1 00:00:03,680 --> 00:00:14,480 Speaker 1: Let's just do I am all in with Scott Patterson 2 00:00:14,720 --> 00:00:16,880 Speaker 1: and iHeartRadio Podcast Hire Everybody. 3 00:00:16,600 --> 00:00:19,920 Speaker 2: Scott Patterson, I am all in podcast, one on one interview, 4 00:00:20,360 --> 00:00:24,520 Speaker 2: one of one productions. iHeartRadio, iHeart Media, iHeart Did I 5 00:00:24,560 --> 00:00:25,240 Speaker 2: say podcasts? 6 00:00:25,280 --> 00:00:25,800 Speaker 3: Yeah? Media? 7 00:00:25,880 --> 00:00:29,760 Speaker 2: Did I say all that popcorn? All that stuff? Mark 8 00:00:29,880 --> 00:00:35,400 Speaker 2: Herolic is going to be our guest. He portrayed Stuart 9 00:00:35,440 --> 00:00:38,519 Speaker 2: Woltz for one episode on Gilmore Girl. Stuart was Rory's 10 00:00:38,520 --> 00:00:43,720 Speaker 2: boss at the Stanford Eagle Gazette who she insisted on 11 00:00:43,840 --> 00:00:49,080 Speaker 2: getting a job. Here's a little bit about Mark, film, stage, actor, playwright. 12 00:00:50,560 --> 00:00:55,480 Speaker 2: He's appeared in the film's election, Jurassic Park three Eulogy, 13 00:00:55,680 --> 00:00:59,040 Speaker 2: four Year Consideration, forty two year Old. Says various roles 14 00:00:59,080 --> 00:01:02,720 Speaker 2: in television shows Seinfeld, Numbers, Wings, Grace Under, Fire, Will 15 00:01:02,760 --> 00:01:06,920 Speaker 2: and Grace, NCIS, Boy Meets World, Breaking Bad Bone, Six 16 00:01:06,959 --> 00:01:09,960 Speaker 2: Feet Under, and five episodes of the first season A 17 00:01:10,040 --> 00:01:14,200 Speaker 2: Big Bang Theory. More recently appeared in Preacher and The 18 00:01:14,240 --> 00:01:18,880 Speaker 2: Morning Show. Let's bring him In, Mark Harlick, Mark, tell 19 00:01:18,959 --> 00:01:20,760 Speaker 2: us what thanks for joining us? Tell us how you 20 00:01:20,800 --> 00:01:22,400 Speaker 2: got the role Gilmore Girls. 21 00:01:22,800 --> 00:01:25,800 Speaker 1: Well, we're talking about a gig. I got a very 22 00:01:25,840 --> 00:01:30,000 Speaker 1: long time ago. All right, you should understand that I'm 23 00:01:31,440 --> 00:01:38,680 Speaker 1: in a category as an actor and with guest roles 24 00:01:38,760 --> 00:01:42,000 Speaker 1: like the editor of the Eagle Gazette in Gilmore Girls. 25 00:01:42,880 --> 00:01:47,840 Speaker 1: I'm essentially a plumber. Somebody has one job that they 26 00:01:47,880 --> 00:01:50,360 Speaker 1: need done, so they hire a plumber to come in. 27 00:01:50,720 --> 00:01:53,600 Speaker 1: If your sync is stopped up, you hire a plumber 28 00:01:53,640 --> 00:01:57,040 Speaker 1: to come in and stops the sink and goes without 29 00:01:57,040 --> 00:02:01,880 Speaker 1: his job. That's just one stop on his day's work. 30 00:02:03,760 --> 00:02:07,640 Speaker 1: So my involvement with a television show is basically that 31 00:02:08,000 --> 00:02:11,760 Speaker 1: they have their regular characters that paint the house, paying 32 00:02:11,760 --> 00:02:16,919 Speaker 1: the paintings, choose the furniture, live there. But I play 33 00:02:16,919 --> 00:02:20,120 Speaker 1: a character that just pops in. They give me a name, 34 00:02:20,240 --> 00:02:24,239 Speaker 1: They give my character a name and some lines to say, 35 00:02:24,560 --> 00:02:27,320 Speaker 1: but essentially I'm there just to keep the water flowing 36 00:02:27,320 --> 00:02:29,960 Speaker 1: through the sink and the water flowing through the sink. 37 00:02:30,000 --> 00:02:33,680 Speaker 1: In this case was I believe Alexis was looking for 38 00:02:33,760 --> 00:02:38,080 Speaker 1: a job at the Ego Gazette, so they needed somebody 39 00:02:38,520 --> 00:02:41,800 Speaker 1: that was sort of a semifoil for her at the 40 00:02:41,840 --> 00:02:46,640 Speaker 1: Ego Gazette to hire her. And once she's hired, my 41 00:02:46,840 --> 00:02:51,880 Speaker 1: character is dispensable. So how did I get the job? 42 00:02:52,800 --> 00:02:57,239 Speaker 1: I worked for Amy Sherman Palladino on her show of 43 00:02:57,360 --> 00:03:03,679 Speaker 1: Veronica's Closet, and I was a I was a generic boyfriend, 44 00:03:03,760 --> 00:03:08,240 Speaker 1: I think, to Kathy, to Jimmy, I believe so, of 45 00:03:08,280 --> 00:03:10,280 Speaker 1: whom I was a big fan because of the Kathy 46 00:03:10,320 --> 00:03:14,800 Speaker 1: and Mo show. So I played Kathy. I think it 47 00:03:14,880 --> 00:03:20,320 Speaker 1: was Kathy and Jimmy's boyfriend for three episodes. I don't 48 00:03:20,360 --> 00:03:26,160 Speaker 1: know why Amy hired me for Veronica's Closet because we 49 00:03:26,240 --> 00:03:30,160 Speaker 1: had no relationship whatsoever. I mean I saw her every 50 00:03:30,240 --> 00:03:37,240 Speaker 1: day on the set and we were involved in script 51 00:03:37,360 --> 00:03:43,440 Speaker 1: changes and such, but she never remembered my name. And 52 00:03:44,440 --> 00:03:51,040 Speaker 1: I found her, you know, fairly unpleasant to work with 53 00:03:51,400 --> 00:03:54,160 Speaker 1: or neutral pleasant to work with? 54 00:03:55,960 --> 00:03:57,560 Speaker 2: Say that, why do you say that? 55 00:03:58,320 --> 00:04:02,640 Speaker 1: Oh, she just ignored me. So I attempted. I remember 56 00:04:02,640 --> 00:04:05,400 Speaker 1: attempting chit chat. I think I complimented her on a 57 00:04:05,440 --> 00:04:08,880 Speaker 1: scene as she speedily walked by me in her top 58 00:04:08,920 --> 00:04:15,440 Speaker 1: half in job purse. You know it's okay, I'm a plumber, 59 00:04:16,040 --> 00:04:21,600 Speaker 1: generic boyfriend. I did three episodes, and then some years 60 00:04:21,680 --> 00:04:25,760 Speaker 1: later her other her one of her next shows, Gilmore Girls, 61 00:04:25,880 --> 00:04:31,240 Speaker 1: comes up, and I recalled being offered the job. So 62 00:04:32,320 --> 00:04:36,800 Speaker 1: somebody in Amy's world may have remembered me, or the 63 00:04:36,839 --> 00:04:40,000 Speaker 1: casting director said, oh, this guy played generic boyfriend in 64 00:04:40,120 --> 00:04:43,440 Speaker 1: Veronica's closet. Remember him? No, But if I hired him 65 00:04:43,440 --> 00:04:45,680 Speaker 1: for that, let's hire him for this. So I was 66 00:04:45,760 --> 00:04:49,760 Speaker 1: hired for this, and I have a certain amount of 67 00:04:49,760 --> 00:04:55,760 Speaker 1: comic skills, which the casting director anyway, I was approved. 