S2E5 FINAL ===

[00:00:00] Paul: [00:00:20] [00:00:40] [00:01:00] [00:01:20] [00:01:40] [00:02:00] I'm sorry,

[00:02:06] is it a swan or a crane?

[00:02:08] Sarah: Um I mean, I think it's a paper crane, but I feel like somebody refers to it as a swan at one point, which is, which is weird. I, apparently [00:02:20] our ornithological accuracy is somewhat in jeopardy. Um, so yeah, what was our number? 736?

[00:02:31] Paul: Well, let's not, hold on. Let's do it when we do it.

[00:02:34] Okay. We'll do

[00:02:34] Sarah: it when we do it. Um,

[00:02:36] Paul: We're going to call the number that Michael sends to her.

[00:02:39] Sarah: We're going to call [00:02:40] the number and see what happens. Sorry, I cut you off.

[00:02:44] Paul: Go for it. Not at all. No, you didn't. You did not.

[00:02:48] Sarah: Um,

[00:02:48] Paul: Alright.

[00:02:49] Sarah: Okay, we have no guests this week because we have stuff to talk about.

[00:02:52] Paul: So much stuff.

[00:02:53] Sarah: Um, and next week we have a guest that I'm very, very excited for actually. We have one of our, uh, One of our [00:03:00] regular cast members who we love so much. Um, so, we'll just dive in to the Kallistein Dex. Episode 205 was titled, Map 1213. It premiered on September 18th, 2006. It was directed by Peter O'Fallon, beautifully.

[00:03:15] Written wonderfully by friend of the show, Karen Usher. Ratings [00:03:20] wise, the episode delivered 9. 55 million live viewers, which was actually a season high at this point. Um, competition in the 8am, nope, 8pm time slot was Wife Swap on ABC, Deal or No Deal on CB, nope, gosh. Let me try that again. Competition.

[00:03:37] You're doing great. 8pm. Thank you. I'm [00:03:40] knocking it out of the park. Uh, was Wife Swap on ABC? Deal or No Deal on NBC? And on CBS, they had a brand new pilot for a new show called The Class. Which I don't remember.

[00:03:54] Paul: I think, if The Class is what I think it was. Yeah. I'm too lazy to look it up. It was one of the [00:04:00] funniest pilots I've ever read in my life. And I believe it was sold by Noah Baumbach and Steve Martin. Wow. And that it was about, I may be conflating all these different things, about an acting class. So

[00:04:17] Sarah: like a Proto Barry type thing? [00:04:20]

[00:04:20] Paul: Without the murder, like just a straight up all the crazies in an acting class.

[00:04:25] Sarah: Dear God. Um, okay, that's

[00:04:27] Paul: intense. I may be making that up. Okay. Okay,

[00:04:28] Sarah: but I'm going to go with it.

[00:04:29] Paul: Yep. To recap the episode, Tweener's road trip crush finds out who he is and allows him to steal her car and run. Michael and Lincoln arrive in Thule to find [00:04:40] Westmoreland's money. They go to City Hall to find the blueprint of the land where it's buried, but someone else has already taken the map.

[00:04:47] T-Bag runs into them. Hi. And tells them that Tweener has the blueprint, but when they track down Tweener, he reveals that T Bag had it all along. We won't say where. T Bag then memorizes the blueprint and eats [00:05:00] it. Eats it. So that the brothers can't kill him. Meanwhile, Sucre goes to Maricruz's wedding in Las Vegas, but things go sideways.

[00:05:07] He ends up heading for Mess Worland's money as well, as does C Note Mahone finds out about the money and that everyone is converging on Thule. During all of this Kellerman. [00:05:20] Yours truly, is blocked from direct contact with the VP by Reggie Lee, Agent Kim, and ramps up his friendship with Doctor Sarah.

[00:05:30] Governor Tancredi begins to believe in Lincoln's innocence.

[00:05:36] Sarah: In pop culture news this week, um, on September 23rd, [00:05:40] Barry Bonds hit a homer against the Brewers, surpassing Hank Aaron's record for National League career home runs. Uh, at the U. S. Open, that's tennis this week, Roger Federer won his third U. S.

[00:05:52] Open and ninth Grand Slam title, and the 19 year old Maria Sharapova won her second Grand Slam title. [00:06:00] Um, and on September 18th, The CW network made its debut, uh, as the successor to the WB and UPN networks, which had recently shut down after 11 years of broadcasting, and they combined their programming for the brand new fledgling CW, which is still with us.[00:06:20]

[00:06:20] And you were on the CW, right, Paul? Nope. No, I'm sorry, you were on the WB. Nope. Weren't you? I thought you were on Gilmore Girls.

[00:06:28] Paul: No, my ex wife was on Gilmore Girls.

[00:06:30] Sarah: I sort of feel like you were on it too. Okay, you were never on the WB? Nope. Oh, fine. I was on the WB.

[00:06:36] Paul: Are you confusing me with a short blonde lady?[00:06:40]

[00:06:40] Sarah: Uh, I mean, if the shoe fits? Um, no, I I could never fit her shoes, which is why it didn't guys did You guys did a bunch of shows together though, right? Didn't you both No. You were both in Scandal, you were both in We were

[00:06:54] Paul: both on Scandal. Uh, she was on Private Practice once. We were both on Marvelous Mrs.

