WEBVTT - David Kendall Meets World

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<v Speaker 1>I have have a question people. So, with our schedule and

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<v Speaker 1>everything we're doing in conventions and some other fun stuff,

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<v Speaker 1>we're gonna be traveling an awful lot. HM, very excited.

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<v Speaker 1>How do you guys pack? Are you willy nilly throw

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<v Speaker 1>it in the bag? Packers? Are you lay everything out? Packers?

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<v Speaker 1>Is the toilet kit as important as everything else? Walk

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<v Speaker 1>me through it? Do you think I seem like a

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<v Speaker 1>willy nilly anything? I'm waiting. I know, I was waiting

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<v Speaker 1>for you to be like, you know, what's funny? Hold on,

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<v Speaker 1>I can prick. Let's see. Danielle uses uh like actual

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<v Speaker 1>bags within the bag, like those little divid eight bags

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<v Speaker 1>whatever they're called. I thought maybe she vacuum sealed it.

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<v Speaker 1>That's too much work, too much time. I don't have

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<v Speaker 1>that kind of time. So how far? How far in

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<v Speaker 1>advance would you say you packed Danielle for a trip?

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<v Speaker 1>Usually the night before, but I will start thinking about

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<v Speaker 1>the outfits I want to bring, like in this case,

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<v Speaker 1>when you're talking about packing for a con I know

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<v Speaker 1>I need three distinct outfits because we're going to be

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<v Speaker 1>photographed every day. That doesn't mean I can't rewear a

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<v Speaker 1>pair of pants if I wanted to like, if I'm

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<v Speaker 1>gonna like this weekend, I'm bringing a pair of black

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<v Speaker 1>jeans and I'm bringing my Harley shirt. That's the only

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<v Speaker 1>outfit I know for sure, is that I'm bringing my

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<v Speaker 1>Harley shirt and a pair of black jeans. And then

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<v Speaker 1>I usually try to bring two pairs of shoes, one

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<v Speaker 1>I wear and one that goes in my suitcase, and

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<v Speaker 1>that always goes on the bottom, and then I covered

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<v Speaker 1>the shoes with some sort of bag or like put

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<v Speaker 1>the shoes in a bag if I can, like so

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<v Speaker 1>that the shoes aren't touching my clothes. And then I

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<v Speaker 1>only will bring me a carry on size because if

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<v Speaker 1>I'm only going for a weekend, I do not want

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<v Speaker 1>to wait for a checked bag. So I have all

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<v Speaker 1>my toiletries and small carry on sizes and um, I

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<v Speaker 1>also like get my hair done before I go and

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<v Speaker 1>then try not to have to do anything special to

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<v Speaker 1>my hair while I'm there. Just my hair is what

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<v Speaker 1>my hair is, uh, and yeah, so that's that's pretty

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<v Speaker 1>much it. I do try to bring two pairs of shoes,

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<v Speaker 1>so luckily I've got small feet, so they fit nicely

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<v Speaker 1>in my carry on size bag and I don't need

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<v Speaker 1>to worry about too much. But what about now, let

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<v Speaker 1>me throw a wrinkle at you. What about because we

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<v Speaker 1>go to hotels and stuff like that, do you throw

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<v Speaker 1>in workout clothes in case you want to hit the gym?

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<v Speaker 1>Or no, well I have not worked out in four years.

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<v Speaker 1>I do not know why I would choose to start

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<v Speaker 1>day No, I mean no, I would never That sounds

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<v Speaker 1>like the opposite of fun for me. I've been very

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<v Speaker 1>optimistic in the past, packed like a pair of running

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<v Speaker 1>shoes and sweatpaths, and then they just sit in my

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<v Speaker 1>bag and like, why did I do this? The only

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<v Speaker 1>thing I would do is bring bathing suit because then

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<v Speaker 1>you could swim and you don't have to pack as much.

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<v Speaker 1>Are you? Are you a chuck it in the bag

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<v Speaker 1>kind of like oh that's right, I'm leaving this morning,

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<v Speaker 1>or do you plan? Yes? I pack very quickly. But

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<v Speaker 1>that's actually a conscious thing, not because I it's because

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<v Speaker 1>if I think too much about it, I overpack. And

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<v Speaker 1>I've realized I have never ever felt underpacked. I've always

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<v Speaker 1>felt overpacked. So in other words, if I forced myself

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<v Speaker 1>to only bring two shirts and a pair of pants,

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<v Speaker 1>I'm fine, Like once I'm there, and like even in

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<v Speaker 1>the worst case scenario where like I've been at sundance

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<v Speaker 1>and wasn't warm enough. You can buy a sweatshirt, you know,

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<v Speaker 1>for twenty bucks or whatever if you really need it,

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<v Speaker 1>Like you can figure out your situation. And like, especially

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<v Speaker 1>now in the age of phones, like you don't the

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<v Speaker 1>thing I do pack too much of his books. I

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<v Speaker 1>always pack four or five books, and I never allowed

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<v Speaker 1>one carry on. Yeah, it's reminders there, the whole other

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<v Speaker 1>thing a book. But like, yeah, when it comes to clothing,

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<v Speaker 1>I try and do it within five to ten minutes,

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<v Speaker 1>as quickly as possible and just as bare bones, because

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<v Speaker 1>every time I've brought too many clothes, I end up

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<v Speaker 1>having like less fun because I'm paralyzed by choosing what

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<v Speaker 1>to wear or you know, whereas and then you're dealing

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<v Speaker 1>with it all the time, Whereas like if you just

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<v Speaker 1>force yourself to pack very light, you're fun. You always

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<v Speaker 1>end up okay. So that's my little loss. What about you, Well,

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<v Speaker 1>I'm right in the middle of both of you. I

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<v Speaker 1>will I, you know, have one specific bag I pack.

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<v Speaker 1>I kind of know what I'm doing now, I've kind

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<v Speaker 1>of got it down to a science. But Sue got

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<v Speaker 1>me a new dop kit for Christmas and it's awesome.

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<v Speaker 1>So that's I'm almost having. I'm one of those people

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<v Speaker 1>where I almost spend more time packing my carry on

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<v Speaker 1>for the stuff that I want to bring with me.

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<v Speaker 1>That's more fun than clothes, where I'm like, I always

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<v Speaker 1>kind of wear the same pair of jeans and you know,

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<v Speaker 1>throw on a shirt, have a sweater. I do go

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<v Speaker 1>to the gym when I'm at the I try to

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<v Speaker 1>go every day when I'm at the hotel, so I

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<v Speaker 1>have to bring one or two different sets of workout

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<v Speaker 1>clothes and then workout choose. But yeah, other than that,

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<v Speaker 1>I'm kind of in the middle of both of you.

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<v Speaker 1>So I was curious. Hmm, I'm looking forward to the gym. Yeah,

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<v Speaker 1>you're good at that. You'd like to run. You run

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<v Speaker 1>outside my house every day you're you're at Daniel usually

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<v Speaker 1>you used to see Adler out there before Adler was

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<v Speaker 1>in school. Yeah, he was always out there raking or

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<v Speaker 1>shoveling or you'd like to keep him literally and he'd wave.

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<v Speaker 1>He'd wave like like you were running by the guy

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<v Speaker 1>who's just you know, he's raking it, and he'd just

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<v Speaker 1>go hey, like hey, how you doing like the middle

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<v Speaker 1>of the work day. You caught me, buddy. Um. He

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<v Speaker 1>was really cute. Yesterday we were in the car and

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<v Speaker 1>I was listening to a recap episode that I'm editing,

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<v Speaker 1>and he goes, Mommy, that's you, and I said, yeah,

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<v Speaker 1>that's that's me. And he goes, this is your work

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<v Speaker 1>and I said, yeah, this is this is one of

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<v Speaker 1>this is one of my jobs. And he goes, and

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<v Speaker 1>your friends and I said, yes, writer and will and

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<v Speaker 1>he goes wow. And then he was really happy about that.

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<v Speaker 1>And then at night last night before bed, he wanted

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<v Speaker 1>me to read him like a third book. And I said, well,

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<v Speaker 1>which book do you want me to read you? And

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<v Speaker 1>he said Frog and Toad And I said, oh, Frog

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<v Speaker 1>and Toad. I said, as a matter of fact, Addler,

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<v Speaker 1>you just today we're talking about writer Writer Alex and

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<v Speaker 1>Indie gave you this book. And he went like so

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<v Speaker 1>excited that I was like, yes, Indie. So anyway, you

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<v Speaker 1>guys have been the others starting to understand our work.

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<v Speaker 1>It's very cute. Well, welcome to Pod Meets World. I'm

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<v Speaker 1>Danielle Fischel, I'm writer Strong, and I'm Wilfride. So throughout

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<v Speaker 1>our time on Boy Meets World. We had the honor

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<v Speaker 1>of working with writers, directors, and producers who single handedly

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<v Speaker 1>changed family television, creatives whose body of work is expansive

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<v Speaker 1>and legendary, and this week we are talking to one

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<v Speaker 1>of those types. David Kendall was the executive producer and

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<v Speaker 1>showrunner of Boy Meets World for seasons two and three

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<v Speaker 1>and would go on to direct thirteen episodes right up

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<v Speaker 1>until the end. He wrote one episode, back to School,

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<v Speaker 1>which is a script we will definitely want to talk

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<v Speaker 1>to him about. And before joining us, he was an

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<v Speaker 1>EP on a little show called Growing Pains, which he

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<v Speaker 1>wrote thirty three episodes of Isn't That Incredible? Since then,

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<v Speaker 1>he has directed episodes of I Carle Victorious, Ned's Declassified

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<v Speaker 1>School Survival Guide, Even Stevens, Hannah Montana, and he co

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<v Speaker 1>created Melissa and Joey, a show that ran for over

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<v Speaker 1>one hundred episodes on ABC Family Slash free Form. He's

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<v Speaker 1>directed two pilots on Disney Channel, both shows I had

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<v Speaker 1>the honor of directing myself Coop and Cammy, Asked the

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<v Speaker 1>World and Sydney to the Max. We genuinely had to

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<v Speaker 1>ignore a ton of his credits for this intro or

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<v Speaker 1>we would be here all day. He's worked directly with

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<v Speaker 1>all the actors now running Hollywood, from Austin Butler to

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<v Speaker 1>Ariana to Miley to the Joe Bros. To Zendaiah and

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<v Speaker 1>over forty different series, six hundred episodes of TV and

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<v Speaker 1>two hundred plus as a director. If only he was

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<v Speaker 1>given a chance, you know, such a shame. Please welcome

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<v Speaker 1>to Pod meets World. The impressive David Kendall. Oh my goodness,

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<v Speaker 1>Oh my goodness, he can hear you. Goodness. Okay, you

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<v Speaker 1>want to see me too? I do, Yes, your face

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<v Speaker 1>hear them. Hey David, Hey, David, Hey, how are you doing?

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<v Speaker 1>Oh good? I wish I could hug you guys. This

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<v Speaker 1>is no virtus a hugmout. I'll put a hug in

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<v Speaker 1>the chat there. You put a link to a hug chat.

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<v Speaker 1>First question, you famously ruined boy meats. Where I'll talk

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<v Speaker 1>about that? Yes, well, I'd like to call a drop shock. Yes,

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<v Speaker 1>actually we should really start with that since you wrote

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<v Speaker 1>the episode. Is the only episode that I wrote? That?

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<v Speaker 1>Is that true? Only episode that has my name on it? Right? Oh?

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<v Speaker 1>You know, when you're running a show, it's it's I

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<v Speaker 1>think you know you should let the staff write the episodes.

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<v Speaker 1>I think. So that was my philosophy. So, um, yeah,

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<v Speaker 1>but you you came in as an ep right away.

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<v Speaker 1>I came in. Um. If you remember, there was a

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<v Speaker 1>first season, and probably something that you guys didn't know

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<v Speaker 1>is that the second subsequent subsequent seasons weren't exactly a lock.

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<v Speaker 1>You know. They the network wanted to make sure that, um,

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<v Speaker 1>the show had a longer life, and they kind of, um,

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<v Speaker 1>kiddeyness for one of a better term. I'll find a

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<v Speaker 1>better term when we really do this. This is the

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<v Speaker 1>practice recording. Um. They didn't think that could sustain And Um,

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<v Speaker 1>I was on a show for six years called Growing Pains, Yes,

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<v Speaker 1>and which was a little show called Growing Only. The

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<v Speaker 1>entire reason Boys World existed, yeah because of the success

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<v Speaker 1>of Growing that is, well, I don't know if it's

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<v Speaker 1>entirely but um yeah, Michael told me. Michael Jacobs told

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<v Speaker 1>me at one point, because he has many different versions

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<v Speaker 1>of stories, was that he had pitched uh boy Meet's

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<v Speaker 1>World as Growing Pains from the point of view of

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<v Speaker 1>the youngest kid that's heard. So uh. When Michael started

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<v Speaker 1>uh creating some other shows, they needed a showrunner for

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<v Speaker 1>the second season, I had growing pains as my credentials

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<v Speaker 1>and the network like me and they wanted to age up.

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<v Speaker 1>Was the was the mantra and it was no no

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<v Speaker 1>means uh secure the future of Boy's World. In fact,

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<v Speaker 1>I was in a meeting with the network in the studio.

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<v Speaker 1>They hated the title. Everybody hated the title. We all

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<v Speaker 1>hated the title. Wow. And it's like, what can we

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<v Speaker 1>call the show that's not Boy Mee's World because it

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<v Speaker 1>just sounds you know, it's hard to imagine, like now

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<v Speaker 1>that it's iconic now, but then it was just kind

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<v Speaker 1>of this awkward phrase. And it's like when I first

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<v Speaker 1>heard wait a second, Wait a second. They wanted to

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<v Speaker 1>change the title after season one. I know, that's what

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<v Speaker 1>I say. They were willing to change it into Yes,

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<v Speaker 1>they talked about it. They love it. Well, I guess

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<v Speaker 1>it's like it's going from Torkelson's to almost Home. It's

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<v Speaker 1>kind of just right branding. We could just rebrand the show.

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<v Speaker 1>Ellen de Generes. Show was called these Friends of Mine

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<v Speaker 1>or some friends of Mine or something in the first

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<v Speaker 1>season and if you came so and also it's let

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<v Speaker 1>me just speak globally. It's just amazing that we're talking

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<v Speaker 1>about Boy Meets World in twenty twenty three. It's like, yeah,

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<v Speaker 1>it's it was I was producing the show. What shows that?

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<v Speaker 1>What's that? Right? What? Everything you're saying touches on exactly

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<v Speaker 1>what we have said and the way based on the

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<v Speaker 1>way we felt at the time, which was we always

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<v Speaker 1>felt like we were on the bubble, like we were

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<v Speaker 1>at any point in time going to be canceled. It

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<v Speaker 1>was there was no security job security for anybody anywhere. Um.

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<v Speaker 1>And also we felt like we were recording a show

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<v Speaker 1>for our grandparents because no one really knew the show,

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<v Speaker 1>what the show was, Yes, and we didn't know that

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<v Speaker 1>there were young people whose lives we were forming and

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<v Speaker 1>it's just so cool. Uh. And yeah, we did have

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<v Speaker 1>a show where every season we waited for a call

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<v Speaker 1>from the governor to pardon us for the next season,

0:12:13.120 --> 0:12:15.480
<v Speaker 1>they're about to flip the switch, and then it was like, well,

0:12:15.559 --> 0:12:18.200
<v Speaker 1>we'll give them one more. Well, but so I actually

0:12:18.200 --> 0:12:20.240
<v Speaker 1>asked this question when we're recording a couple weeks ago,

0:12:20.240 --> 0:12:22.319
<v Speaker 1>but dude, are were we picked up for the full

0:12:22.600 --> 0:12:25.840
<v Speaker 1>order for second season? Where were we only? But it

0:12:26.000 --> 0:12:28.480
<v Speaker 1>still was they wanted the show to have a longer

0:12:28.520 --> 0:12:30.680
<v Speaker 1>future like growing pains, and so that was part of

0:12:30.679 --> 0:12:34.319
<v Speaker 1>the reason or a big reason that well aging it up,

0:12:34.480 --> 0:12:37.880
<v Speaker 1>and h you know, I've heard you guys talk about

0:12:37.960 --> 0:12:42.800
<v Speaker 1>the drop shock of second season, but I think even

0:12:42.920 --> 0:12:45.760
<v Speaker 1>all the changes we did, we still stayed true or

0:12:45.800 --> 0:12:48.240
<v Speaker 1>true ish to the characters and people were watching the

0:12:48.240 --> 0:12:50.920
<v Speaker 1>same characters. And I do listen to your podcast, and

0:12:50.960 --> 0:12:53.960
<v Speaker 1>it's nice to hear that you guys are more comfortable

0:12:54.200 --> 0:12:57.360
<v Speaker 1>and liking the stuff in the second season, because honestly,

0:12:57.480 --> 0:13:00.680
<v Speaker 1>you know, I was listening to the the episode where

0:13:00.679 --> 0:13:02.679
<v Speaker 1>you're talking about the show I wrote the only one

0:13:02.760 --> 0:13:05.240
<v Speaker 1>with my name owners writer, and it's just I could

0:13:05.320 --> 0:13:10.360
<v Speaker 1>hear you guys, you're mentally throwing up. Yeah, it was

0:13:10.480 --> 0:13:14.320
<v Speaker 1>super disoriented, it was, for sure, it was. But also

0:13:14.440 --> 0:13:17.000
<v Speaker 1>one of the things we loved about it was how

0:13:17.160 --> 0:13:20.920
<v Speaker 1>many new character characters you guys were able to introduce

0:13:21.160 --> 0:13:26.000
<v Speaker 1>in that first episode and still make it all makes sense.

