The Buzz - BuzzWorthy Radio

BuzzWorthy Radio: Tristan Rogers!

Tristan Rogers, who many General Hospital fans remember him as Robert Scorpio, will be making an appearance on BuzzWorthy Radio.

The Australian-American actor is always on the move, and Tristan will be joining us to speak about his new web series, "Reality Bites."

RB is a serialized drama that takes an in depth look at the dual realities found within both the public and private lives of soap stars. This riveting story is told through unique production methods which enhance the look and feel of both realities that unfold as the story develops. In short, this fresh and unique script is something that is overwhelmingly difficult to put down once you pick it up, and something worth developing.

Duration:: 1h 1m
Broadcast on:: 18 Sep 2009
Audio Format:: other

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Welcome to Buzzworthy Radio on this Thursday, September 17, 2009. Oh my gosh, September is almost over. I'm just realizing that it is 10.30 Eastern, 7.30 Pacific Coast time. We are joined by Mr. Tristan Rogers. How are you again, sir? I'm good. No, no, no, not a bit. I'm great. You're great. You're great. I'm great. All right, that's the best way to be. It is great. It's 646-595-4282, dial in on the conversation if you got questions for the man of the hour, and what did you say on Twitter that it's going to be outrageous? Proposterously outrageous. Proposterously outrageous. All right, all right. We'll go that route. We'll see how preposterously outrageous we're going to get here at Clank. And this is going to be a shame for those who don't know this, but I'm going to ask it anyway. If you don't know who this guy is, and you don't know who he played under our hospital, shame on your nothing, you want to describe Robert Scorpio for us. I mean, we all love hearing you talk about Robert Scorpio. I was a huge fan of Robert and Anna Devane, who will use under our hospital, so. I think Scorpio is essentially retired at this point. You know, I think that after Night Shift II, I really don't think that there was anywhere for the character to go after that. And, you know, everything that we did built up to that, and I certainly had a wonderful time doing that entire three months. I mean, it was a magic time. But at this particular point, you know, Scorpio's exploits are long behind him. They're long behind the show. And, you know, the show's gone off on a different tack, and I can accept that. Yeah, because I know I believe I read in a magazine interview that you did, one name brought back to character Robert and Emma Sam's character. They did not need to bring them back. Like, they should have focused on who they have now instead of trying to recreate the 80s. And they're probably right about that. I think at this point, I mean, I don't think about that show anymore. I think about the next step, where I want to go, all the stuff I've been talking about, you know, like building a better mouse trap. Well, now I'm about to try it. Okay, what is the next step? Let's talk about that. What is your next step? Well, I'm doing a lot of stuff behind the camera, and I'm doing stuff which is non-acting in front of the camera. But the reality bites idea, which was brought to me a while ago, is a kind of an idea about, well, what about if we did this? And I said, well, go away and develop the idea more. This has brought to me by one of the administrators of my website, Kate Lang. And I said, well, what's your idea? And she threw out a few concepts, and I said, yeah, put it down in a working kind of order. You understand how a soap works and how you want it to work. And I said, you know, lay it down in a basic structure, and I'll help you put it together. And I did. And this has been kind of an evolutionary thing now going on for, I guess, at least 12 months. And we got it to the point now where it's got a story arc, and it's got stuff attached to it, and a few different ideas in terms of how to project it onto the screen. These ideas in terms of keeping the cost down, but also giving it a different look. And at this stage, you know, we're shopping it around now and looking for how to raise a budget for it. But I have really good feeling about it. There's a lot of talented people attached to this. There's a lot of like-minded people attached to this. And I think we're onto something here. We're not rushing into it. We're kind of, you know, loping along here at our own pace. We want to get it right. That's pretty cool. I actually looked at your website of the description. And it's definitely perfect. This is just going to be strictly online. Are you going to try to shop for it on that? I like to work things out on a multi-platform basis. The multi-platform being there's television, there's the web, there's downloadable content, and there's cell phones. Now, there will be other platforms as they come along. We'll just add it to the mix, but right now they're the four main ones. And basically, television really doesn't- oh, American television really doesn't use those platforms to its best advantage. So on that basis, we're probably going to start out on the web, but aim for television and incorporate all the others as we go along. It's not a big deal. Once you've got the footage, you can slice it and dice it any way you want. But it's a case of having the idea in your head that all the platforms support the idea. Like if you put all the four platforms together, it forms a square. Well, in the middle of that square is the idea. And all of those platforms support and enhance and build the idea and make the public go away and think about the idea in a different way, because each platform has got to convey a different piece of information, maybe the same piece of information, but in a different way. It's got to be carefully constructed and put together. It can't just be slapped together. Oh, absolutely not. And hopefully, like when this comes out of others, anything else will follow suit. Like if anybody wants to make something similar like that. You'll like this show, like pay the way for everything else kind of thing. I always kind of think it's dangerous