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Speaker 1: I definitely, um, I ruined sixth cents for everybody I

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Speaker 1: went to the movie theater with, Really did you? I

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Speaker 1: called it? I called it? Called it too, but I

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Speaker 1: called it. But I also be like, well, I think

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Speaker 1: I remember we were on the set of Boy in

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Speaker 1: Metore when that movie came out, like we were working.

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Speaker 1: I remember we were all talking about it. We were

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Speaker 1: all like, oh, let's you know, And so I think

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Speaker 1: I knew that there was a twist, Like I think

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Speaker 1: I went into the theater knowing that, you know, something

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Speaker 1: big is going to have or be revealed. But I

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Speaker 1: just leaned over and I was like, why aren't they

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Speaker 1: talking about the fact that he's dead? Like why has

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Speaker 1: nobody talked about that? Because it actually happens. I mean,

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Speaker 1: if you watch the movie, he died in the opening,

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Speaker 1: he gets shot and then it like cuts to him

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Speaker 1: later and I was like, Oh, he's dead and now

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Speaker 1: he's he hasn't talked to it, and I was like,

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Speaker 1: why are they acknowledging that. I was like, Oh, that

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Speaker 1: that's that's a twist. I remember it, I think not

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Speaker 1: even thinking it was a twist because what happened was

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Speaker 1: the first trailer I ever saw for that movie was

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Speaker 1: the little kid going I see dead people and then

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Speaker 1: cutting right to Bruce Willis. So I went, okay, so

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Speaker 1: Bruce Wellis is dad Like, that's I thought they wanted

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Speaker 1: you to know that. It wasn't like to me they

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Speaker 1: were hiding anything. And that was the only time I

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Speaker 1: ever saw that trailer. Then they changed that trailer because

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Speaker 1: obviously other people were like, all right to Brucellis's dead.

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Speaker 1: So to me, it wasn't a twist. Oh man, you

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Speaker 1: guys seem like fun people to go to the movies.

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Speaker 1: You know who was really big at ruining movies was Ben.

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Speaker 1: Ben would ruin movies left and right, because he would

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Speaker 1: you would be talking about a film that just came out,

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Speaker 1: like I remember Wag the Dog just came out and

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Speaker 1: I really wanted to see Wag the Dog. Great, you know,

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Speaker 1: cool concept, amazing cast. And I said to Ben, He's like,

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Speaker 1: what are you doing this weekend? I was like, Oh,

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Speaker 1: I'm gonna go see Wag the Dog. He just went

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Speaker 1: I can't believe they killed him at the end, and

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Speaker 1: I was like, dude, are you kidding me? Like what

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Speaker 1: do you do? And he would do that all and

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Speaker 1: it was it wasn't. He wasn't being malicious. He was

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Speaker 1: just being like talking about it, like, yeah, I can't

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Speaker 1: I can't believe that they killed him. At the end,

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Speaker 1: I was like, I just told you, I haven't seen it.

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Speaker 1: I just said that. So he did that several times.

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Speaker 1: I remember where he just ruined a movie to where

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Speaker 1: you just couldn't talk to about films anymore. Okay, I

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Speaker 1: have to talk to him about movies after I've seen them.

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Speaker 1: But yeah, what are your Here's a good question, since

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Speaker 1: we've talked about concerts and all that kind of stuff, Danielle,

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Speaker 1: what are your favorite movies that you were brought backstage

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Speaker 1: at hang out with you? To hang out with? Your

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Speaker 1: favorite sets of the were the dinosaurs behind the scenes,

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Speaker 1: to dress apart where they next house? Your favorite movies

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Speaker 1: of all time? Um? Man, my favorite movies of all time.

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Speaker 1: I feel a lot of sentimental attachment to the Wizard

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Speaker 1: of Oz because I knew growing up it was my

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Speaker 1: mom's favorite movie, and so I think, um that has

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Speaker 1: as I've gotten older, has become sentimental to me that

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Speaker 1: it's my mom's favorite movie. Uh. I mean, honestly, I

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Speaker 1: think my favorite movie is Good Fellas, So great you

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Speaker 1: have to watch it every time. It's on kind of movie. Yes.

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Speaker 1: I think we've talked about this before and Writer has

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Speaker 1: commented that, like, most of your favorite movies are the

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Speaker 1: movies you saw during that like really pivotal teenage time

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Speaker 1: of your life. I think Good Fellas is my favorite

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Speaker 1: movie because it was the first maybe it was the

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Speaker 1: first like adult movie I watched as I was becoming

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Speaker 1: an adult, and I was like, oh, I understand cinema.

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Speaker 1: Now let's talk Italian neo realism. Let's do it. So

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Speaker 1: I think that's fine, that's fine. Oh my god, what

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Speaker 1: do you got? Writer? You have so many favorite movies.

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Speaker 1: But I would say I stand by me is like

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Speaker 1: up there, Spirited Away. It's probably one of my favorite movies.

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Speaker 1: Jason Marston, film of your favorite Jason Marston. That's right, Yeah, yeah, no,

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Speaker 1: that's it's that's still top movie for me. Uh yeah,

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Speaker 1: I don't know. The more obscure one that um, I

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Speaker 1: should maybe mentioned this movie called Margaret. Uh. It's a

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Speaker 1: wonderful film. It's been like re released actually as a

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Speaker 1: director's cut. I like both versions. It's it's a kind

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Speaker 1: of a famously disastrous film, and that they couldn't. The

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Speaker 1: studio wouldn't release it. They kept re editing it, uh,

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Speaker 1: and they finally released. There's two versions out there. I

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Speaker 1: would say both of them are unbelievable, um and a pack.

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Speaker 1: One is the Star. It's like, yeah, it came out late.

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Speaker 1: It came out. It was made actually like right after

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Speaker 1: September eleventh, I want to say, like two thousand five

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Speaker 1: ish or six, But then it didn't come out for years. Um,

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Speaker 1: and so then it just kind of flew under the radar.

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Speaker 1: But I'm I just think it's a brilliant film. So

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Speaker 1: that's my my recommendation for people looking. Yeah, I thought

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Speaker 1: of another one that I love. That's something I saw

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Speaker 1: as an adult, Defending your Life. It's one of the

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Speaker 1: best movies. I did not see that movie until I

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Speaker 1: was in my late thirties. Are you kidding? Yeah, pivotal

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Speaker 1: childhood movie. Man, did I love that movie? So Good

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Speaker 1: Fellow isn't Defending your Life. They're like, right, they're about

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Speaker 1: the same same type of Well, do you have an

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Speaker 1: easy answer? I I do. I have a couple of

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Speaker 1: Defending your Life is definitely on my list. I come

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Speaker 1: to my hotel sometime, will paint it um, yeah, it's

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Speaker 1: just one of the best movies ever. But my I

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Speaker 1: mean my knee jerk reaction will always be the original

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Speaker 1: Willy Wonka and the Chocolate Factory, which is odd because

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Speaker 1: we were just talking about how I don't like musicals,

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Speaker 1: and I don't think you do either, Danielle. It just

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Speaker 1: takes me, takes me out of the thing when everybody

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Speaker 1: starts singing um. But also the movie that I showed writer,

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Speaker 1: and I think you made it about twenty minutes before

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Speaker 1: you fell asleep, but you liked the first twenty manages Ishtar,

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Speaker 1: which is a pivotal, pivotal film. Oh it's so good.

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Speaker 1: It is talk about Hollywood legendary disasters. It's considered one

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Speaker 1: of the worst movies of all time, and it's just

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Speaker 1: not it's it's been reevaluated. A lot of people think

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Speaker 1: it's actually a classic. Yeah, and so everybody, my brothers

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Speaker 1: and I always joked that everything we liked as young

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Speaker 1: adults has now become hips. So we would sit bourban

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Speaker 1: and watch Istar. Before anybody liked bourbon or Ishtar, and

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Speaker 1: now everyone's like, I'm going to the bourbon Ishtar night.

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Speaker 1: We're like, come on. So we were we were hipster

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Speaker 1: and cool before any of that happened. Um. But yeah,

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Speaker 1: so though, I mean those films are up. The Defending

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Speaker 1: Your Life is one of the best movies just ever made.

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Speaker 1: And the thing that was funny is right when I

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Speaker 1: moved to l A, the person who played um uh

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Speaker 1: Meryl Streeps lawyer like her defender uh was sold me

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Speaker 1: a car. He was He was working at the local

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Speaker 1: BMW dealership for my first little tiny car, which is

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Speaker 1: actually how how Defending Your Life starts. It's him buying

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Speaker 1: his first BMW and it was that was so he

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Speaker 1: I sat down across room and I went, you were

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Speaker 1: in Defending Your Life and you went, yeah, I was.

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Speaker 1: It was the first it was a good taste of

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Speaker 1: l A where it was like, hey, we're actors. Yeah,

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Speaker 1: welcome to Hollywood. Yeah, you know, you do what you

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Speaker 1: can now a lot of actors are real estate agents. Yeah.

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Speaker 1: You kind of got to perform, right, Yeah, you gotta

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Speaker 1: have your head shot out there. Yeah. And also it's like,

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Speaker 1: you know you can. Your schedule is like dependent on

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Speaker 1: how many clients you have. So if you're like in

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Speaker 1: a really busy season of auditioning, or if you're currently

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Speaker 1: on a job, you just don't take clients. Yeah. I

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Speaker 1: won't say his name, but the real estate agent that's

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Speaker 1: sold Danielle his house sold you your house. Danielle is

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Speaker 1: like one of He's a local legend. The guy like

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Speaker 1: I know he's on. Every time I have to write

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Speaker 1: a grocery list, I write it over his face because

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Speaker 1: he drops it off at your house the little notebooks,

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Speaker 1: and we always joke like there he is, there he

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Speaker 1: is so yeah. Yeah, And having name recognition helps you

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Speaker 1: know as as a real estate agent. Well, welcome to

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Speaker 1: Pod Meets World. I'm Danielle Fischel, come right or strong?

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Speaker 1: And I'm will Fredell. So today we have another guest,

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Speaker 1: a very exciting guest. Uh. We are going to be

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Speaker 1: talking to Jeffrey C. Sherman. He was a writer and

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Speaker 1: a producer from Boy Meets World who wrote a total

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Speaker 1: of fourteen episodes and was a producer on sixty six episodes.

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Speaker 1: He was also a story editor for twenty four episodes. Again,

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Speaker 1: we've talked about these writing credits that that you just

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Speaker 1: what are they going to mean? Yeah? What do they mean?

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Speaker 1: Are you? It's a pay bump. It's like a certain

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Speaker 1: a certain a new authority over the other writers. I

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Speaker 1: guess will do Do you have news for us? What? Well?

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Speaker 1: Are you wearing a shirt? This is best grandpa, best

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Speaker 1: grandpa ever? Do you something you'd like to share with us? No?

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Speaker 1: I just imagine that would be the best grandpa ever.

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Speaker 1: So I bought myself the teacher. He's caused playing grandpa.

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Speaker 1: Their problem with I don't understand, bizarre, you just never

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Speaker 1: I just that weekend was intense for me. I went

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Speaker 1: backpacking and when I came home here he had this

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Speaker 1: shirt for me. That's awesome, that's so cute. I didn't

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Speaker 1: think so. Thank goodness, you're not um. And so in

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Speaker 1: season one, Jeff Sherman wrote on the Fence and the Fugitive. Yeah,

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Speaker 1: so let's please welcome Jeff Sherman. Hi, it's Bethany Frankel.

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Speaker 1: My time on the Wheelhousewives of New York is a

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Speaker 1: few years behind me, and now I'm ready to put

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Speaker 1: the wheel back into the real Housewives. That's where my

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Speaker 1: new podcast Rewives comes in. This isn't your typical rewatch podcast.

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Speaker 1: I'm watching only the most iconic episodes from all cities.

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Speaker 1: I'm sharing never before heard stories of what happened behind

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Speaker 1: the scenes. And I'm not just pulling in cast members

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Speaker 1: for postgame and now lissis, I'm doing something a little

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Speaker 1: bit more interesting. If you've ever seen an episode of

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Speaker 1: The wheelhouse Wives, and you know the drill, But beyond

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Speaker 1: throwing drinks and leg there are lessons about marriage, divorced friendship, money, parenting,

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Speaker 1: and fame if you have the right minds, analyze and

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Speaker 1: dig deeper. So I'm bringing on unexpected thought leaders and

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Speaker 1: celebrities to get their take on the chaos this season.

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Speaker 1: I sit down with Elizabeth Moss, Kevin Neal and Jusie Orman,

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Speaker 1: Griffin Johnson and more. You think that there isn't much

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Speaker 1: to learn from flipping tables and yanking wigs, but that's

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Speaker 1: where you're wrong. Listen to Rewives with Bethany Frankel on

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Speaker 1: the I Heart Radio app, Apple Podcast or wherever you

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Speaker 1: get your favorite podcasts. How are you good? So good

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Speaker 1: to see you guys, So good to see you. Look great?

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Speaker 1: Oh thank you? Thanks? Yeah you too. Jeff. Let's go

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Speaker 1: back to the beginning of your time on Boy Meets World.

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Speaker 1: How did you become a writer on the show. Well,

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Speaker 1: I had been a screenwriter. I had written a couple

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Speaker 1: of movies. I wrote some of the Creek for Ryan Pictures.

