1 00:00:17,840 --> 00:00:20,800 Speaker 1: Welcome back to How Rude Tana Rito's. This is the 2 00:00:20,840 --> 00:00:24,280 Speaker 1: second part of our interview with one of our favorite directors, 3 00:00:24,400 --> 00:00:27,240 Speaker 1: joel's Wick. He started full house with us from the 4 00:00:27,360 --> 00:00:29,920 Speaker 1: very beginning, and he was certainly a huge part in 5 00:00:29,960 --> 00:00:32,960 Speaker 1: making the show what it is today. Here's our friend, 6 00:00:33,360 --> 00:00:37,600 Speaker 1: Joel's Wick. Yeah, my first memory of you is was 7 00:00:37,640 --> 00:00:41,519 Speaker 1: the Stacey Q episode where I'm playing the keyboard and 8 00:00:41,640 --> 00:00:45,720 Speaker 1: John is teaching Candace how to play the guitar and 9 00:00:46,000 --> 00:00:47,960 Speaker 1: I was faking it on the on the keyboard and 10 00:00:48,000 --> 00:00:50,320 Speaker 1: I remember. I remember because I was so scared of you, 11 00:00:50,400 --> 00:00:52,640 Speaker 1: because you were yelling about something and I was like, 12 00:00:52,680 --> 00:00:55,920 Speaker 1: I can't mess this up. I cannot disappoint Joel. It's 13 00:00:55,960 --> 00:00:58,360 Speaker 1: my very first memory of you ten years old. 14 00:00:58,400 --> 00:00:59,920 Speaker 2: A mean and memory. I love that a lot. 15 00:01:00,600 --> 00:01:05,600 Speaker 3: Essentially, whatever you were like, Joel was like he would 16 00:01:05,640 --> 00:01:08,760 Speaker 3: like freak out about you. You were just high intensity. 17 00:01:08,840 --> 00:01:10,520 Speaker 3: You were like like you didn't you knew that, Like 18 00:01:10,560 --> 00:01:12,800 Speaker 3: he's not really mad, he's just like he's just loud 19 00:01:12,840 --> 00:01:15,240 Speaker 3: and like, ah, you know, And that was just Joel. 20 00:01:15,640 --> 00:01:16,800 Speaker 2: That's essentially you got. 21 00:01:16,680 --> 00:01:19,559 Speaker 3: Us moving, You got things done with you very efficiently. 22 00:01:19,760 --> 00:01:21,560 Speaker 4: Matter of fact, we went down in the last couple 23 00:01:21,600 --> 00:01:23,640 Speaker 4: of years, we were down to four day shoots. 24 00:01:23,959 --> 00:01:26,920 Speaker 3: Yeah basically, well yeah, well you had four day shoots 25 00:01:26,920 --> 00:01:28,760 Speaker 3: for quite a while there for the last. 26 00:01:29,840 --> 00:01:31,920 Speaker 4: We're waiting on five day shoots. But you know, it 27 00:01:32,000 --> 00:01:33,920 Speaker 4: was very interesting and we got a chance to send 28 00:01:34,040 --> 00:01:36,840 Speaker 4: all of your people off to real schools. And has 29 00:01:36,880 --> 00:01:39,720 Speaker 4: had some problems. I don't know that you did necessary, 30 00:01:39,760 --> 00:01:42,160 Speaker 4: but remember Candice was being made fun of at the 31 00:01:42,200 --> 00:01:44,360 Speaker 4: school because she was, oh she was a star on 32 00:01:44,480 --> 00:01:48,680 Speaker 4: TV or whatever that. Oh yeah, and I remember the 33 00:01:48,720 --> 00:01:51,640 Speaker 4: one scene I remember was Candace was being got invited 34 00:01:51,640 --> 00:01:57,960 Speaker 4: by some boy to senior prom a prom in high. 35 00:01:57,760 --> 00:02:00,640 Speaker 3: School and is this it is you talking on the 36 00:02:00,640 --> 00:02:01,559 Speaker 3: show or in real life? 37 00:02:01,680 --> 00:02:04,920 Speaker 4: I'm real life, Okay, I'm real And so basically this 38 00:02:04,960 --> 00:02:06,600 Speaker 4: guy comes to pick her up, he has to pick 39 00:02:06,600 --> 00:02:07,360 Speaker 4: her up on the set. 40 00:02:07,840 --> 00:02:12,200 Speaker 3: No, that was Andrea. Oh yeah that was me. I'm 41 00:02:12,200 --> 00:02:16,000 Speaker 3: like this, yeah, no, this was that was was the 42 00:02:16,000 --> 00:02:17,359 Speaker 3: one that was her senior prom. 43 00:02:17,560 --> 00:02:21,360 Speaker 1: That was my high school boyfriend Ben, And yeah that 44 00:02:21,560 --> 00:02:24,520 Speaker 1: was you guys rearranged the whole schedule that night to 45 00:02:24,560 --> 00:02:26,239 Speaker 1: tape my scenes to shoot me out. 46 00:02:27,080 --> 00:02:27,760 Speaker 2: But that wasn't that. 47 00:02:27,800 --> 00:02:29,800 Speaker 4: There's a one where she was coming also, and she 48 00:02:30,040 --> 00:02:33,680 Speaker 4: gave her an entrance in her beautiful gown down the staircase. 49 00:02:34,120 --> 00:02:36,359 Speaker 4: As this boy is standing there watching her come down 50 00:02:36,440 --> 00:02:41,480 Speaker 4: the stairs, and myself, Staymers and Saggot are standing there 51 00:02:41,520 --> 00:02:43,880 Speaker 4: with our arms crossed, staring at. 52 00:02:43,919 --> 00:02:46,839 Speaker 2: Him, just staring at him. 53 00:02:47,760 --> 00:02:50,000 Speaker 4: This guy had to know that there'd be no fooling 54 00:02:50,120 --> 00:02:52,480 Speaker 4: around with can that's hysterical. 55 00:02:54,560 --> 00:02:59,200 Speaker 3: I don't know. Yeah, I don't remember. I don't, I don't. 56 00:02:59,400 --> 00:03:02,200 Speaker 4: Yeah, you would first reading of the pilot, Jody, that 57 00:03:02,320 --> 00:03:04,520 Speaker 4: was blew us all away. You at four and a 58 00:03:04,520 --> 00:03:07,600 Speaker 4: half maybe could sit there at the table and read 59 00:03:07,720 --> 00:03:11,000 Speaker 4: the script with the adults as fast as they could 60 00:03:11,000 --> 00:03:14,400 Speaker 4: read it. That blew our minds that she was added as. 61 00:03:14,280 --> 00:03:16,160 Speaker 3: A read Yeah, we had when we had John on, 62 00:03:16,240 --> 00:03:18,560 Speaker 3: he was like, I went out and I almost quit. 63 00:03:20,440 --> 00:03:24,120 Speaker 4: John. Yeah, you know they had funny things like there 64 00:03:24,200 --> 00:03:25,880 Speaker 4: was a thing that the writers used to do this 65 00:03:25,960 --> 00:03:28,920 Speaker 4: thing upstairs. We're on one side they make a whiteboard, 66 00:03:28,960 --> 00:03:31,600 Speaker 4: and one side to be the line as written by 67 00:03:31,639 --> 00:03:34,280 Speaker 4: the writers, then on the other side to be the 68 00:03:34,320 --> 00:03:36,320 Speaker 4: line as performed by John Stamos. 69 00:03:36,800 --> 00:03:40,840 Speaker 3: Yes, yes, because you know what I blame I blame 70 00:03:40,960 --> 00:03:43,680 Speaker 3: him for my ability to just never quite get it right, 71 00:03:43,680 --> 00:03:47,880 Speaker 3: but always sort of be line adjacent. It's just it'sjacent. Jason. 72 00:03:48,600 --> 00:03:50,480 Speaker 4: He'd go out, he's the line with something like, Okay, 73 00:03:50,480 --> 00:03:53,480 Speaker 4: see you guys later, and by the time he performed 74 00:03:53,480 --> 00:03:55,680 Speaker 4: it was, well, I'm thinking right now that maybe I'll 75 00:03:55,680 --> 00:03:57,800 Speaker 4: go to I'm not sure where I'm going to go. 76 00:03:57,880 --> 00:03:59,280 Speaker 2: But wherever I will see you. 77 00:04:00,000 --> 00:04:01,680 Speaker 4: All of a sudden he brought it into an entire 78 00:04:01,720 --> 00:04:03,920 Speaker 4: event and they would put that up on the top. 79 00:04:04,000 --> 00:04:06,560 Speaker 4: You know, we had some funny things. I remember every 80 00:04:06,600 --> 00:04:09,120 Speaker 4: once in a while in a script that we were doing, 81 00:04:09,560 --> 00:04:12,640 Speaker 4: they'd have a stage direction which they specifically write in 82 00:04:12,800 --> 00:04:16,640 Speaker 4: bold black things saying Joel, please, we would love to 83 00:04:16,640 --> 00:04:20,200 Speaker 4: see this stage as we've written it. Because essentially we 84 00:04:20,240 --> 00:04:24,160 Speaker 4: just did what we wanted to do, and of the 85 00:04:24,200 --> 00:04:27,760 Speaker 4: time nobody was complaining because we were doing it right. 