PB-Ep 4 Discussion Edited v3 021324 ===

Silas Weir Mitchell: [00:00:00] It's heartbreaking, it's heartbreaking.

Paul Adelstein: Hello, Sarah. Hello, Paul.

Sarah Wayne Callies: How are you? I'm good. I'm happy to be back at another episode.

Paul Adelstein: It's, uh, I am too. We, we just watched a great episode, one of our faves. Yeah. And we have our first Actor guest, we're starting off with a bang, brilliant Silas Weir Mitchell.

Silas Weir Mitchell: Wow. Silas Weir

Paul Adelstein: Mitchell. Plays Haywire. Haywire, the inappropriate, horrible, terrible plot twist cellmate.

Silas Weir Mitchell: No good, very bad. Yeah. Through a serious wrench in the works. I'm honored to be the first actor guest, I can't believe that. Yeah. Yeah. You are,

Sarah Wayne Callies: you're, and you're also our first of the Fox River Eight, [00:01:00] which is

Silas Weir Mitchell: Oh, wow, well done. You know, I, I, I was, I was able to rewatch the episode, and uh, it was amazing.

Some of it I really remembered well, and some of it I was like, oh, yeah, I forgot about that, you know? Um, I forgot about Like full scenes? No, just the feeling, like the yard, man, like being in the yard was so creepy. But I can tell you, hanging out in the yard. In a prison that was built by the inmates where they hanged people in the yard and where there was a sign, there was a sign that was basically, it was basically don't serve time, make time serve you,

Sarah Wayne Callies: make time serve you.

Paul Adelstein: And, uh, I was told when I did a tour of [00:02:00] Juliet that it didn't have I mean, it was shut down in the late 80s, early 90s, but it didn't have indoor plumbing until the late 70s or something. Oh. Yeah. It was all, like, nothing. It was just brick and

Silas Weir Mitchell: steel. No plumbing. And the air So just chamber

Sarah Wayne Callies: pots?

Paul Adelstein: Outside. You would go outside.

There was like outhouses. But

Sarah Wayne Callies: like if you had to take a shit in the middle of the night.

Paul Adelstein: Bucket. Oh, wow. And then they would dump all the buckets outside. Um, Silas,

Silas Weir Mitchell: one of the things I noticed

Sarah Wayne Callies: about It was definitely a haunted place. I don't know about

Silas Weir Mitchell: real ghosts. One of the,

Paul Adelstein: one of the things I love about your characterization of Haywire is that he's, you don't, it's not, he's not foaming at the mouth all the time.

Like, he's, he seems like a very smart guy who's very self [00:03:00] possessed, no pun intended, and there are no double meaning intended, and that he is just mentally ill. I think a lot of times shows will have characters that are just like, Oh, this guy's going to gum up the works because he's frigging

Silas Weir Mitchell: psycho. You know, I may misspeak here because God, this was how many years ago?

Let's, you know, like it was 40, 47. I think it was in 1947. Yeah. Uh, it was, it was a long time ago. They

Paul Adelstein: colorized it. They colorized it. Great.

Silas Weir Mitchell: I think what you're saying is very accurate on the level of the writing, creating a character who is deeply emotionally troubled, but is also wicked smart. And it's that the reason That I go off the meds is I see the thing that's happening, right? I mean, it was a [00:04:00] brilliant stroke for the writers to create a character that I feel like they could use to go in all these different directions.

I could, I could fuck things up this way. I could fuck things up that way. I could, you know, I was a little bit of a wild card for the writers. If they got in trouble, they can be like, Oh, he could. Do something. That's the feeling that I had at the time. But it's also because he's not like bonkers crazy.

He's sort of crazy like a fox. Crazy like a Fox River 8. Because I see what's going on and the reason I go off my meds is I'm tantalized by what's going on and the meds dull that. So the choice to go off the meds I think is related to the whole thing. And then that is exploited by Michael, you know, as he tries to work around it.

