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Speaker 1: David, are you there? I'm here. Wow, David, how are

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Speaker 1: you nice? Nice to see you, guys. I mean, I

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Speaker 1: am so excited to see you. This is an amusing

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Speaker 1: idea talking about talking about turning back to clock. You

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Speaker 1: guys probably know how many years it is? Years? God,

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Speaker 1: isn't that crazy? I know. I mean, I think one

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Speaker 1: of the things that's um so like one of the

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Speaker 1: reasons I'm so excited to see you. And you would

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Speaker 1: have no unless somebody has told you, you would not

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Speaker 1: know this, but um you know I've I've directed now

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Speaker 1: almost thirty episodes of children's TV, and any time I

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Speaker 1: get asked what it was that made me want to

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Speaker 1: be a director, I always referred to you because when

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Speaker 1: I think about what I love so much about directing children,

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Speaker 1: especially because I do mostly children's TV, I think of

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Speaker 1: the way that you and Jeff McCracken treated us as kids,

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Speaker 1: and how much respect you had for us. And you

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Speaker 1: were truthfully the first person to really give me an

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Speaker 1: acting lesson, Like I learned so much from you. I

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Speaker 1: couldn't even tell you how much I learned from you,

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Speaker 1: and so your impact on my life in the two

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Speaker 1: years that I knew you twenty seven to twenty nine

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Speaker 1: years ago has literally just changed the course of my life,

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Speaker 1: and I I've never really been able to properly thank

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Speaker 1: you for that, so I'm super excited to say that

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Speaker 1: to you. Well, thank you. I'm glad you know better

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Speaker 1: to be a good influenced on avantage. We've had those two. Yeah, yeah,

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Speaker 1: we've had those two. And directing young actors as a

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Speaker 1: particular subset of directing, not exactly. It's in many ways

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Speaker 1: like directing anybody and other ways, it's gotten some particular Yeah, well,

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Speaker 1: that is actually a great question to start with. Then,

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Speaker 1: I mean, you had you I don't know exactly where

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Speaker 1: you started your directing career, but you were most famous

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Speaker 1: for directing Designing Women from nine to ninety two, right, Yeah,

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Speaker 1: I mean before that, I was a theater director and

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Speaker 1: before that playwright, so so the roots are in the theater.

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Speaker 1: And then came to Los Angeles to direct one episode

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Speaker 1: of Designing Women and stayed for four years and became

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Speaker 1: one of the producers. So that was that was sort

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Speaker 1: of the beginning. But I want to go back for

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Speaker 1: a second because I'm fascinated by the fact that you

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Speaker 1: came from theater and so did Michael Jacobs. And I

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Speaker 1: think we we tend to forget how much multi camera

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Speaker 1: sitcom in particular was like a direct descendant of theater,

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Speaker 1: and how much what we do as actors and as

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Speaker 1: directors in that that context is pretty much theater. I mean,

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Speaker 1: was that an easy transition for you or or can

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Speaker 1: you talk about what that was like to go because

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Speaker 1: you used to I know you used to do Shakespeare

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Speaker 1: because you gave me in Ben an amazing Shakespeare lesson

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Speaker 1: one day. I don't know if you remember this, but

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Speaker 1: we we spent like one time reading, so I know you,

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Speaker 1: but I know you were you started in classical theater

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Speaker 1: and then here you are doing a kids sitcom. Can

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Speaker 1: you talk about how similar or different they are? Well,

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Speaker 1: you know, I think you're absolutely right that the multiple

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Speaker 1: camera television comes from the theater. And my conviction is

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Speaker 1: that it comes from from Flodville. Yeah, Vaudeville shows add

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Speaker 1: these short plays between the musical acts, and it gave them,

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Speaker 1: you know it it was my set. I mean I

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Speaker 1: never it was before my time, but I screamed their beauties.

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Speaker 1: A single set would be inserted in the middle, you know,

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Speaker 1: in the middle of the stage. And a little play

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Speaker 1: of twenty minutes or so we take place and and

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Speaker 1: I've read some of them and they're remarkably like what

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Speaker 1: we end up doing. So I think that what what

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Speaker 1: multiple Camera did was take take the theater and and

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Speaker 1: and add to it the resources of movies and and

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Speaker 1: specifically of television, because it does here, it is, and

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Speaker 1: so it has a lot to do. It has a

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Speaker 1: lot to do. I mean almost entirely. So the transition

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Speaker 1: is not that hard. Did you watch a lot of

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Speaker 1: television before you started directing it? No, not particularly. Uh,

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Speaker 1: you know, the way I actually specifically came to it

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Speaker 1: was I directed a plan Broadway that came and played

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Speaker 1: Beyoncet and when it played the Honest and you know,

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Speaker 1: I had directed seven plays in a year and a half,

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Speaker 1: had less money at the end of that, I've got,

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Speaker 1: you know, the logical extension of this potters Field someday

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Speaker 1: you know, we're not going directly, and I was very

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Speaker 1: fortunately I directed good things and good places. But it's

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Speaker 1: a it's and it is what it is. So I

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Speaker 1: took the opportunity of being in Los Angeles and having

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Speaker 1: my name in the newspaper every day because there's a

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Speaker 1: big add every day for the squad, so I didn't

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Speaker 1: have to explain why I was there. I didn't come

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Speaker 1: as a supplicant for a beggar, and sort of poked

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Speaker 1: around and figured out how to do it. And then

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Speaker 1: Jim Burrows, whom I met, arranged for me to to

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Speaker 1: to observe Bill Persky doing Kate. Now, so that was

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Speaker 1: where I lived in York, so I sort of made that.

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Speaker 1: I took the money I made at the office and

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Speaker 1: basically invested in So I didn't work for a year,

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Speaker 1: but I had one. I mean, I knew I had

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Speaker 1: the money from the n so it was a sort

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Speaker 1: of investment in the future that was unclear whether it

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Speaker 1: worked out, but then it did. And then and then

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Speaker 1: designing women. You know, the women were, if I understand

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Speaker 1: it correctly, second hand sort of the women were looking

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Speaker 1: for what they called the real director. I know, so,

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Speaker 1: you know, a smart agent with most to Harry Johnson.

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Speaker 1: I got this guy, and I my understanding because they

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Speaker 1: also can said if you don't hire somebody else will

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Speaker 1: and get regret it. So Harry and I had a

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Speaker 1: long talk on the phone and he hired men and

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Speaker 1: you never even met. So when I showed up at

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Speaker 1: Warner Brothers. I had never seen that was designing with

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Speaker 1: a shot up felt. I had never seen a camera close.

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Speaker 1: I've seen sweed in New York. You know. Now you're

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Speaker 1: in charge of four of the camera what they're doing,

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Speaker 1: you know. So it was it was like coming in

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Speaker 1: virtually with a blank mom, but with what but understanding

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Speaker 1: actors and stage and stuff like that, and let's see

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Speaker 1: you go from there. And so you know, you directed

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Speaker 1: the first two seasons of Boy Meat's World almost exclusively.

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Speaker 1: John Tracy did the pilot and then you came in

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Speaker 1: and did every other episode for the first two seasons.

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Speaker 1: Did you one? What was were we your first experience

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Speaker 1: working then with kids? And what was that like? Well,

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Speaker 1: you guys were great and fun. I mean I remember

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Speaker 1: certain kinds of specifics. And presumably we will get into

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Speaker 1: this like Danielle, how we got to you? Yeah, I

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Speaker 1: can't wait for that story. Can wait for that story

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Speaker 1: for two of us? Yeah, I mean I think we

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Speaker 1: could actually get into it here. Instead of when we

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Speaker 1: talk about the episode, there a lot of other things

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Speaker 1: to talk about the episode. Um, let's talk about how

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Speaker 1: I became Topanga because I actually just learned something from

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Speaker 1: David for when it When I was trying to get

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Speaker 1: David to come on the show and we were emailing

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Speaker 1: back and forth, David said to me, yes, of course,

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Speaker 1: how could I forget that Friday night, Michael had gone home,

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Speaker 1: Michael Jacobs had gone home for Shabbat, and the actress

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Speaker 1: we had hired us to Panga, was not working out. So,

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Speaker 1: for those who don't know, I had auditioned for the

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Speaker 1: role of Topanga and I did not even get a

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Speaker 1: call back. And I know exactly why, because I had

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Speaker 1: zero idea what acting was and welcome to the club.

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Speaker 1: All I had done up until that point were commercials

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Speaker 1: where all I was doing was playing a cute, bubbly

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Speaker 1: ten or eleven year old. And I had done two

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Speaker 1: episode a Full House, where again I was just kind

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Speaker 1: of playing a slightly different version of myself. It was

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Speaker 1: just the tiniest bit different. And I didn't know that

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Speaker 1: you could change how you said things, or that you

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Speaker 1: could pretend to be someone. I didn't know that at all. Truthfully,

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Speaker 1: I did not know that I was. I had had

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Speaker 1: no training at all. And you were cast in the

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Speaker 1: episode you had one of those you were one of

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Speaker 1: those girls, right, I mean the girls who are doing

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Speaker 1: the science experiment. Yeah, and the girls who were talking

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Speaker 1: about corries. Well, what recollection? You were one of the exactly. Yeah,

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Speaker 1: it was the fish pulled out the dead. So I

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Speaker 1: didn't get a call back for Topanga, but the next

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Speaker 1: day I got the audition to be one of those

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Speaker 1: two girls, and I booked that role, and so then

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Speaker 1: I got to set and I was one of the

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Speaker 1: girls who had a couple of lines the Fish Girl,

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Speaker 1: and I saw David working with the actress they had

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Speaker 1: cast as Tapanga. Now, I was not there for all

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Speaker 1: of the topa Anga scenes because if my character wasn't

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Speaker 1: in the scene, I was in school or something. But

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Speaker 1: in a couple of scenes where Tapenga and the Fish

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Speaker 1: Girl were together, I got to watch David work with her,

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Speaker 1: and I it was literally the first lightbulb of what

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Speaker 1: we were doing as actors went off in my head

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Speaker 1: where I was like, oh wow, And I had that

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Speaker 1: feeling you get as a kid where you're like can

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Speaker 1: I can I try again? Like I really feel like

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Speaker 1: I get it now? And David was working with her,

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Speaker 1: and I specifically remember one line that I don't think

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Speaker 1: was in the episode where when she walks away, she

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Speaker 1: says peace and um, the actress, I remember this whole moment.

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Speaker 1: It was just a moment that really stuck out because

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Speaker 1: I remember being repeated over and over again. Her natural

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Speaker 1: inclination was to say piece and walk away, and and

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Speaker 1: David was saying, it's when you say it like that,

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Speaker 1: it sounds down or sad, it's not. It's it's just peace.

