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Speaker 1: Hey there, Fanarritos, Welcome back to a brand new episode

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Speaker 1: of How Rude Tanertos. Today we have a guest who

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Speaker 1: made the set of Fuller House come to life. To

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Speaker 1: be given the task to recreate the full House house

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Speaker 1: is no easy feat, but Jerry Dunn took the opportunity

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Speaker 1: and ran with it. I mean, if you remember Rennie

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Speaker 1: Dieball's interview from a few weeks ago, the set alone

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Speaker 1: got a five minute standing ovation. That's the perfect testament

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Speaker 1: to Jerry's work. And we can't wait to talk to

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Speaker 1: him today about production design and everything that goes into it.

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Speaker 1: So please put your hands together for Jerry Dunn here.

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Speaker 2: So welcome Jerry to How Rude Tanrito's. We're so excited

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Speaker 2: to have you on the show. You are so wonderful

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Speaker 2: and talented and also like just a part of the

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Speaker 2: Fuller House family now.

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Speaker 3: So yeah, and we're really excited to get to talk

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Speaker 3: to you about all this. Yeah.

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Speaker 1: We posted a clip on Instagram a couple of weeks

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Speaker 1: ago with Rennie Dieball where she was commenting on the

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Speaker 1: pilot taping a Fuller House and how the sets got

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Speaker 1: the longest applause of any cast member. It was like

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Speaker 1: a five minute standing ovation and Jerry's like, I did those.

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Speaker 3: Sets, those sets, and I was like, come on the podcast,

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Speaker 3: this would be great.

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Speaker 4: Yeah, iconic. It was pretty surprising in those sets.

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Speaker 2: I mean, can you tell us a little bit about

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Speaker 2: how those sets were recreated and made and that it

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Speaker 2: was a rather.

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Speaker 3: Difficult journey that to say the least.

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Speaker 4: Yeah, both know the characters that were in play, right,

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Speaker 4: but queen, mister boy yet mister Franklin indeed, yes, so

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Speaker 4: I had Jeff Franklin actually gave me my first pilot.

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Speaker 4: I did. Really that was my very first job, Jeff,

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Speaker 4: which one head over heels. Okay, I got a dating

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Speaker 4: service in Miami that Jeff wrote, Oh so I was

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Speaker 4: a kid and I got interviewed with a bunch of

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Speaker 4: work experienced designers. Jeff gave me my first shot.

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Speaker 2: Oh that sounds like Jeff. He is very he's I

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Speaker 2: mean we have him on the show all the time

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Speaker 2: and talk to him. But yeah, he and also comes

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Speaker 2: from the old school of like you give new people

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Speaker 2: a chance, and you bring them in and you help

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Speaker 2: mold and shape and encourage people.

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Speaker 4: So then I knew. So I met Jeff and had

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Speaker 4: worked with him, and then I worked with. I met

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Speaker 4: Bob up on and Your Management at Charlie Sheen Project,

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Speaker 4: right because Bob was doing partners for lions Gate. That

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Speaker 4: was one of those deals where they're doing a ten

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Speaker 4: for one hundred episodes.

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Speaker 3: Yeah, yeah, yes, yes, yeah yeah.

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Speaker 4: I was walking. I was on Anger Management one day

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Speaker 4: and I get a call from the producer and he said,

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Speaker 4: come to the stage right away. Somebody wants to beat you.

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Speaker 4: I was like, okay. I thought I was in trouble

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Speaker 4: because most of the time you're getting for.

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Speaker 2: Something yeah exactly, like oh no, yeah, getting onto the.

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Speaker 3: Principal's office, you know what I mean.

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Speaker 4: They're like, I go, you know. And I walked on

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Speaker 4: the stage and I see this gentleman walking around the

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Speaker 4: base of set of Anger Management and it's and I

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Speaker 4: had never met him before. It was Bob. And Bob

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Speaker 4: said to me, he goes, these are some of the

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Speaker 4: nicest sets that I've ever seen, and he said the

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Speaker 4: way that you leave camera access and I love your

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Speaker 4: work and I love your style. He was so complimentary,

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Speaker 4: and he said, so I'd like to come to my show.

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Speaker 4: Not an interview, not anything. He just looked at me

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Speaker 4: and said, I want you to do this. So that's

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Speaker 4: how I connected to Bob. And then when that's incredible,

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Speaker 4: I got a call and they said, come to the office,

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Speaker 4: come to the Warner Brothers and beat these do. So

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Speaker 4: I walk in and I hadn't seen the two of

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Speaker 4: them together ever, right, talking about the show, and I'm like,

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Speaker 4: is this an interview or what are we doing here, gentlemen?

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Speaker 4: You know what's going on? And They're like, this is

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Speaker 4: no interview. We're not talking to anybody else. You're just

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Speaker 4: doing this. So that's how I got involved in the family.

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Speaker 3: That well, that is amazing.

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Speaker 1: Speaks to your talent, to your immense talent. Absolutely, Oh

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Speaker 1: my goodness.

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Speaker 4: Yes, to get grilled, you know, in an interview kind

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Speaker 4: of a thing, you know, right, you just went, Okay,

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Speaker 4: we like your work, that we enjoy you, and let's go.

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Speaker 2: Yeah, the work got to speak for itself, you know,

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Speaker 2: You're like, this is what I do, and I do it. Well,

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Speaker 2: that's incredible, and also like I love that. You know,

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Speaker 2: Bob and Jeff both have given a lot of people

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Speaker 2: first opportunities or bigger opportunities, and you know, have really

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Speaker 2: done such huge things like that in this business.

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Speaker 3: So it's really I.

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Speaker 2: Always love hearing it because it's one of the things

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Speaker 2: I love about this business too, is like, you know,

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Speaker 2: we got to bring up the new generation help people encourage.

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Speaker 4: Isn't exactly young or youth at that point, that's for sure.

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Speaker 3: Well but still like the not well not with fuller.

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Speaker 2: But still like you know, it's uh, it's definitely you know.

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Speaker 2: I love when people get recognized for doing good work.

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Speaker 3: And it's like, yeah, I want to hear.

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Speaker 2: Now the sets were did you build them?

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Speaker 3: I know there was.

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Speaker 2: An issue with the blueprints.

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Speaker 3: Correct.

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Speaker 4: So Jeff calls me in and he says, this is

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Speaker 4: going the easiest job you ever had, which.

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Speaker 3: Is the kiss of.

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Speaker 2: Death for anything, particularly in the entertainment business.

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Speaker 4: I said, perfect. I said, let's go. I'm in you

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Speaker 4: know whatever it is, and he said, Bob sat and

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Speaker 4: they both looked at me and they said, well, we

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Speaker 4: have the drawings from the original. Well I was over

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Speaker 4: the moon, right, I'm going yeah, just turned around and

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Speaker 4: we'll just stick way to go. So they rooted around

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Speaker 4: at Warner Brothers for a couple of weeks and nobody

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Speaker 4: could find them. The art department had closed and they

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Speaker 4: got thrown away. So guess what. So Sdaren and I,

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Speaker 4: who was my assistant on the show. YEP, we had

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Speaker 4: to have watched I don't know, fifty episodes of Full House.

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Speaker 4: What we had to do we had a free freeze

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Speaker 4: frame every single shot. Go, okay, well there's Andrea at

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Speaker 4: the front porch, right, the area on either side of

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Speaker 4: the front porch. I literally like.

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Speaker 2: You had to reverse engineer everything by like scale of

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Speaker 2: people and.

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Speaker 4: And the funniest thing is, right as we shoot sitcoms

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Speaker 4: like this, right, so there aren't any wide shots. So

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Speaker 4: we're going in going okay, well there's the little girl

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Speaker 4: crawling down the steps. What's the molding on the baseboard?

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Speaker 1: Right?

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Speaker 2: Yeah, you're like, the character is irrelevant. I'm looking at

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Speaker 2: the at the stairs, I'm looking at the banister.

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Speaker 3: Yeah.

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Speaker 4: I had to go and I had to start kind

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Speaker 4: of scaling it out from my head, going out three feet.

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Speaker 4: I think that's a foot and a half that looks

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Speaker 4: like this. I mean, it took us a long long

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Speaker 4: time to put that show back together because we didn't

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Speaker 4: you know, because we didn't know, we didn't know the

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Speaker 4: show anything about it. So it was quite the cure.

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Speaker 4: And you're doing with something that was done a long

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Speaker 4: time ago. What I found out was that the stage

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Speaker 4: that you had in Culver City at Sony was bigger

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Speaker 4: than the Warner Brothers.

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Speaker 3: Yeah, Sony stages were huge, right, And Jeff's.

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Speaker 4: Going, oh, I got all this room blah blah blah,

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Speaker 4: And I'm like, well, no, you kind of don't. Yeah,

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Speaker 4: So like having to like I can't remember, you know,

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Speaker 4: I kind of have to hack out feed of sets, right,

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Speaker 4: I had to go. I got to make them smaller,

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Speaker 4: I got to make them fit. And so Jeff, being

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Speaker 4: the diehard that he is about your show, right about

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Speaker 4: the show itself, nothing was ever right, you know.

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Speaker 2: I was that's yeah, that sounds that's Jeff. We love Jeff,

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Speaker 2: but that's and that's yeah, that's ridiculous.

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Speaker 4: Yeah, And so he kind of so I'd say, well,

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Speaker 4: can we can we cheat this? Can we make this adjustment?

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Speaker 4: And then we would try to meet it, and then

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Speaker 4: he wasn't happy because we couldn't. You know, I cheated it,

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Speaker 4: but he didn't like it being cheated. He wanted the

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Speaker 4: real way, right. And part of the problem was that

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Speaker 4: Warner Brothers is that they had you know, you guys

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Speaker 4: were a massive success, right, so that all of a sudden,

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Speaker 4: We're on a show on Netflix and it's a whole

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Speaker 4: new deal, right right.

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Speaker 3: It is, Yeah, we talk about that all the time.

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Speaker 2: It is not the glory days of network television, of.

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Speaker 4: These virgin When I went to meet Steve Sandibal, remember

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Speaker 4: who was a line producer in the beginning, Yes, yeah, yeah,

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Speaker 4: season he has to be and he goes, I can't

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Speaker 4: remember the number, ladies, it was like three hundred and

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Speaker 4: fifty thousand dollars budget. I had been doing this for

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Speaker 4: a long time and I looked at him and I thought,

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Speaker 4: there's no way in hell.

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Speaker 3: I was like, that isn't that's for a building of

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Speaker 3: an entire So that is it? That is nothing.

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Speaker 4: I said, I go, well, it's the front port, and

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Speaker 4: it's the living room, and it's the kitchen in the backyard. Right.

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Speaker 4: It was like it was like the pilot that fought

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Speaker 4: on and on.

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Speaker 3: Right, the bedrooms you got to have the you know,

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Speaker 3: be out of.

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Speaker 4: The attic, and then we wanted the basement and Jeff.

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Speaker 2: Wright because they're all so well known, you know, the

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Speaker 2: audience is like, we have.

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Speaker 4: To see it exactly. And so I think I came

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Speaker 4: in at around nine hundred thousand when we finished three

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Speaker 4: fifty at Warner Brothers. Budget kind of got blown out

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Speaker 4: of the water and I kept getting yelled at. I'm like,

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Speaker 4: I didn't do this, you know what I mean. I

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Speaker 4: was creating this thing to get it back on stage.

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Speaker 2: Right, So you're like, this is the original person's fault, whoever.

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Speaker 4: You can't you know, I said, you can't. You can't

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Speaker 4: cheat it. You know, you can't try it. And we

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Speaker 4: would try to cheat it to make it cheaper, and

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Speaker 4: then Jeff would come in and yell at me. I'd

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Speaker 4: look at Steve and go, it's not my fault, right, talk.

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Speaker 3: To the budget guy, right, yeah exactly.

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Speaker 4: That was a bit of a go around and go

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Speaker 4: around with them.

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Speaker 2: Oh well, of course, the create creative versus the money

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Speaker 2: is always the always the sticking point.

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Speaker 4: Right, yeah exactly.

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Speaker 2: I mean when we came and walked on set the

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Speaker 2: first time, it wasn't like one hundred percent done, but

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Speaker 2: it was pretty pretty well fleshed out. I mean, all

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Speaker 2: the walls, paintper is done. It was just I think

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Speaker 2: the interior stuff that wasn't finished yet, like the decorum whatever.

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Speaker 3: But we walked over there after the first take.

