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Speaker 1: Hey, fan, Rito's welcome to how Rude Tanaritos, our guest today,

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Speaker 1: is a phenomenal director and producer who we were lucky

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Speaker 1: enough to work with on both Full House and Fuller House.

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Speaker 2: He has a.

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Speaker 1: Wide array of TV shows, films, and Broadway shows under

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Speaker 1: his belt, with his career spanning over four decades. We

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Speaker 1: can't wait to talk to him about his memories from

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Speaker 1: that very first episode of full House all the way

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Speaker 1: to his time on Fuller House.

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Speaker 2: Please welcome.

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Speaker 1: Joel's a wick, Hi, Joel.

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Speaker 2: Or look at you, as handsome as ever.

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Speaker 3: I'm younger, younger, I'm working on being younger.

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Speaker 4: Indeed you are Benjamin Button. Actually you're a completely in reverse.

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Speaker 3: At some point, I'm going to start to diminish myself

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Speaker 3: by one year at every birthday and see how long

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Speaker 3: I can go.

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Speaker 2: Yeah, I love it. I like it.

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Speaker 3: Good idea.

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Speaker 2: Hi, it's so good to see you.

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Speaker 4: So just so you know, we kind of just jump

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Speaker 4: right into the interview, so we're just gonna welcome to

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Speaker 4: the show, Joel.

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Speaker 3: I think it's great. I think it's so fabulous that

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Speaker 3: the legend of full House has existed this many years.

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Speaker 3: I mean, how many years ago do we do this

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Speaker 3: thirty five years or something like that.

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Speaker 1: Thirty thirty seven, thirty seven, I think, yeah, yes.

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Speaker 3: Andrew, when did you come into the series. I'm trying

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Speaker 3: to think, is I don't believe I directed your first appearance?

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Speaker 3: Do you believe I did? I don't.

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Speaker 1: I should know this, but my first episode was the

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Speaker 1: first day of school, Stephanie's first day of kindergarten and

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Speaker 1: DJ and Kimmy's first day of fifth grade.

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Speaker 2: We just looked at it. Was it episode two to three?

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Speaker 2: It is episode three, first season.

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Speaker 3: I could have been there for the first few before

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Speaker 3: I had to go back to Perfect Strangers, which was.

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Speaker 2: Much's right, that's right right next door.

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Speaker 4: We have been telling everyone about your storied career of

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Speaker 4: directing and everything, and it's really I mean, it's super impressive,

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Speaker 4: but Perfect Strangers family matters. You directed the movie My

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Speaker 4: Big Fat Greek Wedding, which is just such a hit.

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Speaker 4: We love of second sight, Fat Albert, and you started

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Speaker 4: in theater?

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Speaker 2: Really was where you came from? Uh?

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Speaker 4: And I just I would love to hear a little

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Speaker 4: bit about the background of Joel's Wick.

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Speaker 3: Well, boy, okay, you ready for this?

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Speaker 2: Like how did you start?

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Speaker 4: Like what made you decide to come to Hollywood and

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Speaker 4: get in this crazy business, and then how did you

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Speaker 4: eventually wind up with this weird family?

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Speaker 3: Okay, I can. I got a system here, I've how

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Speaker 3: to tell I've been trying. As you get older, you

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Speaker 3: start to try to desperately put together the pieces of

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Speaker 3: your life as to what exactly, and that made the difference.

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Speaker 3: And for me, it came down to connections. It was

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Speaker 3: all about the luck of connections, because connections sometimes have

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Speaker 3: nothing to do with who you are, but where you

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Speaker 3: are at what time you're there, and those kind of things.

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Speaker 3: So basically I started out at three and a half

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Speaker 3: years old. My mother tells me I used to sing

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Speaker 3: Jimmy Durant the imitations for their Marjon game, and the

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Speaker 3: women loved that, so they'd invite me every time they

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Speaker 3: started a Majong game to sing a little bit of

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Speaker 3: Inky Dinky doo or something like that.

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Speaker 4: And then when I wish I could have seen that,

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Speaker 4: to be a fly on the wall of three and

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Speaker 4: a half year old joels Wick singing in a majong game,

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Speaker 4: please stop it.

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Speaker 2: And then this is already amazing.

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Speaker 3: Junior High School went on to Junior High School where

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Speaker 3: I was very lucky. There was a teacher there who

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Speaker 3: loved operettas, and she decided on her own wasn't part

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Speaker 3: of the school program. She would put on an operetta

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Speaker 3: every year. So I was in the for two years there.

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Speaker 3: In the first year I did the Mercado and I

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Speaker 3: played Coco, and the second year I played Si Slick

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Speaker 3: in Nordy Marietta. And there was a young girl who

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Speaker 3: was in the cast, not one of the stars, one

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Speaker 3: of the three little maids from school are we purpose

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Speaker 3: one of those girls. And we came to Madison High

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Speaker 3: School and rock and roll hit nineteen fifty three. We

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Speaker 3: entered Madison High School and rock and roll was starting

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Speaker 3: to explode, and babe, wait, this little girl decided she

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Speaker 3: was going to be a rock and roll singer end

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Speaker 3: of it, and she was going to have a do

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Speaker 3: op group at Madison High School, just like virtually every

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Speaker 3: high school in Brooklyn had a due op group. And

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Speaker 3: so we had a do op group. We called ourselves

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Speaker 3: the co Signs. We met in a math class, the

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Speaker 3: Yes And then eventually this young lady who was Carol

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Speaker 3: Klein separated from the group and became Carol King. So

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Speaker 3: I wash my god, Carol King, Yeah, I understand that

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Speaker 3: to your.

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Speaker 4: Like great one of the greatest songwriters of all time.

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Speaker 3: But that's that's coincidence. I mean, how does that happened?

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Speaker 4: I did not realize you were in a do wop

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Speaker 4: group in high school with Carol King.

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Speaker 3: Joe.

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Speaker 2: Oh my god.

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Speaker 3: So any rate, So Carol we went and all we

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Speaker 3: moved on to in high school, she introduced me to

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Speaker 3: this very this guy became my best friend, Roy Levine.

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Speaker 3: Roy Levine directs mcbird in nineteen sixty seven, which was

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Speaker 3: a major off Broadway hit and problem because it basically

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Speaker 3: made the claim that Lyndon Johnson was responsible for the

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Speaker 3: death of John F. Kennedy. So that was pretty political

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Speaker 3: and basically my phone was tapped for the seven months

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Speaker 3: I was in that show, and I was basically, you know,

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Speaker 3: an aide or a crony of a cronies that would

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Speaker 3: come on stage and say, sire, they're waiting for you,

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Speaker 3: you know that kind of stay. And I sat there

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Speaker 3: and at that point I thought maybe I was going

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Speaker 3: to be an actor. I really never thought about it

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Speaker 3: much because in sheep said, baby Brooklyn, you didn't have

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Speaker 3: any dreams of that kind. Of stuff going on other

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Speaker 3: than Carol, who knew she was going to be a star.

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Speaker 3: God bless her. But anyway, so they sent me off

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Speaker 3: to with Roy Levine to Midbird. In Midbird I met

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Speaker 3: an actor named Andy Robinson who played the Aquarius killer

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Speaker 3: in Dirty Harry. That was his big right and we

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Speaker 3: became very good friends. And he one day was going

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Speaker 3: to join a LaMaMa troop at Lomama, which was one

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Speaker 3: of the great experimental theaters. Yes, yes, so he called

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Speaker 3: me up and said, come on, you want to join

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Speaker 3: LaMaMa with me? And I at that point had had

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Speaker 3: a nervous breakdown because I realized I couldn't become an actor.

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Speaker 3: I wasn't good enough. I had no idea what these

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Speaker 3: people were doing that made them so good. But it

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Speaker 3: was a hell of a cast that had Stacy Keach

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Speaker 3: and Rue McClanahan and cleveonn Little and Bill Devane at

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Speaker 3: Bardy who were just coming out of colleges all over

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Speaker 3: America who were politically inspired to do this particular show

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Speaker 3: about Lyndon Johnson. So that was that. So Andy got

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Speaker 3: me to LaMaMa. And Andy was also the key to

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Speaker 3: something I didn't so I couldn't really act much at

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Speaker 3: LaMaMa because even in the troop I was in, I

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Speaker 3: was not one of the good actors. So Andy at

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Speaker 3: one point wrote a play called Last Chance Saloon, and

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Speaker 3: he decided I was going to direct it. Now he

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Speaker 3: had never seen me direct anything. I had only directed

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Speaker 3: one thing in my life, and I thought that if

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Speaker 3: I didn't direct this, the troop was going to break up,

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Speaker 3: and Lumama was becoming very important to me. So I said, okay,

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Speaker 3: I'll direct it. Well, the damn thing played the west

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Speaker 3: coast of London, it played all over Europe. It became

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Speaker 3: a major hit. I came back to America. I was

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Speaker 3: a director. Oh my go now I was directing. I

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Speaker 3: still had no goals. There were just no goals involved

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Speaker 3: with this. I didn't know that there was any place

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Speaker 3: you could go with this kind of a thing. But

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Speaker 3: I was a director, and I directed the LaMaMa Plexus group.

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Speaker 3: We were called in a number of shows, and one

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Speaker 3: of the shows I was also teaching at the time,

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Speaker 3: and I was teaching at Queen's College and Wheaton College

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Speaker 3: and Brooklyn College and all over the place. This theoretical

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Speaker 3: work that my LaMaMa troop was doing, which if you

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Speaker 3: know or don't know. It's based on the work of

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Speaker 3: Jersey Grotowsky, who were in the Polish lab theater, and

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Speaker 3: he had this idea that if you trained actors like athletes,

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Speaker 3: so they could stay in the moment and not think

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Speaker 3: about whether they have craft or no craft, or what

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Speaker 3: their craft is about. Somehow, that's what you aspired to

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Speaker 3: get him in the moment, which was one of the

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Speaker 3: things that was phenomenal with you guys, because you were

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Speaker 3: always in the moment. You had no idea, there wasn't

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Speaker 3: a moment.

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Speaker 4: I mean as kids, that's that I look at kids

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Speaker 4: all the time and I just there.

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Speaker 2: You know.

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Speaker 4: I was out at a restaurant the other day and

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Speaker 4: this kid was just twirling around.

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Speaker 2: What I was like, Oh, to be so in the moment,

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Speaker 2: and but.

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Speaker 4: Like, that's the goal as an actor, right is to

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Speaker 4: just be so free.

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Speaker 3: That's amazing. So basically, once I had picked up that

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Speaker 3: little information, I realized that I would say I became

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Speaker 3: a director and directed a number of shows for US

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Speaker 3: and taught at various colleges. In one of the colleges

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Speaker 3: I taught at was Queen's College, and one of the

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Speaker 3: kids who am a student of mind three of them.

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Speaker 3: Actually students of mind were Lowe Gans, Mark Rothman, and

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Speaker 3: Greg Antonacci. Now they Greg Antonacci, who was a tough

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Speaker 3: little Italian kid, basically just infused himself into my Lemama workshops.

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Speaker 3: He wasn't invited, He just showed up and basically Greg

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Speaker 3: wrote a show called Dance with Me, which I directed, choreographed,

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Speaker 3: and was in. By the way, that's something you want

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Speaker 3: to do again? It was really questionable.

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Speaker 4: Yeah that's I'm like, wow that that yeah.

