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Speaker 1: I have have a question people. So, with our schedule and

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Speaker 1: everything we're doing in conventions and some other fun stuff,

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Speaker 1: we're gonna be traveling an awful lot. HM, very excited.

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Speaker 1: How do you guys pack? Are you willy nilly throw

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Speaker 1: it in the bag? Packers? Are you lay everything out? Packers?

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Speaker 1: Is the toilet kit as important as everything else? Walk

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Speaker 1: me through it? Do you think I seem like a

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Speaker 1: willy nilly anything? I'm waiting. I know, I was waiting

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Speaker 1: for you to be like, you know, what's funny? Hold on,

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Speaker 1: I can prick. Let's see. Danielle uses uh like actual

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Speaker 1: bags within the bag, like those little divid eight bags

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Speaker 1: whatever they're called. I thought maybe she vacuum sealed it.

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Speaker 1: That's too much work, too much time. I don't have

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Speaker 1: that kind of time. So how far? How far in

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Speaker 1: advance would you say you packed Danielle for a trip?

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Speaker 1: Usually the night before, but I will start thinking about

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Speaker 1: the outfits I want to bring, like in this case,

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Speaker 1: when you're talking about packing for a con I know

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Speaker 1: I need three distinct outfits because we're going to be

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Speaker 1: photographed every day. That doesn't mean I can't rewear a

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Speaker 1: pair of pants if I wanted to like, if I'm

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Speaker 1: gonna like this weekend, I'm bringing a pair of black

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Speaker 1: jeans and I'm bringing my Harley shirt. That's the only

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Speaker 1: outfit I know for sure, is that I'm bringing my

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Speaker 1: Harley shirt and a pair of black jeans. And then

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Speaker 1: I usually try to bring two pairs of shoes, one

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Speaker 1: I wear and one that goes in my suitcase, and

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Speaker 1: that always goes on the bottom, and then I covered

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Speaker 1: the shoes with some sort of bag or like put

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Speaker 1: the shoes in a bag if I can, like so

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Speaker 1: that the shoes aren't touching my clothes. And then I

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Speaker 1: only will bring me a carry on size because if

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Speaker 1: I'm only going for a weekend, I do not want

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Speaker 1: to wait for a checked bag. So I have all

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Speaker 1: my toiletries and small carry on sizes and um, I

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Speaker 1: also like get my hair done before I go and

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Speaker 1: then try not to have to do anything special to

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Speaker 1: my hair while I'm there. Just my hair is what

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Speaker 1: my hair is, uh, and yeah, so that's that's pretty

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Speaker 1: much it. I do try to bring two pairs of shoes,

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Speaker 1: so luckily I've got small feet, so they fit nicely

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Speaker 1: in my carry on size bag and I don't need

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Speaker 1: to worry about too much. But what about now, let

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Speaker 1: me throw a wrinkle at you. What about because we

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Speaker 1: go to hotels and stuff like that, do you throw

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Speaker 1: in workout clothes in case you want to hit the gym?

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Speaker 1: Or no, well I have not worked out in four years.

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Speaker 1: I do not know why I would choose to start

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Speaker 1: day No, I mean no, I would never That sounds

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Speaker 1: like the opposite of fun for me. I've been very

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Speaker 1: optimistic in the past, packed like a pair of running

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Speaker 1: shoes and sweatpaths, and then they just sit in my

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Speaker 1: bag and like, why did I do this? The only

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Speaker 1: thing I would do is bring bathing suit because then

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Speaker 1: you could swim and you don't have to pack as much.

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Speaker 1: Are you? Are you a chuck it in the bag

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Speaker 1: kind of like oh that's right, I'm leaving this morning,

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Speaker 1: or do you plan? Yes? I pack very quickly. But

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Speaker 1: that's actually a conscious thing, not because I it's because

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Speaker 1: if I think too much about it, I overpack. And

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Speaker 1: I've realized I have never ever felt underpacked. I've always

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Speaker 1: felt overpacked. So in other words, if I forced myself

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Speaker 1: to only bring two shirts and a pair of pants,

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Speaker 1: I'm fine, Like once I'm there, and like even in

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Speaker 1: the worst case scenario where like I've been at sundance

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Speaker 1: and wasn't warm enough. You can buy a sweatshirt, you know,

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Speaker 1: for twenty bucks or whatever if you really need it,

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Speaker 1: Like you can figure out your situation. And like, especially

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Speaker 1: now in the age of phones, like you don't the

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Speaker 1: thing I do pack too much of his books. I

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Speaker 1: always pack four or five books, and I never allowed

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Speaker 1: one carry on. Yeah, it's reminders there, the whole other

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Speaker 1: thing a book. But like, yeah, when it comes to clothing,

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Speaker 1: I try and do it within five to ten minutes,

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Speaker 1: as quickly as possible and just as bare bones, because

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Speaker 1: every time I've brought too many clothes, I end up

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Speaker 1: having like less fun because I'm paralyzed by choosing what

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Speaker 1: to wear or you know, whereas and then you're dealing

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Speaker 1: with it all the time, Whereas like if you just

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Speaker 1: force yourself to pack very light, you're fun. You always

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Speaker 1: end up okay. So that's my little loss. What about you, Well,

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Speaker 1: I'm right in the middle of both of you. I

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Speaker 1: will I, you know, have one specific bag I pack.

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Speaker 1: I kind of know what I'm doing now, I've kind

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Speaker 1: of got it down to a science. But Sue got

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Speaker 1: me a new dop kit for Christmas and it's awesome.

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Speaker 1: So that's I'm almost having. I'm one of those people

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Speaker 1: where I almost spend more time packing my carry on

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Speaker 1: for the stuff that I want to bring with me.

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Speaker 1: That's more fun than clothes, where I'm like, I always

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Speaker 1: kind of wear the same pair of jeans and you know,

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Speaker 1: throw on a shirt, have a sweater. I do go

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Speaker 1: to the gym when I'm at the I try to

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Speaker 1: go every day when I'm at the hotel, so I

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Speaker 1: have to bring one or two different sets of workout

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Speaker 1: clothes and then workout choose. But yeah, other than that,

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Speaker 1: I'm kind of in the middle of both of you.

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Speaker 1: So I was curious. Hmm, I'm looking forward to the gym. Yeah,

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Speaker 1: you're good at that. You'd like to run. You run

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Speaker 1: outside my house every day you're you're at Daniel usually

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Speaker 1: you used to see Adler out there before Adler was

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Speaker 1: in school. Yeah, he was always out there raking or

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Speaker 1: shoveling or you'd like to keep him literally and he'd wave.

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Speaker 1: He'd wave like like you were running by the guy

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Speaker 1: who's just you know, he's raking it, and he'd just

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Speaker 1: go hey, like hey, how you doing like the middle

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Speaker 1: of the work day. You caught me, buddy. Um. He

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Speaker 1: was really cute. Yesterday we were in the car and

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Speaker 1: I was listening to a recap episode that I'm editing,

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Speaker 1: and he goes, Mommy, that's you, and I said, yeah,

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Speaker 1: that's that's me. And he goes, this is your work

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Speaker 1: and I said, yeah, this is this is one of

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Speaker 1: this is one of my jobs. And he goes, and

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Speaker 1: your friends and I said, yes, writer and will and

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Speaker 1: he goes wow. And then he was really happy about that.

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Speaker 1: And then at night last night before bed, he wanted

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Speaker 1: me to read him like a third book. And I said, well,

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Speaker 1: which book do you want me to read you? And

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Speaker 1: he said Frog and Toad And I said, oh, Frog

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Speaker 1: and Toad. I said, as a matter of fact, Addler,

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Speaker 1: you just today we're talking about writer Writer Alex and

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Speaker 1: Indie gave you this book. And he went like so

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Speaker 1: excited that I was like, yes, Indie. So anyway, you

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Speaker 1: guys have been the others starting to understand our work.

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Speaker 1: It's very cute. Well, welcome to Pod Meets World. I'm

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Speaker 1: Danielle Fischel, I'm writer Strong, and I'm Wilfride. So throughout

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Speaker 1: our time on Boy Meets World. We had the honor

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Speaker 1: of working with writers, directors, and producers who single handedly

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Speaker 1: changed family television, creatives whose body of work is expansive

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Speaker 1: and legendary, and this week we are talking to one

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Speaker 1: of those types. David Kendall was the executive producer and

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Speaker 1: showrunner of Boy Meets World for seasons two and three

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Speaker 1: and would go on to direct thirteen episodes right up

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Speaker 1: until the end. He wrote one episode, back to School,

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Speaker 1: which is a script we will definitely want to talk

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Speaker 1: to him about. And before joining us, he was an

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Speaker 1: EP on a little show called Growing Pains, which he

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Speaker 1: wrote thirty three episodes of Isn't That Incredible? Since then,

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Speaker 1: he has directed episodes of I Carle Victorious, Ned's Declassified

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Speaker 1: School Survival Guide, Even Stevens, Hannah Montana, and he co

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Speaker 1: created Melissa and Joey, a show that ran for over

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Speaker 1: one hundred episodes on ABC Family Slash free Form. He's

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Speaker 1: directed two pilots on Disney Channel, both shows I had

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Speaker 1: the honor of directing myself Coop and Cammy, Asked the

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Speaker 1: World and Sydney to the Max. We genuinely had to

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Speaker 1: ignore a ton of his credits for this intro or

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Speaker 1: we would be here all day. He's worked directly with

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Speaker 1: all the actors now running Hollywood, from Austin Butler to

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Speaker 1: Ariana to Miley to the Joe Bros. To Zendaiah and

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Speaker 1: over forty different series, six hundred episodes of TV and

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Speaker 1: two hundred plus as a director. If only he was

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Speaker 1: given a chance, you know, such a shame. Please welcome

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Speaker 1: to Pod meets World. The impressive David Kendall. Oh my goodness,

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Speaker 1: Oh my goodness, he can hear you. Goodness. Okay, you

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Speaker 1: want to see me too? I do, Yes, your face

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Speaker 1: hear them. Hey David, Hey, David, Hey, how are you doing?

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Speaker 1: Oh good? I wish I could hug you guys. This

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Speaker 1: is no virtus a hugmout. I'll put a hug in

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Speaker 1: the chat there. You put a link to a hug chat.

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Speaker 1: First question, you famously ruined boy meats. Where I'll talk

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Speaker 1: about that? Yes, well, I'd like to call a drop shock. Yes,

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Speaker 1: actually we should really start with that since you wrote

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Speaker 1: the episode. Is the only episode that I wrote? That?

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Speaker 1: Is that true? Only episode that has my name on it? Right? Oh?

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Speaker 1: You know, when you're running a show, it's it's I

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Speaker 1: think you know you should let the staff write the episodes.

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Speaker 1: I think. So that was my philosophy. So, um, yeah,

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Speaker 1: but you you came in as an ep right away.

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Speaker 1: I came in. Um. If you remember, there was a

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Speaker 1: first season, and probably something that you guys didn't know

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Speaker 1: is that the second subsequent subsequent seasons weren't exactly a lock.

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Speaker 1: You know. They the network wanted to make sure that, um,

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Speaker 1: the show had a longer life, and they kind of, um,

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Speaker 1: kiddeyness for one of a better term. I'll find a

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Speaker 1: better term when we really do this. This is the

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Speaker 1: practice recording. Um. They didn't think that could sustain And Um,

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Speaker 1: I was on a show for six years called Growing Pains, Yes,

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Speaker 1: and which was a little show called Growing Only. The

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Speaker 1: entire reason Boys World existed, yeah because of the success

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Speaker 1: of Growing that is, well, I don't know if it's

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Speaker 1: entirely but um yeah, Michael told me. Michael Jacobs told

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Speaker 1: me at one point, because he has many different versions

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Speaker 1: of stories, was that he had pitched uh boy Meet's

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Speaker 1: World as Growing Pains from the point of view of

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Speaker 1: the youngest kid that's heard. So uh. When Michael started

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Speaker 1: uh creating some other shows, they needed a showrunner for

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Speaker 1: the second season, I had growing pains as my credentials

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Speaker 1: and the network like me and they wanted to age up.

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Speaker 1: Was the was the mantra and it was no no

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Speaker 1: means uh secure the future of Boy's World. In fact,

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Speaker 1: I was in a meeting with the network in the studio.

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Speaker 1: They hated the title. Everybody hated the title. We all

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Speaker 1: hated the title. Wow. And it's like, what can we

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Speaker 1: call the show that's not Boy Mee's World because it

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Speaker 1: just sounds you know, it's hard to imagine, like now

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Speaker 1: that it's iconic now, but then it was just kind

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Speaker 1: of this awkward phrase. And it's like when I first

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Speaker 1: heard wait a second, Wait a second. They wanted to

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Speaker 1: change the title after season one. I know, that's what

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Speaker 1: I say. They were willing to change it into Yes,

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Speaker 1: they talked about it. They love it. Well, I guess

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Speaker 1: it's like it's going from Torkelson's to almost Home. It's

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Speaker 1: kind of just right branding. We could just rebrand the show.

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Speaker 1: Ellen de Generes. Show was called these Friends of Mine

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Speaker 1: or some friends of Mine or something in the first

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Speaker 1: season and if you came so and also it's let

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Speaker 1: me just speak globally. It's just amazing that we're talking

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Speaker 1: about Boy Meets World in twenty twenty three. It's like, yeah,

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Speaker 1: it's it was I was producing the show. What shows that?

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Speaker 1: What's that? Right? What? Everything you're saying touches on exactly

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Speaker 1: what we have said and the way based on the

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Speaker 1: way we felt at the time, which was we always

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Speaker 1: felt like we were on the bubble, like we were

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Speaker 1: at any point in time going to be canceled. It

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Speaker 1: was there was no security job security for anybody anywhere. Um.

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Speaker 1: And also we felt like we were recording a show

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Speaker 1: for our grandparents because no one really knew the show,

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Speaker 1: what the show was, Yes, and we didn't know that

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Speaker 1: there were young people whose lives we were forming and

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Speaker 1: it's just so cool. Uh. And yeah, we did have

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Speaker 1: a show where every season we waited for a call

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Speaker 1: from the governor to pardon us for the next season,

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Speaker 1: they're about to flip the switch, and then it was like, well,

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Speaker 1: we'll give them one more. Well, but so I actually

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Speaker 1: asked this question when we're recording a couple weeks ago,

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Speaker 1: but dude, are were we picked up for the full

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Speaker 1: order for second season? Where were we only? But it

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Speaker 1: still was they wanted the show to have a longer

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Speaker 1: future like growing pains, and so that was part of

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Speaker 1: the reason or a big reason that well aging it up,

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Speaker 1: and h you know, I've heard you guys talk about

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Speaker 1: the drop shock of second season, but I think even

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Speaker 1: all the changes we did, we still stayed true or

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Speaker 1: true ish to the characters and people were watching the

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Speaker 1: same characters. And I do listen to your podcast, and

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Speaker 1: it's nice to hear that you guys are more comfortable

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Speaker 1: and liking the stuff in the second season, because honestly,

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Speaker 1: you know, I was listening to the the episode where

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Speaker 1: you're talking about the show I wrote the only one

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Speaker 1: with my name owners writer, and it's just I could

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Speaker 1: hear you guys, you're mentally throwing up. Yeah, it was

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Speaker 1: super disoriented, it was, for sure, it was. But also

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Speaker 1: one of the things we loved about it was how

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Speaker 1: many new character characters you guys were able to introduce

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Speaker 1: in that first episode and still make it all makes sense.

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Speaker 1: I mean, it was very disorienting, but it was still

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Speaker 1: a great episode with introducing so many new iconic characters. Well, writer,

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Speaker 1: you're disoriented when the classroom faces the other way, so

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Speaker 1: everything everything. Did you remember that first episode because it

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Speaker 1: seemed like when we we we were talking about it,

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Speaker 1: I was like, this must have been crazy behind the

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Speaker 1: scenes because we had like nine new characters and so

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Speaker 1: many storylines and new sets. It was just it seemed

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Speaker 1: like a lot. Yeah, I watched it last night actually

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Speaker 1: to to rewatch, and some things I remember crisply and precisely,

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Speaker 1: and some things was was I there, I don't remember right,

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Speaker 1: But you know, we tried a lot of things that

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Speaker 1: the stuff with the Thugs worked great, H and H.

