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Speaker 1: I am all in again. Oh, I guess you. I

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Speaker 1: Smell pop Culture with Easton Allen and I Heeart Radio

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Speaker 1: podcast Everybody, Easton Allen, I amil and Podcasts one of

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Speaker 1: them productions. iHeart radio, iHeart Media, iHeart podcasts. It's I

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Speaker 1: Smell pop Culture. I Smell pop culture. And you know

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Speaker 1: what we're doing this week, everybody, we are hearing pop

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Speaker 1: culture too. We're incorporating another sense besides smell. Here's the

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Speaker 1: thing about this podcast. If you're just joining us for

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Speaker 1: the first time. My name is Easton and I have

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Speaker 1: been appointed by our Lord and Savior Scott Patterson, to

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Speaker 1: go through the pop culture references in Gilmore Girls and

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Speaker 1: dive deeper, talk to the people that created them, that

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Speaker 1: are them, that make these little moments, these permanent fixtures

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Speaker 1: of pop culture in our world. We're doing something a

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Speaker 1: little different this week. We're not really exploring a pop

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Speaker 1: culture reference. We're going bigger, baby, we got we got

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Speaker 1: no limits here. Where the sky is the limit for

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Speaker 1: what we're doing. Here's the thing with Gilmore Girls. When

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Speaker 1: you're watching Gilmore Girls, you'll hear these little moments, these

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Speaker 1: little musical pieces. An acoustic guitar, maybe a la la,

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Speaker 1: these little moments that set the mood in such a

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Speaker 1: perfect way. And I know what you're thinking. You're watching

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Speaker 1: this going like wow, this is These are such magical

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Speaker 1: little nuggets. Where did these come from? Who created these?

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Speaker 1: Did they just come out of the air?

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Speaker 2: No?

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Speaker 1: No, No, A person created these, A person just like

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Speaker 1: you and I, A person with a beating heart created

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Speaker 1: these little moments. And that is Sam Phillips. She is

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Speaker 1: an incredible musician. She's a in our artists, a soul artist.

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Speaker 1: She's released a bunch of records, She's Grammy nominated. But

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Speaker 1: the reason we're talking to her is because she is

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Speaker 1: the composer for all seven seasons of Gilmart Girls, including

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Speaker 1: the revival. She also worked on Bunheads, Marvelous, Missus Masel,

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Speaker 1: She worked on that beautiful Walmart commercial that we love

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Speaker 1: from the holidays. Sam Phillips is the leader of everything

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Speaker 1: musical in the world of Gilmar Girls. She composed all

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Speaker 1: those incredible musical cues and those that score that we

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Speaker 1: love so much. And we're going to talk to her today.

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Speaker 1: We're going to find out what inspired those things. How

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Speaker 1: do you put it together? How do you score a

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Speaker 1: TV show like Gilmore girls, like, how does that work?

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Speaker 1: We're going to ask all those questions and we're going

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Speaker 1: to ask so much more and Sam Phillips is here

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Speaker 1: with us. Thank you so much for doing this. We're

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Speaker 1: so excited.

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Speaker 2: Aston. That's such a lovely intro. Thank you, thank you

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Speaker 2: for having me.

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Speaker 1: So you know we're going to talk a lot about

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Speaker 1: Gilmart girls obviously, but before we get into that, I

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Speaker 1: like going back to the beginning. I want to hear

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Speaker 1: the origin story of Sam Phillips. Did you grow up

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Speaker 1: in Glendale, California? Is that right? I did, not far

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Speaker 1: from where I sit right now. Glendale's a Beatle Yeah,

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Speaker 1: I'm in Burbank, the gem city Glendale. When did you

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Speaker 1: realize that you loved music? What point did that happen

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Speaker 1: for you?

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Speaker 3: Oh?

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Speaker 2: I think I was three? Yeah, yeah, I remember the

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Speaker 2: Beatles at three?

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Speaker 3: Yeah.

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Speaker 1: Was there a song that caught you? Caught your ear?

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Speaker 3: Yeah?

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Speaker 2: I wasn't allowed to touch the record player, so I

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Speaker 2: there was a single.

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Speaker 3: I think it was I Want to Hold Your Hand.

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Speaker 2: And I made my older brother or my mom or

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Speaker 2: my whoever was around, I made them play again again.

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Speaker 2: I play it on the record player. So yeah, it

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Speaker 2: was it was early on. But you know, it's interesting

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Speaker 2: with musical, all the musical influences. A lot of people say, well,

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Speaker 2: what you grew up listening to?

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Speaker 3: Would you? And I feel like that.

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Speaker 2: You it's you've taken so much as a kid. You know,

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Speaker 2: you're listening to commercials on TV. You're listening to kid music.

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Speaker 2: You know a lot of people the Disney Channel or

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Speaker 2: whatever I was there was the Sherman Brothers when I

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Speaker 2: was growing up, to all the Disney movies, you know,

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Speaker 2: and so you just you get all these bits and

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Speaker 2: pieces as well as classical music or jazz music, whatever

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Speaker 2: your parents are playing around the house or on the radio.

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Speaker 1: Yeah, you know, it all blends together to create the

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Speaker 1: styles we love. I'm always so curious, like when people

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Speaker 1: become musicians themselves, like what what is that spark that

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Speaker 1: makes you go, I could do this. I want to

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Speaker 1: make my own like like I want to write songs.

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Speaker 1: Do you remember when you wrote your first song?

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Speaker 3: I do.

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Speaker 2: I was about fourteen when I wrote my first song,

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Speaker 2: and I you know, this sounds terrible, but I think

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Speaker 2: that I got the courage because there were people that

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Speaker 2: I thought, well, they aren't that great. I could I

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Speaker 2: guess probably do like get close to that level, you know,

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Speaker 2: but alas my I don't know if my singing chops

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Speaker 2: ever got to a su perior level. I, you know,

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Speaker 2: seem to have a very specific as Amy Sherman Palladino

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Speaker 2: would say, I have a very specific voice, and it's

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Speaker 2: you know, it is what it is. But sometimes the

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Speaker 2: songwriter and me gets very frustrated with the singer. You know,

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Speaker 2: that the singer can't perform all the things that the

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Speaker 2: songwriter would like her to do.

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Speaker 1: Interesting, Yeah, I hadn't thought about it that way, that

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Speaker 1: that personality over here. Yeah. So you released four albums

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Speaker 1: as a as a Christian pop artist, and then you

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Speaker 1: switch to mainstream in nineteen eighty eight with the Indescribable

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Speaker 1: Wow and One album. But I want to something stood

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Speaker 1: out to me about the credits on that album is

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Speaker 1: Van Dyke Parks did some of the arrangements. I'm I'm

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Speaker 1: a huge Beach Boys Brian Wilson fans. That was really

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Speaker 1: exciting to learn. Yes, what was that like that?

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Speaker 3: Well?

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Speaker 2: Well, Vandyke is one of the most lovely and one

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Speaker 2: of the funniest. It's it's like when when he came

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Speaker 2: to play on my record, we would you know anything.

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Speaker 2: He is always the host, he is always the cruise director.

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Speaker 2: He's always been funny and this you know, and I

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Speaker 2: have to say and all love the strangest person in

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Speaker 2: the room. So that was fantastic. But I actually had

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Speaker 2: the chance to work with Brian Wilson a long time ago.

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Speaker 2: There was a record called Trios, and the bass player

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Speaker 2: for The Grateful Dead at the time was doing it

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Speaker 2: was a combination. He was a bass player, so he

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Speaker 2: would he and then two other guests would collaborate on

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Speaker 2: a song and then they would record the song. And

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Speaker 2: I didn't get a chance to record the song, but

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Speaker 2: I did write a song with Brian Wilson, but his

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Speaker 2: daughter sang with him for the very first time ever

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Speaker 2: on sang my song, and I wrote it was quite

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Speaker 2: a crazy experience and a great thrill and so lovely

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Speaker 2: to see father and daughter, you know, sing for the

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Speaker 2: first time together.

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Speaker 1: That's pretty cool. That is magical. Wow, what is you're

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Speaker 1: part of?

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Speaker 2: Van Dyke was not there unfortunately, because I mean, just

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Speaker 2: to have Van Dyke anywhere all the time is a

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Speaker 2: great thing.

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Speaker 1: So at that point in your career, what was like

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Speaker 1: when you make that switch? What like were there are

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Speaker 1: new sounds you wanted to explore musically, Like, what what

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Speaker 1: did you want to do at that point?

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Speaker 2: Are you talking about from the Christian Yeah? Yeah, that

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Speaker 2: is a this is a very involved story and I

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Speaker 2: think there's going to be a book at some point.

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Speaker 2: All right, Really it's a it's a crazy story. But

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Speaker 2: and and so many interesting experiences and you know, so

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Speaker 2: many great people and then a lot of nutty people and.

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Speaker 3: Crazy people not so great people.

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Speaker 2: But I wanted to Uh yes, I wanted to move

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Speaker 2: on artistically. Wanted to be able to express a lot

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Speaker 2: of things artistically, and so I I just went to

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Speaker 2: a different label. It was basically changing and not really

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Speaker 2: starting over necessarily, but exploring some different ways of writing

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Speaker 2: songs and recording.

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Speaker 3: And you know, it was just it was growing. It

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Speaker 3: was growth.

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Speaker 1: And U I mean speaking of growth. Nineteen ninety five,

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Speaker 1: you have an acting role and I heard with a Vengeance.

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Speaker 1: I thought that that jumped out of me. I thought

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Speaker 1: that was so cool. What did you enjoy that? Was

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Speaker 1: that something you had fun doing? I did.

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Speaker 2: I loved crew. I thought the crew were fantastic. One

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Speaker 2: of the crew had a potato gun shooter thing that

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Speaker 2: we would shoot it. I think it got close to

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Speaker 2: Bruce Willis's trailer.

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Speaker 3: I'm not sure. Well, yeah, but yes, it was lovely.

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Speaker 2: Jeremy Irons was wonderful, and yes it was a weird experience.

