WEBVTT - Gary H. Miller Meets World

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<v Speaker 1>So Susan and I were on a walk as you

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<v Speaker 1>do every day every day, twice a day usually, but

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<v Speaker 1>we might we might not be on the same walk

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<v Speaker 1>twice a day because I walk the dog usually in

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<v Speaker 1>the morning, and then we do the walk later at night.

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<v Speaker 2>But as as we do, questions pop up. Okay, and

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<v Speaker 2>so I got another walking with Sue and sammy question

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<v Speaker 2>for you. Okay, I'll ask the question that I'll answer

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<v Speaker 2>the question for myself to give you both time to

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<v Speaker 2>come up with your answers. So we're walking down the

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<v Speaker 2>street and I walk by a beautiful plant and it's

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<v Speaker 2>one of my favorite smells in the world, which led

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<v Speaker 2>to Top five Smells in Your Life.

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<v Speaker 3>Hops five Smells. So here we go and Wilfredell's hand.

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<v Speaker 2>Exactly so, in no particular order, the plant I walk

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<v Speaker 2>by night jasmine, absolutely, Oh, I love it.

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<v Speaker 3>I love it so much. My cologne bread, fresh bread

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<v Speaker 3>being baked.

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<v Speaker 4>Oh yeah, that's a good one.

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<v Speaker 2>Susan makes this amazing oatmeal that are granola that makes

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<v Speaker 2>our entire house smell like oats and cinnamon and honey.

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<v Speaker 2>It's incredible. And then good old fashioned gasoline.

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<v Speaker 5>Oh yeah.

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<v Speaker 2>Are some of my top five smells, so I throw

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<v Speaker 2>it back to you people loves Gasol's not.

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<v Speaker 3>Great for you, man, He's like, hang home. But I

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<v Speaker 3>like smell.

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<v Speaker 6>I literally insert this smell so we know to stay

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<v Speaker 6>away from this stuff.

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<v Speaker 3>So either one of you throwing it out there. What

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<v Speaker 3>are some of your favorite smells? Books?

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<v Speaker 6>Like a library, like you know, which I talked about

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<v Speaker 6>on this is actually like there's a vanilla smell that

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<v Speaker 6>comes out.

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<v Speaker 3>Of old books from the glue they used to bind.

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<v Speaker 3>So books.

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<v Speaker 6>I have a campfire, and I have a I have

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<v Speaker 6>a candle that's called a Knight in the woods. It's

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<v Speaker 6>just like it's got a couple of different tree flavors

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<v Speaker 6>in it, but it's mostly mostly just smells like campfire.

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<v Speaker 3>It's so yeah, And I.

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<v Speaker 6>Guess coffee, oh, just like knowing yeah. And then probably vanilla,

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<v Speaker 6>which is a little up there with you know, kind

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<v Speaker 6>of the same the same thing as books. But yeah,

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<v Speaker 6>I like a nice distant vanilla, not like too strong,

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<v Speaker 6>not like overdone, but like when you know that there's

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<v Speaker 6>like a nice vanilla flavor in the air.

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<v Speaker 3>Gosh, what a bread is a good one? Man, I've

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<v Speaker 3>never thought about it, but bread is a smell.

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<v Speaker 2>Bread like you walk into a place like a bakery

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<v Speaker 2>where they're just baking bread.

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<v Speaker 3>Oh yeah, I just want to wrap myself up in it.

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<v Speaker 4>Yeah, so good.

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<v Speaker 5>Danielle cool water cologne Cool, I've never even heard of that.

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<v Speaker 5>What is what from the nineties? It's it is boyfriend

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<v Speaker 5>smell of every high school boy of the nineties, and

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<v Speaker 5>it takes me right back to Michael Goldman.

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<v Speaker 3>Like the same thing with old spice.

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<v Speaker 4>That's so funny. Old spice will know.

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<v Speaker 3>But it's date night, Pickles is coming out. Let's put

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<v Speaker 3>on the old spice, old spy, She says, the same thing.

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<v Speaker 3>It like smells like high.

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<v Speaker 5>School, high school boyfriends, high school boyfriends. I love water

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<v Speaker 5>clone similarly to the gasoline. When I was a kid,

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<v Speaker 5>I really love the smell of gasoline. But now like

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<v Speaker 5>the markers, like the smell of like a those like smell.

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<v Speaker 3>Deeply and you wake up thirty seconds later.

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<v Speaker 2>Yeah, I love that smell.

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<v Speaker 5>I think like anything pine like Christmas, the smell of Christmas. Yes,

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<v Speaker 5>something piney tree, Yeah, Christmas smell.

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<v Speaker 3>I totally agree.

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<v Speaker 5>Bread is really good, but also I'd like to throw

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<v Speaker 5>it in the mix of the smell of bacon, bacon cooking.

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<v Speaker 5>You know, like the smell of breakfast. There's there's something

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<v Speaker 5>about the mix of coffee toast bacon that like, I

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<v Speaker 5>just call it diner smell of diner diner.

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<v Speaker 6>If there was a candle that was diner candle, that

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<v Speaker 6>wouldn't be a bad call.

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<v Speaker 5>It's a great idea. We could we could have a chubby,

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<v Speaker 5>chubby candle if I could bottle the smell. The stinky

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<v Speaker 5>smell of my children's feet right now, really pre peubescent, yeah,

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<v Speaker 5>stinky kid feet.

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<v Speaker 6>I'm telling you all that, like loving your kids smells,

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<v Speaker 6>are not being bothered by your kid smells is gone by?

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<v Speaker 5>I know by not actually I know.

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<v Speaker 6>I was like suddenly I did not want Indy to

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<v Speaker 6>be anywhere like yes, until then I was like no,

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<v Speaker 6>it's fine. You get used to it and you deal

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<v Speaker 6>with or you fall in love with it or whatever.

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<v Speaker 6>But now it's like like, literally anytime he smells, I'm like, dude,

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<v Speaker 6>figure this out, I know, because it's just what is

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<v Speaker 6>it about the stinky feet?

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<v Speaker 3>What does it even smell?

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<v Speaker 4>Like?

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<v Speaker 3>Can you relate it to anything?

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<v Speaker 6>It's just human intimacy, man, It's just being close to

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<v Speaker 6>somebody that you love so much that you're yeah, I

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<v Speaker 6>don't know.

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<v Speaker 5>I mean, honestly, Adler's farts when he was a baby,

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<v Speaker 5>I was like, these are delicious, these are this is

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<v Speaker 5>smell like India.

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<v Speaker 3>The top of India's head was like one of my

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<v Speaker 3>you know, because.

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<v Speaker 6>It's just like these weird because it's you're never that

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<v Speaker 6>close with another human and the pheromones it's your own.

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<v Speaker 5>Like I could if they lined twenty kids up, I'd

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<v Speaker 5>be able to pick out which one was Addler by

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<v Speaker 5>the smell of his little feet, right.

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<v Speaker 6>And you know, it's it's chemical and biological because like

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<v Speaker 6>if I was ever around another kid like this is

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<v Speaker 6>I'm going to vomit, Like I cannot be in this.

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<v Speaker 6>But my kid, I was like totally, I never have

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<v Speaker 6>a problem with any of it, Like it's totally.

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<v Speaker 5>So yeah, that would have to be online. Just Aller

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<v Speaker 5>and Keaton's stinky feet just.

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<v Speaker 3>Dipping cool water.

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<v Speaker 2>I'd like to give I'd like to give honorable mention

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<v Speaker 2>to mushrooms, onions, and.

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<v Speaker 3>Garlic cook Oh yeah, great comedy.

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<v Speaker 6>Maybe the real question should remove all food considered.

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<v Speaker 3>We're talking about food.

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<v Speaker 6>It's like just exactly, yeah, you can never do so

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<v Speaker 6>I feel like it maybe maybe an addendum should be

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<v Speaker 6>that it's only non food, so then.

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<v Speaker 2>If I have to take bread off the list, it

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<v Speaker 2>would instantly be trumped by W D.

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<v Speaker 6>Forty oh oh sawdust cut sawdust like.

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<v Speaker 2>Hey yeah, freshly cut hay is another one that.

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<v Speaker 4>I really like so much.

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<v Speaker 5>Food. I don't like that. And you know what I

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<v Speaker 5>don't like. A smell I don't like. I don't like

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<v Speaker 5>that smell of rain on the asphalt that some people love,

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<v Speaker 5>you know, people like disprocusting. You know what else I

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<v Speaker 5>don't like the people like.

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<v Speaker 6>I don't know the bottom five smells Top five cars

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<v Speaker 6>like new car.

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<v Speaker 5>Smell, Get it out of here, the wave that smell.

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<v Speaker 3>Out, My god, I love new car smell.

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<v Speaker 5>Replace it with my kid's stinky feet.

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<v Speaker 3>This is stinky feet teenage boy car smell.

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<v Speaker 5>And I did know teenage. I think by teenage i'll

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<v Speaker 5>be over it. I will not like it. It's something

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<v Speaker 5>about the fact.

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<v Speaker 3>That they cool. He smells like starburst and cool water.

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<v Speaker 6>You don't haven't smelled since the nineties c K one ladies,

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<v Speaker 6>I still probably like that.

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<v Speaker 5>Girls wore that all through the nineties, and the boys

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<v Speaker 5>were all K one.

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<v Speaker 4>You car.

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<v Speaker 6>Like of all of the perfumes and colognes and stuff,

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<v Speaker 6>shaving cream barbasol shaving cream. And I don't use it

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<v Speaker 6>that much because I don't know now I should.

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<v Speaker 3>But yeah, but I love that smell.

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<v Speaker 4>Yeah that's a good one.

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<v Speaker 3>Good Smeuth.

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<v Speaker 5>Welcome to Bobby Turr. I'm Danielle Fishel, I'm right or Strong,

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<v Speaker 5>and I'm Will Fordell was like, what are we supposed

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<v Speaker 5>to do.

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<v Speaker 4>The show?

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<v Speaker 5>That's in our endless attempt to recreate every season's writer's room,

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<v Speaker 5>we have been able to connect with so many men

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<v Speaker 5>and women who helped craft the show right at its

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<v Speaker 5>heart on every page of its script, whether they were

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<v Speaker 5>there with us from the start, joined in the Michael

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<v Speaker 5>exit or the Michael return, or maybe just contributed an

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<v Speaker 5>episode from outside the staff. Some of our best podcasts

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<v Speaker 5>have been with these incredible creatives, and this week is

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<v Speaker 5>no different. He joined the show in season five, just

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<v Speaker 5>barely sneaking in an episode at the end, the eventually

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<v Speaker 5>prohibited tale of teen drinking if you can't be with

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<v Speaker 5>the one you love quite and then then, after getting

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<v Speaker 5>Corey and Sean blitzed, he wrote two in season six,

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<v Speaker 5>including the recently recapped You're Married you're dead. So if

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<v Speaker 5>you were wondering which writer liked messing with Corey and Tapanga,

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<v Speaker 5>we found him. His middle initial H most likely stands

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<v Speaker 5>for heartbreak. He'd write two in the final season, sticking

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<v Speaker 5>around till the bitter end. But it was his prior

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<v Speaker 5>work experience that is even more impressive, especially probably to

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<v Speaker 5>Will Laverne and Shirley Bosom Buddies nine to five, Give

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<v Speaker 5>me a Break, a different World, come Crash, Prince of

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<v Speaker 5>bel Air, and Reba.

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<v Speaker 1>Oh come on, and I'm talking about any of these

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<v Speaker 1>in the day God.

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<v Speaker 5>Also, he worked with a murderer, at least according to

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<v Speaker 5>a civil suit. And so we are thrilled to welcome

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<v Speaker 5>to Pod Meets World writer and producer Gary H. Miller. Yea,

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<v Speaker 5>so good to see you.

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<v Speaker 4>It's amazing to see you guys. So on the strike

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<v Speaker 4>line and then yeah, I think it was twenty.

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<v Speaker 5>Two years party.

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<v Speaker 2>Actually no, Gary, you and I I don't know if

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<v Speaker 2>you remember I ran to you at Target.

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<v Speaker 4>You had a Target. We exchanged numbers, right, yeah, yeah,

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<v Speaker 4>we'll call each other.

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<v Speaker 3>And that never never, that.

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<v Speaker 4>Is saying that guy. But you know I would have

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<v Speaker 4>loved to listen.

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<v Speaker 5>So fun. Well we are so excited to talk to you.

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<v Speaker 5>We know that you were an integral part of seasons

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<v Speaker 5>five through seven, and we are excited to talk to

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<v Speaker 5>you about that. But this is the first interview where

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<v Speaker 5>we know, right off the bat we are nowhere near

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<v Speaker 5>the most fascinating actors that you have worked with, because

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<v Speaker 5>we know you worked on a show called First and

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<v Speaker 5>Ten with O. J. Simpson. Oh my goodness, can you

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<v Speaker 5>please tell us what that was like?

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<v Speaker 4>You ready to rock the stats?

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<v Speaker 5>Always you know us always always.

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<v Speaker 4>Well, Okay, God, these are such long anecdotes, and I

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<v Speaker 4>know we have limited time, and I certainly want to

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<v Speaker 4>get to the drinking episode, but let's sit back and

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<v Speaker 4>have a little drink and talk about mister Oja click

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<v Speaker 4>backstory before I even mentioned it. Uh So, I used

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<v Speaker 4>to be a school teacher in New York City. I

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<v Speaker 4>taught school for eight years and I taught in the

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<v Speaker 4>school in Queens and on my lunch hour I would jog,

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<v Speaker 4>which included going across the Laguardi Airport was right near

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<v Speaker 4>the school. And then one day I see him, O J. Simpson,

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<v Speaker 4>who was like the biggest star you know from the

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<v Speaker 4>Hurts com the America loved him and I saw him

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<v Speaker 4>going to the terminal and you know, I'm a stupid

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<v Speaker 4>person from Brooklyn Schoolowly School team tour and I said, oh,

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<v Speaker 4>Jay oja, you know, like like a ten year old,

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<v Speaker 4>and he looked at me. He gave me that OJ smile. Right.

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<v Speaker 4>I ran back to school and into the teacher's room

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<v Speaker 4>and I said, I just saw the juice, you know,

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<v Speaker 4>And I was so excited. Yah. Well, now cut to

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<v Speaker 4>some years later and I'm in now living out here

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<v Speaker 4>with my youngest daughter who was born with the impairment.

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<v Speaker 4>So we had taken it to a doctor in a

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<v Speaker 4>building in Westwood, and we were waiting at the valet

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<v Speaker 4>and there he was again, and like a ferrari pulls

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<v Speaker 4>up and right before he gets in, he looks at

0:12:23.480 --> 0:12:25.920
<v Speaker 4>me and says, is that your little girl? I said yeah.

0:12:26.000 --> 0:12:29.160
<v Speaker 4>She says, she's so pretty, She's beautiful. I said thank you.

0:12:29.200 --> 0:12:31.720
<v Speaker 4>I said, oh my god. Again O J. Simpson my

0:12:31.760 --> 0:12:35.800
<v Speaker 4>second meeting. So then segue to I take over the

0:12:35.840 --> 0:12:39.000
<v Speaker 4>show first and ten. It was kind of floundering, and

0:12:39.280 --> 0:12:44.239
<v Speaker 4>I made it more realistic. I ate a big business, steroids,

0:12:44.240 --> 0:12:49.320
<v Speaker 4>you know, real football stuff. I wrote O. J. Simpson

0:12:49.400 --> 0:12:56.040
<v Speaker 4>into the show and we became kind of close. I

0:12:56.160 --> 0:12:59.200
<v Speaker 4>used to watch Monday night football in his house. You

0:12:59.360 --> 0:13:01.600
<v Speaker 4>watch it. The Heisman trophy is right over.

0:13:01.480 --> 0:13:03.680
<v Speaker 5>There, and oh, my gosh, man.

0:13:03.640 --> 0:13:07.000
<v Speaker 4>And we flew We spent the weekend in Kansas City together,

0:13:07.120 --> 0:13:09.440
<v Speaker 4>the two of us. We went to see the Chiefs plane.

0:13:09.920 --> 0:13:11.600
<v Speaker 4>The Chief played the Raiders, and we flew on the

0:13:11.679 --> 0:13:15.480
<v Speaker 4>Raiders plane. And my god, We've got so many funny

0:13:15.520 --> 0:13:18.920
<v Speaker 4>stories about that. How funny funny in hindsight. Right, I'll

0:13:18.920 --> 0:13:24.720
<v Speaker 4>get there too. I'm talking real fash. We're in Kansas

0:13:24.720 --> 0:13:27.480
<v Speaker 4>City and you know, everybody loves the guy. And we

0:13:27.480 --> 0:13:29.800
<v Speaker 4>were in the marll one day and the father comes

0:13:29.800 --> 0:13:32.560
<v Speaker 4>over his son, and the father's crying and he says,

0:13:33.160 --> 0:13:35.839
<v Speaker 4>why is your boy crying? Why are you crying? Sir?

