WEBVTT - Some Time With... Jerry Dunn! 0:00:18.400 --> 0:00:21.600 Hey there, Fanarritos, Welcome back to a brand new episode 0:00:21.640 --> 0:00:25.040 of How Rude Tanertos. Today we have a guest who 0:00:25.079 --> 0:00:28.480 made the set of Fuller House come to life. To 0:00:28.520 --> 0:00:31.440 be given the task to recreate the full House house 0:00:31.680 --> 0:00:35.360 is no easy feat, but Jerry Dunn took the opportunity 0:00:35.440 --> 0:00:38.560 and ran with it. I mean, if you remember Rennie 0:00:38.560 --> 0:00:41.839 Dieball's interview from a few weeks ago, the set alone 0:00:41.920 --> 0:00:46.440 got a five minute standing ovation. That's the perfect testament 0:00:46.479 --> 0:00:48.960 to Jerry's work. And we can't wait to talk to 0:00:49.080 --> 0:00:52.760 him today about production design and everything that goes into it. 0:00:53.080 --> 0:00:57.720 So please put your hands together for Jerry Dunn here. 0:00:59.160 --> 0:01:03.160 So welcome Jerry to How Rude Tanrito's. We're so excited 0:01:03.240 --> 0:01:06.800 to have you on the show. You are so wonderful 0:01:06.840 --> 0:01:10.959 and talented and also like just a part of the 0:01:11.000 --> 0:01:12.080 Fuller House family now. 0:01:12.120 --> 0:01:15.000 So yeah, and we're really excited to get to talk 0:01:15.000 --> 0:01:16.160 to you about all this. Yeah. 0:01:16.160 --> 0:01:19.959 We posted a clip on Instagram a couple of weeks 0:01:19.959 --> 0:01:23.520 ago with Rennie Dieball where she was commenting on the 0:01:23.560 --> 0:01:27.880 pilot taping a Fuller House and how the sets got 0:01:27.920 --> 0:01:30.720 the longest applause of any cast member. It was like 0:01:30.760 --> 0:01:34.760 a five minute standing ovation and Jerry's like, I did those. 0:01:34.600 --> 0:01:37.560 Sets, those sets, and I was like, come on the podcast, 0:01:37.640 --> 0:01:38.480 this would be great. 0:01:38.920 --> 0:01:42.960 Yeah, iconic. It was pretty surprising in those sets. 0:01:43.200 --> 0:01:45.520 I mean, can you tell us a little bit about 0:01:45.600 --> 0:01:50.040 how those sets were recreated and made and that it 0:01:50.160 --> 0:01:51.400 was a rather. 0:01:53.240 --> 0:01:56.120 Difficult journey that to say the least. 0:01:56.200 --> 0:01:58.640 Yeah, both know the characters that were in play, right, 0:01:59.240 --> 0:02:04.680 but queen, mister boy yet mister Franklin indeed, yes, so 0:02:04.720 --> 0:02:08.280 I had Jeff Franklin actually gave me my first pilot. 0:02:09.120 --> 0:02:12.120 I did. Really that was my very first job, Jeff, 0:02:12.320 --> 0:02:16.480 which one head over heels. Okay, I got a dating 0:02:16.520 --> 0:02:20.360 service in Miami that Jeff wrote, Oh so I was 0:02:20.400 --> 0:02:23.040 a kid and I got interviewed with a bunch of 0:02:23.120 --> 0:02:26.000 work experienced designers. Jeff gave me my first shot. 0:02:26.200 --> 0:02:31.160 Oh that sounds like Jeff. He is very he's I 0:02:31.240 --> 0:02:32.560 mean we have him on the show all the time 0:02:32.600 --> 0:02:35.000 and talk to him. But yeah, he and also comes 0:02:35.000 --> 0:02:37.280 from the old school of like you give new people 0:02:37.440 --> 0:02:39.360 a chance, and you bring them in and you help 0:02:39.760 --> 0:02:41.680 mold and shape and encourage people. 0:02:42.800 --> 0:02:44.960 So then I knew. So I met Jeff and had 0:02:44.960 --> 0:02:48.079 worked with him, and then I worked with. I met 0:02:48.200 --> 0:02:51.440 Bob up on and Your Management at Charlie Sheen Project, 0:02:52.240 --> 0:02:55.840 right because Bob was doing partners for lions Gate. That 0:02:56.000 --> 0:02:57.839 was one of those deals where they're doing a ten 0:02:58.400 --> 0:02:59.640 for one hundred episodes. 