1
00:00:01,720 --> 00:00:04,440
Speaker 1: And that's what you really missed with Jenna.

2
00:00:04,440 --> 00:00:07,080
Speaker 2: And Kevin an iHeartRadio podcast.

3
00:00:09,360 --> 00:00:12,240
Speaker 1: Welcome to you, and that's what you're on this podcast.

4
00:00:13,000 --> 00:00:19,360
Speaker 1: Hello Ken, Welcome, Hello Jo and getting over a two

5
00:00:19,400 --> 00:00:22,480
Speaker 1: week cold that has just been looming and then finally

6
00:00:22,720 --> 00:00:27,240
Speaker 1: it bubbled to the surface this week. And everybody's just a.

7
00:00:27,200 --> 00:00:32,919
Speaker 2: Surface is really a description, you know, graphic, It actually bubbled.

8
00:00:33,640 --> 00:00:36,839
Speaker 1: How's everything going, Kevin? And how's rehearsals? We have.

9
00:00:38,720 --> 00:00:41,280
Speaker 2: A couple more days of rehearsal than we're into tech.

10
00:00:41,320 --> 00:00:45,600
Speaker 1: Wow, Kevin, crazy, that's so fast. That happened, really so fast.

11
00:00:45,800 --> 00:00:47,400
Speaker 2: It's like two and a half weeks of rehearsal.

12
00:00:47,440 --> 00:00:50,400
Speaker 1: You guys got it? How exciting? I can't wait.

13
00:00:50,800 --> 00:00:52,400
Speaker 2: I think it's kind of being really good.

14
00:00:52,880 --> 00:00:55,880
Speaker 1: I know it's going to be really good. Are you kidding?

15
00:00:56,040 --> 00:00:56,800
Speaker 1: How podcast?

16
00:00:57,720 --> 00:01:03,920
Speaker 2: Jasmine Amy Rodgers is of our house. When I look

17
00:01:03,960 --> 00:01:08,840
Speaker 2: at her sweet little face as olive, I don't know

18
00:01:08,840 --> 00:01:11,760
Speaker 2: what's going to happen in front of an audience because

19
00:01:12,240 --> 00:01:14,880
Speaker 2: bar Fay may just be crying the entire time, which

20
00:01:14,959 --> 00:01:18,000
Speaker 2: I know is not not what's supposed to happen.

21
00:01:18,680 --> 00:01:21,480
Speaker 1: And this is like she did just a boop and

22
00:01:21,520 --> 00:01:23,840
Speaker 1: it was like that is such a hard show to do.

23
00:01:24,480 --> 00:01:26,640
Speaker 1: All like to hold a show like that on your own,

24
00:01:26,920 --> 00:01:31,960
Speaker 1: I meaninated, But she is this supposed to be like

25
00:01:32,000 --> 00:01:34,520
Speaker 1: a lightlift for her? I don't.

26
00:01:34,600 --> 00:01:36,920
Speaker 2: I think it's because it's so different. It's different for

27
00:01:37,000 --> 00:01:38,720
Speaker 2: a lot of the people in the show, like different

28
00:01:38,760 --> 00:01:43,240
Speaker 2: from themselves or what they're used to playing. And it

29
00:01:43,400 --> 00:01:45,679
Speaker 2: is a gift to see everybody.

30
00:01:46,800 --> 00:01:47,800
Speaker 1: You know, you guys are going to be.

31
00:01:50,240 --> 00:01:52,520
Speaker 2: It's fun and we've all gotten like, you know, we're

32
00:01:52,560 --> 00:01:55,240
Speaker 2: getting closer every day to one another.

33
00:01:55,600 --> 00:01:58,520
Speaker 1: And cute little Cass so cute.

34
00:01:59,040 --> 00:02:03,480
Speaker 2: It's really nice and it's exciting. And yeah, I can't wait.

35
00:02:03,520 --> 00:02:05,160
Speaker 2: We're gonna be like next door to Heathers. So I'm

36
00:02:05,160 --> 00:02:06,200
Speaker 2: gonna have to go see Heathers.

37
00:02:06,240 --> 00:02:08,440
Speaker 1: Well, I can't wait, can't wait to hear it all.

38
00:02:08,440 --> 00:02:11,000
Speaker 1: You got to report back. We're gonna talk about your

39
00:02:11,080 --> 00:02:11,920
Speaker 1: first performance.

40
00:02:11,960 --> 00:02:14,280
Speaker 2: Oh my god, Jenna, the first previews in four days.

41
00:02:16,240 --> 00:02:18,520
Speaker 1: Jesus, you're find you've done this before. You've done this

42
00:02:18,560 --> 00:02:23,240
Speaker 1: show before. Yeah, but it's just gonna be about sustaining

43
00:02:23,280 --> 00:02:23,760
Speaker 1: after that.

44
00:02:24,720 --> 00:02:28,560
Speaker 2: Yes, And it's just it's a little different.

45
00:02:28,600 --> 00:02:28,800
Speaker 1: You know.

46
00:02:28,840 --> 00:02:32,120
Speaker 2: What's weird is that there's been little changes.

47
00:02:33,120 --> 00:02:33,720
Speaker 1: For like me.

48
00:02:34,200 --> 00:02:37,200
Speaker 2: So yep, yep, yeah, we have the original did I

49
00:02:37,240 --> 00:02:40,240
Speaker 2: say this before? We have the original vocal arranger, right, yeah,

50
00:02:40,280 --> 00:02:44,280
Speaker 2: so she's made little adjustments, oh my gosh. And so

51
00:02:44,720 --> 00:02:46,880
Speaker 2: you know, like part of my harmonies in the song

52
00:02:47,080 --> 00:02:50,560
Speaker 2: will be the same and then like one note is

53
00:02:50,600 --> 00:02:55,320
Speaker 2: different or like a couple notes are different, which really

54
00:02:55,560 --> 00:02:56,200
Speaker 2: messes with me.

55
00:02:56,400 --> 00:02:59,440
Speaker 1: It'll fall back into place. I did Into the Woods

56
00:02:59,440 --> 00:03:02,000
Speaker 1: twice and like two years, one like one year after

57
00:03:02,040 --> 00:03:03,760
Speaker 1: the other, one in a high school production and one

58
00:03:03,760 --> 00:03:06,080
Speaker 1: in my freshman year of college. Oh my god, and

59
00:03:06,120 --> 00:03:08,320
Speaker 1: they were like different, but they're non different, but like

60
00:03:08,360 --> 00:03:10,160
Speaker 1: your character is different because your cast is different and

61
00:03:10,160 --> 00:03:13,079
Speaker 1: your p production is different. But it is like it's

62
00:03:13,120 --> 00:03:16,839
Speaker 1: a mind f because like sometimes you're like, oh, I'm

63
00:03:16,919 --> 00:03:18,560
Speaker 1: in this and I've done this before and it's in

64
00:03:18,600 --> 00:03:21,760
Speaker 1: my body. But then you're like, don't forget. You're not

65
00:03:21,840 --> 00:03:23,480
Speaker 1: in that production. You're in this production.

66
00:03:23,760 --> 00:03:26,920
Speaker 2: Yes, the muscle memory, I you know, Okay, I had

67
00:03:26,919 --> 00:03:30,160
Speaker 2: a really strange experience and maybe you can help me. Yeah,

68
00:03:30,160 --> 00:03:32,840
Speaker 2: but there's a part in the show which I used

69
00:03:32,840 --> 00:03:34,520
Speaker 2: to get really like when I did it last year,

70
00:03:34,600 --> 00:03:38,400
Speaker 2: I got really nervous for and so when it comes

71
00:03:38,440 --> 00:03:42,160
Speaker 2: to that just in rehearsal, there's like no extra people watching, right,

72
00:03:42,200 --> 00:03:44,520
Speaker 2: it's just the people that are in rehearsal. I step

73
00:03:44,680 --> 00:03:47,800
Speaker 2: up to the mic and I get nervous, and there's

74
00:03:47,840 --> 00:03:50,800
Speaker 2: no reason to it's safe space, rehearsal, whatever, and my

75
00:03:50,960 --> 00:03:53,200
Speaker 2: body like remembers.

76
00:03:52,760 --> 00:03:56,840
Speaker 1: That's crazy. It's that wild, it's so weird. Yeah, I

77
00:03:56,840 --> 00:03:59,320
Speaker 1: think that will click out once you're in these performances

78
00:03:59,320 --> 00:04:01,720
Speaker 1: for a certain of time, Like at some point you're

79
00:04:01,760 --> 00:04:04,120
Speaker 1: not nervous anymore, even if it will be in the

80
00:04:04,120 --> 00:04:09,120
Speaker 1: beginning speaking of people doing things twice, Yes, good transition.

81
00:04:11,440 --> 00:04:15,400
Speaker 1: Today we are rehapping the movie musical, not the musical,

82
00:04:15,800 --> 00:04:17,800
Speaker 1: although we're going to talk about the musical a lot.

83
00:04:18,279 --> 00:04:20,120
Speaker 1: The movie musical Rent.

84
00:04:20,640 --> 00:04:28,040
Speaker 2: Rent, written by Jonathan Larson, the one the Pulitzer Tony Award,

85
00:04:28,279 --> 00:04:30,640
Speaker 2: one of the longest running shows ever on Broadway. It

86
00:04:30,800 --> 00:04:33,920
Speaker 2: was a revolutionary show when it came out.

87
00:04:34,680 --> 00:04:38,520
Speaker 1: Yeah, this I mean so a lot. And one of

88
00:04:38,560 --> 00:04:46,040
Speaker 1: the special things about this movie was that a majority

89
00:04:46,200 --> 00:04:49,360
Speaker 1: of this original cast came back to do this film,

90
00:04:50,000 --> 00:04:54,920
Speaker 1: with a few exceptions, which is kind of rare, Like,

91
00:04:55,040 --> 00:04:57,599
Speaker 1: I don't I remember when this happened, of course, and

92
00:04:57,880 --> 00:05:02,440
Speaker 1: when they had announced the movie and it normally you're like, oh, well,

93
00:05:02,440 --> 00:05:03,920
Speaker 1: who is going to be in the movie? Right, like

94
00:05:04,000 --> 00:05:08,400
Speaker 1: aDNA and Kristen didn't do Wicked and you know Hairspray,

95
00:05:08,480 --> 00:05:12,000
Speaker 1: like it's the cast changes, right. But this was very

96
00:05:12,600 --> 00:05:20,640
Speaker 1: unique and special yet also semi detrimental to all of it, right, Like,

97
00:05:20,720 --> 00:05:23,599
Speaker 1: I think there were pieces that it was It kept

98
00:05:23,640 --> 00:05:25,960
Speaker 1: the entigrity of what you were listening to over and

99
00:05:26,000 --> 00:05:30,479
Speaker 1: over again, but also then you run into trying to

100
00:05:30,520 --> 00:05:34,960
Speaker 1: recreate something that was already perfect. So this premiered on

101
00:05:35,000 --> 00:05:37,960
Speaker 1: November twenty third, two thousand and five. The movie the

102
00:05:38,040 --> 00:05:42,159
Speaker 1: musical opened ninety six, ninety six. Yes, that was the

103
00:05:42,200 --> 00:05:45,600
Speaker 1: same year that the Game I opened on Broadway.

104
00:05:46,000 --> 00:05:48,919
Speaker 2: You were on Broadway when Rent premiered debuted?

105
00:05:50,200 --> 00:05:54,960
Speaker 1: Wow, yeah, I was. We opened on ninety nineteen, April

106
00:05:55,040 --> 00:05:58,400
Speaker 1: ten then or April eleventh, and nineteen ninety six, so

107
00:05:58,480 --> 00:06:01,000
Speaker 1: I was nine years old open on Broadway and they

108
00:06:01,040 --> 00:06:05,359
Speaker 1: opened in ninety six on Broadway. Just wow, blocks away.

109
00:06:06,040 --> 00:06:10,080
Speaker 1: That's crazy, and we both want Tony's Wow. Let's let's

110
00:06:10,080 --> 00:06:11,640
Speaker 1: talk about what was in the news, what was going

111
00:06:11,680 --> 00:06:13,600
Speaker 1: on in the world, and then we'll get all into

112
00:06:13,640 --> 00:06:15,719
Speaker 1: a Rent yeah, because I feel.

113
00:06:15,520 --> 00:06:17,440
Speaker 2: Like this also just isn't about two thousand and five.

114
00:06:17,480 --> 00:06:19,080
Speaker 2: It's also about ninety six.

115
00:06:19,200 --> 00:06:22,840
Speaker 1: It's really not it can't you know, it certainly can't be. Yeah.

116
00:06:22,880 --> 00:06:26,640
Speaker 2: The number one song was run It by Chris Brown.

117
00:06:28,160 --> 00:06:30,160
Speaker 2: It was his first single. He was like, what sixteen,

118
00:06:30,240 --> 00:06:31,560
Speaker 2: I remember when this song came out.

119
00:06:31,960 --> 00:06:33,800
Speaker 1: Wow, yeah, that's crazy.

120
00:06:34,040 --> 00:06:36,120
Speaker 2: He throwne gold Digger as the number one song. Gold

121
00:06:36,120 --> 00:06:37,400
Speaker 2: Digger was number one for ten weeks.

