Starring Joey Lawrence as Michael Woods in “Horse Sense”

He was a 90s heartthrob! Joey Lawrence joins Will and Sabrina to talk about “Horse Sense”, growing in the entertainment industry with his brothers and more!

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Episode Transcript

Speaker 1 (00:14):
Thank you so much for joining us on this par
copper episode of Magical Rewind And boy do we have
a special guest this week. I say it every week.
I'm right every week awesome this week.

Speaker 2 (00:24):
I'm never lying again. We don't lie on this podcast.

Speaker 1 (00:27):
We're not going to build this up anymore than it
has to be, because it's huge, it's amazing. We're so
happy to have them here, the star of horse Sense
and a thousand other things.

Speaker 2 (00:36):
Please help us welcome Joey Lawrence. Hey, what's up man?
How are you good? Good? Thank you? We are so
happy to have you here. Have you met Sabrina?

Speaker 3 (00:50):
Let me?

Speaker 2 (00:51):
I think we have right?

Speaker 4 (00:55):
I think we did have been a few rhinestones involved.

Speaker 3 (00:58):
Yeah, we did.

Speaker 4 (00:59):
We did.

Speaker 3 (01:00):
That's right, that's right, that's right, that's right. We were
in the dance with the star.

Speaker 4 (01:05):
That's right.

Speaker 2 (01:05):
Was there there was a buzz towards us? Yeah, whole
bunch of good Still maybe you're okay? I didn't know
you were another or not?

Speaker 3 (01:12):
Yes, yes, that's right.

Speaker 1 (01:14):
Well, thank you for joining us. So we just watched
and recapped Horse Sense.

Speaker 3 (01:19):
M Yes.

Speaker 1 (01:21):
First of all, we loved it. This was a great movie.
I mean this movie fully holds up. It's beautiful to
watch you and you're phenomenal in this movie. And I
guess the first question I would ask is when's the
last time you watched it?

Speaker 3 (01:35):
Oh, it's been a bit, you know, we we we
watched it wur since I think we watched it for
the brilliant love Pod is like it's like because the
fans wanted us.

Speaker 2 (01:45):
To watch it again and we didn't watch it.

Speaker 3 (01:46):
So it's been a minute, but it but before that,
I hadn't seen it literally in like twenty years. You know. Yeah,
I actually think we watched it. I think the only
time I'd ever watched it was was at the premiere
because Disney when they would make the these d coms,
you know, they would have like premieres for them because.

Speaker 4 (02:03):
For the special ones. Well you're right, for that special one,
everyone got it.

Speaker 3 (02:07):
You're right, You're right, because you know, they spent actually
quite a bit of money on these movies back in
the day. And like Greg Beaman directed this one, and
Greg Beaman, I mean his look, I mean amazing director.
First of all, one of his first movies that he
ever directed, which was a childhood favorite of mine growing up,
was Licensed to Drive Corey Ham great movie, great anyway,
but he went on, I mean he's he's he's done

(02:30):
so much incredible work. He's like a real director, like
a real film director. Right. So they would bring these
these this kind of caliber talent in to make real movies.
They weren't making them for kids. They were making them
for family entertainment, you know, and they were competing with
you know, theatrical releases. That's what they thought they were
doing because it was cable, right, and you know, there

(02:51):
was no streaming or digital stuff, and you could see it.
And I think that's why it holds up. I think
a lot of these newer d cooms, you know, man,
it's like it's like a pulling plug, right, they're just
hang them out thirteen days, you know, plug and shoot.

Speaker 2 (03:02):
Done. They throw them out there.

Speaker 3 (03:05):
You know, they the kids won't mind if it's not great.
That was never the mentality of you know, sort of
Gary Marshall and you know all these great people used
to work for actually the Disney Channel. You know, Gary
marsh ran the Disney Channel for years and years and years, sure,
and he came from the film world and just was
obsessed with making really good movies. So he allowed us
to make good, good movies. The sequel to This Jumping

(03:26):
Ship was also a pretty good movie, you know, and
they hold up, we're.

Speaker 2 (03:29):
Doing that one as well. We can't wait for that one.

Speaker 1 (03:31):
Oh yeah, I guess we'll have matt On or something,
you know, we'll bring mad or something on for that one.

Speaker 3 (03:37):
Check.

Speaker 2 (03:37):
But no, we thought the same thing.