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Speaker 2: But I basically was in my trailer a lot writing

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Speaker 2: songs because I didn't have any lines. I was a

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Speaker 2: mute arrest who's I had been blown up or something

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Speaker 2: my throat, my vocal cords were detached, I don't know,

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Speaker 2: something like that.

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Speaker 1: Wow. So some of this, like, if you listen to

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Speaker 1: a Sam Phillips song, there's a chance that you wrote

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Speaker 1: it in the trailer on the set of Diehard of

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Speaker 1: the Vengeance? Is that Is that right?

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Speaker 3: That? Yes, that could be. It might have been.

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Speaker 2: Like there's a song called Animals on Wheels that was

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Speaker 2: on a record that I.

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Speaker 3: Did in the nineties.

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Speaker 2: That that I think that was written in the trailer.

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Speaker 2: There are probably, yeah, a few others. I don't remember offhand.

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Speaker 1: How'd you get put in front of the camera? Like,

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Speaker 1: how did you get that part? I'm so curious.

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Speaker 2: Well, I think that I had a record out called

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Speaker 2: Martinez and Bikinis in nineteen ninety four, and apparently the

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Speaker 2: director saw the cover of that and thought I looked

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Speaker 2: like a terrorist.

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Speaker 3: I mean, what better compliment, seriously, the highest praise, like

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Speaker 3: a terrorist get her in here? And I was very

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Speaker 3: really Initially they wanted either they were trying to decide

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Speaker 3: between I was a mute and or I had a

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Speaker 3: German accent. And I'm so relieved that I was a

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Speaker 3: mute because I really, you.

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Speaker 2: Know, that was a lot to take on for a

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Speaker 2: non actor, for just a you know, a songwriter and

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Speaker 2: a singer person.

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Speaker 1: I love it so much. Sam Phillips is with us

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Speaker 1: from the composer of Gilmore Girls, and we're going to

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Speaker 1: take a visit to stars Hollow here on the IML

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Speaker 1: on podcast. We're going to take a quick break before

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Speaker 1: we do that. We'll be right back everybody. It's the

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Speaker 1: IML and podcast. I Smell pop Culture. My name is

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Speaker 1: Easton Allen. We are sitting here with Sam Phillips, the

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Speaker 1: composer of Gilmore Girls, all seven seasons of Gilmore Girls.

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Speaker 1: I mean, the mark you leave on that show is indelible.

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Speaker 1: It's one of like the music you wrote. Every Gilmore

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Speaker 1: Girls fan hums it on a daily basis. I know

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Speaker 1: this to be a fact. How did you get involved

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Speaker 1: with gilmore Girls. How did that partnership begin?

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Speaker 3: By default, I would say Valadino met with her. I

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Speaker 3: think initially she told me she wanted Carol King to

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Speaker 3: do the score and the theme song. But Carol My

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Speaker 3: understanding of the story was that Carol did not want

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Speaker 3: to do the score, She just wanted to do the

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Speaker 3: theme song. So for some reason, I think Amy had

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Speaker 3: come to one of my shows in Los Angeles and

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Speaker 3: she we met and we just kind of had to

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Speaker 3: hammer it out, you know, because she was saying she

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Speaker 3: wanted she wanted me to write these little pieces of music,

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Speaker 3: but wanted me to use my voice, and so I

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Speaker 3: tried writing some lyrics and that, you know, with the

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Speaker 3: really funny and.

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Speaker 2: Rapid fire dialogue. Obviously that wasn't going to work. So

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Speaker 2: I started I kind of went back to one of

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Speaker 2: my idols, and Harry Nilssen, the great Harry Nilson, who

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Speaker 2: had done I think he'd done a score in the

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Speaker 2: sixties when I was a kid of a TV show

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Speaker 2: and he did a lot of background vocals, and so

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Speaker 2: I just started doing that and little melodies that I

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Speaker 2: had had been working on, I kind of I just

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Speaker 2: took them into gilmore Land and Amy had said, I

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Speaker 2: want this score to be or your voice to be

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Speaker 2: the voice inside Laurla and Rory's heads.

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Speaker 3: Which is a very interesting concept.

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Speaker 2: And I love Amy and Dan Palladino and you know,

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Speaker 2: for being so they love music so much, and I

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Speaker 2: really appreciated that they knew a lot of music and

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Speaker 2: that they wanted to do something very different and experimental,

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Speaker 2: because I think at the time their network was connected

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Speaker 2: to Warner Brothers record Company, and there was a lot

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Speaker 2: of push it, like, you know, just play our new music,

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Speaker 2: you know, all the way through, just you know, from

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Speaker 2: start to finish, because that was done a lot, you know,

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Speaker 2: and it's still done a lot where there's music just

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Speaker 2: through everything.

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Speaker 3: But I kept saying, you.

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Speaker 2: Know what, let's just maybe take a break because we

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Speaker 2: want you know, there's that great dialogue and just some breaths,

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Speaker 2: not music throughout the whole thing. So then there are

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Speaker 2: these little mini you know, songs. But it's interesting, it's

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Speaker 2: I never would have thought that people would have listened

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Speaker 2: to it. I in fact, I know one of my

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Speaker 2: friends because the Gum Girls in the beginning, you know,

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Speaker 2: was had been classified as a chick show by many guys,

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Speaker 2: and one of my friend's husbands said, you know, what

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Speaker 2: is that? Like she was watching Gimbore Girls one time

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Speaker 2: and he said, from the other room, what is that?

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Speaker 1: What is that?

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Speaker 3: Terrible lala music? What is that? That was me, so

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Speaker 3: I didn't know if.

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Speaker 2: Yeah, it's again it's a specific thing, and I'm I'm

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Speaker 2: glad that people did embrace it and it wasn't annoying.

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Speaker 2: I certainly didn't mean it to be that way, but

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Speaker 2: I just had so much fun doing those you know,

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Speaker 2: those cues, those little music interludes.

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Speaker 1: I mean, in terms of it be annoying, I could

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Speaker 1: not disagree more. I think that is like it's it.

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Speaker 1: Every one of those cues sets the mood so perfectly

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Speaker 1: and feels so it's so unique and distinct to go

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Speaker 1: more girls, And that's something that I don't think you

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Speaker 1: don't get that with so many television shows or movies

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Speaker 1: for that matter. When you were like figuring out the

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Speaker 1: sound and what this was going to be, I mean,

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Speaker 1: you know, I know you got these notes like you

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Speaker 1: wanted to be the voice inside their heads and things

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Speaker 1: like that, but like, I'm just curious how you, like,

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Speaker 1: did you try a bunch of different styles, different instruments,

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Speaker 1: like what was the experimentation process like trying to find

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Speaker 1: that kind of lane.

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Speaker 2: Well, it was interesting because I think that there was

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Speaker 2: some kind of connection in the very beginning of what

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Speaker 2: because I had done pop records, you know, in the

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Speaker 2: nineties and at that point, right at that point, I

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Speaker 2: had had my own kid and I just made it.

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Speaker 2: I just kind of pivoted to something that was much

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Speaker 2: more stripped down, and I was working in that less production,

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Speaker 2: I guess, and also at that time, working with my

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Speaker 2: producer at the time, was was doing a lot of

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Speaker 2: kind of country or Americana music, and so I think

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Speaker 2: we tried mandolin at one point, and you know they

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Speaker 2: were just like no, no, not country, you know, and guitars,

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Speaker 2: and I was very working with acoustic instruments, not really

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Speaker 2: working with a lot of you know, electronic instruments at

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Speaker 2: that time, and so that was kind of the that

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Speaker 2: was my world at the time, and I just proceeded

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Speaker 2: to do that and and just make it very simple

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Speaker 2: and that that seemed to work, even even trying to

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Speaker 2: I tried to put some strings on it, you know

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Speaker 2: a little bit, and that seemed to be you know, no, no, no,

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Speaker 2: too dark, too heavy. So you know, there wasn't a

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Speaker 2: ton of experimentation. I didn't try to, you know, bring

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Speaker 2: in like a lot of synthesizers or anything.

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Speaker 3: You know, it wasn't or drum machines.

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Speaker 2: So it was pretty straightforward what I was into, what

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Speaker 2: I was doing at the time, and I was making

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Speaker 2: still making records at the time or for None Such

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Speaker 2: the Non Such label, So it was it was an

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Speaker 2: interesting time. I just was working a lot, you know,

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Speaker 2: composing a lot and singing a lot, and it was

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Speaker 2: really fun. And I'm so glad that that happened to

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Speaker 2: be what resonated with Amy.

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Speaker 1: I know that you were like you had your own

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Speaker 1: like music career going out at the same time, And

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Speaker 1: I was thinking about that this morning, going like, how

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Speaker 1: do you That must have been wild, because like you

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Speaker 1: have I imagine the Gilmore Girls production, Like when you're in production,

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Speaker 1: you're just working NonStop on that, and then you have

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Speaker 1: to find time to like go home and like, oh

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Speaker 1: I will I want to write my own stuff, or

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Speaker 1: you have maybe you want to go on tour or

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Speaker 1: something like that. Was it hard to balance those two careers?

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Speaker 2: No, not really a little bit of the scheduling. Yeah,

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Speaker 2: sometimes the scheduling. But but it's sort of like you know,

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Speaker 2: when you're I think the more you work, the more

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Speaker 2: you work. And I think it was a really great productive,

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Speaker 2: creative time and I did. I did have a setup

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Speaker 2: at home, which was a lifesaver because I think it

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Speaker 2: you know, that would have been harder to have to

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Speaker 2: go into the studio all the time, you know, so

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Speaker 2: I was able to that made it a little bit

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Speaker 2: more convenient. But it was really wonderful and I and

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Speaker 2: luckily those one fed off the other, you know, there

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Speaker 2: were you know, I felt the main thing I was

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Speaker 2: trying to do. I was trying to write melodies that

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Speaker 2: would really go to picture, which I found very difficult.

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Speaker 3: It was really especially you know, especially with comedy.

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Speaker 2: I think when you're doing like action movies or suspense,

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Speaker 2: you know, or very serious you know movies or television shows,

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Speaker 2: I think it's so easy to be dark, you know,

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Speaker 2: it's really you could just you know, that's to me,

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Speaker 2: that's a lot easier than some of the lighter moments,

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Speaker 2: you know, So it was a challenge.