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Speaker 1: Introducing Tony Quinn it just worked great. That was a

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Speaker 1: great way to meet him, a great way to set

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Speaker 1: up the relationship with Phoene, and the relationship between Turner

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Speaker 1: and Uh and Ben was great. And so many things worked.

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Speaker 1: I was looking at it last night saying, so many

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Speaker 1: things worked. But yeah, it was like that was the

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Speaker 1: charge age up the show, introduced new characters, put it

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Speaker 1: in a different world. There were influences. UH Friends was

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Speaker 1: an influence just to have to flesh out the the

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Speaker 1: twenty something characters that that Tony represented and Um also

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Speaker 1: there was another tremendously successful show called Happy Days, and

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Speaker 1: it was just a flavor of that element with the

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Speaker 1: show and make it a fun place for kids to

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Speaker 1: hang out and grow up in in the show and

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Speaker 1: in the audience. So Happy Days was a conscious reference

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Speaker 1: that you were told. Okay, because because we've talked about

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Speaker 1: how the Thugs have the sort of throwback vibe to them.

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Speaker 1: He's sort of old school high school bully, and we've

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Speaker 1: said it's like a happy Day's ish thing. Yeah, that

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Speaker 1: we're interesting. Yeah, I have a I have a question. Um,

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Speaker 1: so in all these meetings before season two starts, you're

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Speaker 1: getting all your marching orders from the network and we

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Speaker 1: want to age it up. We want to do all

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Speaker 1: this stuff. Ever a talk of dropping any or all

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Speaker 1: of the three of us. Oh, no, okay, just checking

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Speaker 1: his dad to be you're very badly in some ways.

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Speaker 1: I am Will's dad. Do they know that story? Well, yeah,

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Speaker 1: they don't know this story yet. We will get into

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Speaker 1: that story of David still being my dad. Yeah. Yeah,

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Speaker 1: but no, was if they were like, we don't you

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Speaker 1: know the Eric it's the Chucky Cunningham the Eric character,

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Speaker 1: or we're not gonna get bring to Panga back. I mean,

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Speaker 1: Ryder was probably fine well with Corey and Sean, but

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Speaker 1: we did you know, because you're physically related to it's

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Speaker 1: usually you have that established bond between best friends where

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Speaker 1: they're not gonna you know, they tried so hard to

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Speaker 1: bring in a third best friend. They weren't going to

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Speaker 1: bring in you know, somebody else. But especially with Eric

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Speaker 1: in the first season kind of lifted out to Panga

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Speaker 1: could have disappeared. Yeah, I mean we saw it happen,

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Speaker 1: So it was I was wondering if that if that

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Speaker 1: had been discussed at any level. Well, no, the the

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Speaker 1: discussions were well, Michael said something on very stage, you said,

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Speaker 1: the show is about how Ben and Ryder are, Corey

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Speaker 1: and and un shown are the same and how they're different.

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Speaker 1: It's about their differences in their similarities, which was a

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Speaker 1: template for for the show and it's template for for

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Speaker 1: finding stories. And then Uh, we were all very serious

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Speaker 1: about making to Panga integral to the show and that

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Speaker 1: it was about Corey having a friend and a girlfriend

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Speaker 1: and watching those relationships developed. And that's really what the

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Speaker 1: show was about. To me, those best episodes are uh

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Speaker 1: in that in that arc in that you know Trio

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Speaker 1: and uh and but we loved the way that will

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Speaker 1: that you evolved. It was like, we got to find

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Speaker 1: a place for this guy. This guy punted this guy

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Speaker 1: so funny that that's quere that we got to find

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Speaker 1: something for this guy to do and a little bit

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Speaker 1: more than just the um. See. I hate when you say, oh,

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Speaker 1: that's the dumb guy, that's the dumb character. I always

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Speaker 1: say they think differently. They're either a beat behind that

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Speaker 1: take come to it that way. You don't want to

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Speaker 1: make a joke that's dumb. You want to make a

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Speaker 1: joke that sees that's different. There's a great joke where

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Speaker 1: I don't I don't think you've done the episode. It's

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Speaker 1: the radio station one where Phoenie opens the door and

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Speaker 1: sees you know, Benn and Rider, and Rider says, don't move,

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Speaker 1: maybe he doesn't see us. Yeah, And that's that's to me.

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Speaker 1: That's not a dumb jokes to me, it's a guy

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Speaker 1: thinking differently. So uh. But anyway, Will's character Eric is like,

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Speaker 1: what can we well can we what can we do?

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Speaker 1: How can we fit in and just have a guy

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Speaker 1: who can just go nuts and just be big and

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Speaker 1: make you believe it. I mean a lot of times

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Speaker 1: actors can go big and you just don't believe it.

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Speaker 1: But you know, commitment is what makes the beat, the

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Speaker 1: bit makes at work and you know will fredellt Uh.

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Speaker 1: He knows how to commit. It makes something. No one

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Speaker 1: is more committed than Will truly, it's middle name, it's

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Speaker 1: William Allen. Because I was going to say, anybody one

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Speaker 1: of us needs to be committed. Yea, when the straight

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Speaker 1: lines are hanging out there, it's hard. So I think

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Speaker 1: you kind of answered this, but I want to ask

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Speaker 1: Larry specifically. Were you brought in by Michael first and

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Speaker 1: then approved by the network, or were you by the network.

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Speaker 1: I had not met Michael, I had not known Michael,

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Speaker 1: so I was the network's choice, and uh, you know

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Speaker 1: he accepted. We got along guys who had been roughly

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Speaker 1: doing that I did in the first season. We're Ed

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Speaker 1: Dector and John Strauss and they are like my best friends.

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Speaker 1: We talk all the time. Really yeah. Yeah, I went

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Speaker 1: to college with Ed. Uh. John and I've lived close

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Speaker 1: to each other for a while, and like I had

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Speaker 1: breakfast every day for you know, millions of years. I

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Speaker 1: have very fond memories of that. I haven't seen them

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Speaker 1: for years, but I thought to Ed yesterday, oh please,

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Speaker 1: we have to we have to reach out. Yeah, it's

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Speaker 1: a great guy. And uh. And so they were kind

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Speaker 1: of happy to get out, honestly, and I was looking

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Speaker 1: forward to running that show. I'd seen the episodes. I

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Speaker 1: thought I didn't like all the stories because I thought

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Speaker 1: that these aren't the type of stories that are going

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Speaker 1: to sustain a primetime show for for years and years,

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Speaker 1: And that's what ABC wanted. And I was, you know,

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Speaker 1: I was installed by ABC and you know, with Michael's approval,

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Speaker 1: and we met. Yeah, And at the time, if I

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Speaker 1: remember correctly, Michael was also trying to start other shows.

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Speaker 1: Ye see right, so he was off. Actually he would

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Speaker 1: like leave our set for a week or two because

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Speaker 1: he would be working another show. Right. So what were

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Speaker 1: those shows? Do you guys remember what they were? Was

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Speaker 1: it maybe this time? Was it maybe this time? At

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Speaker 1: that point? Yet every year for like two or three

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Speaker 1: years there, he was creating the Genie Show. At one point,

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Speaker 1: you wish maybe maybe next time or whatever that was

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Speaker 1: maybe this time? Um, but yeah, he was he Loves Company,

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Speaker 1: Misery Loves Company. He also did Zoe Duncan, Jack and Jane.

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Speaker 1: I mean, he had a bunch of shows while we

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Speaker 1: were going, um, which which was yeah, we never he

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Speaker 1: would kind of pop in and pop out during that

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Speaker 1: second season in the third season when we moved down

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Speaker 1: to KTLA, we didn't see him that much. Yeah, okay,

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Speaker 1: so that was where he really Yeah, well, because I

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Speaker 1: remember there was a period where you were giving notes

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Speaker 1: and like, yeah, you were running the show, and it

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Speaker 1: was like, well we would see Michael every couple of

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Speaker 1: weeks or maybe on tape night. But to be fair,

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Speaker 1: who wants to go to KTLA? Yeah, it was a

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Speaker 1: rough That was a rough time. You hadn't started yet

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Speaker 1: because we were in writer's mode when we went there

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Speaker 1: and got the new offices, and it was either the

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Speaker 1: first or second day where someone said, everybody staying inside

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Speaker 1: their offices. There's a shooting in the building across the street,

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Speaker 1: so everybody, you know, getting their offices, and it was

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Speaker 1: we sit there and look at each other and be like,

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Speaker 1: which strip club should these kids go to to have

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Speaker 1: a lot today. That's where we started getting lunch delivered, right,

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Speaker 1: because at Disney we would go to the commissary, yeah,

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Speaker 1: or there would be stuff. There was literally and the

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Speaker 1: two I got the Tuesday morning buffet at the local

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Speaker 1: strip club is really sad. I got to be totally

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Speaker 1: honest with you. It's gotten better. They've redone those studios, right,

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Speaker 1: they're called something Else now I'm secure. Yeah yeah, and

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Speaker 1: they have a nice commissary because their Netflix. Yeah yeah,

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Speaker 1: thank god. Okay, So I also I'm dying to know.

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Speaker 1: I want to know how did you get growing paints?

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Speaker 1: How did you start there? Okay? My career, I was uh,

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Speaker 1: living in New York and wanted to work in film

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Speaker 1: and TV. Wanted to direct on everybody wants to direct.

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Speaker 1: I can see nods in these boxes. Yeah, nut will

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Speaker 1: no desire yea. And it was nineteen eighty five and

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Speaker 1: I wrote an episode of a show called The Cosby Show.

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Speaker 1: And saying Cosby in nineteen eighty five is very different

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Speaker 1: from saying Cosby now. So I wrote a spec Cosby script.

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Speaker 1: Through social contacts, I met an agent and she her

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Speaker 1: name is Phillis Wonder. We're still in touch even though

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Speaker 1: she's retired. And she said, I have some contacts in LA.

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Speaker 1: And I realized that at some point, if I was

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Speaker 1: going to stay in the industry, I needed to know

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Speaker 1: what LA was like. So I came out with my

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Speaker 1: spec Cosby script. Stayed on Ed Dector's couch and other

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Speaker 1: ed and Lightning Struck and the first producer that read

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Speaker 1: it hired me and it was for this show called

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Speaker 1: Growing the aforementioned Growing Pains, and I went in with

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Speaker 1: as a green writer with no credits, and I stayed

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Speaker 1: there six years. I went, you know, all the way

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Speaker 1: up the food chain, and I ended up being a

426
00:23:02,720 --> 00:23:07,600
Speaker 1: co executive producer and your first ever projects project. But

427
00:23:08,119 --> 00:23:10,880
Speaker 1: I sometimes leary to tell that story because then people

428
00:23:10,880 --> 00:23:12,960
Speaker 1: will hate me. But I can assure you I've been

429
00:23:13,040 --> 00:23:18,320
Speaker 1: beaten up and have had many uh lump's career wise,

430
00:23:20,359 --> 00:23:23,600
Speaker 1: but that was a that was a hell of a peak. Yes,

431
00:23:23,960 --> 00:23:25,960
Speaker 1: but and that was great fun because it was a

432
00:23:26,040 --> 00:23:30,639
Speaker 1: great show. I had wonderful mentors. Did The show runner,

433
00:23:30,720 --> 00:23:35,119
Speaker 1: head writer Dan Gunselman, just taught me everything. Another executive producer,

434
00:23:35,119 --> 00:23:37,480
Speaker 1: Mike Sulliman. He came from the network, so I learned

435
00:23:37,520 --> 00:23:39,919
Speaker 1: network stuff from these two guys. They were amazing mentors

436
00:23:40,160 --> 00:23:42,280
Speaker 1: and they said, you're not a story editor, you're in

437
00:23:42,359 --> 00:23:44,680
Speaker 1: producer school. So that was kind of what I've tried

438
00:23:44,720 --> 00:23:46,720
Speaker 1: to do when I've run shows is just treat the

439
00:23:46,720 --> 00:23:49,280
Speaker 1: staff as if they're in producer school. But it was amazing.

440
00:23:49,320 --> 00:23:54,120
Speaker 1: I left there knowing multi camera production inside and out.

441
00:23:54,359 --> 00:23:57,560
Speaker 1: It was great. And then had a development deal where

442
00:23:57,560 --> 00:24:01,919
Speaker 1: I failed miserably. So I wrote some pilots, shot some pilots,

443
00:24:01,960 --> 00:24:03,920
Speaker 1: nothing out on the air. So at the end of that,

444
00:24:04,720 --> 00:24:07,000
Speaker 1: I hear ABC. You know, they still like you, they

445
00:24:07,000 --> 00:24:08,639
Speaker 1: want you on the show called the Boy Meets World,

446
00:24:08,880 --> 00:24:12,720
Speaker 1: and I looked at it. I said, this could be fun. Wow. Okay,

447
00:24:12,720 --> 00:24:15,040
Speaker 1: So then you come to Boy Meets World. Yes, do

448
00:24:15,080 --> 00:24:17,800
Speaker 1: you like the episodes you've seen, but you don't necessarily

449
00:24:17,840 --> 00:24:21,399
Speaker 1: love all the stories. What are your first impressions of

450
00:24:22,200 --> 00:24:26,920
Speaker 1: all of the cast? How professional you guys were, How

451
00:24:27,560 --> 00:24:32,080
Speaker 1: you seem very real, How you seem to intuitively understand

452
00:24:32,080 --> 00:24:36,560
Speaker 1: your characters. And it was kind of I won't say

453
00:24:36,560 --> 00:24:38,840
Speaker 1: easy to write for, but it's like, oh, okay, they

454
00:24:38,840 --> 00:24:42,600
Speaker 1: can do this. This is great. So it was you

455
00:24:42,640 --> 00:24:45,760
Speaker 1: gotta love your characters. Yeah, and it helps if you

456
00:24:45,920 --> 00:24:50,000
Speaker 1: love your actors and and you guys are great. And hey,

457
00:24:50,000 --> 00:24:52,440
Speaker 1: look we're still talking. It's twenty five years later and

458
00:24:52,640 --> 00:24:54,360
Speaker 1: we got long. I'm still in touch with all you guys,

459
00:24:54,480 --> 00:24:58,760
Speaker 1: you know, so it's amazing. A little known fact David Kendall.

460
00:24:58,920 --> 00:25:02,240
Speaker 1: I shadowed David Kendall, and David Kendall was very instrumental

461
00:25:02,320 --> 00:25:05,440
Speaker 1: in me starting my directing career because after Girl Meets World,

462
00:25:05,440 --> 00:25:10,280
Speaker 1: where I had directed four episodes, I tried for two

463
00:25:10,400 --> 00:25:13,040
Speaker 1: straight years basically for people to take me seriously as

464
00:25:13,040 --> 00:25:15,320
Speaker 1: a director, and nobody really wanted to. Nobody was willing

465
00:25:15,400 --> 00:25:18,040
Speaker 1: to take the risk on me. And then Mark Reasman,

466
00:25:18,119 --> 00:25:21,679
Speaker 1: who created the show Sydney to the Max for Disney Channel,

467
00:25:22,280 --> 00:25:24,159
Speaker 1: was willing to take a chance on me. But he

468
00:25:24,280 --> 00:25:28,120
Speaker 1: flat out told me in our meeting David Kendall directed

469
00:25:28,119 --> 00:25:29,760
Speaker 1: my pilot and if it were up to me, David

470
00:25:29,840 --> 00:25:32,639
Speaker 1: Kendall would direct every single one of my episodes, but

471
00:25:32,720 --> 00:25:35,360
Speaker 1: they won't let me do that. So and then we,

472
00:25:35,480 --> 00:25:37,160
Speaker 1: you know, spent a long time talking and he ended

473
00:25:37,240 --> 00:25:38,640
Speaker 1: up deciding he was going to give me a couple

474
00:25:38,640 --> 00:25:42,160
Speaker 1: episodes to direct, but he very in the nicest way possible,

475
00:25:42,640 --> 00:25:44,399
Speaker 1: told me he would feel a lot more comfortable if

476
00:25:44,440 --> 00:25:47,720
Speaker 1: I came and shadowed David Kendall. And I was like, well,

477
00:25:47,880 --> 00:25:51,600
Speaker 1: the good news is I know David Kendall very well,

478
00:25:52,200 --> 00:25:55,600
Speaker 1: and so David is one of my mentors. Yeah, I

479
00:25:56,160 --> 00:26:00,240
Speaker 1: saw too. You didn't know I was shadowing you. It's

480
00:26:00,240 --> 00:26:07,600
Speaker 1: called stalking. Will right done with the place, Thank you,

481
00:26:07,760 --> 00:26:12,320
Speaker 1: thank you so much. Yeah, yeah, no, I shouted, David too.

