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Speaker 1: I Am all in again. Oh, let's I am all

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Speaker 1: in again with Scott Patterson in iHeartRadio Podcast. Hey Everybody,

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Speaker 1: Scott Patterson, I Am all in Podcast one eleven productions,

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Speaker 1: iHeartRadio Media, iHeart Podcast Season two, episode fifteen, Lost and

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Speaker 1: Found Episode recap with somebody who I know You are

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Speaker 1: familiar with. Patrica Darbo as an actress and producer with

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Speaker 1: a career spanning over four decades countum four. She is

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Speaker 1: known for her roles in soap opera's like Days of

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Speaker 1: Our Lives, Bold and Beautiful, and was most recently in

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Speaker 1: a new movie Lulu. She had a fabulous guest appearance

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Speaker 1: on Gilmore Girls as a waitress in season two episode twenty.

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Speaker 1: Help Wanted, but it is here today? Recap Season two,

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Speaker 1: episode fifteen. As I just stated, Lost and Found, Patrica, welcome,

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Speaker 1: Thank you. Let's do a synopsis. Jess, Luke and Jess

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Speaker 1: start to feel cramped by all the stuff overtaking their

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Speaker 1: small apartment. Roy tries to convince Laura La to hire

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Speaker 1: Jess to clean out out there rain gutters. Meanwhile, De

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Speaker 1: notices that Rory isn't wearing the bracelet he made for her.

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Speaker 1: I want to ask you right off the top. You've

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Speaker 1: had such an amazing career, a part of so many projects.

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Speaker 1: How did disappearance in Gilmore Girls land in your lap? Oh?

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Speaker 2: I offered to pay for it me too. No, I

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Speaker 2: mean I did go to the audition, and at that

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Speaker 2: time it was an in person audition, and anyway, they said,

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Speaker 2: I said, I brought my checkbook. I'll pay for this role.

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Speaker 2: I mean, because I love the show as so many

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Speaker 2: fans have, and the fact that now we get to

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Speaker 2: see the re runs it's even more fun. Yeah. Up, Yes,

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Speaker 2: I did offer. I guess I was the best or

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Speaker 2: maybe they did want to check me. I don't know,

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Speaker 2: But anyway, I got the part, so and I didn't

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Speaker 2: have to pay for it.

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Speaker 1: That is that's a really brilliant way to go into

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Speaker 1: a room, I think. I mean, it's either it's not

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Speaker 1: like sucking up. You use humor to say listen, I'll

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Speaker 1: pay you. That's just it's just such a compliment, right.

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Speaker 2: I mean, I think so. And I think those kind

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Speaker 2: of auditions were so helpful in hiring. And I'm not

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Speaker 2: tooting mount hornor hiring the best because you knew right

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Speaker 2: away you wanted to work with me. Because I had

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Speaker 2: a sense of humor, and those in person things where

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Speaker 2: the producer was there and the casting director and people

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Speaker 2: could say, could you try it this time, but do this,

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Speaker 2: pick up this or something. So those in person auditions

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Speaker 2: were so great other than just being here with a

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Speaker 2: camera acting to that camera there with nobody's there.

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Speaker 1: So yeah, I think it affects the overall quality of shows. Now.

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Speaker 1: They're not nailing the casting in a lot of situations.

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Speaker 2: I think. So it's you know, who's most popular, Well,

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Speaker 2: they might be most popular for this show, but not

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Speaker 2: for that show. So it's it's that kind of thing.

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Speaker 1: So yeah, Jess, boy, it's all anyway. Gilman Cuso directed.

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Speaker 1: Amy Sherman Palladino wrote this episode, we're going to talk

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Speaker 1: about rain gutters. The Gilmour girls needed their rain gutters

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Speaker 1: cleaned out. After Laura I gets are trying to clean

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Speaker 1: them herself, Luke suggests hiring Jess to clean them. Laura

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Speaker 1: I agrees after Rory pleads were there to give Jess

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Speaker 1: a chance. Rory asked Jess why he is so short

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Speaker 1: with Laurelai, not why he is so short, but short

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Speaker 1: with Laura I. All right. She says that if he

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Speaker 1: cares about it all. He will be polite to Laura

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Speaker 1: I Jess smirks and asks, well, he's good at smirking.

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Speaker 1: He's so good at all those little facial.

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Speaker 2: And you do want to slap sometimes, right.

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Speaker 1: Jess smarks and asks Rory what makes her think he

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Speaker 1: cares about her?

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Speaker 2: Boy, I tell you a lot of angst in this show,

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Speaker 2: a lot of angst.

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Speaker 1: Let me ask you this, Patrika, have you ever had

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Speaker 1: a home improvement disaster? Do you relate to this to

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Speaker 1: his I'll just do it myself.

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Speaker 2: The part of it, yes, I've related that where you

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Speaker 2: have to call somebody to come back in and fix

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Speaker 2: what you tried to do yourself. But I think finding

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Speaker 2: that I like ike in there was one of the

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Speaker 2: funniest things, cleaning out that cutter.

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Speaker 1: That was fun right, that was funny. Laurela is not

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Speaker 1: a fan of Jess. Why do you think or what

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Speaker 1: do you think Rory sees in jests that Laurelai doesn't.

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Speaker 2: I think Rory sees the intelligence, the reading, the the

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Speaker 2: difference between one boy going to Lord of the Rings

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Speaker 2: and the other boy like, let's read this, you know,

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Speaker 2: And she's so in education, so it's very you see

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Speaker 2: what's coming.

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Speaker 1: Yeah, I think that one line she said to Dean,

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Speaker 1: you know, I'd see this movie one hundred times. We're

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Speaker 1: taking everything very literally literally. Yes, it was just sort

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Speaker 1: of that's the relationship in a nutshell, and you know

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Speaker 1: it's not going to work out if she's if she's

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Speaker 1: gonna snark him like that. You know, that's that doesn't

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Speaker 1: have long to go.

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Speaker 2: And it's kind of sad because you're so attached to

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Speaker 2: the characters, especially you know Laurie. I mean she's she's

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Speaker 2: everybody's daughter friend, thing like that, and you don't want

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Speaker 2: her to see it get hurt. And you do see

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Speaker 2: the that last scene I think when Laurli goes after

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Speaker 2: him about you know, this is the most precious thing

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Speaker 2: to her and then he stops her. Well, she lost

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Speaker 2: her for two weeks before she noticed. Maybe you got

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Speaker 2: to I mean you go, oh, the writing on the walls,

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Speaker 2: come in here. This is not good.

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Speaker 1: Yeah, I don't blame Laurla. I mean, I mean, this

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Speaker 1: is a daydangerous kid anyway. It's like that, that's a

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Speaker 1: dangerous kid for anybody's daughter. And whether it's you know,

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Speaker 1: an unwanted pregnancy or whether it's you know, actual physical

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Speaker 1: harm because this guy didn't take care of something and

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Speaker 1: there's a car accident, which I think has got Yeah,

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Speaker 1: I mean she's just being a mama bear.

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Speaker 2: I mean I think that, and I think at times,

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Speaker 2: because of her age, I think she relates to that

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Speaker 2: hurt herself, you know, being that sixteen year old and

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Speaker 2: so in love and then having somebody throw shade on

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Speaker 2: it is not a good thing, right, But I like

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Speaker 2: to talk about you, Snehi.

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Speaker 1: Do you really think Rory likes the attention from Jess.

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Speaker 1: I think she does, right.

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Speaker 2: I mean I think she is. I think she likes

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Speaker 2: the fact that they can sit and talk for hours

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Speaker 2: about a book and talk about education or just a

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Speaker 2: particular author that they both like, whereas Lord of the

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Speaker 2: Rings is so is starting to make her look at

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Speaker 2: things different.

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Speaker 1: Well, mother, Jess and larel I are butting heads. Do

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Speaker 1: you think it's a little inappropriate, maybe on moralized end

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Speaker 1: or I think she validated. I think we talked about this.

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Speaker 1: I think she has every right and to call him

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Speaker 1: a little jerk. Sure he was being a little jerk.

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Speaker 1: He was being disrespectful to.

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Speaker 2: You know, but I think I think when Rory talks

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Speaker 2: about the fact about the bracelets missing and hears all

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Speaker 2: that going on, that he realizes that that she she's

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Speaker 2: really hurt. I mean, the mere fact that he would

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Speaker 2: take it. I think it shows that he doesn't quite

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Speaker 2: like Dean.