But I definitely, um, there was one scene in this where I was like, I was biting some, some, some, some serious, [00:05:00] um, cuckoo's nest, which was the, uh, when they shine the light in my mouth to see if the pills are gone. I think there's a sequence in cuckoo's nest where Where he takes the thing, he doesn't swallow it, and then, you know, I think it's with Martini, uh, with Danny DeVito, where he pulls, he takes the thing the heck out of his mouth and sort of hawks it off of, off of Martini's head.

So I was definitely, there, there was a quote in there, um, but I had so much fun on this. I mean, it was like, it was like a match made in heaven. But it's also honest.

Sarah Wayne Callies: I mean, you know, I, I think we all know people who are bipolar and my sister was bipolar. And that was the thing is the medication works, but it takes away the mania.

It takes away the genius and the creativity. And I think for a lot of people who are bipolar, it's really difficult. to choose the stability over that extraordinary [00:06:00] moment. Um, and so, you know, I mean, there was a question, we'll get to some of this later, but there was a question from one of the fans about, do you think Haywire would have been written today?

And it actually felt to me like he was written not with a sort of like general, he's crazy, as Paul was saying, but that with some specificity and responsibility to the fact that this is a real person with a real diagnosable condition. Right,

Silas Weir Mitchell: right.

Paul Adelstein: I also think there's something interesting going on that he recognizes.

You know, one of the things about Michael is that he's a genius, that he's brilliant. And there's something that Haywire immediately kind of clocks that. Like he clocks even before the tattoos, he clocks there's something going on with this guy. Yeah. Yeah. And I think Michael has the same thing about Haywire.

It's not just, I mean, I Don't Sleep is an amazing out of an episode. Yeah. That's the previous episode, which is, oh yeah, you're going to be digging on I Don't Sleep. Yeah. Um, but that they're kind of, you know, [00:07:00] uh, well matched, uh, in that hero villain way in that like, oh, this is no pushover,

Silas Weir Mitchell: this guy. That's very interesting.

There's a similarity. I had not even, I had not even really put that together in terms of. Of course, there's a relation between the guy who does the, the, the map and the guy who can see the map. I mean, that, that makes total sense. And I don't think I was meant to be on the show for that long. They told me it was like a two episode shimmy.

And uh, and, and, and I think that's great. I love when that happens. I know. Me too. It was great. And I think they realized. There was a good match character actor, but also like it was a valuable storytelling tool to have to have a character that you really didn't know what might happen, which means the writers because they were writing the I mean, that script is like the map, you know what I mean?

It's like really like a clockwork universe. It's insane. I [00:08:00] was gonna say one thing I noticed was even now, I mean, I know it's kind of old, but it was one of the progenitors of the like cliffhanger every 15 seconds, you know, there was 24 and then there was where like every commercial break is like life or death.

But I realized that even given the, the sort of like bang, bang, fast pace of it. There's still heads and tails on scenes that they lose nowadays, even in, even in, in that show where it was like, the pace was like freaking relentless. Even by today's standards, there's a few extra seconds where you get to just Live with the person before the scene quote unquote starts and live with that person after the scene quote unquote ends and now it's just like, nope, sorry, we got to plot, plot, plot, plot, plot.

Sarah Wayne Callies: Well, and there was an understanding, I think, on the part of the directors and the editors that acting doesn't only happen on a line. Right. That sometimes. [00:09:00] Okay,

Silas Weir Mitchell: I have a wonderful notion about this that I got from a guy who I've studied Shakespeare with for the last five years, who was under Peter Hall at the, at the, um, RSC.

He's absolutely genius, this guy. And he talks about film Shakespeare and how the camera's always on the person who's talking. And that's not where the action always is. And he relates it to soccer. And he says when you're watching a soccer match, you don't watch the ball the whole time. You watch what is going on in order that the ball is gonna go to.

Paul Adelstein: But in television, uh, up until around the early 2000s, maybe even a little later, one of the reasons television was like that was because it was, they were small. And they had to be showing, they had to be shot in close up, basically. Oh,

Silas Weir Mitchell: that's cool.