[00:06:59] Maisel, [00:07:00] which is Okay. Paladino. I mean, I did one. She did a few of them. Uh but I think that's it. We never worked together. I don't think we've ever worked together on camera but we did meet doing it. And a global event. September 17th was the first global day for Darfur with tens of thousands of demonstrators in 42 cities around the globe demanding the UN [00:07:20] peacekeepers be sent into Western Sudan to stop the genocide

[00:07:24] Sarah: Sudan, not Susanne.

[00:07:25] Western Susanne was left alone. The beekeepers could leave her alone. I did not

[00:07:29] Paul: say Susanne. Earlier, you said Susanne. On September 12th, the Pope, not from our show, sparked fierce reactions from Muslim communities when he quoted a century's old text describing [00:07:40] Islam. Sorry to laugh, but this is just so ridiculous as evil, quote, evil and inhuman.

[00:07:46] Well

[00:07:47] done, Pope. Hope we walked that one back. And on September 13th, in the U. S., the Senate Judiciary Committee voted along party lines to approve the National Security Surveillance Act. I feel like they do this every week in [00:08:00] our recaps, allowing the NSA monitor to monitor international phone calls and emails to U.S. citizens without a warrant, and everything has been fine since, so. And

[00:08:09] Sarah: that's how your phone knows when you order Uber Eats.

[00:08:16] Paul: I received, I'll see [00:08:20] myself out. Yep. Okay. Sorry. Let's uh, we're going to take a quick break and then we'll talk about the episode. Okay.

[00:08:30] Sarah: Uh, welcome back. Welcome back.

[00:08:32] Paul: Um, speaking of being spied on, um, I received a farm fresh box yesterday of, you know, the, [00:08:40] you, Instead of going shopping, you, they bring. Right. Yup. Uh and it's cheaper and and it's better and there were beats in it. I don't know what to do with beats. So, I put a melody

[00:08:51] Sarah: over them.

[00:08:52] Paul: Oh my gosh. You're such a dork. Dad

[00:08:56] Sarah: jokes all day long. Dad jokes [00:09:00] all day long.

[00:09:00] Paul: Didn't Google it. Um, I just chopped him up. I may wait. You know what? Now they think about it. I may have looked at my New York Times cooking app and just put in like beets and then my Instagram feed was just beets recipes.

[00:09:12] Sarah: No, really?

[00:09:13] Paul: I don't like that. I don't like it. I hate me alone.

[00:09:16] Sarah: I hate that. I hate that. Um also, nice [00:09:20] transition from cooking with Paul into Lance and his pie. Uh proficiency but whatever you call it. Yeah. Um so, This is a fun episode. Do we want to start or end with the phone call?

[00:09:35] Paul: So there's a, uh, let's, let's, let's do it right before we do fan questions.[00:09:40]

[00:09:40] Okay. I'm very excited about this. So, uh, just to tease you, there's a scene in which, uh, Sarah is in her apartment and she gets quite a bit of mail. And in there is a, uh, Paper crane in an envelope with no message, [00:10:00] uh, conceivably from Michael and there is a phone number inside it and we're going to call that number because it is not a 555 number.

[00:10:08] What happens? It seems like a real number, although Kellerman then sneaks to your mail creepily. Creepily. Gets the number, traces the number. Committing a felony. And is told that it has never been, [00:10:20] that it's been out of service for some years and it never belonged to anyone. As he walks down the street in his oddly large jeans.

[00:10:29] And his oddly shaved chest. Did you shave your chest for this? Uh, for a very specific, well, for two [00:10:40] reasons, but we can get into it later. Also, I wanted to ask you Can we get into it now? No, we can get into it in the episode Okay, wait, wait. Where you burn my chest with an iron.

[00:10:48] Sarah: Um, okay, so we can't talk about your chest hair right now, that's fine, we can put a pin in that for later.

[00:10:52] Uh,

[00:10:52] Paul: I just, there are those things where you're like, oh, I've been wearing a suit on this show in its entirety. And then suddenly you're in civilian [00:11:00] clothes and you're like, I'm just gonna make a decision about this. And I remember, I don't remember why it was, uh, yeah. And I was like, he's not gonna have that.

[00:11:10] It just doesn't seem very Kellerman-y. for some reason.

[00:11:14] Sarah: Really?

[00:11:14] Paul: Yeah. It seemed. And

[00:11:15] Sarah: so it was your call entirely. Well,

[00:11:17] Paul: and then I don't know if we had read the, I think the [00:11:20] next episode is when you burn me with the iron, but that also was a whole thing about chest hair too, which was like, that would have been the next

[00:11:29] Sarah: episode,

[00:11:29] Paul: which not, I don't think so.

[00:11:32] I think it's down. Then I must've just made that weird decision. There was another thing we talked about. Okay. I don't know, maybe we'll, [00:11:40] I don't think this is inappropriate at all. We talked about, uh, last episode, this is the episode where Kellerman Lance tells Sarah that he's gay.

[00:11:49] Sarah: Yes.

[00:11:49] Paul: And whether that was on the fly or not.

[00:11:52] Def, like, now watching that scene.

[00:11:54] Sarah: Totally looks on the fly.

[00:11:55] Paul: Definitely on the fly.

[00:11:58] Sarah: Totally on the [00:12:00] fly, yeah. But a great pivot, and done sufficiently subtly, that it's buyable.

[00:12:09] Paul: Yeah.

