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Speaker 1: First of all, you don't know me all about that

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Speaker 1: high school drama, Girl drama, girl, all about them high

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Speaker 1: school queens.

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Speaker 2: We'll take you for a ride.

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Speaker 1: And our comic girl cheering for the righteen drama Queens

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Speaker 1: jis go up girl fashion, which you'll tough girl. You

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Speaker 1: could sit with us, Girl drama, Queen drama, queense drama,

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Speaker 1: Queens drama, drama, Queens drama queens. Guys. Hello, everyone, you're

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Speaker 1: all joining us in the middle of our conversation because

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Speaker 1: every time we get together we can't stop gabbing. But

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Speaker 1: we're talking about season six, episode nineteen, Letting Go air

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Speaker 1: date March thirtieth, two thousand and nine. Paul, would you

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Speaker 1: be so kind as to read in the chat there

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Speaker 1: is a synopsis of this episode. Perhaps, oh my god,

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Speaker 1: check yes with your episode, guys. Paul is here because

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Speaker 1: he directed this episode baifully uh, and we're here to

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Speaker 1: talk with him about it, in with you and all

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Speaker 1: the things.

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Speaker 3: Well, that is so sweeter. I do have the synopsis

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Speaker 3: right in front of me, and the director's name is

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Speaker 3: Bill correctly, which is fantastic. Do a gig and they

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Speaker 3: give me an E or an extra S or something more.

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Speaker 2: You've earned all those letters, Babe, take them.

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Speaker 3: The synopsis, Julian makes Brooke a startling offer. We know

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Speaker 3: who Julian is. What a wonderful later. By the way,

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Speaker 3: I did watch that on the you know they do

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Speaker 3: on YouTube a kind of like you know, the highlights

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Speaker 3: of the season. You know, when you wan like a

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Speaker 3: three minute things of that episode, and you know, he's

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Speaker 3: so good looking. It's like, I really hate him. Anybody

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Speaker 3: who comes on the show that's that good looking.

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Speaker 2: I just was just good, isn't he? Yes? I mean, yes,

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Speaker 2: of course, of course.

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Speaker 3: And it was a really fun episode. But Lucas brings Nathan,

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Speaker 3: Scott and Jamie to an important place from his past,

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Speaker 3: and we also see him shooting baskets and that great

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Speaker 3: Mustang that they had in the.

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Speaker 2: Right.

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Speaker 3: I mean, I'm sure Jeffrey loves fastbacks. That's one of

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Speaker 3: my favorite cars.

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Speaker 2: Whole garage, Paul. It's just he does. And he always

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Speaker 2: gets stick shift cars that I can't drive because I'm

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Speaker 2: a nerd girl, and I'm like, I want to learn.

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Speaker 3: Fine, that's alert. That's a good tactic for the future

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Speaker 3: for me.

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Speaker 2: That's smart.

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Speaker 3: Peyton prepares for the future while Pyton prepares Sam and

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Speaker 3: Jack take a stand against the principal who fired Hayley.

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Speaker 3: Awkward storyline.

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Speaker 2: It was so fun.

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Speaker 3: Isn't that an awkward storyline?

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Speaker 2: Yeah?

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Speaker 3: So imposed. I mean I understand what they're trying to

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Speaker 3: go for, but it was very confusing from a directing

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Speaker 3: point of view to help tell that story because it

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Speaker 3: felt shoved in and it felt like this is somebody

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Speaker 3: else's version of what school's like. It's not what kids experience.

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Speaker 1: Right, Yeah, it was. There was a lot that was

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Speaker 1: forced about that.

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Speaker 3: Okay, we'll get into that, and I'm not trying to

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Speaker 3: cut down. I mean, look at you did ten years

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Speaker 3: of a series. It's not everything's going to be genius, right.

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Speaker 2: We like to giggle about the left turns that tree

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Speaker 2: Hill takes from Tarya.

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Speaker 3: What a polite way of By the way, I have

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Speaker 3: so many like things. I mean, listen, I almost like

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Speaker 3: I didn't know how to re because I thought when

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Speaker 3: I read the episode where the Dog Ate My Heart,

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Speaker 3: which is the episode before this, right.

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Speaker 2: We just missed it. We just missed it happen.

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Speaker 3: Okay, Well I thought it was a joke and I

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Speaker 3: called Joe I think Joe Devola and laughed and said,

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Speaker 3: you guys are hilarious. The real script I got to

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Speaker 3: study for tomorrow and he was like, yeah, no, we did,

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Speaker 3: And I was like, oh, I mean I really I

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Speaker 3: like to prepare. He's like we did because he was

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Speaker 3: directed that episode, right.

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Speaker 1: Yeah, yeah he did. That's right.

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Speaker 2: We could talk about that one too, because I missed

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Speaker 2: last week. So any antel you want to give us

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Speaker 2: like that mess?

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Speaker 1: Yes?

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Speaker 2: Please?

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Speaker 3: Then let's quickly before I'll finished a centinemiatica question and

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Speaker 3: one makes more takes Mormon on a road trip to

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Speaker 3: get his mind up. Milling happy to see those two

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Speaker 3: have a story that builds together from like the main six,

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Speaker 3: because I think they're great characters and they deserve that

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Speaker 3: time on the screen. I thought I was happy about

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Speaker 3: that one. I love dirinking those two together. They're good chemistry.

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Speaker 3: But did you I hear often and I read often,

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Speaker 3: and I shouldn't do this because I'm sensitive When I

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Speaker 3: read online. Sometimes I just want to go to the

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Speaker 3: bathroom and shut the door and cry because people are very.

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Speaker 2: Mean, right, who mean to us? Never?

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Speaker 3: I think a lot of times people don't consider that

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Speaker 3: we actually read stuff they write about it, and we

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Speaker 3: do because like, what did you think and I go, well,

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Speaker 3: I think you could have eaten a few more salads.

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Speaker 3: So you know, I'm like, you're right, but don't say it.

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Speaker 2: Don't internet etiquette. Don't be a dick.

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Speaker 3: Oh yeah, that's I didn't read that when I got

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Speaker 3: on the internet. Doesn't pop up.

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Speaker 2: No, that pop up should be there. But this is

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Speaker 2: an infamous episode for you.

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Speaker 3: It is because a lot of people ask me if

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Speaker 3: I feel that the show jumped the shark with the

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Speaker 3: heart because it's cartoonish in a way. It's not a

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Speaker 3: realistic way that the heart's going to come in in

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Speaker 3: a in a in.

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Speaker 4: A you know, in a lunchbox so smart, you know,

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Speaker 4: eat candy first or what not, and then the dog's

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Speaker 4: just happening to be in an er room and run

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Speaker 4: over and have a nice slate heart snack.

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Speaker 3: It felt like a lot of things had to be

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Speaker 3: wrong for that world to work. Yeah, yeah, but it

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Speaker 3: was cute and it's talkable and it's you know.

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Speaker 2: It's talkable. You know, that's a great way to put it.

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Speaker 1: Oh yeah, everybody was talking about it. That was a

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Speaker 1: very water cooler moment.

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Speaker 2: But wasn't That was right about the time we had

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Speaker 2: gone through a year or two of what was the

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Speaker 2: show that made fun of us all the time? Talks

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Speaker 2: to Soup. Oh yeah, Talk made fun of us all

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Speaker 2: the time, and at first we weren't in on the joke.

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Speaker 2: They were just strictly making fun of us. And this

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Speaker 2: felt one hundred percent like bait. This was this was

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Speaker 2: us saying like, oh.

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Speaker 3: Hold on it the whole segment on it.

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Speaker 1: Did you see that John Oliver anyway? You mean yeah, wait,

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Speaker 1: John Oliver did? I thought it was the other guy,

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Speaker 1: Joel mchill.

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Speaker 3: No, it's it's it's you know, John Oliver from the.

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Speaker 2: Right. Yeah, John Oliver started on John Stewart show.

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Speaker 1: Oh oh, that's so fun.

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Speaker 2: I feel like you need to have a secondary reel

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Speaker 2: that is just people reacting to the things that you've done,

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Speaker 2: as Dan Scott, because to have that much of an

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Speaker 2: impact on pulp culture, no, like all the dance consto

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Speaker 2: realized the commentary attention. Yeah, yeah, listen, you're dastardly made

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Speaker 2: the headlines.

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Speaker 3: That's why I brought my own audience to the to

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Speaker 3: the podsam.

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Speaker 2: Yeah, you got Jim Jones looking over your shoulders there.

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Speaker 1: God.

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Speaker 2: So okay, So how do you go from having to

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Speaker 2: commit to something so bonkers in the last episode and

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Speaker 2: turn in some very heartfelt, you know, earnest performances as

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Speaker 2: you're saying goodbye to everybody. Yeah, then directing this one,

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Speaker 2: it's very little prep time for you, given how much

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Speaker 2: your workload was in the last episode.

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Speaker 3: You guys all shared the same burden I did. It

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Speaker 3: wasn't unique unto me. I know you guys have had

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Speaker 3: to do the same thing, So I'm probably approach it

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Speaker 3: the same way you did, which is I never I

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Speaker 3: take my work seriously, but I don't take myself seriously

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Speaker 3: and giving yourself some humility and going okay, I made

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Speaker 3: a big mistake. And actually I've never talked about this before.

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Speaker 3: I'll tell you one thing. I did a serious work.

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Speaker 3: The first series I was ever the co star of

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Speaker 3: the star was with Elizabeth Grayson on a series, a

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Speaker 3: spin up series of The Highlander called The Raven and

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Speaker 3: I had been fortunate enough that they decided to make

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Speaker 3: it her and I was originally supposed to be just

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Speaker 3: her series, and then they brought me in because they

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Speaker 3: wanted a nice sort of like somebody moment, right, Yeah, thing,

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Speaker 3: she was an immortal and I was a cop and

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Speaker 3: I made the mistake of going to I did a

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Speaker 3: lot of research. I drew Grove around with like detectives,

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Speaker 3: and I did some cop research and I went into

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Speaker 3: Toronto Police Department Detective Union and did all this stuff

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Speaker 3: and I was, you know, living in la But I

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Speaker 3: got up there and started the series and I was like,

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Speaker 3: I'm going to make this the most important acting job

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Speaker 3: of my life, and I'm going to show everybody to

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Speaker 3: whom whatever it is. And I got ahead of my

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Speaker 3: skis a little bit because on the first episode they

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Speaker 3: had a body falling into the top roof and landing

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Speaker 3: on a car and denting the roof. And I was

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Speaker 3: this arrogant young actor thinking I'm going to make this

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Speaker 3: an emmy word when you show, and it was. It

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Speaker 3: was misguided in a positive way, but poorly executed because

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Speaker 3: I was young and immature and didn't understand the nature

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Speaker 3: of the business and many things. And I had to

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Speaker 3: go up to it to them and apologize too, because

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Speaker 3: I really had to come to Jesus moment on that

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Speaker 3: I said, that doesn't look like a kind of car

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Speaker 3: their body would hit, As if I'm an expert what

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Speaker 3: cars look like when bodies hit them.

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Speaker 2: From oh wow.

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Speaker 3: I went, look, that's a tiny dent man. That body

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Speaker 3: would have gone right through. And the director goes, yeah,

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Speaker 3: but you know, maybe not. And I was kind of like, well,

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Speaker 3: I can't be in the scene if that car doesn't

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Speaker 3: look properly down. And the director goes, okay, then you're

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Speaker 3: not in the scene. Oh, and I went what And

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Speaker 3: I was too arrogant to go, well, wait a minute,

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Speaker 3: don't come me out of the scene. So he cut

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Speaker 3: me out of the scene. And I was one of

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Speaker 3: the stars of the show. And I walked my trailer like, oh, angry,

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Speaker 3: and you know, I'm righteous about this. And I sat

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Speaker 3: on my trailer and it seeped in very quickly, like hey, dummy,

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Speaker 3: you know you're not bigger than the show. You're not

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Speaker 3: bigger than anybody. Your ideas are just ideas, and everybody

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Speaker 3: has a right to ideas. Yours can be wrong. And

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Speaker 3: I sat there and I kind of went back and

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Speaker 3: I telled him and said, hey, look, you know I

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Speaker 3: might have misspoke. Whatever. He goes, okay, go back to work,

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Speaker 3: and he was super cool about it, like he knew

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Speaker 3: how to have a young actor. And so I wish that,

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Speaker 3: you know, I hadn't done it, but I really needed

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Speaker 3: the lesson.

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Speaker 2: Yeah.

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Speaker 1: Yeah, especially in television because everything moves so fast. There's

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Speaker 1: just it's not the same amount of time when you're

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Speaker 1: on a film and you can go and you have

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Speaker 1: days to rehearse and you all this time. With actors, you.

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Speaker 2: Just have to script ahead of time for months.

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Speaker 1: Yeah, that's right. So TV comes in and on episodes

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Speaker 1: like these, even when you're working, you just have to

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Speaker 1: take the two weeks to prep. I would say that

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Speaker 1: probably one of the biggest benefits for any of us

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Speaker 1: as actors jumping in to direct is that the show

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Speaker 1: was sort of running itself at that point in so

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Speaker 1: many ways, Paul, did that feel like did it make

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Speaker 1: it more like present more challenges? Did it make it

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Speaker 1: more interesting? The fact that it was Were you able

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Speaker 1: to focus on other things as a director instead of

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Speaker 1: trying to create a whole new environment and all that,

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Speaker 1: you know what I mean? Yeah, when you jumped in

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Speaker 1: on episodes, because like, there was so much about it

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Speaker 1: that was kind of running itself. So yeah, I gave

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Speaker 1: you an opportunity to to do new things, try new things.

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Speaker 1: I mean, what what did you enjoy about that?

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Speaker 3: Well? My mindset for directing Montree Hill, and I think

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Speaker 3: you and I have had what a thousand conversations about

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Speaker 3: you know this? So it's it's it's a it's a

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Speaker 3: very nice it's almost like a softball question because you

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Speaker 3: probably know my answers.

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Speaker 1: But the audience doesn't.

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Speaker 3: Oh, I forget, there's people listening.

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Speaker 1: People just really want to know.

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Speaker 3: I just love the Hillary's wallpaper and I can't get

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Speaker 3: over it as I.

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Speaker 2: Speak, slithering over here.

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Speaker 3: It's great, it's it's this is. My goal wasn't to

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Speaker 3: try to influence the creators of the show, the writers

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Speaker 3: that you know, anybody else in that sphere when I

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Speaker 3: got to the set. My goal was to encourage the

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Speaker 3: actors to leave their complacency after playing the role like

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Speaker 3: I had many times I walk into scene, I go, Okay,

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Speaker 3: it's the same kind of dollog I said last episode,

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Speaker 3: But you know what, let me try and make it

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Speaker 3: fresh and let me find some nuance. It was to

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Speaker 3: encourage them to challenge themselves. And I remember many instances

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Speaker 3: with everybody was to say, yeah, we've seen that. What

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Speaker 3: else do you got?

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Speaker 5: Like?

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Speaker 3: What is new in this? How do we challenge ourselves

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Speaker 3: to make this a different experience so that we can

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Speaker 3: light that fire again, because I want the actors to

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Speaker 3: come in and be inspired by well not me particularly,

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Speaker 3: but by the freedom to know that I'll let you

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Speaker 3: try something you didn't try before because I want to

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Speaker 3: see it too, because I'm a fan. And that was

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Speaker 3: the goal was to push those buttons so that when

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Speaker 3: we would get when I get phone calls from like

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Speaker 3: the network or from even the creator, sometimes it's like, oh,

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Speaker 3: that was a great performance you got out of somebody said,

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Speaker 3: how was them? They just need permission to go there?

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Speaker 2: That's nice? All well, you can tell there's certain scenes

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Speaker 2: in this episode that had the Paul hallmark on them,

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Speaker 2: especially like when Skills was waking mouth up and you

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Speaker 2: just let the camera live on mouth after Skills left

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Speaker 2: the room and watched him like just like fuddle with

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Speaker 2: the pillows and try to get back to sleep. You

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Speaker 2: let actors rest or linger in a moment longer than

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Speaker 2: other directors would, just to see like what are they

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Speaker 2: gonna do?

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Speaker 3: Acting class? Remember when we were all in acting classes.

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Speaker 2: Hillary did where did June Stein? I studied with June Stein,

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Speaker 2: who was a professor at Columbia. She was one of

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Speaker 2: the original actors in what is It? The Miss Firecracker pageant?

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Speaker 2: John she was like pals with John Tatro and all them,

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Speaker 2: and she did my scene study class and put me

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Speaker 2: through the ringer.

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Speaker 3: What was her thing? What was her thing? She owned

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Speaker 3: to She really was.

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Speaker 2: About like choices and being able to give as many

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Speaker 2: choices as possible so that our directors, our editors had

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Speaker 2: things to play with. And so for me, I I

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Speaker 2: really was happy that before I went in One Tree Hill,

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Speaker 2: there was an adult in my life that was telling me, cool,

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Speaker 2: you got choice A, would choice be and choice C,

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Speaker 2: and then also have a choice D just ready to

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Speaker 2: go in case somebody asks for it. And that as

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Speaker 2: you know, how old was I eighteen nineteen when I

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Speaker 2: was working with her. That was a really simple way

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Speaker 2: for me to understand what I needed to bring to

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Speaker 2: the table when I hit a set.

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Speaker 3: Do you remember that? Did you see the Bradley Cooper

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Speaker 3: interview on the Round Table when he was nominated now

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Speaker 3: Mastro He referenced Vince Vaughan on wedding Crashers and he said,

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Speaker 3: the best lesson I ever learned in acting was watching

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Speaker 3: Vince Vaughn and wedding Crashers. But Bradley Cooper only had

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Speaker 3: a very tiny role, if you remember, And he said,

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Speaker 3: Vince Vaughn would go take after take and everything was

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Speaker 3: completely different than the last take, and he was willing

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Speaker 3: to fail, like e didn miserably fail in front of

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Speaker 3: the crew and cast. Didn't care, just want to keep

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Speaker 3: trying things. And he said that bus lust and I

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Speaker 3: ever had that kind of reminds me of what you

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Speaker 3: were just explaining.

