April 15, 2024 • 57 mins
This episode was Joy’s directorial debut! As you can imagine it involved a whirlwind of emotions as well as a fine line of learning on the fly, while not rocking the boat…too much. There was quite a lot of real-life imagery happening too, with a lot to be proud of, but also some relatable meltdowns.
Find out why the girls call this the best episode of the season.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
First of all, you don't know me.
Speaker 2 (00:02):
We all about that high school drama.
Speaker 1 (00:04):
Girl drama, girl, all about them high school queens. We'll
take you for a ride, and our comic girl shared
for the right teams drama queens, girl fashion, but your
tough girl, you could sit with us.
Speaker 3 (00:17):
Girl Drama, Queens drama, quise drama, Queens Drama, Drahna, Queens Drama, Queens.
Speaker 1 (00:23):
Guys.
Speaker 4 (00:24):
This was the best episode of the season, hands down,
best episode of the season so far. Like, I love
this episode so much and enjoy you as the director
and crashed it.
Speaker 1 (00:36):
You crashed it, thanks, babe. I had so much fun.
It was a good one.
Speaker 2 (00:39):
It's such a fun episode, and I think like having
you direct it as well, because we were all having
these really surreal experiences being faced with our own characters,
Like I think it added such a realism to the
comedy because we were six years into really being able
(01:00):
to be out in the world without being met by
people who knew us from TV in the way that
our characters were being met by these people who thought
they knew us either from a book or a breakdown,
and I was like, oh my god, it's so crazy.
Speaker 1 (01:14):
And people who were identifying with us. They were like,
I'm such a Brook, I'm such a Peyton, I'm such aude. No,
we've got rooms full of them. So funny.
Speaker 2 (01:23):
Yeah, I love you.
Speaker 4 (01:24):
So you were the only person that could have directed this.
Speaker 2 (01:26):
It was.
Speaker 4 (01:27):
It was so meta and so weird. Give us the
rundown show it. What's the breakdown you got at the beginning?
Speaker 1 (01:33):
I got Season six, Episode sixteen, Screenwriters Blues, Air date
February second, two thousand and nine. Lucas wrestles with casting
for his movie, while Peyton tries to prepare for their future.
Dan advises Jamie on a school crash. Brooke meets the
actress who will play her my favorite so this is
so fun, while Nathan gets exciting news and Haley has
(01:56):
to make a tough decision at school. There was a
lot packed into this and it was written by Mike
Harrow and David Strauss.
Speaker 4 (02:04):
Everybody had storylines.
Speaker 1 (02:05):
Yeah, yeah, everybody had something to do.
Speaker 2 (02:07):
We should have done that all the time.
Speaker 1 (02:08):
Even Vaughn showed up, like brought him in again, which
it's been a while since we'd seen him. It was great.
Everybody had a little something.
Speaker 4 (02:14):
Yeah, loved it. I didn't even bring my notes down
here into the office because I was like, OK, I
don't need the notes. I love this so and I remember,
I'll be honest, I remember being a little bit nervous
because Chad had directed, but you were directing, and I
was like, oh no, is this an opportunity to like
talk us out of the ticks that we'd all developed
(02:36):
after six years of doing this show. I was like,
is this going to be the time I find out
that like Joy really hates when I deliver a line
this way, or I make like this dumb face, or
I didn't know how it would feel to be directed
by a female peer like the boys we were always
kind of separate from. But I was like, yeah, oh no,
And instead it turned into this opportunity where you could
(02:59):
feel there were some things in the script that were
kind of cheesy, and you found a way to make
those moments really funny and like play with the dialogue
in a way that just felt really collaborative and good.
You did it in the scene with you and Lucas,
you did it in the scene with you and me,
Like the cheesy lines became paunchlines.
Speaker 1 (03:20):
Like what else do children get into your heart?
Speaker 2 (03:22):
Your heart?
Speaker 4 (03:26):
That's exactly the line I'm thinking of that, And I
think that's part.
Speaker 2 (03:30):
Of why I love the way the dynamics feel in
the episode so much, is because we were all making decisions,
like you were leading a female perspective to make choices,
and so we all got to be the team that normally,
to your point, Hill, we were up against like it
(03:50):
would normally be one of us or two of us,
occasionally three of us together in a scene being like
girls don't talk like this, and having a guy like
it's on the page, you have to do it, and
it says right here, she's emotional or she's crying or whatever.
We didn't have to follow any of those rules with
you because you were sick of following those rules too.
And what I sort of love is that not only
(04:12):
do we get to clearly have more fun, but also
all the stuff that I was worried that we were
getting made fun of. For Like the episode opens on
a Nathan and Haley and she's in the poncho and
it's like, oh god, how many how many hits are
the writers going to take at us because they get
to make fun of our characters, And instead it was like,
(04:33):
oh yeah, well, all the boys will be shirtless because
that's what you guys try to do to us, and
all the boys are going to snap and not be
able to handle the pressure, and we're all going to
be cool. Like it just it flipped the dynamic in
a way that was really fun to watch. And I
don't know, I felt like I felt like we got
some good shots in at what we were dealing with
(04:53):
by the scenes.
Speaker 1 (04:54):
I loved it, Yeah, totally. Yeah, it was a really
nice space us to be able to throw in those
shots in a way that felt fair and totally believable
and within the context of the story.
Speaker 2 (05:07):
Yeah. And then and then it still wound up being funny, right, like, yeah,
we still got that comic relief even though Nathan sits
and goes, you know, why am I not wearing a shirt?
Speaker 4 (05:17):
Like what's going on here?
Speaker 2 (05:19):
Weird? Right? And then you still get Brooke walking into
like a you know, a sea of dudes that are
built like fitness models and being like, oh my god,
you know a human would So it wasn't like it
was all one sided. But I don't know, it just
it felt it felt ripe.
Speaker 4 (05:36):
Right. How early did you get the script?
Speaker 1 (05:40):
A week and a half maybe, two. What it was,
it was like pretty pretty fast. There was a week
of prep, so it was there was. It was a
lot thrown at me. And if it had not been
our show, I don't know how I wouldn't have been
able to do it. I mean, we had our there
was so much of it. It was just a well
(06:00):
oiled machine. Our crew knew exactly what to do. I
mean I was there for quality control and sort of
guidance of my vision and opinion of how how to
shape things. But the clay was basically molded. We'd been
doing that for so long, so it wasn't an incredibly
tall order from that point of view. But you guys,
I remember being really generous and patient with me as
(06:23):
I was learning. Was the first thing I'd ever directed.
And to come in and direct people who I respect,
and I you know, I know what great performance you
guys were. And I didn't want to I didn't want
to create tension or like make something. I don't know,
it just I just didn't know what to expect. I
(06:44):
knew that we would all be respectful, but like I
wanted to make it good, and I didn't want to
put my foot in my mouth or step in it
or hurt anybody's feelings or whatever, and still trying.
Speaker 2 (06:55):
Are you really going to make base? Is that your bad?
Speaker 1 (07:00):
Chad's the only person I could ever say that too,
and he would just you know, it was like somehow
I got away with it with.
Speaker 2 (07:06):
Him, well the same.
Speaker 4 (07:08):
That's why I was like when Chad directed, I've always
been able to be really frank with Chad because that's
just the dynamic of our relationship. It was different when
it was like a peer that I felt closer to,
you know what I mean, Like it's having I don't know,
it's a weird thing where pushing back feels dangerous if
(07:29):
it's someone that you care about, because you're like, oh, yeah, no,
how are we going to navigate this well?
Speaker 2 (07:34):
And we were all in it together as a cast obviously,
and you know, joy for you and for Chad directing
for the first time this year. It's not just that
you're saying to a director like, I don't know that
I necessarily agree with this because fill in the blank
six years of backstory with your character. But you're looking
at your friend that you know is nervous because this
(07:55):
is a really big deal, and you're like, you might
not remember that last year my character did this, But
I remember, and I don't know how to say this
to you in a way where it will not feel personal,
And I really don't mean to stress you out. I
have a thought like they're just the panic of like
I don't want to hurt your feelings. It's like such
a real thing, and I don't think we felt that
(08:15):
even with the directors we were friends with. We didn't
feel that with other directors because they were all, you know,
older than us, and they'd been doing this for a
long time. And it's funny you saying that. It like
my chest feels tight, like in a sweet way of
like I just want to make sure you're okay, but
also I want to be okay, And how do we
do this together. It's such a big professional leap that
(08:37):
we all, you know, took on these journeys.
Speaker 1 (08:40):
I felt the weight of responsibility of that that it
like I even looking back now, I mean, I think
we all I don't know. I don't know exactly how
the old adage like the quote is, but basically like
everybody already knows what their biggest problems are, and they're
like what their flaws and faults are and like, looking back,
I I know that my stubbornness in particular was like
(09:03):
probably my worst flaw, qualled personal character flaw at the time.
So so stubborn when I saw something and I thought
it needed to be a certain way, like that was it.
I really had a hard time getting around it. Part
of it was the ADH shape, but some of it
was just like there's a lot of it. It was just
other stuff.
Speaker 4 (09:20):
We've learned so much about brains in the last twenty years.
Speaker 1 (09:22):
Yeah, I know, I know, right, but whatever. Some of
it's just that was just where I was in life.
But so the weight of responsibility of wanting to be
open and get over that thing that I knew was
my flaw of being so stubborn when I would see
something a certain way and trying to be able to
(09:43):
listen and then and then change it and improvise it
the last second because somebody else had a different idea
and you want to be open to that. Like, I
learned so much. I learned so much on this episode
End with you guys in particular, it was really it
was a really cool experience and you were all so generous.
Speaker 4 (09:58):
It's a perfect episode. I think whatever you did you
did it right, because it is a perfect episode. There
wasn't a single scene where I was like, when's this over.
Speaker 2 (10:08):
Usually there's like a.
Speaker 4 (10:09):
Couple snoozer scenes per episode. This one was like all
the hits. It was a whole CD of the hits.
Speaker 1 (10:15):
The secret is keep the camera moving. That's it. You
just keep it moving as much as you can. If
there's anything that feels slow, just keep going. Eventually it
all just blends together like one long music video.
Speaker 4 (10:27):
But that's actually that's how it felt. The transitions from
scene to scene really felt smooth. You know, we talked
a bit in the past about just recently about how
our episodes felt kind of disjointed, like Sophia was on
a horror movie and I'm doing, you know, baby boom,
and like everybody was doing different shit. And this really
(10:48):
felt cohesive and cool. And not only did you have
to deal with your core players, but you had like,
you know, James Vanderbeek is here, Austin's here, you have
all of these doppelgangers here. It was the episode of Doppelgang.
It was.
Speaker 1 (11:06):
Fun. It was really fun. Well let's get into it
because I loved this. I love these storylines. The fake
Brook was I just I just could not stop smiling
every time the two of you were on screen together.
Speaker 2 (11:19):
It was so fun. It was so so fun because
being able to make choices, you know, with another actor
who was like essentially we talked about it and the
idea was anything I did, She'd do, and so we
really leaned into it. And like the literal mirror image
(11:39):
of physicality, screaming, hugging, yelling. It's such good comedy, and
I think you make a really good point.
Speaker 3 (11:46):
Hill.
Speaker 2 (11:47):
Part of the reason it works so well in the
structure of this episode is because this whole episode is
a rom com. Even the even the serious stuff, you know,
joy your storyline with Ashley, the Hayle, Sam and the
school dynamic, it still essentially works in a rom com structure.
It's somebody saying, hey, you're really great and I'm here
(12:09):
to support you.
Speaker 1 (12:10):
Yeah, wholesome and uplifting.
Speaker 2 (12:12):
Yeah, it's it's a platonic energy obviously with a student
and a teacher, but it's it's still very sweet and
kind and loving. And so instead of having you know,
one person getting accosted by a stalker and another person
trying on baby clothes, it's like the cohesion in the
episode really works, and I don't know, I think it
(12:33):
allows for some of that comedy to play even bigger,
which you know, Carissa and I got to do together.
Speaker 4 (12:42):
Yeah. Well, this was a whole episode about casting. How
much did you play a part in the casting, because
that's what I want to know before we talk about
like the actual stories.
Speaker 2 (12:51):
Yeah.
Speaker 1 (12:51):
I think I I remember playing a pretty big part
in casting. I mean I was there for all. I
saw the tapes I saw. Was I in the room
for any of them?
Speaker 2 (13:00):
I don't know.
Speaker 1 (13:00):
If I was in the room, I can't remember, but
I did see a lot of tapes and definitely hand
picked Alexandra who played eventually played Peyton. Huh, Carissa, I
feel like maybe had already I had been picked by
producers or something. There was I feel I feel like that.
(13:23):
Alison Munn was played Miss Lauren. That was her first
episode with us, and Alison and I had done a
play together in la We did The Outsiders the musical
and she was Cherry Vallance and I was Sandy, girlfriend
of Soda Pop or somebody, so that was really fun
to bring her in. I think all the boy everybody else,
(13:46):
I think I just kind of watched tapes.