Speaker 1 (03:38):
And I think what you said is very interesting, and
it's kind of exactly what is lacking nowadays, where there's
a difference in the kids movie and family entertainment.

Speaker 2 (03:48):
And that's exactly what this is.

Speaker 1 (03:49):
Because when we looked at it, other than Andy, everybody
else in this movie is an adult. That and the
idea that that can hold up as a d coom
when there's one kid and fifteen adult is really really rare.
So yeah, I mean we were blown away with how
great this this film was.

Speaker 5 (04:07):
I would say too, that just goes to show how
good Andy is to be able to hold that and
carry you know, the idea of like he's the only
representation for kids and for kids to engage and love
it that much when he's the only one, shows how
great Andy really is.

Speaker 3 (04:26):
Man. Look, it was a different time, you know, and
and I know we sound you know, or at least
I sound like an old fart when I say like
it was a better time. It really was, though, I
think like when our parents were like, you know, our
grandparents were like, damn this rock and roll to our parents.
I mean, arguably like it was great stuff, you know,
But I really feel like we've lost a lot of

(04:47):
We've lowered the expectations of what young people can handle,
what they can infer, what they can sort of figure
out on their own. Right, we just spoon feed them
everything and at the same time, kddle, we don't make
it difficult, make it easy.

Speaker 2 (05:00):
We don't, you know, make it quick.

Speaker 3 (05:02):
Quit it right. And what's happening is they're losing the
ability to decipher and really and to tune into something
and let it hit them and feel it, you know,
like you said, unless it's in these micro bites. So
you know, that's an amazing point. I never really thought
about there were really no other kids this thing but
as the wild thing.

Speaker 2 (05:23):
But you're you're right. It's funny.

Speaker 1 (05:24):
I just read an article that was really eye opening
about the fact that essentially the entire new generation of
kids coming up that are raised on social media are
all addicts, so they're they're you're you're getting dopamine, a
consistent stream of dope me into your brain from social
media from the time that you wake up essentially the
time you go to sleep. And the only times they
don't get it or when they're in school, so they

(05:46):
sit there like they're withdrawing from a drug and they
don't absorb anything from that they're actually learning in school.

Speaker 2 (05:52):
It's create all this crazy stuff.

Speaker 3 (05:53):
But you know what you're You're absolutely right. I mean,
it's it really is something. It really is something. That's
why I don't know. I feel like going to the
movies is really important, you know, and because there wasn't
there wasn't so many places to watch if you had
to gather around its television. It was sort of the
same thing as this community watching something, experiencing something together.
What was a family or extended family, your friends and family.

(06:13):
I mean, it's just I don't know, man.

Speaker 5 (06:15):
Yeah, the pure thing of having streaming, like you mentioned before,
it's it was different. I was a Disney kid around
that age of Brink and all of that, and I
remember for like it was I can't remember exactly if
it was a Friday, but or Monday, or there was
a night of the week that you would rush home
and you had to see it on TV unless you

(06:36):
got you know, when you had the VCR and you
put your tape in and then you recorded it. That
was the only way you were going to be able
to rewatch it. You couldn't click a button like you
know within your screen and your streaming. You had to
be there to see it. Otherwise you weren't gonna get
it until the channel Rewatily, the channel did replay them
a lot, but still you wanted to be there for

(06:57):
the premiere.

Speaker 4 (06:58):
It was a big deal to be there. I'll check
it out later, you know.

Speaker 1 (07:01):
By the way, I don't know if you're if you're aware,
but you know, we like to deep dive these movies.
So you know that you had a huge premiere of
over three million viewers. The first night Horse Sense came out,
you won your time slot, you won for highest Disney
Channel program of the evening. So it was a very
big premiere. But I'm curious, because you're also one of
the co producers of the film.

Speaker 2 (07:21):
Was this something?

Speaker 1 (07:22):
Was this a project that you found or they came
to you with Did they go to Andy first, like,
was it always going to be you and Andy in
the movie.

Speaker 2 (07:30):
How did the whole film come about?

Speaker 3 (07:32):
Yeah, we put this together for the Disney Channel. Yes,
oh yes, wow, yeah, okay, yeah, we actually we found
a couple of great writers, Chad and Carry Hayes, who
are great writers, and yeah, they we came up with
the idea, sort of pitched it to Gary Marsh and yeah,
and they obviously wanted to do something, and you know,

(07:52):
and then rich Ross and those guys used to you know, remember.

