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Speaker 1: Welcome to Pod Meets World. I am Daniel Fisher, I'm

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Speaker 1: will Fredell, and I'm right or Strong and we are

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Speaker 1: joined today to talk about episode number one oh four,

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Speaker 1: Corey's Alternative Friends, which is the very first episode where

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Speaker 1: Tapanga appears. And uh, we are thrilled to have David here.

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Speaker 1: Let's jump into my first episode. I've I've now watched

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Speaker 1: three episodes, We've done three recap episodes that I haven't

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Speaker 1: been in, and so um we get to do one

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Speaker 1: with you. Yes, I'm sorry, I've I said this to

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Speaker 1: you before, before we even started this. I don't think

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Speaker 1: writer would disagree with me. I think if you put

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Speaker 1: up a list of the most important Boy meets World episodes,

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Speaker 1: this has to be at or near the top of

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Speaker 1: every list. They think it's the top. I think it's

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Speaker 1: the number one most important episode. What was so funny

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Speaker 1: about watching it overall was how um monumental this episode

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Speaker 1: is in my mind as an experience, but actually how

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Speaker 1: kind of slight it is, like, especially my involvement, Like

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Speaker 1: I thought I was a huge part. I was, but

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Speaker 1: but what and that that's because of the experience of

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Speaker 1: doing it. This was the episode where I became a

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Speaker 1: part of the show. And I think this is the

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Speaker 1: episode where I learned how to be in a sitcom

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Speaker 1: and what you know, how to get laughs and we

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Speaker 1: can talk about like I specifically remember the moments we

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Speaker 1: can talk about, but also I remember watching the show

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Speaker 1: on tape night and seeing the reaction to the Topanga

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Speaker 1: Corey relationship and realizing, Oh, this is the show, like

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Speaker 1: this is what is going to drive um Boy meets

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Speaker 1: World forward for me and and and so yeah, and

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Speaker 1: watching it, I was just like, oh, yeah, this it's

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Speaker 1: still it's all there that you know, Corey always needed

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Speaker 1: a romantic foil right or another character to bounce this

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Speaker 1: off of. And it's like, you couldn't you couldn't get

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Speaker 1: a better person than Danielle playing to Panga. It's just magic.

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Speaker 1: And there was more of the family dynamic and we

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Speaker 1: see in the family is in the family House. The

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Speaker 1: audience was interactive for the first time ever. I mean this,

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Speaker 1: this show, this episode hits so many different notes that

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Speaker 1: just I think change the whole ball game for the series.

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Speaker 1: I really do. David as the director of this episode,

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Speaker 1: do you remember the tape night? No? No, I remember

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Speaker 1: I remember tape nights in the early going as raucous. Yeah,

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Speaker 1: and raucous for all reasons, like an audience is that

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Speaker 1: it's a new cast, yes, so as as cast original

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Speaker 1: cast members. You suddenly had the people who haven't hearst

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Speaker 1: And and also I remember for Bill Daniels a wonderful

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Speaker 1: I mean, yeah, however much we love Bob Young and

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Speaker 1: David Kendall. Yes, you guys really special, um he he.

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Speaker 1: I think it was very weird to him changes, you know,

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Speaker 1: michaelould change things, and it was it was a whole.

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Speaker 1: It was like a Hell's It was great. So that's

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Speaker 1: what I remember, And I can't imagine that the fourth

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Speaker 1: episode was any different. So it was actually even the

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Speaker 1: more so, like Will said, this is the first time

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Speaker 1: we've heard you know, Erica has that line about getting

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Speaker 1: the good hair and the girls win. That's the first

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Speaker 1: time that happened. Uh. And then there's a Beavis and

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Speaker 1: butt Head reference, which and the audience clapped and screamed

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Speaker 1: for Beavis and butt Head. So if anything, it had

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Speaker 1: they had just started to get you know, noisy. Yeah.

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Speaker 1: I also I wanted to put this up at the

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Speaker 1: top of the episode. You know how much of a

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Speaker 1: television fan I am especially old sitcom. I love it

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Speaker 1: so much. And I went back and I did some

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Speaker 1: research about and this again shows how our show is

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Speaker 1: constantly overlooked about characters that either started as secondary characters

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Speaker 1: or were brought on later in the later in a

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Speaker 1: series that changed the entire dynamic. And we're talking Clinger

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Speaker 1: from Mash, Fonzie from Happy Days, Merkel from Family Matters,

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Speaker 1: Woody on Cheers, Andy in the Office, and not on.

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Speaker 1: Not a single list is two Panga mentioned, but it

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Speaker 1: was it was episode full Well here's but again, Fonzie

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Speaker 1: was on from the pilot, so you know these are

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Speaker 1: the Clinger was on from the pilot. They had smaller roles,

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Speaker 1: but were then brought on as as regulars on the show.

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Speaker 1: That then changed the dynamic of the show. And it's

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Speaker 1: one of those things where your husband and I were

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Speaker 1: talking about this, Danielle. Everybody when they go back and

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Speaker 1: they think of Boy Meets World, I think they remember

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Speaker 1: to Panga being on the whole show, right, People are

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Speaker 1: shocked from like, oh, I don't think I was in

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Speaker 1: that episode. So that's one of the things. It's it's

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Speaker 1: you've become so so in grain with the show that

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Speaker 1: the idea that you started four episodes you weren't on

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Speaker 1: there where any of those names you listed women? Interesting?

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Speaker 1: Is there? No? Witten? Apparently the really changed on the show.

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Speaker 1: The internet is concerned. And again I went strictly sitcom.

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Speaker 1: If you went to UM shows like Lost and things,

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Speaker 1: there are a lot of women on okay, right um,

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Speaker 1: But I was going strictly old school sitcom. But yes,

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Speaker 1: that's they were all men, now that you mentioned it,

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Speaker 1: Yes they were alright, And to Pango was not on

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Speaker 1: a single list, and I found that to be pretty interesting. Frankly,

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Speaker 1: you might have to just doing this. Is Kirstie Elliott Cheers, Yeah,

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Speaker 1: there's ae. We're just looking to find a woman, yes,

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Speaker 1: And and she wasn't listed on any of this was

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Speaker 1: not Woody Harrelson was for the same show on Cheers,

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Speaker 1: but Kirstie ally was not very interestingly enough, So there

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Speaker 1: you go. David, what was it like directing Bill Daniels,

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Speaker 1: because we all remember, you know, first of all his kids,

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Speaker 1: he was very intimidating. He was the consummate professional. I

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Speaker 1: remember him being nervous that he was going to forget

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Speaker 1: his lines and and him just pouring over his script

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Speaker 1: and like you said it was probably very confusing to

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Speaker 1: him to in the middle of the middle of a

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Speaker 1: scene for Michael to come out and take a pencil

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Speaker 1: and cross out the entire page and then rewrite new

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Speaker 1: lines for everybody. When he was such a pro he

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Speaker 1: didn't want to forget any lines. So what was what

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Speaker 1: was that relationship like directing Bill Daniels. Well, because I

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Speaker 1: came from the theater I had and Built came from

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Speaker 1: the theater, there was a sort of distant foundation. Uh.

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Speaker 1: You know, the thing that's great about Bill is he's

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Speaker 1: in Boy Mets World, he's in the Grant, he's on

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Speaker 1: broad he's in He's always the same fine act. He

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Speaker 1: doesn't change the way he does what he does for

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Speaker 1: the media. He does what he does and the medium

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Speaker 1: embraces it, has to accommodate it. He So, so I

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Speaker 1: think what Bill was I hope I was trying to

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Speaker 1: do with Bill, but I think Bill was monumentally gifted guy.

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Speaker 1: I think he was doing for himself was figuring out

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Speaker 1: how to be built in in in this on different Uh.

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Speaker 1: And obviously he got it very quickly and you can

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Speaker 1: see it. And when we watched this episode of In

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Speaker 1: the Classroom, scenes were the sort of dry under I mean,

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Speaker 1: that's perfect classic Bill, and I don't mean it's like rot.

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Speaker 1: I mean he's just being true to how he acts.

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Speaker 1: So that's what I think he was doing. And I

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Speaker 1: hope I was trying to help that, but I don't know.

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Speaker 1: I don't know. Well, you were wonderful at that with

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Speaker 1: all of us, all of us, but Bill also made

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Speaker 1: all of that. You know, they say that that, you

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Speaker 1: know the great sports, you know, having a great player

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Speaker 1: on your team makes everybody else better. And that's just

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Speaker 1: how it was when you had him as the anchor.

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Speaker 1: You just talk about I mean we talked in the

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Speaker 1: last episode about kind of in not necessarily a healthy way,

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Speaker 1: trying to get Michael's um approval and admiration. It was

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Speaker 1: a different feeling with Bill. You wanted that approval and

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Speaker 1: admiration because you knew you earned it with him, and

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Speaker 1: it was something so special when he would he would

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Speaker 1: occasionally throw out a compliment as an actor or something

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Speaker 1: like that, So there was that. It was an interesting

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Speaker 1: balance between the healthy and the unhealthy ways of of

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Speaker 1: I think what Bill is looking to do with you

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Speaker 1: and what's these very rewarding for you guys. Good actors

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Speaker 1: feed off, reinforced and enhanced each other. They pay good

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Speaker 1: actors pay attention. Good actors respond to what is in

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Speaker 1: front of them. They're they're looking you in the eye

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Speaker 1: and listening to your voice and responding to that. And

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Speaker 1: Bill is the highest level actor and so for you guys,

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Speaker 1: as as as newcomers to be in that situation, you

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Speaker 1: can only get better at there. And when Bill wouldn't

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Speaker 1: see that and have that relationship, sure he was as

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Speaker 1: gratified as you. Well, let's let's just jump into the

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Speaker 1: first scene then, because that that really was a hugely

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Speaker 1: forward for me, Um and precisely because of what you're

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Speaker 1: talking about. Getting to do this presentation. Beat was the

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Speaker 1: first time I remember doing something really kind of funny

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Speaker 1: on Boy Meats World, because up until then I was

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Speaker 1: always just the sort of one liners, you know, off

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Speaker 1: to the side in the cafeteria. And I remember having

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Speaker 1: so much fun with this, uh because I you know,

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Speaker 1: I I hadn't really done comedy before, but I remember

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Speaker 1: what you're what you're saying, like the dynamic with Bill

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Speaker 1: just sort of slipping in this dry like Mr Matthews

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Speaker 1: was so And then I remember getting permission to be

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Speaker 1: stupid getting up there, and like, I remember, I don't

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Speaker 1: know who's idea was, but I remember like the pointers,

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Speaker 1: and I believe it was you. David said like, no,

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Speaker 1: no, no no, no, writer, it doesn't matter where you point.

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Speaker 1: That's funny, and that's where we found that joke. I

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Speaker 1: remember finding the joke because we were like, we have

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Speaker 1: to hit the d He's like, no, no no, no no, don't

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Speaker 1: even look, just do it. And I remember we did it,

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Speaker 1: and then Bill reaching out and adjusting us and just

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Speaker 1: loving it. It was so much and it was like

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Speaker 1: the first time coming to live as an actor and

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Speaker 1: getting laughs and being like, oh you mean because I

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Speaker 1: think in my kid brain, I was like, well, I

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Speaker 1: have to bring out the pointer and then I have

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Speaker 1: to find where Denver is because that's what my character

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Speaker 1: is saying. And I remember you being like no, no, no, no,

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Speaker 1: I don't even look at it. Just smack the thing.

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Speaker 1: And that just became a whole bit. Well, let me

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Speaker 1: let me give the synopsis of the episode and then

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Speaker 1: we will go into the first um the first scene.

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Speaker 1: So the synopsis is that Sean and Corey gets split

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Speaker 1: up from doing a project together, making Sean work with

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Speaker 1: Minkus and Corey work with Topanga. Corey overhears girls making

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Speaker 1: fun of his hair and he decides to change it. So, uh,

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Speaker 1: this is Corey's alternative Friends. It originally aired October fift

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Speaker 1: nine three. Uh, and David Trainer, who's joining us, is

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Speaker 1: the director of the writers were Michael Jacobs, April Kelly,

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Speaker 1: and Patricia Forrester. I don't remember Patricia either. I think

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Speaker 1: this may be the only episode she did, but I

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Speaker 1: will fact check that myself. So we're in the very

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Speaker 1: first scene the cold open, as writer was mentioning, um,

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Speaker 1: there are projects going on, and Marla Sokoloff and uh,

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Speaker 1: Megan Parlor are the two girls at the front. Yet

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Speaker 1: we're gonna we've referred to her as fish girl. Um.

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Speaker 1: They get up, they do their presentation, and then we

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Speaker 1: see Sean and Corey get up to deliver their presentation,

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Speaker 1: and Corey is wearing a hooded vest. They both have hoods,

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Speaker 1: but I think I think Sean had sleeves. Sleeves and

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Speaker 1: of course the impeccable dinosaur shirt. Yes, with Writer, it

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Speaker 1: was big into dinosaur shirts. And this episode is what

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Speaker 1: I'd like to start, and we'll get into it as

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Speaker 1: we get further, but the the purple phase of Boy

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Speaker 1: Meets World, where for some reason all or most of

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Speaker 1: us were wearing purple during most of the episode figure,

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Speaker 1: So we will get into that as well, the hooded

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Speaker 1: hooded sweatshirts. So writer, I remember the pointers as well

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Speaker 1: as you do. I remember, you know, because I was

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Speaker 1: just sitting in that scene in the front row. I

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Speaker 1: remember you guys having so much fun and thinking it

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Speaker 1: was so funny to see kids with pointers, and the

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Speaker 1: way Bill is adjusting and the way Bill is reacting

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Speaker 1: to you, and the fact that prop humor, it was

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Speaker 1: just basic prop humor. But I don't think we had

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Speaker 1: done that yet on the show, you know, I hadn't,

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Speaker 1: you know. And so the ability to just like keep

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Speaker 1: finding laughs, and that's mostly what I remember about this episode,

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Speaker 1: I think, is when I finally learned what a sitcom was, like,

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Speaker 1: you know, while doing it. And we'll talk about later,

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Speaker 1: like being able to find multiple laughs in one beat, uh,

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Speaker 1: you know, or or or to stretch something into separate

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Speaker 1: beats like and I remember, Benn, and I've been so

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Speaker 1: happy to be able to do the pointers at the

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Speaker 1: same time, like choreography, you know, like that was just

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Speaker 1: an educational moment, like, oh, this is what comedy is.

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Speaker 1: You get give kids props and let them have fun,

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Speaker 1: you know, and then you set them up against somebody

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Speaker 1: like Bill Daniels and it's just hysterical. Well. I love

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Speaker 1: the proximity of Bill to you guys too, the way

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Speaker 1: he's like right in between you. Um, David, do you

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Speaker 1: do Do you approach directing kids in comedy differently than

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Speaker 1: you approach adults in comedy. I don't think so. I

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Speaker 1: mean I would say that there's a kind of schoolyard

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Speaker 1: energy that is both valuable and has to be contained channeled.

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Speaker 1: But you guys were great. I mean my recollection was

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Speaker 1: everybody came to play apply in the finest sense of work,

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Speaker 1: you know, came to came to figure out how to

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Speaker 1: do this stuff, and and that you know, rehearsal is

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Speaker 1: the most fun of all. I might think you have

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Speaker 1: to perform it and do it all that stuff because

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Speaker 1: you have to put it on paper, film and show

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Speaker 1: it to the public. But the real fun, yes, yes, complete,

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Speaker 1: everybody relax and do it and do it. There's no

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Speaker 1: right or wrong. That's why the whole Michael Jacob stuff

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Speaker 1: that we're trying to work for so antithetically to what really?

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Speaker 1: Because like much, yeah, do it wrong doing? Standing on

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Speaker 1: your head? Do it? Tell me all you think you'd

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Speaker 1: be froeing on your head? Try it? What the hell?

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Speaker 1: It's nobody cared, and as a result, you end up

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Speaker 1: with stuff that's exponentially better than if you So if

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Speaker 1: that's what you want. Kids are particularly gifted kids, which

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Speaker 1: you will were what fun? It kind of comes naturally

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Speaker 1: right because it's very similar to just playing make believe? Yeah?

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Speaker 1: Was this writer? Was this one of those times that

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Speaker 1: you would often talk about where you were given a

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Speaker 1: prop and you and Ben maybe played a little too

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Speaker 1: much with the prop, and Bill would after a while

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Speaker 1: be like, all right, enough with whatever you're playing with.