0:13:26.040 --> 0:13:28.080
<v Speaker 1>I mean, it was very disorienting, but it was still

0:13:28.080 --> 0:13:32.040
<v Speaker 1>a great episode with introducing so many new iconic characters. Well, writer,

0:13:32.120 --> 0:13:34.679
<v Speaker 1>you're disoriented when the classroom faces the other way, so

0:13:35.440 --> 0:13:38.960
<v Speaker 1>everything everything. Did you remember that first episode because it

0:13:39.040 --> 0:13:40.959
<v Speaker 1>seemed like when we we we were talking about it,

0:13:40.960 --> 0:13:42.920
<v Speaker 1>I was like, this must have been crazy behind the

0:13:43.000 --> 0:13:45.640
<v Speaker 1>scenes because we had like nine new characters and so

0:13:45.679 --> 0:13:48.760
<v Speaker 1>many storylines and new sets. It was just it seemed

0:13:48.800 --> 0:13:51.480
<v Speaker 1>like a lot. Yeah, I watched it last night actually

0:13:51.559 --> 0:13:56.720
<v Speaker 1>to to rewatch, and some things I remember crisply and precisely,

0:13:57.120 --> 0:14:00.880
<v Speaker 1>and some things was was I there, I don't remember right,

0:14:01.640 --> 0:14:03.240
<v Speaker 1>But you know, we tried a lot of things that

0:14:03.320 --> 0:14:08.959
<v Speaker 1>the stuff with the Thugs worked great, H and H.

0:14:09.320 --> 0:14:12.480
<v Speaker 1>Introducing Tony Quinn it just worked great. That was a

0:14:12.480 --> 0:14:13.959
<v Speaker 1>great way to meet him, a great way to set

0:14:14.040 --> 0:14:19.880
<v Speaker 1>up the relationship with Phoene, and the relationship between Turner

0:14:19.960 --> 0:14:23.520
<v Speaker 1>and Uh and Ben was great. And so many things worked.

0:14:23.560 --> 0:14:25.040
<v Speaker 1>I was looking at it last night saying, so many

0:14:25.040 --> 0:14:26.880
<v Speaker 1>things worked. But yeah, it was like that was the

0:14:27.000 --> 0:14:30.240
<v Speaker 1>charge age up the show, introduced new characters, put it

0:14:30.280 --> 0:14:35.360
<v Speaker 1>in a different world. There were influences. UH Friends was

0:14:35.400 --> 0:14:38.000
<v Speaker 1>an influence just to have to flesh out the the

0:14:38.120 --> 0:14:44.080
<v Speaker 1>twenty something characters that that Tony represented and Um also

0:14:44.120 --> 0:14:48.320
<v Speaker 1>there was another tremendously successful show called Happy Days, and

0:14:48.440 --> 0:14:51.120
<v Speaker 1>it was just a flavor of that element with the

0:14:51.160 --> 0:14:54.040
<v Speaker 1>show and make it a fun place for kids to

0:14:54.080 --> 0:14:56.360
<v Speaker 1>hang out and grow up in in the show and

0:14:56.400 --> 0:14:59.040
<v Speaker 1>in the audience. So Happy Days was a conscious reference

0:14:59.080 --> 0:15:01.520
<v Speaker 1>that you were told. Okay, because because we've talked about

0:15:01.520 --> 0:15:04.120
<v Speaker 1>how the Thugs have the sort of throwback vibe to them.

0:15:04.400 --> 0:15:07.400
<v Speaker 1>He's sort of old school high school bully, and we've

0:15:07.400 --> 0:15:09.840
<v Speaker 1>said it's like a happy Day's ish thing. Yeah, that

0:15:10.160 --> 0:15:22.560
<v Speaker 1>we're interesting. Yeah, I have a I have a question. Um,

0:15:23.000 --> 0:15:25.520
<v Speaker 1>so in all these meetings before season two starts, you're

0:15:25.520 --> 0:15:27.440
<v Speaker 1>getting all your marching orders from the network and we

0:15:27.440 --> 0:15:28.640
<v Speaker 1>want to age it up. We want to do all

0:15:28.680 --> 0:15:32.440
<v Speaker 1>this stuff. Ever a talk of dropping any or all

0:15:32.480 --> 0:15:36.320
<v Speaker 1>of the three of us. Oh, no, okay, just checking

0:15:37.480 --> 0:15:42.640
<v Speaker 1>his dad to be you're very badly in some ways.

0:15:42.680 --> 0:15:44.640
<v Speaker 1>I am Will's dad. Do they know that story? Well, yeah,

0:15:44.640 --> 0:15:46.200
<v Speaker 1>they don't know this story yet. We will get into

0:15:46.240 --> 0:15:50.400
<v Speaker 1>that story of David still being my dad. Yeah. Yeah,

0:15:51.360 --> 0:15:53.280
<v Speaker 1>but no, was if they were like, we don't you

0:15:53.320 --> 0:15:55.800
<v Speaker 1>know the Eric it's the Chucky Cunningham the Eric character,

0:15:55.920 --> 0:15:57.720
<v Speaker 1>or we're not gonna get bring to Panga back. I mean,

0:15:57.800 --> 0:16:01.600
<v Speaker 1>Ryder was probably fine well with Corey and Sean, but

0:16:01.680 --> 0:16:07.440
<v Speaker 1>we did you know, because you're physically related to it's

0:16:07.520 --> 0:16:10.200
<v Speaker 1>usually you have that established bond between best friends where

0:16:10.200 --> 0:16:11.760
<v Speaker 1>they're not gonna you know, they tried so hard to

0:16:11.760 --> 0:16:13.440
<v Speaker 1>bring in a third best friend. They weren't going to

0:16:13.520 --> 0:16:16.760
<v Speaker 1>bring in you know, somebody else. But especially with Eric

0:16:16.760 --> 0:16:19.360
<v Speaker 1>in the first season kind of lifted out to Panga

0:16:19.480 --> 0:16:22.520
<v Speaker 1>could have disappeared. Yeah, I mean we saw it happen,

0:16:22.680 --> 0:16:24.560
<v Speaker 1>So it was I was wondering if that if that

0:16:24.800 --> 0:16:27.040
<v Speaker 1>had been discussed at any level. Well, no, the the

0:16:27.200 --> 0:16:30.760
<v Speaker 1>discussions were well, Michael said something on very stage, you said,

0:16:30.760 --> 0:16:35.640
<v Speaker 1>the show is about how Ben and Ryder are, Corey

0:16:35.680 --> 0:16:38.040
<v Speaker 1>and and un shown are the same and how they're different.

0:16:38.040 --> 0:16:40.520
<v Speaker 1>It's about their differences in their similarities, which was a

0:16:40.600 --> 0:16:43.080
<v Speaker 1>template for for the show and it's template for for

0:16:43.160 --> 0:16:46.800
<v Speaker 1>finding stories. And then Uh, we were all very serious

0:16:47.440 --> 0:16:50.840
<v Speaker 1>about making to Panga integral to the show and that

0:16:50.880 --> 0:16:55.080
<v Speaker 1>it was about Corey having a friend and a girlfriend

0:16:55.080 --> 0:16:57.720
<v Speaker 1>and watching those relationships developed. And that's really what the

0:16:57.760 --> 0:17:01.440
<v Speaker 1>show was about. To me, those best episodes are uh

0:17:01.520 --> 0:17:04.639
<v Speaker 1>in that in that arc in that you know Trio

0:17:05.160 --> 0:17:09.760
<v Speaker 1>and uh and but we loved the way that will

0:17:09.760 --> 0:17:11.840
<v Speaker 1>that you evolved. It was like, we got to find

0:17:11.840 --> 0:17:14.400
<v Speaker 1>a place for this guy. This guy punted this guy

0:17:14.480 --> 0:17:17.880
<v Speaker 1>so funny that that's quere that we got to find

0:17:17.960 --> 0:17:20.760
<v Speaker 1>something for this guy to do and a little bit

0:17:20.760 --> 0:17:24.200
<v Speaker 1>more than just the um. See. I hate when you say, oh,

0:17:24.200 --> 0:17:26.840
<v Speaker 1>that's the dumb guy, that's the dumb character. I always

0:17:26.880 --> 0:17:30.000
<v Speaker 1>say they think differently. They're either a beat behind that

0:17:33.200 --> 0:17:35.199
<v Speaker 1>take come to it that way. You don't want to

0:17:35.200 --> 0:17:38.080
<v Speaker 1>make a joke that's dumb. You want to make a

0:17:38.160 --> 0:17:40.960
<v Speaker 1>joke that sees that's different. There's a great joke where

0:17:41.119 --> 0:17:42.880
<v Speaker 1>I don't I don't think you've done the episode. It's

0:17:42.920 --> 0:17:46.160
<v Speaker 1>the radio station one where Phoenie opens the door and

0:17:46.400 --> 0:17:51.480
<v Speaker 1>sees you know, Benn and Rider, and Rider says, don't move,

0:17:51.640 --> 0:17:56.119
<v Speaker 1>maybe he doesn't see us. Yeah, And that's that's to me.

0:17:56.200 --> 0:17:58.640
<v Speaker 1>That's not a dumb jokes to me, it's a guy

0:17:59.200 --> 0:18:05.080
<v Speaker 1>thinking differently. So uh. But anyway, Will's character Eric is like,

0:18:05.440 --> 0:18:08.199
<v Speaker 1>what can we well can we what can we do?

0:18:08.240 --> 0:18:09.720
<v Speaker 1>How can we fit in and just have a guy

0:18:09.960 --> 0:18:13.760
<v Speaker 1>who can just go nuts and just be big and

0:18:13.840 --> 0:18:15.760
<v Speaker 1>make you believe it. I mean a lot of times

0:18:15.800 --> 0:18:18.040
<v Speaker 1>actors can go big and you just don't believe it.

0:18:18.240 --> 0:18:20.600
<v Speaker 1>But you know, commitment is what makes the beat, the

0:18:20.640 --> 0:18:24.280
<v Speaker 1>bit makes at work and you know will fredellt Uh.

0:18:24.320 --> 0:18:26.440
<v Speaker 1>He knows how to commit. It makes something. No one

0:18:26.520 --> 0:18:30.440
<v Speaker 1>is more committed than Will truly, it's middle name, it's

0:18:30.440 --> 0:18:33.800
<v Speaker 1>William Allen. Because I was going to say, anybody one

0:18:33.800 --> 0:18:38.040
<v Speaker 1>of us needs to be committed. Yea, when the straight

0:18:38.040 --> 0:18:41.920
<v Speaker 1>lines are hanging out there, it's hard. So I think

0:18:41.960 --> 0:18:43.560
<v Speaker 1>you kind of answered this, but I want to ask

0:18:43.600 --> 0:18:46.600
<v Speaker 1>Larry specifically. Were you brought in by Michael first and

0:18:46.600 --> 0:18:49.240
<v Speaker 1>then approved by the network, or were you by the network.

0:18:49.320 --> 0:18:51.200
<v Speaker 1>I had not met Michael, I had not known Michael,

0:18:51.520 --> 0:18:54.760
<v Speaker 1>so I was the network's choice, and uh, you know

0:18:54.800 --> 0:19:00.000
<v Speaker 1>he accepted. We got along guys who had been roughly

0:19:00.080 --> 0:19:01.359
<v Speaker 1>doing that I did in the first season. We're Ed

0:19:01.400 --> 0:19:04.200
<v Speaker 1>Dector and John Strauss and they are like my best friends.

0:19:04.240 --> 0:19:07.199
<v Speaker 1>We talk all the time. Really yeah. Yeah, I went

0:19:07.240 --> 0:19:10.280
<v Speaker 1>to college with Ed. Uh. John and I've lived close

0:19:10.320 --> 0:19:11.600
<v Speaker 1>to each other for a while, and like I had

0:19:11.680 --> 0:19:14.040
<v Speaker 1>breakfast every day for you know, millions of years. I

0:19:14.040 --> 0:19:15.760
<v Speaker 1>have very fond memories of that. I haven't seen them

0:19:15.760 --> 0:19:20.160
<v Speaker 1>for years, but I thought to Ed yesterday, oh please,

0:19:20.160 --> 0:19:22.440
<v Speaker 1>we have to we have to reach out. Yeah, it's

0:19:22.480 --> 0:19:26.960
<v Speaker 1>a great guy. And uh. And so they were kind

0:19:27.000 --> 0:19:31.560
<v Speaker 1>of happy to get out, honestly, and I was looking

0:19:31.600 --> 0:19:34.520
<v Speaker 1>forward to running that show. I'd seen the episodes. I

0:19:34.560 --> 0:19:37.640
<v Speaker 1>thought I didn't like all the stories because I thought

0:19:37.640 --> 0:19:39.840
<v Speaker 1>that these aren't the type of stories that are going

0:19:39.880 --> 0:19:42.920
<v Speaker 1>to sustain a primetime show for for years and years,

0:19:42.920 --> 0:19:44.720
<v Speaker 1>And that's what ABC wanted. And I was, you know,

0:19:44.760 --> 0:19:47.560
<v Speaker 1>I was installed by ABC and you know, with Michael's approval,

0:19:47.600 --> 0:19:50.520
<v Speaker 1>and we met. Yeah, And at the time, if I

0:19:50.560 --> 0:19:53.439
<v Speaker 1>remember correctly, Michael was also trying to start other shows.

0:19:53.600 --> 0:19:56.480
<v Speaker 1>Ye see right, so he was off. Actually he would

0:19:56.480 --> 0:19:58.680
<v Speaker 1>like leave our set for a week or two because

0:19:58.680 --> 0:20:01.280
<v Speaker 1>he would be working another show. Right. So what were

0:20:01.280 --> 0:20:03.000
<v Speaker 1>those shows? Do you guys remember what they were? Was

0:20:03.040 --> 0:20:04.959
<v Speaker 1>it maybe this time? Was it maybe this time? At

0:20:05.000 --> 0:20:07.840
<v Speaker 1>that point? Yet every year for like two or three

0:20:07.920 --> 0:20:12.119
<v Speaker 1>years there, he was creating the Genie Show. At one point,

0:20:12.200 --> 0:20:15.679
<v Speaker 1>you wish maybe maybe next time or whatever that was

0:20:15.720 --> 0:20:19.760
<v Speaker 1>maybe this time? Um, but yeah, he was he Loves Company,

0:20:19.880 --> 0:20:22.520
<v Speaker 1>Misery Loves Company. He also did Zoe Duncan, Jack and Jane.

0:20:22.520 --> 0:20:24.800
<v Speaker 1>I mean, he had a bunch of shows while we

0:20:24.800 --> 0:20:28.159
<v Speaker 1>were going, um, which which was yeah, we never he

0:20:28.160 --> 0:20:29.879
<v Speaker 1>would kind of pop in and pop out during that

0:20:30.400 --> 0:20:32.959
<v Speaker 1>second season in the third season when we moved down

0:20:33.000 --> 0:20:36.080
<v Speaker 1>to KTLA, we didn't see him that much. Yeah, okay,

0:20:36.160 --> 0:20:38.520
<v Speaker 1>so that was where he really Yeah, well, because I

0:20:38.560 --> 0:20:40.399
<v Speaker 1>remember there was a period where you were giving notes

0:20:40.480 --> 0:20:42.439
<v Speaker 1>and like, yeah, you were running the show, and it

0:20:42.520 --> 0:20:44.159
<v Speaker 1>was like, well we would see Michael every couple of

0:20:44.200 --> 0:20:46.520
<v Speaker 1>weeks or maybe on tape night. But to be fair,

0:20:46.960 --> 0:20:50.040
<v Speaker 1>who wants to go to KTLA? Yeah, it was a

0:20:50.160 --> 0:20:53.800
<v Speaker 1>rough That was a rough time. You hadn't started yet

0:20:53.840 --> 0:20:56.280
<v Speaker 1>because we were in writer's mode when we went there

0:20:56.280 --> 0:20:59.000
<v Speaker 1>and got the new offices, and it was either the

0:20:59.000 --> 0:21:01.760
<v Speaker 1>first or second day where someone said, everybody staying inside

0:21:01.800 --> 0:21:03.920
<v Speaker 1>their offices. There's a shooting in the building across the street,

0:21:03.960 --> 0:21:06.960
<v Speaker 1>so everybody, you know, getting their offices, and it was

0:21:07.000 --> 0:21:08.399
<v Speaker 1>we sit there and look at each other and be like,

0:21:08.400 --> 0:21:11.480
<v Speaker 1>which strip club should these kids go to to have

0:21:11.600 --> 0:21:16.360
<v Speaker 1>a lot today. That's where we started getting lunch delivered, right,

0:21:17.080 --> 0:21:19.959
<v Speaker 1>because at Disney we would go to the commissary, yeah,

0:21:20.080 --> 0:21:25.800
<v Speaker 1>or there would be stuff. There was literally and the

0:21:25.880 --> 0:21:28.280
<v Speaker 1>two I got the Tuesday morning buffet at the local

0:21:28.359 --> 0:21:31.119
<v Speaker 1>strip club is really sad. I got to be totally

0:21:31.160 --> 0:21:34.320
<v Speaker 1>honest with you. It's gotten better. They've redone those studios, right,

0:21:34.359 --> 0:21:40.520
<v Speaker 1>they're called something Else now I'm secure. Yeah yeah, and

0:21:40.520 --> 0:21:43.760
<v Speaker 1>they have a nice commissary because their Netflix. Yeah yeah,

0:21:43.800 --> 0:21:46.439
<v Speaker 1>thank god. Okay, So I also I'm dying to know.