122
00:06:38,880 --> 00:06:44,320
Speaker 1: Damn oh, Jenna. The number one movie in the country,

123
00:06:44,640 --> 00:06:47,279
Speaker 1: Harry Potter, and they got the guy got a fire,

124
00:06:48,560 --> 00:06:53,480
Speaker 1: the a little like what's the word I'm looking for?

125
00:06:53,520 --> 00:06:55,680
Speaker 1: Like the Bull in the China Shop movie, the like

126
00:06:55,800 --> 00:06:58,680
Speaker 1: the Black the Black Sheep of the Moo of the

127
00:06:59,120 --> 00:07:04,239
Speaker 1: movies Fire. Yes, it was different than the rest, yet

128
00:07:05,240 --> 00:07:08,680
Speaker 1: is there? Azkaban No, no, no, no. Goblet was like

129
00:07:08,680 --> 00:07:11,800
Speaker 1: it's a standalone like it could have been done. It

130
00:07:11,840 --> 00:07:14,800
Speaker 1: had just like it was all encompassing, like the competition,

131
00:07:15,840 --> 00:07:18,200
Speaker 1: and it was kind of the standalone.

132
00:07:18,600 --> 00:07:22,560
Speaker 2: Oh I thought you so, like Alfonso Koran did Presidenter

133
00:07:22,560 --> 00:07:24,720
Speaker 2: of Azkaban and it looked very different.

134
00:07:24,960 --> 00:07:28,680
Speaker 1: Oh no, no, no, I'm talking about like the context. Yeah,

135
00:07:28,720 --> 00:07:32,240
Speaker 1: and who directed Goblet? He was like he brought out

136
00:07:32,280 --> 00:07:34,280
Speaker 1: like a lot of the humor. It was a little

137
00:07:34,320 --> 00:07:36,800
Speaker 1: bit the tone was a little bit different in Goblet.

138
00:07:36,880 --> 00:07:43,160
Speaker 1: I think Mike Newall, oh yeah, I thought was great. Well,

139
00:07:43,160 --> 00:07:45,560
Speaker 1: I mean I love goblital Fire is just different than

140
00:07:45,600 --> 00:07:47,320
Speaker 1: the rest. And then and it kind of was the

141
00:07:47,320 --> 00:07:48,760
Speaker 1: turning point for the rest of the movie.

142
00:07:49,000 --> 00:07:50,960
Speaker 2: I think they all stayed in the Goblet of fire

143
00:07:51,080 --> 00:07:51,800
Speaker 2: Lane after that.

144
00:07:52,040 --> 00:07:55,720
Speaker 1: Fair enough, yes, fair enough, yes, agreed, agreed. Nogle news

145
00:07:55,800 --> 00:07:58,520
Speaker 1: this week as this is obviously pre Glee, but there

146
00:07:58,560 --> 00:08:03,840
Speaker 1: are some pop culture snapsh so this It was the

147
00:08:03,840 --> 00:08:06,840
Speaker 1: week of Thanksgiving two thousand and five, so Harry Potter

148
00:08:06,920 --> 00:08:10,000
Speaker 1: was on top, dominating the box office walk the line

149
00:08:10,400 --> 00:08:15,480
Speaker 1: was holding strong that movie we have to do, Yes,

150
00:08:15,520 --> 00:08:19,520
Speaker 1: we absolutely do. Are you kidding? And then Chicken Little

151
00:08:19,520 --> 00:08:22,920
Speaker 1: gave Disney it's first ever fully computer animated hit. Isn't

152
00:08:22,920 --> 00:08:29,120
Speaker 1: that crazy? What? What? What? What does it even mean?

153
00:08:29,200 --> 00:08:30,480
Speaker 2: Because Disney wasn't Pixar.

154
00:08:33,400 --> 00:08:36,480
Speaker 1: Oh my god, what a time, What a time.

155
00:08:37,080 --> 00:08:42,320
Speaker 2: Kelly Clarkson's because of You, gold Digger my Humps were

156
00:08:42,360 --> 00:08:45,040
Speaker 2: all massive songs at this time, and.

157
00:08:44,960 --> 00:08:47,120
Speaker 1: This is like the height of good TV. We had

158
00:08:47,160 --> 00:08:53,600
Speaker 1: Desperate Housewives, we had lost we had, The Office was

159
00:08:53,600 --> 00:08:58,640
Speaker 1: finding its footing, and Grey's anatomy was appointment viewing. Obviously,

160
00:08:58,640 --> 00:09:00,040
Speaker 1: always in my heart was always.

161
00:08:59,800 --> 00:09:02,559
Speaker 2: Put American Idol was still one of the biggest shows

162
00:09:02,559 --> 00:09:06,640
Speaker 2: in the country. Ryan Murphy was deep into niptok just

163
00:09:06,679 --> 00:09:08,400
Speaker 2: a few years away from creating Glee.

164
00:09:08,600 --> 00:09:12,960
Speaker 1: I bet you it wasn't in their in their i's

165
00:09:13,000 --> 00:09:17,280
Speaker 1: mind probably yeah, no exactly. YouTube had also launched earlier

166
00:09:17,320 --> 00:09:19,280
Speaker 1: that year, changing the way that people shared music and

167
00:09:19,360 --> 00:09:20,040
Speaker 1: media forever.

168
00:09:20,679 --> 00:09:23,560
Speaker 2: I PAUSI everywhere with those white earboods, basically being a

169
00:09:23,559 --> 00:09:26,920
Speaker 2: status symple, you know, and you had. MySpace was the

170
00:09:26,960 --> 00:09:30,560
Speaker 2: go to platform for music discovery and for social life,

171
00:09:30,559 --> 00:09:32,680
Speaker 2: which obviously has just continued on and on and on

172
00:09:32,760 --> 00:09:35,240
Speaker 2: with every other yep thing.

173
00:09:36,120 --> 00:09:40,400
Speaker 1: Uh okay, So the Internet was obviously booming. It was

174
00:09:40,440 --> 00:09:45,600
Speaker 1: becoming redefining everything from fame to social media, and also

175
00:09:45,920 --> 00:09:50,960
Speaker 1: musicals like Rent were bridging theater and mainstream film like

176
00:09:51,880 --> 00:09:54,480
Speaker 1: so I guess there's that, Like I think for Glee,

177
00:09:55,440 --> 00:09:57,000
Speaker 1: the way that we look at Glee and we say

178
00:09:57,000 --> 00:10:01,040
Speaker 1: we introduced new generation, you know, younger generation two, older music,

179
00:10:01,480 --> 00:10:05,600
Speaker 1: more classic hits that they may never have may never

180
00:10:05,640 --> 00:10:07,360
Speaker 1: have ever reached them. I mean, I guess that's not

181
00:10:07,360 --> 00:10:10,680
Speaker 1: true with the internet out, but you know, kids who

182
00:10:10,679 --> 00:10:12,680
Speaker 1: wouldn't have discovered don't step believe in the way that

183
00:10:12,720 --> 00:10:16,599
Speaker 1: they had. And I think for this movie, in particular,

184
00:10:17,400 --> 00:10:20,319
Speaker 1: for the people who like Sam are producer who says Rent,

185
00:10:20,400 --> 00:10:22,640
Speaker 1: this Rent movie is the only touch point she has

186
00:10:22,720 --> 00:10:26,040
Speaker 1: for Rent, obviously in addition to the soundtrack the original

187
00:10:26,080 --> 00:10:31,160
Speaker 1: Broadway cast recording. But like I'm grateful for that, I'm

188
00:10:31,160 --> 00:10:34,880
Speaker 1: grateful for fans to have been able to experience Rent

189
00:10:35,000 --> 00:10:38,760
Speaker 1: who didn't get to experience it in a theater and

190
00:10:38,880 --> 00:10:42,320
Speaker 1: oftentimes musical. This musical was not a musical like Hairspray

191
00:10:42,320 --> 00:10:46,000
Speaker 1: where high schools were doing it. It's the context is

192
00:10:46,040 --> 00:10:49,880
Speaker 1: just not appropriate for that age. And so I'm sure

193
00:10:49,960 --> 00:10:51,720
Speaker 1: high schools have done it. I think there was something

194
00:10:51,800 --> 00:10:53,560
Speaker 1: viral about in high school doing it at one point

195
00:10:53,559 --> 00:10:59,559
Speaker 1: and there was complete uproar. But I of all the

196
00:10:59,640 --> 00:11:07,560
Speaker 1: music holes that we are going to uh review, watch recap,

197
00:11:08,760 --> 00:11:19,640
Speaker 1: this one in particular, it actually raised me. Yeah, And

198
00:11:20,280 --> 00:11:24,240
Speaker 1: it was in my thoughts every night, It was in

199
00:11:24,280 --> 00:11:28,040
Speaker 1: my in the things we were talking about every day.

200
00:11:29,120 --> 00:11:31,400
Speaker 1: It was the thing I was listening to every second.

201
00:11:32,240 --> 00:11:33,840
Speaker 1: My dad had to beg me at one point to

202
00:11:33,840 --> 00:11:35,839
Speaker 1: stop listening to it in the car because he was

203
00:11:35,920 --> 00:11:38,079
Speaker 1: so sick of it. Weren't you really young? Well you

204
00:11:38,120 --> 00:11:40,600
Speaker 1: talking about the movie or the stage musical, the musical,

205
00:11:41,520 --> 00:11:42,600
Speaker 1: the musical.

206
00:11:42,320 --> 00:11:44,199
Speaker 2: You were young when they came out.

207
00:11:44,640 --> 00:11:46,200
Speaker 1: I was very young when I came out. I was

208
00:11:46,320 --> 00:11:48,040
Speaker 1: I was in the King and I am Broadway at

209
00:11:48,120 --> 00:11:52,120
Speaker 1: ninety six, and that's when Rent opened. I wouldn't think

210
00:11:52,120 --> 00:11:55,480
Speaker 1: I was craving to Rent. Yeah, no, no, no, no. It

211
00:11:55,559 --> 00:11:58,480
Speaker 1: didn't hit me until probably high school, probably about fourteen

212
00:11:58,559 --> 00:12:02,240
Speaker 1: years old was when and I started listening to Rent.

213
00:12:02,520 --> 00:12:08,320
Speaker 1: And it was life changing for me. And luckily it

214
00:12:08,360 --> 00:12:10,679
Speaker 1: didn't happen often. It was a show that was still

215
00:12:10,760 --> 00:12:16,480
Speaker 1: running on Broadway many many, many years later. Oftentimes you

216
00:12:16,520 --> 00:12:18,120
Speaker 1: find musicals that you're like, oh my god, I wish

217
00:12:18,120 --> 00:12:20,000
Speaker 1: this was still running. I could see it. I could

218
00:12:20,679 --> 00:12:23,000
Speaker 1: and I went into the city. I think I went

219
00:12:23,200 --> 00:12:27,760
Speaker 1: eight times and saw it live on Broadway. Because this

220
00:12:27,880 --> 00:12:30,200
Speaker 1: was the time of student rush tickets, where you would

221
00:12:30,240 --> 00:12:32,839
Speaker 1: go into the city and you would wait in line

222
00:12:32,920 --> 00:12:34,720
Speaker 1: or go to the box office and show your student

223
00:12:34,760 --> 00:12:38,720
Speaker 1: id high school, college, and you would get twenty dollars

224
00:12:38,720 --> 00:12:40,640
Speaker 1: tickets and the seats would either be like on the

225
00:12:40,679 --> 00:12:42,040
Speaker 1: side or in the front or all the way in

226
00:12:42,080 --> 00:12:44,160
Speaker 1: the back. But like, you get to see shows. I

227
00:12:44,160 --> 00:12:48,600
Speaker 1: saw so many shows that way, and the amount of

228
00:12:48,600 --> 00:12:52,079
Speaker 1: times I saw Rent was troublesome. Rob Russo and I

229
00:12:52,120 --> 00:12:55,040
Speaker 1: would go all the time into the city for the

230
00:12:55,040 --> 00:12:57,520
Speaker 1: weekend for Saturday. Saturday, I take the train and go

231
00:12:57,559 --> 00:12:59,840
Speaker 1: to your plane in Hollywood and go see a show.

232
00:13:00,840 --> 00:13:04,480
Speaker 1: And I remember listening to this over and over again.

233
00:13:04,520 --> 00:13:08,360
Speaker 1: And the joy about Rent is even without seeing it,

234
00:13:08,400 --> 00:13:09,880
Speaker 1: even if I didn't get to go eight times, I

235
00:13:09,920 --> 00:13:14,319
Speaker 1: knew the story because it's an opera. All the dialogue

236
00:13:14,400 --> 00:13:17,840
Speaker 1: is included in that soundtracke you're in that recording. Yeah,

237
00:13:18,679 --> 00:13:22,160
Speaker 1: so you get everything, you know, every word of that

238
00:13:22,240 --> 00:13:27,080
Speaker 1: musical when you go watch it. So it was just

239
00:13:27,120 --> 00:13:30,040
Speaker 1: so formative for me in terms of my career, in

240
00:13:30,120 --> 00:13:34,199
Speaker 1: terms of my inspiration, in terms of my love for theater,

241
00:13:35,760 --> 00:13:37,319
Speaker 1: and it was so groundbreaking.