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Speaker 1: Oh yeah, I probably had at this point. But yeah,

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Speaker 1: I mean at this point, I think we were still

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Speaker 1: you know, we were just discovering what it was we

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Speaker 1: were doing. Uh. I would say by second season is

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Speaker 1: when we were get in trouble with Bill. The second

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Speaker 1: season it went bet and I would be playing with

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Speaker 1: something for too long, or just have an inside joke

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Speaker 1: that we thought was hysterical that nobody else found funny,

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Speaker 1: and we would repeat it at nausea and that was

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Speaker 1: that was big with me and ben Um. But now

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Speaker 1: I don't think at this point. At this point we

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Speaker 1: were just I just remember being so h happy to

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Speaker 1: discover comedy, you know, like I I didn't know what

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Speaker 1: I hadn't done it, and like this was it. Like

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Speaker 1: this was me watching this episode was like and it

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Speaker 1: was remembering, Oh, this is where I learned what a

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Speaker 1: sitcom is because I didn't watch. One of the things

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Speaker 1: you're saying is you didn't go into it thinking it

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Speaker 1: was fun. Exactly, went into it as a task to

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Speaker 1: Perfore I have to get out of my chair, stand

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Speaker 1: up front with and talk. Right, that's good, that's it.

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Speaker 1: Oh and then coincidence it's fun. Yeah, So the kind

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Speaker 1: it's when you know it's fun, that's when you start

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Speaker 1: to do it. Four times it repeated, it starts getting

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Speaker 1: stale real quick. That's fun to discovery. And so in

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Speaker 1: this scene is to Panga's reveal, and you see my

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Speaker 1: hair before you see any other aspect of me, and

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Speaker 1: it brought back immediate memories and I called my mother

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Speaker 1: because my mother is responsible for that. To Panga hair,

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Speaker 1: the crimp, would it be a crimp? It wasn't it was,

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Speaker 1: it wasn't branded my I came home on Tuesday night

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Speaker 1: eight dinner with my family. So Tuesday, you know, after

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Speaker 1: Producer Own Network run through, washed my hair and then

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Speaker 1: and then kind of dried it enough that it was

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Speaker 1: still damp, and then my mom braided my hair in

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Speaker 1: no joke, probably about a hundred braids. I'm talking a

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Speaker 1: miniscule amount hair, very tiny braids, rubber bands all at

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Speaker 1: the bottom. It would take us until about eleven PM

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Speaker 1: and then I would go to sleep and sleep with

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Speaker 1: the braids and then wake up that day where the

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Speaker 1: braids to work, have them all taken out in the

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Speaker 1: hair and makeup room. And we did that for the

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Speaker 1: entirety of the first season. That how did you know

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Speaker 1: that this? Had you done that to your hair before? Well, yes,

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Speaker 1: we we had known just from having long hair that

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Speaker 1: if you braid your hair while it's damp, it creates waves.

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Speaker 1: And I don't remember the specific conversation of like, oh,

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Speaker 1: we want to pay his hair to be crimped, but

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Speaker 1: that was a conversation that was that happened with my

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Speaker 1: mom present, and my mom said, oh, I could braid it.

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Speaker 1: And then eventually at the end of the first season.

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Speaker 1: My mom was like, for one thing, Danielle is up

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Speaker 1: until eleven o'clock on and we had to do it

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Speaker 1: back to back nights Tuesday night for Wednesday pre tape,

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Speaker 1: and then Wednesday night we had to redo it because

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Speaker 1: by that time then it didn't look as good for Thursday,

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Speaker 1: so we had to redo it Wednesday night for Thursday's taping.

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Speaker 1: And my mom was like, one, I'm not getting paid

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Speaker 1: to Danielle is up until eleven o'clock. We have to

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Speaker 1: come up with a different system for hair, and that's

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Speaker 1: when we started doing the curlers. But also like what

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Speaker 1: it didn't It didn't look like I mean, nobody's hair

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Speaker 1: naturally looks like that. Like the only way you get

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Speaker 1: hair like that is to spend yeah, six hours. Interesting

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Speaker 1: that she's supposed to be this like hippie, earthy, but

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Speaker 1: she actually has hair that's been done like basically at

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Speaker 1: a salon level for hours. It doesn't make any sense,

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Speaker 1: but I guess it was just a unique enough look

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Speaker 1: that it made you go like, oh, this person is different. Yeah,

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Speaker 1: fit the aesthetic more than it made any logical sense.

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Speaker 1: But yeah, so that starts are my hair journey. There

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Speaker 1: is Topanga, And I remember this scene in particular, the

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Speaker 1: let me see if you're vibrationally acceptable that is being

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Speaker 1: one of the lines I had to do a million

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Speaker 1: times to say it's slow enough, really just turning slowly,

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Speaker 1: let me see if it was so hard. It was

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Speaker 1: just so in your head because you've got the lights

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Speaker 1: on you, there's a crowd waiting for you. In your head,

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Speaker 1: you're probably like, this is taking forever. Oh yeah, talking

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Speaker 1: it did it felt like I was speed Like that's

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Speaker 1: how it felt to me. I was like, there's no

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Speaker 1: way you want me to do it slower. But you

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Speaker 1: have to say with your hair, with what you're wearing,

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Speaker 1: and with the kind of serene look you have on

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Speaker 1: your face, and with Ben just saying Corey just saying

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Speaker 1: what to Panga, you kind of get most of the

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Speaker 1: character instantly. Yeah, you know right away, you know exactly

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Speaker 1: what it's like. You know you're not gonna get the layers,

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Speaker 1: but you get what they're going with right away, with

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Speaker 1: with like, oh it's a little hippie flower child, like

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Speaker 1: you get it right away? Yes, all right? Are we are?

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Speaker 1: We good to move on to the next scene where

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Speaker 1: we're in the cafeteria. So we're in the cafeteria and

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Speaker 1: this is where Corey overhears fish Girl and Marla sockle

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Speaker 1: Off talking about uh brillow head. They call him brillowhead.

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Speaker 1: Corey assumes it is about him, and he then questions

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Speaker 1: his hair. Well, he asks writer Sean, what do you

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Speaker 1: think about my hair? M I thought, yes, more of

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Speaker 1: a nerve head. Props the rider strong for doing something

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Speaker 1: that lots of actors do not like to do and

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Speaker 1: voraciously eating during the scene. I just wanted to go

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Speaker 1: back and tell myself stop eating. Most of us just

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Speaker 1: just push the food around with a fork so we

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Speaker 1: don't have to eat. Darren Lynes every time you see

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Speaker 1: right now you know again another When he was an

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Speaker 1: off Broadway actor, he always figured out how to eat

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Speaker 1: in a scene in a play. He said, so he

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Speaker 1: was sure he would have exactly Yeah. I always figure out. Yeah.

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Speaker 1: So that's how every night. That's amazing. Ben at one

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Speaker 1: point picks up one piece of ravioli and takes the

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Speaker 1: tiniest little bite to the corner. By the time riders

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Speaker 1: three quarters the way through his plate, it was sober.

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Speaker 1: I was just I was literally pointing it out It's like, look,

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Speaker 1: he's still going. You just kept shoveling it and God

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Speaker 1: bless your rider. Can I can? I I'm gonna do

381
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Speaker 1: a weird tangent right now because the Marla sockle Off

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Speaker 1: was actually present. This is this kind of connects in

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Speaker 1: a weird way. So you know, people are asked me

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Speaker 1: where my hairstyle came from? Where you know how I

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00:21:25,280 --> 00:21:27,919
Speaker 1: got this sort of because actually what people don't realize

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Speaker 1: I had to straighten my hair. My hair is wavier,

387
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Speaker 1: was wavier, so I would actually be spending hours in

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Speaker 1: the chair with them straightening my hair to get it

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Speaker 1: to look that, you know, the classics Sean hair. But

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Speaker 1: Marla was there the night, so I knew Marla. She

391
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Speaker 1: was a part of a group of kids that lived

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Speaker 1: at the oak Woods because we were all kid actors.

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Speaker 1: When we come down for pilots season and the pilot

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Speaker 1: season that I got Boy Meets World, I went and

395
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Speaker 1: had a gathering where I was the only boy with

396
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Speaker 1: Larissa Atlantic Marla sockle Off, and I can't remember, there

397
00:21:59,320 --> 00:22:02,320
Speaker 1: was like two other girls there and they decided to

398
00:22:02,680 --> 00:22:06,399
Speaker 1: take over my hair and they wet my hair and

399
00:22:06,920 --> 00:22:09,200
Speaker 1: parted it down the middle. And told me that I

400
00:22:09,240 --> 00:22:11,080
Speaker 1: should be wearing it like this because and I think

401
00:22:11,119 --> 00:22:13,480
Speaker 1: it was because it looked like Christian Slater, who was

402
00:22:13,520 --> 00:22:16,119
Speaker 1: like an actor at the time, the older actor that

403
00:22:16,200 --> 00:22:18,600
Speaker 1: we all looked. And so I started wearing my hair

404
00:22:18,720 --> 00:22:20,119
Speaker 1: like that, which is why I was wearing my hair

405
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Speaker 1: that way when I went to the Boy Meets World

406
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Speaker 1: pilot audition. So in a weird way, a full circle,

407
00:22:25,280 --> 00:22:28,600
Speaker 1: Marla sockle Off being in this episode connects to my

408
00:22:28,880 --> 00:22:32,080
Speaker 1: the creation of my character's iconic hair too, and one

409
00:22:32,119 --> 00:22:34,520
Speaker 1: of one of the first episodes, first of many that

410
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Speaker 1: had something to do with hair. Yes, a lot of

411
00:22:38,720 --> 00:22:47,160
Speaker 1: hair here, which is Michael Jacobs has tightly curly hair. Yeah, yeah,

412
00:22:47,760 --> 00:22:50,960
Speaker 1: dance here. So again this is talking about then being

413
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Speaker 1: a voice from a representative. Physically, he's a representative, Michael

414
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Speaker 1: an all that anxiety that the hair here whose name

415
00:23:00,840 --> 00:23:07,680
Speaker 1: is on the script, Yes, that's true. By the way,

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Speaker 1: Marla Sokoloff went on, we talked about a lot about

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Speaker 1: how we were kind of, you know, against each other

418
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Speaker 1: for the role of Topanga, and that I got it.

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Speaker 1: Marla Sokoloff has gone on to have an absolutely incredible career.

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Speaker 1: She is so incredibly talented. She's now directing, but she

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Speaker 1: was in she was on Full House, she was in

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Speaker 1: Fuller House, she was in Whatever It Takes, she was

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Speaker 1: on the Practice. She is truly an incredible actress and

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Speaker 1: really cool by the way, and a very cool person person. Yes,

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Speaker 1: so um just giving her her dues because she is,

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Speaker 1: And I think every week we will be doing that.

427
00:23:37,720 --> 00:23:39,960
Speaker 1: We had so many guest stars on our show that

428
00:23:40,080 --> 00:23:43,359
Speaker 1: went off to do unbelievable things, uh, that we didn't

429
00:23:43,400 --> 00:23:44,960
Speaker 1: even realize how blessed we were to be working with

430
00:23:45,000 --> 00:23:47,360
Speaker 1: a lot of these people. Every week. I'm sure we're

431
00:23:47,359 --> 00:23:49,200
Speaker 1: going to be like and remember this person and look

432
00:23:49,240 --> 00:23:50,879
Speaker 1: what they did. And remember this person and look what

433
00:23:50,960 --> 00:23:54,640
Speaker 1: they did. I mean, in you guys in the Cafeteria,

434
00:23:55,119 --> 00:24:01,360
Speaker 1: The Weirdos with Topanga Keyboard, Chris Owen is Chris Chris.

435
00:24:03,280 --> 00:24:06,159
Speaker 1: He says not a single word and plays keyboard the

436
00:24:06,320 --> 00:24:08,639
Speaker 1: entire time, and plays keyboard the entire time. I did

437
00:24:08,720 --> 00:24:12,000
Speaker 1: a movie with Chris. You and I both did different movies. You, well,

438
00:24:12,119 --> 00:24:14,360
Speaker 1: did you remember that he had done this episode when

439
00:24:14,359 --> 00:24:17,560
Speaker 1: you worked with him? No, so we were he said

440
00:24:17,600 --> 00:24:19,399
Speaker 1: to me, like second day shooting, he was like, you know,

441
00:24:19,440 --> 00:24:20,600
Speaker 1: I was on board means for all this like, no,

442
00:24:20,720 --> 00:24:24,760
Speaker 1: you weren't. It's like, dude, I know everybody experience, don't

443
00:24:24,760 --> 00:24:27,840
Speaker 1: know I was. I was. He's like the first Topanga episode.

444
00:24:27,840 --> 00:24:29,720
Speaker 1: I was like, now, I know you're wrong because it's

445
00:24:29,840 --> 00:24:31,840
Speaker 1: that's like the most important episode of the show. There's

446
00:24:31,880 --> 00:24:33,840
Speaker 1: no way, and he's like, no, I just sat there

447
00:24:33,880 --> 00:24:35,119
Speaker 1: playing the keyboard the whole time. I was like, you

448
00:24:35,200 --> 00:24:38,600
Speaker 1: were the keyboard kid, are you kidding? And yeah, So

449
00:24:38,720 --> 00:24:40,800
Speaker 1: Chris went off and had another great I mean, it's

450
00:24:40,800 --> 00:24:43,280
Speaker 1: just we we were one after another of these amazing

451
00:24:43,320 --> 00:24:45,480
Speaker 1: actors all over the place. Yet so and just to

452
00:24:45,680 --> 00:24:47,240
Speaker 1: make sure everyone heard me say it, he was the

453
00:24:47,280 --> 00:24:50,800
Speaker 1: Sherminader in American Pie. He is. He is like just

454
00:24:50,960 --> 00:24:55,280
Speaker 1: an absolutely famous actor. Um. Anyway, so in I didn't

455
00:24:55,280 --> 00:24:57,600
Speaker 1: write it down, which was my fault. Do you see

456
00:24:57,680 --> 00:25:00,920
Speaker 1: the Tapanga and her weirdos in this cafeteria scene or

457
00:25:01,000 --> 00:25:03,040
Speaker 1: is this just okay? I don't think so. I think

458
00:25:03,080 --> 00:25:05,679
Speaker 1: this one is just me offering to straighten his hair.

459
00:25:05,880 --> 00:25:08,360
Speaker 1: And it's where we hear about Stacy for the first time.

460
00:25:08,640 --> 00:25:11,200
Speaker 1: This is and this is this is where the sort

461
00:25:11,240 --> 00:25:14,200
Speaker 1: of my experience of the show was. This was where

462
00:25:14,280 --> 00:25:17,520
Speaker 1: the Death Chair finally came full circle. And because the

463
00:25:17,600 --> 00:25:21,200
Speaker 1: original up until I believe until Tuesday, I think I

464
00:25:21,280 --> 00:25:23,720
Speaker 1: think the pork there was another kid who was playing

465
00:25:23,760 --> 00:25:26,679
Speaker 1: the other best friend, and it was his sister who

466
00:25:26,760 --> 00:25:29,520
Speaker 1: straightened her her hair, and he ended up going with

467
00:25:29,600 --> 00:25:32,359
Speaker 1: Corey to Corey's house and straightened his hair. And I

468
00:25:32,520 --> 00:25:35,359
Speaker 1: was just like every other episode, stuck in the cafeteria

469
00:25:35,640 --> 00:25:37,440
Speaker 1: or in the classroom, you know, with a couple of lines,

470
00:25:38,000 --> 00:25:41,160
Speaker 1: and um, yeah, that kid got fired the same week,

471
00:25:41,240 --> 00:25:42,640
Speaker 1: so this is again a lot of firing that week.

472
00:25:43,280 --> 00:25:45,359
Speaker 1: David explained the death Chair to David. I don't know

473
00:25:45,359 --> 00:25:48,160
Speaker 1: if David knows that we call it the death chair,

474
00:25:48,240 --> 00:25:55,440
Speaker 1: and they were Yeah, I think David helped named it

475
00:25:55,560 --> 00:25:58,600
Speaker 1: the death chair. We we always talked about. But I remember,

476
00:25:58,640 --> 00:26:00,080
Speaker 1: I mean, and I think I've talked about the on

477
00:26:00,160 --> 00:26:02,879
Speaker 1: an earlier episode of the podcast. But David, you might

478
00:26:02,960 --> 00:26:07,000
Speaker 1: not remember. But the morning I showed up, um having

479
00:26:07,240 --> 00:26:10,440
Speaker 1: gotten the script that now Sean had a much bigger

480
00:26:10,560 --> 00:26:13,840
Speaker 1: part and that everything had been cut, you were in

481
00:26:13,920 --> 00:26:17,159
Speaker 1: this cafeteria scene with the cameras there. So yeah, it

482
00:26:17,240 --> 00:26:19,159
Speaker 1: must have been Wednesday morning. It was. It was, it

483
00:26:19,280 --> 00:26:23,240
Speaker 1: was after the Tuesday run through Um and Uh. I

484
00:26:23,359 --> 00:26:26,440
Speaker 1: remember you pulled you pulled me out out of my

485
00:26:26,520 --> 00:26:28,800
Speaker 1: seat and stood me in front of the hall uh

486
00:26:29,000 --> 00:26:32,280
Speaker 1: crew and said, can I just say it is well

487
00:26:32,400 --> 00:26:36,160
Speaker 1: deserved and about time that you had your your your

488
00:26:36,359 --> 00:26:38,159
Speaker 1: your do and you got this kind of part and

489
00:26:38,200 --> 00:26:40,680
Speaker 1: it's going to be great and everybody applauded. And I

490
00:26:40,760 --> 00:26:44,440
Speaker 1: remember just like being so grateful and feeling like, Okay,

491
00:26:44,520 --> 00:26:46,119
Speaker 1: I can do this because I was terrified, you know,

492
00:26:46,320 --> 00:26:48,639
Speaker 1: so nervous, Um, and you just made me feel so

493
00:26:48,800 --> 00:26:52,359
Speaker 1: comfortable and welcome and deserving and it just, you know,

494
00:26:52,480 --> 00:26:54,080
Speaker 1: like I said, it changed my life. This episode was

495
00:26:54,119 --> 00:26:55,399
Speaker 1: the one where I was like, oh, I'm I'm a

496
00:26:55,480 --> 00:26:57,200
Speaker 1: part of a sitcom and this is what I this

497
00:26:57,320 --> 00:27:00,440
Speaker 1: is the job and it's just something too of the

498
00:27:00,560 --> 00:27:03,359
Speaker 1: long life of the show. This is the fourth episode, right.