86 00:04:28,320 --> 00:04:30,560 Speaker 4: But it was. It was a remarkable thing. And having 87 00:04:30,560 --> 00:04:32,880 Speaker 4: my kids there and being able to do a show 88 00:04:32,920 --> 00:04:35,359 Speaker 4: with kids. So therefore, when I came onto Full House, 89 00:04:35,560 --> 00:04:38,440 Speaker 4: I never had any thoughts or problems about having to 90 00:04:38,480 --> 00:04:43,000 Speaker 4: work with children because I had children. Yeah, so it 91 00:04:43,160 --> 00:04:45,039 Speaker 4: seemed to be something that could be done. When I 92 00:04:45,080 --> 00:04:48,200 Speaker 4: found out that basically I had everybody else taking care 93 00:04:48,240 --> 00:04:51,839 Speaker 4: of the children. I had Brian, Adria and I had 94 00:04:51,880 --> 00:04:54,120 Speaker 4: all kinds of things, ads with cake and care. 95 00:04:54,279 --> 00:04:56,960 Speaker 3: Yeah, it was. It was a real like sort of 96 00:04:57,040 --> 00:05:02,000 Speaker 3: village family thing and we all worked together. And that's 97 00:05:02,040 --> 00:05:03,520 Speaker 3: one of the things Andrew and I talk about all 98 00:05:03,560 --> 00:05:05,039 Speaker 3: the time and with all the guests and stuff, is 99 00:05:05,040 --> 00:05:07,320 Speaker 3: everyone talks about what a just what a great collection 100 00:05:07,400 --> 00:05:09,640 Speaker 3: of people it was, and how everyone really. 101 00:05:09,360 --> 00:05:12,160 Speaker 4: A nominal collection of people. And I remember there's some 102 00:05:12,480 --> 00:05:16,120 Speaker 4: interests I remember, like I remember there was supposed to 103 00:05:16,160 --> 00:05:19,960 Speaker 4: be some scene where you're all coming downstairs into the kitchen. Okay, 104 00:05:20,320 --> 00:05:23,640 Speaker 4: and Kuyer, who has an Dave. 105 00:05:23,880 --> 00:05:26,520 Speaker 3: He would just start trap us upstairs. 106 00:05:26,040 --> 00:05:28,839 Speaker 4: To trap you up there and fought and I saw 107 00:05:28,960 --> 00:05:33,479 Speaker 4: him tar calf before I even said action charge planning 108 00:05:33,520 --> 00:05:34,520 Speaker 4: for their lives. 109 00:05:34,760 --> 00:05:38,000 Speaker 3: Yeah, we would. Yeah, it was Dave's form of torture 110 00:05:38,040 --> 00:05:40,359 Speaker 3: to all of us. And he was hilarious. Was like 111 00:05:40,360 --> 00:05:41,200 Speaker 3: a twelve year old boy. 112 00:05:41,680 --> 00:05:43,479 Speaker 4: Worse than that, maybe eleven year old boy. I don't 113 00:05:43,480 --> 00:05:44,560 Speaker 4: think twelve years old, It's. 114 00:05:44,440 --> 00:05:47,400 Speaker 3: True, twelve years Dad might have a little more maturity. 115 00:05:47,000 --> 00:05:49,240 Speaker 4: More matury grown in already. But you know, we did 116 00:05:49,279 --> 00:05:50,920 Speaker 4: have some problems with the fact that you did have 117 00:05:51,600 --> 00:05:53,960 Speaker 4: was between Sagot and Koh. Yeah, you had people with 118 00:05:54,200 --> 00:05:57,120 Speaker 4: questionable ability to mind their mouths. 119 00:05:58,279 --> 00:06:02,039 Speaker 3: I mean, I you know, I as an adult, I 120 00:06:02,160 --> 00:06:07,719 Speaker 3: now completely understand that predicament because sometimes it comes out 121 00:06:08,040 --> 00:06:11,120 Speaker 3: they're just the kids are just you don't see them. 122 00:06:11,160 --> 00:06:13,400 Speaker 3: They're behind you, and you're like, look, I made a 123 00:06:13,480 --> 00:06:14,120 Speaker 3: joke and it. 124 00:06:14,160 --> 00:06:16,680 Speaker 4: Was sometimes they there and it just comes out because 125 00:06:16,680 --> 00:06:17,159 Speaker 4: the joke. 126 00:06:17,080 --> 00:06:20,560 Speaker 3: Is it's sometimes you just Something was. 127 00:06:20,520 --> 00:06:23,440 Speaker 4: Early on I called it the March of the Mothers, 128 00:06:23,880 --> 00:06:28,800 Speaker 4: where there was where something that that had had no 129 00:06:28,880 --> 00:06:31,560 Speaker 4: This was something like Saggot had done. Saggo hads come 130 00:06:31,640 --> 00:06:34,760 Speaker 4: up with something really questionable, and basically it was in 131 00:06:34,839 --> 00:06:36,880 Speaker 4: a break and all of a sudden I was watched 132 00:06:37,000 --> 00:06:39,080 Speaker 4: out there and I saw the three mothers at that time, 133 00:06:39,200 --> 00:06:41,400 Speaker 4: along with Mary Kate, Nashley's mother, she was there too, 134 00:06:41,760 --> 00:06:45,200 Speaker 4: marching down to Saggot's dressing room to let him know 135 00:06:45,279 --> 00:06:47,200 Speaker 4: that that kind of behavior was not. 136 00:06:47,160 --> 00:06:52,080 Speaker 3: Acceptable, that we've got to talk to him. Yeah, the 137 00:06:52,120 --> 00:06:56,600 Speaker 3: March of the mother somebody's got to do it. Yeah. 138 00:06:56,800 --> 00:06:58,960 Speaker 4: The other thing that was pretty funny it was that 139 00:06:59,040 --> 00:07:02,039 Speaker 4: we had the Great A Burrow Show, which the bureau 140 00:07:02,080 --> 00:07:02,440 Speaker 4: fell in love. 141 00:07:02,560 --> 00:07:07,040 Speaker 3: H Yes, we've talked, uh Peppermill. Uh, we've told a 142 00:07:07,279 --> 00:07:10,600 Speaker 3: story many times about the donkey that really loved John Stamos. Okay, fine, 143 00:07:10,680 --> 00:07:12,320 Speaker 3: everyone everybody loves John Stamos. 144 00:07:12,400 --> 00:07:15,640 Speaker 4: The lead to then the Donkey was this, So the 145 00:07:15,720 --> 00:07:19,600 Speaker 4: donkey would come out stage and initially, unless you don't know, 146 00:07:19,640 --> 00:07:21,800 Speaker 4: if the donkey would have a hard on that would 147 00:07:21,800 --> 00:07:24,080 Speaker 4: be about two feet long and hang on to the 148 00:07:24,160 --> 00:07:25,440 Speaker 4: ground and where. 149 00:07:25,360 --> 00:07:28,080 Speaker 3: They have to top it with a stick to make 150 00:07:28,120 --> 00:07:28,720 Speaker 3: it go away. 151 00:07:28,880 --> 00:07:31,200 Speaker 4: And then so the twins are there staring at this thing, 152 00:07:31,400 --> 00:07:36,640 Speaker 4: and everybody's trying to get them not to touch it. 153 00:07:36,680 --> 00:07:39,640 Speaker 4: So basically doing all this is going on, and finally 154 00:07:39,880 --> 00:07:41,560 Speaker 4: I come down. I talked to the train and I said, 155 00:07:41,560 --> 00:07:44,800 Speaker 4: this is ridiculous. Why is it that every time this, 156 00:07:45,080 --> 00:07:49,440 Speaker 4: uh this, this bureau comes on stage it has an erection? 157 00:07:49,920 --> 00:07:52,080 Speaker 4: And he says, I think it's you. I said, what 158 00:07:52,080 --> 00:07:54,559 Speaker 4: do you mean, you think it's me. I think there's 159 00:07:54,560 --> 00:07:57,040 Speaker 4: something that he smells in you that's making him turned on. 160 00:07:57,680 --> 00:08:00,360 Speaker 4: I said, you're telling me that I turn on the dunky. 161 00:08:00,080 --> 00:08:01,560 Speaker 2: He said I think. 162 00:08:01,400 --> 00:08:04,400 Speaker 4: So, So I said okay, and I left the stage, 163 00:08:04,480 --> 00:08:07,240 Speaker 4: and sure enough, there were no more erections. 164 00:08:07,640 --> 00:08:13,480 Speaker 3: Wait wait, I turned on the turned off. All of 165 00:08:13,520 --> 00:08:18,000 Speaker 3: this time, the legend has been that it was John 166 00:08:18,920 --> 00:08:23,720 Speaker 3: John John Clare John has claimed that this changes everything. 167 00:08:24,560 --> 00:08:30,440 Speaker 4: Joel, it was John, but he didn't see John as 168 00:08:30,440 --> 00:08:33,240 Speaker 4: a sexual item. He saw John is perhaps somebody to 169 00:08:33,360 --> 00:08:37,040 Speaker 4: marry or somebody were. 170 00:08:36,480 --> 00:08:40,439 Speaker 3: You were just a boy to a Burrow toy, if 171 00:08:40,440 --> 00:08:40,760 Speaker 3: you will. 172 00:08:46,640 --> 00:08:49,439 Speaker 4: We had some that would occur on a set where 173 00:08:49,440 --> 00:08:51,640 Speaker 4: you had an awful lot of children running around. 174 00:08:52,080 --> 00:08:54,200 Speaker 3: And you came back and directed a few episodes of 175 00:08:54,280 --> 00:08:55,679 Speaker 3: Fuller House as well. 176 00:08:55,920 --> 00:08:57,959 Speaker 2: I did two episodes What was that? 177 00:08:58,040 --> 00:08:58,160 Speaker 1: Like? 178 00:08:58,240 --> 00:08:59,400 Speaker 3: How was that? To come back? 179 00:08:59,440 --> 00:09:04,000 Speaker 4: And I loved coming back because the growth of the 180 00:09:04,120 --> 00:09:07,160 Speaker 4: of the of you people as actors was insane to watch, 181 00:09:07,240 --> 00:09:10,360 Speaker 4: you know, and yet the same relationship was still existing, 182 00:09:10,840 --> 00:09:13,240 Speaker 4: and that was really cool. And I love some of 183 00:09:13,280 --> 00:09:22,960 Speaker 4: the ex I loved Andrea's husband was here, very really good. 184 00:09:23,400 --> 00:09:23,920 Speaker 2: I have a story. 