WEBVTT - One on One: Mark Harelik 0:00:03.680 --> 0:00:14.480 Let's just do I am all in with Scott Patterson 0:00:14.720 --> 0:00:16.880 and iHeartRadio Podcast Hire Everybody. 0:00:16.600 --> 0:00:19.920 Scott Patterson, I am all in podcast, one on one interview, 0:00:20.360 --> 0:00:24.520 one of one productions. iHeartRadio, iHeart Media, iHeart Did I 0:00:24.560 --> 0:00:25.240 say podcasts? 0:00:25.280 --> 0:00:25.800 Yeah? Media? 0:00:25.880 --> 0:00:29.760 Did I say all that popcorn? All that stuff? Mark 0:00:29.880 --> 0:00:35.400 Herolic is going to be our guest. He portrayed Stuart 0:00:35.440 --> 0:00:38.519 Woltz for one episode on Gilmore Girl. Stuart was Rory's 0:00:38.520 --> 0:00:43.720 boss at the Stanford Eagle Gazette who she insisted on 0:00:43.840 --> 0:00:49.080 getting a job. Here's a little bit about Mark, film, stage, actor, playwright. 0:00:50.560 --> 0:00:55.480 He's appeared in the film's election, Jurassic Park three Eulogy, 0:00:55.680 --> 0:00:59.040 four Year Consideration, forty two year Old. Says various roles 0:00:59.080 --> 0:01:02.720 in television shows Seinfeld, Numbers, Wings, Grace Under, Fire, Will 0:01:02.760 --> 0:01:06.920 and Grace, NCIS, Boy Meets World, Breaking Bad Bone, Six 0:01:06.959 --> 0:01:09.960 Feet Under, and five episodes of the first season A 0:01:10.040 --> 0:01:14.200 Big Bang Theory. More recently appeared in Preacher and The 0:01:14.240 --> 0:01:18.880 Morning Show. Let's bring him In, Mark Harlick, Mark, tell 0:01:18.959 --> 0:01:20.760 us what thanks for joining us? Tell us how you 0:01:20.800 --> 0:01:22.400 got the role Gilmore Girls. 0:01:22.800 --> 0:01:25.800 Well, we're talking about a gig. I got a very 0:01:25.840 --> 0:01:30.000 long time ago. All right, you should understand that I'm 0:01:31.440 --> 0:01:38.680 in a category as an actor and with guest roles 0:01:38.760 --> 0:01:42.000 like the editor of the Eagle Gazette in Gilmore Girls. 0:01:42.880 --> 0:01:47.840 I'm essentially a plumber. Somebody has one job that they 0:01:47.880 --> 0:01:50.360 need done, so they hire a plumber to come in. 0:01:50.720 --> 0:01:53.600 If your sync is stopped up, you hire a plumber 0:01:53.640 --> 0:01:57.040 to come in and stops the sink and goes without 0:01:57.040 --> 0:02:01.880 his job. That's just one stop on his day's work. 0:02:03.760 --> 0:02:07.640 So my involvement with a television show is basically that 0:02:08.000 --> 0:02:11.760 they have their regular characters that paint the house, paying 0:02:11.760 --> 0:02:16.919 the paintings, choose the furniture, live there. But I play 0:02:16.919 --> 0:02:20.120 a character that just pops in. They give me a name, 0:02:20.240 --> 0:02:24.239 They give my character a name and some lines to say, 0:02:24.560 --> 0:02:27.320 but essentially I'm there just to keep the water flowing 0:02:27.320 --> 0:02:29.960 through the sink and the water flowing through the sink. 0:02:30.000 --> 0:02:33.680 In this case was I believe Alexis was looking for 0:02:33.760 --> 0:02:38.080 a job at the Ego Gazette, so they needed somebody 0:02:38.520 --> 0:02:41.800 that was sort of a semifoil for her at the 0:02:41.840 --> 0:02:46.640 Ego Gazette to hire her. And once she's hired, my 0:02:46.840 --> 0:02:51.880 character is dispensable. So how did I get the job? 0:02:52.800 --> 0:02:57.239 I worked for Amy Sherman Palladino on her show of 0:02:57.360 --> 0:03:03.679 Veronica's Closet, and I was a I was a generic boyfriend, 0:03:03.760 --> 0:03:08.240 I think, to Kathy, to Jimmy, I believe so, of 0:03:08.280 --> 0:03:10.280 whom I was a big fan because of the Kathy 0:03:10.320 --> 0:03:14.800 and Mo show. So I played Kathy. I think it 0:03:14.880 --> 0:03:20.320 was Kathy and Jimmy's boyfriend for three episodes. I don't 0:03:20.360 --> 0:03:26.160 know why Amy hired me for Veronica's Closet because we 