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Speaker 1: Hey, they're Fana Ritos.

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Speaker 2: Welcome back to an all new episode of How Rude

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Speaker 2: Tanner Ritos. Today, we're interviewing a crew member who worked

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Speaker 2: with us through Full House and Fuller House. It's Patty

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Speaker 2: Mustari or Patti Pasarelli as Jodi and I know her.

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Speaker 2: Patti is a script supervisor. And for those of you

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Speaker 2: who don't know what this job entails, boy are you

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Speaker 2: in for a treat. Script supervisors are an essential part

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Speaker 2: of any film or TV crew. They have one of

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Speaker 2: the hardest jobs on the set because it involves continuity.

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Speaker 2: So we're very excited to talk to Patty, who can

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Speaker 2: give us an in depth look at her job and

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Speaker 2: her time on full and Fuller House. Let's welcome Patty.

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Speaker 1: Here we go.

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Speaker 2: Ah, Oh my gosh, that's so cute and.

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Speaker 1: And oh yes, she's got the people cover, she's got

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Speaker 1: the joke. Oh my gosh, yes, you guys know you

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Speaker 1: that's so funny. Oh yay, you came prepared. I appreciate that.

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Speaker 3: I have pictures all of it.

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Speaker 4: Oh my gosh, amazing, this is gonna be fantastic.

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Speaker 3: So I'm gonna start like.

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Speaker 1: This right, that's so awesome and what a cool background.

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Speaker 1: Where are you? Are you on set right now?

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Speaker 3: No? But hold not a set?

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Speaker 1: Oh, there we go? Oh, yay, there we go. Can't

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Speaker 1: you got the Fuller House beach towel. That's amazing. Love

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Speaker 1: of your merch, all of the wrap gifts.

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Speaker 5: Yay.

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Speaker 1: Well, welcome Patty to the show. We're so glad to

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Speaker 1: have you.

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Speaker 3: Thank you. I'm happy to be here.

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Speaker 5: Yay.

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Speaker 2: I know, I'm I was trying to figure out the

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Speaker 2: last time we saw each other. I know you and

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Speaker 2: I fun fat. I don't know if Jody knows this.

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Speaker 2: Oh yeah, Jody knows this. Patty and I have the

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Speaker 2: same birthday. Yes, yes, so I saw you. It was

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Speaker 2: like kind of during the COVID times and you were

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Speaker 2: driving out in my area and so you came by

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Speaker 2: my house.

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Speaker 1: Third, right, yeah, July third.

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Speaker 3: Very good, Jody, Yes, she's very good.

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Speaker 1: She's Oh no, I'm I was.

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Speaker 4: I said that, and I was like, God, if I'm wrong,

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Speaker 4: I this is going to be bad. But I think

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Speaker 4: I was mostly so, yeah.

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Speaker 3: I'm not even sure about my birthday. You know, it's

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Speaker 3: been a long time, but.

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Speaker 2: I would always love on the Fuller set, they would

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Speaker 2: roll out a cake for my birthday and I'm like, no,

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Speaker 2: this is it's me and Patty. Come on, let's let's

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Speaker 2: cut this cake together. Because it was just fun, fun

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Speaker 2: sharing a birthday with you for all of those years.

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Speaker 3: Okay, so let's talk about how I met you too, Jody.

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Speaker 3: I did how to google this stuff because I had

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Speaker 3: I'm like, I don't know.

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Speaker 4: I'm like, I know, right, yeah, if I'm not reminded

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Speaker 4: of it, it's uh, it's like it ned to happen.

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Speaker 3: Yeah. So Jodie was five, Andrea was eleven. Okay, and

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Speaker 3: Dave Coolier and I were the same age, right, Bob

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Speaker 3: was a little older and John was younger. So a

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Speaker 3: bunch of twenty year olds making a TV show will

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Speaker 3: go wrong.

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Speaker 2: Oh yeah, right, yes, in the eighties when you put

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Speaker 2: it that way, yeah, they puts it into perspective.

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Speaker 4: Oh yeah, no, yeah, I mean I like Patty was

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Speaker 4: one of the crew, you know what I mean? I

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Speaker 4: just I always Patty, Patty Passarelli, Chatty.

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Speaker 1: That's how I always know you, Patty.

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Speaker 4: So, just as a quick background, Patty was the script

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Speaker 4: supervisor on Full House the original the pilots one through three,

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Speaker 4: including the pilot, and then she was the script supervisor

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Speaker 4: through the entirety of Fuller House.

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Speaker 1: You have your you have.

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Speaker 4: She got a So they used to give us binders,

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Speaker 4: like actual, like nice hardcover ones that had like, you know,

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Speaker 4: sort of material on it or whatever, three ring binders

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Speaker 4: that said full House on them, and it had your name,

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Speaker 4: and that was where you kept all.

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Speaker 1: Of your scripts I made.

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Speaker 4: I mean, we didn't get him as kids, but like

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Speaker 4: all of the crew and stuff. I believe you guys

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Speaker 4: on set got that.

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Speaker 3: Yeah, well, so that that's how ancient this is nineteen

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Speaker 3: eighty seven. I'm writing down things about like remember this,

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Speaker 3: remember that. Try to just look the part, pretend you

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Speaker 3: know what you're doing, Patty, because it's like.

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Speaker 1: Is that, wait, that's what you wrote in that?

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Speaker 3: Oh no. But basically this is stuff like because I

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Speaker 3: when I was a film script supervisor, then Tom Miller

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Speaker 3: and Bobboyett approached me and said, hey, there's a show

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Speaker 3: called full House. Marilyn Bagley was going back to doing

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Speaker 3: Perfect Strangers, and I was training to be a script supervisor.

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Speaker 3: I was working on film shows non you know, non

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Speaker 3: union whatever, plus being in the office as a writer's assistant.

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Speaker 3: So I was so primed ready for my moment. And

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Speaker 3: they go, okay, So here's the thing. Can you be

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Speaker 3: on set on Friday? Sure? And it's a tape show

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Speaker 3: and I went.

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Speaker 6: Yeah, oh absolutely, I know tape tape right, like four

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Speaker 6: cameras and there's tape instead of film, and which is

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Speaker 6: a whole different genre, by the way.

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Speaker 3: But you're going to be in the union, be there

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Speaker 3: in your show. You know. You start training with Marilyn Bagley,

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Speaker 3: which I need and look the part don't let them

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Speaker 3: see you sweat, and by Monday it was my show.

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Speaker 3: So that's episode two of Full House September I think

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Speaker 3: ish nineteen eighty seven, and that's when I meet you

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Speaker 3: lovely ladies and later but you know, so Jodie's five,

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Speaker 3: I'm not five. I'm twenty eight or I don't even know. Asked, well, if.

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Speaker 4: You if you and Dave were the same age. Dave

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Speaker 4: was what twenty four?

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Speaker 1: Well was John? John was? John was twenty four. Dave

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Speaker 1: was baby twenty probably twenty eight, twenty nine. No, they

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Speaker 1: weren't close to thirty. It took them a couple years

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Speaker 1: to get to the third They were babies.

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Speaker 2: When did Danny have his thirtieth birthday? Wasn't that season

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Speaker 2: one that he or maybe not.

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Speaker 1: No, that he had his thirtieth birthday party. No that

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Speaker 1: was was it?

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Speaker 3: No?

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Speaker 1: Maybe not? I don't know, let's ask me. I'm totally

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Speaker 1: imagining things, but I'm.

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Speaker 2: Pretty sure it's that late twenties, late in the twenties,

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Speaker 2: mid late twenties.

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Speaker 1: Okay, yeah, it's.

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Speaker 3: I think we're like either twenty seven twenty something like that,

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Speaker 3: and Dave will know. But anyway, yeah, so when I

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Speaker 3: have a birthday, then Dave has a birthday. I did

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Speaker 3: his podcast, right, yeah, an he goes, Okay, so, Patty,

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Speaker 3: there's this thing I'm doing and would you be on

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Speaker 3: And I go, Dave, I hate being on camera? Like,

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Speaker 3: is this a camera thing? Can I just be like,

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Speaker 3: I don't know behind this this is where I live

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Speaker 3: or behind a script or something. No, no, no, you have

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Speaker 3: to be on camera. Will be gray, You'll be great.

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Speaker 3: You'll be great. You'll be great, And I'm like, I'm

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Speaker 3: not great, but I'll do it.

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Speaker 1: Okay. I love you.

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Speaker 3: I love you, you, you and all of them.

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Speaker 2: Oh guys, you you do. You're fantastic, Like you are

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Speaker 2: so good on camera. I know how much you don't

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Speaker 2: want to be on camera, so I appreciate you coming

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Speaker 2: out of your comfort zone today.

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Speaker 1: And being patty.

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Speaker 4: Let me tell you you have the hair to be

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Speaker 4: on camera. Okay, you have the amazing hair.

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Speaker 1: Your hair is killer. You've always had great hair. Throw

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Speaker 1: that hair off, my friend.

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Speaker 4: Okay, I've got my three strands wrapped up in a

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Speaker 4: little bun right here.

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Speaker 1: Yours looks gorgeous, So more of the hair off.

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Speaker 3: Do you remember signing this? Yes?

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Speaker 1: Yes, the signed signed shirt?

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Speaker 3: Yes?

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Speaker 1: How right?

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Speaker 3: I love it?

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Speaker 1: I said, the how rude shirt? Oh my gosh, yes,

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Speaker 1: So go down memory lane?

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Speaker 3: Is that okay?

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Speaker 1: Yeah, let's go for it.

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Speaker 3: I have props.

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Speaker 1: Bring your props.

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Speaker 3: May not be the most fun because we have to

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Speaker 3: be robots and we have to just deliver the information.

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Speaker 4: You can you tell our audience a little bit about

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Speaker 4: what a script supervisor does, because I have a feeling

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Speaker 4: a lot of people don't know. My best friend, Emma

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Speaker 4: is also a script supervisor, and I have so much

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Speaker 4: respect for them because they literally keep an eye on every.

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Speaker 1: Single thing that's happening.

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Speaker 4: So, yeah, can you just give us a quick synopsis

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Speaker 4: of what a script supervisor does? Yeah?

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Speaker 3: So, say, we have props in people's hands, so I

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Speaker 3: will I keep the master script. I'm working with the producer,

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Speaker 3: the writers, the cast, the director, the creative team on set,

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Speaker 3: both you know a ways. So I'm doing editors notes,

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Speaker 3: I'm doing props, what hand, what to which one? Whatever

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Speaker 3: just so happens to be. Yeah, pull our.

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Speaker 1: House cups love it.

