaker 4: I'm such as such an honor and privileged to be here.

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Speaker 2: I love the show, so I'm so I'm so glad

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Speaker 2: to be participating in this with you guys.

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Speaker 1: I have to tell you, everybody on the team was

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Speaker 1: like really really really buzzing that you were coming on.

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Speaker 1: Uh And when they told me, I said, oh, man,

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Speaker 1: were you Were you on an episode before? Did we

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Speaker 1: have you on as a guest at any point? This

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Speaker 1: is the first time we've we've met.

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Speaker 3: Yes, So we're explaining to Adam so so Adam. Basically,

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Speaker 3: we watched every episode of Gilmore Girls with the fans

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Speaker 3: on this podcast. We finished and like Gilmore Girls fans,

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Speaker 3: we just started again at the beginning and now each

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Speaker 3: week where we have on a cast member, a crew member,

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Speaker 3: a director, a producer, somebody that was involved with the show,

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Speaker 3: and the fans are enjoying it again as they do.

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Speaker 2: Wait a minute, there was like a couple hundred episodes, right,

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Speaker 2: you've gone through.

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Speaker 1: The one hundred, one hundred and fifty three plus the

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Speaker 1: four Netflix episodes.

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Speaker 4: Yeah, wow, Okay.

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Speaker 1: We went We went through it in about three years,

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Speaker 1: three and a half years, and we're rebooting and we're

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Speaker 1: changing it up a little bit.

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Speaker 4: Now.

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Speaker 1: We're doing we're dropping an episode every day now, adding

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Speaker 1: to the feed and to the fan excitement and you know,

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Speaker 1: giving them content what they want. And we're all just

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Speaker 1: waiting we're all just waiting for new episodes Gilmore Girls,

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Speaker 1: and we got to do something in the interim, So okay.

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Speaker 3: Curiously, but before I do, my star trek fangirling, which

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Speaker 3: I will. You directed an amazing episode of Gilmore Girls here.

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Speaker 3: It's sort of the first one that launched the bigger

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Speaker 3: reduction of Gilmore Girls. How you directed it is I

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Speaker 3: can't wait to ask you all these questions. The wedding

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Speaker 3: scene is massive, and there's things happening in the you know,

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Speaker 3: one part of the scene while there's background things happening

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Speaker 3: that you're obviously directing, or a scene in the in

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Speaker 3: the town where we're watching one bit of action. But

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Speaker 3: Suki and Jackson are chasing each other down the street,

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Speaker 3: and there's so much bigness to this episode.

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Speaker 4: Yeah. Yeah, it was a pretty big production, and I

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Speaker 4: think it was.

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Speaker 2: It's episode three, and I think I'm the first guy

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Speaker 2: director who came on. I wish I had done more.

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Speaker 2: I must tell you. Look, I love the show. My

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Speaker 2: daughter Mattie is a fanatic fan for the show. She's

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Speaker 2: obsessed with Scott and with Milo and and I've worked

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Speaker 2: with Milo before I got to Gilmore Girls, or at

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Speaker 2: least before he did. And and my my daughter Maddy

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Speaker 2: just had her own daughter and named.

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Speaker 4: Her romy not quite Rory but close. Just one letter.

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Speaker 2: And when I just told her I'm in New York

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Speaker 2: now and I just told her I was going to

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Speaker 2: be talking to you, she kind of flipped out.

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Speaker 4: And didn't know about the podcast.

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Speaker 2: So h you know, we have we have a lot

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Speaker 2: of Gilmore fandom going on on the knee Moy side

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Speaker 2: as well.

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Speaker 1: Great, give her our best, give her our best, and

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Speaker 1: we'd love to talk to her one day. Actually, And

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Speaker 1: you first.

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Speaker 3: Got the script, were you because obviously the show was new,

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Speaker 3: so you probably were directing this episode before the show

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Speaker 3: had ever even aired. So were you shocked by like

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Speaker 3: the denseness of the script and know how many words

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Speaker 3: essentially were just in this material.

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Speaker 4: Well, I mean yeah, that is the signature of the show. Now.

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Speaker 2: I had directed Alan McBeal, which also had a lot

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Speaker 2: of snappy, fast dialogue, so I was used to that

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Speaker 2: kind of a thing. But yeah, I mean yeah, that

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Speaker 2: is what distinguishes Gilmore Girls and makes it so charming,

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Speaker 2: you know, is the whole Rory Lorelei. You know, the

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Speaker 2: back and forth, the banter, the witticisms, the one upmanship.

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Speaker 2: It's just their dynamic is amazing. But what's really, you know, interesting,

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Speaker 2: is that they had it when I came on. I mean,

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Speaker 2: they just had it already, even after just two episodes.

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Speaker 4: They were in the pattern, they were in the groove.

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Speaker 2: They knew each other very well, they knew, you know,

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Speaker 2: how the rhythm should go. And I was just in

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Speaker 2: a situation where just turn on the camera and let

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Speaker 2: them go, you know, because they really carried the show.

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Speaker 4: Ye wow.

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Speaker 1: You know, that's one of the observations that struck me

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Speaker 1: when I got to the set for the first time

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Speaker 1: up in Toronto, up in Unionville, I came a little

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Speaker 1: early to watch those two working because they had a

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Speaker 1: couple of Luke's diner scenes that we did, and that

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Speaker 1: was my first down the set, and I watched those

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Speaker 1: two Lauren and Alexis in rehearsal, and I thought to myself,

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Speaker 1: oh my, you know, we've got something here, because the

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Speaker 1: chemistry between those two and the banter between those two,

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Speaker 1: it worked so beautifully, and just in the rehearsal part

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Speaker 1: of it, and they were still kind of fumbling around

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Speaker 1: trying to find it, you know, and they said oh

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Speaker 1: this is this is going to be good.

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Speaker 4: Oh yeah, yah. They were well, I mean, they were

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Speaker 4: very well cast.

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Speaker 2: Amy had a really good sense of what you wanted,

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Speaker 2: what she was looking for, and they delivered.

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Speaker 3: Oh yes, they did huge thanks to you, because I'm sorry, Scott, you.

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Speaker 1: Go no, no, go ahead, you go ahead questions.

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Speaker 3: So obviously, and Scott, I want to know from you

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Speaker 3: when Adam came onto the set. You know, he obviously

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Speaker 3: was a great director already, but were you all like,

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Speaker 3: oh my god, like yeah, under me? Why Son? And

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Speaker 3: also Adam, I have to say Star Trek four is

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Speaker 3: by far the best Star Trek movie directed by your

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Speaker 3: amazing father. And it is the best because it has

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Speaker 3: all the action we love, but it has that comedy,

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Speaker 3: which is the same thing we love about this show.

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Speaker 3: It has heart and drama, but it's funny and that's

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Speaker 3: what I thought. Your dad was so brilliant in the

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Speaker 3: way he did Star Trek four.

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Speaker 4: Well, yeah, and thank you. I mean, it was a

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Speaker 4: balance of things.

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Speaker 2: He also had a rewrite from Nick Meyer, who has,

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Speaker 2: you know, quite a sense of humor and witticism of

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Speaker 2: his own. Nick had directed and written Star Trek two,

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Speaker 2: Wrath of Khan and then and did a rewrite on

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Speaker 2: Star Trek four, and then came back from Star Trek

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Speaker 2: six the final installment with the original cast. So yeah,

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Speaker 2: I mean, that's that's what the show was really.

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Speaker 4: I mean, you know, the show was it.

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Speaker 2: Star Trek was sometimes had this campy, funny stuff of

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Speaker 2: this dynamic between kirks Bock and McCoy, you know, and

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Speaker 2: I mean like Gilmore Girls, and it was some serious stuff,

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Speaker 2: relationships stuff, social issue stuff. I mean it was a

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Speaker 2: real combination and finding that balance is really difficult to do,

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Speaker 2: which is why Star Trek, even though it only went

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Speaker 2: three seasons and seventy eight episodes, you know, it has

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Speaker 2: been replayed in syndication ever since for the past fifty

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Speaker 2: eight years. And why I think Gilmore Girls are so

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Speaker 2: successful because because they you know, you guys just hit

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Speaker 2: the mark every time. I mean, it starts with the writing.

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Speaker 2: It started with Amy. It starts with the showrunners to

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Speaker 2: find that medium where you can interject these things great

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Speaker 2: great trauma, great issues, great dynamics, and funny witticism to

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Speaker 2: keep us watching.

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Speaker 1: Yeah, all starts with the writing.

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Speaker 4: Man.

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Speaker 1: When I got that pilot script, I just felt, WHOA,

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Speaker 1: what is this and how am I going to get

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Speaker 1: in this? Because that's when, you know, that was twenty

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Speaker 1: nineteen ninety niney two thousand, when movie stars were starting

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Speaker 1: to do TV pretty regularly, and I thought, man, we're

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Speaker 1: gonna have to fight off a lot of movie stars

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Speaker 1: to get this role. So and that helped me with

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Speaker 1: the audition because I just I didn't care because I

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Speaker 1: knew I wasn't getting it, so I just kind of

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Speaker 1: let it off lie anyway, right, you know, the dumb

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Speaker 1: courage of the truly burnout. And it kind of worked out.

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Speaker 2: But well, I gotta I just want to interject that

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Speaker 2: the way you play Luke is so critical to the

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Speaker 2: show because there's so much going on.

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Speaker 4: There's so much action, and.

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Speaker 2: Then we can go to the diner and just take

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Speaker 2: a break and have your you know, your kind of setting,

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Speaker 2: you know, your cool vibe. Slow down, everybody, everything's good,

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Speaker 2: We're okay here, take a break, have a couple of coffee,

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Speaker 2: which will speed you up later on.

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Speaker 4: But in the meantime, you really need that counterbalance to

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Speaker 4: to so people can take a breather. Yeah.

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Speaker 3: In point, Scott, I don't think we've talked about that

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Speaker 3: that Adam's making that when you do go into the diner,

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Speaker 3: it is a little bit of a I can catch

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Speaker 3: up for a second, I can breathe, I can. It's dry,

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Speaker 3: You're so your performance is so sarcastic and dry, even

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Speaker 3: in this one interesting hat interesting hat like it's just

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Speaker 3: even in this episode, even though you're in just a

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Speaker 3: couple of scenes, they're so crucial.

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Speaker 1: I got very lucky, That's all I'll say. I got

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Speaker 1: very lucky.

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Speaker 3: I always want to become a director. Adam like, did

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Speaker 3: you ever want to be an actor?

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Speaker 4: I don't.

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Speaker 3: I don't know if you ever acted like your dad

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Speaker 3: or if you always just you know, became a director.

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Speaker 4: Well.

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Speaker 2: I started off as a as an attorney. I went

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Speaker 2: to law school and practiced entertainment law for seven years.

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Speaker 3: Did you go to Berkeley?

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Speaker 4: Well? I went to Berkeley undergrad. I went, all right,

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Speaker 4: where'd you go to law school?

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Speaker 2: I went to law school in la at Loyola Gosz

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Speaker 2: practice music law for for several years and decided I'm

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Speaker 2: really wanted to do something more creative. Actually, it's interesting

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Speaker 2: because I started attending a class with a guy named

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Speaker 2: Jeff Corey, who was my dad's acting instructor, and just

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Speaker 2: to hang out because I was in between jobs and

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Speaker 2: that's when everything changed. And you know, I want I

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Speaker 2: always wanted to be a storyteller. I want to do

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Speaker 2: something more creative. And Scott, I read something in your

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Speaker 2: bio that you studied acting in New York under Arthur Penn.

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Speaker 4: Is that correct? Oh?

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Speaker 1: Sure, yeah. At the Actors Studio, Arthur Penn ran the

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Speaker 1: producer director unit. There was an acting unit on Tuesdays,

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Speaker 1: and then I think Thursday or Friday was the was

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Speaker 1: the producer director unit. And Paul Newman used to comment

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Speaker 1: and run it, and Arthur Penn used to come in

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Speaker 1: and run it, and I mean, yeah, we had all

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Speaker 1: kinds of just one.

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Speaker 2: Of my favorite directors of all time with that big man,

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Speaker 2: you know, miracle worker Bonnie Clyde amazing.

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Speaker 1: Yeah, you know I got to sit there and absorb

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Speaker 1: all that, you know, as an observer. I wasn't a

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Speaker 1: member yet. I mean it's very difficult to get in,

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Speaker 1: but to be around that was you know, critical, your likely. Yeah. Yeah,

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Speaker 1: so we established now this is the first Friday night

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Speaker 1: dinner if I am not.

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Speaker 3: And I thought Adam made interesting choices with the lighting too.

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Speaker 3: It was like really lit, I don't know if you

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Speaker 3: worked with the team on that, but it was like,

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Speaker 3: we really see Friday night dinner and it has this

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Speaker 3: sort of real vibe to it as we start the

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Speaker 3: episode with that, Yeah, those.

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Speaker 4: Are those are decisions I don't I don't really make.

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Speaker 4: I mean it was it's it's a dp's cinematography issue.

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Speaker 2: It's something that Amy would have had more say on.

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Speaker 2: You know, these kind of things are you know, the

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Speaker 2: look of the show is something that, uh that Amy

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Speaker 2: had a very specific idea of how she wanted it

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Speaker 2: to play out. And I and my job is just

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Speaker 2: to defer to her. It's her show, it's her vision.

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Speaker 2: You know, I've only coming in on episode three, so

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Speaker 2: I don't even know what's coming next. And you know,

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Speaker 2: and you know, it's it can be challenging in terms

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Speaker 2: of figuring out what, you know, trying to figure out

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Speaker 2: what she wants. And you know, that is the director's

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Speaker 2: job as a journeyman director, when you know, we're just

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Speaker 2: hired for three weeks to prep and shoot the show,

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Speaker 2: to find out what is the writer, you know, showrunner's

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Speaker 2: vision for the show. And and and that's where you know,

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Speaker 2: I try to have as much communication as I could

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Speaker 2: with Amy. I would just refer to her, what the

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Speaker 2: what the look is that she's going for?

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Speaker 3: Well, do you know her at all?

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Speaker 1: Sorry, go Scott, No, go ahead, go ahead.

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Speaker 3: Did you know her at all? Because what a unique

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Speaker 3: show to come on to sort of out of nowhere

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Speaker 3: and have to get in her head?

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Speaker 4: Yeah, I mean I don't.

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Speaker 2: I did not know her, and and I wished I

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Speaker 2: had come back to do more, you know, I did not.

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Speaker 2: I mean, look, it was it was kind of intense

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Speaker 2: because this is the first season. The creating a look

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Speaker 2: of the show, there's a lot of logistics, there's a

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Speaker 2: lot of pressure to crank out all those episodes for

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Speaker 2: the season.

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Speaker 4: It's a new crew. I think there were some crew issues.

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Speaker 2: Some things changed shortly after I was there, So there's

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Speaker 2: a lot of politics involved.

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Speaker 4: It's very it can be very touch and go.