185 00:09:23,920 --> 00:09:27,080 Speaker 4: I got to ask you a question, idea, you know, 186 00:09:27,760 --> 00:09:31,720 Speaker 4: I'm trying to figure out. I understand that that Andrew 187 00:09:31,760 --> 00:09:36,080 Speaker 4: Barbara in the show held you uh took care of 188 00:09:36,120 --> 00:09:38,680 Speaker 4: your child? She basically yes, she was. 189 00:09:39,040 --> 00:09:40,880 Speaker 2: She was okay. 190 00:09:41,080 --> 00:09:43,960 Speaker 4: Now that for you obviously could not you could not 191 00:09:44,360 --> 00:09:47,880 Speaker 4: get pregnant yourself. You deposited eggs now, was it this 192 00:09:47,960 --> 00:09:51,880 Speaker 4: boyfriend that that actually uh joined you in the egg thing? 193 00:09:51,880 --> 00:09:53,480 Speaker 2: Who's the sperm? 194 00:09:53,800 --> 00:09:58,079 Speaker 3: It's well, it's so I'm going to explain I V 195 00:09:58,240 --> 00:09:59,679 Speaker 3: F right now. So here's what I have. 196 00:10:00,120 --> 00:10:04,079 Speaker 4: Was basically Jamie's wife, was I so I have, So. 197 00:10:04,080 --> 00:10:08,079 Speaker 3: Basically it was Kimmy was just Kimmy was just the 198 00:10:09,480 --> 00:10:14,720 Speaker 3: She was just just the oven sperm ye, no meat, yeah, 199 00:10:14,760 --> 00:10:16,880 Speaker 3: but not. Yeah, but it would have been weird because 200 00:10:16,880 --> 00:10:20,400 Speaker 3: it was her brother. It's my Jimmy, Jimmy, Jimmy Gibblers, 201 00:10:21,280 --> 00:10:24,720 Speaker 3: Jimmy Gibblers sperm, which is everyone now how you know 202 00:10:24,800 --> 00:10:27,800 Speaker 3: how made babies? But those two and then and then 203 00:10:27,920 --> 00:10:31,240 Speaker 3: Kimmy was just the vessel that carried, which is actually 204 00:10:32,160 --> 00:10:37,800 Speaker 3: relatively common for family members or people to Yeah, but yeah, 205 00:10:37,880 --> 00:10:41,320 Speaker 3: it was No, it was not. It was not I 206 00:10:41,400 --> 00:10:42,760 Speaker 3: was sperm. 207 00:10:42,920 --> 00:10:44,040 Speaker 2: Was I was not was my? 208 00:10:44,400 --> 00:10:48,240 Speaker 3: It was my? It was it was and it was Yes, 209 00:10:48,280 --> 00:10:53,240 Speaker 3: it was Jimmy and Stepf's baby carried Timmy, cooked by, 210 00:10:53,400 --> 00:10:55,000 Speaker 3: married by Kimmy, carried by Kimmy. 211 00:10:55,040 --> 00:10:58,400 Speaker 2: Okay, so I got that story right. Yes, I was 212 00:10:58,440 --> 00:11:01,520 Speaker 2: looking that to be it, and I was right. I 213 00:11:01,559 --> 00:11:02,680 Speaker 2: just didn't realize it was your. 214 00:11:02,840 --> 00:11:06,520 Speaker 3: Yeah, well, because otherwise it becomes a game of thrones 215 00:11:06,520 --> 00:11:15,960 Speaker 3: and really dark there between Jimmy and Kimmy. Yeah, that's 216 00:11:16,000 --> 00:11:17,480 Speaker 3: that's the version. 217 00:11:17,520 --> 00:11:19,720 Speaker 4: I have a good story to one last story about 218 00:11:19,760 --> 00:11:22,200 Speaker 4: full House that I remember because it was specific to me. 219 00:11:22,400 --> 00:11:25,320 Speaker 4: We're doing a classroom scene and Michelle must have been 220 00:11:25,800 --> 00:11:28,640 Speaker 4: oh four and a half years old, maybe five years 221 00:11:28,679 --> 00:11:31,240 Speaker 4: old by that point, and we're doing this classroom scene 222 00:11:31,480 --> 00:11:33,880 Speaker 4: and I think Mary Ashley is up first, and she 223 00:11:34,000 --> 00:11:37,079 Speaker 4: does the scene and she's writing, I'm going, okay. Now 224 00:11:37,120 --> 00:11:39,280 Speaker 4: we do another scene in the classroom, except this time 225 00:11:39,280 --> 00:11:41,680 Speaker 4: it's Mary Kate is playing the role and Mary Kate 226 00:11:41,800 --> 00:11:47,920 Speaker 4: is writing with her left hand. Oh oh god, she's 227 00:11:47,960 --> 00:11:50,880 Speaker 4: a lefty. And then Mary Kate bit the bullet and 228 00:11:50,920 --> 00:11:53,439 Speaker 4: she she she worked writing it with her right hand. 229 00:11:53,640 --> 00:11:55,960 Speaker 4: And we played as few scenes as we possibly could 230 00:11:56,080 --> 00:12:00,200 Speaker 4: in classrooms again where now citated anybody writing. And I 231 00:12:00,240 --> 00:12:03,880 Speaker 4: realized at that point they were not identical twins. They 232 00:12:03,920 --> 00:12:08,120 Speaker 4: were basically, you know, they were fraternal twins. 233 00:12:08,559 --> 00:12:11,600 Speaker 3: You know, they didn't like well to me anyway, they 234 00:12:11,640 --> 00:12:15,920 Speaker 3: looked different. They looked close enough, but I definitely always. 235 00:12:15,760 --> 00:12:18,400 Speaker 4: Close enough so that nobody in the of our crew 236 00:12:18,480 --> 00:12:20,959 Speaker 4: had any idea who was actually in the scene, which. 237 00:12:22,520 --> 00:12:23,920 Speaker 3: Unless they were right, because. 238 00:12:23,640 --> 00:12:26,280 Speaker 4: They have a wonderful picture with me with Mary Kate. 239 00:12:26,960 --> 00:12:30,080 Speaker 4: I think it's Mary Kate a little kiss on the lips, 240 00:12:30,480 --> 00:12:33,240 Speaker 4: and the girls don't know who it was, but they 241 00:12:33,320 --> 00:12:34,880 Speaker 4: believe that the only one who would have done it 242 00:12:34,920 --> 00:12:37,239 Speaker 4: would be Mary Katey. 243 00:12:37,679 --> 00:12:51,520 Speaker 3: Yeah, you just so many wonderful, amazing memories like what 244 00:12:51,600 --> 00:12:56,640 Speaker 3: a what a journey? Uh, yes, your story has been 245 00:12:56,679 --> 00:12:58,520 Speaker 3: And I you know, I loved what you were saying too, 246 00:12:58,600 --> 00:13:00,280 Speaker 3: like I didn't really have goals. I just kind of 247 00:13:00,280 --> 00:13:01,600 Speaker 3: said yes to opportunities. 248 00:13:01,600 --> 00:13:01,840 Speaker 4: Again. 249 00:13:01,920 --> 00:13:04,920 Speaker 3: I find that to be like to be like, okay, 250 00:13:04,920 --> 00:13:07,240 Speaker 3: I want to do something like put yourself in a direction, 251 00:13:07,320 --> 00:13:09,000 Speaker 3: but then just kind of say yes to the things 252 00:13:09,000 --> 00:13:11,559 Speaker 3: that the doors that open and see where it takes you. 253 00:13:11,840 --> 00:13:13,840 Speaker 4: Right, Because my feeling is once again with connections. The 254 00:13:13,880 --> 00:13:16,800 Speaker 4: door and me open and it may be some step 255 00:13:16,840 --> 00:13:19,480 Speaker 4: on the road, and in that step there might be 256 00:13:19,640 --> 00:13:23,079 Speaker 4: producer that's interesting, they may be a star that's interesting, 257 00:13:23,080 --> 00:13:25,240 Speaker 4: and all of a sudden, the next time they get 258 00:13:25,280 --> 00:13:27,880 Speaker 4: a show, you're finding stuff moving with them and then 259 00:13:27,920 --> 00:13:30,280 Speaker 4: moving moving there and of course, if you have goals, 260 00:13:30,280 --> 00:13:32,600 Speaker 4: at some point you may actually realize that by the 261 00:13:32,679 --> 00:13:35,600 Speaker 4: end of this journey you hit your goal. But I 262 00:13:35,720 --> 00:13:37,800 Speaker 4: never had goals, so it is never concerned to me. 263 00:13:38,240 --> 00:13:41,120 Speaker 4: I didn't know what the options were. I just I 264 00:13:41,240 --> 00:13:43,160 Speaker 4: just learned that just take the job, see what you 265 00:13:43,200 --> 00:13:45,600 Speaker 4: can do, and maybe if they like you, you'll work 266 00:13:45,640 --> 00:13:49,280 Speaker 4: again and maybe you know whatever. Yeah, you never tried 267 00:13:49,320 --> 00:13:51,360 Speaker 4: not to be liked. I always tried to be efficient 268 00:13:51,480 --> 00:13:56,360 Speaker 4: and productive for the for the actors usually like me because. 