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Gregus, make time. Wait, sit responsibly. Welcome aboard the A-Rail. Please sit and enjoy.
Please sit and stretch. Steep, flip, or that, and enjoy. V-A-Rail, love the way. Do we have any Friday the 13th fans in the house?
No! My name is Matt Kelly. I'm one of the hosts of the Hard Movie Night Podcast, and I am so excited to be sitting here with Jerry Wallace, Lauren Marie-Taylor, and Bill Randolph of Friday the 13th, part two. I believe many of us consider it as one of the best films in a very long franchise of films.
Absolutely. Now, we've got a lot to cover, and we're going to be throwing questions out to the crowd. So I will talk to these fine people for about five to ten minutes while you formulate your questions, and then I'm just going to start tossing to anybody who pops their hand up with a question. So I want to start with a pretty big topic that I was told to make sure to cover, which is, in horror, it's very often that people just think, there's a guy in that costume, there's probably just one guy on set, he does everything, and that's the end of it.
And that's simply not true. We just did a panel with two of the people who played Ghostface in Scream out of the total, they said, roughly seven people, who wore that mask throughout the making of that movie. Jerry, you were one of the people who portrayed Jason in the movie, and I would love to know what parts were you, what was it like to basically, you helped create a horror icon who was a little bully jumping out of a river in the first movie. Now he's the face of the entire franchise, and you were part of the creation of that.
Can you tell a little bit about what it was like creating that? Creating it, I'm not sure. Let me tell you how it happened, which is an unusual story, I think. I was sort of in the right place at the right time.
I was a young 20-something looking to break into the film business, and went for a job to be a production assistant on the shoot, and surprisingly got the job. So I began to pick up props and do the things that a pre-production crew does, and then as the first assistant director was making the strip board, which is the little slits each scene has a strip, and they began to realize that there's a lot of shots of hand pulling the branch away so that Jason can look, and a shadow would walk by the house, and they knew they didn't need to pay an actor for that. This was a low budget movie. They were trying to save money anyway they could, and so they looked around, the production manager and director, and they said, well, let's just let Jerry do it, he's going to be here, right?
That's right, exactly. And what's that thing on the film, right? Some people know that I had a breeze on my film. So I was working on the set, and what happened was the simple things came up, and I would do them, and then they said, well, crazy Ralph's got to get strangled here, you know, let's let Jerry do it, right?
And so it evolved from that, where now they sort of trusted me to do this or that, and I began to work more scenes because it saved the money from bringing the other actors up from the city. How many people do you think he killed in that movie? I've got five confirmed dead. So crazy Ralph.
Handsome young man that was hanging from the snare, I slid his throat, I forget his name right now. Lessel Todd. And then this beautiful woman sitting next to me, I skewered her, billed that in the back as he was indelicately... Immediately on a court occasion.
So that was with another actress. So I got five confirmed kills. It's pretty good numbers. That's more than me.
Bill, we got to jump to you because I think if you were to survey a bunch of Friday of 13 fans to organize their favorite ways anyone has died in the franchise, the the Bejkabab is definitely one that that comes up. Can you can you tell us a little bit about what it was like doing that scene? What it was like to read that that's how your character dies in the script? Well, you know, when you read it in the script and you think, oh man, this is cool.
And of course I have no idea how they're going to do it. And Carl Fullerton was the makeup guy. And so I went to his place and they then molded my back. And then when we actually did the shoot, the actual shot where the spear goes through.
That was eight hours. Two takes, four hours each. And the thing that took the longest was attaching the back to my, you know, from my shoulders down they attached this fake back. But it had to look like it was my skin.
Like there was, you know, that it wasn't like, okay, well, here's his shoulder and here's this piece of plastic. Yeah, it suddenly turns tan out of nowhere. And I, there was a hole in the bed and I was on my knees, you know, kind of this way in the bed the whole time. So they could attach it to my shoulder going back.
