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One on One: Mark Harelik · I Am All In with Scott Patterson

• 0:03
  Speaker 1: Let's just do I am all in with Scott Patterson
• 0:14
  Speaker 1: and iHeartRadio Podcast Hire Everybody.
• 0:16
  Speaker 2: Scott Patterson, I am all in podcast, one on one interview,
• 0:20
  Speaker 2: one of one productions. iHeartRadio, iHeart Media, iHeart Did I
• 0:24
  Speaker 2: say podcasts?
• 0:25
  Speaker 3: Yeah? Media?
• 0:25
  Speaker 2: Did I say all that popcorn? All that stuff? Mark
• 0:29
  Speaker 2: Herolic is going to be our guest. He portrayed Stuart
• 0:35
  Speaker 2: Woltz for one episode on Gilmore Girl. Stuart was Rory's
• 0:38
  Speaker 2: boss at the Stanford Eagle Gazette who she insisted on
• 0:43
  Speaker 2: getting a job. Here's a little bit about Mark, film, stage, actor, playwright.
• 0:50
  Speaker 2: He's appeared in the film's election, Jurassic Park three Eulogy,
• 0:55
  Speaker 2: four Year Consideration, forty two year Old. Says various roles
• 0:59
  Speaker 2: in television shows Seinfeld, Numbers, Wings, Grace Under, Fire, Will
• 1:02
  Speaker 2: and Grace, NCIS, Boy Meets World, Breaking Bad Bone, Six
• 1:06
  Speaker 2: Feet Under, and five episodes of the first season A
• 1:10
  Speaker 2: Big Bang Theory. More recently appeared in Preacher and The
• 1:14
  Speaker 2: Morning Show. Let's bring him In, Mark Harlick, Mark, tell
• 1:18
  Speaker 2: us what thanks for joining us? Tell us how you
• 1:20
  Speaker 2: got the role Gilmore Girls.
• 1:22
  Speaker 1: Well, we're talking about a gig. I got a very
• 1:25
  Speaker 1: long time ago. All right, you should understand that I'm
• 1:31
  Speaker 1: in a category as an actor and with guest roles
• 1:38
  Speaker 1: like the editor of the Eagle Gazette in Gilmore Girls.
• 1:42
  Speaker 1: I'm essentially a plumber. Somebody has one job that they
• 1:47
  Speaker 1: need done, so they hire a plumber to come in.
• 1:50
  Speaker 1: If your sync is stopped up, you hire a plumber
• 1:53
  Speaker 1: to come in and stops the sink and goes without
• 1:57
  Speaker 1: his job. That's just one stop on his day's work.
• 2:03
  Speaker 1: So my involvement with a television show is basically that
• 2:08
  Speaker 1: they have their regular characters that paint the house, paying
• 2:11
  Speaker 1: the paintings, choose the furniture, live there. But I play
• 2:16
  Speaker 1: a character that just pops in. They give me a name,
• 2:20
  Speaker 1: They give my character a name and some lines to say,
• 2:24
  Speaker 1: but essentially I'm there just to keep the water flowing
• 2:27
  Speaker 1: through the sink and the water flowing through the sink.
• 2:30
  Speaker 1: In this case was I believe Alexis was looking for
• 2:33
  Speaker 1: a job at the Ego Gazette, so they needed somebody
• 2:38
  Speaker 1: that was sort of a semifoil for her at the
• 2:41
  Speaker 1: Ego Gazette to hire her. And once she's hired, my
• 2:46
  Speaker 1: character is dispensable. So how did I get the job?
• 2:52
  Speaker 1: I worked for Amy Sherman Palladino on her show of
• 2:57
  Speaker 1: Veronica's Closet, and I was a I was a generic boyfriend,
• 3:03
  Speaker 1: I think, to Kathy, to Jimmy, I believe so, of
• 3:08
  Speaker 1: whom I was a big fan because of the Kathy
• 3:10
  Speaker 1: and Mo show. So I played Kathy. I think it
• 3:14
  Speaker 1: was Kathy and Jimmy's boyfriend for three episodes. I don't
• 3:20
  Speaker 1: know why Amy hired me for Veronica's Closet because we
• 3:26
  Speaker 1: had no relationship whatsoever. I mean I saw her every
• 3:30
  Speaker 1: day on the set and we were involved in script
• 3:37
  Speaker 1: changes and such, but she never remembered my name. And
• 3:44
  Speaker 1: I found her, you know, fairly unpleasant to work with
• 3:51
  Speaker 1: or neutral pleasant to work with?
• 3:55
  Speaker 2: Say that, why do you say that?
• 3:58
  Speaker 1: Oh, she just ignored me. So I attempted. I remember
• 4:02
  Speaker 1: attempting chit chat. I think I complimented her on a
• 4:05
  Speaker 1: scene as she speedily walked by me in her top
• 4:08
  Speaker 1: half in job purse. You know it's okay, I'm a plumber,
• 4:16
  Speaker 1: generic boyfriend. I did three episodes, and then some years
• 4:21
  Speaker 1: later her other her one of her next shows, Gilmore Girls,
• 4:25
  Speaker 1: comes up, and I recalled being offered the job. So
• 4:32
  Speaker 1: somebody in Amy's world may have remembered me, or the
• 4:36
  Speaker 1: casting director said, oh, this guy played generic boyfriend in
• 4:40
  Speaker 1: Veronica's closet. Remember him? No, But if I hired him
• 4:43
  Speaker 1: for that, let's hire him for this. So I was
• 4:45
  Speaker 1: hired for this, and I have a certain amount of
• 4:49
  Speaker 1: comic skills, which the casting director anyway, I was approved.
