RE-VAMPED with Juliet Landau
RE-VAMPED with Juliet Landau is the First BUFFY Podcast with a cast member as your guide!
Buffy’s posse was called the Scooby Gang. Juliet’s character Drusilla was also known as Dru. RE-VAMPED co-hosts include “Scooby Dru” with her extremely, singular POV and hijinks, “Sire Rebecca” and “Watcher Dev.”
RE-VAMPED is rife with never-heard-before behind-the-scenes tales, the definitive in-depth interviews with cast & crew, sequential rewatches, what’s new in the BUFFY-verse, the ultimate fan interactions and showcasing NEW content with the beloved characters.
Filled with belly laughs and poignant emotion, listeners rollick, probe and reflect. RE-VAMPED With Juliet Landau takes the idea of the traditional podcast and evolves it! It’s not only like hanging out with your best friends, but Juliet’s producing what people think of for a weekly TV show or radio show. The team are doing this within the podcast genre.
RE-VAMPED with Juliet Landau
Rewatch: The Harvest
The Harvest is episode two of our Rewatch, rife with behind-the-scenes stories and insider info. Juliet, Scooby Chris, and Scooby Frank explore how in this seminal episode. Buffy goes from flying solo, carrying the weight of the world on her shoulders in her warrior’s journey, to finding her team of allies to fight the ills of the world. Juliet and her Scooby's delve into everything that is revealed, including The Master’s overall plan. Join us for belly laughs and poignant emotion. Episode 2 includes an appearance from Drusilla, the fun “missing scene” that could have been in The Harvest, and the call to action for “The Battle of The Uber-Buffy-Fans.”
If you want to be considered a contender to “step into the metaphorical ring" by appearing on the podcast for the ultimate Buffy Trivia match, email slayinitpodcast@gmail.com with the info described in the episode.
YouTube - http://www.youtube.com/@slayinitpodcast
Twitter/X - @julietlandau
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Facebook - Juliet Landau Official (Page)
https://www.facebook.com/julietlandauofficial
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Email: revampedpod@gmail.com
Juliet Landau’s directorial feature debut, A Place Among The Dead Trailer: https://vimeo.com/791299045/5b5d98726a
A Place Among The Dead Blu-Ray with nearly 5 hours of bonus extras: https://www.amazon.com/gp/product/B0CJJY4MB9/ref=ox_sc_saved_image_4?smid=ATVPDKIKX0DER&psc=1
I'm excited to talk about the harvest with that cutie, the master, great granddaddy and the angel beast, always the angel beast. I can't wait till Angelus comes back. But no spoilers. Hello, hello, I'm Juliet.
Speaker 2:Psst, we're going to sleep, want to come.
Speaker 3:We're back, we are back.
Speaker 2:Yay, so should I tell you a little bit behind the scenes info? Yeah, that's a good way to start. So when we would wrap on set, the cast and crew would gather at my house to watch the episodes live, and I think it was on mondays, and then later on tuesdays when the show aired and we would watch each episode together and we'd come back here after often you know, 16, 17 hour days. We'd order Indian food For some reason it was always Indian food and watch the show, and James and I would go to watch the dailies together Dailies or rushes is what the footage that you shot that day or when we would watch it.
Speaker 2:We basically watch at the end of each episode. So we watch all the raw, uncut, not color corrected footage to see if we wanted to make adjustments between that end of that episode and the next episode, to see what we thought was working, if there was anything we wanted to tweak, and so we'd always go together, watch the episodes. And, by the way, it got the name Rushes. Do you guys know why Rushes are called Rushes?
Speaker 3:I don't know why they're called Rushes. I don't actually know that.
Speaker 2:So it's because the reels of film at that point it was film had to be developed in a rush so that the director, the cinematographer, the producer, the editor could, you know, view, and it was rush processing. So that's why it was called rushes. And then obviously dailies is because it was the footage from each day.
Speaker 4:Right.
Speaker 2:So none of us had seen the fully locked cut episode. We hadn't seen anything cut. We just seen the raw footage every time and we would watch it live, which was a lot of fun. I remember the season two that there was a couple new composers that came on and they would come, and at that point the season one and two was shot on 16 millimeter and then later it was 35. And then when James and I would go in to watch the dailies, it would be in the edit suite and they would give us VHS copies of the final locked prior episode to take with us.
Speaker 2:And they had this sticker with the mutant enemy Grr arg, exactly With the mutant enemy logo, very handmade, very inside copies, and I actually still have them all in a big drawer. I was going to get rid of them and then my husband, dad, said no, you can't get rid of these, these are really, really collectible. I just thought, well, we don't have a VCR, you know we're not going to watch them. And he said, no, no, you've got to hang on to them.
Speaker 3:So Talk about somebody's trash being another person's treasure. I mean, that's literally the epitome of that.
Speaker 5:There's also something very charming about leaving somewhere holding something. You don't do that anymore. If you finish filming anything, it's like I'll just email you the footage. It's like I'm leaving here with something. This is something tangible that I can hold and I can walk away with.
Speaker 2:I agree, I agree, and there is something that's like oh look, this is our episode and it's cool and, yeah, you have it in your hands. And this episode, the Harvest, was directed by John Kretschmer, who also directed School Hard, which was mine and James's first introductory episode.
Speaker 5:Oh, wow, oh, wow yeah.
Speaker 3:Now getting back to you guys watching dailies. Was that usual for like actors to be allowed for that? Because that's usually again for, like you know, like the department heads and stuff like that to go over for, like you know, like the department heads and stuff like that to go over.
Speaker 2:Like, how did you guys like get into those? You know it's not usual, but we asked and we were allowed to do it, and James and I really, because we have both of us have a really strong theater background what happened is when I was cast and paired with the final choices, and once James was cast we would get together and rehearse. And so we asked could we come to the dailies and watch? And we didn't really want to watch them during each episode, we just wanted to watch afterwards and get a sense of like okay, is there anything after this in the next episode that we want to keep or lose or what to do? And we were very, almost clinical of watching it in terms of for what would be useful? You know, instead of being critical or judgmental, it was really like is this working? Is that working? What would we maybe want to adjust or enhance?
Speaker 3:Yeah, I can't have that objectivity, watching myself Like that's amazing.
Speaker 5:I'm just nauseous.
Speaker 3:Yeah exactly.
Speaker 2:I don't really like watching myself either, so I'll watch. I usually will watch something once or in the process, like that for the work process, and then I'm good, like I don't need to. You know, I don't need to do a lot more of that.
Speaker 3:Yeah.
Speaker 2:I got to depersonalize like all over the place watching myself. It's funny, when I was directing A Place Among the Dead, I actually, I literally would be like she when I'm on screen. It's almost like it just is this other person than me, like she's moving? I think what if we have her do this and this and this, or I liked that other take? But I think you need that objectivity to to some degree to be able to do both. I mean, you've, you guys have done it. So I don't know, do you have that?
Speaker 3:I'm like usually just yelling at myself like turn your head left, asshole, I gotta.
Speaker 5:I can't match the self-deprecating. Oh it's awful it's just terrible.
Speaker 2:Yeah, I don't have it again. Yeah, I know it is funny when you're watching stuff.
Speaker 3:You're like why don't we have this? You're playing monday morning quarterback on yourself, which is an interesting thing that a lot of people don't get to do yeah, not the most pleasant thing to do. No, it's uh, it's like all right, let's go back to work, which is an introspective nightmare that I've unfolded. That's how you breathe. That's how you breathe. Oh my breathing. I didn't realize how bad my breathing was. It's like I'm not talking and you just hear my mic.
Speaker 1:Yeah.
Speaker 5:Just suffocating. You're not breathing, you're suffocating, yeah it's not good.
Speaker 2:Well, you want to know something funny. I actually learned that I have a very loud heartbeat for women and probably for men too, but very often the little sound mic is put in between your cleavage. Often you go onto a set, you meet someone right away the sound person there. You're just like, okay, just just go on in there, do whatever you need to do, get friendly, friendly, it's nice to meet you.