Speaker 1 (07:55):
Rich Rossy Rich Ross put me on Nickelodeon when I
was eleven years old.

Speaker 3 (07:58):
No to Disney or.

Speaker 4 (08:01):
As in this film does quite a few times. No way, way.

Speaker 3 (08:08):
That's right, that's right. So yeah, so you know, it
was uh and they loved it and uh and then
we put it together and it was a it was
a direct collaboration of us producing it for the Disney Channel.
There was they didn't have a script and didn't bring
it to us. So yeah, and we heard the same
thing with the sequel. We did the same thing with
the sequel.

Speaker 5 (08:25):
So okay, yeah, so okay. Then a question that we
thought talked about pretty early and to our first, like
our episode was why were the Lawrence Brothers not in
way more d coms for the channel?

Speaker 4 (08:39):
What? How was that possible?

Speaker 5 (08:42):
When you guys for a long time seemed like you
owned Disney Family franchise. Possible they bring thanks to you guys.
You guys decided that wasn't the script for you? Was that?

Speaker 3 (08:55):
Like?

Speaker 4 (08:55):
Was it that or or what?

Speaker 3 (08:57):
I don't know. I think it was we were at
the tail end of an era, you know, so I
think they started to just sort of overthink things and
write and I don't know, I really don't have an
answer for that, because everything we did for them worked
really well.

Speaker 5 (09:10):
Yes, you know, another favorite of ours was Your Brothers
Going to the Match.

Speaker 3 (09:17):
Great movie.

Speaker 1 (09:18):
Yeah, it's also it's one of those things where it's
so easy to this is going to sound weird, but
it's so easy to forget how good all three of
you are. I mean, one of those things where Andy
I think might be the best, the most dramatic of
the three of you.

Speaker 3 (09:36):
He's certainly done the most and did when he was
a kid. For sure, comedy, you know, because.

Speaker 2 (09:40):
That's what I'm saying.

Speaker 1 (09:42):
You guys had everything you hit the dramas, you know,
But I mean you see Andy and and you in
some of and again, this is one of the things
about this film that we loved so much compared to
some of the other ones, was it embraced some of
the quiet scenes, and some of the quiet scenes were
some of the best scenes of the film, with ripping
down the treehouse or with you guys just sitting on

(10:04):
the bench when he's talking about different. I mean, there's
a great film, scenes that could have been in any movie,
and the fact that they're in a d coom and
that they work in a dcom where it's not the
rock and roll, fast paced blah blah blah blah blah
it is. It is the quiet moments that really made
this film work. And it's so different for Disney, and
we just kept going back and forth going.

Speaker 2 (10:24):
Why aren't they in every dcom?

Speaker 4 (10:26):
It's so crazy they have a.

Speaker 2 (10:28):
Twenty picture d com deal, Like, none of that makes any.

Speaker 5 (10:31):
I mean, you guys had obviously a very successful and
amazing show together, and you know, you guys definitely had
presence on it. But it's just crazy to think in
the dcom world.

Speaker 4 (10:41):
I know, there is a.

Speaker 5 (10:43):
Void of the Lawrence Brothers that the people wanted and
did not get and it is garbage.

Speaker 3 (10:50):
I are garbage. I appreciate that. I think the corporate
structure started to change. I think that they started to
become more churn and burn, you know, in that two
thousand and four or two thousand and five sort of era, right,
they wanted to be, you know, stay super relevant, and
they started to overthink things right and they think right
in that four to five thing, it really started to change,

(11:11):
right from making great quality entertainment right that people will
find two. If we don't make entertainment that appeals to
our audience, they won't watch. And I think that shift
in mentality from like the top down really I think
started to deteriorate the quality of films. Because as soon

(11:31):
as you're worried if they're gonna watch or not, instead
of just saying, you know what, we're gonna make an
amazing movie and we feel confident they're gonna watch, then
you start trying to chase fads, crazy as trends. As
soon as you start going down that road, it's it's
a recipe for you know, more, not better, and uh,
you know, and I think that's where you start to

(11:52):
see sort of this crest that sort of goes like that.

Speaker 1 (11:54):
You know, so I think it's it's gotten even worse
recently because in the last five ten years it's now
about but he's just going by Twitter and social media. Well,
these ninety three people said this thing, so we have
to change all this stuff.

Speaker 2 (12:05):
It's like, no, what are you doing? You see that
point a bit?