• 4:56
  Speaker 1: I came in into one of the most uncomfortable gigs
• 5:03
  Speaker 1: I've ever worked, which you may you may ask me
• 5:09
  Speaker 1: about tell us more and I'm not painting a very
• 5:17
  Speaker 1: rosy picture as it is. But so so I went
• 5:23
  Speaker 1: through the I went through the Gilmore Girls hazing uh,
• 5:27
  Speaker 1: which every actor does, which is you know what that is,
• 5:32
  Speaker 1: talk faster, faster, talk faster, talk faster. I'm talking as
• 5:37
  Speaker 1: fast as I can think, talk faster than you can think,
• 5:41
  Speaker 1: which if you watch the show and the and the
• 5:44
  Speaker 1: the actors that are really good at that, and they're
• 5:47
  Speaker 1: you know, they're really good at that, they do in
• 5:49
  Speaker 1: fact talk faster than you can think, which has you
• 5:53
  Speaker 1: sort of rolling falling forward all the time, and and
• 5:58
  Speaker 1: you you're laughing. You're always laughing in retrospect. So the
• 6:03
  Speaker 1: humor doesn't even need to be that, it doesn't need
• 6:07
  Speaker 1: to be joky, and it doesn't need to be particularly funny.
• 6:11
  Speaker 1: It's wit that comes spitting out, and it's a great
• 6:17
  Speaker 1: technical approach to comedy uh and and lots of writers
• 6:23
  Speaker 1: use it, but I think it was used to the
• 6:26
  Speaker 1: best effect on Bilmore Girls. Anyway, I had to confront that,
• 6:30
  Speaker 1: even though I knew that was the esthetic going in UH.
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  Speaker 1: My biggest challenge was remember the lines fast enough to
• 6:39
  Speaker 1: keep going and talk as fast as you can and
• 6:41
  Speaker 1: move faster than you can think. Just let the words
• 6:44
  Speaker 1: flow out. You have to drill the words a lot
• 6:47
  Speaker 1: so they come out freely, and then you're sort of
• 6:49
  Speaker 1: tripping forward. And then once you get a handle on that,
• 6:53
  Speaker 1: you can put in little comic bills and results if
• 6:58
  Speaker 1: you wish. And in preparing for this interview, I went
• 7:04
  Speaker 1: back and I watched the episode and I kind of
• 7:06
  Speaker 1: liked what I did. I feel like it was it
• 7:08
  Speaker 1: was light and funny and tripping forward. But god, was
• 7:12
  Speaker 1: it allacious to get into. Because on the set, it's
• 7:18
  Speaker 1: not a suggestion, it is you will talk faster. You
• 7:22
  Speaker 1: will talk faster than that. And when you do talk faster,
• 7:28
  Speaker 1: you're not met with approval, you're met with geez finally, okay,
• 7:33
  Speaker 1: let's move on. And you know, remember once again, I'm
• 7:37
  Speaker 1: a plumber. So you know, the plumber doesn't get iced
• 7:40
  Speaker 1: tea when he comes to the door. He doesn't have
• 7:44
  Speaker 1: he doesn't have a little tray of crue de tay
• 7:48
  Speaker 1: or dervs waiting for him. It's like, don't tramp your
• 7:52
  Speaker 1: muddy boots on my floor and fix that drain as
• 7:54
  Speaker 1: fast as you can so we can get back to
• 7:56
  Speaker 1: our normal life. So this is the life of a
• 7:59
  Speaker 1: guest star, especially when you're doing you know, just just
• 8:02
  Speaker 1: one episode. So you know, I understand it's.
• 8:06
  Speaker 2: Always good to know your role, you know, on a
• 8:08
  Speaker 2: set there and there is a pecking order, yeah, for sure, for.
• 8:14
  Speaker 1: Sure, and I'm not there to do any pecking. And
• 8:16
  Speaker 1: I don't want to be packed though I am packed.
• 8:19
  Speaker 1: I mean they you realize that that you must be
• 8:23
  Speaker 1: packed as you come in the door, otherwise you'll straight
• 8:26
  Speaker 1: over to the your dervs and the iced tea. So,
• 8:30
  Speaker 1: no doubt, definitely this is the kind of job I enjoy.
• 8:33
  Speaker 1: I do like sort of smoke jumping in doing a
• 8:36
  Speaker 1: character that I have no relationship with and no relationship
• 8:40
  Speaker 1: to the show.
• 8:42
  Speaker 2: So let's let's get to Alexis. You did, you did
• 8:45
  Speaker 2: all of your scenes with her?
• 8:46
  Speaker 3: What was that like?