0:13:36.200 --> 0:13:38.280
<v Speaker 4>He says, that's my boy. His name the boys he

0:13:38.320 --> 0:13:45.440
<v Speaker 4>named Moji. This was America's. Yeah, we all know the story.

0:13:45.679 --> 0:13:50.040
<v Speaker 4>And uh on a. On the flight back, I have

0:13:50.520 --> 0:13:52.600
<v Speaker 4>hit the I was in the worst turbulence I had

0:13:52.600 --> 0:13:55.200
<v Speaker 4>ever been into my And I'm talking. I'm on the

0:13:55.240 --> 0:13:58.600
<v Speaker 4>plane with the Raiders, right, and they're getting their barf

0:13:58.679 --> 0:14:02.120
<v Speaker 4>bigs right, two hundred and sixty pounds linemen and they're

0:14:02.160 --> 0:14:04.960
<v Speaker 4>crossing themselves and it looks like we're going down because

0:14:04.960 --> 0:14:08.040
<v Speaker 4>we're dropping like ten thousand feet. And I turned to

0:14:08.080 --> 0:14:09.719
<v Speaker 4>look at OJ and he's just sitting there with a

0:14:09.800 --> 0:14:10.320
<v Speaker 4>smile of this.

0:14:12.120 --> 0:14:18.200
<v Speaker 6>Nothing's scary, the calm of a psychopathic.

0:14:19.120 --> 0:14:19.320
<v Speaker 1>Exa.

0:14:20.080 --> 0:14:23.320
<v Speaker 4>So here's a great you see, you got me started

0:14:23.360 --> 0:14:27.920
<v Speaker 4>on this, So here's a great anecdote. So when first

0:14:27.920 --> 0:14:31.040
<v Speaker 4>and ten they're negotiating, as you guys know about negotiations

0:14:31.200 --> 0:14:34.120
<v Speaker 4>with actors, the producer comes to me. He says, look, Gary,

0:14:34.760 --> 0:14:36.920
<v Speaker 4>we're having trouble OJ. We're not sure we can make

0:14:36.960 --> 0:14:39.200
<v Speaker 4>this deal. Can you write him out of the show?

0:14:40.040 --> 0:14:42.640
<v Speaker 4>I said, yes, I wrote him into the show. I

0:14:42.680 --> 0:14:44.520
<v Speaker 4>guess I could write him out of the show, which

0:14:44.960 --> 0:14:48.800
<v Speaker 4>wasn't I didn't like that idea. But then Oja comes

0:14:48.800 --> 0:14:51.360
<v Speaker 4>to me by himself. He says, you think you could

0:14:51.680 --> 0:14:54.400
<v Speaker 4>write a show like this for me, a different show?

0:14:55.000 --> 0:15:00.400
<v Speaker 4>And I said, sure, so let me write gat. We'll

0:15:00.400 --> 0:15:02.160
<v Speaker 4>make it. We'll make it a baseball show. And I

0:15:02.200 --> 0:15:05.160
<v Speaker 4>went and I pitched it with him, and then we

0:15:05.240 --> 0:15:07.960
<v Speaker 4>get a go on the pilot. It was easy to

0:15:07.960 --> 0:15:09.920
<v Speaker 4>pitch over because I'm pitching and I don't even think

0:15:10.280 --> 0:15:12.760
<v Speaker 4>the executive she's listening to me. She's just staring at OJ.

0:15:13.760 --> 0:15:15.280
<v Speaker 4>And I'm thinking in my head, as you know, if

0:15:15.280 --> 0:15:17.400
<v Speaker 4>you pitched. But he says, I'm going, well, I got

0:15:17.400 --> 0:15:20.680
<v Speaker 4>to shift gears and got else and I finished, and

0:15:20.760 --> 0:15:23.600
<v Speaker 4>I think this is awful. And she says, this is

0:15:23.600 --> 0:15:26.360
<v Speaker 4>a project we must do. And so I get me

0:15:26.440 --> 0:15:28.840
<v Speaker 4>elevator with OJ and I said, this is the easiest thing.

0:15:28.920 --> 0:15:31.200
<v Speaker 4>I have a soul. I said, this is great. He says,

0:15:31.240 --> 0:15:34.640
<v Speaker 4>that's good. A little while later, I get a call

0:15:34.720 --> 0:15:38.920
<v Speaker 4>from his lawyer. His attorney skipped, and he says, listen

0:15:39.000 --> 0:15:43.640
<v Speaker 4>to OJ. Would like co writing credit on the pilot. Oh,

0:15:43.880 --> 0:15:46.960
<v Speaker 4>I said, oh really, I said, okay. I said, tell

0:15:47.040 --> 0:15:50.000
<v Speaker 4>him he only has to work with me about two

0:15:50.040 --> 0:15:51.640
<v Speaker 4>hours a day, and I'll do that. I'll do the

0:15:51.680 --> 0:15:53.640
<v Speaker 4>brunt of it. I'll do most of it. He is no, no, no,

0:15:53.680 --> 0:15:57.720
<v Speaker 4>you don't understand. He doesn't actually want to do He

0:15:57.800 --> 0:16:02.840
<v Speaker 4>just wants co creating credit for the pilot. I said why.

0:16:03.600 --> 0:16:05.880
<v Speaker 4>He said, because his mother would be very proud of

0:16:05.960 --> 0:16:09.040
<v Speaker 4>him if he was in the writer's guild. I said,

0:16:09.400 --> 0:16:11.320
<v Speaker 4>she'd be proud. He's in the Hall of Fame. Is

0:16:11.520 --> 0:16:13.440
<v Speaker 4>proud enough of him?

0:16:13.720 --> 0:16:14.400
<v Speaker 5>Is that not enough.

0:16:14.680 --> 0:16:20.680
<v Speaker 4>The really so skip to the attorney says, look, you

0:16:20.800 --> 0:16:24.000
<v Speaker 4>either agreed this, but this deal was done. It's going

0:16:24.080 --> 0:16:28.360
<v Speaker 4>to blow up. I said, okay, I'll agree, but you

0:16:28.440 --> 0:16:33.040
<v Speaker 4>tell this to Oj that I'll give him half writing

0:16:33.120 --> 0:16:36.240
<v Speaker 4>credit on a script that I write. If he goes

0:16:36.240 --> 0:16:38.600
<v Speaker 4>to the Canton Hall of Fame and tell them half

0:16:38.640 --> 0:16:49.600
<v Speaker 4>that yard in his mind that I killed that deal.

0:16:49.680 --> 0:16:52.440
<v Speaker 4>He then got a deal with NBC. They sent him

0:16:52.440 --> 0:16:55.280
<v Speaker 4>to New York to be an on field reporter. I got.

0:16:55.320 --> 0:16:57.360
<v Speaker 4>I got him a little going away gift. Was the

0:16:57.400 --> 0:17:01.440
<v Speaker 4>last time I had talked to him. And then one

0:17:01.520 --> 0:17:05.280
<v Speaker 4>day I was in Florida on vacation, playing golf, and

0:17:05.359 --> 0:17:08.160
<v Speaker 4>I got the call from my friend saying, do you

0:17:08.160 --> 0:17:13.440
<v Speaker 4>hear about Nicole Simpson? I said, I was on the

0:17:13.480 --> 0:17:17.720
<v Speaker 4>golf course most of the day she was found dead.

0:17:17.800 --> 0:17:20.480
<v Speaker 4>I said, oh no, this is before cell phones. I said,

0:17:20.520 --> 0:17:23.080
<v Speaker 4>I don't have OJ's number. You got you gotta listen,

0:17:23.320 --> 0:17:24.840
<v Speaker 4>you gotta get me OJ's number. I got to call

0:17:25.160 --> 0:17:27.680
<v Speaker 4>call him and he said, no, you don't understand. They

0:17:27.720 --> 0:17:30.159
<v Speaker 4>think he did it. And then it just got you know,

0:17:30.280 --> 0:17:34.840
<v Speaker 4>as surreal as it could possibly be. Wow. Some time ago,

0:17:34.920 --> 0:17:37.960
<v Speaker 4>I wrote an article for a mandatory magazine called OJ

0:17:38.119 --> 0:17:40.720
<v Speaker 4>and Me, which is basically what I just told you,

0:17:40.720 --> 0:17:44.679
<v Speaker 4>you know, in more terms. And uh, I mean I

0:17:44.760 --> 0:17:49.440
<v Speaker 4>was subpoenaed for the the second trial also, so I

0:17:49.480 --> 0:17:51.240
<v Speaker 4>wrote the article about this. What are telling you that?

0:17:51.320 --> 0:17:55.040
<v Speaker 4>This woman in the comment says, how dare you associate

0:17:55.119 --> 0:17:58.080
<v Speaker 4>with that murderer as a lady. This was before I

0:17:58.119 --> 0:18:02.280
<v Speaker 4>knew he was a murderer. Yeah, exactly, yea murder And

0:18:02.320 --> 0:18:04.320
<v Speaker 4>then anyway, there's my longer.

0:18:04.600 --> 0:18:06.919
<v Speaker 3>Wow, we did not expect that.

0:18:07.720 --> 0:18:09.680
<v Speaker 6>We were like, oh yeah, we talked on set a

0:18:09.720 --> 0:18:12.040
<v Speaker 6>few times, and you know, that's incredible.

0:18:12.240 --> 0:18:14.879
<v Speaker 4>And there's other stuff that I won't even go and

0:18:14.920 --> 0:18:19.520
<v Speaker 4>it's got nothing to do about the horrific results of

0:18:19.600 --> 0:18:22.480
<v Speaker 4>all that. But you know, just because when the lawyers

0:18:22.840 --> 0:18:27.119
<v Speaker 4>were interviewing me as a witness, they wanted to know

0:18:27.359 --> 0:18:30.399
<v Speaker 4>was the aggressive and all that? And I said, you

0:18:30.440 --> 0:18:34.560
<v Speaker 4>know what, I was wrangling real football players. It was

0:18:34.600 --> 0:18:36.679
<v Speaker 4>the least aggressive out of any of them. And I

0:18:36.680 --> 0:18:40.879
<v Speaker 4>had John Tusak, who would break anything that came close

0:18:40.920 --> 0:18:44.280
<v Speaker 4>to you. You know, I got it. John Tusack anecdotes too.

0:18:44.320 --> 0:18:44.960
<v Speaker 4>But let's.

0:18:46.440 --> 0:18:48.680
<v Speaker 5>Well, I want we want to talk to you about

0:18:48.680 --> 0:18:50.240
<v Speaker 5>some of the other shows you worked on too, because

0:18:50.280 --> 0:18:53.240
<v Speaker 5>you have truly written on some of TV's most iconic shows.

0:18:53.320 --> 0:18:56.520
<v Speaker 5>I mean your first script being Laverne and Shirley, which

0:18:56.600 --> 0:19:00.840
<v Speaker 5>is quite a debut. How did that become your first gig?

0:19:01.600 --> 0:19:03.520
<v Speaker 4>We're going to need to make this a five part

0:19:06.520 --> 0:19:08.439
<v Speaker 4>so at least I told you I was a school

0:19:08.440 --> 0:19:12.119
<v Speaker 4>teacher in New York, hears in and not loving it,

0:19:12.359 --> 0:19:16.040
<v Speaker 4>not loving the job, and not loving the pay, which

0:19:16.119 --> 0:19:21.000
<v Speaker 4>is always low for teachers. Great, great contributors to our

0:19:22.119 --> 0:19:26.000
<v Speaker 4>culture that they are. But so my wife said, hey,

0:19:26.000 --> 0:19:29.119
<v Speaker 4>you're funny. Why don't you start writing scripts? What do

0:19:29.160 --> 0:19:31.720
<v Speaker 4>I know about scripts? You know? But I went to

0:19:31.720 --> 0:19:34.760
<v Speaker 4>the local library, took out a book, showed me the format,

0:19:34.760 --> 0:19:38.359
<v Speaker 4>and I wrote a mass script. Right, I'll make a

0:19:38.480 --> 0:19:43.200
<v Speaker 4>very long story shorter. I started writing spects for everything.

0:19:43.200 --> 0:19:46.720
<v Speaker 4>I started sending letters. Remember no, no, no enginet, no

0:19:47.080 --> 0:19:49.919
<v Speaker 4>way of contacting anybody. And if you guys, remember, if

0:19:49.920 --> 0:19:52.880
<v Speaker 4>you're old enough to remember, you can't. You can't get

0:19:52.960 --> 0:19:57.280
<v Speaker 4>into seeing anybody if you you know some kinds. Even

0:19:57.320 --> 0:20:01.000
<v Speaker 4>if you are somebody, you can't get in. So I

0:20:01.040 --> 0:20:04.760
<v Speaker 4>started writing letters, and I also started hanging out the

0:20:04.760 --> 0:20:08.639
<v Speaker 4>improv in New York giving freak jokes to comics, and

0:20:08.680 --> 0:20:10.520
<v Speaker 4>they let me know what producers were coming in from

0:20:10.560 --> 0:20:13.560
<v Speaker 4>the West Coast. So it would be kind of like

0:20:13.640 --> 0:20:16.560
<v Speaker 4>I wait outside the improv and when the producers are leaving,

0:20:17.000 --> 0:20:18.960
<v Speaker 4>I'd run after them my script in my hand and

0:20:19.040 --> 0:20:21.800
<v Speaker 4>like a BA time pass and a relay race get

0:20:21.840 --> 0:20:23.560
<v Speaker 4>in their hands and they can't read this. You know,

0:20:23.600 --> 0:20:26.320
<v Speaker 4>you got to sign a waiver. And one guy, Tom Patrick,

0:20:26.760 --> 0:20:28.600
<v Speaker 4>he said, look, I'll send you a waives. Send me

0:20:28.640 --> 0:20:31.080
<v Speaker 4>a script. I did. It was a mash. That was

0:20:31.119 --> 0:20:34.040
<v Speaker 4>my first speck was a mash. He said, this is

0:20:35.359 --> 0:20:38.640
<v Speaker 4>not bad. Get yourself an agent. So now I look

0:20:38.680 --> 0:20:41.879
<v Speaker 4>up agent in the phone book, remember book, and I

0:20:41.920 --> 0:20:44.560
<v Speaker 4>send her the script. She says, this is pretty good.

0:20:44.600 --> 0:20:47.639
<v Speaker 4>I'm going to send it to the producer. So again

0:20:47.920 --> 0:20:50.399
<v Speaker 4>I'm ignorant. I don't know anything about show business. I

0:20:50.480 --> 0:20:53.400
<v Speaker 4>told my wife Karen, I said, I think we're going

0:20:53.400 --> 0:20:54.480
<v Speaker 4>to Hollywood.

0:20:54.040 --> 0:20:59.240
<v Speaker 3>Because sold our home.

0:20:59.359 --> 0:21:03.000
<v Speaker 4>And yeah, by this time we were we had moved

0:21:03.160 --> 0:21:06.760
<v Speaker 4>way away, out away from New York in western New Jersey.

0:21:06.840 --> 0:21:09.359
<v Speaker 4>Were living in the woods and the mailboxes across the

0:21:09.440 --> 0:21:11.320
<v Speaker 4>road and I go every day for the for the

0:21:11.400 --> 0:21:15.080
<v Speaker 4>letter of saying you know, come come to Hollywood.

0:21:15.480 --> 0:21:17.239
<v Speaker 3>Oh wait, I have to ask, do you remember what

0:21:17.280 --> 0:21:19.000
<v Speaker 3>your mash was about? Do you remember the spec?

0:21:19.520 --> 0:21:23.240
<v Speaker 4>The title was called Mistress Fever. Okay, it was about

0:21:23.359 --> 0:21:27.560
<v Speaker 4>Frank's wife was coming for a visit and whether it's

0:21:27.560 --> 0:21:29.439
<v Speaker 4>you know, and they didn't know what to do with

0:21:30.560 --> 0:21:34.639
<v Speaker 4>what was the miss uh? What was? Yeah? And so

0:21:34.720 --> 0:21:37.760
<v Speaker 4>they they concocted that she had some kind of illness

0:21:37.800 --> 0:21:39.720
<v Speaker 4>and they try to keep her away from the wife.

0:21:39.720 --> 0:21:45.040
<v Speaker 4>And I remember it. I was great, it's pretty mediocre.

0:21:45.480 --> 0:21:51.560
<v Speaker 4>Uh so uh. I then got very frustrated. Uh. I

0:21:51.600 --> 0:21:54.800
<v Speaker 4>start churning out spec scripts for threes Company, Welcome Back

0:21:54.800 --> 0:21:59.400
<v Speaker 4>to uh, Barney Miller, all the shows of that day, Yeah,

0:21:59.760 --> 0:22:02.480
<v Speaker 4>with no results in getting very disheartened, and I start

0:22:02.520 --> 0:22:06.320
<v Speaker 4>writing letters Fred Silvan ABC. He said, we need new blood,

0:22:06.320 --> 0:22:08.320
<v Speaker 4>we need new writer. I said, well, you need to writers.

