Speaker 1: Welcome back to How Rude Tana Rito's. This is the
Speaker 1: second part of our interview with one of our favorite directors,
Speaker 1: joel's Wick. He started full house with us from the
Speaker 1: very beginning, and he was certainly a huge part in
Speaker 1: making the show what it is today. Here's our friend,
Speaker 1: Joel's Wick. Yeah, my first memory of you is was
Speaker 1: the Stacey Q episode where I'm playing the keyboard and
Speaker 1: John is teaching Candace how to play the guitar and
Speaker 1: I was faking it on the on the keyboard and
Speaker 1: I remember. I remember because I was so scared of you,
Speaker 1: because you were yelling about something and I was like,
Speaker 1: I can't mess this up. I cannot disappoint Joel. It's
Speaker 1: my very first memory of you ten years old.
Speaker 2: A mean and memory. I love that a lot.
Speaker 3: Essentially, whatever you were like, Joel was like he would
Speaker 3: like freak out about you. You were just high intensity.
Speaker 3: You were like like you didn't you knew that, Like
Speaker 3: he's not really mad, he's just like he's just loud
Speaker 3: and like, ah, you know, And that was just Joel.
Speaker 2: That's essentially you got.
Speaker 3: Us moving, You got things done with you very efficiently.
Speaker 4: Matter of fact, we went down in the last couple
Speaker 4: of years, we were down to four day shoots.
Speaker 3: Yeah basically, well yeah, well you had four day shoots
Speaker 3: for quite a while there for the last.
Speaker 4: We're waiting on five day shoots. But you know, it
Speaker 4: was very interesting and we got a chance to send
Speaker 4: all of your people off to real schools. And has
Speaker 4: had some problems. I don't know that you did necessary,
Speaker 4: but remember Candice was being made fun of at the
Speaker 4: school because she was, oh she was a star on
Speaker 4: TV or whatever that. Oh yeah, and I remember the
Speaker 4: one scene I remember was Candace was being got invited
Speaker 4: by some boy to senior prom a prom in high.
Speaker 3: School and is this it is you talking on the
Speaker 3: show or in real life?
Speaker 4: I'm real life, Okay, I'm real And so basically this
Speaker 4: guy comes to pick her up, he has to pick
Speaker 4: her up on the set.
Speaker 3: No, that was Andrea. Oh yeah that was me. I'm
Speaker 3: like this, yeah, no, this was that was was the
Speaker 3: one that was her senior prom.
Speaker 1: That was my high school boyfriend Ben, And yeah that
Speaker 1: was you guys rearranged the whole schedule that night to
Speaker 1: tape my scenes to shoot me out.
Speaker 2: But that wasn't that.
Speaker 4: There's a one where she was coming also, and she
Speaker 4: gave her an entrance in her beautiful gown down the staircase.
Speaker 4: As this boy is standing there watching her come down
Speaker 4: the stairs, and myself, Staymers and Saggot are standing there
Speaker 4: with our arms crossed, staring at.
Speaker 2: Him, just staring at him.
Speaker 4: This guy had to know that there'd be no fooling
Speaker 4: around with can that's hysterical.
Speaker 3: I don't know. Yeah, I don't remember. I don't, I don't.
Speaker 4: Yeah, you would first reading of the pilot, Jody, that
Speaker 4: was blew us all away. You at four and a
Speaker 4: half maybe could sit there at the table and read
Speaker 4: the script with the adults as fast as they could
Speaker 4: read it. That blew our minds that she was added as.
Speaker 3: A read Yeah, we had when we had John on,
Speaker 3: he was like, I went out and I almost quit.
Speaker 4: John. Yeah, you know they had funny things like there
Speaker 4: was a thing that the writers used to do this
Speaker 4: thing upstairs. We're on one side they make a whiteboard,
Speaker 4: and one side to be the line as written by
Speaker 4: the writers, then on the other side to be the
Speaker 4: line as performed by John Stamos.
Speaker 3: Yes, yes, because you know what I blame I blame
Speaker 3: him for my ability to just never quite get it right,
Speaker 3: but always sort of be line adjacent. It's just it'sjacent. Jason.
Speaker 4: He'd go out, he's the line with something like, Okay,
Speaker 4: see you guys later, and by the time he performed
Speaker 4: it was, well, I'm thinking right now that maybe I'll
Speaker 4: go to I'm not sure where I'm going to go.
Speaker 2: But wherever I will see you.
Speaker 4: All of a sudden he brought it into an entire
Speaker 4: event and they would put that up on the top.
Speaker 4: You know, we had some funny things. I remember every
Speaker 4: once in a while in a script that we were doing,
Speaker 4: they'd have a stage direction which they specifically write in
Speaker 4: bold black things saying Joel, please, we would love to
Speaker 4: see this stage as we've written it. Because essentially we
Speaker 4: just did what we wanted to do, and of the
Speaker 4: time nobody was complaining because we were doing it right.
