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<v Speaker 1>Welcome Back Man night viewers, where we cover whatever the

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<v Speaker 1>hell I want. Apparently I'm follom alone, and today it

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<v Speaker 1>is a very special bonus episode. We're gonna be taking

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<v Speaker 1>a look at the Sci Fi Channel Limited mini series

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<v Speaker 1>The Lost Room, and we have a special guest here

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<v Speaker 1>to help us do just that. Chances are if you've

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<v Speaker 1>been a fan of paranormal horror television, then you have

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<v Speaker 1>no doubt sampled this man's wares. He started his writing

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<v Speaker 1>career with the end of Decent Stephen segoal Flick's That

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<v Speaker 1>Was under Siege two Dark Territory, and he managed to

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<v Speaker 1>make Chapstick a horrifying notion in the Mothman prophecies. In

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<v Speaker 1>the intervening years, he has been a writer and or

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<v Speaker 1>producer on some of the best television of the past

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<v Speaker 1>quarter century. He could mic drop with his involvement with

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<v Speaker 1>season one of Eric Kripke's endlessly running series Supernatural Alone.

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<v Speaker 1>But wait, there's more. He's lent his unique voice to

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<v Speaker 1>the Dead Zone, The Gates. He created that one too,

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<v Speaker 1>Heavenly Grim, which is of East End, Damien, The in Between,

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<v Speaker 1>and most recently on the DC Comics television series Titans

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<v Speaker 1>and While I certainly encourage you to check out all

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<v Speaker 1>of his work. For an immediate dose of mister HadAM,

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<v Speaker 1>check out his podcast, Richard Hadam's paranormal Bookshelf, part memoir,

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<v Speaker 1>part horror story, part book review and recommendation. Their Tale,

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<v Speaker 1>Their tales, well told by a raconteur par excellence, and

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<v Speaker 1>he's here today to answer all of my questions about

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<v Speaker 1>the Lost Room. Welcome to Midnight Viewing, Richard.

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<v Speaker 2>Thank you so much, Father Malone. I'm so happy to

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<v Speaker 2>be here. And that was a lovely introduction.

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<v Speaker 1>I appreciated my pleasure entirely. Before we get to the

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<v Speaker 1>magnificence that was the Lost Room, tell us how you

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<v Speaker 1>got there, What got you involved in the writing game?

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<v Speaker 1>What were the steps for you?

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<v Speaker 2>Sir Well, I had just left Supernatural in season one

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<v Speaker 2>and it was genuine well what was it? Maybe it

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<v Speaker 2>was a little later it maybe it was more like

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<v Speaker 2>March of two thousand and six, And this came through

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<v Speaker 2>my agent. I was sent a script, as i often am,

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<v Speaker 2>and in this case, I was told they're looking for

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<v Speaker 2>an executive producer. This is a sci fi mini series.

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<v Speaker 2>We don't know, you know, usually those things go three nights,

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<v Speaker 2>but just read the script and see if you like it,

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<v Speaker 2>and we'll kind of go from there. So, as I

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<v Speaker 2>had done a million times before, I started reading the

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<v Speaker 2>script and something different happened. And I've said this before,

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<v Speaker 2>and it delights me to say it. I don't like anything.

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<v Speaker 2>I don't like anything that I read. I have never

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<v Speaker 2>I can almost say I've never read anything that I've

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<v Speaker 2>been that has been submitted to me to either rewrite

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<v Speaker 2>or deal with on some level that I have said,

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<v Speaker 2>oh my god, I love this. But with this thing,

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<v Speaker 2>which at the time was called Motelman that was the

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<v Speaker 2>script that I read. It was called motel Man, and

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<v Speaker 2>I'm like, okay, well that just sounds goofy and great

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<v Speaker 2>reading it. Yeah, And bit by bit I became more

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<v Speaker 2>and more involved. And then there was the scene. You've

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<v Speaker 2>watched the miniseries, so you know what I'm referring to

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<v Speaker 2>multiple times.

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<v Speaker 1>We'll get into it for our listeners.

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<v Speaker 2>Please, well, let me just say that, whether you've seen it,

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<v Speaker 2>whether you haven't seen it, the sequence in the hospital

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<v Speaker 2>where he meets Wally, and then the scene right after

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<v Speaker 2>that where they're talking in the diner, the top of

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<v Speaker 2>my head came off. I'm like, this is the greatest

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<v Speaker 2>thing I've ever read. I've never ever even things I've seen.

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<v Speaker 2>I'm not the kind of guy who's like, I wish

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<v Speaker 2>I wrote that Lost Room. I wish i'd written it.

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<v Speaker 2>Now you get scared because you get to a point

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<v Speaker 2>and you're thirty pages in, four pages in, and and

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<v Speaker 2>you're like, wait a second, this is the greatest thing ever.

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<v Speaker 2>Then you get scared because you're like, Okay, well now

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<v Speaker 2>now it's got nowhere to go but down. It's gonna

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<v Speaker 2>fumble it. It's gonna it's gonna fumble the concept. Something

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<v Speaker 2>is going to go off the rails. Otherwise they I

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<v Speaker 2>wouldn't have this. And by the way, let me be clear,

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<v Speaker 2>they weren't showing it to me to be rewritten. It

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<v Speaker 2>was like, hey, this has been chosen. Lions Gate is

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<v Speaker 2>producing for the Sci Fi Channel. They're they're they're going

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<v Speaker 2>they they want this, So I'm i going boy, home boy.

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<v Speaker 2>And then it got better.

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<v Speaker 1>They're asking they're not asking you for a rewrite. What

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<v Speaker 1>are they asking you for that? You you now they've

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<v Speaker 1>trust you. Obviously you've had this experience on Supernatural, which

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<v Speaker 1>is a fucking amazing television series. I think even by

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<v Speaker 1>season one people could have figured that out, right, Are

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<v Speaker 1>they hoping that this goes to series and you become

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<v Speaker 1>a la on that show?

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<v Speaker 2>Well, at this point all they need is an experienced

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<v Speaker 2>television showrunner. So at this point I had created and

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<v Speaker 2>co ran Miracles, which was my show, and then I

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<v Speaker 2>had worked on Wow, True Calling the Inside Supernatural, so

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<v Speaker 2>I'd done various things. But they were like, and by

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<v Speaker 2>the way, I was not the first person on their list.

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<v Speaker 2>In the ensuing years, I've met two other people who

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<v Speaker 2>got that script before me and were like, I don't

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<v Speaker 2>get it and said no, and I know, And one

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<v Speaker 2>of them was like a guy I sort of knew,

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<v Speaker 2>and I'm like really, and he's like, yeah, but I

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<v Speaker 2>mean I thought it was kind of weird, but you know,

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<v Speaker 2>but but you know, it came out great, And I'm like,

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<v Speaker 2>how do you not this is the best thing ever? Like,

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<v Speaker 2>this doesn't.

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<v Speaker 1>Exist difference to your friends, they sound like morons.

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<v Speaker 2>You know.

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<v Speaker 1>I'll say this particular phrase a lot in marketing, and

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<v Speaker 1>such fiercely original enough that it's kind of become meaningless

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<v Speaker 1>when it's when you actually apply it in its truest state.

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<v Speaker 1>We're talking about the lost drop, right, It is stareringly original.

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<v Speaker 2>Well, and if look, this would be a very different

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<v Speaker 2>interview if it had become the success it deserved to become,

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<v Speaker 2>if it had become lost, you know, or you know whatever.

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<v Speaker 2>Pick your show that came out of nowhere and became

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<v Speaker 2>a part of a cultural conversation as this should have.

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<v Speaker 2>I would be a genius for saying yeah. And I

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<v Speaker 2>was the first one to go, wait, this is great.

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<v Speaker 2>But it doesn't matter because it's still great, And any

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<v Speaker 2>one of your listeners can literally have the best weekend

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<v Speaker 2>of their lives with six hours of something you've never

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<v Speaker 2>heard of, a cast out of heaven and a story

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<v Speaker 2>in which a world is care that's our world, and

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<v Speaker 2>a mythology is created that's made up of things in

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<v Speaker 2>our world. And it just gets deeper and more layered

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<v Speaker 2>and more interesting. And it's one of those wonderful shows.

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<v Speaker 2>I was just rewatching it this afternoon. It's one of

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<v Speaker 2>those wonderful things that just it doesn't happen. I wanted

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<v Speaker 2>to say, it doesn't happen nowadays. It doesn't happen ever

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<v Speaker 2>there where you're watching a show that starts teaching you

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<v Speaker 2>its own rules, and then you start playing along and

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<v Speaker 2>producing You're like, oh, right, but if that's the rule,

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<v Speaker 2>then this is going to happen. And then we see

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<v Speaker 2>that situation play out. Or wait a second, they said this,

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<v Speaker 2>which means that's not going to work. Oh, but they

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<v Speaker 2>thought of that. So you're interacting with the show as

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<v Speaker 2>it's happening, and it's so fun. It's just it's it

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<v Speaker 2>was a blast from beginning to end.

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<v Speaker 1>A show that, as you said, it's an investigation. We've

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<v Speaker 1>got a detective at the heart of it, and he

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<v Speaker 1>is investigating this key that he's found at the beginning

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<v Speaker 1>of the series, which opens that leads to a room

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<v Speaker 1>that was involved in an event. Now as this as

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<v Speaker 1>the as the show progresses, the thing is, it is

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<v Speaker 1>an investigation, but it's not necessarily about the objects or

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<v Speaker 1>the room. I mean, it becomes about him and his daughter,

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<v Speaker 1>which is kind of the wonderful backbone to the entire thing.

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<v Speaker 1>The thing is you mentioned, like the rules of the

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<v Speaker 1>show as it examines the as it sort of lays

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<v Speaker 1>them out. It lays them out so elegantly and so

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<v Speaker 1>economically and so visually. It's like, here's the object and

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<v Speaker 1>then we see what that does and go, oh, okay,

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<v Speaker 1>So another thing from that room? Does that? Oh okay?

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<v Speaker 1>And as you said, they really do think of everything.

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<v Speaker 1>It's just it's endless the applications of these items.

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<v Speaker 2>And I wish, you know, and if I had half

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<v Speaker 2>a brain, we could have arranged for Chris Leone to

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<v Speaker 2>be on this and maybe at a later date you

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<v Speaker 2>can talk to him, because he's fantastic. And I don't

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<v Speaker 2>know if your audience has seen this or knows what

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<v Speaker 2>it is. It's funny. When I was working on it,

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<v Speaker 2>it was one of those things where people would say, hey,

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<v Speaker 2>what are you working on right now? And I'd say, oh,

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<v Speaker 2>it's a it's a show called The Lost Room, and

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<v Speaker 2>they say, oh, really, what's that? And then I would say,

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<v Speaker 2>do you have five minutes, which which retroactively should have

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<v Speaker 2>included me in that that This was not a you know,

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<v Speaker 2>you say one line and everyone's like, I got it.

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<v Speaker 2>But if your audience doesn't know, I'm going to try

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<v Speaker 2>to explain what the show is at okay.

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<v Speaker 1>Because you can't. You said you can't say die Hard

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<v Speaker 1>in them all or.

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<v Speaker 2>On a train, right, okay, So I'm going to try

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<v Speaker 2>to describe what the show is as as clearly and

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<v Speaker 2>succinctly as possible. It begins as a police drama. Okay,

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<v Speaker 2>some people have been killed in a mysterious way. The

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<v Speaker 2>police detective in charge of the investigation, played by Peter Kraus,

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<v Speaker 2>who is wonderful in real life and in the show.

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<v Speaker 2>He's investigating and he picks up on a suspect. But

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<v Speaker 2>something strange is happening with the suspect. He keeps disappearing,

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<v Speaker 2>you know, running up to doors and disappearing inside rooms,

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<v Speaker 2>and it's not making sense. When a little bit of

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<v Speaker 2>the cloud of mystery begins to dissipate, what we learn

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<v Speaker 2>is that there is this key, a motel room key,

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<v Speaker 2>an old fashioned one, not a not a card, but

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<v Speaker 2>one that has you know, had a little plastic thing

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<v Speaker 2>hanging off of it, and it looks like a key,

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<v Speaker 2>and that there's something weird about this key. It fits

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<v Speaker 2>any door that has a doorknob and a you know,

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<v Speaker 2>a lock that you can stick a key into. But

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<v Speaker 2>it fits any one of those, Okay, But when you're

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<v Speaker 2>using that key and you open that door, it will

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<v Speaker 2>always open into a motel room. The same motel room

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<v Speaker 2>that's located in Gallop, New Mexico at the Sunshine Motel

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<v Speaker 2>and has existed out of time since the nineteen sixties,

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<v Speaker 2>so this is already an esthetic that I love. There's

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<v Speaker 2>nothing I love more than a roadside motel from mid

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<v Speaker 2>century Okay, so okay, So what happens from there? Well,

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<v Speaker 2>the key to this motel room is one of only

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<v Speaker 2>one of many many objects that have been stolen from

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<v Speaker 2>this motel room from various people who have the key.

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<v Speaker 2>When objects are taken out of this motel room, and

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<v Speaker 2>it's basically empty, almost everything's been taken out of it.

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<v Speaker 2>When those objects come out of the motel room into

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<v Speaker 2>our world, they have weird, random, almost pointless powers. A

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<v Speaker 2>pencil tapped on a table produces pennies, but the pen

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<v Speaker 2>it has like a lightning power in it, So if

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<v Speaker 2>you jab someone with the pen kind to cook them.

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<v Speaker 2>And then there's the cone scissors, and the clock and

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<v Speaker 2>the box watch and the bus ticket. The bus ticket.

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<v Speaker 2>You tap someone with a bus ticket and they immediately

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<v Speaker 2>are transported to a roadside somewhere outside of Gallup, New Mexico.

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<v Speaker 2>And so it it. But you're you're sort of learning

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<v Speaker 2>this stuff as our hero learns this stuff, and the

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<v Speaker 2>characters involved are really sort of offbeat. And what you

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<v Speaker 2>begin to realize is that the people who live among us,

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<v Speaker 2>who know about all this stuff, become obsessed with it.

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<v Speaker 2>They become obsessed with with possessing or collecting these various

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<v Speaker 2>objects if they can. Some of them are very valuable.

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<v Speaker 2>People have lost their lives and it's very sort of

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<v Speaker 2>almost like low level gangster kind of shit where where

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<v Speaker 2>people are are stealing the objects from each other. And

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<v Speaker 2>then and then you learn that over the day decades

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<v Speaker 2>that human beings have been aware of these odd things.

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<v Speaker 2>And it's all America based. It's all right here in

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<v Speaker 2>our current modern world.

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<v Speaker 1>It's beautifully American.

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<v Speaker 2>Yeah, all about Americana, by the way, but it's all

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<v Speaker 2>existing like just under your you. You could be in

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<v Speaker 2>a diner and the people at the next booth could

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<v Speaker 2>be talking about where are they going to find this scissors?

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<v Speaker 2>So so all of this stuff is going on. But

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<v Speaker 2>but various groups have now formed. And again these are

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<v Speaker 2>not large armies. These are weird ragtag groups of oddball people.

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<v Speaker 2>There's the Legion and the Order and the collectors and there,

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<v Speaker 2>and they're people, you know, some people believe that that

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<v Speaker 2>these objects are all like part of God, almost like horcruxes,

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<v Speaker 2>and if you put them all together, you will meet God.

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<v Speaker 2>And then there's another group that that just wants to

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<v Speaker 2>get them all off the market. They just believe they're

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<v Speaker 2>the legion and they just believe, Look, these things always

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<v Speaker 2>in in bad news, and we've just got to get

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<v Speaker 2>all of them out of circulation, put them back in

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<v Speaker 2>the room, throw the key away, and banish this thing

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<v Speaker 2>into obscurity. Then there's other groups and other people, and

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<v Speaker 2>all these people have their agendas, but they're all kind

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<v Speaker 2>of you know, they're almost like again, like low level grifters,

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<v Speaker 2>you know, and that's what just makes it feels so

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<v Speaker 2>real and so delicious and by the way, so funny.

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<v Speaker 2>So I read the script, I tell my agent, I

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<v Speaker 2>don't know, I really love this. What do they want?

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<v Speaker 2>They just need someone to work with the writers just

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<v Speaker 2>to make sure that this stuff is producible, and you know,

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<v Speaker 2>interact with Lionsgate and Sci Fi Channel and get this

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<v Speaker 2>thing produced because they want to make it right away.

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<v Speaker 2>It's March and they want to be in production in

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<v Speaker 2>three months. And I'm like, okay, this is a tall order, Okay,

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<v Speaker 2>but I love it because let's do it. You know,

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<v Speaker 2>I'm always I'm up. And this is in two thousand

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<v Speaker 2>and six. This is eighteen years ago, young man. So

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<v Speaker 2>it's like, great, so we're going to do this. So

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<v Speaker 2>I go in for the meeting and I'm meeting with

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<v Speaker 2>the Lionsyate executive and I'm telling her, you know, I

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<v Speaker 2>think it's fascinating. I'm telling her all the things we're

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<v Speaker 2>talking about. And then I'm like and it's hilarious, and

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<v Speaker 2>she's like, I love it. She's like, you got to

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<v Speaker 2>meet the writers. And when you do tell them that,

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<v Speaker 2>I'm like, okay, of course. And so I meet with them.

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<v Speaker 2>And so these writers are Chris Leoni, Laura Harkem and

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<v Speaker 2>Paul Workman. These three people and I don't know who

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<v Speaker 2>they are. They've never worked before in terms of writing

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<v Speaker 2>something that's been produced. And I meet them and they

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<v Speaker 2>seem like splendid people. So very quickly the deal gets

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<v Speaker 2>made and I sit down with them and I'm like, look,

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<v Speaker 2>I think this is great, and they're like, well, what

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<v Speaker 2>did you read? And I said, I read this. I

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<v Speaker 2>read this first script. I guess it's two hours, right,

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<v Speaker 2>And they're like, yeah, so we're going to make ten

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<v Speaker 2>hours of this. And I was like oh, ten hours,

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<v Speaker 2>and they're like, yeah, we've got the first eight sort

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<v Speaker 2>of worked out, and then you know, and the second

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<v Speaker 2>two hours are written, the third two hours, making it

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<v Speaker 2>six hours we have outlined, and then also an outline

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<v Speaker 2>for some other stuff. And I'm like, well, okay, so

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<v Speaker 2>more material needs to be generated on the page, but

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<v Speaker 2>we've got something to begin with. So we'll spend the

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<v Speaker 2>next few weeks getting getting all that stuff ready so

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<v Speaker 2>that we can go back to Sci Fi Channel and

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<v Speaker 2>Lionsgate and go okay, so here's the plan. And early

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<v Speaker 2>on I think sci Fi said we don't need ten hours.

