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Speaker 1: We've got a little couple's date night coming up, right

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Speaker 1: or not, we asked you to be a part of it.

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Speaker 1: We wanted it to be a triple date. You had plans,

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Speaker 1: So anyway, Will and I are taking our spouses to

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Speaker 1: my favorite place ever, a casino for a comedy show.

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Speaker 2: Which is my favorite place ever, so we get to

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Speaker 2: double up. We're comboing, we're comboing up. And he's also

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Speaker 2: arguably my favorite comedian right now, so I cannot wait

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Speaker 2: to go see. Hell tell me, we're going to see

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Speaker 2: Nate Bargatzi at the at the Yamava Casino. Oh my god, great,

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Speaker 2: so good to watch his Netflix specials. He's so funny.

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Speaker 2: He does a bit, one of my favorite bit. First

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Speaker 2: of all, he's a rarity in the world because he's

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Speaker 2: a completely clean comedian. He doesn't swear at all. And

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Speaker 2: one of the bits he does, oh god, we quoted

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Speaker 2: all the time is how your life changes when people

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Speaker 2: invite you out as your age gets older. So he's like,

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Speaker 2: in your twenties, your friends call you and they're like, hey, man,

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Speaker 2: do you want to And before they finish the sentence,

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Speaker 2: you're like, I'll go come in, I'll go wherever you

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Speaker 2: want me to go. I'll light my apartment on fire.

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Speaker 2: What are we going to do? He's like, then your

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Speaker 2: thirties come and it's where are we going? Will it

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Speaker 2: be loud? I will drive separate and he's like, in

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Speaker 2: my forties, I'm not going. And I'm actually angry that

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Speaker 2: you would even ask. It's just, oh god, he's hysterical.

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Speaker 2: I saw that he was coming, and I was like,

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Speaker 2: we have to go, so very excited to you know,

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Speaker 2: have Danielle win a whole bunch of money, laugh the

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Speaker 2: whole time, and I make all my money back on

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Speaker 2: the buffet, so I'm really excited.

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Speaker 1: Are you gonna gamble?

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Speaker 2: Will I always? Do?

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Speaker 3: You know?

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Speaker 2: I like slot machines. I'll do twenty dollars or twenty

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Speaker 2: five dollars something like that.

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Speaker 4: Slot machines are the worst there when it goes weel.

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Speaker 1: I like the hoopla yes plus bel yes those are good.

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Speaker 2: But no, if you want to see Danielle turn into

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Speaker 2: a different version of Danielle, fun daniel see sit her

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Speaker 2: at a table. Oh I don't know if I'd say

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Speaker 2: fun Danielle, sit her at a table, then go away

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Speaker 2: for about forty five minutes then come back and you

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Speaker 2: just see forty five minutes later, Danielle. It's very funny.

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Speaker 2: It's she is just straight in gambling mode. Where what

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Speaker 2: casino did we find ourselves in in the middle of

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Speaker 2: a city somewhere? Where was Where was that?

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Speaker 5: Uh?

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Speaker 2: Was it like Cleveland?

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Speaker 1: I don't yet it was Cleveland?

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Speaker 3: Was it?

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Speaker 2: Cleveland's just handel the middle of not the best casino

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Speaker 2: I've ever been in. It wasn't the win And it

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Speaker 2: was just her like, yeah, I'll see in four hours,

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Speaker 2: like we have a show, Like, yeah, the show's in

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Speaker 2: four and a half hours, I'll see you in four That.

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Speaker 1: Is what happened.

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Speaker 4: Yes, it's like, okay, have fun, bye you casino.

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Speaker 1: Yeah, anytime I can smell them so much you can.

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Speaker 2: But this is gonna be fun. You're missing on a great,

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Speaker 2: great comedy night.

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Speaker 1: We're gonna miss you, but we are turning it into

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Speaker 1: a nice little night. We have dinner, we're gonna gamble,

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Speaker 1: we're gonna see the show. We're spending the night you.

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Speaker 2: Probably wake up. Yeah, I've never been to the ama

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Speaker 2: have you.

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Speaker 1: I have not ever been to the Amaba, And I'm

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Speaker 1: very excited.

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Speaker 2: Me too, because they have some like Killer concerts there

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Speaker 2: as well.

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Speaker 3: They do.

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Speaker 2: People go, so, yeah, I'm pretty excited for this one.

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Speaker 4: Have fun.

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Speaker 1: Thank you, we will miss you. What are you doing?

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Speaker 2: I don't remember what I think he's think it was

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Speaker 2: a fake it he's got so October eighteenth, when we're going, Yeah, no,

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Speaker 2: I'm just getting back from Ireland.

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Speaker 4: I didn't want to leave town again, gotcha?

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Speaker 1: That okay?

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Speaker 2: Mission a fine show, sir, right.

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Speaker 1: Welcome to Pond Meets World.

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Speaker 2: I'm Daniel Fischel, I'm Writer Strong, and I'm Wilfordell.

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Speaker 1: In recapping season five, we have seen a lot of

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Speaker 1: new names enter the fold at Boy Meets World, and

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Speaker 1: some theories have molded themselves about who was directing week

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Speaker 1: to week and the quality of that product. So do

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Speaker 1: we have a lot of confidence about an episode that

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Speaker 1: wasn't directed by Jeff mccrackett, David Trainer or David Kendall.

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Speaker 1: It's a crapshoot. So when we looked to the future

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Speaker 1: and saw the name of a beloved co worker had

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Speaker 1: joined the mix for Heartbreak Corey, one of the most

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Speaker 1: memorable scripts in the show's history, we got nervous. But

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Speaker 1: we should have seen it coming. William Rusty Russ is

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Speaker 1: good at everything that's right. The beloved dad of the

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Speaker 1: Matthews clan, Allen got to direct episodes of Boy Meets World,

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Speaker 1: and this week we recapped his first the initial spark

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Speaker 1: between Corey and the other woman, Lauren played by Linda

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Speaker 1: Cardelini in a ski lodge, and though he wasn't actually

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Speaker 1: in the episode, Rusty was instrumental to its success, something

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Speaker 1: we all agree was overwhelmingly the result. And so just

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Speaker 1: how did Rusty get behind the camera. A man who

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Speaker 1: was directed in classic movies like Cruising The Right Stuff

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Speaker 1: and American History X and TV shows like Saint Elsewhere,

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Speaker 1: Miami Wece and The Sopranos not only helmed Heartbreak Corey.

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Speaker 1: He'd go on to direct eight more episodes of Boy

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Speaker 1: Meets World, an episode of Root Awakening Lizzie McGuire, and

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Speaker 1: return for an episode of Girl Meets World for old

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Speaker 1: times sake. So for today's episode, we welcome back our

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Speaker 1: co star for a record third time appearance. It's actor,

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Speaker 1: but more importantly, director, William Rusty Russ.

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Speaker 4: Yeah, yeah, great, I'm here too.

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Speaker 3: About Bill. I know, thank you Bill, Oh my gosh, yeah,

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Speaker 3: you know it's interesting. I watched the episode and will

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Speaker 3: you weren't in it.

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Speaker 2: No, that's probably why your first directing gig went so smoothly, pro.

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Speaker 3: Man.

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Speaker 1: We just watched the episode. We all agree it's so good,

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Speaker 1: just so much fun. And do you what, let's talk

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Speaker 1: about what is your What is the thing you remember

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Speaker 1: most about directing this episode for us?

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Speaker 3: Well, you know, I have a lot of thoughts on it,

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Speaker 3: and it was that it was so easy in a

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Speaker 3: certain way because you guys were great, the crew was great,

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Speaker 3: the you know, I just kind of came in and went,

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Speaker 3: all right, let's start here. I was kind of thrown

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Speaker 3: on me, if I remember correct. It was the first

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Speaker 3: one I directed. Yes, and uh, it was just one

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Speaker 3: of these things where Michael we were in the elevator

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Speaker 3: or something said you see, he said you're ready. I

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Speaker 3: said yeah, I said you're doing next week. I went, oh, okay.

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Speaker 3: And I'm a person and I've realized this as I've

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Speaker 3: got older, is that my greatest asset becoming an actor

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Speaker 3: and whatever I've done is that I'm a person that

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Speaker 3: doesn't know how much he doesn't know. So you just

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Speaker 3: jump in, let's go, Oh you have to put gas

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Speaker 3: in the car. Oh, I say, okay, but it's interesting

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Speaker 3: as you get older because I'm learning new things that

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Speaker 3: I'm watching, Well how do I do this? But yeah,

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Speaker 3: that was like one of the most but actually it

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Speaker 3: was you guys except for you, Yeah, we're also great.

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Speaker 3: I mean I just watched it, and I enjoy watching

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Speaker 3: everything that you all were doing. And thank god we

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Speaker 3: had camera guys who knew where to put the camera

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Speaker 3: and right, you know, and it just was a joy.

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Speaker 3: And I was a really happy the way it came

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Speaker 3: out with a couple of things that I had said, well,

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Speaker 3: let's do this, and let's try this, and and then

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Speaker 3: it was up to the actors.

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Speaker 1: I have to know was we have talked about on

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Speaker 1: season five especially, but we have talked about how many

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Speaker 1: times we have missed insert shots. We didn't do a

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Speaker 1: ton of insert shots on Boy Meets World, and then

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Speaker 1: in your episode we got an insert shot, and we

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Speaker 1: literally for weeks have been saying, why wouldn't they have

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Speaker 1: just done an insert shot? So truly, thank you forgiving

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Speaker 1: us are.

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Speaker 2: Showing us the thing we're talking about, which is there's

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Speaker 2: two times.

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Speaker 4: There's the there's the blueprints right where you get the

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Speaker 4: concerner of the blueprints, but also that wall where we

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Speaker 4: finally see you know, the fourth frosted the frosted.

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Speaker 2: Window, right, if you've bought for that, you made that happen.

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Speaker 3: For that I asked for that.

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Speaker 2: Was they would have just been looking at a light.

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Speaker 4: They're just talking about the moon, but you know, you

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Speaker 4: have you can't turn around and see the moon, but

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Speaker 4: you figured out a way to show what they were

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Speaker 4: looking at, which is the window. It's perfect.

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Speaker 3: Well, thank you, I mean because what I asked for

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Speaker 3: that as soon as I had read it or whatever,

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Speaker 3: because just the whole atmosphere of being in this cozy

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Speaker 3: lodge outside it's cold, and I wish I don't know,

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Speaker 3: I can't remember there was snow in that scene exactly,

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Speaker 3: but I wanted to get that feeling of this little

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Speaker 3: intimate moment of two people in this little womb, you know,

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Speaker 3: and things happen you don't have to see, but you

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Speaker 3: can just see the intimacy even from outside. And yeah,

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Speaker 3: I was luckily kind of and you know, I asked them,

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Speaker 3: and again I give kudos to Michael and everyone. They said, oh,

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Speaker 3: that's a great idea. Let's try that. And they built

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Speaker 3: that whole thing and we just said, let's just do

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Speaker 3: this shot from outside.

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Speaker 1: That's cool.

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Speaker 3: Yeah, I think it did add because I was watching

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Speaker 3: it and I went, yeah, you don't see that much.

