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Interesting Hat Part 2 (S1, E3 “Kill Me Now”) · I Am All In with Scott Patterson

• 0:00
  Speaker 1: I am all in. I am all in with Scott
• 0:18
  Speaker 1: Patterson and I heart Radio podcast. A right everybody, Scott Patterson,
• 0:22
  Speaker 1: I am all in podcast. Welcome back. UM, let's get
• 0:27
  Speaker 1: right into Kill Me Now. This is episode three, Kill
• 0:31
  Speaker 1: Me Now. Every date, October nineteenth, two thousand, Rory goes
• 0:34
  Speaker 1: golfing with her grandfather and surprisingly has a good time
• 0:38
  Speaker 1: at Lora lies in a wedding? Is stressing everyone out?
• 0:41
  Speaker 1: My initial thoughts, I mean, Emily Gilmore, Wow, what a
• 0:48
  Speaker 1: puppet master? Right? I agree, this brilliant woman. You really
• 0:53
  Speaker 1: learn that she is controlling things because Richard was surprisingly
• 0:59
  Speaker 1: hesit tend to play golf, Yes he was, and she
• 1:03
  Speaker 1: was like, you will do this and you will make
• 1:05
  Speaker 1: it great and make sure she has dessert. He wanted exactly.
• 1:08
  Speaker 1: He wanted lunch, lunch. He wanted no part of lunch.
• 1:12
  Speaker 1: He wanted no part of it at all. And man,
• 1:16
  Speaker 1: I don't think that was like why did he initially
• 1:18
  Speaker 1: not want to hang out with his granddaughter. I don't know.
• 1:23
  Speaker 1: I just think he probably knew that it was going
• 1:25
  Speaker 1: to cause a lot of stress with Laurela and it
• 1:29
  Speaker 1: would get back to her and then she would, you know,
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  Speaker 1: talk to Richard about it, and he just wanted to
• 1:34
  Speaker 1: do He just wanted to go play golf with his buddies,
• 1:37
  Speaker 1: you know, and and cackle and have a beer and
• 1:40
  Speaker 1: have a cocktail and have a nice lunch and shoot
• 1:42
  Speaker 1: the breeze. And you know, he didn't want to do that.
• 1:44
  Speaker 1: He's not used to it. He's not he's not in
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  Speaker 1: the flow of the family thing. I mean, he's so
• 1:49
  Speaker 1: he's so settled into his you know, it's just me
• 1:52
  Speaker 1: and Emily, and they've ignored us for all these years,
• 1:55
  Speaker 1: and so those feelings get very hardened right over time.
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  Speaker 1: So now he's got to open up all of a
• 2:00
  Speaker 1: sudden and like share his sacred free time away from Emily,
• 2:04
  Speaker 1: you know, with with the grand door. And it's like,
• 2:07
  Speaker 1: oh god, it's like for him, it's opening up a
• 2:09
  Speaker 1: can of worms. That's a great point. He had to
• 2:12
  Speaker 1: do something uncomfortable. And also, like the golf club that
• 2:16
  Speaker 1: he was a part of was very hoity toity, like
• 2:19
  Speaker 1: you can tell, and bringing in your you know, your
• 2:23
  Speaker 1: granddaughter who has never played golf before. You saw in
• 2:26
  Speaker 1: those first couple of takes at the golf course where
• 2:29
  Speaker 1: she's just hitting the ground and the grass is flying
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  Speaker 1: up and he was mortified. There's nothing worse, by the way,
• 2:35
  Speaker 1: and I have been a member of a hoity toity
• 2:37
  Speaker 1: golf club, country club, and there's nothing worse than playing
• 2:40
  Speaker 1: with somebody who can't play. Not saying I'm an a
• 2:43
  Speaker 1: player at all, but when you have somebody like taking
• 2:46
  Speaker 1: up the turf like that, You're like, oh, this is
• 2:48
  Speaker 1: gonna be a long, slow day, slow day. Um. This
• 2:54
  Speaker 1: episode is so important because because of that golf, Rory
• 2:59
  Speaker 1: and Stared fully bond and that becomes essential to the
• 3:05
  Speaker 1: rest of the series, right, because this is where he
• 3:09
  Speaker 1: realizes she's smart. They have so much in common, and
• 3:14
  Speaker 1: she is very drawn to him, and they become so connected,
• 3:19
  Speaker 1: which causes all kinds of problems with Laura lit Right.
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  Speaker 1: So it's about control, right, It's it's about who's going
• 3:25
  Speaker 1: to control the video here. It's gonna be Emily, is
• 3:29
  Speaker 1: gonna be Laura, And you know, it's like, you gotta
• 3:30
  Speaker 1: do what's best for your kid. And that came you
• 3:34
  Speaker 1: know that Laura I came around to that she realized
• 3:37
  Speaker 1: this was going to be ultimately beneficial for her and
• 3:39
  Speaker 1: that she was going to have to suffer through this
• 3:41
  Speaker 1: and just swallow her ego you know, and let Emily win.
• 3:44
  Speaker 1: What was a great line. Um how when they're fighting
• 3:47
  Speaker 1: about their boots with the irrational anger, you might have
• 3:53
  Speaker 1: to think you just did what I mean, you can
• 3:58
  Speaker 1: carry it. It's like may you you may use but
• 4:03
  Speaker 1: I know I can't. I never would. Um. Yeah, that
• 4:07
  Speaker 1: was major that they had that big old yes yes.
• 4:12
  Speaker 1: And it's it's the fear of losing your daughter. It's
• 4:17
  Speaker 1: the fear of losing you know, that closeness. I mean,
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  Speaker 1: there's there might be a bit of an unhealthy aspect
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  Speaker 1: to that mother daughter relationship. I mean, if we really
• 4:27
  Speaker 1: want to psychoanalyze it, it's like if you're that close,
• 4:31
  Speaker 1: I mean, is it is it choking? Is it choking?
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  Speaker 1: Alexis is it? Is it? Is it too much? Right?
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  Speaker 1: And who's the mom and who's the daughter? Because a
• 4:41
  Speaker 1: lot of times Rory has the clear head and right right.
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  Speaker 1: So ultimately she was well raised. But is it too
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  Speaker 1: much of a you know, too much of a cage
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  Speaker 1: she's put her in into. Is it too much friends?
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  Speaker 1: Mother daughter? You all to realize that Emily, we started
• 5:02
  Speaker 1: to talk about this is totally in control. One. She
• 5:05
  Speaker 1: says to Richard, you will go, you will do this.
• 5:07
  Speaker 1: And remember when she when Laura Lai goes into the
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  Speaker 1: like whatever that side room is on the Friday night
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  Speaker 1: dinner and Emily convinces Laura la that the gulf is
• 5:18
  Speaker 1: the right thing. And it worked. So Emily, really, like
• 5:22
  Speaker 1: you said, is the puppet master. She's got everybody either
• 5:28
  Speaker 1: doing what she wants, are doing the right thing unclear
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  Speaker 1: which it is? Um, yeah, and it ultimately, and both
• 5:36
  Speaker 1: women are displaying an extraordinary level of selfishness. But like,
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  Speaker 1: who's got Rory's best interest at heart ultimately? And I
• 5:46
  Speaker 1: think it's Emily, And I think she wins that round.
