Prison Breaking - Watch Party - Episode 1 - Pilot ===

[00:00:00] Sarah: Hello, everyone. Welcome to Prison Breaking with Sarah and Paul, The Watch Party. As the title suggests, this is a podcast about the TV series Prison Break. So I'm Sarah Wayne Callies and I played Dr. Sarah

[00:00:23] Paul: Tancredi. And I'm Paul Edelstein and I played Agent Paul Kellerman. Prison Break ran for five seasons.

And fun fact, neither Sarah nor I have seen the show since it originally aired. This will be the first time. Either one of us have seen these episodes since the original airing a while ago.

[00:00:41] Sarah: And so our weekly podcast is actually two weekly podcasts. The first one is available wherever you get your podcasts, Apple, Spotify, Google, wherever, it'll always be there.

And on that, we're, Paul and I are going to talk about every episode in deep detail. The tattoos, the characters, the plot points, what happened behind the scenes, production, unheard stories, all that. [00:01:00] Guests, contests, fan questions. It's going to be a ball. And then the other

[00:01:04] Paul: element of our podcast is this watch party.

The podcast you're listening to right now here, you will join Sarah and I, as we watch every episode in real time. That means you're going to load up your prison break episode from whatever source that may be streaming service, a DVD set you own an online purchase, whatever it is, we'll count you down, we'll count us down and we'll press play together.

And from there. You will hear Sarah's and mine real, unfiltered, unedited reaction and commentary as we watch Prison Break for the first time since it aired.

[00:01:37] Sarah: So you guys, and Paul and I, will all have a watch party together. The first two watch party episodes will be available on our main feed like this.

And after that, you can subscribe to them. So just scroll down into the show notes, find the subscribe link, and join our watch party community. And one

[00:01:53] Paul: final

thing, except for the pilot, each episode will begin with a previously on Prison Break. So [00:02:00] don't skip over that. Part of the fun is watching those.

And if your episode source doesn't have it, although most do, just hold the beat and we'll catch up to you. You ready? I

[00:02:08] Sarah: am so ready.

All right, let's do it. Okay. We're going to hit play in three, two, one, play,

[00:02:16] Paul: play that buzzing sound sound

[00:02:26] Sarah: beating quickly. I'm nervous. I'm nervous to see this again.

[00:02:31] Paul: Did you,

when we made it.

Yeah. Did you see it before it aired?

[00:02:36] Sarah: Yes. I remember my agents showed me in some like room in maybe Papsidera's casting or something. She's so cool. I wish I was cool like that. That's the person I want to be. Like dangerous and tattooed and.

[00:02:54] : Well so.

[00:02:58] Sarah: Um, did you see it [00:03:00] before it

aired?

[00:03:00] : No.

[00:03:06] Sarah: So you watched it like live with the rest of the people? I'm trying to, I'm

[00:03:09] Paul: trying to remember. I wonder if It seems weird that I would have

[00:03:15] Sarah: No, it was really hard to see back then.

[00:03:23] Paul: Okay, wait. I remember thinking, even when I read it

[00:03:27] : Oh, yeah. Oh,

[00:03:29] Paul: Chicago. I have to tell you, I have one

[00:03:31] : of those original songs. I really thought that she was

[00:03:32] Paul: gonna come back. I thought she was gonna Oh, you do?

[00:03:35] Sarah: Yeah. I found, um Remember Brandon, our props? Yep. Uh,

[00:03:40] : brother, of course he, Brandon.

[00:03:43] Sarah: Props. Brandon Props.

Um, he gave me one of the original five. I've got this wonderful letter from him. It was really cool. Oh, there you were. Um, I will read it at some point if we do this long enough.

[00:03:55] Paul: So are, are we exactly synced up? Is he ripping a computer up right now? [00:04:00] Yes. Is he stepping

[00:04:00] : outside? He opened the door. He stepped

[00:04:01] Sarah: outside.

Yes. Yeah, we're good. Look

[00:04:03] Paul: at that Handsome. Toss it mike. Toss it Michael.

[00:04:07] : What are you

[00:04:07] Sarah: going to do with it? That's a hard

[00:04:09] : drive.

[00:04:11] Paul: There's no way that made it to the water. There's

[00:04:13] Sarah: no way that, I mean, listen, if it did, he should be playing for the Cubs.

Why is she so hilarious in this? She's marvelous.

[00:04:23] : Wow.