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Speaker 3: The hill rate. I got a Tony nomination for Best

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Speaker 3: Choreography and a Drama Desk nomination for Best Director of

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Speaker 3: a Musical. So but and Greg. Meanwhile, through Mark Rothman

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Speaker 3: and Lowell Gans, who had already made it out to

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Speaker 3: Hollywood with their own story of connections, he went out

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Speaker 3: to Hollywood to play a running role in Laverne and Shirley,

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Speaker 3: and eventually he moved on to a continuing role in

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Speaker 3: It was an Adam Arkham Adam Arkhams show a past

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Speaker 3: eighty you Lose names, but it was an Adam busting.

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Speaker 4: Busting lotten screwed then because I can't remember now, I

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Speaker 4: know you were in good shape.

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Speaker 3: So we did Busting Loose together and I came out

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Speaker 3: to visit him because I had done a show a

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Speaker 3: review that was playing in Chicago for a year and

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Speaker 3: then moved on to Las Vegas in another production. So

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Speaker 3: I was about forty minutes out of Los Angeles by playing,

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Speaker 3: and I had some time, so I thought I'd come

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Speaker 3: out and visit Greg and see what's going on. And

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Speaker 3: at that point, so Greg, so, I'm watching these rehearsals

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Speaker 3: for a couple of weeks in the stand, just watching

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Speaker 3: these rehearsals, and doesn't seem like it seems like a

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Speaker 3: little play for a twenty two minute play. So basically

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Speaker 3: Greg gets in his head you that I should direct

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Speaker 3: the sitcom. And I said to Greg, wait a second,

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Speaker 3: I'm a theater director. I don't direct sitcom.

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Speaker 2: And he said, well, if sitcom really is theater theater.

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Speaker 3: I finally found that out as I got myself inebriated

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Speaker 3: that night and got myself thinking, wait a second. First

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Speaker 3: of all, you don't know if they're going to get

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Speaker 3: the job, too. You don't know if you'd like the

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Speaker 3: job once you get it. So basically they got to

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Speaker 3: do the paint. One of my major beliefs was that

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Speaker 3: you just got to take the shots. You can't turn

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Speaker 3: down opportunities because it may not be in exactly the

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Speaker 3: direction you wanted to go, but it may eventually get

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Speaker 3: you to that place just taking a different route. But

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Speaker 3: the fact that since I didn't have any goals anyway,

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Speaker 3: it didn't make any difference to me what I was doing.

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Speaker 3: So he set me up at this meeting at Paramount

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Speaker 3: with this lady named Judy Copage, a very nice lady

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Speaker 3: who was running casting for Powamount for directors getting them

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Speaker 3: placed on the Paramount shows in that day. So I

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Speaker 3: went into her and literally, this is an interview you

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Speaker 3: cannot do today. And I'm not sure how I got

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Speaker 3: away with it at that time, but I walked in.

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Speaker 3: I said, listen, I'm not going to tell you that

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Speaker 3: I can direct sitcom because I've never directed a sitcom,

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Speaker 3: but I was watching for the last couple of weeks

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Speaker 3: and in my estimation and monkey can direct sitcoms. And

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Speaker 3: she looked at me, she said and made a call

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Speaker 3: immediately to this guy Tony bar at CBS and said,

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Speaker 3: I've got this guy. I wanted to direct an episode

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Speaker 3: of Busting Loose. And that was my interview, and I

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Speaker 3: basically had this episode of Busting Loose, and now the

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Speaker 3: producers were concerned, well, you know, he's never done anything.

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Speaker 3: So Greg said, I'll tell you what. I'll write a

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Speaker 3: script and he'll direct my script. And so he was

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Speaker 3: living at that time with Annie Potts Lovely any yes,

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Speaker 3: oh yes, And so basically was a showby that was

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Speaker 3: hopefully going to be a pilot for her for Annie

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Speaker 3: Potts and Greg and Tanacci. So I directed it and

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Speaker 3: it went fairly well, and I icily started to figure

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Speaker 3: out the craft. I worked with the editor. I couldn't

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Speaker 3: care about anybody else. The editor would tell me, no, no,

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Speaker 3: you can't go from that shot to that shot. You

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Speaker 3: can't do that. This is the way it goes. Because

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Speaker 3: in those days we were using what was called the

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Speaker 3: three headed movieola because it was all film and tape.

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Speaker 3: Yet by the time you got around we were on tape.

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Speaker 3: But essentially and basically was just three things learned. He'd

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Speaker 3: mark out the cuts from from from real to real,

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Speaker 3: and so I learned the idea of how this was supposed.

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Speaker 4: To go, which I mean that for directing for TV

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Speaker 4: and film, that's really what it is is knowing what

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Speaker 4: you what shot you have to get because you're like, oh, well,

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Speaker 4: we can go from here to hear. But if you

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Speaker 4: have no connective tissue and you don't see how the

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Speaker 4: person got from over here over here, all of a

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Speaker 4: sudden they teleport and it looks really weird. And those

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Speaker 4: are the things that like, you don't think about that

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Speaker 4: you have to. It's not the theater where you can

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Speaker 4: see everything. You have to make sure that people's eyes

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Speaker 4: are going, where the action is.

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Speaker 3: In the right direction, absolutely correct. So basically I realized

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Speaker 3: that what I've always been was I finally realized that

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Speaker 3: I was a systems person. I was in a visionary.

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Speaker 3: You don't have to be a visionary to do Full

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Speaker 3: House Family Matters or any of those shows, but a

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Speaker 3: system person helps finding out the most efficient way to

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Speaker 3: do the work that needs to be done. And part

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Speaker 3: of that was I started to believe that the key

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Speaker 3: was to let everybody be the best they can be,

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Speaker 3: not to tell them what to do, but enable them

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Speaker 3: to be the best. They could be very easy with

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Speaker 3: kids because they're gonna do what they're gonna do, you know,

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Speaker 3: But when it gets to adults, Yeah, how do you

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Speaker 3: don't direct John Stamos or Bob Dagger or Coo Yer.

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Speaker 3: There's no direct for these people.

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Speaker 4: Well, I mean, for many reasons, there was no directing them.

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Speaker 2: But I actually I told the story.

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Speaker 4: To someone the other day of the time, that that you,

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Speaker 4: we all got in trouble, and that yes, yes, you

295
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Speaker 4: were so pissed at every well you were so pissed

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Speaker 4: at the adults, but.

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Speaker 2: You you know, you went that's it.

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Speaker 4: Everybody upstairs up to the you know, to the conference room,

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Speaker 4: and so the whole cast.

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Speaker 2: Went bitting around, including the baby. Everyone was like, okay,

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Speaker 2: so we showed up. Joel walks in the room, He's like,

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Speaker 2: not the kids, not the kids. They're fine, The kids

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Speaker 2: are doing fine.

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Speaker 3: To the adults, I couldn't do what I wanted to

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Speaker 3: do the kids were in the room. But the fact

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Speaker 3: is I had a great story about you, Jody. I

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Speaker 3: don't know if you're aware of the story, because it's

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Speaker 3: a wonderful story. It was basically, we were doing an

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Speaker 3: episode of something at this time. You couldn't have been

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Speaker 3: much more than five and a half years old. Maxim

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Speaker 3: so his first season kind of stuff, and we're about

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Speaker 3: to do your scene you were in and I get

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Speaker 3: a quote she's not available she's in the bathroom. I said,

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Speaker 3: what do you mean, she's in the bathroom. I'm about

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Speaker 3: to do a scene. Go go knock on the door

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Speaker 3: and tell her to get out of the bathroom. So

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Speaker 3: somebody goes to knocks on the door and Jody get

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Speaker 3: out of the bathroom. I'm not finished, that's what they hear.

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Speaker 3: I'm not finished. So basically he came back out and said,

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Speaker 3: she says she's not finished. I said, well, you go

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Speaker 3: tell her to get finished and come out immediately. And

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Speaker 3: they went back and he knocked again, and you said

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Speaker 3: to the door, listen, if you come by to knock

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Speaker 3: one more time, I'm not coming out at all. And

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Speaker 3: it was at that point that I realized that the

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Speaker 3: entire industry was run by the children. That basically, if

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Speaker 3: a child is in a bathroom and needs to go potty,

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Speaker 3: you cannot see this. The scene is over.

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Speaker 4: You're working with children and animals. What needs to happen

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Speaker 4: needs to happen, and.

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Speaker 3: That's in the order that it needs to happen. So

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Speaker 3: that was, yes, that was it taught me the loss.

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Speaker 2: My god, that's hilarious.

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Speaker 3: The enormous industry is running and this one girl is

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Speaker 3: stopping the industry simply because she's going to the bathroom.

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Speaker 2: I had to go, yeah, I guess a good potty.

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Speaker 2: You'll call it a ten to one.

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Speaker 1: But maybe you were taking a ten too.

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Speaker 2: I mean, who knows. I was five and a half.

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Speaker 2: Whatever needed to happen, he happened.

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Speaker 3: That's right. But I loved your attitude about the fact

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Speaker 3: you knock one more time.

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Speaker 4: I'm not knock one more time, and you know on

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Speaker 4: that that's just who I am. You've asked me one

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Speaker 4: more time, didn't see how it goes one more time.

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Speaker 2: You haven't changed to Joe. It's good to know, though.

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Speaker 4: It's good to hear those stories where I go, oh, no,

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Speaker 4: this is that's just my true self.

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Speaker 3: That's exactly who you were at any rate. So that

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Speaker 3: was it. So I started working sitcoms primarily because I

351
00:16:19,720 --> 00:16:21,600
Speaker 3: was lucky in that the first thing I got to

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Speaker 3: do was busting loose and pretty much out of the

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Speaker 3: Gary Marshall chain, right, and so so I was doing

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Speaker 3: there was nothing else for me to do. I went

355
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Speaker 3: back to New York, I did a play, which was

356
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Speaker 3: a disaster, and then I came back to California because

357
00:16:37,000 --> 00:16:40,000
Speaker 3: I wrote to Lowe gans and Mark Ruthman saying, listen,

358
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Speaker 3: I'm thinking of coming out again. You're think you got

359
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Speaker 3: any work for me, because they thought they did pretty

360
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Speaker 3: good on The Busting Loose and they were doing at

361
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Speaker 3: that time a new show that Ted Knight was doing,

362
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Speaker 3: coming off of the Mary Tyler Moore Show, right the

363
00:16:51,760 --> 00:16:54,880
Speaker 3: Ted Night Show, And so basically they gave me an

364
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Speaker 3: episode to direct and to keep me around. They allowed

365
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Speaker 3: me to actually act in an episode where I played

366
00:17:01,960 --> 00:17:05,840
Speaker 3: a bunny farmer, Yes, a bunny farmer, a farmer that

367
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Speaker 3: actually raises bunnies. And it was a dating show, you know,

368
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Speaker 3: one of those things. So basically, so I was doing

369
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Speaker 3: some various there's ten minute things we used to do

370
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Speaker 3: that were to try to sell a pilot before we

371
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Speaker 3: did the entire thing. And I was doing something that

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Speaker 3: eventually turned out to be Angie but when I with

373
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Speaker 3: Donna pescal But when I did it, it was just

374
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Speaker 3: a ten minute No, I don't know what the hell

375
00:17:28,320 --> 00:17:30,000
Speaker 3: it was, but I did it. And at the end

376
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Speaker 3: of the thing, I came out and this big tall