482
00:26:12,400 --> 00:26:14,399
Speaker 1: I you know, it's funny. You're one of the few

483
00:26:14,760 --> 00:26:18,240
Speaker 1: people I know of that has worked in television on

484
00:26:18,280 --> 00:26:21,640
Speaker 1: both sides, like whereas a writer, producer and a director.

485
00:26:22,040 --> 00:26:25,520
Speaker 1: Most people usually, you know, stay on one side of

486
00:26:25,560 --> 00:26:27,320
Speaker 1: that line, but you've crossed it a bunch of times,

487
00:26:27,320 --> 00:26:30,040
Speaker 1: and in fact, more than anything, you mostly consider yourself

488
00:26:30,040 --> 00:26:34,199
Speaker 1: a director nowadays. Right if you my DNA, I'm I'm

489
00:26:34,280 --> 00:26:38,200
Speaker 1: a writer, and I think writer is the most important

490
00:26:38,200 --> 00:26:41,880
Speaker 1: thing because without a script, nothing but um, it's more

491
00:26:41,960 --> 00:26:45,560
Speaker 1: fun to direct. And uh, I have a blast directing.

492
00:26:45,840 --> 00:26:48,280
Speaker 1: I never have a bad day directing. Often writing and

493
00:26:48,280 --> 00:26:51,200
Speaker 1: producing running a show, you'll have many bad days. Yeah,

494
00:26:51,280 --> 00:26:53,960
Speaker 1: you get the bad phone calls if you're an episodic

495
00:26:54,000 --> 00:26:57,240
Speaker 1: director where it's someone else's show, it's just the you know.

496
00:26:57,280 --> 00:27:01,600
Speaker 1: I joke that it's the difference moved parenting and grandparenting,

497
00:27:01,880 --> 00:27:04,199
Speaker 1: that writing and producing a show is like parenting with

498
00:27:04,240 --> 00:27:06,960
Speaker 1: all the stresses, and it's you know, it's miserable, but

499
00:27:07,119 --> 00:27:09,040
Speaker 1: you'll love your kids so much and you do anything

500
00:27:09,040 --> 00:27:12,359
Speaker 1: for him, and grandparenting is like, yeah, they're done at

501
00:27:12,359 --> 00:27:17,240
Speaker 1: the end of the week. The head I'm not there,

502
00:27:17,320 --> 00:27:19,800
Speaker 1: but that's how I like him. Yeah, that's how you

503
00:27:19,800 --> 00:27:23,000
Speaker 1: think of it. Yeah, that's great. Wow, that's amazing. Did

504
00:27:23,000 --> 00:27:26,000
Speaker 1: you ever bring in any guest stars from Growing Pains? Like,

505
00:27:26,040 --> 00:27:28,320
Speaker 1: did you ever? We talk a lot about how Michael

506
00:27:28,440 --> 00:27:30,960
Speaker 1: was really loved to reuse actors that he was familiar

507
00:27:30,960 --> 00:27:33,200
Speaker 1: with and that he knew when you started running, boy

508
00:27:33,200 --> 00:27:35,440
Speaker 1: meant world, did you have like a group of people

509
00:27:35,480 --> 00:27:37,800
Speaker 1: you went to for things. I can't remember if we

510
00:27:38,000 --> 00:27:41,680
Speaker 1: had anybody. I don't know, I have to yeah, I

511
00:27:41,960 --> 00:27:45,560
Speaker 1: can nothing. Nothing at top of mind. Nothing, I don't

512
00:27:45,560 --> 00:27:47,720
Speaker 1: think so. Actually, I'm thinking of the cast of Growing

513
00:27:47,800 --> 00:27:49,119
Speaker 1: going through the cast of Growing Pains in my head,

514
00:27:49,119 --> 00:27:50,680
Speaker 1: and I don't think we had anybody. I mean, maybe

515
00:27:50,680 --> 00:27:53,560
Speaker 1: somebody that had done both shows, you know, yeah, yeah,

516
00:27:53,680 --> 00:27:55,320
Speaker 1: not a guest cast, but no, but none of the

517
00:27:55,359 --> 00:27:58,280
Speaker 1: none of the regulars I don't think came on. And

518
00:27:58,320 --> 00:28:00,199
Speaker 1: also that I think that a lot of the the

519
00:28:00,200 --> 00:28:04,320
Speaker 1: cast of Growing Pains it didn't do another ABC Family

520
00:28:04,320 --> 00:28:06,119
Speaker 1: show for a while. It was like, let's get out

521
00:28:06,119 --> 00:28:08,040
Speaker 1: of this for a while. I have a question when

522
00:28:08,080 --> 00:28:10,760
Speaker 1: when you got the marching orders, everybody got the marching

523
00:28:10,800 --> 00:28:12,840
Speaker 1: orders to age up the show. Was anybody against that?

524
00:28:13,119 --> 00:28:14,680
Speaker 1: Did anybody say no, we don't want to do that

525
00:28:14,760 --> 00:28:16,440
Speaker 1: or did it? It sounds like it would make sense

526
00:28:16,480 --> 00:28:18,480
Speaker 1: to kind of age it up a little bit. And yeah,

527
00:28:18,520 --> 00:28:21,520
Speaker 1: the stories in the tone of the first season was

528
00:28:21,560 --> 00:28:24,879
Speaker 1: not sustainable for a primetime show, right, and you know

529
00:28:24,920 --> 00:28:27,280
Speaker 1: the show ran seven years. You know, I don't I

530
00:28:27,280 --> 00:28:30,040
Speaker 1: can't imagine those stories. You know, we had the show

531
00:28:30,119 --> 00:28:32,800
Speaker 1: had to grow up, everybody to grow up, and it

532
00:28:32,840 --> 00:28:34,600
Speaker 1: was a little bit of a of a big change,

533
00:28:35,560 --> 00:28:38,440
Speaker 1: but I think it was I think it was worth it.

534
00:28:38,520 --> 00:28:41,880
Speaker 1: And uh um, yeah, last night I looked at the

535
00:28:41,920 --> 00:28:44,840
Speaker 1: first one, the only one I wrote, and the first

536
00:28:44,840 --> 00:28:46,560
Speaker 1: one I directed, which was the end of the first

537
00:28:46,560 --> 00:28:51,280
Speaker 1: season where writers starts, uh, Sean starts living with the

538
00:28:51,320 --> 00:28:53,520
Speaker 1: Matthews and then ends up at Turners. Anyway, it was

539
00:28:53,600 --> 00:28:56,360
Speaker 1: a lovely episode. Is at the end of second season

540
00:28:56,480 --> 00:28:58,760
Speaker 1: the end of second season? Yeah, the second season is

541
00:28:58,800 --> 00:29:02,000
Speaker 1: he's uh, I'm getting ahead of your rewatch. But yeah,

542
00:29:02,080 --> 00:29:04,080
Speaker 1: I didn't know. I didn't realize Sean was already running

543
00:29:04,120 --> 00:29:06,800
Speaker 1: away second season end of the Sea. I guess it

544
00:29:06,880 --> 00:29:09,160
Speaker 1: makes sense because Tony was only there for what two

545
00:29:09,200 --> 00:29:11,680
Speaker 1: three season until the end of the third or so. Yeah,

546
00:29:11,720 --> 00:29:13,840
Speaker 1: so it's we were trying to figure out all the

547
00:29:13,880 --> 00:29:17,680
Speaker 1: timeline and that was the first episode you had ever directed, right, Oh, no,

548
00:29:17,760 --> 00:29:19,760
Speaker 1: I had when I was on Growing Pains. There was

549
00:29:20,080 --> 00:29:23,880
Speaker 1: a spinoff of Growing Pains called Just the Ten of Us, okay,

550
00:29:24,000 --> 00:29:27,360
Speaker 1: and we had a house director for Growing Pains, John Tracy,

551
00:29:27,360 --> 00:29:31,800
Speaker 1: who directed the Past and so h we did not

552
00:29:31,880 --> 00:29:33,800
Speaker 1: have a house director for Just a ten of Us.

553
00:29:33,840 --> 00:29:36,920
Speaker 1: And so I got my first directing assignment at Just

554
00:29:37,000 --> 00:29:40,320
Speaker 1: the Ten of Us and that was my first and

555
00:29:40,320 --> 00:29:44,120
Speaker 1: and then directing you guys was my second. Wow. When

556
00:29:44,120 --> 00:29:45,920
Speaker 1: I came back after running the show and I came

557
00:29:45,960 --> 00:29:50,080
Speaker 1: back in the directing rotation, that's when I really started

558
00:29:50,080 --> 00:29:52,280
Speaker 1: to direct a lot more. And you guys were so

559
00:29:52,320 --> 00:29:55,320
Speaker 1: important to me as as developing as a director because

560
00:29:55,800 --> 00:29:58,040
Speaker 1: I knew you guys, you trusted me, you could I

561
00:29:58,080 --> 00:30:02,600
Speaker 1: could talk to you guys, and so it just allowed

562
00:30:02,600 --> 00:30:05,600
Speaker 1: me the freedom and the security in this your environment

563
00:30:05,680 --> 00:30:07,560
Speaker 1: to direct. So I felt after directing a bunch of

564
00:30:07,560 --> 00:30:10,680
Speaker 1: those blomous world it really helped me and gave me

565
00:30:10,720 --> 00:30:14,320
Speaker 1: confidence and gave me fluency in directing. So thank you,

566
00:30:14,400 --> 00:30:17,480
Speaker 1: And you've done now two hundred plus episodes of television.

567
00:30:17,600 --> 00:30:21,120
Speaker 1: I have directed two hundred plus episodes of television, all

568
00:30:21,200 --> 00:30:24,720
Speaker 1: told as a writer, producer, director, six hundred hundred television

569
00:30:26,200 --> 00:30:29,880
Speaker 1: over forty different series. Because I am very old, Wow,

570
00:30:29,920 --> 00:30:35,040
Speaker 1: and we're still We're still your favorite. Yes, we should

571
00:30:35,040 --> 00:30:37,320
Speaker 1: also talk a little bit about how this was the

572
00:30:37,440 --> 00:30:39,520
Speaker 1: end of an era when it came to television, because

573
00:30:39,560 --> 00:30:43,280
Speaker 1: the idea of a network coming in and saying, we

574
00:30:43,360 --> 00:30:45,640
Speaker 1: really like this show, we want to change it a

575
00:30:45,640 --> 00:30:47,960
Speaker 1: bit and tweak it because we wanted to have longevity

576
00:30:48,000 --> 00:30:50,880
Speaker 1: and we want it to grow. That doesn't just anymore. Yeah,

577
00:30:50,920 --> 00:30:53,560
Speaker 1: they don't let stuff grow anymore. You do a few

578
00:30:53,560 --> 00:30:55,440
Speaker 1: episodes of something, we hated it and they cancel it.

579
00:30:55,480 --> 00:30:59,440
Speaker 1: I mean it's so rare nowadays to see something that

580
00:30:59,720 --> 00:31:01,760
Speaker 1: you know they believe in and they want they want

581
00:31:01,760 --> 00:31:03,480
Speaker 1: to have grow, they want to have change, they want

582
00:31:03,480 --> 00:31:05,960
Speaker 1: to build a night. That's something that is so old

583
00:31:06,040 --> 00:31:08,160
Speaker 1: school TV. And I think we caught that right at

584
00:31:08,200 --> 00:31:12,040
Speaker 1: the end. All the biggest shows in television history, Mash Cheers,

585
00:31:12,800 --> 00:31:15,440
Speaker 1: I mean, you name it, The Office, even new stuff,

586
00:31:15,440 --> 00:31:17,720
Speaker 1: they were gonna be canceled, but the network went, no,

587
00:31:18,400 --> 00:31:20,800
Speaker 1: let's let's change it. I think we can find an audience.

588
00:31:20,840 --> 00:31:22,360
Speaker 1: We're gonna move a night. We're gonna do this, We're

589
00:31:22,360 --> 00:31:26,880
Speaker 1: gonna do that. That's just gone. So I mean that's it.

590
00:31:26,960 --> 00:31:28,640
Speaker 1: It shows. I mean, it just shows what you can

591
00:31:28,680 --> 00:31:30,719
Speaker 1: find when you give something a chance to find itself

592
00:31:30,720 --> 00:31:33,040
Speaker 1: and find its audience. Yeah. Giving show a chance to

593
00:31:33,080 --> 00:31:36,520
Speaker 1: grow is not what we do so much anymore. So, Yeah,

594
00:31:36,520 --> 00:31:49,160
Speaker 1: which is a shame. Yeah. Yeah. What were your experiences

595
00:31:49,160 --> 00:31:55,520
Speaker 1: with Bill Daniels? Like Bill was, Bill can be tough.

596
00:31:55,800 --> 00:31:59,080
Speaker 1: I eventually bonded and I love him and I'm still

597
00:31:59,120 --> 00:32:01,360
Speaker 1: in touch with Bill and Annie And did you see

598
00:32:01,440 --> 00:32:07,520
Speaker 1: my uh I saw it? Yes, So for those listening,

599
00:32:07,880 --> 00:32:10,920
Speaker 1: it's there's a prop from the show where new principle

600
00:32:11,160 --> 00:32:14,160
Speaker 1: is Weenie. So yes, and that's the origin, that's the

601
00:32:14,160 --> 00:32:16,360
Speaker 1: original one. That's well, I guess it's one of the

602
00:32:16,440 --> 00:32:18,240
Speaker 1: original ones. Yes, yes, I'm sure they made a bunch.

603
00:32:18,240 --> 00:32:19,560
Speaker 1: I can keep it in my bedroom so I can

604
00:32:19,600 --> 00:32:26,200
Speaker 1: be reminded every day. So Bill eventually, because Bill, I think,

605
00:32:26,240 --> 00:32:28,880
Speaker 1: likes to test people a little bit or make sure

606
00:32:28,920 --> 00:32:31,800
Speaker 1: that they're they're savvy. And so once we got past that,

607
00:32:31,840 --> 00:32:34,840
Speaker 1: it was It's a great relationship and it still is.