• 8:48
  Speaker 1: Axpreciating? Uh? And and here's why, here's why. For some reason,
• 8:54
  Speaker 1: according to the schedule, Lauren Graham, all of her scenes
• 8:57
  Speaker 1: came up first in the day because who knows why,
• 9:02
  Speaker 1: but all of her scenes came up first. So uh
• 9:05
  Speaker 1: so I was you know, guest Guest artists are called
• 9:09
  Speaker 1: to be ready all day. So let's say I'm called
• 9:11
  Speaker 1: at ten in the morning about Evan. In the evening,
• 9:16
  Speaker 1: I'm called to work. So I've had two union meals.
• 9:22
  Speaker 1: I'm in my I'm in my union uh honeywagon.
• 9:26
  Speaker 3: Uh.
• 9:27
  Speaker 1: So called because your bed is right next to the
• 9:29
  Speaker 1: toilet and uh, you know I'm hanging today. He sure
• 9:36
  Speaker 1: it even saves movements.
• 9:38
  Speaker 2: You wouldn't even have to move really if you were no.
• 9:41
  Speaker 1: You just lean over. It's like it's like having a
• 9:44
  Speaker 1: bedpan while you're ending your life with a fatal illness.
• 9:47
  Speaker 1: You just lean to the left and pee and I'll
• 9:49
  Speaker 1: come in and clean later. Uh, even though you have
• 9:54
  Speaker 1: to go outside and remind them to turn on the
• 9:56
  Speaker 1: water and the electricity in your trailer. But anyway, in
• 10:02
  Speaker 1: the evening, we're called in to do our scenes, and
• 10:06
  Speaker 1: I think we had maybe three, three or four scenes
• 10:09
  Speaker 1: after they go faster, go faster, go faster, they go
• 10:11
  Speaker 1: relatively well. Last scene up in the day okay, And
• 10:15
  Speaker 1: to this point, I have no relationship with Alexis, including
• 10:21
  Speaker 1: no certainly no, no talking to Alexis. And and that's
• 10:27
  Speaker 1: you know, some some regular cast members and the shows
• 10:31
  Speaker 1: I work on go out of their way to talk
• 10:33
  Speaker 1: to the day players, the guest stars. But she was
• 10:40
  Speaker 1: not in the mood, and I could tell she was tired.
• 10:43
  Speaker 1: She was grumpy, long ago. Who knows what was going on?
• 10:47
  Speaker 1: Long day, young and immaterial.
• 10:53
  Speaker 2: After twelve hours, you don't want to be there anymore.
• 10:56
  Speaker 2: You know, you don't want to do any more scenes,
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  Speaker 2: but you know you have to.
• 10:59
  Speaker 1: No, you don't want to do anything, and especially you
• 11:03
  Speaker 1: don't want to do you know, the ancillary scenes like
• 11:07
  Speaker 1: this are generally going to secondary memory. Your primary scenes
• 11:13
  Speaker 1: that have to do with your characters and your character relationships.
• 11:16
  Speaker 1: You memorize those first because you want to have flexibility
• 11:20
  Speaker 1: in the scene. You wanted to be able to improvise
• 11:24
  Speaker 1: scenes with the plumber, you don't memorize until the last minute. Well,
• 11:30
  Speaker 1: she memorized at the last minute, and god, was it
• 11:34
  Speaker 1: a explosion in a spaghetti factory. She did not know
• 11:39
  Speaker 1: her words. She did not know her words. So we
• 11:43
  Speaker 1: did many, many takes and she gets her words. We
• 11:50
  Speaker 1: come to the last scene that we filmed, which if
• 11:55
  Speaker 1: you're watching in the episode, it doesn't really look like
• 11:57
  Speaker 1: any sort of a prominent scene, but it is what's
• 12:00
  Speaker 1: called a walk and talk walking down a long hallway
• 12:06
  Speaker 1: led by a steady cam. The steady cam is watching
• 12:09
  Speaker 1: you as you're walking toward the steady cam. So the
• 12:12
  Speaker 1: steadycam operator is backing up down this long hallway. I'm
• 12:17
  Speaker 1: in first position, my stooge of an assistant. The actor's
• 12:24
  Speaker 1: name a really nice guy, Dave Slanski Shapanski Slansky. Anyway,
• 12:29
  Speaker 1: Dave is next to me. He's sort of an underling
• 12:32
  Speaker 1: to me.
• 12:33
  Speaker 2: I hope it's not huh nothing, go ahead.
• 12:40
  Speaker 1: And Alexis is behind us. So we're a little triumvirate
• 12:44
  Speaker 1: walking toward the steady caam operator. Well, we do one take,
• 12:50
  Speaker 1: So we're walking toward the steady caam operator. I'm talking
• 12:52
  Speaker 1: to Alexis over my shoulder, which is like, jeez, get
• 12:55
  Speaker 1: off my back, I'll give you an interview. Jeez, get
• 12:57
  Speaker 1: off my back, Get on my back. Okay, I hear you.
• 13:00
  Speaker 1: He's doing all the talking. We get about halfway down
• 13:03
  Speaker 1: and she's not there anymore. She ducked into a side room.
• 13:07
  Speaker 1: She's got I don't know my lines. So we go
• 13:10
  Speaker 1: back to what we call go back to one, which
• 13:12
  Speaker 1: is where the tracking shot starts, over by the elevators
• 13:17
  Speaker 1: or something like that. Steady caam operator, steadycam's assistant who
• 13:22
  Speaker 1: is keeping him from falling over because steadycam is walking backwards,
• 13:26
  Speaker 1: steady line up in our little triangle and action. I
• 13:31
  Speaker 1: start walking. I have a couple of lines. Alexi says,
• 13:34
  Speaker 1: one line gets it wrong. We look back, She's not there.