377
00:17:32,480 --> 00:17:34,640
Speaker 3: man comes up to me and says, I let you work,

378
00:17:34,640 --> 00:17:36,160
Speaker 3: and I said, well, thank you. I had no idea

379
00:17:36,160 --> 00:17:37,680
Speaker 3: who he was. He says, I'm going to give you

380
00:17:37,720 --> 00:17:40,280
Speaker 3: a shot with the girls next season. And I had

381
00:17:40,280 --> 00:17:42,600
Speaker 3: no idea who the girls were, and I still had

382
00:17:42,600 --> 00:17:44,879
Speaker 3: no idea who this guy was. But it was Gary

383
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Speaker 3: Marshall offering me a chance to direct Laverne and Shirley,

384
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Speaker 3: And so I found out, Oh yeah, So I had

385
00:17:50,680 --> 00:17:52,639
Speaker 3: to go home and I had to research what the

386
00:17:52,680 --> 00:17:55,359
Speaker 3: hell all this was because I'd never seen a sitcom,

387
00:17:55,400 --> 00:17:58,439
Speaker 3: particularly a theater. Person in New York is not sitting

388
00:17:58,440 --> 00:18:01,200
Speaker 3: home watching, you know, the Merry Time the More Show. Particularly,

389
00:18:01,560 --> 00:18:03,680
Speaker 3: So they gave me a shot and I went back

390
00:18:03,720 --> 00:18:06,440
Speaker 3: and I was directing the first the third season of

391
00:18:06,520 --> 00:18:10,960
Speaker 3: Lavernon Shirley when it was the number one show in America. Wow,

392
00:18:11,160 --> 00:18:13,280
Speaker 3: I mean that you can't that when that happens, it's

393
00:18:13,359 --> 00:18:15,639
Speaker 3: just what are the art? But at any rate, it

394
00:18:15,680 --> 00:18:18,879
Speaker 3: worked out well for me because the girls, who you

395
00:18:18,920 --> 00:18:21,119
Speaker 3: don't tell what to do either. You didn't tell Penny

396
00:18:21,160 --> 00:18:23,560
Speaker 3: and Cindy how to make I mean, you had to

397
00:18:23,560 --> 00:18:25,240
Speaker 3: be out of your mind to try to do that.

398
00:18:25,640 --> 00:18:27,919
Speaker 3: So they liked me because I had a New York energy,

399
00:18:28,440 --> 00:18:32,359
Speaker 3: and they taught me the system, especially Penny Marshall taught

400
00:18:32,400 --> 00:18:35,000
Speaker 3: me the system. She would walk on to a stage

401
00:18:35,359 --> 00:18:37,040
Speaker 3: or they were never around because of the fact that

402
00:18:37,080 --> 00:18:38,760
Speaker 3: they were in the middle of the fight of the

403
00:18:38,840 --> 00:18:42,560
Speaker 3: lives for women, they were not getting equal salaries with men.

404
00:18:42,760 --> 00:18:46,320
Speaker 3: Suzanne Seckers had started a huge fura and Penny and

405
00:18:46,359 --> 00:18:48,720
Speaker 3: Cindy joined in, and they were in major fights with

406
00:18:48,800 --> 00:18:51,679
Speaker 3: Power Amount and with ABC about the fact that they

407
00:18:51,680 --> 00:18:54,000
Speaker 3: were the number one show in America and were making

408
00:18:54,119 --> 00:18:58,080
Speaker 3: half the salary of Henry Winkler and Ron Howard. Right. Wow.

409
00:18:58,119 --> 00:19:01,000
Speaker 3: They were never around for rehearsals. So basically there was

410
00:19:01,000 --> 00:19:03,560
Speaker 3: no rehearsals in the morning. They come in at that

411
00:19:04,040 --> 00:19:06,159
Speaker 3: we come into twelve o'clock and we work from twelve

412
00:19:06,200 --> 00:19:08,040
Speaker 3: to one, and then we do the run through at

413
00:19:08,040 --> 00:19:10,359
Speaker 3: two o'clock and that was it. So Penny would come in,

414
00:19:10,400 --> 00:19:12,520
Speaker 3: the scene would be said. He'd come in, She'd say, Okay,

415
00:19:12,640 --> 00:19:14,320
Speaker 3: this is what I'm gonna do. I'm gonna put my

416
00:19:14,960 --> 00:19:17,359
Speaker 3: bag here, I'm putting my jacket here, I'm going to

417
00:19:17,400 --> 00:19:19,960
Speaker 3: the kitchen. I'm getting a coc and milk or whatever

418
00:19:20,000 --> 00:19:22,040
Speaker 3: that pepsi and milk things she used to drink. And

419
00:19:22,080 --> 00:19:23,760
Speaker 3: then I'm going to pick up my coat, pick up

420
00:19:23,760 --> 00:19:26,720
Speaker 3: my bag and out the door, and Cindy knew to

421
00:19:26,840 --> 00:19:29,720
Speaker 3: just follow along, and that's what she did. And she

422
00:19:29,880 --> 00:19:32,320
Speaker 3: never walked on a joke. She always walked on the laugh.

423
00:19:33,080 --> 00:19:35,320
Speaker 3: She waited for the laugh and walked laugh and walk

424
00:19:35,440 --> 00:19:37,720
Speaker 3: laugh and hit every mark and then was out the

425
00:19:37,760 --> 00:19:40,640
Speaker 3: door and it was all over, and basically the same

426
00:19:40,640 --> 00:19:43,520
Speaker 3: thing happened. You can't tell Lenny and Squiggy what to

427
00:19:43,680 --> 00:19:47,199
Speaker 3: do with the hell well Lenny and Squiggy anyway. You

428
00:19:47,240 --> 00:19:50,439
Speaker 3: know that the only people I honestly believed at that point,

429
00:19:50,600 --> 00:19:52,600
Speaker 3: the first people that got the rights to their own

430
00:19:52,720 --> 00:19:56,840
Speaker 3: names in order to should Penny it's Penny, because Penny

431
00:19:56,920 --> 00:20:02,160
Speaker 3: was dating Rob Marshall, Rob Ryan and they were friends

432
00:20:02,160 --> 00:20:04,560
Speaker 3: of Rob Reiners. So she went to see a show

433
00:20:04,720 --> 00:20:06,680
Speaker 3: with Lenny and Squiggy and said, oh, I want them

434
00:20:06,680 --> 00:20:09,000
Speaker 3: on lavern and Shirley. So she came back to the

435
00:20:09,119 --> 00:20:11,640
Speaker 3: network and said, I want these guys on Laverne and Shirley.

436
00:20:11,960 --> 00:20:13,720
Speaker 3: And the guys would only do it if they could

437
00:20:13,800 --> 00:20:17,399
Speaker 3: maintain the rights to the names Lenny and Squiggy, and

438
00:20:17,440 --> 00:20:19,480
Speaker 3: they did, and when the show was over, they went

439
00:20:19,520 --> 00:20:21,760
Speaker 3: out and toured as Lenny and the squig Tones, and.

440
00:20:22,920 --> 00:20:23,920
Speaker 2: Oh, that's wow.

441
00:20:24,400 --> 00:20:28,120
Speaker 4: And then was it through doing Laverne and Shirley then

442
00:20:28,160 --> 00:20:30,280
Speaker 4: that you made some of the connections that led you

443
00:20:30,320 --> 00:20:31,200
Speaker 4: to Full House.

444
00:20:31,760 --> 00:20:35,639
Speaker 3: Yes, basically that's exactly how it transferred. I did to

445
00:20:35,720 --> 00:20:38,320
Speaker 3: Laverne and Shirley, and then during that period of time

446
00:20:38,440 --> 00:20:40,920
Speaker 3: I did a few Mork and Mindy's and then went

447
00:20:40,960 --> 00:20:44,200
Speaker 3: on and did the pilot of Boos and Buddies, and

448
00:20:44,280 --> 00:20:47,880
Speaker 3: that was pretty interesting because Tom Hanks was a wonderer.

449
00:20:47,960 --> 00:20:50,200
Speaker 3: I had no idea how a guy twenty one years

450
00:20:50,200 --> 00:20:53,760
Speaker 3: old with absolutely no credits, he was working as an

451
00:20:53,840 --> 00:20:57,680
Speaker 3: understudy in an off Broadway theater in a cold water flat,

452
00:20:57,680 --> 00:21:00,480
Speaker 3: he used to say, and basically he got an audition

453
00:21:00,680 --> 00:21:03,240
Speaker 3: and they got he got the role. But he we

454
00:21:03,280 --> 00:21:05,840
Speaker 3: saw myself. I don't understand how somebody at twenty one

455
00:21:06,200 --> 00:21:07,520
Speaker 3: with no work. He wasn't a.

456
00:21:07,560 --> 00:21:10,639
Speaker 4: Child, but you know, probably the same way that somebody

457
00:21:10,680 --> 00:21:13,320
Speaker 4: with no directing experience walking and says, I don't know

458
00:21:13,359 --> 00:21:15,240
Speaker 4: what I'm doing, but hey, let's give it a shot.

459
00:21:15,560 --> 00:21:17,680
Speaker 3: So basically, so I did. Those are the big three

460
00:21:17,720 --> 00:21:21,080
Speaker 3: that I did at that particular first juncture of my career,

461
00:21:21,480 --> 00:21:24,600
Speaker 3: and then through that i'd met Gary Marshall. Of course,

462
00:21:24,640 --> 00:21:26,960
Speaker 3: because they'd done some stuff with him and Barbo yet

463
00:21:27,240 --> 00:21:30,560
Speaker 3: and they were going to launch Full House, and I

464
00:21:30,720 --> 00:21:33,400
Speaker 3: got they told me they wanted me to direct the pilot,

465
00:21:33,840 --> 00:21:36,720
Speaker 3: and I thought, oh wow, okay, this is going to

466
00:21:36,800 --> 00:21:38,800
Speaker 3: be fun. You know, children and all. But it was

467
00:21:38,840 --> 00:21:41,159
Speaker 3: a great show for me because remember I was raising

468
00:21:41,240 --> 00:21:43,920
Speaker 3: Jamie and Hillary at the same rate and the same age.

469
00:21:43,920 --> 00:21:46,960
Speaker 3: You paperwork, so every one of your classrooms my kids

470
00:21:46,960 --> 00:21:50,480
Speaker 3: are in. Oh yeah, virtually every executive who would.

471
00:21:50,600 --> 00:21:54,080
Speaker 4: Jamie and Hillary's wick should have gotten a title card

472
00:21:54,119 --> 00:21:55,840
Speaker 4: at some point in one of the seasons.

473
00:21:55,880 --> 00:21:57,600
Speaker 2: Really for that special appearance by.

474
00:21:57,920 --> 00:21:59,720
Speaker 3: Where your seek was, because it was always next.

475
00:21:59,600 --> 00:22:03,040
Speaker 2: To Hill, exactly right and right there.

476
00:22:03,080 --> 00:22:05,440
Speaker 3: Yeah, she could make faces and do stuff that she

477
00:22:05,560 --> 00:22:08,199
Speaker 3: needed to do to staill alive in the scenes, you know,

478
00:22:08,320 --> 00:22:12,000
Speaker 3: like when Michelle comes in climbing under the desks and

479
00:22:12,040 --> 00:22:13,560
Speaker 3: she's you know that kind of thing.