Speaker 4 (13:48):
I felt really protected in the meta casting of this
episode because there's that whole conversation. Yeah, there's this whole
conversation of like, dew we cast the do we cast
the boobs? Do we cast? You know, like what are
we casting for? And So the girl that ultimately became
Peyton in the table read, I loved her, like I
(14:12):
just loved like watching how innocent she was and how
I don't know, there was like a really protective nature
to that.
Speaker 1 (14:21):
She felt so much like Peyton season one to me
that there was an innocence, there was a softness that
could easily have a hard exterior, but she was It's
that same sort of like Michelle Williams quality, Like there's
a sensitivity there that is so deep, like the well
(14:43):
is so deep. Really good actress. I don't know what
she's been doing since then, but she's good.
Speaker 4 (14:50):
And then Nathan character too, like he was, oh, he
was so little, like he was just a kid.
Speaker 2 (14:56):
They seem so young.
Speaker 4 (14:57):
Yeah, how weird to cast within a casting storyline.
Speaker 1 (15:02):
It was weird, super weird, But I think it was
fun to be able to do that from my end
because I know, you guys so well, Like I kind
of wouldn't have wanted anybody else to come in and
make those choices. I would have wanted only one of
us to be able to do that because we all
knew each other. Somebody else coming in would I wouldn't
have trusted their judgment.
Speaker 4 (15:21):
You're ultimately Lucas in the episode.
Speaker 1 (15:24):
Yeah, oh, because I'm making all these decisions.
Speaker 4 (15:27):
Yeah, I know.
Speaker 2 (15:29):
Part of the metanists that I really appreciate is, you know,
Mike Harrow and David Strauss wrote this episode, and Mike
Harrow was one of the guys who really grew up
with us like on the show. You know, he I
don't remember if he was a writer's assistant or just
like you know, one of the junior writers when the
(15:51):
show started, but Mike was one of the people who,
especially in later seasons, I know, really had our backs.
Were things that he shared to protect us and to
like illuminate certain things. You know, he he shared a
lot of things with me in later years, you know, Hill,
(16:11):
even after you left it, I hadn't known that, Like
I really cherish him for because that was a risk
for him. And there's things happening in this episode where
I'm like, oh, wow, you were really brave because he
wrote James Vanderbeek to say some exact things that our
(16:32):
boss had said to us. They were gross. Yeah, and
you get to see how gross it is and you
get to see that he's taking shots at this guy,
being like, this is how you treat people, and this
is how you talk to women, and this is how
you're trying to cast your show.
Speaker 4 (16:50):
And uh, it's so ballsy, man, it's so ballsy to
hold the mirror up.
Speaker 2 (16:55):
Yeah, he really did it, and I was like, whoa.
You know even that a lot of it got through,
and you know, maybe some of that is when you
think you're all powerful, you know, your ego makes you
think no criticisms will ever get through. But it kind
of took my breath away and I thought he did
it so smartly in that he jumbled up who the
(17:18):
boss said what to but some of those things really
came out of our boss's mouth and I went ooh,
and I was like, oh, yeah, you just get to
see how totally inappropriate and disgusting it is and there's
no there's no defense for it. It's really nice to
watch the scenes play out.
Speaker 1 (17:35):
Yeah, because he's so grow like, oh, so great, because
Vanderbeek is great. He does it really well.
Speaker 2 (17:40):
But what I love about Vanderbeek is he really commits
as an actor and he's like, oh you want me
to be slammy watch this and you're like, thank you.
Speaker 4 (17:48):
Yeah.
Speaker 2 (17:48):
He doesn't judge his characters, and it was very important
that that character was portrayed. Honestly, I was.
Speaker 4 (17:57):
Impressed well and that he's not He's not far fetched.
Like that is literally how we were being spoken about.
It's how day players on our show were spoken about
in front of me and spoken to.
Speaker 1 (18:09):
And there was no mustache twisting. He wasn't being a villain.
He was being like a normal quote unquote, nice, likable
guy who just happens to say some gross things, you know,
on the offset and then it just the closer you get,
the ickier it.
Speaker 2 (18:23):
Gets, cause it's funny.
Speaker 1 (18:26):
Yeah, but he didn't seem like he wasn't trying to
be dastardly he or you know, awful. He was just
being he was being real.
Speaker 2 (18:33):
Oh, which is so wool, but it's so I got
to say, like, there's something you know, all of us
having been through it, there's something I really appreciate about
watching it, and how we didn't pull back from it,
and how it was Vanderbeek essentially portraying our boss, who
was being written by one of the writers who'd been
(18:55):
with us the whole time, who'd heard all the stories,
who told us a lot of a lot of what
was happening in the writer's room in la and that
you were directing it, and by the way, directing it
with our crew who'd been there for so long. You
know that all these people have relationships with Like our
camera crew came from Dawson's. So even if you think
(19:16):
about it that way, our DP, we know, was able
to say to Vanderbeek, like, yeah, this is what these
girls are going through, and it just I don't know,
like the four of you somehow making this stuff get
from the page to the screen.
Speaker 4 (19:32):
It's like Captain Plantage, Yeah, it's like I.
Speaker 2 (19:34):
Feel like we got away with something in a way
to be like, you want to know what it was like,
It was like this but worse.
Speaker 1 (19:40):
Yeah, the irony of our boss creating this whole storyline
and then having it get used exactly against him in
the way you like, that's pretty great. I mean, you
can't write this stuff even though you can't apparently like.
Speaker 2 (19:55):
There's so much about it that wasn't great, but this
is great. Yeah.
Speaker 4 (19:59):
Well it made it so easy to side I Beak,
Like each one of us had a moment with him
where it was like, uh, wait, don't want this, like
whenever you are pass, yeah, which hard pass feels redemptive.
(20:24):
The one thing though, in the Beak storyline, you know
now that you're bringing up Mike crafting this thing and
really touching on some of the stuff that was actually
going on. The thing that I found most triggering in
this episode was Julian and his complacency with the way
the work was being depicted. Because I don't necessarily mind
(20:45):
a bad guy. My biggest trigger in life is a coward.
Like cowards infuriate me in a way that's probably not normal.
And the cowardice of Julian to let that breakdown go
out and then try to like spin it later irritated
the out of me. I couldn't deal with all the
(21:06):
other men in the room going along with that personification
of Brook. It really biked me.
Speaker 1 (21:12):
Yeah.
Speaker 2 (21:13):
And the thing is, by the way, I fully agree,
and it is one of those moments where I can
see why It's necessary because it is the device. It is,
it is what makes as Brooke and Missy are spending
time together, what makes them like in the way they
meet perfectly, then they start having these near misses. You
(21:34):
need the confusion. I liked getting to stand up for
myself because it also felt very meta to me in
that you know, I have felt that way and we've
talked about it on the show, Like it was really
hard for me coming onto the show and then receiving
treatment in public and being like, oh, people think I'm
(21:57):
this promiscuous part like Brooke Davis, which, by the way,
have sex with as few or as many people as
you want. I don't actually care about that. What I
care about is the way we treat women differently if
we believe they are sexual. And it was really scary
for me, like growing up in a mostly all girls'
school environment, I did three years of a co ed college,
(22:20):
and then I came on this show and I was like,
what is happening? Well, like why why are people talking
to me this way in public? Why do people touch
me in public? And I watch them not touch other people,
Like it was very hard for me, and so what
I loved in this episode was getting to say things
that I had said then and that I say sometimes now,
(22:41):
where I'm like, of all the cool shit I have
done as a woman, you want to talk about who
I dated or what dips cheated on me, or who
I figured out wasn't who I thought they were, Like
that has to do with other people's bad behavior, Like
I've done this cool thing, I've been this advocate, I've
built this company or nonprofit or whatever.
Speaker 4 (23:02):
Why Why don't the things women do matter more productive?
Speaker 2 (23:06):
Yeah, than the way other people treat us or want
to sleep with us? And so yeah, I don't know.
In the way that I loved it, Beek personified our
boss being gross. I loved that I got to sort
of vent about my own experience and experiences by the
way that I know you've both had where it's like you,
that's that's the thing you want to ask me about
(23:27):
in my whole day life. And so, I don't know,
there's a I hated obviously that Julian was a coward
because I'm like you, and cowardice triggers the out of me. Yeah,
because we always had to stand up for ourselves, and
I get annoyed when people with more power don't. But
I did like it as a writing device. Because I
(23:48):
liked it, I got my moment to be like, how
dare you? And then I got to say yeah, and
I got to say it to Missy and I got
to say it to Julian and I was like, yeah,
I'm pork. Davis is a badass. Women are bad asses.
Leave me alone, and I sort of I loved the payoff,
even if I hated him having to be a little
bitch to get me. Well, no, one not.
Speaker 4 (24:06):
Everyone's born with a backbone, right like some people. Some
people's story is that they grow one. And so if
Julian is growing a backbone, neat. I love that he
fedexes your bone.
Speaker 2 (24:20):
FedEx super cool. Guys.
Speaker 4 (24:27):
Have we ever been in a situation where we had
the FedEx our yearbook to the location we were at? Oh?
He really wanted to make that point. He's like, I
showed you to see the butt cut that I had
in nineteen ninety eight.
Speaker 2 (24:41):
The butt cut. What a term.
Speaker 1 (24:45):
And Brooke gets to go home after all of it
and the relationship she has with Sam. It's like, I
love that in spite of all of the stuff that's
being thrown at her, she just gets to go home
and continue to do what really makes her, investing in
the people that she cares about, building up this young woman.
(25:07):
It's like, that's what we do. Just go ahead, keep
throwing it at me. I'm I'm gonna just keep being me.
And Brooke does that non stop in this episode. I
just see her. It's so fun to watch her or
you whatever, like dealing with all of this stuff coming
at Brook and then just being like, but you know what,
(25:28):
this is what really matters, and then that's what I'm
gonna focus on. That's what makes her so great and lovable.
Speaker 4 (25:35):
Well, all the girls had that storyline this episode. It
was like, hey Hayley, you're gonna lose your job. Hey Peyton,
you're on your own kid. Hey Brooke, you're a whore forever,
you know. Like yeah, everybody had these things and the
women just had to be fine. And then Lucas got
to have a temper tantrum.
Speaker 1 (25:53):
Yeah yeah, yeah right. I did fill out with Peyton though.
I was just watching you at the fireplace. I was like,
I feel that, like how many times I would be
a millionaire if I had a quarter for every time
I had to suck it up? Swallow it down. Yeah, Yeah,
I'm good. Everything's great, great.
Speaker 2 (26:16):
Call me later, Yeah, I'll be here. You broke my heart.
Speaker 1 (26:22):
Everything.
Speaker 4 (26:22):
Oh, the hormones are real, though I don't know how
much I realized that when we filmed this. You know,
you say words that are on the paper and you're like, eh,
I don't and then you know, a year later, I
was pregnant for real. I guess yeah, if this aired
February second of two thousand and nine, I had gus
(26:42):
March of twenty ten. Yeah, and all of a sudden,
all that hormone. This was like a premon mission. This
was practice. The hormone stuff is super real, and even
now in our early forties, girls, I'm gonna cry on
a dime. I walk around, Yeah, I walk around like
forty percent ready to cry at all times. And it's
(27:03):
just a matter of what the trigger's gonna be. And
that crib I could feel, I could feel the venom
in my body with the crib, with the foreign language instructions,
because I feel like we've all lived that. It's like, yeah,
thanks for the gift.
Speaker 2 (27:21):
Well, and there was no one of the things that
really struck me watching you do that. I was like,
we had none of the stuff then that helps you. Now,
there was no like Google app on your iPhone that
can translate any menu into English. No, there was no
task rabbit. Turns out skills is the task rabbit. He's like,
oh yeah, I baby proof, I'm.
Speaker 1 (27:40):
A handy hand.
Speaker 2 (27:42):
That was so funny. He was so funny in that
scene with you.
Speaker 4 (27:47):
But that's also who he is in real life.
Speaker 2 (27:49):
It is exactly how Antonina is. But I wrote it down.
I was like, she has no task rabbit, she has
no translate, she has nothing, she has nothing to help her.
She's just stuck mea who maybe is Italian Catalano. Yeah,
so silly. I just remember.
Speaker 1 (28:06):
I don't know why I that crib. I hated that
crib so much. Yeah, it was in the way or something,
and maybe it just took them too long to set up.
I don't know why. It was, Like, really it was
annoy I remember, and I noticed it in the episode
because you not that you're gonna go back, because who
has time. But like, if you notice, there's a lot
(28:27):
of shots that are just kind of instead of directly
over each other's shoulders, It's like we did a two
shot and then we sort of just did the like
cross I don't know how to explain it. Yeah, cross
coverage that was like slightly wider, but just like, how
do we get out of this faster? Because this is
this crib is really irritating.
