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Speaker 1: How are you guys feeling just the post, because we

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Speaker 1: can't say you guys just came from a practice, you

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Speaker 1: like wiped after a practice or he hears different stories

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Speaker 1: about having hard practices are or not hard with tips.

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Speaker 2: The kind of league wide towards the end of the year,

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Speaker 2: practices aren't necessarily that intense. It could be for a

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Speaker 2: shorter period of time. It's not going to be like

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Speaker 2: a training camp practice. But I think primarily, like since

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Speaker 2: we had a decent amount of time between games, like

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Speaker 2: we kind of did our stuff earlier in the week,

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Speaker 2: and then today it was more of like a walk

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Speaker 2: through type thing game plan So, I mean, we're game

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Speaker 2: planning all week, but today it was more focused on that.

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Speaker 1: But but like for like when you say walk through,

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Speaker 1: like what does that entail their plays?

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Speaker 3: Their players are coverages.

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Speaker 2: Their players are coverages, like just kind of like literally

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Speaker 2: literally literally walking through the place. I mean no, I

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Speaker 2: mean this week it was it was spread out. It

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Speaker 2: was spread out, like we did certain some place, yeah

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Speaker 2: Tuesday whatever. Yeah. Yeah. But then today's kind of like

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Speaker 2: an overview.

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Speaker 3: To practices aren't really they're not They're not a big

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Speaker 3: physical like practice. I It's more like you make you

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Speaker 3: have to be locked in mentally, like and make sure

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Speaker 3: you know, like you know, we're walking through display. We

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Speaker 3: got to make sure we're in discoverage and we're in

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Speaker 3: this position and communicating stuff like that.

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Speaker 2: It's not like the only thing, like the only thing

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Speaker 2: that's not live speed. It's like literally the walk deypart.

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Speaker 2: Like you're supposed to talk everything out like you would

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Speaker 2: talk like in the game, like being a positioned to

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Speaker 2: be able to help or whatever, Like your everything is.

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Speaker 2: You're supposed to be mentally there like this your game planning.

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Speaker 2: You're like thinking about what you're gonna happen the game,

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Speaker 2: what's gonna happen in the game, But you're you're just

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Speaker 2: like walking through. It's like not really a contact.

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Speaker 1: And who you're scrimmaging with on the team is are

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Speaker 1: they is it? Like I don't know, I don't know

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Speaker 1: anything about it. So like in a debate when someone's

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Speaker 1: prepping for a debate and have somebody play the other person,

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Speaker 1: like you're just like deep and you're working your offense

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Speaker 1: is going to play like the team you're playing.

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Speaker 2: Yeah, So like when we're actually like practicing, like earlier

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Speaker 2: in the week, like we're saying, all right, this person's him,

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Speaker 2: this is what we're gonna do in this situation. That

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Speaker 2: is what we're gonna do that situation. And then we

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Speaker 2: go through that like live speed, like like we're playing

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Speaker 2: and so.

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Speaker 1: And who's who plays Cad? Is it like a practice

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Speaker 1: player or yeah?

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Speaker 2: It will be like I guess like when we when

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Speaker 2: Blue with an offense, it was me, and then.

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Speaker 3: It would be it will be more so like when

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Speaker 3: we're playing that live, it'll be like, Okay, we're coming

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Speaker 3: down in a drag and we'll call it coverage of

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Speaker 3: like how we're going to guard that pick and roll.

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Speaker 3: So it's you know, say Blue gets a stop and

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Speaker 3: we're coming down on offense. Then whoever has that ball

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Speaker 3: could be Jalen or could be Michael or whatever. Whoever's

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Speaker 3: that ball handler is Cad or whoever we're you know, Matt,

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Speaker 3: you know, focused on and then they go off that

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Speaker 3: ball screen then you have to run that coverage. So

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Speaker 3: it will vary on the you know, depending on who

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Speaker 3: it is. It's not like we have one person that's like, oh,

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Speaker 3: this guy is going to be cunning game and we're

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Speaker 3: going to play him. It's more like the concepts and

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Speaker 3: all that you see was Luca.

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Speaker 2: Yeah, but it's it's just like and they said, and

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Speaker 2: they said, it's.

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Speaker 3: Just like one of those things. But it's just like

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Speaker 3: it's so hard to like game plan for like guys

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Speaker 3: like that because it's like I love Joe Ingles, but

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Speaker 3: like there we go, No, like Joe, Joe isn't going

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Speaker 3: to make like those like passes where like he's like

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Speaker 3: Ki just knows where all his guys are and knows

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Speaker 3: like who's going to cut. He knows those kinds of things.

