WEBVTT - Some Time With...Joel Zwick (Part 2) 0:00:17.840 --> 0:00:20.800 Welcome back to How Rude Tana Rito's. This is the 0:00:20.840 --> 0:00:24.280 second part of our interview with one of our favorite directors, 0:00:24.400 --> 0:00:27.240 joel's Wick. He started full house with us from the 0:00:27.360 --> 0:00:29.920 very beginning, and he was certainly a huge part in 0:00:29.960 --> 0:00:32.960 making the show what it is today. Here's our friend, 0:00:33.360 --> 0:00:37.600 Joel's Wick. Yeah, my first memory of you is was 0:00:37.640 --> 0:00:41.519 the Stacey Q episode where I'm playing the keyboard and 0:00:41.640 --> 0:00:45.720 John is teaching Candace how to play the guitar and 0:00:46.000 --> 0:00:47.960 I was faking it on the on the keyboard and 0:00:48.000 --> 0:00:50.320 I remember. I remember because I was so scared of you, 0:00:50.400 --> 0:00:52.640 because you were yelling about something and I was like, 0:00:52.680 --> 0:00:55.920 I can't mess this up. I cannot disappoint Joel. It's 0:00:55.960 --> 0:00:58.360 my very first memory of you ten years old. 0:00:58.400 --> 0:00:59.920 A mean and memory. I love that a lot. 0:01:00.600 --> 0:01:05.600 Essentially, whatever you were like, Joel was like he would 0:01:05.640 --> 0:01:08.760 like freak out about you. You were just high intensity. 0:01:08.840 --> 0:01:10.520 You were like like you didn't you knew that, Like 0:01:10.560 --> 0:01:12.800 he's not really mad, he's just like he's just loud 0:01:12.840 --> 0:01:15.240 and like, ah, you know, And that was just Joel. 0:01:15.640 --> 0:01:16.800 That's essentially you got. 0:01:16.680 --> 0:01:19.559 Us moving, You got things done with you very efficiently. 0:01:19.760 --> 0:01:21.560 Matter of fact, we went down in the last couple 0:01:21.600 --> 0:01:23.640 of years, we were down to four day shoots. 0:01:23.959 --> 0:01:26.920 Yeah basically, well yeah, well you had four day shoots 0:01:26.920 --> 0:01:28.760 for quite a while there for the last. 0:01:29.840 --> 0:01:31.920 We're waiting on five day shoots. But you know, it 0:01:32.000 --> 0:01:33.920 was very interesting and we got a chance to send 0:01:34.040 --> 0:01:36.840 all of your people off to real schools. And has 0:01:36.880 --> 0:01:39.720 had some problems. I don't know that you did necessary, 0:01:39.760 --> 0:01:42.160 but remember Candice was being made fun of at the 0:01:42.200 --> 0:01:44.360 school because she was, oh she was a star on 0:01:44.480 --> 0:01:48.680 TV or whatever that. Oh yeah, and I remember the 0:01:48.720 --> 0:01:51.640 one scene I remember was Candace was being got invited 0:01:51.640 --> 0:01:57.960 by some boy to senior prom a prom in high. 0:01:57.760 --> 0:02:00.640 School and is this it is you talking on the 0:02:00.640 --> 0:02:01.559 show or in real life? 0:02:01.680 --> 0:02:04.920 I'm real life, Okay, I'm real And so basically this 0:02:04.960 --> 0:02:06.600 guy comes to pick her up, he has to pick 0:02:06.600 --> 0:02:07.360 her up on the set. 0:02:07.840 --> 0:02:12.200 No, that was Andrea. Oh yeah that was me. I'm 0:02:12.200 --> 0:02:16.000 like this, yeah, no, this was that was was the 0:02:16.000 --> 0:02:17.359 one that was her senior prom. 0:02:17.560 --> 0:02:21.360 That was my high school boyfriend Ben, And yeah that 0:02:21.560 --> 0:02:24.520 was you guys rearranged the whole schedule that night to 0:02:24.560 --> 0:02:26.239 tape my scenes to shoot me out. 0:02:27.080 --> 0:02:27.760 But that wasn't that. 0:02:27.800 --> 0:02:29.800 There's a one where she was coming also, and she 0:02:30.040 --> 0:02:33.680 gave her an entrance in her beautiful gown down the staircase. 