Intro: Image management,
Glenn Davis,
King James,
Odd Mom Out,
Hamilton,
Abbott Elementary,
The Method Let Me Run This By You: Dads and pornography,
Secrets of Playboy,
The Girls Next Door,
Stranger Things.
FULL TRANSCRIPT (UNEDITED):
2 (10s):
And I'm Gina <inaudible>.
1 (11s):
We went to theater school together. We survived it, but we didn't quite understand it.
3 (15s):
20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all.
1 (21s):
We survived theater school and you will too. Are we famous yet?
2 (32s):
Yeah, it's it's it's up for debate. So you got to both interview and then see Glenn Davis in a play. So tell us about,
1 (43s):
So I will say that I haven't seen a play. I saw Hamilton in LA, which isn't a play to me. It's a musical and it's also a spectacle and like, I don't know.
2 (54s):
And a cultural and that like, did you ever see, wait, I'm sorry to give a little time out, but there used to be this show on Bravo called odd mom out. And I loved it because it was about a upper east side woman who like, just didn't relate and like clock in that well with mommy culture, which I can really relate
1 (1m 15s):
Over there.
2 (1m 16s):
And there's this scene where she's talking to some other moms or I don't know, just other women. And they were like, have you seen Hamilton? And she says, no. And it precipitates is like very, you know, heightened dramatic thing where like people's jobs are under hinges. Let's say like,
1 (1m 39s):
That's hilarious.
2 (1m 41s):
Yeah. So it's an event you have to, you have to have seen how.
1 (1m 44s):
And so I thought in life, right in pop culture and in, you know, whatever. So, yeah, exactly. So I saw that, but this was the first play I've seen now to be fair. It's also a spectacle in that the mark taper, like the center theater group situation downtown LA has like six theaters or seven theaters. I had not been to the mark taper theater since literally 2000 and I don't know, two and it's gorgeous and quite a deal. And wow, just the facilities. I mean, I'm so used to shithole storefront theater that I was like, oh, this is like, oh, this is fancy. Okay.
1 (2m 24s):
So I saw king James, which is a play. It was a two hander. I didn't know that it's two people on stage the whole time. And it's Glenn Davis and this other character. Who's one of the stars on a show that I love called Abbott elementary, which is hilarious about
2 (2m 39s):
Brunson. I have seen that show, but I heard it.
1 (2m 41s):
Yes. Oh, you would love it. It's high Lariat. And just so, so, so well-written okay. So this guy, Chris Paul, something I'm going to butcher his name. So I won't try is the other character plays the other character in the play and I didn't know what to expect. I love basketball if by basketball, you mean the bulls in the nineties basketball. That's where I stop. So
2 (3m 8s):
I'll do basketball.
1 (3m 10s):
Yeah. I'm into nostalgia. Exactly. That specifically relates to a very niche time in history. Okay. In Chicago. So, okay. So this is a play about LeBron James and it's set in Cleveland and it is set like in the, I want to say the arts and then it spans the time I believe of like 10 years, maybe a little more. And it's just these two characters. I didn't know what to expect. I didn't know shit about the play, which is how I like to go in. But Glen gave me was kind enough to give me comps. And I went with two friends and I loved it. I loved it. I at first. Okay. It was so interesting.
1 (3m 50s):
Like I've been spending so much time doing writing and reading television that like, I was like, oh, this is a play. Oh, oh, this is a different thing. It's like super presentational on purpose.
2 (4m 5s):
Right.
1 (4m 6s):
So it's not a, it's not television. And these are like
2 (4m 10s):
Mumble core.
1 (4m 11s):
It's not mumble core. It's not, it's not, they they're they're they can hear us. If we say noises and things make noises and things. So I was like, oh, right, right. The seats were great. And you know, it was a lot of white people in the audience, but like that's who sees theater, right? Like that's who sees this kind of theater. I think, you know, tickets were probably very expensive anyways. So I loved, okay. So you could tell that they, they had to get warm. First of all, I was closing day. We didn't see the closing show. There's there like to show a day kind of people. And so we saw the first show at one and of the last day. And the first scene you could tell, like they had, they were like, just getting warmed up because that's how live theater is by the second scene.