Speaker 1:What's your?
Speaker 2:name. It's fine, just go on in there and do and you know. But what I found is I actually have to put it farther to the right, away from my heartbeat, because I have a very healthy, strong, loud heartbeat that picks up on mics. It's funny. I learned the hard way where that's down. I was like, oh my God, your heartbeat is so loud, and so I always tell them for years and they move it over which?
Speaker 3:helps. My heartbeat probably sounds like somebody unclogging a toilet.
Speaker 5:Yeah, mine. They wouldn't have said oh, your heartbeat sounds healthy. It's like you should go to a emergency. Call an ambulance. How are you standing? You want to lay?
Speaker 2:down, sir, Let alone acting Right. I'm picking up all kinds of nonsense on this.
Speaker 5:I'm no doctor. Can someone tell that guy to stop coughing, although that's his heartbeat?
Speaker 2:Oh my gosh. So do you want to do the synopsis for the Harvest?
Speaker 5:Sure the Harvest. It's a continuation of the pilot episode. In this episode, Buffy and her friends face their first major threat from the vampire world in an attempt to prevent the master from breaking free of his mystical prison.
Speaker 2:One thing I wanted to say is that we discussed last time that it was Nerf Herder and I was told that they came back for season it was either two or three to re-record the title sequence again, because when they first recorded it they did it really quickly, they had a very quick session and it actually always was slightly offbeat at a certain section of the titles and so they redid it and came in and recorded later and replaced it after season one.
Speaker 3:Yeah, because you see the arrangement gets heavier as, like, the series wears on.
Speaker 2:Well, I also think that the music gets interesting because, like the opening with Darla of the other episode, it really subverts what you think of for horror, because it starts gothic, it has those horror chords and then it changes to the rock theme and it really sets the tone of the show. Buffy herself subverts expectations and she isn't what you think she's going to be, and so I think the music fused you into that right from the get-go.
Speaker 3:Yeah, it really exemplifies the tone of the show. It's a jiving tune. That song gets you pumped. There's a thing I call the jot jot jar, which is a reference to the Shield. Oh, right. Because the Shield, when it does its cold open, always ended on a good button to get you into the theme song which, on a good button to get you into the theme song which was, and that gets you pumped.
Speaker 5:Now, when you binge something, do you skip the intro? I don't either. My wife does it, and I think there's something very strange about that, very ritualized. I said you have to. The theme amps you up for each episode.
Speaker 2:Even if I'm watching 11 in a row, I still need that amp. It's funny because soon we will be going to San Diego Comic-Con and I was there one year and Dev and I were in our hotel room and we heard. Well, I thought I was hallucinating because there was a party outside and the Buffy theme was on a loop. But I thought at first. I said Dev, am I hearing things or is that the Buffy theme? And he said no, no, you're not hearing it unless we're both hearing it, it's happening again.
Speaker 4:Exactly.
Speaker 2:But it was on a loop, like it played, I would say I don't know, and it wasn't a Buffy themed thing. It wasn't a Buffy event, it just was played, I would say, like 25 times on a loop. So it was after around the fifth time I said wait, I think I'm hearing things. I think I'm hearing the Buffy theme. I don't know what's going on. That would freak me out. The interior of the crypt was built, but the graveyard itself. That was when it was shot at the live graveyard, before it was built in the parking lot of the Stewart Street sound stages and warehouses, which is when in season two. That's when the graveyard was built there.
Speaker 3:Now I'm like watching it with a technical eyes like this is clearly this has got to be a set, because just the way the lighting is like you can't do that in a live crypt, and it's just like space issues and whatnot. It's like, yeah, most crypts aren't very spacious, spacious right.
Speaker 1:And I think Don't ask me how I know that.
Speaker 2:Have you been in many, I know. I think the cemetery is called Angelus Rosdale which is funny.
Speaker 5:Angelus right, yeah, really, that's kind of on the nose.
Speaker 2:But I think for me this episode one of the things that's so great about is, I feel like the first episode I know we talked a little about that last time introduces us to Buffy and you see how she has the weight of the world on her shoulders and how she's alone in this plight, nick's character and Allison's character over here, and they start to get a little bit pulled into the fold. But really it's sort of she's on this warrior solo journey and I feel like this episode is really about the group coming together. They're becoming a team as well as also keying us into the master's overall plan.
Speaker 3:The first episode was basically to establish the premise. This episode really feels like this is where everybody's slotting into their roles that they're going to be playing from here on out. Giles is going to be there to give key information.
Speaker 2:What do they say? Basil Exposition.
Speaker 4:Hello Austin, I'm Basil. Exposition with British Intelligence. We have just received word that Dr Evil is planning a trap for you tonight at the Electric Psychedelic Pussycat Swingers Club here in Swinging London.
Speaker 2:Basil X position yes, he's.
Speaker 6:Basil.
Speaker 2:X position he is, and also in this episode Tony's less animated than he was in episode one, Like he's sort of settled into the Giles that we know more so I would say it's sort of interesting. Just his timber is a little bit different than episode one. Did you guys know that Darlo was originally supposed to die at the end of this episode?
Speaker 5:I did not know that.
Speaker 2:She was supposed to go, but they realized that she was such a rich character, they wanted to keep her around.
Speaker 3:This is what's great about the show. It's what Alton Brown calls if you ever watch Food Network he likes things in the kitchen that are multitaskers, and that's like things that you get a lot of utility out of, like things that they're not necessarily designed for, and that's what good writing is too. It's like okay, we have these pieces, instead of like starting fresh with a new piece. Like why don't we bring this old piece back and see what we could do with it? Like let's develop these characters. Like these characters that on the surface, like you know, in the beginning it's just like oh, I have them figured out. Or they're there to fulfill a very specific role, like Darla is there to be like hench number two.
Speaker 2:Well, she was vampire number one until, oh, vampire, right, right, exactly.
Speaker 3:Right, yeah, deal with that. Look at the rich lore that Darla has by the end of her run on Angel.
Speaker 2:Oh yeah, the whole arc, yeah, the arc of her character and this episode really establishes Willow as the tech whiz.
Speaker 6:Yes, all the city plans are just open to the public.
Speaker 4:I sort of stumbled onto them when I accidentally decrypted the city council's security system.
Speaker 5:And with the library scene. I love nothing more than a lore dump, and you get that in spades. In this episode, giles gives you every ounce of information that you need to know about this world in this episode.
Speaker 3:Yeah, the mythology. It's very Lovecraft-y, with old gods and stuff like that. It's fantastic.
Speaker 2:David Greenwald coined the word lobotanym for the mystical thing needed in the episode, the exposition of each episode. That was often told by Giles, and so in the writer's room when they would be talking they'd be like, okay, it's time for the phlebotom. The other thing that I, the fluty scene. I think the Ken Lerner scene is really funny with the stunt where she jumps over the fence.
Speaker 3:Yeah, she's a bionic woman's over the fence.
Speaker 2:Yeah, it's a really cool shot and apparently it was originally a different stunt, but this was a much less expensive way of communicating the same thing and it works. It's really awesome.
Speaker 3:It's kind of like a modified Texas switch. They do Anybody know the Texas switch? No, oh, that's why it got quiet. I was like wait Texas switch. No, oh, that's why it got quiet. I was like wait Texas switch.
Speaker 2:I was thinking am I supposed to know this, Me too?
Speaker 3:It's a stunt term where, like, let's say, somebody falls behind an obstruction, that will be the stunt person, but the actor gets up Like the star will get up the stunt person I get you. It's sort of like a Texas switch. Yeah, that's what they call that.
Speaker 6:Again, you guys got to watch Hooper Hooper the newest movie from the team that brought you Smokey and the Bandit.
Speaker 2:The hallway scene with Xander and Willow, where they're worried about Buffy and where it's sort of like we have something that we're keeping from everybody else. They have dual lives.
Speaker 5:Now it's like wait a minute, this isn they have dual lives.
Speaker 2:now it's like wait a minute.
Speaker 5:This isn't the same as yesterday. This is a totally different life than I'm about to live.