499
00:27:04,280 --> 00:27:06,760
Speaker 1: The writers can only do so much at once, so

500
00:27:06,920 --> 00:27:10,119
Speaker 1: they start with the core thing, which is Corey and

501
00:27:10,560 --> 00:27:14,119
Speaker 1: and Field Daniel, and then they start to mess around

502
00:27:14,160 --> 00:27:16,280
Speaker 1: with the pieces and figure out what's missing and what

503
00:27:16,400 --> 00:27:19,199
Speaker 1: what how do we amplify this? And you look around

504
00:27:19,280 --> 00:27:21,720
Speaker 1: and find out what resources are right there and write

505
00:27:21,720 --> 00:27:24,720
Speaker 1: are there? You were right just the way Daniel there

506
00:27:24,840 --> 00:27:29,560
Speaker 1: you were in a little bit park and and just

507
00:27:29,720 --> 00:27:31,680
Speaker 1: the way will you said, you know, I came in

508
00:27:31,760 --> 00:27:36,200
Speaker 1: and I realized how to say. It's like actors flower

509
00:27:36,520 --> 00:27:39,920
Speaker 1: in small opportunities and then the opportunities a large and

510
00:27:40,040 --> 00:27:45,000
Speaker 1: next thing. You know, that's the show smart writers are

511
00:27:45,200 --> 00:27:50,480
Speaker 1: paying attention to what's lurking on the edges. Yeah, absolutely, because, yeah,

512
00:27:50,640 --> 00:27:52,640
Speaker 1: it was so funny that they kept trying to find

513
00:27:52,680 --> 00:27:54,800
Speaker 1: this third character. They're like, man, we really can't nail

514
00:27:54,880 --> 00:27:57,720
Speaker 1: this friendship situation. And then they were like, yeah, because

515
00:27:57,720 --> 00:28:00,240
Speaker 1: we don't need the other person. We have of the

516
00:28:00,280 --> 00:28:03,159
Speaker 1: friendship right here. We have writer, we have Sean, and

517
00:28:03,280 --> 00:28:06,399
Speaker 1: let's lean into that. And obviously that's a you know,

518
00:28:06,560 --> 00:28:09,720
Speaker 1: the Sean Corey relationship is absolutely iconic. Wasn't the first

519
00:28:10,440 --> 00:28:12,920
Speaker 1: character that the poor actor who was fired wasn't his

520
00:28:13,080 --> 00:28:17,200
Speaker 1: sister originally named Rochelle, I will consult I will consult

521
00:28:17,280 --> 00:28:20,920
Speaker 1: with Rochelle, right, That was his line, And can I

522
00:28:20,960 --> 00:28:22,760
Speaker 1: tell you the story? But I think we have to

523
00:28:22,800 --> 00:28:24,879
Speaker 1: tell that story. WHI should we wait till the scene?

524
00:28:25,160 --> 00:28:28,520
Speaker 1: We wait till we get to this. Now, this is

525
00:28:28,720 --> 00:28:32,160
Speaker 1: so the Originally he offered to talk to his sister

526
00:28:32,280 --> 00:28:35,399
Speaker 1: to figure out how to straighten her hair or how

527
00:28:35,440 --> 00:28:38,400
Speaker 1: she straightens her hair, and Corey says to him, well,

528
00:28:38,440 --> 00:28:40,080
Speaker 1: will you ask her? Can you can? You? Can you

529
00:28:40,360 --> 00:28:42,520
Speaker 1: find out? And the kid was supposed to sit back

530
00:28:42,600 --> 00:28:44,760
Speaker 1: and be really cool like he was maybe going to

531
00:28:44,880 --> 00:28:46,920
Speaker 1: help Corey, and he just in the line was I

532
00:28:47,000 --> 00:28:51,240
Speaker 1: will consult with Rochelle. And before the run through, what

533
00:28:51,400 --> 00:28:56,680
Speaker 1: was a big laugh the first time. Remember right before

534
00:28:56,760 --> 00:29:02,280
Speaker 1: the through, Ben told the guy that is so funny

535
00:29:02,280 --> 00:29:05,280
Speaker 1: when you take like the longest beat ever before you

536
00:29:05,400 --> 00:29:09,080
Speaker 1: say that line, it's so funny. You should just wait forever.

537
00:29:09,840 --> 00:29:13,040
Speaker 1: And the kid listened to Ben and sure enough leaned

538
00:29:13,080 --> 00:29:16,840
Speaker 1: back in his chair, took a deep breath and just

539
00:29:17,440 --> 00:29:21,120
Speaker 1: nobody laughed. Just he took. He took like thirty seconds

540
00:29:21,200 --> 00:29:25,400
Speaker 1: and then said I will consult with Rochelle and not

541
00:29:25,600 --> 00:29:29,360
Speaker 1: a single laugh. And when he was next and you,

542
00:29:29,760 --> 00:29:31,720
Speaker 1: Ben and the whole rest of the week, Red and

543
00:29:31,760 --> 00:29:33,280
Speaker 1: I were like, oh my god, we got that guy

544
00:29:33,360 --> 00:29:35,040
Speaker 1: fired because it was two of us being like, that's

545
00:29:35,080 --> 00:29:37,880
Speaker 1: so funny, let's see. But yeah, Ben, I remember Ben

546
00:29:37,920 --> 00:29:39,719
Speaker 1: always being like, what do they do? I told him

547
00:29:39,760 --> 00:29:44,480
Speaker 1: to take a huge beat. Oh my gosh, if you

548
00:29:44,560 --> 00:29:51,880
Speaker 1: think it's funny, oh my gosh. Okay, so we were

549
00:29:51,920 --> 00:29:55,040
Speaker 1: out of the cafeteria. We're back at home. Lily has

550
00:29:55,120 --> 00:29:58,760
Speaker 1: her classic doll throwing moment. Her Dolly is cold, she

551
00:29:58,880 --> 00:30:01,000
Speaker 1: puts it in the toaster oven. Great joke, by the way,

552
00:30:01,080 --> 00:30:04,400
Speaker 1: great jokes that you I mean that that would be

553
00:30:04,440 --> 00:30:07,920
Speaker 1: a mistake, and then tapping her dead Mommy, that was

554
00:30:08,120 --> 00:30:11,600
Speaker 1: a funny joke. This is now the dance. There were

555
00:30:11,720 --> 00:30:15,280
Speaker 1: so many iconic moments in this episode, I mean, one

556
00:30:15,400 --> 00:30:17,959
Speaker 1: after another of stuff that people talk about when they

557
00:30:18,040 --> 00:30:20,080
Speaker 1: think of Boy Meats World. They were like four of

558
00:30:20,200 --> 00:30:22,360
Speaker 1: them just in this episode. Yeah, there's a couple of

559
00:30:22,440 --> 00:30:24,360
Speaker 1: them just in the scene. Use a mirror babe, a

560
00:30:24,400 --> 00:30:27,560
Speaker 1: mirror babe. The dance. Yeah, and I remember the dance.

561
00:30:27,600 --> 00:30:29,800
Speaker 1: I hadn't remembered it until I was watching again, but

562
00:30:29,920 --> 00:30:32,600
Speaker 1: I remember that when when it came time for Topanga

563
00:30:32,680 --> 00:30:36,560
Speaker 1: to do the interpretive dance, I remember saying to David, so,

564
00:30:36,680 --> 00:30:38,360
Speaker 1: what do you want me to do? And he said,

565
00:30:38,720 --> 00:30:42,040
Speaker 1: come up with it. What feels what what feels good

566
00:30:42,120 --> 00:30:43,840
Speaker 1: to you? What do you want to do and being

567
00:30:43,920 --> 00:30:47,000
Speaker 1: like huh, okay again. That was one of the things

568
00:30:47,080 --> 00:30:50,880
Speaker 1: that David did so beautifully is put things in our hands.

569
00:30:51,040 --> 00:30:54,240
Speaker 1: This is your character. What would she do? Think about it?

570
00:30:54,400 --> 00:30:56,240
Speaker 1: Put it together. I'm here. I'm here to help you

571
00:30:56,320 --> 00:30:58,520
Speaker 1: if you need help. And I was one of those

572
00:30:58,560 --> 00:31:02,959
Speaker 1: things that then Jennifer the unsung hero of Topanga Lawrence, Uh,

573
00:31:03,080 --> 00:31:06,400
Speaker 1: My mom and I choreographed that dance. I remember my mom.

574
00:31:07,000 --> 00:31:09,760
Speaker 1: I remember saying, like, you know the humpback whale part,

575
00:31:09,800 --> 00:31:11,200
Speaker 1: being like, okay, well, now what am I going to do?

576
00:31:11,280 --> 00:31:13,000
Speaker 1: And she said, what if you you know, what if

577
00:31:13,040 --> 00:31:14,720
Speaker 1: you do this and it's like a humpback whale and

578
00:31:14,920 --> 00:31:19,240
Speaker 1: then immediately that moment and then when you know, so pale,

579
00:31:19,280 --> 00:31:22,280
Speaker 1: oh you know, look to the sun like I remember

580
00:31:22,560 --> 00:31:24,400
Speaker 1: doing that with my mom and coming up with what

581
00:31:24,520 --> 00:31:26,400
Speaker 1: we came up with and presenting it to David and

582
00:31:26,480 --> 00:31:29,040
Speaker 1: David being like, yeah, yeah, that's great, it's great. I

583
00:31:29,120 --> 00:31:34,600
Speaker 1: love it. That's what is you O Yes exactly. And

584
00:31:35,080 --> 00:31:38,360
Speaker 1: that's so one of the things is that that moment

585
00:31:38,600 --> 00:31:42,920
Speaker 1: holds because it's coming out of you. It's not imposted.

586
00:31:43,520 --> 00:31:49,520
Speaker 1: Yeah right if if if you and it's a wonderful moment.

587
00:31:49,720 --> 00:31:54,280
Speaker 1: But yeah, and I felt comfortable doing it because my

588
00:31:54,400 --> 00:31:56,360
Speaker 1: mom and I created it. Yeah, I felt I felt

589
00:31:56,400 --> 00:31:58,040
Speaker 1: comfortable doing it. I knew what I needed to do.

590
00:31:58,400 --> 00:32:00,320
Speaker 1: The only thing that, of course, is hard. I was

591
00:32:00,360 --> 00:32:02,240
Speaker 1: holding the lipstick in my hand, and I was supposed

592
00:32:02,240 --> 00:32:04,360
Speaker 1: to be making a round donut, and so I'm holding

593
00:32:04,400 --> 00:32:06,640
Speaker 1: the liquid in my thumb, and so the circle isn't

594
00:32:06,680 --> 00:32:08,920
Speaker 1: a complete circle. Um. And then I have to take

595
00:32:08,960 --> 00:32:10,400
Speaker 1: the lid off, and I'm now I'm holding a lid

596
00:32:10,440 --> 00:32:12,280
Speaker 1: in one hand and the lipstick in the other. And

597
00:32:12,560 --> 00:32:15,320
Speaker 1: I think I was supposed to draw a peace sign

598
00:32:15,680 --> 00:32:18,800
Speaker 1: on my face. It was, which makes sense, but I

599
00:32:18,840 --> 00:32:21,280
Speaker 1: think it ended up being a plus sign. It was

600
00:32:21,320 --> 00:32:24,239
Speaker 1: a circle with a plus sign in on my face. Um.

601
00:32:24,640 --> 00:32:25,960
Speaker 1: And I don't think we had to do it a

602
00:32:26,040 --> 00:32:28,200
Speaker 1: bunch of times. I think we pretty much. I mean,

603
00:32:28,240 --> 00:32:29,720
Speaker 1: I know we did it more than once, but I

604
00:32:29,960 --> 00:32:34,120
Speaker 1: don't remember having to, Like I remember because I remember

605
00:32:34,320 --> 00:32:37,720
Speaker 1: this was my first moment discovering that there would be

606
00:32:37,920 --> 00:32:40,480
Speaker 1: two laughs for the price of one, because I would

607
00:32:40,520 --> 00:32:42,800
Speaker 1: walk in and get a laugh on the look, and

608
00:32:42,880 --> 00:32:44,560
Speaker 1: then get a laugh on use a mirror, babe. And

609
00:32:44,560 --> 00:32:47,440
Speaker 1: I remember discovering that on tape and being like, oh, oh,

610
00:32:47,520 --> 00:32:49,720
Speaker 1: they're laughing at just the way I stop and look

611
00:32:49,840 --> 00:32:52,880
Speaker 1: that that's a whole separate beat, you know, just learning

612
00:32:52,920 --> 00:32:57,840
Speaker 1: how to act that you were listening to that unrehearsed

613
00:32:58,080 --> 00:33:02,320
Speaker 1: cast exactly. That's the key to doing this. That's where

614
00:33:02,360 --> 00:33:07,200
Speaker 1: it was back to the theater because yeah, you gotta

615
00:33:07,280 --> 00:33:10,320
Speaker 1: both do it and be ready to jump and also

616
00:33:10,520 --> 00:33:13,719
Speaker 1: listen and be ready away. Yes, it's I mean they were.

617
00:33:13,840 --> 00:33:16,840
Speaker 1: That was the first time we we had an interactive

618
00:33:16,840 --> 00:33:20,080
Speaker 1: audience too. I mean we had They were really engaged

619
00:33:21,120 --> 00:33:23,880
Speaker 1: that night and giving us instantaneous feedback, and that was

620
00:33:24,040 --> 00:33:25,800
Speaker 1: the first time we'd ever really experienced that. It was

621
00:33:26,040 --> 00:33:28,480
Speaker 1: was that because the show was already airing or what?

622
00:33:28,920 --> 00:33:30,760
Speaker 1: What made you think it was out yet? I just

623
00:33:30,800 --> 00:33:32,880
Speaker 1: got lucky. We just had the best two people we

624
00:33:32,920 --> 00:33:35,520
Speaker 1: could have pought some. Yeah, I remember, I'm One of

625
00:33:35,520 --> 00:33:36,800
Speaker 1: the things I remember about that is, you know, we

626
00:33:36,880 --> 00:33:39,560
Speaker 1: always would do intros, and our intros are always a

627
00:33:39,600 --> 00:33:41,000
Speaker 1: ton of fun for us. We would do what we've

628
00:33:41,000 --> 00:33:42,920
Speaker 1: talked about this, we do our our yell and then

629
00:33:42,960 --> 00:33:45,120
Speaker 1: we'd run out. And that was the first time that

630
00:33:45,240 --> 00:33:47,440
Speaker 1: it was mostly girls. And I remember that you and

631
00:33:47,520 --> 00:33:49,600
Speaker 1: I ride both got like the woos for the first

632
00:33:49,640 --> 00:33:52,280
Speaker 1: time ever, and it was like, oh, what's going on?

633
00:33:53,040 --> 00:33:55,040
Speaker 1: Something that was just totally different. Yeah, it was a

634
00:33:55,080 --> 00:34:00,720
Speaker 1: totally so it's very strange. There's an element too of

635
00:34:00,920 --> 00:34:04,000
Speaker 1: four episodes and your kind of got your feet down

636
00:34:04,160 --> 00:34:08,840
Speaker 1: were more relaxed. Yeah, definitely. If you were nervous, even

637
00:34:09,080 --> 00:34:14,439
Speaker 1: hidden nervous, the audience can feel if you're sort of cool, yeah,

638
00:34:15,239 --> 00:34:19,279
Speaker 1: can relax and respond naturally, and then it gets much more.

639
00:34:21,560 --> 00:34:24,279
Speaker 1: It was I remember, actually I remember so Mitchell Bank

640
00:34:24,400 --> 00:34:28,920
Speaker 1: was our warm up guy, and um, the girls were wooing.