And then just before we shot, Marta would sneak in underneath. And so she was there for like two or three minutes. You know, pretty shot up there for four hours waiting for this thing to go. But yeah, it was pretty cool.
And it was very disappointing that, you know, in the cut that they released that you did not see that. Yeah, if you, if you check out the documentary, I think it's in Crystal Lake Memories, they pull out the shot where there's the wide shot of you guys with it through the bed and you're kind of wiggling and like dying slowly. It's a really cool shot that's very frustrating that it's not in the movie. And Marta was fantastic.
You saw her face because, you know, I was like this. And she was looking this way. So she sees it before it goes in and then, you know, you watch her die. So that was cool.
One of the things that I always am fascinated with, especially on these types of movies, the low-budget slasher teen movies, is it really looks like the cast who are supposed to play friends are friends. That there is this beautiful bonding moment that's happening while making it. And I think Friday 13th is part two, specifically is one where you really do feel like a genuine love and friendship amongst these counselors oozing through the film. Is that true?
Is that actually the case? Were you guys really good friends while making this? Well, you know, I was very lucky that Marta lived in New York City. And so did Stu Charno.
So, you know, before the film, all of us got together, you know, and had dinner. And Stu was a pianist and played jazz, improvised jazz like crazy. He was amazing. So we would go watch him perform.
And so we had a few times together before we went up and we were friends before we got to the set. So that worked out really well for us. That's a unique experience. Yeah.
Yeah, that was fun. Yeah, I mean, I knew, um, Tonic Bride who played Mark, I knew him from TV commercials because both of us were doing a lot of commercials in New York. And they would always pair us together. I think we only booked one together.
I think it was a non-sema commercial because they were like, you guys look like you could be brother and sister. And so then when we were cast opposite each other in the film, it was like, I know you. I know you. So I was kind of going like, but now we're supposed to be boyfriend and girlfriend, not brother and sister.
So it was neat. And the other thing too is we lived at the camp. It's not like we went to a hotel and went into our separate rooms. We stayed in the cabins.
We ate breakfast together, lunch and dinner. We went running together. Some of them played tennis together. You know, I think Steve played an all for something like that.
I wasn't part of that because I was, you know, whatever. But yeah, I wasn't a tennis player or anything or golf player. But yeah, it was fun eating, sleeping, drinking and then working together. It really created that bond between all of us.
And speaking of the tennis court and Stu and I one night decided, you know, I don't know where, you know, maybe it was a night that we weren't filming because nobody was around. But it was night. And of course, you know, the tennis court was closed and the net was down. So he and I tried to put the net up so that we could play tennis in the middle of the night.
We weren't successful. But you know, it was the effort. Now, as the cast was bonding, Jerry, was the production team also bonding? Or were you like living a whole separate production team world?
Were you playing tennis, say, with the people that you were going to be killing? No, you know, it was a double life for me because part of my job was to drive the cast back and forth to where they were living from the set. And so, you know, every day, several times a day, I would be with the cast back and forth. And but most of my time was spent, you know, working with the crew, which was the crew was very much friendly.
We worked really well together. Peter Stein was the cinematographer and Steve Gerbsen was the gaffer and he was a character. And everybody was, you know, sort of handpicked to be able to survive out in the wilds of Connecticut for the summer, for the, as it got cold too, which is another thing. So all of our cabins that seemed so okay to be in when it was nice in the beginning of September, we're not that great in October, right?
But yeah, I mean, I thought the whole attitude and relationship between the crew and the cast was really, really quite good. I think it's easy to forget that these movies have to be shot off season and that that is not a fun time to be out in the woods. I love the idea of you like dropping them off at set and then just being like, all right, I'll see you for your stabbing later on. Do we have any questions from the audience?
Just pop a hand up right over there? Yeah. The question is, were there any pranks on the campsite? Well, yes.
Stu and I, you know, the mature people that we were. We would sneak behind, say, Lauren's cabin, you know, because everybody had screens on the back of their windows in back. So we would, you know, when everybody was supposed to be sleeping, he and I would go back there and scratch the screens. So yeah, we were very mature.