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Speaker 1: I wrote another movie I didn't get credit on but

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Speaker 1: thankfully because it sucked. But it was called The Soldier. Uh,

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Speaker 1: that was my first kid. I did both of those

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Speaker 1: with an old writing partner named Doug Grossman. Anyway, so

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Speaker 1: I went along and as writer will tell you, I've

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Speaker 1: been listening and I know you've had the same frustrations

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Speaker 1: and Will and Will and I have gone through this

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Speaker 1: together too. You write a lot of screenplays and maybe

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Speaker 1: went out of ten goes. So I was writing a

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Speaker 1: lot of screenplays that were, you know, we're for studios

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Speaker 1: and different things, and I get eight drafts in or

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Speaker 1: twelve chefs in, and then they go, well, you know,

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Speaker 1: we've moved on from that of the studio had the change.

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Speaker 1: So I had a friend named Anne Johnson, a J.

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Speaker 1: If you remember a J, of course I remember a J.

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Speaker 1: She was awesome and she was the girlfriend of a

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Speaker 1: good friend of mine, John mcmure at the time. And

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Speaker 1: she said she wrote a script of mine called Oh Pere.

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Speaker 1: I have three of them behind mere um. And she said,

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Speaker 1: you know, I worked for this guy, Michael Jacobs, And

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Speaker 1: I said, I don't really watch TV anymore, and she said, well,

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Speaker 1: you should watch some of the stuff he did my

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Speaker 1: two dads. He does dinosaurs right now, but he's got

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Speaker 1: this new show and I'd like to show him the

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Speaker 1: script of yours, oh pair, to see if, if you know,

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Speaker 1: maybe it was interested. It wasn't totally interested in television

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Speaker 1: at the time, so um anyway, so I gave it

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Speaker 1: to Mike. She gave it to Michael. Michael loved it,

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Speaker 1: tried to get it set up at Disney and they

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Speaker 1: didn't buy it. So he called me and he said, listen,

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Speaker 1: I've got this new project that's called you know Fred

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Speaker 1: Savage from from the Wonder Years. I said yeah. They said, well,

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Speaker 1: his younger brother Ben is a sort of a rising

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Speaker 1: star and he's got a deal. So I developed the

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Speaker 1: show around him, called the Ben Savage Show, which I

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Speaker 1: thought was a Ben Savage pilot. I thought that was

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Speaker 1: very aptly named and U So I watched it and

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Speaker 1: it kind of fit my sensibilities because I've done a

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Speaker 1: lot of youth comedy movies and things like that, screenplays,

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Speaker 1: and and the character kind of reminded me of me

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Speaker 1: as a kid, a little bit um the Jewish kid

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Speaker 1: in a non Jewish family. Oh, by the way, will

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Speaker 1: I've heard the part of Jewish. Thank you, thank you,

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Speaker 1: thank you, very honored. So so Michael said. He called

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Speaker 1: me and he said, would you like to maybe work

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Speaker 1: on this? And I said, well, I don't know. He

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Speaker 1: showed me the pilot it was good, and read the script,

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Speaker 1: so I said, yeah, yeah, maybe. He said, well, you know,

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Speaker 1: if I bring you in, I have to bring you

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Speaker 1: in at the lowest um level of staff, which is

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Speaker 1: something called the term writer. And the term writer means

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Speaker 1: you don't get credit on the show. Every show, even

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Speaker 1: though you're sitting in the room and pitching, you're doing

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Speaker 1: everything everybody else. Now, I had gone to us L

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Speaker 1: a film school. I was an English major prior to

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Speaker 1: that at Berkeley, I was a writer. I've worked with Madonna,

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Speaker 1: I've worked with I've done all this stuff, and I

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Speaker 1: come in on the lowest writer on the total room, right,

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Speaker 1: and I've never worked on staff. I think I'm about

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Speaker 1: mid thirties at this time. So I had all this

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Speaker 1: experience and I knew how to do basically all the

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Speaker 1: stuff that you do on the show. Um. So Michael

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Speaker 1: liked that about me. He said, I if you're good

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Speaker 1: on the staff, I'll move you up quickly. Anyway. The

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Speaker 1: first day I'm walking in, it's at Disney Studios. Now,

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Speaker 1: I grew up on that lot. As I mentioned, my

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Speaker 1: my father and uncle are the Sherman brothers who wrote

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Speaker 1: a lot of the scores for Disney Murry Poppins, Jungle Book.

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Speaker 1: Um Winning to play Bang Bang elsewhere anyway, So I

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Speaker 1: lived on this lot. I grew up there. So I'm

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Speaker 1: walking across and I see this buddy of my works

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Speaker 1: and TVs right ry and sarcastic, and his name is

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Speaker 1: Richard Dave. We used to be poker players together, play

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Speaker 1: in the game. And we're walking up and I said,

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Speaker 1: I'm a little nervous about this because I've never really

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Speaker 1: written on staff. What should I expect because it can

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Speaker 1: be brutal. He's walking up to the thing because it

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Speaker 1: just started. Depends on the people that are in the

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Speaker 1: room and if it's gonna be nice. And so we

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Speaker 1: walk into the animation building, which is where we all

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Speaker 1: began working on that show. And we're walking up the

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Speaker 1: stair and he keeps going on all this stuff. And

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Speaker 1: if you remember, there are glass stories in the hallway

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Speaker 1: that looked into Michael's but we looking at all the

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Speaker 1: writers are kind of gathered there and we got that.

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Speaker 1: He said, so anyway, it'll probably fine. He looks in

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Speaker 1: the door, my friend Richard. He goes, oh, they look horrible, man,

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Speaker 1: good luck, And so I went in, not knowing him

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Speaker 1: really what to expect. But it was it was like

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Speaker 1: walking into probably one of the best parts of my life.

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Speaker 1: And uh um, it was weird because I think I had,

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Speaker 1: you know, such a TV addict as a kid. I

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Speaker 1: watched every night my childhood watching family shows is like

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Speaker 1: and it kind of shows him. What I wrote was

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Speaker 1: Dennis the Menace leave it to Beaver, you know the

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Speaker 1: Donna Reich show, Father knows Best those That was my

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Speaker 1: I'm a little bit older than you go. So when

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Speaker 1: when I saw there was a fence and there was

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Speaker 1: the annoyed guy over the fence and then there's this

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Speaker 1: young kid, I kept thinking Dennis the Menace. And if

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Speaker 1: you ever saw Dennis meth he always rocking, go hey.

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Speaker 1: Mr Wilson startled him all the time. So I tried

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Speaker 1: to do that with Feenie and Ben. In that first

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Speaker 1: episode I wrote, which was the The Squirre Gun Show,

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Speaker 1: that on the fence, and I have a couple of

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Speaker 1: answers for you guys before we go anything else. I've

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Speaker 1: been listening. I have something straight where you. I think

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Speaker 1: I'm gonna solve a lot of your tanks. Okay, first

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Speaker 1: of all, it's a side it's a side patio. The

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Speaker 1: problem is we you know, when you shoot a show,

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Speaker 1: basically what you do is you build a set and

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Speaker 1: then you send out a crew to find a location

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Speaker 1: house that you shoot for the exteriors. Now, that exterior

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Speaker 1: house was right across from Radford as you used used

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Speaker 1: to pass it every day on my walks. So the

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Speaker 1: house was a really perfect kind of looking house, but

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Speaker 1: it didn't configure with what we built on the set,

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Speaker 1: so there was never the backyard was supposed to be

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Speaker 1: behind that window in the living room. That was the backyard.

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Speaker 1: It's an esser house. There's no real way to explain it.

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Speaker 1: But that's a sideyard, all right, Why then, why was

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Speaker 1: it written in the script as a backyard, and why

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Speaker 1: does why does it? Why is it opposite the front door?

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Speaker 1: Because it's it's a sickcom Listen, you know mr teacher,

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Speaker 1: he was an English teacher. I'm sure he probably taught

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Speaker 1: ballet at some point in the show, and I wasn't

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Speaker 1: watching anymore. But it's just kind of, you know, it's

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Speaker 1: it things. It's an abstract it's like jazz music. Just

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Speaker 1: kind of it's, you know, this week, we need a

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Speaker 1: little history and fusion of something, or we need to

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Speaker 1: starlet litter, we need to grow over. So I'm not saying,

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Speaker 1: did you guys actually just say anything. I didn't say

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Speaker 1: anything about the side yard backyard debate. That was just

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Speaker 1: answered correctly, by the way. I'm just pased. I'm sure

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Speaker 1: the sideyard backyard never actually came up. But did the

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Speaker 1: question of like what feeny is teaching actually come up?

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Speaker 1: And did you just say that you said, like, it

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Speaker 1: doesn't matter, We're just going to focus. Yeah, okay, But

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Speaker 1: it was that they were they were in we were

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Speaker 1: in a grade where we were supposed to have multiple teachers, right,

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Speaker 1: or was the idea that he was a one Yeah, okay,

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Speaker 1: you would have had multiple teachers, but we also a

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Speaker 1: both the matter class or something. So it's like there's

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Speaker 1: sort of a it's you know, it's it's like sitcoms

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Speaker 1: are closer to a play than there are to a movie. Um,

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Speaker 1: so you know, in a play, you know, you don't

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Speaker 1: have you're not having planning shots. You know, kind of

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Speaker 1: accept that that's what the the concede is is that

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Speaker 1: you know, there's a few people and and uh and uh,

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Speaker 1: you know, and and it's a side. It's a cy patty.

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Speaker 1: The other thing I'm gonna stream for you right now, Daniel,

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Speaker 1: here's the real story of how Tapanga came to be.

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Speaker 1: It's it's so much to do about nothing, but anyway,

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Speaker 1: so it's it's it's not a simple answer, but the

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Speaker 1: answer was Michael was not in his car drive and

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Speaker 1: he remembers things sort of the way he likes to

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Speaker 1: remember things. Um, But we were all sitting in the

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Speaker 1: room and we pitched that it would be funny because

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Speaker 1: Ben was sort of a square kid to have sort

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Speaker 1: of the hippie girl come in and be spiritual and

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Speaker 1: do all this. So that was brought up, and so

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Speaker 1: we all were talking and we finally came up on

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Speaker 1: this character, and everybody's going, well, what should we name?

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Speaker 1: We should name her star String, Moon Pilot or you know,

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Speaker 1: he's stupid name. And I was just going nuts because

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Speaker 1: that was my era, you know, I grew up in

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Speaker 1: that I grew up and I was the writer that

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Speaker 1: grew up in l a of the people in the room.

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Speaker 1: So I thought, who did I know that was cool?

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Speaker 1: And I thought with three girls that I knew that

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Speaker 1: lived into Panga Canyon. So I went, you know, growing

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Speaker 1: up out here, you know, everybody that was cool was

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Speaker 1: you know, grew up into Pangan. Michael goes to Panga.

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Speaker 1: April Kelly, who was the other creator of the show.

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Speaker 1: She she didn't like it at all, but Michael was

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Speaker 1: set on it. He loved to I was just I

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Speaker 1: think I also pitched to Mescal and to pangalos Peka Canyon.

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Speaker 1: It could have been and the water cold cold water

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Speaker 1: has been a little too on the head um, but

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Speaker 1: so we uh, we went around and then April wanted

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Speaker 1: to stand in her ground. That day had been pitching

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Speaker 1: us an outside writer named Bill Lawrence, So she said,

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Speaker 1: how about Lawrence because it's such a funny thing to

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Speaker 1: go from Topega to normally and like Lawrence Okay had

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Speaker 1: two more components added into Topango Okay. The first one

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Speaker 1: was Susan Jansen, who was on staff and who was

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Speaker 1: a brilliant writer. You know, she just wonderful and she

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Speaker 1: was a very strong voice, very smart, very she was

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Speaker 1: very much the voice of Topanga in that room, and

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Speaker 1: we would pitch things out, and then the biggest component

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Speaker 1: of all was Danielle, because Danielle came in and I

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Speaker 1: remember I heard your thing about the horrible experience you had,

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Speaker 1: and I get it, and I feel horrible about that.

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Speaker 1: I remember it vividly, and I felt bad for you.

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Speaker 1: But you came in and you were so kind of

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Speaker 1: nervous that you were kind of just zipping through everything

399
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Speaker 1: about in the audition. For us, it was sort of

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Speaker 1: the nurse were getting to you. And Michael, you know,

401
00:20:56,960 --> 00:20:59,879
Speaker 1: it's it's hard for a guy who's doing if you

402
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Speaker 1: you ever run a show, I've come, I've been in

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Speaker 1: a coeke on the show I've run, and I ran

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Speaker 1: another show called Family Rules when my boss was a

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Speaker 1: way in Connecticut. And it's hard because you're not just

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Speaker 1: working on the script. You're working on the last project

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00:21:14,440 --> 00:21:17,520
Speaker 1: of the last episode, the next episode. You work on casting,

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00:21:17,520 --> 00:21:19,399
Speaker 1: you're working on mix, and you work on cutting, You're

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Speaker 1: working on all this stuff, and the pressures of all

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Speaker 1: that got to Michael sometimes and sometimes he would he

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Speaker 1: did it with everybody I explained Michael as a a

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Speaker 1: guy that liked to scream because it was funny. I

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Speaker 1: never was scared of him. He would, you know, he

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Speaker 1: would screw. You would hear him gerally, you know, down

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Speaker 1: the hall in the office, and you would hear him.

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Speaker 1: But it was just a guy running a ship and

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Speaker 1: trying to trying to get a buddy of mine. Philip Rosenthal,

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Speaker 1: who created and ran everybody of those Raymond at as saying,

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Speaker 1: it's not summer camp. And unfortunately, when you come onto

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Speaker 1: a show, you know, you might get there's no time

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Speaker 1: to really worry about it. You might get replaced, like

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Speaker 1: get you know, more lines. What amazed me about this?