641
00:34:29,000 --> 00:34:31,120
Speaker 1: So Mitchell brought me out in front of the audience

642
00:34:31,840 --> 00:34:34,839
Speaker 1: and had me like run back and forth in front

643
00:34:34,880 --> 00:34:38,040
Speaker 1: of them as they were wooing, and he came, Yeah,

644
00:34:38,120 --> 00:34:42,560
Speaker 1: exactly exactly, so he came and apologize. That's what I

645
00:34:42,600 --> 00:34:44,680
Speaker 1: remember is he came and apologize where he was like

646
00:34:45,120 --> 00:34:47,000
Speaker 1: the next week he was like, you know, I shouldn't

647
00:34:47,000 --> 00:34:48,360
Speaker 1: have done that. And it was Michael who told me.

648
00:34:48,360 --> 00:34:50,239
Speaker 1: He's like, no, I told Mitchell that don't ever do

649
00:34:50,360 --> 00:34:53,480
Speaker 1: that to you again. And it was again, I'm ignorant

650
00:34:53,520 --> 00:34:55,919
Speaker 1: to all this stuff. I was like, oh, important person

651
00:34:56,000 --> 00:34:57,520
Speaker 1: tells me to run in front of audience, that's what

652
00:34:57,600 --> 00:35:01,560
Speaker 1: I do. Yeah, he to us though they were adults.

653
00:35:01,680 --> 00:35:04,160
Speaker 1: You know, everybody was an adult. Everyone was an adult,

654
00:35:04,280 --> 00:35:06,360
Speaker 1: So it was. But he came an apologized, sorry, I

655
00:35:06,360 --> 00:35:08,400
Speaker 1: shouldn't have done that, and and Michaels like, You're never

656
00:35:08,480 --> 00:35:10,120
Speaker 1: doing that again. I was like, So then he did

657
00:35:10,120 --> 00:35:12,720
Speaker 1: it to Bill Daniels the following week, right, probably, yes, exactly.

658
00:35:12,719 --> 00:35:14,640
Speaker 1: Well Bill was always the hard throb of the show, really,

659
00:35:15,400 --> 00:35:17,239
Speaker 1: but it was it was it was that strange moment

660
00:35:17,280 --> 00:35:19,600
Speaker 1: of realizing where it's like, oh, maybe I shouldn't just

661
00:35:19,680 --> 00:35:21,960
Speaker 1: do what the adults automatically tell me to do all

662
00:35:22,040 --> 00:35:24,799
Speaker 1: the time. You know, you have those moments where it's

663
00:35:24,840 --> 00:35:26,920
Speaker 1: like that's you know, you gotta you gotta stand on

664
00:35:27,000 --> 00:35:28,360
Speaker 1: your own a little bit at some point, and you

665
00:35:28,440 --> 00:35:30,799
Speaker 1: get those little moments of that was one of those moments.

666
00:35:30,840 --> 00:35:33,600
Speaker 1: I probably shouldn't have done that. So it was weird. Yeah,

667
00:35:33,719 --> 00:35:36,240
Speaker 1: it's very strange. So then we're up in the bedroom

668
00:35:36,360 --> 00:35:39,759
Speaker 1: Corey and Eric's bedroom and uh, we see the hair

669
00:35:39,920 --> 00:35:45,480
Speaker 1: straightening of disaster disaster on his hair. His head is burning. Uh,

670
00:35:45,680 --> 00:35:50,160
Speaker 1: and writer, you call Stacy like you do all your sister,

671
00:35:50,320 --> 00:35:53,520
Speaker 1: like Sean always did for seven years oh eight. This

672
00:35:53,680 --> 00:35:58,000
Speaker 1: was the only time that ever. Yeah, I was also

673
00:35:58,040 --> 00:36:01,520
Speaker 1: bummed at, like how quickly Sean just as like they

674
00:36:01,560 --> 00:36:04,160
Speaker 1: clearly hadn't developed We hadn't. I had no relationship with

675
00:36:04,239 --> 00:36:06,279
Speaker 1: the parents yet, had no relationship with you yet, and

676
00:36:06,440 --> 00:36:08,400
Speaker 1: that really didn't happen to the end of this season,

677
00:36:08,640 --> 00:36:10,480
Speaker 1: probably to the Fugitive episode. I feel like when I

678
00:36:10,520 --> 00:36:13,680
Speaker 1: blew up a mailbox is when Sean as sort of

679
00:36:13,760 --> 00:36:16,920
Speaker 1: troublemaker was really solidified. But this is the beginning of that, right,

680
00:36:17,000 --> 00:36:21,160
Speaker 1: Like Sean gets Corey into the situation. Um, so it's funny,

681
00:36:21,239 --> 00:36:23,560
Speaker 1: but but I don't have any any real character, Beautis.

682
00:36:23,840 --> 00:36:25,839
Speaker 1: But they also haven't developed you at all yet because

683
00:36:25,880 --> 00:36:27,720
Speaker 1: it was not was it this episode or last episode

684
00:36:27,719 --> 00:36:30,440
Speaker 1: where you say like touch football my house after and

685
00:36:30,520 --> 00:36:33,200
Speaker 1: it's like, okay, well Sean didn't have a house and

686
00:36:33,400 --> 00:36:36,279
Speaker 1: there was no backyard, so it's like you could tell

687
00:36:36,360 --> 00:36:38,640
Speaker 1: they didn't you know, they just weren't there yet. It

688
00:36:38,719 --> 00:36:40,560
Speaker 1: was like, let's put this, let's put this in all right,

689
00:36:40,600 --> 00:36:42,680
Speaker 1: your your friends, that's the way it's gonna be. All Right,

690
00:36:42,680 --> 00:36:44,440
Speaker 1: You're gonna play touch foot by your house. It's like, well,

691
00:36:44,480 --> 00:36:47,560
Speaker 1: we haven't developed that John doesn't have ows or a sister. Yeah.

692
00:36:47,640 --> 00:36:50,000
Speaker 1: I was bummed at you bailed, especially because you I

693
00:36:50,120 --> 00:36:52,759
Speaker 1: really feel like for both Will and Writer. I felt

694
00:36:52,800 --> 00:36:55,239
Speaker 1: like this is the episode where I feel like you

695
00:36:55,360 --> 00:36:59,000
Speaker 1: guys did really have your characters. Like Writer was very

696
00:36:59,040 --> 00:37:01,360
Speaker 1: you were very funny in as You're always right to

697
00:37:01,480 --> 00:37:04,799
Speaker 1: me the star of like you are so freaking good

698
00:37:05,320 --> 00:37:08,799
Speaker 1: every week I'm always like, damn, he was good, way

699
00:37:08,920 --> 00:37:11,640
Speaker 1: better actor than most of us. But you know what

700
00:37:11,760 --> 00:37:13,719
Speaker 1: I'm doing. But you were not in control of my

701
00:37:13,840 --> 00:37:16,160
Speaker 1: body or my voice. I'm just like all over the place.

702
00:37:16,239 --> 00:37:20,160
Speaker 1: It was great, and you definitely every week you've been

703
00:37:20,200 --> 00:37:23,640
Speaker 1: giving yourself crap, saying like, oh, I'm not good whatever.

704
00:37:24,120 --> 00:37:27,040
Speaker 1: This moment when Will comes in does the balls a ball? Yeah,

705
00:37:28,320 --> 00:37:30,680
Speaker 1: it was great, dude. I was getting I was slowly

706
00:37:30,760 --> 00:37:33,520
Speaker 1: getting more comfortable, but it was still I still get

707
00:37:33,560 --> 00:37:35,080
Speaker 1: moments in my head as an actor where I'm looking

708
00:37:35,120 --> 00:37:36,840
Speaker 1: at it going like, oh, and I'm sitting on the

709
00:37:36,920 --> 00:37:39,920
Speaker 1: desk because David said, now go sit on desk. You know,

710
00:37:40,080 --> 00:37:41,480
Speaker 1: like it was one of those things where I just

711
00:37:41,640 --> 00:37:43,520
Speaker 1: was very I wasn't doing anything naturally and I was

712
00:37:43,640 --> 00:37:46,919
Speaker 1: very robotic. Yes, yeah, you're very presentational, but I feel

713
00:37:46,920 --> 00:37:49,680
Speaker 1: like they felt like like you were owning the presentation.

714
00:37:49,840 --> 00:37:51,560
Speaker 1: I was getting there a little more, but it was

715
00:37:51,640 --> 00:37:53,520
Speaker 1: I mean, I wasn't looking down to find my mark,

716
00:37:53,719 --> 00:37:56,440
Speaker 1: but it was pretty damn close still. So it was

717
00:37:56,600 --> 00:37:58,520
Speaker 1: I just wasn't comfortable in my own skin as an

718
00:37:58,520 --> 00:38:00,840
Speaker 1: actor at all. So it was And I'd love to

719
00:38:00,880 --> 00:38:02,600
Speaker 1: blame the writing, be like, well they hadn't found me

720
00:38:02,640 --> 00:38:05,000
Speaker 1: as a character, you know, I just wasn't comfortable. I

721
00:38:05,200 --> 00:38:08,040
Speaker 1: was how could we be? But see, that's the thing,

722
00:38:08,080 --> 00:38:10,560
Speaker 1: that's what Daniel was talking about. You came off as

723
00:38:10,719 --> 00:38:14,560
Speaker 1: very comfortable. You came off really like you had the

724
00:38:14,640 --> 00:38:16,839
Speaker 1: character even though you didn't know what the character was yet.

725
00:38:16,880 --> 00:38:20,239
Speaker 1: You were very natural at doing what you were doing,

726
00:38:20,840 --> 00:38:24,480
Speaker 1: young actor. But it was in theater. I had never

727
00:38:24,600 --> 00:38:27,200
Speaker 1: watched television, so I didn't know what we were doing.

728
00:38:27,600 --> 00:38:30,040
Speaker 1: So I was probably more present in some ways, like

729
00:38:30,120 --> 00:38:32,320
Speaker 1: I was more of a less self conscious in a

730
00:38:32,400 --> 00:38:34,600
Speaker 1: good way, you know. But it's not like I knew

731
00:38:34,600 --> 00:38:37,560
Speaker 1: what I was doing. And you know, I was super

732
00:38:37,640 --> 00:38:40,279
Speaker 1: relaxed because I was. I was just there. I was

733
00:38:40,360 --> 00:38:43,560
Speaker 1: just in the sort of ever present state. Uh So, yeah,

734
00:38:43,680 --> 00:38:46,040
Speaker 1: but I I all I see is like a mess.

735
00:38:46,160 --> 00:38:57,960
Speaker 1: When I look at me, I'm like, oh god, David,

736
00:38:58,400 --> 00:39:01,320
Speaker 1: do you have any thoughts feelings looking back at like

737
00:39:01,440 --> 00:39:04,480
Speaker 1: your old directing work. When you watch this episode. Now,

738
00:39:04,600 --> 00:39:07,239
Speaker 1: I look at you guys, and I love what you do,

739
00:39:07,440 --> 00:39:11,160
Speaker 1: and then I admire and grateful to be part of it.

740
00:39:11,680 --> 00:39:13,680
Speaker 1: And I know that sounds a little like what Way,

741
00:39:13,960 --> 00:39:16,879
Speaker 1: but it's about the actors, about the actors in the words.

742
00:39:16,920 --> 00:39:20,239
Speaker 1: So when you guys are good and funny, I think, yeah,

743
00:39:20,800 --> 00:39:25,000
Speaker 1: they're good, and I take great pleasure in that. Like

744
00:39:25,080 --> 00:39:28,319
Speaker 1: an audience, I really did. Like, I know we're only

745
00:39:28,760 --> 00:39:30,560
Speaker 1: part partial way through it, but I really did love

746
00:39:30,680 --> 00:39:33,600
Speaker 1: this episode. I did. I did too. It was really

747
00:39:33,800 --> 00:39:36,000
Speaker 1: it's so I don't know, it's so, it's so cute.

748
00:39:36,360 --> 00:39:39,560
Speaker 1: It's also very well built, and again to credit where

749
00:39:39,560 --> 00:39:42,920
Speaker 1: it's dudent, even a twenty two minute story has to

750
00:39:43,000 --> 00:39:45,960
Speaker 1: have a structure, and every one of the scenes at

751
00:39:46,080 --> 00:39:48,000
Speaker 1: dances this. And I want to go back to Lily

752
00:39:48,200 --> 00:39:51,160
Speaker 1: or if that's your name, a little, the child that

753
00:39:51,440 --> 00:39:53,560
Speaker 1: has no part of the story. It doesn't have any

754
00:39:53,640 --> 00:39:57,880
Speaker 1: connection to anything else. Everything else built. Where there's a project,

755
00:39:58,040 --> 00:40:02,840
Speaker 1: there's hair. The hair leads to I did notice. I

756
00:40:02,880 --> 00:40:04,879
Speaker 1: did notice. She says, I don't care what my doll

757
00:40:05,000 --> 00:40:08,200
Speaker 1: looks like. I still maybe, I still love I was like, oh,

758
00:40:08,280 --> 00:40:15,640
Speaker 1: maybe that's a thematic link exactly, but it's a very

759
00:40:16,239 --> 00:40:21,239
Speaker 1: built little store. Yeah. That's something right or mentioned early

760
00:40:21,320 --> 00:40:23,840
Speaker 1: on too, is that every moment so far in the

761
00:40:23,960 --> 00:40:26,120
Speaker 1: scripts were like, yeah, that comes back later. Yeah, that

762
00:40:26,160 --> 00:40:28,800
Speaker 1: builds on it, everything builds Yeah, all right. Can we

763
00:40:28,800 --> 00:40:30,440
Speaker 1: talk about the end of the scene. Yes, this is

764
00:40:30,520 --> 00:40:33,839
Speaker 1: one of those classic moments that I think this might

765
00:40:33,880 --> 00:40:40,200
Speaker 1: have been the origin of us saying optical flip. This

766
00:40:40,320 --> 00:40:43,640
Speaker 1: is what bed is. Like. They're one thing, I'm not

767
00:40:43,760 --> 00:40:47,120
Speaker 1: going to school tomorrow, school Corey. No, And then in

768
00:40:47,160 --> 00:40:50,560
Speaker 1: the script it would say optical flip and then you

769
00:40:50,640 --> 00:40:52,279
Speaker 1: turn the page. And what that meant is that they

770
00:40:52,320 --> 00:40:55,960
Speaker 1: would in the editing flip the screen. It's such like

771
00:40:56,040 --> 00:41:00,399
Speaker 1: a nineties eighties like editing technique to flip the screen

772
00:41:00,480 --> 00:41:03,400
Speaker 1: to then reveal, of course Corey's sitting in school. But

773
00:41:03,520 --> 00:41:05,800
Speaker 1: then we this became our in joke, is that we

774
00:41:05,960 --> 00:41:08,239
Speaker 1: knew we were like our service for the end of

775
00:41:08,280 --> 00:41:11,040
Speaker 1: the scene was to tee up the optical flip and

776
00:41:11,120 --> 00:41:12,640
Speaker 1: that's all we do. So then it just became our

777
00:41:12,719 --> 00:41:15,000
Speaker 1: running joke for seven years. We'd say something to one

778
00:41:15,040 --> 00:41:17,719
Speaker 1: another and we'd be like, optical flip. But there's no

779
00:41:17,840 --> 00:41:24,040
Speaker 1: way I'm going to that party, opal flip. It's true. Yeah,

780
00:41:24,520 --> 00:41:26,719
Speaker 1: the second I saw that, that memory just came right

781
00:41:26,719 --> 00:41:28,719
Speaker 1: back into my brain. But yeah, we'd say it about

782
00:41:28,719 --> 00:41:32,120
Speaker 1: everything and personalized, not just when we heard. One of

783
00:41:32,200 --> 00:41:33,719
Speaker 1: us will be telling the story and we'd just be like,

784
00:41:34,000 --> 00:41:39,480
Speaker 1: optical flip. Yeah, I remember it so well. The only

785
00:41:39,520 --> 00:41:41,080
Speaker 1: thing so there we go to the classroom after that

786
00:41:41,120 --> 00:41:43,640
Speaker 1: optical flip. Yet that struck me as odd is that

787
00:41:43,800 --> 00:41:45,920
Speaker 1: he's wearing the hat and we're acting as though the

788
00:41:46,000 --> 00:41:50,320
Speaker 1: hat is completely covering the fact that his hair is

789
00:41:50,360 --> 00:41:52,440
Speaker 1: all the way down. I was watching it last night

790
00:41:52,480 --> 00:41:53,960
Speaker 1: with my wife and she said that she's like, does

791
00:41:54,000 --> 00:41:55,960
Speaker 1: nobody notice that the rest of his hair doesn't look

792
00:41:56,239 --> 00:41:58,759
Speaker 1: It's like, has nobody nobody picked up on that? Like,

793
00:41:58,800 --> 00:42:01,160
Speaker 1: I guess not, baby, Well, I guess the two the

794
00:42:01,239 --> 00:42:04,680
Speaker 1: two moments, like, um, the scream that happens in that

795
00:42:04,719 --> 00:42:07,120
Speaker 1: episode where you know, we pull out to reveal Corey

796
00:42:07,160 --> 00:42:08,800
Speaker 1: screaming in the room and then we see the outside

797
00:42:08,800 --> 00:42:10,560
Speaker 1: of the house and then we reveal you know, that's

798
00:42:10,560 --> 00:42:12,520
Speaker 1: like the first real moment of the show that's like

799
00:42:12,800 --> 00:42:15,840
Speaker 1: clearly not taking place in reality. It's like the first

800
00:42:15,920 --> 00:42:19,279
Speaker 1: time yeah, out of nowhere. That's kind of the first time.

