October 15, 2025 • 56 mins
Do you remember the first time you saw the Fuller House set? I mean... the nostalgia, right?! Well, that incredible recreation was all thanks to set designer Jerry Dunn! Find out why the set design for this show was no easy feat. And hear all about the hilarious story that led Jerry to set design in the first place. It's all right here on How Rude, Tanneritos!
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Episode Transcript
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Speaker 1 (00:18):
Hey there, Fanarritos, Welcome back to a brand new episode
of How Rude Tanertos. Today we have a guest who
made the set of Fuller House come to life. To
be given the task to recreate the full House house
is no easy feat, but Jerry Dunn took the opportunity
and ran with it. I mean, if you remember Rennie
(00:38):
Dieball's interview from a few weeks ago, the set alone
got a five minute standing ovation. That's the perfect testament
to Jerry's work. And we can't wait to talk to
him today about production design and everything that goes into it.
So please put your hands together for Jerry Dunn here.
Speaker 2 (00:59):
So welcome Jerry to How Rude Tanrito's. We're so excited
to have you on the show. You are so wonderful
and talented and also like just a part of the
Fuller House family now.
Speaker 3 (01:12):
So yeah, and we're really excited to get to talk
to you about all this. Yeah.
Speaker 1 (01:16):
We posted a clip on Instagram a couple of weeks
ago with Rennie Dieball where she was commenting on the
pilot taping a Fuller House and how the sets got
the longest applause of any cast member. It was like
a five minute standing ovation and Jerry's like, I did those.
Speaker 3 (01:34):
Sets, those sets, and I was like, come on the podcast,
this would be great.
Speaker 4 (01:38):
Yeah, iconic. It was pretty surprising in those sets.
Speaker 2 (01:43):
I mean, can you tell us a little bit about
how those sets were recreated and made and that it
was a rather.
Speaker 3 (01:53):
Difficult journey that to say the least.
Speaker 4 (01:56):
Yeah, both know the characters that were in play, right,
but queen, mister boy yet mister Franklin indeed, yes, so
I had Jeff Franklin actually gave me my first pilot.
I did. Really that was my very first job, Jeff,
which one head over heels. Okay, I got a dating
(02:16):
service in Miami that Jeff wrote, Oh so I was
a kid and I got interviewed with a bunch of
work experienced designers. Jeff gave me my first shot.
Speaker 2 (02:26):
Oh that sounds like Jeff. He is very he's I
mean we have him on the show all the time
and talk to him. But yeah, he and also comes
from the old school of like you give new people
a chance, and you bring them in and you help
mold and shape and encourage people.
Speaker 4 (02:42):
So then I knew. So I met Jeff and had
worked with him, and then I worked with. I met
Bob up on and Your Management at Charlie Sheen Project,
right because Bob was doing partners for lions Gate. That
was one of those deals where they're doing a ten
for one hundred episodes.
Speaker 3 (03:00):
Yeah, yeah, yes, yes, yeah yeah.
Speaker 4 (03:02):
I was walking. I was on Anger Management one day
and I get a call from the producer and he said,
come to the stage right away. Somebody wants to beat you.
I was like, okay. I thought I was in trouble
because most of the time you're getting for.
Speaker 2 (03:16):
Something yeah exactly, like oh no, yeah, getting onto the.
Speaker 3 (03:20):
Principal's office, you know what I mean.
Speaker 4 (03:21):
They're like, I go, you know. And I walked on
the stage and I see this gentleman walking around the
base of set of Anger Management and it's and I
had never met him before. It was Bob. And Bob
said to me, he goes, these are some of the
nicest sets that I've ever seen, and he said the
way that you leave camera access and I love your
(03:43):
work and I love your style. He was so complimentary,
and he said, so I'd like to come to my show.
Not an interview, not anything. He just looked at me
and said, I want you to do this. So that's
how I connected to Bob. And then when that's incredible,
I got a call and they said, come to the office,
(04:03):
come to the Warner Brothers and beat these do. So
I walk in and I hadn't seen the two of
them together ever, right, talking about the show, and I'm like,
is this an interview or what are we doing here, gentlemen?
You know what's going on? And They're like, this is
no interview. We're not talking to anybody else. You're just
doing this. So that's how I got involved in the family.
Speaker 3 (04:24):
That well, that is amazing.
Speaker 1 (04:27):
Speaks to your talent, to your immense talent. Absolutely, Oh
my goodness.
Speaker 4 (04:31):
Yes, to get grilled, you know, in an interview kind
of a thing, you know, right, you just went, Okay,
we like your work, that we enjoy you, and let's go.
Speaker 2 (04:41):
Yeah, the work got to speak for itself, you know,
You're like, this is what I do, and I do it. Well,
that's incredible, and also like I love that. You know,
Bob and Jeff both have given a lot of people
first opportunities or bigger opportunities, and you know, have really
done such huge things like that in this business.
Speaker 3 (05:04):
So it's really I.
Speaker 2 (05:05):
Always love hearing it because it's one of the things
I love about this business too, is like, you know,
we got to bring up the new generation help people encourage.
Speaker 4 (05:14):
Isn't exactly young or youth at that point, that's for sure.
Speaker 3 (05:18):
Well but still like the not well not with fuller.
Speaker 2 (05:21):
But still like you know, it's uh, it's definitely you know.
I love when people get recognized for doing good work.
Speaker 3 (05:28):
And it's like, yeah, I want to hear.
Speaker 2 (05:30):
Now the sets were did you build them?
Speaker 3 (05:35):
I know there was.
Speaker 2 (05:35):
An issue with the blueprints.
Speaker 3 (05:38):
Correct.
Speaker 4 (05:39):
So Jeff calls me in and he says, this is
going the easiest job you ever had, which.
Speaker 3 (05:47):
Is the kiss of.
Speaker 2 (05:47):
Death for anything, particularly in the entertainment business.
Speaker 4 (05:51):
I said, perfect. I said, let's go. I'm in you
know whatever it is, and he said, Bob sat and
they both looked at me and they said, well, we
have the drawings from the original. Well I was over
the moon, right, I'm going yeah, just turned around and
we'll just stick way to go. So they rooted around
at Warner Brothers for a couple of weeks and nobody
(06:13):
could find them. The art department had closed and they
got thrown away. So guess what. So Sdaren and I,
who was my assistant on the show. YEP, we had
to have watched I don't know, fifty episodes of Full House.
(06:33):
What we had to do we had a free freeze
frame every single shot. Go, okay, well there's Andrea at
the front porch, right, the area on either side of
the front porch. I literally like.
Speaker 2 (06:48):
You had to reverse engineer everything by like scale of
people and.
Speaker 4 (06:53):
And the funniest thing is, right as we shoot sitcoms
like this, right, so there aren't any wide shots. So
we're going in going okay, well there's the little girl
crawling down the steps. What's the molding on the baseboard?
Speaker 1 (07:08):
Right?
Speaker 2 (07:08):
Yeah, you're like, the character is irrelevant. I'm looking at
the at the stairs, I'm looking at the banister.
Speaker 3 (07:14):
Yeah.
Speaker 4 (07:14):
I had to go and I had to start kind
of scaling it out from my head, going out three feet.
I think that's a foot and a half that looks
like this. I mean, it took us a long long
time to put that show back together because we didn't
you know, because we didn't know, we didn't know the
show anything about it. So it was quite the cure.
(07:36):
And you're doing with something that was done a long
time ago. What I found out was that the stage
that you had in Culver City at Sony was bigger
than the Warner Brothers.
Speaker 3 (07:49):
Yeah, Sony stages were huge, right, And Jeff's.
Speaker 4 (07:53):
Going, oh, I got all this room blah blah blah,
And I'm like, well, no, you kind of don't. Yeah,
So like having to like I can't remember, you know,
I kind of have to hack out feed of sets, right,
I had to go. I got to make them smaller,
I got to make them fit. And so Jeff, being
the diehard that he is about your show, right about
(08:16):
the show itself, nothing was ever right, you know.
Speaker 2 (08:19):
I was that's yeah, that sounds that's Jeff. We love Jeff,
but that's and that's yeah, that's ridiculous.
Speaker 4 (08:26):
Yeah, And so he kind of so I'd say, well,
can we can we cheat this? Can we make this adjustment?
And then we would try to meet it, and then
he wasn't happy because we couldn't. You know, I cheated it,
but he didn't like it being cheated. He wanted the
real way, right. And part of the problem was that
Warner Brothers is that they had you know, you guys
were a massive success, right, so that all of a sudden,
(08:46):
We're on a show on Netflix and it's a whole
new deal, right right.
Speaker 3 (08:50):
It is, Yeah, we talk about that all the time.
Speaker 2 (08:53):
It is not the glory days of network television, of.
Speaker 4 (08:57):
These virgin When I went to meet Steve Sandibal, remember
who was a line producer in the beginning, Yes, yeah, yeah,
season he has to be and he goes, I can't
remember the number, ladies, it was like three hundred and
fifty thousand dollars budget. I had been doing this for
a long time and I looked at him and I thought,
(09:20):
there's no way in hell.
Speaker 3 (09:22):
I was like, that isn't that's for a building of
an entire So that is it? That is nothing.
Speaker 4 (09:27):
I said, I go, well, it's the front port, and
it's the living room, and it's the kitchen in the backyard. Right.
It was like it was like the pilot that fought
on and on.
Speaker 3 (09:36):
Right, the bedrooms you got to have the you know,
be out of.
Speaker 4 (09:40):
The attic, and then we wanted the basement and Jeff.
Speaker 2 (09:42):
Wright because they're all so well known, you know, the
audience is like, we have.
Speaker 4 (09:47):
To see it exactly. And so I think I came
in at around nine hundred thousand when we finished three
fifty at Warner Brothers. Budget kind of got blown out
of the water and I kept getting yelled at. I'm like,
I didn't do this, you know what I mean. I
was creating this thing to get it back on stage.
Speaker 2 (10:06):
Right, So you're like, this is the original person's fault, whoever.
Speaker 4 (10:12):
You can't you know, I said, you can't. You can't
cheat it. You know, you can't try it. And we
would try to cheat it to make it cheaper, and
then Jeff would come in and yell at me. I'd
look at Steve and go, it's not my fault, right, talk.
Speaker 3 (10:26):
To the budget guy, right, yeah exactly.
Speaker 4 (10:28):
That was a bit of a go around and go
around with them.
Speaker 2 (10:31):
Oh well, of course, the create creative versus the money
is always the always the sticking point.
Speaker 4 (10:37):
Right, yeah exactly.
Speaker 2 (10:39):
I mean when we came and walked on set the
first time, it wasn't like one hundred percent done, but
it was pretty pretty well fleshed out. I mean, all
the walls, paintper is done. It was just I think
the interior stuff that wasn't finished yet, like the decorum whatever.
Speaker 3 (10:56):
But we walked over there after the first take.
Speaker 2 (11:00):
Will Read, which was in itself, like it just blew
our minds.
Speaker 4 (11:06):
You know what I mean.
Speaker 2 (11:06):
It was like we're okay, we're doing this again. And
then we all walked over from there through the lot
like we all used to, you know, walk through the
lot to the same stage that we were on when.
Speaker 3 (11:19):
We left, and.
Speaker 2 (11:23):
We like walked in and it was we all.
Speaker 3 (11:26):
Started to cry, very emotional. Yeah, it was.
Speaker 2 (11:31):
We all were like, oh my god, we just walked
back thirty years to a place that we never thought
we'd get to see again in yeah, in person and
touch it and be in it.
Speaker 3 (11:44):
You know, it was our childhood.
Speaker 1 (11:46):
We grew up there on that stage. That was You're
done good, Jerry. Yes, spectacular.
Speaker 4 (11:53):
It was fun. It was great challenge to do.
Speaker 2 (11:56):
And I and I still have I have uh you're
the model on my shelf.
Speaker 3 (12:03):
Oh yeah, you gave me.
Speaker 2 (12:05):
The room of Steph and DJ. Well yeah, Stephan, DJ's
room and uh Jesse's room.
Speaker 3 (12:12):
I mean, if we're talking.
Speaker 2 (12:13):
Like original full house, the upstairs hallway and stuff. Yeah,
I have it up here on my on my shelf.
Speaker 4 (12:20):
In your little museum, yeah, I do.
Speaker 2 (12:23):
My little museum. Yeah, I have that up there. And
I will say I the I had what did I
have the bigger I think I had the bigger one too,
or I had something else the kitchen.
Speaker 3 (12:33):
Maybe I think I had the.
Speaker 2 (12:34):
Kitchen, but I I auctioned that one off for a
lot of money for a very a very good cost.
So yes it did. And I but I definitely I
was like, I got to keep the.
Speaker 1 (12:49):
Room and I kept the attic, the attic which was
Kimmy's room in Fuller. So I have I have that
little special piece of the Fuller House history.
Speaker 4 (12:59):
Yeah, biggest house in the world, Well, the.
Speaker 2 (13:04):
Biggest uh shape shifting Uh. I think somebody we've talked
about it before. Somebody did an actual rendering, like of
what the house would have to look like on the
outside in order to accommodate it.
Speaker 3 (13:19):
And it was like it was like, oh.
Speaker 2 (13:22):
That looks like something a toddler built in roadblocks, Like, oh.
Speaker 4 (13:26):
It was funny when he bought them. Every when he
bought the house in San Francisco, he bought the location house. Yeah,
so I took the I helped him a bit with
that project, and so I brought the I brought a
drawing of the setup and I looked at the real.
Speaker 3 (13:40):
House and you were like, wait, no.
Speaker 4 (13:43):
Something doesn't work here at all. Right, Yo.
Speaker 2 (13:46):
The bedrooms were upstairs, they're like closets, they're so like
you a no joke.
Speaker 3 (13:53):
What would have.