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Speaker 2: So you know, it can be very challenging for me

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Speaker 2: to know as a just a visiting director, you know,

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Speaker 2: what is the landscape here? And so it's it can

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Speaker 2: be very tricky. I mean, I've directed episodes from a

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Speaker 2: lot of first season shows and it's all over the map.

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Speaker 2: But this is a show that Amy was very had

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Speaker 2: a very tight grip on. She was very determined that

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Speaker 2: this show should succeed. They were very nervous about the

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Speaker 2: first season, you know, and getting the show off the ground,

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Speaker 2: and you know, and I just you know, they she

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Speaker 2: had a great staff, she had great productions that mel

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Speaker 2: FROs and gavn blown.

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Speaker 4: I mean, these were guys who were very supportive and

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Speaker 4: knew what they were doing.

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Speaker 2: And for me, I just try to stay out of

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Speaker 2: everybody's way and defer to them.

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Speaker 1: The lack of close ups. Did you discuss that with Amy,

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Speaker 1: because they didn't really do close close close ups. It

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Speaker 1: was always like, you know, chest up at the most.

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Speaker 2: Yeah, or a lot of two shots to let the

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Speaker 2: two of them go. It's because you've start to find

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Speaker 2: that with that dialogue.

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Speaker 4: And we did it.

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Speaker 2: We did, you know, we did over the shoulders or

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Speaker 2: or we did medium close ups. We didn't do extreme

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Speaker 2: close ups. But it doesn't play It gets too claustrophobic,

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Speaker 2: especially if you're cutting back and forth like that.

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Speaker 4: You have to be loose.

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Speaker 1: Now.

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Speaker 2: A lot of times things just played out in the

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Speaker 2: two shot or the master a wider shot because it's

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Speaker 2: just going like that, you know, and it just plays

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Speaker 2: better with the two of them in the frame, I.

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Speaker 1: Thought, especially in some of the diner scenes they did

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Speaker 1: when we had steady camp Steve doing the whole thing,

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Speaker 1: and it was like an eight or a ten page

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Speaker 1: because we actually did have eight to ten page scenes,

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Speaker 1: if you can believe it, with all that dialogue that's crazy. Yeah,

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Speaker 1: and they let it play in just that steadycam shot.

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Speaker 1: So it was it really felt quite often like you

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Speaker 1: were doing theater because of course everything had to come

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Speaker 1: together in one take, in one shot, because that was

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Speaker 1: going to be the setup.

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Speaker 2: Well, it's very economical to do things that way, and

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Speaker 2: sometimes it works if you have enough action or the

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Speaker 2: dialogue is happening, and and yeah, you've got to rely

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Speaker 2: on people to play it like it's live.

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Speaker 4: TV or theater and that and that you know is

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Speaker 4: you know that that attests.

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Speaker 2: To the quality of your talent, that you guys have

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Speaker 2: the rhythm, that you know your lines, you know where

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Speaker 2: you need to be, and you're on it for the

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Speaker 2: whole thing.

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Speaker 4: It's it's very challenging.

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Speaker 1: Those were the most exciting days. Those are my favorite

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Speaker 1: days inside of Luke Steiner is doing those long scenes

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Speaker 1: with steadycam. Steve Clancy, the man and just you know,

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Speaker 1: trying to nail it again and again and again because

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Speaker 1: you had to shoot those a lot because they weren't

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Speaker 1: doing any coverage. It's like the pressure's on to do

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Speaker 1: this thing. And they were so fun, they were so

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Speaker 1: fun to do.

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Speaker 3: Oh man, this episode has just got so much in it.

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Speaker 3: You're shooting an entire wedding and dance dance number and

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Speaker 3: dance number. Well then also shooting an entire thing at

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Speaker 3: a golf course, like you know, Rory and her grandfather

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Speaker 3: are really walking the course and you have all that

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Speaker 3: and then they go and you know, you've got the

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Speaker 3: steam room and there's the country club stuff. It just

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Speaker 3: must have been a massive undertaking. And this is that

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Speaker 3: first episode where we realize like this show's big, because

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Speaker 3: we get many more episodes like this through the seven seasons.

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Speaker 4: Well, it is big.

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Speaker 2: Production for episode three of me. It was big production

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Speaker 2: for the pilot. I can't believe all the stuff they

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Speaker 2: crammed into the pilot. I mean there's a lot, like

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Speaker 2: a lot of the street stuff is you know, it

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Speaker 2: takes time. There's a lot of extras. You've got, you know,

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Speaker 2: a lot of elements going on there. Yeah, I mean

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Speaker 2: we Look, I was lucky. We had a great crew,

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Speaker 2: great you know, assistant director, uh, great producing support to

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Speaker 2: make it all happen, you know, great.

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Speaker 4: Casting, Uh you know, uh, director, you know, we just do.

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Speaker 2: Were a lot of things that were really working for

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Speaker 2: us to make the show possible.

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Speaker 3: Director, do you bring anyone with you? Like or do

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Speaker 3: you just you're the guy that shows up and the

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Speaker 3: crew is all there?

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Speaker 4: Like, yeah, who's all there? I'm just I'm just a guest,

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Speaker 4: you know.

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Speaker 2: And part of my job is like just to you know,

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Speaker 2: dodge the bullets sometimes, uh, and just show up and

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Speaker 2: do the best job I can. And there were things

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Speaker 2: I learned on this show that were very valuable for me,

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Speaker 2: you know, there were there were some performance things that

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Speaker 2: I learned about the about the show and about directing,

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Speaker 2: and and we can talk about that.

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Speaker 4: So are we going to be looking at the episode

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Speaker 4: or we are We're just gonna we're just talking about

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Speaker 4: kind of talking.

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Speaker 3: Yeah, just talking.

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Speaker 2: There's a couple of things. Yeah, there's a couple of

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Speaker 2: things that I want to mention, uh, in the episode

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Speaker 2: that I directed. So what's happening at the end is

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Speaker 2: that they're they're having a wedding.

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Speaker 4: Yeah, and the wedding.

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Speaker 2: Is two uh uh, you know brides who are twins,

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Speaker 2: mirroring twin groans, you know, and the mother of the

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Speaker 2: twin brides has issues with with her daughters.

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Speaker 4: That's that's part of the setup. She's she's not there there.

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Speaker 2: There's difficulty, there's conflict there, and it mirrors what's going on.

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Speaker 4: With with Laurel I and her mother Emily mh.

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Speaker 2: And the thing I missed and that I talked about

387
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Speaker 2: this with Lauren and it was like it was unfortunate

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Speaker 2: that I did not give her this note was that

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Speaker 2: that that Laurelized relationship with the mother of those brides

390
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Speaker 2: should have been more of closer, more of a mother

391
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Speaker 2: their daughter thing, more of what Laurel I was looking for,

392
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Speaker 2: and with her own mother, that she did not know

393
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Speaker 2: that these are performance issues. This is the kind of

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Speaker 2: thing that are then you know that this is the

395
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Speaker 2: things that that Jeff Corey taught in acting. This is

396
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Speaker 2: why I went to acting class to really discover what's deeper,

397
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Speaker 2: what's going on there, what's happening in the relationships. And

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Speaker 2: I talked about this with Lauren, but we had shot

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Speaker 2: most of it, and she said I wished I had.

400
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Speaker 4: Known that before, you know, the foregoing into because then

401
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Speaker 4: they could have made a connection that Laurel I is

402
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Speaker 4: looking for in her own life that she's missing. And

403
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Speaker 4: this is the type of performance things.

404
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Speaker 2: These are the kinds of notes that are that directors

405
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Speaker 2: search for so they can give good notes to actors.

406
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Speaker 2: You know, I don't want to it's not just you

407
00:20:44,320 --> 00:20:46,520
Speaker 2: know a lot of times in TV, it's moved here,

408
00:20:46,680 --> 00:20:49,640
Speaker 2: move there, say your line, say it quick, or say

409
00:20:49,640 --> 00:20:52,040
Speaker 2: it's slower, say it louder, softer, cut print.

410
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Speaker 4: We got to move on that.

411
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Speaker 2: That because there's because a lot of times directors don't

412
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Speaker 2: know what to say to an actor. And a lot

413
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Speaker 2: of actors have told me that their big complaint as

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Speaker 2: directors don't talk to them about their motivation, their objective,

415
00:21:03,920 --> 00:21:07,320
Speaker 2: what's at state, what's in their way? Yeah, I mean,

416
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Speaker 2: and this is something that This is why I went

417
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Speaker 2: to acting class with Jeff Corey, who you know is

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Speaker 2: a follower of the actors studio and method acting and

419
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Speaker 2: all the rest of them.

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Speaker 4: Mean, Jeff was in theater in New York. He started

421
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Speaker 4: out there.

422
00:21:18,400 --> 00:21:20,840
Speaker 2: He was much you know, senior to me, and so

423
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Speaker 2: he really had that kind of a background and these

424
00:21:23,240 --> 00:21:24,879
Speaker 2: are the kind and this is what I learned from

425
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Speaker 2: that episode. It's like, I can't you can pay so

426
00:21:28,200 --> 00:21:31,240
Speaker 2: much time to you know, how to how to block it,

427
00:21:31,359 --> 00:21:32,080
Speaker 2: how to shoot it.

428
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Speaker 4: These things are all important.

429
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Speaker 2: It's technique, but what's more important is what's going on

430
00:21:37,320 --> 00:21:39,560
Speaker 2: in front of the camera, is what is the story?

431
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Speaker 2: And Amy always delivered for me that story was very

432
00:21:43,240 --> 00:21:44,040
Speaker 2: tight to begin with.

433
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Speaker 4: And what's going on with performance, the.

434
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Speaker 2: Technique, how we shoot it, the steady cam stuff, that's

435
00:21:48,960 --> 00:21:50,840
Speaker 2: all important, but it's third.

436
00:21:50,640 --> 00:21:54,200
Speaker 4: In line, right, And this is something that I learned

437
00:21:54,240 --> 00:21:55,080
Speaker 4: with with Lauren.

438
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Speaker 2: It's like when when she said that she was she

439
00:21:57,000 --> 00:21:58,920
Speaker 2: was kind of disappointed I didn't give her that note

440
00:21:58,960 --> 00:22:01,639
Speaker 2: at the top of the show, and that's when I realized,

441
00:22:01,760 --> 00:22:04,520
Speaker 2: I need to really focus more on what is going

442
00:22:04,560 --> 00:22:07,920
Speaker 2: on with the characters, what actors need, what I can

443
00:22:07,960 --> 00:22:10,639
Speaker 2: help them with, you know, getting deeper in terms of

444
00:22:10,640 --> 00:22:12,720
Speaker 2: what their objectives are in the episode.

445
00:22:13,320 --> 00:22:17,439
Speaker 3: Fascinating because the episode really is what you're saying, you know,

446
00:22:17,840 --> 00:22:21,040
Speaker 3: the mother of the twins, in her relationship with the

447
00:22:21,080 --> 00:22:24,040
Speaker 3: daughters and how much she just despises them. Then we

448
00:22:24,080 --> 00:22:27,000
Speaker 3: have Emily's relationship with Lorilai, but there's a lot of

449
00:22:27,760 --> 00:22:32,600
Speaker 3: friction between Loralai and Rory in this episode as a

450
00:22:32,640 --> 00:22:36,920
Speaker 3: result of her sort of being drawn to her grandparents

451
00:22:37,280 --> 00:22:41,800
Speaker 3: and having this great day with her grandpa golfing and

452
00:22:41,840 --> 00:22:45,560
Speaker 3: how it irritates Loralai and we I mean, we have

453
00:22:46,000 --> 00:22:48,400
Speaker 3: its comedy, my boobs are bigger than yours, you know

454
00:22:48,520 --> 00:22:51,520
Speaker 3: all that in it. But you're so right that that

455
00:22:51,720 --> 00:22:55,640
Speaker 3: is really the core part of the episode.

456
00:22:55,880 --> 00:22:57,600
Speaker 4: Yeah, you want to find that. This is the point.

457
00:22:57,640 --> 00:22:59,280
Speaker 2: You want to find the heart, You want to find

458
00:22:59,280 --> 00:23:00,879
Speaker 2: out what the episode is really about. And this is

459
00:23:00,880 --> 00:23:03,080
Speaker 2: something I learned from my dad. It's like, what is

460
00:23:03,119 --> 00:23:04,200
Speaker 2: it about?

461
00:23:04,560 --> 00:23:05,639
Speaker 4: What's it really about?

462
00:23:06,040 --> 00:23:08,560
Speaker 2: And it really is laurel I struggle with her mother

463
00:23:08,760 --> 00:23:10,720
Speaker 2: and it's and the other thing that I wish we

464
00:23:10,720 --> 00:23:14,400
Speaker 2: could have found is some connection between Emily, Laureli's mother

465
00:23:14,440 --> 00:23:17,520
Speaker 2: and Laureli because there's just there's so much friction, there's

466
00:23:17,520 --> 00:23:18,080
Speaker 2: so much.

467
00:23:17,920 --> 00:23:21,520
Speaker 4: Conflict, and it's like, what happened? Is there nothing? Is

468
00:23:21,560 --> 00:23:23,840
Speaker 4: there no bond between the two of them, you know?

469
00:23:23,960 --> 00:23:25,920
Speaker 2: And the thing and the thing with this is what's

470
00:23:25,960 --> 00:23:28,000
Speaker 2: so great about the writing in terms of Laurelai and

471
00:23:28,119 --> 00:23:31,440
Speaker 2: Rory is yeah, there's conflict, but there's a love connection.

472
00:23:31,760 --> 00:23:35,880
Speaker 2: It's there, it's clear, and they and that's why they

473
00:23:35,880 --> 00:23:36,440
Speaker 2: can turn on.

474
00:23:36,400 --> 00:23:38,840
Speaker 4: A dime and you believe it.

475
00:23:38,400 --> 00:23:40,560
Speaker 2: Because you know that they care about each other. They

476
00:23:40,600 --> 00:23:43,640
Speaker 2: rely on each other, you know, and that's really important.

477
00:23:43,680 --> 00:23:45,960
Speaker 2: But what remained to be explored in my episode, which

478
00:23:45,960 --> 00:23:48,680
Speaker 2: we just didn't do, was how Laura I could relate

479
00:23:48,760 --> 00:23:51,040
Speaker 2: to the mother of these brides on a on a

480
00:23:51,200 --> 00:23:54,479
Speaker 2: mother daughter level, to have a surrogate mother, so to speak,

481
00:23:54,600 --> 00:23:56,920
Speaker 2: and also if we could have found something between her

482
00:23:57,000 --> 00:24:00,959
Speaker 2: and her own mother, just just a moment of tenderness

483
00:24:01,000 --> 00:24:02,720
Speaker 2: to break up some of the conflict that was.

484
00:24:02,680 --> 00:24:04,040
Speaker 4: Going on throughout the whole episode.