Speaker 4: But it was. It was a remarkable thing. And having
Speaker 4: my kids there and being able to do a show
Speaker 4: with kids. So therefore, when I came onto Full House,
Speaker 4: I never had any thoughts or problems about having to
Speaker 4: work with children because I had children. Yeah, so it
Speaker 4: seemed to be something that could be done. When I
Speaker 4: found out that basically I had everybody else taking care
Speaker 4: of the children. I had Brian, Adria and I had
Speaker 4: all kinds of things, ads with cake and care.
Speaker 3: Yeah, it was. It was a real like sort of
Speaker 3: village family thing and we all worked together. And that's
Speaker 3: one of the things Andrew and I talk about all
Speaker 3: the time and with all the guests and stuff, is
Speaker 3: everyone talks about what a just what a great collection
Speaker 3: of people it was, and how everyone really.
Speaker 4: A nominal collection of people. And I remember there's some
Speaker 4: interests I remember, like I remember there was supposed to
Speaker 4: be some scene where you're all coming downstairs into the kitchen. Okay,
Speaker 4: and Kuyer, who has an Dave.
Speaker 3: He would just start trap us upstairs.
Speaker 4: To trap you up there and fought and I saw
Speaker 4: him tar calf before I even said action charge planning
Speaker 4: for their lives.
Speaker 3: Yeah, we would. Yeah, it was Dave's form of torture
Speaker 3: to all of us. And he was hilarious. Was like
Speaker 3: a twelve year old boy.
Speaker 4: Worse than that, maybe eleven year old boy. I don't
Speaker 4: think twelve years old, It's.
Speaker 3: True, twelve years Dad might have a little more maturity.
Speaker 4: More matury grown in already. But you know, we did
Speaker 4: have some problems with the fact that you did have
Speaker 4: was between Sagot and Koh. Yeah, you had people with
Speaker 4: questionable ability to mind their mouths.
Speaker 3: I mean, I you know, I as an adult, I
Speaker 3: now completely understand that predicament because sometimes it comes out
Speaker 3: they're just the kids are just you don't see them.
Speaker 3: They're behind you, and you're like, look, I made a
Speaker 3: joke and it.
Speaker 4: Was sometimes they there and it just comes out because
Speaker 4: the joke.
Speaker 3: Is it's sometimes you just Something was.
Speaker 4: Early on I called it the March of the Mothers,
Speaker 4: where there was where something that that had had no
Speaker 4: This was something like Saggot had done. Saggo hads come
Speaker 4: up with something really questionable, and basically it was in
Speaker 4: a break and all of a sudden I was watched
Speaker 4: out there and I saw the three mothers at that time,
Speaker 4: along with Mary Kate, Nashley's mother, she was there too,
Speaker 4: marching down to Saggot's dressing room to let him know
Speaker 4: that that kind of behavior was not.
Speaker 3: Acceptable, that we've got to talk to him. Yeah, the
Speaker 3: March of the mother somebody's got to do it. Yeah.
Speaker 4: The other thing that was pretty funny it was that
Speaker 4: we had the Great A Burrow Show, which the bureau
Speaker 4: fell in love.
Speaker 3: H Yes, we've talked, uh Peppermill. Uh, we've told a
Speaker 3: story many times about the donkey that really loved John Stamos. Okay, fine,
Speaker 3: everyone everybody loves John Stamos.
Speaker 4: The lead to then the Donkey was this, So the
Speaker 4: donkey would come out stage and initially, unless you don't know,
Speaker 4: if the donkey would have a hard on that would
Speaker 4: be about two feet long and hang on to the
Speaker 4: ground and where.
Speaker 3: They have to top it with a stick to make
Speaker 3: it go away.
Speaker 4: And then so the twins are there staring at this thing,
Speaker 4: and everybody's trying to get them not to touch it.
Speaker 4: So basically doing all this is going on, and finally
Speaker 4: I come down. I talked to the train and I said,
Speaker 4: this is ridiculous. Why is it that every time this,
Speaker 4: uh this, this bureau comes on stage it has an erection?
Speaker 4: And he says, I think it's you. I said, what
Speaker 4: do you mean, you think it's me. I think there's
Speaker 4: something that he smells in you that's making him turned on.
Speaker 4: I said, you're telling me that I turn on the dunky.
Speaker 2: He said I think.
Speaker 4: So, So I said okay, and I left the stage,
Speaker 4: and sure enough, there were no more erections.
Speaker 3: Wait wait, I turned on the turned off. All of
Speaker 3: this time, the legend has been that it was John
Speaker 3: John John Clare John has claimed that this changes everything.
Speaker 4: Joel, it was John, but he didn't see John as
Speaker 4: a sexual item. He saw John is perhaps somebody to
Speaker 4: marry or somebody were.
Speaker 3: You were just a boy to a Burrow toy, if
Speaker 3: you will.
Speaker 4: We had some that would occur on a set where
Speaker 4: you had an awful lot of children running around.
Speaker 3: And you came back and directed a few episodes of
Speaker 3: Fuller House as well.
Speaker 2: I did two episodes What was that?
Speaker 1: Like?
Speaker 3: How was that? To come back?
Speaker 4: And I loved coming back because the growth of the
Speaker 4: of the of you people as actors was insane to watch,
Speaker 4: you know, and yet the same relationship was still existing,
Speaker 4: and that was really cool. And I love some of
Speaker 4: the ex I loved Andrea's husband was here, very really good.
