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I’m not trying to start anything, but did anyone else notice that in this photo of Daniel from Carter’s desk in Atlantis he’s wearing the same flower that he was wearing in the “fake” wedding in 200?

"Important moment...completely unspoken…there was originally some scripted language, and they both chose not to say them, which is a great decision."

"See Amanda's reaction there? For some reason, these two were giggling...They couldn't stop giggling. All the way through this. I finally sent them away and kept the shots tight enough that we didn't see them in the background."

"The scene is a very difficult one for Danielle and for Michael to play. And here Michael's sitting there looking at these two people…and Rick was making Amanda laugh and Amanda was making Rick laugh. So they got sent to their rooms."

"Don't give him a prop. Don't leave a prop within his reach. Because you're always gonna get some sort of baffoonery with it. I was just like, 'Oh my God, what's he doing now?' While he's doing that, we're missing important exposition. But, more often than not, it turns out to be a lot of fun, but uh, sometimes you go, 'Oh my God, take that cup away from him.' And the more you try to take it away from him, the more he wants to pick it up and play with it."

Yes, grandpa, we can see you.

No, you don’t have to get so close to the phone.

Ohh…

“Here we are at the Murdough-Fraiser ‘O’Neill cabin’ In Minnesota—actually, in North Vancouver. And we shot this sequence during the schedule for an episode called ‘The Curse,’ and we had just come off of our hiatus. Rick had just come back from his holiday, and the growth you’ll see on his face is actually real beard growth. So, it was a great opportunity to not to have to do a makeup effect, and have his real beard being that he just came off of his holiday.

And I should also mention that he’s wearing my shirt… He just grabbed it off the chair and said ‘I think I’d like to wear that.’

(gif by styxrose tumblr)

There’s a moment in Parenthood when Reeves’s dude-bro character, Tod, gives a terrific little speech to his girlfriend’s mom, played by Dianne Wiest. Now, throughout most of the story, Tod is the mom’s enemy, a wannabe man, maybe not so bright, stealing her daughter into adulthood. But then he does his monologue while drinking milk from the carton in her kitchen.

“I guess a boy Garry’s age really needs a man around,” Wiest’s character says, referring to how Tod has become an unlikely father figure for her thirteen-year-old son. “Yeah, well,” Tod says, guzzling milk. He stops, points a pinkie at her: “Depends on the man. I had a man around. He used to wake me up in the morning by flicking lit cigarettes at my head. ‘Hey, asshole! Get up and make me breakfast.’ You know, Mrs. Buckman, you need a license to buy a dog or drive a car. Hell, you need a license to catch a fish. But they’ll let any butt-reaming asshole be a father.”

He gazes off for just a second, snaps to, and looks Wiest right in the eye. Then he shudders and makes a bluurhrh sound, as if he’s shaking off a big insect or a bad memory, and says, “Well, I’m gonna pick up Julie.

“Thirty-two years later, Plimpton remembers it: “That’s him. That little shudder. He added that. That’s his little touch. I thought it was fucking brilliant. It was hilarious. And so him. So dear. So. Dear. I just love that moment in the movie.”

I ask Plimpton if she picked up any bit of wisdom from her time with Keanu, a lesson that’s stuck with her. Without hesitating, she says, “Oh, yeah. Oh, yeah. I think it’s a sense of forgiveness. Of myself.”