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Speaker 1: I know I'm jumping around for you guys, but we

424
00:22:06,520 --> 00:22:09,959
Speaker 1: would change things for you. And I have the worst memory.

425
00:22:10,359 --> 00:22:13,040
Speaker 1: I can't remember anything. We would give you blocking and

426
00:22:13,200 --> 00:22:16,480
Speaker 1: lone changes on the set on taking and did it perfectly.

427
00:22:16,520 --> 00:22:21,280
Speaker 1: I never remember you guys missing anything up. Well, we

428
00:22:21,280 --> 00:22:24,200
Speaker 1: were really blessed having you guys. Yeah, no, I mean,

429
00:22:24,280 --> 00:22:27,040
Speaker 1: I get I get the thing about about yelling, and

430
00:22:27,080 --> 00:22:29,880
Speaker 1: it's kind of yelling to be funny, but you take

431
00:22:29,960 --> 00:22:34,159
Speaker 1: it different at thirteen than you do with thirty. You know,

432
00:22:34,280 --> 00:22:37,120
Speaker 1: it's that's that's the thing that that where you get thrown.

433
00:22:37,160 --> 00:22:41,040
Speaker 1: You hear an adult yelling and it means something's bad,

434
00:22:41,840 --> 00:22:44,520
Speaker 1: you know, So we I think we we did not

435
00:22:44,880 --> 00:22:47,520
Speaker 1: yet have the subtlety to realize that it was all

436
00:22:47,560 --> 00:22:50,879
Speaker 1: bark and no bite. Um you just heard the loud bark,

437
00:22:50,960 --> 00:22:54,520
Speaker 1: so it was yeah. So I I know, I have

438
00:22:54,680 --> 00:22:59,240
Speaker 1: a couple of questions about going back even farther, because

439
00:23:00,560 --> 00:23:02,199
Speaker 1: you know, you know, we've been friends for years and

440
00:23:02,280 --> 00:23:04,280
Speaker 1: years and years, and some of the most interesting stories

441
00:23:04,320 --> 00:23:06,600
Speaker 1: you told me because you have a different perspective. We

442
00:23:06,600 --> 00:23:08,840
Speaker 1: talked about being child actors and growing up in the

443
00:23:08,880 --> 00:23:11,120
Speaker 1: industry and that kind of thing. But you grew up

444
00:23:11,680 --> 00:23:17,040
Speaker 1: old school Hollywood in Beverly Hills, So I mean, tell

445
00:23:17,119 --> 00:23:19,040
Speaker 1: us some of the stories about I mean, what was

446
00:23:19,320 --> 00:23:22,040
Speaker 1: that like growing up in the seventies, sixties and seventies

447
00:23:22,080 --> 00:23:24,560
Speaker 1: in old school Hollywood, Beverly Hills. I mean, what is

448
00:23:24,600 --> 00:23:27,399
Speaker 1: that like? So you know, I wasn't actually born and

449
00:23:27,800 --> 00:23:31,359
Speaker 1: my dad got hired by Walt Disney himself in about

450
00:23:31,440 --> 00:23:35,720
Speaker 1: nineteen fifty nineteen sixty, and we were like the Hillbillies.

451
00:23:35,800 --> 00:23:38,520
Speaker 1: We went over the hill where the grass crew and

452
00:23:38,560 --> 00:23:41,760
Speaker 1: we went to Beverly Hill. My dad, actually, my dad

453
00:23:42,520 --> 00:23:45,800
Speaker 1: brought us all over without telling us anything, and it

454
00:23:45,880 --> 00:23:49,040
Speaker 1: was just me and my older sister at that point. Um,

455
00:23:49,080 --> 00:23:50,720
Speaker 1: and I think my little sister might have been going

456
00:23:50,680 --> 00:23:53,080
Speaker 1: tochoose a baby. And my dad drove us into this

457
00:23:53,200 --> 00:23:54,879
Speaker 1: in front of this house and there was a for

458
00:23:54,960 --> 00:23:57,639
Speaker 1: sales sign was sold over it, and he held up

459
00:23:57,720 --> 00:23:59,639
Speaker 1: keys and he said, if we lived here, we'd be

460
00:23:59,680 --> 00:24:03,159
Speaker 1: home out. And my mom looked at him, and you know,

461
00:24:03,320 --> 00:24:05,080
Speaker 1: it's a house in Beverly Hill. Is kind of cool.

462
00:24:06,080 --> 00:24:09,880
Speaker 1: You bought a house without asking me. That's how. That's how.

463
00:24:11,080 --> 00:24:14,119
Speaker 1: But on our street, for instance, I you know, I

464
00:24:14,160 --> 00:24:19,000
Speaker 1: grew up around kids of actors, kids of directors. You know.

465
00:24:19,080 --> 00:24:22,600
Speaker 1: Vincent Minnelli lived two houses up for me, Shirley Jones

466
00:24:22,640 --> 00:24:24,720
Speaker 1: on another house. We lived and lived up the street.

467
00:24:24,720 --> 00:24:27,280
Speaker 1: I was in the band with Shawn Cassidy and Jamie

468
00:24:27,359 --> 00:24:30,840
Speaker 1: Lee Curtis. I mean, those were kind that was my world. Wow.

469
00:24:31,760 --> 00:24:34,320
Speaker 1: And you know we had the best PTA shows, I

470
00:24:34,359 --> 00:24:38,239
Speaker 1: gotta say, because I would write songs for them. They

471
00:24:38,359 --> 00:24:40,639
Speaker 1: had the big director. They have Arnie Rosen who was

472
00:24:40,640 --> 00:24:42,600
Speaker 1: writing the Carol Burnett Show, and he'd write them and

473
00:24:42,600 --> 00:24:45,560
Speaker 1: then we have like Donna read Mary Tyler Moore and

474
00:24:46,440 --> 00:24:49,080
Speaker 1: you need that was our cat. So it was like

475
00:24:49,160 --> 00:24:53,280
Speaker 1: standing room only just to come to PTA shows, but

476
00:24:53,480 --> 00:24:56,440
Speaker 1: it was you know what it did for me? I

477
00:24:56,560 --> 00:25:00,560
Speaker 1: think also my grandfather, Al Sherman was and penn Alley

478
00:25:00,640 --> 00:25:02,639
Speaker 1: songwriter back East. He wrote, he was one of the

479
00:25:02,680 --> 00:25:05,280
Speaker 1: top ten tin Pan Alley songwriters. He teamed up the

480
00:25:05,280 --> 00:25:07,960
Speaker 1: Gershwin Brothers. There's a lot to all that stuff, but

481
00:25:08,080 --> 00:25:09,639
Speaker 1: I grew up in this world that was sort of

482
00:25:09,720 --> 00:25:13,320
Speaker 1: second nature. I grew up going to sound stages and

483
00:25:13,520 --> 00:25:17,200
Speaker 1: recording studios. In fact, stage two I heard Chris Kyer

484
00:25:17,280 --> 00:25:20,760
Speaker 1: talking about it. Stage two where we shot Who's the World?

485
00:25:20,800 --> 00:25:22,800
Speaker 1: The first two years that was Cherry Tree Lane for

486
00:25:22,920 --> 00:25:26,359
Speaker 1: Mary Poppins. So I think, isn't that the Julie Andrews

487
00:25:26,440 --> 00:25:28,240
Speaker 1: stage now or something? I think they did the name

488
00:25:28,280 --> 00:25:30,800
Speaker 1: at that did they makes sense? Makes sense? And they

489
00:25:30,880 --> 00:25:33,280
Speaker 1: dedicated another stage a couple of years ago to my

490
00:25:33,359 --> 00:25:35,280
Speaker 1: dad and uncle. It's called the Sherman Brothers stage there

491
00:25:35,320 --> 00:25:38,560
Speaker 1: that's one of the commissary So I kind of grew

492
00:25:38,680 --> 00:25:42,920
Speaker 1: up in all that and what it did was movie

493
00:25:43,000 --> 00:25:46,120
Speaker 1: stars and directors and I just looked at them as people.

494
00:25:46,160 --> 00:25:49,640
Speaker 1: I'm fascinated by them, and so there I always looked

495
00:25:49,680 --> 00:25:52,399
Speaker 1: at them, not not that I'm a grantizing myself at

496
00:25:52,440 --> 00:25:55,320
Speaker 1: his peers, like I wanted to know more about them,

497
00:25:55,520 --> 00:25:58,119
Speaker 1: which is probably why in a sense of the writers

498
00:25:58,160 --> 00:25:59,920
Speaker 1: on staff, I probably got to know all you guys

499
00:26:00,040 --> 00:26:01,680
Speaker 1: better than a lot of the people because I'm just

500
00:26:01,760 --> 00:26:05,159
Speaker 1: more comfortable swimming those waters. So that's really what it

501
00:26:05,280 --> 00:26:09,520
Speaker 1: afforded me. And and watching my dad have his ups

502
00:26:09,560 --> 00:26:12,240
Speaker 1: and downs, um, which he had very big ups and

503
00:26:12,280 --> 00:26:18,040
Speaker 1: accounts he was bipolar. Um. But uh, it also trained

504
00:26:18,080 --> 00:26:21,600
Speaker 1: me to have a little bit more fortitude in the business,

505
00:26:21,640 --> 00:26:24,359
Speaker 1: which you definitely need, as we all know. You just

506
00:26:24,520 --> 00:26:27,560
Speaker 1: have to. You know, I saw my dad get shot down.

507
00:26:27,680 --> 00:26:30,639
Speaker 1: He had a in his office. He had a poster

508
00:26:30,760 --> 00:26:33,760
Speaker 1: and it said the great corpse of our work and

509
00:26:33,800 --> 00:26:36,200
Speaker 1: they were never a project would die. They added onto this.

510
00:26:36,400 --> 00:26:39,120
Speaker 1: It was this long list of things. So I kind

511
00:26:39,160 --> 00:26:42,480
Speaker 1: of learned that don't worry about the negative things, lift

512
00:26:42,600 --> 00:26:45,199
Speaker 1: up the positive things. Go for that, which is why

513
00:26:45,280 --> 00:26:47,200
Speaker 1: I look at Boy Meets World now still it's like

514
00:26:48,000 --> 00:26:50,080
Speaker 1: we all have our beechs about different aspects of the

515
00:26:50,080 --> 00:26:53,040
Speaker 1: show and people that were there, but you know at

516
00:26:53,080 --> 00:26:55,960
Speaker 1: sixty five years old now I look back and to me,

517
00:26:56,080 --> 00:27:00,600
Speaker 1: it opened the store to television and to hold beautiful

518
00:27:00,720 --> 00:27:06,040
Speaker 1: cool way of of having immediate gratification after writing screenplays

519
00:27:06,119 --> 00:27:09,439
Speaker 1: for four years, and they talked I would write the script.

520
00:27:09,480 --> 00:27:11,600
Speaker 1: I'd walked down three days later and they built the

521
00:27:11,640 --> 00:27:15,239
Speaker 1: swing set, you know, whenever that new set was going

522
00:27:15,280 --> 00:27:17,840
Speaker 1: to be such a beautiful thing. And and the person

523
00:27:17,920 --> 00:27:20,920
Speaker 1: who let me in was Michael So okay, wait, so

524
00:27:21,440 --> 00:27:22,840
Speaker 1: I have to ask, and I know you've told this

525
00:27:22,880 --> 00:27:24,760
Speaker 1: story before, but it's one of my favorite stories ever,

526
00:27:24,840 --> 00:27:27,240
Speaker 1: and it just shows the magic of the world that

527
00:27:27,359 --> 00:27:29,320
Speaker 1: you grew up in. You said you grew up around

528
00:27:29,320 --> 00:27:32,800
Speaker 1: Walt Disney. Can you tell the story about Disney taking

529
00:27:32,800 --> 00:27:37,280
Speaker 1: you around himself. Yeah, so Dad, you know, working for Disney,

530
00:27:37,880 --> 00:27:39,800
Speaker 1: he would sort of test stuff out on me and

531
00:27:39,880 --> 00:27:42,960
Speaker 1: my older sister. And so he came home. He'd gotten

532
00:27:43,840 --> 00:27:45,800
Speaker 1: if you if you see the documentary my cousin, and

533
00:27:45,920 --> 00:27:48,400
Speaker 1: they called the Voice of the Sherman Brothers story about

534
00:27:48,440 --> 00:27:52,280
Speaker 1: our dad's about the Sherman Brothers. Um Disney on their

535
00:27:52,359 --> 00:27:55,120
Speaker 1: like third meeting, handed them the Red Mary Poppins book.

536
00:27:55,160 --> 00:27:56,800
Speaker 1: So Dad came home and he read it and my

537
00:27:56,920 --> 00:28:00,920
Speaker 1: uncle Dick read it, and my ad read us the

538
00:28:01,080 --> 00:28:04,160
Speaker 1: story and had our responses to it. So we told

539
00:28:04,240 --> 00:28:06,639
Speaker 1: them what we thought. Each night we'd read another chapter

540
00:28:07,440 --> 00:28:11,399
Speaker 1: and then um so he came back and you know,

541
00:28:11,440 --> 00:28:13,359
Speaker 1: the movie started going after a couple of years, and

542
00:28:13,480 --> 00:28:16,000
Speaker 1: I heard all the demos and all that. I'd see

543
00:28:16,119 --> 00:28:18,680
Speaker 1: drawings and I'd see all this kind of stuff. My

544
00:28:18,800 --> 00:28:21,000
Speaker 1: dad would talk about it, and I was a dumb kid.

545
00:28:21,680 --> 00:28:24,600
Speaker 1: So my dad said, we have wizards and magicians working

546
00:28:24,760 --> 00:28:27,240
Speaker 1: all night and day at the studio getting this all together.

