Sidebar: A Suits Watch Podcast - In Chambers: 2024 Is Adjourned

Episode Date: December 31, 2024

Happy New Year's Eve to all of our listeners! To end the year, right, Sarah and Patrick check in with each other, and with all of you. They discuss memorable New Years memories, talk about what they want in 2025, and answer more of your questions. Thank you again to everyone for listening. We are so grateful to you all! Email us a voice memo of your questions about Suits at [e-mail]. We may use it on the show!Follow us on Instagram & TikTok - @suitssidebarGet access to all the podcasts you love, music channels and radio shows with the SiriusXM App! Get 3 months free using this show link: https://siriusxm.com/sidebar

Music Hi, I'm Patrick. And I'm Sarah. And this is Sidebar, our Suits Watch podcast. So we're still on break from our normal programming, but we wanted to give you a little special something for the holidays. Happy New Year's Eve, Patrick. Happy New Year's Eve, Sarah. Yes, this week we are going to be answering some more of your questions because we just recently did that.

We had a really good time doing it. I think it might be my new favorite thing. But first, can we just check in here for a second? Let's just take a breath. It's been a long year. Let's breathe it out. Let's just breathe it out. Let's just breathe it out. God. Enjoy the episode. Bye. Good luck, guys. Good luck out there.

2025, good luck. Why do balls drop? Why do balls drop? What is the ball dropping? I don't know a thing about that. We've debated this so much. Should we ask? It's so America.

Can we ask AI? Yeah, you can ask AI. I mean, I have opinions for my whole life. Why did the ball drop? It's been about six months. I mean, I have opinions for my whole life. Why did the ball drop? It's been about six months.

I mean, I have opinions for my whole life. It's been about six months. I mean, I have opinions for my whole life. It's been about six months. I mean, I have opinions for my whole life. It's been about six months. We've debated this so much. Should we ask, can we ask AI? Yeah, you can ask AI. I mean, I have opinions. For my whole life, it's been about staying into watching the ball drop. The tradition of the ball drop on New Year's Eve in Times Square started in 1907.

It was inspired by the time balls used in the 19th century. So the time balls would drop at a specific time every day, allowing ships navigators to set their instruments accurately. The New Year's Eve ball drop in Times Square was created as a visual time signal to mark the stroke of midnight and the start of the new year. It's become an iconic celebration, watched by millions around the world.

OK, so what I'm hearing is balls drop, and then you set your instrument for the stroke of the new My, I don't know that my balls have dropped yet. Still looking to set the instrument. That's interesting, I didn't know that about the ball dropping. I didn't know about that it was like a thing other than New Year's. That makes it way more interesting.

Or that it came from like navigation? Yeah, navigation. I think it all comes from navigation, doesn't it? Well, what I think, listen, let's get into it for a second. I'm listening. I remember growing up with waiting to watch the ball drop and kind of feeling like, hmm,

you and Troian actually once went to Times Square, right? I went to Times Square after 9-11. I went the year after, because I'd never done it before. And I went with my girlfriend at the time, didn't know Troian, obviously. And it was pretty an amazing time to be there for that. But it's crazy. But Troyan also told me a story about how she like

snuck out or something from a family vacation with a friend and went down into the crowd. I think maybe like, yeah, separate, like we're not together, but yeah, she did it once too. Well, I grew up watching that. We would always spend our New Year's in Vermont. And then we would watch that on like a little TV, and go to sleep. And I always honestly was like, I don't get it.

And I've kind of figured it out now, now that I'm like in the middle of my life. I need on New Year's, I need New Year's to be quiet, and soulful, and like a warmth. Like I need to be with my family in front of the fire or in a walk in the woods in the snow, in the quiet and like reading poetry. I really need it to not be a big party event.

What poet were you reading? What? Is this a Mary Oliver by the fire? Yes, yeah, a little Mary Oliver. A good cry. Would be exactly. I don't know if it's a cry, I just feel like I crave a stillness when the time passes.