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Speaker 3: So huh yeah, what else, Luca? Yeah, right, So like

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Speaker 3: it's different for like Joe Ingles doing it because like

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Speaker 3: Joe is not going to be making those kind of

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Speaker 3: passes that going to make. So I don't know, I

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Speaker 3: get the concept of it, but like it's just doing

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Speaker 3: stuff like that is just.

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Speaker 1: I don't know. And what about making the reps for

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Speaker 1: just like watch you guys like pass or something and

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Speaker 1: you know these great passes where you are you ever

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Speaker 1: practicing that or is that just coming out of the

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Speaker 1: years of playing that that happens. It's like do you

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Speaker 1: practice a backdoor something you know?

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Speaker 2: Or yeah, we'll practice that like when we're running plays

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Speaker 2: and stuff. But sometimes things happen on instinct.

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Speaker 1: Yeah, because it happens so fast in the game. Yeah,

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Speaker 1: and if you're not walking through, it's like the opposite

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Speaker 1: of that.

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Speaker 3: Yeah. And I think it's also like it just depends

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Speaker 3: on how your your offenses because obviously we have our

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Speaker 3: plays and you know, stuff is you know, drew up

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Speaker 3: a certain certain way. But also TIMS does a good

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Speaker 3: job of letting us like read and react. When your

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Speaker 3: offense is kind of build on concepts and your ability

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Speaker 3: to read and react and you know what certain guys

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Speaker 3: do and all that, it's it's easier you know where

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Speaker 3: you're able to make those kind of passes and you

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Speaker 3: know to read the defense because it's not like, Okay,

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Speaker 3: we got to put this guy in only this situation.

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Speaker 3: Like you're able to just kind of right, you know,

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Speaker 3: read and react and cutting.

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Speaker 1: It seems like it's like knowing when a guy is

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Speaker 1: gonna cut.

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Speaker 2: Yeah, you kind of like read the situation. I remember

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Speaker 2: in college, like if someone was driving to the basket,

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Speaker 2: you kind of cut along the perimeter so you get

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Speaker 2: to an open spot in the perimeter. Like there's a

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Speaker 2: difference between driving to the basket and driving like across

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Speaker 2: the lane. Like if I'm going like from like the

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Speaker 2: elbow to elbow, I'm not really having It's not like

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Speaker 2: an attacking dribble. That's when you can cut to the basket.

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Speaker 2: That's when you can the basket cuts because there's not

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Speaker 2: someone going to the basket already.

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Speaker 4: Like a lot of times people say that throughout a

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Speaker 4: basketball season as like the team builds chemistry, like you know,

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Speaker 4: the hope is that by the end of the season

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Speaker 4: they're hitting their stride. Is it the same way on

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Speaker 4: set with the cast? Do you notice is there like

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Speaker 4: a noticeable improvement?

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Speaker 1: As it definitely is like when you start something, there's

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Speaker 1: always that thing of like everybody's sort of you know,

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Speaker 1: a little bit nervous or you know, just getting into it.

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Speaker 1: But for us, like if you're doing a series, you're

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Speaker 1: shooting for like eight eight months, it's probably like length

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Speaker 1: of the season. Our first season we shot from October

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Speaker 1: to May, so it becomes like a little bit of

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Speaker 1: the season. Yeah, it becomes like a marathon every day,

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Speaker 1: every day, five days a week. We shot one hundred

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Speaker 1: and eighty six days on season two, so.

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Speaker 4: Hours like each day at least at least twelve usually

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Speaker 4: like fourteen.

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Speaker 2: Wow, is it's.

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Speaker 3: That's to be so draining?

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Speaker 1: It, Yeah, it's draining. It's like a marathon where you

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Speaker 1: have to remember that this last scene you're shooting is

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Speaker 1: as important as the first scene you're shooting in terms

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Speaker 1: of how it's going to be watched by somebody. So

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Speaker 1: it does become about having to like, I think it's

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Speaker 1: I'm sure it's like a lot of similar sort of

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Speaker 1: like you know, mental sort of approach to it where

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Speaker 1: you have to kind of know when you can turn

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Speaker 1: off and chill out and then know when you have

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Speaker 1: to be ready because it's too exhausting if you're like

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Speaker 1: fully there all the time.

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Speaker 2: You guys give unexpected off days.

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Speaker 1: Well, actors get off days, like if you know there's

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Speaker 1: not in a scene or something like that, so they'll

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Speaker 1: sometimes the actors. But if you're directing or producing, you're there,

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Speaker 1: you know, the whole time, and then you know. It's

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Speaker 1: an interesting process making a show because you're also editing

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Speaker 1: while you're shooting, so it's kind of like you're jumping

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Speaker 1: around from like, oh, I'm looking at the cut from

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Speaker 1: episode two and we're shooting episode four and you know,

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Speaker 1: still prepping episode six or five.

