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Speaker 1: Welcome back to do some Amingos podcast.

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Speaker 2: This is Freddy Rodriguez and I'm Wilmer Valderama and we

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Speaker 2: are here.

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Speaker 3: With the incomparable Melissa Famero and I am I'm so

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Speaker 3: interested in hearing about your directing about Mobeta, your your

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Speaker 3: great podcast.

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Speaker 1: But let's let's dive into it.

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Speaker 4: The nucleus of that show was when we were on Brooklyn.

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Speaker 4: We were always in each other's dressing rooms, like during

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Speaker 4: lunch or breaks, and we would just be talking like forever,

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Speaker 4: and most of our conversations were like I'm struggling with

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Speaker 4: this and like giving each other advice or like what

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Speaker 4: are you how are you handling this?

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Speaker 5: Or like what are you doing lately? It's making you

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Speaker 5: feel good? And so like the podcast kind of came

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Speaker 5: from that.

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Speaker 4: It's like it's like a like a spin off of

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Speaker 4: our dressing room.

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Speaker 6: You were already experienced.

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Speaker 4: It was already like part of our dynamic. It was

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Speaker 4: already part of search. Friendship is like and you know,

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Speaker 4: and even like now like you know, I mean, we

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Speaker 4: see each other quite often, so we don't talk on

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Speaker 4: the phone all the time, but when we do talk

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Speaker 4: on the phone, it's a two or three hour conversation,

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Speaker 4: like it's one of those friendships, you know, we can

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Speaker 4: just talk forever.

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Speaker 3: So, yeah, it's when I when I hung out with

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Speaker 3: you guys in Austin.

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Speaker 1: This is before I even heard your podcast.

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Speaker 5: Oh yeah, I haven't even come out yet.

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Speaker 1: Turn to women and going like, these two need their

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Speaker 1: own show.

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Speaker 6: Man, and.

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Speaker 4: That's why.

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Speaker 6: That's why they're here. Buddy.

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Speaker 3: I know, but but it didn't like I knew that

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Speaker 3: witnessing it firsthand, Yeah I was. I was like, Wow,

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Speaker 3: these two the chemistry is like nothing I've seen before.

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Speaker 6: You know, I would love to see that like on screen,

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Speaker 6: on screen. Yeah, I know.

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Speaker 4: We're always talking about it. Yeah, I'm always trying to

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Speaker 4: cook up something.

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Speaker 6: What's like that that you know, like you know, like

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Speaker 6: a like a like a duo.

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Speaker 5: Yeah, yeah, I have. It's weird.

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Speaker 4: I have some ideas for us, but I'm like, we

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Speaker 4: have to be older, like like I got this great idea,

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Speaker 4: but it's for like when we're in our like late

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Speaker 4: fifties or you.

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Speaker 5: Know, so we're just gonna like sit on. Yeah, but

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Speaker 5: so done.

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Speaker 2: So a little bit more about more better, because more

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Speaker 2: Better has been a very wonderful success story for iHeart

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Speaker 2: and you know, by the way, More Better is available

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Speaker 2: anywhere you get your podcast. It's also part of the

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Speaker 2: Michael Tuda Podcast Network family.

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Speaker 6: But but one of.

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Speaker 2: The things that was very fascinating is that voices like you,

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Speaker 2: voices that speak to all communities and all cultures, you

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Speaker 2: haven't had really the kind of the space to really

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Speaker 2: kind of explore, you know, the many boxes you check

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Speaker 2: for not just humanity but as strong family women. You

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Speaker 2: both are amazing moms, and you're incredible uh professionals. You're

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Speaker 2: also an amazing director and you're directing someone really amazing stuff,

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Speaker 2: which I want to talk a little bit more about

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Speaker 2: your directing stuff. But you know, how would you describe

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Speaker 2: to our listeners More Better? What do you think that

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Speaker 2: people come to more Better for?

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Speaker 5: Yeah, so on more and Better.

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Speaker 4: We tackle a different topic every episode. Some of them

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Speaker 4: are kind of deep and heartfelt, and some of them

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Speaker 4: are like what wine goes best with Cheetos? Really run

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Speaker 4: the gammet, you know, and yeah, and we halfway through

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Speaker 4: this first season.

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Speaker 6: You shouldn't talking, like you should stop talking.

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Speaker 1: I just stop talking.

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Speaker 5: That's the show. Check us out, get your podcast Wine

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Speaker 5: and Cheetos.

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Speaker 4: We literally did do that, and yeah, and it's really

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Speaker 4: fun and it's and it's you know, like I said,

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Speaker 4: it's an extension of us. Both of us have always

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Speaker 4: I think one of the things that's always connected us

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Speaker 4: is Stephanie and I are people that are always kind

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Speaker 4: of working on ourselves, you know, just like I think

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Speaker 4: we both sort of see life and this job as like,

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Speaker 4: you know, there's a there's a progression, like you're always growing,

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Speaker 4: you're always learning, like you're never just settled right like

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Speaker 4: otherwise we'd be freaking.

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Speaker 5: Buddhist monks, like you know, like never have it all

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Speaker 5: figured out.

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Speaker 4: And so yeah, just exploring that in in in tackling

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Speaker 4: like one topic big or small each episode, and we

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Speaker 4: started getting suggestions from our audience, which was like the best,

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Speaker 4: most unexpected kind of turn for the show because we

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Speaker 4: got the best questions and stories and it was such

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Speaker 4: a beautiful way to connect with the people that were

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Speaker 4: listening to the show.

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Speaker 5: And also it just like really gave.

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Speaker 4: Us ideas, like because we might have went out of

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Speaker 4: ideas a lot of episodes.

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Speaker 5: It's a lot of episodes on a podcast. I was like,

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Speaker 5: how many episodes are doing Yeah.

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Speaker 4: But I was like, that's the standard in which it

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Speaker 4: is and yeah, and it's so it's been really fun

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Speaker 4: and I'm excited to bring season two.

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Speaker 6: Yeah.

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Speaker 1: So how many seasons were Brooklyn n nine?

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Speaker 5: We did eight seasons?

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Speaker 1: Eight seasons. Yeah.

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Speaker 6: How many episodes of the season.

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Speaker 4: First five seasons were twenty three episodes?

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Speaker 6: Wow?

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Speaker 5: Six was I think eighteen?

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Speaker 1: Yeah?

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Speaker 5: Seven was thirteen and eight was ten? Okay, I think yeah.

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Speaker 6: I mean that's when people were really cranking episodes.

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Speaker 3: You know.

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Speaker 4: It's like, oh, yeah, I was seven months out of

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Speaker 4: the year, and yeah, it was.

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Speaker 5: It was a lot. It was the first season.

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Speaker 2: I was that's what you do, right, we do twenty two,

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Speaker 2: twenty two, we are doing twenty now, okay, but when

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Speaker 2: I got there, we were doing twenty four. Yeah, and

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Speaker 2: bro by episode twenty, I'm You're like, yeah, you're literally

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Speaker 2: beat up.

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Speaker 5: Oh my god.

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Speaker 4: And when you walk into like table reads and the

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Speaker 4: writers just they look rough.

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Speaker 6: Especially in nineteen it's.

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Speaker 3: Usually like after Christmas, New Year's right January, you just like.

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Speaker 1: An episode eight.

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Speaker 5: I think about it like a hour about your health.

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Speaker 6: Like the one hour dramas.

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Speaker 2: That one hour dramas are crazy because you're really putting

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Speaker 2: out an hour of television. Well, you're putting forty two minutes,

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Speaker 2: which is double the comedies, which is comedies twenty two minutes.

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Speaker 2: But it is still amount of pages and work that

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Speaker 2: you've got to come up with, you know, and you

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Speaker 2: need to do this many.

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Speaker 6: Crimes in one year. That's really good, you know.

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Speaker 2: But also I went into into your directing career because

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Speaker 2: you've been able to successfully direct multiple prime time shows, and.

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Speaker 6: That's something that guy.

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Speaker 2: I haven't directed prime I directed other stuff, you know,

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Speaker 2: but I look forward today that I get to, you know,

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Speaker 2: kind of produce and direct at the same time. I

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Speaker 2: know you're a director as well and producer. When did

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Speaker 2: you get the bug to direct?

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Speaker 4: I think I always secretly had it, but it all

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Speaker 4: sort of came about.

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Speaker 5: I did this one job that long story short.

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Speaker 4: The director was all over the place and I like

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Speaker 4: had a heart out because of childcare, and he almost

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Speaker 4: blew the heart out, and it was frustrating because I

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Speaker 4: was like, well, if you and so. On the ride home,

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Speaker 4: I was called my manager and I was like, if

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Speaker 4: he had done this, if he had done that, if

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Speaker 4: he had done this, if he hadn't taken so long

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Speaker 4: to make this decision, if he had shot it from this,

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Speaker 4: you know, we would have made the day. And my

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Speaker 4: manager goes.

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Speaker 5: I think you should direct, and I was like, what

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Speaker 5: this all with this conversation is about. I'm really mad.

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Speaker 5: So he set up the low stakes.

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Speaker 4: There was like a little web series that he had

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Speaker 4: some friends doing or that he knew of. It was

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Speaker 4: called Front Seat Chronicles and every episode takes place in

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Speaker 4: the front seat of a car and it's a different scene,

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Speaker 4: and so he put me in touch with them. They

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Speaker 4: were like, yeah, we'd love for you to come direct one,

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Speaker 4: and they had a writer that wrote this great scene.

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Speaker 4: They let me cast my two friends because that was like,

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Speaker 4: I need to direct some people that are going to

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Speaker 4: like love me and.

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Speaker 5: Support me doing this, and they did and.

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Speaker 4: It was just like a It was kind of like

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Speaker 4: for me to dip my toe in and be like

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Speaker 4: would I enjoy this and would I know how to

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Speaker 4: do it? And then that thing that happens when you

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Speaker 4: spend so many hours on a television set you have

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Speaker 4: no idea the wealth of knowledge that you know that's.

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Speaker 5: Already in your brain.

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Speaker 4: And I was like, Oh, I know how to do this,

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Speaker 4: and I'm enjoying doing this and I'm not getting flustered

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Speaker 4: by any of it, and I know what I want

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Speaker 4: my shots to be. I know how this is going

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Speaker 4: to come together. So then season six, Stephanie, Joe, and

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Speaker 4: I and actually I have to give Joe and Stephanie

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Speaker 4: credit because we had talked about putting our names in

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Speaker 4: to direct episodes on the show, but then we got

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Speaker 4: canceled and rescued by NBC and I chickened out because

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Speaker 4: I was like, I don't want to ruffle the girl

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Speaker 4: boss's feathers, like, and Joe and Sevanie were like, oh no,

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Speaker 4: we put our names in. You should put your names in,

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Speaker 4: like you should? You should, you know, pitch yourself to direct,

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Speaker 4: and I was like, oh okay, And I would never

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Speaker 4: have done it if they hadn't given me that push.

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Speaker 4: So I did, and they gave all three of us

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Speaker 4: an episode that season and it was great and it

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Speaker 4: was so fun and it was so fun to do

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Speaker 4: their episodes. It was so fun to do mine. I

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Speaker 4: got really lucky with mine where I was like in

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Speaker 4: the c storyline, so I only like worked like one day.

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Speaker 3: Yes, yes, how was it directing yourself?

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Speaker 5: Did you I hated it?

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Speaker 1: Did you go back and watch?

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Speaker 5: Never want to do it again? Never going to do

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Speaker 5: it again.

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Speaker 4: I hated the feeling. I think some people can just

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Speaker 4: split their brain that way. I felt like I couldn't.

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Speaker 4: I felt like I wasn't one hundred percent present in

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Speaker 4: the scene the way I normally were.

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Speaker 6: You watch and then you were like, ah.

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Speaker 4: No, I wasn't watching playback because there's no time to

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Speaker 4: really do that, especially on a comedy set, and you're

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Speaker 4: like moving.

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Speaker 6: Yeah, first thing they needed to Yeah, Well, I.

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Speaker 5: Got really lucky.