0:03:00.200 --> 0:03:02.720 Yeah, yeah, yes, yes, yeah yeah. 0:03:02.880 --> 0:03:05.160 I was walking. I was on Anger Management one day 0:03:05.280 --> 0:03:07.080 and I get a call from the producer and he said, 0:03:07.080 --> 0:03:09.919 come to the stage right away. Somebody wants to beat you. 0:03:11.000 --> 0:03:13.280 I was like, okay. I thought I was in trouble 0:03:13.280 --> 0:03:16.720 because most of the time you're getting for. 0:03:16.840 --> 0:03:20.480 Something yeah exactly, like oh no, yeah, getting onto the. 0:03:20.440 --> 0:03:21.920 Principal's office, you know what I mean. 0:03:21.960 --> 0:03:27.120 They're like, I go, you know. And I walked on 0:03:27.200 --> 0:03:29.560 the stage and I see this gentleman walking around the 0:03:29.560 --> 0:03:31.840 base of set of Anger Management and it's and I 0:03:31.840 --> 0:03:34.960 had never met him before. It was Bob. And Bob 0:03:35.040 --> 0:03:36.840 said to me, he goes, these are some of the 0:03:36.960 --> 0:03:40.040 nicest sets that I've ever seen, and he said the 0:03:40.480 --> 0:03:43.080 way that you leave camera access and I love your 0:03:43.120 --> 0:03:46.240 work and I love your style. He was so complimentary, 0:03:46.760 --> 0:03:50.040 and he said, so I'd like to come to my show. 0:03:50.560 --> 0:03:52.960 Not an interview, not anything. He just looked at me 0:03:53.040 --> 0:03:56.360 and said, I want you to do this. So that's 0:03:56.400 --> 0:03:59.560 how I connected to Bob. And then when that's incredible, 0:04:00.480 --> 0:04:03.720 I got a call and they said, come to the office, 0:04:03.760 --> 0:04:06.160 come to the Warner Brothers and beat these do. So 0:04:06.160 --> 0:04:07.600 I walk in and I hadn't seen the two of 0:04:07.600 --> 0:04:13.160 them together ever, right, talking about the show, and I'm like, 0:04:13.280 --> 0:04:15.480 is this an interview or what are we doing here, gentlemen? 0:04:15.520 --> 0:04:17.719 You know what's going on? And They're like, this is 0:04:17.720 --> 0:04:19.960 no interview. We're not talking to anybody else. You're just 0:04:20.040 --> 0:04:24.039 doing this. So that's how I got involved in the family. 0:04:24.880 --> 0:04:27.520 That well, that is amazing. 0:04:27.720 --> 0:04:31.280 Speaks to your talent, to your immense talent. Absolutely, Oh 0:04:31.279 --> 0:04:31.719 my goodness. 0:04:31.839 --> 0:04:36.080 Yes, to get grilled, you know, in an interview kind 0:04:36.120 --> 0:04:38.440 of a thing, you know, right, you just went, Okay, 0:04:39.120 --> 0:04:41.320 we like your work, that we enjoy you, and let's go. 0:04:41.600 --> 0:04:45.320 Yeah, the work got to speak for itself, you know, 0:04:46.480 --> 0:04:48.560 You're like, this is what I do, and I do it. Well, 0:04:48.760 --> 0:04:52.160 that's incredible, and also like I love that. You know, 0:04:52.680 --> 0:04:55.480 Bob and Jeff both have given a lot of people 0:04:55.560 --> 0:05:00.560 first opportunities or bigger opportunities, and you know, have really 0:05:01.480 --> 0:05:03.960 done such huge things like that in this business. 0:05:04.000 --> 0:05:05.200 So it's really I. 0:05:05.160 --> 0:05:07.599 Always love hearing it because it's one of the things 0:05:07.640 --> 0:05:09.240 I love about this business too, is like, you know, 0:05:09.279 --> 0:05:13.680 we got to bring up the new generation help people encourage. 0:05:14.800 --> 0:05:17.880 Isn't exactly young or youth at that point, that's for sure. 0:05:18.320 --> 0:05:21.800 Well but still like the not well not with fuller. 