• 13:38
  Speaker 1: She's ducked into a side room. Again, I don't know
• 13:41
  Speaker 1: my lines. Okay, no fault, no blame. This was last
• 13:46
  Speaker 1: in your short term memory. You're having a hard time.
• 13:49
  Speaker 3: We did.
• 13:51
  Speaker 1: Thirty takes. We did thirty takes and the scene is
• 13:56
  Speaker 1: maybe twelve seconds long.
• 14:00
  Speaker 3: Uh.
• 14:01
  Speaker 1: I'm going over there. I'm trying to hang on. I
• 14:04
  Speaker 1: had better not miss my cube, and the steady cam
• 14:08
  Speaker 1: operator saying, I can't do this anymore. I can't do
• 14:11
  Speaker 1: this anymore. This is the last shot. I cannot do
• 14:15
  Speaker 1: this anymore. And we're right up against midnight, which is,
• 14:19
  Speaker 1: you know, we go into union double time. And so
• 14:22
  Speaker 1: the producer is next to Amy Sherman Palladino saying this
• 14:27
  Speaker 1: is it. Amy loses her but she can't yell at Alexis,
• 14:34
  Speaker 1: so she yields it. Poor Dave next to me, who
• 14:38
  Speaker 1: I think he tripped a little bit or he stumbled
• 14:42
  Speaker 1: and he caught from her. And I'm sweating bullets because
• 14:47
  Speaker 1: like I'm on the last bullet in my Russian roulette
• 14:52
  Speaker 1: gun and that thing better be a blank. Alexis, please
• 14:58
  Speaker 1: remember your life, and she got it. I heard her rehearsing.
• 15:03
  Speaker 1: She wasn't rehearsing the sense of the line. She was
• 15:06
  Speaker 1: rehearsing mnemonics, so, uh, I think she may have some
• 15:12
  Speaker 1: She had some some line of I'm not nitpicking here,
• 15:17
  Speaker 1: so which said, I'm not picnicking here. I'm not going
• 15:20
  Speaker 1: to picnic. I go for a picnic. When I go
• 15:23
  Speaker 1: for a picnic, I have fun. Okay, I have a picnic,
• 15:25
  Speaker 1: I eat sandwiches. So what is the line, I'm not
• 15:28
  Speaker 1: nitpicking here? So that's how she learned the word nitpicking.
• 15:33
  Speaker 1: I don't know if that was the word, but it
• 15:34
  Speaker 1: was something like it. And uh, we get that shot,
• 15:40
  Speaker 1: A check the gate gates. Good, that's a wrap for
• 15:44
  Speaker 1: the day. I dash for my dressing room as fast
• 15:46
  Speaker 1: as I possibly can't and and uh, and I wonder
• 15:53
  Speaker 1: I want to I mean, she gets we find at
• 15:55
  Speaker 1: the end of the episode that I did. My character
• 15:57
  Speaker 1: does hire her. But I was hired for this job
• 16:04
  Speaker 1: as a possible recurring and this is always a contract designation.
• 16:08
  Speaker 1: We're hiring you for one episode, but it's possibly recurring,
• 16:12
  Speaker 1: which means, no matter what we pay you, come work
• 16:16
  Speaker 1: for us, because if you're really good, we'll hire you
• 16:20
  Speaker 1: for more episodes. And that definitely it does happen. I
• 16:25
  Speaker 1: was not invited to come back. My character did not recur.
• 16:28
  Speaker 1: I don't know what happened with her job at the
• 16:31
  Speaker 1: Eagle Gazette after that.
• 16:34
  Speaker 4: It's interesting because the fans always ask that question too,
• 16:38
  Speaker 4: Like Rory never went back to that job after that episode,
• 16:42
  Speaker 4: and so the fans are always like, this job was
• 16:45
  Speaker 4: such a big deal, where did it go? And it's
• 16:47
  Speaker 4: like one of the great answered questions.
• 16:48
  Speaker 1: In the next episode, which I wasn't in because I checked.
• 16:54
  Speaker 1: He does she is doing some gig filming something for
• 17:00
  Speaker 1: the for the Gazette. And she has a because there's
• 17:03
  Speaker 1: one scene where she talks with a friend of hers
• 17:05
  Speaker 1: who's in the newsroom at the Gazette. But then after
• 17:09
  Speaker 1: that crickets.
• 17:11
  Speaker 4: Yeah, she has a line like I have to send
• 17:13
  Speaker 4: something in or something like that, and then that's that's
• 17:15
  Speaker 4: the end of the Gazette.
• 17:26
  Speaker 2: Sorry, let me interject something here. It's interesting. And this
• 17:32
  Speaker 2: happens on sets, on television sets, on film sets, this
• 17:36
  Speaker 2: kind of thing. This is the point is is this
• 17:39
  Speaker 2: show was so demanding, uh, and the days were so long,
• 17:45
  Speaker 2: and it was just nothing but memorization, short term memory
• 17:49
  Speaker 2: and talking, talking as fast as you possibly can. And
• 17:52
  Speaker 2: it was physically and psychologically and psychically taxing. And the
• 17:59
  Speaker 2: level of exhaustion that you reach after ten twelve hours
• 18:04
  Speaker 2: of this, you simply can't do it anymore. Everything starts
• 18:08
  Speaker 2: to break down.