Maybe it's me needing to stop so that the time can pass. Best New Year's ever of your life, go, don't think about it. Oh, that's so easy. I went to Bhutan with Santu and we tracked. How old are we? We are probably 33, 34. Okay. And we were in the Himalayas the night of New Year's Eve

with a team of horsemen. And then New Year's Day, for me, New Year's Day was about the trek that we had. And I could see the mountains. I was in the mountains. I could see the mountains. I could see the trees. I could smell the horses and hear the horses. And I felt like obviously that was a once in a lifetime trip. But that experience is what I need to have kind of on a much smaller scale now is just the walk with loved ones and the fire

and the introspection. And then I can maybe, because something about the passage of time is, it can make you feel an ache of grief with the passage of time, of course. And maybe some anxiety for what lies ahead, but also this gratitude for what has passed and for what is to come

and that you just get more time, I think. And gathering in that kind of quiet shared space and nature was the pinnacle of that for me. That's beautiful. That's really nice. It's from the heart. I'm not making fun of you. I'm not making fun of you.

It's similar to what I do, what I wanna do for New Year's. I like to park my car like just outside your house and watch you by the fire and read poetry, mostly write poetry while I sort of hunch down in my seat and make sure you don't see me there and then just sort of fall asleep. I like to drink so hard I barf on New Year's. Once upon a time. My favorite New Year's?

Yeah. Thank you for asking. I'm sorry, I was about to be there. I'm sorry, I'm still stuck. I'm still in Bhutan. Hold on a second. Come back from Bhutan. I gotta come back from Bhutan.

We were, for the year 2000, Y2K, which was a big deal, kids, when it happened, we all thought the world was gonna fall apart. We went to Guatemala with my dad and my sisters post divorce. And so it was like one of those trips, you know, it was like we didn't get a lot of time with my dad. And we went to a Mayan temple and we watched the sun set on the last day of the year from the top of the temple

of the sun at a Mayan. Yeah, it was great. And then we all like had this big party, all these bonfires just outside to call the park we were at for actual midnight, people dancing by fires and stuff. And it was amazing. And then we woke up and watched the sun rise from the same temple.

Oh my gosh. On the new millennium. That was the craziest. Okay, touch. Doesn't get any better than that. Touch, touch. Touch, touch. Touch, touch. Just the tips. Just the new millennium. That was the craziest. Okay, touch. Doesn't get any better than that. Touch, touch. Touch, touch.

Just the tips. So this reminds me of a peak experience that I had in 2024. What's that? That I'm gonna always treasure, which is that I got to travel to Malta. You also went to Malta this year. I traveled to Malta with Una and Iris,

who are the best travel partners in the world. And we did go to a Neolithic temple that was lined up for the solstices with the doors facing, the doors of the temple facing. Isn't it amazing? And to like walk in those spaces where all that kind of, I don't know, like organic human worship?

I don't know. Organic human worship. I had a band. That was my band in college. I've decided to drop out of the podcast because I'm such a geek and I say the nerdiest things when I'm with you. The best things.

This is good stuff. Would you like me to recite some Mary Oliver on this New Year's Eve? Can you? No. Can you from memory? No. Oh man, that was gonna be.

No, but I am a bride married to amazement. I just am. We're gonna put Sarah's Mary Oliver readings behind a paywall. Thank you. You're gonna have to pay dearly for those. Before we get into this, do you have any goals for the new years? I mean, I know that's a personal question.

Or professional goals. I don't know, just things you're looking to do. Are you asking me how much you weigh? I'm glad we got right down to it, Sarah. How much do you weigh that people need to know? Yeah, I think my goal, thank you for asking. I think my goal is related to all that cheese that I just shared, which is-

I thought it was gonna be cheese related. I mean, more Gouda. I'm gonna eat more cheese. We don't know how long Gouda's gonna exist, so we gotta keep eating the Gouda, but- I'm gonna hoard Gouda then, good to know. Yeah. Yeah, go on. No, I think, so I think my goal has to do with finding more of that quiet that I

recognize that I crave on the random day of the year when we turn a calendar and mark time, I think I want to find that more of that space and expansiveness because that brings a presence that is very, has been very hard to find this year, especially like in the hecticness of everything everything which I know that you're going through right now and yeah stillness yeah some quietly hey take another breath let's take another breath quick I don't know why you're laughing I'm just trying to take an honest breath here what are your goals do you you? I'm very related to yours. I want to calm it down.

