1 00:00:02,800 --> 00:00:05,200 Speaker 1: Welcome to The Dougherty Gang, a production of I Heart 2 00:00:05,280 --> 00:00:10,840 Speaker 1: Radio and Katie Studios. This is our final episode, episode 3 00:00:10,840 --> 00:00:15,760 Speaker 1: twelve Round Table. I'm Courtney Armstrong, a crime producer at 4 00:00:15,800 --> 00:00:20,000 Speaker 1: Katie Studios with Stephanie Lydecker. We've been working with producer 5 00:00:20,040 --> 00:00:24,520 Speaker 1: Beth Greenwald on The Dockerty Gang for months now. This 6 00:00:24,560 --> 00:00:28,120 Speaker 1: podcast is being made into a movie. Writer director Seawan 7 00:00:28,200 --> 00:00:30,520 Speaker 1: McEwan as the filmmaker who took on the story of 8 00:00:30,520 --> 00:00:34,480 Speaker 1: the Doughertys. He first met the siblings eight years ago, 9 00:00:35,200 --> 00:00:38,240 Speaker 1: and today he sits down with the film's lead actors, 10 00:00:38,960 --> 00:00:43,800 Speaker 1: India Eisley who plays Lee Grace, Emery Cohen who plays Dylan, 11 00:00:44,880 --> 00:00:48,159 Speaker 1: and Sam Strike who plays Ryan. They talk about their 12 00:00:48,240 --> 00:00:50,960 Speaker 1: roles in the film and the process of making the movie. 13 00:00:52,920 --> 00:00:58,840 Speaker 1: Sean also spoke with podcast executive producer Joseph Morgan India 14 00:00:59,000 --> 00:01:01,600 Speaker 1: Ladies for So, first of all, how did you find 15 00:01:01,600 --> 00:01:04,240 Speaker 1: out about the movie? When did you read the script 16 00:01:04,280 --> 00:01:08,320 Speaker 1: and what was your initial reaction to the story. The 17 00:01:08,360 --> 00:01:10,480 Speaker 1: script was just sent to me like any other appointment, 18 00:01:10,520 --> 00:01:13,840 Speaker 1: any other directors meeting, and I had not heard of 19 00:01:13,880 --> 00:01:16,600 Speaker 1: the story before I got the script. So in the 20 00:01:16,640 --> 00:01:19,840 Speaker 1: email package, I first I read the article, and then 21 00:01:19,840 --> 00:01:22,280 Speaker 1: I read the script and what was your impression of 22 00:01:22,319 --> 00:01:24,680 Speaker 1: the article? When I read the article, it was a 23 00:01:24,760 --> 00:01:26,800 Speaker 1: very interesting read, especially because I hadn't heard of the 24 00:01:26,800 --> 00:01:29,520 Speaker 1: story at all. I found it more heartbreaking than anything, 25 00:01:30,000 --> 00:01:35,679 Speaker 1: especially that the extremely harsh sentencing that they that they 26 00:01:35,680 --> 00:01:38,680 Speaker 1: were given. And as far as attracting me to the project, 27 00:01:38,840 --> 00:01:41,399 Speaker 1: what attracted me? And when I heard that Sam and 28 00:01:41,440 --> 00:01:43,520 Speaker 1: Emory were on board, I was found to both of 29 00:01:43,520 --> 00:01:46,520 Speaker 1: their work Sound from mind Hunter, Emory from the OA, 30 00:01:46,720 --> 00:01:49,200 Speaker 1: and he had worked with some that I know, and 31 00:01:49,760 --> 00:01:51,760 Speaker 1: so I wanted to work with them, and you know, 32 00:01:52,040 --> 00:01:54,880 Speaker 1: it was just honestly, the whole thing appealed to me. 33 00:01:55,320 --> 00:01:57,120 Speaker 1: Oh so, Emory, I'm gonna shift it over to you 34 00:01:57,400 --> 00:01:59,120 Speaker 1: and ask you the same. How did you find out 35 00:01:59,160 --> 00:02:02,320 Speaker 1: about the movie? Yeah? I mean, like India, I didn't 36 00:02:02,320 --> 00:02:05,960 Speaker 1: know about the story. And to me, it was like 37 00:02:06,040 --> 00:02:08,920 Speaker 1: kind of a story about family and I found that 38 00:02:08,960 --> 00:02:12,600 Speaker 1: to be that like struck me, you know, because it's 39 00:02:12,639 --> 00:02:16,080 Speaker 1: hard to imagine doing certain things, but then you put 40 00:02:16,120 --> 00:02:18,320 Speaker 1: yourself in a scenario of what you would need to 41 00:02:18,360 --> 00:02:21,280 Speaker 1: do to you know, protect your family or keep your 42 00:02:21,320 --> 00:02:24,440 Speaker 1: family safe, and that opened up a world of imagination 43 00:02:25,320 --> 00:02:28,000 Speaker 1: that's amazing. So what is it about the real life 44 00:02:28,120 --> 00:02:32,240 Speaker 1: character of Ryan that attracted you to the role and 45 00:02:32,280 --> 00:02:38,760 Speaker 1: did you feel like you could relate with Ryan? Um? 46 00:02:38,880 --> 00:02:41,040 Speaker 1: I was reading one Ryan in the script, but then 47 00:02:41,080 --> 00:02:43,280 Speaker 1: talking to Ryan, I was getting quite different Ryan, and 48 00:02:43,320 --> 00:02:45,720 Speaker 1: I felt overwhelmed already and I was up. I was 49 00:02:45,760 --> 00:02:48,239 Speaker 1: having a crisis in the in the few days leading 50 00:02:48,320 --> 00:02:51,880 Speaker 1: up to shooting, like who is this guy? Specifically because 51 00:02:52,120 --> 00:02:54,359 Speaker 1: it all happened quite quickly for being cost to get 52 00:02:54,400 --> 00:02:57,160 Speaker 1: in to getting into the States. What was attractive to 53 00:02:57,160 --> 00:03:00,280 Speaker 1: me was that his perception of himself. I think it 54 00:03:00,320 --> 00:03:04,120 Speaker 1: was quite different from how other people perceived them and 55 00:03:04,280 --> 00:03:06,680 Speaker 1: for me, that helped create like an arc from start 56 00:03:06,720 --> 00:03:10,000 Speaker 1: to finish. Yeah, that's great. So also I'll swing this 57 00:03:10,160 --> 00:03:13,200 Speaker 1: over to UH to India the same thing. What is 58 00:03:13,240 --> 00:03:17,200 Speaker 1: it about the real life character and the character that 59 00:03:17,280 --> 00:03:20,519 Speaker 1: attracted you to the role? For me, I just without 60 00:03:20,520 --> 00:03:23,560 Speaker 1: sounding you know, contrived or anything. When I work, I 61 00:03:23,639 --> 00:03:27,880 Speaker 1: tend to just focus on the energy before I focus 62 00:03:27,960 --> 00:03:33,680 Speaker 1: on details. And you know, like I didn't really want 63 00:03:33,800 --> 00:03:36,680 Speaker 1: to judge her on the script or on the article, 64 00:03:37,040 --> 00:03:40,119 Speaker 1: and I really was waiting for that first phone call 65 00:03:40,200 --> 00:03:43,400 Speaker 1: with her, and then I kind of took it from 66 00:03:43,440 --> 00:03:47,160 Speaker 1: there perfect and so everything to you. Well, I mean 67 00:03:47,240 --> 00:03:50,960 Speaker 1: at first, there was a lot that was really foreign 68 00:03:51,000 --> 00:03:53,880 Speaker 1: to me. You know, like I'm an only child, I'm 69 00:03:53,920 --> 00:03:57,800 Speaker 1: from New York City and this is a story about 70 00:03:58,240 --> 00:04:02,160 Speaker 1: the oldest brother the family trying to kind of be 71 00:04:02,360 --> 00:04:06,320 Speaker 1: like the father of that family. But I did relate to, 72 00:04:06,440 --> 00:04:10,360 Speaker 1: Like I remember, I know, like with my friends at times, 73 00:04:10,840 --> 00:04:13,720 Speaker 1: I have this very protective quality about two of my 74 00:04:13,960 --> 00:04:17,880 Speaker 1: best best friends in particular, where like if something happened, 75 00:04:17,880 --> 00:04:20,479 Speaker 1: they're both actors, and like, if something happens to them 76 00:04:20,600 --> 00:04:22,599 Speaker 1: or it goes wrong with them, like I immediately want 77 00:04:22,640 --> 00:04:25,599 Speaker 1: to try to like save them. And I think Dylan, 78 00:04:25,680 --> 00:04:29,560 Speaker 1: he's really trying to save the people he loves in 79 00:04:29,600 --> 00:04:32,000 Speaker 1: this kind of way, almost like a martyr, you know, 80 00:04:32,040 --> 00:04:37,280 Speaker 1: like you would sacrifice himself for his family. So Sam, here, 81 00:04:37,320 --> 00:04:39,880 Speaker 1: you read the script, there's this Ryan character hopefully that's 82 00:04:39,960 --> 00:04:42,200 Speaker 1: on the page to some extent. Then you connect with 83 00:04:42,279 --> 00:04:44,160 Speaker 1: him in real life, and then you of course kind 84 00:04:44,160 --> 00:04:46,880 Speaker 1: of put your own dynamic on it as well. Yeah. 85 00:04:47,000 --> 00:04:50,760 Speaker 1: I remember we were all out for lunch Mayeve memory 86 00:04:50,760 --> 00:04:53,760 Speaker 1: in India, and you got up for a second and 87 00:04:53,800 --> 00:04:55,720 Speaker 1: you came back to the table and handed me the phone. 