Speaker 2: I have a story.
Speaker 4: I got to ask you a question, idea, you know,
Speaker 4: I'm trying to figure out. I understand that that Andrew
Speaker 4: Barbara in the show held you uh took care of
Speaker 4: your child? She basically yes, she was.
Speaker 2: She was okay.
Speaker 4: Now that for you obviously could not you could not
Speaker 4: get pregnant yourself. You deposited eggs now, was it this
Speaker 4: boyfriend that that actually uh joined you in the egg thing?
Speaker 2: Who's the sperm?
Speaker 3: It's well, it's so I'm going to explain I V
Speaker 3: F right now. So here's what I have.
Speaker 4: Was basically Jamie's wife, was I so I have, So.
Speaker 3: Basically it was Kimmy was just Kimmy was just the
Speaker 3: She was just just the oven sperm ye, no meat, yeah,
Speaker 3: but not. Yeah, but it would have been weird because
Speaker 3: it was her brother. It's my Jimmy, Jimmy, Jimmy Gibblers,
Speaker 3: Jimmy Gibblers sperm, which is everyone now how you know
Speaker 3: how made babies? But those two and then and then
Speaker 3: Kimmy was just the vessel that carried, which is actually
Speaker 3: relatively common for family members or people to Yeah, but yeah,
Speaker 3: it was No, it was not. It was not I
Speaker 3: was sperm.
Speaker 2: Was I was not was my?
Speaker 3: It was my? It was it was and it was Yes,
Speaker 3: it was Jimmy and Stepf's baby carried Timmy, cooked by,
Speaker 3: married by Kimmy, carried by Kimmy.
Speaker 2: Okay, so I got that story right. Yes, I was
Speaker 2: looking that to be it, and I was right. I
Speaker 2: just didn't realize it was your.
Speaker 3: Yeah, well, because otherwise it becomes a game of thrones
Speaker 3: and really dark there between Jimmy and Kimmy. Yeah, that's
Speaker 3: that's the version.
Speaker 4: I have a good story to one last story about
Speaker 4: full House that I remember because it was specific to me.
Speaker 4: We're doing a classroom scene and Michelle must have been
Speaker 4: oh four and a half years old, maybe five years
Speaker 4: old by that point, and we're doing this classroom scene
Speaker 4: and I think Mary Ashley is up first, and she
Speaker 4: does the scene and she's writing, I'm going, okay. Now
Speaker 4: we do another scene in the classroom, except this time
Speaker 4: it's Mary Kate is playing the role and Mary Kate
Speaker 4: is writing with her left hand. Oh oh god, she's
Speaker 4: a lefty. And then Mary Kate bit the bullet and
Speaker 4: she she she worked writing it with her right hand.
Speaker 4: And we played as few scenes as we possibly could
Speaker 4: in classrooms again where now citated anybody writing. And I
Speaker 4: realized at that point they were not identical twins. They
Speaker 4: were basically, you know, they were fraternal twins.
Speaker 3: You know, they didn't like well to me anyway, they
Speaker 3: looked different. They looked close enough, but I definitely always.
Speaker 4: Close enough so that nobody in the of our crew
Speaker 4: had any idea who was actually in the scene, which.
Speaker 3: Unless they were right, because.
Speaker 4: They have a wonderful picture with me with Mary Kate.
Speaker 4: I think it's Mary Kate a little kiss on the lips,
Speaker 4: and the girls don't know who it was, but they
Speaker 4: believe that the only one who would have done it
Speaker 4: would be Mary Katey.
Speaker 3: Yeah, you just so many wonderful, amazing memories like what
Speaker 3: a what a journey? Uh, yes, your story has been
Speaker 3: And I you know, I loved what you were saying too,
Speaker 3: like I didn't really have goals. I just kind of
Speaker 3: said yes to opportunities.
Speaker 4: Again.
Speaker 3: I find that to be like to be like, okay,
Speaker 3: I want to do something like put yourself in a direction,
Speaker 3: but then just kind of say yes to the things
Speaker 3: that the doors that open and see where it takes you.
Speaker 4: Right, Because my feeling is once again with connections. The
Speaker 4: door and me open and it may be some step
Speaker 4: on the road, and in that step there might be
Speaker 4: producer that's interesting, they may be a star that's interesting,
Speaker 4: and all of a sudden, the next time they get
Speaker 4: a show, you're finding stuff moving with them and then
Speaker 4: moving moving there and of course, if you have goals,
Speaker 4: at some point you may actually realize that by the
Speaker 4: end of this journey you hit your goal. But I
Speaker 4: never had goals, so it is never concerned to me.
Speaker 4: I didn't know what the options were. I just I
Speaker 4: just learned that just take the job, see what you
Speaker 4: can do, and maybe if they like you, you'll work
Speaker 4: again and maybe you know whatever. Yeah, you never tried
Speaker 4: not to be liked. I always tried to be efficient
Speaker 4: and productive for the for the actors usually like me because.
Speaker 2: I let them act.
