Don't Sit on Any Cold Benches (S1 E7, "Kiss and Tell")

The fabulous George Bell, dialog coach for The Gilmore Girls, is here to teach you how to Gilmorize it.

He's sharing the best stories (Milo stories), Gilmore tricks, and a moment in Kiss and Tell that truly shocked him.

 

George reveals who was the best at learning their lines and who wasn't quite as stellar.

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See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:00):
I am all in. Oh, I am all in with
Scott Patterson and I Heart Radio podcast. Hey everybody, Uh,

(00:23):
this is Scott Patterson. I am all in podcast, I
Heart Radio and uh we are gonna talk about Kiss
and Tell, episode seven, season one, and we have a
very very very very special guest and and a good
personal friend of mine, Mr George Bell. George Bell was

(00:46):
the dialogue coach uh on Gilmour Girls. What what season
three through seven through the end of the run. You
came in like the first part of season three, um,
and Mike Odd he saved the show. George literally saved
when you know, I mean we were we were kind

(01:07):
of kind of struggling along with all the dialogue, um
until you showed up. And then when you showed up,
it just, you know, the days became shorter, the scenes
became better, it all, you know, it all, it all
got easier when you were there because you were helping
us out so much. So, so let me, uh, let
me tell everybody who the heck you are. And you've

(01:29):
got quite an impressive resume, young man, So let me
put on the specs here. So, so, you played dual
roles in in Gilmore Girls. It was first as dialogues
set dialogue coach, and you also appeared as Professor Bell
Fantastic and you were in A seven episodes from two
thousand three two thousand seven. First time we saw it

(01:51):
was season four, uh, episode six and Affair to Remember
in the last time we saw you as Professor Bell
was season seven, episode twenty. Laurel, Laurel I, Laurel I
question mark question anyway? Um, George, what is a dialogue coach?
What is it? What? What do you do? What is
it specifically that you do well? Dialogue coach not to

(02:13):
be confused with dialect coach. Uh. Dialogue coaches the keeper
of the word so so to speak, and that uh
when uh, the exactly producer they want the dialogue pretty
much word for word. Uh, then I'm there to work
with the actors to make sure they get it word

(02:35):
for word. Um, dialect coach or people like if you
talk with the British accent and Jamaican accent, so it's
an accent for dialect, but for me it's dialogue. I
don't give acting notes unless the actor would requested it
from me. I'm just there to be, you know, the
person to read their lines with them. And drill it

(02:58):
in their head. And then and after each take, I'll
go up to them with my little trustee notebook that
show them UH if they've got something wrong. And generally
with my my own method is UH. I try to
write what the actors said incorrectly, because quite often as
an actor, you think you're saying the line correctly, but

(03:20):
then you're really not. So when the first things you
show them something they did wrong, they said, what did
I say? So if you can show them what they
said incorrectly, then more often than not they can make
the adjustment. Some actors, I don't tell them what they
said incorrectly because they only would confuse them more. But
other actors would like to know what they make that adjustment.

(03:42):
So I know how each actor worked on the show,
what their method us and UH, and I would work
with them under that framework. Oh yeah, really interesting. So
so I you would approach me differently than you'd approach
Lauren than you'd approach Unique or so what were the differences?
What were the differences? What was I like to to
work with on set? And how did you approach You

(04:04):
really love to run the lines over and over it
and get it drilled in your head, uh, which was great.
Um and um. And also you know, because I would
come to your trailer, which was nice and quite offer,
you would treat me with sushi, right right right. So,

(04:25):
but but now we would we would work the scene
and work the scene. You know. Sometimes it took ten times,
fifteen times whatever it took for you to feel comfortable,
and then you were there. Um. Uh. Lauren, she liked to,
uh just do the maybe a couple of times and
really at rapid speed. And also maybe just the que

(04:48):
line sometimes like maybe a line or two, just to
give it the cube. And so we would do that. Um.
Alexis was to come the same, We would just do
it quickly and uh. And also Lauren and alex Is
what they would do they would write down their dialogue
on the back of their sides because they said that

(05:09):
that would help them memorize the line by writing down
their lines, which I actually incorporate that as an actor now. Uh,
and it's true it sometimes helps you when you write
it down, it kind of somehow settles in the brain. Um.
And then uh, Kelly, because she's some theater she I mean,
she'd like to run the lines. So most people what

(05:32):
we're like you, they'd like to run the lines. Uh,
but I think you were the most diligent and wanting
to uh you know, to run the lines and really
get it locked in so that you you know that
you were ready. Um. So yeah, for me, it was
about the comedic timing. It's if you don't have the
lines cold, you can't really focus on the timing. Right.

(05:54):
The last thing I wanted to do was screw up
Lauren on the timing things because she had so many
of those great lines and I didn't want to get
in the way of that. And you can really, you know,
kill a scene if your timing isn't there, you know,
if you don't know the lines. And that's that's the
first thing. I mean, you gotta that's the first rule theater.
You you come in walking, I mean, sorry, you cat,

(06:16):
you walk in talking, You have you have to come
in walking. You maybe sometimes you walk in crawling or
I have no idea, but you've got to You've got
to know your lines. Um. Yeah, So what about on
this set? What was the experience, Like, we're different actors
that you approached on set to correct their dialogue where
they you know, it can get a little testy sometimes

(06:39):
because people that are they're very tired. They've been there
for sixteen hours and they blow. They do a brilliant
monologue or a brilliant scene and one word is off
and you have to go up until the with the
bad news and lamp. You had a tough job. Man

(07:00):
knew you had to go up and you had to
tell the director you know, look, we got to do
it again because they didn't get that one word right.
And then you have to go up to whoever it was,
you know, me or whoever said listen, you know, you
got that word wrong, and you're just like, oh no, no,
we can't write that take on right. So what was
that experience like for you? Well, that's also in part

(07:21):
the reason why I would write down what the actors
said if I could, because sometimes if it was so tiny,
I could lobby in there on their behalfs and look
they just said this instead of that, you know, I mean, uh,
you know close enough, you know. Especially it was helpful
if amy and then we're directing, because you know they

(07:44):
would the final say so with them, you know, they
they would give you, guys a little bit more leagal
we actually than some of the other guest directors. Uh so,
but yeah, I know. But I think for all of
the regulars on the show, they kind of knew the
routine and so and so with one even though I

(08:05):
was coming up there to give them the correction. You know,
for the most part, everyone took it and stride and
they understood. Uh. But sometimes the guests actors that would
kind of crash and burn, and you know, I would
want to crucify me because you know, they're like, what
the hell. You know. I was like, sorry, don't, don't,