269 00:13:56,160 --> 00:13:57,000 Speaker 2: I let them act. 270 00:13:57,480 --> 00:14:01,679 Speaker 4: I honestly that the basic if you could get everybody, 271 00:14:01,679 --> 00:14:04,560 Speaker 4: including the crew and the cameramen and everybody, to be 272 00:14:04,640 --> 00:14:06,840 Speaker 4: the best they can be, and the best way you 273 00:14:06,840 --> 00:14:08,400 Speaker 4: can make them be the best they can be is 274 00:14:08,480 --> 00:14:11,880 Speaker 4: not tell them what to do. If you're telling everybody 275 00:14:11,880 --> 00:14:13,920 Speaker 4: what to do, then there all of a sudden camera 276 00:14:13,960 --> 00:14:15,920 Speaker 4: oppers are saying, is that what you want? Okay, that's 277 00:14:15,920 --> 00:14:17,599 Speaker 4: what you got, And then all of a sudden he 278 00:14:17,920 --> 00:14:19,840 Speaker 4: tell you that you know something. If I just open 279 00:14:19,880 --> 00:14:21,840 Speaker 4: it up a little bit, I've got so and so 280 00:14:21,960 --> 00:14:24,400 Speaker 4: in the background and look at that shot. But when 281 00:14:24,440 --> 00:14:26,160 Speaker 4: you let them do their work, all of a sudden 282 00:14:26,280 --> 00:14:30,520 Speaker 4: they find values. You never even dream when I'm with 283 00:14:30,600 --> 00:14:33,560 Speaker 4: Jeffrey ju who was my director of photography on Big 284 00:14:33,560 --> 00:14:36,800 Speaker 4: Factory Wedding. I remember going up to him first day 285 00:14:36,840 --> 00:14:39,480 Speaker 4: and I said, listen, if this movie looks like what 286 00:14:39,560 --> 00:14:41,800 Speaker 4: I have in what I see in my head, you 287 00:14:41,840 --> 00:14:44,920 Speaker 4: have failed me. I said, this better not look like 288 00:14:44,920 --> 00:14:46,720 Speaker 4: what I have in my head. This better be something 289 00:14:47,040 --> 00:14:49,720 Speaker 4: that you get input in and start to help me develop. 290 00:14:50,240 --> 00:14:51,600 Speaker 2: And it's sure enough, it helps. 291 00:14:51,880 --> 00:14:53,880 Speaker 4: Yeah, all of a sudden he realizes he has a role. 292 00:14:54,040 --> 00:14:55,600 Speaker 4: So people wanted his opinion. 293 00:14:56,480 --> 00:15:00,160 Speaker 3: Yeah, Oh, a good director of photography is key. It 294 00:15:00,200 --> 00:15:03,240 Speaker 3: really just makes all of the difference in terms of 295 00:15:03,280 --> 00:15:05,160 Speaker 3: yet now. And for those people that are listening that 296 00:15:05,160 --> 00:15:07,120 Speaker 3: maybe don't know what a director of photography does. They're the 297 00:15:07,160 --> 00:15:10,160 Speaker 3: ones that are typically in film and stuff, and they 298 00:15:10,320 --> 00:15:12,480 Speaker 3: go on TV as well, but the director kind of 299 00:15:12,480 --> 00:15:14,240 Speaker 3: has a little more control of shots on TV. But 300 00:15:14,560 --> 00:15:17,840 Speaker 3: they usually are you know, the ones really planning out 301 00:15:17,840 --> 00:15:20,320 Speaker 3: the shots and the lighting and you know, working with 302 00:15:20,400 --> 00:15:23,840 Speaker 3: the director as far as what a scene or a shot. 303 00:15:23,640 --> 00:15:26,480 Speaker 4: Is going to learn and basically you know, and they 304 00:15:26,520 --> 00:15:28,440 Speaker 4: would try to get me off a set every time 305 00:15:28,480 --> 00:15:30,480 Speaker 4: they had to do a lighting set up because I 306 00:15:30,560 --> 00:15:31,240 Speaker 4: was always in the way. 307 00:15:32,040 --> 00:15:34,920 Speaker 3: Well, yeah, that's always the thing, right, you know, I 308 00:15:34,920 --> 00:15:37,160 Speaker 3: need fifteen get out of my way. I need we've 309 00:15:37,160 --> 00:15:37,920 Speaker 3: got grips, I. 310 00:15:37,880 --> 00:15:41,280 Speaker 4: Work to do, money coming in. But essentially we had 311 00:15:41,320 --> 00:15:44,640 Speaker 4: built a very strong relationship. And since it was the 312 00:15:44,640 --> 00:15:46,600 Speaker 4: same system, it was a single against a single, a 313 00:15:46,600 --> 00:15:49,040 Speaker 4: two shot against the two shot, overs crossed, two against 314 00:15:49,080 --> 00:15:51,360 Speaker 4: one three, It was all the same mathematics. 315 00:15:51,640 --> 00:15:53,280 Speaker 3: You know, by the way, all of those things that 316 00:15:53,360 --> 00:15:57,680 Speaker 3: Joelja said are all different references to shots in movies 317 00:15:57,920 --> 00:16:02,640 Speaker 3: and yeah av n TV. Well yeah, on film. Basically 318 00:16:02,800 --> 00:16:03,080 Speaker 3: you do. 319 00:16:03,160 --> 00:16:06,000 Speaker 4: Have to know and your choices are made. You have 320 00:16:06,040 --> 00:16:08,120 Speaker 4: two people in a scene. Now do you want to 321 00:16:08,120 --> 00:16:11,040 Speaker 4: shoot them in singles, one single against the other single, 322 00:16:11,280 --> 00:16:13,040 Speaker 4: or do you want to put them closer together and 323 00:16:13,080 --> 00:16:15,440 Speaker 4: shoot it as a two shot. Now, my belief in 324 00:16:15,520 --> 00:16:18,040 Speaker 4: most actors' beliefs, is that in a two shot, with 325 00:16:18,120 --> 00:16:20,560 Speaker 4: the person making the joke in the person responding to 326 00:16:20,600 --> 00:16:22,600 Speaker 4: the joke, is the place you want to be. So 327 00:16:22,640 --> 00:16:25,040 Speaker 4: the actors can time it themselves. And I remember I 328 00:16:25,120 --> 00:16:31,440 Speaker 4: was working on with the Twin Boys on the thing 329 00:16:31,480 --> 00:16:33,040 Speaker 4: that they're on a ship or something. 330 00:16:32,720 --> 00:16:37,120 Speaker 3: That the Cole and Dylan sprouse from right that's right, 331 00:16:37,880 --> 00:16:38,960 Speaker 3: that's right, sweet life. 332 00:16:39,120 --> 00:16:40,720 Speaker 4: And basically so, they were doing a scene in a 333 00:16:40,760 --> 00:16:43,680 Speaker 4: hallway and I remember going up to him. I said, guys, 334 00:16:43,720 --> 00:16:45,520 Speaker 4: I have a question for you. How do you see 335 00:16:45,520 --> 00:16:47,440 Speaker 4: the scene? Do you see the scene in a two shot? 336 00:16:47,560 --> 00:16:49,720 Speaker 4: You just see it in singles? And they both said, oh, 337 00:16:49,800 --> 00:16:54,240 Speaker 4: two shot. I said, good, then stand closer together. I 338 00:16:54,400 --> 00:16:57,560 Speaker 4: walked away, and they learned a big lesson that they 339 00:16:57,600 --> 00:17:01,400 Speaker 4: could control if you know, unless somebody specifically wants, and 340 00:17:01,440 --> 00:17:02,880 Speaker 4: that you can controls an actor. 341 00:17:02,920 --> 00:17:04,240 Speaker 2: Do you want to be close to somebody? 342 00:17:04,359 --> 00:17:06,520 Speaker 4: You want to be far away because it changes the 343 00:17:06,600 --> 00:17:11,720 Speaker 4: nature of acting distance amazing, And an argument between two people. 344 00:17:11,560 --> 00:17:14,600 Speaker 2: Across the room from each other is one argument. 345 00:17:14,800 --> 00:17:17,560 Speaker 4: Put those exact same words together and stick those people 346 00:17:17,640 --> 00:17:18,720 Speaker 4: face to face. 347 00:17:18,640 --> 00:17:22,280 Speaker 2: And you got a different argument. Yes, no, completely. 348 00:17:21,840 --> 00:17:24,080 Speaker 3: Well, And I think some like there's so much of 349 00:17:24,080 --> 00:17:26,520 Speaker 3: that too that comes from your theater background, because so 350 00:17:26,640 --> 00:17:29,720 Speaker 3: much of like, so much of blocking in theater is 351 00:17:30,760 --> 00:17:36,320 Speaker 3: so specifically intentional to create mood and space and relationship. 352 00:17:36,560 --> 00:17:41,119 Speaker 3: And yeah, it's I feel like that really came in 353 00:17:41,160 --> 00:17:44,520 Speaker 3: to play a lot. You know, when I directed my 354 00:17:44,800 --> 00:17:49,159 Speaker 3: episode of Fuller House, I met with you and you 355 00:17:49,400 --> 00:17:52,399 Speaker 3: had given me the book that you wrote on sitcom directing, 356 00:17:52,640 --> 00:17:55,159 Speaker 3: which was super helpful. I mean again, a lot of 357 00:17:55,200 --> 00:17:57,840 Speaker 3: it was stuff that I'd sort of absorbed over the years, 358 00:17:58,080 --> 00:18:01,159 Speaker 3: but it was also like, oh right, okay, this you 359 00:18:01,160 --> 00:18:03,320 Speaker 3: know again the connective tissue. Make sure you've got you know, 360 00:18:03,600 --> 00:18:05,520 Speaker 3: jokes in a two shot, all that kind of stuff. 