Speaker 2:That was actually added later, while episode 12 was being shot, because the Harvest came in short. So there's a number of episodes that were shot later and then edited into the episode, which I can point out as we go along as well, cause I know the idea of like packing 42 minutes or 45, maybe at this time it's more art than science.
Speaker 3:You know what I mean. It's not easy to like, get that actual, because it's a very specific runtime. You have to hit that number Like you have to hit that One scene's not working and it goes.
Speaker 3:and then you got to like, okay, we got to fill that length yeah you know what I noticed this time watching it, now that I'm a professional podcaster and stuff you know, I have like like a really heavy sound library and it's like it's funny when I hear a foley effect that it's like I have that and so like, when jesse is revealed to be a vampire, it's played with this sound effect. Oh, and darla's scream at the end that's, that's a yeah, that's a classic.
Speaker 5:I was trying, I was like it's not a Wilhelm, it's not a Howie. I know that's the name of that scream I could pull it up right now, yeah you got to play it for us.
Speaker 2:Now we got to hear these. Here's that scream Ah, david and Nick hadn't worked very much before Buffy, but Sarah. But Sarah, allison and Tony had worked a lot, because both Sarah and Allison were kid actors.
Speaker 1:I go to Burger King.
Speaker 2:Burger King, burger King, it's just so adorable, but yeah so she'd already been working for almost decades by then.
Speaker 3:And this is the best is that? And I brought up last week Allison Hannigan was on the show Free Spirit and I sent you a link, you guys, after we recorded, to the opening credits. And, of course, Juliet's like oh, I know these guys like Corinne Borer, Because I said I said by accident Christine Borer, but it's Corinne Borer. She's like oh, I know Corinne. It's like, oh, and the lead, Frank. I'm like, of course, she knows them.
Speaker 2:It was so crazy because I went Corin and then I said oh my God, Frank, Frank, we were in acting class together. That's so bizarre. And I actually went to a taping of that show, oh my God and Frank. And it was funny because, Frank, we were doing scene work together and we'd been in class for actually a couple years.
Speaker 3:Clarifying, not me, Frank.
Speaker 2:Lutz, who was the lead on.
Speaker 3:Free Spirit.
Speaker 2:Yes, yes, yes, my previous Frank, not my Scooby Frank, and it was funny because I was doing. I ended up doing a play in Orange County which was Murray Shiskel, who was the writer of a play called Love and he was a co-writer of the Dustin Hoffman movie Tootsie. Yeah, murray was amazing and I had been doing a Murray Shiskel play called the Pushcart Peddlers and the director of this new Murray Shiskel play saw me in it and said oh, can you come and audition for Murray? It's a musical and he wants to develop it here and then see about taking it to Broadway. And so I said sure, and I auditioned for it.
Speaker 2:It was funny because I read, and when I Murray Shiskel like jumped up on stage, hugged me and said this is amazing, you have the part. And I actually called my mom from the auditions that I got the part and she said oh honey, they don't tell you there, you must've misunderstood, you didn't get the role, like you must have gotten that completely wrong. And she said what exactly did Murray say? And I said well, he jumped on stage, he hugged me and he said you have the part. And she said oh well, wait, maybe you do have the part. No, I think I really do have the role, but anyway, so I ended up doing this play.
Speaker 3:Way to kill the vibe.
Speaker 2:I know Well, that's my mom and I ended up doing this play Way to kill the vibe.
Speaker 2:I know Well, that's my mom and I ended up doing the musical and it was eight shows a week and I had to drive. It was about a depending on Los Angeles traffic, it could be really stressful to try to get there for the half hour. Call right, curtin. So I would always make it, but it was really nerve wracking. Would always make it, but it was really nerve wracking. But so Frank came out to see the show and then he had a Fiat Spyder that wouldn't start after the show and so I said, okay, well, I can drive if you it's really late now, it's like 11, whatever, I can drive you back to Hollywood and you can come back with me before the show tomorrow and you can then get AAA and work all that out. And he's like great. So the only thing is I do my vocal exercises on the way to the theater every day and it's like so I'm ready for the musical and I actually do vocalize five days a week. Dill Like, I just do these vocal exercises.
Speaker 3:Bumblebee, bumblebee, bumblebee, stuff like that.
Speaker 2:Well, really to sort of place my voice in a nicer sort of register and all that. So because I don't sing as much as I used to. So he said, okay, sure, and then he told me he secretly thought, okay, well, she probably will blow off her vocal exercises and just like, hang out and talk with me. But I'm so disciplined, like I was a ballerina, I'm like, and I was like this is my time to do my vocal exercise. So I vocalized the entire way there, which is actually really hard when you're in a closed car with how loud it can get. But I warned him, but it was funny because afterwards he said, oh my God, I'm so impressed. I would have totally blown it off and just hung out and had fun and I was like, but I have to be ready for the show, and so I feel so bad because to this day I subjected Frank Lutz to 45 minutes, to an hour of ooming and awing, as Dev calls it.
Speaker 3:I once worked with Mark Margolis. Actually, I worked with him a couple times. Do you happen to?
Speaker 2:know Mark. I don't know him personally, but I know who he is.
Speaker 1:Never mind the wise cracks Ventura, you owe me rent.
Speaker 3:Mr Shikidance, I told you you're my first priority. He did this funny thing. We were shooting overnights and he does this thing just to keep his voice going. Really sweet guy, by the way, he was a real, just great guy and the shoot we were on was a disaster, just a nightmare. And oh, don't get me started but it was very tense on the set, but he just kept doing this thing periodically. You could set your watch to it like every 10 seconds. Oh my gosh, and this was like a very bad set and it would just be funny where people were screaming at each other like it was like really, really toxic, this set it'd just be like all right, all right, get the shot already.
Speaker 3:Jesus christ, you just hear that in the background and it made it perfect comedy.
Speaker 5:It's poetical, it was beautiful, it was, it was amazing oh my god, that all sounds really bizarre.
Speaker 3:Back to buffy the vampire slayer, oh wait so two questions.
Speaker 2:One is was it literally like, like, why did?
Speaker 3:he, that was his thing he said. He said he was like to keep his his vocal cords active but it wasn't like huh, it was like oh no, no, literally like peewee herman voice like I'm doing the best. Mark muller goals impression anybody's ever done, just fyi the kermit, the kermit, the frog yeah, it's very kermit the frog like. If you like, tapped kermit the frog in the back while he wasn't aware of it that's the sound he would make.
Speaker 2:Wait, I have a funny story that Gary Oldman told us about being directed, so let me see if I can remember this right. But he said basically this director came out and said OK, so I want you to walk out. Step, step, step Verbals verbals verbals Daggers, daggers, daggers, step, step, step Verbals verbals verbals Daggers, daggers, daggers, step, step, step Verbals, daggers, verbals, daggers, daggers, daggers, step, step, step. And he was like what is that? And he's going. Okay, I guess he means I'm moving on the step, step, step.
Speaker 5:I'm giving looks on the daggers and then we're doing the verbals, but that was the guy's direction.
Speaker 3:He probably has that shorthand with somebody else and forgot that. No one else knows what I'm talking about. This is a new professional relationship and you haven't established that kind of shorthand with him yet.
Speaker 2:What does that mean? And he did the like the Drusilla be in my eyes thing with the with the daggers, daggers. So he was going between his eyes and Gary's eyes, like I. I was gesturing, but of course you guys can't see going to his eyes, the othergers daggers. So he was going between his eyes and Gary's eyes. I was gesturing, but of course you guys can't see we're going to his eyes, the other eyes, daggers, daggers, daggers, daggers. So yeah, maybe that's right. He had shorthand with someone else and he just picked up with Gary.
Speaker 3:You'll get it.
Speaker 2:So in the Buffy episode. By the way, I think that this scene with Angel was David's. He told me that that was his audition scene, even though it's the second script, that both scripts were completed and that was the scene that he read for his audition. And the other thing is that the tunnel scenes were shot on location and it was this unbelievable location that had massive tunnels underground, this huge system of tunnels.