Speaker 3 (12:09):
I know I want to do.

Speaker 5 (12:11):
I had a question of when, since you were on
the producers side, were there I mean, we know, gosh, man,
we're like at like eighty five percent of Disney d
coms are done in Utah.

Speaker 4 (12:25):
But was there ever any any other location that was
maybe on the at all the table or was it
always like this will absolutely be perfect for Utah. We've
got it set in Stone and that's where we're going.

Speaker 3 (12:39):
We actually shot it in Valencia, California.

Speaker 2 (12:41):
Wait, the whole movie.

Speaker 4 (12:43):
Yeah, you weren't in Utah at all. No, No, even
when you were out on the horses.

Speaker 2 (12:49):
Nope, that's like that was Valencia. Oh my god, we
had our whole thing wrong. We got we have yeah,
the stuff, the deep dives that you guys were in Utah,
the whole gas in Valencia.

Speaker 3 (12:58):
Yeah, yeah, yeah, we shot it and we shot it
Los Angeles.

Speaker 4 (13:00):
Oh my gosh, how crazy.

Speaker 3 (13:02):
Okay, yeah, we shot the second one in Australia, but
but we shot we shot because it was it took
place there. We shot the second one there, but no,
this this one. Greg found these locations, you know, the
old West towns up there and stuff. I mean, it
was amazing location. It's amazing.

Speaker 4 (13:18):
Wow, they looked amazing.

Speaker 3 (13:20):
Yeah.

Speaker 2 (13:20):
Was the Beverly Hills House in Valencia as well?

Speaker 3 (13:23):
No, the Beverly Hills House was it was? Maybe it
was either.

Speaker 4 (13:29):
Yeah it.

Speaker 5 (13:31):
Was Inla Okay, yeah, okay, but I do need to
I did have it like in my notes, like where
is where?

Speaker 4 (13:37):
Did you do you remember where you shot? Where you
guys were trying to say it was L A X
And it was an L A X. It was like
a lobby. It was like a like a valet area.
Do you remember that?

Speaker 3 (13:46):
I don't remember that, but yeah, X I do, Yeah,
I do it.

Speaker 4 (13:50):
I mean obviously L A X would be start to
shoot out.

Speaker 5 (13:54):
I was like, I wondered, that looks like a like
a like a valet area of a hotel somewhere. But
they had the palm trees, so definitely look like yeah.

Speaker 3 (14:04):
Yes, I think that was actually maybe at a race
track or something like that, maybe Santa Anita. You know,
it's hard for me to remember, but I think, yeah,
I think when we shot there with the horse races,
I think they found a location that doubled for like
an airport because it has that old front facia with
all the palm trees. And I think that we did
something like that.

Speaker 2 (14:20):
Yeah, okay, that makes sense.

Speaker 3 (14:22):
Wow, this is this is this is going on twenty
what my memory is a little fuzzy on that one.

Speaker 5 (14:29):
No, that's it's pretty good. It's pretty impressive. Pretty impressive.

Speaker 1 (14:33):
Okay, so yeah, I'm sure everybody out there knows this already,
but for the listeners that don't, just can you take
us back? How did you find the entertainment industry at
such a young age?

Speaker 3 (14:45):
Commercials in New York started want to picture contest in
a local mall in Pennsylvania, Philadelphia, and just my mom,
I just I don't know, they like, let's snap his headshot.
I had always been wanting to be in the TV.
As what I told my mom. I would watch these
I would watch these old shows and like the Donnie
Marie Osmond Show, and I would sing and all these

(15:07):
things and dance, you know, like it's two three four,
And there was a picture contest and I was like, yeah,
let's take a picture. It's mom was like, okay, let's
take a picture, you know. And then they sent the
picture in and I guess the pictures went to this
quote agent in New York, and my head shot, I
guess sparked his interest. So they called my mother and
called me to New York and they gave me a

(15:28):
like a cold read to see if I could do something.
And I couldn't even read yet really like that, and
I was I was reading. I was reading like Sea
Spot Run and you know, early reading books, but I
wasn't reading like to the level where I could take
a piece of you know, script and just learn it.
So my mom it was it was for a cracker
Jack commercial, but it was like a big monologue some
some kids, you know, some kids don't like snacks, but

(15:49):
snacks are not just forget. It was this long thing
and my mom, I guess it. Okay, They said, well,
take ten to fifteen minutes, see what he can do
with it. So my mom took me out to the
lobby on the get it and she was like can
you remember this? And she started to recite these things
to me, and I was able to remember it literally
in ten minutes. And not only do I even remember it,
I was able to go in there and then regurgitate it.