0:22:08.440 --> 0:22:13.920
<v Speaker 4>I'm the guy for you, right, send it out, Fred Silvan, Hollywood, California.

0:22:14.000 --> 0:22:18.320
<v Speaker 4>And they must get ten thousand unsolicited scripts and letters.

0:22:18.680 --> 0:22:22.920
<v Speaker 4>One day, God calls me from ABC. He said, I

0:22:22.960 --> 0:22:26.000
<v Speaker 4>don't know why Fred wants me to do this, because

0:22:26.000 --> 0:22:28.679
<v Speaker 4>he's not he's leaving, he's going to MBC. But he

0:22:28.840 --> 0:22:31.520
<v Speaker 4>wants you to write a script for la Verna Surely

0:22:31.680 --> 0:22:35.080
<v Speaker 4>or Happy Days. Those are our two big shows, and

0:22:35.119 --> 0:22:38.399
<v Speaker 4>we'll see that the producers read it, says okay. So

0:22:38.480 --> 0:22:43.439
<v Speaker 4>I write ola Verna Surely and send it in and

0:22:43.480 --> 0:22:46.720
<v Speaker 4>then I start writing and I get nothing. Nothing six

0:22:46.760 --> 0:22:49.159
<v Speaker 4>months ago. By now, I go to that mailbox and

0:22:49.200 --> 0:22:54.960
<v Speaker 4>the mailbox says, leave me longer. Stop. So I start

0:22:54.960 --> 0:22:57.160
<v Speaker 4>writing letters to Gary Marshall. I'm funny, and I start

0:22:57.160 --> 0:23:02.040
<v Speaker 4>writing funny letters and okay, it's another deep dour. So

0:23:02.080 --> 0:23:05.720
<v Speaker 4>I mentioned that my daughter was born with impairment, and

0:23:07.240 --> 0:23:10.160
<v Speaker 4>I was very despondent. At this time. She was an infant.

0:23:10.520 --> 0:23:13.720
<v Speaker 4>I was holding her in my arms and she had seizures.

0:23:14.320 --> 0:23:17.200
<v Speaker 4>That was quite a problem. I'm holding her in my arms.

0:23:17.240 --> 0:23:20.400
<v Speaker 4>Get this. You couldn't write it. I'm watching Laverne and Sheryold.

0:23:20.400 --> 0:23:22.960
<v Speaker 4>It's a Tuesday night, right, she said, in my arms.

0:23:23.280 --> 0:23:28.280
<v Speaker 4>She's having a seizure. We called the doctor and he says, look,

0:23:28.800 --> 0:23:31.159
<v Speaker 4>if she has another seizure, you got to bring it

0:23:31.200 --> 0:23:35.720
<v Speaker 4>into the hospital tomorrow. Okay. And I go off to

0:23:35.800 --> 0:23:38.399
<v Speaker 4>work in New York, which is sixty miles away, and

0:23:38.560 --> 0:23:40.800
<v Speaker 4>all day I'm expecting the call from my wife to

0:23:40.840 --> 0:23:44.240
<v Speaker 4>say the baby had a seizure. You got to come

0:23:44.560 --> 0:23:47.680
<v Speaker 4>to the hospital. So the assistant principal comes into the gym.

0:23:47.920 --> 0:23:49.680
<v Speaker 4>I had a gin full of one hundred maniac kids

0:23:49.760 --> 0:23:52.240
<v Speaker 4>running around, and she says, mister Miller, it's a call

0:23:52.320 --> 0:23:55.080
<v Speaker 4>for you. I said, I know, I know, you know,

0:23:55.600 --> 0:23:57.840
<v Speaker 4>and I you know, sombrely walked to get the phone,

0:23:57.880 --> 0:24:01.640
<v Speaker 4>thickets my wife and it's Gary Marshall's office.

0:24:01.960 --> 0:24:04.080
<v Speaker 3>Oh my gosh, telling.

0:24:03.760 --> 0:24:07.040
<v Speaker 4>Me they want me to come be a writer. Wow.

0:24:08.080 --> 0:24:10.959
<v Speaker 3>They called your school. Gary Marshall's office called your school.

0:24:11.200 --> 0:24:19.560
<v Speaker 7>Well yeah, oh wow, wow, so did you did you

0:24:19.640 --> 0:24:22.120
<v Speaker 7>then go to the set of Laverne and Shirley, which

0:24:22.160 --> 0:24:25.480
<v Speaker 7>is arguably one of the most famous and contentious sets

0:24:25.480 --> 0:24:28.320
<v Speaker 7>in the history of Hollywood.

0:24:27.920 --> 0:24:31.240
<v Speaker 4>I didn't know what to do. I mean, I knew

0:24:31.280 --> 0:24:34.960
<v Speaker 4>I had to go now, mind you, civil servant, eight

0:24:35.119 --> 0:24:38.679
<v Speaker 4>years in the system, and I was known as crazy

0:24:38.760 --> 0:24:41.359
<v Speaker 4>mister Miller because I was always be writing whenever I could,

0:24:41.440 --> 0:24:43.840
<v Speaker 4>you know, and they say, what are you doing? I said, well,

0:24:43.920 --> 0:24:45.960
<v Speaker 4>one day I'm gonna make it, you know that kind

0:24:45.960 --> 0:24:50.679
<v Speaker 4>of stuff. And when it happened, it was, like, you know,

0:24:50.720 --> 0:24:56.840
<v Speaker 4>pretty unbelievable and I remember one teacher, Charlie rebellion. He

0:24:56.880 --> 0:24:59.240
<v Speaker 4>stops me in the whole. Now, mind you, this is

0:24:59.280 --> 0:25:01.760
<v Speaker 4>back in the seventh These and kids didn't just pass

0:25:01.800 --> 0:25:03.879
<v Speaker 4>from one cliss together. You took your life in your

0:25:03.920 --> 0:25:06.960
<v Speaker 4>hands if you were in the hallway during Yeah, and

0:25:07.200 --> 0:25:09.439
<v Speaker 4>and so Charlie grabs me. He says, Garry that eight

0:25:09.480 --> 0:25:12.640
<v Speaker 4>years in the system, you can retire in nine more years.

0:25:12.880 --> 0:25:16.399
<v Speaker 4>What are you doing, it, said Charlie, I'm going to

0:25:16.440 --> 0:25:19.080
<v Speaker 4>be working on the number one show in all of television.

0:25:19.640 --> 0:25:26.119
<v Speaker 5>Yeah right, Oh, oh my gosh, did your daughter have

0:25:26.200 --> 0:25:29.159
<v Speaker 5>another seizure that day? Did Did she also end up

0:25:29.160 --> 0:25:31.080
<v Speaker 5>at the hospital or no?

0:25:31.080 --> 0:25:34.320
<v Speaker 4>No, no, oh thank god she's still to this day.

0:25:34.400 --> 0:25:36.240
<v Speaker 4>I mean, my daughter is jack when you guys know.

0:25:36.400 --> 0:25:38.199
<v Speaker 5>I know, I know, I just wanted it that day.

0:25:38.240 --> 0:25:41.000
<v Speaker 5>I needed that story to wrap up. Are you expecting

0:25:41.000 --> 0:25:43.280
<v Speaker 5>that phone call? You didn't get that phone call that day.

0:25:43.600 --> 0:25:45.760
<v Speaker 4>So you're going to talk about ing and gang whatever

0:25:45.800 --> 0:25:49.959
<v Speaker 4>it is. So it was tempered, you know, because there

0:25:50.040 --> 0:25:52.480
<v Speaker 4>was still issue with our child, you know, which is

0:25:52.520 --> 0:25:56.760
<v Speaker 4>always issue but a lot of us deal with, you know,

0:25:56.840 --> 0:26:00.400
<v Speaker 4>personal issues. But that story and so you know, years

0:26:00.480 --> 0:26:04.359
<v Speaker 4>later I said to one of the supervising producers at

0:26:04.359 --> 0:26:07.040
<v Speaker 4>the time, who became a good friend of mine, of

0:26:07.160 --> 0:26:11.680
<v Speaker 4>Phil Mischkin. I said, how did I get hired? All

0:26:11.680 --> 0:26:16.359
<v Speaker 4>these writers in our city, Los Angeles, A vying to

0:26:16.400 --> 0:26:19.320
<v Speaker 4>be the next writer on vern S Shirley? Why did

0:26:19.400 --> 0:26:23.320
<v Speaker 4>he hire me? And Gary Marshall said, give me the

0:26:23.440 --> 0:26:25.760
<v Speaker 4>school teacher who writes me to funny letters.

0:26:26.880 --> 0:26:31.840
<v Speaker 5>Wow, didn't make a reference to the script, right, letters right?

0:26:33.000 --> 0:26:35.160
<v Speaker 4>And every time I saw Gary, and I did see him,

0:26:35.520 --> 0:26:38.280
<v Speaker 4>we didn't develop any kind of relationship, but I would

0:26:38.280 --> 0:26:40.320
<v Speaker 4>see him from time to time in the town and

0:26:40.400 --> 0:26:43.479
<v Speaker 4>every time I'd say to thank you, thank you, thank you.

0:26:43.840 --> 0:26:45.920
<v Speaker 4>And as I got later into my career, I would say,

0:26:46.520 --> 0:26:49.320
<v Speaker 4>I think exactly.

0:26:50.520 --> 0:26:52.760
<v Speaker 5>Another show we wanted to talk to you about was

0:26:52.760 --> 0:26:55.600
<v Speaker 5>Bosom Buddies. It has come up before on this podcast

0:26:55.600 --> 0:26:59.159
<v Speaker 5>in regards to just being one of the perfect Tom Hanks,

0:26:59.160 --> 0:27:01.920
<v Speaker 5>perfect sitcom acting. Did you get to work with him

0:27:01.920 --> 0:27:03.720
<v Speaker 5>directly at all when he was that green?

0:27:04.800 --> 0:27:07.880
<v Speaker 4>Oh yeah, oh yeah to it. Look, let's not give

0:27:07.920 --> 0:27:11.000
<v Speaker 4>Peter a short shrift. These two were great. These two

0:27:11.000 --> 0:27:14.639
<v Speaker 4>were great together. It's not sad Peter went on to

0:27:14.640 --> 0:27:16.800
<v Speaker 4>have a good career, but he kind of became a

0:27:16.840 --> 0:27:19.400
<v Speaker 4>little bit of a joke because one guy's Tom Hanks,

0:27:19.600 --> 0:27:22.399
<v Speaker 4>one Boot's buddies becomes Tom Hanks, and the other becomes

0:27:22.520 --> 0:27:26.120
<v Speaker 4>Peter Scaur and I certainly have different types of careers,

0:27:26.280 --> 0:27:30.879
<v Speaker 4>but they were great together. They were a lot of

0:27:30.920 --> 0:27:34.960
<v Speaker 4>those you guys, when the stuff hit the stage, they

0:27:35.000 --> 0:27:39.320
<v Speaker 4>made it better. This was really impressed me. You know,

0:27:39.359 --> 0:27:42.600
<v Speaker 4>I would write something and we would write something as writers,

0:27:43.000 --> 0:27:46.200
<v Speaker 4>and these guys just took it to another level. And

0:27:46.440 --> 0:27:48.879
<v Speaker 4>it's a great feeling when that happens, because you know

0:27:50.040 --> 0:27:51.840
<v Speaker 4>a lot of times it doesn't. A lot of times

0:27:51.880 --> 0:27:54.600
<v Speaker 4>it goes the other way. And they were terrific. And

0:27:55.000 --> 0:27:59.080
<v Speaker 4>you know, they they were new, they they were so fresh,

0:27:59.119 --> 0:28:01.399
<v Speaker 4>they were so young, but he knew them. You know.

0:28:01.440 --> 0:28:06.639
<v Speaker 4>Tom and I we had a Bruce Springsteen relationship and

0:28:06.640 --> 0:28:10.480
<v Speaker 4>that we were both crazy fans. I mean Bruce Springsteen. Uh.

0:28:10.920 --> 0:28:12.800
<v Speaker 4>And I used to have the old morel called cassette

0:28:12.840 --> 0:28:15.840
<v Speaker 4>recorder and Tom would come into my office to listen

0:28:15.880 --> 0:28:18.600
<v Speaker 4>to my Springsteen tapes. Right, And we used to have

0:28:18.640 --> 0:28:21.160
<v Speaker 4>this thing where there's a song called Jungle In by

0:28:21.160 --> 0:28:24.639
<v Speaker 4>Bruce Springsteen and there's a certain lyric and Tom and

0:28:24.680 --> 0:28:27.920
<v Speaker 4>I used to see who could say this lyric the quickest,

0:28:27.920 --> 0:28:30.680
<v Speaker 4>and the lyric is I'll probably budge it befoot girls

0:28:30.680 --> 0:28:32.400
<v Speaker 4>sitting on the hood of the Dodge, drinking warm beer

0:28:32.440 --> 0:28:35.320
<v Speaker 4>in summer night's rain, you know, and we try to

0:28:35.359 --> 0:28:38.800
<v Speaker 4>say it faster than the other. So you know, lo

0:28:38.960 --> 0:28:42.280
<v Speaker 4>and behold. He goes on to become one of Bruce

0:28:42.280 --> 0:28:45.200
<v Speaker 4>Springsteen's best friends. I see him on a yacht with

0:28:45.240 --> 0:28:47.560
<v Speaker 4>Bruce Springsteen and everybody else, you know what I mean.

0:28:47.720 --> 0:28:51.800
<v Speaker 4>And I'm waiting online for ten hours to get on

0:28:52.000 --> 0:28:58.560
<v Speaker 4>the book. But Tom, when ABC let them go, you know,

0:28:58.640 --> 0:29:00.840
<v Speaker 4>we only let we were only offer to sea.

0:29:01.000 --> 0:29:01.200
<v Speaker 3>Yeah.

0:29:01.200 --> 0:29:04.640
<v Speaker 2>That was one of the shows that was criminally canceled earlier.

0:29:04.680 --> 0:29:07.200
<v Speaker 4>Yeah, canceled over today to have a tough time. I mean,

0:29:07.280 --> 0:29:12.320
<v Speaker 4>guys dressing and drinking, Ye're gonna do that. But we

0:29:12.400 --> 0:29:14.960
<v Speaker 4>knew we were funny, and we were hit funny. We

0:29:15.000 --> 0:29:18.959
<v Speaker 4>were referenced funny, you know what I mean. We had

0:29:19.000 --> 0:29:21.240
<v Speaker 4>a run where we wrentioned somebody in the script and

0:29:21.280 --> 0:29:24.280
<v Speaker 4>they would die for some reason next week or something

0:29:24.280 --> 0:29:28.080
<v Speaker 4>like that. But we really prided ourselves on being very hip,

0:29:28.400 --> 0:29:30.680
<v Speaker 4>and to this day we still have a kind of

0:29:30.680 --> 0:29:34.440
<v Speaker 4>a cult audience in one of them, and Peter, I mean,

0:29:34.480 --> 0:29:38.520
<v Speaker 4>you know Peter. When I was consulting producer on Riba,

0:29:39.200 --> 0:29:40.880
<v Speaker 4>there was a part for Peter, and I made sure

0:29:40.880 --> 0:29:43.959
<v Speaker 4>that Peter got it. So Peter did a Riba and uh,

0:29:44.480 --> 0:29:46.280
<v Speaker 4>he was in the same scene with my son Max,

0:29:46.320 --> 0:29:49.040
<v Speaker 4>who had dialogue invent scene. So it was really a

0:29:49.120 --> 0:29:50.120
<v Speaker 4>true for me.

0:29:51.480 --> 0:29:53.880
<v Speaker 5>You also made stops over at nine to five, give

0:29:53.880 --> 0:29:56.480
<v Speaker 5>me a Break and a different World, and then you

0:29:56.640 --> 0:30:00.160
<v Speaker 5>jumped over to a sitcom starring an award winning rapper

0:30:00.480 --> 0:30:03.600
<v Speaker 5>who had never acted on TV before, with the Fresh

0:30:03.600 --> 0:30:06.320
<v Speaker 5>Prince of bel Air. Did you like was it obvious

0:30:06.400 --> 0:30:07.960
<v Speaker 5>right from the beginning he was going to be a

0:30:08.000 --> 0:30:08.640
<v Speaker 5>sitcom star?

0:30:10.360 --> 0:30:14.160
<v Speaker 4>Yes, yeah, you could, Yes, you can just see it.

0:30:14.520 --> 0:30:22.360
<v Speaker 4>Although we had a very interesting relationship of the two seasons.

0:30:21.920 --> 0:30:23.680
<v Speaker 5>That I was Ewan will Smith.