485
00:24:05,200 --> 00:24:07,120
Speaker 1: That is, you know, there was a nice moment when

486
00:24:07,160 --> 00:24:09,199
Speaker 1: she ran up and hugged Laura I for putting on

487
00:24:09,280 --> 00:24:11,160
Speaker 1: such a beautiful wedding, and she was a little drunk,

488
00:24:11,200 --> 00:24:13,879
Speaker 1: and that actress was fabulous. She was just she was

489
00:24:14,000 --> 00:24:15,359
Speaker 1: so good, She was so great.

490
00:24:15,520 --> 00:24:20,280
Speaker 3: She la she loves Laura. She just hated her own daughters, right.

491
00:24:20,160 --> 00:24:22,920
Speaker 2: No, but but Lauren should have you know, it would

492
00:24:22,960 --> 00:24:25,760
Speaker 2: have been a great moment for Lauren to realize, Wow,

493
00:24:26,280 --> 00:24:28,400
Speaker 2: I wish I had a mom like her. I mean,

494
00:24:28,480 --> 00:24:30,720
Speaker 2: you know, I wish I could relate to my own mother.

495
00:24:30,920 --> 00:24:33,080
Speaker 2: But that's the whole thing is sometimes, you know, Laurla

496
00:24:33,320 --> 00:24:36,280
Speaker 2: is not that woman's daughter. And I had the same

497
00:24:36,320 --> 00:24:39,240
Speaker 2: experience with my dad. I mean sometimes Leonard was a

498
00:24:39,359 --> 00:24:41,200
Speaker 2: very complicated guy to love. Let me tell you. I

499
00:24:41,240 --> 00:24:43,800
Speaker 2: mean I love Leonard, but loving him was complicated. Loving

500
00:24:43,840 --> 00:24:46,159
Speaker 2: Spock I had no trouble with. I loved fac I

501
00:24:46,200 --> 00:24:49,600
Speaker 2: loved Star Trek from the get go. Loving Leonard super

502
00:24:49,640 --> 00:24:50,520
Speaker 2: complicated me.

503
00:24:50,840 --> 00:24:53,040
Speaker 3: That's interesting to you. Do you talk about that in

504
00:24:53,080 --> 00:24:56,000
Speaker 3: your books? You have to two books kind of that

505
00:24:56,119 --> 00:25:00,600
Speaker 3: address it, right, your human Yeah.

506
00:25:00,520 --> 00:25:03,520
Speaker 2: It's the most human reconciling with my father, Leonard Nimoy,

507
00:25:03,840 --> 00:25:06,280
Speaker 2: And it was this whole dilemma that the same thing

508
00:25:06,280 --> 00:25:08,960
Speaker 2: that Laurela is going through is how do you relate

509
00:25:09,000 --> 00:25:13,840
Speaker 2: with a parent when there's just there's conflict, there's you know,

510
00:25:14,119 --> 00:25:18,120
Speaker 2: communication issues, there's dysfunction. How do you do it? How

511
00:25:18,119 --> 00:25:21,080
Speaker 2: do you keep going back to it? What's the formula?

512
00:25:21,160 --> 00:25:23,240
Speaker 2: I mean for me, it was just you know playing.

513
00:25:23,440 --> 00:25:25,959
Speaker 2: You know, I'm very honest about this. It's twelve step recovery.

514
00:25:25,960 --> 00:25:28,320
Speaker 2: I've been in recovery for twenty years and I needed

515
00:25:28,320 --> 00:25:29,840
Speaker 2: that to figure out a way to get back to

516
00:25:29,880 --> 00:25:32,920
Speaker 2: my dad, because it was just impossible between the two

517
00:25:32,920 --> 00:25:34,920
Speaker 2: of us. So and that's the other thing about the

518
00:25:34,960 --> 00:25:36,920
Speaker 2: episode that really spoke to me. And this is something

519
00:25:36,960 --> 00:25:39,359
Speaker 2: that my dad taught me when I was learning how

520
00:25:39,359 --> 00:25:42,320
Speaker 2: to direct after having practiced law for seven years, is

521
00:25:42,359 --> 00:25:45,600
Speaker 2: that you have to find some personal connection to the material.

522
00:25:45,960 --> 00:25:47,440
Speaker 4: You must find something.

523
00:25:47,800 --> 00:25:51,000
Speaker 2: He had a personal connection to Spot because Bock was

524
00:25:51,040 --> 00:25:54,159
Speaker 2: his whole life being an outsider, being the alien my

525
00:25:54,240 --> 00:25:57,640
Speaker 2: dad came from, you know, the immigrant parents in Boston,

526
00:25:57,680 --> 00:25:59,840
Speaker 2: Massachusetts that came to la with nothing.

527
00:26:00,160 --> 00:26:03,040
Speaker 4: He was a total outsider. That Spock all the way.

528
00:26:03,119 --> 00:26:05,960
Speaker 4: He's an outsider. He's a loner, he's an introvert.

529
00:26:06,040 --> 00:26:08,520
Speaker 3: He's nervy, cold, little bit cold.

530
00:26:08,520 --> 00:26:10,800
Speaker 2: Yeah, distant, which you know, which is what I had

531
00:26:10,800 --> 00:26:12,480
Speaker 2: to deal with growing up with this guy.

532
00:26:12,560 --> 00:26:14,440
Speaker 4: I mean, you know, my dad was that way to

533
00:26:14,480 --> 00:26:14,800
Speaker 4: begin with.

534
00:26:14,880 --> 00:26:16,720
Speaker 2: And now I got Spock living with me, and it

535
00:26:16,840 --> 00:26:20,159
Speaker 2: made it even more complicated. But but my point is

536
00:26:20,200 --> 00:26:22,680
Speaker 2: that you and this is something I learned from my

537
00:26:22,760 --> 00:26:23,840
Speaker 2: dad and so valuable.

538
00:26:24,119 --> 00:26:26,360
Speaker 4: You've got to find a personal connection with material.

539
00:26:26,600 --> 00:26:29,320
Speaker 2: You've got to because then you can be very specific

540
00:26:29,320 --> 00:26:31,760
Speaker 2: about what it is you're trying to say, what is

541
00:26:31,760 --> 00:26:34,320
Speaker 2: the episode about, what's the theme about, what is the

542
00:26:34,320 --> 00:26:36,320
Speaker 2: moral of the story, And it just gets and the

543
00:26:36,320 --> 00:26:37,760
Speaker 2: more specific you are, the more.

544
00:26:37,640 --> 00:26:38,760
Speaker 4: People can relate to it.

545
00:26:39,000 --> 00:26:41,040
Speaker 2: Now I can relate to that, you know, Laurel I

546
00:26:41,119 --> 00:26:44,600
Speaker 2: because she's got trouble with her mother and a lot

547
00:26:44,600 --> 00:26:47,800
Speaker 2: of people have that kind of dysfunction, and you know,

548
00:26:47,880 --> 00:26:50,159
Speaker 2: and that's what made the episode so special for me.

549
00:26:51,600 --> 00:26:55,440
Speaker 3: Wow, gosh, my head is exploding right now. I never

550
00:26:55,600 --> 00:26:58,320
Speaker 3: thought about I've read a bit about you and your

551
00:26:58,720 --> 00:27:03,200
Speaker 3: dad and downs and then ups, like things got much better.

552
00:27:03,280 --> 00:27:05,679
Speaker 3: I think, was your dad also in recovery or just you?

553
00:27:06,160 --> 00:27:07,119
Speaker 4: Yeah, my dad was.

554
00:27:07,240 --> 00:27:10,680
Speaker 2: He was an Now my dad was, say, my dad

555
00:27:10,720 --> 00:27:14,080
Speaker 2: was sober. He went sober. He talked with Bill Shatner

556
00:27:14,119 --> 00:27:17,760
Speaker 2: in an interview with Bill when they were talking that

557
00:27:17,840 --> 00:27:20,000
Speaker 2: he admitted that he had an alcohol problem. My dad

558
00:27:20,000 --> 00:27:22,119
Speaker 2: was an alcoholic. I was just your run of the

559
00:27:22,160 --> 00:27:25,879
Speaker 2: mill podhead. I was awakened, Baker, but that but the

560
00:27:25,880 --> 00:27:27,800
Speaker 2: fact that I was an anatin, he was an alcoholic

561
00:27:27,920 --> 00:27:29,639
Speaker 2: made our conflict even worse.

562
00:27:29,680 --> 00:27:31,840
Speaker 4: It just made the problem even worse.

563
00:27:31,960 --> 00:27:34,399
Speaker 2: And so it wasn't until I went into recovery in

564
00:27:34,440 --> 00:27:37,719
Speaker 2: two thousand and four. I'm twenty years ago that I

565
00:27:37,720 --> 00:27:39,960
Speaker 2: finally found some tools that I could use to figure

566
00:27:40,000 --> 00:27:42,119
Speaker 2: out a way to reconnect with my own dad. And

567
00:27:42,119 --> 00:27:44,320
Speaker 2: then's what you know. And I think Marline is searching

568
00:27:44,400 --> 00:27:47,000
Speaker 2: for that she I mean, the fact that she does

569
00:27:47,080 --> 00:27:49,320
Speaker 2: go to the dinner, she does went up with that,

570
00:27:49,840 --> 00:27:51,639
Speaker 2: and she does it for the benefit of Rory that

571
00:27:51,760 --> 00:27:54,360
Speaker 2: she needs, you know, the help, so that Laurie has

572
00:27:54,400 --> 00:27:56,760
Speaker 2: the opportunity that she just passed up on her own

573
00:27:56,800 --> 00:27:58,040
Speaker 2: because of her circumstance.

574
00:27:58,440 --> 00:27:59,680
Speaker 3: And she was so right.

575
00:28:00,119 --> 00:28:01,800
Speaker 4: Yeah, And I was that way too with my dad.

576
00:28:01,800 --> 00:28:03,800
Speaker 2: I would go back again and again and again trying

577
00:28:03,800 --> 00:28:05,520
Speaker 2: to figure out a way to connect with him, and

578
00:28:05,560 --> 00:28:08,520
Speaker 2: it never worked until I found the tools of recovery.

579
00:28:08,720 --> 00:28:10,680
Speaker 2: And I think Laurreal I is looking for some way

580
00:28:10,960 --> 00:28:12,359
Speaker 2: to get back to her folks as.

581
00:28:12,200 --> 00:28:15,440
Speaker 3: Well, sure, because she wouldn't have gone and asked them

582
00:28:15,440 --> 00:28:18,480
Speaker 3: for the money, which is sort of the impetus that

583
00:28:18,600 --> 00:28:22,320
Speaker 3: the whole show, right, and that her mother is so

584
00:28:22,520 --> 00:28:25,080
Speaker 3: clever to say, yeah, we'll give you the money. But

585
00:28:25,160 --> 00:28:29,080
Speaker 3: here's the deal, because her mother too is just craving

586
00:28:29,119 --> 00:28:31,679
Speaker 3: that connection like you're talking about, and even if she

587
00:28:31,720 --> 00:28:34,000
Speaker 3: has to manipulate it she's gonna find a way to

588
00:28:34,080 --> 00:28:38,120
Speaker 3: have it. And so and I think Laurlai is the same,

589
00:28:38,200 --> 00:28:41,800
Speaker 3: because look, if Laura Lai really didn't want any relationship

590
00:28:41,800 --> 00:28:44,400
Speaker 3: with him, she would have just kept Rory. It stars

591
00:28:44,400 --> 00:28:46,000
Speaker 3: hollow High, and that would have been that, and she

592
00:28:46,000 --> 00:28:49,479
Speaker 3: still would have gone to Harvard. Right, She's willing to

593
00:28:49,600 --> 00:28:52,680
Speaker 3: sort of use this as the excuse, like I need

594
00:28:52,680 --> 00:28:54,640
Speaker 3: this so she can go to Chilton. But it's like

595
00:28:56,280 --> 00:28:59,320
Speaker 3: it's not all bad between them. There's that core love,

596
00:28:59,320 --> 00:29:00,840
Speaker 3: which is sort of what you're saying, is that you

597
00:29:01,040 --> 00:29:05,080
Speaker 3: craved that relationship with your dad so much that you're like,

598
00:29:05,160 --> 00:29:07,120
Speaker 3: I'm going to go back again. Let me try again,

599
00:29:07,200 --> 00:29:09,760
Speaker 3: let me try again, let me forgure out what I

600
00:29:09,840 --> 00:29:11,360
Speaker 3: need to do with me too.

601
00:29:12,080 --> 00:29:13,880
Speaker 4: Yeah yeah, yeah, I mean I wish.

602
00:29:14,200 --> 00:29:16,640
Speaker 2: Yeah, this is the thing that there's there, you know,

603
00:29:16,960 --> 00:29:20,080
Speaker 2: And maybe it happens the later episodes where Loralai and Emily,

604
00:29:20,160 --> 00:29:23,720
Speaker 2: her mother, have some sort of reconciliation. But it's also

605
00:29:23,800 --> 00:29:26,920
Speaker 2: I mean, look, it's it's selfless on her part to

606
00:29:27,000 --> 00:29:28,440
Speaker 2: say I'm going to go to them to get the

607
00:29:28,480 --> 00:29:32,240
Speaker 2: money because it's for Rory, and that's really important and

608
00:29:32,240 --> 00:29:34,240
Speaker 2: and and this is what Laura, you know, comes to

609
00:29:34,320 --> 00:29:36,920
Speaker 2: understand at the end of the episode, it's important that

610
00:29:37,000 --> 00:29:40,200
Speaker 2: Rory have a relationship with her parents, with her grandparents.

611
00:29:41,160 --> 00:29:44,200
Speaker 4: And that's another self. That's why she said, great mom.

612
00:29:44,480 --> 00:29:47,120
Speaker 2: She's just waring because a lot of it is you know,

613
00:29:47,640 --> 00:29:50,959
Speaker 2: being you know, being the father of you know, four children.

614
00:29:51,000 --> 00:29:53,600
Speaker 4: Myself, I mean, you have to make a lot of sacrifices.

615
00:29:53,680 --> 00:29:54,520
Speaker 4: That's just the deal.

616
00:29:55,080 --> 00:29:57,920
Speaker 2: And you know, and Laura Wie made the ultimate sacrifice

617
00:29:57,920 --> 00:30:00,800
Speaker 2: and she she had Rory and and she you know,

618
00:30:01,000 --> 00:30:03,320
Speaker 2: and her life took a different turn and she and

619
00:30:03,360 --> 00:30:04,640
Speaker 2: she's doing the best she can to.

620
00:30:05,280 --> 00:30:06,800
Speaker 4: That's the great thing about the episode.

621
00:30:06,880 --> 00:30:09,720
Speaker 2: It's like she's going to persevere, she's going to succeed,

622
00:30:09,840 --> 00:30:11,840
Speaker 2: she's going to take care of her kid. She's got

623
00:30:11,880 --> 00:30:13,960
Speaker 2: a good job. You know, she has a good life.

624
00:30:14,000 --> 00:30:16,360
Speaker 2: She says that in the episode, I have a good life.