Speaker 4 (28:45):
Well for it to fall apart all four sides like
that a setup. You know, you're putting together an erector
set with just enough parts not connected to fall apart
on cue. That was a nightmare. Yeah, handled handled though
the comedy.
Speaker 2 (29:00):
Well that's it for our friends at home. Sometimes the
thing that looks the easiest is literally the hardest chain
in the ass on the day, like to make that
thing stick together but then also fall down, like the
the one side at a time. It's just a night
They had a fishing wire.
Speaker 1 (29:18):
Yeah, it has to be great, and a fishing wire
it's just terrible.
Speaker 2 (29:22):
Yeah, And that's that's just the stuff that nobody, you know,
who's not on set would know. But oh man, it's
like if you've ever had a friend come visit on
a day where you have to do a little gag
like that, that's when the people are like, this is
what you guys do all day? This is really boring.
You're like saying, thank you it's great.
Speaker 4 (29:40):
Yeah, believe in the power of the edit.
Speaker 2 (29:44):
The edit will make it funny. Loved it.
Speaker 4 (29:48):
Speaking of funny, Dan and Jamie like their whole the
beginning though, Like I loved the blocking of the beginning
where Jamie's walking on that wall, so then he and
Dan are goals like I and them talk. You could
just feel how much fun Paul was having.
Speaker 1 (30:05):
Yeah, I could do. He really was having a good time.
It seemed almost out of character for it was so
much Paul and so little Dan. But well, you know,
he likes to mess with the audience that way too,
so who knows.
Speaker 2 (30:20):
I also think, though, in a way what I like
and I have seen this, you know, with people I love, certainly,
especially now that you know so many of our friends
are parents, people who didn't have great relationships with some
of their parents. Their parents are getting a second shot
with the grandkids. They're getting to be the parents they
(30:41):
never got to be, and it's it's like kind of
profound And I feel like that's almost what we're seeing
with Dan, and it probably is because Paul just had
so much fun with Jackson and they're so charming together,
and you can tell how much fun Jackson has with Paul.
But you know you were traveling last week, Joy, But
I was saying to Hill and Kate, I was like,
(31:03):
I hate that I love Dan Scott in this episode,
and I'm having the same experience in this one. I
just love him and I know better, but my god,
I love him. And maybe it's because I really, you know,
really love Paul, but it is so freaking sweet to
see them like this, and I don't know, I just
I want more of it. I want so much more
(31:26):
of this Dan and Jamie dynamic.
Speaker 4 (31:28):
Well, let's be for real, like if we're Miss Lauren,
we're kissing Grandpa Dan all yeah, yeah, yeah, yeah, Like
showing up at that dude's beach house and he's so
charming and he's just his hair has never looked better.
He's so good with the child.
Speaker 1 (31:46):
He reads The Time Traveler's Wife. On what planet? Does
Dan Scott read the Time Traveler's Wife?
Speaker 4 (31:54):
Of course he does.
Speaker 2 (31:55):
Listen.
Speaker 4 (31:55):
That prison library is small, Joy.
Speaker 2 (32:00):
He's gonna read whatever is there.
Speaker 1 (32:01):
That's right, that's right.
Speaker 4 (32:03):
I loved it.
Speaker 2 (32:04):
And Shamie back he was in prison.
Speaker 4 (32:10):
She's just like, oh, okay, that's great to know.
Speaker 1 (32:15):
Cool to do with that?
Speaker 4 (32:17):
Oh, I loved it because you could tell she's like
vibeing a little bit with him, And there is no
greater buzzkill then that he was in prison.
Speaker 2 (32:26):
Bob, No, that kind of wrecks it.
Speaker 1 (32:29):
I still think it's weird that after the kidnapping, Dan
brings Jamie back. There's the whole hallabaloo about that, and
now it's just it's a free for all. He just
picks up Jamie enter school, he's the babysitter. It's like
it's all good now. Everything from the past just wiped slate,
wiped clean because he you know, he showed up saved
(32:51):
zero for an afternoon, which is amazing, But like, what's
going on, dude, I don't know. It seems strange to me.
Speaker 4 (32:59):
If if I didn't do the show that I do
for Sundance, where I literally just cover small town cases
of murder, I wouldn't believe the storyline. But you would
be amazed what people just turn their heads off to.
They're like, I don't want to think about that. He's fine,
I need a babysitter, he's available. Wow. You know, like, yeah,
you can super compartmentalize.
Speaker 1 (33:21):
Yeah, you can talk yourself into anything.
Speaker 4 (33:23):
Yeah, he didn't mean it.
Speaker 2 (33:25):
Yeah, but when I really try to think about it too,
you know, Dan got kidnapped by her, he got tortured,
he missed a heart. If we really get granular on
not even touching on the Dan and Keith of it all.
But I wonder how much of that too, where you
go like, this man, whatever I may think of him,
(33:47):
shares trauma with my grandson, with this crazy person, he's
the only person who understands let's let them spend time together.
To your point, I think you can kind of rationalize
or compartmentalize any thing. And maybe that's part of why
it feels so weird for us to be watching these
episodes and loving Dan because we're like, I'm supposed to
(34:07):
not like him. But the human mind and heart operate
very differently from like black and white lists on a
piece of paper.
Speaker 1 (34:16):
Yeah.
Speaker 4 (34:16):
Yeah, if you only start the clock at like Jamie's
awareness of Dan, like when they actually meet, Dan's a
victim and that's all Jamie knows him, as it's like
a fellow victim kid doesn't know, doesn't know all. You know,
the backstory wasn't there for it. But Haley and Nathan
(34:38):
news where's deb Like Where did Deb go?
Speaker 2 (34:42):
Where is she?
Speaker 1 (34:44):
I really don't know. It's been It's pretty strange.
Speaker 4 (34:46):
They had a good thing going with her babysitting.
Speaker 1 (34:49):
Yeah, I don't know. There's too many other storylines. I
guess maybe they tried to get her for this episode
and she was not available.
Speaker 2 (34:56):
Something.
Speaker 4 (34:56):
Vanderbeek telling me that I'm too old to play Peyton,
that I'd make a great deb feels like right now
in twenty twenty four, very full circle. Yeah, oh yeah,
I guess.
Speaker 1 (35:11):
I guess.
Speaker 2 (35:11):
Yeah, I guess that is what we'd be doing now.
We would be the mom's no.
Speaker 4 (35:15):
Yeah, I'll be Deb. I like how messy she can
be great too? Man, was it this cohesive on the paper?
Speaker 1 (35:35):
No, I think we added in a lot, like there
was a lot of transitions that were disjointed and things
that felt like I remember working a lot on the
transitions in particular, and just trying to make sure that
everything flowed and figuring out thematically, like where the ties
were and how to just keep it moving. I think
(35:57):
that at that point that was probably my biggest complaint
about the sh If I would watch it, it's like
we just had we had too many episodes that felt
stagnant or like destoyed to disconnect it as we've been
talking about, And there were plenty that were really good too,
and that moved. But yeah, this is just the whole
thing felt like it should be fun and there was
(36:20):
no need to stop and be super serious with anything
other than a couple of key moments. Everything else was
just let's just keep it moving, let's keep everybody having fun.
Speaker 2 (36:32):
And then the moments really played up, like when the
camera would stop when you go into the new principal's office,
you know, and you can't decide if you're gonna sit
or stand or sit or stand. There's motion, and then
when she says the thing, everything stops and it the
choices that you and the DP made together in those
(36:53):
ways help the energy of like wait what did she say?
Like that reveal that thing that feels so bad literally
causes a stop motion and it increases for as an
audience member, the shock of what's happening? Do you remember
because obviously we weren't in that, We weren't in that scene.
(37:16):
Where does this new principle come from? Why is this
going to be like a big storyline? For Haley, I
was like wait, wait, wait, who is this woman I like,
I just didn't remember.
Speaker 1 (37:26):
She does come back. She, by the way, was from Seinfeld.
She was Malva, the best, the best.
Speaker 4 (37:36):
Did you cast her?
Speaker 1 (37:37):
I don't remember.
Speaker 4 (37:39):
She's scary man.
Speaker 1 (37:40):
Yeah, yeah, she's serious. I think she does come back.
It becomes a bigger a little bit of a bigger storyline.
She was lovely, really lovely person. Yeah. I don't remember
much about that, but it was those are what you
were saying. Those are fun, fun things to learn how
to do and just create create story with camera, you know,
(38:02):
pulling away and leave people alone or long lenses and
how that creates a feeling of part of being a
part of a community. And it's just it was was
really it was really cool to learn a lot a
lot of that stuff. I don't know how you so,
how soon after this did you direct?
Speaker 2 (38:17):
I directed in the following season in season seven?
Speaker 1 (38:20):
Okay, did you feel like had you did you do
anything before you directed to sort of prep for that
in terms of learning or was it on the fly?
I was learning a lot of this on the fly, like, oh,
if we if we pull out, she feels really alone,
let's do that, you know, me just kind of pick
it up along the way.
Speaker 2 (38:37):
I agree. I mean, I think if anything, the stuff
that I really felt like I intentionally wanted to observe
was you know, pacing, how how you would keep a
set organized and keep to a schedule, because you know,
we were shooting time. You know, it's a lot shocker,
(38:59):
And for me, it was about like, you know, blocking efficiency,
like really watching the things that directors we felt close
enough to pester with questions we're doing. And then yeah,
the more technical stuff. Even now, even after all those
episodes we did and all the things like me being
(39:20):
a little dyslexic, it's like very hard for me to
remember which lenses which, like I always have to ask
a like a confirming question. But yeah, beginning to figure
out what technical things you could do to increase a
feeling you know, of closeness or distance, or how you
(39:42):
could block something to make someone appear very alone in
a crowd, you know that stuff. I feel like, on
the one hand, we were learning in real time because
we just did it every day, and then on the
other hand, like there were things you'd learn on the
day because thank god, we had a cru that had
been with us for so many years. Yes, and such
(40:02):
good camera department that could be like, hey, here's a
quick tip, like I learned this thing in film school,
and you'd be like, oh, okay, great.
Speaker 1 (40:10):
Yeah, fantastic. I remember that with the d with the
Jamie and Dan stuff we had. There was a shot
of him walking down the stairs and I was like,
just now watching it, I went, why are we in
a crane?
Speaker 2 (40:21):
Why?
Speaker 1 (40:21):
Why the world would we using a crane for this?
That seems so unnecessary? And then I remember that they
had there was some kind of thing where they like
had this crane. They had to use it because they
had I don't know if it had to be sent back.
I didn't have to be sent back. I don't know
what was going on. There was something that they were like, no,
you have the crane and you should you know, you
need to use it. And I remember being like, can
(40:42):
we use it a trick? And they're like, well, you're inside,
it's a whole thing to get it upstairs, Like is
there any outdoor location we could just use the crane?
I was like all right, fine, great, So getting to
learn from the crew, how do you you know those
kinds of things on the fly where the day before
they're like, let's use a green Okay, great, figuring out
a crane make it interesting. But you know, anyway, I
(41:03):
was gonna say, I really liked watching Peyton. I know
we talked about the crib, but that was from a
different perspective. But I liked watching Peyton struggle through with
this whole doing things on her own without Lucas around,
because she's she's so capable, and that's you know, she's
kind of used to being a loner, and it was
really sweet to see her in a space where she
(41:29):
is so used to being alone and handling things on
her own and she really doesn't want to be now
and like to struggle from that place. I feel like
we've all been there, you know, when you're single for
a long time and you're used to just getting done,
and then you fall in love and you start to
rely on the other person and then they're suddenly not around,
and then you have to go back to being the
way that you were, but you don't want to because
(41:50):
you're soft now open. It was really sweet.
Speaker 2 (41:55):
The shell is off.
Speaker 1 (41:56):
I know, how did you feel about that? All that
stuff that you guys were Once you guys were together,
it was all super lovey, DeBie.
Speaker 4 (42:03):
But we were a part a lot. Like I talked
before about the isolation of Peyton in this whole season,
and this episode was a nice departure because she goes
to Tricks, She's with me, she's with Brooks, she's with Haley.
Like Peyton's getting a little like pop ins from skills,
you know, Like I got to maybe that's why I
like this episode so much, because.
Speaker 1 (42:24):
She wasn't so.