Speaker 4: I honestly that the basic if you could get everybody,
Speaker 4: including the crew and the cameramen and everybody, to be
Speaker 4: the best they can be, and the best way you
Speaker 4: can make them be the best they can be is
Speaker 4: not tell them what to do. If you're telling everybody
Speaker 4: what to do, then there all of a sudden camera
Speaker 4: oppers are saying, is that what you want? Okay, that's
Speaker 4: what you got, And then all of a sudden he
Speaker 4: tell you that you know something. If I just open
Speaker 4: it up a little bit, I've got so and so
Speaker 4: in the background and look at that shot. But when
Speaker 4: you let them do their work, all of a sudden
Speaker 4: they find values. You never even dream when I'm with
Speaker 4: Jeffrey ju who was my director of photography on Big
Speaker 4: Factory Wedding. I remember going up to him first day
Speaker 4: and I said, listen, if this movie looks like what
Speaker 4: I have in what I see in my head, you
Speaker 4: have failed me. I said, this better not look like
Speaker 4: what I have in my head. This better be something
Speaker 4: that you get input in and start to help me develop.
Speaker 2: And it's sure enough, it helps.
Speaker 4: Yeah, all of a sudden he realizes he has a role.
Speaker 4: So people wanted his opinion.
Speaker 3: Yeah, Oh, a good director of photography is key. It
Speaker 3: really just makes all of the difference in terms of
Speaker 3: yet now. And for those people that are listening that
Speaker 3: maybe don't know what a director of photography does. They're the
Speaker 3: ones that are typically in film and stuff, and they
Speaker 3: go on TV as well, but the director kind of
Speaker 3: has a little more control of shots on TV. But
Speaker 3: they usually are you know, the ones really planning out
Speaker 3: the shots and the lighting and you know, working with
Speaker 3: the director as far as what a scene or a shot.
Speaker 4: Is going to learn and basically you know, and they
Speaker 4: would try to get me off a set every time
Speaker 4: they had to do a lighting set up because I
Speaker 4: was always in the way.
Speaker 3: Well, yeah, that's always the thing, right, you know, I
Speaker 3: need fifteen get out of my way. I need we've
Speaker 3: got grips, I.
Speaker 4: Work to do, money coming in. But essentially we had
Speaker 4: built a very strong relationship. And since it was the
Speaker 4: same system, it was a single against a single, a
Speaker 4: two shot against the two shot, overs crossed, two against
Speaker 4: one three, It was all the same mathematics.
Speaker 3: You know, by the way, all of those things that
Speaker 3: Joelja said are all different references to shots in movies
Speaker 3: and yeah av n TV. Well yeah, on film. Basically
Speaker 3: you do.
Speaker 4: Have to know and your choices are made. You have
Speaker 4: two people in a scene. Now do you want to
Speaker 4: shoot them in singles, one single against the other single,
Speaker 4: or do you want to put them closer together and
Speaker 4: shoot it as a two shot. Now, my belief in
Speaker 4: most actors' beliefs, is that in a two shot, with
Speaker 4: the person making the joke in the person responding to
Speaker 4: the joke, is the place you want to be. So
Speaker 4: the actors can time it themselves. And I remember I
Speaker 4: was working on with the Twin Boys on the thing
Speaker 4: that they're on a ship or something.
Speaker 3: That the Cole and Dylan sprouse from right that's right,
Speaker 3: that's right, sweet life.
Speaker 4: And basically so, they were doing a scene in a
Speaker 4: hallway and I remember going up to him. I said, guys,
Speaker 4: I have a question for you. How do you see
Speaker 4: the scene? Do you see the scene in a two shot?
Speaker 4: You just see it in singles? And they both said, oh,
Speaker 4: two shot. I said, good, then stand closer together. I
Speaker 4: walked away, and they learned a big lesson that they
Speaker 4: could control if you know, unless somebody specifically wants, and
Speaker 4: that you can controls an actor.
Speaker 2: Do you want to be close to somebody?
Speaker 4: You want to be far away because it changes the
Speaker 4: nature of acting distance amazing, And an argument between two people.
Speaker 2: Across the room from each other is one argument.
Speaker 4: Put those exact same words together and stick those people
Speaker 4: face to face.
Speaker 2: And you got a different argument. Yes, no, completely.
Speaker 3: Well, And I think some like there's so much of
Speaker 3: that too that comes from your theater background, because so
Speaker 3: much of like, so much of blocking in theater is
Speaker 3: so specifically intentional to create mood and space and relationship.
Speaker 3: And yeah, it's I feel like that really came in
Speaker 3: to play a lot. You know, when I directed my
Speaker 3: episode of Fuller House, I met with you and you
Speaker 3: had given me the book that you wrote on sitcom directing,
Speaker 3: which was super helpful. I mean again, a lot of
Speaker 3: it was stuff that I'd sort of absorbed over the years,
Speaker 3: but it was also like, oh right, okay, this you
Speaker 3: know again the connective tissue. Make sure you've got you know,
Speaker 3: jokes in a two shot, all that kind of stuff.
