Speaker 1: Hey there, Fanarritos, Welcome back to a brand new episode
Speaker 1: of How Rude Tanertos. Today we have a guest who
Speaker 1: made the set of Fuller House come to life. To
Speaker 1: be given the task to recreate the full House house
Speaker 1: is no easy feat, but Jerry Dunn took the opportunity
Speaker 1: and ran with it. I mean, if you remember Rennie
Speaker 1: Dieball's interview from a few weeks ago, the set alone
Speaker 1: got a five minute standing ovation. That's the perfect testament
Speaker 1: to Jerry's work. And we can't wait to talk to
Speaker 1: him today about production design and everything that goes into it.
Speaker 1: So please put your hands together for Jerry Dunn here.
Speaker 2: So welcome Jerry to How Rude Tanrito's. We're so excited
Speaker 2: to have you on the show. You are so wonderful
Speaker 2: and talented and also like just a part of the
Speaker 2: Fuller House family now.
Speaker 3: So yeah, and we're really excited to get to talk
Speaker 3: to you about all this. Yeah.
Speaker 1: We posted a clip on Instagram a couple of weeks
Speaker 1: ago with Rennie Dieball where she was commenting on the
Speaker 1: pilot taping a Fuller House and how the sets got
Speaker 1: the longest applause of any cast member. It was like
Speaker 1: a five minute standing ovation and Jerry's like, I did those.
Speaker 3: Sets, those sets, and I was like, come on the podcast,
Speaker 3: this would be great.
Speaker 4: Yeah, iconic. It was pretty surprising in those sets.
Speaker 2: I mean, can you tell us a little bit about
Speaker 2: how those sets were recreated and made and that it
Speaker 2: was a rather.
Speaker 3: Difficult journey that to say the least.
Speaker 4: Yeah, both know the characters that were in play, right,
Speaker 4: but queen, mister boy yet mister Franklin indeed, yes, so
Speaker 4: I had Jeff Franklin actually gave me my first pilot.
Speaker 4: I did. Really that was my very first job, Jeff,
Speaker 4: which one head over heels. Okay, I got a dating
Speaker 4: service in Miami that Jeff wrote, Oh so I was
Speaker 4: a kid and I got interviewed with a bunch of
Speaker 4: work experienced designers. Jeff gave me my first shot.
Speaker 2: Oh that sounds like Jeff. He is very he's I
Speaker 2: mean we have him on the show all the time
Speaker 2: and talk to him. But yeah, he and also comes
Speaker 2: from the old school of like you give new people
Speaker 2: a chance, and you bring them in and you help
Speaker 2: mold and shape and encourage people.
Speaker 4: So then I knew. So I met Jeff and had
Speaker 4: worked with him, and then I worked with. I met
Speaker 4: Bob up on and Your Management at Charlie Sheen Project,
Speaker 4: right because Bob was doing partners for lions Gate. That
Speaker 4: was one of those deals where they're doing a ten
Speaker 4: for one hundred episodes.
Speaker 3: Yeah, yeah, yes, yes, yeah yeah.
Speaker 4: I was walking. I was on Anger Management one day
Speaker 4: and I get a call from the producer and he said,
Speaker 4: come to the stage right away. Somebody wants to beat you.
Speaker 4: I was like, okay. I thought I was in trouble
Speaker 4: because most of the time you're getting for.
Speaker 2: Something yeah exactly, like oh no, yeah, getting onto the.
Speaker 3: Principal's office, you know what I mean.
Speaker 4: They're like, I go, you know. And I walked on
Speaker 4: the stage and I see this gentleman walking around the
Speaker 4: base of set of Anger Management and it's and I
Speaker 4: had never met him before. It was Bob. And Bob
Speaker 4: said to me, he goes, these are some of the
Speaker 4: nicest sets that I've ever seen, and he said the
Speaker 4: way that you leave camera access and I love your
Speaker 4: work and I love your style. He was so complimentary,
Speaker 4: and he said, so I'd like to come to my show.
Speaker 4: Not an interview, not anything. He just looked at me
Speaker 4: and said, I want you to do this. So that's
Speaker 4: how I connected to Bob. And then when that's incredible,
Speaker 4: I got a call and they said, come to the office,
Speaker 4: come to the Warner Brothers and beat these do. So
Speaker 4: I walk in and I hadn't seen the two of
Speaker 4: them together ever, right, talking about the show, and I'm like,
Speaker 4: is this an interview or what are we doing here, gentlemen?
Speaker 4: You know what's going on? And They're like, this is
Speaker 4: no interview. We're not talking to anybody else. You're just
Speaker 4: doing this. So that's how I got involved in the family.
Speaker 3: That well, that is amazing.
Speaker 1: Speaks to your talent, to your immense talent. Absolutely, Oh
Speaker 1: my goodness.
Speaker 4: Yes, to get grilled, you know, in an interview kind
Speaker 4: of a thing, you know, right, you just went, Okay,
Speaker 4: we like your work, that we enjoy you, and let's go.
Speaker 2: Yeah, the work got to speak for itself, you know,
Speaker 2: You're like, this is what I do, and I do it. Well,
Speaker 2: that's incredible, and also like I love that. You know,
Speaker 2: Bob and Jeff both have given a lot of people
Speaker 2: first opportunities or bigger opportunities, and you know, have really
Speaker 2: done such huge things like that in this business.
Speaker 3: So it's really I.
Speaker 2: Always love hearing it because it's one of the things
Speaker 2: I love about this business too, is like, you know,
Speaker 2: we got to bring up the new generation help people encourage.
Speaker 4: Isn't exactly young or youth at that point, that's for sure.
Speaker 3: Well but still like the not well not with fuller.
Speaker 2: But still like you know, it's uh, it's definitely you know.
Speaker 2: I love when people get recognized for doing good work.
Speaker 3: And it's like, yeah, I want to hear.
Speaker 2: Now the sets were did you build them?
Speaker 3: I know there was.
Speaker 2: An issue with the blueprints.
Speaker 3: Correct.
Speaker 4: So Jeff calls me in and he says, this is
Speaker 4: going the easiest job you ever had, which.
Speaker 3: Is the kiss of.
Speaker 2: Death for anything, particularly in the entertainment business.
Speaker 4: I said, perfect. I said, let's go. I'm in you
Speaker 4: know whatever it is, and he said, Bob sat and
Speaker 4: they both looked at me and they said, well, we
Speaker 4: have the drawings from the original. Well I was over
Speaker 4: the moon, right, I'm going yeah, just turned around and
Speaker 4: we'll just stick way to go. So they rooted around
Speaker 4: at Warner Brothers for a couple of weeks and nobody
Speaker 4: could find them. The art department had closed and they
Speaker 4: got thrown away. So guess what. So Sdaren and I,
Speaker 4: who was my assistant on the show. YEP, we had
Speaker 4: to have watched I don't know, fifty episodes of Full House.
Speaker 4: What we had to do we had a free freeze
Speaker 4: frame every single shot. Go, okay, well there's Andrea at
Speaker 4: the front porch, right, the area on either side of
Speaker 4: the front porch. I literally like.
Speaker 2: You had to reverse engineer everything by like scale of
Speaker 2: people and.
Speaker 4: And the funniest thing is, right as we shoot sitcoms
Speaker 4: like this, right, so there aren't any wide shots. So
Speaker 4: we're going in going okay, well there's the little girl
Speaker 4: crawling down the steps. What's the molding on the baseboard?
Speaker 1: Right?
Speaker 2: Yeah, you're like, the character is irrelevant. I'm looking at
Speaker 2: the at the stairs, I'm looking at the banister.
Speaker 3: Yeah.
Speaker 4: I had to go and I had to start kind
Speaker 4: of scaling it out from my head, going out three feet.