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Speaker 1: So mm hmmm, yeah, he's just he's you know, all's

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Speaker 1: fair in love and war?

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Speaker 2: Right, Yeah, well, I think so. But I think Dean

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Speaker 2: hasn't read orn Vice or anything, so it's gonna be

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Speaker 2: kind of weird going on there.

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Speaker 1: Right right, Well, Roy gets a little embarrassed and stumbles

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Speaker 1: on her words when Jess as why she thinks he

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Speaker 1: cares about her, and then she walks away.

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Speaker 2: And I think, yeah, I think that's the teenage thing

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Speaker 2: where she doesn't know how that's the you know, where

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Speaker 2: it's easy to talk to Deane because Dean doesn't is

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Speaker 2: not that biting talking back and forth and education all mean,

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Speaker 2: all the books and stuff they've read, and suddenly this

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Speaker 2: man that she really kind of likes, but she still

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Speaker 2: loves Dean. There's that difference. And anyway, I think that

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Speaker 2: that that's that teenage angst that well, I don't even

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Speaker 2: care for me that way. I mean, like like like

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Speaker 2: you would care for a puppy you know that that

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Speaker 2: you know, that kind of thing. She doesn't know exactly

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Speaker 2: how to handle it. And remember too, I mean, Dean

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Speaker 2: is really the first person she's dated, right, you know,

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Speaker 2: so m just.

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Speaker 1: Like uh, comparison comes to mind between Dean and Jess.

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Speaker 1: Dean seems very structured. He wants to do this, and

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Speaker 1: then he wants to do the movie, and then after

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Speaker 1: that they can go do this and do you want

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Speaker 1: to do that Rory, and she yes, sure, let's do

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Speaker 1: that structure. And Jess is more kind of like, you know,

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Speaker 1: anything goes, you know, it's a sea of possibilities with Jess, right,

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Speaker 1: isn't it good or bad? But therein lies the excitement.

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Speaker 2: I think it's the difference between let's go to college

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Speaker 2: together and let's start a business and someone who says, honey,

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Speaker 2: I'm home, what's for dinner? Right, It's those that economy

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Speaker 2: between the two of them. Let's you know, get on

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Speaker 2: the back of my bike and let's go to Big

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Speaker 2: Bear for the weekend. And no, no, no, no, no,

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Speaker 2: this is what we have planned, Pete. So on Friday

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Speaker 2: night we're gonna have Chinese, you know.

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Speaker 1: Right, All right, well, let's go on to Luke's apartment hunting.

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Speaker 1: There's a lot of Luca this, a lot of Luke

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Speaker 1: in this episode, a lot of Luke rants. This was

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Speaker 1: particularly Ranti Luke this episode. He's struggling to adjust to

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Speaker 1: Jess moving into a small apartment and Jess go hunting

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Speaker 1: for a new place. Luke calls Lorelei for a second

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Speaker 1: opinion on her apartment. He's really frustrated. He doesn't know

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Speaker 1: what to do. The realtor refers to Luke to then

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Speaker 1: they go and see the apartment and Luke is referred

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Speaker 1: to by the realtor's lorealized husband, So they do that

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Speaker 1: funny little bit and she goes along with it. This

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Speaker 1: is why it was so great working with her. She

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Speaker 1: had such freedom in what she did, and she had

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Speaker 1: so much fun. She's so good at comedy, you know,

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Speaker 1: and her timing is just like you know, well.

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Speaker 2: I think that's one of the nicest things about the

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Speaker 2: show in general, is that everybody it is connected in

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Speaker 2: such a way because you know what she's going to say,

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Speaker 2: she knows what it's like this and I think that's

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Speaker 2: Amy's writing and the christness of it. Back and forth

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Speaker 2: like that, but the timing for both of you delivering

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Speaker 2: those lines. As an actor, it's boom boom.

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Speaker 1: It was exciting.

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Speaker 2: Yes, I mean, and you're like, what's going on and

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Speaker 2: the little quips that come in between, and I can't

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Speaker 2: think of any right this moment, but this like, okay,

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Speaker 2: fish for dinner and I don't know where she pulls

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Speaker 2: face nowhere? You know, Okay, you can put curtains, what

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Speaker 2: you'll get hot, No, we won't do this. You like,

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Speaker 2: you do need two bathrooms, that kind of thing. So

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Speaker 2: it's but it was all just very timing wise.

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Speaker 1: Great, great, Yeah, that was always the challenge, and the

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Speaker 1: writing did kind of I'm not I don't. I don't

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Speaker 1: want to say it made it easy, but it made

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Speaker 1: it a lot easier.

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Speaker 2: I mean, I think so there are times as actors

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Speaker 2: you can say you can learn lines faster when they're

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Speaker 2: they're like you speak to one another versus how you

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Speaker 2: read something like that and I'm sorry I cut you off.

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Speaker 1: No, no, no, no, go ahead, We're here to listen

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Speaker 1: to you.

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Speaker 2: I think the quistness of the writing again is like that,

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Speaker 2: but again the delivery has to be there. And it's

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Speaker 2: one of those shows that everybody wanted to do, but

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Speaker 2: everybody was afraid of the audition because what's the timing

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Speaker 2: of my character yet, because I don't know her yet.

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Speaker 2: You know, mine is like giving us the little coffee

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Speaker 2: cup when I did the thing, which was a dema task.

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Speaker 2: But you serve a fish bowl for them. So but

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Speaker 2: it's that kind of thing. So when you went to audition,

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Speaker 2: you were like, oh god, oh god, maybe I should

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Speaker 2: just pay for this. It's great.

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Speaker 1: Well, Laura like and visus Luke to sign the lease.

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Speaker 1: She tells him to be open to the opportunity more

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Speaker 1: and adds that if he wants to take a lady

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Speaker 1: friend home, he's going to need a bigger place. Well,

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Speaker 1: Luke's just trying to do a good thing by getting

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Speaker 1: dressed himself more privacy. But but Jess continues with the

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Speaker 1: bad attitude. Do you do you feel bad for Luke

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Speaker 1: at this point?

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Speaker 2: I don't feel bad for Luke. I mean I am

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Speaker 2: as a viewer and as a as a woman, I'm

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Speaker 2: like going like this, what are you talking about? Other women?

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Speaker 2: What are you talking about? What are you? Are you

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Speaker 2: out of your mind? What's fazy part? You know? But

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Speaker 2: then again that's how their friendship is. It's like their

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Speaker 2: friends first so everybody was always hoping that that was

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Speaker 2: you're the pair and stuff like that, though you're you

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Speaker 2: know different. I mean, it's kind of like ice and heat.

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Speaker 2: There's no way that you got especially especially when you

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Speaker 2: ordered that Sunday and that didn't eat it because of

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Speaker 2: you're frustration about that. I mean, there were so many

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Speaker 2: cute things in there about that, but you're as a

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Speaker 2: as a viewer and a fan. I'm screaming, what are

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Speaker 2: you talking about? Other women? We just got rid of

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Speaker 2: that other one.

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Speaker 1: Well, you can really feel the Luke's frustration through the

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Speaker 1: screen about the apartment and what a message is and

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Speaker 1: his struggle to find a new one. Can you relate

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Speaker 1: to this kind of frustration, Patrika?

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Speaker 2: Well, I could probably show you my dining room table

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Speaker 2: right this moment. You know, my frustration about where is

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Speaker 2: this called? What's that? Why did the dogs would get

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Speaker 2: here so soon? I got to find place? So yes,

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Speaker 2: I could relate to that. I as much as I

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Speaker 2: have a clutter around like this, Nothing like that room

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Speaker 2: that he was sleeping in and how he slept with

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Speaker 2: that music is another thing for me. And I have

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Speaker 2: to tell you the little black and white television with

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Speaker 2: the coat hangar things. I mean, I don't think kids

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Speaker 2: remember rabbit ears are putting, you know, tenfoil and things.

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Speaker 2: There was just such a lovely little touch of who

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Speaker 2: you are.

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Speaker 1: That was everybody's college dorm room when I was in college.

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Speaker 1: It's the tiny little TV with the rabbit ears and

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Speaker 1: the tinfoil that you'd.

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Speaker 2: Worked all summer long to pay for so you could

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Speaker 2: bring it.

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Speaker 1: Right exactly, Why do you think, Patrika, and I'm really

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Speaker 1: interested to hear your opinion on this. What makes this

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Speaker 1: on screen loc and Loreli relationship so compelling? Why is

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Speaker 1: it so compelling? Besides the right, I.

