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Speaker 1: I am all in again. Oh it's just you. I

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Speaker 1: Smell Pop Culture with Eastern Allen and iHeart Radio podcast.

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Speaker 2: Hey everybody, Eastern Allen. I am all in podcasts. iHeartRadio,

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Speaker 2: iHeart media, iHeart podcast one of all of them productions.

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Speaker 2: It's I Smell Pop Culture. My name's Easton Allen. I'm here.

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Speaker 2: I'm hosting this.

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Speaker 1: It's me.

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Speaker 2: It's not Scott Okay, it's me. I'm here. I can

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Speaker 2: do whatever I want. I'm the host of this dang show.

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Speaker 2: We're gonna have a lot of fun this week. We're

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Speaker 2: going to a place in time, a place in space

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Speaker 2: that you might be familiar with. If you haven't seen

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Speaker 2: this show before, I guarantee you've heard of it. It's

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Speaker 2: one of the most iconic shows in television history. We

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Speaker 2: are going to the world of Little House on the Prayer.

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Speaker 2: That's right, Little House on the Prairie. And the reason

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Speaker 2: we're doing that, we're talking to two of the stars

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Speaker 2: of Little House on the Prairie, Dean Butler and Alison

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Speaker 2: on Grim. Dean Butler played Almonzo Wilder, Alison on Grim

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Speaker 2: played and Nelly Elson. That little brat Nelly Elson. We

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Speaker 2: all know her. But the reason we're going there is

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Speaker 2: because in season two, episode twenty one, Lorelei's graduation day,

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Speaker 2: there's a reference. Baby, there's a Little House on the

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Speaker 2: Prairie reference. Okay, check this out. I know you know

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Speaker 2: the scene. It's the opening scene of the episode. Laurel

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Speaker 2: and Ryer are walking down the street. They're going to

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Speaker 2: a mystery breakfast and Lane comes up riting behind them,

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Speaker 2: and Laureli says, oh, look, it's Michael Landon. Michael Landon

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Speaker 2: obviously the star of Bonanza Little House on the Prairie.

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Speaker 2: And if you didn't get this reference when he saw it,

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Speaker 2: it's because in Little House on the Prairie, characters were

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Speaker 2: always just kind of running in and out of scenes.

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Speaker 2: That was just something that happened a lot on the show.

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Speaker 2: And Michael Landon, I mean, just an absolute legend in

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Speaker 2: the world of television, one of the most memorable roles

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Speaker 2: and actors in oll of TV. We sadly lost Michael

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Speaker 2: Landon in nineteen ninety one to pancreatic cancer, but we're

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Speaker 2: gonna hang out with two of his co stars on

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Speaker 2: Little House on the Prairie. They worked with them, they

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Speaker 2: knew him well.

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Speaker 1: Again.

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Speaker 2: Allison Arngrim, she played Nelly, and Dean Butler, who played Almonzo.

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Speaker 2: And if you're a bonnet heead or you know, a

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Speaker 2: bonnet head, grab him close. Get your Johnny cakes ready,

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Speaker 2: lay out a blanket. This is gonna be a fun one. Okay,

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Speaker 2: we're heading straight to Wannut Grove, Missouri. You know we

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Speaker 2: call that the stars hollow of post Civil War, the

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Speaker 2: great planes. This is gonna be a lot of fun.

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Speaker 2: It's I smell pop culture and let me get him

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Speaker 2: in here. I can hear Dean and Allison just banging

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Speaker 2: on the door outside this room. Hang on, let me

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Speaker 2: let them in and we are going to have some fun.

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Speaker 2: It's I smell pop culture. Where this is the I

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Speaker 2: am on podcast. I'm here Dean Butler and Allison Aringrim.

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Speaker 2: Thanks for doing this, you guys. This is so exciting.

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Speaker 1: Thank you. Yes so.

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Speaker 2: Little House on the Prairie fiftieth anniversary, congratulations huge. We're

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Speaker 2: going to talk all things Little House. We're going to

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Speaker 2: talk about you guys. The reason we brought you here

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Speaker 2: today is, uh, there is a reference to the great

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Speaker 2: Michael Landon and this is in season one episode or sorry,

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Speaker 2: season two, episode twenty one for everyone keeping score at home,

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Speaker 2: and I just want to run the reference by you

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Speaker 2: guys really quick before we dive in here. Laurali, one

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Speaker 2: of the characters, is walking down the street and another

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Speaker 2: character named Laane runs up fast behind her, and then

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Speaker 2: she says, oh, hi, Michael Landon. And the joke is

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Speaker 2: that she's like kind of running into the scene, as

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Speaker 2: many characters on the Little House on the Prairie would

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Speaker 2: run into the scene. You know, is that something that

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Speaker 2: like you remember being directed to do a lot like, hey,

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Speaker 2: we always got to be running and keeping everything moving,

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Speaker 2: anything like that.

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Speaker 1: Well that that would be probably not so much for

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Speaker 1: me and probably not so much for runner.

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Speaker 3: Yeah, I didn't run as but the kids when I

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Speaker 3: flounced and I sauntered.

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Speaker 4: But it's with the kids. If you notice that the

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Speaker 4: school has always run into the school, I was run

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Speaker 4: out of the schools.

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Speaker 3: And I was just watching it the other day with

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Speaker 3: Bob and I said, you know, that probably was five

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Speaker 3: or six takes. He said, what I said, that's why

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Speaker 3: we're always exhausted by the end of the day. I said,

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Speaker 3: they're down the stairs and run, I said, but they

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Speaker 3: had to go this side of the camera, that side

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Speaker 3: of the camera and then like a bird flies by,

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Speaker 3: something goes wrong.

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Speaker 4: Because we're outdoors.

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Speaker 3: It could be five times all that running. And then,

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Speaker 3: of course Laura famously her conflict resolution move a was

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Speaker 3: to simply run, screaming away to the distance, braids flying

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Speaker 3: up a hill somewhere and just disappear.

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Speaker 4: And so running running was big.

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Speaker 3: Running out of scene seemed to be people always bounding

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Speaker 3: and leaping.

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Speaker 1: Yes, Michael had a perverse trick that he did on

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Speaker 1: particularly on the kids running away, is that he would

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Speaker 1: have them running away from the camera and simply not

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Speaker 1: call cut. Yeah, keep running and running and running.

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Speaker 4: See how far they get.

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Speaker 1: Yeah, he can get away with you.

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Speaker 3: See how far they'll go before they finally figure it

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Speaker 3: out and stop.

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Speaker 1: So he liked to do that a lot. Melissa. I mean,

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Speaker 1: of all the characters on the program, nobody ran from

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Speaker 1: place to place more than Melissa.

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Speaker 4: Child burned thousand She could have been a miler.

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Speaker 2: Yeah, yeah, yeah, that's the energy we love from a

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Speaker 2: little houseland Prey. And I have so many more questions

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Speaker 2: about Michael Landon's sense of humor on the set, but

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Speaker 2: I want to go back to the beginning. Do you

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Speaker 2: each remember the first time you met him.

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Speaker 1: Oh yeah, oh yeah, yeah, that's he was an indelible

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Speaker 1: kind of presence. You would not forget the first time, Allison,

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Speaker 1: since you met him first, what did you remember?

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Speaker 4: I remember why.

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Speaker 3: I came into the audition and uh, the the infamous

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Speaker 3: Nellie Olson An audition. And I get there, it's like, oh,

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Speaker 3: read for producer, because I'd come in and read for

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Speaker 3: the pilot, for the part of Laura and for Mary,

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Speaker 3: which I knew I was wrong for not a country girl,

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Speaker 3: not not.

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Speaker 4: I was like, yeah, no, and you I'm eleven. I'm

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Speaker 4: like no.

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Speaker 3: And then of course they made the pilot and I

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Speaker 3: was like, yes, of course, these two girls that make sense.

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Speaker 3: Of course they're playing Laura and Marry. And then they

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Speaker 3: call me back and I don't know.

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Speaker 4: I'm an idiot. I haven't read the books.

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Speaker 3: I don't know, and I like, who, come back to

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Speaker 3: Paramount and read again, and I went what for? Well,

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Speaker 3: turns out there's an Elle Elsa.

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Speaker 4: I know nothing.

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Speaker 3: I know nothing about Ellie Elso and they get no

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Speaker 3: direction whatsoever. I get the sides and like, oh my god,

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Speaker 3: this is awful.

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Speaker 4: So I ride away.

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Speaker 3: I pick up on him, like this is great. And

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Speaker 3: I go in and it was I was Kent was

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Speaker 3: there and Michael was there, and I think it was

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Speaker 3: ed friendly because they were lined up on a couch

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Speaker 3: and yeah, Michael, you when people say someone has a

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Speaker 3: five thousand watt smile and lights it, yeah, he actually

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Speaker 3: could do that.

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Speaker 4: I mean it was his glove and the.

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Speaker 3: Shirt is open and there's a gold chains and it's

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Speaker 3: very seventies, very seventies, the boots and the tight jeans

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Speaker 3: and the shirt and the tan and the and the

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Speaker 3: huge huge I loved his glasses. They're back in style now,

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Speaker 3: those aviators. There's enormous glasses. They were fantastic as we

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Speaker 3: had the fabulous glass and the fabulous hair and the

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Speaker 3: big grin.

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Speaker 4: And then as soon as I.

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Speaker 3: Started, and of course Nelly is very funny in this episode,

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Speaker 3: the first one infamous, My home is the best home

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Speaker 3: in all of Walnut Griff, he starts laughing. They were

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Speaker 3: all laughing, and I realized, like, okay, I've hit a nerve.

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Speaker 4: But he was hysterical.

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Speaker 3: It was that high pitch giggling and did have quite

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Speaker 3: the giggle his mind. And then of course he asked

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Speaker 3: me to read it again, and I, yes, what would

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Speaker 3: you like me to change good little child actor? And

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Speaker 3: they said no, they just read the thing about the

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Speaker 3: hose again. But yeah, his laugh right away. That was

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Speaker 3: day one I got to meet the laugh.

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Speaker 1: Yeah. I had a very similar experience, not in terms

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Speaker 1: of the giggle, although he was so gracious. This is

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Speaker 1: a voice, you know when you were growing up during

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Speaker 1: that time because of Bonanza, Michael was this presence on

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Speaker 1: American television that was absolutely enormous. Now I had seen

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Speaker 1: him as little Joe Cartwright, and I had seen him

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Speaker 1: in pro as Charles Ingalls. I was unprepared for the

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Speaker 1: Michael Lyndon I walked in and met in the final

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Speaker 1: audition that I had, and very much the way Allison

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Speaker 1: described him. It was the Carrera sunglasses, the cigarette and

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Speaker 1: the teeth, the denim shirt sprayed on with a gun

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Speaker 1: opened down to his table. It was the gold belt buckle,

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Speaker 1: the gold chain around his neck, snake skin boots. I mean,

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Speaker 1: it was just and hey, how you doing? Was the

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Speaker 1: was his opener, and that you know, he was very

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Speaker 1: He was a very powerful presence to meet. And so

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Speaker 1: when you read for him, what was wonderful? And this

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Speaker 1: was before monitors and for all that Michael would sit

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Speaker 1: on the couch, she'd sit on the floor, whatever was

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Speaker 1: going to be unobtrusive for the actor, and he would

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Speaker 1: watch so attentively as to what you were doing. And

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Speaker 1: I always remember it, and your audience won't see it,

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Speaker 1: but I always remember as I'm reading, he puts his

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Speaker 1: hands up and I'm seeing him out of the corner

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Speaker 1: of my eye. I'm looking down to my left and

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Speaker 1: there he is, and he's got his hands up to

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Speaker 1: his eye, framing me. And it's so cool.

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Speaker 4: They did.

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Speaker 1: Yeah, I mean, that was a very very cool moment

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Speaker 1: for me. And he just he could not have been

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Speaker 1: more gracious to welcome you. And he didn't really offer

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Speaker 1: any correction. He just he just had a you know,

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Speaker 1: he that was terrific and blah blah blah blah. And

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Speaker 1: I remember him saying, as I was going out of

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Speaker 1: the door, I thanked him, and what are you doing

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Speaker 1: in early May? And I and I said, well, I'm

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Speaker 1: finishing college. I'll be you know, taking my finals at

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Speaker 1: the University of the Pacific. He said, well, we can

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Speaker 1: wait another week. And I thought, oh my god, he's

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Speaker 1: hired me in the room. Yeah, and oh my god.

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Speaker 1: But it took two weeks for an offer to pop

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Speaker 1: and I really thought I was ready to slit my

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Speaker 1: wrists before that, and because I thought, oh my god,

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Speaker 1: this guy completely jerked me around. Yeah, well no, he

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Speaker 1: he did make the offer. And I have to say,

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Speaker 1: you're going to ask about all of these things. But

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Speaker 1: Michael's presence was so enormous, and he had everybody's confidence

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Speaker 1: at this very high level, and you just knew that

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Speaker 1: he knew what he was doing. And you look at

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Speaker 1: the shows, you look at the at the ratings, you

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Speaker 1: look at the enduring qualities that the show radiates for

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Speaker 1: audiences all over the world. He did know what he

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Speaker 1: was doing, and that's why we're celebrating fifty years this year.

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Speaker 3: You look at the crew, the crew on Little House,

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Speaker 3: all of the grips and electricians and well.

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Speaker 4: In the cameraman and everybody. They were from Bonanza.

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Speaker 3: They just walked going over and followed him, and then

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Speaker 3: they all followed him to Highway to Heaven.

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Speaker 4: How often does that happen?

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Speaker 3: People were like, if I'm never working for this producer

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Speaker 3: at canam My Guns, guys driving me crazy, they leave,

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Speaker 3: they go get other jobs. These guys all had huge

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Speaker 3: resumes that could have worked anywhere, and they just followed him.

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Speaker 4: They just followed. He was their leader.

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Speaker 3: And this was very, very obvious from day one.

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Speaker 1: He had a Midas touch. He really did.

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Speaker 2: It's so important and speaks so much the legacy of

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Speaker 2: everything's worked on to have like a strong leader and

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Speaker 2: someone who is This makes me so happy to hear that,

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Speaker 2: like behind the scenes he's this great guy too, you know,

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Speaker 2: because like you see him on screen. Was and what

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Speaker 2: was that like when you so, you get the job,

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Speaker 2: you start working on the show, you start filming, was

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Speaker 2: he giving you advice? Was he like, how how did

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Speaker 2: that go?

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Speaker 4: The anti director? He was the anti director?

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Speaker 1: Much? Really, he did not say much.

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Speaker 4: You had to really mess it up.

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Speaker 1: I think, like so many directors who are really good directors,

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Speaker 1: ninety five percent of their work is done in the casting.

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Speaker 1: If they get if they find that person that they

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Speaker 1: think is the right vibe for what it is that

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Speaker 1: they're doing, if they just bring that. If I did

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Speaker 1: get notes from him, it was just just be here,

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Speaker 1: just be here, just react in this environment, be authentic

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Speaker 1: in this environment. I asked him if I should read anything,

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Speaker 1: you know, different that was separate and apart from little house.

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Speaker 1: He said, no, just read what I write. That's all

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Speaker 1: you need to read. And he was absolutely right, because

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Speaker 1: the world he created was so complete unto itself, and

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Speaker 1: if you just were able to step into that world,

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Speaker 1: you were gonna be fine.

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Speaker 4: Wow.

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Speaker 3: That's why I believe. He said, can you read the

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Speaker 3: part about the house again? They wanted to see if

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Speaker 3: it was a fit.

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Speaker 1: Was yeah, exactly.

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Speaker 3: I was just turned twelve and probably looked eight. I

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Speaker 3: was very this tiny little girl. So they went, Okay,

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Speaker 3: was that a complete freak accident or can that kid

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Speaker 3: do that twice in a row? And I apparently could.

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Speaker 3: I got I got the joke, so I got the job.

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Speaker 3: I knew why it was funny, and I knew why

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Speaker 3: Nelly was saying these things, and it was just and

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Speaker 3: they were like, okay, so that's the thing. He would

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Speaker 3: make sure this person could easily reproduce this thing and

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Speaker 3: then he wouldn't have to do any work when they

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Speaker 3: showed up. And I remember once after not like directing

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Speaker 3: me for years at a stretcher, like, oh you see

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Speaker 3: speaking to me?

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Speaker 4: What is happening? No directing.

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Speaker 3: One point there was a scene with Sarpinigosa and he

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Speaker 3: would start it was directing. He said, now I want

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Speaker 3: you to kind of do this, and then you could

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Speaker 3: do more of this. And then he came up to

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Speaker 3: his said, you know, you come in and you give

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Speaker 3: him one of those you do that thing you do

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Speaker 3: and walked away. And I was like, in number twenty seven,

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Speaker 3: what what?

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Speaker 4: What are we doing there?

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Speaker 3: And he had decided that there were certain things I

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Speaker 3: did and that is what he wanted do that do

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Speaker 3: the thing I.

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Speaker 4: Hired you to do. Just do that, and that it

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Speaker 4: was how we were.

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Speaker 3: I mean, he would say, let's try one for blocking

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Speaker 3: and then go no, no, no, no, that's too complicated. I

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Speaker 3: don't want you to walk all the way over there

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Speaker 3: and picked that. Just go straight to her. And that

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Speaker 3: was generally. It was all about like cut, cut, cut,

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Speaker 3: how can we shorten titan?

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Speaker 4: This all up?

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Speaker 1: He kept it. He kept things very simple, he really did.

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Speaker 1: And you know this was in the days when one

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Speaker 1: hour drama was generally shot with one camera, maybe two.

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Speaker 1: I don't know how say Gilmore Girls was in terms

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Speaker 1: of multi cameras. You go on sets today there are

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Speaker 1: four or five cameras rolling and they're multiple masters and

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Speaker 1: you've got dollies and cranes and all this. It was

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Speaker 1: a single camera on a tripod. Now for Katherine Gregor,

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Speaker 1: who played missus Olsen so brilliantly that Catherine was unrestrained

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Speaker 1: by concerns about continuity. He he ultimately started working with

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Speaker 1: two cameras with her so we could get the over

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Speaker 1: the shoulder and the single at the same time. For continuity.