(08:27):
don't shoot the messenger. Right, you remember that guy, that
nice guy. He was a little bit older and uh,
you know, he was an experienced Broadway theater actor, and
he just got this deer in the headlights thing going
on about. And he looked at me and he goes,
do we really have to go this fast? He goes,

(08:47):
I said, yeah, we do. Unfortunately, he was like, I
don't know if I can do this. They said, you
can do this. If I can do this, you can
do this. Um you know, you're they were The guest
actors would get shocked. Um. Yeah, they wouldn't realize what
they were walking into the speed of it, you know,

(09:08):
not not at all I think how I got Professor Bell,
uh said, many of the people who are playing the
teachers crashed and burned. And there was there was one time, uh,
this lady who was a teacher, Jamie Babbitt, was directing
that that episode, I remember. And so when I was

(09:28):
in the hallway with her running the lines and everything
like that, and you know, and she kind of had it,
but but I could I kind of see that look
coming over them, like, oh oh danger, will Warminson Dungeon,
and and she just quiet and said, I want to
go home. And I said, why, I can't do this.

(09:50):
I want to go home. I said no, no, no, no,
you could know. No, I need to go home now.
And so I said, oh, no, no, You'll be fine.
And so we ended up having to write cue cards
in the back of the classroom so she could read
the lines because she just had so pigned herself out
and couldn't take the stress of it all that we

(10:11):
had to write it on two cards and and that
was the only way she got through it. Uh. And then, UM,
I don't know if it was the actor that you
were talking about. It was in the little movie theater.
It was a couple and an older guy, and he
just I had to literally, especially for his coverage, just
speed him every line. I would say the line, and

(10:34):
then he would say the line. Then I would say
the next line, and then he would say that was
the only way he was going to get to it.
It just he had just that was it, you know.
And so so we we had those moments, Oh George,
it was you know, you fore, it's been so long
and you forget what a pressure cooker the series was.
I mean, the reboot was a lot more relaxed. Yeah,

(10:57):
we had more time to prep uh the scenes and
all that kind of stuff. But and they weren't as
strict about the dialogue because it was just uh Dan
and Amy directing, so they were okay. So that's why
I tried to write it down so they could see.
And it's like and rarely did we have to go
back and do it because of the dialogue. It was

(11:20):
unless it was just really you know, like a whole
line was omitted or something or you know, and so
and I also I had to I wrote down what take,
what was said on what take? So on tape three,
they missed this word or that sentence. On tape four
that was a better one. But but they missed this,
but they got that one right on take so they

(11:40):
knew which one. So so that she said, so we
have it, I said, well, and take maybe two and
six you have it, you know. And so so it's
really interesting. So I want to take us back a
little bit. How did you get the job as a
dialect coach on the show? Carla mccloski, who is a
very very dear friend. I actually I sang in their wedding.

(12:04):
Her husband and I went to college together. We were
theater majors. Okay, so let's tell Let's tell the audience
who Carla. Carla is, what what was her role over there?
Carlo was the first a d assistant director on the series,
and she's like the main person, uh you know, I mean,

(12:25):
they they're like the heartbeat of the show. And so
I guess when the decision was made in the third
season to bring in a dialogue coach, in part, it
was because they were going through script supervisors, like it
was like a revolving door, you know. And finally I
think they realized, well, you know what, maybe it's too
much to expect the script supervisor to do all what

(12:48):
they do and then to be on top of the dialogue. Uh.
So they said, let's bring in let's bring in a
dialogue coach, and Carla said, I have just the person.
And so uh. But I interviewed with several of the
people and I think they got it down before people.
And then the four of us interviewed with Lauren really

(13:12):
and yeah, yeah, so we interviewed with Lauren, and in
in the interview with Lauren and she said, now your
friends with Carla, right, I said, yeah, yeah, that's a
very close friend. So I think that was my ace
in the whole and so uh and I was selected.
So that's how UM and I. Then I also interviewed

(13:33):
first with my first interviewed with UM Patricia Palmer and
Amy so Falmer was producer, one of the supervising producers
or one of the main producers of the show, right right,
So so my first interview was with them, and then
I think they whittled it down to four of us

(13:54):
who met with Lauren and then Lauren had the final
say as to who you wanted, and so she selected me.
I brought on board and I remember my first day,
you said, I can't believe they did. They actually brought
that they sprung some money and brought in a tile
up book. I can't believe. You were really happy, you know,

(14:18):
but you couldn't believe it. Yeah, I don't know. I
think I think Brown season three they were starting to
cut the budget on craft service. So the craft service
wasn't as you know, I mean, it was nice, it
was always nice, right, it's uh, but the craft services
where you know, all the food is the snacks and

(14:38):
the fruits and the veggies and right the water and
the soda and all that stuff, but it was, um, yeah,
well there they there was. There was always sort of
a budgetary constraints to consider, and that's perfectly understandable. Those
shows are very very expensive to produce, so I mean,
if you're doing multiple shows over there, you know you're
gonna you're gonna try to trying to keep it in

(15:01):
accounting wise, but perfectly understandable. But anyway, um, that's so interesting.
So so yeah, and then tell us about when they
were going to let you go. Well, I think I
quit four times. Really it was about four times. It
was about four times, didn't Yeah, yeah, because I do

(15:24):
remember one time you were just when you heard that fact,
who was it was it Dan Church, the sound card
or someone. Usually when you if you were um out
for a few days, you know, they uh, and then
you come then you come up to the sound truck
or something and I think you said, okay, so who
got fired today? Got fired this time? And they said,

(15:47):
well George quit and he said and you said, what
oh no, no, no, no, no, no, this can't happen.
And you went to particial. You can't know. This cannot happen.
You can't this cannot know. We cannot lose him. We
cannot lose him. You know, we're not gonna let so
And it didn't happen. You were the mean, there's no
way we could have done that were kind of work
at that level. Um without you, there's just no way.

