1 00:00:18,000 --> 00:00:21,120 Speaker 1: So we've alluded to this like once or twice, but 2 00:00:21,239 --> 00:00:24,160 Speaker 1: I just wanted to get this story out there if 3 00:00:24,239 --> 00:00:26,599 Speaker 1: if you're willing to talk about it, Will, because this 4 00:00:26,680 --> 00:00:29,680 Speaker 1: is your story. Oh gosh, Will's already nervous. Well, no, 5 00:00:29,840 --> 00:00:35,840 Speaker 1: this is you for you sold a script to Disney 6 00:00:35,840 --> 00:00:38,360 Speaker 1: while we were on Boy Meets World. You sold a 7 00:00:38,440 --> 00:00:40,320 Speaker 1: pitch and you were like, at the time, like the 8 00:00:40,440 --> 00:00:43,600 Speaker 1: youngest screenwriter to have sold a studio, Like, what is 9 00:00:43,640 --> 00:00:46,000 Speaker 1: that story? It's just I just want to talk about this. 10 00:00:46,040 --> 00:00:48,120 Speaker 1: This is what you were doing in Amsterdam. It was 11 00:00:49,000 --> 00:00:50,839 Speaker 1: time that you were writing the screenplay. It was a 12 00:00:50,840 --> 00:00:53,320 Speaker 1: Winnie the Pooh script, but you had this idea and 13 00:00:53,400 --> 00:00:56,600 Speaker 1: you sold it. Yeah. I had an idea for for 14 00:00:57,080 --> 00:01:01,600 Speaker 1: a a live action animation the Pooh and so this 15 00:01:01,680 --> 00:01:05,240 Speaker 1: was nineteen ninety eight, nineteen ninety seven. So I had 16 00:01:05,280 --> 00:01:07,360 Speaker 1: my agent called Disney and I set up a pitch 17 00:01:07,360 --> 00:01:09,160 Speaker 1: and I went in and I pitched, which I still 18 00:01:09,160 --> 00:01:12,160 Speaker 1: think was as an amazing idea. It was Christopher Robbin 19 00:01:12,319 --> 00:01:15,080 Speaker 1: is now eighteen. His parents put him in therapy because 20 00:01:15,080 --> 00:01:18,119 Speaker 1: he was talking to imaginary you know, animals. They moved 21 00:01:18,200 --> 00:01:19,880 Speaker 1: him away from the hundred acre would he now is 22 00:01:19,880 --> 00:01:23,120 Speaker 1: growing up in America. Meanwhile, the hundred Acre Would is 23 00:01:23,120 --> 00:01:25,399 Speaker 1: bought by a corporation and is going to be destroyed 24 00:01:25,440 --> 00:01:30,279 Speaker 1: an animated Whinney like an environmentalist, and then animated Whinney 25 00:01:30,280 --> 00:01:32,279 Speaker 1: and Tiggers show up at the foot of Christopher Robbin's 26 00:01:32,360 --> 00:01:35,080 Speaker 1: bed one morning as he's pledging a fraternity and so 27 00:01:35,440 --> 00:01:38,640 Speaker 1: he you know, he's at college and now these characters 28 00:01:38,640 --> 00:01:40,840 Speaker 1: are back into his life and he essentially they and 29 00:01:40,880 --> 00:01:43,520 Speaker 1: they need his help to save Ragoon, him into going 30 00:01:43,560 --> 00:01:47,000 Speaker 1: back to saving the hundred Acre Would. And he's trying 31 00:01:47,040 --> 00:01:49,360 Speaker 1: to have for us that they exist because and so 32 00:01:49,440 --> 00:01:53,360 Speaker 1: he were the hallucinations from his childhood exactly. And so 33 00:01:53,400 --> 00:01:56,200 Speaker 1: I went to Amsterdam to write it and then they 34 00:01:56,360 --> 00:01:59,040 Speaker 1: really liked the script and they had me. They hired 35 00:01:59,080 --> 00:02:02,280 Speaker 1: me to rewrite it um and I did that and 36 00:02:02,320 --> 00:02:04,120 Speaker 1: then they sat it on a shelf and they said, 37 00:02:04,280 --> 00:02:08,960 Speaker 1: are you nineteen, yeah, twenty years old and they and 38 00:02:09,040 --> 00:02:11,200 Speaker 1: they said, no, we're in this this fight with a 39 00:02:11,280 --> 00:02:13,840 Speaker 1: eight millions company right now who created Winnie the Pooh, 40 00:02:13,919 --> 00:02:15,840 Speaker 1: So we can't you know, we can't really do anything. 41 00:02:16,320 --> 00:02:19,680 Speaker 1: And then I found out years later they did it 42 00:02:19,720 --> 00:02:22,440 Speaker 1: with you know, they they changed it around they gave 43 00:02:22,440 --> 00:02:24,400 Speaker 1: it to a whole bunch of different writers, and then 44 00:02:24,440 --> 00:02:27,760 Speaker 1: they threw you and McGregor in it. And the Writers 45 00:02:27,760 --> 00:02:29,720 Speaker 1: Guild essentially said to me when I said, look, I've 46 00:02:29,760 --> 00:02:33,320 Speaker 1: got I mean the contract literally says nineteen ninety seven 47 00:02:33,639 --> 00:02:38,800 Speaker 1: live action animation Christopher Robin movie. Right, um, and WJA 48 00:02:38,960 --> 00:02:41,560 Speaker 1: was like, look, we know your genesis. We can tell 49 00:02:41,639 --> 00:02:44,080 Speaker 1: your genesis, but it's gone through so many hands now 50 00:02:44,120 --> 00:02:45,960 Speaker 1: that there's really nothing we can do about it, right, 51 00:02:46,000 --> 00:02:49,160 Speaker 1: which is what happens with studio films that yet real credit. 52 00:02:49,240 --> 00:02:52,959 Speaker 1: There's probably been like twenty writing teams on different the 53 00:02:53,000 --> 00:02:55,520 Speaker 1: Pooh movies. So what ended up in the Christopher? Did 54 00:02:55,560 --> 00:02:59,800 Speaker 1: you see the finished film? No? I refused, No, absolutely absolutely, 55 00:03:00,120 --> 00:03:02,680 Speaker 1: because that was like, that was my first screenplay. That 56 00:03:02,720 --> 00:03:04,720 Speaker 1: was the first thing that I'd written and sold, So 57 00:03:04,800 --> 00:03:06,600 Speaker 1: that was that was an important one to me and 58 00:03:06,639 --> 00:03:08,799 Speaker 1: to just be like, yeah, hey, thanks kid. I mean 59 00:03:08,800 --> 00:03:13,280 Speaker 1: to the point where apparently the WGA representative called Disney 60 00:03:13,400 --> 00:03:16,160 Speaker 1: and said, hey, I'm calling on behalf of Wilfridell and 61 00:03:16,240 --> 00:03:18,840 Speaker 1: before she finished my name, the woman said, oh no, 62 00:03:18,919 --> 00:03:25,040 Speaker 1: his project was totally different, and they went, ohkay, So 63 00:03:25,200 --> 00:03:26,919 Speaker 1: it was you know, they did their due diligence, and 64 00:03:26,960 --> 00:03:28,519 Speaker 1: there was a big lawsuit around the thing where there's 65 00:03:28,520 --> 00:03:30,120 Speaker 1: a bunch of writing teams that said that they had 66 00:03:30,120 --> 00:03:32,639 Speaker 1: done it. But I defy somebody to come up with 67 00:03:32,680 --> 00:03:35,840 Speaker 1: a contract that would predated nineteen ninety seven. Now, you 68 00:03:35,920 --> 00:03:38,800 Speaker 1: said that you called your agent, but I remember Jeff 69 00:03:38,880 --> 00:03:42,040 Speaker 1: McCracken figured prominently in helping you set up the pitch. 70 00:03:42,360 --> 00:03:45,640 Speaker 1: Did he may? I feel like you mentioned it while 71 00:03:45,680 --> 00:03:48,640 Speaker 1: we were on set, because for people who don't know, 72 00:03:48,720 --> 00:03:51,960 Speaker 1: Wilfridell is the king of genius movie ideas, like five 73 00:03:52,000 --> 00:03:53,760 Speaker 1: times a day he just will be like, yeah, you 74 00:03:53,760 --> 00:03:55,640 Speaker 1: know what we need and he'll say a moving You're like, 75 00:03:55,680 --> 00:03:57,840 Speaker 1: well that needs to be made, like you should be 76 00:03:57,920 --> 00:04:00,600 Speaker 1: running the studio. And so you had that moment with 77 00:04:00,640 --> 00:04:02,480 Speaker 1: this Winnie the Poop pitch, and I think it was 78 00:04:02,520 --> 00:04:05,240 Speaker 1: Jeff mccrackin that was like, we need to get someone 79 00:04:05,240 --> 00:04:07,680 Speaker 1: on the phone, and you got on the phone. He 80 00:04:08,240 --> 00:04:10,839 Speaker 1: did a speaker call during lunch at Boy Meat's World, 81 00:04:10,840 --> 00:04:14,040 Speaker 1: this is what I remember, and got somebody higher up 82 00:04:14,040 --> 00:04:17,440 Speaker 1: at Disney and said I would just want to hear you, 83 00:04:17,560 --> 00:04:19,479 Speaker 1: hear what Will has to say, And you gave like 84 00:04:19,520 --> 00:04:22,440 Speaker 1: a two sentence pitch and the person paused and was like, yeah, 85 00:04:22,440 --> 00:04:24,120 Speaker 1: we got to hear that full pitch, and then you 86 00:04:24,160 --> 00:04:25,720 Speaker 1: went in and had your full pitch. But it was 87 00:04:25,760 --> 00:04:32,680 Speaker 1: because McCracken just heard. McCracken was so supportive of anything 88 00:04:32,760 --> 00:04:34,960 Speaker 1: artistic that we wanted in anything in our lives. But 89 00:04:35,040 --> 00:04:38,080 Speaker 1: super artist. I mean Jeff McCracken at one And I 90 00:04:38,120 --> 00:04:39,400 Speaker 1: was going to tell this story when he got on 91 00:04:39,400 --> 00:04:42,600 Speaker 1: the podcast, but hopefully he'll come on. But at one 92 00:04:42,600 --> 00:04:45,040 Speaker 1: point the network insisted that I cut my hair. I 93 00:04:45,080 --> 00:04:47,760 Speaker 1: was growing really long hair and it really upset me, 94 00:04:47,839 --> 00:04:49,520 Speaker 1: and I went and they cut my hair off, and 95 00:04:49,560 --> 00:04:51,600 Speaker 1: the next day he had long hair. The next day 96 00:04:51,640 --> 00:04:53,320 Speaker 1: he came in with short hair that was all raggled. 