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Speaker 4: The writer of that episode was Phil Augusta Jackson, who

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Speaker 4: created went on to create Grand Crew, who actually really

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Speaker 4: helped my directing career kind of move forward. And he

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Speaker 4: had already directed an episode of Brooklyn and I uh

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Speaker 4: because at one point I told him like, I think

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Speaker 4: you're extraordinarily talented and if you ever need me to

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Speaker 4: act in anything, I will be there. And he was like,

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Speaker 4: I got this short film that I'm going to do

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Speaker 4: my first time directing, Like, will you beat it? And

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Speaker 4: I was like yes, And so I was in his

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Speaker 4: first short film, and so we had already collapsed. So

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Speaker 4: this was a third time we collaborated together. And I

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Speaker 4: just turned to Phil and I said, Phil, these are

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Speaker 4: the shots. This is what I'm going for like direct

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Speaker 4: these scenes because I'm gonna lose my goddamn mind right now,

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Speaker 4: and I hate this so much. I want to just

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Speaker 4: act in the scene.

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Speaker 3: Well, because you felt like you were two in your

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Speaker 3: head when you were acting in the scene, Like.

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Speaker 4: Well, yeah, I couldn't figure out how to mentally like

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Speaker 4: be in the scene the way I would be as

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Speaker 4: an actor and also have part of my brain thinking

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Speaker 4: of what adjustment I mean, I can adjust myself, but

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Speaker 4: what adjustments do I want my scene partner to make?

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Speaker 5: What is the camera doing? Do you know what I mean?

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Speaker 4: Like, and then like checking off all the things like, oh,

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Speaker 4: I hope they pulsed in at this part or did it?

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Speaker 4: Like I just couldn't do all that math in my

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Speaker 4: head while I was performing, and I I kind of could,

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Speaker 4: but I didn't like the feeling of it.

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Speaker 5: I felt like I was.

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Speaker 4: Doing each job at like sixty percent. I get what

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Speaker 4: you're bat and I didn't like that feeling.

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Speaker 6: Myself to do.

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Speaker 5: And I think some people can just do that.

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Speaker 4: I think I've watched America Ferra direct and scene she's in,

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Speaker 4: and she does it bleavy, beautifully and flawlessly, Like I

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Speaker 4: think some people just have that brain, and I.

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Speaker 5: Don't, so I won't ever be doing that again.

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Speaker 2: I mean, and someone explained it to me, as you know,

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Speaker 2: once you put your once you set up your cameras

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Speaker 2: and you know how you're going to cover your scene.

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Speaker 2: Once you're in the scene, you take the hat off

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Speaker 2: and just make sure the scene works as a perform as.

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Speaker 6: An actor, and then once the scene is done, then

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Speaker 6: you go back.

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Speaker 4: I also didn't love the feeling of like being an

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Speaker 4: actor in a scene with another actor and being like, hey,

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Speaker 4: so you know in that part, you know what I mean,

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Speaker 4: like noting an.

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Speaker 5: Actor while you're also the actor in the scene.

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Speaker 4: With them, because normally, like you would never you know, and.

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Speaker 3: It just especially an actor who's like, you're you're a

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Speaker 3: fellow series regularly.

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Speaker 5: Right right, That's yeah, it's weird, you know.

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Speaker 4: And yeah, so I didn't. It was fine when I

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Speaker 4: wasn't in the scene and I was approaching my my castmates,

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Speaker 4: like as a director, and they all were like very

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Speaker 4: beautifully like supportive, even Andre, like but not even Andre.

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Speaker 4: Andrea was beautifully gracious to everyone. Actually I probably was

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Speaker 4: like I thought Andy would give not a hard time,

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Speaker 4: but I thought he would like tease me throughout the

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Speaker 4: whole thing, and he did.

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Speaker 6: He took it seriously.

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Speaker 5: He took it very seriously. He was very professional, which

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Speaker 5: like a little part of me.

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Speaker 6: Was that's what you want to but I was like, come.

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Speaker 5: On, I'm not gonna rasp me at all.

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Speaker 4: But no, he was like very everybody was like very

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Speaker 4: sweet and professional. And the cool thing about that experience,

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Speaker 4: which you know, you never really get again because it's impossible,

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Speaker 4: it was so nice to direct actors knowing exactly how

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Speaker 4: they like to hear notes exactly, like what their langua

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Speaker 4: or unique little languages are. And I think that was

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Speaker 4: also like important to remember when I went to other shows.

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Speaker 4: Was like trying to figure out part of that on

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Speaker 4: day one, right, or like trying to mind that from

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Speaker 4: a showrunner or you know, someone who's directed on the

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Speaker 4: show A bunch, Like, so would you.

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Speaker 1: Ask ahead of time before you start on another show?

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Speaker 5: Would you always? Yeah?

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Speaker 4: Act yeah, Like is there anything you can tell me

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Speaker 4: about how actors like to hear notes or like you know,

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Speaker 4: you know, because some people, you know, there's actors that

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Speaker 4: like like really actory kind of note, you know, like

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Speaker 4: intention and verbs and da da da, And then there's

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Speaker 4: some actors that are just like faster, like you can

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Speaker 4: you know what I mean, like higher stake, like you know,

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Speaker 4: like short things, you know, like so I try to

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Speaker 4: find that out as much as I can before.

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Speaker 6: What about you as an actress? How do you like

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Speaker 6: to be addressed? How do I?

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Speaker 5: How do I like to be addressed? Yes, queen miss?

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Speaker 5: How do I like to hear? Notes?

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Speaker 4: I definitely like the theater kid and me appreciates like

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Speaker 4: a beautiful, well thought out note that like has depth

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Speaker 4: or intention in it.

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Speaker 6: What about season six? New director?

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Speaker 5: Give it to me quick?

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Speaker 6: What is it? Oh?

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Speaker 4: Yeah, but they're definitely there. Definitely is I do, especially

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Speaker 4: when you worked in comedy right with somebody's like so

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Speaker 4: just like more energy and like the stakes higher, and

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Speaker 4: you're like faster, you want it faster?

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Speaker 5: Just say faster, Just say.

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Speaker 6: Faster to tie it up a little bit.

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Speaker 5: Yeah, just taint it up. Yeah, that's it. You can

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Speaker 5: say that, you know.

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Speaker 6: Yeah? What about you?

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Speaker 4: What do you?

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Speaker 1: What do you?

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Speaker 5: What do you? Yeah?

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Speaker 6: Well, so it's two things like drama and comedy.

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Speaker 2: For me, had two are phones that I love so much, right,

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Speaker 2: And I would say that as as when I was

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Speaker 2: wearing my comedy hat I had.

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Speaker 6: You know, I was very.

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Speaker 2: When I was playing Fez on seventy show. I had

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Speaker 2: this director named David Trainer, who they directed one hundred

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Speaker 2: and ninety nine episodes wow, the exception of the pilot

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Speaker 2: and David Trainer. You know, I had created this accent, right,

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Speaker 2: but I also created this vibe which was like such

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Speaker 2: an ambiguous in his saying, yet like you can get

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Speaker 2: away a character. So so like, no matter how I

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Speaker 2: did it, it was like a choice that people are like.

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Speaker 6: You're gonna do it like that. Yeah, you're gonna do it.

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Speaker 6: So but because I was still committed, they're like, he's

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Speaker 6: gonna do it like that.

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Speaker 2: He's gonna do it like that. So they kind of

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Speaker 2: would let me cook by myself sometimes. But he was

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Speaker 2: like the Wilmer whisperer because sometimes my accent will get

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Speaker 2: a little too strong and really hard to understand, and

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Speaker 2: so he will come into the scene and he'll be like, well,

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Speaker 2: just like a little mover of the fingers. And he

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Speaker 2: didn't want to tell me in front of everybody that

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Speaker 2: like that, like it's hard to understand you.

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Speaker 6: Yeah, he didn't want to say that. Yeah, So he

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Speaker 6: was just like, I don't see it a little.

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Speaker 2: More and then okay, we're gonna go again, and just

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Speaker 2: like an so he will steer the boat.

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Speaker 4: Yeah, and I love which is so much of what

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Speaker 4: it is, especially in comedy.

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Speaker 2: Yes, so in comedy and you know, but I also

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Speaker 2: like a showrunner running in and be like, here's five lines.

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Speaker 6: We're gonna this is the new joke. I love that,

365
00:17:43,240 --> 00:17:45,040
Speaker 6: Like I'm just okay, it's a sport. To me.

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Speaker 2: It's like, Okay, that one wasn't as funny. This is

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Speaker 2: I'm gonna nail this right now. Okay, there are two

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Speaker 2: hundred and thirty people are waiting to laugh. Okay, cool ready,

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00:17:51,960 --> 00:17:54,480
Speaker 2: okay said, and you know, so I'm very good with

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Speaker 2: attention in that.

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Speaker 6: In drama.

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Speaker 2: Season eight Fancis, it's a little bit of like, you know,

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Speaker 2: there's so much to shoot in a drama and a

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Speaker 2: crime investigation show.

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Speaker 6: I don't like. I don't know what it is.

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Speaker 2: But I don't like when when a director says like,

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Speaker 2: you know it will be funny.

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00:18:19,200 --> 00:18:23,080
Speaker 4: Oh yeah, don't say you know it would be funny

379
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Speaker 4: the funny guy.

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Speaker 5: Yeah, do you get all like.

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Speaker 6: No, no, I make them feel like I listened. Yea,

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00:18:36,240 --> 00:18:38,760
Speaker 6: mm hmm, Okay, let's try that. I like to try that.

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Speaker 2: Yeah, oh cool, cool, Yeah, we'll run it again, you know.

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00:18:43,920 --> 00:18:46,040
Speaker 2: But I learned so much a lot of the directors

385
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Speaker 2: that come in, and this is like basically a big

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Speaker 2: tribute to all the directors that come into well machines,

387
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Speaker 2: like the machines that are like just cranking out episodes.

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Speaker 2: Like I would say, like, you know, sometimes they have

389
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Speaker 2: the thankless job of inherent it in a DP that

390
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Speaker 2: knows how to just shoot the show by itself, right,

391
00:19:04,080 --> 00:19:05,680
Speaker 2: and then a director's coming to kind of.

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Speaker 6: Steer the pace and steer the whatever, you know.

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Speaker 2: But there are those directors who really want to collaborate

394
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Speaker 2: with the actor, and I think that's always super welcoming,

395
00:19:13,119 --> 00:19:15,800
Speaker 2: really exciting. But you know, at NCIAS is an interesting

396
00:19:15,840 --> 00:19:20,760
Speaker 2: thing because the actors have you know, double Bachelor degrees

397
00:19:20,840 --> 00:19:25,240
Speaker 2: on their characters. Yeah, they've done seven hundred episodes as

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Speaker 2: this character.

399
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Speaker 5: No one's going to know it more than yes, you know, so.

400
00:19:28,480 --> 00:19:31,000
Speaker 2: They kind of it was a little bit, but you know,

401
00:19:31,040 --> 00:19:36,320
Speaker 2: I would say I had this. I appreciate when somebody

402
00:19:36,359 --> 00:19:41,159
Speaker 2: can can explain to me in feelings, like you know,

403
00:19:41,280 --> 00:19:44,640
Speaker 2: as opposed to like quite literally like some writers want

404
00:19:44,680 --> 00:19:47,520
Speaker 2: to say it as scripted, and I have a tough

405
00:19:47,560 --> 00:19:49,520
Speaker 2: time saying like I don't know how to sell it

406
00:19:49,600 --> 00:19:53,840
Speaker 2: like that, Like I think I'll sell it better this way.

407
00:19:53,880 --> 00:19:56,480
Speaker 2: But long story short, I think like comedy, it could

408
00:19:56,480 --> 00:19:59,280
Speaker 2: either be like steer the boat or like it could

409
00:19:59,320 --> 00:20:02,199
Speaker 2: be like try this different way, you know.

410
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Speaker 3: Uh?

411
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Speaker 6: And I love that sport and in drama I like it.

412
00:20:07,400 --> 00:20:09,639
Speaker 6: I don't. I don't need silk gloves. I can take it.

413
00:20:09,680 --> 00:20:12,359
Speaker 2: But it's just like it's like you got to come

414
00:20:12,400 --> 00:20:14,800
Speaker 2: with a very specific direction where you want if you

415
00:20:14,800 --> 00:20:17,359
Speaker 2: want to steer the scene to go into different pace

416
00:20:17,600 --> 00:20:19,760
Speaker 2: or a different thing, like just just say that ship.

417
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Speaker 5: Just say that ship.