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Speaker 2: Well, and my you know, my acting partner in that

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Speaker 2: class is now really successful, you know, executive, executive producer

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Speaker 2: and showrunner. He did Grace what is it? Grace Jones? No,

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Speaker 2: he did what is it? What just came out? Daisy Jones?

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Speaker 2: And the sixth Oh yeah, he did Shrinking Like James

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Speaker 2: Ponsol is a brilliant director, but he was a brilliant

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Speaker 2: actor before he was a director. And we used to

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Speaker 2: just like try all the time. And so it was

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Speaker 2: really fun to come up with someone like that and

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Speaker 2: then see the things that they're making now that are

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Speaker 2: all choices, it's just character driven choices.

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Speaker 1: Yeah, we all felt the permission to do that from you.

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Speaker 1: I know that I had studied on Guiding Light. I

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Speaker 1: mean that was you know, what I mean, Like, I

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Speaker 1: just did high school theater and I showed up on

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Speaker 1: I got pilots and stuff. Since I was fourteen sixteen,

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Speaker 1: I was doing things and lots of Broadway training in

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Speaker 1: small theater classes around New York and stuff, but nothing

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Speaker 1: uh substantial or of note or name. I was just

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Speaker 1: picking up jobs wherever I could and learning along the way.

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Speaker 2: Set education is so ill for it, it is final way.

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Speaker 2: Most colleges won't let you work. We talked with MICHAELA.

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Speaker 2: McManus about that. Once you get into NYU, or you

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Speaker 2: get into somebody with an esteemed acting program, they don't

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Speaker 2: let you audition for outside things until you graduate because

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Speaker 2: they want you to complete the program.

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Speaker 1: Did you have that experience, Paul, when you were training

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Speaker 1: or did you even have active trait because you were basketball?

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Speaker 1: And then remind me what happened.

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Speaker 3: God just touched me with talent.

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Speaker 1: Brilliant looks the brilliant shedding gold as he walks down

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Speaker 1: the street.

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Speaker 5: Trophies, he said, looks brains naw, I can only pick one.

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Speaker 3: I like it. It was so easy.

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Speaker 1: Where did you learn that? Where did you learn all

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Speaker 1: the thing about options and being able to as a

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Speaker 1: director give that permission to actors. How did you know

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Speaker 1: about that?

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Speaker 3: I mean, I have to say that I think a

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Speaker 3: lot of us don't give enough credit to our our

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Speaker 3: environment growing up as children. You know, I grew up

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Speaker 3: with a father who was a you know, an alcoholic,

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Speaker 3: a very difficult man who found God late in his

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Speaker 3: life and converted to a very dogmatic religion, and you know,

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Speaker 3: but he was tough. He was a tough man. He

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Speaker 3: was the NHL won the Stanley Cup. My mom was

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Speaker 3: an artist who, you know, who was unsatisfied. So that

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Speaker 3: sort of like longing for something more than we are

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Speaker 3: was kind of built into me. And so I think

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Speaker 3: when I started playing basketball, it was kind of a

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Speaker 3: way to get away from, you know, this very kind

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Speaker 3: of normality of my life, and I just longed for

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Speaker 3: things and and I think when I got into acting,

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Speaker 3: you know, I got hired very quickly when I moved

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Speaker 3: to Hollywood because I was a basketball player with the

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Speaker 3: Canadian national team and I came to America and I

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Speaker 3: wanted to try out the NBA and some other pro leagues,

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Speaker 3: and I started getting commercials, like I did twenty commercials

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Speaker 3: in one year. You know, back when they used to

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Speaker 3: pay and me hired me to do a commercial with

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Speaker 3: him and Magic Johnson. I did a commercial with him

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Speaker 3: and Tim Hardaway, and I started in Kentucky and write

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Speaker 3: Chicken and then the Diet Croke and I started doing

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Speaker 3: all these commercials and I was like, Oh, this shit's easy, man,

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Speaker 3: I just got to And then I realized, Oh, there's

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Speaker 3: no acting in this. It's just all kind of like

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Speaker 3: being a basketball guy.

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Speaker 2: Sometimes it was wandling in some ways.

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Speaker 3: Yeah, it was like I hit the description of what

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Speaker 3: they were looking for. But then I got humbled very quickly.

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Speaker 3: I've told the Space Pops prop story. I studied with

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Speaker 3: a Daryl Hickman, who who was whose brother Wasdbe Gillis

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Speaker 3: in the in this series, and and Daryl was a

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Speaker 3: very intense guy. And then I started with Stephen Gosh,

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Speaker 3: I'm embarrassed about these these names. But when I really

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Speaker 3: started to learn the disciplines, when I joined a repertory

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Speaker 3: Shakespeare company and did several seasons with them and got

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Speaker 3: the discipline. And it's when I learned how to smoke.

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Speaker 3: Because he goes, stay away from the catering table, have

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Speaker 3: one of these and I was like, oh yeah, and

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Speaker 3: you he goes, you won't be hungry and it's good

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Speaker 3: for you. Oh my god, this is like nineteen twenty

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Speaker 3: five or whatever it was. And so I started smoking,

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Speaker 3: you know, because of theater, and we all smoked in

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Speaker 3: theater because.

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Speaker 2: Where are part of the uniform.

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Speaker 3: Yeah, we weren't allowed to do and doing you know

401
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Speaker 3: Steve oh yeah, Stephen Book was my acting coach, and

402
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Speaker 3: we weren't allowed to act, were't allowed to take jobs.

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Speaker 3: Carlo Kucina was in that class. And more more, Cheerney

404
00:20:00,119 --> 00:20:02,320
Speaker 3: was in that class. Oh wow, lot of great actors

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Speaker 3: came out of that class. I studied with there, and

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Speaker 3: then I went to New York and there was a

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Speaker 3: very very very interesting acting coach there that's kind of famous,

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Speaker 3: who Kevin Klein uses and I worked with him for

409
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Speaker 3: a while and he was tough. He was very much

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Speaker 3: like everything that you're doing is because you're trying to

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Speaker 3: do the writer's job for them. Don't do that. Don't

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Speaker 3: do the writer's job. They have their job. You have

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Speaker 3: your job. They give you the words. Your job is

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Speaker 3: to is to know the words and do everything against

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Speaker 3: them you can. Because so much of the work that

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Speaker 3: everything underneath that is going to be what's called layered

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Speaker 3: life and give them context. And when you say I

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Speaker 3: shot scenes and I leave the camera on, it's because

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Speaker 3: of this thing that you guys know called you know,

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Speaker 3: that private moment. And we learn more about a character

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Speaker 3: through private moments when they're alone and nobody's watching, then

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Speaker 3: we do when they're in a conversation with somebody.

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Speaker 1: Yes, I love that, and that's what Hillary's talking about.

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Speaker 1: You leave the camera for the actor to just have

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Speaker 1: a moment instead of cutting away. You leave that in

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Speaker 1: the edit, and we learned so much more about where

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Speaker 1: a character's coming from. It's lovely.

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Speaker 2: But even if they don't, if you cut it right,

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Speaker 2: I always felt like I could learn something that I

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Speaker 2: could take into the next take.

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Speaker 1: Yeah, you still carry it with you in your box, right.

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Speaker 2: So, like if the scene ends on mouth putting those

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Speaker 2: pillows over his head and just like resisting what is

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Speaker 2: being offered to him, you know, you yell cut and

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Speaker 2: then two seconds later you go into the next take

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Speaker 2: and he's still got that energy in his body of

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Speaker 2: resistance that you let him have. And it reads in

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Speaker 2: this I like, you know, Hayden is one to have

439
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Speaker 2: lots of quiet moments, and so I appreciate that we

440
00:21:49,000 --> 00:21:51,439
Speaker 2: got to just settle into those because our show was

441
00:21:51,440 --> 00:21:54,520
Speaker 2: so montage and fast paced and there's eight million characters,

442
00:21:54,880 --> 00:21:59,400
Speaker 2: so to let people have that space is rare. Yeah, well,

443
00:21:59,520 --> 00:21:59,800
Speaker 2: we have.

444
00:21:59,800 --> 00:22:02,160
Speaker 3: Those to give credit to the post production team too,

445
00:22:02,240 --> 00:22:04,320
Speaker 3: because at the end of the day they can veto

446
00:22:05,440 --> 00:22:07,600
Speaker 3: oar cut so they can decide and if they see

447
00:22:07,760 --> 00:22:10,200
Speaker 3: there's value there, you know, we you know, I always

448
00:22:10,240 --> 00:22:12,560
Speaker 3: say that, you know, we have to really in this

449
00:22:12,600 --> 00:22:15,359
Speaker 3: meetium particularly, we have to have so much credit to

450
00:22:15,680 --> 00:22:19,360
Speaker 3: post production, and people understand, well, we hand them all

451
00:22:19,359 --> 00:22:21,760
Speaker 3: these ingredients and we go here, you go, good luck,

452
00:22:21,920 --> 00:22:23,879
Speaker 3: let us know what it turns out. Yeah, yeah, and

453
00:22:23,920 --> 00:22:25,560
Speaker 3: we do a terrific job. You know.

454
00:22:25,800 --> 00:22:28,560
Speaker 1: Yeah, well you did a terrific job in this episode.

455
00:22:28,600 --> 00:22:30,879
Speaker 1: I really, actually really enjoyed this episode. There were a

456
00:22:30,920 --> 00:22:33,160
Speaker 1: lot of pieces coming together, you know, the last one

457
00:22:33,160 --> 00:22:36,160
Speaker 1: that we had. It felt like there were a lot

458
00:22:36,200 --> 00:22:38,560
Speaker 1: of new open doors, a lot of endings and open

459
00:22:38,600 --> 00:22:42,159
Speaker 1: doors beginnings were available now and things were starting to

460
00:22:42,200 --> 00:22:45,760
Speaker 1: progress in a lot of these storylines. I loved your

461
00:22:45,880 --> 00:22:48,000
Speaker 1: use of long lenses. There were so many long lens

462
00:22:48,040 --> 00:22:51,399
Speaker 1: shots in this episode that were really beautiful. The lighting

463
00:22:51,480 --> 00:22:54,560
Speaker 1: was amazing, and I know you were working with Pete, right,

464
00:22:54,640 --> 00:22:55,840
Speaker 1: Pete KOs was on this.

465
00:22:56,119 --> 00:22:56,320
Speaker 3: Yeah.

466
00:22:57,800 --> 00:23:01,000
Speaker 1: I had a question about when you are working in

467
00:23:01,040 --> 00:23:05,320
Speaker 1: a television format like this where the schedule is really fast,

468
00:23:06,280 --> 00:23:08,119
Speaker 1: when you set up scenes, are you paying Are you

469
00:23:08,200 --> 00:23:11,760
Speaker 1: walking into a set paying attention to where the lighting is,

470
00:23:11,760 --> 00:23:13,479
Speaker 1: where the things and the sets are, and then you

471
00:23:13,560 --> 00:23:15,760
Speaker 1: ask the actors to be in that area so you

472
00:23:15,760 --> 00:23:18,080
Speaker 1: can set your shots up in those places? Do you

473
00:23:18,160 --> 00:23:21,239
Speaker 1: approach things wherever it's just a free for all and

474
00:23:21,280 --> 00:23:23,720
Speaker 1: it's totally up the lighting guys to set things up

475
00:23:23,760 --> 00:23:26,639
Speaker 1: where the actors go, which sometime times can be a

476
00:23:26,720 --> 00:23:30,720
Speaker 1: challenge on a tight schedule like we had. How do

477
00:23:30,760 --> 00:23:32,359
Speaker 1: you approach that where you can still be free and

478
00:23:32,440 --> 00:23:35,119
Speaker 1: artistic but also keep within the timeframe.

479
00:23:35,960 --> 00:23:38,359
Speaker 3: Oh what a terrific question, because anybody who wants to

480
00:23:38,359 --> 00:23:41,240
Speaker 3: get into this industry has to struggle with this because

481
00:23:41,640 --> 00:23:43,520
Speaker 3: when you walk your sets before your actors are there,

482
00:23:43,520 --> 00:23:45,280
Speaker 3: and we all do that, we walk them with our

483
00:23:45,320 --> 00:23:47,119
Speaker 3: tech crew, right, remember those walks.

484
00:23:47,640 --> 00:23:47,800
Speaker 6: You know?

485
00:23:47,880 --> 00:23:49,399
Speaker 3: So I was thinking this, and I was thinking this

486
00:23:49,480 --> 00:23:52,480
Speaker 3: and goes, yeah, that's too flat of a background. You

487
00:23:52,520 --> 00:23:54,159
Speaker 3: mind want to do this with this? And you know

488
00:23:54,200 --> 00:23:55,760
Speaker 3: that we can't put lights there because we have a

489
00:23:55,880 --> 00:23:57,919
Speaker 3: kinnots over here, and they won't fit because you were

490
00:23:57,960 --> 00:24:00,439
Speaker 3: going to am I going oh okay, So what I

491
00:24:00,480 --> 00:24:02,120
Speaker 3: needed to do was right.

492
00:24:02,200 --> 00:24:03,600
Speaker 1: And then the actors would walk in and they'd be like,

493
00:24:03,600 --> 00:24:04,720
Speaker 1: I don't want to be over there. Why am I

494
00:24:04,800 --> 00:24:06,280
Speaker 1: over there? I should be on this side of the room.

495
00:24:06,640 --> 00:24:08,080
Speaker 2: Actors like me, you would do that.

496
00:24:11,119 --> 00:24:13,399
Speaker 3: There's no other actor on the show except maybe me.

497
00:24:15,000 --> 00:24:17,199
Speaker 3: You would walk in and I'd go, so I had

498
00:24:17,240 --> 00:24:19,919
Speaker 3: to say, you're making popcorn and you come over here,

499
00:24:19,960 --> 00:24:22,160
Speaker 3: You're like, going, you just have me popcorn. I don't

500
00:24:22,200 --> 00:24:24,679
Speaker 3: like popcorn? What if I have? What if I'm making the.

501
00:24:24,880 --> 00:24:27,040
Speaker 1: Jerry Cublie, you should make me popcorn if she doesn't

502
00:24:27,040 --> 00:24:28,440
Speaker 1: have time to eat it. I don't have time to

503
00:24:28,440 --> 00:24:29,800
Speaker 1: eat popcorn. Why would I be making it if I

504
00:24:29,840 --> 00:24:31,360
Speaker 1: don't have time to eat? It doesn't any sense.

505
00:24:31,680 --> 00:24:34,480
Speaker 3: Well, I remember, I don't remember exactly what this was.

506
00:24:34,520 --> 00:24:36,199
Speaker 3: There was a scene in the kitchen one time in

507
00:24:36,240 --> 00:24:39,080
Speaker 3: the Big House where you were. I was saying, well,

508
00:24:39,119 --> 00:24:41,240
Speaker 3: what if you're you're you're trying to find something you

509
00:24:41,240 --> 00:24:43,040
Speaker 3: can't find it. I remember, I'd love to find this

510
00:24:43,119 --> 00:24:45,880
Speaker 3: episode And you're like, Oh, I love that idea, and

511
00:24:46,040 --> 00:24:49,119
Speaker 3: you took it so far that every cabinet in the

512
00:24:49,200 --> 00:24:51,760
Speaker 3: kitchen was wide open and everything was everywhere. You're just

513
00:24:51,760 --> 00:24:54,040
Speaker 3: looking and we didn't even know what you were looking for.

514
00:24:54,080 --> 00:24:57,199
Speaker 3: It didn't matter, but that was your scene. I remember this,

515
00:24:57,280 --> 00:24:59,160
Speaker 3: so I don't know what episode there said I gotta

516
00:24:59,200 --> 00:25:01,679
Speaker 3: find it. It's just like, oh boy, last time I

517
00:25:01,680 --> 00:25:03,840
Speaker 3: remember giving her an idea with an open end to it.

518
00:25:05,280 --> 00:25:06,960
Speaker 2: Props is freaking out what.

519
00:25:06,920 --> 00:25:08,240
Speaker 1: We're gonna say.

520
00:25:09,720 --> 00:25:12,040
Speaker 2: We're on the planes. Who lives close with plates?

521
00:25:12,119 --> 00:25:13,200
Speaker 1: Come over with your plates?

522
00:25:13,480 --> 00:25:17,080
Speaker 3: Yeah, but by the way, when you shine, because it's

523
00:25:17,240 --> 00:25:19,480
Speaker 3: you lost in that I do.

524
00:25:19,520 --> 00:25:22,040
Speaker 1: It's fun, but but it is. That was a hard

525
00:25:22,119 --> 00:25:25,440
Speaker 1: learning curve for me because of the time frame, and

526
00:25:25,640 --> 00:25:28,399
Speaker 1: I was young and stubborn and couldn't hear when people

527
00:25:28,400 --> 00:25:30,240
Speaker 1: were like, joy, we literally do not have time for

528
00:25:30,280 --> 00:25:32,200
Speaker 1: this idea. It's super fun, but we don't have time.

529
00:25:32,960 --> 00:25:34,560
Speaker 1: I couldn't hear it. I had a really hard time

530
00:25:34,600 --> 00:25:37,920
Speaker 1: with that, And that's youth is wasted on the young.

531
00:25:38,040 --> 00:25:41,240
Speaker 1: But you know, how do you you were older than us,

532
00:25:41,359 --> 00:25:43,560
Speaker 1: you were you know more season How do you.

533
00:25:44,119 --> 00:25:46,080
Speaker 2: That you.

534
00:25:48,560 --> 00:25:50,280
Speaker 3: Was when ts were circular?

535
00:25:50,800 --> 00:25:51,360
Speaker 1: Oh my god?

536
00:25:52,080 --> 00:25:55,040
Speaker 2: I've been listening to sixties on six with my kids

537
00:25:55,080 --> 00:25:57,400
Speaker 2: and they're like, this music's so old. I'm like, this

538
00:25:57,440 --> 00:26:02,840
Speaker 2: is when dad was born. Six For a time.

539
00:26:03,600 --> 00:26:07,520
Speaker 3: You can also stay young though through keeping curious. I

540
00:26:07,560 --> 00:26:09,520
Speaker 3: think that's I think that's the sicke of to stake.

541
00:26:09,920 --> 00:26:12,000
Speaker 3: But to answer the question, because it is a good question.