1 (4m 56s):
I was like, oh, these are pros. Oh, these are pros. Meaning the language moves. Now, look, they've done two runs of the show, one in Chicago at Steppenwolf and one here. So they've been the same cast. So they've been working with this material. Right. So they, they know what's going on here, but they're just both like seamlessly like a basketball game or like any sporting event. Like the physicality was brilliant. I just was like, oh, these are pros. Oh, okay. There's no, this is not a stiff cause I'm also used to teaching students. Right. So these are not students of a young students. These are oppressed. And I was like, oh shit, okay.
1 (5m 38s):
This is some real top level acting here. You know,
2 (5m 42s):
I really appreciated when in his interview with you, he said that doing the play expanded his ideas about theater goer, since you mentioned, yes. Typically all theater goers are white and older because they have the time and the money. And because it's, for all of history it's been made for them, it's been made for that demographic. But he was saying, doing this play brought a bunch of people who were not theater people, but who were basketball, people who enjoyed it. And, and that gave me a thrill like, yes, that's what we need because the re the whole perpetuation of the cycle of like, why people don't appreciate or go into theater is because if they don't get exposed to it, you know, at, at a young age.
2 (6m 27s):
And so that just keeps perpetuating itself. And in order for that to change, you have to, you have to sell people on wanting to have more of it. You know what I'm saying?
1 (6m 38s):
Yes. And so I totally know what you're saying. And I, that leads me to this thing of I, so there is this position that opened up for 15 hours a week, being an artist in residence at San Diego state, in the theater department to create art with the theater department there, but also with the community at large. And I have to say to you, if I get it, I applied. And my idea is to do, because I love monologues. Like, that's my jam. So like, what if I want to create some kind of show? That's like a community-based show where people get to write and perform their own monologues in the community in San Diego, not just students, but like the store owner, the whoever, all different kinds of people.
1 (7m 24s):
We work on monologues. And maybe there's a roving cast of people that like that we do this. So I applied, I don't know, but that is my take too, is that unless I involve the community at large, nothing is ever going to change in any, any way. Anyway, whether it's theater or fucking, I don't know, you know, who buys, what kind of meat at the butcher, if you don't involve the community, there's no, there's no change. Right?
2 (7m 51s):
I have a question. This is a dumb question, but I just realized that I don't know it do, it seems like operas and ballets don't struggle as much financially or do they?
1 (8m 5s):
Yeah, no, I don't think they do. And I think it's literally because it, I could be wrong, but I'm going to talk about opera. My limited knowledge of opera is that it's like strictly old white people. So, and it is a class thing and it is a legacy thing. And I think like seats are handed down and seats are, so it is a generational wealth kind of a thing. If I'm right, someone's going to be like, oh, that bitch doesn't know what she's talking about, but I think that's what's going on. And so they don't struggle as much. Right. They're going to struggle when the revolution comes and all the rich white folks drop dead, and then there's going to be no audience. But like, I just, I think you're right. And I think that, yeah, I have no desire anymore to create art that doesn't somehow involve a community aspect.
1 (8m 51s):
Whether that's the stories are about the community or we involve the community in theater. So I applied for this thing. I don't know. It pays really well. Two days a week in San Diego, I would do it. It's like a two hour drive. But Yeah. I mean, I mean, I saw it on, you know, when I saw it, this is really crazy. I was on social media and they were, had a lack of applicants and it's specifically for Latino artists and they had no, and they kept their pleas for people to apply. And it's like, not, it's not a no money. It's like good money. And I was like, oh, I'll apply. Yeah. Yeah. So anyway, yeah,
2 (9m 29s):
I think we got, I think, you know what, I just read this whole book about the method, The history of the method. It was interesting. Lee Kirk is the person who recommended the book to me. And as I was reading it, I there's, it's part one and part two. And part one is all about Russia and Stanislavski and they, and Meyer hold and all the, the early players. And then part two is more about like how the integrated in the United States. So I texted him part one is the vegetables part two is the dessert. And he's like, yeah, totally. So, cause of course, you know, what's exciting to us is what we know more about the actor's studio and Marlon Brando and all that kind of stuff.
2 (10m 12s):
But no, I, it just, that led me to think about how, when the sixties, you know, in some ways the sixties were great for theater and another way is they weren't because I think things went so far in the direction of like experimental and avant-garde. And I love that stuff personally, but I'm well aware that really mostly people don't love that stuff. I think theater got a bad reputation for just being that. And then there's the whole other, like actually really economic reality, which is the, the method was a big part in spawning the regional theater movement. And at a time when just there was more theater going, cause there was less film and television, there was, there was, there was less quality stuff on film and television as, as there is now.