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<v Speaker 2>Eight hours would be great, and I'm like, great, So

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<v Speaker 2>we mapped out our eight hours. They were very familiar

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<v Speaker 2>with the first chunk, but we had to sort of

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<v Speaker 2>go into the studio and the network and say, okay,

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<v Speaker 2>so here's the rest of it and here's how it ends.

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<v Speaker 2>And it was pitched and they loved it and we

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<v Speaker 2>were on our way. So which was fortunate again because

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<v Speaker 2>they were moving very very quickly. So let me tell

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<v Speaker 2>you about Chris and Paul and Laura Wheeze. Okay, because

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<v Speaker 2>I had questions, I'm like, wow, what is this, like,

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<v Speaker 2>what is this based on something like is this a

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<v Speaker 2>graphic novel or something. They're like, no, it's just this

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<v Speaker 2>thing we came up with. What it was was that

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<v Speaker 2>Chris and Paul went to school together. I believe it

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<v Speaker 2>was Carnegie Mellon, but they went to school together in Pennsylvania,

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<v Speaker 2>and they both worked at the library and they worked

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<v Speaker 2>late shift, and they worked this sort of job where

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<v Speaker 2>there were a lot of hours unaccounted for, a lot

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<v Speaker 2>of hours that were not busy dealing with people. So

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<v Speaker 2>they were just talking to each other, and as you

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<v Speaker 2>might do when you're two guys in college, you start

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<v Speaker 2>talking about what great superpowers would be. But Chris and Paul,

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<v Speaker 2>being Chris and Paul, two of the funniest, most creative

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<v Speaker 2>people I've ever met, very quickly dismiss invisibility and flight

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<v Speaker 2>and strength, and they're like, in our own personal life,

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<v Speaker 2>what do we need? And one of them said, it

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<v Speaker 2>would be great just to have access to a motel

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<v Speaker 2>room like that we could just go to and would

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<v Speaker 2>almost be outside of time because they're in college and

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<v Speaker 2>they're like, sometimes I just need to sleep, but my

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<v Speaker 2>roommates are coming in and out and people are making noise,

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<v Speaker 2>and I just need my own place, because when you're

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<v Speaker 2>in college, like a motel room is basically a proxy

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<v Speaker 2>for I want an apartment.

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<v Speaker 1>Rich I have an apartment, I still want instant access

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<v Speaker 1>to a timeless hotel room, right were you.

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<v Speaker 2>You know, it's like my wife Susan is always saying,

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<v Speaker 2>I need one extra day a week, one secret day

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<v Speaker 2>where I can get all my stuff done that no

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<v Speaker 2>one else has.

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<v Speaker 1>And then of course perfect, right, and they need to

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<v Speaker 1>rework this calendar. It's had its day.

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<v Speaker 2>Well, well, you know, years later JK. Rowling and the

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<v Speaker 2>Harry Potter thing comes up with the Room of Requirement

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<v Speaker 2>and it's like, yeah, that's great, But these guys came

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<v Speaker 2>up with it first. It's it's the need for your

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<v Speaker 2>own little oasis, but not anything fancy, no one. They

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<v Speaker 2>didn't want to mansion. They just wanted a motel room.

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<v Speaker 2>And then they started talking about the motel room and like, well,

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<v Speaker 2>what are the rules, and it's like, well, you go in,

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<v Speaker 2>you can get there from anywhere, and then you come out.

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<v Speaker 2>And there was probably a time travel aspect to it,

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<v Speaker 2>you know when they were talking about it, but they

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<v Speaker 2>just continue talking about it, and just for their own

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<v Speaker 2>self entertainment, they began building the mythology of the motel

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<v Speaker 2>room and building the rules, and well, can you like

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<v Speaker 2>put all your stuff there? And it's like, well, no,

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<v Speaker 2>anything you put there, once you leave, it's gone. And

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<v Speaker 2>when you come in it's like a real motel room.

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<v Speaker 2>It's like we all have the feeling of walking into

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<v Speaker 2>a motel room and it's been fixed up right, perfect

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<v Speaker 2>motel room, right. I mean it's like, oh, the bed

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<v Speaker 2>got made, you know, all the stuff got put away.

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<v Speaker 2>The hotel room yet magic. It's the magic of roadside hospitality.

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<v Speaker 2>It's the magic of hotels, which which are magic?

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<v Speaker 1>I think to who we are right, particularly that that

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<v Speaker 1>snapshot of American history nineteen sixty one roadside motel. Well,

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<v Speaker 1>isn't that heaven? And it's perfect every day every time

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<v Speaker 1>you turn around that room that's perfect.

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<v Speaker 2>Some version of it is just down the road, and

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<v Speaker 2>it won't be exactly like the last one, but it'll

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<v Speaker 2>have a drinking glass, and it'll have a piece of

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<v Speaker 2>paper around the toilet seat, and it'll have a pen

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<v Speaker 2>and a little pad, and they'll be branded with the

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<v Speaker 2>motel's name. That was when I was a kid. Maybe

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<v Speaker 2>you had this too, And I would go on vacations

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<v Speaker 2>with my parents. There was the most exciting thing in

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<v Speaker 2>the world to walk into the motel room for the

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<v Speaker 2>first time.

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<v Speaker 1>I spent about a decade as an airbrush artist with

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<v Speaker 1>my wife on the road, and it was magic every

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<v Speaker 1>single time. Like I never tired of opening a door

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<v Speaker 1>to a new hotel room and it being perfect no

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<v Speaker 1>matter where we were, and coming back after a long

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<v Speaker 1>day and suddenly everything has resorted to how we wanted

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<v Speaker 1>it to be, how we expected it to be.

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<v Speaker 2>Yeah, yeah, and it's clean. You didn't have to clean it.

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<v Speaker 1>I left shit on the floor. Where'd it go? I

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<v Speaker 1>don't know, I don't care, you know.

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<v Speaker 2>And you can collect stuff. My brother and I would

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<v Speaker 2>collect things, or my parents would take us to Las

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<v Speaker 2>Vegas and we would have all these door signs that

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<v Speaker 2>were branded from the Flamingo or the Caesar's Palace, the

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00:22:42.799 --> 00:22:46.519
<v Speaker 2>little soaps, the ash trays that you could just take.

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<v Speaker 2>It was friggin' magic. So everything about this show plugs

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<v Speaker 2>into that era of Americana where where your imagination was

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<v Speaker 2>fed by what are the different and individual motels that

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<v Speaker 2>you've never heard of. They're not all comfort Ins, they're

385
00:23:06.240 --> 00:23:10.759
<v Speaker 2>not all Motel six. They're not all radisons. They're you know,

386
00:23:11.319 --> 00:23:15.240
<v Speaker 2>they're crazy. They're just the you know, the Lumberjack, the Lumberjack,

387
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<v Speaker 2>the crazy Lantern, the you know, sleep away whatever. I mean,

388
00:23:19.000 --> 00:23:21.440
<v Speaker 2>just there's a there were a million of them. Anyway,

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<v Speaker 2>that was part of our childhood. That and that, and

390
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<v Speaker 2>these guys are younger than me, but it was still

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<v Speaker 2>part of their their cultural imagination. So so they talked

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<v Speaker 2>about this and then and then I guess it kind

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00:23:34.160 --> 00:23:36.519
<v Speaker 2>of went away. And then years later Chris and Laura

394
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<v Speaker 2>met and became writing partners, and and then and again

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<v Speaker 2>I don't I'm a little fuzzy on all the details

396
00:23:45.799 --> 00:23:48.759
<v Speaker 2>in my recall right now, but but Chris brought up

397
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<v Speaker 2>this thing that he and Paul talked about, and then

398
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<v Speaker 2>they all sort of got together and decided, well, let's

399
00:23:54.400 --> 00:23:56.359
<v Speaker 2>just write this and see what happens. And they did,

400
00:23:57.000 --> 00:23:58.799
<v Speaker 2>and they got into sci Fi Channel and they got

401
00:23:58.799 --> 00:24:01.519
<v Speaker 2>it to the network first, and the network liked it,

402
00:24:02.079 --> 00:24:05.799
<v Speaker 2>and so they it got laid off on Lionsgate to

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00:24:05.880 --> 00:24:11.759
<v Speaker 2>produce as the studio. Ah okay, and sci Fi at

404
00:24:11.759 --> 00:24:17.319
<v Speaker 2>that time did these yearly December little mini series like

405
00:24:17.400 --> 00:24:21.279
<v Speaker 2>three night events, and they had done the Triangle, which

406
00:24:21.319 --> 00:24:22.880
<v Speaker 2>was all about the Bermuda Triangle.

407
00:24:23.440 --> 00:24:25.279
<v Speaker 1>I remember that they've done.

408
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<v Speaker 2>A few of them then, and then they had decided

409
00:24:27.480 --> 00:24:31.920
<v Speaker 2>this was going to be the mini series for December

410
00:24:31.960 --> 00:24:34.119
<v Speaker 2>two thousand and six. Now we're in March of two

411
00:24:34.160 --> 00:24:37.079
<v Speaker 2>thousand and six, so it's not an impossible schedule, but

412
00:24:37.200 --> 00:24:41.119
<v Speaker 2>it's you know, we're getting We're not sitting around reconceiving it.

413
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<v Speaker 2>We're in pre production now.

414
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<v Speaker 1>Now at this point, they're expecting eight hours. They're expecting

415
00:24:48.119 --> 00:24:51.279
<v Speaker 1>eight hours four movies. They want you to make four

416
00:24:51.319 --> 00:24:54.279
<v Speaker 1>movies by December. It's March right now.

417
00:24:54.319 --> 00:24:57.799
<v Speaker 2>Typically I think they had done three night events, but

418
00:24:57.880 --> 00:24:59.759
<v Speaker 2>they're like, yeah, I mean, we're sci fi, we can

419
00:24:59.799 --> 00:25:04.160
<v Speaker 2>do Sure, let's do it. So we pitch them four nights.

420
00:25:04.200 --> 00:25:08.240
<v Speaker 2>We've got scripts for the first two nights and then

421
00:25:08.440 --> 00:25:10.880
<v Speaker 2>we're gonna outline and generate the scripts for the rest

422
00:25:10.920 --> 00:25:15.839
<v Speaker 2>and great. So every day Paul and Chris and Laura

423
00:25:15.880 --> 00:25:20.319
<v Speaker 2>and I meet at that big building just outside of

424
00:25:20.400 --> 00:25:25.160
<v Speaker 2>Universal Studios. So if you're going into Universal Studios off

425
00:25:25.319 --> 00:25:28.839
<v Speaker 2>Lancasham and you're driving up that big sort of that

426
00:25:28.920 --> 00:25:32.400
<v Speaker 2>big street that goes up right, So if you know

427
00:25:32.559 --> 00:25:36.359
<v Speaker 2>that just when you begin that drive upward underneath the

428
00:25:36.400 --> 00:25:40.359
<v Speaker 2>big archway that says Universal Studios. There's this giant building

429
00:25:40.519 --> 00:25:44.119
<v Speaker 2>on your right, a high rise. We're in that building,

430
00:25:44.359 --> 00:25:47.319
<v Speaker 2>twenty stories up, and we're in a conference room with

431
00:25:47.359 --> 00:25:50.759
<v Speaker 2>these giant windows looking north up the freeway and up

432
00:25:50.880 --> 00:25:54.119
<v Speaker 2>Ventura and across the valley, and we're working on the

433
00:25:54.160 --> 00:25:57.640
<v Speaker 2>Lost Room. Is the greatest, It was the greatest. It's march.

434
00:25:57.759 --> 00:26:01.359
<v Speaker 2>I'm literally every day I'm looking down because in La

435
00:26:01.480 --> 00:26:04.720
<v Speaker 2>if you're not familiar, in the springtime there is the

436
00:26:04.720 --> 00:26:09.920
<v Speaker 2>there's these things called jacaranda trees, and jacarata trees are purple,

437
00:26:10.480 --> 00:26:15.799
<v Speaker 2>these crazy lavender purple trees that that they they sort

438
00:26:15.799 --> 00:26:18.640
<v Speaker 2>of bloom in the spring for about a month and

439
00:26:18.680 --> 00:26:22.079
<v Speaker 2>then they die out, but they're gorgeous. And so every

440
00:26:22.160 --> 00:26:24.799
<v Speaker 2>day I'm looking out that window as we're working, and

441
00:26:24.839 --> 00:26:27.759
<v Speaker 2>I'm counting the jacaranda trees because they're just sort of

442
00:26:28.200 --> 00:26:31.680
<v Speaker 2>randomly placed, you know, everywhere, and it's like, oh, there's one, Hey,

443
00:26:31.680 --> 00:26:33.720
<v Speaker 2>there's one over there, Hey there's another one over there.

444
00:26:33.799 --> 00:26:35.920
<v Speaker 2>So I'm counting the jacaranda trees and we're doing the

445
00:26:35.920 --> 00:26:39.279
<v Speaker 2>Lost Room. But we got to get into casting now.

446
00:26:39.920 --> 00:26:44.559
<v Speaker 2>So the casting process begins with a woman named Mary

447
00:26:44.640 --> 00:26:48.200
<v Speaker 2>Joe Slater. Mary Joe Slater is Christian Slater's mom.

448
00:26:48.720 --> 00:26:54.200
<v Speaker 1>Oh yeah, she is a spectacular She's a legend in

449
00:26:54.240 --> 00:26:55.720
<v Speaker 1>the casting world.

450
00:26:55.880 --> 00:26:56.799
<v Speaker 2>Absolute legend.

451
00:26:56.880 --> 00:27:00.519
<v Speaker 1>Her son does it does not outshine her in anyway.

452
00:27:01.240 --> 00:27:04.519
<v Speaker 2>Well, that's the fun part when when you are privileged

453
00:27:04.599 --> 00:27:07.640
<v Speaker 2>to work in the industry, you get to meet people

454
00:27:07.839 --> 00:27:11.160
<v Speaker 2>who are in these various areas that maybe you haven't

455
00:27:11.200 --> 00:27:14.480
<v Speaker 2>thought about a lot, but suddenly you're working side by

456
00:27:14.519 --> 00:27:16.960
<v Speaker 2>side with someone who is an expert at what they do,

457
00:27:17.640 --> 00:27:20.960
<v Speaker 2>and every day you're blown out of your socks by

458
00:27:21.400 --> 00:27:25.119
<v Speaker 2>what they're providing you with. Because we would and this

459
00:27:25.279 --> 00:27:28.200
<v Speaker 2>was you know, again, whether you've seen it if you haven't,

460
00:27:28.799 --> 00:27:33.480
<v Speaker 2>Big cast a lot of character roles and and so.

461
00:27:33.640 --> 00:27:36.200
<v Speaker 2>And she's got lists of actors and some of them

462
00:27:36.200 --> 00:27:38.519
<v Speaker 2>we know and some of them we don't. But she

463
00:27:38.599 --> 00:27:42.039
<v Speaker 2>brings these people in and we're watching these these auditions

464
00:27:42.680 --> 00:27:46.759
<v Speaker 2>and we're like, oh my god, Roger Bart, oh my god.

465
00:27:47.119 --> 00:27:49.880
<v Speaker 1>I know. I wanted to bring him up in specifically

466
00:27:50.440 --> 00:27:53.519
<v Speaker 1>because I love Roger part And here's the thing, everybody

467
00:27:53.559 --> 00:27:56.240
<v Speaker 1>out there, if you don't know his face, you know

468
00:27:56.359 --> 00:27:59.839
<v Speaker 1>his voice. He's the singing voice for Hercules in the

469
00:28:00.079 --> 00:28:03.880
<v Speaker 1>Walt Disney cartoo hah. Don't understand why he's not the

470
00:28:03.960 --> 00:28:06.640
<v Speaker 1>voice completely, like I understand sometimes where they have a

471
00:28:06.680 --> 00:28:08.920
<v Speaker 1>singer who can't actor or an actor who can't sing,

472
00:28:09.000 --> 00:28:10.079
<v Speaker 1>but he can do both.

473
00:28:10.640 --> 00:28:13.640
<v Speaker 2>Roger Bart is multi talented. So he he was in

474
00:28:13.680 --> 00:28:16.839
<v Speaker 2>the movie The Producers. He's the kind of if you

475
00:28:16.880 --> 00:28:18.839
<v Speaker 2>see his face, you'll go, oh, I've seen that guy.

476
00:28:19.400 --> 00:28:22.920
<v Speaker 2>Of course, he was in the Lost Room and that's

477
00:28:22.960 --> 00:28:25.279
<v Speaker 2>where I met him. And then years later when I

478
00:28:25.359 --> 00:28:28.839
<v Speaker 2>was on Grim, he was in an episode of Grim

479
00:28:28.880 --> 00:28:34.319
<v Speaker 2>and we were we had written a script and I'm like, oh,

480
00:28:34.400 --> 00:28:36.400
<v Speaker 2>you know, who would be great for this? And we

481
00:28:36.400 --> 00:28:38.960
<v Speaker 2>were having conversations. I don't know if I brought it up,

482
00:28:39.039 --> 00:28:42.160
<v Speaker 2>or maybe Jim Kalf brought it up, but I was like,

483
00:28:42.160 --> 00:28:44.599
<v Speaker 2>how about Roger Bart? And Jim Kalf, one of the

484
00:28:44.640 --> 00:28:48.200
<v Speaker 2>executive producers, knew Roger also, and I'm like, oh, I

485
00:28:48.240 --> 00:28:50.599
<v Speaker 2>know Roger. I did a mini series with him a

486
00:28:50.599 --> 00:28:53.160
<v Speaker 2>few years back, the Lost Room, and I was like, well,

487
00:28:53.200 --> 00:28:55.559
<v Speaker 2>let's bring him in. We brought him in and he

488
00:28:55.720 --> 00:28:57.599
<v Speaker 2>was great. I mean, we just sort of like gave

489
00:28:57.680 --> 00:28:59.799
<v Speaker 2>him the role and it was so fun to see

490
00:28:59.880 --> 00:29:02.240
<v Speaker 2>him again. And then he's done other things in the

491
00:29:02.279 --> 00:29:04.880
<v Speaker 2>intervening years, and every once in a while he'll say, Hey,

492
00:29:04.920 --> 00:29:06.720
<v Speaker 2>I'm going to play at the Passing in the Playhouse.

