WEBVTT - Tracking Anna w/ Scriberia 0:00:00.240 --> 0:00:03.720 Inventing Anna the Official Podcast is a production of Shondaland 0:00:03.760 --> 0:00:12.160 Audio in partnership with I Heart Radio. Welcome to Inventing 0:00:12.160 --> 0:00:15.520 Anna the Official Podcast, your exclusive look inside the making 0:00:15.560 --> 0:00:18.720 of the Shonda Land series on Netflix. I'm your host, 0:00:18.720 --> 0:00:21.640 Stacy Wilson Hunt, and with me today are three legends 0:00:21.640 --> 0:00:24.840 of the theater world, Anna Davie Smith, Terry Kenny and 0:00:24.920 --> 0:00:29.120 Jeff Perry, who play scarberreas Maud, Barry and Lou In 0:00:29.160 --> 0:00:31.760 case you've forgotten, Scriberria is the nickname of the back 0:00:31.760 --> 0:00:35.600 corner of Manhattan Magazine, whereas Vivian says, the bosses quote 0:00:35.800 --> 0:00:39.120 send the old writers to die. But these irascible, hilarious 0:00:39.159 --> 0:00:41.680 characters not only end up being key to vivian success, 0:00:42.080 --> 0:00:44.720 They've also become some of the series biggest fan favorites. 0:00:52.760 --> 0:00:55.080 Welcome everyone. I have to say I'm not supposed to 0:00:55.080 --> 0:00:58.360 play favorites in this podcast, but I am particularly giddy 0:00:58.480 --> 0:01:02.120 about having the three of you on a show. Just 0:01:02.280 --> 0:01:05.479 today on Twitter, somebody tweeted me and Shawnda and said 0:01:05.800 --> 0:01:08.559 I would totally watch a show just with the scribe 0:01:08.560 --> 0:01:10.760 area people. So I'm just saying, keep it, keep it 0:01:10.800 --> 0:01:13.479 as an option, and I would love to know how 0:01:13.600 --> 0:01:17.400 has the fan reaction to scribe area felt to you, Jeff, 0:01:17.400 --> 0:01:20.440 have you been hearing any rumblings of fandom on your end? 0:01:20.560 --> 0:01:25.000 Oh my god, A lot of friends and family have 0:01:25.560 --> 0:01:30.800 chimed in with big love on the scribe area, miss 0:01:31.600 --> 0:01:36.199 of the shows and how much of it was shocked 0:01:36.240 --> 0:01:39.200 that I was employed and they were trying to encourage 0:01:39.640 --> 0:01:45.119 encourage me whatever. But but anyway, I said, Seanna, it's 0:01:45.280 --> 0:01:49.160 just been such a gift man won And what are 0:01:49.200 --> 0:01:52.440 people particularly liking? What have you heard from people about 0:01:52.440 --> 0:01:57.800 what resonates so much with these characters? Hey, my two cents, 0:01:57.840 --> 0:02:00.600 I want to hear from men and tear um. From 0:02:00.640 --> 0:02:04.440 the very first reading, I felt kind of audience e 0:02:05.120 --> 0:02:10.280 of this is a really fun conception, something about this 0:02:10.360 --> 0:02:16.880 little Greek chorus of old people sent to journalism Siberia. 0:02:17.000 --> 0:02:19.040 I think Anna took issue with you using the word 0:02:19.040 --> 0:02:22.920 old just now, by the way, sorry sorry I was 0:02:22.960 --> 0:02:27.480 the only old one. Sorry veteran let's say veteran um. 0:02:27.520 --> 0:02:31.399 It just felt like it really worked off the page, 0:02:31.720 --> 0:02:34.200 and oh, this is gonna be so fun to be 0:02:34.280 --> 0:02:36.720 able to do. And then when I heard it was 0:02:36.760 --> 0:02:40.240 with Anna da Vere, who I had been a fan 0:02:40.360 --> 0:02:44.280 of for years and years and years, and then that 0:02:44.360 --> 0:02:48.360 it was my boyhood buddy, Terry Kenney. I was like, 0:02:48.400 --> 0:02:50.320 oh my god, I can't believe it. Yeah. I got 0:02:50.400 --> 0:02:54.000 to gush to people too of did you know, because 0:02:54.040 --> 0:02:56.520 he usually was friends or family have known me for 0:02:56.760 --> 0:02:59.400 fifty years? Did you know that this is Terry and 0:02:59.520 --> 0:03:05.120 my pretty much first camera work ever in our decades. 