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Speaker 2: Think it's because, again, your total opposites and opposite to attract.

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Speaker 2: I mean, like this and as the outsider looking in

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Speaker 2: for me, I'm going, would you both open up your eyes?

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Speaker 2: What's wrong with you? But at the same time, the

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Speaker 2: other part of me's going, oh, this friendship is too

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Speaker 2: perfect to ruin my grandmother, to be ashamed to spoil

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Speaker 2: two houses with you. So you know it's that kind

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Speaker 2: of thing fire and ice again, though you want it,

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Speaker 2: you know that it be disastrous.

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Speaker 1: Right right? Potentially disastrous?

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Speaker 2: Well, I mean yeah, I guess because we can't see

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Speaker 2: the future. But again, though every part of you goes

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Speaker 2: you want them together, but you don't want them together.

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Speaker 1: I don't know how many guys out there wish they'd

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Speaker 1: taken their shot, right, you got to take your shot.

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Speaker 2: Well, I think so. I think other people find that

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Speaker 2: they you know, they screwed up. And I don't know

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Speaker 2: if Laura lies, if she's sown enough. No, it's because

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Speaker 2: she was sixteen when she had Laurie and she's become

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Speaker 2: a mother, so she's never a nightclub and done all

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Speaker 2: this stuff, though they did some, you know, I'm sure

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Speaker 2: she had a few dates and stuff out there before

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Speaker 2: this happened, but her parents are not, Let's go to

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Speaker 2: the car hop at night, Like, what is a hot dog?

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Speaker 2: I've never had? What is that? You know, all those

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Speaker 2: different things that happened in the show.

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Speaker 1: How she went to the she went from the country

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Speaker 1: club to Stars Hollow, yep.

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Speaker 2: And I'm all the better for it, yep. But I

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Speaker 2: think there's a sadness, not in this particular episode, but

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Speaker 2: the sadness about she missed out on a lot of stuff,

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Speaker 2: and I think that's some of the resentment between her

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Speaker 2: and her mother.

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Speaker 1: You know, Rory's bracelet, how did this come off to you?

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Speaker 1: Did you think that they were making too much out

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Speaker 1: of the bracelet, they were just trying to get too

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Speaker 1: much milk out of this cow?

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Speaker 2: No, not really, I mean for me, I mean sometimes

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Speaker 2: you can, but basically I think it was the well

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Speaker 2: Roy's if you care for me to one gentleman, I mean,

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Speaker 2: she's confused, but at this point that meant the world

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Speaker 2: to her. And as a young woman myself, which I

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Speaker 2: have to go by my feelings, if I had something

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Speaker 2: that my boyfriend gave me and suddenly I couldn't find it,

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Speaker 2: I would be just like Rory. I would be throwing

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Speaker 2: things around trying to find it. I mean just my

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Speaker 2: house would be spotless because I would go through every

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Speaker 2: newk and cranny to find it.

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Speaker 1: You know.

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Speaker 2: I mean I remember losing a charm one time that

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Speaker 2: a friend, not a boyfriend, had given me and I

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Speaker 2: was devastated. That charm meant a lot to me, and

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Speaker 2: it meant a lot to her to give that to me.

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Speaker 2: So I don't think so as a teenage girl, no,

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Speaker 2: that reaction is perfect, okay, mister no teenage boy? Fine,

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Speaker 2: thank you.

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Speaker 1: When she said that line to Dean at the book fair,

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Speaker 1: that you. I see, we're taking things quite literally. Yes today, Okay.

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Speaker 1: To me, that meant that she was over it. She

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Speaker 1: was bored. I don't know how she can say that

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Speaker 1: even under her breath, and it was and it was

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Speaker 1: kind of loud enough for him to hear it.

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Speaker 2: Yeah, but I think she intentionally said it, and I

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Speaker 2: think that that's that's it's kind of an awakening, awake,

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Speaker 2: an awakening for her.

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Speaker 1: Well why is she? But the thing is starting to interrupt,

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Speaker 1: But it's almost an opportunity to to fan the flames

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Speaker 1: with the Rory Jess thing. If she doesn't care so

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Speaker 1: much about looking for the bracelet and her mother and Laura,

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Speaker 1: I notices that, why don't you care? You know what

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Speaker 1: I'm saying.

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Speaker 2: I mean, I can look at it. I can look

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Speaker 2: at it that way. The fact that she she's wanting,

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Speaker 2: she's seeing a different light and Dean that has always

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Speaker 2: been there, but this is the first time she's really

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Speaker 2: kind of thought, this is my life. Watching Lord of

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Speaker 2: the Rings every episode every Friday night or and Saturday

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Speaker 2: night too, We'll watch the neck outlet. So but at

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Speaker 2: the same time, she still cares for him a lot,

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Speaker 2: and I think losing the bracelet was like almost facing

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Speaker 2: the fact that there is a difference sixteen. Yeah, you know,

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Speaker 2: you know what I'm saying. In other ways, why am

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Speaker 2: I so attached to my bracelet and stuff like that?

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Speaker 2: When he wants to watch I think there's a lot

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Speaker 2: of teenage inks going through there. It's things that I

360
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Speaker 2: think the show was so nice, in the fact that

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Speaker 2: everybody was on their cell phones all the time, and

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Speaker 2: you know that people were sitting down at the dinner

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Speaker 2: table talking to one another, and even you know, tonight

364
00:19:38,440 --> 00:19:40,320
Speaker 2: we're gonna eat things you don't even want to know about,

365
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Speaker 2: sitting on our sofa watching this movie we've watched twenty times,

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Speaker 2: Mother and Daughter versus.

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Speaker 1: I mean, really, if you were to create a modern

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Speaker 1: television show that depicted real life, it would people be

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Speaker 1: sitting around looking at their phones.

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Speaker 2: And every single okay, yeah, okay, I to my it would.

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Speaker 1: Be yeah, nobody talks to one another.

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Speaker 2: Of course, at this point, everybody talks with abbreviations, and

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Speaker 2: you can't figure out what the hell's going on. And

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Speaker 2: I'm an older woman though I look damn good, but

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Speaker 2: I understand any of this stuff. I had to call

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Speaker 2: emergency going. I can't get in I can't get in

377
00:20:19,680 --> 00:20:22,359
Speaker 2: while I was three minutes early but late according to

378
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Speaker 2: my phone. But anyway, now it's crazy.

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Speaker 1: We know Jess took the bracelet from the bridge when

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00:20:31,760 --> 00:20:38,720
Speaker 1: Rory dropped it, and laurle I catches him coming out

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Speaker 1: of Rory's bedroom, so she knows he planted it back

382
00:20:42,280 --> 00:20:44,879
Speaker 1: in there after getting a case of the guilts, and

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Speaker 1: she confronts him.

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Speaker 2: About it, and deservedly, you know.

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Speaker 1: And he asked Laurlai how the bracelet could be so

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Speaker 1: important to Rory if it took her two weeks to

387
00:20:55,720 --> 00:21:02,480
Speaker 1: notice it was gone. Yeah, that's like boom, and he says,

388
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Speaker 1: he to Laurela, you might want to reevaluate how madly

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Speaker 1: in love Rory is. And that's when orl I kind

390
00:21:12,359 --> 00:21:13,120
Speaker 1: of gets edgued with.

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Speaker 2: She gets edgi with him at that point, but she can't.

392
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Speaker 2: I mean I think she's I think his attitude, the

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Speaker 2: way he is has turned her off from the very beginning.

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Speaker 2: I mean, his sharpness, he's no wanting to talk, his

395
00:21:26,680 --> 00:21:29,679
Speaker 2: you know, glib tongue and what did he say when

396
00:21:29,720 --> 00:21:31,159
Speaker 2: he came out of the shower or something, by my

397
00:21:31,200 --> 00:21:34,920
Speaker 2: hair just wouldn't puff today or something. It's all about

398
00:21:35,000 --> 00:21:38,200
Speaker 2: him leaving the house still a mess, and I quite

399
00:21:38,240 --> 00:21:39,919
Speaker 2: don't know why you were putting up with it. But

400
00:21:40,000 --> 00:21:40,920
Speaker 2: it's okay.

401
00:21:41,960 --> 00:21:45,919
Speaker 1: Well, he's you know, everybody's abandoned him. He's had to

402
00:21:45,960 --> 00:21:48,000
Speaker 1: raise himself and he's not doing a great job.