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Speaker 3: I wasn't used to.

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Speaker 2: I was a little bit more serious, you know, in

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Speaker 2: some of my music, so to making it lighthearted I

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Speaker 2: tried to just use the melodies the best I could

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Speaker 2: because I didn't quite know how to go about that,

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Speaker 2: but you know did and she was there to guide me.

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Speaker 2: And I have to say she in the beginning, in

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Speaker 2: the first spotting sessions, which is where you find, you know,

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Speaker 2: spots for music you watch the show, and she was

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Speaker 2: there at all of them. I love that to guide me,

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Speaker 2: and of course was just we laughed a lot. She

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Speaker 2: was so funny and so great to work with, and

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Speaker 2: I was lucky to have her because you know, I

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Speaker 2: mean she was the showrunner, you know, the executive producer,

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Speaker 2: the writer, the creator, she was doing everything, and I

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Speaker 2: respected that she wanted to shape her show, you know,

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Speaker 2: she wanted to be involved in all the different aspects

360
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Speaker 2: of it and wanted to have a lot of women

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Speaker 2: on the crew, you know, which is that's pretty unusual.

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Speaker 3: There aren't.

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Speaker 2: I mean, there are more women composers now, but maybe

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Speaker 2: not as many then, you know, so I really respect

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Speaker 2: that and it was great to be.

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Speaker 3: A part of it.

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Speaker 4: Yeah.

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Speaker 1: I mean, there's so much really about Amy Sherman Paladino,

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Speaker 1: and like I mean, hearing all this is just so

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Speaker 1: exciting because it's like things that I always kind of

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Speaker 1: thought and then hearing you say it, you're confirming it

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Speaker 1: is awesome. But doing this podcast and like we explore

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Speaker 1: like the pop culture references on the on the show

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Speaker 1: through these episodes, and I've come to like kind of

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Speaker 1: figure out what the music that Amy likes, like you know,

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Speaker 1: like B fifty two's xCC stuff like that. There was

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Speaker 1: there a lot of her like personal tastes that kind

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Speaker 1: of like came through in the score. Was there like

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Speaker 1: times where you'd be in those sessions and she'd be like, oh,

380
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Speaker 1: we should do something like this band would do or

381
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Speaker 1: did she kind of give you ultimate freedom?

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Speaker 3: No, she gave me ultimate freedom.

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Speaker 2: And she said at the end that and it's you know,

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Speaker 2: made me tear up. She I think her at the

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Speaker 2: very end when she stepped off the show, she just said,

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Speaker 2: thank you so much for all these little masterpieces that

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Speaker 2: you created and meant so much to me.

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Speaker 3: Because you know.

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Speaker 2: Amy's you know, she's a she's a tough guy too,

390
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Speaker 2: and but I I know she she and protected me.

391
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Speaker 2: She protected me from a lot of the notes. Maybe

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Speaker 2: that the network had they there could have been somebody

393
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Speaker 2: that went that lady stinks, get her off of it,

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Speaker 2: you know, stop that person from you know, doing the score.

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Speaker 2: But I don't know, I'll never know, because Amy wanted

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Speaker 2: me to do it, and I didn't get notes.

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Speaker 3: I just kept going.

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Speaker 2: I mean, of course, you know, she would say maybe,

399
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Speaker 2: like I said before, you know, maybe that's too heavy,

400
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Speaker 2: maybe you know.

401
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Speaker 3: Something light or something different.

402
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Speaker 2: But but I think again, I think that she the melodies.

403
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Speaker 2: I think somehow, you know, resonated. So I just I

404
00:20:44,280 --> 00:20:46,720
Speaker 2: feel lucky that we were, that we connected in that

405
00:20:46,720 --> 00:20:48,760
Speaker 2: way and were able to work together, because that just

406
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Speaker 2: doesn't always happen. And again, you know, I always have

407
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Speaker 2: a director or you know, an EP that loves music

408
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Speaker 2: or knows music, and a lot of I agree with

409
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Speaker 2: her tastes, you know, sparks and.

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Speaker 3: You know a lot of the XDC.

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Speaker 2: I mean, we you know, talked about that in the

412
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Speaker 2: beginning too, because when I the funny part was when

413
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Speaker 2: I came in to talk to her about doing the

414
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Speaker 2: score of the show. I just said, aiming, I haven't

415
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Speaker 2: really watched TV in a decade, like.

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Speaker 3: I've been on the road, I don't.

417
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Speaker 2: At the time, I was like, I've watched movies, but

418
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Speaker 2: I the last I think, like the last television show

419
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Speaker 2: I was really watching was Twin Peaks.

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Speaker 3: I just have no I don't know what you know,

421
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Speaker 3: what a normal score is. So that's the other part

422
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Speaker 3: of it.

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Speaker 2: I just kind of came into it kind of very blind,

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Speaker 2: you know, because and somehow it worked.

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Speaker 1: So, I mean, I love it, and to me it

426
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Speaker 1: makes so much sense of why it's like so unique

427
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Speaker 1: and distinct. Is like you weren't trying to emulate something else,

428
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Speaker 1: You're just creating something so organic. I love it. It's beautiful.

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Speaker 1: Uh So that was I mean, Gummar Girls, is your

430
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Speaker 1: first time scoring something? Is that right?

431
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Speaker 3: Yes? Wow, yeah, I never thought I would ever do that.

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Speaker 3: So and I'm glad that.

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Speaker 2: She took a chance again because it's you know, it

434
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Speaker 2: was it was odd. But they also though they had

435
00:22:08,400 --> 00:22:11,480
Speaker 2: tempted in some things that were kind of that gave

436
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Speaker 2: me clues, you know. That's always the interesting thing within

437
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Speaker 2: the pilot. They had tempted in different you know, uh,

438
00:22:18,119 --> 00:22:21,399
Speaker 2: musical moments that I thought, oh, okay, I could I

439
00:22:21,400 --> 00:22:23,960
Speaker 2: think I can do that in a different way, So

440
00:22:24,040 --> 00:22:25,160
Speaker 2: that that was.

441
00:22:25,119 --> 00:22:26,080
Speaker 3: A little bit of a clue.

442
00:22:26,119 --> 00:22:28,600
Speaker 2: But I really had to go, you know, step by

443
00:22:28,600 --> 00:22:31,960
Speaker 2: step and episode by episode, which was great and I

444
00:22:32,240 --> 00:22:35,120
Speaker 2: actually probably missed a lot of those cultural references because

445
00:22:35,119 --> 00:22:38,040
Speaker 2: I was so focused on doing the music. I heard

446
00:22:38,040 --> 00:22:40,800
Speaker 2: the dialogue, but I've since you know, been able to

447
00:22:40,840 --> 00:22:43,480
Speaker 2: watch and see more of the you know, the genius.

448
00:22:43,480 --> 00:22:45,840
Speaker 2: They had so many great writers coming through their writer

449
00:22:46,000 --> 00:22:50,720
Speaker 2: room during the series and it you know, I'm.

450
00:22:50,600 --> 00:22:53,760
Speaker 3: Still amazed that it's that people are still love it.

451
00:22:54,400 --> 00:22:58,440
Speaker 2: You know, it's it's kind of crazy but not yeah, right, wonderful.

452
00:22:58,920 --> 00:23:01,720
Speaker 3: Yeah. I really love her writing and love the show

453
00:23:01,720 --> 00:23:02,399
Speaker 3: that she created.

454
00:23:03,240 --> 00:23:05,200
Speaker 1: We're so lucky to live in a in a Gilmore

455
00:23:05,200 --> 00:23:11,200
Speaker 1: Girls universe. It's it's just the best. Uh, forgive, forgive

456
00:23:11,240 --> 00:23:15,000
Speaker 1: my ignorance. I'm I'm so naive when it comes to

457
00:23:15,400 --> 00:23:18,080
Speaker 1: the process of scoring something Like when I think about it,

458
00:23:18,080 --> 00:23:20,360
Speaker 1: I always picture those like you know when you see

459
00:23:20,359 --> 00:23:22,159
Speaker 1: those like behind the scenes thing of like John Williams

460
00:23:22,200 --> 00:23:23,600
Speaker 1: and the big and they have the movie on the

461
00:23:23,600 --> 00:23:27,919
Speaker 1: big screen. You know, I'm curious, like what can you

462
00:23:27,960 --> 00:23:31,640
Speaker 1: take me through? Like like a typical Gilmore Girls episode,

463
00:23:32,040 --> 00:23:34,240
Speaker 1: But like where how does it start for you?

464
00:23:34,400 --> 00:23:34,520
Speaker 4: How?

465
00:23:34,800 --> 00:23:35,600
Speaker 1: What's the process?

466
00:23:35,760 --> 00:23:42,119
Speaker 2: Like we would we would watch the episode, watch it

467
00:23:42,160 --> 00:23:45,919
Speaker 2: with Amy and and and sometimes the director.

468
00:23:46,080 --> 00:23:47,359
Speaker 3: I'm trying to remember what we did.

469
00:23:47,440 --> 00:23:48,920
Speaker 2: But anyway, we had a crew of people that we

470
00:23:48,960 --> 00:23:52,359
Speaker 2: would watch it with and then and then usually Amy

471
00:23:52,400 --> 00:23:55,159
Speaker 2: would say I think music should be here, you know,

472
00:23:55,200 --> 00:23:56,200
Speaker 2: and and how about here?

473
00:23:56,640 --> 00:23:57,760
Speaker 3: And sometimes I would say.

474
00:23:57,640 --> 00:23:59,879
Speaker 2: Oh, I think maybe music would be good here, and

475
00:24:00,119 --> 00:24:03,280
Speaker 2: then other times I would say, I don't know, I don't.

476
00:24:03,080 --> 00:24:05,320
Speaker 3: Think there's music there. But so we would just go

477
00:24:05,359 --> 00:24:06,000
Speaker 3: through the whole show.

478
00:24:06,040 --> 00:24:07,840
Speaker 2: I would make notes, I would go home, and then

479
00:24:07,880 --> 00:24:12,080
Speaker 2: I would just take my guitar and sing.

