WEBVTT - Russell Dague Meets World 0:00:20.000 --> 0:00:23.000 My sister in law is visiting and she's staying with us, 0:00:23.079 --> 0:00:27.760 and one of it like, she's a huge movie buff 0:00:28.040 --> 0:00:30.400 and so whenever we see each other, we immediately like 0:00:30.520 --> 0:00:33.880 start comparing what we've seen lately, and then we invariably 0:00:33.920 --> 0:00:35.640 stay up until like two in the morning every night 0:00:35.680 --> 0:00:39.080 that she's here watching movies. Now, but it's reminded me 0:00:39.120 --> 0:00:42.880 of something that like one of my favorite things about 0:00:42.920 --> 0:00:47.360 my wife and my wife's entire family is watching movies 0:00:47.400 --> 0:00:51.640 with them. Oh God, is the fun greatest time. They 0:00:52.080 --> 0:00:56.800 all vocalize and talk, and it is like it is 0:00:56.840 --> 0:00:59.400 so not the strong family tradition. You're like, I grew 0:00:59.480 --> 0:01:01.400 up in a very sort of like while we watched 0:01:01.400 --> 0:01:03.120 the movie and then if it's a comedy, you laugh, 0:01:03.920 --> 0:01:06.160 but like and it's my wife does it with just 0:01:06.200 --> 0:01:07.960 the two of us, like if we put on anything, 0:01:08.760 --> 0:01:11.800 and it just fills me with so much joy to 0:01:12.040 --> 0:01:15.120 like share in the experience of what she's reacting to, 0:01:15.280 --> 0:01:18.720 and it's it gets I mean, I also make fun 0:01:18.760 --> 0:01:20.280 of her because she also does the thing where she 0:01:20.400 --> 0:01:23.160 asks like, well, why would he do that? And it's like, well, 0:01:23.160 --> 0:01:26.920 that's the question the movie's making you ask, Like the 0:01:27.000 --> 0:01:29.680 thing that like you're not supposed to know, you're supposed 0:01:29.680 --> 0:01:31.880 to be asking that, and so we I teas her 0:01:31.880 --> 0:01:34.679 all the time about that, but it's it's actually like 0:01:35.240 --> 0:01:38.120 it goes pretty deep for me in that, Like she's 0:01:38.319 --> 0:01:40.280 the first person to watch anything I make and to 0:01:40.360 --> 0:01:44.920 read anything that I write. And her transparency, her like 0:01:45.040 --> 0:01:48.680 vulnerability and like openness to respond like she's this. It's 0:01:48.840 --> 0:01:53.280 so helpful because she tracks like how the audience is feeling, 0:01:53.560 --> 0:01:55.560 and you can all like she just can't hide her emotions. 0:01:55.560 --> 0:01:57.080 She actually got kicked out of dance when she was 0:01:57.120 --> 0:01:59.600 a kid because she would just make faces in the 0:01:59.640 --> 0:02:02.040 mirror and like and she she does it all. I 0:02:02.080 --> 0:02:03.680 have to like hold her back from Indie because she 0:02:03.800 --> 0:02:06.040 just reacts to whatever is happening. It's like she can't 0:02:06.120 --> 0:02:09.480 fake it. She can't hide her emotions anyway. It's just 0:02:09.560 --> 0:02:13.400 like I love going to movies with a crowd. I 0:02:13.440 --> 0:02:16.480 love and sitting with my in laws like it's my 0:02:16.800 --> 0:02:19.359 when we the first holidays I spent with them when 0:02:19.360 --> 0:02:21.480 we went back to Florida and there roy all got 0:02:21.480 --> 0:02:23.960 together and we watched They found out I had never 0:02:23.960 --> 0:02:26.240 seen the movie Rocky and they were like, we have 0:02:26.320 --> 0:02:29.760 to watch writers like Rocky not then. This was fifteen 0:02:29.800 --> 0:02:32.240 years ago or whatever, and it was like so important 0:02:32.240 --> 0:02:34.440 to her family, Like we are all watching Rocky for 0:02:34.600 --> 0:02:37.040 Rider and it was so much and it's like now 0:02:37.040 --> 0:02:39.520 it's just a tradition. Like when we get together, you know, 0:02:39.560 --> 0:02:42.600 for the holidays, we watch really bad horror films together 0:02:42.639 --> 0:02:45.520 and everybody's shouting at the screen. It's just like, it's 0:02:45.600 --> 0:02:48.240 my favorite thing in the world. So shout out to 0:02:48.440 --> 0:02:52.080 everybody who like vocalizes, and like, let's let's. 0:02:52.040 --> 0:02:53.360 Do it in the movie theater. 