97 00:04:53,440 --> 00:04:57,520 Speaker 1: He cut his own hair that night in his house 98 00:04:57,640 --> 00:05:00,280 Speaker 1: to support me having to cut my hair. That's the 99 00:05:00,360 --> 00:05:02,279 Speaker 1: kind of man this guy is. So I do not 100 00:05:02,440 --> 00:05:05,240 Speaker 1: doubt at all that Jeff McCracken did something like that. 101 00:05:05,320 --> 00:05:07,880 Speaker 1: Don't doubt that at all. Yeah, he's still he still 102 00:05:07,920 --> 00:05:10,240 Speaker 1: reaches out to help me in my career and my person. 103 00:05:10,520 --> 00:05:15,000 Speaker 1: He's a beautiful man. He's just one of those giving yes, incredible, Well, 104 00:05:15,040 --> 00:05:17,440 Speaker 1: you guys will be pleased to know we have him booked. 105 00:05:17,640 --> 00:05:20,440 Speaker 1: He will be coming on the pod. It's going to 106 00:05:20,480 --> 00:05:22,920 Speaker 1: be us gushing for two hours. I know. It's literally 107 00:05:22,920 --> 00:05:25,120 Speaker 1: going to be the longest episode we've ever done. It'll 108 00:05:25,120 --> 00:05:27,160 Speaker 1: be season three when he comes in because you know 109 00:05:27,279 --> 00:05:29,320 Speaker 1: too much. And then we are just going to need 110 00:05:29,360 --> 00:05:31,680 Speaker 1: a full hour of us just telling him how much 111 00:05:31,680 --> 00:05:35,360 Speaker 1: we love him. Um. So, welcome to pod Meet's World. 112 00:05:35,400 --> 00:05:39,719 Speaker 1: I'm Daniel Fishel, I'm Writer Strong, and I'm Wilfredale. Guys, 113 00:05:39,760 --> 00:05:41,839 Speaker 1: this is a this is a Q and A episode. 114 00:05:41,960 --> 00:05:43,800 Speaker 1: It's going to be really fun. You guys send us 115 00:05:43,839 --> 00:05:47,320 Speaker 1: so many amazing emails. We get thousands of questions from listeners. 116 00:05:47,440 --> 00:05:51,480 Speaker 1: We appreciate every single one, and we have pulled some 117 00:05:51,880 --> 00:05:54,880 Speaker 1: for another special Q and A episode, and only I 118 00:05:54,920 --> 00:05:57,160 Speaker 1: have seen them in advance. So Will and Writer are 119 00:05:57,160 --> 00:06:00,680 Speaker 1: going in blind and uh. But something totally unrelated that 120 00:06:00,720 --> 00:06:03,279 Speaker 1: I have been forgetting to say in every single episode 121 00:06:03,400 --> 00:06:06,480 Speaker 1: is that my hair care company be free by Daniel Fishel. 122 00:06:06,680 --> 00:06:09,000 Speaker 1: I have created a coupon code for you guys, just 123 00:06:09,080 --> 00:06:11,920 Speaker 1: for you Pod Meets World listeners. You can use code 124 00:06:12,120 --> 00:06:16,159 Speaker 1: PMW for Pod Meats World PMW and get fifteen percent 125 00:06:16,160 --> 00:06:18,520 Speaker 1: off anything on the site. So I'm just gonna I'm 126 00:06:18,520 --> 00:06:20,520 Speaker 1: throwing that in. I made it for you a long 127 00:06:20,560 --> 00:06:23,359 Speaker 1: time ago and then just never told anyone. So important 128 00:06:23,760 --> 00:06:26,440 Speaker 1: important part of the sales team is to have people 129 00:06:26,480 --> 00:06:29,400 Speaker 1: know that why has nobody used this coupon? Ye I'm 130 00:06:29,440 --> 00:06:33,960 Speaker 1: a really good businesswoman. I create coupons and then don't 131 00:06:33,960 --> 00:06:37,480 Speaker 1: give them to anybody. So I need more condition Okay, 132 00:06:37,600 --> 00:06:40,200 Speaker 1: I will. I don't give it to them for free, 133 00:06:40,480 --> 00:06:43,160 Speaker 1: make them pay. Now that I have your code, I 134 00:06:43,200 --> 00:06:45,760 Speaker 1: was waiting for sale. Now I'll send you all the 135 00:06:45,760 --> 00:06:49,120 Speaker 1: conditioner you want, okay. Um. Also, we wanted to let 136 00:06:49,120 --> 00:06:51,440 Speaker 1: you guys know we are going to be in Chicago 137 00:06:51,680 --> 00:06:55,320 Speaker 1: March thirty first through April second at C two E two. 138 00:06:55,480 --> 00:06:58,320 Speaker 1: I'm really looking forward to it. We're going to be 139 00:06:58,440 --> 00:07:03,279 Speaker 1: joined by Trina McGee and mister Bill Daniels and Miss 140 00:07:03,640 --> 00:07:07,839 Speaker 1: Bonnie Bartlett. So that just let a Phoenie call escape. 141 00:07:07,839 --> 00:07:09,760 Speaker 1: I know you felt it right, I was gonna do 142 00:07:09,840 --> 00:07:12,520 Speaker 1: it for you. Totally felt it. It almost passed my lips. 143 00:07:12,600 --> 00:07:15,200 Speaker 1: I was like, well I choke that one right by. 144 00:07:15,760 --> 00:07:22,600 Speaker 1: Maybe I do it. Wow? Amazing. So that'll be really fun. 145 00:07:22,680 --> 00:07:24,360 Speaker 1: If you guys don't have your tickets yet, please get 146 00:07:24,400 --> 00:07:25,840 Speaker 1: them join us. It's actually going to be a little 147 00:07:25,840 --> 00:07:29,080 Speaker 1: family trip for us. Writer, your family's going, yeah, will 148 00:07:29,560 --> 00:07:32,640 Speaker 1: Sue is going. Sue's going as well, and hopefully we 149 00:07:32,800 --> 00:07:37,160 Speaker 1: are going to while we're there. Oh, we are definitely 150 00:07:37,400 --> 00:07:41,400 Speaker 1: right right, I'm so excited about C two E two, 151 00:07:41,480 --> 00:07:43,400 Speaker 1: but I want to go to I know, I'm mostly 152 00:07:43,400 --> 00:07:45,520 Speaker 1: excited about Eddievics. We have not reached out to them 153 00:07:45,560 --> 00:07:47,840 Speaker 1: about planning that, so we should. We should actually do that, 154 00:07:47,920 --> 00:07:51,040 Speaker 1: and we need to reserve a table. Yes, okay, I'll 155 00:07:51,080 --> 00:07:54,040 Speaker 1: reach out to them. Um. Producer Jensen car, husband of 156 00:07:54,080 --> 00:07:55,840 Speaker 1: this podcast, is also coming with me. So we're going 157 00:07:55,880 --> 00:07:57,640 Speaker 1: to have a little family trip and I can't wait. 158 00:07:57,800 --> 00:07:59,640 Speaker 1: And we're gonna see Tony Quinn while we're there as well. 159 00:07:59,720 --> 00:08:14,680 Speaker 1: Yes we are maybe, Oh yeah that'd be great. All right, great, okay, 160 00:08:14,840 --> 00:08:17,560 Speaker 1: So our first question, I thought this was very fun. 161 00:08:18,160 --> 00:08:21,320 Speaker 1: Did you guys get paid for Team Beat type magazine shoots? 162 00:08:21,840 --> 00:08:24,480 Speaker 1: And then related to that, how many shoots did you 163 00:08:24,600 --> 00:08:28,320 Speaker 1: do and were they fun? Writer, go for it. No, 164 00:08:28,680 --> 00:08:32,199 Speaker 1: we never got paid. It was kind of a racket 165 00:08:32,320 --> 00:08:34,360 Speaker 1: and it wasn't until I was older that I realized 166 00:08:34,679 --> 00:08:38,520 Speaker 1: how much free content we provided for these magazines. Yeah, 167 00:08:38,520 --> 00:08:41,280 Speaker 1: they would. Typically what would happen is you would you 168 00:08:41,280 --> 00:08:43,480 Speaker 1: would get a call or somebody would get a call. 169 00:08:43,480 --> 00:08:45,240 Speaker 1: I guess my manager would get a call being like 170 00:08:46,120 --> 00:08:48,559 Speaker 1: some magazine wants to do a photo shoot with writer. 171 00:08:49,160 --> 00:08:52,079 Speaker 1: And what that usually meant is that you would get 172 00:08:52,160 --> 00:08:55,680 Speaker 1: some free clothing um or like there was a sense 173 00:08:55,760 --> 00:08:58,000 Speaker 1: that like or it was just free publicity. It was like, 174 00:08:58,360 --> 00:09:00,240 Speaker 1: you know, so for a couple years, or if for 175 00:09:00,240 --> 00:09:02,319 Speaker 1: at least like one year or the first first year 176 00:09:02,400 --> 00:09:04,720 Speaker 1: or the show, I would just show up because somebody 177 00:09:04,760 --> 00:09:07,920 Speaker 1: would tell me to and they would get they would 178 00:09:07,920 --> 00:09:12,160 Speaker 1: do an entire day of photoshoots with you know, different outfits, 179 00:09:12,280 --> 00:09:14,760 Speaker 1: different backgrounds. And then it wasn't until I was like 180 00:09:15,080 --> 00:09:17,440 Speaker 1: fifteen or sixteen, I think that somebody realized, like Wright 181 00:09:17,520 --> 00:09:20,240 Speaker 1: or you maybe just don't do that right if you, 182 00:09:20,240 --> 00:09:22,080 Speaker 1: because I didn't, you know, I just showed up wherever 183 00:09:22,200 --> 00:09:23,880 Speaker 1: and did them. And then it was like, oh, I'm 184 00:09:23,920 --> 00:09:27,400 Speaker 1: getting like sort of pigeonholed as this like teen idle 185 00:09:27,720 --> 00:09:30,199 Speaker 1: honk thing that doesn't have anything to do with my 186 00:09:30,280 --> 00:09:32,560 Speaker 1: acting career, in fact kind of hurts my acting career. 