361 00:18:06,320 --> 00:18:08,479 Speaker 3: But I just remember meeting you. You and I went 362 00:18:08,520 --> 00:18:10,840 Speaker 3: to arts deli. Of course, we went to a deli, 363 00:18:11,359 --> 00:18:14,159 Speaker 3: and you gave me the book and you were like, 364 00:18:14,480 --> 00:18:17,520 Speaker 3: I believe in you. I absolutely one hundred percent know 365 00:18:17,560 --> 00:18:19,719 Speaker 3: you could do it, and you like hyped me up 366 00:18:19,760 --> 00:18:22,679 Speaker 3: in such a way, and that really, like that was 367 00:18:22,760 --> 00:18:25,520 Speaker 3: a huge thing, and it made such a difference in. 368 00:18:25,840 --> 00:18:27,440 Speaker 2: Feeling like com pat Yeah. 369 00:18:27,520 --> 00:18:31,240 Speaker 3: Yeah, like you and Rich Correll both said like, you 370 00:18:31,280 --> 00:18:33,680 Speaker 3: can do it, you can do it, And I have 371 00:18:33,800 --> 00:18:36,400 Speaker 3: such admiration, I mean again, with all of the things 372 00:18:36,440 --> 00:18:38,199 Speaker 3: that you've done when you guys you know, were like, 373 00:18:38,200 --> 00:18:40,520 Speaker 3: you can do this and gave me all the tips 374 00:18:40,520 --> 00:18:43,360 Speaker 3: and the tools, and like, you know, I just it 375 00:18:43,400 --> 00:18:45,600 Speaker 3: was a really cool experience to be able to like 376 00:18:46,160 --> 00:18:50,679 Speaker 3: come back to somebody who has known you your whole life. 377 00:18:48,880 --> 00:18:52,639 Speaker 4: And then again did the same thing with Danielle Karp, 378 00:18:52,880 --> 00:18:55,120 Speaker 4: who I know is one of your producers. Yes, yes, 379 00:18:55,240 --> 00:18:57,440 Speaker 4: I had her on Girl Meets World for quite a 380 00:18:57,480 --> 00:19:00,440 Speaker 4: few episodes there, and then I meet with her because 381 00:19:00,480 --> 00:19:02,760 Speaker 4: she was very interested. She was always hanging around watching 382 00:19:02,760 --> 00:19:04,960 Speaker 4: what the hell I was doing when she was not 383 00:19:05,080 --> 00:19:07,639 Speaker 4: in scenes. And she was also enough of a bright 384 00:19:07,680 --> 00:19:10,040 Speaker 4: a brighten of a young lady that you knew that 385 00:19:10,080 --> 00:19:12,440 Speaker 4: if she set her mind to doing something, oh, he 386 00:19:12,520 --> 00:19:15,520 Speaker 4: was going to get it done. And yes he did. Indeed, 387 00:19:15,560 --> 00:19:19,640 Speaker 4: she did, you know. But he also watched. She shadowed 388 00:19:19,680 --> 00:19:21,320 Speaker 4: me and watched what I was doing and tried to 389 00:19:21,359 --> 00:19:23,040 Speaker 4: catch up and question me why you didn't that? 390 00:19:23,119 --> 00:19:23,840 Speaker 2: Why do you do that? 391 00:19:24,840 --> 00:19:27,359 Speaker 4: And I said, well, the actor wanted to do that. 392 00:19:27,400 --> 00:19:29,560 Speaker 4: She said, oh, really, that's it. The actor wanted to 393 00:19:29,600 --> 00:19:33,359 Speaker 4: do that, because yeah, the system that I emerged from 394 00:19:33,640 --> 00:19:36,520 Speaker 4: from theater to some degree was basically that. 395 00:19:36,960 --> 00:19:37,360 Speaker 2: Oh yeah. 396 00:19:37,520 --> 00:19:39,760 Speaker 4: There was a director who worked for the Second City 397 00:19:39,800 --> 00:19:42,919 Speaker 4: in Chicago. Eventually he run the g Geffen Theater. We 398 00:19:42,960 --> 00:19:45,720 Speaker 4: were all at a big conference together and he said 399 00:19:45,760 --> 00:19:47,679 Speaker 4: something that I thought was brilliant. He said, when I 400 00:19:47,920 --> 00:19:50,639 Speaker 4: do a play or anything, I put a little cone 401 00:19:51,160 --> 00:19:54,240 Speaker 4: over each of the actors and I don't go into 402 00:19:54,280 --> 00:19:57,120 Speaker 4: that cone until the actor comes out of the cone 403 00:19:57,160 --> 00:19:59,280 Speaker 4: and tells me they got a problem, they got something 404 00:19:59,320 --> 00:20:02,159 Speaker 4: they think they could do, and why my job with 405 00:20:02,200 --> 00:20:04,520 Speaker 4: the cones is to move the cones around and to 406 00:20:04,680 --> 00:20:07,600 Speaker 4: stage the best possibilities for the scene. And once the 407 00:20:07,640 --> 00:20:10,680 Speaker 4: actors got their words down and they got the movement down, 408 00:20:10,760 --> 00:20:12,640 Speaker 4: all of a sudden they come out of their cones 409 00:20:12,920 --> 00:20:14,520 Speaker 4: and I find out, you know, I don't have to 410 00:20:14,560 --> 00:20:16,760 Speaker 4: be at the table for this scene. I could be 411 00:20:16,880 --> 00:20:18,719 Speaker 4: up at the cabinet and I can get something and 412 00:20:18,760 --> 00:20:20,800 Speaker 4: bring it down to the table and I can pour, 413 00:20:21,240 --> 00:20:22,880 Speaker 4: and all of a sudden, you go, that's brilliant. 414 00:20:22,880 --> 00:20:25,320 Speaker 2: We'll do that, of course, So that was the system 415 00:20:25,359 --> 00:20:26,040 Speaker 2: that came up with it. 416 00:20:26,119 --> 00:20:29,040 Speaker 4: My job is simply just to get an organic staging 417 00:20:29,080 --> 00:20:31,480 Speaker 4: of some kind. The actors will correct it as soon 418 00:20:31,520 --> 00:20:32,600 Speaker 4: as they they're doing. 419 00:20:32,920 --> 00:20:36,440 Speaker 3: And I, you know, I that's definitely something. As we 420 00:20:36,640 --> 00:20:39,560 Speaker 3: came back and did fuller that, I think we've really 421 00:20:40,400 --> 00:20:44,000 Speaker 3: understood more. And you know, I remember so many times 422 00:20:44,000 --> 00:20:45,399 Speaker 3: we'd be like, all right, we're just gonna run it, 423 00:20:45,440 --> 00:20:47,000 Speaker 3: and like we'd have a rough idea of like who 424 00:20:47,160 --> 00:20:49,800 Speaker 3: enters here? Who but you? And Rich and so many 425 00:20:49,800 --> 00:20:53,440 Speaker 3: of our directors, you know, usually would just kind of 426 00:20:53,520 --> 00:20:55,800 Speaker 3: let us, like, you guys know what you need to do, 427 00:20:55,880 --> 00:20:58,080 Speaker 3: what the relationships are, where you want to go, If 428 00:20:58,080 --> 00:20:59,639 Speaker 3: I need you to be in a certain spot, they 429 00:20:59,640 --> 00:21:02,320 Speaker 3: would let us know. But it was it just gave 430 00:21:02,400 --> 00:21:04,640 Speaker 3: such a more natural flow to very much. 431 00:21:04,680 --> 00:21:06,920 Speaker 4: So you find that point, By that point, you knew 432 00:21:06,960 --> 00:21:09,679 Speaker 4: the staging, you knew where you had to be. My 433 00:21:09,840 --> 00:21:12,639 Speaker 4: job was initially to set where you sit at the table, 434 00:21:13,000 --> 00:21:15,760 Speaker 4: because in every life people have their spots at the 435 00:21:15,800 --> 00:21:18,080 Speaker 4: table and they don't improvente every time they. 436 00:21:17,920 --> 00:21:18,840 Speaker 2: Crossed to the table. 437 00:21:19,160 --> 00:21:21,440 Speaker 4: Saggot is the head of the table, and stay Wish 438 00:21:21,520 --> 00:21:24,760 Speaker 4: is with Lauri and everybody's there, you know, So basically 439 00:21:25,760 --> 00:21:27,560 Speaker 4: other than that for the most part, and you had 440 00:21:27,560 --> 00:21:29,439 Speaker 4: to stay in the set with directing. You couldn't all 441 00:21:29,440 --> 00:21:33,679 Speaker 4: of a sudden under into another set. But essentially that 442 00:21:33,800 --> 00:21:35,680 Speaker 4: was it, and then you people just did your job. 443 00:21:35,760 --> 00:21:38,159 Speaker 4: You knew it by that point, knew it better than 444 00:21:38,960 --> 00:21:41,200 Speaker 4: I did. But you know, but that's the key. The 445 00:21:41,280 --> 00:21:43,640 Speaker 4: key is to give the power to the people who 446 00:21:43,680 --> 00:21:47,000 Speaker 4: need the power. And in TV, the director is not 447 00:21:47,080 --> 00:21:49,240 Speaker 4: the man who needs the power. It doesn't but even 448 00:21:49,240 --> 00:21:51,199 Speaker 4: when I did long form, some long form, I did 449 00:21:51,240 --> 00:21:54,639 Speaker 4: some love boats or stuff at some point towards the 450 00:21:54,720 --> 00:21:58,520 Speaker 4: end of my TV sitcom life, and uh, even there, 451 00:21:58,640 --> 00:22:03,080 Speaker 4: essentially that was that needed to be stage because you're 452 00:22:03,119 --> 00:22:07,080 Speaker 4: moving all over a boat. I mean