403
00:21:49,160 --> 00:21:52,399
Speaker 2: But at the same time, I mean, I think books

404
00:21:52,400 --> 00:21:56,199
Speaker 2: are his escape place, a safe place, and then to

405
00:21:56,240 --> 00:21:59,040
Speaker 2: find Rory's read the same books and stuff and somebody

406
00:21:59,040 --> 00:22:01,320
Speaker 2: he can sort of talk to about here read this

407
00:22:01,359 --> 00:22:03,120
Speaker 2: book and she goes, oh, well, thank you very much.

408
00:22:03,720 --> 00:22:08,720
Speaker 2: If the book becomes the bracelet, if that makes any sense,

409
00:22:09,920 --> 00:22:12,840
Speaker 2: I mean I think that truly, that book. It means

410
00:22:12,920 --> 00:22:15,160
Speaker 2: the world to her that she just got and the bracelet,

411
00:22:15,200 --> 00:22:18,600
Speaker 2: and she's she's in this position right now, not knowing

412
00:22:18,640 --> 00:22:19,520
Speaker 2: which way to jump.

413
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Speaker 1: So Laurala I asked Luke if he thinks anything is

414
00:22:23,119 --> 00:22:25,600
Speaker 1: going on between Justin Rory. Luke says he doesn't. Nobody

415
00:22:25,640 --> 00:22:31,920
Speaker 1: thinks worry would be great for you. Yes, yes, well

416
00:22:32,119 --> 00:22:35,400
Speaker 1: you know, Dean seems to be nagging Rory about her

417
00:22:35,440 --> 00:22:37,440
Speaker 1: every move in this episode. What do you think about

418
00:22:37,480 --> 00:22:38,480
Speaker 1: this relationship?

419
00:22:39,160 --> 00:22:42,960
Speaker 2: Very controlling, very controlling, and that again like honey, I'm home,

420
00:22:43,240 --> 00:22:46,520
Speaker 2: what's for supper? Where are my slippers? You know, that

421
00:22:46,600 --> 00:22:49,359
Speaker 2: kind of stuff. I mean a little his way of

422
00:22:49,400 --> 00:22:54,760
Speaker 2: thinking is a little old fashioned. And again he'd rather

423
00:22:54,840 --> 00:22:58,880
Speaker 2: watch a movie than read a book. So I mean,

424
00:22:58,920 --> 00:23:01,359
Speaker 2: I think the whole thing where he talks about the fact, no,

425
00:23:01,600 --> 00:23:04,360
Speaker 2: fifteen minutes you were over there, but it's been two

426
00:23:04,440 --> 00:23:07,600
Speaker 2: hours I've been sitting here, you know. And then when

427
00:23:07,640 --> 00:23:11,200
Speaker 2: she points out the fact that there's observatory books, the

428
00:23:11,240 --> 00:23:13,639
Speaker 2: science books over here, she hadn't even looked at yet,

429
00:23:13,960 --> 00:23:16,400
Speaker 2: and he says, go ahead, and well, then we'll watch

430
00:23:16,480 --> 00:23:18,399
Speaker 2: Lord of the Rings and then we'll do this. So

431
00:23:18,440 --> 00:23:20,120
Speaker 2: he's bartering at the same.

432
00:23:19,960 --> 00:23:23,959
Speaker 1: Time, What advice would you give Jess to get Rory's attention?

433
00:23:24,000 --> 00:23:25,960
Speaker 1: What do you think you should do at this point? Wow?

434
00:23:26,240 --> 00:23:28,200
Speaker 2: I mean that's more. That's more of it. That's kind

435
00:23:28,200 --> 00:23:31,280
Speaker 2: of a question for you. As as the male thing here.

436
00:23:31,680 --> 00:23:35,199
Speaker 2: For me, I think he needs to stop with the

437
00:23:35,240 --> 00:23:39,800
Speaker 2: smart ally key things and be honest about feelings and

438
00:23:41,720 --> 00:23:46,280
Speaker 2: it's coming. But I think he's so closed off. He's

439
00:23:46,320 --> 00:23:49,720
Speaker 2: afraid to get there's a fear of getting too attached

440
00:23:49,840 --> 00:23:52,960
Speaker 2: to Rory, even though he's trying everything in his power

441
00:23:53,040 --> 00:23:56,000
Speaker 2: to sort of break up. So he can ask her out.

442
00:23:56,320 --> 00:23:58,040
Speaker 1: How about if he wrote a poem about Rory and

443
00:23:58,080 --> 00:24:01,880
Speaker 1: gave it to her, that that'd be a move, right.

444
00:24:02,200 --> 00:24:04,080
Speaker 2: That would be a good bye Dean moves.

445
00:24:04,400 --> 00:24:09,159
Speaker 1: That would be a good the pub of the poem

446
00:24:09,200 --> 00:24:14,240
Speaker 1: as weapon. All Right, Taylor drops the bomb that he

447
00:24:14,320 --> 00:24:18,719
Speaker 1: owns the building that Luke wanted to rent from. And

448
00:24:18,840 --> 00:24:20,600
Speaker 1: isn't Michael Winners just wonderful?

449
00:24:21,840 --> 00:24:25,440
Speaker 2: Isn't he just he's the best I'm gonna have plates?

450
00:24:25,520 --> 00:24:27,920
Speaker 2: Who wants to plate? You can't have that sign there

451
00:24:27,920 --> 00:24:28,479
Speaker 2: with the plates?

452
00:24:28,800 --> 00:24:31,840
Speaker 1: I mean right? And that he wants to buy the

453
00:24:31,880 --> 00:24:35,119
Speaker 1: flower shop next to Luke's diner. Luke's just like lulling

454
00:24:35,160 --> 00:24:36,240
Speaker 1: a gasket at this point.

455
00:24:36,400 --> 00:24:40,120
Speaker 2: Uh well, the fact he wants his father's hardware sign

456
00:24:40,440 --> 00:24:43,040
Speaker 2: turned down kind of shows who Luke is too. He

457
00:24:43,280 --> 00:24:48,560
Speaker 2: likes that, I think the the familiarity of family, and

458
00:24:48,640 --> 00:24:52,120
Speaker 2: that's that's something that's never coming down unless he's dead

459
00:24:52,160 --> 00:24:55,600
Speaker 2: out front with the other sign hanging office, there's no

460
00:24:55,640 --> 00:24:58,359
Speaker 2: way you're gonna give that sign up ever. Yeah, but

461
00:24:58,480 --> 00:25:03,520
Speaker 2: I love the fascist I'm going It's unbelievable. You know.

462
00:25:03,640 --> 00:25:07,200
Speaker 1: Luke just eventually buys the building and puts the hole

463
00:25:07,240 --> 00:25:08,960
Speaker 1: through a wall in his apartment tells j just this,

464
00:25:09,080 --> 00:25:13,280
Speaker 1: this is real and and it's I love when laural

465
00:25:13,359 --> 00:25:16,800
Speaker 1: I opens the door and Luke says, I just spent

466
00:25:16,880 --> 00:25:20,000
Speaker 1: one hundred thousand dollars. It's all year, it's your fault.

467
00:25:23,000 --> 00:25:25,440
Speaker 2: But after this whole rating and ranting like this, would

468
00:25:25,480 --> 00:25:26,840
Speaker 2: you like some tea.

469
00:25:27,480 --> 00:25:31,960
Speaker 1: Right right right right now? But it's like, you know again,

470
00:25:32,720 --> 00:25:38,119
Speaker 1: the writing is so delicious. It's a full meal. Those

471
00:25:38,160 --> 00:25:42,720
Speaker 1: scenes were so much fun, not not just to read

472
00:25:42,880 --> 00:25:45,639
Speaker 1: and table read, but to rehearse them because you know,

473
00:25:45,720 --> 00:25:51,000
Speaker 1: you it's God, I miss that show. I miss working

474
00:25:51,119 --> 00:25:53,919
Speaker 1: at that level, you know, because you don't get that

475
00:25:55,000 --> 00:25:57,879
Speaker 1: you know, it just it just doesn't come around very often.

476
00:25:57,960 --> 00:26:01,520
Speaker 1: And man, just such a pleasure to.

477
00:26:02,400 --> 00:26:05,000
Speaker 2: It's little things like Kurt sixty two cents get out

478
00:26:05,040 --> 00:26:08,680
Speaker 2: of here, Kurt, right, I mean those little subtle things

479
00:26:08,720 --> 00:26:10,800
Speaker 2: like that that go in and out of that whole

480
00:26:10,800 --> 00:26:12,879
Speaker 2: thing and back to where it. So the I like

481
00:26:12,920 --> 00:26:15,520
Speaker 2: Ike button in the when did you last clean these?