• 18:09
  Speaker 1: It's rae.
• 18:11
  Speaker 2: It actually is that.
• 18:13
  Speaker 1: It's Roadge's road Rage on the set.
• 18:18
  Speaker 2: Yes, and it's and it's very, very toxic. And I
• 18:22
  Speaker 2: really feel for Alexis. You tell the story, but I
• 18:25
  Speaker 2: mean she was incapable of remembering anything, and she is
• 18:30
  Speaker 2: in mind like a steel trap. I mean, she could
• 18:32
  Speaker 2: remember anything all those long speeches, all those long scenes.
• 18:34
  Speaker 1: So my story must not be unique.
• 18:37
  Speaker 2: No, I mean it's happened to me, it's happened to
• 18:40
  Speaker 2: everybody on that show. Where you just get so overwhelmed
• 18:44
  Speaker 2: because you're so tired after ten twelve hours of that
• 18:48
  Speaker 2: and multiple scenes and it's fast, faster and faster, and
• 18:51
  Speaker 2: it's one hundred degrees out in burbank and you got
• 18:53
  Speaker 2: to go to a town hall meeting and the next
• 18:56
  Speaker 2: day and you're just like it becomes. I don't think
• 18:59
  Speaker 2: fans understand how difficult these jobs are. And you know,
• 19:04
  Speaker 2: absolutely absolutely money, the perks are fantastic, you know, all good,
• 19:11
  Speaker 2: but it's it's a hard job. Gilmore Girls was a
• 19:14
  Speaker 2: hard job.
• 19:15
  Speaker 1: That's well, I do job. My head is off to
• 19:19
  Speaker 1: you and everyone. A good friend of mine played a
• 19:25
  Speaker 1: recurring role, Mike Winters. Have you had a chance to
• 19:27
  Speaker 1: talk to Michael.
• 19:29
  Speaker 2: Michael Winters is the best.
• 19:31
  Speaker 1: Yeah, he's the best.
• 19:32
  Speaker 2: He's Taylor Taylor Dozie just fantastic.
• 19:34
  Speaker 1: Yeah, yeah, yeah, he's one of my best ties. And
• 19:37
  Speaker 1: he always he always told me about working on Gilmore
• 19:39
  Speaker 1: Girls and I and I was excited to get the
• 19:41
  Speaker 1: job and and I realized this is this is you know,
• 19:46
  Speaker 1: sometimes television is playtime. You work for a four camera show,
• 19:52
  Speaker 1: you do like, uh, let's say Will and Grace. I
• 19:59
  Speaker 1: worked a lot on Will and Grace.
• 20:01
  Speaker 2: I did an episode of Will and Grace. I did
• 20:04
  Speaker 2: a Seinfeld. I know it is. It's so much fun. God, Yeah,
• 20:08
  Speaker 2: the dream job is to be a series regular on
• 20:11
  Speaker 2: a hit sitcom. That's the dream job. You know, so
• 20:14
  Speaker 2: much fun. Yeah, you know, nine to five rehearsals. It's
• 20:18
  Speaker 2: like going back to theaters and you're doing live theater
• 20:21
  Speaker 2: in front of a live audience, and it's.
• 20:22
  Speaker 1: Just and you get to practice, you get you get
• 20:25
  Speaker 1: a week to memorize your lines essentially. But but but
• 20:30
  Speaker 1: my view of Gilmore Girls and and and I know
• 20:33
  Speaker 1: that it's it's consistent around the industry and the yes,
• 20:37
  Speaker 1: the audience wouldn't part take in it, but it's a
• 20:41
  Speaker 1: it is a blender on high. You go in and
• 20:46
  Speaker 1: and as happened with me, my first introduction was you
• 20:50
  Speaker 1: better talk fast, just talk fast, and be relaxed and
• 20:56
  Speaker 1: uh and be offhanded humorous, all of which I can do.
• 21:01
  Speaker 1: But you know, coming at the as you say at
• 21:03
  Speaker 1: the end of a twelve hour day, and I cast
• 21:07
  Speaker 1: no aspersions on Alexis whatsoever.
• 21:10
  Speaker 2: Oh no, no, no, we didn't think. I just wanted to
• 21:13
  Speaker 2: I just wanted to clarify for the audience, the listening audience.
• 21:17
  Speaker 2: Just you know, everybody has their limits. And I think
• 21:21
  Speaker 2: anybody can relate to this, because everybody's at their jobs
• 21:24
  Speaker 2: every day and it's like it gets to be eight, ten,
• 21:27
  Speaker 2: twelve hours in and you're like, I'm shutting down here
• 21:30
  Speaker 2: and I need to just go home and like go
• 21:33
  Speaker 2: to sleep, take a shower. While not in that order,
• 21:36
  Speaker 2: you're so tired.
• 21:36
  Speaker 3: You don't even know what we're it.
• 21:38
  Speaker 1: And it's not as though it's not as though this
• 21:40
  Speaker 1: job is involuntary. You know, we want to be doing this.