to be ahead of your time. If you get ahead of your time, then basically you finish out waiting for everybody to catch up so that then that you're in time. But to be kind of ahead of your time, I think the novel people will wear off a laugh after. I think it can come back to bite you. So I try not to be too far ahead. I like to be like on the cutting edge, but I don't want to be doing something. I don't want to suddenly find myself being offered a platform that nobody else has or worse understands. Okay. I got you. I got you. Yeah. And besides doing, besides getting anybody to do reality bites, you did a movie, is that correct? No, you wore a movie. You wore a movie. Yeah. Yeah. It's not a big part, but I know, I know Greg really well. And he's been kind of trying to find something specific. But in the meantime, he says, Oh, I've got this part. Would you do that? And so yeah, I did it. It was kind of how can I put this? It would be if the Pope was Australian, he might sound and look a little bit like this. The best way I can put it. The best way you can do it. I like that explanation. I probably would not have said that, but okay. There you go. There you go. I definitely wanted to ask your opinion of this. I actually spoke with Jim Remindge about this a couple of days ago. And it was very unique. It was a very unique response. I'm not sure if you watched the Emmy the few weeks ago. I was doing something more important. I was fishing. He were fishing in Alaska, actually. So I had the golden excuse not to be tired of it. And I saw a comment that you made that they should be given in a bar and that you should be the bartender just giving it out. I think that would be cool to do. Totally. I mean, I think that's where a board chef should be headed. The sad thing about the award business is they're really needed in the industry. The award shows are totally needed in this business. However, ever since the advent of cable, we had daytime Emmys, we had prime time Emmys, we had Academy Awards, and there was one other one in there. Well, all of a sudden cable comes along and says, well, probably because they got slighted by all of those by prime time and daytime, they said, well, we think we need our own awards. And all of a sudden the floodgates opened. And now there's an award about every other week. And I challenge the meaning of them. I mean, when we had the daytime Emmys, the prime time, the Academy, everybody knew exactly where you were at. And getting one of those awards and aspiring to get one of those awards was tough, and it was hard, and it was highly competitive. Well, it's still tough, and it's still highly competitive. And unfortunately, though, with the advent of all the other awards, they've kind of taken some of the luster and the credibility away from the legitimate awards. And that's what I'm not happy about. Yeah, because I mean, I'm kind of feeling like really, what are these awards meaning to these people? Do they have any value, basically, if one tries to say? Do you have any value? I used to have a lot of value. You know, they used to be really significant. I remember my first awards watching back in 1981, and when the daytime awards were in the daytime, and they were mostly in New York, and, you know, the show pretty well stopped at certain moments to watch certain awards. And it was a magical, inspiring, exciting moment. My point exactly. That's pretty much it. I really want to understand that wholeheartedly. Before I get to my next question, I want to take you up for taking van clothes tonight? Sure, don't. All right. Our first one is from Vermont. Brian, you're on the line. How are you? Hey, how's it going, buddy? Good. How's it going? Good. Hey, Tristan, how's it going? Can I complain? A bit thin. I just watched you on a general hospital quite a bit. And I know you said you've moved on from there and stuff, but we're just watering, like, what your opinion is on the show now? Like, how do you think the show is going and stuff? Well, I'm at a bit of a disadvantage because I don't watch the show. I don't follow it like I used to, so I'm kind of somewhat ignorant. I mean, I was part of it for a limited period of time back in '06 and then back in '08. And hey, the show is what the show is. It's got a group of people and it's veered away from what it was and et cetera, et cetera. And, you know, all the daytime's got its problem for right now in terms of whether it's going to hang on, whether it's going to continue, et cetera, et cetera. I have commented a lot in the past and made certain criticisms, which I stand behind. I'm not taking anything back. But, you know, there comes a point in my life where I'm saying, "Okay, you've got to move on and you've just got to start doing your own thing." And that's really where I'm at. I mean, your general hospital does its own thing. I'm doing my own thing. Yeah, definitely. Hey, I'm just, you know, I'll come say, you know, they definitely miss you out there, man, because they could say they could use you, definitely. They don't call me and tell me that too often. They should know. They should know, you know. They'd be smart to do that. That's for sure. Well, thanks a lot for taking my call. Well, thank you for your time. Thank you. Thanks, Brian. Thanks, man. Take care. Take care. You too. Bye. Now, this question, this one, it kind of ties into what Brian was saying, "Would you do night shift if you can comment on it?" I mean, you did night shift. How was doing that show different in comparison to when doing general hospital day shift kind of thing? Well, it was a different, how can I put it? We took all the elements and we kind of mixed and matched them. It had elements from time and at daytime. It had, you know, it was gotten high death and it was mixed like a movie and edited and put out there as a one hour standalone show, which of course, daytime is not that. So it had a totally different feel which the public took a couple of episodes to latch on to. Now, I thought it was a great experiment in that, you know, it showed that there was a lot of stuff within daytime that could be changed around and experimented with and projected in a