1 00:00:00,720 --> 00:00:17,600 Speaker 1: I am all in again. Oh that's you. I am 2 00:00:17,640 --> 00:00:22,280 Speaker 1: all in again with Scott Patterson and iHeartRadio Podcast. 3 00:00:22,360 --> 00:00:24,840 Speaker 2: Hey everybody, Easton Alan I am all in Podcasts. One 4 00:00:24,840 --> 00:00:26,720 Speaker 2: of LOVEM productions. I Heart Radio, I heart Media, I 5 00:00:26,800 --> 00:00:30,600 Speaker 2: heart podcast. It's the I Am All In Podcast Here. 6 00:00:30,720 --> 00:00:32,800 Speaker 2: This is Easton Allen. You know me from a I 7 00:00:32,880 --> 00:00:36,440 Speaker 2: Smell Pop Culture. This great little spin off show that 8 00:00:36,560 --> 00:00:39,680 Speaker 2: Scott Patterson has graciously allowed me to host. And I 9 00:00:39,680 --> 00:00:42,720 Speaker 2: have such a special guest today. That's right, I'm the host. 10 00:00:42,760 --> 00:00:44,440 Speaker 2: If you're listening to this, I'm the host today and 11 00:00:44,479 --> 00:00:46,599 Speaker 2: I got a guess. It's Scott Patterson. You know him 12 00:00:46,640 --> 00:00:48,760 Speaker 2: is Luke Dan's from Gilmore Girls. Hey Scott, how's it 13 00:00:48,800 --> 00:00:53,760 Speaker 2: going do? He is too stunned to speak. 14 00:00:55,000 --> 00:00:55,880 Speaker 1: To see you. Man. 15 00:00:57,160 --> 00:00:59,920 Speaker 2: We are so pumped for this episode today. We're gonna 16 00:00:59,920 --> 00:01:02,480 Speaker 2: do Q and A with you. These are questions that 17 00:01:02,520 --> 00:01:05,000 Speaker 2: the fans are dying to ask you. Some of them 18 00:01:05,000 --> 00:01:08,440 Speaker 2: are my personal questions. Which one is which It's up 19 00:01:08,440 --> 00:01:10,600 Speaker 2: to you to find out. We are going to get 20 00:01:10,640 --> 00:01:13,720 Speaker 2: to the bottom of what makes Scott tick and ask 21 00:01:13,800 --> 00:01:17,200 Speaker 2: the burning questions here. So let's get started. Let's not 22 00:01:17,240 --> 00:01:19,920 Speaker 2: waste any more time let's get started with a question. 23 00:01:20,080 --> 00:01:22,120 Speaker 1: I don't know what makes me tick. I don't know. 24 00:01:23,160 --> 00:01:25,759 Speaker 2: We're not going to find that out. You know, some 25 00:01:25,800 --> 00:01:30,479 Speaker 2: of the greatest questions the ones you learn about yourself. Scott, Yes, 26 00:01:30,680 --> 00:01:34,080 Speaker 2: what do you think Luke's biggest shining moment is in 27 00:01:34,160 --> 00:01:35,199 Speaker 2: all of Gilmore Girls? 28 00:01:36,120 --> 00:01:39,000 Speaker 1: In all of Gilmore Girls. Yeah, We're start off with 29 00:01:39,000 --> 00:01:42,399 Speaker 1: an easy one. I mean, really, it all harkens back 30 00:01:42,440 --> 00:01:46,759 Speaker 1: to supporting Laura, l I and just being a good, 31 00:01:46,840 --> 00:01:53,240 Speaker 1: solid friend. Big shining moment probably the uh. You know, 32 00:01:53,320 --> 00:01:58,080 Speaker 1: people remember how you make them feel, right, so that's 33 00:01:58,120 --> 00:02:02,680 Speaker 1: how they remember you. And you know, I think building 34 00:02:02,680 --> 00:02:06,800 Speaker 1: her that that skating rink was you know that that 35 00:02:06,920 --> 00:02:09,880 Speaker 1: was a big shining moment, you know, and just all 36 00:02:09,919 --> 00:02:14,720 Speaker 1: the little gestures over the years of support and being 37 00:02:14,760 --> 00:02:16,760 Speaker 1: there without having to be asked, that kind of thing, 38 00:02:16,800 --> 00:02:17,040 Speaker 1: you know. 39 00:02:17,120 --> 00:02:21,359 Speaker 2: So, I mean, one of the great love stories of television. 40 00:02:21,400 --> 00:02:23,240 Speaker 2: We've said it so many times on this show, but 41 00:02:23,240 --> 00:02:26,079 Speaker 2: but you know we love Luke and Laura La. Now 42 00:02:26,320 --> 00:02:28,640 Speaker 2: I want you to play favorites here. I want you 43 00:02:28,720 --> 00:02:30,960 Speaker 2: to to offend some people and break some hearts. Who 44 00:02:31,080 --> 00:02:33,600 Speaker 2: is your favorite cast member to work with and why? 45 00:02:33,600 --> 00:02:36,680 Speaker 1: Oh gosh, oh god. They were all so good to 46 00:02:36,760 --> 00:02:41,000 Speaker 1: work with. You know, they were all great for different reasons, right, Yeah, 47 00:02:41,120 --> 00:02:43,680 Speaker 1: you know, Lauren was great to work with because she's 48 00:02:43,800 --> 00:02:47,760 Speaker 1: so good and and and you know, you know, you 49 00:02:47,880 --> 00:02:52,080 Speaker 1: trust that you're and and they're also good, right, you 50 00:02:52,120 --> 00:02:56,240 Speaker 1: know her, Michael Winter's I love my working with Michael Winter. 51 00:02:56,360 --> 00:02:59,440 Speaker 1: Sally Struthers was a hoot. You know, you always had 52 00:02:59,440 --> 00:03:01,560 Speaker 1: a smile in your face when you're working with Sally 53 00:03:01,560 --> 00:03:04,200 Speaker 1: because she keeps you in stitches and she's such a 54 00:03:04,240 --> 00:03:08,360 Speaker 1: great actress. Sean was always fun and great to work 55 00:03:08,639 --> 00:03:12,040 Speaker 1: you know, everybody. I can't think of one person that 56 00:03:12,240 --> 00:03:15,359 Speaker 1: was either difficult or not pleasant to work with. Everybody 57 00:03:15,440 --> 00:03:17,280 Speaker 1: was pretty great. You know. 58 00:03:17,440 --> 00:03:19,480 Speaker 2: I've been lucky enough to see you interview a lot 59 00:03:19,560 --> 00:03:22,240 Speaker 2: of those people you just listed, and you have such 60 00:03:22,280 --> 00:03:26,000 Speaker 2: great chemistry on the show and then like off off camera, 61 00:03:26,360 --> 00:03:27,440 Speaker 2: you guys are such good friends. 62 00:03:27,440 --> 00:03:29,600 Speaker 1: It's so fun to watch. It's like there's real love. 63 00:03:29,639 --> 00:03:34,560 Speaker 2: There was there a scene Ingomore Girls that gave you, 64 00:03:34,600 --> 00:03:37,440 Speaker 2: like trouble to shoot that was particularly difficult that you 65 00:03:37,440 --> 00:03:38,080 Speaker 2: can remember. 66 00:03:38,360 --> 00:03:41,720 Speaker 1: Oh boy, there were probably there were a few of them. Yeah, 67 00:03:42,480 --> 00:03:45,760 Speaker 1: trouble difficult shooting I mean difficult for me to get 68 00:03:45,800 --> 00:03:48,800 Speaker 1: at emotionally or just get the scene or. 69 00:03:49,560 --> 00:03:52,480 Speaker 2: Yeah, you know, or like was there some kind of 70 00:03:52,520 --> 00:03:55,120 Speaker 2: complicated thing like like you know, it was in the 71 00:03:55,240 --> 00:03:58,760 Speaker 2: rain or something like that, or no, no, well there was. 72 00:03:59,480 --> 00:04:03,240 Speaker 1: One day during the there was fires. There were fires 73 00:04:03,280 --> 00:04:05,840 Speaker 1: near the studio. Oh wow, it was I think it 74 00:04:06,360 --> 00:04:09,640 Speaker 1: was like season four, season five, maybe in season six, 75 00:04:09,680 --> 00:04:12,200 Speaker 1: but there was ash raining down on the studio. So 76 00:04:12,240 --> 00:04:14,760 Speaker 1: it was getting We were inside and we were right 77 00:04:14,800 --> 00:04:19,000 Speaker 1: next door shooting at the Red White and what do 78 00:04:19,000 --> 00:04:21,480 Speaker 1: you call it the movie theater? Red white and when 79 00:04:21,600 --> 00:04:24,200 Speaker 1: is it called red and white movie theater? Yes, I 80 00:04:24,279 --> 00:04:27,960 Speaker 1: will confirm that something like that. And we were shooting 81 00:04:27,960 --> 00:04:31,520 Speaker 1: indoors in this sort of like garage thing. But but 82 00:04:31,680 --> 00:04:35,080 Speaker 1: ash was coming in, you know, it was coming into 83 00:04:35,120 --> 00:04:37,640 Speaker 1: the door was coming in, and we had to deal 84 00:04:37,720 --> 00:04:40,360 Speaker 1: with this ash and this gray and it was just 85 00:04:40,480 --> 00:04:43,719 Speaker 1: very odd and we kept having a stop and do 86 00:04:43,839 --> 00:04:46,839 Speaker 1: more takes and it was just we weren't really in 87 00:04:46,920 --> 00:04:52,200 Speaker 1: fear of being evacuated, but just it was very pomp peish. Yeah, 88 00:04:52,320 --> 00:04:52,920 Speaker 1: you know what I mean. 89 00:04:53,320 --> 00:04:57,280 Speaker 2: Yeah, it was a little strange, eerie. I love this 90 00:04:57,360 --> 00:05:01,279 Speaker 2: kind of stuff. When Luke is is writing on his 91 00:05:01,440 --> 00:05:04,720 Speaker 2: order pad at the diner. What were you actually writing 92 00:05:04,760 --> 00:05:05,159 Speaker 2: on there? 