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Speaker 1: My sister in law is visiting and she's staying with us,

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Speaker 1: and one of it like, she's a huge movie buff

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Speaker 1: and so whenever we see each other, we immediately like

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Speaker 1: start comparing what we've seen lately, and then we invariably

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Speaker 1: stay up until like two in the morning every night

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Speaker 1: that she's here watching movies. Now, but it's reminded me

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Speaker 1: of something that like one of my favorite things about

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Speaker 1: my wife and my wife's entire family is watching movies

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Speaker 1: with them. Oh God, is the fun greatest time. They

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Speaker 1: all vocalize and talk, and it is like it is

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Speaker 1: so not the strong family tradition. You're like, I grew

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Speaker 1: up in a very sort of like while we watched

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Speaker 1: the movie and then if it's a comedy, you laugh,

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Speaker 1: but like and it's my wife does it with just

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Speaker 1: the two of us, like if we put on anything,

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Speaker 1: and it just fills me with so much joy to

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Speaker 1: like share in the experience of what she's reacting to,

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Speaker 1: and it's it gets I mean, I also make fun

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Speaker 1: of her because she also does the thing where she

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Speaker 1: asks like, well, why would he do that? And it's like, well,

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Speaker 1: that's the question the movie's making you ask, Like the

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Speaker 1: thing that like you're not supposed to know, you're supposed

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Speaker 1: to be asking that, and so we I teas her

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Speaker 1: all the time about that, but it's it's actually like

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Speaker 1: it goes pretty deep for me in that, Like she's

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Speaker 1: the first person to watch anything I make and to

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Speaker 1: read anything that I write. And her transparency, her like

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Speaker 1: vulnerability and like openness to respond like she's this. It's

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Speaker 1: so helpful because she tracks like how the audience is feeling,

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Speaker 1: and you can all like she just can't hide her emotions.

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Speaker 1: She actually got kicked out of dance when she was

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Speaker 1: a kid because she would just make faces in the

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Speaker 1: mirror and like and she she does it all. I

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Speaker 1: have to like hold her back from Indie because she

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Speaker 1: just reacts to whatever is happening. It's like she can't

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Speaker 1: fake it. She can't hide her emotions anyway. It's just

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Speaker 1: like I love going to movies with a crowd. I

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Speaker 1: love and sitting with my in laws like it's my

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Speaker 1: when we the first holidays I spent with them when

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Speaker 1: we went back to Florida and there roy all got

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Speaker 1: together and we watched They found out I had never

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Speaker 1: seen the movie Rocky and they were like, we have

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Speaker 1: to watch writers like Rocky not then. This was fifteen

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Speaker 1: years ago or whatever, and it was like so important

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Speaker 1: to her family, Like we are all watching Rocky for

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Speaker 1: Rider and it was so much and it's like now

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Speaker 1: it's just a tradition. Like when we get together, you know,

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Speaker 1: for the holidays, we watch really bad horror films together

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Speaker 1: and everybody's shouting at the screen. It's just like, it's

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Speaker 1: my favorite thing in the world. So shout out to

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Speaker 1: everybody who like vocalizes, and like, let's let's.

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Speaker 2: Do it in the movie theater.

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Speaker 1: No. No, in the movie theater, we're pretty calm.

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Speaker 3: Yeah.

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Speaker 1: No, that's like, isn't that weird? It's like a weird contradiction.

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Speaker 1: It's like you want to do.

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Speaker 4: Yeah, you don't want to mess with the people you

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Speaker 4: don't know, right, But Susan does this thing where we'll

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Speaker 4: turn on a movie that neither of us will scene

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Speaker 4: and she'll go, why do you do that?

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Speaker 1: I'll be like, babe, I'm as.

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Speaker 4: Far into this as you are, I know, seconds in

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Speaker 4: and I don't know either, Like.

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Speaker 2: I can't do that.

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Speaker 3: I don't know.

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Speaker 1: We just started it, I know.

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Speaker 5: So writer, another question for you, does she do it

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Speaker 5: about things that are because I can be kind of similar.

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Speaker 5: If I'm at home and Jensen and I are watching something,

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Speaker 5: I also want to talk through, Like if I find

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Speaker 5: something so particularly funny one of them, you know, oh,

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Speaker 5: I think it's so funny because and then I'll talk

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Speaker 5: about it. But I have a very hard time doing

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Speaker 5: it for something that makes me very choked up. But

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Speaker 5: I did it quite a bit during What's that movie

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Speaker 5: we both love? After Sun when she puts her feet

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Speaker 5: down on the rug and I started sobbing, and I said.

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Speaker 2: That's the logo, God Bob.

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Speaker 5: I couldn't. I couldn't get this. I couldn't because I

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Speaker 5: just had my entire heart in my throat. Does she

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Speaker 5: also vocalized through things that are making her choked up?

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Speaker 1: And why all of it?

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Speaker 3: All of it?

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Speaker 1: It's so lovely. I mean what I love is just

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Speaker 1: the little like, oh, like all the little like she's

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Speaker 1: just on a journey and she's it's happening and it

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Speaker 1: helps me or like you know, especially I mean like

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Speaker 1: one of the you know, when we first started dating,

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Speaker 1: I made my first short film, Irish Twins, with my brother,

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Speaker 1: and you know, we were only three months into a

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Speaker 1: relationship or whatever. So by the time I edited, we

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Speaker 1: had been dating for probably six months, and so she's like,

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Speaker 1: I'm showing her the first rough cut, you know, and

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Speaker 1: it was like hearing those things and then she just

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Speaker 1: just fell apart and was crying holding me and was

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Speaker 1: so moved, and it was like, Okay, I know I

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Speaker 1: did the job like I made a movie, you know,

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Speaker 1: because she because she can also be very honest and

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Speaker 1: it's not working, you know, Like I give her scripts

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Speaker 1: all the time and she's like, no, I just I

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Speaker 1: wrote two scripts last year that, you know. She's like sorry,

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Speaker 1: And that's like we've developed this this you know, comfort

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Speaker 1: and this confidence in each other as readers and watchers.

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Speaker 1: But it's it's so built around her vulnerability and her

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Speaker 1: openness and her willingness to just express and to react.

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Speaker 4: Does she vocalize the same way by herself when she's

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Speaker 4: reading books? Yes, okay, so she's like talking to the book.

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Speaker 1: And that's why I like, I literally like watching her

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Speaker 1: read stuff I've written. It's like part of the process.

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Speaker 1: Like if I walk by her office while she's reading

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Speaker 1: something that I've given or I'm like secretly listening for oh, you.

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Speaker 5: Should put a camera in there that she knows about

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Speaker 5: I'm just gonna put this camera here. I don't want

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Speaker 5: you to feel me watching you, but I want to

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Speaker 5: go back and watch it to see the moments. Yeah,

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Speaker 5: that's really cool. Well I love that. Shout out to

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Speaker 5: spouse's who let us talk during movies.

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Speaker 2: Welcome to podmeets World.

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Speaker 1: I'm Daniel Fishel, I'm Rider Strong, and I'm Wilfordell.

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Speaker 5: One thing that has definitely changed since our first time

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Speaker 5: around on Boy Meets World when we were filming it

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Speaker 5: in nineteen ninety seven is selfish slightly dramatic teens. Is

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Speaker 5: our understanding of how complex and intricate the making of

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Speaker 5: a TV show can be. It's not just the faces

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Speaker 5: you see on camera, or the director's, showrunners and executive producers,

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Speaker 5: who over the past two decades have become stars in

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Speaker 5: their own right. It's every single name you see in

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Speaker 5: the credits, each holding their own, vital and mostly thankless

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Speaker 5: job that make sure the program you love stays afloat

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Speaker 5: week after week. It's the titles you don't fully understand,

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Speaker 5: like Key Grip or best Boy or assistant to mister

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Speaker 5: big Shot.

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Speaker 2: These jobs are critical.

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Speaker 5: And without a good employee hired to take care of

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Speaker 5: these positions, you might as well pack it up and

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Speaker 5: go home, because it'll show on the screen. One of

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Speaker 5: our favorite parts of making Podmets World has been shining

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Speaker 5: a light on some of these people who worked behind

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Speaker 5: the scenes on our show, and we didn't really know

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Speaker 5: how great they were when we were kids. We were

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Speaker 5: pining over boys at our regular high school, or figuring

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Speaker 5: out how you can safely ship one white rose back

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Speaker 5: to your high school girlfriend, or just scoping the new

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Speaker 5: studio a lot to find a safe place to smoke.

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Speaker 5: But now we realize their hard work and it's time

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Speaker 5: to give them their flowers. And today we're hoping to

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Speaker 5: do just that with one of our favorite faces from

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Speaker 5: that time, who When Jensen asked me what he did

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Speaker 5: exactly on Boy Meet's World, my answer was it was

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Speaker 5: very important, and I'm excited to find out.

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Speaker 1: That's about right.

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Speaker 5: What I do know is he was the production coordinator

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Speaker 5: on the show, starting in season one and running through

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Speaker 5: the finale in season seven, and that wasn't his first

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Speaker 5: Michael Jacob's production. He had already worked on My Two

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Speaker 5: Dads and The Torkulsns. He'd later branch out, gaining a

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Speaker 5: ton of experience under his belt, with many titles on

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Speaker 5: shows like Swingtown and CIS Los Angeles and The Ten

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Speaker 5: Things I Hate About You TV adaptation. So now please

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Speaker 5: welcome to the podcast production coordinator and all around great

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Speaker 5: guy Russell dag Hey.

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Speaker 2: Russell, Well, how are you look at you?

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Speaker 3: How y'all? Hello, beautiful people.

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Speaker 1: I'm here too. I'm here too. I don't know if

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Speaker 1: you can tell.

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Speaker 3: Yeah, I see you.

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Speaker 5: We saw you recently at our Pod meets World first

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Speaker 5: half party, and your interview was only like a week

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Speaker 5: after our party, so it was a bit of a technicality,

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Speaker 5: but we make the rules.

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Speaker 2: So we are thrilled to see you.

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Speaker 5: We have not stopped talking about how great it was.

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Speaker 5: Do you leave this impression on everybody you meet thirty

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Speaker 5: years ago? Does everybody feel this way about you?

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Speaker 3: Oh? I mean, I hope so, yeah, it's probably. You know.

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Speaker 3: First of all, I felt like one of the kids

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Speaker 3: kind of growing up. I grew up on Boy Meets World.

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Speaker 3: You know, I've been around. I'm not a kid, and

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Speaker 3: I wasn't a kid back then, either, but I just

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Speaker 3: had so much fun, you know, and it's like family. Yeah, really,

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Speaker 3: you know, I mean, and I just yeah, I guess

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Speaker 3: that's love, right, yeah, each other. Yeah, it's true really

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Speaker 3: what it was about.

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Speaker 5: So, your first job was on a Michael Jacob show

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Speaker 5: My Two Dads as part of the production staff in

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Speaker 5: nineteen eighty nine.

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Speaker 2: How did you get that job?