242
00:13:37,400 --> 00:13:40,319
Speaker 2: I think, yeah, what was it about? Do you remember

243
00:13:40,400 --> 00:13:43,720
Speaker 2: when you first heard it? Like, what was it?

244
00:13:43,720 --> 00:13:45,960
Speaker 1: To me? It's kind of like watching MTV or it's

245
00:13:46,000 --> 00:13:48,000
Speaker 1: a little racy and you're not supposed to be listening

246
00:13:48,000 --> 00:13:51,200
Speaker 1: to it like your parents are, like is this appropriate.

247
00:13:51,679 --> 00:13:56,800
Speaker 1: So there's something about that, like it's pushing the boundary

248
00:13:56,840 --> 00:14:01,960
Speaker 1: of what we're talking about and what we're addressing. They

249
00:14:01,960 --> 00:14:04,240
Speaker 1: were like a tiny bit older, but they were like cool,

250
00:14:04,320 --> 00:14:06,320
Speaker 1: and they were like in New York City as artists,

251
00:14:06,360 --> 00:14:09,920
Speaker 1: starving artists, and you know, they were all trying to

252
00:14:09,960 --> 00:14:12,439
Speaker 1: be in the industry of some like in some way.

253
00:14:12,480 --> 00:14:14,920
Speaker 1: So I think there was like things that resonated there.

254
00:14:16,080 --> 00:14:21,440
Speaker 1: I mean, the music is just it is literally perfect.

255
00:14:22,960 --> 00:14:27,560
Speaker 1: The songs are just perfect, like I think so musically, melodically,

256
00:14:28,080 --> 00:14:32,400
Speaker 1: story wise, the characters, everybody, they're all like it was

257
00:14:32,480 --> 00:14:36,200
Speaker 1: just such a widespread of beautiful characters that were so

258
00:14:36,400 --> 00:14:39,440
Speaker 1: flawed that I think you also didn't see that a lot.

259
00:14:39,520 --> 00:14:41,920
Speaker 1: You saw like a few dimensions, but you didn't see

260
00:14:41,960 --> 00:14:44,480
Speaker 1: all of these dimensions. And it was like this little

261
00:14:44,480 --> 00:14:47,080
Speaker 1: friend group kind of like watching friends, like you want

262
00:14:47,120 --> 00:14:49,840
Speaker 1: to be in friends with them, and you see all

263
00:14:49,880 --> 00:14:53,400
Speaker 1: the conflict and the relationships kind of play out. And

264
00:14:53,480 --> 00:14:57,200
Speaker 1: so it was just really beautifully thought out and written

265
00:14:57,240 --> 00:15:01,120
Speaker 1: and told and every way even formed. So I think

266
00:15:01,600 --> 00:15:04,720
Speaker 1: I think it was bad, like I don't. And then

267
00:15:04,760 --> 00:15:07,480
Speaker 1: there's just a craze around it, and it was community

268
00:15:07,480 --> 00:15:10,680
Speaker 1: building like everybody you knew knew that music, and if

269
00:15:10,680 --> 00:15:12,880
Speaker 1: you turned it on in the car with your friends,

270
00:15:13,080 --> 00:15:15,160
Speaker 1: everybody knew the words and you could jam out in

271
00:15:15,160 --> 00:15:17,520
Speaker 1: the car to it and sing you know yea love

272
00:15:17,560 --> 00:15:22,120
Speaker 1: you Like it just was I don't know, it's just

273
00:15:22,160 --> 00:15:29,400
Speaker 1: so important and I I can't even explain to you.

274
00:15:29,480 --> 00:15:31,840
Speaker 1: It's like Wicked kind of it was like that in Wicked.

275
00:15:32,000 --> 00:15:33,800
Speaker 1: I mean, we were just obsessed.

276
00:15:35,000 --> 00:15:37,240
Speaker 2: They're so different, so different.

277
00:15:38,000 --> 00:15:41,320
Speaker 1: I'm curious when you discovered Rent and if it was

278
00:15:41,360 --> 00:15:43,160
Speaker 1: as big for you as it was for me, or

279
00:15:43,240 --> 00:15:47,240
Speaker 1: like if it was at all, or if you saw

280
00:15:47,280 --> 00:15:49,120
Speaker 1: it from the outside, Like what was that?

281
00:15:49,560 --> 00:15:53,040
Speaker 2: Well, what you just said made me think of that

282
00:15:53,200 --> 00:15:57,560
Speaker 2: time for me, because I don't think I definitely never

283
00:15:57,600 --> 00:16:00,360
Speaker 2: saw it until I saw the movie, and I don't

284
00:16:00,400 --> 00:16:05,720
Speaker 2: think I really knew. I'm not sure how much of

285
00:16:05,760 --> 00:16:10,160
Speaker 2: the music I knew, but I knew of Rent because

286
00:16:10,280 --> 00:16:12,680
Speaker 2: it was such a part of like the pop culture

287
00:16:12,920 --> 00:16:18,040
Speaker 2: zeitgeist from the nineties, and like, so I watched it

288
00:16:18,080 --> 00:16:21,120
Speaker 2: last night with my mom and she's like, I've seen Rent.

289
00:16:21,160 --> 00:16:23,080
Speaker 2: I'm like, when did you see Rent? She's like, I

290
00:16:23,120 --> 00:16:25,240
Speaker 2: think when I used to go into the city. I'm like, no, mom,

291
00:16:25,720 --> 00:16:29,880
Speaker 2: this is from the nineties. You didn't live in New York.

292
00:16:30,600 --> 00:16:31,840
Speaker 1: She's like, where did I see it?

293
00:16:31,840 --> 00:16:34,160
Speaker 2: I'm like, because I think it was just always around.

294
00:16:34,360 --> 00:16:35,680
Speaker 1: Yeah, for so long.

295
00:16:36,480 --> 00:16:43,360
Speaker 2: It was just there in some capacity. There were spoofs

296
00:16:43,360 --> 00:16:44,360
Speaker 2: of it on South Park.

297
00:16:44,400 --> 00:16:46,840
Speaker 1: There were like you know what I mean, like it

298
00:16:46,880 --> 00:16:49,280
Speaker 1: was just such a massive hat.

299
00:16:49,760 --> 00:16:53,320
Speaker 2: Yes, it reminded me. It reminded me of like Hamilton

300
00:16:53,640 --> 00:16:58,960
Speaker 2: in a way. Yes, definitely, where it became so much

301
00:16:59,000 --> 00:17:03,320
Speaker 2: more than just like the theater show. Yeah, it took

302
00:17:03,360 --> 00:17:05,480
Speaker 2: over mainstream, which doesn't happen very often I think with

303
00:17:05,520 --> 00:17:10,040
Speaker 2: Broadway shows. Yes, and it revolutionized. Like I even knew

304
00:17:10,080 --> 00:17:12,360
Speaker 2: as a kid who had no context of what Broadway

305
00:17:12,520 --> 00:17:16,639
Speaker 2: was really, I knew it was a big deal because

306
00:17:16,640 --> 00:17:20,480
Speaker 2: it was talking about things that normally did not get

307
00:17:20,520 --> 00:17:21,520
Speaker 2: talked about.

308
00:17:21,800 --> 00:17:25,480
Speaker 1: Like that was my understanding of it. Yep, yep, exactly,

309
00:17:25,680 --> 00:17:27,639
Speaker 1: that's right. And I mean now you know, looking at it,

310
00:17:27,640 --> 00:17:30,960
Speaker 1: it's like, oh, it's a rock opera, like that didn't happen. Yeah,

311
00:17:31,119 --> 00:17:35,280
Speaker 1: and it's an opera like that's that's crazy. It also

312
00:17:35,440 --> 00:17:39,560
Speaker 1: kind of reminds me of Spring Awakening. Yeah, totally. The

313
00:17:39,720 --> 00:17:45,439
Speaker 1: music wasn't your traditional nineteen ninety six Rochen Hierstein musical

314
00:17:45,560 --> 00:17:50,560
Speaker 1: right like it was a rock pop opera. It was different,

315
00:17:50,920 --> 00:17:54,840
Speaker 1: it was racy, it was like the musical Jesus Christy

316
00:17:55,000 --> 00:17:55,920
Speaker 1: Star a little Well.

317
00:17:55,960 --> 00:17:59,919
Speaker 2: It's like when that happens, it then sort of sends

318
00:18:00,080 --> 00:18:04,200
Speaker 2: out a big, huge message to everybody who didn't write

319
00:18:04,280 --> 00:18:07,680
Speaker 2: musicals like Rogers and Hammerstein. Yes that like this can

320
00:18:07,760 --> 00:18:09,720
Speaker 2: work and you may get funding for it and it

321
00:18:09,760 --> 00:18:12,720
Speaker 2: could be a massive hit, just like a Book of

322
00:18:12,760 --> 00:18:17,160
Speaker 2: Mormon did in a way, just like Hamilton did.

323
00:18:18,280 --> 00:18:20,520
Speaker 1: Yes, for sure, completely changed.

324
00:18:21,760 --> 00:18:24,840
Speaker 2: Like it's what's also crazy is if any of you

325
00:18:24,920 --> 00:18:28,800
Speaker 2: listening do not know who Jonathan Larson is, his story is.

326
00:18:30,240 --> 00:18:34,680
Speaker 2: I mean, it's tragic, but also like he was brilliant

327
00:18:34,800 --> 00:18:40,480
Speaker 2: and wrote this incredible piece and died before it ever officially.

328
00:18:40,040 --> 00:18:44,000
Speaker 1: Opened, the Off Broadway opening, Yeah.

329
00:18:43,800 --> 00:18:45,879
Speaker 2: Which is crazy. So it's also one of those things

330
00:18:45,880 --> 00:18:49,879
Speaker 2: where it's locked in this like it normally in like

331
00:18:50,160 --> 00:18:53,640
Speaker 2: previews or like Off Broadway previews, especially, like things would

332
00:18:53,640 --> 00:18:58,680
Speaker 2: be changed, things would be edited, so nothing is changed

333
00:18:58,720 --> 00:19:03,919
Speaker 2: from his like original version of it yep. Which is

334
00:19:03,960 --> 00:19:07,800
Speaker 2: also something I think like sort of the lore behind

335
00:19:07,840 --> 00:19:12,560
Speaker 2: it as well, where it's sort of like the traditionally

336
00:19:12,600 --> 00:19:16,200
Speaker 2: imperfect things about it are perfect for it.

337
00:19:17,200 --> 00:19:17,440
Speaker 1: Yep.

338
00:19:18,240 --> 00:19:22,520
Speaker 2: Because of all of that. Yep, go watch Tiktic Boom. Well,

339
00:19:22,520 --> 00:19:25,360
Speaker 2: that's also it, so to go to the stage musical.

340
00:19:25,880 --> 00:19:29,920
Speaker 2: The stage musical that Jonathan Larson wrote is kind of

341
00:19:29,960 --> 00:19:35,720
Speaker 2: like uh, him writing Rent, right, and it's about him

342
00:19:35,760 --> 00:19:37,320
Speaker 2: getting to the point of writing Rent.

343
00:19:37,760 --> 00:19:40,879
Speaker 1: And he's so meta if you will, writing a musical

344
00:19:40,920 --> 00:19:45,440
Speaker 1: about writing a musical. But it's semi biographical and it's

345
00:19:45,640 --> 00:19:48,359
Speaker 1: really beautiful. If you haven't, we're gonna recab it at

346
00:19:48,359 --> 00:19:51,639
Speaker 1: some point too, because the movie was just impeccable. What

347
00:19:51,760 --> 00:19:55,920
Speaker 1: a tragic story for him to never see the life

348
00:19:55,960 --> 00:20:00,640
Speaker 1: that Rent took and the impact it would have. I'm

349
00:20:00,760 --> 00:20:05,040
Speaker 1: so many people from talking about the AIDS epidemic talking

350
00:20:05,080 --> 00:20:09,720
Speaker 1: about starving artists.

351
00:20:08,600 --> 00:20:14,639
Speaker 2: Like this is like right towards the end ish of

352
00:20:14,680 --> 00:20:18,840
Speaker 2: the AIDS epidemic. So you have this like very traumatic

353
00:20:20,359 --> 00:20:25,240
Speaker 2: history for a huge swath of the gay community, all

354
00:20:25,280 --> 00:20:28,240
Speaker 2: the friends of the gay community who have a group

355
00:20:28,359 --> 00:20:32,199
Speaker 2: trauma from all of this, and to be able to

356
00:20:32,280 --> 00:20:36,639
Speaker 2: put it into a show that talks about it but

357
00:20:36,720 --> 00:20:39,600
Speaker 2: also is filled with so much joy and hope and

358
00:20:39,640 --> 00:20:40,080
Speaker 2: like what.

359
00:20:39,960 --> 00:20:44,680
Speaker 1: You said, Yeah, yeah, like seeing.

360
00:20:44,359 --> 00:20:46,879
Speaker 2: The sort of like a grittier version of what that

361
00:20:47,160 --> 00:20:49,080
Speaker 2: so okay, So for those of you who do not know,

362
00:20:50,160 --> 00:20:52,199
Speaker 2: here's like a quick little summary of what the show is.