Speaker 2 (13:54):
Been I think stephan DJ's room like kind of in
the front there, like you could fit it like a
full sized bed maybe and have a little bit of
room to walk around it. The one room in the
middle was like you could fit a twin up against
the wall and like you could hang some clothes right here,
and that was it. That was going to be the Yeah, yeah,
(14:16):
the nursery would I mean it was. It was so
crazy to be in there and be like, wow, did
we make up an entire house?
Speaker 4 (14:26):
And then at one point we were going to I
remember in San Francisco, you know the wall between the
staircase and the living room, right, We're trying to figure
out how to re appropriate that space at San Francisco
right to be the real set, right, And all of
a sudden it was like, well we want to take
this wall down. Well, all of a sudden, the San Francisco.
Speaker 3 (14:48):
House, I was like, good luck with that house.
Speaker 4 (14:51):
To take a wall down and rebuild and.
Speaker 3 (14:54):
The historical stuff you've got it to stick to it. Yeah,
it's a lot forget about it.
Speaker 4 (14:58):
Yeah, but we had We had great fun. It was
nice to work with Bob and Jeff together. Yeah, great fun,
you know in the beginning when we're doing stuff, And yeah,
it was interesting. It was a fun project.
Speaker 1 (15:11):
Take us through how you create a set, like do
you start with the three D design?
Speaker 3 (15:16):
Do you sketch things with your hand? Like what's the
order in how you come up with a design set?
Speaker 4 (15:22):
Like something that's new? Right? Your show was unique, right
because it was a copy. But when I write stuff
from scratch, usually what I'll do is I'll read the
script maybe once, maybe twice, but try not to read
it too much in the beginning, and then I just
sort of I work in's. You know, I'm an old
school designer, so I work in pencil.
Speaker 2 (15:43):
We talk about all the time we are we are
finding out just how old we are with our love
of paper and pens and actually writing things down.
Speaker 4 (15:51):
Yes, so it's a different experience. And like you guys
have models. You know a lot of people now do
work in computers. Right, I love them, the models, right,
is it? And I found that this to be true.
Is people love to hold them. Right, If I come
to see you as a writer or a producer, and
I give you this thing in your hands, and oh
it's right. Instead of looking at images on a computer,
(16:14):
you can actually kind of like right around the house
and check it out.
Speaker 2 (16:17):
And why not you feel kind of like the master
of the universe.
Speaker 3 (16:21):
You know what I mean of that?
Speaker 2 (16:22):
You're like, oh I can, I can, I like see
everything of it and it feels significant, It feels like
tangible stuff.
Speaker 3 (16:30):
I always say, like, is has an impact?
Speaker 4 (16:33):
Exactly? Yeah, exactly? And I do. And I probably do
a lot more work than a lot of designers as
far as what the director wants. Like a lot of
people just design sets and then give it to a
director and say here, this is what I designed. What
I need to turn around to do is think more
like a director. You're probably than a designer in a
(16:53):
lot of ways. And I will turn around and I
will go to cameras.
Speaker 1 (16:56):
Right.
Speaker 4 (16:57):
I've been doing yeah, multi cameras since nine two, notting
my own stuff. And I worked in my first sitcom
in nineteen eighty.
Speaker 3 (17:05):
Five and what was that? What's sitcom?
Speaker 4 (17:07):
Oh? I did him? It was actually a recreation. I
did What's happening now? Oh yeah, Oh yeah, so Warner Brothers.
I worked for David sacker Off, who was a designer
at the time, and they wanted to do What's Happening Now?
And it was for Cable, right it was done, which.
Speaker 3 (17:27):
Was like a new thing. Yeah right, it's like then
more channels.
Speaker 4 (17:32):
Right, it was cheap. It was for Warner Brothers. We
did it up in Glendale, and so we had to
recreate Roger and I can't even remember the character rerun
and rog yeah, yeah, yeah. That was my first what
that's where I met Mark Sandrowski. Oh yeah, it was
the first, Adie, No, maybe it was the second.
Speaker 2 (17:56):
I think it was the second because he was second
on ours Jump to First.
Speaker 4 (18:00):
Yet Julie Mihan was the first and Mark was his second.
That was an eighty five up in Glendale where you
shot that.
Speaker 3 (18:08):
Wow, so that's amazing.
Speaker 1 (18:09):
Wow.
Speaker 4 (18:10):
It was my first sitcom. But then my first design
job was you know where I was the boss right
as the production designer was head over heels for job.
Speaker 3 (18:18):
Okay, yeah, so cool, Yeah, but.
Speaker 4 (18:21):
I am you know, it's I came out of the theater.
So the great thing about sitcoms is it really gives
you that same.
Speaker 2 (18:28):
Kind of feeling you have the proscenium that you're always
working with. There's always a downstage and an upstage that
stays the same.
Speaker 3 (18:36):
You know.
Speaker 4 (18:37):
Nice, you know. I mean I must say it's really
was enjoyable because of the live audience, right, I mean.
Speaker 3 (18:43):
That's it's the best part.
Speaker 4 (18:45):
You know, where people Friday nights it becomes an event, yeah,
together right into a show and that kind of.
Speaker 2 (18:51):
Yeah, show night is an amazing chaos that you're like,
it's just you're alive.
Speaker 4 (18:57):
And I like it. I like the pace a bit
because you have to work so quickly and yeah.
Speaker 2 (19:04):
Yeah, yeah, it's not a single cam like and now
we're going to shoot it from this angle with this lens. Okay,
I want to do this same angle with three more lenses.
Speaker 3 (19:13):
I don't know, right.
Speaker 4 (19:14):
I don't have to get into any of that kind
of stuff, right, So it's nice interesting that way, and
it's nice to see the audience responses, you know, and
you really do sets, you know. The one thing that
I like about that I credit myself. I guess a
lot about my work is how real the stuff looks like.
It looks like I try to do feature quality. I
(19:35):
don't think of myself doing sitcoms. I think of myself
being a feature designer doing sets and then sitcom because
for a long time, right sitcoms were kind of like.
Speaker 2 (19:45):
The right right, it looked like you were shooting inside
a cardboard box with somebody holding a flashlight over you know,
it was like.
Speaker 4 (19:54):
Well, who lives here and what's going on? Work? I
really make it a habit of getting to know the
characters really well and then flush that out, like when
I did Anger Management. We did that was Charlie's first comeback,
right after two and a half Men, So this was
like a big, big deal with Charlie went back to television.
(20:15):
The first day we did the reading like you guys
did the first read on Fuller, Right, I walked on
set and Anger Manage. We did it without an audience.
We did it up in the studio, up in the
sant up on Tamarack Studios, which is up Yeah.
Speaker 2 (20:30):
I was up there when they were shooting that for something.
I went up there for something.
Speaker 4 (20:34):
I don't know way to come of get it, GI,
just of what was going on, right, And so I
walked in the set and I see some guy walking around. Well,
I really don't like people in the sets. Before readings,
because I don't want people fucking excuse me.
Speaker 2 (20:49):
But for real, actors are very touchy. We're touchy. We
want to touch things.
Speaker 1 (20:54):
And move things, and child actus in particular, I want
to touch everything.
Speaker 4 (20:59):
I walked in the back of the kitchen set and
I see this guy and then it dawn on me
that it was Charlie and I had only met him
once at a meeting that we talked briefly, and he
looked at me and he walked over and he said, dude,
and he throws his arms around me, and he tells
me that I could live here. You did the greatest job.
(21:22):
He goes, I'm going to move in here. He goes,
look at all my shit, my base. He goes, you
are so thorough in expressing who I am.
Speaker 3 (21:30):
Oh, what a compliment.
Speaker 4 (21:32):
Wow, it was a great, great compliment, especially from somebody
that you didn't know right, right.
Speaker 2 (21:38):
Right, and also that you know, you've never met, and
you didn't know what you might.
Speaker 4 (21:42):
Get right, and he crazy, Charlie get you know whoever.
And he was the most respectful, the most appreciative. Yeah,
it was really something that was.
Speaker 2 (21:55):
Oh that's awesome. That must have felt really really good.
Speaker 4 (21:58):
Yeah, I knew you Jody a little bit, and Andrea
not very much at all. But I don't really bother act.
Speaker 1 (22:10):
You know, you're very much like a ghost on the set.
You're there, we can't see you.
Speaker 4 (22:16):
And I make sure that it all looks great from
my perspective and that everybody's happy. And then I go
away and I like, do you talk to people on stage?
And I said, no, man, they're working, you know, I'm
and I'm busy, so I want to turn around and
take up your time. Well, and when you guys are working,
right Thursdays and Fridays, I'm not around, right, I'm done
(22:37):
for that week, you know, I'm onto the you know
what's the next moose?
Speaker 1 (22:40):
That?
Speaker 4 (22:40):
Jeff ro.
Speaker 3 (22:43):
What? Now? What do I have to build?
Speaker 4 (22:46):
Right? Yeah?
Speaker 1 (22:46):
Right?
Speaker 4 (22:47):
And the good? I said to what thing you appreciate
about sitcoms? And if I do something? Did I know
that on Saturday they're going to throw it in the garbage?
Speaker 3 (22:54):
How did you get into production design?
Speaker 2 (22:57):
Like?
Speaker 3 (22:57):
Were you an artist as a kid? Was is all?
Speaker 4 (23:00):
Like?
Speaker 2 (23:01):
Was film and television something that you always wanted to do?
And you were a visual artist and it kind of
created Like how did it come together? Because I find
it such a fascinating like niche of this business that
you know, of creating these worlds.
Speaker 4 (23:19):
I came to Hollywood to work.
Speaker 3 (23:21):
Yes, yes, that's the right attitude.
Speaker 4 (23:23):
Yeah, that's what I did, right, so you'll laugh. The
reason that I got into doing theater was because I
got cut from the basketball team when I was a
junior in high school. Oh, because I was. My brothers
were both basketball players, and so I was just part
of the family kind of, right, right, And I got
cut my junior year and I was taking some art classes,
(23:46):
but I wasn't really it wasn't really like a diehard artist,
and I was a little lost, right. I was kind
of like, what the hell do I do now? Because
this is who I thought I was going to be, right,
And so I started hanging out with some other people
at school. And these kids, effectionately were then known as sheeners.
(24:07):
They were guys that fixed cars. Okay, that's what these
guys did. And I sat talking to these guys one
day and they said, well, you should come hang out
with us, and I'm like, well, I'm not really into cars,
and they're like, well, we build sets for plays. Said,
I don't know what that means. But sure, I'll you know,
I'll jump in and learn. And so I started building scenery,
(24:29):
as you know, when I was in high school and
so I just my first set that I painted was
for the Diary of On from the play Okay, and
a priest came up to me in the back of
the house and he said to me, he said, are
you Jerry Dunn? And I said yes, and he said, well,
I'm father Tom from the local college summer theater. And
(24:54):
he said, I don't know what you did to that set,
but that's a beautiful paint job on that set. Would
you like to come to work at my theater company?
So I took a job for seventy five dollars for
the summer. It was a scholarship, and I went to
work at Saint Vincent Summer Theater in Pennsylvania. And that's amazing.
(25:14):
That's what got me hooked. And then I kept doing
it and doing it, and every place I went I
kept getting kind of up, you know, notched up.
Speaker 1 (25:24):
Wow.
Speaker 4 (25:24):
And so I was doing a bunch of theater and
then I was living in Pennsylvania, and then I got
i'd applied a graduate school in San Diego. When I
was in college, but I didn't go the first year
and I got an offer to do a graduate assistant
ship in California and San Diego. So I filled my
duffel bag and I filled my portfolio, and I bought
a one way plane ticket and I flew to California
(25:46):
and haven't left since. Actually, hey, I turned sixty seven
next week day.
Speaker 5 (25:52):
Holy, happy birthday, Happy early birthday.
Speaker 4 (25:56):
Now now it's got kind of a chill day and
I'm trying to get out of town to go do
some traveling, but as some personal business that I'm trying
to clean up.
Speaker 3 (26:04):
Oh nice, okay here for a while.
Speaker 2 (26:07):
Yeah, yeah, travel is nice? Right now, what has been
you would say your favorite set to create and build
theater or television? What what just or or even if
it's like two or three, that's cool? But like, is
(26:30):
there is there a couple where you're like.
Speaker 3 (26:31):
Oh, that was just so cool?
Speaker 4 (26:33):
You know? The show that was so fun to do
was The Sweet Life of the Sweet Life on Deck,
which was a Channel show with with the Twins. Right, yes,
so that show took place on a cruise ship and
that it was a high school at sea.
Speaker 3 (26:55):
Okay.
Speaker 4 (26:56):
The only time that somebody in multi camera had done
a cruise ship set on stage was the love Boat
in the sixties, right, Yeah, So I got to do
a cruise ship set on stage for a Disney Channel show.
And then what we would do is it because it
was a show, it was an international show. Every week
(27:17):
we got to go to different countries. So we did
a Japanese episode, and we did an episode in Paris,
and we did an episode in Thailand. Oh wow, everything,
it was like a thing, and we did it. Did
a Wizard of Oz spin one time, and I got
to recreate the barnyard in Kansas. Oh yeah, I got
(27:40):
to do the yellow brick road. Oh my god, do
the tornado destroying the farm?
Speaker 3 (27:47):
So amazing, great, but that.
Speaker 4 (27:49):
Was great, great fun. I really enjoyed doing that a lot.
Speaker 2 (27:52):
Oh wow, didn't I believe the set that we shot
the pilot on the Gigant, the gig Gigantic set at.
Speaker 3 (27:59):
Sony for Mars and GM.
Speaker 2 (28:02):
Was where they did the yellow brick road scene of
Wizard of Oz.
Speaker 4 (28:07):
Yeah. So Phil Lewis was starring in that show, you know,
director Phil Lewis. Oh yeah, exactly. Great. The Star of
Sweet Life on Deck was one of them anyway.