(16:12):
And they were going away, so they sent me out.
They said, look, this guy, this was fantastic. Can we
send him out for this cattle call? And I remember,
you know, it was a big ride from Philly, New York.
We had to We drove to trent and took the
train from Trenton into Manhattan, took cabs to these cattle calls,
you know, with like hundreds and hundreds of kids, and
I had to come back the very next day for
this national commercially said it's a good one. If he
gets it, we'll sign him or something like that. And

(16:35):
out of like nine hundred kids or whatever, I got
this cracker Jack commercial, you know. So yeah, and then
one led to another that was it, do.

Speaker 5 (16:44):
You get this national commercial? We'll sign you? That is
really tough. Commercials don't just like come across your page everybody.

Speaker 2 (16:55):
What it was like, really dude, nineteen eighty one one.

Speaker 3 (17:00):
Yeah, we actually we actually went back for the commercial
and uh to shoot it, and uh, when we got
off the train, no joke. We went out to get
a cab, and right outside of the train station, my
mom had a little gold brooch on her lapel. And
my mom's not tall, you know, she's five foot one,
and and some guy literally came up, grabbed the picked

(17:21):
my mom up, grabbed the brooch off of la pel
and threw in a trash can, and I chased her
him down the street. Apparently my mom was like, you
can't hear my mom. I started running after him. I
was like five, you know. And that was our introduction
to like filming in New York. Is that unbelievable? No
y And then we went we shot the commercial, and

(17:42):
you know, by the grace of guy, one commercial led
to another, and I did like I did, like I
did like forty or fifty national commercials in like a year,
you know, a year in a little bit, which is
why this night show had me on. Yeah, that's why,
that's why I led to that, because I was I
was I was like the face of like, you know,
Thailand Hall and Coca Cola and Tanka Trucks and all
these big ads, and so they were always looking for
little kids to come on, and I guess ed the

(18:03):
cordman and those guys were like, let's and I had
auditioned for the Tonight show. I had to come out
and audition for that, so they threw me out to Burbank, California.
I tapped, danced, and sang on Johnny Carson's desk, and
then they booked me the following Friday on NBC. And
then I went out and then I was only supposed
to one song, but I had another one prepared with
Doc Severanson in the band, you know, and then and

(18:25):
we ended up doing two and my interview ended up
being like fifteen minutes, and it ended up being one
of those moments, you know, it's on like the greatest,
the Greatest Johnny Tapes or whatever, and then the very like,
like the very next day, the Brandon Tartakoff, who had
just taken over NBC at the time, was like, we
got to sign this kid. So they started plugging me
into these pilots and the first one I did was
for Sherwood Schwartz, who created the Brady Bunch of Gimny's Island.

(18:48):
It was with Bob Denver. It's called Scamps. It's called
Scamps with Bob Denver and his wife Dream of Denver
and I did that with a bunch of kids, and
that didn't go. Believe it or not, that didn't go.
And then believe it or not, I did another pilot
right after that, call called Little Shots, which Ron Howard directed.
Can you can you believe this? It was his first

(19:09):
his first directing, his first television directing job ever. Okay
and yes, and he produced it with Anson Williams. They
were producing partners.

Speaker 2 (19:18):
And that was with.

Speaker 3 (19:20):
Sleigh Moonfry, Jeff Cohen. I mean, all these kids that
it was right before Goonies. It was, it was. It
was literally nineteen eighty eighty two. It was Goonies before Goonies,
like it was. We were. I actually had to learn
how to ride bikes because there was a bike riding scene.
That's how the gang got around the neighborhood and went
over to Smokey Joe's house, who was this evil guy
that we tried, and we broke into his house to

(19:41):
try to get this map.

Speaker 2 (19:42):
I mean, it was literally Goonies. It's good anyway.

Speaker 3 (19:43):
Yeah, Yeah, that didn't go. And they had just shot
a pilot for a series called Give Me a Break,
and they were, and they picked the show up and
they were gonna they wanted to add a young kid
to it, so they put me in. I was in
like I think the fourth or fifth episode of that show,
and then that became a hit show and then right,
but that was that was like that six year run
there for the first show.