[00:04:34] Paul: He's really,

[00:04:36] : he's not playing games,

[00:04:41] Sarah: by the way, on my very first job ever, Oliver Platt would have White Castle Wednesday and he would buy White Castle for the entire cast and crew every Wednesday. Can I just

[00:04:50] Paul: mention that is production value right there. That is an actual

[00:04:55] : helicopter. That is not CG. In an over the shoulder shot. That [00:05:00] is the power of Brett Ratner.

[00:05:01] Sarah: That is the power of Brett Ratner.

[00:05:03] Paul: Yeah, who directed the pilot, who was a big feature director at that time. Big

[00:05:08] : feature director.

[00:05:13] Paul: I do like the, um, font. Oh, Sherilyn Bruce, she is a wonderful actor who's a Steppenwolf Ensemble member.

[00:05:23] : Really? Mm hmm. I feel like, do we see her again? I don't know. I can't remember.

[00:05:32] Sarah: The um, do you know, the tattoo artist does come back. Oh, she does? Okay. She does. I can't remember when, but I remember when she came back she'd had a baby.

Like three weeks ago and she was like in the trailer with this brand new baby.

[00:05:47] Paul: Oh my goodness. I bet you can relate to that. We'll get into that later.

[00:05:51] : Oh

[00:05:51] Sarah: my goodness. Oh, LJ! Camille Gouati, who by the way was what, the third Mary Cruz?

[00:05:58] Paul: The first Mary [00:06:00] Cruz.

[00:06:01] Sarah: But we had the first of three. Wasn't there someone from the pilot that they reshot from the pilot?

[00:06:05] Paul: Oh, I don't remember. Well, this is the pilot. No,

[00:06:09] Sarah: no, when it aired.

[00:06:12] : By the way,

[00:06:12] Paul: Marty Adelstein, producer, no relation.

[00:06:17] : It's all nepotism, Paul.

[00:06:18] Paul: It's all Yeah. Nepo. I'm not a Nepo baby.

[00:06:20] : Nepotism. They've

[00:06:41] Sarah: known each other

[00:06:42] : their whole lives. I went

[00:06:45] Paul: to, uh, rival High School with Robins High School, so I knew her since I was like 14. She and her sister Susan, you've known her

[00:06:53] Sarah: your whole life. Mm-Hmm. .

[00:06:54] : I'm just, that's right. I'm just meta meta[00:07:00]

man. Yeah. When you read it. Totally. Yeah.

[00:07:21] Sarah: Did you know, like when you read this no. Pilot, you were like, this is tight. No.

[00:07:29] Paul: No, it's totally mysterious. There it is. There

[00:07:33] : it is. Do you know what

[00:07:34] Paul: other, do you know what movie that this, this, uh, prison features prominently in? I do not.

[00:07:42] : The Blues Brothers.

[00:07:43] Paul: Really? Juliette Jake. That's why they call

[00:07:46] : him Juliet Jake.

[00:07:49] Sarah: And this was a real prison built, that the prisoners themselves built, right, in like the 1860s.

It was built by prisoner hands or something. And they, uh, Yeah. [00:08:00] No, go, sorry,

[00:08:01] Paul: I'm interrupting. No, please. They what? I

[00:08:04] Sarah: think they condemned it, right? They determined that it was not fit for humans to live in. And then they brought in actors.

[00:08:13] : Right, exactly.

[00:08:14] Paul: And then they built another maximum security prison right down the road.

But the architect of that prison also designed the famous water tower in Chicago. All those buildings right on Michigan Avenue are the same. They look exactly like it. Here's the wonderful Wade Williams. How wonderful. It was so funny because Wade Williams was like a musical theater guy. Sings like an angel and can play the guitar brilliantly.

I had done a movie with him and he's one of the most talented guys and then for him to play this like brute is so amazing.

[00:08:46] Sarah: By the way, small thing, that was actually Wentworth's handwriting. Was it really? Mm hmm. Yeah. He must have, uh, he's detailed like that, but that's his actual handwriting. Um, didn't you and Wade do a Michael Mann movie together

[00:08:59] Paul: [00:09:00] before this?

Yes, we did. We did a Michael Mann movie called Collateral.

[00:09:03] Sarah: I remember you guys telling stories about that and I thought it was so glamorous. I was like, they're movie

[00:09:07] : stars. This is all

[00:09:13] Paul: stage now, right? This is all built. Nope. This is the,

[00:09:16] : Oh, cause it's the pilot. This is

[00:09:18] Sarah: actual. they didn't build stages until like, phew, several, I'm Maori.

Oh, I'm Maori. Until several months in, because we were shooting everything on location and then there was all these snowstorms. There were all these snowstorms and we kept being late to work because of the, um, The traffic. So they built the, they had stages. Welcome to Prisneyland,

[00:09:45] : Fish. Did you

[00:09:46] Paul: know a Maori before this?