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Speaker 2: Will Read, which was in itself, like it just blew

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Speaker 2: our minds.

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Speaker 4: You know what I mean.

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Speaker 2: It was like we're okay, we're doing this again. And

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Speaker 2: then we all walked over from there through the lot

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Speaker 2: like we all used to, you know, walk through the

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Speaker 2: lot to the same stage that we were on when.

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Speaker 3: We left, and.

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Speaker 2: We like walked in and it was we all.

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Speaker 3: Started to cry, very emotional. Yeah, it was.

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Speaker 2: We all were like, oh my god, we just walked

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Speaker 2: back thirty years to a place that we never thought

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Speaker 2: we'd get to see again in yeah, in person and

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Speaker 2: touch it and be in it.

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Speaker 3: You know, it was our childhood.

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Speaker 1: We grew up there on that stage. That was You're

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Speaker 1: done good, Jerry. Yes, spectacular.

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Speaker 4: It was fun. It was great challenge to do.

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Speaker 2: And I and I still have I have uh you're

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Speaker 2: the model on my shelf.

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Speaker 3: Oh yeah, you gave me.

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Speaker 2: The room of Steph and DJ. Well yeah, Stephan, DJ's

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Speaker 2: room and uh Jesse's room.

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Speaker 3: I mean, if we're talking.

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Speaker 2: Like original full house, the upstairs hallway and stuff. Yeah,

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Speaker 2: I have it up here on my on my shelf.

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Speaker 4: In your little museum, yeah, I do.

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Speaker 2: My little museum. Yeah, I have that up there. And

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Speaker 2: I will say I the I had what did I

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Speaker 2: have the bigger I think I had the bigger one too,

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Speaker 2: or I had something else the kitchen.

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Speaker 3: Maybe I think I had the.

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Speaker 2: Kitchen, but I I auctioned that one off for a

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Speaker 2: lot of money for a very a very good cost.

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Speaker 2: So yes it did. And I but I definitely I

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Speaker 2: was like, I got to keep the.

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Speaker 1: Room and I kept the attic, the attic which was

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Speaker 1: Kimmy's room in Fuller. So I have I have that

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Speaker 1: little special piece of the Fuller House history.

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Speaker 4: Yeah, biggest house in the world, Well, the.

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Speaker 2: Biggest uh shape shifting Uh. I think somebody we've talked

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Speaker 2: about it before. Somebody did an actual rendering, like of

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Speaker 2: what the house would have to look like on the

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Speaker 2: outside in order to accommodate it.

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Speaker 3: And it was like it was like, oh.

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Speaker 2: That looks like something a toddler built in roadblocks, Like, oh.

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Speaker 4: It was funny when he bought them. Every when he

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Speaker 4: bought the house in San Francisco, he bought the location house. Yeah,

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Speaker 4: so I took the I helped him a bit with

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Speaker 4: that project, and so I brought the I brought a

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Speaker 4: drawing of the setup and I looked at the real.

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Speaker 3: House and you were like, wait, no.

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Speaker 4: Something doesn't work here at all. Right, Yo.

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Speaker 2: The bedrooms were upstairs, they're like closets, they're so like

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Speaker 2: you a no joke.

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Speaker 3: What would have.

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Speaker 2: Been I think stephan DJ's room like kind of in

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Speaker 2: the front there, like you could fit it like a

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Speaker 2: full sized bed maybe and have a little bit of

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Speaker 2: room to walk around it. The one room in the

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Speaker 2: middle was like you could fit a twin up against

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Speaker 2: the wall and like you could hang some clothes right here,

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Speaker 2: and that was it. That was going to be the Yeah, yeah,

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Speaker 2: the nursery would I mean it was. It was so

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Speaker 2: crazy to be in there and be like, wow, did

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Speaker 2: we make up an entire house?

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Speaker 4: And then at one point we were going to I

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Speaker 4: remember in San Francisco, you know the wall between the

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Speaker 4: staircase and the living room, right, We're trying to figure

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Speaker 4: out how to re appropriate that space at San Francisco

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Speaker 4: right to be the real set, right, And all of

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Speaker 4: a sudden it was like, well we want to take

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Speaker 4: this wall down. Well, all of a sudden, the San Francisco.

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Speaker 3: House, I was like, good luck with that house.

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Speaker 4: To take a wall down and rebuild and.

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Speaker 3: The historical stuff you've got it to stick to it. Yeah,

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Speaker 3: it's a lot forget about it.

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Speaker 4: Yeah, but we had We had great fun. It was

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Speaker 4: nice to work with Bob and Jeff together. Yeah, great fun,

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Speaker 4: you know in the beginning when we're doing stuff, And yeah,

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Speaker 4: it was interesting. It was a fun project.

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Speaker 1: Take us through how you create a set, like do

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Speaker 1: you start with the three D design?

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Speaker 3: Do you sketch things with your hand? Like what's the

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Speaker 3: order in how you come up with a design set?

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Speaker 4: Like something that's new? Right? Your show was unique, right

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Speaker 4: because it was a copy. But when I write stuff

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Speaker 4: from scratch, usually what I'll do is I'll read the

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Speaker 4: script maybe once, maybe twice, but try not to read

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Speaker 4: it too much in the beginning, and then I just

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Speaker 4: sort of I work in's. You know, I'm an old

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Speaker 4: school designer, so I work in pencil.

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Speaker 2: We talk about all the time we are we are

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Speaker 2: finding out just how old we are with our love

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Speaker 2: of paper and pens and actually writing things down.

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Speaker 4: Yes, so it's a different experience. And like you guys

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Speaker 4: have models. You know a lot of people now do

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Speaker 4: work in computers. Right, I love them, the models, right,

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Speaker 4: is it? And I found that this to be true.

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Speaker 4: Is people love to hold them. Right, If I come

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Speaker 4: to see you as a writer or a producer, and

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Speaker 4: I give you this thing in your hands, and oh

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Speaker 4: it's right. Instead of looking at images on a computer,

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Speaker 4: you can actually kind of like right around the house

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Speaker 4: and check it out.

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Speaker 2: And why not you feel kind of like the master

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Speaker 2: of the universe.

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Speaker 3: You know what I mean of that?

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Speaker 2: You're like, oh I can, I can, I like see

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Speaker 2: everything of it and it feels significant, It feels like

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Speaker 2: tangible stuff.

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Speaker 3: I always say, like, is has an impact?

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Speaker 4: Exactly? Yeah, exactly? And I do. And I probably do

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Speaker 4: a lot more work than a lot of designers as

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Speaker 4: far as what the director wants. Like a lot of

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Speaker 4: people just design sets and then give it to a

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Speaker 4: director and say here, this is what I designed. What

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Speaker 4: I need to turn around to do is think more

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Speaker 4: like a director. You're probably than a designer in a

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Speaker 4: lot of ways. And I will turn around and I

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Speaker 4: will go to cameras.

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Speaker 1: Right.

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Speaker 4: I've been doing yeah, multi cameras since nine two, notting

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Speaker 4: my own stuff. And I worked in my first sitcom

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Speaker 4: in nineteen eighty.

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Speaker 3: Five and what was that? What's sitcom?

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Speaker 4: Oh? I did him? It was actually a recreation. I

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Speaker 4: did What's happening now? Oh yeah, Oh yeah, so Warner Brothers.

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Speaker 4: I worked for David sacker Off, who was a designer

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Speaker 4: at the time, and they wanted to do What's Happening Now?

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Speaker 4: And it was for Cable, right it was done, which.

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Speaker 3: Was like a new thing. Yeah right, it's like then

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Speaker 3: more channels.

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Speaker 4: Right, it was cheap. It was for Warner Brothers. We

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Speaker 4: did it up in Glendale, and so we had to

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Speaker 4: recreate Roger and I can't even remember the character rerun

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Speaker 4: and rog yeah, yeah, yeah. That was my first what

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Speaker 4: that's where I met Mark Sandrowski. Oh yeah, it was

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Speaker 4: the first, Adie, No, maybe it was the second.

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Speaker 2: I think it was the second because he was second

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Speaker 2: on ours Jump to First.

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Speaker 4: Yet Julie Mihan was the first and Mark was his second.

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Speaker 4: That was an eighty five up in Glendale where you

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Speaker 4: shot that.

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Speaker 3: Wow, so that's amazing.

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Speaker 1: Wow.

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Speaker 4: It was my first sitcom. But then my first design

355
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Speaker 4: job was you know where I was the boss right

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Speaker 4: as the production designer was head over heels for job.

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Speaker 3: Okay, yeah, so cool, Yeah, but.

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Speaker 4: I am you know, it's I came out of the theater.

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Speaker 4: So the great thing about sitcoms is it really gives

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Speaker 4: you that same.

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Speaker 2: Kind of feeling you have the proscenium that you're always

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Speaker 2: working with. There's always a downstage and an upstage that

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Speaker 2: stays the same.

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Speaker 3: You know.

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Speaker 4: Nice, you know. I mean I must say it's really

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Speaker 4: was enjoyable because of the live audience, right, I mean.

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Speaker 3: That's it's the best part.

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Speaker 4: You know, where people Friday nights it becomes an event, yeah,

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Speaker 4: together right into a show and that kind of.

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Speaker 2: Yeah, show night is an amazing chaos that you're like,

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Speaker 2: it's just you're alive.

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Speaker 4: And I like it. I like the pace a bit

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Speaker 4: because you have to work so quickly and yeah.

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Speaker 2: Yeah, yeah, it's not a single cam like and now

375
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Speaker 2: we're going to shoot it from this angle with this lens. Okay,

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Speaker 2: I want to do this same angle with three more lenses.

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Speaker 3: I don't know, right.

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Speaker 4: I don't have to get into any of that kind

379
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Speaker 4: of stuff, right, So it's nice interesting that way, and

380
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Speaker 4: it's nice to see the audience responses, you know, and

381
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Speaker 4: you really do sets, you know. The one thing that

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Speaker 4: I like about that I credit myself. I guess a

383
00:19:28,160 --> 00:19:32,159
Speaker 4: lot about my work is how real the stuff looks like.

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00:19:32,240 --> 00:19:35,040
Speaker 4: It looks like I try to do feature quality. I

385
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Speaker 4: don't think of myself doing sitcoms. I think of myself

386
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Speaker 4: being a feature designer doing sets and then sitcom because

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Speaker 4: for a long time, right sitcoms were kind of like.

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Speaker 2: The right right, it looked like you were shooting inside

389
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Speaker 2: a cardboard box with somebody holding a flashlight over you know,

390
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Speaker 2: it was like.

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Speaker 4: Well, who lives here and what's going on? Work? I

392
00:19:57,040 --> 00:19:58,680
Speaker 4: really make it a habit of getting to know the

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Speaker 4: characters really well and then flush that out, like when

394
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Speaker 4: I did Anger Management. We did that was Charlie's first comeback,

395
00:20:08,840 --> 00:20:10,800
Speaker 4: right after two and a half Men, So this was

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Speaker 4: like a big, big deal with Charlie went back to television.

397
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Speaker 4: The first day we did the reading like you guys

398
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Speaker 4: did the first read on Fuller, Right, I walked on

399
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Speaker 4: set and Anger Manage. We did it without an audience.

400
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Speaker 4: We did it up in the studio, up in the

401
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Speaker 4: sant up on Tamarack Studios, which is up Yeah.

402
00:20:30,440 --> 00:20:33,000
Speaker 2: I was up there when they were shooting that for something.

403
00:20:33,040 --> 00:20:34,000
Speaker 2: I went up there for something.

404
00:20:34,000 --> 00:20:35,399
Speaker 4: I don't know way to come of get it, GI,

405
00:20:35,400 --> 00:20:38,480
Speaker 4: just of what was going on, right, And so I

406
00:20:38,560 --> 00:20:41,760
Speaker 4: walked in the set and I see some guy walking around. Well,

407
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Speaker 4: I really don't like people in the sets. Before readings,

408
00:20:45,840 --> 00:20:48,080
Speaker 4: because I don't want people fucking excuse me.

409
00:20:49,800 --> 00:20:53,679
Speaker 2: But for real, actors are very touchy. We're touchy. We

410
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Speaker 2: want to touch things.

411
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Speaker 1: And move things, and child actus in particular, I want

412
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Speaker 1: to touch everything.