(16:11):
I mean, it's not like I was going. We weren't
going in each other's trailers running lines. Everybody's too busy.
Everyone was busy doing their own other things, and so
so I was resting around, you know, and I worked
with everybody. If you had one line h as a
guest actor, Uh, if I had the time, I would
go there and just you know, give you that attention,

(16:32):
just to make sure because quite often, especially with the
guest actors the first ad relied on me to see
if they were how they were doing. And I remember
this one guy who was a minister and it was
in the dinner scene at the Gilmore House. And when
I ran lines with them, he just it just they

(16:52):
weren't sticking. And and so as I'm running the lines, uh,
where he's not looking at me? And Sean Kavan, who
was the other first a d uh was looking at me,
you know, to see how things are going. And I
would I did did this so and it was like

(17:15):
so then everyone kind of knew what was going on,
you know. Uh I said that, no, it's not you know.
I would go to the director and saying and and
and and and uh you know. And I mean I
was the ladys on between the actor and the video
village where the director and all the technical people would be.
And especially for the guest actors because I knew all

(17:37):
you guys personality. I knew. I knew if you were
having a tough day or things were kind of you know, uh,
you were struggling a little bit or you know this,
you know are you there was no more correction should
be given, you know. And I and I was literally
a couple of times with the directors, I would saying no,
I wouldn't give them that note. I was, good, you

(18:00):
need to let them just let them know, let them
have another go at it. Uh, you're gonna go in?
I thought, no, no, that they're on the edge, you know,
let them, uh, let them figure it out, you know.
And so, you know, unless it was something I absolutely
had to go in, you know. Uh. And so yeah,

(18:21):
as I was there longer, U and I felt more secure,
you know, I felt I could make that call sometimes
just to say no, and I and I would you know,
warned the directors, especially the new ones, Uh no, they're
not having you right now, so let them alone. So

(18:45):
I don't know who it was, but and they were
all delightful, and they were all such good directors. But
some of some of them, not not a lot of them,
but some of them would come in onto the set,
they'd leave video village, they take their ears off. They
they come into video village after every single take and

(19:05):
talk and would just be like, really, this is happening again,
Like it's the second take, you know, Yeah, well we'll
get there. Well we'll get you know. And it was
just and then they go to each actor and it
would take forever to do it. So, um, so you
were back there with a leash on them. That's that's interesting.

(19:26):
I was. Yeah, I was trying to, like you say it.
Then most of the time the directors would listen to me,
you know, and and take my lead. Um, but sometimes
they didn't and they found out that I was right,
so they defied you. They didn't take your advice, and

(19:46):
then they got chewed up and came back to your
tail between their legs. Yeah, yeah, yeah, so you know,
uh so, yeah that happened. And and I and but
also script supervisors, Oh my god, I had There were
a couple of script supervisors who were just the very
first script supervisor that uh when I first started. She

(20:09):
started four days before me. And instead of her being
happy that I was there to kind of relieve the pressure,
she was very territorial. And she was jealous because you know,
the actors had taken to me so quickly, and she
was she gave me all kinds of problems, you know,

(20:30):
and uh and it was just like, so, I'm just
trying to help you out. She one time she didn't
even want me on the set, you know, and uh.
But eventually she was let go. And and you know,
there were, like I said, a revolving door of script
supervisors and I probably into the six or seventh season,

(20:51):
I can't remember. There was this one young girl who
had come on and she was like trying to give
me all kind of grief and I and I just
told her so I said, uh, excused me, but there's
a reason why I'm still here. And I said, uh,
you know, there's been a lot of scripture advisors, So

(21:13):
I would think that you would want to listen to
what I have to say, because you know, there's a
reason why I have survived and so place to survive. Right, No, No,
And sure enough, I don't know. Maybe she lasted two shows,
maybe three episodes, I don't know, and then she was gone. George,

(21:34):
So George, you know, yeah, it was it was something
like the Octagon and there wasn't it. It was like
a Chuck Norris film. Good God, So let me let
me ask you this, um um. I wrote down this question,
what was the script? What script was the toughest one

(21:58):
that you had the opportunity to coach on. Do you
remember if there was one particular script that because they
were all pretty dense with dialogue. So it was there
one particular that you remember, and if not, it's okay,
we won't be don't. I don't remember a script per se. Uh,

(22:21):
I think what I would do, I would judge it.
But if it was going to be a tough day,
depending upon the actor who was in and the amount
of dialogue they had to do. So certain actors who
shall remain nameless, uh, weren't very good with dialogue, handling
dialogue and some of the other rules. And if they

(22:43):
had a particularly big scene with a lot of dialogue,
I knew my work was gonna be uh kind of
difficult that day because uh, they just weren't quick with
the lines. And what didn't mean they weren't a good actor.
It's just that certain people could retain lines pretty well
and certain people couldn't. Um uh and so so I

(23:08):
so if I saw a particular day that certain actor
was in and I look and I see all the
page and then they had a lot of dogs, I'm like, okay,
we're going to have a long day to day, you know.
So you know, and there were certain actors, you know,
if I saw that they had a lot of dialogue
and they'll be like, Okay, you know I know that

(23:29):
they were going to breeze right through it, so uh
so yeah, it was not so much descript it. It's
just the actor. Uh and how well they you know,
couldn't learn their lives and you know how well they
worked under pressure. All right, let's take a little break.
George great talking to We're gonna come back and uh

(23:49):
and recap the episode. This is Scott Patterson. I am
all in. We'll be back after these messages. Yeah. First
of all, you know we all about that high school drama,
Girl Drama Girl, all about them high school queens. We'll
take you for a rod in our comic girl cheering

(24:10):
for the drama Queens up girl fashion. But you'll tough girls.
You could sit with us. Girl Drama, Queens, Drama, Queen's Drama,
Queen's Drama, Drama, Queen's Drama Queens. Hey, this is Bethany
joy Lynn and Sophia Bush and Hillary Burton, and we
have a podcast called Drama Queens. I feel like it's

(24:31):
a walk down memory lane that also might be a
little bit of a stumble down memory lane. I mean
we'll have cocktails sometimes, so we might leave stumbling. I'm
good with that. There are no fans like One Tree
Hill fans. There is no family like our family. So
we got together to do a rewatch podcast to relive
the show as so many of you have so many times,

(24:53):
because to be honest, we haven't Yeah, we haven't seen
it since two thousand and two, two thousand three. We
can't wait to take this trip down my Marie Lane
with all of you. What would our characters be doing
right now? I think Hayley would probably be. I mean,
she's got to be close to an empty duster now
right like um Jamie's out of the house. She might
she might be finally ready to live out those wild

(25:13):
years that you know what I mean. I think it
might be time. I'm going to say a lot of therapy.
Peyton Sawyer is in so much therapy right now, well
not long ago. I found my vote Brooke Davis for
President Penn. I don't know as Brooke Davis a senator
or something. There's so much cool stuff to imagine for them.

(25:37):
But before we can go forward, we got to go
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(26:01):
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are all about that high school drama. Girl Drama, Girl,
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(26:23):
Queen's Drama John McQueen's Drama Queen. All right, everybody, we're back.
I'm Scott Patterson. I am all in podcast our Heart Radio.
We're here with the Dialogue Coach from Gilmore Girls from
season three to season seven, all the way to the end.
George Bell, who also played Professor Bell, did seven episodes

(26:43):
in this series. A consummate actor in his own right. Um, George,
I have a question for you, Okay, who is the
best at reading their lines? And who need did a
little more help? Be honest? Ha? Oh god? Okay? Uh

(27:08):
if I were going to give medals out for best
with lines, I would say Liza Sean Gunn. And we
know that Liza played Paris and Sean Gunn played Kirk. Well, Lauren.