2 (11m 1s):
So now it's just this big, what, what, what stayed current? What stayed constant is the people who want to make these shows. They're not the people who necessarily want to go to these shows because they can't, if they make these shows, they can't afford to go to these shows. And it's just becomes this like very insular thing. And that's, I feel like the oppression is about theater. Like it's just a, self-contained only certain people go, you know, see plates.
1 (11m 29s):
It's true. Yeah. Yeah. And I think that what Glenn said is right on in that anytime we can involve, well, I think at other P the community at large and also the writer of the plays it does. And when people ask me, why don't you act so much? Why are you now focused on writing? It's because I truly believe that if we're going to change the arts, it's going to be from, from the, the creation stage, whether that's devising or writing, or however you create the thing it's going to be from women, people of color, othered folks writing it. And so this play was written by a man of color, the king James. And you can tell like, it is, it is, it is not, it is very nuanced.
1 (12m 10s):
It is very talking about issues, but not like, you know, I, I, I feel like there's this thing that happens and I don't know how to avoid it. And I actually don't judge it. I just watch it happen where two things happen when white folks are writing about race and class, which is either they writing and they don't know what they're talking about or they're writing and they're afraid they don't know what they're talking about. So, or they feel like they don't, they shouldn't talk about it. So it's talked about in this really either heavy handed way or like this really bizarre, not like experimental, not talking about the thing way. And I don't know the solution to that. Other than let's have more writers of color and other people write plays
2 (12m 49s):
B because my amendment to what you just said is there's white peop they all don't know what they're talking about when white people talk about race. Right. Cause how could they from the position of privilege? So they're either blissfully unaware of how they don't know and thinking that their opinion is really desired out in the world, or they know that they don't know, but they still want to do the thing. They still want to get people, you know, to listen to what they have to say. I mean, you're not for nothing, but we've had some people on here who have talked about writing stuff about race. And I'm just like, okay, well, I hope you, I hope you know what you're doing. I hope you know, what you're talking about.
1 (13m 29s):
And my other thing is like, now what I'm doing is saying like, oh, Hey, well, so I, I want to partner with people that have more experience and insight about the thing that I don't have. If I'm going to write about a certain thing, that's the way who can I collaborate with? Who can I collaborate with? Because I don't. Yeah. It's going to be very limited. If I'm writing about what I know it's going to be about like, you know, dogs and cults and murder and, and weird Latinos who have an experience of being half latte. It's going to be so niche that nobody gives a fuck. We got to expand our shit.
1 (14m 14s):
Let me run this by you.
2 (14m 18s):
<inaudible> turn.
1 (14m 23s):
Yeah. Let's take your left turn. I love a left turn. Okay.
2 (14m 27s):
And I'm going to start by asking you this question. What was your dad's relationship to pornography? If you know?
1 (14m 37s):
Okay. Yeah, no, no, no. Here's my thing. My dad was inappropriate on a lot of levels in terms of like jokes he made to us and stuff. He was really into the porkies movies. So it wasn't like I never witnessed hardcore, but it wasn't as hardcore then maybe, or just not exit accessible, but Porky's was his thing. And then, and then one time I found a couple of Nudie magazines in his, his side table, but my parents and so my dad, I'm not sure the extent. And also the dude died right before the internet, real porn boom.
1 (15m 20s):
So I don't know what he would have gotten into, but I would say that my father was, had a lot of issues and one of them was probably sexually frustrated. And I don't know the extent. What about you? Why do you ask and what about you?
2 (15m 39s):
Well, I ask because I started to watch the documentary that came out earlier this year. I think maybe even in January, the called the secrets of Playboy and it's, it's a 12 part series. And for me it was really illuminating because two things, my dad was obsessed with Playboy. He had every Playboy magazine from issue. Number one, he kept him in. Yeah. He kept him one of the many things. My brother so-called brother-in-law absconded with when my dad died, by the way, it was just a vulture Fest.
2 (16m 25s):
When my dad died, all these people who had never met before coming saying, your dad promised to give me this gun. I promise. Yes, yes, girl. It was so,
1 (16m 36s):
Oh,
2 (16m 37s):
It was, it was so gross. It was so low after that a lover got me back to Sacramento again, but anyway, he was really into Playboy and he was not discreet. He kept them. I mean, so I think his opinion was like, Playboy is very PG. I think that's what he really thought. But he was also into the triple X stuff and he had tapes, tons of tapes. And one time when I was really young, like on a Saturday, I walked in on him and all of his friends watching a porn. Yeah. It was really gross and scary actually really what it was and what it is. I think for little kids who aren't old enough to really, they certainly haven't had the talk with their parents or whatever.