413
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Speaker 4: I walked in the back of the kitchen set and

414
00:21:01,800 --> 00:21:03,840
Speaker 4: I see this guy and then it dawn on me

415
00:21:03,920 --> 00:21:07,080
Speaker 4: that it was Charlie and I had only met him

416
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Speaker 4: once at a meeting that we talked briefly, and he

417
00:21:10,640 --> 00:21:13,919
Speaker 4: looked at me and he walked over and he said, dude,

418
00:21:14,920 --> 00:21:17,560
Speaker 4: and he throws his arms around me, and he tells

419
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Speaker 4: me that I could live here. You did the greatest job.

420
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Speaker 4: He goes, I'm going to move in here. He goes,

421
00:21:24,320 --> 00:21:26,359
Speaker 4: look at all my shit, my base. He goes, you

422
00:21:26,400 --> 00:21:29,160
Speaker 4: are so thorough in expressing who I am.

423
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Speaker 3: Oh, what a compliment.

424
00:21:32,240 --> 00:21:35,159
Speaker 4: Wow, it was a great, great compliment, especially from somebody

425
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Speaker 4: that you didn't know right, right.

426
00:21:38,359 --> 00:21:40,760
Speaker 2: Right, and also that you know, you've never met, and

427
00:21:40,800 --> 00:21:42,640
Speaker 2: you didn't know what you might.

428
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Speaker 4: Get right, and he crazy, Charlie get you know whoever.

429
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Speaker 4: And he was the most respectful, the most appreciative. Yeah,

430
00:21:52,880 --> 00:21:54,280
Speaker 4: it was really something that was.

431
00:21:55,440 --> 00:21:57,920
Speaker 2: Oh that's awesome. That must have felt really really good.

432
00:21:58,040 --> 00:22:08,000
Speaker 4: Yeah, I knew you Jody a little bit, and Andrea

433
00:22:08,119 --> 00:22:10,800
Speaker 4: not very much at all. But I don't really bother act.

434
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Speaker 1: You know, you're very much like a ghost on the set.

435
00:22:13,400 --> 00:22:14,919
Speaker 1: You're there, we can't see you.

436
00:22:16,000 --> 00:22:18,080
Speaker 4: And I make sure that it all looks great from

437
00:22:18,080 --> 00:22:21,000
Speaker 4: my perspective and that everybody's happy. And then I go

438
00:22:21,080 --> 00:22:24,159
Speaker 4: away and I like, do you talk to people on stage?

439
00:22:24,160 --> 00:22:27,760
Speaker 4: And I said, no, man, they're working, you know, I'm

440
00:22:27,880 --> 00:22:30,840
Speaker 4: and I'm busy, so I want to turn around and

441
00:22:30,840 --> 00:22:33,320
Speaker 4: take up your time. Well, and when you guys are working,

442
00:22:33,400 --> 00:22:37,160
Speaker 4: right Thursdays and Fridays, I'm not around, right, I'm done

443
00:22:37,200 --> 00:22:39,480
Speaker 4: for that week, you know, I'm onto the you know

444
00:22:39,520 --> 00:22:40,639
Speaker 4: what's the next moose?

445
00:22:40,720 --> 00:22:40,760
Speaker 1: That?

446
00:22:40,920 --> 00:22:41,320
Speaker 4: Jeff ro.

447
00:22:43,440 --> 00:22:45,879
Speaker 3: What? Now? What do I have to build?

448
00:22:46,240 --> 00:22:46,720
Speaker 4: Right? Yeah?

449
00:22:46,840 --> 00:22:47,040
Speaker 1: Right?

450
00:22:47,080 --> 00:22:48,919
Speaker 4: And the good? I said to what thing you appreciate

451
00:22:48,960 --> 00:22:52,480
Speaker 4: about sitcoms? And if I do something? Did I know

452
00:22:52,560 --> 00:22:54,800
Speaker 4: that on Saturday they're going to throw it in the garbage?

453
00:22:54,920 --> 00:22:57,359
Speaker 3: How did you get into production design?

454
00:22:57,400 --> 00:22:57,480
Speaker 2: Like?

455
00:22:57,600 --> 00:23:00,400
Speaker 3: Were you an artist as a kid? Was is all?

456
00:23:00,560 --> 00:23:00,679
Speaker 4: Like?

457
00:23:01,520 --> 00:23:05,280
Speaker 2: Was film and television something that you always wanted to do?

458
00:23:05,359 --> 00:23:07,600
Speaker 2: And you were a visual artist and it kind of

459
00:23:08,119 --> 00:23:11,040
Speaker 2: created Like how did it come together? Because I find

460
00:23:11,080 --> 00:23:16,800
Speaker 2: it such a fascinating like niche of this business that

461
00:23:16,960 --> 00:23:18,760
Speaker 2: you know, of creating these worlds.

462
00:23:19,000 --> 00:23:20,359
Speaker 4: I came to Hollywood to work.

463
00:23:21,359 --> 00:23:23,639
Speaker 3: Yes, yes, that's the right attitude.

464
00:23:23,840 --> 00:23:27,600
Speaker 4: Yeah, that's what I did, right, so you'll laugh. The

465
00:23:27,720 --> 00:23:30,760
Speaker 4: reason that I got into doing theater was because I

466
00:23:30,760 --> 00:23:33,040
Speaker 4: got cut from the basketball team when I was a

467
00:23:33,119 --> 00:23:37,000
Speaker 4: junior in high school. Oh, because I was. My brothers

468
00:23:37,000 --> 00:23:39,440
Speaker 4: were both basketball players, and so I was just part

469
00:23:39,480 --> 00:23:42,520
Speaker 4: of the family kind of, right, right, And I got

470
00:23:42,520 --> 00:23:46,480
Speaker 4: cut my junior year and I was taking some art classes,

471
00:23:46,960 --> 00:23:50,720
Speaker 4: but I wasn't really it wasn't really like a diehard artist,

472
00:23:51,160 --> 00:23:53,520
Speaker 4: and I was a little lost, right. I was kind

473
00:23:53,520 --> 00:23:55,320
Speaker 4: of like, what the hell do I do now? Because

474
00:23:55,359 --> 00:23:58,160
Speaker 4: this is who I thought I was going to be, right,

475
00:23:59,240 --> 00:24:01,560
Speaker 4: And so I started hanging out with some other people

476
00:24:01,640 --> 00:24:06,640
Speaker 4: at school. And these kids, effectionately were then known as sheeners.

477
00:24:07,200 --> 00:24:11,000
Speaker 4: They were guys that fixed cars. Okay, that's what these

478
00:24:11,000 --> 00:24:13,520
Speaker 4: guys did. And I sat talking to these guys one

479
00:24:13,560 --> 00:24:15,360
Speaker 4: day and they said, well, you should come hang out

480
00:24:15,359 --> 00:24:17,480
Speaker 4: with us, and I'm like, well, I'm not really into cars,

481
00:24:18,000 --> 00:24:22,760
Speaker 4: and they're like, well, we build sets for plays. Said,

482
00:24:22,760 --> 00:24:25,640
Speaker 4: I don't know what that means. But sure, I'll you know,

483
00:24:25,880 --> 00:24:29,520
Speaker 4: I'll jump in and learn. And so I started building scenery,

484
00:24:29,760 --> 00:24:32,119
Speaker 4: as you know, when I was in high school and

485
00:24:32,200 --> 00:24:35,720
Speaker 4: so I just my first set that I painted was

486
00:24:35,760 --> 00:24:39,600
Speaker 4: for the Diary of On from the play Okay, and

487
00:24:39,640 --> 00:24:44,000
Speaker 4: a priest came up to me in the back of

488
00:24:44,000 --> 00:24:45,880
Speaker 4: the house and he said to me, he said, are

489
00:24:45,920 --> 00:24:48,720
Speaker 4: you Jerry Dunn? And I said yes, and he said, well,

490
00:24:48,760 --> 00:24:53,959
Speaker 4: I'm father Tom from the local college summer theater. And

491
00:24:54,000 --> 00:24:55,920
Speaker 4: he said, I don't know what you did to that set,

492
00:24:55,960 --> 00:24:59,720
Speaker 4: but that's a beautiful paint job on that set. Would

493
00:24:59,720 --> 00:25:03,560
Speaker 4: you like to come to work at my theater company?

494
00:25:03,680 --> 00:25:06,560
Speaker 4: So I took a job for seventy five dollars for

495
00:25:06,640 --> 00:25:10,320
Speaker 4: the summer. It was a scholarship, and I went to

496
00:25:10,320 --> 00:25:14,600
Speaker 4: work at Saint Vincent Summer Theater in Pennsylvania. And that's amazing.

497
00:25:14,800 --> 00:25:16,760
Speaker 4: That's what got me hooked. And then I kept doing

498
00:25:16,800 --> 00:25:19,199
Speaker 4: it and doing it, and every place I went I

499
00:25:19,320 --> 00:25:22,720
Speaker 4: kept getting kind of up, you know, notched up.

500
00:25:24,240 --> 00:25:24,680
Speaker 1: Wow.

501
00:25:24,840 --> 00:25:26,879
Speaker 4: And so I was doing a bunch of theater and

502
00:25:26,920 --> 00:25:29,120
Speaker 4: then I was living in Pennsylvania, and then I got

503
00:25:29,359 --> 00:25:32,840
Speaker 4: i'd applied a graduate school in San Diego. When I

504
00:25:32,880 --> 00:25:35,240
Speaker 4: was in college, but I didn't go the first year

505
00:25:36,240 --> 00:25:38,360
Speaker 4: and I got an offer to do a graduate assistant

506
00:25:38,359 --> 00:25:42,119
Speaker 4: ship in California and San Diego. So I filled my

507
00:25:42,240 --> 00:25:44,720
Speaker 4: duffel bag and I filled my portfolio, and I bought

508
00:25:44,720 --> 00:25:46,920
Speaker 4: a one way plane ticket and I flew to California

509
00:25:46,960 --> 00:25:50,720
Speaker 4: and haven't left since. Actually, hey, I turned sixty seven

510
00:25:50,800 --> 00:25:51,640
Speaker 4: next week day.

511
00:25:52,160 --> 00:25:55,440
Speaker 5: Holy, happy birthday, Happy early birthday.

512
00:25:56,320 --> 00:25:59,040
Speaker 4: Now now it's got kind of a chill day and

513
00:25:59,720 --> 00:26:01,439
Speaker 4: I'm trying to get out of town to go do

514
00:26:01,520 --> 00:26:03,800
Speaker 4: some traveling, but as some personal business that I'm trying

515
00:26:03,840 --> 00:26:04,320
Speaker 4: to clean up.

516
00:26:04,480 --> 00:26:06,760
Speaker 3: Oh nice, okay here for a while.

517
00:26:07,560 --> 00:26:13,680
Speaker 2: Yeah, yeah, travel is nice? Right now, what has been

518
00:26:14,440 --> 00:26:22,280
Speaker 2: you would say your favorite set to create and build

519
00:26:22,800 --> 00:26:27,120
Speaker 2: theater or television? What what just or or even if

520
00:26:27,119 --> 00:26:30,280
Speaker 2: it's like two or three, that's cool? But like, is

521
00:26:30,320 --> 00:26:31,960
Speaker 2: there is there a couple where you're like.

522
00:26:31,920 --> 00:26:33,639
Speaker 3: Oh, that was just so cool?

523
00:26:33,800 --> 00:26:35,760
Speaker 4: You know? The show that was so fun to do

524
00:26:37,119 --> 00:26:40,440
Speaker 4: was The Sweet Life of the Sweet Life on Deck,

525
00:26:41,119 --> 00:26:47,560
Speaker 4: which was a Channel show with with the Twins. Right, yes,

526
00:26:48,359 --> 00:26:52,160
Speaker 4: so that show took place on a cruise ship and

527
00:26:52,400 --> 00:26:54,600
Speaker 4: that it was a high school at sea.

528
00:26:55,840 --> 00:26:56,199
Speaker 3: Okay.

529
00:26:56,720 --> 00:26:59,520
Speaker 4: The only time that somebody in multi camera had done

530
00:26:59,720 --> 00:27:03,080
Speaker 4: a cruise ship set on stage was the love Boat

531
00:27:03,080 --> 00:27:06,719
Speaker 4: in the sixties, right, Yeah, So I got to do

532
00:27:07,000 --> 00:27:10,840
Speaker 4: a cruise ship set on stage for a Disney Channel show.