68 00:04:56,000 --> 00:05:03,120 Speaker 1: I came in into one of the most uncomfortable gigs 69 00:05:03,200 --> 00:05:09,839 Speaker 1: I've ever worked, which you may you may ask me 70 00:05:09,920 --> 00:05:17,520 Speaker 1: about tell us more and I'm not painting a very 71 00:05:17,640 --> 00:05:23,159 Speaker 1: rosy picture as it is. But so so I went 72 00:05:23,200 --> 00:05:27,040 Speaker 1: through the I went through the Gilmore Girls hazing uh, 73 00:05:27,080 --> 00:05:31,159 Speaker 1: which every actor does, which is you know what that is, 74 00:05:32,080 --> 00:05:37,200 Speaker 1: talk faster, faster, talk faster, talk faster. I'm talking as 75 00:05:37,279 --> 00:05:40,560 Speaker 1: fast as I can think, talk faster than you can think, 76 00:05:41,279 --> 00:05:44,320 Speaker 1: which if you watch the show and the and the 77 00:05:44,320 --> 00:05:46,480 Speaker 1: the actors that are really good at that, and they're 78 00:05:47,160 --> 00:05:49,920 Speaker 1: you know, they're really good at that, they do in 79 00:05:49,960 --> 00:05:53,279 Speaker 1: fact talk faster than you can think, which has you 80 00:05:53,440 --> 00:05:58,480 Speaker 1: sort of rolling falling forward all the time, and and 81 00:05:58,600 --> 00:06:02,960 Speaker 1: you you're laughing. You're always laughing in retrospect. So the 82 00:06:03,080 --> 00:06:07,840 Speaker 1: humor doesn't even need to be that, it doesn't need 83 00:06:07,880 --> 00:06:10,760 Speaker 1: to be joky, and it doesn't need to be particularly funny. 84 00:06:11,040 --> 00:06:15,279 Speaker 1: It's wit that comes spitting out, and it's a great 85 00:06:17,839 --> 00:06:23,360 Speaker 1: technical approach to comedy uh and and lots of writers 86 00:06:23,480 --> 00:06:26,839 Speaker 1: use it, but I think it was used to the 87 00:06:26,880 --> 00:06:30,760 Speaker 1: best effect on Bilmore Girls. Anyway, I had to confront that, 88 00:06:30,920 --> 00:06:34,680 Speaker 1: even though I knew that was the esthetic going in UH. 89 00:06:34,760 --> 00:06:39,520 Speaker 1: My biggest challenge was remember the lines fast enough to 90 00:06:39,600 --> 00:06:41,839 Speaker 1: keep going and talk as fast as you can and 91 00:06:41,880 --> 00:06:44,799 Speaker 1: move faster than you can think. Just let the words 92 00:06:44,839 --> 00:06:47,120 Speaker 1: flow out. You have to drill the words a lot 93 00:06:47,200 --> 00:06:49,760 Speaker 1: so they come out freely, and then you're sort of 94 00:06:49,800 --> 00:06:52,720 Speaker 1: tripping forward. And then once you get a handle on that, 95 00:06:53,000 --> 00:06:58,560 Speaker 1: you can put in little comic bills and results if 96 00:06:58,600 --> 00:07:04,240 Speaker 1: you wish. And in preparing for this interview, I went 97 00:07:04,360 --> 00:07:06,040 Speaker 1: back and I watched the episode and I kind of 98 00:07:06,120 --> 00:07:08,680 Speaker 1: liked what I did. I feel like it was it 99 00:07:08,720 --> 00:07:12,560 Speaker 1: was light and funny and tripping forward. But god, was 100 00:07:12,600 --> 00:07:18,320 Speaker 1: it allacious to get into. Because on the set, it's 101 00:07:18,360 --> 00:07:22,440 Speaker 1: not a suggestion, it is you will talk faster. You 102 00:07:22,520 --> 00:07:28,040 Speaker 1: will talk faster than that. And when you do talk faster, 103 00:07:28,160 --> 00:07:33,400 Speaker 1: you're not met with approval, you're met with geez finally, okay, 104 00:07:33,480 --> 00:07:37,360 Speaker 1: let's move on. And you know, remember once again, I'm 105 00:07:37,360 --> 00:07:40,840 Speaker 1: a plumber. So you know, the plumber doesn't get iced 106 00:07:40,840 --> 00:07:43,440 Speaker 1: tea when he comes to the door. He doesn't have 107 00:07:44,240 --> 00:07:48,480 Speaker 1: he doesn't have a little tray of crue de tay 108 00:07:48,800 --> 00:07:52,200 Speaker 1: or dervs waiting for him. It's like, don't tramp your 109 00:07:52,240 --> 00:07:54,600 Speaker 1: muddy boots on my floor and fix that drain as 110 00:07:54,640 --> 00:07:56,640 Speaker 1: fast as you can so we can get back to 111 00:07:56,680 --> 00:07:59,760 Speaker 1: our normal life. So this is the life of a 112 00:07:59,800 --> 00:08:02,600 Speaker 1: guest star, especially when you're doing you know, just just 113 00:08:02,680 --> 00:08:06,360 Speaker 1: one episode. So you know, I understand it's. 114 00:08:06,240 --> 00:08:08,800 Speaker 2: Always good to know your role, you know, on a 115 00:08:08,880 --> 00:08:14,000 Speaker 2: set there and there is a pecking order, yeah, for sure, for. 116 00:08:14,000 --> 00:08:16,280 Speaker 1: Sure, and I'm not there to do any pecking. And 117 00:08:16,320 --> 00:08:19,840 Speaker 1: I don't want to be packed though I am packed. 118 00:08:19,920 --> 00:08:23,160 Speaker 1: I mean they you realize that that you must be 119 00:08:23,280 --> 00:08:26,040 Speaker 1: packed as you come in the door, otherwise you'll straight 120 00:08:26,080 --> 00:08:29,920 Speaker 1: over to the your dervs and the iced tea. So, 121 00:08:30,200 --> 00:08:32,760 Speaker 1: no doubt, definitely this is the kind of job I enjoy. 122 00:08:33,160 --> 00:08:36,400 Speaker 1: I do like sort of smoke jumping in doing a 123 00:08:36,480 --> 00:08:40,559 Speaker 1: character that I have no relationship with and no relationship 124 00:08:40,600 --> 00:08:41,120 Speaker 1: to the show. 125 00:08:42,480 --> 00:08:45,400 Speaker 2: So let's let's get to Alexis. You did, you did 126 00:08:45,559 --> 00:08:46,840 Speaker 2: all of your scenes with her? 127 00:08:46,920 --> 00:08:47,520 Speaker 3: What was that like? 128 00:08:48,240 --> 00:08:54,200 Speaker 1: Axpreciating? Uh? And and here's why, here's why. For some reason, 129 00:08:54,480 --> 00:08:57,800 Speaker 1: according to the schedule, Lauren Graham, all of her scenes 130 00:08:57,800 --> 00:09:02,080 Speaker 1: came up first in the day because who knows why, 131 00:09:02,200 --> 00:09:05,240 Speaker 1: but all of her scenes came up first. So uh 132 00:09:05,679 --> 00:09:09,240 Speaker 1: so I was you know, guest Guest artists are called 133 00:09:09,280 --> 00:09:11,760 Speaker 1: to be ready all day. So let's say I'm called 134 00:09:11,760 --> 00:09:16,000 Speaker 1: at ten in the morning about Evan. In the evening, 135 00:09:16,120 --> 00:09:21,040 Speaker 1: I'm called to work. So I've had two union meals. 