482
00:26:15,560 --> 00:26:18,600
Speaker 2: I found out like I like Ike? So we just

483
00:26:18,680 --> 00:26:21,280
Speaker 2: clever little things like that. And the funny part about

484
00:26:21,280 --> 00:26:23,600
Speaker 2: it is half of the audience probably didn't know who

485
00:26:23,640 --> 00:26:24,359
Speaker 2: Ike was.

486
00:26:24,760 --> 00:26:28,320
Speaker 1: Right, have you Patrika, have you ever made a spur

487
00:26:28,359 --> 00:26:30,720
Speaker 1: of the moment purchased like that, like Luke.

488
00:26:30,560 --> 00:26:34,439
Speaker 2: Did off on a pair of shoes that went like, hello,

489
00:26:34,800 --> 00:26:38,120
Speaker 2: don't walk away, come back here, look at me at colors. Yes,

490
00:26:38,280 --> 00:26:41,800
Speaker 2: I've done that, going yeah, I.

491
00:26:41,800 --> 00:26:44,639
Speaker 1: Uh, I know what that's like. But Luke buys the

492
00:26:44,640 --> 00:26:47,520
Speaker 1: whole building for him and Jess to have more space.

493
00:26:47,560 --> 00:26:50,359
Speaker 1: What do you think about the love shown through frustration

494
00:26:50,520 --> 00:26:51,680
Speaker 1: throughout the whole episode.

495
00:26:51,800 --> 00:26:53,920
Speaker 2: Well, I mean, it's that whole thing, and you also

496
00:26:54,000 --> 00:26:56,200
Speaker 2: see how he did it on the spur of the moment.

497
00:26:56,400 --> 00:26:58,520
Speaker 2: Yet somewhere in the back of his mind he was

498
00:26:58,600 --> 00:27:00,560
Speaker 2: not taken down his dad's signs and he didn't want

499
00:27:00,640 --> 00:27:05,960
Speaker 2: stinky plates next door to right whatsoever. It's just everything

500
00:27:06,000 --> 00:27:10,240
Speaker 2: weaves together. That's I think that's her amy, the fact

501
00:27:10,240 --> 00:27:14,280
Speaker 2: that it's a glib everything is sharp dialogue wise. But

502
00:27:14,320 --> 00:27:17,439
Speaker 2: then also the characters are so interwoven that you you

503
00:27:17,520 --> 00:27:20,040
Speaker 2: recognize everybody and you're going, where's the guy that sings

504
00:27:20,080 --> 00:27:22,440
Speaker 2: on the street, And let's not talk about Miss Patty

505
00:27:22,520 --> 00:27:25,160
Speaker 2: driving back there with a cigarette and hand one two

506
00:27:25,200 --> 00:27:27,400
Speaker 2: the way we go, you want your bady gone, light

507
00:27:27,480 --> 00:27:30,480
Speaker 2: me up, Light me up. I mean just the whole

508
00:27:30,560 --> 00:27:36,040
Speaker 2: town that she created was just incredible and missed and missed.

509
00:27:45,119 --> 00:27:48,080
Speaker 1: But let me ask you this funny behind the scene

510
00:27:48,080 --> 00:27:48,960
Speaker 1: moments on the set.

511
00:27:49,040 --> 00:27:52,679
Speaker 2: Do you remember anything, No, I just remember being terrified

512
00:27:52,960 --> 00:27:56,280
Speaker 2: that I was. I mean, it truly isn't when you're

513
00:27:56,359 --> 00:27:58,800
Speaker 2: when you're coming into a show that you First of all,

514
00:27:58,840 --> 00:28:02,160
Speaker 2: the first thing you do as a supporting actor coming

515
00:28:02,200 --> 00:28:05,040
Speaker 2: into a show is you go, please God, let these

516
00:28:05,040 --> 00:28:10,000
Speaker 2: people I love be nice. That's the first thing. And

517
00:28:11,560 --> 00:28:13,520
Speaker 2: of course working with the two ladies, they were darling.

518
00:28:13,560 --> 00:28:15,600
Speaker 2: Everything was great, the crew and stuff. We didn't get

519
00:28:15,600 --> 00:28:18,199
Speaker 2: to have any interaction and stuff like that, but it

520
00:28:18,320 --> 00:28:25,320
Speaker 2: was basically the astonishment of the waitress and that's my episode,

521
00:28:25,359 --> 00:28:27,360
Speaker 2: so we don't want to talk about that. But I

522
00:28:27,400 --> 00:28:28,960
Speaker 2: was terrified through the whole thing that I was going

523
00:28:29,040 --> 00:28:30,880
Speaker 2: to do something wrong or something. You know, that kind

524
00:28:30,920 --> 00:28:34,400
Speaker 2: of thing you go like, you're always saying yourself, I'm talented, crave, intelligent,

525
00:28:34,480 --> 00:28:36,159
Speaker 2: I can handle this, and then you get on the

526
00:28:36,160 --> 00:28:38,640
Speaker 2: set and you go brain dead or you're like, so like,

527
00:28:39,000 --> 00:28:41,200
Speaker 2: my god, okay, my line is coming. My line is coming.

528
00:28:41,200 --> 00:28:43,960
Speaker 2: It's almost time. Hi there. That's kind of things like that,

529
00:28:44,600 --> 00:28:47,760
Speaker 2: But nothing really because we had a very short, nice

530
00:28:47,800 --> 00:28:51,400
Speaker 2: little fun scene, so we really didn't have anything going

531
00:28:51,400 --> 00:28:55,720
Speaker 2: on behind us at this point. I think those are

532
00:28:55,720 --> 00:28:57,920
Speaker 2: the fun. You probably have more to share about what happened,

533
00:28:58,120 --> 00:29:00,320
Speaker 2: especially knocking a hole in that wall, because I'm sure

534
00:29:00,360 --> 00:29:01,280
Speaker 2: that was one take.

535
00:29:01,520 --> 00:29:06,080
Speaker 1: So one of my favorite scenes to shoot. Because we

536
00:29:06,160 --> 00:29:08,320
Speaker 1: never we talk so much. You never got to do

537
00:29:08,400 --> 00:29:11,040
Speaker 1: a lot of things. You never love got to do actions,

538
00:29:11,160 --> 00:29:13,960
Speaker 1: and that was an action, you know, something to do.

539
00:29:16,120 --> 00:29:19,640
Speaker 1: I just enjoyed that scene, and I love how they

540
00:29:19,680 --> 00:29:21,560
Speaker 1: cut it together, and I love the music they chose,

541
00:29:21,640 --> 00:29:24,440
Speaker 1: and it was just a really fun scene to watch.

542
00:29:24,520 --> 00:29:27,520
Speaker 2: Well, even I mean when when she's trying to convince

543
00:29:27,560 --> 00:29:29,920
Speaker 2: you that you need apartment to go the mere fact

544
00:29:29,960 --> 00:29:32,720
Speaker 2: that now you've bought the building. Because that interaction with Taylor,

545
00:29:32,960 --> 00:29:35,240
Speaker 2: I mean, the writing is so crisp, and you really

546
00:29:35,280 --> 00:29:40,520
Speaker 2: got some good ranting. I guess those are the best.

547
00:29:40,880 --> 00:29:42,440
Speaker 1: I don't know if you, I don't know if you

548
00:29:42,480 --> 00:29:46,480
Speaker 1: could have dealt with lanting, ranting Luke every single episode,

549
00:29:46,560 --> 00:29:48,760
Speaker 1: but every once in a while it's It's It's fun,

550
00:29:48,840 --> 00:29:49,120
Speaker 1: isn't it.

551
00:29:49,760 --> 00:29:51,720
Speaker 2: But I think that I think your character is so

552
00:29:51,800 --> 00:29:56,800
Speaker 2: fun because you're like a curmudgeon, but you're not get out.

553
00:29:56,840 --> 00:30:00,000
Speaker 2: We're closed now, finish up, get out time with you people.

554
00:30:00,560 --> 00:30:03,320
Speaker 1: So those kind of things that you do just a

555
00:30:03,440 --> 00:30:05,040
Speaker 1: typical Northeastern dude.

556
00:30:06,040 --> 00:30:11,200
Speaker 2: Maybe maybe not Northeast, you'd be net Waffle.