Speaker 2 (28:17):
Right, amazing you know, I will say, was it fun
to do? Like some of the Disney shows, just because
you can go so like over the top, kind of
big with it, like it's such a it's nothing.
Speaker 3 (28:32):
There's usually nothing.
Speaker 2 (28:33):
Very subtle about any of the Disney shows.
Speaker 3 (28:36):
Stuff you need to kind of go for it.
Speaker 4 (28:38):
I got to do the inside of a stomach one time,
so Raven okay, wow, they wrote, well you know who
it was. It was Mark and Dennis that you got.
Speaker 3 (28:49):
Oh yeah, yeah, oh yeah.
Speaker 4 (28:52):
So they wrote this episode. They called me in and
they said, Jerry, we want to go to a natural
histor museum. I said, okay, bye, no problem. And then
they wanted to do the exterior of a stomach for
the exhibit, and it had to be giant scale. So
I had this whole. I had a stomach carved, and
(29:13):
we put this thing together and then Mark and Dennis
said to me, well we wrote another beat to the show.
I said, okay, what's that and they said, we want
to have Raven fall into the stomach. I had never
seen anything like this ever, and I'm just sitting up
in my office going what do it this?
Speaker 2 (29:34):
Right?
Speaker 4 (29:34):
So I rented a spider bounce, like a like a
loose kids backyard. Spider bounce has a base right, and
that has all the arms that go up to this
added spider. So I rented a spider bounce and in
between the legs we used them like volleyballddding clean the
(29:57):
legs and then line that with foe one, cover the
phone with pink chiffon, and then twinkle lights and rope
light on the chiffon, and then we layered it again
with chiffon wow, and we stray painted it. What happened
was that raven so she was able to bounce on
(30:19):
the oh.
Speaker 3 (30:20):
Right, yeah because it would be the yeah.
Speaker 4 (30:22):
Right and it was all pink and she could bounce
off the walls. And then we had to drop stuff
down on her, like the stomach, like leaking on.
Speaker 1 (30:29):
Her, like okay, oh this is so Disney.
Speaker 3 (30:33):
Oh yeah, that's so raven. Actually I believe it's a show. Yeah.
Speaker 4 (30:37):
So that was that was a fun one. Doing the
inside of the stomach was quite the wow.
Speaker 3 (30:42):
I mean that guy was like one of the kind
thing that you will never do again.
Speaker 4 (30:49):
No never. Hannah to the Beach. We did Malibu Beach
on Hannah, Montana. Okay, okay, to do the pier at
Santa mon Pere. We did on stage. Oh wow, so
we got to do really so on that show we
got to have some great fun, you know. Yeah, the
dizzy stuff, right was kind of out there for a while,
(31:10):
and yeah, sure, and I got in on the beginning
of it, really the beginning of it. So that's how
I got to do Hannah Montana, and I got to
do Sweet Life, and I got to do Raven and
I got others. But it was when I finished that
and tried to get other work I couldn't get hired
because I was a kid showed designer.
Speaker 3 (31:30):
Yeah, fusting, and you're like, it's it's just it's a set.
Speaker 2 (31:35):
It's just building things. I can build anything. I can
build the inside of a stomach, Dammit, I can do it.
Speaker 1 (31:40):
Yeah, you should get any street credit for building a
stomach on a Kiss show.
Speaker 4 (31:44):
Yeah, but they don't give you that credit for having
the imagination. They just want to see what they wanted,
you know. I went to Anger Management, got to do
strip clubs and dive bars, and that was all.
Speaker 3 (31:57):
That's a departure from us, right right.
Speaker 4 (31:59):
I think that was by that was the universe Andrea
going Okay, well he had a yang and a gang
right right in the middle, right.
Speaker 3 (32:06):
Which do you want? We can go this way, we
can go fully that way? Well, yeah, we can go
in the middle. Yeah.
Speaker 4 (32:12):
Yeah. So it's been an interesting it's been an interesting career.
Speaker 1 (32:16):
Cool and we learned that you helped design the theme
park water ride in Japan, the Hello Kitty Park.
Speaker 3 (32:27):
Tell us how did this come about?
Speaker 4 (32:28):
Landmark? You know what? It was? Sitcoms. We're in a
we were on strike, I think that spring okay, And
I got to work as san Rio or Landmark Entertainment,
which is in l a huge steam park company, and
they were doing this thing and I just put in
an application I needed some work, and so I got
(32:49):
to go to Japan, the South of Japan. I didn't
design it. They had a conceptual artist design it and
then like people just go in basically to do the
the install. So I started. So I went to Japan
and I worked for a couple of weeks in Japan.
But this water ride, what I found out was that
the water ride had had like four designers through it.
(33:13):
But I didn't know this going in, and so I
got there and I was kind of like, well, this
is kind of crazy. I don't know what I'm doing.
I was a sitcom guy but didn't theme parks, so
you guys will laugh. So they the ride basically was
in a building, right, and you go down this pull
this like little fake river kind of thing. Right. So
(33:36):
they were talking to me, and all the Japanese workers
were lovely to be with, and I said, in the venue,
thank god, was way on the other side of the park,
so nobody would come because you had to slod through
the mud and all this kind of get to this building.
So when I went down there, they said, well, what
do we need to do first? And I said, well,
(33:57):
does anybody build a cart so we could go kart
so we could go through the river so I could
actually see from a point of view what we were
doing right in this ride. And so it was designed
by this guy up in Seattle, I think it was,
and he had designed all these pieces. It was kind
of like small world, like, yeah, kind of right. So
(34:19):
they came in and said, well, all the scenery is finished,
so you just need to load it in and get
it ready for presentation. So what nobody figured out was
that the set that they designed was bigger than the building.
Now did I know right. I just knew that this
is something that I was supposed to put together. So
(34:39):
I started working with these guys, and these Japanese workers
were lovely, and they said, well, there's twelve pieces of
scenery in this one little tableau. I said, well, there's
room for like six. And then we go to another
part and they go, well, here's the amateuronic figure that's
like doing, you know, fit for something, and there's the background.
And so I went through this whole thing and I thought, well,
(35:02):
half of this doesn't fit. So I just turned around
and I took half the scenery and I just told
them to put it outside and cover it in plastic.
Speaker 3 (35:12):
There you go.
Speaker 4 (35:13):
Then they came down and I was there for a
couple of weeks and they came down and said, well,
we're going to do a walk through with the client.
And these when you do theme parks, if you think
network things are a big deal, like the first reading, right, like, okay, well,
how many people are coming to look at the ride
for the san Rio You know the Hello Kitty theme song?
Speaker 2 (35:35):
Oh god, yeah, now it's yeah. The corporate is amazing.
It was so much.
Speaker 4 (35:39):
So we go through the sole thing and that the
owners are going, wow, this is so pretty and it
looks so good, and it's like, you know, on and on,
and we get out to the back of the building
and their little go kart and the owner of Landmark
looks at me and he goes, what's that? And I
said that didn't fit? And he said did you report
(36:00):
this to anybody? And I said nope, I didn't know
what to tell you, but it didn't fit. So I
put what fit and I made it work, you know
the way it was. So then they were talking to
we're going to do layoffs all of a sudden, so
they were going to lay off this huge group of people.
And one of the managers came to me and he said, well,
(36:22):
you broke every rule in the book. He said, well,
I guess you're sending me home and he goes, no, actually,
he goes, we'd like you to stay for another six
or eight months to help get the park finished.
Speaker 1 (36:34):
Wow.
Speaker 3 (36:35):
So I said that's incredible.
Speaker 4 (36:36):
And he said well, he said you would take on
four more rides.
Speaker 1 (36:40):
Wow.
Speaker 4 (36:42):
And I said, well, how much more money are you
going to pay me? I said, well, no, we're not
giving you any more money. And I said, well, then
I'm going home.
Speaker 3 (36:51):
Yeah, yeah, he paid for your work. Yeah, four more rides.
That's insane, I know.
Speaker 4 (36:56):
On top of one. So we were finished the one
and then we had to get into all the rest
of it. So it was I don't know, I know
the park opened and everything, but I've never gone back or.
Speaker 3 (37:06):
Didn't be shot there during fuller. Yeah, we would just
shot those.
Speaker 2 (37:11):
Kids at Hello Kitty Land.
Speaker 4 (37:13):
This was way down in a week.
Speaker 3 (37:15):
Oh that was a different, different different.
Speaker 4 (37:17):
Yeah, it is nuts in Japan, huh oh.
Speaker 2 (37:22):
I mean I was a Hello Kitty fan as a kid,
and I did go to the four story san Rio
store in Tokyo and I was blown away. It was
like it put Disney to shame the stuff that they
merched out, you know what I mean, where you were like,
do you really need like Hello Kitty foam earplugs?
Speaker 3 (37:41):
I don't know, but yeah you do. You know, it's
just weird stuff.
Speaker 4 (37:44):
Well, and you can imagine being on a place like
we would do. The Japanese workers would do calisthenics in
the morning out in a big giant parking lot outside.
Then they would go so everybody would report to work,
you'd go outside they do group allis stanis first and
then send you away.
Speaker 1 (38:03):
I like that.
Speaker 4 (38:03):
They literally played the Low Kiddy song live outside twelve
hours a day. Oh no, sure. Well, and you're in
a place where you can't speak the language, right. A
couple of supervisors spoke English, but all the workers don't
speak English.
Speaker 2 (38:21):
Yeah, so you I remember that was like when we
shot there, all of our the crew was all Japanese yep, yeah,
and we had our translator.
Speaker 4 (38:28):
It's a lovely yeah.
Speaker 3 (38:30):
Oh it was beautiful. I'm so glad we got to
go there.
Speaker 4 (38:40):
I was so mad I didn't get to go.
Speaker 3 (38:42):
Yeah, that's what a shame.
Speaker 4 (38:44):
You wouldn't let you know. They didn't want me to come,
and I'm like, going, well, I really should come.
Speaker 1 (38:48):
And we had a we had a set too, They
had to build a set for the Bridle Shop I think.
Speaker 3 (38:53):
So it was like we were doing multi cam all
over again. Oh yeah, it was. We were. We were
in a studio in I was like, this is what
it's like. So we couldn't.
Speaker 4 (39:04):
Instead of going to.
Speaker 2 (39:07):
I know there was that was that there was a
bunch of people. Didn't they not want to send like
hair and makeup or something. Wasn't there something we're going
to do? Yeah, they were going to send hair and makeup.
They were like that, We'll just get somebody over there, and.
Speaker 3 (39:18):
We were like, do you know nothing, continuity characters? You
got to bring our team That was.
Speaker 4 (39:24):
The Netflix and the original ABC, but the NBC budget.
Speaker 2 (39:29):
Oh yeah, oh those nice ABC budgets.
Speaker 3 (39:33):
Yeah.
Speaker 2 (39:33):
We lived it up in Disney World, living it up. Yeah. Well,
after being in this business for so long, what is
there there anything that you haven't done yet that you
want to do?
Speaker 3 (39:51):
Are you thinking of retiring?
Speaker 2 (39:55):
Are you still loving and enjoying it or what?
Speaker 3 (39:59):
Like, where do you see yourself headed next?
Speaker 4 (40:03):
I think that I'm I don't know what else I
could do in multi camera, you know, I've done pretty
much everything.
Speaker 3 (40:11):
That you know, Yeah, for god, what else.
Speaker 4 (40:16):
Thousand sets in multi camera? You know.
Speaker 3 (40:19):
Wow.
Speaker 4 (40:19):
So it's like I kind of go and the you know,
the biggest challenges. The budgets aren't going to get any bigger,
No going to get any bigger. So I'm a going
to be kind of doing the same old thing again. Yeah,
I'm getting close to you know, and you guys know,
multi camera is kind of dead right at the moment.
It's so, yeah, only three on the network. I think right, Yeah,
(40:41):
it works and everything. So it's kind of you know,
so it worked since we'd finished The Connors last October,
and I have it worked since. Yeah, there was only
one you know. This is contrast for right, in nineteen
ninety two when I did Head over Heels there was
one hundred and twenty five multi camera pilots shot that spring.
Speaker 3 (41:00):
Wow, and that's just pilot shot.
Speaker 4 (41:03):
Oh, I don't get it, ladies. I really don't understand. Yeah,
time when we all need to.
Speaker 3 (41:09):
Laugh for sure, aren't bite sized comedy.
Speaker 2 (41:14):
And it's and I feel like it's it's like sitcom
has got to be it slightly less expensive investment than
going and shooting on location everywhere.
Speaker 3 (41:23):
But what do I know?
Speaker 4 (41:24):
Yeah, no, it's way cheaper. Yeah, I don't understand. And
it's not like, you know, you look at something like
Mad About You and Friends and Big Bang, you know,
Big Bank, Warner Brothers over a million dollars. Yeah, why
aren't you doing worse sitcoms? I don't. I don't.
Speaker 3 (41:41):
Yeah, it is.
Speaker 2 (41:42):
It's a it's a really weird time in the business
right now for everybody.
Speaker 4 (41:48):
I'm kind of so end of my career, Okay, I
really want to turn around and do you don't have
to do something for a long time and you get inspired, right,
So I really want to do some work with orphanages
and third world countries. I've done some volunteer work in
the past, but what I'm trying to do and I'm
hoping to set up a nonprofit when I retire, I
(42:13):
can go and travel around the world and go help
third world country orphanages.
Speaker 3 (42:19):
Oh I love that line.
Speaker 4 (42:21):
Whether it's going to go do some you know, some
manual labor kind of things, but I think the kids
in third world countries have the biggest challenge in life. Yeah,
I think that that's something that I know that that's
something that I really like to wrap my hats around.
So I'd like to take all of those skills that
I have and see how I can roll it into
something that's more giving.
Speaker 3 (42:44):
I guess I love that.
Speaker 2 (42:46):
That's a big really yeah, like taking your art and
making the world a better place with it, you know.