0:02:54.120 --> 0:02:56.520 No. No, in the movie theater, we're pretty calm. 0:02:56.600 --> 0:02:56.799 Yeah. 0:02:56.880 --> 0:02:59.680 No, that's like, isn't that weird? It's like a weird contradiction. 0:02:59.720 --> 0:03:00.760 It's like you want to do. 0:03:01.400 --> 0:03:03.240 Yeah, you don't want to mess with the people you 0:03:03.280 --> 0:03:06.359 don't know, right, But Susan does this thing where we'll 0:03:06.360 --> 0:03:08.040 turn on a movie that neither of us will scene 0:03:08.200 --> 0:03:09.720 and she'll go, why do you do that? 0:03:09.840 --> 0:03:11.359 I'll be like, babe, I'm as. 0:03:11.240 --> 0:03:14.840 Far into this as you are, I know, seconds in 0:03:14.919 --> 0:03:16.359 and I don't know either, Like. 0:03:16.760 --> 0:03:17.560 I can't do that. 0:03:17.840 --> 0:03:18.480 I don't know. 0:03:19.520 --> 0:03:21.120 We just started it, I know. 0:03:21.560 --> 0:03:24.160 So writer, another question for you, does she do it 0:03:24.240 --> 0:03:26.959 about things that are because I can be kind of similar. 0:03:27.040 --> 0:03:29.320 If I'm at home and Jensen and I are watching something, 0:03:29.760 --> 0:03:32.480 I also want to talk through, Like if I find 0:03:32.480 --> 0:03:35.000 something so particularly funny one of them, you know, oh, 0:03:35.040 --> 0:03:37.520 I think it's so funny because and then I'll talk 0:03:37.560 --> 0:03:40.320 about it. But I have a very hard time doing 0:03:40.320 --> 0:03:43.040 it for something that makes me very choked up. But 0:03:43.120 --> 0:03:46.520 I did it quite a bit during What's that movie 0:03:46.560 --> 0:03:50.200 we both love? After Sun when she puts her feet 0:03:50.240 --> 0:03:54.560 down on the rug and I started sobbing, and I said. 0:03:54.680 --> 0:03:55.760 That's the logo, God Bob. 0:03:56.480 --> 0:04:00.840 I couldn't. I couldn't get this. I couldn't because I 0:04:01.000 --> 0:04:03.400 just had my entire heart in my throat. Does she 0:04:03.560 --> 0:04:05.920 also vocalized through things that are making her choked up? 0:04:05.920 --> 0:04:06.680 And why all of it? 0:04:06.760 --> 0:04:07.160 All of it? 0:04:07.160 --> 0:04:09.200 It's so lovely. I mean what I love is just 0:04:09.280 --> 0:04:13.320 the little like, oh, like all the little like she's 0:04:13.440 --> 0:04:17.320 just on a journey and she's it's happening and it 0:04:17.440 --> 0:04:20.919 helps me or like you know, especially I mean like 0:04:20.960 --> 0:04:22.919 one of the you know, when we first started dating, 0:04:22.960 --> 0:04:25.960 I made my first short film, Irish Twins, with my brother, 0:04:26.120 --> 0:04:30.240 and you know, we were only three months into a 0:04:30.279 --> 0:04:32.800 relationship or whatever. So by the time I edited, we 0:04:32.839 --> 0:04:35.640 had been dating for probably six months, and so she's like, 0:04:35.880 --> 0:04:38.440 I'm showing her the first rough cut, you know, and 0:04:38.480 --> 0:04:41.840 it was like hearing those things and then she just 0:04:41.839 --> 0:04:44.560 just fell apart and was crying holding me and was 0:04:44.600 --> 0:04:47.240 so moved, and it was like, Okay, I know I 0:04:47.279 --> 0:04:49.200 did the job like I made a movie, you know, 0:04:49.480 --> 0:04:51.720 because she because she can also be very honest and 0:04:51.839 --> 0:04:53.760 it's not working, you know, Like I give her scripts 0:04:53.760 --> 0:04:56.880 all the time and she's like, no, I just I 0:04:56.880 --> 0:04:59.400 wrote two scripts last year that, you know. She's like sorry, 0:05:00.160 --> 0:05:04.039 And that's like we've developed this this you know, comfort 0:05:04.080 --> 0:05:06.599 and this confidence in each other as readers and watchers. 