0:03:26.240 --> 0:03:30.160 had no relationship whatsoever. I mean I saw her every 0:03:30.240 --> 0:03:37.240 day on the set and we were involved in script 0:03:37.360 --> 0:03:43.440 changes and such, but she never remembered my name. And 0:03:44.440 --> 0:03:51.040 I found her, you know, fairly unpleasant to work with 0:03:51.400 --> 0:03:54.160 or neutral pleasant to work with? 0:03:55.960 --> 0:03:57.560 Say that, why do you say that? 0:03:58.320 --> 0:04:02.640 Oh, she just ignored me. So I attempted. I remember 0:04:02.640 --> 0:04:05.400 attempting chit chat. I think I complimented her on a 0:04:05.440 --> 0:04:08.880 scene as she speedily walked by me in her top 0:04:08.920 --> 0:04:15.440 half in job purse. You know it's okay, I'm a plumber, 0:04:16.040 --> 0:04:21.600 generic boyfriend. I did three episodes, and then some years 0:04:21.680 --> 0:04:25.760 later her other her one of her next shows, Gilmore Girls, 0:04:25.880 --> 0:04:31.240 comes up, and I recalled being offered the job. So 0:04:32.320 --> 0:04:36.800 somebody in Amy's world may have remembered me, or the 0:04:36.839 --> 0:04:40.000 casting director said, oh, this guy played generic boyfriend in 0:04:40.120 --> 0:04:43.440 Veronica's closet. Remember him? No, But if I hired him 0:04:43.440 --> 0:04:45.680 for that, let's hire him for this. So I was 0:04:45.760 --> 0:04:49.760 hired for this, and I have a certain amount of 0:04:49.760 --> 0:04:55.760 comic skills, which the casting director anyway, I was approved. 0:04:56.000 --> 0:05:03.120 I came in into one of the most uncomfortable gigs 0:05:03.200 --> 0:05:09.839 I've ever worked, which you may you may ask me 0:05:09.920 --> 0:05:17.520 about tell us more and I'm not painting a very 0:05:17.640 --> 0:05:23.159 rosy picture as it is. But so so I went 0:05:23.200 --> 0:05:27.040 through the I went through the Gilmore Girls hazing uh, 0:05:27.080 --> 0:05:31.159 which every actor does, which is you know what that is, 0:05:32.080 --> 0:05:37.200 talk faster, faster, talk faster, talk faster. I'm talking as 0:05:37.279 --> 0:05:40.560 fast as I can think, talk faster than you can think, 0:05:41.279 --> 0:05:44.320 which if you watch the show and the and the 0:05:44.320 --> 0:05:46.480 the actors that are really good at that, and they're 0:05:47.160 --> 0:05:49.920 you know, they're really good at that, they do in 0:05:49.960 --> 0:05:53.279 fact talk faster than you can think, which has you 0:05:53.440 --> 0:05:58.480 sort of rolling falling forward all the time, and and 0:05:58.600 --> 0:06:02.960 you you're laughing. You're always laughing in retrospect. So the 0:06:03.080 --> 0:06:07.840 humor doesn't even need to be that, it doesn't need 0:06:07.880 --> 0:06:10.760 to be joky, and it doesn't need to be particularly funny. 0:06:11.040 --> 0:06:15.279 It's wit that comes spitting out, and it's a great 0:06:17.839 --> 0:06:23.360 technical approach to comedy uh and and lots of writers 0:06:23.480 --> 0:06:26.839 use it, but I think it was used to the 0:06:26.880 --> 0:06:30.760 best effect on Bilmore Girls. Anyway, I had to confront that, 0:06:30.920 --> 0:06:34.680 even though I knew that was the esthetic going in UH. 0:06:34.760 --> 0:06:39.520 My biggest challenge was remember the lines fast enough to 0:06:39.600 --> 0:06:41.839 keep going and talk as fast as you can and 0:06:41.880 --> 0:06:44.799 move faster than you can think. Just let the words 0:06:44.839 --> 0:06:47.120 flow out. You have to drill the words a lot 0:06:47.200 --> 0:06:49.760 so they come out freely, and then you're sort of 0:06:49.800 --> 0:06:52.720 tripping forward. And then once you get a handle on that, 0:06:53.000 --> 0:06:58.560 you can put in little comic bills and results if 0:06:58.600 --> 0:07:04.240 you wish. And in preparing for this interview, I went 0:07:04.360 --> 0:07:06.040 