Aaaand Action! • EP505

The Director of this episode Liz Friedlander joins the Queens!! It’s hard to believe this was the first TV show she ever directed because the episode was a masterpiece from start to finish. As the girls recap, so many things come rushing back. 
 
Plus, find out how Liz landed the job and what went on behind the scenes in the making of it. This episode takes you back to when everything just felt right. 

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:00):
First of all, you don't know me. All about that
high school drama, girl drama, girl, all about them.

Speaker 2 (00:06):
High school queens. We'll take you for a ride, and
our comic girl shared for the right teams drama, queens,
up girl fashion, but your tough girl, you could sit
with us.

Speaker 1 (00:17):
Girl Drama, Queens, Drama, quise drama, Queens Drama, Drama, Queens Drama, Queens.

Speaker 3 (00:24):
You guys, we have a very special guest this episode.
We never get to do this. We have the woman
who created this episode, Liz Friedlander, is with us. And
I mean, I had no idea that this episode was
your first.

Speaker 4 (00:42):
Episode of television.

Speaker 5 (00:44):
I can't believe that I.

Speaker 6 (00:46):
Had done a movie, and I had done a ton
of music videos and commercials, but I mean television, as
you know, it's its own thing, and I really had
no idea how it worked at all. There's a lot
of on the job learning. Yeah.

Speaker 3 (00:58):
Yeah, and they threw everything at you, Sophia. This was
a huge episode.

Speaker 6 (01:02):
Yeah. They were panic because it was not like on
stage that they were like, how did you wind up
with this one? Here?

Speaker 4 (01:08):
Yeah? You got a big one?

Speaker 3 (01:09):
All right?

Speaker 5 (01:10):
What it happened? Okay, hold on, let me give the folks.
The synopsis. Okay, friends who are listening at home, you
are with us for season five, episode five. I forgot
to remember to forget. It aired initially January twenty ninth,
two thousand and eight, and as Hillary mentioned, we have
Liz Friedlander with us, who directed this out of this episode,
and we actually are getting to do something with Liz

(01:32):
that we've not been able to do before. First of all,
we haven't had directors of our show, you know, aside
from Paul On And because Joy's not with us this week,
Liz actually is joining us, not just for the episode,
but also watched it with us. So there are things
that will never be fit to primt But I wish
y'all could have heard us giggling like a bunch of
schoolgirls figuring out what was going on behind the scenes.

(01:56):
I really have to echo, you know, Hillary's point that
this is such a huge undertaking this episode. The level
of basketball that you had to shoot, the flashbacks, all
the traveling, I mean, it's just unbelievable. And since it
was your first one, you said they were freaking out,

(02:19):
I'm like, did they give you any help? Did they
just throw you in the deep end? Did you get
a mentor like, how did you do this?

Speaker 6 (02:25):
I mean, I think you know, when you're hired, you
don't know what script you're getting, right, Like, you get
hired so far ahead of time and they're like, you're
doing episode five and nobody knows what that will be.
And then I got the script and I remember the
producer from Wilmington calling me and being.

Speaker 5 (02:41):
Like it's really big.

Speaker 6 (02:42):
It's all locations not on our stages, like are you
gonna be okay? And I said, I'll figure it out,
you know, And I just figured it out, you know.
I mean it's I had done a movie before, so
it's not like I'd never directed. But you know, the
thing with being an episodic director that's so weird is
it's like this weird puzzle of how do you fit

(03:02):
in and stand out at the same time, because you
need to make an episode of a show that looks
like the show, but then you want to make like
a great episode. So it's just kind of navigating that
and realizing that you don't have the control that you
have as a director on a film at all.

Speaker 3 (03:17):
Well for you to do something that is totally your
own but also still fit into the overall look and
feel of the show. This flashback episode was great because
you got to do some different stuff than what we've
been seeing. You know, it could look different. We're seeing La,
we're seeing New York. We'll get it down New York logged.

(03:41):
But you get to create worlds that the audience isn't
already familiar with, and so there's a little bit of
freedom there. And I think you did a really good
job of making these places feel like total Like it
felt like Peyton was across the country. I felt separate
from everyone in this. So we're talking about what is
the synopsis? Flashing back three years, Nathan and Lucas win

(04:04):
their College two champion College Division.

Speaker 4 (04:08):
Two championship game. I can't read.

Speaker 3 (04:10):
That felt like a whole movie all by itself. Missing Peyton,
Lucas flies to La to surprise Peyton, but the trip
doesn't go as planned. That was a whole little movie
all by itself, and it ends in a breakup after
Lucas proposes. Lucas finds out his book is going to
be published and flies straight to New York City, where
he reunites with Brooke, who is trying to decide the
fate of Close Over Bros.

Speaker 4 (04:30):
Again, its own little movie there.

Speaker 3 (04:32):
You're really dealing with like three very separate chunks here
and then the current day stuff.

Speaker 6 (04:39):
And Chad was in like everything I noticed, like like
he really got like I feel like almost no days
off that time.

Speaker 3 (04:45):
Yeah, now what were we doing, Sophia? You were sick.

Speaker 5 (04:49):
I was so sick shooting this episode. I mean you
can hear my sinus infection, just like there's not an
ounce of air getting into my nasal passages at all.

Speaker 4 (05:00):
It's all mouth.

Speaker 6 (05:01):
I remember you sopia falling asleep in between, like when
we were shooting Lucas in his hotel room. I remember
you sleeping in your chair and then powdering your nose
because it was so red from being like you were sick.

Speaker 5 (05:14):
Yeah, I was so sick. Everyone was calling me Rudolph,
and I was like, I can't help it. I should
have been doing a Cleanex commercial that week.

Speaker 3 (05:21):
I like that you played it off as kind of tipsy.
You're like, I've just been drinking shit and.

Speaker 5 (05:26):
We've just gotten really hammered tonight.

Speaker 6 (05:28):
Yeah.

Speaker 5 (05:29):
It worked for that pre Champagne. It sounded weird. Post Champagne.
It kind of just made Brooks seem more drunk, which
was excellent. Liz. I'm so curious because you did something
technically and I want to know. Was two thousand and
eight a moment where cameras were changing. I have so
many questions because your basketball scenes for that championship game

(05:55):
feel different, and we've shot so much basketball on our
show and we've I've seen so many of these things,
but but you had camera in with the players, like
it felt like a camera was mounted on someone running
through all these athletes. What was that or did you
just say I want these games to feel like Friday

(06:16):
night lights, like like those football games feel kind.

Speaker 6 (06:19):
Of you know, it's I mean, I had done a
lot of stuff because of like music videos, like the
visual stuff for me was I'd been working on for
years and years, and I remember it was just like saying,
like I wanted to go steady cam on the court. Yeah,
I were like, we've never done that, and I was like,
why not? You know, I mean, look, it takes longer
because you can't really shoot multiple cameras because then the

(06:40):
steady cam is in everything, right, you can't point a
bunch of cameras at the same time. And then we
also shot a lot of that step ninety degree shutter,
which makes it feel like a little more sharper like
Friday Night Lights did that a lot in the football stuff,
but I remember doing that. I mean it was a
long day that day, but uh, it's like all on

(07:03):
one day. But uh. And the crew was so excited
because they're like, we've shot so much basketball, but we've
actually not done this. So then they were like, what
about this? What about that? You know? And then we
did a lot of zooms, did a lot of handhund
and we just kind of tried to make it really
kind of a dreamalized.

Speaker 3 (07:18):
Yeah, it was always so separate. It was like crane
shots before, so there was a wideness to it that
getting into it felt kind of dirty. It film like
grown up men playing basketball instead of little boys.

Speaker 4 (07:34):
Yeah, you're in the thick of it.

Speaker 5 (07:36):
And the steaks went up like you. I caught myself
holding my breath. And then when you drop back to
wide when Nathan sinks that winning shot, it feels like
magic because suddenly the audience is blown backwards and you go.

Speaker 4 (07:50):
Oh my god, is he gonna make it?