136 00:09:22,400 --> 00:09:26,320 Speaker 1: I'm in my I'm in my union uh honeywagon. 137 00:09:26,880 --> 00:09:27,080 Speaker 3: Uh. 138 00:09:27,360 --> 00:09:29,480 Speaker 1: So called because your bed is right next to the 139 00:09:29,520 --> 00:09:36,280 Speaker 1: toilet and uh, you know I'm hanging today. He sure 140 00:09:36,760 --> 00:09:38,360 Speaker 1: it even saves movements. 141 00:09:38,880 --> 00:09:41,160 Speaker 2: You wouldn't even have to move really if you were no. 142 00:09:41,320 --> 00:09:44,080 Speaker 1: You just lean over. It's like it's like having a 143 00:09:44,080 --> 00:09:47,280 Speaker 1: bedpan while you're ending your life with a fatal illness. 144 00:09:47,520 --> 00:09:49,880 Speaker 1: You just lean to the left and pee and I'll 145 00:09:49,880 --> 00:09:54,160 Speaker 1: come in and clean later. Uh, even though you have 146 00:09:54,200 --> 00:09:56,560 Speaker 1: to go outside and remind them to turn on the 147 00:09:56,600 --> 00:10:02,120 Speaker 1: water and the electricity in your trailer. But anyway, in 148 00:10:02,120 --> 00:10:06,120 Speaker 1: the evening, we're called in to do our scenes, and 149 00:10:06,160 --> 00:10:09,080 Speaker 1: I think we had maybe three, three or four scenes 150 00:10:09,520 --> 00:10:11,760 Speaker 1: after they go faster, go faster, go faster, they go 151 00:10:11,920 --> 00:10:15,840 Speaker 1: relatively well. Last scene up in the day okay, And 152 00:10:15,920 --> 00:10:20,840 Speaker 1: to this point, I have no relationship with Alexis, including 153 00:10:21,160 --> 00:10:27,679 Speaker 1: no certainly no, no talking to Alexis. And and that's 154 00:10:27,880 --> 00:10:31,280 Speaker 1: you know, some some regular cast members and the shows 155 00:10:31,320 --> 00:10:33,640 Speaker 1: I work on go out of their way to talk 156 00:10:33,679 --> 00:10:40,600 Speaker 1: to the day players, the guest stars. But she was 157 00:10:40,640 --> 00:10:43,760 Speaker 1: not in the mood, and I could tell she was tired. 158 00:10:43,920 --> 00:10:47,560 Speaker 1: She was grumpy, long ago. Who knows what was going on? 159 00:10:47,880 --> 00:10:52,959 Speaker 1: Long day, young and immaterial. 160 00:10:53,559 --> 00:10:56,000 Speaker 2: After twelve hours, you don't want to be there anymore. 161 00:10:56,280 --> 00:10:58,120 Speaker 2: You know, you don't want to do any more scenes, 162 00:10:58,160 --> 00:10:59,200 Speaker 2: but you know you have to. 163 00:10:59,760 --> 00:11:03,199 Speaker 1: No, you don't want to do anything, and especially you 164 00:11:03,280 --> 00:11:07,720 Speaker 1: don't want to do you know, the ancillary scenes like 165 00:11:07,760 --> 00:11:13,280 Speaker 1: this are generally going to secondary memory. Your primary scenes 166 00:11:13,320 --> 00:11:16,439 Speaker 1: that have to do with your characters and your character relationships. 167 00:11:16,720 --> 00:11:20,400 Speaker 1: You memorize those first because you want to have flexibility 168 00:11:20,440 --> 00:11:22,679 Speaker 1: in the scene. You wanted to be able to improvise 169 00:11:24,200 --> 00:11:29,079 Speaker 1: scenes with the plumber, you don't memorize until the last minute. Well, 170 00:11:30,160 --> 00:11:34,000 Speaker 1: she memorized at the last minute, and god, was it 171 00:11:34,320 --> 00:11:39,320 Speaker 1: a explosion in a spaghetti factory. She did not know 172 00:11:39,559 --> 00:11:43,440 Speaker 1: her words. She did not know her words. So we 173 00:11:43,480 --> 00:11:49,920 Speaker 1: did many, many takes and she gets her words. We 174 00:11:50,040 --> 00:11:55,440 Speaker 1: come to the last scene that we filmed, which if 175 00:11:55,480 --> 00:11:57,800 Speaker 1: you're watching in the episode, it doesn't really look like 176 00:11:57,880 --> 00:12:00,560 Speaker 1: any sort of a prominent scene, but it is what's 177 00:12:00,600 --> 00:12:04,079 Speaker 1: called a walk and talk walking down a long hallway 178 00:12:06,120 --> 00:12:09,680 Speaker 1: led by a steady cam. The steady cam is watching 179 00:12:09,720 --> 00:12:12,640 Speaker 1: you as you're walking toward the steady cam. So the 180 00:12:12,640 --> 00:12:17,079 Speaker 1: steadycam operator is backing up down this long hallway. I'm 181 00:12:17,120 --> 00:12:23,960 Speaker 1: in first position, my stooge of an assistant. The actor's 182 00:12:24,040 --> 00:12:29,480 Speaker 1: name a really nice guy, Dave Slanski Shapanski Slansky. Anyway, 183 00:12:29,600 --> 00:12:32,440 Speaker 1: Dave is next to me. He's sort of an underling 184 00:12:32,600 --> 00:12:32,840 Speaker 1: to me. 185 00:12:33,679 --> 00:12:38,240 Speaker 2: I hope it's not huh nothing, go ahead. 186 00:12:40,320 --> 00:12:44,760 Speaker 1: And Alexis is behind us. So we're a little triumvirate 187 00:12:44,920 --> 00:12:49,400 Speaker 1: walking toward the steady caam operator. Well, we do one take, 188 00:12:50,120 --> 00:12:52,920 Speaker 1: So we're walking toward the steady caam operator. I'm talking 189 00:12:52,960 --> 00:12:55,640 Speaker 1: to Alexis over my shoulder, which is like, jeez, get 190 00:12:55,640 --> 00:12:57,520 Speaker 1: off my back, I'll give you an interview. Jeez, get 191 00:12:57,520 --> 00:12:59,440 Speaker 1: off my back, Get on my back. Okay, I hear you. 192 00:13:00,360 --> 00:13:03,800 Speaker 1: He's doing all the talking. We get about halfway down 193 00:13:03,960 --> 00:13:07,240 Speaker 1: and she's not there anymore. She ducked into a side room. 194 00:13:07,320 --> 00:13:09,840 Speaker 1: She's got I don't know my lines. So we go 195 00:13:10,000 --> 00:13:12,840 Speaker 1: back to what we call go back to one, which 196 00:13:12,880 --> 00:13:16,960 Speaker 1: is where the tracking shot starts, over by the elevators 197 00:13:17,040 --> 00:13:22,160 Speaker 1: or something like that. Steady caam operator, steadycam's assistant who 198 00:13:22,240 --> 00:13:25,720 Speaker 1: is keeping him from falling over because steadycam is walking backwards, 199 00:13:26,280 --> 00:13:31,240 Speaker 1: steady line up in our little triangle and action. I 200 00:13:31,280 --> 00:13:34,360 Speaker 1: start walking. I have a couple of lines. Alexi says, 201 00:13:34,360 --> 00:13:38,319 Speaker 1: one line gets it wrong. We look back, She's not there. 