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Speaker 1: And I remember them going back and forth peace and

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Speaker 1: being like, oh man, in my head, I'm hearing myself

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Speaker 1: say it going I know, I think, I know. Just

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Speaker 1: remember that. I remember that Friday rehearsal. It was this

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Speaker 1: the whole episode was a disaster at that point. It was,

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Speaker 1: and it was day one. And so for the record,

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Speaker 1: the girl's name is not actually fish Girl, just so

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Speaker 1: she's got her. Her name was Megan Parlor. Megan Parlor.

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Speaker 1: But so anyway, long story short, Friday, the very first day,

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Speaker 1: that actress who was playing to Peana gets let go.

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Speaker 1: And I'm going to then let David take it because

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Speaker 1: now this is stuff I don't have the inside knowledge on,

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Speaker 1: but David does. David, what happened? This is what I think. Okay,

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Speaker 1: there's sort of problems that you think you can solve,

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Speaker 1: and then there's problems that you think you can't solve.

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Speaker 1: And sort of by working with her, she moved from

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Speaker 1: one camp to the other, Kip to the insoluble camp.

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Speaker 1: So Michael had gone home. I mean, the way things

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Speaker 1: working those days, you guys can remember it's been and

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Speaker 1: I do. We had a table reading on Friday. You

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Speaker 1: can bank school hours on Friday, so you guys all

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Speaker 1: went to school and then late in the afternoon you

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Speaker 1: got out of school and we rehearsed. But by then,

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Speaker 1: if it was sundown or close to it, Michael went home.

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Speaker 1: He'd done the rewriting anyone home for Shabba, So that

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Speaker 1: basically in that situation, I was on stage, and Ed

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Speaker 1: and John were the guys upstairs, and just Ward were

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Speaker 1: the guys upstairs. So even LOUI of Michael. So I

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Speaker 1: remember calling them, I think, and saying, disaster, we gotta

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Speaker 1: get rid of her, and you know, what what are

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Speaker 1: we gonna do? I said, no, no no, no, no, we

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Speaker 1: got it. Is he here, I've seen her, right, So

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Speaker 1: that's what I recollect. I think it wasn't oh this

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Speaker 1: I got I don't mean I got this, but we

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Speaker 1: got this we got this and again I think maybe

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Speaker 1: they came down and maybe you did part of Oh no,

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Speaker 1: I know exactly what happened there. Guys did a reading.

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Speaker 1: Yeah it was it was said yes, yes, I mean

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Speaker 1: it was self evidence that you were prints. So that okay.

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Speaker 1: So that's the that's some of the holes that are

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Speaker 1: filling in for me now, because we definitely did an audition.

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Speaker 1: At the end of the rehearsal day, they said, Marla, Danielle,

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Speaker 1: we can you guys come with us and we're going

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Speaker 1: to have you read these this scene. I don't remember

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Speaker 1: what scene it was, but it all of a sudden

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Speaker 1: it was a parent that Marlin I were re auditioning

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Speaker 1: for this other character, which um is also a kind

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Speaker 1: of an uncomfortable situation because Marlin I have spent all

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Speaker 1: day kind of being pals and buds and the two

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Speaker 1: of us are here, you know, we're friends, were playing

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Speaker 1: these scenes together where we play friends, and now all

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Speaker 1: of a sudden, it's like we're both auditioning for a

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Speaker 1: marching exactly. It's like thousands of domes for and so

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Speaker 1: Marla went in first, and Marla did the scene, and

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Speaker 1: my mom and I are sitting outside and we can

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Speaker 1: hear laughing going on, talking going on, and I'm looking

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Speaker 1: down at the scene being like laughing, I don't know

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Speaker 1: that there are there is there? Okay, I guess there's

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Speaker 1: a laugh, Like I'm stressed. Marla's going is in there.

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Speaker 1: She's in there for a while. It's very talkie talkie

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Speaker 1: and friendly, and I can just hear a lot of chatter.

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Speaker 1: And then Marla comes out and Sally Steiner, the casting director,

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Speaker 1: follows her out, and in front of us, Sally is

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Speaker 1: asking for Marla's mom every possible way she can get

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Speaker 1: in touch with Marla over the weekend because Marla was

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Speaker 1: going up north, which I think is where she lived.

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Speaker 1: She was going back up north to see her family

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Speaker 1: for the weekend, and Sally was nervous, like, how are

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Speaker 1: we going to get in touch with you? This is

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Speaker 1: before the days of cell phone, So I need to

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Speaker 1: have the house number where you live, your agents man,

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Speaker 1: your agents paid, your number, your man. I need any

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Speaker 1: ways of us we're going to call you over the

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Speaker 1: weekend and if and if you have to come in

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Speaker 1: on Monday, I need to let you know over this weekend.

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Speaker 1: And I was thinking, Okay, that audition went really well,

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Speaker 1: and now Daniel Fisher and now go ahead, gentleman. Daniel

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Speaker 1: and I walked in and I did the scene, and

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Speaker 1: then I was done. There was no like extended chatter.

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Speaker 1: I walked out and turned around to see if Sally

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Speaker 1: was following behind me. No one followed behind me. I've

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Speaker 1: written down my numbers in case you need to get

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Speaker 1: in touch of me over the record. Do you need

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Speaker 1: my factor? Who's my page number? My mom's page number?

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Speaker 1: It was crickets and I then my mom and I

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Speaker 1: walked out and I burst into tears. I was like,

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Speaker 1: I didn't do it. I didn't nail it. It was

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Speaker 1: I don't know what happened. I just obviously Marla was

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Speaker 1: better because I they wanted they It was clearly they

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Speaker 1: want her. And I was sad, and I was like,

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Speaker 1: but it's gonna be okay. I didn't you know an

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Speaker 1: hour ago this part wasn't mine either, Like you know,

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Speaker 1: who cares. It's gonna be fine. It's gonna be fine.

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Speaker 1: And my mom, it's now two hours past the time

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Speaker 1: we're supposed to be home, and my dad has no

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Speaker 1: idea where we are. He's been paging my mother like

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Speaker 1: like where are you? And so my mom says, we

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Speaker 1: need to call your father. And we had a Zach

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Speaker 1: Morris car phone. So I call my father on the

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Speaker 1: Zach Morris car phone and I am in tears and

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Speaker 1: I'm trying to explain to him what happened. So we

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Speaker 1: were rehearsing and there's this girl and then and then

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Speaker 1: so Marlon I and he's like what He's like trying

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Speaker 1: to understand what I'm saying, like why what are you

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Speaker 1: even talking about? And then he goes, hold on, hold on, sorry,

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Speaker 1: I have a call waiting, and he just comes back

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Speaker 1: and I look at my mom and like, go waiting

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Speaker 1: holding the phone like this. And then my dad comes

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Speaker 1: back and says, that was someone named Sally Steiner and

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Speaker 1: she told you to come back on Monday. As to Panga,

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Speaker 1: none of these things are words. My dad had any

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Speaker 1: idea what they meant. He didn't know Sally Steiner was.

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Speaker 1: He had never heard the name to Panga. He didn't

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Speaker 1: understand what was going on. And I just scream and

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Speaker 1: my mom looks at me and go or we just

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Speaker 1: start screaming in the car. It was I mean, it

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Speaker 1: will it is a moment I will remember. I get

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Speaker 1: chills thinking about it. I remember, I will remember it

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Speaker 1: for the rest of my life. They couldn't find Marlow's number.

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Speaker 1: It's so what's so funny is that it was a

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Speaker 1: huge deal to you because being the guest star in

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Speaker 1: a leading role was a big deal. But actually it

301
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Speaker 1: didn't mean that much. It's you know, now it means everything.

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Speaker 1: It changed your life. But actually from the perspective of like,

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Speaker 1: you know, if if, if it had to Pango was

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Speaker 1: supposed to be a one one episode, right it was

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Speaker 1: from right, Yeah, it's like that, it was like, right,

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Speaker 1: So it's so funny that it only it's like snowballed,

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Speaker 1: you know, throughout the years. So this moment, which was

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Speaker 1: a big deal for an elven year old, but like, actually,

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Speaker 1: if your life had gone on and the part of

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Speaker 1: you know whatever, it probably would have just faded away

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Speaker 1: and been one of those fun like childhood memories. But

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Speaker 1: now it's become this defining characteristic of your life. It's

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Speaker 1: fascinating that's how it works. Though not because I agree

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Speaker 1: with that, but when a writer like Michael writes apart

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Speaker 1: like that, where there's a connection, yeah, implicitly, there's a

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Speaker 1: hope that it goes on. Yeah, my honestly, so that

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Speaker 1: from your point of I mean, I think every step

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Speaker 1: of the way, it's like you're the fish girl, then

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Speaker 1: you're auditioning, then you're happy, then you're sad, then you're happy. Right, right,

320
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Speaker 1: that's the scene, and if it ends there is like

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Speaker 1: but but from from the show's point of view, there's

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Speaker 1: always about a short term storytelling in a longer short term.

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Speaker 1: So I think there was it was important that the

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Speaker 1: right he be cast in that part from the show's

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Speaker 1: point view, or else you would have had to read

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Speaker 1: do you had to find another way to introduce Corey

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Speaker 1: to somebody who's going to be It's yeah, So I

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Speaker 1: think it's two things. It's unimportant or or important only

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Speaker 1: in retrospect and at the time really important. Well that's

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Speaker 1: actually really that's a good question. Do you do you

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Speaker 1: have any memories of what what I mean? Do you

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Speaker 1: because at that point the show is still defining itself,

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Speaker 1: The show is still trying to find its voice in

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Speaker 1: a lot of ways. And had you when when you

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Speaker 1: took the job to direct the first season, I'm presuming

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Speaker 1: you had seen the pilot and that's why you took

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Speaker 1: the job. Well, I mean I took the job because

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Speaker 1: you know, it's not worth going into all the details.

339
00:19:47,160 --> 00:19:51,800
Speaker 1: But my mind, Michael had wanted Michael I had a

340
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Speaker 1: prior relationship on another show, And and then what means

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Speaker 1: the world is I was supposed to Michael wanted me

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Speaker 1: to do the pilot, and I did something else, and

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Speaker 1: the other things fell through, and some it's like, I mean,

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Speaker 1: there's a whole sort of like story upon the second

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00:20:07,240 --> 00:20:10,639
Speaker 1: second podcast doesn't have any care. Okay, well then I

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Speaker 1: guess the question becomes, what do you do you remember

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Speaker 1: being a part of developing the voice of Boyme's World

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Speaker 1: or developing a tone, and and do you remember what

349
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Speaker 1: those conversations were like, like did did it feel like

350
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Speaker 1: the show was sort of baked into the pilot and

351
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Speaker 1: into the writing, or were you still kind of fishing

352
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Speaker 1: around for a character like to Panga, a best friend

353
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Speaker 1: like Sean, you know, finding the parents. And I think

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Speaker 1: these things are they are the thing that Boy's World

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Speaker 1: have from the beginning. And I was trying to parenthetically,

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Speaker 1: I was trying to think how many shows I did

357
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Speaker 1: Jacks and I would say, okay, it's three. Oh wait,

358
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Speaker 1: there's another four, Oh wait, there's another, just like six

359
00:20:53,000 --> 00:20:56,760
Speaker 1: conceivably seven things I did with Michael over a period

360
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Speaker 1: of say four years. Boy's World was a perfect expression

361
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Speaker 1: of Michael's voice and I was dead. So the thing

362
00:21:08,280 --> 00:21:13,920
Speaker 1: was pitched perfect from the beginning because of the connection

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Speaker 1: between Michael as a writer and a voice and then

364
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Speaker 1: as an accur so the rest thing it fell in around.