2 (17m 22s):
It's just scary. It's like, you, you, cause what you, what I could have observed then was that they were the way their vibe, you know, they weren't like chatting or talking to each other or you're just simply watching a movie. It was like a weird, heavy vibe. And I knew that I wasn't supposed to see it. And so that's all it is. It's like, as a kid, it's just scary, but it's also exciting and
1 (17m 44s):
Interesting.
2 (17m 46s):
I remember looking at those magazines and of course I wouldn't have thought about it this way then, but of course, what it really was is this is my understanding of what a woman is supposed to look like. And this is my understanding of what men like oh,
1 (17m 58s):
Right, right, right.
2 (18m 0s):
And I never like bought Playboy or anything like that. But when the reality show came out with the girls next door, it had these three,
1 (18m 11s):
The babes,
2 (18m 13s):
The babes. Yeah. The three babes that were his girlfriends and talk about PG. This is the most PG show. Like they were portrayed as like a happy little family and he's a kindly old grandpa and the girls are just but, okay. But of course it wasn't that at all. And he was disgusting, horrible person at a rapist and an a, an a, an, a, a accomplice to other rapes that happened with his knowledge, bill Cosby was a big fixture at the Playboy mansion. There was a ton of drugs. He gave everybody barbiturates, which they called PSI openers.
2 (18m 53s):
Yeah, no, it was like horrible, disgusting, disgusting, disgusting. And every buddy who appeared in this documentary was either a playmate or worked for the organization. And, and two of the three girlfriends who were in that TV show, one of them has written a whole book about it. Her name is Holly Madison. No. They described it being the worst time of their life that they felt they were, they felt they were in a cult. And when they left, they began to identify him as like the devil, like it it's just so in the complete opposite direction.
2 (19m 34s):
And so I am, I can't describe exactly what it is, but I'm doing some kind of healing by watching this by just having the truth. As you always say, there's something just so wonderful about the truth. And if you can just get to the bottom of what it is. So what I'm think I'm doing is I'm taking it from the unconscious back of my mind, push away a scary thoughts place to like, oh, this was what was happening. My dad was just another one of these guys who participated in the patriarchy very, very actively. And this is what it did to women. And it wasn't anything good.
1 (20m 15s):
Yeah. And I think, I think we go for me, I go even deeper and I'm like, not even deeper, but I also, I wonder if we could go to, like, this is, this is what it did to me. Like, this is how I was abused by the Patriot. Well, I don't even whatever adjective you want to use affected. I don't, I don't know. But like, for me, I'm like, oh, this is how it impacted me. And this is, and realizing at 46 that like, oh, the things I thought were my fault really weren't my fault. And I'm not, I'm the pro I wasn't the problem. I think I come more and more to that, which is in certain ways, of course I was the problem in my own life.
1 (20m 55s):
But in certain ways, like I was not the problem in, in the patriarchy. I was not the problem in my parents' marriage. I was at the problem with a boyfriend who called me ugly and fat. Like that was not my problem, but it was made our problem because that's what society did. And so I know the feeling of watching. So I had a similar thing, watching stranger things, the new season where I'm convinced that the Duffer brothers have taken MTMA and are like going on this journey,
2 (21m 25s):
Is that who, who
1 (21m 26s):
Wrote it? That's the creators
2 (21m 28s):
I haven't seen. I haven't seen any of it.
1 (21m 29s):
It's the, this last season, I haven't seen the second part of the last season, but it was, I was weeping the whole time because I thought, oh, oh, children are, we are just so we are just so at the, we are at the hands and the mercy of adults that are deeply troubled and deeply flawed, and there is no way around that. And it is just sort of a thing that happens that you can, you can be aware of and heal from. But I think what's interesting to me is that those kids are sort of around our age, in that it takes place in the eighties.
1 (22m 10s):
And, and so I just really, really nailed home for me, the eighties vibe of, oh, all the things that were being formed, the patriarchy, the, the racism, the classism for me as a kid. Yeah. It just really, I just wept the whole time and like fate, they go through these journeys. Yeah. It was really powerful to me. And I think the Duffer brothers are our age. Right. So they're writing about their stuff. And they're also writing about how adults like adults are doing the same thing of trying to just be seen and heard. And they're just, we're just so, so ill-equipped, and so they're fighting quote monsters.