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Speaker 3: You know, it's really I have before I get too

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Speaker 3: far into this, Lynn McCracken friends. And at the time,

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Speaker 3: I was a struggling would be dancer. That's really what

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Speaker 3: I wanted to really, yeah, yeah, yeah, And I had

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Speaker 3: studied dance and I was I was doing you know,

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Speaker 3: nightly shows at Magic Mountain believe it or not, man real,

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Speaker 3: and it was that was the greatest gig, by the way.

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Speaker 3: It was a fireworks spectacular and it was all like

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Speaker 3: George Kersh music and it was tap dancing and you know,

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Speaker 3: jazz hands and.

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Speaker 1: The Magic even did stuff awesome.

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Speaker 3: Here was the great thing about doing that show. It

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Speaker 3: was during the summer, and it was on Mystic Lake

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Speaker 3: and it was a fireworks show, so they could only

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Speaker 3: do it once. So we were in and out of

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Speaker 3: there and we were like drunk at Marie Calendar.

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Speaker 2: Were you in a costume?

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Speaker 3: Oh yeah, I was doing Yeah, I was like in

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Speaker 3: several costumes believe it or not. And it was. It

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Speaker 3: was a lot of fun anyway, but it was a

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Speaker 3: short lived gig, you know, that's the way Joe biz is,

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Speaker 3: you know. And I just was like, you know what,

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Speaker 3: I don't think And I would go to auditions. I

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Speaker 3: would go to auditions as a dancer, and they would

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Speaker 3: be hiring maybe three boys, you know, and there would

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Speaker 3: be five hundred amazing dancers there, and I was just like,

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Speaker 3: you know, I'm not sure that I want to do this.

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Speaker 1: Yeah, being a dancer is just the hardest because it's

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Speaker 1: like all the same insecurity and like performance anxiety of

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Speaker 1: being an actor, plus the athletic demands, like you're also

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Speaker 1: an athlete. So it's like I can't imagine something harder

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Speaker 1: than taking on me.

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Speaker 3: And I say that it's kind of a short lived

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Speaker 3: thing too, you know you've ever been injured or whatever.

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Speaker 3: But I you know, I mean I I did it

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Speaker 3: for you know. I was like the only boy in

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Speaker 3: my high school who did modern dance, you know, very

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Speaker 3: popular with all the girls and the cheer leaders and

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Speaker 3: all that stuff. But you know, it was it was

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Speaker 3: just something that I was good at and I love

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Speaker 3: doing and but so Linda Krachen and I were friends,

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Speaker 3: and we'll go back to I Digress. Lenny was my

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Speaker 3: friend and she was working on the show as Michael

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Speaker 3: Jacob's assistant on My Two Dads, and they were hiring

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Speaker 3: a PA, like a night PA. So that was my

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Speaker 3: first gig and it was such a great thing to

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Speaker 3: see Stacy Keenan just recently too. Yeah, party and so

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Speaker 3: Lynn McCracken got me this job, got me an interview

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Speaker 3: with Arlene Grayson. Yeah. He became my mentor by the way.

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Speaker 3: So so thank you Lenny McCracken for getting me that gig.

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Speaker 3: And I was the night PA. Oh I was talking

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Speaker 3: about Stacy Keenan. Yeah, So Stacy Keenan. I saw her

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Speaker 3: at your at your party and uh she said her

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Speaker 3: name and I was like, wait a minute, I know

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Speaker 3: that voice. I know that name. I was a PA

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Speaker 3: on My Two Dads and we just had a laugh.

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Speaker 1: And I delivered your scripts at Yes the Morning the

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Speaker 1: roughest gig.

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Speaker 3: Yeah, it was.

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Speaker 1: But you so you actually learned how to do production though,

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Speaker 1: I mean, you worked, You did the thing that so

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Speaker 1: many pas think they're going to do and then they

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Speaker 1: just get the crap being out of them. Because it's

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Speaker 1: such a hard job and they run screaming from the business,

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Speaker 1: but you stuck it out.

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Speaker 3: Yeah, I mean, you know, I remember things fights that

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Speaker 3: I got into in those days, you know. And also

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Speaker 3: working really closely with Michael Jacobs because being the night PA,

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Speaker 3: I had to wait for him to finish that rewriter,

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Speaker 3: you know, because it wasn't there was a writer's room

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Speaker 3: on that show. But primarily in those days, in those

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Speaker 3: olden days, Michael would stay and write at night and

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Speaker 3: I had he was done, and then I would xerox

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Speaker 3: the script and then I would get under copies. The

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Speaker 3: Thomas Guides.

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Speaker 1: Talk about them all the time.

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Speaker 3: Yeah, so I had to do the Thomas Guide map,

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Speaker 3: and there it is the guest.

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Speaker 1: Daniel got us. These these are Thomas Guides.

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Speaker 5: I got him a Thomas Guide with where Disney, Where

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Speaker 5: we met.

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Speaker 1: Disney, where we met right there?

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Speaker 3: Yeah, yeah, I so the Thomas Brothers. Yeah, delivery scripts

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Speaker 3: in the middle of the night. Michael Jack Michael Jacobs

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Speaker 3: would occasionally start watching television or something and I would be.

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Speaker 1: Like, Michael, can you get.

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Speaker 3: A great movie? But you know, you know, I made

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Speaker 3: a lot of money to deliver scripts and delivering scripts

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Speaker 3: all night, you know. But that's how I started, was

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Speaker 3: on that show. And you know, God bless Arlene Grayson.

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Speaker 3: She took me under her wing. She became like a

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Speaker 3: mentor to me, you know, and she you know, and

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Speaker 3: I kind of got bumped up to an assistant to

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Speaker 3: the producers and and then became a production coordinator and

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Speaker 3: worked on shows. You know. From there, I worked on

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Speaker 3: a lot of Columbia television shows and you know, I

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Speaker 3: did a show with George Clooney called Baby Talk. That

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Speaker 3: was my first job as a production coordinator.

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Speaker 5: Okay, well before hold on, before we get into that,

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Speaker 5: you move on. Then from My Two Dads onto the

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Speaker 5: Torkl Sens in nineteen ninety one, and at that time

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Speaker 5: you were then a co producer in post production. Did

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Speaker 5: Arlene get you from My Two Dads to the Toal

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Speaker 5: Sins Or was that Michael?

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Speaker 3: Yeah, it was really, you know, it was it was

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Speaker 3: our lean who kind of took me. But I have

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Speaker 3: I owe a debt of gratitude to Michael Jacobs, who really,

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Speaker 3: you know, took care of me and took me along

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Speaker 3: with him from show to show, and you know, gave

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Speaker 3: me a lot of opportunities and I think you know,

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Speaker 3: all I had to do really is to pay attention,

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Speaker 3: you know, and that's certainly what our lean stressed was, like,

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Speaker 3: you know, just you know, pay attention and be present

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Speaker 3: and you know, words slip by, right, and uh yeah,

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Speaker 3: so if I did tole sins and that was a blast.

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Speaker 1: But I think that's a credit to you that, you know,

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Speaker 1: so many people get those entry level positions on a

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Speaker 1: production and just shut down because it's such hard work.

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Speaker 1: And of course all the glamor of show business that's

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Speaker 1: interesting is like actors and exciting stunt scenes are special effects,

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Speaker 1: and none of that really happens, right, that's like the

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Speaker 1: the one minute a day where that stuff's going on.

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Speaker 1: The rest of it is real work. It's like you know,

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Speaker 1: it's it's office work, it's coordinating different people, it's you know,

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Speaker 1: dealing with personalities cruise. So like a lot of people

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Speaker 1: just bail at that point, and you stuck it out

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Speaker 1: and that you you and learned how how the sausage

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Speaker 1: is made, right, Like, I mean, that's and you only

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Speaker 1: do that if you're willing to like put the time

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Speaker 1: in and and and yeah, listen, it's yeah.

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Speaker 3: And to the credit of that that particular group, Michael's

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Speaker 3: you know, Michael's little uh what do we used to

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Speaker 3: call it? His not his playpen, but his sand his

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Speaker 3: sand pit whatever we call sandbox box. Thank you Michael

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Speaker 3: sandbox and all those people that inhabited that was that

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Speaker 3: you know, it was about having fun too, you know,

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Speaker 3: and uh, you know, if it hadn't been fun, you know,

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Speaker 3: there's no way you can survive those kind of hours.

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Speaker 1: And totally yeah, so much.

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Speaker 5: Okay, So then you move on to being a production coordinator.

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Speaker 5: Can you tell everyone exactly what do you do as

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Speaker 5: a production coordinator?

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Speaker 4: What the hell is the Russell is the question I'd

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Speaker 4: like to ask. I think Daniel's being more polite about it,

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Speaker 4: but what the hell is that?

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Speaker 3: You know, it's a lot of a lot of things,

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Speaker 3: and you know it here, you know what I printed

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Speaker 3: out my resume because there's so much that I can't remember.

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Speaker 3: But under this I have like this kind of general responsibilities.

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Speaker 3: And I've been an associate producer, I've been a production manager,

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Speaker 3: I've been a production supervisor and a production coordinator and

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Speaker 3: you know, and I kind of have to remind myself

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Speaker 3: a because you know, I'm you know, elderly and forget things,

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Speaker 3: but here to answer your question in all sincerity. You know,

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Speaker 3: it's a million things, and it's different for every production.

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Speaker 3: But basically, the production coordinator is that worker bee who

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Speaker 3: is kind of doing making all the nuts and bolts happen,

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Speaker 3: all the logistics, all the communications for the show. If

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Speaker 3: it's it's sending out call sheets to the actors crew,

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Speaker 3: it's you know, making a million calls to people to

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Speaker 3: tell them the schedule has changed. Were sending schedules, being

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Speaker 3: kind of the liaison for the network and the studio

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Speaker 3: and the facility where we were shooting. So you know,

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Speaker 3: you remember we on Boing Meet's World, we went to

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Speaker 3: three different places. We started out at Disney for a

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Speaker 3: couple of years, then we went to kt LA for

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Speaker 3: a couple of years, Then we were at Radford for

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Speaker 3: a couple of years, and then back to Disney for

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Speaker 3: the last season. And I was kind of the person

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Speaker 3: who was the liaison between all of those those folks

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Speaker 3: that worked in those back those departments like moving in,

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Speaker 3: setting up offices and getting parking spaces and setting up

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Speaker 3: dressing rooms and and all that good stuff.

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Speaker 4: Were you not to interrupt, but just because you talked

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Speaker 4: about it, And this is something we've brought up a

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Speaker 4: bunch of times because we talked about all the time.

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Speaker 1: But do you know why we were shuffled around from

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Speaker 1: studio to studio to studio and why we weren't just

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Speaker 1: say able to stay at Disney for all seven years?

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Speaker 3: You know, I don't know specifically. I know that probably

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Speaker 3: had something to do with well, where Michael wanted to be,

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Speaker 3: right and also what stages were available. So you know,

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Speaker 3: I don't know what happened between season two and three

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Speaker 3: that moved us to KTLA, but it could be that.

