John Beck Meets World

00:00:19
Speaker 1: We have welcomed two new members of our family, Lucky and Pickle. We got cats, thank god.

00:00:27
Speaker 2: Because of those two new kids, I was gonna say, I'd like to work on their name twins, twins Lucky and Pickle.

00:00:34
Speaker 1: Oh no, we got so Lucky because they're just the best. And we have been talking about getting cats for actually a couple of years because Indy loves cats and we can't have a dog just because we travel so much, so cats were like the only option, and we've been talking about it, but every time we would like, you know, look into it, it was like you're just rolling the dice with cats personalities, you know. And I know this from my experience before where I got two cats and a little crazy and like then you're stuck with them forever or twenty years or whatever. So uh, this this time around, we had a friend happened to be like, oh, we've been fostering these two kittens and we know their personalities and they're amazing. And they'd already had them for like six weeks at that point, and then they're like a big cat household, you know, they've always had cats coming in and out. And they were like, you guys want to take them, and we did, and they've turned out great. How long was this It's been a couple of months now it's been like now they're getting big. They were so like little and now it's like, oh, oh, we have cats in the house.

00:01:33
Speaker 3: You know.

00:01:33
Speaker 4: They're like they used to like.

00:01:34
Speaker 1: Crawl into boxes, which was so cute. Now they're like crawl into boxes and knock them off just counter. It's like a little more. Yeah, but they're great.

00:01:41
Speaker 4: Are they indoor outdoor cats or just now keeping them indoor?

00:01:46
Speaker 3: Yeah?

00:01:46
Speaker 4: You know, we have a we have a yard, but we have possums and raccoons. Yeah, and coyotes.

00:01:52
Speaker 1: I see coyotes on the street, like on the sidewalk all the time, so I would just be terrified to let them out.

00:01:57
Speaker 5: No.

00:01:58
Speaker 6: Yeah, it's careful about the things on your counters, you do, you know. I shortly after Jensen and I started dating, I Jensen had concrete floors in the townhouse he was living in, and I walked in and put my cell phone down on the kitchen counter, and within ten minutes Bill swiped my phone. It landed on the concrete floor and shattered into a million pieces. It was like, right, anything you care about don't leave on any counters. Cats are little jerks. I love them to death, but they're little jerks. You are officially my friend who who just has secret pets?

00:02:36
Speaker 4: You Yeah, name was lived at your house. So now there you go.

00:02:47
Speaker 5: Just any other any other secrets.

00:02:49
Speaker 4: Yet not yet get into I'm ready.

00:02:52
Speaker 6: To right, not that you're ready to, fair enough.

00:02:55
Speaker 2: Now did they come with Lucky and pickle or did you stuck?

00:03:01
Speaker 1: She became pickles for some reason, miss pickles and pickles just sounded better at us than pickle, So it's Lucky and pickles, so we added the s. But other, Yeah, I thought those were great names. And we were like, oh, these great catneys are. Yeah, and they're so cute and they're they're not brother and sister, but they look exactly alike, like they have the same coloring, and you know, they're only a couple of weeks apart.

00:03:20
Speaker 4: At age, so that's so great.

00:03:22
Speaker 1: It's just it's so nice to have like kittens that like in the hold and that come around us when we were.

00:03:27
Speaker 4: On the couch and oh I missed the peer. Yeah, it's so fun. I love my dog, but I missed the Yeah.

00:03:35
Speaker 1: I mean, dogs are a lot It's funny because I used to you know, I grew up with dogs and always like a dog person. I had a dog before with my my ex girlfriend for a couple of years.

00:03:44
Speaker 4: But then when did you have a dog? I had a dog at Bernie's Mountain Dog, Georgia. You never met Georgia. Remember Georgia? Yes, I remember Georgia. She died at six. You know Bernie's Mountain dogs don't live longer. Bigger the dogger the dog. She was so great, so dumb, just the greatest, dumbest dog. I loved her so much. Anyway, what was I saying?

00:04:07
Speaker 5: You were a dog person?

00:04:08
Speaker 4: I was a person.

00:04:09
Speaker 1: But you know, after I had Indy, like when you have a baby and you deal with other people's dogs and suddenly other people are like not putting the dog on a leash or like in our neighborhood there's a lot of like people have dogs that are very loud and aggressive, like kind of a guard dog vibe, and like, just walking around with Indy, I started to just, you know, dislike dogs and'd be like, can you please put you more?

00:04:30
Speaker 4: Let me put it this way?

00:04:31
Speaker 1: Dislike dog owners, you know, it's like and so dog you know, and ever since then, I've just been like, I think, I don't know. As long as we have India, I don't know. I will probably never get a dog until maybe I'm older.

00:04:43
Speaker 5: Maybe like are much more similar.

00:04:46
Speaker 6: There's no animal that's ever close to actually what it's like to have a child. But dogs are a little more like children, even just in how high maintenance they are.

00:04:55
Speaker 5: Children are very high maintenance. Sh Okay, that's.

00:05:00
Speaker 4: Good until they mail your face off. But yeah, just but that's why, that's what babies do. Babies are very dangerous.

00:05:08
Speaker 6: And so after you have after you have children and you're looking to have a pet, the idea feels.

00:05:14
Speaker 5: Much more like am I ready to take on a dog?

00:05:17
Speaker 6: Whereas like cats still give you the love and affection assuming you don't have a cat, that's like, please do not come anywhere near me.

00:05:27
Speaker 2: Like that, we were just roommates who like would meet up once a month to talk about like, all right, you got the bills paid?

00:05:33
Speaker 4: Like I would walk in, she'd look at me. I'd look at her and be like, hey, hey, that was it.

00:05:36
Speaker 6: So very very affectionate. And he also will yes, he does love you.

00:05:44
Speaker 5: Bill.

00:05:45
Speaker 6: Also when we have people over, he can hear like. He usually hangs out in our room, but then he hears when people are over and he'll come downstairs to scope it out.

00:05:51
Speaker 5: Who's here? Hello? Do I like them? Do I want to hang out with them?

00:05:55
Speaker 6: He also is quite a hefty cat, although he's lost some weight since he had the clear yes, since he was.

00:06:01
Speaker 5: Nuclear radio radio.

00:06:04
Speaker 6: But he'll he hates to have his belly scratched. And but he rolls over and shows you his plump, squishy belly and you want to touch it, And then you go to touch. Yes, he lures you in with it.

00:06:19
Speaker 3: And then.

00:06:21
Speaker 5: I'm gonna I will mollel you anyway.

00:06:25
Speaker 6: I love cats. Well, congratulations on Lucky and Pickles. I look forward to cuddling the heck out of them the next time I'm over there. Loving Welcome to pod meets World. I'm Daniel Fischl, I'm right or strong, and I'm mister Pickles. I'm well for doubt you Commonly hear phrases like it's who you know or Nepo baby thrown around when it comes to show business.

00:06:46
Speaker 5: And if you take away one thing from.