Speaker 4: I think that's a foot and a half that looks
Speaker 4: like this. I mean, it took us a long long
Speaker 4: time to put that show back together because we didn't
Speaker 4: you know, because we didn't know, we didn't know the
Speaker 4: show anything about it. So it was quite the cure.
Speaker 4: And you're doing with something that was done a long
Speaker 4: time ago. What I found out was that the stage
Speaker 4: that you had in Culver City at Sony was bigger
Speaker 4: than the Warner Brothers.
Speaker 3: Yeah, Sony stages were huge, right, And Jeff's.
Speaker 4: Going, oh, I got all this room blah blah blah,
Speaker 4: And I'm like, well, no, you kind of don't. Yeah,
Speaker 4: So like having to like I can't remember, you know,
Speaker 4: I kind of have to hack out feed of sets, right,
Speaker 4: I had to go. I got to make them smaller,
Speaker 4: I got to make them fit. And so Jeff, being
Speaker 4: the diehard that he is about your show, right about
Speaker 4: the show itself, nothing was ever right, you know.
Speaker 2: I was that's yeah, that sounds that's Jeff. We love Jeff,
Speaker 2: but that's and that's yeah, that's ridiculous.
Speaker 4: Yeah, And so he kind of so I'd say, well,
Speaker 4: can we can we cheat this? Can we make this adjustment?
Speaker 4: And then we would try to meet it, and then
Speaker 4: he wasn't happy because we couldn't. You know, I cheated it,
Speaker 4: but he didn't like it being cheated. He wanted the
Speaker 4: real way, right. And part of the problem was that
Speaker 4: Warner Brothers is that they had you know, you guys
Speaker 4: were a massive success, right, so that all of a sudden,
Speaker 4: We're on a show on Netflix and it's a whole
Speaker 4: new deal, right right.
Speaker 3: It is, Yeah, we talk about that all the time.
Speaker 2: It is not the glory days of network television, of.
Speaker 4: These virgin When I went to meet Steve Sandibal, remember
Speaker 4: who was a line producer in the beginning, Yes, yeah, yeah,
Speaker 4: season he has to be and he goes, I can't
Speaker 4: remember the number, ladies, it was like three hundred and
Speaker 4: fifty thousand dollars budget. I had been doing this for
Speaker 4: a long time and I looked at him and I thought,
Speaker 4: there's no way in hell.
Speaker 3: I was like, that isn't that's for a building of
Speaker 3: an entire So that is it? That is nothing.
Speaker 4: I said, I go, well, it's the front port, and
Speaker 4: it's the living room, and it's the kitchen in the backyard. Right.
Speaker 4: It was like it was like the pilot that fought
Speaker 4: on and on.
Speaker 3: Right, the bedrooms you got to have the you know,
Speaker 3: be out of.
Speaker 4: The attic, and then we wanted the basement and Jeff.
Speaker 2: Wright because they're all so well known, you know, the
Speaker 2: audience is like, we have.
Speaker 4: To see it exactly. And so I think I came
Speaker 4: in at around nine hundred thousand when we finished three
Speaker 4: fifty at Warner Brothers. Budget kind of got blown out
Speaker 4: of the water and I kept getting yelled at. I'm like,
Speaker 4: I didn't do this, you know what I mean. I
Speaker 4: was creating this thing to get it back on stage.
Speaker 2: Right, So you're like, this is the original person's fault, whoever.
Speaker 4: You can't you know, I said, you can't. You can't
Speaker 4: cheat it. You know, you can't try it. And we
Speaker 4: would try to cheat it to make it cheaper, and
Speaker 4: then Jeff would come in and yell at me. I'd
Speaker 4: look at Steve and go, it's not my fault, right, talk.
Speaker 3: To the budget guy, right, yeah exactly.
Speaker 4: That was a bit of a go around and go
Speaker 4: around with them.
Speaker 2: Oh well, of course, the create creative versus the money
Speaker 2: is always the always the sticking point.
Speaker 4: Right, yeah exactly.
Speaker 2: I mean when we came and walked on set the
Speaker 2: first time, it wasn't like one hundred percent done, but
Speaker 2: it was pretty pretty well fleshed out. I mean, all
Speaker 2: the walls, paintper is done. It was just I think
Speaker 2: the interior stuff that wasn't finished yet, like the decorum whatever.
Speaker 3: But we walked over there after the first take.
Speaker 2: Will Read, which was in itself, like it just blew
Speaker 2: our minds.
Speaker 4: You know what I mean.
Speaker 2: It was like we're okay, we're doing this again. And
Speaker 2: then we all walked over from there through the lot
Speaker 2: like we all used to, you know, walk through the
Speaker 2: lot to the same stage that we were on when.
Speaker 3: We left, and.
Speaker 2: We like walked in and it was we all.
Speaker 3: Started to cry, very emotional. Yeah, it was.
Speaker 2: We all were like, oh my god, we just walked
Speaker 2: back thirty years to a place that we never thought
Speaker 2: we'd get to see again in yeah, in person and
Speaker 2: touch it and be in it.
Speaker 3: You know, it was our childhood.
Speaker 1: We grew up there on that stage. That was You're
Speaker 1: done good, Jerry. Yes, spectacular.
Speaker 4: It was fun. It was great challenge to do.
Speaker 2: And I and I still have I have uh you're
Speaker 2: the model on my shelf.
Speaker 3: Oh yeah, you gave me.
Speaker 2: The room of Steph and DJ. Well yeah, Stephan, DJ's
Speaker 2: room and uh Jesse's room.
Speaker 3: I mean, if we're talking.
Speaker 2: Like original full house, the upstairs hallway and stuff. Yeah,
Speaker 2: I have it up here on my on my shelf.
Speaker 4: In your little museum, yeah, I do.
Speaker 2: My little museum. Yeah, I have that up there. And
Speaker 2: I will say I the I had what did I
Speaker 2: have the bigger I think I had the bigger one too,
Speaker 2: or I had something else the kitchen.
Speaker 3: Maybe I think I had the.
Speaker 2: Kitchen, but I I auctioned that one off for a
Speaker 2: lot of money for a very a very good cost.
Speaker 2: So yes it did. And I but I definitely I
Speaker 2: was like, I got to keep the.
Speaker 1: Room and I kept the attic, the attic which was
Speaker 1: Kimmy's room in Fuller. So I have I have that
Speaker 1: little special piece of the Fuller House history.
Speaker 4: Yeah, biggest house in the world, Well, the.
Speaker 2: Biggest uh shape shifting Uh. I think somebody we've talked
Speaker 2: about it before. Somebody did an actual rendering, like of
Speaker 2: what the house would have to look like on the
Speaker 2: outside in order to accommodate it.
Speaker 3: And it was like it was like, oh.
Speaker 2: That looks like something a toddler built in roadblocks, Like, oh.
Speaker 4: It was funny when he bought them. Every when he
Speaker 4: bought the house in San Francisco, he bought the location house. Yeah,
Speaker 4: so I took the I helped him a bit with
Speaker 4: that project, and so I brought the I brought a
Speaker 4: drawing of the setup and I looked at the real.
Speaker 3: House and you were like, wait, no.
Speaker 4: Something doesn't work here at all. Right, Yo.
Speaker 2: The bedrooms were upstairs, they're like closets, they're so like
Speaker 2: you a no joke.
Speaker 3: What would have.
Speaker 2: Been I think stephan DJ's room like kind of in
Speaker 2: the front there, like you could fit it like a
Speaker 2: full sized bed maybe and have a little bit of
Speaker 2: room to walk around it. The one room in the
Speaker 2: middle was like you could fit a twin up against
Speaker 2: the wall and like you could hang some clothes right here,
Speaker 2: and that was it. That was going to be the Yeah, yeah,
Speaker 2: the nursery would I mean it was. It was so
Speaker 2: crazy to be in there and be like, wow, did
Speaker 2: we make up an entire house?