Yeah, and sometimes when we would walk back from the cabins, like if everybody was busy, and I remember one night they said to Kirsten and me, they said, you guys can go back to your cabins and Jerry's working, you know, on set. So of course he couldn't drive us, so we had to walk up the hill from the camp where we were filming to the little camp that was also there where we were staying. And a couple of guys, I guess they weren't doing anything at the time, they started like snapping twigs as we're walking and going, whoop, whoop, whoop, whoop, whoop, and Kirsten are just like, running up this hill. Do you pull any pranks, Jerry?
Yeah, it killed us. Yeah, that was my big prank list. Machetees and spears. What's your death?
Anyone else got a question? I see one back there. How late is the night going to shoot your long? How late were you guys filming with a film that's so night time based?
I mean, certainly eventually it got to the point where we were sleeping during the day and shooting all night. Yeah, in the beginning we did the day shots mostly, and then as the days got shorter and switched to all night, so we would get up and go to work at five or six in the evening and be off at five or six in the next evening. And one thing that I remember happening was because of that, we didn't get a cocktail hour. And so it became Bourbon Breakfast.
And as we go home once a week, hopefully, and bring back a bottle of bourbon and how about this one? You drink at six or seven in the morning and then go to bed, right? I do have to ask off of that, because you said it started with a lot of days and then shifted to the night. Was the movie mostly shot in order?
I know that's not the norm, but I guess you're at the camp during the day and then all the killing really happens in the night time. Was it fairly in order of script? Yeah, I think the only thing that we may have done out of order was the campfire scene. Wasn't that one of the first things we shot?
Was the campfire scene? And then they did the daytime stuff. And the whole cast is together in the beginning. Not everybody is there at the same time anymore.
They did the big scenes and the day scenes first and then broke down into smaller ones. Yeah, and like the background actors, we had a core group of background actors. So anything that they were in was also shot first, so they could go home and not say at the camp and continue to get paid. If you were shooting in sequence when you died where you left or did somebody stick around and play tennis or whatever?
No, I had to leave. It was too dark and creepy. I'll take living in New York City with all the police cars and keep peeing in the corners any time. You had a question?
So, whether in part two or any other movies you worked in, was there ever a prompt that you guys kind of stuck away from as a souvenir that maybe you weren't staking? The question is, are you willing to indict yourself stealing props from a movie set? In Neighbors, I was able to keep the candy underpants that we did not use when we weren't filming. The hat that I have, I actually wore in Dressed to Kill a Brian De Palma film before I did Freddie the 13th.
And when we went up to camp and the first time that we were on set with Steve, I brought the hat, black, high-top sneakers, I brought all this stuff which I thought Jeff would wear. And he looked at all of it and he said, okay, keep the hat. So it is the same hat that I wore in Dressed to Kill. Do you have any other questions out there on the crowd?
Back to you? I was at working with Steve Miner and we'll just go straight down the row I guess. Steve was great. Steve had been the producer of Friday the 13th, part one.
And he was friends and partners with Sean Cunningham who was the executive producer and the owner of the company. So Steve had made his bones working as the producer to put things together and then got the opportunity to direct. I think it was his first directorial thing. And he was 27 years old, right, young guy.
But a sweetheart, I mean just a really kind, you know, quiet, generous sort of guy. So at least that's the way it was with me. Well with me, he made me cry. The first time he made me cry was when he made me put those brown undies on.
And I was like, oh, they're so ugly. I'm just kidding. But in the death scene, you may not remember this, I had a blood capsule in my mouth. So when I get stabbed by Mr.
Wallace here with a sack over his head, I had to bite down on the capsule and it was just spurred out blood. Not trickle the blood. Well, the capsule was in my mouth for a long time. So the gelatin on the out, hey, how are you?
The gelatin on the outside of the capsule didn't break the way Steve wanted it to break. He made me cry. That's so funny. And he said to me, he goes, Warren, bite into it harder.