363
00:20:52,240 --> 00:20:55,119
Speaker 2: It's set in New York City's gritty East Village. This

364
00:20:55,160 --> 00:20:57,080
Speaker 2: is the official Sony summary of the movie. By the way,

365
00:20:58,200 --> 00:21:02,439
Speaker 2: set in New York City's Great East Village, the revolutionary

366
00:21:02,920 --> 00:21:06,359
Speaker 2: rock opera Rent tells the story of a group of

367
00:21:06,400 --> 00:21:09,920
Speaker 2: bohemians struggling to live and pay their rent. Measuring their

368
00:21:09,960 --> 00:21:13,879
Speaker 2: lives and love. These starving artists strive for success and

369
00:21:14,040 --> 00:21:17,879
Speaker 2: acceptance while enduring the obstacles of poverty, illness, and the

370
00:21:17,920 --> 00:21:20,760
Speaker 2: AIDS epidemic. And so, like you said, if you watch

371
00:21:20,800 --> 00:21:26,080
Speaker 2: TikTok Boom, you will see in a way where Jonathan

372
00:21:26,119 --> 00:21:29,760
Speaker 2: Larson is finding inspiration for all of the story and

373
00:21:29,880 --> 00:21:43,000
Speaker 2: characters in Rent. So about the musical, like we said,

374
00:21:43,160 --> 00:21:45,600
Speaker 2: you know, it won the Tony and Pulitzer.

375
00:21:45,960 --> 00:21:48,600
Speaker 1: It was also inspired by then eighteen ninety six opera

376
00:21:48,720 --> 00:21:52,919
Speaker 1: Labo m by Giacomo Puccini, which itself was based on

377
00:21:52,920 --> 00:21:55,560
Speaker 1: the eighteen fifty one novel Scenes of Bohemian Life by

378
00:21:55,600 --> 00:21:56,560
Speaker 1: Henry Murger.

379
00:21:56,720 --> 00:22:01,119
Speaker 2: Jonathan Larson took that story by Puccini of young artists

380
00:22:01,119 --> 00:22:03,720
Speaker 2: of Paris and just reimagined it for a modern audience,

381
00:22:04,040 --> 00:22:08,359
Speaker 2: setting it in New York during the late nineteen eighties

382
00:22:08,440 --> 00:22:11,680
Speaker 2: early nineties, so in the throes of the AIDS epidemic YEP,

383
00:22:11,760 --> 00:22:14,840
Speaker 2: and the story reflected Larsen's own experiences, friendships and struggles,

384
00:22:14,880 --> 00:22:18,560
Speaker 2: like we said, trying to survive as a young artist

385
00:22:18,560 --> 00:22:19,040
Speaker 2: in the city.

386
00:22:20,040 --> 00:22:22,680
Speaker 1: And so the movie brought together six of the eight

387
00:22:22,760 --> 00:22:26,040
Speaker 1: original broadaycast members, which is like unprecedented. I mean, I

388
00:22:26,040 --> 00:22:29,159
Speaker 1: think that's crazy. Number one, the fact that like Hollywood

389
00:22:29,200 --> 00:22:31,880
Speaker 1: was like, yeah, we'll take the originals, right and as

390
00:22:31,960 --> 00:22:35,560
Speaker 1: you should. As you should, but it wasn't common, right,

391
00:22:35,640 --> 00:22:39,000
Speaker 1: that wasn't the common practice. And so I was when

392
00:22:39,040 --> 00:22:44,600
Speaker 1: I heard that, I was mixed about it because I

393
00:22:44,640 --> 00:22:49,520
Speaker 1: think it was a lot of time. It's been a

394
00:22:49,520 --> 00:22:52,879
Speaker 1: lot of time since that, you know. So we're supposed

395
00:22:52,880 --> 00:22:55,640
Speaker 1: to be like in our early twenties kind of artists

396
00:22:55,640 --> 00:23:00,119
Speaker 1: and we are now definitely not fair So Greece a

397
00:23:00,160 --> 00:23:02,679
Speaker 1: little will. I was slightly concerned about the just the

398
00:23:02,720 --> 00:23:07,040
Speaker 1: truth behind like casting somebody in that age, but we'll

399
00:23:07,040 --> 00:23:10,119
Speaker 1: get into that. So we had Anthony Rapp out of

400
00:23:10,160 --> 00:23:15,560
Speaker 1: the scal Adina Menzel, Oh my gosh, Jesse l Martin Wilson,

401
00:23:15,640 --> 00:23:19,640
Speaker 1: Jermaine Heredia, and then Tay Diggs and Daphne Ruminvega who

402
00:23:19,640 --> 00:23:23,440
Speaker 1: played Mimi, and she originated the role on Broadway was

403
00:23:23,520 --> 00:23:26,960
Speaker 1: unable to return because she was pregnant during filming and

404
00:23:27,000 --> 00:23:30,080
Speaker 1: she was so good, like what a presence.

405
00:23:31,080 --> 00:23:34,639
Speaker 2: Freddie Walker, of who originallyd the role of Joanne, was

406
00:23:34,640 --> 00:23:37,200
Speaker 2: the oldest member of the original cast. So this goes

407
00:23:37,240 --> 00:23:39,399
Speaker 2: to what you were just talking about, which when it

408
00:23:39,400 --> 00:23:42,240
Speaker 2: opened ninetety six. She later said she wasn't offered the

409
00:23:42,280 --> 00:23:44,960
Speaker 2: film role due to her age, but asked the producers

410
00:23:45,000 --> 00:23:47,680
Speaker 2: to cast another actress of African descent in the part,

411
00:23:47,840 --> 00:23:50,000
Speaker 2: which they did with Tracy Thomps, who I thought was

412
00:23:50,480 --> 00:23:52,200
Speaker 2: incredible and their friend.

413
00:23:52,680 --> 00:23:54,760
Speaker 1: Yeah, I see. It goes on to actually be on

414
00:23:55,000 --> 00:23:59,680
Speaker 1: Broadway in Red, I believe as well and do the movie.

415
00:24:00,080 --> 00:24:04,760
Speaker 2: Jonathan Larson's sister, Julie Larson, served as a co producer

416
00:24:04,800 --> 00:24:06,359
Speaker 2: on the film and said the family was thrilled to

417
00:24:06,400 --> 00:24:08,920
Speaker 2: have Chris Columbus, which is also wild Chris Columbus, who

418
00:24:08,960 --> 00:24:11,920
Speaker 2: dropt doing first two Harry Potter movies. This came out

419
00:24:12,000 --> 00:24:15,200
Speaker 2: during the fourth Harry Potter movie, calling it the next

420
00:24:15,280 --> 00:24:18,040
Speaker 2: chapter and the continuing legacy of Jonathan's vision.

421
00:24:18,359 --> 00:24:21,520
Speaker 1: So some songs were rearranged or caught entirely for the film.

422
00:24:22,720 --> 00:24:27,200
Speaker 1: Seasons of Love, which opens act too on stage on Broadway,

423
00:24:27,240 --> 00:24:29,399
Speaker 1: became the opening number of the movie, which I was

424
00:24:29,480 --> 00:24:33,560
Speaker 1: like totally forgot about was fort Bye, and songs like

425
00:24:33,600 --> 00:24:37,520
Speaker 1: Contact and Christmas Bells were removed. Honestly I could. I

426
00:24:37,600 --> 00:24:40,320
Speaker 1: was fine with Contact being removed, but Christmas I was about,

427
00:24:40,960 --> 00:24:43,480
Speaker 1: and then others like You'll See were removed earlier in

428
00:24:43,520 --> 00:24:46,320
Speaker 1: the story, I guess for the movie purposes.

429
00:24:47,200 --> 00:24:50,120
Speaker 2: Several scenes were filmed but cut later, including the second

430
00:24:50,200 --> 00:24:53,320
Speaker 2: half of Goodbye Love, which Columbus felt was emotionally too heavy,

431
00:24:54,359 --> 00:24:58,000
Speaker 2: and a flashback of Roger's golfriend April's death, which he

432
00:24:58,000 --> 00:25:01,240
Speaker 2: thought was too graphic. Wow, when you watch the stage

433
00:25:01,280 --> 00:25:04,560
Speaker 2: production and you can, I think on Netflix right now,

434
00:25:05,760 --> 00:25:08,880
Speaker 2: like a filmed version of the You it's dark. It's

435
00:25:08,960 --> 00:25:11,919
Speaker 2: dark on stage like it is. It's a it's a

436
00:25:12,000 --> 00:25:19,240
Speaker 2: grittier movie. And I think, what happens when you try

437
00:25:19,280 --> 00:25:25,400
Speaker 2: to make something like that more appealing or like change

438
00:25:25,560 --> 00:25:28,960
Speaker 2: the tone? This movie felt like a different tone than

439
00:25:29,000 --> 00:25:34,520
Speaker 2: the stage production to me, Yes, it felt bright, too bright. Yes,

440
00:25:35,280 --> 00:25:37,159
Speaker 2: the show is what it is. The show is about

441
00:25:37,200 --> 00:25:41,040
Speaker 2: what it's about, so like if you're going to tackle that, yeah,

442
00:25:41,080 --> 00:25:42,280
Speaker 2: like do it faithfully?

443
00:25:42,880 --> 00:25:43,800
Speaker 1: Yeah, I agree.

444
00:25:44,320 --> 00:25:48,600
Speaker 2: And it felt just like a little too yeah, like

445
00:25:48,720 --> 00:25:52,200
Speaker 2: set bubblegum poppy, yeah, like why why are we making

446
00:25:52,200 --> 00:25:53,840
Speaker 2: this a pop rock musical?

447
00:25:54,400 --> 00:25:57,280
Speaker 1: Yeah? Yeah, I agree? And then like even like cutting

448
00:25:57,280 --> 00:25:59,199
Speaker 1: out the second half of Goodbye Love because it was

449
00:25:59,240 --> 00:26:02,280
Speaker 1: too tragic, too dark, Like that is the musical, that is,

450
00:26:02,359 --> 00:26:03,480
Speaker 1: this is what it is right now.

451
00:26:03,840 --> 00:26:06,840
Speaker 2: True to me, that's like an old school producer thing

452
00:26:06,880 --> 00:26:10,520
Speaker 2: that doesn't understand what makes the show what successful as

453
00:26:10,520 --> 00:26:14,000
Speaker 2: it is, Like you have one of the longest running

454
00:26:14,000 --> 00:26:17,960
Speaker 2: shows on Broadway. It's been wildly successful at that point

455
00:26:18,040 --> 00:26:23,359
Speaker 2: for almost ten years, and people know what the show is,

456
00:26:24,600 --> 00:26:27,880
Speaker 2: so like there's an opportunity there to really be able

457
00:26:27,920 --> 00:26:31,000
Speaker 2: to like get in there and get gritty and have

458
00:26:31,080 --> 00:26:32,439
Speaker 2: all this like gritty music.

459
00:26:33,200 --> 00:26:33,720
Speaker 1: Yeah.

460
00:26:33,800 --> 00:26:37,280
Speaker 2: And I also thought it was I didn't even know

461
00:26:37,440 --> 00:26:40,920
Speaker 2: the Seasons of Love Opensact two in the stage show

462
00:26:41,440 --> 00:26:43,320
Speaker 2: because I at some point I was like why did

463
00:26:43,320 --> 00:26:50,080
Speaker 2: we just see that? And then because it emotionally watching

464
00:26:50,119 --> 00:26:51,920
Speaker 2: it now that makes I feel like it would be

465
00:26:51,960 --> 00:26:56,000
Speaker 2: so much more impactful seeing it halfway through the movie interesting, right,

466
00:26:56,119 --> 00:26:59,160
Speaker 2: like you've now experienced you now know all these people,

467
00:26:59,160 --> 00:27:03,080
Speaker 2: which is how the original show is written. Right, And

468
00:27:03,119 --> 00:27:05,639
Speaker 2: then they come out and sing this song that is

469
00:27:05,680 --> 00:27:09,760
Speaker 2: so beautiful and so moving yep yeah yeah, and so

470
00:27:09,960 --> 00:27:12,040
Speaker 2: you're getting it out of context or it feels like

471
00:27:12,080 --> 00:27:16,600
Speaker 2: it's fan service, like we're we're putting the pit up first.

472
00:27:17,400 --> 00:27:26,639
Speaker 1: Yeah, I'm not sure why they did that, and I

473
00:27:26,920 --> 00:27:28,560
Speaker 1: part of me is like it can't be as simple

474
00:27:28,560 --> 00:27:32,680
Speaker 1: as like people seasons love is like the quintessential song

475
00:27:32,720 --> 00:27:35,639
Speaker 1: ground because to me it's not but like for commercial purposes, right, like,

476
00:27:36,000 --> 00:27:37,680
Speaker 1: and you're opening it with you if you're going to.

477
00:27:37,640 --> 00:27:39,800
Speaker 2: Know any song, it's going to do that song. But right,

478
00:27:40,000 --> 00:27:41,800
Speaker 2: that doesn't really make it like that's not going to

479
00:27:41,840 --> 00:27:44,800
Speaker 2: get people into the movie theater because.

480
00:27:44,560 --> 00:27:49,720
Speaker 1: They're exactly Yeah. So I don't I don't know exactly

481
00:27:49,800 --> 00:28:07,359
Speaker 1: why that's what they open with, but it was a choice.