418
00:20:20,640 --> 00:20:21,240
Speaker 6: Yeah.

419
00:20:21,359 --> 00:20:24,760
Speaker 5: What about if a director comes in is like be better.

420
00:20:25,800 --> 00:20:32,520
Speaker 6: Be better, try not to suck on this, be better?

421
00:20:32,600 --> 00:20:34,679
Speaker 6: Does that give me that direction? Yeah?

422
00:20:34,720 --> 00:20:37,119
Speaker 5: So Wimmer, that was great. That was great, just as

423
00:20:37,119 --> 00:20:39,639
Speaker 5: an option. Be better?

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Speaker 6: Okay, yes, uh, give me a line reading.

425
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Speaker 5: Oh you like line readings.

426
00:20:45,640 --> 00:20:47,320
Speaker 6: No, I'm just saying I want you to tell me

427
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Speaker 6: that you can do my job better. I can do better.

428
00:20:53,080 --> 00:20:58,200
Speaker 6: Show me show show be better, show me better, tell

429
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Speaker 6: me better, show me more better.

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Speaker 1: You know what it is.

431
00:21:00,800 --> 00:21:03,040
Speaker 6: Yeah, you know it's coming giming. So what do you

432
00:21:03,040 --> 00:21:05,080
Speaker 6: want me? How do you want me to? You know,

433
00:21:05,160 --> 00:21:07,640
Speaker 6: but nobody actually has the boss to say that should allowed.

434
00:21:08,240 --> 00:21:09,440
Speaker 6: It's like, just be better.

435
00:21:09,440 --> 00:21:12,639
Speaker 4: I'm like, im now, be pitching myself hard for your show,

436
00:21:13,440 --> 00:21:15,320
Speaker 4: just so I can come in on every time.

437
00:21:15,400 --> 00:21:18,520
Speaker 2: I love for you to direct show. Yeah, and I

438
00:21:18,560 --> 00:21:21,040
Speaker 2: will literally take it very serious. I'd definitely be andy,

439
00:21:21,240 --> 00:21:21,920
Speaker 2: you know, I'd be like.

440
00:21:22,800 --> 00:21:25,040
Speaker 4: I'm not going to dreg your show. You that ship

441
00:21:25,160 --> 00:21:27,240
Speaker 4: you have to it would jump the sharks. The tone

442
00:21:27,240 --> 00:21:28,440
Speaker 4: would be completely different.

443
00:21:29,880 --> 00:21:34,040
Speaker 6: What happened? We have jumped the show?

444
00:21:34,080 --> 00:21:35,640
Speaker 5: Why are they doing jokes?

445
00:21:37,480 --> 00:21:42,120
Speaker 6: They jokes? Why are they so over the top? Why

446
00:21:42,160 --> 00:21:46,879
Speaker 6: is he wearing the hat? Wh wh where is he

447
00:21:46,920 --> 00:21:49,400
Speaker 6: wearing a hat? Like pushing?

448
00:21:49,600 --> 00:21:52,240
Speaker 5: It was really funny, but just not our show.

449
00:21:52,240 --> 00:21:56,399
Speaker 6: Is seen in boxers. I don't understand why boxers like SpongeBob.

450
00:21:57,359 --> 00:21:58,480
Speaker 6: What happened to the show?

451
00:21:59,240 --> 00:22:11,280
Speaker 5: Also, the theme song is different, Freddy, how do you

452
00:22:11,359 --> 00:22:11,800
Speaker 5: like to hear it?

453
00:22:11,840 --> 00:22:12,280
Speaker 6: Notes?

454
00:22:12,960 --> 00:22:14,199
Speaker 1: I go off of emotion.

455
00:22:14,640 --> 00:22:16,639
Speaker 3: I just just just tell me what emotion because I'm

456
00:22:16,640 --> 00:22:17,919
Speaker 3: always just digging for truth.

457
00:22:18,240 --> 00:22:18,480
Speaker 5: Yeah.

458
00:22:18,840 --> 00:22:20,439
Speaker 1: Yeah, at the end of the day, that's.

459
00:22:20,320 --> 00:22:20,720
Speaker 6: All it is.

460
00:22:20,760 --> 00:22:23,240
Speaker 3: You're just digging for truth. So what emotion are you

461
00:22:23,280 --> 00:22:25,800
Speaker 3: looking for? Sometimes people are just like, oh, well this

462
00:22:25,920 --> 00:22:27,000
Speaker 3: and that, and they you.

463
00:22:26,920 --> 00:22:30,760
Speaker 1: Know, like, just what emotion, dude? What once you give

464
00:22:30,800 --> 00:22:32,840
Speaker 1: me that, I'll know what emotion to dig in.

465
00:22:32,800 --> 00:22:37,919
Speaker 2: Here example of that, that's that's actually really you know,

466
00:22:38,240 --> 00:22:40,280
Speaker 2: I said many words because we're doing a podcast, but

467
00:22:40,400 --> 00:22:43,320
Speaker 2: like that's a very direct way of saying, like, you know,

468
00:22:43,760 --> 00:22:44,560
Speaker 2: like where.

469
00:22:44,359 --> 00:22:45,879
Speaker 6: Do you feel? Said the director?

470
00:22:46,040 --> 00:22:48,760
Speaker 2: We are in this story, and what do you think

471
00:22:48,800 --> 00:22:50,800
Speaker 2: my character should be feeling right now?

472
00:22:51,119 --> 00:22:53,040
Speaker 6: It's what you're saying, right, yeah.

473
00:22:53,160 --> 00:22:55,439
Speaker 1: Yeah, Like I'll do a scene and maybe, you know,

474
00:22:55,560 --> 00:22:56,840
Speaker 1: maybe I'm angry.

475
00:22:56,960 --> 00:22:59,360
Speaker 3: And they're like, oh man, I've had a director going

476
00:22:59,760 --> 00:23:03,200
Speaker 3: all to this to that, and they'll they'll go off

477
00:23:03,200 --> 00:23:05,880
Speaker 3: and their sort of myriad of notes and I'm like, okay,

478
00:23:05,920 --> 00:23:08,560
Speaker 3: so just just real simple man, what emotion are you

479
00:23:08,600 --> 00:23:09,000
Speaker 3: going for?

480
00:23:09,200 --> 00:23:10,640
Speaker 1: Yes? Give me the emotion. Yeah.

481
00:23:10,800 --> 00:23:12,840
Speaker 4: So the like better note for you would be like

482
00:23:13,119 --> 00:23:16,719
Speaker 4: it I want to I love you know, the anger

483
00:23:16,800 --> 00:23:19,040
Speaker 4: is really great, but it's a little too high, so

484
00:23:19,080 --> 00:23:21,960
Speaker 4: maybe we infuse some sadness in there, or maybe we

485
00:23:22,040 --> 00:23:25,400
Speaker 4: have use some anxiety or something like could you know

486
00:23:25,600 --> 00:23:26,280
Speaker 4: what color?

487
00:23:26,359 --> 00:23:27,320
Speaker 5: They want to exactly?

488
00:23:27,359 --> 00:23:27,719
Speaker 1: Colors?

489
00:23:27,800 --> 00:23:30,000
Speaker 5: Yes, and then I use that I know how to

490
00:23:30,400 --> 00:23:31,560
Speaker 5: do that, yeah.

491
00:23:31,720 --> 00:23:34,200
Speaker 3: Because it's the well, right yeah, yeah, just go back

492
00:23:34,200 --> 00:23:36,440
Speaker 3: into the well and go, okay, they want that emotion.

493
00:23:36,600 --> 00:23:39,000
Speaker 3: And then like you know, I find my brain sends

494
00:23:39,000 --> 00:23:41,280
Speaker 3: the signal to the well and yeah, like gives you

495
00:23:41,320 --> 00:23:42,120
Speaker 3: the emotion.

496
00:23:41,960 --> 00:23:42,159
Speaker 6: You know.

497
00:23:42,760 --> 00:23:45,480
Speaker 4: Yeah, yeah, I find myself doing that sometimes when I

498
00:23:45,520 --> 00:23:48,640
Speaker 4: get like a long winded note and then I if

499
00:23:48,680 --> 00:23:51,720
Speaker 4: I'm like I'm not, I like, do you ever do that?

500
00:23:51,800 --> 00:23:54,879
Speaker 4: Like translate and I'm like do you mean more this

501
00:23:55,000 --> 00:23:57,440
Speaker 4: and that and like in your own terms, you.

502
00:23:57,400 --> 00:23:59,480
Speaker 6: Know, yes, so you can hear it in the words that.

503
00:23:59,440 --> 00:24:01,160
Speaker 5: Will actually yeah.

504
00:24:01,200 --> 00:24:03,399
Speaker 4: And then sometimes I feel bad because I feel like

505
00:24:03,480 --> 00:24:06,040
Speaker 4: I just told the director how to actually.

506
00:24:05,720 --> 00:24:09,320
Speaker 6: Talk talk director. Here's how you're utimes.

507
00:24:09,440 --> 00:24:13,800
Speaker 4: The reaction is like, well, yeah, yeah, you know I

508
00:24:13,480 --> 00:24:15,840
Speaker 4: just said that, And I was like, no, no, no, I'm

509
00:24:16,000 --> 00:24:20,040
Speaker 4: saying how what I'm making sure that what I hearing

510
00:24:20,680 --> 00:24:23,640
Speaker 4: is what you're saying. So we're on the same page,

511
00:24:23,880 --> 00:24:27,320
Speaker 4: like yeah, because I have my own way of hearing

512
00:24:27,359 --> 00:24:29,440
Speaker 4: and interpreting and then translating.

513
00:24:29,600 --> 00:24:29,840
Speaker 1: Right.

514
00:24:30,400 --> 00:24:33,000
Speaker 3: Yeah, And what you said earlier about like a new

515
00:24:33,000 --> 00:24:35,240
Speaker 3: director coming on your show, about you having a double

516
00:24:35,280 --> 00:24:39,119
Speaker 3: bachelor's degree and in the character right like this the

517
00:24:39,160 --> 00:24:43,320
Speaker 3: show I did it was the character was pretty external

518
00:24:43,920 --> 00:24:45,880
Speaker 3: and I don't know, I abo'd say over the top,

519
00:24:45,920 --> 00:24:49,440
Speaker 3: but it was definitely bombastic and electric.

520
00:24:49,680 --> 00:24:52,440
Speaker 1: And and I don't think the director really watched the show.

521
00:24:52,480 --> 00:24:55,159
Speaker 3: And he came on and and was just like, what

522
00:24:55,200 --> 00:24:55,760
Speaker 3: are you doing?

523
00:24:57,560 --> 00:24:58,840
Speaker 1: No, man, that's too much.

524
00:24:59,240 --> 00:25:03,600
Speaker 3: I'm like, dude, I'm doing this for likes you watched

525
00:25:03,600 --> 00:25:06,520
Speaker 3: the show at all, that's the character, you.

526
00:25:06,440 --> 00:25:10,840
Speaker 5: Know, there's nothing worse. Yeah, doesn't watched the show.

527
00:25:11,400 --> 00:25:13,359
Speaker 3: Yeah, and you can tell like he didn't mean it

528
00:25:13,400 --> 00:25:15,800
Speaker 3: in a mean way, but he had no filter and

529
00:25:15,800 --> 00:25:18,040
Speaker 3: and he just pretty much told me I was like

530
00:25:18,080 --> 00:25:19,600
Speaker 3: sort of overacting or whatever.

531
00:25:19,640 --> 00:25:21,880
Speaker 1: And I'm like, no, man, that's what this is what.

532
00:25:23,200 --> 00:25:25,280
Speaker 5: Yeah, yeah, this is this is what I've been this

533
00:25:25,359 --> 00:25:28,399
Speaker 5: is what I've been doing. Yeah, I watched more than

534
00:25:28,440 --> 00:25:29,560
Speaker 5: one episode.

535
00:25:29,880 --> 00:25:32,200
Speaker 2: Why is the one thing you you I would talk

536
00:25:32,240 --> 00:25:34,720
Speaker 2: about now, like how we want to receive it. But

537
00:25:35,000 --> 00:25:37,000
Speaker 2: what is the one thing that when a director does

538
00:25:37,560 --> 00:25:40,440
Speaker 2: and and I'll give you an example, but when the

539
00:25:40,520 --> 00:25:43,800
Speaker 2: director does that you were just like you took me

540
00:25:43,840 --> 00:25:48,320
Speaker 2: out for me? Is when a director just makes you

541
00:25:48,400 --> 00:25:51,119
Speaker 2: do it multiple takes without communicating the why.