00:06:48
Speaker 6: This podcast, it's that some child stars knew absolutely no one in the industry when they started out like us, and with today's guest, we hope you'll take away that some of the most successful working creatives currently in Hollywood all started somewhere, and that somewhere is sometimes the bottom.

00:07:06
Speaker 5: John D.

00:07:06
Speaker 6: Beck was a production assistant on Boy Meets World, a somewhat fancy term for a young jack of all trades who does just about everything they're told they are a crucial part of making a TV show, Often underestimated as an intern, but in truth working behind the scenes with various departments, working on things as tedious as a coffee order, but also becoming important cogs in the machine, ensuring everything is in place for tape day. If you have bad pas, absolutely everything could fall apart, trust us. Since his time collecting food orders and delivering scripts to our houses, he's gone on to become a big time executive producer and showrunner, working on according to Jim Fuller, House Side Hustle, That Girl, Leyley, and creating the very successful Disney sitcom Live in Maddie and Yes. One of his first jobs as a young man was on the Boy Meets World set, where we like to think watching us three youngungs take almost nothing serious gave him the knowledge and understanding of what not to take on his journey to the top. This week we hear from a new perspective that of a pa On boy meets world. Welcome to the show, John D. Beck H, It's so good.

00:08:18
Speaker 3: To see you. Fantastic to see you, guys.

00:08:21
Speaker 5: Oh my gosh, okay, well, thank you for joining us.

00:08:23
Speaker 7: Oh sure thing, thank you for me.

00:08:26
Speaker 5: I wanted to.

00:08:27
Speaker 6: Ask, how much cuckaroo do you think you picked up for the writer's room while you were a pa On?

00:08:37
Speaker 3: Do you have no idea how much cuckaroo? And as a matter of fact, I got in such trouble ones cuckoo. It was actually the one of the two moments I realized that show business was more business than show. Uh Bluckman and the guys over Cuckaroo and Mark Blums visiting.

00:08:56
Speaker 8: He said, make sure to get extra cuckaroo so we could take cuckaroo home.

00:08:59
Speaker 3: Get a lot of it. Well, I thought I was saying the day by getting a whole bunch of cuckaroo. And the accounts were like what you buy and like, am I really getting into trouble for buying too much? Chicken Shut TV show on ABC? So Yes, right right.

00:09:14
Speaker 6: I love that Blutman's like, listen, you got the company card, buy enough food for seventy five people, then we'll have leftovers for days, go home, and then you got in trouble for it.

00:09:27
Speaker 3: It works, Cuckaroo, get the home, get out the door.

00:09:32
Speaker 6: Does anyone want to explain to our dear listeners who may not know what cuckaroo is?

00:09:37
Speaker 5: It was a it was a chicken restaurant.

00:09:38
Speaker 2: It was an amazing chicken restaurant that apparently we were the only ones going to because the whole thing shut down, and it was like, how do you lose?

00:09:46
Speaker 4: Cuckaroo?

00:09:47
Speaker 3: Is just writer's rooms in Hollywood that loved Cuckaroo and what less sitcom rooms? Cuckaroo went out of business. Oh there's always a room for the Cuckaroo. And soup plantation are coming back.

00:09:57
Speaker 6: So really, soup plantation is going to be called sweet Tomatoes because that's what it's called on in one half of the country, and I think they're bringing a.

00:10:07
Speaker 5: Sweet tomabe brandy here.

00:10:09
Speaker 4: Yeah, maybe cocar.

00:10:11
Speaker 2: Row is coming back then, as they're going to change the names.

00:10:14
Speaker 1: Yeah, so many conversations about Cuckoo. I mean, it's kind of blonkers. I mean, I guess the reality is we're just always eating lunch together every day or you.

00:10:22
Speaker 4: Know, but the actors didn't order it that often. Did we even get lunch delivered every day? Or did we were on our own?

00:10:28
Speaker 6: We had a certain we had craft service certainly, and then we were definitely on our own once we could drive, because I.

00:10:34
Speaker 4: Remember going they did. I yeah, I remember, don't you.

00:10:39
Speaker 2: We would get the like we'd get the menus in the morning, we'd pick what we wanted, and then we get like the.

00:10:45
Speaker 4: Contest styrofoam containers with our name on it. It was like this is right, this is yeah. But I think after we were sixteen, Yeah, that was over.

00:10:52
Speaker 1: There was like, all right, good luck, have fun kid.

00:10:55
Speaker 6: Yeah exactly, We're not paying for your cuckaroo anymore.

00:11:00
Speaker 3: Okay, so lacious guys. You guys just keep finding ways to continue to reinvent yourself and be relevant and stick together as a group. And that's that's really really cool. That does not often happen in this business. And thank you something to see.

00:11:15
Speaker 5: So thank you.

00:11:16
Speaker 6: We're rather fond of each other. We can't seem to shake one another.

00:11:22
Speaker 2: And we're trying to hate each other. It just doesn't work. We don't know why.

00:11:28
Speaker 3: Looking at it, you'll eventually find something to hate you.

00:11:30
Speaker 5: Yeah, you know what, maybe at forty years. It's definitely hasn't happened after thirty, but maybe after forty he knows.

00:11:38
Speaker 6: So I know, Boy Meets World for you was just a stepping stone for what has become a long and prosperous career. But we were hoping we could start with how did you get the job on Boy Meets World?

00:11:49
Speaker 5: What season was it? How old were you? Tell us everything.

00:11:52
Speaker 7: I was just out of college.

00:11:53
Speaker 3: I went to Syracuse University and packed up all my stuff in my crappy Ford Tempo and drove out to Hollywood to make it big. It took me a couple of months to finally get an interview, got hired, and then on to this day, I think they might have hired the wrong person because.

00:12:17
Speaker 5: Was your first interview for Boy Meets World.

00:12:19
Speaker 3: I know I had won any interview before that, with family matters and a tie in a blazer and sitting down a guy by the name of Miles Christman who's eating a turkey sandwich with turkey flying out of his mouth, and and said, you know, we don't expect you to dress like that. I'm like, oh, I am definitely not getting this job because I look like somebody who doesn't know what the job is. Wow. Eventually ended up interviewing at Boy Meets World, was hired, and the very first run I had over to Michael Jacob's office, which was over at the Disney lot because were at the old KTLA lot that in season three, which is now the big fancy Netflix lot. Very first job or very first run I went over there. Somebody called on the phone while I happened to be there, and I just see a confused look on somebody's faces, like what are you talking about? Didn't didn't we just hire you? I'm like, oh, whoever that is? It's suppos to me. I'm getting out of here before they can fire me on day one. But so whatever happy.

00:13:19
Speaker 9: Accident happened, My gosh, So you think they'd like literally just called you and gave you the job, but they said they mixed message name.

00:13:30
Speaker 3: That seemed like a better story than it actually probably was. So that's so, how did you.

00:13:33
Speaker 6: Interview with We were over at KTLA, which means it must have been seasons.

00:13:37
Speaker 5: Three and three or four.

00:13:38
Speaker 6: Season three okay, season three, And do you remember who you interviewed with?