[00:12:10] Sarah: It feels really plausible to me.

[00:12:12] Paul: Yeah, I, yeah. I, I feel like now, nowadays, he maybe would have said, Oh, no, no, [00:12:20] no, I'm gay. Yeah. As opposed to just said, my partner Daniel.

[00:12:24] We talked, I think, last time about, what, did you, you know, Okay, you're playing, Kellerman's playing another person. Is there anything, I, I made a conscious decision, obviously, not to. Quote, unquote, play [00:12:40] gay, whatever that means, character, any, in any kind of, uh, characterization. I did one thing in that scene, though, that I thought would help

[00:12:55] convince Sarah, or at least make Sarah comfortable and [00:13:00] kind of do that thing, which I don't even know if it read, but it felt comfortable to me to be Lance. Anything? What's that? One thing? Yeah, I did one, I just did one, I had one physical thing that I decided to do that I was like, this is what Kellerman would do to be like, I'm supposed to be, I'm supposed to be gay, I want to make sure [00:13:20] that even though he's not overdoing it, hopefully, or

[00:13:25] Sarah: Oh, I'm super curious, what was it?

[00:13:26] Paul: I crossed my legs.

[00:13:29] Sarah: In a way that In the scene at

[00:13:32] Paul: Oh,

[00:13:32] Sarah: in the scene at my apartment.

[00:13:33] Paul: Like, in a way that like, I just wouldn't imagine, I mean I crossed my legs. It's a

[00:13:37] Sarah: very [00:13:40] un-Kellerman position.

[00:13:41] Paul: Like he just doesn't, he seems so like athletic and special forces. He that like, I don't know. I always thought it would be kind of always in like ready position.

[00:13:50] So like kind of folding myself up like that felt. Oh, yeah, also unthreatening. I mean, I'm so overthinking it now. I don't know. I don't remember [00:14:00] overthinking it at the time. But I remember just.

[00:14:02] Sarah: No, but I do remember shooting that scene. I remember, I also remember loving the choice that you made and I felt that way again when I saw it.

[00:14:11] Um, when the governor comes into the room, that like, it's almost like you can [00:14:20] see Kellerman going through in his head. Have we met? Have we met? Would he recognize, like, have we ever been in the same room? Would he have been briefed? Like, is this, yeah, It's one of the few times that you see something that Kellerman did not expect at all come at him.

[00:14:39] And [00:14:40] it's interesting to watch him, in real time, flip through the Rolodex in his head going, What's the plan here? Oh, there's no plan here. Yeah. Which is, which is kind of cool. Um, I also remember they built that set on a sound stage. And. I made a note about this. The [00:15:00] color of the walls. I can't remember.

[00:15:08] The color of the walls is Tiffany blue. It's the same color as a Tiffany box.

[00:15:15] Paul: Well, I'm having a, I'm either having a deja vu or this is [00:15:20] actually discussed at the time or something.

[00:15:22] Sarah: I, well, I can't remember who brought it up if it was The, the production designer, or if it was me, but I know that since then, I have asked for that color on the walls in different locations [00:15:40] as both a director and an actor, because there's something so evocative, like, I think it must have been Phil Leonard, who is our production designer, who was like, she's the governor's daughter.

[00:15:49] She grew up with a Barneys card. She's still

[00:15:53] Paul: a little fancy.

[00:15:56] Sarah: She, she likes the little blue box and so it's the color for walls and I [00:16:00] just love that kind of loved that.

[00:16:03] Paul: Um, it's also a beautiful and as a director, does it work? It's a, it must be a very, I don't remember noticing it, but a warm, it's, it's blue, but it's a warm blue in its way.

[00:16:13] It's a robin's egg blue.

[00:16:15] Sarah: Yeah, it's a robin's egg blue and it's, it's a wonderful color. Um,

[00:16:19] Paul: uh, I wanted to ask [00:16:20] you about the, the scene in the, uh, yeah. The the NA scene in the church. Yeah, I've worked with Peter Fallon before like one of my very first things. The director of Peter O'Fallon. Yeah. Uh and he's a very [00:16:40] no nonsense like flip guy.

[00:16:44] Like I remember shooting a scene. It was a group scene on a show I was in in Chicago and I didn't even know I had done my coverage. Like he didn't even, it was just like, it was just like what they call hosing it down. Like the camera's just whipping all over the place. Or he'd put the camera on you and have you do your two lines in the [00:17:00] scene like seven times each.

[00:17:01] Which I do not like. That is not my favorite way to work. I will be honest. Um, although I will say, I don't know if I'm getting too off the point. Somebody, who will remain nameless, but who is a genius actor, is in the latest two Mission Impossible movies and told me that they shot some [00:17:20] scenes like that.

[00:17:20] Sarah: Um, I've, I actually once had an actor ask me to do that, to do that because it was a very like, I'm trying to get out of here at a certain time. And they were like, instead of multiple takes, can I just say it five times? Cause it was, you know, it was like a medical show and they had like one line in the background.

[00:17:39] I was like, yeah, for [00:17:40] sure. I was like, I feel like an asshole director. He's like, I'm asking for it. I was like, Oh no, like I heard stories about De

[00:17:45] Paul: Niro trying to, like having to say the same line over and over and over again. This is, this is. Less that. Um, but anyway, I say that because Peter, uh, is a very experienced TV director and so much about TV shooting is [00:18:00] about time.