542
00:25:50,920 --> 00:25:51,920
Speaker 6: They're doing another take.

543
00:25:53,640 --> 00:25:57,120
Speaker 2: Like I had a director a couple of seasons ago.

544
00:25:57,640 --> 00:25:59,360
Speaker 2: We were doing a scene where we were going up

545
00:25:59,720 --> 00:26:03,960
Speaker 2: this apps of this courthouse, you know, and we're going

546
00:26:04,040 --> 00:26:09,439
Speaker 2: up the steps and then I'm talking walking talk, and

547
00:26:09,480 --> 00:26:11,880
Speaker 2: then we say, wait, cut, okay, back to one, we're

548
00:26:11,880 --> 00:26:12,440
Speaker 2: gonna do it again.

549
00:26:12,520 --> 00:26:14,240
Speaker 6: I was like, all, great, right, we'll go back. We're

550
00:26:14,240 --> 00:26:14,720
Speaker 6: doing and I.

551
00:26:14,720 --> 00:26:19,879
Speaker 2: Think two takes for our show. We're nailing it at

552
00:26:19,920 --> 00:26:23,000
Speaker 2: two takes. We're neling right back we take. We nail

553
00:26:23,000 --> 00:26:25,880
Speaker 2: it at nobody forgets lines and ncyahs by the way,

554
00:26:26,119 --> 00:26:29,520
Speaker 2: Like that's amazing, But that's because we in between scenes,

555
00:26:29,520 --> 00:26:32,720
Speaker 2: we're getting each other off book. We're rehearsing the stuff together,

556
00:26:32,760 --> 00:26:34,960
Speaker 2: which we really set each other up for success, you know,

557
00:26:35,280 --> 00:26:39,439
Speaker 2: especially Gary Cole and I like and Katrina and Sean Murray,

558
00:26:39,440 --> 00:26:41,400
Speaker 2: Like we all sit down and we're like, okay, let's

559
00:26:41,440 --> 00:26:43,560
Speaker 2: run it, around it, run it, because sometimes we're shooting

560
00:26:43,640 --> 00:26:44,920
Speaker 2: three and a half pages of just.

561
00:26:44,960 --> 00:26:47,119
Speaker 5: Like I love that though. That's ensemble acting.

562
00:26:47,240 --> 00:26:48,120
Speaker 6: It's amazing.

563
00:26:49,160 --> 00:26:52,840
Speaker 2: But so then we're going to third take and she's like,

564
00:26:52,920 --> 00:26:56,000
Speaker 2: let's do it one more time, and now at this point,

565
00:26:56,080 --> 00:27:00,320
Speaker 2: we're like six takes and haven't heard award from the director.

566
00:27:00,400 --> 00:27:03,359
Speaker 2: He hasn't addressed the actors, She hasn't addressed you know,

567
00:27:03,440 --> 00:27:06,600
Speaker 2: the camera. So I look at the camera, our steady operator,

568
00:27:06,640 --> 00:27:08,760
Speaker 2: and I go, I go, why.

569
00:27:08,680 --> 00:27:09,600
Speaker 6: Are we doing it again?

570
00:27:10,680 --> 00:27:13,919
Speaker 2: And he's like, I don't know. I said, we not

571
00:27:14,240 --> 00:27:17,360
Speaker 2: nailed the movement. Like he goes, I don't know. It's

572
00:27:17,440 --> 00:27:19,600
Speaker 2: everything's been fine. We just keep doing it.

573
00:27:19,880 --> 00:27:20,160
Speaker 1: Wow.

574
00:27:20,240 --> 00:27:22,280
Speaker 2: And he doesn't even he doesn't even know. Our camera

575
00:27:22,280 --> 00:27:24,440
Speaker 2: operator doesn't even know. And I looked at the DP

576
00:27:24,560 --> 00:27:26,120
Speaker 2: and I'm like, is the reason why we're doing it again?

577
00:27:26,160 --> 00:27:30,480
Speaker 2: He goes, So then I said, and.

578
00:27:30,440 --> 00:27:32,639
Speaker 5: Then we never saw that director ever again.

579
00:27:33,600 --> 00:27:38,880
Speaker 6: Director, thank you for tuning in to those amigos. It's

580
00:27:39,000 --> 00:27:40,880
Speaker 6: very good everywhere you got your podcast.

581
00:27:42,280 --> 00:27:45,800
Speaker 2: So honestly, I was like, hey can I So at

582
00:27:45,800 --> 00:27:49,439
Speaker 2: that point I was like shaking because like, you know,

583
00:27:49,480 --> 00:27:51,480
Speaker 2: we're losing the sun and we're making us do it

584
00:27:51,480 --> 00:27:55,119
Speaker 2: over and over again. This and he's talking up and

585
00:27:55,200 --> 00:27:57,160
Speaker 2: down the steps, up and down the steps, so you're

586
00:27:57,200 --> 00:28:01,040
Speaker 2: not aware of your actor's band, you know, stamina, you

587
00:28:01,119 --> 00:28:02,160
Speaker 2: know you're in location.

588
00:28:02,440 --> 00:28:04,600
Speaker 6: It's like five pm. We're losing the sun.

589
00:28:04,640 --> 00:28:08,480
Speaker 2: We've shot four scenes in this location, like everyone's like drained,

590
00:28:08,520 --> 00:28:14,480
Speaker 2: you know. So I said out loud, I'm sorry, before

591
00:28:14,480 --> 00:28:17,280
Speaker 2: we even do another take, can we actually get a

592
00:28:17,320 --> 00:28:19,720
Speaker 2: little perspective on the why we continue to do this scene?

593
00:28:19,800 --> 00:28:22,000
Speaker 6: Is? Why are we not getting How can we help

594
00:28:22,040 --> 00:28:22,520
Speaker 6: you get this?

595
00:28:23,680 --> 00:28:25,639
Speaker 2: And she comes out and she's like, no, I just

596
00:28:25,800 --> 00:28:27,600
Speaker 2: feel like, you know, we can do it one more time.

597
00:28:27,640 --> 00:28:30,119
Speaker 2: And I said, and this is the first time, probably

598
00:28:30,119 --> 00:28:33,200
Speaker 2: the last time I'll do this, but and I hope

599
00:28:33,200 --> 00:28:34,320
Speaker 2: to God this last time I do this.

600
00:28:34,680 --> 00:28:36,760
Speaker 6: But I've basically not going to be the first, not

601
00:28:36,800 --> 00:28:38,880
Speaker 6: going to trust that, I said.

602
00:28:40,240 --> 00:28:42,800
Speaker 2: So she didn't couldn't give me an explanation, and I

603
00:28:42,840 --> 00:28:45,200
Speaker 2: looked at my cast and I was like, actually, know

604
00:28:45,240 --> 00:28:46,120
Speaker 2: we're done with the scene.

605
00:28:46,160 --> 00:28:46,560
Speaker 6: We're done.

606
00:28:46,600 --> 00:28:48,600
Speaker 2: I think we're gonna we're gonna move on to the

607
00:28:48,600 --> 00:28:52,120
Speaker 2: next day. And she was like, I'm sorry, and I said,

608
00:28:52,120 --> 00:28:54,720
Speaker 2: we're done. We're not shooting the scene anymore. We're absolutely

609
00:28:54,800 --> 00:28:56,800
Speaker 2: we're wrapping. That was the last eve and I we're

610
00:28:56,800 --> 00:29:00,040
Speaker 2: gonna wrap the scene. And she was like, look and

611
00:29:00,080 --> 00:29:02,080
Speaker 2: the DP and the camera when we're like they've never

612
00:29:02,160 --> 00:29:05,120
Speaker 2: seen me, and like Mark Harmon was then too, so

613
00:29:05,440 --> 00:29:09,000
Speaker 2: and he just kind of walk off. It was like

614
00:29:09,320 --> 00:29:10,920
Speaker 2: we're done, We're done doing the same.

615
00:29:11,000 --> 00:29:13,520
Speaker 6: I think that's it. I think we have it in

616
00:29:13,600 --> 00:29:14,920
Speaker 6: any of the six stays and then you'll be able

617
00:29:14,960 --> 00:29:15,360
Speaker 6: to cut it.

618
00:29:16,160 --> 00:29:19,240
Speaker 2: And we walked off and then like everyone started picking

619
00:29:19,320 --> 00:29:20,960
Speaker 2: up the equipment or whatever, and it was like that

620
00:29:21,080 --> 00:29:24,960
Speaker 2: was the end, and and I felt bad, but I

621
00:29:25,040 --> 00:29:30,920
Speaker 2: realized what was missing. Like a director has to command

622
00:29:31,480 --> 00:29:35,400
Speaker 2: the crew, giving off information, so we so we get

623
00:29:35,440 --> 00:29:39,000
Speaker 2: to the storytelling. When you exhaust your actors, you start

624
00:29:39,080 --> 00:29:39,960
Speaker 2: losing the grip.

625
00:29:40,520 --> 00:29:42,520
Speaker 5: I was going to say, did that director like fully

626
00:29:42,560 --> 00:29:45,600
Speaker 5: lose the crew? That's there's nothing worse when the.

627
00:29:45,600 --> 00:29:48,240
Speaker 2: Director do you have a steady camera operator going up

628
00:29:48,280 --> 00:29:49,200
Speaker 2: the steps.

629
00:29:48,840 --> 00:29:51,440
Speaker 5: Backwards and they don't know why they keep doing it.

630
00:29:51,640 --> 00:29:54,320
Speaker 2: And it's a walking talk yeah, backwards and back down

631
00:29:54,440 --> 00:29:56,960
Speaker 2: backwards and back down backwards. And this guy is like

632
00:29:57,040 --> 00:29:59,440
Speaker 2: doing stair masters while we're like trying to do this

633
00:30:00,080 --> 00:30:02,520
Speaker 2: can talk scenes anyway. So my point is like these

634
00:30:02,560 --> 00:30:04,800
Speaker 2: are the moments where you're kind of like, as a director,

635
00:30:04,880 --> 00:30:06,840
Speaker 2: like you have to create a certain amount of harmony.

636
00:30:07,000 --> 00:30:10,880
Speaker 2: You have to understand like, you know, the harmonic love.

637
00:30:11,600 --> 00:30:14,000
Speaker 4: The crew has power Yeah, the crew was going to

638
00:30:14,080 --> 00:30:16,440
Speaker 4: be real slow to get up the next day.

639
00:30:16,720 --> 00:30:18,320
Speaker 5: They're gonna be They're gonna take some time.

640
00:30:18,640 --> 00:30:21,800
Speaker 4: I was like, you know what I mean, they're gonna

641
00:30:21,960 --> 00:30:23,640
Speaker 4: you know, they might be like you might come up

642
00:30:23,680 --> 00:30:25,440
Speaker 4: with an idea for a new prop and they might

643
00:30:25,440 --> 00:30:30,760
Speaker 4: be like, you know, I mean not crews are very professional,

644
00:30:31,320 --> 00:30:33,960
Speaker 4: but they work really hard. And when they feel disrespected

645
00:30:33,960 --> 00:30:37,480
Speaker 4: that way, sometimes they you know, they're.

646
00:30:37,280 --> 00:30:41,600
Speaker 6: Like, yeah, Nina, stuff is done by remind you you're in. Yeah,

647
00:30:41,840 --> 00:30:43,560
Speaker 6: it was. It was. It was a tough thing and

648
00:30:43,560 --> 00:30:44,520
Speaker 6: and uh.

649
00:30:44,640 --> 00:30:47,520
Speaker 5: Or just like the morale is down, the everyone's just

650
00:30:48,040 --> 00:30:49,840
Speaker 5: it's just like, you know.

651
00:30:49,960 --> 00:30:51,880
Speaker 2: What's your what's the what's the thing that you were

652
00:30:51,920 --> 00:30:54,320
Speaker 2: like that took me out that a director can do.

653
00:30:55,080 --> 00:30:59,360
Speaker 3: Yeah, stuff like that, like like unnecessary stuff, you know,

654
00:30:59,480 --> 00:31:01,560
Speaker 3: without telling me without It's.