533
00:27:11,840 --> 00:27:13,840
Speaker 4: And then what we would do is it because it

534
00:27:13,920 --> 00:27:17,520
Speaker 4: was a show, it was an international show. Every week

535
00:27:17,640 --> 00:27:20,760
Speaker 4: we got to go to different countries. So we did

536
00:27:20,760 --> 00:27:24,080
Speaker 4: a Japanese episode, and we did an episode in Paris,

537
00:27:24,160 --> 00:27:28,440
Speaker 4: and we did an episode in Thailand. Oh wow, everything,

538
00:27:28,600 --> 00:27:31,000
Speaker 4: it was like a thing, and we did it. Did

539
00:27:31,000 --> 00:27:34,720
Speaker 4: a Wizard of Oz spin one time, and I got

540
00:27:34,720 --> 00:27:40,440
Speaker 4: to recreate the barnyard in Kansas. Oh yeah, I got

541
00:27:40,480 --> 00:27:44,159
Speaker 4: to do the yellow brick road. Oh my god, do

542
00:27:44,400 --> 00:27:46,520
Speaker 4: the tornado destroying the farm?

543
00:27:47,800 --> 00:27:49,720
Speaker 3: So amazing, great, but that.

544
00:27:49,680 --> 00:27:51,960
Speaker 4: Was great, great fun. I really enjoyed doing that a lot.

545
00:27:52,160 --> 00:27:54,680
Speaker 2: Oh wow, didn't I believe the set that we shot

546
00:27:54,680 --> 00:27:59,280
Speaker 2: the pilot on the Gigant, the gig Gigantic set at.

547
00:27:59,040 --> 00:28:01,680
Speaker 3: Sony for Mars and GM.

548
00:28:02,440 --> 00:28:05,560
Speaker 2: Was where they did the yellow brick road scene of

549
00:28:05,680 --> 00:28:06,520
Speaker 2: Wizard of Oz.

550
00:28:07,040 --> 00:28:10,359
Speaker 4: Yeah. So Phil Lewis was starring in that show, you know,

551
00:28:10,440 --> 00:28:14,679
Speaker 4: director Phil Lewis. Oh yeah, exactly. Great. The Star of

552
00:28:15,160 --> 00:28:17,640
Speaker 4: Sweet Life on Deck was one of them anyway.

553
00:28:17,600 --> 00:28:20,920
Speaker 2: Right, amazing you know, I will say, was it fun

554
00:28:20,960 --> 00:28:25,040
Speaker 2: to do? Like some of the Disney shows, just because

555
00:28:25,560 --> 00:28:29,040
Speaker 2: you can go so like over the top, kind of

556
00:28:29,040 --> 00:28:32,000
Speaker 2: big with it, like it's such a it's nothing.

557
00:28:32,080 --> 00:28:33,280
Speaker 3: There's usually nothing.

558
00:28:33,160 --> 00:28:36,080
Speaker 2: Very subtle about any of the Disney shows.

559
00:28:36,080 --> 00:28:37,440
Speaker 3: Stuff you need to kind of go for it.

560
00:28:38,080 --> 00:28:41,560
Speaker 4: I got to do the inside of a stomach one time,

561
00:28:43,400 --> 00:28:47,240
Speaker 4: so Raven okay, wow, they wrote, well you know who

562
00:28:47,240 --> 00:28:49,400
Speaker 4: it was. It was Mark and Dennis that you got.

563
00:28:49,600 --> 00:28:51,959
Speaker 3: Oh yeah, yeah, oh yeah.

564
00:28:52,000 --> 00:28:53,920
Speaker 4: So they wrote this episode. They called me in and

565
00:28:53,960 --> 00:28:56,920
Speaker 4: they said, Jerry, we want to go to a natural

566
00:28:57,080 --> 00:29:00,440
Speaker 4: histor museum. I said, okay, bye, no problem. And then

567
00:29:00,480 --> 00:29:04,320
Speaker 4: they wanted to do the exterior of a stomach for

568
00:29:04,520 --> 00:29:09,280
Speaker 4: the exhibit, and it had to be giant scale. So

569
00:29:09,600 --> 00:29:13,200
Speaker 4: I had this whole. I had a stomach carved, and

570
00:29:13,240 --> 00:29:15,560
Speaker 4: we put this thing together and then Mark and Dennis

571
00:29:15,600 --> 00:29:18,880
Speaker 4: said to me, well we wrote another beat to the show.

572
00:29:19,120 --> 00:29:22,960
Speaker 4: I said, okay, what's that and they said, we want

573
00:29:22,960 --> 00:29:27,040
Speaker 4: to have Raven fall into the stomach. I had never

574
00:29:27,160 --> 00:29:30,040
Speaker 4: seen anything like this ever, and I'm just sitting up

575
00:29:30,040 --> 00:29:33,760
Speaker 4: in my office going what do it this?

576
00:29:34,120 --> 00:29:34,239
Speaker 2: Right?

577
00:29:34,720 --> 00:29:39,720
Speaker 4: So I rented a spider bounce, like a like a

578
00:29:39,760 --> 00:29:43,680
Speaker 4: loose kids backyard. Spider bounce has a base right, and

579
00:29:43,680 --> 00:29:45,760
Speaker 4: that has all the arms that go up to this

580
00:29:45,920 --> 00:29:51,520
Speaker 4: added spider. So I rented a spider bounce and in

581
00:29:51,640 --> 00:29:57,240
Speaker 4: between the legs we used them like volleyballddding clean the

582
00:29:57,320 --> 00:30:01,920
Speaker 4: legs and then line that with foe one, cover the

583
00:30:02,000 --> 00:30:07,280
Speaker 4: phone with pink chiffon, and then twinkle lights and rope

584
00:30:07,320 --> 00:30:10,840
Speaker 4: light on the chiffon, and then we layered it again

585
00:30:10,920 --> 00:30:16,240
Speaker 4: with chiffon wow, and we stray painted it. What happened

586
00:30:16,320 --> 00:30:19,080
Speaker 4: was that raven so she was able to bounce on

587
00:30:19,120 --> 00:30:20,160
Speaker 4: the oh.

588
00:30:20,080 --> 00:30:22,160
Speaker 3: Right, yeah because it would be the yeah.

589
00:30:22,080 --> 00:30:24,320
Speaker 4: Right and it was all pink and she could bounce

590
00:30:24,400 --> 00:30:27,320
Speaker 4: off the walls. And then we had to drop stuff

591
00:30:27,360 --> 00:30:29,600
Speaker 4: down on her, like the stomach, like leaking on.

592
00:30:29,600 --> 00:30:32,880
Speaker 1: Her, like okay, oh this is so Disney.

593
00:30:33,000 --> 00:30:36,920
Speaker 3: Oh yeah, that's so raven. Actually I believe it's a show. Yeah.

594
00:30:37,120 --> 00:30:39,040
Speaker 4: So that was that was a fun one. Doing the

595
00:30:39,040 --> 00:30:42,160
Speaker 4: inside of the stomach was quite the wow.

596
00:30:42,360 --> 00:30:46,080
Speaker 3: I mean that guy was like one of the kind

597
00:30:46,600 --> 00:30:49,280
Speaker 3: thing that you will never do again.

598
00:30:49,440 --> 00:30:55,360
Speaker 4: No never. Hannah to the Beach. We did Malibu Beach

599
00:30:55,440 --> 00:30:59,320
Speaker 4: on Hannah, Montana. Okay, okay, to do the pier at

600
00:30:59,400 --> 00:31:03,000
Speaker 4: Santa mon Pere. We did on stage. Oh wow, so

601
00:31:03,080 --> 00:31:05,080
Speaker 4: we got to do really so on that show we

602
00:31:05,200 --> 00:31:07,880
Speaker 4: got to have some great fun, you know. Yeah, the

603
00:31:07,920 --> 00:31:10,160
Speaker 4: dizzy stuff, right was kind of out there for a while,

604
00:31:10,200 --> 00:31:12,960
Speaker 4: and yeah, sure, and I got in on the beginning

605
00:31:13,000 --> 00:31:15,320
Speaker 4: of it, really the beginning of it. So that's how

606
00:31:15,360 --> 00:31:18,320
Speaker 4: I got to do Hannah Montana, and I got to

607
00:31:18,320 --> 00:31:20,400
Speaker 4: do Sweet Life, and I got to do Raven and

608
00:31:20,480 --> 00:31:24,800
Speaker 4: I got others. But it was when I finished that

609
00:31:25,320 --> 00:31:27,720
Speaker 4: and tried to get other work I couldn't get hired

610
00:31:27,760 --> 00:31:29,520
Speaker 4: because I was a kid showed designer.

611
00:31:30,280 --> 00:31:35,240
Speaker 3: Yeah, fusting, and you're like, it's it's just it's a set.

612
00:31:35,320 --> 00:31:38,040
Speaker 2: It's just building things. I can build anything. I can

613
00:31:38,120 --> 00:31:40,400
Speaker 2: build the inside of a stomach, Dammit, I can do it.

614
00:31:40,880 --> 00:31:43,120
Speaker 1: Yeah, you should get any street credit for building a

615
00:31:43,160 --> 00:31:44,400
Speaker 1: stomach on a Kiss show.

616
00:31:44,520 --> 00:31:48,040
Speaker 4: Yeah, but they don't give you that credit for having

617
00:31:48,080 --> 00:31:50,320
Speaker 4: the imagination. They just want to see what they wanted,

618
00:31:50,360 --> 00:31:53,120
Speaker 4: you know. I went to Anger Management, got to do

619
00:31:53,200 --> 00:31:57,000
Speaker 4: strip clubs and dive bars, and that was all.

620
00:31:57,040 --> 00:31:59,240
Speaker 3: That's a departure from us, right right.

621
00:31:59,400 --> 00:32:02,000
Speaker 4: I think that was by that was the universe Andrea

622
00:32:02,080 --> 00:32:04,240
Speaker 4: going Okay, well he had a yang and a gang

623
00:32:04,440 --> 00:32:06,600
Speaker 4: right right in the middle, right.

624
00:32:06,520 --> 00:32:09,000
Speaker 3: Which do you want? We can go this way, we

625
00:32:09,040 --> 00:32:11,400
Speaker 3: can go fully that way? Well, yeah, we can go

626
00:32:11,400 --> 00:32:12,360
Speaker 3: in the middle. Yeah.

627
00:32:12,440 --> 00:32:16,120
Speaker 4: Yeah. So it's been an interesting it's been an interesting career.

628
00:32:16,640 --> 00:32:21,600
Speaker 1: Cool and we learned that you helped design the theme

629
00:32:21,680 --> 00:32:26,280
Speaker 1: park water ride in Japan, the Hello Kitty Park.

630
00:32:27,000 --> 00:32:28,240
Speaker 3: Tell us how did this come about?

631
00:32:28,360 --> 00:32:31,200
Speaker 4: Landmark? You know what? It was? Sitcoms. We're in a

632
00:32:31,440 --> 00:32:34,920
Speaker 4: we were on strike, I think that spring okay, And

633
00:32:35,000 --> 00:32:39,320
Speaker 4: I got to work as san Rio or Landmark Entertainment,

634
00:32:39,360 --> 00:32:43,520
Speaker 4: which is in l a huge steam park company, and

635
00:32:43,560 --> 00:32:46,040
Speaker 4: they were doing this thing and I just put in

636
00:32:46,040 --> 00:32:49,440
Speaker 4: an application I needed some work, and so I got

637
00:32:49,480 --> 00:32:53,240
Speaker 4: to go to Japan, the South of Japan. I didn't

638
00:32:53,240 --> 00:32:56,160
Speaker 4: design it. They had a conceptual artist design it and

639
00:32:56,200 --> 00:32:58,800
Speaker 4: then like people just go in basically to do the

640
00:32:59,080 --> 00:33:02,880
Speaker 4: the install. So I started. So I went to Japan

641
00:33:03,000 --> 00:33:05,040
Speaker 4: and I worked for a couple of weeks in Japan.

642
00:33:05,840 --> 00:33:08,520
Speaker 4: But this water ride, what I found out was that

643
00:33:08,560 --> 00:33:12,520
Speaker 4: the water ride had had like four designers through it.

644
00:33:13,520 --> 00:33:16,600
Speaker 4: But I didn't know this going in, and so I

645
00:33:16,640 --> 00:33:19,080
Speaker 4: got there and I was kind of like, well, this

646
00:33:19,200 --> 00:33:21,000
Speaker 4: is kind of crazy. I don't know what I'm doing.