0:05:06.920 --> 0:05:09.760 But it's it's so built around her vulnerability and her 0:05:09.800 --> 0:05:13.440 openness and her willingness to just express and to react. 0:05:13.680 --> 0:05:16.600 Does she vocalize the same way by herself when she's 0:05:16.680 --> 0:05:19.880 reading books? Yes, okay, so she's like talking to the book. 0:05:19.960 --> 0:05:23.360 And that's why I like, I literally like watching her 0:05:23.400 --> 0:05:25.760 read stuff I've written. It's like part of the process. 0:05:25.800 --> 0:05:28.000 Like if I walk by her office while she's reading 0:05:28.040 --> 0:05:31.839 something that I've given or I'm like secretly listening for oh, you. 0:05:31.880 --> 0:05:34.400 Should put a camera in there that she knows about 0:05:34.600 --> 0:05:36.320 I'm just gonna put this camera here. I don't want 0:05:36.320 --> 0:05:38.520 you to feel me watching you, but I want to 0:05:38.560 --> 0:05:41.240 go back and watch it to see the moments. Yeah, 0:05:41.240 --> 0:05:44.240 that's really cool. Well I love that. Shout out to 0:05:44.240 --> 0:05:46.120 spouse's who let us talk during movies. 0:05:47.120 --> 0:05:48.200 Welcome to podmeets World. 0:05:48.200 --> 0:05:51.159 I'm Daniel Fishel, I'm Rider Strong, and I'm Wilfordell. 0:06:01.800 --> 0:06:04.920 One thing that has definitely changed since our first time 0:06:04.960 --> 0:06:06.919 around on Boy Meets World when we were filming it 0:06:06.960 --> 0:06:10.800 in nineteen ninety seven is selfish slightly dramatic teens. Is 0:06:10.839 --> 0:06:14.400 our understanding of how complex and intricate the making of 0:06:14.400 --> 0:06:17.400 a TV show can be. It's not just the faces 0:06:17.400 --> 0:06:21.160 you see on camera, or the director's, showrunners and executive producers, 0:06:21.279 --> 0:06:23.719 who over the past two decades have become stars in 0:06:23.760 --> 0:06:26.880 their own right. It's every single name you see in 0:06:26.920 --> 0:06:30.480 the credits, each holding their own, vital and mostly thankless 0:06:30.560 --> 0:06:33.520 job that make sure the program you love stays afloat 0:06:33.800 --> 0:06:37.039 week after week. It's the titles you don't fully understand, 0:06:37.279 --> 0:06:41.279 like Key Grip or best Boy or assistant to mister 0:06:41.320 --> 0:06:41.880 big Shot. 0:06:42.800 --> 0:06:44.640 These jobs are critical. 0:06:44.400 --> 0:06:46.560 And without a good employee hired to take care of 0:06:46.600 --> 0:06:48.800 these positions, you might as well pack it up and 0:06:48.839 --> 0:06:51.880 go home, because it'll show on the screen. One of 0:06:51.920 --> 0:06:54.560 our favorite parts of making Podmets World has been shining 0:06:54.560 --> 0:06:56.640 a light on some of these people who worked behind 0:06:56.640 --> 0:06:59.359 the scenes on our show, and we didn't really know 0:06:59.400 --> 0:07:01.840 how great they were when we were kids. We were 0:07:02.000 --> 0:07:05.039 pining over boys at our regular high school, or figuring 0:07:05.040 --> 0:07:07.800 out how you can safely ship one white rose back 0:07:07.839 --> 0:07:10.800 to your high school girlfriend, or just scoping the new 0:07:10.840 --> 0:07:12.920 studio a lot to find a safe place to smoke. 0:07:13.440 --> 0:07:16.760 But now we realize their hard work and it's time 0:07:16.800 --> 0:07:19.800 to give them their flowers. And today we're hoping to 0:07:19.840 --> 0:07:22.440 do just that with one of our favorite faces from 0:07:22.480 --> 0:07:24.960 that time, who When Jensen asked me what he did 0:07:24.960 --> 0:07:27.480 exactly on Boy Meet's World, my answer was it was 0:07:27.680 --> 0:07:30.880 very important, and I'm excited to find out. 0:07:31.640 --> 0:07:32.360 That's about right. 