365
00:21:25,080 --> 00:21:28,600
Speaker 1: You know, it felt, it felt okay, you know, I

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Speaker 1: don't remember. I mean, I remember, Michael's not any who guys,

367
00:21:33,119 --> 00:21:36,960
Speaker 1: Michael's not a day at the beach. Depends on the

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Speaker 1: kind of day it's not. So so it's not like

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Speaker 1: it was smooth and no new shows every smooth. Michael

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Speaker 1: makes things harder sometimes then we have to be at

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Speaker 1: the same time. This was great. I mean it was like, man,

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Speaker 1: a writer has a speaker, like the Michael Benn connection,

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Speaker 1: You've got yourself from the basis of real since and

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Speaker 1: everything else. And I mean, I think going back to

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Speaker 1: June and you know, you know that in so many

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Speaker 1: ways it was evident, And I think it was evident

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Speaker 1: to me even when that other girl was still there

378
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Speaker 1: and I was thinking, I can't I'm not going to

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Speaker 1: be able to make her right, this one, this one

380
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Speaker 1: with the fish. She seems good, you know, is you

381
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Speaker 1: can sort of feel what will do? Confuel. Well, going

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Speaker 1: back to what you said about the roller coaster of

383
00:22:34,760 --> 00:22:37,040
Speaker 1: you know, you're happy, you're sad, You're happy, you're sad.

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Speaker 1: After I get that phone call on Friday night, Yeah,

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Speaker 1: I got the part. Show back up on Monday as Topanga.

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Speaker 1: I did. I showed up on Monday as to Panga,

387
00:22:47,119 --> 00:22:50,200
Speaker 1: and I was now the person David was working with

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Speaker 1: trying to get the you know, the right tone, the

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00:22:52,840 --> 00:22:57,400
Speaker 1: right intonation, the right deliveries, the right physicality. And it

390
00:22:57,440 --> 00:23:00,920
Speaker 1: was hard for me. I was a bubbly, fast talking

391
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Speaker 1: spunky and and uh yeah, I I it was very

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Speaker 1: hard to speak slowly. It's still hard for me to

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Speaker 1: talk slowly. And we worked all day and then we do,

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Speaker 1: as we've discussed on the podcast before, what are weeks

395
00:23:19,040 --> 00:23:21,320
Speaker 1: were like? Monday was producer run through at the end

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Speaker 1: of the night, and David, I I would love to remember,

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Speaker 1: and I've loved to know what your memory of this

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Speaker 1: night is, because I can tell you my memory was

399
00:23:29,240 --> 00:23:33,560
Speaker 1: that we we do the producer run through and we

400
00:23:33,640 --> 00:23:37,840
Speaker 1: sit down from Michael's marathon note session, and I had

401
00:23:38,240 --> 00:23:40,400
Speaker 1: I had never been a part of his marathon note sessions.

402
00:23:40,440 --> 00:23:41,920
Speaker 1: This was my very first one because it was my

403
00:23:42,040 --> 00:23:48,320
Speaker 1: very first week. And Michael starts off the notes by saying, um, Danielle,

404
00:23:48,359 --> 00:23:50,360
Speaker 1: I'm going to have to I'm going to give you

405
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Speaker 1: your notes all in one time at the end. Uh.

406
00:23:53,280 --> 00:23:55,000
Speaker 1: And I'm going to give everyone else their notes now,

407
00:23:55,040 --> 00:23:57,439
Speaker 1: because if I made everyone sit here through all of

408
00:23:57,440 --> 00:23:59,520
Speaker 1: the notes I have for you, we would all be

409
00:23:59,600 --> 00:24:01,240
Speaker 1: here for hours and no one would ever get to

410
00:24:01,280 --> 00:24:03,800
Speaker 1: go home. So you're just gonna wait for the end.

411
00:24:04,240 --> 00:24:10,720
Speaker 1: Welcome to the show. And I and I remember thinking,

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Speaker 1: I remember like from that moment on my eyes welled

413
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Speaker 1: up because you know, I'm honest. I'm now in front

414
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Speaker 1: of everybody, everybody, all the producers, all the writers, all

415
00:24:19,080 --> 00:24:21,359
Speaker 1: the cast, and all eyes are on me for a second,

416
00:24:21,440 --> 00:24:23,320
Speaker 1: and then he just quickly moved on and for the

417
00:24:23,359 --> 00:24:25,520
Speaker 1: rest for maybe the next hour, while he did go

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Speaker 1: through page one, line one notes for everyone else, I

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Speaker 1: have tears in my eyes, like, Okay, I don't know

420
00:24:30,000 --> 00:24:31,640
Speaker 1: what's coming for me, but it's not going to be good.

421
00:24:32,080 --> 00:24:34,480
Speaker 1: And then after he did everyone else's notes, he called

422
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Speaker 1: my mom down. My mom had been sitting in the stands,

423
00:24:36,760 --> 00:24:39,800
Speaker 1: like where the studio audience sits um alone, and she

424
00:24:39,920 --> 00:24:42,520
Speaker 1: came down and he sat us down at the Matthews

425
00:24:42,640 --> 00:24:47,520
Speaker 1: family kitchen table and literally opened up the script and

426
00:24:47,520 --> 00:24:49,760
Speaker 1: went through every single one of my lines and what

427
00:24:49,800 --> 00:24:51,840
Speaker 1: he wanted and what I wasn't doing right and how

428
00:24:51,840 --> 00:24:54,080
Speaker 1: slow I needed to talk. And I don't remember if

429
00:24:54,080 --> 00:24:56,200
Speaker 1: you were there for I don't remember if you stuck

430
00:24:56,240 --> 00:24:58,399
Speaker 1: around for that or if you weren't there. I was

431
00:24:58,440 --> 00:25:01,480
Speaker 1: like laser focused on my script. And I can see

432
00:25:01,480 --> 00:25:02,879
Speaker 1: by the way I'm sorry, I can see this still

433
00:25:02,920 --> 00:25:07,560
Speaker 1: affects you. Oh yeah, I can say profusely right now

434
00:25:07,600 --> 00:25:10,119
Speaker 1: as we talked about it, it's still affects well. Because

435
00:25:10,119 --> 00:25:12,560
Speaker 1: the other thing that Michael said in front of everybody,

436
00:25:12,800 --> 00:25:14,440
Speaker 1: and maybe it wasn't in front of everybody, maybe it

437
00:25:14,480 --> 00:25:15,919
Speaker 1: was just to my mom and I. But what I

438
00:25:15,960 --> 00:25:20,080
Speaker 1: know specifically was said was all I know is if

439
00:25:20,119 --> 00:25:24,560
Speaker 1: you don't come back tomorrow doing this entirely differently, you

440
00:25:24,640 --> 00:25:30,639
Speaker 1: are also not going to be here referencing. Okay, I

441
00:25:30,720 --> 00:25:35,879
Speaker 1: worked for like four years, okay, in multiple SIPs. This

442
00:25:36,040 --> 00:25:40,280
Speaker 1: is a hateful still. I used to drive to work

443
00:25:40,520 --> 00:25:45,239
Speaker 1: and go past that Bob Hope, and many days I

444
00:25:45,280 --> 00:25:50,480
Speaker 1: wanted to stop and show because of how unpleasant it

445
00:25:50,680 --> 00:25:55,440
Speaker 1: was to do and how I mean, there's many wonderful things,

446
00:25:56,000 --> 00:25:59,359
Speaker 1: and you know, I mean believe there's many ones, but

447
00:25:59,480 --> 00:26:05,000
Speaker 1: there's hateful. This is one. Yeah. It's like to hear

448
00:26:05,080 --> 00:26:10,960
Speaker 1: this your sweating. I'm pissed you, I'm really pissed. And

449
00:26:11,000 --> 00:26:13,280
Speaker 1: it's enough to make me want to like sign off

450
00:26:13,320 --> 00:26:20,640
Speaker 1: from this podcast associated with anything that does no. No, yeah,

451
00:26:20,680 --> 00:26:24,920
Speaker 1: I mean this it's just not how this is. You know, yeah,

452
00:26:25,600 --> 00:26:28,359
Speaker 1: great that it became a hit with you know, I'm

453
00:26:28,400 --> 00:26:31,280
Speaker 1: glad of everything like this, but this is just but

454
00:26:31,760 --> 00:26:34,040
Speaker 1: what I will say is, and I agree with you.

455
00:26:34,080 --> 00:26:36,520
Speaker 1: I'm not I'm not. I'm not deflecting from that. But

456
00:26:37,160 --> 00:26:39,919
Speaker 1: I did go home that night with my mom, and

457
00:26:40,000 --> 00:26:42,440
Speaker 1: my mom and I stayed up until probably three or

458
00:26:42,480 --> 00:26:45,760
Speaker 1: four o'clock in the morning, going over every single line

459
00:26:45,760 --> 00:26:48,240
Speaker 1: my mom would, just because I wanted to make sure

460
00:26:48,240 --> 00:26:49,879
Speaker 1: I had it. And it was my mom saying to

461
00:26:49,920 --> 00:26:56,119
Speaker 1: me slower, slower, yeah, slower, and going okay, okay, okay.

462
00:26:56,359 --> 00:26:59,440
Speaker 1: And so the next day I showed up and it's Tuesday,

463
00:26:59,600 --> 00:27:01,840
Speaker 1: and I rehearse again all day with David, and again

464
00:27:01,920 --> 00:27:06,000
Speaker 1: I always felt so safe with you. I knew you have. Again,

465
00:27:06,080 --> 00:27:11,159
Speaker 1: let me say everybody who worked with Michael understood, implicitly

466
00:27:11,240 --> 00:27:17,359
Speaker 1: or explicitly, wherever Michael lurched to one side of the boat,

467
00:27:17,520 --> 00:27:21,040
Speaker 1: everybody went to the other set. Yes, yes, yeah, the

468
00:27:21,160 --> 00:27:24,240
Speaker 1: job was That's why I hate it ultimately, I mean,

469
00:27:24,359 --> 00:27:28,960
Speaker 1: you can put this on radio. Um is the job

470
00:27:29,240 --> 00:27:32,399
Speaker 1: was to do your job right, whatever that was, but

471
00:27:32,520 --> 00:27:40,000
Speaker 1: also to prevent swamping and drown right. So go on.