88 00:04:55,720 --> 00:04:59,840 Speaker 1: I'm like, Ryan's Ryan, and I was I wasn't expecting that, 89 00:05:00,320 --> 00:05:03,760 Speaker 1: and oh no, like drop it on me, and I 90 00:05:04,240 --> 00:05:06,839 Speaker 1: met I've met all of you guys in an American 91 00:05:06,880 --> 00:05:10,600 Speaker 1: accent because I was trying to maintain it. So I 92 00:05:09,920 --> 00:05:12,960 Speaker 1: I've got to speak to this guy that I'm playing 93 00:05:13,400 --> 00:05:16,320 Speaker 1: as a brit pretending to be American, like I'm waiting 94 00:05:16,320 --> 00:05:19,400 Speaker 1: for him to for the holes to start showing. And 95 00:05:19,440 --> 00:05:22,400 Speaker 1: I was really flustered. And he got say Sam Hayd 96 00:05:22,480 --> 00:05:23,800 Speaker 1: And I said, I'm I'm a good brand. How are 97 00:05:23,800 --> 00:05:25,680 Speaker 1: you doing? And he says, I'm sitting in jail. How 98 00:05:25,680 --> 00:05:28,919 Speaker 1: do you think I'm doing? And it was I didn't 99 00:05:28,960 --> 00:05:33,080 Speaker 1: know how to respond to that, you know, his perception 100 00:05:33,160 --> 00:05:37,120 Speaker 1: of himself versus I think his brothers and sister's perception 101 00:05:37,200 --> 00:05:40,440 Speaker 1: of him too. Um, because I spoke to Emory in 102 00:05:40,440 --> 00:05:42,960 Speaker 1: India and like, you know, I what did Dylan and 103 00:05:43,000 --> 00:05:45,280 Speaker 1: Lee Grace say to you? And tried to see if 104 00:05:45,320 --> 00:05:49,200 Speaker 1: the story is matched. Um, and Ryan had said to 105 00:05:49,240 --> 00:05:52,359 Speaker 1: me in a matter of words that you know, he 106 00:05:52,480 --> 00:05:56,520 Speaker 1: felt he was the brains of the operation. And to me, 107 00:05:56,600 --> 00:05:59,840 Speaker 1: from what I had pieced together, it seems like Dylan 108 00:06:00,160 --> 00:06:04,080 Speaker 1: was and Ryan to me, Ryan really really looked up 109 00:06:04,120 --> 00:06:08,360 Speaker 1: to so India. You know, we talked about I don't 110 00:06:08,360 --> 00:06:10,360 Speaker 1: want to call the skill. It's not a skill obviously, 111 00:06:10,360 --> 00:06:12,240 Speaker 1: but kind of in that category of certain things you 112 00:06:12,240 --> 00:06:15,040 Speaker 1: have to take on something that has no skills. Yeah, 113 00:06:15,600 --> 00:06:19,720 Speaker 1: I went very talented there. But there is you know, 114 00:06:19,960 --> 00:06:22,719 Speaker 1: it's public record and also something that Lee Grace has 115 00:06:23,200 --> 00:06:26,839 Speaker 1: openly shared both in her interviews and as most of 116 00:06:26,920 --> 00:06:30,040 Speaker 1: us spoken to her about her drug use, and there 117 00:06:30,120 --> 00:06:32,600 Speaker 1: is drug use in the film. That character has her 118 00:06:32,640 --> 00:06:35,400 Speaker 1: own relationship to drugs. Shall we say, what does that 119 00:06:35,480 --> 00:06:37,920 Speaker 1: mean to you as an actor? Did that come into 120 00:06:37,960 --> 00:06:40,760 Speaker 1: play with any of your sort of being cognizant of 121 00:06:40,800 --> 00:06:44,960 Speaker 1: the reality of etcetera. That was a big, big part 122 00:06:45,040 --> 00:06:47,880 Speaker 1: of every aspect of how I played her because she 123 00:06:48,000 --> 00:06:50,760 Speaker 1: is she you know, even on the phone, she is 124 00:06:50,800 --> 00:06:53,320 Speaker 1: she is very much an addict, like she has that 125 00:06:53,440 --> 00:06:57,800 Speaker 1: kind of personality and that really does bleed into every 126 00:06:58,080 --> 00:07:01,599 Speaker 1: every aspect of someone's life. And you know, I think 127 00:07:01,640 --> 00:07:04,920 Speaker 1: it all without getting too introspective and boring, it all 128 00:07:05,080 --> 00:07:07,880 Speaker 1: does kind of go back to her childhood and feeling 129 00:07:07,960 --> 00:07:11,400 Speaker 1: deprived of what she she needs. That extra kick there 130 00:07:11,520 --> 00:07:15,800 Speaker 1: was definitely a kind of a frenetic kind of place 131 00:07:15,920 --> 00:07:17,920 Speaker 1: that she was in where it was never enough. That's 132 00:07:17,960 --> 00:07:21,480 Speaker 1: kind of what what I picked up on. And that 133 00:07:21,640 --> 00:07:24,000 Speaker 1: was something that I didn't get until I spoke to 134 00:07:24,040 --> 00:07:27,880 Speaker 1: her on the phone, that constant unrest that she always has, 135 00:07:27,880 --> 00:07:31,080 Speaker 1: like she can't relax, she's incapable of relaxing, even when 136 00:07:31,080 --> 00:07:33,800 Speaker 1: she thinks she is. I'm not glorifying it or anything, 137 00:07:33,840 --> 00:07:37,560 Speaker 1: but I found it a very very helpful hook in 138 00:07:37,680 --> 00:07:41,320 Speaker 1: playing her. It's a direct line to where she's damaged. 139 00:07:41,960 --> 00:07:44,240 Speaker 1: Very well. Put Yeah, there was, wasn't There's always this 140 00:07:44,320 --> 00:07:48,080 Speaker 1: underlying sadness and even in real life too, I mean, yeah, 141 00:07:48,320 --> 00:07:50,440 Speaker 1: that was the main thing I got from her. Like 142 00:07:50,480 --> 00:07:52,520 Speaker 1: she'd be on a high and too'd be talking and 143 00:07:52,520 --> 00:07:55,560 Speaker 1: stuff and she and you know, and so excited about something. 144 00:07:55,600 --> 00:07:57,520 Speaker 1: She was like, yeah, man, it was it was fucking great. 145 00:07:57,680 --> 00:07:59,640 Speaker 1: No, no no, no, and so and suddenly there'd be a 146 00:07:59,720 --> 00:08:04,000 Speaker 1: quite a silence with her, but she just go and 147 00:08:04,040 --> 00:08:09,040 Speaker 1: it was like those silences really spoke volumes to what 148 00:08:09,080 --> 00:08:10,640 Speaker 1: was going on with her as a human being, in 149 00:08:10,680 --> 00:08:14,840 Speaker 1: the type of person she had become become. That's so great, 150 00:08:14,880 --> 00:08:17,880 Speaker 1: Thank you very well. Put so Embery from an audience 151 00:08:17,920 --> 00:08:21,320 Speaker 1: perspective at the docrites as being these anti heroes. You know, 152 00:08:21,560 --> 00:08:23,560 Speaker 1: how do you view them? Do you view them as 153 00:08:23,840 --> 00:08:26,400 Speaker 1: anti heroes? You view Dylan is that you know, he's 154 00:08:26,400 --> 00:08:29,200 Speaker 1: a hero, his story, you know what I mean, he's 155 00:08:29,240 --> 00:08:33,000 Speaker 1: a rebel, which I guess in from society's terms to 156 00:08:33,040 --> 00:08:36,040 Speaker 1: make him an anti hero. I found him, you know, 157 00:08:36,120 --> 00:08:38,000 Speaker 1: just it's just I don't know if this answer is 158 00:08:38,000 --> 00:08:42,120 Speaker 1: the question, but I know that when I was creating Dylan, 159 00:08:42,360 --> 00:08:46,120 Speaker 1: I was very aware that this for me, a lot 160 00:08:46,160 --> 00:08:50,640 Speaker 1: of the journey was him wanting to be his brother 161 00:08:50,720 --> 00:08:54,760 Speaker 1: and sister's hero and saving them from trauma, as India 162 00:08:54,840 --> 00:08:57,920 Speaker 1: says that it already happened, that he couldn't have saved 163 00:08:57,920 --> 00:08:59,880 Speaker 1: them from that he wasn't in the position to save 164 00:09:00,040 --> 00:09:06,000 Speaker 1: them from when they were kids, and him recognizing that 165 00:09:06,000 --> 00:09:09,360 Speaker 1: that he couldn't be their hero and that it wasn't 166 00:09:09,400 --> 00:09:13,959 Speaker 1: necessarily his responsibility and trying to find an acceptance of 167 00:09:14,000 --> 00:09:17,840 Speaker 1: that that. I saw that as kind of a whatever 168 00:09:17,880 --> 00:09:21,000 Speaker 1: you call it arc or whatever. The character in a 169 00:09:21,040 --> 00:09:23,920 Speaker 1: lot of ways for his journey is is him breaking, 170 00:09:24,520 --> 00:09:27,040 Speaker 1: is this facade of him being able to be this 171 00:09:27,080 --> 00:09:30,560 Speaker 1: hero breaking, cracking and breaking down, you know, in the 172 00:09:30,640 --> 00:09:34,280 Speaker 1: failure of his plan for for him, like achieving the 173 00:09:34,320 --> 00:09:38,480 Speaker 1: goal of getting out of the bank probberty and all 174 00:09:38,480 --> 00:09:40,960 Speaker 1: that and getting his his family to safety. You know, 175 00:09:42,040 --> 00:09:45,040 Speaker 1: was sort of a breakdown on this facade of himself 176 00:09:45,160 --> 00:09:47,480 Speaker 1: as this hero. I think ever he hit the