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Speaker 3: You know, it's also a budget thing too, Okay, you

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Speaker 3: know different places.

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Speaker 5: You know, there's no doubt that KTLA had to have

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Speaker 5: cost significantly then.

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Speaker 1: Yes, yes, wow. I also I want to hear what

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Speaker 1: was the difference like for you in terms of the

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Speaker 1: two companies, like or the studio lots. Were they different vibes,

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Speaker 1: different people working for them? Like what was I imagine there?

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Speaker 3: Yeah? Yeah, I mean obviously Disney Studios, I mean with

381
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Speaker 3: all of its history and it's lush beauty and historic

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Speaker 3: buildings and squirrels yeah, I mean, just yeah, squirrels that were.

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Speaker 4: Yeah, KTLA had a lot of lushes. They were just

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Speaker 4: kind of hanging out in the parking lot, that's right.

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Speaker 2: Drinking out of a paper bag, a different kind of thing.

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Speaker 3: Yeah, remember we I think it was our first day

387
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Speaker 3: that the cast was on kt LA proper, like you

388
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Speaker 3: guys came in for a rehearsal or and there was

389
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Speaker 3: like a sniper from the across the street. Do you

390
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Speaker 3: remember that?

391
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Speaker 2: I do?

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Speaker 3: Yeah. The hood now, yeah, it's.

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Speaker 2: Like everybody's shelter in place.

394
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Speaker 3: Yeah, you know. And for me it was more about

395
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Speaker 3: I learned. Part of my growing up in this business

396
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Speaker 3: was really about how to relationships and being that liaison,

397
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Speaker 3: that person that had to go and ask for things.

398
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Speaker 3: You know, we need more air conditioning, or I need

399
00:21:09,320 --> 00:21:12,159
Speaker 3: you know this, favor this you know, or I got

400
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Speaker 3: good at negotiating. But it was about learning how to

401
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Speaker 3: build relationships. And I don't know if you were Pat

402
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Speaker 3: who ran Pat Do you remember Pat, Pat Jackson? Or yeah?

403
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Speaker 3: So Pat was kind of like the lot manager and

404
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Speaker 3: he was like my main guy.

405
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Speaker 4: Oh wait, I remember Pat so familiar.

406
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Speaker 1: I have a fun well tell us about Pat.

407
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Speaker 3: Pat was great, but I remember well, after Arlene passed away,

408
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Speaker 3: Karen McCain became the producer and she really became my

409
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Speaker 3: work wife and we you know, I was her lieutenant.

410
00:21:49,560 --> 00:21:51,960
Speaker 3: I was, you know, we were kind of inseparable. We

411
00:21:52,080 --> 00:21:54,639
Speaker 3: kind of did the show. We all the all the

412
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Speaker 3: logistics of the show, the budget, the crew, the facilities,

413
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Speaker 3: all of that stuff we kind of did together. And

414
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Speaker 3: you know, I remember she had to take me to

415
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Speaker 3: lunch once and said, you know, Russell, you really need

416
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Speaker 3: to make friends with Pat because he's going to be

417
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Speaker 3: the person you know that we you know, it's having

418
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Speaker 3: that relationship is going to make it a lot easier. Yeah,

419
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Speaker 3: you know, and I was, I was still sort of

420
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Speaker 3: up and coming and learning, and I thought, well, I

421
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Speaker 3: had to be a hard ass, you know, I needed

422
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Speaker 3: to stand my ground and be you know, the boss.

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Speaker 3: And you know that just doesn't that doesn't work. I

424
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Speaker 3: mean obviously you get so much more with a little honey, right.

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Speaker 4: Yeah.

426
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Speaker 3: So yeah, I mean that was one lesson that I

427
00:22:42,359 --> 00:22:45,040
Speaker 3: learned that going from place to place was that it

428
00:22:45,119 --> 00:22:49,480
Speaker 3: was about you know, making friends and having people that

429
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Speaker 3: were going to take care of us.

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Speaker 1: But you also seem to be I mean, were you

431
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Speaker 1: also a liaison for people on the set because you

432
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Speaker 1: also seem to be on the set a lot of time.

433
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Speaker 1: We hung out all the time. You were with us constantly,

434
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Speaker 1: that's right.

435
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Speaker 3: Yeah. I eventually kind of moved from the office, you know.

436
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Speaker 3: I think it was probably season four. I became the

437
00:23:13,720 --> 00:23:17,320
Speaker 3: associate producer, so I was bumped up to what in

438
00:23:17,480 --> 00:23:22,600
Speaker 3: multi camera in this sort of format of television, the

439
00:23:23,000 --> 00:23:25,600
Speaker 3: associate producers sort of like the production manager. So if

440
00:23:25,640 --> 00:23:28,840
Speaker 3: you're doing like a movie or single camera, which I

441
00:23:28,880 --> 00:23:33,320
Speaker 3: eventually went to work in, that would be the UPM

442
00:23:33,520 --> 00:23:37,119
Speaker 3: or the unit production manager. So I then became responsible

443
00:23:37,160 --> 00:23:42,520
Speaker 3: for the person who would create the episodic budget, dealing

444
00:23:42,560 --> 00:23:45,760
Speaker 3: with all the departments. So I'd go to set, dressing,

445
00:23:45,960 --> 00:23:49,880
Speaker 3: set deck, and say, hey, Robin, what's this episode going

446
00:23:49,880 --> 00:23:52,879
Speaker 3: to cost you? You know, after the production meeting, they

447
00:23:52,920 --> 00:23:55,000
Speaker 3: would go and they would create their budgets and then

448
00:23:55,000 --> 00:23:57,320
Speaker 3: they would give them to me, and then I would

449
00:23:57,359 --> 00:24:00,920
Speaker 3: create what was called the episodic budget, and and then

450
00:24:00,960 --> 00:24:04,200
Speaker 3: that would be often a phone call over to Disney

451
00:24:04,240 --> 00:24:07,639
Speaker 3: that said this episode is going to cost us X

452
00:24:07,640 --> 00:24:11,040
Speaker 3: amount of dollars. So I so I was a lot

453
00:24:11,040 --> 00:24:14,200
Speaker 3: of it was a lot of communication with the departments props,

454
00:24:14,560 --> 00:24:17,119
Speaker 3: that deck, hair and makeup. I just listened to the

455
00:24:17,240 --> 00:24:25,880
Speaker 3: Lori heaps hair and they all hated me. They did.

456
00:24:25,880 --> 00:24:29,239
Speaker 3: They would sometimes come in and would have to be

457
00:24:29,320 --> 00:24:31,240
Speaker 3: the person that would say, hey, you know, do you

458
00:24:31,280 --> 00:24:34,679
Speaker 3: really need the sextra person or you know, can we

459
00:24:34,680 --> 00:24:39,960
Speaker 3: do without this or whatever? And so yeah, so then

460
00:24:39,960 --> 00:24:42,119
Speaker 3: I just became you know, and a and again it

461
00:24:42,200 --> 00:24:45,080
Speaker 3: was about you know, making friends with these people, and

462
00:24:45,119 --> 00:24:46,560
Speaker 3: we did. We had a great time.

463
00:24:47,359 --> 00:24:52,120
Speaker 1: What I love, Russell is that everything you're describing your

464
00:24:52,280 --> 00:24:56,399
Speaker 1: entire existence back then was everything that we took for

465
00:24:56,440 --> 00:25:00,119
Speaker 1: granted totally. It's literally all the stuff that we we

466
00:25:00,280 --> 00:25:03,800
Speaker 1: never had to think about because it was always taken

467
00:25:03,920 --> 00:25:06,439
Speaker 1: care of. And like you know, it wasn't until I

468
00:25:06,440 --> 00:25:09,760
Speaker 1: worked on other shows or other where I could see,

469
00:25:10,000 --> 00:25:14,280
Speaker 1: oh that the production, like the trains don't run on time,

470
00:25:14,359 --> 00:25:16,920
Speaker 1: things are not happening. It's because you guys did such

471
00:25:17,040 --> 00:25:20,440
Speaker 1: a good job that we always felt we just totally

472
00:25:20,480 --> 00:25:22,320
Speaker 1: took it for granted. We just always felt like everything

473
00:25:22,359 --> 00:25:25,720
Speaker 1: that we never needed was there. Yes, And so I'm

474
00:25:25,800 --> 00:25:28,360
Speaker 1: curious what I want to hear. I want to hear

475
00:25:28,400 --> 00:25:31,480
Speaker 1: about a disaster or things that didn't go wrong because

476
00:25:31,480 --> 00:25:34,080
Speaker 1: we never felt it. I don't remember, or maybe you

477
00:25:34,119 --> 00:25:36,560
Speaker 1: can remind me of a time when something wasn't there,

478
00:25:36,600 --> 00:25:39,439
Speaker 1: but it always felt like things were going smoothly and

479
00:25:39,440 --> 00:25:42,880
Speaker 1: that our production was just flying along. So I want

480
00:25:42,880 --> 00:25:44,399
Speaker 1: to hear, do you have a memory of like a

481
00:25:44,440 --> 00:25:46,760
Speaker 1: time when something just did not come together?

482
00:25:48,000 --> 00:25:51,600
Speaker 3: Uh? Oh, boy, things would have I'm trying to remember,

483
00:25:52,520 --> 00:25:56,359
Speaker 3: you know, like some sort of weird I think about,

484
00:25:57,160 --> 00:26:01,480
Speaker 3: you know, natural disasters of course, like yeah, like earthquake, Yeah,

485
00:26:01,560 --> 00:26:04,840
Speaker 3: the north Ridge earthquake, when you know, you'd walk on

486
00:26:05,000 --> 00:26:07,639
Speaker 3: stage for days after and it was like everything was

487
00:26:07,680 --> 00:26:09,879
Speaker 3: sort of shut down, I think, and it was like

488
00:26:09,920 --> 00:26:16,480
Speaker 3: you'd be you know, under lights and everything would be rattling. Yes, honestly,

489
00:26:19,000 --> 00:26:22,080
Speaker 3: I would have to think, and I don't. I don't

490
00:26:22,119 --> 00:26:26,600
Speaker 3: really have a particular story about things going completely.

491
00:26:28,000 --> 00:26:28,639
Speaker 1: Well that should be.

492
00:26:28,640 --> 00:26:30,560
Speaker 4: I mean, with that right there tells you exactly how

493
00:26:30,640 --> 00:26:34,880
Speaker 4: the production was going. If one doesn't just pop in immediately, yeah,

494
00:26:34,960 --> 00:26:36,160
Speaker 4: because that's what it was.

495
00:26:36,240 --> 00:26:40,040
Speaker 1: Without without naming names, did you ever have to let

496
00:26:40,040 --> 00:26:43,280
Speaker 1: people go or lose whole apartments or switch things over?

497
00:26:43,680 --> 00:26:45,280
Speaker 1: And why would that happen?

498
00:26:47,600 --> 00:26:50,639
Speaker 3: Yeah, you know, I mean I in my day, I

499
00:26:50,680 --> 00:26:53,000
Speaker 3: can't even recall what shows, but probably a lot with

500
00:26:53,119 --> 00:26:56,280
Speaker 3: boy not so maybe not so much with Boy because

501
00:26:56,359 --> 00:26:59,679
Speaker 3: it was such a it just it just was a dream.