0:05:21.520 --> 0:05:25.520 But still like you know, it's uh, it's definitely you know. 0:05:25.600 --> 0:05:28.680 I love when people get recognized for doing good work. 0:05:28.680 --> 0:05:30.560 And it's like, yeah, I want to hear. 0:05:30.960 --> 0:05:34.800 Now the sets were did you build them? 0:05:35.040 --> 0:05:35.800 I know there was. 0:05:35.800 --> 0:05:38.160 An issue with the blueprints. 0:05:38.200 --> 0:05:39.000 Correct. 0:05:39.720 --> 0:05:42.520 So Jeff calls me in and he says, this is 0:05:42.560 --> 0:05:47.280 going the easiest job you ever had, which. 0:05:47.080 --> 0:05:48.000 Is the kiss of. 0:05:47.920 --> 0:05:51.520 Death for anything, particularly in the entertainment business. 0:05:51.600 --> 0:05:53.839 I said, perfect. I said, let's go. I'm in you 0:05:53.880 --> 0:05:57.320 know whatever it is, and he said, Bob sat and 0:05:57.320 --> 0:05:58.800 they both looked at me and they said, well, we 0:05:58.920 --> 0:06:03.560 have the drawings from the original. Well I was over 0:06:03.600 --> 0:06:06.760 the moon, right, I'm going yeah, just turned around and 0:06:06.760 --> 0:06:10.599 we'll just stick way to go. So they rooted around 0:06:10.600 --> 0:06:13.279 at Warner Brothers for a couple of weeks and nobody 0:06:13.279 --> 0:06:17.040 could find them. The art department had closed and they 0:06:17.080 --> 0:06:23.600 got thrown away. So guess what. So Sdaren and I, 0:06:23.640 --> 0:06:28.320 who was my assistant on the show. YEP, we had 0:06:28.360 --> 0:06:32.760 to have watched I don't know, fifty episodes of Full House. 0:06:33.839 --> 0:06:36.000 What we had to do we had a free freeze 0:06:36.040 --> 0:06:42.080 frame every single shot. Go, okay, well there's Andrea at 0:06:42.080 --> 0:06:46.279 the front porch, right, the area on either side of 0:06:46.279 --> 0:06:48.400 the front porch. I literally like. 0:06:48.640 --> 0:06:52.000 You had to reverse engineer everything by like scale of 0:06:52.120 --> 0:06:55.000 people and. 0:06:53.880 --> 0:06:56.160 And the funniest thing is, right as we shoot sitcoms 0:06:56.200 --> 0:07:00.960 like this, right, so there aren't any wide shots. So 0:07:01.400 --> 0:07:03.960 we're going in going okay, well there's the little girl 0:07:04.040 --> 0:07:07.440 crawling down the steps. What's the molding on the baseboard? 0:07:08.080 --> 0:07:08.240 Right? 0:07:08.320 --> 0:07:11.560 Yeah, you're like, the character is irrelevant. I'm looking at 0:07:11.560 --> 0:07:13.640 the at the stairs, I'm looking at the banister. 0:07:14.240 --> 0:07:14.600 Yeah. 0:07:14.760 --> 0:07:16.640 I had to go and I had to start kind 0:07:16.680 --> 0:07:22.040 of scaling it out from my head, going out three feet. 0:07:22.120 --> 0:07:24.920 I think that's a foot and a half that looks 0:07:24.960 --> 0:07:27.240 like this. I mean, it took us a long long 0:07:27.280 --> 0:07:30.760 time to put that show back together because we didn't 0:07:30.800 --> 0:07:32.840 you know, because we didn't know, we didn't know the 0:07:32.880 --> 0:07:36.760 show anything about it. So it was quite the cure. 0:07:36.880 --> 0:07:38.920 And you're doing with something that was done a long 0:07:39.000 --> 0:07:42.800 time ago. What I found out was that the stage 0:07:42.840 --> 0:07:46.600 that you had in Culver City at Sony was bigger 0:07:46.640 --> 0:07:48.560 than the Warner Brothers. 