608
00:32:34,880 --> 00:32:39,080
Speaker 1: And um, you know, there's just to direct Bill Daniels

609
00:32:39,320 --> 00:32:43,360
Speaker 1: is just great into and to give him an idea

610
00:32:43,440 --> 00:32:45,680
Speaker 1: or a thought and to see that he thinks, oh,

611
00:32:45,720 --> 00:32:47,760
Speaker 1: I'll do that because this person's not an idiot is

612
00:32:48,040 --> 00:32:52,720
Speaker 1: a great sense of satisfaction. So yes, yeah, it was

613
00:32:52,760 --> 00:32:56,440
Speaker 1: a Bild's amazing. Bill's amazing. Do you have a favorite

614
00:32:56,480 --> 00:33:00,320
Speaker 1: episode of Boy Meets World? I do not. Yeah, I

615
00:33:00,440 --> 00:33:03,720
Speaker 1: just I remember scenes in moments and and also attached

616
00:33:03,760 --> 00:33:07,000
Speaker 1: them to the experiences in the writer's room. Yeah, and uh,

617
00:33:07,440 --> 00:33:10,719
Speaker 1: which is an amazing thing. And if you haven't been

618
00:33:10,760 --> 00:33:12,480
Speaker 1: a part of it in a in a series, it's

619
00:33:12,520 --> 00:33:17,320
Speaker 1: really one of those things it's impossible to describe. But

620
00:33:17,400 --> 00:33:19,760
Speaker 1: you know, we had a great writer's room too. We

621
00:33:19,800 --> 00:33:22,320
Speaker 1: had just great people. That's I think enough. Part of

622
00:33:22,360 --> 00:33:24,360
Speaker 1: the reason of the show's success, in addition to how

623
00:33:24,480 --> 00:33:26,680
Speaker 1: how great you guys are, is we had people who

624
00:33:26,760 --> 00:33:29,880
Speaker 1: just worked hard and love the show. So yeah, it

625
00:33:29,920 --> 00:33:32,720
Speaker 1: was it was a good It was a good group. Well,

626
00:33:32,880 --> 00:33:35,440
Speaker 1: we mentioned in your intro that you have gone on

627
00:33:35,480 --> 00:33:38,680
Speaker 1: to direct all A listers when they were kids, Austin

628
00:33:38,760 --> 00:33:44,120
Speaker 1: Butler's and diah Miley, Ariana Grande. What do those stars

629
00:33:44,200 --> 00:33:46,760
Speaker 1: haven't have in common when they were kids? Liked what

630
00:33:46,840 --> 00:33:49,720
Speaker 1: was the secret sauce of those kids. I think the

631
00:33:49,760 --> 00:33:53,320
Speaker 1: secret sauces is stay secret. But but you can tell

632
00:33:53,360 --> 00:33:56,959
Speaker 1: if someone really got it. Well sometimes sometimes, uh, you know,

633
00:33:57,000 --> 00:33:59,600
Speaker 1: like with Miley Cyrus, who I did the first few

634
00:33:59,600 --> 00:34:02,480
Speaker 1: episodes of Hannah Montana and she was very green. She

635
00:34:02,520 --> 00:34:04,040
Speaker 1: didn't know what a fifty fifty was, she didn't know

636
00:34:04,040 --> 00:34:05,200
Speaker 1: where to stand, and she she didn't know how to cheat

637
00:34:05,200 --> 00:34:06,800
Speaker 1: it out. And but you know, you just talked to

638
00:34:06,800 --> 00:34:09,760
Speaker 1: her and you just see the progress bar going, you know, quickly,

639
00:34:10,080 --> 00:34:12,160
Speaker 1: and then you just watch a run through where it's

640
00:34:12,160 --> 00:34:14,839
Speaker 1: time to perform, and there's just that little extra, just

641
00:34:14,880 --> 00:34:18,000
Speaker 1: that little extra, and you know that was not a

642
00:34:18,040 --> 00:34:20,719
Speaker 1: surprise that she became big. I mean, who knows how

643
00:34:20,760 --> 00:34:23,560
Speaker 1: big she was gonna be the same with Ariana, just

644
00:34:23,600 --> 00:34:28,000
Speaker 1: there's a little extra spark that sometimes sometimes you can

645
00:34:28,040 --> 00:34:35,480
Speaker 1: tell and it's uh, some people and I won't name names,

646
00:34:35,520 --> 00:34:38,040
Speaker 1: so it's just like I can't believe they're huge. But

647
00:34:38,160 --> 00:34:42,080
Speaker 1: a lot of times, a lot of times it's like, oh, yeah,

648
00:34:42,160 --> 00:34:44,520
Speaker 1: that's no surprise. Yeah. I mean Brad Pitt was on

649
00:34:44,560 --> 00:34:49,360
Speaker 1: Growing Pains and yeah, yeah he was, and that was like, okay,

650
00:34:49,880 --> 00:34:54,680
Speaker 1: you know, three one Superstar yeah, but Leo Leonardo DiCaprio

651
00:34:54,719 --> 00:34:57,239
Speaker 1: also on Growing Pains. Yeah, Leo, I was not. I

652
00:34:57,280 --> 00:34:59,480
Speaker 1: did six of the seven years I had left in

653
00:34:59,600 --> 00:35:02,200
Speaker 1: Leo k Man. You know, I was still at Warner Brothers,

654
00:35:02,200 --> 00:35:03,640
Speaker 1: so you know, I met him a few times with

655
00:35:03,680 --> 00:35:06,799
Speaker 1: the other cast, but Leo was there not my year.

656
00:35:06,840 --> 00:35:09,560
Speaker 1: I did not work with Leo. Were you involved in

657
00:35:09,600 --> 00:35:12,440
Speaker 1: the casting process of all the new people in the

658
00:35:12,440 --> 00:35:14,640
Speaker 1: episode you wrote back to School? Yeah, I mean all

659
00:35:14,760 --> 00:35:17,880
Speaker 1: all the producers where I mean, Sally Steiner, You're wonderful

660
00:35:17,960 --> 00:35:20,719
Speaker 1: casting director. I'm still in touch with them. And then

661
00:35:20,760 --> 00:35:23,200
Speaker 1: I think Barbie didn't Barbie Block didn't start with her

662
00:35:23,320 --> 00:35:26,840
Speaker 1: till this season. After that, I think, yeah, yeah, she

663
00:35:26,960 --> 00:35:28,920
Speaker 1: brought in people and it was you know, me and

664
00:35:28,960 --> 00:35:31,000
Speaker 1: Michael and a couple of the other producers and then

665
00:35:31,000 --> 00:35:34,120
Speaker 1: of course the networking studio input. But yeah, I was

666
00:35:34,160 --> 00:35:37,120
Speaker 1: in on it. It was a you know, a group decision, uh,

667
00:35:37,360 --> 00:35:39,480
Speaker 1: you know, and network has always gone away and especially

668
00:35:39,520 --> 00:35:42,799
Speaker 1: about important things like who mister Turner was going to be.

669
00:35:43,560 --> 00:35:46,279
Speaker 1: I'm so glad you said that. Okay, I just want

670
00:35:46,360 --> 00:35:48,680
Speaker 1: one quick question. So the you're talking about, like the

671
00:35:48,719 --> 00:35:51,520
Speaker 1: network and notes from the network, did did you get

672
00:35:51,560 --> 00:35:53,680
Speaker 1: any I mean, obviously they wanted to make a radical

673
00:35:53,760 --> 00:35:55,479
Speaker 1: change or what what would appear to be a radical

674
00:35:55,560 --> 00:35:57,919
Speaker 1: change between season one and season two. Were there any

675
00:35:58,040 --> 00:36:01,400
Speaker 1: overall network notes between seas in two in season three

676
00:36:01,560 --> 00:36:03,960
Speaker 1: that they wanted changes for or was it kind of like, no,

677
00:36:04,080 --> 00:36:06,040
Speaker 1: you guys have found it now, just keep doing what

678
00:36:06,040 --> 00:36:07,600
Speaker 1: you're doing. It was that was it? No, you guys

679
00:36:07,640 --> 00:36:10,040
Speaker 1: have found it now, and and and I think we did.

680
00:36:10,080 --> 00:36:13,720
Speaker 1: And I think that to me, usually in a show,

681
00:36:14,400 --> 00:36:17,120
Speaker 1: third season is often the creative peak. It's like the

682
00:36:17,400 --> 00:36:19,160
Speaker 1: first season it starts to get off the grounds, the

683
00:36:19,200 --> 00:36:22,400
Speaker 1: second season, at Gail's, third season at peaks, fourth season,

684
00:36:22,640 --> 00:36:26,399
Speaker 1: it's a little off peak. Fifth season, it's, yeah, there's

685
00:36:26,400 --> 00:36:28,319
Speaker 1: still some good in there. In sixth season, it's like,

686
00:36:28,600 --> 00:36:31,520
Speaker 1: why are we still doing this? So not always not

687
00:36:31,560 --> 00:36:34,560
Speaker 1: always the case, you know, but that seems to be

688
00:36:34,920 --> 00:36:39,400
Speaker 1: a general pattern of of of television. But but you know,

689
00:36:39,440 --> 00:36:42,080
Speaker 1: you can survive if you're starting to do if you

690
00:36:42,160 --> 00:36:44,600
Speaker 1: open up the world, which boy means world did wonderfully,

691
00:36:44,640 --> 00:36:47,600
Speaker 1: you know, with you and uh and Matt and Maitland.

692
00:36:47,760 --> 00:36:49,520
Speaker 1: I mean that was great and just kind of expanding

693
00:36:49,520 --> 00:36:53,040
Speaker 1: the worlds that you know, exploring the college in general. Yeah, yeah,

694
00:36:53,280 --> 00:36:55,200
Speaker 1: that was great because that was it was still the

695
00:36:55,239 --> 00:36:58,680
Speaker 1: same show. Sometimes when a show becomes a different show,

696
00:36:58,680 --> 00:37:01,319
Speaker 1: it doesn't quite work. Let's do something really different. It

697
00:37:01,400 --> 00:37:04,919
Speaker 1: usually doesn't work, but let's take the dynamics that work

698
00:37:04,920 --> 00:37:07,560
Speaker 1: and just put them in different arenas. So we were

699
00:37:07,560 --> 00:37:10,480
Speaker 1: also two seasons in before they even made Corey and

700
00:37:10,520 --> 00:37:12,719
Speaker 1: Topango a thing, So that then took the show in

701
00:37:12,760 --> 00:37:15,080
Speaker 1: an entirely different direction. That kind of became the core

702
00:37:15,120 --> 00:37:17,360
Speaker 1: of the show. So we didn't even find that until

703
00:37:17,760 --> 00:37:21,839
Speaker 1: what thirty forty five episodes. In fifty episodes in, it

704
00:37:21,920 --> 00:37:25,479
Speaker 1: was found is maybe the not the best work because

705
00:37:25,520 --> 00:37:27,319
Speaker 1: it was like, we're waiting to do that. We knew

706
00:37:27,360 --> 00:37:28,879
Speaker 1: we were going to go, so you do you knew

707
00:37:28,880 --> 00:37:31,080
Speaker 1: you were gonna go. So even with Danielle when she was,

708
00:37:31,320 --> 00:37:33,760
Speaker 1: you know, kind of a guest cast quote unquote guest cast,

709
00:37:34,320 --> 00:37:37,040
Speaker 1: um you, Corey and Topango was already planned. That was

710
00:37:37,040 --> 00:37:38,719
Speaker 1: a thing at the start of the second season. It

711
00:37:38,760 --> 00:37:40,120
Speaker 1: was I don't know what about the first season, but

712
00:37:40,239 --> 00:37:42,759
Speaker 1: the second season, let's let's do this slowly because we

713
00:37:42,760 --> 00:37:45,719
Speaker 1: want to you know, the show run for a while. Yeah,

714
00:37:45,719 --> 00:37:50,160
Speaker 1: they're really good together. Danielle really pops. She's fantastic and

715
00:37:50,560 --> 00:37:53,760
Speaker 1: their chemistry is good and uh, let's do this slowly

716
00:37:53,760 --> 00:37:56,040
Speaker 1: and one step forward, one step back, to step sward,

717
00:37:56,080 --> 00:37:58,840
Speaker 1: one step back. Cool. Yeah, yeah yeah. What can you

718
00:37:58,880 --> 00:38:00,720
Speaker 1: tell us And what do you remember about the casting

719
00:38:00,719 --> 00:38:04,440
Speaker 1: of Tony for mister Turner. I remember a lot of

720
00:38:04,440 --> 00:38:08,200
Speaker 1: guys came in and just Tony just nailed it. He

721
00:38:08,320 --> 00:38:10,880
Speaker 1: was warm, he was funny, he had a great presence,

722
00:38:11,160 --> 00:38:14,360
Speaker 1: and it wasn't like, well, how about this guy? Was

723
00:38:14,360 --> 00:38:17,720
Speaker 1: like Tony came in and read and I can't remember

724
00:38:17,760 --> 00:38:20,960
Speaker 1: the other names, but it was like, okay, Tony, it's

725
00:38:21,000 --> 00:38:23,160
Speaker 1: it's going to be Tony. I didn't realize that Michael

726
00:38:23,239 --> 00:38:26,279
Speaker 1: had worked with him before, honestly, right, so he just

727
00:38:26,360 --> 00:38:29,960
Speaker 1: he just nailed it. And so how much of mister

728
00:38:30,000 --> 00:38:34,040
Speaker 1: Turner's character and getting involved with Sean's character and that

729
00:38:34,160 --> 00:38:36,359
Speaker 1: story arc that ends up happening, how much of that

730
00:38:36,480 --> 00:38:39,040
Speaker 1: was planned from the beginning, and how much of that

731
00:38:39,120 --> 00:38:43,280
Speaker 1: was like natural evolution? I think it was natural evolution

732
00:38:43,280 --> 00:38:45,440
Speaker 1: because also you don't know how the new character is

733
00:38:45,480 --> 00:38:47,319
Speaker 1: going to click and how the chemistry is going to be,

734
00:38:47,800 --> 00:38:51,480
Speaker 1: and then I can't remember all of the thinking that

735
00:38:51,520 --> 00:38:56,880
Speaker 1: went into it. But you know, if we established Sean's

736
00:38:56,920 --> 00:38:59,799
Speaker 1: home life as being kind of weird and not necessarily

737
00:38:59,840 --> 00:39:02,759
Speaker 1: healthy and taking the approach of walking the line of

738
00:39:02,800 --> 00:39:06,360
Speaker 1: making that funny and also taking the character seriously, and

739
00:39:06,960 --> 00:39:09,200
Speaker 1: it was like, this is a good relationship. Let's let's

740
00:39:09,280 --> 00:39:13,400
Speaker 1: try this right. Wow, Now, as you're coming up with

741
00:39:13,440 --> 00:39:15,640
Speaker 1: these stories, I'm curious because Michael is kind of popping

742
00:39:15,680 --> 00:39:20,360
Speaker 1: in and out right. You know, is the room and

743
00:39:20,480 --> 00:39:22,480
Speaker 1: knew are you kind of guiding where the stories are

744
00:39:22,480 --> 00:39:24,239
Speaker 1: going and Michael's coming in and kind of saying like, yeah,

745
00:39:24,280 --> 00:39:25,680
Speaker 1: that works, or is he coming in and saying no,

746
00:39:25,680 --> 00:39:27,520
Speaker 1: We're going to switch this up? Or I mean, would

747
00:39:27,520 --> 00:39:29,480
Speaker 1: he come in and change things? Would he help guide?

748
00:39:29,480 --> 00:39:31,319
Speaker 1: I mean what was kind of what was he doing

749
00:39:31,360 --> 00:39:32,840
Speaker 1: at the time, because I knew it was involved with

750
00:39:32,840 --> 00:39:35,840
Speaker 1: other projects. For most of what I remember is I'm

751
00:39:35,920 --> 00:39:38,399
Speaker 1: running the room and it's like, let's talk about story areas,

752
00:39:38,480 --> 00:39:41,399
Speaker 1: let's talk about arcs, let's talk about general directions. Let's

753
00:39:41,400 --> 00:39:44,160
Speaker 1: write up a beat sheet to get Michael on board

754
00:39:44,200 --> 00:39:45,880
Speaker 1: and then get the network to improve it, in the

755
00:39:45,920 --> 00:39:48,279
Speaker 1: studio to improve it. So it was really you know,

756
00:39:48,320 --> 00:39:52,080
Speaker 1: lots of steps, but in the day to day. I

757
00:39:52,120 --> 00:39:54,959
Speaker 1: was running the room. Sometimes Michael would be there, but

758
00:39:55,560 --> 00:39:57,719
Speaker 1: it was it was mostly me and you know, and

759
00:39:58,040 --> 00:40:02,680
Speaker 1: and the great our great writing staff. Wow, it wasn't

760
00:40:02,680 --> 00:40:07,040
Speaker 1: great staff. Yeah, we had we had um we got along.