542
00:26:12,280 --> 00:26:14,280
Speaker 3: What I walk a set, I was going to finish,

543
00:26:14,400 --> 00:26:18,000
Speaker 3: was I look for never shooting flat against walls. I

544
00:26:18,040 --> 00:26:20,760
Speaker 3: always look for if I can shoot through a doorway

545
00:26:20,800 --> 00:26:23,160
Speaker 3: into a room and then see a window or another

546
00:26:23,200 --> 00:26:25,960
Speaker 3: doorway into something else, then I can get I get

547
00:26:26,000 --> 00:26:29,919
Speaker 3: what I call like a really interesting layered dynamic for lighting.

548
00:26:30,200 --> 00:26:33,200
Speaker 3: So I don't shoot flat. I always go I never

549
00:26:33,240 --> 00:26:35,320
Speaker 3: walk in a room and look at the wall. That's

550
00:26:36,160 --> 00:26:37,520
Speaker 3: if you do that. I don't know why you even

551
00:26:37,520 --> 00:26:39,240
Speaker 3: bother shooting on a set, just shoot on a wall.

552
00:26:39,680 --> 00:26:42,359
Speaker 3: I like to find as many different layers so that

553
00:26:42,440 --> 00:26:44,920
Speaker 3: I can have an actor coming foreground and background and

554
00:26:44,920 --> 00:26:47,080
Speaker 3: have them passed. But I love passing off. When you

555
00:26:47,080 --> 00:26:49,439
Speaker 3: were talking about economy of shooting and how do you

556
00:26:49,440 --> 00:26:52,600
Speaker 3: shoot so fast even in indie films, which I'm more

557
00:26:52,640 --> 00:26:55,240
Speaker 3: doing involved now, it's, by the way, what a great

558
00:26:55,280 --> 00:26:56,960
Speaker 3: English sentence, it's more doing involved.

559
00:26:56,960 --> 00:27:01,520
Speaker 2: Now I got y'all what you were saying, we followed

560
00:27:01,520 --> 00:27:02,280
Speaker 2: you all the way down.

561
00:27:02,320 --> 00:27:04,320
Speaker 3: That some more involved in doing.

562
00:27:06,800 --> 00:27:06,840
Speaker 5: It.

563
00:27:07,240 --> 00:27:11,959
Speaker 3: It's the French that we the verbs. The idea is

564
00:27:12,000 --> 00:27:15,919
Speaker 3: to is to sometimes I think pass off. Have an

565
00:27:15,960 --> 00:27:18,840
Speaker 3: actor start the scene coming in and let's say they

566
00:27:18,840 --> 00:27:21,600
Speaker 3: pass the sofa, somebody's sitting there, and as the dialogue hits,

567
00:27:21,640 --> 00:27:22,959
Speaker 3: you want to be able to just rack to that

568
00:27:23,000 --> 00:27:25,880
Speaker 3: person and then if the person can go behind them again,

569
00:27:26,200 --> 00:27:28,960
Speaker 3: then I don't have to go into all these separate shots.

570
00:27:29,000 --> 00:27:32,600
Speaker 3: It's kind of, you know, sleeker, more fun to have

571
00:27:33,280 --> 00:27:36,240
Speaker 3: the audience because they'll go with you. Audiences will go

572
00:27:36,640 --> 00:27:37,520
Speaker 3: take them on a trip.

573
00:27:37,960 --> 00:27:40,560
Speaker 1: Yeah, to feel like they're there in the room. Yeah,

574
00:27:40,640 --> 00:27:42,880
Speaker 1: rather than they have to they get to just face

575
00:27:42,880 --> 00:27:44,440
Speaker 1: to face to face to face to face to face.

576
00:27:45,160 --> 00:27:48,040
Speaker 3: I just would rather just find something creative, especially if

577
00:27:48,040 --> 00:27:51,600
Speaker 3: the scene has any length to it. I mean a

578
00:27:51,640 --> 00:27:53,960
Speaker 3: short little scene like that, Oh fine, put it on

579
00:27:54,000 --> 00:27:55,720
Speaker 3: some sticks and get coverage and get out of there.

580
00:27:55,800 --> 00:27:58,520
Speaker 1: But like the airport scene, what you just did with

581
00:27:58,880 --> 00:28:02,000
Speaker 1: what you did in this episode Julian and Brooke in

582
00:28:02,080 --> 00:28:04,199
Speaker 1: the end, that airport, the long lens, the way they

583
00:28:04,240 --> 00:28:06,159
Speaker 1: were crossing each other, the way he stood up and

584
00:28:06,200 --> 00:28:12,320
Speaker 1: people were passing. Also, wonderful use of extras. The background actors,

585
00:28:12,480 --> 00:28:15,560
Speaker 1: I feel like, are so often just placed to walk awkwardly,

586
00:28:15,680 --> 00:28:18,199
Speaker 1: and I love that everybody was moving around and it

587
00:28:18,200 --> 00:28:19,240
Speaker 1: felt so natural.

588
00:28:19,760 --> 00:28:22,879
Speaker 3: If I remember correctly, I remember we had to I

589
00:28:22,920 --> 00:28:25,600
Speaker 3: remember that I was up against the little Remember who

590
00:28:25,640 --> 00:28:27,399
Speaker 3: it was. There was somebody on the set that was saying,

591
00:28:27,800 --> 00:28:31,000
Speaker 3: you know that the network prefers you know, you know,

592
00:28:31,720 --> 00:28:34,040
Speaker 3: those kind of shots that are more framing in the

593
00:28:34,080 --> 00:28:37,399
Speaker 3: face and focused around. But I said, well, look, you know,

594
00:28:37,440 --> 00:28:40,680
Speaker 3: and I just had worked with my friend Nick on

595
00:28:40,920 --> 00:28:43,320
Speaker 3: a movie where he I think it was My Sister's Keeper,

596
00:28:43,920 --> 00:28:46,520
Speaker 3: and he used deacons on that. I think Roger Deakins

597
00:28:46,600 --> 00:28:49,480
Speaker 3: is the greatest DP alive right now. He even has

598
00:28:49,480 --> 00:28:50,760
Speaker 3: a documentary out about him.

599
00:28:51,040 --> 00:28:52,960
Speaker 2: I just like that you did it in a crowd

600
00:28:53,000 --> 00:28:56,920
Speaker 2: because it made it mortifying had you just been framed

601
00:28:57,560 --> 00:28:58,720
Speaker 2: on Austin's face.

602
00:28:59,040 --> 00:29:03,320
Speaker 3: Blade Runner two thousand, nineteen seventeen, Empire of Lights Cecario,

603
00:29:03,800 --> 00:29:06,760
Speaker 3: The Assassination Barton Fak No Country for Old Men.

604
00:29:06,880 --> 00:29:07,120
Speaker 1: Thanks.

605
00:29:07,520 --> 00:29:10,000
Speaker 2: He's brilliant, so he.

606
00:29:11,640 --> 00:29:15,960
Speaker 3: Uses long lenses in interiors in a way where he

607
00:29:16,000 --> 00:29:18,920
Speaker 3: puts the cameras four or not necessarily, he could take

608
00:29:18,960 --> 00:29:20,920
Speaker 3: it outside of a window, but he'll put a two

609
00:29:21,040 --> 00:29:23,800
Speaker 3: hundred zoom lens on a camera. And what happens is,

610
00:29:24,480 --> 00:29:27,240
Speaker 3: if you're sharp in focused, everything around you looks almost

611
00:29:27,280 --> 00:29:31,200
Speaker 3: like a twinkling world, like a beautiful little thing. And

612
00:29:31,640 --> 00:29:33,280
Speaker 3: I didn't quite go to that for I might have

613
00:29:33,360 --> 00:29:34,560
Speaker 3: used one hundred zoom or something like that.

614
00:29:34,600 --> 00:29:35,959
Speaker 1: But you did that on the River Court.

615
00:29:36,160 --> 00:29:37,760
Speaker 3: Yeah, yeah, I did on the River Court too. As

616
00:29:37,840 --> 00:29:39,800
Speaker 3: much as I could, I tried to use long lenses.

617
00:29:40,080 --> 00:29:42,800
Speaker 3: And then really what it is is it brings the

618
00:29:42,800 --> 00:29:45,480
Speaker 3: actor and focus, but it gives almost a sort of

619
00:29:45,520 --> 00:29:48,000
Speaker 3: like a surreal world around them, which is more glittery

620
00:29:48,360 --> 00:29:50,400
Speaker 3: with the light clicking off of the of the river

621
00:29:50,560 --> 00:29:52,360
Speaker 3: and things like that. It's just pretty, you know.

622
00:30:04,920 --> 00:30:08,880
Speaker 2: I want to know, Paul, With a series that you're on, right,

623
00:30:08,920 --> 00:30:10,640
Speaker 2: it's one thing when you go in and you are

624
00:30:10,640 --> 00:30:14,080
Speaker 2: a guest director that's just cruising into somebody else's universe

625
00:30:14,120 --> 00:30:16,560
Speaker 2: and you don't really have context for where the characters

626
00:30:16,560 --> 00:30:19,440
Speaker 2: have been for the last few years. But with a

627
00:30:19,520 --> 00:30:23,440
Speaker 2: show that you're on and you know these characters really well,

628
00:30:23,480 --> 00:30:25,640
Speaker 2: and you know what Brook's been through and what Lucas

629
00:30:25,640 --> 00:30:28,200
Speaker 2: has been through and all of that. I can never

630
00:30:28,280 --> 00:30:32,760
Speaker 2: direct because I have opinions like I don't like Julian.

631
00:30:33,160 --> 00:30:36,880
Speaker 2: I think Julian's the worst boy ever. I think ultimatums

632
00:30:36,920 --> 00:30:40,480
Speaker 2: are horrendous. Not into it, Yeah, I was not a sidebar.

633
00:30:40,640 --> 00:30:43,080
Speaker 1: Was not into this like random, Hey, I'm leaving in

634
00:30:43,120 --> 00:30:44,840
Speaker 1: like twenty four hours, kid, I could get on a plane.

635
00:30:44,920 --> 00:30:49,040
Speaker 2: N Yeah, bye of narcissism.

636
00:30:49,200 --> 00:30:52,920
Speaker 3: My life is so important, that is invaluable misogyny.

637
00:30:53,280 --> 00:30:56,080
Speaker 2: Sure, how do you keep your opinion out of it?

638
00:30:56,160 --> 00:30:59,320
Speaker 2: Because I'm thinking, like, if I had to, you made

639
00:30:59,360 --> 00:31:01,760
Speaker 2: Julian look so lovely in this airport scene that you

640
00:31:01,760 --> 00:31:05,200
Speaker 2: guys are talking about, and all I could think is like,

641
00:31:05,440 --> 00:31:08,160
Speaker 2: I fuck him up. I'd make him look real dumb

642
00:31:08,160 --> 00:31:10,239
Speaker 2: in this airport scene because how dare he put all

643
00:31:10,280 --> 00:31:11,800
Speaker 2: this pressure on this poor girl?

644
00:31:12,000 --> 00:31:12,200
Speaker 6: Yeah?

645
00:31:12,200 --> 00:31:14,960
Speaker 2: But instead it was so romantic. Instead, you made it.

646
00:31:15,800 --> 00:31:20,080
Speaker 2: You made it through sad. I couldn't keep my opinion

647
00:31:20,120 --> 00:31:20,479
Speaker 2: out of it.

648
00:31:20,600 --> 00:31:26,000
Speaker 3: You remember broadcast news? Oh yes, the greatest movies ever made?

649
00:31:26,000 --> 00:31:27,280
Speaker 2: Am I rightly?

650
00:31:27,400 --> 00:31:27,680
Speaker 1: Hunter?

651
00:31:28,240 --> 00:31:31,960
Speaker 3: Holly Hunter's scene with William Hurt at the airport where

652
00:31:32,000 --> 00:31:35,040
Speaker 3: he gets the tickets and he says, come with me,

653
00:31:35,040 --> 00:31:37,320
Speaker 3: come with me, come with me, and she's like, okay,

654
00:31:37,320 --> 00:31:40,000
Speaker 3: I'll be there. Then she finds out he cheated. He lied,

655
00:31:40,080 --> 00:31:44,360
Speaker 3: not a sexual he cheated because he falsified a news

656
00:31:44,400 --> 00:31:47,320
Speaker 3: report which showed he had no integrity and she couldn't

657
00:31:47,400 --> 00:31:49,880
Speaker 3: go through with it. So at the airport in her

658
00:31:49,920 --> 00:31:53,440
Speaker 3: like pajamas with no luggage, he goes, yeah, no, I'm

659
00:31:53,440 --> 00:31:56,600
Speaker 3: not going. You know, you have fun, and he's like,

660
00:31:57,200 --> 00:31:59,680
Speaker 3: you can't. You can't just forgive me for that one thing.

661
00:31:59,720 --> 00:32:01,800
Speaker 3: She goes no, because it's like basically saying no because

662
00:32:01,840 --> 00:32:03,959
Speaker 3: that's who you are, and I can't be with who

663
00:32:04,040 --> 00:32:04,360
Speaker 3: you are.

664
00:32:04,720 --> 00:32:06,320
Speaker 2: You can't see it.

665
00:32:06,320 --> 00:32:08,640
Speaker 3: It's such a kind of in my mind where I

666
00:32:08,680 --> 00:32:10,440
Speaker 3: was shooting that, I was thinking of like the broadcast

667
00:32:10,480 --> 00:32:14,240
Speaker 3: news moment, like you know what I mean, like I

668
00:32:14,240 --> 00:32:17,320
Speaker 3: love my life so much and you go have yours

669
00:32:17,400 --> 00:32:18,080
Speaker 3: or whatever it is.

670
00:32:18,200 --> 00:32:22,280
Speaker 1: So you were worried about Julian and how unbelievable the

671
00:32:22,320 --> 00:32:24,880
Speaker 1: situation was that he was giving her this crazy ultimatum

672
00:32:24,880 --> 00:32:26,360
Speaker 1: and she's running around like I've known for a.

673
00:32:26,360 --> 00:32:29,920
Speaker 3: While, but I didn't feel that was my my It

674
00:32:29,640 --> 00:32:32,640
Speaker 3: wasn't that would be on on my lane because I'm

675
00:32:32,640 --> 00:32:35,920
Speaker 3: not going to be able to change the writers. Yeah, ideas,

676
00:32:36,000 --> 00:32:41,080
Speaker 3: and I have to service the you guys. And if

677
00:32:41,360 --> 00:32:45,320
Speaker 3: let's just say, I, if Sophia would have come or whatever,

678
00:32:45,360 --> 00:32:49,120
Speaker 3: I would have immediately said, I love your thoughts. Can

679
00:32:49,160 --> 00:32:53,920
Speaker 3: we bring the writers in because I can't overrule a

680
00:32:53,960 --> 00:32:56,320
Speaker 3: story that's been in the works for weeks and they've

681
00:32:56,360 --> 00:32:59,120
Speaker 3: passed through the network, through the producers, through the show runner,

682
00:32:59,160 --> 00:33:01,320
Speaker 3: through everybody else, and then me to go, yeah, I'm

683
00:33:01,360 --> 00:33:03,280
Speaker 3: not cool with that. I would have gone, I'll tell

684
00:33:03,280 --> 00:33:05,520
Speaker 3: you what, if you have an oppisode, I will support you.

685
00:33:06,200 --> 00:33:08,240
Speaker 3: Let's go together, Let's go talk and say, hey, you

686
00:33:08,240 --> 00:33:10,800
Speaker 3: know what, this is, how she should take this. And

687
00:33:11,000 --> 00:33:12,560
Speaker 3: if she'd have said, let's do a take where I

688
00:33:12,640 --> 00:33:17,280
Speaker 3: just go, you know, basically, you know, I would have

689
00:33:17,320 --> 00:33:19,120
Speaker 3: gone down to do that take. I'll shoot it. I'll

690
00:33:19,120 --> 00:33:22,040
Speaker 3: shoot whatever the actors want to shoot. We'll also get

691
00:33:22,040 --> 00:33:22,760
Speaker 3: our job done too.

692
00:33:22,760 --> 00:33:25,600
Speaker 2: At the same time, sure, did they offer you any

693
00:33:25,640 --> 00:33:29,880
Speaker 2: explanation as to why Julian had to go back the

694
00:33:29,920 --> 00:33:31,720
Speaker 2: guy with very few strings attached?

695
00:33:31,880 --> 00:33:33,720
Speaker 1: Yeah? The steaks were so imaginary.

696
00:33:34,280 --> 00:33:36,880
Speaker 2: Yeah, I couldn't understand what the urgency was.

697
00:33:37,640 --> 00:33:43,320
Speaker 3: And it felt like it was somebody I don't know.

698
00:33:43,400 --> 00:33:46,920
Speaker 3: I mean, you know, these there's some genius in our

699
00:33:46,960 --> 00:33:50,760
Speaker 3: show and moments, there's some pure genius. And then with

700
00:33:50,840 --> 00:33:53,640
Speaker 3: everything in life, there's some things that don't make as

701
00:33:53,720 --> 00:33:57,080
Speaker 3: much sense. We spoke about one earlier in this episode

702
00:33:57,120 --> 00:34:01,840
Speaker 3: of this podcast. But again, I think you kind of

703
00:34:01,880 --> 00:34:05,280
Speaker 3: have to. If you have moral objections, you got to

704
00:34:05,280 --> 00:34:07,640
Speaker 3: speak them up. If you have story objections, I think

705
00:34:07,720 --> 00:34:09,960
Speaker 3: those conversations have to happen long before you get to

706
00:34:10,000 --> 00:34:10,440
Speaker 3: the set.

707
00:34:10,600 --> 00:34:13,200
Speaker 2: Yeah, when we didn't get to do read throughs because

708
00:34:13,200 --> 00:34:15,640
Speaker 2: it was so bang bang bang bang bangs. Yeah, did the.

709
00:34:15,520 --> 00:34:18,040
Speaker 3: First two seasons, didn't we the first season?

710
00:34:18,360 --> 00:34:20,040
Speaker 1: The first season? What we would do?

711
00:34:20,239 --> 00:34:23,359
Speaker 2: Did we feel? It was a first episode episode, but

712
00:34:23,400 --> 00:34:24,080
Speaker 2: it wasn't.