187 00:09:33,520 --> 00:09:36,480 Speaker 1: And so then it was like, you know, I stopped 188 00:09:36,520 --> 00:09:38,880 Speaker 1: doing them right around when I was like fifteen or sixteen, 189 00:09:39,240 --> 00:09:42,440 Speaker 1: but yeah, it's weird. We would get free stuff. Yeah, 190 00:09:43,679 --> 00:09:45,439 Speaker 1: you get to keep your clothes that you try on 191 00:09:45,520 --> 00:09:47,520 Speaker 1: that day because clothing companies would want us to be 192 00:09:47,640 --> 00:09:50,360 Speaker 1: wearing them, so they would provide for the magazines. So 193 00:09:50,400 --> 00:09:52,920 Speaker 1: the magazines would pay for the photographer and they would 194 00:09:52,960 --> 00:09:55,240 Speaker 1: get free clothing and free talent for the day. Right, 195 00:09:55,440 --> 00:09:58,319 Speaker 1: And then we would do like you said, there'd be 196 00:09:58,360 --> 00:10:00,079 Speaker 1: a whole day and there would be a bunch of 197 00:10:00,480 --> 00:10:03,560 Speaker 1: like we'd they'd have a snowboard there and they would 198 00:10:03,640 --> 00:10:05,880 Speaker 1: drop snow or do something snow related. And then you 199 00:10:05,880 --> 00:10:08,520 Speaker 1: would use those pictures in November, and then there'd be 200 00:10:08,600 --> 00:10:10,880 Speaker 1: like some sort of Christmas thing and they'd use you'd 201 00:10:10,920 --> 00:10:13,760 Speaker 1: hold a cupcake for around your birthday. Um, and so 202 00:10:13,960 --> 00:10:16,160 Speaker 1: in that one day, you'd go through like the season 203 00:10:16,400 --> 00:10:19,280 Speaker 1: of photos and then they would use them. Yeah, and 204 00:10:19,360 --> 00:10:21,440 Speaker 1: then sometimes they would do events like remember we would 205 00:10:21,920 --> 00:10:26,320 Speaker 1: they would do like a snowboarding day at yeah Big Bear, right, 206 00:10:26,400 --> 00:10:28,559 Speaker 1: or paintballing, and so they would invite us to do that, 207 00:10:28,600 --> 00:10:30,199 Speaker 1: and we would want to do it because it'd be fun, 208 00:10:30,440 --> 00:10:32,840 Speaker 1: cool kid things to do. And then they would get 209 00:10:32,840 --> 00:10:35,520 Speaker 1: a bunch of photographs out of it, and so everybody 210 00:10:35,520 --> 00:10:38,080 Speaker 1: would sort of win. I guess, um, I got paid, 211 00:10:39,280 --> 00:10:42,640 Speaker 1: I paid, I got paid. Well, oh my gosh. I 212 00:10:42,720 --> 00:10:45,520 Speaker 1: wouldn't necessarily say they were fun. Some people had more 213 00:10:45,559 --> 00:10:48,479 Speaker 1: fun than others, Like I never I always enjoyed photoshoots. 214 00:10:48,520 --> 00:10:50,679 Speaker 1: I thought they were kind of fun. Um. But I 215 00:10:50,760 --> 00:10:54,080 Speaker 1: think writer probably thought it was a true nightmare. Yeah, yeah, 216 00:10:54,240 --> 00:10:56,520 Speaker 1: that wasn't I mean, eventually, at first, I remember being 217 00:10:56,640 --> 00:10:58,880 Speaker 1: very stoked to be interviewed and like yeah, I just 218 00:10:59,000 --> 00:11:00,559 Speaker 1: thought like, oh, it's cool to this is what being 219 00:11:00,960 --> 00:11:03,800 Speaker 1: an actor means. People wanted, you know. And then when 220 00:11:03,840 --> 00:11:07,439 Speaker 1: it started to feel like I was being used and 221 00:11:07,520 --> 00:11:08,880 Speaker 1: it started to feel like I was, I don't know, 222 00:11:08,920 --> 00:11:10,559 Speaker 1: it just it just made me uncomfortable, Like once I 223 00:11:10,600 --> 00:11:12,839 Speaker 1: started to feel like, oh, I don't I don't want 224 00:11:12,880 --> 00:11:15,360 Speaker 1: posters of me on the wall like I'd like to 225 00:11:15,400 --> 00:11:17,199 Speaker 1: talk about acting or I don't know, it was just 226 00:11:17,280 --> 00:11:19,800 Speaker 1: always it made me. Also, the social media of our day, 227 00:11:20,000 --> 00:11:22,439 Speaker 1: that's what you had you That's how you got the 228 00:11:22,480 --> 00:11:24,600 Speaker 1: word out and you know, hey, this is the new 229 00:11:24,679 --> 00:11:26,880 Speaker 1: hot guy. And it was whether it was Jonathan Taylor 230 00:11:26,960 --> 00:11:29,319 Speaker 1: Thomas or Jonathan Brandis, or there was and then it 231 00:11:29,400 --> 00:11:31,520 Speaker 1: was you. I mean, there was always like a bunch 232 00:11:31,559 --> 00:11:33,199 Speaker 1: of people that they were the it thing for a 233 00:11:33,240 --> 00:11:34,959 Speaker 1: little while, and then it was like, now here's the 234 00:11:35,000 --> 00:11:38,319 Speaker 1: new it thing. And it felt very distinct from like 235 00:11:38,760 --> 00:11:41,160 Speaker 1: other types of fame, you know what I mean, Like, yeah, 236 00:11:42,040 --> 00:11:44,839 Speaker 1: in a way, it felt very niche Yeah, like it 237 00:11:44,920 --> 00:11:48,560 Speaker 1: didn't it didn't translate to work, you know what I mean. 238 00:11:48,600 --> 00:11:51,040 Speaker 1: Like it wasn't like because I was in these teen magazines. 239 00:11:51,080 --> 00:11:52,959 Speaker 1: If anything, I feel like it made it harder to 240 00:11:53,080 --> 00:11:56,160 Speaker 1: get movie jobs. You know, already being on television made 241 00:11:56,200 --> 00:11:59,240 Speaker 1: it almost impossible to get movie jobs, but certainly uh 242 00:11:59,400 --> 00:12:01,760 Speaker 1: doing it being a teen magazine person, Like it didn't 243 00:12:01,760 --> 00:12:04,079 Speaker 1: translate to to work, you know, because I mean you 244 00:12:04,120 --> 00:12:07,120 Speaker 1: look at somebody like I mean Jonathan Taylor Thomas was 245 00:12:07,440 --> 00:12:09,439 Speaker 1: working constantly because he was on Home Improvement, but like 246 00:12:09,800 --> 00:12:13,320 Speaker 1: somebody like Jonathan Brandis was the king of those teen 247 00:12:13,400 --> 00:12:17,240 Speaker 1: magazines but did not work now, like could not get work, 248 00:12:17,400 --> 00:12:20,920 Speaker 1: like it was a struggling actor throughout his entire teens, 249 00:12:21,120 --> 00:12:23,439 Speaker 1: and there was always this weird sense of like this 250 00:12:23,600 --> 00:12:26,160 Speaker 1: does not equal the same thing, you know, Like Andrew 251 00:12:26,280 --> 00:12:28,360 Speaker 1: Keegan was all in these teen magazines, but it actually 252 00:12:28,440 --> 00:12:31,720 Speaker 1: wasn't on consistently on a show those into all those years. 253 00:12:31,880 --> 00:12:35,560 Speaker 1: It's interesting. It was just a weird dynamic, YEA. Our 254 00:12:35,640 --> 00:12:39,440 Speaker 1: next question is how much did guest cast members usually 255 00:12:39,520 --> 00:12:42,360 Speaker 1: get paid? Was it per episode, per line? How about 256 00:12:42,400 --> 00:12:46,120 Speaker 1: the background actors? So I'll go ahead and answer this one, 257 00:12:46,240 --> 00:12:50,560 Speaker 1: that guest guest actors negotiated their own salaries. They sometimes, 258 00:12:50,600 --> 00:12:53,160 Speaker 1: I'm sure there was just whatever scale was. Can we 259 00:12:53,240 --> 00:12:55,720 Speaker 1: talk about all that was? I think everybody only got 260 00:12:55,760 --> 00:12:57,599 Speaker 1: scaled on those kinds of shows. You don't negotiate it. 261 00:12:57,600 --> 00:13:00,679 Speaker 1: I mean, unless you think Phyllis Diller. Still, That's what 262 00:13:00,720 --> 00:13:02,880 Speaker 1: I'm saying. So you know, your average guest star just 263 00:13:03,040 --> 00:13:06,160 Speaker 1: gets paid. Maybe even Daniel Harris got more than just yeah, 264 00:13:06,240 --> 00:13:08,839 Speaker 1: that's possible too. Oh maybe that's true. Maybe she was 265 00:13:08,840 --> 00:13:11,320 Speaker 1: a big amount. So there's a thing called scale, which 266 00:13:11,440 --> 00:13:15,080 Speaker 1: is like what the unions determine is the base pay 267 00:13:15,200 --> 00:13:18,360 Speaker 1: rate that you're allowed to make to do a union project. 268 00:13:18,800 --> 00:13:21,559 Speaker 1: And so usually what offers our scale plus ten scale 269 00:13:21,600 --> 00:13:23,920 Speaker 1: plus ten percent, and that ten percent is to cover 270 00:13:24,120 --> 00:13:26,760 Speaker 1: the cost of your agent fee, so that you you 271 00:13:27,480 --> 00:13:30,480 Speaker 1: get scale, which is the full dollar amount I don't 272 00:13:30,520 --> 00:13:33,760 Speaker 1: remember what scale was back in the day. I've no memory. 273 00:13:34,000 --> 00:13:36,880 Speaker 1: And there's a difference between one day guest star, every 274 00:13:36,960 --> 00:13:39,760 Speaker 1: day guest guest star. Right, how many lines you have. 275 00:13:40,080 --> 00:13:42,439 Speaker 1: There's also that there's like the under five rule. I 276 00:13:42,480 --> 00:13:44,320 Speaker 1: think you can have up to five lines. So if 277 00:13:44,320 --> 00:13:47,040 Speaker 1: you're curious, you can go to SAG's website. You'll probably 278 00:13:47,080 --> 00:13:50,040 Speaker 1: find these contracts exactly. There are the contracts on the 279 00:13:50,160 --> 00:13:52,400 Speaker 1: SAG websites that you can figure it out. I don't 280 00:13:52,440 --> 00:13:54,320 Speaker 1: remember what they were back in the day, and it's 281 00:13:54,360 --> 00:13:56,680 Speaker 1: not usually like paid per line. But like Will said, 282 00:13:56,720 --> 00:13:59,600 Speaker 1: there are different scale rates based on whether you're working one, 283 00:13:59,679 --> 00:14:02,240 Speaker 1: three or five days. Um. But yeah, so you could 284 00:14:02,240 --> 00:14:05,319 Speaker 1: put many star versus a guest star. Like you know, 285 00:14:05,400 --> 00:14:08,960 Speaker 1: there's a right and the background actors. If I'm not mistaken, 286 00:14:09,120 --> 00:14:12,480 Speaker 1: it was like a hundred a day that sounds about right, 287 00:14:12,559 --> 00:14:14,560 Speaker 1: or maybe one hundred and fifty. Yeah, somewhere between one 288 00:14:14,640 --> 00:14:18,160 Speaker 1: hundred just today, right, and you were there for as 289 00:14:18,240 --> 00:14:21,200 Speaker 1: many hours as they kept you around. If that was fourteen, 290 00:14:21,560 --> 00:14:24,120 Speaker 1: fine it was. And heard when we talked to some 291 00:14:24,160 --> 00:14:26,120 Speaker 1: of our background actors they'd be on four or five shows. 