00:13:42
Speaker 3: Hearing Steve Lamar Okay Laar, Yeah, who I was like, Well, hold on a second, you worked on alf Oh my god, ever meet in my life?

00:13:57
Speaker 4: So I have a we often talk about now.

00:14:00
Speaker 2: When we were on the set, we were completely and totally essentially oblivious to all the work that was going on around us.

00:14:07
Speaker 4: We were completely you know.

00:14:09
Speaker 2: Into our own little tiny bubbles and in our worlds and where the actors and blow. So what is the normal day, the normal twenty nine hour day for a PA?

00:14:20
Speaker 6: What is it?

00:14:20
Speaker 3: You know?

00:14:21
Speaker 4: How? What's an average day like for a production system?

00:14:24
Speaker 2: Well, first of all, I guess we should start with what's the actual job description? Because it's such a catch all of being a production assistant? What were you at least told your job was going to be?

00:14:36
Speaker 3: I may be dating myself here, but do you remember the Muppet Show?

00:14:39
Speaker 2: Of course, of course Gopher, Yes, Gopher was a PA.

00:14:45
Speaker 7: Basically Gopher coffee.

00:14:46
Speaker 3: Go for this, Go for that, Go for this. Your Your job as a PA is to be available to do whatever anybody wants at any given moment, at any time during the day. It's very important that you have a car than you have a brain or any kind of skills. Stuff from here to there. This was pre internet, Like everything now is, here's the script. Let's send out the file. Like you would work working hours. You'd get there at eight nine o'clock with a big tray of bagels for Blutman and the writers, and you know, you take care of lunches, you take care of any errands it might be going on. You do use the copy, your NonStop and then you wait for run through which I didn't realize after run throughs and table reads that scripts are always massively rewritten after notes from the network. I assume the first big meeting where they're giving a bunch of notes, I'm like, oh my gosh, is this writer getting fired? Oh my god, what's going Yeah, everybody kind of gets in and talks about, you know, what jokes work and what jokes don't work, and then you sit and you wait for the writers to rewrite the scripts, and you get them their dinner, and then you wait and you wait and you wait for the script to come out. And that's really where the biggest party job, at least at the time, happened, because you would end up staying up all night copying two hundred and fifty three hundred scripts and then delivering them all around town and at the time, like we killed so many trees.

00:16:13
Speaker 8: Yep, because like people who were like, look, you knew that the head of the curtains department at Disney was not cracking the third rewrite of the Boynese World script right seven in the middle of the with the baby pig in it, Like the curtains department doesn't need this, but they have to get this, and they have to get it at.

00:16:30
Speaker 3: Two am or else if somebody does call them they said, well I didn't get the script. So you'd be out until two three in the morning most nights delivering these scripts and then going to sleep and waking up and starting the process all over again.

00:16:45
Speaker 5: So like five days a week.

00:16:46
Speaker 6: I mean, I know, like on tape days, maybe the schedule was a little bit later because that was for our Thursdays were tape night, so everybody came in a little later, but your hours were really like getting there at eight am and then working You're on the clock until like three am.

00:17:00
Speaker 7: You're on the.

00:17:00
Speaker 3: Clock until everything is delivered. Luckily, there was three of us. We had Carl Ellsworth and Mark Kooneerth are the other pas who were there with me. We were both very accomplished writers themselves. Yeah, and you you usually have somebody who was kind of staggered a little bit to the Okay, you're going to do these super late runs and you'll come in a little bit later.

00:17:20
Speaker 5: Okay.

00:17:21
Speaker 3: Yeah, that's just kind of what the job was. Then.

00:17:24
Speaker 5: So you mentioned some other pas. What was that?

00:17:26
Speaker 6: Did you were you guys particularly close? Did you have a way you would like did you talk ish about anybody? Like did you did you gather together.

00:17:34
Speaker 5: And go claw? Did you hear what he just asked me for? Like, I want to know what was.

00:17:41
Speaker 6: I just want to know about the relationship with you and the other pas, and like the sharing of information and the and the the knowing glances of Like we were.

00:17:50
Speaker 3: Pretty tight knit the the I mean the people that we dealt with for the We all wanted to be writers, and as you guys know the business and all of us were it was our first job. Uh So we all wanted to be writers. So you try to get in with the writers. And I will say this about the boy. These world writers were all ridiculously kind to us horror stories of other places where people wrong and they throw up, you know, throw food container up against the wall and you'll let you never ever, ever, ever had any of that.

00:18:25
Speaker 7: It was always really really fun. And they're also very fosters, like, oh, what do you want to do?

00:18:30
Speaker 3: Great? Okay, let me let me help you with that. Once you've read written something, let me read it. Uh.

00:18:36
Speaker 7: Yeah, it was great.

00:18:37
Speaker 3: And you know, Mark uh and Carl and I are all still in touch for this day. Wow.

00:18:42
Speaker 6: Was there ever a time where you got to where any of them asked you for an idea of a joke or you got to pitch a joke?

00:18:49
Speaker 5: Did you ever get close.

00:18:50
Speaker 6: Enough or we're in the room during a time where they were breaking a script where you felt comfortable making a suggestion?

00:18:55
Speaker 3: Not really unboy in Meats World Michael Jake and by actually the year I was there, Michael wasn't running the show. At the very beginning out of it was a guy David Kendall. Yes, I then worked later on with as a director who was fabulous. Yeah, we da. He always respected him as a good, decent, kind person. Yes, great, like great person to have as a boss. And you can kind of see how people are treated, especially people that many times in Hollywood. You've got the people you know you have to be nice to and the people you don't have to necessarily be nice to. And you watch how people treat the people that they don't have to be nice to, and you know they're a decent person when they feel them Yeah, end of all day long. So anyway, David was running the show, and because Michael had two other shows at the time, and those other two shows ended up kind of falling away and he was back at Boy by the end. But they had kind of a closed room where it was just the writers. You didn't have any in there, so you you got excited. It was like, oh, it's my day for lunch. Breaight, I get to go into the room to hear what's going on as I'm passing out passing out menu. I'll pass out the menus, but then I'll sit and I'll write out the orders, so I get to stay in the room a bit longer because it's such a magical, mysterious place once you're in when you're not allowed to be in there, because you want to know, like how the magic happens, where this is coming from, who writes what how does.

00:20:21
Speaker 7: It work on that particular show?

00:20:25
Speaker 3: Nothing for Boy These World specifically, But the writers were very good about reading other sample scripts because as a writer, you you write they call the spec script like what you would do if you had an opportunity to it, And they were really good about.

00:20:41
Speaker 4: How did you even have time to write? Though? Where were you? Where were you?

00:20:45
Speaker 1: You were just finding the hours on the weekends to pound out your own work.

00:20:48
Speaker 3: That's that's what I always tell people who are are trying to break into the business. There are two things that you kind of have to focus on. There's your job and there's your career, both equally important. Because your job might be a PA on Boy Meets World where you're working sixteen hours a day and doing everything you could possibly do, and that's how you're making your money, so you can hear and survive. But you've got to put in the same amount of time and effort in your career or else you're just always going to be your job.