0:02:34.120 --> 0:02:36.359 As this boy is standing there watching her come down 0:02:36.440 --> 0:02:41.480 the stairs, and myself, Staymers and Saggot are standing there 0:02:41.520 --> 0:02:43.880 with our arms crossed, staring at. 0:02:43.919 --> 0:02:46.839 Him, just staring at him. 0:02:47.760 --> 0:02:50.000 This guy had to know that there'd be no fooling 0:02:50.120 --> 0:02:52.480 around with can that's hysterical. 0:02:54.560 --> 0:02:59.200 I don't know. Yeah, I don't remember. I don't, I don't. 0:02:59.400 --> 0:03:02.200 Yeah, you would first reading of the pilot, Jody, that 0:03:02.320 --> 0:03:04.520 was blew us all away. You at four and a 0:03:04.520 --> 0:03:07.600 half maybe could sit there at the table and read 0:03:07.720 --> 0:03:11.000 the script with the adults as fast as they could 0:03:11.000 --> 0:03:14.400 read it. That blew our minds that she was added as. 0:03:14.280 --> 0:03:16.160 A read Yeah, we had when we had John on, 0:03:16.240 --> 0:03:18.560 he was like, I went out and I almost quit. 0:03:20.440 --> 0:03:24.120 John. Yeah, you know they had funny things like there 0:03:24.200 --> 0:03:25.880 was a thing that the writers used to do this 0:03:25.960 --> 0:03:28.920 thing upstairs. We're on one side they make a whiteboard, 0:03:28.960 --> 0:03:31.600 and one side to be the line as written by 0:03:31.639 --> 0:03:34.280 the writers, then on the other side to be the 0:03:34.320 --> 0:03:36.320 line as performed by John Stamos. 0:03:36.800 --> 0:03:40.840 Yes, yes, because you know what I blame I blame 0:03:40.960 --> 0:03:43.680 him for my ability to just never quite get it right, 0:03:43.680 --> 0:03:47.880 but always sort of be line adjacent. It's just it'sjacent. Jason. 0:03:48.600 --> 0:03:50.480 He'd go out, he's the line with something like, Okay, 0:03:50.480 --> 0:03:53.480 see you guys later, and by the time he performed 0:03:53.480 --> 0:03:55.680 it was, well, I'm thinking right now that maybe I'll 0:03:55.680 --> 0:03:57.800 go to I'm not sure where I'm going to go. 0:03:57.880 --> 0:03:59.280 But wherever I will see you. 0:04:00.000 --> 0:04:01.680 All of a sudden he brought it into an entire 0:04:01.720 --> 0:04:03.920 event and they would put that up on the top. 0:04:04.000 --> 0:04:06.560 You know, we had some funny things. I remember every 0:04:06.600 --> 0:04:09.120 once in a while in a script that we were doing, 0:04:09.560 --> 0:04:12.640 they'd have a stage direction which they specifically write in 0:04:12.800 --> 0:04:16.640 bold black things saying Joel, please, we would love to 0:04:16.640 --> 0:04:20.200 see this stage as we've written it. Because essentially we 0:04:20.240 --> 0:04:24.160 just did what we wanted to do, and of the 0:04:24.200 --> 0:04:27.760 time nobody was complaining because we were doing it right. 0:04:28.320 --> 0:04:30.560 But it was. It was a remarkable thing. And having 0:04:30.560 --> 0:04:32.880 my kids there and being able to do a show 0:04:32.920 --> 0:04:35.359 with kids. So therefore, when I came onto Full House, 0:04:35.560 --> 0:04:38.440 I never had any thoughts or problems about having to 0:04:38.480 --> 0:04:43.000 work with children because I had children. Yeah, so it 0:04:43.160 --> 0:04:45.039 seemed to be something that could be done. When I 0:04:45.080 --> 0:04:48.200 found out that basically I had everybody else taking care 0:04:48.240 --> 0:04:51.839 of the children. I had Brian, Adria and I had 0:04:51.880 --> 0:04:54.120 all kinds of things, ads with cake and care. 0:04:54.279 --> 0:04:56.960 Yeah, it was. It was a real like sort of 0:04:57.040 --> 0:05:02.000 village family thing and we all worked together. And that's 0:05:02.040 --> 0:05:03.520 one of the things Andrew and I talk about all 0:05:03.560 --> 0:05:05.039 the time and with all the guests and stuff, is 0:05:05.040 --> 0:05:07.320 everyone talks about what a just what a great collection 0:05:07.400 --> 0:05:09.640 of people it was, and how everyone really. 