472
00:27:40,359 --> 00:27:44,920
Speaker 1: So Tuesday we do our network run through, and I again,

473
00:27:46,760 --> 00:27:48,359
Speaker 1: can wait wait before we jump to that, can I

474
00:27:48,359 --> 00:27:50,560
Speaker 1: ask you a very quick question. The night it's three

475
00:27:50,600 --> 00:27:52,439
Speaker 1: o'clock in the morning, you're studying with your mom. Are

476
00:27:52,800 --> 00:27:56,159
Speaker 1: you doing this from a place now of god, I

477
00:27:56,200 --> 00:27:57,840
Speaker 1: really want to get this right? Are you doing this

478
00:27:57,880 --> 00:28:01,440
Speaker 1: from a place based in fear? I really wanted to

479
00:28:01,480 --> 00:28:03,480
Speaker 1: get it right. I am a type a perfectionist and

480
00:28:03,520 --> 00:28:05,959
Speaker 1: I always have been. And so what is getting it

481
00:28:06,080 --> 00:28:11,199
Speaker 1: right in this content? Right means making Michael happy? And

482
00:28:11,320 --> 00:28:14,359
Speaker 1: that's that's the problem to me. That's what I do.

483
00:28:14,800 --> 00:28:17,960
Speaker 1: You know, that's what I remember feeling, and that's what

484
00:28:18,000 --> 00:28:20,320
Speaker 1: I don't think is healthy. And I don't agree that

485
00:28:20,320 --> 00:28:23,320
Speaker 1: that's story. This is one I mean because you know,

486
00:28:23,560 --> 00:28:26,640
Speaker 1: anticipation of telling sort of things come back into your head.

487
00:28:27,080 --> 00:28:32,040
Speaker 1: So I did a show Michael basically acts as a

488
00:28:32,160 --> 00:28:40,239
Speaker 1: ventrilogist and actors as things who voice whatever, like like

489
00:28:40,360 --> 00:28:46,120
Speaker 1: a puppet. Right. So that's it, that's the that's Michael's reality.

490
00:28:46,360 --> 00:28:48,800
Speaker 1: And that's the reason I say Ben is so important.

491
00:28:48,920 --> 00:28:54,959
Speaker 1: This is because Ben was perfect, perfect, and when I

492
00:28:55,000 --> 00:28:59,120
Speaker 1: watched the episodes that, yeah, he's phenomenal. He carried the

493
00:28:59,120 --> 00:29:04,880
Speaker 1: whole show astounding representation of that world and that stuff.

494
00:29:05,720 --> 00:29:08,480
Speaker 1: But I did a shout with Michael with Marie Osmin

495
00:29:09,120 --> 00:29:14,920
Speaker 1: and Betty White and Craig Ferguson, right, and it was

496
00:29:14,960 --> 00:29:18,960
Speaker 1: it was not a successful show because again Michael's voices

497
00:29:19,800 --> 00:29:23,120
Speaker 1: my two dads and Boemon's world and Betty White and

498
00:29:23,160 --> 00:29:26,960
Speaker 1: Marie Ostend are from bas other solar system. Well loved.

499
00:29:28,800 --> 00:29:30,920
Speaker 1: But I remember this because this is when I thought

500
00:29:30,960 --> 00:29:35,360
Speaker 1: I got Betty was doing something. And Betty and I

501
00:29:35,440 --> 00:29:38,240
Speaker 1: became really good friends over time, and I worked with

502
00:29:38,280 --> 00:29:42,080
Speaker 1: her multiple times and I adored she was doing something.

503
00:29:42,160 --> 00:29:43,959
Speaker 1: She's doing so and it wasn't the way Michael and

504
00:29:44,240 --> 00:29:47,280
Speaker 1: Michael said to be ever do it like Florence standing.

505
00:29:48,200 --> 00:29:50,600
Speaker 1: I don't know if you guys never Florence Stanley's flander standing.

506
00:29:50,640 --> 00:29:52,680
Speaker 1: I think it's the mother of a grandmother on my

507
00:29:52,800 --> 00:29:59,000
Speaker 1: two deaths. But she was basically a perfect representative of

508
00:29:59,120 --> 00:30:08,120
Speaker 1: Michael's before and the antithesis. But Michael take someone else's voice,

509
00:30:08,760 --> 00:30:13,760
Speaker 1: and he said, have her do it like Florence. Now,

510
00:30:14,120 --> 00:30:17,840
Speaker 1: tell her to do it. What Florence, Well, I didn't

511
00:30:17,840 --> 00:30:22,240
Speaker 1: tell walk up to or talk about something else to

512
00:30:22,280 --> 00:30:32,840
Speaker 1: come back exactly. But that's how that's your experience a

513
00:30:32,920 --> 00:30:38,360
Speaker 1: three o'clock in the morning, Yeah, being told to Florence. Yeah,

514
00:30:38,440 --> 00:30:41,560
Speaker 1: And he had a he had a very direct, very

515
00:30:41,920 --> 00:30:44,480
Speaker 1: very precise vision for what he wanted, and there was

516
00:30:44,600 --> 00:30:47,200
Speaker 1: very there was this very small margin of error outside

517
00:30:47,200 --> 00:30:49,480
Speaker 1: of that that he was willing to let anybody play.

518
00:30:49,560 --> 00:30:52,040
Speaker 1: And that's you know, I mean, that's fine. It's his show,

519
00:30:52,120 --> 00:30:55,280
Speaker 1: it's his it's his brain child. But so we do

520
00:30:55,480 --> 00:30:58,840
Speaker 1: the network run through, and all I want, all I

521
00:30:58,920 --> 00:31:00,880
Speaker 1: want all day is you know, I don't see Michael

522
00:31:00,920 --> 00:31:02,720
Speaker 1: during the day. Michael's not on set while we're rehearsing,

523
00:31:02,760 --> 00:31:04,160
Speaker 1: so I don't see Michael at all, and all I

524
00:31:04,360 --> 00:31:08,680
Speaker 1: all I want is approval. I want Michael's specifically Michael's approval,

525
00:31:08,720 --> 00:31:14,000
Speaker 1: because I had lost it the day before. I did

526
00:31:14,080 --> 00:31:17,880
Speaker 1: not want to lose I want and do it the

527
00:31:17,960 --> 00:31:20,560
Speaker 1: exactly why I wanted tomorrow. Are you not here exactly?

528
00:31:20,600 --> 00:31:22,280
Speaker 1: I have the past? Yeah, and I had already seen

529
00:31:22,320 --> 00:31:25,480
Speaker 1: that happen. Well, you are twelve, it's time to learn

530
00:31:25,520 --> 00:31:30,840
Speaker 1: that lesson, right, So I we do. Then we do

531
00:31:30,960 --> 00:31:33,560
Speaker 1: the network run through. We sit down for the note

532
00:31:33,600 --> 00:31:36,280
Speaker 1: session and again I'm sweating profusely and I have no

533
00:31:36,360 --> 00:31:40,840
Speaker 1: idea what's coming. And Michael says, this time Danielle, and

534
00:31:40,880 --> 00:31:45,160
Speaker 1: I'm like yes, And he stands up and all the

535
00:31:45,160 --> 00:31:48,640
Speaker 1: writers stand up alongside him, and he says, let's let's

536
00:31:48,640 --> 00:31:52,840
Speaker 1: give Danielle a round of applause. You know, you did

537
00:31:52,880 --> 00:31:55,280
Speaker 1: exactly what I asked of you. Thank you, thank you.

538
00:31:55,520 --> 00:31:59,040
Speaker 1: It was, you know, congratulations. It was wonderful. He gave

539
00:31:59,080 --> 00:32:01,520
Speaker 1: me some praise about p ccivic things, and then he

540
00:32:01,640 --> 00:32:04,320
Speaker 1: just started notes and I then got to sit in

541
00:32:04,360 --> 00:32:06,440
Speaker 1: on a normal note session, and yeah, there were still

542
00:32:06,480 --> 00:32:08,520
Speaker 1: notes for me, but it was, you know, there were

543
00:32:08,520 --> 00:32:10,680
Speaker 1: no more threats of being fired. It was like, Okay,

544
00:32:10,760 --> 00:32:12,520
Speaker 1: I had I had done the work, I had shown

545
00:32:12,560 --> 00:32:16,200
Speaker 1: him I was worthy. And then the next day we

546
00:32:16,240 --> 00:32:19,440
Speaker 1: were we were taping. But that's I mean, that's exactly

547
00:32:19,680 --> 00:32:21,640
Speaker 1: he's I mean, he not to harp on this, but

548
00:32:21,640 --> 00:32:23,320
Speaker 1: he set it up in such a way for now,

549
00:32:23,360 --> 00:32:25,560
Speaker 1: when he gives you the standing ovation, it's like the

550
00:32:25,680 --> 00:32:28,959
Speaker 1: sun is shining on you, like, I can't look at

551
00:32:29,040 --> 00:32:32,440
Speaker 1: look what I've done it. I've made him feel so good.

552
00:32:32,560 --> 00:32:34,280
Speaker 1: It had nothing to do with your acting or it's

553
00:32:34,440 --> 00:32:37,200
Speaker 1: just make Michel and I will not lie that. It

554
00:32:37,280 --> 00:32:41,000
Speaker 1: then totally sets up that you go after that. Every

555
00:32:41,000 --> 00:32:45,560
Speaker 1: week you're chasing the dragon of Michael approval. You're you

556
00:32:45,680 --> 00:32:48,160
Speaker 1: every week you're like, Wow, that was that was such

557
00:32:48,200 --> 00:32:51,280
Speaker 1: a high. The next week, I'm going to go after that,

558
00:32:51,360 --> 00:32:54,800
Speaker 1: and if you don't get it, you're you feel a like, uh,

559
00:32:54,880 --> 00:32:56,320
Speaker 1: you know, I didn't I didn't hear that I was bad,

560
00:32:56,320 --> 00:32:57,760
Speaker 1: But I also didn't hear that I was good. Like

561
00:32:59,440 --> 00:33:00,920
Speaker 1: it's like, yeah, what does that mean? I didn't hear

562
00:33:00,920 --> 00:33:06,520
Speaker 1: anything good or bad? You guys were all kids. Michael

563
00:33:06,520 --> 00:33:11,120
Speaker 1: couldn't pull the stuff. Yeah, now we couldn't pull the

564
00:33:11,240 --> 00:33:17,080
Speaker 1: stuff with people who weren't not yet secure in their

565
00:33:17,120 --> 00:33:20,360
Speaker 1: own right. Yeah. I mean I think the most the

566
00:33:20,400 --> 00:33:24,640
Speaker 1: one of the most damaging parts is creative too, which

567
00:33:24,720 --> 00:33:30,080
Speaker 1: is that I remember, this sensation of the show is

568
00:33:30,120 --> 00:33:34,200
Speaker 1: either working, the episodes working, or it's not, it's falling apart.