625
00:30:16,560 --> 00:30:18,280
Speaker 2: And that's you know, if you can get to that

626
00:30:18,320 --> 00:30:22,640
Speaker 2: point without playing the victim or you know, or complaining

627
00:30:23,040 --> 00:30:23,440
Speaker 2: or you.

628
00:30:23,320 --> 00:30:24,320
Speaker 4: Know, that's it.

629
00:30:24,440 --> 00:30:27,120
Speaker 2: It's just that's why that's why Laureli is so sympathetic

630
00:30:27,160 --> 00:30:29,440
Speaker 2: to me. You know, it's like, yeah, right on.

631
00:30:29,720 --> 00:30:30,600
Speaker 4: And that's the other.

632
00:30:30,440 --> 00:30:32,520
Speaker 2: Thing about the episode that I kind of realized, is

633
00:30:32,600 --> 00:30:36,320
Speaker 2: like there's there's like the power of women in the episode,

634
00:30:36,320 --> 00:30:38,560
Speaker 2: because they really drive you know.

635
00:30:38,560 --> 00:30:39,880
Speaker 4: They tribe a lot of the show.

636
00:30:40,080 --> 00:30:42,960
Speaker 2: I mean, you know, it's like, you know, it's Suki

637
00:30:43,080 --> 00:30:45,680
Speaker 2: and it's Laura Lai, and it's Rory and it's Emily.

638
00:30:46,120 --> 00:30:48,800
Speaker 4: You know, you know, they're all driving the show.

639
00:30:48,880 --> 00:30:52,040
Speaker 2: And when I was in prep, in pre production during

640
00:30:52,040 --> 00:30:54,360
Speaker 2: the show, outside of my office was.

641
00:30:54,320 --> 00:30:58,640
Speaker 4: A picture of the Pretenders, the band the Pretenders. Okay,

642
00:30:59,400 --> 00:31:00,160
Speaker 4: the Prench.

643
00:31:00,120 --> 00:31:04,479
Speaker 2: Tenderest is Chrissy Hind and I'm a huge fanatic. I

644
00:31:04,520 --> 00:31:06,920
Speaker 2: was a huge fanatic fan for her. And Chrissy Hind

645
00:31:07,080 --> 00:31:09,600
Speaker 2: was a woman in rock and roll who said, Okay, it's.

646
00:31:09,440 --> 00:31:13,640
Speaker 4: A man's world. I don't care. I'm here, I write songs.

647
00:31:13,720 --> 00:31:16,120
Speaker 4: I played kick ass rock and roll and you know,

648
00:31:16,240 --> 00:31:19,200
Speaker 4: and it's too freaking bad and go after yourselves. That's

649
00:31:19,200 --> 00:31:23,280
Speaker 4: all attitude. It's women power, and it's very strong.

650
00:31:23,480 --> 00:31:26,959
Speaker 2: It's really there, and and Amy brings it out perfectly

651
00:31:27,080 --> 00:31:29,720
Speaker 2: in this show. And I'm just like, I'm you know,

652
00:31:29,720 --> 00:31:31,160
Speaker 2: I'm so lucky just to be a part of that

653
00:31:31,240 --> 00:31:31,800
Speaker 2: kind of thing.

654
00:31:32,480 --> 00:31:35,640
Speaker 3: Scene with Emily and Richard, because Emily says, you will

655
00:31:35,680 --> 00:31:39,200
Speaker 3: take this little girl golfing, you will get her lunch,

656
00:31:39,440 --> 00:31:42,960
Speaker 3: you will do this, or so help me don't jump home, like.

657
00:31:43,240 --> 00:31:46,600
Speaker 1: Right right, it seems like Emily knows what's best. It's

658
00:31:46,680 --> 00:31:50,000
Speaker 1: just her style is a bit abrasive when she's forcing

659
00:31:50,040 --> 00:31:52,960
Speaker 1: the issue. But she ain't wrong, you know, right, No,

660
00:31:53,120 --> 00:31:54,080
Speaker 1: that's it.

661
00:31:54,400 --> 00:31:54,600
Speaker 4: Yes.

662
00:31:54,720 --> 00:31:58,360
Speaker 2: Also, the boundary issue is like, you know, it's like, well,

663
00:31:58,520 --> 00:32:01,600
Speaker 2: you know, Laurla is gonna come so far, and then otherwise,

664
00:32:01,640 --> 00:32:05,040
Speaker 2: don't infringe on my you know, and stay out of

665
00:32:05,080 --> 00:32:05,600
Speaker 2: my stuff.

666
00:32:16,520 --> 00:32:22,280
Speaker 3: Loralize own insecurity that Rory will get too close to them,

667
00:32:22,360 --> 00:32:25,760
Speaker 3: and she really grapples. This episode is a lot of fun,

668
00:32:25,840 --> 00:32:28,960
Speaker 3: but it really is meaty too, because she has to

669
00:32:28,960 --> 00:32:31,640
Speaker 3: sort of navigate her own insecurity about it all and

670
00:32:31,760 --> 00:32:35,440
Speaker 3: realize like she's doing a disservice to her daughter if

671
00:32:35,520 --> 00:32:41,360
Speaker 3: she lets her own sort of angstiness or fear impact

672
00:32:41,480 --> 00:32:44,480
Speaker 3: that relationship she should have with her grandparents. And you

673
00:32:44,680 --> 00:32:48,480
Speaker 3: see that resolution there at the end when she's like,

674
00:32:50,120 --> 00:32:52,040
Speaker 3: you know, and it's so cute how they have that

675
00:32:52,080 --> 00:32:54,080
Speaker 3: resolution because she's like, are you trying to apologize? Do

676
00:32:54,080 --> 00:32:55,960
Speaker 3: you know what I mean? Like it's this great scene

677
00:32:55,960 --> 00:32:59,840
Speaker 3: with the two of them, and yeah, she puts herself

678
00:33:00,240 --> 00:33:03,320
Speaker 3: side for the good of her daughter.

679
00:33:03,920 --> 00:33:04,080
Speaker 4: Yeah.

680
00:33:04,120 --> 00:33:08,000
Speaker 2: I mean, Laurela I has her eccentricities, she has her foilables,

681
00:33:08,040 --> 00:33:11,200
Speaker 2: she has her character defects, you know, and she and

682
00:33:11,240 --> 00:33:14,640
Speaker 2: she's like accepted that about herself. But she's also got

683
00:33:14,680 --> 00:33:18,000
Speaker 2: self reflection when she knows that because she changes.

684
00:33:18,160 --> 00:33:18,920
Speaker 4: That's the whole thing.

685
00:33:19,000 --> 00:33:22,280
Speaker 2: We love these episodes when people change their attitude.

686
00:33:22,320 --> 00:33:25,280
Speaker 4: That's the great thing about drama. We want to you know,

687
00:33:25,320 --> 00:33:27,720
Speaker 4: the audience wants to see some change. And the fact

688
00:33:27,720 --> 00:33:29,120
Speaker 4: of the matter is Laurel I is.

689
00:33:29,080 --> 00:33:32,200
Speaker 2: Not She's not completely pig She's strong will, but she's

690
00:33:32,240 --> 00:33:35,840
Speaker 2: not pigheaded and she's not narrow minded. She has some

691
00:33:35,880 --> 00:33:39,680
Speaker 2: self reflection to say, Okay, I know this is good,

692
00:33:39,760 --> 00:33:42,640
Speaker 2: this is the right thing to do. I'm just feeling

693
00:33:42,680 --> 00:33:45,160
Speaker 2: a little left out. And that's the interesting thing about

694
00:33:45,160 --> 00:33:47,160
Speaker 2: the end of the episode, because I thought we shot

695
00:33:47,240 --> 00:33:50,000
Speaker 2: something and I wish I had time in New York

696
00:33:50,040 --> 00:33:50,960
Speaker 2: and I don't have access to it.

697
00:33:51,000 --> 00:33:52,880
Speaker 4: I think I still have the script. I thought that

698
00:33:53,080 --> 00:33:54,840
Speaker 4: was an outdoor.

699
00:33:54,360 --> 00:33:58,240
Speaker 2: Piece where we ended on Lorelei outside because she's That's

700
00:33:58,280 --> 00:34:00,920
Speaker 2: the whole thing. At the very end, It's like everybody

701
00:34:00,960 --> 00:34:03,120
Speaker 2: goes off to the library to look at this these

702
00:34:03,320 --> 00:34:07,959
Speaker 2: HL mention papers that that you know, Laura that Rory's

703
00:34:08,000 --> 00:34:10,880
Speaker 2: grandfather has for her, and her grandmother goes with her,

704
00:34:11,000 --> 00:34:15,080
Speaker 2: leaving Laurelai there alone. And that's a very important moment,

705
00:34:15,160 --> 00:34:19,160
Speaker 2: is that she's an outsider. Yes, but something I cut short.

706
00:34:19,239 --> 00:34:21,480
Speaker 2: I feel I think they may have cut off. I

707
00:34:21,480 --> 00:34:23,359
Speaker 2: thought there was a bigger ending to that. I would

708
00:34:23,400 --> 00:34:26,000
Speaker 2: have done something more about the fact, you know, a

709
00:34:26,080 --> 00:34:28,640
Speaker 2: push in on her, you know, as much of as

710
00:34:28,640 --> 00:34:30,560
Speaker 2: a close up as you can get, because there's no

711
00:34:30,880 --> 00:34:34,040
Speaker 2: it's just on her, it's just on Laura, to emphasize

712
00:34:34,040 --> 00:34:37,440
Speaker 2: that she's she's not she's an outsider in this dynamic

713
00:34:37,480 --> 00:34:41,000
Speaker 2: that's going on, and it's very difficult, it's very confusing,

714
00:34:41,040 --> 00:34:41,920
Speaker 2: it's very painful.

715
00:34:42,480 --> 00:34:44,799
Speaker 3: Yeah, and I think you accomplished it. We felt that,

716
00:34:44,920 --> 00:34:47,640
Speaker 3: we do feel that, And yes, it would be amazing

717
00:34:47,680 --> 00:34:50,600
Speaker 3: to see what you had shot her more of it,

718
00:34:50,640 --> 00:34:53,560
Speaker 3: But like I felt that, like, ooh.

719
00:34:52,960 --> 00:34:58,359
Speaker 1: To compliment the show some more, isn't it interesting, Adam,

720
00:34:58,400 --> 00:35:01,239
Speaker 1: How with just a tweet here and there and some

721
00:35:01,600 --> 00:35:06,239
Speaker 1: couple of scenes redone or reshuffled or whatever, that this

722
00:35:06,400 --> 00:35:12,520
Speaker 1: show could have easily been you know, called Emily's second

723
00:35:12,520 --> 00:35:14,720
Speaker 1: bite at the Apple. And it could be her show,

724
00:35:14,760 --> 00:35:16,680
Speaker 1: you know what I mean, Or it could be Rory's

725
00:35:16,719 --> 00:35:21,040
Speaker 1: show with a few adjustments and that and that. You know,

726
00:35:21,280 --> 00:35:26,360
Speaker 1: definitely it's Lauren's show, right, It's it's she's occupying inhabiting

727
00:35:26,400 --> 00:35:31,080
Speaker 1: all these different worlds, as I've stated previously on the podcast,

728
00:35:31,600 --> 00:35:34,640
Speaker 1: and she does it with such a plumb But that

729
00:35:34,640 --> 00:35:38,879
Speaker 1: could also and and and being you know, lead characters

730
00:35:38,880 --> 00:35:44,080
Speaker 1: and co leads Emily and Rory are just right there

731
00:35:44,160 --> 00:35:47,279
Speaker 1: as well, because they are also occupying these worlds, not

732
00:35:47,320 --> 00:35:51,680
Speaker 1: as many, but still they're doing a lot of These

733
00:35:51,719 --> 00:35:54,359
Speaker 1: three characters are doing the work of so many and

734
00:35:54,480 --> 00:35:57,160
Speaker 1: it's so much heavy lifting for the three of them.

735
00:35:58,280 --> 00:36:00,480
Speaker 2: Yeah, I mean, it's a really good point, Scott, that

736
00:36:00,520 --> 00:36:03,200
Speaker 2: you make, because the fact is, we do break point

737
00:36:03,239 --> 00:36:03,600
Speaker 2: of View.

738
00:36:03,760 --> 00:36:06,120
Speaker 4: It is not not every scene has Lauraa in it,

739
00:36:06,920 --> 00:36:10,000
Speaker 4: and the question, but but she's still driving the show.

740
00:36:10,440 --> 00:36:11,799
Speaker 4: That's why the writing is so.

741
00:36:11,840 --> 00:36:15,840
Speaker 1: Good, that's why.

742
00:36:14,239 --> 00:36:15,040
Speaker 4: It's so great.

743
00:36:15,080 --> 00:36:17,560
Speaker 2: And the other thing is that when we do break

744
00:36:17,600 --> 00:36:20,600
Speaker 2: point of View, the characters are so good that that

745
00:36:20,880 --> 00:36:21,759
Speaker 2: I don't mind it.

746
00:36:21,840 --> 00:36:23,680
Speaker 4: You don't mind it. You want you want to get

747
00:36:23,680 --> 00:36:25,000
Speaker 4: to know them a little more.

748
00:36:24,960 --> 00:36:27,600
Speaker 2: Even if it's Suky's you know, situation in the kitchen

749
00:36:27,680 --> 00:36:31,200
Speaker 2: or her love life or or you know Rory at school.

750
00:36:31,360 --> 00:36:33,839
Speaker 4: You know, these kind of things.

751
00:36:33,880 --> 00:36:36,600
Speaker 2: You get the characters are so good, they're so well written,

752
00:36:36,600 --> 00:36:39,640
Speaker 2: they're so fleshed out, and the talent is so good

753
00:36:40,120 --> 00:36:42,640
Speaker 2: that you you're okay to break point of view and

754
00:36:42,640 --> 00:36:44,680
Speaker 2: not be with Laura Li for a while because there's

755
00:36:44,680 --> 00:36:46,080
Speaker 2: so much interesting stuff going on.

756
00:36:46,840 --> 00:36:49,880
Speaker 3: Get some good Kirk moments in this. Michelle is amazing.

757
00:36:49,920 --> 00:36:52,879
Speaker 3: When Laura Li says, Michelle, you screeched, like there's these

758
00:36:53,040 --> 00:36:57,600
Speaker 3: little tiny one liners that are so great, and you're

759
00:36:57,640 --> 00:37:00,680
Speaker 3: really starting to care about those people too, right.

760
00:37:00,719 --> 00:37:03,400
Speaker 4: I mean it's the writing, it's I mean, I don't know,

761
00:37:04,000 --> 00:37:04,160
Speaker 4: you know.

762
00:37:04,239 --> 00:37:07,440
Speaker 2: Amy's a bit of a savant, you know, and I've

763
00:37:07,440 --> 00:37:08,480
Speaker 2: worked with David Kelly.