480
00:24:11,960 --> 00:24:12,879
Speaker 3: To the show.

481
00:24:13,440 --> 00:24:16,240
Speaker 2: It was really basic, and I was not on a

482
00:24:16,280 --> 00:24:18,840
Speaker 2: computer with timecode or any of that kind of stuff.

483
00:24:20,080 --> 00:24:23,919
Speaker 2: Since you know, of course done that because it's you know,

484
00:24:23,960 --> 00:24:26,320
Speaker 2: that's what you sort of sort of have to do now.

485
00:24:26,720 --> 00:24:29,000
Speaker 2: I mean you can kind of spitball it, but not really.

486
00:24:30,160 --> 00:24:33,480
Speaker 2: But so that was basically the way to do it.

487
00:24:33,520 --> 00:24:35,440
Speaker 2: And I would try things and I would just you know,

488
00:24:36,080 --> 00:24:38,120
Speaker 2: run the spot again and again and again and see

489
00:24:38,119 --> 00:24:40,360
Speaker 2: what came to mind what I liked, and then I'd

490
00:24:40,440 --> 00:24:43,520
Speaker 2: go and record a bunch of cues with my engineer,

491
00:24:44,000 --> 00:24:49,240
Speaker 2: mikey and who has done all the Gilmore things, including

492
00:24:49,320 --> 00:24:53,159
Speaker 2: the revival and including the commercial that we did for

493
00:24:53,200 --> 00:24:56,840
Speaker 2: the holidays, which was pretty amazing to be able to

494
00:24:57,160 --> 00:24:59,879
Speaker 2: go back and do that with strengths they wanted to.

495
00:25:00,240 --> 00:25:02,760
Speaker 2: So I got to put you know, an orchestra on that,

496
00:25:02,800 --> 00:25:03,680
Speaker 2: which was really cool.

497
00:25:04,240 --> 00:25:06,240
Speaker 1: Oh my god. I mean I was going to ask

498
00:25:06,240 --> 00:25:07,560
Speaker 1: you if you because I know you came back for

499
00:25:07,560 --> 00:25:09,240
Speaker 1: the revival, but I was wondering if you were involved

500
00:25:09,240 --> 00:25:11,720
Speaker 1: with that commercial because that was like such a that

501
00:25:11,840 --> 00:25:12,600
Speaker 1: was so gilmore.

502
00:25:13,320 --> 00:25:16,240
Speaker 2: They yet, well, they asked for my song how to

503
00:25:16,320 --> 00:25:20,480
Speaker 2: Dreamy and so without the lyrics, which was also in

504
00:25:20,560 --> 00:25:23,080
Speaker 2: the series as a cue without the lyrics, and so

505
00:25:23,119 --> 00:25:25,480
Speaker 2: I did that. But I got to put all these strings,

506
00:25:25,560 --> 00:25:27,119
Speaker 2: a lot of my friends, a lot of string players

507
00:25:27,119 --> 00:25:30,080
Speaker 2: on it, which was you know, so fun, so much

508
00:25:30,119 --> 00:25:32,600
Speaker 2: fun for me. And I thought that even though it

509
00:25:32,680 --> 00:25:35,600
Speaker 2: was only like you know, twenty seconds or whatever, with

510
00:25:35,640 --> 00:25:38,119
Speaker 2: thirty seconds, it was you know, a great thrill. And

511
00:25:38,160 --> 00:25:41,040
Speaker 2: that's that's the other thing about composing. It's so so

512
00:25:41,200 --> 00:25:44,400
Speaker 2: odd coming from songwriting and making records.

513
00:25:44,440 --> 00:25:46,480
Speaker 3: It's so odd to make things that.

514
00:25:46,440 --> 00:25:50,280
Speaker 2: Are so tiny, so small and quick, and you know,

515
00:25:50,280 --> 00:25:53,040
Speaker 2: fitting in these little spaces between you know, around dialogue

516
00:25:53,040 --> 00:25:58,040
Speaker 2: and between scenes. And it wasn't it was very that

517
00:25:58,119 --> 00:26:03,400
Speaker 2: was more complicated and difficult for me. But somehow we somehow.

518
00:26:03,119 --> 00:26:05,399
Speaker 3: We did it in seasons. I don't know how we

519
00:26:05,400 --> 00:26:06,480
Speaker 3: did it.

520
00:26:06,640 --> 00:26:10,920
Speaker 1: Was it like writing these little cues and stuff and

521
00:26:10,960 --> 00:26:13,800
Speaker 1: not using any lyrics or or anything like that. Was

522
00:26:13,840 --> 00:26:17,240
Speaker 1: that challenging or was it did? Or was that easier

523
00:26:17,920 --> 00:26:19,240
Speaker 1: than like a typical songwriting.

524
00:26:20,000 --> 00:26:24,240
Speaker 2: Oh yeah, I'm more particular about lyrics, and so I'm

525
00:26:24,440 --> 00:26:27,960
Speaker 2: slower with lyrics. So I never There's no way I

526
00:26:28,000 --> 00:26:31,199
Speaker 2: could have been writing lyrics that fast for because you know,

527
00:26:31,200 --> 00:26:34,160
Speaker 2: we were airing every week twenty one episodes. I think

528
00:26:34,160 --> 00:26:36,800
Speaker 2: it was, you know, with some breaks in our schedule,

529
00:26:36,840 --> 00:26:41,639
Speaker 2: but it but I also felt that just the I

530
00:26:41,640 --> 00:26:43,399
Speaker 2: didn't need to do that because of the dialogue, I

531
00:26:43,400 --> 00:26:46,520
Speaker 2: didn't need any lyrics. But I also it did make

532
00:26:46,560 --> 00:26:49,320
Speaker 2: it more of a challenge to make that melody speak

533
00:26:49,520 --> 00:26:54,720
Speaker 2: to you know, the to to support the scene, to

534
00:26:54,800 --> 00:26:56,119
Speaker 2: speak to the mood of the scene.

535
00:26:57,640 --> 00:26:59,719
Speaker 3: So it was it was a challenge. It was.

536
00:27:00,160 --> 00:27:03,520
Speaker 2: Yeah, it was difficult, but so much fun again, and

537
00:27:03,600 --> 00:27:06,439
Speaker 2: I just forged ahead. I don't know, I just I

538
00:27:06,520 --> 00:27:09,399
Speaker 2: just kept going. And I think there's something about it.

539
00:27:09,520 --> 00:27:11,920
Speaker 2: I have a friend who's a haircutter, and he always

540
00:27:11,960 --> 00:27:15,000
Speaker 2: does his best haircuts when he's in a hurry, like

541
00:27:15,040 --> 00:27:16,480
Speaker 2: when he's just like he doesn't have time, you know,

542
00:27:16,640 --> 00:27:18,640
Speaker 2: And it's so funny, and I felt like we were

543
00:27:18,680 --> 00:27:21,760
Speaker 2: just working, working, working. I think it was better not

544
00:27:21,880 --> 00:27:23,640
Speaker 2: to worry about it too much, not to get too

545
00:27:23,720 --> 00:27:26,440
Speaker 2: uptight about it, just to keep going, just to keep working,

546
00:27:26,520 --> 00:27:27,200
Speaker 2: keep you know.

547
00:27:27,680 --> 00:27:29,399
Speaker 3: Trying to just get it done.

548
00:27:29,560 --> 00:27:31,720
Speaker 1: I love it. I love it. Sam Phillips is with us.

549
00:27:31,760 --> 00:27:34,280
Speaker 1: This is the I Am all In Podcast. This is

550
00:27:34,600 --> 00:27:36,520
Speaker 1: I'm loving this. I'm just eating this up. This is

551
00:27:36,520 --> 00:27:40,040
Speaker 1: so cool and so fascinating. We have more questions for you.

552
00:27:40,440 --> 00:27:42,240
Speaker 1: We're going to be right back though. We're gonna hear

553
00:27:42,240 --> 00:27:44,400
Speaker 1: about some nice goods and services that you might want

554
00:27:44,440 --> 00:27:56,520
Speaker 1: to participate in. It is I smell pop culture. My

555
00:27:56,600 --> 00:27:59,240
Speaker 1: name is Easton Allen. I'm hanging out here with Sam Phillips,

556
00:27:59,240 --> 00:28:03,000
Speaker 1: the composer of Gilmart Girls, all seven seasons, the revival,

557
00:28:03,920 --> 00:28:08,080
Speaker 1: the Walmart commercial, you heard over the holidays. Sam is

558
00:28:08,160 --> 00:28:11,880
Speaker 1: just every musical moment that you loving Gilmart Girls. Sam's

559
00:28:11,880 --> 00:28:16,320
Speaker 1: fingerprints are all over. This is so much fun hanging out.

560
00:28:16,520 --> 00:28:21,199
Speaker 1: So when you're watched, like like scoring the show, I

561
00:28:21,200 --> 00:28:23,000
Speaker 1: mean I was thinking about that, like you said the

562
00:28:23,040 --> 00:28:25,240
Speaker 1: first part of the process is you sit down Amy

563
00:28:25,280 --> 00:28:28,240
Speaker 1: and you watch the show. It just struck me that,

564
00:28:28,320 --> 00:28:31,040
Speaker 1: like there's no music. There's no music like at that point,

565
00:28:31,119 --> 00:28:33,400
Speaker 1: right because you haven't written it yet, you haven't recorded anything,

566
00:28:33,640 --> 00:28:33,840
Speaker 1: you know.

567
00:28:34,040 --> 00:28:37,200
Speaker 2: Sometimes Amy would drop in a I mean she would

568
00:28:37,520 --> 00:28:40,480
Speaker 2: sometimes there were episodes she wrote where she had specific

569
00:28:41,360 --> 00:28:44,040
Speaker 2: songs already you know, they were already trying to license

570
00:28:44,320 --> 00:28:47,520
Speaker 2: some of the songs, either for a comedy bit you

571
00:28:47,560 --> 00:28:50,920
Speaker 2: know that, or just you know, she something she wanted

572
00:28:51,320 --> 00:28:53,360
Speaker 2: them to get to, you know, to put in there.