Speaker 3: But I just remember meeting you. You and I went
Speaker 3: to arts deli. Of course, we went to a deli,
Speaker 3: and you gave me the book and you were like,
Speaker 3: I believe in you. I absolutely one hundred percent know
Speaker 3: you could do it, and you like hyped me up
Speaker 3: in such a way, and that really, like that was
Speaker 3: a huge thing, and it made such a difference in.
Speaker 2: Feeling like com pat Yeah.
Speaker 3: Yeah, like you and Rich Correll both said like, you
Speaker 3: can do it, you can do it, And I have
Speaker 3: such admiration, I mean again, with all of the things
Speaker 3: that you've done when you guys you know, were like,
Speaker 3: you can do this and gave me all the tips
Speaker 3: and the tools, and like, you know, I just it
Speaker 3: was a really cool experience to be able to like
Speaker 3: come back to somebody who has known you your whole life.
Speaker 4: And then again did the same thing with Danielle Karp,
Speaker 4: who I know is one of your producers. Yes, yes,
Speaker 4: I had her on Girl Meets World for quite a
Speaker 4: few episodes there, and then I meet with her because
Speaker 4: she was very interested. She was always hanging around watching
Speaker 4: what the hell I was doing when she was not
Speaker 4: in scenes. And she was also enough of a bright
Speaker 4: a brighten of a young lady that you knew that
Speaker 4: if she set her mind to doing something, oh, he
Speaker 4: was going to get it done. And yes he did. Indeed,
Speaker 4: she did, you know. But he also watched. She shadowed
Speaker 4: me and watched what I was doing and tried to
Speaker 4: catch up and question me why you didn't that?
Speaker 2: Why do you do that?
Speaker 4: And I said, well, the actor wanted to do that.
Speaker 4: She said, oh, really, that's it. The actor wanted to
Speaker 4: do that, because yeah, the system that I emerged from
Speaker 4: from theater to some degree was basically that.
Speaker 2: Oh yeah.
Speaker 4: There was a director who worked for the Second City
Speaker 4: in Chicago. Eventually he run the g Geffen Theater. We
Speaker 4: were all at a big conference together and he said
Speaker 4: something that I thought was brilliant. He said, when I
Speaker 4: do a play or anything, I put a little cone
Speaker 4: over each of the actors and I don't go into
Speaker 4: that cone until the actor comes out of the cone
Speaker 4: and tells me they got a problem, they got something
Speaker 4: they think they could do, and why my job with
Speaker 4: the cones is to move the cones around and to
Speaker 4: stage the best possibilities for the scene. And once the
Speaker 4: actors got their words down and they got the movement down,
Speaker 4: all of a sudden they come out of their cones
Speaker 4: and I find out, you know, I don't have to
Speaker 4: be at the table for this scene. I could be
Speaker 4: up at the cabinet and I can get something and
Speaker 4: bring it down to the table and I can pour,
Speaker 4: and all of a sudden, you go, that's brilliant.
Speaker 2: We'll do that, of course, So that was the system
Speaker 2: that came up with it.
Speaker 4: My job is simply just to get an organic staging
Speaker 4: of some kind. The actors will correct it as soon
Speaker 4: as they they're doing.
Speaker 3: And I, you know, I that's definitely something. As we
Speaker 3: came back and did fuller that, I think we've really
Speaker 3: understood more. And you know, I remember so many times
Speaker 3: we'd be like, all right, we're just gonna run it,
Speaker 3: and like we'd have a rough idea of like who
Speaker 3: enters here? Who but you? And Rich and so many
Speaker 3: of our directors, you know, usually would just kind of
Speaker 3: let us, like, you guys know what you need to do,
Speaker 3: what the relationships are, where you want to go, If
Speaker 3: I need you to be in a certain spot, they
Speaker 3: would let us know. But it was it just gave
Speaker 3: such a more natural flow to very much.
Speaker 4: So you find that point, By that point, you knew
Speaker 4: the staging, you knew where you had to be. My
Speaker 4: job was initially to set where you sit at the table,
Speaker 4: because in every life people have their spots at the
Speaker 4: table and they don't improvente every time they.
Speaker 2: Crossed to the table.
Speaker 4: Saggot is the head of the table, and stay Wish
Speaker 4: is with Lauri and everybody's there, you know, So basically
Speaker 4: other than that for the most part, and you had
Speaker 4: to stay in the set with directing. You couldn't all
Speaker 4: of a sudden under into another set. But essentially that
Speaker 4: was it, and then you people just did your job.
Speaker 4: You knew it by that point, knew it better than
Speaker 4: I did. But you know, but that's the key. The
Speaker 4: key is to give the power to the people who
Speaker 4: need the power. And in TV, the director is not
Speaker 4: the man who needs the power. It doesn't but even
Speaker 4: when I did long form, some long form, I did
Speaker 4: some love boats or stuff at some point towards the
Speaker 4: end of my TV sitcom life, and uh, even there,
Speaker 4: essentially that was that needed to be stage because you're
Speaker 4: moving all over a boat. I mean right in the
Speaker 4: arbitrary but essentially the same thing you still had.
Speaker 3: Well, it wasn't a multi cam sickom. It's you've got,
Speaker 3: you've got.