480
00:22:21,880 --> 00:22:26,440
Speaker 4: What do you do you remember anything about directing the pilot,

481
00:22:26,560 --> 00:22:29,080
Speaker 4: Like do you remember thinking this show is going to

482
00:22:29,080 --> 00:22:33,000
Speaker 4: be a hit or the like, or this show is

483
00:22:33,080 --> 00:22:33,680
Speaker 4: going to tank?

484
00:22:33,840 --> 00:22:35,480
Speaker 2: Like what were what did you.

485
00:22:35,640 --> 00:22:38,320
Speaker 3: I thought the reputation of Miller boy Y had had

486
00:22:38,320 --> 00:22:40,800
Speaker 3: a real good chance because at that time the major

487
00:22:40,880 --> 00:22:43,760
Speaker 3: producers could pretty well get their shows on the air.

488
00:22:44,320 --> 00:22:47,199
Speaker 3: How long they lasted is another thing. But remember we

489
00:22:47,240 --> 00:22:50,640
Speaker 3: started that pilot. You should know that without Bob Saggett

490
00:22:51,640 --> 00:22:53,840
Speaker 3: did that pilot with a different actor, a very nice

491
00:22:53,920 --> 00:22:54,720
Speaker 3: actor by the way.

492
00:22:55,359 --> 00:22:57,280
Speaker 2: Yeah we have, Yeah, we talked about it. We've shown

493
00:22:57,320 --> 00:22:58,400
Speaker 2: his picture we had.

494
00:22:58,440 --> 00:23:01,760
Speaker 4: I found an original picture from the pilot that we

495
00:23:01,880 --> 00:23:05,240
Speaker 4: had taken with John Posey, like all in character that

496
00:23:05,320 --> 00:23:07,560
Speaker 4: was sitting on the mantle and it was John Posey,

497
00:23:08,280 --> 00:23:12,040
Speaker 4: the woman who played Pam, and a random not an

498
00:23:12,040 --> 00:23:14,159
Speaker 4: Olsen twin and me and Candae. That was like a

499
00:23:14,200 --> 00:23:17,400
Speaker 4: family photo that was on the mantle in the very

500
00:23:17,400 --> 00:23:19,000
Speaker 4: first But yeah, we were looking through it we found

501
00:23:19,000 --> 00:23:19,640
Speaker 4: that on the show.

502
00:23:20,119 --> 00:23:21,400
Speaker 3: I actually have that pilot.

503
00:23:21,640 --> 00:23:23,440
Speaker 2: Oh yeah, yeah, I actually.

504
00:23:23,160 --> 00:23:26,200
Speaker 3: Have the pilot. So what happened was when when when

505
00:23:26,720 --> 00:23:29,720
Speaker 3: when our friend Jeff Franklin went to the network said,

506
00:23:29,720 --> 00:23:32,119
Speaker 3: I've always written this thing for Bob Saggot, and Saggot

507
00:23:32,280 --> 00:23:34,280
Speaker 3: wasn't available when we did Department because he was doing

508
00:23:34,359 --> 00:23:37,439
Speaker 3: some comedy shtick for CBS or something five minutes of

509
00:23:37,480 --> 00:23:40,640
Speaker 3: news in the morning. So once he was available, Jeff said,

510
00:23:40,680 --> 00:23:42,720
Speaker 3: I want to put Saggott in the role even though yeah,

511
00:23:42,720 --> 00:23:45,600
Speaker 3: Posey was a very fine actor, but Saggot was the

512
00:23:45,680 --> 00:23:46,320
Speaker 3: key he wanted.

513
00:23:46,680 --> 00:23:47,200
Speaker 2: Yeah.

514
00:23:47,320 --> 00:23:49,480
Speaker 4: So, and you know, it's interesting, like going back and

515
00:23:49,520 --> 00:23:52,439
Speaker 4: starting and watching the show from the beginning, it really

516
00:23:52,480 --> 00:23:55,399
Speaker 4: like it. You see it It was Bob was the

517
00:23:55,520 --> 00:24:00,520
Speaker 4: right he had that he had that sort of nerd but.

518
00:24:01,000 --> 00:24:04,800
Speaker 2: Loving but like he just was a dad. Like he was.

519
00:24:05,119 --> 00:24:08,639
Speaker 2: He was the epitome of like dad jokes, you know, funny.

520
00:24:08,680 --> 00:24:10,040
Speaker 3: He knew how to do funny.

521
00:24:09,760 --> 00:24:12,679
Speaker 4: And he knew yes, exactly funny. He knew how to

522
00:24:12,720 --> 00:24:15,160
Speaker 4: do funny. But yeah, what I mean he.

523
00:24:15,200 --> 00:24:15,720
Speaker 2: Was the heart.

524
00:24:16,240 --> 00:24:20,960
Speaker 4: Had you, uh, directed kids often in your career up

525
00:24:21,040 --> 00:24:23,840
Speaker 4: until that point because everything I'm hearing herring more community,

526
00:24:25,119 --> 00:24:26,800
Speaker 4: I'm not hearing a lot of kids and.

527
00:24:27,880 --> 00:24:29,679
Speaker 3: Kids at that point. I do not think they were

528
00:24:29,760 --> 00:24:31,760
Speaker 3: kids at that point. But we were, you know, we

529
00:24:31,800 --> 00:24:34,840
Speaker 3: had some big help on the kids that had Adria.

530
00:24:35,280 --> 00:24:37,880
Speaker 4: We had Adria was our last guest on the show

531
00:24:37,920 --> 00:24:40,240
Speaker 4: we had and all of her amazingness.

532
00:24:40,280 --> 00:24:42,920
Speaker 2: But yeah, what was it like working with kids? Were

533
00:24:43,160 --> 00:24:44,000
Speaker 2: was it like.

534
00:24:43,920 --> 00:24:46,919
Speaker 4: A whole new like oh this is I mean, you

535
00:24:47,040 --> 00:24:49,800
Speaker 4: had kids, but like trying to direct kids, we.

536
00:24:49,800 --> 00:24:52,520
Speaker 3: Had a system and the system was very smart. We

537
00:24:52,600 --> 00:24:55,800
Speaker 3: had stand ins for every one of you kids, and

538
00:24:55,840 --> 00:24:59,159
Speaker 3: the scenes would be rehearsed with the stand ins. You know,

539
00:24:59,240 --> 00:25:01,360
Speaker 3: he knew the scene means. And then the stand ins

540
00:25:01,359 --> 00:25:05,000
Speaker 3: would give you your blocking for this, and then you

541
00:25:05,040 --> 00:25:08,080
Speaker 3: had we had Brian Cale was there as a dialog approach.

542
00:25:08,359 --> 00:25:08,679
Speaker 3: We have.

543
00:25:08,760 --> 00:25:11,560
Speaker 4: Yes, we've talked about the infamous Brian Kle that's right.

544
00:25:11,600 --> 00:25:13,920
Speaker 3: And Brian was the one who basically had to pass

545
00:25:13,960 --> 00:25:17,760
Speaker 3: on to you information that I thought you needed, right,

546
00:25:18,000 --> 00:25:20,399
Speaker 3: information that he notes. Yep, I have a good story

547
00:25:20,400 --> 00:25:22,159
Speaker 3: with Brian to you in a second. The fact is

548
00:25:22,200 --> 00:25:25,200
Speaker 3: that so you had we packaged up, well, there was

549
00:25:25,240 --> 00:25:28,400
Speaker 3: a system that was in place that really was smart.

550
00:25:28,640 --> 00:25:30,880
Speaker 4: Well, you know, I find sitcoms tend to I mean

551
00:25:30,920 --> 00:25:32,639
Speaker 4: that's you know, the joke has always never take a

552
00:25:32,680 --> 00:25:35,560
Speaker 4: sitcom out of the stage, because sitcoms have we it

553
00:25:35,680 --> 00:25:37,320
Speaker 4: is like a it's a it's a system.

554
00:25:37,760 --> 00:25:39,800
Speaker 2: You've got this rehearsal, you've got you know, you.

555
00:25:39,800 --> 00:25:43,119
Speaker 4: Kind of always know what you're doing where and how

556
00:25:43,200 --> 00:25:45,960
Speaker 4: and what Your schedule is very much.

557
00:25:45,960 --> 00:25:47,120
Speaker 3: Very organized down.

558
00:25:47,280 --> 00:25:48,879
Speaker 2: Yeah, it's kind of great.

559
00:25:49,320 --> 00:25:51,960
Speaker 3: If we were all in school till noon, Yeah, nobody.

560
00:25:52,400 --> 00:25:53,840
Speaker 3: I didn't see any of you till noon. Now I

561
00:25:53,880 --> 00:25:55,960
Speaker 3: didn't see any of you till after lunch was about

562
00:25:56,000 --> 00:25:59,080
Speaker 3: one o'clock. We'd start to put together and eventually we

563
00:25:59,080 --> 00:26:01,640
Speaker 3: were able to give run throughs at like three o'clock.

564
00:26:01,720 --> 00:26:04,639
Speaker 3: They were used to five o'clock run throughs because we

565
00:26:04,840 --> 00:26:07,240
Speaker 3: do it scene twice and move on scene twice, because

566
00:26:07,280 --> 00:26:10,560
Speaker 3: I believe the actors should take responsibility for the work

567
00:26:10,560 --> 00:26:13,480
Speaker 3: they're gonna do, and beating him to death by having

568
00:26:13,520 --> 00:26:16,160
Speaker 3: a scene being done three, four or five times in rehearsal,

569
00:26:16,560 --> 00:26:18,200
Speaker 3: you've lost it by the time they want to get

570
00:26:18,240 --> 00:26:22,439
Speaker 3: on cameras. So yeah, I decided being fresh could do

571
00:26:22,560 --> 00:26:24,600
Speaker 3: some things, you know. But anyway, Brian Cale, this is

572
00:26:24,600 --> 00:26:28,639
Speaker 3: an interesting story about Brian Kale actually auditioned for a

573
00:26:28,800 --> 00:26:31,280
Speaker 3: role in mcbird, and I was an assistant stage manager,

574
00:26:31,280 --> 00:26:32,840
Speaker 3: so I'd been in his auditions and I thought, what

575
00:26:33,080 --> 00:26:36,120
Speaker 3: is an interesting guy? You know? And then it has

576
00:26:36,160 --> 00:26:39,680
Speaker 3: to be fifteen twenty years later, I'm now on stage

577
00:26:40,000 --> 00:26:43,240
Speaker 3: doing Dance with Me, a show, like I said, A directed, choreographed,

578
00:26:43,240 --> 00:26:46,280
Speaker 3: and was basically had the third lead in and I

579
00:26:46,320 --> 00:26:47,960
Speaker 3: had to get out of that show because once again

580
00:26:48,000 --> 00:26:51,439
Speaker 3: I knew I wasn't an actor. I mean, Dance with

581
00:26:51,480 --> 00:26:54,760
Speaker 3: Me was if nineteen fifties throwback musical. So we did

582
00:26:54,800 --> 00:26:56,879
Speaker 3: all the work I did with Carol and the co signs,

583
00:26:56,920 --> 00:26:58,840
Speaker 3: all the songs we did. Matter of fact, I used

584
00:26:58,840 --> 00:27:00,960
Speaker 3: two of Carol's songs, not even know where there were

585
00:27:01,000 --> 00:27:05,160
Speaker 3: Carol songs at the time. But I looked at Brian

586
00:27:05,200 --> 00:27:08,879
Speaker 3: and I said, you you're going to replace me. He said, huh.