I did not. Me neither. This is such a wonderful guy. Such

[00:09:52] Sarah: a wonderful, wonderful human

[00:09:54] : being. Is this Act 1? This is a great shot. Or the [00:10:00] end of the teaser. Um, I don't remember. Did we,

[00:10:04] Paul: I'm sorry, this is a weird thing, we might have to go back. Who is this person? Frank Grillo. It's Frank Grillo, isn't it? That's Frank?

Oh no, that's not Frank Grillo. He comes later.

[00:10:15] : Definitely not Frank Grillo. That's

[00:10:17] Paul: not. Did we already miss the, uh, we did, the shot. Oh, of course, I talked about it. I'm glad we can cut this out. Where are

[00:10:25] : you? What's happening?

[00:10:26] Sarah: Sorry, nothing. I'm back. Okay, okay.

You know, was it Dante Alighieri who lit this? This is beautiful lighting. It

[00:10:37] Paul: really is. Yes, it was Dante Alighieri. He's a wonderful DP,

[00:10:41] Sarah: a brilliant DP. I mean, just the, like the quality of the light coming in on them. That yellow on her looks so beautiful. Yeah, look at that. It's gorgeous. And the reflection.

So [00:11:00] most of our background, many of our background, had actually, uh, spent a little time in Joliet and the facility across the street. I remember, yeah.

[00:11:20] : Oh, Muse Watson. I love you, Muse.

[00:11:25] Sarah: Talk about deeply kind.

So I feel like Paul Schering told me that He spent a lot of time in chat rooms, by the way, that was a, that was a, a [00:12:00] phone, right?

[00:12:02] Paul: Uh, uh, what? They

[00:12:03] : just panned

[00:12:04] Sarah: over to a phone, a phone booth, yeah, payphone, that's what they're called. It figures prominently. I know, I'm just, for our millennial listeners,

that's what a phone booth looks like.

[00:12:21] : Link the sink. Link the sink.

Snowflake.

[00:12:43] Sarah: It's also a nice shot, that chain link. Oh no.

[00:12:47] Paul: I just paused for a second. I don't know how that happened. Okay. I'm going to pause Do you want me to make sure we're synced up? Nope, we're good.[00:13:00]

[00:13:03] Sarah: Jonabruitsy Jonabruitsy?

[00:13:06] : Jonabruitsy Jonabruitsy. Amazing. That's such good writing.

[00:13:14] Paul: That was a shot used a lot in the, boom.

[00:13:19] : Yep,

my heartbeat is calming down.

[00:13:24] Paul: That's the out of Act One. And I remember reading that and being like, oh, I'm starting to get it.

[00:13:30] : Yeah, yeah, yeah. Such a great little puzzle. It is. It's a

[00:13:35] Sarah: puzzle. The whole first season's a puzzle,

but this is why it matters. You know,

[00:13:58] : I mean, this is nice work. Did[00:14:00]

[00:14:13] Paul: you audition for Sarah? Or was it an offer?

[00:14:18] Sarah: Offer? I'd never done

[00:14:19] Paul: anything. Oh, so that's, yeah. You know what I auditioned for originally? Tell me it

[00:14:24] Sarah: was

[00:14:25] Paul: Lincoln. It was Lincoln. And this was the audition scene.

[00:14:28] : No, you

[00:14:30] Sarah: auditioned to play Lincoln Burroughs. Mm hmm. That's amazing. Yeah, that's amazing. I was sent the script for Veronica.

And I read it and I was like, I don't like her. I don't think she's interesting. I like this doctor. And they were like, that's the smallest part in the entire pilot. I was like, that's okay.

[00:14:48] Paul: You're like, not for long.

[00:14:50] Sarah: I didn't know. I didn't, I had no, I didn't know enough about the business. I was like, Oh sure.

I'll take a 10th, 13th deal. And I mean, I just, Sarah was supposed to die at the first season. [00:15:00]

[00:15:00] Paul: But you did know enough about the business to say, I want to do the role that's interesting. So that's actually smart.

[00:15:08] : I

[00:15:08] Sarah: really want to see your audition for Lincoln. I bet you were great.

[00:15:12] Paul: Uh, I remember there was some interview with either Schering or Matt Olmsted, one of the other head writers, and they said it was a plaintive read.

I just remember that. I remember

[00:15:24] : that. That doesn't feel

[00:15:26] Sarah: like a nice thing to say. No,

[00:15:27] : it

[00:15:28] Paul: was! I just, you know, it was just a different Do you know, it's not what Dominic is. It was a more kind of pained man.