• 21:45
  Speaker 1: We have we have we have creative urgence. We want
• 21:49
  Speaker 1: to create characters, we want to perform. We want to
• 21:53
  Speaker 1: work with other artists who are at our level.
• 21:55
  Speaker 2: But here's something that I will I will postulate it
• 21:59
  Speaker 2: is acting is not meant to do that much.
• 22:06
  Speaker 1: Interesting.
• 22:07
  Speaker 2: And I think I think acting is you know, it's
• 22:09
  Speaker 2: a it's a gift to God, it's it's it's it's
• 22:12
  Speaker 2: almost holy, it's it's spiritual. If it's done right, I
• 22:16
  Speaker 2: think there's nothing more vital than live theater when it's
• 22:20
  Speaker 2: done right. I don't think there's anything more vital than uh,
• 22:25
  Speaker 2: a great film when it's done well right. Television is
• 22:30
  Speaker 2: a different animal. It requires you to, because of a
• 22:36
  Speaker 2: level of exhaustion, compromise yourself at times just to preserve
• 22:41
  Speaker 2: your sanity.
• 22:43
  Speaker 1: Mm hmm.
• 22:45
  Speaker 2: It's unfortunate, but people get so exhausted on those sets,
• 22:50
  Speaker 2: on one hour single camera dramas or dramas, whatever they are,
• 22:56
  Speaker 2: that it's like you start thinking in terms like and
• 22:59
  Speaker 2: it doesn't happen often, but you sometimes you start thinking
• 23:02
  Speaker 2: in terms like I just need to get the hell
• 23:03
  Speaker 2: out of here, and I just need to sit here
• 23:05
  Speaker 2: and I'll deliver the lines and then I want to
• 23:07
  Speaker 2: go home. No, I'm not going to move over there. No,
• 23:09
  Speaker 2: I'm not going to move over there. And I know
• 23:11
  Speaker 2: I should and I know make a better scene, but
• 23:14
  Speaker 2: it's like you physically cannot do it. So let's talk
• 23:18
  Speaker 2: about Seinfeld, because I did a Seinfeld. I want to
• 23:21
  Speaker 2: I want to compare experiences. Tell us about sign I wonder.
• 23:24
  Speaker 1: If I said, I wonder if I saw your episode,
• 23:26
  Speaker 1: because I can't I can't recall it off hand.
• 23:28
  Speaker 2: I did watch sponge Worthy episode sponge Worthy episode sponge
• 23:32
  Speaker 2: Worthy sponge Worthy. It's one of its apparently one of
• 23:35
  Speaker 2: the No you don't you didn't see that one. No,
• 23:40
  Speaker 2: I was like they wanted to Kramer went on an
• 23:43
  Speaker 2: AIDS walk and but he wouldn't wear the ribbon. He goes,
• 23:45
  Speaker 2: I don't want to wear the ribbon. She says, but
• 23:47
  Speaker 2: you have to wear the ribbon.
• 23:50
  Speaker 3: Now.
• 23:51
  Speaker 2: But talk about your experience getting Seinfeld and being on
• 23:55
  Speaker 2: the set and meeting though.
• 23:56
  Speaker 1: We had I had a great experience.
• 24:00
  Speaker 2: So you met so you knew Mark, You had a
• 24:01
  Speaker 2: relationship with Mark Lieberman or Mark Hirshfeldt, sorry, the casting
• 24:07
  Speaker 2: director Liebman Hirshfeldt, Nancy Liebman, Mark Hirshfeldt.
• 24:12
  Speaker 1: Yes, Yes, I did, Yes, I did. Thank you right
• 24:15
  Speaker 1: there were they were the so so I right, so
• 24:19
  Speaker 1: so I you know, I was in a like like
• 24:22
  Speaker 1: they do with you know, there there are some of
• 24:25
  Speaker 1: us that meet first with a casting director, and the
• 24:29
  Speaker 1: casting director says, okay, I will put you in the
• 24:32
  Speaker 1: second group and you'll meet with the director and the producers. Uh.
• 24:38
  Speaker 1: I've been in the business even at the time I
• 24:40
  Speaker 1: did Seinfeld. I was in the business long enough where
• 24:43
  Speaker 1: I didn't have to go through the first meet with
• 24:45
  Speaker 1: the casting director. So my I and a handful of
• 24:49
  Speaker 1: guys came in and uh and met Jerry and the
• 24:54
  Speaker 1: producers and I'm not sure, I don't remember who.
• 24:56
  Speaker 2: Director, David and Howard Shapiro or George Yeah, yeah, did
• 25:01
  Speaker 2: you go to CBS Radford for that? Yeah, yeah, yeah,
• 25:05
  Speaker 2: that's right.
• 25:05
  Speaker 1: And and uh and sat in a very comfortable office
• 25:08
  Speaker 1: and talking to Jerry, who's just as nice as can be. Uh,
• 25:14
  Speaker 1: just relaxing. And you know, when you when you're that
• 25:19
  Speaker 1: that was an example of somebody who is so confident
• 25:22
  Speaker 1: in their job and their role and their week to
• 25:26
  Speaker 1: week preparation that there's no stress whatsoever. You're not going
• 25:30
  Speaker 1: to get any glad handing. Uh. It's that kind of
• 25:34
  Speaker 1: job when when you know, when when you're an actor
• 25:37
  Speaker 1: and you don't get the role, you think it wasn't
• 25:40
  Speaker 1: because of any stress in the office. I just wasn't
• 25:43
  Speaker 1: the flavor they were looking for. And that's fine.