0:05:09.360 --> 0:05:12.160 A nominal collection of people. And I remember there's some 0:05:12.480 --> 0:05:16.120 interests I remember, like I remember there was supposed to 0:05:16.160 --> 0:05:19.960 be some scene where you're all coming downstairs into the kitchen. Okay, 0:05:20.320 --> 0:05:23.640 and Kuyer, who has an Dave. 0:05:23.880 --> 0:05:26.520 He would just start trap us upstairs. 0:05:26.040 --> 0:05:28.839 To trap you up there and fought and I saw 0:05:28.960 --> 0:05:33.479 him tar calf before I even said action charge planning 0:05:33.520 --> 0:05:34.520 for their lives. 0:05:34.760 --> 0:05:38.000 Yeah, we would. Yeah, it was Dave's form of torture 0:05:38.040 --> 0:05:40.359 to all of us. And he was hilarious. Was like 0:05:40.360 --> 0:05:41.200 a twelve year old boy. 0:05:41.680 --> 0:05:43.479 Worse than that, maybe eleven year old boy. I don't 0:05:43.480 --> 0:05:44.560 think twelve years old, It's. 0:05:44.440 --> 0:05:47.400 True, twelve years Dad might have a little more maturity. 0:05:47.000 --> 0:05:49.240 More matury grown in already. But you know, we did 0:05:49.279 --> 0:05:50.920 have some problems with the fact that you did have 0:05:51.600 --> 0:05:53.960 was between Sagot and Koh. Yeah, you had people with 0:05:54.200 --> 0:05:57.120 questionable ability to mind their mouths. 0:05:58.279 --> 0:06:02.039 I mean, I you know, I as an adult, I 0:06:02.160 --> 0:06:07.719 now completely understand that predicament because sometimes it comes out 0:06:08.040 --> 0:06:11.120 they're just the kids are just you don't see them. 0:06:11.160 --> 0:06:13.400 They're behind you, and you're like, look, I made a 0:06:13.480 --> 0:06:14.120 joke and it. 0:06:14.160 --> 0:06:16.680 Was sometimes they there and it just comes out because 0:06:16.680 --> 0:06:17.159 the joke. 0:06:17.080 --> 0:06:20.560 Is it's sometimes you just Something was. 0:06:20.520 --> 0:06:23.440 Early on I called it the March of the Mothers, 0:06:23.880 --> 0:06:28.800 where there was where something that that had had no 0:06:28.880 --> 0:06:31.560 This was something like Saggot had done. Saggo hads come 0:06:31.640 --> 0:06:34.760 up with something really questionable, and basically it was in 0:06:34.839 --> 0:06:36.880 a break and all of a sudden I was watched 0:06:37.000 --> 0:06:39.080 out there and I saw the three mothers at that time, 0:06:39.200 --> 0:06:41.400 along with Mary Kate, Nashley's mother, she was there too, 0:06:41.760 --> 0:06:45.200 marching down to Saggot's dressing room to let him know 0:06:45.279 --> 0:06:47.200 that that kind of behavior was not. 0:06:47.160 --> 0:06:52.080 Acceptable, that we've got to talk to him. Yeah, the 0:06:52.120 --> 0:06:56.600 March of the mother somebody's got to do it. Yeah. 0:06:56.800 --> 0:06:58.960 The other thing that was pretty funny it was that 0:06:59.040 --> 0:07:02.039 we had the Great A Burrow Show, which the bureau 0:07:02.080 --> 0:07:02.440 fell in love. 0:07:02.560 --> 0:07:07.040 H Yes, we've talked, uh Peppermill. Uh, we've told a 0:07:07.279 --> 0:07:10.600 story many times about the donkey that really loved John Stamos. Okay, fine, 0:07:10.680 --> 0:07:12.320 everyone everybody loves John Stamos. 0:07:12.400 --> 0:07:15.640 The lead to then the Donkey was this, So the 0:07:15.720 --> 0:07:19.600 donkey would come out stage and initially, unless you don't know, 0:07:19.640 --> 0:07:21.800 if the donkey would have a hard on that would 0:07:21.800 --> 0:07:24.080 be about two feet long and hang on to the 0:07:24.160 --> 0:07:25.440 ground and where. 