761
00:40:07,320 --> 00:40:10,040
Speaker 1: It was just a fun energy. There was one story

762
00:40:10,040 --> 00:40:13,200
Speaker 1: that because I was thinking about this, where um, we

763
00:40:13,239 --> 00:40:16,560
Speaker 1: all know Jeff Minell, he's been a guest, yes, and um,

764
00:40:16,600 --> 00:40:19,520
Speaker 1: I can't remember who started it. It was he was

765
00:40:19,560 --> 00:40:22,520
Speaker 1: being picked on for maybe eating more than he should

766
00:40:22,600 --> 00:40:25,480
Speaker 1: and it's just you know, Jeff, you gotta watch your cholesterol.

767
00:40:25,800 --> 00:40:30,520
Speaker 1: So there was a writer's room pool on pick Mannell's cholesterol.

768
00:40:30,520 --> 00:40:34,759
Speaker 1: Who come cholesterol? So we got one of those home

769
00:40:34,760 --> 00:40:39,239
Speaker 1: tests and we all you know, write that, wrote down

770
00:40:39,280 --> 00:40:44,520
Speaker 1: our numbers, and I remember I won. And so with

771
00:40:44,560 --> 00:40:47,120
Speaker 1: the money that I won, I wrote a check to

772
00:40:47,200 --> 00:40:50,120
Speaker 1: the American Heart Association because I told Jeff, I don't

773
00:40:50,160 --> 00:40:54,680
Speaker 1: want your blood money. So that's amazing. So that was

774
00:40:54,760 --> 00:40:58,719
Speaker 1: kind of the energy of the writer's room. Did you

775
00:40:58,960 --> 00:41:01,920
Speaker 1: ever feel I mean, I'm sure you felt pressure, but

776
00:41:02,000 --> 00:41:05,439
Speaker 1: did that pressure like, did you ever feel I don't

777
00:41:05,480 --> 00:41:09,240
Speaker 1: know how knowing that it was basically handed to you.

778
00:41:09,239 --> 00:41:12,840
Speaker 1: Your job is to turn this season one kiddie show,

779
00:41:13,440 --> 00:41:16,280
Speaker 1: turn the ship around, turn it into a more aged

780
00:41:16,360 --> 00:41:19,200
Speaker 1: up show that's going to get us many many years.

781
00:41:19,840 --> 00:41:21,719
Speaker 1: Like did you ever feel the pressure of that? Did

782
00:41:21,719 --> 00:41:23,480
Speaker 1: that ever get to you? Or did you did you

783
00:41:23,520 --> 00:41:25,360
Speaker 1: just have so much confidence that you knew what to

784
00:41:25,400 --> 00:41:28,120
Speaker 1: do that it was fine. Well, you know, it wasn't

785
00:41:28,120 --> 00:41:30,200
Speaker 1: me solo. You know, Michael's there, the network's there, we

786
00:41:30,200 --> 00:41:33,799
Speaker 1: had a good staff, and but I was confident that

787
00:41:34,000 --> 00:41:37,239
Speaker 1: I think I know how to do this. So um,

788
00:41:37,320 --> 00:41:40,399
Speaker 1: but it's it's always pressure. It's always pressure. It's it's

789
00:41:40,760 --> 00:41:42,640
Speaker 1: no matter what if you're if you're running a show,

790
00:41:42,680 --> 00:41:45,160
Speaker 1: it's like, yeah, you're going to be the person who

791
00:41:45,200 --> 00:41:48,120
Speaker 1: picks the words that will fuel this machine that spends

792
00:41:48,160 --> 00:41:51,600
Speaker 1: millions and millions of dollars and oh yeah, and be funny, right,

793
00:41:53,160 --> 00:41:57,719
Speaker 1: universally funny something we can all agree is funny. Yeah, exactly, exactly. Yeah,

794
00:41:57,760 --> 00:42:01,239
Speaker 1: So yeah, there was pressure. And you know it's uh

795
00:42:01,680 --> 00:42:04,200
Speaker 1: staying on budget. The way it worked at the time

796
00:42:04,239 --> 00:42:07,759
Speaker 1: at the at Disney as every quarter I would be

797
00:42:07,800 --> 00:42:10,400
Speaker 1: summoned to Disney and and uh they look at the

798
00:42:10,400 --> 00:42:14,000
Speaker 1: budget and say you're you're you're four percent over budget,

799
00:42:14,000 --> 00:42:17,080
Speaker 1: where you'd wow, and i'd say, you know, it's ninety

800
00:42:17,120 --> 00:42:22,120
Speaker 1: six percent good. You know, I'd like anything am doing. Okay,

801
00:42:22,120 --> 00:42:24,279
Speaker 1: so we'll use it one less guest star and have

802
00:42:24,360 --> 00:42:27,360
Speaker 1: less trees, Okay, you know, okay, Right, well, that's what

803
00:42:27,440 --> 00:42:30,120
Speaker 1: I was gonna ask. I mean often we guest guest cast.

804
00:42:30,320 --> 00:42:34,800
Speaker 1: Just cast must have been the most expensive component, right, yeah,

805
00:42:34,800 --> 00:42:37,480
Speaker 1: there was there. That was you were we were limited

806
00:42:37,520 --> 00:42:39,160
Speaker 1: until who we could. I mean I've heard you guys

807
00:42:39,160 --> 00:42:41,840
Speaker 1: to discuss, you know, where's where Stepango this week? What happened?

808
00:42:41,840 --> 00:42:44,160
Speaker 1: How come this person come back? Money is a factor,

809
00:42:44,320 --> 00:42:47,239
Speaker 1: but it's also pages. It's you know, it's if the

810
00:42:47,400 --> 00:42:50,200
Speaker 1: sitcom script, it's forty five pages and a story. The

811
00:42:50,280 --> 00:42:53,239
Speaker 1: a story is going to take thirty pages, and it's

812
00:42:53,239 --> 00:42:57,440
Speaker 1: about you know, uh, Eric and Corey, and it's just

813
00:42:57,600 --> 00:42:59,920
Speaker 1: uh uh we have to make sure that Sean is

814
00:43:00,040 --> 00:43:03,319
Speaker 1: something to do, so let's find that and uh and

815
00:43:03,400 --> 00:43:04,799
Speaker 1: of course you have to find something for a Bill

816
00:43:04,840 --> 00:43:09,120
Speaker 1: to do, and Resty and Batsy, the parents so character

817
00:43:09,360 --> 00:43:12,239
Speaker 1: it's it's a lot of things to uh to fit in.

818
00:43:12,640 --> 00:43:15,000
Speaker 1: Now that that's you mentioned Bill. So that's one one

819
00:43:15,800 --> 00:43:17,839
Speaker 1: question I wanted to ask you because it seems like

820
00:43:18,040 --> 00:43:21,200
Speaker 1: you know, he's brought on as the principal essentially in

821
00:43:21,239 --> 00:43:24,640
Speaker 1: the in the second season, so he's not in the classroom. Um,

822
00:43:25,239 --> 00:43:28,160
Speaker 1: and it seems like he has kind of a smaller

823
00:43:28,280 --> 00:43:32,640
Speaker 1: role this year than he did season one. Was that

824
00:43:32,760 --> 00:43:35,640
Speaker 1: also something that was planned or I mean, because again

825
00:43:35,680 --> 00:43:37,440
Speaker 1: you want to age it up, but you want to

826
00:43:37,600 --> 00:43:39,719
Speaker 1: you know, age it up for the kids. Was it

827
00:43:39,800 --> 00:43:41,920
Speaker 1: was it kind of like, hey, we're gonna just move

828
00:43:41,960 --> 00:43:44,000
Speaker 1: Bill to the side a little bit more than we

829
00:43:44,040 --> 00:43:46,200
Speaker 1: did last year. It was more like when you have

830
00:43:46,239 --> 00:43:48,680
Speaker 1: to other characters to service. If you're going to go

831
00:43:48,719 --> 00:43:51,120
Speaker 1: to school, you'll have that many scenes and pages in school,

832
00:43:51,560 --> 00:43:54,600
Speaker 1: and if you're going to do the faculty, you have

833
00:43:54,640 --> 00:43:58,480
Speaker 1: another faculty member to serve and introduce. And I'd like

834
00:43:58,560 --> 00:44:00,600
Speaker 1: to think, yeah, if you probably looked at the screen

835
00:44:00,600 --> 00:44:02,560
Speaker 1: time that Bill had first versus second season, he had

836
00:44:02,640 --> 00:44:04,879
Speaker 1: less than the second season. But I'd like to think

837
00:44:04,920 --> 00:44:08,160
Speaker 1: that the stuff he did was as meaningful. Yeah, and

838
00:44:08,360 --> 00:44:10,239
Speaker 1: that his presence, I mean, Bill could be in seven

839
00:44:10,280 --> 00:44:12,479
Speaker 1: pages and you'd feel him through the whole show. Yeah,

840
00:44:12,480 --> 00:44:15,360
Speaker 1: you know that just that stronger presence. But there was

841
00:44:15,400 --> 00:44:17,440
Speaker 1: never anything else, you know, we need less Bill. It

842
00:44:17,840 --> 00:44:20,319
Speaker 1: was never that it's just this is what we have

843
00:44:20,360 --> 00:44:22,960
Speaker 1: to do to make the show run lots of years,

844
00:44:23,360 --> 00:44:26,759
Speaker 1: and it's what we have to introduce. And uh uh,

845
00:44:26,960 --> 00:44:28,880
Speaker 1: you know after the third season, you know, I was

846
00:44:28,960 --> 00:44:30,000
Speaker 1: not the air, so I don't know what it was

847
00:44:30,040 --> 00:44:33,759
Speaker 1: in the you know, Tony and other parts and who

848
00:44:33,800 --> 00:44:35,399
Speaker 1: was coming and who was going. You know, I would

849
00:44:35,400 --> 00:44:37,520
Speaker 1: come back to direct. Yeah, I came back to direct.

850
00:44:37,560 --> 00:44:39,680
Speaker 1: But it's like, okay, here's the strip, right, all right,

851
00:44:40,440 --> 00:44:43,959
Speaker 1: So why why did you leave? I had other opportunities

852
00:44:43,960 --> 00:44:45,880
Speaker 1: to do stuff and led to my own show that

853
00:44:46,120 --> 00:44:48,759
Speaker 1: got on the air that didn't last. But it was

854
00:44:48,800 --> 00:44:51,760
Speaker 1: a tough decision because I, you know, missed and bonded

855
00:44:51,800 --> 00:44:54,080
Speaker 1: with you guys. That's why I was. It was real happy,

856
00:44:54,360 --> 00:44:56,760
Speaker 1: very happy. When Blackman and bus Gang, who were running

857
00:44:56,760 --> 00:44:59,160
Speaker 1: it after I had left, Mark and Howard said would

858
00:44:59,160 --> 00:45:00,560
Speaker 1: you want to come back and do it was like

859
00:45:00,560 --> 00:45:02,840
Speaker 1: hell yeah. Before they got the end of the sentence

860
00:45:02,880 --> 00:45:05,600
Speaker 1: and and you guys welcome me back. It wasn't like,

861
00:45:05,760 --> 00:45:07,880
Speaker 1: you know, what the hell are you doing here? Grudge

862
00:45:07,880 --> 00:45:11,640
Speaker 1: holders you Yeah, yeah, I didn't. I didn't sense any

863
00:45:11,640 --> 00:45:14,360
Speaker 1: of that. If you, if you did, you hit it, well,

864
00:45:14,400 --> 00:45:17,560
Speaker 1: I'm curious how much of our conscious brains, like understood

865
00:45:17,640 --> 00:45:21,120
Speaker 1: like director. I mean, we definitely knew directors versus writers

866
00:45:21,200 --> 00:45:23,719
Speaker 1: versus producers, but like you showing up to direct we

867
00:45:23,719 --> 00:45:27,920
Speaker 1: were probably like, oh, you've been here this whole time. Yea, yeah, yeah, yeah,

868
00:45:27,960 --> 00:45:30,640
Speaker 1: it doesn't at least to another thing. I've heard you

869
00:45:30,680 --> 00:45:34,680
Speaker 1: guys talk about things that happened that you are not

870
00:45:34,719 --> 00:45:36,799
Speaker 1: privy too, or things not being explained or just hey

871
00:45:36,800 --> 00:45:40,239
Speaker 1: you gotta kiss this personnel, and I apologize for not

872
00:45:40,320 --> 00:45:44,080
Speaker 1: being sensitive to that, and uh, it's just I listened

873
00:45:44,080 --> 00:45:45,640
Speaker 1: to it. I go, man, why did I think of that?

874
00:45:45,760 --> 00:45:49,359
Speaker 1: So though, sorry for being part of putting you guys

875
00:45:49,360 --> 00:45:52,759
Speaker 1: through that. So no, it's it's all part of the

876
00:45:52,760 --> 00:45:56,960
Speaker 1: culture at the time, you know. It's it's definitely it's

877
00:45:57,000 --> 00:46:00,719
Speaker 1: hard to you can't really single any one personnel responsibility

878
00:46:00,760 --> 00:46:02,360
Speaker 1: for that sort of thing. It was just the vibe,

879
00:46:02,360 --> 00:46:04,279
Speaker 1: you know. And that's yeah, that's why being a child

880
00:46:04,280 --> 00:46:07,880
Speaker 1: actor's hard. Yeah, you don't have control over sometimes we

881
00:46:07,960 --> 00:46:10,919
Speaker 1: treated the child actors like there were children, so yes,

882
00:46:11,440 --> 00:46:14,839
Speaker 1: but also in an adult in an adult role, so's. Yeah,

883
00:46:15,000 --> 00:46:17,719
Speaker 1: it's a very it's a it's a strange balance that

884
00:46:17,760 --> 00:46:20,399
Speaker 1: we again when you're in it and you've been doing

885
00:46:20,400 --> 00:46:22,439
Speaker 1: it for we all started when we were so young

886
00:46:22,560 --> 00:46:24,840
Speaker 1: that it was just normal. For it was all just

887
00:46:24,880 --> 00:46:26,680
Speaker 1: a normal kind of thing. It's looking back with the

888
00:46:26,680 --> 00:46:28,200
Speaker 1: eyes of an adult that you kind of go, oh,

889
00:46:28,200 --> 00:46:30,040
Speaker 1: maybe that wasn't normal for a twelve year old, you

890
00:46:30,080 --> 00:46:31,880
Speaker 1: know that kind of stuff. So well, also, there was

891
00:46:31,920 --> 00:46:35,399
Speaker 1: definitely there There's always been an idea of well, that's

892
00:46:35,480 --> 00:46:38,560
Speaker 1: their job, that's what actors do. Well, you do whatever's

893
00:46:38,600 --> 00:46:41,880
Speaker 1: on the page, and and it's only you know, like

894
00:46:42,000 --> 00:46:44,040
Speaker 1: Will said, now as adults looking back on it and

895
00:46:44,080 --> 00:46:46,640
Speaker 1: it being us, uh that I think, you know, we're

896
00:46:46,680 --> 00:46:49,600
Speaker 1: able to go, hey, yeah, it was our job. But

897
00:46:49,680 --> 00:46:53,480
Speaker 1: also first before professionals were children. Um, and I think

898
00:46:53,560 --> 00:46:59,160
Speaker 1: now people think about that, you know, way from the beginning, like,

899
00:46:59,280 --> 00:47:02,960
Speaker 1: these are people, these are real children, and let's address

900
00:47:03,080 --> 00:47:06,160
Speaker 1: those concerns and needs first and then we can talk

901
00:47:06,200 --> 00:47:08,760
Speaker 1: about the professional aspect of it and the job aspect

902
00:47:08,840 --> 00:47:12,839
Speaker 1: of it. But that's just you know time. But yeah,

903
00:47:12,880 --> 00:47:15,319
Speaker 1: things that we're talking about, we've talked about it on

904
00:47:15,320 --> 00:47:17,520
Speaker 1: this podcast. How for the life of the child actor

905
00:47:17,680 --> 00:47:21,200
Speaker 1: is constantly growing, evolving and getting better. Yes, you know,

906
00:47:21,280 --> 00:47:23,080
Speaker 1: from back in the day when you're when the kids

907
00:47:23,080 --> 00:47:25,480
Speaker 1: were on set for twenty five hours and doing their

908
00:47:25,480 --> 00:47:28,560
Speaker 1: own stunts and and too. You know what we went through,

909
00:47:28,600 --> 00:47:32,040
Speaker 1: which was was mostly a very positive experience all the

910
00:47:32,080 --> 00:47:34,799
Speaker 1: way around to now where it's very much about making

911
00:47:34,800 --> 00:47:38,200
Speaker 1: sure that everybody's safe and healthy and working with kids

912
00:47:38,200 --> 00:47:41,320
Speaker 1: it's its own thing. You have to treat them, remember

913
00:47:41,320 --> 00:47:45,480
Speaker 1: their kids, treat them respectfully like adults. But we are

914
00:47:45,520 --> 00:47:48,319
Speaker 1: here to work and I feel really good. I mean,

915
00:47:48,400 --> 00:47:52,560
Speaker 1: we're all still in touch. And yeah, absolutely, you know absolutely,

916
00:47:53,120 --> 00:47:54,680
Speaker 1: you know I've said this before. I feel like I've

917
00:47:54,680 --> 00:47:58,480
Speaker 1: about forty nieces and nephews out there from the shows

918
00:47:58,520 --> 00:48:00,600
Speaker 1: I've done. And one son, I was gonna say, on

919
00:48:00,680 --> 00:48:03,640
Speaker 1: one son with me, can you guys tell the story?