(27:28):
What what amaze me about Laurn is that she kind
of almost had like a photographic memory, so that she
would come to work and you know, without having even
looked at the lines, but she could process and and
I don't she must have a photographic memory or something
because she was so quick with learning the lines. That's

(27:51):
that's what you get when you grow up reading books,
when you live in books, and you have that that capacity.
So it's it's a very special skill. You know. Now,
people who kind of struggled with lines doesn't mean that
they weren't good after Let mean, I want to make

(28:11):
that clear to wait minute, you wouldn't put me in
that category with the top people with the lines. I don't.
I don't get in there. No, you learned your lines,
but they've learned them quicker. Is that what you re so?
I mean, No, you knew your lines. I mean I
always felt good after we left your trailer. I knew that. Okay,

(28:32):
he's wrong, solid just on being your eye line. That's all. Yeah.
I was always fun, you know, because I was always
cleared with you. Wherever I was on the set when
you were doing the scene, you go until I know,
someplace sales another place for your eye line, so you know,

(28:56):
so I was like, okay, a good place for your highline.
So we we had our routine that we all did,
um now, but for the actor that needed a little
more work. And I think he would actually admit it, uh,
that that he wasn't on top of his lines. It's
Jackson sukiece supiece uh husband uh in the series and

(29:20):
you know, and he directed a couple of episodes too,
and you know, good friends of Amy and Dan. Uh.
But yeah, even if he had a few lines, sometimes
they just wouldn't stick. Uh. So I had to I
had to kind of you know, work with him, um,
you know, to make sure. I'm trying to think, who help,

(29:42):
Oh it's our heart list tourists, Miss Patty. This is
one of those people that you know, I would not
I don't tell her what she said wrong because she
said no, I don't want to know. I don't know,
you know, because I get I get confused, you know,
don't tell me. So so I would just give of
the correction. Uh as she was a hooke. Uh let

(30:04):
me see, oh Sally start this was pretty good with lines,
um um, and well with the two of them together
there there was just such a joy on the set
that they would crack up everybody. Um uh oh you
know who acting was pretty good. It was you unique
because French is his first language, so he really wanted to,

(30:29):
you know, be on top of his dialogue. So uh
but but but if I were gonna give a gold medal,
oh and Kelly, Kelly was really good two so uh um,
I mean everybody, the every all the regulars pretty much.
It was it was oh your sister, Oh what's that list?

(30:57):
Was that her name? Yeah? Love her, wonderful acts she
sult but a lot of actors come from the school
of improv where you know, you know, as long as
you get close to the lines, it's okay. And that
was her thinking. And so for her to be to

(31:21):
to get the lock in to save the line exactly
has written that was a challenge for her. But she
was just a wonderful actress. But yeah, I remember her.
I'm having to really run lines with her quite a
bit and given giving her a lot of corrections because
of that. So so yeah, that was that was a

(31:42):
challenge for her. But uh but again, like I said,
they were all great actors, um, and I just know
there's certain actors I'd have a little more work to
do than other with than others. Kathleen will Hoyt, Yes, yes, yes, yes, yes,
wonderful actress. She uh a sweet girl. She was great,

(32:03):
She was great and she did a great job. Yeah.
She and Michael Dan Louise, they were great. They were Yeah,
there was were really great days on set when those
two were there. Absolutely. Um. So what was it like
as Professor Bell to be on the other side of
the camera? It was probably one of the most stressful

(32:26):
days of my life, Yes, because how that all came about. Uh,
you know on uh the you know, it takes eight
days to do an episode, and usually the eighth day
is the longest day because if we had problems but
we had to uh we didn't get to all the

(32:47):
scenes that day, then we put it on the back
end and we had to get everything done on that
eighth day. And I remember this eighth day was on
a Monday, so we Mondays our earliest day, so we
had gotten up really early that morning and too, and
to try and get everything done. I think we were.
It was getting around six or seven o'clock that evening.

(33:08):
Uh so it was already twelve thirteen hours day. And
then the next thing I know, they come up to
me and said, George, guess what you're going to be
Professor Bell uh in the next episode. I went, oh really,
I said, oh that's really nice at them. Oh great,
you know, I thought, okay, and I said okay, And

(33:30):
so then they gave me this, But I said, so,
now what am I doing this? You know, tomorrow tomorrow, okay,
and your first up. I'm first up, and it's tomorrow
and we haven't finished with this episode. And then I
looked and it was a page and I have monologue,

(33:52):
And I was like, when will I have time to
learn this? You know, you're already brain dead anyway because
you're tired, and so so I'm trying to look at
the lines and learn the lines between takes and whom
we're moving from one set to the next, you know,
And I'm like, and then of course to add the
pressures that now the shoe is on the other foot,

(34:15):
I've got to now, you know, it's like all the
other actions. I'm sure like, m hm, okay, now let's
see you do it God and so and so. I
went to the first day g and I said, is
there any way you can put me towards the end
of the day, not personal? She said no, because of
the moving It just makes the most sense. And I said,

(34:36):
but I have no time to learn this. So anyway,
I didn't sleep much that night at all. And in fact,
I think around about three or four o'clock in the morning,
my doorbell rings with changes to the dialogue, and I'm like,
and then I thought, am I being pumped? I mean,
it's this, it's this for you know, so and so

(34:59):
and just enough, just screw you up. And so when
I walked in to do that scene, I was like
a walking zombie. Now I must say, watching the scene,
I must be a good actor because I was dying
on the inside. But I looked calm up on the outside,
you know. And I got through it, you know. I
it wasn't my best work, but at least I got

(35:22):
through it to I guess break the curse of the
teacher or the professor, because then they gave it to
me several more times. But and the other times I
had enough time to learn the lines and feel comfortable.
But that very first time I was in Rory's classroom,
I was I think I was a philosophy or sociology professor,

(35:43):
and I'm not even I don't have anyone else to
the lines to bounce off of. It's just me talking
and talking, so it's all just all on me. I
was just I was just like the stress. So yeah,
that was one of that probably was my his date.
You were working on the show. You were probably the
most versatile actor of all of us because you had

(36:05):
to play so many different roles when you were dial
we're coaching all of us, right, so you'd go from
one to the other to the other. I mean you
probably do five or six every morning, and then you
do lunch and then throughout the day. So you were
you were playing all the characters, and they, you know,
Amy probably just said, boy, this guy can do anything.
Let's see the professor bell and who cares if he