Uh, it's been an amazing year doing this podcast with you. It's been amazing. I feel like it's been a year of, of, you know, I'm doing this other show now. Like I'm like, things are so grateful for how so much is going, but it comes at a cost, it comes at a cost with friends and family. Um, you know, so I want to, it's always balance. I'm looking for balance. I want to continue to expand and try new things

and, you know, strip away fear and insecurity and keep going, but at the same time, like, spend good time with the people I love. My kids, these amazing little girls are getting so big, so, so fast. So it's really about not getting so lost in the hectic and missing that you know I've sadly had to miss a lot of it this year amazing opportunities I hope that next year I can find a way to balance it

a little bit better yeah I so heartily support that as somebody who's in this process of actually pre grieving the departure of Una because she's in 11th grade it was really important for me to go find the Christmas tree with her. And then she had to carve out time to put some ornaments on the tree with me. And I could tell that she felt it too. She was like,

I'm not gonna get all this. Oh, I'm gonna, we've got next year and then I'm gonna be in college when we're decorating the tree. And I kind of looked at her and was like, no, we're gonna make sure that you're home. We do it when you're home. So we've got to find a way to do it over Thanksgiving

or whatever, but oh my God, Patrick. Yeah, I can tell we're in it. Like I'm in the pocket right now and I'm just watching them be the cutest creatures on earth and they're so into everything. They're showing everything, but they're into Christmas, they're making lists, They love just having people around and playing with the tree and just having us there.

So that's why every time I got to walk out the door, go do something, it's hard. I'll tell you, I'm super grateful for Sidebar this year. 2024 was the year that Sidebar was born. And this opportunity to do this with you has really filled my heart and been full of so many surprises and delights. 2024 was the year that Sidebar was born, and this opportunity to do this with you has really filled my heart and been full of so many surprises and delights.

And just the laughs that we get to have, but also kind of these moments of like... Connection? Connection, thank you. I like that's good that it gets... Yeah, these moments of connection. And also, I don't know about you, but like the older I get,

the less time I have to talk to anybody. Like I don't get to sit and have two hour long conversations with most people. So, you know, as fun as it is to talk about suits and go over these episodes, it's great to sit, connect with somebody for a couple of hours at a time and talk about this stuff and have fun.

Shed some tears, have some laughs, touch some tips. And it was great to talk to Gina this year and to connect with Max and Abigail and talk to Aaron and we've got more of that coming in the new year. We really look forward to that. But again, for this episode, we just thought we'd answer some questions as we head into the New Year. So why don't we kick it off with a voice memo from Chloe. Great.

Hey, my name is Chloe Collins and I've been a fan of Suits for so long. I actually wrote a few songs inspired by the storylines of Donna and Harvey and Mike and Rachel. So I'm excited to hear about your favorite behind the scenes memories, anything you stole from the set, and any Easter eggs or inside jokes that were hidden in different episodes that maybe the fans don't know about. Chloe, you can't tell us you wrote songs about suits and then not give us the songs.

So you know what I'm gonna do is I'm not answering any of your questions, Chloe, until you send songs. We're gonna need you to send at least one, but hopefully more, and then I'll answer your questions. Now from Yvette. Yvette happens to be an admin for one of the largest Suits fan Facebook groups. She says, thank you, Sarah and Patrick for doing this. My name is Yvette and I love the show. We have a Facebook Suits TV group that's 65,000 people strong. My question is one of pacing.

Are the walk and talk scripted or did it develop as a way of moving the plot along? I think Patrick spoke about it in a recent episode. I wondered if this is a director preference or who exactly decides it. That's a really good question. And I'm trying to remember off the cuff. It doesn't usually say prescriptively in the script

that it is a walk and talk necessarily. Sometimes it does, but it's my feeling, but you're gonna speak much more to this than me because you directed Suits. That, correct me if I'm wrong, it has to do with how the director wants to move the episode along, right? With the transitions into those scenes

with needing movement at that time, with the dynamics of it it and with the transitions at the beginning and the end are. I'd be curious to look at the scripts because I feel like, I'm not sure if early on, I think it might have been something we discovered in process. Maybe Kevin, like, would pitch, let's do this on the move. And then Aaron would see, oh, that was really, I don't think Aaron, maybe knew early enough that that was such a part of the show, these great walk and talks. And then I would imagine they probably started getting represented in the scripts a little bit later. I wouldn't be surprised if in later scripts it was written like Harvey and Mike are walking down the hall to the office because I think as Aaron discovered visual

language that he liked, he would start including it in the script. But I don't remember for sure. I think there were definitely lots of times where it was, they're faster to shoot ultimately once you start doing them. So there might've been times in the day where it was like, can we do this as a walk and talk? Maybe a phone call goes down to LA. Hey, Erin, we were wondering if we could do this scene as a walk and talk down at the office.