202 00:13:38,640 --> 00:13:41,160 Speaker 1: She's ducked into a side room. Again, I don't know 203 00:13:41,280 --> 00:13:46,480 Speaker 1: my lines. Okay, no fault, no blame. This was last 204 00:13:46,559 --> 00:13:49,280 Speaker 1: in your short term memory. You're having a hard time. 205 00:13:49,720 --> 00:13:50,440 Speaker 3: We did. 206 00:13:51,760 --> 00:13:56,520 Speaker 1: Thirty takes. We did thirty takes and the scene is 207 00:13:56,600 --> 00:13:58,959 Speaker 1: maybe twelve seconds long. 208 00:14:00,080 --> 00:14:01,000 Speaker 3: Uh. 209 00:14:01,880 --> 00:14:04,800 Speaker 1: I'm going over there. I'm trying to hang on. I 210 00:14:04,880 --> 00:14:08,200 Speaker 1: had better not miss my cube, and the steady cam 211 00:14:08,240 --> 00:14:11,040 Speaker 1: operator saying, I can't do this anymore. I can't do 212 00:14:11,120 --> 00:14:15,440 Speaker 1: this anymore. This is the last shot. I cannot do 213 00:14:15,480 --> 00:14:18,960 Speaker 1: this anymore. And we're right up against midnight, which is, 214 00:14:19,480 --> 00:14:22,280 Speaker 1: you know, we go into union double time. And so 215 00:14:22,400 --> 00:14:27,520 Speaker 1: the producer is next to Amy Sherman Palladino saying this 216 00:14:27,680 --> 00:14:33,800 Speaker 1: is it. Amy loses her but she can't yell at Alexis, 217 00:14:34,920 --> 00:14:38,440 Speaker 1: so she yields it. Poor Dave next to me, who 218 00:14:38,520 --> 00:14:41,960 Speaker 1: I think he tripped a little bit or he stumbled 219 00:14:42,160 --> 00:14:47,040 Speaker 1: and he caught from her. And I'm sweating bullets because 220 00:14:47,120 --> 00:14:52,600 Speaker 1: like I'm on the last bullet in my Russian roulette 221 00:14:52,640 --> 00:14:58,560 Speaker 1: gun and that thing better be a blank. Alexis, please 222 00:14:58,640 --> 00:15:03,120 Speaker 1: remember your life, and she got it. I heard her rehearsing. 223 00:15:03,200 --> 00:15:06,320 Speaker 1: She wasn't rehearsing the sense of the line. She was 224 00:15:06,400 --> 00:15:11,640 Speaker 1: rehearsing mnemonics, so, uh, I think she may have some 225 00:15:12,360 --> 00:15:17,120 Speaker 1: She had some some line of I'm not nitpicking here, 226 00:15:17,760 --> 00:15:20,640 Speaker 1: so which said, I'm not picnicking here. I'm not going 227 00:15:20,720 --> 00:15:22,920 Speaker 1: to picnic. I go for a picnic. When I go 228 00:15:23,040 --> 00:15:25,480 Speaker 1: for a picnic, I have fun. Okay, I have a picnic, 229 00:15:25,640 --> 00:15:28,080 Speaker 1: I eat sandwiches. So what is the line, I'm not 230 00:15:28,680 --> 00:15:32,480 Speaker 1: nitpicking here? So that's how she learned the word nitpicking. 231 00:15:33,120 --> 00:15:34,480 Speaker 1: I don't know if that was the word, but it 232 00:15:34,520 --> 00:15:41,120 Speaker 1: was something like it. And uh, we get that shot, 233 00:15:40,080 --> 00:15:44,120 Speaker 1: A check the gate gates. Good, that's a wrap for 234 00:15:44,160 --> 00:15:46,920 Speaker 1: the day. I dash for my dressing room as fast 235 00:15:46,960 --> 00:15:52,680 Speaker 1: as I possibly can't and and uh, and I wonder 236 00:15:53,040 --> 00:15:55,480 Speaker 1: I want to I mean, she gets we find at 237 00:15:55,520 --> 00:15:57,680 Speaker 1: the end of the episode that I did. My character 238 00:15:57,800 --> 00:16:04,040 Speaker 1: does hire her. But I was hired for this job 239 00:16:04,080 --> 00:16:08,239 Speaker 1: as a possible recurring and this is always a contract designation. 240 00:16:08,600 --> 00:16:11,760 Speaker 1: We're hiring you for one episode, but it's possibly recurring, 241 00:16:12,360 --> 00:16:16,520 Speaker 1: which means, no matter what we pay you, come work 242 00:16:16,600 --> 00:16:20,280 Speaker 1: for us, because if you're really good, we'll hire you 243 00:16:20,360 --> 00:16:25,000 Speaker 1: for more episodes. And that definitely it does happen. I 244 00:16:25,040 --> 00:16:28,680 Speaker 1: was not invited to come back. My character did not recur. 245 00:16:28,960 --> 00:16:31,280 Speaker 1: I don't know what happened with her job at the 246 00:16:31,320 --> 00:16:33,520 Speaker 1: Eagle Gazette after that. 247 00:16:34,400 --> 00:16:38,240 Speaker 4: It's interesting because the fans always ask that question too, 248 00:16:38,600 --> 00:16:42,920 Speaker 4: Like Rory never went back to that job after that episode, 249 00:16:42,960 --> 00:16:45,360 Speaker 4: and so the fans are always like, this job was 250 00:16:45,400 --> 00:16:47,160 Speaker 4: such a big deal, where did it go? And it's 251 00:16:47,200 --> 00:16:49,160 Speaker 4: like one of the great answered questions. 252 00:16:48,800 --> 00:16:53,960 Speaker 1: In the next episode, which I wasn't in because I checked. 253 00:16:54,720 --> 00:17:00,160 Speaker 1: He does she is doing some gig filming something for 254 00:17:00,200 --> 00:17:03,440 Speaker 1: the for the Gazette. And she has a because there's 255 00:17:03,480 --> 00:17:05,520 Speaker 1: one scene where she talks with a friend of hers 256 00:17:05,960 --> 00:17:09,399 Speaker 1: who's in the newsroom at the Gazette. But then after 257 00:17:09,440 --> 00:17:11,000 Speaker 1: that crickets. 258 00:17:11,280 --> 00:17:13,359 Speaker 4: Yeah, she has a line like I have to send 259 00:17:13,400 --> 00:17:15,880 Speaker 4: something in or something like that, and then that's that's 260 00:17:15,880 --> 00:17:18,840 Speaker 4: the end of the Gazette. 