920
00:48:04,440 --> 00:48:06,799
Speaker 1: Well you want me to tell? Well, yes, how I

921
00:48:06,840 --> 00:48:10,200
Speaker 1: remember so, I remember we were so the Nancy Kerrigan

922
00:48:10,400 --> 00:48:12,359
Speaker 1: was coming on to do the dream sequence, and of

923
00:48:12,360 --> 00:48:15,680
Speaker 1: course we had to go and shoot the sequence in

924
00:48:15,760 --> 00:48:17,719
Speaker 1: Lake Placid where you guys got to go in the

925
00:48:17,719 --> 00:48:22,080
Speaker 1: field together. Yes, it was beautifully warm, sunny, happy time.

926
00:48:22,520 --> 00:48:27,000
Speaker 1: It was like negative sixty degrees um and we flew there.

927
00:48:27,080 --> 00:48:30,200
Speaker 1: It was it was David and Karen McCain. McCain the

928
00:48:30,239 --> 00:48:33,480
Speaker 1: line producer, wonderful line producer, incredible line producer, and the

929
00:48:33,480 --> 00:48:35,320
Speaker 1: three of us went and was it at a restaurant?

930
00:48:35,440 --> 00:48:37,279
Speaker 1: Was it in the airport? Where did this happen? It

931
00:48:37,360 --> 00:48:39,640
Speaker 1: was in the airplane because you were I was sitting

932
00:48:39,640 --> 00:48:41,359
Speaker 1: with Karen and you were a row ahead of us,

933
00:48:42,280 --> 00:48:44,880
Speaker 1: and they asked it didn't did they ask you or

934
00:48:44,960 --> 00:48:46,840
Speaker 1: they asked you tell the stories. I can't remember exactly

935
00:48:46,840 --> 00:48:52,800
Speaker 1: what happened. The steward, Uh, clearly he fancied Will, and

936
00:48:53,120 --> 00:48:55,680
Speaker 1: I wanted to make sure that it Will was alone

937
00:48:55,760 --> 00:49:00,439
Speaker 1: before pursuing further conversation, and said, is that your father

938
00:49:01,120 --> 00:49:04,560
Speaker 1: referring to me? And I was not his father. So

939
00:49:07,560 --> 00:49:10,759
Speaker 1: from that moment, that moment on, yeah, he's being what

940
00:49:10,840 --> 00:49:12,640
Speaker 1: always like, how you doing, son? I'm like, I'm good, Dad,

941
00:49:12,640 --> 00:49:18,160
Speaker 1: I'm good. Happy birthday. Yeah, I really get Happy birthday, Son.

942
00:49:18,239 --> 00:49:20,279
Speaker 1: I get all this stuff. So David Kendall is my

943
00:49:20,320 --> 00:49:23,160
Speaker 1: producer TV daddy. Yeah, okay, you guys bonded on that trip.

944
00:49:23,200 --> 00:49:25,440
Speaker 1: I remember you guys came back and you were like

945
00:49:25,840 --> 00:49:28,880
Speaker 1: fast friends for the rest of the show. Was so funny. Yeah,

946
00:49:28,920 --> 00:49:31,799
Speaker 1: we had inside so jealous because it's such a good time. Yeah,

947
00:49:31,800 --> 00:49:33,480
Speaker 1: it was. It was. It was a lot of fun.

948
00:49:33,520 --> 00:49:35,560
Speaker 1: It wasn't It was just because it was an experience

949
00:49:35,640 --> 00:49:37,800
Speaker 1: just being in the field, you know, it was an experience. Yeah,

950
00:49:37,840 --> 00:49:39,640
Speaker 1: but Will didn't get to go to Disney World, so

951
00:49:39,719 --> 00:49:42,400
Speaker 1: let's not bring up the fun Lake Plastic trip because

952
00:49:42,400 --> 00:49:43,759
Speaker 1: he didn't get to go to Disney. I wasn't going

953
00:49:43,840 --> 00:49:45,360
Speaker 1: to bring it up. Danielle. It was going to be

954
00:49:45,400 --> 00:49:50,000
Speaker 1: water under a really cold bridge. Okay, David, I have

955
00:49:50,080 --> 00:49:52,319
Speaker 1: a very important question for you, and I think you're

956
00:49:52,320 --> 00:49:57,279
Speaker 1: the perfect person to answer it. Would Danielle Harris who

957
00:49:57,360 --> 00:50:01,279
Speaker 1: played t K? Would Danielle Harris have been back had

958
00:50:01,400 --> 00:50:05,040
Speaker 1: Danny McNulty stuck around for longer? Like would was their

959
00:50:05,120 --> 00:50:07,880
Speaker 1: potential for Danielle Harris to be more of a recurring

960
00:50:07,920 --> 00:50:12,360
Speaker 1: guest cast because she was so incredible as TK. She

961
00:50:12,560 --> 00:50:17,719
Speaker 1: was great. But I it was a wonderful one off story. Yeah,

962
00:50:17,800 --> 00:50:21,200
Speaker 1: but if we had to honor that character and bring

963
00:50:21,239 --> 00:50:23,319
Speaker 1: her back, it would have taken up a lot of

964
00:50:23,400 --> 00:50:26,520
Speaker 1: pages and a lot of stories. Yeah, I can't remember

965
00:50:26,560 --> 00:50:29,479
Speaker 1: that being as wonderful as it was. There's sometimes there's

966
00:50:29,520 --> 00:50:34,200
Speaker 1: great one off stories that hum when you're in the

967
00:50:34,280 --> 00:50:37,600
Speaker 1: room trying to come up with stories that keeps the

968
00:50:37,600 --> 00:50:40,640
Speaker 1: the engine going in the main dynamics. That was not

969
00:50:41,040 --> 00:50:44,239
Speaker 1: one of them. That would have been that's a spin off,

970
00:50:44,280 --> 00:50:48,640
Speaker 1: that's right. I also, you know, a couple since we

971
00:50:48,800 --> 00:50:51,479
Speaker 1: watched that episode and talked about a couple of people

972
00:50:51,560 --> 00:50:54,359
Speaker 1: have sent us behind the scenes Danielle Harris, Like there's

973
00:50:54,360 --> 00:50:56,960
Speaker 1: some YouTube video of like hole behind the scenes about her,

974
00:50:57,040 --> 00:50:58,560
Speaker 1: And I feel like in some ways we were kind

975
00:50:58,560 --> 00:51:01,279
Speaker 1: of lucky to get her. Yeah, I feel like she

976
00:51:01,440 --> 00:51:03,839
Speaker 1: probably wouldn't you know, she was like it was she

977
00:51:03,920 --> 00:51:06,440
Speaker 1: came on as a guest star to like do her

978
00:51:06,560 --> 00:51:08,879
Speaker 1: one big episode, but I feel like she was doing

979
00:51:09,000 --> 00:51:11,120
Speaker 1: movie after movie after show after. I feel like she's

980
00:51:11,120 --> 00:51:12,440
Speaker 1: the kind of person that you would have had to

981
00:51:12,480 --> 00:51:14,759
Speaker 1: like create an entire show. She wouldn't have wanted us.

982
00:51:14,800 --> 00:51:17,520
Speaker 1: She wouldn't have wanted us. Yeah, to be a secondary

983
00:51:17,600 --> 00:51:20,560
Speaker 1: or tertiary character in our show, and there's filming people

984
00:51:20,640 --> 00:51:22,600
Speaker 1: to serve. It would have been a lot of story

985
00:51:22,760 --> 00:51:25,279
Speaker 1: and a lot of pages. And if someone's talking, someone

986
00:51:25,320 --> 00:51:28,240
Speaker 1: else isn't, you know, right, So I have a question

987
00:51:28,280 --> 00:51:30,640
Speaker 1: for you, because you're obviously you've done the six hundred

988
00:51:30,680 --> 00:51:33,040
Speaker 1: episodes of television, been involved in and being a television

989
00:51:33,080 --> 00:51:37,120
Speaker 1: to hallic myself. Is there a show that you really

990
00:51:37,239 --> 00:51:39,840
Speaker 1: wanted to direct or beyond that you didn't get a

991
00:51:39,880 --> 00:51:41,640
Speaker 1: chance to where it was like that's oh man, I

992
00:51:41,640 --> 00:51:45,359
Speaker 1: wanted to do that. A lot of shows, you know,

993
00:51:45,400 --> 00:51:47,520
Speaker 1: it's like, oh I could. I couldn't make that work?

994
00:51:47,560 --> 00:51:51,040
Speaker 1: I could, I could do that. I don't really think

995
00:51:51,080 --> 00:51:54,319
Speaker 1: like that that hard because it's just, you know, what's

996
00:51:54,320 --> 00:51:55,839
Speaker 1: in front of me. What am I getting to do?

997
00:51:56,800 --> 00:51:59,920
Speaker 1: Because it's a great privilege to be on a set

998
00:51:59,800 --> 00:52:03,279
Speaker 1: and talk to the actors and work the story and

999
00:52:03,280 --> 00:52:05,319
Speaker 1: make it work visual. But it's not like there's at

1000
00:52:05,400 --> 00:52:09,560
Speaker 1: this holy grail or work thing. I just don't think

1001
00:52:09,560 --> 00:52:12,480
Speaker 1: like that. Sorry for the disappointing answer. No, No, not

1002
00:52:12,560 --> 00:52:15,160
Speaker 1: at all. It's a great answer. It's a great answer.

1003
00:52:15,480 --> 00:52:19,560
Speaker 1: How far ahead were scripts done? Like three or four weeks?

1004
00:52:20,280 --> 00:52:22,719
Speaker 1: They're probably you know, you have your outlines, you have

1005
00:52:22,760 --> 00:52:26,120
Speaker 1: your first drafts, you have revised drafts, so we're probably

1006
00:52:26,520 --> 00:52:28,920
Speaker 1: six or eight ahead. I like to be ahead a

1007
00:52:28,960 --> 00:52:31,440
Speaker 1: lot because I don't like that less minute stuff. So

1008
00:52:31,480 --> 00:52:35,719
Speaker 1: I'm trying to be uber organized and meticulous and let's

1009
00:52:35,719 --> 00:52:38,440
Speaker 1: get ahead, Let's get ahead, let's get ahead. So usually

1010
00:52:38,600 --> 00:52:41,680
Speaker 1: six to eight and the whole season is outlined before

1011
00:52:41,680 --> 00:52:44,359
Speaker 1: we start, right like, no, no, no, it's not ideas,

1012
00:52:44,360 --> 00:52:46,880
Speaker 1: some ideas and some sense of where the arcs are.

1013
00:52:47,600 --> 00:52:50,319
Speaker 1: But you know, nowadays in the world of binging, you

1014
00:52:50,360 --> 00:52:53,040
Speaker 1: want to go in with with the arcs set and

1015
00:52:53,440 --> 00:52:55,640
Speaker 1: really firm, so you know where the kind of milestone

1016
00:52:55,680 --> 00:52:58,440
Speaker 1: and the big moments are so you can, uh, you know,

1017
00:52:58,640 --> 00:53:01,160
Speaker 1: keep the audience through. But in our world where we

1018
00:53:01,200 --> 00:53:04,120
Speaker 1: had just general arcs mostly about Corey and to Pang

1019
00:53:04,160 --> 00:53:07,239
Speaker 1: in terms of their relationship, and then another not so

1020
00:53:07,320 --> 00:53:09,200
Speaker 1: much an arc, but just kind of diving deep into

1021
00:53:09,239 --> 00:53:11,680
Speaker 1: what Shahn's going through and how that's affecting him and

1022
00:53:11,719 --> 00:53:14,520
Speaker 1: what stories we can get it out of that. So

1023
00:53:15,200 --> 00:53:17,680
Speaker 1: it was it's like we had room to see what

1024
00:53:17,719 --> 00:53:20,279
Speaker 1: was working and you know, who knew that that the

1025
00:53:20,560 --> 00:53:22,879
Speaker 1: thugs were going to work in episode one, you know, right? Yeah,

1026
00:53:23,640 --> 00:53:26,000
Speaker 1: and how much they added to the show and uh,

1027
00:53:26,640 --> 00:53:31,839
Speaker 1: I bought my Harley T shirt yesterday. Yeah. Were there

1028
00:53:31,840 --> 00:53:36,239
Speaker 1: any ideas that you remember for the show that like

1029
00:53:36,360 --> 00:53:39,040
Speaker 1: you really wanted that then didn't end up going through.

1030
00:53:39,680 --> 00:53:42,920
Speaker 1: Oh yeah, we had a really nice um episode in

1031
00:53:42,960 --> 00:53:46,200
Speaker 1: the first season. I think Mark Bleatman might have mentioned it,

1032
00:53:46,239 --> 00:53:49,000
Speaker 1: but he remembered it a little bit differently, where Corey

1033
00:53:49,600 --> 00:53:51,640
Speaker 1: gets to throw out the first pitch at the Phillies

1034
00:53:51,719 --> 00:53:55,160
Speaker 1: game and injures, you know, Lenny Deistro, the star Philly,

1035
00:53:55,239 --> 00:53:59,440
Speaker 1: so he's like Verboating and he's like the goat of Philadelphia.

1036
00:53:59,480 --> 00:54:02,440
Speaker 1: So I thought that was a nice story, but that

1037
00:54:02,480 --> 00:54:05,800
Speaker 1: would have involved using actual major league uniforms and Disney

1038
00:54:05,800 --> 00:54:07,759
Speaker 1: didn't want to pay for that in the logos. The

1039
00:54:07,840 --> 00:54:12,759
Speaker 1: story died because we couldn't use major league uniforms. But

1040
00:54:12,800 --> 00:54:15,200
Speaker 1: I always thought, especially early on, you know it's my

1041
00:54:15,520 --> 00:54:17,520
Speaker 1: first year, it's like, this is a great story. This

1042
00:54:17,560 --> 00:54:19,520
Speaker 1: is about It's about Philadelphia. It's about the kid that

1043
00:54:19,560 --> 00:54:23,759
Speaker 1: love sports. It's just the comically funny that with the

1044
00:54:23,800 --> 00:54:26,240
Speaker 1: greatest honor the kids ever had in his life, turns

1045
00:54:26,280 --> 00:54:28,760
Speaker 1: into you know, he's the the the goat of the city.