1 (22m 53s):
Same with, I watched it, I watched the new it, like, I'm really obsessed with people fighting demons and monsters. And it's, that's the lesson there too, which is, there are two things that go on in the journey for me to adulthood. One is finding community and the other is looking deep and going on a solo journey of trying to repair the things, how I was damaged growing up. And it's very solo. In some ways you have to do certain parts of that journey on your own.
2 (23m 24s):
Wow.
1 (23m 25s):
You just do.
2 (23m 26s):
So you think you said that you think they are taking MVMA and doing your, so you're saying you think they're working through some traumas of their own and,
1 (23m 34s):
Oh my God, the script is like all about that. Like you're like, whoa. And so I, and same and in a different way too. And I don't know who made it, you know, it's Stephen King, but like Stephen K I'm upset. The reason as I get older, I get more and more into horror. And I think it's because there are literal depictions of people battling monsters, and really it's a metaphor for battling our inner shit. And it is all about facing your fears.
2 (24m 4s):
Yeah. Yeah.
1 (24m 4s):
And knowing when you can do it as a team and knowing when you got to face it alone,
2 (24m 9s):
I think in particular, the thing that feels healing to me about this experiences is as I am watching this documentary, I'm also revisiting certain episodes of that show that I watched from beginning to end when it came out the girls
1 (24m 24s):
Next door.
2 (24m 26s):
And I'm like, I'll be watching somebody who is now talking about what their ex an example is. One of the girlfriends that from the seventies that have had, would come back as many of them due to the mansion, like for parties and Easter and Halloween and stuff like that. One of the women who was interviewed in the documentary, you know, really went deep about all of the ways in which he abused her. She appears in the girls next door. But when you see her, she looks dead. She looks complete. Like you can cheat. Like, you can tell that she's saying to herself, I have to go to this thing because whatever her reasons are, I don't want to be persona non grata or something like that.
2 (25m 15s):
But I am going to completely leave my body as soon as I enter those gates. Right.
1 (25m 20s):
Because she's just associated
2 (25m 22s):
Completely. And she doesn't, I mean, it's, she's older now obviously, but she looks like a completely different person now that she's contending with this and she's 70, almost 70, so it's never too late, but it's yeah. It's just really cause what did cause at the end of the day, the thing that's so painful about that part of my family, my dad, my sister, and all that is, it was also mysterious to me. I never felt like I got to the bottom of what was really going on there. So when I get any type of way of decoding or understanding something, it takes it from this, you know, because humans are always trying to make meaning and make patterns out of things.
2 (26m 10s):
So it takes it from this sort of inexplicable. Why, why does your dad, why does a dad not love their child or loved one of their children only, they, it just demystifies it a little bit. And I can, by the way, I draw a straight line from all of that behavior to my sister's death. I mean, she, she was because she got the worst of it because she lived with him. He had parties where people were just having sex in the kitchen and living room. And she saw all of that. And when she was a teenager, so, you know, it can't ha it had to have her identity. And most particularly what she thought was her value as a woman.
1 (26m 51s):
It's interesting. Cause I mean, what comes forward for me when I hear you say that, it's like, I wonder if there's a documentary in there. Right. My sister kinda like on my, sister's looking back at my sister's story kind of a thing, because it's like, okay.
2 (27m 4s):
Yeah, the patriarchy did it. Yeah. I a hundred percent. That's an interesting idea.
1 (27m 10s):
I mean, because it's like the other thing that is really, for me challenging about like the reason I was able to like tell my, my do my solo show was cause my parents were dead. Right. So, so when someone is not on the planet, it's a lot less tricky to make a documentary. I mean, for a lot of reasons, but also, yeah. I mean, I just think the fallout is less than also the, the, the, the healing. It can be more because they're in some ways anyway, I don't know I'm all for it, but yeah.
2 (27m 41s):
Yeah. You're right. No, and you do have to have a little bit of distance. I mean, even though I wasn't connected to my sister for the last almost two decades, I would never have, you know, gone really far out there and, and sort of exposing, cause I would have had that fear. What is cool.