Speaker 4 (42:53):
And I think I, you know, pretty much had my fill.
Speaker 1 (42:56):
Of Hollywood well understandable, Yeah, like going, yeah, it's a lot.
Speaker 4 (43:02):
On and on and on. I'm like, I don't really
care anymore. I don't Yeah, yeah, yeah, I.
Speaker 2 (43:08):
Feel like I've done this for forty some odd years.
I loved it. It was great.
Speaker 3 (43:13):
And now and now what like I.
Speaker 4 (43:15):
Think if you know somebody called that I liked, That's
the biggest part of it, right, Joe Nander is like,
you don't work for somebody that you don't want to
work with. H And so I'm just kind of going
like a Bob called or Jeff called, or from Connors
called and said, hey, do you want to do something?
And I enjoyed the script, Yeah, I'd probably do it.
(43:36):
I'd probably yeah, But am I going to go out
there and run around and chase things and whatnot?
Speaker 3 (43:41):
Right?
Speaker 4 (43:42):
That's that point in my life.
Speaker 2 (43:44):
There is just no work to be had to spread
across every Like you were saying, you got in the
union as like an overhire, you know what I mean.
Speaker 3 (43:53):
Like it was they were like.
Speaker 2 (43:54):
We just need people, we got to come build sets,
you know, and uh, yeah, it's there's just where it's
it's scraps now. And I know that's really yeah, really
frustrating and really hard.
Speaker 3 (44:06):
But I think that you have an excellent Would you
have liked.
Speaker 4 (44:10):
To be in the business in the fifties, sixties and seventies, yes,
it was a whole different world then.
Speaker 3 (44:18):
Oh yeah, Golden Age learned.
Speaker 4 (44:20):
And what we lived through when everything right, So, like
I look at an old movie like The Ten Commandments
right then heard.
Speaker 2 (44:31):
Right, not a CGI to be found? Ten thousand people.
Speaker 4 (44:35):
Right, ten thousand people. You work with all the entraftsmen.
And you know, I watched I saw a video or
I saw a photograph of the main street of the
Ten Commandments that was built in Culver City, right, orties
or something like that, and it was incredible to see.
And like you said, there was like ten thousand workers
(44:55):
on that movie. Yes, all laborers, all carpenters, and yeah,
it's like the thing with computers. Right, it's like it
does amazing things, but it's not human.
Speaker 3 (45:07):
Right, it doesn't have that touch to it.
Speaker 4 (45:09):
That's not walking on a stage with one hundred guys
running around building stuff.
Speaker 3 (45:14):
It's true. The smell of sawdust on a set, it's
the best.
Speaker 4 (45:19):
And I have take me you guys knew Puccio and
the boys that I worked. Yeah. Yeah, so you work
with great people and you have a good time doing
it for the most part.
Speaker 3 (45:29):
Yeah really right, right.
Speaker 2 (45:30):
Well, I will also say that you had a lot
to do with the Fuller House wedding.
Speaker 3 (45:36):
Oh that's so beautiful.
Speaker 4 (45:38):
That was fun to do, and.
Speaker 2 (45:40):
That was so much fun because you included us, like
it was like planning a real wedding, like you really.
Speaker 3 (45:50):
You and your team.
Speaker 2 (45:51):
Made such an effort to be like what would these
characters have? And again, like you said, like you put
such a personal touch on it. There were so many
little things that were special and that also that you
listened to us on and it made it feel so
much more real, and like, I think.
Speaker 4 (46:09):
That was one of the prettiest weddings ever shot on
television in a sitcom.
Speaker 3 (46:13):
For sure, Oh for sure.
Speaker 2 (46:15):
It was beautiful chandelier that was there, and yeah, well
and the.
Speaker 4 (46:20):
Cool thing was is I went because Steve and Brian
is that his name?
Speaker 3 (46:27):
Yeah, yeah, yeah, now.
Speaker 4 (46:28):
And everybody at Warner Brothers, everybody's pretty conservative. So when
I walked in and I thought, if you make me
do a wedding with folding chairs.
Speaker 3 (46:39):
And rows, right, I'm going to lose my mind.
Speaker 4 (46:42):
Myself in the head. Yeah, so this is a put
together thing, and you were an event planner for your character.
I went, Okay, this is family, and so I pitched
that whole idea of all the eclectic furniture and the groupings,
and I said, look, you can tell stories and every
group how they're sitting and there, yeah, and whatnot. And
(47:03):
I said, it's such a magical way to tell a
family story about a wedding. Yeah, Jennifer did a beautiful,
beautiful job.
Speaker 2 (47:11):
She did such a gorgeous job. I mean, the it
was so she had such a gorgeous job that I
believe I called you, Jerry, and I was like, so,
I basically want.
Speaker 3 (47:20):
To just recreate the Fuller House wedding for my wedding.
Speaker 2 (47:23):
Yeh.
Speaker 3 (47:23):
And I basically did. I had, Like I.
Speaker 2 (47:26):
Loved what you know, those little stories and the little
like sort of mismatched furniture and.
Speaker 3 (47:32):
The twinkle lights and you know, all of that.
Speaker 2 (47:35):
Like it just that was it was such a special
moment and you it felt like we were really out
in this backyard.
Speaker 4 (47:43):
Oh and I always laughed. That was one thing about
your show that kind of cracked me up. Was in
the beginning, right, the backyard is like ten feet wide,
but that thing is And next week we're doing the
Indian dance number, right, Yeah, and it's.
Speaker 3 (47:57):
A different shape, you know what I mean.
Speaker 2 (48:00):
Then it's a rectangle and now where it's kind of
a weird the long rectangle. Kidney supposedly lives next door
slash behind, but we don't know how far into the
nature park, which is the Tanner's backyard. We're not quite
sure how deep that, Yeah, because I mean we're driving
(48:22):
cars in there. And if you see the house, there's
not a natly there, there's no so there's there's a
lot going on. You think the house is incredible. That
backyard is like it's like the show Lost. Any anything
is possible. There might be a polar bear.
Speaker 4 (48:38):
Who knows that could expand Oh right, I don't want
to cut all that grass.
Speaker 2 (48:49):
There's your there's design that design an expandable backyard and
you will it'll do wonders.
Speaker 4 (48:59):
Yeah, that was stvert fun. I was very proud of
that wedding.
Speaker 3 (49:02):
It was so special. Yeah.
Speaker 2 (49:04):
I loved that our moms were there sitting in it.
I loved that our you know, there was so much
it did it that each little area told the story.
Speaker 4 (49:12):
That was a hard sell. Everybody was like looking at me,
going like, well, we were thinking chairs and rose and
traditional I'm like.
Speaker 3 (49:20):
Going, no, I'm so glad you thought I'm so glad
you thought that.
Speaker 2 (49:27):
And I can't tell you how many compliments we've gotten
from fans on the show that have said that wedding
was so beautiful, it was so like, it was so
pretty and it yeah, it was right, had.
Speaker 4 (49:41):
To be for that show for your family.
Speaker 3 (49:44):
Yeah.
Speaker 4 (49:46):
Yeah.
Speaker 3 (49:46):
And if there's one thing that this group can do,
it's throw.
Speaker 2 (49:50):
Together a ridiculously large party in a matter of hours.
Speaker 4 (49:53):
So and I gotta say, yeah, pretty good, Kimmy.
Speaker 3 (49:59):
Can work miracles.
Speaker 2 (50:01):
People are favors, you know, you don't, you don't want
to know what for, but people, kim.
Speaker 4 (50:05):
Me favors those connections at the last minute for sure,
right when you got to the wedding venue at the
doors and the doors were locked, remember the yeah we
do and what's going on?
Speaker 3 (50:19):
Of course of course you're like, now what right? Exactly?
Speaker 2 (50:23):
Oh boy, Well, Jerry, it has been so wonderful to
have you on the show. Thank you so much for
coming on and chatting with us. And you're just so
talented and so lovely and we we just I'm so
glad that you got welcomed into the to the the
full house fuller house fan because you fit right in, so.
Speaker 4 (50:40):
Thank you so much for having me. I really enjoyed
this a lot.
Speaker 1 (50:43):
And when you get your nonprofit up and going, let
us know how we can support it because we want
to support you and all the things you do.
Speaker 2 (50:50):
Okay, cool, sounds great, Yeah, welcome, build some Jerry.
Speaker 3 (50:54):
Give me a paintbrush.
Speaker 4 (50:57):
At the ice cream shop one of these days.
Speaker 2 (50:59):
Yes, exactly, into Jerry at the at the gelato place
that I am all too frequent a visitor of.
Speaker 3 (51:06):
It's Baccio de Latte. Oh my god, it is.
Speaker 2 (51:10):
It's the best gelato I've ever had in my life.
And I go, I'm like a little regular there. They're like, hey,
welcome back, and this gallon. You're like, oh the shame.
But yeah, hopefully I'll run into you around town and
get to see you in person.
Speaker 4 (51:25):
Thanks Jerry.
Speaker 3 (51:27):
Thanks, Happy early birthday. Enjoy you happy birthday. All right,
bye bye, thank you.
Speaker 2 (51:34):
Jerry was always so lovely and like he and I
would just chat and yeah, he was just really really
lovely and a great heart and really talented and like
had an eye for things, like really a great designer.
Speaker 3 (51:53):
Right, yeah, and it's crazy to think that he was, like, well.
Speaker 2 (51:56):
I just kind of went with it because I didn't
make it into the basketball team, you.
Speaker 1 (52:00):
Know, and they turned out all of this amazing work.
Like thetory of work is, yeah, he's.
Speaker 3 (52:06):
He's just a no nonsense guy. He gets to work.
He works hard, Yeah, but he cares.
Speaker 5 (52:11):
About people, you know, like it's such a which was
just exactly why he fit in on full and Fuller
because our crew are our.
Speaker 3 (52:22):
Family are you know. We It was like, you show
up and you work.
Speaker 2 (52:25):
Hard, but damn, you're gonna have a good time doing it,
you know what I mean. And you're gonna and and
you're gonna have fun and you're gonna laugh, and it's
gonna be a really good time.
Speaker 3 (52:34):
But like prepare, you're gonna work. It's off. And that
was that's.
Speaker 2 (52:38):
Really his ethic, Like there there's no ego about it,
you know that, Like I've been doing this for so
I'm not gonna you know, it's like.
Speaker 3 (52:46):
Oh, I came to work.
Speaker 2 (52:48):
You know.
Speaker 3 (52:48):
He's he's here to work and he's here to do
it well.
Speaker 2 (52:51):
And I applaud that because yeah, like you said, everybody
kind of wants to come out and be a star,
but you just gotta you just gotta show up and
do the work.
Speaker 1 (53:00):
That's what it's about. It's not about the fluff. It's
just working on put your head down and get to work.
Speaker 5 (53:04):
Ye yeap.
Speaker 2 (53:05):
And that was always say one of the best experiences
I had was when I like got a quote unquote
like real world job and I was making like ten
bucks an hour at a treatment setter and empty and
trash cans and washing dishes.
Speaker 3 (53:19):
And and I was like, I'm happy to be this
cool build character. Yeah yeah, And it's uh, definitely.
Speaker 2 (53:26):
I just that work ethic really always shined through because
he he got asked to do some wild things. I mean,
nothing like the interior of a stomach.
Speaker 3 (53:35):
But just recreating ourselves from scratch.
Speaker 2 (53:39):
The Gibbler house was quite a thing.
Speaker 3 (53:42):
Oh my goodness.
Speaker 1 (53:43):
Yeah that was I said, that was an eyesore for everyone, right, and.
Speaker 2 (53:48):
We flipped they flipped the house, so we shot it.
Speaker 3 (53:52):
In post posted. They flipped it. They flipped the the
I don't know what.
Speaker 2 (53:57):
The staircase was on the other side of the basically
used the Tanner house and turned it into Kimmy's house.
And then when they shot it and edited it, they
flipped it around.
Speaker 1 (54:06):
So which is which is really weird for us to
walk into stage twenty four one day and see the
living room as the Gibbler set, and then walking the
very next day and it's right back to the.
Speaker 3 (54:16):
Tanner was right right, Yeah, I was like, what's happening? Yeah?
It was this thing with.
Speaker 2 (54:21):
Which uh, production and set designers have to work though.
On sitcoms is you know it is You're in a
it's a machine.
Speaker 3 (54:30):
It is a well oiled machine.
Speaker 2 (54:31):
And the machine stops for no one.
Speaker 3 (54:34):
It's you're going, You're going.
Speaker 2 (54:36):
And they're especially kids shows and you know, fuller house sitcoms,
sitcoms in general. We're gonna ask you to do some
kind of ridiculous stuff. So oh yeah, you gotta yeah.
Speaker 1 (54:44):
Got it.
Speaker 3 (54:45):
You just have to say okay, okay, yes.
Speaker 2 (54:47):
Yes, and I can make I can do that inside
of a stomach.
Speaker 3 (54:50):
Oh my god, what am I? You know, the joke's
gotta work.
Speaker 2 (54:53):
Yeah, the cows gotta fit the table. Well, this has
been super fun. Thank you Totos for listening. We are
so glad that you got to listen to our wonderful
chat with Jerry, who's super talented and again just been
in this business for a really long time and.
Speaker 3 (55:09):
Learned so much. So thank you, Fan ritos.
Speaker 2 (55:12):
If you want to find us more on uh Instagram,
you can check us out at how Rude podcast, or
you can send us an email at how rud Tannerritos.
Speaker 3 (55:20):
At gmail dot com.
Speaker 2 (55:21):
Well as always check out our merch site which is
how Rude merch dot com. And uh, and that's it.
That's it, So you guys, remember the world is small,
but the house is full of a gigantic stomach.
Speaker 3 (55:38):
It is.
Speaker 2 (55:39):
It's a giant sized stomach just shoved into the kitchen
and living room area there and it's yeah, just like
a bouncy thing.