Speaker 5 (07:52):
Like it's all in slow mo.

Speaker 6 (07:54):
It's so cool, And luckily James actually makes a lot
of shots so you can just shoot him. You know,
he was good.

Speaker 4 (08:00):
It's so good.

Speaker 3 (08:02):
Where did you learn so much about camera though, because
you know, anytime we have someone on, we like to
know kind of what your background is so that anybody
else who wants to follow in those footsteps has a roadmap.
But you did come in knowing a lot about what
shots you wanted to do and the technicalities of it.
And that was really attractive to me to see a
woman come in and be like, I know what I

(08:23):
want do this.

Speaker 6 (08:26):
Yeah, there weren't a lot of us then. You know,
I went to film school, but I really so I
did that, But I also was a pah forever and
during music videos and when music videos were like big,
you know, it was like David Fincher directing music videos
and you know, Michael Bay and Michelle Gondry and like

(08:48):
these incredible, big scale directors, and I was just like
a pa, just constantly kind of watching. And then I
kind of went up from there, and then I became
an editor, and then I became a director and kind
of came I mean really just like the old fashioned apprenticeship,
like started picking up trash.

Speaker 3 (09:07):
But those are the trash parts important, and and that
I think probably was the reason why you created such
a sound set. Like everybody was on equal footing on
our set when you were there. There wasn't that weird
like hierarchy thing because we always were trying We've had
last Letter our PA on the show. We're always trying

(09:28):
to champion everybody on their way up. But when you
have leadership on set that sets that tone, it makes
a huge difference. And I personally want to know what
music videos you worked on, because that is the I
get pumped about.

Speaker 5 (09:43):
Yeah, we're gonna we're gonna need a video list please
and things.

Speaker 6 (09:46):
I mean I did. I did like over a hundred
of them, And I think I think that's how I
got this job, because like I met with the producers
in LA who didn't really want to meet with me,
and then they're like, you worked with you, you worked
with Rim, you worked with blinkin eighty two, And I
think that plus, it was like the right time, right

(10:09):
it was season five, so it was like the show
had been running long enough, but it was right before
everybody on the show started to direct, you know, it
was right before all the writers and editors. Uh yeah,
and Coourse directed, so it's like there was this weird
little window. But yeah, I sh had a lot of
music videos.

Speaker 3 (10:24):
Wow, you need a best of box set, you know
what I mean, just like all your music videos.

Speaker 4 (10:30):
Kids don't know what those are anymore.

Speaker 3 (10:31):
I keep trying to explain to my son what MTV was,
and he's like, mom, what, like so cool?

Speaker 5 (10:37):
You're like, it's literally a miniature movie about your favorite song.
They were the coolest.

Speaker 4 (10:44):
Do they still make music videos?

Speaker 6 (10:46):
I think they do, you know, I think they're a lot.
They're either I feel like they're super polarized now, like
they're either for zero money and shot on an iPhone,
or you have like CORP corporate sponsorship and they're really
kind of like elongated commercials.

Speaker 4 (11:00):
Do commercial Yeah, awesome.

Speaker 5 (11:03):
And then you get the artists, like the rare ones,
you know, like a Beyonce who can make a visual
album of her choosing and that truly is an art film.

Speaker 4 (11:13):
Yeah, it's a whole movie.

Speaker 6 (11:14):
God.

Speaker 5 (11:14):
I just I loved when we knew our favorite bands
were dropping videos and it was like coming Friday. It
was such a big deal and it was so cool.

Speaker 4 (11:24):
Yeah, these kids don't know what they're missing.

Speaker 3 (11:27):
They'll show them. We'll show them.

Speaker 4 (11:31):
Listen.

Speaker 3 (11:32):
So when you said that the producers didn't want to
meet with you, was it your agent that was pushing
you to try to come on our show, because certainly
you did not watch this.

Speaker 6 (11:44):
I watched it before I got the meeting, but I
wasn't watching it necessarily before. I'm old.

Speaker 4 (11:49):
Listen, we didn't watch it either. That's why we're watching
it now.

Speaker 6 (11:52):
Yeah, I think you know. I think what happened was
the producers called my agent wanting to meet with somebody else,
and she said, like, he's never going to meet with you,
because I think it was somebody super huge. And I said,
she said you should meet Liz and they said, we
don't really and they like, just meet her, just like
just say hi, you don't have to give her a job.

(12:14):
And then I went in for a meeting and then
got a job.

Speaker 4 (12:18):
How quickly did they offer it to you?

Speaker 6 (12:19):
They offered it to me while I was there.

Speaker 4 (12:22):
Girl, that feels good and in the room.

Speaker 5 (12:25):
Offer is really nice in the room offer.

Speaker 6 (12:27):
Yeah.

Speaker 5 (12:27):
Okay, So, knowing you were going to go in for
the meeting, how many episodes did you watch to have
some sort of talking points about it?

Speaker 6 (12:36):
I mean I love a study assignment. So, uh, you know,
I watched the pilot, and then I think I watched
like a couple of season two, a couple of season three,
and then I watched season four. We were up to you.

Speaker 4 (12:50):
I watched the entirety of season four.

Speaker 6 (12:53):
I think I watched most of it. Yeah, I mean,
I like, I can't. I'm a nerd and so I
can't go in and unprepared, like I just it's not
my style.

Speaker 3 (13:03):
But then you ended up directing a number of episodes.

Speaker 4 (13:06):
How many did you total?

Speaker 6 (13:08):
Four?

Speaker 3 (13:10):
And were they all I mean season this is season five?
So you did seasons four and five or did you
come back later too? I'm sorry, so five and six.

Speaker 6 (13:18):
Five and six, and then I did two this season,
maybe one in six, and then I had a baby,
and then I think I did one in seven.

Speaker 7 (13:28):
Maybe you were one of the first people I think
I told I was having a baby because you had
had a baby, and I didn't know anybody else who'd
had a baby. And it was like, I'm coming out
to La and I don't know Liz, like I don't

(13:49):
know what to do.

Speaker 4 (13:50):
I knew that you had.

Speaker 3 (13:51):
Just had one, and you were like, it's gonna be
fun to go to Cedars.

Speaker 5 (13:56):
Amazing. That is amazing, You'll survive. I'm curious, Liz, what
memories do you have from this episode? I mean, aside
from me being sick as a dog, Like, what, what
do you remember about your first trip to Wilmington.

Speaker 6 (14:14):
I had never been, and I remember thinking, God, I
can't believe we're gonna fly to New York and then
to LA and like, because I read the script and
they were like, you know you're not leaving Wilmington.

Speaker 4 (14:25):
That's hilarious. We're going to go everywhere.

Speaker 6 (14:29):
And I was like, Oh, it's amazing. So I remember
like trying and I remember having lived in New York
and lived in LA being like, oh, really, we're going
to do this all here, and being really nervous about that,
and I'm trying to think of what else. I just
in some ways it's funny. In some ways, the location

(14:50):
thing was easier for me because I'm used to like
scouting my own locations, like rather than plugging into something
like this and like lighting that existed like that, I
knew how to that way. I just remember a lot
of scouting, a lot of night shoots, like Central Park
was at night Sophia like that, and I remember loving

(15:10):
the crew so much and like really having big advocates
and like once I got in there, like really having
people on that crew who would like help me do
what I wanted to do and like got excited about
doing things a little different. Yeah.

Speaker 4 (15:28):
Oh, Peter Kowalski our DP.

Speaker 6 (15:30):
Oh, Peter is the best. And Matt has the camera operator.

Speaker 5 (15:34):
Oh, oh my god, Matt is such a good steady
cam He's so goodacious.

Speaker 3 (15:40):
They really were such a great crew, and I think
that they understood young people and they championed young people
because they'd also just witnessed all the Dawson's Creek kids
like go off and blow up, you know, and so
our crew was lovely and you were much older than us,
and so for us, like it was this cool big

(16:02):
sister coming in that could speak our language and didn't
talk down to us and asked our opinion about stuff,
and it was I mean, it was thrilling for me
because I was in.