493
00:29:06.960 --> 00:29:08.759
<v Speaker 2>You know, that's just down the street from you. Come

494
00:29:08.799 --> 00:29:11.240
<v Speaker 2>on down and see me and we'll hang out. So

495
00:29:11.240 --> 00:29:16.640
<v Speaker 2>so anyway, Roger Bart lovely guy, great actor, Dennis Christopher,

496
00:29:17.319 --> 00:29:20.359
<v Speaker 2>star of I mean, come on, Breaking Away one of

497
00:29:20.400 --> 00:29:22.119
<v Speaker 2>the greatest movies of all time.

498
00:29:22.319 --> 00:29:24.920
<v Speaker 1>Fade to Black, one of the greatest movies of all time.

499
00:29:25.720 --> 00:29:28.200
<v Speaker 2>Was still friends with Dennis Christopher. We still have dinner

500
00:29:28.240 --> 00:29:28.559
<v Speaker 2>with him.

501
00:29:28.920 --> 00:29:32.200
<v Speaker 1>Tell Handel, it's a treasure and should be treated as such.

502
00:29:32.720 --> 00:29:36.000
<v Speaker 2>I will, and he will agree with you one hundred percent.

503
00:29:36.119 --> 00:29:37.200
<v Speaker 1>And he's right to do it.

504
00:29:37.759 --> 00:29:41.079
<v Speaker 2>So I'll give you a Dennis Christopher memory.

505
00:29:41.599 --> 00:29:41.880
<v Speaker 1>Good.

506
00:29:42.519 --> 00:29:46.799
<v Speaker 2>It's his first night, okay, and early in the filming

507
00:29:46.920 --> 00:29:49.400
<v Speaker 2>we're doing the Pawnshop, which is the opening of the movie.

508
00:29:49.480 --> 00:29:52.839
<v Speaker 2>So this was all, you know, very very early, you know,

509
00:29:52.960 --> 00:29:57.680
<v Speaker 2>first week of filming, and he arrives on set. But

510
00:29:57.720 --> 00:30:01.039
<v Speaker 2>it's one of those weird days where it's what we

511
00:30:01.079 --> 00:30:04.480
<v Speaker 2>call a split where we work from noon to six

512
00:30:05.079 --> 00:30:07.359
<v Speaker 2>and then we wait for it to get dark, and

513
00:30:07.400 --> 00:30:09.319
<v Speaker 2>then we do the next six hours of the filming day.

514
00:30:09.359 --> 00:30:11.079
<v Speaker 2>So we need to do day at the beginning, and

515
00:30:11.119 --> 00:30:13.200
<v Speaker 2>then some night stuff at the end. And the night

516
00:30:13.240 --> 00:30:16.079
<v Speaker 2>stuff was the pawn shop, which opens the movie. So

517
00:30:16.240 --> 00:30:18.880
<v Speaker 2>he gets there. Of course he's there, you know, bright

518
00:30:18.920 --> 00:30:21.960
<v Speaker 2>and early in the morning. He shows up in the afternoon.

519
00:30:22.079 --> 00:30:25.680
<v Speaker 2>He's not needed until the evening. So I get a

520
00:30:25.680 --> 00:30:28.200
<v Speaker 2>message Dennis Christopher's here and he'd like to talk to you.

521
00:30:28.720 --> 00:30:31.599
<v Speaker 2>And it's right around lunchtime, which is again six hours

522
00:30:31.640 --> 00:30:34.680
<v Speaker 2>in and then you've got six hours later. So I

523
00:30:34.720 --> 00:30:36.039
<v Speaker 2>go to meet with him. But I'm like, we're not

524
00:30:36.079 --> 00:30:38.960
<v Speaker 2>going to you know, we don't need him for hours.

525
00:30:39.640 --> 00:30:41.279
<v Speaker 2>So I go and meet him, and we have our

526
00:30:41.319 --> 00:30:44.240
<v Speaker 2>dinner together, and I'm like, when it makes sense he

527
00:30:44.319 --> 00:30:47.160
<v Speaker 2>might have a few questions. He had a few questions.

528
00:30:47.599 --> 00:30:52.119
<v Speaker 2>I answered them. Then we chatted and I love Dennis

529
00:30:52.200 --> 00:30:54.319
<v Speaker 2>Christopher and I want you to understand this is the

530
00:30:54.440 --> 00:30:57.599
<v Speaker 2>story is told with love. He then proceeded to talk

531
00:30:57.640 --> 00:31:01.720
<v Speaker 2>to me for three hours and we're filming. I mean,

532
00:31:02.039 --> 00:31:06.000
<v Speaker 2>lunch is long over. Yeah, but while this is going on,

533
00:31:06.240 --> 00:31:10.839
<v Speaker 2>I'm like, oh, this is part of his process. This

534
00:31:11.000 --> 00:31:14.920
<v Speaker 2>is his first day. He doesn't know anyone. He's in

535
00:31:14.960 --> 00:31:19.200
<v Speaker 2>the location, he doesn't know. It's a big role, big role.

536
00:31:20.519 --> 00:31:24.000
<v Speaker 2>And as we're talking, I'm like, oh, and this is

537
00:31:24.079 --> 00:31:29.240
<v Speaker 2>my job as executive producer. My most important job right

538
00:31:29.279 --> 00:31:32.319
<v Speaker 2>now is to be is to meet him in this

539
00:31:32.400 --> 00:31:37.799
<v Speaker 2>emotional space that he's in, which you know, is energetic.

540
00:31:37.960 --> 00:31:41.880
<v Speaker 2>Is it nerves? I don't know, it's it's something, but

541
00:31:41.559 --> 00:31:44.000
<v Speaker 2>it But it comes very clear to me I'm not

542
00:31:44.119 --> 00:31:46.640
<v Speaker 2>needed on the set. I needed to engage with this

543
00:31:46.680 --> 00:31:50.319
<v Speaker 2>guy because he's ramping up. He's ramping up to his

544
00:31:50.519 --> 00:31:54.400
<v Speaker 2>first minute in front of the cameras on this show.

545
00:31:54.920 --> 00:31:58.559
<v Speaker 2>So I'm like, I'm you know, everything he needs. Yeah,

546
00:31:58.680 --> 00:32:01.319
<v Speaker 2>I call Chris and Laura and I'm like, I'm with Dennis.

547
00:32:01.720 --> 00:32:03.880
<v Speaker 2>Let me know if there's a problem. Until then, I'm

548
00:32:03.880 --> 00:32:06.160
<v Speaker 2>with Dennis. And so we hung out and we had

549
00:32:06.200 --> 00:32:09.200
<v Speaker 2>the greatest evening. He told me the story of his life.

550
00:32:09.359 --> 00:32:12.240
<v Speaker 2>It was I mean, I was I benefited from it.

551
00:32:12.400 --> 00:32:14.599
<v Speaker 2>I was like, this is the greatest thing. And by

552
00:32:14.640 --> 00:32:17.240
<v Speaker 2>the time that three hours was over, we were bonded

553
00:32:17.279 --> 00:32:21.960
<v Speaker 2>as friends. He was comfortable. Any residual energy he had

554
00:32:22.119 --> 00:32:24.759
<v Speaker 2>was burned off. He was in his zone. And then

555
00:32:24.799 --> 00:32:28.039
<v Speaker 2>suddenly it's like, mister Christopher, you're needed on set. He

556
00:32:28.319 --> 00:32:31.599
<v Speaker 2>walks on set and then just nails it and sailed

557
00:32:31.640 --> 00:32:34.960
<v Speaker 2>through the rest of the mini series and it was beautiful.

558
00:32:34.880 --> 00:32:37.440
<v Speaker 1>And a spectacular job. He did good thing. You've talked

559
00:32:37.440 --> 00:32:40.920
<v Speaker 1>to him. I never stopped, you know. I just want

560
00:32:40.960 --> 00:32:43.720
<v Speaker 1>to mention another actor who showed up in this. Now,

561
00:32:44.039 --> 00:32:46.880
<v Speaker 1>he had been in dramatic films before, but I had

562
00:32:46.880 --> 00:32:49.640
<v Speaker 1>never really seen him put into dramatic performance, and that's

563
00:32:49.720 --> 00:32:54.000
<v Speaker 1>Kevin Pollack in two thousand and six when this comes out.

564
00:32:54.279 --> 00:33:00.559
<v Speaker 1>His performance here, I had never seen the level of menace,

565
00:33:01.359 --> 00:33:06.640
<v Speaker 1>and there's such there's a real nobility deep down under

566
00:33:06.720 --> 00:33:11.880
<v Speaker 1>the menace too, like a real pure human being without

567
00:33:11.920 --> 00:33:16.079
<v Speaker 1>any joking. I'd never seen Kevin Pollack do a performance

568
00:33:16.079 --> 00:33:18.839
<v Speaker 1>where there wasn't a joke, just w And it's not

569
00:33:18.920 --> 00:33:21.759
<v Speaker 1>like he's not funny. In the situations he's in aren't funny.

570
00:33:22.240 --> 00:33:25.720
<v Speaker 1>But this isn't a comic performance from him at all,

571
00:33:25.880 --> 00:33:27.839
<v Speaker 1>and it sings there there.

572
00:33:27.880 --> 00:33:31.720
<v Speaker 2>Yeah, No, there's there's five other roles, Peter Jacobsen as Wally,

573
00:33:31.799 --> 00:33:36.119
<v Speaker 2>there's other roles that are more centered in comedy. His

574
00:33:36.359 --> 00:33:39.599
<v Speaker 2>is not His is centered in drama at bordering on tragedy.

575
00:33:40.319 --> 00:33:43.200
<v Speaker 2>And when his name came up again. It's the genius

576
00:33:43.240 --> 00:33:45.240
<v Speaker 2>of Mary Joe Slater. We're all sort of like Kevin

577
00:33:45.279 --> 00:33:49.039
<v Speaker 2>Pollack really, because he's a comedian. He's super funny. That's

578
00:33:49.480 --> 00:33:54.000
<v Speaker 2>how we know him. Then he read for the role

579
00:33:54.160 --> 00:33:57.680
<v Speaker 2>and were like, no, this is good, this, this could

580
00:33:57.680 --> 00:34:01.599
<v Speaker 2>be perfect. So we cast him and he was His

581
00:34:01.720 --> 00:34:05.400
<v Speaker 2>performance is lovely. I will tell you that. For me,

582
00:34:06.319 --> 00:34:09.800
<v Speaker 2>it was heartbreaking in a way because I was a fan.

583
00:34:10.239 --> 00:34:13.719
<v Speaker 2>I am a fan, and so I was really looking

584
00:34:13.760 --> 00:34:16.039
<v Speaker 2>forward because I know when you're doing stuff, you're on

585
00:34:16.119 --> 00:34:20.920
<v Speaker 2>set and you're filming for three percent of the time

586
00:34:21.000 --> 00:34:23.840
<v Speaker 2>and the other ninety seven percent of the time you're

587
00:34:23.880 --> 00:34:27.719
<v Speaker 2>standing around and you're talking and sharing stories and joking.

588
00:34:27.800 --> 00:34:29.239
<v Speaker 2>I'm like, this is gonna be great. I'm gonna hang

589
00:34:29.239 --> 00:34:32.039
<v Speaker 2>out with Kevin Pollack. I'm gonna hear everything. Kevin Pollack

590
00:34:32.119 --> 00:34:35.440
<v Speaker 2>had no interest in talking to me at all. He

591
00:34:35.480 --> 00:34:38.199
<v Speaker 2>was the opposite of Dennis Christopher. He was like Hi.

592
00:34:38.320 --> 00:34:40.599
<v Speaker 2>I was like, oh, hey, mister Pollack, So how you

593
00:34:40.639 --> 00:34:45.559
<v Speaker 2>doing good? Okay, you're the other end of the spectrum.

594
00:34:45.920 --> 00:34:51.360
<v Speaker 2>You are not here to chat. You are here to focus, concentrate,

595
00:34:51.960 --> 00:34:55.199
<v Speaker 2>get it done. I back away and go mister Pollack,

596
00:34:55.639 --> 00:34:57.440
<v Speaker 2>let me know if you need anything, And that may

597
00:34:57.480 --> 00:34:59.079
<v Speaker 2>have been the last thing I ever said to him

598
00:34:59.119 --> 00:35:01.159
<v Speaker 2>in the course of three months. Yes, and he did

599
00:35:01.199 --> 00:35:02.599
<v Speaker 2>his thing. That's how he works.

600
00:35:03.159 --> 00:35:06.400
<v Speaker 1>Rich You're doing the executive producing job here, man, because

601
00:35:06.480 --> 00:35:10.079
<v Speaker 1>everyone is delivering, Like who cares what they were thinking

602
00:35:10.159 --> 00:35:12.880
<v Speaker 1>during the day. What ended up on the fucking screen

603
00:35:13.480 --> 00:35:14.400
<v Speaker 1>is superlative.

604
00:35:15.000 --> 00:35:17.679
<v Speaker 2>Well, I know. And it's so funny watching this and

605
00:35:17.760 --> 00:35:21.000
<v Speaker 2>remembering filming. And you know, when you watch something where

606
00:35:21.000 --> 00:35:23.920
<v Speaker 2>you were there, you remember every day. You're like, oh no,

607
00:35:24.079 --> 00:35:26.960
<v Speaker 2>that day was so hot, that day was so cold,

608
00:35:27.000 --> 00:35:30.000
<v Speaker 2>that day was so long. I was in a terrible

609
00:35:30.039 --> 00:35:33.000
<v Speaker 2>mood that day. That day was fun. Every time I

610
00:35:33.039 --> 00:35:36.159
<v Speaker 2>look at Peter Krausser, I'm like, I love that guy.

611
00:35:36.679 --> 00:35:41.400
<v Speaker 2>Peter Krause a greatest guy in the world. He should

612
00:35:41.400 --> 00:35:48.480
<v Speaker 2>be the star of every TV show. Talented, funny, warm, human, humane, uncomplicated,

613
00:35:48.639 --> 00:35:51.599
<v Speaker 2>no ego, comes in, does his job, does it well,

614
00:35:51.960 --> 00:35:57.840
<v Speaker 2>makes everything easy for everyone, A great number one. Mostly

615
00:35:57.880 --> 00:36:00.760
<v Speaker 2>what I remember of him is just joking around and

616
00:36:00.800 --> 00:36:04.480
<v Speaker 2>being in that hospital. Okay, quick story, the hospital where

617
00:36:04.480 --> 00:36:07.679
<v Speaker 2>he meets Wally. That was all night shoots, so we

618
00:36:07.679 --> 00:36:11.840
<v Speaker 2>were blasting light in those windows, I mean on giant cranes,

619
00:36:11.880 --> 00:36:14.840
<v Speaker 2>because it was a real location in Santa Fe. It

620
00:36:14.960 --> 00:36:20.840
<v Speaker 2>was a real hospital, and it was really haunted, like

621
00:36:21.679 --> 00:36:25.800
<v Speaker 2>no joke, legitimately haunted. It's written up like I had

622
00:36:25.880 --> 00:36:29.639
<v Speaker 2>guide books, you know, Haunted New Mexico that talk about

623
00:36:29.639 --> 00:36:31.880
<v Speaker 2>this hospital. I know, it's hard to believe, right the

624
00:36:31.960 --> 00:36:36.159
<v Speaker 2>shirt Adam's paranormal bookshelf, but there it was. And we

625
00:36:36.639 --> 00:36:38.440
<v Speaker 2>as soon as we get there, I'm telling everyone, I'm like,

626
00:36:38.440 --> 00:36:40.920
<v Speaker 2>you know this place is haunted, right, And they're like, oh,

627
00:36:40.960 --> 00:36:44.239
<v Speaker 2>I know. Every the locals were telling us, they're like,

628
00:36:44.280 --> 00:36:47.199
<v Speaker 2>are you really filming in there at night? You sure

629
00:36:47.239 --> 00:36:51.000
<v Speaker 2>you want to do that? So upstairs we're joking around,

630
00:36:51.320 --> 00:36:53.920
<v Speaker 2>Peter's joking around, we're all having a good time. But

631
00:36:53.960 --> 00:36:58.159
<v Speaker 2>then hours later, middle of the night, we hear, oh,

632
00:36:58.599 --> 00:37:04.000
<v Speaker 2>it's no joke. The grips, the electric grips. They had

633
00:37:04.000 --> 00:37:06.800
<v Speaker 2>to go into the basement to tie in. In other words,

634
00:37:07.199 --> 00:37:11.280
<v Speaker 2>there's always a central point of power on every set

635
00:37:11.559 --> 00:37:14.400
<v Speaker 2>where you're drawing all your power for lights and cameras,

636
00:37:14.400 --> 00:37:17.559
<v Speaker 2>that everything you're doing. And so they're these enormous generators

637
00:37:17.599 --> 00:37:21.840
<v Speaker 2>and you know, and there are electricians who are professional

638
00:37:21.880 --> 00:37:25.519
<v Speaker 2>electricians that are on your grew at all times to

639
00:37:25.719 --> 00:37:28.719
<v Speaker 2>make sure this stuff is safe and that it works,

640
00:37:28.760 --> 00:37:32.440
<v Speaker 2>because without electricity, you're screwed. So it's like, I don't

641
00:37:32.760 --> 00:37:34.920
<v Speaker 2>deal with it a lot. It's just a thing that

642
00:37:35.079 --> 00:37:39.960
<v Speaker 2>always happens. These are the guys hauling cable at five am.