0:07:49.640 --> 0:07:53.960 Yeah, Sony stages were huge, right, And Jeff's. 0:07:53.600 --> 0:07:55.480 Going, oh, I got all this room blah blah blah, 0:07:55.520 --> 0:07:58.800 And I'm like, well, no, you kind of don't. Yeah, 0:07:58.840 --> 0:08:03.920 So like having to like I can't remember, you know, 0:08:03.920 --> 0:08:06.880 I kind of have to hack out feed of sets, right, 0:08:06.920 --> 0:08:09.000 I had to go. I got to make them smaller, 0:08:09.080 --> 0:08:12.600 I got to make them fit. And so Jeff, being 0:08:12.720 --> 0:08:16.520 the diehard that he is about your show, right about 0:08:16.520 --> 0:08:19.520 the show itself, nothing was ever right, you know. 0:08:19.600 --> 0:08:23.680 I was that's yeah, that sounds that's Jeff. We love Jeff, 0:08:23.720 --> 0:08:26.000 but that's and that's yeah, that's ridiculous. 0:08:26.080 --> 0:08:28.720 Yeah, And so he kind of so I'd say, well, 0:08:28.760 --> 0:08:31.280 can we can we cheat this? Can we make this adjustment? 0:08:31.320 --> 0:08:33.280 And then we would try to meet it, and then 0:08:33.280 --> 0:08:35.800 he wasn't happy because we couldn't. You know, I cheated it, 0:08:35.840 --> 0:08:37.680 but he didn't like it being cheated. He wanted the 0:08:37.720 --> 0:08:40.520 real way, right. And part of the problem was that 0:08:40.600 --> 0:08:43.439 Warner Brothers is that they had you know, you guys 0:08:43.440 --> 0:08:46.640 were a massive success, right, so that all of a sudden, 0:08:46.679 --> 0:08:49.160 We're on a show on Netflix and it's a whole 0:08:49.200 --> 0:08:51.000 new deal, right right. 0:08:50.960 --> 0:08:53.040 It is, Yeah, we talk about that all the time. 0:08:53.080 --> 0:08:57.360 It is not the glory days of network television, of. 0:08:57.360 --> 0:09:04.360 These virgin When I went to meet Steve Sandibal, remember 0:09:04.360 --> 0:09:06.840 who was a line producer in the beginning, Yes, yeah, yeah, 0:09:07.080 --> 0:09:09.760 season he has to be and he goes, I can't 0:09:09.800 --> 0:09:13.240 remember the number, ladies, it was like three hundred and 0:09:13.240 --> 0:09:17.040 fifty thousand dollars budget. I had been doing this for 0:09:17.080 --> 0:09:19.679 a long time and I looked at him and I thought, 0:09:20.920 --> 0:09:21.960 there's no way in hell. 0:09:22.520 --> 0:09:24.800 I was like, that isn't that's for a building of 0:09:24.840 --> 0:09:27.160 an entire So that is it? That is nothing. 0:09:27.360 --> 0:09:29.160 I said, I go, well, it's the front port, and 0:09:29.320 --> 0:09:32.400 it's the living room, and it's the kitchen in the backyard. Right. 0:09:32.440 --> 0:09:35.600 It was like it was like the pilot that fought 0:09:35.760 --> 0:09:36.240 on and on. 0:09:36.840 --> 0:09:39.040 Right, the bedrooms you got to have the you know, 0:09:39.320 --> 0:09:39.960 be out of. 0:09:40.000 --> 0:09:42.719 The attic, and then we wanted the basement and Jeff. 0:09:42.480 --> 0:09:46.320 Wright because they're all so well known, you know, the 0:09:46.360 --> 0:09:47.760 audience is like, we have. 0:09:47.640 --> 0:09:51.160 To see it exactly. And so I think I came 0:09:51.160 --> 0:09:55.520 in at around nine hundred thousand when we finished three 0:09:55.640 --> 0:09:58.120 fifty at Warner Brothers. Budget kind of got blown out 0:09:58.160 --> 0:10:00.960 of the water and I kept getting yelled at. I'm like, 0:10:01.200 --> 0:10:03.120 I didn't do this, you know what I mean. I 0:10:03.320 --> 0:10:06.640 was creating this thing to get it back on stage. 0:10:06.920 --> 0:10:11.360 Right, So you're like, this is the original person's fault, whoever. 0:10:12.360 --> 0:10:14.839 You can't you know, I said, you can't. You can't 0:10:14.880 --> 0:10:16.800 cheat it. You know, you can't try it. And we 0:10:16.840 --> 0:10:19.720 would try to cheat it to make it cheaper, and 0:10:19.720 --> 0:10:22.560 then Jeff would come in and yell at me. I'd 0:10:22.640 --> 0:10:26.800 look at Steve and go, it's not my fault, right, talk. 0:10:26.720 --> 0:10:28.720 To the budget guy, right, yeah exactly. 