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Speaker 3: So I pulled those because of course less of me

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Speaker 3: more props.

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Speaker 4: So but yeah, yeah, like if some but I have

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Speaker 4: something in the right hand, you know, and again you'd

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Speaker 4: do a second take and sometimes you'd go to pick

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Speaker 4: it up with your left and you'd hear Patty go

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Speaker 4: right hand, right hand, Ody, Tony right now.

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Speaker 3: But that here's the thing. I wasn't saying it to

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Speaker 3: the kids. Guess who I was saying it to Kilts, Bob,

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Speaker 3: Dave John, the Bad Boys.

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Speaker 1: Yeah, yes, yeah, I believe it.

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Speaker 3: So I believe offscript? Can we I think we know

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Speaker 3: who is off script? The five year old, the eleven

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Speaker 3: year old, the ten year old, and then who wasn't

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Speaker 3: the twenty eight year old, twenty four year old than

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Speaker 3: the thirty year old.

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Speaker 4: I mean, to be fair on fuller, the thirty something

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Speaker 4: year old was definitely not off.

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Speaker 1: Script by you know, some of the time. Either, that's true, Okay, here.

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Speaker 1: Here's I have that picture hanging in my room.

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Speaker 4: I love that picture. It's a picture of us picture,

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Speaker 4: one of the cast photos that was done. It's just

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Speaker 4: such a great, warm, true family photo. And what it's

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Speaker 4: an early uh picture? I want to say probably beginning

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Speaker 4: of season two.

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Speaker 1: That looks like early season two. Yeah, Michelle, aren't baby baby?

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Speaker 4: Yeah, that's like season two, I think. And I think

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Speaker 4: that's the outfit I wore for like first day of

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Speaker 4: kindergarten or something.

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Speaker 1: But anyway, yeah, that it was an early thing.

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Speaker 3: You said, I love you Joy.

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Speaker 1: Oh that's so sweet.

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Speaker 3: There's proof.

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Speaker 1: Yep, you to love me again. We still do.

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Speaker 4: But so you as a script supervisor keep an eye

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Speaker 4: on everything and the editor's notes and just all manner

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Speaker 4: of things. But you were also you did that for

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Speaker 4: Fuller the original or for full House the original show,

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Speaker 4: and then you also came back for Fuller House, which

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Speaker 4: to have you there as script supervisor again and like

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Speaker 4: and also to have Joel be directing or you know,

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Speaker 4: it was there were moments where it was like, did

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Speaker 4: we go back in time?

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Speaker 1: It felt like like left. It felt like I've been

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Speaker 1: watching Severance.

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Speaker 4: It felt like Severns where like the elevator closes and

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Speaker 4: then it opens back up and you have no record,

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Speaker 4: like and nothing happened in between, and you're just there

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Speaker 4: again and you're like, oh yeah, we're just here together

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Speaker 4: again like it was.

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Speaker 1: It was crazy, I know, yeah, this is a true story.

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Speaker 3: You may not know this, but I'm I'm living in

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Speaker 3: Colorado because I had I worked a bunch of shows,

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Speaker 3: including friends, including like you know, all the big shows get.

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Speaker 4: Step by step, but uh, I did Mary Kay Nashley's

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Speaker 4: show to a Kind.

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Speaker 3: To a Kind here boo more crops.

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Speaker 4: Oh yeah, yeah, right, very it's a cute, very cute

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Speaker 4: picture of Ashley and Mary Kate so at level.

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Speaker 3: Yeah, but yeah, so I got to do the wonderful

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Speaker 3: thing is that getting that first break to become a

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Speaker 3: writer's assistant with you know, Bill Bickley and Michael Lauren.

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Speaker 3: I had met them on the Love Boat. That was

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Speaker 3: the training ground for me to learn script supervising. I'd

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Speaker 3: worked with the script supervisor who was I believe in

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Speaker 3: her eighties. She had done the Shirley Temple movies. So

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Speaker 3: she was like the real deal. She was an amazing woman.

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Speaker 3: She and I got to be very close. We would

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Speaker 3: go to lunch and she would let me come practice

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Speaker 3: on the set. I would bring my my you know,

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Speaker 3: my script. And I remember Ted Lange saying to me, so, Patty,

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Speaker 3: which hand did I have the origin? And I thought,

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Speaker 3: that's a thing I have to know and I will

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Speaker 3: never forget it. And we're talking about that's probably in

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Speaker 3: gosh before it is probably like nineteen eighty five or

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Speaker 3: something I don't recall, but anyway, those are the moments

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Speaker 3: in script supervising where you're just trying to like, I know,

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Speaker 3: I have to take the notes. I know I have

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Speaker 3: to like watch for dialogue. And there's different shifting priorities

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Speaker 3: depending on the needs of the cast, depending on the

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Speaker 3: needs of that particular episode, what the scene is, with

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Speaker 3: the pages, with the whatever the lines are, so you're

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Speaker 3: multitasking at all levels.

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Speaker 4: And yeah, and I need almost like an idetic memory,

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Speaker 4: like you know what I mean to be able to

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Speaker 4: be like that doesn't look.

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Speaker 3: Right, that doesn't look right. And also what did he say?

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Speaker 3: So if, like on Full House, if the guy started

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Speaker 3: to add lib, well, that's not a bad thing. Sometimes

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Speaker 3: a play on words or something that happens organically in

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Speaker 3: the moment and being maybe a better line or maybe

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Speaker 3: a better choice and maybe a great ault or whatever.

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Speaker 3: I'm writing those things down as quickly as possible. So

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Speaker 3: I work with you know, stand up comedians like Jimmy Fox,

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Speaker 3: Marlon Wayans. Oh gosh, I mean, I don't know. I've

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Speaker 3: been doing this since nineteen eighty one. I got in

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Speaker 3: the business. I got in the Union in eighty seven,

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Speaker 3: amazing and all that. So Miller Boyette for fifteen years

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Speaker 3: never had to look for work.

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Speaker 1: I had right the Miller.

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Speaker 4: If you were in a Miller Boyett show, Bob Boyette

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Speaker 4: and Tom Miller who produced so many hit TV shows

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Speaker 4: and were executive producers, like if you were in that family. Again,

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Speaker 4: it was the time the era of like network TV,

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Speaker 4: and you know, producers that had just these in house things,

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Speaker 4: and you would go from show to show and write

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Speaker 4: for here and direct here, and it was kind of

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Speaker 4: like little mini studio systems almost.

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Speaker 3: You know.

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Speaker 4: It was like everyone had kind of their people that

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Speaker 4: they really like to work with.

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Speaker 3: It was great, and it really did create a family.

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Speaker 3: And it's not just I know that it's a phrase

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Speaker 3: that a lot of shows may adopt, but I have

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Speaker 3: to say it might be the sign of the times.

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Speaker 3: It was the people involved, it was the cast, it

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Speaker 3: was the warmth that we created, the bond that we created.

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Speaker 3: And I have to say it started the day that

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Speaker 3: I started on that set. It was on a Monday,

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Speaker 3: and here I am. I have the big ship to steer.

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Speaker 3: I have kids that don't do continuity. I barely know

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Speaker 3: my job. I don't know tape. And there's Joel's wig

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Speaker 3: going we have turtles and bads.

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Speaker 4: Yeah, and Joel's yelling at everyone right right, And all

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Speaker 4: I know is is that means I have to say

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Speaker 4: something or do something or whatever.

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Speaker 3: And Patty stop laughing. You're just encouraging them. And it's

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Speaker 3: like we'd be in the booth and He's like, we

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Speaker 3: have turtles and beds. Just tell them we have to

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Speaker 3: do they have to read the script. Tell tell John,

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Speaker 3: tell Bob, tell Dave. Stop messing around. We have turtles

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Speaker 3: and bags, we have audience, we have people, and you're

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Speaker 3: and you're setting a bag example for the the girls

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Speaker 3: and the kids and all that. I'm like, yeah, you are,

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Speaker 3: that's right, Joel, they are. But he goes, why are

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Speaker 3: you laughing?

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Speaker 1: I go because it's funny, funny.

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Speaker 3: We'd turtles and bags dude, they're all listening to you.

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Speaker 1: No, no, they were never listening to Bob.

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Speaker 3: It was chaos, controlled chaos. And then the kids would

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Speaker 3: come on and we'd go, oh, someone knows the lines,

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Speaker 3: actually knows what the scenes are. We're not just like

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Speaker 3: talking about their hair and girls and dates and like,

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Speaker 3: oh my gosh, the girl. The boys were funny, but

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Speaker 3: I have to say, the boys, okay, John, Dave and Bob,

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Speaker 3: that's shot. We're all like, they're like brothers.

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Speaker 4: Yeah, and you guys all kind of grew up together,

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Speaker 4: you know, in varying ways we all did.

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Speaker 3: Yeah, And I I wasn't a mom, but I became

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Speaker 3: protective of the kids. I have on every show I've

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Speaker 3: particularly on Full House because here comes Jody's she's off books,

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Speaker 3: she's amazing, she's like, can have fun. She's listening to boys,

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Speaker 3: and I'm like, like, guys, okay, see them. You're saying

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Speaker 3: things that they shouldn't hear, so chill out. That's what

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Speaker 3: I became mom. And they're like, ooh, here's a part

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Speaker 3: of Patty and.

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Speaker 2: We don't know you remember our moms would sit in

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Speaker 2: the bleachers for run throughs and rehearsals and then they

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Speaker 2: stand up and be like bomb, right, Dave.

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Speaker 1: They started going off on their inappropriate tangents.

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Speaker 3: Right right. So sometimes if you know, they're busy doing whatever,

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Speaker 3: and I happen to be on the set and we're

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Speaker 3: rehearsing just before the cameras come, and you know, I

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Speaker 3: don't know how much your audience knows, but there are

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Speaker 3: three days of rehearsal and we're doing run throughs, and

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Speaker 3: I've got the master script and we're changing lines, and

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Speaker 3: I put that into my script and it goes. My

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Speaker 3: script goes to the writers of Franklin, the producers, et cetera.

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Speaker 3: They talk about what they want to adopt from the

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Speaker 3: run throughs, and I notate the changes in stage direction,

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Speaker 3: the changes in dialogue, any notes that we have, the

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Speaker 3: director may have, the cast may have in terms of

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Speaker 3: maybe this could work better, and here's an idea, this

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Speaker 3: could be an alt whatever. So I'm writing all this down.

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Speaker 3: That's why I have arthritis kids. Okay, at my age,

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Speaker 3: this is what I but I'm still doing it. I'm

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Speaker 3: I'm semi retired now, but uh yeah, I just work

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Speaker 3: this week.