0:30:24.040 --> 0:30:28.640
<v Speaker 4>When I took over the show, he kind of had

0:30:28.640 --> 0:30:34.200
<v Speaker 4>his own way all the time, and I said, look,

0:30:35.080 --> 0:30:37.920
<v Speaker 4>I'm not like that, I said, so you know he said,

0:30:37.920 --> 0:30:40.640
<v Speaker 4>and I think he respected that. And I told them

0:30:40.680 --> 0:30:44.360
<v Speaker 4>things like, look, you're telegraphing your joke because you don't

0:30:44.400 --> 0:30:47.240
<v Speaker 4>you don't have confidence, and so you're touching the actor

0:30:47.280 --> 0:30:49.920
<v Speaker 4>and the scene with you, right before the joke. It's

0:30:49.920 --> 0:30:52.200
<v Speaker 4>a thing you do. How do you do that? You know?

0:30:52.520 --> 0:30:54.400
<v Speaker 4>I know the joke is coming next. You should you

0:30:54.400 --> 0:30:57.360
<v Speaker 4>know stuff like that. You know that we discussed. I

0:30:57.440 --> 0:31:00.360
<v Speaker 4>made him sit and watch. He hated this, the old

0:31:00.400 --> 0:31:03.640
<v Speaker 4>Sogeant Bilko series. You'll never get rich with Phil Silvis,

0:31:04.520 --> 0:31:08.840
<v Speaker 4>I said, watch this guy. Watch this guy driving episode,

0:31:09.440 --> 0:31:13.400
<v Speaker 4>no matter how flimsy the storyline is. It's like a

0:31:13.440 --> 0:31:16.720
<v Speaker 4>moving train and he takes everybody on the train with

0:31:16.840 --> 0:31:18.880
<v Speaker 4>him and you get to the end. I said, that's

0:31:18.920 --> 0:31:21.680
<v Speaker 4>the kind of energy we need in twenty two minutes,

0:31:22.560 --> 0:31:25.600
<v Speaker 4>because slow time in a twenty two minute show is deadly.

0:31:25.880 --> 0:31:28.959
<v Speaker 4>It really not to say you can't have your moments right,

0:31:29.160 --> 0:31:31.120
<v Speaker 4>you know what I mean? You just need and you

0:31:31.160 --> 0:31:33.880
<v Speaker 4>know when you edit the show too, that's what you

0:31:34.000 --> 0:31:37.520
<v Speaker 4>look for. Again, we're in a twenty two minute play beginning, middle,

0:31:37.560 --> 0:31:40.040
<v Speaker 4>and end. I mean that's why so many of your

0:31:40.080 --> 0:31:45.280
<v Speaker 4>discussions and your listeners discussions about well, what happened to

0:31:45.360 --> 0:31:46.880
<v Speaker 4>this and what happened to that? And how can they

0:31:46.920 --> 0:31:49.200
<v Speaker 4>leave this happen? Like what's happen? But as you know,

0:31:49.400 --> 0:31:53.440
<v Speaker 4>the process is hard and half hours. Well, I don't

0:31:53.440 --> 0:31:55.400
<v Speaker 4>know why we call him half hours. The twenty two

0:31:55.440 --> 0:31:59.760
<v Speaker 4>minutes are harder than hours. And if you think about it,

0:31:59.800 --> 0:32:03.120
<v Speaker 4>the big, the big great sitcoms that did their finales

0:32:03.200 --> 0:32:05.000
<v Speaker 4>is an hour. It kind of bombed.

0:32:05.280 --> 0:32:09.400
<v Speaker 8>Yeah, well the Seinfeld hour wasn't good. I think the

0:32:09.480 --> 0:32:12.800
<v Speaker 8>Cheers hour wasn't good. So what happens when I take

0:32:12.840 --> 0:32:15.120
<v Speaker 8>over Fresh Prince? They told me we want you to

0:32:15.120 --> 0:32:17.040
<v Speaker 8>write an hour opening season show.

0:32:17.920 --> 0:32:21.480
<v Speaker 4>Wha man, right? What I did? And you know, it

0:32:21.560 --> 0:32:24.280
<v Speaker 4>was pretty good and had the funniest scene I've ever

0:32:24.320 --> 0:32:27.360
<v Speaker 4>written was in that. It was called the bungee jump scene,

0:32:27.440 --> 0:32:32.200
<v Speaker 4>and that seemed to work. But yeah, I can tell

0:32:32.240 --> 0:32:35.160
<v Speaker 4>you a lot about Fresh Prince about will I don't know,

0:32:35.560 --> 0:32:37.280
<v Speaker 4>I might need an attorney.

0:32:37.760 --> 0:32:40.320
<v Speaker 5>We don't want you to need an attorney, that's for sure.

0:32:41.160 --> 0:32:44.160
<v Speaker 5>And then you enter the Boy Meets World universe in

0:32:44.480 --> 0:32:48.360
<v Speaker 5>season five with I mean, which might is a little

0:32:48.360 --> 0:32:50.840
<v Speaker 5>bit of a step down from everything else you had

0:32:50.880 --> 0:32:53.920
<v Speaker 5>been working on. How did you end up in the

0:32:53.920 --> 0:32:55.160
<v Speaker 5>Boy Meets World universe?

0:32:55.560 --> 0:32:59.880
<v Speaker 4>Well? Odd, it was odd, I mean I did. I

0:33:00.120 --> 0:33:02.480
<v Speaker 4>was showing the Fresh Prince of Bellia just I guess

0:33:02.480 --> 0:33:05.080
<v Speaker 4>the same time you guys were on the air right

0:33:05.200 --> 0:33:08.120
<v Speaker 4>ninety four, You're on the air, right, so we were

0:33:08.120 --> 0:33:11.400
<v Speaker 4>on concurrently and you know, that's got its clout. And

0:33:11.400 --> 0:33:13.920
<v Speaker 4>then I went from there. I had an overall deal

0:33:14.000 --> 0:33:19.520
<v Speaker 4>at twentieth and and then I was contacted by an

0:33:19.560 --> 0:33:22.040
<v Speaker 4>executive at Disney, David Himmelfarm.

0:33:22.120 --> 0:33:24.920
<v Speaker 2>I don't know if you remember the name of sor and.

0:33:26.320 --> 0:33:28.360
<v Speaker 4>I don't remember how a conversation went, but it was

0:33:28.360 --> 0:33:30.040
<v Speaker 4>in the fifth season when there was a little bit

0:33:30.040 --> 0:33:34.000
<v Speaker 4>of turmoil. There was a change in the guard that

0:33:34.120 --> 0:33:39.720
<v Speaker 4>eventually happened, of course, as you know, and that's when

0:33:39.760 --> 0:33:42.920
<v Speaker 4>they signed me in as a consulting producer. So I

0:33:42.960 --> 0:33:47.240
<v Speaker 4>came aboard in the fifth season kind of just after

0:33:47.280 --> 0:33:52.760
<v Speaker 4>the fifth season that started, and you know, Michael hadn't

0:33:52.760 --> 0:33:56.360
<v Speaker 4>been there yet, and then he took over shortly after

0:33:56.440 --> 0:33:59.600
<v Speaker 4>I got there, and then that adjustment had to be

0:33:59.640 --> 0:34:05.600
<v Speaker 4>made in terms of dealing with Michael Jacobs. And I

0:34:05.720 --> 0:34:11.319
<v Speaker 4>found the staff really nice, great friends. We were close knit.

0:34:12.320 --> 0:34:14.640
<v Speaker 4>I met friends that I still have to this day.

0:34:14.719 --> 0:34:18.279
<v Speaker 4>Jeff Minel is my closest friend. You know, what a

0:34:18.320 --> 0:34:24.280
<v Speaker 4>wonderful guy he is. I became terrific friends with Bob Tishler,

0:34:26.160 --> 0:34:30.120
<v Speaker 4>a great guy. We wound up writing together, but the

0:34:30.200 --> 0:34:32.319
<v Speaker 4>last twenty years. We have a book on Amazon we

0:34:32.360 --> 0:34:37.719
<v Speaker 4>wrote together, you Bo, Yeah, romantic comedy Cold Impossible. And

0:34:37.760 --> 0:34:43.239
<v Speaker 4>when we lost him suddenly last springtime, it was devastating

0:34:43.239 --> 0:34:46.960
<v Speaker 4>and I still feel his loss every day. He's such

0:34:47.000 --> 0:34:49.000
<v Speaker 4>a great friend. But that's all boy meets world stuff,

0:34:49.000 --> 0:34:51.879
<v Speaker 4>you know, Like I said, no things happen in life

0:34:51.880 --> 0:34:56.680
<v Speaker 4>and you meet different people. And Alison Gibson she to

0:34:56.760 --> 0:35:00.400
<v Speaker 4>work with ar on Riba, so you know, you know works.

0:35:00.719 --> 0:35:03.480
<v Speaker 5>Yeah, those connections. You meet, meet with people and some

0:35:03.560 --> 0:35:04.920
<v Speaker 5>of them are in your life forever.

0:35:05.120 --> 0:35:08.120
<v Speaker 4>But it's interesting, Danielle that you mentioned, you know, it

0:35:08.239 --> 0:35:14.120
<v Speaker 4>being a step down. It was different because most of

0:35:14.200 --> 0:35:17.000
<v Speaker 4>the staff people in Bombie's world were you young, or

0:35:17.040 --> 0:35:21.400
<v Speaker 4>they were kind of Michael disciples in a sense, you know.

0:35:21.680 --> 0:35:25.560
<v Speaker 4>And so now suddenly Bob Tishla who was also a showrunner,

0:35:26.120 --> 0:35:30.120
<v Speaker 4>and myself to show runners. Now we're on staff, you know,

0:35:30.440 --> 0:35:37.080
<v Speaker 4>and possibly with different attitudes than mostly everybody else. Not

0:35:37.160 --> 0:35:38.919
<v Speaker 4>that they we don't want to do good work, of course,

0:35:38.920 --> 0:35:41.120
<v Speaker 4>that's always the goal, but you know, it was it

0:35:41.120 --> 0:35:47.040
<v Speaker 4>was an interesting dynamic. Bob and I kind of had

0:35:47.120 --> 0:35:50.480
<v Speaker 4>a little bit of spartico there how to deal with

0:35:50.480 --> 0:35:59.839
<v Speaker 4>with things right. Wow. M hm.

0:36:04.920 --> 0:36:07.880
<v Speaker 5>So had you seen Boy Meets World before you became

0:36:08.320 --> 0:36:10.960
<v Speaker 5>a consulting producer on it? Had you did they give

0:36:10.960 --> 0:36:14.080
<v Speaker 5>you VHS tapes to help you prep? Did they sell

0:36:14.120 --> 0:36:17.280
<v Speaker 5>you VHS tapes of the show, because we got ours.

0:36:18.280 --> 0:36:20.040
<v Speaker 4>They gave me drawings and I try.

0:36:19.880 --> 0:36:23.440
<v Speaker 5>To okay a comic book aramatic perfect.

0:36:23.680 --> 0:36:26.080
<v Speaker 4>Well, you know what, I don't remember what I usually

0:36:26.120 --> 0:36:29.560
<v Speaker 4>do if I if I get hired on a show

0:36:29.600 --> 0:36:31.960
<v Speaker 4>that I don't know about, or I from off for

0:36:32.000 --> 0:36:34.200
<v Speaker 4>a show I don't know about it. You know, watch

0:36:34.400 --> 0:36:37.360
<v Speaker 4>ten episodes, seven episodes of last season. I did that

0:36:37.440 --> 0:36:39.279
<v Speaker 4>with a Different World too. I hadn't been watching a

0:36:39.320 --> 0:36:42.680
<v Speaker 4>Different World and you kind of cram and you're watching

0:36:42.920 --> 0:36:46.880
<v Speaker 4>and you get a feel for it. But yours is

0:36:46.880 --> 0:36:50.120
<v Speaker 4>so different because you guys are growing up. You know,

0:36:50.520 --> 0:36:54.440
<v Speaker 4>every year, it's different. You're different people that it's said to,

0:36:54.640 --> 0:36:58.920
<v Speaker 4>different values, different objects of what you want to do,

0:36:59.160 --> 0:37:03.400
<v Speaker 4>andationships change and all that. So it's a very interesting show.

0:37:03.520 --> 0:37:07.760
<v Speaker 4>And I am very pleased with some of the episodes

0:37:07.800 --> 0:37:10.480
<v Speaker 4>that I wrote for the show. Really, I think we

0:37:10.520 --> 0:37:13.520
<v Speaker 4>can get to talk to it sometime later. Yeah, Chet

0:37:13.600 --> 0:37:15.839
<v Speaker 4>Dying episode is one of my favorites.

0:37:15.520 --> 0:37:19.120
<v Speaker 5>That we haven't gotten to that episode yet, so we

0:37:19.320 --> 0:37:22.520
<v Speaker 5>have not seen it.

0:37:25.000 --> 0:37:29.040
<v Speaker 3>Cast give rid of Blake, you can't, he's too good.

0:37:29.480 --> 0:37:32.640
<v Speaker 5>So in your first season, season five, you write an

0:37:32.719 --> 0:37:37.280
<v Speaker 5>episode late in the show order, the controversial and somewhat banned,

0:37:37.400 --> 0:37:40.200
<v Speaker 5>if you can't be with the one you love? Do

0:37:40.280 --> 0:37:45.120
<v Speaker 5>you remember the genesis of that very kind of adult theme?

0:37:45.320 --> 0:37:47.280
<v Speaker 5>Was it your idea?

0:37:47.640 --> 0:37:51.560
<v Speaker 4>Okay, here we go. First of all, I'm sorry we're

0:37:51.600 --> 0:37:59.160
<v Speaker 4>all losing out on residuals on that episode. Right. Ironically,

0:38:00.320 --> 0:38:05.160
<v Speaker 4>my first on air Laverne Shirley script that aired on

0:38:05.239 --> 0:38:08.560
<v Speaker 4>television was called what Do You Do with a Drunken Salor?

0:38:08.960 --> 0:38:10.400
<v Speaker 4>And it was about it was a kind of a

0:38:10.520 --> 0:38:13.880
<v Speaker 4>serious Laverne and Shirley where her brother Bobby played by

0:38:14.000 --> 0:38:17.359
<v Speaker 4>Ed Begley Jr. Comes home on leave and he's got

0:38:17.360 --> 0:38:22.200
<v Speaker 4>a drinking problem. So it was in my pedigree through

0:38:22.239 --> 0:38:25.280
<v Speaker 4>those kinds of stories. And I've also gravitated in my career.

0:38:25.800 --> 0:38:28.680
<v Speaker 4>I've done some real what they call the special episode,

0:38:29.400 --> 0:38:32.840
<v Speaker 4>some serious stuff, especially Different World. I did a racial

0:38:32.960 --> 0:38:36.640
<v Speaker 4>violence episode will when I took over with Fresh Prince.

0:38:37.080 --> 0:38:40.600
<v Speaker 4>I said, we joke about it him not having a father,

0:38:40.719 --> 0:38:42.480
<v Speaker 4>let's bring his father back. We brought his.

0:38:42.480 --> 0:38:45.760
<v Speaker 2>Father backs, like one of the most famous episodes.

0:38:45.840 --> 0:38:51.000
<v Speaker 4>Yeah, Mareen, and so I kind of gravitate towards some

0:38:51.160 --> 0:38:59.319
<v Speaker 4>serious themes. I figured that at Corey's age, young kid

0:38:59.480 --> 0:39:02.040
<v Speaker 4>boy like that, being the feelings he had about the

0:39:02.080 --> 0:39:05.040
<v Speaker 4>Panguin being you know, separated from her, would lead to

0:39:05.080 --> 0:39:09.640
<v Speaker 4>some experimentation of the kind, especially since he was considered

0:39:09.680 --> 0:39:12.040
<v Speaker 4>depressing and everybody was on his case and so on

0:39:12.080 --> 0:39:17.080
<v Speaker 4>and so forth. So I can't exactly remember if it

0:39:17.120 --> 0:39:20.520
<v Speaker 4>was my idea. It probably was because of my history

0:39:20.560 --> 0:39:23.680
<v Speaker 4>with that, but I can tell you that this episode

0:39:24.560 --> 0:39:30.240
<v Speaker 4>is a story of two acts acts acts. The first

0:39:30.320 --> 0:39:34.360
<v Speaker 4>act it's pretty true to my draft. I have my draft.

0:39:34.360 --> 0:39:37.680
<v Speaker 4>I love to send it to you. Second goes off

0:39:37.760 --> 0:39:43.120
<v Speaker 4>into Michael Jacob's land. Let me give you an example. I

0:39:43.400 --> 0:39:47.279
<v Speaker 4>listened to your your discussion. Will you're not in the

0:39:47.320 --> 0:39:50.839
<v Speaker 4>episode now in my script, you're in three scenes and

0:39:50.880 --> 0:39:54.000
<v Speaker 4>in both acts. And not only are you in both acts,

0:39:54.280 --> 0:40:00.200
<v Speaker 4>you're in the climactic act with uh Sean and Jack

0:40:00.520 --> 0:40:08.480
<v Speaker 4>and Corey in the apartment. Jack enlightens Sean about the predisposition,

0:40:08.600 --> 0:40:12.719
<v Speaker 4>the genetical predisciplined Dad and how serious it is, and

0:40:12.719 --> 0:40:17.600
<v Speaker 4>that he hit Jack's mother and that's what turns Sean.