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  Speaker 1: I mean, let's give it to her because that is
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  Speaker 1: the best thing for her. And all families go through this,
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  Speaker 1: especially when there's grandkids, right, and there's maybe some some
• 6:01
  Speaker 1: tension between the husband or the wife and and and
• 6:05
  Speaker 1: one parent and there's bitterness and resentment going back and
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  Speaker 1: it hasn't been resolved and it gets on the kid
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  Speaker 1: and the grandkid and oh my god, it's just a
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  Speaker 1: circle jerk at that point. Everybody. Everybody goes through this.
• 6:17
  Speaker 1: This is every family, which is why the show is
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  Speaker 1: so appealing. This is universally experienced through all families and Uh,
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  Speaker 1: it's just you know, the way the way they do
• 6:29
  Speaker 1: it on Gilmore Girls is especially satisfying because it is
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  Speaker 1: so clearly mapped out. It's so you know, you can
• 6:37
  Speaker 1: really feel the beats. You can not so much you
• 6:41
  Speaker 1: can anticipate it. But man, it is so rife with humor.
• 6:44
  Speaker 1: What was the line that uh Laurel I had that
• 6:48
  Speaker 1: was so funny in the kitchen? She says, uh, yeah,
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  Speaker 1: what are you, Bob Barker? It's like, it's what are
• 6:53
  Speaker 1: you trying to win? Like? What's going on? Emily says,
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  Speaker 1: if Roy goes and has a great time with you,
• 6:59
  Speaker 1: then I win. Okay, Burger. So let's quickly before we
• 7:05
  Speaker 1: move on from this scene. This is where the mistake happens.
• 7:09
  Speaker 1: They talk about Laura Lai the first and you could
• 7:13
  Speaker 1: interpret that she has passed away. They say was like
• 7:17
  Speaker 1: three times. But we know those of us that have
• 7:21
  Speaker 1: seen it or we're there that Mrs cunney Ham later
• 7:26
  Speaker 1: plays Grandma, great grandma, whatever you wanna call it, Loreli
• 7:31
  Speaker 1: the first Mary and Ross, who to many people is
• 7:36
  Speaker 1: known as Mrs cunney Ham. So I don't know. Here's
• 7:40
  Speaker 1: the question for you. Is it a mistake or do
• 7:43
  Speaker 1: they later change their mind when they're writing and they realize, oh, hey,
• 7:46
  Speaker 1: you know what, we should have Mary and Ross come
• 7:48
  Speaker 1: in and play Richard's mother and we've got this whole
• 7:51
  Speaker 1: storyline with her, and do they sort of just like
• 7:53
  Speaker 1: hold people forgot what happened in episode. I think that
• 7:58
  Speaker 1: it's like it's it's you know, what are we gonna
• 8:02
  Speaker 1: what are we going to get out of this? We're
• 8:03
  Speaker 1: gonna get so much more out of Amary and Ross
• 8:06
  Speaker 1: coming on than you know, some fans being a little
• 8:09
  Speaker 1: irked at right a couple of Reddit threads where people
• 8:11
  Speaker 1: are like the right because there's so much It just
• 8:15
  Speaker 1: deepens the show and gives it so much more dimension.
• 8:18
  Speaker 1: I mean, it's like the Kirk thing, right, It's like
• 8:20
  Speaker 1: he didn't have a name. It's like Amy trying to
• 8:22
  Speaker 1: figure out where he fits in and how he fits in,
• 8:24
  Speaker 1: you know, and and uh, you know Laura La referring
• 8:27
  Speaker 1: to him as that go help that guy over there,
• 8:29
  Speaker 1: not Mick, not Nut Kirk, just that guy over there.
• 8:32
  Speaker 1: So yeah, I think in the beginning, you you get,
• 8:36
  Speaker 1: you get forgiven, You get forgiven a little bit at
• 8:38
  Speaker 1: the beginning because they obviously felt and we all felt
• 8:42
  Speaker 1: it was going to be a long run anyway, so
• 8:44
  Speaker 1: it's like, what the hell, just go for it. You know.
• 8:47
  Speaker 1: What else do you realize in this episode is how
• 8:50
  Speaker 1: good Laura Lae is at her job with that wedding
• 8:53
  Speaker 1: with the twins on the Twins and they. I think
• 8:57
  Speaker 1: that I would assume that's intentional because you really realized, Man,
• 9:01
  Speaker 1: she's a pro at this, even the super salad. Let's
• 9:04
  Speaker 1: have both, Like she's putting out fires, you know, and
• 9:08
  Speaker 1: solving all those problems. What's your take on that? I
• 9:12
  Speaker 1: think I think that's where her breeding. Okay, that's where
• 9:15
  Speaker 1: her d n A kicks in, because that's where she's
• 9:19
  Speaker 1: more familiar because that's what she's used to and that's
• 9:21
  Speaker 1: what she grew up with. The country club. She knows
• 9:24
  Speaker 1: what great services she because she's she's demanded it, and
• 9:29
  Speaker 1: she's seen Richard and Emily demanded when she was a child.
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  Speaker 1: Can you imagine somebody coming like Richard asking for a
• 9:35
  Speaker 1: drink at the country club, give me a Scotch on ice,
• 9:38
  Speaker 1: and the kid brings it without the ice, and Richard going,
• 9:43
  Speaker 1: excuse me, you know what I mean? And then the
• 9:45
  Speaker 1: kid brings him a glass of ice, and then Richard says,
• 9:47
  Speaker 1: excuse me, So it's breeding. So she's not in her
• 9:50
  Speaker 1: comfort zone raising a child. She's figuring it out. But
• 9:53
  Speaker 1: with the the end, no, that comes naturally. There's also
• 9:57
  Speaker 1: the scene when they were at the dinner table and
• 10:00
  Speaker 1: there's this awkward exchange with the maid that was taking
• 10:03
  Speaker 1: care of them, and she said, oh, it's my new cook, Mira,
• 10:07
  Speaker 1: who turns out to really be Sarah, but Emily misheard
• 10:10
  Speaker 1: the name. And it just becomes established that Emily goes
• 10:13
  Speaker 1: through many cooks and maids often. So that kind of
• 10:17
  Speaker 1: was like a big red flag for me. I was like, oh,
• 10:19
  Speaker 1: there's something there. Yeah, well yeah, that's they demand snap
• 10:25
  Speaker 1: a finger kind of service and don't screw it up
• 10:27
  Speaker 1: or you're gone and you can't know it. And unless
• 10:30
  Speaker 1: you've grown up that way. Because when the mother of
• 10:33
  Speaker 1: the twins is like worried about this, worried about this,
• 10:35
  Speaker 1: worried about this, and lower Lae just has it solved,
• 10:37
  Speaker 1: Has it solved? Has it solved? You're like, Wow, she
• 10:40
  Speaker 1: runs this in like a box. She's a classy, educate,
• 10:45
  Speaker 1: well somewhat educated, very very intelligent, well bred person who
• 10:50
  Speaker 1: has made some choices that run counter to her upbringing, right,
• 10:56
  Speaker 1: and that's the show. Another perspective I think is it's
• 10:59
  Speaker 1: the one thing more like can control. Like she can't
• 11:01
  Speaker 1: control Rory, she can't control Emily, So all these things
• 11:05
  Speaker 1: at the end is something that she can control, and
• 11:08
  Speaker 1: that's why she's so good at it. Yeah, yeah, and
• 11:11
  Speaker 1: what a great who's the actress that played that? Was it?