643
00:37:40.119 --> 00:37:43.159
<v Speaker 1>Okay, not the typically jumpy type.

644
00:37:43.800 --> 00:37:46.159
<v Speaker 2>No, these are freaking tough guys. Now, they had to

645
00:37:46.199 --> 00:37:48.280
<v Speaker 2>go down and they've done a million places, and they

646
00:37:48.480 --> 00:37:51.960
<v Speaker 2>go down into the basement and then we start hearing, oh,

647
00:37:52.079 --> 00:37:55.079
<v Speaker 2>they're never going down there. I'm like, what it's like.

648
00:37:55.119 --> 00:37:58.440
<v Speaker 2>They went down there, they tied in, but a couple

649
00:37:58.480 --> 00:38:00.840
<v Speaker 2>of them aren't going back down there because they heard

650
00:38:00.920 --> 00:38:04.239
<v Speaker 2>children laughing. And I'm like, you're kidding, You're fucking with

651
00:38:04.360 --> 00:38:05.760
<v Speaker 2>me because I just.

652
00:38:05.679 --> 00:38:06.639
<v Speaker 1>Sort of assumed area.

653
00:38:06.639 --> 00:38:08.960
<v Speaker 2>Well, I assumed that it had gone through Peter to

654
00:38:09.039 --> 00:38:13.320
<v Speaker 2>a PA to a second Ad to the Great and

655
00:38:13.480 --> 00:38:15.639
<v Speaker 2>it's all going to come back to me, you know,

656
00:38:15.760 --> 00:38:18.280
<v Speaker 2>the idiot. It's like, oh my god, no, yeah, we

657
00:38:18.320 --> 00:38:20.920
<v Speaker 2>told them it's really happening. That was not the case,

658
00:38:21.639 --> 00:38:25.159
<v Speaker 2>and there were people who experienced stuff and that place

659
00:38:25.280 --> 00:38:27.559
<v Speaker 2>was active. Now I will tell you it's no longer

660
00:38:27.559 --> 00:38:31.039
<v Speaker 2>a hospital. It has been It has been totally remodeled

661
00:38:31.079 --> 00:38:36.840
<v Speaker 2>into a hotel, wonderful. It's the Drury In and it's

662
00:38:36.920 --> 00:38:40.039
<v Speaker 2>right off the plaza in Santa Fe, New Mexico. So

663
00:38:40.440 --> 00:38:42.320
<v Speaker 2>I'm just waiting to hear if more people have.

664
00:38:42.239 --> 00:38:46.320
<v Speaker 1>Had experiences, I'm totally going to stay there. Speaking of

665
00:38:46.400 --> 00:38:53.519
<v Speaker 1>amazing casting, Julianna Marguli's right, everywhere you turn, this cast

666
00:38:53.639 --> 00:38:56.400
<v Speaker 1>is just like, yeah, I'm also fucking fantastic.

667
00:38:57.000 --> 00:39:00.039
<v Speaker 2>Well, we couldn't believe the people we were getting, and

668
00:39:00.079 --> 00:39:05.159
<v Speaker 2>Marry Joe kept saying, you're undervaluing your own work. Actors

669
00:39:05.239 --> 00:39:08.079
<v Speaker 2>don't care about anything but the material. They don't care

670
00:39:08.119 --> 00:39:10.760
<v Speaker 2>about the director you think they do. They don't. They

671
00:39:10.840 --> 00:39:12.840
<v Speaker 2>don't care about where it's being filmed. They don't even

672
00:39:12.840 --> 00:39:15.400
<v Speaker 2>care how much they're getting paid. They care about the material,

673
00:39:15.400 --> 00:39:18.599
<v Speaker 2>and if they respond to the material, they will they

674
00:39:18.840 --> 00:39:22.079
<v Speaker 2>want to do it, and they'll do it. And we

675
00:39:22.199 --> 00:39:25.519
<v Speaker 2>kept getting amazing person after an amazing person, top choice

676
00:39:25.559 --> 00:39:29.159
<v Speaker 2>after top choice after top choice, and she's like, it's

677
00:39:29.199 --> 00:39:33.239
<v Speaker 2>because of the script. They love it, and we're like, okay, okay,

678
00:39:33.320 --> 00:39:35.639
<v Speaker 2>we'll believe it. That's great, And then on a certain

679
00:39:35.719 --> 00:39:38.239
<v Speaker 2>level we're like, we would go back into our conference

680
00:39:38.320 --> 00:39:40.320
<v Speaker 2>room and go, you know what, it makes sense because

681
00:39:40.360 --> 00:39:43.800
<v Speaker 2>these are not roles that anyone gets offered. These are

682
00:39:43.840 --> 00:39:46.800
<v Speaker 2>not it's not the normal Oh, I'm the hero cop,

683
00:39:47.119 --> 00:39:50.840
<v Speaker 2>I'm the you know beautiful It's like these are weird,

684
00:39:50.960 --> 00:39:55.599
<v Speaker 2>quirky but well written, realistic characters. Like you're not going

685
00:39:55.679 --> 00:39:58.440
<v Speaker 2>to get to play this stuff every week. This is once,

686
00:39:58.559 --> 00:40:03.280
<v Speaker 2>maybe twice in a lifetime kind of material. And we

687
00:40:03.360 --> 00:40:09.440
<v Speaker 2>had people begging. I had agents calling me. This never happened, certainly,

688
00:40:09.480 --> 00:40:13.599
<v Speaker 2>not on never on anything I've written that we're begging.

689
00:40:14.079 --> 00:40:18.599
<v Speaker 2>It's like, please please, my client loves this. I just

690
00:40:18.639 --> 00:40:21.480
<v Speaker 2>want you to know. And the number of people we

691
00:40:21.559 --> 00:40:23.960
<v Speaker 2>had to say, hey, you know, obviously I'm sorry, the

692
00:40:24.320 --> 00:40:26.760
<v Speaker 2>role's been cast or we're going with someone else. So

693
00:40:26.840 --> 00:40:31.119
<v Speaker 2>that was really wonderful, and that was a sheer gift

694
00:40:31.280 --> 00:40:32.199
<v Speaker 2>of the scripts.

695
00:40:32.800 --> 00:40:36.559
<v Speaker 1>I mean, I'm just gonna wax rapsodic about that concept

696
00:40:36.599 --> 00:40:38.519
<v Speaker 1>in the script and like it only makes sense that

697
00:40:38.639 --> 00:40:42.119
<v Speaker 1>everyone would want to be involved with it, like it's okay.

698
00:40:42.760 --> 00:40:46.199
<v Speaker 1>The fact that it's in Gallup, New Mexico in nineteen

699
00:40:46.239 --> 00:40:55.119
<v Speaker 1>sixty one automatically sort of connotates nuclear possibilities or just

700
00:40:55.679 --> 00:40:59.280
<v Speaker 1>any number of government through for all going on at

701
00:40:59.320 --> 00:41:03.320
<v Speaker 1>that time. Like, because here's the thing, everybody, An event

702
00:41:03.360 --> 00:41:06.360
<v Speaker 1>took place in that room in nineteen sixty one that

703
00:41:07.440 --> 00:41:10.880
<v Speaker 1>fractured time space, I guess, making this room some sort

704
00:41:10.880 --> 00:41:14.719
<v Speaker 1>of central nexus, some link between our world and some others,

705
00:41:14.880 --> 00:41:17.199
<v Speaker 1>and all of these objects are now sort of magically

706
00:41:17.199 --> 00:41:20.079
<v Speaker 1>possessed because of it. And here's the thing. So clearly

707
00:41:20.159 --> 00:41:22.880
<v Speaker 1>the series was just going to continue along. We were

708
00:41:22.920 --> 00:41:27.920
<v Speaker 1>never going to find out what that event was, right, No, last,

709
00:41:28.559 --> 00:41:32.440
<v Speaker 1>Now here's the thing, Rich, I'm sure our listeners would

710
00:41:32.519 --> 00:41:36.000
<v Speaker 1>like to know. When people sit down to write a

711
00:41:36.039 --> 00:41:39.519
<v Speaker 1>mystery series, did you guys know where you were going?

712
00:41:40.159 --> 00:41:42.719
<v Speaker 2>Well? I didn't know where they were going because I

713
00:41:42.760 --> 00:41:46.679
<v Speaker 2>was not there. They know, I don't know that they did.

714
00:41:47.440 --> 00:41:52.280
<v Speaker 2>I think their rule was were you know. There's a

715
00:41:52.400 --> 00:41:57.440
<v Speaker 2>very simple central set of motivational stakes for our hero,

716
00:41:57.960 --> 00:42:02.079
<v Speaker 2>which is his daughter went into the room and then

717
00:42:02.119 --> 00:42:04.920
<v Speaker 2>the door got closed, and when he reopened it, she

718
00:42:05.119 --> 00:42:08.639
<v Speaker 2>was gone. So she is now lost somewhere. So he

719
00:42:08.679 --> 00:42:12.440
<v Speaker 2>has no choice but to delve into the mythology of

720
00:42:12.719 --> 00:42:15.119
<v Speaker 2>the room and to try to learn everything he can

721
00:42:15.199 --> 00:42:18.159
<v Speaker 2>about the room. And he's learning from all of these

722
00:42:18.239 --> 00:42:23.199
<v Speaker 2>sort of untrustworthy, you know, kind of street level characters

723
00:42:23.760 --> 00:42:27.840
<v Speaker 2>who know a little bit or there's a rumor about

724
00:42:27.880 --> 00:42:30.679
<v Speaker 2>this or that, and they're all in different groups, and

725
00:42:30.719 --> 00:42:33.960
<v Speaker 2>they're all against each other, and they all want something,

726
00:42:34.639 --> 00:42:37.760
<v Speaker 2>and he's got a sort of by dealing with them

727
00:42:38.079 --> 00:42:42.199
<v Speaker 2>in a very smart and canny and sort of a

728
00:42:42.280 --> 00:42:45.239
<v Speaker 2>heroic way. He's got to try to piece together who's

729
00:42:45.239 --> 00:42:47.760
<v Speaker 2>telling the truth, who's lying, and who ultimately has the

730
00:42:47.880 --> 00:42:50.280
<v Speaker 2>answer that will allow him to get his daughter back.

731
00:42:50.320 --> 00:42:52.599
<v Speaker 2>Wants his daughter's back. He doesn't care about the key,

732
00:42:52.679 --> 00:42:55.559
<v Speaker 2>the motel room, the objects, anything. He just wants his

733
00:42:55.639 --> 00:42:58.119
<v Speaker 2>daughter back. But to get her back, he has to

734
00:42:58.199 --> 00:43:03.440
<v Speaker 2>go into this hidden world, this hidden economy of objects

735
00:43:03.840 --> 00:43:06.719
<v Speaker 2>and meet all these weird people, all of whom want

736
00:43:06.800 --> 00:43:10.239
<v Speaker 2>to kill him because he has the key. He's the

737
00:43:10.280 --> 00:43:14.519
<v Speaker 2>motel man, so holding on to that. Now, there were

738
00:43:14.599 --> 00:43:17.840
<v Speaker 2>moments I'm like, I'm so blown away. It's like there's

739
00:43:18.159 --> 00:43:21.840
<v Speaker 2>I mean, has it. He doesn't even say it, because

740
00:43:21.880 --> 00:43:24.079
<v Speaker 2>if you haven't seen it, I don't want to ruin anything.

741
00:43:24.360 --> 00:43:27.480
<v Speaker 2>All I'm going to say is there are moments, and

742
00:43:27.519 --> 00:43:30.039
<v Speaker 2>this is the greatest experience you can have as an audience.

743
00:43:30.440 --> 00:43:34.119
<v Speaker 2>There are moments when something surprising happens, and then one

744
00:43:34.159 --> 00:43:37.440
<v Speaker 2>second later you go, oh, of course, because that's the rule.

745
00:43:37.719 --> 00:43:40.440
<v Speaker 2>And they told us. They just told us, Oh, that

746
00:43:40.599 --> 00:43:45.800
<v Speaker 2>is so smart. They because Joe, the main character, he's

747
00:43:45.960 --> 00:43:48.679
<v Speaker 2>learning how to play the game too. He's like, Oh,

748
00:43:48.760 --> 00:43:51.440
<v Speaker 2>here's how the objects work, here's how they don't work.

749
00:43:51.599 --> 00:43:55.000
<v Speaker 2>Here's what you do, here's what you don't do. Here's

750
00:43:55.039 --> 00:43:57.960
<v Speaker 2>how you can manipulate people who are looking for this

751
00:43:58.079 --> 00:44:02.920
<v Speaker 2>object or that object. And again, the interaction of audience

752
00:44:03.400 --> 00:44:07.880
<v Speaker 2>and lead character as they're figuring this out. And the

753
00:44:07.920 --> 00:44:11.320
<v Speaker 2>fun thing is it's like there's no sci fi. They're

754
00:44:11.360 --> 00:44:14.840
<v Speaker 2>really like, there's no monsters, there's no costumes, there's no spaceships,

755
00:44:14.840 --> 00:44:17.199
<v Speaker 2>there's no anything. It's just a hotel room. And I

756
00:44:17.199 --> 00:44:22.559
<v Speaker 2>remember saying we were having some trouble with well, I

757
00:44:22.559 --> 00:44:25.000
<v Speaker 2>can get into the trouble we had making this, and

758
00:44:25.039 --> 00:44:27.559
<v Speaker 2>that's part of the story too. But I remember sitting

759
00:44:27.599 --> 00:44:30.559
<v Speaker 2>down at a certain point with the studio and our

760
00:44:31.199 --> 00:44:34.800
<v Speaker 2>line producer and saying, we have no spaceships, we have

761
00:44:34.880 --> 00:44:39.079
<v Speaker 2>no aliens, we have no monsters, we have no Bermuda triangle.

762
00:44:39.880 --> 00:44:42.840
<v Speaker 2>You know what we have. We have a motel room

763
00:44:43.199 --> 00:44:46.239
<v Speaker 2>and we have a door and it opens up into

764
00:44:46.400 --> 00:44:51.840
<v Speaker 2>various environments where it shouldn't. That's the only effect we

765
00:44:51.920 --> 00:44:53.639
<v Speaker 2>have to carry off. And the room is just a

766
00:44:53.679 --> 00:44:57.880
<v Speaker 2>built room, so that doesn't even count. The only magic

767
00:44:58.199 --> 00:45:01.599
<v Speaker 2>is he uses the key to go into a public

768
00:45:01.679 --> 00:45:08.000
<v Speaker 2>restroom in Pittsburgh and then one second later he closes

769
00:45:08.039 --> 00:45:10.320
<v Speaker 2>the door and then opens it up inside a house

770
00:45:10.840 --> 00:45:16.199
<v Speaker 2>in southern California, for instance. That's the only magic trick

771
00:45:16.280 --> 00:45:18.559
<v Speaker 2>we have to pull off. Now, don't tell me we

772
00:45:18.599 --> 00:45:21.440
<v Speaker 2>can't pull that off. Figure out how to pull it off. Now,

773
00:45:22.280 --> 00:45:26.159
<v Speaker 2>what was difficult about making this? Okay, it takes place

774
00:45:26.199 --> 00:45:29.320
<v Speaker 2>in Pittsburgh, right, it takes place because that's where they.

775
00:45:29.320 --> 00:45:31.559
<v Speaker 1>Which it makes sense that you told me that they

776
00:45:31.760 --> 00:45:35.320
<v Speaker 1>that they were, because once we started in Pittsburgh. We

777
00:45:35.400 --> 00:45:38.000
<v Speaker 1>never get to see Pittsburgh unless it's a George Romero movie.

778
00:45:38.039 --> 00:45:41.440
<v Speaker 1>Nobodys shooting in Pittsburgh these days, So anytime we get

779
00:45:41.440 --> 00:45:44.800
<v Speaker 1>to see the city, I'm excited and and and now

780
00:45:44.840 --> 00:45:45.440
<v Speaker 1>it makes sense.

781
00:45:45.519 --> 00:45:47.519
<v Speaker 2>Okay, So you know Pittsburgh, So you're like, why am

782
00:45:47.559 --> 00:45:51.119
<v Speaker 2>I not seeing Why are they not taking advantage of Pittsburgh. Well,

783
00:45:51.159 --> 00:45:53.280
<v Speaker 2>the reason we're not taking advantage of Pittsburgh is because

784
00:45:53.320 --> 00:45:56.599
<v Speaker 2>we didn't film in Pittsburgh. We filmed in Albuquerque, New Mexico.

785
00:45:57.159 --> 00:45:59.480
<v Speaker 1>Perfect, perfect replacement for Pittsburgh.

786
00:45:59.519 --> 00:46:02.599
<v Speaker 2>Exactly when you're in Albuquerque, if you don't really.

787
00:46:02.559 --> 00:46:06.639
<v Speaker 1>Go where's Primanti Brothers. Every time I'm in Albuquerque.

788
00:46:06.280 --> 00:46:09.239
<v Speaker 2>You're slapping your face, going, I feel like I'm in Pittsburgh.

789
00:46:09.280 --> 00:46:12.880
<v Speaker 2>This should be Pittsburgh. I gotta remember it's Albuquerque. Why

790
00:46:12.920 --> 00:46:17.440
<v Speaker 2>are we in Albuquerque. We're in Albuquerque because Lionsgate is

791
00:46:18.199 --> 00:46:23.079
<v Speaker 2>greasing the palm of New Mexico government because they are

792
00:46:23.119 --> 00:46:28.960
<v Speaker 2>going to build a studio in Albuquerque. And so this

793
00:46:29.920 --> 00:46:35.599
<v Speaker 2>mini series was being handed to New Mexico as a Hey,

794
00:46:35.639 --> 00:46:40.039
<v Speaker 2>we're Lionsgate, look at us. We're gonna film in New Mexico.