Speaker 3 (55:49):
Yeah, I've gotta look up this episode. I think this
just sounds so weird. Yeah, it's full of a stomach. Okay,
bye bye
Hey there, Fanarritos, Welcome back to a brand new episode
of How Rude Tanertos. Today we have a guest who
made the set of Fuller House come to life. To
be given the task to recreate the full House house
is no easy feat, but Jerry Dunn took the opportunity
and ran with it. I mean, if you remember Rennie
(00:38):
Dieball's interview from a few weeks ago, the set alone
got a five minute standing ovation. That's the perfect testament
to Jerry's work. And we can't wait to talk to
him today about production design and everything that goes into it.
So please put your hands together for Jerry Dunn here.
Speaker 2 (00:59):
So welcome Jerry to How Rude Tanrito's. We're so excited
to have you on the show. You are so wonderful
and talented and also like just a part of the
Fuller House family now.
Speaker 3 (01:12):
So yeah, and we're really excited to get to talk
to you about all this. Yeah.
Speaker 1 (01:16):
We posted a clip on Instagram a couple of weeks
ago with Rennie Dieball where she was commenting on the
pilot taping a Fuller House and how the sets got
the longest applause of any cast member. It was like
a five minute standing ovation and Jerry's like, I did those.
Speaker 3 (01:34):
Sets, those sets, and I was like, come on the podcast,
this would be great.
Speaker 4 (01:38):
Yeah, iconic. It was pretty surprising in those sets.
Speaker 2 (01:43):
I mean, can you tell us a little bit about
how those sets were recreated and made and that it
was a rather.
Speaker 3 (01:53):
Difficult journey that to say the least.
Speaker 4 (01:56):
Yeah, both know the characters that were in play, right,
but queen, mister boy yet mister Franklin indeed, yes, so
I had Jeff Franklin actually gave me my first pilot.
I did. Really that was my very first job, Jeff,
which one head over heels. Okay, I got a dating
(02:16):
service in Miami that Jeff wrote, Oh so I was
a kid and I got interviewed with a bunch of
work experienced designers. Jeff gave me my first shot.
Speaker 2 (02:26):
Oh that sounds like Jeff. He is very he's I
mean we have him on the show all the time
and talk to him. But yeah, he and also comes
from the old school of like you give new people
a chance, and you bring them in and you help
mold and shape and encourage people.
Speaker 4 (02:42):
So then I knew. So I met Jeff and had
worked with him, and then I worked with. I met
Bob up on and Your Management at Charlie Sheen Project,
right because Bob was doing partners for lions Gate. That
was one of those deals where they're doing a ten
for one hundred episodes.
Speaker 3 (03:00):
Yeah, yeah, yes, yes, yeah yeah.
Speaker 4 (03:02):
I was walking. I was on Anger Management one day
and I get a call from the producer and he said,
come to the stage right away. Somebody wants to beat you.
I was like, okay. I thought I was in trouble
because most of the time you're getting for.
Speaker 2 (03:16):
Something yeah exactly, like oh no, yeah, getting onto the.
Speaker 3 (03:20):
Principal's office, you know what I mean.
Speaker 4 (03:21):
They're like, I go, you know. And I walked on
the stage and I see this gentleman walking around the
base of set of Anger Management and it's and I
had never met him before. It was Bob. And Bob
said to me, he goes, these are some of the
nicest sets that I've ever seen, and he said the
way that you leave camera access and I love your
(03:43):
work and I love your style. He was so complimentary,
and he said, so I'd like to come to my show.
Not an interview, not anything. He just looked at me
and said, I want you to do this. So that's
how I connected to Bob. And then when that's incredible,
I got a call and they said, come to the office,
(04:03):
come to the Warner Brothers and beat these do. So
I walk in and I hadn't seen the two of
them together ever, right, talking about the show, and I'm like,
is this an interview or what are we doing here, gentlemen?
You know what's going on? And They're like, this is
no interview. We're not talking to anybody else. You're just
doing this. So that's how I got involved in the family.
Speaker 3 (04:24):
That well, that is amazing.
Speaker 1 (04:27):
Speaks to your talent, to your immense talent. Absolutely, Oh
my goodness.
Speaker 4 (04:31):
Yes, to get grilled, you know, in an interview kind
of a thing, you know, right, you just went, Okay,
we like your work, that we enjoy you, and let's go.
Speaker 2 (04:41):
Yeah, the work got to speak for itself, you know,
You're like, this is what I do, and I do it. Well,
that's incredible, and also like I love that. You know,
Bob and Jeff both have given a lot of people
first opportunities or bigger opportunities, and you know, have really
done such huge things like that in this business.
Speaker 3 (05:04):
So it's really I.
Speaker 2 (05:05):
Always love hearing it because it's one of the things
I love about this business too, is like, you know,
we got to bring up the new generation help people encourage.
Speaker 4 (05:14):
Isn't exactly young or youth at that point, that's for sure.
Speaker 3 (05:18):
Well but still like the not well not with fuller.
Speaker 2 (05:21):
But still like you know, it's uh, it's definitely you know.
I love when people get recognized for doing good work.
Speaker 3 (05:28):
And it's like, yeah, I want to hear.
Speaker 2 (05:30):
Now the sets were did you build them?
Speaker 3 (05:35):
I know there was.
Speaker 2 (05:35):
An issue with the blueprints.
Speaker 3 (05:38):
Correct.
Speaker 4 (05:39):
So Jeff calls me in and he says, this is
going the easiest job you ever had, which.
Speaker 3 (05:47):
Is the kiss of.
Speaker 2 (05:47):
Death for anything, particularly in the entertainment business.
Speaker 4 (05:51):
I said, perfect. I said, let's go. I'm in you
know whatever it is, and he said, Bob sat and
they both looked at me and they said, well, we
have the drawings from the original. Well I was over
the moon, right, I'm going yeah, just turned around and
we'll just stick way to go. So they rooted around
at Warner Brothers for a couple of weeks and nobody
(06:13):
could find them. The art department had closed and they
got thrown away. So guess what. So Sdaren and I,
who was my assistant on the show. YEP, we had
to have watched I don't know, fifty episodes of Full House.
(06:33):
What we had to do we had a free freeze
frame every single shot. Go, okay, well there's Andrea at
the front porch, right, the area on either side of
the front porch. I literally like.
Speaker 2 (06:48):
You had to reverse engineer everything by like scale of
people and.
Speaker 4 (06:53):
And the funniest thing is, right as we shoot sitcoms
like this, right, so there aren't any wide shots. So
we're going in going okay, well there's the little girl
crawling down the steps. What's the molding on the baseboard?
Speaker 1 (07:08):
Right?
Speaker 2 (07:08):
Yeah, you're like, the character is irrelevant. I'm looking at
the at the stairs, I'm looking at the banister.
Speaker 3 (07:14):
Yeah.
Speaker 4 (07:14):
I had to go and I had to start kind
of scaling it out from my head, going out three feet.
I think that's a foot and a half that looks
like this. I mean, it took us a long long
time to put that show back together because we didn't
you know, because we didn't know, we didn't know the
show anything about it. So it was quite the cure.
(07:36):
And you're doing with something that was done a long
time ago. What I found out was that the stage
that you had in Culver City at Sony was bigger
than the Warner Brothers.
Speaker 3 (07:49):
Yeah, Sony stages were huge, right, And Jeff's.
Speaker 4 (07:53):
Going, oh, I got all this room blah blah blah,
And I'm like, well, no, you kind of don't. Yeah,
So like having to like I can't remember, you know,
I kind of have to hack out feed of sets, right,
I had to go. I got to make them smaller,
I got to make them fit. And so Jeff, being
the diehard that he is about your show, right about
(08:16):
the show itself, nothing was ever right, you know.
Speaker 2 (08:19):
I was that's yeah, that sounds that's Jeff. We love Jeff,
but that's and that's yeah, that's ridiculous.
Speaker 4 (08:26):
Yeah, And so he kind of so I'd say, well,
can we can we cheat this? Can we make this adjustment?
And then we would try to meet it, and then
he wasn't happy because we couldn't. You know, I cheated it,
but he didn't like it being cheated. He wanted the
real way, right. And part of the problem was that
Warner Brothers is that they had you know, you guys
were a massive success, right, so that all of a sudden,
(08:46):
We're on a show on Netflix and it's a whole
new deal, right right.
Speaker 3 (08:50):
It is, Yeah, we talk about that all the time.
Speaker 2 (08:53):
It is not the glory days of network television, of.
Speaker 4 (08:57):
These virgin When I went to meet Steve Sandibal, remember
who was a line producer in the beginning, Yes, yeah, yeah,
season he has to be and he goes, I can't
remember the number, ladies, it was like three hundred and
fifty thousand dollars budget. I had been doing this for
a long time and I looked at him and I thought,
(09:20):
there's no way in hell.
Speaker 3 (09:22):
I was like, that isn't that's for a building of
an entire So that is it? That is nothing.
Speaker 4 (09:27):
I said, I go, well, it's the front port, and
it's the living room, and it's the kitchen in the backyard. Right.
It was like it was like the pilot that fought
on and on.
Speaker 3 (09:36):
Right, the bedrooms you got to have the you know,
be out of.
Speaker 4 (09:40):
The attic, and then we wanted the basement and Jeff.
Speaker 2 (09:42):
Wright because they're all so well known, you know, the
audience is like, we have.
Speaker 4 (09:47):
To see it exactly. And so I think I came
in at around nine hundred thousand when we finished three
fifty at Warner Brothers. Budget kind of got blown out
of the water and I kept getting yelled at. I'm like,
I didn't do this, you know what I mean. I
was creating this thing to get it back on stage.
Speaker 2 (10:06):
Right, So you're like, this is the original person's fault, whoever.
Speaker 4 (10:12):
You can't you know, I said, you can't. You can't
cheat it. You know, you can't try it. And we
would try to cheat it to make it cheaper, and
then Jeff would come in and yell at me. I'd
look at Steve and go, it's not my fault, right, talk.
Speaker 3 (10:26):
To the budget guy, right, yeah exactly.
Speaker 4 (10:28):
That was a bit of a go around and go
around with them.
Speaker 2 (10:31):
Oh well, of course, the create creative versus the money
is always the always the sticking point.
Speaker 4 (10:37):
Right, yeah exactly.
Speaker 2 (10:39):
I mean when we came and walked on set the
first time, it wasn't like one hundred percent done, but
it was pretty pretty well fleshed out. I mean, all
the walls, paintper is done. It was just I think
the interior stuff that wasn't finished yet, like the decorum whatever.
Speaker 3 (10:56):
But we walked over there after the first take.
Speaker 2 (11:00):
Will Read, which was in itself, like it just blew
our minds.
Speaker 4 (11:06):
You know what I mean.
Speaker 2 (11:06):
It was like we're okay, we're doing this again. And
then we all walked over from there through the lot
like we all used to, you know, walk through the
lot to the same stage that we were on when.
Speaker 3 (11:19):
We left, and.
Speaker 2 (11:23):
We like walked in and it was we all.
Speaker 3 (11:26):
Started to cry, very emotional. Yeah, it was.
Speaker 2 (11:31):
We all were like, oh my god, we just walked
back thirty years to a place that we never thought
we'd get to see again in yeah, in person and
touch it and be in it.
Speaker 3 (11:44):
You know, it was our childhood.
Speaker 1 (11:46):
We grew up there on that stage. That was You're
done good, Jerry. Yes, spectacular.
Speaker 4 (11:53):
It was fun. It was great challenge to do.
Speaker 2 (11:56):
And I and I still have I have uh you're
the model on my shelf.
Speaker 3 (12:03):
Oh yeah, you gave me.
Speaker 2 (12:05):
The room of Steph and DJ. Well yeah, Stephan, DJ's
room and uh Jesse's room.
Speaker 3 (12:12):
I mean, if we're talking.
Speaker 2 (12:13):
Like original full house, the upstairs hallway and stuff. Yeah,
I have it up here on my on my shelf.
Speaker 4 (12:20):
In your little museum, yeah, I do.
Speaker 2 (12:23):
My little museum. Yeah, I have that up there. And
I will say I the I had what did I
have the bigger I think I had the bigger one too,
or I had something else the kitchen.
Speaker 3 (12:33):
Maybe I think I had the.
Speaker 2 (12:34):
Kitchen, but I I auctioned that one off for a
lot of money for a very a very good cost.
So yes it did. And I but I definitely I
was like, I got to keep the.
Speaker 1 (12:49):
Room and I kept the attic, the attic which was
Kimmy's room in Fuller. So I have I have that
little special piece of the Fuller House history.
Speaker 4 (12:59):
Yeah, biggest house in the world, Well, the.
Speaker 2 (13:04):
Biggest uh shape shifting Uh. I think somebody we've talked
about it before. Somebody did an actual rendering, like of
what the house would have to look like on the
outside in order to accommodate it.
Speaker 3 (13:19):
And it was like it was like, oh.
Speaker 2 (13:22):
That looks like something a toddler built in roadblocks, Like, oh.
Speaker 4 (13:26):
It was funny when he bought them. Every when he
bought the house in San Francisco, he bought the location house. Yeah,
so I took the I helped him a bit with
that project, and so I brought the I brought a
drawing of the setup and I looked at the real.
Speaker 3 (13:40):
House and you were like, wait, no.
Speaker 4 (13:43):
Something doesn't work here at all. Right, Yo.
Speaker 2 (13:46):
The bedrooms were upstairs, they're like closets, they're so like
you a no joke.
Speaker 3 (13:53):
What would have.
Speaker 2 (13:54):
Been I think stephan DJ's room like kind of in
the front there, like you could fit it like a
full sized bed maybe and have a little bit of
room to walk around it. The one room in the
middle was like you could fit a twin up against
the wall and like you could hang some clothes right here,
and that was it. That was going to be the Yeah, yeah,
(14:16):
the nursery would I mean it was. It was so
crazy to be in there and be like, wow, did
we make up an entire house?