And you know, as a young actress, my first big movie role, I was just like, and he's like, all right, let's start filming. She's crying, you know. I was like, he's yelling at me. You know, I started screaming and all that.
They gave me a capsule, bit down on it and the blood, the blood, trickled down. But it was very easy to cry because I was so afraid that I was disappointing my director. And that was my experience from that scene. Otherwise everything else was cool.
Yeah, fortunately, yes, Steve was fantastic. At my audition, you know, of course, before I got the role, they were pairing you up with, you know, different actresses that were there, you know, to play, you know, Marta's role. And there was this young lady that came in and she was just bouncing off the wall. She had so much energy.
And I just kind of, I looked at her and then I looked at Steve and I said, are you kidding? And he cracked up. And we both realized that this girl was not going to come close to this role. And I got the part, I think, right there because I made that human connection with Steve of, wow, you know, where did this come from?
So yeah, I had a lot of fun with Steve. He was very generous. Jerry, I have a question for you based off of something that was just said earlier because when we were talking about you becoming Jason this movie, it was mostly that they needed someone to perform the hands. But Lauren mentioned you with the bag over your head.
Did you actually also eventually have to put on like the overalls in the bag and everything? Oh yeah, I mean quite often. So here I would be picking up the styrofoam cups from the set as the camera move from one place to the other. And then it would be okay, prior or the prior, which was my, you know, the name of my character.
But often that would mean, actually all the time, it would mean going into wardrobe. So I shift from being on the crew to being now Ellen Letter is spoofing me up and I'm feeling like a movie star, you know. And then I would do my simple scene usually. But no, I eventually, as I said, they said, let's let Jerry do it.
And you know, it's in custom for hours sometimes. Yeah, there's actually at Jerry's table, there's a photo of him in costume, you know, with the overalls in the flannel shirt. But without the sack on his head, dragging me down the stairs. Yeah.
Awesome. We have any other questions out there in the crowd? I see one in the back. I'm curious.
So the first film everybody knows, you take that as the inverse of Mater. I guess the question is, was someone at Paramount there while you were shooting or did most of the notes come in the editing process? Frank Mancuso, Jr. Do you remember that?
Yes. And then, I remember him, I remember him, and I remember him saying, don't do this or don't do that. So I think yes, there was some supervision, but not so much. And you obviously know, I mean, there's a lot that was cut out that was either too sexy or too violent.
The movie when we all saw it went, we all went, hey, where's that one? I feel like the Friday of the 13 films, for whatever reason, really became like, ground zero for the most MPAA notes. Because you watch any documentary about it, it's like, yeah, this one was pretty good, and then we had to cut this, and now it's just good. They cut out the stuff that people paid, they cut out the parts that people were paying the C.
But I do wonder why that specific franchise really seemed to be like ground zero for so much of the ire that came from it. I think it was because it was one of the first slash slasher movies, period. It was right at the beginning of this whole horror genre. I always say, because people do point to like a black Christmas or a Halloween, but those movies still have a lot of implication.
The first right of the 13, there's no implication of what's happening to these people. We're getting a full view of the arrowheads coming through necks and hatchets into faces and stuff, and I think, yeah, they were just like, how dare you? How dare you do this, and we allow it to get released? There's a reason why Harry Manfred and the composer, one of the songs is called, Slice in and Dyson.
Do we have any other questions out there from the crowd over there? Oh, yeah, how familiar were you with the original? Because this is a pretty quick turnaround on the sequel as well. I don't know that you've ever heard of it.
Were you there? They had a screening room, and they gathered, I guess, a few of us. Yeah, that's how I watch it. I watch it in a screening room.
Yeah, that's yes. The thing that was fun is that, in New York at the time, a lot of us being unemployed actors and whatever, there was a bowling alley on 77th Street in Amsterdam, like a 10 lane slice out of Midwest right there in Manhattan. A lot of us unemployed actors used to go bowl there. So I actually knew Kevin and we had bolded together before one and two.