Speaker 4: I've got I've got to be able to shoot this,
Speaker 4: and I've got to be able to carry things and
Speaker 4: move things and try to keep the thing tight. And
Speaker 4: there's kind of and although some scenes were essentially two
Speaker 4: people's scenes, which is, you know, I don't care if
Speaker 4: it's a movie or anything, it's a sitcom scene and
Speaker 4: you know, or even three scene or standard things. But
Speaker 4: when you get into major staging things, because you're on
Speaker 4: a boat of crying out.
Speaker 3: Lite right, whenever you're adding in background, everything is going
Speaker 3: to take ten times as long and be fifteen times
Speaker 3: as frustrating.
Speaker 4: Oh yo, that's why I had an ad for the
Speaker 4: last five or six years. Rosario Rovetta and Roseta was
Speaker 4: the single best extra stager I ever run into in
Speaker 4: my life. What he could do in terms of organization
Speaker 4: of staging was remarkable, and the fact he was so
Speaker 4: damn good that he never got the chance to direct
Speaker 4: much because they needed him as the A D. Yeah,
Speaker 4: will up his A D responsibility by letting him direct.
Speaker 4: Say we get one or two episodes a year and
Speaker 4: have to A D the rest of it. So now
Speaker 4: I was in New York doing you know, the og
Speaker 4: and shows like right.
Speaker 3: Yeah, finding a good ad on, especially on days like
Speaker 3: that when you have it's yeah, because I didn't.
Speaker 4: I didn't even schedule. He just gave me the schedule.
Speaker 3: And yeah. Well Keith, Keith Richmond was the ad on
Speaker 3: Full House for a lot of it. And it's funny
Speaker 3: we were I was watching one of the uh watching one
Speaker 3: of the episodes. Oh, I think one of the ones
Speaker 3: we're going to talk about. Andrea and Keith's daughter was
Speaker 3: in it. Also.
Speaker 2: Oh yeah, yeah, yes, that's true.
Speaker 3: Yes, Allison was also. Uh she along with Jamie and
Speaker 3: Hillary were really holding it down for the stuff schoolmates.
Speaker 4: No, no question about that, that we were in control
Speaker 4: of that kind of stuff.
Speaker 2: You know.
Speaker 3: I mean we did it on Fuller. You know, we
Speaker 3: had a cloud and we're like, hey, let's throw our
Speaker 3: kids in there, and then she did it once and
Speaker 3: we're like, I'm good. Actually this is really long and
Speaker 3: kind of boring.
Speaker 2: Yeah. No.
Speaker 4: But the trap, obviously is that Jamie wanted to become
Speaker 4: an actor, and he's a pretty damn good actor.
Speaker 2: The problem is just a lousy type.
Speaker 4: He's he's kind of good looking but not really the
Speaker 4: leading man, and he's not funny and stupid looking enough
Speaker 4: to be the best friend clown. So he was stuck
Speaker 4: in a no win position in terms of the ability
Speaker 4: to do television where the characters have to be clearly
Speaker 4: marked out for the most part. So but he did
Speaker 4: some good theater work here, and he's not teaching good acting.
Speaker 4: He teaches good and he's on a teaching acting. I
Speaker 4: love that, very pleased that he got We got him
Speaker 4: out of the desire to actually still be an actor.
Speaker 4: I mean, God put a choice in life.
Speaker 3: Apparently that's something that uh, you know, do you use Wickman?
Speaker 3: Just try and really you're like, should I shouldn't? I
Speaker 3: I don't know, I'm terrible at it. Maybe maybe not?
Speaker 2: What the hell he can't? Right?
Speaker 3: Yeah, exactly.
Speaker 4: So now I'm doing theater back to the theater and
Speaker 4: basically somewhere abound, the the epidemic, the whole pandemic, the
Speaker 4: pandemic where we lost two years of our lives. I
Speaker 4: decided that this was a good time to get the
Speaker 4: hell out of the business because I started to realize
Speaker 4: that I'm taking space for women who need to direct,
Speaker 4: for minorities who need to direct. And most of these
Speaker 4: people have worked with me, and I was the one
Speaker 4: who's keeping them out of directing. And I said, that's it,
Speaker 4: So it's over for me, and let these people move
Speaker 4: on and get a chance to because the world changed
Speaker 4: these last five years, the business check the world changed.
Speaker 4: Women are writing women's scripts that are being directed by women,
Speaker 4: that are decidedly point of view, strongly female, that no
Speaker 4: male could ever approximate. Because I do remember on Laverne
Speaker 4: and Surely my first show that Penny and Cindy would
Speaker 4: just be crazy saying, oh, girls, don't do this, this
Speaker 4: is not the way we would do this thing. We
Speaker 4: don't work like that, we don't think like that. And
Speaker 4: basically they get into a bit of a fight with
Speaker 4: the with with Davy, Doo, kleinb and a few of
Speaker 4: the other wonderful producers they had, but they were.
Speaker 2: All men, you know.
Speaker 3: So it's true, so very true.
Speaker 4: And the difference in the quality of the shows is remarkable.
Speaker 4: It's remarkable the stories that get told.
Speaker 2: That the stories.