801
00:42:19,400 --> 00:42:21,480
Speaker 1: And then you know in the next scene with him

802
00:42:21,520 --> 00:42:23,799
Speaker 1: with the with the wig and wig was the wig

803
00:42:23,880 --> 00:42:25,759
Speaker 1: is actually pretty funny? It is the wig with the

804
00:42:25,880 --> 00:42:30,320
Speaker 1: duck bill on the front, about the taking off the

805
00:42:30,360 --> 00:42:32,719
Speaker 1: hat and whether or not the hair would drop to

806
00:42:32,840 --> 00:42:35,360
Speaker 1: create the duck bill. I remember the stress of like

807
00:42:35,880 --> 00:42:38,520
Speaker 1: that needing to go right and not really ever fully

808
00:42:38,719 --> 00:42:41,320
Speaker 1: fully falling the way we needed it to bend. To

809
00:42:41,560 --> 00:42:43,680
Speaker 1: his credit, you can tell is doing his best to

810
00:42:43,840 --> 00:42:46,480
Speaker 1: play it towards the lens, like where he's like trying

811
00:42:46,520 --> 00:42:48,799
Speaker 1: to turn his head, trying to turn show the angle

812
00:42:48,880 --> 00:42:50,399
Speaker 1: so you can see that there's a big duck bill

813
00:42:50,480 --> 00:42:53,440
Speaker 1: in the front. So even he was more aware as

814
00:42:53,480 --> 00:42:56,080
Speaker 1: an actor at that point of Okay, well if I

815
00:42:56,160 --> 00:42:58,040
Speaker 1: turn this way, then at least I can show what

816
00:42:58,480 --> 00:43:01,759
Speaker 1: the whole joke is supposed to be. Um I hadn't

817
00:43:01,760 --> 00:43:04,279
Speaker 1: found that yet, but he clearly had. Which is at

818
00:43:04,320 --> 00:43:06,600
Speaker 1: twelve again carrying the show. And let's point out again

819
00:43:06,640 --> 00:43:09,000
Speaker 1: we've said this in every episode now so far, but

820
00:43:09,680 --> 00:43:14,239
Speaker 1: he's been in every single scene essentially for four episodes.

821
00:43:14,400 --> 00:43:18,840
Speaker 1: This kid who's twelve has been carrying four straight episodes

822
00:43:18,880 --> 00:43:22,319
Speaker 1: it's amazing. But one of the things I remember, because

823
00:43:22,600 --> 00:43:27,879
Speaker 1: you know, my workstation would be a podium right where

824
00:43:27,880 --> 00:43:29,960
Speaker 1: I had a script and that stuff on the podium

825
00:43:30,000 --> 00:43:33,239
Speaker 1: office in the script open and I remember Ben would

826
00:43:33,280 --> 00:43:36,320
Speaker 1: come over. You can barely see up to where the

827
00:43:36,440 --> 00:43:40,080
Speaker 1: script is before a scene. Look at it got right.

828
00:43:40,280 --> 00:43:47,160
Speaker 1: He's like his brain remembered every particle went into amazing. Yeah,

829
00:43:47,920 --> 00:43:50,719
Speaker 1: the skill level of I mean, obviously he's studied his

830
00:43:50,800 --> 00:43:54,040
Speaker 1: lines before, but he would just like look and do it.

831
00:43:54,560 --> 00:43:58,799
Speaker 1: Also skill set. Yeah, I remember him being off book,

832
00:43:58,800 --> 00:44:00,120
Speaker 1: which is what you call it. You know, you you

833
00:44:00,200 --> 00:44:01,960
Speaker 1: hold your script for the first couple of days because

834
00:44:01,960 --> 00:44:04,280
Speaker 1: you don't know the lines yet. Uh. He was always

835
00:44:04,320 --> 00:44:06,920
Speaker 1: off book. Uh faster than the rest of us was.

836
00:44:07,120 --> 00:44:09,960
Speaker 1: The rest of us were excuse me english, um, but

837
00:44:10,160 --> 00:44:12,719
Speaker 1: he he was, he would he would we all. It's

838
00:44:13,400 --> 00:44:18,160
Speaker 1: memorizing lines, especially when you have the regularity of a sitcom,

839
00:44:18,880 --> 00:44:21,359
Speaker 1: is muscle memory, and you really can you you lose

840
00:44:21,440 --> 00:44:23,760
Speaker 1: it after a while if you if you're not memorizing

841
00:44:23,800 --> 00:44:25,759
Speaker 1: lines every day, you go back fifteen years later and

842
00:44:25,800 --> 00:44:28,160
Speaker 1: it's tough to memorize your lines again. Um. So it

843
00:44:28,239 --> 00:44:30,200
Speaker 1: is a muscle memory you use, but He just had

844
00:44:30,280 --> 00:44:33,320
Speaker 1: it very quickly. I mean to the point where, just

845
00:44:33,400 --> 00:44:35,600
Speaker 1: like David was saying, he would because Michael would run

846
00:44:35,680 --> 00:44:38,200
Speaker 1: in in the middle of scenes, in the middle of

847
00:44:38,480 --> 00:44:41,279
Speaker 1: when we talk about changing the like oh, Bill has

848
00:44:41,320 --> 00:44:42,680
Speaker 1: to deal with the changes, or we had to deal

849
00:44:42,719 --> 00:44:46,480
Speaker 1: with the changes. These would happen instantaneously on the set

850
00:44:46,680 --> 00:44:50,239
Speaker 1: in front of the audience, sometimes an entire page, like

851
00:44:50,400 --> 00:44:52,680
Speaker 1: the full page. Cross it out. Now this person is

852
00:44:52,680 --> 00:44:54,120
Speaker 1: going to say this, this person is going to say this,

853
00:44:54,200 --> 00:44:56,319
Speaker 1: and everything is different. And now I'm really I'm learning

854
00:44:56,400 --> 00:44:58,480
Speaker 1: que lines differently. I'm figuring out what I'm gonna say.

855
00:44:58,480 --> 00:44:59,880
Speaker 1: I have to figure out how I want to say it,

856
00:45:00,120 --> 00:45:01,800
Speaker 1: and the audience is sitting there waiting for you to

857
00:45:01,920 --> 00:45:03,880
Speaker 1: do it. And Ben would just instantly pick it up

858
00:45:03,880 --> 00:45:06,320
Speaker 1: like all right, let's go, and we're like, okay, I

859
00:45:06,360 --> 00:45:08,600
Speaker 1: guess we're doing this. So yeah, he had that, right,

860
00:45:10,320 --> 00:45:13,000
Speaker 1: there's that energy of we don't even know it, you know,

861
00:45:13,120 --> 00:45:15,840
Speaker 1: it's so fresh at that point. But yeah, Ben was.

862
00:45:16,120 --> 00:45:17,840
Speaker 1: Then we keep talking about how good Ben was, but

863
00:45:18,360 --> 00:45:22,080
Speaker 1: he was he was good. Yeah, I mean into David's

864
00:45:22,120 --> 00:45:24,520
Speaker 1: point too, that's, uh, you don't know if anything's funny yet.

865
00:45:24,680 --> 00:45:27,760
Speaker 1: So it's great because you'll get a real natural reaction

866
00:45:27,880 --> 00:45:30,120
Speaker 1: based on you know, we we don't have any feedback.

867
00:45:30,160 --> 00:45:31,680
Speaker 1: Nobody's had a chance to tell us, oh my god,

868
00:45:31,719 --> 00:45:33,520
Speaker 1: that's so funny. And then we find a way to

869
00:45:33,560 --> 00:45:35,400
Speaker 1: play it up. And it's fresh for the audience too.

870
00:45:35,600 --> 00:45:37,440
Speaker 1: They might have seen it three times already, so now

871
00:45:37,520 --> 00:45:39,920
Speaker 1: they've got a new scene automatically. They don't expect it either,

872
00:45:40,000 --> 00:45:42,520
Speaker 1: and it's a whole new energy coming from there. We

873
00:45:42,800 --> 00:45:48,920
Speaker 1: add something into this because as you talk, how completely untemperamental.

874
00:45:50,239 --> 00:45:57,080
Speaker 1: There was never any ride or you went you know,

875
00:45:57,719 --> 00:46:01,080
Speaker 1: and that's the remarkable thing of a company of actors

876
00:46:01,200 --> 00:46:04,600
Speaker 1: who who Because I've been in other situations where lines

877
00:46:04,680 --> 00:46:09,200
Speaker 1: change things or where things are and I just pushed back. Yeah,

878
00:46:09,320 --> 00:46:11,560
Speaker 1: I can see you put on it and I will

879
00:46:11,640 --> 00:46:16,000
Speaker 1: push back or be just naturally have a temper battle

880
00:46:16,080 --> 00:46:18,960
Speaker 1: response to things. That's not always the easiest thing to do.

881
00:46:19,360 --> 00:46:21,239
Speaker 1: And I get it right. It's not like I'm going

882
00:46:21,239 --> 00:46:24,200
Speaker 1: to let the heck is going on. You guys will soon,

883
00:46:24,520 --> 00:46:27,320
Speaker 1: so take it well with figure out how to be

884
00:46:27,480 --> 00:46:31,479
Speaker 1: along to do it. Nearly remarkable and because a show

885
00:46:31,600 --> 00:46:38,320
Speaker 1: with young people like you has time. Yeah, yeah, we

886
00:46:38,560 --> 00:46:40,680
Speaker 1: don't if you say I can't do this or I

887
00:46:40,760 --> 00:46:46,680
Speaker 1: gotta go to my dressing already, we never get done right.

888
00:46:46,880 --> 00:46:50,560
Speaker 1: So among all the other things you deserve credit for

889
00:46:50,960 --> 00:46:54,279
Speaker 1: is having your feel we have so I mean, I

890
00:46:54,840 --> 00:46:56,840
Speaker 1: like right or remember those moments and thinking it was

891
00:46:56,920 --> 00:46:59,120
Speaker 1: just fun and just being what what new lines? Okay,

892
00:46:59,160 --> 00:47:02,319
Speaker 1: what are they? What are what are we doing? That's

893
00:47:02,320 --> 00:47:04,600
Speaker 1: the way you got to do it. And Daniels had

894
00:47:04,640 --> 00:47:06,800
Speaker 1: to learn it. I think he's a smart guy and

895
00:47:07,040 --> 00:47:17,640
Speaker 1: learned fast, but she in the beginning exactly exactly and

896
00:47:18,560 --> 00:47:23,239
Speaker 1: then and then I think he got I don't think

897
00:47:23,239 --> 00:47:25,359
Speaker 1: they walked on to him seventeen seventy six halfway through

898
00:47:25,360 --> 00:47:31,279
Speaker 1: and said we're going to change the John Adams. So

899
00:47:31,840 --> 00:47:33,959
Speaker 1: at the end of the scene in this classroom, Corey

900
00:47:34,080 --> 00:47:37,080
Speaker 1: takes off his hat. Everybody sees the hair. Everybody laughs

901
00:47:37,080 --> 00:47:39,200
Speaker 1: at him, and he looks at the panga and he says,

902
00:47:39,239 --> 00:47:41,400
Speaker 1: you know, go ahead and laugh, and she says, you

903
00:47:41,480 --> 00:47:43,360
Speaker 1: know your hair looks different. Why would I laugh at you?

904
00:47:43,880 --> 00:47:46,239
Speaker 1: And he gives her that look for the first time,

905
00:47:46,360 --> 00:47:50,600
Speaker 1: like why are you? Why are you like this? And

906
00:47:50,719 --> 00:47:52,440
Speaker 1: he wants to know a little bit more, I think,

907
00:47:52,920 --> 00:47:54,719
Speaker 1: which is odd. Because later in the series we find

908
00:47:54,719 --> 00:47:56,640
Speaker 1: out you've actually been in love since you were fine

909
00:47:56,680 --> 00:48:00,399
Speaker 1: exactly another and then you were in Yeah, it gets

910
00:48:00,440 --> 00:48:04,120
Speaker 1: mentioned that we mentioned exactly. It's of course mentioned that

911
00:48:04,200 --> 00:48:06,399
Speaker 1: Corey and Topanga been together since they were three, which

912
00:48:06,640 --> 00:48:08,520
Speaker 1: we you know, we've seen the origin. You know that

913
00:48:08,640 --> 00:48:11,279
Speaker 1: isn't true. Um. But so then we go into the

914
00:48:11,320 --> 00:48:15,800
Speaker 1: cafeteria and this is now where I basically stopped writing

915
00:48:15,880 --> 00:48:18,000
Speaker 1: notes at this point because I was now just like

916
00:48:18,160 --> 00:48:21,440
Speaker 1: sucked in. And I loved this cafeteria scene where we

917
00:48:21,600 --> 00:48:24,320
Speaker 1: see the cast of characters that Tapanga hangs out with.

918
00:48:25,120 --> 00:48:28,800
Speaker 1: One of my favorite lines in the series is what cape?

919
00:48:29,080 --> 00:48:35,680
Speaker 1: When he says so funny, laugh out loud, funny line

920
00:48:35,960 --> 00:48:39,920
Speaker 1: that I was not expecting it, and I thought it

921
00:48:40,040 --> 00:48:43,000
Speaker 1: was amazing. It was great. Yeah, have a question for you.

922
00:48:43,200 --> 00:48:45,359
Speaker 1: You've you know, you've worn this cape since you were little.

923
00:48:45,440 --> 00:48:48,560
Speaker 1: And he just stands up, he says, what cape? It's

924
00:48:48,960 --> 00:48:52,680
Speaker 1: so funny to me. Uh, And Marty York is the

925
00:48:52,880 --> 00:48:55,480
Speaker 1: friend in this so he's the third friend. He's not

926
00:48:55,600 --> 00:48:59,120
Speaker 1: sitting in the death chair, but he's he is the

927
00:48:59,200 --> 00:49:03,239
Speaker 1: death chair. That week is so mean. There was a

928
00:49:03,360 --> 00:49:04,880
Speaker 1: lot of people that I mean if you look back

929
00:49:04,920 --> 00:49:06,719
Speaker 1: at that, there were times where and I get why

930
00:49:06,760 --> 00:49:08,719
Speaker 1: it had to be very direct, but there's times where

931
00:49:08,760 --> 00:49:11,799
Speaker 1: Corey came off as me. I mean, there's there's there

932
00:49:11,840 --> 00:49:14,120
Speaker 1: are a couple of characters where it's like, but that's

933
00:49:14,680 --> 00:49:16,960
Speaker 1: there's something very real about that. I mean, that's kind

934
00:49:17,000 --> 00:49:20,480
Speaker 1: of how kids are. And if I don't think it

935
00:49:20,600 --> 00:49:23,680
Speaker 1: works the same way in today's world, no, I don't think.

936
00:49:23,680 --> 00:49:26,279
Speaker 1: I think that there's a there there's an overall insider

937
00:49:26,400 --> 00:49:31,600
Speaker 1: outsider what is normal, what is not? Uh atmosphere that

938
00:49:31,719 --> 00:49:36,640
Speaker 1: this episode sure surely encourages, if not exploits, And obviously

939
00:49:36,840 --> 00:49:39,560
Speaker 1: you know, it makes a bridge between Corey and to

940
00:49:39,640 --> 00:49:42,960
Speaker 1: Pango via that. But there's a mean spiritedness there, you know,

941
00:49:43,560 --> 00:49:45,880
Speaker 1: in general, to like what is normal and what is

942
00:49:46,320 --> 00:49:49,680
Speaker 1: average or what what most boys do? And you know,

943
00:49:49,800 --> 00:49:52,360
Speaker 1: I it's funny because I feel like that is incredibly

944
00:49:52,440 --> 00:49:58,719
Speaker 1: dated and it doesn't think it's like of course, yeah, no,

945
00:49:58,920 --> 00:50:03,880
Speaker 1: definitely fact that Corey, as the representative of the spirit

946
00:50:03,960 --> 00:50:09,160
Speaker 1: of the show, comes to see that he was wrong, Yeah, definitely,

947
00:50:09,320 --> 00:50:11,680
Speaker 1: So that's it. There's one line where it's not in

948
00:50:11,760 --> 00:50:13,319
Speaker 1: the scene to be able to say, well, get there,

949
00:50:13,360 --> 00:50:16,400
Speaker 1: but there's only one line where I go, and that

950
00:50:16,600 --> 00:50:18,200
Speaker 1: is you're gonna be one of those girls just doesn't

951
00:50:18,239 --> 00:50:21,600
Speaker 1: shave the let's right. Yeah, that's why when you think,

952
00:50:21,680 --> 00:50:26,520
Speaker 1: now you just take that. Yeah, that scene we yeah,

953
00:50:26,560 --> 00:50:28,359
Speaker 1: that's the scene where I do the dance. That's another one.