0:03:05.280 --> 0:03:07.120 I was actually going to bring that up, which I 0:03:07.160 --> 0:03:10.120 found to be a stunning discovery. Terry, walk me through this. 0:03:10.200 --> 0:03:12.040 How is it possible you've never shared the screen with 0:03:12.080 --> 0:03:15.760 your old buddy? I don't know. I mean our friends 0:03:15.800 --> 0:03:18.600 making movies. You think they'd put us both in there 0:03:18.639 --> 0:03:21.160 like Gary, you know, put put me in a small role. 0:03:21.240 --> 0:03:23.560 But there where was Jeff? Not nowhere to be found. 0:03:23.919 --> 0:03:27.160 I did small bit of trivia direct Jeff in my 0:03:27.240 --> 0:03:30.440 first feature. I did a feature and Jeff had a 0:03:30.480 --> 0:03:33.040 really nice role in it. But that's about it. And 0:03:33.040 --> 0:03:35.480 I would love for those who don't know your storied 0:03:35.560 --> 0:03:38.400 history as co founders of Steppenwolf, Terry, tell me when 0:03:38.440 --> 0:03:41.240 you first met Jeff and how that relationship grew into 0:03:41.280 --> 0:03:46.200 this venerable institution in Chicago. I was at Illinois State 0:03:46.320 --> 0:03:50.720 University and Jeff came in in an orientation and he 0:03:50.800 --> 0:03:54.560 had really messed up hair and dirty glasses and a 0:03:54.600 --> 0:03:58.080 flannel shirt. I just thought, I like this guy. I 0:03:58.120 --> 0:04:00.080 just I just saw him. I was in class, was 0:04:00.080 --> 0:04:03.000 supposed to be paying attention, but I just zoned in 0:04:03.040 --> 0:04:05.560 on him as a friend. And it was turned out 0:04:05.560 --> 0:04:08.520 to be true, because he he showed up the following 0:04:08.600 --> 0:04:13.640 year and maybe the first day we just connected and 0:04:13.720 --> 0:04:17.000 he came over to our house and I just think 0:04:17.000 --> 0:04:21.800 he never left. We were together the rest of college, 0:04:22.040 --> 0:04:24.479 you know, just hanging out. That's how I got to 0:04:24.520 --> 0:04:26.680 know Gary through him. And this is Gary Sinise for 0:04:26.720 --> 0:04:28.920 those who are wondering who Gary is here? Oh yes, 0:04:29.200 --> 0:04:32.800 Gary Sinise. After my sophomore year in Jeff's freshman he said, 0:04:32.800 --> 0:04:35.440 would you like to come live in my parents basement 0:04:36.200 --> 0:04:40.640 and then do Rosenkrats and Gilling sn or dead. I said, yeah, sure, 0:04:40.800 --> 0:04:43.400 and so we we did that. We did it in 0:04:43.440 --> 0:04:45.600 a Unitarian church and that was our first step in 0:04:45.640 --> 0:04:49.240 wolf play. It was two years before we started the 0:04:49.240 --> 0:04:51.600 theater with our college friends. I love that. That is 0:04:51.640 --> 0:04:55.280 so inspiring. And speaking of theater, Anna herself a staple 0:04:55.360 --> 0:04:58.320 of theater. What were you doing at the time these 0:04:58.320 --> 0:05:03.360 fellows were doing their college antics in the basement, etcetera. 0:05:03.920 --> 0:05:05.560 First of all, I just have to say that I 0:05:06.040 --> 0:05:10.040 didn't know the story about those college antics until being 0:05:10.080 --> 0:05:12.880 with these two gentlemen in in hair and makeup. And 0:05:12.920 --> 0:05:16.799 I tell it all the time because I'm still a teacher. 0:05:17.040 --> 0:05:20.560 I teach at your university, and I just say, you know, 0:05:20.720 --> 0:05:25.000 just like give them a basement and have it opened. 0:05:25.080 --> 0:05:27.360 Isn't that also the case y'all? That it was like 0:05:27.440 --> 0:05:29.400 you could just go into the theater all day or night, 0:05:30.320 --> 0:05:33.280 just leave the door open, and something's gonna happen. Because 0:05:33.320 --> 0:05:37.640 they made Stepan will End, they made remarkable careers, like 0:05:37.680 --> 0:05:40.240 the whole group of them. So I do tell that 0:05:40.320 --> 0:05:42.920 story all the time myself. I don't know what year 0:05:43.040 --> 0:05:47.800 was that, three four, five six, Well, I was at 0:05:47.800 --> 0:05:53.600 the American Conservatory Theater in San Francisco studying, and uh, 0:05:53.839 --> 0:05:56.520 actually they did give me the keys. I have to say, 0:05:56.640 --> 0:05:59.320 the friends of a CT, who were these sort of 0:05:59.400 --> 0:06:04.679 you know, women wearing Papa galos and khaki skirts and 0:06:05.000 --> 0:06:08.279 doing all good