93 00:05:06,839 --> 00:05:13,039 Speaker 1: Scribbly things? I just you know, I tried once every 94 00:05:13,040 --> 00:05:19,920 Speaker 1: once in a while, i'd write pancakes. Really, I try 95 00:05:19,960 --> 00:05:21,760 Speaker 1: to write pancakes and I go back and look at 96 00:05:21,800 --> 00:05:26,920 Speaker 1: it look like a four year old road. Usually it's 97 00:05:26,960 --> 00:05:30,359 Speaker 1: just sort of scribbly things, you know, like I'm acting 98 00:05:30,400 --> 00:05:33,520 Speaker 1: like I'm writing instead of actually writing. And you just 99 00:05:33,560 --> 00:05:36,160 Speaker 1: need to write, but you don't want to, you know, 100 00:05:36,400 --> 00:05:39,080 Speaker 1: because I have limited brain power. I really needed to 101 00:05:39,120 --> 00:05:43,520 Speaker 1: focus on the lines what I was writing. Now it's 102 00:05:44,200 --> 00:05:46,880 Speaker 1: usually just sort of like doodling stuff. 103 00:05:47,720 --> 00:05:49,560 Speaker 2: Okay, this is one of my my personal questions. I'm 104 00:05:49,600 --> 00:05:52,880 Speaker 2: just throwing this in there. I've always wondered when an 105 00:05:52,920 --> 00:05:56,440 Speaker 2: actor is like has a has a book or a 106 00:05:57,080 --> 00:06:01,760 Speaker 2: like something that could conceal a script. Do you ever 107 00:06:02,000 --> 00:06:04,520 Speaker 2: do that to like just kind of help, Like, is 108 00:06:04,520 --> 00:06:06,520 Speaker 2: there ever a time where like someone's holding a menu 109 00:06:06,600 --> 00:06:08,159 Speaker 2: but like the script is in there just so they 110 00:06:08,200 --> 00:06:10,000 Speaker 2: can like jog their memory of the lions. 111 00:06:10,160 --> 00:06:13,880 Speaker 1: Does that ever happen you mean while we're shooting? Yeah, yeah, 112 00:06:13,920 --> 00:06:17,160 Speaker 1: like while you're shooting. Oh no, I don't. Yeah, I've 113 00:06:17,200 --> 00:06:20,880 Speaker 1: seen that before, but not on Gilmore, and you would 114 00:06:20,920 --> 00:06:23,200 Speaker 1: you would think you would see it on Gilmore because 115 00:06:23,200 --> 00:06:25,440 Speaker 1: it was so challenging, right, So No, I never saw 116 00:06:25,440 --> 00:06:28,080 Speaker 1: it on Gilmore. Uh huh. 117 00:06:28,480 --> 00:06:31,360 Speaker 2: I watched a taping once of a star I shall 118 00:06:31,400 --> 00:06:33,760 Speaker 2: not name, but he had to every two seconds had 119 00:06:33,760 --> 00:06:35,640 Speaker 2: to ask for his line, and I was like, oh man, 120 00:06:35,680 --> 00:06:38,520 Speaker 2: this is you had to have that memorized where. 121 00:06:38,760 --> 00:06:41,040 Speaker 1: That is just like that, it's not possible to work 122 00:06:41,080 --> 00:06:44,360 Speaker 1: with people like that. Yeah, it's just you can't. You've 123 00:06:44,360 --> 00:06:50,800 Speaker 1: got to know your stuff, right And uh, I mean 124 00:06:51,240 --> 00:06:54,600 Speaker 1: especially Gilmore. Oh yeah, you know, if it's not a 125 00:06:54,640 --> 00:06:57,479 Speaker 1: dialogue heavy show, like I'm working on a show now 126 00:06:57,480 --> 00:07:00,920 Speaker 1: where it's not dialogue heavy, it's like pure mode. It's 127 00:07:00,920 --> 00:07:05,480 Speaker 1: like everything is just heavy emotion all the time, every scene. 128 00:07:05,839 --> 00:07:10,239 Speaker 1: So it's really not about the lines. Yeah, it's really 129 00:07:10,280 --> 00:07:16,480 Speaker 1: what you're putting underneath the lines. So you know, I 130 00:07:16,600 --> 00:07:21,840 Speaker 1: learned my I learned my stuff in rehearsal because I 131 00:07:21,920 --> 00:07:25,520 Speaker 1: want it to be very fresh and have the quality 132 00:07:25,560 --> 00:07:28,119 Speaker 1: of the first time that I've ever said these things. 133 00:07:28,160 --> 00:07:32,760 Speaker 1: And that was the challenge of that. It's like getting 134 00:07:32,800 --> 00:07:36,800 Speaker 1: the emotion a and then you know doing the lines 135 00:07:37,000 --> 00:07:40,240 Speaker 1: as really like it's the first time you've done them. 136 00:07:40,640 --> 00:07:44,480 Speaker 1: So you couldn't do that on Gilmour, right, yeah, that's 137 00:07:44,520 --> 00:07:47,520 Speaker 1: not possible, But on this other show, yeah, it is possible. 138 00:07:48,680 --> 00:07:50,720 Speaker 1: And then like like in terms of. 139 00:07:52,240 --> 00:07:56,520 Speaker 2: Interrupting the filming process, was there anyone Was there any 140 00:07:56,760 --> 00:07:59,360 Speaker 2: other cast member who would like break the most or 141 00:07:59,440 --> 00:08:01,200 Speaker 2: laugh the most during a scene? 142 00:08:02,320 --> 00:08:05,520 Speaker 1: No? You know, if we would get late at night, 143 00:08:05,800 --> 00:08:09,239 Speaker 1: you were in our twelve thirteen, fourteen, fifteen hour and 144 00:08:11,320 --> 00:08:14,320 Speaker 1: Lauren would break because she had to, she had to 145 00:08:14,520 --> 00:08:19,320 Speaker 1: release the tension and laugh, and we would get all 146 00:08:19,400 --> 00:08:22,680 Speaker 1: kind of silly and loopy, like it was what you 147 00:08:22,720 --> 00:08:27,800 Speaker 1: call church laughter and getting punchy. Yeah, and once it starts, 148 00:08:28,760 --> 00:08:32,240 Speaker 1: you can't stop it. And most directors were like, you know, 149 00:08:32,320 --> 00:08:34,560 Speaker 1: smart enough to just sort of let it go. And 150 00:08:34,760 --> 00:08:36,640 Speaker 1: I think we had one director that got very upset 151 00:08:36,720 --> 00:08:40,760 Speaker 1: with us. We just and it made it even funnier, right, 152 00:08:41,000 --> 00:08:45,440 Speaker 1: We just started laughing at him for the feudal attempts 153 00:08:45,440 --> 00:08:48,120 Speaker 1: to get us to stop laughing, but we needed, you know, 154 00:08:48,160 --> 00:08:50,600 Speaker 1: you need to just sort of let it out when 155 00:08:50,640 --> 00:08:53,560 Speaker 1: something funny happens. You've kind of earned that laugh, you know, 156 00:08:54,160 --> 00:08:55,200 Speaker 1: absolutely right? 157 00:08:55,800 --> 00:09:00,560 Speaker 2: How many of the luke hats did wardrobe have Like 158 00:09:00,640 --> 00:09:01,720 Speaker 2: how many of those were there? 159 00:09:01,960 --> 00:09:04,600 Speaker 1: I don't know. I mean you have to figure there 160 00:09:04,679 --> 00:09:07,600 Speaker 1: must have been a couple of backups, right, Yeah, yeah, 161 00:09:07,640 --> 00:09:10,880 Speaker 1: but I have the original that belongs in the Smithsonian. 