different way. And it was just a sad thing that we didn't go on from there, but, you know, it didn't live up to the business side of what they wanted. And in this particular time, that's suicide. So, okay. But I always hold that show up, that series up as this is what can be done and it didn't cost any more money. This is what can be done with some creativity and thought because this was well thought out. I mean, this just wasn't slapped together. It had some terrific people. I mean, the executive producer, the head writer, the director, or everybody contributed with their own expertise to making that show what it was. So it wasn't an accident. It was designed to be what it was. Right. In this era now, daytime, I have to fully agree. And I say this all the time. It's a dying, the dying breed. And it needs to do whatever it can to in order for it to survive. What do you think in your impromptu opinion doesn't need to do in order to survive now? I mean, look at what happens. It got in like 72 years, 17 years, this show has been around. And tomorrow is actually, it's largely on air. Well, firstly, soap opera, the genre of soap opera is in good shape. That's not going anywhere. I mean, primetime embodies it, even movies embody it. The only problem we have here is that this chapter of soap opera being the daytime chapter, which has been around longer than television has, is now suddenly finding itself in trouble. Now, it was probably always going to be in trouble. The thing that's hastened that has been the economy because the economy has affected all parts of television, daytime and primetime. But daytime has probably come out of this the worst because they were the weakest to start with. They were already on the kind of decline. And then the irony of this is that you would have thought that with the amount of people out of work, it might have helped. And it would have pushed people back, but it didn't. Because there's now way more options out there for people to get involved in. And, you know, the daytime has got a very solid foundational audience. But that's not the foundational audience that the network wants. They want younger people and younger people aren't going to follow their parents' television shows. Forget it. They want their own stuff. They want stuff with their own signature on it, stuff that relates to them. And so, consequently, as much as the sobs have tried to appeal to the youth market, it probably won't work. The daytime sobs are kind of encumbered by their historical baggage. And, you know, God, I knew this when I went back in '06. I thought, God, this guy's got more baggage than Titanic. And ultimately, ultimately, that went against me. Unless you're going to use that baggage and play into it, then you become this character, everyone's going, but wait a minute. He's not like that. He's like, why are you writing him like that? Well, okay, that I want to write him like that. And so, the baggage can sink you. And so, this applies to every soap. The great thing about Night Shift was that we took a slither of general hospital and spun it off in another direction. You know, we were two floors below the main desk, doing our own series, so to speak. And it existed completely, separately, from general hospital. And I think I've said once before, this could be done by any soap. So, the real legacy of any of the sobs out there now is not the show. It's that history. That's that history at any point could be sliced off and made into something else. But that's not going to help the shows as they stand. I think that as they stand, they've got to have a separate place, meaning a separate channel. If they're all on one channel, they could exist. They could make enough money. I mean, not the same way that the sport has its own channel, that politics, that cartoons have their own channel. Right. So, Popra could exist with its own self-made channel. You would then basically craft the channel around the subs, and there'd be a lot more introspection going on. There'd be more interviews, there'd be more behind the scenes stuff, anything to sort of like, liven it up. But I believe it could work. I mean, I'm not about to try it, but I believe it could work. Yeah. I couldn't see you doing that. I mean, you think that that would be its avenue, but it's not looking out that way. No, Suddenet went off in another direction. Sure did. It kind of became a recycling channel for other sobs, where it's going to finish up. I have no idea. But, you know, I think that, you know, the concept of the network is certainly shifting into the web. And so, if sobs were kind of reinvented, take that sliver of history, make them into, say, a 10 or a 15-minute show, and then broadcast them all and say one area, and then have a lot of stuff going on to let the public in. Like, when I did night shift, I think on my website, I had this thing called Backstage Pass. And I just shot all of that stuff with a flip camera, and I just sat everyone down in dressing rooms, and we just started to talk about things. And that's how that came to pass. I mean, after a while, you forgot the camera was there, so all the bad language was left in. And it was just us being us, you know. It was just us talking the way that anybody else does. So, it gave the public that opportunity to sort of see us when we're not, you know, reading a script, or when we're not on camera. And I think it worked very well. And I will certainly use that approach. You know, I'd use that approach in the future. Okay. Very, very cool. We got a couple of questions also from the chat room, one of which comes from Agent B. Oh, I know her. This is going to be, you know, it'll be really difficult and messy and murky. I know. It's actually not that bad. Okay. As shopping as that is. She writes, "When reality bites comes to the web or TV, will you be acting in it?" Yes. You will be acting in it. I can answer that one. Well, that was easy. I have to rule as easy as this. I thought it was going to be more difficult. Yeah. I have a part in it. It's an interesting character. And the great thing about this is that, you know, I'll be in front of and behind the camera at the same