[00:15:41] : Yeah.

[00:15:41] Sarah: I mean, you would have,

[00:15:43] : yeah, this

[00:15:44] Paul: really is all so mysterious because we have no idea what this is at this point either.

We don't even know what this is, right?

[00:15:55] Sarah: No, we just know that it's, we just know that this kid is [00:16:00] connected to

[00:16:01] : Michael. He

[00:16:02] Paul: calls him uncle Mike at one point,

[00:16:08] : by the

[00:16:08] Sarah: way, that's a nice, uh, fuzzy. Yep. Sweater that guy's wearing.

They really shot Chicago well in this series.

[00:16:18] Paul: Yes. I totally agree with that.

[00:16:21] Sarah: I mean, look, the lighting on that, just like the wet down on the pavement.

[00:16:24] : Like

[00:16:24] Paul: the only thing that makes Chicago look like this, which is how I think Chicago looks, actually, this is a little more heightened because it's, because of the style, but like, um, the bear also looks like this.

It has the same coloring and it's how to shoot Chicago. Here comes Peter Sturmer,

[00:16:43] : love

[00:16:44] Sarah: him. Who is an absolute genius, but less Italian than possibly anybody alive.

[00:16:50] Paul: Possibly than anybody alive.

[00:16:52] Sarah: I love it. I love that he

[00:16:53] : was just like, this is an Italian

[00:16:55] Paul: accent or not? Is it just an accent? [00:17:00]

[00:17:00] : A duck. A duck. A duck.

[00:17:04] Sarah: I think this is just Peter's voice, right?

[00:17:18] : He's so good.

[00:17:24] Sarah: I mean, speaking

[00:17:25] : of the bear, is

this the fifth one,

[00:17:54] Paul: the fifth? What? Oh yeah. I'm a second. Oh, there she [00:18:00] is. There she is. Ladies and gentlemen, Sarah in her

[00:18:05] : twenties, in her twenties. You're

[00:18:11] Paul: so good.

[00:18:13] : Dude.

[00:18:20] Sarah: Nope. We shot 23 takes of the master for this.

[00:18:25] Paul: Why? Just getting it.

[00:18:27] Sarah: And I had, uh, went and I had dinner the night before and I was like, Oh, this guy's really lovely. And after the master, I was like, Hey, it's nice working with you. I'm going to get fired. He goes, Nope. It's just been like this.

[00:18:41] Paul: And it was that, do you think that was Brett Ratner?

Do you think it was Paul Shearing? Or was it? It was Ratner. It was Donner? It was

[00:18:47] : just the way he did it. Okay.

[00:18:49] Sarah: Hmm. I don't think so. No, I think I only shot like two days on the pilot.

[00:18:55] Paul: Was he trying to get something that wasn't happening or was he figuring [00:19:00] it out or was it just, I don't know, indulgence or like, how did, how did it feel

[00:19:04] : to you again?

[00:19:07] Sarah: I was too new.

[00:19:09] : In the business,

inside

[00:19:20] Sarah: these walls, that phrase became a part of the drinking game.

[00:19:24] Paul: That's right. I love this. Oh yeah, here we go.

[00:19:30] Sarah: Um, by the way, I was grateful for how little hair and makeup they let me get away with. Uh huh. The only other show I had done, they had like, it was kind of nuts.

[00:19:41] : Ooh, hey! Baby. Baby Paul

[00:19:49] Sarah: with all the hair.

[00:19:51] Paul: And Danny McCarthy, the great Chicago actor

[00:19:54] Sarah: who lives in New York. Great actor. You guys were terrific

[00:19:59] Paul: [00:20:00] together. We had fun together.

It was so, so

[00:20:08] : wait,

[00:20:09] Sarah: how did you go from Lincoln Burroughs? I

[00:20:11] Paul: read for, I don't remember if I, Alan Wilder, another Steppenwolf Ensemble member.

[00:20:18] : This, the preacher,

[00:20:20] Paul: the preacher. Yep. I read for Schuring and Marty Adelstein. I don't know if Don was in the room and a casting director. And then

it's a great moment.

[00:20:37] Sarah: It's a great moment.

[00:20:39] Paul: And he's pissed, right? I'm getting you out of here.

[00:20:46] Sarah: They both have extraordinary vulnerability as actors.

[00:20:50] Paul: And I totally buy them as brothers physically.

[00:20:52] : Yes. Which is

[00:20:54] Sarah: crazy. Hey! He was lovely, too. Another brilliant Chicago actor. [00:21:00] OK,

so wait, how did

[00:21:08] Paul: you? So I read for Lincoln

and then they called and said they want to read you for this other role that's a guest star in the pilot, but might come back. And I was like, meh. And then I read for it. And I got, I'll never forget where I was when I got the offer.