482
00:28:03,320 --> 00:28:05,440
Speaker 2: Blanket statement. I thought everyone was really great.

483
00:28:05,480 --> 00:28:08,600
Speaker 1: Well, I mean they are the original cast. Yeah, I

484
00:28:08,640 --> 00:28:10,160
Speaker 1: did think they were all. I think.

485
00:28:11,600 --> 00:28:14,600
Speaker 2: Them looking older than like their early twenties.

486
00:28:15,240 --> 00:28:18,639
Speaker 1: Yeah, out of it, Yeah.

487
00:28:18,040 --> 00:28:20,399
Speaker 2: Which is also strange, like why does it work in Greece?

488
00:28:20,400 --> 00:28:23,800
Speaker 2: Maybe because it's like a silly movie. This is not

489
00:28:23,920 --> 00:28:24,960
Speaker 2: a silly movie.

490
00:28:25,320 --> 00:28:27,960
Speaker 1: Yeah, I mean it didn't bother me as as much

491
00:28:28,080 --> 00:28:31,080
Speaker 1: this watching it this time, as I remember like being like, oh,

492
00:28:31,119 --> 00:28:33,240
Speaker 1: they're casting the original and like, aren't they too old

493
00:28:33,320 --> 00:28:33,960
Speaker 1: for this? Right?

494
00:28:34,520 --> 00:28:38,400
Speaker 2: Roger Ebert said he admired the cast, but the film

495
00:28:38,400 --> 00:28:42,160
Speaker 2: didn't fully work without the context of stage version, and

496
00:28:42,200 --> 00:28:44,920
Speaker 2: a lot of critics pointed out that they felt bringing

497
00:28:44,920 --> 00:28:47,240
Speaker 2: back the original cast nearly decade later made the characters

498
00:28:47,240 --> 00:28:48,320
Speaker 2: seem older than attended.

499
00:28:48,840 --> 00:28:51,840
Speaker 1: Yeah, I agree there, I look again, I'm very torn

500
00:28:51,880 --> 00:28:54,360
Speaker 1: by it, because I do think that it was very

501
00:28:54,400 --> 00:28:58,400
Speaker 1: powerful to hear these guys who created the original with,

502
00:28:58,640 --> 00:29:02,400
Speaker 1: you know, in that room together when magic was being

503
00:29:02,440 --> 00:29:05,280
Speaker 1: made for people who didn't get to see the stage

504
00:29:05,320 --> 00:29:09,520
Speaker 1: show experience that firsthand. Listen to these voices again, they're

505
00:29:09,640 --> 00:29:16,440
Speaker 1: so so iconic in the history of theater and musical theater,

506
00:29:16,560 --> 00:29:19,880
Speaker 1: so like, I don't know that I would have taken

507
00:29:19,960 --> 00:29:25,840
Speaker 1: to this listening to somebody else sing it or speak

508
00:29:25,840 --> 00:29:28,400
Speaker 1: it like Anthony Rapp, you know, opening it, Like I

509
00:29:28,440 --> 00:29:32,480
Speaker 1: don't know. I yeah, Like they were, I would be like,

510
00:29:32,480 --> 00:29:34,160
Speaker 1: if you're going to do a Gley room boot, like

511
00:29:34,320 --> 00:29:36,080
Speaker 1: I can't be in high school anymore, you know what

512
00:29:36,120 --> 00:29:37,960
Speaker 1: I mean. Like not that that would happen, but you

513
00:29:37,960 --> 00:29:39,520
Speaker 1: know that's the way I would feel about it.

514
00:29:39,560 --> 00:29:42,920
Speaker 2: So, I mean, I feel like it was like the

515
00:29:43,000 --> 00:29:47,720
Speaker 2: respectful thing to do having them all back, and obviously

516
00:29:47,760 --> 00:29:48,200
Speaker 2: they're all.

517
00:29:48,280 --> 00:29:49,280
Speaker 1: Incredible, phenomenal.

518
00:29:49,360 --> 00:29:54,880
Speaker 2: Yeah, And I think if you were there, like when

519
00:29:54,920 --> 00:29:57,480
Speaker 2: they were doing this like two thousand and four, that's

520
00:29:57,520 --> 00:30:01,640
Speaker 2: not that long after the stage production. But the other

521
00:30:01,680 --> 00:30:03,560
Speaker 2: thing is is you can get away with being a

522
00:30:03,600 --> 00:30:09,040
Speaker 2: little older on stage stage, and like if you actually

523
00:30:09,080 --> 00:30:15,720
Speaker 2: saw people who looked quite young doing this, might have

524
00:30:15,920 --> 00:30:20,920
Speaker 2: the starving artist thing. I just think feels so much

525
00:30:21,000 --> 00:30:24,600
Speaker 2: more believable. Yeah, and like people, these people look like

526
00:30:24,920 --> 00:30:28,800
Speaker 2: they nobody looks like old. I'm not saying that, but

527
00:30:28,840 --> 00:30:30,480
Speaker 2: there's a difference between twenty and thirty.

528
00:30:31,520 --> 00:30:38,960
Speaker 1: Overall, my biggest problems with this product, this movie, or

529
00:30:39,000 --> 00:30:41,880
Speaker 1: my biggest qualms with this movie were.

530
00:30:43,400 --> 00:30:51,800
Speaker 3: The music aspect, watching these guys speak the dialogue that

531
00:30:51,880 --> 00:30:53,880
Speaker 3: I have sung for my whole life.

532
00:30:54,040 --> 00:30:59,840
Speaker 1: Wait, really, so everything that is there.

533
00:30:59,760 --> 00:31:01,160
Speaker 2: No speaking in the stage show.

534
00:31:01,160 --> 00:31:03,400
Speaker 1: I don't even I think I think he speaks a

535
00:31:03,520 --> 00:31:07,680
Speaker 1: few times. Even the voicemails are are sung in the

536
00:31:07,720 --> 00:31:15,040
Speaker 1: show Mark Alexi Darling. Yeah, yeah, it's everything is sung.

537
00:31:16,760 --> 00:31:21,840
Speaker 1: So there's either a beat or a movement and people

538
00:31:21,880 --> 00:31:26,560
Speaker 1: are singing, and so it is troublesome to me. I

539
00:31:26,560 --> 00:31:32,000
Speaker 1: had to look away, like it hurts because it's so embedded,

540
00:31:32,080 --> 00:31:35,840
Speaker 1: deeply embedded, ingrained in my in my mind. And to

541
00:31:35,960 --> 00:31:37,800
Speaker 1: watch them, I mean that must have been difficult for

542
00:31:37,880 --> 00:31:41,960
Speaker 1: them to make sense of the dialogue in a speaking

543
00:31:42,040 --> 00:31:45,600
Speaker 1: and not make it sound like what it's how it sucks.

544
00:31:45,800 --> 00:31:49,760
Speaker 2: Well, it also brings me to it makes it In

545
00:31:49,800 --> 00:31:51,800
Speaker 2: a musical, there's always that thing of like is this

546
00:31:51,840 --> 00:31:54,560
Speaker 2: happening in real life or are they imagining part of

547
00:31:54,600 --> 00:31:58,640
Speaker 2: this where if it is all sung and you know that, like,

548
00:31:59,000 --> 00:32:02,040
Speaker 2: then that is the world in Yeah, right, that's just

549
00:32:02,080 --> 00:32:06,200
Speaker 2: how everybody's communicating the suspension of disbelief. This is an opera, yes,

550
00:32:06,280 --> 00:32:08,600
Speaker 2: but if you're going in between, like when Angel comes

551
00:32:08,600 --> 00:32:10,920
Speaker 2: in and does the whole performance, like that makes sense

552
00:32:11,400 --> 00:32:14,600
Speaker 2: because Angel's performing in the living room for everybody. Yeah,

553
00:32:14,640 --> 00:32:17,400
Speaker 2: but almost every other time you're like when Adina is

554
00:32:17,440 --> 00:32:22,280
Speaker 2: performing like on stage, fine, but that doesn't happen very

555
00:32:22,280 --> 00:32:26,000
Speaker 2: often in this and so it's like, also, like what

556
00:32:26,000 --> 00:32:27,000
Speaker 2: what are we doing here?

557
00:32:27,440 --> 00:32:29,440
Speaker 1: Like you're what you own? Or like what you Own

558
00:32:31,120 --> 00:32:32,680
Speaker 1: is one of those that was like, oh, they have

559
00:32:32,720 --> 00:32:34,480
Speaker 1: to like in the movie, they have to make sense

560
00:32:34,520 --> 00:32:38,880
Speaker 1: of it, like they on the music and the musical,

561
00:32:38,880 --> 00:32:41,720
Speaker 1: if I remember correctly, they just stand there on the

562
00:32:41,800 --> 00:32:47,400
Speaker 1: rafters like and it's fine, but in this one, you

563
00:32:47,440 --> 00:32:49,880
Speaker 1: have you can't have that right Like and out Tonight

564
00:32:49,920 --> 00:32:52,280
Speaker 1: for Mini, they put her in the club, which I

565
00:32:52,360 --> 00:32:55,600
Speaker 1: like get, but like on stage, it's just her on

566
00:32:55,640 --> 00:32:57,880
Speaker 1: the railing in the back, all the way in the back.

567
00:32:57,800 --> 00:33:00,640
Speaker 2: Like, but she's walking up and down like the fire.

568
00:33:00,520 --> 00:33:04,560
Speaker 1: Escapes, isn't she Yes, yes, yes, yeah, Like West Side

569
00:33:04,600 --> 00:33:08,680
Speaker 1: Story just did it. Yeah, I just I'm finding I

570
00:33:08,760 --> 00:33:12,520
Speaker 1: found it very jarring, and it took away the part

571
00:33:12,600 --> 00:33:16,280
Speaker 1: of the musical that made it so I don't know,

572
00:33:16,440 --> 00:33:20,000
Speaker 1: like sticky, like they're like in the in between the transitions,

573
00:33:19,800 --> 00:33:22,959
Speaker 1: the discussion, like it just felt like it was missing

574
00:33:23,000 --> 00:33:25,520
Speaker 1: something and it was like to make an adaptation of

575
00:33:25,560 --> 00:33:30,520
Speaker 1: something and to take that out it felt counterintuitive to me.

576
00:33:30,680 --> 00:33:34,600
Speaker 2: It felt like, you know, we have talked about this extensively,

577
00:33:35,800 --> 00:33:40,120
Speaker 2: but Glee doing a musical is a different set of skills,

578
00:33:40,320 --> 00:33:46,400
Speaker 2: I think to an extent, And I think when you

579
00:33:46,440 --> 00:33:53,280
Speaker 2: see films like Chicago, which is and then you see

580
00:33:53,280 --> 00:33:59,720
Speaker 2: something like this where blocking how you're staging these numbers

581
00:34:00,560 --> 00:34:07,440
Speaker 2: affects the audience's ability to feel something, because I think

582
00:34:07,760 --> 00:34:10,120
Speaker 2: a lot of the time in this movie, because I

583
00:34:10,160 --> 00:34:12,920
Speaker 2: know I have felt something when I watched the recording

584
00:34:13,120 --> 00:34:18,600
Speaker 2: of the Broadway show I'm in it start to finish,

585
00:34:19,000 --> 00:34:22,759
Speaker 2: you feel it like, I know this music is good. Yeah,

586
00:34:22,760 --> 00:34:24,839
Speaker 2: And it's not for lack of anybody not being good

587
00:34:24,880 --> 00:34:26,279
Speaker 2: in this movie.

588
00:34:26,560 --> 00:34:26,759
Speaker 1: Yeah.

589
00:34:26,760 --> 00:34:35,600
Speaker 2: But like at the end when there's the funeral, yeah,

590
00:34:35,680 --> 00:34:39,120
Speaker 2: and they're all walking through the cemetery and it is

591
00:34:39,120 --> 00:34:45,640
Speaker 2: the most awkwardly shocked and blocked scene in that movie.

592
00:34:45,800 --> 00:34:50,640
Speaker 2: And it's like this really heavy emotional moment that's going on.

593
00:34:51,600 --> 00:34:57,759
Speaker 2: But it is shot like a mid nineties teen movie.

594
00:35:00,080 --> 00:35:02,000
Speaker 2: And don't get me wrong, I think Chris Columbus is

595
00:35:02,000 --> 00:35:06,319
Speaker 2: on a lot of great things, But I feel like

596
00:35:08,960 --> 00:35:12,680
Speaker 2: so much of this movie just what we were talking

597
00:35:12,719 --> 00:35:16,640
Speaker 2: about earlier, like stripped away what we can feel like

598
00:35:16,719 --> 00:35:21,120
Speaker 2: the sincerity, the depth, the darkness, the seriousness of what's

599
00:35:21,160 --> 00:35:25,120
Speaker 2: going on in this show. That doesn't mean you I

600
00:35:25,200 --> 00:35:27,320
Speaker 2: want to cut any of the joy and the laughter

601
00:35:27,400 --> 00:35:28,960
Speaker 2: and the comedy, because there's a lot of that in

602
00:35:29,000 --> 00:35:32,279
Speaker 2: it too. But for whatever reason, how a lot of

603
00:35:32,320 --> 00:35:35,200
Speaker 2: these numbers were also staged, like even the beginning, like

604
00:35:35,880 --> 00:35:41,200
Speaker 2: having to pay the rent number, like how it's shot

605
00:35:41,320 --> 00:35:46,960
Speaker 2: feels so clunky and like amateur. It's for me watching

606
00:35:46,960 --> 00:35:50,520
Speaker 2: a movie or any piece of media. Yeah, when you

607
00:35:50,560 --> 00:35:54,120
Speaker 2: know it's almost good, it's so frustrating because you know

608
00:35:54,239 --> 00:35:57,720
Speaker 2: this material is good, like rent is not boring.