Speaker 3:That's interesting because is it possible that the room that they get stuck in, where it's like not escape, is that a set? Because the geography is very specific, unless they scouted it, and because I'm saying like it's like the way the placement of the vent shaft she goes to, that had to be in the script in order to like, oh, there's a vent shaft on the ceiling and it's just like. I guess they just found that location, cause I was watching it, thinking like this must be a set because it's so specific the geography.
Speaker 2:I do know that they often did, if it was on location, did a lot of the location scouting and then some of the blocking would come out of that and so things would be staged directly related to what the location was going to be. I love the scene in the computer class oh my gosh, I was about to say that and I was like I almost cut yous all off and just said deliver, deliver, deliver okay, so how do we save it?
Speaker 1:deliver, deliver where's that?
Speaker 3:but my favorite is that one dude where what a busy body he is right with that one dude, like where cordelia and harmony are trash talking buffy, this dude comes on to frame like a muppet. It's like what you guys talking about, like what a busy body this guy is. We've never seen him before and I don't think we see him again. But he needed to know the hot goss. But it was funny. That scene and just those computers with the DOS prompts and stuff like that takes me back.
Speaker 2:It's like, oh, the old school, the old school.
Speaker 3:Ah, I love it.
Speaker 2:But it's also so great when she does that with Cordelia, because she's been acting so bitchy and she's just, you're just like go Willow, go Willow, yeah, no, go Lua. Because she's also beginning her character arc to get more self-assurance from hanging out with Buffy and from surviving, almost having gotten killed. There's changes are already brewing inside her character. This was also Harmony's first episode.
Speaker 3:Oh, that's right. She didn't show up last episode, that's right.
Speaker 2:No, and Mercedes was also a kid actress. She was in movies like Adam's Family Values.
Speaker 1:Is this made from real lemons? Yes, I only like all natural foods and beverages organically grown, with no preservatives. Well, I'll tell you what. I'll buy a cup. If you buy a box of my delicious Girl Scout cookies, do we have a deal?
Speaker 2:Are they made from real Girl Scouts. And she just told me that she was emancipated at a really young age. Emancipated meaning that she made decisions without parental consent.
Speaker 3:Oh wow, If we ever have her on, let's see if she wants to talk about that.
Speaker 2:Yeah, yeah, that whole location where you're talking about, where Jesse. I think that whole sequence is so scary, when the other vamps are lurking, and the way that the tension is built and that whole thing and him being revealed as a vampire, that whole sequence is really effective.
Speaker 3:And then, of course, that hand around the door that becomes immortalized pun intended in the opening title sequence yeah, that's my favorite part of the show that carries over through the whole series. Like, okay, what stuff's going to make it into the opening credit sequence and where is it?
Speaker 2:By the way, that whole part where they're crawling through the vent, where Sarah and Nick are on their hands and knees crawling, john Kretschmer, the director, pad the camera on a skateboard for that sequence. Oh, wow, wow. I love hearing stuff.
Speaker 3:Retchmer, the director pad the camera on a skateboard for that sequence. Oh, wow, wow. I love hearing stuff like that.
Speaker 5:Oh, but jesse, yeah, the whole bait and switch with jesse, where you know they build up his whole thing, that he's going to be the bait, and it's like, oh no, they turned him.
Speaker 5:And it's like wow like that whole moment's a whole, and then that answers the question in the first episode where we were talking about like oh, is this guy main character? We don't know who he is. Yet this that the other thing we're still getting to know these characters on the first time viewing of the show. You don't know who he is, you don't know that he's portrayed as having a major part in this show, and it gives you this it gives xander the believable motivation, right.
Speaker 3:So like okay, this is that's my buddy. Like yeah, yeah, now it's like he has a stake in it. Excuse the pun.
Speaker 1:It's personal.
Speaker 2:Yay. So the other thing that I wanted to talk about is that the vampire teeth could get quite lispy, and so you'll often notice, like some of the things where teeth, to work with them, because I felt like it wouldn't be very daunting if Druthilla was saying things like this and I was when I first put them in, because they actually made, unlike the Trueblood teeth although Kristen Bauer and I have shared teeth stories and she had trouble with those, but they were actually much thinner Ours actually they took a whole, like when you go to the dentist and you do those Impression yes, thank you, impressions and so it was the whole teeth. It wasn't just the vampire teeth, it was everything. It was quite bulky.
Speaker 2:But so I was at home and I was working with them and getting comfortable with them, and it was two in the morning and I thought we live in the Hollywood Hills and I didn't want to leave the garbage inside because you know you can get a lot of animals coming in. And I thought, okay, you know I don't, I don't need to take the teeth out to go down and out to the street and take the garbage. Who's going to be out at two in the morning Doesn't matter. So I start down the stairs and I'm at the trash bin and I'm putting the garbage in and all of a sudden I hear, oh hi, I'm new, I just moved in. You must you know, I'm your new neighbor.
Speaker 2:No, and I was completely freaked out because I didn't know what to do. I thought, okay, if I talk, she's just going to scream or think I'm really like a scary person. So I put the trash and I held my you know, my hand up to my mouth and was, oh, it's really really nice to meet you. And I was talking really quickly and I left and then I could see that she thought I was really weird because she'd been super friendly and I was holding my hands up and the next time.
Speaker 2:I saw her, I apologized and said I'm sorry, I'm on a show right now and she knew Buffy. And she said, oh my God, I love that show. I said I actually had vampire teeth in and I just didn't want to scare the bejesus out of you in the middle of 2am in the dark night. And she said, oh, I'm so glad I would have probably screamed at the top of my lungs and so that was just-.
Speaker 3:Are you upset that you didn't just turn around and go shh at her?
Speaker 5:Just immediately. That was my immediate first reaction.
Speaker 3:It's like well, how many times am I gonna have the opportunity to do this? I might as well, right? And then you called Frank Lutz up and said let's do some vocal exercises. Why do you always call me when this is done?
Speaker 2:While you're working on this stuff. But then it's funny because I had another strange encounter at the trash bins that also involves vampires. I was pulling up to the house and I saw this guy who was walking his dog and starting to put some of the dog poop in our bin. So I rolled down the window and I said you know, is there any way you could make sure that's wrapped properly, because otherwise it makes our garbage bins people put it in. It's really really rank, and so it'd be really nice if you could just wrap. And as I'm in the middle of sort of this litany of poop talk, the gentleman turns around and it's Michael McMillan who played the televangelist Steve Newlin on True Blood.
Speaker 3:Oh, wow.
Speaker 2:Oh wow, and he's looking at me, I'm looking at him and he goes oh, hi, and I go hi, and we have this moment of recognition having been on vampire shows and whatever. And I'm thinking, oh, you know, he would be good for one of my projects we're working on. Would that be okay right now, or would it be weird to talk to him about that? We're just like talking about his dog poop. Yeah, I think it's probably not appropriate.
Speaker 3:That's a tough transition to pull off.
Speaker 2:It was really bizarre that we've actually, of course, seen each other since many times and that was much, much more normal and not weird. But yeah, I sort of left it and was like, okay, and he's like, oh, yeah, I'll definitely make sure this is wrapped up. I'm like that's fine, it's okay, it's nice to see you, nice to meet you. The other weird thing in our neighborhood is one night there was a cat that had gotten run over and was badly hurt, and so we called and and we were trying to figure out if it was. The cat had a collar, so we're trying to figure out who it belonged to, and so we're going kind of walking around it's night.
Speaker 2:This car pulls up and gal gets out and it turned out it was lucy lu and she and we're like, do you have a cat? And she's like I don't have a cat. And so we told her what happened and then she came and looked at the cat and we were like, do you know any? And so then she joined us and we were on this whole like escapade to try to find the cat owner for the cat that was injured. And then we never found the cat, but they did come and take the cat, then the cat was okay, but it was like a long, weird, surreal. I felt like I was an after hours like a fever dream yeah, I was just gonna say that it's just like.