So one night when we're bowling, I said, hey, Kevin, I'm playing your clone. They're doing part two. They're doing part two. And he's, oh, that's cool.
So a lot of people knew each other as we were all struggling to become something. And here's the funny thing, because I didn't know that story. I don't know if you know this one. But Kevin and I were doing an off-Broadway show called Album, a four-person show about growing up in the 60s.
Same time I was doing Neighbors. And the whole time I was in that show, not once, did Kevin and I talk about Friday the 13th. Wow. Not once.
It was weird. I don't even think he had it in his bio. No, for a long time I think he kind of... But this is the beginning.
I feel like that's one of those cool things that people don't realize is in New York and LA. There are these moments where it's just a bunch of young go-getters hanging out. There's not a hard movie. One of my favorite movies is a teen flick called Can't Hardly Wait.
And you watch that movie in the background actors, you're like, there's Jason Segal. And the story was just like, we put out a calling card for anyone who was 20 that was looking for work. Be guests at this party movie. And you look in the background, it's like, oh, all these people who later became huge.
And that's just what it is in those worlds sometimes. Do we have any other questions out there from the crowd? Go ahead. Did anything get steamy on the tennis court is the question that's...
Yes. Murphy and I, I had a huge crush on our sound designer Murphy. And we went out a few times. We went out a few times.
He lived on the Upper West Side and we used to go to Pizza Rhe Uno right across from the Museum of Natural History. No bones about it. Ah, pardon, pardon. But no, we went out a few times.
We didn't know. Was this before or after the film? It was during and after, yes. I dropped the mic to Jerry.
I don't have any details. And it's all just sort of in you end up here. But Paul Volo was the second grip and a handsome sort of swash-bush-wing kind of guy, right? And he started to work on Kirsten.
Oh, boy, yes. Did you have the motorcycle? Yeah. She went riding with him.
Yeah. So Paul Volo had the cabin right next to mine, right? And one time as I was coming out, I was watching the two of them go in. I don't know what happened.
But this was, you know, was a camp, you know, and people were learning things there. All right, any other questions? Question about the ambiguous ending of the movie and the fate of certain characters. What is your take on that?
Well, Amy's been pretty open about being approached for part three, which is a completely different story than the part three that they actually made. It's a completely different script. The character of Ginny is in college. She's still dating Paul and Jason apparently finds out about her and things happen.
I don't want to say a whole lot because it's not my story to tell. It's Amy's and I don't want to give away anything that was written either. But it was a very different story than part three, but it was a continuation of what happens to the character of Ginny and the character of Paul after camp is over. And what about Ted?
Ted's still at the bar. It's right. It's the smartest and I of all of us. I mean, it is one of the other interesting things about Freddy A13.
I have a 10-year-old that's starting to get into this stuff and trying to explain to him, well, yeah, like Sidney is in all the screen movies, but most of the people who survived the end of these Freddy A13 movies don't make it much longer. They usually get rid of him pretty early on in the next one just to keep moving to a new group. Do we have any other questions out there? Questions about the cooler?
Questions about anything, really? The road trip cooler, Bobby, anything? Where are you guys up to these days? What's everyone, what are all you doing now in 2025?
Oh, well, I did a little movie called In A Violent Nature, which came out last May. And yeah, then I did a, I worked with this British group, Dark Temple Motion Pictures, and we did two together. He sees you when you're sleeping, which came out last November and Snake Manor. And recently, some dude by the name of Bobby Hegman wrote, Lucen's Victim No More Part II, and he said, you know what, Lauren, you did such a good job at that monologue in In A Violent Nature.
I wrote a two-page monologue for you. So I filmed that. We filmed it just a month ago or two months ago? Yeah, it was September.
Yes, September, and the story is really great. I cannot even hint at it because he would kill me, but it's really great, and the character is really nice twist. And this time you made the record. Aw, you're so sweet.