713
00:34:23,840 --> 00:34:27,600
Speaker 1: A regular occurrence twenty two episodes? How are you going

714
00:34:27,680 --> 00:34:29,759
Speaker 1: to find time? We could barely get everybody in the

715
00:34:29,760 --> 00:34:33,000
Speaker 1: same room to shoot on some days, and we had.

716
00:34:32,880 --> 00:34:35,800
Speaker 3: Some seasons where we were twenty six episodes or something.

717
00:34:35,880 --> 00:34:40,560
Speaker 1: Oh my god, we did.

718
00:34:40,840 --> 00:34:44,080
Speaker 2: Yeah. Well, so for you know, for these storylines and

719
00:34:44,239 --> 00:34:48,040
Speaker 2: servicing these storylines. We've been in this boat for six years.

720
00:34:48,040 --> 00:34:50,680
Speaker 2: At this point, Brooke is finally like maybe going to

721
00:34:50,719 --> 00:34:53,719
Speaker 2: tell someone she loves him. He has said goodbye to

722
00:34:53,800 --> 00:34:58,000
Speaker 2: her thirty seven times, like they have said goodbye so

723
00:34:58,160 --> 00:35:00,400
Speaker 2: many times, and are.

724
00:35:00,280 --> 00:35:06,759
Speaker 3: Like, it's so good at playing, like the of of

725
00:35:06,920 --> 00:35:09,799
Speaker 3: how her emotions can kind of just suck you in

726
00:35:10,200 --> 00:35:13,279
Speaker 3: and make care for her. I think she was exceptional

727
00:35:13,320 --> 00:35:14,400
Speaker 3: in this scene.

728
00:35:14,520 --> 00:35:16,160
Speaker 1: I really she made me buy it.

729
00:35:16,680 --> 00:35:18,560
Speaker 2: Every time I thought she was going to say it,

730
00:35:18,680 --> 00:35:20,680
Speaker 2: She's finally going to say it, She's finally going to

731
00:35:20,719 --> 00:35:23,560
Speaker 2: say it, and then she just it hurts so bad

732
00:35:23,600 --> 00:35:25,919
Speaker 2: to see it well up in her throat and her

733
00:35:26,040 --> 00:35:29,480
Speaker 2: just shove it back down, like never mind, I'll keep

734
00:35:29,480 --> 00:35:30,160
Speaker 2: it to myself.

735
00:35:30,280 --> 00:35:33,080
Speaker 3: Did they bring him back? They brought hit that character back, Juliane.

736
00:35:32,840 --> 00:35:35,160
Speaker 2: Right, because yeah, he's been a couple of times.

737
00:35:35,160 --> 00:35:40,840
Speaker 3: Are going to draw him the one time? Then the

738
00:35:41,000 --> 00:35:43,600
Speaker 3: Hammerhead Sharks off the coast of East Carolina.

739
00:35:44,280 --> 00:35:47,799
Speaker 2: They ended up getting married, Paul, Yes, that was it.

740
00:35:47,920 --> 00:35:49,319
Speaker 1: That's her her end game.

741
00:35:49,600 --> 00:35:50,400
Speaker 2: But what's this?

742
00:35:50,520 --> 00:35:52,640
Speaker 1: These are the things that confused me so much about

743
00:35:52,640 --> 00:35:56,120
Speaker 1: our show that we shot twenty two episodes. They had

744
00:35:56,160 --> 00:35:59,200
Speaker 1: a board a mile long in that writer's room. How

745
00:35:59,320 --> 00:36:03,960
Speaker 1: could they not map out a realistic timeline for stakes

746
00:36:04,120 --> 00:36:06,799
Speaker 1: for these two characters so that you actually felt like

747
00:36:07,080 --> 00:36:10,440
Speaker 1: you were invested in not He's here for four weeks

748
00:36:10,440 --> 00:36:12,800
Speaker 1: and then all of a sudden, Brook's heart is breaking

749
00:36:12,800 --> 00:36:15,360
Speaker 1: in half because a guy she's known a month gives

750
00:36:15,360 --> 00:36:17,799
Speaker 1: her three plane tickets and says, you and your new

751
00:36:17,840 --> 00:36:19,880
Speaker 1: adopted kids should come live with me in La And

752
00:36:19,880 --> 00:36:23,080
Speaker 1: she's not, like, that's super sweet, thank you, but maybe

753
00:36:23,080 --> 00:36:25,000
Speaker 1: we can talk on the phone a little bit more

754
00:36:25,040 --> 00:36:27,920
Speaker 1: before I move my whole life out, Like, why did

755
00:36:27,920 --> 00:36:30,640
Speaker 1: they not take the time we had twenty two episodes?

756
00:36:30,680 --> 00:36:35,200
Speaker 3: Okay, I'm done, no, no, but remember this is Hollywood

757
00:36:35,480 --> 00:36:39,719
Speaker 3: is a business, and that contracts with actors. They don't

758
00:36:39,719 --> 00:36:40,799
Speaker 3: know if they're going to pick them up till they

759
00:36:40,800 --> 00:36:42,839
Speaker 3: see how the audiential reaction. They don't know, okay, fair,

760
00:36:43,080 --> 00:36:45,239
Speaker 3: They don't know what's going on until they go, oh,

761
00:36:45,280 --> 00:36:47,239
Speaker 3: look at the feedback we're getting for this storyline. We

762
00:36:47,239 --> 00:36:50,800
Speaker 3: should do both this. There's a lot involved at the point.

763
00:36:50,760 --> 00:36:55,680
Speaker 2: With the movie that Julian is doing being shitcanned, Like

764
00:36:55,719 --> 00:37:01,919
Speaker 2: the movie's done? What's he rushing back to? He's out

765
00:37:01,920 --> 00:37:02,600
Speaker 2: of a job.

766
00:37:03,600 --> 00:37:07,520
Speaker 1: Dad doesn't even like working with him, right, yustic job too?

767
00:37:07,920 --> 00:37:10,520
Speaker 2: Oh that's right. That's right. Everybody's lost their job and

768
00:37:10,520 --> 00:37:12,839
Speaker 2: he's like, well, really got to uproot you and your

769
00:37:12,880 --> 00:37:13,560
Speaker 2: little kid here.

770
00:37:13,640 --> 00:37:17,160
Speaker 3: Wouldn't it be great if we were privileged to the

771
00:37:17,160 --> 00:37:20,359
Speaker 3: conversations that the never rush we were having with our

772
00:37:20,840 --> 00:37:23,920
Speaker 3: writing team, so that we could understand how they got

773
00:37:24,000 --> 00:37:26,239
Speaker 3: to certain conclusions. We weren't involved in those, and we

774
00:37:26,280 --> 00:37:27,640
Speaker 3: have no idea, but it'd be yeah.

775
00:37:27,680 --> 00:37:30,640
Speaker 2: And also there's always that factor of was it just

776
00:37:30,760 --> 00:37:35,120
Speaker 2: such a different time fifteen twenty years ago that the

777
00:37:35,440 --> 00:37:39,080
Speaker 2: default was the woman would follow the man? Has it

778
00:37:39,160 --> 00:37:43,040
Speaker 2: been that long that it was just the assumption at

779
00:37:43,040 --> 00:37:45,919
Speaker 2: that point, because now we're all like, she probably makes

780
00:37:45,960 --> 00:37:48,719
Speaker 2: more money than he does. What the yeah? You know, like,

781
00:37:49,120 --> 00:37:49,919
Speaker 2: what are we doing here?

782
00:37:50,000 --> 00:37:52,960
Speaker 1: I think they could have done something like I've got

783
00:37:53,040 --> 00:37:54,840
Speaker 1: an offer. I'm going to go shoot a movie in

784
00:37:55,080 --> 00:37:57,319
Speaker 1: Morocco and they're paying us so much money, and I

785
00:37:57,400 --> 00:37:59,200
Speaker 1: want to bring you and give Sam an experience of

786
00:37:59,280 --> 00:38:02,440
Speaker 1: being overseas. You can design overseas, like raise the stakes

787
00:38:02,480 --> 00:38:04,239
Speaker 1: to something that's not just I got to go back

788
00:38:04,239 --> 00:38:05,839
Speaker 1: to la and try and get another job.

789
00:38:07,239 --> 00:38:10,480
Speaker 3: Just for everybody, we want to hear the conversations that

790
00:38:10,480 --> 00:38:12,719
Speaker 3: we've never had the thought.

791
00:38:12,480 --> 00:38:15,759
Speaker 2: That I had in my whole head was like, no

792
00:38:15,960 --> 00:38:19,439
Speaker 2: fucking wonder. I was still thinking about Lucas the whole

793
00:38:19,480 --> 00:38:24,720
Speaker 2: time she was datingly, Like no wonder. Peyton was like, Okay,

794
00:38:24,760 --> 00:38:28,760
Speaker 2: we're good, go to Sundance by We're done.

795
00:38:28,680 --> 00:38:31,399
Speaker 3: So end up if you could right now.

796
00:38:31,520 --> 00:38:33,799
Speaker 2: I got married, I know, But now where are they?

797
00:38:33,880 --> 00:38:36,360
Speaker 3: What is Peyton and what is Lucas doing right now?

798
00:38:36,520 --> 00:38:38,080
Speaker 3: Ten years after those times?

799
00:38:38,320 --> 00:38:40,440
Speaker 1: You and every fan they always ask us this question

800
00:38:40,520 --> 00:38:43,560
Speaker 1: at conventions and stuff. Paul, Yes, so good.

801
00:38:43,840 --> 00:38:46,720
Speaker 2: Peyton's doing that thing where she's in like deep therapy

802
00:38:46,760 --> 00:38:49,200
Speaker 2: at this point because when you're little, you don't know

803
00:38:49,239 --> 00:38:52,200
Speaker 2: how screwed up you are until you have kids and

804
00:38:52,239 --> 00:38:55,399
Speaker 2: you're like, wait a second, I don't want to hit

805
00:38:55,480 --> 00:38:58,000
Speaker 2: this kid. I don't want to scream at this kid.

806
00:38:58,040 --> 00:39:01,120
Speaker 2: What to me? Yeah, it's just like deep.

807
00:39:01,719 --> 00:39:04,359
Speaker 3: And is Lucas like Stephen kitting now or what's going on?

808
00:39:04,520 --> 00:39:08,279
Speaker 2: Like I don't know. I bet he's still strong, like

809
00:39:08,719 --> 00:39:11,719
Speaker 2: I love how like strong Chad is right now? And

810
00:39:11,800 --> 00:39:14,960
Speaker 2: all the thirst trap pictures he posts on Instagram, I'm like,

811
00:39:15,520 --> 00:39:17,440
Speaker 2: where was this? What the hell?

812
00:39:17,920 --> 00:39:18,839
Speaker 3: Have you seen his new show?

813
00:39:19,239 --> 00:39:22,759
Speaker 2: I haven't watched it yet. Now, what's his show Sullivans

814
00:39:23,280 --> 00:39:26,440
Speaker 2: Y Suivan's Crossing. It isn't with the dude from Gilmore Girls.

815
00:39:27,000 --> 00:39:29,919
Speaker 1: That's great, Yeah, yeah good.

816
00:39:30,160 --> 00:39:33,080
Speaker 2: He's strong as hell. I was texting with him the

817
00:39:33,120 --> 00:39:34,960
Speaker 2: other day and he was just like, I'm either working

818
00:39:35,120 --> 00:39:37,600
Speaker 2: or lifting weights or playing with my kids, and that's

819
00:39:37,640 --> 00:39:39,640
Speaker 2: my trifecta. He's just doing.

820
00:39:40,120 --> 00:39:42,400
Speaker 3: The producer of that series is an old friend of

821
00:39:42,400 --> 00:39:48,240
Speaker 3: mine who I did a movie with I think with Gosh.

822
00:39:48,560 --> 00:39:50,759
Speaker 3: We shot it up in Canada and Sudbury, Ontario.

823
00:39:51,120 --> 00:39:55,000
Speaker 2: Unbelieva Sudbury. I shot in Sudbury, ended up the town

824
00:39:55,040 --> 00:39:58,160
Speaker 2: that blew up, like there's minds there and it blew up.

825
00:39:59,200 --> 00:40:01,640
Speaker 3: Yeah that's right now, Oh the mind have you been

826
00:40:01,640 --> 00:40:02,360
Speaker 3: down on the mines?

827
00:40:03,080 --> 00:40:05,640
Speaker 2: Go in the mines. I was making a Christmas movie, Paul,

828
00:40:06,160 --> 00:40:11,480
Speaker 2: that's so cool. I was playing with reindeer. Hilarious. Okay,

829
00:40:11,520 --> 00:40:14,560
Speaker 2: So the Julian and the brook of it all, we

830
00:40:14,719 --> 00:40:18,759
Speaker 2: like them. Personally, I don't like this coupling. I don't

831
00:40:18,840 --> 00:40:21,439
Speaker 2: like all the pressure. It's really stressing me out.

832
00:40:21,880 --> 00:40:26,200
Speaker 1: But I did love Sophia's black flip hairdoo and her

833
00:40:26,360 --> 00:40:28,799
Speaker 1: black motorcycle jacket because I haven't This is like the

834
00:40:28,840 --> 00:40:30,239
Speaker 1: Carol Cutshall episode.

835
00:40:30,440 --> 00:40:32,919
Speaker 2: You were in a leather jacket. I noticed that too.

836
00:40:33,400 --> 00:40:37,319
Speaker 1: Yeah, I was into your rebellious red hair. This was

837
00:40:37,360 --> 00:40:39,439
Speaker 1: like the first time I really showed up. That was fun.

838
00:40:39,880 --> 00:40:43,600
Speaker 2: Sick of the blandche You were rebelling two thousand and nine, right,

839
00:40:43,719 --> 00:40:45,759
Speaker 2: it was two thousand nine. Yeah, yeah, yeah, yeah, two

840
00:40:45,800 --> 00:40:46,440
Speaker 2: thousand and nine.

841
00:40:46,480 --> 00:40:48,920
Speaker 3: Okay, okay, wow.

842
00:40:48,600 --> 00:40:52,000
Speaker 2: Yeah, okay, So there's that. Let's talk about college party.

843
00:40:51,880 --> 00:40:53,839
Speaker 1: This random college party in the middle of a day.

844
00:40:54,120 --> 00:40:57,560
Speaker 2: Have any actually been to real college parties? Is my question?

845
00:40:57,760 --> 00:41:01,880
Speaker 2: Because I'm gonna drop out, I would do a few.

846
00:41:02,280 --> 00:41:03,800
Speaker 2: Did you have a Greek life?

847
00:41:04,200 --> 00:41:04,520
Speaker 5: All this?

848
00:41:04,800 --> 00:41:07,640
Speaker 3: Like, you know, it's not as I mean, that's a

849
00:41:07,680 --> 00:41:10,680
Speaker 3: really American phenomenon. Greek life. You know, Canada is more

850
00:41:10,680 --> 00:41:14,839
Speaker 3: clubs rather than you know, fraternity. We have them, but

851
00:41:14,880 --> 00:41:17,840
Speaker 3: it's not a it's not the thing it is in America,

852
00:41:17,920 --> 00:41:20,680
Speaker 3: where it's you know, I just don't it's not profound,

853
00:41:20,719 --> 00:41:24,879
Speaker 3: it's it's you know, it's very different. But I would say, well,

854
00:41:24,880 --> 00:41:27,520
Speaker 3: Canadians are wonderful, unique people, so it's just different.

855
00:41:27,520 --> 00:41:30,560
Speaker 2: I guess We're not tacky, is what he was trying

856
00:41:30,560 --> 00:41:32,640
Speaker 2: to say. We're not doing your techy clubs.

857
00:41:33,080 --> 00:41:36,360
Speaker 3: I did John sears On on Beverly Hills nine O,

858
00:41:36,440 --> 00:41:39,880
Speaker 3: two and O, and all of my scenes were that life,

859
00:41:40,840 --> 00:41:43,479
Speaker 3: and they're kind of made up like that, a little

860
00:41:43,480 --> 00:41:47,680
Speaker 3: bit to be, you know, a little more risque, a

861
00:41:47,680 --> 00:41:49,520
Speaker 3: little bit more evil, a little more stuff. But I

862
00:41:49,560 --> 00:41:51,200
Speaker 3: guess there's all bad stuff and good stuff. But I

863
00:41:51,200 --> 00:41:53,720
Speaker 3: mean I think there's I don't know, you remember about

864
00:41:53,760 --> 00:41:56,120
Speaker 3: last Night? That whole movie was about that life, wasn't it.

865
00:41:56,160 --> 00:42:00,000
Speaker 3: Remember you didn't see about Last Night the original movie?

866
00:42:00,400 --> 00:42:00,640
Speaker 2: To me?

867
00:42:00,719 --> 00:42:03,600
Speaker 3: More and and no.

868
00:42:04,040 --> 00:42:09,759
Speaker 2: Okay, no, but but I think Gigi represented a fantasy

869
00:42:10,000 --> 00:42:12,880
Speaker 2: on our show of like a hot chicks throwing themselves

870
00:42:12,880 --> 00:42:15,560
Speaker 2: at you, And so it makes sense that she exists

871
00:42:16,160 --> 00:42:19,439
Speaker 2: within this fantasy of like, mmm, now there's a whole

872
00:42:19,480 --> 00:42:22,000
Speaker 2: pack of chicks at our disposal?

873
00:42:23,680 --> 00:42:26,160
Speaker 3: Would have been differently if it was if there was

874
00:42:26,200 --> 00:42:31,040
Speaker 3: a predominantly female writing staff, How had that been represented differently?

875
00:42:31,920 --> 00:42:33,160
Speaker 1: The college party you mean.

876
00:42:33,080 --> 00:42:35,360
Speaker 3: Yeah, the college parties, Yeah, because the perspective is completely

877
00:42:35,480 --> 00:42:36,400
Speaker 3: is everything, isn't it?

878
00:42:36,400 --> 00:42:38,640
Speaker 1: It is? But I didn't go to any college parties.