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Speaker 1: You keep getting sucked back in. You keep saying you're

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Speaker 1: retired about these businesses. You're like, no, no, I'm done.

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Speaker 4: Wait, I have one more in me, you know, yeah, serious, Like.

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Speaker 3: The call goes and then like this cast members can

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Speaker 3: be ond like dang it.

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Speaker 6: Okay, yes, okay, I'll go right four hours on the freeway,

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Speaker 6: can hardly wait, let's go.

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Speaker 2: Let's speaks to your talent and your personality, like everybody

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Speaker 2: just wants to around on set because you're so good

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Speaker 2: at what you do.

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Speaker 1: You're so professional, but you're also you're.

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Speaker 2: Patty, like you're everyone's friend, and so like, no wonder

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Speaker 2: they keep roping you back into this business.

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Speaker 1: You'll never retire fully Patty, you just can't. Nobody will

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Speaker 1: let you. Yeah, I'm sorry, you're in it.

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Speaker 3: Well if you guys do fullest house. Okay, let's book

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Speaker 3: this before I become ninety, right, can we agree on that?

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Speaker 3: Right now?

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Speaker 4: One more time we really got with we have a

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Speaker 4: limited window now.

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Speaker 7: Yeah, hey they're folks.

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Speaker 6: It's TJ.

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Speaker 1: Holmes and Amy Roeboch. Don't miss Morning Run every weekday

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Speaker 1: morning Monday through Friday.

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Speaker 7: Yeah, we'll be covering the biggest stories, everything you need

384
00:19:46,200 --> 00:19:49,159
Speaker 7: to know, breaking news, politics, pop culture on our daily

385
00:19:49,320 --> 00:19:52,280
Speaker 7: podcast Morning Run. And of course it has a little

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Speaker 7: bit of our own personal flare to it.

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Speaker 3: Yeah, that's right.

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Speaker 1: Make sure to subscribe now.

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Speaker 3: So every day when you wake up, you've got the

390
00:19:58,800 --> 00:20:00,640
Speaker 3: Morning Run waiting for you.

391
00:20:00,680 --> 00:20:03,600
Speaker 7: Listen to Morning Run wherever you get your podcasts.

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Speaker 2: So you said you take notes from the editor. What

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Speaker 2: notes are he I've always wondered this, What notes is

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Speaker 2: he telling you? Is he telling you like, oh, the

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Speaker 2: take one was better than take two? Or is he

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Speaker 2: telling you cut this part because we're long on?

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Speaker 3: Like?

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Speaker 1: What notes do the editors give you?

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Speaker 3: So it's not really I'm not taking notes from the editor.

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Speaker 3: I am taking notes for the editor for the editor. Okay,

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Speaker 3: So I'm taking my notes that I'm taking on rehearsal days.

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Speaker 3: So whether okay, in the beginning, there was a production

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Speaker 3: meeting than a read. So that's the first time we've

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Speaker 3: all gotten together. And now we're taking what's written on

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Speaker 3: the page and putting it to life. Right, So production meeting,

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Speaker 3: the crew, all the department heads talk about the necessities

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Speaker 3: of that particular episode. Then the cast comes in. I

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Speaker 3: time the reading so that we can have an understanding

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Speaker 3: of or a generalization for are we long? We have

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Speaker 3: a format time on the show, So say like it's

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Speaker 3: twenty one minutes, forty five seconds or whatever it is.

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Speaker 3: I know that ahead of time, so when I go

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Speaker 3: to time the reading, I let once we finish the

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Speaker 3: read and the network gives their notes and so forth,

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Speaker 3: I'll let the producers know. Not Jeff Franklin, Bob Boyette,

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Speaker 3: Tom Miller and whoever. Whatever show I'm doing, I just

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Speaker 3: did it this past week. This is how long we are.

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Speaker 3: If there's a dance number, we could tighten up. So

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Speaker 3: I'm trying to visualize and give an estimate because as

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Speaker 3: a script supervisor, you don't get to be wrong. You

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Speaker 3: have to be a robot, so I can be. In fact,

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00:21:43,640 --> 00:21:48,280
Speaker 3: it's starting to seep into my personality because I've spent

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Speaker 3: more waking hours on a sound stage than I have

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Speaker 3: in real life.

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Speaker 1: Truly, I believe it. I believe it.

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Speaker 3: I'm the nightmare that it. If someone says, oh yeah, yeah,

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Speaker 3: like in real life, yeah I told you to, I

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Speaker 3: go no, actually you didn't. You said you were wearing this,

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Speaker 3: you had an apple in your right hand, and they're like,

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Speaker 3: oh gosh.

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Speaker 1: Oh yeah, because you can't turn it off.

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Speaker 3: I can't turn it off. It's who I become you know,

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Speaker 3: so I remember, I remember of visualization, and I'm a

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Speaker 3: photographer and I do art now, so because it's a

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Speaker 3: visual medium. So anyway, so some of those things have

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00:22:35,119 --> 00:22:40,520
Speaker 3: crept into my my time now that I have time

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Speaker 3: besides just reading scripts, being on stage and so forth,

438
00:22:45,359 --> 00:22:47,880
Speaker 3: I'm starting to do other things, which is really fun

439
00:22:48,240 --> 00:22:54,960
Speaker 3: because you can use my organization and visual skills towards

440
00:22:55,160 --> 00:22:59,400
Speaker 3: a new medium that is fun and different and exercise

441
00:22:59,440 --> 00:23:00,600
Speaker 3: a different part in my brain.

442
00:23:02,119 --> 00:23:05,880
Speaker 2: Yeah, those skills apply, but just to a completely different medium.

443
00:23:05,920 --> 00:23:06,800
Speaker 1: Oh that's so cool.

444
00:23:06,840 --> 00:23:07,040
Speaker 2: Fun.

445
00:23:07,119 --> 00:23:09,919
Speaker 3: And then I can turn it back on. When someone says,

446
00:23:09,960 --> 00:23:12,360
Speaker 3: can you come and be at Warner Brothers at eight

447
00:23:12,400 --> 00:23:15,280
Speaker 3: in the morning, I go, yeah, I can, And then

448
00:23:15,280 --> 00:23:16,760
Speaker 3: I do that. I turned her back on.

449
00:23:17,080 --> 00:23:18,520
Speaker 1: And I called her right, not me.

450
00:23:19,359 --> 00:23:23,440
Speaker 3: It's that skill set. And then then once they say

451
00:23:23,520 --> 00:23:25,399
Speaker 3: rap that, I go back to being an idiot. You know,

452
00:23:25,520 --> 00:23:25,800
Speaker 3: at the.

453
00:23:25,760 --> 00:23:28,920
Speaker 1: Aage, what is as an actor?

454
00:23:29,000 --> 00:23:31,480
Speaker 2: I've always wondered, what is something we can do to

455
00:23:31,560 --> 00:23:35,400
Speaker 2: make your job easier? Because I'm sure, I'm sure, I've

456
00:23:35,400 --> 00:23:36,960
Speaker 2: sure a lot of actors out there that do things

457
00:23:36,960 --> 00:23:38,320
Speaker 2: that you're just like, oh my god. I have told

458
00:23:38,320 --> 00:23:40,040
Speaker 2: them fifty times to pick up the cup with their

459
00:23:40,119 --> 00:23:41,359
Speaker 2: right hand or whatever.

460
00:23:41,520 --> 00:23:43,439
Speaker 1: Is there something in particular.

461
00:23:43,240 --> 00:23:46,840
Speaker 2: That's particularly challenging for your job that you're like, if

462
00:23:46,840 --> 00:23:48,240
Speaker 2: I could just get the actors to do this, it

463
00:23:48,280 --> 00:23:49,720
Speaker 2: would make my job so much easier.

464
00:23:50,160 --> 00:23:54,399
Speaker 3: Well, okay, so the funny thing about full House is

465
00:23:54,440 --> 00:23:56,840
Speaker 3: that everybody had the chops to do all of it.

466
00:23:56,920 --> 00:23:59,880
Speaker 3: You all just had it. And I have to use

467
00:24:00,040 --> 00:24:03,600
Speaker 3: Jodi and Candice from the beginning, and the babies to

468
00:24:03,680 --> 00:24:06,679
Speaker 3: a large extent. And then did you come on? Like

469
00:24:06,760 --> 00:24:09,080
Speaker 3: halfway through Andrew, did you come in?

470
00:24:09,160 --> 00:24:10,080
Speaker 1: I was in season one.

471
00:24:10,280 --> 00:24:12,560
Speaker 2: I did five episodes of season one, so I came

472
00:24:12,600 --> 00:24:14,760
Speaker 2: on I think episode three of season one.

473
00:24:14,880 --> 00:24:17,879
Speaker 3: So by the time episode three I had a feeling

474
00:24:17,960 --> 00:24:20,600
Speaker 3: for like who was good with props, who was good

475
00:24:20,640 --> 00:24:26,960
Speaker 3: with dialogue? Who just messed around all the time? The boys? Yeah,

476
00:24:27,040 --> 00:24:32,320
Speaker 3: I'm sure not anybody else. The boys decided that once

477
00:24:32,359 --> 00:24:36,359
Speaker 3: they got comfortable, less about the work and more about playtime,

478
00:24:36,400 --> 00:24:41,840
Speaker 3: which you know, to be fair, was part of the

479
00:24:41,880 --> 00:24:47,240
Speaker 3: work because they became brothers, they became the bond.

480
00:24:47,440 --> 00:24:50,160
Speaker 1: Was that all of that made it.

481
00:24:50,160 --> 00:24:53,640
Speaker 3: It made it hard for George Wick and every other director.

482
00:24:54,160 --> 00:24:56,679
Speaker 8: Joel makes it hard for Joel's wick and I love Joel,

483
00:24:56,760 --> 00:24:59,399
Speaker 8: you know what I mean, Yes, and he has mellowed

484
00:24:59,440 --> 00:25:01,560
Speaker 8: out in his ow age, but Joel, Joel made it

485
00:25:01,560 --> 00:25:04,359
Speaker 8: hard for Joel, so you know, it didn't take much.

486
00:25:04,520 --> 00:25:08,399
Speaker 8: And it was the combination of those four people was

487
00:25:09,240 --> 00:25:13,280
Speaker 8: hilarious to watch because, yeah, Joel was like, we have

488
00:25:13,359 --> 00:25:16,040
Speaker 8: to do it right now, and those were three people

489
00:25:16,040 --> 00:25:18,080
Speaker 8: who were like, we're gonna, We're going to get there,

490
00:25:18,119 --> 00:25:18,480
Speaker 8: We'll get there.