[00:21:30] : Oh, are

[00:21:38] Paul: they engaged? Oh yeah, they are engaged. So I read for Lincoln. I forgot all about

[00:21:42] Sarah: this. She was engaged. She kicks him to the curb like kind of

[00:21:45] : quickly. Yes, quickly. I

[00:21:53] Paul: read for Lincoln. They called me back. I read for Kellerman.[00:22:00]

[00:22:10] Sarah: No, this must be, these can't be real prison walls. Look at that behind him. That's gotta be a studio.

[00:22:15] Paul: Well, they also could have built a cell there. Yeah. So, I read for, I read for Lincoln, they called me back, I read for Kellerman, I got an offer, but I almost said no, I was very close to saying no. Thank God you didn't.

I was doing a pilot by that time. Oh, Chris Stolte, another great Chicago actor, who is on Chicago fire now, and has been for ten years.

[00:22:46] : Good for

[00:22:46] Sarah: him. They had, I mean, Chicago was good to us in many ways, but one of them was just the deep bench of gangster actors.

[00:22:55] : The deepest

[00:22:55] Paul: bench. And Stacey Keech.

[00:22:58] : And Stacey Keech.[00:23:00]

[00:23:14] Paul: I love that kind of dialogue. They do. Yeah, there of semi noir. There's a semi noir thing going on. There is. There is, absolutely.

[00:23:26] Sarah: The color of the walls is the color of a Tiffany store.

[00:23:31] Paul: I almost didn't end up doing this show three different times, I think, because I almost said no because I was doing a A pilot?

I did a pilot and, and then I was doing a movie, memoirs of a geisha that almost conflicted.

And then once it got picked up, I, it doesn't matter. It's a long story, but it's insane. Wait, I

[00:23:54] Sarah: want to hear this story though, let's put a pin in this, because We were in such different [00:24:00] places in our careers. Like, you had a career. You had

[00:24:02] : one.

[00:24:02] Paul: Uh, I mean this was, this was, I'd been a series regular one other time.

[00:24:08] Sarah: But you'd been in movies with Michael Mann. I've still never been in a good movie.

[00:24:14] : Wait, what had I already done?

Another great shot.

[00:24:25] Paul: And a great, it's such an odd Plot point that the this is what sharing came up with. This is what the warden needs from Michael. He's building a model of the Taj Mahal

[00:24:43] Sarah: and then the way it sort of comes back in the final episodes. It's really cool.

That just makes me think of Hamilton son. Don't call me son.[00:25:00]

[00:25:12] : Jessalyn Gilsick. Do I kill? Oh, Phil

[00:25:15] Paul: Smith actor and Phil Smith. I kill one of them. I think I kill Phil. You might kill them both. I think I might kill them both. Yeah. Isn't it weird that I don't remember that?

[00:25:30] Sarah: Not really. I was in my twenties. You'd never been married. Neither of us had kids. It was a long time ago.

[00:25:36] Paul: It was a long time ago. And you know that I had moved from Chicago to Los Angeles after going back and forth for 10 years and working quite a bit. And finally was like, I spent six months a year in Los Angeles. I knew need to move to Los Angeles. I moved to Los Angeles. I didn't work for six months

[00:25:54] : and then I got a job in Chicago.

That's

[00:25:57] Paul: amazing. That's how it goes.[00:26:00]

[00:26:06] Sarah: By the way, those are not all easy lines to deliver, and she crushes it. Second

[00:26:26] Paul: season, or no, sorry, first season, we all went out to celebrate something. I think it was a People's Choice Award or something, or a nomination. And Marshall told us that he had gotten married, or was getting married, by jumping out of an airplane.

[00:26:38] : Yeah! It was

[00:26:40] Paul: the um, Marshall plays LJ. Yeah. And he was young.

[00:26:46] : He was

[00:26:46] Sarah: young. They were skydiving. Or was it an engagement? I can't remember.

I'm awfully glad those chutes

[00:26:54] : opened.[00:27:00]

[00:27:09] Paul: Look at his eyes. It's insane. Look at her eyes. They have the same

[00:27:14] Sarah: color

[00:27:14] : eyes. They're both beautiful.

[00:27:21] Paul: The evidence was cooked. I remember that so well.

[00:27:27] Sarah: It's funny the lines you remember.

[00:27:33] : Evidence was cooked. A duck. Robin

[00:27:45] Paul: Taney said one of my favorite things about Had one of my favorite responses to like people saying stuff to her on the street, you know She had been a kind of indie darling in the 90s, right?