879
00:42:38,640 --> 00:42:41,359
Speaker 2: So I've never been to a friend, no party. I've

880
00:42:41,360 --> 00:42:43,439
Speaker 2: never That's why I asked I was like, who of

881
00:42:43,520 --> 00:42:46,040
Speaker 2: us has actually been in that situation? Because I went

882
00:42:46,080 --> 00:42:48,600
Speaker 2: to school in New York City, Like, there were no

883
00:42:49,200 --> 00:42:52,640
Speaker 2: frats or sororities in my college. We just went to

884
00:42:52,680 --> 00:42:57,440
Speaker 2: the Blarney Stone.

885
00:42:55,960 --> 00:42:59,520
Speaker 3: Academic at the University of British Columbia. I didn't, I

886
00:42:59,560 --> 00:43:01,680
Speaker 3: mean to some parties, but it was never like that.

887
00:43:01,719 --> 00:43:04,400
Speaker 3: Like I said, it was these are you know, brain

888
00:43:04,600 --> 00:43:07,440
Speaker 3: cerebral kids really kind of studio.

889
00:43:07,840 --> 00:43:10,400
Speaker 2: What we're saying is someone should invite us to a

890
00:43:10,440 --> 00:43:11,239
Speaker 2: party just.

891
00:43:11,239 --> 00:43:14,200
Speaker 1: For like it's just for college research.

892
00:43:14,360 --> 00:43:17,000
Speaker 2: We're going to get an email and then that, you know,

893
00:43:17,040 --> 00:43:18,960
Speaker 2: it's it's crazy that we were so close to you

894
00:43:19,040 --> 00:43:21,560
Speaker 2: and c W and no one invited us to a party.

895
00:43:21,600 --> 00:43:24,320
Speaker 2: We were so close to Were we that lame that

896
00:43:24,480 --> 00:43:25,359
Speaker 2: no one wanted to party?

897
00:43:25,360 --> 00:43:27,680
Speaker 1: I think James went to those parties because he.

898
00:43:27,680 --> 00:43:28,279
Speaker 2: Was a young one.

899
00:43:28,760 --> 00:43:30,640
Speaker 3: I forget that we were into college town too.

900
00:43:30,880 --> 00:43:34,440
Speaker 2: Yeah, the college kids didn't want to hang out with them.

901
00:43:34,480 --> 00:43:38,480
Speaker 1: They were like no hard pass. I did love this

902
00:43:38,520 --> 00:43:41,560
Speaker 1: storyline though. I really liked First of all, I love

903
00:43:41,600 --> 00:43:43,080
Speaker 1: a friend who shows up at your house when you're

904
00:43:43,080 --> 00:43:44,680
Speaker 1: not feeling well and is like getting the car we're

905
00:43:44,719 --> 00:43:47,560
Speaker 1: taking a road drift ride or just shows up and

906
00:43:47,600 --> 00:43:49,279
Speaker 1: takes you, makes you take a walk or go for

907
00:43:49,280 --> 00:43:52,719
Speaker 1: coffee or something. I just love that. And as much

908
00:43:52,719 --> 00:43:58,880
Speaker 1: as I disliked the college party environment for multiple reasons,

909
00:43:59,000 --> 00:44:02,279
Speaker 1: mostly just because I've felt really bad for Kelsey, it

910
00:44:02,440 --> 00:44:04,560
Speaker 1: just felt it felt like such a weird situation for

911
00:44:04,600 --> 00:44:11,560
Speaker 1: her to constantly be put in. I liked this version

912
00:44:11,680 --> 00:44:16,360
Speaker 1: of Skills trying to work out his own relationship issues

913
00:44:17,080 --> 00:44:19,400
Speaker 1: like trying to have mouth do it Skills his way,

914
00:44:19,480 --> 00:44:21,799
Speaker 1: and then realizing this is not who you are.

915
00:44:21,840 --> 00:44:22,000
Speaker 3: Man.

916
00:44:22,040 --> 00:44:24,600
Speaker 1: I'm gonna let me actually take you, let me give

917
00:44:24,640 --> 00:44:27,360
Speaker 1: you an opportunity to see what you think you're missing,

918
00:44:27,800 --> 00:44:30,040
Speaker 1: and then I'm going to take you to see who

919
00:44:30,080 --> 00:44:32,880
Speaker 1: you really need. You're such a good friend. I just

920
00:44:33,120 --> 00:44:34,040
Speaker 1: I just liked it.

921
00:44:34,160 --> 00:44:36,640
Speaker 2: I don't even think Skills was creazy. I didn't mind

922
00:44:36,840 --> 00:44:40,000
Speaker 2: the party. I thought it was like fun. It reminded

923
00:44:40,040 --> 00:44:41,920
Speaker 2: me of the parties that we had when we were

924
00:44:41,920 --> 00:44:44,560
Speaker 2: in high school. The only thing that's creepy is like

925
00:44:44,680 --> 00:44:48,120
Speaker 2: the dudes that are clearly out of school going back

926
00:44:48,280 --> 00:44:50,480
Speaker 2: Flora like that's the But then I thought back to

927
00:44:50,560 --> 00:44:52,799
Speaker 2: my own college days and I was dating like a

928
00:44:52,840 --> 00:44:55,239
Speaker 2: twenty five year old who would come into the dorm

929
00:44:55,560 --> 00:44:59,680
Speaker 2: and looking back, it's so gross. It's like embarrassing almost,

930
00:44:59,719 --> 00:45:03,880
Speaker 2: that's what it is. It's embarrassing. The mouth and skills

931
00:45:03,880 --> 00:45:07,839
Speaker 2: are standing there. You had them dressed very differently from

932
00:45:07,880 --> 00:45:11,040
Speaker 2: everybody else, so they stick out like sore thumbs, and

933
00:45:11,080 --> 00:45:16,160
Speaker 2: that that visibility was important to the storytelling. It was like, oh, actually,

934
00:45:16,640 --> 00:45:20,200
Speaker 2: this isn't a world that we've fit in. We're the

935
00:45:20,239 --> 00:45:22,040
Speaker 2: old guys. We should go.

936
00:45:22,920 --> 00:45:25,400
Speaker 3: Do you remember how they held mouth upside down for

937
00:45:25,480 --> 00:45:26,480
Speaker 3: the keg drink thing?

938
00:45:26,760 --> 00:45:26,920
Speaker 6: Oh?

939
00:45:26,960 --> 00:45:28,640
Speaker 1: Yeah, and then Jamie with the car too.

940
00:45:28,800 --> 00:45:29,480
Speaker 2: That was great.

941
00:45:29,840 --> 00:45:32,360
Speaker 3: I thought I was so clever by putting Jamie upside

942
00:45:32,400 --> 00:45:34,680
Speaker 3: down in there, which I had to match them.

943
00:45:34,920 --> 00:45:37,919
Speaker 1: It was clever, it was cute. Those kinds of things

944
00:45:37,960 --> 00:45:40,040
Speaker 1: make the show. It makes it interesting to watch in

945
00:45:40,200 --> 00:45:43,759
Speaker 1: random moments Easter eggs of Hey, guys, we're here doing

946
00:45:43,760 --> 00:45:44,480
Speaker 1: fun stuff for you.

947
00:45:44,800 --> 00:45:56,200
Speaker 6: I like it.

948
00:45:57,200 --> 00:46:00,720
Speaker 2: Well, let's get into the garage though, because because all these.

949
00:46:00,560 --> 00:46:03,320
Speaker 3: Two together, right, wasn't it great to see the brothers

950
00:46:03,400 --> 00:46:05,200
Speaker 3: kind of yeah, Cam.

951
00:46:05,360 --> 00:46:07,280
Speaker 1: In Keith's garage.

952
00:46:07,520 --> 00:46:13,240
Speaker 2: There's a real beauty to Chad and James together because

953
00:46:13,640 --> 00:46:17,719
Speaker 2: they come to the same emotion from two really different places,

954
00:46:18,280 --> 00:46:24,160
Speaker 2: and James has that very old Hollywood kind of huh.

955
00:46:24,239 --> 00:46:29,680
Speaker 2: There's like, it's almost like a very slow Carrie Grant

956
00:46:30,760 --> 00:46:34,440
Speaker 2: Jemmy Stewart kind of reaction. There's a just a classic

957
00:46:34,520 --> 00:46:37,120
Speaker 2: nature to the way he reacts to news about Dan,

958
00:46:37,800 --> 00:46:41,040
Speaker 2: to laying eyes on the garage after all this time,

959
00:46:41,239 --> 00:46:42,640
Speaker 2: to giving advice to Lucas.

960
00:46:43,160 --> 00:46:44,480
Speaker 1: Yeah, it's deeply internal.

961
00:46:45,000 --> 00:46:47,880
Speaker 2: It's really slow and it's fun to watch it on Furral.

962
00:46:48,360 --> 00:46:51,800
Speaker 2: And then Chad has a very modern approach to things

963
00:46:51,840 --> 00:46:57,040
Speaker 2: and he's very his emotion is very visible right away,

964
00:46:57,520 --> 00:47:00,600
Speaker 2: and it's you know, stereotypically it would be described as

965
00:47:00,640 --> 00:47:04,680
Speaker 2: like feminine really because women are stereotypically the ones that

966
00:47:04,719 --> 00:47:08,520
Speaker 2: are vocal about their emotions. But Lucas have been raised

967
00:47:08,520 --> 00:47:11,400
Speaker 2: by a mother, is someone who is quick to acknowledge

968
00:47:11,400 --> 00:47:15,240
Speaker 2: his emotions. And so it's cool to see these guys

969
00:47:15,280 --> 00:47:20,160
Speaker 2: in this space that's so meaningful, and for you to

970
00:47:20,280 --> 00:47:23,359
Speaker 2: be the bad guy directing them through this scene, it's

971
00:47:23,400 --> 00:47:28,520
Speaker 2: hard to it's hard to imagine them hitting their mark

972
00:47:29,440 --> 00:47:32,720
Speaker 2: and then hearing Dan scott yell action.

973
00:47:33,480 --> 00:47:35,520
Speaker 3: I think they divorce themselves from that one I'm directing.

974
00:47:35,600 --> 00:47:37,399
Speaker 3: I don't know what they assume, but I will say,

975
00:47:37,440 --> 00:47:40,440
Speaker 3: what do you hit? There was various student you found

976
00:47:40,440 --> 00:47:43,120
Speaker 3: something really beautiful? What I call those little hidden gems

977
00:47:43,200 --> 00:47:47,080
Speaker 3: is Chad seemed to me, always seems to me when

978
00:47:47,080 --> 00:47:50,880
Speaker 3: he's working with James as curious about finding things out.

979
00:47:51,160 --> 00:47:53,759
Speaker 3: And James, although has the wall and it's kind of

980
00:47:53,800 --> 00:47:57,400
Speaker 3: reluctant to share his emotions so easily. He wants someone

981
00:47:57,520 --> 00:48:00,759
Speaker 3: to work to get them out of him. And so

982
00:48:00,880 --> 00:48:04,120
Speaker 3: when Chad gives him that gift, James gets to be

983
00:48:04,239 --> 00:48:07,640
Speaker 3: more than what we often get because he wants people

984
00:48:07,800 --> 00:48:09,960
Speaker 3: to like, please ask me, please ask me, but I

985
00:48:10,000 --> 00:48:11,680
Speaker 3: don't really want to tell you because you know. And

986
00:48:11,719 --> 00:48:16,040
Speaker 3: then when he does, you go, oh, oh, it's really

987
00:48:16,080 --> 00:48:17,040
Speaker 3: beautiful to watch.

988
00:48:17,680 --> 00:48:19,879
Speaker 2: That's such a good way to describe it. He wants

989
00:48:19,920 --> 00:48:22,480
Speaker 2: someone to ask, and Chad is ready to ask.

990
00:48:22,760 --> 00:48:25,239
Speaker 3: Yes, yes, Yeah.

991
00:48:25,239 --> 00:48:27,880
Speaker 1: I loved that, And I like the introduction of Jamie

992
00:48:27,920 --> 00:48:31,600
Speaker 1: into that scenario too, that he was watching a little

993
00:48:31,680 --> 00:48:33,680
Speaker 1: kid try and figure out how the world works. When

994
00:48:33,680 --> 00:48:36,560
Speaker 1: he asked, is it okay for me to still miss

995
00:48:37,680 --> 00:48:38,279
Speaker 1: Grandpa Dan?

996
00:48:40,080 --> 00:48:40,160
Speaker 3: Like?

997
00:48:40,239 --> 00:48:41,799
Speaker 1: How do you? Is it okay for me to be

998
00:48:41,920 --> 00:48:44,400
Speaker 1: angry and also miss someone? Is it okay for me

999
00:48:44,520 --> 00:48:49,960
Speaker 1: to like acknowledge something that's bad but also still have love. Like,

1000
00:48:50,040 --> 00:48:52,879
Speaker 1: those are really big concepts and to watch a little

1001
00:48:52,960 --> 00:48:56,520
Speaker 1: kid struggle through them. I like being reminded of the

1002
00:48:56,560 --> 00:48:59,799
Speaker 1: things that we think about as a child, and we

1003
00:49:00,160 --> 00:49:02,840
Speaker 1: still carry those thoughts with us as we grow and

1004
00:49:02,880 --> 00:49:05,840
Speaker 1: grow and grow, and don't even necessarily have the answers

1005
00:49:05,880 --> 00:49:08,399
Speaker 1: to them. We just keep revisiting it over and over

1006
00:49:08,440 --> 00:49:09,040
Speaker 1: and over again.

1007
00:49:10,719 --> 00:49:14,799
Speaker 2: Yeah, he did a great job. And seeing him in

1008
00:49:15,000 --> 00:49:18,840
Speaker 2: the Keith costume with the boots and the pants tucked in,

1009
00:49:19,760 --> 00:49:21,920
Speaker 2: you know, that legacy of what does it mean to

1010
00:49:21,920 --> 00:49:27,200
Speaker 2: be a Scott the father to son, uncle to nephew relationship.

1011
00:49:27,480 --> 00:49:29,880
Speaker 2: I like that our show perpetuated that and just like

1012
00:49:30,000 --> 00:49:37,160
Speaker 2: kept it going. And yeah, this idea that Dan's gonna die, Paul,

1013
00:49:37,160 --> 00:49:39,640
Speaker 2: I would love your take on things, because this was

1014
00:49:39,680 --> 00:49:42,799
Speaker 2: the episode for me as we were reaching the end

1015
00:49:42,800 --> 00:49:48,319
Speaker 2: of our contracts where it really solidified that they were

1016
00:49:48,360 --> 00:49:51,360
Speaker 2: toying with the idea of killing me, and they'd already

1017
00:49:51,440 --> 00:49:54,279
Speaker 2: killed Keith, and they'd put Moira on a shelf and

1018
00:49:54,360 --> 00:49:57,040
Speaker 2: all the actors who were being paid well from the

1019
00:49:57,040 --> 00:50:02,040
Speaker 2: beginning were cut off, and it occurred to me as

1020
00:50:02,120 --> 00:50:06,560
Speaker 2: you know, Peyton's preparing for her own death, that oh,

1021
00:50:06,840 --> 00:50:09,120
Speaker 2: I should do this emotional labor right now. I should

1022
00:50:09,120 --> 00:50:12,239
Speaker 2: prepare myself because I don't know what's going to happen,

1023
00:50:12,280 --> 00:50:14,600
Speaker 2: the same way Peyton doesn't know. But for you, you're

1024
00:50:14,640 --> 00:50:17,520
Speaker 2: also in this limbo where it's like, are they really

1025
00:50:17,560 --> 00:50:20,560
Speaker 2: going to kill me? And you've been living there much

1026
00:50:20,600 --> 00:50:21,160
Speaker 2: longer than me.

1027
00:50:22,640 --> 00:50:25,960
Speaker 3: I struggle sometimes because I know that all this goes public.

1028
00:50:26,320 --> 00:50:28,440
Speaker 2: Sure, I mean there might be a headline.

1029
00:50:28,560 --> 00:50:32,400
Speaker 3: Well no, no, I mean I want people to know things.

1030
00:50:32,680 --> 00:50:35,799
Speaker 3: But I'm also careful because, as I said, you know,

1031
00:50:35,880 --> 00:50:38,800
Speaker 3: I'm I get hurt easily, and so I got to

1032
00:50:38,840 --> 00:50:43,080
Speaker 3: be careful that I don't care. I was told at

1033
00:50:43,120 --> 00:50:47,000
Speaker 3: the end of that season that we're cutting your salary.

1034
00:50:47,040 --> 00:50:50,400
Speaker 3: It's take it or leave it. So I knew that

1035
00:50:50,480 --> 00:50:53,960
Speaker 3: there was some in the writing signs that if I

1036
00:50:54,000 --> 00:50:58,239
Speaker 3: didn't take a reduced salary that I was gone, And

1037
00:50:58,280 --> 00:50:59,920
Speaker 3: so I decided that I was probably going to be

1038
00:51:00,120 --> 00:51:02,600
Speaker 3: on because I was like feeling I'm worth whatever I'm

1039
00:51:02,640 --> 00:51:05,520
Speaker 3: being paid. You know, I've established myself and I think

1040
00:51:05,560 --> 00:51:07,719
Speaker 3: I have value to the show, and I hopefully filled

1041
00:51:07,719 --> 00:51:09,719
Speaker 3: the audience feels that way. But that didn't matter at

1042
00:51:09,719 --> 00:51:13,080
Speaker 3: that point. At the end of the day, we agreed

1043
00:51:13,120 --> 00:51:16,080
Speaker 3: on me only doing ten episodes the following season, I think,

1044
00:51:16,600 --> 00:51:18,560
Speaker 3: and I would still be directing because they didn't want

1045
00:51:18,600 --> 00:51:20,000
Speaker 3: to fire me as director. They just want to get

1046
00:51:20,040 --> 00:51:21,319
Speaker 3: rid of me as an actor because they thought they

1047
00:51:21,320 --> 00:51:23,520
Speaker 3: were paying me too much, or they had or they

1048
00:51:23,520 --> 00:51:25,640
Speaker 3: were cutting into whatever they were doing, whatever it was,

1049
00:51:26,239 --> 00:51:28,280
Speaker 3: and they're bringing in new cast, all kinds of stuff,

1050
00:51:28,320 --> 00:51:30,000
Speaker 3: and so I took over.

1051
00:51:29,840 --> 00:51:32,560
Speaker 2: The cast that they would pay nothing all over again.