0:21:46.600 --> 0:21:48.919
<v Speaker 1>I want to know how did you get growing paints?

0:21:49.000 --> 0:21:54.040
<v Speaker 1>How did you start there? Okay? My career, I was uh,

0:21:54.080 --> 0:21:57.160
<v Speaker 1>living in New York and wanted to work in film

0:21:57.160 --> 0:21:59.879
<v Speaker 1>and TV. Wanted to direct on everybody wants to direct.

0:22:00.000 --> 0:22:03.360
<v Speaker 1>I can see nods in these boxes. Yeah, nut will

0:22:03.760 --> 0:22:08.480
<v Speaker 1>no desire yea. And it was nineteen eighty five and

0:22:08.520 --> 0:22:11.440
<v Speaker 1>I wrote an episode of a show called The Cosby Show.

0:22:11.440 --> 0:22:13.760
<v Speaker 1>And saying Cosby in nineteen eighty five is very different

0:22:14.040 --> 0:22:17.639
<v Speaker 1>from saying Cosby now. So I wrote a spec Cosby script.

0:22:17.920 --> 0:22:22.960
<v Speaker 1>Through social contacts, I met an agent and she her

0:22:23.040 --> 0:22:25.879
<v Speaker 1>name is Phillis Wonder. We're still in touch even though

0:22:25.960 --> 0:22:30.720
<v Speaker 1>she's retired. And she said, I have some contacts in LA.

0:22:30.840 --> 0:22:32.359
<v Speaker 1>And I realized that at some point, if I was

0:22:32.440 --> 0:22:34.800
<v Speaker 1>going to stay in the industry, I needed to know

0:22:34.880 --> 0:22:37.240
<v Speaker 1>what LA was like. So I came out with my

0:22:37.320 --> 0:22:40.320
<v Speaker 1>spec Cosby script. Stayed on Ed Dector's couch and other

0:22:40.440 --> 0:22:46.560
<v Speaker 1>ed and Lightning Struck and the first producer that read

0:22:46.560 --> 0:22:49.760
<v Speaker 1>it hired me and it was for this show called

0:22:49.880 --> 0:22:53.960
<v Speaker 1>Growing the aforementioned Growing Pains, and I went in with

0:22:54.119 --> 0:22:56.960
<v Speaker 1>as a green writer with no credits, and I stayed

0:22:56.960 --> 0:22:59.800
<v Speaker 1>there six years. I went, you know, all the way

0:22:59.840 --> 0:23:02.639
<v Speaker 1>up the food chain, and I ended up being a

0:23:02.720 --> 0:23:07.600
<v Speaker 1>co executive producer and your first ever projects project. But

0:23:08.119 --> 0:23:10.880
<v Speaker 1>I sometimes leary to tell that story because then people

0:23:10.880 --> 0:23:12.960
<v Speaker 1>will hate me. But I can assure you I've been

0:23:13.040 --> 0:23:18.320
<v Speaker 1>beaten up and have had many uh lump's career wise,

0:23:20.359 --> 0:23:23.600
<v Speaker 1>but that was a that was a hell of a peak. Yes,

0:23:23.960 --> 0:23:25.960
<v Speaker 1>but and that was great fun because it was a

0:23:26.040 --> 0:23:30.639
<v Speaker 1>great show. I had wonderful mentors. Did The show runner,

0:23:30.720 --> 0:23:35.119
<v Speaker 1>head writer Dan Gunselman, just taught me everything. Another executive producer,

0:23:35.119 --> 0:23:37.480
<v Speaker 1>Mike Sulliman. He came from the network, so I learned

0:23:37.520 --> 0:23:39.919
<v Speaker 1>network stuff from these two guys. They were amazing mentors

0:23:40.160 --> 0:23:42.280
<v Speaker 1>and they said, you're not a story editor, you're in

0:23:42.359 --> 0:23:44.680
<v Speaker 1>producer school. So that was kind of what I've tried

0:23:44.720 --> 0:23:46.720
<v Speaker 1>to do when I've run shows is just treat the

0:23:46.720 --> 0:23:49.280
<v Speaker 1>staff as if they're in producer school. But it was amazing.

0:23:49.320 --> 0:23:54.120
<v Speaker 1>I left there knowing multi camera production inside and out.

0:23:54.359 --> 0:23:57.560
<v Speaker 1>It was great. And then had a development deal where

0:23:57.560 --> 0:24:01.919
<v Speaker 1>I failed miserably. So I wrote some pilots, shot some pilots,

0:24:01.960 --> 0:24:03.920
<v Speaker 1>nothing out on the air. So at the end of that,

0:24:04.720 --> 0:24:07.000
<v Speaker 1>I hear ABC. You know, they still like you, they

0:24:07.000 --> 0:24:08.639
<v Speaker 1>want you on the show called the Boy Meets World,

0:24:08.880 --> 0:24:12.720
<v Speaker 1>and I looked at it. I said, this could be fun. Wow. Okay,

0:24:12.720 --> 0:24:15.040
<v Speaker 1>So then you come to Boy Meets World. Yes, do

0:24:15.080 --> 0:24:17.800
<v Speaker 1>you like the episodes you've seen, but you don't necessarily

0:24:17.840 --> 0:24:21.399
<v Speaker 1>love all the stories. What are your first impressions of

0:24:22.200 --> 0:24:26.920
<v Speaker 1>all of the cast? How professional you guys were, How

0:24:27.560 --> 0:24:32.080
<v Speaker 1>you seem very real, How you seem to intuitively understand

0:24:32.080 --> 0:24:36.560
<v Speaker 1>your characters. And it was kind of I won't say

0:24:36.560 --> 0:24:38.840
<v Speaker 1>easy to write for, but it's like, oh, okay, they

0:24:38.840 --> 0:24:42.600
<v Speaker 1>can do this. This is great. So it was you

0:24:42.640 --> 0:24:45.760
<v Speaker 1>gotta love your characters. Yeah, and it helps if you

0:24:45.920 --> 0:24:50.000
<v Speaker 1>love your actors and and you guys are great. And hey,

0:24:50.000 --> 0:24:52.440
<v Speaker 1>look we're still talking. It's twenty five years later and

0:24:52.640 --> 0:24:54.360
<v Speaker 1>we got long. I'm still in touch with all you guys,

0:24:54.480 --> 0:24:58.760
<v Speaker 1>you know, so it's amazing. A little known fact David Kendall.

0:24:58.920 --> 0:25:02.240
<v Speaker 1>I shadowed David Kendall, and David Kendall was very instrumental

0:25:02.320 --> 0:25:05.440
<v Speaker 1>in me starting my directing career because after Girl Meets World,

0:25:05.440 --> 0:25:10.280
<v Speaker 1>where I had directed four episodes, I tried for two

0:25:10.400 --> 0:25:13.040
<v Speaker 1>straight years basically for people to take me seriously as

0:25:13.040 --> 0:25:15.320
<v Speaker 1>a director, and nobody really wanted to. Nobody was willing

0:25:15.400 --> 0:25:18.040
<v Speaker 1>to take the risk on me. And then Mark Reasman,

0:25:18.119 --> 0:25:21.679
<v Speaker 1>who created the show Sydney to the Max for Disney Channel,

0:25:22.280 --> 0:25:24.159
<v Speaker 1>was willing to take a chance on me. But he

0:25:24.280 --> 0:25:28.120
<v Speaker 1>flat out told me in our meeting David Kendall directed

0:25:28.119 --> 0:25:29.760
<v Speaker 1>my pilot and if it were up to me, David

0:25:29.840 --> 0:25:32.639
<v Speaker 1>Kendall would direct every single one of my episodes, but

0:25:32.720 --> 0:25:35.360
<v Speaker 1>they won't let me do that. So and then we,

0:25:35.480 --> 0:25:37.160
<v Speaker 1>you know, spent a long time talking and he ended

0:25:37.240 --> 0:25:38.640
<v Speaker 1>up deciding he was going to give me a couple

0:25:38.640 --> 0:25:42.160
<v Speaker 1>episodes to direct, but he very in the nicest way possible,

0:25:42.640 --> 0:25:44.399
<v Speaker 1>told me he would feel a lot more comfortable if

0:25:44.440 --> 0:25:47.720
<v Speaker 1>I came and shadowed David Kendall. And I was like, well,

0:25:47.880 --> 0:25:51.600
<v Speaker 1>the good news is I know David Kendall very well,

0:25:52.200 --> 0:25:55.600
<v Speaker 1>and so David is one of my mentors. Yeah, I

0:25:56.160 --> 0:26:00.240
<v Speaker 1>saw too. You didn't know I was shadowing you. It's

0:26:00.240 --> 0:26:07.600
<v Speaker 1>called stalking. Will right done with the place, Thank you,

0:26:07.760 --> 0:26:12.320
<v Speaker 1>thank you so much. Yeah, yeah, no, I shouted, David too.

0:26:12.400 --> 0:26:14.399
<v Speaker 1>I you know, it's funny. You're one of the few

0:26:14.760 --> 0:26:18.240
<v Speaker 1>people I know of that has worked in television on

0:26:18.280 --> 0:26:21.640
<v Speaker 1>both sides, like whereas a writer, producer and a director.

0:26:22.040 --> 0:26:25.520
<v Speaker 1>Most people usually, you know, stay on one side of

0:26:25.560 --> 0:26:27.320
<v Speaker 1>that line, but you've crossed it a bunch of times,

0:26:27.320 --> 0:26:30.040
<v Speaker 1>and in fact, more than anything, you mostly consider yourself

0:26:30.040 --> 0:26:34.199
<v Speaker 1>a director nowadays. Right if you my DNA, I'm I'm

0:26:34.280 --> 0:26:38.200
<v Speaker 1>a writer, and I think writer is the most important

0:26:38.200 --> 0:26:41.880
<v Speaker 1>thing because without a script, nothing but um, it's more

0:26:41.960 --> 0:26:45.560
<v Speaker 1>fun to direct. And uh, I have a blast directing.

0:26:45.840 --> 0:26:48.280
<v Speaker 1>I never have a bad day directing. Often writing and

0:26:48.280 --> 0:26:51.200
<v Speaker 1>producing running a show, you'll have many bad days. Yeah,

0:26:51.280 --> 0:26:53.960
<v Speaker 1>you get the bad phone calls if you're an episodic

0:26:54.000 --> 0:26:57.240
<v Speaker 1>director where it's someone else's show, it's just the you know.

0:26:57.280 --> 0:27:01.600
<v Speaker 1>I joke that it's the difference moved parenting and grandparenting,

0:27:01.880 --> 0:27:04.199
<v Speaker 1>that writing and producing a show is like parenting with

0:27:04.240 --> 0:27:06.960
<v Speaker 1>all the stresses, and it's you know, it's miserable, but

0:27:07.119 --> 0:27:09.040
<v Speaker 1>you'll love your kids so much and you do anything

0:27:09.040 --> 0:27:12.359
<v Speaker 1>for him, and grandparenting is like, yeah, they're done at

0:27:12.359 --> 0:27:17.240
<v Speaker 1>the end of the week. The head I'm not there,

0:27:17.320 --> 0:27:19.800
<v Speaker 1>but that's how I like him. Yeah, that's how you

0:27:19.800 --> 0:27:23.000
<v Speaker 1>think of it. Yeah, that's great. Wow, that's amazing. Did

0:27:23.000 --> 0:27:26.000
<v Speaker 1>you ever bring in any guest stars from Growing Pains? Like,

0:27:26.040 --> 0:27:28.320
<v Speaker 1>did you ever? We talk a lot about how Michael

0:27:28.440 --> 0:27:30.960
<v Speaker 1>was really loved to reuse actors that he was familiar

0:27:30.960 --> 0:27:33.200
<v Speaker 1>with and that he knew when you started running, boy

0:27:33.200 --> 0:27:35.440
<v Speaker 1>meant world, did you have like a group of people

0:27:35.480 --> 0:27:37.800
<v Speaker 1>you went to for things. I can't remember if we

0:27:38.000 --> 0:27:41.680
<v Speaker 1>had anybody. I don't know, I have to yeah, I

0:27:41.960 --> 0:27:45.560
<v Speaker 1>can nothing. Nothing at top of mind. Nothing, I don't

0:27:45.560 --> 0:27:47.720
<v Speaker 1>think so. Actually, I'm thinking of the cast of Growing

0:27:47.800 --> 0:27:49.119
<v Speaker 1>going through the cast of Growing Pains in my head,

0:27:49.119 --> 0:27:50.680
<v Speaker 1>and I don't think we had anybody. I mean, maybe

0:27:50.680 --> 0:27:53.560
<v Speaker 1>somebody that had done both shows, you know, yeah, yeah,

0:27:53.680 --> 0:27:55.320
<v Speaker 1>not a guest cast, but no, but none of the

0:27:55.359 --> 0:27:58.280
<v Speaker 1>none of the regulars I don't think came on. And

0:27:58.320 --> 0:28:00.199
<v Speaker 1>also that I think that a lot of the the

0:28:00.200 --> 0:28:04.320
<v Speaker 1>cast of Growing Pains it didn't do another ABC Family

0:28:04.320 --> 0:28:06.119
<v Speaker 1>show for a while. It was like, let's get out

0:28:06.119 --> 0:28:08.040
<v Speaker 1>of this for a while. I have a question when

0:28:08.080 --> 0:28:10.760
<v Speaker 1>when you got the marching orders, everybody got the marching

0:28:10.800 --> 0:28:12.840
<v Speaker 1>orders to age up the show. Was anybody against that?

0:28:13.119 --> 0:28:14.680
<v Speaker 1>Did anybody say no, we don't want to do that

0:28:14.760 --> 0:28:16.440
<v Speaker 1>or did it? It sounds like it would make sense

0:28:16.480 --> 0:28:18.480
<v Speaker 1>to kind of age it up a little bit. And yeah,

0:28:18.520 --> 0:28:21.520
<v Speaker 1>the stories in the tone of the first season was

0:28:21.560 --> 0:28:24.879
<v Speaker 1>not sustainable for a primetime show, right, and you know

0:28:24.920 --> 0:28:27.280
<v Speaker 1>the show ran seven years. You know, I don't I

0:28:27.280 --> 0:28:30.040
<v Speaker 1>can't imagine those stories. You know, we had the show

0:28:30.119 --> 0:28:32.800
<v Speaker 1>had to grow up, everybody to grow up, and it

0:28:32.840 --> 0:28:34.600
<v Speaker 1>was a little bit of a of a big change,

0:28:35.560 --> 0:28:38.440
<v Speaker 1>but I think it was I think it was worth it.

0:28:38.520 --> 0:28:41.880
<v Speaker 1>And uh um, yeah, last night I looked at the

0:28:41.920 --> 0:28:44.840
<v Speaker 1>first one, the only one I wrote, and the first

0:28:44.840 --> 0:28:46.560
<v Speaker 1>one I directed, which was the end of the first

0:28:46.560 --> 0:28:51.280
<v Speaker 1>season where writers starts, uh, Sean starts living with the

0:28:51.320 --> 0:28:53.520
<v Speaker 1>Matthews and then ends up at Turners. Anyway, it was

0:28:53.600 --> 0:28:56.360
<v Speaker 1>a lovely episode. Is at the end of second season

0:28:56.480 --> 0:28:58.760
<v Speaker 1>the end of second season? Yeah, the second season is

0:28:58.800 --> 0:29:02.000
<v Speaker 1>he's uh, I'm getting ahead of your rewatch. But yeah,

0:29:02.080 --> 0:29:04.080
<v Speaker 1>I didn't know. I didn't realize Sean was already running

0:29:04.120 --> 0:29:06.800
<v Speaker 1>away second season end of the Sea. I guess it

0:29:06.880 --> 0:29:09.160
<v Speaker 1>makes sense because Tony was only there for what two

0:29:09.200 --> 0:29:11.680
<v Speaker 1>three season until the end of the third or so. Yeah,

0:29:11.720 --> 0:29:13.840
<v Speaker 1>so it's we were trying to figure out all the

0:29:13.880 --> 0:29:17.680
<v Speaker 1>timeline and that was the first episode you had ever directed, right, Oh, no,

0:29:17.760 --> 0:29:19.760
<v Speaker 1>I had when I was on Growing Pains. There was

0:29:20.080 --> 0:29:23.880
<v Speaker 1>a spinoff of Growing Pains called Just the Ten of Us, okay,

0:29:24.000 --> 0:29:27.360
<v Speaker 1>and we had a house director for Growing Pains, John Tracy,

0:29:27.360 --> 0:29:31.800
<v Speaker 1>who directed the Past and so h we did not

0:29:31.880 --> 0:29:33.800
<v Speaker 1>have a house director for Just a ten of Us.