0:10:28.840 --> 0:10:30.640 That was a bit of a go around and go 0:10:30.720 --> 0:10:31.360 around with them. 0:10:31.559 --> 0:10:34.400 Oh well, of course, the create creative versus the money 0:10:34.520 --> 0:10:37.440 is always the always the sticking point. 0:10:37.320 --> 0:10:38.920 Right, yeah exactly. 0:10:39.000 --> 0:10:41.280 I mean when we came and walked on set the 0:10:41.280 --> 0:10:46.280 first time, it wasn't like one hundred percent done, but 0:10:46.360 --> 0:10:49.520 it was pretty pretty well fleshed out. I mean, all 0:10:49.559 --> 0:10:51.520 the walls, paintper is done. It was just I think 0:10:51.559 --> 0:10:56.199 the interior stuff that wasn't finished yet, like the decorum whatever. 0:10:56.240 --> 0:11:00.120 But we walked over there after the first take. 0:11:00.080 --> 0:11:05.920 Will Read, which was in itself, like it just blew 0:11:05.960 --> 0:11:06.679 our minds. 0:11:06.400 --> 0:11:06.840 You know what I mean. 0:11:06.840 --> 0:11:09.400 It was like we're okay, we're doing this again. And 0:11:09.440 --> 0:11:12.960 then we all walked over from there through the lot 0:11:13.120 --> 0:11:15.280 like we all used to, you know, walk through the 0:11:15.320 --> 0:11:19.199 lot to the same stage that we were on when. 0:11:19.040 --> 0:11:21.720 We left, and. 0:11:23.480 --> 0:11:26.600 We like walked in and it was we all. 0:11:26.480 --> 0:11:31.320 Started to cry, very emotional. Yeah, it was. 0:11:31.400 --> 0:11:33.560 We all were like, oh my god, we just walked 0:11:33.600 --> 0:11:38.240 back thirty years to a place that we never thought 0:11:38.320 --> 0:11:42.199 we'd get to see again in yeah, in person and 0:11:42.320 --> 0:11:44.480 touch it and be in it. 0:11:44.679 --> 0:11:46.240 You know, it was our childhood. 0:11:46.320 --> 0:11:49.559 We grew up there on that stage. That was You're 0:11:49.600 --> 0:11:52.280 done good, Jerry. Yes, spectacular. 0:11:53.679 --> 0:11:56.120 It was fun. It was great challenge to do. 0:11:56.600 --> 0:12:01.240 And I and I still have I have uh you're 0:12:01.480 --> 0:12:03.760 the model on my shelf. 0:12:03.800 --> 0:12:05.280 Oh yeah, you gave me. 0:12:05.200 --> 0:12:10.360 The room of Steph and DJ. Well yeah, Stephan, DJ's 0:12:10.400 --> 0:12:12.480 room and uh Jesse's room. 0:12:12.520 --> 0:12:13.880 I mean, if we're talking. 0:12:13.640 --> 0:12:17.280 Like original full house, the upstairs hallway and stuff. Yeah, 0:12:17.320 --> 0:12:20.199 I have it up here on my on my shelf. 0:12:20.440 --> 0:12:23.000 In your little museum, yeah, I do. 0:12:23.200 --> 0:12:27.120 My little museum. Yeah, I have that up there. And 0:12:27.200 --> 0:12:29.760 I will say I the I had what did I 0:12:29.800 --> 0:12:31.480 have the bigger I think I had the bigger one too, 0:12:31.559 --> 0:12:33.120 or I had something else the kitchen. 0:12:33.240 --> 0:12:34.640 Maybe I think I had the. 0:12:34.640 --> 0:12:39.840 Kitchen, but I I auctioned that one off for a 0:12:39.920 --> 0:12:42.920 lot of money for a very a very good cost. 0:12:43.040 --> 0:12:47.839 So yes it did. And I but I definitely I 0:12:47.880 --> 0:12:49.719 was like, I got to keep the. 0:12:49.720 --> 0:12:52.679 Room and I kept the attic, the attic which was 0:12:52.760 --> 0:12:56.040 Kimmy's room in Fuller. So I have I have that 0:12:56.120 --> 0:12:59.360 little special piece of the Fuller House history. 