0:07:25.360 --> 0:07:28.080 They have to top it with a stick to make 0:07:28.120 --> 0:07:28.720 it go away. 0:07:28.880 --> 0:07:31.200 And then so the twins are there staring at this thing, 0:07:31.400 --> 0:07:36.640 and everybody's trying to get them not to touch it. 0:07:36.680 --> 0:07:39.640 So basically doing all this is going on, and finally 0:07:39.880 --> 0:07:41.560 I come down. I talked to the train and I said, 0:07:41.560 --> 0:07:44.800 this is ridiculous. Why is it that every time this, 0:07:45.080 --> 0:07:49.440 uh this, this bureau comes on stage it has an erection? 0:07:49.920 --> 0:07:52.080 And he says, I think it's you. I said, what 0:07:52.080 --> 0:07:54.559 do you mean, you think it's me. I think there's 0:07:54.560 --> 0:07:57.040 something that he smells in you that's making him turned on. 0:07:57.680 --> 0:08:00.360 I said, you're telling me that I turn on the dunky. 0:08:00.080 --> 0:08:01.560 He said I think. 0:08:01.400 --> 0:08:04.400 So, So I said okay, and I left the stage, 0:08:04.480 --> 0:08:07.240 and sure enough, there were no more erections. 0:08:07.640 --> 0:08:13.480 Wait wait, I turned on the turned off. All of 0:08:13.520 --> 0:08:18.000 this time, the legend has been that it was John 0:08:18.920 --> 0:08:23.720 John John Clare John has claimed that this changes everything. 0:08:24.560 --> 0:08:30.440 Joel, it was John, but he didn't see John as 0:08:30.440 --> 0:08:33.240 a sexual item. He saw John is perhaps somebody to 0:08:33.360 --> 0:08:37.040 marry or somebody were. 0:08:36.480 --> 0:08:40.439 You were just a boy to a Burrow toy, if 0:08:40.440 --> 0:08:40.760 you will. 0:08:46.640 --> 0:08:49.439 We had some that would occur on a set where 0:08:49.440 --> 0:08:51.640 you had an awful lot of children running around. 0:08:52.080 --> 0:08:54.200 And you came back and directed a few episodes of 0:08:54.280 --> 0:08:55.679 Fuller House as well. 0:08:55.920 --> 0:08:57.959 I did two episodes What was that? 0:08:58.040 --> 0:08:58.160 Like? 0:08:58.240 --> 0:08:59.400 How was that? To come back? 0:08:59.440 --> 0:09:04.000 And I loved coming back because the growth of the 0:09:04.120 --> 0:09:07.160 of the of you people as actors was insane to watch, 0:09:07.240 --> 0:09:10.360 you know, and yet the same relationship was still existing, 0:09:10.840 --> 0:09:13.240 and that was really cool. And I love some of 0:09:13.280 --> 0:09:22.960 the ex I loved Andrea's husband was here, very really good. 0:09:23.400 --> 0:09:23.920 I have a story. 0:09:23.920 --> 0:09:27.080 I got to ask you a question, idea, you know, 0:09:27.760 --> 0:09:31.720 I'm trying to figure out. I understand that that Andrew 0:09:31.760 --> 0:09:36.080 Barbara in the show held you uh took care of 0:09:36.120 --> 0:09:38.680 your child? She basically yes, she was. 0:09:39.040 --> 0:09:40.880 She was okay. 0:09:41.080 --> 0:09:43.960 Now that for you obviously could not you could not 0:09:44.360 --> 0:09:47.880 get pregnant yourself. You deposited eggs now, was it this 0:09:47.960 --> 0:09:51.880 boyfriend that that actually uh joined you in the egg thing? 0:09:51.880 --> 0:09:53.480 Who's the sperm? 0:09:53.800 --> 0:09:58.079 It's well, it's so I'm going to explain I V 0:09:58.240 --> 0:09:59.679 F right now. So here's what I have. 0:10:00.120 --> 0:10:04.079 Was basically Jamie's wife, was I so I have, So. 0:10:04.080 --> 0:10:08.079 Basically it was Kimmy was just Kimmy was just the 0:10:09.480 --> 0:10:14.720 She was just just the oven sperm ye, no meat, yeah, 0:10:14.760 --> 0:10:16.880 but not. Yeah, but it would have been weird because 0:10:16.880 --> 0:10:20.400 it was her brother. It's my Jimmy, Jimmy, Jimmy Gibblers, 0:10:21.280 --> 0:10:24.720 Jimmy Gibblers sperm, which is everyone now how you know 0:10:24.800 --> 0:10:27.800 how made babies? But those two and then and then 0:10:27.920 --> 0:10:31.240 Kimmy was just the vessel that carried, which is actually 0:10:32.160 --> 0:10:37.800 relatively common for family members or people to Yeah, but yeah, 0:10:37.880 --> 0:10:41.320 it was No, it was not. It was not I 0:10:41.400 --> 0:10:42.760 was sperm. 