Yeah, sure. That sounds okay to me. Let's go and do it. You know, I wouldn't be surprised if that happened a lot too. And I would imagine those early ones, especially the ones that were shot in New York City, like walking down the stairs at the courthouse and down the street on Fifth Avenue or whatever. That's a good point.

That's probably what actually gave birth to the, like our wanting to use them so often was the ones where we needed to use them so often was the ones where we needed to do them because we were in New York and we wanted to use as much of the outside world as possible. Well, and I have a question back for you, Yvette. Your face group, Suits group. Face group?

Your face group. Face group, Suits group. Your face pages. Over there on the face pages, your Suits TV group is 65,000 strong. Can we sync up with you guys? Can you guys all subscribe and follow and can we engage with you on a regular basis?

We would love to. We wanna have all 65,000 of you on the podcast. At the same time. Kristen, what were you gonna say? I see you over there in the booth. I have been engaging with them a little bit. Thank you. So we've been back and forth,

and that's how I actually engaged with Yvette. So she and I went back and forth a bit on the Facebook group. Oh, how nice. And she sent in her question that way, yeah. Thank you for sharing it with us. Of course. Thank you. Speaking of walking and talking,

let's hear from Hannah in Australia, who says, loving the podcast so far. Thank you, Hannah. My question is for Sarah and Gina. In the show, Jessica and Donna are always doing such strong power struts through the office in these insanely high heels. Now, were they comfortable, easy to walk in,

they look painful, or maybe I'm just not that glamorous. Anyway, I love suits and I love your podcast. How were those heels, Sarah? Oh, they were, you know what, they were exciting to put on. Because they were fancy. Jolie made sure that we were wearing very fancy shoes because of the balance of the shoe. She would show me, she would take like a Louboutin shoe or a Jimmy Choo shoe and put it on a

table and show that it wouldn't kind of fall over. It was like a Weebles Wobbles, doesn't quite fall over. Like they're really well made, beautifully designed. Okay. Okay. So it's like putting on like a I imagine it's like when you get to drive race cars. Same thing. My shoes. Yeah. And perfectly designed. Perfectly designed.

So walking in them actually wasn't that hard to do. It depended on the pacing. A lot of times we would be with a guy who's in flats. And so, you know, I think that's what required some of the like sachet of the walk, because that propelled you through space. That's kind of heels, is it?

I mean, I've never worn heels. I tried when I was a kid and it was so awkward. I don't understand how anybody walks in them. But sort of part of the deal of heels is that they make you walk a certain way, right? And especially really good heels, they give you a swagger. They give you a swagger.

I think the whole thing gave me a swagger as Donna. Like she walks differently than I do, obviously, but it's because of, you know, who buys the clothes for her and also the underpinnings to be perfectly honest. Like what was going on under the dresses has something to do with how you move. Like those kinds of things.

But yes, the shoes were amazing. And the truth is they do hurt. So now, you know, spending a day in heels at an event is an incredibly uncomfortable experience. Every woman knows that. But on suits, we took them off, right? We took them off. We would wear them when we-

That's a good thing. That's a good behind the scenes thing people should know is that basically the minute that someone yells cut on a set- A pair of Uggs gets blown in. Slippers are put right in front of you and you put them on. Even for, I think I wore running shoes almost 100% of the time when I didn't, when my feet weren't on,

because dress shoes all day were pretty painful too. So yeah. And Gina was really smart. It was definitely not her first rodeo. She had like these, speaking of balls, these like, she had special wooden devices that she could massage her feet on set with, like to keep them kind of healthy.

She had a whole bunch of cool things. She did and she was really smart. Do you remember that thing she had, there's a picture of it that I think I've posted on our sidebar Instagram. It was the thing that where she didn't, cause she couldn't really sit in some of those dresses effectively, right? And she had that amazing, this wooden stand where she could lean backward on it. And I have a picture of her, I think, reading in it.

So you could take some of the weight off and just not be standing all day, but you weren't sitting all the way down. I'd never seen that before. No, me neither. Me neither. And that was Gina. She knew. She was right to do that with her feet

because I do feel like, I'm not kidding, I need to go to a podiatrist because I do think all those years on the show did a little something to my feet. Yeah. I need to go to a podiatrist because I do think all those years on the show did a little something to my feet. Yeah, yeah. But I need to get fixed. Yeah, yeah, those shoes. Anyway, I think that answers Anna's question.