557
00:30:11,320 --> 00:30:16,800
Speaker 1: Trust me, typical Northeastern dude. I grew up with guys

558
00:30:16,920 --> 00:30:21,840
Speaker 1: like that. Well, look, let's talk about your career, starting

559
00:30:21,880 --> 00:30:24,200
Speaker 1: so many series, and you're most famously known for roles

560
00:30:24,200 --> 00:30:28,040
Speaker 1: in sitcom Step by Step Days of Our Lives. What

561
00:30:28,160 --> 00:30:31,160
Speaker 1: would you say have been the highlights of your career.

562
00:30:32,520 --> 00:30:35,520
Speaker 2: Oh, well, one of the biggest highlights was I had

563
00:30:35,560 --> 00:30:39,120
Speaker 2: done a stage production at a ninety nine seat theater.

564
00:30:40,280 --> 00:30:42,400
Speaker 2: It was called Theater Theater. It's on Coin I think

565
00:30:42,440 --> 00:30:45,720
Speaker 2: it's the bus stop now and there's a Methadone center

566
00:30:45,800 --> 00:30:48,280
Speaker 2: right across from it. Was very interesting doing our little

567
00:30:48,320 --> 00:30:51,600
Speaker 2: theater production there for two years. We did Daddy's Dying

568
00:30:51,680 --> 00:30:54,320
Speaker 2: there and we took it to the Fringe Festival in

569
00:30:55,240 --> 00:30:57,480
Speaker 2: Scotland and then I got to reprise my role in

570
00:30:57,560 --> 00:31:00,760
Speaker 2: the film, which got me a contract with ABC, and

571
00:31:01,080 --> 00:31:05,400
Speaker 2: so that was kind of the biggest highlight there. Second

572
00:31:05,440 --> 00:31:07,840
Speaker 2: would be working with John Malkovich and getting killed.

573
00:31:08,240 --> 00:31:13,440
Speaker 1: Oh wow. Yes, yes, in the line of Fire.

574
00:31:13,760 --> 00:31:18,080
Speaker 2: Yes, that was really nice. Wow, and uh, that was

575
00:31:18,120 --> 00:31:20,000
Speaker 2: one of those movies that your mother called you five

576
00:31:20,040 --> 00:31:22,480
Speaker 2: minutes after she saw it because it upset her so much,

577
00:31:22,840 --> 00:31:24,120
Speaker 2: that death scene and stuff.

578
00:31:25,200 --> 00:31:26,720
Speaker 1: Did you see him on Broadway?

579
00:31:27,480 --> 00:31:28,400
Speaker 2: I know I didn't.

580
00:31:28,440 --> 00:31:31,000
Speaker 1: I have not, but oh boy, that was I have

581
00:31:31,120 --> 00:31:31,480
Speaker 1: to say.

582
00:31:31,560 --> 00:31:33,160
Speaker 2: You know, we talked about a minute ago. You go,

583
00:31:33,320 --> 00:31:35,080
Speaker 2: please God, I'm going on the show. Let them be

584
00:31:35,240 --> 00:31:38,440
Speaker 2: nice people, and I do that every time I go there.

585
00:31:38,720 --> 00:31:41,240
Speaker 2: He was so wonderful. I was doing another stage show

586
00:31:41,600 --> 00:31:43,440
Speaker 2: and one of the little girls in the course was like,

587
00:31:44,560 --> 00:31:46,840
Speaker 2: grab me, let this one final get to meet. I'll

588
00:31:46,920 --> 00:31:49,440
Speaker 2: kill you like this. Anyway, I got permission to bring

589
00:31:49,520 --> 00:31:52,360
Speaker 2: her on and he talked while they were setting up

590
00:31:53,000 --> 00:31:55,360
Speaker 2: the kill scenes and stuff. He talked like for two

591
00:31:55,440 --> 00:31:58,600
Speaker 2: hours with this young girl who was a UCLA theater major,

592
00:31:59,280 --> 00:32:03,480
Speaker 2: about you know, back in Chicago, just everything. He was wonderful.

593
00:32:03,800 --> 00:32:05,440
Speaker 2: But then when it was time for him to go on,

594
00:32:05,600 --> 00:32:09,520
Speaker 2: it was like you just saw him turn into that character.

595
00:32:10,000 --> 00:32:13,520
Speaker 2: I mean, as watching another actor do that was was wonderful.

596
00:32:13,560 --> 00:32:15,280
Speaker 2: So that was one of the highlights. And then I

597
00:32:15,360 --> 00:32:17,440
Speaker 2: didn't do any scenes with Clint, but he asked me

598
00:32:17,520 --> 00:32:19,480
Speaker 2: to be in Midnight in the Garden of Good and Evil.

599
00:32:19,920 --> 00:32:23,280
Speaker 1: So from that thing, so it was I read for

600
00:32:23,640 --> 00:32:27,000
Speaker 1: in Line of Fire. I remember being very disappointed that

601
00:32:27,040 --> 00:32:27,760
Speaker 1: I didn't get the part.

602
00:32:28,840 --> 00:32:30,800
Speaker 2: I think they told me that they read over five

603
00:32:30,920 --> 00:32:33,760
Speaker 2: hundred william women for the role and I got the part,

604
00:32:34,160 --> 00:32:37,480
Speaker 2: and that it was the sensitivity, the like don't open

605
00:32:37,560 --> 00:32:39,160
Speaker 2: that door. I mean, to this day, I'll be in

606
00:32:39,240 --> 00:32:41,960
Speaker 2: a grocery store and I'll have people go generally older

607
00:32:42,040 --> 00:32:45,360
Speaker 2: mental to stop me and go, what the hell was

608
00:32:45,440 --> 00:32:47,600
Speaker 2: the dog tied up from? Why would you let him in?

609
00:32:49,840 --> 00:32:52,320
Speaker 2: It was a very hot, big highlight.

610
00:32:52,280 --> 00:32:57,200
Speaker 1: That was all man. What's what? Incredibly tragic scene that

611
00:32:57,480 --> 00:32:58,720
Speaker 1: was boy man.

612
00:32:59,000 --> 00:33:01,920
Speaker 2: Especially for the younger that was my roommate. This was

613
00:33:02,040 --> 00:33:05,320
Speaker 2: her first it was her first film and she spent

614
00:33:05,480 --> 00:33:08,680
Speaker 2: like two hours being slammed against that mental piece.

615
00:33:08,800 --> 00:33:09,080
Speaker 1: Huh.

616
00:33:10,720 --> 00:33:12,360
Speaker 2: But it was really a highlight.

617
00:33:12,440 --> 00:33:14,280
Speaker 1: I guess it was a like working with Eastwood. I mean,

618
00:33:14,320 --> 00:33:17,040
Speaker 1: I hear he's quick. He doesn't do a lot of takes,

619
00:33:17,600 --> 00:33:21,440
Speaker 1: he doesn't say action, he just says whenever you're ready, yeah.

620
00:33:21,520 --> 00:33:23,520
Speaker 2: And he also has the same crew or he had

621
00:33:23,560 --> 00:33:26,120
Speaker 2: the same crew all the time. And in fact, his crew,

622
00:33:26,480 --> 00:33:29,600
Speaker 2: the greens were the camera all that stuff, and the

623
00:33:29,680 --> 00:33:33,000
Speaker 2: camera crew were one family. And I'd worked with them

624
00:33:34,440 --> 00:33:37,440
Speaker 2: when we did Speed too, But he when we did

625
00:33:37,520 --> 00:33:40,600
Speaker 2: Midnight the Garden of Good and Evil, he just was

626
00:33:40,880 --> 00:33:42,200
Speaker 2: he said, this is what I want you to do,

627
00:33:42,280 --> 00:33:44,400
Speaker 2: blah blah blah. And I said, I asked him a question.

628
00:33:44,440 --> 00:33:47,120
Speaker 2: I said, wouldn't it be better since and going this way?

629
00:33:47,160 --> 00:33:49,960
Speaker 2: And then he went, yep, she's right, that's like this.

630
00:33:50,360 --> 00:33:53,760
Speaker 2: And then and I called him mister Eastwood and he

631
00:33:53,840 --> 00:33:56,560
Speaker 2: said that I could call me Clint little Darland. So

632
00:33:56,720 --> 00:33:58,760
Speaker 2: it's like that kind of thing. The things that I

633
00:33:58,840 --> 00:33:59,840
Speaker 2: remember that was fun.

634
00:34:00,840 --> 00:34:02,360
Speaker 1: What a what a gifted director?