Sarah Wayne Callies: Okay, so the Kallistein [00:10:00] Index.

Paul Adelstein: Our Kallistein Index for this episode is The episode is titled Cute Poison.

It premiered on Monday, September 12th, 2005. It was directed by Matt Earl Beasley. And written by Matt Olmstead. I believe this is the first episode Matt is credited as writing. And he would go on to become the showrunner of the series in season 2. And seasons 3 and 4 as well. Um, here's our little blurb from TV Guide, I believe.

Michael gets more of the tools and people he needs. But someone very high up has taken notice and started wondering what he's up to.

Sarah Wayne Callies: So, ratings wise, our show aired, uh, Monday, 9 p. m. slot, right after a rerun of last week's prison episode, prison break episode, Cell Test. Uh, again, it was up against ABC's Monday Night Football.

Uh, the final score was the Falcons 14, Eagles 10, to anyone who cares about that, which is, I'll be honest, not me, I don't even really know who those teams are. Also, a rerun [00:11:00] Of Two and a Half Men on CBS, a rerun of Las Vegas on NBC, continuing this very nice, uh, opportunity they gave us to find an audience while everything else was in reruns.

Against that competition, episode drew 9. 15 million viewers. Wow. Up from the previous episode and lower than the pilot, which is kind of how, uh, network ratings worked back then. I know, Silas, we've talked about this a few times, but like, I mean, what a network wouldn't give for nine million,

Paul Adelstein: nine million viewers.

Um, some other things. Going on September 12th, 2005, Hong Kong Disneyland opened its doors for the first time, Vimeo, the video sharing website was launched. The Pussycat Dolls released their debut album, P. C. D., which I believe stands for Pussycat Dolls. Nothing gets past you. And speaking of prisons, Martha Stewart's daytime talk show, Martha, premiered her comeback after her prison sentence for insider trading.

And that's the Calistine Index for this episode. [00:12:00]

Silas Weir Mitchell: And

Sarah Wayne Callies: here Is the rewatch. Or some highlights from. 3, 2, 1.

Silas Weird Mitchell, ladies and gentlemen. Who I just learned is named after his grandfather, who was a 19th century physician. How did you learn that? My

Silas Weir Mitchell: wikipedia'd him. Okay.

Paul Adelstein: There's a great reveal about Jesus. Why she's chopping vegetables. You know that there's a whole reveal

Sarah Wayne Callies: about that. If I knew that, I forgot.

Oh! Yo!

Silas Weir Mitchell: Ow! Ah, dude!

Paul Adelstein: Everybody dies and comes back to life. Did

Silas Weir Mitchell: you come back to life? Yep.

Sarah Wayne Callies: Samesies.

Paul Adelstein: Ladies and gentlemen, Jen

Sarah Wayne Callies: Kern. You know every actor here. It's amazing.

Paul Adelstein: Well, she does spit in my face in season five. And with that, we'll be right back.

Sarah Wayne Callies: Alright, welcome back, everyone. So backing up, you were talking about the specificity of the diagnosis of [00:13:00] haywire. You said to me once, I remember we went to some event together, and I had just seen your work, and I was like, dude, you play crazy great. And you were like, that's my stock in trade.

Silas Weir Mitchell: Yeah,

Sarah Wayne Callies: I mean. Is that, like, have you just played everything the DSM? Is that, do you feel typecast and stuck? Did it leave? Like, tell me more about

Silas Weir Mitchell: that. There's a confluence of factors here. Um, there's physiognomy, there is general temperament, like I have a lot of energy. There is also. I think when I was younger and I, and I was working as a, as a younger actor, I said one time in a class, you know, this is like totally organic.

Someone said like, what are you most interested in as an actor? And I was like, I want to know what's really going on in the experience. [00:14:00] of the people who are fundamentally psychostructurally different than the norm. The guy who's talking to himself on the corner, what is the inner experience of that? Not what we can diagnose of it, but what is it?