0:10:42.920 --> 0:10:44.040 Was I was not was my? 0:10:44.400 --> 0:10:48.240 It was my? It was it was and it was Yes, 0:10:48.280 --> 0:10:53.240 it was Jimmy and Stepf's baby carried Timmy, cooked by, 0:10:53.400 --> 0:10:55.000 married by Kimmy, carried by Kimmy. 0:10:55.040 --> 0:10:58.400 Okay, so I got that story right. Yes, I was 0:10:58.440 --> 0:11:01.520 looking that to be it, and I was right. I 0:11:01.559 --> 0:11:02.680 just didn't realize it was your. 0:11:02.840 --> 0:11:06.520 Yeah, well, because otherwise it becomes a game of thrones 0:11:06.520 --> 0:11:15.960 and really dark there between Jimmy and Kimmy. Yeah, that's 0:11:16.000 --> 0:11:17.480 that's the version. 0:11:17.520 --> 0:11:19.720 I have a good story to one last story about 0:11:19.760 --> 0:11:22.200 full House that I remember because it was specific to me. 0:11:22.400 --> 0:11:25.320 We're doing a classroom scene and Michelle must have been 0:11:25.800 --> 0:11:28.640 oh four and a half years old, maybe five years 0:11:28.679 --> 0:11:31.240 old by that point, and we're doing this classroom scene 0:11:31.480 --> 0:11:33.880 and I think Mary Ashley is up first, and she 0:11:34.000 --> 0:11:37.079 does the scene and she's writing, I'm going, okay. Now 0:11:37.120 --> 0:11:39.280 we do another scene in the classroom, except this time 0:11:39.280 --> 0:11:41.680 it's Mary Kate is playing the role and Mary Kate 0:11:41.800 --> 0:11:47.920 is writing with her left hand. Oh oh god, she's 0:11:47.960 --> 0:11:50.880 a lefty. And then Mary Kate bit the bullet and 0:11:50.920 --> 0:11:53.439 she she she worked writing it with her right hand. 0:11:53.640 --> 0:11:55.960 And we played as few scenes as we possibly could 0:11:56.080 --> 0:12:00.200 in classrooms again where now citated anybody writing. And I 0:12:00.240 --> 0:12:03.880 realized at that point they were not identical twins. They 0:12:03.920 --> 0:12:08.120 were basically, you know, they were fraternal twins. 0:12:08.559 --> 0:12:11.600 You know, they didn't like well to me anyway, they 0:12:11.640 --> 0:12:15.920 looked different. They looked close enough, but I definitely always. 0:12:15.760 --> 0:12:18.400 Close enough so that nobody in the of our crew 0:12:18.480 --> 0:12:20.959 had any idea who was actually in the scene, which. 0:12:22.520 --> 0:12:23.920 Unless they were right, because. 0:12:23.640 --> 0:12:26.280 They have a wonderful picture with me with Mary Kate. 0:12:26.960 --> 0:12:30.080 I think it's Mary Kate a little kiss on the lips, 0:12:30.480 --> 0:12:33.240 and the girls don't know who it was, but they 0:12:33.320 --> 0:12:34.880 believe that the only one who would have done it 0:12:34.920 --> 0:12:37.239 would be Mary Katey. 0:12:37.679 --> 0:12:51.520 Yeah, you just so many wonderful, amazing memories like what 0:12:51.600 --> 0:12:56.640 a what a journey? Uh, yes, your story has been 0:12:56.679 --> 0:12:58.520 And I you know, I loved what you were saying too, 0:12:58.600 --> 0:13:00.280 like I didn't really have goals. I just kind of 0:13:00.280 --> 0:13:01.600 said yes to opportunities. 0:13:01.600 --> 0:13:01.840 Again. 