nile 177 00:09:47,520 --> 00:09:52,800 Speaker 1: on the head. I think really is perspective, isn't it. Yeah, 178 00:09:53,080 --> 00:09:56,320 Speaker 1: I really think that's it. It's it's perspective in the 179 00:09:56,400 --> 00:09:59,320 Speaker 1: sense that they are the heroes of their own story 180 00:10:00,440 --> 00:10:03,120 Speaker 1: and they feel that they have strong enough motive too 181 00:10:04,640 --> 00:10:07,680 Speaker 1: to take such a big step and make the decision 182 00:10:07,679 --> 00:10:11,600 Speaker 1: that they made too, you know, go on the run. 183 00:10:12,280 --> 00:10:14,320 Speaker 1: I think it seems sorrh it, doesn't it to do 184 00:10:14,440 --> 00:10:17,560 Speaker 1: things for your family, Like Emery said, Dylan was doing 185 00:10:17,559 --> 00:10:19,600 Speaker 1: it for Lee, Grace and Ryan, and I think Ryan 186 00:10:19,720 --> 00:10:25,079 Speaker 1: was doing it for for his kid too. My perspective 187 00:10:25,160 --> 00:10:32,120 Speaker 1: of it is that I think their hands were forced 188 00:10:32,200 --> 00:10:39,680 Speaker 1: slightly considering their situation. If you're gonna there's a there's 189 00:10:39,679 --> 00:10:41,480 Speaker 1: a risk and there's a reward, you know, and the 190 00:10:41,720 --> 00:10:43,400 Speaker 1: reward would have been that they would have made it, 191 00:10:43,440 --> 00:10:47,640 Speaker 1: and the risk is that they didn't and they didn't. Yeah, 192 00:10:48,000 --> 00:10:51,480 Speaker 1: you know, so India any take without for you. Also, 193 00:10:52,520 --> 00:10:56,120 Speaker 1: in REGARDSS toly Grace, I think, you know, the entire 194 00:10:56,200 --> 00:10:59,679 Speaker 1: situation kind of which sounds just kind of brought up 195 00:10:59,679 --> 00:11:02,400 Speaker 1: a good point is that you know, Dylan was doing 196 00:11:02,400 --> 00:11:04,600 Speaker 1: it for his siblings, Ryan, he was doing it for 197 00:11:04,760 --> 00:11:07,720 Speaker 1: you know, his you know, his lady and his baby. 198 00:11:07,920 --> 00:11:11,960 Speaker 1: And I think that that was a big part of 199 00:11:12,000 --> 00:11:15,600 Speaker 1: the emptiness that I mentioned is Lee Grace didn't feel 200 00:11:15,640 --> 00:11:18,560 Speaker 1: like she really had anything. There wasn't really like a 201 00:11:18,679 --> 00:11:21,360 Speaker 1: singular thing that she was living for at that point 202 00:11:21,880 --> 00:11:24,760 Speaker 1: other than you know, her drugs and you know, to 203 00:11:24,840 --> 00:11:27,280 Speaker 1: just keep keep going, keep moving forward and having fun. 204 00:11:27,320 --> 00:11:32,560 Speaker 1: At times, she didn't have an emotional, you know, thing 205 00:11:32,640 --> 00:11:36,000 Speaker 1: to cling onto. So there's always a lost aspect with her. 206 00:11:36,280 --> 00:11:38,480 Speaker 1: And so I think she went throughout this, throughout this 207 00:11:38,600 --> 00:11:41,760 Speaker 1: entire thing, really with no solid trajectory. There was no 208 00:11:41,840 --> 00:11:44,480 Speaker 1: solidity to what she was doing. She was very much 209 00:11:45,200 --> 00:11:48,439 Speaker 1: just loved her brothers and was just like, fine, fuck it, 210 00:11:48,520 --> 00:11:51,040 Speaker 1: we'll do it. I don't view it as good or bad. 211 00:11:51,280 --> 00:11:55,560 Speaker 1: I think they were three human beings that were born 212 00:11:55,640 --> 00:12:00,880 Speaker 1: into a very very unfortunate set of circumstances. Is there 213 00:12:00,920 --> 00:12:03,680 Speaker 1: anything that you can recollect about your character that really 214 00:12:03,720 --> 00:12:07,000 Speaker 1: helped you understand them or to be able to play them. 215 00:12:07,040 --> 00:12:11,280 Speaker 1: I grew up around that kind of environment, more like 216 00:12:11,400 --> 00:12:14,520 Speaker 1: blue collar, and there are certain things that I feel 217 00:12:14,800 --> 00:12:20,960 Speaker 1: do translate across between the two countries, you know. And yeah, 218 00:12:21,040 --> 00:12:24,800 Speaker 1: little things like the smoking, and it changes the way 219 00:12:24,800 --> 00:12:28,200 Speaker 1: you walk and save there's shots of us driving. There's 220 00:12:28,200 --> 00:12:30,400 Speaker 1: just some shots of us driving in the car, like 221 00:12:31,640 --> 00:12:34,280 Speaker 1: you can be driving or you can be driving and smoking. 222 00:12:34,360 --> 00:12:37,559 Speaker 1: And it, to me, does it changes things a little 223 00:12:37,600 --> 00:12:40,960 Speaker 1: bit because you tend to smoke when your board sometimes 224 00:12:41,040 --> 00:12:45,040 Speaker 1: or to pass the time, and you know, I'm time 225 00:12:45,120 --> 00:12:47,880 Speaker 1: was running out for them. I don't know what I'm 226 00:12:47,880 --> 00:12:51,120 Speaker 1: trying to say here, but you know what makes sense 227 00:12:51,679 --> 00:12:55,440 Speaker 1: for me. I didn't have smoking as a as a thing, 228 00:12:55,480 --> 00:12:59,400 Speaker 1: but like as a physical thing to use. I did 229 00:12:59,520 --> 00:13:03,439 Speaker 1: pick up the phone calls though that she those silences 230 00:13:03,480 --> 00:13:07,680 Speaker 1: that I mentioned, I just kind of you know, when 231 00:13:07,720 --> 00:13:10,400 Speaker 1: you when you bring in the drugs, um, because she 232 00:13:10,440 --> 00:13:14,800 Speaker 1: loved pills. That was her big thing. And um, as 233 00:13:14,840 --> 00:13:17,880 Speaker 1: far as the behavioral thing, I imagined that her eyes 234 00:13:17,920 --> 00:13:20,760 Speaker 1: would always be kind of darting because she's always looking 235 00:13:20,880 --> 00:13:23,880 Speaker 1: for something, so like there's always something that she doesn't have. 236 00:13:24,200 --> 00:13:28,440 Speaker 1: And so whether it's pills or a person or you 237 00:13:28,480 --> 00:13:32,079 Speaker 1: know that there's always something that she's just like outwardly 238 00:13:32,200 --> 00:13:39,520 Speaker 1: looking for. She's it's that unrest. So, yeah, Dylan explained 239 00:13:39,600 --> 00:13:44,200 Speaker 1: his life to me in prison sentences and pro violations 240 00:13:44,320 --> 00:13:48,880 Speaker 1: and arrests, you know, like it was like his I 241 00:13:48,920 --> 00:13:51,000 Speaker 1: think he's the first thing he say, he was like, well, 242 00:13:51,040 --> 00:13:54,240 Speaker 1: the first time I got picked up, you know. And 243 00:13:54,240 --> 00:13:58,360 Speaker 1: and so he didn't explain his life to me in 244 00:13:58,400 --> 00:14:00,840 Speaker 1: the way that you know, what is child was like 245 00:14:01,120 --> 00:14:03,240 Speaker 1: this or that he explained it to me in like 246 00:14:03,400 --> 00:14:05,840 Speaker 1: prison sentences and things like that. And I know that 247 00:14:05,960 --> 00:14:08,960 Speaker 1: for me, he gave me this awareness that there was 248 00:14:09,000 --> 00:14:12,320 Speaker 1: these two worlds going on for him. There was this 249 00:14:12,440 --> 00:14:15,640 Speaker 1: outside world and there was the inside world, where there 250 00:14:15,720 --> 00:14:18,640 Speaker 1: was the world on parole and the world off parole. 251 00:14:19,200 --> 00:14:21,960 Speaker 1: And I didn't know that world, you know, And and 252 00:14:22,000 --> 00:14:24,840 Speaker 1: I remember being very aware of that. But it didn't 253 00:14:24,880 --> 00:14:28,000 Speaker 1: start until his first arrest. There is first parole violation. 254 00:14:32,560 --> 00:14:34,640 Speaker 1: We're going to take a quick break here. We'll be 255 00:14:34,680 --> 00:14:45,960 Speaker 1: back in a moment. Ryan's character is really seems to 256 00:14:45,960 --> 00:14:48,480 Speaker 1: be motivated by the love of his son. He was 257 00:14:48,800 --> 00:14:50,520 Speaker 1: at the time. This was all happening in their flight. 