Speaker 1 (20:03):
Yeah, when you were growing up and you were this age,
did you prefer acting to singing and dancing at that point?

Speaker 2 (20:16):
Could you even dissect the three of them or was
it just you just not even care?

Speaker 3 (20:20):
And I think it was entertaining, you know, I was.
I was able to. It was so funny because because
I could sing and sing and dance. Not only was
I you know, because nol Carter was an incredible singer, right,
I mean, Tony Award winner. She had a voice like
Patti the Bell, I mean, and and she would go
do these residencies in Las Vegas on the hiatus summers,
you know that we had often filming on the show,
and she would also she was also best friends with

(20:41):
all this people, Luther Vandross and Anita Baker, Patty the Bell, everybody,
you know, and she would she would take me to
all the rehearsals of the Soul Training Music Awards and
oh yeah, oh yeah, all of them and uh and
I would sit there and watch sound checks from James Ingram,
Patty the Bell. I would just watch yeah, man, I
mean like crazy stuff, right, So that inspired me a lot.

(21:02):
But because I could sing and dance, Nell and I
were always singing and dancing on the show together. And
then NBC for their big affiliate conventions because you know,
back in the day when TV, when the broadcast networks
were very powerful, they would fly you and you'd have
these big, huge upfronts where all the advertisers would come in,
they'd buy all the marketing dollars, you know, spend all
their money and they would buy for commercials. Right, That's
how they paid for it was a brilliant system. So

(21:23):
they would always fly me out and I would perform
at these affiliate conventions, always with big bands and names
and everything. So I was always tapping and doing all
these singing and doing all these routine.

Speaker 4 (21:32):
Whether it's what are your go do songs? I gotta
note we were what were the good.

Speaker 2 (21:37):
That we.

Speaker 3 (21:39):
Would pick and pull from, you know, top hits because
we had big, big orchestras that are big bands. So
I did. I did the harder rock and roll by
Huey Lewis and the news. Sure I did, uh, let's
hear it for the girls, but I did. I changed
it to let's hear it for the girls instead of
let's hear it for the boys, which was that, you.

Speaker 2 (21:54):
Know, let's see what the bump bump.

Speaker 3 (21:57):
Bump, and I double I was to use that, and
I when I performed for Ronald Reagan at the White House,
I sang that song for him with the band there
for the Easter celebration in nineteen eighty six, I think
it was. But so we would. So I would always perform,
and then finally I was able to and I would
demo records as I got older and I got older,

(22:19):
and then finally, at you know, sixteen, I was able
to come out with my first record, and you know
that did really well for what it was. Yeah.

Speaker 1 (22:27):
So, I mean, but again, it's if you I love
to do the entertainers, because it's the worst thing in
the world. If you had to never act, never sing
or never dance again, which one would you would you
take away?

Speaker 3 (22:40):
Never act, never sing, never I mean, oh man, you know,
I don't know. I never was able to achieve what
I wanted to musically, So that would probably be the
easier one to let go, because I feel like at
this point there's still a lot that I hope and
pray that I accomplished as an actor, because I don't
think I've even really done anything that, you know, like
touch the surface kind of what I want to do. Sure,

(23:01):
you know, coming out of the eighties, it was such
a different time, right, so it was all it was.
Entertainment was always entertainers for entertainers. And I know Will
you and I have talked about this at length personally,
but you know, in the fifties and sixties and forties,
you had Frank Sinatra. He was recording records, he was
he was doing voiceover work for Cadillac, he was hosting
the Oscars. He was also winning, you know, he was

(23:22):
he was acting in films. I mean, it was if
you could, if you could do it. Sammy Davis Junior
is the epitome of that. If you could do it,
you could do it, and they let you do it right.
And then for some reason in the in the eighties,
it just it got weirdly territorial. So all of a sudden,
now if you were TV you were not movie caliber.
If you were a singer, you did not act, you know.