491
00:25:18,520 --> 00:25:22,120
Speaker 2: It's like a sitcom inside of a sitcom, rightcom watching

492
00:25:22,280 --> 00:25:22,960
Speaker 2: exactly so.

493
00:25:23,000 --> 00:25:25,879
Speaker 3: It could be its own podcast for sure. Just the

494
00:25:25,960 --> 00:25:29,640
Speaker 3: cameras and it's like, oh my gosh, that's what really happened.

495
00:25:29,960 --> 00:25:32,239
Speaker 3: But that's the fun thing about my job. I have

496
00:25:32,280 --> 00:25:35,359
Speaker 3: to say. The thing that really attracted me towards wanting

497
00:25:35,400 --> 00:25:39,200
Speaker 3: to be in that particular position was, you know, originally

498
00:25:39,200 --> 00:25:41,679
Speaker 3: we were the secretaries of the set. That's just what

499
00:25:41,720 --> 00:25:44,400
Speaker 3: it was. The women were high heels and they wore

500
00:25:44,520 --> 00:25:47,840
Speaker 3: dresses and they looked like you know, secretaries. They just

501
00:25:47,880 --> 00:25:50,240
Speaker 3: took them from the office, placed them on the set

502
00:25:50,359 --> 00:25:55,840
Speaker 3: and they took notes. Is it called stenograph what was the.

503
00:25:58,000 --> 00:26:00,640
Speaker 4: What was Yeah, I believe like a stenosopher like those

504
00:26:00,760 --> 00:26:04,480
Speaker 4: all like yeah, I scnographed the like it takes it

505
00:26:04,560 --> 00:26:07,480
Speaker 4: in like shorthand official shortthand, which is there is like

506
00:26:07,520 --> 00:26:08,040
Speaker 4: a whole.

507
00:26:07,960 --> 00:26:09,239
Speaker 1: Language that you have to learn a short end.

508
00:26:09,280 --> 00:26:11,359
Speaker 3: Yeah, so that's what they used to do. And so

509
00:26:11,520 --> 00:26:15,520
Speaker 3: there's some like pictures of you know, the beginning when

510
00:26:17,560 --> 00:26:19,840
Speaker 3: they would be working with the cast or they were

511
00:26:19,920 --> 00:26:22,400
Speaker 3: off next to the director and everybody was wearing suits

512
00:26:22,400 --> 00:26:24,879
Speaker 3: and it was very polite and everybody said sir and

513
00:26:24,920 --> 00:26:27,119
Speaker 3: all that kind of things. By the time we jumped on,

514
00:26:27,640 --> 00:26:29,680
Speaker 3: it was more casual. I got, I got to wear jeans.

515
00:26:29,720 --> 00:26:31,920
Speaker 3: I went, okay, I wanted. I want the job where

516
00:26:31,960 --> 00:26:35,000
Speaker 3: I can wear jeans. I want the job where I

517
00:26:35,040 --> 00:26:35,600
Speaker 3: can laugh.

518
00:26:35,960 --> 00:26:36,199
Speaker 6: I can.

519
00:26:36,600 --> 00:26:40,480
Speaker 3: I love the fact that we later did travel. We

520
00:26:40,600 --> 00:26:43,359
Speaker 3: went to Hawaii, we went to Maui, we went to

521
00:26:43,760 --> 00:26:48,840
Speaker 3: Oahu on step by step. We went to Florida pull

522
00:26:48,880 --> 00:26:54,800
Speaker 3: our house. We went to Tokyo, which, oh the coolest.

523
00:26:54,640 --> 00:26:58,080
Speaker 1: Right right, I get we have we have traveled a

524
00:26:58,080 --> 00:26:59,560
Speaker 1: little bit of the world together.

525
00:27:00,680 --> 00:27:02,600
Speaker 3: Because sitcoms don't usually get to do that.

526
00:27:02,800 --> 00:27:06,879
Speaker 2: No, oh, it's it's it's scary just going across the street,

527
00:27:07,080 --> 00:27:10,560
Speaker 2: like much less across the ocean, like never leave the

528
00:27:10,640 --> 00:27:11,640
Speaker 2: set that's the same.

529
00:27:11,720 --> 00:27:13,360
Speaker 1: That's what they say sitcoms don't.

530
00:27:13,280 --> 00:27:16,480
Speaker 4: Leave the studio. Yeah, the of a sitcom is don't

531
00:27:16,560 --> 00:27:18,680
Speaker 4: take it out of the set because then everything falls apart.

532
00:27:19,160 --> 00:27:21,720
Speaker 3: Yeah. True. So so anyway, I don't know if that

533
00:27:21,880 --> 00:27:24,200
Speaker 3: the answers all your questions, but I have really fun

534
00:27:24,280 --> 00:27:26,119
Speaker 3: pictures that I don't think you too have seen it.

535
00:27:27,320 --> 00:27:28,400
Speaker 1: Yeah, I want to see.

536
00:27:29,320 --> 00:27:33,000
Speaker 3: Let's see Jeff's notes talk about So this was on

537
00:27:33,160 --> 00:27:37,359
Speaker 3: Fuller but when Fuller wrapped, Jeff would always take notes

538
00:27:37,480 --> 00:27:40,960
Speaker 3: like next to me, Jeff Franklin, producer and I don't

539
00:27:40,960 --> 00:27:43,840
Speaker 3: know if your audience knows all the names, but I'm

540
00:27:44,560 --> 00:27:48,439
Speaker 3: executive producer. The reason all of this exists is because

541
00:27:48,480 --> 00:27:52,560
Speaker 3: of this guy, Jeff Franklin created the show. And I'm

542
00:27:52,680 --> 00:27:54,960
Speaker 3: from what I understand now that I know the backstory.

543
00:27:55,040 --> 00:27:59,040
Speaker 3: Spending time more time with Jeff in Tokyo, I've got

544
00:27:59,400 --> 00:28:01,399
Speaker 3: time to add ask him. I go, how did you

545
00:28:01,600 --> 00:28:04,720
Speaker 3: do it? How did you shop this this show? And

546
00:28:04,960 --> 00:28:08,800
Speaker 3: he said it was hard. So many passed. I couldn't

547
00:28:08,800 --> 00:28:11,959
Speaker 3: believe it came full house, fuller house, they passed, they

548
00:28:12,000 --> 00:28:13,000
Speaker 3: passed by.

549
00:28:14,040 --> 00:28:15,320
Speaker 1: I mean, yeah, thank.

550
00:28:16,680 --> 00:28:19,720
Speaker 3: You said yes, And Miller Boyette, was you know so

551
00:28:19,920 --> 00:28:22,880
Speaker 3: behind it, and they tried to get on as many

552
00:28:23,040 --> 00:28:25,600
Speaker 3: of the original crew as they could, well most of

553
00:28:25,680 --> 00:28:28,560
Speaker 3: them probably had long retired. But I went, I'll do it,

554
00:28:29,480 --> 00:28:31,600
Speaker 3: I'll do it. Pick me, pick me, pick me. So

555
00:28:31,960 --> 00:28:34,920
Speaker 3: that's how I got on that. But these are Jeff's notes,

556
00:28:35,000 --> 00:28:38,520
Speaker 3: some of the notes that he would jot down during shooting.

557
00:28:39,200 --> 00:28:43,440
Speaker 1: And you know, okay, we read I can't read his handwriting.

558
00:28:43,520 --> 00:28:44,120
Speaker 1: What does it say?

559
00:28:44,280 --> 00:28:44,320
Speaker 2: Like?

560
00:28:44,400 --> 00:28:45,480
Speaker 1: Can you can you decide?

561
00:28:47,200 --> 00:28:50,000
Speaker 3: I could never. He'd be like, okay, Patty, here, can

562
00:28:50,040 --> 00:28:52,680
Speaker 3: you write that down? And go I can barely see.

563
00:28:53,120 --> 00:28:54,440
Speaker 3: Are you sure you're not a doctor?

564
00:29:00,360 --> 00:29:02,400
Speaker 1: Co rest in peace?

565
00:29:02,680 --> 00:29:03,080
Speaker 6: I don't know.

566
00:29:03,320 --> 00:29:06,880
Speaker 1: He's probably so he's writing notes for you or writing

567
00:29:06,920 --> 00:29:07,840
Speaker 1: notes to himself.

568
00:29:09,720 --> 00:29:13,400
Speaker 3: So he would be we would be standing. There's a

569
00:29:13,520 --> 00:29:17,840
Speaker 3: bank of monitors, the script advisors here, Jeff would be

570
00:29:17,960 --> 00:29:21,360
Speaker 3: next to me or the director depending on Sometimes Jeff

571
00:29:21,360 --> 00:29:24,640
Speaker 3: would direct, and then the executive producers and so forth,

572
00:29:24,720 --> 00:29:28,880
Speaker 3: and then the network behind us and all that. So

573
00:29:29,080 --> 00:29:32,720
Speaker 3: he would be so focused. See Jeff is also wearing

574
00:29:33,480 --> 00:29:36,960
Speaker 3: lots of different hats at the same time he's executive producing.

575
00:29:37,480 --> 00:29:40,920
Speaker 3: He's thinking in terms of actors, the relationships, what's happening

576
00:29:40,960 --> 00:29:44,760
Speaker 3: on camera, what's happening technically, what's happening on each take

577
00:29:44,960 --> 00:29:47,680
Speaker 3: every time we roll. There's a myriad of things that

578
00:29:47,800 --> 00:29:52,280
Speaker 3: he's thinking about. He's also writing alts. He's thinking about

579
00:29:52,400 --> 00:29:55,880
Speaker 3: new lines, new story punches. And then in front of

580
00:29:55,920 --> 00:29:58,719
Speaker 3: the audience, you know, between take one and take two,

581
00:29:58,920 --> 00:30:03,080
Speaker 3: take two, take three, whatever we corral together. I'm listening

582
00:30:03,160 --> 00:30:06,680
Speaker 3: and he's telling his team, meaning the dialog coach, the

583
00:30:06,720 --> 00:30:10,680
Speaker 3: script supervisor, the first A. D. So forth, some of

584
00:30:10,800 --> 00:30:16,640
Speaker 3: his pitches for how we might change the scene, the dialogue,

585
00:30:17,040 --> 00:30:21,000
Speaker 3: the action, make it funny, faster, maybe an alt. This

586
00:30:21,200 --> 00:30:23,800
Speaker 3: is something the network would like, maybe we should take

587
00:30:23,840 --> 00:30:27,080
Speaker 3: this joke out. It's a little racy, Let's give him

588
00:30:27,240 --> 00:30:32,160
Speaker 3: another choice or whatever. That's done as quickly as humanly possible.