[00:27:57] : Yeah, the craft all that stuff. Yeah, all that stuff [00:28:00]

[00:28:02] Paul: and then when she was on prison break She said she went into a Starbucks in Chicago and somebody said what are you what are you doing now?

And she said I make belts. I make belts? Yeah, like it's sort of like, what have you been in recently? She was like, no, I just eat pelts now. That's amazing. Amazing. Chelsea Ross, ladies and gentlemen, a great character actor, which is a weird thing, character actor, saying character actor, but that's what people call them, including

[00:28:27] : me.

I'm not

[00:28:27] Sarah: entirely sure that All bishops walk around fully frocked all the time, but right, do you kill him to,

[00:28:35] : uh,

[00:28:35] Paul: unclear? He certainly gets killed. If they never say it was us, um, he played, um, Conrad Hilton on Mad Men and he was

[00:28:45] : great. Oh, wow.

[00:28:59] Paul: I'm trying, [00:29:00] wondering whether it's time to start saying embarrassing things about myself or not. Oh,

[00:29:03] Sarah: absolutely. It's past time. We're in act three.

[00:29:07] Paul: What's keeping you? There's a lot of episodes left.

[00:29:09] : If

[00:29:14] Sarah: we're not here to make fun of ourselves, what are we doing here?

[00:29:16] Paul: I watched some, you know, getting the tech set up.

I watched the scene and boy, I did not. Enjoy own work.

[00:29:25] Sarah: Oh, it's impossible to watch

[00:29:26] Paul: yourself. Do you ever, because this is a question I was going to ask and we could put a pin in it for later, but do you, oh my god, Brett Ratner, sorry to interrupt, he killed the vice president's brother, he had me say that at least 30 times and then he had me changing the grammar, like the vice president's brother was killed by this man, etc,

[00:29:49] : etc.

You can say

[00:29:53] Sarah: it this way, you can say

[00:29:54] : it this way, you can say it this way.[00:30:00]

[00:30:08] Paul: Oh, yeah. So great. Yeah. Like origami.

[00:30:18] : Listen to you.

[00:30:21] Paul: Peter was such an, I mean, is such a nice guy, but he was so nice to, I was so intimidated by him because of the roles he played. And he was such a kind guy. He was

[00:30:30] : like

[00:30:30] Sarah: goofy. He made me laugh a lot. It was great. He puts you at ease. And then he did that Volkswagen commercial. And I was like, dude, you're amazing.

Farfig Nugent.

[00:30:43] : T. P. Cooper,

[00:30:48] Sarah: they really had to write this tight. You leave the wrong plot holes and this whole thing falls apart. I

[00:30:53] Paul: mean, so, oh, here's my question.

[00:30:56] : Is,

[00:30:59] Paul: [00:31:00] wait, not, there was something from the first act where I'm like, is that, is that something Michael, oh, does Michael know that he's going to fall, not fall in love with you, but is it like, I need to, does he know that you're the, Governor's daughter, or is that not part of his plan?

It must be, because it's on the wall, right? It's on the wall. Yeah, yeah. I just answered,

[00:31:21] : I just answered my own question. Okay. That's okay. If I let you talk longer enough, you'll cover it. He didn't know he was going to

[00:31:26] Paul: fall in love with you.

[00:31:28] : I think the

[00:31:28] Sarah: plan was to get me love with him, so that I would leave the door open.

Got it. I think the complication was he might have No pun intended.

[00:31:38] : had feelings! No

[00:31:39] Paul: pun intended. Wait, what was the pun? Leave the door open.

[00:31:43] Sarah: No, literally. I meant literally leave the door open. I know. But that's not a pun. It's okay. I

[00:31:49] : quit sexual innuendo.

[00:31:50] Sarah: It's, it's really hard for me to do two things at once and like trying to watch this and commentate on it is it's melting my brain.

No, it's really, it's actually kind of funny. I'm, I'm [00:32:00] sounding very silly, but I love muses work so much. I just want to,

he's such an old cowboy muse. Watson.

[00:32:15] : Outside those walls.

Woof.

I

[00:32:37] Sarah: doubt it. Did you just

[00:32:38] : hit John Abruzzi?

[00:32:45] Sarah: Um. And Wentworth had just done that boxing movie, right? Human stain. Yeah. So he was

[00:32:52] : like, yeah.[00:33:00]

[00:33:04] Paul: Um,

Schofield.

[00:33:11] Sarah: That's going to send you to the infirmary soon, son.

[00:33:16] : Woof.

That's an insane amount of time. Yeah.