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Speaker 4: They invented the steady cam for Katherin McGregor. I think,

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Speaker 4: just follower to follower. Where's she going? I don't know,

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Speaker 4: just follow her. So there was that.

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Speaker 3: Yeah, we we maybe two cameras and remember an enormous,

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Speaker 3: enormous size of a car, like enormous yeah thing.

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Speaker 1: Yeah, no, it was all it was Panavision cameras.

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Speaker 2: We had.

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Speaker 1: The inventor of the steady cam, Garrett Brown, brought his

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Speaker 1: original steady cam to our set. It was one of

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Speaker 1: the first places the steady cam was on Little House

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Speaker 1: and I.

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Speaker 4: Said, oh yeah, they evisited steady camp actually.

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Speaker 1: Show football where he could run down the field where

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Speaker 1: and Garrett was a big guy. Garrett was six five

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Speaker 1: six six gazelle kind of athlete, and he could run

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Speaker 1: with this thing and get these shots that nobody had

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Speaker 1: ever been able to get before.

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Speaker 3: And they were very heavy back then. I mean now

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Speaker 3: I could carry a steady camp, but I mean it

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Speaker 3: was a lot back then. Yeah, big deal.

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Speaker 2: Yeah, And these are things people take for granted now.

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Speaker 2: You know, you can put your phone and.

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Speaker 4: Film whatever nothing now.

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Speaker 2: Yeah, But but you watch especially a little House. It

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Speaker 2: looks so good still because has Panavision cameras and everything.

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Speaker 2: I mean, it's equality, well, the Panavision cameras, but it

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Speaker 2: was the men behind the Panavision cameras, Ted Boydlander, buzz Bogs,

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Speaker 2: the light.

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Speaker 1: Yeah, our gaffers. These people lit. The show was lit cinematically.

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Speaker 1: In its era, it was the most beautiful show on

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Speaker 1: television because it was lit like a movie, and that

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Speaker 1: quality is held up and in fact, when the show

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Speaker 1: was restored in twenty fourteen by Lionsgate for the show's

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Speaker 1: fortieth anniversary, they did a color correction pass through the show,

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Speaker 1: taking advantage of all the color correction technology that exists

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Speaker 1: today that wasn't available then. The show is absolutely more

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Speaker 1: beautiful today than it was when it was new because

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Speaker 1: the new one and the screens. The screens are better,

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Speaker 1: the detail of data is higher, the pictures are just

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Speaker 1: absolutely gorgeous.

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Speaker 2: Still, when you say it's cinematic, I mean it truly does.

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Speaker 2: Like every episode looks like a movie. It's it's so

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Speaker 2: we were making a movie.

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Speaker 4: We were, as far as we were concerned, we're all

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Speaker 4: making a movie.

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Speaker 1: Now. It was slower because of the number of cameras

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Speaker 1: and because it was not cut. It was not cut

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Speaker 1: on a nonlinear editing system. It was cut on movieola

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Speaker 1: where the razor blade and the tation. So you made

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Speaker 1: a cut, you really you had to know you were

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Speaker 1: going to make that cut. There was no undo. Let's

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Speaker 1: just do that again another way. Those editors had to

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Speaker 1: make those decisions. And if they had to put those

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Speaker 1: frames back, they could because they were in a trim

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Speaker 1: bin with the number with the frame numbers on them,

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Speaker 1: and they could put the frames back. But cuts were

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Speaker 1: made not capriciously at all. It was very deliberate.

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Speaker 2: So how was Michael like in the editing day too?

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Speaker 2: He was just the entire process.

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Speaker 3: Watched the daily Back then you had to watch daily.

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Speaker 3: You never a monitor in the sets. The next day

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Speaker 3: you had to take your lunch hour and go to

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Speaker 3: a theater and watch the daily. And he watched the day.

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Speaker 3: He watched them, and he oversaw editing, He oversaw the music.

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Speaker 3: I would get a new costume for that season. They'd

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Speaker 3: march me into making it to improve the costume. He

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Speaker 3: approved the props. I don't like this prop, take it away,

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Speaker 3: bring me another way. I mean, literally every freaking detail

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Speaker 3: of the show was under his room.

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Speaker 1: He picked, Yeah, he picked my I had costume initial

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Speaker 1: costume session with him. He picked. He approved all the wardrobe.

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Speaker 1: He approved the hat very specifically that I was to

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Speaker 1: wear because he believed that hats said a great and

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Speaker 1: it's true in Western's hats say an enormous amount about

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Speaker 1: the character, and he chose the hat for a very

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Speaker 1: particular hat to communicate, to help communicate what he wanted

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Speaker 1: this character to be.

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Speaker 4: Well, he was serious down to the hats.

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Speaker 1: Yeah.

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Speaker 2: But when he wasn't serious, I wanted to worry about

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Speaker 2: these pranks. He went, Paul, So.

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Speaker 3: We're doing this show, and well, obviously we had episodes

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Speaker 3: we're extremely distressing and upsetting and heart wrenching, dramatic, and

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Speaker 3: so he had to break the tension because you can't

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Speaker 3: mean you got to finish the show. You got to

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Speaker 3: get through the rest of the day after he'd been

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Speaker 3: sobbing for hours and every time, and so there'd be

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Speaker 3: some terrible scene, and five minutes later he's cracking jokes

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Speaker 3: and making everyone laugh at even terrible things, and I

400
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Speaker 3: of course got you. Also didn't want to give him

401
00:19:13,240 --> 00:19:15,720
Speaker 3: a setup. I would make a terrible mistake of giving

402
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Speaker 3: him a giant setup. He could drive a truck through

403
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Speaker 3: and nobody coul drive out through the one with the

404
00:19:20,200 --> 00:19:23,560
Speaker 3: screen door where we would Laura had stolen the Olsen

405
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Speaker 3: screen door to use it for panning for gold, because

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Speaker 3: of course he did, and then put it back, and

407
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Speaker 3: of course we're idiots, we don't notice it's back, and

408
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Speaker 3: Willie and I run and I crashed into the door

409
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Speaker 3: and smashed through the screen door hanging and the scene

410
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Speaker 3: is being set up, and so he sets it up

411
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Speaker 3: and I have to hang in some one bow is

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Speaker 3: a kimbo kind of thing. And we set this up

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Speaker 3: and I'm hanging in it, and he already had made

414
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Speaker 3: the joke about it being my screen test, but then

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Speaker 3: I was foolish enough to say since I was hanging

416
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Speaker 3: in there for the setup was taking forever customer making

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Speaker 3: a movie.

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Speaker 4: The setup took a long.

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Speaker 3: Time, I said, why didn't you get a dummy for this?

420
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Speaker 3: We did, shut up and get your head back in

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Speaker 3: the door, and it was causing. Yes, when I crashed

422
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Speaker 3: into the branch and I'm lying or bleeding out my nose,

423
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Speaker 3: Bunny before, I'm going to pretend to be paralyzed, but

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Speaker 3: I'm unconscious.

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Speaker 4: I got the fake blood on the nose and I'm dying.

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Speaker 4: It's so quiet, and.

427
00:20:10,160 --> 00:20:12,200
Speaker 3: Again waiting for cut, waiting for cut.

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Speaker 4: It's not coming.

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Speaker 3: My eyes are closed, but I have no idea what

430
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Speaker 3: the heck is happening, and I just hear the ground.

431
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Speaker 4: I was like, net's very quiet.

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Speaker 3: No one has said cut, So I'm just not moving

433
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Speaker 3: until I feel a finger up my nose. Stuck his

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Speaker 3: finger up my nose so he'd have good outtakes for that.

435
00:20:28,280 --> 00:20:31,320
Speaker 1: I doing a scene in an episode and it was

436
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Speaker 1: going from a chair to a front door to open

437
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Speaker 1: the door, actually going from the kitchen to a chair,

438
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Speaker 1: and I did sort of a creeping thing stepping to

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Speaker 1: the chair, and when I finished, she said, I wish

440
00:20:43,160 --> 00:20:45,560
Speaker 1: I had done that way. I'm trying to save your career,

441
00:20:46,680 --> 00:20:52,240
Speaker 1: and you know it's just but I felt fine about

442
00:20:52,400 --> 00:20:54,280
Speaker 1: I felt fine about what I had done, and he

443
00:20:54,440 --> 00:20:58,080
Speaker 1: really hated it. We were to reshot it. Now. That

444
00:20:58,240 --> 00:21:01,960
Speaker 1: was the thing with Michael is that if he saw it,

445
00:21:02,800 --> 00:21:05,960
Speaker 1: he didn't need to do it again. And as long

446
00:21:05,960 --> 00:21:09,600
Speaker 1: as the cameraman or the first assistant, the camera assistant

447
00:21:09,640 --> 00:21:13,879
Speaker 1: could say, gates clean, there's no hair, No, there's nothing

448
00:21:13,960 --> 00:21:17,640
Speaker 1: that's interfering with this. If he saw it and they

449
00:21:17,760 --> 00:21:20,920
Speaker 1: tell him they got it, he got it. He did

450
00:21:21,000 --> 00:21:24,120
Speaker 1: not need to shoot it again. He didn't need and

451
00:21:24,160 --> 00:21:26,960
Speaker 1: he wasn't shooting for anybody else. He was shooting for

452
00:21:27,000 --> 00:21:31,560
Speaker 1: the network. You're shooting for another executive producer. He was

453
00:21:31,600 --> 00:21:35,359
Speaker 1: shooting for himself. And if he saw the thing, he

454
00:21:35,480 --> 00:21:37,960
Speaker 1: cut the show in the camera basically. I mean, there

455
00:21:38,080 --> 00:21:39,600
Speaker 1: was not a lot of extra film.

456
00:21:39,520 --> 00:21:41,679
Speaker 4: Because in today's world he would have been the show runner.

457
00:21:41,720 --> 00:21:44,119
Speaker 4: Oh he was the director of the producer of the start.

458
00:21:44,160 --> 00:21:46,320
Speaker 3: He would have been showrunner, which nobody called anybody a

459
00:21:46,359 --> 00:21:48,159
Speaker 3: show runner back then, but he show runner because he

460
00:21:48,160 --> 00:21:51,080
Speaker 3: was doing everything. But yeah, the most common words were cutprint,

461
00:21:51,200 --> 00:21:54,080
Speaker 3: moving on in the magic words, because you do something

462
00:21:54,119 --> 00:21:55,919
Speaker 3: and you do it and maybe he was one to

463
00:21:56,000 --> 00:21:58,359
Speaker 3: maybe two. And of course outdoors a birdfly spy, so

464
00:21:58,400 --> 00:22:01,000
Speaker 3: it's five takes round. So you do things and you

465
00:22:01,119 --> 00:22:03,240
Speaker 3: do it, and you've done, he's cut and you're like,

466
00:22:04,000 --> 00:22:04,560
Speaker 3: was that good?

467
00:22:04,560 --> 00:22:05,920
Speaker 4: I think that was good? I don't know. I felt

468
00:22:05,960 --> 00:22:06,320
Speaker 4: kind of good.

469
00:22:06,359 --> 00:22:07,400
Speaker 3: I have no idea if that's good.

470
00:22:07,600 --> 00:22:08,320
Speaker 4: And that was thinking.

471
00:22:08,400 --> 00:22:10,439
Speaker 3: He'd look at Teddy or the guys to see if

472
00:22:10,440 --> 00:22:13,560
Speaker 3: they were okay technically, and they'd not and go cut print,

473
00:22:13,640 --> 00:22:16,440
Speaker 3: moving on. You go, wait, well, and they'd start dismantling

474
00:22:16,440 --> 00:22:18,199
Speaker 3: the set and they come, go change into your other

475
00:22:18,240 --> 00:22:20,200
Speaker 3: outfit because we're shooting page forty seven.

476
00:22:20,240 --> 00:22:20,800
Speaker 4: Now you go.

477
00:22:21,000 --> 00:22:24,119
Speaker 3: But I just literally finished doing the thing. Yes, yes,

478
00:22:24,520 --> 00:22:27,080
Speaker 3: that was lovely, good move, but go on and yeah.

479
00:22:27,080 --> 00:22:29,119
Speaker 3: There was like a long discussion after about what it

480
00:22:29,160 --> 00:22:29,560
Speaker 3: all meant.

481
00:22:29,600 --> 00:22:31,159
Speaker 4: It was like, now we do the next one, just

482
00:22:31,240 --> 00:22:32,840
Speaker 4: to say yeah, he he.

483
00:22:33,800 --> 00:22:36,639
Speaker 1: He had great confidence in what he was doing. I

484
00:22:36,680 --> 00:22:40,640
Speaker 1: think that anybody who was around Michael, and I've said

485
00:22:40,680 --> 00:22:43,960
Speaker 1: this so many times, I never saw a moment's doubt

486
00:22:44,440 --> 00:22:48,240
Speaker 1: in his eyes. I never had any I ever never

487
00:22:48,320 --> 00:22:53,639
Speaker 1: had the feeling that Michael wasn't absolutely certain about everything

488
00:22:54,200 --> 00:22:58,200
Speaker 1: that was happening. Now, he may have had inner doubts

489
00:22:58,200 --> 00:23:00,840
Speaker 1: and anxieties about things, but he would ever have shown

490
00:23:00,920 --> 00:23:05,280
Speaker 1: that to anybody, and I think that it just bred

491
00:23:05,320 --> 00:23:09,679
Speaker 1: this enormous sense of confidence among everybody, among cast and

492
00:23:09,760 --> 00:23:13,080
Speaker 1: crew that if he says it's okay, it's okay.

493
00:23:13,880 --> 00:23:14,680
Speaker 4: When you want to be.

494
00:23:14,640 --> 00:23:17,800
Speaker 3: Able to trust the director, I compared to the ship's captain.

495
00:23:17,880 --> 00:23:19,760
Speaker 3: Once you're at sea, just do what the captain say.

496
00:23:19,960 --> 00:23:20,879
Speaker 1: To trust, someone has to.

497
00:23:21,200 --> 00:23:23,119
Speaker 3: And then this thing he had paid very close attention

498
00:23:23,200 --> 00:23:27,040
Speaker 3: during Bonanza. He had just absolutely sponged that up everything

499
00:23:27,040 --> 00:23:29,600
Speaker 3: they did directing and watched it very closely. And so

500
00:23:29,840 --> 00:23:31,479
Speaker 3: when he said I know what I'm doing, he did

501
00:23:31,600 --> 00:23:32,280
Speaker 3: know what he was doing.

502
00:23:32,320 --> 00:23:33,000
Speaker 4: And that's what's great.

503
00:23:33,080 --> 00:23:35,240
Speaker 3: And I remember it freaked out Katherine McGregor because he

504
00:23:35,280 --> 00:23:37,160
Speaker 3: was so young, you know, he said, in his thirties.

505
00:23:37,400 --> 00:23:38,240
Speaker 4: And she was like, this.

506
00:23:38,320 --> 00:23:41,520
Speaker 3: Thirty something cute boy actor. I mean, he's little Joe.

507
00:23:41,560 --> 00:23:43,159
Speaker 4: He's a little Joe. What the hell does he know?

508
00:23:43,240 --> 00:23:45,720
Speaker 3: And it's like, actually, he kind of found he was

509
00:23:45,720 --> 00:23:48,480
Speaker 3: on a bananza and he treated it like film school,

510
00:23:48,760 --> 00:23:51,399
Speaker 3: and so that's what he did. And and she's like,

511
00:23:51,480 --> 00:23:53,560
Speaker 3: why is he because he actually does know what he's doing.

512
00:23:53,640 --> 00:23:55,240
Speaker 3: It's weird, but he knows what he's doing. And he

513
00:23:55,280 --> 00:23:57,040
Speaker 3: would come up with crazy ideas. He would change that

514
00:23:57,119 --> 00:24:00,080
Speaker 3: should be in the middle of filming, I mean the Wolves episode.

515
00:24:00,240 --> 00:24:02,280
Speaker 3: I think this line would be funnier if you had

516
00:24:02,320 --> 00:24:04,040
Speaker 3: four job breakers in your mouth When you.

517
00:24:03,960 --> 00:24:05,719
Speaker 4: Said it, what wait here? Try how?

518
00:24:05,800 --> 00:24:07,560
Speaker 3: He just looked at into How many job breakers can

519
00:24:07,600 --> 00:24:08,280
Speaker 3: you fit in your mouth?

520
00:24:08,320 --> 00:24:10,280
Speaker 4: I went, I don't really know?

521
00:24:10,320 --> 00:24:12,399
Speaker 3: He says, well, let's find out. And then it's like,

522
00:24:12,480 --> 00:24:14,840
Speaker 3: try to put a fifth one and oh too many? Sorry,

523
00:24:15,080 --> 00:24:17,880
Speaker 3: now say it again. You will your book perfect, Okay,

524
00:24:17,960 --> 00:24:22,040
Speaker 3: let's roll. And he would just decide things, but he

525
00:24:22,080 --> 00:24:23,440
Speaker 3: did know what he was doing. He'd look at it

526
00:24:23,480 --> 00:24:26,120
Speaker 3: and go, it's supposed to be funny. It's not funny enough.

527
00:24:26,119 --> 00:24:29,000
Speaker 3: It needs something and he would do that or no, no, no,

528
00:24:29,320 --> 00:24:31,119
Speaker 3: I know it, and he would do it and he

529
00:24:31,200 --> 00:24:32,960
Speaker 3: did know. And sometimes he would tell you to do

530
00:24:33,000 --> 00:24:34,879
Speaker 3: crazy things. He was like, no, just do it, just

531
00:24:34,880 --> 00:24:36,199
Speaker 3: do it, just do it. And then you'd see it

532
00:24:36,160 --> 00:24:41,119
Speaker 3: and you go, well, yeah.