00:21:18
Speaker 7: So the thing I would get together with.

00:21:20
Speaker 3: My writing partner who and work for a couple of hours and on the weekends cranking stuff out and just spending an equal time on both because you know, you, guys, I'm sure have heard all over and over and over that this business is all about being in the right place at the right time. I say it a different way. It's about being prepared to take advantage of an opportunity once that opportunity presents itself, and if you haven't done the work to take advantage of that opportunity by then, that opportunity goes away. You know, if you finally have someone say okay, yeah, i'd love to you want to be a writer? What have you read? What? What have you written? What can I read? And you want to be able to say, oh, here you go, Oh, while I'm working on something that I should be ready like two months or so, can I get back to that, because at that point you've blown the moment. So, especially when you're first starting out, it's it's incredibly difficult to still be doing this stuff on top of the career stuff, on top of the job stuff.

00:22:21
Speaker 6: Yeah, so you said that the writers were all really good about reading things. What was the first spec script you ever wrote? And then who did you give it to to read and what was the feedback The.

00:22:44
Speaker 3: First spec script that my writing partner Ron and I wrote, who I'm still ready with today. We wrote a news radio spec.

00:22:52
Speaker 4: Such one of my favorite shows of all time.

00:22:54
Speaker 3: It was one of those shows that if you remember, you remember it ridiculously fondly.

00:22:58
Speaker 4: Yep.

00:23:00
Speaker 7: So we wrote that and it was.

00:23:04
Speaker 3: I think at the time, I did the thing you're not supposed to do and was like sliding scenes under the door for it was even a completely written script. To the other writers who were like, oh wait, what is this. Is this something we're supposed to be doing, I'm like, oh no, no, it was just something I was wondering if you would kind of reading and seeing if I was on the right track, and they're like, oh yeah, okay. Like Jeff Manel was like, oh this is great. I'm gonna put a big tea here because that's when you teed up the story and that's how I mark up my scripts.

00:23:28
Speaker 7: Pictures on your scripts.

00:23:29
Speaker 4: That that's so cute.

00:23:34
Speaker 5: That sounds like Manel exactly.

00:23:36
Speaker 3: And then that that specscript ended up being the script that we that Ron and I submitted to the Warner Brothers writing program back when that was the thing, and that that got us kind of looked at as more than just people who were trying to become writers. We were writers who hadn't been hired yet.

00:23:56
Speaker 5: Wow.

00:23:56
Speaker 7: Wow, Yeah, that's.

00:23:57
Speaker 3: How we got representation and it just kind of went from there. And it still took us three years after that before we finally ended up. We were doing kind of freelance side gigs while we were still working our jobs instead of our career, and then it took us three four years after that, which seemed like an insurmountable amount of time. Then now it's like, wow, it's it's double, if not triple, that amount of time for most people to break in now because it's yes, it's just harder.

00:24:28
Speaker 4: Had you heard of Boy Meets World before you were on the show, and what did you think of it?

00:24:33
Speaker 7: I had not heard of boy Meets World.

00:24:34
Speaker 3: I got the interview, like uh, and it was a Friday thing and I had a younger brother. I'm like, you know the show boy meets Girl. He's like, it's Boye's world about it? My uh, I think thirteen or fourteen at the time, Like fill me in on everything so I know what's going on.

00:24:54
Speaker 7: So that's how he did my research.

00:24:56
Speaker 5: And were you just there one season? How long did you stay with us?

00:24:59
Speaker 7: Just there one season? And I was there for season three.

00:25:02
Speaker 3: At the time, I had it in my head because I knew Hollywood was all about kind of building relationships. I thought I was like, Okay, don't stay any place more than one year while you're an assistant, because then you'll meet more people. I don't know if that was the way which I jumped from that over to. And I always tried to move move to a different show, but move up the ladder one rock. Sure, So I hopped over from Boy Meets World. I was there. I went to Ellen for a month and then got as a writer's PA, and then I jumped onto a show called Unhappily Ever After for a year as a writer's assistant.

00:25:39
Speaker 2: With Nicki, with Nicki Cox and yeah another good show. Yeah Bobcat Golf Wade and yeah.

00:25:47
Speaker 7: Yeah, yeah, you come for Niki Cox, just stay for the talking Rabbit.

00:25:52
Speaker 4: It's true.

00:25:53
Speaker 2: Nicki was my first girlfriend in Los Angeles when I moved out first season of Boy Meets Roll. I think we were both like sixteen.

00:25:59
Speaker 3: He was red ridiculously sweet, and I can understand.

00:26:02
Speaker 4: She was ridiculously sweet.

00:26:04
Speaker 2: Yeah, she was ridiculously sweet.

00:26:07
Speaker 3: Then I jumped over to a show called Grace under Fire and then jumped Damon and finally ended up on a show called The Huge LEAs, which is where Ron and I finally got stabbed for the first time.

00:26:16
Speaker 4: Oh wow, were you there?

00:26:18
Speaker 2: I was gonna say, were you there a Grace Underfire when all the stuff went down?

00:26:23
Speaker 7: When didn't stuff go down?

00:26:24
Speaker 3: Yeah?

00:26:25
Speaker 4: Yeah it was I was there for the stuff at the end, you were okay.

00:26:29
Speaker 3: Fun fat. Technically I was the final executive producer of Grace utter Fire really, because Grace had fired. Everybody then realized, oh there's nobody left. So She's like, oh, what up do Yeah? What about what about this guy?

00:26:42
Speaker 7: He could be the executive producer. I'm like, I'm the guy typing at the keyboard.

00:26:46
Speaker 3: I don't know that. No, No, he the executive producer. So there was like six writers left at that point, and he sitting in a room with nothing to do because we knew we were all about to, like the show was about to go away, and the the I think it was a guy by the name of Mark Leagan, and Mark uh looked over me as like, so, executive producer, can we go to lunch?

00:27:06
Speaker 1: I'm like, yeah, cugaroo, go pick us up. Yeah, pick us up, I get to send somebody.

00:27:17
Speaker 6: Oh my god, that's unbelievable.

00:27:21
Speaker 4: I don't know any of the drama.

00:27:22
Speaker 1: It was just network notes that were just pushing back.

00:27:27
Speaker 3: RCI Werner had a habit of this is back when sitcoms were still king, and they had huge, huge, huge hits with Bill Cosby and Roseanne and your name is a Civil Shepherd, and they just kept finding mostly stand up comedians to build shows around. But many times, at least in that era, you you would build a show around the standard comedian who was used to doing things themselves on their own, so having a team of people around it's tough, was difficult for them, and it there were a lot of fireworks.

00:28:10
Speaker 4: We'll say, you are being so so wonderfully diplomatic, diplomatic.

00:28:15
Speaker 2: Well, our set wasn't like that at all, wasn't We had no drama.

00:28:19
Speaker 3: Well, you mentioned something that I thought was worth pointing out, like the fact that you guys didn't know like how the rest of everything was working is a credit to how well produced and boy these world was and.