1052
00:51:32,640 --> 00:51:36,040
Speaker 3: And I took a reduced salary for the last a

1053
00:51:36,160 --> 00:51:38,960
Speaker 3: couple of seasons and then kind of got a little

1054
00:51:39,000 --> 00:51:42,480
Speaker 3: bump again near the end. But it was it was hurt.

1055
00:51:42,880 --> 00:51:48,720
Speaker 2: Because sorry, Paul, value it's but it is. It's hurtful, Yeah,

1056
00:51:48,840 --> 00:51:51,919
Speaker 2: to build something and be told you're not valuable enough

1057
00:51:52,440 --> 00:51:56,600
Speaker 2: to maintain your salary.

1058
00:51:56,480 --> 00:51:59,440
Speaker 1: Especially when you know how much money they were making

1059
00:51:59,640 --> 00:52:03,920
Speaker 1: on the production and that the producers and the studio like,

1060
00:52:03,960 --> 00:52:05,640
Speaker 1: there's just it's unreasonable.

1061
00:52:05,719 --> 00:52:06,120
Speaker 2: It's me.

1062
00:52:07,640 --> 00:52:09,719
Speaker 3: It could be considered that. And what I try to

1063
00:52:09,760 --> 00:52:12,080
Speaker 3: do is say to myself, well, first off, the audience

1064
00:52:12,120 --> 00:52:16,320
Speaker 3: needs a proper sending off of this character. They deserve

1065
00:52:16,560 --> 00:52:19,080
Speaker 3: a storyline that means something, so let me do the

1066
00:52:19,080 --> 00:52:21,799
Speaker 3: ten episodes and give them that. But then Dan kind

1067
00:52:21,800 --> 00:52:25,000
Speaker 3: of caught fire again and they couldn't get rid of me, really,

1068
00:52:25,520 --> 00:52:27,400
Speaker 3: and so they kind of were like, well, but you

1069
00:52:27,440 --> 00:52:31,319
Speaker 3: come back, and I'm like, now, I was like, you

1070
00:52:31,360 --> 00:52:33,040
Speaker 3: wanted the ten episodes, I'm so happy to give it

1071
00:52:33,080 --> 00:52:35,120
Speaker 3: to you, and you know, but they didn't finish the storyline.

1072
00:52:35,160 --> 00:52:36,759
Speaker 3: Then they said, well, I have a great idea, and

1073
00:52:36,800 --> 00:52:39,239
Speaker 3: then they pitched me this other idea where we all

1074
00:52:39,239 --> 00:52:41,919
Speaker 3: know where it went, and I said, that sounds super fun.

1075
00:52:41,960 --> 00:52:43,919
Speaker 3: I'd love to do it. You know, I just can't

1076
00:52:43,960 --> 00:52:47,279
Speaker 3: do it, you know, at that price, and because I

1077
00:52:47,320 --> 00:52:51,680
Speaker 3: feel like, you know, it's wrong for me to take

1078
00:52:51,760 --> 00:52:53,640
Speaker 3: lesson what I feel i'm worth, even though I think

1079
00:52:53,640 --> 00:52:55,560
Speaker 3: it's a great story and I'm really happy about it.

1080
00:52:56,000 --> 00:52:58,160
Speaker 3: And so we worked out something else, which wasn't what

1081
00:52:58,280 --> 00:53:00,160
Speaker 3: it should have been. But it's like, again, nobody is

1082
00:53:00,160 --> 00:53:03,200
Speaker 3: a right to in our industry to say, like, you know,

1083
00:53:03,360 --> 00:53:05,040
Speaker 3: I deserve a certain amount of money. You deserve what

1084
00:53:05,120 --> 00:53:07,040
Speaker 3: you can negotiate, because that's business.

1085
00:53:07,239 --> 00:53:09,200
Speaker 1: Yeah, well yeah, it's in every business.

1086
00:53:09,360 --> 00:53:14,319
Speaker 2: Yeah, but it's really rare in other industries. If you

1087
00:53:14,400 --> 00:53:16,600
Speaker 2: worked at the bank and they came to you and

1088
00:53:16,680 --> 00:53:19,920
Speaker 2: they said, hey, you've been here a decade. It's so cool.

1089
00:53:20,440 --> 00:53:23,160
Speaker 2: We're going to pay you seventy percent of what we've

1090
00:53:23,160 --> 00:53:26,160
Speaker 2: been paying, you know, like any other industry, that's such

1091
00:53:26,200 --> 00:53:29,360
Speaker 2: a weird shoots and ladders thing to do to a person.

1092
00:53:29,760 --> 00:53:35,680
Speaker 2: And living in that limbo. You know, we're in six

1093
00:53:36,000 --> 00:53:40,120
Speaker 2: nineteen here, and there's five more episodes left in this season,

1094
00:53:40,800 --> 00:53:44,040
Speaker 2: and so you're working for five more episodes having to

1095
00:53:44,120 --> 00:53:47,839
Speaker 2: wonder am I behaving well enough? Am I making people happy?

1096
00:53:48,040 --> 00:53:50,239
Speaker 2: What did I do wrong? Is anyone going to give

1097
00:53:50,280 --> 00:53:52,480
Speaker 2: me a straight answer? Or am I getting the run around?

1098
00:53:52,680 --> 00:53:56,520
Speaker 2: Like the manipulation was really well?

1099
00:53:56,600 --> 00:53:59,560
Speaker 3: You guys felt it too. I mean, yeah, no different ways.

1100
00:54:00,120 --> 00:54:02,000
Speaker 3: Let me just say this on a pousitive note, I didn't.

1101
00:54:02,280 --> 00:54:05,480
Speaker 3: Once you make the decision, what your decision is, I

1102
00:54:05,560 --> 00:54:07,440
Speaker 3: do let it go and I focus on.

1103
00:54:07,400 --> 00:54:10,359
Speaker 2: The work because you have to argue.

1104
00:54:09,920 --> 00:54:11,680
Speaker 3: You know, I completely let it go. And I never

1105
00:54:11,680 --> 00:54:13,120
Speaker 3: have been brought it up to the producers. I never

1106
00:54:13,160 --> 00:54:14,880
Speaker 3: brought it up to the cast, never brought to anybody

1107
00:54:15,040 --> 00:54:17,799
Speaker 3: because I'm a pro and as are you guys. And

1108
00:54:17,960 --> 00:54:20,359
Speaker 3: once I make the decision, it's my decision and I'm

1109
00:54:20,360 --> 00:54:23,000
Speaker 3: going to live with it. So I didn't want it.

1110
00:54:23,080 --> 00:54:24,440
Speaker 3: And that's why I never speak about it.

1111
00:54:24,440 --> 00:54:24,640
Speaker 2: Really.

1112
00:54:24,640 --> 00:54:27,040
Speaker 3: I brought it up because you've brought up a point about, hey,

1113
00:54:27,080 --> 00:54:30,080
Speaker 3: there's a foreshadowing here. Sure was that, and well that

1114
00:54:30,160 --> 00:54:33,080
Speaker 3: was a negotiating thing and it was put on my plate.

1115
00:54:33,120 --> 00:54:36,279
Speaker 3: It was meant to scare me or whatever. And so

1116
00:54:37,080 --> 00:54:39,160
Speaker 3: I brought it up because it's it was a storyline

1117
00:54:39,200 --> 00:54:43,640
Speaker 3: that they used in a way to haggle with an

1118
00:54:43,640 --> 00:54:44,720
Speaker 3: actor about money.

1119
00:54:45,120 --> 00:54:47,640
Speaker 2: Well, it's how they haggled with Craig about his facial

1120
00:54:47,680 --> 00:54:50,280
Speaker 2: hair and his bandana and like the stuff he wanted.

1121
00:54:50,320 --> 00:54:53,719
Speaker 2: They said, either change these things or we will get

1122
00:54:53,800 --> 00:54:55,600
Speaker 2: rid of you. And he was like, not going to

1123
00:54:55,800 --> 00:54:59,200
Speaker 2: change these things, and they got rid of him. They

1124
00:54:59,520 --> 00:55:01,640
Speaker 2: so we are already had it.

1125
00:55:01,920 --> 00:55:04,680
Speaker 1: There's so many egos and power plays that go on

1126
00:55:04,760 --> 00:55:07,720
Speaker 1: behind the scenes that affect the work.

1127
00:55:08,080 --> 00:55:10,000
Speaker 2: That's he was missed.

1128
00:55:10,080 --> 00:55:13,120
Speaker 3: Joy, Craig was missed when he was gone. He was

1129
00:55:13,200 --> 00:55:16,520
Speaker 3: a whole Yeah, in me and I think in you

1130
00:55:16,520 --> 00:55:19,839
Speaker 3: guys too. He was such a calming and you know,

1131
00:55:19,960 --> 00:55:24,680
Speaker 3: a veteran, you know, lovely human being who really cared

1132
00:55:24,680 --> 00:55:26,799
Speaker 3: for us. All it was. It was. I know that

1133
00:55:26,800 --> 00:55:28,640
Speaker 3: what they had to do there to do, but I

1134
00:55:28,719 --> 00:55:30,120
Speaker 3: deeply missed his presence.

1135
00:55:30,400 --> 00:55:32,880
Speaker 1: Yeah, you know, he was one of the biggest hearts

1136
00:55:32,920 --> 00:55:36,440
Speaker 1: of the show, everybody, you know, representing a part of

1137
00:55:36,480 --> 00:55:38,920
Speaker 1: the body as a whole what this show was.

1138
00:55:39,280 --> 00:55:43,000
Speaker 3: It's so funny. I had like goosebumps in these conversations.

1139
00:55:44,480 --> 00:55:46,200
Speaker 3: Don't you guys get that way when you talk.

1140
00:55:46,040 --> 00:55:49,440
Speaker 2: About well because of the line between fact and fiction,

1141
00:55:49,719 --> 00:55:53,400
Speaker 2: because we were a unit off camera and obviously a

1142
00:55:53,480 --> 00:55:55,760
Speaker 2: unit on camera because that's the story that we're telling.

1143
00:55:56,800 --> 00:56:00,000
Speaker 2: But what happens on camera affects what happens off care

1144
00:56:00,320 --> 00:56:05,120
Speaker 2: and vice a person. So yeah, living with that loss

1145
00:56:05,400 --> 00:56:10,480
Speaker 2: and knowing how quickly and you know, severely it can happen,

1146
00:56:11,200 --> 00:56:14,799
Speaker 2: We're all prepped and ready for it to happen, you know,

1147
00:56:14,800 --> 00:56:17,120
Speaker 2: for our heads to roll at any point, And so

1148
00:56:17,440 --> 00:56:20,719
Speaker 2: I felt I felt taken care of in this moment

1149
00:56:20,760 --> 00:56:24,600
Speaker 2: where it dawned on me that Peyton might die because

1150
00:56:24,600 --> 00:56:28,200
Speaker 2: my contract was up, because you were the person who

1151
00:56:28,239 --> 00:56:31,839
Speaker 2: was at the helm of how I was portraying it,

1152
00:56:31,920 --> 00:56:36,080
Speaker 2: and every other director always wanted me to cry. I mean,

1153
00:56:36,280 --> 00:56:39,040
Speaker 2: every visiting director was like, can we get a tear?

1154
00:56:39,360 --> 00:56:42,720
Speaker 2: Can we get a sniffle? And I just love the scene.

1155
00:56:42,840 --> 00:56:47,760
Speaker 2: I have such tactile sense memory of that hat box

1156
00:56:48,600 --> 00:56:50,960
Speaker 2: at the end of the episode that Peyton's putting the

1157
00:56:51,000 --> 00:56:53,919
Speaker 2: sketches in. I wanted to keep that more than any

1158
00:56:54,000 --> 00:56:56,320
Speaker 2: other prop I'd ever had on the show. I wanted

1159
00:56:56,360 --> 00:57:00,000
Speaker 2: it so bad. And I have such memories of you

1160
00:57:00,040 --> 00:57:03,640
Speaker 2: being like, don't cry when you put that picture in here,

1161
00:57:03,960 --> 00:57:07,279
Speaker 2: Like you don't let them see you cry. You are

1162
00:57:07,320 --> 00:57:11,480
Speaker 2: in full control of what's going on. And that sense

1163
00:57:11,520 --> 00:57:17,000
Speaker 2: of like bittersweet empowerment I hold very dear because things

1164
00:57:17,040 --> 00:57:20,400
Speaker 2: do end, people do die, stuff falls apart, and you

1165
00:57:20,440 --> 00:57:21,320
Speaker 2: can keep your chin up.

1166
00:57:22,040 --> 00:57:25,840
Speaker 3: You know, I could get a compliment from anybody in

1167
00:57:25,880 --> 00:57:28,920
Speaker 3: the world, it would be just like that. That makes

1168
00:57:28,960 --> 00:57:29,600
Speaker 3: me feel.

1169
00:57:29,440 --> 00:57:31,160
Speaker 2: Well, it's a compliment to you, Paul.

1170
00:57:31,800 --> 00:57:33,520
Speaker 3: Well, no, it's a beautiful That's what I'm saying is

1171
00:57:33,520 --> 00:57:37,800
Speaker 3: I'm grateful for the recognition of how much I care

1172
00:57:37,840 --> 00:57:40,800
Speaker 3: about you guys. You know, I mean that means the

1173
00:57:40,840 --> 00:57:43,320
Speaker 3: whole ten years of my life in North Carolina. If

1174
00:57:43,320 --> 00:57:45,280
Speaker 3: it was just one compliment like that, it'd be worth

1175
00:57:45,280 --> 00:57:45,760
Speaker 3: it all. You know.

1176
00:57:45,840 --> 00:57:48,280
Speaker 2: I love that well, we all had those moments with

1177
00:57:48,360 --> 00:57:52,480
Speaker 2: you I'm glad I didn't cry. Those mother filled me.

1178
00:57:52,600 --> 00:57:55,840
Speaker 2: Then I don't cross some pictures. I'll leave them behind.

1179
00:57:56,080 --> 00:57:56,760
Speaker 2: I don't care.

1180
00:57:57,280 --> 00:57:59,080
Speaker 3: I never cried in public either.

1181
00:58:00,440 --> 00:58:03,480
Speaker 2: Our dignity you.

1182
00:58:03,440 --> 00:58:05,800
Speaker 1: Were always you were like the walls, Paul. You were

1183
00:58:05,840 --> 00:58:09,640
Speaker 1: just there kind of watching, listening, and you just you

1184
00:58:09,760 --> 00:58:12,040
Speaker 1: had you had just the right door window for us

1185
00:58:12,080 --> 00:58:14,400
Speaker 1: at the exact right moment to open up and share

1186
00:58:14,440 --> 00:58:17,160
Speaker 1: something or remind us of where we were and what

1187
00:58:17,200 --> 00:58:20,040
Speaker 1: we needed, what was important. But you were so good

1188
00:58:20,080 --> 00:58:23,160
Speaker 1: at that, just sort of being their hands off and

1189
00:58:23,680 --> 00:58:26,200
Speaker 1: showing up exactly when it was needed, like in that

1190
00:58:26,280 --> 00:58:27,160
Speaker 1: moment with Well.

1191
00:58:27,080 --> 00:58:30,920
Speaker 3: That means everything. I also remember that, you know, all

1192
00:58:31,000 --> 00:58:34,920
Speaker 3: you guys had come with such wide eyes, such excitement.

1193
00:58:35,000 --> 00:58:37,560
Speaker 3: I remember everybody's face the first time I was introduced

1194
00:58:37,560 --> 00:58:40,120
Speaker 3: to each one of you, you know, even even Sophie.

1195
00:58:40,120 --> 00:58:42,000
Speaker 3: I remember the very first time she came on the said,

1196
00:58:42,080 --> 00:58:45,160
Speaker 3: I remember you know everybody, and it was just kind

1197
00:58:45,160 --> 00:58:50,840
Speaker 3: of like, this is going to be something, going to

1198
00:58:50,880 --> 00:58:52,200
Speaker 3: be something, And I didn't know if it was like

1199
00:58:52,240 --> 00:58:53,920
Speaker 3: even the pile we show about, we know where it

1200
00:58:53,920 --> 00:58:57,479
Speaker 3: picked up. I felt this is going to be something.

1201
00:58:57,520 --> 00:59:02,400
Speaker 3: Everybody brought such hope to their work, you know, you know,

1202
00:59:02,480 --> 00:59:04,640
Speaker 3: I wouldn't it be great if every experience was like that.

1203
00:59:04,720 --> 00:59:07,280
Speaker 3: I didn't. I hadn't felt that on every experience I

1204
00:59:07,360 --> 00:59:09,360
Speaker 3: was on, and in fact, I felt very much an

1205
00:59:09,360 --> 00:59:12,560
Speaker 3: outsider on many shows I've been a guest on, and

1206
00:59:13,320 --> 00:59:15,520
Speaker 3: films are different because those are sort of you know,

1207
00:59:15,680 --> 00:59:18,360
Speaker 3: location ships with people and then you're gone. But this

1208
00:59:18,600 --> 00:59:22,200
Speaker 3: was never has there been anything like family? And because

1209
00:59:22,240 --> 00:59:26,200
Speaker 3: I was such an evil and maniacally bizarre character in

1210
00:59:26,280 --> 00:59:28,640
Speaker 3: many ways and unpredictable. And I love that I was

1211
00:59:28,680 --> 00:59:31,400
Speaker 3: the spice in the stew. I love that. But I

1212
00:59:31,520 --> 00:59:35,040
Speaker 3: was never unloved by people on the cast. I was loved,

1213
00:59:35,680 --> 00:59:37,840
Speaker 3: and that was what made it okay to go to

1214
00:59:37,840 --> 00:59:40,240
Speaker 3: those places in those scenes. I made it okay, you know.

1215
00:59:40,280 --> 00:59:42,280
Speaker 3: And I know that even the tensions that I had

1216
00:59:42,280 --> 00:59:46,280
Speaker 3: with certain people you know, are long forgotten and long forgiven,

1217
00:59:46,400 --> 00:59:49,600
Speaker 3: and those there are moments of like humanity, not moments

1218
00:59:49,600 --> 00:59:51,880
Speaker 3: of evil. That makes the difference.