Speaker 4: And then at one point we were going to I
Speaker 4: remember in San Francisco, you know the wall between the
Speaker 4: staircase and the living room, right, We're trying to figure
Speaker 4: out how to re appropriate that space at San Francisco
Speaker 4: right to be the real set, right, And all of
Speaker 4: a sudden it was like, well we want to take
Speaker 4: this wall down. Well, all of a sudden, the San Francisco.
Speaker 3: House, I was like, good luck with that house.
Speaker 4: To take a wall down and rebuild and.
Speaker 3: The historical stuff you've got it to stick to it. Yeah,
Speaker 3: it's a lot forget about it.
Speaker 4: Yeah, but we had We had great fun. It was
Speaker 4: nice to work with Bob and Jeff together. Yeah, great fun,
Speaker 4: you know in the beginning when we're doing stuff, And yeah,
Speaker 4: it was interesting. It was a fun project.
Speaker 1: Take us through how you create a set, like do
Speaker 1: you start with the three D design?
Speaker 3: Do you sketch things with your hand? Like what's the
Speaker 3: order in how you come up with a design set?
Speaker 4: Like something that's new? Right? Your show was unique, right
Speaker 4: because it was a copy. But when I write stuff
Speaker 4: from scratch, usually what I'll do is I'll read the
Speaker 4: script maybe once, maybe twice, but try not to read
Speaker 4: it too much in the beginning, and then I just
Speaker 4: sort of I work in's. You know, I'm an old
Speaker 4: school designer, so I work in pencil.
Speaker 2: We talk about all the time we are we are
Speaker 2: finding out just how old we are with our love
Speaker 2: of paper and pens and actually writing things down.
Speaker 4: Yes, so it's a different experience. And like you guys
Speaker 4: have models. You know a lot of people now do
Speaker 4: work in computers. Right, I love them, the models, right,
Speaker 4: is it? And I found that this to be true.
Speaker 4: Is people love to hold them. Right, If I come
Speaker 4: to see you as a writer or a producer, and
Speaker 4: I give you this thing in your hands, and oh
Speaker 4: it's right. Instead of looking at images on a computer,
Speaker 4: you can actually kind of like right around the house
Speaker 4: and check it out.
Speaker 2: And why not you feel kind of like the master
Speaker 2: of the universe.
Speaker 3: You know what I mean of that?
Speaker 2: You're like, oh I can, I can, I like see
Speaker 2: everything of it and it feels significant, It feels like
Speaker 2: tangible stuff.
Speaker 3: I always say, like, is has an impact?
Speaker 4: Exactly? Yeah, exactly? And I do. And I probably do
Speaker 4: a lot more work than a lot of designers as
Speaker 4: far as what the director wants. Like a lot of
Speaker 4: people just design sets and then give it to a
Speaker 4: director and say here, this is what I designed. What
Speaker 4: I need to turn around to do is think more
Speaker 4: like a director. You're probably than a designer in a
Speaker 4: lot of ways. And I will turn around and I
Speaker 4: will go to cameras.
Speaker 1: Right.
Speaker 4: I've been doing yeah, multi cameras since nine two, notting
Speaker 4: my own stuff. And I worked in my first sitcom
Speaker 4: in nineteen eighty.
Speaker 3: Five and what was that? What's sitcom?
Speaker 4: Oh? I did him? It was actually a recreation. I
Speaker 4: did What's happening now? Oh yeah, Oh yeah, so Warner Brothers.
Speaker 4: I worked for David sacker Off, who was a designer
Speaker 4: at the time, and they wanted to do What's Happening Now?
Speaker 4: And it was for Cable, right it was done, which.
Speaker 3: Was like a new thing. Yeah right, it's like then
Speaker 3: more channels.
Speaker 4: Right, it was cheap. It was for Warner Brothers. We
Speaker 4: did it up in Glendale, and so we had to
Speaker 4: recreate Roger and I can't even remember the character rerun
Speaker 4: and rog yeah, yeah, yeah. That was my first what
Speaker 4: that's where I met Mark Sandrowski. Oh yeah, it was
Speaker 4: the first, Adie, No, maybe it was the second.
Speaker 2: I think it was the second because he was second
Speaker 2: on ours Jump to First.
Speaker 4: Yet Julie Mihan was the first and Mark was his second.
Speaker 4: That was an eighty five up in Glendale where you
Speaker 4: shot that.
Speaker 3: Wow, so that's amazing.
Speaker 1: Wow.
Speaker 4: It was my first sitcom. But then my first design
Speaker 4: job was you know where I was the boss right
Speaker 4: as the production designer was head over heels for job.
Speaker 3: Okay, yeah, so cool, Yeah, but.
Speaker 4: I am you know, it's I came out of the theater.
Speaker 4: So the great thing about sitcoms is it really gives
Speaker 4: you that same.
Speaker 2: Kind of feeling you have the proscenium that you're always
Speaker 2: working with. There's always a downstage and an upstage that
Speaker 2: stays the same.
Speaker 3: You know.
Speaker 4: Nice, you know. I mean I must say it's really
Speaker 4: was enjoyable because of the live audience, right, I mean.
Speaker 3: That's it's the best part.
Speaker 4: You know, where people Friday nights it becomes an event, yeah,
Speaker 4: together right into a show and that kind of.
Speaker 2: Yeah, show night is an amazing chaos that you're like,
Speaker 2: it's just you're alive.
Speaker 4: And I like it. I like the pace a bit
Speaker 4: because you have to work so quickly and yeah.
Speaker 2: Yeah, yeah, it's not a single cam like and now
Speaker 2: we're going to shoot it from this angle with this lens. Okay,
Speaker 2: I want to do this same angle with three more lenses.
Speaker 3: I don't know, right.
Speaker 4: I don't have to get into any of that kind
Speaker 4: of stuff, right, So it's nice interesting that way, and
Speaker 4: it's nice to see the audience responses, you know, and
Speaker 4: you really do sets, you know. The one thing that
Speaker 4: I like about that I credit myself. I guess a
Speaker 4: lot about my work is how real the stuff looks like.
Speaker 4: It looks like I try to do feature quality. I
Speaker 4: don't think of myself doing sitcoms. I think of myself
Speaker 4: being a feature designer doing sets and then sitcom because
Speaker 4: for a long time, right sitcoms were kind of like.
Speaker 2: The right right, it looked like you were shooting inside
Speaker 2: a cardboard box with somebody holding a flashlight over you know,
Speaker 2: it was like.
Speaker 4: Well, who lives here and what's going on? Work? I
Speaker 4: really make it a habit of getting to know the
Speaker 4: characters really well and then flush that out, like when
Speaker 4: I did Anger Management. We did that was Charlie's first comeback,
Speaker 4: right after two and a half Men, So this was
Speaker 4: like a big, big deal with Charlie went back to television.
Speaker 4: The first day we did the reading like you guys
Speaker 4: did the first read on Fuller, Right, I walked on
Speaker 4: set and Anger Manage. We did it without an audience.
Speaker 4: We did it up in the studio, up in the
Speaker 4: sant up on Tamarack Studios, which is up Yeah.
Speaker 2: I was up there when they were shooting that for something.
Speaker 2: I went up there for something.
Speaker 4: I don't know way to come of get it, GI,
Speaker 4: just of what was going on, right, And so I
Speaker 4: walked in the set and I see some guy walking around. Well,
Speaker 4: I really don't like people in the sets. Before readings,
Speaker 4: because I don't want people fucking excuse me.
Speaker 2: But for real, actors are very touchy. We're touchy. We
Speaker 2: want to touch things.
Speaker 1: And move things, and child actus in particular, I want
Speaker 1: to touch everything.