954
00:50:28,400 --> 00:50:30,839
Speaker 1: That's right, that's us a mirror babe scene. And you're

955
00:50:30,840 --> 00:50:32,279
Speaker 1: going to be one of those girls who doesn't shave.

956
00:50:32,360 --> 00:50:37,840
Speaker 1: And I loved the reaction, and I actually loved my reading, haven't.

957
00:50:38,239 --> 00:50:41,759
Speaker 1: I haven't decided yet. It's a little offended, but hey,

958
00:50:42,040 --> 00:50:45,160
Speaker 1: I and I'll figure that out when I figured nothing

959
00:50:45,160 --> 00:50:48,000
Speaker 1: to do with you. Yeah, exactly in your response. Save

960
00:50:48,640 --> 00:50:55,520
Speaker 1: your response makes it okay, passable? Exactly. Um. So yeah,

961
00:50:55,600 --> 00:50:58,120
Speaker 1: this is where we see Chris Owen playing the keyboard,

962
00:50:58,320 --> 00:51:02,719
Speaker 1: never speaks, never speaks, first stops playing the keyboard. Not one.

963
00:51:03,000 --> 00:51:06,800
Speaker 1: I know every every actor there, Lee Norris, Um. I

964
00:51:06,920 --> 00:51:09,680
Speaker 1: don't know the actress's name, and she I think went

965
00:51:09,719 --> 00:51:13,319
Speaker 1: on to do other stuff too. Recognized her and I couldn't. Yeah,

966
00:51:13,360 --> 00:51:15,320
Speaker 1: I couldn't remember what her name was either on but

967
00:51:15,400 --> 00:51:17,520
Speaker 1: everybody is so great at that table, and so Sean

968
00:51:17,640 --> 00:51:19,480
Speaker 1: is laughing at Corey. Corey gets up and he goes

969
00:51:19,600 --> 00:51:23,000
Speaker 1: to join them and realizes he's one of them now,

970
00:51:23,280 --> 00:51:27,879
Speaker 1: and the petition again to save to save the Librarian

971
00:51:28,000 --> 00:51:31,279
Speaker 1: comes up, and he then, you know, says why they're

972
00:51:31,280 --> 00:51:35,120
Speaker 1: not going to have any success? Um, I mean that's

973
00:51:35,160 --> 00:51:36,759
Speaker 1: anybody else want to talk about anything else? And that

974
00:51:37,239 --> 00:51:39,360
Speaker 1: I mean again we we hit out the jarred by

975
00:51:39,400 --> 00:51:42,759
Speaker 1: the Beavis and butthead reference that doesn't want but head.

976
00:51:42,800 --> 00:51:44,680
Speaker 1: But it's a good one because even though it's dated

977
00:51:44,760 --> 00:51:47,400
Speaker 1: and obviously it's just the name is funny, you know,

978
00:51:47,560 --> 00:51:49,360
Speaker 1: like they don't want that, they want Beavis and they

979
00:51:49,400 --> 00:51:52,439
Speaker 1: watch Bevis and buttheads and then but then our audience cheered,

980
00:51:53,000 --> 00:52:00,480
Speaker 1: I doubt we expect it. Actually, yes, when he said,

981
00:52:00,680 --> 00:52:08,920
Speaker 1: like anything without Angela Lansberg, that's fun it's so funny somehow, still, yes,

982
00:52:09,160 --> 00:52:10,879
Speaker 1: it is, and it's also it's it's one of those

983
00:52:10,920 --> 00:52:14,200
Speaker 1: things where the writers would often put in jokes that

984
00:52:14,440 --> 00:52:16,840
Speaker 1: meant one thing to kids and something else to adults.

985
00:52:16,840 --> 00:52:19,520
Speaker 1: I mean, how often you have eleven or twelve year

986
00:52:19,520 --> 00:52:22,600
Speaker 1: old kids throwing out an Angela Lansbury reference? And it

987
00:52:22,719 --> 00:52:26,000
Speaker 1: works and it still works to David's point about twenty

988
00:52:26,080 --> 00:52:29,440
Speaker 1: nine years later, it's so really funny, funny to hear

989
00:52:29,800 --> 00:52:33,400
Speaker 1: see Lee talking about Angela Lansbury. It's yeah, every character

990
00:52:33,640 --> 00:52:36,799
Speaker 1: in that little group is phenomenal and literally wrote down

991
00:52:36,880 --> 00:52:39,480
Speaker 1: what it was. It's just so funny. And and even

992
00:52:39,600 --> 00:52:42,800
Speaker 1: Chris Owen without having a line playing the keyboard, like

993
00:52:43,080 --> 00:52:46,560
Speaker 1: it's all those characters were well defined and you you

994
00:52:46,680 --> 00:52:51,000
Speaker 1: loved them, and you you know, doesn't keyboard. Man, he does.

995
00:52:51,239 --> 00:52:58,399
Speaker 1: He does so great. It's so great. Oh man, so great.

996
00:52:58,560 --> 00:53:00,160
Speaker 1: I love it. So we go back to the else.

997
00:53:00,160 --> 00:53:02,440
Speaker 1: We're in Corey's bedroom. Cory is now curling his hair,

998
00:53:02,600 --> 00:53:05,040
Speaker 1: trying to get it back to its original glory, and

999
00:53:05,560 --> 00:53:09,160
Speaker 1: Eric walks in, yes, this is uh so I'm actually

1000
00:53:09,200 --> 00:53:11,840
Speaker 1: gonna show Daniel something here on my phone I found

1001
00:53:12,120 --> 00:53:16,439
Speaker 1: when I was home. All the original polaroids are you work?

1002
00:53:16,520 --> 00:53:21,800
Speaker 1: He has the polaroids that he took me. M the

1003
00:53:21,920 --> 00:53:27,279
Speaker 1: polaroids Oh my gosh, that I took of him in

1004
00:53:27,400 --> 00:53:31,040
Speaker 1: the actual scene, in the actual scene. So I have polaroids,

1005
00:53:31,160 --> 00:53:36,680
Speaker 1: and then polaroids of them doing, and then polaroids of

1006
00:53:37,520 --> 00:53:40,959
Speaker 1: the original kid that was with you writer. No way,

1007
00:53:41,760 --> 00:53:44,400
Speaker 1: I will consult with roche I will consult with Rochelle.

1008
00:53:44,480 --> 00:53:48,880
Speaker 1: So I have all I literally the polaroids and I

1009
00:53:48,960 --> 00:53:51,040
Speaker 1: must have I must have fifteen of them from all

1010
00:53:51,080 --> 00:53:53,560
Speaker 1: the different takes we did. It's just walking in, taking

1011
00:53:53,680 --> 00:53:56,160
Speaker 1: a taking a polaroid, and walking out with the whole scene.

1012
00:53:56,239 --> 00:53:58,800
Speaker 1: And I was cleaning out my my childhood bedroom and

1013
00:53:58,840 --> 00:54:01,520
Speaker 1: I came upon all the polaroids, so I still have.

1014
00:54:01,880 --> 00:54:04,600
Speaker 1: It's so strange, amazing. Yeah, I thought that was kind

1015
00:54:04,640 --> 00:54:06,280
Speaker 1: of cool. And then we are back at the school

1016
00:54:06,400 --> 00:54:09,040
Speaker 1: by the lockers and Corey shows up. His hair is

1017
00:54:09,160 --> 00:54:12,880
Speaker 1: now huge and frizzy, and you know, even the weirdos

1018
00:54:13,000 --> 00:54:15,880
Speaker 1: all to Panga and her weirdos, we all even you know,

1019
00:54:16,080 --> 00:54:19,560
Speaker 1: laugh at him there, and he laughs at that himself.

1020
00:54:19,640 --> 00:54:22,200
Speaker 1: He laughs at himself, you know, Yeah, he lightens up,

1021
00:54:22,280 --> 00:54:24,440
Speaker 1: he can laugh at himself a little bit. And then

1022
00:54:24,560 --> 00:54:27,840
Speaker 1: we have created a human barrier. We handcuff ourselves to

1023
00:54:27,880 --> 00:54:30,520
Speaker 1: the lockers. We are going to get everyone to sign

1024
00:54:30,560 --> 00:54:33,960
Speaker 1: the petition for Mrs rosemead. Um. There's a Don King

1025
00:54:34,680 --> 00:54:37,680
Speaker 1: reference here. So can we talk about how obviously a

1026
00:54:37,760 --> 00:54:40,719
Speaker 1: bunch of kids have access to fifteen pairs of handcuffs,

1027
00:54:41,520 --> 00:54:46,680
Speaker 1: which is which is totally horrible, are absolutely lock and

1028
00:54:46,800 --> 00:54:53,959
Speaker 1: easily easily unlocked. Exactly police stained handcuffs. They just automatically

1029
00:54:54,000 --> 00:54:59,719
Speaker 1: have that. Yeah, it's so funny because like I don't care,

1030
00:55:00,120 --> 00:55:02,759
Speaker 1: Like it's such a good like I was so on

1031
00:55:02,920 --> 00:55:05,800
Speaker 1: board with this scene and I was so glad also

1032
00:55:05,920 --> 00:55:09,719
Speaker 1: that Corey gets you know, gets a moment as a leader,

1033
00:55:09,800 --> 00:55:12,080
Speaker 1: as you know, he it's not just that they're going

1034
00:55:12,120 --> 00:55:14,840
Speaker 1: to handcuff themselves, is that he convinces them, you know,

1035
00:55:14,920 --> 00:55:18,759
Speaker 1: he argues with them, he does he supports the cause. Um. Now,

1036
00:55:18,840 --> 00:55:21,359
Speaker 1: though that was great, you know, one of the things

1037
00:55:21,400 --> 00:55:24,080
Speaker 1: I found interesting that I found a little bit jarring

1038
00:55:24,760 --> 00:55:27,920
Speaker 1: was this is the only time, maybe the only time,

1039
00:55:27,920 --> 00:55:30,200
Speaker 1: because it starts to grow from there that Sean and

1040
00:55:30,320 --> 00:55:35,160
Speaker 1: Corey are literally and figuratively on different sides. I mean

1041
00:55:35,280 --> 00:55:36,800
Speaker 1: any on the scene, am I even in this I

1042
00:55:36,840 --> 00:55:38,200
Speaker 1: don't think so, But that's what I'm said. But it's

1043
00:55:38,239 --> 00:55:40,239
Speaker 1: like you're not part of like you were part of

1044
00:55:40,280 --> 00:55:44,520
Speaker 1: the more Marty York kind of friendships kids, the cool kids,

1045
00:55:44,680 --> 00:55:47,200
Speaker 1: and they're never in the future they you would have

1046
00:55:47,239 --> 00:55:49,680
Speaker 1: been handcuffed with with with Corey right next to it,

1047
00:55:50,080 --> 00:55:52,359
Speaker 1: and so there was something interesting about that. They still

1048
00:55:52,520 --> 00:55:55,520
Speaker 1: hadn't quite found that yet. But it is also interesting

1049
00:55:55,560 --> 00:55:58,120
Speaker 1: that Sean isn't in that scene because Marty York is there.

1050
00:55:58,200 --> 00:56:01,799
Speaker 1: He's the kid, He's the kid who calls Ben, Yeah,

1051
00:56:01,840 --> 00:56:04,160
Speaker 1: I sign it signing, and so it is. I wonder

1052
00:56:04,200 --> 00:56:06,400
Speaker 1: if that was like a deliberate choice that we weren't

1053
00:56:06,400 --> 00:56:09,200
Speaker 1: going to put Sean. Maybe I'll tell you why you

1054
00:56:09,280 --> 00:56:12,680
Speaker 1: can't have Sean in the scene, because Sean would have

1055
00:56:12,960 --> 00:56:17,879
Speaker 1: stayed and you have to be able to get one right.

1056
00:56:19,160 --> 00:56:24,360
Speaker 1: There's a kind of it's easy for the gang, the

1057
00:56:24,520 --> 00:56:28,879
Speaker 1: group to walk off if you have an established character,

1058
00:56:29,680 --> 00:56:32,080
Speaker 1: which is the same reason why Sean's character has to

1059
00:56:32,160 --> 00:56:34,520
Speaker 1: leave in the bedroom when you haven't established a relationship

1060
00:56:34,560 --> 00:56:36,840
Speaker 1: with the parents, Because then you're gonna say, now, do

1061
00:56:36,960 --> 00:56:39,680
Speaker 1: these parents no Sean already? Or is this the first

1062
00:56:39,760 --> 00:56:41,800
Speaker 1: time they're meeting him? Are they angry with him? Do

1063
00:56:41,880 --> 00:56:44,960
Speaker 1: they like you have to blame Sean. It becomes a

1064
00:56:44,960 --> 00:56:46,799
Speaker 1: whole It becomes a whole different thing that they don't

1065
00:56:46,840 --> 00:56:51,359
Speaker 1: have time for Sean. In their first scene, when when

1066
00:56:51,840 --> 00:56:58,560
Speaker 1: Phoeney says stinks and stinks, do you think exactly pertly

1067
00:56:58,640 --> 00:57:02,200
Speaker 1: happy to blame exactly? He's happy to pass the buck there.

1068
00:57:02,600 --> 00:57:04,520
Speaker 1: It is also one of the most if you go

1069
00:57:04,640 --> 00:57:07,920
Speaker 1: back and watch. One of the most unnatural exits ever

1070
00:57:08,239 --> 00:57:11,040
Speaker 1: is the four of them still handcuffed together backing out

1071
00:57:11,080 --> 00:57:17,520
Speaker 1: of the scene. They are literally backing up the stairs.

1072
00:57:17,560 --> 00:57:18,920
Speaker 1: You could tell it was just like get out of

1073
00:57:18,920 --> 00:57:21,280
Speaker 1: the scene. So they're just the four of them handcuffed

1074
00:57:21,360 --> 00:57:24,760
Speaker 1: trying to back out of the scene. So funny it is.

1075
00:57:24,920 --> 00:57:29,080
Speaker 1: It was really funny. I noticed the same thing, very funny.

1076
00:57:29,200 --> 00:57:32,960
Speaker 1: And then I was shocked while watching this that you

1077
00:57:33,080 --> 00:57:38,320
Speaker 1: cannot physically see me shaking. I was so nervous. Well,

1078
00:57:38,400 --> 00:57:40,160
Speaker 1: wait before we get to your nervous thing, because I

1079
00:57:40,200 --> 00:57:41,680
Speaker 1: think that's going to be very important and that has

1080
00:57:41,720 --> 00:57:44,360
Speaker 1: to be its own thing. Can we talk about Ben

1081
00:57:44,520 --> 00:57:50,680
Speaker 1: mouthing along with Marty York's lines, Oh, man, is not

1082
00:57:50,960 --> 00:57:54,600
Speaker 1: even it is not even subtle. I mean he we

1083
00:57:54,720 --> 00:57:59,400
Speaker 1: are just on Corey's face as he is just full

1084
00:58:00,160 --> 00:58:04,360
Speaker 1: mouthing along with all of memorized the whole scene well,

1085
00:58:04,440 --> 00:58:07,360
Speaker 1: and I think it also speaks to his nervousness this

1086
00:58:07,520 --> 00:58:10,440
Speaker 1: scene for us. I think Ben would probably tell you

1087
00:58:10,680 --> 00:58:12,600
Speaker 1: I was not his first kiss. I don't know. Ben

1088
00:58:12,760 --> 00:58:15,360
Speaker 1: was also twelve. I think Ben has said, no, it

1089
00:58:15,480 --> 00:58:18,760
Speaker 1: wasn't my first kiss. It was most certainly my first kiss.

1090
00:58:18,880 --> 00:58:23,120
Speaker 1: I had never kissed anybody. Um, we had not rehearsed

1091
00:58:23,280 --> 00:58:25,480
Speaker 1: the kiss. Throughout the week. We had rehearsed what was

1092
00:58:25,560 --> 00:58:28,880
Speaker 1: going to happen, you know, the pushing up against the lockers,

1093
00:58:28,960 --> 00:58:32,280
Speaker 1: but we didn't actually ever kiss. And it was being

1094
00:58:32,400 --> 00:58:34,320
Speaker 1: taped and we were filming it in front of the

1095
00:58:34,360 --> 00:58:38,240
Speaker 1: live studio audience, so we had never rehearsed the actual kiss.