time. So, that's always a challenge, but it's an interesting challenge. Pretty much everything I'm doing now, I'm doing that kind of approach where I'm hosting a, whether I'm hosting a magazine type show or whether I'm going to be acting or whatever, everything is like this dual role. And DL would seven as, "Can you name any other possible names for reality bites?" I might show up in this. No. I'm not going to get pinned down on that one. Yeah, there's a short list of people that we would like to use, but nothing's been settled at this point. And so, I would be remiss in turning around and mentioning names. All right. There you go. There you go. All right. We got to call around from Texas. You're on the line with Kristen Rogers. How are you? What's your name? My name is Michelle. Hi, Michelle. Hi. My question is about the demographic that reality bites is aimed for. One of the things I loved about General Hospital was that I come home, you know, be sick from school one day and watch it with my mom and we would kind of have the sting and comment that we talk about. So, I was wondering if the same kind of feel is going to be there in reality bites. You know, the big demographic out there right now is the over 50 market. The over 50 market is like 150 million plus and nobody seems to want to deal with that. So, what I would basically do would be to endeavor to tap into that market. And then after you've built your foundation, you've got your building blocks underneath you, then you start to reach out. It's all about the balance. You know, people say that kids out there are all attention deficit. That's not true. They like quality. You know, they like quality. Like any of us did 20 years ago, they're not going to be suckered in for something that they don't feel that they have a connection to. Now, you can call like the soap opera plots that are, hey, kids are like this. I'm not quite pulled in. Well, you know, probably the big example out there right now is the hills and the derivations of that, they're of where that evolve from. I don't see anything wrong with that, but that's a scripted show. And you could learn a lot in terms of how it's shot. I'm not saying I would do a show like that. But what I'm saying is that that's the kind of show that right now has got the kids. It's got a big audience. What I'm saying is, apply some balance to it. It's not that kids want to see all of the 16-year-olds running around on a show. They want to see a balance between the older people on the show and themselves. We always did that back when I was first on journal hospital. That was central to the way the show was put together. You must have that balance. And then, you know, people are going to look at it and go, okay, yeah, I'll get this, put on, put on, put on. All right. Thank you. Thank you. Thanks for y'all. Good night. Bye. All right. Next question comes from, I hope I say this right, Loree. Wanted to know what is your, what are your bulldog names? Ah, the bullies. The bully. Well, there's Willy, which is the one that's on my website. In fact, I'm going to be using Willy a whole lot more. Willy's a, basically, she's a British bulldog. She was born in England and she was imported. Then there's another one, which is a minichamp. That's blossom. And she's actually looks different from Willy. Almost weighs as much, but just, she's a different shape. And then there's another one, which is my son's bully. She's just a puppy, but she's called olive. And she has a brownish coat. The moment she has a case of cherry eye, which is common in bulldogs, it's where the tear duct is, gets infected and inflamed. And then you've got to have it operated on. She's got it in both eyes. Willy had it too for a while, but then it disappeared. So, we haven't had that dealt with yet because she's a little young. And we really don't like what they're suggesting to us where they basically cut the tear duct out. And then when they get older, they start to suffer from dry eye because there's no tears coming under the eyes to keep it lubricated. So, we're hoping that we can just have it pushed back and that it will stay there. But they're the three of them yet. Oh, that's a shame. And they're really precious little animals. I just love them to death. I mean, I just love having fun with them. They're just so sweet and they've got such great personalities and they're all different and they just love to be around you. Absolutely. Absolutely. Now, I just saw this in the chatroom. I do not know that you like to attend Independent Film Festival. Yeah, I've been hosting the Palm Beach Independent Film Festival now for about the last three years. And I've gotten really involved with the people down there. We have a big film festival here in Palm Springs and I haven't been to that now for probably about two years. But I love the Independent Film Festival. They are the spirit of the industry. Without the independent film producer, we would have nothing. We'd be looking at Jaws 28 and Rambo 55 or whatever. Because all of the all of the spirit and the creative stuff comes from these independents that get out there and sweat and slog for five years and get a project made after mortgaging their house three times. And then it gets moderately successful. And a studio looks at that and says, oh, let's throw a hundred million dollars of that and suddenly boom and away they go. But it all comes from that from Independent Film. Without that, we don't have anything. So yeah, I support that wholeheartedly. It's very underrated. Independent films are very underrated. And it's definitely something that a lot of people will not get to see and there's some really good stuff. Yeah, you're right about that. There's, you know, there's probably about 1600 movies made in this country every year of that probably three quarters of them are maybe unwatchable. But then you've got about on top of that, there's about 60 to 80 that'll get a mainline release. And then you've got a huge volume still that won't get any release at all. So, you know, I think that there's a business to basically give that, those number of movies, some kind of a release. It may not be in a mainstream