Speaker 4 (16:12):
The process of like, oh, I'm going to start a production.

Speaker 3 (16:14):
Company and here you come and you're like, yeah, I'm
good at this. Whatever, watch this. We're gonna put a
Steticham on the court. Was there anything in the script
that stood out to you like, oh God, I gotta
do that.

Speaker 6 (16:32):
I mean I always, like, still to this day, I
get nervous about like heart to hearts, you know what
I mean, because like chacter, well you kind of like
have to get out of the way and in a
certain like you're not gonna like hick the crap out
of it and like move around or come up with
some insane blocking. So but I just thought, you, like
I remember reading stuff in the script and being like,

(16:53):
I don't know how that's going to work, and then
watching rehearsals and being like that's better than it ever
had a right to be. Like it like just the
amount of skill with which you guys can pull stuff off.
I remember being incredibly impressed with. I remember shooting Hillary
in that hotel room set which.

Speaker 8 (17:13):
Was tiny thereon the Beverly Hilton, and it was a
lot of pages and like a tiny I think three wall,
Like I don't know if there was the fourth wall
in there.

Speaker 4 (17:24):
It was so sweaty in there.

Speaker 3 (17:25):
Yeah, I mean, we can get into storyline cause for us,
like having new blood come in and rehash the same
old relationships again. You know, this could have been an
episode where it's like, really, we're gonna do the Brook
Payton Lucas thing again, Like we've done that to death,
and it felt fresh and like it hurt, you know,

(17:47):
and you would have never known that we did that
for two years, three years just crying, crying about each other.

Speaker 4 (17:56):
Yeah, what does it start with?

Speaker 5 (17:58):
The episode starts out with you know, once we get
into the flashbacks, you're seeing what's been happening. And that
was such a cool thing that I thought was so
special about this season, the fact that we got to
go back and out of nowhere. You never knew it
was coming. You would just see where these characters had

(18:19):
been and finding out that Lucas has been living with
Nathan and Haley to help with Jamie, you know, seeing
Jamie as a baby and him starting to speak, all
of that stuff colors in our modern Tree Hill world
in such a cool way. And even the way that
they tie this, you know, intense wanting for a family.

(18:43):
Lucas has into the confetti flashback when you guys did
confetti and in the game you shot Liz and he's watching,
you know, Nathan and Haley and the baby, and it
was all just really cool. I don't know. I felt
like I was in on a secret or something watching
these things and being like, in that connects to this?
Oh my god, you know it's it's neat. When all

(19:04):
those little puzzle pieces started coming together.

Speaker 3 (19:08):
That's so daunting, Like, hey, this show's been on the
air for four years. Here's a massive episode. And also
you have to tie it to all of these little
easter eggs, the previous episodes that you weren't here for.

Speaker 5 (19:20):
Like what did somebody make you like a did they
compile those scenes for you or make you like a
visual you know, board with screenshots stills of those scenes
to be like this is what it looked like and
this is what we're matching, or did they just say
good luck?

Speaker 6 (19:36):
I think I got like, I mean, this is so
uh telling of the time it was. I got like
a book of CDs of all the episodes or like
DVD's rather dvs, which the other day I found one
and my daughter held up and said, what is this
rainbow donut? I just no idea what it.

Speaker 5 (19:52):
Is, but a rainbow donut?

Speaker 6 (19:54):
Wow? But in the script it did I remember, said like,
and he looks at it and we flashed back to episodisode,
you know, parents like it had a lot of that
in the script, parents etically, so I remember going back
and looking at that.

Speaker 4 (20:08):
Yeah, it's so much.

Speaker 5 (20:10):
You know what made me uncomfortable. I don't know if
you felt this way as our incoming director, but something
that made me really uncomfortable was that everyone's nineteen and
we're just like, yeah, you're going to be the first
ever student coach at this college.

Speaker 3 (20:23):
You're going to.

Speaker 5 (20:24):
Start a high end coup tour line and start your
own magazine. Every more people want to have kids. I
was like, what is happening? These people are nineteen? Like
I almost spit out my dinner when Peyton said we're nineteen, Lucas.

Speaker 4 (20:39):
Just one more year? I was like, what is that happening?

Speaker 6 (20:41):
It's just one more And then Peyton, the one person
who actually has a job that is a nineteen year
old job, gets the crap from Lucas for having that job.

Speaker 3 (20:52):
Dude, listen, all I'm saying is the Peyton Sawyer was
on the right track.

Speaker 4 (20:57):
I am like one.

Speaker 3 (20:59):
I love how insecure Lindsay is ha get you. This
is like the third episode in a row where she's like, no,
but really, are we good?

Speaker 4 (21:09):
Are you sure you weren't happier then? And I love it.

Speaker 3 (21:14):
But Peyton has been so rational, like so absolutely rational. Yes,
she's like, no, I can't take off work. I didn't
know you were coming to town. Yes, I have to
leave dinner. Yes I will meet you later. What the
fuck is this ring? Like she's the only person making
sense right now.

Speaker 5 (21:33):
Truly, And I gotta say, I've so been enjoying everyone's
relationship dynamics this season. So seeing the writers put Lucas's
character back into like early Lucas where he's really like
I hate to say it, but I have to it
made me sad, like manipulative and this whole thing like, oh, well,

(21:55):
if you're not going to give me this relationship the
way I want it, then we're over me or I'll
leave you.

Speaker 4 (22:01):
Like it was so intense.

Speaker 5 (22:03):
I was so glad that Brooke brought the humor in
it later and was like, are you stupid?

Speaker 4 (22:09):
Like you stormed La and you went all crazy.

Speaker 5 (22:12):
On her, you lunatic. I was like, Okay, great, at
least the girls are being rational here, because this feels
like a lot of energy.

Speaker 4 (22:19):
Well, yeah, Liz As like a young woman, how do
you look.

Speaker 3 (22:22):
At a script like that and say, oh, I have
to keep this person endearing.

Speaker 4 (22:26):
I have to make this make sense.

Speaker 6 (22:28):
Oh, I mean, look, I think in that I just
identified with Peyton Moore. You know what I mean. I think,
but it's funny. I don't know. It was extra mean
to me this time, like I think being younger it
was mean, but less mean. And now with perspective, I
was like, that is like you come in and you
love bomb her and then you give her an ultimatum

(22:49):
and then you're pissed when the ultimatum doesn't go your way,
and then you pout and then you try and get
with her friends. Like it was just like it was
just some really bad behavior.

Speaker 3 (23:01):
Well, everyone knows Peyton's trigger is people always leave, So
then he leaves hard and.

Speaker 5 (23:07):
She just leaves the CD on the thing to be like,
to be clear, I'm leaving. That was mean and I.

Speaker 4 (23:14):
Don't want to think of you. Songs to make me
think of you, I don't want them. Oh I was
so brutal. Woof.

Speaker 9 (23:22):
Also, like, what did you say when we watched it, Hillary,
when Lucas kisses Brook and you were talking about how
the lines for me are about high school and it
was so spot on.

Speaker 4 (23:35):
Oh yeah, yeah, brook Davis.

Speaker 3 (23:37):
I was just talking about like the supremacy of brook
Davis because the rejection was delicious because you know, younger
brook Davis would have been.

Speaker 4 (23:48):
Like, this is everything I've wanted, you.

Speaker 3 (23:50):
Know, like Lucas picked me and like he's kissing me
and whatever. Where we are going to be a power
couple when we grow up. We're the match.

Speaker 4 (23:58):
And she's just.

Speaker 3 (23:59):
Like, hey, here's your ring Take two Advillain in the morning.

Speaker 4 (24:04):
It's been real.

Speaker 5 (24:05):
This is.

Speaker 4 (24:07):
Yeah, I love it.

Speaker 6 (24:10):
She says, you're not going to see me for a while,
like you were or not.