Speaker 4: I walked in the back of the kitchen set and
Speaker 4: I see this guy and then it dawn on me
Speaker 4: that it was Charlie and I had only met him
Speaker 4: once at a meeting that we talked briefly, and he
Speaker 4: looked at me and he walked over and he said, dude,
Speaker 4: and he throws his arms around me, and he tells
Speaker 4: me that I could live here. You did the greatest job.
Speaker 4: He goes, I'm going to move in here. He goes,
Speaker 4: look at all my shit, my base. He goes, you
Speaker 4: are so thorough in expressing who I am.
Speaker 3: Oh, what a compliment.
Speaker 4: Wow, it was a great, great compliment, especially from somebody
Speaker 4: that you didn't know right, right.
Speaker 2: Right, and also that you know, you've never met, and
Speaker 2: you didn't know what you might.
Speaker 4: Get right, and he crazy, Charlie get you know whoever.
Speaker 4: And he was the most respectful, the most appreciative. Yeah,
Speaker 4: it was really something that was.
Speaker 2: Oh that's awesome. That must have felt really really good.
Speaker 4: Yeah, I knew you Jody a little bit, and Andrea
Speaker 4: not very much at all. But I don't really bother act.
Speaker 1: You know, you're very much like a ghost on the set.
Speaker 1: You're there, we can't see you.
Speaker 4: And I make sure that it all looks great from
Speaker 4: my perspective and that everybody's happy. And then I go
Speaker 4: away and I like, do you talk to people on stage?
Speaker 4: And I said, no, man, they're working, you know, I'm
Speaker 4: and I'm busy, so I want to turn around and
Speaker 4: take up your time. Well, and when you guys are working,
Speaker 4: right Thursdays and Fridays, I'm not around, right, I'm done
Speaker 4: for that week, you know, I'm onto the you know
Speaker 4: what's the next moose?
Speaker 1: That?
Speaker 4: Jeff ro.
Speaker 3: What? Now? What do I have to build?
Speaker 4: Right? Yeah?
Speaker 1: Right?
Speaker 4: And the good? I said to what thing you appreciate
Speaker 4: about sitcoms? And if I do something? Did I know
Speaker 4: that on Saturday they're going to throw it in the garbage?
Speaker 3: How did you get into production design?
Speaker 2: Like?
Speaker 3: Were you an artist as a kid? Was is all?
Speaker 4: Like?
Speaker 2: Was film and television something that you always wanted to do?
Speaker 2: And you were a visual artist and it kind of
Speaker 2: created Like how did it come together? Because I find
Speaker 2: it such a fascinating like niche of this business that
Speaker 2: you know, of creating these worlds.
Speaker 4: I came to Hollywood to work.
Speaker 3: Yes, yes, that's the right attitude.
Speaker 4: Yeah, that's what I did, right, so you'll laugh. The
Speaker 4: reason that I got into doing theater was because I
Speaker 4: got cut from the basketball team when I was a
Speaker 4: junior in high school. Oh, because I was. My brothers
Speaker 4: were both basketball players, and so I was just part
Speaker 4: of the family kind of, right, right, And I got
Speaker 4: cut my junior year and I was taking some art classes,
Speaker 4: but I wasn't really it wasn't really like a diehard artist,
Speaker 4: and I was a little lost, right. I was kind
Speaker 4: of like, what the hell do I do now? Because
Speaker 4: this is who I thought I was going to be, right,
Speaker 4: And so I started hanging out with some other people
Speaker 4: at school. And these kids, effectionately were then known as sheeners.
Speaker 4: They were guys that fixed cars. Okay, that's what these
Speaker 4: guys did. And I sat talking to these guys one
Speaker 4: day and they said, well, you should come hang out
Speaker 4: with us, and I'm like, well, I'm not really into cars,
Speaker 4: and they're like, well, we build sets for plays. Said,
Speaker 4: I don't know what that means. But sure, I'll you know,
Speaker 4: I'll jump in and learn. And so I started building scenery,
Speaker 4: as you know, when I was in high school and
Speaker 4: so I just my first set that I painted was
Speaker 4: for the Diary of On from the play Okay, and
Speaker 4: a priest came up to me in the back of
Speaker 4: the house and he said to me, he said, are
Speaker 4: you Jerry Dunn? And I said yes, and he said, well,
Speaker 4: I'm father Tom from the local college summer theater. And
Speaker 4: he said, I don't know what you did to that set,
Speaker 4: but that's a beautiful paint job on that set. Would
Speaker 4: you like to come to work at my theater company?
Speaker 4: So I took a job for seventy five dollars for
Speaker 4: the summer. It was a scholarship, and I went to
Speaker 4: work at Saint Vincent Summer Theater in Pennsylvania. And that's amazing.
Speaker 4: That's what got me hooked. And then I kept doing
Speaker 4: it and doing it, and every place I went I
Speaker 4: kept getting kind of up, you know, notched up.
Speaker 1: Wow.
Speaker 4: And so I was doing a bunch of theater and
Speaker 4: then I was living in Pennsylvania, and then I got
Speaker 4: i'd applied a graduate school in San Diego. When I
Speaker 4: was in college, but I didn't go the first year
Speaker 4: and I got an offer to do a graduate assistant
Speaker 4: ship in California and San Diego. So I filled my
Speaker 4: duffel bag and I filled my portfolio, and I bought
Speaker 4: a one way plane ticket and I flew to California
Speaker 4: and haven't left since. Actually, hey, I turned sixty seven
Speaker 4: next week day.
Speaker 5: Holy, happy birthday, Happy early birthday.
Speaker 4: Now now it's got kind of a chill day and
Speaker 4: I'm trying to get out of town to go do
Speaker 4: some traveling, but as some personal business that I'm trying
Speaker 4: to clean up.
Speaker 3: Oh nice, okay here for a while.
Speaker 2: Yeah, yeah, travel is nice? Right now, what has been
Speaker 2: you would say your favorite set to create and build
Speaker 2: theater or television? What what just or or even if
Speaker 2: it's like two or three, that's cool? But like, is
Speaker 2: there is there a couple where you're like.
Speaker 3: Oh, that was just so cool?
Speaker 4: You know? The show that was so fun to do
Speaker 4: was The Sweet Life of the Sweet Life on Deck,
Speaker 4: which was a Channel show with with the Twins. Right, yes,
Speaker 4: so that show took place on a cruise ship and
Speaker 4: that it was a high school at sea.
Speaker 3: Okay.
Speaker 4: The only time that somebody in multi camera had done
Speaker 4: a cruise ship set on stage was the love Boat
Speaker 4: in the sixties, right, Yeah, So I got to do
Speaker 4: a cruise ship set on stage for a Disney Channel show.
Speaker 4: And then what we would do is it because it
Speaker 4: was a show, it was an international show. Every week
Speaker 4: we got to go to different countries. So we did
Speaker 4: a Japanese episode, and we did an episode in Paris,
Speaker 4: and we did an episode in Thailand. Oh wow, everything,
Speaker 4: it was like a thing, and we did it. Did
Speaker 4: a Wizard of Oz spin one time, and I got
Speaker 4: to recreate the barnyard in Kansas. Oh yeah, I got
Speaker 4: to do the yellow brick road. Oh my god, do
Speaker 4: the tornado destroying the farm?
Speaker 3: So amazing, great, but that.
Speaker 4: Was great, great fun. I really enjoyed doing that a lot.
Speaker 2: Oh wow, didn't I believe the set that we shot
Speaker 2: the pilot on the Gigant, the gig Gigantic set at.
Speaker 3: Sony for Mars and GM.
Speaker 2: Was where they did the yellow brick road scene of
Speaker 2: Wizard of Oz.
Speaker 4: Yeah. So Phil Lewis was starring in that show, you know,
Speaker 4: director Phil Lewis. Oh yeah, exactly. Great. The Star of
Speaker 4: Sweet Life on Deck was one of them anyway.