502
00:27:00,040 --> 00:27:03,480
Speaker 3: Let me tell you. It's just it worked well. There

503
00:27:03,480 --> 00:27:05,600
Speaker 3: weren't there There wasn't a lot of turnover. It was

504
00:27:05,680 --> 00:27:06,639
Speaker 3: kind of a love best.

505
00:27:07,000 --> 00:27:07,960
Speaker 1: Yeah.

506
00:27:08,160 --> 00:27:12,440
Speaker 3: I mean I have had to let people go. And

507
00:27:12,600 --> 00:27:15,560
Speaker 3: you know, I had one guy who was hired as

508
00:27:15,560 --> 00:27:18,040
Speaker 3: a as a PA, and I can't remember what the

509
00:27:18,119 --> 00:27:20,560
Speaker 3: problem was, but I had to let him go. And

510
00:27:21,400 --> 00:27:24,840
Speaker 3: I remembered that he when he was leaving the office,

511
00:27:24,880 --> 00:27:28,800
Speaker 3: he threatened to run me over in his car. And yeah,

512
00:27:28,840 --> 00:27:34,000
Speaker 3: so I had hired let go this PA and he, yeah,

513
00:27:34,040 --> 00:27:36,480
Speaker 3: I think either when he was leaving or I was

514
00:27:36,520 --> 00:27:39,000
Speaker 3: outside and he was still there, and he threatened to

515
00:27:39,080 --> 00:27:41,600
Speaker 3: run me over with his car because I was such

516
00:27:41,600 --> 00:27:44,199
Speaker 3: a piece of work, and and I was like, you know,

517
00:27:44,480 --> 00:27:47,000
Speaker 3: I'm I'm sorry, you know, please don't run me over.

518
00:27:48,240 --> 00:27:51,240
Speaker 3: But you know, things like that. But in terms of

519
00:27:51,280 --> 00:27:55,719
Speaker 3: the crew for Boy, I mean, we just we just

520
00:27:55,760 --> 00:28:00,199
Speaker 3: got lucky, you know. I know, I just took just

521
00:28:00,240 --> 00:28:02,679
Speaker 3: texted Karen and I was telling her that that I

522
00:28:02,760 --> 00:28:04,919
Speaker 3: was doing this and I and that i'd seen you

523
00:28:05,000 --> 00:28:08,240
Speaker 3: all recently, and I said, you know, we're we are

524
00:28:08,440 --> 00:28:11,159
Speaker 3: so blessed and lucky to have those seven years. It

525
00:28:11,240 --> 00:28:14,560
Speaker 3: was probably the beast seven years of my my time,

526
00:28:14,920 --> 00:28:18,000
Speaker 3: my career. I've been doing this for a long time

527
00:28:19,119 --> 00:28:22,719
Speaker 3: now you're all directing and writing and and you know

528
00:28:22,840 --> 00:28:27,320
Speaker 3: it's uh, it widens your perspective for sure.

529
00:28:27,920 --> 00:28:41,960
Speaker 1: Right, makes you realize how rare it was. Okay Russell,

530
00:28:42,160 --> 00:28:47,760
Speaker 1: very important question. Okay, Will has a memory that prisoners

531
00:28:47,800 --> 00:28:51,320
Speaker 1: were brought in to watch our show as an audience.

532
00:28:51,920 --> 00:28:52,920
Speaker 1: Is there any truth to this?

533
00:28:53,400 --> 00:28:56,160
Speaker 2: He doesn't. He thinks they were out on like good beha.

534
00:28:56,440 --> 00:28:58,280
Speaker 4: Yes, I think it was, like I was told at

535
00:28:58,280 --> 00:29:01,480
Speaker 4: the beginning of the show, anyone knew what the show was,

536
00:29:01,520 --> 00:29:03,480
Speaker 4: that one of the groups they would bring in would

537
00:29:03,480 --> 00:29:06,040
Speaker 4: be like work release prisoners to fill audiences.

538
00:29:06,320 --> 00:29:09,640
Speaker 3: I you know, I can't imagine the show that that

539
00:29:09,680 --> 00:29:14,120
Speaker 3: would get it, But I don't. I sort of remember.

540
00:29:15,360 --> 00:29:18,560
Speaker 3: I sort of remember mail coming from prisons.

541
00:29:19,000 --> 00:29:21,480
Speaker 1: Oh yeah, that happens all the time.

542
00:29:21,560 --> 00:29:24,880
Speaker 3: Yeah, and that and that was when you were all

543
00:29:24,960 --> 00:29:29,800
Speaker 3: a certain age was very was taken very seriously, and

544
00:29:31,040 --> 00:29:33,960
Speaker 3: I don't think it ever got to you, right, Yeah,

545
00:29:33,960 --> 00:29:36,080
Speaker 3: I don't remember prisoners every.

546
00:29:36,080 --> 00:29:37,120
Speaker 1: Still not still knocked up.

547
00:29:37,360 --> 00:29:39,040
Speaker 5: I know, we gotta we gotta interview. We got to

548
00:29:39,080 --> 00:29:44,760
Speaker 5: interview the woman who ran the audience, Janna Ja Yeah, right, yeah, Okay,

549
00:29:44,880 --> 00:29:48,080
Speaker 5: So let's go. It's nineteen ninety three, season one. You

550
00:29:48,120 --> 00:29:50,400
Speaker 5: have this job for a new program Friday nights. It's

551
00:29:50,400 --> 00:29:53,880
Speaker 5: called Boy Meets World. What do you remember thinking about, like,

552
00:29:53,880 --> 00:29:55,520
Speaker 5: what were your impressions of the show?

553
00:30:00,280 --> 00:30:02,560
Speaker 3: What were my impressions in the show? Okay, so I

554
00:30:02,920 --> 00:30:05,760
Speaker 3: have to say that it wasn't a show that I

555
00:30:05,760 --> 00:30:14,360
Speaker 3: would probably watch, honestly, because it just wasn't. But then

556
00:30:14,840 --> 00:30:18,680
Speaker 3: there were times when watching that I don't think that

557
00:30:18,760 --> 00:30:20,560
Speaker 3: I ever really watched it all that much on the air,

558
00:30:21,160 --> 00:30:25,360
Speaker 3: but watching it shot, I will be honest, there were

559
00:30:25,400 --> 00:30:32,040
Speaker 3: many times when I was in tears, really moved, and

560
00:30:32,120 --> 00:30:34,600
Speaker 3: you know, I think back then the jury was still out.

561
00:30:34,640 --> 00:30:37,880
Speaker 3: I mean, I I loved you kids, I mean I

562
00:30:38,760 --> 00:30:41,080
Speaker 3: really did. I thought, God, how lucky we are at

563
00:30:41,080 --> 00:30:44,080
Speaker 3: these these are you know, well grounded. I loved your

564
00:30:44,120 --> 00:30:48,400
Speaker 3: parents so lucky. You know, it was just like down

565
00:30:48,440 --> 00:30:52,720
Speaker 3: to earth they raised you right, you know. I had

566
00:30:52,800 --> 00:30:55,520
Speaker 3: done and just going back, I had done a pilot

567
00:30:55,600 --> 00:30:58,760
Speaker 3: with Ben when he was nine, so I already had

568
00:30:58,760 --> 00:31:02,120
Speaker 3: this love affair with Joanne Savage his mom.

569
00:31:02,480 --> 00:31:04,640
Speaker 1: What was that pilot we did.

570
00:31:04,800 --> 00:31:07,280
Speaker 3: I did a pilot. It was Columbia Television. It was

571
00:31:07,280 --> 00:31:11,080
Speaker 3: called Hurricane Sam. And he was like nine years old.

572
00:31:11,400 --> 00:31:11,880
Speaker 4: Wow.

573
00:31:13,800 --> 00:31:17,880
Speaker 3: Uh. It was with Ray Walston man and I was

574
00:31:18,160 --> 00:31:19,720
Speaker 3: I think I was a p A on it. I

575
00:31:19,760 --> 00:31:22,560
Speaker 3: think because I drove Ray Walston back. Yeah, I was

576
00:31:22,600 --> 00:31:25,880
Speaker 3: a p A. I drove Ray Walston at home every night.

577
00:31:26,160 --> 00:31:26,720
Speaker 2: That's cool.

578
00:31:27,240 --> 00:31:29,160
Speaker 3: Yeah, it was very cool. He was talking. He would

579
00:31:29,160 --> 00:31:30,480
Speaker 3: talk about Brando and all this.

580
00:31:30,560 --> 00:31:31,240
Speaker 1: Oh man.

581
00:31:31,840 --> 00:31:34,240
Speaker 3: Yeah, and then he like gave me a thousand dollars

582
00:31:34,280 --> 00:31:37,040
Speaker 3: at the end of the shoot, like seriously, like just

583
00:31:37,200 --> 00:31:39,560
Speaker 3: here's a thousand bucks, you know, thanks for driving me.

584
00:31:40,040 --> 00:31:41,640
Speaker 1: It was school actor.

585
00:31:43,320 --> 00:31:48,080
Speaker 3: Yeah, but it was with Ray Wilston, Karen Valentine, Frand Dresser,

586
00:31:48,280 --> 00:31:52,880
Speaker 3: Oh my god. And was Hurricane Sam. He was the

587
00:31:53,000 --> 00:31:53,840
Speaker 3: he was so he was.

588
00:31:53,800 --> 00:31:54,680
Speaker 1: The lead of the show.

589
00:31:55,120 --> 00:31:57,480
Speaker 3: Yeah, yeah, yeah, around him.

590
00:31:57,560 --> 00:31:59,360
Speaker 1: I never even heard of this there.

591
00:32:00,120 --> 00:32:02,840
Speaker 3: It didn't get picked up obviously, you know, it was.

592
00:32:03,880 --> 00:32:05,760
Speaker 3: I did a lot of stuff like that. You know

593
00:32:05,840 --> 00:32:10,440
Speaker 3: a lot of little shows. The pilots they're on my

594
00:32:10,840 --> 00:32:13,840
Speaker 3: on my resume. I have. It starts with Point Meets World,

595
00:32:14,120 --> 00:32:16,280
Speaker 3: I mean, because I mean, you know, there's a little

596
00:32:16,320 --> 00:32:18,640
Speaker 3: bit of agism in this business, you know. So it's

597
00:32:18,680 --> 00:32:20,640
Speaker 3: like I can send my resume out to people who

598
00:32:20,680 --> 00:32:23,760
Speaker 3: probably grew up watching the show and they probably don't

599
00:32:23,760 --> 00:32:25,280
Speaker 3: want to work with Grandpa. You know.

600
00:32:27,640 --> 00:32:30,120
Speaker 5: Did you work out the schedules for us when we

601
00:32:30,160 --> 00:32:33,240
Speaker 5: went to other than Will when we went to Orlando?