things for the theater and probably raising money, 0:06:08.560 --> 0:06:11.520 they did give me the keys to their office because 0:06:11.560 --> 0:06:14.240 I didn't I didn't have a typewriter, and I could 0:06:14.240 --> 0:06:16.960 go in there and use the typewriter until they arrived 0:06:17.120 --> 0:06:19.320 at ten o'clock in the morning. So I did have 0:06:19.400 --> 0:06:21.479 a version of that which allowed me to write my 0:06:21.560 --> 0:06:24.720 first play at a CT early in the morning with 0:06:24.760 --> 0:06:29.480 those keys. I love that. All we need is a basement, right, Okay, 0:06:29.640 --> 0:06:32.440 you just need keys somewhere. Jeff, I'd love to talk 0:06:32.480 --> 0:06:35.839 to you about your visit to New York Magazine in 0:06:35.920 --> 0:06:39.080 preparation to play this part. And Jessica Pressler, of course, 0:06:39.120 --> 0:06:42.400 the amazing journalist who wrote the piece that inspired the show. 0:06:42.920 --> 0:06:45.440 She gave an interview recently where she talked about your visit, 0:06:45.640 --> 0:06:49.960 and she said this quote. When Jeff arrives, Mark Jacobson, 0:06:49.960 --> 0:06:51.640 who is a legend, looks at him and says, the 0:06:51.760 --> 0:06:53.760 great thing about being a journalist is that you aren't 0:06:53.800 --> 0:06:58.039 impressed by anybody. Unfortunately, Jeff didn't seem to be offended 0:06:58.080 --> 0:07:01.200 that he wasn't the center of attention. I love this 0:07:01.240 --> 0:07:03.440 because I've been a journalist for twenty years. There's something 0:07:03.560 --> 0:07:07.239 so wonderful about having to be stone faced about everything 0:07:07.279 --> 0:07:09.600 you see in here throughout your day, because if you're affected, 0:07:10.080 --> 0:07:13.200 you really can't do your job. Properly. I'm wondering what 0:07:13.280 --> 0:07:15.800 did you learn from Mark and also being there that 0:07:15.920 --> 0:07:19.520 day that helped inform your character. Yes, so look at 0:07:19.560 --> 0:07:24.640 here's quick notes that are from January, which must have 0:07:24.640 --> 0:07:27.400 been right around the time that Jessica did me this 0:07:27.480 --> 0:07:30.560 gift of come with your little tape recorder and dada, dada. 0:07:31.640 --> 0:07:33.360 You're paid for what you're right, so you can go 0:07:33.520 --> 0:07:36.400 weeks telling your editors you don't have a story that 0:07:36.480 --> 0:07:39.120 you love at the moment. Like a baseball team, you 0:07:39.160 --> 0:07:42.160 all you might all have different contracts. You have a 0:07:42.200 --> 0:07:45.840 difficult dance of getting people to talk having explained your angle, 0:07:46.000 --> 0:07:49.440 but the story can change on you. You have numerous 0:07:49.480 --> 0:07:51.559 irons in the fire because you don't know which stories 0:07:51.600 --> 0:07:53.680 are gonna pay it out. You get assignments and you 0:07:53.760 --> 0:07:57.400 pitch your own. You get typecasts as a journalist, as 0:07:57.400 --> 0:08:00.920 a writer for good or ill artistically, just as actors 0:08:00.960 --> 0:08:04.360 do based on successes. You sometimes get assigned stuff in 0:08:04.400 --> 0:08:08.920 a colleague's wheelhouse because they're busy and you're not. Usually 0:08:09.040 --> 0:08:11.760 help each other with your roll at ex contacts if 0:08:11.800 --> 0:08:17.000 asked by fellow witer writers like documentary creators, you've fallen 0:08:17.000 --> 0:08:20.600 in love at some early age with nonfiction, with listening 0:08:20.760 --> 0:08:26.000 to other human stories, you learn, sometimes the hard way 0:08:26.160 --> 0:08:30.480 and sometimes slowly, that listening is much more valuable to 0:08:30.560 --> 0:08:34.960 your task than talking. You love research, detection, and the 0:08:35.000 --> 0:08:37.600 hard part is usually putting that research into the form 0:08:37.640 --> 0:08:40.160 of a story. The rewriting, the back and forth of 0:08:40.280 --> 0:08:45.120 editor notes is relatively an easier process. If you get 0:08:45.160 --> 0:08:49.240 flowers from a subject, you've probably not done your job. 0:08:51.240 --> 0:08:55.720 That is so brilliant. So those were the notes, and 0:08:55.840 --> 0:08:59.040 Terry and Anna, what felt familiar to the two of you? 0:08:59.080 --> 0:09:02.000 About what Jeff shared in terms of how it relates 0:09:02.040 --> 0:09:05.120 to your craft as actors. There's a lot of overlap here, right, 0:09:05.600 --> 0:09:08.520 tell me, Terry, what felt familiar to you? I mean, 0:09:08.559 --> 0:09:12.520 it's a highly competitive thing, and it said the pay scales, 0:09:12.720 --> 0:09:14.760 you know, you don't know what anybody else is making. 