(36:27):
can learn his lines? Know they you know, the reason
why they were giving me all those little parts was
partly I think one of the times I quit. One
of the things I wanted and it is you know,
your your health insurance. So and I wanted to get
it as an actor. So I negotiated that they paid
me as an actor and I needed to make a

(36:49):
certain amount of money, uh to uh so I could
get Plan one, which was the better plan for health insurance.
So uh oh, I remember one episode, I think the knit,
the knitting one. I think I say one word, uh,
twent I think that's what I said that coming down
the seconds and I say twenty. And I got top

(37:11):
of the show payment big because it was all going
towards my I tell you, Amy did things for me
that you know I would get on any other show.
The top of show means when you get a guest
star role that they're paying you as the top guest star,
which which gives you what five thousand dollars or whatever

(37:33):
it is or whatever it is now six six. Now
you've got six. You've got six grand. So that's fantastic.
And one word and you and you need to accumulate
a certain amount of money earned in any fiscal year
for the Union to give you those lower rates on

(37:54):
your health insurance. And if you don't accomplish that, then
you lose your health insurance. It's it's it's very trick,
and it doesn't matter how good a year you had.
For ten years in a row, you could be making
millions of dollars. But if you don't, if you don't
continue hitting their minimums, theyll you lose your health insurance.
So that's a very very big deal. Yeah, that's a
nice thing. Good for you. Good, good, good. So why

(38:19):
don't we get into the episode recap. You watched Kiss
and Tell last night? I did. What were your impressions?
What did you think? Everybody so young? Oh my god,
look how young everybody. It's like little babies, you know.
But it was it was great, uh, you know, just
to kind of go down that road. I mean, also

(38:42):
because I didn't work on that that episode, but you know,
I mean I knew, I knew the set, and you know,
of course I know all the actors, and so it
was fun just seeing everybody and and uh, just how
wonderful the show is. I mean that it's it's it's
just it's like comfort food. It's just a great show. Um,

(39:05):
what did you think? You know? The thing that really
jumped out at me about Kiss and Tell was, um,
Dean was it really developed a little bit at Dean's
background and where he came from and what he was
on about, and uh, you know when he I was
really surprised when he kissed her in Dozi's Market. I

(39:26):
was very very surprised, which which which, which really spawned
one of the funniest lines, laugh out loud lines from
Mrs Kim, played so beautifully by Emily Corona, was to
Laurel I when she came in. And that's when Laurel
I found out about the kiss from because you know,
because Mrs Kim thought she knew says your daughters, you know,

(39:48):
getting kiss She's she's kissing or making out in Dozis
Market and you know this is where we buy our
Foodly funny, Uh, but I I was a little surprised
by that, you know, the the Chicago kid coming into
the little town and then you know, grabbing they're pretty
girl and just just planting one honor at work. And

(40:11):
I just thought that's a bold move, was very bold,
very confident young man. Well, they had a lovely chemistry,
the two of them, It really they really did. Uh,
all three of her boyfriends, you know, Dean, uh, Matt
and my Low you know, I mean those are my boys.

(40:31):
I I didn't I didn't, okay, so, but I didn't realize.
You know, Jared was such a good actor at such
a young age. Yeah, I mean he was eighteen years old.
He was literally just like out of high school, or
maybe he was still in high school, but I think
he graduated high school and then he's on the set
of Gilmore Girls, right. Oh. Yeah, I mean he was

(40:51):
just like as fresh as it gets, and he was
good at eighteen. He was excellent. He was excellent, and
I think he got cast in that. Um the uh
was it Jamie? Who's that was the casting director? Well,
our mar somebody? When we did UH one of the

(41:13):
fan fest, she was telling how they found Jared because
they had been looking and looking and looking, and I
guess when he came in or something, because I don't
know if he was leaving to go somewhere, but he
read and she went running into Amy's office and said,
you gotta come. You know, I think we found I
think we found it. I think you know, and and

(41:35):
and he was like and so and they went in
and he read and sure enough, you know, that was
great story, great story. And I believe Dean Uh was
recast UH when the original Dean was Nathan Weatherington, um,

(41:56):
and Dean came in and uh, sort of took over
that role from good old Nathan. But so what did
you think? And also, you know this episode just kiss
and tell really, um, my god, I mean the Rory
that Rory and alexis was so vulnerable and sweet and

(42:20):
and you know, it really defines what that town was
all about, and being raised in that town to produce
a girl that was, you know, so vulnerable and so
sweet and so and and and this the flush of
young love. And my god, he kissed me and he ran.
She ran to to Kim's antiques and told Lane all

(42:41):
about it, and they giggled, and I was just like wow,
and it's like it hit me it. You know it
hit me before, but it really hit me right between
the eyes. Why people love this show so much and
and keep rewatching it and rewatching it is because this
is so well done. I mean, to do those kinds

(43:02):
of emotions and a young person, a middle aged person
in old rush to do that at that level is difficult.
You don't see that. I mean that's film quality. That's
like high end film quality, emotional life writing acting on
a little screen from the deep WB and It's confusing

(43:25):
because yeah, these young kids, man, they were so good,
they were so natural and so good. They never pushed.
They never you know, you know, you never you never
caught them over acting or just just great stuff. Oh yeah,
I thought he crossed the line a little bit with

(43:47):
the scene. You know, she invited him over to for
movie night, which was one of the which one was
another hysterical scene when when when Lauren told Alexus that
she'd done that invited Jared over and uh and and
you didn't see the look on Eric Alex's Alexis's face,
but you saw Lauren. They favored her coverage her what

(44:11):
they consider a close up, which is, you know, from
sort of the naval on up Um and Lauren just
went and why are you looking at me like that horrified,
horrified child? Like you did what? It was such a
great scene, such a great scene. But then you know

(44:32):
after uh, Laura, I gave Um Dean her little like
if you hurt my kid, you're dead kind of speech,
which of course has to happen. But it really surprised
me that she took that much liberty, knowing that if
Alexis ever found out, it was gonna be you know,

(44:53):
Trouble and River City, like, you know, because Dean's gonna say, boy,
your mom really scared me a little bit. But you know,
he doesn't scare. He didn't scare. I mean, he was
he was. He was so in his own skin that
character that he said, now is it my turn? Can
I can I speak now? And then he said that
the that the I need you to like being this
kind of thing. And I just thought, boy, that kid

(45:15):
is ballsy. I was a little I'm just like you,
honestly little taken back by that. I was too. I
was too. But it says so much about the character, right.
It's it's like, it's not the writing. It's like that
takes you back. It's it's it's I mean it is,
but it's it's what that character says. He draws a