Speaker 3:It's like, when this kind of things happen to me, I don't have celebrity guest appearances. It's like oh look, it's lou farigno, I found this lost dog. It's like a gulligan's island episode. Well, you go to people's houses and just be like now's a good time for the teeth. I think I have a problem with the master's managerial style.
Speaker 2:He doesn't dole out punishments equally, so like that, what that you mean when he he does the eye like he looks at?
Speaker 3:lucio falchies that one guy's eye from like, just for a easily understandable error. Uh, colin you failed me, sorry.
Speaker 1:There, that wasn't so bad, was it?
Speaker 3:hold on like it's like. Listen, it's the slayer. I was by myself. You know what do you want me to do? But darla, it goes into his lunch. He's a good one. His blood is pure you've tasted it. You bring me scraps like imagine you sent out somebody who worked for you for coffee and they come back and there's lipstick on the cup.
Speaker 4:It's like oh yeah.
Speaker 3:I had some, but I got thirsty on the way over. I hope you don't mind. But he's like, hey, listen, don't do that again. That's not cool. But so one guy's like, hey, you know the superhero let her go.
Speaker 2:It's like, well, you gotta lose an eye for that pal, but don't you, having played a villain who's evil, I mean, isn't that part of the thing that makes it so unpredictable is that you never know what's coming your way? You might get your eye out, or you might not, or do you think he just has a scale that isn't very?
Speaker 3:you know what I think it played into it. I think that was his. The straw that broke the camel's back and it's like that guy went off off with his wounded eyes. Like you know, that wasn't even about me, right? That's because of Darla eating his food.
Speaker 2:And also Darla's, one of his favorites right.
Speaker 3:Right, and she's the most smartly dressed out of the bunch. So you gotta you know you gotta play favorites.
Speaker 2:Well, luke and the Master, that whole ritual scene feels like it's kind of an erotic scene almost between the two of them.
Speaker 3:Yeah, doesn't it kind of it's very and ricey.
Speaker 2:It's very and ricey yeah and he's bowing down in front of him, the whole way it's staged and the whole kind of feel between the two of them and the way that they're playing it, and it almost has this kind of romantic and sexual feel, as well as the ritual-esque aspect and tarla's like complaining, like behind the scenes.
Speaker 3:She's just like he's such a kiss-ass, he's like the biggest kiss-ass. You see how he yelled at me about drinking blood.
Speaker 2:And then they're like look, at least your eye wasn't poked out.
Speaker 3:That's on you.
Speaker 2:Wait. The other thing, I think, is such the quintessential line that Joyce has when she says to Buffy if you don't go out, it will be the end of the world. That's such a perfect summation of the metaphor of teenage angst. But in this case it's actually true it will be the end of the world. And it's such a great microcosm of the show.
Speaker 3:Yeah, I really feel for Joyce, especially the older I get. It's just like she's just trying to please. Could you not? Like when you have a kid who's like giving you trouble, it's just like, could you please, I just had to move, you burned down the school, like she even says I've listened to a tape to like be more assertive, like she's just doing her best the poor woman.
Speaker 2:It's also that thing of that adults really can't understand teenagers, teenagers. From the adult perspective, teenagers are out of their minds, and from the teenage perspective the emotions are so histrionic and so everything is life or death. So it's that sort of place where there is no meeting of the minds. To a certain degree, in that scene, with joyce is it's in buffy's trunk. It's like there's two levels. The underneath level is the something that we can't tell everyone, the stuff that's hidden and that's symbolic oh yeah, that's what like in my in in real terms.
Speaker 3:That's where I hid my cigarettes. I had a trunk like that, not like that, but I had like a. I had like a light layer where my illicit stuff was mostly cigarettes. I was a good boy otherwise do you? Smoke no but you did I did, yeah, when I was a teenager I only smoked really. I was really into it from like 15 to 18 and then it was just like it would come and go, yeah same I.
Speaker 2:I smoked in third, fourth, fifth and sixth grade and then well, you just wanted to get it out of the way yeah, well, that's good though, because I mean it's healthy tissue at that point it bounces right.
Speaker 3:It's resilient. You're resilient. At that age you could put a bunch of stuff in here.
Speaker 2:Your lungs are pink with an back. To me it was. I was living in london and we could take the tube and we would just basically take the smoking car, which thank goodness there aren't anymore. But and so if anybody said, oh, you smell like cigarettes, you just be say, oh, I was on the tube and we would get marlboro cigarettes. For some reason we like the american cigarettes and we would smoke those.
Speaker 3:Yeah, but we were little like I can't believe what is third grade. What is third grade again? Like that's 10, that's how old is third grade? Um, I don't know, it's been so long I don't know, it's around right it's around like 10, 11, 12, like you're around 12, 13 maybe.
Speaker 2:Yes, that's, that's pretty wait, it says overachiever it says it's actually third graders are usually between eight and nine years old so what's weird to me is that nobody on the tube ever told us eight and nine year olds to stop smoking or anything, yeah, yeah, because I remember being young too, and when my parents in the car because in Los Angeles you had to be driven everywhere and it would just be they'd both be smoking and you'd be in this little Are you too young to be on airplanes when there was smoking sections? Little are you too young to be on airplanes when there was smoking sections, which basically would be the whole plane because it would be one row, would be like you'd be sitting right in front of the smoking section, which was so.
Speaker 5:It meant it just went everywhere yeah, I remember like in diners and the smoking section was always like the back corner, but there was nothing stopping, it was the whole restaurant's smoking section.
Speaker 3:Yes, my dad used to just go to the movies and he would smoke. My dad's still smoking. My dad's pushing 80. He's still a chain smoker At this point.
Speaker 1:Let him do it.
Speaker 3:Yeah, it's like all right, I mean 78,. You're already past the national average, so you might as well keep going.
Speaker 2:And he'd do it in movies.
Speaker 3:Yeah, and that wasn't uncommon in the 80s, like like it was like not allowed, but everybody kind of did like. I did it too when I used to go to the movies when I was a teenager and that was like a thing now, that's unimaginable like what do you mean?
Speaker 5:you can't do that.
Speaker 2:It's crazy how that shift happened, because it wasn't that long ago, like really if you think about it and then like the grand scheme of things what's wild also for me to think about is that we were kind of left to, just at eight, eight years old, like travel all through the city on our own. But I don't know if kids can just be left alone to do that, I mean, and whether it was safer then or it wasn't safe. It probably wasn't, we just didn't know.
Speaker 2:Just didn't anyway, yeah we were kind of left to our own as long as you were home by dinner, like nobody cared about where you were.
Speaker 3:I was raised like a veal, like my mother wouldn't let me go anywhere.
Speaker 5:I wasn't allowed to go past the fire hydrant, I'd get beat with a broom yeah you get attacked for that.
Speaker 3:You get a beat for that.
Speaker 5:Yeah, you can't go past the fire hydrant. God forbid, god forbid. Cross the street, cross the street cross. The fire hydrant was on the same block.
Speaker 3:It was only like four houses down I still hear this yells and screams in my ears when I cross the street.
Speaker 2:Yeah, well, I don't know about you kids, but I was smoking it, yeah yeah, you were yeah, we wouldn't be allowed to hang out with you actually I was a bad influence because when I moved back from london I remember my friends I was like what you never smoked oh I actually had my friends smoking. It's like I'm 10. What's wrong with you people?
Speaker 2:you haven't no none of us actually ended up being smokers, so maybe we got it out of our system. But I was the bad influence because I was like, hey, I can get the cigarettes oh, that's so funny.
Speaker 3:So the harvest is actually. So essentially the harvest is the master. John Malkovich is his way into Luke, sort of where anything Luke experiences, the master will experience. So he like goes out by proxy to like the vessel.
Speaker 3:Yeah, he's the vessel and this is the first episode we talk about the hell mouth. It's like the hell mouth will open and this is the first universe-ending crisis that's been averted. Because that Hellmouth is like everybody's like that's hot property for the demons. They want that Hellmouth. As soon as somebody moves, as soon as the mass is off the deck, somebody's like oh, I'm going to move in on that Hellmouth.