0:09:15.440 --> 0:09:20.280 Your status gets uh interrupted by what you haven't done 0:09:20.320 --> 0:09:23.440 for a while. Your type cast to write certain stories. 0:09:23.840 --> 0:09:27.839 If you write about glamorous people, they make you do that, 0:09:27.960 --> 0:09:30.200 and you may have a think piece on something else 0:09:30.200 --> 0:09:32.959 you want to do, but they're not very interested in that. 0:09:33.240 --> 0:09:37.440 What you did last is usually the offers you get next. 0:09:38.000 --> 0:09:41.640 It's similar with acting, and it becomes important if you 0:09:41.679 --> 0:09:46.680 want to change it up, to turn those down if 0:09:46.720 --> 0:09:52.400 you can, and then do something completely different the next time. 0:09:52.760 --> 0:09:54.520 I love that. And you really do have to assert 0:09:54.559 --> 0:09:56.600 yourself to and say I can do more than what 0:09:56.679 --> 0:09:59.160 you think I can. That's what really resonated with me 0:09:59.200 --> 0:10:02.199 and watching the show. It was having to remind your bosses, 0:10:02.240 --> 0:10:05.360 I'm not just one thing, right. And Anna, I know 0:10:05.440 --> 0:10:08.079 you've actually done a fair amount of interviewing in your job, 0:10:08.520 --> 0:10:12.240 in your many capacities as an academic. Tell me what 0:10:12.400 --> 0:10:15.120 you knew about interviewing as an art form, and tell 0:10:15.120 --> 0:10:19.280 me what you learned about this craft from preparing to 0:10:19.280 --> 0:10:23.240 play this character. Well, I actually traveled on the I 0:10:23.320 --> 0:10:26.439 was hired by Newsweek to travel on the Clinton presidential 0:10:26.480 --> 0:10:30.679 campaign and on the Dole campaign in nineties six, and 0:10:30.760 --> 0:10:34.720 so I traveled with the press corps, and uh, I 0:10:34.800 --> 0:10:37.640 got a chance to, you know, meet a lot of 0:10:37.720 --> 0:10:41.520 journalists and just live that life, which is very hard, 0:10:41.840 --> 0:10:45.120 especially following a campaign. You really don't you know in 0:10:45.200 --> 0:10:47.280 that way, it's like acting. I mean you're kind of 0:10:47.320 --> 0:10:51.040 like in captivity to production, right as somebody gave me 0:10:51.080 --> 0:10:53.360 the advice, you know, p and when you can because 0:10:53.400 --> 0:10:55.440 you don't know when you're gonna be able to do 0:10:55.480 --> 0:10:58.360 it again. And I had a very good friend, Elizabeth 0:10:58.440 --> 0:11:00.840 Knew For the Lady Elizabeth Knew for who was a 0:11:00.840 --> 0:11:06.720 war correspondent and she covered Rwanda and Bosnia Kosovo and 0:11:06.840 --> 0:11:10.839 was actually killed in Iraq. Terrible. I'm so sorry. One 0:11:10.840 --> 0:11:13.960 of the things that I felt about Elizabeth when we 0:11:14.040 --> 0:11:17.560 became friends was just okay, so she can sleep anywhere 0:11:17.640 --> 0:11:21.880 and eat anything right, And it's that sort of toughness 0:11:22.000 --> 0:11:26.600 that I thought about in creating my character for this. 0:11:27.960 --> 0:11:30.720 But I would say that for all of us, you know, 0:11:30.760 --> 0:11:33.160 we're after the story to be a part of the 0:11:33.200 --> 0:11:36.679 story somehow. That's what we all have in common with journalists, 0:11:37.240 --> 0:11:39.920 I would say actors in journalists. I love that. So 0:11:40.040 --> 0:11:45.920 story is really at the core of both of these crofts. Yeah, okay, 0:11:45.920 --> 0:11:48.559 please stand by for these quick messages from our sponsors, 0:12:01.400 --> 0:12:11.880 and we're back. I'd love to just start walking through 0:12:11.920 --> 0:12:13.960 some scenes because there's so much to work with and 0:12:13.960 --> 0:12:16.000 each of you have such great insights to share. So 0:12:16.160 --> 0:12:20.120 I'd love to start with episode one and we get 0:12:20.120 --> 0:12:24.800 to see how scribe area relates to authority. You went 0:12:24.840 --> 0:12:28.040 to Rikers and it answered your letter. You went to rikers. 