547
00:28:27,320 --> 00:28:29,159
Speaker 1: There's gonna be all this magic. So I begged and

548
00:28:29,240 --> 00:28:31,760
Speaker 1: I said, to night, please come see this. So one day,

549
00:28:31,920 --> 00:28:34,600
Speaker 1: I mean I'm like five years old, he takes me

550
00:28:34,720 --> 00:28:37,040
Speaker 1: out of class and I don't go to school. I

551
00:28:37,080 --> 00:28:38,840
Speaker 1: just go with him to the work. And take your

552
00:28:38,920 --> 00:28:41,640
Speaker 1: kid to work. Then and we go to Disney Studios

553
00:28:41,640 --> 00:28:44,520
Speaker 1: where we shot for the first two years, and every

554
00:28:44,600 --> 00:28:47,080
Speaker 1: sound stage on that studio at the time was devoted

555
00:28:47,080 --> 00:28:49,640
Speaker 1: to Mary Pobbins. Averybody thinks that Mary Pobbins was shot

556
00:28:49,680 --> 00:28:52,040
Speaker 1: in England, was all shot in Burbank, California, and sounds

557
00:28:52,960 --> 00:28:55,560
Speaker 1: so one snage you'd walk into like stage two was

558
00:28:55,680 --> 00:28:59,440
Speaker 1: Cherry Tree Lane, which was actually it was we only

559
00:28:59,520 --> 00:29:01,560
Speaker 1: used half stage. It was the full stage and it

560
00:29:01,720 --> 00:29:06,040
Speaker 1: was amazing. They built the steamship for for Disneyland there

561
00:29:06,120 --> 00:29:11,040
Speaker 1: in that room. And then but another stage would be

562
00:29:11,160 --> 00:29:13,360
Speaker 1: the Merry Go Round horses against the yellow at least

563
00:29:13,400 --> 00:29:17,040
Speaker 1: to shoot against the yellow screen. And so I've seen

564
00:29:17,040 --> 00:29:18,840
Speaker 1: all this, but I'm a little kid five years on.

565
00:29:18,880 --> 00:29:22,000
Speaker 1: I've heard about magicians and wizards and then I'll only

566
00:29:22,040 --> 00:29:24,320
Speaker 1: see guys with their pants are halfway down there but

567
00:29:26,080 --> 00:29:28,560
Speaker 1: dust and and so like it's it's a you know.

568
00:29:29,320 --> 00:29:31,080
Speaker 1: So I walked around with my dad and the main

569
00:29:31,160 --> 00:29:33,120
Speaker 1: thing at the studio was in the commissary. I used

570
00:29:33,120 --> 00:29:35,520
Speaker 1: to have an executive dining room. They're called the Coral Room.

571
00:29:36,200 --> 00:29:39,640
Speaker 1: Only Disney and the main you know, executives and my

572
00:29:39,760 --> 00:29:42,440
Speaker 1: dad and the writers would eat in that room. I

573
00:29:42,560 --> 00:29:44,600
Speaker 1: love that place because they had the best tuna sandwiches

574
00:29:44,640 --> 00:29:47,360
Speaker 1: in the world. So um, I couldn't That's all I

575
00:29:47,400 --> 00:29:49,080
Speaker 1: could think about was the tuna sandwich. And I walked

576
00:29:49,120 --> 00:29:50,600
Speaker 1: in with my dad. I'm hold in his hand and

577
00:29:50,720 --> 00:29:54,000
Speaker 1: Disney's they're not met him about five times and so

578
00:29:54,160 --> 00:29:56,720
Speaker 1: he sees me and Disney had an amazing knack of

579
00:29:56,840 --> 00:29:59,800
Speaker 1: remembering not only every employee's name, but their kids if

580
00:29:59,840 --> 00:30:02,520
Speaker 1: you do them well enough. So he so he sees

581
00:30:02,600 --> 00:30:04,680
Speaker 1: me so two guys that look like bankers, and he says,

582
00:30:05,320 --> 00:30:07,600
Speaker 1: so Jeffrey, he says, I hear you take a look

583
00:30:07,640 --> 00:30:10,120
Speaker 1: at our sets today for Mary Poppins. What do you think?

584
00:30:10,160 --> 00:30:13,080
Speaker 1: And I'm holding my dad's hand and I said, they're okay,

585
00:30:13,120 --> 00:30:15,920
Speaker 1: I guess And I feel my dad's hand go limp

586
00:30:16,040 --> 00:30:18,160
Speaker 1: and I look up at him. It's like he's like

587
00:30:18,560 --> 00:30:21,000
Speaker 1: just and Disney looks at me, like what and the

588
00:30:21,080 --> 00:30:23,080
Speaker 1: two guys with it. So Disney says, what do you mean?

589
00:30:23,160 --> 00:30:24,440
Speaker 1: I said, I don't know. He goes, do you come

590
00:30:24,520 --> 00:30:27,360
Speaker 1: with me? He ditched his guys. He took my hand

591
00:30:27,680 --> 00:30:29,920
Speaker 1: and he walked me over to the closest sound stage,

592
00:30:29,960 --> 00:30:32,800
Speaker 1: which was the rooftops of London where they shot Step

593
00:30:32,960 --> 00:30:36,520
Speaker 1: in Time. Did you so? I'm looking? And there he

594
00:30:36,640 --> 00:30:38,600
Speaker 1: turns on Work Life and the guy's hammering. He says,

595
00:30:38,920 --> 00:30:41,640
Speaker 1: hold the work and he says, so, what do you so?

596
00:30:41,920 --> 00:30:44,360
Speaker 1: What's wrong with this? I said, I I'm sorry, Mrs.

597
00:30:44,520 --> 00:30:47,200
Speaker 1: I just don't think anybody's gonna believe it. And I

598
00:30:47,240 --> 00:30:50,200
Speaker 1: see his physical I think I'm never getting invited to Disneyland.

599
00:30:52,000 --> 00:30:54,480
Speaker 1: And he's like, I had the greatest artists go to

600
00:30:54,560 --> 00:30:57,360
Speaker 1: England and draw pictures, and this is exactly what a

601
00:30:57,440 --> 00:31:00,480
Speaker 1: rooftop looks like. And I said, but Mr Disney, it's

602
00:31:00,560 --> 00:31:02,240
Speaker 1: right here on the ground and it's supposed to be

603
00:31:02,400 --> 00:31:04,320
Speaker 1: on the roof. And he looked at me like I

604
00:31:04,440 --> 00:31:07,400
Speaker 1: was the dumbest child he'd ever in a contact with.

605
00:31:07,920 --> 00:31:10,120
Speaker 1: And he smiled, and he got down on his knees

606
00:31:10,120 --> 00:31:13,040
Speaker 1: and put his hands like that. He said, this is

607
00:31:13,120 --> 00:31:16,040
Speaker 1: what a camera scene. This is called movie magic. No

608
00:31:16,080 --> 00:31:18,560
Speaker 1: one's ever gonna know that. That's not that that's on

609
00:31:18,680 --> 00:31:21,120
Speaker 1: the ground. This is all they're going to see. And

610
00:31:21,520 --> 00:31:24,120
Speaker 1: uh so that's moving magic and you can never tell

611
00:31:24,160 --> 00:31:26,640
Speaker 1: your friends. So he takes me back and I'm going like,

612
00:31:26,760 --> 00:31:29,360
Speaker 1: my mind's that's why he's one of my heroes. My

613
00:31:29,480 --> 00:31:31,400
Speaker 1: mind starts going like, oh my gosh, you can like

614
00:31:31,840 --> 00:31:36,240
Speaker 1: fake stuff and makes it just opened some big doork.

615
00:31:36,640 --> 00:31:39,080
Speaker 1: He walks me back. My dad's having a scotch like

616
00:31:39,200 --> 00:31:41,600
Speaker 1: this at the table with the writers. He thinks he's

617
00:31:41,640 --> 00:31:44,960
Speaker 1: getting fired, and Disney whispers to my dad. He starts laughing,

618
00:31:45,040 --> 00:31:46,720
Speaker 1: they taught it goes around the table. So I'm the

619
00:31:46,760 --> 00:31:49,120
Speaker 1: idiot at the table with a great tune of Sandwich

620
00:31:51,160 --> 00:31:53,680
Speaker 1: Disney taking me around story, But I got my dad

621
00:31:53,760 --> 00:32:05,880
Speaker 1: fired that story. Yeah my hey everyone. I'm Wilford l

622
00:32:06,000 --> 00:32:08,640
Speaker 1: also known as a voice behind Ron Stoppaball Hey, and

623
00:32:08,680 --> 00:32:10,920
Speaker 1: I'm Christy Carlson or Model, also known as the voice

624
00:32:11,000 --> 00:32:13,760
Speaker 1: behind Kim Possible. And we have teamed up again, but

625
00:32:13,880 --> 00:32:16,280
Speaker 1: this time as the host of I Hear Voices. Have

626
00:32:16,400 --> 00:32:18,400
Speaker 1: you ever wanted to go behind the scenes of your

627
00:32:18,440 --> 00:32:22,120
Speaker 1: favorite cartoons, video games, and animated movies. If so, we

628
00:32:22,280 --> 00:32:24,960
Speaker 1: have the podcast for you. Every week, we're gonna be

629
00:32:25,000 --> 00:32:27,520
Speaker 1: talking to the biggest stars of voice over like Alan Tutick,

630
00:32:27,680 --> 00:32:31,400
Speaker 1: Vette Nicole Brown, Steve Downs, Dietrich Bader, and even reuniting

631
00:32:31,480 --> 00:32:34,280
Speaker 1: with our Kim Possible co star Taj Maury. They tell

632
00:32:34,400 --> 00:32:37,040
Speaker 1: us everything from how they got started two things we

633
00:32:37,120 --> 00:32:40,240
Speaker 1: didn't even know about some of our favorite animated characters.

634
00:32:40,520 --> 00:32:42,720
Speaker 1: You're also going to hear about new shows, games, and

635
00:32:42,920 --> 00:32:45,160
Speaker 1: movies from all of these actors who bring them to life.

636
00:32:45,320 --> 00:32:47,760
Speaker 1: So if you want to laugh, learn, and here's someone

637
00:32:48,040 --> 00:32:51,160
Speaker 1: launch into characters like Bugs, Bunny, and Batman, all in

638
00:32:51,200 --> 00:32:54,160
Speaker 1: the same episode. Then this is the podcast for you.

639
00:32:54,480 --> 00:32:56,680
Speaker 1: Download the free I Heart Radio app and check out

640
00:32:56,760 --> 00:32:59,720
Speaker 1: the I Hear Voices podcast today. It's free and you

641
00:32:59,800 --> 00:33:04,120
Speaker 1: can even listen offline. Discover music radio and podcast you'll love,

642
00:33:04,400 --> 00:33:12,040
Speaker 1: especially ours. Going back to your time on Boy Meets World,

643
00:33:12,160 --> 00:33:16,160
Speaker 1: what was it like writing for Bill Daniels Man that

644
00:33:16,360 --> 00:33:20,200
Speaker 1: that voice is just so magical and and his history

645
00:33:20,480 --> 00:33:23,440
Speaker 1: in the business is so great that I just always

646
00:33:23,480 --> 00:33:25,959
Speaker 1: wanted to build. I have a lot of Bill scenes,

647
00:33:26,120 --> 00:33:30,120
Speaker 1: a lot of a lot of things that The funny

648
00:33:30,160 --> 00:33:32,920
Speaker 1: one was that we did that one on school vandalism.

649
00:33:33,840 --> 00:33:38,040
Speaker 1: Remember that. Yeah, And so this is about third or

650
00:33:38,080 --> 00:33:41,480
Speaker 1: fourth year name third year I was on and uh

651
00:33:42,200 --> 00:33:44,280
Speaker 1: so I do this, and I decided, I'm going to

652
00:33:44,360 --> 00:33:47,760
Speaker 1: write Bill the greatest monologue. I just want to you know,

653
00:33:47,840 --> 00:33:49,640
Speaker 1: he always gets a little scene and then he's off

654
00:33:49,680 --> 00:33:52,240
Speaker 1: to Mona Cito, you know, and I said, but I

655
00:33:52,320 --> 00:33:54,960
Speaker 1: want to see him do really, I want to get

656
00:33:55,000 --> 00:33:57,400
Speaker 1: a Bill daniels monologue. It. So we're at the table

657
00:33:57,480 --> 00:34:01,400
Speaker 1: read and Bill's all excited. This is so cool. So

658
00:34:01,480 --> 00:34:03,920
Speaker 1: he reads this this like it's like a page long.