Speaker 2:Wait before we go to the end. Do you guys know the band at the Bronze this episode?
Speaker 3:No, we don't no.
Speaker 2:It's the Dashboard Prophets and actually the scene with Cordy in the bronze that was added later. It's another of the scenes that was added to the episode because it was running short. I think the slow-mo walk when Julie, brian and the other vampire characters go to the bronze.
Speaker 5:Ah, it's great, that's great, it's so great. And to Ah, it's great, that's great, it's so great and to me.
Speaker 2:It's also scary. Their energy reminds me of the Manson gang coming in, or something like that.
Speaker 5:Well, there was a couple of nice scares in this episode. When they're navigating those tunnels, yes, their eyes are just glowing behind them as they're in the dark.
Speaker 3:I said that's a scary image there's that and there's the most unbelievable thing happens in that scene. It's the way Buffy does not react to a rat crawling on her foot, because I mean, maybe it's believable for her, but I can't imagine I'd be woo, turn right back around. Jesse would have to figure this out for himself. Like that's the deal breaker't.
Speaker 2:I was once staying at a hotel, I and a rat. This huge rat came out and I was up on the bed before I even knew, screaming at the top of my like.
Speaker 3:I would not have been able to react that cool that's the game for me uh, I gotta say luke gives the absolute worst sales pitch to this crowd of people.
Speaker 6:Tonight will be history at its end. Yours is a glorious sacrifice. Degradation, most holy what no volunteers.
Speaker 3:I actually love how he plays this, Brian Thompson, how he's genuinely shocked that nobody bought his pitch.
Speaker 2:It's like what? So yeah, you're saying, nobody wants to do it.
Speaker 3:Yeah, it's just like. He gives this incredibly like listen. He put his heart into it, like he's been wanting to do this pitch. He's a company boy, that's why he's the master's favorite, and so he's just like I got this real great pitch. He goes on stage and no takers on it.
Speaker 5:Well, obviously Surprisingly Surprisingly, there's no takers on.
Speaker 2:I also love Buffy, her swagger in the showdown, the way she takes off her jacket and the way that whole scene plays out. And I know Sarah did a lot of quite a bit of the stunts, the close-up stuff she always did, but in the first couple seasons and then Sophia Crawford did the big stunt work. But that whole sequence, the way she kind of throws down, is great. I mean it's got that shot that ends up in the titles, the blue shot of Sarah. That's iconic and powerful. And at that time a lot of blue gels were used and blue color correction in film and television. Everything looked blue and had that tint. John Kretschmer, the director, was told to do a Spielberg in that scene and that is how that shot was born.
Speaker 3:And then the other vampires. Just the best. It's just like nah, we're out. They don't want that smoke.
Speaker 2:And don't you guys think that Jesse's death is funny, how it's an accident that he gets dusted by getting knocked. It's just such a humorous way for him. He's had this whole build-up and then it just kind of happens unexpectedly and having xander do it is.
Speaker 2:Yeah, the circle rounds it out well it is, and it's also like xander is becoming less like the Jesse character and he's becoming more active. His character is not sitting on the sidelines and not sort of identifying as the nerd as much or the outsider, or whatever the words are for that, and he's becoming involved in a different way than he was prior.
Speaker 3:Yeah, oh. There's one thing about Xander that I want to run this past you, juliet, because Xander says something. When they're talking about where the vampires could be, xander says something to the effect of well, there's an underground electrical system that runs through the power station, and that's very specific information for a teenager to know. But we just got back from the West Coast, or I got back from the West Coast, chris didn't get to come.
Speaker 2:Ever going to live that down Ever?
Speaker 5:No, that's why I'm coming to everything. Yeah, you'll see.
Speaker 3:You'll see You'll see. Oh, you'll see so. But then I realized something that's a very peculiar thing and I want to know if I'm correct in this, juliet. I've noticed something in my trips to LA that the people in LA really like talking about the experience of living in LA.
Speaker 2:No, I think you're right. I mean, I think that absolutely there is that.
Speaker 3:So you're saying that's how Xander is sort of ascribed to it. That's why it seems unusual for him to know that. But then I was in LA and I was just like no, that tracks.
Speaker 2:Oh, I was thinking about the fact that, in a way, there's almost like three parental males in this episode. There's Giles, who's the wise educator, there's Flutie, who's the oppressive, rule-oriented, passive, aggressive adult, and then there's the master, who's kind of the evil father, the dark side of the psyche. He wants to consume her. He ascribes to the Dracula myth, he's invading and he's taking over and he's bestial and he's bat-like, and I thought that those three archetypes are an unusual dynamic in the episode.
Speaker 3:Giles is the winner. Like everybody wants a Giles in their life. If I was a teenager man, I'd be a captain of industry if I had a Giles in my life at that time.
Speaker 2:He gives her information, he trains her, he's on her side, he's a font of knowledge. Yeah, it'd be amazing to have a Giles right?
Speaker 3:Yeah, that's my favorite relationship dynamic in the show. Some people are like you, buffy Angel, you, buffy Spike, do you ship this like, excuse me? Excuse me, I'm sorry. You mean spike drusilla, don't you? I sure stepped in with that one I'm saying. Other people say that I'm saying this is not our opinion.
Speaker 2:This is not our opinion the other thing in this episode is that angel starts to perfect his handsome lurking. Yeah this his handsome.
Speaker 5:This is good handsome lurking, it was good handsome lurking.
Speaker 2:Yeah, it's actually the last of the scenes that was added later because of the episode being short, so it was shot later and added in as well.
Speaker 5:And you can see they're still trying to figure out like.
Speaker 3:It's hinting at something that might not necessarily be completely fleshed out yet, but they know they're going to do something with him.
Speaker 2:Yeah, completely fleshed out yet, but they know they're going to do something with him. Yeah, it feels very clear that Buffy and Angel have a chemistry and that's being planted, but who knows exactly where that's going to go. Oh, boy, don't you think that the end walk and talk, as we call it the walk and talk sequence, where actors are walking and talking.
Speaker 3:What's the guy's name, the showrunner's name that you call it? That too.
Speaker 2:I mean.
Speaker 3:Aaron Sorkin. Aaron, the guy's name, the showrunner's name, that you call it that too. I mean aaron sorkin, aaron sorkin. It's like, yeah, you call that like an aaron sorkin when you do that.
Speaker 2:Or it's just like oh, west swinging it I I forget what show where they say well, west swinging, it's like a walk and talk yeah, yeah, that at the end it really clearly sets up the thesis for the rest of the show that it's not only going to be vampires, that it's going to be our team against all of the dark forces.
Speaker 3:Yeah, you now have your core four.
Speaker 5:Yeah and it sets up Going forward. You're going to get a monster of the week, yeah.
Speaker 3:You're going to get that and I love that. They said it's not just vampires, which is such a fun tease. Yeah.
Speaker 2:The other thing is that Willow foreshadows the blowing up of the school at the end with spoiler alert, but in a kind of throwaway line as they're walking away.
Speaker 3:Yeah, she throws that away. And of course, giles' classic last line.
Speaker 5:Yeah, my favorite line of the Earth is to.
Speaker 3:I watch this now. It's like a time capsule. It's just like oh wow, that's right, people used to dress like that, like now. It's so different.
Speaker 5:That's starting to come back lately.
Speaker 3:It's a very depressing place have you gone on youtube dead malls like that, oh, it's oh yeah, oh, I've, oh yeah, I've.
Speaker 5:There's a whole subgenre on youtube.
Speaker 3:It's wonderful dead malls, because it's yeah, they're oh, I've seen that.
Speaker 5:It's crazy, it's crazy, but I need to get a link repaired on my watch and I was like, oh, I know that the mall has a kiosk, I'll just do that, let's take the baby and just like walk through the mall. And it is the scariest place on the planet because it's literally just desolate now. But all the clothing on the mannequins is like late 90s, early 2000s, like those big chunky belts that serve no purpose, and it's like all like collared shirts under a long sleeve shirt. It's like what is happening? We're reverting.