655
00:31:01,400 --> 00:31:03,680
Speaker 1: So funny and we might have Worke took the same director.

656
00:31:05,600 --> 00:31:08,760
Speaker 3: The last show I did, I had to walk into

657
00:31:08,880 --> 00:31:11,080
Speaker 3: I had I had to walk up some some courtroom

658
00:31:11,120 --> 00:31:14,400
Speaker 3: steps also the same thing, and it was like one

659
00:31:14,480 --> 00:31:18,400
Speaker 3: hundred degrees outside, and they wouldn't just like just want more. Man,

660
00:31:18,440 --> 00:31:20,880
Speaker 3: I'm like, what's what's wrong? And they wouldn't communicate to

661
00:31:20,960 --> 00:31:23,680
Speaker 3: us what was wrong, and they were just trying to

662
00:31:23,680 --> 00:31:26,360
Speaker 3: get the timing just right and they couldn't get it.

663
00:31:26,440 --> 00:31:29,520
Speaker 3: I'm like, dude, it's it's I'm wearing a suit, yeah,

664
00:31:30,280 --> 00:31:35,400
Speaker 3: at a circuit point sweating like yeah, change course or just.

665
00:31:35,400 --> 00:31:38,320
Speaker 2: Except it's communication, Like you just need to be communicator.

666
00:31:38,360 --> 00:31:39,400
Speaker 2: Just tell me what you're trying.

667
00:31:39,280 --> 00:31:41,960
Speaker 5: To we're trying to now, Yeah.

668
00:31:41,400 --> 00:31:43,520
Speaker 1: Yeah, totally totally like communication.

669
00:31:43,840 --> 00:31:46,000
Speaker 3: I don't you know, I don't like I don't like

670
00:31:46,040 --> 00:31:50,440
Speaker 3: disrespectful directors that really like, oh yeah.

671
00:31:50,240 --> 00:31:53,160
Speaker 4: When somebody like they give you a note and it's

672
00:31:53,200 --> 00:31:55,680
Speaker 4: like a little like condescendan Yeah, it's a little like

673
00:31:55,960 --> 00:31:57,840
Speaker 4: you know, like the way they say it or.

674
00:31:57,840 --> 00:32:01,880
Speaker 3: The yet yellers or like these directors were like yellers

675
00:32:02,000 --> 00:32:03,040
Speaker 3: or you know, oh.

676
00:32:02,920 --> 00:32:05,880
Speaker 5: Like shouting a note across the thing instead of like walking.

677
00:32:05,640 --> 00:32:08,280
Speaker 6: Up to you. Yeah, or just like assholes.

678
00:32:08,400 --> 00:32:11,200
Speaker 3: You know, like like these asshole directors like that takes

679
00:32:11,240 --> 00:32:13,280
Speaker 3: me out, man, It completely turns me off.

680
00:32:13,320 --> 00:32:16,200
Speaker 1: And I just, you know, you know, stuff.

681
00:32:15,920 --> 00:32:21,440
Speaker 4: Like that you mine is so cliche. I fucking hate

682
00:32:21,480 --> 00:32:22,200
Speaker 4: line readings.

683
00:32:22,640 --> 00:32:24,280
Speaker 6: Oh really, I do.

684
00:32:25,360 --> 00:32:28,760
Speaker 4: I know it is not everyone my husband loves. My

685
00:32:28,840 --> 00:32:31,520
Speaker 4: husband really doesn't mind line readings, like sometimes it really

686
00:32:31,600 --> 00:32:34,720
Speaker 4: helps him understand a note. A line reading is when

687
00:32:34,920 --> 00:32:39,000
Speaker 4: a director, instead of giving you a note for the line,

688
00:32:39,480 --> 00:32:42,800
Speaker 4: like says how they want you to say the line, so.

689
00:32:42,880 --> 00:32:43,880
Speaker 6: Like it's exaccurate.

690
00:32:44,080 --> 00:32:45,240
Speaker 5: Yeah, yeah, yeah, I.

691
00:32:45,240 --> 00:32:50,200
Speaker 4: Was trying to, Like, I hear line reading, and I don't.

692
00:32:50,560 --> 00:32:53,280
Speaker 4: It triggers me me in a weird way, like I

693
00:32:53,320 --> 00:32:55,280
Speaker 4: feel like I'm doing a bad job, Like I'm doing

694
00:32:55,320 --> 00:32:58,040
Speaker 4: so bad that you have to say the line how

695
00:32:58,080 --> 00:33:01,520
Speaker 4: I should be saying it. And I also don't understand

696
00:33:01,600 --> 00:33:03,960
Speaker 4: what the note is. Then I try to like, well,

697
00:33:03,960 --> 00:33:06,840
Speaker 4: what is what is the note? Like what what is

698
00:33:07,000 --> 00:33:09,760
Speaker 4: what is the shift or the adjustment? And I can't

699
00:33:09,840 --> 00:33:12,840
Speaker 4: hear it in the line reading because I'm all caught

700
00:33:12,920 --> 00:33:16,080
Speaker 4: up in my own ship. And then I get offended

701
00:33:16,400 --> 00:33:19,200
Speaker 4: and then and then I get like kind of mad,

702
00:33:19,240 --> 00:33:23,200
Speaker 4: you know, Yeah, I start spiraling and I and I yeah,

703
00:33:23,320 --> 00:33:25,600
Speaker 4: and it's so cliche and I wish it didn't, but

704
00:33:25,840 --> 00:33:28,440
Speaker 4: I mean it bugs me less. I think as I

705
00:33:28,480 --> 00:33:31,320
Speaker 4: get older, when I was younger, I would like immediately

706
00:33:31,400 --> 00:33:31,800
Speaker 4: get mad.

707
00:33:31,920 --> 00:33:33,960
Speaker 3: But do you think that the line reading comes before

708
00:33:34,320 --> 00:33:37,720
Speaker 3: or after they try to convey what the direction or

709
00:33:37,760 --> 00:33:41,920
Speaker 3: the emotion is. And the second part is do you

710
00:33:42,080 --> 00:33:45,800
Speaker 3: mind them giving you a mind line reading if after

711
00:33:45,840 --> 00:33:49,320
Speaker 3: they've given you a direction, it's not it's not resonating.

712
00:33:49,440 --> 00:33:51,800
Speaker 4: Yes, because I had this happen to me, So okay,

713
00:33:51,840 --> 00:33:53,719
Speaker 4: if it's just the line reading, like if they come

714
00:33:53,800 --> 00:33:56,440
Speaker 4: up and they're like, hey, can you say it? Like uh,

715
00:33:56,480 --> 00:33:58,360
Speaker 4: you know, oh, we're going to be late, you know,

716
00:33:58,560 --> 00:34:00,800
Speaker 4: if they just give the lit note like that, I'm

717
00:34:00,840 --> 00:34:08,040
Speaker 4: like fuck you. But then I did have a director

718
00:34:08,120 --> 00:34:12,640
Speaker 4: once who would come up give the note and then

719
00:34:12,719 --> 00:34:16,839
Speaker 4: the line reading and the notes were always great that it.

720
00:34:16,880 --> 00:34:18,200
Speaker 1: Drove me crazy.

721
00:34:19,280 --> 00:34:22,120
Speaker 4: I wanted to be like, don't do the line reading

722
00:34:22,640 --> 00:34:24,720
Speaker 4: because then I'd be hung up on the line reading.

723
00:34:24,960 --> 00:34:27,160
Speaker 5: Then I'd be like, wait is how they said it?

724
00:34:27,280 --> 00:34:29,799
Speaker 4: Like the note? And I would again be on that

725
00:34:29,960 --> 00:34:32,520
Speaker 4: like spiral, you know. So it's like, yeah, I just

726
00:34:32,560 --> 00:34:35,200
Speaker 4: wanted to be more excited, you know, like come on, guys,

727
00:34:35,200 --> 00:34:36,080
Speaker 4: we gotta go, you.

728
00:34:36,040 --> 00:34:37,480
Speaker 5: Know, and then they walk away and you're.

729
00:34:37,360 --> 00:34:41,600
Speaker 4: Like what, And then I would just be left in

730
00:34:41,640 --> 00:34:46,319
Speaker 4: that spiral and like overthinking, you know, We'll wait is

731
00:34:46,360 --> 00:34:47,360
Speaker 4: that more excited?

732
00:34:47,440 --> 00:34:47,600
Speaker 1: Now?

733
00:34:47,640 --> 00:34:49,520
Speaker 4: I'm just stuck on how they did it? Should I

734
00:34:49,600 --> 00:34:52,160
Speaker 4: just do it? Like that, But is that how I

735
00:34:52,160 --> 00:34:55,719
Speaker 4: would do it? Like I get all into that, you know,

736
00:34:56,160 --> 00:34:57,080
Speaker 4: it just messes me up.

737
00:34:57,160 --> 00:35:01,600
Speaker 2: In network television, I hate to say, but he's rarely

738
00:35:01,640 --> 00:35:04,040
Speaker 2: the director from the writer.

739
00:35:04,320 --> 00:35:11,440
Speaker 6: Oh yes, you're killing the messenger. I'm telling you.

740
00:35:11,840 --> 00:35:15,000
Speaker 2: I would say maybe, I don't know, maybe fifty sixty forty,

741
00:35:15,000 --> 00:35:15,320
Speaker 2: I don't know.

742
00:35:15,320 --> 00:35:17,359
Speaker 6: You told me how many who takes the biggest fall?

743
00:35:17,600 --> 00:35:18,600
Speaker 6: But writers?

744
00:35:18,800 --> 00:35:19,919
Speaker 5: Most of the time it's the writer.

745
00:35:20,000 --> 00:35:22,239
Speaker 6: The writers like this how it was supposed to be,

746
00:35:22,280 --> 00:35:22,880
Speaker 6: I will.

747
00:35:22,760 --> 00:35:25,840
Speaker 5: I will, I will. There is an other? Uh, what

748
00:35:26,440 --> 00:35:27,719
Speaker 5: exception to this rule?

749
00:35:28,280 --> 00:35:29,640
Speaker 6: Kids? M hm.

750
00:35:30,280 --> 00:35:32,200
Speaker 5: A lot of times you need to give them My

751
00:35:32,640 --> 00:35:33,880
Speaker 5: readings work really.

752
00:35:33,600 --> 00:35:36,160
Speaker 4: Well for kids, and I've done that as a director,

753
00:35:36,200 --> 00:35:36,960
Speaker 4: and it pained me.

754
00:35:37,160 --> 00:35:38,480
Speaker 5: Like the show runner I had to tell she was like,

755
00:35:38,520 --> 00:35:40,560
Speaker 5: just give her a line reading. I was like, Oh, when.

756
00:35:40,440 --> 00:35:43,680
Speaker 4: I directed on Gordi Da Chronicles, which had a lot

757
00:35:43,680 --> 00:35:49,480
Speaker 4: of kids, and Bridget who is the showrunner. Bridget you

758
00:35:49,560 --> 00:35:53,200
Speaker 4: know Lebowitz, who's amazing and brilliant, and she was the

759
00:35:53,239 --> 00:35:55,640
Speaker 4: showrunner and she was a writer on Brooklyn, so I

760
00:35:55,640 --> 00:35:56,439
Speaker 4: already knew her.

761
00:35:56,920 --> 00:35:58,360
Speaker 5: And I remember when.

762
00:35:58,280 --> 00:35:59,759
Speaker 4: She told me with the kids, she was like yeah,

763
00:35:59,760 --> 00:36:02,040
Speaker 4: and so like just sometimes a line reading, they're going

764
00:36:02,080 --> 00:36:03,640
Speaker 4: to understand a line reading better than note.

765
00:36:03,680 --> 00:36:05,080
Speaker 5: And I was like, oh, are you sure.