647
00:33:21,040 --> 00:33:25,320
Speaker 4: I was a sitcom guy but didn't theme parks, so

648
00:33:25,400 --> 00:33:29,200
Speaker 4: you guys will laugh. So they the ride basically was

649
00:33:29,640 --> 00:33:32,240
Speaker 4: in a building, right, and you go down this pull

650
00:33:32,720 --> 00:33:36,720
Speaker 4: this like little fake river kind of thing. Right. So

651
00:33:36,760 --> 00:33:39,120
Speaker 4: they were talking to me, and all the Japanese workers

652
00:33:39,120 --> 00:33:42,400
Speaker 4: were lovely to be with, and I said, in the venue,

653
00:33:42,440 --> 00:33:44,560
Speaker 4: thank god, was way on the other side of the park,

654
00:33:45,080 --> 00:33:47,480
Speaker 4: so nobody would come because you had to slod through

655
00:33:47,520 --> 00:33:50,440
Speaker 4: the mud and all this kind of get to this building.

656
00:33:51,680 --> 00:33:55,400
Speaker 4: So when I went down there, they said, well, what

657
00:33:55,440 --> 00:33:57,000
Speaker 4: do we need to do first? And I said, well,

658
00:33:57,040 --> 00:34:00,680
Speaker 4: does anybody build a cart so we could go kart

659
00:34:00,800 --> 00:34:02,640
Speaker 4: so we could go through the river so I could

660
00:34:02,640 --> 00:34:05,680
Speaker 4: actually see from a point of view what we were

661
00:34:05,680 --> 00:34:08,920
Speaker 4: doing right in this ride. And so it was designed

662
00:34:08,920 --> 00:34:11,239
Speaker 4: by this guy up in Seattle, I think it was,

663
00:34:11,840 --> 00:34:14,080
Speaker 4: and he had designed all these pieces. It was kind

664
00:34:14,080 --> 00:34:18,359
Speaker 4: of like small world, like, yeah, kind of right. So

665
00:34:19,160 --> 00:34:21,320
Speaker 4: they came in and said, well, all the scenery is finished,

666
00:34:21,360 --> 00:34:23,200
Speaker 4: so you just need to load it in and get

667
00:34:23,239 --> 00:34:28,799
Speaker 4: it ready for presentation. So what nobody figured out was

668
00:34:28,840 --> 00:34:31,800
Speaker 4: that the set that they designed was bigger than the building.

669
00:34:35,360 --> 00:34:37,319
Speaker 4: Now did I know right. I just knew that this

670
00:34:37,400 --> 00:34:39,799
Speaker 4: is something that I was supposed to put together. So

671
00:34:39,920 --> 00:34:42,840
Speaker 4: I started working with these guys, and these Japanese workers

672
00:34:42,840 --> 00:34:45,279
Speaker 4: were lovely, and they said, well, there's twelve pieces of

673
00:34:45,280 --> 00:34:49,359
Speaker 4: scenery in this one little tableau. I said, well, there's

674
00:34:49,440 --> 00:34:52,560
Speaker 4: room for like six. And then we go to another

675
00:34:52,600 --> 00:34:55,600
Speaker 4: part and they go, well, here's the amateuronic figure that's

676
00:34:55,640 --> 00:34:59,280
Speaker 4: like doing, you know, fit for something, and there's the background.

677
00:34:59,400 --> 00:35:01,959
Speaker 4: And so I went through this whole thing and I thought, well,

678
00:35:02,719 --> 00:35:06,080
Speaker 4: half of this doesn't fit. So I just turned around

679
00:35:06,120 --> 00:35:07,839
Speaker 4: and I took half the scenery and I just told

680
00:35:07,880 --> 00:35:11,920
Speaker 4: them to put it outside and cover it in plastic.

681
00:35:12,560 --> 00:35:12,960
Speaker 3: There you go.

682
00:35:13,320 --> 00:35:15,160
Speaker 4: Then they came down and I was there for a

683
00:35:15,160 --> 00:35:17,600
Speaker 4: couple of weeks and they came down and said, well,

684
00:35:17,600 --> 00:35:20,240
Speaker 4: we're going to do a walk through with the client.

685
00:35:20,880 --> 00:35:22,879
Speaker 4: And these when you do theme parks, if you think

686
00:35:22,960 --> 00:35:28,000
Speaker 4: network things are a big deal, like the first reading, right, like, okay, well,

687
00:35:28,000 --> 00:35:30,320
Speaker 4: how many people are coming to look at the ride

688
00:35:30,600 --> 00:35:34,640
Speaker 4: for the san Rio You know the Hello Kitty theme song?

689
00:35:35,000 --> 00:35:38,400
Speaker 2: Oh god, yeah, now it's yeah. The corporate is amazing.

690
00:35:38,560 --> 00:35:39,640
Speaker 2: It was so much.

691
00:35:39,760 --> 00:35:42,040
Speaker 4: So we go through the sole thing and that the

692
00:35:42,080 --> 00:35:44,239
Speaker 4: owners are going, wow, this is so pretty and it

693
00:35:44,239 --> 00:35:46,400
Speaker 4: looks so good, and it's like, you know, on and on,

694
00:35:46,480 --> 00:35:48,960
Speaker 4: and we get out to the back of the building

695
00:35:49,000 --> 00:35:51,560
Speaker 4: and their little go kart and the owner of Landmark

696
00:35:51,640 --> 00:35:56,040
Speaker 4: looks at me and he goes, what's that? And I

697
00:35:56,160 --> 00:36:00,600
Speaker 4: said that didn't fit? And he said did you report

698
00:36:00,640 --> 00:36:05,040
Speaker 4: this to anybody? And I said nope, I didn't know

699
00:36:05,040 --> 00:36:07,000
Speaker 4: what to tell you, but it didn't fit. So I

700
00:36:07,080 --> 00:36:08,880
Speaker 4: put what fit and I made it work, you know

701
00:36:08,920 --> 00:36:12,440
Speaker 4: the way it was. So then they were talking to

702
00:36:12,480 --> 00:36:15,440
Speaker 4: we're going to do layoffs all of a sudden, so

703
00:36:15,520 --> 00:36:17,360
Speaker 4: they were going to lay off this huge group of people.

704
00:36:18,000 --> 00:36:22,399
Speaker 4: And one of the managers came to me and he said, well,

705
00:36:22,440 --> 00:36:25,200
Speaker 4: you broke every rule in the book. He said, well,

706
00:36:25,239 --> 00:36:27,520
Speaker 4: I guess you're sending me home and he goes, no, actually,

707
00:36:27,520 --> 00:36:30,719
Speaker 4: he goes, we'd like you to stay for another six

708
00:36:30,840 --> 00:36:33,440
Speaker 4: or eight months to help get the park finished.

709
00:36:34,440 --> 00:36:34,760
Speaker 1: Wow.

710
00:36:35,000 --> 00:36:37,040
Speaker 3: So I said that's incredible.

711
00:36:36,840 --> 00:36:38,480
Speaker 4: And he said well, he said you would take on

712
00:36:38,680 --> 00:36:39,880
Speaker 4: four more rides.

713
00:36:40,239 --> 00:36:40,520
Speaker 1: Wow.

714
00:36:42,000 --> 00:36:43,560
Speaker 4: And I said, well, how much more money are you

715
00:36:43,640 --> 00:36:46,759
Speaker 4: going to pay me? I said, well, no, we're not

716
00:36:46,800 --> 00:36:48,680
Speaker 4: giving you any more money. And I said, well, then

717
00:36:48,719 --> 00:36:49,399
Speaker 4: I'm going home.

718
00:36:51,360 --> 00:36:55,040
Speaker 3: Yeah, yeah, he paid for your work. Yeah, four more rides.

719
00:36:55,120 --> 00:36:56,200
Speaker 3: That's insane, I know.

720
00:36:56,560 --> 00:36:59,560
Speaker 4: On top of one. So we were finished the one

721
00:36:59,640 --> 00:37:00,960
Speaker 4: and then we had to get into all the rest

722
00:37:00,960 --> 00:37:02,600
Speaker 4: of it. So it was I don't know, I know

723
00:37:02,680 --> 00:37:06,239
Speaker 4: the park opened and everything, but I've never gone back or.

724
00:37:06,400 --> 00:37:10,440
Speaker 3: Didn't be shot there during fuller. Yeah, we would just

725
00:37:10,480 --> 00:37:11,320
Speaker 3: shot those.

726
00:37:11,239 --> 00:37:13,799
Speaker 2: Kids at Hello Kitty Land.

727
00:37:13,920 --> 00:37:15,120
Speaker 4: This was way down in a week.

728
00:37:15,280 --> 00:37:17,600
Speaker 3: Oh that was a different, different different.

729
00:37:17,920 --> 00:37:22,440
Speaker 4: Yeah, it is nuts in Japan, huh oh.

730
00:37:22,800 --> 00:37:24,680
Speaker 2: I mean I was a Hello Kitty fan as a kid,

731
00:37:24,719 --> 00:37:27,279
Speaker 2: and I did go to the four story san Rio

732
00:37:27,400 --> 00:37:32,399
Speaker 2: store in Tokyo and I was blown away. It was

733
00:37:32,640 --> 00:37:35,640
Speaker 2: like it put Disney to shame the stuff that they

734
00:37:35,680 --> 00:37:37,480
Speaker 2: merched out, you know what I mean, where you were like,

735
00:37:37,880 --> 00:37:41,080
Speaker 2: do you really need like Hello Kitty foam earplugs?

736
00:37:41,160 --> 00:37:43,120
Speaker 3: I don't know, but yeah you do. You know, it's

737
00:37:43,160 --> 00:37:44,160
Speaker 3: just weird stuff.

738
00:37:44,400 --> 00:37:46,239
Speaker 4: Well, and you can imagine being on a place like

739
00:37:46,280 --> 00:37:51,520
Speaker 4: we would do. The Japanese workers would do calisthenics in

740
00:37:51,560 --> 00:37:55,360
Speaker 4: the morning out in a big giant parking lot outside.

741
00:37:56,040 --> 00:37:58,399
Speaker 4: Then they would go so everybody would report to work,

742
00:37:58,480 --> 00:38:01,120
Speaker 4: you'd go outside they do group allis stanis first and

743
00:38:01,160 --> 00:38:01,959
Speaker 4: then send you away.

744
00:38:03,080 --> 00:38:03,480
Speaker 1: I like that.

745
00:38:03,600 --> 00:38:09,840
Speaker 4: They literally played the Low Kiddy song live outside twelve

746
00:38:09,880 --> 00:38:14,080
Speaker 4: hours a day. Oh no, sure. Well, and you're in

747
00:38:14,120 --> 00:38:16,759
Speaker 4: a place where you can't speak the language, right. A

748
00:38:16,760 --> 00:38:19,680
Speaker 4: couple of supervisors spoke English, but all the workers don't

749
00:38:19,719 --> 00:38:20,480
Speaker 4: speak English.

750
00:38:21,040 --> 00:38:22,960
Speaker 2: Yeah, so you I remember that was like when we

751
00:38:23,000 --> 00:38:26,440
Speaker 2: shot there, all of our the crew was all Japanese yep, yeah,

752
00:38:26,600 --> 00:38:28,440
Speaker 2: and we had our translator.

753
00:38:28,680 --> 00:38:30,279
Speaker 4: It's a lovely yeah.

754
00:38:30,320 --> 00:38:32,319
Speaker 3: Oh it was beautiful. I'm so glad we got to

755
00:38:32,320 --> 00:38:32,680
Speaker 3: go there.

756
00:38:40,120 --> 00:38:41,640
Speaker 4: I was so mad I didn't get to go.

757
00:38:42,200 --> 00:38:43,960
Speaker 3: Yeah, that's what a shame.

758
00:38:44,080 --> 00:38:45,839
Speaker 4: You wouldn't let you know. They didn't want me to come,

759
00:38:45,840 --> 00:38:47,560
Speaker 4: and I'm like, going, well, I really should come.

760
00:38:48,640 --> 00:38:50,520
Speaker 1: And we had a we had a set too, They

761
00:38:50,560 --> 00:38:53,200
Speaker 1: had to build a set for the Bridle Shop I think.

762
00:38:53,320 --> 00:38:54,960
Speaker 3: So it was like we were doing multi cam all

763
00:38:54,960 --> 00:38:57,919
Speaker 3: over again. Oh yeah, it was. We were. We were

764
00:38:57,920 --> 00:39:01,239
Speaker 3: in a studio in I was like, this is what

765
00:39:01,280 --> 00:39:03,120
Speaker 3: it's like. So we couldn't.