(45:36):
line and he says, listen, I'm an equal to he's eighteen. Yeah,
I'm here, you know, I'm here to stay, you know.
I mean, hal so, which was which was nice. I
mean I love the fact that that that she did
say that this town loves Rory and that everyone will
be watching because it's so true everyone loves Rory and

(46:00):
and so that uh, and of course he's aware of it.
Uh that that she is this special, special person that, Yeah,
you do something wrong with there, you're gonna have a
whole town to deal. That was an amazing amazing scenes,
amazing scenes, really really funny what's what sean? Uh? Because

(46:20):
there was no Kerk in it, and yet no Emily
or Richard either. It was it was it was devoid
of Emily and Richard. Um. So you know, I wrote
down some great lines. Uh. When she was telling uh
Lane about the kiss and where it happened, what aisle

(46:41):
and Lane says, oh, that's a great isle. He says, well,
why is that a great issle? And she says, well,
because that's where you got kissed. And then at the
end of the show, she's telling her mother, she's telling
Laurela about it, and she's great, that's a great Yeah,
but that's you know that scene. That episode for me,
really brought into focus as to why, um, that show

(47:07):
is so beloved. That was such a charming episode because
everybody's been through that man, woman, everybody's been through that
first kiss, and it was just so iconic. The whole
episode was so iconic. It's so funny. My god, I mean,
I was laughing out loud through the whole thing. I mean,

(47:27):
the whole town knew about the kiss. Everybody knew about it.
You know. In in comedy films, right, they say every laugh,
every big laugh, is worth twenty million dollars at the
box office. There were five big laughs in the first
ten minutes of this thing, and usually all of the episodes.

(47:48):
I mean, you're getting big laughs throughout the whole thing
in the hour, and it's what forty minutes because they're
doing twenty minutes of commercialsavable. Um, just just knockout stuff. Anyway. Um,
we're gonna take another break and we come back. George
Bell and I are going to do something that we

(48:09):
have never done on this podcast before and we may
never do again, depending on how this goes. We are
going to walk to tight rope. Allow the Wallenda family
here with our fan base, the most dedicated fans in
the world, the best fans in the world, and so
we're gonna take a little break. I am Scott Patterson,
I am all in Podcast, I Heart Radio. Will be

(48:31):
right back after these messages. Yeah, alright, we're back, everybody.
I'm Scott Patterson, I am all in podcast, Our Heart
Radio we're here with George Bell, dialogue coach of Gilmore
Girls season three through seven. We're gonna do a little
acting here. We're going to enact. We're going to re

(48:51):
enact a scene from Kiss and Tell with Luke, Laurelai
and uh Alexis in this scene. This could be this
is a diner scene. I believe that it's a diner scene.
Are you ready to critique us, George and help us out?
I am ready. I got my laptop and I'm looking
at It'll be a challenge for me because I don't
have my pencil. All right, here we go. Let's just

(49:13):
take a crack at it. Danielle Riley, are you ready?
Rock and roll? Alright ready? And I wanna and at
a coffee? Come on, man, you you med at me too.
I mean, a man can choose whether or not he
wants to a picture of a fat, stupid burn on
his wall. And oh my god, that's the reason damn

(49:34):
Pilgrims came here in the first place. Luke, I wasn't
snubbing you. I didn't even hear you. Now I'm concerned
about you. Sorry, I'm just feel a little persecuted lately. Coffee, please, okay, Yes,
I'm fine. Don't look fine? Well, thank you. Well, just
might be a little concerned, preoccupied. Do look concerned? Well

(49:55):
I'm not. Well, that's fine. You just look at it. Hey,
you know some streamers will look eight in here. Thank you? Sorry? Sorry, sorry?
Oh hey, save your apologies for the Indians, missy. People
are really in a giving mood today. The Horn of
Plenty is packed. That's great. Do you want some coffee?
Oh no, I'll just have a sip of yours. I

(50:15):
have to get right back. Oh really, I thought we
were having lunch today. I can't. We're one program short.
I only have a couple of minutes. Oh. You've been
really busy lately. Yeah, I guess. I guess it's the
end of year. Rush. I mean, we haven't really even
talked to a couple of days. What do you want
to talk about? I don't know anything. Okay. Did you

(50:38):
read the article in the newspaper about the polar ice
cap smelting? Yeah, yeah, big deal, Fine, you picked the subject. Okay, great.
I was watching General Hospital the other day, and you
know they have a new Lucky because the old Lucky
went to go play something where he could have a
real name. So, the old Lucky had his girlfriend Liz,
who thought that he had died in a fire. So

(50:59):
then they bring this new Lucky and you're all like, Okay,
I know that that's not the old Lucky because the
new Lucky has way more hair, jel issues. But still
Liz was so upset about the supposed death that you
could not wait until you see them kiss. You know,
when do you have time to watch General Hospital? Okay,
let's get back to the point. What do you think
about the whole Liz Lucky kissing thing. I think their

(51:22):
actors being played to play a part. So it's nice
that they're living up to their obligations. Rory. Look, we
can finish this meaningful conversation later. I promised Lane I
would get right back. Okay, I'll see you later. Okay,
by I'm not going to say you look concerned. I'm
not going to talk about how good you would look
dressed as one of the guys from the Crucible. Fair enough,

(51:44):
wowful gaps you could drive trucks through. Dr George. The
speed of the time off was good, but I would
I would say okay, I uh. Normally if people are
too so I'll say okay, that was great now, Gilmour rise,

(52:05):
you know. So it's like they said, what speed it up?
Speed it up? Um? The only uh, let me see
whoever was who was reading Rory there was just one
little tiny thing in that last page and said you said, look, uh,
we can finish this very meaningful But it was look,
can we finish this very meaningful conversation later? So you

(52:28):
you kind of inverted that. And I have like a
little symbol where I said you inverted that. Uh. There
were just a couple of little floods where you guys
kind of repeated the word a second time, and I
would probably put a little circle with a two x
by that, saying okay, you said that word twice, you
know it's just one time. Uh yeah, So I have
all these Similarly, you've seen my script. It's like chicken

(52:52):
scratch all over the place. George, what about how terrible
the acting was? It was really Scott got but oh
the others it's like they forgot they were active. As
I said before, as a dialogue coach, I don't give
acting notes unless the actors specifically asks me something in

(53:16):
regards to be acting. Danielle Riley, why don't you ask George,
how good you're acting? Wasn't well. Actually, what I was
going to ask George is, from a scale of one
to ten for a dialogue, what would you give us
ten being great, one being really bad? I would you do? Guys?
Because you see, you must remember you had the dialogue

(53:38):
right in front of you. It's a whole different ball
game when you're doing different memory. Uh, so you don't
have that safety net. But I give you an eight. Well,
I can go to sleep happy tonight. I got an
eighth from George. I'm good. Well, part of being a
dialgue being a dialogue coach, you have to be somewhat

(53:58):
of a diplomat, you know. Get I get a solid too,
Thank you, Amy. It actually made me realize, like, wow,
the show is so good because they are so bad.
Acting is hard. Acting is not easy. It's not easy.