Thank you. And then Bill can tell you we have something coming up that we're doing together. Yeah, this is how things work. And the only way you get jobs is when your friends say, well, why don't you use this person?
But I recently did a film called Collection Day with Ron Milke, and we had lost an actor, and I suggested him, he did it. And then Ron and Lauren Marie are doing this film called Christmas at Aunt Betty's, which starts filming mid-November, mid-November, December. And they lost somebody, so they suggested me. So now the three of us are actually going to be in a party scene, all together, in Christmas at Aunt Betty's.
As well as isn't it, Tom? I mean, Dietz. That's my mother in it. Right.
Yeah. Christmas at Aunt Betty's. It's super, super, pretty production, so there's probably nothing out there about it. Oh, and I also did a movie called Desert Fiends, Part Two, which was kind of fun with the Big Schwag and Eric Roberts, and I had to fend off zombie type of people in the desert, and I didn't tell the director of two days before filming.
I fell off a ladder and I broke my wrist. So I showed up with a cast from here to my shoulder, and he said, well, it is a horror comedy, and I had to fend off the zombies with my cast like this. Get away from me, you bitch! Get your hands off me!
Listen, a cast is a great way to protect you from being bit by a zombie, actually. Yeah, I mean, the director's like, you know what, we didn't see her bite you because the cast is like, I may still be alive for Part Three. Jerry, how about you? What have you been up to post Friday the 13th, Part Two?
You're talking about 45 years now? Just talk about it on the meter. Okay, well, after Friday the 13th, I came back to Manhattan where I lived and had made good contacts in the film business, and my phone started to ring, and I started to work. And I learned my bones and began to be a production manager, and I did a lot of different things.
One, I worked, I did production managed Cindy Loper's Girls, just want to have fun, and time after time. I production managed Dire Straits, Brothers in Arms, so I was in the music business for a little bit, but also got into documentary films and corporate films anyway. So 15 years, I did bounce from one part of the film production business to another, and then when I was 41 years old, a reversal in my family life, I decided to bail on the film business, and went back to school and became, I got the Masters in Education, and for the next 16 years, taught sixth grade social studies in White Plains, New York. Did you ever show your students, you killing people and be like, act up, and this might happen?
I've killed before, and I'll kill again. That's amazing though, and especially doing music videos at arguably the biggest point for music videos, that early MTV era, I mean that girls just want to have fun music video is a massive cornerstone of the entire music video industry. That's amazing that you were a part of that. I had no clue.
That's so cool. Do we have any other questions out in the audience? The longevity, like I said, I think a lot of people consider this one of the best ones. Is that shock you guys at the time that you were making it, that this was going to be one of the most beloved in the franchise?
Who knew, right? Who knew? The first time I saw it, it was in a screening room in New York City, and I was there with my agent, and basically at the end of the movie I turned to my agent, I said, well, that won't do me any harm. You know, never in a million years thinking 45 years later, we would still be talking about it.
And it's thanks to you guys. Thanks to the fans. I want to bounce back to Lauren real quick, because you were in a violent nature, which is a very Friday the 13th coded film. Did that come up when you were casted in all those conversations?
Yeah, I mean, I didn't know the whole story about the casting until recently, but apparently the director Chris Nash wanted one of the guys from the Friday 13th franchise to play the role of the person who picks up the final girl, the character of Chris in the movie. And then he decided it would be too threatening to have a guy pick her up after she's been chased by this guy, you know, this thing on his head, and chains and things like that. So he looked at several of his favorite, you know, franchise, because he loved the Friday 13th franchise. So it's kind of like an homage to 80 slashers in general, but especially Friday 13th.
And he was like, this one, I interviewed with him, read a zoom, I read with him, and he was like, that's yours. And that was how that came about. And so, yeah, so when we were doing it, you know, I was only shooting for a few days, and they had already done everything else. But the feeling, you know, especially being in the middle of nowhere in Canada in Sioux St.