0:13:01.920 --> 0:13:04.920 I find that to be like to be like, okay, 0:13:04.920 --> 0:13:07.240 I want to do something like put yourself in a direction, 0:13:07.320 --> 0:13:09.000 but then just kind of say yes to the things 0:13:09.000 --> 0:13:11.559 that the doors that open and see where it takes you. 0:13:11.840 --> 0:13:13.840 Right, Because my feeling is once again with connections. The 0:13:13.880 --> 0:13:16.800 door and me open and it may be some step 0:13:16.840 --> 0:13:19.480 on the road, and in that step there might be 0:13:19.640 --> 0:13:23.079 producer that's interesting, they may be a star that's interesting, 0:13:23.080 --> 0:13:25.240 and all of a sudden, the next time they get 0:13:25.280 --> 0:13:27.880 a show, you're finding stuff moving with them and then 0:13:27.920 --> 0:13:30.280 moving moving there and of course, if you have goals, 0:13:30.280 --> 0:13:32.600 at some point you may actually realize that by the 0:13:32.679 --> 0:13:35.600 end of this journey you hit your goal. But I 0:13:35.720 --> 0:13:37.800 never had goals, so it is never concerned to me. 0:13:38.240 --> 0:13:41.120 I didn't know what the options were. I just I 0:13:41.240 --> 0:13:43.160 just learned that just take the job, see what you 0:13:43.200 --> 0:13:45.600 can do, and maybe if they like you, you'll work 0:13:45.640 --> 0:13:49.280 again and maybe you know whatever. Yeah, you never tried 0:13:49.320 --> 0:13:51.360 not to be liked. I always tried to be efficient 0:13:51.480 --> 0:13:56.360 and productive for the for the actors usually like me because. 0:13:56.160 --> 0:13:57.000 I let them act. 0:13:57.480 --> 0:14:01.679 I honestly that the basic if you could get everybody, 0:14:01.679 --> 0:14:04.560 including the crew and the cameramen and everybody, to be 0:14:04.640 --> 0:14:06.840 the best they can be, and the best way you 0:14:06.840 --> 0:14:08.400 can make them be the best they can be is 0:14:08.480 --> 0:14:11.880 not tell them what to do. If you're telling everybody 0:14:11.880 --> 0:14:13.920 what to do, then there all of a sudden camera 0:14:13.960 --> 0:14:15.920 oppers are saying, is that what you want? Okay, that's 0:14:15.920 --> 0:14:17.599 what you got, And then all of a sudden he 0:14:17.920 --> 0:14:19.840 tell you that you know something. If I just open 0:14:19.880 --> 0:14:21.840 it up a little bit, I've got so and so 0:14:21.960 --> 0:14:24.400 in the background and look at that shot. But when 0:14:24.440 --> 0:14:26.160 you let them do their work, all of a sudden 0:14:26.280 --> 0:14:30.520 they find values. You never even dream when I'm with 0:14:30.600 --> 0:14:33.560 Jeffrey ju who was my director of photography on Big 0:14:33.560 --> 0:14:36.800 Factory Wedding. I remember going up to him first day 0:14:36.840 --> 0:14:39.480 and I said, listen, if this movie looks like what 0:14:39.560 --> 0:14:41.800 I have in what I see in my head, you 0:14:41.840 --> 0:14:44.920 have failed me. I said, this better not look like 0:14:44.920 --> 0:14:46.720 what I have in my head. This better be something 0:14:47.040 --> 0:14:49.720 that you get input in and start to help me develop. 0:14:50.240 --> 0:14:51.600 And it's sure enough, it helps. 0:14:51.880 --> 0:14:53.880 Yeah, all of a sudden he realizes he has a role. 0:14:54.040 --> 0:14:55.600 So people wanted his opinion. 0:14:56.480 --> 0:15:00.160 Yeah, Oh, a good director of photography is key. It 0:15:00.200 --> 0:15:03.240 really just makes all of the difference in terms of 0:15:03.280 --> 0:15:05.160 yet now. And for those people that are listening that 0:15:05.160 --> 0:15:07.120 maybe don't know what a director of photography does. They're the 0:15:07.160 --> 0:15:10.160 ones that are typically in film and stuff, and they 0:15:10.320 --> 0:15:12.480 go on TV as well, but the director kind of 0:15:12.480 --> 0:15:14.240 has a little more control of shots on TV. But 0:15:14.560 --> 0:15:17.840 they usually are you know, the ones really planning out 0:15:17.840 --> 0:15:20.320 the shots