0:40:18.360 --> 0:40:22.480
<v Speaker 4>The girls aren't weren't even in that scene in my set.

0:40:23.440 --> 0:40:28.000
<v Speaker 4>So the heat that I might take because Sean throws

0:40:28.280 --> 0:40:32.120
<v Speaker 4>engines against the wall was never in my script. I

0:40:32.120 --> 0:40:35.520
<v Speaker 4>wouldn't put it into my script, and I cringe every

0:40:35.560 --> 0:40:39.320
<v Speaker 4>time I see it. You feel about it, but it

0:40:40.880 --> 0:40:44.719
<v Speaker 4>upsets me because my name's on that script, you know.

0:40:44.520 --> 0:40:46.719
<v Speaker 4>And there's a lot of shoving in that episode that

0:40:46.800 --> 0:40:49.440
<v Speaker 4>wasn't in my draft, So I don't know where the

0:40:49.560 --> 0:40:52.920
<v Speaker 4>pension for shoving people comes from. So that's one thing

0:40:52.960 --> 0:40:56.120
<v Speaker 4>I certainly wanted to point out. The Other thing is

0:40:56.200 --> 0:41:00.520
<v Speaker 4>that the family's more involved in promoting. There's a scene

0:41:00.520 --> 0:41:04.239
<v Speaker 4>before Corey goes to the party where Alan basically says,

0:41:04.239 --> 0:41:06.920
<v Speaker 4>you know you are depressing. Everybody does something about it,

0:41:06.960 --> 0:41:09.880
<v Speaker 4>you know, like a phone, and that's that's when Corey

0:41:09.920 --> 0:41:12.879
<v Speaker 4>goes and gets the alcohol and shows up. There's also

0:41:12.920 --> 0:41:17.720
<v Speaker 4>another family scene after the cop car shows up, where

0:41:17.920 --> 0:41:21.440
<v Speaker 4>Amy's worried they're out late and Alan says, don't don't

0:41:21.440 --> 0:41:23.959
<v Speaker 4>worry that we told them to have finding's having fun.

0:41:24.080 --> 0:41:28.680
<v Speaker 4>Let them be, and then they get the calls so,

0:41:29.040 --> 0:41:30.759
<v Speaker 4>and then the second half goes from where it was.

0:41:30.840 --> 0:41:33.120
<v Speaker 4>But also in the second halfter in my draft, I

0:41:33.200 --> 0:41:37.439
<v Speaker 4>have Feeney being much more instrumental in helping Sean. Post

0:41:37.520 --> 0:41:39.880
<v Speaker 4>to Sean, he gives him a card for doctor to

0:41:39.920 --> 0:41:43.640
<v Speaker 4>call Doctor Kramer call him, he can help you with this,

0:41:44.000 --> 0:41:48.920
<v Speaker 4>and then after Sean is enlightened by Jack, Sean eventually

0:41:48.960 --> 0:41:51.920
<v Speaker 4>does go for help. And the last scene is I

0:41:52.160 --> 0:41:54.640
<v Speaker 4>have it written. I look at the script some time later,

0:41:54.760 --> 0:41:59.640
<v Speaker 4>not the next day. All those things about lock of this,

0:42:00.200 --> 0:42:02.400
<v Speaker 4>why would he he's drunk one day. He's not drunk

0:42:02.400 --> 0:42:05.279
<v Speaker 4>in that saying no, this is a passion. Yeah, it's

0:42:05.320 --> 0:42:07.480
<v Speaker 4>real hard to show that, you know, if you could

0:42:07.480 --> 0:42:12.400
<v Speaker 4>write it in the script right, unless you say sometime later. Yea.

0:42:12.840 --> 0:42:15.919
<v Speaker 4>So those are some of the broad strokes about that episode.

0:42:16.160 --> 0:42:19.600
<v Speaker 6>Wow, yeah, I remember our feeling was like this should

0:42:19.640 --> 0:42:21.479
<v Speaker 6>have been a two parter, or you know, he's trying

0:42:21.480 --> 0:42:24.960
<v Speaker 6>to cramp so much into it. Yeah, So it sounds

0:42:25.000 --> 0:42:30.200
<v Speaker 6>like the Angela factor was like layered in after your

0:42:30.280 --> 0:42:30.839
<v Speaker 6>draft and.

0:42:30.960 --> 0:42:33.480
<v Speaker 3>Just just trying to do too much so much.

0:42:33.560 --> 0:42:39.320
<v Speaker 4>Also, her reaction, I couldn't stand her reaction if I

0:42:39.360 --> 0:42:43.160
<v Speaker 4>were writing that scene and you shoved, you would hear

0:42:43.200 --> 0:42:45.480
<v Speaker 4>about it right there in the moment. She wouldn't, you know,

0:42:46.000 --> 0:42:50.279
<v Speaker 4>slink away and and and cower and say late, I

0:42:50.320 --> 0:42:52.759
<v Speaker 4>still love you. When you don't drink, she tells you

0:42:52.800 --> 0:42:55.440
<v Speaker 4>often know, on certain terms is what she would do.

0:42:55.640 --> 0:43:00.319
<v Speaker 4>So again, those are choices. I'm not blaming anybody. I'm

0:43:00.480 --> 0:43:03.600
<v Speaker 4>just revealing the way what happened.

0:43:04.200 --> 0:43:06.719
<v Speaker 2>Now, how much say in the room did you have

0:43:06.800 --> 0:43:08.800
<v Speaker 2>if there was something that you know, from your original

0:43:08.880 --> 0:43:12.040
<v Speaker 2>draft you felt very strongly about. Is that something that

0:43:12.160 --> 0:43:14.080
<v Speaker 2>if you fought for it would stay in or was

0:43:14.080 --> 0:43:16.360
<v Speaker 2>it kind of, hey, this is we're changing it, and

0:43:16.360 --> 0:43:17.560
<v Speaker 2>that's just the way it is. I mean, we all

0:43:17.600 --> 0:43:19.160
<v Speaker 2>know it's Michael Show at the end of the day,

0:43:19.200 --> 0:43:20.680
<v Speaker 2>and he gets to do what he wants, and that's

0:43:20.880 --> 0:43:22.600
<v Speaker 2>what one of the things you get when you're in

0:43:22.600 --> 0:43:25.080
<v Speaker 2>the big chair is you just that's that's how it works.

0:43:26.040 --> 0:43:27.640
<v Speaker 2>I mean, So, is it something that if you had

0:43:27.680 --> 0:43:30.920
<v Speaker 2>gone in and really fought for it, it would have changed,

0:43:31.040 --> 0:43:32.279
<v Speaker 2>or is it kind of like, no, this is this

0:43:32.360 --> 0:43:34.400
<v Speaker 2>is where we're taking I don't remember.

0:43:34.760 --> 0:43:40.879
<v Speaker 4>I certainly know the shoving scene really bothered me, and

0:43:40.920 --> 0:43:43.120
<v Speaker 4>I don't recall if I expressed that or not I

0:43:43.239 --> 0:43:48.560
<v Speaker 4>might have. I certainly never help myself back when I

0:43:48.600 --> 0:43:51.359
<v Speaker 4>wanted to express myself. But as you said, it wasn't

0:43:51.400 --> 0:43:53.960
<v Speaker 4>my show right at the show. I've been a show

0:43:54.040 --> 0:43:56.200
<v Speaker 4>on it, so I know both sides of it. I

0:43:56.280 --> 0:43:59.200
<v Speaker 4>know that side, I know this side, and I know

0:43:59.280 --> 0:44:02.800
<v Speaker 4>the writer's side, and you know all the uh pressure

0:44:02.840 --> 0:44:05.880
<v Speaker 4>you get from from executives and studios and all of

0:44:05.920 --> 0:44:14.120
<v Speaker 4>that stuff. However, it bothered me, and obviously it didn't

0:44:14.719 --> 0:44:18.279
<v Speaker 4>bother anybody else enough that because it stayed in and

0:44:18.640 --> 0:44:20.520
<v Speaker 4>sometimes I wonder, I said, why wasn't there a network

0:44:20.520 --> 0:44:24.399
<v Speaker 4>note about that? I mean, why why was that condoned? Right?

0:44:25.320 --> 0:44:27.600
<v Speaker 4>Of course you couldn't. You'd have a hard time doing

0:44:27.640 --> 0:44:28.440
<v Speaker 4>that scene today.

0:44:29.280 --> 0:44:31.520
<v Speaker 5>Yeah, absolutely, I mean right right.

0:44:31.760 --> 0:44:32.440
<v Speaker 4>How do you feel?

0:44:34.640 --> 0:44:36.120
<v Speaker 3>Yeah, I mean I remember.

0:44:37.239 --> 0:44:39.360
<v Speaker 6>It all just felt too much like that that that

0:44:39.360 --> 0:44:41.520
<v Speaker 6>that scene in particular, was like, oh, we're going to

0:44:41.600 --> 0:44:47.240
<v Speaker 6>compress this revelation about his dad and you know, basically

0:44:47.280 --> 0:44:53.439
<v Speaker 6>make Sean an angry, alcoholic, you know, abusive. I think

0:44:53.440 --> 0:44:56.879
<v Speaker 6>the I guess for me, if you're going to do that,

0:44:57.360 --> 0:44:59.880
<v Speaker 6>it just didn't never felt like the consequences were resolved

0:45:00.080 --> 0:45:03.560
<v Speaker 6>in a way that empowered Angela. It was always like, oh,

0:45:04.160 --> 0:45:07.400
<v Speaker 6>Angela getting hurt was a way for Sean to change

0:45:07.960 --> 0:45:10.320
<v Speaker 6>and for him to come to a realization, as opposed

0:45:10.400 --> 0:45:12.879
<v Speaker 6>for for it to be a moment of like, oh

0:45:12.920 --> 0:45:15.480
<v Speaker 6>Sean needs you know, if you're going to hurt somebody,

0:45:15.640 --> 0:45:17.719
<v Speaker 6>have her stand up for herself a little bit, or

0:45:17.760 --> 0:45:20.520
<v Speaker 6>have her affect the change and Sean as opposed to

0:45:20.560 --> 0:45:21.600
<v Speaker 6>just kind of being a prop.

0:45:21.680 --> 0:45:21.840
<v Speaker 4>You know.

0:45:21.920 --> 0:45:25.040
<v Speaker 6>Unfortunately, Angela, especially at that point in the series, she

0:45:25.120 --> 0:45:26.240
<v Speaker 6>didn't have much of a character.

0:45:26.320 --> 0:45:28.520
<v Speaker 3>She didn't have much of a voice. I mean, now

0:45:28.520 --> 0:45:29.040
<v Speaker 3>we're seeing in.

0:45:29.040 --> 0:45:32.120
<v Speaker 6>The season six stuff there is you know, they've developed

0:45:32.120 --> 0:45:34.760
<v Speaker 6>her and now Corey finally talks to her, for instance,

0:45:35.280 --> 0:45:37.359
<v Speaker 6>But back then, you know, she was just kind of

0:45:37.800 --> 0:45:40.279
<v Speaker 6>brought in. Her first couple episodes were great, but then

0:45:40.280 --> 0:45:42.040
<v Speaker 6>I feel like the rest of season five she does

0:45:42.080 --> 0:45:43.799
<v Speaker 6>not have enough of a presence. You know that it's

0:45:43.800 --> 0:45:46.640
<v Speaker 6>not written to so yeah, so that bothers me, but I.

0:45:46.560 --> 0:45:49.719
<v Speaker 4>Agree with you it should have been a more elaborate

0:45:49.760 --> 0:45:53.200
<v Speaker 4>episode to you know, to two episodes, to say the least,

0:45:53.200 --> 0:45:58.120
<v Speaker 4>because it kind of gives you know, I have an

0:45:58.160 --> 0:46:02.000
<v Speaker 4>award Yere for the episode. So anytime you tackle something

0:46:02.000 --> 0:46:04.360
<v Speaker 4>like that. Sometimes you'll get an award for it because

0:46:05.160 --> 0:46:07.600
<v Speaker 4>there is some good stuff in that obviously, Yeah, but

0:46:08.880 --> 0:46:11.560
<v Speaker 4>it gives it short shrift. It's just right, you know,

0:46:11.640 --> 0:46:14.880
<v Speaker 4>and that's what's wrong. Sometimes its sitcom is one episode.

0:46:15.520 --> 0:46:17.319
<v Speaker 4>Oh it wasn't as year cut off last week, and

0:46:17.320 --> 0:46:21.000
<v Speaker 4>that was years back, right, right, Well, we got to

0:46:21.040 --> 0:46:23.040
<v Speaker 4>carry these things through, you know what I mean.

0:46:24.120 --> 0:46:26.720
<v Speaker 2>Well, there was no streaming at the time, so weeks

0:46:26.719 --> 0:46:29.120
<v Speaker 2>would go by, if not months would go by, you'd

0:46:29.120 --> 0:46:30.080
<v Speaker 2>forget what happened.

0:46:30.680 --> 0:46:32.120
<v Speaker 3>You know, hey, two seasons ago, Like.

0:46:32.040 --> 0:46:34.200
<v Speaker 2>We always joke about mash where it's like, at one

0:46:34.200 --> 0:46:37.120
<v Speaker 2>point everybody's wife was named Louise, and then there was

0:46:37.200 --> 0:46:40.640
<v Speaker 2>change to Mildred, and Sean had sisters and a brother

0:46:40.840 --> 0:46:44.319
<v Speaker 2>and this, and so when the idea of streaming didn't

0:46:44.320 --> 0:46:46.080
<v Speaker 2>even exist, even the idea.

0:46:45.800 --> 0:46:47.680
<v Speaker 3>Of we can watch these back to back to back

0:46:47.719 --> 0:46:49.839
<v Speaker 3>to back to back, you're writing it and you kind

0:46:49.840 --> 0:46:51.560
<v Speaker 3>of okay, well, I'm kind of forgetting some.

0:46:51.480 --> 0:46:53.120
<v Speaker 2>Of the details of the stuff we did before, and

0:46:53.160 --> 0:46:54.680
<v Speaker 2>you kind of move on with it for what you

0:46:54.719 --> 0:46:56.960
<v Speaker 2>need that week. And now that we're streaming all the

0:46:57.000 --> 0:46:57.879
<v Speaker 2>old shows, it's like.

0:46:57.840 --> 0:47:00.279
<v Speaker 3>Wow, oh, okay, there's not a whole lot of consents and.

0:47:00.200 --> 0:47:03.600
<v Speaker 5>Seeing some of these well, and when we interviewed when

0:47:03.600 --> 0:47:06.239
<v Speaker 5>we had the bro Meats World guys on, and I

0:47:06.520 --> 0:47:11.399
<v Speaker 5>remember being very feeling, very poignant when they pointed out

0:47:11.640 --> 0:47:14.280
<v Speaker 5>that what it felt like to see the only woman

0:47:14.320 --> 0:47:17.360
<v Speaker 5>of color on the show be the one treated in

0:47:17.400 --> 0:47:20.880
<v Speaker 5>that way. Yeah, and how that comes across to the audience,

0:47:20.920 --> 0:47:23.719
<v Speaker 5>and how that adds a layer to it that certainly

0:47:23.800 --> 0:47:27.560
<v Speaker 5>I had never thought of, But hearing them say it

0:47:27.600 --> 0:47:30.919
<v Speaker 5>was like, yeah, absolutely, what kind of a message does

0:47:30.960 --> 0:47:33.960
<v Speaker 5>that send to the people watching? So I can see,

0:47:34.040 --> 0:47:36.280
<v Speaker 5>of course why that would bother you. And it's very interesting.

0:47:36.320 --> 0:47:38.960
<v Speaker 5>Thank you for providing that perspective for us too, because

0:47:39.280 --> 0:47:41.319
<v Speaker 5>we have had you know, a lot of writers on

0:47:41.360 --> 0:47:45.319
<v Speaker 5>and we've often talked about how the writer whose name

0:47:45.360 --> 0:47:47.520
<v Speaker 5>is on the script, they are always almost like, oh, well,

0:47:47.560 --> 0:47:50.000
<v Speaker 5>that really funny thing you're talking about, Oh that you

0:47:50.120 --> 0:47:51.640
<v Speaker 5>don't give me all the credit for it. It was

0:47:51.680 --> 0:47:54.480
<v Speaker 5>a group effort. But it also can happen in the

0:47:54.520 --> 0:47:56.839
<v Speaker 5>reverse way, where your name is on a script and

0:47:56.880 --> 0:47:59.080
<v Speaker 5>something is in there that you do not like, that

0:47:59.120 --> 0:48:02.279
<v Speaker 5>you're not proud of, that you actually completely do not

0:48:02.360 --> 0:48:05.520
<v Speaker 5>agree with, and yet people want to then give it

0:48:05.520 --> 0:48:07.279
<v Speaker 5>to you and say, well, you're the one who wrote it,

0:48:07.320 --> 0:48:11.320
<v Speaker 5>and we haven't really had that perspective on the show before.