0:12:28.080 --> 0:12:32.400 Yes you went rogue, Good girl, fight the power of woman, 0:12:32.600 --> 0:12:36.880 keep your voices, dond your bones for bread. When you 0:12:36.920 --> 0:12:38.880 catch his hand the stone, he's not gonna catch you. 0:12:38.960 --> 0:12:42.880 Stop pumping your pillages and get over here and help them. 0:12:42.880 --> 0:12:46.200 And that really tells us from episode one, Oh, is 0:12:46.240 --> 0:12:48.680 this why they're inscribe area? Because they don't play nice? 0:12:49.640 --> 0:12:51.800 Do they not like to kind of play the politics 0:12:51.840 --> 0:12:54.600 of nice employee to their bosses? So tell me, Terry, 0:12:55.040 --> 0:12:57.880 how do you think this scene sets us up? Well? 0:12:58.559 --> 0:13:01.760 I think we're being into deduced as people that have 0:13:01.920 --> 0:13:06.600 been banished to the periphery in our own little cubical 0:13:06.760 --> 0:13:13.440 world because a they can't fire us. We all have Pulitzers, 0:13:13.480 --> 0:13:18.400 and secondly, we have no fox left to give. We 0:13:18.480 --> 0:13:21.920 don't answer to anybody, you know, and the suits that 0:13:21.960 --> 0:13:26.000 are coming down and giving us these bullshit assignments that 0:13:26.040 --> 0:13:28.880 we don't want to even do. We don't have to 0:13:28.920 --> 0:13:31.120 respect them. We don't have to respect them to their 0:13:31.160 --> 0:13:34.760 face or behind their backs. So I think that's what 0:13:34.800 --> 0:13:37.640 it sets up is a group of people that, you know, 0:13:38.120 --> 0:13:41.480 this young woman who was a successful writer and maybe 0:13:41.520 --> 0:13:45.600 made a mistake is banished to Scriberia and we are 0:13:45.640 --> 0:13:51.840 immediately attracted to her rogue energy, right. And it's interesting 0:13:51.880 --> 0:13:55.559 because Vivian's character, she's kind of nestled between the generations. 0:13:55.640 --> 0:13:58.520 She's not in full Scriberian mode, but she's not one 0:13:58.559 --> 0:14:00.440 of the new bees. And it's almost like is having 0:14:00.480 --> 0:14:03.880 this middle career crisis. Jeff, how do you think that 0:14:03.920 --> 0:14:07.160 this scene sort of establishes that for us? Yeah, I 0:14:07.200 --> 0:14:13.520 mean we're in an age where long form journalism, and 0:14:13.720 --> 0:14:18.360 in fact all of journalism, is facing such existential threat. 0:14:18.400 --> 0:14:23.360 But just look at long form journalism where to exaggerate 0:14:23.480 --> 0:14:28.720 only slightly, only the Twitter twelve words or whatever the 0:14:28.920 --> 0:14:33.560 whatever it's maximum is, you know, can get anybody's attention. 0:14:34.080 --> 0:14:36.880 And I think I always assume that the three of us, 0:14:37.080 --> 0:14:46.120 in our own way felt such you know, sympathy, love, passion, um, God, 0:14:46.240 --> 0:14:49.240 damn it, it shall not vanish from the face of 0:14:49.280 --> 0:14:52.480 the earth. And there's somebody in their thirties who actually 0:14:52.560 --> 0:14:56.160 gives a shit about it and has talent and wants 0:14:56.240 --> 0:15:01.480 to stay here and not work for Twitter or whatever. Right, 0:15:02.520 --> 0:15:05.920 she's worth fighting for. Right, And we see Vivian railing 0:15:05.960 --> 0:15:08.840 against this idea of clickbait and pushing back on the 0:15:08.880 --> 0:15:11.280 Me to Wall Street story because she's saying, this isn't 0:15:11.320 --> 0:15:14.040 the story we want to tell. And it's so inspiring 0:15:14.080 --> 0:15:16.800 to see her having that interaction with her boss, and 0:15:16.920 --> 0:15:19.280 as