573
00:28:53,440 --> 00:28:56,120
Speaker 2: So she had very strong opinions about that, which are

574
00:28:56,200 --> 00:28:59,760
Speaker 2: great and has I think served her so well. She

575
00:28:59,840 --> 00:29:04,760
Speaker 2: and and Dan and Robin the music supervisor in Marvelous

576
00:29:04,800 --> 00:29:07,400
Speaker 2: Missus Maisel, I thought, did such a beautiful job with

577
00:29:07,440 --> 00:29:10,200
Speaker 2: the music, and they did mostly it really wasn't much score.

578
00:29:10,240 --> 00:29:13,120
Speaker 2: It was mostly just as they say, needle drops, you

579
00:29:13,160 --> 00:29:16,960
Speaker 2: know music because of the period, you know, time and

580
00:29:17,120 --> 00:29:21,320
Speaker 2: just so great a lot of Broadway and just loved it.

581
00:29:21,360 --> 00:29:25,000
Speaker 3: I just thought it was such a for younger viewers.

582
00:29:25,000 --> 00:29:27,400
Speaker 2: It was such a great education who people who didn't

583
00:29:27,400 --> 00:29:29,400
Speaker 2: know that era or didn't know a lot of those

584
00:29:29,440 --> 00:29:32,920
Speaker 2: different you know songs, even like Frank Sinatra or Barbara

585
00:29:32,920 --> 00:29:36,280
Speaker 2: Streiss and a lot of really cool stuff. But anyway, digressing,

586
00:29:36,280 --> 00:29:42,280
Speaker 2: but yeah, it was, Yeah, there wasn't any music, so

587
00:29:42,880 --> 00:29:46,200
Speaker 2: I just kind of had to do my thing, yeah,

588
00:29:46,280 --> 00:29:48,760
Speaker 2: to make it not be empty. But also I just

589
00:29:49,320 --> 00:29:51,560
Speaker 2: I didn't like, I don't like a lot of the

590
00:29:51,960 --> 00:29:55,080
Speaker 2: for maybe a dramedy like that, I don't love wald

591
00:29:55,120 --> 00:29:56,920
Speaker 2: while music. And at that point, I think I was

592
00:29:57,000 --> 00:29:59,080
Speaker 2: very stubborn about like a lot of times I would

593
00:29:59,120 --> 00:30:01,040
Speaker 2: just say, no, I don't think there should be music here.

594
00:30:01,160 --> 00:30:03,440
Speaker 3: You know, we need a breath, we need to we

595
00:30:03,480 --> 00:30:04,160
Speaker 3: need to breathe.

596
00:30:04,760 --> 00:30:09,000
Speaker 2: And so I that's a lot of times I think

597
00:30:09,040 --> 00:30:12,040
Speaker 2: that no music was was a good choice. And that's

598
00:30:12,080 --> 00:30:15,400
Speaker 2: kind of funny when you're a composer, you know, oh no, no,

599
00:30:15,400 --> 00:30:15,959
Speaker 2: no music.

600
00:30:16,840 --> 00:30:19,920
Speaker 1: That's so interesting because that that, I mean, that's like instinct,

601
00:30:20,040 --> 00:30:22,360
Speaker 1: like you just have to know just go like what

602
00:30:22,600 --> 00:30:25,360
Speaker 1: feels right, and because like I would, you know, I

603
00:30:25,360 --> 00:30:26,680
Speaker 1: would want to go in there and just be like,

604
00:30:26,760 --> 00:30:28,680
Speaker 1: oh yeah, we'll just play something the whole way through.

605
00:30:28,720 --> 00:30:31,240
Speaker 1: But like, but like you said, the absence of music

606
00:30:31,720 --> 00:30:33,840
Speaker 1: has its place too and conserve a purpose.

607
00:30:34,440 --> 00:30:36,280
Speaker 2: Yeah, and Amy did that well too, because sometimes she

608
00:30:36,480 --> 00:30:39,360
Speaker 2: wanted music in spots we would try something and then

609
00:30:39,680 --> 00:30:41,080
Speaker 2: you know, she would take it out and we both

610
00:30:41,120 --> 00:30:44,440
Speaker 2: agree yeah, or or she would just you know, she

611
00:30:44,480 --> 00:30:48,760
Speaker 2: would have her way with the score. And again I

612
00:30:48,840 --> 00:30:51,479
Speaker 2: just think she was really really she's great at it.

613
00:30:51,640 --> 00:30:52,600
Speaker 3: She's really good at it.

614
00:30:53,440 --> 00:30:55,880
Speaker 1: What was it like coming back for the revival after

615
00:30:56,600 --> 00:31:00,680
Speaker 1: you know, after not having done Go More Girls for

616
00:31:00,760 --> 00:31:03,240
Speaker 1: that long, that period of time, Uh, did you like

617
00:31:03,320 --> 00:31:06,840
Speaker 1: fall right back into the groove or what was that like?

618
00:31:07,840 --> 00:31:12,160
Speaker 3: Yeah? And also it was it was really fun to

619
00:31:12,240 --> 00:31:12,520
Speaker 3: do that.

620
00:31:12,600 --> 00:31:14,920
Speaker 2: And I feel like we did because again I worked

621
00:31:14,960 --> 00:31:21,720
Speaker 2: with the same engineer, recording engineer, and and also it

622
00:31:23,080 --> 00:31:26,160
Speaker 2: Amy wanted some of the old cues in there, so

623
00:31:26,560 --> 00:31:28,360
Speaker 2: you know, we did have to re record some of

624
00:31:28,400 --> 00:31:32,040
Speaker 2: them for the revival, and and that was that was

625
00:31:32,080 --> 00:31:35,560
Speaker 2: interesting too to hit hit some of those notes, you know,

626
00:31:37,240 --> 00:31:39,960
Speaker 2: And I thought especially fun with the very first cue,

627
00:31:40,080 --> 00:31:42,120
Speaker 2: you know that we I got to do one of

628
00:31:42,120 --> 00:31:44,680
Speaker 2: the you know, one of the ones that and that

629
00:31:44,840 --> 00:31:47,640
Speaker 2: was another funny thing that Amy had cues that she

630
00:31:47,720 --> 00:31:50,040
Speaker 2: loved and she would choose them again and again and again.

631
00:31:50,400 --> 00:31:53,280
Speaker 3: It was really it was great that we loved.

632
00:31:53,600 --> 00:31:56,920
Speaker 2: There was one Q called music Box and she loved

633
00:31:56,920 --> 00:31:58,960
Speaker 2: it to just use it all the time. It just

634
00:31:59,120 --> 00:32:02,400
Speaker 2: was for some reason, and it was really descriptive of

635
00:32:02,400 --> 00:32:03,920
Speaker 2: of a lot of Gilmore moments.

636
00:32:04,240 --> 00:32:05,959
Speaker 3: So I wish I could play it for you. There

637
00:32:06,040 --> 00:32:07,360
Speaker 3: was no vocal on it, so I can't sing it

638
00:32:07,400 --> 00:32:08,320
Speaker 3: for you. I'm sorry.

639
00:32:08,440 --> 00:32:12,960
Speaker 4: But anyway, would you say, like I mean, was there

640
00:32:13,000 --> 00:32:15,760
Speaker 4: a point where like something like music Box was in

641
00:32:15,800 --> 00:32:18,440
Speaker 4: like three episodes in a row or something like like

642
00:32:18,520 --> 00:32:19,400
Speaker 4: where they use that.

643
00:32:19,960 --> 00:32:22,320
Speaker 1: Did she have certain favorites that were that frequent? Really?

644
00:32:22,400 --> 00:32:23,360
Speaker 3: Yeah?

645
00:32:23,400 --> 00:32:26,600
Speaker 2: Sometimes maybe somebody would say, oh, we maybe used that before,

646
00:32:26,600 --> 00:32:27,920
Speaker 2: but you know, she had no shame.

647
00:32:29,960 --> 00:32:30,840
Speaker 1: Hey she's the boss.

648
00:32:30,920 --> 00:32:31,840
Speaker 3: Yeah.

649
00:32:32,240 --> 00:32:36,959
Speaker 2: I loved it, and I think also, I'm sorry, but

650
00:32:37,440 --> 00:32:40,680
Speaker 2: the other thing that I have loved about, you know,

651
00:32:40,800 --> 00:32:45,000
Speaker 2: maybe growing up being a TV baby, and and also movies.

652
00:32:46,200 --> 00:32:47,840
Speaker 3: I do like reoccurring.

653
00:32:47,360 --> 00:32:49,760
Speaker 2: Themes, and I think that that's you know, and not

654
00:32:50,280 --> 00:32:51,360
Speaker 2: in a funny way.

655
00:32:51,480 --> 00:32:53,240
Speaker 3: There is a comforting thing to that too.

656
00:32:53,480 --> 00:32:56,720
Speaker 2: There's I don't know, and I've heard that often that

657
00:32:56,800 --> 00:32:59,800
Speaker 2: a lot of people find Gilmore girls comforting. I mean,

658
00:32:59,800 --> 00:33:03,840
Speaker 2: it's certainly feels sometimes to me like it you know,

659
00:33:03,920 --> 00:33:06,000
Speaker 2: it's like a cup of coffee or you know, a

660
00:33:06,000 --> 00:33:08,240
Speaker 2: warm cup of tea, you know, Camma milt tea, whatever

661
00:33:08,440 --> 00:33:10,720
Speaker 2: you know, at the given moment, whatever.

662
00:33:10,480 --> 00:33:10,920
Speaker 3: Is going on.

663
00:33:11,040 --> 00:33:14,440
Speaker 2: It's funny, but it's also I think you really love

664
00:33:14,560 --> 00:33:17,080
Speaker 2: the characters and the town that she's created, and you

665
00:33:17,120 --> 00:33:18,640
Speaker 2: love spending time with them.