0:29:33.840 --> 0:29:36.920
<v Speaker 1>And so I got my first directing assignment at Just

0:29:37.000 --> 0:29:40.320
<v Speaker 1>the Ten of Us and that was my first and

0:29:40.320 --> 0:29:44.120
<v Speaker 1>and then directing you guys was my second. Wow. When

0:29:44.120 --> 0:29:45.920
<v Speaker 1>I came back after running the show and I came

0:29:45.960 --> 0:29:50.080
<v Speaker 1>back in the directing rotation, that's when I really started

0:29:50.080 --> 0:29:52.280
<v Speaker 1>to direct a lot more. And you guys were so

0:29:52.320 --> 0:29:55.320
<v Speaker 1>important to me as as developing as a director because

0:29:55.800 --> 0:29:58.040
<v Speaker 1>I knew you guys, you trusted me, you could I

0:29:58.080 --> 0:30:02.600
<v Speaker 1>could talk to you guys, and so it just allowed

0:30:02.600 --> 0:30:05.600
<v Speaker 1>me the freedom and the security in this your environment

0:30:05.680 --> 0:30:07.560
<v Speaker 1>to direct. So I felt after directing a bunch of

0:30:07.560 --> 0:30:10.680
<v Speaker 1>those blomous world it really helped me and gave me

0:30:10.720 --> 0:30:14.320
<v Speaker 1>confidence and gave me fluency in directing. So thank you,

0:30:14.400 --> 0:30:17.480
<v Speaker 1>And you've done now two hundred plus episodes of television.

0:30:17.600 --> 0:30:21.120
<v Speaker 1>I have directed two hundred plus episodes of television, all

0:30:21.200 --> 0:30:24.720
<v Speaker 1>told as a writer, producer, director, six hundred hundred television

0:30:26.200 --> 0:30:29.880
<v Speaker 1>over forty different series. Because I am very old, Wow,

0:30:29.920 --> 0:30:35.040
<v Speaker 1>and we're still We're still your favorite. Yes, we should

0:30:35.040 --> 0:30:37.320
<v Speaker 1>also talk a little bit about how this was the

0:30:37.440 --> 0:30:39.520
<v Speaker 1>end of an era when it came to television, because

0:30:39.560 --> 0:30:43.280
<v Speaker 1>the idea of a network coming in and saying, we

0:30:43.360 --> 0:30:45.640
<v Speaker 1>really like this show, we want to change it a

0:30:45.640 --> 0:30:47.960
<v Speaker 1>bit and tweak it because we wanted to have longevity

0:30:48.000 --> 0:30:50.880
<v Speaker 1>and we want it to grow. That doesn't just anymore. Yeah,

0:30:50.920 --> 0:30:53.560
<v Speaker 1>they don't let stuff grow anymore. You do a few

0:30:53.560 --> 0:30:55.440
<v Speaker 1>episodes of something, we hated it and they cancel it.

0:30:55.480 --> 0:30:59.440
<v Speaker 1>I mean it's so rare nowadays to see something that

0:30:59.720 --> 0:31:01.760
<v Speaker 1>you know they believe in and they want they want

0:31:01.760 --> 0:31:03.480
<v Speaker 1>to have grow, they want to have change, they want

0:31:03.480 --> 0:31:05.960
<v Speaker 1>to build a night. That's something that is so old

0:31:06.040 --> 0:31:08.160
<v Speaker 1>school TV. And I think we caught that right at

0:31:08.200 --> 0:31:12.040
<v Speaker 1>the end. All the biggest shows in television history, Mash Cheers,

0:31:12.800 --> 0:31:15.440
<v Speaker 1>I mean, you name it, The Office, even new stuff,

0:31:15.440 --> 0:31:17.720
<v Speaker 1>they were gonna be canceled, but the network went, no,

0:31:18.400 --> 0:31:20.800
<v Speaker 1>let's let's change it. I think we can find an audience.

0:31:20.840 --> 0:31:22.360
<v Speaker 1>We're gonna move a night. We're gonna do this, We're

0:31:22.360 --> 0:31:26.880
<v Speaker 1>gonna do that. That's just gone. So I mean that's it.

0:31:26.960 --> 0:31:28.640
<v Speaker 1>It shows. I mean, it just shows what you can

0:31:28.680 --> 0:31:30.719
<v Speaker 1>find when you give something a chance to find itself

0:31:30.720 --> 0:31:33.040
<v Speaker 1>and find its audience. Yeah. Giving show a chance to

0:31:33.080 --> 0:31:36.520
<v Speaker 1>grow is not what we do so much anymore. So, Yeah,

0:31:36.520 --> 0:31:49.160
<v Speaker 1>which is a shame. Yeah. Yeah. What were your experiences

0:31:49.160 --> 0:31:55.520
<v Speaker 1>with Bill Daniels? Like Bill was, Bill can be tough.

0:31:55.800 --> 0:31:59.080
<v Speaker 1>I eventually bonded and I love him and I'm still

0:31:59.120 --> 0:32:01.360
<v Speaker 1>in touch with Bill and Annie And did you see

0:32:01.440 --> 0:32:07.520
<v Speaker 1>my uh I saw it? Yes, So for those listening,

0:32:07.880 --> 0:32:10.920
<v Speaker 1>it's there's a prop from the show where new principle

0:32:11.160 --> 0:32:14.160
<v Speaker 1>is Weenie. So yes, and that's the origin, that's the

0:32:14.160 --> 0:32:16.360
<v Speaker 1>original one. That's well, I guess it's one of the

0:32:16.440 --> 0:32:18.240
<v Speaker 1>original ones. Yes, yes, I'm sure they made a bunch.

0:32:18.240 --> 0:32:19.560
<v Speaker 1>I can keep it in my bedroom so I can

0:32:19.600 --> 0:32:26.200
<v Speaker 1>be reminded every day. So Bill eventually, because Bill, I think,

0:32:26.240 --> 0:32:28.880
<v Speaker 1>likes to test people a little bit or make sure

0:32:28.920 --> 0:32:31.800
<v Speaker 1>that they're they're savvy. And so once we got past that,

0:32:31.840 --> 0:32:34.840
<v Speaker 1>it was It's a great relationship and it still is.

0:32:34.880 --> 0:32:39.080
<v Speaker 1>And um, you know, there's just to direct Bill Daniels

0:32:39.320 --> 0:32:43.360
<v Speaker 1>is just great into and to give him an idea

0:32:43.440 --> 0:32:45.680
<v Speaker 1>or a thought and to see that he thinks, oh,

0:32:45.720 --> 0:32:47.760
<v Speaker 1>I'll do that because this person's not an idiot is

0:32:48.040 --> 0:32:52.720
<v Speaker 1>a great sense of satisfaction. So yes, yeah, it was

0:32:52.760 --> 0:32:56.440
<v Speaker 1>a Bild's amazing. Bill's amazing. Do you have a favorite

0:32:56.480 --> 0:33:00.320
<v Speaker 1>episode of Boy Meets World? I do not. Yeah, I

0:33:00.440 --> 0:33:03.720
<v Speaker 1>just I remember scenes in moments and and also attached

0:33:03.760 --> 0:33:07.000
<v Speaker 1>them to the experiences in the writer's room. Yeah, and uh,

0:33:07.440 --> 0:33:10.719
<v Speaker 1>which is an amazing thing. And if you haven't been

0:33:10.760 --> 0:33:12.480
<v Speaker 1>a part of it in a in a series, it's

0:33:12.520 --> 0:33:17.320
<v Speaker 1>really one of those things it's impossible to describe. But

0:33:17.400 --> 0:33:19.760
<v Speaker 1>you know, we had a great writer's room too. We

0:33:19.800 --> 0:33:22.320
<v Speaker 1>had just great people. That's I think enough. Part of

0:33:22.360 --> 0:33:24.360
<v Speaker 1>the reason of the show's success, in addition to how

0:33:24.480 --> 0:33:26.680
<v Speaker 1>how great you guys are, is we had people who

0:33:26.760 --> 0:33:29.880
<v Speaker 1>just worked hard and love the show. So yeah, it

0:33:29.920 --> 0:33:32.720
<v Speaker 1>was it was a good It was a good group. Well,

0:33:32.880 --> 0:33:35.440
<v Speaker 1>we mentioned in your intro that you have gone on

0:33:35.480 --> 0:33:38.680
<v Speaker 1>to direct all A listers when they were kids, Austin

0:33:38.760 --> 0:33:44.120
<v Speaker 1>Butler's and diah Miley, Ariana Grande. What do those stars

0:33:44.200 --> 0:33:46.760
<v Speaker 1>haven't have in common when they were kids? Liked what

0:33:46.840 --> 0:33:49.720
<v Speaker 1>was the secret sauce of those kids. I think the

0:33:49.760 --> 0:33:53.320
<v Speaker 1>secret sauces is stay secret. But but you can tell

0:33:53.360 --> 0:33:56.959
<v Speaker 1>if someone really got it. Well sometimes sometimes, uh, you know,

0:33:57.000 --> 0:33:59.600
<v Speaker 1>like with Miley Cyrus, who I did the first few

0:33:59.600 --> 0:34:02.480
<v Speaker 1>episodes of Hannah Montana and she was very green. She

0:34:02.520 --> 0:34:04.040
<v Speaker 1>didn't know what a fifty fifty was, she didn't know

0:34:04.040 --> 0:34:05.200
<v Speaker 1>where to stand, and she she didn't know how to cheat

0:34:05.200 --> 0:34:06.800
<v Speaker 1>it out. And but you know, you just talked to

0:34:06.800 --> 0:34:09.760
<v Speaker 1>her and you just see the progress bar going, you know, quickly,

0:34:10.080 --> 0:34:12.160
<v Speaker 1>and then you just watch a run through where it's

0:34:12.160 --> 0:34:14.839
<v Speaker 1>time to perform, and there's just that little extra, just

0:34:14.880 --> 0:34:18.000
<v Speaker 1>that little extra, and you know that was not a

0:34:18.040 --> 0:34:20.719
<v Speaker 1>surprise that she became big. I mean, who knows how

0:34:20.760 --> 0:34:23.560
<v Speaker 1>big she was gonna be the same with Ariana, just

0:34:23.600 --> 0:34:28.000
<v Speaker 1>there's a little extra spark that sometimes sometimes you can

0:34:28.040 --> 0:34:35.480
<v Speaker 1>tell and it's uh, some people and I won't name names,

0:34:35.520 --> 0:34:38.040
<v Speaker 1>so it's just like I can't believe they're huge. But

0:34:38.160 --> 0:34:42.080
<v Speaker 1>a lot of times, a lot of times it's like, oh, yeah,

0:34:42.160 --> 0:34:44.520
<v Speaker 1>that's no surprise. Yeah. I mean Brad Pitt was on

0:34:44.560 --> 0:34:49.360
<v Speaker 1>Growing Pains and yeah, yeah he was, and that was like, okay,

0:34:49.880 --> 0:34:54.680
<v Speaker 1>you know, three one Superstar yeah, but Leo Leonardo DiCaprio

0:34:54.719 --> 0:34:57.239
<v Speaker 1>also on Growing Pains. Yeah, Leo, I was not. I

0:34:57.280 --> 0:34:59.480
<v Speaker 1>did six of the seven years I had left in

0:34:59.600 --> 0:35:02.200
<v Speaker 1>Leo k Man. You know, I was still at Warner Brothers,

0:35:02.200 --> 0:35:03.640
<v Speaker 1>so you know, I met him a few times with

0:35:03.680 --> 0:35:06.799
<v Speaker 1>the other cast, but Leo was there not my year.

0:35:06.840 --> 0:35:09.560
<v Speaker 1>I did not work with Leo. Were you involved in

0:35:09.600 --> 0:35:12.440
<v Speaker 1>the casting process of all the new people in the

0:35:12.440 --> 0:35:14.640
<v Speaker 1>episode you wrote back to School? Yeah, I mean all

0:35:14.760 --> 0:35:17.880
<v Speaker 1>all the producers where I mean, Sally Steiner, You're wonderful

0:35:17.960 --> 0:35:20.719
<v Speaker 1>casting director. I'm still in touch with them. And then

0:35:20.760 --> 0:35:23.200
<v Speaker 1>I think Barbie didn't Barbie Block didn't start with her

0:35:23.320 --> 0:35:26.840
<v Speaker 1>till this season. After that, I think, yeah, yeah, she

0:35:26.960 --> 0:35:28.920
<v Speaker 1>brought in people and it was you know, me and

0:35:28.960 --> 0:35:31.000
<v Speaker 1>Michael and a couple of the other producers and then

0:35:31.000 --> 0:35:34.120
<v Speaker 1>of course the networking studio input. But yeah, I was

0:35:34.160 --> 0:35:37.120
<v Speaker 1>in on it. It was a you know, a group decision, uh,

0:35:37.360 --> 0:35:39.480
<v Speaker 1>you know, and network has always gone away and especially

0:35:39.520 --> 0:35:42.799
<v Speaker 1>about important things like who mister Turner was going to be.

0:35:43.560 --> 0:35:46.279
<v Speaker 1>I'm so glad you said that. Okay, I just want

0:35:46.360 --> 0:35:48.680
<v Speaker 1>one quick question. So the you're talking about, like the

0:35:48.719 --> 0:35:51.520
<v Speaker 1>network and notes from the network, did did you get

0:35:51.560 --> 0:35:53.680
<v Speaker 1>any I mean, obviously they wanted to make a radical

0:35:53.760 --> 0:35:55.479
<v Speaker 1>change or what what would appear to be a radical

0:35:55.560 --> 0:35:57.919
<v Speaker 1>change between season one and season two. Were there any

0:35:58.040 --> 0:36:01.400
<v Speaker 1>overall network notes between seas in two in season three

0:36:01.560 --> 0:36:03.960
<v Speaker 1>that they wanted changes for or was it kind of like, no,

0:36:04.080 --> 0:36:06.040
<v Speaker 1>you guys have found it now, just keep doing what

0:36:06.040 --> 0:36:07.600
<v Speaker 1>you're doing. It was that was it? No, you guys

0:36:07.640 --> 0:36:10.040
<v Speaker 1>have found it now, and and and I think we did.

0:36:10.080 --> 0:36:13.720
<v Speaker 1>And I think that to me, usually in a show,

0:36:14.400 --> 0:36:17.120
<v Speaker 1>third season is often the creative peak. It's like the

0:36:17.400 --> 0:36:19.160
<v Speaker 1>first season it starts to get off the grounds, the

0:36:19.200 --> 0:36:22.400
<v Speaker 1>second season, at Gail's, third season at peaks, fourth season,

0:36:22.640 --> 0:36:26.399
<v Speaker 1>it's a little off peak. Fifth season, it's, yeah, there's

0:36:26.400 --> 0:36:28.319
<v Speaker 1>still some good in there. In sixth season, it's like,

0:36:28.600 --> 0:36:31.520
<v Speaker 1>why are we still doing this? So not always not

0:36:31.560 --> 0:36:34.560
<v Speaker 1>always the case, you know, but that seems to be

0:36:34.920 --> 0:36:39.400
<v Speaker 1>a general pattern of of of television. But but you know,

0:36:39.440 --> 0:36:42.080
<v Speaker 1>you can survive if you're starting to do if you

0:36:42.160 --> 0:36:44.600
<v Speaker 1>open up the world, which boy means world did wonderfully,

0:36:44.640 --> 0:36:47.600
<v Speaker 1>you know, with you and uh and Matt and Maitland.