602
00:32:33,640 --> 00:32:36,480
Speaker 5: Did you do you remember the Disney World trip?

603
00:32:36,720 --> 00:32:38,920
Speaker 3: Yeah? I do, and I remember I was so jealous

604
00:32:38,920 --> 00:32:43,840
Speaker 3: and I didn get to go. Yeah, but yeah, I

605
00:32:43,880 --> 00:32:47,880
Speaker 3: probably did the travel. I probably did all the travel stuff. Yeah,

606
00:32:48,160 --> 00:32:50,560
Speaker 3: I'm not sure that I did the actual schedule. That

607
00:32:50,600 --> 00:32:54,640
Speaker 3: would probably have been Karen and was it was it

608
00:32:54,720 --> 00:32:59,200
Speaker 3: Kendall that directed that or I think it was mc McCracken. Okay,

609
00:32:59,280 --> 00:33:02,800
Speaker 3: so probably Aaron and Jeff got together and did the

610
00:33:02,800 --> 00:33:05,640
Speaker 3: schedule once you got there. Why was there a story

611
00:33:05,680 --> 00:33:05,960
Speaker 3: to this?

612
00:33:06,120 --> 00:33:06,960
Speaker 2: No, we just wondered.

613
00:33:06,960 --> 00:33:09,440
Speaker 5: We just always talk about like those, you know, those

614
00:33:09,480 --> 00:33:11,920
Speaker 5: big production weeks when everything works.

615
00:33:11,960 --> 00:33:13,120
Speaker 1: To bring it up all the time.

616
00:33:13,280 --> 00:33:14,880
Speaker 5: I love to point out to Will that he didn't

617
00:33:14,880 --> 00:33:15,240
Speaker 5: get to go.

618
00:33:15,360 --> 00:33:15,840
Speaker 2: Yeah.

619
00:33:16,560 --> 00:33:18,840
Speaker 3: Will got to go to Lake Placids.

620
00:33:18,880 --> 00:33:23,200
Speaker 1: Oh yeah, Potato, same Florida. It's very similar.

621
00:33:24,920 --> 00:33:26,440
Speaker 2: Lake Flaccid Disney World.

622
00:33:26,520 --> 00:33:29,840
Speaker 1: Everyone knows it's the same state with Nancy Kerrigan, which

623
00:33:29,880 --> 00:33:32,800
Speaker 1: was cool as hell. That was awesome, but come on,

624
00:33:33,000 --> 00:33:33,720
Speaker 1: it's Disney.

625
00:33:33,800 --> 00:33:36,480
Speaker 3: It's Disney Disney World. I didn't need to go either.

626
00:33:36,720 --> 00:33:39,720
Speaker 1: Okay, we should have hung out, Russell, we should have

627
00:33:39,840 --> 00:33:40,240
Speaker 1: hung out.

628
00:33:41,040 --> 00:33:41,240
Speaker 3: Now.

629
00:33:41,400 --> 00:33:43,560
Speaker 5: Something we talk about a lot is how we always

630
00:33:43,560 --> 00:33:46,440
Speaker 5: felt like in between seasons that we were regularly on

631
00:33:46,640 --> 00:33:50,600
Speaker 5: the bubble. Did you find out well before us when

632
00:33:50,640 --> 00:33:53,840
Speaker 5: we were picked up or did you also worry we

633
00:33:53,840 --> 00:33:54,960
Speaker 5: were getting canceled every year?

634
00:33:55,480 --> 00:33:59,480
Speaker 3: Yeah? That was always everybody's worried. Yeah, it's only been

635
00:33:59,560 --> 00:34:03,160
Speaker 3: once my career, and that was when I did n

636
00:34:03,240 --> 00:34:07,960
Speaker 3: CIS Los Angeles four years and we got picked up

637
00:34:08,400 --> 00:34:12,160
Speaker 3: for two years. I think too. I think we got

638
00:34:12,200 --> 00:34:16,759
Speaker 3: picked up for several years anyway, just keep it going.

639
00:34:16,960 --> 00:34:20,439
Speaker 3: And it was sort of like, wow, what are you relaxed? Okay,

640
00:34:20,480 --> 00:34:21,839
Speaker 3: I'm going to buy a new car.

641
00:34:22,320 --> 00:34:23,080
Speaker 1: That's so cool.

642
00:34:24,760 --> 00:34:27,440
Speaker 3: So but yeah, no, we were. We were always on

643
00:34:27,440 --> 00:34:29,760
Speaker 3: that same bubble with you, I think.

644
00:34:30,560 --> 00:34:32,520
Speaker 4: Do you have a preference because you've done and I

645
00:34:32,560 --> 00:34:34,640
Speaker 4: know we'll get into the single camera stuff that you've

646
00:34:34,640 --> 00:34:36,880
Speaker 4: done as well, But if you had to choose between

647
00:34:36,920 --> 00:34:39,200
Speaker 4: working on multi caam or single cam, do you have

648
00:34:39,239 --> 00:34:40,160
Speaker 4: a preference between the two.

649
00:34:41,080 --> 00:34:46,880
Speaker 3: Uh, sitcom give me Yeah, seven years would take me

650
00:34:46,920 --> 00:34:47,759
Speaker 3: into retirement.

651
00:34:48,320 --> 00:34:53,000
Speaker 1: Much easier production. Yeah, yeah, everything's so streamlined. It's you know,

652
00:34:53,040 --> 00:34:55,520
Speaker 1: it's more like producing a live show than it is.

653
00:34:55,960 --> 00:34:58,400
Speaker 1: I mean, single camera is so every day is like

654
00:34:58,640 --> 00:34:59,600
Speaker 1: new problem solving.

655
00:34:59,640 --> 00:35:02,400
Speaker 3: It's just were we were home by well, not the writers.

656
00:35:02,400 --> 00:35:06,839
Speaker 3: The writers were slaving away, you know, making making this,

657
00:35:07,080 --> 00:35:09,680
Speaker 3: you know, adding the heart and the funny to this show,

658
00:35:09,719 --> 00:35:14,439
Speaker 3: which there was so much, but you know, I would

659
00:35:14,520 --> 00:35:19,280
Speaker 3: say that sitcoms. Yeah, we were home at what six o'clock?

660
00:35:20,280 --> 00:35:23,200
Speaker 3: I know. It was such a great you have a life,

661
00:35:23,480 --> 00:35:23,759
Speaker 3: you know.

662
00:35:25,280 --> 00:35:27,280
Speaker 1: It was the best. Yeah, it really was the best.

663
00:35:27,320 --> 00:35:27,920
Speaker 3: Absolutely.

664
00:35:28,400 --> 00:35:31,840
Speaker 5: Is it true that since after COVID you were also

665
00:35:31,960 --> 00:35:34,320
Speaker 5: able to produce on like the health and safety side,

666
00:35:34,440 --> 00:35:39,040
Speaker 5: which was obviously a very important and stressful managerial job

667
00:35:39,440 --> 00:35:40,160
Speaker 5: during that time.

668
00:35:40,200 --> 00:35:40,840
Speaker 2: What was that like?

669
00:35:42,080 --> 00:35:46,680
Speaker 3: Uh? It was yeah, it was a lot. And I

670
00:35:46,680 --> 00:35:51,680
Speaker 3: I probably worked on like five of their shows and uh,

671
00:35:52,120 --> 00:35:56,319
Speaker 3: just going from one show to the next, creating the

672
00:35:56,360 --> 00:36:01,960
Speaker 3: budget and over and hiring a staff of all those

673
00:36:02,000 --> 00:36:04,520
Speaker 3: COVID people. If you, if you, if any of you

674
00:36:04,600 --> 00:36:09,160
Speaker 3: worked on camera during the pandemic, it was really important

675
00:36:09,280 --> 00:36:13,160
Speaker 3: that the crew be you know, masked and tested. I

676
00:36:13,160 --> 00:36:17,760
Speaker 3: mean we it was the upshots. I did the Upshaw

677
00:36:17,840 --> 00:36:23,000
Speaker 3: season two, and we tested the cast five days a week,

678
00:36:23,360 --> 00:36:26,680
Speaker 3: and a lot of those red zone people, the people

679
00:36:26,680 --> 00:36:32,279
Speaker 3: that were closest to the cast, hair and makeup, the ads, uh,

680
00:36:32,320 --> 00:36:34,399
Speaker 3: they all had to be tested five days a week.

681
00:36:34,440 --> 00:36:37,160
Speaker 3: And everybody in the crew was in masks. So it

682
00:36:37,200 --> 00:36:39,600
Speaker 3: was a lot of criteria that you had to take on.

683
00:36:39,680 --> 00:36:43,239
Speaker 3: You had to understand, you know, working closely with with

684
00:36:43,360 --> 00:36:46,839
Speaker 3: medical people. And it was great, I tell you, I

685
00:36:46,880 --> 00:36:51,080
Speaker 3: was so lucky to get that job and and and

686
00:36:51,160 --> 00:36:53,560
Speaker 3: to be there through at a time when a lot

687
00:36:53,600 --> 00:36:54,920
Speaker 3: of people were not working. Yeah.

688
00:36:55,239 --> 00:36:58,240
Speaker 5: Yeah, Well, and especially over the last few weeks, people

689
00:36:58,440 --> 00:37:00,640
Speaker 5: all over the world now have been reading articles in

690
00:37:00,640 --> 00:37:04,360
Speaker 5: the La Times and Variety detailing an epic decrease in

691
00:37:04,560 --> 00:37:08,719
Speaker 5: employment opportunities in Hollywood, especially on the production side, since

692
00:37:08,800 --> 00:37:10,839
Speaker 5: COVID and then the strike and a bit of a

693
00:37:10,880 --> 00:37:14,920
Speaker 5: strategy pivot for streaming services. So, with you on the

694
00:37:15,200 --> 00:37:18,480
Speaker 5: front lines of production, what is your opinion on the

695
00:37:18,560 --> 00:37:21,960
Speaker 5: current state of the industry retirement.

696
00:37:25,200 --> 00:37:28,239
Speaker 3: I you know, I mean, I know that if if

697
00:37:28,239 --> 00:37:31,000
Speaker 3: I were in Atlanta, I'd probably work all the time.

698
00:37:32,120 --> 00:37:34,960
Speaker 1: So everybody says Atlanta and Nashville, everybody's moving.

699
00:37:35,560 --> 00:37:39,759
Speaker 3: Yeah. I just sort of feel like I think that

700
00:37:39,840 --> 00:37:44,320
Speaker 3: our state government needs to get on board more tax incentives,

701
00:37:45,040 --> 00:37:47,960
Speaker 3: more incentives to bring production back here. I mean, I

702
00:37:48,560 --> 00:37:52,120
Speaker 3: can't imagine anybody wants to go to Vancouver or to

703
00:37:52,600 --> 00:37:55,480
Speaker 3: you know, anywhere, to work elsewhere. I mean, this is

704
00:37:55,480 --> 00:37:58,200
Speaker 3: our home and this is LA's one. You know, I

705
00:37:58,239 --> 00:38:01,200
Speaker 3: love living here. You know, I don't really want to

706
00:38:01,239 --> 00:38:05,239
Speaker 3: go anywhere else. So those are my thoughts. I have

707
00:38:05,360 --> 00:38:08,520
Speaker 3: to tell you that there's part of me that that

708
00:38:08,640 --> 00:38:11,920
Speaker 3: does think about early retirement, that thinks about doing something else.