0:07:32.440 --> 0:07:34.600 What I do know is he was the production coordinator 0:07:34.640 --> 0:07:37.320 on the show, starting in season one and running through 0:07:37.320 --> 0:07:40.640 the finale in season seven, and that wasn't his first 0:07:40.720 --> 0:07:43.480 Michael Jacob's production. He had already worked on My Two 0:07:43.560 --> 0:07:46.960 Dads and The Torkulsns. He'd later branch out, gaining a 0:07:46.960 --> 0:07:49.680 ton of experience under his belt, with many titles on 0:07:49.760 --> 0:07:53.160 shows like Swingtown and CIS Los Angeles and The Ten 0:07:53.200 --> 0:07:56.880 Things I Hate About You TV adaptation. So now please 0:07:56.960 --> 0:08:00.480 welcome to the podcast production coordinator and all around great 0:08:00.560 --> 0:08:03.200 guy Russell dag Hey. 0:08:06.440 --> 0:08:08.240 Russell, Well, how are you look at you? 0:08:09.240 --> 0:08:12.040 How y'all? Hello, beautiful people. 0:08:13.080 --> 0:08:14.880 I'm here too. I'm here too. I don't know if 0:08:14.920 --> 0:08:15.360 you can tell. 0:08:15.640 --> 0:08:16.760 Yeah, I see you. 0:08:19.560 --> 0:08:22.280 We saw you recently at our Pod meets World first 0:08:22.320 --> 0:08:25.760 half party, and your interview was only like a week 0:08:25.880 --> 0:08:29.960 after our party, so it was a bit of a technicality, 0:08:30.040 --> 0:08:31.280 but we make the rules. 0:08:31.480 --> 0:08:33.840 So we are thrilled to see you. 0:08:33.960 --> 0:08:36.080 We have not stopped talking about how great it was. 0:08:37.800 --> 0:08:40.560 Do you leave this impression on everybody you meet thirty 0:08:40.600 --> 0:08:42.560 years ago? Does everybody feel this way about you? 0:08:42.800 --> 0:08:47.160 Oh? I mean, I hope so, yeah, it's probably. You know. 0:08:48.320 --> 0:08:51.040 First of all, I felt like one of the kids 0:08:51.120 --> 0:08:53.480 kind of growing up. I grew up on Boy Meets World. 0:08:53.640 --> 0:08:56.200 You know, I've been around. I'm not a kid, and 0:08:56.240 --> 0:08:59.400 I wasn't a kid back then, either, but I just 0:08:59.800 --> 0:09:05.880 had so much fun, you know, and it's like family. Yeah, really, 0:09:06.080 --> 0:09:12.240 you know, I mean, and I just yeah, I guess 0:09:12.559 --> 0:09:17.240 that's love, right, yeah, each other. Yeah, it's true really 0:09:17.240 --> 0:09:17.880 what it was about. 0:09:18.360 --> 0:09:20.920 So, your first job was on a Michael Jacob show 0:09:21.000 --> 0:09:23.160 My Two Dads as part of the production staff in 0:09:23.240 --> 0:09:24.200 nineteen eighty nine. 0:09:24.240 --> 0:09:25.319 How did you get that job? 0:09:26.120 --> 0:09:29.640 You know, it's really I have before I get too 0:09:29.640 --> 0:09:35.520 far into this, Lynn McCracken friends. And at the time, 0:09:35.679 --> 0:09:40.920 I was a struggling would be dancer. That's really what 0:09:41.040 --> 0:09:43.520 I wanted to really, yeah, yeah, yeah, And I had 0:09:43.520 --> 0:09:45.760 studied dance and I was I was doing you know, 0:09:45.880 --> 0:09:51.040 nightly shows at Magic Mountain believe it or not, man real, 0:09:51.840 --> 0:09:55.240 and it was that was the greatest gig, by the way. 0:09:55.320 --> 0:09:59.280 It was a fireworks spectacular and it was all like 0:09:59.320 --> 0:10:02.280 George Kersh music and it was tap dancing and you know, 0:10:02.360 --> 0:10:04.000 jazz hands and. 0:10:03.840 --> 0:10:07.240 The Magic even did stuff awesome. 0:10:07.559 --> 0:10:10.640 Here was the great thing about doing that show. It 0:10:10.720 --> 0:10:13.120 was during the summer, and it was on Mystic Lake 0:10:13.240 --> 0:10:15.160 and it was a fireworks show, so they could only 0:10:15.200 --> 0:10:17.400 do it once. So we were in and out of 0:10:17.440 --> 0:10:19.840 there and we were like drunk at Marie Calendar. 