795
00:46:40.199 --> 00:46:43.320
<v Speaker 2>This is before Breaking Bad, this before anything was in

796
00:46:43.360 --> 00:46:48.280
<v Speaker 2>New Mexico. We're serious about making an investment in New Mexico.

797
00:46:48.920 --> 00:46:50.880
<v Speaker 2>All this is decided before I come on. So now

798
00:46:50.920 --> 00:46:53.320
<v Speaker 2>I sit down with the people at the studio and

799
00:46:53.360 --> 00:46:55.280
<v Speaker 2>I'm like, why are we doing this in Albuquerque? It

800
00:46:55.280 --> 00:46:58.079
<v Speaker 2>takes place in Pittsburgh. And I've been to New Mexico

801
00:46:58.119 --> 00:47:02.960
<v Speaker 2>a bunch and unless I'm I'm mistaken, there really is

802
00:47:03.079 --> 00:47:06.519
<v Speaker 2>not a good way to even sort of fake it,

803
00:47:07.000 --> 00:47:08.920
<v Speaker 2>and they're like, it doesn't matter. We're not. We're filming

804
00:47:08.960 --> 00:47:12.119
<v Speaker 2>in Albuquerque. That's that's a given. So we'll have to

805
00:47:12.119 --> 00:47:14.320
<v Speaker 2>figure it out. We'll have to shoot carefully and maybe

806
00:47:14.480 --> 00:47:17.480
<v Speaker 2>put in some backgrounds. We'll figure it out. I'm like, okay,

807
00:47:18.679 --> 00:47:22.320
<v Speaker 2>the one. But I went back upstairs to Chris and

808
00:47:22.360 --> 00:47:26.000
<v Speaker 2>Paul and Laura and said, I have an idea and

809
00:47:26.039 --> 00:47:30.000
<v Speaker 2>it might be the only way we can do this financially.

810
00:47:30.760 --> 00:47:35.480
<v Speaker 2>The motel that you guys have on a highway in

811
00:47:35.519 --> 00:47:40.199
<v Speaker 2>the hills of Pennsylvania. I pitched something, let's put it

812
00:47:40.239 --> 00:47:43.320
<v Speaker 2>in New Mexico because that's where we're filming. It's so

813
00:47:43.440 --> 00:47:46.199
<v Speaker 2>much better. And I'm like, let's make it. I mean,

814
00:47:46.239 --> 00:47:49.079
<v Speaker 2>you know, the Southwest has a Root sixty six. There's

815
00:47:49.119 --> 00:47:53.320
<v Speaker 2>a tradition of these kitchy motels. It doesn't change the

816
00:47:53.360 --> 00:47:55.440
<v Speaker 2>story at all, it doesn't change a single scene. It

817
00:47:55.559 --> 00:47:59.480
<v Speaker 2>just changes set deck and some production design. So let's

818
00:48:00.199 --> 00:48:03.960
<v Speaker 2>do that, and let's have the bus tickets send them

819
00:48:03.960 --> 00:48:07.119
<v Speaker 2>to Gallop, New Mexico, so that we because we'll be

820
00:48:07.239 --> 00:48:12.480
<v Speaker 2>right there and not every single, single single scene will

821
00:48:12.519 --> 00:48:15.719
<v Speaker 2>be an insurmountable hill. And let me tell you something

822
00:48:15.760 --> 00:48:22.559
<v Speaker 2>about producing stuff. Nothing is more frustrating and infuriating than

823
00:48:22.760 --> 00:48:27.840
<v Speaker 2>spending money to do something that is not impressive. So

824
00:48:28.000 --> 00:48:31.360
<v Speaker 2>when you're in Albuquerque and you're spending time and money

825
00:48:31.400 --> 00:48:35.599
<v Speaker 2>and blood, sweat and tears to convince somebody that they're

826
00:48:35.679 --> 00:48:39.960
<v Speaker 2>looking at a street in Pittsburgh, You're like, this is

827
00:48:40.000 --> 00:48:43.280
<v Speaker 2>not helping us. This is just we're spending money on

828
00:48:43.320 --> 00:48:45.880
<v Speaker 2>something that's not going to impress anyone. It is a

829
00:48:45.920 --> 00:48:52.039
<v Speaker 2>production burden that does not result in creative joy. We're

830
00:48:52.079 --> 00:48:54.880
<v Speaker 2>just stuck. And so now we're all this money that

831
00:48:54.920 --> 00:48:57.440
<v Speaker 2>we could be spending on a lot of other stuff.

832
00:48:57.760 --> 00:49:03.280
<v Speaker 2>We're spending on plate replaced right, and and oh, we're

833
00:49:03.280 --> 00:49:09.880
<v Speaker 2>gonna get our our art director to reskin a building

834
00:49:10.039 --> 00:49:12.480
<v Speaker 2>to make it look more like a deli or something

835
00:49:12.599 --> 00:49:16.960
<v Speaker 2>in Pittsburgh than a you know, a boba coffee shop

836
00:49:17.440 --> 00:49:20.760
<v Speaker 2>that got built in nineteen two on a street corner

837
00:49:20.800 --> 00:49:23.920
<v Speaker 2>and Albuquerque. It's like, you know, this is not where

838
00:49:23.960 --> 00:49:25.480
<v Speaker 2>we should be spending our money, but we don't have

839
00:49:25.480 --> 00:49:28.719
<v Speaker 2>a choice because guess what we were told we're filming

840
00:49:28.760 --> 00:49:32.519
<v Speaker 2>an Albuquerque, So I guess we're filming an Albuquerque. And

841
00:49:32.920 --> 00:49:35.519
<v Speaker 2>every problem that came along with that was now our

842
00:49:35.639 --> 00:49:38.760
<v Speaker 2>problem and came out of our budget and came and

843
00:49:39.159 --> 00:49:41.880
<v Speaker 2>reduced all the cool stuff that we wanted to do

844
00:49:41.920 --> 00:49:43.840
<v Speaker 2>because like, well, we can't because we have to spend

845
00:49:43.840 --> 00:49:46.320
<v Speaker 2>that money convincing you that a street corner is actually

846
00:49:46.360 --> 00:49:48.480
<v Speaker 2>in Pittsburgh. So that was very frustrating.

847
00:49:48.719 --> 00:49:50.800
<v Speaker 1>Richard, Does it make you feel better than I believe

848
00:49:50.880 --> 00:49:52.039
<v Speaker 1>you shot in Pittsburgh?

849
00:49:52.199 --> 00:49:54.559
<v Speaker 2>Yes, makes me feel way better.

850
00:49:55.239 --> 00:49:57.760
<v Speaker 1>I mean, obviously there was an establishing shot, but when

851
00:49:57.800 --> 00:49:59.719
<v Speaker 1>you guys were on the street there, I thought you

852
00:49:59.760 --> 00:50:01.719
<v Speaker 1>were on the East Coast. The fact that you just

853
00:50:01.760 --> 00:50:05.199
<v Speaker 1>said you filmed in entirely in New Mexico staggered me

854
00:50:05.199 --> 00:50:05.679
<v Speaker 1>a little bit.

855
00:50:05.800 --> 00:50:09.360
<v Speaker 2>So yeah, literally we were. We never filmed anywhere. We

856
00:50:09.360 --> 00:50:11.000
<v Speaker 2>were in Albuquerque, Santa Fe.

857
00:50:11.159 --> 00:50:13.039
<v Speaker 1>But it sucks that they made you do it. But

858
00:50:13.119 --> 00:50:13.960
<v Speaker 1>you guys did it.

859
00:50:14.440 --> 00:50:17.760
<v Speaker 2>Yeah, we did it. Yeah, and it I mean, oh

860
00:50:17.800 --> 00:50:21.360
<v Speaker 2>my god, Kreutzfeldt's mansion. It would have saved us so

861
00:50:21.519 --> 00:50:25.280
<v Speaker 2>much money. And we searched, We searched everywhere in New

862
00:50:25.320 --> 00:50:30.559
<v Speaker 2>Mexico for a house whose interior looked like it could

863
00:50:30.599 --> 00:50:37.599
<v Speaker 2>conceivably be New England, East Coast, Pittsburgh, Old Pennsylvania. Something

864
00:50:38.280 --> 00:50:43.599
<v Speaker 2>we went everywhere, we found nothing, and literally we were

865
00:50:43.599 --> 00:50:46.519
<v Speaker 2>getting to a point. Craig Baxley, the director of the

866
00:50:46.559 --> 00:50:49.760
<v Speaker 2>first two hours, in the final two hours, and our

867
00:50:49.760 --> 00:50:52.960
<v Speaker 2>producer Paul Kurta. I remember just sitting in a diner

868
00:50:53.039 --> 00:50:57.599
<v Speaker 2>on a location scout, and I was just spiraling because

869
00:50:57.639 --> 00:51:00.039
<v Speaker 2>I'm like, I can't go back to LA until Chris

870
00:51:00.079 --> 00:51:03.199
<v Speaker 2>and Paul and Laura that we were gonna have to

871
00:51:03.199 --> 00:51:06.840
<v Speaker 2>make another compromise for this show. It's I can't do it.

872
00:51:07.119 --> 00:51:10.920
<v Speaker 2>There's I don't know what we're gonna do. And we're

873
00:51:10.920 --> 00:51:13.119
<v Speaker 2>sitting at there. There's this big table and there's ten

874
00:51:13.159 --> 00:51:14.920
<v Speaker 2>of us and all the people who are on a

875
00:51:15.400 --> 00:51:17.000
<v Speaker 2>and I'm sitting at one end of the table and

876
00:51:17.559 --> 00:51:20.480
<v Speaker 2>Craig Baxley's at the other, and I'm like, we're never

877
00:51:20.519 --> 00:51:22.480
<v Speaker 2>gonna get it. We're just never going to get it.

878
00:51:22.880 --> 00:51:26.599
<v Speaker 2>And I see Craig Baxley writing something down and then

879
00:51:26.599 --> 00:51:29.960
<v Speaker 2>he tears off a part of his paper place Matt,

880
00:51:30.199 --> 00:51:31.880
<v Speaker 2>and he folds it up and he hands it and

881
00:51:31.920 --> 00:51:33.800
<v Speaker 2>I see the note being passed all the way down

882
00:51:33.840 --> 00:51:36.480
<v Speaker 2>to the table, all the way down to me, and

883
00:51:36.559 --> 00:51:38.920
<v Speaker 2>I open up the little piece of paper and it says,

884
00:51:39.559 --> 00:51:44.039
<v Speaker 2>don't worry. I promise you we're gonna get this, but

885
00:51:44.159 --> 00:51:48.280
<v Speaker 2>he didn't say how. Three days later, there's a big meeting,

886
00:51:48.920 --> 00:51:52.239
<v Speaker 2>and in that meeting, Craig Baxley's like, we got to

887
00:51:52.280 --> 00:51:55.960
<v Speaker 2>build it. Sorry, I know it's not on anyone's budget,

888
00:51:56.480 --> 00:52:00.400
<v Speaker 2>but it's important. There's a giant sequence.

889
00:52:00.440 --> 00:52:04.480
<v Speaker 1>Mass, one of those massive innovations I was talking about

890
00:52:04.519 --> 00:52:06.719
<v Speaker 1>at the beginning, that takes place inside that mansion.

891
00:52:07.079 --> 00:52:09.800
<v Speaker 2>You gotta have it, huge sequence that takes place inside

892
00:52:09.840 --> 00:52:12.199
<v Speaker 2>the mansion. He's like, we were crazy to even look

893
00:52:12.239 --> 00:52:13.920
<v Speaker 2>for a location. We couldn't even do it. If we

894
00:52:14.159 --> 00:52:16.639
<v Speaker 2>found the perfect log, if we were in Pittsburgh, we

895
00:52:16.639 --> 00:52:20.239
<v Speaker 2>couldn't do it. We were always kidding ourselves. If we

896
00:52:20.559 --> 00:52:24.440
<v Speaker 2>build it, yes it's expensive, but it'll save us so

897
00:52:24.599 --> 00:52:28.480
<v Speaker 2>much time in travel, in prep. Because he's still got

898
00:52:28.519 --> 00:52:31.559
<v Speaker 2>a prep location. You know, you gotta you gotta decorate it,

899
00:52:31.679 --> 00:52:34.280
<v Speaker 2>you gotta art direct it, you gotta op it, you

900
00:52:34.320 --> 00:52:36.519
<v Speaker 2>got to do everything. He's like, well, we're never gonna

901
00:52:36.519 --> 00:52:38.679
<v Speaker 2>find it in our world. We will never find it.

902
00:52:38.760 --> 00:52:41.400
<v Speaker 2>Let us build it. Let us build it to exactly

903
00:52:41.480 --> 00:52:45.119
<v Speaker 2>our specifications, and I promise you we'll shoot it out

904
00:52:45.119 --> 00:52:49.519
<v Speaker 2>in two days. And they listen to that logic, and

905
00:52:49.599 --> 00:52:53.239
<v Speaker 2>I'm like, oh, that is right, that is correct. We

906
00:52:53.280 --> 00:52:55.679
<v Speaker 2>got to build it. It's like, sorry, guys, you're the studio.

907
00:52:55.719 --> 00:52:58.320
<v Speaker 2>You're the ones who stuck us in Albuquerque fucking build

908
00:52:58.360 --> 00:53:00.960
<v Speaker 2>us our set, and they had to. The boy today

909
00:53:01.039 --> 00:53:03.519
<v Speaker 2>hate it, and you know, I will tell you the

910
00:53:03.559 --> 00:53:06.360
<v Speaker 2>whole summer of two thousand and six, I was just like, God,

911
00:53:07.119 --> 00:53:13.840
<v Speaker 2>Lionsgate is the worst. They're the cheapest, most miserly studio

912
00:53:13.920 --> 00:53:16.840
<v Speaker 2>in the world. And I was certain of it until

913
00:53:16.880 --> 00:53:19.559
<v Speaker 2>I worked with every other studio and then I realized,

914
00:53:19.639 --> 00:53:20.519
<v Speaker 2>Oh no.

915
00:53:21.039 --> 00:53:23.760
<v Speaker 1>That's just that's everybody. Baby, that's it.

916
00:53:23.960 --> 00:53:25.000
<v Speaker 2>That's the job.

917
00:53:25.599 --> 00:53:26.880
<v Speaker 1>Gets your hand my pocket.

918
00:53:27.360 --> 00:53:31.079
<v Speaker 2>Yeah yeah, so yeah, so Albuquerque Orama, that's what it was.

919
00:53:31.960 --> 00:53:35.480
<v Speaker 1>Rich, What was the event? Are you chewing? He's chewing everybody.

920
00:53:35.519 --> 00:53:38.679
<v Speaker 1>He's going to tell me what the event is that

921
00:53:38.880 --> 00:53:40.280
<v Speaker 1>was driving the series.

922
00:53:40.679 --> 00:53:46.320
<v Speaker 2>I'm sure my dinner is the olives in my Martini glass. Okay,

923
00:53:46.880 --> 00:53:47.519
<v Speaker 2>I don't know.

924
00:53:47.960 --> 00:53:50.079
<v Speaker 1>What do you think it was? Which cabal were you

925
00:53:50.159 --> 00:53:51.079
<v Speaker 1>were you signing with?

926
00:53:51.559 --> 00:53:55.480
<v Speaker 2>Okay, I'll answer you. Uh here is my personal answer.

927
00:53:56.000 --> 00:53:58.960
<v Speaker 2>I don't know what the event is, doesn't matter what

928
00:53:59.000 --> 00:54:03.440
<v Speaker 2>the event is. Okay, that's that's just the you know,

929
00:54:03.920 --> 00:54:06.360
<v Speaker 2>there was a storm. Okay, now this is the movie

930
00:54:06.400 --> 00:54:09.599
<v Speaker 2>that about what a town that's been ravaged by a storm.

931
00:54:09.639 --> 00:54:11.639
<v Speaker 2>That's it. We don't need to know, we don't need

932
00:54:11.679 --> 00:54:14.400
<v Speaker 2>any more than that. What was interesting to me, what

933
00:54:14.559 --> 00:54:17.719
<v Speaker 2>was interesting to Laura and Chris and Paul and what

934
00:54:17.760 --> 00:54:22.199
<v Speaker 2>the show would have become about, was the people and

935
00:54:22.280 --> 00:54:26.559
<v Speaker 2>these little hidden groups that are fighting for control of

936
00:54:26.599 --> 00:54:29.960
<v Speaker 2>these objects and how far will they go? And that's it.

937
00:54:30.480 --> 00:54:34.199
<v Speaker 2>And that's all this was. And you know, I told

938
00:54:34.920 --> 00:54:38.639
<v Speaker 2>the writers, I said, you know, no matter what happens,

939
00:54:38.719 --> 00:54:41.000
<v Speaker 2>this is yours. You will get credit for this, because

940
00:54:41.000 --> 00:54:45.239
<v Speaker 2>I'd been through credit threats in my career and one

941
00:54:45.280 --> 00:54:47.800
<v Speaker 2>of the first things I told them was, if you

942
00:54:49.079 --> 00:54:51.800
<v Speaker 2>it literally, if the studio comes down and puts a

943
00:54:51.800 --> 00:54:54.039
<v Speaker 2>gun to our heads and says, I don't care what

944
00:54:54.079 --> 00:54:57.079
<v Speaker 2>you guys say, Richard is rewriting all of this, I said,

945
00:54:57.079 --> 00:54:59.679
<v Speaker 2>I don't care if I rewrite every single word of this.

946
00:55:00.440 --> 00:55:03.239
<v Speaker 2>I will never ask for credit. I am executive producer.

947
00:55:03.400 --> 00:55:06.880
<v Speaker 2>You are the writers, and that'll never change. So don't

948
00:55:07.239 --> 00:55:09.920
<v Speaker 2>even harbor that as a fear in the back of

949
00:55:09.960 --> 00:55:13.719
<v Speaker 2>your mind. Six months it's never going to happen now.