589
00:30:32,240 --> 00:30:35,760
Speaker 4: It's like it's like a NFL sideline huddle. Like you're

590
00:30:35,880 --> 00:30:38,200
Speaker 4: in front of an audience. You're you know, you've got

591
00:30:38,320 --> 00:30:41,840
Speaker 4: limited time, and yeah, it's the huddle, and you're like, wait,

592
00:30:41,920 --> 00:30:42,320
Speaker 4: what about this?

593
00:30:42,480 --> 00:30:42,880
Speaker 1: What about this?

594
00:30:43,080 --> 00:30:46,360
Speaker 4: There's writers thrown out jokes and you know, and you're

595
00:30:46,480 --> 00:30:48,880
Speaker 4: changing it on the fly, which is part of the

596
00:30:49,000 --> 00:30:51,600
Speaker 4: fun I think of the audience show totally.

597
00:30:52,200 --> 00:30:55,760
Speaker 1: Yeah, is that it is. There is that live have

598
00:30:55,960 --> 00:30:57,680
Speaker 1: to go now sort of element to it.

599
00:30:57,800 --> 00:31:01,640
Speaker 3: Yeah, and that's the part that that say camera episodic

600
00:31:01,840 --> 00:31:07,400
Speaker 3: and feature relax it only exists in the multicam or man.

601
00:31:07,600 --> 00:31:09,880
Speaker 3: So that's the fun I get. So that's why I

602
00:31:10,000 --> 00:31:13,000
Speaker 3: chose that format. I was. I was always thinking I

603
00:31:13,120 --> 00:31:15,800
Speaker 3: was going to do feature. I'm gonna do episodic, I'm

604
00:31:15,840 --> 00:31:18,160
Speaker 3: gonna travel, I'm gonna work hard, I'm gonna work forever.

605
00:31:18,320 --> 00:31:21,240
Speaker 3: And then I went, wait, sitcoms. I only have to

606
00:31:21,320 --> 00:31:25,040
Speaker 3: work these many days, these many hours. Get to travel,

607
00:31:25,360 --> 00:31:28,880
Speaker 3: have fun, laugh all day, and work with a live

608
00:31:28,960 --> 00:31:31,920
Speaker 3: audience and a cast I love. Sign me up and

609
00:31:32,040 --> 00:31:34,560
Speaker 3: I'll never leave. And I never did. I'm still there.

610
00:31:35,040 --> 00:31:38,560
Speaker 4: So it's I mean, I always say sitcom life is

611
00:31:39,200 --> 00:31:41,040
Speaker 4: such a great gig.

612
00:31:41,440 --> 00:31:44,760
Speaker 1: What was such a great gig in this business for

613
00:31:44,920 --> 00:31:46,240
Speaker 1: so many years? Because yeah, it was.

614
00:31:46,760 --> 00:31:50,400
Speaker 4: You really did build a team, a family, like you

615
00:31:50,480 --> 00:31:53,000
Speaker 4: were with these people nine months out of the year. Yeah,

616
00:31:54,640 --> 00:31:58,080
Speaker 4: But oh my gosh, what got you in? What made

617
00:31:58,120 --> 00:31:59,880
Speaker 4: you want to get into scriptureprovising?

618
00:32:00,160 --> 00:32:02,800
Speaker 3: You know, I was just I think the easiest thing

619
00:32:02,920 --> 00:32:06,360
Speaker 3: for me at first was ruling out what I didn't

620
00:32:06,400 --> 00:32:08,840
Speaker 3: want to do. I didn't want to be stuffed in

621
00:32:09,320 --> 00:32:11,760
Speaker 3: because I had been a writer's assistant and I did

622
00:32:12,040 --> 00:32:16,040
Speaker 3: enjoy working with you know, being in the writer's room

623
00:32:16,240 --> 00:32:22,719
Speaker 3: and hearing how ideas go from nothing to something. They build.

624
00:32:23,000 --> 00:32:27,760
Speaker 3: Another writer comes up with another angle. The executive producer

625
00:32:27,960 --> 00:32:31,480
Speaker 3: then corrals the best ideas. I'm typing them as fast

626
00:32:31,520 --> 00:32:34,360
Speaker 3: as possible, or back in the day, writing them on

627
00:32:35,040 --> 00:32:38,040
Speaker 3: it right, and then they we go and type the script.

628
00:32:38,200 --> 00:32:42,840
Speaker 3: These days, it's all you know, monitors and digital lighting.

629
00:32:42,960 --> 00:32:46,360
Speaker 3: I'm on an iPad. I went from writing typing things

630
00:32:46,400 --> 00:32:52,120
Speaker 3: on selectric typewriters now I'm iPad you know, of course, yes, yeah,

631
00:32:52,240 --> 00:32:55,440
Speaker 3: So that our industry evolved as well, especially when Kobe

632
00:32:55,520 --> 00:33:01,120
Speaker 3: came along the multiicam. I was working on series with

633
00:33:01,320 --> 00:33:05,960
Speaker 3: Jimmie Foxx for Netflix and we were one of, if

634
00:33:06,080 --> 00:33:11,360
Speaker 3: not the first show coming back during COVID. So we

635
00:33:11,520 --> 00:33:16,920
Speaker 3: went down on March thirteenth and they said, leave your stuff,

636
00:33:17,000 --> 00:33:18,400
Speaker 3: we'll be back in a couple of weeks.

637
00:33:19,360 --> 00:33:25,440
Speaker 1: Right, cut too, smash cut, smash cut to the end of.

638
00:33:25,880 --> 00:33:28,680
Speaker 3: June, and so I get that call. It's like, okay,

639
00:33:28,680 --> 00:33:31,400
Speaker 3: we're going to start, but I'm thinking, okay, I bet

640
00:33:31,440 --> 00:33:33,880
Speaker 3: you anything, Netflix is going to want to be green,

641
00:33:34,160 --> 00:33:38,000
Speaker 3: meaning a green set will be without scripts. So that's

642
00:33:38,120 --> 00:33:41,080
Speaker 3: you know, that was the idea because we didn't know

643
00:33:41,480 --> 00:33:45,200
Speaker 3: if Remember that was a thing where during COVID people

644
00:33:45,440 --> 00:33:47,920
Speaker 3: didn't want to touch things and they didn't want to

645
00:33:48,000 --> 00:33:53,120
Speaker 3: like share surfaces and whatever, and of course the networks

646
00:33:53,240 --> 00:33:56,400
Speaker 3: and the studios just wanted to keep everybody safe and

647
00:33:56,560 --> 00:34:00,320
Speaker 3: keep their cast safe and keep in business and keeping

648
00:34:00,440 --> 00:34:02,720
Speaker 3: and all that. So let's all try to do what

649
00:34:02,840 --> 00:34:05,880
Speaker 3: we can to make that happen and to keep all

650
00:34:05,920 --> 00:34:09,640
Speaker 3: of us employed. So that's what we did. So I learned.

651
00:34:09,920 --> 00:34:13,640
Speaker 3: I went from pen and paper script supervisor to learning

652
00:34:13,680 --> 00:34:18,239
Speaker 3: iPad and you know, there's a couple other in my

653
00:34:18,680 --> 00:34:21,120
Speaker 3: genre that do it, but that was more of a

654
00:34:21,280 --> 00:34:25,680
Speaker 3: thing for the episodic and the feature script supervisors. They

655
00:34:25,719 --> 00:34:27,239
Speaker 3: are really good at it, but they also do a

656
00:34:27,280 --> 00:34:33,120
Speaker 3: different format. Our notes look different from their notes. So

657
00:34:33,320 --> 00:34:38,560
Speaker 3: I've done I've done features in between when things got slow,

658
00:34:39,840 --> 00:34:43,480
Speaker 3: but my bread and butter has been the multi camera sitcoms,

659
00:34:43,560 --> 00:34:45,920
Speaker 3: so that's what I know best. It was easier for

660
00:34:46,000 --> 00:34:49,680
Speaker 3: me to adopt. Netflix was very happy that I did

661
00:34:49,800 --> 00:34:52,920
Speaker 3: so proactively, and then we started the end of June,

662
00:34:53,080 --> 00:34:58,759
Speaker 3: and it was like, okay, tracker watches Ppe testing at home,

663
00:34:59,040 --> 00:35:02,600
Speaker 3: filling out all this stuff, you know, everything on the internet.

664
00:35:02,680 --> 00:35:06,200
Speaker 3: We need to do health checks and take your temperature

665
00:35:06,360 --> 00:35:09,200
Speaker 3: and all that. And as that evolved as well. So

666
00:35:10,160 --> 00:35:12,800
Speaker 3: I had done. I had done three years back to

667
00:35:12,920 --> 00:35:18,000
Speaker 3: back on those shows wearing Ppe frantic. It was a

668
00:35:18,080 --> 00:35:23,240
Speaker 3: lot wearing six layers and lexiglass on my podium.

669
00:35:24,400 --> 00:35:29,440
Speaker 1: Right, wow, fun kids. Yeah, I can only imagine trying

670
00:35:29,480 --> 00:35:32,919
Speaker 1: to hear alone. You're like, what what was the joke?

671
00:35:33,040 --> 00:35:33,640
Speaker 1: What did you say?

672
00:35:33,880 --> 00:35:35,880
Speaker 3: Yeah? So you know, And I felt bad for the

673
00:35:35,960 --> 00:35:39,040
Speaker 3: actors because all they know is that now they've got

674
00:35:39,160 --> 00:35:43,319
Speaker 3: like iPads in their hands. Now some actors they want

675
00:35:43,760 --> 00:35:44,880
Speaker 3: scripts in their hands.

676
00:35:45,800 --> 00:35:48,000
Speaker 1: Yeah, I need paper. I have to touch it.

677
00:35:48,160 --> 00:35:51,320
Speaker 4: I am tactileed if it's I don't use a script

678
00:35:51,360 --> 00:35:54,719
Speaker 4: iPad because if I do, it does not soak into

679
00:35:54,800 --> 00:35:55,120
Speaker 4: my brain.

680
00:35:55,239 --> 00:35:58,080
Speaker 1: Something about the touching of the paper. Same.

681
00:36:06,120 --> 00:36:09,480
Speaker 5: You met Michelle Lally in the hit Bravo show The Valley.