• 11:14
  Speaker 1: Mrs Scales? Megan Faye, the mom of the twins. Yes,
• 11:20
  Speaker 1: she was brilliant and uh a perfect counter lare and
• 11:25
  Speaker 1: and sending up and being so on it where I
• 11:28
  Speaker 1: will send you somebody up for a massage. It looks
• 11:31
  Speaker 1: amazingly similar to Antonio bandair. So, I mean every week,
• 11:38
  Speaker 1: how dense these episodes are. There isn't thirty seconds wasted
• 11:43
  Speaker 1: on this show. All right, let's take a quick break, gang.
• 11:46
  Speaker 1: When we come back, we'll talk about the club. Okay,
• 11:58
  Speaker 1: we're back. We're talking about the country club. The very tony,
• 12:02
  Speaker 1: very expensive monthly fees and huge initiation feed, the hundreds
• 12:09
  Speaker 1: of thousands of dollars. So I kept going through my
• 12:13
  Speaker 1: mind was how rich are the Gilmore You know, I
• 12:15
  Speaker 1: think his stock options are probably I mean back then,
• 12:21
  Speaker 1: I mean a hundred million, fifty million I've had some
• 12:24
  Speaker 1: you know, I've friends that are CEOs and x CEO
• 12:26
  Speaker 1: is a big, big corporations, and uh, and they're doing
• 12:30
  Speaker 1: a couple million a year in salary. It's not it's
• 12:32
  Speaker 1: not really the salary, right. The salary is good, right,
• 12:35
  Speaker 1: and maybe up to five million a year in salary,
• 12:37
  Speaker 1: but it's the stock options well. And Richard, I don't think,
• 12:40
  Speaker 1: grew up struggling. It seems like there was family money
• 12:42
  Speaker 1: and family money on families, right, exactly, exactly. So okay,
• 12:47
  Speaker 1: so the club. What did you think of the scenes
• 12:49
  Speaker 1: at the club? Specifically, I'm obsessed with the steam room.
• 12:54
  Speaker 1: The most odious woman in the world, not just at
• 13:00
  Speaker 1: the club. I mean, that's the funniest part of it
• 13:04
  Speaker 1: because when she rolled up and I thought, I thought, oh,
• 13:07
  Speaker 1: here's something. That's why Richard didn't want to go. Maybe
• 13:10
  Speaker 1: there's something going on here, you know, maybe he didn't
• 13:12
  Speaker 1: want to be disturbed or found out that he was
• 13:15
  Speaker 1: maybe having somewhat of an emotional affair with somebody else,
• 13:19
  Speaker 1: you know, because but no, of course, you can't do
• 13:23
  Speaker 1: that to that character. You lose respect for him. So
• 13:26
  Speaker 1: he I liked that Richard bonded with Rory over the
• 13:30
  Speaker 1: you know, her travels to Fez and books, but also
• 13:35
  Speaker 1: her sort of gossipy stories about what was going on.
• 13:38
  Speaker 1: He really was on her level, and I think all
• 13:40
  Speaker 1: of a sudden you realize these two are besties now.
• 13:44
  Speaker 1: And what he probably doesn't realize and doesn't want to
• 13:48
  Speaker 1: admit because he's still angry, is at Laurel I probably
• 13:51
  Speaker 1: did a heck of a job raising her. Good job.
• 13:56
  Speaker 1: She knows, she's aware of she's literate, she's reading the
• 13:59
  Speaker 1: right books. You know, she's saying the right thing. She's
• 14:02
  Speaker 1: a very proper young lady and very respectful. She can't
• 14:06
  Speaker 1: play who cares. But that's you know, he's going to
• 14:09
  Speaker 1: have to admit to himself at some point he can
• 14:11
  Speaker 1: play against that. And that's that's gold for actors. Is
• 14:14
  Speaker 1: that maybe Laurel E isn't such a screw up. I mean,
• 14:18
  Speaker 1: if you can raise a daughter that's that spectacular, you
• 14:20
  Speaker 1: did something right, you know that just doesn't happen. Yeah,
• 14:25
  Speaker 1: that's a great, great point. So, yeah, what is your
• 14:28
  Speaker 1: take seeing that relationship between Richard and Rory, Like, how
• 14:33
  Speaker 1: important is what we're seeing developed? Well? Well, I think
• 14:39
  Speaker 1: it's important for both of them. I think it's uh.
• 14:43
  Speaker 1: It enriches Rory's life. It gives her a father figure,
• 14:47
  Speaker 1: I mean somewhat of a five father figure that isn't
• 14:49
  Speaker 1: Luke um and it's a it's a it's a man
• 14:53
  Speaker 1: that is her blood, that she can trust, who has
• 14:57
  Speaker 1: her best interested hearts, and that could re really you know,
• 15:00
  Speaker 1: affect some very positive change within her, which I think
• 15:04
  Speaker 1: we see immediately in the in the conflict with Laurel
• 15:08
  Speaker 1: I that fight when he calls her right away at
• 15:12
  Speaker 1: the end, right, which is a hilarious line. Yes, I
• 15:16
  Speaker 1: don't know how many people call you dad when Laurela answers,
• 15:18
  Speaker 1: but right he called he never called the inn and
• 15:21
  Speaker 1: calls Rory. It's like, why would anybody admit that that
• 15:24
  Speaker 1: they're your father? And then at the very end, you
• 15:28
  Speaker 1: see the three of them go into the library to
• 15:31
  Speaker 1: look at the books and Laurela is left in the
• 15:34
  Speaker 1: I don't know what room that is the living room
• 15:36
  Speaker 1: or the sitting room room. Yeah, that's yeah, that's the
• 15:40
  Speaker 1: main living room. Yeah. We we we shot a lot,
• 15:43
  Speaker 1: We shot a good amount in the revival in that
• 15:46
  Speaker 1: living room. It's it's a very large area. Um. Yeah,
• 15:50
  Speaker 1: and I think you know and the cooler Alexis was,
• 15:54
  Speaker 1: the cooler Rory was. And that fight scene, the boob scene, Um,
• 15:59
  Speaker 1: the the angrier she got Laurel I got, and and
• 16:03
  Speaker 1: and it's and it also shows that on a certain
• 16:06
  Speaker 1: level that Rory is far more mature than her mother.
• 16:10
  Speaker 1: So there in lies that dynamic in that conflict too,
• 16:13
  Speaker 1: because I mean she just was very cool about it,
• 16:15
  Speaker 1: a very matter of fact about it. And she wasn't
• 16:18
  Speaker 1: and there's nothing diabolical about it. She wasn't even thinking
• 16:23
  Speaker 1: about how it affected Laurel I personally, right, how she
• 16:29
  Speaker 1: must be feeling, because who thinks that way? Right? Who
• 16:34
  Speaker 1: on Earth thinks that way? So it's that dysfunction that
• 16:37
  Speaker 1: fractured relationship with their parents. That is, that is, you know,
• 16:41
  Speaker 1: providing all of the fuel for this, and and and
• 16:44
  Speaker 1: and the Paladinos really cashed in on that. I mean
• 16:48
  Speaker 1: that is just like the nuclear fuel of the show.