right in the 453 00:22:07,119 --> 00:22:09,080 Speaker 4: arbitrary but essentially the same thing you still had. 454 00:22:09,320 --> 00:22:11,480 Speaker 3: Well, it wasn't a multi cam sickom. It's you've got, 455 00:22:11,560 --> 00:22:12,400 Speaker 3: you've got. 456 00:22:12,280 --> 00:22:13,840 Speaker 4: I've got I've got to be able to shoot this, 457 00:22:13,880 --> 00:22:15,359 Speaker 4: and I've got to be able to carry things and 458 00:22:15,440 --> 00:22:17,520 Speaker 4: move things and try to keep the thing tight. And 459 00:22:18,040 --> 00:22:21,040 Speaker 4: there's kind of and although some scenes were essentially two 460 00:22:21,040 --> 00:22:22,840 Speaker 4: people's scenes, which is, you know, I don't care if 461 00:22:22,840 --> 00:22:25,080 Speaker 4: it's a movie or anything, it's a sitcom scene and 462 00:22:25,359 --> 00:22:27,800 Speaker 4: you know, or even three scene or standard things. But 463 00:22:27,840 --> 00:22:31,159 Speaker 4: when you get into major staging things, because you're on 464 00:22:31,200 --> 00:22:32,520 Speaker 4: a boat of crying out. 465 00:22:32,359 --> 00:22:35,719 Speaker 3: Lite right, whenever you're adding in background, everything is going 466 00:22:35,800 --> 00:22:39,560 Speaker 3: to take ten times as long and be fifteen times 467 00:22:39,600 --> 00:22:40,200 Speaker 3: as frustrating. 468 00:22:40,480 --> 00:22:43,040 Speaker 4: Oh yo, that's why I had an ad for the 469 00:22:43,119 --> 00:22:48,320 Speaker 4: last five or six years. Rosario Rovetta and Roseta was 470 00:22:48,359 --> 00:22:52,280 Speaker 4: the single best extra stager I ever run into in 471 00:22:52,320 --> 00:22:55,520 Speaker 4: my life. What he could do in terms of organization 472 00:22:55,680 --> 00:22:58,600 Speaker 4: of staging was remarkable, and the fact he was so 473 00:22:58,800 --> 00:23:01,520 Speaker 4: damn good that he never got the chance to direct 474 00:23:01,600 --> 00:23:04,240 Speaker 4: much because they needed him as the A D. Yeah, 475 00:23:04,680 --> 00:23:08,840 Speaker 4: will up his A D responsibility by letting him direct. 476 00:23:08,880 --> 00:23:11,040 Speaker 4: Say we get one or two episodes a year and 477 00:23:11,080 --> 00:23:13,119 Speaker 4: have to A D the rest of it. So now 478 00:23:13,119 --> 00:23:15,080 Speaker 4: I was in New York doing you know, the og 479 00:23:15,440 --> 00:23:16,760 Speaker 4: and shows like right. 480 00:23:17,720 --> 00:23:20,919 Speaker 3: Yeah, finding a good ad on, especially on days like 481 00:23:20,920 --> 00:23:23,440 Speaker 3: that when you have it's yeah, because I didn't. 482 00:23:23,720 --> 00:23:25,880 Speaker 4: I didn't even schedule. He just gave me the schedule. 483 00:23:25,920 --> 00:23:28,600 Speaker 3: And yeah. Well Keith, Keith Richmond was the ad on 484 00:23:28,640 --> 00:23:30,960 Speaker 3: Full House for a lot of it. And it's funny 485 00:23:31,080 --> 00:23:34,080 Speaker 3: we were I was watching one of the uh watching one 486 00:23:34,080 --> 00:23:35,640 Speaker 3: of the episodes. Oh, I think one of the ones 487 00:23:35,680 --> 00:23:38,840 Speaker 3: we're going to talk about. Andrea and Keith's daughter was 488 00:23:38,880 --> 00:23:39,919 Speaker 3: in it. Also. 489 00:23:40,080 --> 00:23:41,720 Speaker 2: Oh yeah, yeah, yes, that's true. 490 00:23:41,800 --> 00:23:45,000 Speaker 3: Yes, Allison was also. Uh she along with Jamie and 491 00:23:45,080 --> 00:23:50,120 Speaker 3: Hillary were really holding it down for the stuff schoolmates. 492 00:23:50,359 --> 00:23:52,720 Speaker 4: No, no question about that, that we were in control 493 00:23:52,760 --> 00:23:53,520 Speaker 4: of that kind of stuff. 494 00:23:53,880 --> 00:23:54,080 Speaker 2: You know. 495 00:23:54,840 --> 00:23:56,679 Speaker 3: I mean we did it on Fuller. You know, we 496 00:23:56,720 --> 00:23:58,040 Speaker 3: had a cloud and we're like, hey, let's throw our 497 00:23:58,080 --> 00:23:59,800 Speaker 3: kids in there, and then she did it once and 498 00:23:59,840 --> 00:24:02,320 Speaker 3: we're like, I'm good. Actually this is really long and 499 00:24:02,400 --> 00:24:02,960 Speaker 3: kind of boring. 500 00:24:03,200 --> 00:24:04,240 Speaker 2: Yeah. No. 501 00:24:04,520 --> 00:24:08,160 Speaker 4: But the trap, obviously is that Jamie wanted to become 502 00:24:08,200 --> 00:24:10,320 Speaker 4: an actor, and he's a pretty damn good actor. 503 00:24:10,320 --> 00:24:11,840 Speaker 2: The problem is just a lousy type. 504 00:24:12,280 --> 00:24:14,879 Speaker 4: He's he's kind of good looking but not really the 505 00:24:14,960 --> 00:24:17,880 Speaker 4: leading man, and he's not funny and stupid looking enough 506 00:24:17,920 --> 00:24:20,720 Speaker 4: to be the best friend clown. So he was stuck 507 00:24:20,720 --> 00:24:23,760 Speaker 4: in a no win position in terms of the ability 508 00:24:23,800 --> 00:24:26,680 Speaker 4: to do television where the characters have to be clearly 509 00:24:26,760 --> 00:24:29,160 Speaker 4: marked out for the most part. So but he did 510 00:24:29,200 --> 00:24:33,439 Speaker 4: some good theater work here, and he's not teaching good acting. 511 00:24:33,680 --> 00:24:37,000 Speaker 4: He teaches good and he's on a teaching acting. I 512 00:24:37,080 --> 00:24:39,879 Speaker 4: love that, very pleased that he got We got him 513 00:24:39,920 --> 00:24:42,840 Speaker 4: out of the desire to actually still be an actor. 514 00:24:42,880 --> 00:24:45,280 Speaker 4: I mean, God put a choice in life. 515 00:24:46,720 --> 00:24:49,800 Speaker 3: Apparently that's something that uh, you know, do you use Wickman? 516 00:24:50,040 --> 00:24:52,280 Speaker 3: Just try and really you're like, should I shouldn't? I 517 00:24:52,280 --> 00:24:54,560 Speaker 3: I don't know, I'm terrible at it. Maybe maybe not? 518 00:24:55,359 --> 00:24:56,520 Speaker 2: What the hell he can't? Right? 519 00:24:56,600 --> 00:24:57,159 Speaker 3: Yeah, exactly. 520 00:25:05,920 --> 00:25:08,440 Speaker 4: So now I'm doing theater back to the theater and 521 00:25:08,560 --> 00:25:12,719 Speaker 4: basically somewhere abound, the the epidemic, the whole pandemic, the 522 00:25:12,720 --> 00:25:15,840 Speaker 4: pandemic where we lost two years of our lives. I 523 00:25:15,960 --> 00:25:17,679 Speaker 4: decided that this was a good time to get the 524 00:25:17,680 --> 00:25:19,960 Speaker 4: hell out of the business because I started to realize 525 00:25:19,960 --> 00:25:23,440 Speaker 4: that I'm taking space for women who need to direct, 526 00:25:23,880 --> 00:25:26,800 Speaker 4: for minorities who need to direct. And most of these 527 00:25:26,800 --> 00:25:28,520 Speaker 4: people have worked with me, and I was the one 528 00:25:28,520 --> 00:25:30,800 Speaker 4: who's keeping them out of directing. And I said, that's it, 529 00:25:30,880 --> 00:25:33,240 Speaker 4: So it's over for me, and let these people move 530 00:25:33,280 --> 00:25:35,800 Speaker 4: on and get a chance to because the world changed 531 00:25:35,960 --> 00:25:38,919 Speaker 4: these last five years, the business check the world changed. 532 00:25:39,359 --> 00:25:42,160 Speaker 4: Women are writing women's scripts that are being directed by women, 533 00:25:42,200 --> 00:25:46,280 Speaker 4: that are decidedly point of view, strongly female, that no 534 00:25:46,400 --> 00:25:49,399 Speaker 4: male could ever approximate. Because I do remember on Laverne 535 00:25:49,440 --> 00:25:52,040 Speaker 4: and Surely my first show that Penny and Cindy would 536 00:25:52,040 --> 00:25:55,359 Speaker 4: just be crazy saying, oh, girls, don't do this, this 537 00:25:55,520 --> 00:25:57,320 Speaker 4: is not the way we would do this thing. We 538 00:25:57,359 --> 00:26:00,320 Speaker 4: don't work like that, we don't think like that. And 539 00:26:00,359 --> 00:26:03,480 Speaker 4: basically they get into a bit of a fight with 540 00:26:03,040 --> 00:26:05,280 Speaker 4: the with with Davy, Doo, kleinb and a few of 541 00:26:05,280 --> 00:26:07,240 Speaker 4: the other wonderful producers they had, but they were. 542 00:26:07,119 --> 00:26:08,600 Speaker 2: All men, you know. 543 00:26:08,760 --> 00:26:10,880 Speaker 3: So it's true, so very true. 544 00:26:10,920 --> 00:26:13,560 Speaker 4: And the difference in the quality of the shows is remarkable. 