162 00:09:11,120 --> 00:09:14,520 Speaker 1: It's just a house now. It is in my house. Well, 163 00:09:14,520 --> 00:09:17,520 Speaker 1: it's in storage. Put it that way, along with many 164 00:09:17,520 --> 00:09:20,960 Speaker 1: other items. So so so was the same hat every time? 165 00:09:21,200 --> 00:09:24,760 Speaker 1: Or I believe it was? Yeah, wow, yeah, Oh my god. 166 00:09:25,160 --> 00:09:25,600 Speaker 1: I love that. 167 00:09:25,640 --> 00:09:29,640 Speaker 2: There's like so much like love in that ball cap, 168 00:09:30,280 --> 00:09:32,280 Speaker 2: Like it's so it's a magic item, you know. 169 00:09:32,960 --> 00:09:39,839 Speaker 1: Yeah, all my hair's in there. I guess it's gone now. Scott. 170 00:09:39,880 --> 00:09:43,240 Speaker 2: You you've had such a such an interesting career, and 171 00:09:43,600 --> 00:09:46,760 Speaker 2: we've talked before about I mean, I love your the 172 00:09:46,840 --> 00:09:50,120 Speaker 2: Saw movies and uh a little big League. 173 00:09:50,200 --> 00:09:52,840 Speaker 1: I love so many roles you've had. 174 00:09:52,920 --> 00:09:56,960 Speaker 2: Is there a dream like role or type of performance 175 00:09:57,000 --> 00:09:59,400 Speaker 2: you've always wanted to have and you haven't yet. 176 00:10:00,080 --> 00:10:03,960 Speaker 1: Yeah. I've always wanted to play you know, like a 177 00:10:04,120 --> 00:10:10,760 Speaker 1: really like scary bad guy, a villain. Interesting. Yeah I 178 00:10:10,800 --> 00:10:12,679 Speaker 1: can a film, Yeah, and just see if I can 179 00:10:12,720 --> 00:10:15,240 Speaker 1: pull that off, because those are fun roles. Those are 180 00:10:15,360 --> 00:10:20,520 Speaker 1: really really fun roles and not a lot of dialogue, 181 00:10:20,679 --> 00:10:26,240 Speaker 1: just just a lot of sort of looking and reacting. 182 00:10:27,559 --> 00:10:29,760 Speaker 2: I can see it in my mind, like like you'd 183 00:10:29,760 --> 00:10:34,520 Speaker 2: be so good that you're this lovable guy. But but 184 00:10:34,679 --> 00:10:36,880 Speaker 2: I know that like you could turn that on and 185 00:10:36,920 --> 00:10:39,280 Speaker 2: become a terrifying person. 186 00:10:40,080 --> 00:10:42,800 Speaker 1: I think it would be fun. Those are the funnest roles. 187 00:10:42,800 --> 00:10:45,520 Speaker 1: And those are the roles that I I you know, 188 00:10:45,679 --> 00:10:50,120 Speaker 1: like a Gary Oldman role in the professional right, something 189 00:10:50,200 --> 00:10:53,080 Speaker 1: like that. I mean, how much fun did that guy happen? 190 00:10:53,400 --> 00:10:58,720 Speaker 1: I mean it's just like, oh yeah, yeah, those those 191 00:10:58,800 --> 00:11:00,559 Speaker 1: roles are fun. All right. 192 00:11:00,600 --> 00:11:04,840 Speaker 2: Here's a question about Luke and Loralai. What do you 193 00:11:04,880 --> 00:11:07,320 Speaker 2: think Luke loves the most about Laura Lei? 194 00:11:07,960 --> 00:11:14,560 Speaker 1: Her spirit? You know, her her her sunny, optimistic, sarcastic, witty, 195 00:11:14,880 --> 00:11:17,600 Speaker 1: brilliant self. You know, there's so much going on with 196 00:11:17,640 --> 00:11:20,680 Speaker 1: her at any given moment that you know, it's hard 197 00:11:20,760 --> 00:11:23,200 Speaker 1: not to love her. I mean it's it's it's it's 198 00:11:23,240 --> 00:11:28,280 Speaker 1: so easy to fall in love with her, and you know, 199 00:11:28,400 --> 00:11:31,080 Speaker 1: whatever is coming out of her mouth at any given moment, 200 00:11:31,320 --> 00:11:34,640 Speaker 1: it just makes her even more and more beautiful. You know, 201 00:11:34,840 --> 00:11:40,080 Speaker 1: whether she's you know, throwing down with Emily or loving 202 00:11:40,080 --> 00:11:45,600 Speaker 1: her daughter, or you know, she's just she's She's all 203 00:11:45,640 --> 00:11:47,560 Speaker 1: the colors of the rainbow all at once, you know, 204 00:11:47,679 --> 00:11:50,160 Speaker 1: so pretty spectacular character. 205 00:11:50,480 --> 00:11:54,320 Speaker 2: Absolutely, But now I need to know does Lauren love 206 00:11:54,360 --> 00:11:55,400 Speaker 2: coffee as much as Laura? 207 00:11:55,480 --> 00:12:02,080 Speaker 1: I does? I believe she does? Yeah, yeah, yeah, there 208 00:12:02,080 --> 00:12:05,319 Speaker 1: were a lot of coffee orders coming in. Yeah, I 209 00:12:05,320 --> 00:12:08,920 Speaker 1: bet life iman date. Sorry, a lot of coffee orders. 210 00:12:09,520 --> 00:12:12,520 Speaker 2: Scott, this is so cool. I love doing this. I 211 00:12:12,559 --> 00:12:15,240 Speaker 2: love learning more about you, and we have so much 212 00:12:15,240 --> 00:12:17,520 Speaker 2: more to get into. But first we have to hear 213 00:12:17,640 --> 00:12:20,040 Speaker 2: about some great goods and services that you might want 214 00:12:20,040 --> 00:12:31,200 Speaker 2: to take advantage of at home. Anybody see I am 215 00:12:31,240 --> 00:12:34,680 Speaker 2: all in again podcast. This is Easton Allen. That's my 216 00:12:34,800 --> 00:12:37,560 Speaker 2: voice and Scott Patterson's here too. We're gonna jump into 217 00:12:37,559 --> 00:12:40,680 Speaker 2: some more questions. How did it feel for you and 218 00:12:40,760 --> 00:12:45,160 Speaker 2: Lauren to kiss after all that anticipation in waiting? 219 00:12:45,200 --> 00:12:48,520 Speaker 1: What was that moment? Like? It was It was really great. 220 00:12:48,960 --> 00:12:53,640 Speaker 1: It was really just it was everything that I thought 221 00:12:53,640 --> 00:12:58,280 Speaker 1: it would be, you know, and like I've said before, 222 00:12:58,960 --> 00:13:00,800 Speaker 1: you know, we were both very nervous. We wanted to 223 00:13:00,800 --> 00:13:03,839 Speaker 1: get it right and get the scene right. Building up 224 00:13:03,840 --> 00:13:06,600 Speaker 1: to it, you know, that was the nerve wracking part. 225 00:13:06,600 --> 00:13:11,840 Speaker 1: It's like, let's really set this up without guilding the 226 00:13:11,880 --> 00:13:15,040 Speaker 1: lily too much, and but it was it was pretty 227 00:13:15,040 --> 00:13:18,320 Speaker 1: obvious what it was going to be. And I think 228 00:13:18,320 --> 00:13:21,960 Speaker 1: that the best part about it was the fact that 229 00:13:22,640 --> 00:13:25,400 Speaker 1: it broke It broke off and then she repeats the 230 00:13:25,440 --> 00:13:27,440 Speaker 1: line and then comes in for me. I mean, it 231 00:13:27,520 --> 00:13:30,720 Speaker 1: was just great. And then Kirk runs through you just 232 00:13:31,960 --> 00:13:34,800 Speaker 1: is there a better writing? There? Just isn't. No, the 233 00:13:34,880 --> 00:13:40,200 Speaker 1: last thing you expect, right, yes, exactly right. The stuff 234 00:13:40,200 --> 00:13:42,200 Speaker 1: of dreams are made of. It was a wonderful day. 235 00:13:43,360 --> 00:13:46,000 Speaker 2: When did you know that Loral and Luke were finally 236 00:13:46,000 --> 00:13:47,080 Speaker 2: going to like get together? 237 00:13:48,920 --> 00:13:51,640 Speaker 1: I knew the moment I read the pilot script before 238 00:13:51,679 --> 00:13:52,520 Speaker 1: my first audition. 239 00:13:53,120 --> 00:13:57,120 Speaker 2: Wow, yeah, all right, so it is it was always 240 00:13:57,200 --> 00:13:58,280 Speaker 2: there's always going to happen. 241 00:13:58,440 --> 00:14:01,080 Speaker 1: I love that as you called me and said did 242 00:14:01,120 --> 00:14:02,920 Speaker 1: you read the script? And I said yeah. She goes, 243 00:14:02,960 --> 00:14:04,360 Speaker 1: you know what this means? I said, yeah, I know 244 00:14:04,400 --> 00:14:09,720 Speaker 1: what it means. She says it don't blow it because 245 00:14:09,720 --> 00:14:12,000 Speaker 1: you're the love interest, and I said, yeah it looks 246 00:14:12,040 --> 00:14:12,959 Speaker 1: that way. You know. 247 00:14:14,760 --> 00:14:19,440 Speaker 2: Now, looking back on Gilmore as a whole, is there 248 00:14:19,440 --> 00:14:23,560 Speaker 2: anything you would change about Luke's character, like how he 249 00:14:23,680 --> 00:14:24,200 Speaker 2: was developed? 