(54:20):
It's not easy. It's hard. Anybody tells you acting is easy.
And then and then put in like especially for you, Scott,
you're in a your diner, you know, so you've got
a whole lot of props and things, so pouring the coffee,
you get in the donuts, you're getting the food orders,
and and then and while saying all these lines at

(54:40):
a rapid speed, So you gotta get all those actions
in as well as the dialogue, and then you have
to match it every take, and you have to match
it every single take, and you have to match it
on the mediums shots and the close ups. So you
do it again and again and again and again, because
then I'm there with my trustee. I'm scared of George's

(55:06):
pencil Sure, I would a lot of lid on my pencils.
You get a ten out of ten. We love you,
Oh my god. George was always a breath of fresh air.
To come to the set and see George. Everybody would smile.
He put a smile on everybody's face. Um, Georgie boy,

(55:27):
how are you doing? Man? Huh, I'm good. I'm good.
You know. I'm just hanging in there. Uh, just one
day at a time. So glad that the pandemic seems
to be easy, so that we can maybe get back
to some normalcy or some type of normalcy. Have you
been in touch with anybody from the cast? Carla? Uh

(55:49):
and Patty Malcolm? Uh, Laurence stand in Patty Malcolm right? Um?
And who else? Do I? Uh? What have you have
you heard from Rich my standard. No, I haven't heard that.
I haven't seen or heard him in years. Um, I mean,

(56:09):
you know, and of course with those fan fests, I'll
see the people usually then uh. So I'll see Emily
and Keiko and uh some of the some of the
regulars who have been doing it every every year, so uh,
you know, and on Facebook prints with certain people, so
I so I'll see their post. But I'm gonna see Sean.

(56:34):
I'm gonna see Sean at the end of July. We're
doing a convention together in Connecticut that Mohegan's son July
twenty nine through August twod so Sean Sean, Yeah, Sean
and I have done a couple of I will he's
He's great. We did a panel together I think where, God,
I can't remember, somewhere in this I think it was Charlotte,

(56:55):
North Carolina someplace. Um, but yeah, I see am I
ce Milo on the convention circuit. Um. We did a
panel together in Houston at the Pandemic tour. So yeah,
I get to see these guys on the road in
working situations, you know. Okay, you know, for the when

(57:16):
we did the reboot, I remember Milo. One of my
favorite stories about him was set. We had been working
that day earlier that day, and then I think we're
getting ready to read the next script, which he was
was just going to be his first appearance in the reboot,
and we do it on our lunch break, so I know,
I have been working all that day and you know.

(57:37):
And so then so then we go over to the
space where we're gonna do read the script. Well, I
had I had to go to the bathroom because it
was it was like, okay, you know, because the scripts
are really thick and so and so. So I'm I'm
rushing to get get to the bathroom and Milo sees
me and it's the first time he seen me in years.

(57:57):
He was so excited. He allowed me into the men's room.
I think comes in he said, I'm sorry, George something,
but I was just so excited to see you. I
just have to come and give you a hug. I said, oh, okay,
well let's do it. Now, do I do anything else?
So he gives me a big old hug in the bathroom.

(58:18):
At least you didn't do it during, right, Yeah, there
you go. No, no, no, I haven't gotten that point yet.
He got to be before. But yeah, I'll do those guys.
I mean, I just love him to Jared, Milo and Matt,
they're all just I'm just so happy for all of
them that they're doing well and very well. They're doing
very very well. Georgie. How about time? It's time for

(58:42):
rapid fire? Ready for rapid fire? Yeah, okay, I want
to fire some questions at you rapidly, and I would
like to ask for rapid answers if you don't mind,
But here we go. Ready, How do you take your coffee?
Can you smell snow? No? Are you team Logan, Jess

(59:02):
or Dean? All three? Who's the daddy? I have no clue.
Best memory of Gilmore Girls? Oh god, I can't. I
can't everything just the actors being with all the actors
show you're binge watching right now? Um? Well, I just

(59:26):
saw one episode of Loki on Disney Plus, but I
think I may start back on Gilmore Girls. After watching
the episode yesterday, I was like, Oh, it's been a while,
cast member. You texted most recently and I think we
know the answer that one. Patty, Oh, I thought it
was me and then text mess oh yeah what do you? Yeah?
He texted Patty. You just just texted me before we

(59:47):
went on the air. Huh. I text Patty just before
to say that I was going to be doing the podcast,
So then I I got your text. Alright, puddy, all
right do it was so great to see you and
talk to you, and please come back, please please please
come back. Okay, Oh any time you know you you

(01:00:10):
let me know I'm there, and hey, I want to
come and see the family. Yes, Nick, nick seven now yeah, yeah,
I'm getting old anyway, Georgie, it was great, Senor. Thank
you for your time and uh, just a fantastic catching

(01:00:31):
up with him. We'll do it again as soon as
it was my pleasure. Okay, thank you to all the
fans are being so loyal to much. Yeah all right, George,
thank you so much. And uh and we'll see you soon, buddy.
Take care be well. I will take care you too. Okay.
Let me tell you something. He was like every morning

(01:00:55):
he was in my trailer. We were running lines, dishing
the dirt, eating. You know. He was just great guy
to hang out. He was just really remember so much too.
That was why I love talking to him, because he
has all the great memories. Oh, he's fantastic in every way.
He upped the level of that show. He really did anyway,
Wasn't that fantastic? George Bell one of my favorite people,

(01:01:18):
not just from the set of Gilmore Girls, but in
the world. What a what a great, great guy and
fantastic human being, fantastic dialogue coach and a fantastic actor.
He couldn't do the dialogue coaching at the level he
does it without being a great actor himself. He understands it.
And whenever I tried to do run lines with other

(01:01:40):
people to prep for the show, it just wasn't as good.
It wasn't George Bell. So it was like, you know,
I'd go, can you just, you know, go a little faster,
Can you just give me this or that or that?
And people just don't understand being a dialogue coach. That
was a tough job. But he was perfect for it,
and he he could play anything. He did play anything.
He played all those characters intense job. I had no idea.