609
00:35:58,880 --> 00:36:03,279
Speaker 1: No, I think this movie is boring. Agreed, it's a

610
00:36:03,280 --> 00:36:07,600
Speaker 1: little I just maybe it's it's just not meant to

611
00:36:07,640 --> 00:36:08,640
Speaker 1: be a movie.

612
00:36:09,160 --> 00:36:14,840
Speaker 2: I don't know. Watching it made me feel the complete

613
00:36:14,840 --> 00:36:20,840
Speaker 2: opposite because watching like, Okay, this version I don't.

614
00:36:20,680 --> 00:36:23,120
Speaker 1: Think works to the best of its ability. I think

615
00:36:23,120 --> 00:36:26,919
Speaker 1: they're back in the music for the dialogue. Then you

616
00:36:27,000 --> 00:36:28,920
Speaker 1: like the dialogue just falls.

617
00:36:29,360 --> 00:36:31,400
Speaker 2: I mean, maybe it doesn't work. Look, I'm sort of

618
00:36:31,440 --> 00:36:35,520
Speaker 2: a hater of the Late Miss movie, and that's an opera,

619
00:36:35,680 --> 00:36:39,120
Speaker 2: like everything is sung. But I don't know if these

620
00:36:39,160 --> 00:36:43,279
Speaker 2: things don't work because they're operas. I think I think

621
00:36:43,280 --> 00:36:48,239
Speaker 2: this is like a filmmaker error. I kind of like this,

622
00:36:48,840 --> 00:36:51,960
Speaker 2: but I could be wrong, though, I like a lot

623
00:36:52,000 --> 00:36:54,759
Speaker 2: of people did Austin and I like basically first and

624
00:36:54,800 --> 00:36:57,640
Speaker 2: only fight was about the movie.

625
00:36:57,719 --> 00:36:59,840
Speaker 1: I mean they get their music the way it was like,

626
00:37:00,040 --> 00:37:03,959
Speaker 1: didn't I I memory they didn't touch it, So.

627
00:37:07,400 --> 00:37:11,200
Speaker 2: I've it's maybe something like this is hard to capture

628
00:37:11,239 --> 00:37:12,520
Speaker 2: on film and make you feel something.

629
00:37:12,600 --> 00:37:17,280
Speaker 1: I think maybe there's also something about the minimal nature

630
00:37:17,360 --> 00:37:22,960
Speaker 1: of the musical and the set and the costumes and

631
00:37:23,080 --> 00:37:27,840
Speaker 1: the darkness that you were talking about, very minimal set,

632
00:37:29,239 --> 00:37:33,440
Speaker 1: like your imagination kind of comes into play here or

633
00:37:33,480 --> 00:37:37,160
Speaker 1: the musical and it's almost like when you're listening to

634
00:37:37,200 --> 00:37:40,000
Speaker 1: it on in the recording, I don't even need to

635
00:37:40,040 --> 00:37:44,719
Speaker 1: see this to know to like feel something right. And

636
00:37:45,000 --> 00:37:49,360
Speaker 1: it was almost like to contrived to make this story

637
00:37:49,440 --> 00:37:53,000
Speaker 1: work to be interesting enough to be a movie like

638
00:37:53,320 --> 00:37:58,680
Speaker 1: the Yeah, because the musical itself like you don't need

639
00:37:59,160 --> 00:38:02,719
Speaker 1: a lot suspension of disbelief. It is there, like you

640
00:38:02,719 --> 00:38:05,839
Speaker 1: can imagine it, they see it. You understand the world

641
00:38:05,920 --> 00:38:09,319
Speaker 1: because they see it. It was almost like this world

642
00:38:09,480 --> 00:38:12,120
Speaker 1: was created and it wasn't what I had imagined it

643
00:38:12,160 --> 00:38:17,279
Speaker 1: to be, and it wasn't quite right to what I

644
00:38:17,320 --> 00:38:21,640
Speaker 1: think they wanted or what Renheads would say is the world,

645
00:38:22,600 --> 00:38:27,840
Speaker 1: and therefore it takes away from it. It takes away

646
00:38:27,880 --> 00:38:35,920
Speaker 1: from the magic of what Rent is and it's not

647
00:38:36,040 --> 00:38:38,520
Speaker 1: about any of that. And I think that's part of it.

648
00:38:38,719 --> 00:38:45,440
Speaker 1: Like the story is just so strong and the character's

649
00:38:45,520 --> 00:38:49,480
Speaker 1: relationships are so strong and intertwined, like Roger and Mimi

650
00:38:49,600 --> 00:38:54,000
Speaker 1: and Mark and Roger and the Benny and the Maureen

651
00:38:54,200 --> 00:38:58,120
Speaker 1: and Maureen and Joanne and Joanne and Maureen and Mark

652
00:38:58,880 --> 00:39:01,359
Speaker 1: and everybody is in a pan about what everybody else

653
00:39:01,440 --> 00:39:04,960
Speaker 1: thinks and feels, and they're so intertwined. And then Angel

654
00:39:05,000 --> 00:39:07,960
Speaker 1: comes in and Colin an Angel, and you're like, oh

655
00:39:08,000 --> 00:39:12,000
Speaker 1: my god, Like it just didn't visually, I think hit

656
00:39:13,520 --> 00:39:15,480
Speaker 1: the way and it was a little slow. You're right,

657
00:39:16,880 --> 00:39:17,560
Speaker 1: that so hard.

658
00:39:17,640 --> 00:39:19,640
Speaker 2: I'm not saying like doing this is easy. I don't

659
00:39:19,680 --> 00:39:23,080
Speaker 2: have a solution to it, because I think, but.

660
00:39:23,120 --> 00:39:28,160
Speaker 1: You're coming from something really really excellent, and.

661
00:39:28,080 --> 00:39:31,959
Speaker 2: Maybe it is to some things don't translate translate maybe.

662
00:39:32,160 --> 00:39:37,440
Speaker 1: And also like the live tangible feelings in the theater

663
00:39:37,600 --> 00:39:43,440
Speaker 1: with Ren, the grittiness, the emotion is just so honest

664
00:39:43,760 --> 00:39:48,480
Speaker 1: that like, did you see the NBC Live I don't remember.

665
00:39:49,239 --> 00:39:51,279
Speaker 1: I think I thought there were some great moments in it.

666
00:39:51,880 --> 00:39:53,080
Speaker 1: I felt more from that.

667
00:39:53,000 --> 00:39:56,040
Speaker 2: Oh really, But I also think that was still like

668
00:39:56,080 --> 00:40:01,480
Speaker 2: a little too glamorous, where there's something about like you

669
00:40:01,520 --> 00:40:05,200
Speaker 2: know how I think back, Like I keep wondering if

670
00:40:05,200 --> 00:40:08,279
Speaker 2: it's like a the eraror in which this was made

671
00:40:08,320 --> 00:40:11,080
Speaker 2: with like remember that MANI series Angels in America, which

672
00:40:11,120 --> 00:40:12,200
Speaker 2: is also an incredible play.

673
00:40:12,680 --> 00:40:17,880
Speaker 4: Yeah, but like oh yeah that mini series yeah unreal

674
00:40:18,440 --> 00:40:24,440
Speaker 4: yeah and dark? Yes, And if you set this in

675
00:40:24,520 --> 00:40:31,440
Speaker 4: that style of peace, how how impactful those numbers, like

676
00:40:31,440 --> 00:40:36,879
Speaker 4: you can see those numbers? Yeah, And like I think

677
00:40:36,880 --> 00:40:40,279
Speaker 4: you could have the everything sung and I think, I

678
00:40:40,320 --> 00:40:42,040
Speaker 4: don't know, maybe it's hard.

679
00:40:42,160 --> 00:40:44,920
Speaker 1: It's hard. It's really hard. Because I was going to say, oh,

680
00:40:45,000 --> 00:40:48,000
Speaker 1: the Hollywood Bowl version of ret that they did, did

681
00:40:48,000 --> 00:40:49,960
Speaker 1: you go to that? Of course I did. Skylar Aston

682
00:40:50,040 --> 00:40:55,080
Speaker 1: was Mark and Aaron Tobay was Roger, and thoughts it

683
00:40:55,120 --> 00:40:58,600
Speaker 1: was still a little too bright, but I still bought

684
00:40:58,600 --> 00:40:59,279
Speaker 1: it because it was live.

685
00:40:59,680 --> 00:41:01,840
Speaker 2: I under if this is one of those movies and

686
00:41:01,880 --> 00:41:07,560
Speaker 2: maybe the swile Mis did it of where singing live

687
00:41:07,680 --> 00:41:10,200
Speaker 2: lives would really help.

688
00:41:10,800 --> 00:41:14,120
Speaker 1: Yes, I don't know, Kevin, I don't know. This is

689
00:41:14,160 --> 00:41:17,160
Speaker 1: a tough one because I also Okay, I know we're

690
00:41:17,200 --> 00:41:19,719
Speaker 1: just like sort of poo pooing on it. Yeah, but

691
00:41:19,840 --> 00:41:23,960
Speaker 1: I also you know, when I watched it, though, I

692
00:41:24,000 --> 00:41:28,000
Speaker 1: didn't mind, Like I wasn't bored because of it was slow.

693
00:41:28,120 --> 00:41:31,200
Speaker 1: I wasn't bored like I was like, oh, this is

694
00:41:31,200 --> 00:41:33,080
Speaker 1: a little slow. Maybe it was just the pacing of

695
00:41:33,120 --> 00:41:37,719
Speaker 1: it because it usually is sung, but that music still

696
00:41:37,719 --> 00:41:42,160
Speaker 1: made me feel something. But you're I think because you

697
00:41:42,200 --> 00:41:45,960
Speaker 1: are able to fill in the pieces. Yeah, no, no, no,

698
00:41:46,000 --> 00:41:47,719
Speaker 1: I could faster through this whole movie and tell you

699
00:41:47,800 --> 00:41:50,160
Speaker 1: exactly what's happening at what part and probably what they're saying.

700
00:41:50,480 --> 00:41:53,120
Speaker 2: Yeah, and you could like feel it immediately because you

701
00:41:53,200 --> 00:41:55,359
Speaker 2: have that response to it because you know it. If

702
00:41:55,360 --> 00:41:59,200
Speaker 2: you're coming into this movie with no experience to.

703
00:41:59,200 --> 00:42:03,040
Speaker 1: It, I don't know, but I don't know.

704
00:42:03,120 --> 00:42:07,000
Speaker 2: And again that's not to say that like everyone was

705
00:42:07,760 --> 00:42:08,279
Speaker 2: so good.

706
00:42:09,800 --> 00:42:13,439
Speaker 1: No, I know, that's the thing, Like they were great.

707
00:42:13,480 --> 00:42:15,040
Speaker 1: It's just I think it might have been the pacing

708
00:42:15,120 --> 00:42:18,520
Speaker 1: and the brightness of the tone and the lack of

709
00:42:19,120 --> 00:42:23,799
Speaker 1: the music for the dialogue, like it all just it

710
00:42:23,840 --> 00:42:27,560
Speaker 1: didn't all the pieces didn't magically connect like they did

711
00:42:28,320 --> 00:42:28,920
Speaker 1: on Broadway.

712
00:42:30,280 --> 00:42:35,200
Speaker 2: Here's the thing, like Jonathan Larson's sister said, I do

713
00:42:35,239 --> 00:42:38,879
Speaker 2: think what is beautiful about this is that it is

714
00:42:39,040 --> 00:42:44,959
Speaker 2: it does exist, and it is a documentation, another documentation

715
00:42:46,120 --> 00:42:51,480
Speaker 2: of this great piece. Yeah, and that lives on for

716
00:42:51,480 --> 00:42:54,680
Speaker 2: forever and this form and the theater form and the

717
00:42:54,719 --> 00:42:59,480
Speaker 2: film theater form like that's never going away. And then

718
00:42:59,520 --> 00:43:02,440
Speaker 2: that since I liked it, they had most of the

719
00:43:02,480 --> 00:43:05,160
Speaker 2: original people in it. Yeah, I just don't know if

720
00:43:05,200 --> 00:43:11,440
Speaker 2: it served ultimately, you know, the the real story as

721
00:43:11,480 --> 00:43:21,000
Speaker 2: best as it could. Do you want to talk about

722
00:43:21,000 --> 00:43:23,400
Speaker 2: some of these numbers. How did Seasons of Love starting

723
00:43:23,400 --> 00:43:31,839
Speaker 2: this off make you feel? You know, Tracy is singing, Oh,

724
00:43:31,880 --> 00:43:32,640
Speaker 2: she's saying.