250 00:14:24,240 --> 00:14:29,560 Speaker 1: Is anything you do differently. No, No, I think he 251 00:14:29,720 --> 00:14:34,480 Speaker 1: has the I think he has the proper amount of development, 252 00:14:35,040 --> 00:14:40,960 Speaker 1: you know, I think less is more right. Yeah, we 253 00:14:41,080 --> 00:14:45,520 Speaker 1: got enough nuggets from his life too, you know, to 254 00:14:45,920 --> 00:14:49,640 Speaker 1: to inform an audience but also retain his mystery, which 255 00:14:49,680 --> 00:14:54,040 Speaker 1: I think is a really powerful thing and a character 256 00:14:54,080 --> 00:14:57,040 Speaker 1: you could do that with. Because it just sort of, 257 00:14:57,360 --> 00:15:02,680 Speaker 1: you know, sits well with me. Now, there's really nothing. 258 00:15:03,200 --> 00:15:03,240 Speaker 2: No. 259 00:15:03,360 --> 00:15:06,240 Speaker 1: I got very lucky to be able to inhabit that 260 00:15:06,360 --> 00:15:10,120 Speaker 1: role and contribute what I contributed. I just you know, 261 00:15:10,200 --> 00:15:12,720 Speaker 1: it's twenty five years later and this thing is still growing. 262 00:15:14,520 --> 00:15:16,560 Speaker 1: I knew it would be a successful show. I just 263 00:15:16,920 --> 00:15:19,640 Speaker 1: you can never imagine that it's going to turn into 264 00:15:19,680 --> 00:15:24,720 Speaker 1: something like this, you know. So it just I just 265 00:15:24,880 --> 00:15:27,200 Speaker 1: I'd never I've never been lucky in my life. And 266 00:15:27,240 --> 00:15:29,600 Speaker 1: then I realized with this show boy, you got lucky. 267 00:15:30,000 --> 00:15:32,880 Speaker 1: I really got lucky. You know. It's like that, you know, 268 00:15:32,920 --> 00:15:39,960 Speaker 1: when preparedness meets opportunity that is, yes, exactly exactly, And man, 269 00:15:40,080 --> 00:15:42,720 Speaker 1: I you know, I was definitely prepared. And I've been 270 00:15:42,760 --> 00:15:46,480 Speaker 1: auditioning really well for a couple of years. You know, 271 00:15:46,520 --> 00:15:49,760 Speaker 1: I finally learned how to be a good auditioner because 272 00:15:49,760 --> 00:15:52,120 Speaker 1: it's a skill set, it's a different it's kind of 273 00:15:52,160 --> 00:15:55,880 Speaker 1: different from acting. Really. Yeah, it's more psychology than anything. 274 00:15:55,920 --> 00:16:00,920 Speaker 1: And I got very good at that and it really 275 00:16:00,960 --> 00:16:03,680 Speaker 1: helped me in that audition, you know, because they really 276 00:16:03,720 --> 00:16:07,600 Speaker 1: thought I didn't care that and I knew I had 277 00:16:07,640 --> 00:16:09,360 Speaker 1: to flip the psychology in the room in order to 278 00:16:09,360 --> 00:16:12,520 Speaker 1: get an offer on something right because it was working. 279 00:16:13,440 --> 00:16:17,360 Speaker 1: I was I was almost getting every offer every audition 280 00:16:17,680 --> 00:16:19,560 Speaker 1: that I was going into because I acted like I 281 00:16:19,560 --> 00:16:21,480 Speaker 1: didn't care. And I thought, Oh, this this acting like 282 00:16:21,520 --> 00:16:25,760 Speaker 1: you don't care thing, it's working, So let's found the key. 283 00:16:26,160 --> 00:16:30,960 Speaker 1: Let's keep doing it. You know. 284 00:16:31,960 --> 00:16:34,400 Speaker 2: I just had the pleasure of interviewing Robin Lively on 285 00:16:34,640 --> 00:16:36,840 Speaker 2: on this show and we were talking about auditioning, and 286 00:16:36,880 --> 00:16:39,800 Speaker 2: she was saying, like, it never gets she was saying 287 00:16:39,800 --> 00:16:43,160 Speaker 2: she never felt comfortable auditioning. It's it's such an awkward 288 00:16:43,400 --> 00:16:47,400 Speaker 2: part of the process but necessary. And I was wondering 289 00:16:47,440 --> 00:16:49,640 Speaker 2: if you agree with that, like, like, did you was 290 00:16:49,640 --> 00:16:52,440 Speaker 2: there a point where you ever enjoyed the thrill of 291 00:16:52,480 --> 00:16:53,040 Speaker 2: it orthing? 292 00:16:53,480 --> 00:16:57,000 Speaker 1: Yeah, because you know, if you have a real intention 293 00:16:57,120 --> 00:16:59,760 Speaker 1: of going in and taking over the room, that can 294 00:16:59,800 --> 00:17:03,760 Speaker 1: be fun. Sometimes you're thwarted from doing that because it's 295 00:17:03,800 --> 00:17:06,000 Speaker 1: just too heavy a vibe in there. And like I 296 00:17:06,040 --> 00:17:09,159 Speaker 1: remember going in and meeting, God, who's the guy that 297 00:17:09,560 --> 00:17:14,280 Speaker 1: directed Clear and Present Danger, John McTiernan or big A list, 298 00:17:15,119 --> 00:17:18,919 Speaker 1: big movie director, right, Yeah, And I went in for 299 00:17:19,000 --> 00:17:22,040 Speaker 1: a role a Philip Noise, Philip Noise. Sorry, yes, I 300 00:17:22,320 --> 00:17:24,080 Speaker 1: went in and I read for Philip Noise and this 301 00:17:24,359 --> 00:17:28,000 Speaker 1: big time casting director and Philip Noise and big time 302 00:17:28,040 --> 00:17:31,240 Speaker 1: studio executives. And you go in thinking, man, I'm gonna 303 00:17:31,280 --> 00:17:32,800 Speaker 1: take over the room, just like I always do. And 304 00:17:32,840 --> 00:17:34,320 Speaker 1: you get in there and you're like, no, you're not 305 00:17:34,359 --> 00:17:39,320 Speaker 1: taking over. There's a lot of power in that room. 306 00:17:39,400 --> 00:17:44,080 Speaker 1: So but I did well, you know, I was proud 307 00:17:44,119 --> 00:17:47,679 Speaker 1: of myself and didn't get the roll. But Feedbuck was 308 00:17:47,760 --> 00:17:51,159 Speaker 1: very good, very strong, so you know, but no, you 309 00:17:51,400 --> 00:17:54,720 Speaker 1: really do need to just go in and take the room, right, 310 00:17:54,760 --> 00:17:56,880 Speaker 1: You just need to. You need to create the space 311 00:17:57,240 --> 00:18:00,159 Speaker 1: to do your work. And that's what it's about. It's 312 00:18:00,280 --> 00:18:04,159 Speaker 1: really you know, I forget who was talking about this, 313 00:18:04,280 --> 00:18:06,879 Speaker 1: but it's one of the best descriptions I've heard of 314 00:18:06,920 --> 00:18:08,840 Speaker 1: going into a room. It's like, look at it like 315 00:18:08,840 --> 00:18:11,160 Speaker 1: it's your first day of work. On set on the job. 316 00:18:11,200 --> 00:18:13,639 Speaker 1: You've already gotten the job. Now it's day one and 317 00:18:13,680 --> 00:18:17,280 Speaker 1: you're going in and it's a work session, right, Yeah, 318 00:18:17,560 --> 00:18:20,840 Speaker 1: you're walking into a rehearsal process. So how are you 319 00:18:20,880 --> 00:18:23,120 Speaker 1: going to approach that because that's the person that they're 320 00:18:23,119 --> 00:18:26,359 Speaker 1: going to coexist with for three months or seven years 321 00:18:26,440 --> 00:18:28,960 Speaker 1: or whatever it is. Right, Yeah, how does this guy 322 00:18:29,000 --> 00:18:30,639 Speaker 1: approach his work? So that's kind of how I have 323 00:18:30,680 --> 00:18:32,879 Speaker 1: to look at That's great, that's great advice. 