• 16:50
  Speaker 1: Was anyone else surprised that Rory was late date attempt
• 16:59
  Speaker 1: at sabotage? They gave Richard some funny lines like when
• 17:03
  Speaker 1: he said it was cooler at eight, But I was
• 17:07
  Speaker 1: surprised that she was late. Um, yeah, I mean it's typical, right,
• 17:11
  Speaker 1: It's like I didn't set the alarm and sorry, and
• 17:14
  Speaker 1: maybe you just can't go. You'll miss it and he'll
• 17:16
  Speaker 1: leave and because he's not gonna miss his tea time, right,
• 17:19
  Speaker 1: you don't miss your tea time in places like that,
• 17:21
  Speaker 1: you don't make people work. It was just about to
• 17:23
  Speaker 1: say that you can't miss your tea time if you're late.
• 17:25
  Speaker 1: You don't got it. Yeah, you you forfeit it. And
• 17:28
  Speaker 1: uh so, yeah, that was an attempt at sabotage that
• 17:31
  Speaker 1: wasn't scripted, but it's implied. Oh yeah, oh yeah, Well
• 17:36
  Speaker 1: should we dig into Jackson and Suki for a session?
• 17:39
  Speaker 1: Daniel has some thoughts. I just I thought that that
• 17:45
  Speaker 1: debacle was probably like my favorite part of the episode.
• 17:48
  Speaker 1: Like I love seeing Suki and Jackson fight fight over
• 17:52
  Speaker 1: the strawberries and the blueberries, and at the very end
• 17:54
  Speaker 1: Suki got her way with the strawberries. I just loved
• 17:57
  Speaker 1: all of it. I thought it was fantastic, uh to
• 18:00
  Speaker 1: to to to put an exclamation point on that and
• 18:03
  Speaker 1: to have um a Suki go after him down the street.
• 18:07
  Speaker 1: I mean, that is wacky, stars, hollow, harmless, a little
• 18:13
  Speaker 1: hamlet at its finest. That is that is as dangerous
• 18:18
  Speaker 1: as it gets there. I mean, that's that That just
• 18:22
  Speaker 1: defines what Stars Hollow is. It was a perfect love
• 18:26
  Speaker 1: that because of the strawberry debacle, it teas up the
• 18:30
  Speaker 1: fact that it's blueberry shortcake that then Rory and Laura
• 18:35
  Speaker 1: li I bring over to Emily and she says, you
• 18:38
  Speaker 1: brought me used blueberry and then Lauraa goes, no, it's
• 18:43
  Speaker 1: left over dessert. As if there's a difference, like that
• 18:51
  Speaker 1: is the genius that if there wasn't that, we wouldn't
• 18:55
  Speaker 1: have the bit at the end that makes you laugh.
• 18:59
  Speaker 1: That was intention and all that was intentional. That was like,
• 19:03
  Speaker 1: I'm sure that was not her lack of breeding. It
• 19:07
  Speaker 1: was like, deal with it. I don't like you right
• 19:12
  Speaker 1: here you go. It's just so funny that that may
• 19:17
  Speaker 1: be one of the funniest moments of the entire thing
• 19:20
  Speaker 1: that that entire episode that was that was fantastic. Um um,
• 19:25
  Speaker 1: what else can we get into? Well, okay, so the
• 19:28
  Speaker 1: twins on Twins, this is the crazy thing. So we've
• 19:32
  Speaker 1: learned in television there's like an A plot line, there's
• 19:35
  Speaker 1: like a B plot line and a C plot line.
• 19:38
  Speaker 1: So would like the A would be the golf and
• 19:41
  Speaker 1: the father the grandfather, tranddaughter. Then the B is the
• 19:46
  Speaker 1: twins on twins and you've got this ridiculous wedding and
• 19:50
  Speaker 1: the whole thing. And then the C would be maybe
• 19:53
  Speaker 1: the strawberry controversy. But the thing that's so amazing about
• 20:00
  Speaker 1: this show they're all tied together. Um well, when you
• 20:05
  Speaker 1: have that many characters, you pretty much have to create
• 20:08
  Speaker 1: multiple storylines or else you know, what are you gonna
• 20:11
  Speaker 1: do with them? And you've got so many of these
• 20:13
  Speaker 1: great actors and the great characters that were created for
• 20:16
  Speaker 1: this reason. Um you know, not to utilize them as
• 20:21
  Speaker 1: a crime, but uh yeah, when they're that distinct, when
• 20:26
  Speaker 1: when the voices are that distinct, it's kind of easy
• 20:29
  Speaker 1: to develop storylines if you just think in terms of
• 20:31
  Speaker 1: stars Hallow, like, how can we make a wacky, funny
• 20:34
  Speaker 1: thing And imagine how much fun Amy and Dan had
• 20:36
  Speaker 1: creating the blueberry versus strawberry thing and then they're chasing
• 20:40
  Speaker 1: down the street at the end of it. I mean,
• 20:41
  Speaker 1: it's just like you know, the roaring with laughter developing
• 20:45
  Speaker 1: that stuff, because that's the fun of writing. It's like
• 20:48
  Speaker 1: collaborating with your partner who happens to be your husband
• 20:50
  Speaker 1: or your wife and making this funny stuff. Well, can
• 20:54
  Speaker 1: you talk about that? Because on one end we have
• 20:57
  Speaker 1: this very serious stuff, you know, Julie, the relationship between
• 21:01
  Speaker 1: Emily and Lorelei and Rory is very serious and emotional.
• 21:07
  Speaker 1: Then you have these two other things that are completely
• 21:10
  Speaker 1: outlandish and over the top. Of the twins marrying twins
• 21:14
  Speaker 1: with the mother that sort of can't stand their twin daughters,
• 21:18
  Speaker 1: and then Jackson and Suki brawling over the strawberries. It's like,
• 21:22
  Speaker 1: you can they go outlandish? Another stab like that's over
• 21:27
  Speaker 1: the top and wacky. That's what makes the drama portion
• 21:31
  Speaker 1: of it so powerful because when you return to that,
• 21:34
  Speaker 1: you know you're not you're but there's still an element
• 21:37
  Speaker 1: of wacky in in Emily Laureli. There's all those little lines,
• 21:42
  Speaker 1: all those little funny lines, but it's so much more
• 21:45
  Speaker 1: fraught with with conflict, right, and it's always so well
• 21:50
  Speaker 1: placed because the one thing that I know about screenwriting
• 21:53
  Speaker 1: and not so much about television, uh, is that if
• 21:57
  Speaker 1: you're gonna put a scene of conflict, dialogue scene of conflict,
• 22:02
  Speaker 1: not an action scene, but a dialogue. If you're gonna
• 22:04
  Speaker 1: talk conflict, it's got to be late in the second
• 22:07
  Speaker 1: act and it's got to be extreme conflict and that
• 22:10
  Speaker 1: propels it into the third act. And they do that
• 22:12
  Speaker 1: very well in this show. And I think television is
• 22:15
  Speaker 1: broken up into I don't know, five or six acts.