1 (27m 59s):
Yeah. And like, you don't know, you just don't and ultimately, ultimately for, and I'm, I'm assuming it's true for you. You don't want to hurt someone or ruin their life or like bring up shit. They're not ready to look at and cause trouble. Nobody. I don't want that. And so it's like, yeah. Anyway, we have to, when people in deaths, people can, are sort of safer in some ways, right?
2 (28m 24s):
Yeah. Have to deal with us. It's like, okay, now I'm sure they can't hurt me anymore
1 (28m 29s):
Or that they're not going to hurt themselves. Or like, I'm not going to be responsible for them hurting themselves, which is, which is really sort of how I would feel, you know, like, oh God, you know? And it was interesting. Like my dad, when I did my first, first, first solo show that you saw, I think in Chicago, maybe my dad, they were alive. And my mom threw it in my face later that like, when my dad died, she was like, you know, something, something like, well, he, you made fun of him in that solo show. So you didn't really love him. And I was like, oh God.
2 (29m 3s):
Wow. Okay. Yeah.
1 (29m 5s):
People are people. I think that it'll be really interesting. Do you want to tell, or is it a secret of, are we, are we still recording now? Do you want to cut it off?
2 (29m 19s):
Yeah. We're still recording and you're talking about what?
1 (29m 22s):
Yeah. Or like you talking about your trip in front. Yeah.
2 (29m 26s):
You know, actually that's a really great question. I don't know how that works.
1 (29m 30s):
We different for each.
2 (29m 32s):
We did not sign an NDA. We signed only just the contract.
1 (29m 35s):
You can say you're coming because your son has a
2 (29m 39s):
Job because my son a lead in a movie, a huge job, like he then every same type of situation and yeah, it's a real mixed bag. And it's all going on more than I think we probably have time or ability to talk about right now. But yeah, you probably saw when I put face Facebook, my thing is like, I just, that was so fascinating that writing that thing and getting the responses I got was so fascinating.
1 (30m 13s):
I know it was a lot of different, it was a mixed bag. Speaking of mixed bag,
2 (30m 17s):
It was a lot of men explaining to me what I needed to do. And it was a lot of not listening at all to the thing that I asked for like, not one person gave me even somebody who anyway, I just didn't get any thing that I was asking for it, but I got a bunch of unsolved. It was just really interesting. So I couldn't use any of that advice. So what I have been focusing on,
1 (30m 47s):
Tell us what the, what the question was.
2 (30m 50s):
The question was like, how do you tell somebody who is 15 years old,
1 (30m 56s):
That you love very much,
2 (30m 57s):
That you love very much, but who, you know, has a less than stellar work ethic and who let's face. It is like pretty self-centered and pretty, just, I don't know, like not a person you would expect to be like the leader. I don't know. I mean, maybe you would expect it. I don't know. I also have never been on a, on a film set like this where it's five weeks. And so, so I was just looking like, what could I show? What could get him to, to realize what this really is?
2 (31m 39s):
And the answer is nothing. He will just have to see it when he gets there. And it may be a big, like, I don't know, blast of cold air and the face to say, cause I remember my very first job that I had. I came home after one day or maybe one week and I said, I have to go back every day.
1 (31m 58s):
I, you know, Cina, my first job was at a bakery and I fucking didn't know how to make change. And so after the first day at work, cause I had an old fashioned register, I was sobbing and my parents had to practice with me making change every night after work while I sobbed, it was horrible. But I fucking learned how to make change. My friend
2 (32m 22s):
Did you learn? And my mom has a saying that she always says, which is everybody grows up at work. And it's really true because it's the one place where it doesn't matter what your baggage is. And it doesn't matter what it only matters. Like, are you doing the thing that you're hired to do right now? Yes or no. If no chances are, you're going to have a boss, who's going to fire you or harshly reprimanded you.
1 (32m 44s):
I remember Gina what you said about your job, which was when you were temping and the lady was like, could you like be more of a, like a, self-starter
2 (32m 53s):
Sorry to be a little more of a self-starter here. I just loved that so much.
1 (32m 59s):
I listen to miles. I say it to miles all the time. He wants to kill me. But anyway, so yes. So your mother, I, I agree with your mom. We all grow up at work. It is true.
2 (33m 11s):
And the other thing is you can't know till, you know, there is not one single thing I can do or say or tell or show my son, that's going to be, that's going to make him go, oh, this is what it is because he just literally has to do it. And as a result, I'm expecting, it's going to be somewhat Rocky, at least at the beginning of.