1219
00:59:52,280 --> 00:59:55,040
Speaker 2: Well, so then how did you direct our new big

1220
00:59:55,120 --> 01:00:00,600
Speaker 2: bad this the Fall Fall? I hope that. I'm so

1221
01:00:00,680 --> 01:00:03,160
Speaker 2: glad she had you to hold her hand through this weirdness,

1222
01:00:03,240 --> 01:00:06,160
Speaker 2: because who are you talking about the principal ram Kiss

1223
01:00:06,240 --> 01:00:09,680
Speaker 2: who showed up in your living room? Joy, you had

1224
01:00:09,720 --> 01:00:12,240
Speaker 2: so much to do with this episode. Haley was in

1225
01:00:12,440 --> 01:00:18,280
Speaker 2: everybody's house or office. Haley graveled this episode. But then

1226
01:00:19,240 --> 01:00:22,840
Speaker 2: this woman had the audacity to walk her ass into

1227
01:00:23,040 --> 01:00:27,280
Speaker 2: your living room to my house. Children can forgive, but

1228
01:00:27,360 --> 01:00:29,600
Speaker 2: a grown ass woman. That's a Dan Scott move to

1229
01:00:29,680 --> 01:00:31,520
Speaker 2: walk into somebody else's house.

1230
01:00:31,720 --> 01:00:34,680
Speaker 1: It is talk about making the writing work, because that's

1231
01:00:34,760 --> 01:00:36,840
Speaker 1: just in the script. Like the kid says something and

1232
01:00:36,960 --> 01:00:39,160
Speaker 1: turns around and there she is in the living room,

1233
01:00:39,200 --> 01:00:41,280
Speaker 1: and you got to figure out how to make that believable.

1234
01:00:41,520 --> 01:00:43,360
Speaker 3: Well, asked me about that on the set. You said,

1235
01:00:43,480 --> 01:00:46,040
Speaker 3: how come she just shows up? How can she just said?

1236
01:00:46,080 --> 01:00:47,600
Speaker 1: You asked me like, yeah, I'm sure I did, And

1237
01:00:47,640 --> 01:00:49,280
Speaker 1: you're like, I don't know, Jo, It's in the script.

1238
01:00:49,400 --> 01:00:50,880
Speaker 1: If you had a question about it, you should have

1239
01:00:50,920 --> 01:00:52,280
Speaker 1: called the writer five days agout.

1240
01:00:54,440 --> 01:00:56,840
Speaker 2: Yeah, I would have loved to have see her just

1241
01:00:56,880 --> 01:01:02,080
Speaker 2: like pop up in a window. What are you guys

1242
01:01:02,160 --> 01:01:07,000
Speaker 2: doing here? Yeah? It was, but it was a good

1243
01:01:07,080 --> 01:01:10,960
Speaker 2: It was like it was Hailey's dangerous mind moment. You know,

1244
01:01:11,120 --> 01:01:14,800
Speaker 2: she's got her leather jacket on. My god, teacher had.

1245
01:01:14,680 --> 01:01:20,360
Speaker 1: On totally was dangerous minds light. Yeah, no, it was fun.

1246
01:01:20,400 --> 01:01:22,640
Speaker 1: I mean we had we had a good time. It

1247
01:01:22,680 --> 01:01:26,760
Speaker 1: was fun working with all those kids. And yeah, I

1248
01:01:26,800 --> 01:01:29,600
Speaker 1: mean you always made it so easy, Paul, and just

1249
01:01:30,640 --> 01:01:32,800
Speaker 1: everything that you were just saying is so true. You

1250
01:01:32,840 --> 01:01:35,280
Speaker 1: know it is. It's a family and that's what we created.

1251
01:01:35,280 --> 01:01:36,800
Speaker 1: And it was a safe space for us as a

1252
01:01:36,840 --> 01:01:39,360
Speaker 1: family to do so many things and experiment with so

1253
01:01:39,440 --> 01:01:43,200
Speaker 1: many things. And yeah, thank you for being so magical

1254
01:01:43,200 --> 01:01:47,880
Speaker 1: and whimsical and curious. You've really kept your curiosity. It's wonderful.

1255
01:01:48,720 --> 01:01:50,640
Speaker 3: And so I had that conversation with Quinn the other day.

1256
01:01:50,680 --> 01:01:52,880
Speaker 3: I was like, I said, the only thing I hope

1257
01:01:52,920 --> 01:01:55,040
Speaker 3: for you is to never lose your curiosity. I said,

1258
01:01:55,280 --> 01:01:57,800
Speaker 3: people who are curious are so interesting and so fun

1259
01:01:57,800 --> 01:02:00,480
Speaker 3: to be around. And that's what I said. Remember the

1260
01:02:00,520 --> 01:02:01,560
Speaker 3: conversation we had.

1261
01:02:01,800 --> 01:02:05,000
Speaker 2: Yes, what does he think about? Has he ever watched

1262
01:02:05,040 --> 01:02:05,520
Speaker 2: one trio?

1263
01:02:07,280 --> 01:02:10,200
Speaker 3: He's never watched it. But one time when he was

1264
01:02:10,240 --> 01:02:12,680
Speaker 3: feeling I think it was like nine or maybe ten

1265
01:02:12,720 --> 01:02:16,880
Speaker 3: years old, we were somewhere and somebody recognized me and

1266
01:02:18,360 --> 01:02:20,440
Speaker 3: Quinn said, do you want me to take the picture?

1267
01:02:20,480 --> 01:02:21,959
Speaker 3: Do you want me to take the picture? My dad

1268
01:02:22,040 --> 01:02:23,720
Speaker 3: was Dan Scott on one trial do you want me to.

1269
01:02:23,680 --> 01:02:25,640
Speaker 2: Take the picture?

1270
01:02:26,000 --> 01:02:28,520
Speaker 3: And I'm like, going, honey, it sounds like you're very

1271
01:02:28,520 --> 01:02:30,400
Speaker 3: proud of me, and he goes, He goes, well, I've

1272
01:02:30,440 --> 01:02:31,800
Speaker 3: never seen the show, dad, you know that.

1273
01:02:32,160 --> 01:02:35,080
Speaker 2: I'm like, okay, that's very.

1274
01:02:34,680 --> 01:02:39,120
Speaker 3: Quinn is the most interesting, bizarre, as Joy will.

1275
01:02:38,960 --> 01:02:43,280
Speaker 2: Tell you, and the best. Well when when your dad

1276
01:02:43,360 --> 01:02:46,479
Speaker 2: is like an iconic bad guy. I feel like your

1277
01:02:46,600 --> 01:02:50,040
Speaker 2: son and my children probably have a lot in common.

1278
01:02:50,160 --> 01:02:54,000
Speaker 2: Before people feel in ownership over you, but also in

1279
01:02:54,080 --> 01:02:57,080
Speaker 2: antagonism when they see you in public. And so as

1280
01:02:57,120 --> 01:02:59,960
Speaker 2: a child, especially like my kid, your kid entering their

1281
01:03:00,120 --> 01:03:03,240
Speaker 2: teenage years. For a teenage boy to have this like

1282
01:03:03,680 --> 01:03:08,040
Speaker 2: bad dad, it's kind of it's kind of great, like

1283
01:03:08,120 --> 01:03:11,360
Speaker 2: because they get to have some swagger walking into middle

1284
01:03:11,360 --> 01:03:13,280
Speaker 2: school and high school, like, you know, my dad will

1285
01:03:13,360 --> 01:03:15,840
Speaker 2: kick your ass right like you know that I come

1286
01:03:15,840 --> 01:03:19,600
Speaker 2: from dangerous stock. There's a there's an allure to it.

1287
01:03:19,840 --> 01:03:21,240
Speaker 2: I hope he utilizes that.

1288
01:03:21,720 --> 01:03:25,080
Speaker 3: Well, we'll see. He's a he's a he's a very

1289
01:03:25,200 --> 01:03:29,400
Speaker 3: unique person. You know, he has all kinds of superpowers

1290
01:03:29,440 --> 01:03:33,040
Speaker 3: because who he is. But he's also got some interesting

1291
01:03:33,160 --> 01:03:35,360
Speaker 3: challenges in his life, you know, so I find it

1292
01:03:35,400 --> 01:03:37,960
Speaker 3: to be I don't know what you guys think, but

1293
01:03:38,120 --> 01:03:41,480
Speaker 3: you know, raising a kid nowadays, I'm terrified that I'm

1294
01:03:41,480 --> 01:03:45,080
Speaker 3: not up to how fast things are changing. And I'm trying,

1295
01:03:46,320 --> 01:03:49,200
Speaker 3: but I'm more terrified that I'm not up for it

1296
01:03:49,200 --> 01:03:51,800
Speaker 3: than they are, that I'm not able to learn and

1297
01:03:51,840 --> 01:03:54,760
Speaker 3: grow and evolve and understand what the challenges they're going

1298
01:03:54,840 --> 01:03:57,160
Speaker 3: to be facing. Is. So the One Tree Hill world

1299
01:03:57,160 --> 01:03:59,800
Speaker 3: that we grew up in, which was even a televised

1300
01:04:00,040 --> 01:04:04,160
Speaker 3: television version of a world, is almost like the nineteen twenties.

1301
01:04:04,520 --> 01:04:06,880
Speaker 2: Oh my god, they're going through.

1302
01:04:07,440 --> 01:04:09,840
Speaker 3: And my son said, Dad, do you know that we're

1303
01:04:09,840 --> 01:04:12,440
Speaker 3: close that the nineteen seventies was as close to the

1304
01:04:12,520 --> 01:04:14,960
Speaker 3: nineteen twenties as we are to two thousand, as in

1305
01:04:15,040 --> 01:04:16,560
Speaker 3: ninety seventy and twenty two four?

1306
01:04:16,880 --> 01:04:20,360
Speaker 1: And I went, what the nineties are the best?

1307
01:04:20,760 --> 01:04:24,360
Speaker 3: Rude the nineteen seventies or as close to the nineteen

1308
01:04:24,360 --> 01:04:26,960
Speaker 3: twenties as twenty twenty four as to the nineteen seventies.

1309
01:04:27,360 --> 01:04:31,480
Speaker 3: So think about that, you were born when the nineteen

1310
01:04:31,520 --> 01:04:36,760
Speaker 3: twenties people were like the Great Depression. Yeah too, and

1311
01:04:36,840 --> 01:04:40,040
Speaker 3: as you as your kids are to you know, nineteen

1312
01:04:40,040 --> 01:04:40,840
Speaker 3: seventies to twenty twenties.

1313
01:04:40,840 --> 01:04:45,400
Speaker 2: It's like, Wow, it's shocking. Yeah, no, it hurts. And

1314
01:04:45,760 --> 01:04:48,400
Speaker 2: I remedy that by only letting my child have a

1315
01:04:48,440 --> 01:04:53,480
Speaker 2: flip phone, Paul, and it alleviates so much bullshit. I'm like,

1316
01:04:53,760 --> 01:04:56,080
Speaker 2: you're allowed to have nineties technology.

1317
01:04:56,080 --> 01:05:09,280
Speaker 7: Friend, Here you go the way to do it.

1318
01:05:10,720 --> 01:05:13,280
Speaker 1: Okay, we have a fan question. Here we go. If

1319
01:05:13,360 --> 01:05:17,120
Speaker 1: you had only one hour to spend in tree Hill

1320
01:05:17,560 --> 01:05:20,320
Speaker 1: and you have two options here, would you rather hit

1321
01:05:20,360 --> 01:05:22,920
Speaker 1: the night out on the town with Deb or have

1322
01:05:23,000 --> 01:05:26,200
Speaker 1: an insightful conversation with Karen in her cafe?

1323
01:05:28,000 --> 01:05:34,800
Speaker 3: Unfair the guests, and I love them. I think my

1324
01:05:34,920 --> 01:05:37,520
Speaker 3: favorite time is with Deb were when we were worrying

1325
01:05:37,560 --> 01:05:39,240
Speaker 3: each other, like the War of the Roses.

1326
01:05:39,320 --> 01:05:44,000
Speaker 2: Yes, yeah, so, and and I do.

1327
01:05:43,920 --> 01:05:48,160
Speaker 3: Love I do think there was chemistry with both characters.

1328
01:05:48,880 --> 01:05:52,760
Speaker 3: I do love the intimacy, and I mean, honestly, the

1329
01:05:52,760 --> 01:05:57,320
Speaker 3: weird part about working with Moira was that her her

1330
01:05:59,000 --> 01:06:03,000
Speaker 3: her emotions were so palpable, and then I felt hatred

1331
01:06:03,480 --> 01:06:09,320
Speaker 3: towards me. I tried to be smug and I tried

1332
01:06:09,360 --> 01:06:11,240
Speaker 3: to be like, well, she's just doing this because she

1333
01:06:11,280 --> 01:06:14,320
Speaker 3: really loves me. Because I have to justify these behaviors. Right,

1334
01:06:14,680 --> 01:06:17,000
Speaker 3: So as a character, I'm going, well, this is the

1335
01:06:17,080 --> 01:06:19,080
Speaker 3: only reason she's doing this because she still cares about me.

1336
01:06:19,160 --> 01:06:20,800
Speaker 3: That's she'd be talking to me like.

1337
01:06:20,680 --> 01:06:25,600
Speaker 2: This if she didn't get me, right, if she Yeah, it.

1338
01:06:25,560 --> 01:06:27,680
Speaker 3: Works better for the character. If she didn't care about me,

1339
01:06:27,760 --> 01:06:30,320
Speaker 3: she wouldn't care. She cares so much she's showing me

1340
01:06:30,560 --> 01:06:32,800
Speaker 3: her hatred, which means she's actually still in love with me.

1341
01:06:33,000 --> 01:06:34,080
Speaker 3: And that's how I would.

1342
01:06:33,880 --> 01:06:34,600
Speaker 2: Play it, which is.

1343
01:06:36,280 --> 01:06:38,200
Speaker 3: Right. That's got to make her din't matter, which is

1344
01:06:38,240 --> 01:06:41,600
Speaker 3: good for the character. For the show. With deb I

1345
01:06:41,640 --> 01:06:44,760
Speaker 3: didn't have to go there because it was more like,

1346
01:06:46,440 --> 01:06:47,760
Speaker 3: I don't want to say this in a bad way,

1347
01:06:47,840 --> 01:06:49,520
Speaker 3: but sort of like foreplay.

1348
01:06:49,720 --> 01:06:52,320
Speaker 2: Yeah, that's it. I never got the sense of the

1349
01:06:52,360 --> 01:06:55,640
Speaker 2: dev hated Dan. I always thought it was a version

1350
01:06:55,720 --> 01:06:59,840
Speaker 2: of like crazy.

1351
01:07:00,160 --> 01:07:04,600
Speaker 3: So there, the energies are very very interesting, but so different.

1352
01:07:05,320 --> 01:07:05,480
Speaker 5: You know.

1353
01:07:05,560 --> 01:07:08,920
Speaker 2: Yeah, I don't like feelings, so I'm probably gonna go

1354
01:07:08,960 --> 01:07:12,080
Speaker 2: with the going out option, like I want to be

1355
01:07:13,200 --> 01:07:15,480
Speaker 2: I want to be out. And we've seen how tree

1356
01:07:15,560 --> 01:07:20,480
Speaker 2: Hill can party. We've done bachelorette parties and limos and

1357
01:07:20,480 --> 01:07:24,440
Speaker 2: and what else have we done in tree Hill? Riverboats? Yeah,

1358
01:07:24,640 --> 01:07:26,320
Speaker 2: it's a party towntown.

1359
01:07:26,520 --> 01:07:30,280
Speaker 1: It is apparently there's crazy college parties. I'd go out

1360
01:07:30,320 --> 01:07:32,760
Speaker 1: with Deb too, I'd go I mean, Deb, is are

1361
01:07:32,760 --> 01:07:35,920
Speaker 1: you kidding me? Deb's got people in catsuits climbing on billboards.

1362
01:07:36,200 --> 01:07:37,000
Speaker 1: I'm going with Deb.

1363
01:07:37,600 --> 01:07:37,960
Speaker 5: She did.

1364
01:07:38,400 --> 01:07:40,520
Speaker 3: Karen though I directed that episode, I know, but.

1365
01:07:40,480 --> 01:07:42,440
Speaker 1: She had convinced Karen ticket you know what I mean.

1366
01:07:45,680 --> 01:07:47,440
Speaker 1: Karen's great. I mean, I love it. I love a

1367
01:07:47,480 --> 01:07:49,440
Speaker 1: good conversation, but I have a lot of those in

1368
01:07:49,440 --> 01:07:51,240
Speaker 1: my life. I need. I need more like nights out,

1369
01:07:51,360 --> 01:07:53,520
Speaker 1: people dragging me out, doing fun stuff.

1370
01:07:53,440 --> 01:07:57,440
Speaker 2: Less feelings, more fun. Now you're coming to the dark side.

1371
01:07:57,720 --> 01:07:58,560
Speaker 1: I like it.

1372
01:07:59,040 --> 01:08:02,160
Speaker 2: So listen, what's our honorable mention for this episode? What

1373
01:08:02,320 --> 01:08:08,000
Speaker 2: was something that really stood out to you and felt meaningful?

1374
01:08:08,720 --> 01:08:10,440
Speaker 2: Were nice?

1375
01:08:10,720 --> 01:08:10,880
Speaker 6: Well?

1376
01:08:10,920 --> 01:08:14,000
Speaker 3: What about you? What about your the in the in

1377
01:08:14,080 --> 01:08:19,000
Speaker 3: the coda, that incredible moment you have there. I thought

1378
01:08:19,080 --> 01:08:22,120
Speaker 3: that was kind of beautiful, you know, with your artwork

1379
01:08:22,360 --> 01:08:27,000
Speaker 3: and your you know again moment right that. I thought

1380
01:08:27,040 --> 01:08:29,719
Speaker 3: that was even very well and poignant.

1381
01:08:30,400 --> 01:08:36,800
Speaker 2: Yeah, I thank you. I I loved, loved, loved, loved, loved, loved,

1382
01:08:36,840 --> 01:08:41,559
Speaker 2: love loved Sam and Jack and their little first kiss

1383
01:08:42,400 --> 01:08:46,640
Speaker 2: and the build up to it the awkwardness of it.