725
00:43:33,000 --> 00:43:37,680
Speaker 1: I don't. It didn't bother me that it was the beginning.

726
00:43:37,719 --> 00:43:42,759
Speaker 1: It bothered me that it was different from the how

727
00:43:42,880 --> 00:43:46,880
Speaker 1: the it opens initially, like it opens with like the

728
00:43:46,920 --> 00:43:52,560
Speaker 1: tune up right on Broadway. It is like Zember twenty fourth,

729
00:43:52,640 --> 00:43:55,120
Speaker 1: and like he's doing that, he's singing that whole thing.

730
00:43:55,239 --> 00:43:57,759
Speaker 1: See that's what I want. And I'm and I was like,

731
00:43:57,880 --> 00:44:02,400
Speaker 1: where how dare you? Because how dare you also just

732
00:44:02,480 --> 00:44:08,000
Speaker 1: in it immediately? How dare you? Like the worlds were different?

733
00:44:08,040 --> 00:44:13,880
Speaker 1: And I was so I was like, what Seasons of

734
00:44:13,960 --> 00:44:15,959
Speaker 1: love is just seasons of Love, and it's not even

735
00:44:15,960 --> 00:44:18,439
Speaker 1: that special to me anymore. It's just the overdone song

736
00:44:18,520 --> 00:44:20,680
Speaker 1: from Rent. And I was like, you just let that

737
00:44:20,760 --> 00:44:22,960
Speaker 1: live where it is. We see we heard a hundred

738
00:44:22,960 --> 00:44:25,239
Speaker 1: times in the musical. We heard one hundred times. We

739
00:44:25,280 --> 00:44:27,040
Speaker 1: did it for a glay sadly like it was just

740
00:44:27,080 --> 00:44:29,839
Speaker 1: like it's around, right, So it is what it is.

741
00:44:29,920 --> 00:44:33,360
Speaker 2: But that's the thing, if you I was really trying

742
00:44:33,400 --> 00:44:35,080
Speaker 2: my hardest, and I think I was able to like

743
00:44:35,160 --> 00:44:39,760
Speaker 2: step back from any of my like associations are sick,

744
00:44:40,160 --> 00:44:43,120
Speaker 2: you know, I'm tired of hearing it sort of feelings. Yeah, yeah,

745
00:44:43,160 --> 00:44:47,880
Speaker 2: it is just beautiful and it summarizes what this entire

746
00:44:47,920 --> 00:44:50,920
Speaker 2: show is about so beautifully and emotionally.

747
00:44:51,080 --> 00:44:55,319
Speaker 1: All right, So maybe that's why they opened up with it,

748
00:44:55,360 --> 00:44:56,560
Speaker 1: But I don't summarize it.

749
00:44:56,840 --> 00:45:00,200
Speaker 2: But do we need a summary? The Rent song is

750
00:45:00,200 --> 00:45:00,800
Speaker 2: the summary.

751
00:45:01,239 --> 00:45:03,799
Speaker 1: I think they just like we are in a commercial

752
00:45:03,840 --> 00:45:09,000
Speaker 1: feature film where perhaps they are not giving the audience

753
00:45:09,000 --> 00:45:09,600
Speaker 1: the benefit of the.

754
00:45:09,760 --> 00:45:10,480
Speaker 2: Here's what I want?

755
00:45:13,640 --> 00:45:14,160
Speaker 1: What do you want?

756
00:45:14,800 --> 00:45:20,040
Speaker 2: I think Linn Manuel, who directed Tick tick boom, Oh.

757
00:45:20,680 --> 00:45:22,160
Speaker 1: He did an incredible job.

758
00:45:22,760 --> 00:45:26,000
Speaker 2: Yes, because I think he deeply, deeply respects and understands

759
00:45:26,040 --> 00:45:26,600
Speaker 2: Jonathan Lars.

760
00:45:27,440 --> 00:45:32,359
Speaker 1: Yes, I would love to see what he would do.

761
00:45:33,440 --> 00:45:35,600
Speaker 1: I'm so pissed. You know. He was in our rehearsal last.

762
00:45:35,440 --> 00:45:40,759
Speaker 2: Week so many times when we first when they first

763
00:45:40,760 --> 00:45:43,120
Speaker 2: started rehearsing, Yeah, I love you song. He like talked

764
00:45:43,120 --> 00:45:45,279
Speaker 2: to us during lunch for a while. Then he's like,

765
00:45:45,360 --> 00:45:46,640
Speaker 2: let me know when you're going to rehearse he I

766
00:45:46,640 --> 00:45:50,120
Speaker 2: love your song. And then he came in and just crying. Oh,

767
00:45:50,640 --> 00:45:53,759
Speaker 2: I mean when I should have should have just I

768
00:45:53,760 --> 00:45:54,840
Speaker 2: should have asked him.

769
00:45:55,200 --> 00:45:58,160
Speaker 1: I should have you should have We have to get

770
00:45:58,200 --> 00:46:01,880
Speaker 1: him on here. Oh my, Kevin, do it anyway. Some

771
00:46:02,000 --> 00:46:06,360
Speaker 1: of the favorite favorite numbers in general from the musical

772
00:46:06,600 --> 00:46:15,160
Speaker 1: itself Another Day, Oh yeah, Santa Fe, I'll cover you,

773
00:46:15,280 --> 00:46:19,560
Speaker 1: I'll cover you. God, there's so many bangers. I'll cover you, Rupries,

774
00:46:20,239 --> 00:46:25,400
Speaker 1: Halloween fan Fase, what You Own hands down one of

775
00:46:25,480 --> 00:46:31,600
Speaker 1: the songs, and Love Everyone of course in the movie context, yes,

776
00:46:31,680 --> 00:46:33,800
Speaker 1: oh yeah, this is all in the movie. Which ones

777
00:46:34,000 --> 00:46:38,960
Speaker 1: do you did you like? Or did you find yourself?

778
00:46:40,120 --> 00:46:42,759
Speaker 2: I thought Adina has never been better?

779
00:46:43,400 --> 00:46:44,200
Speaker 1: Oh god, you so.

780
00:46:44,840 --> 00:46:50,319
Speaker 2: I there's something so magical about her in this part

781
00:46:50,880 --> 00:46:55,520
Speaker 2: that Maureen is her role. Yeah, like I forgot because

782
00:46:55,560 --> 00:46:58,200
Speaker 2: now she's become like so much more famous, She's and

783
00:46:58,239 --> 00:47:01,239
Speaker 2: so much more stuff. Now you see her do this

784
00:47:01,520 --> 00:47:06,000
Speaker 2: and it is like she is like she is living

785
00:47:06,160 --> 00:47:07,320
Speaker 2: that every movement.

786
00:47:08,120 --> 00:47:09,600
Speaker 1: Like I loved Over the Moon.

787
00:47:10,480 --> 00:47:14,200
Speaker 2: I was like, yeah, you are in it, but there's

788
00:47:14,239 --> 00:47:17,200
Speaker 2: I think there's also something different about her because she

789
00:47:17,400 --> 00:47:19,200
Speaker 2: felt really comfortable on camera.

790
00:47:19,320 --> 00:47:22,719
Speaker 1: To me, hmm, interesting.

791
00:47:23,440 --> 00:47:25,359
Speaker 2: And I could just be the blocking of like you know,

792
00:47:25,719 --> 00:47:29,480
Speaker 2: her scenes, but there was something about her comfortability. Obviously,

793
00:47:29,520 --> 00:47:31,239
Speaker 2: all these people are comfortable in the roles because most

794
00:47:31,239 --> 00:47:33,200
Speaker 2: of them have been playing them for forever, and you

795
00:47:33,239 --> 00:47:35,400
Speaker 2: feel that. I do think that makes a huge difference.

796
00:47:36,360 --> 00:47:39,239
Speaker 2: So I I thought take me or Leave Me?

797
00:47:39,400 --> 00:47:44,480
Speaker 1: Was also shocked, really that was that.

798
00:47:44,480 --> 00:47:46,080
Speaker 2: Was one of the things. I'm like, Oh, I'm actually

799
00:47:46,120 --> 00:47:48,839
Speaker 2: feeling what this what this.

800
00:47:49,360 --> 00:47:52,920
Speaker 1: Song is about? Yeah, yeah, yeah, And it doesn't feel

801
00:47:52,960 --> 00:47:56,000
Speaker 1: too clunky, I know. I think That's the hard part

802
00:47:56,000 --> 00:47:58,640
Speaker 1: about this is like most of my favorite songs in

803
00:47:58,760 --> 00:48:05,080
Speaker 1: the show did translate for me, like I still wanted

804
00:48:05,080 --> 00:48:06,920
Speaker 1: to listen to what you Own? But did I really

805
00:48:06,920 --> 00:48:10,359
Speaker 1: want to see them like traveling across the US? No? Right,

806
00:48:12,080 --> 00:48:16,360
Speaker 1: what I mean? And I half of those favorite my

807
00:48:16,400 --> 00:48:18,800
Speaker 1: favorite moments are also like the tune ups and the

808
00:48:19,320 --> 00:48:21,799
Speaker 1: moments where they're singing but they're not they're talking, and

809
00:48:21,840 --> 00:48:23,280
Speaker 1: it's just so special.

810
00:48:23,920 --> 00:48:28,520
Speaker 2: I thought Love Love You Bohem was great. Yeah, I did,

811
00:48:28,560 --> 00:48:31,560
Speaker 2: and I genuinely laughed. I still didn't think it was

812
00:48:31,600 --> 00:48:35,479
Speaker 2: shot incredibly well, but mm hmmm, I had a good time.

813
00:48:35,840 --> 00:48:37,360
Speaker 2: I thought it was one of the better numbers.

814
00:48:37,840 --> 00:48:41,680
Speaker 1: It's definitely one of the best members in the show,

815
00:48:41,719 --> 00:48:44,600
Speaker 1: I think, and one of the most famous numbers from.

816
00:48:44,360 --> 00:48:46,040
Speaker 2: And I just mean in the movie. I think it's

817
00:48:46,520 --> 00:48:47,000
Speaker 2: one of the better.

818
00:48:47,160 --> 00:48:59,360
Speaker 1: Yeah, yeah, yeah, it's hard, Tom, it's hard to like,

819
00:48:59,440 --> 00:49:02,440
Speaker 1: you'll see it's talk. They talk and then they sing,

820
00:49:02,560 --> 00:49:04,840
Speaker 1: and it's like the whole thing should have just been sung,

821
00:49:04,920 --> 00:49:09,680
Speaker 1: and they just I don't know. I thought I thought,

822
00:49:09,880 --> 00:49:15,200
Speaker 1: uh uh Rosario did a very good job with out tonight.

823
00:49:15,280 --> 00:49:18,520
Speaker 1: I think that is incredibly difficult to take something that

824
00:49:18,560 --> 00:49:24,480
Speaker 1: has been so it's just so famous and iconic from

825
00:49:24,560 --> 00:49:29,959
Speaker 1: Daphne and to re or to reinterpret, not recreate, because

826
00:49:29,960 --> 00:49:32,839
Speaker 1: you can't but reinterpret it. And I thought she did

827
00:49:33,920 --> 00:49:37,160
Speaker 1: a beautiful job with the character and with that.

828
00:49:38,000 --> 00:49:39,719
Speaker 2: For those of you who have not seen Daphne and

829
00:49:39,800 --> 00:49:44,040
Speaker 2: Something by the way go watch her in the Heights movie.

830
00:49:44,760 --> 00:49:48,640
Speaker 2: She's powerful and like she doesn't have a traditional like

831
00:49:48,680 --> 00:49:49,960
Speaker 2: theater voice.

832
00:49:50,239 --> 00:49:54,360
Speaker 1: No. Once on Glory also Roger does Once on Glory,

833
00:49:54,480 --> 00:49:57,239
Speaker 1: and I think there's a flashback of April in that,

834
00:49:57,440 --> 00:50:04,600
Speaker 1: and I was like, no, no, it's weird figure out,

835
00:50:05,520 --> 00:50:10,040
Speaker 1: you know, figure out, So I don't. I didn't love that.

836
00:50:12,320 --> 00:50:14,719
Speaker 2: And I think, look, you always have to make some

837
00:50:15,520 --> 00:50:21,120
Speaker 2: usually some changes for the screen. But I don't think

838
00:50:21,160 --> 00:50:24,120
Speaker 2: any of these changes made anything better.

839
00:50:25,080 --> 00:50:27,239
Speaker 1: No, that's the thing. I think you're right. I think

840
00:50:27,280 --> 00:50:31,600
Speaker 1: it's like it was it was. You don't need anything else, right,

841
00:50:31,760 --> 00:50:33,839
Speaker 1: and of course you have to switch things, but you don't.

842
00:50:33,880 --> 00:50:38,959
Speaker 1: You don't need it. So I'm just sad, just I've

843
00:50:39,000 --> 00:50:42,400
Speaker 1: never heard you laugh like that. Just uncomfortable because I

844
00:50:42,440 --> 00:50:46,280
Speaker 1: just love this is just really very deep in my soul,

845
00:50:46,640 --> 00:50:51,440
Speaker 1: this musical. And I don't think I was prepared for

846
00:50:52,280 --> 00:50:55,840
Speaker 1: watching the movie again and not like revisiting the actual.