764
00:37:08,520 --> 00:37:11,560
Speaker 4: He's that way too. She has a knack for it.

765
00:37:11,560 --> 00:37:12,839
Speaker 4: It's a part of who she is.

766
00:37:13,320 --> 00:37:16,200
Speaker 2: She can throw this stuff out there, you know, she

767
00:37:16,200 --> 00:37:17,040
Speaker 2: she's on it.

768
00:37:17,200 --> 00:37:19,080
Speaker 4: And I wish I had, you.

769
00:37:19,000 --> 00:37:21,680
Speaker 2: Know, done some more work with her, because I love

770
00:37:21,760 --> 00:37:26,320
Speaker 2: that rhythm, I love that sensibility, I love that just intuitiveness.

771
00:37:26,440 --> 00:37:29,480
Speaker 2: I mean she knew what she was doing. There wasn't

772
00:37:29,480 --> 00:37:31,719
Speaker 2: a whole bunch of rewrites on my script, you know.

773
00:37:31,800 --> 00:37:33,279
Speaker 2: And I've been on a lot of shows where I'm

774
00:37:33,280 --> 00:37:38,200
Speaker 2: getting pages like that morning things are changing our dialogue, pomotions.

775
00:37:38,640 --> 00:37:40,759
Speaker 3: I love that you brought up Ally McBeal. We have

776
00:37:41,000 --> 00:37:45,600
Speaker 3: not ever really talked about Ali McBeal maybe once during

777
00:37:45,600 --> 00:37:49,680
Speaker 3: this podcast. There are some similarities between that show and

778
00:37:49,719 --> 00:37:51,319
Speaker 3: this show, and this is the I'm having sort of

779
00:37:51,320 --> 00:37:54,759
Speaker 3: like that aha moment, Like that was dramatic with a

780
00:37:54,800 --> 00:37:58,040
Speaker 3: lot of comedy, some weird quirks in that show too.

781
00:37:58,760 --> 00:38:01,279
Speaker 3: Just really interesting that you're bringing that up, because that

782
00:38:01,440 --> 00:38:04,719
Speaker 3: is a and it was fast and it was fashion

783
00:38:04,880 --> 00:38:08,400
Speaker 3: and it was a lot of gilmoury Neis in a

784
00:38:08,440 --> 00:38:10,080
Speaker 3: different way in Ali McBeal.

785
00:38:10,719 --> 00:38:13,279
Speaker 4: Yeah, I mean I love these shows. I mean we

786
00:38:13,440 --> 00:38:14,280
Speaker 4: long for these shows.

787
00:38:14,320 --> 00:38:17,239
Speaker 2: Now there's for me, there's so much dystopia on the

788
00:38:17,320 --> 00:38:20,760
Speaker 2: air in the series, and this show has so much.

789
00:38:20,680 --> 00:38:22,200
Speaker 4: Heart and I just I missed that.

790
00:38:22,280 --> 00:38:24,759
Speaker 2: I craved that kind of thing, you know, Ali had

791
00:38:24,800 --> 00:38:27,200
Speaker 2: it and this show has it, and it's you know again,

792
00:38:27,320 --> 00:38:30,480
Speaker 2: it's just this combination of like comedy that is funny,

793
00:38:30,560 --> 00:38:33,040
Speaker 2: it's witty, with a with a heart to it and

794
00:38:33,120 --> 00:38:37,640
Speaker 2: a message and a moral and really serious uh, you know,

795
00:38:37,719 --> 00:38:41,239
Speaker 2: relationship dynamics that we can relate to. You know, there's

796
00:38:41,239 --> 00:38:44,359
Speaker 2: a love interest, you know for LAURALI for Rory. I mean,

797
00:38:44,719 --> 00:38:47,120
Speaker 2: there's just so much going on on so many different levels,

798
00:38:47,160 --> 00:38:49,040
Speaker 2: and I just missed that kind of TV.

799
00:38:49,680 --> 00:38:52,680
Speaker 3: Are you directing anything now that you love like this?

800
00:38:54,080 --> 00:38:54,160
Speaker 2: No?

801
00:38:54,400 --> 00:38:56,720
Speaker 4: Right now, I'm like running all over the country promoting

802
00:38:56,719 --> 00:38:57,080
Speaker 4: my book.

803
00:38:57,520 --> 00:38:57,719
Speaker 3: Yeah.

804
00:38:58,080 --> 00:39:01,240
Speaker 4: No, I've been everywhere. So that's my focus at the moment.

805
00:39:01,280 --> 00:39:04,040
Speaker 4: And I have another book coming out and it's it's

806
00:39:04,080 --> 00:39:05,360
Speaker 4: just about sticking with the writing.

807
00:39:05,960 --> 00:39:06,719
Speaker 3: What's the next book?

808
00:39:07,120 --> 00:39:08,399
Speaker 4: The next book? I died?

809
00:39:08,600 --> 00:39:12,960
Speaker 2: Unfortunately, my agent and my publicist have havend me and

810
00:39:13,080 --> 00:39:15,080
Speaker 2: asked me not to go because we have not fleshed

811
00:39:15,120 --> 00:39:17,520
Speaker 2: it out. But I mean, look, writing is something that's

812
00:39:17,719 --> 00:39:18,680
Speaker 2: I've always wanted to do.

813
00:39:19,840 --> 00:39:21,440
Speaker 4: I've been journaling all my life.

814
00:39:21,760 --> 00:39:25,040
Speaker 2: I published a first memoir back in eight Uh didn't

815
00:39:25,080 --> 00:39:28,120
Speaker 2: really So this one just came out in June. Seems

816
00:39:28,120 --> 00:39:30,719
Speaker 2: to be getting much more traction, you know, in terms

817
00:39:30,760 --> 00:39:31,400
Speaker 2: of my relationship.

818
00:39:31,400 --> 00:39:34,360
Speaker 3: And I ask you, did, has this book been healing

819
00:39:34,520 --> 00:39:34,879
Speaker 3: for you?

820
00:39:35,080 --> 00:39:35,200
Speaker 4: Like?

821
00:39:35,640 --> 00:39:38,000
Speaker 3: You know, I know you lost your dad, and that

822
00:39:38,080 --> 00:39:41,600
Speaker 3: makes I still think about your dad. You know, he

823
00:39:41,800 --> 00:39:44,840
Speaker 3: meant a lot to you know. I took a classic

824
00:39:44,920 --> 00:39:47,839
Speaker 3: cal about Star Trek, like a lot of things that

825
00:39:47,960 --> 00:39:51,680
Speaker 3: were really brilliant and about him. Has this book been

826
00:39:51,719 --> 00:39:54,240
Speaker 3: healing for you and talking about it and sharing?

827
00:39:55,480 --> 00:39:56,680
Speaker 4: Yeah, just by writing it.

828
00:39:56,760 --> 00:40:00,000
Speaker 2: Yeah, I mean it's it's really it's been really interesting

829
00:40:00,160 --> 00:40:04,120
Speaker 2: processing everything about my relationship with my dad. Look, a

830
00:40:04,160 --> 00:40:06,319
Speaker 2: couple of things which became clear to me. Number one,

831
00:40:06,400 --> 00:40:08,680
Speaker 2: I was lucky we reconciled because the last seven or

832
00:40:08,719 --> 00:40:10,960
Speaker 2: eight years of his life I was really close to him,

833
00:40:11,520 --> 00:40:13,640
Speaker 2: so much so that I had some personal tragedy I

834
00:40:13,680 --> 00:40:16,239
Speaker 2: was dealing with, and my dad finally became the father

835
00:40:16,320 --> 00:40:18,399
Speaker 2: I needed him to be. This was the problem when

836
00:40:18,400 --> 00:40:21,400
Speaker 2: I was growing up. He was so determined to succeed.

837
00:40:21,480 --> 00:40:24,239
Speaker 2: He was so desperate. I mean, not unlike Laurel I.

838
00:40:24,239 --> 00:40:26,600
Speaker 2: I mean my dad was just like you know, and

839
00:40:26,640 --> 00:40:30,160
Speaker 2: his parents did not support him. They were Russian immigrants,

840
00:40:30,200 --> 00:40:32,400
Speaker 2: and they wanted him to go become a doctor or a lawyer.

841
00:40:32,719 --> 00:40:34,360
Speaker 2: And when he said he wanted to become an actor,

842
00:40:34,600 --> 00:40:36,920
Speaker 2: it was like telling them he wanted to join the circus.

843
00:40:36,920 --> 00:40:39,120
Speaker 4: They were appalled and they didn't give him any help.

844
00:40:39,160 --> 00:40:41,720
Speaker 2: So he came to La at Aha team with nothing,

845
00:40:42,320 --> 00:40:44,640
Speaker 2: and seven years later he had a family of four

846
00:40:44,719 --> 00:40:46,960
Speaker 2: to support while he's going out on auditions trying to

847
00:40:46,960 --> 00:40:50,120
Speaker 2: get this acting career going. So two things that really

848
00:40:50,480 --> 00:40:53,200
Speaker 2: had become much more apparent to me. Number one, much

849
00:40:53,239 --> 00:40:55,400
Speaker 2: more empathy for my dad and in terms of what

850
00:40:55,480 --> 00:40:59,160
Speaker 2: he managed to accomplish with incredible odds against him, you know.

851
00:40:59,239 --> 00:41:02,560
Speaker 4: And number two, gratitude that we figured it out. Yeah,

852
00:41:02,600 --> 00:41:05,160
Speaker 4: and I don't have any regrets. We're so lucky we

853
00:41:05,200 --> 00:41:06,600
Speaker 4: figured it out and we were so close.

854
00:41:06,760 --> 00:41:08,680
Speaker 2: But by then you have to also understand that he

855
00:41:08,840 --> 00:41:12,319
Speaker 2: was slowing down and family was finally a priority to him.

856
00:41:12,920 --> 00:41:16,400
Speaker 2: He even changed completely by then. You know, when I

857
00:41:16,440 --> 00:41:18,480
Speaker 2: was growing up, family was not on the radar. It

858
00:41:18,600 --> 00:41:22,040
Speaker 2: was his desperation to succeed, you know, and and work.

859
00:41:22,239 --> 00:41:24,719
Speaker 2: And even with the success in Star Trek, he did

860
00:41:24,719 --> 00:41:26,920
Speaker 2: not stop. He was he was after that, it was

861
00:41:27,000 --> 00:41:29,839
Speaker 2: right into Mission Impossible for two seasons. It was his

862
00:41:29,920 --> 00:41:33,240
Speaker 2: recording career, in his photography career and his theater career.

863
00:41:33,320 --> 00:41:36,399
Speaker 2: I mean that man was driven and determined and nothing

864
00:41:36,440 --> 00:41:37,080
Speaker 2: could stop him.

865
00:41:37,120 --> 00:41:39,000
Speaker 4: He was really a true renaissance.

866
00:41:38,520 --> 00:41:42,640
Speaker 3: Man, you were Alie, you were born before he was spocked?

867
00:41:42,760 --> 00:41:44,000
Speaker 3: Is that right? I don't want to I don't want

868
00:41:44,000 --> 00:41:44,200
Speaker 3: to tell.

869
00:41:44,280 --> 00:41:44,680
Speaker 4: Yeah, I was.

870
00:41:45,400 --> 00:41:48,080
Speaker 2: I was born in fifty I was born in fifty six.

871
00:41:48,200 --> 00:41:49,759
Speaker 2: Star Trek went on the air in sixty six.

872
00:41:49,840 --> 00:41:52,440
Speaker 3: Another thing, I'm here old enough to know, like, oh

873
00:41:52,480 --> 00:41:56,880
Speaker 3: my gosh, my whole life just changed. My dad is shamous.

874
00:41:57,239 --> 00:41:58,880
Speaker 4: Yeah, I've changed our life dramatic.

875
00:41:58,920 --> 00:42:01,120
Speaker 2: I was ten years old and and we instead of

876
00:42:01,160 --> 00:42:05,120
Speaker 2: becoming a struggling family with nothing, we were all of

877
00:42:05,160 --> 00:42:08,600
Speaker 2: a sudden, like in the Hollywood Christmas Parade.

878
00:42:10,080 --> 00:42:11,960
Speaker 3: I've seen the picture of you and your dad with

879
00:42:12,040 --> 00:42:14,080
Speaker 3: the ears, like you've got the spock here.

880
00:42:14,320 --> 00:42:17,720
Speaker 4: I was to him exactly. I was there with Spock.

881
00:42:17,800 --> 00:42:20,200
Speaker 4: It was. It was a pretty trippy and heady time. Look.

882
00:42:20,560 --> 00:42:22,959
Speaker 2: I talked about the fact that in nineteen sixty five,

883
00:42:23,239 --> 00:42:24,680
Speaker 2: my dad took my sister and I had to go

884
00:42:24,680 --> 00:42:26,520
Speaker 2: see the Christmas Parade in Hollywood Boulevard.

885
00:42:26,960 --> 00:42:27,800
Speaker 4: It was so prouded.

886
00:42:27,840 --> 00:42:30,399
Speaker 2: We couldn't even see it because we got there late,

887
00:42:30,640 --> 00:42:32,399
Speaker 2: and we made about of each other that we would

888
00:42:32,400 --> 00:42:34,719
Speaker 2: get there early and get a good seat. The next year, well,

889
00:42:34,760 --> 00:42:36,799
Speaker 2: the next year we were in it.

890
00:42:37,000 --> 00:42:40,560
Speaker 4: Crazy Wow, it was crazy everything.

891
00:42:40,840 --> 00:42:45,239
Speaker 3: You happy that he laid Spock and we could have

892
00:42:45,239 --> 00:42:48,040
Speaker 3: a whole conversation about that movie when he plays Spock

893
00:42:48,120 --> 00:42:52,279
Speaker 3: again with with Zachary and Chris Pine and the sort

894
00:42:52,320 --> 00:42:56,760
Speaker 3: of real deep meaning in what that what he brought

895
00:42:56,840 --> 00:43:00,720
Speaker 3: to that film and Spock in that movie.

896
00:43:01,920 --> 00:43:04,200
Speaker 4: Well, it was very important for my dad.

897
00:43:04,200 --> 00:43:06,160
Speaker 2: You have to understand that my dad was the only

898
00:43:06,239 --> 00:43:09,840
Speaker 2: actor in the original pilot episode of Star Trek. It

899
00:43:09,960 --> 00:43:12,080
Speaker 2: was just major Barrett was in the episode as a

900
00:43:12,080 --> 00:43:13,719
Speaker 2: different character. He played Nurse Chapel in the.

901
00:43:13,680 --> 00:43:16,040
Speaker 3: Series, so none of the rest were in it.

902
00:43:16,600 --> 00:43:18,759
Speaker 4: No, but it was only my dad. And then he

903
00:43:18,840 --> 00:43:21,840
Speaker 4: showed up in the jj Abrams iteration of Star Trek.

904
00:43:22,239 --> 00:43:24,600
Speaker 4: That to him was very satisfying.