950
00:55:14.280 --> 00:55:17.719
<v Speaker 2>Add to that, while we were filming, I took a

951
00:55:17.760 --> 00:55:21.199
<v Speaker 2>shot at writing a chunk of an episode that needed

952
00:55:21.199 --> 00:55:26.440
<v Speaker 2>to get done, and completely shit the bed, I mean,

953
00:55:26.760 --> 00:55:30.280
<v Speaker 2>was unable to match their tone, unable to match their voice,

954
00:55:30.400 --> 00:55:34.119
<v Speaker 2>unable to match their events. And my work was correctly

955
00:55:34.880 --> 00:55:40.360
<v Speaker 2>thrown out. And then they came in when they're you know,

956
00:55:40.400 --> 00:55:43.280
<v Speaker 2>when they got a breath and were able to pick

957
00:55:43.400 --> 00:55:46.119
<v Speaker 2>up and then write those scenes in their voice, in

958
00:55:46.199 --> 00:55:50.639
<v Speaker 2>their way, which was a million times better. So that

959
00:55:51.000 --> 00:55:56.000
<v Speaker 2>was the genius of them. What the event was. Who

960
00:55:56.039 --> 00:55:59.519
<v Speaker 2>knows how people react to those things, That's what we

961
00:55:59.559 --> 00:56:02.880
<v Speaker 2>cared about. I added one line, The one line I

962
00:56:02.880 --> 00:56:08.920
<v Speaker 2>added to the entire six hours was Julianna Margally's saying

963
00:56:09.000 --> 00:56:11.360
<v Speaker 2>to Joe to you know.

964
00:56:11.760 --> 00:56:13.519
<v Speaker 1>Joe Miller, Detective Joe Miller.

965
00:56:13.599 --> 00:56:17.079
<v Speaker 2>Yeah, they're talking about the objects. She's explaining that they

966
00:56:17.159 --> 00:56:19.119
<v Speaker 2>just collect them up from people and want to get

967
00:56:19.199 --> 00:56:22.199
<v Speaker 2>rid of them. And she says, since the key came

968
00:56:22.239 --> 00:56:27.440
<v Speaker 2>into your life, has your life gotten better or worse?

969
00:56:28.119 --> 00:56:30.440
<v Speaker 2>And we cut to him and he doesn't even have

970
00:56:30.480 --> 00:56:33.920
<v Speaker 2>to answer it. We've seen it. It's gotten worse. And

971
00:56:34.440 --> 00:56:39.599
<v Speaker 2>that to me was telling the audience this is not

972
00:56:39.719 --> 00:56:41.679
<v Speaker 2>about oh, we're all having fun here. This is wish

973
00:56:41.719 --> 00:56:44.719
<v Speaker 2>fulfillment and we're gonna fly through the air. This is

974
00:56:44.960 --> 00:56:48.760
<v Speaker 2>cursed objects. This is you think this is the monkey's pot.

975
00:56:48.800 --> 00:56:50.360
<v Speaker 2>You think you know how to use it, You do

976
00:56:50.440 --> 00:56:53.039
<v Speaker 2>not know how to use it. And and it was

977
00:56:53.079 --> 00:56:58.440
<v Speaker 2>a way to, in a very succinct way, tell the

978
00:56:58.519 --> 00:57:01.199
<v Speaker 2>audience what the theme of the show was. And it

979
00:57:01.280 --> 00:57:04.199
<v Speaker 2>was already there and it just came out of conversations.

980
00:57:04.239 --> 00:57:06.920
<v Speaker 2>But I'm like, let's have a character say it so

981
00:57:06.960 --> 00:57:10.239
<v Speaker 2>that we're clear that this is not just avarice, that

982
00:57:10.760 --> 00:57:14.280
<v Speaker 2>she's coming from a place of I don't love these objects.

983
00:57:14.440 --> 00:57:18.000
<v Speaker 2>I actually have seen them ruin people's lives, and I

984
00:57:18.039 --> 00:57:20.599
<v Speaker 2>think they should be banished from the face of the earth.

985
00:57:21.199 --> 00:57:25.400
<v Speaker 2>And I'm like, to me, that's fascinating because the audience

986
00:57:25.840 --> 00:57:29.400
<v Speaker 2>is programmed to think it's wish fulfillment, and it is

987
00:57:29.679 --> 00:57:31.320
<v Speaker 2>because in your own mind, you're like, well, if I

988
00:57:31.360 --> 00:57:32.960
<v Speaker 2>had that, I think I could come up with something

989
00:57:32.960 --> 00:57:35.400
<v Speaker 2>to do with it. But the show does such a

990
00:57:35.400 --> 00:57:38.719
<v Speaker 2>good job of going, no, no matter what you think

991
00:57:38.760 --> 00:57:40.840
<v Speaker 2>you're gonna do with it, it ain't gonna work out

992
00:57:40.840 --> 00:57:41.679
<v Speaker 2>the way you planned.

993
00:57:42.159 --> 00:57:47.320
<v Speaker 1>Yeah, it's a wonderful sort of fetishization and condemnation of

994
00:57:47.480 --> 00:57:52.280
<v Speaker 1>materialism because they're both valid. Like those objects on their

995
00:57:52.320 --> 00:57:55.280
<v Speaker 1>own are so beautiful and so tied to the sort

996
00:57:55.320 --> 00:57:59.880
<v Speaker 1>of like Americana Motel kind of idea of freedom and

997
00:58:00.119 --> 00:58:04.760
<v Speaker 1>in America, and then they have these powers that are

998
00:58:04.800 --> 00:58:10.559
<v Speaker 1>sometimes ridiculous and sometimes profound really should be in the

999
00:58:10.559 --> 00:58:12.920
<v Speaker 1>hands of none of you, none.

1000
00:58:12.679 --> 00:58:15.159
<v Speaker 2>Of us exactly. Here's the thing.

1001
00:58:15.480 --> 00:58:19.480
<v Speaker 1>I love gadgetsvich I love little things that do nothing

1002
00:58:19.639 --> 00:58:20.920
<v Speaker 1>and do something.

1003
00:58:20.880 --> 00:58:24.480
<v Speaker 2>So totally, you know. And we were talking about the

1004
00:58:24.519 --> 00:58:29.559
<v Speaker 2>whole era of Americana and the romance of the Roadside Motel.

1005
00:58:30.320 --> 00:58:34.920
<v Speaker 2>So imagine if you're the prop master on the Lost Room.

1006
00:58:35.840 --> 00:58:40.320
<v Speaker 2>It was it was magic, and we're talking. You know.

1007
00:58:40.400 --> 00:58:44.440
<v Speaker 2>He sets up a giant room with just table after

1008
00:58:44.519 --> 00:58:50.639
<v Speaker 2>table after table. Here are cones, here are clocks, here

1009
00:58:50.719 --> 00:58:55.800
<v Speaker 2>are boxes. Here are glass eyes, which we'd never seen.

1010
00:58:55.840 --> 00:58:58.239
<v Speaker 2>We didn't know a glass eye was not a big

1011
00:58:58.320 --> 00:59:01.519
<v Speaker 2>marble we've had. A glass eye was like an egg

1012
00:59:01.559 --> 00:59:05.239
<v Speaker 2>shaped eye. And he was like, oh no, it's just

1013
00:59:05.280 --> 00:59:08.039
<v Speaker 2>this piece of glass. It's just like this this sort

1014
00:59:08.079 --> 00:59:12.320
<v Speaker 2>of shell, this outer shell that you just place on

1015
00:59:12.639 --> 00:59:15.880
<v Speaker 2>the dead eye that looks like a real eye, so

1016
00:59:15.960 --> 00:59:19.559
<v Speaker 2>a glass eye looks more like a guitar pick that's

1017
00:59:19.599 --> 00:59:24.760
<v Speaker 2>sort of rounded. And we're like, oh yeah, but they said,

1018
00:59:25.280 --> 00:59:27.320
<v Speaker 2>they said, you know what I love about this show.

1019
00:59:27.400 --> 00:59:30.000
<v Speaker 2>You know what the romance of the show is. It's

1020
00:59:30.079 --> 00:59:34.840
<v Speaker 2>about the stuff on your dad's desk. And I just

1021
00:59:34.920 --> 00:59:39.719
<v Speaker 2>about fell over. I'm like, my guy, have you nailed it?

1022
00:59:39.800 --> 00:59:42.719
<v Speaker 2>Because my dad had the little the pen box that

1023
00:59:42.800 --> 00:59:45.519
<v Speaker 2>opened up and had the little the little tray with

1024
00:59:45.599 --> 00:59:49.400
<v Speaker 2>the section for the little paper clips and the and

1025
00:59:49.480 --> 00:59:52.320
<v Speaker 2>the stamps and the little and I'm just like, that's

1026
00:59:52.920 --> 00:59:56.000
<v Speaker 2>when you're a kid my age and you were looking

1027
00:59:56.039 --> 00:59:59.880
<v Speaker 2>at your dad's desk and all those weird little chi

1028
01:00:00.639 --> 01:00:06.159
<v Speaker 2>and brass and golden figurines, and you're just what is

1029
01:00:06.320 --> 01:00:09.840
<v Speaker 2>dad all about? And I'm like, you're one hundred percent correct,

1030
01:00:10.039 --> 01:00:12.039
<v Speaker 2>And we knew, we knew we had a new member

1031
01:00:12.079 --> 01:00:12.960
<v Speaker 2>of the team.

1032
01:00:13.119 --> 01:00:16.079
<v Speaker 1>There's magic in those objects, totally.

1033
01:00:16.639 --> 01:00:19.239
<v Speaker 2>Yeah. And that's why, and that's why it's so easy

1034
01:00:19.679 --> 01:00:25.199
<v Speaker 2>to accept the conceit of objects that have weird, especially

1035
01:00:25.280 --> 01:00:28.000
<v Speaker 2>since the what they do is so weird and offbeat

1036
01:00:28.119 --> 01:00:33.000
<v Speaker 2>and somehow pointless. And then I love the notion of

1037
01:00:33.039 --> 01:00:36.920
<v Speaker 2>the dormant objects, you know, that case that Kreutzfeldt has

1038
01:00:36.920 --> 01:00:39.840
<v Speaker 2>with the toothbrush and the Holy Bible, and it's like, oh,

1039
01:00:39.880 --> 01:00:43.679
<v Speaker 2>those are dormant objects. Their power hasn't been discovered yet.

1040
01:00:44.519 --> 01:00:48.360
<v Speaker 2>So now it's a whole new level. You're like, oh right, sure,

1041
01:00:48.880 --> 01:00:53.039
<v Speaker 2>Like like the watch if you set an egg, if

1042
01:00:53.159 --> 01:00:56.079
<v Speaker 2>you just the watch just sits on your desk with

1043
01:00:56.159 --> 01:00:58.119
<v Speaker 2>the watch band and you've set an egg in the

1044
01:00:58.119 --> 01:01:00.760
<v Speaker 2>middle of it, it cooks the egg and they make

1045
01:01:00.800 --> 01:01:04.400
<v Speaker 2>a drugs. How did they discover that? I have no idea.

1046
01:01:04.800 --> 01:01:07.559
<v Speaker 2>But then later you realize, oh, the toothbrush, we still

1047
01:01:07.599 --> 01:01:09.599
<v Speaker 2>it's been decades. We still don't know what it does.

1048
01:01:10.280 --> 01:01:14.159
<v Speaker 2>It could do anything, it could do something wonderful, it

1049
01:01:14.159 --> 01:01:16.599
<v Speaker 2>could do nothing, but we don't know.

1050
01:01:17.519 --> 01:01:24.280
<v Speaker 1>Wow, it's yeah, it's so tantalizing, like everywhere you turn,

1051
01:01:24.480 --> 01:01:27.760
<v Speaker 1>like in this show. I mean, it's just how many

1052
01:01:27.800 --> 01:01:31.760
<v Speaker 1>hours rich, But it's so potent. It is so packed

1053
01:01:31.800 --> 01:01:37.480
<v Speaker 1>with ideas and good filmmaking and great writing and great performances.

1054
01:01:37.519 --> 01:01:40.760
<v Speaker 1>Like I do not understand why this didn't become a

1055
01:01:40.840 --> 01:01:43.519
<v Speaker 1>huge fucking deal. Please tell me why, because you were there,

1056
01:01:43.760 --> 01:01:44.800
<v Speaker 1>you watched them do it.

1057
01:01:45.400 --> 01:01:47.840
<v Speaker 2>I think it has to do with the fact that

1058
01:01:48.119 --> 01:01:52.639
<v Speaker 2>it took a minute to understand what the concept was,

1059
01:01:53.360 --> 01:01:56.199
<v Speaker 2>and so from the get go, people were a little

1060
01:01:56.320 --> 01:02:01.719
<v Speaker 2>unclear what they were getting, and I think that affected

1061
01:02:01.840 --> 01:02:04.400
<v Speaker 2>viewers in a particular way. The people. And it's the

1062
01:02:04.519 --> 01:02:08.639
<v Speaker 2>fucking you know, ninety percent of everything I've ever done

1063
01:02:09.199 --> 01:02:12.480
<v Speaker 2>that I've cared about are these things where it's like, well,

1064
01:02:13.000 --> 01:02:14.880
<v Speaker 2>I could describe it to you, but you should just

1065
01:02:15.280 --> 01:02:20.199
<v Speaker 2>watch it. Mofman prophecies. It's like, well, yes it's scary,

1066
01:02:21.119 --> 01:02:26.320
<v Speaker 2>No there's no monster. Yes it's good, No there's no fight.

1067
01:02:26.679 --> 01:02:28.039
<v Speaker 2>I don't know what to tell you. Just watch it.

1068
01:02:28.079 --> 01:02:29.559
<v Speaker 2>And then people watch it and they either like it

1069
01:02:29.639 --> 01:02:31.440
<v Speaker 2>or they don't. But the people who like it, the

1070
01:02:31.440 --> 01:02:35.239
<v Speaker 2>ones who get it get it. My show Miracles, people

1071
01:02:35.239 --> 01:02:37.280
<v Speaker 2>who get it get it. Same thing with the Gates,

1072
01:02:37.400 --> 01:02:41.440
<v Speaker 2>same thing with this. It's very hard to just go, oh,

1073
01:02:41.639 --> 01:02:46.519
<v Speaker 2>it's you know, you know, er meets twenty four or something.

1074
01:02:46.559 --> 01:02:49.280
<v Speaker 2>It's like, okay, whatever, It's like, no, you have to

1075
01:02:49.320 --> 01:02:52.480
<v Speaker 2>watch it. It's an actual creation. And this, more than anything,

1076
01:02:52.760 --> 01:02:55.119
<v Speaker 2>more than anything I've ever dealt with, is something that

1077
01:02:55.159 --> 01:02:58.800
<v Speaker 2>it's like, trust me, carve out some time this weekend,

1078
01:02:59.400 --> 01:03:01.880
<v Speaker 2>get six hours to yourself where you've got nothing else

1079
01:03:01.920 --> 01:03:04.480
<v Speaker 2>to do, and you will not be the same person.

1080
01:03:04.519 --> 01:03:06.360
<v Speaker 2>At the end of those six hours. You will have

1081
01:03:07.280 --> 01:03:10.199
<v Speaker 2>part of your brain will will open up, and forever

1082
01:03:10.320 --> 01:03:14.320
<v Speaker 2>you will never look at your own desk the same

1083
01:03:14.320 --> 01:03:17.760
<v Speaker 2>way ever again. Okay, so let me jump in here

1084
01:03:17.760 --> 01:03:21.119
<v Speaker 2>and explain the If the listener has been listening carefully,

1085
01:03:21.719 --> 01:03:23.719
<v Speaker 2>I said that it was an eight hour mini series,

1086
01:03:24.280 --> 01:03:27.880
<v Speaker 2>and yet we know there's only six hours. So what happened? Okay?

1087
01:03:27.880 --> 01:03:31.159
<v Speaker 2>What happened was the budget. There was a certain budget,

1088
01:03:31.239 --> 01:03:35.679
<v Speaker 2>and a budget depends on time, and it also depends

1089
01:03:35.679 --> 01:03:39.679
<v Speaker 2>on you know, what is what is to be filmed

1090
01:03:40.320 --> 01:03:44.880
<v Speaker 2>in those two hours, you know, to create those two hours,

1091
01:03:44.880 --> 01:03:49.119
<v Speaker 2>which of course takes two, three, four weeks. Okay. At

1092
01:03:49.159 --> 01:03:53.920
<v Speaker 2>a certain point I went to Chris and Laura and

1093
01:03:53.960 --> 01:03:57.000
<v Speaker 2>Paul and said, you know, we haven't really figured out

1094
01:03:57.039 --> 01:04:01.480
<v Speaker 2>the final two hours and the third two hours are

1095
01:04:01.800 --> 01:04:06.400
<v Speaker 2>a wonderful sort of concept, but it's a bit of

1096
01:04:06.440 --> 01:04:09.719
<v Speaker 2>a narrative detour. What if we just made it six

1097
01:04:09.760 --> 01:04:14.760
<v Speaker 2>hours and we compressed everything. I think in six hours

1098
01:04:14.840 --> 01:04:17.159
<v Speaker 2>it's much easier to make the money work. We could

1099
01:04:17.159 --> 01:04:19.239
<v Speaker 2>figure this out, and I think it would take a

1100
01:04:19.239 --> 01:04:22.119
<v Speaker 2>lot of pressure off the studio time wise, because we're

1101
01:04:22.199 --> 01:04:25.320
<v Speaker 2>we're up against a December date and we have post

1102
01:04:25.320 --> 01:04:28.320
<v Speaker 2>production and things to do, and another two hours, I

1103
01:04:28.320 --> 01:04:31.679
<v Speaker 2>mean that's weeks of post production. What if we just

1104
01:04:31.719 --> 01:04:33.679
<v Speaker 2>go to them and say, what if we could do

1105
01:04:33.719 --> 01:04:35.719
<v Speaker 2>our story in six hours three nights, the way you

1106
01:04:35.840 --> 01:04:37.960
<v Speaker 2>usually do, I think they'll go for it, and I

1107
01:04:38.000 --> 01:04:39.920
<v Speaker 2>think it could take a lot of pressure off us.