292 00:14:26,160 --> 00:14:28,440 Speaker 1: So hopefully maybe you know because they'd only be on 293 00:14:28,560 --> 00:14:31,320 Speaker 1: Boy two days, right for blocking and tape days, so 294 00:14:31,440 --> 00:14:33,800 Speaker 1: you're hoping that there's the other days they're on other 295 00:14:33,840 --> 00:14:35,840 Speaker 1: shows doing the same thing. So hopefully they're working five 296 00:14:35,880 --> 00:14:37,600 Speaker 1: six days a week at one hundred dollars a day. 297 00:14:37,640 --> 00:14:39,760 Speaker 1: But it's still Yeah, but the main point of being 298 00:14:39,800 --> 00:14:44,240 Speaker 1: a background extras to get hip hopefully, you know, which 299 00:14:44,640 --> 00:14:47,120 Speaker 1: wasn't true necessarily for the first couple of seasons of 300 00:14:47,520 --> 00:14:50,000 Speaker 1: Boy because there was two unions back then. There was 301 00:14:50,000 --> 00:14:52,040 Speaker 1: a screen Extras Guild in the Screen Actors Guild. They 302 00:14:52,160 --> 00:14:55,160 Speaker 1: merged right near the end of Boy Mute World, but 303 00:14:55,280 --> 00:14:57,440 Speaker 1: so yeah, but you would still still getting into a 304 00:14:57,720 --> 00:15:00,480 Speaker 1: guild was really helpful. And then just expos sure, right, 305 00:15:00,520 --> 00:15:02,080 Speaker 1: like to just be in on set and seeing how 306 00:15:02,160 --> 00:15:05,120 Speaker 1: things worked and understanding you know, that was just an opportunity. Yeah, 307 00:15:05,280 --> 00:15:07,080 Speaker 1: I mean, Adam Scott was an extra. There's a lot 308 00:15:07,080 --> 00:15:08,640 Speaker 1: of a lot of people that were background actors that 309 00:15:08,680 --> 00:15:10,480 Speaker 1: have made the transition, so it's it can be a 310 00:15:10,520 --> 00:15:14,920 Speaker 1: great gig. Another question we got is what other podcasts 311 00:15:15,040 --> 00:15:21,360 Speaker 1: do you guys love? Wow? Okay, great answers. I have 312 00:15:21,400 --> 00:15:23,840 Speaker 1: a bunch, I have a bunch bunch, uh, and so 313 00:15:24,000 --> 00:15:27,400 Speaker 1: I I love Myths and Legends. It's a great podcast, 314 00:15:27,640 --> 00:15:31,600 Speaker 1: um where they take you know, retail myths and legends. 315 00:15:31,640 --> 00:15:35,520 Speaker 1: Imagine that. Um, it's a great one. Um, I really 316 00:15:36,000 --> 00:15:40,120 Speaker 1: it's it's it's it's a like slightly snarky, sarcastic take 317 00:15:40,240 --> 00:15:42,400 Speaker 1: on actual myths and you get a little bit of 318 00:15:42,440 --> 00:15:44,880 Speaker 1: the backstory. But he's done like episodes. It's it's a 319 00:15:44,960 --> 00:15:47,840 Speaker 1: husband and wife team. Um. And they've done episodes about 320 00:15:47,880 --> 00:15:50,560 Speaker 1: like King Arthur, like hundred episodes about King Arthur. You 321 00:15:50,560 --> 00:15:53,120 Speaker 1: can do all the Greek. It's so great. So it's 322 00:15:53,600 --> 00:15:58,120 Speaker 1: very very educational and entertaining. Um. Let's see. I listened 323 00:15:58,160 --> 00:16:00,960 Speaker 1: to Hello from the Magic Tavern, which is an improv 324 00:16:01,200 --> 00:16:02,920 Speaker 1: Oh my god, I love it so much. It's an 325 00:16:02,960 --> 00:16:07,680 Speaker 1: improv show where the conceit of the show is that 326 00:16:07,800 --> 00:16:11,240 Speaker 1: somebody has been sucked into a Lord of the Rings 327 00:16:11,480 --> 00:16:15,120 Speaker 1: like fantasy World, but with his podcasting equipment, Like he 328 00:16:15,280 --> 00:16:17,800 Speaker 1: was in the back of a Chicago of a McDonald's 329 00:16:17,800 --> 00:16:20,880 Speaker 1: in Chicago or Burger King in Chicago and fell through 330 00:16:20,920 --> 00:16:23,400 Speaker 1: a portal and ended up in this land. So every 331 00:16:23,480 --> 00:16:26,080 Speaker 1: week they bring on it's him and a wizard and 332 00:16:26,160 --> 00:16:29,240 Speaker 1: a shape shifting badger and every and they're just improv 333 00:16:29,280 --> 00:16:31,440 Speaker 1: actors and then they bring on somebody and that person 334 00:16:31,560 --> 00:16:34,920 Speaker 1: shows up with a character like I am a dragon 335 00:16:35,160 --> 00:16:37,840 Speaker 1: who's a teenager or whatever, and then they just improv 336 00:16:37,920 --> 00:16:39,720 Speaker 1: and have an interview with that dragon and they have 337 00:16:39,760 --> 00:16:42,240 Speaker 1: to just roll with whatever the person brings, whatever they say, 338 00:16:42,400 --> 00:16:44,840 Speaker 1: and it is so fun. And would you go on 339 00:16:44,960 --> 00:16:47,560 Speaker 1: that show? No, I'm not a good improver, man, I 340 00:16:47,600 --> 00:16:53,400 Speaker 1: wouldn't know. That sounds like, yeah, No, they have incredible guests. 341 00:16:53,400 --> 00:16:55,840 Speaker 1: I mean they've gotten everybody a huge comedy star. It's 342 00:16:55,880 --> 00:16:57,320 Speaker 1: I mean, at this point, it's like eight years old. 343 00:16:57,360 --> 00:16:59,200 Speaker 1: I've been listening to since the beginning. I remember, it's 344 00:16:59,200 --> 00:17:02,280 Speaker 1: gotten crazy. I used to have like more developing storylines 345 00:17:02,320 --> 00:17:04,160 Speaker 1: and now it's back to more of just a fun 346 00:17:04,240 --> 00:17:07,719 Speaker 1: interview show. But man, it's it's so so clever. Um 347 00:17:07,960 --> 00:17:10,320 Speaker 1: what else I listened to a lot? What about you? 348 00:17:10,880 --> 00:17:13,320 Speaker 1: I'm I don't listen to a ton, but the ones 349 00:17:13,359 --> 00:17:15,119 Speaker 1: that I do, like, I listen to my Mash Matters 350 00:17:15,160 --> 00:17:17,440 Speaker 1: because you know, obviously big into the Mash world. And 351 00:17:17,560 --> 00:17:19,480 Speaker 1: I listened to you SNAPf Foo with ed Helms, which 352 00:17:19,560 --> 00:17:24,200 Speaker 1: is also on I Hurt, I hurt, But yeah, Snapfoo. 353 00:17:24,400 --> 00:17:28,120 Speaker 1: It takes one, uh you know, mess up in history 354 00:17:28,359 --> 00:17:31,879 Speaker 1: and talks about it for eight episodes. So the you know, 355 00:17:31,960 --> 00:17:36,000 Speaker 1: the idea of the movie War Games actually happened in 356 00:17:36,080 --> 00:17:39,000 Speaker 1: the United States. Uh And so it's kind of ed 357 00:17:39,040 --> 00:17:41,199 Speaker 1: helms breaking down and it happens very entertaining. But now 358 00:17:41,200 --> 00:17:43,399 Speaker 1: I'm getting more and more into kind of podcasts and 359 00:17:43,440 --> 00:17:55,280 Speaker 1: stuff like that. Um are you now? Are Can we 360 00:17:55,359 --> 00:17:57,680 Speaker 1: ask you the same questions, Danielle, are you since you've 361 00:17:57,720 --> 00:18:00,399 Speaker 1: seen these questions? Do you have any any podcast that 362 00:18:00,440 --> 00:18:04,320 Speaker 1: you listen to? Yes? I love SmartLess. I don't get 363 00:18:04,359 --> 00:18:05,720 Speaker 1: to listen to it as often as I'd like, but 364 00:18:05,800 --> 00:18:08,320 Speaker 1: I love SmartLess. Um and I listened to We Can 365 00:18:08,359 --> 00:18:11,360 Speaker 1: Do Hard Things with Glenn and Doyle and her wife 366 00:18:11,440 --> 00:18:17,040 Speaker 1: Abby Womba and dear sister Amanda, who so yeah, I 367 00:18:17,119 --> 00:18:21,640 Speaker 1: love love that podcast. That's Those would probably be the two. 368 00:18:21,680 --> 00:18:22,840 Speaker 1: And then I don't know if you've ever heard of 369 00:18:22,880 --> 00:18:25,000 Speaker 1: a show called pod Meats World, but boy do I 370 00:18:25,320 --> 00:18:27,040 Speaker 1: love it. I can't. I can't get through it. Like 371 00:18:27,200 --> 00:18:32,679 Speaker 1: the hosts just constantly talk over each other. It does 372 00:18:32,760 --> 00:18:35,119 Speaker 1: seem like they love to hear themselves talk. But I 373 00:18:35,240 --> 00:18:37,960 Speaker 1: find them all endlessly enjoyable. I noticed none of you 374 00:18:38,040 --> 00:18:39,720 Speaker 1: have mentioned I hear voices. It's nice to know that 375 00:18:39,760 --> 00:18:41,800 Speaker 1: you also listen to my other podcasts, thanks so much. 376 00:18:42,400 --> 00:18:44,760 Speaker 1: And Literary Disco is another. I'm a big fan of 377 00:18:44,840 --> 00:18:47,320 Speaker 1: that as well. We didn't mention her other podcasts at all, 378 00:18:47,400 --> 00:18:50,600 Speaker 1: where it's like nobody's fans of each other's other podcasts. 379 00:18:52,080 --> 00:18:57,960 Speaker 1: We're nothing if not honest. Okay, So I thought this 380 00:18:58,119 --> 00:18:59,680 Speaker 1: was interesting because I feel like we've done it a 381 00:18:59,720 --> 00:19:01,880 Speaker 1: little but but maybe we haven't explained it well enough. 