Speaker 2: Right, amazing you know, I will say, was it fun
Speaker 2: to do? Like some of the Disney shows, just because
Speaker 2: you can go so like over the top, kind of
Speaker 2: big with it, like it's such a it's nothing.
Speaker 3: There's usually nothing.
Speaker 2: Very subtle about any of the Disney shows.
Speaker 3: Stuff you need to kind of go for it.
Speaker 4: I got to do the inside of a stomach one time,
Speaker 4: so Raven okay, wow, they wrote, well you know who
Speaker 4: it was. It was Mark and Dennis that you got.
Speaker 3: Oh yeah, yeah, oh yeah.
Speaker 4: So they wrote this episode. They called me in and
Speaker 4: they said, Jerry, we want to go to a natural
Speaker 4: histor museum. I said, okay, bye, no problem. And then
Speaker 4: they wanted to do the exterior of a stomach for
Speaker 4: the exhibit, and it had to be giant scale. So
Speaker 4: I had this whole. I had a stomach carved, and
Speaker 4: we put this thing together and then Mark and Dennis
Speaker 4: said to me, well we wrote another beat to the show.
Speaker 4: I said, okay, what's that and they said, we want
Speaker 4: to have Raven fall into the stomach. I had never
Speaker 4: seen anything like this ever, and I'm just sitting up
Speaker 4: in my office going what do it this?
Speaker 2: Right?
Speaker 4: So I rented a spider bounce, like a like a
Speaker 4: loose kids backyard. Spider bounce has a base right, and
Speaker 4: that has all the arms that go up to this
Speaker 4: added spider. So I rented a spider bounce and in
Speaker 4: between the legs we used them like volleyballddding clean the
Speaker 4: legs and then line that with foe one, cover the
Speaker 4: phone with pink chiffon, and then twinkle lights and rope
Speaker 4: light on the chiffon, and then we layered it again
Speaker 4: with chiffon wow, and we stray painted it. What happened
Speaker 4: was that raven so she was able to bounce on
Speaker 4: the oh.
Speaker 3: Right, yeah because it would be the yeah.
Speaker 4: Right and it was all pink and she could bounce
Speaker 4: off the walls. And then we had to drop stuff
Speaker 4: down on her, like the stomach, like leaking on.
Speaker 1: Her, like okay, oh this is so Disney.
Speaker 3: Oh yeah, that's so raven. Actually I believe it's a show. Yeah.
Speaker 4: So that was that was a fun one. Doing the
Speaker 4: inside of the stomach was quite the wow.
Speaker 3: I mean that guy was like one of the kind
Speaker 3: thing that you will never do again.
Speaker 4: No never. Hannah to the Beach. We did Malibu Beach
Speaker 4: on Hannah, Montana. Okay, okay, to do the pier at
Speaker 4: Santa mon Pere. We did on stage. Oh wow, so
Speaker 4: we got to do really so on that show we
Speaker 4: got to have some great fun, you know. Yeah, the
Speaker 4: dizzy stuff, right was kind of out there for a while,
Speaker 4: and yeah, sure, and I got in on the beginning
Speaker 4: of it, really the beginning of it. So that's how
Speaker 4: I got to do Hannah Montana, and I got to
Speaker 4: do Sweet Life, and I got to do Raven and
Speaker 4: I got others. But it was when I finished that
Speaker 4: and tried to get other work I couldn't get hired
Speaker 4: because I was a kid showed designer.
Speaker 3: Yeah, fusting, and you're like, it's it's just it's a set.
Speaker 2: It's just building things. I can build anything. I can
Speaker 2: build the inside of a stomach, Dammit, I can do it.
Speaker 1: Yeah, you should get any street credit for building a
Speaker 1: stomach on a Kiss show.
Speaker 4: Yeah, but they don't give you that credit for having
Speaker 4: the imagination. They just want to see what they wanted,
Speaker 4: you know. I went to Anger Management, got to do
Speaker 4: strip clubs and dive bars, and that was all.
Speaker 3: That's a departure from us, right right.
Speaker 4: I think that was by that was the universe Andrea
Speaker 4: going Okay, well he had a yang and a gang
Speaker 4: right right in the middle, right.
Speaker 3: Which do you want? We can go this way, we
Speaker 3: can go fully that way? Well, yeah, we can go
Speaker 3: in the middle. Yeah.
Speaker 4: Yeah. So it's been an interesting it's been an interesting career.
Speaker 1: Cool and we learned that you helped design the theme
Speaker 1: park water ride in Japan, the Hello Kitty Park.
Speaker 3: Tell us how did this come about?
Speaker 4: Landmark? You know what? It was? Sitcoms. We're in a
Speaker 4: we were on strike, I think that spring okay, And
Speaker 4: I got to work as san Rio or Landmark Entertainment,
Speaker 4: which is in l a huge steam park company, and
Speaker 4: they were doing this thing and I just put in
Speaker 4: an application I needed some work, and so I got
Speaker 4: to go to Japan, the South of Japan. I didn't
Speaker 4: design it. They had a conceptual artist design it and
Speaker 4: then like people just go in basically to do the
Speaker 4: the install. So I started. So I went to Japan
Speaker 4: and I worked for a couple of weeks in Japan.
Speaker 4: But this water ride, what I found out was that
Speaker 4: the water ride had had like four designers through it.
Speaker 4: But I didn't know this going in, and so I
Speaker 4: got there and I was kind of like, well, this
Speaker 4: is kind of crazy. I don't know what I'm doing.
Speaker 4: I was a sitcom guy but didn't theme parks, so
Speaker 4: you guys will laugh. So they the ride basically was
Speaker 4: in a building, right, and you go down this pull
Speaker 4: this like little fake river kind of thing. Right. So
Speaker 4: they were talking to me, and all the Japanese workers
Speaker 4: were lovely to be with, and I said, in the venue,
Speaker 4: thank god, was way on the other side of the park,
Speaker 4: so nobody would come because you had to slod through
Speaker 4: the mud and all this kind of get to this building.
Speaker 4: So when I went down there, they said, well, what
Speaker 4: do we need to do first? And I said, well,
Speaker 4: does anybody build a cart so we could go kart
Speaker 4: so we could go through the river so I could
Speaker 4: actually see from a point of view what we were
Speaker 4: doing right in this ride. And so it was designed
Speaker 4: by this guy up in Seattle, I think it was,
Speaker 4: and he had designed all these pieces. It was kind
Speaker 4: of like small world, like, yeah, kind of right. So
Speaker 4: they came in and said, well, all the scenery is finished,
Speaker 4: so you just need to load it in and get
Speaker 4: it ready for presentation. So what nobody figured out was
Speaker 4: that the set that they designed was bigger than the building.
Speaker 4: Now did I know right. I just knew that this
Speaker 4: is something that I was supposed to put together. So
Speaker 4: I started working with these guys, and these Japanese workers
Speaker 4: were lovely, and they said, well, there's twelve pieces of
Speaker 4: scenery in this one little tableau. I said, well, there's
Speaker 4: room for like six. And then we go to another
Speaker 4: part and they go, well, here's the amateuronic figure that's
Speaker 4: like doing, you know, fit for something, and there's the background.
Speaker 4: And so I went through this whole thing and I thought, well,
Speaker 4: half of this doesn't fit. So I just turned around
Speaker 4: and I took half the scenery and I just told
Speaker 4: them to put it outside and cover it in plastic.
Speaker 3: There you go.
Speaker 4: Then they came down and I was there for a
Speaker 4: couple of weeks and they came down and said, well,
Speaker 4: we're going to do a walk through with the client.
Speaker 4: And these when you do theme parks, if you think
Speaker 4: network things are a big deal, like the first reading, right, like, okay, well,
Speaker 4: how many people are coming to look at the ride
Speaker 4: for the san Rio You know the Hello Kitty theme song?