766
00:36:05,560 --> 00:36:07,200
Speaker 4: I was like, let me try, you know, and then

767
00:36:07,760 --> 00:36:09,880
Speaker 4: you just and then like kids, you have time restraints

768
00:36:09,880 --> 00:36:11,759
Speaker 4: and you have to get through things quickly and so

769
00:36:12,000 --> 00:36:14,319
Speaker 4: and then I saw it like there were most of

770
00:36:14,360 --> 00:36:16,520
Speaker 4: the time I could give them notes and they would

771
00:36:16,760 --> 00:36:18,759
Speaker 4: under I'm a mom, like you know, you know, you

772
00:36:18,800 --> 00:36:22,319
Speaker 4: know how to talk to kids, like, but then you

773
00:36:22,360 --> 00:36:24,719
Speaker 4: would see sometimes and they would ask for it too,

774
00:36:24,760 --> 00:36:26,600
Speaker 4: like they were all so old enough where they'd be like,

775
00:36:27,160 --> 00:36:29,440
Speaker 4: how can you can you show me? Like they were

776
00:36:29,440 --> 00:36:31,440
Speaker 4: smart enough to also be like and I so then

777
00:36:31,480 --> 00:36:34,400
Speaker 4: I would do it, but I'd be like, but also,

778
00:36:34,560 --> 00:36:36,600
Speaker 4: don't you don't have to do exactly what I did,

779
00:36:36,719 --> 00:36:39,279
Speaker 4: you know, Like I would always feel obligated to be like,

780
00:36:40,080 --> 00:36:42,120
Speaker 4: you know, you could do that what I just did,

781
00:36:42,360 --> 00:36:45,680
Speaker 4: or you can do your version of it, you know,

782
00:36:45,800 --> 00:36:50,600
Speaker 4: because I was wanting to give them like autonomy. But

783
00:36:50,600 --> 00:36:54,520
Speaker 4: but yeah, but kids they just they understand the note

784
00:36:54,680 --> 00:36:57,719
Speaker 4: sometimes better by just mimicking, right, because they're young and

785
00:36:57,760 --> 00:36:58,640
Speaker 4: they're still learning.

786
00:36:59,000 --> 00:37:09,320
Speaker 7: Yeah, Switching Gears.

787
00:37:09,320 --> 00:37:13,040
Speaker 6: Do you you have a show that is currently on NBC?

788
00:37:13,440 --> 00:37:16,759
Speaker 2: Yes, and I told you earlier before we started the

789
00:37:16,800 --> 00:37:21,080
Speaker 2: show that you are absolutely stunning your performance and this

790
00:37:21,239 --> 00:37:25,239
Speaker 2: thing is incredible, Like you're literally pulling.

791
00:37:25,000 --> 00:37:27,520
Speaker 6: Up all your weapons and you're like, this isn't me.

792
00:37:29,400 --> 00:37:31,279
Speaker 6: You're literally just bringing everything out.

793
00:37:32,040 --> 00:37:33,760
Speaker 5: Now I just have to sing on the show.

794
00:37:35,760 --> 00:37:40,920
Speaker 6: Exactly exactly you took it from you sing any season?

795
00:37:42,760 --> 00:37:44,440
Speaker 6: Did you get to sing noney season?

796
00:37:45,600 --> 00:37:50,200
Speaker 2: So my my question for you is, can you talk

797
00:37:50,239 --> 00:37:53,040
Speaker 2: about your show, you know, for the for the listeners

798
00:37:53,080 --> 00:37:56,239
Speaker 2: and talk about you know, you know, your character and

799
00:37:56,239 --> 00:37:57,000
Speaker 2: what the show's about.

800
00:37:57,000 --> 00:38:01,000
Speaker 4: The name of the show, so it's called Gross Garden Society.

801
00:38:01,920 --> 00:38:05,480
Speaker 5: Quite a lengthy title, but it's on NBC.

802
00:38:05,680 --> 00:38:08,719
Speaker 4: We just wrapped our first season, so all thirteen episodes

803
00:38:08,760 --> 00:38:11,359
Speaker 4: are on Peacock Bing.

804
00:38:11,480 --> 00:38:13,080
Speaker 5: It played on every screen in your house.

805
00:38:13,760 --> 00:38:17,680
Speaker 4: And it's about these four unlikely friends that are part

806
00:38:17,719 --> 00:38:19,120
Speaker 4: of a garden club that.

807
00:38:19,080 --> 00:38:20,800
Speaker 5: Get mixed up in a murder.

808
00:38:22,120 --> 00:38:25,239
Speaker 4: And the show takes place in two different timelines, So

809
00:38:25,280 --> 00:38:27,440
Speaker 4: there's present day where you sort of see how they

810
00:38:27,480 --> 00:38:29,920
Speaker 4: all come together and become friends, and then there's flash

811
00:38:29,960 --> 00:38:33,560
Speaker 4: forwards to the night of this murder, and little by

812
00:38:33,560 --> 00:38:35,960
Speaker 4: little as the season goes on, you get more and

813
00:38:36,000 --> 00:38:40,279
Speaker 4: more scenes from that night, more information, possible suspects and

814
00:38:41,719 --> 00:38:45,160
Speaker 4: possible scenarios even of how what went down.

815
00:38:45,719 --> 00:38:47,799
Speaker 5: And then in episode.

816
00:38:49,040 --> 00:38:53,560
Speaker 4: Eleven and twelve, because it all takes place during this

817
00:38:53,600 --> 00:38:58,759
Speaker 4: big gala, those two episodes happen in regular time. There's

818
00:38:58,800 --> 00:39:04,160
Speaker 4: no yeah, there's no time jumping, and you see, like, yeah,

819
00:39:04,239 --> 00:39:06,200
Speaker 4: you see the whole night up to the murder. And

820
00:39:06,239 --> 00:39:09,319
Speaker 4: then episode twelve is from the murder all through the

821
00:39:09,320 --> 00:39:12,239
Speaker 4: next morning, and then thirteen is sort of like a

822
00:39:12,239 --> 00:39:15,239
Speaker 4: wrap up, and then another then there's some flashbacks and

823
00:39:15,320 --> 00:39:19,279
Speaker 4: another flashboard. So it's a really fun show. It's like

824
00:39:19,800 --> 00:39:24,360
Speaker 4: a little bit so. It is like kind of combo

825
00:39:24,480 --> 00:39:27,839
Speaker 4: of like all the things I've done. It's a lot

826
00:39:27,880 --> 00:39:31,280
Speaker 4: of dark humor. It's a little bit soapy. It's fun,

827
00:39:31,320 --> 00:39:36,360
Speaker 4: it's escapist, it's dramatic, it's heartfelt. I play a character

828
00:39:36,560 --> 00:39:42,280
Speaker 4: who is a very wealthy socialite in this affluent town

829
00:39:42,400 --> 00:39:45,520
Speaker 4: that is all about like the upper class and appearances.

830
00:39:46,320 --> 00:39:50,399
Speaker 4: And she is part of the Garden Club as part

831
00:39:50,400 --> 00:39:53,200
Speaker 4: of her community service because she drunk drove into the

832
00:39:53,239 --> 00:39:56,560
Speaker 4: town fountain, and so to avoid jail, she has to

833
00:39:56,640 --> 00:39:59,319
Speaker 4: volunteer at the garden Club and she meets these other

834
00:39:59,360 --> 00:40:02,240
Speaker 4: people and they sort of become maybe her first friends

835
00:40:02,239 --> 00:40:05,200
Speaker 4: in real life and or ever.

836
00:40:05,000 --> 00:40:05,600
Speaker 5: In her life.

837
00:40:05,680 --> 00:40:08,200
Speaker 4: And and I think we also meet her at like

838
00:40:08,280 --> 00:40:10,200
Speaker 4: a real low point in her life.

839
00:40:10,239 --> 00:40:11,000
Speaker 5: We find out that.

840
00:40:11,040 --> 00:40:13,360
Speaker 4: She gave up a baby when she was a teenager,

841
00:40:13,600 --> 00:40:17,520
Speaker 4: and she contacts that young man he's now uh, he's

842
00:40:17,520 --> 00:40:21,800
Speaker 4: now a teenager, and that she makes like a series

843
00:40:21,840 --> 00:40:23,200
Speaker 4: of bad choices.

844
00:40:23,239 --> 00:40:25,000
Speaker 5: And she doesn't really know how to be a grown.

845
00:40:24,840 --> 00:40:28,319
Speaker 4: Up, and so she's kind of messy and toxic and

846
00:40:28,800 --> 00:40:33,080
Speaker 4: but also vulnerable. And I like she's one of the

847
00:40:33,080 --> 00:40:36,440
Speaker 4: most favorite characters I've ever played because she's so complex

848
00:40:36,520 --> 00:40:39,080
Speaker 4: and so I'm so like empathetic to her. She just says,

849
00:40:39,120 --> 00:40:41,480
Speaker 4: there's so much she just doesn't know that she's like

850
00:40:41,520 --> 00:40:44,359
Speaker 4: trying to figure out. And then she's meeting all these

851
00:40:44,360 --> 00:40:47,960
Speaker 4: people in this like crossroads moment of her life.

852
00:40:48,080 --> 00:40:48,520
Speaker 6: So yeah.

853
00:40:48,560 --> 00:40:52,160
Speaker 5: So and then as an actor, it's like dream.

854
00:40:52,080 --> 00:40:55,799
Speaker 4: Because I get to be big and ridiculous and like

855
00:40:55,920 --> 00:41:00,239
Speaker 4: kind of funny because she's ridiculous. And then I get

856
00:41:00,320 --> 00:41:05,239
Speaker 4: to be real and grounded and heartbroken.

857
00:41:04,960 --> 00:41:08,040
Speaker 6: And your fans haven't really seen you play something.

858
00:41:07,800 --> 00:41:11,960
Speaker 4: No, yeah, yeah, So it's like, yeah, I'm getting to

859
00:41:12,040 --> 00:41:14,600
Speaker 4: do you know, it's like I joke that Brooklyn nine

860
00:41:14,680 --> 00:41:16,799
Speaker 4: nine was like a very elite comedy school that I

861
00:41:16,800 --> 00:41:20,200
Speaker 4: got to go to, and so I'm getting to like

862
00:41:20,360 --> 00:41:23,080
Speaker 4: bring everything, Like I don't think I could have played

863
00:41:23,080 --> 00:41:24,200
Speaker 4: this character ten years ago.

864
00:41:24,400 --> 00:41:24,640
Speaker 1: You know.

865
00:41:24,840 --> 00:41:28,120
Speaker 4: She's like I've had to have done like everything I've done,

866
00:41:28,680 --> 00:41:31,399
Speaker 4: I think, to like bring it all together for her

867
00:41:31,600 --> 00:41:36,240
Speaker 4: because she has so many different flavors and colors, and

868
00:41:36,880 --> 00:41:40,200
Speaker 4: they really just wrote like such a great character with Bertie.

869
00:41:40,600 --> 00:41:41,600
Speaker 5: So it's been really fun.

870
00:41:41,680 --> 00:41:43,480
Speaker 2: But you're in a spectacle on this show, and I

871
00:41:43,480 --> 00:41:47,200
Speaker 2: think people should watch just to kind of experience your performances.

872
00:41:47,239 --> 00:41:49,480
Speaker 2: I mean, I think it's like something we also kind

873
00:41:49,480 --> 00:41:52,600
Speaker 2: of really need to know that there is a level

874
00:41:52,680 --> 00:41:55,840
Speaker 2: of experience and expertise and liberation that you got to

875
00:41:55,880 --> 00:41:58,200
Speaker 2: have as an artist to actually get to a point

876
00:41:58,239 --> 00:42:00,400
Speaker 2: to bring a character like that to life. One thing

877
00:42:00,480 --> 00:42:02,560
Speaker 2: is what's on the page, and the other one is

878
00:42:02,719 --> 00:42:04,360
Speaker 2: the instrument that tells that story.

879
00:42:04,440 --> 00:42:07,720
Speaker 6: And you have just done it in such a high level.

880
00:42:09,440 --> 00:42:12,440
Speaker 2: And so I really truly invite friends to go to

881
00:42:12,800 --> 00:42:16,879
Speaker 2: Peacock and catch up benj It tell a friend how

882
00:42:16,880 --> 00:42:18,080
Speaker 2: everybody discover the show.

883
00:42:18,640 --> 00:42:20,000
Speaker 6: It's you know, your performance is.

884
00:42:19,960 --> 00:42:22,920
Speaker 2: Something like, yes, just for that alone, like you need

885
00:42:22,960 --> 00:42:26,000
Speaker 2: to tune in and watch Melissa do her show and

886
00:42:26,760 --> 00:42:27,080
Speaker 2: thank you.