and the lighting and you know, working with 0:15:20.400 --> 0:15:23.840 the director as far as what a scene or a shot. 0:15:23.640 --> 0:15:26.480 Is going to learn and basically you know, and they 0:15:26.520 --> 0:15:28.440 would try to get me off a set every time 0:15:28.480 --> 0:15:30.480 they had to do a lighting set up because I 0:15:30.560 --> 0:15:31.240 was always in the way. 0:15:32.040 --> 0:15:34.920 Well, yeah, that's always the thing, right, you know, I 0:15:34.920 --> 0:15:37.160 need fifteen get out of my way. I need we've 0:15:37.160 --> 0:15:37.920 got grips, I. 0:15:37.880 --> 0:15:41.280 Work to do, money coming in. But essentially we had 0:15:41.320 --> 0:15:44.640 built a very strong relationship. And since it was the 0:15:44.640 --> 0:15:46.600 same system, it was a single against a single, a 0:15:46.600 --> 0:15:49.040 two shot against the two shot, overs crossed, two against 0:15:49.080 --> 0:15:51.360 one three, It was all the same mathematics. 0:15:51.640 --> 0:15:53.280 You know, by the way, all of those things that 0:15:53.360 --> 0:15:57.680 Joelja said are all different references to shots in movies 0:15:57.920 --> 0:16:02.640 and yeah av n TV. Well yeah, on film. Basically 0:16:02.800 --> 0:16:03.080 you do. 0:16:03.160 --> 0:16:06.000 Have to know and your choices are made. You have 0:16:06.040 --> 0:16:08.120 two people in a scene. Now do you want to 0:16:08.120 --> 0:16:11.040 shoot them in singles, one single against the other single, 0:16:11.280 --> 0:16:13.040 or do you want to put them closer together and 0:16:13.080 --> 0:16:15.440 shoot it as a two shot. Now, my belief in 0:16:15.520 --> 0:16:18.040 most actors' beliefs, is that in a two shot, with 0:16:18.120 --> 0:16:20.560 the person making the joke in the person responding to 0:16:20.600 --> 0:16:22.600 the joke, is the place you want to be. So 0:16:22.640 --> 0:16:25.040 the actors can time it themselves. And I remember I 0:16:25.120 --> 0:16:31.440 was working on with the Twin Boys on the thing 0:16:31.480 --> 0:16:33.040 that they're on a ship or something. 0:16:32.720 --> 0:16:37.120 That the Cole and Dylan sprouse from right that's right, 0:16:37.880 --> 0:16:38.960 that's right, sweet life. 0:16:39.120 --> 0:16:40.720 And basically so, they were doing a scene in a 0:16:40.760 --> 0:16:43.680 hallway and I remember going up to him. I said, guys, 0:16:43.720 --> 0:16:45.520 I have a question for you. How do you see 0:16:45.520 --> 0:16:47.440 the scene? Do you see the scene in a two shot? 0:16:47.560 --> 0:16:49.720 You just see it in singles? And they both said, oh, 0:16:49.800 --> 0:16:54.240 two shot. I said, good, then stand closer together. I 0:16:54.400 --> 0:16:57.560 walked away, and they learned a big lesson that they 0:16:57.600 --> 0:17:01.400 could control if you know, unless somebody specifically wants, and 0:17:01.440 --> 0:17:02.880 that you can controls an actor. 0:17:02.920 --> 0:17:04.240 Do you want to be close to somebody? 0:17:04.359 --> 0:17:06.520 You want to be far away because it changes the 0:17:06.600 --> 0:17:11.720 nature of acting distance amazing, And an argument between two people. 0:17:11.560 --> 0:17:14.600 Across the room from each other is one argument. 0:17:14.800 --> 0:17:17.560 Put those exact same words together and stick those people 0:17:17.640 --> 0:17:18.720 face to face. 0:17:18.640 --> 0:17:22.280 And you got a different argument. Yes, no, completely. 0:17:21.840 --> 0:17:24.080 Well, And I think some like there's so much of 0:17:24.080 --> 0:17:26.520 that too that comes from your theater background, because so 0:17:26.640 --> 0:17:29.720 much of like, so much of blocking in theater is 0:17:30.760 --> 0:17:36.320 so specifically intentional to create mood and space and relationship. 