Speaker 4 (42:27):
It wasn't all by myself, you guys. Yeah, it is
really hard for me to work on stuff around my
house with someone because I'm just conditioned to do stuff
by myself. And every year I go through the same
process of where I get really comfortable with my husband
being home and like helping me pick the kids up
(42:49):
and helping me with the groceries and like doing all
of that, and he leaves tomorrow to go start filming
his show, and I feel Peyton's anxiety in this where
it's like no, but I finally let someone in it,
Like I'm I'm just codependent enough to feel comfortable and
you're not here. Yeah, I just want to dash of
(43:10):
codependency because it's fleeting. They always have to go somewhere. Fine,
but when Lucas shows up at the ultrasound that undid me,
like hot a nice still cry about that? Yeah, that
that stuff, especially if you've ever suffered pregnancy loss, is
(43:34):
it's hard to explain the terror of going to those
part appointments because there's no guarantee that they're gonna go right,
and you are with a stranger who you know. You
feel like a guinea pig and it's much easier to
(43:55):
face tragedy when you have your person with you, but
there's there's no else, and worse than when the tech
is like can you just go sit back in the
waiting room, I'll have someone come talk to you in
a minute, you know, like it's it's really bad. And
so I completely Peyton's terror. And what's weird to me
is that we had to depict this stuff before it
(44:17):
happened to us in real life, like none of us
had had kids, yeah, you know, like we were guessing
uh and so yes, So much of this episode is meta,
but it feels meta for me personally because I lived
it not long after, and I don't know that gets
in your head. That's when you start to wonder, like
(44:37):
if you conjure shit, like what is happening? But Lucas
showing up made me love Lucas and Peyton so much.
People pick on us for being cheeseballs. Once we're together,
I don't give a shit. I don't care what you think.
We are in love. He showed up. He was like
you told me last week, like what you had that?
Speaker 1 (45:00):
Yeah, Like that's Lucas Scott, That's who he is. He's
you kidding me. No matter what's going on, no matter
how crazy the day is, no matter how much his
world is exploding or getting weight on his shoulder, putting
weight on his shoulders, He's going to show up for Bayton.
That's why.
Speaker 4 (45:15):
Well it was so romantic and it didn't cost a thing.
He just showed up. And remember, well don't cost I mean.
Speaker 2 (45:27):
But it speaks to that that really important and sometimes
I think hard to define, but you know when you
see it experience of really being seen, when you feel seen,
when you feel valued, like you can design a whole life,
and if you don't feel seen, it will feel empty.
(45:49):
And I think that's why those moments feel so special.
That moment that I told you made me cry last
week for you guys, you know when when you I
was telling Hillary Joy when you were traveling that she
and Chad had this scene last week about Keith's ring,
and like, what struck me as as a viewer was, Oh,
(46:10):
Peyton is literally choosing her dream come true. She's saying,
I want the thing I've always wanted. It was so like, Oh,
it just like squeezed my heart in the best way.
And this felt like a continuation of that, which is
especially I think, nice to see for Peyton and everything
she's been through you In that scene, he walks in
(46:33):
the door and it's like, Oh, she is seen and
heard and loved, and that's everything.
Speaker 4 (46:42):
Safe Peyton is a totally different animal. Safe Peyton is cheesy,
She's making bad mom jokes.
Speaker 2 (46:49):
All the time, like magic.
Speaker 1 (46:51):
But what a beautiful arc to go from where she
came from to be here now Save.
Speaker 4 (46:56):
Peyton, because trauma can make some people real, right, And
I like that our girls have all been through different
kinds of trauma and are trying to be the best version,
not the you know, not the gross version.
Speaker 2 (47:12):
I liked that.
Speaker 4 (47:15):
When you were talking about camera lenses and like different
techniques to make things feel a certain way. I liked
that you had me take my jacket off at that
scene by the fire, because there's something really vulnerable about
like your full arms showing like Peyton had been in
this Blazer the whole episode, which feels like I'm holding
it together. I'm holding it together, I'm structured, I'm a
(47:36):
business lady, I'm.
Speaker 2 (47:37):
A boss, I'm fine, grown up.
Speaker 4 (47:39):
And then taking off that layer. Is this really subliminal
because I'm like rubbing my arm in the scene, and
I remember when we watched it thinking just like, oh,
what like a weird self soothing mechanism and there was
just like a vulnerability to it. And those are those
little things that a great director can figure out, Like
we can say the word words, but we can add
(48:01):
this layer and it will feel even sadder.
Speaker 1 (48:05):
Or remove a layer that might have been your choice
though too, you know you you. I mean that's also
one of the things we get to do as actors
is come up with these things that will feel will
help us tell the story. So I don't remember if
that was me or you, but either way, I liked
the choice.
Speaker 4 (48:21):
How did you jump from directing to doing all your though?
Because your stuff was really serious this episode. I mean,
Haley is not only dealing with this thing of work,
but she's also counseling Lucas, and she's counseling Peyton and
dealing with you know, Nathan's got big stuff. You know,
like it was. It's not like they gave you an
episode off.
Speaker 1 (48:40):
No, they certainly didn't. I don't know that I felt
like it was all that serious. I think the material
felt manageable for me. It felt like a natural place
to go to. The conversations were pretty easy. The dialogue
wasn't too complicated, so there was a second nature to
(49:00):
a lot of that that didn't throw me off too much.
I just really did not enjoy, uh, trying to be
in a scene with someone and also trying to be
out of my body and imagining what the scene looks like.
As an actor, I I don't like it. I want
to be fully present, So I didn't enjoy that. I
(49:22):
would prefer not to do that again.
Speaker 4 (49:24):
Did you have someone like helping you?
Speaker 1 (49:26):
Greg might have? Rick was r A D two. He
was super hopeful. Remember seeing Chad in this episode. Chad
the bar one.
Speaker 4 (49:37):
Chad Graves was our other first assistant director for you
Guys at Home. There were there was like our stand in.
Steven played one of the Nathans else was a little
a little treat in here now.
Speaker 2 (49:49):
Yeah, Steven and Chad Graves were super exciting to see
and and when when the girls, you know, when we're
talking about these guys, Chad Graves and Rick Clark for
our friends at home. The first ads on our shows
are really like the steadiness on set. Every episode you've
(50:09):
got a different director. Sometimes a director will do two
or three episodes in a season, but the first ads,
one of them takes all the odd episodes like one, three, five,
and then one of them takes all the even episodes,
you know, two, four, six, et cetera. And so every
other week you flip flop between these two people. And
so to get to put Chad Graves in was so
(50:30):
cool and really random, just continuation of how our little
Wilmington family has stayed so tight. I got to spend
a couple more years working with Rick Clark because he
came in to be one of the first AD's on
Chicago Met so on all my crossover episodes, I was
working with Rick, and so it's like, I don't know,
it's so special for us, those really long relationships, and yeah,
(50:54):
it feels like it feels so cool and you get
to throw your friends on screen, and then you know
the people who no, no, it's like a it's like
a fun little inside joke.
Speaker 4 (51:03):
Well I like it because those cocky anpholes are always
like actors actors, and then when you're shining the light
on them and you're like, okay, hit your mark go,
all of a sudden.
Speaker 2 (51:14):
They're like, oh, yeah, no, I'm cool.
Speaker 4 (51:15):
I'm cool. Yeah, I'm a little flustered.
Speaker 2 (51:32):
Let's spin a wheel.
Speaker 4 (51:34):
I want to spin that wheel. Okay, Oh who is
most likely to sell everything and travel the world for
three years?
Speaker 1 (51:54):
It's a specific amount of time.
Speaker 4 (51:56):
Yeah, really, yeah, sell everything?
Speaker 2 (52:00):
Not Sophia.
Speaker 4 (52:00):
She's a hoarder. And I'm like you, I could never
and not me. I don't leave my fucking house. Joey,
you're the one that's traveling right now.
Speaker 1 (52:09):
I guess I could do that. I could see myself
doing that. I don't know if I'd sell everything for
three years of travel, I might sell everything for ten
years of travel. If I was just like peace out,
like Maria's at college, I'm gonna go just bounce.
Speaker 2 (52:21):
Do you want to be like those people who figured
out that if they just live on cruises they don't
taxes anymore, and so they're spending all their retirement money
because they don't live anywhere. They live in international waters.
There was this big article about this couple. They've taken
their whole retirement savings and they are just living on
cruise ships for the next fifteen years.
Speaker 4 (52:40):
Yep, the horror of that. To me, I could never
That sounds like my worst lay.
Speaker 2 (52:46):
But if it's what you like. I am passionate about
my things and my chotchkeys. I get made fun of
very often when I talk about my chochkeys, I get
teased about my trinkets and trash. One man's trash is
another woman's treasure. Thank you very much.
Speaker 4 (53:04):
You're a bit of an overpacker, which I appreciate because
I'm always the one that's like, I didn't bring shoes.
Speaker 2 (53:09):
I need a bad Yeah, you need shoes, you need earrings?
Speaker 4 (53:12):
Got it? Where? Yeah? Where do you go for three years?
Where are you going?
Speaker 2 (53:16):
Well?
Speaker 1 (53:17):
I guess I'm gonna go. I mean I'm gonna travel.
I'm gonna get on trains. I'll probably do Europe for
a year, I'll do Asia for a year. I go
to I don't know, maybe Australia. Just go wander, Yeah,
see what's out there, say hi to people, get to
know people that are different, say hellout.
Speaker 4 (53:37):
Which character is doing this? Is it? Also? Hayley?
Speaker 1 (53:41):
It feels like a Lucas thing if he didn't have Peyton,
like if.
Speaker 2 (53:47):
Yeah, yeah, it feels like he would vagabond around and
like write a second very book vagabonding novel. Yeah yeah,
and Haley would like rib him and be like, what
do you think you are? Jack Kerouac, and you'd be
like yeah, like it would be very that and I
think it would be cutie.
Speaker 4 (54:09):
Mm hmmm, all right, I like this.
Speaker 2 (54:11):
I like it.
Speaker 4 (54:12):
Now we have a question, guys. We have a question,
uh from Lisa.
Speaker 2 (54:17):
Lisa.
Speaker 4 (54:17):
This is a very broad question. I'm not mad at
it though. She wants to know what your favorite genre
of music is. Oh like today because it change changes.
Speaker 5 (54:30):
I mean today today, Cowboy Carter. Yeah, I'm like, I'm
like Act too. The full album is currently my favorite.
Everything happening, but it changes all the time. It depends
on my mood.
Speaker 1 (54:44):
Yeah, you know me too. Is there one genre that
you can always listen to no matter what's going on,
you can always be like, I'm done.
Speaker 2 (54:51):
With this, well is do you have one?
Speaker 4 (54:53):
I wasn't on to listen to modern radio growing up.
I absolutely like nothing modern, and I only listened to
like motown and more sixties music. Like the sixties was
a whole vibe. And that was before you could get
serious radio or any kind of yeah, satellite radio to
(55:17):
like selectively pick things out.
Speaker 1 (55:19):
I heart.
Speaker 4 (55:19):
Yeah. So there was, Yes, there was a whole oldies station,
and I learned every word to every oldie song ever.
Oh yeah, it's my comfort zone. The kids know, Like
if they come in the kitchen and that's blaring, they're like.
Speaker 2 (55:33):
Oh, she had a day Okay, Yeah, mom's fantastically good.
Speaker 4 (55:37):
Yeah Motown.
Speaker 1 (55:37):
I love oldies. That's good. I feel like this is
a that's a zone, the classic rock zone. I can
get into a lot pretty easily. The Carol King and
the Beatles and the seventies stuff. I'm pretty I'm pretty into.
That's what my parents listened to, So I think it's
the same type of thing. It's like whatever the comfort
zone is from when you're a kid.
Speaker 2 (55:57):
Maybe, Yeah, It's like I always listened anytime I was
alone in the car with my mom, we'd blare motown
and anytime I was alone in the car with my dad,
we'd always turn on like the original Eagles records, And
so I have this like sweet, like solo date with
my parents' energy about both of those things. So anytime
(56:18):
I get in a car and like either of those
genres is on the radio, I always leave it. But yeah,
I feel like maybe because we're actors and like part
of the way we really get into things is music.
Like I make a soundtrack for every character I've ever played,
So I feel like it's so hard to pick something.
Speaker 1 (56:36):
Yeah, we have an appreciation for so many different things.
Speaker 2 (56:39):
Yeah, but yeah that anytime, keep it on feels nice.
All right, you guys.
Speaker 4 (56:47):
Next episode is season six, episode seventeen.
Speaker 2 (56:50):
You and Me and.
Speaker 4 (56:52):
The Bottle makes three sounds like my life story. Oh tonight, Yeah,
forgot the tonight Park makes three millions tonight.
Speaker 2 (57:03):
Next week you later.
Speaker 1 (57:04):
Hey, thanks for listening.
Speaker 2 (57:06):
Don't forget to leave us a review. You can also
follow us on Instagram at Drama Queens o.
Speaker 4 (57:11):
T H or email us at Drama Queens at iHeartRadio
dot com.
Speaker 2 (57:16):
See you next time.
Speaker 1 (57:18):
We all about that High school Drama Girl, Drama Girl,
all about them High School Queens We'll take you for
a ride at our comic Girl.
Speaker 2 (57:27):
Cheering for the right teams, Drama, Queens, up girl Fashion,
what's your tough girl?