666
00:33:19,160 --> 00:33:22,000
Speaker 1: Absolutely. That's something I hear from people the most, is like, like,

667
00:33:22,160 --> 00:33:24,520
Speaker 1: there's so many people that I know they're like, oh,

668
00:33:24,560 --> 00:33:26,640
Speaker 1: I rewatch it every fall. That's like part of my

669
00:33:26,720 --> 00:33:30,880
Speaker 1: yearly tradition. And it feels it's so comforting. It's so

670
00:33:31,920 --> 00:33:34,760
Speaker 1: it feels like I'm visiting old friends. It's and I

671
00:33:34,760 --> 00:33:37,320
Speaker 1: think that's such a magic thing to be a part of, uh,

672
00:33:37,560 --> 00:33:40,600
Speaker 1: because you know how many shows can be are that

673
00:33:40,720 --> 00:33:42,360
Speaker 1: for people? I think if you ask people like what's

674
00:33:42,400 --> 00:33:45,160
Speaker 1: the most like what's your comfort show, Gimmrgirls has got

675
00:33:45,200 --> 00:33:47,360
Speaker 1: to be like number one, if not number number two

676
00:33:47,520 --> 00:33:48,240
Speaker 1: or something.

677
00:33:48,680 --> 00:33:49,560
Speaker 3: That's so interesting.

678
00:33:49,960 --> 00:33:53,760
Speaker 2: I hadn't really necessarily thought about it that way, but yeah,

679
00:33:53,840 --> 00:33:56,920
Speaker 2: it really is. And I don't know that that's the

680
00:33:57,000 --> 00:33:59,880
Speaker 2: way that you know, Amy started out thinking about it.

681
00:34:01,040 --> 00:34:03,800
Speaker 2: Maybe she was thinking more of like Twin Peaks but

682
00:34:04,040 --> 00:34:04,680
Speaker 2: sort of happy.

683
00:34:04,800 --> 00:34:07,640
Speaker 3: I don't know, you know, like a cast.

684
00:34:07,440 --> 00:34:11,560
Speaker 2: Of characters in a town and intrigue. The intrigue is

685
00:34:11,560 --> 00:34:13,600
Speaker 2: really just if you know, where can you get the

686
00:34:13,600 --> 00:34:16,440
Speaker 2: good cup of coffee, rather than you know, somebody gets murdered.

687
00:34:16,960 --> 00:34:19,160
Speaker 3: So that's okay with me. I love it.

688
00:34:19,400 --> 00:34:22,720
Speaker 2: One of the first times that I saw Lauren Graham,

689
00:34:22,920 --> 00:34:25,279
Speaker 2: actually not on my copy of the show, watching it

690
00:34:25,320 --> 00:34:29,080
Speaker 2: for music, was a little coffee shop near the Warner

691
00:34:29,080 --> 00:34:32,160
Speaker 2: Brothers lot. I went in to get a cup of

692
00:34:32,160 --> 00:34:36,120
Speaker 2: coffee and there she Lauren was walking out, and she

693
00:34:36,280 --> 00:34:38,800
Speaker 2: was dressed like Laura I, and she was had a

694
00:34:38,840 --> 00:34:40,680
Speaker 2: cup of coffee, and I just it was so weird

695
00:34:40,680 --> 00:34:42,800
Speaker 2: because I've just been watching her with a lot of coffee,

696
00:34:42,800 --> 00:34:45,400
Speaker 2: a lot of coffee, a lot of coffee cups. That

697
00:34:45,400 --> 00:34:48,040
Speaker 2: it was just it was wasn't sure if I was

698
00:34:48,080 --> 00:34:55,000
Speaker 2: in Stars Hollow or I was in Burbank, California.

699
00:34:55,160 --> 00:34:59,640
Speaker 1: So I'm curious too, Like there are so many people

700
00:34:59,760 --> 00:35:04,760
Speaker 1: that at watch Gilmart Girls as young people and hear

701
00:35:05,360 --> 00:35:07,799
Speaker 1: those musical cues that you wrote and you recorded and

702
00:35:07,880 --> 00:35:10,520
Speaker 1: probably I love thinking about this, Like they hear that

703
00:35:10,560 --> 00:35:13,280
Speaker 1: and go like, wow, this music is making me feel

704
00:35:13,480 --> 00:35:17,520
Speaker 1: such a specific way. I want to do something like this.

705
00:35:17,600 --> 00:35:20,480
Speaker 1: I want to start making music like and I know that,

706
00:35:20,600 --> 00:35:23,920
Speaker 1: like you, you started out as you know, just a

707
00:35:24,040 --> 00:35:27,000
Speaker 1: musician making your own songs, like you didn't necessarily dream

708
00:35:27,000 --> 00:35:29,280
Speaker 1: of being a composer, I'm sure when you were a kid.

709
00:35:29,360 --> 00:35:31,560
Speaker 1: But but did you do you remember like were there

710
00:35:31,840 --> 00:35:34,400
Speaker 1: specific like movies or TV shows where like the music

711
00:35:34,440 --> 00:35:35,319
Speaker 1: really stood out to you?

712
00:35:36,480 --> 00:35:39,600
Speaker 2: Again, you know, it's a little harder because everything just

713
00:35:39,960 --> 00:35:43,320
Speaker 2: kind of went in As a kid, I wasn't, I think,

714
00:35:44,520 --> 00:35:46,440
Speaker 2: you know, as I got older, I think that I

715
00:35:46,480 --> 00:35:48,880
Speaker 2: would music would stand out to me sometimes if it

716
00:35:48,960 --> 00:35:53,440
Speaker 2: was annoying, you know, but then also when it was

717
00:35:53,480 --> 00:35:56,560
Speaker 2: really great, like I one of the composers I think

718
00:35:56,680 --> 00:36:00,319
Speaker 2: is so amazing, as Mika Levy, who did she did

719
00:36:00,440 --> 00:36:04,680
Speaker 2: Jackie the movie Jackie about Jackie Nassa's Yes, yes, And

720
00:36:05,160 --> 00:36:07,680
Speaker 2: it's such an arresting score, so beautiful.

721
00:36:08,880 --> 00:36:11,600
Speaker 3: But and there are plenty of scores like that. Of course,

722
00:36:11,719 --> 00:36:12,520
Speaker 3: of course we love.

723
00:36:12,400 --> 00:36:14,200
Speaker 2: John Williams and all that, you know, I mean that

724
00:36:14,560 --> 00:36:17,440
Speaker 2: is waltwall music with an orchestra. It's just crazy, you

725
00:36:17,440 --> 00:36:21,040
Speaker 2: know what he can do. But I don't really remember

726
00:36:21,080 --> 00:36:23,640
Speaker 2: because I watched, you know, all the kids shows that

727
00:36:23,680 --> 00:36:28,000
Speaker 2: everybody else watched growing up, and I just I don't

728
00:36:28,040 --> 00:36:30,720
Speaker 2: remember that. I remember listening to records more and the radio,

729
00:36:30,960 --> 00:36:33,640
Speaker 2: you know. But I think a lot of that television music,

730
00:36:33,640 --> 00:36:36,960
Speaker 2: that movie music went in because my dad loved old movies,

731
00:36:37,000 --> 00:36:40,120
Speaker 2: so he was constantly, you know, getting me to watch

732
00:36:40,440 --> 00:36:44,320
Speaker 2: old movies and and there is to me. I guess

733
00:36:44,600 --> 00:36:48,400
Speaker 2: where maybe Gilmore Girls fans might you know, find the

734
00:36:48,760 --> 00:36:51,160
Speaker 2: score to that comforting. I find a lot of the

735
00:36:51,160 --> 00:36:59,040
Speaker 2: old forties music in scores, specifically the Newman Family. They

736
00:36:59,040 --> 00:37:02,200
Speaker 2: did a lot of the old scores like in the

737
00:37:02,200 --> 00:37:05,719
Speaker 2: forties and late thirties, and so that music, you know,

738
00:37:05,800 --> 00:37:08,319
Speaker 2: those scores, and I think I think Warner Brothers used

739
00:37:08,360 --> 00:37:11,680
Speaker 2: a lot of those cues in other movies. I've heard them,

740
00:37:11,680 --> 00:37:14,840
Speaker 2: like there's something in Casablanca that's in another movie that

741
00:37:14,880 --> 00:37:16,920
Speaker 2: I heard with Betty Davis in it. You know, it's

742
00:37:17,680 --> 00:37:21,080
Speaker 2: a library of music, and there's just something about that

743
00:37:21,239 --> 00:37:25,480
Speaker 2: beautiful music that's really comforting. And I will always say this,

744
00:37:25,560 --> 00:37:27,640
Speaker 2: I think one of the best scores, maybe one of

745
00:37:27,640 --> 00:37:30,120
Speaker 2: the craziest scores, Bugs Bunny. I think that the Bugs

746
00:37:30,120 --> 00:37:33,200
Speaker 2: Bunny scores are pretty nuts because I think they were

747
00:37:33,520 --> 00:37:35,920
Speaker 2: scoring a picture. I think they were watching the cartoons

748
00:37:36,000 --> 00:37:38,880
Speaker 2: and going and they and they hit so many different

749
00:37:39,080 --> 00:37:43,759
Speaker 2: songs and styles that it's really it's it's pretty acrobatic

750
00:37:43,800 --> 00:37:46,880
Speaker 2: when you listen to a Bugs Bunny, you know, especially

751
00:37:46,960 --> 00:37:48,360
Speaker 2: some of the older cartoons.

752
00:37:48,719 --> 00:37:53,120
Speaker 1: Yes, yes, those, I mean, yeah, the music is as

753
00:37:53,200 --> 00:37:55,439
Speaker 1: crazy as like the cartoon is, and it's so fun.

754
00:37:55,600 --> 00:37:57,719
Speaker 1: It's so fun to listen to, and it's so effective,

755
00:37:57,760 --> 00:38:01,080
Speaker 1: I think, and making you feel the certain ways.

756
00:38:01,719 --> 00:38:01,959
Speaker 2: Uh.

757
00:38:02,320 --> 00:38:05,560
Speaker 1: So you you worked with Amy Sharm Paladino on her

758
00:38:05,640 --> 00:38:08,640
Speaker 1: other shows bun Heads and Marvelous Missus Maisel.

759
00:38:09,360 --> 00:38:09,520
Speaker 4: Uh?