382 00:19:02,600 --> 00:19:06,280 Speaker 1: People want to know how our sets worked while filming, 383 00:19:06,520 --> 00:19:08,920 Speaker 1: like in front of the audience. People are a little confused, 384 00:19:09,000 --> 00:19:11,560 Speaker 1: like did the different sets move? Could we move them? 385 00:19:12,160 --> 00:19:14,440 Speaker 1: So let's explain it because I guess when you watch 386 00:19:14,520 --> 00:19:18,399 Speaker 1: like some SNL stuff, they actually are moving sets, all right, Yeah? No, 387 00:19:18,600 --> 00:19:21,439 Speaker 1: we we had standing sets, like, yes, they were built 388 00:19:21,960 --> 00:19:25,400 Speaker 1: before the audience ever arrived, days before, and they would 389 00:19:25,520 --> 00:19:27,560 Speaker 1: be standing there, and for the most part, we use 390 00:19:27,640 --> 00:19:30,280 Speaker 1: the same sets over and over, So the audience would 391 00:19:30,280 --> 00:19:33,040 Speaker 1: be in bleachers that would sort of rise up from 392 00:19:33,119 --> 00:19:37,600 Speaker 1: the stage floor like maybe ten rows of bleachers, like 393 00:19:37,720 --> 00:19:40,560 Speaker 1: a like a high school auditorium bleacher set, and then 394 00:19:40,600 --> 00:19:44,040 Speaker 1: in front of those bleachers, there would be the camera 395 00:19:44,200 --> 00:19:46,960 Speaker 1: area what is that called, like the camerayle camerale there 396 00:19:47,040 --> 00:19:48,399 Speaker 1: you go the aisle right, so it would be like 397 00:19:48,480 --> 00:19:51,280 Speaker 1: about ten feet between the audience where they and the 398 00:19:51,359 --> 00:19:55,280 Speaker 1: sets where the cameras would be on these giant rolling 399 00:19:55,840 --> 00:19:57,560 Speaker 1: you know, the cameras are on wheels, so they can 400 00:19:57,600 --> 00:20:01,560 Speaker 1: move into position and constantly be adjusting, and they can 401 00:20:01,600 --> 00:20:05,520 Speaker 1: also go up and down. And then where you know, 402 00:20:05,640 --> 00:20:09,200 Speaker 1: you would have essentially it's a the fourth wall that 403 00:20:09,320 --> 00:20:12,840 Speaker 1: doesn't exist, that would you know, the entrance to the 404 00:20:13,000 --> 00:20:16,760 Speaker 1: set which had three walls, and everybody that came to 405 00:20:16,840 --> 00:20:19,600 Speaker 1: visit would always comment on how small the sets actually locally, Yeah, 406 00:20:19,800 --> 00:20:23,800 Speaker 1: they look much larger, little big. Yeah. Answer is the 407 00:20:23,920 --> 00:20:26,880 Speaker 1: sets don't move, the cameras do. Right. But so left 408 00:20:26,920 --> 00:20:31,160 Speaker 1: to right, let's take the audience POV. Imagine yourself, dear listener, 409 00:20:31,320 --> 00:20:33,800 Speaker 1: as an audience member in the bleachers on the set 410 00:20:33,840 --> 00:20:37,000 Speaker 1: of Boy Meets World. Way over to the left was 411 00:20:37,040 --> 00:20:40,080 Speaker 1: the Matthews family living room living room, and then immediately 412 00:20:40,160 --> 00:20:43,240 Speaker 1: connected to that was the kitchen, kitchen, and then obviously 413 00:20:43,440 --> 00:20:47,119 Speaker 1: Phoene's yard. The back. The entire left half of the 414 00:20:47,240 --> 00:20:51,040 Speaker 1: audience's view was the right, three sets right yard would 415 00:20:51,040 --> 00:20:54,320 Speaker 1: sort of end in the middle of the audience right then, 416 00:20:54,440 --> 00:20:57,159 Speaker 1: and then there was class last room, Class which was 417 00:20:57,440 --> 00:21:01,840 Speaker 1: Turner's classroom by second season, so then Turner's classroom, and 418 00:21:02,040 --> 00:21:06,960 Speaker 1: then Hollow which was a big, long set, big, and 419 00:21:07,080 --> 00:21:10,280 Speaker 1: that was it, and then they would ring in. The 420 00:21:11,160 --> 00:21:14,480 Speaker 1: boy's bedroom would be at the very very end if 421 00:21:14,560 --> 00:21:18,199 Speaker 1: we ever needed it. And so those were called swing sets, 422 00:21:18,600 --> 00:21:21,720 Speaker 1: and that's because those could swing in and swing out. 423 00:21:22,280 --> 00:21:25,760 Speaker 1: And then there was extra room where there were other 424 00:21:25,880 --> 00:21:27,840 Speaker 1: swing sets that could be built to the left or 425 00:21:27,960 --> 00:21:31,719 Speaker 1: right of the audience, but we would never shoot scenes 426 00:21:31,840 --> 00:21:34,440 Speaker 1: there in front of the audience. So basically the only 427 00:21:34,520 --> 00:21:36,760 Speaker 1: thing we would ever shoot on audience night in front 428 00:21:36,760 --> 00:21:38,840 Speaker 1: of the audience were those scenes we mentioned that from 429 00:21:38,880 --> 00:21:42,679 Speaker 1: audience POV they could see with their eyeballs right, um, 430 00:21:42,840 --> 00:21:46,040 Speaker 1: and then the audience is right facing the same direction 431 00:21:46,080 --> 00:21:49,719 Speaker 1: as the audience would have been. Cafeteria set exactly, um 432 00:21:50,000 --> 00:21:52,520 Speaker 1: or whatever swing ended up would also sort of go 433 00:21:52,720 --> 00:21:57,800 Speaker 1: in there right yeah. Yeah, I'm occasionally living room, kitchen, kitchen, 434 00:21:57,880 --> 00:22:01,200 Speaker 1: and Phoenix, yeah, Phoenie's back The backyard ends up being 435 00:22:01,520 --> 00:22:04,080 Speaker 1: sort of very middle, yeah, which is so funny because 436 00:22:04,080 --> 00:22:06,320 Speaker 1: it's actually kind of our at least you said yeah. 437 00:22:06,800 --> 00:22:10,440 Speaker 1: But also kitchen kitchen back kitchen backyard was kind of 438 00:22:10,520 --> 00:22:14,359 Speaker 1: the most center um and then classroom you could fully 439 00:22:14,440 --> 00:22:17,520 Speaker 1: see and really you could see mostly I would call 440 00:22:17,720 --> 00:22:21,960 Speaker 1: partial school hallway maybe seventy five percent. You wouldn't be 441 00:22:22,160 --> 00:22:24,520 Speaker 1: really be able to see unless you were in one 442 00:22:24,600 --> 00:22:26,800 Speaker 1: particular part of the audience. You wouldn't be able to 443 00:22:26,840 --> 00:22:30,399 Speaker 1: see the ever changing bathroom, Phoenie's principle's office door. Like 444 00:22:30,520 --> 00:22:32,720 Speaker 1: that door was kind of it was the way to 445 00:22:32,800 --> 00:22:35,200 Speaker 1: the end and for the audience. So everybody knows you're 446 00:22:35,320 --> 00:22:37,639 Speaker 1: you're you're not really I mean, you're watching the stage, 447 00:22:37,640 --> 00:22:40,080 Speaker 1: but you're really looking up at the monitors. There's monitors 448 00:22:40,160 --> 00:22:42,600 Speaker 1: all on the ceiling and what you're on the you know, 449 00:22:42,720 --> 00:22:45,760 Speaker 1: hanging above you, and you're watching the show on a 450 00:22:45,800 --> 00:22:49,520 Speaker 1: television screen. Yes, those monitors are showing you what the 451 00:22:49,680 --> 00:22:54,240 Speaker 1: cameras are recording and up there switching. So there's a 452 00:22:54,480 --> 00:22:57,680 Speaker 1: wonderful person called a switcher and their job is to 453 00:22:57,800 --> 00:23:00,160 Speaker 1: have the list from the director and the associ see 454 00:23:00,200 --> 00:23:03,680 Speaker 1: a director about which camera you want me to show 455 00:23:03,760 --> 00:23:05,919 Speaker 1: at which time? Do you want the two shot here? 456 00:23:06,040 --> 00:23:08,480 Speaker 1: Do you want the master here, and then that person 457 00:23:08,640 --> 00:23:11,280 Speaker 1: is switching between the cameras so that the audience can 458 00:23:11,359 --> 00:23:14,280 Speaker 1: see what basically will be the edited version that will 459 00:23:14,280 --> 00:23:16,800 Speaker 1: eventually air on television. And I would say, if I 460 00:23:17,040 --> 00:23:19,119 Speaker 1: was an audience member of a show, I would never 461 00:23:19,240 --> 00:23:21,280 Speaker 1: watch what was up there. I'd want to be watching 462 00:23:21,600 --> 00:23:24,680 Speaker 1: the actual action on stage directly in front of you, 463 00:23:25,160 --> 00:23:27,359 Speaker 1: because that's when you would see, oh, so and so 464 00:23:27,560 --> 00:23:29,200 Speaker 1: is going to break. That's when you would see the 465 00:23:29,280 --> 00:23:31,359 Speaker 1: kind of fun stuff that you don't end up seeing 466 00:23:31,400 --> 00:23:35,320 Speaker 1: in the in the final product. Um writer, this is 467 00:23:35,320 --> 00:23:38,080 Speaker 1: a really good one for you. Could someone please explain 468 00:23:38,200 --> 00:23:41,600 Speaker 1: the difference between a four camera and a one camera sitcom? 469 00:23:41,880 --> 00:23:44,520 Speaker 1: How can somebody who just watches TV tell the difference? 