[00:33:29] Paul: Is the shoe

[00:33:29] : solitary? Yup. Whoa.

[00:33:31] Sarah: The special housing unit.

[00:33:37] Paul: The Taj.

That, what was it? That was a little properly propagated riff.

[00:33:51] : Improperly propagated. Oh,[00:34:00]

you know,

[00:34:13] Sarah: it's not every show that

[00:34:15] : Kills a bishop. Kills a man of the cloth. I think that

[00:34:19] Paul: I was just about to say, I think a really cool thing about this pilot, which is smart, is That there's a lot of tension and then we're at two thirds of the way through and then there's real violence, not just, you know, Michael gets beat up and then,

[00:34:38] Sarah: yeah, the stakes are

[00:34:39] : immediate.

[00:34:41] Paul: Yeah. I mean, you know, it makes it, by the way,

[00:34:44] Sarah: the production design of his bedroom was extraordinary,

[00:34:47] Paul: pretty great, a lot of information,

[00:34:50] : a lot of information.[00:35:00]

[00:35:03] Sarah: I just realized I might be way too far away from my mic. Oh, well, we'll see how this goes.

[00:35:06] : I hear you. Well, good.

I

[00:35:14] Sarah: remember, oh gosh, I just had this memory. Apparently they digitally removed all of her freckles in the pilot. And then we went to series. And they were like, wait, but you have freckles now. She's like, I've always had freckles. And they tried to get them out in like makeup and post. And Robin was like, can I just have freckles?

Like, why

[00:35:36] Paul: is this a thing? And they're so great. They're so cute.

[00:35:39] Sarah: They're so, I know. She's such a beautiful woman. It was such a funny, and I saw that closeup on her and I was like, oh, that's right. Freckle gate.

[00:35:59] Paul: This was the [00:36:00] other audition scene, I believe.

[00:36:02] : No, sure. That tracks.

Nice light touch on that actually. Two ponds of.

[00:36:19] Sarah: Two pounds of weed looks like it would be a lot more than he was.

[00:36:21] Paul: Also, you'd go away a long time, no?

[00:36:25] Sarah: I, you know, I've never, I've never purchased two pounds of weed, so I'm not entirely sure.

[00:36:29] : Liar. Liar.

[00:36:31] Sarah: I can't smoke it, it puts me right to sleep.[00:37:00]

[00:37:28] Paul: Oof. Ouch.

[00:37:42] : Ouch.

[00:37:46] Sarah: Interesting Mary's, uh, interesting music cue.

[00:37:49] Paul: Yeah, I mean.

[00:37:53] Sarah: Might have hit that

[00:37:54] : one a little hard.

[00:37:55] Paul: Maybe.[00:38:00]

This is Camille Goutez, yeah?

[00:38:05] : Yeah. This is Camille Gouati. Gouati, excuse me.

[00:38:09] Sarah: So there was somebody, they reshot this. They shot the original with somebody else.

[00:38:14] : Was she

[00:38:15] Paul: replaced or did she go to do something else? Because I remember they kept not making.

[00:38:20] : I don't remember. These

[00:38:21] Paul: characters good deals and they kept.

They kept getting other jobs. You're not wearing much makeup. You're so glowy and beautiful. I'm 29. Still. You're still glowy and beautiful. I can see you on and beautiful. Aww.

[00:38:36] : Oh,

[00:38:39] Sarah: this is interesting. Oh, okay. So, okay, I want to put a pit in this because the no, two things changed from the audition scene. I read this audition scene.

I have my sides, um, that I found. Uh, yeah, we'll put a pin in this for after.

[00:38:57] : Okay, I'm gonna write

[00:38:57] Paul: it down. Can I ask [00:39:00] you a question?

[00:39:01] : Are you a redhead? Um,

[00:39:05] Sarah: I have red, like, in my hair, but no, I'm brunette. Okay,

[00:39:09] : okay. But I

[00:39:11] Sarah: was, I had done a campaign for L'Oreal, and they had colored my hair, um, for it. And the guy who did it was a guy named Orbe, who was, um, a legendary hair stylist who did all of JLo's hair.

And he colored my hair the same color as hers so that he could use all of her beautiful extensions on me. So my hair was a JLo color. Got it. That point.

Man, this is back when they did scenes like this without like intimacy coaches and stuff.

[00:39:56] : It's scary.[00:40:00]

[00:40:03] Sarah: By the way, there's a tape player in the background of her shot. Look at that. Is there really? Yeah. If you go back there, see, it's a tape player, the boom box to set the mood.

[00:40:13] : Yeah.