Speaker 2: Oh god, yeah, now it's yeah. The corporate is amazing.
Speaker 2: It was so much.
Speaker 4: So we go through the sole thing and that the
Speaker 4: owners are going, wow, this is so pretty and it
Speaker 4: looks so good, and it's like, you know, on and on,
Speaker 4: and we get out to the back of the building
Speaker 4: and their little go kart and the owner of Landmark
Speaker 4: looks at me and he goes, what's that? And I
Speaker 4: said that didn't fit? And he said did you report
Speaker 4: this to anybody? And I said nope, I didn't know
Speaker 4: what to tell you, but it didn't fit. So I
Speaker 4: put what fit and I made it work, you know
Speaker 4: the way it was. So then they were talking to
Speaker 4: we're going to do layoffs all of a sudden, so
Speaker 4: they were going to lay off this huge group of people.
Speaker 4: And one of the managers came to me and he said, well,
Speaker 4: you broke every rule in the book. He said, well,
Speaker 4: I guess you're sending me home and he goes, no, actually,
Speaker 4: he goes, we'd like you to stay for another six
Speaker 4: or eight months to help get the park finished.
Speaker 1: Wow.
Speaker 3: So I said that's incredible.
Speaker 4: And he said well, he said you would take on
Speaker 4: four more rides.
Speaker 1: Wow.
Speaker 4: And I said, well, how much more money are you
Speaker 4: going to pay me? I said, well, no, we're not
Speaker 4: giving you any more money. And I said, well, then
Speaker 4: I'm going home.
Speaker 3: Yeah, yeah, he paid for your work. Yeah, four more rides.
Speaker 3: That's insane, I know.
Speaker 4: On top of one. So we were finished the one
Speaker 4: and then we had to get into all the rest
Speaker 4: of it. So it was I don't know, I know
Speaker 4: the park opened and everything, but I've never gone back or.
Speaker 3: Didn't be shot there during fuller. Yeah, we would just
Speaker 3: shot those.
Speaker 2: Kids at Hello Kitty Land.
Speaker 4: This was way down in a week.
Speaker 3: Oh that was a different, different different.
Speaker 4: Yeah, it is nuts in Japan, huh oh.
Speaker 2: I mean I was a Hello Kitty fan as a kid,
Speaker 2: and I did go to the four story san Rio
Speaker 2: store in Tokyo and I was blown away. It was
Speaker 2: like it put Disney to shame the stuff that they
Speaker 2: merched out, you know what I mean, where you were like,
Speaker 2: do you really need like Hello Kitty foam earplugs?
Speaker 3: I don't know, but yeah you do. You know, it's
Speaker 3: just weird stuff.
Speaker 4: Well, and you can imagine being on a place like
Speaker 4: we would do. The Japanese workers would do calisthenics in
Speaker 4: the morning out in a big giant parking lot outside.
Speaker 4: Then they would go so everybody would report to work,
Speaker 4: you'd go outside they do group allis stanis first and
Speaker 4: then send you away.
Speaker 1: I like that.
Speaker 4: They literally played the Low Kiddy song live outside twelve
Speaker 4: hours a day. Oh no, sure. Well, and you're in
Speaker 4: a place where you can't speak the language, right. A
Speaker 4: couple of supervisors spoke English, but all the workers don't
Speaker 4: speak English.
Speaker 2: Yeah, so you I remember that was like when we
Speaker 2: shot there, all of our the crew was all Japanese yep, yeah,
Speaker 2: and we had our translator.
Speaker 4: It's a lovely yeah.
Speaker 3: Oh it was beautiful. I'm so glad we got to
Speaker 3: go there.
Speaker 4: I was so mad I didn't get to go.
Speaker 3: Yeah, that's what a shame.
Speaker 4: You wouldn't let you know. They didn't want me to come,
Speaker 4: and I'm like, going, well, I really should come.
Speaker 1: And we had a we had a set too, They
Speaker 1: had to build a set for the Bridle Shop I think.
Speaker 3: So it was like we were doing multi cam all
Speaker 3: over again. Oh yeah, it was. We were. We were
Speaker 3: in a studio in I was like, this is what
Speaker 3: it's like. So we couldn't.
Speaker 4: Instead of going to.
Speaker 2: I know there was that was that there was a
Speaker 2: bunch of people. Didn't they not want to send like
Speaker 2: hair and makeup or something. Wasn't there something we're going
Speaker 2: to do? Yeah, they were going to send hair and makeup.
Speaker 2: They were like that, We'll just get somebody over there, and.
Speaker 3: We were like, do you know nothing, continuity characters? You
Speaker 3: got to bring our team That was.
Speaker 4: The Netflix and the original ABC, but the NBC budget.
Speaker 2: Oh yeah, oh those nice ABC budgets.
Speaker 3: Yeah.
Speaker 2: We lived it up in Disney World, living it up. Yeah. Well,
Speaker 2: after being in this business for so long, what is
Speaker 2: there there anything that you haven't done yet that you
Speaker 2: want to do?
Speaker 3: Are you thinking of retiring?
Speaker 2: Are you still loving and enjoying it or what?
Speaker 3: Like, where do you see yourself headed next?
Speaker 4: I think that I'm I don't know what else I
Speaker 4: could do in multi camera, you know, I've done pretty
Speaker 4: much everything.
Speaker 3: That you know, Yeah, for god, what else.
Speaker 4: Thousand sets in multi camera? You know.
Speaker 3: Wow.
Speaker 4: So it's like I kind of go and the you know,
Speaker 4: the biggest challenges. The budgets aren't going to get any bigger,
Speaker 4: No going to get any bigger. So I'm a going
Speaker 4: to be kind of doing the same old thing again. Yeah,
Speaker 4: I'm getting close to you know, and you guys know,
Speaker 4: multi camera is kind of dead right at the moment.
Speaker 4: It's so, yeah, only three on the network. I think right, Yeah,
Speaker 4: it works and everything. So it's kind of you know,
Speaker 4: so it worked since we'd finished The Connors last October,
Speaker 4: and I have it worked since. Yeah, there was only
Speaker 4: one you know. This is contrast for right, in nineteen
Speaker 4: ninety two when I did Head over Heels there was
Speaker 4: one hundred and twenty five multi camera pilots shot that spring.
Speaker 3: Wow, and that's just pilot shot.
Speaker 4: Oh, I don't get it, ladies. I really don't understand. Yeah,
Speaker 4: time when we all need to.
Speaker 3: Laugh for sure, aren't bite sized comedy.
Speaker 2: And it's and I feel like it's it's like sitcom
Speaker 2: has got to be it slightly less expensive investment than
Speaker 2: going and shooting on location everywhere.
Speaker 3: But what do I know?
Speaker 4: Yeah, no, it's way cheaper. Yeah, I don't understand. And
Speaker 4: it's not like, you know, you look at something like
Speaker 4: Mad About You and Friends and Big Bang, you know,
Speaker 4: Big Bank, Warner Brothers over a million dollars. Yeah, why
Speaker 4: aren't you doing worse sitcoms? I don't. I don't.
Speaker 3: Yeah, it is.
Speaker 2: It's a it's a really weird time in the business
Speaker 2: right now for everybody.
Speaker 4: I'm kind of so end of my career, Okay, I
Speaker 4: really want to turn around and do you don't have
Speaker 4: to do something for a long time and you get inspired, right,
Speaker 4: So I really want to do some work with orphanages
Speaker 4: and third world countries. I've done some volunteer work in
Speaker 4: the past, but what I'm trying to do and I'm
Speaker 4: hoping to set up a nonprofit when I retire, I
Speaker 4: can go and travel around the world and go help
Speaker 4: third world country orphanages.
Speaker 3: Oh I love that line.