682
00:36:09,719 --> 00:36:12,800
Speaker 5: You met me literally during the most difficult chapter in

683
00:36:12,960 --> 00:36:14,840
Speaker 5: my life. Now it's time for you to meet the

684
00:36:15,040 --> 00:36:18,600
Speaker 5: real me Michelle Sennie. Yes, I change my name and

685
00:36:18,680 --> 00:36:20,719
Speaker 5: I want you to follow me on my journey to

686
00:36:21,000 --> 00:36:24,640
Speaker 5: the pursuit of Sassiness. So much has happened to me before, during,

687
00:36:24,680 --> 00:36:28,000
Speaker 5: and after the show. Before you can really understand the

688
00:36:28,160 --> 00:36:30,440
Speaker 5: eight weeks that you saw on TV, I think you

689
00:36:30,560 --> 00:36:32,960
Speaker 5: have to know what was going on from the very beginning,

690
00:36:33,160 --> 00:36:36,359
Speaker 5: from being raised by two immigrant parents, paying my own

691
00:36:36,400 --> 00:36:39,600
Speaker 5: way through college and working at Hooters, to starting my

692
00:36:39,719 --> 00:36:43,760
Speaker 5: own real estate empire, getting married, having a baby during COVID,

693
00:36:44,040 --> 00:36:47,200
Speaker 5: to that very same marriage falling apart on national TV,

694
00:36:47,640 --> 00:36:50,640
Speaker 5: to losing my mom to eventually finding love again.

695
00:36:50,880 --> 00:36:53,000
Speaker 1: There is so much to unpack and share.

696
00:36:53,320 --> 00:36:56,399
Speaker 5: I'm on the pursuit of happiness and most importantly, I'm

697
00:36:56,440 --> 00:36:59,840
Speaker 5: on the pursuit of sassiness. Listen to Pursuit of Sassiness

698
00:37:00,000 --> 00:37:04,160
Speaker 5: starting on March seventeenth on the iHeartRadio app, Apple Podcasts,

699
00:37:04,320 --> 00:37:05,880
Speaker 5: or wherever you get your podcasts.

700
00:37:06,360 --> 00:37:08,759
Speaker 3: So I went I had a full house script. I don't,

701
00:37:09,480 --> 00:37:12,200
Speaker 3: but I did keep a friend's script.

702
00:37:12,520 --> 00:37:15,880
Speaker 1: Awesome, Oh cool? Which one? Which? Which episode?

703
00:37:16,560 --> 00:37:19,480
Speaker 3: It's well? I was I did season seven. It's called

704
00:37:19,520 --> 00:37:23,319
Speaker 3: the one with Ross's Library book and it oh okay,

705
00:37:23,360 --> 00:37:25,400
Speaker 3: episode ten of season seven.

706
00:37:25,960 --> 00:37:27,200
Speaker 1: And I think I was in it.

707
00:37:28,239 --> 00:37:29,160
Speaker 4: Oh what?

708
00:37:29,680 --> 00:37:30,759
Speaker 1: I have to go back and watch this.

709
00:37:31,080 --> 00:37:33,080
Speaker 3: I think I'm in the cutting I'm on the cutting

710
00:37:33,160 --> 00:37:37,680
Speaker 3: room floor. But okay' back because that's what happens.

711
00:37:37,800 --> 00:37:37,920
Speaker 1: Right.

712
00:37:38,960 --> 00:37:45,680
Speaker 3: We were shooting a scene where Joey is doing I

713
00:37:45,719 --> 00:37:49,120
Speaker 3: don't know, he's blowing it. He's doing commercial or something.

714
00:37:49,160 --> 00:37:52,440
Speaker 3: He doesn't use it either, exaggerating. I don't recall. I

715
00:37:53,520 --> 00:37:56,000
Speaker 3: I don't watch TV because it's like going to work.

716
00:37:56,400 --> 00:37:59,320
Speaker 3: I mean, I watch just maybe some features, and I

717
00:37:59,440 --> 00:38:01,080
Speaker 3: go to a movie and I want to see like

718
00:38:01,200 --> 00:38:03,279
Speaker 3: on the big screen and stuff like that. But for

719
00:38:03,360 --> 00:38:05,719
Speaker 3: the most part, I don't watch a lot of sitcoms.

720
00:38:07,360 --> 00:38:09,600
Speaker 3: But I yeah, I think I noticed that. I don't

721
00:38:09,640 --> 00:38:13,960
Speaker 3: think I'm in this. But they needed a script supervisor.

722
00:38:14,120 --> 00:38:16,759
Speaker 3: They were doing shooting a film crew and it was

723
00:38:16,840 --> 00:38:20,000
Speaker 3: the director of the script supervisor, and I can't remember something.

724
00:38:20,239 --> 00:38:22,480
Speaker 3: He goes, Patty, get in there, it'll be great again.

725
00:38:23,040 --> 00:38:26,239
Speaker 3: Get on camera, You'll be great. I'm like, I don't.

726
00:38:26,520 --> 00:38:28,640
Speaker 3: So I'm on this side for a reason. I could

727
00:38:28,760 --> 00:38:30,040
Speaker 3: just like this girl, I'm not.

728
00:38:31,600 --> 00:38:32,239
Speaker 8: What you guys do.

729
00:38:33,320 --> 00:38:39,440
Speaker 3: So anyway, it went really quickly. But so here's an example.

730
00:38:39,640 --> 00:38:42,480
Speaker 3: Because this is aired, it doesn't matter. I'm very protective

731
00:38:42,480 --> 00:38:46,360
Speaker 3: about you know there's copyrights. I'll notice on every script

732
00:38:47,239 --> 00:38:50,320
Speaker 3: there's a copy, right, yeah, okay, that's supposed to be honored,

733
00:38:50,360 --> 00:38:51,120
Speaker 3: and that has not.

734
00:38:52,000 --> 00:38:52,440
Speaker 1: Wait are we?

735
00:38:52,680 --> 00:38:53,000
Speaker 3: So are we?

736
00:38:53,160 --> 00:38:54,759
Speaker 1: We're all we're going to jail out. We're going to

737
00:38:54,840 --> 00:38:58,040
Speaker 1: jail let's already aired. I know it was twenties today.

738
00:38:58,160 --> 00:39:00,919
Speaker 3: Yeah, I know people like on eBay like might sell

739
00:39:01,400 --> 00:39:04,440
Speaker 3: their scripts and stuff. I'm just too old school. I

740
00:39:04,480 --> 00:39:07,120
Speaker 3: wouldn't do it because I honored like the actors. I

741
00:39:07,239 --> 00:39:10,720
Speaker 3: honored the director and the producers and this is their property.

742
00:39:10,719 --> 00:39:15,160
Speaker 3: It's Noline. So anyway, but this say, this is c

743
00:39:15,480 --> 00:39:19,880
Speaker 3: K five camera master. There was a second past coverage

744
00:39:19,920 --> 00:39:20,879
Speaker 3: and these are some things.

745
00:39:21,280 --> 00:39:24,400
Speaker 1: So that's this is so cool right here? I remember

746
00:39:24,480 --> 00:39:28,200
Speaker 1: the lines, yeah, I remember your penmanship, right, yes, the

747
00:39:28,320 --> 00:39:30,319
Speaker 1: lines always fascinated to me. I'm like, what are all

748
00:39:30,320 --> 00:39:34,200
Speaker 1: these what are these lines mean? So that's each pass? Okay,

749
00:39:34,280 --> 00:39:34,959
Speaker 1: that's so cool.

750
00:39:35,040 --> 00:39:36,680
Speaker 3: So I think this is the episode I was in

751
00:39:37,080 --> 00:39:41,480
Speaker 3: that ended up the floor, which is fine with me, Okay,

752
00:39:41,560 --> 00:39:44,879
Speaker 3: it's all good. But this one says like this would

753
00:39:44,920 --> 00:39:47,800
Speaker 3: be Now this is pen and paper before COVID and

754
00:39:48,239 --> 00:39:52,160
Speaker 3: know right, IP had but five camera pickup masters so

755
00:39:52,239 --> 00:39:54,560
Speaker 3: now we did a pick up halfway through the scene,

756
00:39:55,239 --> 00:39:58,920
Speaker 3: and this would have said why we did it best

757
00:39:59,120 --> 00:40:04,120
Speaker 3: cross for head librarians? So why I try to indicate

758
00:40:04,200 --> 00:40:11,320
Speaker 3: for the editor what was good, bad, better, different about

759
00:40:11,400 --> 00:40:14,439
Speaker 3: the previous take, so that he knows, Okay, I'm looking

760
00:40:14,560 --> 00:40:17,360
Speaker 3: for a better cross for the librarian or whatever, or

761
00:40:18,160 --> 00:40:21,640
Speaker 3: don't use the second half of this take because our

762
00:40:21,680 --> 00:40:26,200
Speaker 3: executive producer Jeff Franklin doesn't like the camera work, or

763
00:40:26,400 --> 00:40:28,719
Speaker 3: it was better in the take before, or use the

764
00:40:28,800 --> 00:40:32,680
Speaker 3: alt whatever. So I'm supplying the editor with that information.

765
00:40:34,640 --> 00:40:38,520
Speaker 3: Every time we change a line, I'm notating that as

766
00:40:38,560 --> 00:40:42,879
Speaker 3: well as fast as possibble. That's the right and if

767
00:40:42,920 --> 00:40:45,320
Speaker 3: an actor comes up to me, that's my priority. So

768
00:40:45,480 --> 00:40:48,480
Speaker 3: if Sam Elliott comes up to me and says, hey, Patty,

769
00:40:48,960 --> 00:40:51,359
Speaker 3: I want to like the lines, which he rarely did

770
00:40:51,440 --> 00:40:55,560
Speaker 3: gives he's a genius, I'm like, yeah, that's what I'm doing.

771
00:40:55,840 --> 00:40:58,920
Speaker 3: I'm stopping everything i'm doing and I'm going to go

772
00:40:59,200 --> 00:41:02,719
Speaker 3: into the set and run lines. Or he might have

773
00:41:02,800 --> 00:41:06,560
Speaker 3: a question for me that's private, you know, continuity or

774
00:41:06,640 --> 00:41:08,960
Speaker 3: whatever it is. It doesn't matter. I'm just using him

775
00:41:08,960 --> 00:41:14,320
Speaker 3: as an example. But yeah, every actor needs something different.