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Speaker 3: And I remember saying, oh, that was my you know,

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Speaker 3: that's I thought out of the I think a certain

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Speaker 3: intimacy to the scene that you could just feel.

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Speaker 2: It. Did it make any difference to you it's your

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Speaker 2: first episode ever. Did it matter to you in any way,

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Speaker 2: shape or form that you were shooting on a set

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Speaker 2: that you were completely unfamiliar with. It wasn't like you

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Speaker 2: were shooting it's the the you know, it's the living

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Speaker 2: or kitchen, boys bedroom, it's a kitchen scene and stuff

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Speaker 2: that you, as an actor had been in the set.

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Speaker 2: You knew the sets intimately. Did it make a difference

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Speaker 2: to you either way that you were now shooting on

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Speaker 2: a set you'd never seen before.

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Speaker 3: No, because I didn't know what you're doing. No, it

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Speaker 3: really didn't. I mean, I have to say it was again,

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Speaker 3: kudos to you guys and the and the production team

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Speaker 3: and Michael and all the producers. It just it went

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Speaker 3: very well and I really was a pleasure.

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Speaker 4: I know that Michael told you in the elevator, like

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Speaker 4: you're doing it next week. But how did you become

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Speaker 4: how did you it was part of a negotiation contract

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Speaker 4: thing that you got an episode to directly. How did

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Speaker 4: you get decided that you would direct? Did you say

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Speaker 4: I want to direct an episode next season or how

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Speaker 4: did that hang?

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Speaker 3: I think that's basically it. I said. At a certain point,

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Speaker 3: I said, well, if you know, I I just said,

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Speaker 3: let me I'd like to do this. I think I

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Speaker 3: can do it. Like I said, it's the audacity of idiosity.

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Speaker 3: You know, it's whatever you want to call it, the

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Speaker 3: cow you know, the bravery of the ignorant. And I

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Speaker 3: just said, yeah, let me do that. I think I

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Speaker 3: can do this. And and again you know, I mean, gosh, no,

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Speaker 3: you all know that you're taken care of too. If

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Speaker 3: I don't know something, someone will. You know, if you're

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Speaker 3: open to listening, and that's the key, if you're opening

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Speaker 3: the scene, you know, then I knew it would be

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Speaker 3: in good hands. I knew it'd be hard to up

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Speaker 3: because no one would let me go.

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Speaker 1: They're going to support Ethan.

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Speaker 3: Use the language. But yeah, yeah, I knew that. And

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Speaker 3: fortunately that that that piece was there with all the

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Speaker 3: people around.

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Speaker 1: Well, we have told you this before. But I'm going

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Speaker 1: to say it again. We have focused so much on

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Speaker 1: the adult acting during our rewatch because a couple of reasons.

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Speaker 1: For one thing, we relate more to the Amy's and

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Speaker 1: Alan's and mister Feenees of the show now that we

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Speaker 1: are middle aged, but also because the acting is just remarkable.

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Speaker 1: You guys are all so good, and we have kicked

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Speaker 1: ourselves a million times that we were not one paying

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Speaker 1: more attention to asking more questions, three appreciating more it was.

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Speaker 1: It's really some top notch stuff. Do you remember feeling

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Speaker 1: pride and proud of the work that you were doing

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Speaker 1: on Boy Meets World when it was happening, or did

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Speaker 1: you think of it as just doing a sitcom?

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Speaker 3: No, of course I felt pride in the work. And

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Speaker 3: and and again I told this story many times. I've

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Speaker 3: never had never done a sitcom before, and I haven't

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Speaker 3: done one since. I don't know what that means, said,

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Speaker 3: but it was a fascinating journey, and thank God, especially

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Speaker 3: when I came in on the first shows, you guys

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Speaker 3: were so welcoming and and you know, because you had

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Speaker 3: another father before, Matt, who I saw not too long ago.

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Speaker 3: And and again I was so ignorant of the genre

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Speaker 3: of the style, you know, and I just you know,

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Speaker 3: at that point, I said, well, it's banging me on

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Speaker 3: the head, so I'm going to go do it and

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Speaker 3: I'll figure it out. Unfortunately, I had people like David Traynor,

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Speaker 3: and he was there, and he would point something to me,

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Speaker 3: I mean and say, you know, I shouldn't do that,

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Speaker 3: and I go, oh, really, And I've been doing it

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Speaker 3: for twenty thirty years on film sets and other plays.

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Speaker 3: You know, here we do this, and I went, oh, okay,

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Speaker 3: all right. And I tried not to take it personally

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Speaker 3: and I went, okay, all right, I'll figure it out,

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Speaker 3: you know. And yeah, no, I was. I was really

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Speaker 3: happy that I could get through a scene without cracking

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Speaker 3: up with you guys that didn't.

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Speaker 2: That wasn't always the case towards the end with you

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Speaker 2: and I, Rusty.

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Speaker 3: You know, it wasn't always the case.

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Speaker 4: And that's fine.

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Speaker 3: You know, if I'm going to get fired, I better

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Speaker 3: get fired laughing. Yeah.

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Speaker 2: Yeah, we just watched a couple episodes ago. Was the

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Speaker 2: episode where we're skydiving.

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Speaker 4: Oh my god, that's my favorite episode.

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Speaker 2: And it's just just remembering the shoot of just screaming

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Speaker 2: at each other as we're then jumping out of the

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Speaker 2: plane and shooting that, and and we we were I

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Speaker 2: couldn't remember, Rider asked, I think, and and I was

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Speaker 2: vaguely recalled, but couldn't really remember. Do you remember the

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Speaker 2: set for that? I remember the interior. But then did

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Speaker 2: they just flip that scene set around and shoot the

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Speaker 2: exterior or did they have a separate exterior that we

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Speaker 2: jumped out of.

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Speaker 3: No, I think I think they just went inside and outside.

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Speaker 3: That's okay, I think so. I don't really remember the specifics,

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Speaker 3: but I didn't exactly anywhere I go. But yeah, and

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Speaker 3: you know again, I'm going to go back to you

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Speaker 3: guys on this episode the intimacy, Danielle, you and Ben

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Speaker 3: and Ryder. I mean the scene on the couch where

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Speaker 3: he sits in and then totten here.

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Speaker 2: Yes, and I remember that.

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Speaker 3: I remember just saying you got you guys, just let

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Speaker 3: it go just and and the life and the and

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Speaker 3: and and it's so true that you can't help but

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Speaker 3: laugh as an audience, you know. And I watched that

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Speaker 3: and I just went, that's so wonderful and you all

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Speaker 3: got it there, and then of course kicked it off

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Speaker 3: with that moment, But there are you know, there's so

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Speaker 3: many moments that I looked at, how that was great

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Speaker 3: and you're you outside and the whole thing with you

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Speaker 3: and Corey, you know, did you do anything else? I

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Speaker 3: mean those It was a very intimate show. And part

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Speaker 3: of me is, you guys are also at an age.

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Speaker 3: How old were you then when we were doing this.

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Speaker 1: We were on the show. We were supposed to be seventeen.

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Speaker 3: Right, and how were you?

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Speaker 1: I will see if this was in I was about

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Speaker 1: to be seventeen, I was about to be I was

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Speaker 1: sixteen seventeen.

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Speaker 3: And that's what struck me actually about watching the show,

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Speaker 3: and it was, you know, at the end of that

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Speaker 3: year and you guys, just as young adults were having

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Speaker 3: these things, you know, certainly on a different kind of level. Yeah,

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Speaker 3: but it was part of that world, that discovery that

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Speaker 3: oh I could do this or this would happen. I

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Speaker 3: never saw that coming and and it just seemed like

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Speaker 3: it was very fascinating to watch because I could see

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Speaker 3: you as people being that age at this point in

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Speaker 3: your life too, and you brought all that to it. Right.

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Speaker 4: Well, we were talking about how in that ski lodge

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Speaker 4: set around the fire, you know, when we're sitting around

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Speaker 4: the on the couches. It's like our characters were allowed

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Speaker 4: to be adults for probably the first time. Like we're

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Speaker 4: not in the school setting. We're not you know, we

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Speaker 4: didn't get dropped off. We like kind of are comfortable

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Speaker 4: as grown ups and we're allowed to just talk to

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Speaker 4: each other, play grown up games, asking questions and I

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Speaker 4: don't know, it was cool. It's it's very relaxing.

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Speaker 3: Oh yeah, it was. It was. It really struck me

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Speaker 3: as it was also that journey that you were a

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Speaker 3: certain places. Obviously you're you know, you weren't as you know,

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Speaker 3: uh innocent, I think, as you know, your characters were

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Speaker 3: in a certain way. But it was still a fascinating

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Speaker 3: moment to kind of watch because there were these really subtle,

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Speaker 3: intimate moments that could have been in a you know,

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Speaker 3: and and anywhere on the stage and another movie and

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Speaker 3: a different thing. It was, you know, the life and

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Speaker 3: the and the beauty that you guys brought to it

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Speaker 3: wasn't you know, confined to those three cameras.

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Speaker 4: Yes, you know.

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Speaker 3: And that's why again I go back to liking the

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Speaker 3: window because I think it gave it another intimacy from

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Speaker 3: being outside and getting the audience consciously or unconsciously to

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Speaker 3: feel there. They're in this safe wound for a moment.

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Speaker 4: What do you remember about Linda Cardelini. Did you actually

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Speaker 4: audition her or was she.

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Speaker 3: I don't remember if, because I don't know if I

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Speaker 3: was as a director before they did the audition, they

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Speaker 3: usually they cast it. I just remember she was very

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Speaker 3: sweet and came on and it was very good, and

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Speaker 3: you know, and she wasn't intimidating. You know, everyone would

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Speaker 3: come on that show and be in a certain way

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Speaker 3: imitated because you guys been working there for five years

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Speaker 3: and you got the whole thing. You know. I've done

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Speaker 3: this in many shows myself, and I feel like, you know,

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Speaker 3: but she was great, very sweet, and and she brought

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Speaker 3: it and you brought it.

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Speaker 6: Rid mm hmmy, I forgotten that line, and I've al

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Speaker 6: so fun in my head and I still see it.

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Speaker 3: I laugh out loud.

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Speaker 2: Yeah, And Danielle, do you guys remember feeling different on

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Speaker 2: the set, not just with Rusty as a director, but

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Speaker 2: knowing that your director was also an actor. Did that

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Speaker 2: change kind of how you acted on the set, blocking

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Speaker 2: on the set?

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Speaker 4: I mean, I have such fond memories of this week.

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Speaker 4: Like I just remember thinking, this was so much fun.

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Speaker 4: And I think it's because the characters are more mature,

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Speaker 4: you know, it's it's funny stuff. And I remember just

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Speaker 4: Linda was so incredible and just was immediately was part

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Speaker 4: of our gang. Like it just felt like it didn't

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Speaker 4: feel like a lot of times you'd have guest stars,

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Speaker 4: and you know, they have their own personalities, their own securities,

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Speaker 4: throwing whatever. But I remember with her it was like, oh,

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Speaker 4: you're just one of us, and we all just were

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Speaker 4: hanging out and laughing and having such a good week. Yeah.