0:12:59.520 --> 0:13:04.680 Yeah, biggest house in the world, Well, the. 0:13:04.559 --> 0:13:11.480 Biggest uh shape shifting Uh. I think somebody we've talked 0:13:11.480 --> 0:13:14.680 about it before. Somebody did an actual rendering, like of 0:13:14.760 --> 0:13:17.320 what the house would have to look like on the 0:13:17.360 --> 0:13:19.240 outside in order to accommodate it. 0:13:19.240 --> 0:13:22.280 And it was like it was like, oh. 0:13:22.000 --> 0:13:26.080 That looks like something a toddler built in roadblocks, Like, oh. 0:13:26.000 --> 0:13:27.560 It was funny when he bought them. Every when he 0:13:27.559 --> 0:13:30.920 bought the house in San Francisco, he bought the location house. Yeah, 0:13:31.400 --> 0:13:34.000 so I took the I helped him a bit with 0:13:34.040 --> 0:13:37.720 that project, and so I brought the I brought a 0:13:37.800 --> 0:13:40.920 drawing of the setup and I looked at the real. 0:13:40.679 --> 0:13:43.400 House and you were like, wait, no. 0:13:43.520 --> 0:13:45.839 Something doesn't work here at all. Right, Yo. 0:13:46.000 --> 0:13:51.520 The bedrooms were upstairs, they're like closets, they're so like 0:13:51.600 --> 0:13:52.720 you a no joke. 0:13:53.840 --> 0:13:54.600 What would have. 0:13:54.679 --> 0:13:58.040 Been I think stephan DJ's room like kind of in 0:13:58.120 --> 0:14:01.520 the front there, like you could fit it like a 0:14:01.559 --> 0:14:04.679 full sized bed maybe and have a little bit of 0:14:04.720 --> 0:14:06.960 room to walk around it. The one room in the 0:14:07.000 --> 0:14:10.080 middle was like you could fit a twin up against 0:14:10.080 --> 0:14:12.600 the wall and like you could hang some clothes right here, 0:14:12.600 --> 0:14:16.000 and that was it. That was going to be the Yeah, yeah, 0:14:16.040 --> 0:14:18.400 the nursery would I mean it was. It was so 0:14:19.200 --> 0:14:21.760 crazy to be in there and be like, wow, did 0:14:21.800 --> 0:14:24.640 we make up an entire house? 0:14:26.280 --> 0:14:28.280 And then at one point we were going to I 0:14:28.320 --> 0:14:31.880 remember in San Francisco, you know the wall between the 0:14:32.000 --> 0:14:36.160 staircase and the living room, right, We're trying to figure 0:14:36.160 --> 0:14:40.040 out how to re appropriate that space at San Francisco 0:14:40.120 --> 0:14:42.720 right to be the real set, right, And all of 0:14:42.760 --> 0:14:44.480 a sudden it was like, well we want to take 0:14:44.520 --> 0:14:48.520 this wall down. Well, all of a sudden, the San Francisco. 0:14:48.120 --> 0:14:50.640 House, I was like, good luck with that house. 0:14:51.400 --> 0:14:54.680 To take a wall down and rebuild and. 0:14:54.640 --> 0:14:57.160 The historical stuff you've got it to stick to it. Yeah, 0:14:57.200 --> 0:14:58.760 it's a lot forget about it. 0:14:58.840 --> 0:15:02.280 Yeah, but we had We had great fun. It was 0:15:02.400 --> 0:15:06.200 nice to work with Bob and Jeff together. Yeah, great fun, 0:15:06.280 --> 0:15:08.560 you know in the beginning when we're doing stuff, And yeah, 0:15:08.560 --> 0:15:10.120 it was interesting. It was a fun project. 0:15:11.800 --> 0:15:13.920 Take us through how you create a set, like do 0:15:14.000 --> 0:15:16.120 you start with the three D design? 0:15:16.520 --> 0:15:18.840 Do you sketch things with your hand? Like what's the 0:15:19.000 --> 0:15:22.120 order in how you come up with a design set? 0:15:22.240 --> 0:15:24.800 Like something that's new? Right? Your show was unique, right 0:15:24.800 --> 0:15:27.320 because it was a copy. But when I write stuff 0:15:27.320 --> 0:15:30.440 from scratch, usually what I'll do is I'll read the 0:15:30.520 --> 0:15:35.400 script maybe once, maybe twice, but try not to read 0:15:35.440 --> 0:15:38.440 it too much in the beginning, and then I just 0:15:38.480 --> 0:15:40.200 sort of I work in's. You know, I'm an old 0:15:40.200 --> 0:15:41.960 school designer, so I work in pencil. 