14:00

back of this, you know, brim. What

14:03

was the significance of the oranges? I mean,

14:05

the Godfather oranges means somebody's gonna die. But

14:07

in this particular case, that scene and that

14:09

whole interaction, what did that

14:12

signify? So I wasn't involved with those scenes

14:14

or that storyline, but when I was watching

14:16

it to me, it was uncomfortable. And

14:19

it's exactly what you're saying, this random

14:22

overflowing of superficial

14:24

kindness, sympathy for some

14:26

of those people who thought that that was the

14:29

way they could make something better, but

14:31

it's ultimately so ineffectual and also

14:33

makes other people uncomfortable, made Doc

14:35

uncomfortable because why now? Why does

14:38

it take this to make

14:40

you be civil to me or to see me? And

14:43

the oranges, I don't know if there was

14:45

a specific symbolism, but it felt like the

14:47

neighbor coming over and maybe overcompensating.

14:53

One of the vibes I felt about that scene

14:55

that was so harrowing

14:57

was this attempt at normalcy.

15:03

No, everything's fine. We're in a little enclave.

15:05

We're not affected directly by this. So oof,

15:08

yeah, it's bad. Orange juice,

15:11

you know, I thought that was

15:13

very effective. There was a surreality to it

15:15

that was fascinating. Well, I think

15:17

I gotta give it to Gina. The

15:20

oranges were particularly something Gina was doing

15:22

and it's a very literary thing that

15:24

I think she was doing. So the

15:26

oranges were a thematic thing throughout. You

15:28

noticed that, right? Donald not being able

15:31

to efficiently peel the orange, thinking it

15:33

tastes nasty. So he has

15:35

a kind of inherent disdain for any

15:37

kind of sympathy if we were to take the, I

15:40

mean, I'm going deep on metaphors, but if we

15:42

were to take the orange as a metaphor and

15:45

then when we are introduced to V,

15:49

isn't she cutting oranges? The

15:52

sports agent in his kitchen, there's

15:55

oranges there. Chips his tooth. On

15:57

an orange, yeah. So as well. probably

16:00

tell you very succinctly what that means to

16:02

her. Also, it's a Los Angeles, and it's

16:05

just the thing that kind of instantly takes

16:07

you either to Florida or here, but I

16:09

think about Oranges here, think about Chinatown, I

16:11

think about all that cinematically. So,

16:15

yeah, she had a real intention in that, and

16:17

then he's smashing the Oranges at the end. Like

16:20

you said, your kind of fake

16:22

sympathy and empathy is

16:25

what's gutterily going on with him, and

16:28

he's angry about what he's about to

16:30

become. And even if it's not intentionally

16:32

fake, it is deeply insufficient and

16:35

too late in so many

16:37

ways. We talked about the kitchen scene that

16:39

derives from the masquerade party. We've got a

16:42

couple party questions here because that's a big

16:44

part of this program in this series. We'll

16:46

start with the masquerade party. Listen,

16:50

there's plenty of overpaid under-fucked men

16:52

in there. So, if the

16:54

spirit moves you to get a little frisky, there

16:57

are worse places to catch a sugar daddy. I

17:00

don't need a sugar daddy. That's how they

17:02

get control of you. No, you

17:04

don't need a sugar daddy, which is why you're

17:06

boosting baby doll dresses from Old Navy. You

17:09

have to bargain with the devil if you want to get ahead.

17:12

V, the character, are clearly out of her element,

17:14

sort of learning what the big leagues are about,

17:17

for lack of a better term. What

17:19

was that scene like in terms of shooting it?

17:21

I mean, it gets reasonably raunchy for grown folks

17:23

in the room, but I think

17:25

it tells a story of what people think about

17:28

what goes on in Hollywood, especially with recent news

17:30

of various people who may or may not end

17:32

up behind bars in real actual life. What

17:35

was that scene like in terms of shooting it, in terms of

17:37

getting it done, in which we were trying to achieve with

17:39

the scene? Well, I think everything

17:41

that is done is referenced from

17:43

reality. There's a particular

17:46

type of party that was going on around

17:49

Los Angeles at that time, and they were

17:51

swinging parties, and they were known, but they

17:53

were done by this guy. There's

17:56

like a Vanity Fair article about it.

17:58

So that was our inspiration. story.

18:01

Yeah, that's the inspiration is that

18:03

that these things really did exist

18:05

and they might become an entree for a

18:08

girl who is looking for a quick

18:10

way to meet the right people that are going to

18:13

ascend her in town. And I

18:15

guess at heart, again, speaking

18:17

back to Midwestern Protestant values,

18:20

Lutheran school K through 12, like

18:22

it's hard for me to, that's

18:25

not a type of filmmaking that you blushed a little

18:28

bit. Is that what you're saying? Yeah, I did. And

18:30

then I just kind of surrendered to it, which I

18:32

had to, because the story, you have to become the

18:34

story as you're shooting it and went

18:36

with it. And since it had to have

18:38

verisimilitude to what we had read about these

18:41

sex parties, these swinging parties, we just

18:43

went for it. But shooting those kinds of

18:45

things to me is

18:48

like doing stunts. Everybody's

18:50

on board. We all gather around. This

18:52

is what's going to happen. Does anybody

18:55

have any trepidation or nervousness about safety,

18:57

emotional safety now, particularly in the day

18:59

and age we live in? Okay,

19:02

this is going to happen. Very specific about what's

19:04

going to be happening. Who's going to do this?

19:06

And we also hired actors who were

19:09

comfortable with or had done that

19:12

kind of filmmaking before in some

19:14

regards. So that was

19:16

helpful to us. It was grueling for

19:18

us as well because it was a night shoot. And

19:21

so we were out at

19:23

this party living kind of physically in

19:25

this party as the sun, we

19:28

shot it in reverse, but I

19:30

think we shot the last scene at dusk and then went

19:33

into as far as we could until the

19:35

sun came up. But yeah,

19:38

it was pretty intense. And that's

19:40

a huge scene with all those, I mean,

19:42

so much coverage and so much angle, like

19:44

getting so many angles and getting the choreography

19:47

right with all the background folks. And that's

19:49

got to be, especially when you're racing the

19:51

sun. It's not a studio. You

19:53

can't go 16 hours. Yeah, racing the

19:55

sun and those extras. I mean, I

19:58

loved so much of the episode. Hey,

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