258 00:14:50,840 --> 00:14:53,600 Speaker 1: You know, his girlfriend at the time, Amber, who he 259 00:14:53,640 --> 00:14:56,360 Speaker 1: called his wife, and was heavily pregnant, and there was that. 260 00:14:56,480 --> 00:14:58,960 Speaker 1: Did the real Ryan as I call him, did he 261 00:14:59,000 --> 00:15:01,120 Speaker 1: mention his son? That all? Was that every part of 262 00:15:01,120 --> 00:15:03,520 Speaker 1: your conversations? And also do you ever mention anything about 263 00:15:03,520 --> 00:15:06,480 Speaker 1: his own upbringing? Again, it was like quite a long 264 00:15:06,520 --> 00:15:10,040 Speaker 1: time ago now, so I I don't know how much 265 00:15:10,080 --> 00:15:13,320 Speaker 1: I actually remembering or how much I and potentially not 266 00:15:13,400 --> 00:15:17,840 Speaker 1: making up. But you know that happens, he said. I 267 00:15:17,920 --> 00:15:19,960 Speaker 1: got the impression from him that him and leg Grace 268 00:15:20,000 --> 00:15:22,720 Speaker 1: were especially close. I don't know if it's that was 269 00:15:22,840 --> 00:15:25,720 Speaker 1: a maternal thing he felt. I got the impression it 270 00:15:25,800 --> 00:15:28,480 Speaker 1: was maybe a kind of a maternal thing, and about 271 00:15:28,600 --> 00:15:34,280 Speaker 1: is some I do remember him saying something that really 272 00:15:34,360 --> 00:15:36,840 Speaker 1: struck me, but I can't remember how we said it, 273 00:15:36,880 --> 00:15:38,480 Speaker 1: But it was the way in which he said it 274 00:15:38,520 --> 00:15:42,480 Speaker 1: that was so effective. It was something It was words 275 00:15:42,520 --> 00:15:46,720 Speaker 1: to the effect of, I I feel so guilty that 276 00:15:46,840 --> 00:15:51,240 Speaker 1: I left my kid without a dad, you know, like 277 00:15:51,880 --> 00:15:54,560 Speaker 1: he uh, the main thing I could really feel to 278 00:15:54,640 --> 00:15:57,800 Speaker 1: regret that that he wasn't there to raise his kid. 279 00:15:58,040 --> 00:15:59,320 Speaker 1: I don't know how he said it, to me, but 280 00:15:59,360 --> 00:16:01,080 Speaker 1: I remember that being in the message and I found 281 00:16:01,080 --> 00:16:05,480 Speaker 1: out really upsetting. You know, Oh, absolutely, well, that's that's again, 282 00:16:05,520 --> 00:16:08,240 Speaker 1: that's very touching and pactful. You've got the chaos of 283 00:16:08,320 --> 00:16:13,200 Speaker 1: the story throughout the movie, and then the chaos at 284 00:16:13,240 --> 00:16:16,480 Speaker 1: the end with the with like a shootout essentially between 285 00:16:16,520 --> 00:16:20,360 Speaker 1: the cops. He will be over their heads. The whole 286 00:16:20,400 --> 00:16:24,360 Speaker 1: thing has been with little bits of rest by chaos, 287 00:16:24,920 --> 00:16:29,360 Speaker 1: And I don't know personally if that's how it had 288 00:16:29,400 --> 00:16:31,680 Speaker 1: played out in real life, how cognizant he would have 289 00:16:31,680 --> 00:16:34,600 Speaker 1: been of actually getting gone down, because you think of 290 00:16:34,640 --> 00:16:37,840 Speaker 1: all the other really risky stuff that they've done along 291 00:16:37,840 --> 00:16:40,440 Speaker 1: the way. It's like in for we say in England, 292 00:16:40,480 --> 00:16:42,080 Speaker 1: like him for a penny, in for a pound, like 293 00:16:42,240 --> 00:16:46,400 Speaker 1: you've you've gotten this far and somehow you are still 294 00:16:46,440 --> 00:16:48,920 Speaker 1: being I think that his legs carried him. I don't 295 00:16:48,920 --> 00:16:50,680 Speaker 1: think he had any saying a matter. So I've got 296 00:16:50,720 --> 00:16:54,920 Speaker 1: to get back, you know, very very well, put India, 297 00:16:55,000 --> 00:16:58,120 Speaker 1: Can you expand on anything else that really spoke to 298 00:16:58,160 --> 00:17:00,520 Speaker 1: you about once you did connect with her in real life? 299 00:17:01,280 --> 00:17:03,640 Speaker 1: You know, again, I hate to sound like a broken record, 300 00:17:03,640 --> 00:17:07,280 Speaker 1: but it really was just her. Her personality was such 301 00:17:07,320 --> 00:17:09,560 Speaker 1: a strong one. I mean, she's such a spitfire. She 302 00:17:09,640 --> 00:17:11,880 Speaker 1: just came through the phone and immediately I just loved her, 303 00:17:12,200 --> 00:17:14,879 Speaker 1: Like it was just like I'm like, gosh, she's a blast. 304 00:17:15,720 --> 00:17:18,199 Speaker 1: There's an avoidant quality to her that I found was 305 00:17:18,280 --> 00:17:20,560 Speaker 1: very interesting where she'll just and I think a lot 306 00:17:20,600 --> 00:17:24,120 Speaker 1: of people who have experienced trauma have this where they'll 307 00:17:24,160 --> 00:17:26,600 Speaker 1: just say it like very matter of fact ly, you 308 00:17:26,600 --> 00:17:29,359 Speaker 1: know what's happened to them and did details that have 309 00:17:29,520 --> 00:17:33,840 Speaker 1: happened in their lives, and they're very kind of heavy 310 00:17:33,880 --> 00:17:36,640 Speaker 1: horrowing things. And like she would say something to me 311 00:17:37,080 --> 00:17:40,840 Speaker 1: and like a really personal thing and I'd be like, wait, wait, 312 00:17:40,840 --> 00:17:42,720 Speaker 1: wait what was that? What was that? And she she said, 313 00:17:42,760 --> 00:17:45,240 Speaker 1: oh yeah and so and then she just like me 314 00:17:45,440 --> 00:17:47,920 Speaker 1: say it again, and I was like okay, and inside 315 00:17:47,920 --> 00:17:50,919 Speaker 1: and like that's a really upsetting thing, Like that's a 316 00:17:51,040 --> 00:17:53,680 Speaker 1: really I don't really want to say it just out 317 00:17:53,720 --> 00:17:56,320 Speaker 1: of respect to her, but just little things like that 318 00:17:56,359 --> 00:17:59,720 Speaker 1: where it was more her demeanor towards these hardships that 319 00:18:00,040 --> 00:18:02,639 Speaker 1: happened to her and how she handled it, and she 320 00:18:02,720 --> 00:18:07,280 Speaker 1: was very kind of resilient in her way. So that's great. Um, 321 00:18:07,320 --> 00:18:10,159 Speaker 1: I'm gonna embarrass you, Sam, please forgive me as I recall. 322 00:18:10,400 --> 00:18:13,000 Speaker 1: So here's the context and step. So, Ryan in particular 323 00:18:13,280 --> 00:18:16,160 Speaker 1: is known to be and it's someone on public record 324 00:18:16,240 --> 00:18:18,840 Speaker 1: quite the actual driver, like a very good driver, and 325 00:18:18,920 --> 00:18:20,720 Speaker 1: was the driver for this. I think you know where 326 00:18:20,720 --> 00:18:23,639 Speaker 1: I'm going with this. Can you expand on that a bit, um, 327 00:18:23,840 --> 00:18:26,320 Speaker 1: what that was to you and what was unique about 328 00:18:26,320 --> 00:18:28,879 Speaker 1: that for you in particular? Well, I found out that 329 00:18:28,920 --> 00:18:31,119 Speaker 1: I was I was going to get to do the movie, 330 00:18:31,160 --> 00:18:33,600 Speaker 1: and I was really excited. And then a few days 331 00:18:33,680 --> 00:18:36,240 Speaker 1: later you and one of the producer's FaceTime and they're like, 332 00:18:36,280 --> 00:18:39,560 Speaker 1: so you can drive right, and I'm like, long, oh, 333 00:18:39,680 --> 00:18:44,200 Speaker 1: Ryan's the gataway driver. Oh. But luckily once we got 334 00:18:44,240 --> 00:18:48,000 Speaker 1: to the South, our stunt coordinator took me out in 335 00:18:48,080 --> 00:18:51,360 Speaker 1: a closed parking lot and gave me the basics, gave 336 00:18:51,400 --> 00:18:54,080 Speaker 1: me to run down on how to drive, and I 337 00:18:54,160 --> 00:18:58,720 Speaker 1: think we got through it okay, you know, um, And 338 00:18:58,840 --> 00:19:02,199 Speaker 1: what I don't know what I really appreciated is, uh, 339 00:19:02,440 --> 00:19:05,560 Speaker 1: the Emory and India were both extremely patient with me. 340 00:19:05,920 --> 00:19:08,520 Speaker 1: I've got these two actors in the car like pressure 341 00:19:08,560 --> 00:19:11,679 Speaker 1: on man, and I think Emory maybe had similar experiences 342 00:19:11,680 --> 00:19:13,320 Speaker 1: to me in the past and memory you had some 343 00:19:13,359 --> 00:19:16,880 Speaker 1: sort of mantra. There was something happened when we were 344 00:19:17,000 --> 00:19:21,080 Speaker 1: driving and I, as Dylan, just said something like slow 345 00:19:21,160 --> 00:19:26,600 Speaker 1: and steady or common rely and it I know what 346 00:19:26,720 --> 00:19:30,119 Speaker 1: Sam's talking about, because like, you booked this job and 347 00:19:30,160 --> 00:19:32,159 Speaker 1: you're like excited and you're ready to go, and you 348 00:19:32,200 --> 00:19:36,840 Speaker 1: don't even read that stuff like Ryan's gotten or whatever. Yeah, 349 00:19:36,840 --> 00:19:39,560 Speaker 1: where's my dialogue? Where's where? Where do I get to 350 00:19:39,560 --> 00:19:41,560 Speaker 1: say stuff? And then all of a sudden you're there 351 00:19:41,600 --> 00:19:44,200 Speaker 1: and you're like, oh fuck, I have to like do this. 352 00:19:45,200 --> 00:19:48,520 Speaker 1: So I knew exactly what he was going through and 353 00:19:48,560 --> 00:19:50,920 Speaker 1: he was great. Man. He killed it with with all 354 00:19:50,960 --> 00:19:55,360 Speaker 1: this stuff, especially with the driving. Yeah. Wait so so 355 00:19:55,359 --> 00:19:58,520 Speaker 1: so just to say weren't hit anything, I've hit things 356 00:19:58,960 --> 00:20:03,000 Speaker 1: like not like cars and like and you know I've 357 00:20:03,040 --> 00:20:07,199 Speaker 1: done it. You know that's great anything. Let me just 358 00:20:07,280 --> 00:20:10,040 Speaker 1: add let me just add to that. There was one 359 00:20:10,119 --> 00:20:14,399 Speaker 1: day when we were filming in there in the used 360 00:20:14,400 --> 00:20:18,199 Speaker 1: car lot and I was supposed to reverse into the 361 00:20:18,240 --> 00:20:21,920 Speaker 1: parking spot, but the car wasn't driving, and the cameras 362 00:20:22,119 --> 00:20:24,880 Speaker 1: right in front of me and stepped on the accelerator. 