back and I watched the episode and I kind of 0:07:06.120 --> 0:07:08.680 liked what I did. I feel like it was it 0:07:08.720 --> 0:07:12.560 was light and funny and tripping forward. But god, was 0:07:12.600 --> 0:07:18.320 it allacious to get into. Because on the set, it's 0:07:18.360 --> 0:07:22.440 not a suggestion, it is you will talk faster. You 0:07:22.520 --> 0:07:28.040 will talk faster than that. And when you do talk faster, 0:07:28.160 --> 0:07:33.400 you're not met with approval, you're met with geez finally, okay, 0:07:33.480 --> 0:07:37.360 let's move on. And you know, remember once again, I'm 0:07:37.360 --> 0:07:40.840 a plumber. So you know, the plumber doesn't get iced 0:07:40.840 --> 0:07:43.440 tea when he comes to the door. He doesn't have 0:07:44.240 --> 0:07:48.480 he doesn't have a little tray of crue de tay 0:07:48.800 --> 0:07:52.200 or dervs waiting for him. It's like, don't tramp your 0:07:52.240 --> 0:07:54.600 muddy boots on my floor and fix that drain as 0:07:54.640 --> 0:07:56.640 fast as you can so we can get back to 0:07:56.680 --> 0:07:59.760 our normal life. So this is the life of a 0:07:59.800 --> 0:08:02.600 guest star, especially when you're doing you know, just just 0:08:02.680 --> 0:08:06.360 one episode. So you know, I understand it's. 0:08:06.240 --> 0:08:08.800 Always good to know your role, you know, on a 0:08:08.880 --> 0:08:14.000 set there and there is a pecking order, yeah, for sure, for. 0:08:14.000 --> 0:08:16.280 Sure, and I'm not there to do any pecking. And 0:08:16.320 --> 0:08:19.840 I don't want to be packed though I am packed. 0:08:19.920 --> 0:08:23.160 I mean they you realize that that you must be 0:08:23.280 --> 0:08:26.040 packed as you come in the door, otherwise you'll straight 0:08:26.080 --> 0:08:29.920 over to the your dervs and the iced tea. So, 0:08:30.200 --> 0:08:32.760 no doubt, definitely this is the kind of job I enjoy. 0:08:33.160 --> 0:08:36.400 I do like sort of smoke jumping in doing a 0:08:36.480 --> 0:08:40.559 character that I have no relationship with and no relationship 0:08:40.600 --> 0:08:41.120 to the show. 0:08:42.480 --> 0:08:45.400 So let's let's get to Alexis. You did, you did 0:08:45.559 --> 0:08:46.840 all of your scenes with her? 0:08:46.920 --> 0:08:47.520 What was that like? 0:08:48.240 --> 0:08:54.200 Axpreciating? Uh? And and here's why, here's why. For some reason, 0:08:54.480 --> 0:08:57.800 according to the schedule, Lauren Graham, all of her scenes 0:08:57.800 --> 0:09:02.080 came up first in the day because who knows why, 0:09:02.200 --> 0:09:05.240 but all of her scenes came up first. So uh 0:09:05.679 --> 0:09:09.240 so I was you know, guest Guest artists are called 0:09:09.280 --> 0:09:11.760 to be ready all day. So let's say I'm called 0:09:11.760 --> 0:09:16.000 at ten in the morning about Evan. In the evening, 0:09:16.120 --> 0:09:21.040 I'm called to work. So I've had two union meals. 0:09:22.400 --> 0:09:26.320 I'm in my I'm in my union uh honeywagon. 0:09:26.880 --> 0:09:27.080 Uh. 0:09:27.360 --> 0:09:29.480 So called because your bed is right next to the 0:09:29.520 --> 0:09:36.280 toilet and uh, you know I'm hanging today. He sure 0:09:36.760 --> 0:09:38.360 it even saves movements. 0:09:38.880 --> 0:09:41.160 You wouldn't even have to move really if you were no. 0:09:41.320 --> 0:09:44.080 You just lean over. It's like it's like having a 0:09:44.080 --> 0:09:47.280 bedpan while you're ending your life with a fatal illness. 