587
00:27:09,000 --> 00:27:11,320
Speaker 3: I said you're going to replace me and dance with me?

588
00:27:11,880 --> 00:27:15,120
Speaker 3: He said what? I said, Yes, You're going on to Broadway.

589
00:27:15,160 --> 00:27:18,399
Speaker 3: Get ready, we're going into rehearsals tomorrow. So he was

590
00:27:18,440 --> 00:27:20,840
Speaker 3: a He was a much better actor than I was,

591
00:27:20,840 --> 00:27:23,199
Speaker 3: for sure, And it was so interesting to see a

592
00:27:23,320 --> 00:27:27,439
Speaker 3: role that I just naturally did because I just did it. Actually,

593
00:27:27,520 --> 00:27:30,440
Speaker 3: Brian had acted. He had to find the acting route

594
00:27:30,680 --> 00:27:32,840
Speaker 3: that had to play the character. He knew the staging,

595
00:27:33,080 --> 00:27:35,199
Speaker 3: he knew the dance numbers, he knew everything, but he

596
00:27:35,240 --> 00:27:38,439
Speaker 3: had to find an active route playing the character. I

597
00:27:38,600 --> 00:27:41,080
Speaker 3: just opened my mouth and I was the character. But

598
00:27:41,160 --> 00:27:43,320
Speaker 3: I did find out and in watching the run through

599
00:27:43,600 --> 00:27:45,640
Speaker 3: with Brian in the thing, I looked at that show

600
00:27:45,680 --> 00:27:49,520
Speaker 3: and I said, oh my god, if I wasn't in

601
00:27:49,600 --> 00:27:51,760
Speaker 3: it to begin with, there's at least five things that

602
00:27:51,760 --> 00:27:54,560
Speaker 3: would never show up on stage. There were some stuff

603
00:27:54,760 --> 00:27:57,119
Speaker 3: that I had in that show that I would have

604
00:27:57,160 --> 00:27:59,680
Speaker 3: never allowed if I was watching it as a director,

605
00:28:00,240 --> 00:28:02,000
Speaker 3: you know, but we survived.

606
00:28:02,000 --> 00:28:05,040
Speaker 4: The perspective is interesting, you know, like when you kind

607
00:28:05,040 --> 00:28:07,639
Speaker 4: of shit, you're like, oh, it looks very different on

608
00:28:07,680 --> 00:28:08,119
Speaker 4: this side.

609
00:28:08,200 --> 00:28:10,959
Speaker 3: Yeah, ooh does it ever? Because from the inside it

610
00:28:10,960 --> 00:28:13,359
Speaker 3: felt like everything was moving along smoothly. It was a

611
00:28:13,359 --> 00:28:15,120
Speaker 3: little it was a wild show. It was a bit

612
00:28:15,160 --> 00:28:18,000
Speaker 3: out of control. I mean, there was times that things

613
00:28:18,040 --> 00:28:20,320
Speaker 3: got out of hand, but the fact is that I

614
00:28:20,400 --> 00:28:22,720
Speaker 3: was on stage, so I get them under control. I mean,

615
00:28:22,840 --> 00:28:26,600
Speaker 3: I'd want one actor who came a wonderful writer in Hollywood, Steu' Silver.

616
00:28:26,960 --> 00:28:30,040
Speaker 3: Stuve Silver wrote for a number of shows and created

617
00:28:30,080 --> 00:28:33,240
Speaker 3: a number of shows himself. Webster was one of his

618
00:28:33,280 --> 00:28:38,800
Speaker 3: shows he created. But anyway, Wow, So Stu was outrageously funny,

619
00:28:39,000 --> 00:28:42,440
Speaker 3: but trutally out of control. So the only way I

620
00:28:42,440 --> 00:28:44,120
Speaker 3: could get him in control was and he started to

621
00:28:44,120 --> 00:28:47,320
Speaker 3: go into one of his this crazy monologues about being

622
00:28:47,320 --> 00:28:49,680
Speaker 3: a blind man, and he put up one finger and say,

623
00:28:49,720 --> 00:28:51,800
Speaker 3: what do I know? This could be a three? And

624
00:28:52,040 --> 00:28:53,760
Speaker 3: you just go on and on until I walked over

625
00:28:53,800 --> 00:28:56,680
Speaker 3: and basically smacked him in the face to shut him up,

626
00:28:58,120 --> 00:29:01,040
Speaker 3: and we go on with the show and the great

627
00:29:01,080 --> 00:29:02,960
Speaker 3: moment on dancing. I have to tell this, when I

628
00:29:03,000 --> 00:29:07,480
Speaker 3: got the nomination for the choreography, Tony and I didn't

629
00:29:07,480 --> 00:29:09,920
Speaker 3: have a dancer in that company. There was nobody in

630
00:29:09,960 --> 00:29:12,400
Speaker 3: that company could dance their way out of anything. So

631
00:29:12,480 --> 00:29:15,880
Speaker 3: I remember the dressing room saying before the show tonight,

632
00:29:16,240 --> 00:29:18,560
Speaker 3: we're gonna go out there and we're gonna dance like

633
00:29:18,600 --> 00:29:21,720
Speaker 3: we've never danced before. We are going to give this

634
00:29:21,800 --> 00:29:24,680
Speaker 3: audience the dances they've never seen before. And we went

635
00:29:24,720 --> 00:29:26,360
Speaker 3: out on the show and the first number we do

636
00:29:26,440 --> 00:29:30,400
Speaker 3: is based a Carol King number called the Locomotion. Everybody's

637
00:29:30,440 --> 00:29:34,600
Speaker 3: doing the brand in a train heading downtown. So chugging

638
00:29:34,640 --> 00:29:40,080
Speaker 3: downstage and I chugged right off the front of the stage,

639
00:29:40,080 --> 00:29:42,840
Speaker 3: out of sight, turned around, made a one eighty, and

640
00:29:42,920 --> 00:29:44,960
Speaker 3: when chugged being back with the rest of the cast.

641
00:29:45,160 --> 00:29:46,600
Speaker 3: But the cast couldn't look at me for the rest

642
00:29:46,640 --> 00:29:49,440
Speaker 3: of the show. They all remember they saw this.

643
00:29:49,080 --> 00:29:51,920
Speaker 2: So you're like, this is gonna be the greatest show ever.

644
00:29:52,160 --> 00:29:55,320
Speaker 3: And then what it was. It was a good moment

645
00:29:55,560 --> 00:29:58,000
Speaker 3: at any rate that was the dance from period of time.

646
00:29:58,000 --> 00:30:00,800
Speaker 3: And then then sitcoms took over, and look like I said,

647
00:30:00,880 --> 00:30:04,520
Speaker 3: ran into the Marshall organization with Boyette and Miller, right,

648
00:30:04,720 --> 00:30:08,640
Speaker 3: and I got a chance to do their shows, which

649
00:30:08,720 --> 00:30:11,920
Speaker 3: was you know, perfect, strangest family matters, step by step,

650
00:30:11,960 --> 00:30:16,160
Speaker 3: that whole TG I f lineup. I kept on moving along,

651
00:30:16,240 --> 00:30:18,520
Speaker 3: you know, and we brought in Rich Correll, who became

652
00:30:18,560 --> 00:30:21,040
Speaker 3: a very good friend because Rich, you know, was a

653
00:30:21,080 --> 00:30:23,120
Speaker 3: producer on the pilot A full House.

654
00:30:23,240 --> 00:30:26,080
Speaker 4: Yeah, that's right, because he was produced I remember he.

655
00:30:26,480 --> 00:30:29,040
Speaker 4: I met Rich when I did Valerie because he was

656
00:30:29,040 --> 00:30:30,200
Speaker 4: a producer on Valerie.

657
00:30:30,280 --> 00:30:32,200
Speaker 2: So I met him then.

658
00:30:32,720 --> 00:30:35,800
Speaker 3: And then basically when basically I was stuck with I

659
00:30:35,840 --> 00:30:37,800
Speaker 3: don't know, I don't know. Did he do full houses

660
00:30:37,840 --> 00:30:40,280
Speaker 3: at the beginning? I don't remember, because I do, Yeah,

661
00:30:40,360 --> 00:30:40,960
Speaker 3: yeah he did.

662
00:30:41,400 --> 00:30:43,920
Speaker 4: He was the one that went up and scouted the

663
00:30:43,960 --> 00:30:46,720
Speaker 4: house and found out it was the it was the

664
00:30:47,640 --> 00:30:51,200
Speaker 4: his sister's ex boyfriend or something that owned the house

665
00:30:51,280 --> 00:30:53,120
Speaker 4: that they randomly knocked on the door that became the

666
00:30:53,120 --> 00:30:53,720
Speaker 4: full house house.

667
00:30:53,840 --> 00:30:53,920
Speaker 1: Right.

668
00:30:54,040 --> 00:30:56,360
Speaker 2: So again, connections, connections, connections.

669
00:30:56,400 --> 00:30:58,959
Speaker 3: So anyway that I knew he took when I couldn't

670
00:30:59,160 --> 00:31:03,280
Speaker 3: when I moved from Family Matters to to Full House.

671
00:31:03,520 --> 00:31:05,760
Speaker 3: In the last four years, I took over the final

672
00:31:06,080 --> 00:31:08,280
Speaker 3: four or five seasons of Full House. He went on

673
00:31:08,320 --> 00:31:12,160
Speaker 3: too Family Matters and basically and I saw basically we

674
00:31:12,160 --> 00:31:14,520
Speaker 3: were together for a long time, and then we both

675
00:31:14,840 --> 00:31:18,480
Speaker 3: go into Disney Channel in the later years. It's another

676
00:31:18,520 --> 00:31:22,280
Speaker 3: story because basically I decided that I was watching the

677
00:31:22,320 --> 00:31:25,040
Speaker 3: careers and the name of the business changed. The change

678
00:31:25,040 --> 00:31:27,200
Speaker 3: when we went to videotape. When you were on a

679
00:31:27,240 --> 00:31:29,640
Speaker 3: three camera film thing, the only people who knew what

680
00:31:29,800 --> 00:31:32,840
Speaker 3: being shot was the directors and the camera operators, and

681
00:31:32,880 --> 00:31:35,080
Speaker 3: at the end of every scene, the camera opera would

682
00:31:35,120 --> 00:31:37,000
Speaker 3: say I missed that close, sup, I missed this, I

683
00:31:37,040 --> 00:31:40,160
Speaker 3: need that again, or they'd say perfectly me, it's gone.

684
00:31:40,240 --> 00:31:43,440
Speaker 3: And the producers had no idea what was in the

685
00:31:43,480 --> 00:31:45,600
Speaker 3: can or not in the camp Then tape.

686
00:31:45,400 --> 00:31:47,320
Speaker 4: Yeah, because there's no I mean, there's no video village,

687
00:31:47,360 --> 00:31:48,400
Speaker 4: there's no monitors.

688
00:31:48,200 --> 00:31:51,600
Speaker 3: Then all of a sudden, the tape comes along and

689
00:31:51,640 --> 00:31:54,680
Speaker 3: the concept of video village comes along, and at that

690
00:31:54,800 --> 00:31:56,080
Speaker 3: point the producers are.

691
00:31:56,080 --> 00:31:57,720
Speaker 4: I want to see right then, I want to see

692
00:31:57,720 --> 00:32:00,800
Speaker 4: what's happening right now. I have ideas and thought oh yeah, No.