905
00:43:24,640 --> 00:43:26,920
Speaker 2: He was very proud that he was you know, he

906
00:43:27,000 --> 00:43:28,799
Speaker 2: kind of bookended the whole experience.

907
00:43:31,239 --> 00:43:32,680
Speaker 3: Yeah, it was deep.

908
00:43:33,040 --> 00:43:34,560
Speaker 4: Yeah, yeah, I mean there was.

909
00:43:34,600 --> 00:43:37,080
Speaker 2: I mean he told me that that when he when

910
00:43:37,080 --> 00:43:39,080
Speaker 2: he showed up on the set as Spot for the

911
00:43:39,120 --> 00:43:42,719
Speaker 2: first time, they all applauded him. I was not there,

912
00:43:42,800 --> 00:43:46,600
Speaker 2: but just think about that heavy moment. That's a heavy moment.

913
00:43:47,200 --> 00:43:48,839
Speaker 2: So you know, it was a very big deal.

914
00:43:48,840 --> 00:43:50,440
Speaker 4: It was a very big We were all look I

915
00:43:50,480 --> 00:43:51,600
Speaker 4: was always proud of my dad.

916
00:43:51,600 --> 00:43:54,640
Speaker 2: That was never an issue. I really loved what he

917
00:43:54,680 --> 00:43:58,080
Speaker 2: had accomplished. I really respected what he had accomplished. I mean,

918
00:43:58,200 --> 00:44:00,759
Speaker 2: we had interpersonal problems that I had to deal with,

919
00:44:01,000 --> 00:44:03,440
Speaker 2: but would I would not change a thing. I was

920
00:44:03,520 --> 00:44:06,239
Speaker 2: just you know, and he was very I think, satisfied

921
00:44:06,280 --> 00:44:08,800
Speaker 2: with what he had, you know, what he had accomplished

922
00:44:08,880 --> 00:44:09,520
Speaker 2: during his life.

923
00:44:09,560 --> 00:44:14,880
Speaker 4: So you know, for me, it was it was a

924
00:44:14,960 --> 00:44:17,320
Speaker 4: very satisfying moment and satisfied.

925
00:44:16,880 --> 00:44:18,680
Speaker 2: To be able to honor my dad. We went back

926
00:44:18,719 --> 00:44:21,440
Speaker 2: to Boston, actually together. I hired a camera crew and

927
00:44:21,480 --> 00:44:23,359
Speaker 2: we walked through the streets of Boston's We could talk

928
00:44:23,360 --> 00:44:25,560
Speaker 2: about what his life was like growing up there as

929
00:44:25,600 --> 00:44:25,919
Speaker 2: a kid.

930
00:44:35,000 --> 00:44:38,120
Speaker 3: Do you have a documentary sort of about your dad? Right?

931
00:44:38,320 --> 00:44:40,759
Speaker 3: And I don't know if it touches so much on

932
00:44:40,800 --> 00:44:43,160
Speaker 3: your relationship with each other, but more about him.

933
00:44:44,000 --> 00:44:47,560
Speaker 2: Yeah, it was focused mostly on him, with his relationship

934
00:44:47,600 --> 00:44:50,480
Speaker 2: to his parents and his life growing up there during

935
00:44:50,480 --> 00:44:52,480
Speaker 2: the Depression in the city of Boston, where he got

936
00:44:52,480 --> 00:44:55,359
Speaker 2: the acting bug and the city really molded my dad

937
00:44:55,480 --> 00:45:00,320
Speaker 2: really reinforced his desire because they had programs and he

938
00:45:00,360 --> 00:45:04,319
Speaker 2: worked with guys like Borisagaal and I'm trying to think

939
00:45:04,360 --> 00:45:08,439
Speaker 2: and Elliot Silverstein and guys who went on to direct TV,

940
00:45:08,920 --> 00:45:11,560
Speaker 2: who were also in Boston at the time, directing small

941
00:45:11,600 --> 00:45:13,400
Speaker 2: theater productions, some of which.

942
00:45:13,200 --> 00:45:16,160
Speaker 4: My father was in. He had a summer at Boston.

943
00:45:15,760 --> 00:45:19,960
Speaker 2: College doing an internship in the trauma department, you know,

944
00:45:20,040 --> 00:45:22,360
Speaker 2: and he learned how to hustle on the streets of Boston.

945
00:45:22,440 --> 00:45:25,440
Speaker 2: He was folding chairs at the Boston Pops and selling

946
00:45:25,480 --> 00:45:28,080
Speaker 2: newspapers on the Boston Common, and he worked in the

947
00:45:28,120 --> 00:45:30,560
Speaker 2: camera store, and he stole vacuum cleaners, and he worked

948
00:45:30,600 --> 00:45:32,080
Speaker 2: in the car chop and.

949
00:45:31,920 --> 00:45:36,000
Speaker 4: All of that. Those skills of how to be a hustler.

950
00:45:35,960 --> 00:45:38,480
Speaker 2: He brought with him to LA And that's exactly what

951
00:45:38,560 --> 00:45:40,240
Speaker 2: he did to support.

952
00:45:39,840 --> 00:45:41,239
Speaker 4: Our family exactly.

953
00:45:41,640 --> 00:45:41,879
Speaker 1: Yeah.

954
00:45:41,960 --> 00:45:45,600
Speaker 3: Did you ever have a conversation with Amy Amy Sherman Palladino,

955
00:45:46,080 --> 00:45:49,399
Speaker 3: because obviously somebody Amy or Dan I don't know, has

956
00:45:49,440 --> 00:45:52,680
Speaker 3: a real love for Star Trek because there are many

957
00:45:53,200 --> 00:45:57,000
Speaker 3: throughout the series Star Trek references, and I don't know

958
00:45:57,040 --> 00:46:00,239
Speaker 3: if that was, you know, maybe because you direct did

959
00:46:00,239 --> 00:46:02,480
Speaker 3: this early episode and she never forgot it, or if

960
00:46:02,520 --> 00:46:06,880
Speaker 3: she actually had a real passion because there are again

961
00:46:07,000 --> 00:46:09,200
Speaker 3: and again and again our star digressions.

962
00:46:09,360 --> 00:46:12,000
Speaker 4: I'm glad to hear that. Yeah, I mean that's lovely.

963
00:46:12,920 --> 00:46:15,799
Speaker 4: Oh yeah, we didn't. We never talked about it, certainly.

964
00:46:15,560 --> 00:46:18,640
Speaker 2: No, but as I, you know, as I would have

965
00:46:18,760 --> 00:46:20,680
Speaker 2: loved to have come back, because you know, I worked

966
00:46:20,719 --> 00:46:24,719
Speaker 2: with Milo in a series before he got to Gilmore Girls,

967
00:46:24,760 --> 00:46:26,600
Speaker 2: and he was just a kid. He was in a

968
00:46:26,640 --> 00:46:28,799
Speaker 2: show actually with Chris Evans. It was one of the

969
00:46:28,800 --> 00:46:32,279
Speaker 2: best things I'd ever directed. Also a first season show

970
00:46:32,320 --> 00:46:34,000
Speaker 2: that I don't even know if it aired. I mean,

971
00:46:34,000 --> 00:46:37,080
Speaker 2: it was so short lived, and it was such a

972
00:46:37,080 --> 00:46:41,359
Speaker 2: great experience to work with him and to see his trajectory.

973
00:46:41,400 --> 00:46:41,560
Speaker 4: You know.

974
00:46:41,640 --> 00:46:43,560
Speaker 2: This is the other thing that happened with my daughter.

975
00:46:43,880 --> 00:46:47,040
Speaker 2: We were at a restaurant in Santa Monica and she

976
00:46:47,239 --> 00:46:49,640
Speaker 2: recognized Milo and I said, I don't think that's him.

977
00:46:49,880 --> 00:46:52,160
Speaker 2: And we actually left the restaurant and she said, Dad,

978
00:46:52,200 --> 00:46:52,960
Speaker 2: that was Milo.

979
00:46:53,200 --> 00:46:55,560
Speaker 4: Go back and say hello to him. And we did.

980
00:46:55,719 --> 00:46:58,600
Speaker 2: We went back and this is after his whole stint,

981
00:46:58,680 --> 00:47:01,799
Speaker 2: you know, on Gilmore Girls. And I said Milo, hi,

982
00:47:01,840 --> 00:47:04,680
Speaker 2: and he said hi. He RECOGNI remembered me, He recognized me.

983
00:47:04,960 --> 00:47:07,200
Speaker 2: I introduced my daughter. She totally, you know, thought I

984
00:47:07,239 --> 00:47:09,759
Speaker 2: was the Bee's knees after that, and Milo said to

985
00:47:09,800 --> 00:47:12,279
Speaker 2: me that when when he was working with me, he was.

986
00:47:12,320 --> 00:47:15,719
Speaker 4: Just a kid. So it's so great to see, you know,

987
00:47:15,880 --> 00:47:16,480
Speaker 4: people like.

988
00:47:16,440 --> 00:47:19,200
Speaker 2: That who start out early in the business, how they grow,

989
00:47:19,320 --> 00:47:22,600
Speaker 2: how they succeed their determination. I mean, we've seen how

990
00:47:22,600 --> 00:47:25,000
Speaker 2: far Milo has come, how far Chris Sevens has come.

991
00:47:25,480 --> 00:47:26,640
Speaker 4: They're so fine for me.

992
00:47:27,440 --> 00:47:29,799
Speaker 3: Did you know when, sorry, Scott, I'm sorry, I need

993
00:47:29,800 --> 00:47:31,680
Speaker 3: to shut up because I'm talking too much. Unders No,

994
00:47:31,760 --> 00:47:34,239
Speaker 3: please please, did you know when you worked with all

995
00:47:34,280 --> 00:47:37,600
Speaker 3: these people, even just in this episode, like wow, like

996
00:47:38,000 --> 00:47:44,080
Speaker 3: Lauren Alexis, Melissa McCarthy, Scott, of course, all these people.

997
00:47:45,200 --> 00:47:47,160
Speaker 3: Could you see then that you're like wow?

998
00:47:49,280 --> 00:47:52,239
Speaker 4: Yeah, I mean the talent pool was huge. I mean,

999
00:47:52,280 --> 00:47:54,160
Speaker 4: this is the this is the part of the show.

1000
00:47:54,320 --> 00:47:55,960
Speaker 4: It was perfectly cast.

1001
00:47:56,400 --> 00:47:59,800
Speaker 2: Yeah, and that's critical. That's what Star Trek's all about. Really,

1002
00:48:00,239 --> 00:48:04,080
Speaker 2: it was perfectly cast. Finding this kind of chemistry that happens.

1003
00:48:04,160 --> 00:48:05,880
Speaker 4: We've seen a lot of great shows.

1004
00:48:06,120 --> 00:48:08,799
Speaker 2: You know, it does happen, but but you know, more

1005
00:48:08,800 --> 00:48:10,759
Speaker 2: often than not, it does not happen. I've worked on

1006
00:48:10,880 --> 00:48:14,520
Speaker 2: so many series that just didn't have it and didn't go.

1007
00:48:15,080 --> 00:48:18,280
Speaker 3: For that chemistry that all these people have even Sally

1008
00:48:18,360 --> 00:48:21,160
Speaker 3: Struthers and you know the beet.

1009
00:48:21,080 --> 00:48:21,719
Speaker 2: And and.

1010
00:48:24,360 --> 00:48:28,480
Speaker 1: It's Amy. It's Amy fighting for who she wanted because

1011
00:48:28,520 --> 00:48:34,600
Speaker 1: can you imagine the studio their reactions to some of

1012
00:48:34,640 --> 00:48:39,080
Speaker 1: these casting choices that she wanted to make, and they

1013
00:48:39,080 --> 00:48:42,320
Speaker 1: were talking to the big agencies with the big names,

1014
00:48:42,400 --> 00:48:45,319
Speaker 1: and they want to do it, and she rejected all

1015
00:48:45,400 --> 00:48:45,680
Speaker 1: of that.

1016
00:48:46,400 --> 00:48:50,000
Speaker 4: Yeah, not surprising. There's a woman with a vision and

1017
00:48:50,040 --> 00:48:51,320
Speaker 4: she's stuck to her gun.

1018
00:48:51,280 --> 00:48:54,800
Speaker 1: Right, and she fought, fought, fought for that show.

1019
00:48:55,600 --> 00:48:57,080
Speaker 4: This happened with Star Drek as well.

1020
00:48:57,120 --> 00:48:59,920
Speaker 2: You have to understand after the first pilot episode is

1021
00:49:00,120 --> 00:49:06,040
Speaker 2: art Trick, NBC wanted the entire cast replaced, including the

1022
00:49:06,080 --> 00:49:09,000
Speaker 2: guy with the ears, including the guy with the ears,

1023
00:49:09,920 --> 00:49:13,000
Speaker 2: and said, there's no way we're gonna We're gonna redo it.

1024
00:49:13,040 --> 00:49:14,480
Speaker 2: But I'm not We're not getting where of the fuck

1025
00:49:14,560 --> 00:49:15,960
Speaker 2: There's no way, right.

1026
00:49:15,800 --> 00:49:19,080
Speaker 3: I telling you, I have seen Okay, Star Trek four.

1027
00:49:19,160 --> 00:49:20,680
Speaker 3: I don't know if it's one of your favorites, but

1028
00:49:20,719 --> 00:49:22,960
Speaker 3: for me, I've seen them all right, but it is.

1029
00:49:23,320 --> 00:49:26,160
Speaker 3: I think I'm from San Francisco, so I particularly love

1030
00:49:26,680 --> 00:49:29,440
Speaker 3: that it was filmed here. We see so much of

1031
00:49:29,480 --> 00:49:32,319
Speaker 3: the city but it's what you're talking about. The chemistry

1032
00:49:32,480 --> 00:49:37,000
Speaker 3: between Whether they got along behind the scenes or not

1033
00:49:37,120 --> 00:49:40,160
Speaker 3: doesn't matter to me because the chemistry between them all

1034
00:49:40,640 --> 00:49:43,520
Speaker 3: is so evident in that movie. I have seen that

1035
00:49:43,560 --> 00:49:46,560
Speaker 3: movie twenty plus times. People should do their cells a

1036
00:49:46,600 --> 00:49:50,880
Speaker 3: favor their selves themselves. I don't speak English, but whoops,

1037
00:49:50,960 --> 00:49:53,640
Speaker 3: I went to calm. I want to go and watch

1038
00:49:53,719 --> 00:49:58,680
Speaker 3: that movie because it is it's so exactly what you're

1039
00:49:58,719 --> 00:50:01,759
Speaker 3: talking about. You just feel like these people love each other,

1040
00:50:01,840 --> 00:50:05,160
Speaker 3: they know each other. We're seeing the journey with Spock

1041
00:50:05,560 --> 00:50:09,360
Speaker 3: because he's you know, we've Spock's back, that his soul

1042
00:50:09,560 --> 00:50:13,080
Speaker 3: was in somebody else's body, I think Kirk's son. And

1043
00:50:13,160 --> 00:50:16,719
Speaker 3: there's the humor, but also the heart and the and

1044
00:50:16,760 --> 00:50:19,000
Speaker 3: then the action of course in the Whales. It's just

1045
00:50:19,120 --> 00:50:21,160
Speaker 3: it's just the best. It's the best movie.