569
00:33:34,880 --> 00:33:39,000
Speaker 1: And in my mind, that was something definable and concrete

570
00:33:39,000 --> 00:33:41,960
Speaker 1: that everybody could see and that everybody knew or did

571
00:33:41,960 --> 00:33:45,920
Speaker 1: not know in retrospect. That was whatever Michael had written

572
00:33:45,960 --> 00:33:48,600
Speaker 1: that week and whatever he wanted it to be. And

573
00:33:49,160 --> 00:33:52,760
Speaker 1: that's a huge distinction because as an actor, the worst

574
00:33:52,760 --> 00:33:54,680
Speaker 1: thing you can do to approach material is think that

575
00:33:54,720 --> 00:33:57,080
Speaker 1: there's a pre existing perfection that you need to like

576
00:33:57,400 --> 00:34:01,120
Speaker 1: reach up for that that that takes away your agency,

577
00:34:01,200 --> 00:34:04,960
Speaker 1: that takes away your creativity, that removes you from the process.

578
00:34:05,320 --> 00:34:08,640
Speaker 1: And it was something I didn't learn until my twenties

579
00:34:08,920 --> 00:34:11,160
Speaker 1: when I actually had to learn how to act and

580
00:34:11,239 --> 00:34:13,960
Speaker 1: realize like, oh, what we were doing was not acting.

581
00:34:14,200 --> 00:34:16,160
Speaker 1: What we were doing was what you were saying would

582
00:34:16,160 --> 00:34:18,839
Speaker 1: be sort of this puppetry, this you know, showing up

583
00:34:18,880 --> 00:34:22,240
Speaker 1: and and and and. Creatively, I feel like it stunted

584
00:34:22,360 --> 00:34:26,720
Speaker 1: me incredibly because it didn't allow me the creative joy

585
00:34:27,000 --> 00:34:32,080
Speaker 1: of discovery and experimentation and recognition that there is no

586
00:34:32,239 --> 00:34:34,359
Speaker 1: right or wrong in art. There's just what we want

587
00:34:34,360 --> 00:34:36,759
Speaker 1: to make. As a team as a collaborative, you know,

588
00:34:36,880 --> 00:34:40,640
Speaker 1: exercise together. Uh, And we never had that atmosphere on set.

589
00:34:40,760 --> 00:34:43,319
Speaker 1: We I never had that sensation. Especially as a kid,

590
00:34:43,760 --> 00:34:46,640
Speaker 1: you just feel like, oh, where we're missing something. Somebody's

591
00:34:46,640 --> 00:34:48,440
Speaker 1: gonna get fired if something is not right or if

592
00:34:48,440 --> 00:34:51,279
Speaker 1: we don't make this one person happy. And in my mind,

593
00:34:51,280 --> 00:34:53,279
Speaker 1: it wasn't you know, it wasn't even always conscious that

594
00:34:53,280 --> 00:34:56,560
Speaker 1: it was one person, because you have an entire system

595
00:34:56,600 --> 00:35:00,719
Speaker 1: of people enabling that, you know, work to keep that

596
00:35:00,760 --> 00:35:04,120
Speaker 1: power dynamic in places. And that's why I appreciated the

597
00:35:04,160 --> 00:35:08,120
Speaker 1: directors you, Jeff McCracken, you know, name your director that

598
00:35:08,160 --> 00:35:10,239
Speaker 1: we had, but especially in those early years, because you

599
00:35:10,280 --> 00:35:13,279
Speaker 1: guys always let us know that we were creative individuals

600
00:35:13,280 --> 00:35:15,560
Speaker 1: with our own input. And I know that you were

601
00:35:15,560 --> 00:35:17,319
Speaker 1: in a tough position, but it was exactly why I

602
00:35:17,360 --> 00:35:19,319
Speaker 1: wanted to direct on Girl Meets World. And that's what

603
00:35:19,440 --> 00:35:21,960
Speaker 1: I sort of wanted to crack open for those kids,

604
00:35:22,239 --> 00:35:24,160
Speaker 1: was to was to sort of say to them like, hey,

605
00:35:24,160 --> 00:35:25,920
Speaker 1: you get to make your own choices here, you know,

606
00:35:25,960 --> 00:35:29,240
Speaker 1: like the acting is a creative endeavor that you bring.

607
00:35:29,520 --> 00:35:34,239
Speaker 1: It's not just it's better. Yeah, and people people have

608
00:35:36,000 --> 00:35:39,000
Speaker 1: used a good word where their agency is eating. But

609
00:35:39,200 --> 00:35:41,720
Speaker 1: of course going to what you were saying though about

610
00:35:42,120 --> 00:35:44,759
Speaker 1: writers saying, you know, kind of letting us do our

611
00:35:44,800 --> 00:35:48,120
Speaker 1: own thing, and uh, you know, supporting us and doing

612
00:35:48,120 --> 00:35:50,279
Speaker 1: our own thing and encouraging us to do our own thing.

613
00:35:50,640 --> 00:35:53,279
Speaker 1: You I was in a strange position when the show

614
00:35:53,320 --> 00:35:55,759
Speaker 1: started right around these episodes, because it was there was

615
00:35:55,800 --> 00:35:57,800
Speaker 1: kind of we always talk about the two boy meets worlds,

616
00:35:58,200 --> 00:36:00,319
Speaker 1: and there was kind of the boy meets role that

617
00:36:00,360 --> 00:36:03,560
Speaker 1: was happening in the school where you're now introducing to Panga.

618
00:36:03,840 --> 00:36:05,640
Speaker 1: Sean is starting to get a little bit more of

619
00:36:05,640 --> 00:36:08,319
Speaker 1: a voice. Corey's there, who's just like a tiny little

620
00:36:08,360 --> 00:36:11,200
Speaker 1: stand up comedian who is carrying the show and is

621
00:36:11,320 --> 00:36:14,120
Speaker 1: hitting beats that are well beyond his age that I'm

622
00:36:14,160 --> 00:36:16,120
Speaker 1: noticing now as an adult, where I'm just going, how

623
00:36:16,120 --> 00:36:19,200
Speaker 1: did he put He's he's phenomenal. He's phenomenal and really

624
00:36:19,200 --> 00:36:21,600
Speaker 1: carried the show. And then you had the family dynamic,

625
00:36:21,680 --> 00:36:26,640
Speaker 1: which was the parents relationship with Corey his relationship with them,

626
00:36:26,719 --> 00:36:29,799
Speaker 1: and then Morgan and Eric would come in and say

627
00:36:29,840 --> 00:36:32,440
Speaker 1: like a funny line here or there and leave. So

628
00:36:32,560 --> 00:36:35,240
Speaker 1: I was kind of like floating around at this point

629
00:36:35,280 --> 00:36:37,920
Speaker 1: and I remember having a conversation with you, and it

630
00:36:38,000 --> 00:36:39,759
Speaker 1: was one of the brief ones because again I had

631
00:36:39,800 --> 00:36:42,239
Speaker 1: no character really and they didn't know what Eric was

632
00:36:42,239 --> 00:36:44,640
Speaker 1: gonna do or was going to become. And it was

633
00:36:44,760 --> 00:36:47,640
Speaker 1: this moment where it was it's what every actor kind

634
00:36:47,640 --> 00:36:50,160
Speaker 1: of needs to hear, where we were having a talk

635
00:36:50,160 --> 00:36:51,520
Speaker 1: about that where I said, well, you know, I'm just

636
00:36:51,560 --> 00:36:53,319
Speaker 1: kind of coming in and saying the line and not

637
00:36:53,360 --> 00:36:56,040
Speaker 1: really establishing anything, and you looked at me and said,

638
00:36:56,120 --> 00:36:58,200
Speaker 1: that's why you gotta make account. And you turn and

639
00:36:58,239 --> 00:37:01,600
Speaker 1: you walked away. And it's that more and it's that

640
00:37:01,680 --> 00:37:04,719
Speaker 1: exact moment I remember of Hey, if I have one line,

641
00:37:04,719 --> 00:37:06,520
Speaker 1: I'm gonna get the biggest laugh of the show, because

642
00:37:06,520 --> 00:37:09,160
Speaker 1: then next show I'm going to have to you know.

643
00:37:09,239 --> 00:37:12,240
Speaker 1: So it was that kind of those little acting gems

644
00:37:12,360 --> 00:37:14,920
Speaker 1: you would throw out occasionally, just like well all right,

645
00:37:14,960 --> 00:37:16,759
Speaker 1: you got one line, make account and you turn and

646
00:37:16,800 --> 00:37:19,000
Speaker 1: walked away. And it was that kind of little thing.

647
00:37:19,040 --> 00:37:21,759
Speaker 1: Those are the things that stick with an actor. It's

648
00:37:21,760 --> 00:37:24,240
Speaker 1: not the the I don't remember the three hour note sessions.

649
00:37:24,280 --> 00:37:26,040
Speaker 1: I remember the length of the sessions, but I don't

650
00:37:26,080 --> 00:37:28,839
Speaker 1: remember what was actually imparted any of the wisdom that

651
00:37:28,920 --> 00:37:35,640
Speaker 1: was imparted, but little really, No, man, I think you

652
00:37:35,680 --> 00:37:37,600
Speaker 1: were older and you were more secure, and you were

653
00:37:37,640 --> 00:37:41,640
Speaker 1: coming in, you know, as a professional actor should, which is,

654
00:37:41,800 --> 00:37:43,640
Speaker 1: I've only got two lines. I'm gonna make them count,

655
00:37:43,680 --> 00:37:46,200
Speaker 1: and you are able to scaffold your way up to

656
00:37:46,280 --> 00:37:49,759
Speaker 1: the character and to the part in in in a conversation,

657
00:37:49,840 --> 00:37:52,680
Speaker 1: a healthy creative conversation with the writing staff right where

658
00:37:52,719 --> 00:37:54,399
Speaker 1: you're like, they write a couple of jokes for you.

659
00:37:54,400 --> 00:37:56,760
Speaker 1: You come in, you do your thing, the audience responds.

660
00:37:57,040 --> 00:37:59,160
Speaker 1: Next week they add more, and then you add more,

661
00:37:59,160 --> 00:38:00,520
Speaker 1: and then you add more, and you can see that

662
00:38:00,520 --> 00:38:04,640
Speaker 1: That's how Eric became the entire comic relief of Bodey's world,

663
00:38:04,680 --> 00:38:06,680
Speaker 1: which is wonderful. But you know that it was in

664
00:38:06,719 --> 00:38:11,040
Speaker 1: a healthy creative conversation. You know, I don't think that

665
00:38:11,080 --> 00:38:13,760
Speaker 1: for Danielle and I or you know, I will speak

666
00:38:13,760 --> 00:38:16,799
Speaker 1: for myself. I didn't have that same sort of creative conversation.