Thank you for the question. Are we good to move on? Yeah, yeah, let's see here. In an earlier episode, Patrick, we asked about how real lawyers might react to legal situations on the show and Yong Esquire reached out to us to let us know his thoughts. After becoming a lawyer, I realized that a lot of the legal situations on the show, and Yong Esquire reached out to us to let us know his thoughts.

After becoming a lawyer, I realized that a lot of the legal jargon and procedures, sans how quickly everything developed and resolved, were pretty accurate. The little things that might not be something that real lawyers would do or would occur in a real courtroom didn't really bother me to the point that they took me out of the show.

One small thing that did surprisingly bother me a bit was how all the lawyers kept their suit jackets on all the time, LOL. I can't speak for all lawyers, but I would guess we all like to feel comfortable. I never have my suit jacket on unless I have to go to court or to some sort of formal hearing or something. I don't know how this lowly Gainesville, Florida,

attorney's opinion will stack up, but I loved the show and I'm glad to see that it's getting a resurgence. Thank you for the podcast. Thank you, young Esquire. I couldn't agree more. I think we often wanted to take our jackets off, but it just became a part of language of the show. It was like-

The look, it was the look. It was the look, and it was, you have scenes where you're there during the day and you're being very professional in the look, and it was, you have scenes where you're there during the day and you're being very professional in the middle of stuff and then you have scenes where you're at nighttime and you're working late or nobody's around. And in order to distinguish those scenes, you're like, well, those are the scenes

where you take your jacket off. Did you? Yeah, there would be definitely times like if Harvey and Mike are in the office working late, like we'd probably take our jackets off and undo the ties and look like we had been up for a while doing our thing. But if you were ever in the middle working late, like we'd probably take our jackets off and undo the ties and look like we had been up for a while doing our thing. But if you were ever in the middle of the day

in a normal law office, I guess people would take their jackets off. But for us, that would look too relaxed in a TV show. Yeah, I also think there was a massive suspension of disbelief with the clothes on suits. Sure, it's all heightened. Yeah, yeah, yeah. Totally, in the best way possible.

And I think it's like that on most shows, you know. But I'd love to see a legal show where everybody's dressed. I guess, you know, actually a good point is when later on, spoiler alert, when Mike goes off to work at the other law firm towards the end of the show, and it's a lot more, it's not as fancy a law firm. I think I was never really wearing a jacket in that place. Oh, that's interesting.

This is a very fancy law firm. I don't know where you work, Yong. I'm sure it's fancy too, but this is supposed to be like the best law firm in New York City kind of a thing. So that has a lot to do with it. But it's really helpful to hear where he says that the little things that might not be something that real lawyers would actually do

didn't bother him enough to take him out of the story, which that's really incredible feedback, especially for, I mean, I'm sure Aaron knows this, but like, you know, he was making those choices to walk that line. Yeah. And Yong is saying that it didn't distract him. So thanks for letting us know. Very good. Super fun. Yeah. Thank you. Ria has a question about how we shoot scenes. So when you have to do multiple runs for a scene

so that there's a version of the camera in front and a camera behind, how do you remember any actions you did in the first version? Do you look back at it and replicate it or is it something you've practiced? I'm assuming it's the former for improv scenes. And then two, when there's multiple cameras set up across the room, firstly, how come we don't see them?

And secondly, how hard is it to act with your whole body? Is it like theater days when you need to emphasize everything a bit more because we don't get many close-ups to see your faces or other small actions? There's like 12 great questions in here, Rhea. Such good questions. I'll tackle number one. So there's somebody who's very important on the set called a script supervisor, and it's their job to make sure that things remain consistent from moment to moment, scene to scene. And we had an amazing script supervisor on Suits at all times.

And so if you were shooting a scene where you did one camera set up and you had a bunch of behavior and moved your hands at a certain place and picked up a bag at some place and put your jacket on a certain line, I think if you act long enough, you get pretty good at just remembering what you just did. And then if you forget, that person will come in very quickly and tell you, no, no, no,

you have to put your jacket on this line, otherwise it won't work in the edit. And what I'm finding right now, like on the show that I'm on, The Walter Boys, we don't have as long to shoot as we did with suits. So I always ask after we shoot a master, which is the big wide shot where you can kind of see as much as you can in one direction,

we have a dialogue with our script supervisor, which one are we matching? So that we still have time to explore different behaviors the first few times and then we, and don't lock in what we're doing. And then when it's locked in, they choose that one and we know which one we're matching. So it is important to do that.