363 00:20:24,960 --> 00:20:29,280 Speaker 1: It's gone forward a break. It's so good, it's so good. 364 00:20:31,040 --> 00:20:33,280 Speaker 1: So that's just I love hearing this stuff. It's great. 365 00:20:33,359 --> 00:20:35,119 Speaker 1: We did ask you that. It was like, hey, you know, 366 00:20:35,520 --> 00:20:37,440 Speaker 1: obviously Sam's probably used to driving on the other side 367 00:20:37,440 --> 00:20:38,919 Speaker 1: the road. We're just gonna make sure it's comfortable. And 368 00:20:38,920 --> 00:20:41,200 Speaker 1: then yes, we did find out that you want a 369 00:20:41,280 --> 00:20:43,320 Speaker 1: driver like you didn't drive, so you had to pick 370 00:20:43,400 --> 00:20:45,840 Speaker 1: up that skill with us, and you did a wonderful 371 00:20:45,920 --> 00:20:48,800 Speaker 1: job with it. Like, I've never played a real person 372 00:20:48,880 --> 00:20:51,520 Speaker 1: that hadn't passed. I played a real person but he 373 00:20:51,560 --> 00:20:54,480 Speaker 1: died in like, so it's really strange to play a 374 00:20:54,520 --> 00:20:56,200 Speaker 1: real person that was still alive and is going to 375 00:20:56,240 --> 00:20:58,679 Speaker 1: have an opinion on this, you know, and it's his 376 00:20:58,720 --> 00:21:00,439 Speaker 1: life and it's going to people are to say this 377 00:21:00,560 --> 00:21:03,000 Speaker 1: and form their own opinions. There's a lot of pressure, 378 00:21:04,080 --> 00:21:07,280 Speaker 1: and I think all of it, like working with Emory 379 00:21:07,280 --> 00:21:10,120 Speaker 1: in India and and trying to stay in the accent 380 00:21:10,280 --> 00:21:13,960 Speaker 1: and trying to do right by Ryan, the pressure was 381 00:21:14,040 --> 00:21:18,080 Speaker 1: so on that, yeah, you you carry that in inevitably, 382 00:21:18,359 --> 00:21:20,440 Speaker 1: But for me, like, I really felt like it kept 383 00:21:20,480 --> 00:21:22,240 Speaker 1: me sharp because I think it could have been a 384 00:21:22,320 --> 00:21:24,960 Speaker 1: hindrance where you just get too overwhelmed and you start 385 00:21:25,760 --> 00:21:28,480 Speaker 1: and you know, falling apart, but I found it to 386 00:21:28,560 --> 00:21:31,720 Speaker 1: be really good. I mean, it's one of my favorite 387 00:21:31,760 --> 00:21:36,000 Speaker 1: experiences I've ever had them in. It was so great. 388 00:21:36,800 --> 00:21:39,159 Speaker 1: So Emory, let me kick this over to you. You know, 389 00:21:39,240 --> 00:21:42,240 Speaker 1: did a rig and had you tied and tethered into 390 00:21:42,320 --> 00:21:44,520 Speaker 1: the car so you could really lean out and did 391 00:21:44,560 --> 00:21:46,840 Speaker 1: that stunt and we did it in a practical sense 392 00:21:46,840 --> 00:21:50,840 Speaker 1: of using you and you were wonderful. It looks amazing. Again, 393 00:21:50,840 --> 00:21:52,760 Speaker 1: did that have an imprint or impressure on you? I 394 00:21:52,800 --> 00:21:55,399 Speaker 1: think even still now, that was like one of the 395 00:21:55,440 --> 00:21:59,440 Speaker 1: most extensive sort of stunt things that I've ever done. 396 00:21:59,520 --> 00:22:01,640 Speaker 1: You know, there were of times we didn't free driving 397 00:22:01,680 --> 00:22:05,359 Speaker 1: too and like, yeah, sure that I'm tied into something 398 00:22:05,359 --> 00:22:07,680 Speaker 1: in the car, but I was hanging out of a car, 399 00:22:07,920 --> 00:22:09,919 Speaker 1: you know what I mean. Just I was like thinking 400 00:22:09,920 --> 00:22:12,200 Speaker 1: about the movie and I was like, this is gonna 401 00:22:12,200 --> 00:22:14,320 Speaker 1: be really good for the movie. This is gonna make 402 00:22:14,320 --> 00:22:16,280 Speaker 1: the movie look good because I was scared, but I 403 00:22:16,320 --> 00:22:18,439 Speaker 1: was also really excited to kind of do it. And 404 00:22:18,480 --> 00:22:23,280 Speaker 1: it's sometimes those things link up. Like obviously, for Dylan 405 00:22:23,359 --> 00:22:26,440 Speaker 1: in the real life situation, getting his family into safety 406 00:22:26,600 --> 00:22:29,720 Speaker 1: is a much different circumstance than being an actor in 407 00:22:29,760 --> 00:22:33,680 Speaker 1: a movie trying to get a cool shot. Very few 408 00:22:33,680 --> 00:22:36,920 Speaker 1: people in the entire existence of humanity who've hung outside 409 00:22:36,920 --> 00:22:38,840 Speaker 1: of a car that's been chased by a cop and 410 00:22:38,880 --> 00:22:42,160 Speaker 1: shot at a cop. Obviously that was the real story 411 00:22:42,200 --> 00:22:45,040 Speaker 1: with the real Dylan. You had that experience obviously in 412 00:22:45,040 --> 00:22:47,280 Speaker 1: a play setting, shall we say, you know, in a 413 00:22:47,280 --> 00:22:51,080 Speaker 1: film setting, not reality. But you know, when you're experiencing that, 414 00:22:51,119 --> 00:22:54,399 Speaker 1: are you in some way channeling that real experience that 415 00:22:54,440 --> 00:22:56,200 Speaker 1: he might have had, or you thinking about a million 416 00:22:56,240 --> 00:22:58,439 Speaker 1: other things, like just hold on tight, I mean, you 417 00:22:58,440 --> 00:23:01,920 Speaker 1: want to be honest. I remember thinking like, I hope 418 00:23:01,960 --> 00:23:06,719 Speaker 1: this looks really cool. I can't remember. I remember thinking 419 00:23:06,760 --> 00:23:11,040 Speaker 1: like I read minded myself of watching movies like The 420 00:23:11,119 --> 00:23:14,560 Speaker 1: Last Action Hero or right, you know, I don't know, 421 00:23:14,600 --> 00:23:17,200 Speaker 1: like all these fun like action movies and though as 422 00:23:17,280 --> 00:23:21,080 Speaker 1: a kid, and I've never really done a proper action movie. 423 00:23:21,480 --> 00:23:25,159 Speaker 1: And this was my opportunity to have, you know, my 424 00:23:25,240 --> 00:23:28,840 Speaker 1: best Sylvester Stallowe moment. And I was like, I had 425 00:23:28,840 --> 00:23:31,920 Speaker 1: an adrenaline rush. You know, there's a lot of adrenaline 426 00:23:31,920 --> 00:23:34,400 Speaker 1: that kicks through you when you're gonna do something like that, 427 00:23:35,040 --> 00:23:37,280 Speaker 1: and it and it excited me, and I wanted to 428 00:23:37,280 --> 00:23:40,480 Speaker 1: look cool, so and I don't know, I look but 429 00:23:40,800 --> 00:23:43,360 Speaker 1: you know that was that was that was the experience 430 00:23:43,440 --> 00:23:47,800 Speaker 1: for me. Um that and being really scared. It was 431 00:23:48,480 --> 00:23:52,840 Speaker 1: I'm really scared, but I want to look cool. Wait. Wait, 432 00:23:52,880 --> 00:23:54,920 Speaker 1: that brings up a great a great point. There was 433 00:23:54,960 --> 00:23:56,119 Speaker 1: a moment where the three of you are in the 434 00:23:56,160 --> 00:23:58,800 Speaker 1: car right before the bank robbery and you were just 435 00:23:58,920 --> 00:24:00,880 Speaker 1: riffing on that whole thing about Okay, this is how 436 00:24:00,880 --> 00:24:03,200 Speaker 1: this is gonna go down, bang bang bang. You you said, 437 00:24:03,320 --> 00:24:05,840 Speaker 1: in Dylan's voice, if you will, let's make it just 438 00:24:05,920 --> 00:24:07,520 Speaker 1: like in the movies, and you put the masks on, 439 00:24:07,640 --> 00:24:09,880 Speaker 1: you go and you where did you come up with that? 440 00:24:10,200 --> 00:24:13,199 Speaker 1: Me and you and would talk about how Dylan was 441 00:24:13,240 --> 00:24:15,879 Speaker 1: a movie buff. That that was a big part, like 442 00:24:15,960 --> 00:24:19,680 Speaker 1: Dylan was a movie buff, Dylan new movies, Dylan loved movies. 