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Speaker 2: Yes, I have a question. Yeah, say you're recording a

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Speaker 2: scene right an episode one, but you don't like show

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Speaker 2: the full scene. You don't show the full conversation, you

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Speaker 2: don't show the full interaction. Right, But then episode eight

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Speaker 2: it comes back in a flashback and you show the

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Speaker 2: entire the full scene. Yeah, are you shooting that on

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Speaker 2: episode during episode one or are you going back to

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Speaker 2: redo it? That makes sense?

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Speaker 1: Yeah, that does. Yeah, Usually you're doing you shoot it

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Speaker 1: when you're shooting the scene, and then you have an

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Speaker 1: idea of episode eight is written, and you know you're

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Speaker 1: going to come back to that.

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Speaker 2: Ye.

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Speaker 1: You know, maybe you want to show it exactly as

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Speaker 1: it happened in episode two or whatever, or maybe you

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Speaker 1: want to show a different angle or a different way

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Speaker 1: of seeing it. So you're thinking about that when you're

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Speaker 1: shooting the scene, and then you shoot the whole scene

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Speaker 1: that way.

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Speaker 3: Yeah, about a second. If you don't you don't like

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Speaker 3: bounce back and forth through you would know.

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Speaker 1: But that's another part of it too.

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Speaker 3: I've heard sometimes we do, Yeah, we do it.

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Speaker 1: It's called block shooting, and what it is is basically,

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Speaker 1: we're going to be here, you know, in this location

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Speaker 1: of this loft, and we're going to be shooting all

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Speaker 1: the scenes for episode episodes one, two, and three that

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Speaker 1: happen in this loft. So that's called block shooting. So

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Speaker 1: you're going out of order. Obviously you're going out of

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Speaker 1: order anyway. But if you're just shooting like all of

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Speaker 1: episode one, you wouldn't shoot it in order anyway. Yeah,

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Speaker 1: you again, shoot all that scenes from this location, then

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Speaker 1: you shoot all the scenes outside, you know. So you

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Speaker 1: do that. But when you're doing like three episodes at

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Speaker 1: a time, which is kind of how we do it

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Speaker 1: in blocks, and maybe one director's doing three episodes, maybe

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Speaker 1: one director is doing two episodes, you're jumping around all

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Speaker 1: the time. So it's kind of like having to have

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Speaker 1: the story in your head as an actor and a

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Speaker 1: director and know what it is, because you're going to

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Speaker 1: be jumping to a moment like, oh, that person, you know,

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Speaker 1: I had a fight with that person, you know, three

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Speaker 1: scenes ago, but we haven't shot that fight yet. But

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Speaker 1: I'm feeling whatever that you know, whatever that energy is

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Speaker 1: post that scene, and.

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Speaker 4: You it's your adopt to pull that out as the

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Speaker 4: director and basically make sure that they're aware of that,

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Speaker 4: remind them of that.

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Speaker 1: Yeah, but these actors, you know, they come in prepared,

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Speaker 1: they know their shit. They're really committed. You know, once

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Speaker 1: you start doing a series, the actors know their roles. Again,

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Speaker 1: I feel like it's some of you, like you know,

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Speaker 1: you could like into a team. They know their roles

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Speaker 1: almost better than the writer or the director because they

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Speaker 1: they're living it. So they're they're asking questions that the

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Speaker 1: director or the writer might not even ask because they're

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Speaker 1: thinking about it from the point of view of their character,

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Speaker 1: which is so valuable. So when a good actor is

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Speaker 1: going to come in with questions, thoughts about it, choices,

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Speaker 1: and it's all about like making these choices.

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Speaker 4: You know, as an actor, when you talk about the

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Speaker 4: process and how long it is, it also gives you

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Speaker 4: a ton of appreciation for like the hair and makeup

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Speaker 4: team and the and the like the wardrobe team. Yeah,

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Speaker 4: Like the audience has no concept of time, right, we

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Speaker 4: just expect people to look the same throughout the whole series,

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Speaker 4: But nine months have passed, might have a beard, might

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Speaker 4: have a different haircut. Like they make them all that same.

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Speaker 1: Yeah, it used to be took polaroids back in the

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Speaker 1: day before digital cameras. It was like polaroids for wardrobe,

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Speaker 1: polaroids for makeup, and like the makeup person or the

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Speaker 1: wardrobe person would have like a ring with like you know,

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Speaker 1: like one hundred polaroids on it. And now it's all

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Speaker 1: you know, it's in everybody's camera. But that stuff is

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Speaker 1: you know, you don't want to be distracting, you know.

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