Speaker 2:Well, it's a 30 year cycle. I just got such an image of that Charlton Heston movie. Oh, mega man. Yeah, the way you described it.
Speaker 5:Oh, that's exactly what it felt like. Yeah, and the most bizarre thing, the mall by me. We walked past the food court and the food court is normally it's like you have, you can always count on like a Burger King and like a Taco Bell in the food court.
Speaker 5:You mean Burger King. I go to Burger King In the Ocean County Mall in New Jersey. It's all branded by like it's like a guy's name I can't remember the name of it, but it's like Gary or something. It's like Chinese food rotisserie pizza and it's all just like. It's like Biff Tannen's rotisserie pizza and it's all just like it's reminding, like it's like biff tannins. I said everyone, this guy monopolized the entire food court. Who is this guy? Gary the food very bizarre.
Speaker 3:It was very bizarre. I started with a hot dog stand this whole mall. Now, if you want to spot them all, you got to go to me.
Speaker 2:Yeah, mine, it's all mine well, the thing with the 80s, too, for me is the 80s was a time of excess and we've sort of cyclically been in a time of excess as well, so it sort of hearkens, that the style and all that stuff would sort of come back, because we're living in that sort of aesthetic.
Speaker 5:Yeah, it's not a guy's name, it's a nickname, daddio. Which is even weirder it's Daddio's taco, daddy-o's rotisserie, daddy-o's grill and daddy-o pizza makes up the entire food court what do you mean, daddy-o? It's so scary, it's so daddy-o I'm gonna throw up not that, daddy-o.
Speaker 3:That's weird it's so strange. Listen, if they're smart, you're hot, she just did you.
Speaker 2:She just gave you an ad that's just going through the mall daddy has the answer for you every kind of food you ever want that might bring traffic back to the mall.
Speaker 3:Listen I'm just letting daddy-O know that ain't for free.
Speaker 5:I need like a taco card or something.
Speaker 3:Yeah, that's all I want. I want like a free beverage, but Juliette, she's got to have to wet a beak on that one. Yeah, do the right thing, daddy-o. Do the right thing, come on, daddy-o.
Speaker 2:Yeah, I've got to deal with Daddy-O.
Speaker 3:Sounds like some porno Frightening yeah, South Jersey Mall.
Speaker 2:Where everyone wants to go. Have you not eaten at daddy-o's, oh my God? So I had a question for you guys Last time. We were talking about the relatable theme and you guys actually talked about getting bullied and you made jokes about it, but it sounded pretty intense. Actually. It sounded like I was thinking about that, like it sounded rough.
Speaker 3:It wasn't good, it wasn't great. I tend to just push it all down.
Speaker 5:Yeah, that's my coping mechanism Just push it all down, bottle it up as much as possible, like when I found out I was diabetic.
Speaker 3:I'm like oh that's a whole.
Speaker 5:That's a new set. Yeah, that's five more minutes.
Speaker 2:That's five more minutes. You weren't thinking that at the doctor.
Speaker 5:Oh, I was when I was doing comedy and I found out I was diabetic. I said oh, thank you.
Speaker 1:I'm not anymore thank God.
Speaker 5:But I said, you just gave me, you just you're not diabetic anymore or you're not. No, I'm not diabetic anymore.
Speaker 3:Well you're always technically diabetic.
Speaker 5:But it's in control Right.
Speaker 3:Yeah, Like. Yeah, I don't have to, I don't need to take medicine or anything. Yeah Me neither. That's where I am.
Speaker 2:I'm only one bear on one description. If this week the theme is with the Scoobies finding their group or becoming a team and finding your place, do you guys have a story about that, whether it's grade school, high school, anything like, whatever, just finding your posse, your team, your place, your group.
Speaker 3:I did have a group. Here's the thing I got grandfathered in to my brother's friends because we went to the same high school. I really had like a group of people, but I really only deal with one person and they're like my emissary to other people.
Speaker 5:I always kind of bounced around between. I always had a lot of friends and I always bounced around between groups. I had my neighbors who I grew up with and we were always kind of hung around in their basement and I had the friends I met in high school. It wasn't until after I was out of high school that actually my brother, rob, he bought a Mustang and he would drive it all over the place. And there was friends that I made in high school who were car enthusiast guys and they saw me one day and they happened to be like hey, chris, we saw your brother bought a Mustang, tell him to come by.
Speaker 5:There was a coffee shop down the street from me that everyone used to hang around at. They used to go there every night. They'd be there with the in cars and just hanging out drinking coffee, whatnot. They said tell your brother to swing by one night. So I just I told him.
Speaker 5:I said rob, go, go, john and joe and all those guys want to say hello and they're like he, we see him driving past the coffee shop but he never stops. They're like and I recognize him because he looks just like you. So tell him to stop next time. So he stopped and then like a couple days later he was like he was going there fairly often. He was like those guys are pretty, you should come stop by one night. So I said that I hung around with them in high school but I paled around with a bunch of different groups of people. But then I went there one night and stayed and then I literally never left One of the guys who I hung around with one of my best friends. I officiated him and his wife's wedding last year. Yeah, there was a real good group of guys, but it was like my brother buying a Mustang and reintroducing me to friends that I had in high school was really what set me up with the guys who I still pal around with.
Speaker 2:For me it was when I started dancing.
Speaker 2:I was a professional ballerina before becoming an actress and for the part of my time that I grew up in Southern California it was different when I moved to England that very much the blonde cheerleader or Barbie kind of look was coveted.
Speaker 2:And when I went to dance class for the first time, I not only loved moving but I was physically the sort of ideal in terms of being slender and fair skinned and ethereal looking and all that stuff. And so for me I was like this is great, everyone's very excited to see me and I'm sort of in a milieu that makes sense for who I am and what is more interesting to me. And just, it was a fit and it kind of was this like like a puzzle piece, kind of going, oh, this world I understand and I also am it's, it was, I was, it was desirable, and all of the things that I thought were potential shortcomings or not being busty, or I was like, oh, thank God you're not busty, like all these things, because it's much, much better for being a ballerina. So it was for me that was the thing where I felt like, oh, my identity, like sort of who I was, made sense in that group.
Speaker 2:What is the line from the episode that you would get as a tattoo?
Speaker 3:It's an exchange, it's literally, it's top five favorite lines of the entire series.
Speaker 1:I need to sit down. You are sitting down, oh good for me.
Speaker 3:I love that line so much.
Speaker 2:That's funny. I had it as one. You know how I have all these runner-ups and that was one of my runner-ups, because it's just so funny, the whole timing of it, the way that it's done.
Speaker 3:So well executed. Oh good for me.
Speaker 5:Yeah, that's great. And your line is Mine is the earth is doomed. Yeah, yeah, it's just, that's my favorite.
Speaker 2:I love a good button. I was picking between a few runner-ups where, when Xander says I don't like vampires, I'm going to take a stand and say they're not good.
Speaker 3:Yeah, that's a good line.
Speaker 2:I like that line and I think that Joyce's line to Buffy if you don't go out, it will be the end of the world is so perfect. But I think that the one I would get tattooed is buffy when she says well, we averted the apocalypse.
Speaker 1:Give us points for that that's great.
Speaker 5:Yeah, that's a great one I love how she sells.
Speaker 2:This is old hat to her yeah she's been through it I also like when zander says vampire slay a judge way of coining that it's very 1997.
Speaker 3:Yeah, and oh, zander's line which she's talking about. She had to decapitate a vampire with an exacto knife and he's just like oh, my freaking ass, like no.
Speaker 2:That's actually oddly comforting that line made us, when we were re-watching it, laugh out loud. And it isn't like we haven't heard it, it's just the timing of it and the quippiness of it.
Speaker 5:It's great I was gonna say my runner-up is uh, luke's line when he's on the stage.
Speaker 6:Ladies and gentlemen, there is no cause for alarm. Actually, there is cause for alarm, it just won't do any good.
Speaker 5:That's such a great.
Speaker 3:Brian Thompson anytime you handed him some comedy material.
Speaker 5:Yeah, he has good timing.