766
00:39:04,920 --> 00:39:05,719
Speaker 4: Instead of going to.

767
00:39:07,760 --> 00:39:09,640
Speaker 2: I know there was that was that there was a

768
00:39:09,640 --> 00:39:11,520
Speaker 2: bunch of people. Didn't they not want to send like

769
00:39:11,600 --> 00:39:14,480
Speaker 2: hair and makeup or something. Wasn't there something we're going

770
00:39:14,560 --> 00:39:16,560
Speaker 2: to do? Yeah, they were going to send hair and makeup.

771
00:39:16,560 --> 00:39:18,520
Speaker 2: They were like that, We'll just get somebody over there, and.

772
00:39:18,440 --> 00:39:21,960
Speaker 3: We were like, do you know nothing, continuity characters? You

773
00:39:22,040 --> 00:39:24,640
Speaker 3: got to bring our team That was.

774
00:39:24,600 --> 00:39:29,319
Speaker 4: The Netflix and the original ABC, but the NBC budget.

775
00:39:29,880 --> 00:39:33,080
Speaker 2: Oh yeah, oh those nice ABC budgets.

776
00:39:33,120 --> 00:39:33,319
Speaker 3: Yeah.

777
00:39:33,320 --> 00:39:40,000
Speaker 2: We lived it up in Disney World, living it up. Yeah. Well,

778
00:39:41,160 --> 00:39:46,279
Speaker 2: after being in this business for so long, what is

779
00:39:46,320 --> 00:39:49,719
Speaker 2: there there anything that you haven't done yet that you

780
00:39:50,080 --> 00:39:50,640
Speaker 2: want to do?

781
00:39:51,120 --> 00:39:55,279
Speaker 3: Are you thinking of retiring?

782
00:39:55,560 --> 00:39:59,040
Speaker 2: Are you still loving and enjoying it or what?

783
00:39:59,200 --> 00:40:03,000
Speaker 3: Like, where do you see yourself headed next?

784
00:40:03,160 --> 00:40:06,920
Speaker 4: I think that I'm I don't know what else I

785
00:40:06,920 --> 00:40:10,960
Speaker 4: could do in multi camera, you know, I've done pretty

786
00:40:11,000 --> 00:40:12,040
Speaker 4: much everything.

787
00:40:11,680 --> 00:40:16,560
Speaker 3: That you know, Yeah, for god, what else.

788
00:40:16,840 --> 00:40:19,120
Speaker 4: Thousand sets in multi camera? You know.

789
00:40:19,440 --> 00:40:19,720
Speaker 3: Wow.

790
00:40:19,840 --> 00:40:22,319
Speaker 4: So it's like I kind of go and the you know,

791
00:40:22,360 --> 00:40:24,960
Speaker 4: the biggest challenges. The budgets aren't going to get any bigger,

792
00:40:25,560 --> 00:40:28,960
Speaker 4: No going to get any bigger. So I'm a going

793
00:40:29,000 --> 00:40:32,359
Speaker 4: to be kind of doing the same old thing again. Yeah,

794
00:40:32,960 --> 00:40:35,080
Speaker 4: I'm getting close to you know, and you guys know,

795
00:40:35,200 --> 00:40:37,360
Speaker 4: multi camera is kind of dead right at the moment.

796
00:40:37,840 --> 00:40:41,719
Speaker 4: It's so, yeah, only three on the network. I think right, Yeah,

797
00:40:41,719 --> 00:40:43,400
Speaker 4: it works and everything. So it's kind of you know,

798
00:40:43,560 --> 00:40:47,200
Speaker 4: so it worked since we'd finished The Connors last October,

799
00:40:47,200 --> 00:40:49,799
Speaker 4: and I have it worked since. Yeah, there was only

800
00:40:49,880 --> 00:40:52,880
Speaker 4: one you know. This is contrast for right, in nineteen

801
00:40:53,000 --> 00:40:55,960
Speaker 4: ninety two when I did Head over Heels there was

802
00:40:56,000 --> 00:40:59,520
Speaker 4: one hundred and twenty five multi camera pilots shot that spring.

803
00:41:00,880 --> 00:41:03,680
Speaker 3: Wow, and that's just pilot shot.

804
00:41:03,960 --> 00:41:07,960
Speaker 4: Oh, I don't get it, ladies. I really don't understand. Yeah,

805
00:41:08,280 --> 00:41:09,399
Speaker 4: time when we all need to.

806
00:41:09,400 --> 00:41:13,759
Speaker 3: Laugh for sure, aren't bite sized comedy.

807
00:41:14,480 --> 00:41:16,680
Speaker 2: And it's and I feel like it's it's like sitcom

808
00:41:16,719 --> 00:41:20,640
Speaker 2: has got to be it slightly less expensive investment than

809
00:41:20,719 --> 00:41:23,000
Speaker 2: going and shooting on location everywhere.

810
00:41:23,760 --> 00:41:24,640
Speaker 3: But what do I know?

811
00:41:24,760 --> 00:41:27,799
Speaker 4: Yeah, no, it's way cheaper. Yeah, I don't understand. And

812
00:41:27,800 --> 00:41:29,960
Speaker 4: it's not like, you know, you look at something like

813
00:41:30,400 --> 00:41:33,520
Speaker 4: Mad About You and Friends and Big Bang, you know,

814
00:41:33,560 --> 00:41:38,480
Speaker 4: Big Bank, Warner Brothers over a million dollars. Yeah, why

815
00:41:38,480 --> 00:41:41,319
Speaker 4: aren't you doing worse sitcoms? I don't. I don't.

816
00:41:41,680 --> 00:41:42,880
Speaker 3: Yeah, it is.

817
00:41:42,960 --> 00:41:45,960
Speaker 2: It's a it's a really weird time in the business

818
00:41:46,000 --> 00:41:47,799
Speaker 2: right now for everybody.

819
00:41:48,120 --> 00:41:50,960
Speaker 4: I'm kind of so end of my career, Okay, I

820
00:41:51,000 --> 00:41:53,960
Speaker 4: really want to turn around and do you don't have

821
00:41:54,040 --> 00:41:57,200
Speaker 4: to do something for a long time and you get inspired, right,

822
00:41:57,320 --> 00:42:01,000
Speaker 4: So I really want to do some work with orphanages

823
00:42:01,000 --> 00:42:05,239
Speaker 4: and third world countries. I've done some volunteer work in

824
00:42:05,280 --> 00:42:07,399
Speaker 4: the past, but what I'm trying to do and I'm

825
00:42:07,440 --> 00:42:13,319
Speaker 4: hoping to set up a nonprofit when I retire, I

826
00:42:13,320 --> 00:42:16,560
Speaker 4: can go and travel around the world and go help

827
00:42:16,880 --> 00:42:18,680
Speaker 4: third world country orphanages.

828
00:42:19,680 --> 00:42:21,280
Speaker 3: Oh I love that line.

829
00:42:21,400 --> 00:42:23,840
Speaker 4: Whether it's going to go do some you know, some

830
00:42:24,000 --> 00:42:27,439
Speaker 4: manual labor kind of things, but I think the kids

831
00:42:27,440 --> 00:42:31,839
Speaker 4: in third world countries have the biggest challenge in life. Yeah,

832
00:42:31,880 --> 00:42:34,080
Speaker 4: I think that that's something that I know that that's

833
00:42:34,080 --> 00:42:36,120
Speaker 4: something that I really like to wrap my hats around.

834
00:42:36,160 --> 00:42:38,480
Speaker 4: So I'd like to take all of those skills that

835
00:42:38,560 --> 00:42:41,120
Speaker 4: I have and see how I can roll it into

836
00:42:41,239 --> 00:42:44,240
Speaker 4: something that's more giving.

837
00:42:44,440 --> 00:42:46,640
Speaker 3: I guess I love that.

838
00:42:46,640 --> 00:42:51,279
Speaker 2: That's a big really yeah, like taking your art and

839
00:42:51,320 --> 00:42:53,279
Speaker 2: making the world a better place with it, you know.

840
00:42:53,480 --> 00:42:56,960
Speaker 4: And I think I, you know, pretty much had my fill.

841
00:42:56,680 --> 00:43:02,880
Speaker 1: Of Hollywood well understandable, Yeah, like going, yeah, it's a lot.

842
00:43:02,920 --> 00:43:04,839
Speaker 4: On and on and on. I'm like, I don't really

843
00:43:04,840 --> 00:43:08,840
Speaker 4: care anymore. I don't Yeah, yeah, yeah, I.

844
00:43:08,840 --> 00:43:11,040
Speaker 2: Feel like I've done this for forty some odd years.

845
00:43:11,200 --> 00:43:13,240
Speaker 2: I loved it. It was great.

846
00:43:13,320 --> 00:43:15,239
Speaker 3: And now and now what like I.

847
00:43:15,200 --> 00:43:18,719
Speaker 4: Think if you know somebody called that I liked, That's

848
00:43:18,719 --> 00:43:20,799
Speaker 4: the biggest part of it, right, Joe Nander is like,

849
00:43:20,840 --> 00:43:22,759
Speaker 4: you don't work for somebody that you don't want to

850
00:43:22,800 --> 00:43:26,120
Speaker 4: work with. H And so I'm just kind of going

851
00:43:26,320 --> 00:43:30,560
Speaker 4: like a Bob called or Jeff called, or from Connors

852
00:43:30,640 --> 00:43:32,440
Speaker 4: called and said, hey, do you want to do something?

853
00:43:32,719 --> 00:43:36,279
Speaker 4: And I enjoyed the script, Yeah, I'd probably do it.

854
00:43:36,360 --> 00:43:38,879
Speaker 4: I'd probably yeah, But am I going to go out

855
00:43:38,880 --> 00:43:41,200
Speaker 4: there and run around and chase things and whatnot?

856
00:43:41,840 --> 00:43:42,040
Speaker 3: Right?

857
00:43:42,600 --> 00:43:44,160
Speaker 4: That's that point in my life.

858
00:43:44,280 --> 00:43:47,320
Speaker 2: There is just no work to be had to spread

859
00:43:47,480 --> 00:43:50,719
Speaker 2: across every Like you were saying, you got in the

860
00:43:50,800 --> 00:43:53,000
Speaker 2: union as like an overhire, you know what I mean.

861
00:43:53,080 --> 00:43:54,120
Speaker 3: Like it was they were like.

862
00:43:54,080 --> 00:43:56,600
Speaker 2: We just need people, we got to come build sets,

863
00:43:56,680 --> 00:44:00,680
Speaker 2: you know, and uh, yeah, it's there's just where it's

864
00:44:01,040 --> 00:44:04,919
Speaker 2: it's scraps now. And I know that's really yeah, really

865
00:44:04,920 --> 00:44:05,959
Speaker 2: frustrating and really hard.

866
00:44:06,160 --> 00:44:10,160
Speaker 3: But I think that you have an excellent Would you

867
00:44:10,239 --> 00:44:10,799
Speaker 3: have liked.

868
00:44:10,719 --> 00:44:16,200
Speaker 4: To be in the business in the fifties, sixties and seventies, yes,

869
00:44:16,239 --> 00:44:18,040
Speaker 4: it was a whole different world then.

870
00:44:18,320 --> 00:44:20,839
Speaker 3: Oh yeah, Golden Age learned.

871
00:44:20,560 --> 00:44:23,640
Speaker 4: And what we lived through when everything right, So, like

872
00:44:23,719 --> 00:44:27,560
Speaker 4: I look at an old movie like The Ten Commandments

873
00:44:28,920 --> 00:44:30,880
Speaker 4: right then heard.

874
00:44:31,920 --> 00:44:35,399
Speaker 2: Right, not a CGI to be found? Ten thousand people.

875
00:44:35,239 --> 00:44:38,840
Speaker 4: Right, ten thousand people. You work with all the entraftsmen.

876
00:44:38,920 --> 00:44:40,960
Speaker 4: And you know, I watched I saw a video or

877
00:44:40,960 --> 00:44:44,839
Speaker 4: I saw a photograph of the main street of the

878
00:44:44,880 --> 00:44:49,400
Speaker 4: Ten Commandments that was built in Culver City, right, orties

879
00:44:49,480 --> 00:44:52,759
Speaker 4: or something like that, and it was incredible to see.