659
00:34:04,920 --> 00:34:06,720
Speaker 1: And afterward, I'm so, I think he's gonna come up

660
00:34:06,760 --> 00:34:08,840
Speaker 1: and give me a hug, and he walks up to

661
00:34:08,920 --> 00:34:15,960
Speaker 1: Nigo Sherman to damn any words that works. I have

662
00:34:16,040 --> 00:34:18,400
Speaker 1: a question for you. You said that, so Susan is

663
00:34:18,480 --> 00:34:20,960
Speaker 1: still Jansen was kind of the voice of Topango. Who

664
00:34:21,080 --> 00:34:24,279
Speaker 1: was the voice of Bill in the room. Well, you know,

665
00:34:24,760 --> 00:34:27,000
Speaker 1: you guys don't know. It was so funny because one

666
00:34:27,080 --> 00:34:28,799
Speaker 1: time you guys came up to the room and it's

667
00:34:28,840 --> 00:34:31,280
Speaker 1: like it's like looking at the sun when your actors

668
00:34:31,320 --> 00:34:34,279
Speaker 1: come up. Because we have stuff on the board. Give

669
00:34:34,360 --> 00:34:37,279
Speaker 1: more to Sean, you know, make the funny scene for

670
00:34:37,360 --> 00:34:39,920
Speaker 1: Will with you know, with you know, we have all

671
00:34:39,960 --> 00:34:41,320
Speaker 1: this stuff. We don't want you really to know what

672
00:34:41,400 --> 00:34:45,080
Speaker 1: our little thing is, but you know you would come

673
00:34:45,200 --> 00:34:47,640
Speaker 1: up there. Yeah, but Jeff, I gotta be honest. If

674
00:34:47,640 --> 00:34:49,400
Speaker 1: you get down on one knee and you look at

675
00:34:49,440 --> 00:34:53,800
Speaker 1: the writers like this, it's just movie magic and no

676
00:34:53,920 --> 00:34:56,040
Speaker 1: one believes it anyway, So you don't have to worry

677
00:34:56,040 --> 00:34:58,360
Speaker 1: about it. You're good speaking of memory. What was your

678
00:34:58,440 --> 00:35:02,600
Speaker 1: question again? Who was the voice of Bill in the right? Yes, okay,

679
00:35:02,640 --> 00:35:04,600
Speaker 1: So what we would do is we would the writers.

680
00:35:04,960 --> 00:35:07,920
Speaker 1: You would I can go through the whole process of

681
00:35:07,960 --> 00:35:11,040
Speaker 1: the writing. You pitch stories and then sometimes I would

682
00:35:11,080 --> 00:35:13,440
Speaker 1: pitch stories other writers would get. It was just it's

683
00:35:13,480 --> 00:35:16,800
Speaker 1: all just a pool of ideas. And I would usually

684
00:35:16,920 --> 00:35:21,080
Speaker 1: be writer and Bill because we wouldn't have as many

685
00:35:21,120 --> 00:35:23,279
Speaker 1: people in the room, so I was kind of the

686
00:35:23,400 --> 00:35:25,960
Speaker 1: voice of Sean in that spot. But I would I

687
00:35:26,000 --> 00:35:28,080
Speaker 1: would do Bill de energies and I would I would

688
00:35:28,160 --> 00:35:29,520
Speaker 1: kind of doing a little bit they're going to get

689
00:35:29,560 --> 00:35:35,360
Speaker 1: the rhythms. But you know, Bill was an amalgam of

690
00:35:35,400 --> 00:35:38,279
Speaker 1: a lot of things. You know, ultimately, anything that comes

691
00:35:38,360 --> 00:35:41,600
Speaker 1: through on The Boy Meets World came through the pencil

692
00:35:41,640 --> 00:35:45,239
Speaker 1: of Michael Jacobs. Whatever it was, he filtered. So really

693
00:35:45,320 --> 00:35:49,319
Speaker 1: he is responsible for everything. Um you know that went

694
00:35:49,440 --> 00:35:54,160
Speaker 1: up there, but um uh, you know it was it

695
00:35:54,320 --> 00:35:56,879
Speaker 1: was things that would always give I was scared at first,

696
00:35:57,200 --> 00:35:59,920
Speaker 1: you know, you become proprietorial as a writer. I got

697
00:36:00,560 --> 00:36:02,560
Speaker 1: and and I was so used to just writing things

698
00:36:02,600 --> 00:36:04,200
Speaker 1: and they would make them where they wouldn't make them.

699
00:36:04,239 --> 00:36:06,040
Speaker 1: But now I'm coming in and they go, that's great.

700
00:36:06,080 --> 00:36:08,359
Speaker 1: Michael goes, this is a great script. I'm not changing word.

701
00:36:08,520 --> 00:36:10,440
Speaker 1: Flip it over and start writing in pencil on the

702
00:36:10,520 --> 00:36:14,279
Speaker 1: back page online just kind of you check her. You

703
00:36:14,320 --> 00:36:17,839
Speaker 1: go at the door and you learned that. It's kind

704
00:36:17,880 --> 00:36:21,279
Speaker 1: of a wonderful process being on staff, because first of all,

705
00:36:21,320 --> 00:36:23,680
Speaker 1: it's really fun if it's not too political every now.

706
00:36:23,719 --> 00:36:25,360
Speaker 1: And you know, I was on it four and a

707
00:36:25,400 --> 00:36:29,759
Speaker 1: half years. On boy, um some years it was great.

708
00:36:30,560 --> 00:36:33,600
Speaker 1: April made it very political. The first year she was

709
00:36:33,800 --> 00:36:37,000
Speaker 1: very political because she was having sort of a silent

710
00:36:37,080 --> 00:36:39,279
Speaker 1: world with Michael about the power of the show. I think,

711
00:36:39,520 --> 00:36:45,960
Speaker 1: and I was on the Michael camp um so uh um. Yeah.

712
00:36:46,040 --> 00:36:48,120
Speaker 1: She wanted that guy, Bill Lawrence. I wonder what he

713
00:36:48,160 --> 00:36:52,839
Speaker 1: ever went on to do. I went up, I went

714
00:36:52,880 --> 00:36:58,040
Speaker 1: to a writer's skill. Um, poor Bill. Uh. He came in.

715
00:36:58,120 --> 00:37:00,040
Speaker 1: He was a really young writer. He came in. He

716
00:37:00,160 --> 00:37:02,520
Speaker 1: was very good. But it's impossible to walk into a

717
00:37:02,600 --> 00:37:05,520
Speaker 1: writer's room and know what we've been talking about for months.

718
00:37:06,320 --> 00:37:08,560
Speaker 1: We've pitched that. I knew, we've we've had this. No,

719
00:37:09,080 --> 00:37:11,160
Speaker 1: you can't do that because we've already set up this rule.

720
00:37:11,880 --> 00:37:14,800
Speaker 1: He came in with the script that was good, and

721
00:37:15,239 --> 00:37:17,040
Speaker 1: he was a sweetheart. He was really nice. I was

722
00:37:17,080 --> 00:37:18,480
Speaker 1: there when he pitched, you know. I would do in

723
00:37:18,560 --> 00:37:22,560
Speaker 1: the in the pitches for the outside writers. And the

724
00:37:22,719 --> 00:37:25,439
Speaker 1: night of the show came the taping and Bill comes

725
00:37:25,480 --> 00:37:27,680
Speaker 1: in and I see him. I said, hey, congratulations, this

726
00:37:27,880 --> 00:37:29,319
Speaker 1: is great. You know, you got one of the two

727
00:37:29,360 --> 00:37:32,040
Speaker 1: outside scripts this year. And he's with a couple of friends.

728
00:37:32,080 --> 00:37:33,839
Speaker 1: He goes, hey, man, could I could I possibly get

729
00:37:33,880 --> 00:37:35,600
Speaker 1: a copy of the script? I'd like to see what's

730
00:37:35,600 --> 00:37:37,759
Speaker 1: going on. I said sure. Now, he had not been

731
00:37:37,840 --> 00:37:39,880
Speaker 1: involved in the writer's room, and Michael out of policy

732
00:37:39,960 --> 00:37:42,680
Speaker 1: not to bring outside writers in to the room because

733
00:37:42,680 --> 00:37:44,960
Speaker 1: it would stop things and you never know if they're

734
00:37:44,960 --> 00:37:48,279
Speaker 1: gonna get you know, stop the flow of thing. So

735
00:37:48,440 --> 00:37:50,120
Speaker 1: I got to get one of the stage scripts and

736
00:37:50,160 --> 00:37:52,439
Speaker 1: I handed to Bill and I see Bill, He sees

737
00:37:52,480 --> 00:37:54,520
Speaker 1: his name. He shows it to his friends and then

738
00:37:54,560 --> 00:37:56,320
Speaker 1: he opens the first page and he looks at it

739
00:37:56,440 --> 00:37:59,600
Speaker 1: like he's looking at Chinese. And he goes to the

740
00:37:59,640 --> 00:38:02,440
Speaker 1: second page, and he goes to the third page, and

741
00:38:02,560 --> 00:38:05,520
Speaker 1: it's like we changed everything. I mean, you know, and

742
00:38:05,640 --> 00:38:07,120
Speaker 1: that happened to all of us, you know, but he

743
00:38:07,160 --> 00:38:09,680
Speaker 1: didn't because he wasn't in the room. I mean, thanks

744
00:38:09,719 --> 00:38:12,640
Speaker 1: to change a lot um. And I felt so sorry

745
00:38:12,680 --> 00:38:14,640
Speaker 1: from because I just saw him. He brought his friends.

746
00:38:14,719 --> 00:38:16,600
Speaker 1: It's like, you know, it's like you come to a

747
00:38:16,680 --> 00:38:18,520
Speaker 1: movie premiere and you're gonna want to show him your

748
00:38:18,520 --> 00:38:21,920
Speaker 1: scene that you've been cut out. That's kind of so.

749
00:38:22,400 --> 00:38:24,200
Speaker 1: I was at the writer Skilled thing and he was

750
00:38:24,239 --> 00:38:26,280
Speaker 1: speaking and I walked up and said, I have to explain.

751
00:38:26,320 --> 00:38:28,719
Speaker 1: I'm so sorry, and I watched your face and I

752
00:38:29,040 --> 00:38:31,440
Speaker 1: felt terrible and I didn't see you afterwards. I just

753
00:38:31,520 --> 00:38:33,920
Speaker 1: want you know. You know this now because you run shows.

754
00:38:34,120 --> 00:38:36,879
Speaker 1: This happens to everybody. I know it now. He goes,

755
00:38:36,960 --> 00:38:40,640
Speaker 1: but bitch or heard back then, I thought, but you know,

756
00:38:40,960 --> 00:38:45,200
Speaker 1: but he's he's okay for himself. Yeah, he's He's easily

757
00:38:45,239 --> 00:38:47,920
Speaker 1: the most successful person to ever have their name attached

758
00:38:48,000 --> 00:38:52,480
Speaker 1: to Boy Meets World. So kudos to him. Um so, um,

759
00:38:53,160 --> 00:38:57,320
Speaker 1: let's talk about the fugitive. Oh yes, this we have

760
00:38:57,560 --> 00:39:00,720
Speaker 1: to give you credit because we talked about the episode,

761
00:39:00,760 --> 00:39:03,480
Speaker 1: we watched it, we talked about it, and it is

762
00:39:03,920 --> 00:39:07,320
Speaker 1: among like all seven seasons, it is one of the

763
00:39:07,480 --> 00:39:11,440
Speaker 1: most important episodes of Boy Meets World. Just ever. It

764
00:39:11,640 --> 00:39:15,920
Speaker 1: is so good. It's such a great writer showcase. Um.

765
00:39:16,239 --> 00:39:18,640
Speaker 1: It cement Sean. It totally cements the character of Sean,

766
00:39:18,719 --> 00:39:21,200
Speaker 1: I mean from that moment on. But it also really

767
00:39:21,480 --> 00:39:24,520
Speaker 1: is the perfect episode to represent what Boy Meets World

768
00:39:24,600 --> 00:39:27,440
Speaker 1: was so good at, which is such a like a

769
00:39:27,719 --> 00:39:32,279
Speaker 1: true great lesson about the bent, like what friends and

770
00:39:32,440 --> 00:39:35,080
Speaker 1: family are supposed to do for each other. And yet

771
00:39:35,600 --> 00:39:39,439
Speaker 1: for of the episode it feels like hijinks and then

772
00:39:40,280 --> 00:39:42,000
Speaker 1: when you walk away from it, you get this very

773
00:39:42,040 --> 00:39:44,319
Speaker 1: important lesson um. And so that's one of the things

774
00:39:44,360 --> 00:39:46,239
Speaker 1: Boy Meets World was best at, and I would dare

775
00:39:46,239 --> 00:39:48,680
Speaker 1: I say this episode is maybe the best representation of that.

776
00:39:48,840 --> 00:39:51,240
Speaker 1: So talk to us about the process of the fugitive

777
00:39:51,760 --> 00:39:55,040
Speaker 1: so fugitive, you know, I become really friendly with with writer,

778
00:39:55,280 --> 00:39:58,640
Speaker 1: partly because he did something wonderful which he didn't even

779
00:39:58,680 --> 00:40:00,680
Speaker 1: know if he did. We've talked to that it since.