00:28:34
Speaker 7: How well scare of you were. Yes, as a producer of.

00:28:40
Speaker 3: I mean I've been on everything from network to streamers to kids TV, you name it, and I've worked all exclusively in multicam, which is not something most people can say these days, but especially with kids. From where I'm standing, the number one job you have, like I always say, I'm a I'm a ad first, a producer second. So making sure that especially your kid actors are protected taken care of and I'll just be kids and listen. No, it's a job, but it should be fun. This is the glorified a drama club, you know, where you're just getting to do all kinds of fun things because you guys are pulled in like six hundred different directions, not just in the production of the show, but also promotions and appearances and you and it can be a lot, especially on shows where they allow they're behind the camera drama to the camera and for kid actors to kind of deal with that and that to be that's not fair. And I'm glad to hear that you guys there going on behind the cameras anyway, so a sign of a well run machine. But I'm glad to hear that you guys have such posive experiences from it, because yeah.

00:29:58
Speaker 6: We have given that credit now many times that it was so it was so we were so protected in the best ways.

00:30:04
Speaker 5: It's funny that now as adults were like, oh.

00:30:06
Speaker 6: Man, we had absolutely no idea any of that was going on, And you're exactly right.

00:30:12
Speaker 5: It is a it's it was.

00:30:14
Speaker 6: It was a nice way of our teachers and the adults in the production office, Karen McCain and and all the people who didn't let us know anything was going on.

00:30:25
Speaker 5: We were we were well insulated.

00:30:27
Speaker 6: And that that is that is the best I want to talk about when you would deliver the scripts again, because to us, we just can't even believe, like we remember it so well. We remember, you know, waking up in the scripts, being outside the door, or if it was if we were still awake getting the scripts, they'd sometimes be in plastic if it were raining outside because they were just you know, left on our porch. Was it only one pa doing the deliveries at night or would a couple.

00:30:51
Speaker 5: Of you do it?

00:30:52
Speaker 3: And there's always one person who had the super late although at the time it was Betsy Randall lived down in Ohi or something, and she was the.

00:31:02
Speaker 5: One who here was it Bill Daniels in Monacito.

00:31:06
Speaker 3: Bill was not in Monasito season.

00:31:07
Speaker 4: He had a valley, a valley place. He always had a house in the valley.

00:31:11
Speaker 1: I think it was Betsy was in Topanga Canyon, right or no, she wasn't.

00:31:17
Speaker 4: O High was the way in High.

00:31:20
Speaker 3: They didn't want to pay us for the hour, like whatever whatever rate it was. It was cheaper for them to pay for the facts than to have us drive out there.

00:31:29
Speaker 4: Facts.

00:31:30
Speaker 5: I remember, you would facts her script.

00:31:32
Speaker 3: You would get. Yeah, I sound like an old man now anytime I bring up these things, but.

00:31:38
Speaker 4: That's yeah.

00:31:39
Speaker 2: It was magic to us because he would just open your door and there the script would be. Now to make it hopefully make you feel better about all the deliveris you did? I still have all my scripts, he does, so, so that's it. What they did not go to waste. Just so you know I've still got him.

00:31:55
Speaker 6: He's We've signed them and given them away at some of our live shows to our dear listeners, so they your work is still out there in the.

00:32:03
Speaker 3: World, finalest work.

00:32:05
Speaker 2: Yes, Would you take the time because you want to be a writer at the time and you know that's your career. Would you read all the scripts as they were you were either you know, photocopying them or delivering them I mean, would you take the time to read the scripts and see the changes they made.

00:32:23
Speaker 4: Or was it like, I don't ever want to look at this anymore.

00:32:25
Speaker 3: One hundred percent. I read every script that came out. You get a chance to talk to her. I was like, Oh, I noticed this one changed. Why did that change? That seem to work? Like, oh the network felt that it was made this character to mean or didn't they needed to show up the relate So kind of learning the Notes process and realizing that this is a very collaborative medium, especially in world and sometimes you try stuff and see if it works, and if it doesn't, you can always kind of change it to something else and realize that, oh, these changes aren't necessarily it's not necessarily saying that you were wrong or did something bad.

00:33:00
Speaker 7: It's like, oh, we just want to try something else.

00:33:01
Speaker 3: We want to try to shade at this direction or this is the objective that we have now. And realizing that the notes process and including the studio and the network in that process is huge because at the time I didn't realize, oh, the studio the network kind of owned everything and you're really just there to kind of have a vision and then try to weave everything all into one cohesive thing and then hope you get you know, multiple seasons to do that and to build a vamily.

00:33:29
Speaker 6: Do you remember any specific weird requests you got or strange and how many packs of cigarettes were you sent out to purchase for Will?

00:33:41
Speaker 2: I always I was a responsible kid. I always bought my own smoke.

00:33:45
Speaker 6: Okay, all right, legal, Any weird request, Well, there's constant Kunkuru, which.

00:33:54
Speaker 5: Was one that's a little weird.

00:33:57
Speaker 3: You're the first twenty seven times, but the next twenty five times. And I got no particular weird request. But I remember there was a time when I got a traffic like. I got a ticket for turning left somewhere I wasn't supposed to left and got pulled over. And Jeff Sherman, one of the writers, like oh, because I was picking up something for him and his managers or ages. And he's like, oh, I feel terrible. And he didn't offer to pay the ticket, but he's like, I got a guy. I'm like, oh, I always love anytime somebody storts his sense. When I got say, I'm going to love yeah, And he's like, I got a guy, You're gonna go do traffic school with him, except you're not really going to do traffic school with him. To go to this address talk to Nico Nicoll be there. Nico doesn't exist, But say you're talking to Nico and then you're gonna pay whatever it is and you want to have to go to traffic school when you would credit for it. So that was pretty neat. When you're twenty one years old, you're like, like, what is the shady d I got going on here?

00:35:00
Speaker 2: I'm sure with the weird traffic school hookup?

00:35:03
Speaker 4: Like what, Jess love that story.

00:35:07
Speaker 3: That's amazing.

00:35:09
Speaker 6: What's the kind of adult I hope to be the one with the guys who's.

00:35:13
Speaker 5: Not really a guy and it's it's a little shady, but you'll get it done.

00:35:18
Speaker 4: I love that.

00:35:18
Speaker 3: I love it. Yeah, Mady, farther than you've ever been a man.

00:35:23
Speaker 5: Ask for Nico, but Nico doesn't exist. I love it.

00:35:28
Speaker 2: I have a question for you as somebody, because you mentioned before that you have almost exclusively spent your career in multicam. Yes, which is pretty amazing, and it's also my favorite thing in the world and always has been.

00:35:42
Speaker 3: It's the it's showbiz.

00:35:44
Speaker 4: Is it going away?

00:35:46
Speaker 3: People have said multicams are going away for decades at this point, Right, what I did once I finally got on staff as a writer. I was on staff on a show called The Hugeles for four seasons. It was a two different networks, four different nights, ninety episodes, the longest longest running show nobody has ever heard of.