1108
01:04:40.440 --> 01:04:42.840
<v Speaker 2>We have a big meeting and literally, this is the

1109
01:04:42.840 --> 01:04:45.079
<v Speaker 2>weekend we're all showing up in New Mexico. This is

1110
01:04:45.280 --> 01:04:48.280
<v Speaker 2>we're way into it, and we still haven't figured out

1111
01:04:48.280 --> 01:04:51.840
<v Speaker 2>the budget, and they're hammering us. And we finally sat

1112
01:04:51.880 --> 01:04:54.360
<v Speaker 2>down with them and said, would it work if we

1113
01:04:54.519 --> 01:04:57.000
<v Speaker 2>just did the whole thing in six hours? And you

1114
01:04:57.039 --> 01:05:00.519
<v Speaker 2>know that's you know, one less director, a whole, one

1115
01:05:00.599 --> 01:05:05.639
<v Speaker 2>less production cycle. Just reduce everything by twenty five percent.

1116
01:05:06.239 --> 01:05:08.800
<v Speaker 2>And we talked it back and forth and they're like, okay,

1117
01:05:09.440 --> 01:05:14.280
<v Speaker 2>that can work. And so for a minute, the foot

1118
01:05:14.440 --> 01:05:17.920
<v Speaker 2>was off our throats in terms of how are we

1119
01:05:17.960 --> 01:05:20.599
<v Speaker 2>going to produce this? And so for a little bit

1120
01:05:20.639 --> 01:05:24.800
<v Speaker 2>of time we felt like this is doable. Of course,

1121
01:05:24.840 --> 01:05:30.199
<v Speaker 2>then it's never doable. Nothing is ever doable. And often

1122
01:05:30.280 --> 01:05:33.039
<v Speaker 2>when you're doing a television show that's got a season,

1123
01:05:33.159 --> 01:05:38.079
<v Speaker 2>maybe another season, you can sort of finagle things because

1124
01:05:38.079 --> 01:05:41.079
<v Speaker 2>you can say, well, we'll make up that money later,

1125
01:05:41.639 --> 01:05:44.559
<v Speaker 2>or we'll do a bottle episode in the end of

1126
01:05:44.559 --> 01:05:47.360
<v Speaker 2>the season. But this is more like a movie. It's like, okay,

1127
01:05:47.400 --> 01:05:49.320
<v Speaker 2>so now it's six hours, but it's got a beginning,

1128
01:05:49.360 --> 01:05:52.480
<v Speaker 2>a middle, and an end. So you can't really rob

1129
01:05:52.559 --> 01:05:56.400
<v Speaker 2>Peter to pay Paul. Everything needs money, and that last

1130
01:05:56.400 --> 01:05:58.440
<v Speaker 2>two hours needs a lot of money, because that's your

1131
01:05:58.559 --> 01:06:02.840
<v Speaker 2>big conclusion. So and these aren't traditional episodes. It's sort

1132
01:06:02.880 --> 01:06:06.559
<v Speaker 2>of a six hour story. So it within a few

1133
01:06:06.559 --> 01:06:09.400
<v Speaker 2>weeks we began to realize, oh, we're heading into all

1134
01:06:09.440 --> 01:06:13.199
<v Speaker 2>the same money problems we ever had, and every day

1135
01:06:13.239 --> 01:06:17.159
<v Speaker 2>there's a new money problem. And because the novelty of

1136
01:06:17.199 --> 01:06:21.679
<v Speaker 2>the show required that every hour introduce us to a

1137
01:06:21.719 --> 01:06:25.159
<v Speaker 2>new aspect of the mythology. So we're going to go

1138
01:06:25.159 --> 01:06:28.920
<v Speaker 2>to a new location with a new cast member, new sets.

1139
01:06:28.960 --> 01:06:33.639
<v Speaker 2>We're never repeating anything like TV depends on. Half of

1140
01:06:33.679 --> 01:06:37.480
<v Speaker 2>the scenes will be shot in the hospital where they

1141
01:06:37.519 --> 01:06:40.880
<v Speaker 2>all work, or in the police station. You know, if

1142
01:06:40.920 --> 01:06:43.639
<v Speaker 2>we ever need to, we can just move that scene.

1143
01:06:43.880 --> 01:06:45.400
<v Speaker 2>I know it's supposed to be in a restaurant, and

1144
01:06:45.440 --> 01:06:49.079
<v Speaker 2>he's going to propose at the fancy restaurant. Why doesn't

1145
01:06:49.079 --> 01:06:52.239
<v Speaker 2>he just propose in the break room at the police

1146
01:06:52.280 --> 01:06:55.920
<v Speaker 2>station that we own, and we've already paid for and decorated,

1147
01:06:56.119 --> 01:06:58.199
<v Speaker 2>and we've got all the camera angles worked out and

1148
01:06:58.239 --> 01:07:00.719
<v Speaker 2>we can shoot it in an hour rather than spending

1149
01:07:00.719 --> 01:07:02.920
<v Speaker 2>three quarters of a day in a restaurant that we

1150
01:07:02.960 --> 01:07:06.159
<v Speaker 2>have to pay for. We have, no, the only repeating

1151
01:07:06.199 --> 01:07:09.280
<v Speaker 2>set we have is the motel room. And so then

1152
01:07:09.320 --> 01:07:10.800
<v Speaker 2>they kept saying, well, can you put it in the

1153
01:07:10.840 --> 01:07:12.599
<v Speaker 2>motel room. We're like no, we kept put in the

1154
01:07:12.639 --> 01:07:13.840
<v Speaker 2>motel room.

1155
01:07:14.159 --> 01:07:17.480
<v Speaker 1>So it became they just get the Raiders. They can't

1156
01:07:17.480 --> 01:07:19.920
<v Speaker 1>they get the Lost Dark and scene three, yeah, just

1157
01:07:21.280 --> 01:07:22.480
<v Speaker 1>do they have to go to Egypt?

1158
01:07:23.079 --> 01:07:25.960
<v Speaker 2>And of course you're sitting here going you knew this

1159
01:07:26.079 --> 01:07:29.360
<v Speaker 2>when you bought it, but they never cop to that.

1160
01:07:29.519 --> 01:07:31.280
<v Speaker 2>Of course they knew it, but they're like, well, we

1161
01:07:31.320 --> 01:07:34.119
<v Speaker 2>don't care. That's going to be someone else's problem. Meet

1162
01:07:34.159 --> 01:07:37.159
<v Speaker 2>someone else. He's on the podcast right now. And then

1163
01:07:37.159 --> 01:07:38.920
<v Speaker 2>of course Chris and Paul and Laura keep looking at

1164
01:07:38.960 --> 01:07:41.360
<v Speaker 2>me like you're the executive producer, just tell them what

1165
01:07:41.440 --> 01:07:43.400
<v Speaker 2>to do, and I'm like, oh my god, you guys.

1166
01:07:44.079 --> 01:07:46.360
<v Speaker 2>I know that's what you think an executive producer is,

1167
01:07:46.360 --> 01:07:50.559
<v Speaker 2>because when you see Aaron Sorkin or David Kelly or

1168
01:07:50.599 --> 01:07:55.599
<v Speaker 2>Steven Botchko or Joss Whedon, that's what they are. But

1169
01:07:55.639 --> 01:07:58.800
<v Speaker 2>that's not what I am. I'm the guy who's getting

1170
01:07:58.840 --> 01:08:02.519
<v Speaker 2>punched from all directtionstions, and I'm trying to protect them

1171
01:08:02.559 --> 01:08:06.400
<v Speaker 2>as much as possible, although that was not possible at

1172
01:08:06.400 --> 01:08:09.519
<v Speaker 2>all times. They were dealing with production problems all the time.

1173
01:08:09.519 --> 01:08:13.639
<v Speaker 2>By the way, they were great, like smart creative, and

1174
01:08:13.679 --> 01:08:16.479
<v Speaker 2>they weren't kids. These weren't twenty year old people. They

1175
01:08:16.479 --> 01:08:19.520
<v Speaker 2>were full grown adults with thoughts and ideas who were

1176
01:08:19.560 --> 01:08:22.199
<v Speaker 2>finally getting a chance to do their dream project. And

1177
01:08:22.239 --> 01:08:25.000
<v Speaker 2>they weren't being idiots. And they were on set making

1178
01:08:25.439 --> 01:08:31.239
<v Speaker 2>really good points and really good suggestions and really smart

1179
01:08:31.239 --> 01:08:35.760
<v Speaker 2>ideas in the moment. So we had the benefit of

1180
01:08:35.800 --> 01:08:40.680
<v Speaker 2>their brains and the benefit of my brain. But I

1181
01:08:41.279 --> 01:08:43.920
<v Speaker 2>just got to tell you, man, there's this one night

1182
01:08:44.119 --> 01:08:48.119
<v Speaker 2>at the end of there was our last night of filming,

1183
01:08:48.840 --> 01:08:52.600
<v Speaker 2>the second two hour block, and Paul Kurda and I

1184
01:08:52.720 --> 01:08:55.039
<v Speaker 2>and and you know, the it's our final day, so

1185
01:08:55.159 --> 01:08:57.399
<v Speaker 2>you know, they bring in some champagne and you know,

1186
01:08:57.479 --> 01:08:59.239
<v Speaker 2>they bring in a cake and everyone sort of, you know,

1187
01:08:59.239 --> 01:09:01.479
<v Speaker 2>you do a little celebrate because you want to keep

1188
01:09:01.479 --> 01:09:03.319
<v Speaker 2>everyone's spirits up. It took a month to to the

1189
01:09:03.359 --> 01:09:06.000
<v Speaker 2>first two hours, a month due to the second two hours,

1190
01:09:06.199 --> 01:09:08.880
<v Speaker 2>and it was going to be another month in Albuquerque

1191
01:09:09.199 --> 01:09:11.920
<v Speaker 2>to do the third two hours. That's a long time,

1192
01:09:11.960 --> 01:09:14.039
<v Speaker 2>and people are away from their families, and it's not

1193
01:09:14.159 --> 01:09:17.479
<v Speaker 2>New York and it's not La it's Albuquerque, and your

1194
01:09:17.520 --> 01:09:23.159
<v Speaker 2>options for entertainment run out pretty quick. So Paul Kurda

1195
01:09:23.399 --> 01:09:26.520
<v Speaker 2>and I, and he's the line producer, so he's really

1196
01:09:26.600 --> 01:09:29.520
<v Speaker 2>physically responsible for figuring out the sets and the actors

1197
01:09:29.520 --> 01:09:32.399
<v Speaker 2>and the money and everything. So he and I were

1198
01:09:32.399 --> 01:09:35.520
<v Speaker 2>working closely the whole time. And we were sitting in

1199
01:09:35.560 --> 01:09:38.800
<v Speaker 2>his office and it's late and we're drinking champagne, going

1200
01:09:39.520 --> 01:09:43.039
<v Speaker 2>what did we do wrong? We're eating cake and drinking

1201
01:09:43.119 --> 01:09:49.199
<v Speaker 2>champagne and going fucked and everyone's mad at us did

1202
01:09:49.239 --> 01:09:53.199
<v Speaker 2>we fuck up? And I remember sitting there for over

1203
01:09:53.279 --> 01:09:55.680
<v Speaker 2>an hour as we went back and went, okay, now,

1204
01:09:55.720 --> 01:09:58.439
<v Speaker 2>wait a second. The first problem was this, and so

1205
01:09:58.520 --> 01:10:00.520
<v Speaker 2>we had to do that. The next problem was this,

1206
01:10:00.600 --> 01:10:03.760
<v Speaker 2>So we did that. We solve this by doing that

1207
01:10:04.039 --> 01:10:07.279
<v Speaker 2>we did this. The decision we made there was this.

1208
01:10:07.439 --> 01:10:11.159
<v Speaker 2>We we we retraced our steps. I've never done this before,

1209
01:10:11.199 --> 01:10:13.640
<v Speaker 2>by the way, I have never been so beaten down

1210
01:10:14.119 --> 01:10:15.039
<v Speaker 2>and so done.

1211
01:10:15.720 --> 01:10:20.640
<v Speaker 1>And we went through everything was the only option, the Champagne.

1212
01:10:20.279 --> 01:10:22.399
<v Speaker 2>Gake and we spent two hours and at the end

1213
01:10:22.399 --> 01:10:23.920
<v Speaker 2>of it, we looked at each other and we went,

1214
01:10:24.479 --> 01:10:26.239
<v Speaker 2>if we had it to do over again, we would

1215
01:10:26.319 --> 01:10:30.359
<v Speaker 2>do everything exactly the same. We made the best decisions.

1216
01:10:30.760 --> 01:10:34.720
<v Speaker 2>We don't. There's not there's no point in our journey

1217
01:10:34.720 --> 01:10:36.560
<v Speaker 2>where we're like, well, that's where we got off track

1218
01:10:36.640 --> 01:10:38.840
<v Speaker 2>with the minute we agreed to that, we fucked ourselves

1219
01:10:38.880 --> 01:10:41.239
<v Speaker 2>and blah blah blah, and we're like, no, we did it.

1220
01:10:41.600 --> 01:10:45.199
<v Speaker 2>We did everything right to the best of our professional abilities.

1221
01:10:45.720 --> 01:10:49.039
<v Speaker 2>And we're still the enemy of the studio and the

1222
01:10:49.079 --> 01:10:53.960
<v Speaker 2>network and are are being looked at as as criminals

1223
01:10:53.960 --> 01:10:56.840
<v Speaker 2>who are wasting their money. And I got to tell you,

1224
01:10:57.760 --> 01:11:04.920
<v Speaker 2>the production of it became rasily demoralizing because of the studio.

1225
01:11:05.560 --> 01:11:09.520
<v Speaker 2>Primarily because of the studio. Now, yeah, you have a budget,

1226
01:11:09.520 --> 01:11:12.600
<v Speaker 2>you're trying to work with a budget, but for this

1227
01:11:12.720 --> 01:11:17.560
<v Speaker 2>sort of thing to make it a successful execution of

1228
01:11:17.600 --> 01:11:21.319
<v Speaker 2>this creative idea. There were just certain things where it's like, no,

1229
01:11:21.439 --> 01:11:25.800
<v Speaker 2>we can't. We cannot just do this or just do

1230
01:11:26.000 --> 01:11:29.399
<v Speaker 2>that with your other shows. Maybe that works, it's not

1231
01:11:29.479 --> 01:11:34.640
<v Speaker 2>going to work here. And it got brutal, and it

1232
01:11:34.760 --> 01:11:39.279
<v Speaker 2>frankly never got better, and it ended people were burned

1233
01:11:39.439 --> 01:11:41.479
<v Speaker 2>out and not in a good mood by the end

1234
01:11:41.479 --> 01:11:44.439
<v Speaker 2>of that of filming. And it was too bad because

1235
01:11:44.439 --> 01:11:47.159
<v Speaker 2>we were all friends and we all enjoyed what we

1236
01:11:47.159 --> 01:11:49.000
<v Speaker 2>were doing. But at a certain point it was like,

1237
01:11:49.560 --> 01:11:52.800
<v Speaker 2>this is difficult for the sake of being difficult, and

1238
01:11:52.840 --> 01:11:56.840
<v Speaker 2>I'm sorry, but it's like, if you're talking fifty grand, no,

1239
01:11:57.520 --> 01:12:00.479
<v Speaker 2>I'm not gonna I'm not going to do back flips

1240
01:12:00.560 --> 01:12:04.039
<v Speaker 2>to save the production fifty grand when that fifty grand

1241
01:12:04.199 --> 01:12:07.000
<v Speaker 2>is going to be on the screen making the product better.

1242
01:12:07.600 --> 01:12:09.279
<v Speaker 2>And they just didn't want to hear it. And then

1243
01:12:09.319 --> 01:12:11.720
<v Speaker 2>I was like, did they hire me because they thought

1244
01:12:12.159 --> 01:12:14.359
<v Speaker 2>I would just do whatever they said? And I think

1245
01:12:14.359 --> 01:12:16.640
<v Speaker 2>they were very disappointed at a certain point when they

1246
01:12:16.640 --> 01:12:21.640
<v Speaker 2>were like these new writers and this fucking nobody executive

1247
01:12:21.680 --> 01:12:26.520
<v Speaker 2>producer and they're fighting back against us, and I'm like, yeah,

1248
01:12:26.600 --> 01:12:29.399
<v Speaker 2>that's what you hired me for. You didn't hire me

1249
01:12:29.439 --> 01:12:31.720
<v Speaker 2>to agree with you. You hired me to produce a good,

1250
01:12:32.319 --> 01:12:35.800
<v Speaker 2>a great mini series, a mini series that delivers the

1251
01:12:35.840 --> 01:12:38.199
<v Speaker 2>promise of the script. That's all you can ever do,

1252
01:12:38.760 --> 01:12:42.279
<v Speaker 2>and that's what we're trying to do. And everyone on

1253
01:12:42.319 --> 01:12:47.319
<v Speaker 2>that crew did backflips. The cast did backflips. Everyone actually

1254
01:12:47.359 --> 01:12:51.279
<v Speaker 2>doing the work did backflips. And the studio on the network,

1255
01:12:51.279 --> 01:12:54.159
<v Speaker 2>for the most part, stood. They're shaking their heads and

1256
01:12:54.720 --> 01:12:58.239
<v Speaker 2>planning on how they could make sure we never worked

1257
01:12:58.279 --> 01:12:59.000
<v Speaker 2>in this town again.

1258
01:12:59.600 --> 01:13:04.560
<v Speaker 1>Ricks the they read the script same as you. They

1259
01:13:04.600 --> 01:13:08.399
<v Speaker 1>saw the look do they just decide, well, fuck this

1260
01:13:08.640 --> 01:13:09.520
<v Speaker 1>bit of genius.

1261
01:13:10.000 --> 01:13:13.439
<v Speaker 2>No, And but it never matters. That stuff never matters.