667
00:38:16,920 --> 00:38:19,720
Speaker 1: I felt like I was living up to someone else's

668
00:38:19,719 --> 00:38:23,320
Speaker 1: expectations and needing to match them in the dramatic sphere.

669
00:38:23,840 --> 00:38:25,960
Speaker 1: Less so, because you know, and I think that's where

670
00:38:26,000 --> 00:38:27,680
Speaker 1: I ended up thriving on the show as a more

671
00:38:27,680 --> 00:38:30,440
Speaker 1: of a dramatic actor because I kind of tapped out

672
00:38:30,440 --> 00:38:32,480
Speaker 1: of the comedy by season three, like and I think

673
00:38:32,520 --> 00:38:34,399
Speaker 1: we'll see as we're watching, I think I just gave

674
00:38:34,480 --> 00:38:36,120
Speaker 1: up because I was like, I'm not going to be

675
00:38:36,200 --> 00:38:38,040
Speaker 1: that guy, Like I'm not that, you know. I just

676
00:38:38,280 --> 00:38:39,880
Speaker 1: wasn't as interested in it first of all. But I

677
00:38:39,880 --> 00:38:42,920
Speaker 1: also didn't want to compete in that field, you know,

678
00:38:43,000 --> 00:38:45,360
Speaker 1: and it just was like no, whereas in the drama side,

679
00:38:45,400 --> 00:38:47,200
Speaker 1: I felt much more comfortable. I felt like I could

680
00:38:47,239 --> 00:38:49,719
Speaker 1: own it more. I felt like mine in a way

681
00:38:49,800 --> 00:38:52,400
Speaker 1: because it was somewhat unexpected, and I don't think it was,

682
00:38:52,560 --> 00:38:56,080
Speaker 1: you know, as as as built into the sitcom form,

683
00:38:56,320 --> 00:38:59,959
Speaker 1: so I could sort of. I mean, the best part,

684
00:39:00,160 --> 00:39:02,920
Speaker 1: the best moments in Going its World are funny, but

685
00:39:02,960 --> 00:39:07,319
Speaker 1: they're not necessarily jokes, although frankly they're all jokes right right, right,

686
00:39:07,960 --> 00:39:13,480
Speaker 1: but jokes can be better or worse delivered. They detonated

687
00:39:13,520 --> 00:39:19,920
Speaker 1: in a certain way or not. Dramatic stuff it's arrived

688
00:39:19,960 --> 00:39:23,200
Speaker 1: at differently and rendered different, so that that is a

689
00:39:23,239 --> 00:39:25,239
Speaker 1: place where it's really hard to say. I mean, you

690
00:39:25,239 --> 00:39:32,399
Speaker 1: can say something stupid like cry, Now that's not gonna work.

691
00:39:32,440 --> 00:39:34,440
Speaker 1: I've got so very quickly. I've got a very funny

692
00:39:34,520 --> 00:39:36,640
Speaker 1: David Trainer story because I was thinking to myself, like

693
00:39:36,680 --> 00:39:38,360
Speaker 1: what sticks out in my head, and here's one of

694
00:39:38,400 --> 00:39:41,240
Speaker 1: my favorites. We're doing a family scene in the kitchen

695
00:39:41,800 --> 00:39:45,279
Speaker 1: and lially like they hurt. Lily's on running gag was

696
00:39:45,520 --> 00:39:48,440
Speaker 1: loving something and then throwing it away, like where it's like,

697
00:39:48,520 --> 00:39:50,640
Speaker 1: I love this and then they chuck it away and

698
00:39:50,719 --> 00:39:52,759
Speaker 1: she wasn't getting it right. She had a doll. It

699
00:39:52,880 --> 00:39:54,840
Speaker 1: was it was not this episode, it was a later episode,

700
00:39:54,880 --> 00:39:56,719
Speaker 1: but she had a doll where she has to come

701
00:39:56,719 --> 00:39:58,160
Speaker 1: down I love this doll and throw it away, and

702
00:39:58,200 --> 00:40:00,719
Speaker 1: she wasn't throwing it right. David, You're getting a little

703
00:40:00,719 --> 00:40:03,520
Speaker 1: more frustrated, a little more frustrated. So finally you go, Lily,

704
00:40:03,640 --> 00:40:05,279
Speaker 1: it's not that hard. You just do this, and you

705
00:40:05,320 --> 00:40:07,160
Speaker 1: picked at the doll and you threw it right through

706
00:40:07,160 --> 00:40:13,480
Speaker 1: the window. It smashed right through the window and actually,

707
00:40:14,120 --> 00:40:22,239
Speaker 1: actually that's right, it's just right through there. And we

708
00:40:22,360 --> 00:40:24,520
Speaker 1: all lost it that everybody on the set was laughing

709
00:40:24,520 --> 00:40:27,120
Speaker 1: astirday and he's like, it's not that hard. You just

710
00:40:27,120 --> 00:40:31,160
Speaker 1: do this and smashes it right through the glass. Right,

711
00:40:31,400 --> 00:40:33,680
Speaker 1: It's like the six ft four, How tall are you? David?

712
00:40:33,800 --> 00:40:38,400
Speaker 1: Like towered over the basically came up to my kneecap

713
00:40:38,640 --> 00:40:42,120
Speaker 1: and she the whole thing. I don't know if you

714
00:40:42,200 --> 00:40:44,560
Speaker 1: jump ahead to the you know, at the end of

715
00:40:44,560 --> 00:40:50,200
Speaker 1: the season, like this imperial capacity, but I'm blame. Came

716
00:40:50,280 --> 00:40:54,840
Speaker 1: up before the show with the act after introduce in

717
00:40:55,120 --> 00:40:57,719
Speaker 1: them you know here tonight to the audience and I

718
00:40:57,760 --> 00:41:01,359
Speaker 1: just well, an we picked up for the season, and

719
00:41:01,520 --> 00:41:05,600
Speaker 1: every you know, we all cheered and clapped and we're excited,

720
00:41:05,960 --> 00:41:12,480
Speaker 1: and where she starts screaming, I don't want to do

721
00:41:12,520 --> 00:41:15,640
Speaker 1: this so well, you know what that was? Actually that

722
00:41:15,719 --> 00:41:18,080
Speaker 1: was actually the back nine of our fat was when

723
00:41:18,080 --> 00:41:20,200
Speaker 1: we were taping the thirteenth episode and we got the

724
00:41:20,239 --> 00:41:22,400
Speaker 1: back nine and Michael announced it in front of the

725
00:41:22,440 --> 00:41:29,319
Speaker 1: audience and literally just started balling. Yeah, because that's the

726
00:41:29,400 --> 00:41:32,399
Speaker 1: downside of you know, Danielle, you talk about you and

727
00:41:32,560 --> 00:41:36,600
Speaker 1: clearly all three of you, how to ceiling for wanting

728
00:41:36,680 --> 00:41:39,200
Speaker 1: to be performance, and how to be performance on your

729
00:41:39,200 --> 00:41:41,640
Speaker 1: own terms, and how to relate to the needs the

730
00:41:41,680 --> 00:41:46,279
Speaker 1: demands that made it she didn't want to Yeah, yeah, yeah,

731
00:41:46,320 --> 00:41:49,800
Speaker 1: that was actually when you watch it, I think, who's

732
00:41:49,880 --> 00:41:55,279
Speaker 1: that Wait, what little thing. Just wa you feel bad?

733
00:41:56,360 --> 00:41:59,400
Speaker 1: I know, I I mean, yeah, we I'd love to

734
00:41:59,480 --> 00:42:02,120
Speaker 1: I wish, I hope, I hope. I'd love to have

735
00:42:02,160 --> 00:42:04,360
Speaker 1: her on to talk about her memories and her thoughts

736
00:42:04,360 --> 00:42:06,640
Speaker 1: on it. And she's wonderful and doing very well and

737
00:42:06,640 --> 00:42:11,000
Speaker 1: she's got a beautiful she's doing great. Um So, David,

738
00:42:11,000 --> 00:42:13,520
Speaker 1: why did you not direct anymore after season two? Where

739
00:42:13,560 --> 00:42:16,160
Speaker 1: did you go? What was what's the situation? Why didn't

740
00:42:16,200 --> 00:42:19,080
Speaker 1: we see more of you? You know? We? I think

741
00:42:19,120 --> 00:42:21,560
Speaker 1: I came back once or twice and did sort of

742
00:42:21,640 --> 00:42:23,879
Speaker 1: like pop in and because it was fun to see

743
00:42:23,920 --> 00:42:26,920
Speaker 1: you guys and fun to come back. My recollect I

744
00:42:26,960 --> 00:42:30,920
Speaker 1: had done might have been showed before BOMs World called

745
00:42:31,040 --> 00:42:36,640
Speaker 1: Where I Lived with Ducky Duck and I directed most

746
00:42:36,960 --> 00:42:41,000
Speaker 1: and that like got twelve episodes and cancel something like that,

747
00:42:41,200 --> 00:42:43,360
Speaker 1: although it was a lot of fun to do. And

748
00:42:43,400 --> 00:42:48,680
Speaker 1: then and then after Bomi's World, we did another show

749
00:42:48,960 --> 00:42:51,240
Speaker 1: or other shows like that might have been Betty White

750
00:42:51,400 --> 00:42:56,520
Speaker 1: and very awesome. So I sort of moved on, and

751
00:42:56,560 --> 00:43:00,439
Speaker 1: then we did we did another show called You Could

752
00:43:00,480 --> 00:43:03,360
Speaker 1: Tell This was a Disaster. And they're making Misery Loves Company.

753
00:43:03,480 --> 00:43:10,600
Speaker 1: That sounds like one of the there was this wonderful

754
00:43:10,640 --> 00:43:13,879
Speaker 1: guy work for Michael years with Michael. You're saying, Bob

755
00:43:13,920 --> 00:43:24,200
Speaker 1: Young credibly gifted, funny, gracious, he just heaven, you know,

756
00:43:24,280 --> 00:43:28,920
Speaker 1: And we were preparing to do a part. I mean,

757
00:43:29,000 --> 00:43:31,920
Speaker 1: I really are just dividly sitting in Michael's office at

758
00:43:31,920 --> 00:43:35,960
Speaker 1: Disney Animation and we were casting, when we were doing

759
00:43:36,000 --> 00:43:41,000
Speaker 1: something listen and Bob Young said, in this wonderful, faux

760
00:43:41,360 --> 00:43:45,960
Speaker 1: plaintive voice, Oh, Michael, just once, can't we try to

761
00:43:46,040 --> 00:43:52,520
Speaker 1: be successful? You know, the misery loves company. That's Michael

762
00:43:52,560 --> 00:43:55,680
Speaker 1: things right that. I don't know that that's what Bob

763
00:43:55,719 --> 00:43:58,560
Speaker 1: was addressing, but it was like that, like one of

764
00:43:58,600 --> 00:44:02,240
Speaker 1: these really missed the guy. The ideas that Mike cos

765
00:44:02,920 --> 00:44:09,959
Speaker 1: They's world however, however, was it was a very successful

766
00:44:10,120 --> 00:44:13,560
Speaker 1: mix of aliments. That's the reason such a big success.