545 00:26:14,359 --> 00:26:16,639 Speaker 4: It's remarkable the stories that get told. 546 00:26:16,840 --> 00:26:17,479 Speaker 2: That the stories. 547 00:26:17,520 --> 00:26:19,560 Speaker 4: There is no a male writer in the world would 548 00:26:19,560 --> 00:26:20,880 Speaker 4: write those stories. 549 00:26:20,720 --> 00:26:23,600 Speaker 3: I know, Joel. I love you for that, Joel, thank 550 00:26:23,640 --> 00:26:26,320 Speaker 3: you for say like, but seriously, because there are not 551 00:26:26,760 --> 00:26:29,240 Speaker 3: there there There are not a lot of people in 552 00:26:29,280 --> 00:26:30,679 Speaker 3: this business who are like, no, you know what, I 553 00:26:30,680 --> 00:26:33,240 Speaker 3: did my thing, Like, it's time for the people that 554 00:26:33,240 --> 00:26:35,960 Speaker 3: that were like under me, that maybe don't look like 555 00:26:35,960 --> 00:26:38,359 Speaker 3: me or have different stories. So it's their time now. Like, 556 00:26:38,720 --> 00:26:42,720 Speaker 3: I have such respect for that because that is exactly 557 00:26:42,880 --> 00:26:45,199 Speaker 3: the attitude that we need and the and that we 558 00:26:45,280 --> 00:26:48,159 Speaker 3: all have to you know, be telling the stories. And 559 00:26:48,200 --> 00:26:51,080 Speaker 3: we all have our own different perspectives. And again I 560 00:26:51,119 --> 00:26:55,000 Speaker 3: think that comes from being you know, you're starting in 561 00:26:55,200 --> 00:26:59,880 Speaker 3: experimental theater. Theater is such a and such a melt 562 00:27:00,240 --> 00:27:05,919 Speaker 3: pot and such a creative like pressure force of you know, 563 00:27:06,080 --> 00:27:09,240 Speaker 3: just sort of acceptance and like whatever it is, just 564 00:27:09,320 --> 00:27:10,320 Speaker 3: let it go, you know. 565 00:27:10,560 --> 00:27:13,840 Speaker 4: And once again this training of the actor like an athlete, 566 00:27:14,080 --> 00:27:17,119 Speaker 4: because every time I hear any talk about athletes, about 567 00:27:17,160 --> 00:27:21,359 Speaker 4: baseball players, about football players, basketball players. They talk that 568 00:27:21,400 --> 00:27:24,000 Speaker 4: they all of a sudden in the zone. They found 569 00:27:24,080 --> 00:27:26,040 Speaker 4: in the zone where all of a sudden they're not 570 00:27:26,080 --> 00:27:29,680 Speaker 4: thinking about anything except the moment. And if you can 571 00:27:29,680 --> 00:27:32,680 Speaker 4: get an athlete in the moment, and a good athlete, 572 00:27:32,840 --> 00:27:35,600 Speaker 4: that's what you don't want the athlete thinking about shoot 573 00:27:35,640 --> 00:27:37,840 Speaker 4: this to the left, to the triple. No, no, they 574 00:27:37,840 --> 00:27:40,520 Speaker 4: can't just do it the instincts. So you're trying to 575 00:27:40,520 --> 00:27:44,879 Speaker 4: build the instincts of basically which kids already automatically have, 576 00:27:45,480 --> 00:27:48,040 Speaker 4: and you can hardly curb them of it. You know, 577 00:27:48,200 --> 00:27:50,880 Speaker 4: you go to show to the airport and everybody's sitting 578 00:27:50,920 --> 00:27:53,119 Speaker 4: around waiting for the to get online to go to 579 00:27:53,160 --> 00:27:55,040 Speaker 4: the plane, and there'd be some four year old girl 580 00:27:55,160 --> 00:27:58,119 Speaker 4: dancing right all by ourselves in the middle of the floor, 581 00:27:58,160 --> 00:28:00,560 Speaker 4: and you go, oh my god, how one as that? 582 00:28:01,200 --> 00:28:03,760 Speaker 4: You know, Yeah, enough, there were no boys doing that. 583 00:28:04,480 --> 00:28:06,480 Speaker 4: Only the girls are out there in the middle of 584 00:28:06,480 --> 00:28:11,040 Speaker 4: the floor doing their dancing. But yeah, it's been quite 585 00:28:11,040 --> 00:28:14,200 Speaker 4: a trip, and I'm a lucky man. I lucked out 586 00:28:14,200 --> 00:28:17,040 Speaker 4: big time. I hit the Golden years with the golden 587 00:28:17,080 --> 00:28:20,560 Speaker 4: people at the golden time. So I can't com you. 588 00:28:20,560 --> 00:28:24,399 Speaker 3: You really did, you really did? And I mean, you 589 00:28:24,800 --> 00:28:29,880 Speaker 3: are such a force, and I am so grateful that 590 00:28:30,080 --> 00:28:33,560 Speaker 3: I got to grow up with you and around you, 591 00:28:33,920 --> 00:28:35,879 Speaker 3: even you know the times of Disney World when I 592 00:28:35,880 --> 00:28:39,520 Speaker 3: said I hated you, but no, I like, I you know, 593 00:28:39,680 --> 00:28:42,120 Speaker 3: you and Andrew and I talk about this all the time, 594 00:28:42,160 --> 00:28:47,640 Speaker 3: that just the really important, influential people who had incredible 595 00:28:47,760 --> 00:28:51,080 Speaker 3: careers that like as kids, you know, we yeah, we 596 00:28:51,120 --> 00:28:53,239 Speaker 3: had no idea when some of these people around us 597 00:28:53,240 --> 00:28:56,959 Speaker 3: had done had like the impact that they'd had. It 598 00:28:57,040 --> 00:29:00,360 Speaker 3: was just our family, and we love you for it. 599 00:29:00,440 --> 00:29:05,040 Speaker 3: And I'm just I'm so it warms my heart that 600 00:29:05,080 --> 00:29:07,440 Speaker 3: we still get to all be connected like this. 601 00:29:07,640 --> 00:29:09,320 Speaker 4: I think this is great that you're doing the pod. 602 00:29:09,360 --> 00:29:10,920 Speaker 4: That's why as soon as I heard about this thing, 603 00:29:10,920 --> 00:29:16,320 Speaker 4: that's where I kind of, yes, yes, we went to 604 00:29:16,760 --> 00:29:18,560 Speaker 4: the pods. I didn't even know how to get onto 605 00:29:18,600 --> 00:29:19,560 Speaker 4: a pod. 606 00:29:19,640 --> 00:29:24,640 Speaker 3: You did well, though you can zoom. Zooming is fine. 607 00:29:24,680 --> 00:29:27,920 Speaker 3: That's about the extent of my technical ability most days anyway. 608 00:29:28,080 --> 00:29:31,160 Speaker 3: So yeah, I just figured out how to get my 609 00:29:31,280 --> 00:29:34,920 Speaker 3: lighting not looking terrible, like after a season and a 610 00:29:34,960 --> 00:29:36,680 Speaker 3: half and then I finally, I don't know what happened, 611 00:29:36,720 --> 00:29:38,080 Speaker 3: I just figured it out today. I was like, oh, wait, 612 00:29:38,120 --> 00:29:40,880 Speaker 3: I need to bounce this off here. I need a director. 613 00:29:40,920 --> 00:29:44,080 Speaker 3: Photography is what I need. Photography, I did, I did, 614 00:29:44,120 --> 00:29:46,239 Speaker 3: I just got too. It's just too much direct light 615 00:29:46,320 --> 00:29:47,560 Speaker 3: and I don't have a light over here. I need 616 00:29:47,600 --> 00:29:49,600 Speaker 3: to fill. It's just so much. 617 00:29:51,560 --> 00:29:55,240 Speaker 2: No, but mom Andrew looks wonderful. 618 00:29:55,280 --> 00:29:58,440 Speaker 3: Thank you, yes she does. Thank you. 619 00:29:59,080 --> 00:30:01,440 Speaker 1: And Joel you you, I say too, Joel, you have 620 00:30:01,520 --> 00:30:04,400 Speaker 1: not changed. You haven't changed at all. You really did 621 00:30:04,480 --> 00:30:06,440 Speaker 1: thirty six, thirty seven years. 622 00:30:06,840 --> 00:30:07,920 Speaker 2: Who knows, you know? 623 00:30:08,200 --> 00:30:10,280 Speaker 4: So I have to say that at this particular point, 624 00:30:10,560 --> 00:30:12,440 Speaker 4: as I look in the mirror and as I walk around, 625 00:30:12,760 --> 00:30:16,000 Speaker 4: I've become my father. You know. I never thought that 626 00:30:16,000 --> 00:30:18,960 Speaker 4: that was anything that even occurred to me, and all that, yeah, 627 00:30:19,240 --> 00:30:22,240 Speaker 4: walking along and going oh my god. So when my 628 00:30:22,320 --> 00:30:26,120 Speaker 4: father walked and I go, oh, it's gracious. Because my 629 00:30:26,120 --> 00:30:28,400 Speaker 4: father with me the last four years of his life 630 00:30:28,600 --> 00:30:30,880 Speaker 4: from eighty seven through ninety one. 631 00:30:30,960 --> 00:30:33,560 Speaker 2: So I really knew my father best as an old man. 632 00:30:34,760 --> 00:30:37,480 Speaker 4: Yeah, growing up, you didn't know much he worked or 633 00:30:37,480 --> 00:30:39,480 Speaker 4: he didn't work, or he yelled at you or he 634 00:30:39,520 --> 00:30:41,560 Speaker 4: didn't yell at you, but you didn't quite know who 635 00:30:41,560 --> 00:30:44,880 Speaker 4: he was. But now I knew he was as an 636 00:30:44,880 --> 00:30:47,480 Speaker 4: old man. So as I see myself plotting along, I go, 637 00:30:47,560 --> 00:30:48,320 Speaker 4: oh god. 638 00:30:48,760 --> 00:30:51,080 Speaker 3: We all eventually become our parents, isn't that. I mean, 639 00:30:51,120 --> 00:30:53,360 Speaker 3: I hear things coming out of my mouth all the time, and. 640 00:30:53,320 --> 00:30:54,760 Speaker 2: I'm like, oh, oh Jesus, No. 641 00:30:55,120 --> 00:30:58,000 Speaker 3: Sixteen year old me was like, I'll never yeah, and 642 00:30:58,040 --> 00:31:00,280 Speaker 3: then uh huh ye yep, I know. 643 00:31:00,240 --> 00:31:02,200 Speaker 2: We all go there. But anyway, this is terrific. 