[00:40:16] Paul: I haven't seen one cell phone yet. No flip phones, which is the best for acting, by the way, but that's a separate

[00:40:23] Sarah: time. It's so great to

[00:40:24] Paul: snap them shut open and close.

It's both fantastic.

[00:40:27] : Yeah,

[00:40:33] Sarah: getting married. Oh, sort of. And that was probably a real helicopter to write.

[00:40:43] Paul: Wait, I feel like different places. Wait, where are you? Rockman?

[00:40:49] Sarah: Yes, I'm in Rockman.

[00:40:50] Paul: Okay, but

[00:40:50] Sarah: I think you're, that wide shot had a helicopter in the back and it occurred to me, I

[00:40:54] Paul: didn't know if it was close or not. Okay, now, Michael.

Okay. Is now you on Michael and And?

[00:40:57] : Yes. Okay.[00:41:00]

Pug, neck

[00:41:10] Paul: That's a great delivery.

[00:41:17] Sarah: So what's that like for Wentworth to be

[00:41:21] : called a Cracker? Cracker and snowflake

[00:41:26] Sarah: with a black dad? That's a conversation with him. I never had.

[00:41:40] Paul: That's a helicopter shot. It is indeed. There's no drones.

[00:41:50] : Jonabruzzi, Jonabruzzi,

[00:41:51] Sarah: Jonabruzzi, Jonabruzzi.

[00:41:56] : What was the structural

[00:41:57] Paul: one? Something on sound? [00:42:00]

[00:42:00] : Say what?

[00:42:02] Paul: Uh, the thing he did with the warden on sound.

[00:42:06] Sarah: Properly Oh, um, improperly

[00:42:09] : propagated? Yes. Properly propagated.

[00:42:21] Paul: Dominic must have gained 20 pounds of muscle between seasons 1 and 2. Or between two and four, maybe. Really? Yeah. He's slim here, and then he gets really jacked up.

[00:42:38] : Yeah, he gets big, hey? Mm hmm.

[00:42:58] Paul: For our [00:43:00] listening public, Dominic is now married to Miley Cyrus

[00:43:06] : mom. Trish Cyrus.

[00:43:11] Sarah: That is Miley Cyrus's stepfather, Dominic Russo. That's right.

[00:43:19] : Remarkable. Outside

[00:43:23] Paul: these walls. Is that a drinking thing? That's outside these

[00:43:25] Sarah: walls. That's different. I think either one. We need to find the um, The drinking

[00:43:29] Paul: games? Are we going to play it? The

[00:43:30] Sarah: drinking game rules. Yeah. I remember there was something about every time I took my exam gloves on or off too.

Oh, we're coming close to the

[00:43:42] : end. Did you? 1999.

[00:43:59] Sarah: This [00:44:00] aired in

[00:44:01] : 05,

[00:44:15] Sarah: five hours in makeup,

[00:44:18] : those tattoos were

such a great reveal,

[00:44:26] Sarah: such a great reveal,

[00:44:32] : such

[00:44:33] Sarah: a great reveal,

[00:44:44] : so cool.

[00:44:48] Sarah: We have to do an interview with the designer of those tattoos.

[00:44:51] Paul: Yes, I would love that. I think the audience would love that too.

[00:44:56] Sarah: Holy smokes. This is the second time I've ever seen [00:45:00] this.

No, that's not right. It's the third.

Duuuuude. That is a helicopter shot, it is not a drone. We did not have drones. That is a helicopter. Ladies and gentlemen, we just finished the pilot. All right, y'all. You can hear us talk about it in the actual episode itself. Thank you for joining our watch party. This has been prison breaking with Paul and Sarah or Sarah and Paul, depending on who you ask.

Want to say goodbye, Paul?

[00:45:36] : Bye, Paul.[00:46:00]

[00:46:01] Sarah: Prison Breaking with Sarah and Paul is a Calibre Studio production. Your hosts have been friends, but not besties, Sarah Wayne Callies and Paul Edelstein. Our prison warden has been producer Ben Haber. Our head of Jailhouse Rock is Paul Edelstein, who made the music for this podcast. Keeping us slim and trim.

The prison yard has been sound designer and editor. The great Jeff Schmidt keeping us up to date on the outside world is production assistant Drew Austin. Letting the world know what's been happening to us in prison is Social Media Manager Emma Tolkien. Our prison artist logo and brand designer is John Zido and Little Big Brands.

Check them out at www.littlebigbrands.com. Follow us on Instagram at Prison Break Podcast. Email us at prison breaking@caliberstudio.com and call us. at 401 3P B R E A K. Prison Breaking with Sarah and Paul has been a Calibre Studio production. Thank you for listening.