1046
00:54:28,800 --> 00:54:30,759
Speaker 1: So that was a fun story that we never got

1047
00:54:30,760 --> 00:54:32,919
Speaker 1: to do because they would have had to be Major

1048
00:54:32,960 --> 00:54:48,320
Speaker 1: League Baseball licensing fees. Wow. So funny how that works. Yeah,

1049
00:54:48,600 --> 00:54:51,440
Speaker 1: We've talked about Will's development a little bit, but I

1050
00:54:51,520 --> 00:54:54,040
Speaker 1: want to hear like because by the end of the

1051
00:54:54,040 --> 00:54:58,960
Speaker 1: second season, was he as crazy as he got or no,

1052
00:54:59,480 --> 00:55:02,759
Speaker 1: like I think second third season is when the ramp

1053
00:55:02,800 --> 00:55:05,960
Speaker 1: up into crazy happened and into just way out there,

1054
00:55:06,200 --> 00:55:09,080
Speaker 1: and you had inherited Jason Marsden as the best friend,

1055
00:55:09,120 --> 00:55:12,200
Speaker 1: because that would happen in first season, right, I don't

1056
00:55:12,200 --> 00:55:16,000
Speaker 1: remember Jason's first Yeah I was, he was in first season. Okay,

1057
00:55:16,040 --> 00:55:19,120
Speaker 1: I don't remember. Yeah, so the Lobster, which is the

1058
00:55:19,160 --> 00:55:23,200
Speaker 1: Lobster was first season and his first season, and yeah, yeah,

1059
00:55:23,440 --> 00:55:25,560
Speaker 1: so I guess I'm just curious. Did you ever feel

1060
00:55:25,719 --> 00:55:28,600
Speaker 1: this sort of with with Will's character, Like were you

1061
00:55:28,600 --> 00:55:33,480
Speaker 1: guys consciously developing Eric or was it like always no,

1062
00:55:33,640 --> 00:55:35,879
Speaker 1: we know, we just got to write funny scenes for Will.

1063
00:55:35,920 --> 00:55:38,760
Speaker 1: It's just gonna be. It was like, you know what's working.

1064
00:55:38,920 --> 00:55:42,520
Speaker 1: And also comedy writers, if something's funny, we will gravitate

1065
00:55:42,560 --> 00:55:45,160
Speaker 1: to it, sometimes to a default. It's like, Wow, he's

1066
00:55:45,280 --> 00:55:47,520
Speaker 1: making the out there stuff really worked. It's like we

1067
00:55:47,560 --> 00:55:50,160
Speaker 1: have our own Jim Carrey. Let's let's say it was

1068
00:55:50,200 --> 00:55:52,719
Speaker 1: really about his Let's feed him stuff to see if

1069
00:55:52,719 --> 00:55:54,920
Speaker 1: he can do it. Holy crap, he can do it.

1070
00:55:54,960 --> 00:55:56,799
Speaker 1: He can do more like beat it, Let's feed it.

1071
00:55:56,840 --> 00:56:00,480
Speaker 1: Let's and with Rusty and Betsy. What was that dynamic?

1072
00:56:00,560 --> 00:56:02,480
Speaker 1: Do you guys, do you remember the conversations you guys

1073
00:56:02,480 --> 00:56:05,399
Speaker 1: were having, because we've seen their relationship change a little

1074
00:56:05,400 --> 00:56:10,320
Speaker 1: bit second season, it seemed maybe a little more adult

1075
00:56:10,360 --> 00:56:13,719
Speaker 1: in the second season. I don't know, but but it

1076
00:56:13,800 --> 00:56:16,600
Speaker 1: was really you know, the show is called boy Meets

1077
00:56:16,600 --> 00:56:18,480
Speaker 1: World and it's on the kids point of view. It's

1078
00:56:18,480 --> 00:56:20,960
Speaker 1: always the kids' point of view, so the parents will

1079
00:56:21,000 --> 00:56:25,480
Speaker 1: always be secondary. But you need, you know, grounding parents.

1080
00:56:26,080 --> 00:56:27,719
Speaker 1: And they did such a great job. I mean, you

1081
00:56:27,760 --> 00:56:30,759
Speaker 1: totally believe that their parents, and you totally believe you know,

1082
00:56:30,800 --> 00:56:33,680
Speaker 1: they're both great TV parents. They're they're not your standard.

1083
00:56:33,719 --> 00:56:37,040
Speaker 1: I mean, Rusty had had a has a wonderful edge,

1084
00:56:37,520 --> 00:56:40,200
Speaker 1: but also it has a loving and warm so he

1085
00:56:40,280 --> 00:56:43,960
Speaker 1: was like the perfect TV dad. But you know, there

1086
00:56:43,960 --> 00:56:47,480
Speaker 1: were stories occasionally about them, but they were always involved

1087
00:56:47,520 --> 00:56:50,000
Speaker 1: with the with the kids. Oh we did do when

1088
00:56:50,040 --> 00:56:52,440
Speaker 1: he gets his band together, we did do that one

1089
00:56:53,080 --> 00:56:59,000
Speaker 1: tons good yeah, yeah, four guitarists, four guitars. Yeah, we

1090
00:56:59,040 --> 00:57:03,280
Speaker 1: did do that. But that was it was always secondary.

1091
00:57:03,360 --> 00:57:05,480
Speaker 1: Pants are always going to be secondary, and that's you know,

1092
00:57:05,960 --> 00:57:08,759
Speaker 1: life on a kid show for the adult actors was

1093
00:57:08,840 --> 00:57:11,520
Speaker 1: continuity ever talked about in the writer's room, like, we

1094
00:57:11,640 --> 00:57:15,160
Speaker 1: obviously notice a bunch of continuity things now because we're

1095
00:57:15,200 --> 00:57:17,800
Speaker 1: binging it, but you weren't binging back then, and so like,

1096
00:57:17,800 --> 00:57:24,680
Speaker 1: where's the yard a front yard, back yard nela sisters? Stay? Yes,

1097
00:57:24,920 --> 00:57:27,280
Speaker 1: you know, I don't think anybody ever watched the show

1098
00:57:27,320 --> 00:57:33,320
Speaker 1: and just mommy, mommy, that's not the hallway. And also

1099
00:57:33,360 --> 00:57:35,960
Speaker 1: I said this in Jess, but I'll use it now.

1100
00:57:36,320 --> 00:57:38,680
Speaker 1: It's like, you know, the they the door on the

1101
00:57:38,720 --> 00:57:41,720
Speaker 1: camera right, sometimes the bloyer's room. Sometimes it's the history classroom.

1102
00:57:41,800 --> 00:57:44,840
Speaker 1: Sometimes this their PHOENI well, the school is about seven

1103
00:57:44,920 --> 00:57:47,920
Speaker 1: stories tall. Every floor parent has the same layout, so

1104
00:57:47,960 --> 00:57:52,360
Speaker 1: they're just on different floors. I like how they put

1105
00:57:52,400 --> 00:57:54,720
Speaker 1: the same posters on the on every floor, just to

1106
00:57:54,760 --> 00:58:02,240
Speaker 1: remind everything. Mister Turner's classroom is also on the always

1107
00:58:02,240 --> 00:58:04,880
Speaker 1: got on all seven floors. I got mister Turner's classroom.

1108
00:58:04,920 --> 00:58:07,400
Speaker 1: I love that. Clearly I didn't test this theory before.

1109
00:58:09,360 --> 00:58:11,480
Speaker 1: There's no theory you can throw our way that we

1110
00:58:11,560 --> 00:58:15,400
Speaker 1: will not rip to shreds immediately. The show was designed

1111
00:58:15,400 --> 00:58:19,320
Speaker 1: to be twenty two minutes a week, right, Um, I'd

1112
00:58:19,320 --> 00:58:21,560
Speaker 1: like to know why we are so much better than

1113
00:58:21,600 --> 00:58:27,400
Speaker 1: Growing Pains? Do you think we are I've never watched

1114
00:58:27,440 --> 00:58:31,440
Speaker 1: Growing Pains. All my children will and they can't have it.

1115
00:58:31,680 --> 00:58:34,400
Speaker 1: I can't favor. Growing Pains was good. Growing Pains was

1116
00:58:34,440 --> 00:58:38,040
Speaker 1: a solid sitcom. It really solid eighties family sitcom. It

1117
00:58:38,080 --> 00:58:41,640
Speaker 1: really was Yeah, really okay. But here is maybe a

1118
00:58:41,720 --> 00:58:45,720
Speaker 1: more realistic way of framing that similar that same question.

1119
00:58:46,760 --> 00:58:50,280
Speaker 1: Did you ever think when you were doing season two

1120
00:58:50,280 --> 00:58:53,360
Speaker 1: in season three of Boy Meat's World that you would

1121
00:58:53,360 --> 00:58:57,360
Speaker 1: be talking about this show thirty years later? Oh? No,

1122
00:58:57,480 --> 00:58:59,080
Speaker 1: I mean it was really like I said, it was

1123
00:58:59,240 --> 00:59:02,920
Speaker 1: what show? Is that? Boy? What? And then you know,

1124
00:59:02,920 --> 00:59:05,120
Speaker 1: when it ran forever, it was like is that still long?

1125
00:59:05,600 --> 00:59:08,280
Speaker 1: So we went from what's that show? To is that?

1126
00:59:09,040 --> 00:59:12,160
Speaker 1: And we didn't know that we were just you know,

1127
00:59:12,360 --> 00:59:14,960
Speaker 1: people were loving it. I mean, I had no idea

1128
00:59:15,240 --> 00:59:17,560
Speaker 1: that that was the level of affection for the show,

1129
00:59:17,560 --> 00:59:19,640
Speaker 1: and that, you know, go to when my kids were

1130
00:59:19,640 --> 00:59:21,640
Speaker 1: in high school, I go to pick them up and

1131
00:59:21,680 --> 00:59:23,760
Speaker 1: you'd see a sign, well it means the world trivia night,

1132
00:59:23,760 --> 00:59:28,160
Speaker 1: Friday night. You know. Cool? Now, I know I'm hoping,

1133
00:59:28,200 --> 00:59:29,640
Speaker 1: but I doubt I doubt it because I'm sure it

1134
00:59:29,640 --> 00:59:31,440
Speaker 1: was thrown around everywhere. You said they talked about the

1135
00:59:31,440 --> 00:59:33,120
Speaker 1: idea of changing the name. Do you buy any chance

1136
00:59:33,160 --> 00:59:35,360
Speaker 1: to remember any of the alternatives? Did anybody throw anything

1137
00:59:35,360 --> 00:59:40,040
Speaker 1: out Corey's World, Wow, Corri's World, Okay, didn't work for

1138
00:59:40,120 --> 00:59:44,840
Speaker 1: Dave's World. No, Courey's World wouldn't have been a horror,

1139
00:59:44,840 --> 00:59:47,080
Speaker 1: it wouldn't have been terrible. No. No, I feel like

1140
00:59:47,080 --> 00:59:50,800
Speaker 1: the awkwardness of Boy Meets World is the reason why

1141
00:59:50,800 --> 00:59:52,960
Speaker 1: it's been ended up being a good title, do you

1142
00:59:53,000 --> 00:59:54,560
Speaker 1: know what I mean? Like it's one of those things,

1143
00:59:54,600 --> 00:59:56,720
Speaker 1: it's like, we got through it, and so now you

1144
00:59:56,760 --> 01:00:00,440
Speaker 1: can't say boy meets something without associating with this show

1145
01:00:00,480 --> 01:00:03,480
Speaker 1: in a weird way, and that's branded. Yeah, it's yeah. No,

1146
01:00:03,600 --> 01:00:05,920
Speaker 1: I think you're right. The the dissonance or awkwardness of

1147
01:00:05,960 --> 01:00:09,240
Speaker 1: the world's words together kind of gel and and they

1148
01:00:09,280 --> 01:00:11,800
Speaker 1: have stuck. Yeah. But I don't think there's a single

1149
01:00:11,840 --> 01:00:13,480
Speaker 1: one of us. I'll just speak for me. But I know, writer,

1150
01:00:13,560 --> 01:00:15,400
Speaker 1: you already said this where the first time you heard

1151
01:00:15,400 --> 01:00:17,400
Speaker 1: the title, you weren't like it's a terrible title. It's

1152
01:00:17,480 --> 01:00:20,880
Speaker 1: terrible title. So when people recognize us on the street,

1153
01:00:20,920 --> 01:00:25,840
Speaker 1: they never get it right. No, Boys meets the World World,

1154
01:00:25,920 --> 01:00:28,920
Speaker 1: It's always Boys meet World, or it's like boy I

1155
01:00:29,400 --> 01:00:36,280
Speaker 1: used it gets becomes word slide all the time. That's interesting.

1156
01:00:36,600 --> 01:00:38,720
Speaker 1: But I remember because when we all got the pilot,

1157
01:00:38,920 --> 01:00:41,600
Speaker 1: well you know it was it was then they send

1158
01:00:41,600 --> 01:00:43,960
Speaker 1: the script. It was at the untitled Ben Savage Project,

1159
01:00:43,960 --> 01:00:45,880
Speaker 1: which in a strange way, was a better title to

1160
01:00:45,920 --> 01:00:49,880
Speaker 1: me than boy Me Tworld. It was like a little

1161
01:00:49,960 --> 01:00:54,560
Speaker 1: weird on the show Jack led led Ken. How do

1162
01:00:54,600 --> 01:00:57,120
Speaker 1: you feel about the state of sitcom now? Like because

1163
01:00:57,120 --> 01:00:59,040
Speaker 1: it has changed, right, I mean because of Ben Jane

1164
01:00:59,040 --> 01:01:01,720
Speaker 1: and because of the like where are you at? Like

1165
01:01:01,800 --> 01:01:03,760
Speaker 1: do you miss the old days where you could just

1166
01:01:03,840 --> 01:01:06,720
Speaker 1: do twenty two minutes and throw away a character or

1167
01:01:06,800 --> 01:01:08,680
Speaker 1: do you do you like where it's going? As long

1168
01:01:08,720 --> 01:01:11,480
Speaker 1: as there's stuff that they'll hire me, I'm good. I mean, yeah,

1169
01:01:12,320 --> 01:01:16,000
Speaker 1: I like. I love multicams. I know I've heard Will

1170
01:01:16,440 --> 01:01:19,200
Speaker 1: talk about this a lot. I love multicams. There's just

1171
01:01:19,240 --> 01:01:21,680
Speaker 1: something so exciting about the live audience and doing a

1172
01:01:21,760 --> 01:01:25,520
Speaker 1: runthrough and and have it work great. But comedy doesn't

1173
01:01:25,520 --> 01:01:29,920
Speaker 1: really seem to work much on the networks now. Multicam

1174
01:01:30,000 --> 01:01:32,280
Speaker 1: they always say they say they want it, and I

1175
01:01:32,320 --> 01:01:34,520
Speaker 1: think they kind of want it. And the moment one

1176
01:01:34,560 --> 01:01:37,080
Speaker 1: shows up and is a hit, everybody will say, see, yep,

1177
01:01:37,560 --> 01:01:40,240
Speaker 1: that's exactly what's going to happen. And you know, the

1178
01:01:40,680 --> 01:01:43,160
Speaker 1: the Nickelodeon and Disney Channel shows. I've done a lot

1179
01:01:43,200 --> 01:01:45,520
Speaker 1: of those past bunch of years, and that's a lot

1180
01:01:45,520 --> 01:01:47,640
Speaker 1: of fun because like, they're not afraid to be funny.

1181
01:01:47,840 --> 01:01:50,040
Speaker 1: I think sometimes comedy is afraid to be funny and

1182
01:01:50,040 --> 01:01:52,240
Speaker 1: out there, and that's where that's like kind of the

1183
01:01:52,320 --> 01:01:54,800
Speaker 1: last bashion of sitcom. There's actually, you know, some of

1184
01:01:54,800 --> 01:01:57,320
Speaker 1: the Disney Channel and Nickelodeon shows that are out there,

1185
01:01:57,520 --> 01:01:59,600
Speaker 1: they might be skewed much younger, but it's a real

1186
01:01:59,640 --> 01:02:02,560
Speaker 1: sick it's it's it's it's nice to see that people

1187
01:02:02,600 --> 01:02:05,720
Speaker 1: are still doing good kind of TV like that. And

1188
01:02:06,240 --> 01:02:07,560
Speaker 1: you know when you see a Sydney to the Max

1189
01:02:07,600 --> 01:02:08,920
Speaker 1: sort of the kind of shows that are out there,

1190
01:02:09,000 --> 01:02:12,880
Speaker 1: they're really good. So it's yeah, it's it's they're what

1191
01:02:12,920 --> 01:02:14,840
Speaker 1: do you mean by they're not afraid to be funny?