0:10:22.120 --> 0:10:23.280 Were you in a costume? 0:10:23.960 --> 0:10:27.240 Oh yeah, I was doing Yeah, I was like in 0:10:27.400 --> 0:10:30.960 several costumes believe it or not. And it was. It 0:10:31.040 --> 0:10:32.680 was a lot of fun anyway, but it was a 0:10:32.720 --> 0:10:35.599 short lived gig, you know, that's the way Joe biz is, 0:10:35.880 --> 0:10:37.640 you know. And I just was like, you know what, 0:10:37.800 --> 0:10:40.960 I don't think And I would go to auditions. I 0:10:40.960 --> 0:10:43.800 would go to auditions as a dancer, and they would 0:10:43.840 --> 0:10:47.400 be hiring maybe three boys, you know, and there would 0:10:47.400 --> 0:10:50.400 be five hundred amazing dancers there, and I was just like, 0:10:50.559 --> 0:10:53.079 you know, I'm not sure that I want to do this. 0:10:53.400 --> 0:10:56.520 Yeah, being a dancer is just the hardest because it's 0:10:56.520 --> 0:11:02.000 like all the same insecurity and like performance anxiety of 0:11:02.040 --> 0:11:06.520 being an actor, plus the athletic demands, like you're also 0:11:06.600 --> 0:11:10.280 an athlete. So it's like I can't imagine something harder 0:11:10.400 --> 0:11:11.120 than taking on me. 0:11:11.120 --> 0:11:13.360 And I say that it's kind of a short lived 0:11:13.520 --> 0:11:16.040 thing too, you know you've ever been injured or whatever. 0:11:16.080 --> 0:11:18.719 But I you know, I mean I I did it 0:11:18.720 --> 0:11:21.560 for you know. I was like the only boy in 0:11:21.600 --> 0:11:26.520 my high school who did modern dance, you know, very 0:11:26.559 --> 0:11:29.040 popular with all the girls and the cheer leaders and 0:11:29.080 --> 0:11:33.240 all that stuff. But you know, it was it was 0:11:33.280 --> 0:11:35.280 just something that I was good at and I love 0:11:35.400 --> 0:11:39.000 doing and but so Linda Krachen and I were friends, 0:11:39.000 --> 0:11:42.360 and we'll go back to I Digress. Lenny was my 0:11:42.480 --> 0:11:45.480 friend and she was working on the show as Michael 0:11:45.559 --> 0:11:49.880 Jacob's assistant on My Two Dads, and they were hiring 0:11:49.880 --> 0:11:53.160 a PA, like a night PA. So that was my 0:11:53.280 --> 0:11:55.680 first gig and it was such a great thing to 0:11:55.679 --> 0:12:01.040 see Stacy Keenan just recently too. Yeah, party and so 0:12:02.520 --> 0:12:05.280 Lynn McCracken got me this job, got me an interview 0:12:05.400 --> 0:12:12.120 with Arlene Grayson. Yeah. He became my mentor by the way. 0:12:12.320 --> 0:12:18.440 So so thank you Lenny McCracken for getting me that gig. 0:12:18.480 --> 0:12:20.720 And I was the night PA. Oh I was talking 0:12:20.720 --> 0:12:23.920 about Stacy Keenan. Yeah, So Stacy Keenan. I saw her 0:12:23.920 --> 0:12:27.280 at your at your party and uh she said her 0:12:27.400 --> 0:12:29.520 name and I was like, wait a minute, I know 0:12:29.640 --> 0:12:32.480 that voice. I know that name. I was a PA 0:12:32.800 --> 0:12:36.040 on My Two Dads and we just had a laugh. 0:12:35.840 --> 0:12:41.040 And I delivered your scripts at Yes the Morning the 0:12:41.440 --> 0:12:42.400 roughest gig. 0:12:43.520 --> 0:12:44.480 Yeah, it was. 0:12:44.559 --> 0:12:48.360 But you so you actually learned how to do production though, 0:12:48.360 --> 0:12:50.760 I mean, you worked, You did the thing that so 0:12:50.880 --> 0:12:53.760 many pas think they're going to do and then they 0:12:53.880 --> 0:12:55.439 just get the crap being out of them. Because it's 0:12:55.440 --> 0:12:57.760 such a hard job and they run screaming from the business, 0:12:57.760 --> 0:12:59.160 but you stuck it out. 0:12:59.440 --> 0:13:03.240 Yeah, I