Speaker 2:He's funny with the whole when he thinks the sun is going into him and it's not, and then he realizes it's not and he's been set up.
Speaker 5:Comes up in about nine hours.
Speaker 3:Ladies and gentlemen, welcome to this Bash of the Brains, this mangling of the minds, as we try to find the Uber Buffy fan among you. The battle of the Uber Buffy fans, the Trivia Contest of Champions.
Speaker 5:I'm joined as always by Chris Feinstein Right, you are Frank, and I'm just excited to be here.
Speaker 3:If you want to be considered as a contender, to step into the ring a metaphorical ring, of course, the ring being appearing on the Slaying it podcast and see who could answer more questions that are so devious that you think they were written by the first or drusilla. If you want to be considered as a contender, write us at slaying it podcast at gmailcom for your chance to be the slayer weight champion of the hell mouth please.
Speaker 5:Please include your name, where you're based out of and what you weigh in with with number of Buffy watch-throughs and everybody. Let's get ready to Buffy.
Speaker 4:And now for something completely different.
Speaker 3:At the time I was watching Doctor who a lot and I'm in the city around Times Square, around Broadway, and I'm walking and down the street I notice Arthur Darville who played Rory on the show, and I'm not a person that goes up to I don't bother Pete, like I worked in production, my whole thing is like don't bother talent, like leave the talent alone. That's ingrained in me. But I wanted to say something to him, like just to let him know I'm a fan. As we're walking past and I'm like I have only like 10 seconds to like really think about what I'm going to say. We get up to each other and I just go Rory and he kind of looked like did that guy say something to me? And I chickened out at yelling Rory at the last second. So it was just really uncomfortable.
Speaker 1:And I, and it was just like oh okay, I'm just going to like, hopefully he didn't notice, he noticed, he noticed.
Speaker 3:Is that guy trying to talk to me? Oh, that's so funny. I didn't want to again. It was just like I don't want to blow up a spot, like I just got like in my head. I'm like I just wanted to say, hey, that was it. I just want to say, rory, hey.
Speaker 2:And then and mid name.
Speaker 3:You just sort of ran out the second syllable just tumbled out of my mouth, sorry, and he just looked like maybe that guy was coughing. He didn't know what happened and it was just like, yeah, that was it.
Speaker 2:Deb has to tell a funny story.
Speaker 4:My friend was the Gallifrey One and Peter Davison was the doctor that was headlining, okay, and my friend was dressed up as Tom Baker and he was leaving. And so Peter Davison is leaving and he just has like like carry-on luggage and he's walking out of the convention and my friend goes to him. My friend dressed up as tom baker goes oh, thanks very much for coming and peter davidson looks and goes.
Speaker 5:Whatever, tom baker boy nice that's not very friendly I did a show one night with gilbert godfrey and the most unassuming man on the planet. The guy is shot out of a cannon when he's on stage but offstage just the sweetest, just soft-spoken guy and I've followed this guy forever so I was kind of a little timid to go up to him.
Speaker 5:Yeah, and I didn't want to bother him or anything, just to say hello, and this, that and the other thing. But after the show shook his hand, thanks for everything. And it was literally do you want to help me sell merch? And it was like, oh okay.
Speaker 1:Just stand behind the table here If anyone.
Speaker 5:I guess I'm going to help you sell all your merchandise after the show in the lobby with you and your wife. And yeah, that was fun, that's weird. Yeah, yeah, that was fun, that's weird, yeah. Oh yeah, it was very, because I was getting ready. It's time for me. I have no merch to sell. I was glorified open. I was glorified open miker at the time really, and it's like, yeah, no, you're gonna, you're gonna stay here with me and we're gonna sell merch together. And then at the end of the night, it's just all right, goodbye. And the club owner was like, oh, he does, that was very nice, but it was just a very strange interaction.
Speaker 2:So Guillermo del Toro asked me to introduce him for the Crimson Peak premiere in Los Angeles and it was at the Man's Chinese Theater and I was excited. I thought that would be great and then actually later, by the way, we introduced Guillermo to Anne Rice because Guillermo thought that the movie wasn't being marketed right and he thought it was being marketed sort of like a horror movie. But it was more of a Jane Eyre-esque romance, gothic romance yeah.
Speaker 2:Yeah, gothic romance. So we introduced them because they're very steampunk and all that kind of stuff. So we put them together. But for this event and also, guillermo later mentored us on our film. So I saw him backstage and we were talking and he was telling me how he had color corrected the movie I think something like 14 different passes of color correction. He wanted to get it exactly right and we were talking all about this. As we're talking, a number of times he opens his arms wide it's hard to tell the story again because I'm off camera, but I'm doing the gesture but he opens his arms wide and I'm like, oh, it's so nice, and I hug him because we haven't seen each other in a while. And I hug him and then we keep talking and then a while later he opens his arms wide and I'm like, oh, and I hug him again and I'm like, oh, guillermo is always so warm, this is lovely, and we're chatting.
Speaker 2:And he opens his arms wide again and I'm like oh and this goes on a number of times, I'd say maybe six times, and he opens his arms really wide and I start to go in to hug him and he goes. That's really nice, but I am just trying to gesture for you to go this way. And he was basically showing me the entrance to the stage where we had to go out and I had apparently been just been like, oh, my God.
Speaker 3:Do you realize how awkward it was for him to have?
Speaker 2:to say that to you. I just started laughing and then he started laughing and it was fine, but it was completely embarrassing. I was like, oh my god, I think I just hugged the man like six extra times and he was just trying to gesture for me to get on stage.
Speaker 3:By the third time he's like I don't know what to do here.
Speaker 2:Juliet just keeps hugging me.
Speaker 3:What is this?
Speaker 2:It's getting weird. I'm like you're so happy to see me. This is just amazing, Whoa.
Speaker 5:Oh, it's so great.
Speaker 3:If he didn't tell you, you'd just be like Guillermo del Toro really is a big hugger. Did you know that?
Speaker 2:I think there would have been a point. I would have been like what's going on? You can't want this many hugs.
Speaker 1:Somebody had to end this he had to be, somebody had to end this you did, we were late.
Speaker 5:Oh, it's so funny. How do?
Speaker 3:you know how to finish an episode. Oh, you'll know.
Speaker 2:Maybe we all need to go to Daddy-O's and get some refreshments. Daddy-o's Daddy-O, daddy-o has the answer for you.
Speaker 1:Daddy-O, daddy-o, daddy-o.
Speaker 2:Every kind of food you ever want, daddy-o.
Speaker 1:Daddy-O, daddy-o, daddy-o, daddy-o, daddy-o, daddy-o.
Speaker 3:Come to daddy Us, us. We now welcome our audience to enjoy this recently unearthed missing scene from the episode Run, yes, run. It's not safe for us. Hey, buddy, here, you Don't go in the broads, there's a slayer in there.
Speaker 6:Oh, don't worry about him, that's just what he does, what he lurks. Oh wait, is that Angel? Yes, didn't you know? Back in the day he was called Angelus the Lurker.
Speaker 1:He was.
Speaker 6:Right-o. Others called him Liam the Lurker. I say we get a move on, just leave him be. Leave him to do his lurking thing. See, get a move on, just leave him be. Leave him to do his lurking thing. See you around being stealthy, angel Run.
Speaker 5:If you're enjoying Slaying it, leave us a review on Apple Spotify, your podcast medium of choice, especially on Spotify. On Spotify, you can leave comments on episodes, in particular, which.
Speaker 4:I love.
Speaker 5:Which is fantastic. It's the easiest way for you guys to communicate with us.
Speaker 3:Hit us up also on our Twitter. Do we have that yet we?
Speaker 5:don't have that yet, but we're going to have that by the time we see it. Slay in a podcast on Twitter, tiktok, instagram and YouTube.
Speaker 6:Sorry for yelling.
Speaker 5:YouTube. Thank you. See you next week when we YouTube. No, that's your thank you.
Speaker 2:See you next week, when we'll do it again. Do it again and, most importantly, until next time, go out and slay it.