0:36:47.760 --> 0:36:49.520
<v Speaker 1>I mean that was great and just kind of expanding

0:36:49.520 --> 0:36:53.040
<v Speaker 1>the worlds that you know, exploring the college in general. Yeah, yeah,

0:36:53.280 --> 0:36:55.200
<v Speaker 1>that was great because that was it was still the

0:36:55.239 --> 0:36:58.680
<v Speaker 1>same show. Sometimes when a show becomes a different show,

0:36:58.680 --> 0:37:01.319
<v Speaker 1>it doesn't quite work. Let's do something really different. It

0:37:01.400 --> 0:37:04.919
<v Speaker 1>usually doesn't work, but let's take the dynamics that work

0:37:04.920 --> 0:37:07.560
<v Speaker 1>and just put them in different arenas. So we were

0:37:07.560 --> 0:37:10.480
<v Speaker 1>also two seasons in before they even made Corey and

0:37:10.520 --> 0:37:12.719
<v Speaker 1>Topango a thing, So that then took the show in

0:37:12.760 --> 0:37:15.080
<v Speaker 1>an entirely different direction. That kind of became the core

0:37:15.120 --> 0:37:17.360
<v Speaker 1>of the show. So we didn't even find that until

0:37:17.760 --> 0:37:21.839
<v Speaker 1>what thirty forty five episodes. In fifty episodes in, it

0:37:21.920 --> 0:37:25.479
<v Speaker 1>was found is maybe the not the best work because

0:37:25.520 --> 0:37:27.319
<v Speaker 1>it was like, we're waiting to do that. We knew

0:37:27.360 --> 0:37:28.879
<v Speaker 1>we were going to go, so you do you knew

0:37:28.880 --> 0:37:31.080
<v Speaker 1>you were gonna go. So even with Danielle when she was,

0:37:31.320 --> 0:37:33.760
<v Speaker 1>you know, kind of a guest cast quote unquote guest cast,

0:37:34.320 --> 0:37:37.040
<v Speaker 1>um you, Corey and Topango was already planned. That was

0:37:37.040 --> 0:37:38.719
<v Speaker 1>a thing at the start of the second season. It

0:37:38.760 --> 0:37:40.120
<v Speaker 1>was I don't know what about the first season, but

0:37:40.239 --> 0:37:42.759
<v Speaker 1>the second season, let's let's do this slowly because we

0:37:42.760 --> 0:37:45.719
<v Speaker 1>want to you know, the show run for a while. Yeah,

0:37:45.719 --> 0:37:50.160
<v Speaker 1>they're really good together. Danielle really pops. She's fantastic and

0:37:50.560 --> 0:37:53.760
<v Speaker 1>their chemistry is good and uh, let's do this slowly

0:37:53.760 --> 0:37:56.040
<v Speaker 1>and one step forward, one step back, to step sward,

0:37:56.080 --> 0:37:58.840
<v Speaker 1>one step back. Cool. Yeah, yeah yeah. What can you

0:37:58.880 --> 0:38:00.720
<v Speaker 1>tell us And what do you remember about the casting

0:38:00.719 --> 0:38:04.440
<v Speaker 1>of Tony for mister Turner. I remember a lot of

0:38:04.440 --> 0:38:08.200
<v Speaker 1>guys came in and just Tony just nailed it. He

0:38:08.320 --> 0:38:10.880
<v Speaker 1>was warm, he was funny, he had a great presence,

0:38:11.160 --> 0:38:14.360
<v Speaker 1>and it wasn't like, well, how about this guy? Was

0:38:14.360 --> 0:38:17.720
<v Speaker 1>like Tony came in and read and I can't remember

0:38:17.760 --> 0:38:20.960
<v Speaker 1>the other names, but it was like, okay, Tony, it's

0:38:21.000 --> 0:38:23.160
<v Speaker 1>it's going to be Tony. I didn't realize that Michael

0:38:23.239 --> 0:38:26.279
<v Speaker 1>had worked with him before, honestly, right, so he just

0:38:26.360 --> 0:38:29.960
<v Speaker 1>he just nailed it. And so how much of mister

0:38:30.000 --> 0:38:34.040
<v Speaker 1>Turner's character and getting involved with Sean's character and that

0:38:34.160 --> 0:38:36.359
<v Speaker 1>story arc that ends up happening, how much of that

0:38:36.480 --> 0:38:39.040
<v Speaker 1>was planned from the beginning, and how much of that

0:38:39.120 --> 0:38:43.280
<v Speaker 1>was like natural evolution? I think it was natural evolution

0:38:43.280 --> 0:38:45.440
<v Speaker 1>because also you don't know how the new character is

0:38:45.480 --> 0:38:47.319
<v Speaker 1>going to click and how the chemistry is going to be,

0:38:47.800 --> 0:38:51.480
<v Speaker 1>and then I can't remember all of the thinking that

0:38:51.520 --> 0:38:56.880
<v Speaker 1>went into it. But you know, if we established Sean's

0:38:56.920 --> 0:38:59.799
<v Speaker 1>home life as being kind of weird and not necessarily

0:38:59.840 --> 0:39:02.759
<v Speaker 1>healthy and taking the approach of walking the line of

0:39:02.800 --> 0:39:06.360
<v Speaker 1>making that funny and also taking the character seriously, and

0:39:06.960 --> 0:39:09.200
<v Speaker 1>it was like, this is a good relationship. Let's let's

0:39:09.280 --> 0:39:13.400
<v Speaker 1>try this right. Wow, Now, as you're coming up with

0:39:13.440 --> 0:39:15.640
<v Speaker 1>these stories, I'm curious because Michael is kind of popping

0:39:15.680 --> 0:39:20.360
<v Speaker 1>in and out right. You know, is the room and

0:39:20.480 --> 0:39:22.480
<v Speaker 1>knew are you kind of guiding where the stories are

0:39:22.480 --> 0:39:24.239
<v Speaker 1>going and Michael's coming in and kind of saying like, yeah,

0:39:24.280 --> 0:39:25.680
<v Speaker 1>that works, or is he coming in and saying no,

0:39:25.680 --> 0:39:27.520
<v Speaker 1>We're going to switch this up? Or I mean, would

0:39:27.520 --> 0:39:29.480
<v Speaker 1>he come in and change things? Would he help guide?

0:39:29.480 --> 0:39:31.319
<v Speaker 1>I mean what was kind of what was he doing

0:39:31.360 --> 0:39:32.840
<v Speaker 1>at the time, because I knew it was involved with

0:39:32.840 --> 0:39:35.840
<v Speaker 1>other projects. For most of what I remember is I'm

0:39:35.920 --> 0:39:38.399
<v Speaker 1>running the room and it's like, let's talk about story areas,

0:39:38.480 --> 0:39:41.399
<v Speaker 1>let's talk about arcs, let's talk about general directions. Let's

0:39:41.400 --> 0:39:44.160
<v Speaker 1>write up a beat sheet to get Michael on board

0:39:44.200 --> 0:39:45.880
<v Speaker 1>and then get the network to improve it, in the

0:39:45.920 --> 0:39:48.279
<v Speaker 1>studio to improve it. So it was really you know,

0:39:48.320 --> 0:39:52.080
<v Speaker 1>lots of steps, but in the day to day. I

0:39:52.120 --> 0:39:54.959
<v Speaker 1>was running the room. Sometimes Michael would be there, but

0:39:55.560 --> 0:39:57.719
<v Speaker 1>it was it was mostly me and you know, and

0:39:58.040 --> 0:40:02.680
<v Speaker 1>and the great our great writing staff. Wow, it wasn't

0:40:02.680 --> 0:40:07.040
<v Speaker 1>great staff. Yeah, we had we had um we got along.

0:40:07.320 --> 0:40:10.040
<v Speaker 1>It was just a fun energy. There was one story

0:40:10.040 --> 0:40:13.200
<v Speaker 1>that because I was thinking about this, where um, we

0:40:13.239 --> 0:40:16.560
<v Speaker 1>all know Jeff Minell, he's been a guest, yes, and um,

0:40:16.600 --> 0:40:19.520
<v Speaker 1>I can't remember who started it. It was he was

0:40:19.560 --> 0:40:22.520
<v Speaker 1>being picked on for maybe eating more than he should

0:40:22.600 --> 0:40:25.480
<v Speaker 1>and it's just you know, Jeff, you gotta watch your cholesterol.

0:40:25.800 --> 0:40:30.520
<v Speaker 1>So there was a writer's room pool on pick Mannell's cholesterol.

0:40:30.520 --> 0:40:34.759
<v Speaker 1>Who come cholesterol? So we got one of those home

0:40:34.760 --> 0:40:39.239
<v Speaker 1>tests and we all you know, write that, wrote down

0:40:39.280 --> 0:40:44.520
<v Speaker 1>our numbers, and I remember I won. And so with

0:40:44.560 --> 0:40:47.120
<v Speaker 1>the money that I won, I wrote a check to

0:40:47.200 --> 0:40:50.120
<v Speaker 1>the American Heart Association because I told Jeff, I don't

0:40:50.160 --> 0:40:54.680
<v Speaker 1>want your blood money. So that's amazing. So that was

0:40:54.760 --> 0:40:58.719
<v Speaker 1>kind of the energy of the writer's room. Did you

0:40:58.960 --> 0:41:01.920
<v Speaker 1>ever feel I mean, I'm sure you felt pressure, but

0:41:02.000 --> 0:41:05.439
<v Speaker 1>did that pressure like, did you ever feel I don't

0:41:05.480 --> 0:41:09.240
<v Speaker 1>know how knowing that it was basically handed to you.

0:41:09.239 --> 0:41:12.840
<v Speaker 1>Your job is to turn this season one kiddie show,

0:41:13.440 --> 0:41:16.280
<v Speaker 1>turn the ship around, turn it into a more aged

0:41:16.360 --> 0:41:19.200
<v Speaker 1>up show that's going to get us many many years.

0:41:19.840 --> 0:41:21.719
<v Speaker 1>Like did you ever feel the pressure of that? Did

0:41:21.719 --> 0:41:23.480
<v Speaker 1>that ever get to you? Or did you did you

0:41:23.520 --> 0:41:25.360
<v Speaker 1>just have so much confidence that you knew what to

0:41:25.400 --> 0:41:28.120
<v Speaker 1>do that it was fine. Well, you know, it wasn't

0:41:28.120 --> 0:41:30.200
<v Speaker 1>me solo. You know, Michael's there, the network's there, we

0:41:30.200 --> 0:41:33.799
<v Speaker 1>had a good staff, and but I was confident that

0:41:34.000 --> 0:41:37.239
<v Speaker 1>I think I know how to do this. So um,

0:41:37.320 --> 0:41:40.399
<v Speaker 1>but it's it's always pressure. It's always pressure. It's it's

0:41:40.760 --> 0:41:42.640
<v Speaker 1>no matter what if you're if you're running a show,

0:41:42.680 --> 0:41:45.160
<v Speaker 1>it's like, yeah, you're going to be the person who

0:41:45.200 --> 0:41:48.120
<v Speaker 1>picks the words that will fuel this machine that spends

0:41:48.160 --> 0:41:51.600
<v Speaker 1>millions and millions of dollars and oh yeah, and be funny, right,

0:41:53.160 --> 0:41:57.719
<v Speaker 1>universally funny something we can all agree is funny. Yeah, exactly, exactly. Yeah,

0:41:57.760 --> 0:42:01.239
<v Speaker 1>So yeah, there was pressure. And you know it's uh

0:42:01.680 --> 0:42:04.200
<v Speaker 1>staying on budget. The way it worked at the time

0:42:04.239 --> 0:42:07.759
<v Speaker 1>at the at Disney as every quarter I would be

0:42:07.800 --> 0:42:10.400
<v Speaker 1>summoned to Disney and and uh they look at the

0:42:10.400 --> 0:42:14.000
<v Speaker 1>budget and say you're you're you're four percent over budget,

0:42:14.000 --> 0:42:17.080
<v Speaker 1>where you'd wow, and i'd say, you know, it's ninety

0:42:17.120 --> 0:42:22.120
<v Speaker 1>six percent good. You know, I'd like anything am doing. Okay,

0:42:22.120 --> 0:42:24.279
<v Speaker 1>so we'll use it one less guest star and have

0:42:24.360 --> 0:42:27.360
<v Speaker 1>less trees, Okay, you know, okay, Right, well, that's what

0:42:27.440 --> 0:42:30.120
<v Speaker 1>I was gonna ask. I mean often we guest guest cast.

0:42:30.320 --> 0:42:34.800
<v Speaker 1>Just cast must have been the most expensive component, right, yeah,

0:42:34.800 --> 0:42:37.480
<v Speaker 1>there was there. That was you were we were limited

0:42:37.520 --> 0:42:39.160
<v Speaker 1>until who we could. I mean I've heard you guys

0:42:39.160 --> 0:42:41.840
<v Speaker 1>to discuss, you know, where's where Stepango this week? What happened?

0:42:41.840 --> 0:42:44.160
<v Speaker 1>How come this person come back? Money is a factor,

0:42:44.320 --> 0:42:47.239
<v Speaker 1>but it's also pages. It's you know, it's if the

0:42:47.400 --> 0:42:50.200
<v Speaker 1>sitcom script, it's forty five pages and a story. The

0:42:50.280 --> 0:42:53.239
<v Speaker 1>a story is going to take thirty pages, and it's

0:42:53.239 --> 0:42:57.440
<v Speaker 1>about you know, uh, Eric and Corey, and it's just

0:42:57.600 --> 0:42:59.920
<v Speaker 1>uh uh we have to make sure that Sean is

0:43:00.040 --> 0:43:03.319
<v Speaker 1>something to do, so let's find that and uh and

0:43:03.400 --> 0:43:04.799
<v Speaker 1>of course you have to find something for a Bill

0:43:04.840 --> 0:43:09.120
<v Speaker 1>to do, and Resty and Batsy, the parents so character

0:43:09.360 --> 0:43:12.239
<v Speaker 1>it's it's a lot of things to uh to fit in.

0:43:12.640 --> 0:43:15.000
<v Speaker 1>Now that that's you mentioned Bill. So that's one one

0:43:15.800 --> 0:43:17.839
<v Speaker 1>question I wanted to ask you because it seems like

0:43:18.040 --> 0:43:21.200
<v Speaker 1>you know, he's brought on as the principal essentially in

0:43:21.239 --> 0:43:24.640
<v Speaker 1>the in the second season, so he's not in the classroom. Um,

0:43:25.239 --> 0:43:28.160
<v Speaker 1>and it seems like he has kind of a smaller

0:43:28.280 --> 0:43:32.640
<v Speaker 1>role this year than he did season one. Was that

0:43:32.760 --> 0:43:35.640
<v Speaker 1>also something that was planned or I mean, because again

0:43:35.680 --> 0:43:37.440
<v Speaker 1>you want to age it up, but you want to

0:43:37.600 --> 0:43:39.719
<v Speaker 1>you know, age it up for the kids. Was it

0:43:39.800 --> 0:43:41.920
<v Speaker 1>was it kind of like, hey, we're gonna just move

0:43:41.960 --> 0:43:44.000
<v Speaker 1>Bill to the side a little bit more than we

0:43:44.040 --> 0:43:46.200
<v Speaker 1>did last year. It was more like when you have

0:43:46.239 --> 0:43:48.680
<v Speaker 1>to other characters to service. If you're going to go

0:43:48.719 --> 0:43:51.120
<v Speaker 1>to school, you'll have that many scenes and pages in school,

0:43:51.560 --> 0:43:54.600
<v Speaker 1>and if you're going to do the faculty, you have

0:43:54.640 --> 0:43:58.480
<v Speaker 1>another faculty member to serve and introduce. And I'd like

0:43:58.560 --> 0:44:00.600
<v Speaker 1>to think, yeah, if you probably looked at the screen

0:44:00.600 --> 0:44:02.560
<v Speaker 1>time that Bill had first versus second season, he had

0:44:02.640 --> 0:44:04.879
<v Speaker 1>less than the second season. But I'd like to think

0:44:04.920 --> 0:44:08.160
<v Speaker 1>that the stuff he did was as meaningful. Yeah, and

0:44:08.360 --> 0:44:10.239
<v Speaker 1>that his presence, I mean, Bill could be in seven

0:44:10.280 --> 0:44:12.479
<v Speaker 1>pages and you'd feel him through the whole show. Yeah,

0:44:12.480 --> 0:44:15.360
<v Speaker 1>you know that just that stronger presence. But there was

0:44:15.400 --> 0:44:17.440
<v Speaker 1>never anything else, you know, we need less Bill. It

0:44:17.840 --> 0:44:20.319
<v Speaker 1>was never that it's just this is what we have

0:44:20.360 --> 0:44:22.960
<v Speaker 1>to do to make the show run lots of years,

0:44:23.360 --> 0:44:26.759
<v Speaker 1>and it's what we have to introduce. And uh uh,

0:44:26.960 --> 0:44:28.880
<v Speaker 1>you know after the third season, you know, I was

0:44:28.960 --> 0:44:30.000
<v Speaker 1>not the air, so I don't know what it was

0:44:30.040 --> 0:44:33.759
<v Speaker 1>in the you know, Tony and other parts and who

0:44:33.800 --> 0:44:35.399
<v Speaker 1>was coming and who was going. You know, I would

0:44:35.400 --> 0:44:37.520
<v Speaker 1>come back to direct. Yeah, I came back to direct.

0:44:37.560 --> 0:44:39.680
<v Speaker 1>But it's like, okay, here's the strip, right, all right,

0:44:40.440 --> 0:44:43.959
<v Speaker 1>So why why did you leave? I had other opportunities

0:44:43.960 --> 0:44:45.880
<v Speaker 1>to do stuff and led to my own show that

0:44:46.120 --> 0:44:48.759
<v Speaker 1>got on the air that didn't last. But it was

0:44:48.800 --> 0:44:51.760
<v Speaker 1>a tough decision because I, you know, missed and bonded

0:44:51.800 --> 0:44:54.080
<v Speaker 1>with you guys. That's why I was. It was real happy,

0:44:54.360 --> 0:44:56.760
<v Speaker 1>very happy. When Blackman and bus Gang, who were running

0:44:56.760 --> 0:44:59.160
<v Speaker 1>it after I had left, Mark and Howard said would

0:44:59.160 --> 0:45:00.560
<v Speaker 1>you want to come back and do it was like

0:45:00.560 --> 0:45:02.840
<v Speaker 1>hell yeah. Before they got the end of the sentence

0:45:02.880 --> 0:45:05.600
<v Speaker 1>and and you guys welcome me back. It wasn't like,

0:45:05.760 --> 0:45:07.880
<v Speaker 1>you know, what the hell are you doing here? Grudge

0:45:07.880 --> 0:45:11.640
<v Speaker 1>holders you Yeah, yeah, I didn't. I didn't sense any

0:45:11.640 --> 0:45:14.360
<v Speaker 1>of that. If you, if you did, you hit it, well,

0:45:14.400 --> 0:45:17.560
<v Speaker 1>I'm curious how much of our conscious brains, like understood

0:45:17.640 --> 0:45:21.120
<v Speaker 1>like director. I mean, we definitely knew directors versus writers

0:45:21.200 --> 0:45:23.719
<v Speaker 1>versus producers, but like you showing up to direct we

0:45:23.719 --> 0:45:27.920
<v Speaker 1>were probably like, oh, you've been here this whole time. Yea, yeah, yeah, yeah,

0:45:27.960 --> 0:45:30.640
<v Speaker 1>it doesn't at least to another thing. I've heard you

0:45:30.680 --> 0:45:34.680
<v Speaker 1>guys talk about things that happened that you are not

0:45:34.719 --> 0:45:36.799
<v Speaker 1>privy too, or things not being explained or just hey

0:45:36.800 --> 0:45:40.239
<v Speaker 1>you gotta kiss this personnel, and I apologize for not

0:45:40.320 --> 0:45:44.080
<v Speaker 1>being sensitive to that, and uh, it's just I listened

0:45:44.080 --> 0:45:45.640
<v Speaker 1>to it. I go, man, why did I think of that?