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Speaker 4: So yeah, I mean I think it created a wonderful atmosphere,

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Speaker 4: like having Rusty direct. I just remember being wholly positive.

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Speaker 4: It was so fun.

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Speaker 3: Yeah, it was. It was very special, like I said,

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Speaker 3: and as I said, I owe it all to the

381
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Speaker 3: people around me, you know, I mean really I just

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Speaker 3: kind of walked in, you know. You know, obviously I

383
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Speaker 3: had an idea what to do, but I mean it's

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Speaker 3: really just watching what you guys do, and then just

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Speaker 3: as you know very well, as you all know now,

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Speaker 3: you know, it's really a matter of letting actors be

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Speaker 3: in the reality and the truth they're in and then

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Speaker 3: just getting it on camera the way it should be.

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Speaker 1: Yeah, you know, yeah, I remember that being a feeling

390
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Speaker 1: the whole week is like knowing how natural and relaxed

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Speaker 1: Rusty is. As an actor, imagine your director bringing that

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Speaker 1: to the table for you. It makes you natural and

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Speaker 1: relaxed and you do get to live really in the reality.

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Speaker 1: That intimacy you were talking about Rusty is obviously an

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Speaker 1: intimacy that the four of us writer, myself, Trina, and

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Speaker 1: Ben had developed on set. There was that was that

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Speaker 1: real friendship and being able to see us as adults

398
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Speaker 1: for the first time really lended itself to Wow, I

399
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Speaker 1: feel elevated. It felt like the elevation of our relationships

400
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Speaker 1: for sure.

401
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Speaker 3: Wow. Yeah it was. It was a special episode and

402
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Speaker 3: I enjoy I watched it a couple of times, and yeah,

403
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Speaker 3: it was. It was kind of special to see what

404
00:21:30,680 --> 00:21:33,439
Speaker 3: you guys brought to it and the said you just

405
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Speaker 3: kind of lived in it. Yeah, lived in the set

406
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Speaker 3: and lived in the moment, lived in the story.

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Speaker 1: Now, for season five, we have talked a lot about

408
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Speaker 1: the fact that we had a new director to us,

409
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Speaker 1: Alan Myerson. What do you remember about Alan Myerson as

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Speaker 1: a director. I think at this point he had had

411
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Speaker 1: started he did like the first six.

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Speaker 3: I just remember Alan as being very He was an

413
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Speaker 3: experienced director, so I kind of I think he you

414
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Speaker 3: know again, I you know, I think he came in

415
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Speaker 3: with a lot of ideas that the way he did things.

416
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Speaker 3: I mean, I really don't remember much, yeah, except that

417
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Speaker 3: he was very kind of you know, this is the way

418
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Speaker 3: we're going to do it this way, right, you know,

419
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Speaker 3: very I said, I don't even know how many episodes

420
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Speaker 3: I did that year with him, So what did you

421
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Speaker 3: guys think.

422
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Speaker 4: We've been reflecting on it because I had wholly positive

423
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Speaker 4: memories of Alan as a person, because because he gave

424
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Speaker 4: me he made all these mixtapes for me. He gave

425
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Speaker 4: me two shopping bags of jazz and folk music that

426
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Speaker 4: he wanted me to listen to because we were talk music.

427
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Speaker 4: He introduced me to Billy Collins, a great poet who

428
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Speaker 4: was I think the poet laureate at the time. He

429
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Speaker 4: gave me that fir so like I just had like, oh,

430
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Speaker 4: Alan was such a great guy. But then watching these episodes,

431
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Speaker 4: I'm realizing, like, oh, he at the time the kind

432
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Speaker 4: of director I liked with somebody who just didn't talk

433
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Speaker 4: to me about like character or motivation or story. They

434
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Speaker 4: would just say stand over here, go over there, and

435
00:23:14,320 --> 00:23:16,359
Speaker 4: then you exit here. And I'd be like, I can

436
00:23:16,400 --> 00:23:19,280
Speaker 4: figure out the rest. But now I would I wouldn't

437
00:23:19,280 --> 00:23:20,639
Speaker 4: want to work with a director like that, Like I

438
00:23:20,640 --> 00:23:22,119
Speaker 4: don't want a director who's going to get into the

439
00:23:22,160 --> 00:23:25,600
Speaker 4: process with me or empower me to like make new choices,

440
00:23:25,680 --> 00:23:27,920
Speaker 4: you know. And it seems like Alan was much more

441
00:23:27,960 --> 00:23:30,760
Speaker 4: of a like tell you where to go, when to

442
00:23:30,800 --> 00:23:31,200
Speaker 4: do it.

443
00:23:31,320 --> 00:23:33,480
Speaker 2: Grab you by the arm, bring you to your mark,

444
00:23:33,760 --> 00:23:36,240
Speaker 2: this is where you stand, say this, walk out this way.

445
00:23:36,480 --> 00:23:40,000
Speaker 2: So at the time I had I wouldn't want that. Now,

446
00:23:40,119 --> 00:23:41,879
Speaker 2: you know, I had the same experience. He and I

447
00:23:41,920 --> 00:23:44,359
Speaker 2: got along really well, but it was I can see

448
00:23:44,359 --> 00:23:47,880
Speaker 2: how some actors would not have appreciated his style.

449
00:23:48,600 --> 00:23:51,720
Speaker 3: Yeah. Well, and as you've all learned over the years,

450
00:23:51,720 --> 00:23:56,000
Speaker 3: I mean, directors are different and and actors are different, right, Yeah,

451
00:23:56,000 --> 00:24:00,000
Speaker 3: I mean, I it depends. I mean a lot of times,

452
00:24:00,200 --> 00:24:02,280
Speaker 3: I mean, and I mean a certain way. That's a

453
00:24:02,320 --> 00:24:04,040
Speaker 3: lot of respect for you guys, because he says, you

454
00:24:04,160 --> 00:24:07,040
Speaker 3: know the characters you know, and I'm going to trust

455
00:24:07,040 --> 00:24:10,720
Speaker 3: you to be spontaneous in your job right, live and

456
00:24:10,920 --> 00:24:14,760
Speaker 3: do your job, but you have to do it over here.

457
00:24:13,880 --> 00:24:15,920
Speaker 2: Right, but do it facing this way.

458
00:24:16,640 --> 00:24:17,720
Speaker 3: It came.

459
00:24:19,440 --> 00:24:21,119
Speaker 4: Well, I think, you know, I think so much of

460
00:24:21,160 --> 00:24:24,080
Speaker 4: what like David Traynor was doing first season was teaching us,

461
00:24:25,200 --> 00:24:27,359
Speaker 4: like he was teaching all of us because all of

462
00:24:27,400 --> 00:24:30,840
Speaker 4: us were new, right, Like I mean, so we all

463
00:24:30,920 --> 00:24:33,920
Speaker 4: needed to learn the sort of rules of the form,

464
00:24:34,040 --> 00:24:35,720
Speaker 4: like this is how you stand, this is how you open,

465
00:24:35,760 --> 00:24:37,639
Speaker 4: this is how you know you hold your body or

466
00:24:37,720 --> 00:24:40,200
Speaker 4: sit in a in a formation, how you turn it?

467
00:24:40,720 --> 00:24:43,160
Speaker 4: And we needed that. But then it seems like Jeff

468
00:24:43,240 --> 00:24:47,320
Speaker 4: McCracken coming in was like, what about your character? How

469
00:24:47,320 --> 00:24:48,960
Speaker 4: do you feel about these things? And you know he

470
00:24:49,080 --> 00:24:50,560
Speaker 4: talked about it when we had him on the podcast.

471
00:24:50,600 --> 00:24:52,760
Speaker 4: He really opened us all up to take these things

472
00:24:52,800 --> 00:24:55,560
Speaker 4: a little more seriously, ask questions, and you could see

473
00:24:56,359 --> 00:24:59,440
Speaker 4: Sean become a character. You could see everybody like elevate

474
00:24:59,480 --> 00:25:04,320
Speaker 4: their game by emotionally informing and really thinking like real actors.

475
00:25:05,160 --> 00:25:07,520
Speaker 4: So it's interesting now that it seems like Alan was

476
00:25:07,600 --> 00:25:09,920
Speaker 4: kind of going back to a more old school sitcom

477
00:25:10,000 --> 00:25:12,800
Speaker 4: let's just do our job thing. But I kind of

478
00:25:13,240 --> 00:25:14,919
Speaker 4: I like the idea of you know, sitting around and

479
00:25:15,000 --> 00:25:15,639
Speaker 4: letting actors.

480
00:25:15,640 --> 00:25:17,560
Speaker 3: Oh yeah, and that's what you should do. And I

481
00:25:18,440 --> 00:25:20,840
Speaker 3: don't know about you, but even when I be rehearsing,

482
00:25:20,920 --> 00:25:23,280
Speaker 3: or well, let's put this color on and see what

483
00:25:23,359 --> 00:25:26,280
Speaker 3: happens exactly. Yeah, you know, as opposed to just stand

484
00:25:26,320 --> 00:25:28,240
Speaker 3: here and do it. Well, why don't you try this?

485
00:25:28,400 --> 00:25:30,840
Speaker 3: You know that as an actor you try to do

486
00:25:30,920 --> 00:25:34,840
Speaker 3: because if you're worth your assault as an actor, you

487
00:25:34,880 --> 00:25:38,359
Speaker 3: have ideas, yes, yes, wow, what yeah. As a painter,

488
00:25:38,440 --> 00:25:42,080
Speaker 3: if you're painting, I need this paint. Let me try

489
00:25:42,119 --> 00:25:45,560
Speaker 3: what this looks like. You know, it's not by numbers.

490
00:25:46,280 --> 00:25:48,199
Speaker 3: It's the worst thing you can do what Alan was

491
00:25:48,240 --> 00:25:50,439
Speaker 3: doing basically saying, your job as the actor is to

492
00:25:50,520 --> 00:25:52,359
Speaker 3: explore this and figure out what you want to do

493
00:25:52,480 --> 00:25:56,439
Speaker 3: or not do. My job as a director is to

494
00:25:56,480 --> 00:25:58,280
Speaker 3: put you in the right spot where I can get

495
00:25:58,280 --> 00:26:00,359
Speaker 3: the camera and I can get the shot that tells

496
00:26:00,400 --> 00:26:03,840
Speaker 3: my part of the story right, And as actors, yours

497
00:26:03,840 --> 00:26:06,160
Speaker 3: to come in and say, wow, what, what's the behavior?

498
00:26:06,280 --> 00:26:09,880
Speaker 3: What's going on? How would you know? In different colors?

499
00:26:10,320 --> 00:26:10,560
Speaker 3: You know?

500
00:26:11,080 --> 00:26:12,840
Speaker 5: Yeah, but that was.

501
00:26:12,800 --> 00:26:14,639
Speaker 3: That's kind of what Jeff. You know, Jeff and I

502
00:26:14,680 --> 00:26:19,159
Speaker 3: went to the same acting school, you know, and that

503
00:26:19,320 --> 00:26:24,639
Speaker 3: was all about exploring, and nothing was the same in

504
00:26:24,840 --> 00:26:28,399
Speaker 3: any scene because you're hopefully he used the old cliche

505
00:26:28,480 --> 00:26:30,800
Speaker 3: moment the moment and everything's changing because it's luck.