1096
00:58:39,120 --> 00:58:46,520
Speaker 1: And I was the most nervous of any I have had.

1097
00:58:46,920 --> 00:58:50,400
Speaker 1: You have the most confidence and poise, like, and it's

1098
00:58:50,440 --> 00:58:52,560
Speaker 1: so interesting, like when you just have that beat where

1099
00:58:52,560 --> 00:58:55,560
Speaker 1: you're like, okay, sure whatever you say, and you sort

1100
00:58:55,600 --> 00:58:57,959
Speaker 1: of look off to the side. It's just like such

1101
00:58:58,080 --> 00:59:01,320
Speaker 1: I was. I was. I was. I remember being there

1102
00:59:01,400 --> 00:59:03,880
Speaker 1: looking at the monitor on tape night and just being

1103
00:59:04,000 --> 00:59:06,800
Speaker 1: so thrilled with that scene and like, and I felt

1104
00:59:06,840 --> 00:59:09,440
Speaker 1: it again watching it now years later, I was like,

1105
00:59:09,520 --> 00:59:12,439
Speaker 1: oh my god, I remember this beat. It's so good.

1106
00:59:14,520 --> 00:59:16,560
Speaker 1: I was shocked. You couldn't see me shaking because I

1107
00:59:16,760 --> 00:59:21,240
Speaker 1: remember my inside being just a jumbled mess. And also

1108
00:59:21,440 --> 00:59:24,440
Speaker 1: I remember, you know, my grandparents were there, and so

1109
00:59:24,600 --> 00:59:28,200
Speaker 1: not only am I doing this, it's tape night in

1110
00:59:28,280 --> 00:59:30,720
Speaker 1: front of this live studio audience, I've had this tumultuous

1111
00:59:30,800 --> 00:59:33,880
Speaker 1: week of getting the job, getting almost fired from the job,

1112
00:59:34,080 --> 00:59:37,000
Speaker 1: keeping the job, you know, succeeding at the job. This

1113
00:59:37,160 --> 00:59:40,400
Speaker 1: is the last scene of the night, and my grandparents

1114
00:59:40,440 --> 00:59:43,040
Speaker 1: are about to watch me kiss a boy and I've

1115
00:59:43,280 --> 00:59:47,280
Speaker 1: never done it before, and all these people, not just

1116
00:59:47,400 --> 00:59:50,120
Speaker 1: my grandparents, but like two hundred people are gonna watch.

1117
00:59:50,360 --> 00:59:52,480
Speaker 1: And I knew how important it was to the show,

1118
00:59:52,600 --> 00:59:55,080
Speaker 1: and I was worried I was gonna like do it wrong,

1119
00:59:55,400 --> 00:59:57,200
Speaker 1: or that I was going to let somebody down. And

1120
00:59:57,320 --> 01:00:02,480
Speaker 1: I knew that Ben was also very nervous, and I

1121
01:00:02,720 --> 01:00:05,720
Speaker 1: just remember thinking, like, oh my gosh, I'm never going

1122
01:00:05,760 --> 01:00:08,280
Speaker 1: to get through this. And when I watched it, I

1123
01:00:08,520 --> 01:00:13,360
Speaker 1: was so kudos to me, so I was. I was

1124
01:00:13,480 --> 01:00:15,320
Speaker 1: so cool, and the way I put my hand on

1125
01:00:15,400 --> 01:00:19,000
Speaker 1: my hip and like looks away, I look so self assured.

1126
01:00:19,200 --> 01:00:21,760
Speaker 1: Well you just something you just said. It resonates in

1127
01:00:21,840 --> 01:00:24,320
Speaker 1: such a way that it hadn't hit me until right now.

1128
01:00:24,520 --> 01:00:26,880
Speaker 1: From the note session to where you were crying to

1129
01:00:27,000 --> 01:00:29,960
Speaker 1: that kiss was three and a half days later. Not

1130
01:00:30,120 --> 01:00:33,680
Speaker 1: even a note session was Monday after exactly three days,

1131
01:00:34,360 --> 01:00:38,600
Speaker 1: three days later. This entire journey for you was three days.

1132
01:00:38,840 --> 01:00:41,040
Speaker 1: That's nuts to, which for a three year old is

1133
01:00:41,120 --> 01:00:43,640
Speaker 1: like a year and a half. But you know, like

1134
01:00:43,960 --> 01:00:46,880
Speaker 1: as far as your brain changing rapidly, like and you

1135
01:00:47,000 --> 01:00:49,200
Speaker 1: did you you you've rose to this challenge and you

1136
01:00:49,280 --> 01:00:52,680
Speaker 1: became this confident you know because depended on that moment

1137
01:00:52,880 --> 01:00:55,160
Speaker 1: is acting like a twenty five year old woman. Yeah,

1138
01:00:55,320 --> 01:00:58,720
Speaker 1: and you believe it. You completely believe it. It's wonderful.

1139
01:00:59,160 --> 01:01:01,880
Speaker 1: And then of course ben expression is just like one

1140
01:01:01,920 --> 01:01:05,200
Speaker 1: of the most iconic things. He pencil and he has

1141
01:01:05,280 --> 01:01:07,280
Speaker 1: his lips sucked in because he didn't really want me

1142
01:01:07,320 --> 01:01:11,280
Speaker 1: to kiss him. So he's not he's like, lips sucked in.

1143
01:01:11,600 --> 01:01:14,240
Speaker 1: I'm not really good. He's our lips didn't really ever

1144
01:01:14,360 --> 01:01:17,800
Speaker 1: touch Uh, Yeah he was. He was really nervous about

1145
01:01:17,840 --> 01:01:19,560
Speaker 1: kissing you for a number of reasons. Yeah, he was

1146
01:01:19,680 --> 01:01:22,000
Speaker 1: very nervous to kiss me. I remember that distinctly. So

1147
01:01:22,160 --> 01:01:25,200
Speaker 1: was I. So was I. Man, David, do you remember

1148
01:01:25,360 --> 01:01:28,200
Speaker 1: any of that, like kid nervousness about a kiss? Was

1149
01:01:28,280 --> 01:01:30,800
Speaker 1: this the first time you had ever directed? Before you

1150
01:01:31,200 --> 01:01:34,920
Speaker 1: you didn't do it until you shot because he didn't

1151
01:01:35,000 --> 01:01:45,520
Speaker 1: want to give up the units have photograph. But the

1152
01:01:45,600 --> 01:01:47,400
Speaker 1: other thing I was thinking is you guys were talking

1153
01:01:47,520 --> 01:01:52,840
Speaker 1: about this, any problem, A good actor understands that any

1154
01:01:52,960 --> 01:01:58,600
Speaker 1: problem is not the actor's problem, it's the character. And

1155
01:01:58,840 --> 01:02:04,320
Speaker 1: so the nervous is the panas and the control of

1156
01:02:04,400 --> 01:02:09,280
Speaker 1: the nurses is depar and saying with them exactly, and

1157
01:02:11,640 --> 01:02:15,320
Speaker 1: actors were not in it. Whatever it is. He gets

1158
01:02:15,400 --> 01:02:19,840
Speaker 1: the frock. I don't understand. It's not the characters, the

1159
01:02:19,960 --> 01:02:25,680
Speaker 1: candles not being with it's not the actor. Yeah, so

1160
01:02:25,920 --> 01:02:30,360
Speaker 1: this kiss is really is you being a real actor,

1161
01:02:31,360 --> 01:02:35,680
Speaker 1: you and Ben being real because whenever you felt like that,

1162
01:02:36,480 --> 01:02:41,560
Speaker 1: actors made the cap. Yeah. Yeah, I can get emotional

1163
01:02:41,680 --> 01:02:45,200
Speaker 1: thinking about it. I just it was such a it

1164
01:02:45,320 --> 01:02:48,000
Speaker 1: was such a big moment and we and we really did.

1165
01:02:48,520 --> 01:02:51,440
Speaker 1: When I watch it, I think those look like two

1166
01:02:51,560 --> 01:02:54,440
Speaker 1: kids that are really sure of what they're supposed to

1167
01:02:54,480 --> 01:02:57,360
Speaker 1: be doing. And I didn't feel that way. But we

1168
01:02:57,520 --> 01:02:59,800
Speaker 1: pulled it off. We we look like we know what

1169
01:02:59,880 --> 01:03:03,600
Speaker 1: we are doing. Um, And I love I didn't remember

1170
01:03:04,080 --> 01:03:06,320
Speaker 1: that her reasoning for doing it. For all these years,

1171
01:03:06,400 --> 01:03:09,080
Speaker 1: I never really remembered why she what she why she

1172
01:03:09,200 --> 01:03:10,880
Speaker 1: did it? Like I knew that we kissed in that scene,

1173
01:03:10,880 --> 01:03:12,840
Speaker 1: but I didn't really get it. And I love the

1174
01:03:13,000 --> 01:03:16,560
Speaker 1: idea and the line because wouldn't it be interesting if

1175
01:03:16,600 --> 01:03:18,760
Speaker 1: you had, if you're you always remembered for the rest

1176
01:03:18,800 --> 01:03:21,840
Speaker 1: of your life that your first kissed happened when you

1177
01:03:21,960 --> 01:03:25,600
Speaker 1: thought you looked your worst. Um, it's very cool, it's

1178
01:03:25,680 --> 01:03:28,360
Speaker 1: very cool. Yeah, I just yeah, I love it. It

1179
01:03:28,440 --> 01:03:30,320
Speaker 1: makes it gives me a different feeling on the scene

1180
01:03:30,320 --> 01:03:32,520
Speaker 1: because I hadn't remembered that there was like that really

1181
01:03:32,600 --> 01:03:35,320
Speaker 1: deep meaning behind it. Well, we haven't really in any way,

1182
01:03:35,320 --> 01:03:36,560
Speaker 1: shape or form, and I know we're at the end

1183
01:03:36,600 --> 01:03:40,080
Speaker 1: now discussed the meaning of the show. But the actual

1184
01:03:40,640 --> 01:03:43,560
Speaker 1: theme of the show of let's not care so much

1185
01:03:43,600 --> 01:03:46,160
Speaker 1: what other people think about you and just be comfortable

1186
01:03:46,160 --> 01:03:48,480
Speaker 1: in your own skin is hugely important. And that's the

1187
01:03:48,560 --> 01:03:50,600
Speaker 1: thing that still resonates with a lot of people about

1188
01:03:50,600 --> 01:03:54,200
Speaker 1: Boy Meant World is you would get those messages without necessarily,

1189
01:03:54,640 --> 01:03:57,400
Speaker 1: you know, having to do a very special episode, you know.

1190
01:03:57,520 --> 01:04:00,360
Speaker 1: So that was that's I mean that resonates through the

1191
01:04:00,440 --> 01:04:02,960
Speaker 1: generations that there comes that you can't care what other

1192
01:04:03,000 --> 01:04:05,040
Speaker 1: people think about you, and and doing that through the

1193
01:04:05,080 --> 01:04:06,880
Speaker 1: Tapanga character, I thought was a great way of doing

1194
01:04:07,000 --> 01:04:09,280
Speaker 1: somebody who was so confident at such a young age

1195
01:04:09,880 --> 01:04:11,800
Speaker 1: and showing that kind of like I don't care what

1196
01:04:11,840 --> 01:04:13,880
Speaker 1: people think about me. I'm I'm not the best version

1197
01:04:13,920 --> 01:04:16,000
Speaker 1: of me that I am. I thought it was really cool.

1198
01:04:16,120 --> 01:04:18,520
Speaker 1: So yeah, that that that was one thing our show

1199
01:04:18,600 --> 01:04:20,960
Speaker 1: did very well without having to kind of spoon feed

1200
01:04:21,040 --> 01:04:29,040
Speaker 1: it to you. It's Michael. Michael's inherently moralist, and I

1201
01:04:29,080 --> 01:04:31,000
Speaker 1: do mean I have a bad one, but I mean

1202
01:04:31,240 --> 01:04:36,520
Speaker 1: he he used television as a way to deliver message. Yes,

1203
01:04:37,120 --> 01:04:39,600
Speaker 1: so there are other shows that are wonderful in their

1204
01:04:39,600 --> 01:04:42,600
Speaker 1: own way that they don't don't deliver a message. They

1205
01:04:42,640 --> 01:04:48,440
Speaker 1: may have one coincidentally there, but Michael's very much this

1206
01:04:48,600 --> 01:04:53,600
Speaker 1: is the point the deliver of me. Yeah, and and

1207
01:04:55,960 --> 01:04:59,720
Speaker 1: this episode seems very well into whatever the meaning of

1208
01:04:59,800 --> 01:05:02,840
Speaker 1: my I thought so too. Yeah, it's a great message

1209
01:05:02,840 --> 01:05:05,240
Speaker 1: still and I love Then we're the next scene, the

1210
01:05:05,560 --> 01:05:07,640
Speaker 1: final scene of the show. We're back in the cafeteria,

1211
01:05:08,040 --> 01:05:10,280
Speaker 1: and you know, Corey's hair is back to normal, which

1212
01:05:10,320 --> 01:05:12,640
Speaker 1: means Corey's life kind of goes back to normal. And

1213
01:05:12,720 --> 01:05:14,760
Speaker 1: he's going to sit with his friends. But there's this

1214
01:05:14,960 --> 01:05:19,600
Speaker 1: really nice understanding that for one thing, they offer him

1215
01:05:19,640 --> 01:05:22,160
Speaker 1: a seat the to Panga and her weirdos offer him

1216
01:05:22,200 --> 01:05:25,200
Speaker 1: a seat at their table, and he isn't rude about it.

1217
01:05:25,360 --> 01:05:27,840
Speaker 1: He's it's a He just says, you know, I'm going

1218
01:05:27,880 --> 01:05:30,000
Speaker 1: to sit with them, and we all understand. But we

1219
01:05:30,120 --> 01:05:32,240
Speaker 1: also let him know if you ever need to return,

1220
01:05:32,360 --> 01:05:36,080
Speaker 1: there's always a seat for you here. And uh, you know,

1221
01:05:36,160 --> 01:05:40,080
Speaker 1: then Corey goes and sits back with his friends, and um,

1222
01:05:40,560 --> 01:05:44,640
Speaker 1: I remember the red hat moment, uh, and and the

1223
01:05:44,680 --> 01:05:46,840
Speaker 1: way we looked at each other. And I feel like

1224
01:05:46,920 --> 01:05:49,120
Speaker 1: I don't know if that was always in the script

1225
01:05:49,160 --> 01:05:51,520
Speaker 1: throughout the entire week, because, like David said, in the

1226
01:05:51,640 --> 01:05:54,400
Speaker 1: last episode, we talked about how it's like there's always

1227
01:05:54,480 --> 01:05:57,160
Speaker 1: the possibility that a character is going to return. There's

1228
01:05:57,240 --> 01:05:59,520
Speaker 1: no way you watch that red hat moment and not.

1229
01:06:00,720 --> 01:06:03,760
Speaker 1: Of course Tango's coming back. Of course she has to

1230
01:06:03,840 --> 01:06:07,080
Speaker 1: come back. Um. And so I remember specifically shooting Matt

1231
01:06:07,120 --> 01:06:09,120
Speaker 1: and wrapping that up and then being like, I think

1232
01:06:09,160 --> 01:06:13,840
Speaker 1: I'm going to have a job. I've mom was getting

1233
01:06:13,880 --> 01:06:22,040
Speaker 1: paid eleven o'clock at night in every episode subsequent. No,

1234
01:06:22,760 --> 01:06:25,360
Speaker 1: she wouldn't become a regular to like season three, Yeah,

1235
01:06:25,600 --> 01:06:28,360
Speaker 1: that was crazy. You were you were You weren't even

1236
01:06:28,600 --> 01:06:32,880
Speaker 1: guaranteed recurring for a while. I think after this episode,

1237
01:06:33,040 --> 01:06:36,600
Speaker 1: I got guaranteed thirteen for the rest of that for

1238
01:06:36,640 --> 01:06:38,560
Speaker 1: the rest of the season, but I didn't I got

1239
01:06:38,600 --> 01:06:40,880
Speaker 1: paid for I wasn't in actually thirteen. I think I

1240
01:06:40,960 --> 01:06:43,520
Speaker 1: got paid for thirteen, but I only ended up being

1241
01:06:43,560 --> 01:06:46,080
Speaker 1: in eleven. And then I think the following season, I

1242
01:06:46,240 --> 01:06:50,080
Speaker 1: was also guaranteed thirteen, but maybe did more that season.

1243
01:06:50,240 --> 01:06:52,480
Speaker 1: And then season three was when I was a full

1244
01:06:52,520 --> 01:06:56,320
Speaker 1: blown regular. Um, how is it? You look back and

1245
01:06:56,400 --> 01:06:58,680
Speaker 1: then it's like, really, Tapango wasn't a regular show season three.