0:45:45.760 --> 0:45:49.359
<v Speaker 1>So though, sorry for being part of putting you guys

0:45:49.360 --> 0:45:52.759
<v Speaker 1>through that. So no, it's it's all part of the

0:45:52.760 --> 0:45:56.960
<v Speaker 1>culture at the time, you know. It's it's definitely it's

0:45:57.000 --> 0:46:00.719
<v Speaker 1>hard to you can't really single any one personnel responsibility

0:46:00.760 --> 0:46:02.360
<v Speaker 1>for that sort of thing. It was just the vibe,

0:46:02.360 --> 0:46:04.279
<v Speaker 1>you know. And that's yeah, that's why being a child

0:46:04.280 --> 0:46:07.880
<v Speaker 1>actor's hard. Yeah, you don't have control over sometimes we

0:46:07.960 --> 0:46:10.919
<v Speaker 1>treated the child actors like there were children, so yes,

0:46:11.440 --> 0:46:14.839
<v Speaker 1>but also in an adult in an adult role, so's. Yeah,

0:46:15.000 --> 0:46:17.719
<v Speaker 1>it's a very it's a it's a strange balance that

0:46:17.760 --> 0:46:20.399
<v Speaker 1>we again when you're in it and you've been doing

0:46:20.400 --> 0:46:22.439
<v Speaker 1>it for we all started when we were so young

0:46:22.560 --> 0:46:24.840
<v Speaker 1>that it was just normal. For it was all just

0:46:24.880 --> 0:46:26.680
<v Speaker 1>a normal kind of thing. It's looking back with the

0:46:26.680 --> 0:46:28.200
<v Speaker 1>eyes of an adult that you kind of go, oh,

0:46:28.200 --> 0:46:30.040
<v Speaker 1>maybe that wasn't normal for a twelve year old, you

0:46:30.080 --> 0:46:31.880
<v Speaker 1>know that kind of stuff. So well, also, there was

0:46:31.920 --> 0:46:35.399
<v Speaker 1>definitely there There's always been an idea of well, that's

0:46:35.480 --> 0:46:38.560
<v Speaker 1>their job, that's what actors do. Well, you do whatever's

0:46:38.600 --> 0:46:41.880
<v Speaker 1>on the page, and and it's only you know, like

0:46:42.000 --> 0:46:44.040
<v Speaker 1>Will said, now as adults looking back on it and

0:46:44.080 --> 0:46:46.640
<v Speaker 1>it being us, uh that I think, you know, we're

0:46:46.680 --> 0:46:49.600
<v Speaker 1>able to go, hey, yeah, it was our job. But

0:46:49.680 --> 0:46:53.480
<v Speaker 1>also first before professionals were children. Um, and I think

0:46:53.560 --> 0:46:59.160
<v Speaker 1>now people think about that, you know, way from the beginning, like,

0:46:59.280 --> 0:47:02.960
<v Speaker 1>these are people, these are real children, and let's address

0:47:03.080 --> 0:47:06.160
<v Speaker 1>those concerns and needs first and then we can talk

0:47:06.200 --> 0:47:08.760
<v Speaker 1>about the professional aspect of it and the job aspect

0:47:08.840 --> 0:47:12.839
<v Speaker 1>of it. But that's just you know time. But yeah,

0:47:12.880 --> 0:47:15.319
<v Speaker 1>things that we're talking about, we've talked about it on

0:47:15.320 --> 0:47:17.520
<v Speaker 1>this podcast. How for the life of the child actor

0:47:17.680 --> 0:47:21.200
<v Speaker 1>is constantly growing, evolving and getting better. Yes, you know,

0:47:21.280 --> 0:47:23.080
<v Speaker 1>from back in the day when you're when the kids

0:47:23.080 --> 0:47:25.480
<v Speaker 1>were on set for twenty five hours and doing their

0:47:25.480 --> 0:47:28.560
<v Speaker 1>own stunts and and too. You know what we went through,

0:47:28.600 --> 0:47:32.040
<v Speaker 1>which was was mostly a very positive experience all the

0:47:32.080 --> 0:47:34.799
<v Speaker 1>way around to now where it's very much about making

0:47:34.800 --> 0:47:38.200
<v Speaker 1>sure that everybody's safe and healthy and working with kids

0:47:38.200 --> 0:47:41.320
<v Speaker 1>it's its own thing. You have to treat them, remember

0:47:41.320 --> 0:47:45.480
<v Speaker 1>their kids, treat them respectfully like adults. But we are

0:47:45.520 --> 0:47:48.319
<v Speaker 1>here to work and I feel really good. I mean,

0:47:48.400 --> 0:47:52.560
<v Speaker 1>we're all still in touch. And yeah, absolutely, you know absolutely,

0:47:53.120 --> 0:47:54.680
<v Speaker 1>you know I've said this before. I feel like I've

0:47:54.680 --> 0:47:58.480
<v Speaker 1>about forty nieces and nephews out there from the shows

0:47:58.520 --> 0:48:00.600
<v Speaker 1>I've done. And one son, I was gonna say, on

0:48:00.680 --> 0:48:03.640
<v Speaker 1>one son with me, can you guys tell the story?

0:48:04.440 --> 0:48:06.799
<v Speaker 1>Well you want me to tell? Well, yes, how I

0:48:06.840 --> 0:48:10.200
<v Speaker 1>remember so, I remember we were so the Nancy Kerrigan

0:48:10.400 --> 0:48:12.359
<v Speaker 1>was coming on to do the dream sequence, and of

0:48:12.360 --> 0:48:15.680
<v Speaker 1>course we had to go and shoot the sequence in

0:48:15.760 --> 0:48:17.719
<v Speaker 1>Lake Placid where you guys got to go in the

0:48:17.719 --> 0:48:22.080
<v Speaker 1>field together. Yes, it was beautifully warm, sunny, happy time.

0:48:22.520 --> 0:48:27.000
<v Speaker 1>It was like negative sixty degrees um and we flew there.

0:48:27.080 --> 0:48:30.200
<v Speaker 1>It was it was David and Karen McCain. McCain the

0:48:30.239 --> 0:48:33.480
<v Speaker 1>line producer, wonderful line producer, incredible line producer, and the

0:48:33.480 --> 0:48:35.320
<v Speaker 1>three of us went and was it at a restaurant?

0:48:35.440 --> 0:48:37.279
<v Speaker 1>Was it in the airport? Where did this happen? It

0:48:37.360 --> 0:48:39.640
<v Speaker 1>was in the airplane because you were I was sitting

0:48:39.640 --> 0:48:41.359
<v Speaker 1>with Karen and you were a row ahead of us,

0:48:42.280 --> 0:48:44.880
<v Speaker 1>and they asked it didn't did they ask you or

0:48:44.960 --> 0:48:46.840
<v Speaker 1>they asked you tell the stories. I can't remember exactly

0:48:46.840 --> 0:48:52.800
<v Speaker 1>what happened. The steward, Uh, clearly he fancied Will, and

0:48:53.120 --> 0:48:55.680
<v Speaker 1>I wanted to make sure that it Will was alone

0:48:55.760 --> 0:49:00.439
<v Speaker 1>before pursuing further conversation, and said, is that your father

0:49:01.120 --> 0:49:04.560
<v Speaker 1>referring to me? And I was not his father. So

0:49:07.560 --> 0:49:10.759
<v Speaker 1>from that moment, that moment on, yeah, he's being what

0:49:10.840 --> 0:49:12.640
<v Speaker 1>always like, how you doing, son? I'm like, I'm good, Dad,

0:49:12.640 --> 0:49:18.160
<v Speaker 1>I'm good. Happy birthday. Yeah, I really get Happy birthday, Son.

0:49:18.239 --> 0:49:20.279
<v Speaker 1>I get all this stuff. So David Kendall is my

0:49:20.320 --> 0:49:23.160
<v Speaker 1>producer TV daddy. Yeah, okay, you guys bonded on that trip.

0:49:23.200 --> 0:49:25.440
<v Speaker 1>I remember you guys came back and you were like

0:49:25.840 --> 0:49:28.880
<v Speaker 1>fast friends for the rest of the show. Was so funny. Yeah,

0:49:28.920 --> 0:49:31.799
<v Speaker 1>we had inside so jealous because it's such a good time. Yeah,

0:49:31.800 --> 0:49:33.480
<v Speaker 1>it was. It was. It was a lot of fun.

0:49:33.520 --> 0:49:35.560
<v Speaker 1>It wasn't It was just because it was an experience

0:49:35.640 --> 0:49:37.800
<v Speaker 1>just being in the field, you know, it was an experience. Yeah,

0:49:37.840 --> 0:49:39.640
<v Speaker 1>but Will didn't get to go to Disney World, so

0:49:39.719 --> 0:49:42.400
<v Speaker 1>let's not bring up the fun Lake Plastic trip because

0:49:42.400 --> 0:49:43.759
<v Speaker 1>he didn't get to go to Disney. I wasn't going

0:49:43.840 --> 0:49:45.360
<v Speaker 1>to bring it up. Danielle. It was going to be

0:49:45.400 --> 0:49:50.000
<v Speaker 1>water under a really cold bridge. Okay, David, I have

0:49:50.080 --> 0:49:52.319
<v Speaker 1>a very important question for you, and I think you're

0:49:52.320 --> 0:49:57.279
<v Speaker 1>the perfect person to answer it. Would Danielle Harris who

0:49:57.360 --> 0:50:01.279
<v Speaker 1>played t K? Would Danielle Harris have been back had

0:50:01.400 --> 0:50:05.040
<v Speaker 1>Danny McNulty stuck around for longer? Like would was their

0:50:05.120 --> 0:50:07.880
<v Speaker 1>potential for Danielle Harris to be more of a recurring

0:50:07.920 --> 0:50:12.360
<v Speaker 1>guest cast because she was so incredible as TK. She

0:50:12.560 --> 0:50:17.719
<v Speaker 1>was great. But I it was a wonderful one off story. Yeah,

0:50:17.800 --> 0:50:21.200
<v Speaker 1>but if we had to honor that character and bring

0:50:21.239 --> 0:50:23.319
<v Speaker 1>her back, it would have taken up a lot of

0:50:23.400 --> 0:50:26.520
<v Speaker 1>pages and a lot of stories. Yeah, I can't remember

0:50:26.560 --> 0:50:29.479
<v Speaker 1>that being as wonderful as it was. There's sometimes there's

0:50:29.520 --> 0:50:34.200
<v Speaker 1>great one off stories that hum when you're in the

0:50:34.280 --> 0:50:37.600
<v Speaker 1>room trying to come up with stories that keeps the

0:50:37.600 --> 0:50:40.640
<v Speaker 1>the engine going in the main dynamics. That was not

0:50:41.040 --> 0:50:44.239
<v Speaker 1>one of them. That would have been that's a spin off,

0:50:44.280 --> 0:50:48.640
<v Speaker 1>that's right. I also, you know, a couple since we

0:50:48.800 --> 0:50:51.479
<v Speaker 1>watched that episode and talked about a couple of people

0:50:51.560 --> 0:50:54.359
<v Speaker 1>have sent us behind the scenes Danielle Harris, Like there's

0:50:54.360 --> 0:50:56.960
<v Speaker 1>some YouTube video of like hole behind the scenes about her,

0:50:57.040 --> 0:50:58.560
<v Speaker 1>And I feel like in some ways we were kind

0:50:58.560 --> 0:51:01.279
<v Speaker 1>of lucky to get her. Yeah, I feel like she

0:51:01.440 --> 0:51:03.839
<v Speaker 1>probably wouldn't you know, she was like it was she

0:51:03.920 --> 0:51:06.440
<v Speaker 1>came on as a guest star to like do her

0:51:06.560 --> 0:51:08.879
<v Speaker 1>one big episode, but I feel like she was doing

0:51:09.000 --> 0:51:11.120
<v Speaker 1>movie after movie after show after. I feel like she's

0:51:11.120 --> 0:51:12.440
<v Speaker 1>the kind of person that you would have had to

0:51:12.480 --> 0:51:14.759
<v Speaker 1>like create an entire show. She wouldn't have wanted us.

0:51:14.800 --> 0:51:17.520
<v Speaker 1>She wouldn't have wanted us. Yeah, to be a secondary

0:51:17.600 --> 0:51:20.560
<v Speaker 1>or tertiary character in our show, and there's filming people

0:51:20.640 --> 0:51:22.600
<v Speaker 1>to serve. It would have been a lot of story

0:51:22.760 --> 0:51:25.279
<v Speaker 1>and a lot of pages. And if someone's talking, someone

0:51:25.320 --> 0:51:28.240
<v Speaker 1>else isn't, you know, right, So I have a question

0:51:28.280 --> 0:51:30.640
<v Speaker 1>for you, because you're obviously you've done the six hundred

0:51:30.680 --> 0:51:33.040
<v Speaker 1>episodes of television, been involved in and being a television

0:51:33.080 --> 0:51:37.120
<v Speaker 1>to hallic myself. Is there a show that you really

0:51:37.239 --> 0:51:39.840
<v Speaker 1>wanted to direct or beyond that you didn't get a

0:51:39.880 --> 0:51:41.640
<v Speaker 1>chance to where it was like that's oh man, I

0:51:41.640 --> 0:51:45.359
<v Speaker 1>wanted to do that. A lot of shows, you know,

0:51:45.400 --> 0:51:47.520
<v Speaker 1>it's like, oh I could. I couldn't make that work?

0:51:47.560 --> 0:51:51.040
<v Speaker 1>I could, I could do that. I don't really think

0:51:51.080 --> 0:51:54.319
<v Speaker 1>like that that hard because it's just, you know, what's

0:51:54.320 --> 0:51:55.839
<v Speaker 1>in front of me. What am I getting to do?

0:51:56.800 --> 0:51:59.920
<v Speaker 1>Because it's a great privilege to be on a set

0:51:59.800 --> 0:52:03.279
<v Speaker 1>and talk to the actors and work the story and

0:52:03.280 --> 0:52:05.319
<v Speaker 1>make it work visual. But it's not like there's at

0:52:05.400 --> 0:52:09.560
<v Speaker 1>this holy grail or work thing. I just don't think

0:52:09.560 --> 0:52:12.480
<v Speaker 1>like that. Sorry for the disappointing answer. No, No, not

0:52:12.560 --> 0:52:15.160
<v Speaker 1>at all. It's a great answer. It's a great answer.

0:52:15.480 --> 0:52:19.560
<v Speaker 1>How far ahead were scripts done? Like three or four weeks?

0:52:20.280 --> 0:52:22.719
<v Speaker 1>They're probably you know, you have your outlines, you have

0:52:22.760 --> 0:52:26.120
<v Speaker 1>your first drafts, you have revised drafts, so we're probably

0:52:26.520 --> 0:52:28.920
<v Speaker 1>six or eight ahead. I like to be ahead a

0:52:28.960 --> 0:52:31.440
<v Speaker 1>lot because I don't like that less minute stuff. So

0:52:31.480 --> 0:52:35.719
<v Speaker 1>I'm trying to be uber organized and meticulous and let's

0:52:35.719 --> 0:52:38.440
<v Speaker 1>get ahead, Let's get ahead, let's get ahead. So usually

0:52:38.600 --> 0:52:41.680
<v Speaker 1>six to eight and the whole season is outlined before

0:52:41.680 --> 0:52:44.359
<v Speaker 1>we start, right like, no, no, no, it's not ideas,

0:52:44.360 --> 0:52:46.880
<v Speaker 1>some ideas and some sense of where the arcs are.