Speaker 5 (24:15):
Yeah, yeah, Like I super love you and you're my friend,
but this is an unacceptable way to treat a person.
And yeah, I think really interesting that she gives Lucas
the medicine she needs. You know, I haven't found my person,

(24:35):
so I'm going to go build my work and maybe
you should do the same. But if you do it,
at least you know who your person is and she'll
have some space to come back to you. And it's interesting,
like the sort of levels of how you can use
work as armor. And I liked that there was a
distinction between the two even though she she was sort

(24:58):
of talking herself in to making this big career choice
by talking Lucas into focusing on his It's just kind
of neat well.

Speaker 3 (25:06):
And I like the synchronicity of like everything happening on
the same day, because I do fin like for me,
that's how life works. It's like, all of a sudden,
there's this random string of coincidences and everything's happening all
at once, and you're in the flow, and you know
you're getting all those like phone calls and lots of

(25:27):
big dramatic things happening in your life, and then you
go through a lull, and Peyton's in a lull for sure,
but Brooke isn't, and Lucas isn't and Nathan isn't, and
it's really exciting for everyone back home and that feeling
of apartness like her, Like Liz, you really did a
good job of not letting Peyton bemoan her life at all,

(25:51):
like she thinks she's doing it.

Speaker 4 (25:53):
But it looks really sad that mail cart. Ah, we
pushed that all day.

Speaker 6 (26:01):
I think we did. Yeah, we had one hallway to
call Los Angeles, I think.

Speaker 3 (26:06):
Yeah, one hallway, one little office. We had five scenes.

Speaker 5 (26:11):
We couldn't have found a more modern home to shoot
New York in for Brooken Victoria, that southern gothic place
that's supposed to be a New York apartment and it's
clearly like a gorgeous, you know, downtown historic mansion was
so wild, Liz, I can't even imagine for you, you

(26:33):
poor thing. Like I bet somebody was just like, well,
this could be you know, some fancy pre war building
on Park Avenue.

Speaker 6 (26:39):
And yeah, they're like, it's like a townhouse. Right. I
remember pushing back and pushing back and then getting like
swacked down for that, you know, because I drifted movies, right,
So movies are directors medium. TV is a writers and
producers medium, really, and so I came in like I
think we need to look for and they were like, yeah.

Speaker 4 (26:58):
No, yeah, it's all about company moves. We're not gonna move. Yeah,
sorry about that.

Speaker 3 (27:04):
But seriously, I love how square Brooke Davis is because
they've got her living with her mom in this like
goofy house that's.

Speaker 4 (27:13):
Supposed to be your townhouse, apartment whatever.

Speaker 3 (27:16):
But also she's like we're in midtown, whoo, Like no
nineteen year old hangs out in Midtown.

Speaker 7 (27:23):
No, no, no, she'd be downtown.

Speaker 5 (27:28):
We would have been at butter in this era, we
would have been like out at the New York clubs
and they had us at like an oyster place on
the river. It's so funny, like remember Bungalow eight and like,
oh man, they were all the places. It was so
fun We would have been in meatpacking.

Speaker 3 (27:48):
Whoever was making these decisions. Yeah, the meatpacking district had
just gotten like super sexy. You know, it's still a
little dangerous back then.

Speaker 5 (27:57):
Yeah, I know, it's really so so. But that's a
really interesting way that you put it, Liz, is that
it really is, you know, sort of the writer and
producer medium because they are there week to week and
the directors are coming and going, and I think that
makes it even cooler to see, you know, the mark
that you were able to make on our show. You

(28:19):
really put your stamp on it, and it's just fun.

Speaker 3 (28:24):
On the flip side of all of the Lucas manipulation,
we've got this like creepy foreshadowing that's happening with Nathan
oh Man where it's just we know where Nathan is
present day, but we're seeing the seeds get planted why
he tells Nathan to be careful. If you're not careful,

(28:44):
your temper will be all that you have left.

Speaker 4 (28:46):
Dunt du dah.

Speaker 5 (28:49):
And for him to say, you can't just play better,
You've got to live better. And he really gives him
that beautiful speech about you know who you want to
be and that if he wants to live this thing down,
it's going to be about how he lives as a man.
And it's so beautiful. I think, because we've talked about

(29:09):
this before, how you can really make allowances for people's
failures and their mistakes when you know them, because you
know the scope of their life, you know that the
people you love are so much more than their mistakes.
And we make a lot of allowances the characters in
this show for each other, for growth and failure and

(29:31):
all the things. And I think it's a really beautiful
thing to encourage. And then what I thought was so
accurate and honestly like kind of stung to watch was
the way that boy was screaming at Nathan and the
way he was talking to him, because that's the way
people heckle you when you're any version of famous. People

(29:52):
just they throw darts in your face, they say terrible
things to people, Like I just watched some friends you
know of mine get heckled a couple of weeks ago
because they stood up for their kid, and like, I
don't know, it's just gross, and I I guess maybe
now that we're all older, that sort of stuff feels
more personal, the way that strangers like to isolate and

(30:15):
then inflate and not let go of anything you might
have done, or anything you might be embarrassed about that's
happened to you, or any of it. You know, people
love to talk about people they don't know, and I
don't know, it just hit hard watching Nathan go through that,
because all he wants is to move on and he's

(30:36):
trying so hard and other people don't want to let him,
and it humanized him in a way that I just
don't think I could see when I was younger, and
maybe I hadn't, you know, lived through so much and
watched other people go through so much.

Speaker 3 (30:50):
You hadn't gotten all the poop emojis yet, you know.

Speaker 5 (30:55):
But I I just thought that that was really poignant
and it felt really true. And then to see an
adult try to say, you know, you're gonna have to
make choices here. You're going to have to choose to
live differently if you don't want, you know, to be
left with it it. Oh, the pang because we know

(31:16):
where Nathan ends up was special and.

Speaker 6 (31:20):
That Heckler goes after his kid, right, like yeah, that
like you can see Nathan trying and trying and then
the kid thing comes up and he just snaps like
he's got that in him, that like little bit of
Dan Scott in him. That is like he's trying to
push it down and trying to push it down. But
when someone goes after your kid, it's just animal instinct.

Speaker 4 (31:39):
Yeah, yeah, Yeah, I'm a nightmare.

Speaker 3 (31:43):
That's why I'm pta now in there, just getting to
know all those bullies. Liz, speaking of kid stuff, you know,
you're trying to depict a nineteen year old couple with
a baby in this and we didn't have our kids yet,

(32:07):
Like what were you trying to model that after? Because
it did look very like all American and sweet, which
in hindsight, maybe we shouldn't have done to America. I know, right,
we should have made a look harder.

Speaker 6 (32:19):
Yeah, the worst part is that Haley's not getting sleep,
Like that's the worst yeah. I mean, look, I didn't
have a kid then. Anyway, It's funny what I realized
now is I remember the night we were doing that.
You know, it's a toddler, right, so he's not being
quiet when he's supposed to be quiet, and he's like
singing in some takes and he's talking it like and
it didn't matter. And I remember trying to like wrestle

(32:41):
it to control. And then I remember in editing thinking
Joy did such a nice job and it actually brought
something to it because she's constantly like having to pick
up the toy that he threw or like ad lib
in something to kind of redirect. And I remember that
it was like one of those moments where I was like, oh,
this was an opportunity, Like I so wanted to wrestle

(33:03):
it into control, and it was actually an opportunity and
was nice to give her something more to do it,
to like literally grapple with. But yeah, I mean, but
also like their house was not nearly messy enough, No,
not by a mile.

Speaker 4 (33:20):
Her hair looked nice, you know what I mean, Like she.

Speaker 5 (33:23):
Had makeup on, she showered.

Speaker 3 (33:26):
Yeah, no, girl, we're on day three of this hair
right now. And that's what you do in parenthood. You
just let the grease.

Speaker 4 (33:35):
Settle in where it's gonna settle.

Speaker 3 (33:37):
But I like that we got to see Hayley and
Nathan at like peek happy, you know, because my favorite
vote of this episode was that hardcore makeout at the end.

Speaker 5 (33:53):
By the Trophies. Girl.

Speaker 4 (33:55):
There is nice.