0:15:43.960 --> 0:15:45.840 We talk about all the time we are we are 0:15:46.240 --> 0:15:48.400 finding out just how old we are with our love 0:15:48.440 --> 0:15:50.960 of paper and pens and actually writing things down. 0:15:51.520 --> 0:15:54.640 Yes, so it's a different experience. And like you guys 0:15:54.680 --> 0:15:57.080 have models. You know a lot of people now do 0:15:57.200 --> 0:16:00.960 work in computers. Right, I love them, the models, right, 0:16:01.120 --> 0:16:03.000 is it? And I found that this to be true. 0:16:03.120 --> 0:16:06.480 Is people love to hold them. Right, If I come 0:16:06.520 --> 0:16:08.800 to see you as a writer or a producer, and 0:16:08.840 --> 0:16:10.880 I give you this thing in your hands, and oh 0:16:11.360 --> 0:16:14.360 it's right. Instead of looking at images on a computer, 0:16:14.520 --> 0:16:16.840 you can actually kind of like right around the house 0:16:16.880 --> 0:16:17.520 and check it out. 0:16:17.520 --> 0:16:19.920 And why not you feel kind of like the master 0:16:20.040 --> 0:16:21.080 of the universe. 0:16:21.760 --> 0:16:22.600 You know what I mean of that? 0:16:22.680 --> 0:16:26.080 You're like, oh I can, I can, I like see 0:16:26.120 --> 0:16:29.840 everything of it and it feels significant, It feels like 0:16:29.920 --> 0:16:30.840 tangible stuff. 0:16:30.880 --> 0:16:33.080 I always say, like, is has an impact? 0:16:33.240 --> 0:16:37.000 Exactly? Yeah, exactly? And I do. And I probably do 0:16:37.920 --> 0:16:40.680 a lot more work than a lot of designers as 0:16:40.720 --> 0:16:43.600 far as what the director wants. Like a lot of 0:16:43.640 --> 0:16:46.400 people just design sets and then give it to a 0:16:46.440 --> 0:16:49.280 director and say here, this is what I designed. What 0:16:49.360 --> 0:16:51.200 I need to turn around to do is think more 0:16:51.240 --> 0:16:53.680 like a director. You're probably than a designer in a 0:16:53.680 --> 0:16:55.880 lot of ways. And I will turn around and I 0:16:55.880 --> 0:16:56.800 will go to cameras. 0:16:56.960 --> 0:16:57.120 Right. 0:16:57.200 --> 0:17:02.360 I've been doing yeah, multi cameras since nine two, notting 0:17:02.440 --> 0:17:04.600 my own stuff. And I worked in my first sitcom 0:17:04.640 --> 0:17:05.640 in nineteen eighty. 0:17:05.440 --> 0:17:07.080 Five and what was that? What's sitcom? 0:17:07.200 --> 0:17:10.600 Oh? I did him? It was actually a recreation. I 0:17:10.640 --> 0:17:16.760 did What's happening now? Oh yeah, Oh yeah, so Warner Brothers. 0:17:16.800 --> 0:17:19.080 I worked for David sacker Off, who was a designer 0:17:19.080 --> 0:17:23.520 at the time, and they wanted to do What's Happening Now? 0:17:24.280 --> 0:17:28.080 And it was for Cable, right it was done, which. 0:17:27.920 --> 0:17:31.760 Was like a new thing. Yeah right, it's like then 0:17:31.880 --> 0:17:33.400 more channels. 0:17:32.960 --> 0:17:36.119 Right, it was cheap. It was for Warner Brothers. We 0:17:36.160 --> 0:17:38.639 did it up in Glendale, and so we had to 0:17:38.640 --> 0:17:42.119 recreate Roger and I can't even remember the character rerun 0:17:42.160 --> 0:17:46.000 and rog yeah, yeah, yeah. That was my first what 0:17:46.320 --> 0:17:50.760 that's where I met Mark Sandrowski. Oh yeah, it was 0:17:50.760 --> 0:17:55.000 the first, Adie, No, maybe it was the second. 0:17:56.240 --> 0:17:58.080 I think it was the second because he was second 0:17:58.119 --> 0:18:00.720 on ours Jump to First. 0:18:00.800 --> 0:18:04.159 Yet Julie Mihan was the first and Mark was his second. 