324 00:18:32,920 --> 00:18:36,040 Speaker 2: Anyone out there listening wants to get into the form 325 00:18:36,080 --> 00:18:39,639 Speaker 2: of acting, take a lesson from Scott Patterson here. I 326 00:18:40,359 --> 00:18:43,880 Speaker 2: love watching like videos of people auditioning because I met 327 00:18:44,160 --> 00:18:47,360 Speaker 2: it's just got to be so weird to like, you're 328 00:18:47,400 --> 00:18:51,320 Speaker 2: putting all this emotion and this preparation into this performance, 329 00:18:51,320 --> 00:18:53,000 Speaker 2: but then there's like a cast, you know, just like 330 00:18:53,040 --> 00:18:57,840 Speaker 2: a women wearing like bifocals, just dryly reading the other character, 331 00:18:58,000 --> 00:19:00,400 Speaker 2: like the other person in the scene, and it's got 332 00:19:00,440 --> 00:19:02,600 Speaker 2: to be so I don't know, I just it's such 333 00:19:02,720 --> 00:19:06,000 Speaker 2: a unique challenge. I think for as someone who's never 334 00:19:06,040 --> 00:19:09,400 Speaker 2: acted or attempted or anything, it just seems so difficult. 335 00:19:09,440 --> 00:19:12,160 Speaker 2: So I'm always so impressed that actors can just do 336 00:19:12,200 --> 00:19:13,560 Speaker 2: this over and over again. 337 00:19:13,920 --> 00:19:17,520 Speaker 1: Well, cancer directors pretty much know the scene. They know 338 00:19:17,640 --> 00:19:22,080 Speaker 1: the beats of the scene, so they won't you know, 339 00:19:22,119 --> 00:19:24,600 Speaker 1: and they don't really read with you. They have somebody 340 00:19:24,600 --> 00:19:27,480 Speaker 1: else do it. And a lot of times it's a 341 00:19:27,520 --> 00:19:30,520 Speaker 1: good actor reading with you and they know the beats 342 00:19:30,560 --> 00:19:34,120 Speaker 1: and they know the scenes. Especially if you're going on tape. 343 00:19:34,920 --> 00:19:39,000 Speaker 1: Sometimes you get tripped up because they don't know the 344 00:19:39,080 --> 00:19:41,200 Speaker 1: scene very well and it's not a very good actor 345 00:19:41,240 --> 00:19:46,800 Speaker 1: your opposite, and really if you act over them, it's 346 00:19:46,840 --> 00:19:49,320 Speaker 1: going to be awkward. It won't feel organic. So you're 347 00:19:49,320 --> 00:19:52,520 Speaker 1: really just sort of responding about what is being given 348 00:19:52,560 --> 00:19:56,520 Speaker 1: to you in that moment. And I think that's really 349 00:19:56,600 --> 00:20:03,080 Speaker 1: the trick, right is you can't be so if you're 350 00:20:03,119 --> 00:20:06,359 Speaker 1: so wedded to one of your choices, your your choice, 351 00:20:06,359 --> 00:20:09,000 Speaker 1: and you you go in there and you try to 352 00:20:09,080 --> 00:20:12,479 Speaker 1: execute those choices and get very result oriented instead of 353 00:20:13,160 --> 00:20:18,040 Speaker 1: allowing a process to happen that's organic and you know, changeable, 354 00:20:18,680 --> 00:20:21,120 Speaker 1: then you're going to be in trouble. So I think 355 00:20:21,119 --> 00:20:24,760 Speaker 1: it's really just taking in any given moment what you're 356 00:20:24,760 --> 00:20:27,920 Speaker 1: being given and just sort of giving it back. It's 357 00:20:28,000 --> 00:20:32,160 Speaker 1: so fascinating. I love this kind of stuff when when 358 00:20:32,200 --> 00:20:34,160 Speaker 1: Gilmore Girls ended. 359 00:20:34,680 --> 00:20:38,159 Speaker 2: Before you know, before you did the movie, you know, 360 00:20:38,200 --> 00:20:43,120 Speaker 2: the Netflix movies. Uh, what did you what was going 361 00:20:43,119 --> 00:20:45,880 Speaker 2: through your head? Like, did you think it was going 362 00:20:45,920 --> 00:20:47,200 Speaker 2: to come back in some way? 363 00:20:47,480 --> 00:20:51,080 Speaker 1: Like? What was on your mind at that moment? Well, 364 00:20:51,119 --> 00:20:54,160 Speaker 1: I was. I was on set in Toronto of doing 365 00:20:54,200 --> 00:20:56,679 Speaker 1: a movie and my manager called me and told me. 366 00:20:57,280 --> 00:21:02,640 Speaker 1: I wasn't altogether surprised. Yeah, I had heard some grumblings 367 00:21:03,480 --> 00:21:08,000 Speaker 1: from other sources that negotiations weren't going well with certain parties. 368 00:21:08,640 --> 00:21:10,719 Speaker 1: So I thought, all right, I guess this is this 369 00:21:10,840 --> 00:21:14,159 Speaker 1: is done. Maybe I don't know, prepare yourself, So I 370 00:21:14,200 --> 00:21:17,440 Speaker 1: was kind of preparing myself anyway. Yeah, I always thought 371 00:21:17,560 --> 00:21:23,640 Speaker 1: it had a huge life left without Amy and Dan, 372 00:21:23,760 --> 00:21:27,480 Speaker 1: though that's a that's tough sledting. I thought David Rosenthal 373 00:21:27,560 --> 00:21:29,719 Speaker 1: did a really great job and his team did a 374 00:21:29,760 --> 00:21:33,800 Speaker 1: really great job on season seven. I think some episodes 375 00:21:34,680 --> 00:21:38,680 Speaker 1: far exceeded my expectations and were real, real quality. Some 376 00:21:39,080 --> 00:21:42,480 Speaker 1: of my favorite episodes in the whole seven seasons. Other's 377 00:21:42,480 --> 00:21:44,679 Speaker 1: not so much, you know, but it's hard, you know, 378 00:21:45,280 --> 00:21:48,520 Speaker 1: you take Amy and Dan with those original voices in 379 00:21:48,600 --> 00:21:53,239 Speaker 1: their heads that they own and that they hear and 380 00:21:53,320 --> 00:21:56,560 Speaker 1: they you have to admit they both have a unique 381 00:21:56,560 --> 00:22:01,520 Speaker 1: ability to draw characters and very distinct into visual characters. 382 00:22:02,800 --> 00:22:05,959 Speaker 1: You know a lot of writers, right, they'll have ten characters, 383 00:22:06,000 --> 00:22:10,320 Speaker 1: they'll sound the same. There's nothing terribly distinctive about them. 384 00:22:10,359 --> 00:22:12,320 Speaker 1: You can't say that about Gilmore Girls. I mean even 385 00:22:12,359 --> 00:22:16,719 Speaker 1: down to the uh, you know, recurring players or day players. 386 00:22:16,760 --> 00:22:20,159 Speaker 1: These are unique individuals. These are unique voices coming in 387 00:22:20,200 --> 00:22:24,480 Speaker 1: the show. So I can't duplicate that, you know, it's 388 00:22:24,520 --> 00:22:27,280 Speaker 1: hard to do. So when they left, I thought, well, 389 00:22:27,920 --> 00:22:30,200 Speaker 1: you know, they're gonna have to write a movie, or 390 00:22:30,200 --> 00:22:33,360 Speaker 1: they're going to have to write, you know, a mini 391 00:22:33,480 --> 00:22:36,359 Speaker 1: series or something and bring it back. But I didn't 392 00:22:36,359 --> 00:22:39,200 Speaker 1: really think about it that much. But you know, you're 393 00:22:39,200 --> 00:22:39,840 Speaker 1: always hopeful. 394 00:22:40,200 --> 00:22:44,920 Speaker 2: Yeah, what do you do you think if they did 395 00:22:44,920 --> 00:22:48,920 Speaker 2: a Gilmore Girl's prequel, like before, you know, going back 396 00:22:48,960 --> 00:22:51,840 Speaker 2: to the before the show started, is that something you 397 00:22:51,840 --> 00:22:53,560 Speaker 2: would want to see or be part of? 398 00:22:53,640 --> 00:22:57,080 Speaker 1: Do you think that would be exciting? Man? Gosh, how 399 00:22:57,119 --> 00:23:01,159 Speaker 1: would they do that? Right? Wow? What do you start it? 400 00:23:02,440 --> 00:23:04,640 Speaker 1: Where would you start it to make it compelling? How 401 00:23:04,680 --> 00:23:07,199 Speaker 1: could you possibly do that? What would you do it? Is? 402 00:23:07,920 --> 00:23:09,679 Speaker 1: I know, how would you do it, you'd have to 403 00:23:09,720 --> 00:23:13,399 Speaker 1: start it so far back. I mean, who could be 404 00:23:13,440 --> 00:23:16,800 Speaker 1: in it from the original cast? All right? 