887
00:42:27,680 --> 00:42:29,359
Speaker 3: Yeah, you know, you know what I love about it

888
00:42:29,480 --> 00:42:32,040
Speaker 3: and what I loved about Brooklyn long Line. I remember

889
00:42:32,120 --> 00:42:35,960
Speaker 3: first watching you on that and going like, oh, this

890
00:42:35,680 --> 00:42:36,560
Speaker 3: this girl.

891
00:42:36,480 --> 00:42:40,680
Speaker 1: She goes for it. She she don't care man, she

892
00:42:40,680 --> 00:42:41,920
Speaker 1: she goes for it.

893
00:42:42,520 --> 00:42:44,080
Speaker 3: And and then this is what I mean by it, right,

894
00:42:44,120 --> 00:42:45,960
Speaker 3: this sort of the context behind it is that I

895
00:42:45,960 --> 00:42:51,439
Speaker 3: feel that sometimes actresses sort of hold back because they

896
00:42:51,480 --> 00:42:53,560
Speaker 3: want to they want to look a certain way or

897
00:42:53,600 --> 00:42:56,040
Speaker 3: they want to be a certain way, where where I

898
00:42:56,080 --> 00:42:58,640
Speaker 3: feel with you, there's a freedom in your instrument that

899
00:42:58,800 --> 00:42:59,800
Speaker 3: you don't you don't give.

900
00:42:59,680 --> 00:43:00,279
Speaker 1: A ship man.

901
00:43:00,480 --> 00:43:02,000
Speaker 6: Yes, you go and you do it.

902
00:43:02,040 --> 00:43:03,920
Speaker 1: And I mean that in the in the most hot.

903
00:43:03,960 --> 00:43:05,800
Speaker 5: No, No, I did I know that is such a

904
00:43:05,880 --> 00:43:06,719
Speaker 5: nice compliment.

905
00:43:06,920 --> 00:43:11,680
Speaker 4: Yeah, no breaks, no break down.

906
00:43:12,880 --> 00:43:16,640
Speaker 5: Yeah, I just really love this job, you know.

907
00:43:16,800 --> 00:43:20,760
Speaker 4: And I I you know, I think, yeah, I think

908
00:43:21,239 --> 00:43:23,880
Speaker 4: part of that is I do really love to play.

909
00:43:23,960 --> 00:43:29,000
Speaker 5: I do really love I love I love the you know.

910
00:43:29,000 --> 00:43:32,239
Speaker 4: When we were making gross point, it had been a

911
00:43:32,239 --> 00:43:35,520
Speaker 4: long time since since Brooklyn that I had done because

912
00:43:35,560 --> 00:43:38,600
Speaker 4: I've done streaming shows since then. In a streaming show,

913
00:43:38,640 --> 00:43:41,280
Speaker 4: you shoot the whole thing and then it comes out later,

914
00:43:41,920 --> 00:43:45,440
Speaker 4: which I love. And so it had been a minute

915
00:43:45,520 --> 00:43:48,200
Speaker 4: since I had had the experience of while we were

916
00:43:48,239 --> 00:43:52,720
Speaker 4: shooting it. We were going to premiere and I got

917
00:43:52,920 --> 00:43:55,759
Speaker 4: really anxious and it was kind of the first time

918
00:43:55,800 --> 00:43:58,200
Speaker 4: I was able to articulate it. I was like, oh,

919
00:43:59,120 --> 00:44:02,000
Speaker 4: I hate to and I love this feeling of when

920
00:44:02,040 --> 00:44:04,680
Speaker 4: we're making the thing and we're all in this bubble

921
00:44:04,840 --> 00:44:07,520
Speaker 4: and you're just going for it and you're playing and

922
00:44:07,560 --> 00:44:10,480
Speaker 4: you're exploring and you're finding things, and you're not thinking

923
00:44:10,520 --> 00:44:13,560
Speaker 4: about what it's gonna freaking look like or you know,

924
00:44:14,200 --> 00:44:16,200
Speaker 4: I mean, you're thinking about how it's gonna come together,

925
00:44:16,280 --> 00:44:19,399
Speaker 4: because your brain does the like technical dance of you know,

926
00:44:19,480 --> 00:44:22,759
Speaker 4: the cameras and all that. But but I love this

927
00:44:22,880 --> 00:44:24,919
Speaker 4: like bubble where you're just making the thing.

928
00:44:25,360 --> 00:44:27,240
Speaker 5: And I was like, Oh, this sucks.

929
00:44:27,280 --> 00:44:29,919
Speaker 4: Now it's gonna be on TV and people are gonna

930
00:44:29,920 --> 00:44:32,400
Speaker 4: have opinions about it, and then it's not gonna be

931
00:44:32,560 --> 00:44:35,640
Speaker 4: ours anymore, and it's gonna be everyone else's and then

932
00:44:35,800 --> 00:44:37,880
Speaker 4: the bubble, the bubble's gone, and then we don't get

933
00:44:37,880 --> 00:44:41,040
Speaker 4: to live in the bubble ever again, right right, And

934
00:44:41,120 --> 00:44:42,440
Speaker 4: I was like, but that's.

935
00:44:42,400 --> 00:44:43,440
Speaker 5: Literally our job.

936
00:44:44,160 --> 00:44:46,400
Speaker 4: We don't get to do this unless people like what

937
00:44:46,440 --> 00:44:49,920
Speaker 4: we do and they watch, so we want that. But

938
00:44:50,200 --> 00:44:53,160
Speaker 4: I just, yeah, it's like I'm a little at odds

939
00:44:53,920 --> 00:44:58,480
Speaker 4: with that, and I just I don't know, like sounds crazy,

940
00:44:58,880 --> 00:45:02,480
Speaker 4: but like almost like if I if I could like

941
00:45:02,520 --> 00:45:05,319
Speaker 4: still make money and like just like do shows and

942
00:45:05,400 --> 00:45:07,960
Speaker 4: like act and things, and like it didn't matter who

943
00:45:08,040 --> 00:45:10,200
Speaker 4: saw it or like if it did well, like.

944
00:45:10,360 --> 00:45:12,360
Speaker 5: Dream, that would be like literally the dream.

945
00:45:13,080 --> 00:45:15,040
Speaker 4: I think everyone feels like that, right, Like it's so

946
00:45:15,239 --> 00:45:19,080
Speaker 4: it's so anxiety, Like it's so it's hard that part

947
00:45:19,200 --> 00:45:21,640
Speaker 4: when like you know the thing you love so much

948
00:45:21,680 --> 00:45:22,799
Speaker 4: and then everyone's going to come.

949
00:45:22,840 --> 00:45:24,120
Speaker 5: It's it's not yours anymore.

950
00:45:24,239 --> 00:45:26,800
Speaker 2: So it's like the pressure of it having to perform

951
00:45:26,880 --> 00:45:28,520
Speaker 2: for an economical reason.

952
00:45:28,719 --> 00:45:31,600
Speaker 4: Right, like for the for the very practice is the business,

953
00:45:31,719 --> 00:45:33,840
Speaker 4: Like it is a business. It has it's a product.

954
00:45:33,920 --> 00:45:35,919
Speaker 4: It has to make money, it has to like do well.

955
00:45:35,960 --> 00:45:38,320
Speaker 4: People have to watch, it has to hit certain markers,

956
00:45:38,360 --> 00:45:40,480
Speaker 4: like right now we're waiting to see if it'll come back,

957
00:45:40,480 --> 00:45:42,719
Speaker 4: if it's going to hit these certain markers.

958
00:45:43,400 --> 00:45:47,440
Speaker 3: So why do you find that so anxiety inducing them.

959
00:45:47,760 --> 00:45:50,120
Speaker 3: And I don't even mean what you're going through right

960
00:45:50,120 --> 00:45:53,359
Speaker 3: now in particular. You just described, you know, you doing

961
00:45:53,400 --> 00:45:55,880
Speaker 3: these other shows or Brooklyn or whatever, and it seems

962
00:45:55,920 --> 00:45:58,400
Speaker 3: sort of the normal process for you to battle that

963
00:45:58,480 --> 00:46:00,719
Speaker 3: in your head, Like why why is it so anxiety

964
00:46:00,719 --> 00:46:02,200
Speaker 3: and Doucy, I think.

965
00:46:02,000 --> 00:46:02,560
Speaker 5: I don't know.

966
00:46:02,640 --> 00:46:05,800
Speaker 4: I mean, I guess, right, it's so out of my control,

967
00:46:06,000 --> 00:46:08,200
Speaker 4: like there's nothing I can do about it, which in

968
00:46:08,280 --> 00:46:11,160
Speaker 4: other ways of my life, right, I should just like

969
00:46:11,200 --> 00:46:13,720
Speaker 4: and I normally can like with things I can't control,

970
00:46:13,760 --> 00:46:15,759
Speaker 4: like I'm pretty good at like yeah, but for this,

971
00:46:15,880 --> 00:46:19,480
Speaker 4: I guess because I get especially if I love it,

972
00:46:19,560 --> 00:46:21,440
Speaker 4: Like I really love this show.

973
00:46:21,560 --> 00:46:22,920
Speaker 5: I really love this cast.

974
00:46:24,200 --> 00:46:28,760
Speaker 4: They're amazing, so freaking talented Asian Naomi King, Ana Sophia,

975
00:46:28,880 --> 00:46:33,680
Speaker 4: Rob Ben Rappaport. They're like top notch freaking actors and

976
00:46:34,000 --> 00:46:35,560
Speaker 4: people like human beings.

977
00:46:36,920 --> 00:46:39,200
Speaker 5: I love the showrunners and I love this character.

978
00:46:39,480 --> 00:46:44,480
Speaker 4: So I think I feel very personally invested. And again

979
00:46:44,520 --> 00:46:47,440
Speaker 4: it's that feeling of like it gets taken away from

980
00:46:47,520 --> 00:46:49,680
Speaker 4: you a little bit, like I still have ownership of

981
00:46:49,719 --> 00:46:52,480
Speaker 4: my character when I get to be her and do

982
00:46:52,640 --> 00:46:56,279
Speaker 4: it on set, but all the external stuff is like

983
00:46:56,560 --> 00:46:58,759
Speaker 4: out of my control, even though it's this thing that

984
00:46:58,800 --> 00:47:01,920
Speaker 4: I hold like near and deer, and it belongs to

985
00:47:02,000 --> 00:47:04,919
Speaker 4: other people now and they get to decide if they

986
00:47:05,080 --> 00:47:05,680
Speaker 4: like it enough.

987
00:47:05,840 --> 00:47:08,160
Speaker 5: Like it's a weird, frea consuming So if.

988
00:47:08,080 --> 00:47:10,880
Speaker 1: It's control, why allow the anxiety.

989
00:47:10,400 --> 00:47:15,840
Speaker 4: To because I want to do it more, because I

990
00:47:15,880 --> 00:47:20,400
Speaker 4: want to go back to my happy bubble. We know

991
00:47:21,400 --> 00:47:23,480
Speaker 4: where we're making it and no one knows what we're

992
00:47:23,480 --> 00:47:25,920
Speaker 4: going to make it, and yeah, and I you know,

993
00:47:26,040 --> 00:47:26,759
Speaker 4: and I just.

994
00:47:26,920 --> 00:47:29,799
Speaker 1: Yeah, I guess ultimately what I'm trying to get back to.

995
00:47:29,840 --> 00:47:30,399
Speaker 5: The bubble man.

996
00:47:30,480 --> 00:47:33,520
Speaker 6: Yeah, but don't let us steal your peace though, Yeah.

997
00:47:33,200 --> 00:47:34,759
Speaker 5: I know, yeah, yeah, no I do.

998
00:47:34,840 --> 00:47:36,560
Speaker 4: I have to get It's the one part of our

999
00:47:36,640 --> 00:47:41,839
Speaker 4: job that I have probably struggled the most with, like

1000
00:47:41,920 --> 00:47:44,680
Speaker 4: my whole career, is the waiting. We did it very

1001
00:47:44,719 --> 00:47:47,759
Speaker 4: often on Brooklyn. Brooklyn was always on the bubble, even

1002
00:47:47,760 --> 00:47:50,080
Speaker 4: though we weren't really it was just everyone was watching

1003
00:47:50,160 --> 00:47:56,480
Speaker 4: us on Hulu. And yeah, the waiting periods of finding

1004
00:47:56,520 --> 00:48:00,440
Speaker 4: out if this thing this this, especially when it's especially

1005
00:48:00,480 --> 00:48:03,319
Speaker 4: when it's an incredible experience and you love who you're

1006
00:48:03,360 --> 00:48:05,360
Speaker 4: working with and you love what you're working on, like

1007
00:48:05,400 --> 00:48:06,480
Speaker 4: That's what it was with Brooklyn.