0:48:11.880 --> 0:48:14.920
<v Speaker 5>So thank you for one your honesty and telling us

0:48:14.920 --> 0:48:18.040
<v Speaker 5>about that and you know, bringing that up for us

0:48:18.080 --> 0:48:20.400
<v Speaker 5>because it's a perspective we have not experienced on the

0:48:20.400 --> 0:48:20.920
<v Speaker 5>show before.

0:48:22.040 --> 0:48:27.640
<v Speaker 4>Okay, thank you. Brubby's world Guy's name me. Yeah, and

0:48:27.680 --> 0:48:32.439
<v Speaker 4>we had a really good time. And why what you're

0:48:33.280 --> 0:48:36.839
<v Speaker 4>What they said about that moment with Angela really hits

0:48:36.840 --> 0:48:39.520
<v Speaker 4>home with me again, Yeah, because part of what they

0:48:39.560 --> 0:48:44.399
<v Speaker 4>said to me was, as two young black men, how

0:48:44.640 --> 0:48:48.279
<v Speaker 4>a lot of the episodes I wrote, especially in a

0:48:48.320 --> 0:48:55.920
<v Speaker 4>different world, really affected them and their families and their community.

0:48:56.560 --> 0:48:57.799
<v Speaker 4>You know, thank me.

0:48:58.440 --> 0:49:01.880
<v Speaker 5>Right in a positive way, Yeah, thank me for the

0:49:02.000 --> 0:49:04.319
<v Speaker 5>messages in those episodes.

0:49:04.680 --> 0:49:07.560
<v Speaker 4>And then you know, for them to think, what Gary,

0:49:08.800 --> 0:49:13.200
<v Speaker 4>what is he doing to this platform? You know? So, yeah,

0:49:13.320 --> 0:49:15.399
<v Speaker 4>you have no voice, and I guess this is kind

0:49:15.400 --> 0:49:19.640
<v Speaker 4>of a voice, so a little bit of rebuttal right exactly.

0:49:31.760 --> 0:49:35.000
<v Speaker 5>So then in season six, we just watched your episode,

0:49:35.040 --> 0:49:37.440
<v Speaker 5>your script of that season, You're Married, You're Dead. I

0:49:37.480 --> 0:49:40.560
<v Speaker 5>am assuming that that was maybe a script that had

0:49:40.600 --> 0:49:42.960
<v Speaker 5>it been for anything other than for a Family show

0:49:43.000 --> 0:49:45.040
<v Speaker 5>on Friday nights probably would have taken place in a

0:49:45.040 --> 0:49:46.880
<v Speaker 5>strip club. Is that correct?

0:49:47.160 --> 0:49:53.800
<v Speaker 4>That's exactly right, you know. And again I'm guilty, uh wrong,

0:49:54.000 --> 0:50:01.920
<v Speaker 4>wrong arena for that show. But again, I mean, he's

0:50:02.000 --> 0:50:06.080
<v Speaker 4>a college kid. I know these kids do, they go

0:50:06.200 --> 0:50:08.279
<v Speaker 4>to strip club. So it was a strip club in

0:50:08.640 --> 0:50:12.400
<v Speaker 4>my draft. It got changed. In fact, in my draft,

0:50:12.440 --> 0:50:17.400
<v Speaker 4>I think it said the women are as scantily clad

0:50:17.560 --> 0:50:22.400
<v Speaker 4>as network standards and practices will allow. Yeah, caviat I

0:50:22.400 --> 0:50:24.880
<v Speaker 4>put in there, and you know, I got changed at

0:50:24.880 --> 0:50:27.960
<v Speaker 4>club club odges and that by the end that girls

0:50:27.960 --> 0:50:30.959
<v Speaker 4>were dressing like nuns. It wasn't It was.

0:50:30.880 --> 0:50:33.240
<v Speaker 3>Like, who do is light right exactly?

0:50:34.719 --> 0:50:36.920
<v Speaker 4>You talk about the change in an episode. Now, I'm

0:50:36.960 --> 0:50:39.520
<v Speaker 4>not defending an episode, so not like I would defend

0:50:39.880 --> 0:50:43.719
<v Speaker 4>the Drinking Show or anything else. I know, it's kind

0:50:43.719 --> 0:50:52.360
<v Speaker 4>of fun. But the whole Eric Jack Rachel storyline was

0:50:52.640 --> 0:50:56.480
<v Speaker 4>completely known my script. They were vying for her attention,

0:50:56.920 --> 0:51:01.520
<v Speaker 4>and they hired a College of buff college guy to

0:51:01.719 --> 0:51:07.400
<v Speaker 4>woo Rachel because their their theory was she's more susceptible

0:51:07.680 --> 0:51:10.240
<v Speaker 4>on the rebound. So we get this cut of dumper

0:51:10.480 --> 0:51:13.239
<v Speaker 4>and then one of us makes in that was that storyline,

0:51:13.400 --> 0:51:17.080
<v Speaker 4>how they how they wound up in club. I don't remember.

0:51:17.440 --> 0:51:19.239
<v Speaker 6>That's fine because I actually really like the idea of

0:51:19.280 --> 0:51:22.719
<v Speaker 6>having the sort of male version of eye Candy coming

0:51:22.800 --> 0:51:27.279
<v Speaker 6>in because then you have like a storyline, yeah you have,

0:51:27.440 --> 0:51:29.680
<v Speaker 6>and how they would think that, that's how she would

0:51:29.719 --> 0:51:37.879
<v Speaker 6>think by you know, we're just gonna.

0:51:36.040 --> 0:51:39.200
<v Speaker 5>Here's a question. Did you create the tushy dance?

0:51:45.280 --> 0:51:47.960
<v Speaker 4>You know, I watched the episode and I laughed, I said,

0:51:48.000 --> 0:51:52.359
<v Speaker 4>this is a cute episode. You know. Sometimes we'll get

0:51:53.120 --> 0:51:57.480
<v Speaker 4>you know, too analytical, too serious, and forget what we're

0:51:57.520 --> 0:52:00.840
<v Speaker 4>doing here. You know. Yeah, and I and I listened

0:52:00.840 --> 0:52:03.200
<v Speaker 4>to you guys enough to know there's a lot of

0:52:03.239 --> 0:52:10.279
<v Speaker 4>times when the comedy is suspect in a sense, but

0:52:10.520 --> 0:52:13.399
<v Speaker 4>you know it is common. You do need to do

0:52:13.440 --> 0:52:17.600
<v Speaker 4>that otherwise you have dramas so bal it's always hard

0:52:17.600 --> 0:52:19.520
<v Speaker 4>to do the balance. You know, you have a special episode.

0:52:19.560 --> 0:52:22.600
<v Speaker 3>And again, yeah, we struggle with that same thing.

0:52:22.640 --> 0:52:25.880
<v Speaker 2>We struggle with try to not sometimes we take it

0:52:25.920 --> 0:52:27.719
<v Speaker 2>too seriously. We know we take it too seriously, but

0:52:27.760 --> 0:52:30.480
<v Speaker 2>then you know, it's what we're doing, is we're analyzing

0:52:30.520 --> 0:52:32.879
<v Speaker 2>a show. That's the point of kind of what we're doing.

0:52:33.000 --> 0:52:36.640
<v Speaker 5>We also have said several times we do not reference

0:52:36.760 --> 0:52:42.160
<v Speaker 5>enough how unbelievably difficult it is to churn out twenty

0:52:42.680 --> 0:52:48.920
<v Speaker 5>two scripts or sometimes twenty four scripts at the breakneck

0:52:49.000 --> 0:52:52.520
<v Speaker 5>speed that you guys are doing it, and receiving notes

0:52:52.680 --> 0:52:56.680
<v Speaker 5>from network and standards and practices and your actors, who

0:52:56.680 --> 0:52:59.920
<v Speaker 5>are you know, having opinions about things like you know,

0:53:00.160 --> 0:53:02.920
<v Speaker 5>you're not going to please everybody, and not every one

0:53:02.960 --> 0:53:05.799
<v Speaker 5>of them is going to be, oh wow, love this

0:53:05.960 --> 0:53:08.680
<v Speaker 5>a plus. You know, sometimes you're just going to have

0:53:08.680 --> 0:53:10.799
<v Speaker 5>an episode that exists and that is going to be

0:53:10.920 --> 0:53:11.359
<v Speaker 5>what it is.

0:53:11.400 --> 0:53:14.040
<v Speaker 2>Sometimes Henry Winkler is literally jumping the shark.

0:53:17.000 --> 0:53:20.680
<v Speaker 4>Listen, and you don't know where the notes are coming from. Yeah,

0:53:20.920 --> 0:53:23.280
<v Speaker 4>and again, I'll talk at the school. I got nothing

0:53:23.280 --> 0:53:29.319
<v Speaker 4>to lose anymore. When we went on Rieba and by

0:53:29.360 --> 0:53:32.560
<v Speaker 4>the way, a little history on Riva. Alison was writing

0:53:32.600 --> 0:53:34.160
<v Speaker 4>that pilot.

0:53:33.840 --> 0:53:37.799
<v Speaker 5>While she was on our show as Gibson.

0:53:37.680 --> 0:53:39.720
<v Speaker 4>Alice Gibson. We became friends. She was in the office

0:53:39.760 --> 0:53:41.719
<v Speaker 4>next to me and she was telling me about it,

0:53:41.760 --> 0:53:45.040
<v Speaker 4>and then when she went to pilot on it, I

0:53:45.040 --> 0:53:46.480
<v Speaker 4>did a little work with her on it. She made

0:53:46.520 --> 0:53:48.200
<v Speaker 4>a little punch and stuff like that, so I worked

0:53:48.200 --> 0:53:50.520
<v Speaker 4>with her, and then she eventually hired me on the show.

0:53:51.080 --> 0:53:58.520
<v Speaker 4>And Reba McIntyre's husband at the time was Narvel Blackstock.

0:53:58.960 --> 0:54:01.080
<v Speaker 4>If you want to create a villain's name, there is.

0:54:04.000 --> 0:54:05.080
<v Speaker 3>Trying to steal the sun.

0:54:05.480 --> 0:54:08.600
<v Speaker 4>He used to be I think the keyboard player in

0:54:08.640 --> 0:54:11.439
<v Speaker 4>a band or the bass player, right, but no more.

0:54:11.800 --> 0:54:15.000
<v Speaker 4>Now he's her husband, and he's the first guy to

0:54:15.080 --> 0:54:20.600
<v Speaker 4>give notes after a table ry wow. And and me,

0:54:20.880 --> 0:54:24.320
<v Speaker 4>as a veteran writer, been to all the wars since

0:54:24.400 --> 0:54:28.640
<v Speaker 4>nineteen seventy nine. I said, we're taking notes from the

0:54:28.840 --> 0:54:36.000
<v Speaker 4>keyboard time scripts. And then way at the end, when

0:54:36.040 --> 0:54:40.279
<v Speaker 4>it got really ugly, they called me in for a

0:54:40.320 --> 0:54:43.600
<v Speaker 4>meeting and Narvel black Socks said to me, you know

0:54:43.719 --> 0:54:46.440
<v Speaker 4>that episode of football episode that we all hate something.

0:54:46.840 --> 0:54:50.400
<v Speaker 4>I said yeah. He said, well, I can't believe you

0:54:50.440 --> 0:54:52.799
<v Speaker 4>could go home and sleep at night and know my

0:54:52.840 --> 0:54:56.080
<v Speaker 4>wife had to stay on stage and say that that stuff,

0:54:56.120 --> 0:55:00.279
<v Speaker 4>that embarrassing stuff like that. And I said, Narvel, let

0:55:00.360 --> 0:55:02.759
<v Speaker 4>me explain something to you. It wasn't a good episode.

0:55:03.080 --> 0:55:07.279
<v Speaker 4>But sometimes we spend more time on a lousy episode

0:55:07.400 --> 0:55:09.440
<v Speaker 4>than we do in a good episode because we can't

0:55:09.480 --> 0:55:13.040
<v Speaker 4>find it, you know. So it's painstaking and it doesn't

0:55:13.120 --> 0:55:16.160
<v Speaker 4>work that well. But getting back to what you mentioned about,

0:55:16.360 --> 0:55:19.320
<v Speaker 4>when you're doing twenty two a season, you're going to

0:55:19.400 --> 0:55:24.279
<v Speaker 4>have some clunkers. Everybody's got to understand that, and that's

0:55:24.320 --> 0:55:26.840
<v Speaker 4>part of the deal. That's part of the experience.

0:55:28.200 --> 0:55:30.240
<v Speaker 3>And that's for every show in the history of Hollywood.

0:55:30.239 --> 0:55:32.479
<v Speaker 2>There's no sense like it's like finding a boxer who's

0:55:32.520 --> 0:55:34.000
<v Speaker 2>fought for twelve years and never lost.

0:55:34.040 --> 0:55:34.840
<v Speaker 3>It doesn't exist.

0:55:34.920 --> 0:55:37.920
<v Speaker 2>You have good episodes and bad episodes, and your favorite

0:55:37.920 --> 0:55:40.040
<v Speaker 2>show in the history of the world, whatever it is,

0:55:40.120 --> 0:55:42.759
<v Speaker 2>has had bad episodes too, So it's just the way

0:55:42.800 --> 0:55:43.200
<v Speaker 2>it works.

0:55:43.320 --> 0:55:48.000
<v Speaker 5>Yeah, So no spoilers. We already heard a spoiler about

0:55:48.080 --> 0:55:50.719
<v Speaker 5>Chet dying because well might it.

0:55:52.320 --> 0:55:52.959
<v Speaker 4>That was on TV.

0:55:53.920 --> 0:55:55.440
<v Speaker 3>Yeah, but we just.

0:55:55.400 --> 0:55:57.800
<v Speaker 5>Haven't watched it since it was on It's a spoiler

0:55:57.920 --> 0:56:00.440
<v Speaker 5>for us because we have not seen it since the nineties.

0:56:00.480 --> 0:56:03.880
<v Speaker 5>Writers never watched it, so this it will be writers

0:56:03.920 --> 0:56:05.879
<v Speaker 5>first time seeing it. It'll be Will and I only

0:56:05.920 --> 0:56:07.279
<v Speaker 5>are second time seeing it ever.

0:56:08.520 --> 0:56:10.799
<v Speaker 4>Give I can give you a little tease for it.

0:56:10.920 --> 0:56:15.160
<v Speaker 5>Okay, Okay, it's called Will have a Good Time then, right, Okay.

0:56:16.400 --> 0:56:19.399
<v Speaker 4>A lot of a lot of my scripts, I'll use

0:56:19.480 --> 0:56:21.200
<v Speaker 4>song lyrics. That's from the.

0:56:22.800 --> 0:56:24.080
<v Speaker 5>Best song Big.

0:56:23.880 --> 0:56:28.040
<v Speaker 4>Harry Chapman fan and have a lot of her lyrics. Actually,

0:56:28.080 --> 0:56:31.160
<v Speaker 4>the alcohol shows was from Crosby Stow's Nash and Young

0:56:31.440 --> 0:56:35.640
<v Speaker 4>loved the one You're with. Yeah, so I told this

0:56:35.760 --> 0:56:38.280
<v Speaker 4>to you right on the strike line. Maybe you don't recall.

0:56:38.640 --> 0:56:45.400
<v Speaker 4>We'll remember at the table read for the for the

0:56:45.520 --> 0:56:49.640
<v Speaker 4>check dying show writer wasn't there. He couldn't make it.

0:56:49.680 --> 0:56:51.840
<v Speaker 4>He was sick for some reason. He wasn't at the table,

0:56:52.840 --> 0:56:58.359
<v Speaker 4>and Matt Nelson read write his part. And I love

0:56:58.440 --> 0:57:02.759
<v Speaker 4>Matt Nelson, great guy, rest in peace, but not right

0:57:02.880 --> 0:57:09.720
<v Speaker 4>or strong? And and and the script tanked at the table.

0:57:09.840 --> 0:57:13.160
<v Speaker 4>It did, And I knew this is a damn good script,

0:57:13.320 --> 0:57:15.719
<v Speaker 4>you know, and said I was experienced enough to know

0:57:15.960 --> 0:57:17.880
<v Speaker 4>that it was still a good script. And I didn't

0:57:17.880 --> 0:57:21.880
<v Speaker 4>need ABC executives to tell me whether it's good or not.

0:57:21.960 --> 0:57:25.040
<v Speaker 4>I know. And I said, it's it's not a good

0:57:25.040 --> 0:57:27.040
<v Speaker 4>experience where you don't have the lead guy in the show.

0:57:27.320 --> 0:57:31.160
<v Speaker 4>Not right exactly script. And so I'll leave it at

0:57:31.200 --> 0:57:37.960
<v Speaker 4>that because I will save what Michael Jacobs said right

0:57:38.000 --> 0:57:41.439
<v Speaker 4>after the read and in the room with everybody there.