709
00:38:13,400 --> 00:38:16,280
Speaker 3: I mean I would I would love to keep working

710
00:38:16,400 --> 00:38:20,840
Speaker 3: and and and and growing that pension and having having

711
00:38:20,840 --> 00:38:26,279
Speaker 3: a full career in this business. I just, you know,

712
00:38:26,480 --> 00:38:29,520
Speaker 3: I think I shared with you certainly a writer, we've

713
00:38:29,520 --> 00:38:33,959
Speaker 3: talked about you know, what else I might do if, if,

714
00:38:34,760 --> 00:38:37,919
Speaker 3: if this continues, AM close to retirement. I'm not quite

715
00:38:37,960 --> 00:38:41,400
Speaker 3: good yet, but I have these kind of thoughts about,

716
00:38:41,920 --> 00:38:44,960
Speaker 3: you know, going away part time, not not really like

717
00:38:45,400 --> 00:38:48,560
Speaker 3: not moving completely away from Los Angeles. But my dream

718
00:38:48,600 --> 00:38:50,920
Speaker 3: would be to like open up a bed and breakfast

719
00:38:50,960 --> 00:38:54,400
Speaker 3: in Costa Rica. Wow. So and writer. You and I

720
00:38:54,400 --> 00:38:59,000
Speaker 3: have talked about that. Yeah, I really I'm actually going

721
00:39:00,120 --> 00:39:04,440
Speaker 3: next month. Yes, and I go for check it out

722
00:39:04,480 --> 00:39:07,319
Speaker 3: and kind of get the vibe you're gonna love it.

723
00:39:19,120 --> 00:39:20,920
Speaker 1: Were you always so?

724
00:39:21,040 --> 00:39:25,600
Speaker 4: Here's there's some people that are just their entire lives.

725
00:39:25,719 --> 00:39:28,080
Speaker 4: Danielle's one of them, for instance, that are very good

726
00:39:28,080 --> 00:39:31,200
Speaker 4: at planning things, very good at coordinating things.

727
00:39:31,360 --> 00:39:31,799
Speaker 1: Have you?

728
00:39:32,000 --> 00:39:34,160
Speaker 4: Was that always what you were like growing up? I

729
00:39:34,160 --> 00:39:36,960
Speaker 4: mean it seems almost like a mindset for certain people

730
00:39:37,080 --> 00:39:39,480
Speaker 4: and you Did you have that when you were growing up?

731
00:39:39,480 --> 00:39:40,920
Speaker 1: Were you just always the person planning?

732
00:39:43,120 --> 00:39:46,520
Speaker 3: Planning? I'm not sure planning is the right thing. I

733
00:39:46,560 --> 00:39:51,440
Speaker 3: think being able to cross keys and dot I like

734
00:39:51,719 --> 00:39:56,000
Speaker 3: sort of somebody who's kind of methodic, high functioning, you know,

735
00:39:56,120 --> 00:39:58,680
Speaker 3: like I CA, I care about what I'm.

736
00:39:58,600 --> 00:40:01,920
Speaker 1: Doing, Attention to detail, yeah.

737
00:40:01,760 --> 00:40:05,360
Speaker 3: Yeah, you know, and and also just pay like paying attention,

738
00:40:05,440 --> 00:40:08,720
Speaker 3: you know, learning those early lessons from Karen and Arlen,

739
00:40:09,200 --> 00:40:13,000
Speaker 3: great teachers that I had that just was like, you know,

740
00:40:13,520 --> 00:40:21,319
Speaker 3: pay attention and and you know, be kind and care

741
00:40:21,400 --> 00:40:24,919
Speaker 3: about what it is that you're doing. I think, And

742
00:40:24,960 --> 00:40:28,520
Speaker 3: so I don't think I'm great at planning things. I mean,

743
00:40:28,800 --> 00:40:31,960
Speaker 3: sure I worked I worked when not in production. I've

744
00:40:32,000 --> 00:40:35,880
Speaker 3: done several events, like big special events, and I've been

745
00:40:35,960 --> 00:40:38,640
Speaker 3: hired by these big companies that you know, kind of

746
00:40:38,680 --> 00:40:42,160
Speaker 3: close streets and they're seven days long and it's thousands

747
00:40:42,160 --> 00:40:45,600
Speaker 3: of people, and I've had that opportunity to kind of

748
00:40:45,840 --> 00:40:49,440
Speaker 3: do that kind of planning and preparing. And again, it's

749
00:40:49,280 --> 00:40:51,919
Speaker 3: just it's sort of the same idea. You just sort

750
00:40:51,920 --> 00:40:55,440
Speaker 3: of for me. You know, I think I was a

751
00:40:55,440 --> 00:41:01,319
Speaker 3: great PA because I would I'd set up, like, I

752
00:41:01,400 --> 00:41:03,520
Speaker 3: know this sounds silly, but I would set up the

753
00:41:03,640 --> 00:41:06,759
Speaker 3: craft service table in the office for the writers, and

754
00:41:06,800 --> 00:41:08,640
Speaker 3: I would think about like what do you what do

755
00:41:08,680 --> 00:41:10,239
Speaker 3: you need? Like if I was going to come here

756
00:41:10,239 --> 00:41:12,759
Speaker 3: and make a cup of coffee, I mean, is that

757
00:41:12,880 --> 00:41:13,879
Speaker 3: kind of right?

758
00:41:14,160 --> 00:41:16,560
Speaker 5: And in which order do you want? You don't want

759
00:41:16,560 --> 00:41:18,520
Speaker 5: to grab the bagel and have the plate at the end.

760
00:41:18,680 --> 00:41:20,600
Speaker 5: You've got to have the plates at the top right.

761
00:41:21,719 --> 00:41:23,799
Speaker 3: You know, you just think about it like what what

762
00:41:23,920 --> 00:41:27,319
Speaker 3: is the order here? And uh and and how can

763
00:41:27,360 --> 00:41:30,879
Speaker 3: I make it better? Always sort of approached the work

764
00:41:31,480 --> 00:41:36,080
Speaker 3: and yeah, and to have fun, you know, it's important

765
00:41:36,200 --> 00:41:38,080
Speaker 3: to you know, keep it light.

766
00:41:39,120 --> 00:41:41,280
Speaker 5: We definitely had a lot of fun on Boy meets world,

767
00:41:41,440 --> 00:41:44,200
Speaker 5: that's for sure. What do you think is in the

768
00:41:44,239 --> 00:41:47,680
Speaker 5: future for traditional TV? What do you if you had

769
00:41:47,680 --> 00:41:48,960
Speaker 5: to look into the future, what do you think it's

770
00:41:48,960 --> 00:41:49,560
Speaker 5: going to look like.

771
00:41:52,520 --> 00:42:01,160
Speaker 3: Traditional TV redesigned? You know, I would? For me, I would.

772
00:42:02,040 --> 00:42:04,719
Speaker 3: That's a difficult question to end. I think that I

773
00:42:05,000 --> 00:42:08,480
Speaker 3: what I'd like to see is more kind of a live,

774
00:42:08,640 --> 00:42:16,080
Speaker 3: spontaneous uh live performances that get recorded and or broadcast.

775
00:42:16,200 --> 00:42:19,840
Speaker 3: I mean, I just think, you know, I love these things.

776
00:42:19,880 --> 00:42:22,440
Speaker 3: Maybe not the answer to your question, but like I

777
00:42:22,520 --> 00:42:28,000
Speaker 3: love going to the the movies to see uh live

778
00:42:28,080 --> 00:42:33,200
Speaker 3: theater like the National Theater will have showings of of

779
00:42:33,400 --> 00:42:36,040
Speaker 3: their their theater bright you know, and I'm a big

780
00:42:36,080 --> 00:42:38,399
Speaker 3: theater queen. You know. I love theater and I love

781
00:42:38,880 --> 00:42:41,600
Speaker 3: you know, dance, and I love so I mean, I

782
00:42:41,600 --> 00:42:47,759
Speaker 3: would love to see more live meets television.

783
00:42:47,880 --> 00:42:51,080
Speaker 1: Yeah, I mean Netflix has actually been going in that direction.

784
00:42:51,160 --> 00:42:54,160
Speaker 1: They've been doing their their live comedy events and doing Yeah,

785
00:42:54,200 --> 00:42:57,239
Speaker 1: it's it's interesting. I think people are craving a little

786
00:42:57,239 --> 00:42:59,960
Speaker 1: bit of something a little more exciting that isn't just

787
00:43:00,239 --> 00:43:03,440
Speaker 1: always available, always made and your binge watch, but like

788
00:43:03,880 --> 00:43:05,319
Speaker 1: keep you on the edge of your seat and keep

789
00:43:05,360 --> 00:43:08,080
Speaker 1: you Yeah, I mean the sitcom was doing that for

790
00:43:08,120 --> 00:43:08,759
Speaker 1: a little while too.

791
00:43:08,800 --> 00:43:12,239
Speaker 4: You know, ABC was doing the live episodes of you

792
00:43:12,320 --> 00:43:14,319
Speaker 4: know what was Free His Company, or they would throw

793
00:43:14,480 --> 00:43:17,080
Speaker 4: throw some all in the family, they'd recast it do

794
00:43:17,160 --> 00:43:19,480
Speaker 4: a live show. You'd get that energy, that kind of

795
00:43:19,880 --> 00:43:21,600
Speaker 4: that who are the actors going to mess up? Is

796
00:43:21,600 --> 00:43:22,920
Speaker 4: it going to be different on the East coast than

797
00:43:22,960 --> 00:43:24,640
Speaker 4: it is on the West coast? I mean it was

798
00:43:24,680 --> 00:43:28,120
Speaker 4: kind of an event onto itself to go and check

799
00:43:28,120 --> 00:43:30,920
Speaker 4: it out, so that, Yeah, that's interesting to see more

800
00:43:31,120 --> 00:43:31,840
Speaker 4: more live stuff.

801
00:43:31,840 --> 00:43:32,080
Speaker 1: Cool.

802
00:43:32,600 --> 00:43:37,560
Speaker 3: I like that concept. I think realistically, you know, you

803
00:43:37,680 --> 00:43:41,480
Speaker 3: kind of wonder about you know this the scrolling of

804
00:43:41,520 --> 00:43:46,879
Speaker 3: your telephone and and and how fast paced that fast

805
00:43:46,920 --> 00:43:52,840
Speaker 3: pace everything is, and then with you know, with TikTok

806
00:43:52,920 --> 00:43:54,840
Speaker 3: and all this other stuff. So I kind of wonder

807
00:43:55,360 --> 00:44:00,400
Speaker 3: how traditional broadcast television is going to move to that

808
00:44:00,480 --> 00:44:03,800
Speaker 3: realm or it's mine in some way. So, you know,

809
00:44:03,840 --> 00:44:06,879
Speaker 3: I'm not really sure the answer, but I'm pretty sure

810
00:44:06,920 --> 00:44:12,520
Speaker 3: that somehow, you know, social media is going to take over.