[00:18:01] But he was the first director I ever worked with who would not cut and go back to the top of a scene. And we were still on film.

[00:18:10] Sarah: Oh, that's an expensive choice. Well, I loved

[00:18:14] Paul: it. For sure. Just for our fans, when they say cut. [00:18:20] No matter how fast you say we're going to go again right away, everybody, there's a hundred people there who have a job to do, and that is their moment to do their job.

[00:18:31] They're going to fix hair and makeup steps in, wardrobe steps in, the thing in the background that they noticed. They're going to put, that light is a little too bright or there's some dust [00:18:40] over on the thing. Sounds going to adjust a wire. Don't cut. No one can do anything. And so once the transition to digital happened, where it's just ones and zeros, now you just, that you were going to be like, but Peter was the first guy I ever remember saying, prepare to do two in a row, which I did.

[00:18:58] I did. I started, when I [00:19:00] started directing, it was still film. And I would always be like, we're doing two in a row. And I loved it as an actor because you get such little runway anyway, that. You didn't, I'm not great at keeping my concentration sometimes after a cut, I'm a little scattered, so nice to stay in it.

[00:19:18] And that's the first scene I ever [00:19:20] remember doing. He'd just be like, reset, and we'd run back and do it again.

[00:19:24] Sarah: The one thing about it on film, Um, was a couple of times I remember rolling out and that's frustrating when you're like and now we can't because a rollout is when the the film runs out in the magazine and so you hear up [00:19:40] and you're just like, Oh, you can use it until that point.

[00:19:43] Um, yeah, you can until shortly. Um, I don't remember him. Yeah, that's weird when the card is like, well, it's full. Um, I have no memory of Peter O'Fallon.

[00:19:55] Paul: Uh, kind of longer gray hair. We had so many [00:20:00] directors.

[00:20:01] Sarah: I'm sure he was a super nice guy. I just, you know, there were so many and I, I was at the point where I felt like the people with whom I was building the scenes were my acting partners.

[00:20:14] Like I was trying to build scenes with you, certainly with John. John is such on heard who played the governor [00:20:20] Tancredi, like such an amazing accomplished actor. So totally easygoing.

[00:20:25] Paul: I would also say that Peter, uh, which is a certain kind of director, doesn't He's not interested in direct especially, um, series regular actors.

[00:20:35] Yeah. Not interested in directing them.

[00:20:37] Sarah: Oh yeah. Yeah. Okay. He's very much, that's your department.

[00:20:39] Paul: [00:20:40] He's a very much a, that's your department story guy. Did we get the beat? Does the shot make sense? Are you happy with it? Moving on.

[00:20:46] Sarah: Oh, interesting. You know, I feel like we had a lot of people who had that approach as a director.

[00:20:54] Especially on Prison Break, but particularly Season 2, where it was like, Okay, the actors know their characters. They know the [00:21:00] story. And, the story is now huge. We're gonna be in five locations that are two hours away from each other. We've got big action. You know, like it was no longer, You're shooting five people in a prison cell.

[00:21:15] Digging a

[00:21:15] Paul: hole. Imagine that the, um, mandate from [00:21:20] the writers, like when you have a production meeting when you're directing episodic TV. Yeah. The executive producers say, okay, this scene, make sure this story point comes across. Make sure this story point, the, in a way, they're more cinematic and visual now than they were.

[00:21:36] Like it's, it's less a lot, less about the actors have [00:21:40] to deliver this piece of information and it's more just kind of emotional scenes, I think, because of the scope of the thing.

[00:21:46] Sarah: Mm hmm.

[00:21:46] Paul: Mm hmm.

[00:21:48] Sarah: Um, Um, I haven't. Yes, go. No,

[00:21:52] Paul: your turn, your turn. I've been talking too much.

[00:21:54] Sarah: No, no, I just, I had a note about Reggie Lee.

[00:21:58] Yes. Because you guys had your [00:22:00] first scene together. Yes. And. I love that guy. He's wonderful. I think I end up killing him. I think I shoot him really in, uh, season four. Okay. It was one of the last things I shot, I filmed, um, because we had, we had, yeah, go, go ahead. It was a long time ago, but I mean, [00:22:20] you worked with him a lot, right?

[00:22:21] A

[00:22:21] Paul: lot. We had a really nice, and he was the guy, you know, there's this great thing, I remember when, um, Ika came in. Mm-hmm . There is a thing. where it's a meta thing where you're like, Oh, this, the character is trying to [00:22:40] bump my character like out, right? Like I'll bring my character. Yeah. But also you're like, is this person actually trying to take my job?

[00:22:49] Right. Right. Like not the actor, but like, do they want this character? Are the writers replacing me? Kellerman. Yeah. So there is this kind of competition, but Reggie and I got along great and [00:23:00] um, stayed in touch for quite a while. And uh, We should have him on. He's a great actor. He's done some great work.

[00:23:06] He's done some great work. He did a great I think more than anybody else, he's the only one who could go smug to smug.

[00:23:17] Sarah: Oh my god.

[00:23:18] Paul: I feel like we would just [00:23:20] smug each other. His smug smile? Yeah. And Mahone's thing isn't smug. It's different. And Danny's certainly wasn't. Miska certainly wasn't. Well, a little bit.

[00:23:33] Yeah, I don't know. That was the smug off.