443 00:24:20,160 --> 00:24:23,600 Speaker 1: I know. I said to you that I couldn't figure 444 00:24:23,640 --> 00:24:28,280 Speaker 1: out in the performance how much of it to make 445 00:24:28,359 --> 00:24:32,960 Speaker 1: it super authentic and how much of it was performative. 446 00:24:33,119 --> 00:24:35,080 Speaker 1: And then I think some of it was like you 447 00:24:35,080 --> 00:24:37,800 Speaker 1: know again, like I've never shot at bank robbery scene 448 00:24:38,200 --> 00:24:42,480 Speaker 1: and that you know, Bonnie and Clyde, it's my favorite 449 00:24:42,480 --> 00:24:46,359 Speaker 1: dog Day afternoon you know, these there are iconic bank 450 00:24:46,520 --> 00:24:48,880 Speaker 1: robbery scenes. And I think that there was a part 451 00:24:48,880 --> 00:24:51,000 Speaker 1: of me, like the movie buff for me and the 452 00:24:51,000 --> 00:24:54,560 Speaker 1: little boy, and me was really excited that we were 453 00:24:54,640 --> 00:24:58,919 Speaker 1: shooting this kind of this thing, you know, where what 454 00:24:59,080 --> 00:25:02,080 Speaker 1: we do is ma believe. And it's like when we're kids, 455 00:25:02,119 --> 00:25:05,120 Speaker 1: where you're playing. You know, I'll be the cop, you'll 456 00:25:05,119 --> 00:25:07,160 Speaker 1: be the robber. I'll be the robber, you'll be the cop, 457 00:25:07,280 --> 00:25:09,320 Speaker 1: you know, And and I think I just that just 458 00:25:09,440 --> 00:25:13,680 Speaker 1: kind of came over. These characters were aware that this 459 00:25:13,840 --> 00:25:16,800 Speaker 1: was gonna make the five o'clock news or the six 460 00:25:16,840 --> 00:25:19,920 Speaker 1: o'clock news. You know that that they had an awareness 461 00:25:20,040 --> 00:25:23,119 Speaker 1: of that and that in some ways that it was 462 00:25:23,240 --> 00:25:27,440 Speaker 1: performative what they were trying to do. You know, you absolutely, 463 00:25:32,400 --> 00:25:34,720 Speaker 1: let's stop here for another quick break. We'll be back 464 00:25:34,760 --> 00:25:45,480 Speaker 1: at a moment. We again got lucky for the film 465 00:25:45,520 --> 00:25:47,120 Speaker 1: to get the chance to shoot in a real bank. 466 00:25:47,400 --> 00:25:49,960 Speaker 1: You know, obviously there's extras that are recreating being the 467 00:25:50,080 --> 00:25:52,000 Speaker 1: real customers of the bank and with the bank tellers. 468 00:25:52,640 --> 00:25:55,159 Speaker 1: What was that like for you and recreating that. I 469 00:25:55,240 --> 00:25:58,359 Speaker 1: always get nervous about how loud it's gonna be, because 470 00:25:58,400 --> 00:26:03,040 Speaker 1: you also have to look like because my characters anticipating 471 00:26:03,400 --> 00:26:06,320 Speaker 1: that Lee Grace comes in and unloads these shows, so 472 00:26:06,359 --> 00:26:08,359 Speaker 1: they know what's going on. And like we've said, like 473 00:26:08,400 --> 00:26:11,440 Speaker 1: our characters are used to being around gunfire. The way 474 00:26:11,480 --> 00:26:14,719 Speaker 1: that we shot that day, at least the way I 475 00:26:14,760 --> 00:26:18,679 Speaker 1: remember it, we shot like the practical stunt elements and 476 00:26:18,800 --> 00:26:23,399 Speaker 1: gunfire elements first and then shot my kind of little 477 00:26:23,400 --> 00:26:26,920 Speaker 1: speech up there. It just helped me feel comfortable. The 478 00:26:27,119 --> 00:26:29,800 Speaker 1: script opens with that scene, you know, So it was 479 00:26:29,840 --> 00:26:32,320 Speaker 1: definitely something that when I saw it on the schedule, 480 00:26:32,440 --> 00:26:35,679 Speaker 1: you start getting butterflies and and excited and nervous and 481 00:26:35,720 --> 00:26:38,360 Speaker 1: all the rest. And I think part of it too 482 00:26:38,440 --> 00:26:40,359 Speaker 1: is the whole make it look like the movies. I 483 00:26:40,440 --> 00:26:43,000 Speaker 1: think we actually shot that after we had finished all 484 00:26:43,080 --> 00:26:46,840 Speaker 1: the bank work, so there was kind of this I 485 00:26:47,160 --> 00:26:49,520 Speaker 1: there was this kind of ease for me that that 486 00:26:49,760 --> 00:26:52,199 Speaker 1: speech was out of the way and the gunfire was 487 00:26:52,240 --> 00:26:54,679 Speaker 1: out of the way and we could just shoot the 488 00:26:54,680 --> 00:26:57,359 Speaker 1: beginning bit. So India just swinging over to you on 489 00:26:57,400 --> 00:26:59,480 Speaker 1: that once they went on the run, once they robbed 490 00:26:59,520 --> 00:27:01,920 Speaker 1: a bank in some sort of control, this control that 491 00:27:01,960 --> 00:27:04,720 Speaker 1: they never had, and your character in particular comes barging 492 00:27:04,760 --> 00:27:07,480 Speaker 1: into the bank even though I will say that there 493 00:27:07,480 --> 00:27:09,280 Speaker 1: were a couple of lines that, even though I knew 494 00:27:09,359 --> 00:27:11,600 Speaker 1: that in post it would be fixed, my energy was 495 00:27:11,880 --> 00:27:15,080 Speaker 1: the adrenaline. I like Emory was saying, like the butterflies, 496 00:27:15,119 --> 00:27:19,360 Speaker 1: and the adrenaline was so for me anyway, was suddenly 497 00:27:19,440 --> 00:27:22,200 Speaker 1: kicked into high get like right before we started filming, 498 00:27:22,359 --> 00:27:25,000 Speaker 1: and so I started kind of not fully getting my 499 00:27:25,040 --> 00:27:30,080 Speaker 1: line out, and I remember that making me even more frantic. Um. 500 00:27:30,359 --> 00:27:34,720 Speaker 1: In regards to the control aspect for the characters, I think, 501 00:27:34,760 --> 00:27:36,640 Speaker 1: I mean, it must have just been like an alternate 502 00:27:36,760 --> 00:27:40,000 Speaker 1: reality for that moment where they kind of click into 503 00:27:41,359 --> 00:27:43,679 Speaker 1: you know, it's a false sense of control, and at 504 00:27:43,720 --> 00:27:47,560 Speaker 1: least the way that I approached it was. I think 505 00:27:47,680 --> 00:27:51,200 Speaker 1: in that moment she wasn't really she did wasn't really 506 00:27:52,000 --> 00:27:55,800 Speaker 1: cognizant of the of the reality of what she was 507 00:27:55,920 --> 00:27:59,920 Speaker 1: doing or what they were doing. And so it did 508 00:28:00,080 --> 00:28:01,919 Speaker 1: kind of Lincoln in a nice way because I was 509 00:28:01,960 --> 00:28:04,480 Speaker 1: actually having a blast watching up where you do the speech, 510 00:28:04,600 --> 00:28:07,399 Speaker 1: and then Sam had a gag with the shotgun and stuff, 511 00:28:07,440 --> 00:28:12,800 Speaker 1: so I was actually enjoying watching both of them. But um, 512 00:28:12,920 --> 00:28:15,440 Speaker 1: I think in a way as as the character as well, 513 00:28:15,560 --> 00:28:17,520 Speaker 1: she was with her brothers, and it was like it 514 00:28:17,560 --> 00:28:19,639 Speaker 1: was almost like playtime in a way. That was kind 515 00:28:19,640 --> 00:28:22,320 Speaker 1: of how I treated it. So as far as you know, 516 00:28:22,400 --> 00:28:24,520 Speaker 1: the energy of running in and doing all of that, 517 00:28:24,680 --> 00:28:26,960 Speaker 1: it was more just like an adrenaline, like playing a game, 518 00:28:27,400 --> 00:28:30,359 Speaker 1: and she wasn't really it was more like the that 519 00:28:30,960 --> 00:28:33,760 Speaker 1: And then she doesn't really realize the weight of what 520 00:28:33,840 --> 00:28:37,080 Speaker 1: she's doing fully, but she does, but she is. She 521 00:28:37,160 --> 00:28:40,520 Speaker 1: kind of that the excitement of it overtakes the logic 522 00:28:41,480 --> 00:28:44,240 Speaker 1: perfect and so everything to you, Um, what about the 523 00:28:44,320 --> 00:28:47,800 Speaker 1: character in particular attracted you you to playing the role? Um? 524 00:28:48,600 --> 00:28:51,400 Speaker 1: And and what was your impression of that. I remember 525 00:28:51,400 --> 00:28:55,959 Speaker 1: when I read