693
00:32:01,080 --> 00:32:03,120
Speaker 3: That made it very tough that all of a sudden,

694
00:32:03,120 --> 00:32:05,360
Speaker 3: the producers were all sitting there saying, well, you need

695
00:32:05,360 --> 00:32:07,400
Speaker 3: a close up someone, So I said, I shot it already.

696
00:32:07,520 --> 00:32:09,000
Speaker 3: No you didn't. I didn't see it. But because you

697
00:32:09,000 --> 00:32:11,160
Speaker 3: didn't see it didn't mean I didn't shoot it. No, no,

698
00:32:11,280 --> 00:32:13,960
Speaker 3: but they shoot it again. So the number of things

699
00:32:13,960 --> 00:32:16,440
Speaker 3: that we reshot that had no business to be reshot

700
00:32:16,480 --> 00:32:21,280
Speaker 3: because they couldn't see all four cameras particularly well that fast. Yet,

701
00:32:21,360 --> 00:32:23,600
Speaker 3: and as they got better and better, it became apparent

702
00:32:23,880 --> 00:32:27,200
Speaker 3: that they didn't really want to have a consistent director

703
00:32:27,240 --> 00:32:29,600
Speaker 3: on their shows. They wanted directors.

704
00:32:29,840 --> 00:32:32,160
Speaker 2: It became it became a producers mediums.

705
00:32:32,960 --> 00:32:35,880
Speaker 3: And because of that, if you didn't do the work

706
00:32:35,880 --> 00:32:38,040
Speaker 3: that the producers wanted, you just didn't get to do

707
00:32:38,080 --> 00:32:39,640
Speaker 3: that directing job again.

708
00:32:40,080 --> 00:32:43,760
Speaker 4: Which is a film is much more directing media it's

709
00:32:43,800 --> 00:32:46,560
Speaker 4: the director is in control, but TV it's all about

710
00:32:46,600 --> 00:32:47,400
Speaker 4: the producers.

711
00:32:47,760 --> 00:32:50,360
Speaker 3: Yeah, and if the producers are the writers, it's even worse.

712
00:32:50,680 --> 00:32:52,560
Speaker 3: But the fact that they started to take it on,

713
00:32:52,640 --> 00:32:54,960
Speaker 3: you didn't find that there were too many people that

714
00:32:55,040 --> 00:32:58,560
Speaker 3: were going to be directing every episode of shows anymore.

715
00:32:58,760 --> 00:33:01,040
Speaker 3: You would do three of three of that and two

716
00:33:01,080 --> 00:33:03,040
Speaker 3: of this and two of that. You just move along.

717
00:33:03,360 --> 00:33:07,000
Speaker 3: And I had spent the first whatever twenty years doing

718
00:33:07,040 --> 00:33:10,600
Speaker 3: sitcoms being the director of the series, so I was

719
00:33:10,640 --> 00:33:13,360
Speaker 3: not particularly overjoyed with that kind of thing, and it

720
00:33:13,440 --> 00:33:15,960
Speaker 3: kind of felt that the career, which had leveled off,

721
00:33:16,280 --> 00:33:18,840
Speaker 3: was starting to see its beginning of its dip. So

722
00:33:18,960 --> 00:33:21,040
Speaker 3: I was I thought, maybe it's time to get the

723
00:33:21,040 --> 00:33:24,080
Speaker 3: hell out. So I remember calling up Hanks and I

724
00:33:24,120 --> 00:33:27,120
Speaker 3: said to Hanks, I got an idea that I think

725
00:33:27,160 --> 00:33:30,479
Speaker 3: maybe I want to go into directing movies, comedy movies,

726
00:33:30,680 --> 00:33:33,320
Speaker 3: because maybe a comedy director in a comedy movie might

727
00:33:33,360 --> 00:33:36,080
Speaker 3: be funny. And I sent him a script I wanted

728
00:33:36,160 --> 00:33:38,200
Speaker 3: him to read, and he read it and gave me

729
00:33:38,240 --> 00:33:39,920
Speaker 3: dutiful notes and said, but why are you doing this?

730
00:33:39,960 --> 00:33:42,479
Speaker 3: I said, because I'm getting out of TV Tom, And

731
00:33:42,640 --> 00:33:45,320
Speaker 3: he said, oh, really, that's great, because I have something

732
00:33:45,360 --> 00:33:47,840
Speaker 3: I want you to direct. And I said what, And

733
00:33:47,840 --> 00:33:52,120
Speaker 3: he sends me the script of my big fat Greek Wedding. Wow,

734
00:33:52,680 --> 00:33:54,680
Speaker 3: sends me the script of my Big Factory. I would

735
00:33:54,680 --> 00:33:56,280
Speaker 3: have directed the phone Book if he asked me.

736
00:33:56,240 --> 00:34:05,000
Speaker 5: To, right, Yeah, So those connections, I I think Tom

737
00:34:05,680 --> 00:34:08,279
Speaker 5: Hanks came to I think he came to set one

738
00:34:08,360 --> 00:34:11,799
Speaker 5: day to visit you actually say hi.

739
00:34:11,840 --> 00:34:15,600
Speaker 3: Yeah, yeah. Truly as nice a man as he was

740
00:34:15,640 --> 00:34:19,160
Speaker 3: purported to be, you couldn't act that level of niceness.

741
00:34:19,200 --> 00:34:21,880
Speaker 3: You truly couldn't. But essentially, so that was it, and

742
00:34:21,920 --> 00:34:25,680
Speaker 3: I got Greek Wedding, and then I spent about ten

743
00:34:25,760 --> 00:34:29,240
Speaker 3: years doing I did Greek Wedding, fat Albert and Elvis

744
00:34:29,239 --> 00:34:32,399
Speaker 3: had left the building. The best one was probably Elvis. Well,

745
00:34:32,520 --> 00:34:34,440
Speaker 3: other than Greek Wedding, Elvis left the Building was a

746
00:34:34,520 --> 00:34:37,040
Speaker 3: very good show. But the problem was the producers of

747
00:34:37,080 --> 00:34:40,399
Speaker 3: this show got sick and so they couldn't spend any

748
00:34:40,400 --> 00:34:42,360
Speaker 3: time trying to sell the show. So they sold it

749
00:34:42,400 --> 00:34:48,040
Speaker 3: off to markets where it could be on airports and

750
00:34:48,120 --> 00:34:51,600
Speaker 3: airplanes and stuff like that. Never got its share. But

751
00:34:52,000 --> 00:34:53,400
Speaker 3: so it was over and I don't know what he

752
00:34:53,440 --> 00:34:54,560
Speaker 3: was going to do. And then all of a sudden,

753
00:34:55,160 --> 00:34:57,399
Speaker 3: I go and take Hillary to lunch. At this point,

754
00:34:57,480 --> 00:35:00,279
Speaker 3: Hillary is working as an executive secretary of for the

755
00:35:00,320 --> 00:35:04,759
Speaker 3: guy who is doing all the hiring at the at

756
00:35:05,320 --> 00:35:08,920
Speaker 3: the Disney Channel, and basically, so I took it to

757
00:35:09,000 --> 00:35:10,720
Speaker 3: lunch and we brought her in and I said hello

758
00:35:10,800 --> 00:35:12,600
Speaker 3: to the guy, and then I left and he says

759
00:35:12,640 --> 00:35:15,080
Speaker 3: to Hillary, Hillary, you never mentioned that your father was

760
00:35:15,200 --> 00:35:18,400
Speaker 3: Joel's wick and she said, yeah, yeah, here's my father, Joel.

761
00:35:18,520 --> 00:35:20,680
Speaker 3: Do you think you can get Joel to direct some

762
00:35:20,840 --> 00:35:24,879
Speaker 3: episodes of sitcoms for the Disney Channel? So she said,

763
00:35:24,880 --> 00:35:27,120
Speaker 3: I'll try, and so she calls me up. She says, Dad,

764
00:35:27,400 --> 00:35:30,680
Speaker 3: they're wondering if you would direct any episodes of any

765
00:35:31,120 --> 00:35:32,960
Speaker 3: whatever the show is going to be at that particular

766
00:35:33,000 --> 00:35:36,680
Speaker 3: point for the Disney Channel. And I said, Hillary, do

767
00:35:36,680 --> 00:35:38,759
Speaker 3: you think it's going to help your career? And she

768
00:35:38,800 --> 00:35:40,520
Speaker 3: said I think it made I said, well, if you

769
00:35:40,560 --> 00:35:42,840
Speaker 3: think it might, you tell them that I will direct

770
00:35:42,880 --> 00:35:48,080
Speaker 3: anything you tell me to direct. There you go, and

771
00:35:48,120 --> 00:35:49,960
Speaker 3: there I was starting to work for the Disney Channel

772
00:35:50,040 --> 00:35:52,959
Speaker 3: until about, oh, I guess about five or six months

773
00:35:53,000 --> 00:35:56,440
Speaker 3: into the run, when they found out that Hillary was

774
00:35:56,440 --> 00:35:58,880
Speaker 3: my daughter, and that was a no no at Disney.

775
00:35:59,440 --> 00:36:02,160
Speaker 3: I must have been put in simply because I was

776
00:36:02,640 --> 00:36:05,279
Speaker 3: her father, right, And so they called up IRV and

777
00:36:05,280 --> 00:36:06,520
Speaker 3: said I think we have to let him go and

778
00:36:06,560 --> 00:36:09,200
Speaker 3: her said why. He said, well because family. I said

779
00:36:09,239 --> 00:36:12,000
Speaker 3: have you seen his IMDb? And they said, well no,

780
00:36:12,080 --> 00:36:14,719
Speaker 3: I said, check his IMDb. They checked my IMDb and

781
00:36:14,719 --> 00:36:16,440
Speaker 3: they said, okay, I think we can make it work.

782
00:36:17,000 --> 00:36:19,080
Speaker 2: I'd never mind, actually mind.

783
00:36:18,880 --> 00:36:21,040
Speaker 3: This would be work on. And then I just hung on.

784
00:36:21,160 --> 00:36:24,200
Speaker 3: And luckily my biggest thing was Zendia Zendaya. I had

785
00:36:24,280 --> 00:36:26,520
Speaker 3: Zendea for seven years.

786
00:36:26,920 --> 00:36:29,439
Speaker 2: That's right, you did that. You did her show?

787
00:36:29,520 --> 00:36:31,560
Speaker 3: Yeah, I did both Shake it Up and then I

788
00:36:31,600 --> 00:36:34,759
Speaker 3: did Casey Undercover. So I watched her move from a

789
00:36:34,880 --> 00:36:38,480
Speaker 3: fourteen year old to a twenty one year old essentially

790
00:36:39,000 --> 00:36:42,879
Speaker 3: during that time, and knew that this was a very

791
00:36:43,200 --> 00:36:46,640
Speaker 3: nice lady, super bright, great parents, all that kind of stuff,

792
00:36:46,760 --> 00:36:48,200
Speaker 3: and she had talent she.

793
00:36:48,200 --> 00:36:50,960
Speaker 2: Could, yeah, super talented.

794
00:36:51,040 --> 00:36:53,960
Speaker 3: So I thought, let's see where this takes her. Because

795
00:36:54,000 --> 00:36:56,319
Speaker 3: she was told she was beautiful. You know, we were

796
00:36:56,360 --> 00:36:59,239
Speaker 3: afraid in doing the show that she she edged out

797
00:36:59,239 --> 00:37:02,520
Speaker 3: at five ten and a half. Her father six two,

798
00:37:02,800 --> 00:37:04,840
Speaker 3: her mother is six four and a half.