533
00:24:39,000 --> 00:24:43,199
Speaker 1: I'll add something else. There would be you know, you

534
00:24:43,200 --> 00:24:45,560
Speaker 1: hear your shooting outside, you're shooting on the stage, but

535
00:24:45,640 --> 00:24:48,320
Speaker 1: really outside is where where you would have challenges on

536
00:24:48,400 --> 00:24:53,560
Speaker 1: locations and weather and all these things. And what was

537
00:24:53,600 --> 00:24:56,119
Speaker 1: so one of the other things that was amazing about

538
00:24:56,160 --> 00:25:00,439
Speaker 1: him is that if something wasn't working, or you couldn't

539
00:25:00,520 --> 00:25:03,240
Speaker 1: get to a particular location and you but you needed

540
00:25:03,240 --> 00:25:09,159
Speaker 1: to have a scene, Michael could come up with the scene,

541
00:25:09,280 --> 00:25:12,240
Speaker 1: whatever it was, in a completely different location that was

542
00:25:12,320 --> 00:25:15,760
Speaker 1: never in the script. He could come up with the

543
00:25:15,800 --> 00:25:19,760
Speaker 1: scene that would add something wonderful to the episode. He

544
00:25:19,920 --> 00:25:23,399
Speaker 1: jotted down on his yellow legal pad. It would go

545
00:25:23,480 --> 00:25:25,680
Speaker 1: up and go out and get typed up. The pages

546
00:25:25,720 --> 00:25:28,879
Speaker 1: would be there. They hand you the pages. Learn this.

547
00:25:28,960 --> 00:25:31,600
Speaker 1: We're going to shoot this in fifteen minutes. So there

548
00:25:31,640 --> 00:25:34,600
Speaker 1: was really no what was great about that? And I'm

549
00:25:34,600 --> 00:25:38,400
Speaker 1: sure Elson would concur with this. You're really loose if

550
00:25:38,440 --> 00:25:42,560
Speaker 1: there's no time to If you know that he's just

551
00:25:42,680 --> 00:25:45,520
Speaker 1: written it and everyone's seeing it for the first time,

552
00:25:45,760 --> 00:25:49,600
Speaker 1: what's there to get nervous about. You just do it.

553
00:25:49,960 --> 00:25:53,800
Speaker 1: You just do it because he's trusting it and we're

554
00:25:53,840 --> 00:25:55,719
Speaker 1: just gonna go. There's no like you didn't have it

555
00:25:55,720 --> 00:25:57,800
Speaker 1: for three days. You haven't had a lot of the

556
00:25:57,920 --> 00:26:00,720
Speaker 1: things on it. But that again comes back to casting.

557
00:26:01,040 --> 00:26:05,200
Speaker 1: He's hiring people who are delivering the feeling, the flavor,

558
00:26:05,320 --> 00:26:08,359
Speaker 1: the color that he's looking for in the In the

559
00:26:08,480 --> 00:26:11,440
Speaker 1: in the show, and so you could throw material at

560
00:26:11,480 --> 00:26:14,119
Speaker 1: someone at the last minute and they're going to do

561
00:26:14,160 --> 00:26:15,400
Speaker 1: it because they do what they do.

562
00:26:15,680 --> 00:26:17,399
Speaker 3: Well, you saw how real our character The thing that

563
00:26:17,440 --> 00:26:19,919
Speaker 3: gets to how real our characters were, because that was

564
00:26:19,960 --> 00:26:21,920
Speaker 3: the key thing is once you knew who you were,

565
00:26:22,000 --> 00:26:23,800
Speaker 3: once you knew what Nelly would do, what Nelly would

566
00:26:23,840 --> 00:26:25,440
Speaker 3: not do. Was there anything I wouldn't do? I don't

567
00:26:25,480 --> 00:26:27,399
Speaker 3: know what Nelly would do, and you knew who your

568
00:26:27,440 --> 00:26:29,919
Speaker 3: character was that it didn't really matter what they were

569
00:26:29,920 --> 00:26:31,520
Speaker 3: going to have you say or do, because.

570
00:26:31,280 --> 00:26:33,280
Speaker 4: You were going to be them. And that was what

571
00:26:33,359 --> 00:26:33,919
Speaker 4: he counted on.

572
00:26:34,000 --> 00:26:37,360
Speaker 3: Because and Steve Tracy, the late great Steve Tracy Percival,

573
00:26:37,560 --> 00:26:39,560
Speaker 3: he talked about this because he said, well, really, it

574
00:26:39,640 --> 00:26:42,480
Speaker 3: really messes with your acting technique because if you come

575
00:26:42,480 --> 00:26:44,239
Speaker 3: in and you have this very set method where you're

576
00:26:44,240 --> 00:26:46,760
Speaker 3: going to break down the scene beat by bee and

577
00:26:46,800 --> 00:26:48,439
Speaker 3: you're going to make notes, and you're going to do this,

578
00:26:48,600 --> 00:26:50,800
Speaker 3: and you've already worked out which memory you're going to

579
00:26:50,920 --> 00:26:53,880
Speaker 3: use for your sense memory and your substitution, except now

580
00:26:53,880 --> 00:26:56,119
Speaker 3: you've just been handed the yellow pages in the book pages,

581
00:26:56,160 --> 00:26:58,479
Speaker 3: and we're shooting a whole new thing. Go and so

582
00:26:58,520 --> 00:27:02,200
Speaker 3: he says, your improv training way more important than any

583
00:27:02,240 --> 00:27:03,960
Speaker 3: of this other stuff you learned. So he said, you

584
00:27:04,040 --> 00:27:05,520
Speaker 3: have to come up with something else. You have to

585
00:27:05,520 --> 00:27:07,119
Speaker 3: come up with something else that you can use in

586
00:27:07,160 --> 00:27:10,080
Speaker 3: that situation you have. And what it is is that

587
00:27:10,119 --> 00:27:13,320
Speaker 3: you're staying so in character all the time that if

588
00:27:13,359 --> 00:27:16,919
Speaker 3: they go surprise, you're like, well, now I'll be that

589
00:27:17,040 --> 00:27:17,879
Speaker 3: character doing that.

590
00:27:18,160 --> 00:27:20,800
Speaker 4: Okay.

591
00:27:20,160 --> 00:27:24,600
Speaker 1: He made it. He made it very simple and it

592
00:27:24,720 --> 00:27:28,639
Speaker 1: easy to succeed, and I think the show's longevity is

593
00:27:28,720 --> 00:27:31,320
Speaker 1: testament to the fact that he really got it.

594
00:27:31,920 --> 00:27:35,160
Speaker 2: Absolutely. We have so much more to get into ry.

595
00:27:35,160 --> 00:27:36,560
Speaker 4: Quest of Michael London. It was amazing.

596
00:27:36,840 --> 00:27:37,639
Speaker 1: I love it.

597
00:27:37,680 --> 00:27:39,280
Speaker 2: I want I have so much more to ask you

598
00:27:39,280 --> 00:27:41,240
Speaker 2: about it. Dean Butler and Alison Argham, we're here with us.

599
00:27:41,240 --> 00:27:43,240
Speaker 2: This is the Ice Small Pop Culture Podcast. We're gonna

600
00:27:43,240 --> 00:27:47,640
Speaker 2: take a quick break, play some commercials. We'll be right back. Everybody.

601
00:27:55,359 --> 00:27:58,280
Speaker 2: Dean Butler, Alison Ingham with us. It's Ice Mooll pop Culture.

602
00:27:58,600 --> 00:28:00,720
Speaker 2: This is the I Am On Podcast Extra being here everybody,

603
00:28:00,760 --> 00:28:02,800
Speaker 2: We're we're going into the world of Little House on

604
00:28:02,800 --> 00:28:07,280
Speaker 2: the Prairie this week. We are traveling to Wannut Grove, Minnesota.

605
00:28:07,800 --> 00:28:10,960
Speaker 2: And uh, I have I have so many more questions

606
00:28:11,000 --> 00:28:14,760
Speaker 2: for you guys. So you kind of told me. I've

607
00:28:14,800 --> 00:28:19,719
Speaker 2: found it so interesting how you had to becoming the character,

608
00:28:19,840 --> 00:28:21,680
Speaker 2: Like like you get these changes at the last minute,

609
00:28:21,680 --> 00:28:24,240
Speaker 2: and you're like, okay, what would what would Nelly do?

610
00:28:24,359 --> 00:28:25,680
Speaker 2: What would Almanza?

611
00:28:25,760 --> 00:28:26,080
Speaker 1: Do you know?

612
00:28:26,720 --> 00:28:30,920
Speaker 2: So Allison specifically, I was I watched Country Girls the

613
00:28:30,960 --> 00:28:32,080
Speaker 2: other day, so.

614
00:28:32,080 --> 00:28:34,400
Speaker 1: Good, great, so good. It's a great episode.

615
00:28:34,480 --> 00:28:37,800
Speaker 2: I mean, yeah, truly, And for anyone who isn't familiar

616
00:28:37,840 --> 00:28:40,080
Speaker 2: with Little House on the Prairie, I mean Nellie Olson

617
00:28:40,160 --> 00:28:42,120
Speaker 2: is one of the iconic TV brats I think of

618
00:28:42,160 --> 00:28:44,040
Speaker 2: all time, and Country.

619
00:28:43,680 --> 00:28:46,440
Speaker 3: Girls my very very first episode, and I was thoroughly vile.

620
00:28:47,160 --> 00:28:51,280
Speaker 2: Yes, how did you find the character that quickly?

621
00:28:51,360 --> 00:28:51,400
Speaker 1: That?

622
00:28:51,840 --> 00:28:54,800
Speaker 2: It's just remarkable, Like you're Nelly right away.

623
00:28:55,160 --> 00:28:57,680
Speaker 3: It's so crazy, And you know, to quote the fabulous

624
00:28:57,720 --> 00:29:00,640
Speaker 3: Sir Anthony Hopkins, you know, when he read the script

625
00:29:00,760 --> 00:29:03,240
Speaker 3: for Silence of the Lambs, which everybody had turned down,

626
00:29:03,520 --> 00:29:06,560
Speaker 3: he said, it jumped off of the page at him.

627
00:29:06,560 --> 00:29:09,120
Speaker 4: He read it. And when I get it as soon

628
00:29:09,160 --> 00:29:10,600
Speaker 4: as he read it once when I know who.

629
00:29:10,440 --> 00:29:12,440
Speaker 3: This person doesn't have to do this and called his agents,

630
00:29:12,440 --> 00:29:14,800
Speaker 3: it just make the deal because it was that kind

631
00:29:14,800 --> 00:29:17,520
Speaker 3: of thing. I had nothing going. I hadn't read the

632
00:29:17,560 --> 00:29:20,320
Speaker 3: Little Housebooks. I didn't know who Nelli Elsen was. They

633
00:29:20,360 --> 00:29:22,320
Speaker 3: hadn't told me you're reading for the back nothing.

634
00:29:22,360 --> 00:29:23,680
Speaker 4: They told me nothing. I showed up.

635
00:29:23,680 --> 00:29:25,480
Speaker 3: Besides, and I thought, wow, that's a lot of sides.

636
00:29:25,480 --> 00:29:27,920
Speaker 3: It was every single piece of dialogue for the entire episode.

637
00:29:27,920 --> 00:29:29,800
Speaker 3: You're just gonna read the whole thing, like, okay. My

638
00:29:29,880 --> 00:29:32,320
Speaker 3: father was with me, and as soon as I started

639
00:29:32,320 --> 00:29:34,240
Speaker 3: reading it, I mean almost, I don't think.

640
00:29:34,160 --> 00:29:36,200
Speaker 4: The country girls have a penny. What do you think? Well,

641
00:29:36,240 --> 00:29:39,320
Speaker 4: if she's every word out of her mouth is some

642
00:29:39,440 --> 00:29:41,600
Speaker 4: kind of an insult and she's just terrible.

643
00:29:41,640 --> 00:29:44,200
Speaker 3: And then my home thing and the big joke being

644
00:29:44,920 --> 00:29:48,400
Speaker 3: we have three sets of dishes, one for every day,

645
00:29:48,480 --> 00:29:51,720
Speaker 3: one for Sunday, and one for when someone very special

646
00:29:51,720 --> 00:29:53,880
Speaker 3: and important comes to visit, which we have never even

647
00:29:53,960 --> 00:29:58,440
Speaker 3: used yet. She doesn't even realize that you just said, hi,

648
00:29:58,640 --> 00:30:01,000
Speaker 3: nobody's coming, that we live wal to Grove, the Queen's

649
00:30:01,000 --> 00:30:01,680
Speaker 3: not coming to dinner.

650
00:30:01,680 --> 00:30:01,840
Speaker 1: We have.

651
00:30:03,040 --> 00:30:06,000
Speaker 3: It's hysterical and I'm ready going this is hilarious. But

652
00:30:06,040 --> 00:30:07,680
Speaker 3: my god, she's just like the worst person.

653
00:30:07,440 --> 00:30:07,920
Speaker 2: In the world.

654
00:30:08,200 --> 00:30:09,800
Speaker 3: And when do you get a part like that for

655
00:30:09,880 --> 00:30:12,480
Speaker 3: a little girl? Did the little girl parts? I read there, well,

656
00:30:12,480 --> 00:30:14,600
Speaker 3: it's his sweet little girl. Yes, mother, yes, father, And

657
00:30:14,600 --> 00:30:16,680
Speaker 3: this girl's like I do not care, please all kindly

658
00:30:16,720 --> 00:30:19,000
Speaker 3: drop dead. And I'm like, this is brilliant. And so

659
00:30:19,040 --> 00:30:21,000
Speaker 3: I started reading it from my father and he starts laughing.

660
00:30:21,080 --> 00:30:23,560
Speaker 3: I said, I said, this girl's a total bitch. My

661
00:30:23,600 --> 00:30:25,040
Speaker 3: father said, what are you talking? And then I read

662
00:30:25,040 --> 00:30:27,800
Speaker 3: it and he's like, he actually said, there you go

663
00:30:27,840 --> 00:30:30,600
Speaker 3: school of Michaelan. And my father said, don't touch it,

664
00:30:30,760 --> 00:30:33,800
Speaker 3: don't move, don't do anything, don't read it again, don't

665
00:30:33,840 --> 00:30:36,520
Speaker 3: go over it again. In fact, put the pages face down.

666
00:30:36,600 --> 00:30:38,520
Speaker 3: I don't want you to even look at them again.

667
00:30:38,800 --> 00:30:42,720
Speaker 3: You go in and do exactly whatever that just now wants.

668
00:30:43,200 --> 00:30:45,840
Speaker 3: I went right then, and that's what I did, and

669
00:30:45,880 --> 00:30:48,120
Speaker 3: Michael Annon lost his tiny little mind and they had

670
00:30:48,240 --> 00:30:49,320
Speaker 3: and he hired.

671
00:30:49,040 --> 00:30:49,360
Speaker 1: Me on this.

672
00:30:49,600 --> 00:30:51,520
Speaker 3: We got home, we got in the car, drove home

673
00:30:52,040 --> 00:30:53,480
Speaker 3: and the agent.

674
00:30:53,200 --> 00:30:54,840
Speaker 4: Was on the phone the deal and was being made

675
00:30:54,920 --> 00:30:55,840
Speaker 4: like while I was in the parking.

676
00:30:56,040 --> 00:30:57,400
Speaker 1: Incredible done.

677
00:30:57,760 --> 00:31:00,479
Speaker 4: So yeah, she jumped off the page. What wow, she's terrible.

678
00:31:00,720 --> 00:31:03,120
Speaker 3: And we all know someone like that, we've all I mean,

679
00:31:03,200 --> 00:31:07,000
Speaker 3: I was bullied. This was the great revenge on bullies everywhere.

680
00:31:07,040 --> 00:31:08,880
Speaker 3: I got to send them all up and mock them

681
00:31:08,920 --> 00:31:11,360
Speaker 3: because we've all met that girl, We've all had her

682
00:31:11,440 --> 00:31:13,840
Speaker 3: terrorize us. And I said, okay, well, we know how

683
00:31:13,840 --> 00:31:17,720
Speaker 3: it goes. And as a teenager, you're full of all

684
00:31:17,840 --> 00:31:21,120
Speaker 3: kinds of angst and hostility and things you need to

685
00:31:21,120 --> 00:31:23,200
Speaker 3: get rid of. And where can you You have to

686
00:31:23,200 --> 00:31:24,840
Speaker 3: behave yourself at school, and my god, you have to

687
00:31:24,880 --> 00:31:26,600
Speaker 3: go to work. But here I had this thing where

688
00:31:26,600 --> 00:31:29,880
Speaker 3: I could just go and just be hideous.

689
00:31:29,440 --> 00:31:32,440
Speaker 4: And let it all all the n out.

690
00:31:32,920 --> 00:31:35,320
Speaker 3: And then I've talked openly in interviews in my book

691
00:31:35,360 --> 00:31:37,280
Speaker 3: that I was abused as a child, and the key

692
00:31:37,360 --> 00:31:37,920
Speaker 3: element of.

693
00:31:37,880 --> 00:31:40,120
Speaker 4: That is terrible buried rage.

694
00:31:40,240 --> 00:31:42,520
Speaker 3: People suffer their whole years to develop physical problems. They

695
00:31:42,520 --> 00:31:44,480
Speaker 3: have nowhere for that anger. Where does that anger go?

696
00:31:44,600 --> 00:31:46,920
Speaker 3: It turns in with I had a job where I

697
00:31:46,920 --> 00:31:49,560
Speaker 3: would come in and smash things and scream at the

698
00:31:49,600 --> 00:31:52,080
Speaker 3: top of my lungs and throw things and hit people

699
00:31:52,320 --> 00:31:53,040
Speaker 3: all day long.

700
00:31:53,680 --> 00:31:55,200
Speaker 4: Do you have any idea what that did for my

701
00:31:55,240 --> 00:31:58,560
Speaker 4: blood pressure and my well being? And it was fantastic.

702
00:31:58,640 --> 00:32:01,840
Speaker 3: It was like they were saying me to have therapy

703
00:32:02,080 --> 00:32:04,680
Speaker 3: for seven years. It was fantastic, incredible.