0:09:47.520 --> 0:09:49.880 You just lean to the left and pee and I'll 0:09:49.880 --> 0:09:54.160 come in and clean later. Uh, even though you have 0:09:54.200 --> 0:09:56.560 to go outside and remind them to turn on the 0:09:56.600 --> 0:10:02.120 water and the electricity in your trailer. But anyway, in 0:10:02.120 --> 0:10:06.120 the evening, we're called in to do our scenes, and 0:10:06.160 --> 0:10:09.080 I think we had maybe three, three or four scenes 0:10:09.520 --> 0:10:11.760 after they go faster, go faster, go faster, they go 0:10:11.920 --> 0:10:15.840 relatively well. Last scene up in the day okay, And 0:10:15.920 --> 0:10:20.840 to this point, I have no relationship with Alexis, including 0:10:21.160 --> 0:10:27.679 no certainly no, no talking to Alexis. And and that's 0:10:27.880 --> 0:10:31.280 you know, some some regular cast members and the shows 0:10:31.320 --> 0:10:33.640 I work on go out of their way to talk 0:10:33.679 --> 0:10:40.600 to the day players, the guest stars. But she was 0:10:40.640 --> 0:10:43.760 not in the mood, and I could tell she was tired. 0:10:43.920 --> 0:10:47.560 She was grumpy, long ago. Who knows what was going on? 0:10:47.880 --> 0:10:52.959 Long day, young and immaterial. 0:10:53.559 --> 0:10:56.000 After twelve hours, you don't want to be there anymore. 0:10:56.280 --> 0:10:58.120 You know, you don't want to do any more scenes, 0:10:58.160 --> 0:10:59.200 but you know you have to. 0:10:59.760 --> 0:11:03.199 No, you don't want to do anything, and especially you 0:11:03.280 --> 0:11:07.720 don't want to do you know, the ancillary scenes like 0:11:07.760 --> 0:11:13.280 this are generally going to secondary memory. Your primary scenes 0:11:13.320 --> 0:11:16.439 that have to do with your characters and your character relationships. 0:11:16.720 --> 0:11:20.400 You memorize those first because you want to have flexibility 0:11:20.440 --> 0:11:22.679 in the scene. You wanted to be able to improvise 0:11:24.200 --> 0:11:29.079 scenes with the plumber, you don't memorize until the last minute. Well, 0:11:30.160 --> 0:11:34.000 she memorized at the last minute, and god, was it 0:11:34.320 --> 0:11:39.320 a explosion in a spaghetti factory. She did not know 0:11:39.559 --> 0:11:43.440 her words. She did not know her words. So we 0:11:43.480 --> 0:11:49.920 did many, many takes and she gets her words. We 0:11:50.040 --> 0:11:55.440 come to the last scene that we filmed, which if 0:11:55.480 --> 0:11:57.800 you're watching in the episode, it doesn't really look like 0:11:57.880 --> 0:12:00.560 any sort of a prominent scene, but it is what's 0:12:00.600 --> 0:12:04.079 called a walk and talk walking down a long hallway 0:12:06.120 --> 0:12:09.680 led by a steady cam. The steady cam is watching 0:12:09.720 --> 0:12:12.640 you as you're walking toward the steady cam. So the 0:12:12.640 --> 0:12:17.079 steadycam operator is backing up down this long hallway. I'm 0:12:17.120 --> 0:12:23.960 in first position, my stooge of an assistant. The actor's 0:12:24.040 --> 0:12:29.480 name a really nice guy, Dave Slanski Shapanski Slansky. Anyway, 0:12:29.600 --> 0:12:32.440 Dave is next to me. He's sort of an underling 0:12:32.600 --> 0:12:32.840 to me. 0:12:33.679 --> 0:12:38.240 I hope it's not huh nothing, go ahead. 0:12:40.320 --> 0:12:44.760 And Alexis is behind us. So we're a little triumvirate 0:12:44.920 --> 0:12:49.400 walking toward the steady caam operator. Well, we do one take, 0:12:50.120 --> 0:12:52.920 So we're walking toward the steady caam operator. I'm talking 0:12:52.960 --> 0:12:55.640 to Alexis over my shoulder, which is like, jeez, get 0:12:55.640 --> 0:12:57.520 off my back, I'll give you an interview. Jeez, get 0:12:57.520 --> 0:12:59.440 off my back, Get on my back. Okay, I hear you. 0:13:00.360 --> 0:13:03.800 He's doing all the talking. We get about halfway down 0:13:03.960 --> 0:13:07.240 and she's not there anymore. She ducked into a side room. 0:13:07.320 --> 0:13:09.840 She's got I don't know my lines. So we go 0:13:10.000 --> 0:13:12.840 back to what we call go back to one, which 0:13:12.880 --> 0:13:16.960 is where the tracking shot starts, over by the elevators 0:13:17.040 --> 0:13:22.160 or something like that. Steady caam operator, steadycam's assistant who 0:13:22.240 --> 0:13:25.720 is keeping him from falling over because steadycam is walking backwards, 0:13:26.280 --> 0:13:31.240 steady line up in our little triangle and action. I 0:13:31.280 --> 0:13:34.360 start walking. I have a couple of lines. Alexi says, 0:13:34.360 --> 0:13:38.319 one line gets it wrong. We look back, She's not there. 