470 00:23:44,560 --> 00:23:46,119 Speaker 1: So I wouldn't ever say that there's like a one 471 00:23:46,200 --> 00:23:49,840 Speaker 1: camera sitcom, but I know you've recently had The Office, right, 472 00:23:49,880 --> 00:23:57,240 Speaker 1: You're right, yes, but yes those are those modern family 473 00:23:57,320 --> 00:24:05,000 Speaker 1: those are considered single camera, right, so generally a hybrid no? No, okay, yeah, 474 00:24:05,280 --> 00:24:09,359 Speaker 1: so I think the well, there's there's the distinction is 475 00:24:09,600 --> 00:24:13,680 Speaker 1: like between literally using one camera or multi cameras. That 476 00:24:13,840 --> 00:24:17,720 Speaker 1: is one form of distinction, but usually what people refer 477 00:24:17,840 --> 00:24:21,200 Speaker 1: to as multi camera sitcom and single camera sitcom. A 478 00:24:21,320 --> 00:24:24,240 Speaker 1: multi camera sitcom is front is filmed in front of 479 00:24:24,280 --> 00:24:26,320 Speaker 1: a live audience, or at least has a laugh track, 480 00:24:26,680 --> 00:24:29,159 Speaker 1: But it's essentially a play like ours, where we have 481 00:24:29,359 --> 00:24:33,320 Speaker 1: three three walt sets and four cameras, and the actors 482 00:24:33,359 --> 00:24:38,840 Speaker 1: are performing every take live um and the cameras are 483 00:24:39,040 --> 00:24:43,080 Speaker 1: adjusting on the fly. Whereas in a single camera show, 484 00:24:43,320 --> 00:24:46,399 Speaker 1: you set up individual shots to build your visual storytelling, 485 00:24:46,600 --> 00:24:49,439 Speaker 1: and so the actors have to Usually you shoot everything 486 00:24:49,480 --> 00:24:51,560 Speaker 1: in one direction, so you set up the cameras and 487 00:24:51,600 --> 00:24:53,480 Speaker 1: the lights and you do everything that happens in a 488 00:24:53,560 --> 00:24:56,320 Speaker 1: scene facing one direction. Then you turn around and have 489 00:24:56,400 --> 00:24:58,680 Speaker 1: to do all of that again to get the other 490 00:24:58,800 --> 00:25:01,560 Speaker 1: actors in the scene from the other direction. And you're 491 00:25:01,600 --> 00:25:05,280 Speaker 1: getting individual shots, close ups of actors, maybe a two 492 00:25:05,359 --> 00:25:08,280 Speaker 1: shot of two actors, and so you're individually building the 493 00:25:08,400 --> 00:25:13,240 Speaker 1: story in discrete shots, as opposed to a multi camera sitcom, 494 00:25:13,320 --> 00:25:17,119 Speaker 1: which is like essentially capturing a live play that's going on. 495 00:25:17,960 --> 00:25:20,280 Speaker 1: How can so I think the main question was how 496 00:25:20,359 --> 00:25:24,720 Speaker 1: can somebody who just watches TV know the difference? I 497 00:25:24,840 --> 00:25:27,320 Speaker 1: think one of the easiest ways to do it essentially, 498 00:25:27,560 --> 00:25:32,000 Speaker 1: and there are a few, you know, exceptions to this rule. 499 00:25:32,119 --> 00:25:35,280 Speaker 1: If you hear laughter, yeah, it's a multi camera sitcom. 500 00:25:35,920 --> 00:25:38,480 Speaker 1: Laugh track, laugh laugh track, or the audience, it's a 501 00:25:38,560 --> 00:25:40,760 Speaker 1: multi camera sitcom. Now that there's some things that break 502 00:25:40,800 --> 00:25:42,680 Speaker 1: the trope. Mash is a perfect example where they added 503 00:25:42,680 --> 00:25:44,879 Speaker 1: a laugh track, which the producers couldn't stand that they 504 00:25:44,880 --> 00:25:46,960 Speaker 1: added a laugh track. But for the most part, if 505 00:25:47,040 --> 00:25:49,080 Speaker 1: you hear laughing, like you never hear laughing in the office, 506 00:25:49,080 --> 00:25:50,920 Speaker 1: you never hear laughing in modern family, you don't. You 507 00:25:50,920 --> 00:25:53,119 Speaker 1: don't hear that stuff because there's no audience there. You're 508 00:25:53,119 --> 00:25:55,800 Speaker 1: shooting it like a film, right, So if you hear laughing, 509 00:25:56,280 --> 00:26:01,159 Speaker 1: it's a multi camera sitcom. Well interesting, Okay, this was 510 00:26:01,240 --> 00:26:05,359 Speaker 1: more of an observation, which is a car that's This 511 00:26:05,600 --> 00:26:08,080 Speaker 1: was more of an observation mixed with have you guys 512 00:26:08,200 --> 00:26:09,960 Speaker 1: noticed this? And I also go ahead and say no 513 00:26:10,119 --> 00:26:13,359 Speaker 1: ahead of time in season one and maybe others. In 514 00:26:13,400 --> 00:26:17,159 Speaker 1: the opening credits, the globes are spinning the earth in 515 00:26:17,280 --> 00:26:22,119 Speaker 1: the wrong direction. It should be west to east. Have 516 00:26:22,320 --> 00:26:24,800 Speaker 1: you ever noticed this? It took me thirty years to 517 00:26:24,920 --> 00:26:27,320 Speaker 1: realize that rolling over and was a metaphor. You think 518 00:26:27,400 --> 00:26:30,240 Speaker 1: I know which way is good because it's a metaphor 519 00:26:30,280 --> 00:26:36,600 Speaker 1: for going back into the past where we're rewinding to think. Um, 520 00:26:36,760 --> 00:26:39,480 Speaker 1: I mean, first of all, we all know that it's 521 00:26:39,560 --> 00:26:43,280 Speaker 1: inaccurate anyway because the Earth is flat. So I mean, 522 00:26:43,520 --> 00:26:47,440 Speaker 1: just that right, just that alone is wrong. So whatever 523 00:26:47,880 --> 00:26:52,680 Speaker 1: slash s that's the online version of sarcastic. I'm being sarcastic. 524 00:26:52,760 --> 00:26:54,680 Speaker 1: That's how you let people know now online that you're 525 00:26:54,680 --> 00:26:57,119 Speaker 1: being sarcastic. How do you let them know you absolutely 526 00:26:57,200 --> 00:26:59,639 Speaker 1: believe that it's flat? What do I what do I hit? What? 527 00:26:59,760 --> 00:27:02,920 Speaker 1: But do I hit there? Slash key for Ernest? Yeah? Exactly? 528 00:27:03,080 --> 00:27:06,680 Speaker 1: There you go. Okay, Um, if you could be cast 529 00:27:06,800 --> 00:27:10,960 Speaker 1: in your dream role, TV, movie or Broadway, what would 530 00:27:11,000 --> 00:27:15,160 Speaker 1: it be? And why? I have no idea anymore because 531 00:27:15,160 --> 00:27:16,960 Speaker 1: I'm not I'm not. I know, I don't think about it. 532 00:27:17,200 --> 00:27:19,720 Speaker 1: I would. I would love to do a play. And 533 00:27:20,000 --> 00:27:21,520 Speaker 1: you know, if if I was gonna, I've I've told 534 00:27:21,520 --> 00:27:23,440 Speaker 1: myself if I'm ever gonna do acting again, I'm gonna 535 00:27:23,440 --> 00:27:26,399 Speaker 1: start with a play. Um. And I love Sam Shepherd 536 00:27:26,440 --> 00:27:28,800 Speaker 1: plays and I feel like I'm finally old enough to 537 00:27:29,040 --> 00:27:30,640 Speaker 1: be in a Sam Shepherd play. I don't know which 538 00:27:30,680 --> 00:27:33,440 Speaker 1: one or which role, but if I was going to return. 539 00:27:33,440 --> 00:27:34,680 Speaker 1: I would, I would do it. Love to do a 540 00:27:34,760 --> 00:27:36,440 Speaker 1: great play by a good play, right, like a Sam 541 00:27:36,520 --> 00:27:41,360 Speaker 1: Shepherd's great. That's a good answer. Nice, Well, mine slightly different. Um. 542 00:27:42,680 --> 00:27:44,960 Speaker 1: I want to be the fun uncle or the the 543 00:27:45,119 --> 00:27:47,480 Speaker 1: young dad on a sitcom. I'm built for sitcom. It's 544 00:27:47,520 --> 00:27:49,240 Speaker 1: what I love. It's what I've always wanted to do. 545 00:27:49,520 --> 00:27:52,400 Speaker 1: I'm I'm a born in bread sitcom actor, and it's 546 00:27:52,640 --> 00:27:55,680 Speaker 1: it sucks because I'm a born and bred actor targeted 547 00:27:55,680 --> 00:27:57,480 Speaker 1: to a thing that no longer exists. Right, It's like 548 00:27:57,560 --> 00:28:01,560 Speaker 1: being a radio actor exactly. Yeah, I'm best farrier in town. 549 00:28:02,600 --> 00:28:05,760 Speaker 1: Nobody's shoeing horses that much anymore. So that would be 550 00:28:05,960 --> 00:28:09,320 Speaker 1: my dream job is a classic eighties nineties sitcom where 551 00:28:09,359 --> 00:28:11,840 Speaker 1: I'm now the young dad or the fine uncle. Right, 552 00:28:12,400 --> 00:28:15,440 Speaker 1: what about you, Danielle um gosh, I don't know. On 553 00:28:15,560 --> 00:28:19,160 Speaker 1: the one hand, I love you, know similar to you will. 554 00:28:19,240 --> 00:28:23,640 Speaker 1: I love sitcom. I love multi cameras. Um, I would 555 00:28:23,680 --> 00:28:26,000 Speaker 1: love to be a mom on a multicam again. I 556 00:28:26,080 --> 00:28:28,320 Speaker 1: think that would be great. I'd love to be the Betsy. 557 00:28:28,680 --> 00:28:30,720 Speaker 1: I could say that Panga from Girl Meets World, But 558 00:28:30,720 --> 00:28:33,560 Speaker 1: I want to be the Betsy. Yeah. Um, I love. 559 00:28:33,600 --> 00:28:36,600 Speaker 1: I would love that, but also I love like I 560 00:28:36,880 --> 00:28:40,840 Speaker 1: loved the Good Place, and I would have loved to 561 00:28:40,960 --> 00:28:43,720 Speaker 1: have been basically any of the characters on the Good Place, 562 00:28:45,520 --> 00:28:48,560 Speaker 1: some equivalent to the Good Place, you know, Abbot, Elementary 563 00:28:48,800 --> 00:28:52,120 Speaker 1: that that would that would be fun. Um, that would 564 00:28:52,160 --> 00:28:54,120 Speaker 1: probably be mine. I also want to be in a 565 00:28:54,160 --> 00:28:56,160 Speaker 1: Hallmark movie. We've talked about this. We want to be 566 00:28:56,280 --> 00:28:58,720 Speaker 1: in some kind of Christmas Hallmark thing where I what 567 00:28:59,160 --> 00:29:05,880 Speaker 1: I love Christmas now, like, yeah, that'dance? Who are that's 568 00:29:05,920 --> 00:29:10,040 Speaker 1: my audition Christmas? Well, it's funny. We talked about this 569 00:29:10,520 --> 00:29:13,880 Speaker 1: before the show started. But for for will Winnie the 570 00:29:13,920 --> 00:29:16,880 Speaker 1: Pooh movie, while you were in Amsterdam, people wanted to 571 00:29:17,040 --> 00:29:20,440 Speaker 1: know it was in here. Um. So the next question 572 00:29:20,600 --> 00:29:23,000 Speaker 1: was somebody, Um, somebody wanted to know who does the 573 00:29:23,080 --> 00:29:25,960 Speaker 1: booking of guests for the podcasts? How does it all 574 00:29:26,040 --> 00:29:29,840 Speaker 1: go down? Um? So I'll go ahead and answer this one. Yeah, 575 00:29:29,880 --> 00:29:33,280 Speaker 1: it's the magic of television. It's the mast. It's great. 