780
00:40:00,760 --> 00:40:03,120
Speaker 1: But I'm loman on the totem pole, the streamer line

781
00:40:03,160 --> 00:40:07,160
Speaker 1: on twelve writers, and Michael's the boss, and April's hates

782
00:40:07,239 --> 00:40:10,000
Speaker 1: me and and all these things. All this stuff's going on,

783
00:40:11,320 --> 00:40:13,640
Speaker 1: And one day Writer comes up to our writer's room

784
00:40:13,760 --> 00:40:15,640
Speaker 1: and he said, Hey, I got to write a paper

785
00:40:17,160 --> 00:40:20,480
Speaker 1: and uh for my class here, and I wanted to

786
00:40:20,640 --> 00:40:22,759
Speaker 1: get one of the writers. And Michael starts standing up

787
00:40:22,800 --> 00:40:25,040
Speaker 1: and Writer goes, I'd like to talk to Jeff Sherman

788
00:40:25,080 --> 00:40:27,520
Speaker 1: if I could pull him up a little bit. I

789
00:40:27,760 --> 00:40:30,000
Speaker 1: was hated from that moment on in the room because

790
00:40:30,120 --> 00:40:33,320
Speaker 1: you know, it's collective, and I loved it, you know,

791
00:40:33,320 --> 00:40:35,080
Speaker 1: because writer and I would talk about writing a lot,

792
00:40:35,239 --> 00:40:39,240
Speaker 1: so that's why you wanted to talk to me. So anyway,

793
00:40:39,280 --> 00:40:40,920
Speaker 1: so I got to know writer, and I kept thinking,

794
00:40:41,000 --> 00:40:44,920
Speaker 1: we've got this actor on the show, and well, hysterical

795
00:40:45,080 --> 00:40:50,200
Speaker 1: Daniel's amazing. Ben is just incredible every man. And here's

796
00:40:50,280 --> 00:40:53,600
Speaker 1: this this James Dean on our on our show, who

797
00:40:53,719 --> 00:40:56,319
Speaker 1: people aren't capitalizing. You know, if he's given a couple

798
00:40:56,320 --> 00:40:58,840
Speaker 1: of lines, he's the fun I said, I wanted to

799
00:40:58,880 --> 00:41:04,759
Speaker 1: do something. Are changes so um And I've had a

800
00:41:04,840 --> 00:41:10,000
Speaker 1: sister who ran away from oh so I got into

801
00:41:10,080 --> 00:41:13,040
Speaker 1: drugs and all that stuff. So I thought, here's this

802
00:41:13,120 --> 00:41:16,439
Speaker 1: important show, and what can we do? Their little kids

803
00:41:16,560 --> 00:41:18,960
Speaker 1: kids run away. I ran away once when I was

804
00:41:19,000 --> 00:41:21,080
Speaker 1: a kid. I got to the door. I packed a

805
00:41:21,120 --> 00:41:23,080
Speaker 1: big lunch and I stood by the front door. And

806
00:41:23,160 --> 00:41:24,560
Speaker 1: my mom used to tell us all the time at

807
00:41:24,600 --> 00:41:27,480
Speaker 1: dinner partiesn't even embarrassed me. And I'm standing by the

808
00:41:27,560 --> 00:41:28,920
Speaker 1: door and my mom says, I thought you were going

809
00:41:28,960 --> 00:41:30,440
Speaker 1: to run away. I said, well, I need somebody to

810
00:41:30,560 --> 00:41:37,440
Speaker 1: drive me. Kid logic which I heard about until she

811
00:41:37,480 --> 00:41:41,480
Speaker 1: passed away. So um, but uh, anyway, so I thought

812
00:41:41,520 --> 00:41:44,319
Speaker 1: I would do this, and yeah, so I write the show,

813
00:41:44,360 --> 00:41:49,479
Speaker 1: and that's compounded because this is my last guaranteed show.

814
00:41:49,680 --> 00:41:52,800
Speaker 1: I was guaranteed two episodes, and April was gunning for me.

815
00:41:53,000 --> 00:41:56,279
Speaker 1: She wanted me to be kicked off the staff. She

816
00:41:56,280 --> 00:41:59,560
Speaker 1: wanted to bring in either Bill Lawrence or Jeanette I

817
00:41:59,560 --> 00:42:01,560
Speaker 1: think her name was hers Sistant and the writer systant

818
00:42:01,600 --> 00:42:06,200
Speaker 1: Jenelle or so. Um, I'm writing and I'm doing all

819
00:42:06,280 --> 00:42:09,719
Speaker 1: this and I'm all nighters getting this thing right. And

820
00:42:09,960 --> 00:42:11,800
Speaker 1: I told Michael, I said, he said, don't make it

821
00:42:11,920 --> 00:42:13,640
Speaker 1: serious all the way through. It's got to be fun

822
00:42:13,719 --> 00:42:15,360
Speaker 1: and all this stuff, and then we'll get real heavy

823
00:42:15,840 --> 00:42:17,320
Speaker 1: three quarters of the way through. You can do that

824
00:42:17,400 --> 00:42:18,840
Speaker 1: if you want to do these kind of shows. We

825
00:42:18,880 --> 00:42:20,600
Speaker 1: can't turn the audience off. And the beginning we got

826
00:42:20,680 --> 00:42:23,200
Speaker 1: to hook them in and then get there. So that's

827
00:42:23,239 --> 00:42:26,160
Speaker 1: not probing. So I write this thing. I'm writing and

828
00:42:26,400 --> 00:42:30,160
Speaker 1: it's the I'm doing a last draft of it, and

829
00:42:30,320 --> 00:42:32,360
Speaker 1: it's about I don't know, three thirty in the morning

830
00:42:32,640 --> 00:42:38,960
Speaker 1: and my house explodes and the earthquake kit all right,

831
00:42:39,600 --> 00:42:44,279
Speaker 1: and this was my episode. Thank you. Um you were

832
00:42:44,360 --> 00:42:48,799
Speaker 1: actually writing when they think was like four am. Yeah,

833
00:42:49,120 --> 00:42:51,560
Speaker 1: something in the morning. We're printing my last script out,

834
00:42:51,640 --> 00:42:53,600
Speaker 1: which the writer's assistant was going to come get and

835
00:42:53,640 --> 00:42:58,000
Speaker 1: make copies, and it was going on, so uhh, and

836
00:42:58,920 --> 00:43:00,960
Speaker 1: like everything's out and I don't know what's going I

837
00:43:01,000 --> 00:43:02,920
Speaker 1: think it's I'm in then eyes, I'm like right near

838
00:43:02,960 --> 00:43:06,160
Speaker 1: the epicenter. And so the only light on in my

839
00:43:06,280 --> 00:43:09,200
Speaker 1: house because I was printing the script out. I had

840
00:43:09,200 --> 00:43:11,960
Speaker 1: a backup battery on my computer and my monitor was

841
00:43:12,080 --> 00:43:14,800
Speaker 1: swinging like this. So I just seemed light like this,

842
00:43:15,920 --> 00:43:19,480
Speaker 1: And for some reason, the phone's worked, and about half

843
00:43:19,520 --> 00:43:22,279
Speaker 1: an hour later, my phone rings and it's Arlene Grace

844
00:43:22,320 --> 00:43:26,680
Speaker 1: and are wonderful? Yes, rest in peace, Arlene. We've talked

845
00:43:26,680 --> 00:43:31,279
Speaker 1: about her, and uh sorry, we feel the same way. Yeah,

846
00:43:32,560 --> 00:43:35,719
Speaker 1: she said, Sherman, are you alive? I said, yeah, she

847
00:43:36,000 --> 00:43:39,719
Speaker 1: was great. Did you finish your script? And I said that.

848
00:43:39,840 --> 00:43:42,040
Speaker 1: She goes, I'm sending the writer's assistant over. I said,

849
00:43:42,360 --> 00:43:44,439
Speaker 1: is there are the streets? I mean, it really felt

850
00:43:44,480 --> 00:43:48,920
Speaker 1: like a bomb fell. Remember it was a loud earthquake. Yes,

851
00:43:49,040 --> 00:43:51,239
Speaker 1: I had. It was kind of all over my floor

852
00:43:51,320 --> 00:43:52,759
Speaker 1: and I picked it up and put it in order.

853
00:43:52,840 --> 00:43:54,960
Speaker 1: She's there'll be something there in about twenty minutes to

854
00:43:55,000 --> 00:43:57,000
Speaker 1: pick it up. I said, are we working shows? Yeah,

855
00:43:57,000 --> 00:43:59,440
Speaker 1: we're having the table read and you know, come I'm like,

856
00:43:59,560 --> 00:44:02,640
Speaker 1: oh my god. So he just like we got to

857
00:44:02,640 --> 00:44:05,920
Speaker 1: show it. I mean, this is show. Show must go on.

858
00:44:06,560 --> 00:44:08,799
Speaker 1: I got my good I come down. We had been

859
00:44:09,080 --> 00:44:11,440
Speaker 1: doing our table reads. If you remember in that Hyperion

860
00:44:11,640 --> 00:44:15,360
Speaker 1: building that was well this original office, that little bungalow

861
00:44:15,400 --> 00:44:19,520
Speaker 1: that was edge instead now, because that they weren't sure

862
00:44:19,520 --> 00:44:21,600
Speaker 1: if that was safe, they put us for some reason,

863
00:44:21,920 --> 00:44:26,760
Speaker 1: on the sound stage. Arlene walks onto the stage wearing

864
00:44:26,840 --> 00:44:33,040
Speaker 1: a hard hat and commences to give a twenty minute

865
00:44:33,800 --> 00:44:38,480
Speaker 1: felt it felt like four hours. Take the instruction. If

866
00:44:38,520 --> 00:44:41,359
Speaker 1: there's last remember this. Oh my god, she she looks

867
00:44:41,360 --> 00:44:44,000
Speaker 1: at me, because you'll notice the lights are all the

868
00:44:44,239 --> 00:44:48,720
Speaker 1: stage lights were above us, and then she goes okay,

869
00:44:49,320 --> 00:44:54,560
Speaker 1: and the future commenting, oh my god, yeah, what a

870
00:44:54,640 --> 00:44:57,840
Speaker 1: way to kill the room. Oh it was I remember

871
00:44:57,960 --> 00:45:01,520
Speaker 1: just sitting there being so nervous, like shaky, and they

872
00:45:01,560 --> 00:45:04,080
Speaker 1: were in that cavernous room. So every line you're throwing

873
00:45:04,120 --> 00:45:09,040
Speaker 1: out is just being lost in the not as the

874
00:45:09,160 --> 00:45:11,400
Speaker 1: writer with your name on the script even though you know,

875
00:45:12,400 --> 00:45:15,120
Speaker 1: I'm like, oh my god, where did you go when

876
00:45:15,160 --> 00:45:16,880
Speaker 1: you left boy Meat's World? What did you go do?

877
00:45:17,120 --> 00:45:18,759
Speaker 1: And then also I want to talk to you about

878
00:45:18,800 --> 00:45:22,440
Speaker 1: what it is you're doing now. Well, the fourth year

879
00:45:22,520 --> 00:45:25,279
Speaker 1: came up. I only was contracted for three years. They

880
00:45:25,320 --> 00:45:27,879
Speaker 1: had three year contracts, and also there will like they

881
00:45:27,960 --> 00:45:31,200
Speaker 1: had to accept me every year. So the first year

882
00:45:31,200 --> 00:45:33,560
Speaker 1: I got two episodes, a second year I got three episodes,

883
00:45:34,719 --> 00:45:37,080
Speaker 1: You're at four, and the last year I was I

884
00:45:37,160 --> 00:45:39,400
Speaker 1: wrote five of the twenty one or twenty two episodes.

885
00:45:40,400 --> 00:45:43,799
Speaker 1: So yeah, and so I was known as a good,

886
00:45:43,880 --> 00:45:46,360
Speaker 1: strong draft writer and I could do all that, but

887
00:45:46,600 --> 00:45:50,560
Speaker 1: I still felt, you know, like okay. So what happened

888
00:45:50,600 --> 00:45:52,400
Speaker 1: on that fourth year was Michael was going to do

889
00:45:52,480 --> 00:45:54,440
Speaker 1: a couple of the shows and he said it. Came

890
00:45:54,520 --> 00:45:56,600
Speaker 1: to my office and said, closed the dose at SR

891
00:45:57,400 --> 00:46:00,200
Speaker 1: I'm thinking of having you run the show next year.

892
00:46:00,960 --> 00:46:02,440
Speaker 1: And I said, I'd left to you because you think

893
00:46:02,440 --> 00:46:04,120
Speaker 1: you're ready. I said, yeah, I like to do this.

894
00:46:05,080 --> 00:46:07,120
Speaker 1: So I was all set to do it, and Love

895
00:46:07,200 --> 00:46:11,479
Speaker 1: and bus Gang had gotten another gig on another show,

896
00:46:12,600 --> 00:46:16,200
Speaker 1: and I had tried uh so and they were one

897
00:46:16,280 --> 00:46:21,960
Speaker 1: step above me. On staff, so um, I uh, I

898
00:46:22,120 --> 00:46:23,920
Speaker 1: was all set to do that, and then Michael came

899
00:46:23,960 --> 00:46:26,719
Speaker 1: back and they left that show early. They were only

900
00:46:26,760 --> 00:46:28,600
Speaker 1: on that for a couple and they wanted to come back,

901
00:46:28,680 --> 00:46:30,960
Speaker 1: and Michael said, well, I'm sure, I think I might

902
00:46:31,120 --> 00:46:32,799
Speaker 1: give it to them instead. And I was a little

903
00:46:32,840 --> 00:46:34,759
Speaker 1: piste off, you know, because I was all set to

904
00:46:34,840 --> 00:46:38,239
Speaker 1: do it and I was preparing for it. So I

905
00:46:38,360 --> 00:46:41,960
Speaker 1: was offered a couple of other shows, and um, and

906
00:46:42,080 --> 00:46:44,880
Speaker 1: then Michael said, I've got this other show. One of

907
00:46:44,880 --> 00:46:47,239
Speaker 1: the shows I'm doing is this magic genie show called

908
00:46:47,280 --> 00:46:52,520
Speaker 1: you Wish. That's right, yeah, I'm still tired from that,

909
00:46:53,840 --> 00:46:56,960
Speaker 1: which is the correct answer to the question. Was this

910
00:46:57,040 --> 00:47:01,880
Speaker 1: show awesome? Yeah? You Wish? So we did that and

911
00:47:02,280 --> 00:47:04,320
Speaker 1: for the few people I think that tuned in for

912
00:47:04,400 --> 00:47:06,840
Speaker 1: that show, it was pretty horrible, but I was Michael

913
00:47:06,880 --> 00:47:09,080
Speaker 1: gave me almost double my salary and made me a

914
00:47:09,120 --> 00:47:12,400
Speaker 1: co executive producer on that. So I had kids and

915
00:47:12,520 --> 00:47:14,719
Speaker 1: I went, Okay, I'm taking the money. I don't really

916
00:47:14,800 --> 00:47:17,080
Speaker 1: like the show, but I'll go do it. I can

917
00:47:17,120 --> 00:47:18,800
Speaker 1: make it work. So it was a good opportunity, you

918
00:47:18,840 --> 00:47:23,000
Speaker 1: gotta take it. So uh, no audience deadly We had

919
00:47:23,120 --> 00:47:25,360
Speaker 1: cows on the set that it would crap on the

920
00:47:25,440 --> 00:47:30,000
Speaker 1: set and it sounds great, like you know, you see

921
00:47:30,040 --> 00:47:31,880
Speaker 1: these magic shows and Gene was like that in the

922
00:47:32,000 --> 00:47:34,520
Speaker 1: Cow Appears, that cow stayed for a couple of weeks.