theatre, but I think there's a market there to bring these movies to the attention of the public. Because there's a lot of good stuff. I mean, I get these film festivals. I am blown away by some of the things that I see. And I know no one's ever going to see them. Right. This is really a shame. You know, it's not like the people out there that do that. And like you said, they've probably been working on them for several years in order to get that out there. And, you know, no one's going to be able to appreciate that work, which is really, it's really a shame. And I'm hoping that the way it might be able to be a bridge that gap in some way. You know, that is a good opinion. I mean, the way it is, it's growing, if it hasn't already. Yeah. And pretty much everything will be going. I mean, it'll fall into place in the internet world. So hopefully... I think as soon as we do that final meld between television and the web, and there is stuff that they now that'll do it, but it's just sometimes not all that user-friendly and doesn't always work all that well. But as soon as that final, you know, a piece of doc type is, you know, put two of them together in a way that is foolproof and it works all the time. I think you're going to see a lot of these movies in places. Absolutely. Now, I have no idea where this collar is coming from. So I'm known collar. You're on the air. Hi. My name is Sue. I'm calling for North Dakota. North Dakota. Sue, how are you? Pretty good. Hey, Tristan, been following you for a long, long time. I'm really... Hi. I'm really excited about the new reality bites. And please don't take the strong way, but the last couple of years you've had so many projects out there that just were never followed through with. Are you following... Well, a lot of them, but never followed through. There's a reason for that. The Myser Cafe thing, that's happening. Our fortunes have risen and sunk on the basis of the stock market. So we had money that disappeared, we had it, we disappeared again, and basically that's the reason that that never happened. I got my all-access site up and running, which I wanted to. And I've been dabbling with other things. It's kind of easy to turn around and just say, "Oh yeah, this is going to happen." And then all of a sudden circumstances step in and they don't happen. But where reality bites is concerned, don't expect to see it up and running tomorrow, because that's not the way it's going to be. We got a lot of steps to go through before this becomes a real show. It's just been pretty disappointing over the past years. Or which particular project were you disappointed in? Just in general, I mean, from the websites to the different shows. I mean, we keep hearing, you're going to do all this stuff, but nothing ever gets followed through. Well, you know, a lot of the stuff is about my imminent return to general hospital. That was never in the cards. Everything kind of centers around that. And if you sit down, look at everything that you've been told about, you'll find a probably three-quarters of it was, "Oh, he's coming back on the general hospital." It's frustrating as a fan. I mean, we're trying to support you and then we feel like we're putting out there, but we're not getting back in return. But you see, I don't start these rumors. Yeah. I'm just a victim of them. And they start generally somewhere else. Anything to do with general hospital probably starts somewhere in general hospital. But why not address it then that way and say, "This is not true versus letting it continue." Well, you... Because you say that, but it's nothing to do with me. I mean, I'm not the person who started this. It's like starting a bushfire. Once it started, it has a mind and a life of its own. So I just go, "Okay, look, I don't have a deal on the plate." And I know that there's nothing going on, but somebody somewhere thinks that it's worthwhile starting this rumor. Right. Well, okay. Well, I appreciate you answering the questions, and I hope that you follow through with this project. Well, I'll be following through with it. As I said, don't expect to see it up and running tomorrow. I'll be talking about it as it makes progress, as it goes along. And I'll be giving you updates on, you know, when and where you can expect to see it. I guess the best thing to do is better when we see it. We'll know what happens, I guess. There is so much that is a perfect approach. All right. Well, I thank you. And thank you, Buzzworthy, for allowing me and others to hear this. So thank you very much. Bye, care. All right. This chat question comes from Observer 12. I didn't know that. Reality Bikes is the name of a big movie. Would you have to change the name, do you think? You know, I was waiting for this to come up. And the answer to that question is, I don't know. Yes, it was the name of a big movie. And all I can say is that it's a possibility. It might be that it's in that best interest to do that. It might be that it's not that movie was made a while ago. It's a case of, I mean, that was about vampires, wouldn't it? I think so. I haven't seen it. But I did hear about it. So, yeah. Well, we're nothing to do with vampires. I straight up. So, yeah, it's possibly something that might have to be addressed. I'm not going to bother addressing it at this early stage. There are too many other elements that they show to think about. But, yeah, that was a good question. We'll see what happens there. So, yeah, I kind of expected that. Yeah. So, what more Tristan Rogers will we be seeing you do? Would you like to be more behind the cameras doing stuff? Would you like to be more in front of the cameras doing stuff? I'd like more behind. You want to be more behind? Yeah. I want to do more stuff on the creative side. If I can't do it in front of the camera, then I would definitely like to have more of a say behind the camera in terms of how things are done and cropped and put together and put out there. Yeah, there's a lot of good actors out there. I'm not concerned about that. If the right role is there, fine. But, you know, I'm not married to it. And I think that, I think if I'm going to get, if I want certain