So you're really, really onto something there. It's such a great question. Thank you. I am currently working with the best script supervisor I've ever worked with in my life, but we don't get- Tell me why, tell me why. She's just amazing. I mean, she remembers every, everything, every detail.

And you do it one time and it's like, she's already got it all there. And we actually don't get that a lot. She's just amazing. She remembers every detail. And you do it one time and it's like, she's already got it all there. And we actually don't get that a lot. You get a wide and then that's it. If you really needed to change something, you could. There's no, like, no one's going to tell you no, but you like do the big wide and everybody's like,

yeah, that's good, let's move on. And then you're sort of married to that. It's been, it's been amazing to work with someone who's that on top of it though. It's a great question though. And then the multiple cameras of it all, you know, you do different setups. So when you shoot a scene, like Sarah just said,

you start with a wide maybe, a lot of times you'll start with a wide because it's the furthest away. And it's, the performance is sort of the least important in the wide because you're not really gonna use it for more than the beginning and the end of the scene most of the time. And then you'll start pushing in for what they call coverage is coverage

when they'll start shooting. If we were doing Sarah and I doing a scene here, the cameras would kind of all be here looking at Sarah and we'd shoot that scene and make her side of the scene and make sure we got it. And then we'd turn around is what they say and they'd put all the cameras on that side of the room and all the lights on that side of the room and shoot this way.

So that's why you would never, obviously, see a camera. You're not usually shooting them at the same time. Sometime you'll do something called cross-shooting, where you will shoot both of our coverage at the same time, but that's a little bit tricky to do because you can't have too many lights. So if you're shooting a show that doesn't rely on a lot of lights, then you could pull it off.

And I always appreciate that when one camera is behind you shooting your scene partner, they tell you whether they would like it to be dirty or not, which means they want a piece of your body, some of your hair showing, your shoulder showing, so that you're knit together in the scene, and sometimes they want the other person to stand alone. I love it dirty.

Yeah, it's really good. Dirty. I mean, we couldn't help it. Thank you for the question, Rhea. Thank you so much. Thank you, Rhea. Great questions. Oh, wait, no, she had another question in here.

Oh, and then there was the theater days. Yes, is it like the theater days? How do you act with your whole body? This is such a great question. It does, we do adjust, obviously, for the size of the shot, right? For the framing of the shot you can adjust your behavior. For sure. Yeah, the tighter, I mean again it's weird to actually talk about stuff like this

because I don't actually even think about it anymore. But yes, if I know that a camera's really close up on me, I think I just naturally realize that anything I do, any small movement will read bigger. Versus if you're in a big wide, you're not gonna notice the tiny look I do with my eyes. So I sort of think if you were to cut to this size, this big wide, and there's this moment where I do something big, like throw a piece of trash

in the trash can or whatever, I'm like, well, this is a scene, this is a shot where this might play. And therefore I'm being bigger in this moment. But if it's about us connecting in a moment, I'm like, they're never going to be shooting. They're never going to use that big wide shot where we're very small in the frame. You know, and if you've been listening to this podcast, we have talked about these kinds of things when we've talked a lot about Rick's performance because he does use his whole body, you know, especially in identity crisis, there were these really subtle inhabiting his whole body, like his whole body would feel a shame in a moment or anything like

that. So I do think you always have your whole body working for you. Even if it is that tight shot on your face, your body is doing its thing, which is responding to the truth at the moment. You're having a visceral response in some way. So it's there for you, um, to support the performance, even if it's really just about your eyes. 100, 100%. Thank you for the question.

Great question. Uh, and then we have a question from Angela. Hi, I'm wondering how the office elevators worked in the studio you used in Toronto. Did the elevator just stand still when you filmed there or did you use an actual elevator from a multi-level building? How did this feel? Was it weird? Best regards, even from Norway.

Even. Even from Norway. Um, thank you for contacting us from Norway. Did you get chocolates in your? Did you put candies in your clogs? I don't know if it's Sweden. I don't know. We could be saying something offensive.

Do you know that there's one person who listens to our podcast in Greenland? Oh. Did you know that? There's one person who listens to every episode in Greenland, only one person. First of person who listens to every episode in Greenland. Oh my God. Only one person.

Thank you. First of all, we need more people in Greenland. But thank you for being the one. Start listening. Flying the flag. But I looked at our metrics or whatever, and there is a one listener who downloads. So I just want to say, whoever you are, we are grateful to you. We hope you continue to listen.