00:36:06
Speaker 4: I Love Who Hysterical So.

00:36:08
Speaker 3: You just finally came back. It just it's just dropped on Netflix in this past August, so people are rediscovering it, which is cool. After The Hugles, I jumped over to a show called according to Gym, which it was Seasons. And the great thing about that is we were gainfully employed as writers for twelve straight seasons. When wow, like when I first started on Boy Mets World, and this is comedies in general, multi cam n single came there were ninety comedies on just network television.

00:36:39
Speaker 7: By the time, according to Gym ended, there were nine.

00:36:43
Speaker 3: Oh wow, we got canceled so by like literally by the end of the season, there were six comedies on network television.

00:36:50
Speaker 4: Right, I'm sorry, this is this is what the early two thousands, this is reality. This is a reality TV just came in, right, Yeah, the first strike.

00:37:00
Speaker 7: After that ron they looked around.

00:37:02
Speaker 3: It was like, oh shit, we shoop, we love doing I love doing multicams, Like who's still doing these? And looked around like, oh this, they're actually doing multicam TVs over on Disney Channel and Nickelodeon. Let's go sniff around over there. So they're still doing them there. And there's a whole generation of as you well know from Girl Mets World, there's a whole generation of former kids now adults who are suddenly hitting the demo, the age demographic who are used to watching their comedies their half hours in multicam format because they wrop on hand in Montana, Shake It Up Live in Mattie, Girl Meets World, and now they're suddenly in the uh in the demographic. And if you notice, there are more multicams on network primetime now than there have been in years. I think part of that is because they're significantly cheaper. You get to try out stuff multiple times before you lock in on it with single cams, and I love single cam shows as well, but you have to know exactly what is going to work and what is not going to work before you shoot it, and then hope what you want and then or hope you can fix it and post and I don't know. There's just something about that magic of being up in front of an audience that I always love with a multiicam, and it feels more like it's part of your family, like they're kind of there that single cams like, oh, I'm watching a tiny movie about people on TV. With multicams, it's like, oh, you're you're watching a live play every week.

00:38:36
Speaker 4: And you're yeah, you're in the house. It feels like you're there in the house. So that's really interesting.

00:38:39
Speaker 1: I've never thought about it that way, and we've kind of said a version of that, but I never thought about the fact that it's multiicam liveness actually makes it even though it's more presentational, it makes it feel more in person.

00:38:51
Speaker 4: That's super interesting.

00:38:53
Speaker 3: More in person, and it feels like it feels like someone you can know instead of someone you can experience on TV. It's it's a different feel to it that I feel like you your audience is more invested because of that.

00:39:10
Speaker 7: Yeah, especially younger audiences.

00:39:25
Speaker 6: So something we haven't talked about on the show before, but that I wanted to ask you, do you remember when the entire cast and crew was on lockdown at KTLA because there was a shooter on the roof.

00:39:37
Speaker 3: Was my first day of whoa welcome shoh my gosh, okay, please tell us your first day of work story. The first run over to Michael Jacob's off is when I realized I think they hearrd the wrong person. Second time I go over and I get a call saying, yeah, don't don't bother coming back, and I thought for sure we figured it out. I'm then they figured who the other guy is gonna be actually want to hire, and then they're like, there's a sniper on the top of the Metropolitan Hotel, so you can go home. So I was done by two o'clock that first day. I'm like, this has been a very uh.

00:40:15
Speaker 4: Strange Oh wow, I don't remember this at all. I don't remember this at all either. We've talked about this a number of times. Yeah, were we part of the lockdown?

00:40:25
Speaker 6: Do you remember so, John, when you're your first day, was it the first day of one of our weeks? Like was it a Friday? And then you're was this was the lockdown on a Monday? I'm trying to figure out if it was the start of an episode or were you in the middle of the week, because I'm trying to really like, where would we have been at two pm?

00:40:44
Speaker 3: If I remember right, it was one of the four days before, because Friday was table Reday.

00:40:50
Speaker 4: Yes, four days.

00:40:51
Speaker 3: And if again, going back many, many, many many decades here, if I recall correctly, you were there Danielle banking school hours before because she's very studious.

00:41:03
Speaker 5: Very studious. I was very studious.

00:41:05
Speaker 3: Yeah, I don't know who the rest of the cast was there.

00:41:08
Speaker 1: Okay, so you might have just been having a school day to bank hours for the next week when we were on hiatus or something.

00:41:14
Speaker 5: But during hiatus weeks, I always I would.

00:41:17
Speaker 6: Have always, I would have gone back to my regular school. And if it were yeah, So I don't know.

00:41:22
Speaker 5: I mean I have either. The funny thing is I have a vague.

00:41:25
Speaker 6: Very vague recollection of it. But there was a lot of action when we were at KTLA.

00:41:30
Speaker 4: Yeah, because of where we were. Well, that was the same day that rider. Ironically, you were on the roof of the Metropolitan.

00:41:37
Speaker 2: You told me, you told me that remember that that day.

00:41:42
Speaker 4: It was rightful Monday. We kind of snapped, right.

00:41:46
Speaker 5: I knew that half of it. I'm trying to remember the other part of it, you know, the terror.

00:41:52
Speaker 7: No.

00:41:52
Speaker 2: I just remember when we first went to KTLA because it was like, hey, which strip club should we go to for lunch?

00:41:59
Speaker 4: Because it was like it was such a different We went through the Disney.

00:42:03
Speaker 2: Yeah, like literally the squirrels would come up to you and like feed you grapes themselves to k t l A where it was like, hey, wow, I got heppatitis.

00:42:11
Speaker 4: So it was.

00:42:13
Speaker 5: Where the old spaghetti factory was.

00:42:15
Speaker 6: Yes, yeah, the old spaghetti factory.

00:42:19
Speaker 3: Factory that out in front had daytime hookers.

00:42:22
Speaker 6: Yes, not to be confused with night time hookers.

00:42:26
Speaker 8: If the.

00:42:29
Speaker 4: Afternoon, yeah, if you're working the day shift. Yikes.

00:42:36
Speaker 6: Okay, So you mentioned run throughs.

00:42:40
Speaker 5: Were you ever did you get to be on set for run throughs? Did you get to watch them?

00:42:45
Speaker 4: Not?

00:42:45
Speaker 3: They wanted people down there for the the reaction.

00:42:50
Speaker 5: What do you remember about the three of us? You can be honest, God, you guys are all great.

00:42:55
Speaker 3: I literally I wish I had some crubby things to say about you.

00:42:59
Speaker 5: You make something up, Just make up one crummy thing about Rider.

00:43:04
Speaker 4: We just made him an active shooter. Make it up about me.

00:43:07
Speaker 5: You're right, Okay, make it about well.

00:43:10
Speaker 3: A play several years ago where you did the Graduate with Jerry Hall.

00:43:14
Speaker 7: Oh, yes, theater years ago. I was like, I know that guy.

00:43:17
Speaker 3: Look at him, he's all grown up.