261 00:17:26,720 --> 00:17:32,280 Speaker 2: Sorry, let me interject something here. It's interesting. And this 262 00:17:32,400 --> 00:17:35,919 Speaker 2: happens on sets, on television sets, on film sets, this 263 00:17:36,160 --> 00:17:39,440 Speaker 2: kind of thing. This is the point is is this 264 00:17:39,520 --> 00:17:45,000 Speaker 2: show was so demanding, uh, and the days were so long, 265 00:17:45,640 --> 00:17:49,320 Speaker 2: and it was just nothing but memorization, short term memory 266 00:17:49,359 --> 00:17:52,359 Speaker 2: and talking, talking as fast as you possibly can. And 267 00:17:52,400 --> 00:17:59,399 Speaker 2: it was physically and psychologically and psychically taxing. And the 268 00:17:59,520 --> 00:18:04,920 Speaker 2: level of exhaustion that you reach after ten twelve hours 269 00:18:04,920 --> 00:18:08,000 Speaker 2: of this, you simply can't do it anymore. Everything starts 270 00:18:08,040 --> 00:18:08,680 Speaker 2: to break down. 271 00:18:09,320 --> 00:18:09,879 Speaker 1: It's rae. 272 00:18:11,840 --> 00:18:13,240 Speaker 2: It actually is that. 273 00:18:13,320 --> 00:18:18,000 Speaker 1: It's Roadge's road Rage on the set. 274 00:18:18,640 --> 00:18:22,120 Speaker 2: Yes, and it's and it's very, very toxic. And I 275 00:18:22,160 --> 00:18:25,679 Speaker 2: really feel for Alexis. You tell the story, but I 276 00:18:25,720 --> 00:18:30,359 Speaker 2: mean she was incapable of remembering anything, and she is 277 00:18:30,400 --> 00:18:32,120 Speaker 2: in mind like a steel trap. I mean, she could 278 00:18:32,160 --> 00:18:34,680 Speaker 2: remember anything all those long speeches, all those long scenes. 279 00:18:34,880 --> 00:18:37,600 Speaker 1: So my story must not be unique. 280 00:18:37,840 --> 00:18:40,000 Speaker 2: No, I mean it's happened to me, it's happened to 281 00:18:40,000 --> 00:18:43,160 Speaker 2: everybody on that show. Where you just get so overwhelmed 282 00:18:44,080 --> 00:18:48,080 Speaker 2: because you're so tired after ten twelve hours of that 283 00:18:48,640 --> 00:18:51,359 Speaker 2: and multiple scenes and it's fast, faster and faster, and 284 00:18:51,400 --> 00:18:53,880 Speaker 2: it's one hundred degrees out in burbank and you got 285 00:18:53,880 --> 00:18:56,680 Speaker 2: to go to a town hall meeting and the next 286 00:18:56,800 --> 00:18:59,720 Speaker 2: day and you're just like it becomes. I don't think 287 00:18:59,760 --> 00:19:03,879 Speaker 2: fans understand how difficult these jobs are. And you know, 288 00:19:04,800 --> 00:19:11,160 Speaker 2: absolutely absolutely money, the perks are fantastic, you know, all good, 289 00:19:11,280 --> 00:19:14,280 Speaker 2: but it's it's a hard job. Gilmore Girls was a 290 00:19:14,320 --> 00:19:15,200 Speaker 2: hard job. 291 00:19:15,680 --> 00:19:19,560 Speaker 1: That's well, I do job. My head is off to 292 00:19:19,680 --> 00:19:25,560 Speaker 1: you and everyone. A good friend of mine played a 293 00:19:25,600 --> 00:19:27,919 Speaker 1: recurring role, Mike Winters. Have you had a chance to 294 00:19:27,960 --> 00:19:28,560 Speaker 1: talk to Michael. 295 00:19:29,280 --> 00:19:30,600 Speaker 2: Michael Winters is the best. 296 00:19:31,040 --> 00:19:32,040 Speaker 1: Yeah, he's the best. 297 00:19:32,040 --> 00:19:34,560 Speaker 2: He's Taylor Taylor Dozie just fantastic. 298 00:19:34,880 --> 00:19:37,480 Speaker 1: Yeah, yeah, yeah, he's one of my best ties. And 299 00:19:37,520 --> 00:19:39,840 Speaker 1: he always he always told me about working on Gilmore 300 00:19:39,840 --> 00:19:41,760 Speaker 1: Girls and I and I was excited to get the 301 00:19:41,880 --> 00:19:46,720 Speaker 1: job and and I realized this is this is you know, 302 00:19:46,880 --> 00:19:51,440 Speaker 1: sometimes television is playtime. You work for a four camera show, 303 00:19:52,000 --> 00:19:58,680 Speaker 1: you do like, uh, let's say Will and Grace. I 304 00:19:59,480 --> 00:20:00,919 Speaker 1: worked a lot on Will and Grace. 305 00:20:01,280 --> 00:20:04,320 Speaker 2: I did an episode of Will and Grace. I did 306 00:20:04,320 --> 00:20:08,520 Speaker 2: a Seinfeld. I know it is. It's so much fun. God, Yeah, 307 00:20:08,680 --> 00:20:11,080 Speaker 2: the dream job is to be a series regular on 308 00:20:11,160 --> 00:20:14,840 Speaker 2: a hit sitcom. That's the dream job. You know, so 309 00:20:14,960 --> 00:20:18,320 Speaker 2: much fun. Yeah, you know, nine to five rehearsals. It's 310 00:20:18,359 --> 00:20:20,920 Speaker 2: like going back to theaters and you're doing live theater 311 00:20:21,000 --> 00:20:22,600 Speaker 2: in front of a live audience, and it's. 312 00:20:22,480 --> 00:20:25,960 Speaker 1: Just and you get to practice, you get you get 313 00:20:25,960 --> 00:20:30,560 Speaker 1: a week to memorize your lines essentially. But but but 314 00:20:30,720 --> 00:20:33,280 Speaker 1: my view of Gilmore Girls and and and I know 315 00:20:33,320 --> 00:20:37,120 Speaker 1: that it's it's consistent around the industry and the yes, 316 00:20:37,160 --> 00:20:40,720 Speaker 1: the audience wouldn't part take in it, but it's a 317 00:20:41,160 --> 00:20:46,520 Speaker 1: it is a blender on high. You go in and 318 00:20:46,520 --> 00:20:49,919 Speaker 1: and as happened with me, my first introduction was you 319 00:20:50,200 --> 00:20:56,320 Speaker 1: better talk fast, just talk fast, and be relaxed and 320 00:20:56,400 --> 00:21:00,520 Speaker 1: uh and be offhanded humorous, all of which I can do. 321 00:21:01,280 --> 00:21:03,399 Speaker 1: But you know, coming at the as you say at 322 00:21:03,440 --> 00:21:07,439 Speaker 1: the end of a twelve hour day, and I cast 323 00:21:07,560 --> 00:21:09,879 Speaker 1: no aspersions on Alexis whatsoever. 324 00:21:10,000 --> 00:21:12,840 Speaker 2: Oh no, no, no, we didn't think. I just wanted to 325 00:21:13,040 --> 00:21:16,720 Speaker 2: I just wanted to clarify for the audience, the listening audience. 326 00:21:17,080 --> 00:21:21,160 Speaker 2: Just you know, everybody has their limits. And I think 327 00:21:21,200 --> 00:21:24,240 Speaker 2: anybody can relate to this, because everybody's at their jobs 328 00:21:24,280 --> 00:21:27,200 Speaker 2: every day and it's like it gets to be eight, ten, 329 00:21:27,400 --> 00:21:30,600 Speaker 2: twelve hours in and you're like, I'm shutting down here 330 00:21:30,880 --> 00:21:33,800 Speaker 2: and I need to just go home and like go 331 00:21:33,880 --> 00:21:36,120 Speaker 2: to sleep, take a shower. While not in that order, 332 00:21:36,160 --> 00:21:36,680 Speaker 2: you're so tired. 333 00:21:36,720 --> 00:21:37,760 Speaker 3: You don't even know what we're it. 334 00:21:38,119 --> 00:21:40,439 Speaker 1: And it's not as though it's not as though this 335 00:21:40,560 --> 00:21:44,840 Speaker 1: job is involuntary. You know, we want to be doing this. 336 00:21:45,359 --> 00:21:49,520 Speaker 1: We have we have we have creative urgence. We want 337 00:21:49,560 --> 00:21:52,240 Speaker 1: to create characters, we want to perform. We want to 338 00:21:53,160 --> 00:21:55,560 Speaker 1: work with other artists who are at our level. 