mean, you know, I remember things fights that 0:13:03.280 --> 0:13:05.320 I got into in those days, you know. And also 0:13:05.400 --> 0:13:08.559 working really closely with Michael Jacobs because being the night PA, 0:13:09.280 --> 0:13:12.600 I had to wait for him to finish that rewriter, 0:13:12.880 --> 0:13:16.280 you know, because it wasn't there was a writer's room 0:13:16.679 --> 0:13:20.760 on that show. But primarily in those days, in those 0:13:20.920 --> 0:13:24.559 olden days, Michael would stay and write at night and 0:13:25.040 --> 0:13:27.840 I had he was done, and then I would xerox 0:13:28.600 --> 0:13:30.880 the script and then I would get under copies. The 0:13:31.000 --> 0:13:32.120 Thomas Guides. 0:13:32.960 --> 0:13:34.160 Talk about them all the time. 0:13:34.320 --> 0:13:36.440 Yeah, so I had to do the Thomas Guide map, 0:13:36.480 --> 0:13:40.320 and there it is the guest. 0:13:39.240 --> 0:13:41.079 Daniel got us. These these are Thomas Guides. 0:13:41.240 --> 0:13:43.480 I got him a Thomas Guide with where Disney, Where 0:13:43.520 --> 0:13:44.079 we met. 0:13:44.360 --> 0:13:45.640 Disney, where we met right there? 0:13:45.720 --> 0:13:50.760 Yeah, yeah, I so the Thomas Brothers. Yeah, delivery scripts 0:13:50.760 --> 0:13:54.080 in the middle of the night. Michael Jack Michael Jacobs 0:13:54.080 --> 0:13:58.720 would occasionally start watching television or something and I would be. 0:13:58.640 --> 0:14:01.000 Like, Michael, can you get. 0:14:03.360 --> 0:14:06.520 A great movie? But you know, you know, I made 0:14:06.520 --> 0:14:11.040 a lot of money to deliver scripts and delivering scripts 0:14:11.040 --> 0:14:13.240 all night, you know. But that's how I started, was 0:14:13.280 --> 0:14:17.200 on that show. And you know, God bless Arlene Grayson. 0:14:17.280 --> 0:14:20.400 She took me under her wing. She became like a 0:14:20.440 --> 0:14:23.800 mentor to me, you know, and she you know, and 0:14:23.880 --> 0:14:26.560 I kind of got bumped up to an assistant to 0:14:26.600 --> 0:14:30.960 the producers and and then became a production coordinator and 0:14:31.440 --> 0:14:33.880 worked on shows. You know. From there, I worked on 0:14:33.960 --> 0:14:39.640 a lot of Columbia television shows and you know, I 0:14:39.680 --> 0:14:44.000 did a show with George Clooney called Baby Talk. That 0:14:44.120 --> 0:14:46.280 was my first job as a production coordinator. 0:14:46.800 --> 0:14:49.360 Okay, well before hold on, before we get into that, 0:14:49.440 --> 0:14:51.480 you move on. Then from My Two Dads onto the 0:14:51.520 --> 0:14:54.200 Torkl Sens in nineteen ninety one, and at that time 0:14:54.240 --> 0:14:57.120 you were then a co producer in post production. Did 0:14:57.240 --> 0:15:01.200 Arlene get you from My Two Dads to the Toal 0:15:01.240 --> 0:15:02.120 Sins Or was that Michael? 0:15:02.560 --> 0:15:05.000 Yeah, it was really, you know, it was it was 0:15:05.000 --> 0:15:07.240 our lean who kind of took me. But I have 0:15:08.080 --> 0:15:11.080 I owe a debt of gratitude to Michael Jacobs, who really, 0:15:11.560 --> 0:15:14.320 you know, took care of me and took me along 0:15:14.400 --> 0:15:18.200 with him from show to show, and you know, gave 0:15:18.200 --> 0:15:20.640 me a lot of opportunities and I think you know, 0:15:20.680 --> 0:15:23.600 all I had to do really is to pay attention, 0:15:24.080 --> 0:15:27.240 you know, and that's certainly what our lean stressed was, like, 0:15:27.320 --> 0:15:30.280 you know, just you know, pay attention and be present 0:15:30.440 --> 0:15:36.800 and you know, words slip by, right, and uh yeah, 0:15:36.840 --> 0:15:39.760 so if I did tole sins and that was a blast. 