506
00:26:31,400 --> 00:26:33,680
Speaker 1: I want to ask you one question that doesn't really

507
00:26:33,680 --> 00:26:36,439
Speaker 1: have to do with directing, but do you remember anything

508
00:26:36,480 --> 00:26:39,679
Speaker 1: about Tony Quinn leaving the show? So earlier in the season,

509
00:26:39,680 --> 00:26:41,520
Speaker 1: he's in like a couple of episodes and then he's

510
00:26:41,640 --> 00:26:44,879
Speaker 1: just off the show. Do you remember anything in particular?

511
00:26:45,040 --> 00:26:47,080
Speaker 1: Did they tell you he was not going to be

512
00:26:47,080 --> 00:26:49,760
Speaker 1: coming back. Were you aware that was going on or

513
00:26:49,880 --> 00:26:51,080
Speaker 1: was it just a surprise to you.

514
00:26:52,000 --> 00:26:54,199
Speaker 3: I'm sure was a surprise to me. I know, I

515
00:26:54,240 --> 00:27:00,119
Speaker 3: don't really remember. You know, I wasn't privy to any

516
00:27:00,119 --> 00:27:04,720
Speaker 3: of those decisions obviously, and I'm not sure. But did

517
00:27:04,760 --> 00:27:05,919
Speaker 3: Tony ever talk about it?

518
00:27:06,480 --> 00:27:09,120
Speaker 2: He did, Yeah, he was a surprise to him too.

519
00:27:09,240 --> 00:27:11,520
Speaker 2: It was a surprise to him too. He he thought

520
00:27:11,520 --> 00:27:14,719
Speaker 2: he was coming back, and then he was kind of

521
00:27:14,800 --> 00:27:17,520
Speaker 2: called in and told that you're not. And then and

522
00:27:17,560 --> 00:27:22,679
Speaker 2: then hey, go, you know, go pursue other options. And

523
00:27:22,760 --> 00:27:24,520
Speaker 2: so when he came back, he has haircut, he did

524
00:27:24,520 --> 00:27:26,000
Speaker 2: all the stuff, and he went to go pursue other

525
00:27:26,000 --> 00:27:27,920
Speaker 2: options and then they kind of stepped in like, well, wait,

526
00:27:27,960 --> 00:27:30,040
Speaker 2: you're with us, and he's like, wait, he told me

527
00:27:30,080 --> 00:27:32,879
Speaker 2: that I wasn't and I was going to pursue other options.

528
00:27:32,920 --> 00:27:35,280
Speaker 2: So it was very muddled for him, I think would

529
00:27:35,320 --> 00:27:36,359
Speaker 2: be the polite way to say it.

530
00:27:36,400 --> 00:27:40,679
Speaker 3: At the end, Yeah, I mean, who knows what happens

531
00:27:40,720 --> 00:27:43,159
Speaker 3: back there. We decided, well, this storyline isn't going to

532
00:27:43,240 --> 00:27:48,760
Speaker 3: go where. Yeah you know, then you know, why are

533
00:27:48,760 --> 00:27:50,040
Speaker 3: we keeping Tony around?

534
00:27:50,280 --> 00:27:50,480
Speaker 2: Yeah?

535
00:27:50,840 --> 00:27:56,280
Speaker 3: All right, but as an actor you're barely expendable.

536
00:27:56,840 --> 00:27:59,159
Speaker 2: Exactly very time.

537
00:27:59,520 --> 00:28:04,160
Speaker 1: Yeah, I want to mention a few season five episodes

538
00:28:04,200 --> 00:28:07,199
Speaker 1: and see if you have any memories from them. There's no,

539
00:28:07,480 --> 00:28:10,359
Speaker 1: there's no guts, no, Corey. This is the episode where

540
00:28:10,520 --> 00:28:12,560
Speaker 1: you go back in time to World War two and

541
00:28:12,600 --> 00:28:16,080
Speaker 1: they have you doing your best patent. It is much

542
00:28:16,119 --> 00:28:20,640
Speaker 1: better than the Russian accent from the last time travel episode.

543
00:28:22,720 --> 00:28:24,080
Speaker 3: It wouldn't take much.

544
00:28:26,000 --> 00:28:28,119
Speaker 2: Yeah, you were like the grizzled sergeant with the with

545
00:28:28,160 --> 00:28:29,520
Speaker 2: the cigar in your mouth.

546
00:28:29,560 --> 00:28:37,080
Speaker 3: And play all those World War two movies that you

547
00:28:37,600 --> 00:28:40,520
Speaker 3: remember that. I remember Alan Myers, I remember us directing that.

548
00:28:42,000 --> 00:28:45,400
Speaker 2: Yeah, you were in a bunker.

549
00:28:46,360 --> 00:28:48,040
Speaker 3: Yeah, Oh my god.

550
00:28:48,600 --> 00:28:50,280
Speaker 2: Do you have a favorite episode of the show that

551
00:28:50,320 --> 00:28:50,800
Speaker 2: you remember.

552
00:28:52,440 --> 00:28:56,840
Speaker 3: Uh No, I think if you watching this one was

553
00:28:56,880 --> 00:29:02,320
Speaker 3: really one of my favorites and again watching it again again,

554
00:29:02,360 --> 00:29:05,040
Speaker 3: I give kudos to all you guys because it was

555
00:29:05,960 --> 00:29:09,440
Speaker 3: the intimacy and the life and the bravery to not

556
00:29:09,560 --> 00:29:14,320
Speaker 3: do stick to be there, you know, which was what

557
00:29:14,400 --> 00:29:16,520
Speaker 3: you guys had learned over those years. So when you

558
00:29:16,600 --> 00:29:20,200
Speaker 3: left that show, you you had a lot of skills.

559
00:29:21,440 --> 00:29:24,600
Speaker 1: Thank you. There was a very tapanga Christmas. This is

560
00:29:24,600 --> 00:29:27,840
Speaker 1: where I become extremely annoying and try to alter the

561
00:29:27,880 --> 00:29:31,880
Speaker 1: Matthews Christmas. We wouldn't wouldn't really be shocked if this

562
00:29:31,960 --> 00:29:33,760
Speaker 1: episode rings no bells to you.

563
00:29:33,840 --> 00:29:40,160
Speaker 4: But yeah, did you know that Matthew you were a

564
00:29:40,240 --> 00:29:44,360
Speaker 4: proponent of aluminum trees. Aluminum Christmas tree, like that's what

565
00:29:44,400 --> 00:29:45,520
Speaker 4: Alan wants in the house.

566
00:29:45,760 --> 00:29:51,080
Speaker 1: Do you remember this, Well, there's a really important one

567
00:29:51,120 --> 00:29:55,560
Speaker 1: for Alan called Raging Corey. This is a true Rusty

568
00:29:55,600 --> 00:29:58,040
Speaker 1: standout where you and Corey get into a physical fight

569
00:29:58,080 --> 00:30:03,640
Speaker 1: playing basketball and then you have skydive. Will mentioned we

570
00:30:03,680 --> 00:30:05,960
Speaker 1: talked about the plane with you guys having to scream

571
00:30:06,000 --> 00:30:08,720
Speaker 1: at each other. Do you remember that those run throughs

572
00:30:08,760 --> 00:30:11,240
Speaker 1: where you were having to yell over the noise. Do

573
00:30:11,240 --> 00:30:12,240
Speaker 1: you remember taping that?

574
00:30:12,880 --> 00:30:15,360
Speaker 3: Oh, I totally remember taping it. It was so much

575
00:30:15,440 --> 00:30:18,640
Speaker 3: fun because it was like you're on a World War

576
00:30:18,680 --> 00:30:21,600
Speaker 3: two movie set, and when you watch all those movies

577
00:30:21,640 --> 00:30:24,360
Speaker 3: and you see those guys in the plane, you imagine

578
00:30:24,360 --> 00:30:27,640
Speaker 3: the noise. I watch a lot of things now going wow,

579
00:30:27,760 --> 00:30:31,080
Speaker 3: and I'm looking off the frame and wondering, Okay, all

580
00:30:31,080 --> 00:30:33,120
Speaker 3: these guys are over there smoking a cigarettes and getting

581
00:30:33,120 --> 00:30:35,080
Speaker 3: these things ready, and all the actors are over here

582
00:30:35,120 --> 00:30:37,720
Speaker 3: going I got to get lunch and get into this scene.

583
00:30:37,720 --> 00:30:42,200
Speaker 3: And you know, I'm looking at the at the the work.

584
00:30:42,200 --> 00:30:45,200
Speaker 3: I'm actually reading Kubrick's biography and all the work that

585
00:30:45,240 --> 00:30:49,080
Speaker 3: goes in to even the sitcom, you know. And what

586
00:30:49,160 --> 00:30:51,600
Speaker 3: I remember again about what was so fun to me

587
00:30:51,800 --> 00:30:54,479
Speaker 3: was it was like, it's like all those World War

588
00:30:54,560 --> 00:30:56,840
Speaker 3: two movies I grew up on watching, and here I

589
00:30:56,840 --> 00:30:59,440
Speaker 3: get to be in a plane with the sound and

590
00:30:59,480 --> 00:31:02,120
Speaker 3: the wind. Then the actors jump out.

591
00:31:02,400 --> 00:31:02,640
Speaker 6: You know.

592
00:31:03,400 --> 00:31:04,880
Speaker 4: It was great, so much fun.

593
00:31:05,080 --> 00:31:17,480
Speaker 5: Yeah.

594
00:31:17,520 --> 00:31:20,240
Speaker 1: So talking about when you decided you thought you could

595
00:31:20,320 --> 00:31:22,760
Speaker 1: start directing, when you were working in film with people

596
00:31:22,840 --> 00:31:25,880
Speaker 1: like William Friedkin and on TV with James Burrows, was

597
00:31:25,880 --> 00:31:29,520
Speaker 1: it a job you thought Hey, I think I could

598
00:31:29,520 --> 00:31:31,160
Speaker 1: do that. I think I could handle it or was

599
00:31:31,200 --> 00:31:34,200
Speaker 1: it really once you were on Boy Meets World and

600
00:31:34,320 --> 00:31:36,400
Speaker 1: then realized you thought you could do multi caam.

601
00:31:38,920 --> 00:31:42,560
Speaker 3: Well, I think you know, I always admired the directors

602
00:31:42,560 --> 00:31:45,640
Speaker 3: and I had no desire really at the moment. But

603
00:31:45,760 --> 00:31:49,000
Speaker 3: what I what I did know I could do is

604
00:31:49,680 --> 00:31:54,080
Speaker 3: work under pressure. And but again, the you know, my

605
00:31:54,320 --> 00:31:57,480
Speaker 3: ignorance of being ignorant is the only thing that kept

606
00:31:57,480 --> 00:31:59,760
Speaker 3: me going. So in a certain way, I would have

607
00:32:00,680 --> 00:32:02,920
Speaker 3: if I'd been on a show, say, you know, one camera,

608
00:32:03,000 --> 00:32:06,560
Speaker 3: single camera show and it was shows long enough, I

609
00:32:06,600 --> 00:32:08,320
Speaker 3: would have I would have said, yeah, let me let

610
00:32:08,320 --> 00:32:10,920
Speaker 3: me go in. I actually started to on a show

611
00:32:10,960 --> 00:32:15,200
Speaker 3: we did called Mister Sterling, which was with James Berlin

612
00:32:15,280 --> 00:32:17,560
Speaker 3: and it was a political show by Lawrence O'Donnell.