0:13:38.640 --> 0:13:41.160 She's ducked into a side room. Again, I don't know 0:13:41.280 --> 0:13:46.480 my lines. Okay, no fault, no blame. This was last 0:13:46.559 --> 0:13:49.280 in your short term memory. You're having a hard time. 0:13:49.720 --> 0:13:50.440 We did. 0:13:51.760 --> 0:13:56.520 Thirty takes. We did thirty takes and the scene is 0:13:56.600 --> 0:13:58.959 maybe twelve seconds long. 0:14:00.080 --> 0:14:01.000 Uh. 0:14:01.880 --> 0:14:04.800 I'm going over there. I'm trying to hang on. I 0:14:04.880 --> 0:14:08.200 had better not miss my cube, and the steady cam 0:14:08.240 --> 0:14:11.040 operator saying, I can't do this anymore. I can't do 0:14:11.120 --> 0:14:15.440 this anymore. This is the last shot. I cannot do 0:14:15.480 --> 0:14:18.960 this anymore. And we're right up against midnight, which is, 0:14:19.480 --> 0:14:22.280 you know, we go into union double time. And so 0:14:22.400 --> 0:14:27.520 the producer is next to Amy Sherman Palladino saying this 0:14:27.680 --> 0:14:33.800 is it. Amy loses her but she can't yell at Alexis, 0:14:34.920 --> 0:14:38.440 so she yields it. Poor Dave next to me, who 0:14:38.520 --> 0:14:41.960 I think he tripped a little bit or he stumbled 0:14:42.160 --> 0:14:47.040 and he caught from her. And I'm sweating bullets because 0:14:47.120 --> 0:14:52.600 like I'm on the last bullet in my Russian roulette 0:14:52.640 --> 0:14:58.560 gun and that thing better be a blank. Alexis, please 0:14:58.640 --> 0:15:03.120 remember your life, and she got it. I heard her rehearsing. 0:15:03.200 --> 0:15:06.320 She wasn't rehearsing the sense of the line. She was 0:15:06.400 --> 0:15:11.640 rehearsing mnemonics, so, uh, I think she may have some 0:15:12.360 --> 0:15:17.120 She had some some line of I'm not nitpicking here, 0:15:17.760 --> 0:15:20.640 so which said, I'm not picnicking here. I'm not going 0:15:20.720 --> 0:15:22.920 to picnic. I go for a picnic. When I go 0:15:23.040 --> 0:15:25.480 for a picnic, I have fun. Okay, I have a picnic, 0:15:25.640 --> 0:15:28.080 I eat sandwiches. So what is the line, I'm not 0:15:28.680 --> 0:15:32.480 nitpicking here? So that's how she learned the word nitpicking. 0:15:33.120 --> 0:15:34.480 I don't know if that was the word, but it 0:15:34.520 --> 0:15:41.120 was something like it. And uh, we get that shot, 0:15:40.080 --> 0:15:44.120 A check the gate gates. Good, that's a wrap for 0:15:44.160 --> 0:15:46.920 the day. I dash for my dressing room as fast 0:15:46.960 --> 0:15:52.680 as I possibly can't and and uh, and I wonder 0:15:53.040 --> 0:15:55.480 I want to I mean, she gets we find at 0:15:55.520 --> 0:15:57.680 the end of the episode that I did. My character 0:15:57.800 --> 0:16:04.040 does hire her. But I was hired for this job 0:16:04.080 --> 0:16:08.239 as a possible recurring and this is always a contract designation. 0:16:08.600 --> 0:16:11.760 We're hiring you for one episode, but it's possibly recurring, 0:16:12.360 --> 0:16:16.520 which means, no matter what we pay you, come work 0:16:16.600 --> 0:16:20.280 for us, because if you're really good, we'll hire you 0:16:20.360 --> 0:16:25.000 for more episodes. And that definitely it does happen. I 0:16:25.040 --> 0:16:28.680 was not invited to come back. My character did not recur. 