[00:23:35] Sarah: It was the smug off. It was the smug off. It was the smug off and the glasses off and the [00:23:40] car off in the very first scene. And the like, Caroline's talking to me now, not you. It was very, um, it was fantastic. And no, he was a big, uh, he was a great addition to the show.

[00:23:52] And so was, um, Bruce, uh, Bruce Bennett played by Wilbur, uh, whose last name I can't remember. Um, [00:24:00] But, you know, it's interesting that, like, they just kind of drop people in, and then, if they're good, they keep going for such a long time, like Barbara Eve Harris, who we talked to recently. Um, I want to tell you a story about borrowing a phone.

[00:24:16] Yes. Um, just because it came up, here's why it [00:24:20] came up. This is not germane to the show, but this just kind of cracks me up. So we were watching the scene where C Note is on. The train and he asks to borrow the laptop of the woman sitting next to him.

[00:24:31] Paul: Yeah,

[00:24:32] Sarah: who? So he can check his email and we were noticing that that doesn't happen anymore If somebody said could I borrow [00:24:40] your laptop?

[00:24:40] My answer would be a hard no But you mentioned that you had borrowed someone's phone.

[00:24:46] Paul: I Was getting my phone replaced a few years ago And it was suddenly not, it was like, it'll be ready in an hour and then it was two and a half hours or something.

[00:24:59] Sarah: Mm-hmm . [00:25:00]

[00:25:00] Paul: And I had to go, I was supposed to pick up my daughter.

[00:25:03] Sarah: Yep.

[00:25:04] Paul: And I needed, uh, her mother to pick her up. And it was literally one of those things where it was like, I like went to the Whole Foods and literally said to somebody, I'm sorry, can I borrow your phone? Can I borrow your phone? Just to make a [00:25:20] phone call. How

[00:25:20] Sarah: did they take it, by the way? Because it's an interesting Um, well,

[00:25:24] Paul: and then they recognized me.

[00:25:27] Sarah: Oh, oh. Did that make it better or worse? Better. Okay, okay. The guy from Prison Break just borrowed my phone. Um, okay, so here's the very short version of the story, [00:25:40] uh, here. And I, I'm telling this partly because it relates to phones and borrowing, but also because it relates to crime. So, a couple of years ago, there was somebody who, um, was casing my house.

[00:25:54] And, uh, I called it in, which is very [00:26:00] unlike me. Your house now? Yeah, the house I'm in right now. That's a hard house

[00:26:03] Paul: to case. You're in the woods.

[00:26:05] Sarah: Well, and I have 300 pound dogs that surrounded him. And his reaction to the dogs was what told me that he was bad news. And I was like, oh, this is, and I was home alone.

[00:26:15] And so I did something that I've never done really before or since, but I [00:26:20] phoned, uh, the, uh, I phoned, um, the fire chief who's a buddy of mine. And I was like, hey, I think I'm being paranoid, but will you just come down here and tell me I'm being paranoid? I'm, you know, I'm home alone. My husband was on a search and rescue call out and completely unavailable.

[00:26:35] Kids were at school. And, uh, and so [00:26:40] the chief comes, sees a vehicle parked at the end of my road, calls it in. It had been stolen the night before. Can't find the guy. Long story short, the guy then breaks into my neighbor's house. has an altercation with my neighbor. They, like, straight up fisticuffs. The guy is bleeding from the head, escapes on foot into the neighborhood.[00:27:00]

[00:27:00] Here's how he's found. Because he escaped into this little park that lots of people hike in. Some hikers were coming down the trail, and this guy who's bleeding from the head goes, it's an emergency, can I borrow your phone? And they were like, oh my god, sure. He's clearly injured. [00:27:20] Into the phone, next to them, he says, I'm in such and such town, you've got to come pick me up and get me out of here.

[00:27:27] The cops are looking for me. Hands them the phone back, takes off on foot. They look at each other, call the police, and are like, Hey, um, are you looking for a guy bleeding from the head? [00:27:40] And they're like, yes, which way did he go? And they came and they apprehended him. But it was like, of all the dumb crime stories, I, the fact that he basically turned himself in to a couple of, um, to a couple of hikers just slayed me.

[00:27:56] We're like, not every criminal is Michael Schofield. Like, some of them are [00:28:00] not masterminds. Right. Um, yeah, that was my borrow a phone story.

[00:28:04] Paul: So the break light was out. Speaking of phones That's right. Yes. Yes! Should we call this number?

[00:28:11] Sarah: Yes. Can you do

[00:28:12] Paul: it? I can. Cause I feel like bad things are gonna happen.

[00:28:16] Sarah: Nothing bad is going to happen.

[00:28:18] Paul: Should we say, [00:28:20] uh, what the number is? I guess anybody who's watched the episode can know the number. Absolutely.

[00:28:23] Sarah: The number is what? I'm looking up

[00:28:24] Paul: what the area code is, by the way.

[00:28:27] Sarah: 736? Ha

[00:28:28] Paul: ha ha! It's, uh, in the U. S., northwest suburbs of Minneapolis, St. Paul. Hey! But the first number that comes in, it's the country code for [00:28:40] Sudan.

[00:28:42] Sarah: I would not call Sudan. I don't think I am. That could be very expensive on your plan. Or Suzanne. Or Suzanne.

[00:28:49] Paul: 1736 339 8687. Put it on speaker.