And somehow, I think it was one of those moments where I like cast a spell over myself or something and that became like one of the foundations of my early career anyway. But I did it again. I've done it before. I've done it since then. Was

Sarah Wayne Callies: there a moment in your career where you had to call your reps and be like, I don't want to read for

Silas Weir Mitchell: another pathology?

Yes, yes. Yes. And I didn't for a long time until something came up and I did it and it was terrible unfortunately. Never believe Did Grimm Did Grimm feel Never believe a [00:15:00] director when they tell you to do more. Oof.

Paul Adelstein: Yeah. Uh, did Grimm feel like, uh, a pathology? I know it's almost, it's a different universe almost, but did it feel like you were exploring a pathology?

Or did it feel like normal world, or is it a complete, I mean obviously you make it real, you make it yours, and you give it truth, that's kind of our job description. Yeah. But did it feel like you were exploring a similar, like, if you look back on when you cast that spell over yourself. Did that fit into that narrative or was that a separate thing?

Silas Weir Mitchell: You know, it, it, it did fit into that narrative in a way, but it was populate, that world was populated with, with such like intricate, um, um, tactile, like the world was so real in, in [00:16:00] Grimm and the, the human relationships were so foregrounded that to me, the experience of having this inner. This inner being just, it really manifested more as a psychological habituation that, that we all have.

That is like, and in fact. Yeah. This is interesting. The term, the word Wesen, W E S E N in German for the creatures. Everyone is, has, most people have a Wesen, is a Wesen. That means soul in German or spirit. No way. So it kind of, it kind of transmuted into less of a pathology and really more of a like, this is like a psychological tendency, a mental habit, a behavioral thing that I contend with, as do we all from family of origin.

Paul Adelstein: One of the questions asked on [00:17:00] our, on our, uh, Instagram at Prison Break Podcast was from IamAwkwardAaron. Uh, he asked, did you or anyone you were in a scene with do any improv, uh, improvisations or was everything from the script? When you were re watching that episode, Silas, did you remember? Hmm. Any, cause your stuff is pretty loose and the show is, was not in that way in my memory.

Loose. Um, it was. There was not much. I don't think

Silas Weir Mitchell: so. Physically or. I don't think so very much. If they're, I mean, you know, on Grimm, they would let me rewrite lines. They just, at a certain point, they gave it over to me because they trusted me after a season and a half. They were like, you can do what you want and just, just run it by.

I'm sick. Your emails. Yeah, but they also answered my calls and they were like, I would come in. I was pain in the ass. We're like so [00:18:00] open to it. It was not that way on prison. Uh, A, I didn't have the status. And B, it was just not run that way. I feel like any improv was really nibbling around the edges. Like Peter Sturmare, who I loved working with.

Because he was just, talk about a wild card. I mean, he was wonderful. You didn't know what, what are you doing? Where are you going? I love him, um, he had that same quality of like, did he make that up? And I don't think he did, I think that they were pretty, pretty hardcore because they, especially in the first season, they were like, we are constructing.

Um, like an origami universe here, and you have to really get the words right in case it's gonna screw something up down the road if you don't say it like we wrote. It's

Paul Adelstein: okay. Prison, at prison break, at prison [00:19:00] break, an extra N in there, asks, what was the most difficult scene to film as Haywire?

Silas Weir Mitchell: It wasn't my demise, because that actually flowed, and I, that was like, I loved shooting that scene, even though poor Bill was just shitting bricks because he's afraid of heights, and we were like on the top of a water tower, and he was like really gutting it out.

He was gutting it out that day. But that was really fun. The hardest scene for me, this is gonna sound weird, and it's just what's coming up now, is also in the second season. When I find that boat that's under a tarp and I think you were shadowing this. Oh, yeah Well, you had you had your Gilligan

Paul Adelstein: Sergio Mimica goes

Silas Weir Mitchell: on I was yeah, and you were you and so I'm a kill again I know you had your Gilligan hat on you were shadowing and I had like a two hour scene where I just had to like get On the boat and they were just like just do some shit on the boat and I was like, well What do you want me to do?