0:16:28.960 --> 0:16:31.280 I don't know what happened with her job at the 0:16:31.320 --> 0:16:33.520 Eagle Gazette after that. 0:16:34.400 --> 0:16:38.240 It's interesting because the fans always ask that question too, 0:16:38.600 --> 0:16:42.920 Like Rory never went back to that job after that episode, 0:16:42.960 --> 0:16:45.360 and so the fans are always like, this job was 0:16:45.400 --> 0:16:47.160 such a big deal, where did it go? And it's 0:16:47.200 --> 0:16:49.160 like one of the great answered questions. 0:16:48.800 --> 0:16:53.960 In the next episode, which I wasn't in because I checked. 0:16:54.720 --> 0:17:00.160 He does she is doing some gig filming something for 0:17:00.200 --> 0:17:03.440 the for the Gazette. And she has a because there's 0:17:03.480 --> 0:17:05.520 one scene where she talks with a friend of hers 0:17:05.960 --> 0:17:09.399 who's in the newsroom at the Gazette. But then after 0:17:09.440 --> 0:17:11.000 that crickets. 0:17:11.280 --> 0:17:13.359 Yeah, she has a line like I have to send 0:17:13.400 --> 0:17:15.880 something in or something like that, and then that's that's 0:17:15.880 --> 0:17:18.840 the end of the Gazette. 0:17:26.720 --> 0:17:32.280 Sorry, let me interject something here. It's interesting. And this 0:17:32.400 --> 0:17:35.919 happens on sets, on television sets, on film sets, this 0:17:36.160 --> 0:17:39.440 kind of thing. This is the point is is this 0:17:39.520 --> 0:17:45.000 show was so demanding, uh, and the days were so long, 0:17:45.640 --> 0:17:49.320 and it was just nothing but memorization, short term memory 0:17:49.359 --> 0:17:52.359 and talking, talking as fast as you possibly can. And 0:17:52.400 --> 0:17:59.399 it was physically and psychologically and psychically taxing. And the 0:17:59.520 --> 0:18:04.920 level of exhaustion that you reach after ten twelve hours 0:18:04.920 --> 0:18:08.000 of this, you simply can't do it anymore. Everything starts 0:18:08.040 --> 0:18:08.680 to break down. 0:18:09.320 --> 0:18:09.879 It's rae. 0:18:11.840 --> 0:18:13.240 It actually is that. 0:18:13.320 --> 0:18:18.000 It's Roadge's road Rage on the set. 0:18:18.640 --> 0:18:22.120 Yes, and it's and it's very, very toxic. And I 0:18:22.160 --> 0:18:25.679 really feel for Alexis. You tell the story, but I 0:18:25.720 --> 0:18:30.359 mean she was incapable of remembering anything, and she is 0:18:30.400 --> 0:18:32.120 in mind like a steel trap. I mean, she could 0:18:32.160 --> 0:18:34.680 remember anything all those long speeches, all those long scenes. 0:18:34.880 --> 0:18:37.600 So my story must not be unique. 0:18:37.840 --> 0:18:40.000 No, I mean it's happened to me, it's happened to 0:18:40.000 --> 0:18:43.160 everybody on that show. Where you just get so overwhelmed 0:18:44.080 --> 0:18:48.080 because you're so tired after ten twelve hours of that 0:18:48.640 --> 0:18:51.359 and multiple scenes and it's fast, faster and faster, and 0:18:51.400 --> 0:18:53.880 it's one hundred degrees out in burbank and you got 0:18:53.880 --> 0:18:56.680 to go to a town hall meeting and the next 0:18:56.800 --> 0:18:59.720 day and you're just like it becomes. I don't think 0:18:59.760 --> 0:19:03.879 fans understand how difficult these jobs are. And you know, 0:19:04.800 --> 0:19:11.160 absolutely absolutely money, the perks are fantastic, you know, all good, 0:19:11.280 --> 0:19:14.280 but it's it's a hard job. Gilmore Girls was a 0:19:14.320 --> 0:19:15.200 hard job. 0:19:15.680 --> 0:19:19.560 That's well, I do job. My head is off to 0:19:19.680 --> 0:19:25.560 you and everyone. A good friend of mine played a 0:19:25.600 --> 0:19:27.919 recurring role, Mike Winters. Have you had a chance to 0:19:27.960 --> 0:19:28.560 talk to Michael. 0:19:29.280 --> 0:19:30.600 Michael Winters is the best. 0:19:31.040 --> 0:19:32.040 Yeah, he's the best. 0:19:32.040 --> 0:19:34.560 He's Taylor Taylor Dozie just fantastic. 