• 25:46
  Speaker 2: So it went well, you got the job.
• 25:48
  Speaker 1: Well, it went well. The character required a generic Eastern
• 25:52
  Speaker 1: European accent, which I had a generic, nice, nice, comfortable,
• 25:56
  Speaker 1: generic Eastern European. Can you can you.
• 25:59
  Speaker 2: Do the accent still, can you give us a little
• 26:01
  Speaker 2: taste of milosh?
• 26:03
  Speaker 1: Do you remember milosh?
• 26:07
  Speaker 3: Uh?
• 26:09
  Speaker 1: Somebody uh criticized me later because when I was using
• 26:16
  Speaker 1: my when, I would say when they say no, you
• 26:21
  Speaker 1: don't say when, you say when? When when? Uh? And
• 26:26
  Speaker 1: I was and I was using this, I was using
• 26:30
  Speaker 1: this kind of accent, Jerry says to me. He says,
• 26:34
  Speaker 1: we had we had guests last week who had same accent,
• 26:43
  Speaker 1: and all of his w's were these last week we
• 26:47
  Speaker 1: had I don't want that this week. So when you
• 26:52
  Speaker 1: say week, say lee. When you say when, stay when.
• 26:59
  Speaker 1: And then later fans heavily criticized me for not using
• 27:06
  Speaker 1: the v oh my institution, But it was because Jerry said,
• 27:12
  Speaker 1: we had somebody last week that sounded that way. Can
• 27:14
  Speaker 1: you tweak it a little bit? I also had shoulder
• 27:16
  Speaker 1: length hair at the time god knows what. Oh no.
• 27:20
  Speaker 1: I was doing a character on the single guy h
• 27:26
  Speaker 1: Brad Hall's sitcom and I had long hair for that character.
• 27:33
  Speaker 1: So I was keeping my long hair and Jerry said,
• 27:35
  Speaker 1: who right. Jerry said, can you can you catch your hair?
• 27:41
  Speaker 1: And I said no, I cannot, right, and he said okay,
• 27:47
  Speaker 1: thank you. And by the time I got home. I
• 27:51
  Speaker 1: had the job, so the hair was just I don't
• 27:53
  Speaker 1: know he wanted he wanted something different.
• 27:57
  Speaker 2: So when you were on set, who were your scene with?
• 28:00
  Speaker 1: Who?
• 28:00
  Speaker 2: Who did did you meet everybody in the cast or
• 28:02
  Speaker 2: was it.
• 28:04
  Speaker 1: Michael Kramer is an old friend of mine? So Rick Richards.
• 28:11
  Speaker 1: Michael Richards is an old friend of mine. We've done
• 28:13
  Speaker 1: we did theater together and I just love him, and
• 28:18
  Speaker 1: so I knew him on the set. And Uh, I
• 28:21
  Speaker 1: know Julia Uh and Jerry, Michael, Julia, h Jason, Jason,
• 28:33
  Speaker 1: and Jason was my next door neighbor, so I knew
• 28:37
  Speaker 1: all of them, even though I hadn't worked with Jason before.
• 28:39
  Speaker 1: So I just felt so at ease and so comfortable.
• 28:44
  Speaker 1: And I think maybe Andy Ackerman was the director. Yeah,
• 28:52
  Speaker 1: and I had worked with Andy before on four camera sitcom,
• 28:56
  Speaker 1: and so I just felt like I was I know
• 28:58
  Speaker 1: these people, I know this job, I know this character.
• 29:02
  Speaker 1: I feel so free and easy. And basically, Jerry and
• 29:05
  Speaker 1: I just played a lot of tennis together.
• 29:08
  Speaker 2: Nice is he a good tennis But.
• 29:11
  Speaker 1: I don't know because I was playing with my left hand,
• 29:14
  Speaker 1: so I would be bad. And I was a tennis
• 29:16
  Speaker 1: pro who didn't know how to play tennis.
• 29:19
  Speaker 2: Gotch you go? So, so let's move on to the
• 29:22
  Speaker 2: Morning show. You were with Reese Witherspoon and Jennifer Aniston.
• 29:25
  Speaker 2: Tell us what it was like working with them.
• 29:27
  Speaker 1: I wasn't with Reese, but I was with Anniston. I
• 29:31
  Speaker 1: was a lawyer on the board of directors under the
• 29:34
  Speaker 1: first administration before Billy Crudup took over, so I had scenes.
• 29:44
  Speaker 1: I had scenes with Billy, and I had scenes.
• 29:46
  Speaker 2: With Billy is one of my favorite actors. I think
• 29:48
  Speaker 2: he's just a miracle. He's so simple and direct, he's
• 29:53
  Speaker 2: so rights, he's so great. He cuts right through all
• 29:56
  Speaker 2: the bs and just does the character. You know, his
• 30:00
  Speaker 2: role in almost famous as a rock star. Yeah, Yeah,
• 30:04
  Speaker 2: he's so good.
• 30:05
  Speaker 1: He's just he's just straightforward. Yes, he looks you in
• 30:10
  Speaker 1: the eyes and with an unfurrowed brow, speaks his speaks
• 30:15
  Speaker 1: his truth, which is an example of you don't have
• 30:19
  Speaker 1: to do anything as an actor because you're already it.