uncomfortable as it is in the moment, I think 0:15:19.280 --> 0:15:23.560 that's what gives them the respect for her ultimately. And 0:15:23.640 --> 0:15:27.000 an episode three, speaking of authority, we see the very 0:15:27.000 --> 0:15:31.960 funny scene with Vivian and Anna's characters shopping for underwear 0:15:32.040 --> 0:15:36.320 for Anna, and Maud says, Paul was an intern when 0:15:36.320 --> 0:15:38.080 I was writing cover stories. Do you know what you 0:15:38.160 --> 0:15:43.800 tell Paul? Tell him the sun? And Maud really is 0:15:43.840 --> 0:15:47.080 this wonderful mentor figure for Vivian throughout as the other 0:15:47.160 --> 0:15:50.840 woman in this scenario. And Anna tell me, how are 0:15:50.840 --> 0:15:53.080 you playing that scene with Vivian? And and first of all, 0:15:53.120 --> 0:15:55.800 how much fun were those moments? Well, I don't know 0:15:55.800 --> 0:15:57.720 how much fun that was. I think our call that 0:15:57.840 --> 0:16:01.800 day was something like three am, because you know, they 0:16:01.800 --> 0:16:05.000 had to shut down Burgdorfs, had to get to Burgdorfs, 0:16:05.000 --> 0:16:07.640 had to very expense if you can imagine, and get 0:16:07.640 --> 0:16:11.440 it done before you know, whatever time that the people 0:16:11.440 --> 0:16:15.880 come to Burgdorf survivor six hundred dollar purses or hundred 0:16:15.960 --> 0:16:20.080 prants or whatever, so there was that. You know. Um, 0:16:20.200 --> 0:16:22.880 I think that somebody like Maud, I mean, let's face it, 0:16:23.040 --> 0:16:26.600 she probably really had to fight her way into this 0:16:26.640 --> 0:16:29.840 business from the very beginning. I think about somebody who 0:16:30.040 --> 0:16:33.000 I met on that campaign trail that I told you about, 0:16:33.040 --> 0:16:35.720 the late gent Eiffel, right, who was at the New 0:16:35.800 --> 0:16:38.480 York Times, and then you know, on TV and stuff 0:16:38.520 --> 0:16:40.760 like that, and you know, let's face it, you know, 0:16:40.840 --> 0:16:43.680 we are the people who are not in hair and makeup. 0:16:44.040 --> 0:16:47.440 We're not the glam journalists on television. All three of 0:16:47.520 --> 0:16:49.200 us were the people who had to fight to get 0:16:49.240 --> 0:16:51.920 the story. And you know, I think those type of 0:16:51.960 --> 0:16:55.600 journalists don't like authority anyway, because part of journalism is 0:16:56.160 --> 0:17:00.720 to question authority and to question power. I really not 0:17:00.800 --> 0:17:04.120 to go for power, so you bring that into everything, 0:17:04.520 --> 0:17:06.359 and you know, I just want her to know that 0:17:06.440 --> 0:17:08.440 this guy is just like a fly that you've got 0:17:08.440 --> 0:17:11.440 to learn how to swat him away stand up for yourself. 0:17:11.680 --> 0:17:14.000 And it's hard too, because I think, especially a character 0:17:14.040 --> 0:17:17.360 like Vivian who's a woman, we are raised to respect authority. 0:17:17.440 --> 0:17:19.600 We are raised to not speak too much, we are 0:17:19.680 --> 0:17:22.399 raised to oh that's my assignment okay, thank you. And 0:17:22.480 --> 0:17:24.600 it's just as a woman who's been in this business, 0:17:24.640 --> 0:17:26.600 it's so fun to see her say no, no, no, 0:17:26.960 --> 0:17:29.639 this is the story that is worth my time. And 0:17:29.680 --> 0:17:31.919 that's what I think is such a great takeaway from Vivian. 0:17:33.160 --> 0:17:34.840 And I know we've all been in that situation where 0:17:34.840 --> 0:17:37.359 we have to fight just telling someone, trust me, this 0:17:37.440 --> 0:17:39.640 is worth telling. And I'm sure as actors too, you've 0:17:39.640 --> 0:17:42.160 had specially Terry if you've made a movie, anyone who's 0:17:42.160 --> 0:17:44.159 had to sell a project, and it's all your plays. 0:17:44.920 --> 0:17:47.680 It's a lot of convincing, right, I mean, just showing 0:17:47.880 --> 0:17:50.920 up for an audition, you have to look like you're 0:17:50.920 --> 0:17:54.360 having a good time, but what you're really there too 0:17:54.960 --> 0:17:59.680 is to embody convincing. For me, I hate auditioning. I 0:17:59.680 --> 0:18:04.080 don't know about these two gentlemen. But it's enduring the thing. 