613
00:32:18,000 --> 00:32:18,200
Speaker 2: Huh.

614
00:32:18,760 --> 00:32:21,600
Speaker 3: I was hoping that that would go for a year

615
00:32:21,720 --> 00:32:24,120
Speaker 3: or two or whatever, and I started kind of following

616
00:32:24,120 --> 00:32:25,400
Speaker 3: the directors around.

617
00:32:25,080 --> 00:32:28,400
Speaker 1: As we do yeah shadow, yeah, and it was.

618
00:32:28,520 --> 00:32:30,840
Speaker 3: It didn't happen, But yeah, I think I would have

619
00:32:30,960 --> 00:32:35,920
Speaker 3: eventually if I'd had the opportunity. And but again it's

620
00:32:36,000 --> 00:32:39,080
Speaker 3: like there's so much I don't know that I don't

621
00:32:39,120 --> 00:32:43,920
Speaker 3: know that I would have had to go really understand.

622
00:32:45,440 --> 00:32:47,320
Speaker 1: Was there a director that we had in the first

623
00:32:47,320 --> 00:32:50,080
Speaker 1: couple of seasons that you would have said you modeled

624
00:32:50,120 --> 00:32:52,760
Speaker 1: your style after or took inspiration from.

625
00:32:53,360 --> 00:32:57,720
Speaker 3: Well, I think mainly what I looked for in directors

626
00:32:57,720 --> 00:32:59,600
Speaker 3: that came in that show were how they treated the

627
00:32:59,640 --> 00:33:04,040
Speaker 3: actor and how they worked and moved the cameras. Whether

628
00:33:04,040 --> 00:33:09,560
Speaker 3: there's any style that I noticed or not, again, I don't.

629
00:33:09,640 --> 00:33:12,040
Speaker 3: I don't really know. I mean I certainly learned from

630
00:33:12,080 --> 00:33:15,320
Speaker 3: certain directors, but they have so much knowledge in their

631
00:33:15,360 --> 00:33:18,240
Speaker 3: heads about how this frame works, and how this doesn't work,

632
00:33:18,320 --> 00:33:20,880
Speaker 3: and why this doesn't work and why we should try this.

633
00:33:21,360 --> 00:33:23,960
Speaker 3: I was just really going on a lot of instinct

634
00:33:24,960 --> 00:33:27,880
Speaker 3: and a lot of good people around me. Really, I

635
00:33:27,920 --> 00:33:28,640
Speaker 3: was very lucky.

636
00:33:29,560 --> 00:33:31,800
Speaker 2: Were we ever tough to work with? Like as as

637
00:33:31,840 --> 00:33:34,280
Speaker 2: the more episodes that you did, were we ever too

638
00:33:34,360 --> 00:33:37,080
Speaker 2: big for our breches or you know, getting to the

639
00:33:37,120 --> 00:33:39,400
Speaker 2: point where it's been seven years, we know what we're doing, Rusty,

640
00:33:39,520 --> 00:33:40,920
Speaker 2: Just point the camera at us and let her do

641
00:33:41,000 --> 00:33:43,400
Speaker 2: our thing. I mean, were we ever tough? Were we

642
00:33:43,440 --> 00:33:43,840
Speaker 2: ever tough?

643
00:33:44,080 --> 00:33:45,719
Speaker 3: That's good? Yeah, just do it.

644
00:33:45,800 --> 00:33:48,600
Speaker 2: Just put the camera on us, Rusty, We'll take it out.

645
00:33:49,400 --> 00:33:50,720
Speaker 3: We'll make the magic.

646
00:33:52,120 --> 00:33:55,800
Speaker 4: I could do. I could see we'll saying that.

647
00:33:57,440 --> 00:34:00,480
Speaker 2: Do you remember I remember this? Do you guys are will?

648
00:34:00,560 --> 00:34:04,000
Speaker 4: You started giving Rusty so much you called him the directator.

649
00:34:04,720 --> 00:34:11,080
Speaker 4: You were like, oh, Rusty's a directator? Which is doing

650
00:34:11,120 --> 00:34:14,759
Speaker 4: it for non or was not? Like has just been

651
00:34:14,800 --> 00:34:17,680
Speaker 4: a joke? The most open like he would like, what

652
00:34:17,680 --> 00:34:19,440
Speaker 4: do you want to do? Like, he would marry everything

653
00:34:19,480 --> 00:34:22,360
Speaker 4: about the actors. So you started calling him a directator.

654
00:34:22,440 --> 00:34:23,160
Speaker 4: That's what I remember.

655
00:34:23,760 --> 00:34:26,680
Speaker 2: Well, that's the favorite part about working with Rusty's, especially

656
00:34:26,800 --> 00:34:29,520
Speaker 2: later in the episodes he was doing, was he would

657
00:34:29,560 --> 00:34:35,160
Speaker 2: direct us while also acting and were and we're being filmed.

658
00:34:35,200 --> 00:34:37,480
Speaker 2: So he'd be like, because that's the way it's supposed

659
00:34:37,480 --> 00:34:42,920
Speaker 2: to be, Eric and now turn in the middle of.

660
00:34:46,800 --> 00:34:50,399
Speaker 3: You know that's from you know, that's old theater training, baby,

661
00:34:50,440 --> 00:34:52,840
Speaker 3: Because you would get on that stage and all of

662
00:34:52,840 --> 00:34:57,720
Speaker 3: a sudden, that knife isn't there, That wasn't you gotta

663
00:34:57,719 --> 00:35:02,919
Speaker 3: beat him to death, you gotta figure out I can't

664
00:35:02,920 --> 00:35:05,080
Speaker 3: find a knife, directator.

665
00:35:05,120 --> 00:35:06,520
Speaker 2: I love that it was you.

666
00:35:09,760 --> 00:35:13,880
Speaker 3: I want to say also, Danielle, the moments when you

667
00:35:14,360 --> 00:35:17,120
Speaker 3: dealt with that letter and all that stuff, it was

668
00:35:17,200 --> 00:35:19,719
Speaker 3: just beautiful. And I was watching, you know when it

669
00:35:19,880 --> 00:35:21,759
Speaker 3: kind of went to the next episode and it was

670
00:35:22,480 --> 00:35:25,400
Speaker 3: you know, but it was again. I think, you guys

671
00:35:25,960 --> 00:35:31,760
Speaker 3: just again. I loved the episode because it's about maturing, Yeah,

672
00:35:31,800 --> 00:35:35,319
Speaker 3: and it's also about relationships and even even the you know,

673
00:35:35,520 --> 00:35:37,560
Speaker 3: you have to be truthful in a relationship. You know.

674
00:35:37,640 --> 00:35:42,560
Speaker 3: The whole story was so poignant, and I think at

675
00:35:42,600 --> 00:35:45,920
Speaker 3: a certain time in your lives, it was very interesting

676
00:35:45,960 --> 00:35:48,560
Speaker 3: to be there with it, and you guys just brought it.

677
00:35:48,880 --> 00:35:51,919
Speaker 1: Well, you're very kind. You're constantly deflecting it back onto us,

678
00:35:51,960 --> 00:35:56,759
Speaker 1: but you know, it has a show. Is it a

679
00:35:57,080 --> 00:36:01,680
Speaker 1: lot to do with you? We were all so blown

680
00:36:01,719 --> 00:36:05,360
Speaker 1: away by Linda Cardelini in this episode, and you also

681
00:36:05,400 --> 00:36:09,239
Speaker 1: got some nice Bill Daniels scenes. Uh directing Bill? What's

682
00:36:09,239 --> 00:36:10,920
Speaker 1: it like to direct Bill Daniels?

683
00:36:11,239 --> 00:36:11,479
Speaker 4: Bill?

684
00:36:12,120 --> 00:36:15,200
Speaker 3: Bill was so much fun, and I think, and I've

685
00:36:15,239 --> 00:36:18,239
Speaker 3: been told that he was really glad I had been there,

686
00:36:18,480 --> 00:36:20,839
Speaker 3: and you know, we had worked like two we had

687
00:36:20,880 --> 00:36:24,399
Speaker 3: done two TV movies or I'd done Saying Elsewhere Right

688
00:36:24,920 --> 00:36:28,280
Speaker 3: episodes with him, and we had done a TV movie

689
00:36:28,320 --> 00:36:34,560
Speaker 3: not two years before ward Jeff Goldbloom and Robert Preston

690
00:36:34,719 --> 00:36:40,640
Speaker 3: and Lynn Red Gray, Oh my god, you know, and

691
00:36:40,719 --> 00:36:43,480
Speaker 3: so he was a known quantity and for whatever reason,

692
00:36:44,080 --> 00:36:48,400
Speaker 3: I didn't annoy him as most people you.

693
00:36:48,440 --> 00:36:51,680
Speaker 2: Know, yes, yes, not all of us here can say that.

694
00:36:52,239 --> 00:36:58,600
Speaker 3: Yeah, yeah, you know, whatever is We got along Gray,

695
00:36:58,640 --> 00:37:01,120
Speaker 3: and I remember standing there on that set and just

696
00:37:01,160 --> 00:37:03,239
Speaker 3: talking to him and saying, yeah, you come down the

697
00:37:03,239 --> 00:37:05,399
Speaker 3: stairs and blah blah blah, you'll be fine, don't worry

698
00:37:05,400 --> 00:37:08,600
Speaker 3: about it. And then you know, you didn't have to

699
00:37:08,640 --> 00:37:12,439
Speaker 3: direct him or do anything, just just don't confuse him,

700
00:37:13,320 --> 00:37:15,520
Speaker 3: which really wasn't an issue. But you know, he didn't

701
00:37:15,600 --> 00:37:19,719
Speaker 3: like the hooplas you know. Yeah, and once he got

702
00:37:19,760 --> 00:37:21,600
Speaker 3: over that, he knew what was going on and he

703
00:37:21,680 --> 00:37:24,480
Speaker 3: knew you know, he loved directors that would take care

704
00:37:24,480 --> 00:37:27,359
Speaker 3: of him and knew what was going on and what

705
00:37:27,400 --> 00:37:28,880
Speaker 3: was important to him. Did he get back to his

706
00:37:28,960 --> 00:37:30,320
Speaker 3: dressing room and get to his book.

707
00:37:30,760 --> 00:37:32,440
Speaker 2: Yeah, And he's like a.

708
00:37:32,520 --> 00:37:33,960
Speaker 3: Joy, a joy to work with.

709
00:37:34,280 --> 00:37:36,000
Speaker 4: But do you remember, did we have an audience this

710
00:37:36,040 --> 00:37:38,400
Speaker 4: week or did we do this without an audience?