shows to happen, the way I want them to happen, I've got to put in that time behind the camera. And sometimes it's not always possible to do both. Really? Not properly. Roughly. And plus, if you think about it, if you're behind the scenes, you feel like you get to have more control over what's going on. Yeah, definitely. I mean, some people can say, "Yo, you can do both." And maybe they can. Being full-time on the production side of things is a totally foreign area to me. I'd like to feel totally comfortable in that. So, rather than running back and forth between two different, wearing two different hats, I might just decide, "Ah, I might just need to wear one hat." Did get the job done properly and then try the rest later on. That's just a thought. I mean, it's probably some people I'm working with right now are going, "What does he think he's saying?" But, you know, I watch what goes on in both of those different areas. And there are two big jobs, and they're two vastly different jobs. And we got corrected. But it's not about the vampires. It started going on a ride underneath in Hopkins. And it's about college kids starting life. So, obviously, I had no idea what I was talking about. Where did I get the reality bites thing with the bad vampires? Yes, because the biting part. Maybe that was it. I think the biting part. Yeah, that's when we just thought it was a movie with George Hamilton. Where did I, what was I thinking? Yeah. That just shows we have no idea what we're talking about as far as movies. Yeah. And sometimes we're better off for that, too. I think so. And like I said, I don't like Winona Ryder. I'm sorry, I put that out there, but I don't. Oh, well, come on, that's your shoplifting habits. They're coming to the forefront here. Yeah, they'll probably pick it out there and go, "You don't like Winona Ryder?" I'm like, "I don't." Never made it, so I can't make a comment. You know, I like to work, but I liked her and I liked her in bittles. I did. I did. I did like her in Beatles Youth. I'll give you that. I didn't like her in Beatles Youth. That was a good movie. Really good movie. All right. Alabama, Coler, you're on the line. What pair of Alabama you're calling for? What's your name? I'm calling you from the central part of Alabama. My name is Kate. Hi, Tristan. Hi, baby. How are you? I'm good. How are you? We haven't spoken for ever. Oh, at least 15, 20 minutes here. Yeah. Well, it's emails. Yeah, exactly. Not supposed to. I thought you were supposed to be out somewhere. I got back in and time to make the show. How about that? Reality good. I always get ahead of you like to know that you don't know already. Oh, Alan's actually just like to give some information. It's Reality Bites, B-Y-T-E-S, and it relates to technology as in megabytes as in small little pieces, but not vampires. Definitely not vampires. I've read the treatments. I help write them. So, yeah. There you go. There you go. All right. My question for you, and I want to hear you say this over the internet, so that'll be fun. Describe to your character on Reality Bites. Oh. No, that's how he's trying to get out of answering that question. Oh, no! Isn't it nice? Okay. Okay. This is a real stretch. I know. But this is a guy who used to be an actor and who becomes a producer, who is then in turn asked to come back and save the show that made him famous. I'll buy that. Okay. So, without giving too much away. I'll buy that. Okay. That's what he is. And all these people are right. I'm not going to get into some of the ideas we've got in terms of how we want to shoot this, and some of the concepts and stuff like that there. But, yeah. Simplistically put, that's what this character is, and he will be... Is he feisty? I guess he... Is he nice? No, is he feisty? Is he feisty? Okay. Oh, yeah. He'll have a lot of my sense of humor. The drive, the drive humor, we'll be agreeing. Costic wig. Costic and sushi disdain, look at him. Are you having fun? It'll be good. It'll be great. It'll be terrific. All right. You know, I've got a long way to go, and as I try to point after the last person, you know, don't expect to see this on the air. Oh, well, I'm just now finding out what all is involved. Oh, good. Welcome to the happy world of production. I was wondering if that penny would drop. Reality has set in. Yeah, reality has bitten. It's... You know, when you really get into producing something and putting it together, the one thing that crosses your mind is, how does anything ever get made? And you're right. That will dawn on you, you go. How did anything ever get made in the last 50, 70 years of this industry, movies, movies in particular. I mean, I'm always amazed when I sit down with people and we're talking about a movie and they're this and that. Any one of a number of things the size of a pinhead can derail that movie. And the same thing pretty much applies to television. You know, the one thing that's always awkward about television is the politics. Politics will kill it, whether it's great idea or whether it's not a great idea. But, you know, you get through it. No, at the end of it, that's why almost everybody in this business drinks. Yeah, and that's why reality bites is so much more interesting because it's real. Yes, and also we're headed to a different format. We're headed to a different place. You know, we're going to start in the web and I find that the web being the new frontier is a very exciting medium that to be involved in. It's definitely a place that I want to be a part of and I want to, you know, put a stamp on it, make my little plot there because the web's big enough for everybody. So. All right. You still live? Well, you know, the answer to your question though, the answer to your question is will and skill. That's what gets it made. But I got to go. It's nice talking to you. You too. All right. Bye. Bye. We'll do this again soon. All right. Bye. All right. So where do we see reality bites being filmed? Like would you say in different parts of California or straight in Palm Beach, Palm Springs or whatever? Do you see it in like Los Angeles? You know, give me a little feel. Give me a little feel of it. If I