0:17:36.560 --> 0:17:41.119 And yeah, it's I feel like that really came in 0:17:41.160 --> 0:17:44.520 to play a lot. You know, when I directed my 0:17:44.800 --> 0:17:49.159 episode of Fuller House, I met with you and you 0:17:49.400 --> 0:17:52.399 had given me the book that you wrote on sitcom directing, 0:17:52.640 --> 0:17:55.159 which was super helpful. I mean again, a lot of 0:17:55.200 --> 0:17:57.840 it was stuff that I'd sort of absorbed over the years, 0:17:58.080 --> 0:18:01.159 but it was also like, oh right, okay, this you 0:18:01.160 --> 0:18:03.320 know again the connective tissue. Make sure you've got you know, 0:18:03.600 --> 0:18:05.520 jokes in a two shot, all that kind of stuff. 0:18:06.320 --> 0:18:08.479 But I just remember meeting you. You and I went 0:18:08.520 --> 0:18:10.840 to arts deli. Of course, we went to a deli, 0:18:11.359 --> 0:18:14.159 and you gave me the book and you were like, 0:18:14.480 --> 0:18:17.520 I believe in you. I absolutely one hundred percent know 0:18:17.560 --> 0:18:19.719 you could do it, and you like hyped me up 0:18:19.760 --> 0:18:22.679 in such a way, and that really, like that was 0:18:22.760 --> 0:18:25.520 a huge thing, and it made such a difference in. 0:18:25.840 --> 0:18:27.440 Feeling like com pat Yeah. 0:18:27.520 --> 0:18:31.240 Yeah, like you and Rich Correll both said like, you 0:18:31.280 --> 0:18:33.680 can do it, you can do it, And I have 0:18:33.800 --> 0:18:36.400 such admiration, I mean again, with all of the things 0:18:36.440 --> 0:18:38.199 that you've done when you guys you know, were like, 0:18:38.200 --> 0:18:40.520 you can do this and gave me all the tips 0:18:40.520 --> 0:18:43.360 and the tools, and like, you know, I just it 0:18:43.400 --> 0:18:45.600 was a really cool experience to be able to like 0:18:46.160 --> 0:18:50.679 come back to somebody who has known you your whole life. 0:18:48.880 --> 0:18:52.639 And then again did the same thing with Danielle Karp, 0:18:52.880 --> 0:18:55.120 who I know is one of your producers. Yes, yes, 0:18:55.240 --> 0:18:57.440 I had her on Girl Meets World for quite a 0:18:57.480 --> 0:19:00.440 few episodes there, and then I meet with her because 0:19:00.480 --> 0:19:02.760 she was very interested. She was always hanging around watching 0:19:02.760 --> 0:19:04.960 what the hell I was doing when she was not 0:19:05.080 --> 0:19:07.639 in scenes. And she was also enough of a bright 0:19:07.680 --> 0:19:10.040 a brighten of a young lady that you knew that 0:19:10.080 --> 0:19:12.440 if she set her mind to doing something, oh, he 0:19:12.520 --> 0:19:15.520 was going to get it done. And yes he did. Indeed, 0:19:15.560 --> 0:19:19.640 she did, you know. But he also watched. She shadowed 0:19:19.680 --> 0:19:21.320 me and watched what I was doing and tried to 0:19:21.359 --> 0:19:23.040 catch up and question me why you didn't that? 0:19:23.119 --> 0:19:23.840 Why do you do that? 0:19:24.840 --> 0:19:27.359 And I said, well, the actor wanted to do that. 0:19:27.400 --> 0:19:29.560 She said, oh, really, that's it. The actor wanted to 0:19:29.600 --> 0:19:33.359 do that, because yeah, the system that I emerged from 0:19:33.640 --> 0:19:36.520 from theater to some degree was basically that. 0:19:36.960 --> 0:19:37.360 Oh yeah. 0:19:37.520 --> 0:19:39.760 There was a director who worked for the Second City 0:19:39.800 --> 0:19:42.919 in Chicago. Eventually he run the g Geffen Theater. We 0:19:42.960 --> 0:19:45.720 were all at a big conference together and he said 0:19:45.760 --> 0:19:47.679 something that I thought was brilliant. He said, when I 0:19:47.920 --> 0:19:50.639 do a play or anything, I put a little cone 0:19:51.160 --> 0:19:54.240