And we're going to come visit you in Greenland for a one-on-one interview. So that we can do a large event. Live podcast with one audience member. This is a great question about elevators. They are fake elevators. So if you see us, there's the set that we used to shoot in downtown Toronto at Bayon Adelaide, which is the big glass walls. And you can see the traffic in the background, obviously. We are in a city there. So if you see us get into that elevator, that is a real elevator, that as soon as the doors close, they all cut and opens again and we come out. And then if you see us coming out of the elevators in Pearson Spectre, Pearson Harbin, Pearson whatever it is at the time you're watching it,

those are just rooms with doors that slide. And the doors never work properly. And there's always two grips who are getting mad at each other because the doors aren't closing properly. But yeah, fake elevators. There's a, the tour that we did that both of you kind of hosted when I came up to set, to set maybe season four. You can see those elevators pretty clearly.

Pretty clearly on the tour. On that tour, yeah. It's online. Can I tell you a Dustin Hoffman story? Always. I remember the one about the duck. That took place in a television elevator. Okay.

This is like one of my favorite stories, just about actors, you know, and how we, you know, an actor that loves to act. We were shooting in an elevator. It was like 11 o'clock at night. You know, he's an old guy. This is Dustin Hoffman. He's been doing this for a long time.

We're not in the middle of shooting some really interesting scene or some, you know, digging into great dialogue. Like it's a sequence where we're coming in and out of an elevator or something. And at one point I am in the elevator with him alone and I'm sort of standing behind him and he's in front of me. And they're making sure that the electronics

in the elevator work so that the floor numbers are changing on the fake panel because it you know it makes it look like you're in a real elevator so it goes from 1 to 15 or whatever. And he's just standing there quietly he's not talking and he's watching the numbers change on the elevator and when it gets to the floor that we're supposed to be on which I think is like 15 or whatever, he does this little body movement. This little like elevator has slowed down body movement. And we're not even shooting.

The cameras are not rolling. They're just testing it. And he's just sitting there doing it. And you see an actor who's done amazing things, right? Like he's done everything. He could be bored. He could be in his trailer. He could be counting the minutes before he leaves. He's standing there things, right? Like he's done everything. He could be bored, he could be in his trailer, he could be counting the minutes before he leaves.

He's standing there in that moment. Figuring out how to sell it. Figuring out how to act an elevator moving. And at one point he sees, he feels me watching him behind him, because I'm just taking this in, and he just turns around with this look on his face, this big smile, and he points at the little numbers changing, he goes, pretty cool, huh?

Oh my gosh. And I was like, that's the real deal. So cool. I was like, you have all the things in the world you've accomplished at all and you're still stoked about the imaginary material that's happening when these little numbers changing in a fake elevator. Yeah, you're still stoked to tell the story on all levels.

I always try and remember that when I'm like on set and I'm watching the clock and I'm like, I just want to go home. Like, no. I thought the story was going in a different direction. I thought he was going to be like, frame it out, shoot the dialogue. Like, we gotta go home.

He loved it. And here you are. Yeah, it's all about like, the best of the best are the people who are always, when it's time to go home, they need to be told to go home. Not because they want to go home. It's like, no, you need to go rest now. So we do this more tomorrow.

It's like, oh man, I wanna stay and act more. I wanna do more. Yeah, so let's bring that energy. But it's also the attention to the small micro moments that I was saying about wanting to find that more in the new year, whether it's in your personal life, whether it's in work, just those kinds of little delicious joys.

Totally. Totally. Thank you, Dustin Hoffman. I hope it's OK. I told that story somewhere. Thank you, Dustin Hoffman. I hope it's okay. I told that story somewhere. Thank you, Angela. All right. I think we have a last one coming up. Yeah, tell us about it.

Oh, the last one is a voice memo from Oscar. Hey there, Sarah. Hey, Patrick. My name is Oscar. I'm out from Washington State and I couldn't be more excited for this new Suits sidebar. This is fantastic. I am a very, very big suits fan I have probably seen all nine seasons a solid like ten times. Honestly, it's a very hot comfort show I'd have it on in the background

Nonetheless, just just such a big fan of everything Harvey and Mike Don and Lewis everyone the whole firm But how everyone intertwines with each other and so again I wanted to just send out a voice memo and let you guys know how big of a fan I am and how excited I am to be hearing suits from another perspective, right? After all these years. But also I wanted to let you guys know

that this isn't just a show for me. This isn't, you know, just a, you know, Tuesday or Wednesday night thing whenever the show was airing. This is actually really essential in my life, and this might be a little more of a sentimental note, but I remember when Suits started in 2011, I was only 14 years old.