this script, you know, I found Dylan 526 00:28:56,120 --> 00:28:59,240 Speaker 1: to be really charming, and when I spoke to him 527 00:28:59,240 --> 00:29:04,320 Speaker 1: on the phone, he didn't he he was very very charming. Um. 528 00:29:04,400 --> 00:29:06,760 Speaker 1: And there's also you know, there was kind of like 529 00:29:06,840 --> 00:29:10,640 Speaker 1: a kindness of the way they went about doing what 530 00:29:10,720 --> 00:29:14,400 Speaker 1: they did, and that you know, like in the scene 531 00:29:14,480 --> 00:29:17,680 Speaker 1: where we robbed the bank, Uh, Dylan's he's like this 532 00:29:17,800 --> 00:29:20,720 Speaker 1: elderly woman on the floor and he gets down eas 533 00:29:20,800 --> 00:29:22,320 Speaker 1: his man, do you want to do you want to 534 00:29:22,320 --> 00:29:25,000 Speaker 1: take a seat? You know, sit down? You know, And 535 00:29:25,040 --> 00:29:28,320 Speaker 1: there was something that that interests me, and that you know, 536 00:29:28,360 --> 00:29:32,320 Speaker 1: they come charging into this bank, guns drawn, everyone on 537 00:29:32,360 --> 00:29:34,880 Speaker 1: the ground, and then he sees, you know, an elderly 538 00:29:34,920 --> 00:29:36,800 Speaker 1: person and he's like, oh no, no, let's get this 539 00:29:36,840 --> 00:29:39,520 Speaker 1: person a chair, you know, like you know, and so 540 00:29:39,720 --> 00:29:43,280 Speaker 1: I found that to be kind of attractive. I remember 541 00:29:43,400 --> 00:29:46,000 Speaker 1: the phone call I remember the most was actually the 542 00:29:46,120 --> 00:29:49,560 Speaker 1: last phone call that I had with him, because it 543 00:29:49,640 --> 00:29:52,280 Speaker 1: was this crazy thing that happened. It was the night 544 00:29:52,400 --> 00:29:56,400 Speaker 1: we wrapped shooting and he called me, and I thought 545 00:29:56,480 --> 00:30:00,800 Speaker 1: that either Sean or Cassidy, that someone had informed him 546 00:30:01,000 --> 00:30:05,440 Speaker 1: that this was that that would be the last night, 547 00:30:05,480 --> 00:30:08,320 Speaker 1: but it was it was just happenstance. He just, I 548 00:30:08,320 --> 00:30:11,480 Speaker 1: don't know, he picked up the phone, you know, and 549 00:30:11,520 --> 00:30:14,480 Speaker 1: we had this really cool talk because in the beginning, 550 00:30:15,320 --> 00:30:19,320 Speaker 1: you know, I was learning from him and learning about him, 551 00:30:19,400 --> 00:30:23,160 Speaker 1: and in this end talk, you know, we were I 552 00:30:23,200 --> 00:30:25,240 Speaker 1: was just kind of talking to him about the movie 553 00:30:25,320 --> 00:30:27,880 Speaker 1: and how like the experience was really good, and how 554 00:30:28,360 --> 00:30:32,000 Speaker 1: I felt like everyone was really committed and that hopefully 555 00:30:32,040 --> 00:30:34,200 Speaker 1: we would have made him proud, you know, and stuff 556 00:30:34,240 --> 00:30:36,160 Speaker 1: like that, and we kind of had this nice sort 557 00:30:36,200 --> 00:30:40,880 Speaker 1: of goodbye that just happened really organically and I remember 558 00:30:40,960 --> 00:30:44,720 Speaker 1: like that because the phone calls leading up, they're like 559 00:30:44,840 --> 00:30:48,280 Speaker 1: mired with all this anxiety of like starting shooting, you know. 560 00:30:48,360 --> 00:30:50,640 Speaker 1: And what I remember and what I don't remember is 561 00:30:50,640 --> 00:30:54,200 Speaker 1: a little unclear, but I distinctly remember that last phone call, 562 00:30:54,320 --> 00:30:57,200 Speaker 1: like calling him, calling and being like, oh, hey, Sean 563 00:30:57,280 --> 00:30:59,000 Speaker 1: must have told you. He was like, no, Sean didn't 564 00:30:59,000 --> 00:31:01,000 Speaker 1: tell me anything. What's going on? And I was like, oh, dude, 565 00:31:01,000 --> 00:31:05,440 Speaker 1: we we wrapped, like we're we just finished. And so 566 00:31:05,520 --> 00:31:07,880 Speaker 1: that was a really that was a crazy experience, but 567 00:31:07,960 --> 00:31:10,000 Speaker 1: it was really nice. It was really nice to kind 568 00:31:10,040 --> 00:31:12,880 Speaker 1: of for me to let the character go, but again, 569 00:31:12,960 --> 00:31:16,280 Speaker 1: like there's that pressure, you know, we get to let 570 00:31:16,320 --> 00:31:19,880 Speaker 1: these things go and move on. It was strange. I 571 00:31:19,920 --> 00:31:22,640 Speaker 1: don't know if he felt it like he felt that 572 00:31:22,640 --> 00:31:26,640 Speaker 1: that this because I felt Dylan sort of leaving me, 573 00:31:26,800 --> 00:31:29,440 Speaker 1: you know, just in that actory way of whatever. And 574 00:31:29,680 --> 00:31:36,240 Speaker 1: we finished shooting right before Thanksgiving, and I know, I 575 00:31:36,280 --> 00:31:39,160 Speaker 1: was flying back to New York to see my family, 576 00:31:39,560 --> 00:31:43,000 Speaker 1: and I had been on the road for a while shooting, 577 00:31:43,480 --> 00:31:46,920 Speaker 1: and you know when you're shooting, especially something like this 578 00:31:46,960 --> 00:31:49,680 Speaker 1: where it's like it was me, India and Sam and 579 00:31:49,760 --> 00:31:52,640 Speaker 1: you of course and everyone else, but like there's a 580 00:31:52,680 --> 00:31:55,120 Speaker 1: couple other actors came in and came out, but like 581 00:31:55,280 --> 00:31:58,040 Speaker 1: it was me. India and Sam kind of lived together 582 00:31:58,240 --> 00:32:03,000 Speaker 1: for like five weeks, and so they had become like 583 00:32:03,400 --> 00:32:06,880 Speaker 1: a family to me during that time. And being away 584 00:32:06,920 --> 00:32:10,840 Speaker 1: from home and away from people and stuff. You know, 585 00:32:10,920 --> 00:32:13,120 Speaker 1: that time of year is always a shift for me. 586 00:32:13,360 --> 00:32:16,360 Speaker 1: It's like because you're getting in the holidays and you're remembering, 587 00:32:16,560 --> 00:32:18,840 Speaker 1: you know, the year that's passed and all that stuff. 588 00:32:19,000 --> 00:32:21,320 Speaker 1: So that that was what I remember the most about 589 00:32:21,360 --> 00:32:24,920 Speaker 1: all that time and stuff. So so India, again, not 590 00:32:25,080 --> 00:32:26,760 Speaker 1: to put you on the spot with that same question, 591 00:32:26,840 --> 00:32:30,680 Speaker 1: but do you have a recollection of that final uh 592 00:32:30,960 --> 00:32:33,280 Speaker 1: scene which is the goodbye and it was also the 593 00:32:33,320 --> 00:32:36,960 Speaker 1: goodbye to the experience that we had for production. If 594 00:32:37,000 --> 00:32:39,320 Speaker 1: I had to imagine what the three of them felt 595 00:32:39,360 --> 00:32:42,000 Speaker 1: when they were finally separated and it was over and 596 00:32:42,040 --> 00:32:44,959 Speaker 1: they were all being you know, going off on their 597 00:32:45,000 --> 00:32:48,520 Speaker 1: own and and you know, knowing that they're probably never 598 00:32:48,560 --> 00:32:51,760 Speaker 1: gonna you know that that that chapter of their lives 599 00:32:51,760 --> 00:32:55,960 Speaker 1: are are done, is done. Like when the arrests were 600 00:32:56,000 --> 00:32:58,120 Speaker 1: being filmed, when we were doing that, it was just 601 00:32:58,160 --> 00:33:00,800 Speaker 1: a very kind of empty fear knowing that I had 602 00:33:01,000 --> 00:33:03,560 Speaker 1: that I hadn't really had on a job before. It 603 00:33:03,600 --> 00:33:06,480 Speaker 1: wasn't really like we did it kind of wrapped for 604 00:33:06,600 --> 00:33:09,239 Speaker 1: me anyway, I kind of got very sensitive and I 605 00:33:09,280 --> 00:33:13,840 Speaker 1: felt kind of depressed after the job ended. Where it 606 00:33:13,880 --> 00:33:16,040 Speaker 1: was it was for the first time for me, it 607 00:33:16,120 --> 00:33:19,000 Speaker 1: was kind of hard to leave the character behind because 608 00:33:19,040 --> 00:33:22,600 Speaker 1: it was such a distinct vibe that the three of 609 00:33:22,680 --> 00:33:26,080 Speaker 1: us had and that that was there during filming, and 610 00:33:26,120 --> 00:33:29,360 Speaker 1: it was a very weighty energy. It was like it 611 00:33:29,440 --> 00:33:32,080 Speaker 1: I loved working with everyone, but I wouldn't call it 612 00:33:32,120 --> 00:33:36,719 Speaker 1: like a really happy shoot. There was a definite heaviness 613 00:33:36,920 --> 00:33:39,840 Speaker 1: that and I think all three of us were aware 614 00:33:39,840 --> 00:33:44,280 Speaker 1: of it at all times. And so Sam, same to you, 615 00:33:44,320 --> 00:33:46,920 Speaker 1: do you have a recollection of that at that point? 