799
00:37:05,520 --> 00:37:07,680
Speaker 2: Oh wow, oh yeah.

800
00:37:07,960 --> 00:37:09,920
Speaker 3: It's so told that she'd be out of the business

801
00:37:09,920 --> 00:37:11,920
Speaker 3: by being just too tall for the business, right, But

802
00:37:12,040 --> 00:37:13,400
Speaker 3: luckily she never grew pissed.

803
00:37:14,360 --> 00:37:16,160
Speaker 4: Zoe is five to ten now, by the way, my

804
00:37:16,200 --> 00:37:18,560
Speaker 4: older daughter, Oh my, she just grew a little bit

805
00:37:18,560 --> 00:37:22,040
Speaker 4: more shot. Yeah, maybe five nine and three quarter, but

806
00:37:22,160 --> 00:37:22,640
Speaker 4: she's tall.

807
00:37:22,760 --> 00:37:26,480
Speaker 3: Yeah, that's tall. That is tall for me, virtually anybody's.

808
00:37:26,000 --> 00:37:28,520
Speaker 2: I know, Well, that's true. Yeah, it's true.

809
00:37:28,640 --> 00:37:29,800
Speaker 3: I had the great Dantagy.

810
00:37:30,360 --> 00:37:32,160
Speaker 4: But you pack a lot of punch in a small package,

811
00:37:32,160 --> 00:37:35,400
Speaker 4: you know what I mean. There's everyone knows when Joel's entered.

812
00:37:35,200 --> 00:37:52,480
Speaker 2: The room speaking.

813
00:37:44,400 --> 00:37:46,080
Speaker 4: So speaking of so, I have a story, and I

814
00:37:46,120 --> 00:37:50,879
Speaker 4: wonder if you remember this triggered something when you said

815
00:37:51,160 --> 00:37:53,560
Speaker 4: talked about disney World, because we you were our director

816
00:37:53,719 --> 00:37:58,560
Speaker 4: for the episodes that we shot disney World, which I

817
00:37:58,600 --> 00:38:00,319
Speaker 4: would love to hear about two because I'm sure that

818
00:38:00,400 --> 00:38:02,560
Speaker 4: was its own special kind of hell, trying to shoot

819
00:38:02,719 --> 00:38:06,439
Speaker 4: in an amusement park with everyone standing there watching and

820
00:38:06,440 --> 00:38:09,359
Speaker 4: not make it look like everyone's standing there watching. Yes,

821
00:38:10,520 --> 00:38:13,719
Speaker 4: but I remember, I don't know you you you had

822
00:38:14,120 --> 00:38:16,959
Speaker 4: flown off the handle about something you were passed about

823
00:38:17,920 --> 00:38:21,600
Speaker 4: because you were dealing with people and us and cast

824
00:38:21,760 --> 00:38:24,360
Speaker 4: and and just an all manner of things, and I

825
00:38:24,400 --> 00:38:27,520
Speaker 4: don't know, you screamed about something, and I remember I was,

826
00:38:27,880 --> 00:38:28,399
Speaker 4: I was like.

827
00:38:29,160 --> 00:38:32,160
Speaker 2: Joe's so mean, He's so I just hate him. I

828
00:38:32,160 --> 00:38:34,000
Speaker 2: would hate to be his kid. I hate to be

829
00:38:34,080 --> 00:38:36,680
Speaker 2: Hillary or Jamie Famous hate him. And like they went

830
00:38:36,719 --> 00:38:37,680
Speaker 2: on in this whole thing.

831
00:38:38,600 --> 00:38:41,680
Speaker 4: And then I believe it was might have been Brian

832
00:38:41,760 --> 00:38:48,880
Speaker 4: Cale came over and gently reminded me that I was miked.

833
00:38:48,600 --> 00:38:50,680
Speaker 2: I all video village, could hear you?

834
00:38:50,760 --> 00:38:51,160
Speaker 3: Right? Yeah?

835
00:38:51,239 --> 00:38:53,759
Speaker 2: Yeah, And I was like whoops.

836
00:38:55,120 --> 00:38:57,440
Speaker 4: I was like yeah, and I but I remember that

837
00:38:57,520 --> 00:38:58,960
Speaker 4: I was yeah and uh.

838
00:39:00,080 --> 00:39:01,800
Speaker 2: At some point I think I I was like, sorry.

839
00:39:01,680 --> 00:39:06,560
Speaker 3: Y, yeah, I was. I was capable of going off

840
00:39:06,600 --> 00:39:11,000
Speaker 3: the handle on small things. Anything large has to be handled.

841
00:39:11,040 --> 00:39:12,799
Speaker 3: You don't have the time, you know what.

842
00:39:13,280 --> 00:39:14,920
Speaker 2: I totally relate to that.

843
00:39:15,000 --> 00:39:17,640
Speaker 4: Like little things, I'm like, oh my god, ah, but

844
00:39:17,800 --> 00:39:19,480
Speaker 4: like the entire world's falling apart.

845
00:39:19,480 --> 00:39:22,600
Speaker 3: I'm like, all right, cool, let's do this exactly right,

846
00:39:22,880 --> 00:39:26,120
Speaker 3: same thing, exactly what it was. You just didn't have

847
00:39:26,160 --> 00:39:28,680
Speaker 3: any time for nonsense. If there was a real problem,

848
00:39:29,000 --> 00:39:31,520
Speaker 3: I mean there was just you know quotes, I would

849
00:39:31,520 --> 00:39:33,520
Speaker 3: do it. And I do remember that going to tape

850
00:39:33,560 --> 00:39:36,520
Speaker 3: and I'd be up in a booth. And Jay Sandrich

851
00:39:36,880 --> 00:39:39,120
Speaker 3: basically who directed Mary Tyler Moore, who's one of the

852
00:39:39,200 --> 00:39:42,480
Speaker 3: major directors in the just the generation before us, he

853
00:39:42,600 --> 00:39:44,560
Speaker 3: used to use a clicker, little clicker.

854
00:39:44,640 --> 00:39:47,880
Speaker 2: I remember, oh, I remember your clicker.

855
00:39:47,120 --> 00:39:51,239
Speaker 3: And yes, snapping and I remember that I got the

856
00:39:51,280 --> 00:39:53,200
Speaker 3: clicker down and I thought that was pretty By.

857
00:39:53,080 --> 00:39:54,920
Speaker 4: The way, the clicker, just for those who are listening,

858
00:39:55,000 --> 00:39:57,440
Speaker 4: the clicker is the thing, and some people snap, but

859
00:39:57,560 --> 00:40:00,040
Speaker 4: it's what you as a director, you used.

860
00:40:00,160 --> 00:40:01,800
Speaker 2: Signal in between shots.

861
00:40:01,880 --> 00:40:04,040
Speaker 3: Yes, cut hats is what you used to cut with.

862
00:40:04,520 --> 00:40:07,080
Speaker 3: So I remember Jimmy Burrows, who turned out to be

863
00:40:07,200 --> 00:40:11,120
Speaker 3: the dean as far as concern of sitcom directing. He

864
00:40:11,200 --> 00:40:14,520
Speaker 3: was working me over about oh, misters, Wick can't snap,

865
00:40:14,560 --> 00:40:17,040
Speaker 3: he has to use a clicker, has to use a clicker.

866
00:40:17,160 --> 00:40:18,960
Speaker 3: And then one day he gets to do his first

867
00:40:19,040 --> 00:40:22,880
Speaker 3: taped pilot and he's in the booth and his fingers freeze.

868
00:40:22,960 --> 00:40:25,560
Speaker 3: He can no longer click. It's all gone. He's gotten

869
00:40:25,600 --> 00:40:28,239
Speaker 3: through one scene and his fingers as jammed up on him.

870
00:40:28,360 --> 00:40:30,239
Speaker 3: He got a call in the booth work I think

871
00:40:30,239 --> 00:40:32,720
Speaker 3: I was doing Webster at the time, and he said, Joel,

872
00:40:32,800 --> 00:40:36,600
Speaker 3: do you have an extra clicker and go over to

873
00:40:36,640 --> 00:40:38,800
Speaker 3: his booth and hand him my second clicker because you

874
00:40:39,000 --> 00:40:42,600
Speaker 3: had to have a backup clicker, right right, But that

875
00:40:42,760 --> 00:40:44,360
Speaker 3: was an interesting period.

876
00:40:44,120 --> 00:40:47,600
Speaker 2: Of Oh yeah, I remember, I remember just hearing that.

877
00:40:47,560 --> 00:40:50,440
Speaker 3: Little that's right. But the background, Lauren, it was so

878
00:40:50,600 --> 00:40:53,600
Speaker 3: interesting in a number of instances because remember we didn't

879
00:40:53,680 --> 00:40:57,400
Speaker 3: have anything any kind of internet, no capability. There was

880
00:40:57,440 --> 00:40:59,640
Speaker 3: no way of noting what the hell was going on

881
00:41:00,040 --> 00:41:00,480
Speaker 3: for the moment.

882
00:41:00,600 --> 00:41:03,240
Speaker 4: This is all yeah, pre cell phone, pre internet days.

883
00:41:03,280 --> 00:41:05,400
Speaker 4: It was like when we shot in Hawaii and we

884
00:41:05,440 --> 00:41:06,960
Speaker 4: all went to the wrong.

885
00:41:06,760 --> 00:41:11,520
Speaker 2: Beach, but nobody knew because there was no way.

886
00:41:11,360 --> 00:41:14,239
Speaker 4: To call anybody from one place on the other end.

887
00:41:14,280 --> 00:41:16,320
Speaker 2: So like half of us went to the wrong beach.

888
00:41:16,320 --> 00:41:16,960
Speaker 2: It was the whole thing.

889
00:41:17,040 --> 00:41:19,120
Speaker 4: And that was in Hawaii, But yeah, I can only

890
00:41:19,120 --> 00:41:22,839
Speaker 4: imagine in Disney World trying to communicate things well.

891
00:41:23,120 --> 00:41:27,160
Speaker 3: So basically we were there and it was interesting because

892
00:41:27,160 --> 00:41:29,759
Speaker 3: it was the first time I think the cast understood that,

893
00:41:29,880 --> 00:41:33,759
Speaker 3: certainly the children understood that they were stars. All of

894
00:41:33,800 --> 00:41:37,400
Speaker 3: a sudden, there's places surrounded by people who were just watching,

895
00:41:37,440 --> 00:41:39,160
Speaker 3: where everything you do and we're on the front line

896
00:41:39,160 --> 00:41:41,799
Speaker 3: of every rod we wanted to go on. All those

897
00:41:41,840 --> 00:41:43,960
Speaker 3: things are being treated, and even the big scenes where

898
00:41:43,960 --> 00:41:46,560
Speaker 3: the public was watching, and I was begging and.

899
00:41:46,520 --> 00:41:48,920
Speaker 2: Getting this, please keep walking, stop staring.

900
00:41:50,280 --> 00:41:52,320
Speaker 3: All I let them stare or make believe you're talking

901
00:41:52,320 --> 00:41:56,640
Speaker 3: to each other, and then I'd shoot because our children,

902
00:41:56,680 --> 00:41:58,640
Speaker 3: you know, I think that was the one where that

903
00:41:58,800 --> 00:42:01,879
Speaker 3: was the one where Michelle decided she was wandering off

904
00:42:01,880 --> 00:42:04,520
Speaker 3: because she was not happy with what was going on.