760
00:38:09,960 --> 00:38:13,560
Speaker 1: Were those there? I know they're they're different from gilmore

761
00:38:13,719 --> 00:38:16,000
Speaker 1: but they also obviously share a lot of the same

762
00:38:16,080 --> 00:38:18,200
Speaker 1: DNA like like, was that a different experience for you

763
00:38:18,239 --> 00:38:19,759
Speaker 1: working on those other shows?

764
00:38:20,480 --> 00:38:21,000
Speaker 3: It was.

765
00:38:21,160 --> 00:38:24,399
Speaker 2: I worked more with my partner, Eric Gorfain on both

766
00:38:24,400 --> 00:38:25,040
Speaker 2: of those shows.

767
00:38:25,960 --> 00:38:26,399
Speaker 3: He and I.

768
00:38:26,920 --> 00:38:32,920
Speaker 2: He is a wonderful violinist and arranger, composer, and so

769
00:38:33,920 --> 00:38:36,400
Speaker 2: he was. I think the Bunheads was a little more

770
00:38:36,640 --> 00:38:40,080
Speaker 2: it was closer to gilmore Land, but then when we

771
00:38:40,120 --> 00:38:43,680
Speaker 2: got to Marvelous Missus Maisel, he was doing some beautiful

772
00:38:43,800 --> 00:38:47,640
Speaker 2: you know, string cues and beautiful things. I think with

773
00:38:47,920 --> 00:38:52,800
Speaker 2: Mazel it just seemed like it really they really needed

774
00:38:52,840 --> 00:38:56,280
Speaker 2: to do more of those, you know, the needle drops again,

775
00:38:56,320 --> 00:38:57,800
Speaker 2: the previsting music.

776
00:38:57,880 --> 00:38:59,640
Speaker 3: There was just so many great things.

777
00:38:59,680 --> 00:39:03,160
Speaker 2: And then you know, there were some wonderful composers in

778
00:39:03,200 --> 00:39:05,960
Speaker 2: New York that were, you know, Broadway composers, which is

779
00:39:06,040 --> 00:39:09,319
Speaker 2: just not my that's not my world at all. I

780
00:39:09,360 --> 00:39:11,960
Speaker 2: appreciate it, but I just that's other than maybe being

781
00:39:12,040 --> 00:39:15,319
Speaker 2: kind of melodic. But I just I don't understand how

782
00:39:15,360 --> 00:39:17,560
Speaker 2: to how to make Broadway music at all. It would

783
00:39:17,600 --> 00:39:21,719
Speaker 2: have to be a really weird Broadway fighter. I don't

784
00:39:21,760 --> 00:39:25,200
Speaker 2: think it'll ever happen for me to do something like that.

785
00:39:25,320 --> 00:39:29,640
Speaker 2: But but yeah, it was. It was really interesting and

786
00:39:29,719 --> 00:39:34,879
Speaker 2: fun to work on the different shows. Yeah, but again,

787
00:39:34,960 --> 00:39:37,439
Speaker 2: I just I don't know. That's not that wasn't ever

788
00:39:37,560 --> 00:39:40,360
Speaker 2: my focus and that wasn't ever my direction to be

789
00:39:41,080 --> 00:39:44,480
Speaker 2: a composer. It just so happened that we there was

790
00:39:44,520 --> 00:39:49,040
Speaker 2: that intersection of of what I do and what AMY wanted.

791
00:39:50,080 --> 00:39:52,920
Speaker 1: It's yeah, it's it's so it's so interesting and it's

792
00:39:52,920 --> 00:39:55,440
Speaker 1: so cool. I was going to ask that, actually, like,

793
00:39:55,480 --> 00:39:58,360
Speaker 1: have you has this experience made you want to like

794
00:39:58,880 --> 00:40:01,719
Speaker 1: write something for Broadway or or anything like that, or

795
00:40:01,960 --> 00:40:05,239
Speaker 1: would you ever want to score for someone other than Amy,

796
00:40:05,280 --> 00:40:09,000
Speaker 1: Shearam Palladino. Has that ever been something you're interested in, you.

797
00:40:09,000 --> 00:40:12,040
Speaker 2: Know, in the with the right the right person and

798
00:40:12,400 --> 00:40:15,200
Speaker 2: the right film or or series.

799
00:40:16,360 --> 00:40:18,359
Speaker 3: It, yes, that that would be great.

800
00:40:18,360 --> 00:40:24,120
Speaker 2: I just it's it's tough though it sometimes you're you

801
00:40:24,120 --> 00:40:25,680
Speaker 2: have to be a little bit of a mind reader

802
00:40:25,719 --> 00:40:29,319
Speaker 2: if you're not on the same page. And I know

803
00:40:29,400 --> 00:40:31,680
Speaker 2: a lot of composers and what they've been through, and

804
00:40:31,960 --> 00:40:35,319
Speaker 2: it's it's hard, it's not easy. I admire one of

805
00:40:35,360 --> 00:40:37,440
Speaker 2: the composers, you know, John Bryan.

806
00:40:37,480 --> 00:40:38,000
Speaker 3: I love him.

807
00:40:38,080 --> 00:40:40,319
Speaker 2: I've known him for a long time and he is

808
00:40:40,400 --> 00:40:44,120
Speaker 2: wonderful at it. But you know, it's not easy giving

809
00:40:44,239 --> 00:40:47,640
Speaker 2: a director or a studio or you know, business people

810
00:40:47,680 --> 00:40:50,839
Speaker 2: what they want. So there's there's a hard, cold reality

811
00:40:51,239 --> 00:40:53,320
Speaker 2: to it on the other side, on the business side

812
00:40:53,360 --> 00:40:56,400
Speaker 2: that I feel wasn't as hard.

813
00:40:56,800 --> 00:40:59,880
Speaker 3: Wasn't hard and difficult with Amy, you know it was.

814
00:41:00,239 --> 00:41:03,359
Speaker 2: It was much more fun and just I think, as

815
00:41:03,400 --> 00:41:05,840
Speaker 2: it should be, so, I think, really, and that comes

816
00:41:05,840 --> 00:41:11,880
Speaker 2: from just having that that musical, those musical tastes in common,

817
00:41:12,280 --> 00:41:15,160
Speaker 2: and and and hearing it the same way you know

818
00:41:15,239 --> 00:41:17,280
Speaker 2: hearing I think, you know, the score should be simple

819
00:41:17,360 --> 00:41:19,920
Speaker 2: and and and we should have some piano in it

820
00:41:20,040 --> 00:41:23,360
Speaker 2: or you know, so I don't, I don't know. I'm again,

821
00:41:23,520 --> 00:41:27,040
Speaker 2: it would just depend on the situation. But I'm have

822
00:41:27,239 --> 00:41:30,160
Speaker 2: just finished a record or just finishing a record today,

823
00:41:30,280 --> 00:41:34,239
Speaker 2: actually my last, the last mix, and I enjoyed doing

824
00:41:34,239 --> 00:41:37,400
Speaker 2: that so much. I enjoy writing songs and recording, so

825
00:41:39,600 --> 00:41:41,440
Speaker 2: you know, I'm I'll always be doing that.

826
00:41:41,640 --> 00:41:45,719
Speaker 3: I'll be doing that whether anyone listens, I'll just keep

827
00:41:45,760 --> 00:41:46,120
Speaker 3: doing it.

828
00:41:46,120 --> 00:41:48,879
Speaker 2: It's a you know, I guess it's a hard habit

829
00:41:48,920 --> 00:41:50,600
Speaker 2: to break after all these years.

830
00:41:50,960 --> 00:41:52,840
Speaker 1: Tell us about this record you just finished? What wh

831
00:41:52,960 --> 00:41:54,960
Speaker 1: can we know about it? I'm so excited?

832
00:41:55,680 --> 00:41:56,759
Speaker 3: What can I tell you about it?

833
00:41:56,880 --> 00:41:59,720
Speaker 2: Well, there are a lot of strings on it, all right,

834
00:42:00,880 --> 00:42:05,040
Speaker 2: And and and also you know, it's I think it's

835
00:42:05,520 --> 00:42:07,480
Speaker 2: to get a little serious for a second. I hope

836
00:42:07,520 --> 00:42:12,120
Speaker 2: that's okay, absolutely, But it's it's about it's about identity.

837
00:42:12,560 --> 00:42:17,440
Speaker 2: I think that identity is a really important issue during

838
00:42:17,480 --> 00:42:23,640
Speaker 2: these times culturally politically. I think, you know, just with

839
00:42:23,719 --> 00:42:28,520
Speaker 2: the technology that that is so prevalent in our culture

840
00:42:28,640 --> 00:42:31,160
Speaker 2: and in our in our heads and around us all

841
00:42:31,200 --> 00:42:35,040
Speaker 2: the time. I think, you know, as Nick Cave wrote,

842
00:42:35,400 --> 00:42:37,680
Speaker 2: you know, hold on to yourself. And I think that

843
00:42:38,200 --> 00:42:41,400
Speaker 2: holding on to our identities and and listening to ourselves

844
00:42:41,480 --> 00:42:44,360
Speaker 2: not always just you know, riding the waves of social

845
00:42:44,400 --> 00:42:46,799
Speaker 2: media and all the information that's coming at us.

846
00:42:47,080 --> 00:42:49,799
Speaker 3: I think it's really important. And so that that was

847
00:42:49,840 --> 00:42:50,200
Speaker 3: a theme.

848
00:42:50,280 --> 00:42:53,920
Speaker 2: That's a theme in there, and there's some other things

849
00:42:53,960 --> 00:42:58,960
Speaker 2: I think kind of like that scene you know, uh

850
00:42:59,040 --> 00:43:03,040
Speaker 2: where oh my gosh in Chinatown where if they done

851
00:43:03,040 --> 00:43:04,719
Speaker 2: away is kind of going my you know.

852
00:43:04,760 --> 00:43:07,279
Speaker 3: She's my sister, she's my daughter, my sister, my daughter.