Speaker 4 (14:26):
And then at one point we were going to I
remember in San Francisco, you know the wall between the
staircase and the living room, right, We're trying to figure
out how to re appropriate that space at San Francisco
right to be the real set, right, And all of
a sudden it was like, well we want to take
this wall down. Well, all of a sudden, the San Francisco.
Speaker 3 (14:48):
House, I was like, good luck with that house.
Speaker 4 (14:51):
To take a wall down and rebuild and.
Speaker 3 (14:54):
The historical stuff you've got it to stick to it. Yeah,
it's a lot forget about it.
Speaker 4 (14:58):
Yeah, but we had We had great fun. It was
nice to work with Bob and Jeff together. Yeah, great fun,
you know in the beginning when we're doing stuff, And yeah,
it was interesting. It was a fun project.
Speaker 1 (15:11):
Take us through how you create a set, like do
you start with the three D design?
Speaker 3 (15:16):
Do you sketch things with your hand? Like what's the
order in how you come up with a design set?
Speaker 4 (15:22):
Like something that's new? Right? Your show was unique, right
because it was a copy. But when I write stuff
from scratch, usually what I'll do is I'll read the
script maybe once, maybe twice, but try not to read
it too much in the beginning, and then I just
sort of I work in's. You know, I'm an old
school designer, so I work in pencil.
Speaker 2 (15:43):
We talk about all the time we are we are
finding out just how old we are with our love
of paper and pens and actually writing things down.
Speaker 4 (15:51):
Yes, so it's a different experience. And like you guys
have models. You know a lot of people now do
work in computers. Right, I love them, the models, right,
is it? And I found that this to be true.
Is people love to hold them. Right, If I come
to see you as a writer or a producer, and
I give you this thing in your hands, and oh
it's right. Instead of looking at images on a computer,
(16:14):
you can actually kind of like right around the house
and check it out.
Speaker 2 (16:17):
And why not you feel kind of like the master
of the universe.
Speaker 3 (16:21):
You know what I mean of that?
Speaker 2 (16:22):
You're like, oh I can, I can, I like see
everything of it and it feels significant, It feels like
tangible stuff.
Speaker 3 (16:30):
I always say, like, is has an impact?
Speaker 4 (16:33):
Exactly? Yeah, exactly? And I do. And I probably do
a lot more work than a lot of designers as
far as what the director wants. Like a lot of
people just design sets and then give it to a
director and say here, this is what I designed. What
I need to turn around to do is think more
like a director. You're probably than a designer in a
(16:53):
lot of ways. And I will turn around and I
will go to cameras.
Speaker 1 (16:56):
Right.
Speaker 4 (16:57):
I've been doing yeah, multi cameras since nine two, notting
my own stuff. And I worked in my first sitcom
in nineteen eighty.
Speaker 3 (17:05):
Five and what was that? What's sitcom?
Speaker 4 (17:07):
Oh? I did him? It was actually a recreation. I
did What's happening now? Oh yeah, Oh yeah, so Warner Brothers.
I worked for David sacker Off, who was a designer
at the time, and they wanted to do What's Happening Now?
And it was for Cable, right it was done, which.
Speaker 3 (17:27):
Was like a new thing. Yeah right, it's like then
more channels.
Speaker 4 (17:32):
Right, it was cheap. It was for Warner Brothers. We
did it up in Glendale, and so we had to
recreate Roger and I can't even remember the character rerun
and rog yeah, yeah, yeah. That was my first what
that's where I met Mark Sandrowski. Oh yeah, it was
the first, Adie, No, maybe it was the second.
Speaker 2 (17:56):
I think it was the second because he was second
on ours Jump to First.
Speaker 4 (18:00):
Yet Julie Mihan was the first and Mark was his second.
That was an eighty five up in Glendale where you
shot that.
Speaker 3 (18:08):
Wow, so that's amazing.
Speaker 1 (18:09):
Wow.
Speaker 4 (18:10):
It was my first sitcom. But then my first design
job was you know where I was the boss right
as the production designer was head over heels for job.
Speaker 3 (18:18):
Okay, yeah, so cool, Yeah, but.
Speaker 4 (18:21):
I am you know, it's I came out of the theater.
So the great thing about sitcoms is it really gives
you that same.
Speaker 2 (18:28):
Kind of feeling you have the proscenium that you're always
working with. There's always a downstage and an upstage that
stays the same.
Speaker 3 (18:36):
You know.
Speaker 4 (18:37):
Nice, you know. I mean I must say it's really
was enjoyable because of the live audience, right, I mean.
Speaker 3 (18:43):
That's it's the best part.
Speaker 4 (18:45):
You know, where people Friday nights it becomes an event, yeah,
together right into a show and that kind of.
Speaker 2 (18:51):
Yeah, show night is an amazing chaos that you're like,
it's just you're alive.
Speaker 4 (18:57):
And I like it. I like the pace a bit
because you have to work so quickly and yeah.
Speaker 2 (19:04):
Yeah, yeah, it's not a single cam like and now
we're going to shoot it from this angle with this lens. Okay,
I want to do this same angle with three more lenses.
Speaker 3 (19:13):
I don't know, right.
Speaker 4 (19:14):
I don't have to get into any of that kind
of stuff, right, So it's nice interesting that way, and
it's nice to see the audience responses, you know, and
you really do sets, you know. The one thing that
I like about that I credit myself. I guess a
lot about my work is how real the stuff looks like.
It looks like I try to do feature quality. I
(19:35):
don't think of myself doing sitcoms. I think of myself
being a feature designer doing sets and then sitcom because
for a long time, right sitcoms were kind of like.
Speaker 2 (19:45):
The right right, it looked like you were shooting inside
a cardboard box with somebody holding a flashlight over you know,
it was like.
Speaker 4 (19:54):
Well, who lives here and what's going on? Work? I
really make it a habit of getting to know the
characters really well and then flush that out, like when
I did Anger Management. We did that was Charlie's first comeback,
right after two and a half Men, So this was
like a big, big deal with Charlie went back to television.
(20:15):
The first day we did the reading like you guys
did the first read on Fuller, Right, I walked on
set and Anger Manage. We did it without an audience.
We did it up in the studio, up in the
sant up on Tamarack Studios, which is up Yeah.
Speaker 2 (20:30):
I was up there when they were shooting that for something.
I went up there for something.
Speaker 4 (20:34):
I don't know way to come of get it, GI,
just of what was going on, right, And so I
walked in the set and I see some guy walking around. Well,
I really don't like people in the sets. Before readings,
because I don't want people fucking excuse me.
Speaker 2 (20:49):
But for real, actors are very touchy. We're touchy. We
want to touch things.
Speaker 1 (20:54):
And move things, and child actus in particular, I want
to touch everything.
Speaker 4 (20:59):
I walked in the back of the kitchen set and
I see this guy and then it dawn on me
that it was Charlie and I had only met him
once at a meeting that we talked briefly, and he
looked at me and he walked over and he said, dude,
and he throws his arms around me, and he tells
me that I could live here. You did the greatest job.
(21:22):
He goes, I'm going to move in here. He goes,
look at all my shit, my base. He goes, you
are so thorough in expressing who I am.
Speaker 3 (21:30):
Oh, what a compliment.
Speaker 4 (21:32):
Wow, it was a great, great compliment, especially from somebody
that you didn't know right, right.
Speaker 2 (21:38):
Right, and also that you know, you've never met, and
you didn't know what you might.
Speaker 4 (21:42):
Get right, and he crazy, Charlie get you know whoever.
And he was the most respectful, the most appreciative. Yeah,
it was really something that was.
Speaker 2 (21:55):
Oh that's awesome. That must have felt really really good.
Speaker 4 (21:58):
Yeah, I knew you Jody a little bit, and Andrea
not very much at all. But I don't really bother act.
Speaker 1 (22:10):
You know, you're very much like a ghost on the set.
You're there, we can't see you.
Speaker 4 (22:16):
And I make sure that it all looks great from
my perspective and that everybody's happy. And then I go
away and I like, do you talk to people on stage?
And I said, no, man, they're working, you know, I'm
and I'm busy, so I want to turn around and
take up your time. Well, and when you guys are working,
right Thursdays and Fridays, I'm not around, right, I'm done
(22:37):
for that week, you know, I'm onto the you know
what's the next moose?
Speaker 1 (22:40):
That?
Speaker 4 (22:40):
Jeff ro.
Speaker 3 (22:43):
What? Now? What do I have to build?
Speaker 4 (22:46):
Right? Yeah?
Speaker 1 (22:46):
Right?
Speaker 4 (22:47):
And the good? I said to what thing you appreciate
about sitcoms? And if I do something? Did I know
that on Saturday they're going to throw it in the garbage?
Speaker 3 (22:54):
How did you get into production design?
Speaker 2 (22:57):
Like?
Speaker 3 (22:57):
Were you an artist as a kid? Was is all?
Speaker 4 (23:00):
Like?
Speaker 2 (23:01):
Was film and television something that you always wanted to do?
And you were a visual artist and it kind of
created Like how did it come together? Because I find
it such a fascinating like niche of this business that
you know, of creating these worlds.
Speaker 4 (23:19):
I came to Hollywood to work.
Speaker 3 (23:21):
Yes, yes, that's the right attitude.
Speaker 4 (23:23):
Yeah, that's what I did, right, so you'll laugh. The
reason that I got into doing theater was because I
got cut from the basketball team when I was a
junior in high school. Oh, because I was. My brothers
were both basketball players, and so I was just part
of the family kind of, right, right, And I got
cut my junior year and I was taking some art classes,
(23:46):
but I wasn't really it wasn't really like a diehard artist,
and I was a little lost, right. I was kind
of like, what the hell do I do now? Because
this is who I thought I was going to be, right,
And so I started hanging out with some other people
at school. And these kids, effectionately were then known as sheeners.
(24:07):
They were guys that fixed cars. Okay, that's what these
guys did. And I sat talking to these guys one
day and they said, well, you should come hang out
with us, and I'm like, well, I'm not really into cars,
and they're like, well, we build sets for plays. Said,
I don't know what that means. But sure, I'll you know,
I'll jump in and learn. And so I started building scenery,
(24:29):
as you know, when I was in high school and
so I just my first set that I painted was
for the Diary of On from the play Okay, and
a priest came up to me in the back of
the house and he said to me, he said, are
you Jerry Dunn? And I said yes, and he said, well,
I'm father Tom from the local college summer theater. And
(24:54):
he said, I don't know what you did to that set,
but that's a beautiful paint job on that set. Would
you like to come to work at my theater company?
So I took a job for seventy five dollars for
the summer. It was a scholarship, and I went to
work at Saint Vincent Summer Theater in Pennsylvania. And that's amazing.
(25:14):
That's what got me hooked. And then I kept doing
it and doing it, and every place I went I
kept getting kind of up, you know, notched up.
Speaker 1 (25:24):
Wow.
Speaker 4 (25:24):
And so I was doing a bunch of theater and
then I was living in Pennsylvania, and then I got
i'd applied a graduate school in San Diego. When I
was in college, but I didn't go the first year
and I got an offer to do a graduate assistant
ship in California and San Diego. So I filled my
duffel bag and I filled my portfolio, and I bought
a one way plane ticket and I flew to California
(25:46):
and haven't left since. Actually, hey, I turned sixty seven
next week day.
Speaker 5 (25:52):
Holy, happy birthday, Happy early birthday.
Speaker 4 (25:56):
Now now it's got kind of a chill day and
I'm trying to get out of town to go do
some traveling, but as some personal business that I'm trying
to clean up.
Speaker 3 (26:04):
Oh nice, okay here for a while.
Speaker 2 (26:07):
Yeah, yeah, travel is nice? Right now, what has been
you would say your favorite set to create and build
theater or television? What what just or or even if
it's like two or three, that's cool? But like, is
(26:30):
there is there a couple where you're like.
Speaker 3 (26:31):
Oh, that was just so cool?
Speaker 4 (26:33):
You know? The show that was so fun to do
was The Sweet Life of the Sweet Life on Deck,
which was a Channel show with with the Twins. Right, yes,
so that show took place on a cruise ship and
that it was a high school at sea.
Speaker 3 (26:55):
Okay.
Speaker 4 (26:56):
The only time that somebody in multi camera had done
a cruise ship set on stage was the love Boat
in the sixties, right, Yeah, So I got to do
a cruise ship set on stage for a Disney Channel show.
And then what we would do is it because it
was a show, it was an international show. Every week
(27:17):
we got to go to different countries. So we did
a Japanese episode, and we did an episode in Paris,
and we did an episode in Thailand. Oh wow, everything,
it was like a thing, and we did it. Did
a Wizard of Oz spin one time, and I got
to recreate the barnyard in Kansas. Oh yeah, I got
(27:40):
to do the yellow brick road. Oh my god, do
the tornado destroying the farm?
Speaker 3 (27:47):
So amazing, great, but that.
Speaker 4 (27:49):
Was great, great fun. I really enjoyed doing that a lot.
Speaker 2 (27:52):
Oh wow, didn't I believe the set that we shot
the pilot on the Gigant, the gig Gigantic set at.
Speaker 3 (27:59):
Sony for Mars and GM.
Speaker 2 (28:02):
Was where they did the yellow brick road scene of
Wizard of Oz.
Speaker 4 (28:07):
Yeah. So Phil Lewis was starring in that show, you know,
director Phil Lewis. Oh yeah, exactly. Great. The Star of
Sweet Life on Deck was one of them anyway.
Speaker 2 (28:17):
Right, amazing you know, I will say, was it fun
to do? Like some of the Disney shows, just because
you can go so like over the top, kind of
big with it, like it's such a it's nothing.
Speaker 3 (28:32):
There's usually nothing.
Speaker 2 (28:33):
Very subtle about any of the Disney shows.