• 30:23
  Speaker 1: When you show up on the set, you're already it.
• 30:26
  Speaker 1: You're already the character. You know some maybe there's an accent,
• 30:30
  Speaker 1: maybe there's a maybe there's some sort of physical mannerism
• 30:33
  Speaker 1: you'd like to play with, but be careful doing that.
• 30:38
  Speaker 1: Mostly you arrive and by the time you've arrived, you're
• 30:41
  Speaker 1: the character. You're in place. Then just listen and ignore
• 30:49
  Speaker 1: the two hundred people around you that are waiting to
• 30:51
  Speaker 1: get to the next shot.
• 30:53
  Speaker 3: There you go.
• 31:03
  Speaker 2: All right, We're gonna go into a segment we call
• 31:06
  Speaker 2: rapid fire. And you do not have to answer these
• 31:09
  Speaker 2: questions quickly. Okay, you do not.
• 31:12
  Speaker 1: If they're too fast, I'll spout obscenities. So I'm that's
• 31:16
  Speaker 1: my that's my improptory fault.
• 31:18
  Speaker 2: I have the same knee jerk reaction having gone through
• 31:21
  Speaker 2: seven years of that. Uh, that's as fast.
• 31:24
  Speaker 3: Scott?
• 31:25
  Speaker 2: All right, are you ready? Here we go and a
• 31:27
  Speaker 2: one and a two or two?
• 31:28
  Speaker 1: Charming?
• 31:29
  Speaker 2: How do you like your coffee?
• 31:32
  Speaker 1: It's only one ingredient and the beverage that I call coffee?
• 31:38
  Speaker 2: Are you team Logan, team Jesser, team Dean in Logan
• 31:44
  Speaker 2: good Man? Who is your favorite Gilmour girls couple Luke
• 31:49
  Speaker 2: and LARELEI or Emily and Richard, Luke and Laurel? I
• 31:55
  Speaker 2: would you rather work with Luke? Indeed, would you rather
• 31:59
  Speaker 2: work with Michelle l or Kirk?
• 32:02
  Speaker 1: I much rather work with Captain Kirk. I just find
• 32:05
  Speaker 1: him fuzzy.
• 32:06
  Speaker 2: And what would you order at Luke's Diner?
• 32:12
  Speaker 1: Oh, I'd order a club sandwich, hold the turkey, and
• 32:16
  Speaker 1: I don't like that cheese they keep putting on. They
• 32:18
  Speaker 1: say it's cheddar, it's American.
• 32:20
  Speaker 2: You Harord Yale, or you drop out and live in
• 32:26
  Speaker 2: a poolhouse.
• 32:28
  Speaker 1: It would have to be Harvard by default, because I
• 32:30
  Speaker 1: was directed by a Yale director who told me, anytime
• 32:33
  Speaker 1: you're talking to another actor, you need to look in
• 32:35
  Speaker 1: their eyes. And I said, what kind of behavior is that?
• 32:40
  Speaker 1: I learned that at Yale. Sorry, I'm off to Harvard.
• 32:45
  Speaker 2: Somebody just told me that I'm not kidding.
• 32:48
  Speaker 1: I swear to the Mark Brokaw.
• 32:53
  Speaker 2: That's funny. Would you rather attend a DAAR event with
• 32:57
  Speaker 2: Emily or a town meeting with Taylor?
• 33:01
  Speaker 1: A time meeting with Taylor? Because I would just like
• 33:04
  Speaker 1: to travel with her, getting through the screaming crowds trying
• 33:07
  Speaker 1: to get to the venue. I find it very charming
• 33:10
  Speaker 1: when I when I see her sh in shots in
• 33:12
  Speaker 1: the in the owner's booth, I found out she looks
• 33:16
  Speaker 1: like a nice girl.
• 33:18
  Speaker 2: Gilmore, girl's character that you would want as a roommate.
• 33:24
  Speaker 1: I was a roommate with Mike Winters. Tell me the
• 33:27
  Speaker 1: name of his character again, Taylor. Taylor, Yeah, Taylor.
• 33:33
  Speaker 2: Something in your life. You are all in on your beard.
• 33:37
  Speaker 1: My puppies. I know my beard is all in on me,
• 33:42
  Speaker 1: but but yeah, my my, my puppies.
• 33:46
  Speaker 2: It's a fantastic beard. That is a to me.
• 33:49
  Speaker 1: What is this doing on my face?
• 33:51
  Speaker 2: I don't know, it's I don't know, it's it's working
• 33:55
  Speaker 2: for you, buddy.
• 33:55
  Speaker 1: All right.
• 33:56
  Speaker 2: Really enjoying the unemployment line, enjoyed speaking with you you, Caly,
• 34:03
  Speaker 2: Thank you so much for sharing your experiences with us.
• 34:07
  Speaker 2: I appreciate your time, appreciate your good work, and all
• 34:11
  Speaker 2: the best to you. Take care of man, Thank.
• 34:14
  Speaker 3: You everybody, and off again.
• 34:45
  Speaker 2: Follow us on Instagram at I Am All In podcast
• 34:49
  Speaker 2: and email us at Gilmore at iHeartRadio dot com.