Speaker 4: Whether it's going to go do some you know, some
Speaker 4: manual labor kind of things, but I think the kids
Speaker 4: in third world countries have the biggest challenge in life. Yeah,
Speaker 4: I think that that's something that I know that that's
Speaker 4: something that I really like to wrap my hats around.
Speaker 4: So I'd like to take all of those skills that
Speaker 4: I have and see how I can roll it into
Speaker 4: something that's more giving.
Speaker 3: I guess I love that.
Speaker 2: That's a big really yeah, like taking your art and
Speaker 2: making the world a better place with it, you know.
Speaker 4: And I think I, you know, pretty much had my fill.
Speaker 1: Of Hollywood well understandable, Yeah, like going, yeah, it's a lot.
Speaker 4: On and on and on. I'm like, I don't really
Speaker 4: care anymore. I don't Yeah, yeah, yeah, I.
Speaker 2: Feel like I've done this for forty some odd years.
Speaker 2: I loved it. It was great.
Speaker 3: And now and now what like I.
Speaker 4: Think if you know somebody called that I liked, That's
Speaker 4: the biggest part of it, right, Joe Nander is like,
Speaker 4: you don't work for somebody that you don't want to
Speaker 4: work with. H And so I'm just kind of going
Speaker 4: like a Bob called or Jeff called, or from Connors
Speaker 4: called and said, hey, do you want to do something?
Speaker 4: And I enjoyed the script, Yeah, I'd probably do it.
Speaker 4: I'd probably yeah, But am I going to go out
Speaker 4: there and run around and chase things and whatnot?
Speaker 3: Right?
Speaker 4: That's that point in my life.
Speaker 2: There is just no work to be had to spread
Speaker 2: across every Like you were saying, you got in the
Speaker 2: union as like an overhire, you know what I mean.
Speaker 3: Like it was they were like.
Speaker 2: We just need people, we got to come build sets,
Speaker 2: you know, and uh, yeah, it's there's just where it's
Speaker 2: it's scraps now. And I know that's really yeah, really
Speaker 2: frustrating and really hard.
Speaker 3: But I think that you have an excellent Would you
Speaker 3: have liked.
Speaker 4: To be in the business in the fifties, sixties and seventies, yes,
Speaker 4: it was a whole different world then.
Speaker 3: Oh yeah, Golden Age learned.
Speaker 4: And what we lived through when everything right, So, like
Speaker 4: I look at an old movie like The Ten Commandments
Speaker 4: right then heard.
Speaker 2: Right, not a CGI to be found? Ten thousand people.
Speaker 4: Right, ten thousand people. You work with all the entraftsmen.
Speaker 4: And you know, I watched I saw a video or
Speaker 4: I saw a photograph of the main street of the
Speaker 4: Ten Commandments that was built in Culver City, right, orties
Speaker 4: or something like that, and it was incredible to see.
Speaker 4: And like you said, there was like ten thousand workers
Speaker 4: on that movie. Yes, all laborers, all carpenters, and yeah,
Speaker 4: it's like the thing with computers. Right, it's like it
Speaker 4: does amazing things, but it's not human.
Speaker 3: Right, it doesn't have that touch to it.
Speaker 4: That's not walking on a stage with one hundred guys
Speaker 4: running around building stuff.
Speaker 3: It's true. The smell of sawdust on a set, it's
Speaker 3: the best.
Speaker 4: And I have take me you guys knew Puccio and
Speaker 4: the boys that I worked. Yeah. Yeah, so you work
Speaker 4: with great people and you have a good time doing
Speaker 4: it for the most part.
Speaker 3: Yeah really right, right.
Speaker 2: Well, I will also say that you had a lot
Speaker 2: to do with the Fuller House wedding.
Speaker 3: Oh that's so beautiful.
Speaker 4: That was fun to do, and.
Speaker 2: That was so much fun because you included us, like
Speaker 2: it was like planning a real wedding, like you really.
Speaker 3: You and your team.
Speaker 2: Made such an effort to be like what would these
Speaker 2: characters have? And again, like you said, like you put
Speaker 2: such a personal touch on it. There were so many
Speaker 2: little things that were special and that also that you
Speaker 2: listened to us on and it made it feel so
Speaker 2: much more real, and like, I think.
Speaker 4: That was one of the prettiest weddings ever shot on
Speaker 4: television in a sitcom.
Speaker 3: For sure, Oh for sure.
Speaker 2: It was beautiful chandelier that was there, and yeah, well
Speaker 2: and the.
Speaker 4: Cool thing was is I went because Steve and Brian
Speaker 4: is that his name?
Speaker 3: Yeah, yeah, yeah, now.
Speaker 4: And everybody at Warner Brothers, everybody's pretty conservative. So when
Speaker 4: I walked in and I thought, if you make me
Speaker 4: do a wedding with folding chairs.
Speaker 3: And rows, right, I'm going to lose my mind.
Speaker 4: Myself in the head. Yeah, so this is a put
Speaker 4: together thing, and you were an event planner for your character.
Speaker 4: I went, Okay, this is family, and so I pitched
Speaker 4: that whole idea of all the eclectic furniture and the groupings,
Speaker 4: and I said, look, you can tell stories and every
Speaker 4: group how they're sitting and there, yeah, and whatnot. And
Speaker 4: I said, it's such a magical way to tell a
Speaker 4: family story about a wedding. Yeah, Jennifer did a beautiful,
Speaker 4: beautiful job.
Speaker 2: She did such a gorgeous job. I mean, the it
Speaker 2: was so she had such a gorgeous job that I
Speaker 2: believe I called you, Jerry, and I was like, so,
Speaker 2: I basically want.
Speaker 3: To just recreate the Fuller House wedding for my wedding.
Speaker 2: Yeh.
Speaker 3: And I basically did. I had, Like I.
Speaker 2: Loved what you know, those little stories and the little
Speaker 2: like sort of mismatched furniture and.
Speaker 3: The twinkle lights and you know, all of that.
Speaker 2: Like it just that was it was such a special
Speaker 2: moment and you it felt like we were really out
Speaker 2: in this backyard.
Speaker 4: Oh and I always laughed. That was one thing about
Speaker 4: your show that kind of cracked me up. Was in
Speaker 4: the beginning, right, the backyard is like ten feet wide,
Speaker 4: but that thing is And next week we're doing the
Speaker 4: Indian dance number, right, Yeah, and it's.
Speaker 3: A different shape, you know what I mean.
Speaker 2: Then it's a rectangle and now where it's kind of
Speaker 2: a weird the long rectangle. Kidney supposedly lives next door
Speaker 2: slash behind, but we don't know how far into the
Speaker 2: nature park, which is the Tanner's backyard. We're not quite
Speaker 2: sure how deep that, Yeah, because I mean we're driving
Speaker 2: cars in there. And if you see the house, there's
Speaker 2: not a natly there, there's no so there's there's a
Speaker 2: lot going on. You think the house is incredible. That
Speaker 2: backyard is like it's like the show Lost. Any anything
Speaker 2: is possible. There might be a polar bear.
Speaker 4: Who knows that could expand Oh right, I don't want
Speaker 4: to cut all that grass.
Speaker 2: There's your there's design that design an expandable backyard and
Speaker 2: you will it'll do wonders.
Speaker 4: Yeah, that was stvert fun. I was very proud of
Speaker 4: that wedding.
Speaker 3: It was so special. Yeah.
Speaker 2: I loved that our moms were there sitting in it.
Speaker 2: I loved that our you know, there was so much
Speaker 2: it did it that each little area told the story.
Speaker 4: That was a hard sell. Everybody was like looking at me,
Speaker 4: going like, well, we were thinking chairs and rose and
Speaker 4: traditional I'm like.
Speaker 3: Going, no, I'm so glad you thought I'm so glad
Speaker 3: you thought that.