0:18:04.160 --> 0:18:10.159 It's endurance death, yes, aproposal that the actor uh Emmett Walsh. 0:18:10.240 --> 0:18:12.320 I was on my first job as an actor and 0:18:12.520 --> 0:18:14.480 very young. It was a mini series and I was 0:18:14.480 --> 0:18:17.480 playing the main person because I just got it was 0:18:17.520 --> 0:18:20.760 like the lotto, and he came up to me and 0:18:20.840 --> 0:18:23.520 we were going through, you know, all of the pre production. 0:18:23.600 --> 0:18:26.159 He goes, what are you playing kids? And I said, oh, 0:18:26.200 --> 0:18:29.920 I'm playing this guy, you know. And he goes, oh, 0:18:29.960 --> 0:18:33.120 you're the guy, and he goes, did you have to audition? 0:18:33.359 --> 0:18:35.520 And I said, yeah, I did audition. He goes, that's 0:18:35.520 --> 0:18:37.560 what I called dancing on the head of a pin. 0:18:38.880 --> 0:18:42.000 I always thought of it that way. Afterwards. It's such 0:18:42.040 --> 0:18:45.280 a delicate thing to maintain and not get discouraged and 0:18:45.400 --> 0:18:47.520 keep wanting to show up. You have a hard job, 0:18:47.600 --> 0:18:50.919 so just know that we acknowledge that. Well, it's not 0:18:51.040 --> 0:18:53.960 hard though, when you're when you get the job right, 0:18:54.040 --> 0:18:58.679 Jeff writing, Yeah, yeah, we had nothing but fun. I 0:18:58.680 --> 0:19:01.119 think it shows. I mean I look at it, and 0:19:01.359 --> 0:19:05.040 usually I can't look at anything where my body shows up, 0:19:05.359 --> 0:19:07.919 But in this case, I just remembered the fun of 0:19:07.960 --> 0:19:11.920 the day so much. And when we crack up on camera, 0:19:12.520 --> 0:19:15.080 we were cracking up, you know. We we cracked each 0:19:15.080 --> 0:19:18.840 other up a lot, and that was rare and and fun. 0:19:19.119 --> 0:19:22.239 So it wasn't it like work? Oh yeah, that was 0:19:22.480 --> 0:19:25.520 that is a rarer, I mean somewhat rare. And they look, look, 0:19:25.560 --> 0:19:28.520 we're grateful for all sorts of work we've gotten to do, 0:19:29.200 --> 0:19:32.320 and you love it and it is your fuel, but 0:19:32.880 --> 0:19:37.320 this one is really kind of rare in like that 0:19:37.440 --> 0:19:42.320 was all fun, right. So, something that's come up online 0:19:42.359 --> 0:19:47.280 among fans of inventing Anna is this idea of Vivian's 0:19:47.320 --> 0:19:50.760 colleagues being so supportive of her in environments where we're 0:19:50.800 --> 0:19:52.760 so used to people being at each other's throats and 0:19:52.800 --> 0:19:55.720 being very competitive, And there's a great moment where she 0:19:55.760 --> 0:19:58.280 comes back to the office and you really see them 0:19:58.359 --> 0:20:01.280 kind of surrounding her with this you know, virtual hug 0:20:01.320 --> 0:20:05.520 where they really feel protective of her. What Dalovan Lamb 0:20:05.520 --> 0:20:09.840 gave an interview about you. America Investigative is doing a 0:20:09.960 --> 0:20:15.040 show about bad journalism, and one of the subjects is 0:20:15.119 --> 0:20:24.320 you maybe I'm fine, Hey, it's okay, fine, I um, 0:20:24.359 --> 0:20:28.119 I am fine. You want to see the promo? Get 0:20:28.160 --> 0:20:31.320 it over with. Is it a generational thing for maybe 0:20:31.359 --> 0:20:35.399 the older veteran folks to feel more supportive and protective 0:20:35.400 --> 0:20:38.040 of the younger folks or is this something that you 0:20:38.040 --> 0:20:41.399 feel sort of baked into this environment. What are your thoughts, Terry, 0:20:41.440 --> 0:20:44.200 I would say it's baked into the environment. I don't 0:20:44.200 --> 0:20:48.679 think it's anything generational. What's generational is that we don't 0:20:48.720 --> 0:20:53.400 have to be political about what we like and what 0:20:53.440 --> 0:20:56.959 we don't like, and we like her. We like that 0:20:57.000 --> 0:21:00.399 she's banished. We like that she's found mout. We like 0:21:00.520 --> 0:21:03.919 that she's passionate, driven, that she's got a story she 0:21:04.000 --> 0:21:08.200 wants to tell. She's being told absolutely not, you're not 0:21:08.320 --> 0:21:11.920 doing it. Move over to the other story. And she's saying, 0:21:12.080 --> 0:21:15.159 I'm not going to do that. That's our kind of person. 