635
00:34:02,760 --> 00:34:06,000
Speaker 2: Just what a and lo the longevity of it, you know,

636
00:34:06,280 --> 00:34:10,680
Speaker 2: and you go back and watch the the old movies, that.

637
00:34:12,719 --> 00:34:18,640
Speaker 1: Yeah, unbelievable. Well, he loves filming. He wanted to be filmed,

638
00:34:18,680 --> 00:34:22,040
Speaker 1: He wanted to produce, direct, star, he wanted to be

639
00:34:22,120 --> 00:34:24,359
Speaker 1: out there on set all the time and make make

640
00:34:24,440 --> 00:34:24,799
Speaker 1: his art.

641
00:34:24,920 --> 00:34:27,680
Speaker 2: You know, I think he was always under budget, always

642
00:34:27,800 --> 00:34:32,920
Speaker 2: under time and everything, and uh trusted who he'd hired,

643
00:34:33,040 --> 00:34:37,240
Speaker 2: and trusted his crew terrifically and treated them very nicely.

644
00:34:37,280 --> 00:34:40,680
Speaker 2: Everybody was you know, that's I think a key is kindness,

645
00:34:40,760 --> 00:34:42,440
Speaker 2: in which we have very little of anymore.

646
00:34:42,520 --> 00:34:45,359
Speaker 1: So, well, that's the sign of a good leader who

647
00:34:46,600 --> 00:34:50,160
Speaker 1: you know, hires competent people, trust them to deliver a

648
00:34:50,280 --> 00:34:55,520
Speaker 1: product that exceeds their expectations and that's how it's done.

649
00:34:55,680 --> 00:34:58,400
Speaker 1: Or else you get the micromanagers that drive everybody crazy

650
00:34:58,480 --> 00:35:01,160
Speaker 1: and get you know, crap in return, you know, and

651
00:35:01,280 --> 00:35:05,960
Speaker 1: it's a bad set. So compare Gilmore Girls to other

652
00:35:06,080 --> 00:35:10,880
Speaker 1: shows that you've been on. What's the difference reality?

653
00:35:11,960 --> 00:35:15,040
Speaker 2: I think for me, the Gilmore Girls, I mean everything

654
00:35:15,160 --> 00:35:17,360
Speaker 2: is like, oh, you come in, there's ankst. They're teenage

655
00:35:17,400 --> 00:35:19,480
Speaker 2: angst over here, and the parents are arguing over this,

656
00:35:19,920 --> 00:35:22,479
Speaker 2: and that's a typical kind of sitcom. You come into

657
00:35:23,040 --> 00:35:25,560
Speaker 2: Gilmore Girls and there were things that were going on

658
00:35:25,680 --> 00:35:27,919
Speaker 2: in life that you kind of looked at two ways

659
00:35:28,040 --> 00:35:30,399
Speaker 2: or laughed. You saw why LAURALI got the hell out

660
00:35:30,440 --> 00:35:32,879
Speaker 2: when you see these things with the mothers, the father

661
00:35:33,239 --> 00:35:36,600
Speaker 2: handing Rory the financial page, when the two the Laura

662
00:35:36,640 --> 00:35:39,480
Speaker 2: II and the mom are having dissertations. I think it's

663
00:35:40,120 --> 00:35:44,400
Speaker 2: the fact that she hit political things, the fact that

664
00:35:44,600 --> 00:35:47,160
Speaker 2: how many people looked up the word fascist after seeing

665
00:35:47,160 --> 00:35:49,719
Speaker 2: it on the Gilmore Girls. It probably didn't learn it

666
00:35:49,760 --> 00:35:51,680
Speaker 2: in school. And what the hell is a fascist? You know,

667
00:35:51,760 --> 00:35:56,800
Speaker 2: that kind of thing. I think the intelligence of the series,

668
00:35:57,120 --> 00:36:00,719
Speaker 2: her writing, and the performances of course, that brought those

669
00:36:00,800 --> 00:36:04,080
Speaker 2: words to life. But I think that's kind of a

670
00:36:04,160 --> 00:36:08,359
Speaker 2: difference between that. And also if on other episodics, you're

671
00:36:08,600 --> 00:36:10,520
Speaker 2: you know, you've got a formula that they go by.

672
00:36:10,640 --> 00:36:12,640
Speaker 2: You never quite knew what the formula was going to

673
00:36:12,680 --> 00:36:15,560
Speaker 2: be on Girls, Where are we going today? And we

674
00:36:15,680 --> 00:36:17,879
Speaker 2: may have gone to fifty different things in and out

675
00:36:17,960 --> 00:36:20,279
Speaker 2: of that, both the different townspeople and things going on

676
00:36:20,400 --> 00:36:24,359
Speaker 2: in the neighbors, and it's it's that reality you kind

677
00:36:24,400 --> 00:36:26,880
Speaker 2: of went. I'd like to live in Stars Hall. I

678
00:36:26,920 --> 00:36:29,520
Speaker 2: don't care if everybody knows my business. I'd rather live there,

679
00:36:30,000 --> 00:36:32,080
Speaker 2: you know. But I also know I have a family there.

680
00:36:32,160 --> 00:36:34,360
Speaker 2: They'll take care of me if i'm there. I mean,

681
00:36:34,480 --> 00:36:37,120
Speaker 2: I think that's the whole thing about the family and

682
00:36:37,960 --> 00:36:42,680
Speaker 2: hollow is the is the camaraderie, the friendship, they're looking

683
00:36:42,719 --> 00:36:45,160
Speaker 2: out for each other. And then the nosy snoopy people

684
00:36:45,280 --> 00:36:47,440
Speaker 2: that want to change stuff because of what will we

685
00:36:47,520 --> 00:36:48,360
Speaker 2: do without Taylor?

686
00:36:48,719 --> 00:36:52,800
Speaker 1: Mm hmmm hmm. And the possibility of seeing Sally Strothers

687
00:36:52,840 --> 00:36:53,240
Speaker 1: on screen.

688
00:36:54,760 --> 00:36:56,520
Speaker 2: My nemesis, my nemesis.

689
00:36:59,280 --> 00:37:01,279
Speaker 1: All right, last question, we're running out of time. If

690
00:37:01,320 --> 00:37:05,400
Speaker 1: you could play any recurring role on the show on

691
00:37:05,480 --> 00:37:07,640
Speaker 1: Gilmore Girls, who would it be and why?

692
00:37:08,560 --> 00:37:12,840
Speaker 2: I think I would have to play a character with Suki's.

693
00:37:12,080 --> 00:37:13,799
Speaker 1: I was just thinking Suki's mom.

694
00:37:14,520 --> 00:37:19,160
Speaker 2: I could do that very well. I think older sister there,

695
00:37:19,440 --> 00:37:22,040
Speaker 2: I could be your mom, Okay, I don't care, and

696
00:37:22,160 --> 00:37:26,120
Speaker 2: be your grandma. I just want to part. But I mean,

697
00:37:27,440 --> 00:37:30,799
Speaker 2: you just when you think about the people that came

698
00:37:30,840 --> 00:37:32,920
Speaker 2: out of this show to go on to do other things.

699
00:37:33,920 --> 00:37:38,439
Speaker 2: I mean, Alexis winning an Emmy for that red Cape

700
00:37:38,480 --> 00:37:41,920
Speaker 2: and white hat. Yeah that I mean it kind of

701
00:37:41,960 --> 00:37:46,640
Speaker 2: makes me like this thinking about that show. But I

702
00:37:46,760 --> 00:37:50,080
Speaker 2: think Dean, you know, he went on to do a

703
00:37:50,280 --> 00:37:55,120
Speaker 2: teen different shows like this, Jared Pedalaki, and oddly enough

704
00:37:55,200 --> 00:37:58,839
Speaker 2: he was working with Jensen Acles, who came from Days

705
00:37:58,880 --> 00:37:59,480
Speaker 2: of Our Lives.

706
00:38:00,920 --> 00:38:02,920
Speaker 1: Oh yeah, they had a good run. Then. Whether they

707
00:38:03,000 --> 00:38:04,520
Speaker 1: do fourteen seasons or.

708
00:38:04,520 --> 00:38:08,719
Speaker 2: Something, fourteen or fifteen, I think yes. And then he

709
00:38:08,840 --> 00:38:11,239
Speaker 2: went on. Jared went on to do.

710
00:38:12,880 --> 00:38:19,360
Speaker 1: What is it the Western Right They.