704
00:32:05,040 --> 00:32:07,720
Speaker 2: The scene at the Bunny scene where you're just trashing

705
00:32:07,720 --> 00:32:09,640
Speaker 2: the room. I mean I had to watch it three

706
00:32:09,680 --> 00:32:10,400
Speaker 2: times in a round.

707
00:32:10,480 --> 00:32:13,200
Speaker 3: It's okay, and does it does it look like I'm

708
00:32:13,240 --> 00:32:17,000
Speaker 3: out of control? I'm so controlled. The prop men is said,

709
00:32:17,280 --> 00:32:19,240
Speaker 3: this is a reproduction. You can break this. We have

710
00:32:19,280 --> 00:32:21,320
Speaker 3: four more of these. You can break this. Don't break this.

711
00:32:21,320 --> 00:32:22,240
Speaker 3: This is a real ntique.

712
00:32:22,360 --> 00:32:23,440
Speaker 4: Don't touch this here.

713
00:32:23,480 --> 00:32:24,800
Speaker 3: You can pull the drapes down if you want you

714
00:32:24,920 --> 00:32:26,480
Speaker 3: we can put that back these, but you can throw these.

715
00:32:26,480 --> 00:32:27,000
Speaker 4: Don't throw this.

716
00:32:27,240 --> 00:32:29,080
Speaker 3: And I'm like, got it, got it, got it, checking

717
00:32:29,160 --> 00:32:31,400
Speaker 3: these off my head and then I did it and

718
00:32:31,600 --> 00:32:32,400
Speaker 3: was completely.

719
00:32:32,080 --> 00:32:34,840
Speaker 4: Screaming out of control, but like, don't touch three antique, keep.

720
00:32:34,800 --> 00:32:38,000
Speaker 2: Moving antiques and that's crazy.

721
00:32:38,440 --> 00:32:39,800
Speaker 4: Don't break that. Oh wait, don't break that.

722
00:32:39,840 --> 00:32:42,440
Speaker 3: It's real. Yeah, And I'm still like, just had that

723
00:32:42,480 --> 00:32:44,720
Speaker 3: in my head while I was completely screaming out of

724
00:32:44,720 --> 00:32:46,880
Speaker 3: controlling a banjee.

725
00:32:47,080 --> 00:32:51,400
Speaker 1: It's incredible. It's again, it comes back to it comes

726
00:32:51,440 --> 00:32:58,520
Speaker 1: back to casting. Allison was just the perfect little monster

727
00:32:59,600 --> 00:33:03,760
Speaker 1: for that moment. What's what's what's really good? I mean,

728
00:33:03,800 --> 00:33:08,840
Speaker 1: I think what's really great, and because Allison is I'm

729
00:33:08,920 --> 00:33:10,840
Speaker 1: just talking. I'm talking about you like you're not here.

730
00:33:11,640 --> 00:33:18,840
Speaker 1: Allison is wicked, wicked smart, and and she gets the joke.

731
00:33:19,680 --> 00:33:23,040
Speaker 1: Allison always from the time she first read it. Oh

732
00:33:23,080 --> 00:33:27,120
Speaker 1: this girl's horrible. She knew the deal. I think that's

733
00:33:27,200 --> 00:33:29,880
Speaker 1: one of the reasons why people have loved this character,

734
00:33:29,960 --> 00:33:33,960
Speaker 1: love to hate this character, is because they're on the

735
00:33:34,000 --> 00:33:38,720
Speaker 1: inside they're laughing a little bit with her. They get

736
00:33:38,800 --> 00:33:43,840
Speaker 1: they get that she gets it. And yeah, I think

737
00:33:43,880 --> 00:33:47,040
Speaker 1: she was very Allison was very special. There's a reason

738
00:33:47,080 --> 00:33:52,080
Speaker 1: why she's been voted the most effective villain in the

739
00:33:52,120 --> 00:33:55,960
Speaker 1: history of television. Yes, and I mean who what little

740
00:33:56,040 --> 00:33:59,920
Speaker 1: girl in pin curls in with her lace and is

741
00:34:00,160 --> 00:34:02,440
Speaker 1: the biggest villain in the history of that. It's not

742
00:34:02,560 --> 00:34:07,640
Speaker 1: j R. E Ing, It's Nellie Olsen, which is just

743
00:34:07,720 --> 00:34:10,040
Speaker 1: incredible when you think about it. I mean, he was,

744
00:34:10,160 --> 00:34:14,720
Speaker 1: he was incredible. It was delicious as this as this villain.

745
00:34:15,440 --> 00:34:21,120
Speaker 1: But Allison touched something primal about being human that people

746
00:34:21,160 --> 00:34:24,279
Speaker 1: absolutely love. Everyone can you can't not enjoy it.

747
00:34:24,360 --> 00:34:26,440
Speaker 3: Everyone has an elite their school, everyone has a Missus

748
00:34:26,440 --> 00:34:27,160
Speaker 3: Olsen at their job.

749
00:34:27,320 --> 00:34:30,040
Speaker 1: You don't have you think of Nelid school, it's probably.

750
00:34:30,080 --> 00:34:30,560
Speaker 2: Get it's you.

751
00:34:31,560 --> 00:34:33,360
Speaker 4: And this is also the original Karen.

752
00:34:33,520 --> 00:34:36,160
Speaker 3: I mean she's just like so it's the people know

753
00:34:36,280 --> 00:34:38,960
Speaker 3: these people they recognize. And that's something I noticed because

754
00:34:39,000 --> 00:34:41,520
Speaker 3: in traveling around and around the world and meeting people,

755
00:34:41,600 --> 00:34:44,000
Speaker 3: I mean when we had people from Peru and from

756
00:34:44,080 --> 00:34:46,799
Speaker 3: Afghanistan and everyone came to the reunion, I mean we

757
00:34:46,800 --> 00:34:48,319
Speaker 3: met people all over the world. And I meet people

758
00:34:48,320 --> 00:34:52,439
Speaker 3: from literally Borneo, Bangladesh, Iran, Iraq, Israel, and they all

759
00:34:52,520 --> 00:34:54,600
Speaker 3: watch the Little House in the Prairie And I'm like, really,

760
00:34:54,600 --> 00:34:55,319
Speaker 3: they're running it there.

761
00:34:55,360 --> 00:34:56,959
Speaker 4: It's they're running it everywhere.

762
00:34:56,680 --> 00:34:58,359
Speaker 1: In forty countries around the world. Wow.

763
00:34:58,440 --> 00:35:00,000
Speaker 3: And they all say the same thing, because, of course,

764
00:35:00,160 --> 00:35:02,239
Speaker 3: like the guy from Sri Lanka, I said, Okay, what

765
00:35:02,280 --> 00:35:04,600
Speaker 3: does a show about a bunch of very very white

766
00:35:04,680 --> 00:35:07,840
Speaker 3: American people with blonde air, blue eyes in covered wagons

767
00:35:07,840 --> 00:35:09,839
Speaker 3: on the prairie of the United States.

768
00:35:09,520 --> 00:35:12,279
Speaker 4: Mean when you're living in a small.

769
00:35:11,960 --> 00:35:14,960
Speaker 3: Town in Sri Lanka, who they had electricity so many

770
00:35:14,960 --> 00:35:16,640
Speaker 3: hours a day they used to watch a Little House

771
00:35:16,640 --> 00:35:17,960
Speaker 3: in Umar and what.

772
00:35:18,239 --> 00:35:20,120
Speaker 4: How what does this mean? What does this mean to you?

773
00:35:20,160 --> 00:35:22,640
Speaker 3: It's so completely different than the life you tell me

774
00:35:22,680 --> 00:35:26,080
Speaker 3: you were living there. And he said, oh no, everybody.

775
00:35:26,200 --> 00:35:28,120
Speaker 3: He said, the anglestn't have any money, and they live

776
00:35:28,120 --> 00:35:30,359
Speaker 3: in a tiny place with a lot of children, and

777
00:35:30,400 --> 00:35:32,040
Speaker 3: they wonder are they going to make it? Will the

778
00:35:32,080 --> 00:35:33,880
Speaker 3: harvest come in? Are they going to make it? And

779
00:35:33,920 --> 00:35:36,000
Speaker 3: this is how most people. They're not Most people aren't

780
00:35:36,040 --> 00:35:38,120
Speaker 3: living in that big apartment on friends. They don't have

781
00:35:38,160 --> 00:35:39,840
Speaker 3: any money. They're not living like these people in these

782
00:35:39,920 --> 00:35:43,000
Speaker 3: fancy shows. Right, they're living like that. And we all

783
00:35:43,040 --> 00:35:45,160
Speaker 3: had a Missus Olsen in the village at our job,

784
00:35:45,239 --> 00:35:46,520
Speaker 3: we all had an Elliot school.

785
00:35:46,719 --> 00:35:50,360
Speaker 4: We can identify with these people. We get it. And

786
00:35:50,440 --> 00:35:51,359
Speaker 4: I said, you're right.

787
00:35:52,200 --> 00:35:57,880
Speaker 1: You know, the Iyatolahmioni. During the Iran Revolution, Lill Loos

788
00:35:58,000 --> 00:36:02,040
Speaker 1: was the only American program allowed in WOW time. And

789
00:36:02,080 --> 00:36:06,120
Speaker 1: I think one of the interestingly, Little House was the

790
00:36:06,160 --> 00:36:10,760
Speaker 1: favorite show of the Iyetola, the favorite show Saddam.

791
00:36:10,400 --> 00:36:13,479
Speaker 4: Hussein, Saddam Hussein's favorite show at.

792
00:36:13,440 --> 00:36:16,839
Speaker 1: The same but I think in many ways, for very

793
00:36:16,840 --> 00:36:21,560
Speaker 1: different reasons. I think. I think I think the Ayatola

794
00:36:21,960 --> 00:36:24,440
Speaker 1: liked Little House as an example for his people because

795
00:36:24,480 --> 00:36:27,759
Speaker 1: he could say, what do we have to fear from this?

796
00:36:28,400 --> 00:36:31,880
Speaker 1: If this is what America is we have no problems.

797
00:36:31,560 --> 00:36:34,040
Speaker 1: We're We're as good as they are. They're just like us.

798
00:36:34,080 --> 00:36:36,399
Speaker 3: And it was popular in many countries where they said, well,

799
00:36:36,440 --> 00:36:38,600
Speaker 3: all the dresses, the sleeves go down to the rest,

800
00:36:38,640 --> 00:36:40,200
Speaker 3: and the dress go down to the ankle. So if

801
00:36:40,239 --> 00:36:42,719
Speaker 3: you said, we can't show you Western shows because there

802
00:36:42,719 --> 00:36:45,720
Speaker 3: are are you know, dressing guidelines and our religious values

803
00:36:45,920 --> 00:36:47,799
Speaker 3: and the thing. But it was so wholesome that in

804
00:36:47,800 --> 00:36:50,000
Speaker 3: countries where everything was terribly restricted, what we show this

805
00:36:50,080 --> 00:36:52,680
Speaker 3: perfectly if I look at these people and and then

806
00:36:52,800 --> 00:36:56,240
Speaker 3: I don't know. They said Saddam Hussein had daddy issues

807
00:36:56,239 --> 00:36:58,480
Speaker 3: and it was really obsessed with Michael Landon wanted him

808
00:36:58,480 --> 00:36:59,200
Speaker 3: to be his father.

809
00:37:00,400 --> 00:37:02,600
Speaker 4: Horrible, complicated, insane story.

810
00:37:02,680 --> 00:37:03,400
Speaker 1: Daddy issues.

811
00:37:03,560 --> 00:37:05,640
Speaker 4: Yes, clearly something was the.

812
00:37:05,640 --> 00:37:09,920
Speaker 3: Matter, but he was obsessed with Little House. Would stop work,

813
00:37:10,040 --> 00:37:11,759
Speaker 3: like I got to go watch Little Perry.

814
00:37:11,840 --> 00:37:12,040
Speaker 4: Now.

815
00:37:12,680 --> 00:37:16,560
Speaker 1: We always talk about it as this safe place. Little

816
00:37:16,600 --> 00:37:19,880
Speaker 1: House is a safe place no matter what's going on

817
00:37:19,920 --> 00:37:24,200
Speaker 1: in your life. We've met people through the years that

818
00:37:24,239 --> 00:37:29,960
Speaker 1: have gone through really horrible experiences in their lives and

819
00:37:30,000 --> 00:37:33,600
Speaker 1: they come to us and oftentimes with tears in their eyes,

820
00:37:33,680 --> 00:37:38,880
Speaker 1: telling us that Little House. The Ingles specifically represented the

821
00:37:38,880 --> 00:37:42,759
Speaker 1: family they wish they'd been a part of that. Mon

822
00:37:42,960 --> 00:37:48,000
Speaker 1: pa Ingles were their parents. For all practical reasons. Michael

823
00:37:48,000 --> 00:37:52,960
Speaker 1: and Karen have been historically through the years voted among

824
00:37:53,080 --> 00:37:57,279
Speaker 1: the most beloved parental figures in the history of television.

825
00:37:57,719 --> 00:38:00,879
Speaker 1: And it just keeps coming back. And I think one

826
00:38:00,880 --> 00:38:04,000
Speaker 1: of the reasons why it lasts is because it was

827
00:38:04,040 --> 00:38:06,320
Speaker 1: old when it was new. It's never gone out of

828
00:38:06,400 --> 00:38:09,640
Speaker 1: fashion because it was never in fashion. It's just it

829
00:38:09,680 --> 00:38:14,000
Speaker 1: is in its own world. And I think people feel

830
00:38:14,160 --> 00:38:18,080
Speaker 1: safe going there and stepping into this world because it

831
00:38:18,120 --> 00:38:21,120
Speaker 1: is so totally apart from the world that anybody who's

832
00:38:21,160 --> 00:38:25,520
Speaker 1: living today in our country basically is living in. And

833
00:38:25,680 --> 00:38:28,040
Speaker 1: I think that makes it very attractive to people.

834
00:38:28,040 --> 00:38:28,759
Speaker 4: It pulls you in.

835
00:38:28,800 --> 00:38:32,640
Speaker 3: I've heard from people who went through chemotherapy, various confusions.

836
00:38:33,160 --> 00:38:35,600
Speaker 3: Someone who's in a body cast for like six months

837
00:38:35,640 --> 00:38:37,800
Speaker 3: and could move, and they said, but I could watch

838
00:38:37,840 --> 00:38:40,080
Speaker 3: Little House and I could just it took me completely.

839
00:38:40,200 --> 00:38:42,440
Speaker 3: I didn't feel a thing, didn't feel a thing while

840
00:38:42,440 --> 00:38:44,480
Speaker 3: they were doing procedures. I could just watch that and

841
00:38:44,480 --> 00:38:47,080
Speaker 3: I had no anxiety, and I didn't even feel anything

842
00:38:47,160 --> 00:38:48,640
Speaker 3: while the doctors did what they had to do.

843
00:38:49,120 --> 00:38:51,480
Speaker 2: What a special role to play in people's lives all

844
00:38:51,480 --> 00:38:52,960
Speaker 2: over the world. I mean, that's incredible.

845
00:38:53,280 --> 00:38:58,840
Speaker 1: This an incredible gift. It has been this amazing, amazing gift.

846
00:39:00,200 --> 00:39:02,719
Speaker 1: Michael knew it was going to last. He said, this

847
00:39:02,760 --> 00:39:05,280
Speaker 1: is going to be people are going to be watching

848
00:39:05,320 --> 00:39:08,399
Speaker 1: this and loving it long after we're all gone. Now

849
00:39:08,520 --> 00:39:11,279
Speaker 1: at twenty five, when he said that to me, I'm thinking,

850
00:39:11,320 --> 00:39:14,360
Speaker 1: you know, when you're twenty five, you're immortal. That just

851
00:39:14,440 --> 00:39:18,000
Speaker 1: couldn't happen. I'm never not going to be here. There

852
00:39:18,080 --> 00:39:21,799
Speaker 1: is no beyond me. Now it's sixty eight. After the

853
00:39:21,920 --> 00:39:25,799
Speaker 1: experiences that we've all had, you know, it feels very

854
00:39:25,840 --> 00:39:28,640
Speaker 1: clear that Little House is going to go on long

855
00:39:28,719 --> 00:39:32,600
Speaker 1: after we're all gone, because it does touch something in

856
00:39:32,760 --> 00:39:39,000
Speaker 1: audiences that is fundamentally human and decent. And it's not that, look,

857
00:39:39,160 --> 00:39:42,840
Speaker 1: bad things happen on the house Little Houses love, But

858
00:39:43,040 --> 00:39:47,280
Speaker 1: what it is, I think it's how the bad things

859
00:39:47,400 --> 00:39:52,680
Speaker 1: are coped with. It's the grace of recovery. It's how

860
00:39:52,880 --> 00:39:56,839
Speaker 1: people gave come together as a community to deal with

861
00:39:57,600 --> 00:40:02,640
Speaker 1: the horrible things that happen to everybody from time to time.

862
00:40:03,200 --> 00:40:06,080
Speaker 1: And I think that's just been an amazing gift of

863
00:40:06,120 --> 00:40:08,040
Speaker 1: the program, and for all of us who are a

864
00:40:08,080 --> 00:40:10,880
Speaker 1: part of it, it's it's an amazing gift to be

865
00:40:11,040 --> 00:40:14,920
Speaker 1: the personification of these characters that mean that much to

866
00:40:15,040 --> 00:40:17,719
Speaker 1: the tow people who watch it and love it, it's amazing.

867
00:40:17,800 --> 00:40:19,520
Speaker 3: And for those who can't see as the person who

868
00:40:19,600 --> 00:40:21,160
Speaker 3: just said I am sixty eight does not look sad,

869
00:40:21,160 --> 00:40:23,200
Speaker 3: I'm like he says that, I got you're sixty eight.

870
00:40:23,200 --> 00:40:23,759
Speaker 4: That's right yours.

871
00:40:24,400 --> 00:40:25,960
Speaker 2: I'm just taking my job from jopping. It was like

872
00:40:26,040 --> 00:40:28,760
Speaker 2: sixty eight, what on earth away?