1192
01:02:14,880 --> 01:02:18,120
Speaker 1: Though sometimes you know there's like too cool, you know,

1193
01:02:18,240 --> 01:02:21,280
Speaker 1: a really cool joke, and it's like let's go for

1194
01:02:21,520 --> 01:02:24,600
Speaker 1: you know, let's go for a smart a joke and

1195
01:02:25,080 --> 01:02:28,360
Speaker 1: not big and broad. I mean, you can be too broad.

1196
01:02:28,360 --> 01:02:30,560
Speaker 1: You can be too silly, sure, but uh, you know

1197
01:02:30,600 --> 01:02:35,280
Speaker 1: you watch you watch Friends, it's really broad. Sometimes it's great. Yeah,

1198
01:02:35,560 --> 01:02:37,800
Speaker 1: and and I think sometimes people are afraid of that

1199
01:02:37,920 --> 01:02:40,400
Speaker 1: in the networks. I mean, I don't know, I don't

1200
01:02:40,440 --> 01:02:42,640
Speaker 1: know what's what what what they know what they're thinking.

1201
01:02:43,600 --> 01:02:47,800
Speaker 1: But um, you know, there's always going to be comedy. Uh,

1202
01:02:47,840 --> 01:02:49,720
Speaker 1: and uh, I don't know if it's always going to

1203
01:02:49,800 --> 01:02:51,200
Speaker 1: be on on the networks. I don't know if there's

1204
01:02:51,200 --> 01:02:57,000
Speaker 1: always gonna be networks. Yeah. There's one other thing. In

1205
01:02:57,120 --> 01:02:59,480
Speaker 1: hearing you guys doing podcasts, I want to talk a

1206
01:02:59,520 --> 01:03:02,440
Speaker 1: little bit about Arlene Grayson, who is our line producer

1207
01:03:02,440 --> 01:03:03,920
Speaker 1: who passed away at the end of the second season,

1208
01:03:03,920 --> 01:03:07,240
Speaker 1: about the love she had for the show and maybe

1209
01:03:07,240 --> 01:03:09,360
Speaker 1: things that you guys didn't know is when we were

1210
01:03:09,440 --> 01:03:12,520
Speaker 1: aging up the show, taking it to high school, Arlene

1211
01:03:12,560 --> 01:03:15,840
Speaker 1: sat and interviewed people for background. So she met and

1212
01:03:15,920 --> 01:03:19,440
Speaker 1: talked to and interviews with everybody, like sitting one to

1213
01:03:19,520 --> 01:03:21,480
Speaker 1: one with people, and then they had to pass the

1214
01:03:21,560 --> 01:03:24,400
Speaker 1: Arlene test before they came a part of our background.

1215
01:03:24,560 --> 01:03:26,919
Speaker 1: I hear you guys talk with affection about a lot

1216
01:03:26,920 --> 01:03:32,920
Speaker 1: of the background and Veil's Arlene that's how much she cared. Wow,

1217
01:03:33,240 --> 01:03:35,560
Speaker 1: was just calling some background people. It's like, these people

1218
01:03:35,600 --> 01:03:37,240
Speaker 1: are going to be part of our show, you know,

1219
01:03:37,280 --> 01:03:39,440
Speaker 1: part of the world, part of the family. I'm going

1220
01:03:39,520 --> 01:03:40,920
Speaker 1: to meet them and I want to make sure that

1221
01:03:40,960 --> 01:03:45,880
Speaker 1: they they're okay. So that one of the many great

1222
01:03:45,880 --> 01:03:49,240
Speaker 1: things about the late Arlene Grayson. So that's incredible. I

1223
01:03:49,320 --> 01:03:52,720
Speaker 1: did not know that at all. Well, David, thank you

1224
01:03:52,800 --> 01:03:54,560
Speaker 1: so much for being here with us. I hope this

1225
01:03:54,600 --> 01:03:56,919
Speaker 1: will not be your only appearance. I hope you'll come back,

1226
01:03:56,960 --> 01:03:59,040
Speaker 1: and maybe you determine that, not me, so you know,

1227
01:03:59,440 --> 01:04:03,000
Speaker 1: well you have to agree. So I hope that you'll

1228
01:04:03,000 --> 01:04:04,840
Speaker 1: come back for an episode you directed, and we can

1229
01:04:04,840 --> 01:04:07,520
Speaker 1: maybe do a recap with you and talk about when

1230
01:04:07,560 --> 01:04:10,400
Speaker 1: you you directed. No, it's been fun talking to you.

1231
01:04:10,440 --> 01:04:14,080
Speaker 1: But after thirty years, there's something I've finally wanted to say.

1232
01:04:14,720 --> 01:04:20,560
Speaker 1: I have some notes. I will put them in the

1233
01:04:20,640 --> 01:04:26,400
Speaker 1: chat next to the Hugay, get them right away. Yeah,

1234
01:04:27,240 --> 01:04:28,880
Speaker 1: I mean, I think you know it's funny is that

1235
01:04:28,960 --> 01:04:31,320
Speaker 1: I we are all still well. I can't I won't

1236
01:04:31,320 --> 01:04:33,400
Speaker 1: speak for anybody else. I'm still in such I'm still

1237
01:04:33,440 --> 01:04:36,000
Speaker 1: in such close contact with you. It feels like this

1238
01:04:36,120 --> 01:04:39,040
Speaker 1: is just another conversation I get to have with you

1239
01:04:39,080 --> 01:04:42,160
Speaker 1: where you once again enlightened me and educated me on

1240
01:04:42,200 --> 01:04:45,480
Speaker 1: some things. And um, I always love talking to you.

1241
01:04:46,160 --> 01:04:48,280
Speaker 1: I can't thank you enough for everything you've you've brought

1242
01:04:48,360 --> 01:04:50,400
Speaker 1: to my life over the years and continue to bring

1243
01:04:50,400 --> 01:04:52,560
Speaker 1: to my life. So thank you for joining us. And

1244
01:04:52,600 --> 01:04:54,800
Speaker 1: we can't wait to have you you guys, and uh,

1245
01:04:55,200 --> 01:04:57,600
Speaker 1: you know, it's it is great. It is great to

1246
01:04:57,600 --> 01:05:00,640
Speaker 1: see you. Man, you believe we're doing this. It's fun. No, no,

1247
01:05:00,960 --> 01:05:04,040
Speaker 1: all right, we're very monkey another virtual hug. Virtual hug.

1248
01:05:04,360 --> 01:05:12,240
Speaker 1: Ry Kendall is such a pro. Yeah, it's like just

1249
01:05:12,320 --> 01:05:14,680
Speaker 1: one of those consummate pros. And when I shadowed him,

1250
01:05:14,840 --> 01:05:17,280
Speaker 1: it was on a show. It was very it was

1251
01:05:17,280 --> 01:05:21,040
Speaker 1: a single camera show. Its very hectic, very tough, no

1252
01:05:21,200 --> 01:05:25,360
Speaker 1: budget kind of situation. And man, he kept as cool,

1253
01:05:25,480 --> 01:05:28,480
Speaker 1: like he's just unbelievable, like and he makes sure that

1254
01:05:28,680 --> 01:05:31,320
Speaker 1: you know, watching him that week when I was following

1255
01:05:31,400 --> 01:05:33,160
Speaker 1: him around and seeing what he had to deal with

1256
01:05:33,240 --> 01:05:35,320
Speaker 1: and the kind of choices and the pressures he was under,

1257
01:05:35,640 --> 01:05:38,840
Speaker 1: never made anybody else's problem, you know, And like I

1258
01:05:38,840 --> 01:05:40,480
Speaker 1: could see it because I was shadowing, so I was

1259
01:05:40,480 --> 01:05:42,120
Speaker 1: alone in the room with him looking at a shot

1260
01:05:42,200 --> 01:05:45,720
Speaker 1: list going you're never gonna make that day, you know,

1261
01:05:45,760 --> 01:05:46,920
Speaker 1: And he knew it, and he would be like, what,

1262
01:05:47,040 --> 01:05:48,360
Speaker 1: we gotta show up, we gotta do it, we gotta

1263
01:05:48,360 --> 01:05:49,640
Speaker 1: do our best, we gotta you know. It was just

1264
01:05:49,720 --> 01:05:53,600
Speaker 1: like unbelievable. Um. Yeah, And that's why he's always worked,

1265
01:05:53,640 --> 01:05:57,280
Speaker 1: because he's so great. And he's also the perfect person

1266
01:05:57,360 --> 01:06:00,640
Speaker 1: to work with younger actors. Yeah, because of that patience

1267
01:06:00,880 --> 01:06:04,720
Speaker 1: and that steadfast kind of resolve that he has. It's like,

1268
01:06:04,760 --> 01:06:06,200
Speaker 1: it's a great person to put the helm of a

1269
01:06:06,640 --> 01:06:09,440
Speaker 1: show that involved young people. I can't believe that he

1270
01:06:09,520 --> 01:06:12,040
Speaker 1: was kind of still I mean, it's it's like we

1271
01:06:12,160 --> 01:06:13,680
Speaker 1: keep saying it, but like that he was still kind

1272
01:06:13,680 --> 01:06:15,880
Speaker 1: of new to the industry. Magaz he had done six years.

1273
01:06:15,920 --> 01:06:18,280
Speaker 1: But like, yeah, that the fact that he hadn't directed

1274
01:06:18,280 --> 01:06:20,280
Speaker 1: like one hundred episodes of television when he was doing

1275
01:06:20,320 --> 01:06:25,080
Speaker 1: Boy just were his second episode. But going from writing

1276
01:06:25,080 --> 01:06:28,919
Speaker 1: a spec script to then getting hired by your first

1277
01:06:28,920 --> 01:06:31,240
Speaker 1: producer and staying on that show up to then being

1278
01:06:31,240 --> 01:06:36,400
Speaker 1: a coep is insane. I never happens. I know it is.

1279
01:06:36,720 --> 01:06:39,360
Speaker 1: I mean to say it's not. The norm is like

1280
01:06:39,480 --> 01:06:44,200
Speaker 1: the biggest understatement, yet job in television, let alone, let

1281
01:06:44,440 --> 01:06:47,280
Speaker 1: your first script getting your job, let alone leading to

1282
01:06:47,400 --> 01:06:50,080
Speaker 1: a six year season round. Yeah, it's at a big

1283
01:06:50,160 --> 01:06:52,560
Speaker 1: at a big smash hit show. I mean that's insane,

1284
01:06:52,560 --> 01:06:55,840
Speaker 1: that's crazy. Well, I think we learned more in that

1285
01:06:55,880 --> 01:06:59,160
Speaker 1: episode than any other for our dear listeners. I think

1286
01:06:59,160 --> 01:07:02,360
Speaker 1: he explained things very well too. I mean, I find

1287
01:07:02,720 --> 01:07:07,160
Speaker 1: six to eight episodes ahead. Yeah, that's what I figured. Actually, wow.

1288
01:07:07,200 --> 01:07:09,400
Speaker 1: But I also think I also think that was when

1289
01:07:09,720 --> 01:07:12,760
Speaker 1: Kendall wasn't sure right right right. I think he said

1290
01:07:12,800 --> 01:07:15,400
Speaker 1: he was very good about making sure that we were

1291
01:07:15,400 --> 01:07:17,600
Speaker 1: six and eight out. I don't think that ends up

1292
01:07:17,600 --> 01:07:25,720
Speaker 1: being the case after he leaves. Also, Corey's World, Yeah,

1293
01:07:26,560 --> 01:07:29,840
Speaker 1: they wouldn't have to change much. Yeah, still be throwing

1294
01:07:29,880 --> 01:07:33,080
Speaker 1: us globes at every every photo shoot. Yeah, but yeah,

1295
01:07:33,160 --> 01:07:36,240
Speaker 1: Corey's World. I wonder what the other run disgusting writers,

1296
01:07:36,840 --> 01:07:40,520
Speaker 1: Oh why I really dislike it. I get, I mean

1297
01:07:40,600 --> 01:07:43,160
Speaker 1: it's weird because I mean, obviously boy is in the title.

1298
01:07:43,200 --> 01:07:46,480
Speaker 1: But I think something about making it Corey only seems

1299
01:07:46,480 --> 01:07:48,360
Speaker 1: a little bit of a bummer. It seems limiting to me,

1300
01:07:48,520 --> 01:07:50,480
Speaker 1: you know, but I guess it was. I mean it

1301
01:07:50,560 --> 01:07:53,520
Speaker 1: was really the whole show is Ben and around Corey.

1302
01:07:53,720 --> 01:07:56,640
Speaker 1: But for some reason, Boy Meet's World has a little

1303
01:07:56,680 --> 01:07:58,640
Speaker 1: bit more of a thematic. I mean, even though it's

1304
01:07:58,680 --> 01:08:02,160
Speaker 1: awkward phrasing, it sounds bigger than Yeah, I feel like

1305
01:08:02,200 --> 01:08:04,680
Speaker 1: more people can identify with Corey when it's called boy

1306
01:08:04,720 --> 01:08:07,120
Speaker 1: Meets World, if that makes sense, And if it's just

1307
01:08:07,240 --> 01:08:10,560
Speaker 1: Corey it's like a specific person, uh that I don't know,

1308
01:08:10,600 --> 01:08:13,600
Speaker 1: it's a little more limited. Maybe. Well, thank you all

1309
01:08:13,600 --> 01:08:16,080
Speaker 1: for joining us for this episode of Pod Meets World.

1310
01:08:16,840 --> 01:08:18,960
Speaker 1: As always, you can follow us on Instagram pod Meets

1311
01:08:18,960 --> 01:08:21,479
Speaker 1: World Show. You can send us your emails pod Meets

1312
01:08:21,479 --> 01:08:24,639
Speaker 1: World Show at gmail dot com. And we have merch

1313
01:08:25,080 --> 01:08:31,240
Speaker 1: Daddy Daddy if I missed some merchandise Daddy, Pod Meets

1314
01:08:31,360 --> 01:08:33,439
Speaker 1: World Show not to the point where you're just doing

1315
01:08:33,439 --> 01:08:41,519
Speaker 1: a monologue the night of merchandise. By the end, it's

1316
01:08:41,560 --> 01:08:44,240
Speaker 1: just going to be forty minutes. Law the amount of

1317
01:08:44,240 --> 01:08:46,799
Speaker 1: people who have asked us to just compile those together,

1318
01:08:47,200 --> 01:08:49,200
Speaker 1: we will have to do it. We are absolutely going

1319
01:08:49,240 --> 01:08:50,439
Speaker 1: to have to do it. Maybe by the end of

1320
01:08:50,479 --> 01:08:54,920
Speaker 1: season two. Yeah, anyway, we'll send us out. We love

1321
01:08:54,960 --> 01:08:59,960
Speaker 1: you all. Pod dismissed Pod Meets World is an eye

1322
01:09:00,080 --> 01:09:03,240
Speaker 1: heart podcast produced and hosted by Danielle Fischel, Wilfordelle and

1323
01:09:03,320 --> 01:09:07,080
Speaker 1: Ryder Strong. Executive producers Jensen Karp and Amy Sugarman, executive

1324
01:09:07,080 --> 01:09:11,080
Speaker 1: in Charger Production, Danielle Romo, producer and editor, Tara Supbach, producer,

1325
01:09:11,160 --> 01:09:14,559
Speaker 1: Jackie Rodriguez, engineer and Boy Meets World superfan Easton Allen.

1326
01:09:14,640 --> 01:09:16,960
Speaker 1: Our theme song is by Kyle Morton of Typhoon and

1327
01:09:17,000 --> 01:09:19,280
Speaker 1: you can follow us on Instagram at Pod Meets World

1328
01:09:19,280 --> 01:09:22,160
Speaker 1: Show or email us at Pod Meets World Show at

1329
01:09:22,200 --> 01:09:23,560
Speaker 1: gmail dot com