1384
01:08:46,720 --> 01:08:49,920
Speaker 2: I wish when we had been playing teenagers we had

1385
01:08:49,960 --> 01:08:52,840
Speaker 2: had more awkward kisses because we were expected to be

1386
01:08:53,000 --> 01:08:58,519
Speaker 2: very like practiced and sexy and experienced, and these kids

1387
01:08:58,680 --> 01:09:03,599
Speaker 2: actually resemble teenagers, and there just their weirdness and what

1388
01:09:03,640 --> 01:09:06,639
Speaker 2: they say to each other. And then when she doesn't

1389
01:09:06,760 --> 01:09:09,160
Speaker 2: leave for l a and she comes back and sees

1390
01:09:09,200 --> 01:09:11,639
Speaker 2: her with the diner and says so about that kiss,

1391
01:09:11,680 --> 01:09:15,240
Speaker 2: and he goes, yeah, this is awkward, Like they just

1392
01:09:15,479 --> 01:09:17,280
Speaker 2: absolutely don't know the right thing to say.

1393
01:09:17,479 --> 01:09:20,120
Speaker 1: And you building the tower of creamers. That had to

1394
01:09:20,120 --> 01:09:20,679
Speaker 1: be your idea.

1395
01:09:20,760 --> 01:09:25,240
Speaker 3: Paul greg was also in a Kelsey's mom was on

1396
01:09:25,280 --> 01:09:26,360
Speaker 3: this set, which is nice.

1397
01:09:26,680 --> 01:09:27,599
Speaker 2: That was Ashley's mom.

1398
01:09:28,280 --> 01:09:32,160
Speaker 3: Sorry, yeah, she was on the set, And I think

1399
01:09:32,200 --> 01:09:34,960
Speaker 3: that really made it nice because you have, you know,

1400
01:09:35,000 --> 01:09:39,080
Speaker 3: the support and you know the you know, having her

1401
01:09:39,080 --> 01:09:40,840
Speaker 3: sit right next to me in the whole thing and

1402
01:09:41,040 --> 01:09:43,720
Speaker 3: having that guidance from you know, the mother and all

1403
01:09:43,760 --> 01:09:47,800
Speaker 3: that's nice. I don't know, just get made it though.

1404
01:09:47,920 --> 01:09:50,200
Speaker 3: That was so cute. He's a good actress.

1405
01:09:50,240 --> 01:09:53,880
Speaker 2: Yeah, he's done okay for himself and having Peters is fine.

1406
01:09:54,280 --> 01:09:55,400
Speaker 2: He's doing right.

1407
01:09:56,800 --> 01:10:00,519
Speaker 1: My honorable mention goes to your your long lenses is man.

1408
01:10:00,640 --> 01:10:03,200
Speaker 1: They it sucked me into the storyline. It really did.

1409
01:10:03,439 --> 01:10:06,759
Speaker 1: Like I always feel like there's something it's more intimate

1410
01:10:07,120 --> 01:10:09,679
Speaker 1: when you are when I'm watching something on a long lens.

1411
01:10:09,720 --> 01:10:12,800
Speaker 1: And the fact that you used it to actually make

1412
01:10:12,840 --> 01:10:15,639
Speaker 1: some of the storylines that didn't make sense to make

1413
01:10:15,680 --> 01:10:23,760
Speaker 1: them work better really impressive super long lens.

1414
01:10:24,680 --> 01:10:29,560
Speaker 3: Don't forget Orn's song was fantastic in the episode.

1415
01:10:28,200 --> 01:10:30,160
Speaker 1: That's okay.

1416
01:10:30,439 --> 01:10:32,240
Speaker 3: I love that song. I think it was a great,

1417
01:10:32,360 --> 01:10:33,880
Speaker 3: great piece of music they chose for it.

1418
01:10:34,280 --> 01:10:37,519
Speaker 2: Yeah, yeah, well should we spin a wheel. Let's spin

1419
01:10:37,680 --> 01:10:42,840
Speaker 2: the wheel, all right, Paul? We do our most likely too.

1420
01:10:43,040 --> 01:10:46,639
Speaker 2: You're familiar, are you our most frequent guest?

1421
01:10:47,120 --> 01:10:47,360
Speaker 6: You know?

1422
01:10:48,160 --> 01:10:53,000
Speaker 2: Oh? Hey, now who is most likely to date someone

1423
01:10:53,240 --> 01:10:56,520
Speaker 2: fifteen years younger than them? Paul Johnson?

1424
01:10:56,720 --> 01:11:00,320
Speaker 1: I love this is what the Google random thing pulled

1425
01:11:00,400 --> 01:11:02,040
Speaker 1: up the day you're on our show.

1426
01:11:02,439 --> 01:11:05,800
Speaker 2: Yeah. Why would the wheel ask that today?

1427
01:11:07,880 --> 01:11:10,600
Speaker 3: Yeah? I mean I think I would say who's the

1428
01:11:10,600 --> 01:11:13,040
Speaker 3: most random? Who's the most likely to do that?

1429
01:11:14,040 --> 01:11:15,599
Speaker 1: You have to pick a real life one, and then

1430
01:11:15,760 --> 01:11:16,720
Speaker 1: a character, and.

1431
01:11:16,640 --> 01:11:17,400
Speaker 2: Then a character.

1432
01:11:17,720 --> 01:11:19,679
Speaker 3: Well, Whitey doesn't have much of a choice.

1433
01:11:19,800 --> 01:11:23,320
Speaker 2: That's what I was gonna say. I was like, why's

1434
01:11:23,439 --> 01:11:27,160
Speaker 2: like flaing? Like what teacher at Tree Hill High after

1435
01:11:27,240 --> 01:11:30,880
Speaker 2: Camilla died? Did he have a non committed romp with

1436
01:11:31,080 --> 01:11:31,519
Speaker 2: in a lot?

1437
01:11:31,760 --> 01:11:35,560
Speaker 6: Yeah?

1438
01:11:35,600 --> 01:11:37,559
Speaker 2: I would have loved it. I would have loved it.

1439
01:11:38,400 --> 01:11:39,400
Speaker 1: No one could know about this.

1440
01:11:40,760 --> 01:11:44,320
Speaker 3: Uh and what about h Lewis in real life?

1441
01:11:44,479 --> 01:11:44,639
Speaker 6: Oh?

1442
01:11:44,680 --> 01:11:47,720
Speaker 2: How much older than us are you? You played like

1443
01:11:47,760 --> 01:11:51,640
Speaker 2: our dads. But because my parents really thought I was

1444
01:11:51,640 --> 01:11:54,599
Speaker 2: gonna date you during the pilot, they were just like, Hillary,

1445
01:11:55,240 --> 01:11:59,040
Speaker 2: don't do it. Don't like, what are you talking about.

1446
01:11:59,040 --> 01:12:00,920
Speaker 2: They're like, we see the way you two laugh.

1447
01:12:01,479 --> 01:12:02,360
Speaker 1: We see like.

1448
01:12:04,080 --> 01:12:07,479
Speaker 3: Saw you on your MTV show and you just charmed

1449
01:12:07,560 --> 01:12:11,960
Speaker 3: everybody you or everybody loves you. It could be even

1450
01:12:12,000 --> 01:12:14,160
Speaker 3: the camera guys loved you. They would It's like you

1451
01:12:14,200 --> 01:12:17,439
Speaker 3: were so you were a magnet in.

1452
01:12:17,439 --> 01:12:21,400
Speaker 2: A different world. Did we date in a different world?

1453
01:12:21,680 --> 01:12:23,800
Speaker 3: Because I want to be friends with Jeffrey, I want

1454
01:12:23,800 --> 01:12:25,120
Speaker 3: to know that's it?

1455
01:12:25,320 --> 01:12:29,080
Speaker 2: Well, I mean he he says he wouldn't have dated

1456
01:12:29,120 --> 01:12:31,160
Speaker 2: me if he had been on the show.

1457
01:12:31,320 --> 01:12:32,960
Speaker 3: He never calls me. I want to work with him.

1458
01:12:33,000 --> 01:12:34,679
Speaker 3: I want to hire your husband for everything.

1459
01:12:35,200 --> 01:12:38,960
Speaker 2: Well, come to Boston. He's filming with zombies right now

1460
01:12:39,160 --> 01:12:42,240
Speaker 2: and the other night he had people leaning out of

1461
01:12:42,240 --> 01:12:44,040
Speaker 2: the window telling him not to do any of the

1462
01:12:44,120 --> 01:12:47,160
Speaker 2: drugs and whatever town they're shooting it because there's Fennel

1463
01:12:47,240 --> 01:12:49,479
Speaker 2: in it. And I'm like, Jeffrey, where are you right now?

1464
01:12:49,520 --> 01:12:53,240
Speaker 2: Go on now, listen. I like an age gap. I

1465
01:12:53,280 --> 01:12:57,080
Speaker 2: can endorse an age gap. And I know a lot

1466
01:12:57,160 --> 01:12:59,920
Speaker 2: of people look down their nose at it, but I

1467
01:13:00,400 --> 01:13:04,360
Speaker 2: like an age gap, and I'm going to stand by

1468
01:13:04,360 --> 01:13:07,040
Speaker 2: that decision. Mine's seventeen to it.

1469
01:13:07,280 --> 01:13:12,040
Speaker 3: Everybody's consenting, and everybody's legal what it is. But love

1470
01:13:12,160 --> 01:13:15,400
Speaker 3: is a very peculiar thing because in my life I've

1471
01:13:15,400 --> 01:13:20,559
Speaker 3: been lonely and I've been with people who were you know,

1472
01:13:21,640 --> 01:13:23,800
Speaker 3: you know, I don't know that. I thought we're filling

1473
01:13:23,800 --> 01:13:25,439
Speaker 3: holes in my life. And then I've been with people

1474
01:13:25,439 --> 01:13:27,800
Speaker 3: that that never could fill a hole in my life.

1475
01:13:27,840 --> 01:13:29,880
Speaker 3: And then it's kind of like, I don't know. When

1476
01:13:29,920 --> 01:13:34,400
Speaker 3: you find your person and they're you know, have their

1477
01:13:34,400 --> 01:13:39,360
Speaker 3: own lives and themselves and are doing things and they

1478
01:13:39,360 --> 01:13:42,880
Speaker 3: bring joy to you and you're healthy for each other,

1479
01:13:44,040 --> 01:13:47,040
Speaker 3: you find a way. Because love is freaking hard. Age

1480
01:13:47,040 --> 01:13:49,280
Speaker 3: gap or no age, love is hard, man.

1481
01:13:49,320 --> 01:13:50,360
Speaker 2: Yeah, do you think?

1482
01:13:51,160 --> 01:13:51,320
Speaker 1: Yeah?

1483
01:13:51,360 --> 01:13:51,600
Speaker 2: It is.

1484
01:13:51,680 --> 01:13:52,519
Speaker 1: It's it's work.

1485
01:13:52,760 --> 01:13:55,920
Speaker 2: I like a settled person that's like, this is what

1486
01:13:55,960 --> 01:13:58,479
Speaker 2: I am. Yeah, let me get it. You know that

1487
01:13:58,640 --> 01:14:01,599
Speaker 2: was a feeling because our lives are so frantic all

1488
01:14:01,680 --> 01:14:02,200
Speaker 2: the time.

1489
01:14:02,880 --> 01:14:04,720
Speaker 1: Yeah, at some point, the age, the number of the

1490
01:14:04,760 --> 01:14:07,400
Speaker 1: age just doesn't become a factor if the person is

1491
01:14:07,439 --> 01:14:09,759
Speaker 1: the right if it's the right match, if your baggage

1492
01:14:09,760 --> 01:14:10,639
Speaker 1: match matches.

1493
01:14:11,400 --> 01:14:11,719
Speaker 6: Yeah.

1494
01:14:11,760 --> 01:14:14,040
Speaker 3: Well, there's a lot of a lot of strong opinions

1495
01:14:14,040 --> 01:14:18,439
Speaker 3: out there, and you know, we can't you can't control

1496
01:14:18,920 --> 01:14:21,760
Speaker 3: you know, how people feel about things. You can just

1497
01:14:22,200 --> 01:14:26,160
Speaker 3: live a good life and hopefully they'll see your good

1498
01:14:27,040 --> 01:14:27,280
Speaker 3: is it?

1499
01:14:27,320 --> 01:14:29,800
Speaker 2: Anytime? There are those like BuzzFeed articles where they're like

1500
01:14:30,160 --> 01:14:33,120
Speaker 2: age gaps ooh yuck. I'm like, oh no, are they

1501
01:14:33,120 --> 01:14:34,040
Speaker 2: gonna put us in it?

1502
01:14:34,920 --> 01:14:35,480
Speaker 3: Yeah?

1503
01:14:35,520 --> 01:14:39,720
Speaker 2: And sometimes they do and it's okay because you know,

1504
01:14:40,120 --> 01:14:45,200
Speaker 2: you know, everything's cool. I like Whitey having a having

1505
01:14:45,240 --> 01:14:46,800
Speaker 2: a dalliance. You know.

1506
01:14:47,640 --> 01:14:49,200
Speaker 1: Yeah, we missed that storyline.

1507
01:14:49,400 --> 01:14:53,680
Speaker 3: You remember, Ashley's mom on the show was played by

1508
01:14:54,240 --> 01:14:55,080
Speaker 3: Sean Young.

1509
01:14:55,439 --> 01:14:57,800
Speaker 1: Yeah, that's right. Later she came back.

1510
01:14:57,960 --> 01:15:00,360
Speaker 2: Was that Ashley. No, that wasn't Ashley's mom, that was

1511
01:15:00,400 --> 01:15:03,160
Speaker 2: Abby's mom. The character Abby was played Bob.

1512
01:15:03,560 --> 01:15:07,360
Speaker 1: That's right. In school that was yes, earlier on you

1513
01:15:07,400 --> 01:15:08,240
Speaker 1: know what I'm talking about?

1514
01:15:08,439 --> 01:15:14,000
Speaker 2: Yeah, what was Abby? The Alison scambody Skaggliotti Skaggliotti. Yeah,

1515
01:15:14,040 --> 01:15:16,880
Speaker 2: Alison Scagliotti's mom was Sean Young.

1516
01:15:17,240 --> 01:15:17,880
Speaker 1: That's right.

1517
01:15:19,080 --> 01:15:21,080
Speaker 2: Yeah. Did you kiss her? Why do he could have

1518
01:15:21,120 --> 01:15:21,599
Speaker 2: kissed her?

1519
01:15:22,160 --> 01:15:22,320
Speaker 6: Oh?

1520
01:15:22,439 --> 01:15:23,719
Speaker 1: Yeah? She was crazy?

1521
01:15:23,760 --> 01:15:25,840
Speaker 3: Though, You're right, she was crazy?

1522
01:15:27,160 --> 01:15:28,320
Speaker 1: Was it our character crazy?

1523
01:15:28,800 --> 01:15:29,160
Speaker 2: Was she not?

1524
01:15:29,560 --> 01:15:33,280
Speaker 1: I missed it? I forgot guys. If it's not, if

1525
01:15:33,320 --> 01:15:35,519
Speaker 1: I haven't seen it, read it, heard it within the

1526
01:15:35,600 --> 01:15:38,639
Speaker 1: last like two months, it's I can't remember.

1527
01:15:38,720 --> 01:15:39,599
Speaker 2: It's apple sauce.

1528
01:15:41,200 --> 01:15:45,200
Speaker 1: Okay, Friends, next episode, Season six, episode twenty. I would

1529
01:15:45,240 --> 01:15:48,439
Speaker 1: for you. I would thanks for coming, Paul, thanks for

1530
01:15:48,479 --> 01:15:50,839
Speaker 1: coming on the show and talking with us. Always a pleasure.

1531
01:15:51,280 --> 01:15:53,000
Speaker 2: You're the best, Honey, You're the best.

1532
01:15:53,040 --> 01:15:53,640
Speaker 3: Guys.

1533
01:15:53,280 --> 01:15:57,439
Speaker 2: I miss you too. Give love to that boy.

1534
01:15:57,640 --> 01:16:01,080
Speaker 3: Oh yeah yeah, us to New York.

1535
01:16:01,360 --> 01:16:03,160
Speaker 2: Join us.

1536
01:16:03,200 --> 01:16:06,000
Speaker 8: Happy birthday, quin the y We we used the I

1537
01:16:06,160 --> 01:16:08,240
Speaker 8: from the birth wim Happy b Day and threw the

1538
01:16:08,240 --> 01:16:11,360
Speaker 8: rest of it out day and he goes down, you

1539
01:16:11,479 --> 01:16:15,080
Speaker 8: missed still birthday and you can catch it and he goes.

1540
01:16:14,960 --> 01:16:15,559
Speaker 3: I guess.

1541
01:16:17,160 --> 01:16:17,640
Speaker 6: I did it?

1542
01:16:18,720 --> 01:16:21,639
Speaker 2: Incredible, all right, buddy. We love you so much. Thank

1543
01:16:21,720 --> 01:16:22,400
Speaker 2: you have you.

1544
01:16:22,520 --> 01:16:26,519
Speaker 1: Bye everybody. Hey, thanks for listening. Don't forget to leave

1545
01:16:26,560 --> 01:16:29,360
Speaker 1: us a review. You can also follow us on Instagram

1546
01:16:29,360 --> 01:16:31,479
Speaker 1: at Drama Queens O t H.

1547
01:16:31,680 --> 01:16:35,839
Speaker 2: Or email us at Drama Queens at iHeartRadio dot com.

1548
01:16:36,080 --> 01:16:39,720
Speaker 2: See you next time. We all about that.

1549
01:16:39,760 --> 01:16:42,639
Speaker 1: High school drama. Girl, Drama Girl, all about them high

1550
01:16:42,680 --> 01:16:45,840
Speaker 1: school queens. We'll take you for a ride at our

1551
01:16:45,840 --> 01:16:50,800
Speaker 1: comic girl cheering for the right team. Drama Queens up

1552
01:16:50,920 --> 01:16:52,839
Speaker 1: girl Fashion, but your tough girl.

1553
01:16:52,680 --> 01:16:53,599
Speaker 2: You could sit with us.

1554
01:16:53,640 --> 01:16:58,120
Speaker 1: Girl Drama, Queens, Drama, Queense Drama, Queens Drama, Drama, Queens Drama,

1555
01:16:58,200 --> 01:16:59,439
Speaker 1: Queens