0:52:47.600 --> 0:52:50.319
<v Speaker 1>But you know, nowadays in the world of binging, you

0:52:50.360 --> 0:52:53.040
<v Speaker 1>want to go in with with the arcs set and

0:52:53.440 --> 0:52:55.640
<v Speaker 1>really firm, so you know where the kind of milestone

0:52:55.680 --> 0:52:58.440
<v Speaker 1>and the big moments are so you can, uh, you know,

0:52:58.640 --> 0:53:01.160
<v Speaker 1>keep the audience through. But in our world where we

0:53:01.200 --> 0:53:04.120
<v Speaker 1>had just general arcs mostly about Corey and to Pang

0:53:04.160 --> 0:53:07.239
<v Speaker 1>in terms of their relationship, and then another not so

0:53:07.320 --> 0:53:09.200
<v Speaker 1>much an arc, but just kind of diving deep into

0:53:09.239 --> 0:53:11.680
<v Speaker 1>what Shahn's going through and how that's affecting him and

0:53:11.719 --> 0:53:14.520
<v Speaker 1>what stories we can get it out of that. So

0:53:15.200 --> 0:53:17.680
<v Speaker 1>it was it's like we had room to see what

0:53:17.719 --> 0:53:20.279
<v Speaker 1>was working and you know, who knew that that the

0:53:20.560 --> 0:53:22.879
<v Speaker 1>thugs were going to work in episode one, you know, right? Yeah,

0:53:23.640 --> 0:53:26.000
<v Speaker 1>and how much they added to the show and uh,

0:53:26.640 --> 0:53:31.839
<v Speaker 1>I bought my Harley T shirt yesterday. Yeah. Were there

0:53:31.840 --> 0:53:36.239
<v Speaker 1>any ideas that you remember for the show that like

0:53:36.360 --> 0:53:39.040
<v Speaker 1>you really wanted that then didn't end up going through.

0:53:39.680 --> 0:53:42.920
<v Speaker 1>Oh yeah, we had a really nice um episode in

0:53:42.960 --> 0:53:46.200
<v Speaker 1>the first season. I think Mark Bleatman might have mentioned it,

0:53:46.239 --> 0:53:49.000
<v Speaker 1>but he remembered it a little bit differently, where Corey

0:53:49.600 --> 0:53:51.640
<v Speaker 1>gets to throw out the first pitch at the Phillies

0:53:51.719 --> 0:53:55.160
<v Speaker 1>game and injures, you know, Lenny Deistro, the star Philly,

0:53:55.239 --> 0:53:59.440
<v Speaker 1>so he's like Verboating and he's like the goat of Philadelphia.

0:53:59.480 --> 0:54:02.440
<v Speaker 1>So I thought that was a nice story, but that

0:54:02.480 --> 0:54:05.800
<v Speaker 1>would have involved using actual major league uniforms and Disney

0:54:05.800 --> 0:54:07.759
<v Speaker 1>didn't want to pay for that in the logos. The

0:54:07.840 --> 0:54:12.759
<v Speaker 1>story died because we couldn't use major league uniforms. But

0:54:12.800 --> 0:54:15.200
<v Speaker 1>I always thought, especially early on, you know it's my

0:54:15.520 --> 0:54:17.520
<v Speaker 1>first year, it's like, this is a great story. This

0:54:17.560 --> 0:54:19.520
<v Speaker 1>is about It's about Philadelphia. It's about the kid that

0:54:19.560 --> 0:54:23.759
<v Speaker 1>love sports. It's just the comically funny that with the

0:54:23.800 --> 0:54:26.240
<v Speaker 1>greatest honor the kids ever had in his life, turns

0:54:26.280 --> 0:54:28.760
<v Speaker 1>into you know, he's the the the goat of the city.

0:54:28.800 --> 0:54:30.759
<v Speaker 1>So that was a fun story that we never got

0:54:30.760 --> 0:54:32.919
<v Speaker 1>to do because they would have had to be Major

0:54:32.960 --> 0:54:48.320
<v Speaker 1>League Baseball licensing fees. Wow. So funny how that works. Yeah,

0:54:48.600 --> 0:54:51.440
<v Speaker 1>We've talked about Will's development a little bit, but I

0:54:51.520 --> 0:54:54.040
<v Speaker 1>want to hear like because by the end of the

0:54:54.040 --> 0:54:58.960
<v Speaker 1>second season, was he as crazy as he got or no,

0:54:59.480 --> 0:55:02.759
<v Speaker 1>like I think second third season is when the ramp

0:55:02.800 --> 0:55:05.960
<v Speaker 1>up into crazy happened and into just way out there,

0:55:06.200 --> 0:55:09.080
<v Speaker 1>and you had inherited Jason Marsden as the best friend,

0:55:09.120 --> 0:55:12.200
<v Speaker 1>because that would happen in first season, right, I don't

0:55:12.200 --> 0:55:16.000
<v Speaker 1>remember Jason's first Yeah I was, he was in first season. Okay,

0:55:16.040 --> 0:55:19.120
<v Speaker 1>I don't remember. Yeah, so the Lobster, which is the

0:55:19.160 --> 0:55:23.200
<v Speaker 1>Lobster was first season and his first season, and yeah, yeah,

0:55:23.440 --> 0:55:25.560
<v Speaker 1>so I guess I'm just curious. Did you ever feel

0:55:25.719 --> 0:55:28.600
<v Speaker 1>this sort of with with Will's character, Like were you

0:55:28.600 --> 0:55:33.480
<v Speaker 1>guys consciously developing Eric or was it like always no,

0:55:33.640 --> 0:55:35.879
<v Speaker 1>we know, we just got to write funny scenes for Will.

0:55:35.920 --> 0:55:38.760
<v Speaker 1>It's just gonna be. It was like, you know what's working.

0:55:38.920 --> 0:55:42.520
<v Speaker 1>And also comedy writers, if something's funny, we will gravitate

0:55:42.560 --> 0:55:45.160
<v Speaker 1>to it, sometimes to a default. It's like, Wow, he's

0:55:45.280 --> 0:55:47.520
<v Speaker 1>making the out there stuff really worked. It's like we

0:55:47.560 --> 0:55:50.160
<v Speaker 1>have our own Jim Carrey. Let's let's say it was

0:55:50.200 --> 0:55:52.719
<v Speaker 1>really about his Let's feed him stuff to see if

0:55:52.719 --> 0:55:54.920
<v Speaker 1>he can do it. Holy crap, he can do it.

0:55:54.960 --> 0:55:56.799
<v Speaker 1>He can do more like beat it, Let's feed it.

0:55:56.840 --> 0:56:00.480
<v Speaker 1>Let's and with Rusty and Betsy. What was that dynamic?

0:56:00.560 --> 0:56:02.480
<v Speaker 1>Do you guys, do you remember the conversations you guys

0:56:02.480 --> 0:56:05.399
<v Speaker 1>were having, because we've seen their relationship change a little

0:56:05.400 --> 0:56:10.320
<v Speaker 1>bit second season, it seemed maybe a little more adult

0:56:10.360 --> 0:56:13.719
<v Speaker 1>in the second season. I don't know, but but it

0:56:13.800 --> 0:56:16.600
<v Speaker 1>was really you know, the show is called boy Meets

0:56:16.600 --> 0:56:18.480
<v Speaker 1>World and it's on the kids point of view. It's

0:56:18.480 --> 0:56:20.960
<v Speaker 1>always the kids' point of view, so the parents will

0:56:21.000 --> 0:56:25.480
<v Speaker 1>always be secondary. But you need, you know, grounding parents.

0:56:26.080 --> 0:56:27.719
<v Speaker 1>And they did such a great job. I mean, you

0:56:27.760 --> 0:56:30.759
<v Speaker 1>totally believe that their parents, and you totally believe you know,

0:56:30.800 --> 0:56:33.680
<v Speaker 1>they're both great TV parents. They're they're not your standard.

0:56:33.719 --> 0:56:37.040
<v Speaker 1>I mean, Rusty had had a has a wonderful edge,

0:56:37.520 --> 0:56:40.200
<v Speaker 1>but also it has a loving and warm so he

0:56:40.280 --> 0:56:43.960
<v Speaker 1>was like the perfect TV dad. But you know, there

0:56:43.960 --> 0:56:47.480
<v Speaker 1>were stories occasionally about them, but they were always involved

0:56:47.520 --> 0:56:50.000
<v Speaker 1>with the with the kids. Oh we did do when

0:56:50.040 --> 0:56:52.440
<v Speaker 1>he gets his band together, we did do that one

0:56:53.080 --> 0:56:59.000
<v Speaker 1>tons good yeah, yeah, four guitarists, four guitars. Yeah, we

0:56:59.040 --> 0:57:03.280
<v Speaker 1>did do that. But that was it was always secondary.

0:57:03.360 --> 0:57:05.480
<v Speaker 1>Pants are always going to be secondary, and that's you know,

0:57:05.960 --> 0:57:08.759
<v Speaker 1>life on a kid show for the adult actors was

0:57:08.840 --> 0:57:11.520
<v Speaker 1>continuity ever talked about in the writer's room, like, we

0:57:11.640 --> 0:57:15.160
<v Speaker 1>obviously notice a bunch of continuity things now because we're

0:57:15.200 --> 0:57:17.800
<v Speaker 1>binging it, but you weren't binging back then, and so like,

0:57:17.800 --> 0:57:24.680
<v Speaker 1>where's the yard a front yard, back yard nela sisters? Stay? Yes,

0:57:24.920 --> 0:57:27.280
<v Speaker 1>you know, I don't think anybody ever watched the show

0:57:27.320 --> 0:57:33.320
<v Speaker 1>and just mommy, mommy, that's not the hallway. And also

0:57:33.360 --> 0:57:35.960
<v Speaker 1>I said this in Jess, but I'll use it now.

0:57:36.320 --> 0:57:38.680
<v Speaker 1>It's like, you know, the they the door on the

0:57:38.720 --> 0:57:41.720
<v Speaker 1>camera right, sometimes the bloyer's room. Sometimes it's the history classroom.

0:57:41.800 --> 0:57:44.840
<v Speaker 1>Sometimes this their PHOENI well, the school is about seven

0:57:44.920 --> 0:57:47.920
<v Speaker 1>stories tall. Every floor parent has the same layout, so

0:57:47.960 --> 0:57:52.360
<v Speaker 1>they're just on different floors. I like how they put

0:57:52.400 --> 0:57:54.720
<v Speaker 1>the same posters on the on every floor, just to

0:57:54.760 --> 0:58:02.240
<v Speaker 1>remind everything. Mister Turner's classroom is also on the always

0:58:02.240 --> 0:58:04.880
<v Speaker 1>got on all seven floors. I got mister Turner's classroom.

0:58:04.920 --> 0:58:07.400
<v Speaker 1>I love that. Clearly I didn't test this theory before.

0:58:09.360 --> 0:58:11.480
<v Speaker 1>There's no theory you can throw our way that we

0:58:11.560 --> 0:58:15.400
<v Speaker 1>will not rip to shreds immediately. The show was designed

0:58:15.400 --> 0:58:19.320
<v Speaker 1>to be twenty two minutes a week, right, Um, I'd

0:58:19.320 --> 0:58:21.560
<v Speaker 1>like to know why we are so much better than

0:58:21.600 --> 0:58:27.400
<v Speaker 1>Growing Pains? Do you think we are I've never watched

0:58:27.440 --> 0:58:31.440
<v Speaker 1>Growing Pains. All my children will and they can't have it.

0:58:31.680 --> 0:58:34.400
<v Speaker 1>I can't favor. Growing Pains was good. Growing Pains was

0:58:34.440 --> 0:58:38.040
<v Speaker 1>a solid sitcom. It really solid eighties family sitcom. It

0:58:38.080 --> 0:58:41.640
<v Speaker 1>really was Yeah, really okay. But here is maybe a

0:58:41.720 --> 0:58:45.720
<v Speaker 1>more realistic way of framing that similar that same question.

0:58:46.760 --> 0:58:50.280
<v Speaker 1>Did you ever think when you were doing season two

0:58:50.280 --> 0:58:53.360
<v Speaker 1>in season three of Boy Meat's World that you would

0:58:53.360 --> 0:58:57.360
<v Speaker 1>be talking about this show thirty years later? Oh? No,

0:58:57.480 --> 0:58:59.080
<v Speaker 1>I mean it was really like I said, it was

0:58:59.240 --> 0:59:02.920
<v Speaker 1>what show? Is that? Boy? What? And then you know,

0:59:02.920 --> 0:59:05.120
<v Speaker 1>when it ran forever, it was like is that still long?

0:59:05.600 --> 0:59:08.280
<v Speaker 1>So we went from what's that show? To is that?

0:59:09.040 --> 0:59:12.160
<v Speaker 1>And we didn't know that we were just you know,

0:59:12.360 --> 0:59:14.960
<v Speaker 1>people were loving it. I mean, I had no idea

0:59:15.240 --> 0:59:17.560
<v Speaker 1>that that was the level of affection for the show,

0:59:17.560 --> 0:59:19.640
<v Speaker 1>and that, you know, go to when my kids were

0:59:19.640 --> 0:59:21.640
<v Speaker 1>in high school, I go to pick them up and

0:59:21.680 --> 0:59:23.760
<v Speaker 1>you'd see a sign, well it means the world trivia night,

0:59:23.760 --> 0:59:28.160
<v Speaker 1>Friday night. You know. Cool? Now, I know I'm hoping,

0:59:28.200 --> 0:59:29.640
<v Speaker 1>but I doubt I doubt it because I'm sure it

0:59:29.640 --> 0:59:31.440
<v Speaker 1>was thrown around everywhere. You said they talked about the

0:59:31.440 --> 0:59:33.120
<v Speaker 1>idea of changing the name. Do you buy any chance

0:59:33.160 --> 0:59:35.360
<v Speaker 1>to remember any of the alternatives? Did anybody throw anything

0:59:35.360 --> 0:59:40.040
<v Speaker 1>out Corey's World, Wow, Corri's World, Okay, didn't work for

0:59:40.120 --> 0:59:44.840
<v Speaker 1>Dave's World. No, Courey's World wouldn't have been a horror,

0:59:44.840 --> 0:59:47.080
<v Speaker 1>it wouldn't have been terrible. No. No, I feel like

0:59:47.080 --> 0:59:50.800
<v Speaker 1>the awkwardness of Boy Meets World is the reason why

0:59:50.800 --> 0:59:52.960
<v Speaker 1>it's been ended up being a good title, do you

0:59:53.000 --> 0:59:54.560
<v Speaker 1>know what I mean? Like it's one of those things,

0:59:54.600 --> 0:59:56.720
<v Speaker 1>it's like, we got through it, and so now you

0:59:56.760 --> 1:00:00.440
<v Speaker 1>can't say boy meets something without associating with this show

1:00:00.480 --> 1:00:03.480
<v Speaker 1>in a weird way, and that's branded. Yeah, it's yeah. No,

1:00:03.600 --> 1:00:05.920
<v Speaker 1>I think you're right. The the dissonance or awkwardness of

1:00:05.960 --> 1:00:09.240
<v Speaker 1>the world's words together kind of gel and and they

1:00:09.280 --> 1:00:11.800
<v Speaker 1>have stuck. Yeah. But I don't think there's a single

1:00:11.840 --> 1:00:13.480
<v Speaker 1>one of us. I'll just speak for me. But I know, writer,

1:00:13.560 --> 1:00:15.400
<v Speaker 1>you already said this where the first time you heard

1:00:15.400 --> 1:00:17.400
<v Speaker 1>the title, you weren't like it's a terrible title. It's

1:00:17.480 --> 1:00:20.880
<v Speaker 1>terrible title. So when people recognize us on the street,

1:00:20.920 --> 1:00:25.840
<v Speaker 1>they never get it right. No, Boys meets the World World,

1:00:25.920 --> 1:00:28.920
<v Speaker 1>It's always Boys meet World, or it's like boy I

1:00:29.400 --> 1:00:36.280
<v Speaker 1>used it gets becomes word slide all the time. That's interesting.

1:00:36.600 --> 1:00:38.720
<v Speaker 1>But I remember because when we all got the pilot,

1:00:38.920 --> 1:00:41.600
<v Speaker 1>well you know it was it was then they send

1:00:41.600 --> 1:00:43.960
<v Speaker 1>the script. It was at the untitled Ben Savage Project,

1:00:43.960 --> 1:00:45.880
<v Speaker 1>which in a strange way, was a better title to

1:00:45.920 --> 1:00:49.880
<v Speaker 1>me than boy Me Tworld. It was like a little

1:00:49.960 --> 1:00:54.560
<v Speaker 1>weird on the show Jack led led Ken. How do

1:00:54.600 --> 1:00:57.120
<v Speaker 1>you feel about the state of sitcom now? Like because

1:00:57.120 --> 1:00:59.040
<v Speaker 1>it has changed, right, I mean because of Ben Jane

1:00:59.040 --> 1:01:01.720
<v Speaker 1>and because of the like where are you at? Like

1:01:01.800 --> 1:01:03.760
<v Speaker 1>do you miss the old days where you could just

1:01:03.840 --> 1:01:06.720
<v Speaker 1>do twenty two minutes and throw away a character or

1:01:06.800 --> 1:01:08.680
<v Speaker 1>do you do you like where it's going? As long

1:01:08.720 --> 1:01:11.480
<v Speaker 1>as there's stuff that they'll hire me, I'm good. I mean, yeah,

1:01:12.320 --> 1:01:16.000
<v Speaker 1>I like. I love multicams. I know I've heard Will

1:01:16.440 --> 1:01:19.200
<v Speaker 1>talk about this a lot. I love multicams. There's just

1:01:19.240 --> 1:01:21.680
<v Speaker 1>something so exciting about the live audience and doing a

1:01:21.760 --> 1:01:25.520
<v Speaker 1>runthrough and and have it work great. But comedy doesn't

1:01:25.520 --> 1:01:29.920
<v Speaker 1>really seem to work much on the networks now. Multicam

1:01:30.000 --> 1:01:32.280
<v Speaker 1>they always say they say they want it, and I

1:01:32.320 --> 1:01:34.520
<v Speaker 1>think they kind of want it. And the moment one

1:01:34.560 --> 1:01:37.080
<v Speaker 1>shows up and is a hit, everybody will say, see, yep,

1:01:37.560 --> 1:01:40.240
<v Speaker 1>that's exactly what's going to happen. And you know, the

1:01:40.680 --> 1:01:43.160
<v Speaker 1>the Nickelodeon and Disney Channel shows. I've done a lot

1:01:43.200 --> 1:01:45.520
<v Speaker 1>of those past bunch of years, and that's a lot

1:01:45.520 --> 1:01:47.640
<v Speaker 1>of fun because like, they're not afraid to be funny.