711
00:38:18,000 --> 00:38:20,359
Speaker 2: Czech Nurse remake thing and then Dean's got a new

712
00:38:20,400 --> 00:38:24,760
Speaker 2: one now called Countdown. I think, who does Jensen acles?

713
00:38:25,160 --> 00:38:28,040
Speaker 2: He has? Who is the partner? He has a new

714
00:38:28,120 --> 00:38:29,080
Speaker 2: thing called Countdown?

715
00:38:29,160 --> 00:38:31,680
Speaker 1: I think right this moment, well, those those guys are

716
00:38:31,680 --> 00:38:32,840
Speaker 1: always going to work, you know.

717
00:38:33,840 --> 00:38:36,000
Speaker 2: I mean their first, their first there were heart throbs,

718
00:38:36,040 --> 00:38:39,520
Speaker 2: and they went everywhere. But look at v somebody say

719
00:38:39,560 --> 00:38:41,279
Speaker 2: his name for because I don't want to pronounce it wrong,

720
00:38:43,480 --> 00:38:44,799
Speaker 2: just his name in real life.

721
00:38:45,360 --> 00:38:48,080
Speaker 1: Oh Milo, I mean look at.

722
00:38:48,040 --> 00:38:50,920
Speaker 2: Him and what he's done. I mean, uh, And the

723
00:38:51,000 --> 00:38:56,800
Speaker 2: guest stars, and to round up just a great characters.

724
00:38:59,200 --> 00:39:02,480
Speaker 2: I'm sorry we didn't get to meet the what's her

725
00:39:02,520 --> 00:39:04,480
Speaker 2: face's mom? And now what's her faces? Going out of

726
00:39:04,520 --> 00:39:04,799
Speaker 2: my head?

727
00:39:05,280 --> 00:39:09,560
Speaker 1: Oh Laine Kim and missus Missus Kim.

728
00:39:10,560 --> 00:39:15,239
Speaker 2: I mean again, the writing, you know, and the great characters,

729
00:39:15,280 --> 00:39:17,160
Speaker 2: and I think that's what makes them.

730
00:39:18,000 --> 00:39:18,239
Speaker 1: It was.

731
00:39:18,800 --> 00:39:23,239
Speaker 2: It was appointment television definitely, which you know, it came

732
00:39:23,320 --> 00:39:26,000
Speaker 2: really after a lot of appointment television, but this one

733
00:39:26,160 --> 00:39:29,120
Speaker 2: still was one nobody wanted to miss. And now we're

734
00:39:29,120 --> 00:39:32,000
Speaker 2: getting to watch it again and remembering that Chris writing

735
00:39:32,040 --> 00:39:33,400
Speaker 2: and the fun acting and everything.

736
00:39:33,520 --> 00:39:38,360
Speaker 1: So well, Patrika, thank you for your time and your insights.

737
00:39:39,840 --> 00:39:41,640
Speaker 1: Please come back. We'd love to have you.

738
00:39:41,760 --> 00:39:45,879
Speaker 2: Back anytime, anytime. Are you in the show, I'll come back. Listen,

739
00:39:46,360 --> 00:39:50,799
Speaker 2: come on, mister producer, it's your own show. I'm available.

740
00:39:51,160 --> 00:39:54,080
Speaker 1: I'm trying, man, it's not easy.

741
00:39:54,640 --> 00:39:57,799
Speaker 2: Well, I live I live in Burbank and the Warner

742
00:39:57,880 --> 00:40:00,960
Speaker 2: Brothers tore down the entire ranch and now there's sixteen

743
00:40:01,040 --> 00:40:03,920
Speaker 2: new sound stages, a huge office building and a parking thing,

744
00:40:04,120 --> 00:40:07,520
Speaker 2: and I go, exactly, what's going on in there? Where's

745
00:40:07,560 --> 00:40:07,919
Speaker 2: the work?

746
00:40:08,239 --> 00:40:10,440
Speaker 1: Wait a minute, I'm sorry, Warner Brothers ranch.

747
00:40:10,400 --> 00:40:12,520
Speaker 2: Is update Warner Brothers ranch that you.

748
00:40:14,280 --> 00:40:15,480
Speaker 1: Used to be like a neighborhood.

749
00:40:15,560 --> 00:40:18,040
Speaker 2: It's just like there was a church team that there.

750
00:40:18,000 --> 00:40:20,719
Speaker 1: Was some funny, it was a whole set was shot there,

751
00:40:20,760 --> 00:40:21,040
Speaker 1: a lot.

752
00:40:21,840 --> 00:40:25,200
Speaker 2: Everything went down and it's now like sixteen new sound

753
00:40:25,280 --> 00:40:29,000
Speaker 2: stages and a big, huge office building and they just

754
00:40:29,080 --> 00:40:32,120
Speaker 2: put two new office buildings Warner Brothers did on the

755
00:40:32,800 --> 00:40:35,719
Speaker 2: Burbank lot that used to be the old NBC lot.

756
00:40:36,440 --> 00:40:39,560
Speaker 2: And you go, like, why we're building all these sound stages,

757
00:40:39,600 --> 00:40:42,080
Speaker 2: where's the work? When is it coming back? What's happening

758
00:40:42,160 --> 00:40:44,040
Speaker 2: at you know, of course we're just getting ready to

759
00:40:44,080 --> 00:40:46,640
Speaker 2: come out of the hiatus. So maybe things will pick

760
00:40:46,719 --> 00:40:46,920
Speaker 2: up a.

761
00:40:46,920 --> 00:40:50,080
Speaker 1: Little bit, right, I hope. So well, what's you the best?

762
00:40:50,560 --> 00:40:51,160
Speaker 2: Thank you darling.

763
00:40:51,320 --> 00:40:54,440
Speaker 1: I wish you much work, much quality work back at you,

764
00:40:54,960 --> 00:40:56,400
Speaker 1: and it would be fun. It would be fun to

765
00:40:56,480 --> 00:40:58,560
Speaker 1: be on a series together or a film together.

766
00:40:58,680 --> 00:41:01,279
Speaker 2: So come on, people, make it happen.

767
00:41:02,880 --> 00:41:06,120
Speaker 1: All the best and remember, best fans on the planet,

768
00:41:06,200 --> 00:41:08,480
Speaker 1: keep the cards and letters coming. Thanks for all the downloads.

769
00:41:08,880 --> 00:41:13,000
Speaker 1: Really appreciate the support of this podcast. It's growing every

770
00:41:13,080 --> 00:41:15,200
Speaker 1: week for the last four years, and it's just an

771
00:41:15,200 --> 00:41:17,800
Speaker 1: amazing testament to this fan base and how loyal and

772
00:41:17,920 --> 00:41:18,400
Speaker 1: great they are.

773
00:41:18,719 --> 00:41:21,440
Speaker 2: I think. And without our fans, what are we nothing?

774
00:41:22,200 --> 00:41:25,120
Speaker 1: Yeah, we ain't nothing. I mean we're something. We're people.

775
00:41:25,760 --> 00:41:28,080
Speaker 2: Well yes, but I just don't have these great jobs.

776
00:41:28,200 --> 00:41:30,640
Speaker 2: You know, we have great jobs and we do stuff.

777
00:41:30,680 --> 00:41:32,719
Speaker 2: But I think two we wouldn't have risen to this

778
00:41:32,840 --> 00:41:34,719
Speaker 2: without fans. I mean, I know a lot of the

779
00:41:34,800 --> 00:41:37,520
Speaker 2: daytime fans are some of the most incredible people, and

780
00:41:37,560 --> 00:41:39,560
Speaker 2: a lot of them have become friends because I've done

781
00:41:39,600 --> 00:41:43,759
Speaker 2: it for over twenty eight years. There twenty five so

782
00:41:44,520 --> 00:41:47,160
Speaker 2: again and this show had a big fan base. It's

783
00:41:47,200 --> 00:41:49,759
Speaker 2: growing and of course you have love, so.

784
00:41:50,800 --> 00:41:54,480
Speaker 1: All the best. Thank you Patrica, and remember everybody, where

785
00:41:54,560 --> 00:41:55,080
Speaker 1: you lead.

786
00:41:55,040 --> 00:41:55,640
Speaker 2: We will follow.

787
00:41:55,760 --> 00:42:26,600
Speaker 1: Stay safe us dot everybody, and don't forget. Follow us

788
00:42:26,640 --> 00:42:30,880
Speaker 1: on Instagram at i Am all In podcast and email

789
00:42:31,000 --> 00:42:34,680
Speaker 1: us at Gilmore at iHeartRadio dot com