576 00:29:34,080 --> 00:29:38,600 Speaker 1: It's it's an all hands on deck team effort. We 577 00:29:39,720 --> 00:29:42,160 Speaker 1: among the three of us come up with who the 578 00:29:42,240 --> 00:29:45,760 Speaker 1: guests are that we want to have. Also, producer Jensen Cart, 579 00:29:45,880 --> 00:29:48,640 Speaker 1: husband of this podcast, sends us names all the time. 580 00:29:49,280 --> 00:29:52,160 Speaker 1: How about this person? How about that person? We say, yes, 581 00:29:52,280 --> 00:29:54,240 Speaker 1: we think this person would be a wonderful guest, they 582 00:29:54,280 --> 00:29:56,720 Speaker 1: were instrumental into the show, or we think people would 583 00:29:56,760 --> 00:29:59,400 Speaker 1: like to hear from them. Um, and then whoever has 584 00:29:59,480 --> 00:30:02,760 Speaker 1: a connection and to them says, I will reach out, 585 00:30:02,880 --> 00:30:04,760 Speaker 1: Let me send an email, let me send a message, 586 00:30:04,840 --> 00:30:07,960 Speaker 1: let me do that. Sometimes when it's somebody none of 587 00:30:08,040 --> 00:30:10,719 Speaker 1: us have a connection to, we get I heart involved 588 00:30:10,760 --> 00:30:13,160 Speaker 1: and we say, iHeart, do you have a connection to 589 00:30:13,240 --> 00:30:15,680 Speaker 1: this person. If you do not, can you reach out 590 00:30:15,720 --> 00:30:19,080 Speaker 1: to their agent? And we send a formal ask. One 591 00:30:19,120 --> 00:30:21,520 Speaker 1: of the reasons we try to avoid that is little 592 00:30:21,840 --> 00:30:24,480 Speaker 1: known secret for people who are not involved in the 593 00:30:24,600 --> 00:30:30,280 Speaker 1: entertainment industry. Reps, agents, managers. Sometimes they will just answer 594 00:30:30,360 --> 00:30:32,760 Speaker 1: for their clients without ever even sending the message along, 595 00:30:33,240 --> 00:30:36,360 Speaker 1: and you will have had to have had a conversation 596 00:30:36,480 --> 00:30:38,560 Speaker 1: with your agent or manager about whether or not you 597 00:30:38,720 --> 00:30:41,080 Speaker 1: want them to do that. I was always the type, 598 00:30:41,360 --> 00:30:44,200 Speaker 1: for the most part, to say, by the way, I 599 00:30:44,360 --> 00:30:47,040 Speaker 1: want to know every single thing that comes in. Even 600 00:30:47,080 --> 00:30:48,480 Speaker 1: if you think I'm not going to want to do it, 601 00:30:48,680 --> 00:30:50,120 Speaker 1: I want to be the person to say no to 602 00:30:50,240 --> 00:30:53,040 Speaker 1: it or say yes to it not you, or then 603 00:30:53,120 --> 00:30:54,840 Speaker 1: there would be times where I would be like, I 604 00:30:54,880 --> 00:30:56,360 Speaker 1: don't want to do anything. I don't want to do 605 00:30:56,400 --> 00:30:58,200 Speaker 1: any press and I would say you can go ahead 606 00:30:58,200 --> 00:31:00,280 Speaker 1: and stop telling me those things. The answer is us know, 607 00:31:00,920 --> 00:31:03,800 Speaker 1: unless you think it's going to change my life or 608 00:31:03,880 --> 00:31:06,000 Speaker 1: that I would have to be an insane person to 609 00:31:06,040 --> 00:31:08,200 Speaker 1: say no to this thing, go ahead and pass for me. 610 00:31:08,920 --> 00:31:11,520 Speaker 1: So we like to do it from the personal way 611 00:31:11,720 --> 00:31:13,640 Speaker 1: of does anybody know this person? Do you have a 612 00:31:13,680 --> 00:31:16,880 Speaker 1: phone number? Because also getting a personal ask for something 613 00:31:17,040 --> 00:31:20,200 Speaker 1: is feels better than your manager being called. So it's 614 00:31:20,280 --> 00:31:23,080 Speaker 1: all hands on deck approach. We also do need a 615 00:31:23,160 --> 00:31:26,320 Speaker 1: special shout out though, to producer Jensen car pusmandis the 616 00:31:26,440 --> 00:31:29,040 Speaker 1: podcasts for the amount of work, Yes he does. He 617 00:31:29,200 --> 00:31:33,040 Speaker 1: ultimately person who schedules all of our He also does 618 00:31:33,240 --> 00:31:35,920 Speaker 1: all of our scheduling, which once the connection is made, 619 00:31:36,040 --> 00:31:39,920 Speaker 1: he's the one who coordinates with the actual talent. Correct. 620 00:31:40,360 --> 00:31:43,640 Speaker 1: So once that connections and they say yes, then Jensen 621 00:31:43,800 --> 00:31:47,640 Speaker 1: takes over and says what are your avails and gets 622 00:31:47,680 --> 00:31:50,200 Speaker 1: the avails for those people and then has to work 623 00:31:50,280 --> 00:31:52,880 Speaker 1: it into our schedules, which our schedules are also all 624 00:31:52,960 --> 00:31:55,880 Speaker 1: over the place. Will does other podcasts, writer or does 625 00:31:55,920 --> 00:32:00,760 Speaker 1: other podcasts, and teaches and has travel days. Will does 626 00:32:00,840 --> 00:32:03,960 Speaker 1: lots of cons so he has travel days. I regularly 627 00:32:04,040 --> 00:32:06,200 Speaker 1: have directing jobs, and I can't know those for like 628 00:32:06,360 --> 00:32:08,600 Speaker 1: months ahead of time. Sometimes I get a call and they, 629 00:32:09,080 --> 00:32:11,400 Speaker 1: you know, they'll say, hey, what's your availability for May, 630 00:32:11,560 --> 00:32:14,160 Speaker 1: and it's you know, we may have already scheduled dates 631 00:32:14,200 --> 00:32:15,800 Speaker 1: for May, and then I'll have to change. And so 632 00:32:15,960 --> 00:32:19,200 Speaker 1: that is a kind of the calendar is a very fluid, 633 00:32:19,440 --> 00:32:23,920 Speaker 1: evolving ecosystem and it is a very hard thing to manage. 634 00:32:24,040 --> 00:32:27,520 Speaker 1: And producer Jensen car, husband of this podcast, is really 635 00:32:27,600 --> 00:32:31,280 Speaker 1: good at it. Yeah. And I feel bad though, because 636 00:32:31,320 --> 00:32:34,480 Speaker 1: there's times like May, I have jury duty in May. Yeah, 637 00:32:34,960 --> 00:32:37,760 Speaker 1: and so it's like I won't know until the night before, 638 00:32:38,120 --> 00:32:40,240 Speaker 1: literally the night before when I call in if I 639 00:32:40,320 --> 00:32:42,600 Speaker 1: even have to go, I know. So it's like we're 640 00:32:42,640 --> 00:32:44,920 Speaker 1: trying to see you try to schedule stuff, and it's like, hey, 641 00:32:45,120 --> 00:32:49,800 Speaker 1: this might happen pass right exactly. Just makes it really difficult. Yeah, 642 00:32:50,200 --> 00:32:53,240 Speaker 1: And he is married to me, Danielle. He's married to 643 00:32:53,360 --> 00:32:55,440 Speaker 1: all of us. I know. I'm sorry, I don't mean 644 00:32:55,480 --> 00:32:57,840 Speaker 1: to insult you. He is a shared husband. He has 645 00:32:57,880 --> 00:33:03,360 Speaker 1: shared husband. Okay, so someone said they did not quite 646 00:33:03,440 --> 00:33:07,280 Speaker 1: understand the difference between a producer and a director when 647 00:33:07,360 --> 00:33:10,840 Speaker 1: we have mentioned them on this podcast. In some cases 648 00:33:10,920 --> 00:33:15,680 Speaker 1: they have been both. Like Jeff McCracken was a producer, No, 649 00:33:15,880 --> 00:33:19,800 Speaker 1: wasn't a producer. Producer. He worked for Michael Company. Yeah, 650 00:33:22,000 --> 00:33:23,760 Speaker 1: which was not the same thing as being a producer. 