Speaker 3 (33:57):
I love more than a post fight makeout. I love it.

Speaker 4 (34:02):
I don't even want to sleep with you.

Speaker 3 (34:03):
I just want to make out like we're seventeen fifteen
minutes before your mom gets home, you know.

Speaker 6 (34:10):
I remember shooting that. Joy's super sexy in that. But
I remember shooting that. I remember doing a take and
then and it was like a cute kiss. And I
remember talking to them and saying like, look, I think
you guys haven't kissed in a long time, like a
long time. Like you're not in a good place. I
don't even know that you're sleeping in the same room,

(34:30):
like you haven't touched. So when it's like maybe it's
tentative at first, and then like what does that feel
like if all of a sudden those floodgates of like
your contact and they both were like got it.

Speaker 5 (34:44):
Like we what to do?

Speaker 4 (34:46):
We got it?

Speaker 6 (34:47):
And then that was the next take and they were
so good, they were so hot.

Speaker 3 (34:52):
The line what was the line, Sophia, Oh, he says,
He says, We're not the couple we used to be,
but we're going to get there.

Speaker 4 (35:00):
Oh yeah, sexy.

Speaker 5 (35:03):
And also to have seen them in these happy moments
reminded you of where they were. You know, it built
the bridge between ultimate Nathan Haley end of high school
and then this fractured couple that you've seen in season five,
and to see them on that bridge felt so nice.

(35:24):
And then to come into this end moment where she's
just doing this nice thing for him and he acknowledges it.
He's acknowledging her in ways that he hasn't and he
reminds her of that thing he said in the last episode,
and suddenly it's it's like we're gonna get there, We're
gonna make it. The whole thing was so charged and

(35:45):
I was like, oh, okay, okay, characters, I'm in for this.

Speaker 4 (35:52):
That felt adult.

Speaker 5 (35:55):
Yeah, like you you really do feel the sort of
adult relationship in in this season, Like everybody's just like
a little more settled and people are calling it like
it is. And I liked it.

Speaker 4 (36:13):
Brooke Davis just call it out like it is. It's like,
oh my god.

Speaker 3 (36:16):
Comedy of Brook Davis's episode was so fun. Again, totally
different movies than the Basketball that was all like, you know.

Speaker 4 (36:24):
Fun sexy boys being fast.

Speaker 3 (36:26):
Brook Davis is had to doing her own little Sandra
Bullock rom com with like Lucas down on one knee and.

Speaker 4 (36:31):
Victoria comes in at that time.

Speaker 5 (36:34):
It was incredible, incredible. I love those storylines so much.
And even the fact that Brooke just leaves her mom
to stew all night. I've been calling you all night.
I will drop in Norman papers.

Speaker 6 (36:46):
You know.

Speaker 5 (36:47):
It's honestly great parenting A plus Victoria. But like I
loved when I got comedy like this, and I loved
at the end when Lucas comes looking for you, just
getting to be like, oh, I see that shit all
over your face. Okay, interesting, you've said no and she

(37:10):
said no and you're both liars, got it?

Speaker 3 (37:13):
And I liked it. Brook just doesn't give a no
to say the thing out loud. You're still in love
with her, aren't you. That was so ballsy.

Speaker 6 (37:23):
Yeah, And the way you played it is like, it's
delicious when you like you loved it, like Brook loved
saying it. You know, she was like, oh I have
your number. Yeah I did it like a delicious delivery.

Speaker 5 (37:35):
Yeah, Brooke Davis loves to know a secret.

Speaker 3 (37:38):
Well, because there was a mislead there because we've just
seen him like kiss you in the flashback.

Speaker 4 (37:44):
There's that moment of like did we follow the wrong paths?

Speaker 3 (37:48):
You lean down and you're wearing like a button up
shirt that's a little like cleavagey, and it's like, is
Brook Davis gonna come on to Lucas and instead she just.

Speaker 4 (37:57):
Calls his And it was fantastic.

Speaker 3 (38:01):
You lured it in just to cast it back out.

Speaker 5 (38:05):
Like hey, mister, I got your number. Yeah, yeah, it
was so fun.

Speaker 3 (38:11):
A loved Easter egg that we discovered in the episode
was that the picture that Lucas has in his phone
of Peyton.

Speaker 4 (38:20):
Is one of the psycho dek pictures Like hello.

Speaker 10 (38:27):
Producers, guys, people who do that behind the scenes work,
Like I exclaimed, it couldn't have been a date photo,
Like it couldn't have been some cute picture of the
two of you.

Speaker 5 (38:40):
They just went, oh, here's a picture of Hillary and
it's like, well, yeah, guys, but that's a picture that
her you know, fake brother psycho stalker took, maybe not
the one that should be in her actual boyfriend's phone.
That was a fail.

Speaker 4 (38:52):
Can you imagine Lucas just like, I mean, it's a
good picture.

Speaker 5 (38:55):
He's like, and I just really like it.

Speaker 4 (38:58):
What a creep?

Speaker 3 (39:00):
Uh?

Speaker 4 (39:00):
Liz, how much say did you have over that stuff?

Speaker 3 (39:02):
That was all insert work that like probably someone else
shot right.

Speaker 6 (39:06):
That I don't remember. I mean some of it like
when you come on direct, I mean some of it
you do, and some of it you don't. Like I
remember in that first like the bookend scenes with Lindsey,
I remember saying, it's so weird to me that she's
in workwere like, you're hanging out at home, and I
remember saying, like, are you. I was so surprised that
she didn't come in wearing like sweats and a T
shirt or you know, something like that. And I got

(39:29):
in trouble because it was like, this is what she's wearing,
this is mu's been pick and I was like, okay, okay, okay,
So it depend show. It depends show to show. And
I don't know that you're right about the instruct I
don't know that I actually shot that phone, you know
what I mean, I think that might have been held.

(39:50):
But yeah, sometimes sometimes you pick and sometimes you don't.

Speaker 5 (39:54):
And sometimes you see it and go, hmm, okay.

Speaker 6 (39:57):
Interesting.

Speaker 3 (39:58):
Choosing your battles is it's hard to begin with, right,
But choosing your battles when you are a female in
our industry, particularly in the early two thousands, was I mean,
that was an art form trying to figure out, like,
am I gonna piss them off if I push this?

Speaker 4 (40:16):
I don't know? Is it worth it? I don't know.
Were there any.

Speaker 3 (40:20):
Battles that you wish you would push further for, or
any that you won that you want to brag about.

Speaker 6 (40:27):
I mean, on this episode, the basketball was a win
because I got like, we really shot egregiously long, which
I'm not proud of, no Crucian shoot, but I remember
thinking that, like, and I think my pitch was like,
this is a college game has to feel bigger than
a high school game, Like if we're saying this is
a vision too, like televised like defining moment basketball like
it needs to be. And so I remember like spending

(40:51):
a lot of points that day, like in terms of
equipment and hours and crowd and things like that, and
then you know stuff I mean, and then like it's
always interesting, like you know as a director, like I
remember shooting transitions in and out of the flashbacks and
then you see and it just goes to white and
you're like, Okay, that's not what I would have done,

(41:14):
but you know for my show. So but yeah, it's
funny because, like I said, I had done a movie,
and on a movie, as a director, you really like
you're the number one. And so when I was like,
that's weird that she's wearing that, I think I just
was ignorant. I don't think I knew that. You weren't
supposed to be like alert, this is totally weird.

Speaker 3 (41:33):
Well, no, you are supposed to say alert. You are
in a normal world. You say alert, and someone says, wow,
that's collaborative, thank you for sharing, let's work on it.

Speaker 6 (41:45):
Yeah, or they say, look, I know that. But actually
in the next episode she's leaving from here, so I
know it's weird here, but we got it, like exactly,
it's not a problem. But I really I remember getting
my hand slapped for questioning, Like I really remember getting
an older.

Speaker 4 (42:00):
That's so weird.

Speaker 3 (42:01):
Were you like I've directed a movie, you big dumbasses.