711
00:37:40,400 --> 00:37:42,880
Speaker 3: That's a good question. I don't think we had an

712
00:37:42,880 --> 00:37:48,200
Speaker 3: audience because yeah, and you know, when and I watched

713
00:37:48,239 --> 00:37:54,800
Speaker 3: and was kind of jarring when when Ben and Linda

714
00:37:54,960 --> 00:38:02,239
Speaker 3: kiss that I went, where's the audience going? Yeah, oh,

715
00:38:02,480 --> 00:38:04,239
Speaker 3: that's right. We probably didn't have it on. But then

716
00:38:04,280 --> 00:38:07,480
Speaker 3: of course we had laugh track, But no, I don't

717
00:38:07,520 --> 00:38:09,960
Speaker 3: think we I'm trying to remember, but.

718
00:38:10,960 --> 00:38:13,759
Speaker 4: My instinct is that we didn't shooting off to the

719
00:38:13,800 --> 00:38:16,239
Speaker 4: side with on the on a weird news set for

720
00:38:16,520 --> 00:38:19,400
Speaker 4: most of the episode, and and then the fact that

721
00:38:19,400 --> 00:38:22,040
Speaker 4: we had that insert at the ski launch, it just

722
00:38:22,080 --> 00:38:24,920
Speaker 4: makes me think that we decided to not have an

723
00:38:24,960 --> 00:38:27,760
Speaker 4: audience this week, and and I think it it actually

724
00:38:27,840 --> 00:38:32,680
Speaker 4: lends itself to a more intimate performance from everybody, it doesn't,

725
00:38:32,719 --> 00:38:35,319
Speaker 4: you know, it does. And then it's interesting to point

726
00:38:35,320 --> 00:38:38,600
Speaker 4: out that kiss moment because if we had had an audience,

727
00:38:38,680 --> 00:38:40,040
Speaker 4: they might have wooed.

728
00:38:40,160 --> 00:38:42,440
Speaker 3: Oh, would have been a minute, no.

729
00:38:46,719 --> 00:38:48,719
Speaker 4: Reaction, but it would have been a great way to

730
00:38:48,760 --> 00:38:52,360
Speaker 4: gauge like, how do people feel about Corey and Tapanga

731
00:38:52,400 --> 00:38:53,880
Speaker 4: at this point? Like it would have been. But we

732
00:38:53,920 --> 00:38:56,239
Speaker 4: didn't have an audience, so there's nothing there because they

733
00:38:56,239 --> 00:38:58,840
Speaker 4: didn't add it in, you know, But but the editors

734
00:38:58,840 --> 00:39:00,560
Speaker 4: could have decided, like how to want to make the

735
00:39:00,600 --> 00:39:03,840
Speaker 4: audience feel about this, but they leave it vague. It's interesting,

736
00:39:03,880 --> 00:39:06,600
Speaker 4: which is great.

737
00:39:07,400 --> 00:39:10,480
Speaker 2: Are you absolutely gray in the area. It's so strange

738
00:39:10,520 --> 00:39:12,440
Speaker 2: because there's a part of me that, having watched it,

739
00:39:12,560 --> 00:39:14,080
Speaker 2: not been in it and just watch it as a

740
00:39:14,160 --> 00:39:18,759
Speaker 2: as a fan, I could feel that maybe there wasn't

741
00:39:18,760 --> 00:39:22,320
Speaker 2: an audience there. But at the same time, I would

742
00:39:22,320 --> 00:39:26,320
Speaker 2: think as an audience member, I mean, what a perfect

743
00:39:26,400 --> 00:39:29,680
Speaker 2: show to watch because you're on one set essentially the

744
00:39:29,800 --> 00:39:32,239
Speaker 2: entire times, like the entire shows would take place right

745
00:39:32,280 --> 00:39:34,680
Speaker 2: in front of you, So something like that would have

746
00:39:34,680 --> 00:39:37,279
Speaker 2: been interesting. But I think you probably benefited from not

747
00:39:37,760 --> 00:39:42,360
Speaker 2: having the audience there that week exactly. Yeah, it was wonder.

748
00:39:42,239 --> 00:39:45,720
Speaker 3: And again I'll say that I think in the bigger

749
00:39:45,760 --> 00:39:50,640
Speaker 3: overall picture, it was an interesting show because you guys started,

750
00:39:51,160 --> 00:39:55,120
Speaker 3: not that you started, because you always have been, but

751
00:39:55,200 --> 00:40:00,800
Speaker 3: you're growing into a different maturity as characters but also

752
00:40:00,840 --> 00:40:03,719
Speaker 3: in your life as people, and I think you know,

753
00:40:03,760 --> 00:40:06,839
Speaker 3: and that's and and honestly, I'm so glad there wasn't

754
00:40:06,840 --> 00:40:08,360
Speaker 3: an audience because I know there would have been a

755
00:40:08,440 --> 00:40:12,040
Speaker 3: who I just know it. You know it. You watched

756
00:40:12,080 --> 00:40:14,120
Speaker 3: a million of these shows and there's something like that

757
00:40:15,160 --> 00:40:18,879
Speaker 3: unless there isn't an audience, right, And as you say,

758
00:40:18,920 --> 00:40:21,759
Speaker 3: it was an interesting choice. And I'm sure they had

759
00:40:21,800 --> 00:40:23,480
Speaker 3: to make this choice, and somebody said, do you want

760
00:40:23,480 --> 00:40:29,880
Speaker 3: to woo exactly because I wasn't in the you know,

761
00:40:29,920 --> 00:40:32,520
Speaker 3: I'm not in the final mix, if I remember.

762
00:40:32,320 --> 00:40:35,839
Speaker 4: Correctly, directors, you turn it one cut.

763
00:40:36,560 --> 00:40:38,920
Speaker 3: But again, like I said, it was really interesting to

764
00:40:38,960 --> 00:40:41,239
Speaker 3: watch this, and again the whole idea of in this

765
00:40:41,320 --> 00:40:46,480
Speaker 3: other little world, you guys are born yep, you know,

766
00:40:47,360 --> 00:40:50,880
Speaker 3: to a different level of maturity as the characters. And

767
00:40:50,960 --> 00:40:53,440
Speaker 3: I think also, as I say, at this point in

768
00:40:53,480 --> 00:40:56,960
Speaker 3: your life, you were really coming into your own as people.

769
00:40:57,520 --> 00:41:00,480
Speaker 1: I wonder how intentional it was too. For that same reason,

770
00:41:00,520 --> 00:41:03,800
Speaker 1: the intimacy this episode required that you were the person

771
00:41:03,800 --> 00:41:06,319
Speaker 1: who directed it. Do you remember there being any sort

772
00:41:06,360 --> 00:41:09,880
Speaker 1: of like, hey, Rusty, the episode you're directing, like some

773
00:41:09,960 --> 00:41:11,160
Speaker 1: pre warning this is gonna be.

774
00:41:11,800 --> 00:41:14,520
Speaker 4: Because of Aspen extreme right, they knew.

775
00:41:14,400 --> 00:41:23,080
Speaker 2: You were movie, don't even start. Great movie, great episode, scenes,

776
00:41:25,000 --> 00:41:25,520
Speaker 2: great movie.

777
00:41:25,680 --> 00:41:30,799
Speaker 3: I think Michael, again, if I remember correctly, I wasn't.

778
00:41:31,000 --> 00:41:34,200
Speaker 3: You know, it was a surprise to me. But I

779
00:41:34,239 --> 00:41:36,879
Speaker 3: remember when you asked me that that. I think he said,

780
00:41:36,880 --> 00:41:40,600
Speaker 3: it's a really good episode, yeah, and I went, okay, good.

781
00:41:40,840 --> 00:41:43,720
Speaker 3: And again, what how I ended up with that? Episode.

782
00:41:43,760 --> 00:41:46,960
Speaker 3: I'm not sure. Maybe you had me in mind the

783
00:41:46,960 --> 00:41:50,560
Speaker 3: whole time but just didn't tell me until we But

784
00:41:50,600 --> 00:41:53,400
Speaker 3: that's again memory, you know, is that.

785
00:41:53,520 --> 00:41:55,600
Speaker 4: You, I mean you and I ended up in Aspen

786
00:41:55,920 --> 00:41:58,080
Speaker 4: with Michael, skiing together at one point. So when you

787
00:41:58,200 --> 00:42:01,680
Speaker 4: going to Aspen and skime on a regular bass with Michael.

788
00:42:01,560 --> 00:42:05,920
Speaker 3: No, no, I had skied and ass and Aspen extreme,

789
00:42:06,400 --> 00:42:10,320
Speaker 3: and I had been an Aspen during the Don Johnson days.

790
00:42:12,600 --> 00:42:15,560
Speaker 2: That's when Aspen was as when you got Don Johnson

791
00:42:15,600 --> 00:42:16,759
Speaker 2: and William rust.

792
00:42:19,840 --> 00:42:20,000
Speaker 3: Hill.

793
00:42:20,200 --> 00:42:23,440
Speaker 2: Since yeah, really that's awesome.

794
00:42:23,600 --> 00:42:25,440
Speaker 3: I actually broke my leg and Aspen.

795
00:42:25,840 --> 00:42:30,000
Speaker 4: But that's another story.

796
00:42:31,200 --> 00:42:33,560
Speaker 2: Speaking of speaking of things like that we talked about.

797
00:42:33,800 --> 00:42:35,480
Speaker 2: We told the story not too long ago about me

798
00:42:35,680 --> 00:42:39,440
Speaker 2: driving for you when you were hang gliding. Yeah, are

799
00:42:39,480 --> 00:42:43,160
Speaker 2: you still doing any hang gliding stuff? And okay, I

800
00:42:43,280 --> 00:42:44,200
Speaker 2: was wondering about you.

801
00:42:44,920 --> 00:42:48,319
Speaker 3: After I had my big bicycle accident, I went back

802
00:42:48,360 --> 00:42:51,040
Speaker 3: flying for a couple of years. But it's the kind

803
00:42:51,040 --> 00:42:55,480
Speaker 3: of thing that's just it's a pay attention sport, right,

804
00:42:55,640 --> 00:42:58,279
Speaker 3: and it's also a highly skilled sport where if you

805
00:42:58,280 --> 00:43:02,000
Speaker 3: don't keep your skills up, you know, if you don't die,

806
00:43:02,360 --> 00:43:04,759
Speaker 3: at least to me, if I didn't fly at least two, three,

807
00:43:04,880 --> 00:43:08,799
Speaker 3: four times a month or even more. Then you know,

808
00:43:08,840 --> 00:43:11,239
Speaker 3: your skills get a little rusty, and it's it's not

809
00:43:11,360 --> 00:43:19,319
Speaker 3: just where, it's not golf. Right enough, stop flying, you

810
00:43:19,320 --> 00:43:22,440
Speaker 3: can really cop. Yeah, I loved it. It was a

811
00:43:22,440 --> 00:43:24,160
Speaker 3: great sport. And thank you for driving.

812
00:43:24,560 --> 00:43:26,360
Speaker 2: No, it's fine. I ended up buying your truck after that.