405 00:23:17,640 --> 00:23:19,960 Speaker 2: Or do we do like like they do on a 406 00:23:20,040 --> 00:23:23,480 Speaker 2: yellow Stowd and stars hallow origins and go back to 407 00:23:23,560 --> 00:23:24,639 Speaker 2: like the seventeen. 408 00:23:26,320 --> 00:23:30,560 Speaker 1: Right eighteen twenty three? Yeah, I'll play. I'll play Luke's 409 00:23:30,560 --> 00:23:34,919 Speaker 1: great great great great grandfa. Yeah. New We're getting somewhere. 410 00:23:35,080 --> 00:23:38,000 Speaker 1: I don't know. Yeah, I mean, I have no idea. 411 00:23:38,080 --> 00:23:44,000 Speaker 1: I'd love to star in the prequels as Luke Dane's dad. 412 00:23:44,240 --> 00:23:48,440 Speaker 1: I like this idea. Yeah, have a seventeen year old 413 00:23:48,480 --> 00:23:51,160 Speaker 1: Luke or something, you know, or sixteen year old Look, 414 00:23:52,040 --> 00:23:52,600 Speaker 1: I love it. 415 00:23:53,840 --> 00:23:56,199 Speaker 2: Here's here's another question from a fan. How did you 416 00:23:56,280 --> 00:24:00,840 Speaker 2: record like the phone conversation scene. It's like, like was 417 00:24:00,840 --> 00:24:03,239 Speaker 2: it did you film those like separately or was it 418 00:24:03,240 --> 00:24:03,960 Speaker 2: done at the same time? 419 00:24:04,040 --> 00:24:07,520 Speaker 1: Yeah? Yeah, always, always separately. Yeah, yeah, it was always 420 00:24:07,560 --> 00:24:09,280 Speaker 1: at the end of the day. You know, you've got that, 421 00:24:09,800 --> 00:24:12,000 Speaker 1: You've got that Laurel I phone call. Oh okay, let's just 422 00:24:12,080 --> 00:24:15,119 Speaker 1: knock that out and then somebody would read her lines 423 00:24:15,119 --> 00:24:17,439 Speaker 1: and you know, do the phone call. Scott. 424 00:24:17,480 --> 00:24:19,639 Speaker 2: I'm having the time of my life here. We have 425 00:24:20,200 --> 00:24:22,480 Speaker 2: so many more questions. I just have to ask you 426 00:24:22,520 --> 00:24:25,199 Speaker 2: a few more things. But first we got to take 427 00:24:25,240 --> 00:24:27,560 Speaker 2: a break, man, We got to take a breather. We'll 428 00:24:27,600 --> 00:24:40,480 Speaker 2: be right back, all right, everybody. Those are great commercials, huh. 429 00:24:40,520 --> 00:24:42,600 Speaker 2: I love those commercials so much. But you know what 430 00:24:42,680 --> 00:24:45,439 Speaker 2: I love more talking to Scott Patterson. People want to 431 00:24:45,480 --> 00:24:48,000 Speaker 2: know what's your theory on what's on the third and 432 00:24:48,040 --> 00:24:50,439 Speaker 2: fourth floor of Luke's Diner, because the exterior of the 433 00:24:50,440 --> 00:24:52,200 Speaker 2: building has four stories. 434 00:24:52,640 --> 00:24:56,160 Speaker 1: You know, I was not aware that there was a theory, 435 00:24:56,640 --> 00:24:58,919 Speaker 1: and I was not aware that there's a third and 436 00:24:58,960 --> 00:25:03,720 Speaker 1: fourth floor. That just didn't never occurred to me. But 437 00:25:03,880 --> 00:25:07,600 Speaker 1: now that you mention it, I just don't know what. 438 00:25:07,960 --> 00:25:10,639 Speaker 1: I mean, what could be up there? I just probably 439 00:25:11,080 --> 00:25:13,080 Speaker 1: you know what I bets up there. It's probably a 440 00:25:13,119 --> 00:25:18,439 Speaker 1: lot of stuff he got from his parents in the 441 00:25:18,480 --> 00:25:22,440 Speaker 1: will and he stores it up there. Old furniture, old heirlooms, 442 00:25:22,480 --> 00:25:24,760 Speaker 1: that kind of thing that sounds about right, looks yeah. 443 00:25:25,000 --> 00:25:28,080 Speaker 1: I think I think he's very sentimental underneath it all, 444 00:25:28,119 --> 00:25:30,639 Speaker 1: and he hangs on to things and that's where he 445 00:25:30,720 --> 00:25:31,080 Speaker 1: keeps it. 446 00:25:31,320 --> 00:25:35,960 Speaker 2: So, when you were filming the show, how did the 447 00:25:36,000 --> 00:25:37,960 Speaker 2: scripts come to you? Like, did you just get like 448 00:25:38,000 --> 00:25:40,320 Speaker 2: the Luke parts or did you get the whole episode? 449 00:25:40,520 --> 00:25:42,280 Speaker 1: Oh no, you get the whole. You get the script. 450 00:25:42,920 --> 00:25:46,679 Speaker 1: A messenger drops it off at your house. You know. 451 00:25:46,720 --> 00:25:48,840 Speaker 1: I go out to my mailbox. I had a gated 452 00:25:49,760 --> 00:25:53,280 Speaker 1: kind of compound, and I go out and there be 453 00:25:53,280 --> 00:25:56,399 Speaker 1: a script. I actually shove it under the fence, and 454 00:25:56,440 --> 00:25:58,560 Speaker 1: I didn't want to leave it out in case somebody, 455 00:25:58,600 --> 00:26:01,520 Speaker 1: you know, the mailman, stole it, right, Yeah, of course, 456 00:26:01,560 --> 00:26:03,680 Speaker 1: because you know how mail men are. You know, they're 457 00:26:03,680 --> 00:26:09,480 Speaker 1: famous for leaking great scripts. Now they just shove it 458 00:26:09,600 --> 00:26:11,400 Speaker 1: under the fence or throw it over the fence. 459 00:26:11,440 --> 00:26:13,800 Speaker 2: In it. So would you read the whole you would 460 00:26:13,840 --> 00:26:15,720 Speaker 2: you read the whole thing? Or would you just read 461 00:26:16,240 --> 00:26:17,479 Speaker 2: Oh no, of course you No, you have to read 462 00:26:17,520 --> 00:26:17,920 Speaker 2: the whole thing. 463 00:26:18,000 --> 00:26:20,520 Speaker 1: Sure, the whole thing. 464 00:26:22,400 --> 00:26:24,280 Speaker 2: I could see a version where people are just like, 465 00:26:24,560 --> 00:26:26,040 Speaker 2: what's the part that I need to know? 466 00:26:27,040 --> 00:26:29,920 Speaker 1: Not important? Not important? My lines? Not not important? Not 467 00:26:30,080 --> 00:26:34,399 Speaker 1: my lines? Yeah maybe there are no we you know, 468 00:26:34,720 --> 00:26:37,600 Speaker 1: and we'd have table reads too, every yeah, right, So 469 00:26:37,640 --> 00:26:39,480 Speaker 1: we'd sit down and we'd read it as a as 470 00:26:39,520 --> 00:26:39,879 Speaker 1: a group. 471 00:26:41,040 --> 00:26:43,439 Speaker 2: What happened often where like it would be late at 472 00:26:43,560 --> 00:26:45,359 Speaker 2: night and there'd be a revision and they have to 473 00:26:45,359 --> 00:26:46,600 Speaker 2: send like a p a. 474 00:26:48,200 --> 00:26:50,639 Speaker 1: Drop off at midnight or something. Yeah, you know, I 475 00:26:50,680 --> 00:26:54,520 Speaker 1: think you know, the very first week we were shooting 476 00:26:54,920 --> 00:26:57,880 Speaker 1: at War Brothers because we were filming the pilot in Toronto, 477 00:26:58,920 --> 00:27:00,399 Speaker 1: Laura and I were sitting to make a chair of 478 00:27:00,440 --> 00:27:03,640 Speaker 1: six a m. We had a six thirty set call 479 00:27:04,040 --> 00:27:07,720 Speaker 1: and the PA came in with the ten page script, 480 00:27:08,280 --> 00:27:13,800 Speaker 1: ten page sorry, ten page scene totally rewritten. WHOA. We 481 00:27:13,800 --> 00:27:17,520 Speaker 1: were like whoa, And we had, you know, maybe twenty 482 00:27:17,560 --> 00:27:21,320 Speaker 1: minutes to nail it, and we did. And we so 483 00:27:21,400 --> 00:27:23,600 Speaker 1: we proved to ourselves in that moment like, Okay, we 484 00:27:23,640 --> 00:27:26,520 Speaker 1: can handle this, right, Yeah, can handle it. Maybe she 485 00:27:26,520 --> 00:27:28,160 Speaker 1: already knew she could. I didn't know if I could, 486 00:27:28,240 --> 00:27:32,399 Speaker 1: But you know, it's amazing what you can do on 487 00:27:32,480 --> 00:27:37,640 Speaker 1: adrenaline and effort and belief. And if you have somebody 488 00:27:37,800 --> 00:27:41,600 Speaker 1: like Lauren right and uh, you know you have a great, 489 00:27:41,840 --> 00:27:44,280 Speaker 1: great tennis partner there, she's gonna she's always going to 490 00:27:44,359 --> 00:27:46,919 Speaker 1: hit the ball over the net and challenge you with it. 491 00:27:47,000 --> 00:27:50,880 Speaker 1: So it's it's it's kind of easier in that regard. 