616 00:33:47,440 --> 00:33:50,280 Speaker 1: For me, like it was it has been a voyage 617 00:33:51,000 --> 00:33:55,480 Speaker 1: because I feel like his siblings were his heroes for sure, 618 00:33:55,720 --> 00:33:58,880 Speaker 1: but then he's got this perspective no family on the 619 00:33:58,920 --> 00:34:03,640 Speaker 1: way split, you know, definitely, Yeah, you have this really 620 00:34:03,640 --> 00:34:07,680 Speaker 1: wonderful moment there where it appears, And what we're trying 621 00:34:07,680 --> 00:34:10,680 Speaker 1: to portray is that you know, the cops essentially, you know, 622 00:34:11,160 --> 00:34:13,080 Speaker 1: catch up to you, and you know, we we took 623 00:34:13,080 --> 00:34:17,560 Speaker 1: a little artistic license here um again for time, and 624 00:34:17,640 --> 00:34:19,359 Speaker 1: they you know, ask you to put your weapon down 625 00:34:19,400 --> 00:34:21,720 Speaker 1: and they do the takedown as opposed to in real life. 626 00:34:22,320 --> 00:34:25,319 Speaker 1: It was actually a regular bystander that actually took Ryan down. 627 00:34:25,400 --> 00:34:27,560 Speaker 1: Believe or not saw the chase happening. I got involved. 628 00:34:27,840 --> 00:34:29,560 Speaker 1: That was a little more complex than we had the 629 00:34:29,640 --> 00:34:32,600 Speaker 1: chance to get into. Well, guys, listen, we I am 630 00:34:32,760 --> 00:34:34,360 Speaker 1: so grateful and thank you for letting me kind of 631 00:34:34,400 --> 00:34:36,560 Speaker 1: rush to the finish line at the end. But you, guys, 632 00:34:36,600 --> 00:34:38,800 Speaker 1: and I'm not just saying this, you were brilliant as always. 633 00:34:38,880 --> 00:34:41,160 Speaker 1: I'm not surprised in the least, and I just really 634 00:34:41,160 --> 00:34:43,480 Speaker 1: want to thank you for your time and anything else 635 00:34:43,520 --> 00:34:46,280 Speaker 1: that you want to throw in or we feel great 636 00:34:46,360 --> 00:34:48,560 Speaker 1: about this. Wanted to say that it really was a 637 00:34:48,640 --> 00:34:52,279 Speaker 1: very special experience, and thank you Sean for you know, 638 00:34:52,320 --> 00:34:54,360 Speaker 1: bringing me a board, because it was. It was a 639 00:34:54,360 --> 00:35:01,239 Speaker 1: really special experience. That's it. That's awesome. And and we 640 00:35:01,320 --> 00:35:02,719 Speaker 1: say the part about how you think I'm the most 641 00:35:02,719 --> 00:35:05,720 Speaker 1: handsome director you've ever worked with, member, we practiced that earlier. 642 00:35:06,280 --> 00:35:10,440 Speaker 1: Sean's the most director I ever worked I'm kidding, the 643 00:35:10,920 --> 00:35:18,040 Speaker 1: most handsomest handsome exact totally teasing, um Okay, thank you 644 00:35:18,040 --> 00:35:20,760 Speaker 1: guys so much. Please have a great rest of your evening. 645 00:35:20,800 --> 00:35:26,399 Speaker 1: Get to say everyone so I'm nice. All the best 646 00:35:26,400 --> 00:35:28,400 Speaker 1: to you guys. Thank you, thank you. This was absolutely 647 00:35:28,520 --> 00:35:33,480 Speaker 1: I couldn't be more pleased. Thank you, thank you, thank you. Bye. 648 00:35:34,800 --> 00:35:39,640 Speaker 1: Here Sean with podcast producer Joseph Morgan. You've known the 649 00:35:39,640 --> 00:35:42,319 Speaker 1: story for quite some time, even close to it. If 650 00:35:42,320 --> 00:35:44,319 Speaker 1: you had one thing that you want people to take 651 00:35:44,360 --> 00:35:48,040 Speaker 1: away from it, what would that be? But for these kids, 652 00:35:48,040 --> 00:35:50,960 Speaker 1: in particular, for every step they took in life, it's 653 00:35:51,000 --> 00:35:54,200 Speaker 1: like they took four steps backwards. It's like no one 654 00:35:54,320 --> 00:35:58,680 Speaker 1: ever truly dosed them with mercy and it it's isn't 655 00:35:58,719 --> 00:36:03,760 Speaker 1: it interesting? How just that one that one simple act 656 00:36:03,800 --> 00:36:09,880 Speaker 1: of kindness, of indulgence maybe for them, could have made 657 00:36:09,920 --> 00:36:13,120 Speaker 1: all the difference in the world. But yet, you know, 658 00:36:13,280 --> 00:36:16,359 Speaker 1: because you don't have a mailbox, we're gonna throw years 659 00:36:16,480 --> 00:36:18,680 Speaker 1: in jail. We're gonna we're gonna put you in the deepest, 660 00:36:18,760 --> 00:36:22,600 Speaker 1: darkest part of it. Yeah, you're gonna feel like you 661 00:36:22,600 --> 00:36:26,600 Speaker 1: you're absent hope, any kind of hope that that there's 662 00:36:26,640 --> 00:36:29,320 Speaker 1: any kind of light at the tunnel. And that is tragic, 663 00:36:29,960 --> 00:36:33,840 Speaker 1: That is tragedy. Writer director Sean McEwen had some final 664 00:36:33,880 --> 00:36:37,719 Speaker 1: thoughts on the Dougherty story. I think for me, the 665 00:36:37,760 --> 00:36:39,680 Speaker 1: one thing that I would want people to take away 666 00:36:39,680 --> 00:36:44,040 Speaker 1: from the story is being able to begin to understand 667 00:36:44,520 --> 00:36:48,240 Speaker 1: that which is not understandable when I first heard the story. 668 00:36:48,440 --> 00:36:50,440 Speaker 1: I think it's probably like most anybody who may have 669 00:36:50,520 --> 00:36:54,320 Speaker 1: started this podcast, it's like, oh, crazy bells and whistles, 670 00:36:54,440 --> 00:36:57,240 Speaker 1: the selaious belt and whistles. It's like a former stripper 671 00:36:57,280 --> 00:37:00,239 Speaker 1: now tooting an a K forty seven and he's crazy easy. 672 00:37:00,680 --> 00:37:03,200 Speaker 1: Two brothers and sister, Bonnie, Clyde and Clyde and there 673 00:37:03,400 --> 00:37:05,360 Speaker 1: you know anything, shots with cops and Robbie Banks. And 674 00:37:05,360 --> 00:37:09,200 Speaker 1: this is so unlike anything I've ever done or experienced, 675 00:37:09,280 --> 00:37:12,560 Speaker 1: or probably the majority of the population is very unique. 676 00:37:13,040 --> 00:37:14,879 Speaker 1: But the deeper you get into it, you realize how 677 00:37:14,960 --> 00:37:17,480 Speaker 1: much this is like all of our stories in some 678 00:37:17,600 --> 00:37:20,399 Speaker 1: way in a way, a couple of less and rights 679 00:37:20,400 --> 00:37:23,200 Speaker 1: and this could have been me. I mean, it's similar 680 00:37:23,480 --> 00:37:26,239 Speaker 1: in a way so many ways to again my background 681 00:37:26,239 --> 00:37:29,920 Speaker 1: and that kind of hurl upbringing assault of earth and 682 00:37:29,920 --> 00:37:32,560 Speaker 1: and you know their path led them this way, and 683 00:37:32,800 --> 00:37:36,000 Speaker 1: some of it was they're responsible for this, were their choices, 684 00:37:36,239 --> 00:37:43,560 Speaker 1: and some of it was truly circumstance. If you're over 685 00:37:43,600 --> 00:37:45,279 Speaker 1: eighteen years old and want to see pictures of Lee 686 00:37:45,320 --> 00:37:47,920 Speaker 1: Grace and Ryan Dougherty or find their addresses to write 687 00:37:47,960 --> 00:37:51,840 Speaker 1: them in prison, go to our Instagram at Katie Underscore Studios. 688 00:37:52,320 --> 00:37:55,000 Speaker 1: If you're enjoying this podcast, please listen and subscribe to 689 00:37:55,080 --> 00:38:00,880 Speaker 1: Crazy and Love, Katie Studio's latest true crime podcast. The 690 00:38:00,960 --> 00:38:03,960 Speaker 1: Dougherty Gang is executive produced by Stephanie lie Decker and 691 00:38:04,040 --> 00:38:07,759 Speaker 1: me Courtney Armstrong, along with Beth Greenwald, Seaun McEwen, and 692 00:38:07,880 --> 00:38:11,360 Speaker 1: Joseph Morgan. Editing and sound design is by Jeff Tis. 693 00:38:11,640 --> 00:38:15,080 Speaker 1: Additional producing by Chris Graves and Jeff Shane. The Docritor 694 00:38:15,120 --> 00:38:17,680 Speaker 1: Gang is a production of I Heart Radio and Katie Studios. 695 00:38:18,160 --> 00:38:20,480 Speaker 1: For more podcasts from my Heart Radio, visit the I 696 00:38:20,520 --> 00:38:23,560 Speaker 1: Heart Radio app, Apple podcast, or wherever you listen to 697 00:38:23,600 --> 00:38:24,440 Speaker 1: your favorite shows.