1046
00:50:21,200 --> 00:50:21,399
Speaker 4: Yeah.

1047
00:50:21,760 --> 00:50:23,440
Speaker 2: I mean, you touch on some of it's very interesting

1048
00:50:23,440 --> 00:50:25,880
Speaker 2: and that you know, we've been talking about this the

1049
00:50:26,040 --> 00:50:28,640
Speaker 2: entire time, and that is that the chemistry is critical.

1050
00:50:29,000 --> 00:50:31,600
Speaker 2: And you know, because the other thing that's going on

1051
00:50:31,680 --> 00:50:33,920
Speaker 2: that happened in Star Trek is once.

1052
00:50:33,760 --> 00:50:35,840
Speaker 4: The writers see, you know, when.

1053
00:50:35,680 --> 00:50:37,880
Speaker 2: They're looking at these shows, when they're looking at dailies

1054
00:50:38,120 --> 00:50:40,520
Speaker 2: and they see what's going on and they can see

1055
00:50:40,520 --> 00:50:43,440
Speaker 2: the spark that's happening, then they can write more to

1056
00:50:43,520 --> 00:50:45,000
Speaker 2: that kind of situation.

1057
00:50:45,600 --> 00:50:48,399
Speaker 4: And that is what happens because once they saw that,

1058
00:50:48,480 --> 00:50:51,040
Speaker 4: like that Spock and McCoy could really go at it,

1059
00:50:51,360 --> 00:50:54,000
Speaker 4: you know, in a very disarming way. Then they're going

1060
00:50:54,040 --> 00:50:56,600
Speaker 4: to write more to that. Because the fans love that

1061
00:50:56,719 --> 00:50:57,239
Speaker 4: kind of thing.

1062
00:50:57,719 --> 00:50:59,879
Speaker 2: Then they can write more than that humor because it wore,

1063
00:51:00,880 --> 00:51:02,640
Speaker 2: you can get away with it. It's still you know,

1064
00:51:02,680 --> 00:51:05,400
Speaker 2: there's still a balance there. It's not it doesn't fall flast,

1065
00:51:05,680 --> 00:51:08,200
Speaker 2: so I mean, and that's what's going on with Gilmore Grows.

1066
00:51:08,280 --> 00:51:11,600
Speaker 2: Everybody is so good and so on it that they

1067
00:51:11,880 --> 00:51:12,640
Speaker 2: you could just keep.

1068
00:51:12,520 --> 00:51:14,480
Speaker 4: Writing more and more to those kind of situations.

1069
00:51:14,560 --> 00:51:15,719
Speaker 2: I mean a lot of times you have to write

1070
00:51:15,760 --> 00:51:18,480
Speaker 2: characters out if it's just not working right.

1071
00:51:18,640 --> 00:51:21,759
Speaker 3: So funny you say that, because then Gilmore Girls, there's

1072
00:51:21,840 --> 00:51:25,360
Speaker 3: this like where does Scott end? And where does Luke begin?

1073
00:51:25,520 --> 00:51:28,560
Speaker 3: And even knowing Scott, he's such a close friend for

1074
00:51:28,640 --> 00:51:30,680
Speaker 3: so many years, and there are times when I even

1075
00:51:30,719 --> 00:51:33,840
Speaker 3: I'm like wait, And that's how I feel about the

1076
00:51:33,960 --> 00:51:37,040
Speaker 3: characters in Star Trek, Like where does your Dad end

1077
00:51:37,200 --> 00:51:40,800
Speaker 3: and Spock begin. It's so blurred and I think that's

1078
00:51:40,520 --> 00:51:44,880
Speaker 3: the that's what makes them these characters just so incredible

1079
00:51:44,920 --> 00:51:49,000
Speaker 3: this many years later, because they really became those people.

1080
00:51:49,560 --> 00:51:51,360
Speaker 2: Well, you know, this is the great thing about the

1081
00:51:51,520 --> 00:51:56,319
Speaker 2: about the early episodes of Gilmore Girls, because there's something going.

1082
00:51:56,080 --> 00:52:00,160
Speaker 5: On, you know, between Luke and Laura Lai, and it's

1083
00:52:00,239 --> 00:52:04,000
Speaker 5: there and you know it's there, but but but and

1084
00:52:04,040 --> 00:52:06,520
Speaker 5: they you know, and you will walk you right out

1085
00:52:06,600 --> 00:52:09,600
Speaker 5: to the to the boundary, and then and then you know,

1086
00:52:09,640 --> 00:52:12,080
Speaker 5: and then you know, Luke walks off or Laura.

1087
00:52:12,120 --> 00:52:13,799
Speaker 4: Life's got to get to work. You know, it's so

1088
00:52:14,160 --> 00:52:14,880
Speaker 4: freaking cool.

1089
00:52:15,280 --> 00:52:18,279
Speaker 1: It don't show up, don't don't show don't show it.

1090
00:52:19,040 --> 00:52:20,879
Speaker 4: Ainkling of it. We can feel it.

1091
00:52:21,160 --> 00:52:24,200
Speaker 2: There's just a look that goes on and then boom,

1092
00:52:24,280 --> 00:52:26,000
Speaker 2: She's got to go to work. You know, you got

1093
00:52:26,040 --> 00:52:28,080
Speaker 2: to get another you know you've got another order, gonna

1094
00:52:28,120 --> 00:52:29,640
Speaker 2: you know, enough coffee, goodbye.

1095
00:52:30,160 --> 00:52:32,680
Speaker 4: It's so freaking cool. I love true.

1096
00:52:32,920 --> 00:52:34,960
Speaker 3: You know it from the first episode. We see it

1097
00:52:35,000 --> 00:52:35,759
Speaker 3: in this one too.

1098
00:52:36,200 --> 00:52:38,040
Speaker 1: It was you know, it was easy to have chemistry

1099
00:52:38,040 --> 00:52:40,600
Speaker 1: with her, that she was given so much, there was

1100
00:52:40,600 --> 00:52:42,600
Speaker 1: so much coming at you. You didn't have to do much,

1101
00:52:42,640 --> 00:52:45,359
Speaker 1: you know, you just let her shine and and you

1102
00:52:45,360 --> 00:52:47,360
Speaker 1: you're just sort of the beneficiary of that, you know

1103
00:52:47,400 --> 00:52:49,480
Speaker 1: what I mean. And if if you don't, if you

1104
00:52:49,560 --> 00:52:52,600
Speaker 1: do very little, you're good, you know exactly, and you.

1105
00:52:52,600 --> 00:52:55,440
Speaker 4: Play it perfectly. This is the point because because they're

1106
00:52:55,480 --> 00:52:57,479
Speaker 4: they're there. You know, in some of the first couple

1107
00:52:57,440 --> 00:52:59,919
Speaker 4: of episodes, there's interest in Laurel eyes.

1108
00:53:00,040 --> 00:53:02,960
Speaker 2: She gets you hit on by these guys and then

1109
00:53:03,000 --> 00:53:05,080
Speaker 2: and she's like, oh no, no, no, you know you're

1110
00:53:05,080 --> 00:53:06,200
Speaker 2: a dad at Rory's school.

1111
00:53:06,239 --> 00:53:06,719
Speaker 4: I don't do that.

1112
00:53:06,960 --> 00:53:08,799
Speaker 2: But when you're too young for me, you know, when

1113
00:53:08,840 --> 00:53:11,200
Speaker 2: she said Luke Steiner, you know, and then but then

1114
00:53:11,520 --> 00:53:13,799
Speaker 2: you see her coming on to you, to you know,

1115
00:53:13,880 --> 00:53:16,520
Speaker 2: to Luke, and it's like, okay, you know, she's not

1116
00:53:16,640 --> 00:53:18,799
Speaker 2: completely cold, and you know she's not dead.

1117
00:53:18,920 --> 00:53:22,320
Speaker 4: She's you know, this is a girl who also has desire.

1118
00:53:22,480 --> 00:53:25,600
Speaker 2: And that's another great element to the character.

1119
00:53:25,960 --> 00:53:29,359
Speaker 3: Oh man, is so true. Oh my gosh, it is

1120
00:53:29,480 --> 00:53:32,800
Speaker 3: just so awesome to have you on. Everybody needs to

1121
00:53:32,800 --> 00:53:35,440
Speaker 3: read your book. Also, I will say my Tahoe house

1122
00:53:35,640 --> 00:53:39,160
Speaker 3: is about three minutes from your Tahoe house that you

1123
00:53:39,200 --> 00:53:43,120
Speaker 3: guys had growing up, so yep, okay.

1124
00:53:42,840 --> 00:53:45,919
Speaker 1: Wow, really on the North Shore where we're so.

1125
00:53:45,840 --> 00:53:47,680
Speaker 3: I met Chinkapin. I still have a house, and you

1126
00:53:47,680 --> 00:53:51,279
Speaker 3: guys were like, literally, I mean literally five three minutes away.

1127
00:53:51,680 --> 00:53:53,640
Speaker 2: Yeah, yeah right, we're at Yes, we're at Lake for

1128
00:53:54,040 --> 00:53:55,759
Speaker 2: seven eleven right outside of the city.

1129
00:53:55,920 --> 00:53:58,400
Speaker 3: Yeah right, we can we I'm sure we've got Slurpe's

1130
00:53:58,440 --> 00:54:00,560
Speaker 3: at the seven eleven at the same time. Over there,

1131
00:54:01,480 --> 00:54:06,360
Speaker 3: no doubt in my mind. You are amazing in your memory.

1132
00:54:06,400 --> 00:54:07,920
Speaker 3: That's what's crazy, Poor Scott.

1133
00:54:08,280 --> 00:54:08,560
Speaker 4: Scott.

1134
00:54:08,600 --> 00:54:10,799
Speaker 3: I hate to tell you your memory is not as good

1135
00:54:10,800 --> 00:54:15,400
Speaker 3: as Adams, because you remember so much about this show.

1136
00:54:16,040 --> 00:54:17,799
Speaker 4: Maybe my dad would tell me the same thing.

1137
00:54:17,840 --> 00:54:20,760
Speaker 2: I would ask him about a particular about a particular episode,

1138
00:54:20,760 --> 00:54:23,440
Speaker 2: and you'd say, to me, don't ask me any details.

1139
00:54:23,520 --> 00:54:26,719
Speaker 2: It's all a blur. Everything happened so quickly, it all

1140
00:54:26,760 --> 00:54:28,839
Speaker 2: it just flows into one. And I said, well, wait

1141
00:54:28,840 --> 00:54:31,600
Speaker 2: a minute, you don't remember like frolicking through that flower

1142
00:54:31,640 --> 00:54:34,520
Speaker 2: field with Joe Ireland or being stuck in a cave

1143
00:54:34,600 --> 00:54:35,520
Speaker 2: with Marriett Hartley.

1144
00:54:35,800 --> 00:54:37,920
Speaker 4: And he said, it's a blur. I tell you, it's

1145
00:54:37,920 --> 00:54:38,399
Speaker 4: all a blur.

1146
00:54:38,680 --> 00:54:42,479
Speaker 1: It's so true because you because you train your short

1147
00:54:42,600 --> 00:54:45,080
Speaker 1: term memory to just sort of flush everything that came

1148
00:54:45,080 --> 00:54:46,880
Speaker 1: before to make room for the stuff that's got to

1149
00:54:46,880 --> 00:54:49,120
Speaker 1: come in the next day. You know, I don't remember

1150
00:54:49,400 --> 00:54:51,520
Speaker 1: how many times Amy that's authentic, I mean, how many

1151
00:54:51,520 --> 00:54:53,799
Speaker 1: times on the on the first go round, I had

1152
00:54:53,840 --> 00:54:54,560
Speaker 1: no idea.

1153
00:54:55,560 --> 00:54:58,640
Speaker 3: There were things that were like, you truly don't remember

1154
00:54:58,680 --> 00:54:59,879
Speaker 3: that things.

1155
00:54:59,880 --> 00:55:02,920
Speaker 1: I I do remember the very few things, but most

1156
00:55:02,960 --> 00:55:05,279
Speaker 1: of it I just I don't recall it. Also, it's

1157
00:55:05,360 --> 00:55:08,480
Speaker 1: like watching another person doing it.

1158
00:55:08,840 --> 00:55:11,960
Speaker 3: I don't remember something he would have done differently. Has

1159
00:55:12,000 --> 00:55:15,319
Speaker 3: just got me shook, Like, is there anything else about

1160
00:55:15,360 --> 00:55:17,880
Speaker 3: this episode like that that you could just because you know,

1161
00:55:18,080 --> 00:55:20,480
Speaker 3: we just eat it up. Is there anything else like

1162
00:55:20,840 --> 00:55:23,480
Speaker 3: you know about it that you remember, or just anything

1163
00:55:23,480 --> 00:55:25,520
Speaker 3: else that you would share with us about directing it

1164
00:55:25,640 --> 00:55:27,760
Speaker 3: or or the characters of the cast.

1165
00:55:28,320 --> 00:55:31,160
Speaker 2: Yeah, there's one last thing that you mentioned that I

1166
00:55:31,320 --> 00:55:34,000
Speaker 2: learned from a really good director, and that was that

1167
00:55:34,440 --> 00:55:38,160
Speaker 2: I did try in the scene to plant something going

1168
00:55:38,160 --> 00:55:40,080
Speaker 2: on in the background that related.

1169
00:55:39,719 --> 00:55:42,640
Speaker 4: To the next scene. That's where TV directors really have

1170
00:55:42,719 --> 00:55:46,800
Speaker 4: the most creative ability is transitions from one scene to another.

1171
00:55:47,280 --> 00:55:49,480
Speaker 2: And I learned this on when I was, you know,

1172
00:55:49,800 --> 00:55:52,200
Speaker 2: working on and when I was kind of like observing

1173
00:55:52,200 --> 00:55:55,800
Speaker 2: on NYPD Blue with Greg Hobblett, who directed the pilot

1174
00:55:55,840 --> 00:55:58,120
Speaker 2: of that show, in a lot of episodes, is that

1175
00:55:58,200 --> 00:56:01,279
Speaker 2: he always planted somebody in the next scene, in the

1176
00:56:01,280 --> 00:56:03,680
Speaker 2: scene that he was shooting. And you see this happen

1177
00:56:03,800 --> 00:56:06,600
Speaker 2: a couple of times, like when we're doing the wedding scene,

1178
00:56:06,800 --> 00:56:08,880
Speaker 2: you see you know, they're preparing for the wedding. You

1179
00:56:08,920 --> 00:56:11,719
Speaker 2: see Loralai in the background and then heading into the

1180
00:56:11,840 --> 00:56:14,520
Speaker 2: end where another scene starts to happen, and that's just

1181
00:56:14,600 --> 00:56:16,080
Speaker 2: you know, that's just tech. That is some of the

1182
00:56:16,120 --> 00:56:19,359
Speaker 2: technique that I really try to use in this show,

1183
00:56:19,360 --> 00:56:21,719
Speaker 2: and I always try to use so there is some

1184
00:56:21,840 --> 00:56:23,920
Speaker 2: real flow to it and it's not just so jarring

1185
00:56:23,960 --> 00:56:25,240
Speaker 2: that you jump to something else.