923
00:47:35,239 --> 00:47:38,439
Speaker 1: Oh my god. I remember visiting you on that set

924
00:47:38,480 --> 00:47:40,520
Speaker 1: because you guys shot at a stage like on the

925
00:47:40,600 --> 00:47:43,480
Speaker 1: same lot. I feel like, yeah, remember walking over and

926
00:47:43,520 --> 00:47:46,920
Speaker 1: seeing you and you were just miserable. You were you

927
00:47:47,000 --> 00:47:49,800
Speaker 1: were like telling me at whatever, the age of fifty

928
00:47:49,840 --> 00:47:53,960
Speaker 1: and you're like, this is not fun. You were so

929
00:47:54,120 --> 00:47:56,720
Speaker 1: stressed out. I don't think you were sleeping. It was awful.

930
00:47:57,480 --> 00:47:59,759
Speaker 1: But I just want I just want to say, for

931
00:48:00,000 --> 00:48:04,359
Speaker 1: a writer, the greatest gift is is you hear things

932
00:48:04,400 --> 00:48:06,440
Speaker 1: in your head when you're writing. And you guys have

933
00:48:06,640 --> 00:48:10,399
Speaker 1: all done it, you know, um, and you just hope

934
00:48:10,440 --> 00:48:12,920
Speaker 1: that it will be half as good when you hear

935
00:48:12,960 --> 00:48:17,920
Speaker 1: it like you guys did. So. Thank you very special.

936
00:48:18,400 --> 00:48:20,600
Speaker 1: Thank you. Where can we find you now? What are

937
00:48:20,640 --> 00:48:22,800
Speaker 1: you working on? Tell our audience who wants to know

938
00:48:22,880 --> 00:48:25,839
Speaker 1: what you're up to? Where we can find you doing

939
00:48:25,920 --> 00:48:31,600
Speaker 1: a bunch of things? Um? I I started my cousin

940
00:48:31,640 --> 00:48:33,640
Speaker 1: and I who did the documentary about my dad with

941
00:48:34,160 --> 00:48:38,440
Speaker 1: Greg Um, he and I got together. We've we've started

942
00:48:38,440 --> 00:48:40,880
Speaker 1: a new company with the former head of Disney Music

943
00:48:41,840 --> 00:48:44,400
Speaker 1: um fellow in Mitchell Lead, who you guys may have

944
00:48:44,560 --> 00:48:46,640
Speaker 1: encountered in your journey, so he was there for thirty

945
00:48:46,719 --> 00:48:51,600
Speaker 1: years and Mitchell and Greg and I have teamed up

946
00:48:51,680 --> 00:48:54,000
Speaker 1: to do so I'm sure my brothers related projects. We're

947
00:48:54,040 --> 00:48:57,200
Speaker 1: going to do a concert series around the world. This

948
00:48:57,280 --> 00:49:02,000
Speaker 1: amazing director who does like circus away looking things. It's fascinating.

949
00:49:02,400 --> 00:49:04,480
Speaker 1: So that's gonna be one thing. And they think for

950
00:49:04,560 --> 00:49:06,879
Speaker 1: me is like, that's easy. Okay, here, you know, I'll

951
00:49:06,880 --> 00:49:08,520
Speaker 1: tell you the song is to do it. I don't

952
00:49:08,520 --> 00:49:10,840
Speaker 1: have to go do too much. We're gonna do a

953
00:49:10,920 --> 00:49:15,440
Speaker 1: biopic about the generations of our families. It's sort of

954
00:49:15,480 --> 00:49:19,879
Speaker 1: like The Godfather too, with the different generations my grandfather's

955
00:49:19,920 --> 00:49:22,160
Speaker 1: time and Tim Panaley and my dad and uncle's time

956
00:49:22,239 --> 00:49:24,799
Speaker 1: rising up on Vine Street and then you know, going

957
00:49:24,880 --> 00:49:28,320
Speaker 1: into the movies and stage all that stuff and you

958
00:49:28,360 --> 00:49:30,719
Speaker 1: know their their lives. So that's one of the things

959
00:49:30,800 --> 00:49:34,759
Speaker 1: I'm doing. Um. I'm also writing a science fiction um

960
00:49:35,360 --> 00:49:38,120
Speaker 1: series with my first best friend in the world, David Titcher.

961
00:49:38,960 --> 00:49:42,400
Speaker 1: David's created a bunch of shows before we've had parallel careers.

962
00:49:42,480 --> 00:49:44,439
Speaker 1: We grew up on the same little street when we're kids,

963
00:49:44,719 --> 00:49:47,520
Speaker 1: before I moved to Beverly Hills and he went to

964
00:49:47,600 --> 00:49:49,239
Speaker 1: use to a film school when I went there. So

965
00:49:49,360 --> 00:49:52,239
Speaker 1: we've touched and we've talked for yours about doing something.

966
00:49:52,280 --> 00:49:55,239
Speaker 1: So we're both working on that. And I've been writing

967
00:49:55,239 --> 00:49:58,440
Speaker 1: a lot of music. Um, I've always written music, so

968
00:49:58,560 --> 00:50:00,520
Speaker 1: now I've been putting out just sort of self putting

969
00:50:00,520 --> 00:50:03,120
Speaker 1: out some some albums because people ask to hear them,

970
00:50:03,680 --> 00:50:06,239
Speaker 1: and I have I have to put on glasses and

971
00:50:06,280 --> 00:50:08,239
Speaker 1: look at my sites. But if people want to find me,

972
00:50:09,680 --> 00:50:14,840
Speaker 1: my Twitter account is j s h e R followed

973
00:50:14,880 --> 00:50:20,680
Speaker 1: by five eighths on Twitter, so it's long story. My

974
00:50:20,920 --> 00:50:25,439
Speaker 1: music is at Jeffrey C. Sherman dot here now dot

975
00:50:25,560 --> 00:50:29,360
Speaker 1: com and my latest album that came out is called Restpit.

976
00:50:29,520 --> 00:50:32,560
Speaker 1: It's not it's just musical compositions. There no lyrics, it's

977
00:50:32,600 --> 00:50:36,480
Speaker 1: just the stuff I've composed that's so cool. And then

978
00:50:36,880 --> 00:50:41,879
Speaker 1: on Facebook, I'm Jeffrey period Sherman period three, So both

979
00:50:41,920 --> 00:50:46,520
Speaker 1: of you who want to find me. But there's there's

980
00:50:46,680 --> 00:50:49,400
Speaker 1: a bunch of stuff where I'm doing aside from that,

981
00:50:49,560 --> 00:50:52,959
Speaker 1: But I'm writing a book a lot of stories about

982
00:50:53,000 --> 00:50:56,440
Speaker 1: my life, these the Disney stories and my own personal

983
00:50:56,560 --> 00:50:58,160
Speaker 1: journeys and something like that. In my book is called

984
00:50:58,200 --> 00:51:01,240
Speaker 1: Spiraling Upward, which will probably come out of here great.

985
00:51:02,640 --> 00:51:06,640
Speaker 1: And listening to your podcast and taking box and just

986
00:51:06,800 --> 00:51:10,160
Speaker 1: enjoying living pack through those days be those. I love

987
00:51:10,239 --> 00:51:13,040
Speaker 1: you all. We love you too. Thank you so much

988
00:51:13,080 --> 00:51:18,080
Speaker 1: for being here with us, Thank you for being here.

989
00:51:19,320 --> 00:51:21,439
Speaker 1: You know. It's funny. We've talked about how we shot

990
00:51:21,480 --> 00:51:23,640
Speaker 1: on Stage two, which is like such a big stage

991
00:51:25,040 --> 00:51:28,480
Speaker 1: because it was a giant, you know, film set, film stage.

992
00:51:28,960 --> 00:51:31,800
Speaker 1: To this day, when I walk onto any normal sized

993
00:51:32,120 --> 00:51:36,919
Speaker 1: sound stage, I'm like, it's really small. The same don't

994
00:51:36,960 --> 00:51:40,600
Speaker 1: you always expect sound stages to be gigantic, to have

995
00:51:40,719 --> 00:51:43,200
Speaker 1: all this empty space, which of course they shouldn't, Like

996
00:51:43,360 --> 00:51:46,320
Speaker 1: you want for for sound for one, you want you

997
00:51:46,360 --> 00:51:49,759
Speaker 1: know better and clothes smaller spaces. But in my mind

998
00:51:50,080 --> 00:51:52,560
Speaker 1: I have been completely programmed to think every sound stage

999
00:51:52,640 --> 00:51:55,120
Speaker 1: is tiny because it's not Stage two at Disney. It's

1000
00:51:55,160 --> 00:51:58,000
Speaker 1: so funny, I know, I feel the exact same way.

1001
00:51:58,040 --> 00:51:59,759
Speaker 1: I always think, well, it's too bad they have such

1002
00:51:59,760 --> 00:52:02,640
Speaker 1: a well they're making it work for such a small stage.

1003
00:52:02,640 --> 00:52:05,480
Speaker 1: They're way to make it feel like we're like having

1004
00:52:05,520 --> 00:52:07,400
Speaker 1: to hide around quarters, Like, why don't we have more

1005
00:52:07,520 --> 00:52:12,680
Speaker 1: space because that's a typical Yeah, why don't. Why don't

1006
00:52:12,680 --> 00:52:15,040
Speaker 1: the kids have to walk seventeen minutes to get to school?

1007
00:52:17,760 --> 00:52:19,680
Speaker 1: It was such a fun lot though, that it was

1008
00:52:19,680 --> 00:52:21,799
Speaker 1: like a college campus. That was a really fun lot

1009
00:52:21,880 --> 00:52:24,360
Speaker 1: to me. I know, I do miss the commissary. That

1010
00:52:24,480 --> 00:52:25,960
Speaker 1: it's a weird thing, but I mean I always talk

1011
00:52:26,000 --> 00:52:29,200
Speaker 1: about food, but I loved that commissary and the squirrels.

1012
00:52:29,560 --> 00:52:31,920
Speaker 1: The squirrels like you're on a Disney lot. The squirrels

1013
00:52:31,920 --> 00:52:33,680
Speaker 1: are exactly like you think you would. You'd sit down

1014
00:52:33,800 --> 00:52:35,520
Speaker 1: and hold out your hand when they'd run over and

1015
00:52:35,600 --> 00:52:37,440
Speaker 1: eat out of your hand. Yeah, they would run up

1016
00:52:37,480 --> 00:52:39,880
Speaker 1: my head. Yeah, they crawl up your leg. You know,

1017
00:52:39,960 --> 00:52:41,359
Speaker 1: he't sit on the bench, you stick your leg out,

1018
00:52:41,400 --> 00:52:43,879
Speaker 1: they crawl up. They still the case? Is that still

1019
00:52:43,880 --> 00:52:46,319
Speaker 1: the case? I mean they're still there. I haven't tried

1020
00:52:46,360 --> 00:52:49,360
Speaker 1: to have one crawl up my leg as an adult.

1021
00:52:50,080 --> 00:52:53,239
Speaker 1: Next time i'm there, I'll try. But there are still

1022
00:52:53,320 --> 00:52:59,200
Speaker 1: lots for rid next week By a squirrel squirrel official

1023
00:52:59,640 --> 00:53:04,920
Speaker 1: lust three fingers to I can't I love Jeff stories. Man,

1024
00:53:05,040 --> 00:53:07,279
Speaker 1: I feel like we just scratched the surface, like we

1025
00:53:07,320 --> 00:53:10,880
Speaker 1: didn't even get into uh just a spoonful of sugar.