339 00:21:55,600 --> 00:21:59,159 Speaker 2: But here's something that I will I will postulate it 340 00:21:59,240 --> 00:22:04,880 Speaker 2: is acting is not meant to do that much. 341 00:22:06,760 --> 00:22:07,200 Speaker 1: Interesting. 342 00:22:07,280 --> 00:22:09,920 Speaker 2: And I think I think acting is you know, it's 343 00:22:09,920 --> 00:22:12,120 Speaker 2: a it's a gift to God, it's it's it's it's 344 00:22:12,160 --> 00:22:16,919 Speaker 2: almost holy, it's it's spiritual. If it's done right, I 345 00:22:16,960 --> 00:22:20,200 Speaker 2: think there's nothing more vital than live theater when it's 346 00:22:20,240 --> 00:22:26,120 Speaker 2: done right. I don't think there's anything more vital than uh, 347 00:22:25,880 --> 00:22:30,760 Speaker 2: a great film when it's done well right. Television is 348 00:22:30,800 --> 00:22:36,679 Speaker 2: a different animal. It requires you to, because of a 349 00:22:36,800 --> 00:22:41,679 Speaker 2: level of exhaustion, compromise yourself at times just to preserve 350 00:22:41,760 --> 00:22:42,360 Speaker 2: your sanity. 351 00:22:43,680 --> 00:22:44,040 Speaker 1: Mm hmm. 352 00:22:45,080 --> 00:22:49,720 Speaker 2: It's unfortunate, but people get so exhausted on those sets, 353 00:22:50,080 --> 00:22:54,800 Speaker 2: on one hour single camera dramas or dramas, whatever they are, 354 00:22:56,840 --> 00:22:59,320 Speaker 2: that it's like you start thinking in terms like and 355 00:22:59,359 --> 00:23:02,320 Speaker 2: it doesn't happen often, but you sometimes you start thinking 356 00:23:02,359 --> 00:23:03,760 Speaker 2: in terms like I just need to get the hell 357 00:23:03,800 --> 00:23:05,320 Speaker 2: out of here, and I just need to sit here 358 00:23:05,320 --> 00:23:07,399 Speaker 2: and I'll deliver the lines and then I want to 359 00:23:07,400 --> 00:23:09,520 Speaker 2: go home. No, I'm not going to move over there. No, 360 00:23:09,560 --> 00:23:11,720 Speaker 2: I'm not going to move over there. And I know 361 00:23:11,840 --> 00:23:14,879 Speaker 2: I should and I know make a better scene, but 362 00:23:14,960 --> 00:23:18,680 Speaker 2: it's like you physically cannot do it. So let's talk 363 00:23:18,680 --> 00:23:21,240 Speaker 2: about Seinfeld, because I did a Seinfeld. I want to 364 00:23:21,280 --> 00:23:24,320 Speaker 2: I want to compare experiences. Tell us about sign I wonder. 365 00:23:24,119 --> 00:23:26,120 Speaker 1: If I said, I wonder if I saw your episode, 366 00:23:26,119 --> 00:23:28,320 Speaker 1: because I can't I can't recall it off hand. 367 00:23:28,480 --> 00:23:32,400 Speaker 2: I did watch sponge Worthy episode sponge Worthy episode sponge 368 00:23:32,400 --> 00:23:35,840 Speaker 2: Worthy sponge Worthy. It's one of its apparently one of 369 00:23:35,880 --> 00:23:39,920 Speaker 2: the No you don't you didn't see that one. No, 370 00:23:40,040 --> 00:23:43,280 Speaker 2: I was like they wanted to Kramer went on an 371 00:23:43,280 --> 00:23:45,880 Speaker 2: AIDS walk and but he wouldn't wear the ribbon. He goes, 372 00:23:45,920 --> 00:23:47,520 Speaker 2: I don't want to wear the ribbon. She says, but 373 00:23:47,560 --> 00:23:49,040 Speaker 2: you have to wear the ribbon. 374 00:23:50,840 --> 00:23:51,080 Speaker 3: Now. 375 00:23:51,440 --> 00:23:55,760 Speaker 2: But talk about your experience getting Seinfeld and being on 376 00:23:55,840 --> 00:23:57,040 Speaker 2: the set and meeting though. 377 00:23:56,880 --> 00:23:59,480 Speaker 1: We had I had a great experience. 378 00:24:00,040 --> 00:24:01,720 Speaker 2: So you met so you knew Mark, You had a 379 00:24:01,720 --> 00:24:07,560 Speaker 2: relationship with Mark Lieberman or Mark Hirshfeldt, sorry, the casting 380 00:24:07,600 --> 00:24:12,840 Speaker 2: director Liebman Hirshfeldt, Nancy Liebman, Mark Hirshfeldt. 381 00:24:12,440 --> 00:24:15,239 Speaker 1: Yes, Yes, I did, Yes, I did. Thank you right 382 00:24:15,359 --> 00:24:19,119 Speaker 1: there were they were the so so I right, so 383 00:24:19,119 --> 00:24:22,760 Speaker 1: so I you know, I was in a like like 384 00:24:22,880 --> 00:24:25,480 Speaker 1: they do with you know, there there are some of 385 00:24:25,560 --> 00:24:29,320 Speaker 1: us that meet first with a casting director, and the 386 00:24:29,359 --> 00:24:32,639 Speaker 1: casting director says, okay, I will put you in the 387 00:24:32,680 --> 00:24:37,920 Speaker 1: second group and you'll meet with the director and the producers. Uh. 388 00:24:38,119 --> 00:24:40,879 Speaker 1: I've been in the business even at the time I 389 00:24:40,880 --> 00:24:43,200 Speaker 1: did Seinfeld. I was in the business long enough where 390 00:24:43,200 --> 00:24:45,560 Speaker 1: I didn't have to go through the first meet with 391 00:24:45,640 --> 00:24:49,040 Speaker 1: the casting director. So my I and a handful of 392 00:24:49,080 --> 00:24:54,520 Speaker 1: guys came in and uh and met Jerry and the 393 00:24:54,560 --> 00:24:56,679 Speaker 1: producers and I'm not sure, I don't remember who. 394 00:24:56,560 --> 00:25:01,920 Speaker 2: Director, David and Howard Shapiro or George Yeah, yeah, did 395 00:25:01,960 --> 00:25:05,120 Speaker 2: you go to CBS Radford for that? Yeah, yeah, yeah, 396 00:25:05,119 --> 00:25:05,439 Speaker 2: that's right. 