0:57:41.520 --> 0:57:54.280
<v Speaker 3>How's that for a TOI, Oh, yeah.

0:57:49.760 --> 0:57:53.080
<v Speaker 4>He held up the script and said, I know what's

0:57:53.080 --> 0:57:58.280
<v Speaker 4>wrong with this, and I can fix I was sitting

0:57:58.320 --> 0:58:03.400
<v Speaker 4>right next to him and instead of saying, you know right,

0:58:03.480 --> 0:58:07.160
<v Speaker 4>it couldn't be here today, So you know, so that's

0:58:07.200 --> 0:58:12.120
<v Speaker 4>the kind of stuff that you know comes with the

0:58:12.240 --> 0:58:16.880
<v Speaker 4>territory and write into your credit when we went up

0:58:16.920 --> 0:58:22.760
<v Speaker 4>and started making changes, and you said to Michael, I

0:58:22.800 --> 0:58:28.160
<v Speaker 4>really liked what was here before back. Yeah, and and

0:58:28.440 --> 0:58:31.960
<v Speaker 4>again that's I think I wrote five episodes for the show,

0:58:32.000 --> 0:58:38.200
<v Speaker 4>but that's by far my favorite. I think Rachel has

0:58:38.240 --> 0:58:42.880
<v Speaker 4>a much more significant role as a person in that script,

0:58:42.920 --> 0:58:46.040
<v Speaker 4>and she normally has, although she is still a sex object.

0:58:46.080 --> 0:58:54.200
<v Speaker 4>That's that's the mantle that that we bear. But but anyway,

0:58:54.320 --> 0:58:56.600
<v Speaker 4>that's what we can talk about that when we talk about.

0:58:57.280 --> 0:58:59.920
<v Speaker 5>You mentioned that you you knew you have kind of

0:59:00.120 --> 0:59:06.480
<v Speaker 5>reputation for writing these very kind of poignant, heavier Yeah.

0:59:06.800 --> 0:59:09.320
<v Speaker 5>Did you recognize it, yeah, very special episodes. Did you

0:59:09.360 --> 0:59:12.720
<v Speaker 5>recognize it at the time? And where do you think

0:59:12.760 --> 0:59:14.000
<v Speaker 5>that comes from with you?

0:59:15.320 --> 0:59:19.120
<v Speaker 4>I don't know because I really pride myself and this

0:59:19.280 --> 0:59:24.840
<v Speaker 4>may sound egotistical and somewhat cocky, but I've always felt

0:59:24.840 --> 0:59:27.920
<v Speaker 4>like I'm the funniest guy in any room I'm in

0:59:28.360 --> 0:59:31.720
<v Speaker 4>uh huh, and I write real funny stuff. But at

0:59:31.760 --> 0:59:35.280
<v Speaker 4>the same time I've been able to, you know, go

0:59:35.400 --> 0:59:40.000
<v Speaker 4>into those areas again with the parameters of a sitcom

0:59:41.520 --> 0:59:47.320
<v Speaker 4>and deal with really, really hard issues. A racial violence

0:59:47.360 --> 0:59:52.160
<v Speaker 4>episode I wrote for Different World couldn't even air today

0:59:52.840 --> 0:59:57.200
<v Speaker 4>because of what the content is, the things that are

0:59:57.280 --> 1:00:01.720
<v Speaker 4>said that we don't say anymore, you know, And it

1:00:01.800 --> 1:00:05.880
<v Speaker 4>was as controversial as an episode could be. I'm very

1:00:05.960 --> 1:00:09.280
<v Speaker 4>proud of it. And there used to be a I

1:00:09.320 --> 1:00:15.040
<v Speaker 4>think he was a doctor professor at Harvard or or Yale,

1:00:15.240 --> 1:00:19.040
<v Speaker 4>doctor Alvin Grussan, and he basically was the spokesperson for

1:00:20.000 --> 1:00:24.120
<v Speaker 4>the black community for want of a better description. And

1:00:24.520 --> 1:00:27.240
<v Speaker 4>one script I wrote about, which is about a restricted

1:00:27.280 --> 1:00:30.600
<v Speaker 4>country club, again a Different World, one of our characters

1:00:30.600 --> 1:00:32.360
<v Speaker 4>was asked to join a white club and his son

1:00:32.400 --> 1:00:34.640
<v Speaker 4>had a problem with it, and it was about tokenism

1:00:34.720 --> 1:00:38.680
<v Speaker 4>and all that stuff, right, and he said, this is

1:00:38.680 --> 1:00:41.440
<v Speaker 4>one of the hardest hitting episodes on race I've ever read.

1:00:42.480 --> 1:00:44.920
<v Speaker 4>I hope it's well accepted. So that's the kind of

1:00:44.920 --> 1:00:46.960
<v Speaker 4>thing that you know, I liked, But at the same time,

1:00:46.960 --> 1:00:50.600
<v Speaker 4>I go work right, want of those accolades, but you know,

1:00:50.640 --> 1:00:53.800
<v Speaker 4>they're good to be good, and they're satisfying, and sometimes

1:00:53.800 --> 1:00:57.000
<v Speaker 4>they're more meaningful than writing a great joke. Yeah, well,

1:00:57.000 --> 1:00:58.240
<v Speaker 4>a great joke, a great joe.

1:00:59.120 --> 1:01:00.920
<v Speaker 5>What do you think, speak of jokes? What do you

1:01:00.960 --> 1:01:03.960
<v Speaker 5>think gives you more satisfaction getting a laugh from the

1:01:04.000 --> 1:01:07.560
<v Speaker 5>audience or getting a laugh from the writer's room.

1:01:07.760 --> 1:01:13.240
<v Speaker 4>Oh, the audience were too beat up in the writer's room.

1:01:15.720 --> 1:01:17.520
<v Speaker 4>There's nothing coming out of the writer's room that you

1:01:17.560 --> 1:01:20.600
<v Speaker 4>can really apply to anything else. It's we're all worn out.

1:01:21.760 --> 1:01:23.520
<v Speaker 4>I think you know. There's there's other stuff going on

1:01:23.520 --> 1:01:27.840
<v Speaker 4>in the writer's room. There's this competition. There's joke anger,

1:01:29.360 --> 1:01:32.640
<v Speaker 4>but a great joke when you write a great line.

1:01:33.600 --> 1:01:37.439
<v Speaker 4>I love great lines. I thought I had written down

1:01:37.840 --> 1:01:41.440
<v Speaker 4>something that Eric said in the episode that he's not in.

1:01:43.080 --> 1:01:44.680
<v Speaker 5>From your script, that he wasn't But.

1:01:46.240 --> 1:01:47.680
<v Speaker 4>You know, I don't seem to have it.

1:01:48.240 --> 1:01:49.880
<v Speaker 3>I can't wait to read that draft though.

1:01:53.160 --> 1:01:56.000
<v Speaker 4>You can see what I'm talking about. We can rename

1:01:56.040 --> 1:01:57.760
<v Speaker 4>it a Tale of two Acts, because.

1:01:59.360 --> 1:02:00.120
<v Speaker 5>We would love that.

1:02:00.160 --> 1:02:01.600
<v Speaker 4>It certainly is so.

1:02:01.760 --> 1:02:03.320
<v Speaker 2>I have I have a question for you, then, with

1:02:03.400 --> 1:02:07.320
<v Speaker 2>all the work you've done, is there and not saying

1:02:08.120 --> 1:02:10.280
<v Speaker 2>to take anything away from any room you've been in.

1:02:10.320 --> 1:02:11.960
<v Speaker 2>But when you look back, what do you think was

1:02:12.000 --> 1:02:14.560
<v Speaker 2>the funniest writer's room you've ever been involved in.

1:02:17.040 --> 1:02:19.280
<v Speaker 4>I love the Boy Meets World people I work with,

1:02:19.360 --> 1:02:21.439
<v Speaker 4>I really do, not saying that because it's your show,

1:02:23.040 --> 1:02:31.720
<v Speaker 4>but I think Bliz and Buddies writers room was so tough.

1:02:33.360 --> 1:02:35.200
<v Speaker 4>Guys would get up and cry. I mean we were

1:02:35.240 --> 1:02:38.760
<v Speaker 4>so brutal with each other. But there was just ah

1:02:39.760 --> 1:02:43.920
<v Speaker 4>with some magical comedy coming at it. Yeah, and I

1:02:44.000 --> 1:02:46.600
<v Speaker 4>had to do. Chris Thompson created it and Chris has

1:02:46.640 --> 1:02:51.320
<v Speaker 4>gone too. He was a dear friend of mine and uh,

1:02:51.360 --> 1:02:53.840
<v Speaker 4>you know he sets the tone for what the show

1:02:53.920 --> 1:02:56.960
<v Speaker 4>show should be. Uh, but Boy Meets World is close.

1:02:58.040 --> 1:03:00.200
<v Speaker 4>I had a good room on a fresh print, a

1:03:01.200 --> 1:03:06.120
<v Speaker 4>different world was a little bit more serious. Give me

1:03:06.160 --> 1:03:10.800
<v Speaker 4>a break. So so that stuff. So I'd say Bus

1:03:10.800 --> 1:03:12.360
<v Speaker 4>and Buddies and then then.

1:03:12.240 --> 1:03:14.480
<v Speaker 5>You guys, Wow, that's a good company to be in.

1:03:16.320 --> 1:03:19.880
<v Speaker 4>I think you guys are been blessed by some really

1:03:19.880 --> 1:03:23.000
<v Speaker 4>good writing and yeah, at a time some not so.

1:03:25.200 --> 1:03:28.640
<v Speaker 5>You mentioned your dear friendship with Bob Tishler, and you

1:03:28.720 --> 1:03:31.360
<v Speaker 5>mentioned the book. You guys wrote a book called Impossible

1:03:32.720 --> 1:03:36.880
<v Speaker 5>and unfortunately, as you also mentioned, we lost Bob last year,

1:03:37.040 --> 1:03:39.680
<v Speaker 5>so we will not have the opportunity to have him

1:03:39.760 --> 1:03:42.520
<v Speaker 5>on our podcast. So we wanted to ask you, as

1:03:42.600 --> 1:03:46.200
<v Speaker 5>a dear friend of his, what would you like people

1:03:46.280 --> 1:03:47.200
<v Speaker 5>to know about Bob?

1:03:49.240 --> 1:03:53.000
<v Speaker 4>Well, I wish I was prepared for this. You know,

1:03:53.640 --> 1:03:55.760
<v Speaker 4>you guys have been on a while with this podcast,

1:03:55.800 --> 1:03:59.560
<v Speaker 4>and Bob and I were always planning to come on together,

1:04:01.800 --> 1:04:04.240
<v Speaker 4>and you know, because we had some great stories, and

1:04:04.800 --> 1:04:08.200
<v Speaker 4>we probably had more courage together to tell some of

1:04:08.240 --> 1:04:12.000
<v Speaker 4>those stories because you know, certain people aren't gonna like

1:04:12.040 --> 1:04:18.000
<v Speaker 4>those stories. But anyway, but Bob, Bob was a wonderful

1:04:18.080 --> 1:04:23.560
<v Speaker 4>human being. He was giving, he was caring. I'll give

1:04:23.600 --> 1:04:27.520
<v Speaker 4>you one example that Bob Tisher did on Board this World. Okay,

1:04:29.080 --> 1:04:32.920
<v Speaker 4>there was a pilot written by two of our young writers.

1:04:33.720 --> 1:04:37.360
<v Speaker 4>He stuck up for these two riders whose pilot was

1:04:37.360 --> 1:04:40.440
<v Speaker 4>being co opted by another source. And I was standing

1:04:40.480 --> 1:04:42.280
<v Speaker 4>there and saw him do this, and it was in

1:04:42.280 --> 1:04:47.120
<v Speaker 4>that moment my respect for Bob's sword. I said, this

1:04:46.880 --> 1:04:49.880
<v Speaker 4>is this is a guy, you know, because he's just

1:04:49.960 --> 1:04:52.560
<v Speaker 4>a decent human being and a great writer. You know, Bob.

1:04:53.120 --> 1:04:57.120
<v Speaker 4>Bob produced Saurday Night Live. He was a writer. He's

1:04:57.160 --> 1:05:02.160
<v Speaker 4>got a great pedigree at and you know, I guess

1:05:02.200 --> 1:05:04.600
<v Speaker 4>we were. We were joined at the hip hop world

1:05:04.600 --> 1:05:06.240
<v Speaker 4>because we were two of the older guys. We were

1:05:06.240 --> 1:05:09.720
<v Speaker 4>two former showrunners, and now we're thrust into this this

1:05:10.320 --> 1:05:14.920
<v Speaker 4>very particular set of circumstances in terms of the creative

1:05:14.960 --> 1:05:18.960
<v Speaker 4>aspects of the show. And uh, you know, we we bonded.

1:05:19.000 --> 1:05:21.800
<v Speaker 4>And then of course, in harder times as we got older,

1:05:22.240 --> 1:05:26.080
<v Speaker 4>and you know, there's ages in the industry, we wrote out.

1:05:26.120 --> 1:05:30.560
<v Speaker 4>We wrote scripts and screenplays and pilots and pitched here

1:05:30.600 --> 1:05:32.320
<v Speaker 4>and there, you know, and then eventually we wrote our

1:05:32.360 --> 1:05:39.160
<v Speaker 4>book and it didn't make any money. But he was

1:05:39.200 --> 1:05:41.880
<v Speaker 4>a great guy. And when I got really sick, he

1:05:42.040 --> 1:05:45.320
<v Speaker 4>was there for me. And when he got really sick,

1:05:45.400 --> 1:05:48.560
<v Speaker 4>I tried to be there as best I could for him.

1:05:48.640 --> 1:05:51.640
<v Speaker 4>But you know, lost a great friend.

1:05:52.280 --> 1:05:54.160
<v Speaker 5>Yeah, I'm sorry for your loss.

1:05:54.440 --> 1:05:57.320
<v Speaker 2>Well, we we often talk about one of our biggest

1:05:57.360 --> 1:06:02.720
<v Speaker 2>regrets is not realizing are being able to to see

1:06:02.760 --> 1:06:05.200
<v Speaker 2>the talent that we had writing for us at the time,

1:06:05.320 --> 1:06:07.560
<v Speaker 2>and to be able to sit down and talk to

1:06:07.600 --> 1:06:09.560
<v Speaker 2>you all about I mean again, Danielle will come on

1:06:09.680 --> 1:06:13.120
<v Speaker 2>and you know, reading your resume and I'm just sitting

1:06:13.120 --> 1:06:15.080
<v Speaker 2>there going, I can't believe I didn't get I would

1:06:15.120 --> 1:06:17.520
<v Speaker 2>sit there and would have peppered you with questions about

1:06:17.560 --> 1:06:19.840
<v Speaker 2>Laverne and Shirley and all stuff. And we just didn't know.

1:06:19.920 --> 1:06:22.800
<v Speaker 2>We were young and wrapped up in ourselves.

1:06:22.360 --> 1:06:25.320
<v Speaker 5>And IMDb didn't exist. We didn't we didn't know to

1:06:25.360 --> 1:06:26.280
<v Speaker 5>ask for your CV.

1:06:26.800 --> 1:06:31.280
<v Speaker 2>Yeah, I'm so sorry that we didn't have more respect

1:06:31.400 --> 1:06:34.000
<v Speaker 2>for the men and women that were actually putting the

1:06:34.000 --> 1:06:36.680
<v Speaker 2>words in our mouth, because what a staff we had,

1:06:36.720 --> 1:06:38.120
<v Speaker 2>and we just we didn't know.

1:06:38.520 --> 1:06:41.200
<v Speaker 4>Everybody has their own story, you know, mine, as I said,

1:06:41.240 --> 1:06:44.600
<v Speaker 4>it's kind of like kind of cinderellaish and the sends

1:06:44.640 --> 1:06:48.400
<v Speaker 4>and Kermit Defer goes to Hollywood. You know, I grew

1:06:48.480 --> 1:06:50.720
<v Speaker 4>up a working class kid in Brooklyn and the last

1:06:50.720 --> 1:06:52.600
<v Speaker 4>thing ever in my mind was that I would one

1:06:52.640 --> 1:06:57.880
<v Speaker 4>day be doing this, you know. Yeah that so that

1:06:58.080 --> 1:07:01.080
<v Speaker 4>that's you know, that's the nature of it all. And

1:07:01.520 --> 1:07:03.160
<v Speaker 4>same thing goes with it for you guys. You know,

1:07:03.320 --> 1:07:06.760
<v Speaker 4>you all have individual stories and and things happen and

1:07:07.240 --> 1:07:09.920
<v Speaker 4>things that life takes many turns. I mean, I'm going

1:07:09.920 --> 1:07:11.480
<v Speaker 4>to be seventy seven on Saturday.

1:07:11.920 --> 1:07:14.480
<v Speaker 5>Wow, Happy birth Happy birthday.