Marie, again, like our filming experience in Friday 13th, it's creepy out there, you know, stay the heck out of the woods, geez. So it had that same feeling. And then when I saw the film on Governor's Island, when they had the big, you know, opening events there, and though, you know, IFC and Shutter had the big events there with the big screening outside, it was like, wow, it was creepy, but it also reminded me of the feeling that you get when you watch Friday the 13th, the prowler in the woods, you know, you don't see him, you don't know what he's up to. I mean, in this case, you know, it, you don't know what he's thinking, you know, so, yeah, thanks.
You got a question? Is this a rewatch at the home? My brother is horrible. My brother lives in Virginia, and you know, he's like, Mr.
that, all that. And I'll go there and go, hey, you want to watch Friday 13th, part two? Hey, you want to watch in a violin? I'm like, no, let's watch Neighbors.
You know, let's watch something harmless. But a quick story when my oldest daughter was in 5th grade, she was at a sleepover, and she comes home from the sleepover in the days of Blockbuster Video, and she goes, so, when were you going to tell me? I'm going, what? Because I was on the soap opera at the time, and that's all my kids knew, and that's all my neighbors knew.
And I said, tell you what, you know, you're in 5th grade, what do I need to tell you? Just, Louise and I were watching Louise last night, and then she's like, oh my God, Katie, is that your mom? So I had some serious explaining to do. Did you ever have that with Thompson?
Not really, but the thing was that happened to me, we were, you know, seeing the principal, you know, at one of the schools at Thompson, you know, and I had no idea that he had even seen the film, but as I'm walking out, as we're all, you know, kind of walking out of the office, the secretary says, well, we saw your movie. Thompson told us all about it, and that was the first time that I even knew that he had seen it, you know, but apparently, you know, they had seen it, and you know, they had told, you know, the people at school, you know, you got to see this movie. So, yeah, I mean, actually, that made me very happy, because it wasn't me, you know, saying, can I, and you got to watch my movie, you got to watch my movie. So he discovered it himself.
Yeah, I mean, with social media and everything like that, I didn't mention that, you know, you mentioned, I went back to school and got my messages, I was teaching 1st grade, and he started them for 10 years, and recently on Instagram, I got a message from Tatiana, I won't say your last name, and she goes, hi, I'm just wondering, you look like my first grade teacher, you know, from back in 2011, are you the same Miss Lauren, and I'm looking through my field, and I'm going, I don't have any pictures of me with the brown undies, and I hadn't yet. So I wrote back and I said, oh yes, Tatiana, that was me, she goes, I am so sorry for being such a brat when I was in 1st grade. I was like, oh, so that was kind of funny. Is there anyone else who has a last question before we wrap up the panel?
Anybody? All right, well, thank you so much. Thank you. Let's show appreciation here.
And, you know, quick sign off, where can people go to check out, not just this weekend, but when they go home, what are some things that you want them to be checking out that you may have worked on in the past? Or in the future? A lot of you guys know, for Instagram, it's just my name, Lauren Marie Taylor, with the number one behind it. You guys know, and there's also a website that I'm still working on my best friend, who's from Texas.
Lauren, are you going to put more 513 things up there? And so that's just my name, LaurenRereTaylor.com. That's it. You know, and certainly the thing is, is that when you do a film, you have no idea when, where, and how it will ever come out.
But I did a film called Collection Day last year, and then we're doing this film coming up, Christmas at Aunt Betty's. And, you know, just look for those, you know, eventually, hopefully, you know, it will be available. Both of them will be available, and you can see them. I know that guy.
Yeah. Thank you, everybody. Thanks, guys. No, no!
Canada is up to nil. That is the most dangerous lead in soccer. Relax, Mike. See that, Dan?
My left eye is switching. That's my warning eye. It'll be 2-2 by stop, it's time. It's never wrong.
With early payout from Bet365, I got paid the second thing when I'm two goals. So to me, it's now the safest lead. Early payout from Bet365, huh? No, my right eye is switching, Dan.
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