880
00:44:52,760 --> 00:44:55,560
Speaker 4: And like you said, there was like ten thousand workers

881
00:44:55,560 --> 00:45:00,239
Speaker 4: on that movie. Yes, all laborers, all carpenters, and yeah,

882
00:45:01,040 --> 00:45:03,040
Speaker 4: it's like the thing with computers. Right, it's like it

883
00:45:03,120 --> 00:45:06,800
Speaker 4: does amazing things, but it's not human.

884
00:45:07,600 --> 00:45:09,560
Speaker 3: Right, it doesn't have that touch to it.

885
00:45:09,880 --> 00:45:12,760
Speaker 4: That's not walking on a stage with one hundred guys

886
00:45:12,840 --> 00:45:14,240
Speaker 4: running around building stuff.

887
00:45:14,440 --> 00:45:19,279
Speaker 3: It's true. The smell of sawdust on a set, it's

888
00:45:19,320 --> 00:45:19,720
Speaker 3: the best.

889
00:45:19,719 --> 00:45:22,120
Speaker 4: And I have take me you guys knew Puccio and

890
00:45:22,160 --> 00:45:24,839
Speaker 4: the boys that I worked. Yeah. Yeah, so you work

891
00:45:24,920 --> 00:45:27,000
Speaker 4: with great people and you have a good time doing

892
00:45:27,000 --> 00:45:28,000
Speaker 4: it for the most part.

893
00:45:29,000 --> 00:45:30,760
Speaker 3: Yeah really right, right.

894
00:45:30,600 --> 00:45:34,200
Speaker 2: Well, I will also say that you had a lot

895
00:45:34,239 --> 00:45:35,600
Speaker 2: to do with the Fuller House wedding.

896
00:45:36,200 --> 00:45:38,000
Speaker 3: Oh that's so beautiful.

897
00:45:38,120 --> 00:45:40,560
Speaker 4: That was fun to do, and.

898
00:45:40,239 --> 00:45:45,920
Speaker 2: That was so much fun because you included us, like

899
00:45:46,000 --> 00:45:49,120
Speaker 2: it was like planning a real wedding, like you really.

900
00:45:50,960 --> 00:45:51,920
Speaker 3: You and your team.

901
00:45:51,719 --> 00:45:54,879
Speaker 2: Made such an effort to be like what would these

902
00:45:55,000 --> 00:45:58,000
Speaker 2: characters have? And again, like you said, like you put

903
00:45:58,000 --> 00:46:00,000
Speaker 2: such a personal touch on it. There were so many

904
00:46:00,080 --> 00:46:04,239
Speaker 2: little things that were special and that also that you

905
00:46:04,320 --> 00:46:07,840
Speaker 2: listened to us on and it made it feel so

906
00:46:07,960 --> 00:46:09,880
Speaker 2: much more real, and like, I think.

907
00:46:09,760 --> 00:46:12,279
Speaker 4: That was one of the prettiest weddings ever shot on

908
00:46:12,360 --> 00:46:13,600
Speaker 4: television in a sitcom.

909
00:46:13,680 --> 00:46:15,240
Speaker 3: For sure, Oh for sure.

910
00:46:15,400 --> 00:46:20,480
Speaker 2: It was beautiful chandelier that was there, and yeah, well

911
00:46:20,520 --> 00:46:20,759
Speaker 2: and the.

912
00:46:20,840 --> 00:46:25,800
Speaker 4: Cool thing was is I went because Steve and Brian

913
00:46:26,200 --> 00:46:26,799
Speaker 4: is that his name?

914
00:46:27,160 --> 00:46:28,560
Speaker 3: Yeah, yeah, yeah, now.

915
00:46:28,600 --> 00:46:33,239
Speaker 4: And everybody at Warner Brothers, everybody's pretty conservative. So when

916
00:46:33,280 --> 00:46:35,680
Speaker 4: I walked in and I thought, if you make me

917
00:46:35,840 --> 00:46:39,319
Speaker 4: do a wedding with folding chairs.

918
00:46:39,000 --> 00:46:42,320
Speaker 3: And rows, right, I'm going to lose my mind.

919
00:46:42,440 --> 00:46:46,120
Speaker 4: Myself in the head. Yeah, so this is a put

920
00:46:46,160 --> 00:46:49,120
Speaker 4: together thing, and you were an event planner for your character.

921
00:46:50,360 --> 00:46:53,520
Speaker 4: I went, Okay, this is family, and so I pitched

922
00:46:53,520 --> 00:46:57,480
Speaker 4: that whole idea of all the eclectic furniture and the groupings,

923
00:46:57,520 --> 00:47:00,359
Speaker 4: and I said, look, you can tell stories and every

924
00:47:00,400 --> 00:47:03,719
Speaker 4: group how they're sitting and there, yeah, and whatnot. And

925
00:47:03,760 --> 00:47:06,399
Speaker 4: I said, it's such a magical way to tell a

926
00:47:06,440 --> 00:47:10,360
Speaker 4: family story about a wedding. Yeah, Jennifer did a beautiful,

927
00:47:10,400 --> 00:47:11,160
Speaker 4: beautiful job.

928
00:47:11,360 --> 00:47:14,680
Speaker 2: She did such a gorgeous job. I mean, the it

929
00:47:14,760 --> 00:47:16,719
Speaker 2: was so she had such a gorgeous job that I

930
00:47:16,760 --> 00:47:19,040
Speaker 2: believe I called you, Jerry, and I was like, so,

931
00:47:19,280 --> 00:47:20,320
Speaker 2: I basically want.

932
00:47:20,120 --> 00:47:23,160
Speaker 3: To just recreate the Fuller House wedding for my wedding.

933
00:47:23,480 --> 00:47:23,680
Speaker 2: Yeh.

934
00:47:23,760 --> 00:47:26,880
Speaker 3: And I basically did. I had, Like I.

935
00:47:26,800 --> 00:47:29,920
Speaker 2: Loved what you know, those little stories and the little

936
00:47:30,040 --> 00:47:32,400
Speaker 2: like sort of mismatched furniture and.

937
00:47:32,280 --> 00:47:35,120
Speaker 3: The twinkle lights and you know, all of that.

938
00:47:35,280 --> 00:47:38,840
Speaker 2: Like it just that was it was such a special

939
00:47:38,880 --> 00:47:42,319
Speaker 2: moment and you it felt like we were really out

940
00:47:42,360 --> 00:47:43,320
Speaker 2: in this backyard.

941
00:47:43,480 --> 00:47:45,719
Speaker 4: Oh and I always laughed. That was one thing about

942
00:47:45,719 --> 00:47:47,480
Speaker 4: your show that kind of cracked me up. Was in

943
00:47:47,520 --> 00:47:50,080
Speaker 4: the beginning, right, the backyard is like ten feet wide,

944
00:47:50,600 --> 00:47:53,400
Speaker 4: but that thing is And next week we're doing the

945
00:47:53,440 --> 00:47:57,520
Speaker 4: Indian dance number, right, Yeah, and it's.

946
00:47:57,400 --> 00:47:59,799
Speaker 3: A different shape, you know what I mean.

947
00:48:00,080 --> 00:48:02,319
Speaker 2: Then it's a rectangle and now where it's kind of

948
00:48:02,360 --> 00:48:06,960
Speaker 2: a weird the long rectangle. Kidney supposedly lives next door

949
00:48:07,040 --> 00:48:12,720
Speaker 2: slash behind, but we don't know how far into the

950
00:48:12,920 --> 00:48:17,000
Speaker 2: nature park, which is the Tanner's backyard. We're not quite

951
00:48:17,040 --> 00:48:22,360
Speaker 2: sure how deep that, Yeah, because I mean we're driving

952
00:48:22,400 --> 00:48:25,839
Speaker 2: cars in there. And if you see the house, there's

953
00:48:25,920 --> 00:48:29,319
Speaker 2: not a natly there, there's no so there's there's a

954
00:48:29,440 --> 00:48:32,560
Speaker 2: lot going on. You think the house is incredible. That

955
00:48:32,680 --> 00:48:37,200
Speaker 2: backyard is like it's like the show Lost. Any anything

956
00:48:37,320 --> 00:48:38,879
Speaker 2: is possible. There might be a polar bear.

957
00:48:38,920 --> 00:48:47,279
Speaker 4: Who knows that could expand Oh right, I don't want

958
00:48:47,280 --> 00:48:48,280
Speaker 4: to cut all that grass.

959
00:48:49,160 --> 00:48:55,040
Speaker 2: There's your there's design that design an expandable backyard and

960
00:48:55,160 --> 00:48:57,640
Speaker 2: you will it'll do wonders.

961
00:48:59,480 --> 00:49:01,520
Speaker 4: Yeah, that was stvert fun. I was very proud of

962
00:49:01,520 --> 00:49:01,960
Speaker 4: that wedding.

963
00:49:02,120 --> 00:49:04,160
Speaker 3: It was so special. Yeah.

964
00:49:04,239 --> 00:49:06,839
Speaker 2: I loved that our moms were there sitting in it.

965
00:49:06,920 --> 00:49:09,160
Speaker 2: I loved that our you know, there was so much

966
00:49:09,320 --> 00:49:12,000
Speaker 2: it did it that each little area told the story.

967
00:49:12,120 --> 00:49:15,160
Speaker 4: That was a hard sell. Everybody was like looking at me,

968
00:49:15,239 --> 00:49:18,520
Speaker 4: going like, well, we were thinking chairs and rose and

969
00:49:18,680 --> 00:49:20,640
Speaker 4: traditional I'm like.

970
00:49:20,640 --> 00:49:25,759
Speaker 3: Going, no, I'm so glad you thought I'm so glad

971
00:49:25,800 --> 00:49:26,360
Speaker 3: you thought that.

972
00:49:27,160 --> 00:49:29,600
Speaker 2: And I can't tell you how many compliments we've gotten

973
00:49:29,719 --> 00:49:33,640
Speaker 2: from fans on the show that have said that wedding

974
00:49:34,000 --> 00:49:37,080
Speaker 2: was so beautiful, it was so like, it was so

975
00:49:37,239 --> 00:49:41,200
Speaker 2: pretty and it yeah, it was right, had.

976
00:49:41,000 --> 00:49:43,920
Speaker 4: To be for that show for your family.

977
00:49:44,680 --> 00:49:44,919
Speaker 3: Yeah.

978
00:49:46,520 --> 00:49:46,880
Speaker 4: Yeah.

979
00:49:46,920 --> 00:49:49,480
Speaker 3: And if there's one thing that this group can do,

980
00:49:49,719 --> 00:49:50,440
Speaker 3: it's throw.

981
00:49:50,280 --> 00:49:53,720
Speaker 2: Together a ridiculously large party in a matter of hours.

982
00:49:53,920 --> 00:50:00,120
Speaker 4: So and I gotta say, yeah, pretty good, Kimmy.

983
00:49:59,840 --> 00:50:01,080
Speaker 3: Can work miracles.

984
00:50:01,760 --> 00:50:04,239
Speaker 2: People are favors, you know, you don't, you don't want

985
00:50:04,239 --> 00:50:05,960
Speaker 2: to know what for, but people, kim.

986
00:50:05,760 --> 00:50:08,680
Speaker 4: Me favors those connections at the last minute for sure,

987
00:50:10,160 --> 00:50:12,200
Speaker 4: right when you got to the wedding venue at the

988
00:50:12,280 --> 00:50:16,440
Speaker 4: doors and the doors were locked, remember the yeah we

989
00:50:16,719 --> 00:50:17,880
Speaker 4: do and what's going on?

990
00:50:19,000 --> 00:50:22,720
Speaker 3: Of course of course you're like, now what right? Exactly?

991
00:50:23,920 --> 00:50:27,520
Speaker 2: Oh boy, Well, Jerry, it has been so wonderful to

992
00:50:27,560 --> 00:50:29,000
Speaker 2: have you on the show. Thank you so much for

993
00:50:29,000 --> 00:50:31,359
Speaker 2: coming on and chatting with us. And you're just so

994
00:50:31,560 --> 00:50:34,400
Speaker 2: talented and so lovely and we we just I'm so

995
00:50:34,480 --> 00:50:37,400
Speaker 2: glad that you got welcomed into the to the the

996
00:50:37,440 --> 00:50:40,239
Speaker 2: full house fuller house fan because you fit right in, so.

997
00:50:40,560 --> 00:50:42,439
Speaker 4: Thank you so much for having me. I really enjoyed

998
00:50:42,480 --> 00:50:42,919
Speaker 4: this a lot.