1186
00:56:25,600 --> 00:56:28,319
Speaker 3: Right, so well done in this episode, and I just

1187
00:56:28,360 --> 00:56:30,879
Speaker 3: think about Sukie chasing Jackson and just the way she's

1188
00:56:30,920 --> 00:56:34,839
Speaker 3: like going through the strawberries and their whole interaction. And

1189
00:56:34,920 --> 00:56:37,800
Speaker 3: at the wedding, there's so in the prep for the wedding,

1190
00:56:37,800 --> 00:56:41,280
Speaker 3: there's so much happening, but as a viewer, you're able

1191
00:56:41,360 --> 00:56:44,239
Speaker 3: to still pay attention to what is like the the

1192
00:56:44,680 --> 00:56:50,440
Speaker 3: most important without being distracted or missing them hanging the

1193
00:56:50,480 --> 00:56:55,240
Speaker 3: tool or the Swan or the dancing or Miss Patty

1194
00:56:55,520 --> 00:57:00,640
Speaker 3: you know her totally like inappropriate flirting with like and

1195
00:57:00,719 --> 00:57:04,400
Speaker 3: then and the other brother is the everybody who was

1196
00:57:04,440 --> 00:57:06,640
Speaker 3: really brilliant in this, the background actors and the like

1197
00:57:07,040 --> 00:57:10,240
Speaker 3: second tier cast, because without the twins and the twins

1198
00:57:10,320 --> 00:57:13,879
Speaker 3: being so good, you wouldn't get that. And even when

1199
00:57:13,920 --> 00:57:17,120
Speaker 3: they're the twins are acting with each other, but Michelle

1200
00:57:17,160 --> 00:57:20,160
Speaker 3: and Lorelei are talking and he's figuring out, well that's

1201
00:57:20,280 --> 00:57:21,920
Speaker 3: you know that one and that one and the sticky

1202
00:57:21,960 --> 00:57:25,120
Speaker 3: on it. So much is about what they're doing in

1203
00:57:25,160 --> 00:57:29,240
Speaker 3: the background, and we're not we're not taken out by it,

1204
00:57:29,280 --> 00:57:31,720
Speaker 3: but we're like we're able as viewers to like see

1205
00:57:31,760 --> 00:57:32,120
Speaker 3: it all.

1206
00:57:32,680 --> 00:57:34,880
Speaker 2: Yeah, Like you just want to notice that's going on,

1207
00:57:35,000 --> 00:57:37,400
Speaker 2: and you know, you know, even when you have Suki,

1208
00:57:37,720 --> 00:57:40,080
Speaker 2: you know, running in the background, I try to keep

1209
00:57:40,320 --> 00:57:43,440
Speaker 2: the shot with Laurel eye watching them because she's us

1210
00:57:43,640 --> 00:57:45,880
Speaker 2: and you want to get the context of how ridiculous

1211
00:57:46,000 --> 00:57:48,600
Speaker 2: it is and how far they're going with it, you know,

1212
00:57:48,680 --> 00:57:49,680
Speaker 2: So that's the gag.

1213
00:57:49,840 --> 00:57:52,000
Speaker 4: So it's great to keep it wide in those kinds

1214
00:57:52,000 --> 00:57:55,000
Speaker 4: of situations. So these are stylistic choices, you know, but

1215
00:57:55,200 --> 00:57:57,320
Speaker 4: you know, and they're important, there's no doubt about it.

1216
00:57:57,360 --> 00:58:00,640
Speaker 2: But in the end, it's really it's it's good writing

1217
00:58:00,760 --> 00:58:05,600
Speaker 2: and it's great performance. They trump technique every time.

1218
00:58:05,880 --> 00:58:08,040
Speaker 1: Right, Yeah, that's what it was done.

1219
00:58:08,320 --> 00:58:12,600
Speaker 3: And the bike accident, like you had like crazy things

1220
00:58:12,640 --> 00:58:17,440
Speaker 3: happening in this episode, Scott, Scott, did you love watching

1221
00:58:17,480 --> 00:58:18,280
Speaker 3: this episode again?

1222
00:58:19,680 --> 00:58:22,760
Speaker 1: I did? I just you know, the pace of these episodes.

1223
00:58:22,840 --> 00:58:25,000
Speaker 1: I mean it's not so speedy, speedy, fast, fast, fast

1224
00:58:25,000 --> 00:58:28,360
Speaker 1: as has stuff all the time. These first three episodes

1225
00:58:28,440 --> 00:58:31,600
Speaker 1: have have have a nice pace, you know, and nice

1226
00:58:31,640 --> 00:58:35,440
Speaker 1: cadence to everything, and nothing feels really rushed. Yet there's

1227
00:58:35,560 --> 00:58:39,560
Speaker 1: there's always this forward momentum because it's developing. You know,

1228
00:58:39,680 --> 00:58:42,320
Speaker 1: we're not really at full speed yet, so it's kind

1229
00:58:42,360 --> 00:58:45,720
Speaker 1: of starting off on the track warming up, and it's

1230
00:58:45,800 --> 00:58:48,960
Speaker 1: just kind of a joy before we get to the

1231
00:58:49,040 --> 00:58:51,320
Speaker 1: high speed stuff because we're just you know, we're just

1232
00:58:51,320 --> 00:58:53,760
Speaker 1: sort of learning about this stuff. We're sort of poking

1233
00:58:53,800 --> 00:58:58,040
Speaker 1: around this this dynamic with Emily and Richard and and

1234
00:58:58,040 --> 00:59:01,120
Speaker 1: and now it's all sort of forming things kind of forming.

1235
00:59:01,160 --> 00:59:05,120
Speaker 1: It's like it's fascinating to watch. It really is, because

1236
00:59:05,120 --> 00:59:09,560
Speaker 1: it's different from it's different from other seasons, different different cadence,

1237
00:59:09,600 --> 00:59:12,280
Speaker 1: different speed, and I like it, I really like it.

1238
00:59:12,320 --> 00:59:16,760
Speaker 1: So yet they still managed to have their foot on

1239
00:59:16,800 --> 00:59:20,400
Speaker 1: the accelerator somewhat, so you know, it's it's like, Okay,

1240
00:59:20,400 --> 00:59:24,240
Speaker 1: this is moving, moving, moving, moving, but look at you

1241
00:59:24,280 --> 00:59:27,280
Speaker 1: know when you you know, and Adam, you know this,

1242
00:59:27,360 --> 00:59:30,720
Speaker 1: when when you have a cast that can fill those moments,

1243
00:59:30,840 --> 00:59:34,120
Speaker 1: nothing ever drags, you know, it's always full and it

1244
00:59:34,160 --> 00:59:37,440
Speaker 1: always seems to be moving forward. Yeah, and we.

1245
00:59:37,920 --> 00:59:39,480
Speaker 2: Don't even need to cut if we don't want it,

1246
00:59:39,560 --> 00:59:41,720
Speaker 2: we don't have right, that's right, you know.

1247
00:59:41,920 --> 00:59:44,200
Speaker 4: The timing is so critical and everybody knows on it.

1248
00:59:44,720 --> 00:59:47,920
Speaker 1: Yeah, And just discovering Kirk for the third time. I

1249
00:59:47,920 --> 00:59:50,320
Speaker 1: think it's this third appearance or second appearance with the Swan,

1250
00:59:50,400 --> 00:59:53,200
Speaker 1: and and just seeing how everybody's sort of matured over

1251
00:59:53,240 --> 00:59:53,600
Speaker 1: the years.

1252
00:59:53,800 --> 00:59:56,400
Speaker 3: Michelle, You're starting to really get to know Michelle in

1253
00:59:56,480 --> 00:59:57,200
Speaker 3: this episode.

1254
00:59:57,280 --> 01:00:00,560
Speaker 1: It's just fascinating to see these early episodes. It's because

1255
01:00:00,600 --> 01:00:03,560
Speaker 1: it's like it's like going into a museum and watching

1256
01:00:03,680 --> 01:00:07,080
Speaker 1: like the og the original stuff, you know, and it's

1257
01:00:07,520 --> 01:00:10,640
Speaker 1: it's kind of cool. It's a long time ago. It's

1258
01:00:10,640 --> 01:00:13,200
Speaker 1: twenty four years ago, so that's really cooting.

1259
01:00:13,600 --> 01:00:16,040
Speaker 3: I'm truly such an honor to have you, and thank

1260
01:00:16,080 --> 01:00:18,440
Speaker 3: you for sharing those amazing stories about Star Trek and

1261
01:00:18,440 --> 01:00:20,400
Speaker 3: your dad. I know, people, I'm sure first of all,

1262
01:00:20,400 --> 01:00:22,560
Speaker 3: you look just like your dad, but I'm sure people

1263
01:00:22,560 --> 01:00:25,000
Speaker 3: tell you all the time, But like he, that show

1264
01:00:25,440 --> 01:00:29,120
Speaker 3: really had an impact on me, and studying it at

1265
01:00:29,120 --> 01:00:32,960
Speaker 3: Berkeley was so like incredible to get to do that,

1266
01:00:33,480 --> 01:00:37,480
Speaker 3: and just like all the all the things about Spock

1267
01:00:37,760 --> 01:00:44,200
Speaker 3: and and those characters and the deeper societal meanings with

1268
01:00:44,360 --> 01:00:47,040
Speaker 3: that show. So it's just such an honor to get

1269
01:00:47,080 --> 01:00:47,960
Speaker 3: to talk to you about it.

1270
01:00:48,120 --> 01:00:49,560
Speaker 1: Yeah, really, it's real.

1271
01:00:49,560 --> 01:00:51,520
Speaker 4: Real pleasure to be with you guys today. Thank you

1272
01:00:51,560 --> 01:00:53,760
Speaker 4: so much for having me on listen your books.

1273
01:00:53,760 --> 01:00:55,480
Speaker 3: I can't wait to read your book. Oh I can't,

1274
01:00:55,560 --> 01:00:55,960
Speaker 3: I can't.

1275
01:00:56,040 --> 01:01:00,560
Speaker 4: I can't be long and prosper living.

1276
01:01:02,680 --> 01:01:04,000
Speaker 1: I got it on the left hand.

1277
01:01:04,080 --> 01:01:08,600
Speaker 4: There you go. I'm on the left hand too, all right.

1278
01:01:09,000 --> 01:01:15,920
Speaker 1: What a joy, daughter much thanks for joining us and

1279
01:01:16,000 --> 01:01:17,080
Speaker 1: we really enjoyed it.

1280
01:01:17,400 --> 01:01:18,120
Speaker 4: Thanks for having me.

1281
01:01:18,440 --> 01:01:21,720
Speaker 1: Take care at him, take care of you guys. So

1282
01:01:21,760 --> 01:01:23,760
Speaker 1: I want to just give our thanks to Adam Nimoy.

1283
01:01:23,800 --> 01:01:27,480
Speaker 1: What a what a brilliant guest, What a brilliant guy,

1284
01:01:27,800 --> 01:01:29,320
Speaker 1: full of heart, full of brains.

1285
01:01:29,680 --> 01:01:32,640
Speaker 3: Makes you so happy that they like reconciled to like

1286
01:01:33,040 --> 01:01:34,960
Speaker 3: you know, yeah, it's such in a good place with

1287
01:01:35,120 --> 01:01:38,160
Speaker 3: like I think it's why he's so willing to talk

1288
01:01:38,200 --> 01:01:40,640
Speaker 3: about Star Trek and his dad, because they got to

1289
01:01:40,760 --> 01:01:41,760
Speaker 3: such a good place.

1290
01:01:42,120 --> 01:01:45,439
Speaker 1: Very moving when somebody is so open and so sort

1291
01:01:45,480 --> 01:01:50,440
Speaker 1: of just positive and optimistic. Just what a great, what

1292
01:01:50,560 --> 01:01:51,040
Speaker 1: a great.

1293
01:01:51,240 --> 01:01:53,840
Speaker 3: His memory is unbelievable.

1294
01:01:55,560 --> 01:01:56,920
Speaker 1: By the way, I do have a good I have

1295
01:01:56,920 --> 01:01:58,960
Speaker 1: a great memory. I just don't have a great memory

1296
01:01:59,000 --> 01:02:01,680
Speaker 1: for the show. Sometimes you have.

1297
01:02:01,640 --> 01:02:05,560
Speaker 3: A great memory because it's like you talked about, you

1298
01:02:05,680 --> 01:02:08,080
Speaker 3: have a certain type of memory because you can read

1299
01:02:08,080 --> 01:02:11,680
Speaker 3: a page and know it. But like later you have

1300
01:02:11,720 --> 01:02:14,600
Speaker 3: to purge it because you got to get more stuff in.

1301
01:02:15,040 --> 01:02:19,640
Speaker 1: Absolutely, you know that is going to wrap us up,

1302
01:02:19,720 --> 01:02:22,240
Speaker 1: kill me now, Season one, episode three. We'll see you

1303
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Speaker 1: next us And I thank you Amy for sitting in.

1304
01:02:29,040 --> 01:02:32,400
Speaker 3: Thanks for having me. Sorry, I got so excited.

1305
01:02:32,600 --> 01:02:34,600
Speaker 1: Oh no, no, no, no, this is this was this is

1306
01:02:34,640 --> 01:02:36,800
Speaker 1: why I wanted you on this episode because I knew

1307
01:02:36,840 --> 01:02:42,160
Speaker 1: you had such an almost you know, encyclopedic knowledge of

1308
01:02:42,240 --> 01:02:45,480
Speaker 1: Star Trek, and that went in the direction it should

1309
01:02:45,480 --> 01:02:47,560
Speaker 1: have gone in you know, we talked a little Gilmore,

1310
01:02:47,640 --> 01:02:50,680
Speaker 1: We talk a little Star Trek. I mean, you can't

1311
01:02:50,720 --> 01:02:56,160
Speaker 1: go wrong anyway. Thanks everybody, let us know your thoughts

1312
01:02:56,200 --> 01:02:59,280
Speaker 1: about the episode and the new iteration of I Am

1313
01:02:59,280 --> 01:03:05,000
Speaker 1: all in again, and remember where you lead, we will

1314
01:03:05,040 --> 01:03:37,120
Speaker 1: follow everybody and don't forget Follow us on Instagram at

1315
01:03:37,400 --> 01:03:41,360
Speaker 1: I Am all In podcast and email us at Gilmore

1316
01:03:41,600 --> 01:03:55,560
Speaker 1: at iHeartRadio dot com.