Speaker 3 (57:33):
You could sit with us Girl Drama, Queens Drama, Queens Drama,
Queens Drama, Drama, Queens Drama, Queens
First of all, you don't know me.
Speaker 2 (00:02):
We all about that high school drama.
Speaker 1 (00:04):
Girl drama, girl, all about them high school queens. We'll
take you for a ride, and our comic girl shared
for the right teams drama queens, girl fashion, but your
tough girl, you could sit with us.
Speaker 3 (00:17):
Girl Drama, Queens drama, quise drama, Queens Drama, Drahna, Queens Drama, Queens.
Speaker 1 (00:23):
Guys.
Speaker 4 (00:24):
This was the best episode of the season, hands down,
best episode of the season so far. Like, I love
this episode so much and enjoy you as the director
and crashed it.
Speaker 1 (00:36):
You crashed it, thanks, babe. I had so much fun.
It was a good one.
Speaker 2 (00:39):
It's such a fun episode, and I think like having
you direct it as well, because we were all having
these really surreal experiences being faced with our own characters,
Like I think it added such a realism to the
comedy because we were six years into really being able
(01:00):
to be out in the world without being met by
people who knew us from TV in the way that
our characters were being met by these people who thought
they knew us either from a book or a breakdown,
and I was like, oh my god, it's so crazy.
Speaker 1 (01:14):
And people who were identifying with us. They were like,
I'm such a Brook, I'm such a Peyton, I'm such aude. No,
we've got rooms full of them. So funny.
Speaker 2 (01:23):
Yeah, I love you.
Speaker 4 (01:24):
So you were the only person that could have directed this.
Speaker 2 (01:26):
It was.
Speaker 4 (01:27):
It was so meta and so weird. Give us the
rundown show it. What's the breakdown you got at the beginning?
Speaker 1 (01:33):
I got Season six, Episode sixteen, Screenwriters Blues, Air date
February second, two thousand and nine. Lucas wrestles with casting
for his movie, while Peyton tries to prepare for their future.
Dan advises Jamie on a school crash. Brooke meets the
actress who will play her my favorite so this is
so fun, while Nathan gets exciting news and Haley has
(01:56):
to make a tough decision at school. There was a
lot packed into this and it was written by Mike
Harrow and David Strauss.
Speaker 4 (02:04):
Everybody had storylines.
Speaker 1 (02:05):
Yeah, yeah, everybody had something to do.
Speaker 2 (02:07):
We should have done that all the time.
Speaker 1 (02:08):
Even Vaughn showed up, like brought him in again, which
it's been a while since we'd seen him. It was great.
Everybody had a little something.
Speaker 4 (02:14):
Yeah, loved it. I didn't even bring my notes down
here into the office because I was like, OK, I
don't need the notes. I love this so and I remember,
I'll be honest, I remember being a little bit nervous
because Chad had directed, but you were directing, and I
was like, oh no, is this an opportunity to like
talk us out of the ticks that we'd all developed
(02:36):
after six years of doing this show. I was like,
is this going to be the time I find out
that like Joy really hates when I deliver a line
this way, or I make like this dumb face, or
I didn't know how it would feel to be directed
by a female peer like the boys we were always
kind of separate from. But I was like, yeah, oh no,
And instead it turned into this opportunity where you could
(02:59):
feel there were some things in the script that were
kind of cheesy, and you found a way to make
those moments really funny and like play with the dialogue
in a way that just felt really collaborative and good.
You did it in the scene with you and Lucas,
you did it in the scene with you and me,
Like the cheesy lines became paunchlines.
Speaker 1 (03:20):
Like what else do children get into your heart?
Speaker 2 (03:22):
Your heart?
Speaker 4 (03:26):
That's exactly the line I'm thinking of that, And I
think that's part.
Speaker 2 (03:30):
Of why I love the way the dynamics feel in
the episode so much, is because we were all making decisions,
like you were leading a female perspective to make choices,
and so we all got to be the team that normally,
to your point, Hill, we were up against like it
(03:50):
would normally be one of us or two of us,
occasionally three of us together in a scene being like
girls don't talk like this, and having a guy like
it's on the page, you have to do it, and
it says right here, she's emotional or she's crying or whatever.
We didn't have to follow any of those rules with
you because you were sick of following those rules too.
And what I sort of love is that not only
(04:12):
do we get to clearly have more fun, but also
all the stuff that I was worried that we were
getting made fun of. For Like the episode opens on
a Nathan and Haley and she's in the poncho and
it's like, oh god, how many how many hits are
the writers going to take at us because they get
to make fun of our characters, And instead it was like,
(04:33):
oh yeah, well, all the boys will be shirtless because
that's what you guys try to do to us, and
all the boys are going to snap and not be
able to handle the pressure, and we're all going to
be cool. Like it just it flipped the dynamic in
a way that was really fun to watch. And I
don't know, I felt like I felt like we got
some good shots in at what we were dealing with
(04:53):
by the scenes.
Speaker 1 (04:54):
I loved it, Yeah, totally. Yeah, it was a really
nice space us to be able to throw in those
shots in a way that felt fair and totally believable
and within the context of the story.
Speaker 2 (05:07):
Yeah. And then and then it still wound up being funny, right, like, yeah,
we still got that comic relief even though Nathan sits
and goes, you know, why am I not wearing a shirt?
Speaker 4 (05:17):
Like what's going on here?
Speaker 2 (05:19):
Weird? Right? And then you still get Brooke walking into
like a you know, a sea of dudes that are
built like fitness models and being like, oh my god,
you know a human would So it wasn't like it
was all one sided. But I don't know, it just
it felt it felt ripe.
Speaker 4 (05:36):
Right. How early did you get the script?
Speaker 1 (05:40):
A week and a half maybe, two. What it was,
it was like pretty pretty fast. There was a week
of prep, so it was there was. It was a
lot thrown at me. And if it had not been
our show, I don't know how I wouldn't have been
able to do it. I mean, we had our there
was so much of it. It was just a well
(06:00):
oiled machine. Our crew knew exactly what to do. I
mean I was there for quality control and sort of
guidance of my vision and opinion of how how to
shape things. But the clay was basically molded. We'd been
doing that for so long, so it wasn't an incredibly
tall order from that point of view. But you guys,
I remember being really generous and patient with me as
(06:23):
I was learning. Was the first thing I'd ever directed.
And to come in and direct people who I respect,
and I you know, I know what great performance you
guys were. And I didn't want to I didn't want
to create tension or like make something. I don't know,
it just I just didn't know what to expect. I
(06:44):
knew that we would all be respectful, but like I
wanted to make it good, and I didn't want to
put my foot in my mouth or step in it
or hurt anybody's feelings or whatever, and still trying.
Speaker 2 (06:55):
Are you really going to make base? Is that your bad?
Speaker 1 (07:00):
Chad's the only person I could ever say that too,
and he would just you know, it was like somehow
I got away with it with.
Speaker 2 (07:06):
Him, well the same.
Speaker 4 (07:08):
That's why I was like when Chad directed, I've always
been able to be really frank with Chad because that's
just the dynamic of our relationship. It was different when
it was like a peer that I felt closer to,
you know what I mean, Like it's having I don't know,
it's a weird thing where pushing back feels dangerous if
(07:29):
it's someone that you care about, because you're like, oh, yeah, no,
how are we going to navigate this well?
Speaker 2 (07:34):
And we were all in it together as a cast obviously,
and you know, joy for you and for Chad directing
for the first time this year. It's not just that
you're saying to a director like, I don't know that
I necessarily agree with this because fill in the blank
six years of backstory with your character. But you're looking
at your friend that you know is nervous because this
(07:55):
is a really big deal, and you're like, you might
not remember that last year my character did this, But
I remember, and I don't know how to say this
to you in a way where it will not feel personal,
And I really don't mean to stress you out. I
have a thought like they're just the panic of like
I don't want to hurt your feelings. It's like such
a real thing, and I don't think we felt that
(08:15):
even with the directors we were friends with. We didn't
feel that with other directors because they were all, you know,
older than us, and they'd been doing this for a
long time. And it's funny you saying that. It like
my chest feels tight, like in a sweet way of
like I just want to make sure you're okay, but
also I want to be okay, And how do we
do this together. It's such a big professional leap that
(08:37):
we all, you know, took on these journeys.
Speaker 1 (08:40):
I felt the weight of responsibility of that that it
like I even looking back now, I mean, I think
we all I don't know. I don't know exactly how
the old adage like the quote is, but basically like
everybody already knows what their biggest problems are, and they're
like what their flaws and faults are and like, looking back,
I I know that my stubbornness in particular was like
(09:03):
probably my worst flaw, qualled personal character flaw at the time.
So so stubborn when I saw something and I thought
it needed to be a certain way, like that was it.
I really had a hard time getting around it. Part
of it was the ADH shape, but some of it
was just like there's a lot of it. It was just
other stuff.
Speaker 4 (09:20):
We've learned so much about brains in the last twenty years.
Speaker 1 (09:22):
Yeah, I know, I know, right, but whatever. Some of
it's just that was just where I was in life.
But so the weight of responsibility of wanting to be
open and get over that thing that I knew was
my flaw of being so stubborn when I would see
something a certain way and trying to be able to
(09:43):
listen and then and then change it and improvise it
the last second because somebody else had a different idea
and you want to be open to that. Like, I
learned so much. I learned so much on this episode
End with you guys in particular, it was really it
was a really cool experience and you were all so generous.
Speaker 4 (09:58):
It's a perfect episode. I think whatever you did you
did it right, because it is a perfect episode. There
wasn't a single scene where I was like, when's this over.
Speaker 2 (10:08):
Usually there's like a.
Speaker 4 (10:09):
Couple snoozer scenes per episode. This one was like all
the hits. It was a whole CD of the hits.
Speaker 1 (10:15):
The secret is keep the camera moving. That's it. You
just keep it moving as much as you can. If
there's anything that feels slow, just keep going. Eventually it
all just blends together like one long music video.
Speaker 4 (10:27):
But that's actually that's how it felt. The transitions from
scene to scene really felt smooth. You know, we talked
a bit in the past about just recently about how
our episodes felt kind of disjointed, like Sophia was on
a horror movie and I'm doing, you know, baby boom,
and like everybody was doing different shit. And this really
(10:48):
felt cohesive and cool. And not only did you have
to deal with your core players, but you had like,
you know, James Vanderbeek is here, Austin's here, you have
all of these doppelgangers here. It was the episode of Doppelgang.
It was.
Speaker 1 (11:06):
Fun. It was really fun. Well let's get into it
because I loved this. I love these storylines. The fake
Brook was I just I just could not stop smiling
every time the two of you were on screen together.
Speaker 2 (11:19):
It was so fun. It was so so fun because
being able to make choices, you know, with another actor
who was like essentially we talked about it and the
idea was anything I did, She'd do, and so we
really leaned into it. And like the literal mirror image
(11:39):
of physicality, screaming, hugging, yelling. It's such good comedy, and
I think you make a really good point.
Speaker 3 (11:46):
Hill.
Speaker 2 (11:47):
Part of the reason it works so well in the
structure of this episode is because this whole episode is
a rom com. Even the even the serious stuff, you know,
joy your storyline with Ashley, the Hayle, Sam and the
school dynamic, it still essentially works in a rom com structure.
It's somebody saying, hey, you're really great and I'm here
(12:09):
to support you.
Speaker 1 (12:10):
Yeah, wholesome and uplifting.
Speaker 2 (12:12):
Yeah, it's it's a platonic energy obviously with a student
and a teacher, but it's it's still very sweet and
kind and loving. And so instead of having you know,
one person getting accosted by a stalker and another person
trying on baby clothes, it's like the cohesion in the
episode really works, and I don't know, I think it
(12:33):
allows for some of that comedy to play even bigger,
which you know, Carissa and I got to do together.
Speaker 4 (12:42):
Yeah. Well, this was a whole episode about casting. How
much did you play a part in the casting, because
that's what I want to know before we talk about
like the actual stories.
Speaker 2 (12:51):
Yeah.
Speaker 1 (12:51):
I think I I remember playing a pretty big part
in casting. I mean I was there for all. I
saw the tapes I saw. Was I in the room
for any of them?
Speaker 2 (13:00):
I don't know.
Speaker 1 (13:00):
If I was in the room, I can't remember, but
I did see a lot of tapes and definitely hand
picked Alexandra who played eventually played Peyton. Huh, Carissa, I
feel like maybe had already I had been picked by
producers or something. There was I feel I feel like that.
(13:23):
Alison Munn was played Miss Lauren. That was her first
episode with us, and Alison and I had done a
play together in la We did The Outsiders the musical
and she was Cherry Vallance and I was Sandy, girlfriend
of Soda Pop or somebody, so that was really fun
to bring her in. I think all the boy everybody else,
(13:46):
I think I just kind of watched tapes.