776
00:41:14,400 --> 00:41:17,560
Speaker 3: We have a different relationship. Some actors don't need to

777
00:41:17,600 --> 00:41:20,400
Speaker 3: talk to their script supervisors and prefer not to, and

778
00:41:20,520 --> 00:41:25,920
Speaker 3: that's fine. Some executive producers we have, we have very

779
00:41:26,000 --> 00:41:30,160
Speaker 3: close relationships and they with Miller Boy at shows. They

780
00:41:30,320 --> 00:41:33,560
Speaker 3: learn to trust me. And we would sometimes do an

781
00:41:33,600 --> 00:41:36,439
Speaker 3: extra take because I said, we don't have this line,

782
00:41:36,480 --> 00:41:38,480
Speaker 3: and I know you're going to care when we go

783
00:41:38,760 --> 00:41:43,080
Speaker 3: into editing, and thank god it was right because we're

784
00:41:43,120 --> 00:41:48,399
Speaker 3: in gold time and you know, everybody's making big money

785
00:41:48,760 --> 00:41:51,880
Speaker 3: and there better be a reason. It's like, sometimes the

786
00:41:52,040 --> 00:41:55,840
Speaker 3: discussion about whether we do another take or not takes

787
00:41:56,000 --> 00:42:00,160
Speaker 3: longer than actually shooting it really quickly to take some.

788
00:42:00,160 --> 00:42:02,560
Speaker 4: Thing they're arguing always takes longer than the actual doing.

789
00:42:02,600 --> 00:42:03,799
Speaker 4: I tell my kids that all the time.

790
00:42:04,440 --> 00:42:09,600
Speaker 3: So, yeah, it just my my job, fluctuoice because it

791
00:42:09,760 --> 00:42:13,480
Speaker 3: depends on my relationship, my working relationship with the cast,

792
00:42:13,640 --> 00:42:18,919
Speaker 3: the actors, I'm sorry, the cast, the writers, the crew

793
00:42:19,719 --> 00:42:24,160
Speaker 3: and so forth, and the necessities of that particular episode,

794
00:42:24,840 --> 00:42:28,719
Speaker 3: and that's it. So I function in that world. That's

795
00:42:29,000 --> 00:42:30,960
Speaker 3: that's my skill set. That's why I chose it.

796
00:42:33,120 --> 00:42:38,040
Speaker 2: So you leaved with Jimmy Burrows, Chuck Laurie Jeff Franklin,

797
00:42:39,440 --> 00:42:41,800
Speaker 2: Who's the easiest to work with, who's the hardest to

798
00:42:41,840 --> 00:42:42,080
Speaker 2: work with?

799
00:42:42,320 --> 00:42:43,200
Speaker 1: Do they have like quirks?

800
00:42:43,200 --> 00:42:45,680
Speaker 2: I feel like Jimmy Burrows is like super easygoing and

801
00:42:45,800 --> 00:42:47,120
Speaker 2: Chuck Laurie is just out there.

802
00:42:47,239 --> 00:42:49,400
Speaker 1: But that's having never met them or worked with them.

803
00:42:49,480 --> 00:42:51,440
Speaker 1: That's just my random opinions.

804
00:42:51,640 --> 00:42:57,640
Speaker 3: So well, so I when I was learning the multicam format,

805
00:42:58,000 --> 00:43:03,279
Speaker 3: going from you know, training on Love Boat to being

806
00:43:03,320 --> 00:43:07,120
Speaker 3: a writer's assistant and now wanting to learn that that genre,

807
00:43:07,800 --> 00:43:12,880
Speaker 3: I trained with Gabrielle James who did Tears, and that

808
00:43:13,000 --> 00:43:15,440
Speaker 3: was Jimmy's show. So I can't say like I worked

809
00:43:15,800 --> 00:43:20,080
Speaker 3: with him because Gabby that was Gabby's She was Jimmy's

810
00:43:20,840 --> 00:43:25,560
Speaker 3: script supervisor. As I am for many directors. They I'm

811
00:43:25,640 --> 00:43:28,040
Speaker 3: their first call, you know, it's all.

812
00:43:28,000 --> 00:43:30,440
Speaker 4: That, and that's yeah, you get you get a very

813
00:43:30,520 --> 00:43:33,000
Speaker 4: good sort of relationship. My friend Emma works all the

814
00:43:33,080 --> 00:43:36,759
Speaker 4: time with certain directors because it's just you know, they

815
00:43:36,880 --> 00:43:38,200
Speaker 4: just they work well together.

816
00:43:38,040 --> 00:43:40,719
Speaker 3: Exactly, and we make their lives easier and they can

817
00:43:40,880 --> 00:43:43,759
Speaker 3: count on us. We have an understanding. They know to

818
00:43:43,880 --> 00:43:46,719
Speaker 3: trust when I say things, when I when I don't

819
00:43:46,760 --> 00:43:49,920
Speaker 3: say things, everything's fine and when I say things, I

820
00:43:50,120 --> 00:43:56,080
Speaker 3: only say I'm respectfully in the most diplomatic way, understand

821
00:43:56,160 --> 00:44:01,480
Speaker 3: the relationship between the director, the actors, the the creator,

822
00:44:01,719 --> 00:44:04,840
Speaker 3: and then there's a script supervisor. I'm just delivering information.

823
00:44:05,320 --> 00:44:09,280
Speaker 3: That's it. I don't have an opinion. I don't overstep

824
00:44:09,360 --> 00:44:11,760
Speaker 3: my bounds. I stay in my lane and that's really important.

825
00:44:12,360 --> 00:44:15,400
Speaker 3: So but anyway, I love it. It's the way my

826
00:44:15,480 --> 00:44:19,600
Speaker 3: brain works. So I want to I don't want to

827
00:44:19,719 --> 00:44:24,839
Speaker 3: like say ones more difficult. Each one is in their

828
00:44:24,920 --> 00:44:29,719
Speaker 3: position because they should be. They earned it. There are

829
00:44:29,800 --> 00:44:33,640
Speaker 3: no showrunners that I know of, or any executive producers,

830
00:44:35,960 --> 00:44:38,799
Speaker 3: anybody that wrote a script and was able to sell

831
00:44:38,840 --> 00:44:41,680
Speaker 3: it and get a cast and get it on the air,

832
00:44:42,040 --> 00:44:45,359
Speaker 3: and here we are on stage twenty four. Well they

833
00:44:45,440 --> 00:44:45,759
Speaker 3: earned it.

834
00:44:46,760 --> 00:44:46,960
Speaker 1: Yeah.

835
00:44:47,120 --> 00:44:51,920
Speaker 3: Yeah, So I can't say I enjoy every different kind

836
00:44:51,920 --> 00:44:54,400
Speaker 3: of show that I do and every kind of cast

837
00:44:54,480 --> 00:44:58,799
Speaker 3: I work with, whether they be a listers or brand

838
00:44:58,800 --> 00:45:02,879
Speaker 3: new kids that just step by step brand new, because

839
00:45:02,920 --> 00:45:03,840
Speaker 3: I've never done anything.

840
00:45:04,400 --> 00:45:06,360
Speaker 1: Oh yeah, step By you did a lot of you

841
00:45:06,440 --> 00:45:07,680
Speaker 1: did many seasons.

842
00:45:07,440 --> 00:45:08,040
Speaker 3: Did all of them?

843
00:45:08,080 --> 00:45:10,080
Speaker 1: Step By you did all of the season. Oh wow,

844
00:45:10,800 --> 00:45:11,520
Speaker 1: that's amazing.

845
00:45:11,640 --> 00:45:15,480
Speaker 3: The reason I left Full House, I did that's right here,

846
00:45:15,600 --> 00:45:18,839
Speaker 3: you went to Full House and then I'm and Bob

847
00:45:19,000 --> 00:45:21,440
Speaker 3: created Step by Step and they said, we want to

848
00:45:21,480 --> 00:45:23,920
Speaker 3: take you off of Full House and I went.

849
00:45:26,320 --> 00:45:27,120
Speaker 1: And that heartbreak.

850
00:45:27,400 --> 00:45:29,600
Speaker 3: I owe you everything. So, yeah, my whole career is

851
00:45:29,920 --> 00:45:31,480
Speaker 3: in your lap. Where do you want me to go?

852
00:45:31,560 --> 00:45:34,479
Speaker 3: And they're like, we'd like you to take your skill

853
00:45:34,560 --> 00:45:37,920
Speaker 3: set bring it to step by Step and we love

854
00:45:37,960 --> 00:45:40,080
Speaker 3: the way you work with kids, and you know the

855
00:45:40,200 --> 00:45:43,040
Speaker 3: dynamic is great and please, So I did. Of course,

856
00:45:43,719 --> 00:45:46,080
Speaker 3: you know you jump off a pier, sure which one

857
00:45:46,239 --> 00:45:47,680
Speaker 3: the steward right?

858
00:45:49,160 --> 00:45:49,520
Speaker 1: And yeah?

859
00:45:49,560 --> 00:45:52,759
Speaker 3: So I did seven seasons of that. Then I did

860
00:45:54,880 --> 00:45:57,960
Speaker 3: To a Kind and I just don't remember.

861
00:45:58,520 --> 00:45:58,640
Speaker 2: Uh.

862
00:46:01,800 --> 00:46:04,560
Speaker 3: I did a bunch of stuff, and then I did Friends,

863
00:46:04,920 --> 00:46:08,839
Speaker 3: and then I quit the business. Right to Colorado. I said,

864
00:46:09,080 --> 00:46:13,279
Speaker 3: I'm never coming back, and then cut to I'm back.

865
00:46:15,120 --> 00:46:15,600
Speaker 1: You're back.

866
00:46:16,200 --> 00:46:17,200
Speaker 3: Well, eleven years.

867
00:46:17,000 --> 00:46:18,640
Speaker 1: You're back, and forth, you're back, You're fourth.

868
00:46:18,719 --> 00:46:22,480
Speaker 3: You know it did happen. So eleven years later, I'm

869
00:46:22,520 --> 00:46:26,520
Speaker 3: divorced and I'm producing a show for the NBC affiliate

870
00:46:26,680 --> 00:46:31,680
Speaker 3: called Coleram Company in Denver. And I did that for

871
00:46:32,520 --> 00:46:37,080
Speaker 3: five years, and again a new skill set, but you know,

872
00:46:37,280 --> 00:46:39,360
Speaker 3: script supervisors can do a lot of stuff because we

873
00:46:39,440 --> 00:46:42,440
Speaker 3: happen to be in the action. We see how it works,

874
00:46:42,520 --> 00:46:47,320
Speaker 3: and we you know, by the time you're forty something

875
00:46:47,560 --> 00:46:51,640
Speaker 3: or whatever, you know, been on the set for twenty years.

876
00:46:52,040 --> 00:46:55,879
Speaker 3: So yeah, So anyway, Yeah, so I got a call

877
00:46:56,040 --> 00:47:00,200
Speaker 3: to come back on a CBS show and can you

878
00:47:00,280 --> 00:47:03,680
Speaker 3: fly out tonight. I'm like, yeah, I want to hook

879
00:47:03,760 --> 00:47:07,879
Speaker 3: you up with the supervising producer and if everything goes great,

880
00:47:08,480 --> 00:47:11,839
Speaker 3: the executives want to meet you. It's a CBS show.