They're like, I'm just you know, you're happy You [00:20:00] found a boat in the backyards you get under there and you're on the boat And action. Boat stuff. Yeah. And so it was one of these things where you're just like pulling, you're just like, you're like, you're like pushing a rope. You don't even know what you're like.

It felt like the longest two hours of my life. The director didn't really feel like he was invested in this. It felt like I looked over to video village and he was like looking at the scene up, you know, it was just like, we got to get some shit on the boat. Wait, because we've been talking a bit about That's really hard.

Sarah Wayne Callies: So what's the better version of that that you get from a director? I think this is actually interesting for listeners, because Paul and I both direct now, and so we've been kind of talking a bit about this as we've been going through. For the directors out there, what's the better version of this?

Silas Weir Mitchell: The better version of that is what's the story?

What's the story that's happening to you right now and what are the chapters of the story and what are you going through as you, right, there's the discovery, there's the fear. Mm-Hmm. . [00:21:00] There's the delight. There's, it's like, what is hap? What are you doing and what do you want and why? And what's the story?

It's not just get on the boat and fuck around, dude.

Paul Adelstein: I think that if a director can turn that into, I think what Silas is saying is, what am I doing?

Sarah Wayne Callies: One of the best directors I ever worked with came up as an AD. And before she started directing, she took a year off and took acting classes. Right. To learn the language.

Of being able to say to us, Hey Paul, my thinking is, you're on your way out of the scene, but you can't quite cross the threshold of this door because you're afraid of what's on the other side, which then gives me an opportunity to move towards you with the camera and get my push in moment for the end.

This is the language translation issue that I think sometimes arises between a script that says, montage of haywire on a boat. Right. Which is a result. And the translation that needs to happen on the directing side to say, hey, I want you to start out delighted and then I want you to [00:22:00] discover that there's no rudder and I want you to get frustrated by that and try and problem solve, you know, um, so quick pivot that says, you said something about not changing lines.

You said I didn't have the status on the show. Yeah. And that made me think of, so you have been a series lead. You have been a recurring character. You have been a guest star. Like, you've really kind of occupied each one of those very different experiences. And with it comes radically different status on a set.

Radically different set of responsibilities. You want to speak to that at all? Like what you prefer, feel comfortable

Silas Weir Mitchell: with? No, that's totally, no, that's a really good question. And it's very simple. It's like when you're, when you're a guest star, you are, um, You are a, a, a nail and you go in and, and you just do your nail and you're, you're not building the house.

You're not hammered. You get hammered and you get, you, you, they put you where they want you and they, [00:23:00] and they, they hammer you right in there and they tell you what they want and you do it. You know, that's the guest star and then, you know, recurring, you know, you slowly begin to maybe have a relationship with some of the folks on set.

So there's a looseness and a camaraderie that's sort of can develop with the camera and the folks. And so you feel a little bit more like, you know, like a lot of times. Working with the camera people is where it's at. You're like, do you need, if I'm here, does that work? Because I feel like I want, you know, that's really fun.

And that can begin to develop if you do two, three, four, five episodes. And then, you know, the series regular situation is just like, you're a family after the first couple seasons. And you, you, you, you trust people ideally. And your ability to impact the production in the way that you feel is relevant and forward moving is definitely [00:24:00] expanded when you are one of the primary colors that they're using to paint the picture.

Terrible mixed metaphors.

Paul Adelstein: One of the interesting things, though, it kind of happened to me on prison break, but it really happened to you on prison break, is an experience, it's kind of like a hybrid experience, which you come in to do a thing. And prison break was really good about this. Especially for a show that was so tightly plotted.