00:43:18
Speaker 2: Now do you play the guitar and or the keyboard?

00:43:25
Speaker 3: I do not. My son does. My son is a fantastic drummer.

00:43:29
Speaker 4: And that's the whole thing.

00:43:31
Speaker 3: The thing but it makes me look a lot cooler to have something that.

00:43:35
Speaker 6: So you mentioned that you're still close to Mark Blutman, uh, and one of an other person you met on Boy Meets World?

00:43:41
Speaker 5: Who else are you still close to?

00:43:43
Speaker 3: Uh? Well, the the cool thing is there's been two different times when like the writers from Boyme's World have kind of re entered my life later on, which like when, uh, because Michael likes to keep.

00:43:57
Speaker 7: His people around.

00:44:00
Speaker 9: Uh.

00:44:02
Speaker 3: Years later, when I had kind of moved up the ranks and had become an executive producer on according to Jim, Michael did a show called Misery Loves Company I believe, yeah, and they were going to air after according to Gym when they launched, and they the cast was supposed to come to our set to shoot promos for their launch and at the time I had no idea who what Misery Loves Company was. I just knew that they were coming in. And behind the actors comes all the guys I used to get lunch for. I'm like, oh my god, that's Bluckman and Matt Nelson. Well, and they came walking in and like, I'm like, oh my god, this is so cool that they're like over here now and they're like, oh, hey, could we do It would be okay if we I'm like, why are you talking like that? Gonna make you a sandwich? Like. It was cool to see them then and kind of reconnected then. And then when my writing part I created a show on Disney Channel called liv and Maddie. We were doing liv and Maddie season two when Girls World got picked up. So Michael and you know, Blutman and Manel and and uh ended up coming to set to kind of learn the ways of Disney Channel, which has a bit of a learning curve.

00:45:21
Speaker 5: Yeah, So it.

00:45:22
Speaker 3: Was again cool to just kind of intersect with these guys who I respected incredibly and have such fond memories for. And then they they got to come see me all grown up, which was nice. So cool.

00:45:34
Speaker 5: That's so cool.

00:45:35
Speaker 6: AU what a great full circle moment to be having been the PA bringing those guys kuckaroo and now being the person who says, yes, allow them to come on and see my set and let me teach them and guide them into what they're.

00:45:50
Speaker 5: About ready to embark on.

00:45:51
Speaker 4: That is so cool.

00:45:52
Speaker 5: That's such a great moment.

00:45:54
Speaker 3: Right there was the Boy Means World reunion strike, Yes, and I got into that, and so I Cuckreo was no longer around anymore. So I went and got a box of stonnuts and wrote Cuckreo on the top and he is your.

00:46:10
Speaker 4: That is just so cool?

00:46:12
Speaker 5: Do you think?

00:46:13
Speaker 6: And I'm sure the answer is yes, but I want to hear it from you. Do you think having been a PA yourself impacted the way you then lead a show, run a show, the way you interact with people?

00:46:25
Speaker 5: Were there? Did you?

00:46:26
Speaker 6: Did you walk away from that going I know I am always going to treat people with respect and kindness.

00:46:32
Speaker 3: It is yes.

00:46:36
Speaker 7: There.

00:46:38
Speaker 3: One of my all time heroes in uh in television is a guy with the name of Gary Marshall cast a Happy Days did guest on Boy Meets World the year I was really cool. Yeah, And Gary had a saying that I think about constantly in this business. He said, it's nice to be important, but it's more important to be nice. And I think that is hugely important, especially in especially in the entertainment business, because it can be so high stress, and it can be a place where nerves are afraid, and it's creative people who are trying to make things the best they could possibly make it, and tempers can flare. But at the end of the day, everybody's like, everybody from top to bottom, if you staffed your show correctly, is trying to do a great job for your show, your product, and everybody deserves the same respect that you hope you got when you were still starting out or when you were you know, whether you have screwed something up up or whether you which by the way, I did a lot when I was a BA or and especially the moments where you thought you were doing the right thing and it ends up screwing on. But yeah, that's hugely important to me, and it's I also remember what it was like to be the person who was trying so hard to do a good job with what you're doing, but also let you know, like I want to do more, and remembering how difficult it felt to get in the room, get through the door, to get to get to where you want to be. And you can't always do that for everybody, but you can at least provide an environment where you can learn and get yourself a little bit closer. And it takes more work on your part as a showrunner to do the little things that helped foster the next generation of people, but they were done for me and it's been, you know, my twenty five year goal to and in counting I hoped continue to create that kind of environment for other people.

00:49:12
Speaker 4: Yeah, that's great.

00:49:13
Speaker 2: It's also telling that Gary Marshall is the person who said that when he had to deal with personalities on things like Lavernon Shirley.

00:49:20
Speaker 3: So about that, as if you guys have worked in the Paramount lot, Yeah, yes, Happy Day stage and right next door to it was the Lavernon Shirley stage. There's literally about this much room between this door and this door. Gary, we go from the Laverne and Shirley stage, which was the most contentious high drama state ever and literally walk into the most beautiful place ever. On Happy Days during the pandemic, I was doing a show called Side Hustle, which happened to shoot on the Happy Day stage and we happen to be in the Happy Day's offices, and I realized, oh, I'm in.

00:50:01
Speaker 7: Gary Marshall's writer's room.

00:50:03
Speaker 3: Really difficult, really difficult time, because we were one of the first shows that we're kind of up back and producing after lockdown, and it was just kind of nice to feel that energy and realize, okay, like nerves are going to be even higher for people now, so your threshold for patience and kindness is going to be really important in it. It's kind of nice to feel like I was channeling Gary a little bit there.

00:50:34
Speaker 4: That's cool. That's cool.

00:50:36
Speaker 6: Well, for any of our dear listeners who are looking to get into the business, how do you tell people, like, what do you think the first step is? Do you still recommend a PA route? Is that even possible these days? What's your advice to young people.

00:50:50
Speaker 7: Look for a PA gig?

00:50:53
Speaker 3: The there used to be a fairly consistent pathway that I think. I think the door might have closed right as I finally got through it, where you'd work as a PA you would then work your way up to writer's assistant, and when you're a writer assistant more often than not. Then you were in the room and you're interacting with writers a little bit, and if you were in a cool place, maybe they'd let you pitch a joke, maybe they'd let you. But you've got access to outlines, you've got access, and more importantly, you've got access to the people who are doing the job that you want to eventually do. These are the relationships you want to build because one of those writers could end up getting their own show and bring you in as a script coordinator and then maybe get you a script. It's a little bit tougher now because rooms are smaller. There are less rooms, so those opportunities, like the pipeline is not there. But still you want to be around the people who you eventually want to be if because you're learning how to you're learning your craft, you're learning how they carry themselves. And you also have somebody who, like a vouch from somebody else, is worth his weight in gold in this business, whether that's oh, I read this kid's script, it's good, or you know what this this this this, this kid is a hard worker. You know, we could trust them to do little things, so why don't we trust them to do the big things? But at the same time, in addition to what I talk about, like you got you got your job, and you've got to also work on your career. I think it's even more important now than it has ever been to just be doing stuff you cause set yourself apart somehow, whether it's shooting shorts, whether it's I mean when I when I was when I was a PA and Boy Meets World, I became very close friends with Alex Dasaer, and Alex at the time was shooting Swingers, which at the time was like, oh yeah, they got this this little this movie thing that we're also kind of shooting. That became such a huge thing and launched so many careers. That's the kind of thing people need to be doing now, because it's always it's really hard to get somebody.