Speaker 4 (13:48):
I felt really protected in the meta casting of this
episode because there's that whole conversation. Yeah, there's this whole
conversation of like, dew we cast the do we cast
the boobs? Do we cast? You know, like what are
we casting for? And So the girl that ultimately became
Peyton in the table read, I loved her, like I
(14:12):
just loved like watching how innocent she was and how
I don't know, there was like a really protective nature
to that.
Speaker 1 (14:21):
She felt so much like Peyton season one to me
that there was an innocence, there was a softness that
could easily have a hard exterior, but she was It's
that same sort of like Michelle Williams quality, Like there's
a sensitivity there that is so deep, like the well
(14:43):
is so deep. Really good actress. I don't know what
she's been doing since then, but she's good.
Speaker 4 (14:50):
And then Nathan character too, like he was, oh, he
was so little, like he was just a kid.
Speaker 2 (14:56):
They seem so young.
Speaker 4 (14:57):
Yeah, how weird to cast within a casting storyline.
Speaker 1 (15:02):
It was weird, super weird, But I think it was
fun to be able to do that from my end
because I know, you guys so well, Like I kind
of wouldn't have wanted anybody else to come in and
make those choices. I would have wanted only one of
us to be able to do that because we all
knew each other. Somebody else coming in would I wouldn't
have trusted their judgment.
Speaker 4 (15:21):
You're ultimately Lucas in the episode.
Speaker 1 (15:24):
Yeah, oh, because I'm making all these decisions.
Speaker 4 (15:27):
Yeah, I know.
Speaker 2 (15:29):
Part of the metanists that I really appreciate is, you know,
Mike Harrow and David Strauss wrote this episode, and Mike
Harrow was one of the guys who really grew up
with us like on the show. You know, he I
don't remember if he was a writer's assistant or just
like you know, one of the junior writers when the
(15:51):
show started, but Mike was one of the people who,
especially in later seasons, I know, really had our backs.
Were things that he shared to protect us and to
like illuminate certain things. You know, he he shared a
lot of things with me in later years, you know, Hill,
(16:11):
even after you left it, I hadn't known that, Like
I really cherish him for because that was a risk
for him. And there's things happening in this episode where
I'm like, oh, wow, you were really brave because he
wrote James Vanderbeek to say some exact things that our
(16:32):
boss had said to us. They were gross. Yeah, and
you get to see how gross it is and you
get to see that he's taking shots at this guy,
being like, this is how you treat people, and this
is how you talk to women, and this is how
you're trying to cast your show.
Speaker 4 (16:50):
And uh, it's so ballsy, man, it's so ballsy to
hold the mirror up.
Speaker 2 (16:55):
Yeah, he really did it, and I was like, whoa.
You know even that a lot of it got through,
and you know, maybe some of that is when you
think you're all powerful, you know, your ego makes you
think no criticisms will ever get through. But it kind
of took my breath away and I thought he did
it so smartly in that he jumbled up who the
(17:18):
boss said what to but some of those things really
came out of our boss's mouth and I went ooh,
and I was like, oh, yeah, you just get to
see how totally inappropriate and disgusting it is and there's
no there's no defense for it. It's really nice to
watch the scenes play out.
Speaker 1 (17:35):
Yeah, because he's so grow like, oh, so great, because
Vanderbeek is great. He does it really well.
Speaker 2 (17:40):
But what I love about Vanderbeek is he really commits
as an actor and he's like, oh you want me
to be slammy watch this and you're like, thank you.
Speaker 4 (17:48):
Yeah.
Speaker 2 (17:48):
He doesn't judge his characters, and it was very important
that that character was portrayed. Honestly, I was.
Speaker 4 (17:57):
Impressed well and that he's not He's not far fetched.
Like that is literally how we were being spoken about.
It's how day players on our show were spoken about
in front of me and spoken to.
Speaker 1 (18:09):
And there was no mustache twisting. He wasn't being a villain.
He was being like a normal quote unquote, nice, likable
guy who just happens to say some gross things, you know,
on the offset and then it just the closer you get,
the ickier it.
Speaker 2 (18:23):
Gets, cause it's funny.
Speaker 1 (18:26):
Yeah, but he didn't seem like he wasn't trying to
be dastardly he or you know, awful. He was just
being he was being real.
Speaker 2 (18:33):
Oh, which is so wool, but it's so I got
to say, like, there's something you know, all of us
having been through it, there's something I really appreciate about
watching it, and how we didn't pull back from it,
and how it was Vanderbeek essentially portraying our boss, who
was being written by one of the writers who'd been
(18:55):
with us the whole time, who'd heard all the stories,
who told us a lot of a lot of what
was happening in the writer's room in la and that
you were directing it, and by the way, directing it
with our crew who'd been there for so long. You
know that all these people have relationships with Like our
camera crew came from Dawson's. So even if you think
(19:16):
about it that way, our DP, we know, was able
to say to Vanderbeek, like, yeah, this is what these
girls are going through, and it just I don't know,
like the four of you somehow making this stuff get
from the page to the screen.
Speaker 4 (19:32):
It's like Captain Plantage, Yeah, it's like I.
Speaker 2 (19:34):
Feel like we got away with something in a way
to be like, you want to know what it was like,
It was like this but worse.
Speaker 1 (19:40):
Yeah, the irony of our boss creating this whole storyline
and then having it get used exactly against him in
the way you like, that's pretty great. I mean, you
can't write this stuff even though you can't apparently like.
Speaker 2 (19:55):
There's so much about it that wasn't great, but this
is great. Yeah.
Speaker 4 (19:59):
Well it made it so easy to side I Beak,
Like each one of us had a moment with him
where it was like, uh, wait, don't want this, like
whenever you are pass, yeah, which hard pass feels redemptive.
(20:24):
The one thing though, in the Beak storyline, you know
now that you're bringing up Mike crafting this thing and
really touching on some of the stuff that was actually
going on. The thing that I found most triggering in
this episode was Julian and his complacency with the way
the work was being depicted. Because I don't necessarily mind
(20:45):
a bad guy. My biggest trigger in life is a coward.
Like cowards infuriate me in a way that's probably not normal.
And the cowardice of Julian to let that breakdown go
out and then try to like spin it later irritated
the out of me. I couldn't deal with all the
(21:06):
other men in the room going along with that personification
of Brook. It really biked me.
Speaker 1 (21:12):
Yeah.
Speaker 2 (21:13):
And the thing is, by the way, I fully agree,
and it is one of those moments where I can
see why It's necessary because it is the device. It is,
it is what makes as Brooke and Missy are spending
time together, what makes them like in the way they
meet perfectly, then they start having these near misses. You
(21:34):
need the confusion. I liked getting to stand up for
myself because it also felt very meta to me in
that you know, I have felt that way and we've
talked about it on the show, Like it was really
hard for me coming onto the show and then receiving
treatment in public and being like, oh, people think I'm
(21:57):
this promiscuous part like Brooke Davis, which, by the way,
have sex with as few or as many people as
you want. I don't actually care about that. What I
care about is the way we treat women differently if
we believe they are sexual. And it was really scary
for me, like growing up in a mostly all girls'
school environment, I did three years of a co ed college,
(22:20):
and then I came on this show and I was like,
what is happening? Well, like why why are people talking
to me this way in public? Why do people touch
me in public? And I watch them not touch other people,
Like it was very hard for me, and so what
I loved in this episode was getting to say things
that I had said then and that I say sometimes now,
(22:41):
where I'm like, of all the cool shit I have
done as a woman, you want to talk about who
I dated or what dips cheated on me, or who
I figured out wasn't who I thought they were, Like
that has to do with other people's bad behavior, Like
I've done this cool thing, I've been this advocate, I've
built this company or nonprofit or whatever.
Speaker 4 (23:02):
Why Why don't the things women do matter more productive?
Speaker 2 (23:06):
Yeah, than the way other people treat us or want
to sleep with us? And so yeah, I don't know.
In the way that I loved it, Beek personified our
boss being gross. I loved that I got to sort
of vent about my own experience and experiences by the
way that I know you've both had where it's like you,
that's that's the thing you want to ask me about
(23:27):
in my whole day life. And so, I don't know,
there's a I hated obviously that Julian was a coward
because I'm like you, and cowardice triggers the out of me. Yeah,
because we always had to stand up for ourselves, and
I get annoyed when people with more power don't. But
I did like it as a writing device. Because I
(23:48):
liked it, I got my moment to be like, how
dare you? And then I got to say yeah, and
I got to say it to Missy and I got
to say it to Julian and I was like, yeah,
I'm pork. Davis is a badass. Women are bad asses.
Leave me alone, and I sort of I loved the payoff,
even if I hated him having to be a little
bitch to get me. Well, no, one not.
Speaker 4 (24:06):
Everyone's born with a backbone, right like some people. Some
people's story is that they grow one. And so if
Julian is growing a backbone, neat. I love that he
fedexes your bone.
Speaker 2 (24:20):
FedEx super cool. Guys.
Speaker 4 (24:27):
Have we ever been in a situation where we had
the FedEx our yearbook to the location we were at? Oh?
He really wanted to make that point. He's like, I
showed you to see the butt cut that I had
in nineteen ninety eight.
Speaker 2 (24:41):
The butt cut. What a term.
Speaker 1 (24:45):
And Brooke gets to go home after all of it
and the relationship she has with Sam. It's like, I
love that in spite of all of the stuff that's
being thrown at her, she just gets to go home
and continue to do what really makes her, investing in
the people that she cares about, building up this young woman.
(25:07):
It's like, that's what we do. Just go ahead, keep
throwing it at me. I'm I'm gonna just keep being me.
And Brooke does that non stop in this episode. I
just see her. It's so fun to watch her or
you whatever, like dealing with all of this stuff coming
at Brook and then just being like, but you know what,
(25:28):
this is what really matters, and then that's what I'm
gonna focus on. That's what makes her so great and lovable.
Speaker 4 (25:35):
Well, all the girls had that storyline this episode. It
was like, hey Hayley, you're gonna lose your job. Hey Peyton,
you're on your own kid. Hey Brooke, you're a whore forever,
you know. Like yeah, everybody had these things and the
women just had to be fine. And then Lucas got
to have a temper tantrum.
Speaker 1 (25:53):
Yeah yeah, yeah right. I did fill out with Peyton though.
I was just watching you at the fireplace. I was like,
I feel that, like how many times I would be
a millionaire if I had a quarter for every time
I had to suck it up? Swallow it down. Yeah, Yeah,
I'm good. Everything's great, great.
Speaker 2 (26:16):
Call me later, Yeah, I'll be here. You broke my heart.
Speaker 1 (26:22):
Everything.
Speaker 4 (26:22):
Oh, the hormones are real, though I don't know how
much I realized that when we filmed this. You know,
you say words that are on the paper and you're like, eh,
I don't and then you know, a year later, I
was pregnant for real. I guess yeah, if this aired
February second of two thousand and nine, I had gus
(26:42):
March of twenty ten. Yeah, and all of a sudden,
all that hormone. This was like a premon mission. This
was practice. The hormone stuff is super real, and even
now in our early forties, girls, I'm gonna cry on
a dime. I walk around, Yeah, I walk around like
forty percent ready to cry at all times. And it's
(27:03):
just a matter of what the trigger's gonna be. And
that crib I could feel, I could feel the venom
in my body with the crib, with the foreign language instructions,
because I feel like we've all lived that. It's like, yeah,
thanks for the gift.
Speaker 2 (27:21):
Well, and there was no one of the things that
really struck me watching you do that. I was like,
we had none of the stuff then that helps you. Now,
there was no like Google app on your iPhone that
can translate any menu into English. No, there was no
task rabbit. Turns out skills is the task rabbit. He's like,
oh yeah, I baby proof, I'm.
Speaker 1 (27:40):
A handy hand.
Speaker 2 (27:42):
That was so funny. He was so funny in that
scene with you.
Speaker 4 (27:47):
But that's also who he is in real life.
Speaker 2 (27:49):
It is exactly how Antonina is. But I wrote it down.
I was like, she has no task rabbit, she has
no translate, she has nothing, she has nothing to help her.
She's just stuck mea who maybe is Italian Catalano. Yeah,
so silly. I just remember.
Speaker 1 (28:06):
I don't know why I that crib. I hated that
crib so much. Yeah, it was in the way or something,
and maybe it just took them too long to set up.
I don't know why. It was, Like, really it was
annoy I remember, and I noticed it in the episode
because you not that you're gonna go back, because who
has time. But like, if you notice, there's a lot
(28:27):
of shots that are just kind of instead of directly
over each other's shoulders, It's like we did a two
shot and then we sort of just did the like
cross I don't know how to explain it. Yeah, cross
coverage that was like slightly wider, but just like, how
do we get out of this faster? Because this is
this crib is really irritating.
Speaker 4 (28:45):
Well for it to fall apart all four sides like
that a setup. You know, you're putting together an erector
set with just enough parts not connected to fall apart
on cue. That was a nightmare. Yeah, handled handled though
the comedy.