I'm 28 today, and I wanna say that Suits, Mike, Harvey, Donna, Lewis, everybody, they have played an essential role. The show has played an essential role in how I have essentially seen the world growing up from a 14 year old boy to a 28 year old man and beyond. There are many things that I carry with me that, you know, for example, Mike and Harvey would say back to each other, Donna and Harvey or whoever it may be. But, you know, just an example off the top of my head

when Harvey says, you know, if you start behind the eight ball, you're never going to get in front. That stuck with me and so many more, but that's just one example. And so I know this is kind of a longer memo, but I just wanted to again, give my gratitude and let you guys know that you always have a Suits fan in me. And I'm so excited to listen to every episode, week in and week out. All right, guys, cheers. Oscar. Oscar.

Oscar the Not Grouch. Wow. What a gift for us. That message is. That made me tear up. First of all, he should be working in voice. Oscar, your voice, you're going to want to get represented? Yes. Move to LA? Yeah. Thank you so much. be working in voice. Oscar, your voice, you're going to want to get represented?

Yes. Go to LA? Yeah. Thank you so much. What a beautiful message. It means so much. We talked about this before, but to be able to have companioned people through their lives, through times that were important to them, and the meaning that they make of that, it brings so much meaning to our lives. So thank you so much for sharing that with us. It means a lot.

Yeah, it's very powerful to hear. It's easy for us to forget that this meant so much to so many people and the idea that you would have sort of come of age with the show and these people and that it would mean so much to you and help you become the person that you want to be. That's crazy. I don't think of TV shows doing that, but I guess this one did for some people. So, so good to hear it.

Wow. I'll send you my agent's information. Yeah, seriously. Voice over. I'll represent you. Can Oscar become the voice of our show? Yeah. Can we do like an intro? And we'll get one of Chloe's songs. She's gonna, yes, all right.

This is all gonna be so, so great. I'm excited also to share that voice memo directly with Aaron ASAP. So now I don't have to get him a present. Oscar made it for me. Just send Oscar's voice memo. Yes. Thank you.

There is no greater gift. Thank you so much. Well, before we wrap up, I guess I just want to say thank you to you again for this year and this show. And is there anything that we, what do we want to do in the new year with this? Just keep going.

Yes, I think, where do we want to go? I think we want to travel. I think we're excited. I'm really excited to continue these kinds of conversations with this input from the viewer. Because especially when somebody like Oscar says, it meant a lot to him, it meant a lot to us. So it's an important conversation.

Where do you wanna go with it, Patrick? Wherever you go, I wanna go. Wherever you go. I wanna keep building it. I wanna keep talking to fans. I want to talk to way more of the people that we worked with. Those have been some of my favorite episodes getting people in here, hearing about their experiences. And like you said, I'm very excited to hopefully go live and be in front of audiences. I think it's so fun to

actually meet people face to face and get the energy of room. So we're looking forward to hopefully having that be a part of it. There's lots to do, but it's been a great beginning and, uh, an incredible year. And thank you for doing that. And thank you all out there for making this podcast what it is, um, and what it continues to be and what it will continue to be. Thank you. Thank you, Patrick.

Okay. Well, I think it's time to go ring in the new year, watch the ball. Thank you all for. Okay, well I think it's time to go ring in the New Year. Watch the ball... Drop. Thank you all for your lovely questions. Please send any other questions you have to sidebarpodcastatseriousxm.com. We cannot wait to hear from you. And please come back next week where we will be back breaking down episodes of Suits. Until then, don't forget to subscribe to the show on whatever podcast app you're using.

And if you can, please leave us a rating and review. It is such a great and helpful way to tell us what you were loving and most importantly, helps other people find the show as well. You're really good at this, Patrick. Touch, touch. Touch, touch. Happy New Year. I love watching you do this.

I love listening to you. Happy New Year. Happy New Year, everybody. I can't wait to share 2025 with you. Me too. Talk next week. Bye. Bye. Bye.

Sidebar is produced by Sarah Rafferty, Patrick J. Adams, and Sirius XM Media. Our senior producer is Kimmy Gregory, and our producer and researcher is Kristen Schrader. Our sound engineer is Alex Gonzalez, and our music is by Brendan Burns. Our executive producers are Cody Fisher and Colin Anderson.