0:15:41.080 --> 0:15:42.920 But I think that's a credit to you that, you know, 0:15:43.000 --> 0:15:46.880 so many people get those entry level positions on a 0:15:46.920 --> 0:15:51.760 production and just shut down because it's such hard work. 0:15:52.000 --> 0:15:55.520 And of course all the glamor of show business that's 0:15:55.600 --> 0:16:00.400 interesting is like actors and exciting stunt scenes are special effects, 0:16:00.400 --> 0:16:02.160 and none of that really happens, right, that's like the 0:16:02.560 --> 0:16:04.920 the one minute a day where that stuff's going on. 0:16:05.000 --> 0:16:07.960 The rest of it is real work. It's like you know, 0:16:08.000 --> 0:16:12.360 it's it's office work, it's coordinating different people, it's you know, 0:16:12.400 --> 0:16:16.080 dealing with personalities cruise. So like a lot of people 0:16:16.120 --> 0:16:18.080 just bail at that point, and you stuck it out 0:16:18.160 --> 0:16:21.720 and that you you and learned how how the sausage 0:16:21.760 --> 0:16:24.440 is made, right, Like, I mean, that's and you only 0:16:24.480 --> 0:16:26.640 do that if you're willing to like put the time 0:16:26.680 --> 0:16:30.080 in and and and yeah, listen, it's yeah. 0:16:29.560 --> 0:16:34.440 And to the credit of that that particular group, Michael's 0:16:34.480 --> 0:16:37.080 you know, Michael's little uh what do we used to 0:16:37.160 --> 0:16:40.880 call it? His not his playpen, but his sand his 0:16:41.000 --> 0:16:45.720 sand pit whatever we call sandbox box. Thank you Michael 0:16:45.760 --> 0:16:49.440 sandbox and all those people that inhabited that was that 0:16:49.640 --> 0:16:51.920 you know, it was about having fun too, you know, 0:16:52.200 --> 0:16:55.920 and uh, you know, if it hadn't been fun, you know, 0:16:55.960 --> 0:16:58.480 there's no way you can survive those kind of hours. 0:16:58.120 --> 0:16:59.840 And totally yeah, so much. 0:17:01.040 --> 0:17:03.960 Okay, So then you move on to being a production coordinator. 0:17:04.040 --> 0:17:07.280 Can you tell everyone exactly what do you do as 0:17:07.320 --> 0:17:08.399 a production coordinator? 0:17:08.520 --> 0:17:12.040 What the hell is the Russell is the question I'd 0:17:12.080 --> 0:17:14.480 like to ask. I think Daniel's being more polite about it, 0:17:14.480 --> 0:17:15.840 but what the hell is that? 0:17:17.600 --> 0:17:20.720 You know, it's a lot of a lot of things, 0:17:20.920 --> 0:17:25.760 and you know it here, you know what I printed 0:17:25.800 --> 0:17:28.360 out my resume because there's so much that I can't remember. 0:17:28.880 --> 0:17:33.400 But under this I have like this kind of general responsibilities. 0:17:33.800 --> 0:17:36.960 And I've been an associate producer, I've been a production manager, 0:17:36.960 --> 0:17:40.560 I've been a production supervisor and a production coordinator and 0:17:41.440 --> 0:17:43.600 you know, and I kind of have to remind myself 0:17:43.680 --> 0:17:47.879 a because you know, I'm you know, elderly and forget things, 0:17:47.920 --> 0:17:53.560 but here to answer your question in all sincerity. You know, 0:17:53.600 --> 0:17:56.920 it's a million things, and it's different for every production. 0:17:57.000 --> 0:18:02.080 But basically, the production coordinator is that worker bee who 0:18:02.160 --> 0:18:05.720 is kind of doing making all the nuts and bolts happen, 0:18:05.800 --> 0:18:09.600 all the logistics, all the communications for the show. If 0:18:10.359 --> 0:18:14.160 it's it's sending out call sheets to the actors crew, 0:18:14.680 --> 0:18:17.720 it's you know, making a million calls to people to 0:18:17.760 --> 0:18:22.480 tell them the schedule has changed. Were sending schedules, being 0:18:22.640 --> 0:18:26.080 kind of the liaison for the network and the studio 0:18:26.440 --> 0:18:29.480 and the facility where we were shooting. So you know, 0:18:29.560 --> 0:18:32.720 