Speaker 2 (29:00):
Well that's it for our friends at home. Sometimes the
thing that looks the easiest is literally the hardest chain
in the ass on the day, like to make that
thing stick together but then also fall down, like the
the one side at a time. It's just a night
They had a fishing wire.
Speaker 1 (29:18):
Yeah, it has to be great, and a fishing wire
it's just terrible.
Speaker 2 (29:22):
Yeah, And that's that's just the stuff that nobody, you know,
who's not on set would know. But oh man, it's
like if you've ever had a friend come visit on
a day where you have to do a little gag
like that, that's when the people are like, this is
what you guys do all day? This is really boring.
You're like saying, thank you it's great.
Speaker 4 (29:40):
Yeah, believe in the power of the edit.
Speaker 2 (29:44):
The edit will make it funny. Loved it.
Speaker 4 (29:48):
Speaking of funny, Dan and Jamie like their whole the
beginning though, Like I loved the blocking of the beginning
where Jamie's walking on that wall, so then he and
Dan are goals like I and them talk. You could
just feel how much fun Paul was having.
Speaker 1 (30:05):
Yeah, I could do. He really was having a good time.
It seemed almost out of character for it was so
much Paul and so little Dan. But well, you know,
he likes to mess with the audience that way too,
so who knows.
Speaker 2 (30:20):
I also think, though, in a way what I like
and I have seen this, you know, with people I love, certainly,
especially now that you know so many of our friends
are parents, people who didn't have great relationships with some
of their parents. Their parents are getting a second shot
with the grandkids. They're getting to be the parents they
(30:41):
never got to be, and it's it's like kind of
profound And I feel like that's almost what we're seeing
with Dan, and it probably is because Paul just had
so much fun with Jackson and they're so charming together,
and you can tell how much fun Jackson has with Paul.
But you know you were traveling last week, Joy, But
I was saying to Hill and Kate, I was like,
(31:03):
I hate that I love Dan Scott in this episode,
and I'm having the same experience in this one. I
just love him and I know better, but my god,
I love him. And maybe it's because I really, you know,
really love Paul, but it is so freaking sweet to
see them like this, and I don't know, I just
I want more of it. I want so much more
(31:26):
of this Dan and Jamie dynamic.
Speaker 4 (31:28):
Well, let's be for real, like if we're Miss Lauren,
we're kissing Grandpa Dan all yeah, yeah, yeah, yeah, Like
showing up at that dude's beach house and he's so
charming and he's just his hair has never looked better.
He's so good with the child.
Speaker 1 (31:46):
He reads The Time Traveler's Wife. On what planet? Does
Dan Scott read the Time Traveler's Wife?
Speaker 4 (31:54):
Of course he does.
Speaker 2 (31:55):
Listen.
Speaker 4 (31:55):
That prison library is small, Joy.
Speaker 2 (32:00):
He's gonna read whatever is there.
Speaker 1 (32:01):
That's right, that's right.
Speaker 4 (32:03):
I loved it.
Speaker 2 (32:04):
And Shamie back he was in prison.
Speaker 4 (32:10):
She's just like, oh, okay, that's great to know.
Speaker 1 (32:15):
Cool to do with that?
Speaker 4 (32:17):
Oh, I loved it because you could tell she's like
vibeing a little bit with him, And there is no
greater buzzkill then that he was in prison.
Speaker 2 (32:26):
Bob, No, that kind of wrecks it.
Speaker 1 (32:29):
I still think it's weird that after the kidnapping, Dan
brings Jamie back. There's the whole hallabaloo about that, and
now it's just it's a free for all. He just
picks up Jamie enter school, he's the babysitter. It's like
it's all good now. Everything from the past just wiped slate,
wiped clean because he you know, he showed up saved
(32:51):
zero for an afternoon, which is amazing, But like, what's
going on, dude, I don't know. It seems strange to me.
Speaker 4 (32:59):
If if I didn't do the show that I do
for Sundance, where I literally just cover small town cases
of murder, I wouldn't believe the storyline. But you would
be amazed what people just turn their heads off to.
They're like, I don't want to think about that. He's fine,
I need a babysitter, he's available. Wow. You know, like, yeah,
you can super compartmentalize.
Speaker 1 (33:21):
Yeah, you can talk yourself into anything.
Speaker 4 (33:23):
Yeah, he didn't mean it.
Speaker 2 (33:25):
Yeah, but when I really try to think about it too,
you know, Dan got kidnapped by her, he got tortured,
he missed a heart. If we really get granular on
not even touching on the Dan and Keith of it all.
But I wonder how much of that too, where you
go like, this man, whatever I may think of him,
(33:47):
shares trauma with my grandson, with this crazy person, he's
the only person who understands let's let them spend time together.
To your point, I think you can kind of rationalize
or compartmentalize any thing. And maybe that's part of why
it feels so weird for us to be watching these
episodes and loving Dan because we're like, I'm supposed to
(34:07):
not like him. But the human mind and heart operate
very differently from like black and white lists on a
piece of paper.
Speaker 1 (34:16):
Yeah.
Speaker 4 (34:16):
Yeah, if you only start the clock at like Jamie's
awareness of Dan, like when they actually meet, Dan's a
victim and that's all Jamie knows him, as it's like
a fellow victim kid doesn't know, doesn't know all. You know,
the backstory wasn't there for it. But Haley and Nathan
(34:38):
news where's deb Like Where did Deb go?
Speaker 2 (34:42):
Where is she?
Speaker 1 (34:44):
I really don't know. It's been It's pretty strange.
Speaker 4 (34:46):
They had a good thing going with her babysitting.
Speaker 1 (34:49):
Yeah, I don't know. There's too many other storylines. I
guess maybe they tried to get her for this episode
and she was not available.
Speaker 2 (34:56):
Something.
Speaker 4 (34:56):
Vanderbeek telling me that I'm too old to play Peyton,
that I'd make a great deb feels like right now
in twenty twenty four, very full circle. Yeah, oh yeah,
I guess.
Speaker 1 (35:11):
I guess.
Speaker 2 (35:11):
Yeah, I guess that is what we'd be doing now.
We would be the mom's no.
Speaker 4 (35:15):
Yeah, I'll be Deb. I like how messy she can
be great too? Man, was it this cohesive on the paper?
Speaker 1 (35:35):
No, I think we added in a lot, like there
was a lot of transitions that were disjointed and things
that felt like I remember working a lot on the
transitions in particular, and just trying to make sure that
everything flowed and figuring out thematically, like where the ties
were and how to just keep it moving. I think
(35:57):
that at that point that was probably my biggest complaint
about the sh If I would watch it, it's like
we just had we had too many episodes that felt
stagnant or like destoyed to disconnect it as we've been
talking about, And there were plenty that were really good too,
and that moved. But yeah, this is just the whole
thing felt like it should be fun and there was
(36:20):
no need to stop and be super serious with anything
other than a couple of key moments. Everything else was
just let's just keep it moving, let's keep everybody having fun.
Speaker 2 (36:32):
And then the moments really played up, like when the
camera would stop when you go into the new principal's office,
you know, and you can't decide if you're gonna sit
or stand or sit or stand. There's motion, and then
when she says the thing, everything stops and it the
choices that you and the DP made together in those
(36:53):
ways help the energy of like wait what did she say?
Like that reveal that thing that feels so bad literally
causes a stop motion and it increases for as an
audience member, the shock of what's happening? Do you remember
because obviously we weren't in that, We weren't in that scene.
(37:16):
Where does this new principle come from? Why is this
going to be like a big storyline? For Haley, I
was like wait, wait, wait, who is this woman I like,
I just didn't remember.
Speaker 1 (37:26):
She does come back. She, by the way, was from Seinfeld.
She was Malva, the best, the best.
Speaker 4 (37:36):
Did you cast her?
Speaker 1 (37:37):
I don't remember.
Speaker 4 (37:39):
She's scary man.
Speaker 1 (37:40):
Yeah, yeah, she's serious. I think she does come back.
It becomes a bigger a little bit of a bigger storyline.
She was lovely, really lovely person. Yeah. I don't remember
much about that, but it was those are what you
were saying. Those are fun, fun things to learn how
to do and just create create story with camera, you know,
(38:02):
pulling away and leave people alone or long lenses and
how that creates a feeling of part of being a
part of a community. And it's just it was was
really it was really cool to learn a lot a
lot of that stuff. I don't know how you so,
how soon after this did you direct?
Speaker 2 (38:17):
I directed in the following season in season seven?
Speaker 1 (38:20):
Okay, did you feel like had you did you do
anything before you directed to sort of prep for that
in terms of learning or was it on the fly?
I was learning a lot of this on the fly, like, oh,
if we if we pull out, she feels really alone,
let's do that, you know, me just kind of pick
it up along the way.
Speaker 2 (38:37):
I agree. I mean, I think if anything, the stuff
that I really felt like I intentionally wanted to observe
was you know, pacing, how how you would keep a
set organized and keep to a schedule, because you know,
we were shooting time. You know, it's a lot shocker,
(38:59):
And for me, it was about like, you know, blocking efficiency,
like really watching the things that directors we felt close
enough to pester with questions we're doing. And then yeah,
the more technical stuff. Even now, even after all those
episodes we did and all the things like me being
(39:20):
a little dyslexic, it's like very hard for me to
remember which lenses which, like I always have to ask
a like a confirming question. But yeah, beginning to figure
out what technical things you could do to increase a
feeling you know, of closeness or distance, or how you
(39:42):
could block something to make someone appear very alone in
a crowd, you know that stuff. I feel like, on
the one hand, we were learning in real time because
we just did it every day, and then on the
other hand, like there were things you'd learn on the
day because thank god, we had a cru that had
been with us for so many years. Yes, and such
(40:02):
good camera department that could be like, hey, here's a
quick tip, like I learned this thing in film school,
and you'd be like, oh, okay, great.
Speaker 1 (40:10):
Yeah, fantastic. I remember that with the d with the
Jamie and Dan stuff we had. There was a shot
of him walking down the stairs and I was like,
just now watching it, I went, why are we in
a crane?
Speaker 2 (40:21):
Why?
Speaker 1 (40:21):
Why the world would we using a crane for this?
That seems so unnecessary? And then I remember that they
had there was some kind of thing where they like
had this crane. They had to use it because they
had I don't know if it had to be sent back.
I didn't have to be sent back. I don't know
what was going on. There was something that they were like, no,
you have the crane and you should you know, you
need to use it. And I remember being like, can
(40:42):
we use it a trick? And they're like, well, you're inside,
it's a whole thing to get it upstairs, Like is
there any outdoor location we could just use the crane?
I was like all right, fine, great, So getting to
learn from the crew, how do you you know those
kinds of things on the fly where the day before
they're like, let's use a green Okay, great, figuring out
a crane make it interesting. But you know, anyway, I
(41:03):
was gonna say, I really liked watching Peyton. I know
we talked about the crib, but that was from a
different perspective. But I liked watching Peyton struggle through with
this whole doing things on her own without Lucas around,
because she's she's so capable, and that's you know, she's
kind of used to being a loner, and it was
really sweet to see her in a space where she
(41:29):
is so used to being alone and handling things on
her own and she really doesn't want to be now
and like to struggle from that place. I feel like
we've all been there, you know, when you're single for
a long time and you're used to just getting done,
and then you fall in love and you start to
rely on the other person and then they're suddenly not around,
and then you have to go back to being the
way that you were, but you don't want to because
(41:50):
you're soft now open. It was really sweet.
Speaker 2 (41:55):
The shell is off.
Speaker 1 (41:56):
I know, how did you feel about that? All that
stuff that you guys were Once you guys were together,
it was all super lovey, DeBie.
Speaker 4 (42:03):
But we were a part a lot. Like I talked
before about the isolation of Peyton in this whole season,
and this episode was a nice departure because she goes
to Tricks, She's with me, she's with Brooks, she's with Haley.
Like Peyton's getting a little like pop ins from skills,
you know, Like I got to maybe that's why I
like this episode so much, because.
Speaker 1 (42:24):
She wasn't so.