881
00:47:11,960 --> 00:47:14,319
Speaker 3: You'll be working in Studio City, and I went, oh, great,

882
00:47:14,360 --> 00:47:18,239
Speaker 3: because that's where I was raised and I'd done shows there.

883
00:47:18,480 --> 00:47:22,960
Speaker 3: So then on a Sunday I interviewed and I got

884
00:47:23,040 --> 00:47:27,960
Speaker 3: the child so acting and on Monday I'm their script supervisor.

885
00:47:28,000 --> 00:47:29,160
Speaker 3: And that's how fast it goes.

886
00:47:30,200 --> 00:47:31,000
Speaker 1: Yeah, it's basic.

887
00:47:31,160 --> 00:47:33,320
Speaker 4: I mean, that is definitely the thing about this business

888
00:47:33,440 --> 00:47:36,640
Speaker 4: is that you realize you're like, oh, nothing, nothing, nothing, nothing,

889
00:47:37,120 --> 00:47:39,359
Speaker 4: and now you're working tomorrow and by the way, it's

890
00:47:39,560 --> 00:47:41,600
Speaker 4: in another country or something, you know what I mean, like,

891
00:47:42,360 --> 00:47:45,360
Speaker 4: and that the nature of this business is just crazy

892
00:47:45,480 --> 00:47:48,160
Speaker 4: like that. So the fact that you were with us

893
00:47:48,320 --> 00:47:52,480
Speaker 4: as family on Full House, especially those first three years,

894
00:47:52,640 --> 00:47:55,360
Speaker 4: was just so important and we've we have mentioned you

895
00:47:55,760 --> 00:47:57,520
Speaker 4: so much to our audience.

896
00:47:57,640 --> 00:48:01,359
Speaker 1: They all know the legendary Patty Passarelli.

897
00:48:02,280 --> 00:48:06,799
Speaker 4: Patty Nay Passarelli a astory, but yeah, you are definitely

898
00:48:07,400 --> 00:48:10,160
Speaker 4: someone that has come up in the original lore of

899
00:48:10,280 --> 00:48:11,360
Speaker 4: the show for.

900
00:48:11,600 --> 00:48:12,480
Speaker 1: A very long time.

901
00:48:12,960 --> 00:48:15,960
Speaker 4: Again, it was so wonderful to like have all of

902
00:48:16,040 --> 00:48:19,680
Speaker 4: you guys back with us on Fuller House and full House.

903
00:48:19,800 --> 00:48:22,759
Speaker 4: And I know our audience has loved hearing all of

904
00:48:22,880 --> 00:48:27,600
Speaker 4: your amazing stories about your incredible adventures in this business

905
00:48:27,680 --> 00:48:30,160
Speaker 4: and your time with us on full and Fuller House,

906
00:48:30,200 --> 00:48:32,560
Speaker 4: and we just were so glad that you were so

907
00:48:32,680 --> 00:48:33,920
Speaker 4: glad you were able to make time for.

908
00:48:34,000 --> 00:48:38,560
Speaker 1: Us, and I appreciate you moving it to this week.

909
00:48:38,800 --> 00:48:43,720
Speaker 4: Poor Patty so she she was originally scheduled for last

910
00:48:43,920 --> 00:48:47,640
Speaker 4: week to podcast, then we had to ratch that because

911
00:48:47,680 --> 00:48:49,480
Speaker 4: I was supposed to be working. Then I got so

912
00:48:49,640 --> 00:48:52,200
Speaker 4: sick I couldn't work. But she came to visit me

913
00:48:52,280 --> 00:48:54,400
Speaker 4: on set and didn't know I was sick, and so

914
00:48:54,640 --> 00:48:57,600
Speaker 4: she texted me and was like, where are you anyway,

915
00:48:57,840 --> 00:48:59,200
Speaker 4: I'm glad I finally got to see you.

916
00:48:59,239 --> 00:49:01,480
Speaker 1: Patty. Thank you so so much for joining us, and

917
00:49:01,640 --> 00:49:03,439
Speaker 1: we just it was so good to see your face.

918
00:49:03,440 --> 00:49:05,600
Speaker 3: It's great to see you too, and I'm so proud

919
00:49:05,640 --> 00:49:09,000
Speaker 3: of who you've become, all of the things you've done,

920
00:49:09,320 --> 00:49:12,799
Speaker 3: all of the gosh you have like a whole family now.

921
00:49:13,200 --> 00:49:16,200
Speaker 3: You went from being five to like, oh my gosh,

922
00:49:16,320 --> 00:49:18,879
Speaker 3: how is this possible? How is it possible? I'm as

923
00:49:18,960 --> 00:49:22,600
Speaker 3: old as I am like it goes fast, and it's

924
00:49:22,680 --> 00:49:24,960
Speaker 3: been a complete honor. It's been a pleasure.

925
00:49:25,360 --> 00:49:29,720
Speaker 4: And I missed both, missing the big, big giant hugs Patty.

926
00:49:29,920 --> 00:49:31,560
Speaker 2: And I'm going to try to get out to see

927
00:49:31,600 --> 00:49:34,960
Speaker 2: your your exhibition at the Huntington Beach Art Center.

928
00:49:34,920 --> 00:49:38,560
Speaker 1: Oh yeah, where you have your paintings and your your photography.

929
00:49:38,760 --> 00:49:40,560
Speaker 1: So that's running through the end of the month. I'm

930
00:49:40,560 --> 00:49:42,160
Speaker 1: going to try to get out there and see it. Cool.

931
00:49:42,560 --> 00:49:45,719
Speaker 1: Thank you so much, Patty. We love you, We love you.

932
00:49:46,840 --> 00:49:47,120
Speaker 3: Bye.

933
00:49:48,520 --> 00:49:49,279
Speaker 2: She is a joy.

934
00:49:49,520 --> 00:49:49,839
Speaker 1: All right.

935
00:49:49,920 --> 00:49:54,600
Speaker 4: This wraps up our interview with Patty Mustari Uh, Patti Pasarelli.

936
00:49:54,840 --> 00:49:56,719
Speaker 1: I just I have to say that because that was

937
00:49:57,440 --> 00:49:58,000
Speaker 1: the guys just to.

938
00:49:58,000 --> 00:49:59,640
Speaker 4: Say it all the time, that was it was her

939
00:49:59,680 --> 00:50:02,960
Speaker 4: little It was like how you say someone's full name

940
00:50:03,080 --> 00:50:03,840
Speaker 4: as their name.

941
00:50:03,840 --> 00:50:07,880
Speaker 1: Like it just was. She will forever be Patti PASSERELLI.

942
00:50:07,520 --> 00:50:10,719
Speaker 4: Indeed, but learning about her jobs in this industry and

943
00:50:10,800 --> 00:50:13,000
Speaker 4: how she got into it is just so cool. And

944
00:50:13,080 --> 00:50:16,040
Speaker 4: she's been such a part of the the full House

945
00:50:16,160 --> 00:50:20,320
Speaker 4: fuller House family lore tradition. I was so excited that

946
00:50:20,360 --> 00:50:21,080
Speaker 4: we got to have her on.

947
00:50:21,480 --> 00:50:24,080
Speaker 1: So thank you guys so much for joining us.

948
00:50:24,239 --> 00:50:27,439
Speaker 4: Remember, if you are liking the podcast, make sure you're

949
00:50:28,080 --> 00:50:30,080
Speaker 4: rating it subscribing to it so you get all the

950
00:50:30,120 --> 00:50:31,000
Speaker 4: newest ones first.

951
00:50:31,400 --> 00:50:34,880
Speaker 1: If you're looking for merch, go to how Rude Merch

952
00:50:35,239 --> 00:50:38,080
Speaker 1: dot com. We've got t shirts. We've got turtles and bags,

953
00:50:38,200 --> 00:50:40,319
Speaker 1: not actual turtles and bags, guys, I'm kidding. I'm kidding.

954
00:50:40,640 --> 00:50:44,000
Speaker 4: We don't record us to Pita and it's just just

955
00:50:44,080 --> 00:50:46,600
Speaker 4: a picture on a T shirt. Turtles on shirts, yep,

956
00:50:46,760 --> 00:50:49,480
Speaker 4: turtles and bags on shirts. Actually it's turtles on skateboards

957
00:50:49,520 --> 00:50:49,920
Speaker 4: on shirts.

958
00:50:49,960 --> 00:50:53,160
Speaker 1: But whatever. But yeah, thank you guys so much.

959
00:50:53,200 --> 00:50:54,880
Speaker 4: If you want to follow us on Instagram, it's how

960
00:50:55,040 --> 00:50:57,200
Speaker 4: at how Rude podcast, or you can send us an

961
00:50:57,200 --> 00:51:00,880
Speaker 4: email at how Rude Tannerrito's at gmail dot calm. We

962
00:51:00,960 --> 00:51:05,080
Speaker 4: will see you next time on the Fabulous However, Tandritos

963
00:51:05,120 --> 00:51:06,840
Speaker 4: can I I can call it fabulous even if I

964
00:51:06,960 --> 00:51:07,239
Speaker 4: host it.

965
00:51:07,600 --> 00:51:10,320
Speaker 1: Of course, please do own it, girl. We are fabulous

966
00:51:10,320 --> 00:51:14,200
Speaker 1: Alibaba Hotel, casino. See if he can do it, you

967
00:51:14,280 --> 00:51:15,480
Speaker 1: can do it. It's true.

968
00:51:15,920 --> 00:51:18,600
Speaker 4: Well, thank you guys for joining us. And remember the

969
00:51:18,680 --> 00:51:25,000
Speaker 4: world is small, but the house is full of fuller

970
00:51:25,040 --> 00:51:28,920
Speaker 4: house memorabilia, just full, stuffed, full, so met there's beach towels,

971
00:51:29,120 --> 00:51:33,920
Speaker 4: there's cups, so much pictures, there's there's there's folders.

972
00:51:34,080 --> 00:51:39,000
Speaker 1: Yeah, there's a lot. And and Patty's notes notes are everywhere.

973
00:51:39,200 --> 00:51:43,040
Speaker 4: Yeah yeah, just there's continuity notes all over the place,

974
00:51:43,239 --> 00:51:44,520
Speaker 4: just rimming them.

975
00:51:45,320 --> 00:51:46,480
Speaker 1: Okay, guys, Bye,