1026
00:53:12,239 --> 00:53:14,319
Speaker 1: Doubt the fact that that was based on him coming

1027
00:53:14,400 --> 00:53:18,200
Speaker 1: home from school getting polio vaccine. Yes, and he said

1028
00:53:18,920 --> 00:53:22,200
Speaker 1: he has so many stories. Yeah, it's it's it can't

1029
00:53:22,200 --> 00:53:25,800
Speaker 1: imagine growing up in Hollywood. It's just such a different

1030
00:53:26,080 --> 00:53:28,279
Speaker 1: thing because I feel like, you know, we all came

1031
00:53:28,360 --> 00:53:30,839
Speaker 1: to it at the age of ten or whenever. As

1032
00:53:31,040 --> 00:53:34,160
Speaker 1: with this sort of like outsider status, you know, coming

1033
00:53:34,239 --> 00:53:36,239
Speaker 1: in being like what is you know, to to grow

1034
00:53:36,360 --> 00:53:38,440
Speaker 1: up within it, It's just a whole different thing, you know,

1035
00:53:38,440 --> 00:53:41,520
Speaker 1: I think he did. I mean, Hollywood in the sixties

1036
00:53:41,520 --> 00:53:44,840
Speaker 1: and seventies is just a whole different ballgame now. So

1037
00:53:45,040 --> 00:53:47,279
Speaker 1: I mean, just again, like he said, oh my his

1038
00:53:47,360 --> 00:53:52,200
Speaker 1: first garage band was him Sean Cassidy and Jamie Lee Curtis. Yes,

1039
00:53:52,400 --> 00:53:54,320
Speaker 1: I mean that's your first garage band growing up. You

1040
00:53:54,400 --> 00:53:56,320
Speaker 1: also just think of you also just think about like

1041
00:53:57,520 --> 00:54:00,040
Speaker 1: from his perspective, you know, because like now if I

1042
00:54:00,120 --> 00:54:02,000
Speaker 1: mean I know people that that are on shows or

1043
00:54:02,040 --> 00:54:05,880
Speaker 1: that right for shows, and there's there's no but you

1044
00:54:05,920 --> 00:54:07,440
Speaker 1: know what I mean, like you just don't give and

1045
00:54:07,480 --> 00:54:10,640
Speaker 1: they all like, there are there's so many networks, there's

1046
00:54:10,680 --> 00:54:13,560
Speaker 1: so many streamers, there's so many shows. But back then

1047
00:54:13,640 --> 00:54:16,759
Speaker 1: there were three networks or maybe if it counted Fox

1048
00:54:16,880 --> 00:54:20,479
Speaker 1: barely and so uh, the idea of like Boy Meets

1049
00:54:20,520 --> 00:54:23,560
Speaker 1: World being a hit and like being on a successful show,

1050
00:54:23,640 --> 00:54:25,960
Speaker 1: it's like there were only so many, you know, there

1051
00:54:26,000 --> 00:54:28,920
Speaker 1: were only so many and and that's so different than now,

1052
00:54:29,120 --> 00:54:31,040
Speaker 1: Like I feel like so many people I know work

1053
00:54:31,120 --> 00:54:32,880
Speaker 1: in so many different sides of the industry that the

1054
00:54:32,920 --> 00:54:36,800
Speaker 1: industry feels just sprawling and huge. There's so many different aspects.

1055
00:54:36,880 --> 00:54:39,040
Speaker 1: But back then, man, if you were on the Disney

1056
00:54:39,120 --> 00:54:42,719
Speaker 1: lot making a hit Disney hit show on ABC, that

1057
00:54:42,840 --> 00:54:44,440
Speaker 1: must I mean, you just must have felt like you

1058
00:54:44,480 --> 00:54:45,799
Speaker 1: won the lotter. I mean, I guess we did as

1059
00:54:45,800 --> 00:54:47,680
Speaker 1: a kid, but yeah, we were you know, we did

1060
00:54:47,760 --> 00:54:50,360
Speaker 1: win the lottery. It was amazing, It was it was incredible,

1061
00:54:50,719 --> 00:54:53,080
Speaker 1: very briefly to touch on something that that Jeff talked about,

1062
00:54:53,080 --> 00:54:56,040
Speaker 1: because he talked about kind of looking back at your

1063
00:54:56,080 --> 00:54:59,000
Speaker 1: life and and kind of taking it for what it is.

1064
00:54:59,040 --> 00:55:00,879
Speaker 1: And I completely understand and that, but I also think

1065
00:55:02,080 --> 00:55:04,600
Speaker 1: I think there's this thing that's happening nowadays where people

1066
00:55:04,640 --> 00:55:08,080
Speaker 1: think you can't criticize something and still love it, And

1067
00:55:08,400 --> 00:55:11,160
Speaker 1: I disagree with that entirely. I think you can absolutely.

1068
00:55:11,320 --> 00:55:13,480
Speaker 1: I love boy Mets World. I loved all my time.

1069
00:55:13,520 --> 00:55:15,440
Speaker 1: I'm Boy's World, and I have no problem looking back

1070
00:55:15,480 --> 00:55:18,160
Speaker 1: and saying there are parts of it that that that

1071
00:55:18,320 --> 00:55:20,239
Speaker 1: still stick with me and not always for the best way.

1072
00:55:20,640 --> 00:55:23,000
Speaker 1: You can love something and still be critical of it,

1073
00:55:23,120 --> 00:55:24,920
Speaker 1: And I think, uh, I think that's how you know

1074
00:55:25,040 --> 00:55:27,040
Speaker 1: you love it. Frankly, Yeah, I mean, dare I say

1075
00:55:27,040 --> 00:55:30,400
Speaker 1: I think if you love something you should be critical. Absolutely, So,

1076
00:55:30,680 --> 00:55:32,800
Speaker 1: I you know, there's this kind of idea that you know,

1077
00:55:32,840 --> 00:55:34,480
Speaker 1: I've I've read some things where people are like, oh,

1078
00:55:34,520 --> 00:55:36,440
Speaker 1: they're bashing the show. I don't think we're doing that

1079
00:55:36,520 --> 00:55:39,120
Speaker 1: at all. We're looking back at our experiences of something

1080
00:55:39,160 --> 00:55:41,680
Speaker 1: that we love, that we took took with us, that's

1081
00:55:41,680 --> 00:55:43,799
Speaker 1: a huge part of our life, and now looking back

1082
00:55:43,880 --> 00:55:46,719
Speaker 1: at it with older eyes saying, hey, maybe this wasn't

1083
00:55:46,719 --> 00:55:49,440
Speaker 1: the best when we were kids. That doesn't any way,

1084
00:55:49,480 --> 00:55:51,520
Speaker 1: any way, shape or form change the love that I

1085
00:55:51,600 --> 00:55:53,360
Speaker 1: have for the show. So I don't know. I just

1086
00:55:53,640 --> 00:55:55,000
Speaker 1: that's stuck with me a little bit where it's like,

1087
00:55:55,040 --> 00:55:57,080
Speaker 1: wait a minute, I should be allowed to criticize something

1088
00:55:57,120 --> 00:56:00,600
Speaker 1: that I love. I'm supposed to in my opinion. And so, yeah,

1089
00:56:01,560 --> 00:56:03,320
Speaker 1: how you treat your parents, you know, it's like you

1090
00:56:03,440 --> 00:56:05,880
Speaker 1: worship them all the way up into you know, to

1091
00:56:06,000 --> 00:56:07,759
Speaker 1: your teen years, and then you kind of start to

1092
00:56:07,800 --> 00:56:11,239
Speaker 1: see them as like flawed humans like all you know,

1093
00:56:11,719 --> 00:56:14,120
Speaker 1: That's what I keep reiterating to Indie, like whenever you know,

1094
00:56:14,880 --> 00:56:17,560
Speaker 1: we're having this conversation, Yeah, I know we're stressing out

1095
00:56:17,560 --> 00:56:19,719
Speaker 1: about being late for school or something, and I was

1096
00:56:19,760 --> 00:56:22,200
Speaker 1: find of like, indeed, I don't know how to be

1097
00:56:22,320 --> 00:56:24,200
Speaker 1: a dad. He's like, what do you mean. I'm like,

1098
00:56:24,480 --> 00:56:26,960
Speaker 1: I'm figuring this out man like mom and I am

1099
00:56:27,080 --> 00:56:29,400
Speaker 1: making this up. We don't know what we're doing. So

1100
00:56:29,520 --> 00:56:31,160
Speaker 1: if you have to help us, like what I'm you know,

1101
00:56:31,200 --> 00:56:33,200
Speaker 1: when I'm when I'm mad at you, are frustrating with you,

1102
00:56:33,239 --> 00:56:35,160
Speaker 1: it's because I don't know what I'm doing. It's not

1103
00:56:35,280 --> 00:56:37,279
Speaker 1: like I and it just blew his mind, like he did,

1104
00:56:37,360 --> 00:56:39,000
Speaker 1: you know, It's like I think he thought, like I've

1105
00:56:39,040 --> 00:56:41,359
Speaker 1: been a dad before, or like I went to dad

1106
00:56:41,440 --> 00:56:43,879
Speaker 1: college like that there's some like book that I read

1107
00:56:44,000 --> 00:56:46,000
Speaker 1: or something, you know, and it's I just want to

1108
00:56:46,000 --> 00:56:47,480
Speaker 1: be honest with it, because you know, I feel like

1109
00:56:47,880 --> 00:56:49,320
Speaker 1: I went through the same thing with my parents. You

1110
00:56:49,360 --> 00:56:51,120
Speaker 1: have to go, you have to be disillusioned and you

1111
00:56:51,200 --> 00:56:53,600
Speaker 1: can still love them, and you can still of course,

1112
00:56:53,640 --> 00:56:56,399
Speaker 1: in some ways it helps you appreciate them more because

1113
00:56:56,440 --> 00:56:59,080
Speaker 1: you can see like how flawed and how human, and

1114
00:56:59,160 --> 00:57:02,120
Speaker 1: how many mistakes were made and why because we all

1115
00:57:02,360 --> 00:57:04,480
Speaker 1: make so many of you know, nobody's perfect, and that's

1116
00:57:04,480 --> 00:57:07,320
Speaker 1: actually it's the most mature thing you can do and

1117
00:57:07,600 --> 00:57:10,680
Speaker 1: probably the best gift you can give somebody is still

1118
00:57:10,760 --> 00:57:14,840
Speaker 1: loving them despite seeing their flaws. Um And also for

1119
00:57:15,040 --> 00:57:18,480
Speaker 1: other people looking from the outside in, it is helpful

1120
00:57:18,600 --> 00:57:21,720
Speaker 1: for other people to know that their experiences of being

1121
00:57:21,800 --> 00:57:25,760
Speaker 1: flawed are not unique. If we presented our situation, our

1122
00:57:25,840 --> 00:57:28,280
Speaker 1: show and all the wonderful things about it that you love,

1123
00:57:28,440 --> 00:57:30,520
Speaker 1: and it was like, well it came to be because

1124
00:57:30,560 --> 00:57:34,720
Speaker 1: we're all perfect people who made a perfect thing, who

1125
00:57:34,840 --> 00:57:37,360
Speaker 1: did know who made no mistakes, It's like that doesn't

1126
00:57:37,400 --> 00:57:41,240
Speaker 1: help other people. And so the idea of being able

1127
00:57:41,320 --> 00:57:43,920
Speaker 1: to look at something and tell the truth about it

1128
00:57:44,040 --> 00:57:46,200
Speaker 1: and say I'm still proud of it, i still love it,

1129
00:57:46,360 --> 00:57:49,240
Speaker 1: I still this uh, and I'm still I still turned

1130
00:57:49,240 --> 00:57:52,320
Speaker 1: out okay or even better than okay. UM only just

1131
00:57:52,480 --> 00:57:54,400
Speaker 1: helps people and it's it's I mean, that's literally what

1132
00:57:54,520 --> 00:57:56,360
Speaker 1: growth is. And I wouldn't want to do it any

1133
00:57:56,360 --> 00:57:58,160
Speaker 1: other way, and I wouldn't want to be talking about

1134
00:57:58,160 --> 00:58:00,640
Speaker 1: it with any other people. So I love you both,

1135
00:58:01,360 --> 00:58:04,960
Speaker 1: very very very much. Like just I think about it

1136
00:58:05,000 --> 00:58:07,520
Speaker 1: all the time. Yeah, I love you. I love you.

1137
00:58:08,000 --> 00:58:10,760
Speaker 1: I love you guys. Do and writer. You might not

1138
00:58:11,000 --> 00:58:13,120
Speaker 1: if you when when you're when you're raising India. If

1139
00:58:13,160 --> 00:58:17,560
Speaker 1: you need help, you're the guy, best grandpa ever, of course,

1140
00:58:18,160 --> 00:58:20,560
Speaker 1: best grandpa ever, my friend, that's what you need. You

1141
00:58:20,640 --> 00:58:23,680
Speaker 1: need the best grandpa ever, best grandpa ever to help him.

1142
00:58:23,920 --> 00:58:26,280
Speaker 1: Forget asking my dad. I gotta go ask. Will you

1143
00:58:26,400 --> 00:58:30,360
Speaker 1: gotta ask me? I'll bring my Werther's originals. I know

1144
00:58:30,520 --> 00:58:36,400
Speaker 1: how much he loves children. I have enough love for you, guys.

1145
00:58:36,480 --> 00:58:41,720
Speaker 1: That's all I need. Oh I'm the child, damnit writer?

1146
00:58:41,840 --> 00:58:44,520
Speaker 1: Will you do our out? We love you all. Pod

1147
00:58:44,600 --> 00:58:49,360
Speaker 1: dismissed Hood Meats World is an I heart podcast produced

1148
00:58:49,400 --> 00:58:52,160
Speaker 1: and hosted by Daniel Fishel Wilford l and Ryder Strong.

1149
00:58:52,360 --> 00:58:55,680
Speaker 1: Executive producers Jensen Carpet and Amy Sugarman, Executive in charge

1150
00:58:55,720 --> 00:58:59,320
Speaker 1: of production Daniel Romo, producer and editor, Tara sup Bucks producer,

1151
00:58:59,400 --> 00:59:02,160
Speaker 1: Jackie Rodd, Yes engineer and Boy Meets World super fan

1152
00:59:02,240 --> 00:59:05,040
Speaker 1: Eastern Allen. Our theme songs by Kyle Morton of Typhoon

1153
00:59:05,200 --> 00:59:07,280
Speaker 1: and You can follow us on Instagram at Pod Meets

1154
00:59:07,320 --> 00:59:10,200
Speaker 1: World Show or email us at Pod Meets World Show

1155
00:59:10,280 --> 00:59:11,320
Speaker 1: at gmail dot com