0:21:16.080 --> 0:21:20.000 We love. She's banished, right, I mean, so there's already 0:21:20.000 --> 0:21:24.119 there's something about us that's not normal, right, I mean, 0:21:24.880 --> 0:21:29.760 we were banished, and I think we protect her because 0:21:29.800 --> 0:21:35.680 she needs protecting. We know, Paul, and we swooped down 0:21:36.480 --> 0:21:40.760 as the you know, the larger eagles or whatever and 0:21:41.119 --> 0:21:47.400 fend off predators. Besides, we do have generational old school values. 0:21:48.040 --> 0:21:51.000 And so there's this weird you know, like, my character 0:21:51.080 --> 0:21:53.560 is a complete misogynist, you know, really, is that how 0:21:53.560 --> 0:21:58.040 you read her? Really? Oh? He's yes, that's how the 0:21:58.080 --> 0:22:01.840 other Scriberians read him to. He's constantly talking about how 0:22:01.880 --> 0:22:03.960 she's pregnant and what are we going to do about that? 0:22:04.040 --> 0:22:06.119 You know, the baby's gonna come shoot it out of 0:22:06.119 --> 0:22:09.840 her ruchie or whatever. He says. He's protective for that 0:22:09.920 --> 0:22:12.760 reason too, because you know, he doesn't think she can 0:22:13.119 --> 0:22:16.440 do both things at once or something. He's just had 0:22:16.480 --> 0:22:19.480 no exposure. He's just been in foreign lands around gun 0:22:19.520 --> 0:22:23.119 fire all his life. And in that same episode, um Anna, 0:22:23.280 --> 0:22:25.920 you have the fantastic line where you say, we didn't 0:22:25.960 --> 0:22:27.720 want to inscribe area, but you're here and you're not 0:22:27.720 --> 0:22:31.280 a revolting millennial. I have to imagine that people specifically 0:22:31.280 --> 0:22:34.600 thirty five and older, forty and older. There isn't anyone 0:22:34.640 --> 0:22:36.880 who's been in a workplace who hasn't had to adjust 0:22:36.960 --> 0:22:40.400 with a new generation coming in, right, right, right, First 0:22:40.440 --> 0:22:43.520 of all, I just loved the way what Terry just said. 0:22:43.880 --> 0:22:47.200 We love that she's banished. That's number one. Number two, 0:22:48.040 --> 0:22:54.480 she does not completely disrespect us, no right, and so 0:22:54.640 --> 0:22:57.920 I think you know, our job thinking about the way 0:22:58.040 --> 0:23:01.800 Terry said that is to make Criberia the best part 0:23:01.840 --> 0:23:05.600 of the room, to make it cool. And she's a 0:23:05.640 --> 0:23:08.120 good person to have a long for that. She has 0:23:08.160 --> 0:23:12.960 all the right criteria. It's a form of rebellion. Right 0:23:13.080 --> 0:23:15.960 to love that which is banished and create a space 0:23:16.200 --> 0:23:19.199 of love in that and care in there, you know, 0:23:19.280 --> 0:23:24.840 which is the antithesis of what Paul does. Don't go 0:23:24.880 --> 0:23:27.680 anywhere there's more behind the scenes of inventing Anna right 0:23:27.720 --> 0:23:47.720 after this. Okay, ready to hear more. You know what's 0:23:47.720 --> 0:23:51.760 so interesting though, These banished individuals are really what gives 0:23:52.040 --> 0:23:55.720 these magazines their cachet and credibility. So it's sad in 0:23:55.760 --> 0:23:57.960 a sense that these people would ever feel banished when 0:23:58.280 --> 0:24:01.640 they are really at the heart of these organizations. Does 0:24:01.680 --> 0:24:03.879 that feel familiar to you in in terms of theater 0:24:04.040 --> 0:24:07.760 and the work that you've done. Oh my god. A 0:24:07.800 --> 0:24:10.800 playwright that Terry and I grew up with, Lanford Wilson, 0:24:11.240 --> 0:24:15.360 may he rest in beautiful theater piece. But he has 0:24:15.400 --> 0:24:19.160 one of one of his striking plays called Balman Gilead, 0:24:20.240 --> 0:24:27.400