873
00:40:29,280 --> 00:40:30,080
Speaker 1: You can see it here.

874
00:40:31,239 --> 00:40:35,280
Speaker 4: I'm just turned sixty three and hanging in there. Everybody

875
00:40:35,280 --> 00:40:36,000
Speaker 4: from the show.

876
00:40:35,800 --> 00:40:37,640
Speaker 3: Looks actually pretty good if you see all of it.

877
00:40:37,680 --> 00:40:42,760
Speaker 1: I mean, Karen Karen, Karen Grassley is absolutely breathtakingly beautiful.

878
00:40:42,840 --> 00:40:43,799
Speaker 1: At eighty two.

879
00:40:44,040 --> 00:40:46,160
Speaker 3: We think there was something in the water in Walnut

880
00:40:46,239 --> 00:40:48,799
Speaker 3: Grove because every from the ship from the show is

881
00:40:48,800 --> 00:40:52,040
Speaker 3: freaking amazing. But it's true the number of people who said,

882
00:40:52,080 --> 00:40:54,120
Speaker 3: I just if my parents were Mom pow Angles, they

883
00:40:54,120 --> 00:40:56,200
Speaker 3: would have understood me. They would have understood me. It

884
00:40:56,200 --> 00:40:58,760
Speaker 3: would have been okay, yes, over and over again.

885
00:40:59,080 --> 00:40:59,680
Speaker 1: Oh my god.

886
00:40:59,680 --> 00:41:04,279
Speaker 2: That's powerful here, that's and that's something that I think

887
00:41:04,320 --> 00:41:06,640
Speaker 2: everyone listening to everyone listening to this is a fan

888
00:41:06,680 --> 00:41:09,040
Speaker 2: of Gilmore Girls. And that's something that we hear from

889
00:41:09,080 --> 00:41:11,799
Speaker 2: our listeners and from the fans, is that you know,

890
00:41:11,880 --> 00:41:14,440
Speaker 2: Stars Hollow is a place that they like to They

891
00:41:14,480 --> 00:41:16,359
Speaker 2: rewatch the show every year. It's a place where they

892
00:41:16,360 --> 00:41:19,160
Speaker 2: feel safe. They Luke and laurelize this beautiful love story

893
00:41:19,160 --> 00:41:21,520
Speaker 2: that they love to revisit. And I think that's such

894
00:41:21,520 --> 00:41:24,600
Speaker 2: an important part thing for a television show to play

895
00:41:24,719 --> 00:41:28,640
Speaker 2: in people's lives. It's so important for there's people that

896
00:41:28,680 --> 00:41:32,160
Speaker 2: don't feel safe always. You don't know, there's things happening

897
00:41:32,160 --> 00:41:33,839
Speaker 2: in your world you can't control. And I think it's

898
00:41:33,880 --> 00:41:36,480
Speaker 2: so special that little house on the prairie exists to

899
00:41:37,040 --> 00:41:38,560
Speaker 2: you know, people.

900
00:41:38,320 --> 00:41:41,640
Speaker 3: Generally underestimate the power of television and it's different than

901
00:41:41,640 --> 00:41:42,040
Speaker 3: the movies.

902
00:41:42,080 --> 00:41:42,840
Speaker 4: And we love the movies.

903
00:41:42,920 --> 00:41:45,480
Speaker 3: But even if you're a movie star and people say

904
00:41:45,480 --> 00:41:46,960
Speaker 3: this to me to go, well, I know, I don't

905
00:41:46,960 --> 00:41:49,160
Speaker 3: really but you were in my living room, we're in

906
00:41:49,200 --> 00:41:51,840
Speaker 3: their living room. Exact Father Crazy throw Ingram used to

907
00:41:51,840 --> 00:41:52,600
Speaker 3: always say.

908
00:41:52,480 --> 00:41:56,080
Speaker 4: It's different. You're in their living room, you're in their house.

909
00:41:56,200 --> 00:41:57,840
Speaker 4: The calls are coming from inside.

910
00:41:58,400 --> 00:42:01,200
Speaker 3: They know you, and that is a thing that all

911
00:42:01,239 --> 00:42:02,920
Speaker 3: TV shows, even when you say, all that was a

912
00:42:02,960 --> 00:42:06,480
Speaker 3: silly fluff show, but to somebody somewhere, somebody somewhere who

913
00:42:06,560 --> 00:42:09,160
Speaker 3: was lonely or sad or something, it was there in

914
00:42:09,239 --> 00:42:11,120
Speaker 3: this house and those people were their friends.

915
00:42:11,360 --> 00:42:17,000
Speaker 1: Yes, they they The program comes to them in their

916
00:42:17,200 --> 00:42:22,960
Speaker 1: most open, revealed I mean not just the living room,

917
00:42:23,080 --> 00:42:27,319
Speaker 1: people watching, in their bedrooms, in their bathrooms, in their

918
00:42:27,400 --> 00:42:33,960
Speaker 1: kitchens in there. And so people feel like, because the

919
00:42:34,040 --> 00:42:37,319
Speaker 1: people watching are in such an open place in their

920
00:42:37,360 --> 00:42:41,839
Speaker 1: life as they're watching and unguarded, we just come in

921
00:42:41,920 --> 00:42:47,240
Speaker 1: and we become these characters, become part of people's lives.

922
00:42:47,239 --> 00:42:49,360
Speaker 1: And there's a reason. I think that's the reason why

923
00:42:49,400 --> 00:42:54,479
Speaker 1: people really genuinely feel like they know you and and

924
00:42:54,560 --> 00:42:58,279
Speaker 1: you know, and I think they hope, hope, hope that

925
00:42:58,360 --> 00:43:00,799
Speaker 1: you are when they meet you.

926
00:43:01,200 --> 00:43:04,719
Speaker 4: They hope that you are what they fall in love

927
00:43:04,760 --> 00:43:06,080
Speaker 4: with unless you're me.

928
00:43:07,080 --> 00:43:10,760
Speaker 1: Unless you yeah, yeah, but you give them a taste

929
00:43:10,800 --> 00:43:10,960
Speaker 1: of that.

930
00:43:11,080 --> 00:43:16,719
Speaker 5: But they also hope it'll be a toll, be slightly naughty. Yes, yes, yeah,

931
00:43:16,760 --> 00:43:20,160
Speaker 5: does that have If you're like at a convention or something, yeah,

932
00:43:20,200 --> 00:43:21,759
Speaker 5: people are like, come on, can you be mean to

933
00:43:21,760 --> 00:43:22,440
Speaker 5: me for a second?

934
00:43:23,320 --> 00:43:23,520
Speaker 1: Oh?

935
00:43:23,800 --> 00:43:25,360
Speaker 4: Absolutely, you know, I'll do.

936
00:43:25,440 --> 00:43:27,279
Speaker 3: Even the cameos, they're like, can you give them a

937
00:43:27,280 --> 00:43:29,319
Speaker 3: hard time in the cameo They're like, oh my god,

938
00:43:30,280 --> 00:43:32,600
Speaker 3: it's so silly, but I I do. I still like,

939
00:43:32,680 --> 00:43:34,880
Speaker 3: you know, I'm terrible. I like making faces and sticking

940
00:43:34,920 --> 00:43:36,560
Speaker 3: my tongue out and everything. And the number of people

941
00:43:36,600 --> 00:43:38,120
Speaker 3: post for a picture. Can we have a nice one?

942
00:43:38,120 --> 00:43:39,960
Speaker 3: And then can we have when we make the horrible faces?

943
00:43:40,480 --> 00:43:43,960
Speaker 4: Yes, yes we can do that. Yes that's okay. It's like,

944
00:43:44,280 --> 00:43:45,359
Speaker 4: what the heck I.

945
00:43:45,320 --> 00:43:48,920
Speaker 3: Mean to be asked fifty years later as a grown

946
00:43:49,000 --> 00:43:50,680
Speaker 3: woman stick your tongue out again?

947
00:43:50,760 --> 00:43:51,080
Speaker 4: Please?

948
00:43:51,280 --> 00:43:54,920
Speaker 3: Because people are that excited about it, like sure, why?

949
00:43:55,440 --> 00:44:01,200
Speaker 1: Hell? And people want warm, loving decent for me. They

950
00:44:01,520 --> 00:44:03,960
Speaker 1: know they are looking and all of us people want

951
00:44:04,040 --> 00:44:10,800
Speaker 1: something different that they want that thing. It's through these years, Easton,

952
00:44:10,880 --> 00:44:14,719
Speaker 1: it's been very important to me to feel like when

953
00:44:15,840 --> 00:44:19,440
Speaker 1: someone meets me in this public kind of public situation,

954
00:44:20,160 --> 00:44:23,800
Speaker 1: that they get what they thought they were going to get.

955
00:44:24,600 --> 00:44:28,040
Speaker 1: That's really really important because you have touched them in

956
00:44:28,040 --> 00:44:31,600
Speaker 1: this very basic place. And I think if we can

957
00:44:31,680 --> 00:44:34,239
Speaker 1: be that, if we are that thing, one of those

958
00:44:34,280 --> 00:44:38,160
Speaker 1: things that they trust you want, I want them to

959
00:44:38,160 --> 00:44:40,279
Speaker 1: be able to continue to trust in that, and the

960
00:44:40,400 --> 00:44:45,640
Speaker 1: gift I get for that is this incredible well of

961
00:44:45,680 --> 00:44:48,759
Speaker 1: affection and warmth it comes at me. I mean, that

962
00:44:49,080 --> 00:44:53,200
Speaker 1: is an amazing gift. And anybody, any of us in

963
00:44:53,239 --> 00:44:56,680
Speaker 1: this world who have received that, we know what that is,

964
00:44:56,840 --> 00:45:01,680
Speaker 1: we know what that feels like. It's extraordinary. It's a beautiful,

965
00:45:01,800 --> 00:45:05,000
Speaker 1: beautiful thing to get. So I want to take care

966
00:45:05,080 --> 00:45:07,800
Speaker 1: of it, you know, so that it keeps, so that

967
00:45:07,840 --> 00:45:09,480
Speaker 1: it keeps coming as long as I'm.

968
00:45:09,360 --> 00:45:11,680
Speaker 4: Walking down, because this is a good thing.

969
00:45:11,880 --> 00:45:12,919
Speaker 1: It's grilling.

970
00:45:13,800 --> 00:45:16,080
Speaker 3: Bob said to me once he watched me sign autographs,

971
00:45:16,080 --> 00:45:19,120
Speaker 3: and he said, if I thought I could make people

972
00:45:19,400 --> 00:45:22,799
Speaker 3: that happy by writing my name, why would do it

973
00:45:22,840 --> 00:45:25,080
Speaker 3: all day?

974
00:45:24,760 --> 00:45:28,840
Speaker 1: Yeah, yeah, no exactly, Or to standing up and taking

975
00:45:28,880 --> 00:45:34,560
Speaker 1: a picture with people. It's it's it's remarkable. It's remarkable

976
00:45:34,600 --> 00:45:38,560
Speaker 1: what the program has given us. And as you're suggesting,

977
00:45:38,600 --> 00:45:43,040
Speaker 1: I mean, the Gilmore cast has this same effect on people.

978
00:45:43,120 --> 00:45:48,800
Speaker 1: Different time period, different place, maybe different slightly different tone.

979
00:45:49,160 --> 00:45:52,360
Speaker 1: Little House was Little House was pretty on the nose.

980
00:45:53,040 --> 00:45:55,200
Speaker 1: It was always on the nose, and it was I

981
00:45:55,239 --> 00:45:58,520
Speaker 1: think that was part of its disarming quality is that

982
00:45:58,880 --> 00:46:03,040
Speaker 1: you you when you saw something you were getting it

983
00:46:03,120 --> 00:46:05,319
Speaker 1: was you were getting what you were getting. There was

984
00:46:05,400 --> 00:46:09,040
Speaker 1: no hidden message, there was no I mean you got that.

985
00:46:10,000 --> 00:46:13,799
Speaker 1: It was clear. The storytelling was absolutely crystal clear and

986
00:46:13,880 --> 00:46:14,680
Speaker 1: sort of primal.

987
00:46:15,120 --> 00:46:17,000
Speaker 4: They didn't have to decode anything, right.

988
00:46:17,719 --> 00:46:18,520
Speaker 1: It's right in front of you.

989
00:46:18,719 --> 00:46:24,000
Speaker 2: Yeah, I have some questions about, uh, the fake Walnut

990
00:46:24,080 --> 00:46:29,760
Speaker 2: Grove in Seam Valley. So I noticed some similarities between

991
00:46:30,200 --> 00:46:33,960
Speaker 2: Stars Hollow and Wannut Grove. And for everyone listening, stars

992
00:46:33,960 --> 00:46:38,320
Speaker 2: Hollow not a real place in Connecticut, filmed in Burbank,

993
00:46:38,520 --> 00:46:41,160
Speaker 2: mere blocks from where we sit right now. The water

994
00:46:41,239 --> 00:46:45,440
Speaker 2: Brothers a lot. And however, Wannut Grove filmed in Seami

995
00:46:45,560 --> 00:46:48,960
Speaker 2: Valley at Big Sky Ranch, a real place in Minnesota.

996
00:46:49,239 --> 00:46:49,879
Speaker 4: Lovely place.

997
00:46:50,600 --> 00:46:52,040
Speaker 2: I'm sure you visited many times.

998
00:46:52,760 --> 00:46:54,799
Speaker 4: Starlin, great museum, adorable you.

999
00:46:54,800 --> 00:46:55,560
Speaker 1: Should good times.

1000
00:46:55,680 --> 00:46:58,719
Speaker 2: Do people often do you hear from people that visit

1001
00:46:58,800 --> 00:47:02,880
Speaker 2: and go, oh this is really film? Did and yeah? Yeah?

1002
00:47:03,160 --> 00:47:05,160
Speaker 3: The poor people in Walnut Grove have a lovely gift

1003
00:47:05,160 --> 00:47:07,800
Speaker 3: shop and museum and lovely attractions. It's it's a darling

1004
00:47:07,800 --> 00:47:10,280
Speaker 3: little place. Anyway, hit that dairy queen. It's a great place.

1005
00:47:12,520 --> 00:47:14,520
Speaker 3: They go there and they film it doesn't look like

1006
00:47:14,560 --> 00:47:16,400
Speaker 3: the shower and they go well, because this is where.

1007
00:47:16,280 --> 00:47:17,440
Speaker 4: Laura actually lives.

1008
00:47:17,920 --> 00:47:21,640
Speaker 3: No, it's and then they got the people, I get grown,

1009
00:47:21,840 --> 00:47:24,879
Speaker 3: grown people. And sometimes in the industry, you go, I

1010
00:47:24,960 --> 00:47:26,840
Speaker 3: just I want to go to you know the town.

1011
00:47:27,719 --> 00:47:28,160
Speaker 4: The town.

1012
00:47:28,239 --> 00:47:29,879
Speaker 3: Now, when you see the town, what do you mean

1013
00:47:30,120 --> 00:47:33,120
Speaker 3: you know the town where we film? Yeah, I said,

1014
00:47:33,120 --> 00:47:35,960
Speaker 3: well that's not very mean more well the no, no,

1015
00:47:36,040 --> 00:47:38,239
Speaker 3: the town do you mean Walnut Grove in Minnesota? And

1016
00:47:38,239 --> 00:47:40,960
Speaker 3: then they're brows knit And I really I go, whoa

1017
00:47:41,480 --> 00:47:43,080
Speaker 3: did you all thought that was a real town?

1018
00:47:43,440 --> 00:47:46,319
Speaker 4: It wasn't. I'm like, god, dude, you're forty five, and

1019
00:47:46,480 --> 00:47:49,480
Speaker 4: it's it's it's hard. We made it. We made it

1020
00:47:49,520 --> 00:47:50,200
Speaker 4: look very real.

1021
00:47:50,760 --> 00:47:51,759
Speaker 1: It did look very real.

1022
00:47:51,880 --> 00:47:54,600
Speaker 3: But yeah, and then the town it's not actually laid

1023
00:47:54,600 --> 00:47:57,920
Speaker 3: out like the real Walnut Grove. I mean, uh, Oddly,

1024
00:47:57,960 --> 00:48:00,360
Speaker 3: I think the distance of the Ingles home to the

1025
00:48:00,400 --> 00:48:03,840
Speaker 3: town in school is actually the correct distance. Wow, within

1026
00:48:03,880 --> 00:48:06,480
Speaker 3: a quarter mile at least, because it was like, yeah,

1027
00:48:06,520 --> 00:48:08,440
Speaker 3: because it's like two and a half miles. And then

1028
00:48:08,480 --> 00:48:10,640
Speaker 3: somebody looked it up and we checked Laura's books and

1029
00:48:10,640 --> 00:48:12,440
Speaker 3: it's it's like two and a half miles bare rely.

1030
00:48:12,840 --> 00:48:15,319
Speaker 3: So it's that part I think we got right. The

1031
00:48:15,320 --> 00:48:17,200
Speaker 3: house in the barn, that's like laid out like if

1032
00:48:17,200 --> 00:48:20,640
Speaker 3: you described the books, but the mercantile and the school,

1033
00:48:21,160 --> 00:48:23,360
Speaker 3: and Elie didn't have a hotel. We just kind of

1034
00:48:23,360 --> 00:48:27,080
Speaker 3: shoved everything in there so that that doesn't bear any

1035
00:48:27,120 --> 00:48:29,480
Speaker 3: resemblance to really anywhere that she actually lived with.