They would say, this is, this character is working. For our overall whatever, and this character isn't working for our overall whatever, I mean there were series regulars killed off, there were series regulars added, and there were things that they, I think they were, and I'm not just complimenting myself, I'm complimenting them, for saying, oh, I like, Where this is leaning let's lean into that and let's make a meal out of [00:25:00] that a lot of shows Just don't do that.

I was also on a Shonda Rhimes show, which was she was I mean, that's one of her incredible strengths It's kind of knowing she'll put people together for a scene and be like I never want to see them together again Or like they're gonna get married in five years Like she just has this thing she knows and I think prison break was really good at like someone like haywire knowing The value of that again, like not to talk about like, Oh, this is what the business has become.

One of the crazy things about doing 20 to 22 episodes a year. Is it like, you know, I'm sure a lot of it was outlined, but man, they were laying a lot of track

Silas Weir Mitchell: right

Paul Adelstein: before we shot it as opposed to, for instance, now Netflix, they want all eight or all 10 episodes written. Before you shoot page one, it's it's not making those adjustments in episode four.

You can't

Silas Weir Mitchell: And I and I they get props not only for for being able to do that But doing it in as you said such a tightly plotted show that they still had the bandwidth [00:26:00] and the room Creatively to lean into places that they might not have already Sort of carved out. I was I just wanted to I wanted to piggyback on something you said Paul Yeah, but just just about the idea of laying track for the second season.

I remember we didn't know who was gonna get out right

Sarah Wayne Callies: We

Silas Weir Mitchell: know Whoever gets out has got a job for next year. And so There was like every single scene that was written was like knowing that That they had figured some stuff out that we didn't know what it was, but they were They were just they were really ahead of it And they were creating the next thing while we were doing, you know, I'm just reiterating what you said, but from the inside, [00:27:00] it was like, shit, man, what is going to happen?

Who's going to get out of here? I was so psyched when I realized that I was getting, I had no idea until I think I read the last episode. Yeah. I

Sarah Wayne Callies: remember the excitement on set. When episodes would drop, we had a gaffer,

Silas Weir Mitchell: Tony, who was

Sarah Wayne Callies: so lovely, so Chicago, and one day we couldn't find him. And like, Tony was not that guy.

And everyone was like, dude, APB on Tony, we're trying to shoot some stuff. They found him like behind the grip truck reading the script. Yeah, yeah. And there was an excitement, there was a like, it was one of those shows where, you know, you'd flip to the back page and be like, I don't know, am I, am I dead? Am I dead?

Yeah. Um, but there was, there was an excitement and it was amazing because our crew read it. Yeah. And that, that meant a lot to me. I remember going, hey, Tony, if you need to be AWOL for 10 minutes because you're trying to see what's happening next week, I am all in for your all in. [00:28:00] Yeah.

Paul Adelstein: There was also, uh, an incredible, uh, currency.

Yeah. Becoming friendly with department heads because they got him first.

Sarah Wayne Callies: Oh, I didn't figure

Silas Weir Mitchell: that out, C. Zavon. Oh, I did. It was the makeup. I did. Hair and makeup. You've been in the business

Paul Adelstein: longer. When's the new director coming? When's the first production meeting? Because someone has a script.

Silas Weir Mitchell: And we

Sarah Wayne Callies: will be right back.

Paul Adelstein: Welcome back, everybody, to Prison Breaking with Sarah and Paul.

Sarah Wayne Callies: Something else that I think they were good at. Paul, you just mentioned like making the guy real. Is making people real? And yes, that it would be done, I think, in concert with us, but like turning Haywire into somebody. That by the end of his tenure on the show, you're like, Oh, I feel for this guy.

You know, like killed his parents, dangerous man, all kinds of [00:29:00] problems. But the humanity behind kind of everyone, like it starts with Lincoln as a premise. I remember reading the script and Paul, I went in the opposite direction of you. I was like, I see somebody who's written to be the good girl. And I was like, so what's the fault?

So I immediately, I was like, where's, where's the fault in this person? And I wrote this whole thing up and sent it to Sherry about like, I think she's got addiction issues. Um, which

Silas Weir Mitchell: they embraced.