1 (33m 31s):
And I think that she not, it's always Rocky. So like for me, when I go to set, I'm not a lead. I don't even have that much pressure. It's fucking Rocky. When I go to set it's Rocky and I don't even have a job, a big job. So like, I think that like if we just go in with the expectation, like the shit is going to be Rocky because inherently film sets are Rocky six, you know, kids are Rocky people trying to figure out their shit or Rocky. The whole thing is Rocky. So I think that is going to be Rocky. And I think it's going to be very interesting to see how you internally navigate that turbulence. You know what I mean?
2 (34m 8s):
Yes. That will be interesting. And I'm also very interested on how he's going to navigate it because I have this feeling that by the end of this summer, we're either going to be all in, on acting or we're going to pick a different path,
1 (34m 24s):
Which is good, right? I mean like either way, he's going to find out you both are going to find out information about yourselves and I, and, and the car, you're going to have information about the entertainment industry and you're going to meet some people and it's going to be, it's going to be a lot of information gathering. And also, you know, I have to be honest, like you've talked to the people involved here, they know what they're getting into. They're working with a young, a young, like a teenage first timer who this is the first time with a huge role that there's no, no one has lied to anybody here.
2 (35m 2s):
Yes. And I have to say big ups to everybody that I've communicated with. So far the producer, the writer and the director has been just beyond wonderful. Like I, you know, couldn't be happier that this is the environment. Cause if it was one of these really big budget things,
1 (35m 20s):
No. Yeah. Well I would, I would, I would have been like I'm out. But the other thing that I think that is good is like what I do at daycare for my dog. Now I'm not acquainting your, your kid to my dog, but I am because I don't have a kid. So what I say is, Hey, good morning. I'm under illusions that this is going to go well. So here's my daughter.
2 (35m 41s):
Right? Right. Totally.
1 (35m 43s):
She's a real, she could be a real asshole. She might, but she nips. She's got problems. So don't worry about trying to pretend that she's a good dog. Cause she's not. And this is going to be real fucking Rocky. Have a nice day. Everybody.
2 (35m 58s):
Before I got on, I was gonna, I was thinking to myself, okay, it's 9:00 AM and I've already managed three crises. One is right before I got in my daughter called me from her first day of basketball camp and said, she's crying. And she says, it's too hard. I can't do it. You have to come pick me up. And I have to tolerate the thing I hate most in the world, which is when one of my kids is in pain. And I have enabled people quitting on things. I am so uncomfortable
1 (36m 27s):
To
2 (36m 27s):
Them being in pain. So I had to talk her off the ledge there. I had to wake my son up and give him a very clear and defined plan for the day. And let him know that if he deviates from this plan in any way, there will be consequences because we're big on working on the consequences right now. And my other son waking up late to get to tennis camp and kind of leaving in a big car, you know,
1 (36m 57s):
Gina, Gina, you're probably exhausted. It's a fucking nine, eight. It's like not even, oh my God. You, so listen, listen, listen, listen, whatever happens on the set, I think it's going to be, it's going to be okay. And to realize that that at least on set, like there's going to be a lot of adults that can handle crisis. Like you're not in charge of all the kerfuffle and crises that happen on this set. Thank God they have a whole crew.
2 (37m 25s):
Yeah, exactly. And the other thing is that I realized after I put this question onto Facebook is what I'm really nervous about is me and how I am going to either be able to help or not, or, you know, be an instrument of things going well or not, or, you know, and, and, and, and there's this competing thing, which is, yeah. I want to learn how this goes. I want to understand what this process is for myself having nothing to judge
1 (37m 53s):
Son. Yeah, of course. There's two things. And also, and also, and also it could be like, I'm going to leave the door open. Like it could be hilarious and funny and fun at times. And also it could just be, it could be crazy and all the things, and you'll be partially in the woods, which I think is fucking ripe for comedy.
2 (38m 17s):
Yeah. I'm stocking up on the bug repellent. Oh yeah. We're, we're essentially going camping for five weeks. So it shouldn't be interesting
3 (38m 36s):
If you liked what you heard today. Please give us a positive five-star review and subscribe and tell your friends. I survived. Theater school is an undeniable Inc production. Jen Bosworth, Ramirez, and Gina plegia are the co-hosts. This episode was produced, edited and sounded next by Gina Kalichi for more information about this podcast or other goings on of undeniable, Inc. Please visit our website@undeniablewriters.com. You can also follow us on Facebook, Instagram, and Twitter. Thank you.