Speaker 4 (42:27):
It wasn't all by myself, you guys. Yeah, it is
really hard for me to work on stuff around my
house with someone because I'm just conditioned to do stuff
by myself. And every year I go through the same
process of where I get really comfortable with my husband
being home and like helping me pick the kids up
(42:49):
and helping me with the groceries and like doing all
of that, and he leaves tomorrow to go start filming
his show, and I feel Peyton's anxiety in this where
it's like no, but I finally let someone in it,
Like I'm I'm just codependent enough to feel comfortable and
you're not here. Yeah, I just want to dash of
(43:10):
codependency because it's fleeting. They always have to go somewhere. Fine,
but when Lucas shows up at the ultrasound that undid me,
like hot a nice still cry about that? Yeah, that
that stuff, especially if you've ever suffered pregnancy loss, is
(43:34):
it's hard to explain the terror of going to those
part appointments because there's no guarantee that they're gonna go right,
and you are with a stranger who you know. You
feel like a guinea pig and it's much easier to
(43:55):
face tragedy when you have your person with you, but
there's there's no else, and worse than when the tech
is like can you just go sit back in the
waiting room, I'll have someone come talk to you in
a minute, you know, like it's it's really bad. And
so I completely Peyton's terror. And what's weird to me
is that we had to depict this stuff before it
(44:17):
happened to us in real life, like none of us
had had kids, yeah, you know, like we were guessing
uh and so yes, So much of this episode is meta,
but it feels meta for me personally because I lived
it not long after, and I don't know that gets
in your head. That's when you start to wonder, like
(44:37):
if you conjure shit, like what is happening? But Lucas
showing up made me love Lucas and Peyton so much.
People pick on us for being cheeseballs. Once we're together,
I don't give a shit. I don't care what you think.
We are in love. He showed up. He was like
you told me last week, like what you had that?
Speaker 1 (45:00):
Yeah, Like that's Lucas Scott, That's who he is. He's
you kidding me. No matter what's going on, no matter
how crazy the day is, no matter how much his
world is exploding or getting weight on his shoulder, putting
weight on his shoulders, He's going to show up for Bayton.
That's why.
Speaker 4 (45:15):
Well it was so romantic and it didn't cost a thing.
He just showed up. And remember, well don't cost I mean.
Speaker 2 (45:27):
But it speaks to that that really important and sometimes
I think hard to define, but you know when you
see it experience of really being seen, when you feel seen,
when you feel valued, like you can design a whole life,
and if you don't feel seen, it will feel empty.
(45:49):
And I think that's why those moments feel so special.
That moment that I told you made me cry last
week for you guys, you know when when you I
was telling Hillary Joy when you were traveling that she
and Chad had this scene last week about Keith's ring,
and like, what struck me as as a viewer was, Oh,
(46:10):
Peyton is literally choosing her dream come true. She's saying,
I want the thing I've always wanted. It was so like, Oh,
it just like squeezed my heart in the best way.
And this felt like a continuation of that, which is
especially I think, nice to see for Peyton and everything
she's been through you In that scene, he walks in
(46:33):
the door and it's like, Oh, she is seen and
heard and loved, and that's everything.
Speaker 4 (46:42):
Safe Peyton is a totally different animal. Safe Peyton is cheesy,
She's making bad mom jokes.
Speaker 2 (46:49):
All the time, like magic.
Speaker 1 (46:51):
But what a beautiful arc to go from where she
came from to be here now Save.
Speaker 4 (46:56):
Peyton, because trauma can make some people real, right, And
I like that our girls have all been through different
kinds of trauma and are trying to be the best version,
not the you know, not the gross version.
Speaker 2 (47:12):
I liked that.
Speaker 4 (47:15):
When you were talking about camera lenses and like different
techniques to make things feel a certain way. I liked
that you had me take my jacket off at that
scene by the fire, because there's something really vulnerable about
like your full arms showing like Peyton had been in
this Blazer the whole episode, which feels like I'm holding
it together. I'm holding it together, I'm structured, I'm a
(47:36):
business lady, I'm.
Speaker 2 (47:37):
A boss, I'm fine, grown up.
Speaker 4 (47:39):
And then taking off that layer. Is this really subliminal
because I'm like rubbing my arm in the scene, and
I remember when we watched it thinking just like, oh,
what like a weird self soothing mechanism and there was
just like a vulnerability to it. And those are those
little things that a great director can figure out, Like
we can say the word words, but we can add
(48:01):
this layer and it will feel even sadder.
Speaker 1 (48:05):
Or remove a layer that might have been your choice
though too, you know you you. I mean that's also
one of the things we get to do as actors
is come up with these things that will feel will
help us tell the story. So I don't remember if
that was me or you, but either way, I liked
the choice.
Speaker 4 (48:21):
How did you jump from directing to doing all your though?
Because your stuff was really serious this episode. I mean,
Haley is not only dealing with this thing of work,
but she's also counseling Lucas, and she's counseling Peyton and
dealing with you know, Nathan's got big stuff. You know,
like it was. It's not like they gave you an
episode off.
Speaker 1 (48:40):
No, they certainly didn't. I don't know that I felt
like it was all that serious. I think the material
felt manageable for me. It felt like a natural place
to go to. The conversations were pretty easy. The dialogue
wasn't too complicated, so there was a second nature to
(49:00):
a lot of that that didn't throw me off too much.
I just really did not enjoy, uh, trying to be
in a scene with someone and also trying to be
out of my body and imagining what the scene looks like.
As an actor, I I don't like it. I want
to be fully present, So I didn't enjoy that. I
(49:22):
would prefer not to do that again.
Speaker 4 (49:24):
Did you have someone like helping you?
Speaker 1 (49:26):
Greg might have? Rick was r A D two. He
was super hopeful. Remember seeing Chad in this episode. Chad
the bar one.
Speaker 4 (49:37):
Chad Graves was our other first assistant director for you
Guys at Home. There were there was like our stand in.
Steven played one of the Nathans else was a little
a little treat in here now.
Speaker 2 (49:49):
Yeah, Steven and Chad Graves were super exciting to see
and and when when the girls, you know, when we're
talking about these guys, Chad Graves and Rick Clark for
our friends at home. The first ads on our shows
are really like the steadiness on set. Every episode you've
(50:09):
got a different director. Sometimes a director will do two
or three episodes in a season, but the first ads,
one of them takes all the odd episodes like one, three, five,
and then one of them takes all the even episodes,
you know, two, four, six, et cetera. And so every
other week you flip flop between these two people. And
so to get to put Chad Graves in was so
(50:30):
cool and really random, just continuation of how our little
Wilmington family has stayed so tight. I got to spend
a couple more years working with Rick Clark because he
came in to be one of the first AD's on
Chicago Met so on all my crossover episodes, I was
working with Rick, and so it's like, I don't know,
it's so special for us, those really long relationships, and yeah,
(50:54):
it feels like it feels so cool and you get
to throw your friends on screen, and then you know
the people who no, no, it's like a it's like
a fun little inside joke.
Speaker 4 (51:03):
Well I like it because those cocky anpholes are always
like actors actors, and then when you're shining the light
on them and you're like, okay, hit your mark go,
all of a sudden.
Speaker 2 (51:14):
They're like, oh, yeah, no, I'm cool.
Speaker 4 (51:15):
I'm cool. Yeah, I'm a little flustered.
Speaker 2 (51:32):
Let's spin a wheel.
Speaker 4 (51:34):
I want to spin that wheel. Okay, Oh who is
most likely to sell everything and travel the world for
three years?
Speaker 1 (51:54):
It's a specific amount of time.
Speaker 4 (51:56):
Yeah, really, yeah, sell everything?
Speaker 2 (52:00):
Not Sophia.
Speaker 4 (52:00):
She's a hoarder. And I'm like you, I could never
and not me. I don't leave my fucking house. Joey,
you're the one that's traveling right now.
Speaker 1 (52:09):
I guess I could do that. I could see myself
doing that. I don't know if I'd sell everything for
three years of travel, I might sell everything for ten
years of travel. If I was just like peace out,
like Maria's at college, I'm gonna go just bounce.
Speaker 2 (52:21):
Do you want to be like those people who figured
out that if they just live on cruises they don't
taxes anymore, and so they're spending all their retirement money
because they don't live anywhere. They live in international waters.
There was this big article about this couple. They've taken
their whole retirement savings and they are just living on
cruise ships for the next fifteen years.
Speaker 4 (52:40):
Yep, the horror of that. To me, I could never
That sounds like my worst lay.
Speaker 2 (52:46):
But if it's what you like. I am passionate about
my things and my chotchkeys. I get made fun of
very often when I talk about my chochkeys, I get
teased about my trinkets and trash. One man's trash is
another woman's treasure. Thank you very much.
Speaker 4 (53:04):
You're a bit of an overpacker, which I appreciate because
I'm always the one that's like, I didn't bring shoes.
Speaker 2 (53:09):
I need a bad Yeah, you need shoes, you need earrings?
Speaker 4 (53:12):
Got it? Where? Yeah? Where do you go for three years?
Where are you going?
Speaker 2 (53:16):
Well?
Speaker 1 (53:17):
I guess I'm gonna go. I mean I'm gonna travel.
I'm gonna get on trains. I'll probably do Europe for
a year, I'll do Asia for a year. I go
to I don't know, maybe Australia. Just go wander, Yeah,
see what's out there, say hi to people, get to
know people that are different, say hellout.
Speaker 4 (53:37):
Which character is doing this? Is it? Also? Hayley?
Speaker 1 (53:41):
It feels like a Lucas thing if he didn't have Peyton,
like if.
Speaker 2 (53:47):
Yeah, yeah, it feels like he would vagabond around and
like write a second very book vagabonding novel. Yeah yeah,
and Haley would like rib him and be like, what
do you think you are? Jack Kerouac, and you'd be
like yeah, like it would be very that and I
think it would be cutie.
Speaker 4 (54:09):
Mm hmmm, all right, I like this.
Speaker 2 (54:11):
I like it.
Speaker 4 (54:12):
Now we have a question, guys. We have a question,
uh from Lisa.
Speaker 2 (54:17):
Lisa.
Speaker 4 (54:17):
This is a very broad question. I'm not mad at
it though. She wants to know what your favorite genre
of music is. Oh like today because it change changes.
Speaker 5 (54:30):
I mean today today, Cowboy Carter. Yeah, I'm like, I'm
like Act too. The full album is currently my favorite.
Everything happening, but it changes all the time. It depends
on my mood.
Speaker 1 (54:44):
Yeah, you know me too. Is there one genre that
you can always listen to no matter what's going on,
you can always be like, I'm done.
Speaker 2 (54:51):
With this, well is do you have one?
Speaker 4 (54:53):
I wasn't on to listen to modern radio growing up.
I absolutely like nothing modern, and I only listened to
like motown and more sixties music. Like the sixties was
a whole vibe. And that was before you could get
serious radio or any kind of yeah, satellite radio to
(55:17):
like selectively pick things out.
Speaker 1 (55:19):
I heart.
Speaker 4 (55:19):
Yeah. So there was, Yes, there was a whole oldies station,
and I learned every word to every oldie song ever.
Oh yeah, it's my comfort zone. The kids know, Like
if they come in the kitchen and that's blaring, they're like.
Speaker 2 (55:33):
Oh, she had a day Okay, Yeah, mom's fantastically good.
Speaker 4 (55:37):
Yeah Motown.
Speaker 1 (55:37):
I love oldies. That's good. I feel like this is
a that's a zone, the classic rock zone. I can
get into a lot pretty easily. The Carol King and
the Beatles and the seventies stuff. I'm pretty I'm pretty into.
That's what my parents listened to, So I think it's
the same type of thing. It's like whatever the comfort
zone is from when you're a kid.
Speaker 2 (55:57):
Maybe, Yeah, It's like I always listened anytime I was
alone in the car with my mom, we'd blare motown
and anytime I was alone in the car with my dad,
we'd always turn on like the original Eagles records, And
so I have this like sweet, like solo date with
my parents' energy about both of those things. So anytime
(56:18):
I get in a car and like either of those
genres is on the radio, I always leave it. But yeah,
I feel like maybe because we're actors and like part
of the way we really get into things is music.
Like I make a soundtrack for every character I've ever played,
So I feel like it's so hard to pick something.
Speaker 1 (56:36):
Yeah, we have an appreciation for so many different things.
Speaker 2 (56:39):
Yeah, but yeah that anytime, keep it on feels nice.
All right, you guys.
Speaker 4 (56:47):
Next episode is season six, episode seventeen.
Speaker 2 (56:50):
You and Me and.
Speaker 4 (56:52):
The Bottle makes three sounds like my life story. Oh tonight, Yeah,
forgot the tonight Park makes three millions tonight.
Speaker 2 (57:03):
Next week you later.
Speaker 1 (57:04):
Hey, thanks for listening.
Speaker 2 (57:06):
Don't forget to leave us a review. You can also
follow us on Instagram at Drama Queens o.
Speaker 4 (57:11):
T H or email us at Drama Queens at iHeartRadio
dot com.
Speaker 2 (57:16):
See you next time.
Speaker 1 (57:18):
We all about that High school Drama Girl, Drama Girl,
all about them High School Queens We'll take you for
a ride at our comic Girl.
Speaker 2 (57:27):
Cheering for the right teams, Drama, Queens, up girl Fashion,
what's your tough girl?
Speaker 3 (57:33):
You could sit with us Girl Drama, Queens Drama, Queens Drama,
Queens Drama, Drama, Queens Drama, Queens
Hosts And Creators
Bethany Joy Lenz
Sophia Bush
Robert Buckley
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