492 00:27:51,240 --> 00:27:51,439 Speaker 1: You know. 493 00:27:51,920 --> 00:27:54,800 Speaker 2: Yeah, I imagine a lot of this work got worked 494 00:27:54,840 --> 00:27:56,680 Speaker 2: out during the table read. But like, was there ever 495 00:27:56,720 --> 00:27:59,440 Speaker 2: a time where you're filming the scene, like you're on set, 496 00:27:59,440 --> 00:28:02,199 Speaker 2: you're in ward, you're filming the scene, and then the 497 00:28:02,760 --> 00:28:04,600 Speaker 2: you know, the right. I don't know if the writers 498 00:28:04,600 --> 00:28:07,560 Speaker 2: were ever there, but like, are people like making changes 499 00:28:07,600 --> 00:28:10,359 Speaker 2: on the fly, like after seeing it kind of happen 500 00:28:10,440 --> 00:28:11,240 Speaker 2: in real time? 501 00:28:12,600 --> 00:28:15,520 Speaker 1: Very rarely, it would happen little tweaks here and there 502 00:28:15,520 --> 00:28:17,560 Speaker 1: if Amy was directing an episode or Dan was directing 503 00:28:17,600 --> 00:28:19,880 Speaker 1: an episode, or Amy or Dan happened to be there 504 00:28:20,080 --> 00:28:22,320 Speaker 1: because they were in the writer's room so often. It 505 00:28:22,480 --> 00:28:25,480 Speaker 1: was for so long, and they come out, light up 506 00:28:25,520 --> 00:28:27,880 Speaker 1: the set and we'd be very happy to see them. 507 00:28:28,160 --> 00:28:31,320 Speaker 1: And yeah, every once in a while there'd be a tweak, 508 00:28:31,359 --> 00:28:34,200 Speaker 1: you know, nothing major that they didn't the writing really 509 00:28:34,200 --> 00:28:39,480 Speaker 1: didn't need it, you know, they were very uh man 510 00:28:39,560 --> 00:28:40,239 Speaker 1: were they on it? 511 00:28:41,000 --> 00:28:41,200 Speaker 2: You know? 512 00:28:41,280 --> 00:28:45,520 Speaker 1: It was very rhythmic and very musical and it was 513 00:28:45,680 --> 00:28:46,880 Speaker 1: just wonderful stuff. 514 00:28:47,400 --> 00:28:51,480 Speaker 2: Yeah, and we're so lucky to exist in a universe 515 00:28:51,480 --> 00:28:55,200 Speaker 2: with kilmrcirls. I think so, Yeah, I think so is 516 00:28:55,200 --> 00:28:57,280 Speaker 2: there a cast member that you wish you had more 517 00:28:57,320 --> 00:28:57,840 Speaker 2: scenes with? 518 00:28:58,960 --> 00:29:01,200 Speaker 1: Sally? I didn't get to work with her very much. 519 00:29:01,360 --> 00:29:05,400 Speaker 1: It seemed like once every other year we had a 520 00:29:05,440 --> 00:29:08,440 Speaker 1: brief scene, you know, and I would just have so 521 00:29:08,560 --> 00:29:12,120 Speaker 1: much fun with her. She was such a hoot. Man, 522 00:29:12,560 --> 00:29:18,240 Speaker 1: what a what a fun, lively, energetic, full of stories 523 00:29:18,280 --> 00:29:21,680 Speaker 1: and humor and love. I mean, she was just loving everybody. 524 00:29:21,720 --> 00:29:21,920 Speaker 2: You know. 525 00:29:22,080 --> 00:29:28,360 Speaker 1: She she was equal opportunity, optimist. Man, she was just something. 526 00:29:28,800 --> 00:29:31,520 Speaker 1: She's on set, she still is. I mean, you know, 527 00:29:31,640 --> 00:29:35,280 Speaker 1: she's she's with she she does a lot of theater. 528 00:29:36,200 --> 00:29:40,000 Speaker 2: I saw her on stage during Yeah, she did a 529 00:29:40,040 --> 00:29:43,040 Speaker 2: play of Young Frankenstein a couple of years ago, and 530 00:29:43,120 --> 00:29:45,200 Speaker 2: I went and saw it. It was She's so and I 531 00:29:45,200 --> 00:29:46,760 Speaker 2: was such a big goal in the family fancast. I 532 00:29:46,800 --> 00:29:49,719 Speaker 2: was like, she's just the best. She's so cool she is. 533 00:29:51,480 --> 00:29:54,360 Speaker 2: Did you have a favorite job that Kirk one of 534 00:29:54,440 --> 00:29:56,760 Speaker 2: Kirk's jobs? Did you have a favorite of those? 535 00:29:57,800 --> 00:30:02,560 Speaker 1: Well? His his movie directors was just killed me. His 536 00:30:02,720 --> 00:30:07,240 Speaker 1: movies were so filmed by Kirks Kirk. They're so great. 537 00:30:08,560 --> 00:30:12,240 Speaker 1: I mean, can you this is the greatness of Gilmour 538 00:30:12,320 --> 00:30:15,160 Speaker 1: Girls is to have a character like that and doing 539 00:30:15,320 --> 00:30:20,160 Speaker 1: that and those weirdo films those great you know, they 540 00:30:20,200 --> 00:30:22,360 Speaker 1: all look like n y U student films that I 541 00:30:22,480 --> 00:30:32,680 Speaker 1: used to do. I've been in those films. They're so correct. Yeah. 542 00:30:32,880 --> 00:30:35,440 Speaker 1: I think that's the and the and the uber driver. 543 00:30:35,680 --> 00:30:38,560 Speaker 1: I remember he was, was he driving them? Yeah? Yeah, 544 00:30:39,200 --> 00:30:43,360 Speaker 1: funny the hot dogs so Jesus. 545 00:30:44,000 --> 00:30:48,800 Speaker 2: And the films set up for me too, they're so good. 546 00:30:50,000 --> 00:30:50,200 Speaker 1: Yeah. 547 00:30:50,640 --> 00:30:54,720 Speaker 2: Did you well when you filmed an episode, like like 548 00:30:54,760 --> 00:30:56,440 Speaker 2: an average episode. I know they're all different, but like 549 00:30:56,440 --> 00:30:58,600 Speaker 2: an average Gilmore Girls episode? How long did that take 550 00:30:58,680 --> 00:31:00,360 Speaker 2: to film? Like from start to finish? 551 00:31:00,560 --> 00:31:04,600 Speaker 1: Eight days, eight days? Yeah? Oh my god. Each each 552 00:31:04,680 --> 00:31:08,800 Speaker 1: episode was eight days, eight weekdays. So it would be 553 00:31:09,360 --> 00:31:12,920 Speaker 1: you know, Monday through Friday and then Monday through Wednesday. Wow. 554 00:31:13,200 --> 00:31:16,640 Speaker 2: Yeah, I'm curious the production schedule. Was the whole season 555 00:31:16,760 --> 00:31:19,080 Speaker 2: like wrapped before it started airing or was it like 556 00:31:19,160 --> 00:31:22,000 Speaker 2: airing while you were filming the like second half of 557 00:31:22,040 --> 00:31:23,320 Speaker 2: it or how did that work? 558 00:31:24,360 --> 00:31:27,080 Speaker 1: Well, we would have summers off, right, so it was 559 00:31:27,080 --> 00:31:31,480 Speaker 1: like high school? And when did it? Yeah? And it 560 00:31:31,480 --> 00:31:35,080 Speaker 1: would it usually it would usually drop in September, right 561 00:31:35,200 --> 00:31:38,280 Speaker 1: the first episode. It would it was a fall show, yeah, 562 00:31:38,320 --> 00:31:40,920 Speaker 1: but it would go for twenty three weeks, twenty two 563 00:31:40,960 --> 00:31:44,040 Speaker 1: weeks or twenty four weeks in the fall. Yeah, And 564 00:31:44,080 --> 00:31:46,760 Speaker 1: so we were working in the fall. Yeah, Okay, yeah, 565 00:31:46,800 --> 00:31:49,239 Speaker 1: we we we would start up, and god, why we 566 00:31:49,240 --> 00:31:53,440 Speaker 1: start up? We had Christmas break and then we could 567 00:31:53,480 --> 00:31:56,200 Speaker 1: be back to work and then we work for you know, summer, 568 00:31:56,280 --> 00:32:00,480 Speaker 1: summer would come, we'd be off, we'd be Yeah. I'm 569 00:32:00,520 --> 00:32:03,120 Speaker 1: curious because, like you know, I always wonder, like it 570 00:32:03,200 --> 00:32:08,520 Speaker 1: starts to go to sleep for a month exactly, hybernate. Uh, 571 00:32:08,800 --> 00:32:11,320 Speaker 1: it starts to air and you're getting like you're seeing 572 00:32:11,360 --> 00:32:14,120 Speaker 1: reaction from from fans at that point, and it's got it. 573 00:32:14,120 --> 00:32:14,280 Speaker 1: You know. 574 00:32:14,320 --> 00:32:16,960 Speaker 2: I don't know what the Palladino's how they'd react to that, 575 00:32:17,120 --> 00:32:19,960 Speaker 2: but like you know, you'd at least I feel like 576 00:32:20,000 --> 00:32:23,920 Speaker 2: there'd be temptation to like make changes or adjustments based 577 00:32:23,960 --> 00:32:25,479 Speaker 2: on how it was airing. By that point, so many 578 00:32:25,520 --> 00:32:26,840 Speaker 2: of them were in the cans. It was going to 579 00:32:26,880 --> 00:32:30,160 Speaker 2: be X amount of weeks or months before it actually, 580 00:32:30,200 --> 00:32:31,760 Speaker 2: you know, before the changes took effect. 