1:01:47.840 --> 1:01:50.040
<v Speaker 1>I think sometimes comedy is afraid to be funny and

1:01:50.040 --> 1:01:52.240
<v Speaker 1>out there, and that's where that's like kind of the

1:01:52.320 --> 1:01:54.800
<v Speaker 1>last bashion of sitcom. There's actually, you know, some of

1:01:54.800 --> 1:01:57.320
<v Speaker 1>the Disney Channel and Nickelodeon shows that are out there,

1:01:57.520 --> 1:01:59.600
<v Speaker 1>they might be skewed much younger, but it's a real

1:01:59.640 --> 1:02:02.560
<v Speaker 1>sick it's it's it's it's nice to see that people

1:02:02.600 --> 1:02:05.720
<v Speaker 1>are still doing good kind of TV like that. And

1:02:06.240 --> 1:02:07.560
<v Speaker 1>you know when you see a Sydney to the Max

1:02:07.600 --> 1:02:08.920
<v Speaker 1>sort of the kind of shows that are out there,

1:02:09.000 --> 1:02:12.880
<v Speaker 1>they're really good. So it's yeah, it's it's they're what

1:02:12.920 --> 1:02:14.840
<v Speaker 1>do you mean by they're not afraid to be funny?

1:02:14.880 --> 1:02:18.120
<v Speaker 1>Though sometimes you know there's like too cool, you know,

1:02:18.240 --> 1:02:21.280
<v Speaker 1>a really cool joke, and it's like let's go for

1:02:21.520 --> 1:02:24.600
<v Speaker 1>you know, let's go for a smart a joke and

1:02:25.080 --> 1:02:28.360
<v Speaker 1>not big and broad. I mean, you can be too broad.

1:02:28.360 --> 1:02:30.560
<v Speaker 1>You can be too silly, sure, but uh, you know

1:02:30.600 --> 1:02:35.280
<v Speaker 1>you watch you watch Friends, it's really broad. Sometimes it's great. Yeah,

1:02:35.560 --> 1:02:37.800
<v Speaker 1>and and I think sometimes people are afraid of that

1:02:37.920 --> 1:02:40.400
<v Speaker 1>in the networks. I mean, I don't know, I don't

1:02:40.440 --> 1:02:42.640
<v Speaker 1>know what's what what what they know what they're thinking.

1:02:43.600 --> 1:02:47.800
<v Speaker 1>But um, you know, there's always going to be comedy. Uh,

1:02:47.840 --> 1:02:49.720
<v Speaker 1>and uh, I don't know if it's always going to

1:02:49.800 --> 1:02:51.200
<v Speaker 1>be on on the networks. I don't know if there's

1:02:51.200 --> 1:02:57.000
<v Speaker 1>always gonna be networks. Yeah. There's one other thing. In

1:02:57.120 --> 1:02:59.480
<v Speaker 1>hearing you guys doing podcasts, I want to talk a

1:02:59.520 --> 1:03:02.440
<v Speaker 1>little bit about Arlene Grayson, who is our line producer

1:03:02.440 --> 1:03:03.920
<v Speaker 1>who passed away at the end of the second season,

1:03:03.920 --> 1:03:07.240
<v Speaker 1>about the love she had for the show and maybe

1:03:07.240 --> 1:03:09.360
<v Speaker 1>things that you guys didn't know is when we were

1:03:09.440 --> 1:03:12.520
<v Speaker 1>aging up the show, taking it to high school, Arlene

1:03:12.560 --> 1:03:15.840
<v Speaker 1>sat and interviewed people for background. So she met and

1:03:15.920 --> 1:03:19.440
<v Speaker 1>talked to and interviews with everybody, like sitting one to

1:03:19.520 --> 1:03:21.480
<v Speaker 1>one with people, and then they had to pass the

1:03:21.560 --> 1:03:24.400
<v Speaker 1>Arlene test before they came a part of our background.

1:03:24.560 --> 1:03:26.919
<v Speaker 1>I hear you guys talk with affection about a lot

1:03:26.920 --> 1:03:32.920
<v Speaker 1>of the background and Veil's Arlene that's how much she cared. Wow,

1:03:33.240 --> 1:03:35.560
<v Speaker 1>was just calling some background people. It's like, these people

1:03:35.600 --> 1:03:37.240
<v Speaker 1>are going to be part of our show, you know,

1:03:37.280 --> 1:03:39.440
<v Speaker 1>part of the world, part of the family. I'm going

1:03:39.520 --> 1:03:40.920
<v Speaker 1>to meet them and I want to make sure that

1:03:40.960 --> 1:03:45.880
<v Speaker 1>they they're okay. So that one of the many great

1:03:45.880 --> 1:03:49.240
<v Speaker 1>things about the late Arlene Grayson. So that's incredible. I

1:03:49.320 --> 1:03:52.720
<v Speaker 1>did not know that at all. Well, David, thank you

1:03:52.800 --> 1:03:54.560
<v Speaker 1>so much for being here with us. I hope this

1:03:54.600 --> 1:03:56.919
<v Speaker 1>will not be your only appearance. I hope you'll come back,

1:03:56.960 --> 1:03:59.040
<v Speaker 1>and maybe you determine that, not me, so you know,

1:03:59.440 --> 1:04:03.000
<v Speaker 1>well you have to agree. So I hope that you'll

1:04:03.000 --> 1:04:04.840
<v Speaker 1>come back for an episode you directed, and we can

1:04:04.840 --> 1:04:07.520
<v Speaker 1>maybe do a recap with you and talk about when

1:04:07.560 --> 1:04:10.400
<v Speaker 1>you you directed. No, it's been fun talking to you.

1:04:10.440 --> 1:04:14.080
<v Speaker 1>But after thirty years, there's something I've finally wanted to say.

1:04:14.720 --> 1:04:20.560
<v Speaker 1>I have some notes. I will put them in the

1:04:20.640 --> 1:04:26.400
<v Speaker 1>chat next to the Hugay, get them right away. Yeah,

1:04:27.240 --> 1:04:28.880
<v Speaker 1>I mean, I think you know it's funny is that

1:04:28.960 --> 1:04:31.320
<v Speaker 1>I we are all still well. I can't I won't

1:04:31.320 --> 1:04:33.400
<v Speaker 1>speak for anybody else. I'm still in such I'm still

1:04:33.440 --> 1:04:36.000
<v Speaker 1>in such close contact with you. It feels like this

1:04:36.120 --> 1:04:39.040
<v Speaker 1>is just another conversation I get to have with you

1:04:39.080 --> 1:04:42.160
<v Speaker 1>where you once again enlightened me and educated me on

1:04:42.200 --> 1:04:45.480
<v Speaker 1>some things. And um, I always love talking to you.

1:04:46.160 --> 1:04:48.280
<v Speaker 1>I can't thank you enough for everything you've you've brought

1:04:48.360 --> 1:04:50.400
<v Speaker 1>to my life over the years and continue to bring

1:04:50.400 --> 1:04:52.560
<v Speaker 1>to my life. So thank you for joining us. And

1:04:52.600 --> 1:04:54.800
<v Speaker 1>we can't wait to have you you guys, and uh,

1:04:55.200 --> 1:04:57.600
<v Speaker 1>you know, it's it is great. It is great to

1:04:57.600 --> 1:05:00.640
<v Speaker 1>see you. Man, you believe we're doing this. It's fun. No, no,

1:05:00.960 --> 1:05:04.040
<v Speaker 1>all right, we're very monkey another virtual hug. Virtual hug.

1:05:04.360 --> 1:05:12.240
<v Speaker 1>Ry Kendall is such a pro. Yeah, it's like just

1:05:12.320 --> 1:05:14.680
<v Speaker 1>one of those consummate pros. And when I shadowed him,

1:05:14.840 --> 1:05:17.280
<v Speaker 1>it was on a show. It was very it was

1:05:17.280 --> 1:05:21.040
<v Speaker 1>a single camera show. Its very hectic, very tough, no

1:05:21.200 --> 1:05:25.360
<v Speaker 1>budget kind of situation. And man, he kept as cool,

1:05:25.480 --> 1:05:28.480
<v Speaker 1>like he's just unbelievable, like and he makes sure that

1:05:28.680 --> 1:05:31.320
<v Speaker 1>you know, watching him that week when I was following

1:05:31.400 --> 1:05:33.160
<v Speaker 1>him around and seeing what he had to deal with

1:05:33.240 --> 1:05:35.320
<v Speaker 1>and the kind of choices and the pressures he was under,

1:05:35.640 --> 1:05:38.840
<v Speaker 1>never made anybody else's problem, you know, And like I

1:05:38.840 --> 1:05:40.480
<v Speaker 1>could see it because I was shadowing, so I was

1:05:40.480 --> 1:05:42.120
<v Speaker 1>alone in the room with him looking at a shot

1:05:42.200 --> 1:05:45.720
<v Speaker 1>list going you're never gonna make that day, you know,

1:05:45.760 --> 1:05:46.920
<v Speaker 1>And he knew it, and he would be like, what,

1:05:47.040 --> 1:05:48.360
<v Speaker 1>we gotta show up, we gotta do it, we gotta

1:05:48.360 --> 1:05:49.640
<v Speaker 1>do our best, we gotta you know. It was just

1:05:49.720 --> 1:05:53.600
<v Speaker 1>like unbelievable. Um. Yeah, And that's why he's always worked,

1:05:53.640 --> 1:05:57.280
<v Speaker 1>because he's so great. And he's also the perfect person

1:05:57.360 --> 1:06:00.640
<v Speaker 1>to work with younger actors. Yeah, because of that patience

1:06:00.880 --> 1:06:04.720
<v Speaker 1>and that steadfast kind of resolve that he has. It's like,

1:06:04.760 --> 1:06:06.200
<v Speaker 1>it's a great person to put the helm of a

1:06:06.640 --> 1:06:09.440
<v Speaker 1>show that involved young people. I can't believe that he

1:06:09.520 --> 1:06:12.040
<v Speaker 1>was kind of still I mean, it's it's like we

1:06:12.160 --> 1:06:13.680
<v Speaker 1>keep saying it, but like that he was still kind

1:06:13.680 --> 1:06:15.880
<v Speaker 1>of new to the industry. Magaz he had done six years.

1:06:15.920 --> 1:06:18.280
<v Speaker 1>But like, yeah, that the fact that he hadn't directed

1:06:18.280 --> 1:06:20.280
<v Speaker 1>like one hundred episodes of television when he was doing

1:06:20.320 --> 1:06:25.080
<v Speaker 1>Boy just were his second episode. But going from writing

1:06:25.080 --> 1:06:28.919
<v Speaker 1>a spec script to then getting hired by your first

1:06:28.920 --> 1:06:31.240
<v Speaker 1>producer and staying on that show up to then being

1:06:31.240 --> 1:06:36.400
<v Speaker 1>a coep is insane. I never happens. I know it is.

1:06:36.720 --> 1:06:39.360
<v Speaker 1>I mean to say it's not. The norm is like

1:06:39.480 --> 1:06:44.200
<v Speaker 1>the biggest understatement, yet job in television, let alone, let

1:06:44.440 --> 1:06:47.280
<v Speaker 1>your first script getting your job, let alone leading to

1:06:47.400 --> 1:06:50.080
<v Speaker 1>a six year season round. Yeah, it's at a big

1:06:50.160 --> 1:06:52.560
<v Speaker 1>at a big smash hit show. I mean that's insane,

1:06:52.560 --> 1:06:55.840
<v Speaker 1>that's crazy. Well, I think we learned more in that

1:06:55.880 --> 1:06:59.160
<v Speaker 1>episode than any other for our dear listeners. I think

1:06:59.160 --> 1:07:02.360
<v Speaker 1>he explained things very well too. I mean, I find

1:07:02.720 --> 1:07:07.160
<v Speaker 1>six to eight episodes ahead. Yeah, that's what I figured. Actually, wow.

1:07:07.200 --> 1:07:09.400
<v Speaker 1>But I also think I also think that was when

1:07:09.720 --> 1:07:12.760
<v Speaker 1>Kendall wasn't sure right right right. I think he said

1:07:12.800 --> 1:07:15.400
<v Speaker 1>he was very good about making sure that we were

1:07:15.400 --> 1:07:17.600
<v Speaker 1>six and eight out. I don't think that ends up

1:07:17.600 --> 1:07:25.720
<v Speaker 1>being the case after he leaves. Also, Corey's World, Yeah,

1:07:26.560 --> 1:07:29.840
<v Speaker 1>they wouldn't have to change much. Yeah, still be throwing

1:07:29.880 --> 1:07:33.080
<v Speaker 1>us globes at every every photo shoot. Yeah, but yeah,

1:07:33.160 --> 1:07:36.240
<v Speaker 1>Corey's World. I wonder what the other run disgusting writers,

1:07:36.840 --> 1:07:40.520
<v Speaker 1>Oh why I really dislike it. I get, I mean

1:07:40.600 --> 1:07:43.160
<v Speaker 1>it's weird because I mean, obviously boy is in the title.

1:07:43.200 --> 1:07:46.480
<v Speaker 1>But I think something about making it Corey only seems

1:07:46.480 --> 1:07:48.360
<v Speaker 1>a little bit of a bummer. It seems limiting to me,

1:07:48.520 --> 1:07:50.480
<v Speaker 1>you know, but I guess it was. I mean it

1:07:50.560 --> 1:07:53.520
<v Speaker 1>was really the whole show is Ben and around Corey.

1:07:53.720 --> 1:07:56.640
<v Speaker 1>But for some reason, Boy Meet's World has a little

1:07:56.680 --> 1:07:58.640
<v Speaker 1>bit more of a thematic. I mean, even though it's

1:07:58.680 --> 1:08:02.160
<v Speaker 1>awkward phrasing, it sounds bigger than Yeah, I feel like

1:08:02.200 --> 1:08:04.680
<v Speaker 1>more people can identify with Corey when it's called boy

1:08:04.720 --> 1:08:07.120
<v Speaker 1>Meets World, if that makes sense, And if it's just

1:08:07.240 --> 1:08:10.560
<v Speaker 1>Corey it's like a specific person, uh that I don't know,

1:08:10.600 --> 1:08:13.600
<v Speaker 1>it's a little more limited. Maybe. Well, thank you all

1:08:13.600 --> 1:08:16.080
<v Speaker 1>for joining us for this episode of Pod Meets World.

1:08:16.840 --> 1:08:18.960
<v Speaker 1>As always, you can follow us on Instagram pod Meets

1:08:18.960 --> 1:08:21.479
<v Speaker 1>World Show. You can send us your emails pod Meets

1:08:21.479 --> 1:08:24.639
<v Speaker 1>World Show at gmail dot com. And we have merch

1:08:25.080 --> 1:08:31.240
<v Speaker 1>Daddy Daddy if I missed some merchandise Daddy, Pod Meets

1:08:31.360 --> 1:08:33.439
<v Speaker 1>World Show not to the point where you're just doing

1:08:33.439 --> 1:08:41.519
<v Speaker 1>a monologue the night of merchandise. By the end, it's

1:08:41.560 --> 1:08:44.240
<v Speaker 1>just going to be forty minutes. Law the amount of

1:08:44.240 --> 1:08:46.799
<v Speaker 1>people who have asked us to just compile those together,

1:08:47.200 --> 1:08:49.200
<v Speaker 1>we will have to do it. We are absolutely going

1:08:49.240 --> 1:08:50.439
<v Speaker 1>to have to do it. Maybe by the end of

1:08:50.479 --> 1:08:54.920
<v Speaker 1>season two. Yeah, anyway, we'll send us out. We love

1:08:54.960 --> 1:08:59.960
<v Speaker 1>you all. Pod dismissed Pod Meets World is an eye

1:09:00.080 --> 1:09:03.240
<v Speaker 1>heart podcast produced and hosted by Danielle Fischel, Wilfordelle and

1:09:03.320 --> 1:09:07.080
<v Speaker 1>Ryder Strong. Executive producers Jensen Karp and Amy Sugarman, executive

1:09:07.080 --> 1:09:11.080
<v Speaker 1>in Charger Production, Danielle Romo, producer and editor, Tara Supbach, producer,

1:09:11.160 --> 1:09:14.559
<v Speaker 1>Jackie Rodriguez, engineer and Boy Meets World superfan Easton Allen.

1:09:14.640 --> 1:09:16.960
<v Speaker 1>Our theme song is by Kyle Morton of Typhoon and

1:09:17.000 --> 1:09:19.280
<v Speaker 1>you can follow us on Instagram at Pod Meets World

1:09:19.280 --> 1:09:22.160
<v Speaker 1>Show or email us at Pod Meets World Show at

1:09:22.200 --> 1:09:23.560
<v Speaker 1>gmail dot com