767
00:44:13,600 --> 00:44:16,879
Speaker 1: And that's the reason that she met watched and remember, yeah,

768
00:44:16,920 --> 00:44:20,759
Speaker 1: and you went on to direct every single episode of

769
00:44:20,760 --> 00:44:24,879
Speaker 1: that sevent I was thinking about that. We were talking

770
00:44:24,880 --> 00:44:27,960
Speaker 1: about it because those those guys when we started were

771
00:44:27,960 --> 00:44:32,080
Speaker 1: a little older. They were sort of mid late teens.

772
00:44:32,120 --> 00:44:34,239
Speaker 1: I think Meal with fifteen because I remember going to

773
00:44:34,320 --> 00:44:37,640
Speaker 1: Meal a sixteenth birthday party, so I know she was fifteen,

774
00:44:38,840 --> 00:44:41,520
Speaker 1: but which is older than twelve. I mean, it's yes,

775
00:44:42,000 --> 00:44:45,600
Speaker 1: a big difference. She had acted a lot as it.

776
00:44:46,520 --> 00:44:52,120
Speaker 1: But that was so freeing. Those guys were so inventive

777
00:44:52,320 --> 00:44:55,720
Speaker 1: and that and the way we worked. You were left

778
00:44:55,760 --> 00:45:01,319
Speaker 1: alone and did it, and they brought some characters, became them,

779
00:45:01,360 --> 00:45:03,560
Speaker 1: and they became the characters, I mean the whole thing.

780
00:45:03,800 --> 00:45:06,000
Speaker 1: And the writers. You know, the way I was thinking, writer,

781
00:45:06,080 --> 00:45:07,560
Speaker 1: you were saying something before which I think it's been

782
00:45:07,600 --> 00:45:12,440
Speaker 1: the truth. In an ideal world, a week of rehearsal

783
00:45:12,480 --> 00:45:15,800
Speaker 1: on a multiple camera comedy is a conversation the writer's

784
00:45:15,840 --> 00:45:18,400
Speaker 1: writers script, the actors were hurst on the show, and

785
00:45:18,520 --> 00:45:21,880
Speaker 1: the writers responded, and the right respond to what the writers,

786
00:45:21,920 --> 00:45:24,920
Speaker 1: and this conversation goes on back and forth until Friday night,

787
00:45:25,040 --> 00:45:27,920
Speaker 1: or in the case of one's borth Thursday night, and

788
00:45:27,920 --> 00:45:30,400
Speaker 1: then it's done. The conversations over when you shot, and

789
00:45:30,440 --> 00:45:35,600
Speaker 1: then you started another conversation. The next Yeah seventies show

790
00:45:35,880 --> 00:45:45,040
Speaker 1: was eight years of really engaging, interesting, funny conversations, and

791
00:45:45,600 --> 00:45:49,000
Speaker 1: we got so we could do that show. We pre

792
00:45:49,080 --> 00:45:51,080
Speaker 1: shot some stuff, but we do. We do two and

793
00:45:51,120 --> 00:45:56,239
Speaker 1: a half hour, started, six thirty, be done. We do

794
00:45:56,360 --> 00:45:59,400
Speaker 1: things twice and move on maybe with the line, but everybody,

795
00:45:59,400 --> 00:46:06,000
Speaker 1: everybody was like so the freedom to be themselves and

796
00:46:06,040 --> 00:46:09,359
Speaker 1: then to be remarkable. So I look at that, even

797
00:46:09,440 --> 00:46:11,960
Speaker 1: though it's different in some respects because of the age difference,

798
00:46:12,719 --> 00:46:18,920
Speaker 1: it's still about kids, right, So it's just an antithetical experience.

799
00:46:19,000 --> 00:46:21,759
Speaker 1: And heaven, we'll look how successful and most of the

800
00:46:21,800 --> 00:46:23,680
Speaker 1: cast has been after the show. I mean, I think

801
00:46:23,680 --> 00:46:26,200
Speaker 1: a lot of that also comes from having that kind

802
00:46:26,239 --> 00:46:29,160
Speaker 1: of environment to grow as an actor to where then

803
00:46:29,239 --> 00:46:32,800
Speaker 1: you you have a love of of the craft and

804
00:46:32,880 --> 00:46:34,279
Speaker 1: you want to go on and pursue it. Where a

805
00:46:34,280 --> 00:46:36,080
Speaker 1: lot of us when we finished, boy were like, I'm

806
00:46:36,160 --> 00:46:38,719
Speaker 1: done for a little while. Um, And I think that's

807
00:46:38,719 --> 00:46:42,000
Speaker 1: a there's a big difference. I mean truly, well they

808
00:46:42,040 --> 00:46:46,759
Speaker 1: had you guys were I think that's right. You know

809
00:46:46,880 --> 00:46:51,200
Speaker 1: that you you whatever great gifts Because you look at

810
00:46:51,200 --> 00:46:54,640
Speaker 1: the Sharmena and I see the gifts that you guys

811
00:46:54,680 --> 00:47:00,560
Speaker 1: broke to you. You come away and think this was

812
00:47:00,600 --> 00:47:08,000
Speaker 1: not fun. It was not seventy show was blast completely.

813
00:47:08,160 --> 00:47:14,040
Speaker 1: Times are times and didn't. It's like episodes, they're not

814
00:47:14,160 --> 00:47:20,800
Speaker 1: all bliss, but overall, Yeah, and I don't think that

815
00:47:21,080 --> 00:47:24,200
Speaker 1: any of you would say, yeah, I got I got

816
00:47:24,200 --> 00:47:26,080
Speaker 1: a little I got away with it a little more.

817
00:47:26,160 --> 00:47:27,800
Speaker 1: I had a little more of the freedom. I was

818
00:47:27,880 --> 00:47:29,719
Speaker 1: kind of left alone a little bit more, which gave

819
00:47:29,760 --> 00:47:32,920
Speaker 1: me a little more love of the genre that I

820
00:47:32,960 --> 00:47:35,839
Speaker 1: think the younger cast was. Who I think we're beating

821
00:47:35,880 --> 00:47:37,160
Speaker 1: up a little more than I was. I mean there

822
00:47:37,160 --> 00:47:38,600
Speaker 1: were times where I just kind of slid under the

823
00:47:38,680 --> 00:47:40,759
Speaker 1: radar and would do what I wanted to do, and

824
00:47:41,360 --> 00:47:44,840
Speaker 1: you guys would be kind of battered a little bit. So, yeah,

825
00:47:45,000 --> 00:47:48,279
Speaker 1: it's uh, different experiences on different sets. I guess would

826
00:47:48,280 --> 00:47:52,839
Speaker 1: be high. I know some guys we're talking about their

827
00:47:52,840 --> 00:47:57,200
Speaker 1: sons who were good baseball in high school and you know,

828
00:47:57,719 --> 00:48:01,200
Speaker 1: come up towards college and come up there with stent

829
00:48:02,280 --> 00:48:05,400
Speaker 1: verging on being able to keep professional basebook place, and

830
00:48:06,040 --> 00:48:08,640
Speaker 1: they would have a high school coach that we beat

831
00:48:08,719 --> 00:48:11,960
Speaker 1: the love of the game. By the time they got

832
00:48:11,960 --> 00:48:13,840
Speaker 1: out of high school, they didn't want to play basebook.

833
00:48:14,120 --> 00:48:16,879
Speaker 1: I have two friends that had that with the where

834
00:48:16,880 --> 00:48:21,839
Speaker 1: the kids were really good and the coach over stressful. Yeah,

835
00:48:22,000 --> 00:48:26,040
Speaker 1: I just said, not playing. Yeah, it's so when I

836
00:48:26,200 --> 00:48:29,440
Speaker 1: hear those stories, I'm so sad. Do you have a

837
00:48:29,480 --> 00:48:32,160
Speaker 1: favorite episode looking back, have you, first of all, have

838
00:48:32,239 --> 00:48:35,160
Speaker 1: you watched other than us asking you to rewatch episode

839
00:48:35,239 --> 00:48:38,600
Speaker 1: number one oh four for us? Have you ever watched

840
00:48:38,640 --> 00:48:41,719
Speaker 1: another another episode? Do you remember any other episodes? Do

841
00:48:41,719 --> 00:48:46,239
Speaker 1: you have a favorite? No, I remember because I haven't

842
00:48:46,280 --> 00:48:48,799
Speaker 1: really watched it. I don't really watched stuff. I mean,

843
00:48:49,520 --> 00:48:52,719
Speaker 1: I don't even really watch that seventy show once in

844
00:48:52,760 --> 00:48:54,759
Speaker 1: a while. I mean I remember going to a gym

845
00:48:54,880 --> 00:48:58,759
Speaker 1: where it was on sometimes the city I'd look up

846
00:48:58,800 --> 00:49:04,600
Speaker 1: and say that was mine back to But but I

847
00:49:04,600 --> 00:49:06,560
Speaker 1: I really don't like watching, so I liked what I

848
00:49:06,960 --> 00:49:10,640
Speaker 1: liked watching the episode that we were watched here. What

849
00:49:10,719 --> 00:49:17,880
Speaker 1: I remember is basically troupe setups, things like the classes

850
00:49:18,600 --> 00:49:23,440
Speaker 1: or the bed or the you know, you remember that

851
00:49:23,560 --> 00:49:27,520
Speaker 1: kind of stuff because half our comedies like this are

852
00:49:27,600 --> 00:49:33,359
Speaker 1: made up of recognizable elements that are assembled differently every right,

853
00:49:33,440 --> 00:49:37,960
Speaker 1: the character elements are different, and seeing it or the storytelling,

854
00:49:38,000 --> 00:49:40,680
Speaker 1: the elements are different. But it's like, I mean, I

855
00:49:40,800 --> 00:49:43,080
Speaker 1: just a ridiculous analysis of forgiving me. But it's like

856
00:49:44,080 --> 00:49:48,680
Speaker 1: classical ballet. There's five steps, right, that's it. There's flavet steps.