0:18:04.440 --> 0:18:06.879 That was an eighty five up in Glendale where you 0:18:06.920 --> 0:18:07.280 shot that. 0:18:08.119 --> 0:18:09.840 Wow, so that's amazing. 0:18:09.840 --> 0:18:10.080 Wow. 0:18:10.080 --> 0:18:12.520 It was my first sitcom. But then my first design 0:18:12.680 --> 0:18:15.360 job was you know where I was the boss right 0:18:15.359 --> 0:18:17.920 as the production designer was head over heels for job. 0:18:18.640 --> 0:18:21.720 Okay, yeah, so cool, Yeah, but. 0:18:21.760 --> 0:18:24.440 I am you know, it's I came out of the theater. 0:18:24.680 --> 0:18:27.360 So the great thing about sitcoms is it really gives 0:18:27.359 --> 0:18:28.240 you that same. 0:18:28.080 --> 0:18:31.360 Kind of feeling you have the proscenium that you're always 0:18:31.400 --> 0:18:35.479 working with. There's always a downstage and an upstage that 0:18:35.600 --> 0:18:36.359 stays the same. 0:18:36.560 --> 0:18:36.760 You know. 0:18:37.119 --> 0:18:39.400 Nice, you know. I mean I must say it's really 0:18:39.560 --> 0:18:43.520 was enjoyable because of the live audience, right, I mean. 0:18:43.359 --> 0:18:44.760 That's it's the best part. 0:18:45.040 --> 0:18:48.560 You know, where people Friday nights it becomes an event, yeah, 0:18:48.880 --> 0:18:51.080 together right into a show and that kind of. 0:18:51.000 --> 0:18:54.679 Yeah, show night is an amazing chaos that you're like, 0:18:54.840 --> 0:18:56.800 it's just you're alive. 0:18:57.560 --> 0:19:00.199 And I like it. I like the pace a bit 0:19:01.400 --> 0:19:04.400 because you have to work so quickly and yeah. 0:19:04.600 --> 0:19:06.760 Yeah, yeah, it's not a single cam like and now 0:19:06.760 --> 0:19:09.800 we're going to shoot it from this angle with this lens. Okay, 0:19:09.840 --> 0:19:12.840 I want to do this same angle with three more lenses. 0:19:13.359 --> 0:19:14.960 I don't know, right. 0:19:14.840 --> 0:19:16.440 I don't have to get into any of that kind 0:19:16.440 --> 0:19:19.840 of stuff, right, So it's nice interesting that way, and 0:19:19.880 --> 0:19:22.560 it's nice to see the audience responses, you know, and 0:19:22.640 --> 0:19:25.000 you really do sets, you know. The one thing that 0:19:25.040 --> 0:19:28.159 I like about that I credit myself. I guess a 0:19:28.160 --> 0:19:32.159 lot about my work is how real the stuff looks like. 0:19:32.240 --> 0:19:35.040 It looks like I try to do feature quality. I 0:19:35.080 --> 0:19:38.280 don't think of myself doing sitcoms. I think of myself 0:19:38.359 --> 0:19:43.080 being a feature designer doing sets and then sitcom because 0:19:43.080 --> 0:19:45.120 for a long time, right sitcoms were kind of like. 0:19:45.080 --> 0:19:49.680 The right right, it looked like you were shooting inside 0:19:49.720 --> 0:19:52.600 a cardboard box with somebody holding a flashlight over you know, 0:19:52.760 --> 0:19:53.280 it was like. 0:19:54.160 --> 0:19:56.960 Well, who lives here and what's going on? Work? I 0:19:57.040 --> 0:19:58.680 really make it a habit of getting to know the 0:19:58.800 --> 0:20:02.359 characters really well and then flush that out, like when 0:20:02.440 --> 0:20:07.920 I did Anger Management. We did that was Charlie's first comeback, 0:20:08.840 --> 0:20:10.800 right after two and a half Men, So this was 0:20:10.880 --> 0:20:14.119 like a big, big deal with Charlie went back to television. 0:20:15.040 --> 0:20:17.280 The first day we did the reading like you guys 0:20:17.320 --> 0:20:20.720 did the first read on Fuller, Right, I walked on 0:20:20.880 --> 0:20:23.760 set and Anger Manage. We did it without an audience. 0:20:23.800 --> 0:20:25.359 We did it up in the studio, up in the 0:20:25.840 --> 0:20:30.120