397 00:25:05,520 --> 00:25:08,680 Speaker 1: And and uh and sat in a very comfortable office 398 00:25:08,720 --> 00:25:13,960 Speaker 1: and talking to Jerry, who's just as nice as can be. Uh, 399 00:25:14,320 --> 00:25:19,639 Speaker 1: just relaxing. And you know, when you when you're that 400 00:25:19,640 --> 00:25:22,320 Speaker 1: that was an example of somebody who is so confident 401 00:25:22,800 --> 00:25:26,720 Speaker 1: in their job and their role and their week to 402 00:25:26,800 --> 00:25:30,480 Speaker 1: week preparation that there's no stress whatsoever. You're not going 403 00:25:30,520 --> 00:25:34,280 Speaker 1: to get any glad handing. Uh. It's that kind of 404 00:25:34,359 --> 00:25:37,920 Speaker 1: job when when you know, when when you're an actor 405 00:25:37,960 --> 00:25:40,880 Speaker 1: and you don't get the role, you think it wasn't 406 00:25:40,880 --> 00:25:43,600 Speaker 1: because of any stress in the office. I just wasn't 407 00:25:43,640 --> 00:25:46,119 Speaker 1: the flavor they were looking for. And that's fine. 408 00:25:46,880 --> 00:25:48,720 Speaker 2: So it went well, you got the job. 409 00:25:48,800 --> 00:25:52,480 Speaker 1: Well, it went well. The character required a generic Eastern 410 00:25:52,560 --> 00:25:56,800 Speaker 1: European accent, which I had a generic, nice, nice, comfortable, 411 00:25:56,920 --> 00:25:59,720 Speaker 1: generic Eastern European. Can you can you. 412 00:25:59,720 --> 00:26:01,920 Speaker 2: Do the accent still, can you give us a little 413 00:26:01,960 --> 00:26:02,920 Speaker 2: taste of milosh? 414 00:26:03,440 --> 00:26:06,880 Speaker 1: Do you remember milosh? 415 00:26:07,240 --> 00:26:07,960 Speaker 3: Uh? 416 00:26:09,040 --> 00:26:16,240 Speaker 1: Somebody uh criticized me later because when I was using 417 00:26:16,720 --> 00:26:21,080 Speaker 1: my when, I would say when they say no, you 418 00:26:21,160 --> 00:26:26,479 Speaker 1: don't say when, you say when? When when? Uh? And 419 00:26:26,600 --> 00:26:30,399 Speaker 1: I was and I was using this, I was using 420 00:26:30,400 --> 00:26:33,639 Speaker 1: this kind of accent, Jerry says to me. He says, 421 00:26:34,040 --> 00:26:42,000 Speaker 1: we had we had guests last week who had same accent, 422 00:26:43,000 --> 00:26:47,080 Speaker 1: and all of his w's were these last week we 423 00:26:47,240 --> 00:26:52,040 Speaker 1: had I don't want that this week. So when you 424 00:26:52,119 --> 00:26:58,439 Speaker 1: say week, say lee. When you say when, stay when. 425 00:26:59,640 --> 00:27:05,879 Speaker 1: And then later fans heavily criticized me for not using 426 00:27:06,240 --> 00:27:12,080 Speaker 1: the v oh my institution, But it was because Jerry said, 427 00:27:12,320 --> 00:27:14,320 Speaker 1: we had somebody last week that sounded that way. Can 428 00:27:14,359 --> 00:27:16,800 Speaker 1: you tweak it a little bit? I also had shoulder 429 00:27:16,880 --> 00:27:20,479 Speaker 1: length hair at the time god knows what. Oh no. 430 00:27:20,560 --> 00:27:25,119 Speaker 1: I was doing a character on the single guy h 431 00:27:26,800 --> 00:27:32,719 Speaker 1: Brad Hall's sitcom and I had long hair for that character. 432 00:27:33,200 --> 00:27:35,440 Speaker 1: So I was keeping my long hair and Jerry said, 433 00:27:35,480 --> 00:27:40,480 Speaker 1: who right. Jerry said, can you can you catch your hair? 434 00:27:41,600 --> 00:27:47,439 Speaker 1: And I said no, I cannot, right, and he said okay, 435 00:27:47,640 --> 00:27:51,000 Speaker 1: thank you. And by the time I got home. I 436 00:27:51,040 --> 00:27:53,880 Speaker 1: had the job, so the hair was just I don't 437 00:27:53,880 --> 00:27:56,320 Speaker 1: know he wanted he wanted something different. 438 00:27:57,320 --> 00:28:00,199 Speaker 2: So when you were on set, who were your scene with? 439 00:28:00,240 --> 00:28:00,359 Speaker 1: Who? 440 00:28:00,480 --> 00:28:02,840 Speaker 2: Who did did you meet everybody in the cast or 441 00:28:02,960 --> 00:28:03,359 Speaker 2: was it. 442 00:28:04,440 --> 00:28:10,320 Speaker 1: Michael Kramer is an old friend of mine? So Rick Richards. 443 00:28:11,600 --> 00:28:13,720 Speaker 1: Michael Richards is an old friend of mine. We've done 444 00:28:13,920 --> 00:28:18,439 Speaker 1: we did theater together and I just love him, and 445 00:28:18,480 --> 00:28:21,840 Speaker 1: so I knew him on the set. And Uh, I 446 00:28:21,880 --> 00:28:32,680 Speaker 1: know Julia Uh and Jerry, Michael, Julia, h Jason, Jason, 447 00:28:33,000 --> 00:28:37,200 Speaker 1: and Jason was my next door neighbor, so I knew 448 00:28:37,240 --> 00:28:39,280 Speaker 1: all of them, even though I hadn't worked with Jason before. 449 00:28:39,360 --> 00:28:43,480 Speaker 1: So I just felt so at ease and so comfortable. 450 00:28:44,120 --> 00:28:50,200 Speaker 1: And I think maybe Andy Ackerman was the director. Yeah, 451 00:28:52,240 --> 00:28:55,840 Speaker 1: and I had worked with Andy before on four camera sitcom, 452 00:28:56,040 --> 00:28:58,680 Speaker 1: and so I just felt like I was I know 453 00:28:58,800 --> 00:29:01,680 Speaker 1: these people, I know this job, I know this character. 454 00:29:02,000 --> 00:29:05,640 Speaker 1: I feel so free and easy. And basically, Jerry and 455 00:29:05,680 --> 00:29:07,400 Speaker 1: I just played a lot of tennis together. 456 00:29:08,320 --> 00:29:09,840 Speaker 2: Nice is he a good tennis But. 457 00:29:11,840 --> 00:29:14,120 Speaker 1: I don't know because I was playing with my left hand, 458 00:29:14,200 --> 00:29:16,920 Speaker 1: so I would be bad. And I was a tennis 459 00:29:16,960 --> 00:29:18,600 Speaker 1: pro who didn't know how to play tennis. 460 00:29:19,040 --> 00:29:22,479 Speaker 2: Gotch you go? So, so let's move on to the 461 00:29:22,480 --> 00:29:25,280 Speaker 2: Morning show. You were with Reese Witherspoon and Jennifer Aniston. 462 00:29:25,320 --> 00:29:27,080 Speaker 2: Tell us what it was like working with them. 463 00:29:27,560 --> 00:29:31,080 Speaker 1: I wasn't with Reese, but I was with Anniston. I 464 00:29:31,200 --> 00:29:34,760 Speaker 1: was a lawyer on the board of directors under the 465 00:29:34,920 --> 00:29:43,600 Speaker 1: first administration before Billy Crudup took over, so I had scenes. 466 00:29:44,240 --> 00:29:46,520 Speaker 1: I had scenes with Billy, and I had scenes. 