you remember we on Boing Meet's World, we went to 0:18:33.000 --> 0:18:35.680 three different places. We started out at Disney for a 0:18:35.760 --> 0:18:38.480 couple of years, then we went to kt LA for 0:18:38.480 --> 0:18:40.240 a couple of years, Then we were at Radford for 0:18:40.240 --> 0:18:42.199 a couple of years, and then back to Disney for 0:18:42.240 --> 0:18:45.399 the last season. And I was kind of the person 0:18:45.480 --> 0:18:49.080 who was the liaison between all of those those folks 0:18:49.119 --> 0:18:53.040 that worked in those back those departments like moving in, 0:18:53.320 --> 0:18:56.879 setting up offices and getting parking spaces and setting up 0:18:56.960 --> 0:18:59.359 dressing rooms and and all that good stuff. 0:19:00.200 --> 0:19:03.000 Were you not to interrupt, but just because you talked 0:19:03.040 --> 0:19:04.560 about it, And this is something we've brought up a 0:19:04.560 --> 0:19:06.320 bunch of times because we talked about all the time. 0:19:06.320 --> 0:19:09.520 But do you know why we were shuffled around from 0:19:09.720 --> 0:19:12.119 studio to studio to studio and why we weren't just 0:19:12.320 --> 0:19:14.600 say able to stay at Disney for all seven years? 0:19:14.920 --> 0:19:18.360 You know, I don't know specifically. I know that probably 0:19:18.440 --> 0:19:23.320 had something to do with well, where Michael wanted to be, 0:19:23.680 --> 0:19:28.479 right and also what stages were available. So you know, 0:19:28.640 --> 0:19:32.119 I don't know what happened between season two and three 0:19:32.600 --> 0:19:35.679 that moved us to KTLA, but it could be that. 0:19:36.160 --> 0:19:40.520 You know, it's also a budget thing too, Okay, you 0:19:40.520 --> 0:19:41.640 know different places. 0:19:42.400 --> 0:19:45.600 You know, there's no doubt that KTLA had to have 0:19:45.680 --> 0:19:48.280 cost significantly then. 0:19:48.359 --> 0:19:51.639 Yes, yes, wow. I also I want to hear what 0:19:52.320 --> 0:19:54.159 was the difference like for you in terms of the 0:19:54.520 --> 0:19:58.520 two companies, like or the studio lots. Were they different vibes, 0:19:58.560 --> 0:20:01.840 different people working for them? Like what was I imagine there? 0:20:02.400 --> 0:20:06.439 Yeah? Yeah, I mean obviously Disney Studios, I mean with 0:20:06.480 --> 0:20:11.720 all of its history and it's lush beauty and historic 0:20:11.800 --> 0:20:17.640 buildings and squirrels yeah, I mean, just yeah, squirrels that were. 0:20:16.760 --> 0:20:20.119 Yeah, KTLA had a lot of lushes. They were just 0:20:20.200 --> 0:20:22.480 kind of hanging out in the parking lot, that's right. 0:20:23.440 --> 0:20:26.800 Drinking out of a paper bag, a different kind of thing. 0:20:28.040 --> 0:20:30.520 Yeah, remember we I think it was our first day 0:20:30.720 --> 0:20:34.439 that the cast was on kt LA proper, like you 0:20:34.480 --> 0:20:38.560 guys came in for a rehearsal or and there was 0:20:38.600 --> 0:20:41.439 like a sniper from the across the street. Do you 0:20:41.440 --> 0:20:41.879 remember that? 0:20:41.920 --> 0:20:42.240 I do? 0:20:42.880 --> 0:20:48.119 Yeah. The hood now, yeah, it's. 0:20:48.000 --> 0:20:49.240 Like everybody's shelter in place. 0:20:49.640 --> 0:20:55.280 Yeah, you know. And for me it was more about 0:20:55.680 --> 0:20:58.199 I learned. Part of my growing up in this business 0:20:58.280 --> 0:21:03.480 was really about how to relationships and being that liaison, 0:21:03.600 --> 0:21:06.600 that person that had to go and ask for things. 0:21:06.680 --> 0:21:09.280 You know, we need more air conditioning, or I need 0:21:09.320 --> 0:21:12.159 you know this, favor this you know, or I got 0:21:12.240 --> 0:21:15.359 good at negotiating. But it was about learning how to 0:21:15.560 --> 0:21:18.440