• 22:17
  Speaker 1: I know I never I never wrote it. I wrote screenplays,
• 22:20
  Speaker 1: but I never wrote television series. It's I don't understand
• 22:23
  Speaker 1: the dynamic of the structure of it. It's a it's
• 22:25
  Speaker 1: a different structure, but um, there are similarities. But but
• 22:28
  Speaker 1: that's those are the big moments in the kitchen, when
• 22:31
  Speaker 1: they're going at it and it's really serious. That's when
• 22:34
  Speaker 1: you can do it. You do it kind of two
• 22:36
  Speaker 1: thirds uh into the piece or two thirds into the air,
• 22:41
  Speaker 1: so about forty minutes you do it minutes, um. But yeah,
• 22:46
  Speaker 1: you can't have that impact. So you can't land hit
• 22:49
  Speaker 1: so hard unless you have the wacky And that's the
• 22:52
  Speaker 1: beauty of the show because you know you're gonna get
• 22:54
  Speaker 1: the comic relief after. You know you're gonna get the
• 22:57
  Speaker 1: build up after. So you're just sort of playing with
• 22:59
  Speaker 1: everybody's emotions and you're giving them all these laughs and
• 23:03
  Speaker 1: all these waggy characters and it's all harmless, harmless, harmless,
• 23:06
  Speaker 1: So it seems so much more pronounced, so much more
• 23:10
  Speaker 1: serious between mother and daughter when they're really going at
• 23:13
  Speaker 1: it and they're both lions, right, I mean, these are
• 23:16
  Speaker 1: these two women are not backing down and they're really
• 23:19
  Speaker 1: delivering big shots. So it's and plus I mean, look,
• 23:23
  Speaker 1: let's let's let's put it in a boxing terminology. You
• 23:26
  Speaker 1: get that one to punch with the with Emily and Laurel,
• 23:29
  Speaker 1: and then the punches keep coming with all those thirty
• 23:32
  Speaker 1: other characters, and it's overwhelming. I mean, it's just like
• 23:34
  Speaker 1: it's a joy. It's a joy to watch. I mean,
• 23:37
  Speaker 1: if you were be happy if somebody were beating you.
• 23:40
  Speaker 1: But maybe a bad analogy. Uh, let's think of something
• 23:44
  Speaker 1: else besides sports. So but that, but that's really the point.
• 23:48
  Speaker 1: It's like they know structure, They know where to put
• 23:52
  Speaker 1: the scenes of the most conflict um and then know
• 23:55
  Speaker 1: how to set them up because all that other stuff
• 23:57
  Speaker 1: is just set up. It's set up. And I wouldn't
• 24:00
  Speaker 1: say window dressing. It's not that that would be insulting.
• 24:04
  Speaker 1: It's just color. It's there. There's so many different colors
• 24:08
  Speaker 1: to this, this this canvas. So there you go. Yeah,
• 24:18
  Speaker 1: all right, everybody, we're back. It's Scott Patterson with I
• 24:22
  Speaker 1: Am All in podcast on My Heart. We are joined
• 24:25
  Speaker 1: by the illustrious Valerie Campbell, who worked in the wardrobe
• 24:31
  Speaker 1: department on Gilmore Girls. So your forte on Gilmore Girls,
• 24:38
  Speaker 1: as you have stated before, UH is less about fashion
• 24:41
  Speaker 1: and more about the behind the scenes stuff and what
• 24:44
  Speaker 1: it was like working on the show. And you took
• 24:46
  Speaker 1: care of the actors on the set and there was
• 24:49
  Speaker 1: um and from their season one episode ten until the
• 24:52
  Speaker 1: very end, including the reboot where you were the costume
• 24:55
  Speaker 1: supervisor UM and you were responsible for breaking down the
• 24:59
  Speaker 1: scare ups and hiring crew, making a budget and make
• 25:02
  Speaker 1: sure everything in the costume department happened. UM. So tell
• 25:06
  Speaker 1: us a little bit about how you got the job
• 25:07
  Speaker 1: and what the experience was like. Well, you remember Brenda.
• 25:11
  Speaker 1: Brenda was our costume designer towards the end from season
• 25:14
  Speaker 1: three on. He called me up one day and she said, Hey, Valerie,
• 25:19
  Speaker 1: I've got I got this show I want you to
• 25:21
  Speaker 1: help me on. It's called Gilmore Girls. But I swear
• 25:25
  Speaker 1: to god, I thought she said Gibson Girls, which is
• 25:29
  Speaker 1: more of a relation to like a period film. And
• 25:31
  Speaker 1: I'm like thinking, oh, it's a period film, and I'm
• 25:33
  Speaker 1: looking at the TV guide and I think it was
• 25:35
  Speaker 1: the golf episode with Richard that was in the TV
• 25:39
  Speaker 1: guide and I'm like, huh. And then I get to
• 25:42
  Speaker 1: set and I'm like, this is not a period film
• 25:46
  Speaker 1: in no way. Now, you mentioned the golf episode. That
• 25:49
  Speaker 1: was the first time I got to work with rich
• 25:51
  Speaker 1: with with Ed, the first time I actually when Rory
• 25:57
  Speaker 1: took him. Okay, right, okay, but yeah, do you remember
• 26:01
  Speaker 1: in the golf episode and it might have been your episode,
• 26:04
  Speaker 1: or it might have been the time that he took
• 26:06
  Speaker 1: um Chris golfing. Um, there was a medic off in
• 26:12
  Speaker 1: the distance and they swung a golf the Ed swung
• 26:16
  Speaker 1: his thing and it went off, he says, four, and
• 26:19
  Speaker 1: it hits the set medic in the head and she
• 26:22
  Speaker 1: ended up getting a head injury that day. It went
• 26:26
  Speaker 1: through this like she was sitting behind the lattice work
• 26:28
  Speaker 1: right right, because everybody was hiding because it was like
• 26:31
  Speaker 1: you saw everything. Oh boy, photos, I mean I still
• 26:36
  Speaker 1: have all my photos from continuity from that. Could not
• 26:42
  Speaker 1: have felt good. He was a big, powerful guy, you know.
• 26:46
  Speaker 1: Oh boy, Well, I hope she's okay. So bad? She
• 26:49
  Speaker 1: was right, she was all right. She just you know,
• 26:52
  Speaker 1: it luckily was buffered a little bit for it to
• 26:55
  Speaker 1: go through where she was sitting, right, it was crazy, right.
• 26:59
  Speaker 1: So the thing that I'm marveled at the most, and
• 27:01
  Speaker 1: I think the toughest job on the reboot especially was
• 27:07
  Speaker 1: keeping all of those costumes organized because we were block shooting.
• 27:11
  Speaker 1: I mean we would shoot. I mean describe that experience
• 27:13
  Speaker 1: because we had to shoot four different episode costumes in
• 27:18
  Speaker 1: one day sometimes. Unlike the original show, we had all
• 27:22
  Speaker 1: the scripts so we knew exactly what was going on,
• 27:25
  Speaker 1: whereas when we shot the original, we'd get the script
• 27:27
  Speaker 1: like as we were shooting, so you had a better
• 27:31
  Speaker 1: chance to prep on the Yeah, so we had a
• 27:34
  Speaker 1: lot of prep time. But the big problem was casting.