999
00:50:43,680 --> 00:50:46,319
Speaker 1: And when you get your nonprofit up and going, let

1000
00:50:46,400 --> 00:50:48,680
Speaker 1: us know how we can support it because we want

1001
00:50:48,719 --> 00:50:49,920
Speaker 1: to support you and all the things you do.

1002
00:50:50,040 --> 00:50:53,480
Speaker 2: Okay, cool, sounds great, Yeah, welcome, build some Jerry.

1003
00:50:54,600 --> 00:50:56,080
Speaker 3: Give me a paintbrush.

1004
00:50:57,120 --> 00:50:58,920
Speaker 4: At the ice cream shop one of these days.

1005
00:50:59,200 --> 00:51:02,600
Speaker 2: Yes, exactly, into Jerry at the at the gelato place

1006
00:51:02,680 --> 00:51:05,359
Speaker 2: that I am all too frequent a visitor of.

1007
00:51:06,560 --> 00:51:09,200
Speaker 3: It's Baccio de Latte. Oh my god, it is.

1008
00:51:10,160 --> 00:51:12,680
Speaker 2: It's the best gelato I've ever had in my life.

1009
00:51:12,719 --> 00:51:15,239
Speaker 2: And I go, I'm like a little regular there. They're like, hey,

1010
00:51:15,280 --> 00:51:18,040
Speaker 2: welcome back, and this gallon. You're like, oh the shame.

1011
00:51:18,760 --> 00:51:21,799
Speaker 2: But yeah, hopefully I'll run into you around town and

1012
00:51:21,880 --> 00:51:22,920
Speaker 2: get to see you in person.

1013
00:51:25,000 --> 00:51:27,040
Speaker 4: Thanks Jerry.

1014
00:51:27,440 --> 00:51:31,120
Speaker 3: Thanks, Happy early birthday. Enjoy you happy birthday. All right,

1015
00:51:31,360 --> 00:51:33,680
Speaker 3: bye bye, thank you.

1016
00:51:34,200 --> 00:51:37,640
Speaker 2: Jerry was always so lovely and like he and I

1017
00:51:37,680 --> 00:51:43,480
Speaker 2: would just chat and yeah, he was just really really

1018
00:51:43,560 --> 00:51:47,759
Speaker 2: lovely and a great heart and really talented and like

1019
00:51:48,560 --> 00:51:52,880
Speaker 2: had an eye for things, like really a great designer.

1020
00:51:53,440 --> 00:51:56,400
Speaker 3: Right, yeah, and it's crazy to think that he was, like, well.

1021
00:51:56,280 --> 00:51:58,600
Speaker 2: I just kind of went with it because I didn't

1022
00:51:58,640 --> 00:52:00,319
Speaker 2: make it into the basketball team, you.

1023
00:52:00,280 --> 00:52:03,720
Speaker 1: Know, and they turned out all of this amazing work.

1024
00:52:03,880 --> 00:52:06,320
Speaker 1: Like thetory of work is, yeah, he's.

1025
00:52:06,320 --> 00:52:08,839
Speaker 3: He's just a no nonsense guy. He gets to work.

1026
00:52:08,880 --> 00:52:11,439
Speaker 3: He works hard, Yeah, but he cares.

1027
00:52:11,239 --> 00:52:13,799
Speaker 5: About people, you know, like it's such a which was

1028
00:52:13,960 --> 00:52:18,640
Speaker 5: just exactly why he fit in on full and Fuller

1029
00:52:18,760 --> 00:52:22,360
Speaker 5: because our crew are our.

1030
00:52:22,239 --> 00:52:25,160
Speaker 3: Family are you know. We It was like, you show

1031
00:52:25,239 --> 00:52:26,120
Speaker 3: up and you work.

1032
00:52:25,920 --> 00:52:28,680
Speaker 2: Hard, but damn, you're gonna have a good time doing it,

1033
00:52:28,760 --> 00:52:31,120
Speaker 2: you know what I mean. And you're gonna and and

1034
00:52:31,200 --> 00:52:33,439
Speaker 2: you're gonna have fun and you're gonna laugh, and it's

1035
00:52:33,440 --> 00:52:34,839
Speaker 2: gonna be a really good time.

1036
00:52:34,920 --> 00:52:37,719
Speaker 3: But like prepare, you're gonna work. It's off. And that

1037
00:52:37,920 --> 00:52:38,600
Speaker 3: was that's.

1038
00:52:38,440 --> 00:52:42,160
Speaker 2: Really his ethic, Like there there's no ego about it,

1039
00:52:42,400 --> 00:52:44,319
Speaker 2: you know that, Like I've been doing this for so

1040
00:52:44,400 --> 00:52:45,719
Speaker 2: I'm not gonna you know, it's like.

1041
00:52:46,520 --> 00:52:47,720
Speaker 3: Oh, I came to work.

1042
00:52:48,239 --> 00:52:48,400
Speaker 2: You know.

1043
00:52:48,760 --> 00:52:50,799
Speaker 3: He's he's here to work and he's here to do

1044
00:52:50,840 --> 00:52:51,160
Speaker 3: it well.

1045
00:52:51,560 --> 00:52:54,600
Speaker 2: And I applaud that because yeah, like you said, everybody

1046
00:52:54,640 --> 00:52:55,960
Speaker 2: kind of wants to come out and be a star,

1047
00:52:56,040 --> 00:52:58,520
Speaker 2: but you just gotta you just gotta show up and

1048
00:52:58,560 --> 00:52:59,000
Speaker 2: do the work.

1049
00:53:00,000 --> 00:53:02,080
Speaker 1: That's what it's about. It's not about the fluff. It's

1050
00:53:02,160 --> 00:53:04,200
Speaker 1: just working on put your head down and get to work.

1051
00:53:04,280 --> 00:53:04,680
Speaker 5: Ye yeap.

1052
00:53:05,160 --> 00:53:07,520
Speaker 2: And that was always say one of the best experiences

1053
00:53:07,560 --> 00:53:12,080
Speaker 2: I had was when I like got a quote unquote

1054
00:53:12,239 --> 00:53:15,439
Speaker 2: like real world job and I was making like ten

1055
00:53:15,480 --> 00:53:18,120
Speaker 2: bucks an hour at a treatment setter and empty and

1056
00:53:18,160 --> 00:53:20,080
Speaker 2: trash cans and washing dishes.

1057
00:53:19,719 --> 00:53:22,400
Speaker 3: And and I was like, I'm happy to be this

1058
00:53:22,560 --> 00:53:26,640
Speaker 3: cool build character. Yeah yeah, And it's uh, definitely.

1059
00:53:26,880 --> 00:53:29,640
Speaker 2: I just that work ethic really always shined through because

1060
00:53:29,680 --> 00:53:33,480
Speaker 2: he he got asked to do some wild things. I mean,

1061
00:53:33,560 --> 00:53:36,040
Speaker 2: nothing like the interior of a stomach.

1062
00:53:35,719 --> 00:53:39,280
Speaker 3: But just recreating ourselves from scratch.

1063
00:53:39,560 --> 00:53:41,919
Speaker 2: The Gibbler house was quite a thing.

1064
00:53:42,400 --> 00:53:43,400
Speaker 3: Oh my goodness.

1065
00:53:43,520 --> 00:53:48,160
Speaker 1: Yeah that was I said, that was an eyesore for everyone, right, and.

1066
00:53:48,280 --> 00:53:51,840
Speaker 2: We flipped they flipped the house, so we shot it.

1067
00:53:52,040 --> 00:53:56,120
Speaker 3: In post posted. They flipped it. They flipped the the

1068
00:53:56,920 --> 00:53:57,319
Speaker 3: I don't know what.

1069
00:53:57,840 --> 00:54:00,360
Speaker 2: The staircase was on the other side of the basically

1070
00:54:00,440 --> 00:54:02,919
Speaker 2: used the Tanner house and turned it into Kimmy's house.

1071
00:54:02,960 --> 00:54:05,080
Speaker 2: And then when they shot it and edited it, they

1072
00:54:05,080 --> 00:54:05,840
Speaker 2: flipped it around.

1073
00:54:06,239 --> 00:54:09,600
Speaker 1: So which is which is really weird for us to

1074
00:54:09,640 --> 00:54:12,719
Speaker 1: walk into stage twenty four one day and see the

1075
00:54:12,760 --> 00:54:15,320
Speaker 1: living room as the Gibbler set, and then walking the

1076
00:54:15,520 --> 00:54:16,920
Speaker 1: very next day and it's right back to the.

1077
00:54:16,840 --> 00:54:19,439
Speaker 3: Tanner was right right, Yeah, I was like, what's happening? Yeah?

1078
00:54:19,800 --> 00:54:22,120
Speaker 3: It was this thing with.

1079
00:54:21,960 --> 00:54:26,000
Speaker 2: Which uh, production and set designers have to work though.

1080
00:54:26,040 --> 00:54:29,279
Speaker 2: On sitcoms is you know it is You're in a

1081
00:54:29,400 --> 00:54:30,120
Speaker 2: it's a machine.

1082
00:54:30,160 --> 00:54:31,480
Speaker 3: It is a well oiled machine.

1083
00:54:31,520 --> 00:54:34,360
Speaker 2: And the machine stops for no one.

1084
00:54:34,640 --> 00:54:36,120
Speaker 3: It's you're going, You're going.

1085
00:54:36,200 --> 00:54:39,480
Speaker 2: And they're especially kids shows and you know, fuller house sitcoms,

1086
00:54:39,520 --> 00:54:41,680
Speaker 2: sitcoms in general. We're gonna ask you to do some

1087
00:54:41,760 --> 00:54:45,160
Speaker 2: kind of ridiculous stuff. So oh yeah, you gotta yeah.

1088
00:54:44,920 --> 00:54:45,200
Speaker 1: Got it.

1089
00:54:45,239 --> 00:54:47,200
Speaker 3: You just have to say okay, okay, yes.

1090
00:54:47,080 --> 00:54:49,840
Speaker 2: Yes, and I can make I can do that inside

1091
00:54:49,840 --> 00:54:50,360
Speaker 2: of a stomach.

1092
00:54:50,400 --> 00:54:52,280
Speaker 3: Oh my god, what am I? You know, the joke's

1093
00:54:52,280 --> 00:54:52,799
Speaker 3: gotta work.

1094
00:54:53,200 --> 00:54:58,040
Speaker 2: Yeah, the cows gotta fit the table. Well, this has

1095
00:54:58,080 --> 00:55:01,600
Speaker 2: been super fun. Thank you Totos for listening. We are

1096
00:55:01,600 --> 00:55:04,160
Speaker 2: so glad that you got to listen to our wonderful

1097
00:55:04,239 --> 00:55:06,880
Speaker 2: chat with Jerry, who's super talented and again just been

1098
00:55:06,920 --> 00:55:09,680
Speaker 2: in this business for a really long time and.

1099
00:55:09,719 --> 00:55:12,280
Speaker 3: Learned so much. So thank you, Fan ritos.

1100
00:55:12,320 --> 00:55:15,440
Speaker 2: If you want to find us more on uh Instagram,

1101
00:55:15,440 --> 00:55:17,759
Speaker 2: you can check us out at how Rude podcast, or

1102
00:55:17,760 --> 00:55:20,960
Speaker 2: you can send us an email at how rud Tannerritos.

1103
00:55:20,320 --> 00:55:21,560
Speaker 3: At gmail dot com.

1104
00:55:21,800 --> 00:55:23,960
Speaker 2: Well as always check out our merch site which is

1105
00:55:23,960 --> 00:55:28,720
Speaker 2: how Rude merch dot com. And uh, and that's it.

1106
00:55:28,840 --> 00:55:32,440
Speaker 2: That's it, So you guys, remember the world is small,

1107
00:55:33,600 --> 00:55:37,840
Speaker 2: but the house is full of a gigantic stomach.

1108
00:55:38,320 --> 00:55:38,640
Speaker 3: It is.

1109
00:55:39,200 --> 00:55:44,840
Speaker 2: It's a giant sized stomach just shoved into the kitchen

1110
00:55:45,080 --> 00:55:48,080
Speaker 2: and living room area there and it's yeah, just like

1111
00:55:48,160 --> 00:55:49,600
Speaker 2: a bouncy thing.

1112
00:55:49,719 --> 00:55:52,040
Speaker 3: Yeah, I've gotta look up this episode. I think this

1113
00:55:52,200 --> 00:55:55,600
Speaker 3: just sounds so weird. Yeah, it's full of a stomach. Okay,

1114
00:55:55,800 --> 00:55:56,640
Speaker 3: bye bye