0:19:34.880 --> 0:19:37.480 Yeah, yeah, yeah, he's one of my best ties. And 0:19:37.520 --> 0:19:39.840 he always he always told me about working on Gilmore 0:19:39.840 --> 0:19:41.760 Girls and I and I was excited to get the 0:19:41.880 --> 0:19:46.720 job and and I realized this is this is you know, 0:19:46.880 --> 0:19:51.440 sometimes television is playtime. You work for a four camera show, 0:19:52.000 --> 0:19:58.680 you do like, uh, let's say Will and Grace. I 0:19:59.480 --> 0:20:00.919 worked a lot on Will and Grace. 0:20:01.280 --> 0:20:04.320 I did an episode of Will and Grace. I did 0:20:04.320 --> 0:20:08.520 a Seinfeld. I know it is. It's so much fun. God, Yeah, 0:20:08.680 --> 0:20:11.080 the dream job is to be a series regular on 0:20:11.160 --> 0:20:14.840 a hit sitcom. That's the dream job. You know, so 0:20:14.960 --> 0:20:18.320 much fun. Yeah, you know, nine to five rehearsals. It's 0:20:18.359 --> 0:20:20.920 like going back to theaters and you're doing live theater 0:20:21.000 --> 0:20:22.600 in front of a live audience, and it's. 0:20:22.480 --> 0:20:25.960 Just and you get to practice, you get you get 0:20:25.960 --> 0:20:30.560 a week to memorize your lines essentially. But but but 0:20:30.720 --> 0:20:33.280 my view of Gilmore Girls and and and I know 0:20:33.320 --> 0:20:37.120 that it's it's consistent around the industry and the yes, 0:20:37.160 --> 0:20:40.720 the audience wouldn't part take in it, but it's a 0:20:41.160 --> 0:20:46.520 it is a blender on high. You go in and 0:20:46.520 --> 0:20:49.919 and as happened with me, my first introduction was you 0:20:50.200 --> 0:20:56.320 better talk fast, just talk fast, and be relaxed and 0:20:56.400 --> 0:21:00.520 uh and be offhanded humorous, all of which I can do. 0:21:01.280 --> 0:21:03.399 But you know, coming at the as you say at 0:21:03.440 --> 0:21:07.439 the end of a twelve hour day, and I cast 0:21:07.560 --> 0:21:09.879 no aspersions on Alexis whatsoever. 0:21:10.000 --> 0:21:12.840 Oh no, no, no, we didn't think. I just wanted to 0:21:13.040 --> 0:21:16.720 I just wanted to clarify for the audience, the listening audience. 0:21:17.080 --> 0:21:21.160 Just you know, everybody has their limits. And I think 0:21:21.200 --> 0:21:24.240 anybody can relate to this, because everybody's at their jobs 0:21:24.280 --> 0:21:27.200 every day and it's like it gets to be eight, ten, 0:21:27.400 --> 0:21:30.600 twelve hours in and you're like, I'm shutting down here 0:21:30.880 --> 0:21:33.800 and I need to just go home and like go 0:21:33.880 --> 0:21:36.120 to sleep, take a shower. While not in that order, 0:21:36.160 --> 0:21:36.680 you're so tired. 0:21:36.720 --> 0:21:37.760 You don't even know what we're it. 0:21:38.119 --> 0:21:40.439 And it's not as though it's not as though this 0:21:40.560 --> 0:21:44.840 job is involuntary. You know, we want to be doing this. 0:21:45.359 --> 0:21:49.520 We have we have we have creative urgence. We want 0:21:49.560 --> 0:21:52.240 to create characters, we want to perform. We want to 0:21:53.160 --> 0:21:55.560 work with other artists who are at our level. 0:21:55.600 --> 0:21:59.159 But here's something that I will I will postulate it 0:21:59.240 --> 0:22:04.880 is acting is not meant to do that much. 0:22:06.760 --> 0:22:07.200 Interesting. 0:22:07.280 --> 0:22:09.920 And I think I think acting is you know, it's 0:22:09.920 --> 0:22:12.120 a it's a gift to God, it's it's it's it's 0:22:12.160 --> 0:22:16.919 almost holy, it's it's spiritual. If it's done right, I 0:22:16.960 --> 0:22:20.200 think there's nothing more vital than live theater when it's 0:22:20.240 --> 0:22:26.120 done right. I don't think there's anything more vital than uh, 0:22:25.880 --> 0:22:30.760 a great film when it's done well right. Television is 0:22:30.800 --> 0:22:36.679 a different animal. It requires you to, because of a 0:22:36.800 --> 0:22:41.679 level of exhaustion, compromise yourself at times just to preserve 0:22:41.760 --> 0:22:42.360 your sanity. 