581 00:32:31,800 --> 00:32:33,680 Speaker 1: I don't know. I always wondered how that worked. Well, 582 00:32:33,720 --> 00:32:40,080 Speaker 1: I'm sure they're getting communicates from Warner Brothers about character popularity, 583 00:32:40,200 --> 00:32:45,560 Speaker 1: but I don't know that Amy and Dan really cared 584 00:32:45,560 --> 00:32:47,560 Speaker 1: about any of that. I think they just wrote what 585 00:32:47,600 --> 00:32:51,960 Speaker 1: they wrote, right. I think I think they organically if 586 00:32:51,960 --> 00:32:54,000 Speaker 1: they want to write for a character, if they enjoy 587 00:32:54,040 --> 00:32:55,920 Speaker 1: writing for a character, if they want to create a 588 00:32:55,960 --> 00:32:58,680 Speaker 1: new character because they think it would be funny and 589 00:32:58,760 --> 00:33:01,840 Speaker 1: help the storytelling, they do it. You know, I don't know, 590 00:33:02,720 --> 00:33:06,880 Speaker 1: I don't really see them being dictated to by charts 591 00:33:06,920 --> 00:33:09,440 Speaker 1: and graphs and polls and things like that. 592 00:33:09,560 --> 00:33:11,880 Speaker 2: You know, they have such a clear vision and that 593 00:33:12,080 --> 00:33:16,360 Speaker 2: it's so evident in the show coming back after summer 594 00:33:16,680 --> 00:33:17,800 Speaker 2: to start up again. 595 00:33:18,240 --> 00:33:20,680 Speaker 1: What was what was that like? Was that did it 596 00:33:20,720 --> 00:33:21,560 Speaker 1: feel like school? 597 00:33:21,640 --> 00:33:24,320 Speaker 2: Like? Was it like, oh, hey, I just been your break? 598 00:33:24,520 --> 00:33:27,080 Speaker 2: Like I'm always curious how that was what the experience 599 00:33:27,120 --> 00:33:27,320 Speaker 2: is like? 600 00:33:27,800 --> 00:33:31,840 Speaker 1: No, No, it's it's not like school at all. It's 601 00:33:31,960 --> 00:33:36,360 Speaker 1: like recess. It's like going to school and then just 602 00:33:36,400 --> 00:33:39,800 Speaker 1: going to recess to play. No, I mean we did 603 00:33:39,800 --> 00:33:41,720 Speaker 1: a lot of work. We did some hard work, right, 604 00:33:42,600 --> 00:33:50,640 Speaker 1: it was Look, acting isn't meant to do that often. Okay, 605 00:33:50,880 --> 00:33:54,920 Speaker 1: they just know that to keep it real on TV 606 00:33:56,600 --> 00:34:00,400 Speaker 1: is very very difficult task because you've got nine months 607 00:34:00,400 --> 00:34:04,240 Speaker 1: and you've got these very long days, and it can 608 00:34:04,880 --> 00:34:07,760 Speaker 1: it can break you. It really can. It's like any 609 00:34:07,800 --> 00:34:12,600 Speaker 1: other job. If if you're overworked, it can break you. 610 00:34:12,680 --> 00:34:15,240 Speaker 1: It can really have an effect. But we were all, 611 00:34:15,360 --> 00:34:18,120 Speaker 1: you know, back then, young and strong, and you know 612 00:34:18,080 --> 00:34:22,640 Speaker 1: it could kind of deal with it. Yeah, but yeah, 613 00:34:22,920 --> 00:34:26,560 Speaker 1: it takes over your life. You don't really have a life. 614 00:34:26,719 --> 00:34:29,000 Speaker 1: You just sort of do the show and then get 615 00:34:29,040 --> 00:34:30,920 Speaker 1: your rest and hope to eat well and hit the 616 00:34:30,960 --> 00:34:33,920 Speaker 1: gym once in a while, and you know, but it's 617 00:34:33,719 --> 00:34:37,600 Speaker 1: it can get it can get tiresome, you know. Sure, 618 00:34:39,160 --> 00:34:43,960 Speaker 1: But you know the thing that always made me get 619 00:34:44,000 --> 00:34:46,960 Speaker 1: out of bed in the morning and look forward to 620 00:34:47,000 --> 00:34:51,000 Speaker 1: it was I get to help tell this story today 621 00:34:51,640 --> 00:34:53,799 Speaker 1: and I get to do it with these people, and 622 00:34:53,880 --> 00:34:56,839 Speaker 1: it's going to be fun. And who cares if you're 623 00:34:56,840 --> 00:35:00,200 Speaker 1: a little tired. Everybody's a little tired, right, Yeah. I 624 00:35:00,200 --> 00:35:03,719 Speaker 1: mean I could be tired, you know, doing a job 625 00:35:03,760 --> 00:35:06,560 Speaker 1: I didn't want to do, right, which is a lot 626 00:35:06,560 --> 00:35:10,320 Speaker 1: of people's every day. So I'm doing something I really 627 00:35:10,360 --> 00:35:15,840 Speaker 1: love doing, and I know everybody else in the cast 628 00:35:16,080 --> 00:35:19,040 Speaker 1: was really happy and really grateful to be there. And 629 00:35:19,800 --> 00:35:24,040 Speaker 1: we just love creating scenes. So that's kind of what 630 00:35:24,080 --> 00:35:27,000 Speaker 1: we do. It's a weird thing to do with your day, 631 00:35:27,080 --> 00:35:30,280 Speaker 1: but it's you know, it's very communal. It's you're doing 632 00:35:30,520 --> 00:35:33,680 Speaker 1: with other people. Everybody has the same goal is to 633 00:35:33,760 --> 00:35:36,719 Speaker 1: make as the great ast scene as they possibly can make, 634 00:35:36,760 --> 00:35:41,839 Speaker 1: and that moment so kind of noble, right, yeah, yeah, 635 00:35:41,960 --> 00:35:43,480 Speaker 1: and nobility there. 636 00:35:44,320 --> 00:35:48,200 Speaker 2: We're so grateful for you and everyone else sharing this 637 00:35:48,400 --> 00:35:52,040 Speaker 2: talent with with the world and bringing these characters to life. 638 00:35:52,280 --> 00:35:54,560 Speaker 2: And I want to thank you Scott for taking time 639 00:35:54,600 --> 00:35:57,760 Speaker 2: to day and answering these questions. We have so many 640 00:35:57,800 --> 00:36:00,759 Speaker 2: more that maybe we'll get to another time, but uh, 641 00:36:01,640 --> 00:36:03,960 Speaker 2: this is just the best. I love having these moments 642 00:36:04,000 --> 00:36:05,759 Speaker 2: with you and you get to just dive deep and 643 00:36:06,200 --> 00:36:09,919 Speaker 2: learn more about about Scott Patterson, the actor, the man, 644 00:36:10,080 --> 00:36:10,600 Speaker 2: the legend. 645 00:36:11,440 --> 00:36:13,920 Speaker 1: So thank you for doing this. You are too kind Easton. 646 00:36:14,160 --> 00:36:16,520 Speaker 1: I'll tell you I'm gonna talk to Amy. You're gonna 647 00:36:16,520 --> 00:36:19,160 Speaker 1: get a raise, all right, all Amy, not Amy sharp 648 00:36:19,200 --> 00:36:22,319 Speaker 1: pat But yeah, let's do it again. It was fun, 649 00:36:22,520 --> 00:36:54,800 Speaker 1: all right, Thanks so much? All right, take care, everybody 650 00:36:55,160 --> 00:36:58,640 Speaker 1: forget Follow us on Instagram at I Am all In 651 00:36:58,880 --> 00:37:13,800 Speaker 1: podcast and Nalys at Gilmore at iHeartRadio dot com.