[00:28:57] Sarah: Please.

[00:28:58] Paul: Your call cannot be [00:29:00] completed at this time. Please try again later. Okay. Shales.

[00:29:06] Sarah: I'm going to try from my phone and see if calling from Canada. Canada. Makes any difference.

[00:29:11] 1 736 339 8687. I

[00:29:16] Paul: thought we lived in the time where all numbers were taken [00:29:20] because of cell phones and fax machines and peepers. Your call cannot be

[00:29:22] completed as dialed. Please check the number and dial again. Come on!

[00:29:27] Well, that was anticlimactic. Very.

[00:29:28] Sarah: We should

[00:29:29] Paul: have

[00:29:30] Sarah: made something up. We should have had our producer, Ben, pick up the phone.

[00:29:35] Right, right, right. Pretend to be Be like, this is the Milwaukee Brewer's office. Right, exactly. I [00:29:40] don't know why I said it in that accent. Um, alright. Should we take a break and then come back for some fan questions? Or did you have Bora you wanted to talk about from the episode? I

[00:29:49] Paul: mentioned it in the episode, but um, I just thought it's hilarious that Tweener has a huge Gothic LG tattoo on his [00:30:00] arm.

[00:30:00] which is Lane Garrison. Lane Garrison. And they obviously just

[00:30:04] Sarah: maybe

[00:30:06] Paul: made the decision, maybe I call

[00:30:07] Sarah: in for the, I think our call in question for the week should be, what does LG stand for? What does the LG stand for? It's not Lane Garrison. I'm going little gangster. I'm going little gangster. Um, all right, let's take it.

[00:30:18] I mean, I, 'cause people usually don't [00:30:20] have themselves tattooed on their shoulders, so I, when I saw it in the show, I was like, oh, I totally buy that. This is something that Tweener would have. Ah,

[00:30:28] Paul: I'm not a tattoo person. Do you have any.

[00:30:30] Tattoos?

[00:30:32] Sarah: I got a tattoo a month ago in Lisbon, yes. A

[00:30:37] Paul: month ago?

[00:30:39] Sarah: And that's [00:30:40] all I'm going to tell you.

[00:30:42] Um. Fantastic. Yeah. Um.

[00:30:45] Paul: Break? Quick break. Fan

[00:30:48] questions. Now, break! We'll be right back.

[00:30:56] Sarah: And now we're back. Alright, hello. Um, okay. You [00:31:00] guys. Fan folks. Fish's folks and friends. Um. I put something on the Instagram that said we were going to talk about this episode and you sent some, uh, fun questions here. Um, our Instagram is at prison break podcast for those of you who don't know. Uh, so the first one from at [00:31:20] Stephanie read four, three, nope, four, seven, three, two.

[00:31:23] Uh, what's your favorite line or scene from this episode? Paul, do you have one? Uh,

[00:31:28] Paul: I like, uh, Michael's line. Is that what I know it is.

[00:31:33] Sarah: That was a hundred percent a Wentworth line. I guarantee it.

[00:31:37] Paul: T Bag has a [00:31:40] little piece of the map on him. He's clearly either eaten, destroyed it, he's eaten it. And Michael's disappointed.

[00:31:46] I liked that line.

[00:31:48] Sarah: Okay, my line. My favorite line is also from that scene, and I think it's right around the same time. It's where he says, I would have tattooed it on my body, but I didn't have the time. I thought, I, I just, I love [00:32:00] it. The Michael T-Bag repartee. It was lots of fun for me.

[00:32:07] Paul: Good question, though.

[00:32:08] Okay. Alisha, A L E A S H A dot Wallace. As actors, do yourselves ever get starstruck by anyone you've ever worked with? Uh, example, John [00:32:20] Hurd. Uh, also, follow up, which is, I love this follow up. Sarah, is that genuinely how you open all your mail? Which seems to be, uh, a little, maybe judgmental, or at least notice, noting something odd?

[00:32:32] Do you open your mail in an odd way? Because I didn't notice it.

[00:32:37] Sarah: I shake it down and open it from the short end. [00:32:40] So, if this is a letter, I shake it down and rip the Um, because I can't remember. I saw somebody do it once and it was no, it's not a Hawaii thing. I don't know. I, I, there's, I'm sure there's a reason for it.

[00:32:59] [00:33:00] Um, also remember how people used to have letter openers? Of course, my parents. That was like a thing. You had a letter opener, you it. If you wanted to give somebody a weird gift, you'd be like, here, I found this bone handled letter

[00:33:11] Paul: opener in Wyoming for you. Picture my parents letter opener perfectly. I think they still have and use it.

[00:33:15] No longer a thing. Yeah, no longer a thing. Oh no. My parents still talk about having to go through the mail [00:33:20] and, and

[00:33:21] Sarah: well, you, you pointed out during the rewatch and Sarah has a lot of of mail,

[00:33:24] Paul: 99% of it is trash. Unfortunately.

[00:33:30] Sarah: Yeah, yeah, that's true. I will periodically, like, just be in a store and find a card and mail it to a friend.

[00:33:39] And [00:33:40] it's, like, the reaction is crazy. People act like I sent them a diamond necklace. It's wild. Um, okay. Oh, so, no, do you have, Paul, is there anybody you've ever been starstruck to work with? Yes,

[00:33:52] Paul: many times.