651 00:33:24,200 --> 00:33:26,160 Speaker 1: But I thought he was also a producer on the show. 652 00:33:26,200 --> 00:33:30,080 Speaker 1: He wasn't. Oh maybe maybe he was eventually. But you guys, trainer, 653 00:33:30,160 --> 00:33:33,400 Speaker 1: you're both directors, so was training or producer? I don't 654 00:33:33,440 --> 00:33:38,840 Speaker 1: think so, Okay, just think maybe second season. Second season 655 00:33:38,920 --> 00:33:41,080 Speaker 1: he gets a producer credit if memory serves. His name 656 00:33:41,160 --> 00:33:42,600 Speaker 1: is now in the front as a producer credit, if 657 00:33:42,680 --> 00:33:45,400 Speaker 1: memory serves, right. I mean, we talked a little bit 658 00:33:45,440 --> 00:33:50,760 Speaker 1: about this when I talked about Alex producing movie. Um, yeah, 659 00:33:50,800 --> 00:33:55,920 Speaker 1: it's it's really in television. Producer is a crew is there? Well, 660 00:33:55,920 --> 00:33:59,120 Speaker 1: there's two different types of producers. There's the creative producer, 661 00:33:59,600 --> 00:34:02,680 Speaker 1: which is is usually a writer with a lot of 662 00:34:02,760 --> 00:34:05,680 Speaker 1: creative input for the overall show, so they're not only 663 00:34:05,760 --> 00:34:10,360 Speaker 1: just writing an individual episode, which would be a staff 664 00:34:10,440 --> 00:34:13,400 Speaker 1: writer who's just part of the team and writing episodes, 665 00:34:13,440 --> 00:34:15,560 Speaker 1: and they usually get one episode with their name on it, 666 00:34:15,640 --> 00:34:18,759 Speaker 1: but they're participating in the writing for every episode. The 667 00:34:19,400 --> 00:34:22,000 Speaker 1: upgrade from being a writer is to be a producer 668 00:34:22,080 --> 00:34:23,960 Speaker 1: who is also a writer, So you're still getting paid 669 00:34:23,960 --> 00:34:26,440 Speaker 1: as a writer, but now you're functioning as a producer 670 00:34:27,000 --> 00:34:30,880 Speaker 1: or an executive producer, which is even higher creatively and 671 00:34:31,160 --> 00:34:33,680 Speaker 1: that those people, you know, have more creative input on 672 00:34:33,800 --> 00:34:37,799 Speaker 1: the whole storyline and more authority in the writing room. 673 00:34:38,520 --> 00:34:41,520 Speaker 1: And then an EP is the highest credit among the 674 00:34:41,680 --> 00:34:48,479 Speaker 1: EP and producers. There's a show runner, yeah, but there's 675 00:34:48,560 --> 00:34:50,840 Speaker 1: usually a showrunner, which is not an official title that 676 00:34:51,040 --> 00:34:53,719 Speaker 1: is not paid for. But there's usually one person who 677 00:34:53,800 --> 00:34:57,040 Speaker 1: is designated as the runner of the room. Yeah, the 678 00:34:57,120 --> 00:35:00,759 Speaker 1: person who runs the actual room. So those seasons that 679 00:35:00,840 --> 00:35:03,160 Speaker 1: David Kendall was there, he would be the person in 680 00:35:03,239 --> 00:35:05,400 Speaker 1: the room saying, who's writing this episode? We got this 681 00:35:05,480 --> 00:35:07,600 Speaker 1: episode coming up due to the and like sort of 682 00:35:07,680 --> 00:35:10,640 Speaker 1: coordinating people's schedule. Captain of the ship, the captain of 683 00:35:10,680 --> 00:35:13,680 Speaker 1: the ship, right, But in general with our show, Michael 684 00:35:13,719 --> 00:35:18,600 Speaker 1: Jacobs was the head executive producer cola showrunner, so he 685 00:35:18,760 --> 00:35:23,440 Speaker 1: mostly ran the writing room and gave notes after run throughs. 686 00:35:24,160 --> 00:35:26,160 Speaker 1: And then there are producers like we've talked about Karen 687 00:35:26,239 --> 00:35:30,560 Speaker 1: McCain and producer who are line producers. They are the 688 00:35:30,640 --> 00:35:33,080 Speaker 1: ones in charge of the actual production, making sure that 689 00:35:33,239 --> 00:35:35,759 Speaker 1: camera people show up, that lunch has taken care of, 690 00:35:35,840 --> 00:35:38,680 Speaker 1: that people get paid doing all the books, and that's 691 00:35:38,719 --> 00:35:42,840 Speaker 1: like a more of a logistical producer real position, and 692 00:35:43,320 --> 00:35:46,520 Speaker 1: so they also get a producer credit. Director is the 693 00:35:46,600 --> 00:35:49,600 Speaker 1: person who is in charge of the visual storytelling and 694 00:35:49,760 --> 00:35:53,480 Speaker 1: the engaging with the actors performances, so they're in charge 695 00:35:53,520 --> 00:35:57,680 Speaker 1: of giving the actors notes. Executive producers are not supposed 696 00:35:57,680 --> 00:35:59,759 Speaker 1: to give actors notes without going through the director. That 697 00:36:00,000 --> 00:36:02,359 Speaker 1: obviously didn't happen very often on our show, right Our 698 00:36:02,400 --> 00:36:06,080 Speaker 1: executive producer like to just give notes. But technically, according 699 00:36:06,120 --> 00:36:09,320 Speaker 1: to DJA rules, only the director is supposed to be 700 00:36:09,400 --> 00:36:12,440 Speaker 1: giving notes to actors and working with them on how 701 00:36:12,520 --> 00:36:15,880 Speaker 1: to perform and be in the scene, and then figuring 702 00:36:15,920 --> 00:36:19,239 Speaker 1: out the camera, which shots are lining up, where to 703 00:36:19,320 --> 00:36:21,440 Speaker 1: tell the story. That's what a director does, and a 704 00:36:21,520 --> 00:36:25,560 Speaker 1: director on a sitcom is in second position to the 705 00:36:25,680 --> 00:36:28,040 Speaker 1: writing staff for the most part. It's a very important 706 00:36:28,120 --> 00:36:31,400 Speaker 1: role for the actors, but as far as creatively, the 707 00:36:31,560 --> 00:36:36,200 Speaker 1: sort of packing order is executive producers creative writing. Those 708 00:36:36,320 --> 00:36:40,279 Speaker 1: people are the sort of the kings and queens of television. Right. 709 00:36:40,440 --> 00:36:43,400 Speaker 1: The director's job on a sitcom is to bring those 710 00:36:43,560 --> 00:36:47,520 Speaker 1: people's dreams and ideas for the show to life. It's 711 00:36:47,560 --> 00:36:50,000 Speaker 1: not the director's medium. The director is not going, this 712 00:36:50,200 --> 00:36:52,520 Speaker 1: is my dream for this. It's kind of like what 713 00:36:52,600 --> 00:36:54,719 Speaker 1: do you want them to do? And then their job 714 00:36:54,840 --> 00:36:56,719 Speaker 1: is to make it happen. Right, They're more like the 715 00:36:56,840 --> 00:37:02,480 Speaker 1: executive branch of like, yeah, technical side of things. In film, 716 00:37:02,840 --> 00:37:06,239 Speaker 1: a director is much more the creative voice. So even 717 00:37:06,280 --> 00:37:08,600 Speaker 1: if they didn't write the script, they're the ones on 718 00:37:08,800 --> 00:37:11,520 Speaker 1: set making the movie from start to finition. It's a 719 00:37:11,680 --> 00:37:15,799 Speaker 1: much more creative position. So film directors are the main 720 00:37:16,120 --> 00:37:20,600 Speaker 1: creative right. Everything goes through the director on a film set. Also, 721 00:37:20,800 --> 00:37:22,800 Speaker 1: you get into different rules as far as what the 722 00:37:22,880 --> 00:37:25,480 Speaker 1: producers mean on movie sets as well. There's a capital 723 00:37:25,560 --> 00:37:30,440 Speaker 1: P producer versus like a executive producer on a movie. Actually, 724 00:37:30,440 --> 00:37:35,080 Speaker 1: the executive producer is not necessarily usually or or a 725 00:37:35,200 --> 00:37:37,920 Speaker 1: title given to someone who had a significant role in 726 00:37:38,080 --> 00:37:44,640 Speaker 1: making the movie happen, but wasn't the person financial producers guilt, 727 00:37:44,719 --> 00:37:46,719 Speaker 1: by the way, there is no This is one of 728 00:37:46,760 --> 00:37:49,520 Speaker 1: the part of the very easy answer is that the 729 00:37:49,640 --> 00:37:54,920 Speaker 1: producer producer is a nebulous term, precisely because there is 730 00:37:54,960 --> 00:37:57,080 Speaker 1: no union, there's no guild like there are for the 731 00:37:57,120 --> 00:38:00,960 Speaker 1: other positions, so writing and directors, and so the reason 732 00:38:01,040 --> 00:38:03,680 Speaker 1: that producer credit gets thrown out is because there's no 733 00:38:03,760 --> 00:38:06,480 Speaker 1: one regulating it within the industry. So there's been a 734 00:38:06,560 --> 00:38:09,440 Speaker 1: lot of talk the last couple of years of Formula 735 00:38:09,600 --> 00:38:14,760 Speaker 1: Producers Association that will represent them and enforce these titles, 736 00:38:15,640 --> 00:38:18,160 Speaker 1: because yeah, like a producer credit has been given as 737 00:38:18,200 --> 00:38:22,919 Speaker 1: a way to give writers a bump financially or given 738 00:38:22,960 --> 00:38:25,400 Speaker 1: them a new title, when actually, like, as far as 739 00:38:25,440 --> 00:38:28,319 Speaker 1: the writer's Guild is concerned, those mean nothing. So it's 740 00:38:28,360 --> 00:38:32,920 Speaker 1: a tricky position. You guys had so many cues, and 741 00:38:33,160 --> 00:38:36,239 Speaker 1: we had so many a's. This episode is just getting 742 00:38:36,280 --> 00:38:38,080 Speaker 1: too long, so we're going to split it into two 743 00:38:38,360 --> 00:38:41,440 Speaker 1: with a bonus episode. Don't worry, you don't have to 744 00:38:41,520 --> 00:38:44,839 Speaker 1: wait long. It's coming out tomorrow. We love you all. 745 00:38:45,280 --> 00:38:50,680 Speaker 1: Pod Dismissed Pod meets World is an iHeart podcast produced 746 00:38:50,760 --> 00:38:54,480 Speaker 1: and hosted by Danielle Fischel, Wilfordell and Writer Strong. Executive 747 00:38:54,480 --> 00:38:58,120 Speaker 1: producers Jensencarp and Amy Sugarman, executive in charge of production, 748 00:38:58,320 --> 00:39:03,040 Speaker 1: Danielle Romo, producer and editor, Tara Sudbach producer, Jackie Rodriguez, 749 00:39:03,239 --> 00:39:06,520 Speaker 1: engineer and Boy Meets World super fan Easton Allen. Our 750 00:39:06,600 --> 00:39:09,359 Speaker 1: theme song is by Kyle Morton of Typhoon. You can 751 00:39:09,400 --> 00:39:12,040 Speaker 1: follow us on Instagram at Pod Meets World Show or 752 00:39:12,160 --> 00:39:14,680 Speaker 1: email us at Pod Meets World Show at gmail dot 753 00:39:14,719 --> 00:39:14,879 Speaker 1: com