467 00:29:46,200 --> 00:29:48,800 Speaker 2: With Billy is one of my favorite actors. I think 468 00:29:48,880 --> 00:29:53,440 Speaker 2: he's just a miracle. He's so simple and direct, he's 469 00:29:53,480 --> 00:29:56,400 Speaker 2: so rights, he's so great. He cuts right through all 470 00:29:56,440 --> 00:30:00,280 Speaker 2: the bs and just does the character. You know, his 471 00:30:00,400 --> 00:30:04,160 Speaker 2: role in almost famous as a rock star. Yeah, Yeah, 472 00:30:04,280 --> 00:30:05,360 Speaker 2: he's so good. 473 00:30:05,480 --> 00:30:10,120 Speaker 1: He's just he's just straightforward. Yes, he looks you in 474 00:30:10,160 --> 00:30:15,320 Speaker 1: the eyes and with an unfurrowed brow, speaks his speaks 475 00:30:15,320 --> 00:30:19,760 Speaker 1: his truth, which is an example of you don't have 476 00:30:19,840 --> 00:30:22,760 Speaker 1: to do anything as an actor because you're already it. 477 00:30:23,480 --> 00:30:25,520 Speaker 1: When you show up on the set, you're already it. 478 00:30:26,360 --> 00:30:29,680 Speaker 1: You're already the character. You know some maybe there's an accent, 479 00:30:30,280 --> 00:30:33,880 Speaker 1: maybe there's a maybe there's some sort of physical mannerism 480 00:30:33,920 --> 00:30:36,760 Speaker 1: you'd like to play with, but be careful doing that. 481 00:30:38,160 --> 00:30:41,800 Speaker 1: Mostly you arrive and by the time you've arrived, you're 482 00:30:41,880 --> 00:30:49,320 Speaker 1: the character. You're in place. Then just listen and ignore 483 00:30:49,400 --> 00:30:51,800 Speaker 1: the two hundred people around you that are waiting to 484 00:30:51,800 --> 00:30:52,760 Speaker 1: get to the next shot. 485 00:30:53,800 --> 00:30:54,320 Speaker 3: There you go. 486 00:31:03,720 --> 00:31:05,920 Speaker 2: All right, We're gonna go into a segment we call 487 00:31:06,080 --> 00:31:09,360 Speaker 2: rapid fire. And you do not have to answer these 488 00:31:09,440 --> 00:31:12,600 Speaker 2: questions quickly. Okay, you do not. 489 00:31:12,760 --> 00:31:16,400 Speaker 1: If they're too fast, I'll spout obscenities. So I'm that's 490 00:31:16,440 --> 00:31:18,240 Speaker 1: my that's my improptory fault. 491 00:31:18,560 --> 00:31:21,440 Speaker 2: I have the same knee jerk reaction having gone through 492 00:31:21,480 --> 00:31:24,720 Speaker 2: seven years of that. Uh, that's as fast. 493 00:31:24,880 --> 00:31:25,160 Speaker 3: Scott? 494 00:31:25,200 --> 00:31:27,120 Speaker 2: All right, are you ready? Here we go and a 495 00:31:27,200 --> 00:31:28,680 Speaker 2: one and a two or two? 496 00:31:28,760 --> 00:31:29,120 Speaker 1: Charming? 497 00:31:29,720 --> 00:31:31,400 Speaker 2: How do you like your coffee? 498 00:31:32,680 --> 00:31:35,960 Speaker 1: It's only one ingredient and the beverage that I call coffee? 499 00:31:38,680 --> 00:31:43,040 Speaker 2: Are you team Logan, team Jesser, team Dean in Logan 500 00:31:44,320 --> 00:31:49,560 Speaker 2: good Man? Who is your favorite Gilmour girls couple Luke 501 00:31:49,600 --> 00:31:55,000 Speaker 2: and LARELEI or Emily and Richard, Luke and Laurel? I 502 00:31:55,040 --> 00:31:58,600 Speaker 2: would you rather work with Luke? Indeed, would you rather 503 00:31:59,120 --> 00:32:01,000 Speaker 2: work with Michelle l or Kirk? 504 00:32:02,000 --> 00:32:05,400 Speaker 1: I much rather work with Captain Kirk. I just find 505 00:32:05,440 --> 00:32:06,800 Speaker 1: him fuzzy. 506 00:32:06,840 --> 00:32:11,560 Speaker 2: And what would you order at Luke's Diner? 507 00:32:12,240 --> 00:32:16,240 Speaker 1: Oh, I'd order a club sandwich, hold the turkey, and 508 00:32:16,280 --> 00:32:18,440 Speaker 1: I don't like that cheese they keep putting on. They 509 00:32:18,480 --> 00:32:20,400 Speaker 1: say it's cheddar, it's American. 510 00:32:20,520 --> 00:32:26,560 Speaker 2: You Harord Yale, or you drop out and live in 511 00:32:26,560 --> 00:32:27,200 Speaker 2: a poolhouse. 512 00:32:28,280 --> 00:32:30,479 Speaker 1: It would have to be Harvard by default, because I 513 00:32:30,520 --> 00:32:33,160 Speaker 1: was directed by a Yale director who told me, anytime 514 00:32:33,200 --> 00:32:35,320 Speaker 1: you're talking to another actor, you need to look in 515 00:32:35,320 --> 00:32:38,320 Speaker 1: their eyes. And I said, what kind of behavior is that? 516 00:32:40,600 --> 00:32:44,280 Speaker 1: I learned that at Yale. Sorry, I'm off to Harvard. 517 00:32:45,520 --> 00:32:47,720 Speaker 2: Somebody just told me that I'm not kidding. 518 00:32:48,200 --> 00:32:52,800 Speaker 1: I swear to the Mark Brokaw. 519 00:32:53,480 --> 00:32:56,920 Speaker 2: That's funny. Would you rather attend a DAAR event with 520 00:32:57,040 --> 00:32:59,320 Speaker 2: Emily or a town meeting with Taylor? 521 00:33:01,280 --> 00:33:04,600 Speaker 1: A time meeting with Taylor? Because I would just like 522 00:33:04,680 --> 00:33:07,880 Speaker 1: to travel with her, getting through the screaming crowds trying 523 00:33:07,880 --> 00:33:10,920 Speaker 1: to get to the venue. I find it very charming 524 00:33:10,960 --> 00:33:12,760 Speaker 1: when I when I see her sh in shots in 525 00:33:12,800 --> 00:33:16,680 Speaker 1: the in the owner's booth, I found out she looks 526 00:33:16,680 --> 00:33:17,360 Speaker 1: like a nice girl. 527 00:33:18,600 --> 00:33:22,120 Speaker 2: Gilmore, girl's character that you would want as a roommate. 528 00:33:24,960 --> 00:33:27,600 Speaker 1: I was a roommate with Mike Winters. Tell me the 529 00:33:27,680 --> 00:33:33,760 Speaker 1: name of his character again, Taylor. Taylor, Yeah, Taylor. 530 00:33:33,000 --> 00:33:38,000 Speaker 2: Something in your life. You are all in on your beard. 531 00:33:37,880 --> 00:33:41,760 Speaker 1: My puppies. I know my beard is all in on me, 532 00:33:42,240 --> 00:33:45,880 Speaker 1: but but yeah, my my, my puppies. 533 00:33:46,360 --> 00:33:49,360 Speaker 2: It's a fantastic beard. That is a to me. 534 00:33:49,760 --> 00:33:51,200 Speaker 1: What is this doing on my face? 535 00:33:51,400 --> 00:33:54,920 Speaker 2: I don't know, it's I don't know, it's it's working 536 00:33:55,000 --> 00:33:55,920 Speaker 2: for you, buddy. 537 00:33:55,600 --> 00:33:55,960 Speaker 1: All right. 538 00:33:56,680 --> 00:34:03,080 Speaker 2: Really enjoying the unemployment line, enjoyed speaking with you you, Caly, 539 00:34:03,480 --> 00:34:07,080 Speaker 2: Thank you so much for sharing your experiences with us. 540 00:34:07,200 --> 00:34:11,480 Speaker 2: I appreciate your time, appreciate your good work, and all 541 00:34:11,560 --> 00:34:15,080 Speaker 2: the best to you. Take care of man, Thank. 542 00:34:14,960 --> 00:34:45,040 Speaker 3: You everybody, and off again. 543 00:34:45,120 --> 00:34:49,200 Speaker 2: Follow us on Instagram at I Am All In podcast 544 00:34:49,280 --> 00:35:00,000 Speaker 2: and email us at Gilmore at iHeartRadio dot com.