1008
00:48:06,560 --> 00:48:08,080
Speaker 5: It was just like, I don't want this to end.

1009
00:48:08,680 --> 00:48:10,760
Speaker 4: I don't want this ride to end, like there's something

1010
00:48:10,840 --> 00:48:12,040
Speaker 4: really special happening.

1011
00:48:12,239 --> 00:48:15,279
Speaker 2: You get the itch to play different characters at all,

1012
00:48:15,400 --> 00:48:17,160
Speaker 2: or do you're like like the set.

1013
00:48:17,040 --> 00:48:19,240
Speaker 6: And be like, I want to live this character through.

1014
00:48:19,719 --> 00:48:20,719
Speaker 2: Uh?

1015
00:48:21,480 --> 00:48:22,160
Speaker 5: Well both.

1016
00:48:22,520 --> 00:48:28,320
Speaker 4: I definitely love TV more than doing movies for that reason.

1017
00:48:28,480 --> 00:48:30,680
Speaker 6: You can really see a character. I like stay.

1018
00:48:30,760 --> 00:48:32,400
Speaker 5: Characters longer, you know.

1019
00:48:32,520 --> 00:48:35,120
Speaker 4: It always feels like when you do a film or

1020
00:48:35,120 --> 00:48:37,120
Speaker 4: something and you're just with that character for two months

1021
00:48:37,160 --> 00:48:39,440
Speaker 4: and you're like, for that, then's what happened to her? Like,

1022
00:48:39,600 --> 00:48:42,319
Speaker 4: you know, I've always left with that feeling. I like

1023
00:48:42,400 --> 00:48:46,920
Speaker 4: living with characters longer. But I do like even as

1024
00:48:46,960 --> 00:48:49,680
Speaker 4: sad as I was for Brooklyn to end, my sadness,

1025
00:48:49,719 --> 00:48:54,400
Speaker 4: I think was more rooted in anxiety about what happens next?

1026
00:48:54,600 --> 00:48:57,880
Speaker 4: What does my life look like without this this thing?

1027
00:48:58,160 --> 00:48:58,400
Speaker 7: You know?

1028
00:48:58,560 --> 00:48:59,560
Speaker 5: But I was ready.

1029
00:48:59,320 --> 00:49:00,400
Speaker 1: To move on.

1030
00:49:00,520 --> 00:49:02,239
Speaker 5: I was ready to like play someone else.

1031
00:49:02,320 --> 00:49:04,959
Speaker 6: I think, oh, really, yeah you felt that way?

1032
00:49:05,040 --> 00:49:09,680
Speaker 5: Yeah I did, Yeah, I yeah. I was excited about how.

1033
00:49:09,560 --> 00:49:10,719
Speaker 6: Many episodes did you guys do?

1034
00:49:10,920 --> 00:49:13,960
Speaker 5: We did like one hundred and fifty five? Yeah? It

1035
00:49:14,000 --> 00:49:14,920
Speaker 5: was like, you know what I mean.

1036
00:49:15,040 --> 00:49:17,800
Speaker 4: I was like, I can tell you exactly what Amy's

1037
00:49:17,800 --> 00:49:19,040
Speaker 4: probably going to do for the rest of.

1038
00:49:19,000 --> 00:49:23,040
Speaker 5: Her life, but like, you know, I feel I have

1039
00:49:23,160 --> 00:49:25,640
Speaker 5: fully explored this character and now I'm ready to move on.

1040
00:49:25,880 --> 00:49:26,120
Speaker 1: Yeah.

1041
00:49:26,480 --> 00:49:29,839
Speaker 2: Yeah, And like one last question, where do you think

1042
00:49:29,880 --> 00:49:31,640
Speaker 2: your character would be right now?

1043
00:49:31,920 --> 00:49:32,240
Speaker 5: Amy?

1044
00:49:32,400 --> 00:49:32,640
Speaker 6: Yeah?

1045
00:49:33,000 --> 00:49:33,520
Speaker 1: Oh.

1046
00:49:33,760 --> 00:49:39,759
Speaker 4: Amy is definitely a captain of a precinct or very

1047
00:49:39,760 --> 00:49:42,640
Speaker 4: close to being captain of a precinct. She's also probably

1048
00:49:42,680 --> 00:49:48,279
Speaker 4: the PTA mom of her kids' school, very good. She's

1049
00:49:48,320 --> 00:49:53,400
Speaker 4: probably had a second kid by now, and she's yeah,

1050
00:49:53,440 --> 00:49:56,200
Speaker 4: and she's gotten all their finances in order, like Jake

1051
00:49:56,280 --> 00:49:58,520
Speaker 4: finally has a four oh one K and they have

1052
00:49:58,600 --> 00:50:02,680
Speaker 4: a college fund set up and yeah, yeah, and that's

1053
00:50:02,680 --> 00:50:03,720
Speaker 4: what she's doing.

1054
00:50:04,160 --> 00:50:05,920
Speaker 1: That awesome and an rip.

1055
00:50:06,280 --> 00:50:10,120
Speaker 3: Rest in peace to Andre, who I've had the distinct

1056
00:50:10,120 --> 00:50:13,120
Speaker 3: pleasure of working with as well. And he's from Chicago

1057
00:50:13,280 --> 00:50:17,080
Speaker 3: like me, and he was just a lovely, lovely human

1058
00:50:17,120 --> 00:50:20,440
Speaker 3: being and obviously an incredible actor, but just just a

1059
00:50:20,480 --> 00:50:22,319
Speaker 3: lovely human being to work with. And I'm sure you

1060
00:50:22,800 --> 00:50:24,520
Speaker 3: must have the same experience with him.

1061
00:50:24,800 --> 00:50:27,000
Speaker 5: The most amazing, brilliant man.

1062
00:50:27,239 --> 00:50:33,640
Speaker 4: And I mean I have countless beautiful memories with him.

1063
00:50:33,800 --> 00:50:36,839
Speaker 4: But for me, it was also the advice he gave

1064
00:50:36,920 --> 00:50:40,440
Speaker 4: me and also the biggest gift. And we all have

1065
00:50:40,480 --> 00:50:42,600
Speaker 4: talked about this on the cast, especially those of us

1066
00:50:42,640 --> 00:50:46,879
Speaker 4: because you know, Me, Andy On, Joe, Stephanie, and Chelsea,

1067
00:50:46,960 --> 00:50:49,240
Speaker 4: we all had kids during the run of that show.

1068
00:50:49,960 --> 00:50:53,960
Speaker 4: We all became parents, and Andre flew back to New

1069
00:50:54,040 --> 00:50:59,600
Speaker 4: Jersey almost every weekend while we shot Brooklyn, and eventually

1070
00:50:59,640 --> 00:51:03,360
Speaker 4: they just started giving him Fridays off. But he was

1071
00:51:03,400 --> 00:51:08,799
Speaker 4: a very devoted family man and he gave us all

1072
00:51:08,800 --> 00:51:12,000
Speaker 4: this beautiful gift of I do not feel bad telling

1073
00:51:12,040 --> 00:51:14,799
Speaker 4: a job that I need to get home to my

1074
00:51:14,840 --> 00:51:17,719
Speaker 4: family and that things need to be worked into the

1075
00:51:17,760 --> 00:51:20,960
Speaker 4: schedule or this is my expectation. I can't go longer

1076
00:51:21,000 --> 00:51:23,719
Speaker 4: than two or three weeks without seeing them, you know.

1077
00:51:23,760 --> 00:51:25,960
Speaker 4: And I'm very like collaborative in that, but like, I

1078
00:51:26,000 --> 00:51:31,000
Speaker 4: don't feel bad or you know, scared to stand up

1079
00:51:31,040 --> 00:51:33,600
Speaker 4: for that. And I think our business has gotten better

1080
00:51:33,719 --> 00:51:37,880
Speaker 4: too in general, with like family and like treating people

1081
00:51:37,920 --> 00:51:44,160
Speaker 4: like human beings. But yeah, that was the biggest gift

1082
00:51:44,200 --> 00:51:47,080
Speaker 4: I think he gave me was was that was just

1083
00:51:47,800 --> 00:51:50,120
Speaker 4: unabashedly being like, yeah, so I'm going to be away

1084
00:51:50,120 --> 00:51:52,520
Speaker 4: from my family, So this is what's going to happen, right,

1085
00:51:52,600 --> 00:51:52,799
Speaker 4: you know.

1086
00:51:54,760 --> 00:51:56,320
Speaker 6: Yeah, yeah, that's great advice.

1087
00:51:56,400 --> 00:51:59,480
Speaker 2: Well, I like to end it on that beautiful sentiment

1088
00:51:59,560 --> 00:52:03,640
Speaker 2: that we all should definitely find the balance of you know,

1089
00:52:03,680 --> 00:52:06,279
Speaker 2: continue to cultivate on why we showed up to work

1090
00:52:06,480 --> 00:52:08,200
Speaker 2: and why we get up in the morning while we

1091
00:52:08,280 --> 00:52:12,200
Speaker 2: travel to a different city to make you know, the

1092
00:52:12,200 --> 00:52:14,040
Speaker 2: the runway that we need to keep the light on

1093
00:52:14,120 --> 00:52:14,840
Speaker 2: for our families.

1094
00:52:14,840 --> 00:52:16,719
Speaker 6: But it's also important to going to be with our

1095
00:52:16,719 --> 00:52:19,319
Speaker 6: families because that's the point, that's the point of.

1096
00:52:19,320 --> 00:52:24,839
Speaker 2: Living life, right, Melissa Fumeto, I just want to say

1097
00:52:24,920 --> 00:52:27,440
Speaker 2: thank you, thank you so much.

1098
00:52:27,280 --> 00:52:29,719
Speaker 6: For being here, Thanks for having me. You're a hero

1099
00:52:29,840 --> 00:52:32,120
Speaker 6: to a generation. I mean, I would you are the

1100
00:52:32,200 --> 00:52:33,520
Speaker 6: national flower of Cuba.

1101
00:52:33,600 --> 00:52:35,279
Speaker 5: I definitely would not go.

1102
00:52:37,440 --> 00:52:40,600
Speaker 4: But I am so honored to be the first amiga

1103
00:52:40,280 --> 00:52:42,120
Speaker 4: ye on this podcast.

1104
00:52:42,280 --> 00:52:43,000
Speaker 5: Thanks for having me.

1105
00:52:43,239 --> 00:52:43,960
Speaker 6: Thank you so much.

1106
00:52:45,719 --> 00:52:51,879
Speaker 2: Yeah, this is Those Amigos about the Rama Rodriguez and

1107
00:52:52,080 --> 00:52:53,160
Speaker 2: see you in the next episode.

1108
00:52:57,080 --> 00:53:00,960
Speaker 3: Those Amigos is a production from WV Sound and iHeartMedia's

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Speaker 3: Michael through That Podcast Network, hosted by Me, Freddie Rodriguez

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Speaker 3: and Wilmri Valdorama.

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Speaker 2: Those Amigos is produced by Aaron Burlson and Sophie Spencer Zabos.

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Speaker 3: Our executive producers are Wilmri Valdorama, Freddie Rodriguez, Aaron Burlson,

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Speaker 3: and Leo Klem at WV Sound.

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Speaker 2: This episode was shot and edited by Ryan Posts and

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Speaker 2: mixed by Sean Tracy and features original music by Madison

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Speaker 2: Devenport and Helo boy.

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Speaker 3: Our cover art photography is by David Avalos and designed

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Speaker 3: by Deny Holtzklau and.

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Speaker 2: Thank you for being at Third Amigo today. I appreciate

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Speaker 2: you guys always listening to those amigos.

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Speaker 3: A more podcasts from My Heart visit the r Heart

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Speaker 3: Radio app, Apple podcast, or wherever you listen to your

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Speaker 3: favorite shows.

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Speaker 6: So you next week