857
00:49:49,280 --> 00:49:52,280
Speaker 1: Look what you can do flast steps? Yeah, I say

858
00:49:52,320 --> 00:49:54,520
Speaker 1: the blues is three chords, but some people can play

859
00:49:54,520 --> 00:50:05,560
Speaker 1: it really, really well. Did you keep in touch with

860
00:50:05,640 --> 00:50:08,440
Speaker 1: anyone producers? Writers? Are you in touch with Michael? Is

861
00:50:08,440 --> 00:50:16,719
Speaker 1: there anybody who kept no no David Kendall over the years,

862
00:50:16,760 --> 00:50:20,920
Speaker 1: Dandy Kendall a divine again, Like, here's this interesting thing

863
00:50:21,480 --> 00:50:29,160
Speaker 1: Michael attracted really Yeah, and they ended up there about

864
00:50:29,719 --> 00:50:35,680
Speaker 1: but they were like David Kendall and jump, you know,

865
00:50:37,400 --> 00:50:41,080
Speaker 1: great David. David Kendall and I still have a great relationship,

866
00:50:41,680 --> 00:50:49,000
Speaker 1: a wonderful smart When I started directing, I shadowed Kendall

867
00:50:49,160 --> 00:50:51,040
Speaker 1: and it was it was crazy. It was like, man,

868
00:50:51,080 --> 00:50:53,959
Speaker 1: look at us thirty years later. He's such a good guy,

869
00:50:54,160 --> 00:51:00,640
Speaker 1: and he's gay, and and Bob Young just stupendously Yeah,

870
00:51:01,160 --> 00:51:06,440
Speaker 1: and and sort of again, what's interesting about that? Very

871
00:51:06,920 --> 00:51:13,400
Speaker 1: accomplished and high people with high standards, but temperamentally relaxed.

872
00:51:14,480 --> 00:51:17,160
Speaker 1: I think of myself. I don't know whether I'm temperamentally

873
00:51:17,200 --> 00:51:20,279
Speaker 1: relaxed or not. I wasn't relaxed here, Michael. I was

874
00:51:20,280 --> 00:51:26,640
Speaker 1: throwing up in Babo Park, right. But basically that Michael

875
00:51:26,680 --> 00:51:29,000
Speaker 1: picked people to work with him who would go to

876
00:51:29,120 --> 00:51:33,400
Speaker 1: the other side of the book, who understood that balancing.

877
00:51:33,719 --> 00:51:36,840
Speaker 1: So they're wonderful gods. I mean, David Candid as a prince.

878
00:51:37,719 --> 00:51:43,680
Speaker 1: Do you quick question, do you remember working with April Kelly? Yes, dimly.

879
00:51:44,760 --> 00:51:50,920
Speaker 1: You know, she got marginalized as a voice quite early.

880
00:51:52,440 --> 00:51:57,160
Speaker 1: What a surprise based on and then I think by

881
00:51:57,200 --> 00:52:00,680
Speaker 1: the second year she had withdrawn drawn because I see

882
00:52:00,719 --> 00:52:05,400
Speaker 1: it was who knows that's about mine? Well, she's listed

883
00:52:05,440 --> 00:52:07,520
Speaker 1: as a writer on both this episode one oh four

884
00:52:07,520 --> 00:52:09,520
Speaker 1: that we're going to talk about next and one oh

885
00:52:09,520 --> 00:52:11,839
Speaker 1: three that we talked about last week. We had Bill

886
00:52:11,880 --> 00:52:13,400
Speaker 1: and Bonnie on and she's listed as a writer and

887
00:52:13,440 --> 00:52:16,760
Speaker 1: both of those and both of those episodes are incredible. Um.

888
00:52:16,840 --> 00:52:18,680
Speaker 1: And so it is such a shame that she didn't

889
00:52:18,719 --> 00:52:20,560
Speaker 1: stick around and didn't, you know, get to do more

890
00:52:20,600 --> 00:52:23,120
Speaker 1: because I never saw her again, by the way, never know,

891
00:52:23,280 --> 00:52:29,160
Speaker 1: nothing absolutely disappeared. And I think it was probably there's

892
00:52:29,239 --> 00:52:33,680
Speaker 1: no room for another voice. Can't have two generals in

893
00:52:33,680 --> 00:52:37,160
Speaker 1: that room, and and and so she had to be gotten.

894
00:52:37,560 --> 00:52:40,040
Speaker 1: But so she's like she's like our J. D. Salinger though,

895
00:52:40,120 --> 00:52:42,960
Speaker 1: like where is she in the world? Make a mission

896
00:52:42,960 --> 00:52:48,360
Speaker 1: of this podcast? Knows what she remembers and what she

897
00:52:48,400 --> 00:52:53,040
Speaker 1: would you know, I'm still wherever I've said in this podcast,

898
00:52:53,080 --> 00:52:59,280
Speaker 1: I'm still holding that like crazy, So I go along.

899
00:52:59,560 --> 00:53:02,879
Speaker 1: But you know, but there wasn't room for another. There

900
00:53:02,920 --> 00:53:07,600
Speaker 1: wasn't room for and it's it's sort of undignified. Yeah,

901
00:53:07,600 --> 00:53:11,920
Speaker 1: to be co creator and then to be treated like

902
00:53:13,440 --> 00:53:28,600
Speaker 1: cast off. Are you speaking? Yeah? Yeah, well yeah, I

903
00:53:28,880 --> 00:53:30,879
Speaker 1: was gonna say it's hard. It's it was really hard

904
00:53:30,920 --> 00:53:35,440
Speaker 1: to be a girl and a woman in um in

905
00:53:35,520 --> 00:53:40,640
Speaker 1: that environment. For that is a very democratic way of saying, yeah, yeah,

906
00:53:40,640 --> 00:53:44,719
Speaker 1: it's you know something, And here's what's important. The president

907
00:53:44,800 --> 00:53:50,360
Speaker 1: of Michael's company was Dog Turnosky, a woman of tremendous

908
00:53:52,400 --> 00:53:58,360
Speaker 1: and smart and I mean did for Michael, held the business,

909
00:53:58,680 --> 00:54:03,680
Speaker 1: held that dysfunctional part of Michael's universe, held it together,

910
00:54:04,040 --> 00:54:06,480
Speaker 1: and she became, you know, the head of head of

911
00:54:06,560 --> 00:54:11,840
Speaker 1: the c W. She's a major platify. She's really smart

912
00:54:11,960 --> 00:54:16,880
Speaker 1: and nice and great and she so in a funny way, Michael,

913
00:54:17,680 --> 00:54:20,799
Speaker 1: it's not an environment for women. And yet there was

914
00:54:20,880 --> 00:54:27,600
Speaker 1: somebody absolutely central to the Yes, it was Yes, I

915
00:54:27,640 --> 00:54:31,239
Speaker 1: remember don she was, I remember her being ridiculously smart. Yeah.

916
00:54:31,560 --> 00:54:34,480
Speaker 1: Susan Jansen was another one. I remember, being a Harvard

917
00:54:34,560 --> 00:54:40,120
Speaker 1: lad and I don't stay tough, and I stay tough

918
00:54:40,160 --> 00:54:45,080
Speaker 1: with admiration, you know, with a with a willingness and

919
00:54:45,160 --> 00:54:49,480
Speaker 1: ability to take it whatever it was. Yeah, it's like

920
00:54:49,520 --> 00:54:52,960
Speaker 1: when people say you're just so resilient, and you know

921
00:54:53,040 --> 00:54:54,880
Speaker 1: they mean it as a compliment, and yet really how

922
00:54:54,920 --> 00:54:56,840
Speaker 1: you feel is I wish I didn't have to be

923
00:54:56,880 --> 00:55:03,080
Speaker 1: so resilient, which were amazing. Yeah. Well, coming up next,

924
00:55:03,120 --> 00:55:06,160
Speaker 1: we are going to recap episode number one oh four

925
00:55:06,239 --> 00:55:09,480
Speaker 1: Corey's Alternative Friends. We're going to walk through um so

926
00:55:09,520 --> 00:55:14,920
Speaker 1: many memories, including how I came up with the choreography

927
00:55:15,000 --> 00:55:19,000
Speaker 1: for the famous Doughnut in the Sky dance while also

928
00:55:19,160 --> 00:55:22,719
Speaker 1: being terrified that I was going to get fired. So

929
00:55:23,800 --> 00:55:26,839
Speaker 1: that'll be fun, and David is sticking around, So join

930
00:55:26,920 --> 00:55:29,240
Speaker 1: us for episode the next episode one oh four Corey's

931
00:55:29,239 --> 00:55:32,680
Speaker 1: Alternative Friends, where David Trainer joins us to talk about

932
00:55:32,800 --> 00:55:35,560
Speaker 1: the episode. First time we see Tapanga, that's the first

933
00:55:35,600 --> 00:55:38,879
Speaker 1: time we see Tapanga. Can't amazing, amazing, I can't wait.

934
00:55:38,960 --> 00:55:42,040
Speaker 1: And the first time we meet my sister Stacy. Yes,

935
00:55:43,080 --> 00:55:49,239
Speaker 1: the last legend, and it's also the last time we

936
00:55:49,280 --> 00:55:54,840
Speaker 1: meet your last Stacy reference. All right, don't forget. You

937
00:55:54,840 --> 00:55:57,520
Speaker 1: can follow us on pod Meets World Show on Instagram,

938
00:55:57,640 --> 00:56:00,560
Speaker 1: and also be sure to email us your thoughts, your opinions,

939
00:56:00,600 --> 00:56:02,520
Speaker 1: what you want to hear more of things you love,

940
00:56:02,640 --> 00:56:04,919
Speaker 1: things you don't love. You can email us at Pod

941
00:56:04,960 --> 00:56:08,080
Speaker 1: Meets World Show at gmail dot com. We love you all,

942
00:56:08,600 --> 00:56:12,640
Speaker 1: pod dismissed. Pod Meets World is an I heart podcast

943
00:56:12,719 --> 00:56:15,839
Speaker 1: produced and hosted by Daniel Fishel Wilfred L and Ryder

944
00:56:15,880 --> 00:56:19,640
Speaker 1: Strong Executive producers, Jensen Carp and Amy Sugarman, Executive in

945
00:56:19,719 --> 00:56:24,280
Speaker 1: charge of production, Danielle Romo, producer and editor, Taara soup Boch, producer,

946
00:56:24,320 --> 00:56:28,440
Speaker 1: Lorraine Vurez, Engineering Boy meets World super fan Eastern Allen.

947
00:56:28,560 --> 00:56:30,839
Speaker 1: Our theme song is by Kyle Morton of Typhoon. Follow

948
00:56:30,920 --> 00:56:33,960
Speaker 1: us on Instagram at Pod Meets World Show or email

949
00:56:34,040 --> 00:56:37,920
Speaker 1: us at Pod Meats World Show at gmail dot com