[00:33:53] Sarah: I mean, you just worked with Janet McTeer. Many times.

[00:33:55] Paul: Um Um, you, a lot of [00:34:00] people, frankly, and you're like, thank God I'm acting

[00:34:06] because we have to pretend

[00:34:07] to do this scene.

[00:34:09] I find it particularly difficult if the status is reversed. To play higher status than somebody that you admire. I mean, I just did this thing with Halle Berry where I [00:34:20] had to, like, I was her boss and I had to get, like, really mean to her. And it was like, What are you doing? You can't talk to Halle Berry that way.

[00:34:30] Sarah: Yeah,

[00:34:31] Paul: that's true. So yeah, there's that, that thing is, and I, but you know, that's part of the fun, frankly, that challenge is part of the fun. What about you? [00:34:40]

[00:34:40] Sarah: Yeah, although I think I prefer in some ways to work with people who are relatively unknown because that, like when we all show up together on the same playing field, I think it's, it's

[00:34:52] Paul: nice.

[00:34:53] I mean, To clarify, like, I was, uh, actually, I was going to add, a lot of times, people that have that kind [00:35:00] of status in a work environment are very aware that they need to diffuse that, diffuse it, so that everyone's, I mean, Halle Berry was amazing at that, like, it was just, we were just doing scenes, you know.

[00:35:13] Um, I was nervous to work with Stacey Keech, because I was such a fan of his for so long, and he's so powerful, but he immediately put me at ease. Oh, that's cool. And [00:35:20] John Hurt. Yeah. Like, I also love, love, love John Hurt. Very disarming. I love John Hurt.

[00:35:24] Sarah: Yeah, I think I was, I was, I was intimidated, but not starstruck.

[00:35:30] Right. Do you know what I mean? Yeah, I mean I think that's an actor version. Just because they had such long Yeah, it's the

[00:35:34] Paul: actor version of starstruck though, right? I mean

[00:35:37] Sarah: Well, just in terms of like, I'm trying to think of [00:35:40] people whose work I was, like, Yeah Fangirling kind of a thing. And I, for me, Hugh Laurie, oddly, because I was such a fan of the um, British Jeeves and Wooster that he and Stephen Fry did and I saw the two of them sitting together at a Golden Globes once and lost my effing mind.

[00:35:56] Um, yeah. Yeah, [00:36:00] an interesting question. Um, Oh, this is the one I was telling you about during the rewatch. This is, like, I don't even think it's a question. It just slayed me. At, yeah.

[00:36:13] Paul: You wanna read it? S S P I T Z E R. Was there ever any behind the scenes discussion about how the two most wanted [00:36:20] men in America Would try to change their appearances, but instead Michael and Lincoln were like how attractive can we possibly be?

[00:36:26] Question mark and then just for good measure. She added link just kept losing buttons She's amazing. Maybe he felt like it would distract whomever was there They wouldn't even recognize him because they'd just be so blown away by his [00:36:40] chest

[00:36:41] Sarah: I I mean what's it is a funny thing that she brings up that like T-Bag dyes his hair And tweener shaves his head And Michael puts on a ball cap.

[00:36:54] And a suit. And like, and a suit. Um, I just think it's, I just think [00:37:00] it's a really funny question. I like that. I like that. It's a funny comment, so I included it. I love that the show And we don't need to make a thing out of it.

[00:37:06] Paul: I love that the show, like Karen Asher talked about that when we had her on, talking about season one, where there was like, that they would go on these incredible deep dives.

[00:37:17] To get the verisimilitude of [00:37:20] how a prison would work physically, right? But then like something electrical, they're like, yeah, we don't care if it's real. You don't.

[00:37:30] Sarah: And the sparky

[00:37:31] Paul: goes to sparky. Like the water thing, and they're like, oh, we have no idea if that's real. Like, I love that about this show. I like that there's a Uh, uh, some [00:37:40] writers call it like the house of buys.

[00:37:41] Like, you're just gonna buy that. Like, do you, cause here's the thing. What was it that, uh, Do you want to see Michael and Lincoln in disguises? I don't.

[00:37:51] Sarah: I mean, if they're full on, like, the Americans disguises, yes I do. Yes I do. For maybe

[00:37:57] Paul: a scene.

[00:37:58] Sarah: No. I want to see [00:38:00] Lincoln in a different wig and a different pair of glasses.

[00:38:05] Of course it's a different show, of course it's a different show, but I just want to be in the hair and makeup chair next to Dominic, getting a wig pasted on his head that's like a bald comb over, because it would be so much fun for me. It would be so much fun for me. Um, [00:38:20] my favorite. of this episode of the House of Byes is when they're talking about the, the, uh, Michael's hard drive that was recovered from the river outside his apartment.

[00:38:32] And the guy's like, yeah, with the something, with the something happened, the something. And

[00:38:35] Paul: Mahone

[00:38:36] Sarah: was just like, shut up. What do you have? Mahone's just [00:38:40] like, nobody cares. I don't care. The audience doesn't care. Shut up. Just move on. Well, we have

[00:38:44] Paul: a buffer. We got stuff from the buffer.

[00:38:49] Sarah: The

[00:38:49] Paul: buffer.

[00:38:50] Sarah: Um, alright, last question,

[00:38:52] Paul: I believe.