had my choice, I shouldn't. Florida. Florida? Yes. You can give it that Florida look, you know. Okay. Florida has a great look to it, which is, you know, basically they shoot Florida down in San Diego in California. But it has a great look and it has everything there. I mean, it has a crew and it has a talent pool and stuff like that. And it also has some kind of an incentive program for the state. Not a great one, but it does have one. Yeah. That's where I would shoot it there. And I'll use that backdrop and develop that signature look around it. And because I know a lot of people down there having shot something down there already and many things down there already. And I'm a big fan of that look, that Palm Beach type look. So I would like to use that. Okay. That would be interesting. I mean, I think I know that there's this Miami social show that it has a great, has a more interesting look than California or New York look would. And I never would have thought that about Florida until I thought of it. Well, you know, a lot of people shoot down there really don't make use of what the state has in terms of that look. But that would be one of the prime reasons I might want to shoot down there to capitalize on that. Okay. And plus it's got everything else. It's got studios and it's got, you know, it's got talent. It's got a crew pool. It's got all the stuff down there that you need. You just draw on that rather than, you know, maybe going somewhere else and getting a bit of financial deal, but then having to fly too many key people in. I mean, California is getting left in the dust because of the fact we don't have a really good incentive program here. And this is an expensive place to shoot. It really deals here. You can do a deal here to shoot and then get a good union deal, et cetera, et cetera. But I'm kind of finding it exciting to be able to shoot maybe down in Florida. It's always been on my list of things that I wanted to do. Very, very cool man. And thanks Ice Princess 81. Love it first by that George Hamilton movie. So thank you for having us. You would have to would bike in it. Yeah, I was probably going to look it up too. Like after the show was like, what was this movie? Were we talking about it? I knew it had bike in it. That was good. Okay. Well, I wasn't too far off. Close, but non-close enough. But thank you. Thank you for making us look like idiots. Thank you. All right. Thank you very much. D.L. was also asking, and I've never seen this yet, have you ever seen family dinner? I think it was Lorley Bell. And if you have, what would be the same, what would be different with that and reality advice is basically what they're asking. Given that I haven't seen the show, I can't comment on it. I have seen another show. I think it's called Venice. Venice, yes. That is getting a lot of publicity. I think that's excellent. It's got really good production value. It's well put together. It's got a good look to it. It moves around. It's got a good feel to it. Yeah. I think it's a good example of good web entertainment. So let's look at in that fashion. Like looking at Venice, what would Venice and reality advice be similar? What would be different between those two? Well, I mean, there's the story there. We haven't kind of really crafted the story in terms of, well, I think there is a story arc at this point. It won't have that look. I want a different look to it. And I can't really go into that specifically, what I'm looking for, but I'll know it when I see it. But yeah, I mean, if you had to point to something, you could point to Venice as being a great example of good web programming. There was another show on nbc.com years ago that we shot down at Venice Beach. I forgot my name of it. Do you remember it? It was a .com show. I know what you're talking about. Someone actually pointed that out to me and I can't remember the name of it. Thanks to spend quite a bit of money on that. It had really good production value. And I was really impressed with it. It was all shot in one big house on Venice Beach. Yeah, it was good. It worked very well. Well, you know, somewhere in the middle there is where I want to be. Looking at what can be done and looking at what you want to do, ultimately you come up with what you finish up with. And I looked at those two because I had a lot of people look at those shows, that particular show on nbc.com. And he did one season of it, I think. It was one month's worth, might have been a bit longer than that. But it was an excellent show and everything in it work had a great look to it. And they used the house really well. I don't remember what the story was about, but it was in line with what the so type thing was is. And it was a good example. And I think Venice has got some good people attached to it. So much more professional people in terms of who have a soap history. This is another thing which is important. I would tend to want to use people with a soap history and a soap background simply because they know what's going on and they can get the job done without having to lead them around by the hand. They know exactly. Okay, here are the lines, there's the camera, do it. And that's the great thing. I love about working with table and date on Brahma. I've got that background and that expertise. You don't have to sort of, you don't have a lot of time. You're doing a 10 minute show and you'll maybe shooting three episodes a day. You are really dependent upon your actors to get out there and be able to deliver straight away without kind of lots of talk, without lots of direction. That is the way the business is. And it's probably going to get worse. Yeah, that would be keynote as far as I'm concerned. I would tend to fight by using people with date on experience over anybody else. If you want to worry about like with a new person coming on, you won't have to show them the ropes, let's say. And you know, they could come in, get the job done, go in, do their thing, read their lines. That's it. You block it, you're done. Because that's pretty much what daytime is doing right now. You don't even have like a rehearsal kind of thing anymore. You just go in, you block and