Speaker 4: There is no a male writer in the world would
Speaker 4: write those stories.
Speaker 3: I know, Joel. I love you for that, Joel, thank
Speaker 3: you for say like, but seriously, because there are not
Speaker 3: there there There are not a lot of people in
Speaker 3: this business who are like, no, you know what, I
Speaker 3: did my thing, Like, it's time for the people that
Speaker 3: that were like under me, that maybe don't look like
Speaker 3: me or have different stories. So it's their time now. Like,
Speaker 3: I have such respect for that because that is exactly
Speaker 3: the attitude that we need and the and that we
Speaker 3: all have to you know, be telling the stories. And
Speaker 3: we all have our own different perspectives. And again I
Speaker 3: think that comes from being you know, you're starting in
Speaker 3: experimental theater. Theater is such a and such a melt
Speaker 3: pot and such a creative like pressure force of you know,
Speaker 3: just sort of acceptance and like whatever it is, just
Speaker 3: let it go, you know.
Speaker 4: And once again this training of the actor like an athlete,
Speaker 4: because every time I hear any talk about athletes, about
Speaker 4: baseball players, about football players, basketball players. They talk that
Speaker 4: they all of a sudden in the zone. They found
Speaker 4: in the zone where all of a sudden they're not
Speaker 4: thinking about anything except the moment. And if you can
Speaker 4: get an athlete in the moment, and a good athlete,
Speaker 4: that's what you don't want the athlete thinking about shoot
Speaker 4: this to the left, to the triple. No, no, they
Speaker 4: can't just do it the instincts. So you're trying to
Speaker 4: build the instincts of basically which kids already automatically have,
Speaker 4: and you can hardly curb them of it. You know,
Speaker 4: you go to show to the airport and everybody's sitting
Speaker 4: around waiting for the to get online to go to
Speaker 4: the plane, and there'd be some four year old girl
Speaker 4: dancing right all by ourselves in the middle of the floor,
Speaker 4: and you go, oh my god, how one as that?
Speaker 4: You know, Yeah, enough, there were no boys doing that.
Speaker 4: Only the girls are out there in the middle of
Speaker 4: the floor doing their dancing. But yeah, it's been quite
Speaker 4: a trip, and I'm a lucky man. I lucked out
Speaker 4: big time. I hit the Golden years with the golden
Speaker 4: people at the golden time. So I can't com you.
Speaker 3: You really did, you really did? And I mean, you
Speaker 3: are such a force, and I am so grateful that
Speaker 3: I got to grow up with you and around you,
Speaker 3: even you know the times of Disney World when I
Speaker 3: said I hated you, but no, I like, I you know,
Speaker 3: you and Andrew and I talk about this all the time,
Speaker 3: that just the really important, influential people who had incredible
Speaker 3: careers that like as kids, you know, we yeah, we
Speaker 3: had no idea when some of these people around us
Speaker 3: had done had like the impact that they'd had. It
Speaker 3: was just our family, and we love you for it.
Speaker 3: And I'm just I'm so it warms my heart that
Speaker 3: we still get to all be connected like this.
Speaker 4: I think this is great that you're doing the pod.
Speaker 4: That's why as soon as I heard about this thing,
Speaker 4: that's where I kind of, yes, yes, we went to
Speaker 4: the pods. I didn't even know how to get onto
Speaker 4: a pod.
Speaker 3: You did well, though you can zoom. Zooming is fine.
Speaker 3: That's about the extent of my technical ability most days anyway.
Speaker 3: So yeah, I just figured out how to get my
Speaker 3: lighting not looking terrible, like after a season and a
Speaker 3: half and then I finally, I don't know what happened,
Speaker 3: I just figured it out today. I was like, oh, wait,
Speaker 3: I need to bounce this off here. I need a director.
Speaker 3: Photography is what I need. Photography, I did, I did,
Speaker 3: I just got too. It's just too much direct light
Speaker 3: and I don't have a light over here. I need
Speaker 3: to fill. It's just so much.
Speaker 2: No, but mom Andrew looks wonderful.
Speaker 3: Thank you, yes she does. Thank you.
Speaker 1: And Joel you you, I say too, Joel, you have
Speaker 1: not changed. You haven't changed at all. You really did
Speaker 1: thirty six, thirty seven years.
Speaker 2: Who knows, you know?
Speaker 4: So I have to say that at this particular point,
Speaker 4: as I look in the mirror and as I walk around,
Speaker 4: I've become my father. You know. I never thought that
Speaker 4: that was anything that even occurred to me, and all that, yeah,
Speaker 4: walking along and going oh my god. So when my
Speaker 4: father walked and I go, oh, it's gracious. Because my
Speaker 4: father with me the last four years of his life
Speaker 4: from eighty seven through ninety one.
Speaker 2: So I really knew my father best as an old man.
Speaker 4: Yeah, growing up, you didn't know much he worked or
Speaker 4: he didn't work, or he yelled at you or he
Speaker 4: didn't yell at you, but you didn't quite know who
Speaker 4: he was. But now I knew he was as an
Speaker 4: old man. So as I see myself plotting along, I go,
Speaker 4: oh god.