Speaker 3 (28:36):
Stuff you need to kind of go for it.
Speaker 4 (28:38):
I got to do the inside of a stomach one time,
so Raven okay, wow, they wrote, well you know who
it was. It was Mark and Dennis that you got.
Speaker 3 (28:49):
Oh yeah, yeah, oh yeah.
Speaker 4 (28:52):
So they wrote this episode. They called me in and
they said, Jerry, we want to go to a natural
histor museum. I said, okay, bye, no problem. And then
they wanted to do the exterior of a stomach for
the exhibit, and it had to be giant scale. So
I had this whole. I had a stomach carved, and
(29:13):
we put this thing together and then Mark and Dennis
said to me, well we wrote another beat to the show.
I said, okay, what's that and they said, we want
to have Raven fall into the stomach. I had never
seen anything like this ever, and I'm just sitting up
in my office going what do it this?
Speaker 2 (29:34):
Right?
Speaker 4 (29:34):
So I rented a spider bounce, like a like a
loose kids backyard. Spider bounce has a base right, and
that has all the arms that go up to this
added spider. So I rented a spider bounce and in
between the legs we used them like volleyballddding clean the
(29:57):
legs and then line that with foe one, cover the
phone with pink chiffon, and then twinkle lights and rope
light on the chiffon, and then we layered it again
with chiffon wow, and we stray painted it. What happened
was that raven so she was able to bounce on
(30:19):
the oh.
Speaker 3 (30:20):
Right, yeah because it would be the yeah.
Speaker 4 (30:22):
Right and it was all pink and she could bounce
off the walls. And then we had to drop stuff
down on her, like the stomach, like leaking on.
Speaker 1 (30:29):
Her, like okay, oh this is so Disney.
Speaker 3 (30:33):
Oh yeah, that's so raven. Actually I believe it's a show. Yeah.
Speaker 4 (30:37):
So that was that was a fun one. Doing the
inside of the stomach was quite the wow.
Speaker 3 (30:42):
I mean that guy was like one of the kind
thing that you will never do again.
Speaker 4 (30:49):
No never. Hannah to the Beach. We did Malibu Beach
on Hannah, Montana. Okay, okay, to do the pier at
Santa mon Pere. We did on stage. Oh wow, so
we got to do really so on that show we
got to have some great fun, you know. Yeah, the
dizzy stuff, right was kind of out there for a while,
(31:10):
and yeah, sure, and I got in on the beginning
of it, really the beginning of it. So that's how
I got to do Hannah Montana, and I got to
do Sweet Life, and I got to do Raven and
I got others. But it was when I finished that
and tried to get other work I couldn't get hired
because I was a kid showed designer.
Speaker 3 (31:30):
Yeah, fusting, and you're like, it's it's just it's a set.
Speaker 2 (31:35):
It's just building things. I can build anything. I can
build the inside of a stomach, Dammit, I can do it.
Speaker 1 (31:40):
Yeah, you should get any street credit for building a
stomach on a Kiss show.
Speaker 4 (31:44):
Yeah, but they don't give you that credit for having
the imagination. They just want to see what they wanted,
you know. I went to Anger Management, got to do
strip clubs and dive bars, and that was all.
Speaker 3 (31:57):
That's a departure from us, right right.
Speaker 4 (31:59):
I think that was by that was the universe Andrea
going Okay, well he had a yang and a gang
right right in the middle, right.
Speaker 3 (32:06):
Which do you want? We can go this way, we
can go fully that way? Well, yeah, we can go
in the middle. Yeah.
Speaker 4 (32:12):
Yeah. So it's been an interesting it's been an interesting career.
Speaker 1 (32:16):
Cool and we learned that you helped design the theme
park water ride in Japan, the Hello Kitty Park.
Speaker 3 (32:27):
Tell us how did this come about?
Speaker 4 (32:28):
Landmark? You know what? It was? Sitcoms. We're in a
we were on strike, I think that spring okay, And
I got to work as san Rio or Landmark Entertainment,
which is in l a huge steam park company, and
they were doing this thing and I just put in
an application I needed some work, and so I got
(32:49):
to go to Japan, the South of Japan. I didn't
design it. They had a conceptual artist design it and
then like people just go in basically to do the
the install. So I started. So I went to Japan
and I worked for a couple of weeks in Japan.
But this water ride, what I found out was that
the water ride had had like four designers through it.
(33:13):
But I didn't know this going in, and so I
got there and I was kind of like, well, this
is kind of crazy. I don't know what I'm doing.
I was a sitcom guy but didn't theme parks, so
you guys will laugh. So they the ride basically was
in a building, right, and you go down this pull
this like little fake river kind of thing. Right. So
(33:36):
they were talking to me, and all the Japanese workers
were lovely to be with, and I said, in the venue,
thank god, was way on the other side of the park,
so nobody would come because you had to slod through
the mud and all this kind of get to this building.
So when I went down there, they said, well, what
do we need to do first? And I said, well,
(33:57):
does anybody build a cart so we could go kart
so we could go through the river so I could
actually see from a point of view what we were
doing right in this ride. And so it was designed
by this guy up in Seattle, I think it was,
and he had designed all these pieces. It was kind
of like small world, like, yeah, kind of right. So
(34:19):
they came in and said, well, all the scenery is finished,
so you just need to load it in and get
it ready for presentation. So what nobody figured out was
that the set that they designed was bigger than the building.
Now did I know right. I just knew that this
is something that I was supposed to put together. So
(34:39):
I started working with these guys, and these Japanese workers
were lovely, and they said, well, there's twelve pieces of
scenery in this one little tableau. I said, well, there's
room for like six. And then we go to another
part and they go, well, here's the amateuronic figure that's
like doing, you know, fit for something, and there's the background.
And so I went through this whole thing and I thought, well,
(35:02):
half of this doesn't fit. So I just turned around
and I took half the scenery and I just told
them to put it outside and cover it in plastic.
Speaker 3 (35:12):
There you go.
Speaker 4 (35:13):
Then they came down and I was there for a
couple of weeks and they came down and said, well,
we're going to do a walk through with the client.
And these when you do theme parks, if you think
network things are a big deal, like the first reading, right, like, okay, well,
how many people are coming to look at the ride
for the san Rio You know the Hello Kitty theme song?
Speaker 2 (35:35):
Oh god, yeah, now it's yeah. The corporate is amazing.
It was so much.
Speaker 4 (35:39):
So we go through the sole thing and that the
owners are going, wow, this is so pretty and it
looks so good, and it's like, you know, on and on,
and we get out to the back of the building
and their little go kart and the owner of Landmark
looks at me and he goes, what's that? And I
said that didn't fit? And he said did you report
(36:00):
this to anybody? And I said nope, I didn't know
what to tell you, but it didn't fit. So I
put what fit and I made it work, you know
the way it was. So then they were talking to
we're going to do layoffs all of a sudden, so
they were going to lay off this huge group of people.
And one of the managers came to me and he said, well,
(36:22):
you broke every rule in the book. He said, well,
I guess you're sending me home and he goes, no, actually,
he goes, we'd like you to stay for another six
or eight months to help get the park finished.
Speaker 1 (36:34):
Wow.
Speaker 3 (36:35):
So I said that's incredible.
Speaker 4 (36:36):
And he said well, he said you would take on
four more rides.
Speaker 1 (36:40):
Wow.
Speaker 4 (36:42):
And I said, well, how much more money are you
going to pay me? I said, well, no, we're not
giving you any more money. And I said, well, then
I'm going home.
Speaker 3 (36:51):
Yeah, yeah, he paid for your work. Yeah, four more rides.
That's insane, I know.
Speaker 4 (36:56):
On top of one. So we were finished the one
and then we had to get into all the rest
of it. So it was I don't know, I know
the park opened and everything, but I've never gone back or.
Speaker 3 (37:06):
Didn't be shot there during fuller. Yeah, we would just
shot those.
Speaker 2 (37:11):
Kids at Hello Kitty Land.
Speaker 4 (37:13):
This was way down in a week.
Speaker 3 (37:15):
Oh that was a different, different different.
Speaker 4 (37:17):
Yeah, it is nuts in Japan, huh oh.
Speaker 2 (37:22):
I mean I was a Hello Kitty fan as a kid,
and I did go to the four story san Rio
store in Tokyo and I was blown away. It was
like it put Disney to shame the stuff that they
merched out, you know what I mean, where you were like,
do you really need like Hello Kitty foam earplugs?
Speaker 3 (37:41):
I don't know, but yeah you do. You know, it's
just weird stuff.
Speaker 4 (37:44):
Well, and you can imagine being on a place like
we would do. The Japanese workers would do calisthenics in
the morning out in a big giant parking lot outside.
Then they would go so everybody would report to work,
you'd go outside they do group allis stanis first and
then send you away.
Speaker 1 (38:03):
I like that.
Speaker 4 (38:03):
They literally played the Low Kiddy song live outside twelve
hours a day. Oh no, sure. Well, and you're in
a place where you can't speak the language, right. A
couple of supervisors spoke English, but all the workers don't
speak English.
Speaker 2 (38:21):
Yeah, so you I remember that was like when we
shot there, all of our the crew was all Japanese yep, yeah,
and we had our translator.
Speaker 4 (38:28):
It's a lovely yeah.
Speaker 3 (38:30):
Oh it was beautiful. I'm so glad we got to
go there.
Speaker 4 (38:40):
I was so mad I didn't get to go.
Speaker 3 (38:42):
Yeah, that's what a shame.
Speaker 4 (38:44):
You wouldn't let you know. They didn't want me to come,
and I'm like, going, well, I really should come.
Speaker 1 (38:48):
And we had a we had a set too, They
had to build a set for the Bridle Shop I think.
Speaker 3 (38:53):
So it was like we were doing multi cam all
over again. Oh yeah, it was. We were. We were
in a studio in I was like, this is what
it's like. So we couldn't.
Speaker 4 (39:04):
Instead of going to.
Speaker 2 (39:07):
I know there was that was that there was a
bunch of people. Didn't they not want to send like
hair and makeup or something. Wasn't there something we're going
to do? Yeah, they were going to send hair and makeup.
They were like that, We'll just get somebody over there, and.
Speaker 3 (39:18):
We were like, do you know nothing, continuity characters? You
got to bring our team That was.
Speaker 4 (39:24):
The Netflix and the original ABC, but the NBC budget.
Speaker 2 (39:29):
Oh yeah, oh those nice ABC budgets.
Speaker 3 (39:33):
Yeah.
Speaker 2 (39:33):
We lived it up in Disney World, living it up. Yeah. Well,
after being in this business for so long, what is
there there anything that you haven't done yet that you
want to do?
Speaker 3 (39:51):
Are you thinking of retiring?
Speaker 2 (39:55):
Are you still loving and enjoying it or what?
Speaker 3 (39:59):
Like, where do you see yourself headed next?
Speaker 4 (40:03):
I think that I'm I don't know what else I
could do in multi camera, you know, I've done pretty
much everything.
Speaker 3 (40:11):
That you know, Yeah, for god, what else.
Speaker 4 (40:16):
Thousand sets in multi camera? You know.
Speaker 3 (40:19):
Wow.
Speaker 4 (40:19):
So it's like I kind of go and the you know,
the biggest challenges. The budgets aren't going to get any bigger,
No going to get any bigger. So I'm a going
to be kind of doing the same old thing again. Yeah,
I'm getting close to you know, and you guys know,
multi camera is kind of dead right at the moment.
It's so, yeah, only three on the network. I think right, Yeah,
(40:41):
it works and everything. So it's kind of you know,
so it worked since we'd finished The Connors last October,
and I have it worked since. Yeah, there was only
one you know. This is contrast for right, in nineteen
ninety two when I did Head over Heels there was
one hundred and twenty five multi camera pilots shot that spring.
Speaker 3 (41:00):
Wow, and that's just pilot shot.
Speaker 4 (41:03):
Oh, I don't get it, ladies. I really don't understand. Yeah,
time when we all need to.
Speaker 3 (41:09):
Laugh for sure, aren't bite sized comedy.
Speaker 2 (41:14):
And it's and I feel like it's it's like sitcom
has got to be it slightly less expensive investment than
going and shooting on location everywhere.
Speaker 3 (41:23):
But what do I know?
Speaker 4 (41:24):
Yeah, no, it's way cheaper. Yeah, I don't understand. And
it's not like, you know, you look at something like
Mad About You and Friends and Big Bang, you know,
Big Bank, Warner Brothers over a million dollars. Yeah, why
aren't you doing worse sitcoms? I don't. I don't.
Speaker 3 (41:41):
Yeah, it is.
Speaker 2 (41:42):
It's a it's a really weird time in the business
right now for everybody.
Speaker 4 (41:48):
I'm kind of so end of my career, Okay, I
really want to turn around and do you don't have
to do something for a long time and you get inspired, right,
So I really want to do some work with orphanages
and third world countries. I've done some volunteer work in
the past, but what I'm trying to do and I'm
hoping to set up a nonprofit when I retire, I
(42:13):
can go and travel around the world and go help
third world country orphanages.
Speaker 3 (42:19):
Oh I love that line.
Speaker 4 (42:21):
Whether it's going to go do some you know, some
manual labor kind of things, but I think the kids
in third world countries have the biggest challenge in life. Yeah,
I think that that's something that I know that that's
something that I really like to wrap my hats around.
So I'd like to take all of those skills that
I have and see how I can roll it into
something that's more giving.
Speaker 3 (42:44):
I guess I love that.
Speaker 2 (42:46):
That's a big really yeah, like taking your art and
making the world a better place with it, you know.
Speaker 4 (42:53):
And I think I, you know, pretty much had my fill.
Speaker 1 (42:56):
Of Hollywood well understandable, Yeah, like going, yeah, it's a lot.