you do your script and that's it. That's true. And from what I'm understanding it, it's like if you mess up, you've got to keep going. Yep. That can't, that may not be a lot that, but living on the age type of approach. But yeah, it can make you a little bit ragged if you've never done that before. The great thing about soap was it was always just a fantastic, and here's a fantastic training ground for future artists. I think one of the big losses will be that if that is taken away, there really isn't anything to replace it. There's nothing out there that's going to give artists and young people coming up that experience, that immediate experience that a soap opera gives you. I mean, you never get that anywhere else prior. You deal with a soap, you can deal with anything. Working on a soap is tough. I mean, you're chucking out what, how many episodes a day in like five or four or five day week. And you're reading like so many, so many pages a day. And in any other avenue you're doing like so many, so many pages throughout a week. It's not a few months, you know what I mean? And anytime gets a bad rap, they really get a bad rap. I don't understand why, but no, I've never understood that myself. Never understood that. You know, these are the hottest working people out there, and they do it under incredible circumstances. And they deliver stuff that you think, how the hell did they ever do that? You know, I look back on a lot of the stuff we did on GH. You wonder after a while, how did we ever get that done? And it came out like this, well, sure, and a lot of it's dressed up in the, in the editing room, but still the essence of the performance was good to begin with, basically, because, you know, the people are good. Absolutely. And we got one final question in the chat. They want to know, is opportunity not ever going to be on DVD? I've been pushing for opportunity knocks to be a web-based series. And that may still happen. Opportunity knocks at the moment is in a bit of a legal wrangle. And that's the reason it hasn't gone ahead. Legal wrangle? The number of people that, yeah, there's some bias around it that I won't go into. But there's a number of people that want to do it. And it has a lot of interest. And, you know, it went from a television show to maybe a web show. And I've said, well, yeah, it would work well as a web show. 10 minutes show, maybe three times a week. You did 30 minutes spread over three days. And so a lot of people looking at that format for that particular thing, and that would be another thing that will be done because that was done in Florida. You know, the more productions I could actually scoop down there and do it once would be great. But yeah, that's a possibility that has not disappeared. It's just got a few problems at the moment that need to be on. And, you know, let's see what happens. All right. Well, there you go. There you go. I sprinted this. I cannot believe we've been here for an hour. I say that all the time. It's like, where is it the time go, man? I mean, oh, man, it's already been an hour. And we're winding down. And I would love for you to do a promo for us if you don't mind. Not a problem. All right. You can say along the lines, this is Tristan Rogers, and you are listening to Buzzworthy Radio, or you can improvise that in any way, shape or form if you want to. But whenever you're ready, we're ready for you. So go ahead whenever you're ready. Hi, I'm Tristan Rogers, and you're listening to Buzzworthy Radio. Have a good one. You got a radio voice, man. Now, aside from the fact that you got the space for television, you got a voice radio. Thank you very much. Thank you, mate. All right. You take thank you for your time. Anytime. Absolutely. Absolutely. Come back when reality bites gets off the ground running. We'd love to have you back then. Or whatever else you got coming up that you want to promote. Yeah, there might be some stuff coming up shortly. Yeah, I can't get into it, but I'm always out there with stuff. Sorry. You never know. All right, man. We'll look for you. All right, mate. All right. Look forward to it. Take care. Good night. Good night. All right, everybody. We are down to our last minute. I just want to make sure that I get all my promotions out here before the clock winds down. And before we go off the air, I want to thank everybody for tuning in tonight. Thanks for all the callers. The callers tonight. You're great, great, great callers. Love them. So, tomorrow we're going to be on a 12 noon. I'm going to have on the band Lunar. They're going to be throwing their New York concert that's going to be taking place on the 21st. So, they're going to be on for a little half an hour, and we're going to be talking to them to promote that. And on Tuesday, the 22nd, we're going to have on two guests. Hopefully, I'm going to be working as at the timestamp a little bit well. We're going to have on David Staver from CNBC's The New Age of Walmart. He's going to be talking about that, and then we're going to have on Sean Robinson from Act of Hollywood. They're going to be celebrating her 15th year on the air in syndicated television. We got some interviews coming out that we're working on with Stacy Haidu, Ricky Paul Golan, Christian Bloc, who we make, hopefully another appearance on the show. So, there's a lot of stuff that we are working on, and we're still doing some things with friends. So, make sure you guys stay tuned for that. We're going to get into that. So, thanks, everybody, for tuning in. This is Navell Golan, signing off, making sure you guys get the latest buzz with us pretty radio. We'll see you guys next time, take care. Hi, this is Dr. Blocke-Dine, and you're listening to Buzzworthy Radio on Blood. What? No, I can't do it like he does it. I just can't. All right, I'll try. It is Buzzworthy Radio, for you to get the latest buzz on all your favorite shows and stars. Buzzworthy. God, that hurts my voice. Can't get enough of Buzzworthy Radio. Now, go now to www.buzzworthyradio.net to get the latest news on upcoming guests, past shows and videos of all your favorite stars. Keep getting the latest buzz with Buzzworthy. [MUSIC PLAYING]