Speaker 2: And I can't tell you how many compliments we've gotten
Speaker 2: from fans on the show that have said that wedding
Speaker 2: was so beautiful, it was so like, it was so
Speaker 2: pretty and it yeah, it was right, had.
Speaker 4: To be for that show for your family.
Speaker 3: Yeah.
Speaker 4: Yeah.
Speaker 3: And if there's one thing that this group can do,
Speaker 3: it's throw.
Speaker 2: Together a ridiculously large party in a matter of hours.
Speaker 4: So and I gotta say, yeah, pretty good, Kimmy.
Speaker 3: Can work miracles.
Speaker 2: People are favors, you know, you don't, you don't want
Speaker 2: to know what for, but people, kim.
Speaker 4: Me favors those connections at the last minute for sure,
Speaker 4: right when you got to the wedding venue at the
Speaker 4: doors and the doors were locked, remember the yeah we
Speaker 4: do and what's going on?
Speaker 3: Of course of course you're like, now what right? Exactly?
Speaker 2: Oh boy, Well, Jerry, it has been so wonderful to
Speaker 2: have you on the show. Thank you so much for
Speaker 2: coming on and chatting with us. And you're just so
Speaker 2: talented and so lovely and we we just I'm so
Speaker 2: glad that you got welcomed into the to the the
Speaker 2: full house fuller house fan because you fit right in, so.
Speaker 4: Thank you so much for having me. I really enjoyed
Speaker 4: this a lot.
Speaker 1: And when you get your nonprofit up and going, let
Speaker 1: us know how we can support it because we want
Speaker 1: to support you and all the things you do.
Speaker 2: Okay, cool, sounds great, Yeah, welcome, build some Jerry.
Speaker 3: Give me a paintbrush.
Speaker 4: At the ice cream shop one of these days.
Speaker 2: Yes, exactly, into Jerry at the at the gelato place
Speaker 2: that I am all too frequent a visitor of.
Speaker 3: It's Baccio de Latte. Oh my god, it is.
Speaker 2: It's the best gelato I've ever had in my life.
Speaker 2: And I go, I'm like a little regular there. They're like, hey,
Speaker 2: welcome back, and this gallon. You're like, oh the shame.
Speaker 2: But yeah, hopefully I'll run into you around town and
Speaker 2: get to see you in person.
Speaker 4: Thanks Jerry.
Speaker 3: Thanks, Happy early birthday. Enjoy you happy birthday. All right,
Speaker 3: bye bye, thank you.
Speaker 2: Jerry was always so lovely and like he and I
Speaker 2: would just chat and yeah, he was just really really
Speaker 2: lovely and a great heart and really talented and like
Speaker 2: had an eye for things, like really a great designer.
Speaker 3: Right, yeah, and it's crazy to think that he was, like, well.
Speaker 2: I just kind of went with it because I didn't
Speaker 2: make it into the basketball team, you.
Speaker 1: Know, and they turned out all of this amazing work.
Speaker 1: Like thetory of work is, yeah, he's.
Speaker 3: He's just a no nonsense guy. He gets to work.
Speaker 3: He works hard, Yeah, but he cares.
Speaker 5: About people, you know, like it's such a which was
Speaker 5: just exactly why he fit in on full and Fuller
Speaker 5: because our crew are our.
Speaker 3: Family are you know. We It was like, you show
Speaker 3: up and you work.
Speaker 2: Hard, but damn, you're gonna have a good time doing it,
Speaker 2: you know what I mean. And you're gonna and and
Speaker 2: you're gonna have fun and you're gonna laugh, and it's
Speaker 2: gonna be a really good time.
Speaker 3: But like prepare, you're gonna work. It's off. And that
Speaker 3: was that's.
Speaker 2: Really his ethic, Like there there's no ego about it,
Speaker 2: you know that, Like I've been doing this for so
Speaker 2: I'm not gonna you know, it's like.
Speaker 3: Oh, I came to work.
Speaker 2: You know.
Speaker 3: He's he's here to work and he's here to do
Speaker 3: it well.
Speaker 2: And I applaud that because yeah, like you said, everybody
Speaker 2: kind of wants to come out and be a star,
Speaker 2: but you just gotta you just gotta show up and
Speaker 2: do the work.
Speaker 1: That's what it's about. It's not about the fluff. It's
Speaker 1: just working on put your head down and get to work.
Speaker 5: Ye yeap.
Speaker 2: And that was always say one of the best experiences
Speaker 2: I had was when I like got a quote unquote
Speaker 2: like real world job and I was making like ten
Speaker 2: bucks an hour at a treatment setter and empty and
Speaker 2: trash cans and washing dishes.
Speaker 3: And and I was like, I'm happy to be this
Speaker 3: cool build character. Yeah yeah, And it's uh, definitely.
Speaker 2: I just that work ethic really always shined through because
Speaker 2: he he got asked to do some wild things. I mean,
Speaker 2: nothing like the interior of a stomach.
Speaker 3: But just recreating ourselves from scratch.
Speaker 2: The Gibbler house was quite a thing.
Speaker 3: Oh my goodness.
Speaker 1: Yeah that was I said, that was an eyesore for everyone, right, and.
Speaker 2: We flipped they flipped the house, so we shot it.
Speaker 3: In post posted. They flipped it. They flipped the the
Speaker 3: I don't know what.
Speaker 2: The staircase was on the other side of the basically
Speaker 2: used the Tanner house and turned it into Kimmy's house.
Speaker 2: And then when they shot it and edited it, they
Speaker 2: flipped it around.
Speaker 1: So which is which is really weird for us to
Speaker 1: walk into stage twenty four one day and see the
Speaker 1: living room as the Gibbler set, and then walking the
Speaker 1: very next day and it's right back to the.
Speaker 3: Tanner was right right, Yeah, I was like, what's happening? Yeah?
Speaker 3: It was this thing with.
Speaker 2: Which uh, production and set designers have to work though.
Speaker 2: On sitcoms is you know it is You're in a
Speaker 2: it's a machine.
Speaker 3: It is a well oiled machine.
Speaker 2: And the machine stops for no one.
Speaker 3: It's you're going, You're going.
Speaker 2: And they're especially kids shows and you know, fuller house sitcoms,
Speaker 2: sitcoms in general. We're gonna ask you to do some
Speaker 2: kind of ridiculous stuff. So oh yeah, you gotta yeah.
Speaker 1: Got it.
Speaker 3: You just have to say okay, okay, yes.
Speaker 2: Yes, and I can make I can do that inside
Speaker 2: of a stomach.
Speaker 3: Oh my god, what am I? You know, the joke's
Speaker 3: gotta work.
Speaker 2: Yeah, the cows gotta fit the table. Well, this has
Speaker 2: been super fun. Thank you Totos for listening. We are
Speaker 2: so glad that you got to listen to our wonderful
Speaker 2: chat with Jerry, who's super talented and again just been
Speaker 2: in this business for a really long time and.
Speaker 3: Learned so much. So thank you, Fan ritos.
Speaker 2: If you want to find us more on uh Instagram,
Speaker 2: you can check us out at how Rude podcast, or
Speaker 2: you can send us an email at how rud Tannerritos.
Speaker 3: At gmail dot com.
Speaker 2: Well as always check out our merch site which is
Speaker 2: how Rude merch dot com. And uh, and that's it.
Speaker 2: That's it, So you guys, remember the world is small,
Speaker 2: but the house is full of a gigantic stomach.
Speaker 3: It is.
Speaker 2: It's a giant sized stomach just shoved into the kitchen
Speaker 2: and living room area there and it's yeah, just like
Speaker 2: a bouncy thing.
Speaker 3: Yeah, I've gotta look up this episode. I think this
Speaker 3: just sounds so weird. Yeah, it's full of a stomach. Okay,
Speaker 3: bye bye