1036
00:48:30,080 --> 00:48:33,120
Speaker 1: It was this idyllic setting that was laid out beautifully

1037
00:48:33,160 --> 00:48:36,759
Speaker 1: by someone who I think understood the romance of a

1038
00:48:36,800 --> 00:48:41,879
Speaker 1: small town. Now there's production design is a very powerful thing,

1039
00:48:42,120 --> 00:48:45,440
Speaker 1: and it's created that way. Now. One of the things

1040
00:48:45,480 --> 00:48:49,319
Speaker 1: that is one of the most distinctive things about our

1041
00:48:49,520 --> 00:48:53,439
Speaker 1: television Walnut Grove versus the real Walnut Grove. Well, one,

1042
00:48:53,719 --> 00:48:56,960
Speaker 1: there's no topography in the real Wallet Grove. It's flat

1043
00:48:56,960 --> 00:49:02,480
Speaker 1: as a pan can there. And secondly, I think probably

1044
00:49:02,600 --> 00:49:07,040
Speaker 1: most dramatic if you live on the East Coast or

1045
00:49:07,120 --> 00:49:10,840
Speaker 1: sort of central country east, is that the country is

1046
00:49:10,960 --> 00:49:13,680
Speaker 1: green in the summertime. In a great deal of the

1047
00:49:13,719 --> 00:49:16,160
Speaker 1: country in the western part of the United States, because

1048
00:49:16,200 --> 00:49:21,000
Speaker 1: of the lack of water and rain, it's dry and brown. Now,

1049
00:49:21,480 --> 00:49:25,319
Speaker 1: people could you could have pushed back on that, but

1050
00:49:25,400 --> 00:49:29,640
Speaker 1: I think as a tribute to the program, people just

1051
00:49:30,280 --> 00:49:33,960
Speaker 1: bought in to what they saw Now, look, there was

1052
00:49:34,000 --> 00:49:36,600
Speaker 1: a sprinkler system that was around the little house, and

1053
00:49:36,640 --> 00:49:40,960
Speaker 1: so you got this sort of ring of green around

1054
00:49:41,080 --> 00:49:44,759
Speaker 1: the little house and barn in this little bowl, but

1055
00:49:45,440 --> 00:49:49,000
Speaker 1: twenty feet up beyond that, it's dry as a bone. Now,

1056
00:49:49,040 --> 00:49:50,120
Speaker 1: how does that happen?

1057
00:49:50,239 --> 00:49:52,479
Speaker 3: And then the one hundred year old oaks, which never changed,

1058
00:49:52,560 --> 00:49:54,640
Speaker 3: doesn't matter what the heck's happening. They're great, which created

1059
00:49:54,680 --> 00:49:57,680
Speaker 3: promt is uh no snow and Minnesota course has enormous

1060
00:49:57,719 --> 00:50:00,920
Speaker 3: blizzards and many many feet of snow. So the piles

1061
00:50:00,920 --> 00:50:03,880
Speaker 3: of was it gypsum gypsum powder? And then okay, there

1062
00:50:03,880 --> 00:50:05,680
Speaker 3: were three rings of snow. If it was in the

1063
00:50:05,760 --> 00:50:08,040
Speaker 3: shot and someone's going to be touching it, it's crushed ice,

1064
00:50:08,080 --> 00:50:08,560
Speaker 3: fake snow.

1065
00:50:08,719 --> 00:50:08,959
Speaker 1: Wow.

1066
00:50:09,000 --> 00:50:10,600
Speaker 3: If it's a few feetback and no one's going to

1067
00:50:10,680 --> 00:50:12,680
Speaker 3: touch it, but needs to be shiny, it's the gypsum

1068
00:50:12,680 --> 00:50:14,200
Speaker 3: powder on a white bed sheet.

1069
00:50:14,360 --> 00:50:16,080
Speaker 4: If it's all the way in the back towards the

1070
00:50:16,080 --> 00:50:19,200
Speaker 4: back of the school, it's literally just bed sheets over rocks.

1071
00:50:19,560 --> 00:50:21,319
Speaker 4: We're not going to get that close. And so the

1072
00:50:21,400 --> 00:50:23,560
Speaker 4: three kinds of fake snow and so it's all fake.

1073
00:50:23,600 --> 00:50:25,319
Speaker 3: And then the trees are green and you can even

1074
00:50:25,320 --> 00:50:27,319
Speaker 3: see green grass in the distance while we have all

1075
00:50:27,320 --> 00:50:30,279
Speaker 3: these piles of snow around the store. And some people went, oh,

1076
00:50:30,280 --> 00:50:33,719
Speaker 3: come on, but no people bought it. People thought there

1077
00:50:33,800 --> 00:50:36,239
Speaker 3: was and the blizzards are people still like, are shock

1078
00:50:36,360 --> 00:50:38,359
Speaker 3: that that was wax flakes and a fan.

1079
00:50:38,719 --> 00:50:42,640
Speaker 1: In the day when television was four hundred and eighty

1080
00:50:42,680 --> 00:50:47,759
Speaker 1: lines of resolution, you could put a sheet over a rock.

1081
00:50:48,160 --> 00:50:51,520
Speaker 1: Beautiful and from a distance with a sauce, slightly soft

1082
00:50:51,640 --> 00:50:57,640
Speaker 1: depth of fields situation. You bought it in HD. That

1083
00:50:57,680 --> 00:51:03,359
Speaker 1: stuff shows up. Oh, people just accept it. And HD

1084
00:51:03,880 --> 00:51:09,000
Speaker 1: is beautiful. It's also highly revealing, and you know, you

1085
00:51:09,200 --> 00:51:11,359
Speaker 1: just sort of you just have to accept it. It's

1086
00:51:11,400 --> 00:51:14,280
Speaker 1: a vintage it's a vintage program. I love that throwing

1087
00:51:14,320 --> 00:51:16,680
Speaker 1: a sheet, a white sheet over a rock.

1088
00:51:16,840 --> 00:51:18,080
Speaker 4: Yeah, it's just today.

1089
00:51:18,160 --> 00:51:20,040
Speaker 1: You can see that. If you're watching it on the

1090
00:51:20,120 --> 00:51:24,000
Speaker 1: DVD or if you're watching more remastered version on on Cozy

1091
00:51:24,080 --> 00:51:27,200
Speaker 1: or whatever, you're going to maybe see the sheet. If

1092
00:51:27,200 --> 00:51:30,319
Speaker 1: you're watching it on a fifty inch television, you'll see it.

1093
00:51:30,440 --> 00:51:32,080
Speaker 3: You can't even get away with the pile of gypsum

1094
00:51:32,120 --> 00:51:34,720
Speaker 3: looks like a big pile of gyps our. Wood paneling

1095
00:51:34,800 --> 00:51:37,959
Speaker 3: looks a little some of our wood, that beautiful wood grain.

1096
00:51:38,719 --> 00:51:40,799
Speaker 3: In the high depth, you can see that in the

1097
00:51:40,840 --> 00:51:43,440
Speaker 3: school someone has just taken brown paint and painted big

1098
00:51:43,520 --> 00:51:46,920
Speaker 3: swirly lines, and that's a little more evident in.

1099
00:51:46,880 --> 00:51:47,439
Speaker 4: Some of the seats.

1100
00:51:47,760 --> 00:51:49,920
Speaker 1: It's not like watching Star Trek where you can see

1101
00:51:51,280 --> 00:51:54,719
Speaker 1: of the stars stretch table on the bridge, which is

1102
00:51:55,040 --> 00:51:57,879
Speaker 1: just a crack up to me that you can say,

1103
00:51:58,000 --> 00:52:02,400
Speaker 1: but you buy it because because the story is working. Okay,

1104
00:52:02,480 --> 00:52:07,280
Speaker 1: you accept maybe okay, it's wrinkled, doesn't matter. The story works,

1105
00:52:07,440 --> 00:52:10,440
Speaker 1: and that's we have that. We are blessed with that

1106
00:52:10,480 --> 00:52:10,799
Speaker 1: as well.

1107
00:52:11,040 --> 00:52:13,080
Speaker 3: The crazy believing is and we just talked about this

1108
00:52:13,200 --> 00:52:16,000
Speaker 3: today on our podcast. Okay, so the famous cinnamon Chicken

1109
00:52:16,040 --> 00:52:20,439
Speaker 3: episode where Missus Olsen is like, oh, it was because

1110
00:52:20,480 --> 00:52:23,920
Speaker 3: you sell Nelly to him, and of course Laura sabotages

1111
00:52:23,960 --> 00:52:24,720
Speaker 3: it with Kai and Pepper.

1112
00:52:24,880 --> 00:52:26,200
Speaker 4: So this is a scene where we eat.

1113
00:52:26,040 --> 00:52:28,719
Speaker 3: This chicken that is allegedly covered in kaien pepper, and

1114
00:52:28,760 --> 00:52:31,120
Speaker 3: about the third chew, we lose it and start turning

1115
00:52:31,120 --> 00:52:32,960
Speaker 3: red in the face and our eyes water and we're

1116
00:52:33,040 --> 00:52:35,200
Speaker 3: choking down glasses of water and run to the sink

1117
00:52:35,239 --> 00:52:38,759
Speaker 3: and the pumping and screaming, bloody murder were're just saying,

1118
00:52:38,760 --> 00:52:40,560
Speaker 3: we nailed that so incredible.

1119
00:52:40,960 --> 00:52:42,080
Speaker 4: I have people.

1120
00:52:41,840 --> 00:52:44,200
Speaker 3: Today fifty years later ago. So what did they put

1121
00:52:44,239 --> 00:52:47,160
Speaker 3: on the chicken? I go with real life nothing. It

1122
00:52:47,200 --> 00:52:50,440
Speaker 3: was lovely herbed baked chicken. But but come on, you

1123
00:52:50,480 --> 00:52:52,680
Speaker 3: guys must have had pepper on the chicken to do that.

1124
00:52:53,360 --> 00:52:57,480
Speaker 3: Heaven forfend, we should be acting, but somehow we were,

1125
00:52:57,520 --> 00:53:00,400
Speaker 3: I mean exactly, but we nailed that so well. And

1126
00:53:00,440 --> 00:53:03,160
Speaker 3: I just watched it recently and wow, I mean you

1127
00:53:03,239 --> 00:53:05,520
Speaker 3: go right red in the face like you are dying

1128
00:53:05,680 --> 00:53:08,040
Speaker 3: in that scene. We we went all out and it

1129
00:53:08,080 --> 00:53:10,279
Speaker 3: really is impressive. And I people today say, you know,

1130
00:53:10,480 --> 00:53:12,600
Speaker 3: you weren't acting. There had to be pepper on that chicken.

1131
00:53:12,840 --> 00:53:15,760
Speaker 1: I always say to people, you you want the actor

1132
00:53:15,800 --> 00:53:18,839
Speaker 1: to be in control of these moments. You don't want

1133
00:53:18,840 --> 00:53:22,760
Speaker 1: to really choke the actor. Want, you know, the actor

1134
00:53:22,920 --> 00:53:24,840
Speaker 1: has to be in command of the moment.

1135
00:53:25,560 --> 00:53:26,000
Speaker 4: Allergic.

1136
00:53:26,480 --> 00:53:28,560
Speaker 1: Yeah, whatever, whatever you're gonna do, it's got to be

1137
00:53:28,640 --> 00:53:30,120
Speaker 1: what you what you're doing.

1138
00:53:30,360 --> 00:53:30,480
Speaker 3: Now.

1139
00:53:30,520 --> 00:53:33,840
Speaker 1: Look, there are people who occasionally will slip a little

1140
00:53:34,080 --> 00:53:37,040
Speaker 1: adult beverage into a glass of something, and that can

1141
00:53:37,120 --> 00:53:41,680
Speaker 1: cause the eyes perhaps to pop open unexpectedly, but generally

1142
00:53:41,719 --> 00:53:44,400
Speaker 1: you want it to be a moment that works because

1143
00:53:44,440 --> 00:53:47,080
Speaker 1: the actors are making it work. You do not want

1144
00:53:47,120 --> 00:53:51,200
Speaker 1: to manipulate. Now they manipulate small children. They like that.

1145
00:53:51,360 --> 00:53:51,799
Speaker 4: It's true.

1146
00:53:52,680 --> 00:53:57,400
Speaker 1: Wendy lu Lee who was sister Brenda, who were baby Grace.

1147
00:53:57,360 --> 00:53:59,919
Speaker 3: Brilliant, fabulous baby Grace, and they've grown up to be loved.

1148
00:54:01,680 --> 00:54:06,360
Speaker 1: But they tell stories about how in a scene where

1149
00:54:06,840 --> 00:54:10,600
Speaker 1: Pa is supposed to be having made them breakfast and

1150
00:54:10,600 --> 00:54:13,760
Speaker 1: feeding them oatmeal, it's not supposed to be very good.

1151
00:54:14,760 --> 00:54:18,280
Speaker 1: And they need they need the children, They need Wendy

1152
00:54:18,360 --> 00:54:21,120
Speaker 1: to push back on it. Well, they just they dumped

1153
00:54:21,200 --> 00:54:26,239
Speaker 1: pepper all over it. Oh my one bite of that,

1154
00:54:26,560 --> 00:54:30,880
Speaker 1: and the Wendy pushed back and would never take anything

1155
00:54:31,000 --> 00:54:32,240
Speaker 1: from Michael ever again.

1156
00:54:32,280 --> 00:54:33,359
Speaker 4: And that's what they wanted.

1157
00:54:33,800 --> 00:54:36,000
Speaker 3: She only need the one bite, so that from then on,

1158
00:54:36,120 --> 00:54:37,759
Speaker 3: if you put a spoon here, she goes, no, no,

1159
00:54:37,920 --> 00:54:40,919
Speaker 3: you again, a like run away and and she said, look,

1160
00:54:41,280 --> 00:54:42,480
Speaker 3: you know, was it a lot of pepper?

1161
00:54:42,600 --> 00:54:45,440
Speaker 4: Not really, but I was a bay soon as I

1162
00:54:45,560 --> 00:54:47,200
Speaker 4: tasted it, I hated it.

1163
00:54:47,239 --> 00:54:49,800
Speaker 3: And she said, but she has clarified, I am okay,

1164
00:54:50,040 --> 00:54:52,600
Speaker 3: I eat oat meal as an adult to this day.

1165
00:54:52,600 --> 00:54:55,279
Speaker 3: It was not beverly scarred I made the oatmeal and

1166
00:54:56,120 --> 00:54:57,520
Speaker 3: I did recover from that.

1167
00:54:57,600 --> 00:54:58,240
Speaker 4: I am okay.

1168
00:54:58,280 --> 00:54:58,440
Speaker 1: Now.

1169
00:54:58,560 --> 00:55:01,760
Speaker 2: So when you're filming a scene where I'm so fascinated

1170
00:55:01,800 --> 00:55:04,479
Speaker 2: by eating scenes act like so.

1171
00:55:04,400 --> 00:55:07,080
Speaker 1: Many you some of the hardest scenes to do. And

1172
00:55:07,120 --> 00:55:09,759
Speaker 1: to shoot them and cover them and cut them is

1173
00:55:09,800 --> 00:55:11,759
Speaker 1: a really is a big deal.

1174
00:55:11,920 --> 00:55:13,520
Speaker 4: And to eat your food but not eat your food.

1175
00:55:13,560 --> 00:55:15,480
Speaker 3: Don't be too fast because then they have to fill

1176
00:55:15,520 --> 00:55:17,560
Speaker 3: up your plate again and know no continentary magic. But

1177
00:55:17,600 --> 00:55:19,400
Speaker 3: then you have to eat a little bitter than everybody

1178
00:55:19,400 --> 00:55:21,080
Speaker 3: and head home. Goes Oh, they're just pushing it around

1179
00:55:21,080 --> 00:55:22,759
Speaker 3: on the plane again, for God's sake. So you gotta

1180
00:55:22,760 --> 00:55:24,160
Speaker 3: get it's a fine line.

1181
00:55:24,360 --> 00:55:29,040
Speaker 1: And you have to cut the meat, pick up the fork,

1182
00:55:29,480 --> 00:55:32,400
Speaker 1: put it in your mouth in exactly the same place

1183
00:55:32,840 --> 00:55:37,560
Speaker 1: every single time. Or you can you can push yourself,

1184
00:55:37,600 --> 00:55:41,120
Speaker 1: blow yourself right out of the scene if your continuity

1185
00:55:41,480 --> 00:55:42,319
Speaker 1: is not good.

1186
00:55:42,520 --> 00:55:44,279
Speaker 3: So if you take a big chunk of food, you're

1187
00:55:44,280 --> 00:55:46,279
Speaker 3: eating a bunch in that master shot, well.

1188
00:55:46,280 --> 00:55:48,400
Speaker 4: You're gonna be eating. You're gonna be eating hearty today.

1189
00:55:49,280 --> 00:55:51,440
Speaker 1: Eating that. You will be very careful about it.

1190
00:55:51,560 --> 00:55:52,480
Speaker 4: You gotta paste yourself.

1191
00:55:52,480 --> 00:55:54,040
Speaker 1: I think of the you know, the kids that they

1192
00:55:54,160 --> 00:55:56,560
Speaker 1: when we know this cast, the Walton's cast, and there

1193
00:55:56,600 --> 00:55:58,920
Speaker 1: you know, there were ten people around the table every

1194
00:55:58,920 --> 00:56:06,040
Speaker 1: time they got expert at eating on camera and not

1195
00:56:06,200 --> 00:56:09,000
Speaker 1: just a lot and not eating exactly.

1196
00:56:08,880 --> 00:56:11,800
Speaker 3: They eat Every episode had three dinnersolutely.

1197
00:56:11,960 --> 00:56:16,440
Speaker 1: Yeah, they spent hours shooting these scenes. Now we had

1198
00:56:16,480 --> 00:56:19,439
Speaker 1: our dinner scenes, but you know you didn't have a

1199
00:56:19,480 --> 00:56:22,600
Speaker 1: lot of Olsen dinners. There were definitely well scenes, there

1200
00:56:22,640 --> 00:56:23,359
Speaker 1: wasn't a ton of them.

1201
00:56:23,480 --> 00:56:24,000
Speaker 4: We are.