Speaker 5 (42:06):
Yeah, that probably didn't feel worth.

Speaker 6 (42:08):
It, Like it's a skirt, like we don't need to
get so he did.

Speaker 5 (42:13):
But yeah, well it wouldn't it have been lovely if
someone said, this is only her fifth episode and we're
really trying to just establish a look for her and
we want her in the look all the time, and
you could have been like, Okay, I disagree, But I
think that where I take issue is when is with
the handslapping or the or the sort of ways that

(42:33):
you know, we all undoubtedly on the show experienced like
being demeaned for having ideas. It's kind of like, don't
you want people who care enough about this thing we're
all making together to point out ways we think it
could be better. You can disagree, you can say I'm wrong,
but you don't have to treat me like I'm stupid.

Speaker 6 (42:56):
Yeah, I mean, it's it's also like you have all
the power anyway if you're the show runner, like why
are we getting so you know, crazy about it? But
I also think it's just you know, and like me
talking about your crew is the perfect example of this.
It's like you want people like it's like, forget that
you want like a great work culture that we do.
I don't mean to forget it, but like even if

(43:16):
you're being manipulative and just trying to get more, like
if people are invested and have ideas and want to
do better, like they just work better and harder and
they will bring shit and like you'll still look good
in the end, you know, it's all. So that's what's
just always weird to me about people who want people
to very much stay in their lane because some of

(43:38):
like the best directors I've ever met will take ideas
from it, like best idea wins, and you're still going
to get credit for it, you know, as a director,
as a showrunner, as whatever. But it's just even in
terms of making something good, like when people contribute, it's
the work is just better. Period.

Speaker 3 (43:58):
Yeah, that was my experience MTV. It was like whether
you were the vice president of the company or you
were an intern, everybody went into the morning meeting and
was allowed to pitch ideas and the best idea always won.
And so I don't know if that was that way
in the music video world. I have to imagine we
were all kind of connected in that way because there

(44:18):
were a lot of like young creatives who were making
like big moves in the music video world, and so
to come to this other space One Tree Hill felt
so corporate to me. It was definitely like the most
corporate job I ever had, because it was protocol and
stay in your lane and all those kinds of like
buzzwords that you've used.

Speaker 4 (44:40):
But yeah, it was.

Speaker 3 (44:41):
It was so corporate. And I lived with half the
crew at the time, like I lived at the whole
ad Department, and they loved you because they got to
do different stuff, like all the Central Park stuff with
the horses lined up. I remember them coming home and
talking about that because I wasn't a part of that,
and they came home and they we.

Speaker 4 (45:00):
Like, it really looked cool. It looked like Central Park
and it was like Greenfield Lake. You know, Yeah, it
feels good to stretch your muscles.

Speaker 5 (45:08):
Yeah, I felt like that shooting all that stuff with
you even as an actor, like the New York flashbacks
and you know, having this sort of night on the
town where these two friends who haven't seen each other,
you know, in a couple of years or having this
moment and talking and I don't know, it felt really

(45:30):
cool and it felt different and I remember even seeing
what you'd created and being like, oh my god, it
really does look like, you know, the south end of
Central Park, Like it really it all feels kind of
like something familiar, and it's exciting to change it up
when you've been doing the same thing all day every day.

Speaker 4 (45:51):
So, Liz, would you do right after this show?

Speaker 3 (45:54):
Like, Okay, great, you've got your first episode of TV
under your belt. You've worked with Daphne's Unique and Barry
Corbin at this point, so now you're like.

Speaker 6 (46:03):
I should quit.

Speaker 3 (46:06):
By the way, I love them both, and seeing Barry
because we haven't seen him this season, you know, to
have them come on just to quit.

Speaker 4 (46:13):
We were like, what, what the hell's happening?

Speaker 3 (46:17):
But so then what do you do? Like what what
do you take from this experience? And then start applying
to other jobs?

Speaker 6 (46:23):
You know? I mean I think that, I mean, being
an episodic director is a weird job because you're kind
of always jumping into like a different not just a
different show after, but like a different culture. Like people
do things, different run sets, different run crap, different, you know.
I mean, it's funny. I mean I will tell you,
like I did a lot of c W stuff that's

(46:44):
where girls worked, by the way to the only place
at the time. Yeah, you know, I did One Tree
Hill and then I think I did some nine O
two one ohs and some Gossip Girl.

Speaker 4 (46:57):
But we were your favorites though, right yeah, way.

Speaker 5 (47:02):
Not even.

Speaker 6 (47:06):
I mean I loved your cast. I loved your cast,
but uh, you know, I mean that was like where
I could get hired at the time. And it's interesting
because like years and years later, like after I had
been doing pilots and you know, stuff for streaming and
network stuff. I remember trying to make a deal on

(47:27):
a pilot and trying to get my rate up and
the and the studio was like, we're not going to
pay you that. And my lawyer said, let me please
play the v card and I was like great, what
is it? And he was like the vagina card and
I was like okay, and he said and he went
to them and he said, you're penalizing her because she
was a woman and she started at c W, which

(47:48):
paid less than network, and so she's now less, Like
even though she's climbed, she's less. So if you want
to say that, you're giving her less now compared to
men who have been doing it it's on because they
were to jump right into network. Yeah that's what you're saying.
You're penalizing her. And they were like, let us get
back to you. And I ended up getting a bump.

(48:09):
But like that, by the way, it was only because
I had somebody who knew all that, Like in yep,
I can't. But so I did a lot of CW
stuff for a long time.

Speaker 3 (48:18):
And when you were like a brand new baby director,
what did you want to do? You know, because I
don't think any of us, well maybe some of us
were like, yeah, I want to go kiss and cry
and be a teenager forever, like that's a fun gig
for a minute.

Speaker 4 (48:30):
But I think, you know, you start off in this.

Speaker 3 (48:32):
Business and you have really big, grand aspirations of becoming
Ruth Gordon or Nicole Kidman or you know, we say Sandra.

Speaker 4 (48:40):
Bullock all the time, all the time.

Speaker 3 (48:42):
Who were the people that you were trying to model
your career after.

Speaker 6 (48:47):
I mean, I wanted to make big movies, you know,
I wanted to be Danny Boyle or you know, you know,
I wanted to make big, important movies. I mean, I
think what's so interesting is and I developed them, but
movies take so long to make. And then as I

(49:08):
directed TV, TV changed like a lot, you know. And
now it's like where you can burn a character over
eight hours or twelve hours in a streamer, you know,
where you can take that time and move slower like now,
I love it. But at the time, you know, TV
was not what it is now.

Speaker 3 (49:29):
Do you think the writer's strike of two thousand and
seven is what made us come out with that renaissance
of television? Because when we came back from that writer's
strike all of a sudden, that's when all like there
were so many HBO shows that were just like hot,
so many showtime shows. Cable was doing crazy things. Now
we're started to do crazy things. That was you know,

(49:51):
totally unexpected. As we're in a writer's strike right now,
do you feel that kind of like creative fury bubbling up?
Are we going to have an other big changeover?

Speaker 6 (50:03):
I mean, I don't know, you know, I think it's
funny like all of my friends and myself who are writing,
like we're writing with a fury right now because it's like, oh,
you won't give us this, well, we're going to write this,
you know, and kind of in a way because you're
not working with producers or studios. You're very bold because

(50:23):
you can write anything because it just exists in a
vacuum right now, it's not really you're not really writing
to sell. So maybe Hillary, like maybe Mad because I
do see it now like there's no risk really like
you're just gonna write what you want because but you
can't sell it right now.

Speaker 5 (50:40):
Yeah, so it's like pure creative energy.

Speaker 6 (50:43):
Yeah, Mad writing is good, like writing with a vengeance
is good.

Speaker 4 (50:46):
Oh, I can't wait, I can't wait. Tell us.

Speaker 3 (50:51):
We've talked about the writers strike on the show here,
and I've been seeing people do like themed theme strike days.
There's like a Newsy's at the Disney lot. It's been
a couple other ones. Yeah, we need a tree Hill
strike day. Who would you dress as on tree Hill
Strike Day?