Sarah Wayne Callies: Absolutely, in a much bigger way than I ever anticipated. But I, there was a sense of co creating. A character together and of having a common goal, which I never heard sort of stated, obviously, but let's build people for all the plot and all the machinations.

We're trying to make people.

Paul Adelstein: Yeah. And you know, they didn't have to. And I don't think, I think that as actors, sometimes we get siloed in our own brains about it's most important that my. You know, what I had for lunch is crucial to [00:30:00] that what all that did was it made the central theme and story, which is about Michael and Lincoln, more interesting.

Because if Haywire is real, as opposed to just a crazy guy, Michael has somebody challenging to contend with. And then he adds value when they're out. But he's also more dangerous when he's out. If Sarah has an addiction issue, she's a more vulnerable person than just a good girl to fall in love with. She could become unreliable.

She could be blackmailed. She could, uh, be a problem for Michael. She could affect him. This main thing. It's not just ensemble, you know, it's character work. It's not class. It still has this narrative drive

Silas Weir Mitchell: to it, which I think is telling. It's good. It's good storytelling because they leave. Oh, and I think what the point of the good storytelling and what we're describing to me is that they leave stuff open.[00:31:00]

Sarah Wayne Callies: You have to leave room for the

Paul Adelstein: accidents and you know what you need to do in order, you know, you need in order to do that, you need a writer's room. Because one person can't do all that.

Sarah Wayne Callies: And you need the person on set, who's like, Hey, I was talking to Silas at lunch. Did you realize that he studied religion?

Wouldn't it be interesting if we

Silas Weir Mitchell: That's incredibly perceptive, Paul, because the thing I'm describing was basically written by one person. You're, you're, you're like, you're, you're a nail on the head. You can't

Paul Adelstein: adjust. You don't have, there's too much work to be done. You can't, there's too much work for that person to do.

Sarah Wayne Callies: Um, I feel like we could go on, but I know that two folks have hard outs in 10 minutes, and I want to respect that. There's kids who need to be picked up and taken places. Really, really, really good to see you. There's a bunch of fan questions we did not get to. Um, I'm sorry about that. [00:32:00] Uh, let's do a wrap up right now, Paul.

Okay.

You want to wrap us up?

Silas Weir Mitchell: No,

Paul Adelstein: you're so much better at that stuff.

Sarah Wayne Callies: You're such an asshole. Why? All right. All right. Uh, friends, we're out of time, which is a real bummer because I gotta tell you, I have not once in my life spent time either talking or being in the presence of, uh, young Silas here without just feeling like There was so much intelligence and compassion in humanity, um, and those are not necessarily the three most popular actor traits, depending on who

Silas Weir Mitchell: you're talking to.

Just reintegrating with you guys, it's just, it's really, it's been a delight and I feel the same way. Like, I. Really fun and heartwarming frankly. Yeah.

Sarah Wayne Callies: All right, gentlemen. I am signing off Paul. You want to sign off [00:33:00] for the people?

Paul Adelstein: Thank you for joining us Please listen along on the rewatch Thank you,

Sarah Wayne Callies: Silas.

Goodbye.

Silas Weir Mitchell: Mwah. Bye. Mwah. Ciao, everyone. Bye, you guys.

Paul Adelstein: Prison Breaking with Sarah and Paul is a Calibre Studio production. Your hosts have been friends, but not besties, Sarah Wayne Callis and Paul Edelstein. Our prison warden has been producer Ben Haber. Keeping us slim and trim in the prison yard has been sound designer and editor 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 music was done by Paul Adelstein, A prison artist. Logo and brand designer is John Nunzio and Little Big Brands. Check 'em out at www little big brands.com. Follow us on Instagram at Prison Break Podcast.

Email us at prison breaking@caliberstudio.com and call us at four oh one three p break Prison. Breaking with Sarah and Paul has been a caliber studio [00:34:00] production. Thank you for listening.