1202
00:56:24,040 --> 00:56:26,439
Speaker 3: Our challenge was because we really good food. You guys

1203
00:56:26,520 --> 00:56:31,480
Speaker 3: kept getting stuck with Dnty Morbi. Yeah, but the but

1204
00:56:31,680 --> 00:56:34,200
Speaker 3: at the Olsen's we had the our lovely prop men

1205
00:56:34,239 --> 00:56:36,080
Speaker 3: were such chefs. We had a roast leg of lamb

1206
00:56:36,120 --> 00:56:38,120
Speaker 3: and a roast beef and a roast turkey and all

1207
00:56:38,120 --> 00:56:40,400
Speaker 3: this fabulous food with like the mint jellian and the

1208
00:56:40,760 --> 00:56:43,960
Speaker 3: biscuits and the We had seriously good food. So the

1209
00:56:44,080 --> 00:56:46,279
Speaker 3: challenge was not to just go wow and just like

1210
00:56:46,400 --> 00:56:48,840
Speaker 3: shove it in your face immediately. We had to pace ourselves.

1211
00:56:48,840 --> 00:56:49,000
Speaker 1: Now.

1212
00:56:49,080 --> 00:56:50,240
Speaker 4: The prop man always said.

1213
00:56:50,040 --> 00:56:54,160
Speaker 3: We will give you a plate after this, so we

1214
00:56:54,200 --> 00:56:56,360
Speaker 3: could eat delicately and then go, do I get with

1215
00:56:56,480 --> 00:56:57,160
Speaker 3: this when we're done?

1216
00:56:57,239 --> 00:56:59,840
Speaker 4: Yes, you get that when we're done. Because our food

1217
00:56:59,880 --> 00:57:00,480
Speaker 4: was right.

1218
00:57:00,440 --> 00:57:03,240
Speaker 3: So I it's yes, try to play a rich person

1219
00:57:03,239 --> 00:57:05,000
Speaker 3: on TV if you can. Especially it's just gonna be

1220
00:57:05,040 --> 00:57:07,360
Speaker 3: a lot of eating. Because yeah, well.

1221
00:57:07,239 --> 00:57:10,160
Speaker 2: I mean I personally meeting this up. We have I

1222
00:57:10,160 --> 00:57:12,640
Speaker 2: know we're runn out of time here, but if I

1223
00:57:12,680 --> 00:57:15,560
Speaker 2: have a couple more questions about your podcast. Yes, we

1224
00:57:15,600 --> 00:57:17,200
Speaker 2: have so much more to get into. We're gonna take

1225
00:57:17,240 --> 00:57:21,800
Speaker 2: one quick break. We're here with Dean Butler Allison on

1226
00:57:21,840 --> 00:57:23,640
Speaker 2: Grim from Little House on the Prairie. It's the ice

1227
00:57:23,680 --> 00:57:35,720
Speaker 2: small pop culture podcast. Stick around Dean Butler Alison on Grim.

1228
00:57:35,720 --> 00:57:37,600
Speaker 2: It's the Ice small pop culture podcast here and I

1229
00:57:37,680 --> 00:57:40,520
Speaker 2: am all in. We're having such a good time here

1230
00:57:40,640 --> 00:57:45,040
Speaker 2: in the audio, Walnut Grove, you guys have your own podcast.

1231
00:57:45,560 --> 00:57:47,800
Speaker 2: We're celebrating fifty years of Little House on the Prairie.

1232
00:57:47,840 --> 00:57:50,720
Speaker 2: It is the Little House fifty for fifty podcasts.

1233
00:57:51,040 --> 00:57:53,280
Speaker 1: But that's what's the first thing was now the Little

1234
00:57:53,320 --> 00:57:54,960
Speaker 1: House fiftieth anniversary podcast.

1235
00:57:55,000 --> 00:57:57,200
Speaker 4: Okay, because we went so far past doing for.

1236
00:57:57,280 --> 00:58:00,960
Speaker 1: The idea, we also say Little House and online is

1237
00:58:01,040 --> 00:58:05,000
Speaker 1: the Little House Little House fifty podcast dot com.

1238
00:58:05,040 --> 00:58:08,120
Speaker 4: Okay, yeah, because we're going to get like fifty episodes.

1239
00:58:07,760 --> 00:58:11,200
Speaker 1: Hot, We're going to go well beyond me. I love it.

1240
00:58:11,240 --> 00:58:14,840
Speaker 2: And so in the podcast, You're you're looking back on

1241
00:58:14,880 --> 00:58:17,680
Speaker 2: the show, you're interviewing some past stars. I listened to

1242
00:58:17,680 --> 00:58:22,000
Speaker 2: some episodes. Great stuff, so much fun. You're You're chemistry

1243
00:58:22,040 --> 00:58:23,240
Speaker 2: with Pamela Bob is great.

1244
00:58:23,560 --> 00:58:25,520
Speaker 3: She's about Pamela Bob of New York, who's a Broadway

1245
00:58:25,560 --> 00:58:29,320
Speaker 3: actress and absolutely hilarious. But she's also a true die

1246
00:58:29,400 --> 00:58:32,479
Speaker 3: hard Bonnet Heead fan, so she has what she knows.

1247
00:58:32,520 --> 00:58:35,160
Speaker 3: She's like, Okay, I know what's important about this episode

1248
00:58:35,200 --> 00:58:38,000
Speaker 3: because I'm one of those people that we the fans,

1249
00:58:38,160 --> 00:58:40,400
Speaker 3: this is the part of the episode we found upsetting

1250
00:58:40,400 --> 00:58:41,400
Speaker 3: that we need to know about.

1251
00:58:41,600 --> 00:58:42,040
Speaker 1: She know.

1252
00:58:42,480 --> 00:58:44,000
Speaker 4: So she yeah, she gets it.

1253
00:58:44,120 --> 00:58:48,040
Speaker 1: She did her web series Living on a Prairie, and

1254
00:58:48,080 --> 00:58:50,480
Speaker 1: she invited a bunch of us to come on. Allison

1255
00:58:50,520 --> 00:58:53,440
Speaker 1: guested on the show. Charlotte Stewart guested on the show. Mary.

1256
00:58:53,680 --> 00:58:57,160
Speaker 1: I did not. I just couldn't see going across the

1257
00:58:57,160 --> 00:58:59,840
Speaker 1: country to stick my head in the gym and you know,

1258
00:59:00,160 --> 00:59:03,400
Speaker 1: say one little line in retrospect, I wish I had

1259
00:59:03,440 --> 00:59:05,520
Speaker 1: because it would have been fun to meet Pamela then.

1260
00:59:06,280 --> 00:59:12,280
Speaker 1: But there was something so wonderful, gracious, warm, she just

1261
00:59:12,360 --> 00:59:16,240
Speaker 1: has this bubbly, welcoming quality about her. When we set

1262
00:59:16,240 --> 00:59:19,680
Speaker 1: out to do this, I had a conversation Elson and

1263
00:59:19,720 --> 00:59:22,080
Speaker 1: I had a conversation. So we've got to do this

1264
00:59:22,120 --> 00:59:26,720
Speaker 1: with Pamela Bob because she is she is the sensibility,

1265
00:59:26,760 --> 00:59:30,080
Speaker 1: the mindset of the fan, and she's able to bring

1266
00:59:30,120 --> 00:59:34,919
Speaker 1: that and she brings it lovingly, sweetly funny every single time.

1267
00:59:35,000 --> 00:59:35,760
Speaker 4: She's really funny.

1268
00:59:35,760 --> 00:59:37,439
Speaker 3: And she's the one who came up with calling him

1269
00:59:37,640 --> 00:59:39,960
Speaker 3: hashtag imaginary boyfriend.

1270
00:59:42,680 --> 00:59:44,919
Speaker 1: We've had a great time with it. So the first

1271
00:59:44,960 --> 00:59:49,680
Speaker 1: season we really focused, We focused the lens through personality.

1272
00:59:50,600 --> 00:59:54,040
Speaker 1: In this second season that we just recorded our first

1273
00:59:54,080 --> 00:59:58,680
Speaker 1: two episodes of today, we are focusing. It's a more

1274
00:59:58,760 --> 01:00:02,320
Speaker 1: episode centric approach and we're going to be looking at

1275
01:00:02,320 --> 01:00:05,520
Speaker 1: and we will bring in people who are parts of

1276
01:00:05,560 --> 01:00:10,600
Speaker 1: specific episodes. But we have a lot to say about

1277
01:00:10,880 --> 01:00:13,800
Speaker 1: a lot of things related to this, and we do

1278
01:00:13,840 --> 01:00:15,760
Speaker 1: have a good time together doing it.

1279
01:00:15,880 --> 01:00:17,720
Speaker 3: It's really fun and we do have a good and

1280
01:00:17,720 --> 01:00:19,920
Speaker 3: we have some people coming in I won't tell them,

1281
01:00:20,000 --> 01:00:23,200
Speaker 3: but people who've never been on like anything, and people

1282
01:00:23,200 --> 01:00:25,280
Speaker 3: who are either rare interviews, and we have a couple

1283
01:00:25,320 --> 01:00:27,720
Speaker 3: of people who guest start on the show who just

1284
01:00:27,800 --> 01:00:29,880
Speaker 3: have never just nobody's doing interviews with them.

1285
01:00:29,920 --> 01:00:32,360
Speaker 4: They just did. We found them correct, they're coming on.

1286
01:00:32,560 --> 01:00:33,000
Speaker 2: I love it.

1287
01:00:33,080 --> 01:00:35,080
Speaker 4: So it's going to be Bananas.

1288
01:00:35,000 --> 01:00:39,520
Speaker 1: Are like Gilmore Girls fans. If you are a devotee

1289
01:00:39,800 --> 01:00:42,880
Speaker 1: of a program, you want to know everything. Oh yeah,

1290
01:00:43,240 --> 01:00:46,520
Speaker 1: so it's we can't go wrong. I mean, the more

1291
01:00:46,560 --> 01:00:49,200
Speaker 1: we share, the more they love it. Yes, so it's

1292
01:00:49,280 --> 01:00:51,840
Speaker 1: it's it's been a really great thing. I love it.

1293
01:00:51,880 --> 01:00:56,000
Speaker 2: That's good again. That's the Little House fifty podcasts and

1294
01:00:56,040 --> 01:01:00,080
Speaker 2: you can get that on anywhere you get your podcasts.

1295
01:01:00,120 --> 01:01:02,480
Speaker 3: The Apple podcast, the whole thing. So on YouTube and

1296
01:01:02,520 --> 01:01:04,680
Speaker 3: then all our social media. We are on we are

1297
01:01:04,720 --> 01:01:08,240
Speaker 3: on Facebook, we are on Instagram, we're everything on YouTube,

1298
01:01:08,400 --> 01:01:12,040
Speaker 3: We're on absolutely everything. And we have a Patreon account too,

1299
01:01:12,240 --> 01:01:14,000
Speaker 3: so you can sign up and for a couple of

1300
01:01:14,000 --> 01:01:18,120
Speaker 3: bucks you'd get the secret like magic, behind the scenes ring.

1301
01:01:18,000 --> 01:01:22,280
Speaker 1: Stuff that private, that private content for the patrons. All right, yeah,

1302
01:01:22,320 --> 01:01:25,400
Speaker 1: so pay law. Yeah, that's really fun. We've we've had

1303
01:01:25,400 --> 01:01:26,440
Speaker 1: a good time with Well, we'll.

1304
01:01:26,320 --> 01:01:28,320
Speaker 3: Like interview a guest and then we'll do a patroon

1305
01:01:28,360 --> 01:01:30,240
Speaker 3: thing where they'll answer a couple of questions that they

1306
01:01:30,280 --> 01:01:33,760
Speaker 3: didn't answer on the like super duper personal ones, and

1307
01:01:33,800 --> 01:01:34,919
Speaker 3: it's like, oh yeah, it's great fun.

1308
01:01:35,160 --> 01:01:35,680
Speaker 1: I love it.

1309
01:01:35,720 --> 01:01:40,280
Speaker 2: That's it's so fun. I have one more question for

1310
01:01:40,320 --> 01:01:42,640
Speaker 2: you guys, but before we get into that, Dean, But

1311
01:01:42,760 --> 01:01:46,000
Speaker 2: after Lttlehussele the Prairie, I was going through your filmography

1312
01:01:46,120 --> 01:01:50,000
Speaker 2: during research for this and I discovered The New Gidget,

1313
01:01:50,240 --> 01:01:52,600
Speaker 2: a show you did after The Hustle the Prairie. I

1314
01:01:52,640 --> 01:01:54,920
Speaker 2: am kicking myself that I didn't know about the show

1315
01:01:54,960 --> 01:01:58,040
Speaker 2: until now. I love it. It's my new obsession. If

1316
01:01:58,040 --> 01:02:00,280
Speaker 2: you ever want to do a new Gidget podcast, I

1317
01:02:00,320 --> 01:02:02,600
Speaker 2: will be a listener. And overall, oh.

1318
01:02:02,560 --> 01:02:04,880
Speaker 1: My god, I sign you.

1319
01:02:04,920 --> 01:02:06,640
Speaker 4: I think you need to do a new Gidget podcast.

1320
01:02:07,480 --> 01:02:10,480
Speaker 1: You know, Gidget, it was so interesting. We started that

1321
01:02:10,600 --> 01:02:14,240
Speaker 1: as a sort of traditional rom com, and then because

1322
01:02:14,280 --> 01:02:16,640
Speaker 1: it was first run syndication, it was going to go

1323
01:02:16,800 --> 01:02:25,120
Speaker 1: from sort of prime time audiences to reruns on Saturday mornings,

1324
01:02:25,680 --> 01:02:29,880
Speaker 1: and that dictated a radical change in the way the

1325
01:02:29,880 --> 01:02:33,200
Speaker 1: show was conceptualized. It really had to become a live

1326
01:02:33,240 --> 01:02:37,040
Speaker 1: action cartoon, and this is what it became. And we

1327
01:02:37,120 --> 01:02:40,400
Speaker 1: had a producer named Larry Mallin who had done you know,

1328
01:02:40,680 --> 01:02:42,640
Speaker 1: I don't know he's gone on to do you know,

1329
01:02:42,640 --> 01:02:45,680
Speaker 1: one hundred and fifty episodes of Beverly Hills nine oh

1330
01:02:45,720 --> 01:02:48,600
Speaker 1: two to zero in his career. But he had this

1331
01:02:48,800 --> 01:02:53,960
Speaker 1: great bead on youth culture, and so we were doing

1332
01:02:54,080 --> 01:02:57,040
Speaker 1: all every wacky thing that you could do with Karen

1333
01:02:57,080 --> 01:03:00,320
Speaker 1: and I were wanting, well, this isn't the pilot. Did

1334
01:03:00,480 --> 01:03:02,640
Speaker 1: this has nothing to do with the pilot. We did,

1335
01:03:03,760 --> 01:03:06,040
Speaker 1: but we but we really did have fun with it

1336
01:03:06,080 --> 01:03:08,200
Speaker 1: and we've remained really good friends, and you know, and

1337
01:03:08,360 --> 01:03:14,240
Speaker 1: Gidget is Gidget is one of those iconic female characters

1338
01:03:14,280 --> 01:03:18,880
Speaker 1: over time. Lour Ingles Wilder is an iconic female character

1339
01:03:19,040 --> 01:03:22,040
Speaker 1: of another time. I played Buffy's dad on Buffy the

1340
01:03:22,080 --> 01:03:26,800
Speaker 1: Vampire Slayer. Buffy was an iconic female young female.

1341
01:03:26,600 --> 01:03:28,880
Speaker 4: Character, Judy Bluemes forever, Yes.

1342
01:03:28,880 --> 01:03:35,080
Speaker 1: Right, did that earlier. It's really been amazing to be

1343
01:03:35,160 --> 01:03:37,320
Speaker 1: able to be a part of the but nothing has

1344
01:03:37,400 --> 01:03:41,920
Speaker 1: the resonance that Little House has. And I loved doing Gidget,

1345
01:03:41,960 --> 01:03:44,200
Speaker 1: and I loved the few epiods I didn't do a

1346
01:03:44,240 --> 01:03:46,840
Speaker 1: lot of episodes of Buffy because it wasn't about father's

1347
01:03:46,920 --> 01:03:50,080
Speaker 1: It was about a dysfunctional family who and a father

1348
01:03:50,120 --> 01:03:52,640
Speaker 1: who wasn't there. It was about mother and daughter and

1349
01:03:52,720 --> 01:03:54,840
Speaker 1: all the crazy things going on near the hell Mouth.

1350
01:03:56,480 --> 01:04:01,440
Speaker 1: But but I loved that cast. What a talented group

1351
01:04:01,480 --> 01:04:05,439
Speaker 1: of people they were. Oh my god, Joss Whedon talk

1352
01:04:05,520 --> 01:04:09,640
Speaker 1: about an ear for youth culture. Unbelievable.

1353
01:04:09,640 --> 01:04:12,160
Speaker 2: We just talked to Julie Ben's who played Darla on

1354
01:04:12,320 --> 01:04:15,480
Speaker 2: Buffy and she because Buffy was mentioneding Goimore girls across

1355
01:04:15,480 --> 01:04:17,720
Speaker 2: the court. We heard a lot of great stories from that.

1356
01:04:17,800 --> 01:04:18,439
Speaker 1: Oh my god.

1357
01:04:18,520 --> 01:04:20,800
Speaker 3: Well, I like to tease him that he's that guy.

1358
01:04:20,880 --> 01:04:24,040
Speaker 3: He somehow carved out this niche of being the man

1359
01:04:24,680 --> 01:04:28,520
Speaker 3: in all of these famous, real and fictitious women's lives.

1360
01:04:28,920 --> 01:04:31,680
Speaker 4: He's the dude in Laura's life, in Buffy's life and

1361
01:04:31,760 --> 01:04:33,880
Speaker 4: gets its life. He's that how.

1362
01:04:34,000 --> 01:04:36,040
Speaker 3: Who comes up with that? And then you were you

1363
01:04:36,080 --> 01:04:42,080
Speaker 3: were a Punzels.

1364
01:04:40,000 --> 01:04:41,840
Speaker 4: The guy and I'm like, how how did you?

1365
01:04:42,920 --> 01:04:46,880
Speaker 1: I've been fortunate to be and it's again, Eastern an

1366
01:04:46,880 --> 01:04:51,720
Speaker 1: incredible gift. I mean, look, I get my DNA from

1367
01:04:51,720 --> 01:04:55,760
Speaker 1: my parents, and I you know, I'm gifted with that.