811
00:44:13,040 --> 00:44:17,680
Speaker 5: Right, Yeah, well, thirty years later, why do you think

812
00:44:17,680 --> 00:44:20,920
Speaker 5: it is that out of all the shows you've worked on,

813
00:44:21,719 --> 00:44:24,120
Speaker 5: why do you think that boy Meets World is still

814
00:44:24,160 --> 00:44:26,560
Speaker 5: so relevant. Why are people still talking about it?

815
00:44:28,400 --> 00:44:31,480
Speaker 3: Well, you know, a lot of credit has to go

816
00:44:31,920 --> 00:44:35,799
Speaker 3: to the writers, Michael and his team of writers, and

817
00:44:35,840 --> 00:44:42,600
Speaker 3: the cast. The beautiful I mean, it had such heart,

818
00:44:43,080 --> 00:44:45,200
Speaker 3: I think is the best word to say. It just

819
00:44:45,680 --> 00:44:47,359
Speaker 3: you know, I think that's what made it special. And

820
00:44:47,400 --> 00:44:51,840
Speaker 3: I you know, the experience of working on the show

821
00:44:52,239 --> 00:44:56,799
Speaker 3: was wonderful. But I think that just from a holistic thing.

822
00:44:56,920 --> 00:44:59,680
Speaker 3: I mean, it just had to do with the fact

823
00:44:59,719 --> 00:45:02,319
Speaker 3: that it it was it was a special thing. It

824
00:45:02,360 --> 00:45:05,919
Speaker 3: was it was funny, it was fun, it was educational,

825
00:45:08,080 --> 00:45:12,480
Speaker 3: but it also had a certain kind of I guess

826
00:45:12,480 --> 00:45:17,960
Speaker 3: heart and emotion and we loved those people and it

827
00:45:18,000 --> 00:45:21,719
Speaker 3: was just you know, yeah, so that's it. It just

828
00:45:22,080 --> 00:45:23,640
Speaker 3: it had heart. Yeah.

829
00:45:23,719 --> 00:45:26,760
Speaker 5: I think the relationships that we all had really came through,

830
00:45:26,920 --> 00:45:30,200
Speaker 5: you know, the friendships we had between the cast and

831
00:45:30,680 --> 00:45:33,480
Speaker 5: the crew and the production. I mean, you know, the

832
00:45:33,520 --> 00:45:35,440
Speaker 5: fact that we had as many people as we did

833
00:45:35,520 --> 00:45:39,080
Speaker 5: who lasted for all seven seasons. There are quite a

834
00:45:39,120 --> 00:45:42,360
Speaker 5: few people that were there for all seven years. And

835
00:45:42,400 --> 00:45:44,200
Speaker 5: of course we had people who we had you know,

836
00:45:44,320 --> 00:45:47,239
Speaker 5: we had some turnover, but it wasn't a ton and

837
00:45:47,320 --> 00:45:52,560
Speaker 5: I think those you know, those bonds and those relationships, and.

838
00:45:51,719 --> 00:45:52,760
Speaker 2: You know, we got really lucky.

839
00:45:52,800 --> 00:45:54,920
Speaker 5: It was a I know you mentioned to me at

840
00:45:54,960 --> 00:45:56,880
Speaker 5: the party and you said it here too that just

841
00:45:57,000 --> 00:46:00,040
Speaker 5: of your careers, Boy meets World were the best seven years.

842
00:46:00,080 --> 00:46:02,239
Speaker 2: And you know, I think we can.

843
00:46:02,160 --> 00:46:05,440
Speaker 5: All agree that, like what we would do now to

844
00:46:05,600 --> 00:46:09,160
Speaker 5: have another seven years like that?

845
00:46:09,760 --> 00:46:11,200
Speaker 3: Yes, you know.

846
00:46:12,000 --> 00:46:12,200
Speaker 1: I think.

847
00:46:12,280 --> 00:46:12,480
Speaker 3: Yeah.

848
00:46:12,480 --> 00:46:14,319
Speaker 4: It's also it's it's what it's the other thing is.

849
00:46:14,360 --> 00:46:16,480
Speaker 4: And we've talked about this a lot. You get that combination.

850
00:46:16,520 --> 00:46:20,760
Speaker 4: It's a rare combination of us all getting along, really

851
00:46:20,800 --> 00:46:24,560
Speaker 4: caring about each other, the writers caring about the project.

852
00:46:25,000 --> 00:46:27,359
Speaker 4: And then you have Michael Jacobs at the Helm, who

853
00:46:27,719 --> 00:46:30,400
Speaker 4: is a genius when it comes to family sitcom.

854
00:46:30,440 --> 00:46:31,520
Speaker 3: I mean he just was.

855
00:46:32,160 --> 00:46:35,040
Speaker 4: And so you put all that together and yeah, that's

856
00:46:35,320 --> 00:46:36,280
Speaker 4: it was pretty magical.

857
00:46:37,160 --> 00:46:40,120
Speaker 3: Yeah, big shout out to Michael Jacobs and what he creates.

858
00:46:40,160 --> 00:46:43,680
Speaker 3: And because it is about finding the heart.

859
00:46:43,600 --> 00:46:46,640
Speaker 1: And yeah, he could do it. He really could do it.

860
00:46:47,520 --> 00:46:51,319
Speaker 3: Yeah, And as you said, it's about those relationships. I mean,

861
00:46:51,360 --> 00:46:53,719
Speaker 3: they were real and we've all been we've all been

862
00:46:53,719 --> 00:46:59,640
Speaker 3: on projects where it's just it's hateful, right, absolutely, Like

863
00:46:59,840 --> 00:47:05,799
Speaker 3: you know, you know, I won't mention any names, but

864
00:47:05,880 --> 00:47:09,560
Speaker 3: I mean I've been on sets where and the shows

865
00:47:09,640 --> 00:47:13,319
Speaker 3: were kind of brilliant, like HBO series that I did

866
00:47:14,280 --> 00:47:17,440
Speaker 3: that I loved, and I loved watching it. It was

867
00:47:17,560 --> 00:47:20,320
Speaker 3: just so good. But let me tell you, those people

868
00:47:20,440 --> 00:47:23,400
Speaker 3: hated each other, yeah, you know, and there was a

869
00:47:23,440 --> 00:47:28,040
Speaker 3: lot of shouting and I was just really ugly to

870
00:47:28,080 --> 00:47:31,440
Speaker 3: be around. So how they made good television, I don't know.

871
00:47:31,920 --> 00:47:36,319
Speaker 5: Right, Well, Russell, it's so great to see you. Thank

872
00:47:36,360 --> 00:47:39,319
Speaker 5: you for coming on our little podcast and sharing your

873
00:47:39,320 --> 00:47:43,000
Speaker 5: experiences with us. And we're going to be interviewing Karen

874
00:47:43,040 --> 00:47:46,200
Speaker 5: McCain as well, so we'll get to have your one

875
00:47:46,200 --> 00:47:48,120
Speaker 5: of your mentors. I wish we could. I wish we

876
00:47:48,160 --> 00:47:51,880
Speaker 5: could interview Arlene I. Her name has come up so

877
00:47:51,960 --> 00:47:54,600
Speaker 5: many times on this podcast with such fond memories of

878
00:47:54,600 --> 00:47:57,759
Speaker 5: all of us, and she's missed, and you.

879
00:47:57,719 --> 00:47:59,839
Speaker 2: Know, here we are, thirty years later, still talking about her.

880
00:47:59,840 --> 00:48:01,160
Speaker 5: So she made a mark.

881
00:48:01,560 --> 00:48:04,279
Speaker 3: That's right, that's right. You know, I was such a

882
00:48:04,320 --> 00:48:07,360
Speaker 3: debt of gratitude to her. She was she was a

883
00:48:07,360 --> 00:48:10,880
Speaker 3: good egg and she taught me what was important and uh,

884
00:48:11,360 --> 00:48:14,480
Speaker 3: you know, I I've gotten into writing recently and I'm

885
00:48:14,520 --> 00:48:17,280
Speaker 3: just just creative writing. And I wrote a short story

886
00:48:19,800 --> 00:48:22,960
Speaker 3: about her and about a whole lot of stuff about

887
00:48:23,080 --> 00:48:28,160
Speaker 3: you know, living through you know, about loss and faith

888
00:48:28,239 --> 00:48:31,960
Speaker 3: and but it all it goes to the most amazing

889
00:48:32,000 --> 00:48:35,080
Speaker 3: story that I have and that it has to do

890
00:48:35,160 --> 00:48:39,239
Speaker 3: with Arlene and the Miracle Bear. Probably the best thing

891
00:48:39,280 --> 00:48:41,479
Speaker 3: I've ever written. I mean, I joined a writers group

892
00:48:41,920 --> 00:48:44,680
Speaker 3: and I'm just doing it for creative reasons, and it's

893
00:48:44,719 --> 00:48:45,719
Speaker 3: and it's really.

894
00:48:45,840 --> 00:48:49,200
Speaker 5: Is there a spot where we can read it?

895
00:48:49,480 --> 00:48:51,040
Speaker 1: Yeah?

896
00:48:50,360 --> 00:48:53,879
Speaker 3: Yeah, it's a very personal story. But yes, I would

897
00:48:53,960 --> 00:48:56,320
Speaker 3: let you, I would let you read it. I actually

898
00:48:56,400 --> 00:48:59,359
Speaker 3: I'm quite proud of it. It's a it's a very

899
00:48:59,360 --> 00:49:05,800
Speaker 3: personal story about loss and faith and my relationship. Yeah,

900
00:49:06,160 --> 00:49:08,600
Speaker 3: it's kind of the most amazing story that I tell

901
00:49:08,880 --> 00:49:12,560
Speaker 3: and it's a true story about that involves her, and

902
00:49:13,320 --> 00:49:16,240
Speaker 3: so yeah, I would Yeah.

903
00:49:15,880 --> 00:49:18,520
Speaker 4: Well yeah, Russell, these both these guys know that as

904
00:49:18,520 --> 00:49:21,080
Speaker 4: I sit here and record when I first moved out

905
00:49:21,080 --> 00:49:24,280
Speaker 4: to l A, Arlene to make sure that I wouldn't

906
00:49:24,320 --> 00:49:26,799
Speaker 4: be alone, wrote her name, her address, and her phone

907
00:49:26,840 --> 00:49:29,719
Speaker 4: number down and it's in her handwriting, and it's I

908
00:49:29,760 --> 00:49:32,000
Speaker 4: look at it every day. It's literally right over my computer,

909
00:49:32,080 --> 00:49:34,080
Speaker 4: and it just it sits there, so I know that

910
00:49:34,120 --> 00:49:35,959
Speaker 4: she's there if I ever need her, if I'm still lost,

911
00:49:35,960 --> 00:49:36,680
Speaker 4: I can give her a call.