813
00:43:26,480 --> 00:43:28,239
Speaker 2: So it worked, worked like a charm. Yeah, I work

814
00:43:28,320 --> 00:43:28,799
Speaker 2: like a charm.

815
00:43:29,320 --> 00:43:31,120
Speaker 3: No, I don't do that anymore. I'm still on my

816
00:43:31,120 --> 00:43:34,520
Speaker 3: bike though. Okay, you know I wish I could.

817
00:43:34,640 --> 00:43:38,000
Speaker 1: But was this the first time you had seen Heartbreak

818
00:43:38,040 --> 00:43:40,759
Speaker 1: Cory since you directed it, or have you watched it

819
00:43:40,800 --> 00:43:41,600
Speaker 1: in the year since.

820
00:43:42,080 --> 00:43:43,640
Speaker 3: I think it's the first time I've seen it.

821
00:43:44,200 --> 00:43:47,160
Speaker 1: And so what did you think of your directorial debut.

822
00:43:47,640 --> 00:43:50,600
Speaker 3: Well, I wasn't even thinking of that, but I think

823
00:43:50,640 --> 00:43:54,880
Speaker 3: it's pretty darn good. Yes, I'll go back to it.

824
00:43:55,000 --> 00:43:56,759
Speaker 3: You know, I'm just a traffic cop. I mean the

825
00:43:56,840 --> 00:44:00,279
Speaker 3: stuff that's there. You're the thing that people see. The

826
00:44:00,360 --> 00:44:03,239
Speaker 3: writing is the thing that people hear, and hopefully the

827
00:44:03,320 --> 00:44:05,600
Speaker 3: directing is the thing people aren't aware about.

828
00:44:06,800 --> 00:44:09,439
Speaker 1: Do you think you critique you're directing the same way

829
00:44:09,440 --> 00:44:10,600
Speaker 1: you critique your acting.

830
00:44:14,120 --> 00:44:19,600
Speaker 3: No, I don't think so, because the acting is so spontaneous. Well,

831
00:44:19,640 --> 00:44:21,239
Speaker 3: in a certain way. I mean, all of them are

832
00:44:21,239 --> 00:44:24,680
Speaker 3: about telling stories, and you know, I think I told

833
00:44:24,719 --> 00:44:28,520
Speaker 3: the story. Yes, episode, and that's what it's about. And

834
00:44:28,560 --> 00:44:31,080
Speaker 3: as an actor, that's what you're doing. Although in a

835
00:44:31,120 --> 00:44:34,480
Speaker 3: certain way. The interesting thing about being an actor is

836
00:44:34,520 --> 00:44:37,400
Speaker 3: every time you do a scene, it's like writing a story,

837
00:44:37,400 --> 00:44:41,120
Speaker 3: except you can use different words. Yeah, literally words. I'm

838
00:44:41,120 --> 00:44:45,120
Speaker 3: talking about different colors, you know. So every time I

839
00:44:45,160 --> 00:44:47,640
Speaker 3: do this scene with you, hopefully there's something alive in

840
00:44:47,680 --> 00:44:50,960
Speaker 3: it that changes because life, just even this exchange we're

841
00:44:51,000 --> 00:44:54,920
Speaker 3: having here will be different in thirty seconds. Yes, but

842
00:44:55,719 --> 00:44:57,920
Speaker 3: it's interesting. Good question.

843
00:44:58,480 --> 00:45:01,000
Speaker 1: So after this episode to Boy Meets World, a few

844
00:45:01,040 --> 00:45:03,560
Speaker 1: years later, you got to direct an episode of Lizzie Maguire.

845
00:45:03,800 --> 00:45:04,560
Speaker 1: How did that happen?

846
00:45:06,600 --> 00:45:11,239
Speaker 3: Well, gosh, wonderful producer i'd worked for. I did a

847
00:45:11,280 --> 00:45:16,000
Speaker 3: series for it, was producing it and I just kind

848
00:45:16,000 --> 00:45:19,400
Speaker 3: of bugged them. I said, I come over and do

849
00:45:19,480 --> 00:45:21,680
Speaker 3: one of these shows. Maybe can I observe and go

850
00:45:21,760 --> 00:45:23,879
Speaker 3: do the show? And I was trying to man, I'm

851
00:45:23,920 --> 00:45:28,080
Speaker 3: looking for work. Yeah, and he was great, and he said, sure,

852
00:45:28,160 --> 00:45:30,400
Speaker 3: come on over and we'll throw you an episode, and

853
00:45:32,000 --> 00:45:33,680
Speaker 3: I was lucky to do it, and it was really

854
00:45:33,680 --> 00:45:35,720
Speaker 3: a silly episode and I had a lot of fun.

855
00:45:35,840 --> 00:45:38,520
Speaker 3: The crew was a little burnt out. I mean, yeah,

856
00:45:38,960 --> 00:45:43,319
Speaker 3: I have to say, you guys, we're all lucky that

857
00:45:43,360 --> 00:45:46,080
Speaker 3: we always had good crews that were always to be

858
00:45:46,200 --> 00:45:49,000
Speaker 3: there and they're happy to be there a lot because

859
00:45:49,000 --> 00:45:52,560
Speaker 3: of you guys and who they were working with. And

860
00:45:52,640 --> 00:45:55,320
Speaker 3: you know, you've been on sets where it's not quite

861
00:45:55,360 --> 00:45:59,160
Speaker 3: that all the time. Yeah, And I think these guys

862
00:45:59,239 --> 00:46:02,400
Speaker 3: had you know, I remember, never forget. They had what

863
00:46:02,440 --> 00:46:08,080
Speaker 3: they called the flail meter, you know, like we're flailing

864
00:46:08,320 --> 00:46:10,800
Speaker 3: and they would have the flail meter on the set

865
00:46:12,960 --> 00:46:15,520
Speaker 3: and they would be like, Okay, we're really flailing.

866
00:46:15,920 --> 00:46:18,279
Speaker 2: Oh god, it's like a death con meter for a

867
00:46:18,360 --> 00:46:19,160
Speaker 2: nuclear war.

868
00:46:19,320 --> 00:46:20,000
Speaker 4: That's what I said.

869
00:46:21,040 --> 00:46:25,000
Speaker 3: But you don't And again, you guys are you know

870
00:46:25,080 --> 00:46:27,200
Speaker 3: and I know you know this. It was a very

871
00:46:27,239 --> 00:46:31,320
Speaker 3: special thing. And other shows have this too, I'm not. Yeah,

872
00:46:31,360 --> 00:46:35,360
Speaker 3: but it's not always the rule that everyone gets along

873
00:46:35,400 --> 00:46:40,200
Speaker 3: together and everyone goes to work, and god knows, personalities

874
00:46:40,239 --> 00:46:42,360
Speaker 3: get in the way and he goes and and everything.

875
00:46:42,400 --> 00:46:46,880
Speaker 3: But it was still a great shoot. Stan Rogo producer,

876
00:46:47,040 --> 00:46:49,320
Speaker 3: and I had done a I had done a series

877
00:46:49,360 --> 00:46:54,560
Speaker 3: with him called Middle Ages with Gosh, Michael O'Neill, know,

878
00:46:54,640 --> 00:46:59,960
Speaker 3: with a Michael O'Neill and Peter Riegert were three characters

879
00:47:00,040 --> 00:47:04,120
Speaker 3: and Amy who went on to be a big star anyway.

880
00:47:04,480 --> 00:47:06,160
Speaker 3: But you know, we had done a series called Middle

881
00:47:06,200 --> 00:47:08,400
Speaker 3: Ages and that's how I knew Stan Rogo.

882
00:47:09,200 --> 00:47:09,600
Speaker 1: Wow.

883
00:47:09,880 --> 00:47:12,320
Speaker 3: So that's how I ended up on Lizzie McGuire.

884
00:47:13,280 --> 00:47:15,799
Speaker 1: Well, then you would come back and be behind the

885
00:47:15,840 --> 00:47:18,840
Speaker 1: camera for Girl Meets World. You directed season two called

886
00:47:18,880 --> 00:47:22,759
Speaker 1: Girl Meets Hurricane. Did Michael reach out to you for that? One?

887
00:47:22,760 --> 00:47:24,839
Speaker 1: Was that a similar situation? Elevator pitch?

888
00:47:25,200 --> 00:47:29,040
Speaker 3: Which one was that Girl Meets Hurricane Comes Back?

889
00:47:29,640 --> 00:47:33,480
Speaker 4: It was Trina? Was Trina's only episode of Girl Meets World?

890
00:47:33,560 --> 00:47:36,359
Speaker 2: Right, Oh, you were already on set.

891
00:47:36,520 --> 00:47:38,759
Speaker 3: You were around and trying to make a buck.

892
00:47:39,200 --> 00:47:40,760
Speaker 2: Yeah, Well, you would come back.

893
00:47:40,600 --> 00:47:42,560
Speaker 4: For the same episode. I came back for the holiday

894
00:47:42,560 --> 00:47:43,279
Speaker 4: episode to act it.

895
00:47:43,440 --> 00:47:43,600
Speaker 1: Right.

896
00:47:43,719 --> 00:47:45,680
Speaker 4: We all went back for that, and then you ended

897
00:47:45,760 --> 00:47:49,160
Speaker 4: up just sticking around and becoming Michael Michael.

898
00:47:49,760 --> 00:47:52,600
Speaker 3: Yeah, I mean, Michael was very sweet. He called me

899
00:47:53,840 --> 00:47:55,840
Speaker 3: and because I was out in Tahatchebe as Claire was

900
00:47:55,880 --> 00:48:01,960
Speaker 3: working in the emergency psychiatric and he you know, i'd

901
00:48:01,960 --> 00:48:04,200
Speaker 3: come out and we've done that, and I said, you know,

902
00:48:04,239 --> 00:48:06,200
Speaker 3: I'd be interested in directing if you could find a

903
00:48:06,239 --> 00:48:08,200
Speaker 3: slot for me or something. And I don't know if

904
00:48:08,200 --> 00:48:11,719
Speaker 3: I started coming to set just hanging out, but I

905
00:48:11,719 --> 00:48:13,080
Speaker 3: think he called me and said, would you like to

906
00:48:13,080 --> 00:48:14,120
Speaker 3: be the dialogue coach?

907
00:48:14,760 --> 00:48:15,040
Speaker 1: Right?

908
00:48:16,040 --> 00:48:16,640
Speaker 3: Thought about it?

909
00:48:17,040 --> 00:48:17,279
Speaker 4: Sure?

910
00:48:17,400 --> 00:48:19,360
Speaker 3: Why not? You know, if I got a job, I

911
00:48:19,400 --> 00:48:22,840
Speaker 3: got a job, and you know, I love you know,

912
00:48:22,880 --> 00:48:27,040
Speaker 3: I'm very fortunate again that I was able to find

913
00:48:27,080 --> 00:48:31,799
Speaker 3: this world that made sense to me. And I understood

914
00:48:32,000 --> 00:48:34,960
Speaker 3: as soon as I was backstage somewhere in the theater

915
00:48:35,160 --> 00:48:39,080
Speaker 3: or somewhere or on a lot or showing up at

916
00:48:39,120 --> 00:48:41,960
Speaker 3: four am for breakfast to shoot something, I said, this

917
00:48:42,000 --> 00:48:43,239
Speaker 3: is the world I understand.