Speaker 6 (51:10):
I'm trying to think of who I could pull it
off as, Like I want to say one of YouTube,
but it wouldn't be cute.

Speaker 4 (51:17):
We are talking about.

Speaker 6 (51:20):
I mean, I do love Peyton and the double T
shirt I think is like pretty iconic, right, Yeah.

Speaker 3 (51:26):
I love what a slob she is because when she
comes back to tree Hill, she's wearing all these little
like slip dresses. She's trying to be all sexy, but
three years ago, Peyton is like, listen, I'm not changing
my pants, Like, we're just gonna wear these holy jeans, eying.

Speaker 4 (51:45):
Every single she's defeated.

Speaker 5 (51:46):
She's just busy. She's working for terrible people who are
sending her on coffee runs and making her come to
the office at eleven o'clock at night.

Speaker 3 (51:55):
Yeah, she's getting put in her place, which I suppose
was bound to happen sooner or later.

Speaker 4 (52:01):
Who did we miss in this episode?

Speaker 3 (52:02):
Sometimes we get in trouble, Liz because we pass over
key points.

Speaker 5 (52:08):
I mean we did go through I mean at least
all my notes. I will say it's an interesting episode
because it really only revolves around US five, you know,
and now Lindsey with Lucas. But like it, you don't
see mouth, you don't see skills, you don't see anybody else.

(52:29):
You essentially get. What you really get is the brother's story.
In a way, It's like Lucas has a flashback looking
at a photo of him and Nathan in the college game,
and then you follow Lucas and Nathan on their journeys
and Lucas, you know, does what he does, and he
he makes both of the women who've loved him feel weird.

(52:52):
And yeah, is trying to figure out how to be
a dad and not turn into Dan.

Speaker 4 (52:57):
Well that's it. They're both showing a little bit of
Dan this episode.

Speaker 5 (53:01):
Yeah. Yeah, interesting point there. Yeah, Yeah, but I think
we did it. It was it was kind of insular,
but that's what I thought was so fun about it.
You know, you really only get some surprising moments from
from Whitey and Victoria. You know, they're the only two

(53:22):
that come in. Victoria put us all in our place.

Speaker 4 (53:26):
If you think you're going back down to Hicksville, North Carolina,
I'm just like, Yo, we live here.

Speaker 5 (53:32):
Be cool, we lived there, Lady.

Speaker 3 (53:35):
Did you go out while we were filming, Liz, Like
on the first one, were you trying to be a
good kid get to bed?

Speaker 6 (53:41):
I think I was, Yeah, I think I was. I
mean I went out. I loved Wilmington like I had
never been there before, and it was a revelation to me,
Like I loved it so much.

Speaker 4 (53:51):
Yeah, have you shot anything else there?

Speaker 6 (53:53):
Yeah? I think Really, I think like I'm trying to
like sleepy hollow Shop. Oh yeah, I'm trying to think
of anything else. I don't know. I love it there
so much. It's super special.

Speaker 3 (54:06):
Well, and you've worked on so much stuff. I mean,
all of this stuff on your IMDb page is bananas.
You worked on The Boys, American Horror Story, Tell Me
a Story, Jessica Jones, The Gifted, Convision, Secrets and Lies. Oh,
I remember Secrets and Lies.

Speaker 4 (54:26):
You did three episodes of the following two Sleepy Hollow.

Speaker 3 (54:30):
I didn't know that you did Revolution with my husband's
best friend, Billy Burke. Like you have worked on Vampire Diaries.
You've worked on everything, yep. And so for our show,
we did a little bit of everything. We had some
horror stuff, we had lovey dovey shit, we had action
stuff with the sports. Like, what is your favorite thing

(54:52):
now as a veteran in this industry?

Speaker 4 (54:54):
Who? How many episodes of television have you done now?

Speaker 3 (54:58):
I don't know a lot hundreds, that's not what's your
favorite thing to do now?

Speaker 8 (55:04):
Yeah?

Speaker 5 (55:05):
Is genre or is it?

Speaker 6 (55:08):
I mean? Play like every I mean my favorite thing
now is working with actors one hundred percent. It's like
the collaboration and the discovery and that now that I
feel like I have a little confidence, like seeing something
in a rehearsal and having a plan to do this,

(55:28):
but seeing something and have seen something somebody give you
an idea and going, oh god, this is what the
scene is about. And like that kinetic energy with working
with actors and great actors like that is I mean, look,
I love shooting big stunts like that's a hard you know,
like big action like The Boys was super fun. But

(55:51):
it's also just like even in that it's about like
finding mistakes with a person, right, like why do I
care that you're almost getting killed?

Speaker 4 (55:59):
Like why?

Speaker 6 (56:01):
And that back and forth and that spontan and like
prepping well enough that you can be spontaneous in the moment.
That's like my favorite favorite.

Speaker 5 (56:11):
That's so cool.

Speaker 4 (56:20):
Do we have any listener questions this episode?

Speaker 3 (56:22):
Do?

Speaker 5 (56:23):
And actually I think it's such a cool question for
Liz because it's technically about location scouting, Ariana wants to
know how come even though Tree Hill is set on
a beach, we rarely have scenes at the beach or
near the beach.

Speaker 4 (56:38):
Well, did you film at the beach?

Speaker 6 (56:39):
List not on this episode? On other episodes, I think so.

Speaker 4 (56:44):
Do you want to tell them why we don't go there?

Speaker 5 (56:46):
It's a nightmare.

Speaker 6 (56:48):
I mean yeah, I mean, look, it's like, first of all,
you're trying to build a day somewhere, right, so like
you have to build a day at the beach to
get's like to rationalize getting the company out there and
moving all the stuff out there. You have to have
a whole day of stuff to shoot there, so it
would have to be a beach centered episode. And then
I mean moving things in sand, like is there anything worse?

(57:11):
Like everything has to be put on those weird, big
fat rubber wheels and pushed, and you're asking a crew
and a cast to walk in sand. And then it's windy,
or it's sunny, or the fog rolls.

Speaker 5 (57:23):
It's just very it's wet.

Speaker 6 (57:25):
Yeah, to get like that idyllic looking thing is like
finding a peole in a haystack.

Speaker 5 (57:31):
Yeah. And I used to think a lot about the
camera guys, a because those, you know, Dolly's cameras are
all so heavy and b anytime you have to change
the film or change a lens, You're asking people to
do that with the most sensitive materials in our business.
In Sandy Wind.

Speaker 4 (57:50):
It's terrible.

Speaker 3 (57:52):
I wasnay, were we still shooting on film in season five? Yes, yeah, yeah,
we were one of the last shows we held out.

Speaker 7 (57:59):
Man.

Speaker 5 (58:00):
Yeah, I would give anything to go back to film.

Speaker 4 (58:03):
Yeah, we just looked nice on film.

Speaker 5 (58:05):
Nobody wants to see four K. It's too much. Like
I don't need to know how many hairs you have
in your eyebrows. I don't need to know the size
of your pores. It's too it's too close. It's so
hyper real that it takes me out of things as
a viewer because it's like I'm at a science museum.
I don't like it.

Speaker 4 (58:25):
Let's just go back.

Speaker 6 (58:27):
It's so sharp, and I feel like on the film,
it's like as directors and then cameramen like we you know,
people would be like, is it gonna look like that?
And you'd be like, no, we're going to do this
thing because the monitors were so bad. Now there's like
a mystery to it still, and like directors of photography
had an air of mystery of how they did now,
like it's going to look like that. Yes, it's going

(58:47):
to look exactly like that. You know if you don't
If you don't like it now, you're not gonna like
it later.

Speaker 5 (58:52):
Yeah, we're not gonna like it on a big screen TV.

Speaker 3 (58:55):
No, when they come in so super tight. Now, that's
just mean, right, just mean, yeah, not here for it.
I wasn't there for it when we were playing nineteen
year olds. Nineteen years old kids, they're idiots.

Speaker 4 (59:11):
Okay, So Liz, when you come back in.