847
00:50:57,160 --> 00:50:59,120
Speaker 2: The recording, like the Broadway recording.

848
00:50:59,320 --> 00:51:01,160
Speaker 1: No, but I saw when I was searching and I

849
00:51:01,200 --> 00:51:03,600
Speaker 1: was like, oh, I need to I don't know, yeah.

850
00:51:03,800 --> 00:51:08,680
Speaker 2: Maybe tonight watch it. It's everybody else you should watch it.

851
00:51:08,680 --> 00:51:09,960
Speaker 2: It's really really good.

852
00:51:10,520 --> 00:51:15,120
Speaker 1: Adam Cantor, Oh my Adam Candor, will Chase Renee Goldsberry. Okay,

853
00:51:15,320 --> 00:51:20,359
Speaker 1: I'll watch it. It's Eden Espinoza. Wow, it's very good,

854
00:51:20,680 --> 00:51:23,319
Speaker 1: very good. Okay, great. You know I got like three

855
00:51:23,360 --> 00:51:28,680
Speaker 1: callbacks for rent once. Oh go on Broadway. Yeah, Pach

856
00:51:28,760 --> 00:51:34,800
Speaker 1: part Alexi Darling and they play like multiple roles as well.

857
00:51:34,840 --> 00:51:37,880
Speaker 1: But and the mom like she does the voicemail? Are

858
00:51:37,920 --> 00:51:40,279
Speaker 1: you so sad that you didn't get it? I was

859
00:51:40,480 --> 00:51:43,160
Speaker 1: really sad. I was writing in my journal. I was manifested.

860
00:51:43,239 --> 00:51:45,839
Speaker 1: How old are you? I was in college. I must

861
00:51:45,840 --> 00:51:47,680
Speaker 1: have been. It must have been like two thousand and six,

862
00:51:48,200 --> 00:51:51,600
Speaker 1: right before Spring Awakening. Yes, right, we're skeeting. That's right,

863
00:51:52,160 --> 00:51:56,879
Speaker 1: see you gouty Spring Awakening. Hey, here we are, here,

864
00:51:56,880 --> 00:52:00,879
Speaker 1: we are Okay. I don't think we can grade into

865
00:52:00,920 --> 00:52:05,040
Speaker 1: these performances. So I think that was sufficient. But let's

866
00:52:05,040 --> 00:52:08,280
Speaker 1: do some tarty takes, okay, so cringe moments.

867
00:52:09,640 --> 00:52:11,080
Speaker 2: And that thing felt really offensive.

868
00:52:12,160 --> 00:52:14,160
Speaker 1: No, I mean I think well I thought was.

869
00:52:14,080 --> 00:52:17,480
Speaker 2: A little clunky. Was when Mark goes to the meeting,

870
00:52:19,719 --> 00:52:23,600
Speaker 2: like the first meeting of the people with HIV or AIDS.

871
00:52:24,440 --> 00:52:27,479
Speaker 1: Man, I just can't explain to you how uncomfortable that may.

872
00:52:27,440 --> 00:52:32,040
Speaker 2: Means, and he was like, can I film and everyone's like, uh,

873
00:52:32,480 --> 00:52:34,239
Speaker 2: I don't remember how that feels on the show, but

874
00:52:34,280 --> 00:52:36,040
Speaker 2: in the movie it felt like such an invasion.

875
00:52:36,600 --> 00:52:43,880
Speaker 1: He doesn't ask in the show, he is just he

876
00:52:43,960 --> 00:52:49,040
Speaker 1: sings it Mark Mark, you know, like it's just it

877
00:52:49,160 --> 00:52:53,000
Speaker 1: works so much better. It's just not meant to be spoken,

878
00:52:53,239 --> 00:52:55,239
Speaker 1: and for him to be there like that, but he's

879
00:52:55,280 --> 00:52:57,719
Speaker 1: just kind of there form afar, and it just I

880
00:52:57,760 --> 00:52:59,520
Speaker 1: think in the movie they're like, we have to explain

881
00:52:59,640 --> 00:53:03,319
Speaker 1: why here. You know, I can't remember exactly, but it

882
00:53:03,360 --> 00:53:07,759
Speaker 1: never felt like that. You okay, yeah, oh, can we

883
00:53:07,800 --> 00:53:10,200
Speaker 1: talk about the tango? No, I don't want to talk

884
00:53:10,200 --> 00:53:13,520
Speaker 1: about the tank okay, exactly, Okay, thank you. I was

885
00:53:13,800 --> 00:53:16,680
Speaker 1: floored when there's one hundred tango dancers on the floor

886
00:53:16,719 --> 00:53:18,759
Speaker 1: and then Adina shows up, and I would like, get

887
00:53:18,760 --> 00:53:22,920
Speaker 1: off the stage right now, just leave. Same No, but

888
00:53:23,320 --> 00:53:28,759
Speaker 1: today for you, yes is great. I thought over them,

889
00:53:28,760 --> 00:53:30,959
Speaker 1: but I thought over the moon was great. I thought again,

890
00:53:31,040 --> 00:53:33,520
Speaker 1: love people am. I thought that was qureaographed really well.

891
00:53:35,600 --> 00:53:42,320
Speaker 1: Best song. Oh my god, that's like Sophie's.

892
00:53:44,239 --> 00:53:47,440
Speaker 2: I don't think Okay for the purposes of the movie,

893
00:53:47,840 --> 00:53:51,440
Speaker 2: I think I'm just gonna go with take me or Leave.

894
00:53:51,280 --> 00:53:57,200
Speaker 1: Me, Okay, because I liked that well shot number. I

895
00:53:57,239 --> 00:54:03,520
Speaker 1: don't know. I think Another Day is still a favorite. Okay.

896
00:54:03,600 --> 00:54:08,440
Speaker 2: Best performance by a prop obviously Mark's camera obviously, or

897
00:54:08,560 --> 00:54:12,760
Speaker 2: like burning a barrel fire in the apartment.

898
00:54:13,920 --> 00:54:16,680
Speaker 1: It works on stage, you.

899
00:54:16,600 --> 00:54:19,160
Speaker 2: Know what I you know, it felt too much like

900
00:54:20,080 --> 00:54:22,960
Speaker 2: a Glee set, like a.

901
00:54:21,440 --> 00:54:27,040
Speaker 1: U the loft, and also like the steady cam round

902
00:54:27,280 --> 00:54:30,239
Speaker 1: shot of them around the fire felt. I was like,

903
00:54:30,400 --> 00:54:33,439
Speaker 1: get out of here, and.

904
00:54:33,360 --> 00:54:35,680
Speaker 2: I think that works for a TV show. This is

905
00:54:35,719 --> 00:54:38,919
Speaker 2: not a TV show, a comedy TV show on Fox.

906
00:54:38,920 --> 00:54:39,480
Speaker 1: Right right right?

907
00:54:41,120 --> 00:54:45,920
Speaker 2: Best line, I mean there's so many zoom in am

908
00:54:45,960 --> 00:54:50,160
Speaker 2: I emty wallet, you're flirting with the woman in rubber.

909
00:54:50,440 --> 00:54:52,400
Speaker 2: There will always be a woman rubber flirting with me.

910
00:54:52,480 --> 00:54:53,320
Speaker 2: Give me a break.

911
00:54:54,440 --> 00:54:54,719
Speaker 1: I thought.

912
00:54:54,800 --> 00:54:56,680
Speaker 2: Tracy and Adina's chemistry.

913
00:54:56,280 --> 00:55:01,240
Speaker 1: Was also great. Yes, definitely. Oh I rewired the ATM

914
00:55:01,280 --> 00:55:03,280
Speaker 1: at the food Emporium. How you need as a code

915
00:55:03,520 --> 00:55:12,080
Speaker 1: A Geyah Angel is an incredible character, incredible, one of

916
00:55:12,120 --> 00:55:16,480
Speaker 1: the best, and they're all really incredible performance MVP, Oh gosh,

917
00:55:16,520 --> 00:55:17,799
Speaker 1: how do you even choose?

918
00:55:20,760 --> 00:55:27,480
Speaker 2: Before we go, we have to talk about Adam Pascal's voice.

919
00:55:25,719 --> 00:55:33,720
Speaker 1: One for the ages, I mean really, Adam Oscal was

920
00:55:33,760 --> 00:55:37,200
Speaker 1: also one of those voices that raised me, and his

921
00:55:37,280 --> 00:55:47,560
Speaker 1: voice stupid. I mean him doing another musical that really

922
00:55:47,600 --> 00:55:53,960
Speaker 1: also raised me was Aida Yes and God, I love

923
00:55:54,040 --> 00:55:58,200
Speaker 1: that album so much, and him doing that also was

924
00:55:58,840 --> 00:56:02,080
Speaker 1: It's very His voice is so distinctive that like when

925
00:56:02,120 --> 00:56:04,520
Speaker 1: you put him on something, you're like, we're putting out

926
00:56:04,520 --> 00:56:07,160
Speaker 1: on a frescos, right, and it is, but it is

927
00:56:07,200 --> 00:56:10,280
Speaker 1: so it's perfect, It's perfect. It is ridiculous.

928
00:56:10,840 --> 00:56:12,560
Speaker 2: I wonder what it's like to be a real tenor

929
00:56:13,000 --> 00:56:20,200
Speaker 2: you know, MVP. All of them, yeah, as an ensemble,

930
00:56:20,920 --> 00:56:25,400
Speaker 2: the whole team, but special special shout out to Adina

931
00:56:25,480 --> 00:56:30,239
Speaker 2: because you know she's fam Yeah. And also like Anthony Rap.

932
00:56:30,320 --> 00:56:33,680
Speaker 2: I've run into Anthony Rap so many times and Tracy

933
00:56:33,760 --> 00:56:37,120
Speaker 2: over the years and they're just like always so sweet

934
00:56:38,960 --> 00:56:42,160
Speaker 2: and just great and gracious and they're obviously just like

935
00:56:42,280 --> 00:56:45,360
Speaker 2: legends and yep, wonderful.

936
00:56:45,920 --> 00:56:46,160
Speaker 1: Yep.

937
00:56:48,440 --> 00:56:51,600
Speaker 2: Side note we found on TikTok just to diverge from

938
00:56:52,440 --> 00:56:56,600
Speaker 2: you know, where we are. We're getting a little growth

939
00:56:57,600 --> 00:57:03,160
Speaker 2: doing a mashup of Hammile and and Beyonce. He goes into.

940
00:57:06,880 --> 00:57:10,719
Speaker 1: And to hold up by Beyonce, and.

941
00:57:10,800 --> 00:57:15,760
Speaker 2: I just I really appreciate being a part of the behive.

942
00:57:16,720 --> 00:57:20,080
Speaker 2: That is so funny because just when I think I'm

943
00:57:20,080 --> 00:57:24,640
Speaker 2: the biggest Beyonce fan, Groff is just right there and

944
00:57:24,680 --> 00:57:27,680
Speaker 2: he may yeah, he may be in front.

945
00:57:28,600 --> 00:57:35,640
Speaker 1: That's very funny, amazing, Yeah, wild Well, we love grath

946
00:57:35,880 --> 00:57:38,240
Speaker 1: oh so much. I need to go see a show. Okay,

947
00:57:38,280 --> 00:57:40,240
Speaker 1: So coming up, we are talking to the one and

948
00:57:40,280 --> 00:57:45,200
Speaker 1: only Ana Pascal Star stage and screen full full fan

949
00:57:45,280 --> 00:57:49,280
Speaker 1: Girl Full fan Girl will be coming out, and then

950
00:57:49,360 --> 00:57:51,720
Speaker 1: soon we'll also be chatting with our our dear friend

951
00:57:51,720 --> 00:57:55,080
Speaker 1: Tracy Toms, who has been a part of Rent and

952
00:57:55,200 --> 00:57:56,880
Speaker 1: a part of the Ride and refew World and a

953
00:57:56,920 --> 00:58:00,400
Speaker 1: part of just everything. She's in. Everything she's in, deverish,

954
00:58:00,640 --> 00:58:02,160
Speaker 1: I know what some saying she's in.

955
00:58:02,200 --> 00:58:05,160
Speaker 2: Like every so many iconic things.

956
00:58:06,240 --> 00:58:09,560
Speaker 1: I love her. And you're assigning for next week, you guys, Kevin,

957
00:58:09,560 --> 00:58:13,439
Speaker 1: what does everybody supposed to be watching? How we're doing it?

958
00:58:13,800 --> 00:58:14,520
Speaker 1: We're doing it.

959
00:58:14,440 --> 00:58:19,240
Speaker 2: Tomorrow, Annie, the nineteen eighty two version. Get into it,

960
00:58:19,360 --> 00:58:21,680
Speaker 2: Get your wigs out, And that's what you really missed.

961
00:58:21,960 --> 00:58:25,120
Speaker 2: Thanks for listening and follow us on Instagram at and

962
00:58:25,200 --> 00:58:27,400
Speaker 2: that's what you really miss pod, make sure to write

963
00:58:27,480 --> 00:58:29,280
Speaker 2: us a review and leave us five stars.

964
00:58:29,480 --> 00:58:30,160
Speaker 1: See you next time.