918
00:48:43,800 --> 00:48:44,040
Speaker 5: Yeah.

919
00:48:45,000 --> 00:48:47,520
Speaker 3: I almost get a little bit clemped thinking about it.

920
00:48:47,600 --> 00:48:50,600
Speaker 3: And I love just being on the set. Yeah, I

921
00:48:50,640 --> 00:48:53,040
Speaker 3: would have been you know, I'm the guy, you know,

922
00:48:53,080 --> 00:48:55,160
Speaker 3: I'm the guy in the circus shivel in the elevent

923
00:48:56,719 --> 00:49:03,640
Speaker 3: doing this like a what which show biz? Yeah, I

924
00:49:03,719 --> 00:49:06,160
Speaker 3: love it. I'm very fortunate to find it and I

925
00:49:06,160 --> 00:49:09,000
Speaker 3: still feel fortunate about it. So yeah, that and that's

926
00:49:09,000 --> 00:49:10,719
Speaker 3: how I ended up over and girl, and it was

927
00:49:10,760 --> 00:49:15,360
Speaker 3: a great exercise and watching yeah girls and obviously watching

928
00:49:15,400 --> 00:49:20,040
Speaker 3: Sabrina lately. Yes, I'll take off. It's fun And it

929
00:49:20,120 --> 00:49:23,240
Speaker 3: was great being around you and Ben and and again

930
00:49:24,440 --> 00:49:27,280
Speaker 3: I go back to Michael. He always had good people

931
00:49:27,320 --> 00:49:29,439
Speaker 3: around and it was always a joy. And I think

932
00:49:30,680 --> 00:49:34,319
Speaker 3: I think I contributed just being able to be there

933
00:49:34,320 --> 00:49:38,560
Speaker 3: and breathe when things got stressful weird, and things get

934
00:49:38,600 --> 00:49:42,239
Speaker 3: stressful at times, like remember when Will came on and.

935
00:49:42,160 --> 00:49:44,840
Speaker 1: He was such a problem child.

936
00:49:45,160 --> 00:49:46,759
Speaker 7: Will I like it the way I like it because

937
00:49:46,760 --> 00:49:54,160
Speaker 7: I'm right, but not again, I you know, as I say, I,

938
00:49:54,239 --> 00:49:55,360
Speaker 7: you know, I won a lottery.

939
00:49:55,440 --> 00:50:00,279
Speaker 3: It was really quite special time. And all you guys, by.

940
00:50:00,160 --> 00:50:02,560
Speaker 2: The way, it was Amy Brenneman with you in Middle Ages.

941
00:50:02,640 --> 00:50:05,000
Speaker 3: Amy Brenneman, right, That was an.

942
00:50:04,840 --> 00:50:06,359
Speaker 2: Incredible cast, by the way.

943
00:50:06,560 --> 00:50:08,800
Speaker 3: Oh and she was great. Oh, it was a great cast.

944
00:50:08,880 --> 00:50:12,400
Speaker 3: And I remember that very specifically because I literally picked

945
00:50:12,400 --> 00:50:17,800
Speaker 3: her up at the studio and took her to a

946
00:50:17,880 --> 00:50:19,719
Speaker 3: rented apart because she had just flown in and it

947
00:50:19,760 --> 00:50:24,000
Speaker 3: was during the La riots. Oh jeez, and because we

948
00:50:24,040 --> 00:50:27,200
Speaker 3: had we kind of had to postpone things. All this

949
00:50:27,239 --> 00:50:29,400
Speaker 3: stuff was going on, and.

950
00:50:30,239 --> 00:50:31,520
Speaker 2: Welcome the Los Angeles.

951
00:50:32,000 --> 00:50:36,359
Speaker 3: Yeah, what it was, it was, you know, and thought

952
00:50:36,400 --> 00:50:36,839
Speaker 3: about that.

953
00:50:37,160 --> 00:50:39,720
Speaker 2: She's from Connecticut. Her her mom was a was a judge.

954
00:50:39,719 --> 00:50:41,520
Speaker 2: My parents know her mother because she was a judge

955
00:50:41,520 --> 00:50:43,680
Speaker 2: in the court system. So she went on to do

956
00:50:43,719 --> 00:50:45,360
Speaker 2: a show about her mom called Judging Amy.

957
00:50:45,760 --> 00:50:48,080
Speaker 3: That's yeah, there you go.

958
00:50:48,600 --> 00:50:51,120
Speaker 1: Well, Rusty, thank you as always for coming and spending

959
00:50:51,120 --> 00:50:52,680
Speaker 1: your time with us. It was so great to talk

960
00:50:52,680 --> 00:50:55,000
Speaker 1: to you about your directorial debut. We will have to

961
00:50:55,000 --> 00:50:58,280
Speaker 1: have you back when you have another episode that you direct.

962
00:50:58,360 --> 00:51:01,200
Speaker 1: We always loved talking to you and love seeing you.

963
00:51:03,080 --> 00:51:05,360
Speaker 1: Thank you for being generous with your time with us.

964
00:51:05,800 --> 00:51:10,000
Speaker 3: Wow, thank you for being you and you and you

965
00:51:10,080 --> 00:51:14,560
Speaker 3: and you all right out.

966
00:51:16,760 --> 00:51:19,360
Speaker 1: So much fun. I really did wonder like if Michael

967
00:51:19,880 --> 00:51:23,560
Speaker 1: thought ahead to the fact that this is going to

968
00:51:23,640 --> 00:51:27,680
Speaker 1: be a softer, quieter, more vulnerable boy meets World episode

969
00:51:27,760 --> 00:51:30,680
Speaker 1: and thought, let's let one of our own direct it.

970
00:51:30,800 --> 00:51:31,440
Speaker 4: Yeah.

971
00:51:31,480 --> 00:51:34,240
Speaker 2: Well I also picked one that he clearly wasn't in, yes,

972
00:51:34,280 --> 00:51:36,440
Speaker 2: which which I mean is also helpful where it's you know,

973
00:51:36,480 --> 00:51:39,160
Speaker 2: he's not doing double duty for especially his first episode.

974
00:51:39,200 --> 00:51:41,719
Speaker 4: You did that a lot, I guess because he was

975
00:51:41,719 --> 00:51:43,719
Speaker 4: in the other Oh yeah, Like I never had to do.

976
00:51:43,800 --> 00:51:45,959
Speaker 4: Like when I was on Girl Meets World, I didn't.

977
00:51:45,960 --> 00:51:48,120
Speaker 4: I never directed an episode that I was in. It's

978
00:51:48,160 --> 00:51:48,879
Speaker 4: a different thing.

979
00:51:49,239 --> 00:51:51,279
Speaker 1: It's always so nice to talk to Rusty, and there's

980
00:51:51,440 --> 00:51:53,920
Speaker 1: just I don't know, you know, it comes across, but

981
00:51:53,920 --> 00:51:56,160
Speaker 1: there are just those people that no matter how much

982
00:51:56,160 --> 00:51:59,080
Speaker 1: time passes, it's always so comforting when you see him

983
00:51:59,080 --> 00:52:01,520
Speaker 1: again and you're just like, it's just like, exactly like

984
00:52:01,560 --> 00:52:03,080
Speaker 1: the last time I saw you and hung out with

985
00:52:03,080 --> 00:52:04,279
Speaker 1: you and talk to you, and it's as if no

986
00:52:04,320 --> 00:52:05,000
Speaker 1: time is passed.

987
00:52:05,080 --> 00:52:07,560
Speaker 2: So he's also such an inspiration when it comes to

988
00:52:07,800 --> 00:52:10,479
Speaker 2: the type of actor I'd like to be, the type

989
00:52:10,480 --> 00:52:13,440
Speaker 2: of the entertainer I'd like to be where nothing is

990
00:52:13,520 --> 00:52:16,480
Speaker 2: beneath Rusty. I know, it's like, no, this is another

991
00:52:16,560 --> 00:52:18,279
Speaker 2: aspect of the industry that I want to learn or

992
00:52:18,320 --> 00:52:19,759
Speaker 2: that I could be good at. And I, like you said,

993
00:52:19,800 --> 00:52:21,120
Speaker 2: I want to be on the set. I want to

994
00:52:21,160 --> 00:52:21,600
Speaker 2: be part of it.

995
00:52:21,640 --> 00:52:21,920
Speaker 5: I want it.

996
00:52:21,920 --> 00:52:24,640
Speaker 2: And it's just it's so inspirational because there are times

997
00:52:24,680 --> 00:52:26,759
Speaker 2: where you're like you meet actors where it's like I

998
00:52:26,800 --> 00:52:29,040
Speaker 2: wouldn't do a commercial, or I wouldn't write this, or

999
00:52:29,040 --> 00:52:31,640
Speaker 2: I wouldn't do this part. And he's like, no, this

1000
00:52:31,400 --> 00:52:33,279
Speaker 2: is this is my job, this is my business. I

1001
00:52:33,280 --> 00:52:34,960
Speaker 2: want to learn every aspect of it and I could

1002
00:52:34,960 --> 00:52:36,560
Speaker 2: be good at every aspect of it. And it's just

1003
00:52:36,640 --> 00:52:37,080
Speaker 2: it's great.

1004
00:52:37,160 --> 00:52:40,719
Speaker 1: It really is such an inspiration. Well, thank you all

1005
00:52:40,719 --> 00:52:42,920
Speaker 1: for joining us for this episode of Podmeets World. As always,

1006
00:52:42,960 --> 00:52:45,120
Speaker 1: you can follow us on Instagram pod Meets World Show.

1007
00:52:45,280 --> 00:52:47,279
Speaker 1: You can send us your emails pod meets World Show

1008
00:52:47,360 --> 00:52:49,880
Speaker 1: at gmail dot com, and we have merch.

1009
00:52:50,600 --> 00:52:51,839
Speaker 2: Now turn.

1010
00:52:53,080 --> 00:52:57,760
Speaker 1: Merch pod Meets Worldshow dot com. Well send us out.

1011
00:52:58,080 --> 00:53:02,400
Speaker 2: We love you all. Pod dismissed. Podmets World is Niheart

1012
00:53:02,480 --> 00:53:05,879
Speaker 2: podcast producer and hosted by Danielle Fischel, Wilfredell and Ryder

1013
00:53:05,920 --> 00:53:09,840
Speaker 2: Strong Executive producers Jensen Karp and Amy Sugarman, Executive in

1014
00:53:09,920 --> 00:53:14,600
Speaker 2: charge of production, Danielle Romo, producer and editor, Tara Sudbasch, producer,

1015
00:53:14,680 --> 00:53:17,880
Speaker 2: Maddy Moore, engineer and Boy Meets World superfan Easton Allen.

1016
00:53:18,080 --> 00:53:20,279
Speaker 2: Our theme song is by Kyle Morton of Typhoon and

1017
00:53:20,320 --> 00:53:22,759
Speaker 2: you can follow us on Instagram at Podmeats World Show

1018
00:53:23,000 --> 00:53:27,640
Speaker 2: or email us at Podmeats Worldshow at gmail dot com