644 00:31:02,280 --> 00:31:04,680 Speaker 3: It's been fun. We love it and it's so much 645 00:31:04,720 --> 00:31:07,360 Speaker 3: fun getting to talk to everybody. I think I think 646 00:31:07,680 --> 00:31:10,720 Speaker 3: Lenny Rips is gonna be a coming guest on the show. 647 00:31:12,560 --> 00:31:15,920 Speaker 4: Lenny still by line by line, probably the funniest man 648 00:31:15,960 --> 00:31:19,640 Speaker 4: in Hollywood. He could write a joke line that nobody 649 00:31:19,640 --> 00:31:23,520 Speaker 4: could come near. When Rips showed up with a line, 650 00:31:24,000 --> 00:31:26,560 Speaker 4: everybody listened because he was really out. 651 00:31:26,440 --> 00:31:26,920 Speaker 2: Of his mind. 652 00:31:27,200 --> 00:31:29,360 Speaker 3: He was, I can't yeah, I can't wait for all 653 00:31:29,360 --> 00:31:32,560 Speaker 3: of this. So thank you so much for joining us today, JR. 654 00:31:33,080 --> 00:31:36,880 Speaker 3: Love you, and please tell your fam everyone that we 655 00:31:36,920 --> 00:31:40,000 Speaker 3: said hello, and then send our love and send big hugs. 656 00:31:40,200 --> 00:31:44,680 Speaker 4: Yes, certainly we'll do that, Okay, absolutely, Hey, ladies, enjoy 657 00:31:44,720 --> 00:31:45,640 Speaker 4: the specific day. 658 00:31:45,720 --> 00:31:49,600 Speaker 1: Thanks, we love you, Joel, Thanks Joel, Bye, I love you. 659 00:31:51,000 --> 00:31:54,120 Speaker 4: Okay, I'm leaving meeting. He says, leave meeting. 660 00:31:57,080 --> 00:31:58,920 Speaker 3: Oh my god, I don't think he is. 661 00:32:00,120 --> 00:32:02,320 Speaker 1: Last saw him and he's saying he's been saving it up. 662 00:32:02,800 --> 00:32:03,959 Speaker 1: He's been saving it up. 663 00:32:05,080 --> 00:32:07,640 Speaker 3: No, that's always been Joel. He's you know what, Joel 664 00:32:08,160 --> 00:32:13,040 Speaker 3: has probably severe ADHD. And that's why I was like, 665 00:32:13,520 --> 00:32:13,720 Speaker 3: that was. 666 00:32:15,840 --> 00:32:19,360 Speaker 5: Joel's wick ride, but like what facet But yet he 667 00:32:19,440 --> 00:32:21,440 Speaker 5: made sense like there was not ever a point where 668 00:32:21,480 --> 00:32:23,560 Speaker 5: you were like on the edge of my sea, like 669 00:32:23,560 --> 00:32:26,600 Speaker 5: oh no, this is like it was all like necessary information. 670 00:32:26,640 --> 00:32:28,240 Speaker 3: I was like, then you did what? Then you have 671 00:32:28,440 --> 00:32:33,080 Speaker 3: no idea? Carry had no appreciation or not enough appreciation 672 00:32:33,160 --> 00:32:35,040 Speaker 3: for him, That's what I'm saying, Like I had no 673 00:32:35,440 --> 00:32:37,520 Speaker 3: I like I knew a little bit of Joel's story. 674 00:32:37,520 --> 00:32:39,440 Speaker 3: I knew about like the La Mama Theater and kind 675 00:32:39,440 --> 00:32:41,240 Speaker 3: of his background there and all that stuff. 676 00:32:40,960 --> 00:32:44,280 Speaker 1: But like no idea that right, do what group of 677 00:32:44,840 --> 00:32:48,200 Speaker 1: He's a legend, is a legend, and what a great 678 00:32:48,280 --> 00:32:51,280 Speaker 1: full social moment really is a legend he gets to 679 00:32:51,880 --> 00:32:54,479 Speaker 1: mentor you being a director like I just I love 680 00:32:54,560 --> 00:32:56,480 Speaker 1: that it gives me such warm fuzzies. 681 00:32:56,680 --> 00:32:59,600 Speaker 3: That's great. Well, Joel is truly one of a kind, 682 00:32:59,640 --> 00:33:01,920 Speaker 3: and we absolutely loved getting to hear his stories from 683 00:33:01,960 --> 00:33:03,960 Speaker 3: the show and really take a look at how much 684 00:33:04,000 --> 00:33:07,760 Speaker 3: he's accomplished in his incredible career. I mean, some of 685 00:33:07,800 --> 00:33:09,440 Speaker 3: the things I knew, some of the things I didn't. 686 00:33:10,040 --> 00:33:14,960 Speaker 3: What an absolute rock star, legend, wonderful human love Joel. Uh. 687 00:33:15,080 --> 00:33:16,920 Speaker 3: This interview was such a blast and we hope you 688 00:33:17,000 --> 00:33:19,600 Speaker 3: enjoyed it as much as we did, and make sure 689 00:33:19,640 --> 00:33:21,720 Speaker 3: that you are following us on socials. You can check 690 00:33:21,760 --> 00:33:26,520 Speaker 3: us out on Instagram at how Rude Pod. No, Yes, yeah, yeah, 691 00:33:26,960 --> 00:33:31,480 Speaker 3: how how Rude Pod podcast? Why have I all of 692 00:33:31,480 --> 00:33:33,040 Speaker 3: a sudden blank how rude to? 693 00:33:33,240 --> 00:33:36,600 Speaker 1: I think it's how Rude podcast. Yes, it's how Rude podcast. 694 00:33:36,680 --> 00:33:39,080 Speaker 3: We produce All of a sudden, I was like, it's 695 00:33:39,080 --> 00:33:44,960 Speaker 3: how podcast. Yeah, Mattie Howard Fast Howard podcasts were great. 696 00:33:45,040 --> 00:33:45,800 Speaker 3: It's so we. 697 00:33:45,720 --> 00:33:47,400 Speaker 1: Haven't even gotten too the tagline yet. 698 00:33:47,560 --> 00:33:50,440 Speaker 3: This is awesome. Jesus is not going well. So yes, 699 00:33:50,520 --> 00:33:53,360 Speaker 3: follow us on Instagram at how red Podcast. You can 700 00:33:53,440 --> 00:33:57,520 Speaker 3: also make sure you subscribe and are oh my god, 701 00:33:57,600 --> 00:33:59,200 Speaker 3: I can't tell I don't know what's not Do you 702 00:33:59,200 --> 00:34:00,920 Speaker 3: want to do this? What is happening? 703 00:34:01,600 --> 00:34:01,920 Speaker 5: Joel? 704 00:34:02,160 --> 00:34:05,560 Speaker 1: I just see Joel left and you forgot how to 705 00:34:05,720 --> 00:34:06,320 Speaker 1: how to talk? 706 00:34:07,040 --> 00:34:10,680 Speaker 3: Seriously, you did? I'm usually so great. Okay, let's I 707 00:34:10,719 --> 00:34:12,319 Speaker 3: got this. I got this? Are you sure I can? 708 00:34:12,600 --> 00:34:15,279 Speaker 3: I can? I call? You need the intro? I got 709 00:34:15,320 --> 00:34:17,120 Speaker 3: the outro. I don't know what happened. It was just 710 00:34:17,160 --> 00:34:18,879 Speaker 3: a little brain hit up. Okay, that's okay. 711 00:34:19,600 --> 00:34:20,560 Speaker 1: I believe in you. 712 00:34:20,640 --> 00:34:23,360 Speaker 3: Jody. You can thank you. Make sure you're following us 713 00:34:23,440 --> 00:34:26,759 Speaker 3: on socials at how Rude Podcast. We're on Instagram. You 714 00:34:26,800 --> 00:34:29,640 Speaker 3: can also like and subscribe to the podcast wherever you're 715 00:34:29,680 --> 00:34:31,640 Speaker 3: listening to it so you can make sure and get 716 00:34:31,719 --> 00:34:33,920 Speaker 3: all the newest episodes as soon as they come out. 717 00:34:34,280 --> 00:34:36,319 Speaker 3: We are so glad that you joined us today and 718 00:34:36,400 --> 00:34:38,279 Speaker 3: we're excited for you to join us next time on 719 00:34:38,320 --> 00:34:42,240 Speaker 3: how Rude tanner Rito's and remember, the world is small, 720 00:34:42,760 --> 00:34:45,759 Speaker 3: but the house is full. Well, at least she got 721 00:34:45,760 --> 00:34:49,040 Speaker 3: one thing right right. We started off pretty crappy, but 722 00:34:49,120 --> 00:34:49,799 Speaker 3: I managed to. 723 00:34:49,719 --> 00:34:50,440 Speaker 2: Save it at the end. 724 00:34:50,800 --> 00:34:51,799 Speaker 3: You saved it in the end. 725 00:34:51,960 --> 00:34:52,439 Speaker 1: Good job.