0:22:43.680 --> 0:22:44.040 Mm hmm. 0:22:45.080 --> 0:22:49.720 It's unfortunate, but people get so exhausted on those sets, 0:22:50.080 --> 0:22:54.800 on one hour single camera dramas or dramas, whatever they are, 0:22:56.840 --> 0:22:59.320 that it's like you start thinking in terms like and 0:22:59.359 --> 0:23:02.320 it doesn't happen often, but you sometimes you start thinking 0:23:02.359 --> 0:23:03.760 in terms like I just need to get the hell 0:23:03.800 --> 0:23:05.320 out of here, and I just need to sit here 0:23:05.320 --> 0:23:07.399 and I'll deliver the lines and then I want to 0:23:07.400 --> 0:23:09.520 go home. No, I'm not going to move over there. No, 0:23:09.560 --> 0:23:11.720 I'm not going to move over there. And I know 0:23:11.840 --> 0:23:14.879 I should and I know make a better scene, but 0:23:14.960 --> 0:23:18.680 it's like you physically cannot do it. So let's talk 0:23:18.680 --> 0:23:21.240 about Seinfeld, because I did a Seinfeld. I want to 0:23:21.280 --> 0:23:24.320 I want to compare experiences. Tell us about sign I wonder. 0:23:24.119 --> 0:23:26.120 If I said, I wonder if I saw your episode, 0:23:26.119 --> 0:23:28.320 because I can't I can't recall it off hand. 0:23:28.480 --> 0:23:32.400 I did watch sponge Worthy episode sponge Worthy episode sponge 0:23:32.400 --> 0:23:35.840 Worthy sponge Worthy. It's one of its apparently one of 0:23:35.880 --> 0:23:39.920 the No you don't you didn't see that one. No, 0:23:40.040 --> 0:23:43.280 I was like they wanted to Kramer went on an 0:23:43.280 --> 0:23:45.880 AIDS walk and but he wouldn't wear the ribbon. He goes, 0:23:45.920 --> 0:23:47.520 I don't want to wear the ribbon. She says, but 0:23:47.560 --> 0:23:49.040 you have to wear the ribbon. 0:23:50.840 --> 0:23:51.080 Now. 0:23:51.440 --> 0:23:55.760 But talk about your experience getting Seinfeld and being on 0:23:55.840 --> 0:23:57.040 the set and meeting though. 0:23:56.880 --> 0:23:59.480 We had I had a great experience. 0:24:00.040 --> 0:24:01.720 So you met so you knew Mark, You had a 0:24:01.720 --> 0:24:07.560 relationship with Mark Lieberman or Mark Hirshfeldt, sorry, the casting 0:24:07.600 --> 0:24:12.840 director Liebman Hirshfeldt, Nancy Liebman, Mark Hirshfeldt. 0:24:12.440 --> 0:24:15.239 Yes, Yes, I did, Yes, I did. Thank you right 0:24:15.359 --> 0:24:19.119 there were they were the so so I right, so 0:24:19.119 --> 0:24:22.760 so I you know, I was in a like like 0:24:22.880 --> 0:24:25.480 they do with you know, there there are some of 0:24:25.560 --> 0:24:29.320 us that meet first with a casting director, and the 0:24:29.359 --> 0:24:32.639 casting director says, okay, I will put you in the 0:24:32.680 --> 0:24:37.920 second group and you'll meet with the director and the producers. Uh. 0:24:38.119 --> 0:24:40.879 I've been in the business even at the time I 0:24:40.880 --> 0:24:43.200 did Seinfeld. I was in the business long enough where 0:24:43.200 --> 0:24:45.560 I didn't have to go through the first meet with 0:24:45.640 --> 0:24:49.040 the casting director. So my I and a handful of 0:24:49.080 --> 0:24:54.520 guys came in and uh and met Jerry and the 0:24:54.560 --> 0:24:56.679 producers and I'm not sure, I don't remember who. 0:24:56.560 --> 0:25:01.920 Director, David and Howard Shapiro or George Yeah, yeah, did 0:25:01.960 --> 0:25:05.120 you go to CBS Radford for that? Yeah, yeah, yeah, 0:25:05.119 --> 0:25:05.439 that's right. 0:25:05.520 --> 0:25:08.680 And and uh and sat in a very comfortable office 0:25:08.720 --> 0:25:13.960 and talking to Jerry, who's just as nice as can be. Uh, 0:25:14.320 --> 0:25:19.639 just relaxing. And you know, when you when you're that 0:25:19.640 --> 0:25:22.320 that was an example of somebody who is so confident 0:25:22.800 --> 0:25:26.720