853
00:43:07,440 --> 00:43:09,680
Speaker 2: I kind of feel like it's it's personal, it's political,

854
00:43:09,719 --> 00:43:12,160
Speaker 2: it's personal, it's there's a lot of things that came

855
00:43:12,200 --> 00:43:16,080
Speaker 2: out not meaning to just the kind of the way

856
00:43:16,120 --> 00:43:19,839
Speaker 2: I write is just always I don't think about it

857
00:43:19,920 --> 00:43:22,640
Speaker 2: as much I do edit, you know, I think about

858
00:43:22,680 --> 00:43:26,359
Speaker 2: it once i've sort of composed something, but it's just

859
00:43:26,480 --> 00:43:28,840
Speaker 2: a lot of it just comes out more from my

860
00:43:28,920 --> 00:43:32,000
Speaker 2: subconscious or just stream of consciousness, I guess you'd say,

861
00:43:32,440 --> 00:43:33,840
Speaker 2: and then I craft it later.

862
00:43:34,040 --> 00:43:36,440
Speaker 3: So there's a lot. There's a lot in there, a

863
00:43:36,480 --> 00:43:37,200
Speaker 3: lot packed in.

864
00:43:37,160 --> 00:43:42,919
Speaker 2: There, and and some very pretty strings and interesting we experimented,

865
00:43:43,000 --> 00:43:44,920
Speaker 2: you know, I kind of did a different kind of

866
00:43:44,920 --> 00:43:49,920
Speaker 2: thing that I've done before with the instrumentation and the writing,

867
00:43:50,400 --> 00:43:50,680
Speaker 2: you know.

868
00:43:50,680 --> 00:43:53,640
Speaker 3: So it's I don't know what kind of music? Do

869
00:43:53,680 --> 00:43:56,920
Speaker 3: you make it? A lady of my age? You know,

870
00:43:56,960 --> 00:43:58,520
Speaker 3: I don't know. I don't know what kind of music.

871
00:43:58,600 --> 00:44:03,120
Speaker 3: But it's sort of like, you know, do I wear hats? Now?

872
00:44:03,239 --> 00:44:06,440
Speaker 2: Now when you're over a certain age, like you're over fifty,

873
00:44:06,480 --> 00:44:07,200
Speaker 2: do I wear hats?

874
00:44:07,200 --> 00:44:11,200
Speaker 3: What do I do? Do I wear long skirts? I

875
00:44:11,239 --> 00:44:11,600
Speaker 3: don't know?

876
00:44:11,719 --> 00:44:13,880
Speaker 2: And I think as an artist, you know, I just

877
00:44:13,880 --> 00:44:16,759
Speaker 2: want to keep growing and keep pushing until, you know,

878
00:44:16,920 --> 00:44:20,080
Speaker 2: until it's like time until okay, times out. I just

879
00:44:20,120 --> 00:44:22,440
Speaker 2: want to get as much done as I can to

880
00:44:22,480 --> 00:44:27,360
Speaker 2: put into the time capsule for you know, whatever that is.

881
00:44:27,440 --> 00:44:30,640
Speaker 1: It's so it's so inspiring to hear and so exciting

882
00:44:30,680 --> 00:44:34,360
Speaker 1: because like I love talking to people like you because

883
00:44:34,440 --> 00:44:36,800
Speaker 1: you know, you're making music and then someone comes to

884
00:44:36,800 --> 00:44:37,759
Speaker 1: you and says, hey, do you want to score a

885
00:44:37,800 --> 00:44:40,080
Speaker 1: TV show? And I've never done that, Yes, let's do it.

886
00:44:40,480 --> 00:44:43,040
Speaker 1: And and then now like this music you're making like

887
00:44:43,080 --> 00:44:45,360
Speaker 1: trying new things and just want to keep going and

888
00:44:45,840 --> 00:44:48,640
Speaker 1: keep creating. It's such an infectious like thing to be

889
00:44:48,719 --> 00:44:53,719
Speaker 1: around it. It's it's really exciting. And the twentieth anniversary

890
00:44:53,760 --> 00:44:55,600
Speaker 1: of your album A Boot and a Shoe. I saw

891
00:44:55,760 --> 00:44:58,919
Speaker 1: it came in on vinyl late last year. That's exciting too.

892
00:44:59,480 --> 00:45:02,640
Speaker 2: Yeah, that was fun because that of that reflecting light,

893
00:45:02,960 --> 00:45:06,719
Speaker 2: which seemed to resonate with so many Gilmore fans, is

894
00:45:06,760 --> 00:45:09,440
Speaker 2: on that record, you know, which is that? And that

895
00:45:09,760 --> 00:45:12,279
Speaker 2: was an odd thing too, that Amy chose that for

896
00:45:12,920 --> 00:45:16,040
Speaker 2: to be Lorela and and you know Luke's first dance.

897
00:45:16,440 --> 00:45:18,120
Speaker 3: It was not at all that sort of a song.

898
00:45:18,160 --> 00:45:20,719
Speaker 2: It was more of an esoteric kind of song, but

899
00:45:20,920 --> 00:45:23,200
Speaker 2: it I thought, but it did work, you know, for them.

900
00:45:23,239 --> 00:45:26,000
Speaker 3: And then you know, we revisited.

901
00:45:25,400 --> 00:45:29,640
Speaker 2: That in the revival and I added a little section

902
00:45:29,719 --> 00:45:33,200
Speaker 2: to it to the original, so it was it was fun.

903
00:45:33,239 --> 00:45:36,279
Speaker 2: I love those through lines and I you know, just

904
00:45:36,320 --> 00:45:38,839
Speaker 2: the care that Amy always takes, I think with the

905
00:45:38,920 --> 00:45:40,839
Speaker 2: with the writing, with the little.

906
00:45:40,880 --> 00:45:42,440
Speaker 3: Visual cues, with the music.

907
00:45:43,640 --> 00:45:47,399
Speaker 2: Again, there's there's nobody really like her, and like Dan

908
00:45:48,280 --> 00:45:51,200
Speaker 2: Palladino that they nobody really does what they do. The

909
00:45:51,280 --> 00:45:54,680
Speaker 2: dramedy is not a common thing. And I remember talking

910
00:45:54,719 --> 00:45:58,600
Speaker 2: to her about when we started I think bun Heads.

911
00:45:58,600 --> 00:46:00,320
Speaker 2: It was a long time ago, and we were just

912
00:46:00,360 --> 00:46:04,000
Speaker 2: talking about television and how there were so many shows

913
00:46:04,000 --> 00:46:07,440
Speaker 2: that were so violent and so serious, like like they

914
00:46:07,680 --> 00:46:10,000
Speaker 2: just didn't and I thought that's interesting. They were just

915
00:46:10,080 --> 00:46:13,399
Speaker 2: missing a sense of humor completely. And you know, since then,

916
00:46:13,920 --> 00:46:15,920
Speaker 2: there are shows like The Bear that are you know,

917
00:46:15,960 --> 00:46:19,600
Speaker 2: that's intense and has some really crazy serious stuff, but

918
00:46:19,719 --> 00:46:20,880
Speaker 2: still has a sense of humor.

919
00:46:20,960 --> 00:46:22,320
Speaker 3: You know, it's still funny.

920
00:46:22,520 --> 00:46:24,320
Speaker 2: I don't know if you'd call it a normal comedy,

921
00:46:24,320 --> 00:46:26,680
Speaker 2: I don't know what you call Maybe that's a remedy.

922
00:46:26,680 --> 00:46:30,480
Speaker 2: I don't know, but it's just it's cool to always

923
00:46:30,560 --> 00:46:32,680
Speaker 2: I think see things like that they're intense or what

924
00:46:32,920 --> 00:46:35,319
Speaker 2: you know, crazy stories, but that they still there's still

925
00:46:35,360 --> 00:46:37,960
Speaker 2: a sense of humor and because we just need more

926
00:46:37,960 --> 00:46:40,160
Speaker 2: of that, which we do a lot more of that

927
00:46:40,320 --> 00:46:40,960
Speaker 2: these days.

928
00:46:41,080 --> 00:46:46,520
Speaker 1: Absolutely. Sam Phillips, thank you so much for your time today,

929
00:46:46,680 --> 00:46:50,400
Speaker 1: for indulging us and sharing your music with us. Just

930
00:46:50,480 --> 00:46:53,920
Speaker 1: the greatest gift that we could receive. It's it's so

931
00:46:54,719 --> 00:46:57,440
Speaker 1: it's so beautiful and uh and you're just the coolest

932
00:46:57,440 --> 00:46:59,520
Speaker 1: person in the world. I thought you would be, and

933
00:46:59,600 --> 00:47:01,879
Speaker 1: you did not disappoint. You exceeded every expectation I had.

934
00:47:01,960 --> 00:47:02,520
Speaker 1: So thank you.

935
00:47:03,120 --> 00:47:05,239
Speaker 3: Wow, Easton, thank you so much. It's so kind.

936
00:47:05,239 --> 00:47:07,920
Speaker 2: Of you to say I will take all of that

937
00:47:08,080 --> 00:47:10,960
Speaker 2: in and just have the best week now.

938
00:47:11,000 --> 00:47:13,359
Speaker 3: Thank you so much. I really appreciate it.

939
00:47:13,640 --> 00:47:16,840
Speaker 1: Excellent, and everyone look out for this new record that

940
00:47:16,840 --> 00:47:21,640
Speaker 1: Sam Phillips just recorded the Instagram best place for people

941
00:47:21,680 --> 00:47:23,480
Speaker 1: to keep up with you as your.

942
00:47:23,320 --> 00:47:27,759
Speaker 2: Website Instagram on the website. And yes, don't have a

943
00:47:27,800 --> 00:47:30,440
Speaker 2: release date at the moment because we're just finishing, but

944
00:47:31,239 --> 00:47:32,200
Speaker 2: soon soon.

945
00:47:32,280 --> 00:47:35,160
Speaker 1: All right, well we can't wait. Thanks again, Thank you

946
00:47:35,239 --> 00:48:07,320
Speaker 1: so much everybody, and don't forget follow us on Instagram

947
00:48:07,320 --> 00:48:11,120
Speaker 1: at I Am all In podcast and email us at

948
00:48:11,280 --> 00:48:24,040
Speaker 1: Gilmore at iHeartRadio dot com.