1246
01:06:58,720 --> 01:07:01,919
Speaker 1: That's crazy, that's you know it was. There was also

1247
01:07:02,000 --> 01:07:04,840
Speaker 1: just a network. They only allowed so many regular and

1248
01:07:04,920 --> 01:07:08,120
Speaker 1: we had a big cast and wed and it was growing. Yeah,

1249
01:07:08,160 --> 01:07:11,400
Speaker 1: and I think before Site Unseen when the season started,

1250
01:07:11,480 --> 01:07:13,880
Speaker 1: Michael had added Minkas to the cast because he had

1251
01:07:13,880 --> 01:07:15,760
Speaker 1: already worked with Lee and he knew Lee was a

1252
01:07:15,840 --> 01:07:19,080
Speaker 1: known entity. Um, you know. And that's again, you know,

1253
01:07:19,200 --> 01:07:21,360
Speaker 1: Lee wasn't around for the second season, so it's like

1254
01:07:21,400 --> 01:07:23,960
Speaker 1: you had to shuffle. There were only so many characters

1255
01:07:24,000 --> 01:07:26,360
Speaker 1: the budget of the and then Tony Quinn came on

1256
01:07:26,680 --> 01:07:29,240
Speaker 1: second season, didn't he second season? Yeah said that, so

1257
01:07:29,400 --> 01:07:32,880
Speaker 1: it's like we added another regular right there. Yeah, Tony Quinn,

1258
01:07:32,920 --> 01:07:36,960
Speaker 1: who played Mr. Turner came on, um, and so yeah

1259
01:07:37,000 --> 01:07:39,360
Speaker 1: that we were just kind of adding characters and dropping characters,

1260
01:07:39,400 --> 01:07:41,120
Speaker 1: and other characters are coming on as guest stars. It

1261
01:07:41,200 --> 01:07:44,400
Speaker 1: was there's still very much finding themselves. UM. But I

1262
01:07:44,520 --> 01:07:46,240
Speaker 1: look back at this episode, there were so many iconic

1263
01:07:46,320 --> 01:07:48,840
Speaker 1: moments of this episode. There just the legendary. This is

1264
01:07:48,960 --> 01:07:50,880
Speaker 1: the most important episode in the history of Boy's World.

1265
01:07:50,880 --> 01:07:53,320
Speaker 1: I'm convinced. And David, we have you to thank for

1266
01:07:53,440 --> 01:07:55,680
Speaker 1: so much of it. And uh, you know, as I

1267
01:07:55,960 --> 01:07:58,840
Speaker 1: started the last episode, you just you've been so impactful

1268
01:07:58,960 --> 01:08:01,840
Speaker 1: in all of our lives, um, and we are so

1269
01:08:02,320 --> 01:08:05,120
Speaker 1: so grateful that you came here and broke this episode down.

1270
01:08:05,320 --> 01:08:08,720
Speaker 1: And it's I mean, you've you you taught me things,

1271
01:08:08,760 --> 01:08:11,560
Speaker 1: a million things. But even now I'm learning about how

1272
01:08:11,640 --> 01:08:13,400
Speaker 1: this whole process came to be. And I'm just so

1273
01:08:13,480 --> 01:08:17,240
Speaker 1: glad that you came and shared all your email. Yeah

1274
01:08:17,320 --> 01:08:20,760
Speaker 1: that sounds first of all, to see you guys, it

1275
01:08:20,880 --> 01:08:23,800
Speaker 1: is a great pleasure, and I thought, yeah, I'm going

1276
01:08:24,560 --> 01:08:30,559
Speaker 1: go back twenty year. Um, this is a really good

1277
01:08:30,600 --> 01:08:32,960
Speaker 1: way to do it. So thank you for asking well,

1278
01:08:33,120 --> 01:08:35,080
Speaker 1: thank you for for being here and walking through it

1279
01:08:35,160 --> 01:08:39,400
Speaker 1: with us. I'm again, I feel very safe. Yes, I

1280
01:08:39,479 --> 01:08:43,360
Speaker 1: always did. Yeah, you are an amazing conduit into the

1281
01:08:43,439 --> 01:08:45,840
Speaker 1: world of acting. That's for that's for sure. So thank you.

1282
01:08:47,280 --> 01:08:53,240
Speaker 1: Now we'll see each other again, I hope, so I

1283
01:08:53,320 --> 01:08:56,120
Speaker 1: absolutely hope. So thank you, Thank you for asking. Really

1284
01:08:56,160 --> 01:08:59,040
Speaker 1: great to see you all. Please come back again doing this? Yes,

1285
01:08:59,560 --> 01:09:07,280
Speaker 1: well you how many have you in season two? So

1286
01:09:07,400 --> 01:09:09,320
Speaker 1: you don't have to come back soon? I mean, thanks,

1287
01:09:09,400 --> 01:09:22,400
Speaker 1: really nice to see it. That was so wonderful to

1288
01:09:22,560 --> 01:09:24,960
Speaker 1: have him here and to break down that episode with

1289
01:09:25,080 --> 01:09:28,400
Speaker 1: us and to um Man pick his brain and hear

1290
01:09:28,479 --> 01:09:31,280
Speaker 1: his experiences. Yeah, you know, it's always like I mean,

1291
01:09:31,439 --> 01:09:34,200
Speaker 1: I think it's it'll be interesting to hear from our

1292
01:09:34,360 --> 01:09:37,920
Speaker 1: our listeners. Um. You know, we sort of take it

1293
01:09:38,000 --> 01:09:41,000
Speaker 1: for granted, like how important a director is. But it's

1294
01:09:41,040 --> 01:09:42,800
Speaker 1: one of those positions, like I think for a lot

1295
01:09:42,840 --> 01:09:46,240
Speaker 1: of people, the separation of a producer and a director

1296
01:09:46,400 --> 01:09:48,680
Speaker 1: and a writer, it's all kind of jumbled together and

1297
01:09:48,760 --> 01:09:52,839
Speaker 1: it's hard to understand. Um. But really, um, the director

1298
01:09:53,439 --> 01:09:56,040
Speaker 1: is the person who works the closest with the actors

1299
01:09:56,280 --> 01:09:59,360
Speaker 1: um and and and he spends all week rehearsing with them.

1300
01:09:59,680 --> 01:10:02,920
Speaker 1: So Michael Jacobs has so much of the creative um

1301
01:10:03,200 --> 01:10:07,680
Speaker 1: writing uh control Uh, David was really the person in

1302
01:10:07,720 --> 01:10:09,680
Speaker 1: the trenches with us every day. And you know, and

1303
01:10:09,880 --> 01:10:12,040
Speaker 1: whoever the director was that and so so nice that

1304
01:10:12,160 --> 01:10:14,439
Speaker 1: he came back, that he has all these positive memories

1305
01:10:14,720 --> 01:10:18,080
Speaker 1: of us, and and because I have such positive memories

1306
01:10:18,120 --> 01:10:20,400
Speaker 1: of him, so I looked to him as a huge

1307
01:10:20,479 --> 01:10:23,080
Speaker 1: mentor in my life. But I never I've talked to

1308
01:10:23,200 --> 01:10:25,639
Speaker 1: him since, you know, since this whenever he came back.

1309
01:10:25,680 --> 01:10:28,160
Speaker 1: I think in the sixth season he directed an episode two,

1310
01:10:28,280 --> 01:10:30,200
Speaker 1: but you know, we never really talked, and and we

1311
01:10:30,280 --> 01:10:32,760
Speaker 1: also just never you know, I never understood that when

1312
01:10:32,840 --> 01:10:35,160
Speaker 1: he left the show. You know, he obviously went on

1313
01:10:35,240 --> 01:10:37,400
Speaker 1: to other things, but um, you know I didn't. I

1314
01:10:37,720 --> 01:10:39,519
Speaker 1: was really nice to hear his thoughts on Michael and

1315
01:10:39,840 --> 01:10:43,000
Speaker 1: and and I'm the dynamic of our show because you know,

1316
01:10:43,320 --> 01:10:44,760
Speaker 1: when you're a kid, you just think that's why all

1317
01:10:44,800 --> 01:10:46,800
Speaker 1: shows are. Yeah. Well, I also think one of the

1318
01:10:46,880 --> 01:10:48,560
Speaker 1: things we tend not to do when our guest is

1319
01:10:48,640 --> 01:10:51,400
Speaker 1: actually on the air with us is is gush over them.

1320
01:10:51,520 --> 01:10:55,559
Speaker 1: And he's television royalty, I mean, from Designing Women, Boy

1321
01:10:55,640 --> 01:10:58,400
Speaker 1: Meets World, that seventies show that I mean, this guy

1322
01:10:58,560 --> 01:11:02,120
Speaker 1: has has to to sit there and speak with him.

1323
01:11:02,320 --> 01:11:04,280
Speaker 1: The way that we just did kind of as adults

1324
01:11:04,400 --> 01:11:06,519
Speaker 1: is so strange. But that's the thing I'm start wrapping

1325
01:11:06,560 --> 01:11:08,080
Speaker 1: my head around with a lot of these conversations, is

1326
01:11:08,320 --> 01:11:11,240
Speaker 1: having a conversation with these people that were so important

1327
01:11:11,479 --> 01:11:13,760
Speaker 1: when I was a kid, to then sit down and

1328
01:11:13,800 --> 01:11:16,439
Speaker 1: talk to him again as an adult is so interesting

1329
01:11:16,520 --> 01:11:18,320
Speaker 1: to me. It's just a whole new dynamic. Yeah, so

1330
01:11:18,840 --> 01:11:20,760
Speaker 1: uh yeah, thank you so much for coming on, David,

1331
01:11:20,800 --> 01:11:23,280
Speaker 1: and please come back. Yeah, I hope he does. Mayeah.

1332
01:11:23,400 --> 01:11:26,400
Speaker 1: So anyway, absolutely love that guy. Writer. I agree with you.

1333
01:11:26,760 --> 01:11:28,720
Speaker 1: He's like a mentor in my life. And yet it's

1334
01:11:28,720 --> 01:11:30,880
Speaker 1: funny because, like you said, I've never seen him since

1335
01:11:31,120 --> 01:11:33,439
Speaker 1: and he doesn't know that. So it's crazy to think

1336
01:11:33,520 --> 01:11:36,840
Speaker 1: that like you can have like he had such an

1337
01:11:36,920 --> 01:11:39,320
Speaker 1: impact in our life. And I guarantee you he's never

1338
01:11:39,479 --> 01:11:41,920
Speaker 1: once thought, you know, I bet, I bet Danielle and

1339
01:11:42,120 --> 01:11:43,920
Speaker 1: Rider and Will I bet those guys think of me

1340
01:11:43,960 --> 01:11:46,560
Speaker 1: as a mentor. But yet you could have had that

1341
01:11:46,680 --> 01:11:48,400
Speaker 1: much of an impact in somebody's life and you have

1342
01:11:48,600 --> 01:11:50,519
Speaker 1: no idea. Well more so for the two of you,

1343
01:11:50,640 --> 01:11:54,280
Speaker 1: because this is what you do. Became directors and four

1344
01:11:54,360 --> 01:11:56,400
Speaker 1: camera director, I mean, you direct other things. But that's

1345
01:11:56,439 --> 01:11:58,000
Speaker 1: the kind of the bread and butters at the four

1346
01:11:58,040 --> 01:12:00,559
Speaker 1: camera sitcom and this is the this is the man

1347
01:12:00,680 --> 01:12:02,800
Speaker 1: you looked up to to do it. So it's in

1348
01:12:02,880 --> 01:12:04,800
Speaker 1: an approach to acting, I mean like listening to him

1349
01:12:04,840 --> 01:12:08,320
Speaker 1: talk about what he how he you know, in the process,

1350
01:12:08,400 --> 01:12:11,320
Speaker 1: like he understands it so well, and he gives actors

1351
01:12:11,400 --> 01:12:14,640
Speaker 1: so much permission and support. And I remember, you know

1352
01:12:14,760 --> 01:12:17,160
Speaker 1: you feel that as a kid especially, it was palpable

1353
01:12:17,240 --> 01:12:21,040
Speaker 1: that this person respected us, respected our input, wanted us

1354
01:12:21,120 --> 01:12:24,200
Speaker 1: to come up with our own stuff like that dance Daniel.

1355
01:12:24,280 --> 01:12:25,800
Speaker 1: Like the fact that he turned that back on you

1356
01:12:26,320 --> 01:12:29,880
Speaker 1: like any I've worked with so many directors, especially directors

1357
01:12:29,880 --> 01:12:31,800
Speaker 1: who direct kids, who are just like give him a

1358
01:12:31,840 --> 01:12:34,240
Speaker 1: cookie and make him say the line, you know, just

1359
01:12:34,400 --> 01:12:36,400
Speaker 1: do the thing, like come on, do it like this,

1360
01:12:36,600 --> 01:12:39,240
Speaker 1: let me give you a line reading. He never did that,

1361
01:12:39,479 --> 01:12:41,840
Speaker 1: and that it was like the greatest gift for us

1362
01:12:41,960 --> 01:12:44,840
Speaker 1: as actors, um that we wouldn't have had. Otherwise we

1363
01:12:44,880 --> 01:12:47,040
Speaker 1: would not have had that, and we had it immediately

1364
01:12:47,080 --> 01:12:49,680
Speaker 1: following David Trainer with Jeff McCracken for season three and four.

1365
01:12:50,000 --> 01:12:53,320
Speaker 1: So are the first four years the most formidable years

1366
01:12:53,439 --> 01:12:56,720
Speaker 1: of our you know, TV careers, were with two of

1367
01:12:56,840 --> 01:13:02,439
Speaker 1: the most incredible, like minded directors, two generating. Absolutely, and

1368
01:13:02,520 --> 01:13:04,439
Speaker 1: it's also it's it's one of those things where you

1369
01:13:04,600 --> 01:13:06,680
Speaker 1: imagine how different the show would have been had it

1370
01:13:06,800 --> 01:13:09,120
Speaker 1: not started with David Tran exactly. It would have just

1371
01:13:09,320 --> 01:13:11,240
Speaker 1: all of us would have been different actors who wouldn't

1372
01:13:11,280 --> 01:13:13,240
Speaker 1: do different people if that was not the kind of

1373
01:13:13,280 --> 01:13:15,679
Speaker 1: anchor we had on the set every day for two seasons.

1374
01:13:15,720 --> 01:13:19,160
Speaker 1: So yeah, thank thank thank thank god he was there. Absolutely,

1375
01:13:19,400 --> 01:13:21,559
Speaker 1: be sure to follow us on Pod Meets World Show

1376
01:13:21,680 --> 01:13:24,559
Speaker 1: on Instagram or email us your thoughts and opinions at

1377
01:13:24,600 --> 01:13:27,800
Speaker 1: Pod meets World Show at gmail dot com. And we

1378
01:13:27,960 --> 01:13:32,280
Speaker 1: have very exciting news that our first ever podcast merch

1379
01:13:32,720 --> 01:13:37,400
Speaker 1: is now available coming out. We have Pod Meets World Show,

1380
01:13:37,840 --> 01:13:40,280
Speaker 1: which rolls right off the tongue for me, as you know.

1381
01:13:41,120 --> 01:13:45,280
Speaker 1: Pod Meets World Show dot com is our website, and

1382
01:13:45,439 --> 01:13:49,679
Speaker 1: you can purchase our very first pod shirt Merch odd shirt,

1383
01:13:49,800 --> 01:13:57,400
Speaker 1: Pod Mech shirt one, our pod Merchrch, purchase the pod Merch.

1384
01:13:58,680 --> 01:14:00,200
Speaker 1: I'm still going to come up with a song. Guys

1385
01:14:00,200 --> 01:14:04,559
Speaker 1: were professional actors. We are pod merch po merch. That's easier.

1386
01:14:05,040 --> 01:14:08,160
Speaker 1: Just the pod merchant pod Meets World Show dot com

1387
01:14:08,920 --> 01:14:11,680
Speaker 1: right off the tongue, We Love You All pod dismissed

1388
01:14:13,360 --> 01:14:15,880
Speaker 1: Pod Meets World as an I heart podcast, produced and

1389
01:14:15,960 --> 01:14:20,000
Speaker 1: hosted by Daniel Fisher, Wilfredel and Writer Strong. Executive producers

1390
01:14:20,080 --> 01:14:23,760
Speaker 1: Jensen Carpin, Amy Sugarman Executive in charge of production, Danielle Romo,

1391
01:14:24,080 --> 01:14:28,640
Speaker 1: producer and editor, Tara sud Bash producer, Loraine Verruez, engineer

1392
01:14:28,720 --> 01:14:31,880
Speaker 1: and Boy Meets World super fan Easton Allen. Our theme

1393
01:14:31,960 --> 01:14:34,640
Speaker 1: song is by Kyle Morton of Typhoon. Follow us on

1394
01:14:34,720 --> 01:14:37,599
Speaker 1: Instagram at Pod meets World Show or email us at

1395
01:14:37,640 --> 01:14:39,599
Speaker 1: pod Meets World Show at gmail dot com