1:07:14.600 --> 1:07:19.600
<v Speaker 4>So I guess I'm one of those guys who said

1:07:19.120 --> 1:07:23.640
<v Speaker 4>I've seen it all and yet I haven't seen anything.

1:07:24.120 --> 1:07:28.120
<v Speaker 5>Well, here we are, thirty years later, still talking about

1:07:28.320 --> 1:07:29.400
<v Speaker 5>That's World.

1:07:29.640 --> 1:07:32.960
<v Speaker 4>That's the most amazing book. I know it's thirty year

1:07:33.040 --> 1:07:38.840
<v Speaker 4>because the last season in February. Last season, my youngest child, Alexander's,

1:07:39.560 --> 1:07:43.640
<v Speaker 4>and she just turned twenty five. Yeah, there's a good barometer.

1:07:43.240 --> 1:07:44.480
<v Speaker 3>For how Man.

1:07:44.880 --> 1:07:50.000
<v Speaker 5>Yeah, exactly. What do you think is the reason why

1:07:50.040 --> 1:07:53.840
<v Speaker 5>Boy Meets World still resonates with all these generations.

1:07:55.280 --> 1:07:57.960
<v Speaker 4>I've got to give Michael this props there for keeping

1:07:59.360 --> 1:08:02.320
<v Speaker 4>that show live for all those seasons. You know, that's

1:08:02.360 --> 1:08:07.640
<v Speaker 4>no small feet, and of course the creative talents that

1:08:07.720 --> 1:08:11.240
<v Speaker 4>were involved in working the storylines and the episodes and

1:08:11.280 --> 1:08:17.200
<v Speaker 4>the arts, but it's mostly you, guys. You cannot substitute talent.

1:08:18.080 --> 1:08:21.519
<v Speaker 4>You can't substitute for talent and likability. And I'm really

1:08:21.560 --> 1:08:28.360
<v Speaker 4>stressing likability. Are all likable characters. People loved you, People

1:08:28.400 --> 1:08:32.200
<v Speaker 4>are rooted for you, People became invested in you. And

1:08:32.320 --> 1:08:35.519
<v Speaker 4>that's good because that's good because it allows the audience

1:08:35.560 --> 1:08:39.720
<v Speaker 4>to escape and to feel something else and feel and

1:08:39.760 --> 1:08:41.960
<v Speaker 4>I think that's the magic of it. And you know,

1:08:42.560 --> 1:08:46.080
<v Speaker 4>you know, writing is great. You know, it's hard, and

1:08:46.240 --> 1:08:48.400
<v Speaker 4>good writing is wonderful. God, look at the stuff that's

1:08:48.439 --> 1:08:52.880
<v Speaker 4>on today in terms of what's wonderful writing, but great casting. Boy,

1:08:52.880 --> 1:08:57.040
<v Speaker 4>you just can't you can't beat it. And that's what

1:08:57.160 --> 1:08:59.880
<v Speaker 4>happened on this show. And Danielle, you know, I listened

1:08:59.880 --> 1:09:02.920
<v Speaker 4>to the first podcast and what you went through. But

1:09:03.080 --> 1:09:07.240
<v Speaker 4>thank goodness that the negative part of it didn't happen.

1:09:07.280 --> 1:09:09.280
<v Speaker 4>And look what happened to you and.

1:09:09.240 --> 1:09:12.040
<v Speaker 5>You became an icon so exactly, I know.

1:09:12.680 --> 1:09:14.240
<v Speaker 4>And the other side of it is it could have

1:09:14.280 --> 1:09:16.000
<v Speaker 4>gone south. It could have gone the other way.

1:09:16.479 --> 1:09:19.080
<v Speaker 5>Absolutely, I very easily could have been let go. And

1:09:19.160 --> 1:09:23.320
<v Speaker 5>I that show changed my life. And I've you know,

1:09:23.439 --> 1:09:26.439
<v Speaker 5>I certainly every single week I was there up until

1:09:26.439 --> 1:09:29.720
<v Speaker 5>about season midway through season six, every single week I

1:09:29.800 --> 1:09:31.840
<v Speaker 5>was there, it was like, this is the greatest thing

1:09:31.880 --> 1:09:38.400
<v Speaker 5>that's ever Like, Okay, how much this.

1:09:39.920 --> 1:09:43.040
<v Speaker 4>There's another interesting dynamic to what you're doing now is

1:09:43.600 --> 1:09:46.600
<v Speaker 4>you're now adults with your own grown up lives, and

1:09:46.640 --> 1:09:51.760
<v Speaker 4>back then you were kids and and and so I

1:09:51.760 --> 1:09:56.639
<v Speaker 4>think probably while your podcast is so popular, aside from

1:09:56.960 --> 1:10:01.479
<v Speaker 4>the show itself, is you you you three? And and

1:10:01.479 --> 1:10:04.040
<v Speaker 4>how you've changed and what your lives are like. And

1:10:04.080 --> 1:10:06.880
<v Speaker 4>you know, it's almost looking at your own kids and saying, well, yeah,

1:10:07.200 --> 1:10:09.960
<v Speaker 4>and they's succeptful doing things, and so on and so forth.

1:10:10.240 --> 1:10:12.559
<v Speaker 4>So there's there's added elements to to all this. So

1:10:13.320 --> 1:10:16.559
<v Speaker 4>I don't think Boys World could be a pigeonholed as

1:10:16.560 --> 1:10:19.960
<v Speaker 4>a show. I think it's more of a of a thing,

1:10:20.160 --> 1:10:26.519
<v Speaker 4>of a lifestyle in and of itself going on.

1:10:26.800 --> 1:10:31.240
<v Speaker 5>It's its own You're right, it's its own organism.

1:10:31.320 --> 1:10:37.800
<v Speaker 3>It's a cultural phenom of some it definitely goes beyond Yeah,

1:10:38.320 --> 1:10:38.720
<v Speaker 3>I like that.

1:10:39.080 --> 1:10:40.320
<v Speaker 4>Yeah, I got that.

1:10:42.320 --> 1:10:45.479
<v Speaker 5>Gary. Thank you so much for being here with us,

1:10:45.479 --> 1:10:48.559
<v Speaker 5>for joining us. You're we could listen to your stories forever.

1:10:48.800 --> 1:10:51.600
<v Speaker 5>We appreciate your perspective, We appreciate you coming on and

1:10:51.640 --> 1:10:54.840
<v Speaker 5>spending your time with us, and I appreciate you for

1:10:54.880 --> 1:10:58.400
<v Speaker 5>sharing all that stuff about Bob too. And not being

1:10:58.439 --> 1:11:01.800
<v Speaker 5>able to have him on is going to be really

1:11:01.880 --> 1:11:04.880
<v Speaker 5>high up on our list of regrets of this show

1:11:04.920 --> 1:11:07.840
<v Speaker 5>that we didn't have him on sooner and then we

1:11:07.840 --> 1:11:10.960
<v Speaker 5>missed the opportunity. So thank you for sharing with us

1:11:10.960 --> 1:11:14.360
<v Speaker 5>a little bit about him, and your book Impossible that

1:11:14.400 --> 1:11:16.120
<v Speaker 5>you wrote with him is available. I think you can

1:11:16.120 --> 1:11:19.519
<v Speaker 5>get it on Amazon, So if anybody's interested in reading that,

1:11:19.560 --> 1:11:20.760
<v Speaker 5>you can you can find that.

1:11:21.000 --> 1:11:26.080
<v Speaker 4>Thank you, Gary, it's problems. I guess I'll speak to

1:11:26.120 --> 1:11:28.080
<v Speaker 4>you guys soon about.

1:11:29.160 --> 1:11:30.000
<v Speaker 5>About the Chat episode.

1:11:30.040 --> 1:11:30.240
<v Speaker 4>Yeah.

1:11:30.360 --> 1:11:31.639
<v Speaker 3>Chat, Yeah, we got to know what's going on.

1:11:32.040 --> 1:11:33.960
<v Speaker 5>I know we haven't seen that episode yet, so it's

1:11:33.960 --> 1:11:35.360
<v Speaker 5>hard for us to talk about it before. But we

1:11:35.360 --> 1:11:37.360
<v Speaker 5>can have you back on when that episode comes around

1:11:37.479 --> 1:11:40.120
<v Speaker 5>so that we can we can get the behind the

1:11:40.160 --> 1:11:42.040
<v Speaker 5>scenes scoop on that episode as well.

1:11:42.160 --> 1:11:43.800
<v Speaker 4>Boiler Alert is a hospital?

1:11:44.600 --> 1:11:51.080
<v Speaker 5>Oh god, is mister Turner still there?

1:11:51.280 --> 1:11:53.519
<v Speaker 3>One character after another sharing rooms?

1:11:54.200 --> 1:11:54.479
<v Speaker 4>Nice?

1:11:55.720 --> 1:11:57.960
<v Speaker 5>Well, thank you Gary. We'll have you back to talk

1:11:57.960 --> 1:12:01.120
<v Speaker 5>about that. To see you by.

1:12:02.920 --> 1:12:05.640
<v Speaker 3>Oh man, we gotta have another lunch. We gotta have

1:12:05.640 --> 1:12:05.920
<v Speaker 3>a lunch.

1:12:06.960 --> 1:12:07.879
<v Speaker 5>A lunch with Gary.

1:12:08.160 --> 1:12:08.400
<v Speaker 4>Yeah.

1:12:10.000 --> 1:12:10.439
<v Speaker 3>I had that.

1:12:10.479 --> 1:12:14.040
<v Speaker 6>Experience meeting him on the on the strike line. It

1:12:14.160 --> 1:12:18.360
<v Speaker 6>was really revelatory, just because I'd never talked to Gary

1:12:18.600 --> 1:12:21.920
<v Speaker 6>when we were back back on the show and there

1:12:22.000 --> 1:12:24.960
<v Speaker 6>was really kind of if anything there was. I thought

1:12:25.000 --> 1:12:28.639
<v Speaker 6>he was like, not not really a writer. I thought

1:12:28.680 --> 1:12:31.679
<v Speaker 6>he was more like a I got somehow the story

1:12:31.720 --> 1:12:34.720
<v Speaker 6>got down to me that like Gary had to be

1:12:34.800 --> 1:12:37.400
<v Speaker 6>there and that you know, so to find out that

1:12:37.439 --> 1:12:39.840
<v Speaker 6>he was as much of a pro as he was.

1:12:40.200 --> 1:12:43.160
<v Speaker 6>He clearly has, but he was just so you know,

1:12:43.200 --> 1:12:44.439
<v Speaker 6>he took a back seat on our show.

1:12:44.479 --> 1:12:45.320
<v Speaker 4>He took a back seat.

1:12:46.080 --> 1:12:46.960
<v Speaker 3>I had no idea.

1:12:47.200 --> 1:12:48.439
<v Speaker 6>And so when I went we saw him on the

1:12:48.439 --> 1:12:50.920
<v Speaker 6>strike line, we started talking. I was like, oh, you

1:12:50.920 --> 1:12:53.320
<v Speaker 6>you are very aware of what's going on. You are

1:12:53.600 --> 1:12:56.280
<v Speaker 6>very clearly a creative force to be reckoned with. And

1:12:56.360 --> 1:12:59.360
<v Speaker 6>I just had no idea and and yeah, and he

1:12:59.439 --> 1:13:00.479
<v Speaker 6>shared with me then.

1:13:00.600 --> 1:13:01.760
<v Speaker 3>Basically what he shared now.

1:13:01.720 --> 1:13:03.160
<v Speaker 6>Is that he just had so much respect for us

1:13:03.240 --> 1:13:06.240
<v Speaker 6>as actors and was so happy to be writing for us,

1:13:06.280 --> 1:13:08.560
<v Speaker 6>which at the time I had, you know, he just

1:13:08.600 --> 1:13:09.400
<v Speaker 6>took it for granted.

1:13:09.600 --> 1:13:12.360
<v Speaker 2>Yeah. So yeah, Well, don't you remember the joke was

1:13:12.400 --> 1:13:13.920
<v Speaker 2>that we we even put in our movie that we

1:13:13.960 --> 1:13:16.320
<v Speaker 2>thought he was a mob boss because.

1:13:16.080 --> 1:13:20.920
<v Speaker 6>It was worse sunglasses quiet and he was quiet and Jersey.

1:13:21.000 --> 1:13:23.880
<v Speaker 3>Yeah, exactly, so that we made a joke out of that.

1:13:24.880 --> 1:13:25.679
<v Speaker 3>But yeah, we didn't.

1:13:25.720 --> 1:13:28.519
<v Speaker 2>We just didn't know the caliber of the people that

1:13:28.560 --> 1:13:30.760
<v Speaker 2>we had. I mean, had I known that this guy

1:13:31.000 --> 1:13:33.760
<v Speaker 2>had written for Bosom Buddies and Laverne, surely, I mean,

1:13:33.880 --> 1:13:38.000
<v Speaker 2>he's just some of the greatest sitcoms in history. So yeah,

1:13:38.040 --> 1:13:40.040
<v Speaker 2>I was one of one of the things you hindsight

1:13:40.080 --> 1:13:41.400
<v Speaker 2>being what it is you wish you could go back

1:13:41.439 --> 1:13:44.320
<v Speaker 2>and just talk to everybody about what's going on.

1:13:44.720 --> 1:13:46.640
<v Speaker 5>And I really do think it's just so interesting that

1:13:46.720 --> 1:13:49.600
<v Speaker 5>this is the first time it's been brought up that

1:13:49.680 --> 1:13:51.960
<v Speaker 5>there could be something you really don't like about a

1:13:52.000 --> 1:13:53.920
<v Speaker 5>script that has your name on it. Normally it's come

1:13:53.960 --> 1:13:55.960
<v Speaker 5>up or we're like, oh my gosh, there's something so

1:13:56.439 --> 1:13:58.400
<v Speaker 5>funny in this, and they're like, hold on, don't give

1:13:58.400 --> 1:14:01.080
<v Speaker 5>me credit, Like we we haven't had somebody come on

1:14:01.120 --> 1:14:03.880
<v Speaker 5>and go, my name's on that script and I don't

1:14:03.960 --> 1:14:05.640
<v Speaker 5>like this, Like that's kind of that's one of the

1:14:05.640 --> 1:14:06.919
<v Speaker 5>first times we've had that perspective.

1:14:07.000 --> 1:14:09.360
<v Speaker 3>So do they Alan Smithy in sitcom too?

1:14:10.479 --> 1:14:11.120
<v Speaker 4>I don't think so.

1:14:11.240 --> 1:14:13.200
<v Speaker 3>I don't know if that's even a thing, do what.

1:14:13.920 --> 1:14:16.759
<v Speaker 2>So if a writer doesn't like their start director or director,

1:14:16.760 --> 1:14:18.880
<v Speaker 2>but it's also a writer, they'll be where it'll say

1:14:18.880 --> 1:14:22.000
<v Speaker 2>written by or directed by Alan Smithy, which is just

1:14:22.160 --> 1:14:23.120
<v Speaker 2>somebody has taken.

1:14:22.920 --> 1:14:26.840
<v Speaker 3>Their name on the Hollywood Hollywood name. So anytime you

1:14:26.880 --> 1:14:28.640
<v Speaker 3>see this, please hold yeah.

1:14:28.680 --> 1:14:30.680
<v Speaker 5>Thank you all for joining us for this episode of

1:14:30.680 --> 1:14:32.519
<v Speaker 5>pod meets World as always. You can follow us on

1:14:32.520 --> 1:14:34.920
<v Speaker 5>Instagram pod Meets World Show. You can send us your

1:14:34.920 --> 1:14:37.920
<v Speaker 5>emails pod Meets World Show at gmail dot com. And

1:14:38.360 --> 1:14:39.160
<v Speaker 5>we've got merch.

1:14:39.840 --> 1:14:42.000
<v Speaker 3>Apparently chet dies merch.

1:14:43.640 --> 1:14:46.320
<v Speaker 5>Pod Meetsworldshow dot com will send us out.

1:14:46.720 --> 1:14:48.479
<v Speaker 3>We love you all, pod dismissed.

1:14:49.800 --> 1:14:53.360
<v Speaker 2>Podmeets World isnheart podcast producer and hosted by Danielle Fischel,

1:14:53.439 --> 1:14:56.920
<v Speaker 2>Wilfredell and Write or Strong. Executive producers Jensen Karp and

1:14:56.960 --> 1:15:00.879
<v Speaker 2>Amy Sugarman, Executive in charge of production, Danielle Roma, producer

1:15:00.920 --> 1:15:04.880
<v Speaker 2>and editor, Tara sudbachsch producer, Maddy Moore, engineer and Boy

1:15:04.920 --> 1:15:07.479
<v Speaker 2>Meets World super fan Easton Allen. Our theme song is

1:15:07.520 --> 1:15:09.680
<v Speaker 2>by Kyle Morton of Typhoon and you can follow us

1:15:09.680 --> 1:15:12.400
<v Speaker 2>on Instagram at Podmets World Show or email us at

1:15:12.439 --> 1:15:16.240
<v Speaker 2>Podmets Worldshow at gmail dot com