(01:02:02):
I mean, all the notes he had to take and
knowing this was take three, this was take five, they
got it on take six, they didn't get it. It
was like, this is like mathematical and and the thing
is is you never saw the guy working. It didn't
seem like work for him. You never saw him in
a bad mood. He was always jovial and happy and

(01:02:24):
and conversational. And it's it's like, it's like he wasn't
even working. It's it was wild. He was always in
a great mood and just so efficient with what he did,
and it was just all very effortless. I mean, he
was really important to that show. He was really really
key to that show. And uh, I hope somehow he
gets some kind of honorarium from the studio maybe or

(01:02:48):
from the creators. Maybe an honorarium is in store, because man,
he contributed mightily to that whole production. I think we
have some questions for you, Scott, for me, Yeah, Daniel,
you want to bring him in? Oh my goodness, here
she is Joanna. Hello, how are you welcome to the podcast? Hi?
Nice to me too. And where are you? Um? Where

(01:03:13):
are you calling in from New York City? Oh? You're
in New York City. So you sent um a pretty
detailed email to the show pointing out the fact that
I was incredibly wrong about some specificity, some some details
of the show. If I am not mistaken and I

(01:03:36):
did read it, Sorry, no, no, no, no, I mean
this is what we love. Like, like we said at
the beginning of the podcast, we want feedback, you know,
whether it's a super positive and super supportive or you
know you're correcting us. Hey, I love it. That's why
you're on the show, your honesty, and we appreciate it.
So go ahead and and and let's let's discuss it.

(01:03:57):
What what did you uh, what did you see and
what did you feel the burning desire to point out
to us? Yeah? Sorry, So what do you guys were
talking last week about how Luca has been in love
with lorelife for sixteen years and and that's not true.

(01:04:19):
They actually only met about for five years before that
episode happened, because and they will see it tell us
how you know, because I am totally okay. So in
the episode that's coming up in a little bit further
down still this season, the concert interrupted us actually the
one that previous guest was talking about, where they go

(01:04:41):
to a concert in the city. Anyway, in that episode, um,
Rachel comes up for the first time, and uh, when
Rachel comes up, loyalized like, you know, just totally dumbfounded.
Who's who's this blue had a girlfriend? What's when and

(01:05:03):
so there's this conversation that happens with Miss Patty and
with Suki, and uh, it comes out that you know,
they said that he had this girlfriend Rachel five or
six years before, and Suki says, and Laura I respond,
how did I miss this? Like you know, where was I?
And Suki says, well, Rory was eleven. You were just

(01:05:24):
moving into this house. So that's one of the times
that we get timing. And then we also later on
in the series confirmation from something that Luke says, um
that also matches up time and wise. But so it's
only been like four or five years. Have you ever Joe,
and let me let me ask you a question, have
you ever been so deeply in love with somebody over

(01:05:49):
a period of time that I'm not saying five years
in a long time. One year one year of being
in an unrequited love situation seems like we're years. So
if it's four or five years that I was in
love with her, according to you, and I know Luke's
heart was so deeply um good, what what is the word?

(01:06:12):
So deeply affected by Laura La that it seemed like
sixteen years. I'm not saying that five years four years
isn't a long time. I'm just saying that it wasn't
you know the timeline? Can we can I ask a
timeline question though? So it she was just moving into
the house, but she lived with that woman that owned

(01:06:35):
the the inn, right, did they know each other? They
just weren't so tight that she would have been aware
of the girlfriend or did they not know each other yet? No?
That and this comes this comes up in this conversation.
I don't want to give stuff away. It's okay, it's okay,
we we need the timeline, so it's okay. But so
when when looking a lot Laura, I finally go on

(01:06:55):
a date, uh, and Luke says, very it's like eight
years has been uh at that point, and that happens
at the well, I don't want to say what it happens,
but that happens. So we feel like, I like I
ruined some stuff for some of the people. You're amazing,
You're doing great. So we had the timeline a little screwy, Scott. Yeah,

(01:07:19):
And what what we were talking about on Instagram was
that part of actually how because everybody was saying, how
does that even make sense? Like? How did she not
go to Lukes well, when they were living in the
Independence Inn, which as Rory was growing up, you know,
from the age of whatever. However, many months or one
until she was eleven and they moved into the house.

(01:07:41):
Clearly lower Ali had no money. She must have been
just saving up. They didn't go to Luke's. They certainly
were eating for free at the Independent sense. So that's
how it all makes sense. Because the other pendcon is,
you know, still have known each other in passing. Maybe
they knew each other just like from around town. Is

(01:08:03):
there any chance? No chance? No, I think Luke knows
very specifically when he first saw so we'll get into it,
I'm sure later. But Scott, you did love her at
first sight, absolutely so deeply that the first week seemed
like a month, and the first year seemed like four years.

(01:08:23):
That's held deeply, it was. It's like beyond thunderstruck, beyond
beyond you know what I mean, so beyond that you
can't even act on it. It's so because this is
why we need help, because yeah, we we aren't well.
We appreciate your thoughts. Thank you for coming on and
pointing it out. Keep it coming, because we're gonna blow

(01:08:47):
something else. Soon enough. It's already happened here and there.
But that's okay, and and and it's and it's wonderful
to meet you. And again, thank you so very very much. Um,
thank you, thanks for having me up. Okay, Joanna, take
care well that was Joanna. Thank you Joanna for coming on.

(01:09:08):
Love that. Uh you know, braceis man can get us,
you know, cracked the whip on us. Man. We we
love that kind of stuff. Thank you so much, Joanna.
Um And like I said, I'm I'm sticking with the
thunderstruck every year. It was like four years for for
Luke and that's why he's That's why I said sixteen
years because that's what it was like for me as
an actor. Um. Anyway, UM, so we're gonna turn this

(01:09:33):
into a two parter because we're gonna we're gonna we're
gonna have to recap the episode as a team, uh
and then just you know, we'll drop it. We'll drop
a separate episode in the same week because there's just
so much to unpack here and we need to really
go into this. Just everybody stay tuned because we're gonna
do a full recap on Kiss and Tell, like right away.

(01:09:54):
Absolutely so there you go. Um, so everybody stay tuned.
We're gonna do a full recap of Kiss and Tell.
It's on the way. It's going to be a separate episode.
It's gonna it's gonna be a part two of Kiss
and Tell. Um anyway, thanks everybody for tuning in and downloading.
We appreciated the best fans on the planet. I am
Scott Patterson. Uh, this is I Am all In Podcast,

(01:10:17):
I Heart Radio. We will see you soon, hey, everybody,

(01:10:50):
and don't forget follow us on Instagram at I Am
all In Podcast and email us at Gilmore at I
heart radio dot com. Oh you get more fans. If
you're looking for the best cup of coffee in the world,
go to my website for my company scott EP dot com,
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ep dot com Grade one Specialty Coffee. Yeah.