1262
01:13:13.439 --> 01:13:15.560
<v Speaker 2>They've got It's like, well, this is how much we

1263
01:13:15.600 --> 01:13:18.199
<v Speaker 2>spent on this other thing, so that's how much you're getting.

1264
01:13:18.239 --> 01:13:24.119
<v Speaker 2>And anyway it was. It was not easy. However, the

1265
01:13:24.239 --> 01:13:27.640
<v Speaker 2>end result I have people who watch it go out

1266
01:13:27.640 --> 01:13:29.479
<v Speaker 2>of their way to say, this is the greatest thing

1267
01:13:29.479 --> 01:13:32.359
<v Speaker 2>I've ever seen. Where did this come from? Yeah, there

1268
01:13:32.399 --> 01:13:34.000
<v Speaker 2>you go. That's what I was looking at today. The

1269
01:13:34.079 --> 01:13:37.399
<v Speaker 2>DVD folks, if you're out there, have some fun this weekend.

1270
01:13:37.960 --> 01:13:41.319
<v Speaker 2>Enjoy what we suffered through. Watch the Lost Room.

1271
01:13:41.760 --> 01:13:43.960
<v Speaker 1>Hey, don't put it like that. Listen. I know you

1272
01:13:44.039 --> 01:13:46.239
<v Speaker 1>went through through some shit with this man, but this

1273
01:13:46.319 --> 01:13:49.560
<v Speaker 1>is a fucking master work. I love this show. This

1274
01:13:49.640 --> 01:13:52.159
<v Speaker 1>is a complete story, like you, and.

1275
01:13:52.119 --> 01:13:53.680
<v Speaker 2>It could go on and on and on.

1276
01:13:54.000 --> 01:13:57.119
<v Speaker 1>It could doesn't need to because, as you said that

1277
01:13:57.239 --> 01:14:00.239
<v Speaker 1>the event does not matter. It's the way these people

1278
01:14:00.279 --> 01:14:02.279
<v Speaker 1>are reacting to it and trying to control it and

1279
01:14:02.319 --> 01:14:04.159
<v Speaker 1>trying to use it and trying to avoid it and

1280
01:14:04.199 --> 01:14:07.560
<v Speaker 1>trying to help us become better through it somehow.

1281
01:14:08.119 --> 01:14:14.439
<v Speaker 2>And here's the thing, Chris and Paul and Laura wildly talented, clearly,

1282
01:14:15.159 --> 01:14:18.840
<v Speaker 2>And the show goes on, does okay, but doesn't you know,

1283
01:14:18.920 --> 01:14:21.640
<v Speaker 2>blow anyone away in terms of ratings, And now they're

1284
01:14:21.680 --> 01:14:23.840
<v Speaker 2>talking about making a series out of it, and then

1285
01:14:24.000 --> 01:14:26.960
<v Speaker 2>they decide not to. And then three months later they

1286
01:14:26.960 --> 01:14:31.079
<v Speaker 2>announced Warehouse thirteen and Chris and Laura are like, you've

1287
01:14:31.079 --> 01:14:34.000
<v Speaker 2>got to be kidding me. That's the Lost Room. It's

1288
01:14:34.039 --> 01:14:37.479
<v Speaker 2>just a wareful of objects, like a right serious.

1289
01:14:37.720 --> 01:14:39.720
<v Speaker 1>I remember when that series came out and thinking that

1290
01:14:39.800 --> 01:14:42.239
<v Speaker 1>and thinking like, I'm not going to be party to this.

1291
01:14:43.079 --> 01:14:45.439
<v Speaker 2>Well, and I know people who worked on that show.

1292
01:14:45.439 --> 01:14:47.079
<v Speaker 2>I know people who like that show. It's almost and

1293
01:14:47.319 --> 01:14:49.479
<v Speaker 2>the people who did that show know nothing about the

1294
01:14:49.560 --> 01:14:51.800
<v Speaker 2>Loss Room. It's not like they went, hey, we're going

1295
01:14:51.880 --> 01:14:54.239
<v Speaker 2>to do this thing. It was it was a studio

1296
01:14:54.279 --> 01:14:57.359
<v Speaker 2>going we want more of this, only we want it

1297
01:14:58.000 --> 01:15:01.479
<v Speaker 2>to be more genre. I actually don't like the fact

1298
01:15:02.079 --> 01:15:03.920
<v Speaker 2>that it takes place in our world and that it's

1299
01:15:03.960 --> 01:15:08.640
<v Speaker 2>fairly low key and more character driven. We wanted to

1300
01:15:08.640 --> 01:15:10.560
<v Speaker 2>be the warehouse at the end of Raiders of the

1301
01:15:10.560 --> 01:15:14.960
<v Speaker 2>Lost Arc and that's where a bunch of weird objects are.

1302
01:15:15.000 --> 01:15:17.960
<v Speaker 2>And by the way, that show came out great, people

1303
01:15:18.000 --> 01:15:22.479
<v Speaker 2>loved it, well done, entertained millions, and more power to them,

1304
01:15:22.479 --> 01:15:25.840
<v Speaker 2>more power to creative people making creative stuff. But when

1305
01:15:25.880 --> 01:15:27.720
<v Speaker 2>you look at it from our point of view with

1306
01:15:27.880 --> 01:15:31.680
<v Speaker 2>the network, we're like, really, so there you go.

1307
01:15:32.279 --> 01:15:35.119
<v Speaker 1>They kind of ended up making another Friday the thirteenth,

1308
01:15:35.159 --> 01:15:38.039
<v Speaker 1>the series with Warehouse thirteen. You guys weren't doing that.

1309
01:15:38.399 --> 01:15:41.159
<v Speaker 1>You guys had the same concept there, like got to

1310
01:15:41.199 --> 01:15:43.159
<v Speaker 1>get these objects back. There are a hundred of them.

1311
01:15:43.159 --> 01:15:47.560
<v Speaker 1>Oh my god, that's a syndication number. Almost. But this

1312
01:15:47.720 --> 01:15:49.520
<v Speaker 1>show had so much to say.

1313
01:15:50.319 --> 01:15:52.840
<v Speaker 2>And it is funny because I only knew a Friday

1314
01:15:52.920 --> 01:15:56.439
<v Speaker 2>the thirteenth belatedly when people were like, oh, yeah, that's

1315
01:15:56.439 --> 01:15:57.720
<v Speaker 2>that show that's sort of like Friday the three And

1316
01:15:57.840 --> 01:15:59.239
<v Speaker 2>I'm like, what are you talking? I saw the movie

1317
01:15:59.239 --> 01:16:01.720
<v Speaker 2>Friday the thirteenth. Was there a show? And they're like,

1318
01:16:01.760 --> 01:16:04.439
<v Speaker 2>oh yeah, and then they and they described it. I'm like, oh, okay,

1319
01:16:04.560 --> 01:16:06.800
<v Speaker 2>I get how you draw the connection?

1320
01:16:07.039 --> 01:16:09.920
<v Speaker 1>All right, Yeah, yeah, it's a good show. I love

1321
01:16:09.960 --> 01:16:10.319
<v Speaker 1>that show.

1322
01:16:10.319 --> 01:16:13.520
<v Speaker 2>Actually, yeah, I haven't seen it, but you know, hey.

1323
01:16:13.520 --> 01:16:14.560
<v Speaker 1>I loved it when I was a kid. I mean,

1324
01:16:14.600 --> 01:16:16.199
<v Speaker 1>you watch it now. There there are there are certain

1325
01:16:16.199 --> 01:16:19.239
<v Speaker 1>good episodes, but it's an anthology show, so basically.

1326
01:16:19.720 --> 01:16:21.520
<v Speaker 2>Right, and it's a good it's a good way to

1327
01:16:21.560 --> 01:16:25.800
<v Speaker 2>do an anthology show. But but in any event, we

1328
01:16:25.800 --> 01:16:29.840
<v Speaker 2>we we got the show made I see Laura all

1329
01:16:29.880 --> 01:16:33.520
<v Speaker 2>the time, talk to her lovely family. Chris, I see him.

1330
01:16:33.520 --> 01:16:35.000
<v Speaker 2>I had lunch with him a couple of months ago.

1331
01:16:35.640 --> 01:16:38.960
<v Speaker 2>He's working as a director now, has a has a

1332
01:16:39.000 --> 01:16:42.319
<v Speaker 2>movie that that is on the brink of getting distribution,

1333
01:16:42.640 --> 01:16:46.239
<v Speaker 2>so hopefully that's happening the next month or so. And

1334
01:16:46.239 --> 01:16:47.159
<v Speaker 2>and they all.

1335
01:16:47.039 --> 01:16:51.359
<v Speaker 1>Of them that they are appreciated and deserve more than

1336
01:16:51.399 --> 01:16:54.239
<v Speaker 1>they got. And I'm looking forward to everything they're going

1337
01:16:54.319 --> 01:16:58.199
<v Speaker 1>to do. Honestly, like this this space is fucking crazily good.

1338
01:16:58.800 --> 01:16:59.800
<v Speaker 2>Yeah, proud.

1339
01:17:00.079 --> 01:17:02.560
<v Speaker 1>I would wake up proud of myself every fucking day

1340
01:17:02.600 --> 01:17:04.439
<v Speaker 1>that I had anything to do with this series. You

1341
01:17:04.479 --> 01:17:05.399
<v Speaker 1>should too, Richard.

1342
01:17:05.800 --> 01:17:07.800
<v Speaker 2>Well, I look at it and I remember the scenes,

1343
01:17:07.960 --> 01:17:11.680
<v Speaker 2>and I'm like, oh, yes, I remember this, And what

1344
01:17:11.720 --> 01:17:16.199
<v Speaker 2>I tend to remember are the you're reading the script

1345
01:17:16.199 --> 01:17:18.039
<v Speaker 2>the first time and just going, oh right, this is

1346
01:17:18.039 --> 01:17:20.359
<v Speaker 2>the scene where they do that, and where this pays off,

1347
01:17:20.359 --> 01:17:22.920
<v Speaker 2>and this pays off and this pays off. But when

1348
01:17:22.960 --> 01:17:25.520
<v Speaker 2>you look, I mean listen, I will never get tired

1349
01:17:25.600 --> 01:17:28.960
<v Speaker 2>of Kevin Pollack's performance. I will never get tired of

1350
01:17:29.560 --> 01:17:36.159
<v Speaker 2>Julietta Margha Lees's presence and just the humanity she brings

1351
01:17:36.159 --> 01:17:39.119
<v Speaker 2>to every scene she's in. And we did not hang out.

1352
01:17:39.159 --> 01:17:41.640
<v Speaker 2>I mean I chatted with her and she was great.

1353
01:17:41.680 --> 01:17:44.800
<v Speaker 2>The cast was great. We didn't have a problem with anyone.

1354
01:17:45.399 --> 01:17:47.560
<v Speaker 2>They showed up. They were happy to do it, happy

1355
01:17:47.600 --> 01:17:51.039
<v Speaker 2>to work. I made friends. I made the first ad

1356
01:17:51.119 --> 01:17:54.800
<v Speaker 2>Jim Swartz were I'm friends with his entire family. His

1357
01:17:54.920 --> 01:18:00.439
<v Speaker 2>daughter was our assistant and now she's grown up, gotten married, child,

1358
01:18:00.479 --> 01:18:02.560
<v Speaker 2>had a career. I mean, it was all eighteen years

1359
01:18:02.600 --> 01:18:06.520
<v Speaker 2>ago and I'm still friends with Jerem I see Jerem Weekly.

1360
01:18:07.239 --> 01:18:11.279
<v Speaker 2>So a lot of great things, and people who've worked

1361
01:18:11.279 --> 01:18:14.279
<v Speaker 2>in television a long time or in movies, they all

1362
01:18:14.319 --> 01:18:16.920
<v Speaker 2>have that same story. I made that friend during that shoot.

1363
01:18:16.960 --> 01:18:18.800
<v Speaker 2>I made that friend during that shoot, And I made

1364
01:18:18.800 --> 01:18:23.359
<v Speaker 2>a lot of friends during a lost room. And it

1365
01:18:23.840 --> 01:18:27.039
<v Speaker 2>came up fast, and it was. I read the script

1366
01:18:27.039 --> 01:18:29.760
<v Speaker 2>in March, it was on the air in December. It

1367
01:18:30.319 --> 01:18:33.159
<v Speaker 2>was and boom it happened, and then it was gone.

1368
01:18:33.800 --> 01:18:36.520
<v Speaker 2>And yet every time someone brings it up, they have

1369
01:18:36.560 --> 01:18:39.119
<v Speaker 2>a great memory. And when I watched it this afternoon,

1370
01:18:39.119 --> 01:18:41.680
<v Speaker 2>I'm only halfway through and I'm going to go finish it.

1371
01:18:41.680 --> 01:18:42.439
<v Speaker 2>It's beautiful.

1372
01:18:42.960 --> 01:18:45.680
<v Speaker 1>I watched the entire series yesterday. As soon as we're

1373
01:18:45.680 --> 01:18:49.159
<v Speaker 1>done here, I'm going back again. It's that good and

1374
01:18:49.159 --> 01:18:52.000
<v Speaker 1>I'm going to carriage everyone out there. You can find it.

1375
01:18:52.000 --> 01:18:54.520
<v Speaker 1>It's on the Roku channel for free right now. If

1376
01:18:54.520 --> 01:18:56.960
<v Speaker 1>you're good, check it out. Go check it out there.

1377
01:18:57.079 --> 01:18:59.119
<v Speaker 1>I'm sure sci Fi has some fucking version of it.

1378
01:18:59.199 --> 01:19:00.960
<v Speaker 1>You can get it on physics media, get it on

1379
01:19:01.039 --> 01:19:04.079
<v Speaker 1>physical media. Don't trust these streamers. It's all gonna go

1380
01:19:04.079 --> 01:19:07.239
<v Speaker 1>away eventually. I have my copy. When I found out

1381
01:19:07.239 --> 01:19:09.319
<v Speaker 1>we were going to be talking Rach I was so

1382
01:19:09.359 --> 01:19:11.479
<v Speaker 1>excited I was able to dust these DVDs off.

1383
01:19:12.039 --> 01:19:13.800
<v Speaker 2>Isn't a nice to have the DVDs?

1384
01:19:14.039 --> 01:19:16.520
<v Speaker 1>Oh my god, it's so wonderful. Yes, play all and

1385
01:19:16.560 --> 01:19:18.000
<v Speaker 1>I'll just sit back and I'm not going to worry

1386
01:19:18.000 --> 01:19:22.239
<v Speaker 1>about my television requesting that I requesting whether or not

1387
01:19:22.279 --> 01:19:22.800
<v Speaker 1>I'm awake.

1388
01:19:23.399 --> 01:19:26.359
<v Speaker 2>Yeah, yeah, it is funny. I mean watching it, I'm like, Wow,

1389
01:19:26.399 --> 01:19:29.760
<v Speaker 2>this thing really was complex because you'll be watching, You'll

1390
01:19:29.760 --> 01:19:32.159
<v Speaker 2>be following this storyline. Then they'll cut to another character

1391
01:19:32.199 --> 01:19:35.119
<v Speaker 2>and you're like, oh, right, that Dennis Christopher is in

1392
01:19:35.199 --> 01:19:38.439
<v Speaker 2>this what's he doing? Oh, he's following. It really is

1393
01:19:38.920 --> 01:19:42.560
<v Speaker 2>a mini series. It's like, oh right, there's four or

1394
01:19:42.600 --> 01:19:46.000
<v Speaker 2>five six different storylines that all connect up to the

1395
01:19:46.039 --> 01:19:50.680
<v Speaker 2>main one. They're all fun, they all have a great cast,

1396
01:19:51.079 --> 01:19:53.600
<v Speaker 2>and you're just like, how is this all gonna come together?

1397
01:19:53.760 --> 01:19:57.399
<v Speaker 1>So yeah, and it all invites flights of fancy every

1398
01:19:57.439 --> 01:20:02.039
<v Speaker 1>single character, every potential plot line. There is so much potential. Yeah,

1399
01:20:02.079 --> 01:20:05.800
<v Speaker 1>there still is. I know so much for joining us

1400
01:20:05.800 --> 01:20:08.880
<v Speaker 1>here at midnight viewing it lost. We're gonna last room.

1401
01:20:08.880 --> 01:20:10.920
<v Speaker 1>We're gonna have to have you back again because guess what.

1402
01:20:11.000 --> 01:20:15.680
<v Speaker 1>I love the Gates too. Man, excellent America. What a

1403
01:20:15.720 --> 01:20:17.840
<v Speaker 1>great comment on where we were right then.

1404
01:20:18.600 --> 01:20:22.319
<v Speaker 2>Yeah, Gates Gates is a Coolates is a cool show

1405
01:20:22.520 --> 01:20:25.920
<v Speaker 2>for sure. Yeah. I'll come back anytime. Man, I love

1406
01:20:25.960 --> 01:20:26.399
<v Speaker 2>talking to you.

1407
01:20:26.960 --> 01:20:29.840
<v Speaker 1>Oh and if people want to hear rich Richard Haddam's

1408
01:20:29.840 --> 01:20:32.560
<v Speaker 1>Paranormal Bookshelf, where that's on every Podcascher, just look for

1409
01:20:32.600 --> 01:20:33.720
<v Speaker 1>it there correct.

1410
01:20:33.640 --> 01:20:36.880
<v Speaker 2>Anywhere you want to hear it. Apple Podcasts, Spotify, good pods.

1411
01:20:37.039 --> 01:20:39.239
<v Speaker 2>Check it out. We're into second season, so check out

1412
01:20:39.319 --> 01:20:42.399
<v Speaker 2>Richard Haddam's Paranormal Bookshelf. I think you'll enjoy it.

1413
01:20:42.640 --> 01:20:45.279
<v Speaker 1>I you definitely will. I know I do. Thank you

1414
01:20:45.479 --> 01:20:48.560
<v Speaker 1>everyone for joining us once again here on mid night viewing.

1415
01:20:49.159 --> 01:21:01.840
<v Speaker 1>Once again, try to enjoy the daylights.

1416
01:21:02.720 --> 01:21:47.239
<v Speaker 2>Sss sss