905
00:42:04,640 --> 00:42:07,000
Speaker 2: She becomes Princess for the day or whatever.

906
00:42:07,040 --> 00:42:10,560
Speaker 3: She becomes prince and we had the tea party. And

907
00:42:10,719 --> 00:42:12,640
Speaker 3: I don't know, I don't know whether you would know

908
00:42:12,680 --> 00:42:16,480
Speaker 3: about this or not. But wait, the guy playing pass out. Yes,

909
00:42:16,840 --> 00:42:20,160
Speaker 3: the white rabbit passed out. The white rabbit passed out.

910
00:42:20,239 --> 00:42:24,120
Speaker 3: And you cannot take off the costume of a Disney

911
00:42:24,160 --> 00:42:25,959
Speaker 3: employee playing a character.

912
00:42:26,640 --> 00:42:29,759
Speaker 4: Until they are well backstage and away from the view

913
00:42:29,760 --> 00:42:30,320
Speaker 4: of the public.

914
00:42:30,320 --> 00:42:32,000
Speaker 3: That's exactly right. So they take this guy and they

915
00:42:32,040 --> 00:42:36,239
Speaker 3: brought in a replacement white rabbit, and the scene with

916
00:42:36,360 --> 00:42:37,840
Speaker 3: his right rabbit from the lat.

917
00:42:37,760 --> 00:42:40,480
Speaker 2: From from Bunny Farmer to white Rabbit. Letok, you go.

918
00:42:40,719 --> 00:42:43,160
Speaker 3: You weren't allowed to tell these Disney characters what to do.

919
00:42:43,280 --> 00:42:46,040
Speaker 3: I remember the one scene where Laurie was on a

920
00:42:46,280 --> 00:42:49,759
Speaker 3: thing waiting with Chippendale. She's talking to Kipndale about the

921
00:42:49,760 --> 00:42:52,839
Speaker 3: fact that she's waiting for stay mus and Uncle Jesse

922
00:42:52,960 --> 00:42:56,200
Speaker 3: has not arrived or something. And basically I couldn't tell

923
00:42:56,280 --> 00:43:00,120
Speaker 3: Chippendale what to do. There would except no direction. They

924
00:43:00,120 --> 00:43:00,600
Speaker 3: would stay.

925
00:43:01,040 --> 00:43:05,200
Speaker 4: The direction would just chatter off, you know, I've heard,

926
00:43:05,360 --> 00:43:07,680
Speaker 4: I've heard chipmunks are notoriously difficult.

927
00:43:07,280 --> 00:43:10,960
Speaker 3: To deal That's right, very difficult. Even after chipmunks are difficult.

928
00:43:12,239 --> 00:43:14,880
Speaker 3: That was a tough scene because they just wanted they

929
00:43:14,880 --> 00:43:19,239
Speaker 3: would just jabber and Laurie did great. She just held

930
00:43:19,239 --> 00:43:21,759
Speaker 3: on to the whole thing pretty good. But that was

931
00:43:22,040 --> 00:43:24,480
Speaker 3: that was a good experience. That particular thing down there

932
00:43:24,520 --> 00:43:26,319
Speaker 3: that was fun was.

933
00:43:26,000 --> 00:43:28,880
Speaker 4: Was that, like, I mean, as far as like location shoots,

934
00:43:28,960 --> 00:43:31,000
Speaker 4: was that one of your well, now you've done like

935
00:43:31,040 --> 00:43:33,280
Speaker 4: big fat Greek wedding and stuff, but up until that point,

936
00:43:33,360 --> 00:43:38,000
Speaker 4: like Greek one was after, but up until that point,

937
00:43:38,080 --> 00:43:40,000
Speaker 4: had you done a bit pretty much.

938
00:43:40,160 --> 00:43:43,440
Speaker 3: That was pretty much the biggest location thing. We did

939
00:43:43,480 --> 00:43:48,920
Speaker 3: another one at the Tanka Verdi Dude Ranch. There was

940
00:43:48,960 --> 00:43:52,520
Speaker 3: a Tanka Verdi show where that was also outside location

941
00:43:52,800 --> 00:43:55,040
Speaker 3: kind of a thing. And then the sitcoms and were

942
00:43:55,080 --> 00:43:58,000
Speaker 3: starting to develop where they would get one seed case.

943
00:43:58,000 --> 00:44:01,320
Speaker 3: Seinfeld did that kite quite well with the coffee shop

944
00:44:01,360 --> 00:44:03,560
Speaker 3: and then the walks on the streets leading to the

945
00:44:03,920 --> 00:44:06,320
Speaker 3: So basically people start to write as used to write

946
00:44:06,320 --> 00:44:09,319
Speaker 3: in one scene or something that might be on some

947
00:44:09,440 --> 00:44:12,160
Speaker 3: kind of a location, so you did. But basically I

948
00:44:12,520 --> 00:44:13,560
Speaker 3: shot him like a sitcom.

949
00:44:13,640 --> 00:44:18,080
Speaker 4: I no, yeah, I feel like most of our unless

950
00:44:18,120 --> 00:44:20,720
Speaker 4: we went out for something very specific, we were usually

951
00:44:21,200 --> 00:44:24,120
Speaker 4: on the stage and again in our little system and

952
00:44:24,200 --> 00:44:24,680
Speaker 4: in our.

953
00:44:26,040 --> 00:44:29,520
Speaker 3: Going right from school to your lunch, where all three

954
00:44:29,520 --> 00:44:31,640
Speaker 3: of you used to follow Bob Saggi around just like

955
00:44:31,640 --> 00:44:33,640
Speaker 3: his own three kids. It was a funny thing in

956
00:44:33,680 --> 00:44:37,600
Speaker 3: the world. You know, famous had a great relationship with Mary,

957
00:44:37,680 --> 00:44:40,840
Speaker 3: Kate and Ashley. But the fact was that Sagged was

958
00:44:40,880 --> 00:44:43,240
Speaker 3: the father of the group and if he was something,

959
00:44:43,239 --> 00:44:45,839
Speaker 3: you see all the three of you in size place

960
00:44:46,040 --> 00:44:50,040
Speaker 3: order marching along to Bob's to something or other, and

961
00:44:50,040 --> 00:44:51,480
Speaker 3: that was kind of cool. And the fact that he

962
00:44:51,520 --> 00:44:55,560
Speaker 3: had three daughters exactly the same aid because you was

963
00:44:55,600 --> 00:44:59,120
Speaker 3: insane and that had something for Andrew to the thing

964
00:44:59,160 --> 00:45:01,280
Speaker 3: that struck me with Anne, which she was the first

965
00:45:01,320 --> 00:45:05,200
Speaker 3: person that I knew that was being put into put

966
00:45:05,239 --> 00:45:09,000
Speaker 3: being put into full house whose entire responsibility was to

967
00:45:09,000 --> 00:45:13,160
Speaker 3: be funny. Everybody else had stories to tell. Everybody else

968
00:45:13,239 --> 00:45:16,480
Speaker 3: was a real child of something or other. Uh. Yes,

969
00:45:17,280 --> 00:45:19,480
Speaker 3: Cooier was a bit out of his mind and was

970
00:45:19,560 --> 00:45:23,120
Speaker 3: being given the freedom to kind of go with certain things.

971
00:45:23,120 --> 00:45:25,440
Speaker 3: That made him happy. But the fact is, when Andrew

972
00:45:25,440 --> 00:45:26,880
Speaker 3: came in, it was the first one who came in.

973
00:45:26,920 --> 00:45:30,680
Speaker 3: Simply the job was you gotta be funny. Other than that,

974
00:45:30,840 --> 00:45:33,120
Speaker 3: you had some stories that were interesting.

975
00:45:32,719 --> 00:45:33,279
Speaker 2: But you did.

976
00:45:33,320 --> 00:45:35,360
Speaker 4: We kind of mention this that Kimmy was a slightly

977
00:45:35,440 --> 00:45:37,800
Speaker 4: underdeveloped character, but she had some great singers.

978
00:45:38,080 --> 00:45:41,640
Speaker 3: She had fabulous dingers, and yes, every once in a

979
00:45:41,640 --> 00:45:44,919
Speaker 3: while you'd see her in her relationship with Candace where

980
00:45:44,960 --> 00:45:47,200
Speaker 3: you could see that there was a story that was

981
00:45:47,239 --> 00:45:50,239
Speaker 3: worth being told. But the is that she was still

982
00:45:50,239 --> 00:45:53,239
Speaker 3: a nut job in the story, you know, because she

983
00:45:53,320 --> 00:45:55,600
Speaker 3: stood up for so many things. You know there's anything

984
00:45:55,640 --> 00:45:58,480
Speaker 3: wrong to be said, Angie, Barbara got to say it

985
00:45:58,520 --> 00:46:01,040
Speaker 3: is Kimmy, you know, so I do remember that was

986
00:46:01,040 --> 00:46:02,880
Speaker 3: a big help. All of a sudden, you knew that

987
00:46:02,920 --> 00:46:05,160
Speaker 3: when she was coming in she's fighting you all the time.

988
00:46:05,400 --> 00:46:08,480
Speaker 3: You're consistent documents.

989
00:46:08,840 --> 00:46:12,000
Speaker 2: Yeah, very true. Frenemies in this Yes, in the show.

990
00:46:12,680 --> 00:46:13,080
Speaker 3: Wow.

991
00:46:13,239 --> 00:46:16,120
Speaker 4: We feel extremely lucky to have worked with a director

992
00:46:16,120 --> 00:46:18,040
Speaker 4: as talented as Joel and we are so glad we

993
00:46:18,040 --> 00:46:20,440
Speaker 4: had this opportunity to ask him all about his career,

994
00:46:20,560 --> 00:46:23,160
Speaker 4: his time on full House and Fuller House and everything

995
00:46:23,200 --> 00:46:25,440
Speaker 4: else in between, so make sure and join us for

996
00:46:25,600 --> 00:46:27,680
Speaker 4: part two of our interview with Joel's Wick.

997
00:46:27,960 --> 00:46:29,200
Speaker 2: We're very excited to tell.

998
00:46:29,080 --> 00:46:32,120
Speaker 4: You more, and in the meantime, make sure you're following

999
00:46:32,160 --> 00:46:35,560
Speaker 4: us on Instagram at how Rude Podcast. Make sure you're

1000
00:46:35,600 --> 00:46:38,319
Speaker 4: liking and subscribing to the podcast wherever you're listening so

1001
00:46:38,360 --> 00:46:40,080
Speaker 4: that you can make sure and get the newest episodes

1002
00:46:40,120 --> 00:46:42,200
Speaker 4: as soon as they come out. And we will see

1003
00:46:42,200 --> 00:46:45,040
Speaker 4: you next time for another episode of How Rude. Tanner

1004
00:46:45,120 --> 00:46:49,799
Speaker 4: Rito's and remember the world is small, but the house

1005
00:46:49,880 --> 00:46:52,080
Speaker 4: is full.

1006
00:46:52,320 --> 00:46:55,239
Speaker 2: Boom. That was a little too polished. I don't even

1007
00:46:55,239 --> 00:46:56,759
Speaker 2: know who you are right now. I don't either,