912
00:49:36,760 --> 00:49:40,000
Speaker 3: I have a shelf in my room that has well

913
00:49:40,520 --> 00:49:43,880
Speaker 3: the title Miracle Bear is about a teddy bear, and

914
00:49:43,960 --> 00:49:46,120
Speaker 3: so it's her, one of her old teddy bears, and

915
00:49:46,120 --> 00:49:48,600
Speaker 3: it's there's next too is the picture of her laughing,

916
00:49:49,280 --> 00:49:51,279
Speaker 3: and she's just like.

917
00:49:53,120 --> 00:49:56,480
Speaker 1: That's how I remember her. She was always laughing, big smile.

918
00:50:01,120 --> 00:50:04,919
Speaker 4: Yeah, that was That was just a big smile, big

919
00:50:05,239 --> 00:50:07,120
Speaker 4: big laugh time.

920
00:50:07,200 --> 00:50:08,760
Speaker 3: But I just have to tell you about a funny

921
00:50:08,760 --> 00:50:12,520
Speaker 3: little story about that, because Arlene was super funny. She

922
00:50:12,520 --> 00:50:16,359
Speaker 3: would do crazy crazy like she just was funny. But

923
00:50:16,520 --> 00:50:19,160
Speaker 3: I was really good friends, really tight with and I

924
00:50:19,160 --> 00:50:22,960
Speaker 3: still am with Jerylyn Shafey Schaeffer, who was Michael's assistant

925
00:50:23,160 --> 00:50:27,400
Speaker 3: of course, and Carlos Aragon who was Don Perrapsi's assistant

926
00:50:27,400 --> 00:50:30,239
Speaker 3: but then became, I guess became a writer on the show. Uh,

927
00:50:30,640 --> 00:50:33,279
Speaker 3: And so we were the three of us were was

928
00:50:33,320 --> 00:50:36,240
Speaker 3: when we were at kat l a and and Arlene

929
00:50:36,239 --> 00:50:39,160
Speaker 3: had passed away, and we were talking about her and

930
00:50:39,239 --> 00:50:41,719
Speaker 3: just laughing about how funny she was. Whether it was

931
00:50:41,760 --> 00:50:45,040
Speaker 3: whether she was walking down the halls and she would

932
00:50:45,040 --> 00:50:50,000
Speaker 3: be she she would sing as this sort of tone

933
00:50:50,040 --> 00:50:54,680
Speaker 3: deaf opera singer. I was like, I shot the sheriff.

934
00:50:55,760 --> 00:50:58,319
Speaker 3: We were like, what, I shot the sheriff, you know,

935
00:51:00,680 --> 00:51:03,120
Speaker 3: like no reason. But so one of the things that

936
00:51:03,160 --> 00:51:05,520
Speaker 3: she used to do was she take she'd take a

937
00:51:05,600 --> 00:51:08,040
Speaker 3: drink and then she'd let it slob her out of

938
00:51:09,000 --> 00:51:12,600
Speaker 3: Oh my gosh, you know, crazy. So we were kind

939
00:51:12,600 --> 00:51:16,400
Speaker 3: of channeling Arlene that that night while we were shooting

940
00:51:16,400 --> 00:51:19,319
Speaker 3: the show at kat La and there was Jarrelen and

941
00:51:19,360 --> 00:51:22,040
Speaker 3: Carlos and I kind of mimicking her. We were kind

942
00:51:22,040 --> 00:51:24,920
Speaker 3: of spitting up on the floor of the hallway and

943
00:51:24,920 --> 00:51:27,160
Speaker 3: then we looked up and we realized there was a

944
00:51:27,239 --> 00:51:32,000
Speaker 3: camera in the way and that that our friend Pat,

945
00:51:32,280 --> 00:51:35,719
Speaker 3: the lot manager, was probably seeing this or would see it,

946
00:51:36,040 --> 00:51:40,719
Speaker 3: and we, I mean we just died laughing. That was

947
00:51:40,760 --> 00:51:44,560
Speaker 3: a moment of Arlene kind of just staying with us,

948
00:51:44,640 --> 00:51:48,680
Speaker 3: you know, bringing us joy and that's funny.

949
00:51:48,760 --> 00:51:51,279
Speaker 2: I love it. Well, thank you so much for being

950
00:51:51,320 --> 00:51:52,480
Speaker 2: with us, Russell.

951
00:51:52,760 --> 00:51:55,360
Speaker 3: Thank you for including me. I appreciate it. I really do.

952
00:51:55,800 --> 00:51:57,640
Speaker 5: I look forward to hearing what your thoughts are in

953
00:51:57,680 --> 00:51:58,319
Speaker 5: Costa Rica.

954
00:51:58,480 --> 00:52:01,319
Speaker 2: I look forward to seeing what the next step is,

955
00:52:01,440 --> 00:52:02,040
Speaker 2: of course, I.

956
00:52:05,080 --> 00:52:08,200
Speaker 5: Of course I also selfishly want you to continue working

957
00:52:08,239 --> 00:52:09,680
Speaker 5: here because I want to work with you.

958
00:52:10,760 --> 00:52:16,920
Speaker 3: With you, So yeah, all right, you guys, thank.

959
00:52:16,800 --> 00:52:17,239
Speaker 5: You, thank you.

960
00:52:18,480 --> 00:52:18,960
Speaker 1: Great to see you.

961
00:52:23,640 --> 00:52:24,520
Speaker 2: What a what a guy.

962
00:52:24,800 --> 00:52:28,640
Speaker 5: He has the same the same energy that I remember

963
00:52:28,920 --> 00:52:31,879
Speaker 5: him having, although I never saw him doing his job.

964
00:52:31,960 --> 00:52:34,160
Speaker 5: He was in a different office, you know, he wasn't

965
00:52:34,160 --> 00:52:36,560
Speaker 5: on stage. He was in the production office, so I

966
00:52:36,600 --> 00:52:38,280
Speaker 5: never like saw him working.

967
00:52:38,400 --> 00:52:40,600
Speaker 2: He was always working, but I wasn't. I didn't see

968
00:52:40,600 --> 00:52:41,160
Speaker 2: what he did.

969
00:52:41,880 --> 00:52:44,160
Speaker 5: And like you said, writer, just he did all the

970
00:52:44,160 --> 00:52:46,440
Speaker 5: things we completely took for granted.

971
00:52:47,400 --> 00:52:49,040
Speaker 2: But I remember wanted her to.

972
00:52:48,960 --> 00:52:53,239
Speaker 1: Be more drama for the podcast. I wanted things to

973
00:52:53,280 --> 00:52:55,160
Speaker 1: would be always on the edge of falling apart. But

974
00:52:55,239 --> 00:52:58,040
Speaker 1: it sounds like our show really, I know, pretty.

975
00:52:57,719 --> 00:52:59,400
Speaker 2: Smooth, like a well oiled machine.

976
00:52:59,600 --> 00:53:01,759
Speaker 1: It was because of Karen and him, you know, like

977
00:53:01,800 --> 00:53:04,400
Speaker 1: on the on the actual production side. Obviously, we we

978
00:53:04,400 --> 00:53:06,360
Speaker 1: we spend so much time with this show talking about

979
00:53:06,360 --> 00:53:09,480
Speaker 1: the creative side, which was also running pretty darn smoothly,

980
00:53:09,920 --> 00:53:13,840
Speaker 1: but the production, like we just never had any real problems.

981
00:53:13,840 --> 00:53:16,880
Speaker 1: That's crazy to me when I think about the jobs

982
00:53:16,920 --> 00:53:21,160
Speaker 1: I've worked on since you know, stuff's always falling apart

983
00:53:21,320 --> 00:53:24,040
Speaker 1: or on the verge of falling apart, and people are

984
00:53:24,080 --> 00:53:26,680
Speaker 1: mean to each other, people are angry, people are bitter,

985
00:53:27,120 --> 00:53:29,640
Speaker 1: and we just didn't have that culture all right. When

986
00:53:29,640 --> 00:53:31,120
Speaker 1: we get Karen mccainnon on here, I want, I want,

987
00:53:31,160 --> 00:53:34,719
Speaker 1: I'm hoping so correct drama, drama.

988
00:53:36,320 --> 00:53:38,359
Speaker 2: Ahead of time start like I.

989
00:53:38,360 --> 00:53:41,520
Speaker 1: Just love production stories like you know, challenges like I

990
00:53:41,600 --> 00:53:44,600
Speaker 1: just love like you know, we didn't even get into

991
00:53:44,640 --> 00:53:47,759
Speaker 1: the wrestling episode or you know, times and it. I mean,

992
00:53:47,920 --> 00:53:52,200
Speaker 1: I think multi camera sitcom, especially back then when we

993
00:53:52,239 --> 00:53:55,640
Speaker 1: had like good budgets, they did go pretty smoothly, you know,

994
00:53:55,680 --> 00:53:59,040
Speaker 1: I think they were pretty cushy jobs actually in Hollywood terms,

995
00:53:59,080 --> 00:54:02,560
Speaker 1: you know, whither other jobs like single camera shows. There's

996
00:54:02,600 --> 00:54:04,879
Speaker 1: just so much more problem solving is so much more

997
00:54:05,120 --> 00:54:10,600
Speaker 1: you know work, So there's a lot, lot lot more drama.

998
00:54:10,800 --> 00:54:12,920
Speaker 5: Well, thank you all for joining us for this episode

999
00:54:12,920 --> 00:54:14,880
Speaker 5: of Podmeets World. As always, you can follow us on

1000
00:54:14,880 --> 00:54:17,520
Speaker 5: Instagram pod Meets World Show. You can send us your

1001
00:54:17,520 --> 00:54:20,320
Speaker 5: emails Podmeets World Show at gmail dot com.

1002
00:54:20,360 --> 00:54:23,799
Speaker 1: And we have merch writer wants the Drama March.

1003
00:54:25,440 --> 00:54:28,560
Speaker 5: Podmeetsworldshow dot Com writer send us out.

1004
00:54:28,840 --> 00:54:33,560
Speaker 1: We Love You All pod dismissed. Podmeets World is an

1005
00:54:33,560 --> 00:54:37,120
Speaker 1: iHeart podcast producer hosted by Danielle Fischel, Wilfridell and Ryder

1006
00:54:37,160 --> 00:54:40,840
Speaker 1: Strong Executive producers Jensen Karp and Amy Sugarman Executive in

1007
00:54:40,920 --> 00:54:45,000
Speaker 1: charge of production, Danielle Romo, producer and editor, Tarasubasch producer,

1008
00:54:45,040 --> 00:54:48,160
Speaker 1: Maddi Moore engineer and Boy Meets World Superman Easton All.

1009
00:54:48,400 --> 00:54:51,560
Speaker 1: Our theme song is by Kyle Morton of Typhoon. Follow

1010
00:54:51,640 --> 00:54:54,440
Speaker 1: us on Instagram at podmets World Show or email us

1011
00:54:54,480 --> 00:54:59,920
Speaker 1: at Podmeats World Show at gmail dot com