• 27:38
  Speaker 1: They wouldn't cast everyone until I mean I'd be on
• 27:41
  Speaker 1: the phone at ten o'clock at night talking to Jamie, going, Jamie,
• 27:45
  Speaker 1: can you please give me a hint as to casting
• 27:49
  Speaker 1: through tomorrow? And and sometimes and then the person would
• 27:52
  Speaker 1: like come in and I would call them and I'm like,
• 27:55
  Speaker 1: bring whatever you have in your closet because I go anywhere,
• 28:03
  Speaker 1: and we would have to run around getting stuff. But
• 28:05
  Speaker 1: you know, we broke down the scripts, got it, hired
• 28:07
  Speaker 1: the crew, but The most amazing thing was walking in
• 28:10
  Speaker 1: the costume department the first my first day on the revival,
• 28:15
  Speaker 1: and I don't I don't know if you remember been inside.
• 28:17
  Speaker 1: There was the wall of everyone's head shot and I
• 28:21
  Speaker 1: walked in and I was just like, oh my god,
• 28:24
  Speaker 1: this is weird. Seeing Lauren on the back lot. You
• 28:30
  Speaker 1: just walk her and we would both just be like,
• 28:34
  Speaker 1: this is so weird. I mean, it just was so
• 28:37
  Speaker 1: much fun. Yeah, they really, um, you know, I don't
• 28:42
  Speaker 1: know if the fans know this, I'm sure they've read
• 28:43
  Speaker 1: about it, but that's set on the reboot was extra special.
• 28:48
  Speaker 1: I mean there was I think you know, there was more.
• 28:51
  Speaker 1: There was just I think more money involved there. And
• 28:54
  Speaker 1: they built some magical They built this magical set. I
• 28:58
  Speaker 1: mean even Luke's diner was popping with color. And they
• 29:02
  Speaker 1: had spongy floors because I guess the sound apartment. And
• 29:05
  Speaker 1: I said, hey, you know, we get a little we
• 29:07
  Speaker 1: have to do a lot of a d R and
• 29:09
  Speaker 1: loop a lot of the lines because of the creaky floor.
• 29:12
  Speaker 1: So they put in a spongy floor and it was
• 29:14
  Speaker 1: really nice to work. I didn't, you know, I didn't
• 29:19
  Speaker 1: get a chance to hang out on set like I
• 29:22
  Speaker 1: did in the original, because the original I was there
• 29:25
  Speaker 1: seven every moment you guys were shooting. Um and so
• 29:29
  Speaker 1: I was stuck in the office and I walk into
• 29:31
  Speaker 1: set and I'd have like the memory of what it
• 29:34
  Speaker 1: was like. And then I'd walk in and I'm like, oh,
• 29:37
  Speaker 1: that's different. Like the entire structure of like Loyalized house
• 29:40
  Speaker 1: was set up slightly different. Um Ed's house, you know,
• 29:45
  Speaker 1: the Gilmore House became bigger, a little bit bigger, and
• 29:47
  Speaker 1: they added a couple of rooms and but it was
• 29:50
  Speaker 1: wild how close everything was. And the most amazing memory
• 29:58
  Speaker 1: was walking in to the Gilmore Mansion and seeing the painting. Yes,
• 30:04
  Speaker 1: I don't know if you walked in there at all,
• 30:05
  Speaker 1: but yeah I did. You know, I had some things
• 30:07
  Speaker 1: in there was powerful. Took my breath away. It made
• 30:12
  Speaker 1: me I was crying, like, I mean just silently crying,
• 30:15
  Speaker 1: but I was crying because Ed and I were we
• 30:17
  Speaker 1: were really close friends. We would I mean we hung
• 30:19
  Speaker 1: out years after and um, I even like a month
• 30:24
  Speaker 1: before I had gone an email from him because we've
• 30:26
  Speaker 1: had these parties and I did invite him to the
• 30:28
  Speaker 1: parties and he, uh, he was like, oh, I'm sorry,
• 30:31
  Speaker 1: I'm going to not be able to make it. I
• 30:33
  Speaker 1: had no idea he was about to pass or very
• 30:36
  Speaker 1: close to, you know, at the time, and I felt
• 30:40
  Speaker 1: I felt so bad. I didn't know until they called
• 30:43
  Speaker 1: me a couple of days before he passed, and I
• 30:45
  Speaker 1: was just in shock. I was like, oh my god, special,
• 30:51
  Speaker 1: So let's do some questions. Okay, and uh, we're gonna
• 30:54
  Speaker 1: we call this a little rapid fire, so I'm going
• 30:58
  Speaker 1: to just fire at you. So give me your first
• 31:00
  Speaker 1: impressions and memories of the following. Alexis, Oh, just so sweet.
• 31:06
  Speaker 1: I remember her little dog. She would always bring it
• 31:08
  Speaker 1: to set towards the end, and she was just so
• 31:12
  Speaker 1: shy and Okay, here we go. The next one. Lauren.
• 31:17
  Speaker 1: Lauren so smart, I mean, memory like a steel trap.
• 31:21
  Speaker 1: She could here's something once and repeat it back like
• 31:26
  Speaker 1: she had no problem. Sean Gun a man, his jobs,
• 31:31
  Speaker 1: all the jobs that he did. We just we just
• 31:36
  Speaker 1: talked to him. We did the Kaiko Kiko her glasses.
• 31:44
  Speaker 1: There was an episode where she didn't have her glasses on.
• 31:46
  Speaker 1: We had to reshoot the scene. Oh god, the whole thing.
• 31:50
  Speaker 1: It was with Liza. It was at the Yale. I guess,
• 31:54
  Speaker 1: I guess, I guess she was. Liza was happy. Jeez,
• 31:58
  Speaker 1: the best work she ever did. Got to do had it?
• 32:01
  Speaker 1: But you know, Lies is such a pro. They actually
• 32:03
  Speaker 1: shot that scene really quickly and it was the first
• 32:06
  Speaker 1: scene back Steve was directing purpose Steve Clancy are steady camp. Yes, yeah,
• 32:13
  Speaker 1: he was directing that. He directed. He was the first
• 32:17
  Speaker 1: shot back from Christmas. Right. Okay, Wow, you have a
• 32:20
  Speaker 1: great memory, Dean. Jared Jared, Uh, there was a scene
• 32:27
  Speaker 1: where he didn't wake up and show up for work
• 32:30
  Speaker 1: that day. It was all about him and it was
• 32:33
  Speaker 1: I think he was with Lindsay at the time. They
• 32:35
  Speaker 1: had just gotten married, I think, and they had to
• 32:39
  Speaker 1: break into his apartment. But he was a sweetheart. I
• 32:44
  Speaker 1: love Jared kids. Uh, Luke Jaynes me who Yes, let's see.