Speaker 4 (43:02):
On and on and on. I'm like, I don't really
care anymore. I don't Yeah, yeah, yeah, I.
Speaker 2 (43:08):
Feel like I've done this for forty some odd years.
I loved it. It was great.
Speaker 3 (43:13):
And now and now what like I.
Speaker 4 (43:15):
Think if you know somebody called that I liked, That's
the biggest part of it, right, Joe Nander is like,
you don't work for somebody that you don't want to
work with. H And so I'm just kind of going
like a Bob called or Jeff called, or from Connors
called and said, hey, do you want to do something?
And I enjoyed the script, Yeah, I'd probably do it.
(43:36):
I'd probably yeah, But am I going to go out
there and run around and chase things and whatnot?
Speaker 3 (43:41):
Right?
Speaker 4 (43:42):
That's that point in my life.
Speaker 2 (43:44):
There is just no work to be had to spread
across every Like you were saying, you got in the
union as like an overhire, you know what I mean.
Speaker 3 (43:53):
Like it was they were like.
Speaker 2 (43:54):
We just need people, we got to come build sets,
you know, and uh, yeah, it's there's just where it's
it's scraps now. And I know that's really yeah, really
frustrating and really hard.
Speaker 3 (44:06):
But I think that you have an excellent Would you
have liked.
Speaker 4 (44:10):
To be in the business in the fifties, sixties and seventies, yes,
it was a whole different world then.
Speaker 3 (44:18):
Oh yeah, Golden Age learned.
Speaker 4 (44:20):
And what we lived through when everything right, So, like
I look at an old movie like The Ten Commandments
right then heard.
Speaker 2 (44:31):
Right, not a CGI to be found? Ten thousand people.
Speaker 4 (44:35):
Right, ten thousand people. You work with all the entraftsmen.
And you know, I watched I saw a video or
I saw a photograph of the main street of the
Ten Commandments that was built in Culver City, right, orties
or something like that, and it was incredible to see.
And like you said, there was like ten thousand workers
(44:55):
on that movie. Yes, all laborers, all carpenters, and yeah,
it's like the thing with computers. Right, it's like it
does amazing things, but it's not human.
Speaker 3 (45:07):
Right, it doesn't have that touch to it.
Speaker 4 (45:09):
That's not walking on a stage with one hundred guys
running around building stuff.
Speaker 3 (45:14):
It's true. The smell of sawdust on a set, it's
the best.
Speaker 4 (45:19):
And I have take me you guys knew Puccio and
the boys that I worked. Yeah. Yeah, so you work
with great people and you have a good time doing
it for the most part.
Speaker 3 (45:29):
Yeah really right, right.
Speaker 2 (45:30):
Well, I will also say that you had a lot
to do with the Fuller House wedding.
Speaker 3 (45:36):
Oh that's so beautiful.
Speaker 4 (45:38):
That was fun to do, and.
Speaker 2 (45:40):
That was so much fun because you included us, like
it was like planning a real wedding, like you really.
Speaker 3 (45:50):
You and your team.
Speaker 2 (45:51):
Made such an effort to be like what would these
characters have? And again, like you said, like you put
such a personal touch on it. There were so many
little things that were special and that also that you
listened to us on and it made it feel so
much more real, and like, I think.
Speaker 4 (46:09):
That was one of the prettiest weddings ever shot on
television in a sitcom.
Speaker 3 (46:13):
For sure, Oh for sure.
Speaker 2 (46:15):
It was beautiful chandelier that was there, and yeah, well
and the.
Speaker 4 (46:20):
Cool thing was is I went because Steve and Brian
is that his name?
Speaker 3 (46:27):
Yeah, yeah, yeah, now.
Speaker 4 (46:28):
And everybody at Warner Brothers, everybody's pretty conservative. So when
I walked in and I thought, if you make me
do a wedding with folding chairs.
Speaker 3 (46:39):
And rows, right, I'm going to lose my mind.
Speaker 4 (46:42):
Myself in the head. Yeah, so this is a put
together thing, and you were an event planner for your character.
I went, Okay, this is family, and so I pitched
that whole idea of all the eclectic furniture and the groupings,
and I said, look, you can tell stories and every
group how they're sitting and there, yeah, and whatnot. And
(47:03):
I said, it's such a magical way to tell a
family story about a wedding. Yeah, Jennifer did a beautiful,
beautiful job.
Speaker 2 (47:11):
She did such a gorgeous job. I mean, the it
was so she had such a gorgeous job that I
believe I called you, Jerry, and I was like, so,
I basically want.
Speaker 3 (47:20):
To just recreate the Fuller House wedding for my wedding.
Speaker 2 (47:23):
Yeh.
Speaker 3 (47:23):
And I basically did. I had, Like I.
Speaker 2 (47:26):
Loved what you know, those little stories and the little
like sort of mismatched furniture and.
Speaker 3 (47:32):
The twinkle lights and you know, all of that.
Speaker 2 (47:35):
Like it just that was it was such a special
moment and you it felt like we were really out
in this backyard.
Speaker 4 (47:43):
Oh and I always laughed. That was one thing about
your show that kind of cracked me up. Was in
the beginning, right, the backyard is like ten feet wide,
but that thing is And next week we're doing the
Indian dance number, right, Yeah, and it's.
Speaker 3 (47:57):
A different shape, you know what I mean.
Speaker 2 (48:00):
Then it's a rectangle and now where it's kind of
a weird the long rectangle. Kidney supposedly lives next door
slash behind, but we don't know how far into the
nature park, which is the Tanner's backyard. We're not quite
sure how deep that, Yeah, because I mean we're driving
(48:22):
cars in there. And if you see the house, there's
not a natly there, there's no so there's there's a
lot going on. You think the house is incredible. That
backyard is like it's like the show Lost. Any anything
is possible. There might be a polar bear.
Speaker 4 (48:38):
Who knows that could expand Oh right, I don't want
to cut all that grass.
Speaker 2 (48:49):
There's your there's design that design an expandable backyard and
you will it'll do wonders.
Speaker 4 (48:59):
Yeah, that was stvert fun. I was very proud of
that wedding.
Speaker 3 (49:02):
It was so special. Yeah.
Speaker 2 (49:04):
I loved that our moms were there sitting in it.
I loved that our you know, there was so much
it did it that each little area told the story.
Speaker 4 (49:12):
That was a hard sell. Everybody was like looking at me,
going like, well, we were thinking chairs and rose and
traditional I'm like.
Speaker 3 (49:20):
Going, no, I'm so glad you thought I'm so glad
you thought that.
Speaker 2 (49:27):
And I can't tell you how many compliments we've gotten
from fans on the show that have said that wedding
was so beautiful, it was so like, it was so
pretty and it yeah, it was right, had.
Speaker 4 (49:41):
To be for that show for your family.
Speaker 3 (49:44):
Yeah.
Speaker 4 (49:46):
Yeah.
Speaker 3 (49:46):
And if there's one thing that this group can do,
it's throw.
Speaker 2 (49:50):
Together a ridiculously large party in a matter of hours.
Speaker 4 (49:53):
So and I gotta say, yeah, pretty good, Kimmy.
Speaker 3 (49:59):
Can work miracles.
Speaker 2 (50:01):
People are favors, you know, you don't, you don't want
to know what for, but people, kim.
Speaker 4 (50:05):
Me favors those connections at the last minute for sure,
right when you got to the wedding venue at the
doors and the doors were locked, remember the yeah we
do and what's going on?
Speaker 3 (50:19):
Of course of course you're like, now what right? Exactly?
Speaker 2 (50:23):
Oh boy, Well, Jerry, it has been so wonderful to
have you on the show. Thank you so much for
coming on and chatting with us. And you're just so
talented and so lovely and we we just I'm so
glad that you got welcomed into the to the the
full house fuller house fan because you fit right in, so.
Speaker 4 (50:40):
Thank you so much for having me. I really enjoyed
this a lot.
Speaker 1 (50:43):
And when you get your nonprofit up and going, let
us know how we can support it because we want
to support you and all the things you do.
Speaker 2 (50:50):
Okay, cool, sounds great, Yeah, welcome, build some Jerry.
Speaker 3 (50:54):
Give me a paintbrush.
Speaker 4 (50:57):
At the ice cream shop one of these days.
Speaker 2 (50:59):
Yes, exactly, into Jerry at the at the gelato place
that I am all too frequent a visitor of.
Speaker 3 (51:06):
It's Baccio de Latte. Oh my god, it is.
Speaker 2 (51:10):
It's the best gelato I've ever had in my life.
And I go, I'm like a little regular there. They're like, hey,
welcome back, and this gallon. You're like, oh the shame.
But yeah, hopefully I'll run into you around town and
get to see you in person.
Speaker 4 (51:25):
Thanks Jerry.
Speaker 3 (51:27):
Thanks, Happy early birthday. Enjoy you happy birthday. All right,
bye bye, thank you.
Speaker 2 (51:34):
Jerry was always so lovely and like he and I
would just chat and yeah, he was just really really
lovely and a great heart and really talented and like
had an eye for things, like really a great designer.
Speaker 3 (51:53):
Right, yeah, and it's crazy to think that he was, like, well.
Speaker 2 (51:56):
I just kind of went with it because I didn't
make it into the basketball team, you.
Speaker 1 (52:00):
Know, and they turned out all of this amazing work.
Like thetory of work is, yeah, he's.
Speaker 3 (52:06):
He's just a no nonsense guy. He gets to work.
He works hard, Yeah, but he cares.
Speaker 5 (52:11):
About people, you know, like it's such a which was
just exactly why he fit in on full and Fuller
because our crew are our.
Speaker 3 (52:22):
Family are you know. We It was like, you show
up and you work.
Speaker 2 (52:25):
Hard, but damn, you're gonna have a good time doing it,
you know what I mean. And you're gonna and and
you're gonna have fun and you're gonna laugh, and it's
gonna be a really good time.
Speaker 3 (52:34):
But like prepare, you're gonna work. It's off. And that
was that's.
Speaker 2 (52:38):
Really his ethic, Like there there's no ego about it,
you know that, Like I've been doing this for so
I'm not gonna you know, it's like.
Speaker 3 (52:46):
Oh, I came to work.
Speaker 2 (52:48):
You know.
Speaker 3 (52:48):
He's he's here to work and he's here to do
it well.
Speaker 2 (52:51):
And I applaud that because yeah, like you said, everybody
kind of wants to come out and be a star,
but you just gotta you just gotta show up and
do the work.
Speaker 1 (53:00):
That's what it's about. It's not about the fluff. It's
just working on put your head down and get to work.
Speaker 5 (53:04):
Ye yeap.
Speaker 2 (53:05):
And that was always say one of the best experiences
I had was when I like got a quote unquote
like real world job and I was making like ten
bucks an hour at a treatment setter and empty and
trash cans and washing dishes.
Speaker 3 (53:19):
And and I was like, I'm happy to be this
cool build character. Yeah yeah, And it's uh, definitely.
Speaker 2 (53:26):
I just that work ethic really always shined through because
he he got asked to do some wild things. I mean,
nothing like the interior of a stomach.
Speaker 3 (53:35):
But just recreating ourselves from scratch.
Speaker 2 (53:39):
The Gibbler house was quite a thing.
Speaker 3 (53:42):
Oh my goodness.
Speaker 1 (53:43):
Yeah that was I said, that was an eyesore for everyone, right, and.
Speaker 2 (53:48):
We flipped they flipped the house, so we shot it.
Speaker 3 (53:52):
In post posted. They flipped it. They flipped the the
I don't know what.
Speaker 2 (53:57):
The staircase was on the other side of the basically
used the Tanner house and turned it into Kimmy's house.
And then when they shot it and edited it, they
flipped it around.
Speaker 1 (54:06):
So which is which is really weird for us to
walk into stage twenty four one day and see the
living room as the Gibbler set, and then walking the
very next day and it's right back to the.
Speaker 3 (54:16):
Tanner was right right, Yeah, I was like, what's happening? Yeah?
It was this thing with.
Speaker 2 (54:21):
Which uh, production and set designers have to work though.
On sitcoms is you know it is You're in a
it's a machine.
Speaker 3 (54:30):
It is a well oiled machine.
Speaker 2 (54:31):
And the machine stops for no one.
Speaker 3 (54:34):
It's you're going, You're going.
Speaker 2 (54:36):
And they're especially kids shows and you know, fuller house sitcoms,
sitcoms in general. We're gonna ask you to do some
kind of ridiculous stuff. So oh yeah, you gotta yeah.
Speaker 1 (54:44):
Got it.
Speaker 3 (54:45):
You just have to say okay, okay, yes.
Speaker 2 (54:47):
Yes, and I can make I can do that inside
of a stomach.
Speaker 3 (54:50):
Oh my god, what am I? You know, the joke's
gotta work.
Speaker 2 (54:53):
Yeah, the cows gotta fit the table. Well, this has
been super fun. Thank you Totos for listening. We are
so glad that you got to listen to our wonderful
chat with Jerry, who's super talented and again just been
in this business for a really long time and.
Speaker 3 (55:09):
Learned so much. So thank you, Fan ritos.
Speaker 2 (55:12):
If you want to find us more on uh Instagram,
you can check us out at how Rude podcast, or
you can send us an email at how rud Tannerritos.
Speaker 3 (55:20):
At gmail dot com.
Speaker 2 (55:21):
Well as always check out our merch site which is
how Rude merch dot com. And uh, and that's it.
That's it, So you guys, remember the world is small,
but the house is full of a gigantic stomach.
Speaker 3 (55:38):
It is.
Speaker 2 (55:39):
It's a giant sized stomach just shoved into the kitchen
and living room area there and it's yeah, just like
a bouncy thing.
Speaker 3 (55:49):
Yeah, I've gotta look up this episode. I think this
just sounds so weird. Yeah, it's full of a stomach. Okay,
bye bye
Hosts And Creators
Andrea Barber
Jodie Sweetin
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