Speaker 3: We all eventually become our parents, isn't that. I mean,
Speaker 3: I hear things coming out of my mouth all the time, and.
Speaker 2: I'm like, oh, oh Jesus, No.
Speaker 3: Sixteen year old me was like, I'll never yeah, and
Speaker 3: then uh huh ye yep, I know.
Speaker 2: We all go there. But anyway, this is terrific.
Speaker 3: It's been fun. We love it and it's so much
Speaker 3: fun getting to talk to everybody. I think I think
Speaker 3: Lenny Rips is gonna be a coming guest on the show.
Speaker 4: Lenny still by line by line, probably the funniest man
Speaker 4: in Hollywood. He could write a joke line that nobody
Speaker 4: could come near. When Rips showed up with a line,
Speaker 4: everybody listened because he was really out.
Speaker 2: Of his mind.
Speaker 3: He was, I can't yeah, I can't wait for all
Speaker 3: of this. So thank you so much for joining us today, JR.
Speaker 3: Love you, and please tell your fam everyone that we
Speaker 3: said hello, and then send our love and send big hugs.
Speaker 4: Yes, certainly we'll do that, Okay, absolutely, Hey, ladies, enjoy
Speaker 4: the specific day.
Speaker 1: Thanks, we love you, Joel, Thanks Joel, Bye, I love you.
Speaker 4: Okay, I'm leaving meeting. He says, leave meeting.
Speaker 3: Oh my god, I don't think he is.
Speaker 1: Last saw him and he's saying he's been saving it up.
Speaker 1: He's been saving it up.
Speaker 3: No, that's always been Joel. He's you know what, Joel
Speaker 3: has probably severe ADHD. And that's why I was like,
Speaker 3: that was.
Speaker 5: Joel's wick ride, but like what facet But yet he
Speaker 5: made sense like there was not ever a point where
Speaker 5: you were like on the edge of my sea, like
Speaker 5: oh no, this is like it was all like necessary information.
Speaker 3: I was like, then you did what? Then you have
Speaker 3: no idea? Carry had no appreciation or not enough appreciation
Speaker 3: for him, That's what I'm saying, Like I had no
Speaker 3: I like I knew a little bit of Joel's story.
Speaker 3: I knew about like the La Mama Theater and kind
Speaker 3: of his background there and all that stuff.
Speaker 1: But like no idea that right, do what group of
Speaker 1: He's a legend, is a legend, and what a great
Speaker 1: full social moment really is a legend he gets to
Speaker 1: mentor you being a director like I just I love
Speaker 1: that it gives me such warm fuzzies.
Speaker 3: That's great. Well, Joel is truly one of a kind,
Speaker 3: and we absolutely loved getting to hear his stories from
Speaker 3: the show and really take a look at how much
Speaker 3: he's accomplished in his incredible career. I mean, some of
Speaker 3: the things I knew, some of the things I didn't.
Speaker 3: What an absolute rock star, legend, wonderful human love Joel. Uh.
Speaker 3: This interview was such a blast and we hope you
Speaker 3: enjoyed it as much as we did, and make sure
Speaker 3: that you are following us on socials. You can check
Speaker 3: us out on Instagram at how Rude Pod. No, Yes, yeah, yeah,
Speaker 3: how how Rude Pod podcast? Why have I all of
Speaker 3: a sudden blank how rude to?
Speaker 1: I think it's how Rude podcast. Yes, it's how Rude podcast.
Speaker 3: We produce All of a sudden, I was like, it's
Speaker 3: how podcast. Yeah, Mattie Howard Fast Howard podcasts were great.
Speaker 3: It's so we.
Speaker 1: Haven't even gotten too the tagline yet.
Speaker 3: This is awesome. Jesus is not going well. So yes,
Speaker 3: follow us on Instagram at how red Podcast. You can
Speaker 3: also make sure you subscribe and are oh my god,
Speaker 3: I can't tell I don't know what's not Do you
Speaker 3: want to do this? What is happening?
Speaker 5: Joel?
Speaker 1: I just see Joel left and you forgot how to
Speaker 1: how to talk?
Speaker 3: Seriously, you did? I'm usually so great. Okay, let's I
Speaker 3: got this. I got this? Are you sure I can?
Speaker 3: I can? I call? You need the intro? I got
Speaker 3: the outro. I don't know what happened. It was just
Speaker 3: a little brain hit up. Okay, that's okay.
Speaker 1: I believe in you.
Speaker 3: Jody. You can thank you. Make sure you're following us
Speaker 3: on socials at how Rude Podcast. We're on Instagram. You
Speaker 3: can also like and subscribe to the podcast wherever you're
Speaker 3: listening to it so you can make sure and get
Speaker 3: all the newest episodes as soon as they come out.
Speaker 3: We are so glad that you joined us today and
Speaker 3: we're excited for you to join us next time on
Speaker 3: how Rude tanner Rito's and remember, the world is small,
Speaker 3: but the house is full. Well, at least she got
Speaker 3: one thing right right. We started off pretty crappy, but
Speaker 3: I managed to.
Speaker 2: Save it at the end.
Speaker 3: You saved it in the end.
Speaker 1: Good job.