• 32:53
  Speaker 1: I remember you would come to set sometimes randomly when
• 32:58
  Speaker 1: it wasn't your day on and you would be like
• 33:01
  Speaker 1: taking a little like cancer patients or people like make
• 33:06
  Speaker 1: a wish and you would give him a tour of
• 33:08
  Speaker 1: Starr follow And I remember that and I was like, oh,
• 33:10
  Speaker 1: that's so sweet. Yeah, that's that was Those were Those
• 33:13
  Speaker 1: were tough ones, you know, because a lot of those
• 33:15
  Speaker 1: kids didn't make it. So those were those were tough ones,
• 33:18
  Speaker 1: but always great to do that. Um all right, uh,
• 33:22
  Speaker 1: I want to get into a debate, like you know
• 33:25
  Speaker 1: and kill me. Now I wore denim, right, I wore
• 33:27
  Speaker 1: that then. I'm sure I liked that denim. Sure. And
• 33:29
  Speaker 1: I remember coming to you guys, say why am I
• 33:30
  Speaker 1: not working? Like in season two or three or four,
• 33:32
  Speaker 1: It's like, why am I not? So? What was the
• 33:34
  Speaker 1: deal between the denim and the flannel? Let's get into
• 33:37
  Speaker 1: that a lot. I don't you know what. It's more
• 33:39
  Speaker 1: of a brand of question. I've got to say because
• 33:42
  Speaker 1: I wasn't. I wasn't there when you initially got put
• 33:45
  Speaker 1: in the denim. And I just remember you always had plaid.
• 33:48
  Speaker 1: You had you had your uniform, and it was like
• 33:51
  Speaker 1: a uniform. You know, you had your hat, you had
• 33:53
  Speaker 1: your plaid shirt, you had your either a T shirt
• 33:56
  Speaker 1: or thermal. I remember it used to be you just
• 33:59
  Speaker 1: wore thermals under that plaid. And you were like, it's
• 34:02
  Speaker 1: getting so hot. Can actually sleeps? I have to wear
• 34:07
  Speaker 1: him down? And I'm like, okay, let's figure it out.
• 34:11
  Speaker 1: You tried to make it comfortable, and then I remember
• 34:14
  Speaker 1: at one point you were like, can I get this
• 34:18
  Speaker 1: a little bit more fitted. I don't really like the
• 34:20
  Speaker 1: fit of this. And so we went through every single
• 34:24
  Speaker 1: plaid shirt you had, and you told me which one
• 34:27
  Speaker 1: you liked, made piles on your on your on the
• 34:30
  Speaker 1: bed in your trailer, took him away. I got rid
• 34:33
  Speaker 1: of the other ones, retired them, and I think there
• 34:36
  Speaker 1: was like a moment where you had to wear one
• 34:39
  Speaker 1: of the old ones because there was like maybe we
• 34:43
  Speaker 1: had to reshoot something like with someone, and so you
• 34:47
  Speaker 1: had to wear it, and uh, and I was just like,
• 34:49
  Speaker 1: I'm so sorry. But the opposite occurred because I was
• 34:52
  Speaker 1: I was in really good shape back then, and I
• 34:55
  Speaker 1: didn't want to look like I was overweight and was covering.
• 34:58
  Speaker 1: And then when I came back for the reboot, you know,
• 35:00
  Speaker 1: I was like, I think I was asking for oversized
• 35:02
  Speaker 1: shirts because I wanted to cover. I wanted to coverage.
• 35:07
  Speaker 1: We pulled out those old ones from from I do
• 35:10
  Speaker 1: I remember that. I remember this. I remember the thermals
• 35:13
  Speaker 1: under but you had to do it because it's you know,
• 35:15
  Speaker 1: it's winter, but it's a hundred and ten in Burbag.
• 35:18
  Speaker 1: Sure now. I also remember originally you had two hats
• 35:23
  Speaker 1: and one day we lost one of them and we
• 35:28
  Speaker 1: were down to one hat, and I was freaking out
• 35:31
  Speaker 1: because my job is a set cat from first of all,
• 35:33
  Speaker 1: where the hell is the hat? So it must have
• 35:35
  Speaker 1: been like you put it on a chair, the prop
• 35:37
  Speaker 1: guys grabbed the chair and somehow it went somewhere someone
• 35:40
  Speaker 1: grabbed it. I mean there was a lot of thievery
• 35:43
  Speaker 1: at Warner Brothers, like in the back lot. People just
• 35:45
  Speaker 1: walk into those sets and stuff. And so I'm freaking
• 35:49
  Speaker 1: out and I was like, Okay, we gotta make you
• 35:51
  Speaker 1: a new hat. And so Brenda was like, I don't
• 35:54
  Speaker 1: have time to find a hat or you know what,
• 35:55
  Speaker 1: the hats we're not the exact same color and it
• 35:59
  Speaker 1: had to be exact. So we found fabric, we got it,
• 36:01
  Speaker 1: died to match, we found a company to make a hat.
• 36:05
  Speaker 1: And I was like, I don't usually that's not really
• 36:08
  Speaker 1: part of my job at that time for that specific
• 36:11
  Speaker 1: part of that episode. And I got handled with doing
• 36:14
  Speaker 1: it because I had lost the hat or it was
• 36:17
  Speaker 1: dull lost on my watch, and man, I had that
• 36:21
  Speaker 1: done and I was like, oh okay, and so now
• 36:25
  Speaker 1: we had ten hats. I don't know what could have
• 36:28
  Speaker 1: happened to that that original hat. I mean, I have
• 36:32
  Speaker 1: some suspects. I'll make some phone calls. I just I
• 36:35
  Speaker 1: just don't know. I think that you might have taken it. No,
• 36:38
  Speaker 1: you did not me. I would know you wouldn't have
• 36:41
  Speaker 1: taken off, but I no, no, I wouldn't have done that. Um. Anyway, listen,
• 36:46
  Speaker 1: we are so pleased that you could visit. We'd love
• 36:48
  Speaker 1: to have you back down the road. Thank you for
• 36:53
  Speaker 1: coming on. This was great. It was great catching up
• 36:56
  Speaker 1: and um and ladies, since gentlemen, uh one of the uh,
• 37:02
  Speaker 1: the very very important uh people on the set. Uh
• 37:08
  Speaker 1: that pretty much ran that set. I mean, nothing really
• 37:11
  Speaker 1: happens without wardrobe. And if there's a change or if
• 37:14
  Speaker 1: there's something a little bit off, everything stops in. Valerie
• 37:18
  Speaker 1: and Brenda and um, Sasha, Yeah, how's she doing? How's
• 37:24
  Speaker 1: she is she around? She's good, She's she's working on
• 37:26
  Speaker 1: Picard Actually, Okay, tell her. I said hello, um, um,
• 37:32
  Speaker 1: and you guys would come in and save the day. UM.
• 37:36
  Speaker 1: So thank you so much for spending a little time
• 37:38
  Speaker 1: with us, and we'll talk to you soon. Valerie, thanks
• 37:40
  Speaker 1: for coming on. Okay, take care all right, bye bye,
• 37:50
  Speaker 1: Hey everybody, we're gonna get into uh fan questions. We're
• 37:54
  Speaker 1: gonna do this every week, So let's let's get into this. Hi.
• 37:57
  Speaker 1: How you doing. Huh? You're on the podcast. What's your name? Amber?
• 38:05
  Speaker 1: Nice to meet you, Amber. I'm Scott. Hello. Hi, Scott.