00:52:58
Speaker 7: To read something, to sit down descript.

00:53:00
Speaker 3: It's much easier to get somebody to watch something that you've sent them, and it's so much easier to kind of get that out there and distribute it now than it used to be. I always feel that's the kind of thing that gets you noticed more than anything now. Nothing nothing replaces being in a room and being around a staff of people and proving yourself to be invaluable. But if you don't have that access, producing something that you can get to people is also just as fantastic. And if you can do.

00:53:36
Speaker 4: Both, great, right, that's great, John.

00:53:40
Speaker 6: As I mentioned in your intro, which you didn't get to hear, but I mentioned all several of the shows you have been an executive producer for, one of which is Fuller House, and also many shows that you've.

00:53:51
Speaker 5: Created and show Ran.

00:53:53
Speaker 6: I want to thank you so much for spending your time here with us today. You are far more successful than our little podcast and I'm just we are so appreciative that you came and spent time with us today. And also i'd love to know what are you working on now? Where can people see your work, what are you excited about? Tell us what's in the pipeline for you that we can get behind and root for.

00:54:15
Speaker 7: Well, First of all, thank you guys for having me.

00:54:17
Speaker 3: This is something that David Kendall's talked to me about and Mark Bluman's talked to me about. A couple of people are like, I don't want to talk to me.

00:54:22
Speaker 5: I was just not true.

00:54:24
Speaker 3: I will say I was incredibly nervous to come on. I didn't realize I would be as nervous as I was. So thank you. That dream you have when you go back to high school and you're like, oh my gosh, everybody thought it was a jerk. I have no idea. So nice to come back and see some faces who I remember very finally and to find out that you either didn't remember me or remember me finally.

00:54:49
Speaker 5: Either right, you'll take either.

00:54:54
Speaker 3: Most recently, I was doing two different shows for Nickelodeon. I was doing a show called Back Rolele and a show Side Hustle, kind of out pitching and developing. Right now project I've been taken out with Jody Sweeten. I'm kind of waiting to hear on that and you know, just just kind of out hooking it. Well.

00:55:13
Speaker 6: We are big fans of Jody here so and big fans of yours as well, So I can't wait to hear where that ends up. We will be We would love to have you guys back on whenever that goes somewhere. We will have you back on to talk about it and promote it and get our dear listeners to watch it with us.

00:55:29
Speaker 3: How nice would that be?

00:55:30
Speaker 6: Yes, that's that's the hope. So, John thank you again for spending your time with us.

00:55:34
Speaker 7: Well, thank you guys for having me. I really appreciate it.

00:55:37
Speaker 4: Thank you great to see you. Bye bye.

00:55:41
Speaker 6: It's always so nice when you talk to people who are like him, and it just absolutely seems like something's right in the universe when a guy like that starts as a PA and then makes it to a showrunner.

00:55:55
Speaker 5: You know, just the kindest, nicest.

00:55:59
Speaker 1: Hardest work I work. The way that he's able to articulate the whole job career, I mean, it's so smart, like God, and like so many people I think, you know, think that oh I can just be a PA and just that's it and then the job ends or they stay in the like all the strategies.

00:56:17
Speaker 4: The fact that he kept moving, I'll get a job over here because I got to know more people like that's so smart. I know, I don't know, the deserve is the same.

00:56:23
Speaker 2: I hope the business is the same where that's still, like he said, a pathway to success where you can still do I mean, look any way.

00:56:29
Speaker 4: In is the way in right, right? Of course? Yeah?

00:56:31
Speaker 1: So, but I just you know, the saddest thing is just that there's not as much being made.

00:56:36
Speaker 6: Like that's just ninety sitcoms.

00:56:39
Speaker 5: On the sports television down to six in like eight seasons.

00:56:43
Speaker 1: Yeah, and then you get their Kardashians guys. You know we get the payoff the Apprentice.

00:56:48
Speaker 4: You know, well, I miss Lavert and surely they used to get that. Set was such a nightmare.

00:56:55
Speaker 2: They used to count each other's lines, and if one of them had had one line more.

00:57:01
Speaker 4: They wouldn't come out of their dressing room.

00:57:03
Speaker 2: They had to write the script to where both the actors had exactly the same number of lines.

00:57:09
Speaker 4: Can you imagine that?

00:57:11
Speaker 5: Oh, you know what, I want enough time to care.

00:57:15
Speaker 4: About that, right right?

00:57:17
Speaker 5: Could you imagine the.

00:57:18
Speaker 6: Kind of free time you must have to count your life and your line, not just count yours to see where you stand?

00:57:26
Speaker 5: What about the other person?

00:57:29
Speaker 4: I couldn't imagine. I couldn't imagine.

00:57:32
Speaker 5: Yeah, I just like to poop alone. That'd be nice. If I could just poop alone, ever, would be so great.

00:57:40
Speaker 6: Thank you all for joining us for this episode of Pod Meets World. As always, you can follow us on Instagram pod Meets World Show. You can send us your emails at podmeets World Show at gmail dot com.

00:57:49
Speaker 5: And we've got merch.

00:57:51
Speaker 4: Who are you pooping with merch?

00:57:54
Speaker 6: Children of the mails in this house, I can't be away from me, and Indy.

00:58:03
Speaker 1: Is finally at the age where he does not walk in on me in the bathroom. I'm like, I've yelled and screamed so many times and it's like, finally I am. I am able to go without having to lock the door, which is what I used to have to do. I'm just I'm locking the door, dude.

00:58:16
Speaker 6: Yes, yes, But the worst part is even if you lock the door, then it's still banging, handle, jiggling.

00:58:21
Speaker 2: Please, Mommy, hoop it alone, merch.

00:58:26
Speaker 4: That's where we're going.

00:58:27
Speaker 6: Pod meets World show dot Com will send us out.

00:58:31
Speaker 4: We love you all. Pod dismissed sentences.

00:58:34
Speaker 1: No one ever thought they'd hear from Tippega.

00:58:40
Speaker 2: Pod Meats World is Myheart podcast produced and hosted by Danielle Fischel, Wilfredell and Ryder Strong. Executive producers, Jensen Carp and Amy Sugarman, Executive in charge of production, Danielle Romo, producer and editor, Tara Sudbaksh, producer, Maddy Moore, engineer and boy Me's World super fan Easton Allen. Our theme song is by Kyle Morton of Typhoon and you can fillow us on Instagram at Podmets World Show or email us at Podmetsworldshow at gmail dot com