Speaker 3 (59:13):
Future episodes, yeah we do. I think we did more
flashback stuff, like I feel like I remember laying on
a car with Lucas, I remembers hanging out by the
sound somewhere.

Speaker 5 (59:25):
There's definitely more flashbacks. This was the first one, but
there's definitely more. Also because this played really well, Like
people loved this episode. They loved seeing where we'd been
thanks to Lizy.

Speaker 6 (59:40):
Look, it was also really smart writing to hold off
five episodes, you know what I mean, because people were
like so dying to know by now, Like that was
a really smart construct.

Speaker 4 (59:51):
Of all the storylines that you had to direct.

Speaker 3 (59:55):
Which one was your least favorite?

Speaker 4 (01:00:00):
Which one you're like, god, damn.

Speaker 6 (01:00:01):
That one on this episode.

Speaker 4 (01:00:03):
Or any any episode.

Speaker 3 (01:00:07):
I mean, I mean, you could tell us your favorite too,
But I'm snarky, so I'll go.

Speaker 6 (01:00:12):
I loved I loved this episode one. I just thought
like it was a fun opportunity and it was the
first and then I think next season I shot an
episode called get Cape Wear Cape Fly, which has a
big funeral in it. I won't even say more than that. Yeah,

(01:00:33):
but that was that was a good episode, Sophie. I
remember you at the end of that episode is like, that.

Speaker 5 (01:00:40):
Was one of my favorite episodes I ever did. And Liz,
you you just like you set such a tone for me,
and it's so cool to have you in our orbit
again now and even to hear like you talking about
you know, when you left Hill and you called Liz
because who else had a baby? Like I remember in

(01:01:00):
season six being like I want to be her friend.
You're feeling like this kid who Like I was like,
I can't ask her for her phone number. It would
be so weird, Like I wouldn't even know what to
say to her. And I'm really glad I get to
tell you that now. I'd be like, cool, let's be friends.
Because I was so enamored by you and intimidated by
you and impressed by you, and I was just like, hey, Liz,

(01:01:22):
how are you doing? I was your morning? Okay, I'm
gonna go with you. I'm gonna go suiment chair no by.

Speaker 6 (01:01:28):
I felt the same way. I loved you, guys, Like
I really I thought you were so good and so cool,
and I felt like we spoke the same language. And yeah,
I loved it.

Speaker 4 (01:01:41):
Wow, you were the cool senior. So thanks for bringing
us underclassmen.

Speaker 3 (01:01:45):
Along hell because it was you know, I think everyone
knows we needed places where we could feel safe, and
you were a place where we could feel safe. And
it has been really exciting to see all of the
shows that you've worked on and all of your credits,
and like, see you in Variety and see you in
all like the trades and stuff, and.

Speaker 4 (01:02:04):
Be like, we know her. She's a boss lady. Now
she's running this town. It's fun for us. Yeah, because
we had no idea we were your first TV.

Speaker 5 (01:02:13):
Show, not a clue.

Speaker 6 (01:02:16):
I probably didn't tell you. I mean, like, it was
so embarrassing, but.

Speaker 3 (01:02:22):
I love it all right, So should we spend a wheel?
Are we a wheel?

Speaker 4 (01:02:25):
Time?

Speaker 5 (01:02:25):
Let's do it?

Speaker 4 (01:02:27):
Liz, have you listened to the show?

Speaker 5 (01:02:29):
Do you know what?

Speaker 6 (01:02:30):
Are?

Speaker 4 (01:02:30):
Yes?

Speaker 6 (01:02:31):
I listened to it always.

Speaker 4 (01:02:32):
Girl, you get to spin the wheel.

Speaker 3 (01:02:35):
So we have to pick someone from the cast and
someone from real life who fits this superlative most likely too.

Speaker 4 (01:02:42):
Why do we have Sophia.

Speaker 5 (01:02:44):
Most likely to survive on their own lost in the woods?

Speaker 3 (01:02:50):
Okay, character most likely to survive. I mean, Lucas can't
survive one day without a girl, so it's not him.

Speaker 4 (01:03:02):
Who do we think can survive?

Speaker 3 (01:03:05):
I mean.

Speaker 5 (01:03:07):
I think Whitey. I think he's got like those cool
older generation skills like that guy would probably be in
the woods whittling tools. He'd know how to build a
fire with no match, you know, like, couldn't you picture it?

Speaker 4 (01:03:23):
Is that why he retired so he could just go
off to the wood whittle and whittle.

Speaker 6 (01:03:28):
Yeah, he wouldn't panic, which is a good trait. No.

Speaker 3 (01:03:33):
Right, He'd probably like like pick one tree and name
it Camilla and talk to it all the time.

Speaker 5 (01:03:42):
That would be his wilson.

Speaker 4 (01:03:44):
Yeah, yeah, Camilla. I made another spoon winling.

Speaker 5 (01:03:50):
I love it all right, Liz, who do you think
in real life? What actor on our.

Speaker 4 (01:03:55):
Show do you think would survive in the woods?

Speaker 5 (01:03:57):
If any?

Speaker 6 (01:03:58):
No, I don't think you are at all. I mean
I think it's funny. I look at both of you.
I feel like Hillary can garden and make things and
farm and do all that and has like a million
things and then Sophia, I think you have such incredible
conviction that you would just like hone in on what

(01:04:19):
to do and do it.

Speaker 4 (01:04:21):
Dude, she's out there fly fishing.

Speaker 3 (01:04:23):
She's fly fishing and living in yurts and stuff on
the top of a mountain.

Speaker 6 (01:04:27):
And she said that like what a prepper is is
so you know, you just figure it out.

Speaker 4 (01:04:31):
Yeah.

Speaker 3 (01:04:32):
Yeah, She's got a knapsack with all the right tools,
like a spork and one of those water filtrations straws.
Did you give away those things like in your in
your wedding gift basket, there's some survival tools in there.

Speaker 4 (01:04:45):
You win this round.

Speaker 5 (01:04:47):
I think it would be us. I would not be
able to do it alone, but I think if you
and I got stuck out there together, it would be fine.

Speaker 4 (01:04:54):
Yeah, all right, the girls got this.

Speaker 3 (01:04:57):
The girls have everything under control.

Speaker 4 (01:04:59):
Obby, Yeah, yeah, yeah. The CW groomed us. Well, God,
bless are they done?

Speaker 3 (01:05:06):
Now? What's going on with Is the CW like MTV,
Like we conquered those chapters in American television and now
they're gone?

Speaker 5 (01:05:14):
Are they?

Speaker 4 (01:05:14):
I don't know?

Speaker 6 (01:05:15):
I don't even know.

Speaker 3 (01:05:17):
I think maybe this week they were both in the
news for just canceling everything. So, guys, we were there
during the peaks.

Speaker 4 (01:05:25):
I'm so glad we did it together.

Speaker 5 (01:05:27):
Holy hell, what do.

Speaker 4 (01:05:28):
We got next week?

Speaker 6 (01:05:29):
Baby?

Speaker 5 (01:05:30):
Ooh, next week We've got season five, episode six. Don't
dream it's over.

Speaker 4 (01:05:35):
I can't wait.

Speaker 3 (01:05:37):
Liz, Thank you so so much for taking care of
us then, and for coming to join us now, and
for watching this episode for the first time in like
fifteen years.

Speaker 6 (01:05:47):
Thank you for having me. I love this show and
I love hearing you guys talk about your experience with
such intelligence and empathy, and I think you guys are amazing.

Speaker 5 (01:05:59):
Thank you.

Speaker 4 (01:06:00):
All right, we have to do another show. Yeah, okay,
all right, you guys. We will see you next week.
Bye bye, Hey, thanks for listening.

Speaker 5 (01:06:11):
Don't forget to leave us a review. You can also
follow us on Instagram at Drama Queens O t H.

Speaker 3 (01:06:17):
Or email us at Drama Queens at iHeartRadio dot com.

Speaker 4 (01:06:21):
See you next time.

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