• 38:08
  Speaker 1: Is so great to meet you. It's great meeting you.
• 38:11
  Speaker 1: Where where are you right now? I am currently in
• 38:15
  Speaker 1: New York. Oh gosh? Okay, and you're wearing a Luke sweatshirt.
• 38:19
  Speaker 1: Let me say, is that? Is that what I'm saying that?
• 38:21
  Speaker 1: It's not like coffee with my okay, with my oxygen.
• 38:29
  Speaker 1: I did think about wearing my Luke and that might
• 38:34
  Speaker 1: be pushing it. Okay. So Amber, you have a question.
• 38:38
  Speaker 1: What was it like working with Edward Herman? Oh? My god,
• 38:42
  Speaker 1: it was it was. It was great. You know, ed
• 38:45
  Speaker 1: he cast you know, he was such a dynamic figure
• 38:51
  Speaker 1: in the world of acting a and then when he
• 38:53
  Speaker 1: was on the show, it was like you're working with
• 38:56
  Speaker 1: this sort of living legend from all from his resume,
• 39:00
  Speaker 1: all the work that he's done. And you know, I
• 39:02
  Speaker 1: was aware of him growing up. I've seen him in
• 39:04
  Speaker 1: a million things. And then when I found out I
• 39:07
  Speaker 1: got the show and it became a series regular. Eventually, um,
• 39:11
  Speaker 1: I realized that I was going to be working with
• 39:14
  Speaker 1: a living legend and Ned Herman and I remember that
• 39:17
  Speaker 1: first day working with him in a scene was at
• 39:21
  Speaker 1: the golf his golf course, and we went golfing the
• 39:24
  Speaker 1: whole thing, and it was just it was just just
• 39:26
  Speaker 1: this wonderful day. You know, you were off the set,
• 39:28
  Speaker 1: you were at an actual golf course, and and I
• 39:31
  Speaker 1: was playing golf with that Herman and he it was
• 39:33
  Speaker 1: just it was a really wonderful experience of marvelous day. Um.
• 39:37
  Speaker 1: But it was a lot cooler than sitting in those
• 39:39
  Speaker 1: tone hall meetings, uh as it was. Yeah, they were
• 39:45
  Speaker 1: very hot, sweaty affairs. Um, but yeah, fun to do
• 39:48
  Speaker 1: a lot of fun. They took. They took a long time,
• 39:50
  Speaker 1: but it was fun to do. So whenever you went
• 39:53
  Speaker 1: out for the part of Luke, did they tell you
• 39:55
  Speaker 1: how your character was going to be or did you
• 39:58
  Speaker 1: just read the script kind of know it's probably a
• 40:02
  Speaker 1: little grumpy and just kind of go with it and
• 40:05
  Speaker 1: stuff like. Was that just your take on the character?
• 40:08
  Speaker 1: You know, there wasn't a lot of um, you know,
• 40:11
  Speaker 1: in the script, there wasn't a lot of information descriptive
• 40:15
  Speaker 1: information provided. It was a pretty pretty bare um which
• 40:20
  Speaker 1: is good. I mean that's you don't really want to
• 40:23
  Speaker 1: read a lot of scenic descriptions when you're reading a script.
• 40:26
  Speaker 1: I mean a lot of the better scripts don't have that,
• 40:30
  Speaker 1: and they allow for the actor to sort of fill
• 40:32
  Speaker 1: it in and you know, just reading the script. And
• 40:34
  Speaker 1: I did get the script to read, um, you know,
• 40:38
  Speaker 1: it was there was so many very light and very
• 40:42
  Speaker 1: sort of perky, happy, sunny characters in it, um that
• 40:48
  Speaker 1: I thought, boy, this needs this needs an anchor, This
• 40:51
  Speaker 1: needs a little different kind of energy, you know, or
• 40:54
  Speaker 1: else it's just the whole show is going to float
• 40:56
  Speaker 1: away and it won't be believable, um or as believable.
• 41:01
  Speaker 1: So I thought, okay, I think this character is a test.
• 41:06
  Speaker 1: You know, they're they're testing me out to see if
• 41:09
  Speaker 1: I am aware of this and of what the show needs. Uh.
• 41:13
  Speaker 1: And so that's how I prepared it and went in
• 41:16
  Speaker 1: and performed it in the audition. You know, it's a
• 41:19
  Speaker 1: little a little bit of a crank and you know,
• 41:22
  Speaker 1: playing against what you know, the normal small town kind
• 41:25
  Speaker 1: of friendly you know guy is I just thought, boy,
• 41:28
  Speaker 1: that would be redundant and kind of boring, and and uh,
• 41:31
  Speaker 1: you know, you got to take risks in these auditions
• 41:34
  Speaker 1: and um, you know, so that's that's what I did
• 41:39
  Speaker 1: and it worked out to my to my amazement, to
• 41:41
  Speaker 1: my utter amazement. So anyway, all right, so we're gonna
• 41:46
  Speaker 1: say goodbye, and I thank you so much. Amber. It
• 41:50
  Speaker 1: was great having you on and good luck with your
• 41:53
  Speaker 1: renovations in your home, you know. Okay, so thanks for
• 41:59
  Speaker 1: visiting us, and there's a pleasure having you. Okay, alright,
• 42:04
  Speaker 1: good meeting YouTube Ali everybody. That's it. We're gonna wrap
• 42:07
  Speaker 1: it up. Thank you for downloading and the numbers that
• 42:10
  Speaker 1: you are it's amazing and we are astounded and are
• 42:16
  Speaker 1: humbled before your loyalty to this wonderful show, which I
• 42:21
  Speaker 1: am becoming increasingly obsessed with. I cannot wait, And it's
• 42:25
  Speaker 1: my my favorite night is when I get to watch
• 42:27
  Speaker 1: another episode and I'm I'm resisting watching them every night
• 42:31
  Speaker 1: because I don't know. It's it's like I really want to,
• 42:36
  Speaker 1: but I don't want to get to I don't want to,
• 42:38
  Speaker 1: you know, I want to watch episode five and six,
• 42:39
  Speaker 1: and it's like I'm kind of stomping around being a
• 42:41
  Speaker 1: little moody sometimes, like why can't I watch another episode? Why?
• 42:44
  Speaker 1: Why am I limited to four? Why? Why don't you
• 42:47
  Speaker 1: watch episode four? And I go to my wife, is
• 42:50
  Speaker 1: I want to watch five? Why can't I watch five?
• 42:52
  Speaker 1: So now I'm in like online support groups and it's
• 42:55
  Speaker 1: because you can really forget what's happening. Yeah, darn it,
• 42:58
  Speaker 1: darn it, I boxed myself in one per week. Um.
• 43:03
  Speaker 1: But anyway, so we will be back next week, uh
• 43:07
  Speaker 1: with the deer Hunters. So we'll see you then. Take care,
• 43:13
  Speaker 1: be safe, God bless me. Hey everybody, and don't forget.
• 43:45
  Speaker 1: Follow us on Instagram at I Am all In podcast
• 43:49
  Speaker 1: and email us at Gilmore at I heart radio dot com.
• 43:54
  Speaker 1: Oh you Gilmore fans. If you're looking for the best
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• 44:04
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