1368
01:04:56,000 --> 01:04:59,800
Speaker 1: And I've had the opportunity to be able to interface, interact,

1369
01:05:00,360 --> 01:05:08,400
Speaker 1: play relationships with some really special female characters. And you know,

1370
01:05:08,840 --> 01:05:11,480
Speaker 1: it's just been a great time. I've absolutely loved it.

1371
01:05:11,520 --> 01:05:13,880
Speaker 1: What a gift. It's been an amazing gift.

1372
01:05:14,160 --> 01:05:16,080
Speaker 2: So incredible. But okay, before we rat off into the

1373
01:05:16,080 --> 01:05:19,080
Speaker 2: sunset here, I want to ask this is such a

1374
01:05:19,080 --> 01:05:19,640
Speaker 2: hard question.

1375
01:05:19,800 --> 01:05:22,320
Speaker 1: Good little house reference to riding off into the sunset.

1376
01:05:23,000 --> 01:05:30,080
Speaker 2: Good for you, I am a professional. Well do you

1377
01:05:30,120 --> 01:05:33,200
Speaker 2: have is there a one memory that stands out among

1378
01:05:33,240 --> 01:05:36,080
Speaker 2: the rest from your time on the Little House that

1379
01:05:36,480 --> 01:05:39,200
Speaker 2: you think of and go wow, I can't believe this

1380
01:05:39,480 --> 01:05:43,400
Speaker 2: or what you know? When someone asks you what's your

1381
01:05:43,440 --> 01:05:45,920
Speaker 2: favorite moment from your experience? Is there something that kind

1382
01:05:45,920 --> 01:05:46,960
Speaker 2: of bubbles to the top.

1383
01:05:47,480 --> 01:05:48,760
Speaker 3: And it's so hard because I mean, there was ever

1384
01:05:48,920 --> 01:05:51,560
Speaker 3: yeast seven years I was there, from the time I

1385
01:05:51,680 --> 01:05:54,959
Speaker 3: was twelve to lowest nineteen, which is your entire formative years.

1386
01:05:55,040 --> 01:05:57,560
Speaker 3: All yes, I said, I started junior high, I got

1387
01:05:57,600 --> 01:05:59,400
Speaker 3: a junior high, went all the way through high school,

1388
01:05:59,440 --> 01:06:01,160
Speaker 3: moved out of my parents, and I was still.

1389
01:06:00,920 --> 01:06:03,880
Speaker 4: On the damn show. You know. It was so crazy.

1390
01:06:04,280 --> 01:06:07,360
Speaker 3: So it's it's hard to say, but some of it

1391
01:06:07,400 --> 01:06:09,520
Speaker 3: is from that that first day, the first day when

1392
01:06:09,520 --> 01:06:12,240
Speaker 3: I met Melissa Gilbert and when I met all these people,

1393
01:06:12,320 --> 01:06:14,480
Speaker 3: and it's like, what have I gotten myself into and

1394
01:06:14,600 --> 01:06:17,760
Speaker 3: Melissa Gilbert, she was so so tiny that I actually

1395
01:06:17,960 --> 01:06:20,720
Speaker 3: said in my book, oh god, she looked like I

1396
01:06:20,760 --> 01:06:22,840
Speaker 3: could fit her in my purse and she could chew

1397
01:06:22,880 --> 01:06:26,680
Speaker 3: her way out, and she is said, yeah, that was

1398
01:06:26,680 --> 01:06:31,640
Speaker 3: pretty accurate actually. And it's just the personalities, I mean,

1399
01:06:32,040 --> 01:06:36,680
Speaker 3: casting the personalities Katherine McGregor, the personalities of these people

1400
01:06:36,760 --> 01:06:40,040
Speaker 3: on this show were just unbelievable. I mean, if you

1401
01:06:40,040 --> 01:06:41,880
Speaker 3: thought they were excited on screen, you should have hung

1402
01:06:41,880 --> 01:06:42,760
Speaker 3: out on the set.

1403
01:06:42,800 --> 01:06:43,960
Speaker 4: These people were amazing.

1404
01:06:44,000 --> 01:06:46,200
Speaker 3: And have all of them in one room, I mean,

1405
01:06:46,240 --> 01:06:48,680
Speaker 3: the different acting styles, the different this, the different that

1406
01:06:49,120 --> 01:06:50,919
Speaker 3: was just mind blowing. And to walk in the first

1407
01:06:50,960 --> 01:06:53,480
Speaker 3: day meet them all, It's like, whoa, what did what train?

1408
01:06:53,560 --> 01:06:54,440
Speaker 4: Did I just get on?

1409
01:06:54,920 --> 01:06:58,360
Speaker 1: Wow? It's amazing. Wow. I'll never forget that. You know.

1410
01:06:58,920 --> 01:07:01,240
Speaker 1: One of the memories couple of memories that stick really

1411
01:07:02,400 --> 01:07:06,840
Speaker 1: really strongly, that arrival the first day, uh, for that

1412
01:07:06,880 --> 01:07:11,080
Speaker 1: first season and seeing the size of this unit, the

1413
01:07:11,600 --> 01:07:14,520
Speaker 1: number of trucks, the number of people, the animals, the

1414
01:07:14,560 --> 01:07:19,800
Speaker 1: wagons that you know, every everything that populated that world,

1415
01:07:19,960 --> 01:07:24,200
Speaker 1: from every stick of furniture to the horses and the

1416
01:07:24,200 --> 01:07:27,880
Speaker 1: bales of hey came in on trucks each day to

1417
01:07:27,920 --> 01:07:33,600
Speaker 1: Big Sky Movie Ranch and that seeing that was just awesome.

1418
01:07:33,640 --> 01:07:36,240
Speaker 1: And then we had a Blue Max this called the

1419
01:07:36,280 --> 01:07:39,840
Speaker 1: Blue Bax, this bus that had Little House on the

1420
01:07:39,880 --> 01:07:43,439
Speaker 1: Prairies Monday nights at eight on NBC, on the bus,

1421
01:07:43,760 --> 01:07:47,160
Speaker 1: on the on the people do. I mean, look, you

1422
01:07:47,200 --> 01:07:49,840
Speaker 1: see those things around, but when you're a part of that,

1423
01:07:50,480 --> 01:07:53,960
Speaker 1: you suddenly are a part of that. That's really cool

1424
01:07:54,560 --> 01:07:57,959
Speaker 1: In terms of a moment. In terms of a moment there,

1425
01:08:00,360 --> 01:08:03,440
Speaker 1: I love a moment at the end of an episode

1426
01:08:03,560 --> 01:08:07,040
Speaker 1: called Days of Sunshine Days of Shadow, when Manzo has

1427
01:08:07,080 --> 01:08:10,080
Speaker 1: been paralyzed and learns to walk again and gets up

1428
01:08:10,120 --> 01:08:13,480
Speaker 1: and walks across the yard into Laura's arms, and the

1429
01:08:13,520 --> 01:08:15,800
Speaker 1: world is going to go on again. Their life is

1430
01:08:15,840 --> 01:08:19,360
Speaker 1: going to be okay after ninety minutes for two and

1431
01:08:19,400 --> 01:08:24,120
Speaker 1: a half hours of misery, it's going to be okay.

1432
01:08:24,840 --> 01:08:28,200
Speaker 1: And I love the way that moment was scored. I

1433
01:08:28,360 --> 01:08:31,480
Speaker 1: love the way it was shot. I'd love the Blissa's

1434
01:08:31,520 --> 01:08:36,160
Speaker 1: reaction to it. It just there was a really wonderful

1435
01:08:36,400 --> 01:08:41,120
Speaker 1: kismet in that moment. And you know, if I could

1436
01:08:41,160 --> 01:08:44,439
Speaker 1: have could have had moments like that over and over

1437
01:08:44,479 --> 01:08:47,080
Speaker 1: and over again, on camera. Those are the kinds of

1438
01:08:47,120 --> 01:08:51,120
Speaker 1: moments I'd love to have, and it sticks out for

1439
01:08:51,160 --> 01:08:55,640
Speaker 1: that reason just because it's it's a very it's just

1440
01:08:55,800 --> 01:09:00,000
Speaker 1: a powerful human moment. And I've been always been very

1441
01:09:00,080 --> 01:09:02,280
Speaker 1: happy with the way that turned out. There are lots

1442
01:09:02,320 --> 01:09:04,519
Speaker 1: of moments that I'm not thrilled with, but that's when

1443
01:09:04,560 --> 01:09:05,040
Speaker 1: I am.

1444
01:09:06,520 --> 01:09:06,800
Speaker 4: Okay.

1445
01:09:06,840 --> 01:09:09,240
Speaker 3: How many people, especially okay child actors, And of course

1446
01:09:09,280 --> 01:09:10,840
Speaker 3: I was very young winos on the show, and a

1447
01:09:10,880 --> 01:09:13,439
Speaker 3: lot of my friends with child actors many have terrible

1448
01:09:13,479 --> 01:09:15,479
Speaker 3: experiences and people were horrible to them on the set

1449
01:09:15,520 --> 01:09:19,000
Speaker 3: and their lives were ruined. I was very lucky, really supportive.

1450
01:09:19,080 --> 01:09:21,400
Speaker 3: It was one of the most supportive, loving environments I've

1451
01:09:21,400 --> 01:09:23,760
Speaker 3: ever been in. And and yes I had a trust fund.

1452
01:09:23,800 --> 01:09:25,760
Speaker 3: I got my money, so it's like whoo, So I

1453
01:09:25,840 --> 01:09:29,559
Speaker 3: like survived being a child actor. But the thing is

1454
01:09:29,560 --> 01:09:32,280
Speaker 3: is so many child actors will look back at their

1455
01:09:32,360 --> 01:09:34,439
Speaker 3: show or they did and they will feel bad. They

1456
01:09:34,439 --> 01:09:36,840
Speaker 3: will feel sense almost of shame. They will say that's

1457
01:09:36,880 --> 01:09:39,000
Speaker 3: not a very good performance. I wasn't very good. I

1458
01:09:39,040 --> 01:09:41,240
Speaker 3: was just you know, mugging or doing a little joke,

1459
01:09:41,640 --> 01:09:43,840
Speaker 3: or even if it's good, they don't see it as good,

1460
01:09:43,880 --> 01:09:44,840
Speaker 3: they go, I was just it.

1461
01:09:44,880 --> 01:09:47,240
Speaker 4: I didn't know what I was doing. Man, I look

1462
01:09:47,320 --> 01:09:50,679
Speaker 4: back on Little House. We were amazing. We were all

1463
01:09:50,800 --> 01:09:52,000
Speaker 4: freaking amazing.

1464
01:09:52,320 --> 01:09:55,680
Speaker 1: Yes, that's so generous, that's so jerious. I do have

1465
01:09:55,720 --> 01:09:59,720
Speaker 1: a lot of those moments, oh oh my god, oh

1466
01:09:59,760 --> 01:10:02,200
Speaker 1: my god, what was I doing? But the moments, But

1467
01:10:02,439 --> 01:10:06,040
Speaker 1: as an overall body, you know, I've talked about the

1468
01:10:06,080 --> 01:10:08,920
Speaker 1: fact that Melissa and I were enough different in age

1469
01:10:08,960 --> 01:10:12,479
Speaker 1: that there wasn't really a possibility of having any sort

1470
01:10:12,479 --> 01:10:14,680
Speaker 1: of real relationship with her. It just would have been

1471
01:10:14,680 --> 01:10:19,760
Speaker 1: completely inappropriate. We made our way through that despite the

1472
01:10:19,840 --> 01:10:24,360
Speaker 1: age difference, and on balance, overall, I look back at

1473
01:10:24,360 --> 01:10:26,439
Speaker 1: that and I can say I feel good about what

1474
01:10:26,479 --> 01:10:30,439
Speaker 1: we accomplished, and the fact that people continue to watch

1475
01:10:30,479 --> 01:10:34,559
Speaker 1: it and love it and appreciate what this relationship means,

1476
01:10:34,600 --> 01:10:38,439
Speaker 1: what it means in their life. You know, who could

1477
01:10:38,479 --> 01:10:39,519
Speaker 1: not be happy with that?

1478
01:10:39,640 --> 01:10:40,559
Speaker 4: What you're doing work.

1479
01:10:40,560 --> 01:10:43,120
Speaker 3: There's still people posting on Facebook pictures of Laura and

1480
01:10:43,120 --> 01:10:44,519
Speaker 3: all moms with big hearts around.

1481
01:10:45,120 --> 01:10:47,240
Speaker 4: If you guys didn't generate.

1482
01:10:46,920 --> 01:10:49,479
Speaker 3: Some kind of sense of love and wrote, they wouldn't

1483
01:10:49,520 --> 01:10:50,640
Speaker 3: be doing that.

1484
01:10:50,760 --> 01:10:56,240
Speaker 1: The videos that are done of us that to popizz

1485
01:10:56,840 --> 01:11:00,360
Speaker 1: Country songs. It's the you know, clips cut over and

1486
01:11:00,400 --> 01:11:03,080
Speaker 1: over and over again to different music. I mean, it's

1487
01:11:03,280 --> 01:11:11,120
Speaker 1: really cool that fandom is just amazing. Most people, the

1488
01:11:11,320 --> 01:11:15,080
Speaker 1: vast majority of people who will ever live, will never

1489
01:11:15,240 --> 01:11:21,400
Speaker 1: understand or experience what that feels like. And I think

1490
01:11:21,439 --> 01:11:23,519
Speaker 1: you have to have a sense of perspective about it,

1491
01:11:24,200 --> 01:11:28,439
Speaker 1: and you have to know you can't take it for granted.

1492
01:11:28,680 --> 01:11:30,439
Speaker 1: I mean, if you do take it for granted, it's

1493
01:11:30,479 --> 01:11:34,599
Speaker 1: going to eventually bite you. Yeah, But if you can

1494
01:11:34,680 --> 01:11:40,560
Speaker 1: appreciate it for what it is, it's this amazing outpouring

1495
01:11:40,600 --> 01:11:44,800
Speaker 1: of love and affection that you have to be in

1496
01:11:44,880 --> 01:11:48,000
Speaker 1: that kind of a position to get that. There are

1497
01:11:48,120 --> 01:11:51,760
Speaker 1: very few other professions will ever experience that.

1498
01:11:52,080 --> 01:11:54,400
Speaker 3: And no, we never thought and fifty years later anybody

1499
01:11:54,400 --> 01:11:56,200
Speaker 3: would be watching the show or speaking to us or

1500
01:11:56,200 --> 01:11:58,400
Speaker 3: care or that anybody would even know that any of

1501
01:11:58,400 --> 01:12:01,720
Speaker 3: this ever happened, or it's completely blown all of our

1502
01:12:01,760 --> 01:12:04,600
Speaker 3: minds right out of our heads. We're all stunned, but

1503
01:12:04,720 --> 01:12:08,639
Speaker 3: we are appreciative. We're like, oh, wow, Okay, something happened.

1504
01:12:08,720 --> 01:12:11,760
Speaker 3: We did something. We don't even completely understand it, but

1505
01:12:11,840 --> 01:12:13,840
Speaker 3: it happened and it was good, and.

1506
01:12:13,720 --> 01:12:15,960
Speaker 4: We're like, yes, yes, yes, we get it. We were

1507
01:12:15,960 --> 01:12:18,040
Speaker 4: in we're into it. Bring it, bring it. We're good.

1508
01:12:18,439 --> 01:12:21,439
Speaker 2: Yeah, and it shall be here long after we're all,

1509
01:12:21,560 --> 01:12:23,880
Speaker 2: after the planet is gone, there are still aliens will

1510
01:12:23,960 --> 01:12:28,120
Speaker 2: be watching and the rebels of planet Earth.

1511
01:12:28,160 --> 01:12:30,679
Speaker 1: It'll be like it'll be like Galaxy quests.

1512
01:12:30,760 --> 01:12:35,080
Speaker 4: Yes, yes, yes, it's beamed into space.

1513
01:12:35,120 --> 01:12:38,000
Speaker 3: I was at the space center in Belgium and they

1514
01:12:38,080 --> 01:12:39,920
Speaker 3: had a thing, you know how, like what was it,

1515
01:12:40,040 --> 01:12:43,360
Speaker 3: the thing voyager where it has bits and pieces of

1516
01:12:43,479 --> 01:12:47,200
Speaker 3: stuffs and they have video that they sent into space

1517
01:12:47,280 --> 01:12:49,760
Speaker 3: and yes, yes, you know what, there's a glip of yes,

1518
01:12:49,760 --> 01:12:51,920
Speaker 3: it's in there. It's in there, Yes it is. Yes,

1519
01:12:52,560 --> 01:12:54,920
Speaker 3: the aliens have already seen it. It's it's okay, the

1520
01:12:54,960 --> 01:12:55,519
Speaker 3: aliens have.

1521
01:12:55,520 --> 01:12:57,639
Speaker 1: Already seen it. Well we'll find out.

1522
01:12:58,240 --> 01:13:00,320
Speaker 2: Thank you so much for coming into days. It's been

1523
01:13:00,360 --> 01:13:03,360
Speaker 2: so much fun. And everyone go listen to their podcast.

1524
01:13:03,479 --> 01:13:06,280
Speaker 2: It's great that I've listened to many episodes now. They're

1525
01:13:06,320 --> 01:13:08,640
Speaker 2: just wonderful. And go watch the Hustle and Perry. It's

1526
01:13:08,640 --> 01:13:09,080
Speaker 2: a good show.

1527
01:13:09,120 --> 01:13:09,720
Speaker 1: It's a great show.

1528
01:13:10,400 --> 01:13:29,439
Speaker 6: Yes, thanks Houston, Thanks against.

1529
01:13:41,080 --> 01:13:44,840
Speaker 1: Everybody adult again. Follow us on Instagram at I Am

1530
01:13:44,920 --> 01:13:49,800
Speaker 1: All In podcast and email us at Gilmour at iHeartRadio

1531
01:13:50,200 --> 01:14:00,480
Speaker 1: dot com.