[00:38:52] I do remember a director saying, I think this is in season four. Is that what I came back at the end of? Season [00:39:00] four? Season four wrapped it up? Yeah. Saying, could you button your shirt one, just one more up? I don't remember. It must have been Kevin Hooks because no one else would talk to.

[00:39:12] Sarah: I, I think Kevin would have had the guts to say that.

[00:39:14] Yeah. Here's our last question and it's, uh, I think it's really [00:39:20] very sweet at Planet Sarah 2024. I've wondered about this when shooting an episode. Does everyone go in at a certain time and stay the entire day or does each actor have a different time? They have to be on set. I don't know if this makes sense.

[00:39:31] Like after shooting your scene, can you go or would you stay and watch other cast members in action? So the simple question is we all have a call time. [00:39:40] to be in hair and makeup in time to make it for our scenes. And when your scenes are done, then you can go. But, um, But, sometimes, and this is, this is part of why I thought this was an interesting question, like, you spent a lot of time shadowing other directors to hang out and kind of go to free film school and see how [00:40:00] they did things.

[00:40:01] Paul: I remember when I, like, private practice, I would just, like, hang out. Prison Break, uh, We did it on Walking Dead. You just become, I think in certain casts, also depending on, like, do you have a child to go home to? And, or a spouse? Or like, what, you know, are you out of town? Are you at home? There is a kind of, there can be a real [00:40:20] camaraderie and sometimes it's just people are like, I gotta get out of here.

[00:40:23] Uh, but for instance, the scene where, Uh, Tweener gets beat up by the guy. I somehow remember being there. I don't know if I was shooting later in that day, so I just went to set. I'm not

[00:40:35] Sarah: I kind of feel like maybe our AA church was like at the [00:40:40] same location or something. It felt familiar to me too. Um, I

[00:40:43] Paul: also am not much of a trailer.

[00:40:45] I'm not a huge fan of the trailer, so I try to go out and get on set because it's more interesting.

[00:40:50] Sarah: Yeah. I remember certainly, like, Walking Dead, Walking Dead. Because, at least in the first season, most of the cast was in [00:41:00] most of the scenes. Right. So even if you didn't have a line until after lunch, you'd be there.

[00:41:04] But there were also certain scenes as, like, as certain people emerged, you started to get to know their work. There were days where I was like, I'm not leaving until I watch Melissa do this scene. Yeah. Like, I don't know what she's gonna do, but I'm gonna learn something from it. And that's kind of fun. [00:41:20] Um.

[00:41:21] But yeah, for At Planet Sarah, the answer is you only have to be there, uh, for your scenes. And of course, you know, real gems of people will stay around, uh, for phone calls and, you know, to be on the other side of phone calls and, and off camera lines and things like that. And real [00:41:40] assholes will leave once their coverage is shot.

[00:41:42] And then leave you all alone. That happened to me on one of my very first jobs. And it blew my mind. I was like, oh. Oh, I have some stories about that

[00:41:50] Paul: too. Okay. Uh, I think that's what we have time for today. Yeah, we are at our time. So, um, we're going to keep working through these questions. Um, [00:42:00] we have others that we will have to get to in other episodes.

[00:42:03] Thank you for being here. Don't forget to subscribe to the Watch Party episodes and our Fan Fiction Fridays, which is on our Patreon. The link is on the show page, wherever you're listening right now. And here is our calling question of the week.

[00:42:18] Sarah: Wait, can I time you [00:42:20] out? I wrote one for this week. But maybe, well, cause it's right there in the little script, but maybe we just do the LG question.

[00:42:28] Paul: You do it.

[00:42:31] Sarah: Okay, what, fan question, calling question for this week. What do you think the LG stands for on Lane Garrison's arm? We know what it really [00:42:40] is. But yeah, on tweeter's arm, what does the LG stand for? I'm going with, uh, Little Gangster. Paul, what's your best guess?

[00:42:47] Paul: Um, Loco Guero. I don't know. What does that mean?

[00:42:56] I don't know if guero is a real word. Maybe crazy war? [00:43:00] Crazy war. Guero? Uh, the call in line number, by the way, is (401) 3-PBREAK. That's 1 (401) 3-PBREAK. We'll put our favorite answers

[00:43:11] in a coming up episode.

[00:43:14] Sarah: I love it. Alright, well, thank you for listening. Um, we'll Please feel free to subscribe [00:43:20] on Patreon for all the bonus stuff and that'll be on the link in the show page wherever you're listening right now.

[00:43:25] Thank you very much. It was nice to spend another episode with you. Prison Breaking with Sarah and Paul has been a Caliber Studio production. Your hosts

[00:43:32] Paul: have been inmates Sarah Waincallis and Paul Adelstein.

[00:43:36] Sarah: Our prison warden is producer Ben Haber. Front man of

[00:43:39] Paul: our Jailhouse [00:43:40] Rock Band is Yours truly, Paul Adelstein, who made all our music

[00:43:45] Sarah: Our prison yard Tattoo artist logo, and brand designer is John Nunzio at Little Big Brands.

[00:43:50] Check 'em out at www dot little big brand com. Follow us

[00:43:53] Paul: on Instagram @prisonbreakpodcast. Email us at pb podcast@caliber-studio.com [00:44:00] and call us at (401) 3-PBREAK

[00:44:03] Sarah: prison breaking with and Paul has been a caliber studio production. Mahalo for listening. [00:44:20] Bye.