(23:44):
And every now and then they would give people a
person that was really powerful and opportunity to do so
and it wasn't the right person, not for anything. But
like they didn't they should have been maybe making the record,
like sure, like Don Johnson made a record, you know,
and like Eddie Murphy and they were okay, but like
that's not what Sammy Davis Junior was doing, you know.
So so then it became even more my opic and

(24:07):
we're absolutely right. Nobody could do anything. And it really
didn't change until sort of the Friends cast started to
break back into movies again. You know, it was really
Matthew Perry and Jennifer Aniston and they said, oh wait,
George Clooney. It was not until like the mid nineties
that like it started to open back up. Against the
fact that I was able to come out with a
record and had a really successful record and toured in
ninety three before really that was allowed. It was very

(24:29):
taboo to not do, you know, to do that. But
the movie opportunities were not there to me at all.
I mean, I was a TV guy. They didn't think
I could do it, and then you know, it just
sort of got into that weird super team fame thing
and then you have to break through and become an adult.
And I sort of missed the crossover period and then
came back into it like after a little break and then,
you know, so, anyway, there's a lot left that that

(24:51):
I feel in my soul i'd love to accomplish. I
don't know if that's my plan, but I certainly hope so,
you know, and so right now, probably it would be
easier to let go of the music because I never
really achieve the level of success that I had in television.
You know, were acting right, Yeah, yeah, no, you're definitely,
you're definitely right.

Speaker 1 (25:06):
It's like the the pure entertainer used to be elevated
above everything else actually, and then it was like, well, wait, you're.

Speaker 2 (25:14):
You're not a dancer, you're not a singer. What do
you tell you? Yeah, no, you're one hundred percent right.
A very strange way to go.

Speaker 1 (25:18):
And then you're also there were also then subcategories of
that where it's like, well, no, you're a sitcom television
actor exactly right. Yeah, you're not even a reg you're
not We're not going to put you on R because
you do sitcom and it's like, wait a second, so
you just keep getting pigeonholed into one thing, which and
then another and then another which makes no sense.

Speaker 3 (25:38):
Which, as you guys know, making people laugh is harder
than making people cry, right, And that's why when they
were able to do it. Some of our greatest actors
of all time are comedians, you know, Robin Williams and
Jim Carrey. I mean, the turns that these guys were
able to make. It's it's it's not easy to do that,
you know, you know, I feel like dramatic, the dramatic

(26:01):
ideals are much more universal, whereas comedy is so specific,
and it's about perception and what you perceive to be funny.
And you know, it's very hard to find something universally
funny that everybody finds funny. So when you can do that,
it's really great. And I was also young, just like
you guys, you know, and I mean, it's so funny,
you know they and I've told this before, but you know,

(26:21):
Joey Russo on The Blossom Show was so successful that
when they were when they were creating friends, they wanted
a twenty five year old version of that, you know,
And and Warren Littlefield, who had taken over NBC. I
don't know. I don't think his name was even Joey Triviani.
I think it was something else. And because Joey Russo
was so successful, I think they changed it to Joey
Tribani to Joey to Joey yes, and then Matt LeBlanc.

(26:45):
But it's also a tightrope that you have to walk,
right because when you're a oneizer, or when you love
women and you love big anatomy of some sort, you know,
we'll keep a classy here for you.

Speaker 2 (26:54):
But you know, it's like it's.

Speaker 4 (26:56):
Like because Will does not always oh.

Speaker 3 (26:58):
Good, all right, perfect, well my wife and kill me,
so I have to do that.

Speaker 4 (27:01):
That's funny.

Speaker 3 (27:02):
But you know, you the the the way that you
can get by right, because you're not like Letterius, you
just love it right, is with innocence, you know, And
I know that you brought a lot of that to
your character Boy Meets World. Is it's innocence. You get
away with a lot with innocence, right, Yeah, So I
think they all I remember is that Matt le Blanc
was sent to the Blossom stage and he would sit

(27:23):
up in the audience with a yellow notepad and take
notes as how I portrayed Joey Russol so that he
could bring innocence to Joey Tribani so when he could
so he could get away with his womanizing.

Speaker 2 (27:33):
You know, jeez, that makes total sense too.

Speaker 1 (27:36):
Yeah, yeah, you're right there weeks weeks watching our producer
run through and stuff on.

Speaker 2 (27:42):
That's amazing.

Speaker 1 (27:43):
You mentioned something that you are in very I mean,
forget about the rarefied air of the how young you
were when.

Speaker 2 (27:49):
You started, which already puts you in completely rarefied.

Speaker 1 (27:51):
Air, but then you hit a level of teen stardom
that very few people in the history of Hollywood have
ever achieved.

Speaker 2 (28:00):
What what is it like navigating that?

Speaker 1 (28:02):
I mean, I had a morsel, I had a taste,
and Ryder Strong had more than me, but none of
us ever.

Speaker 2 (28:07):
Hit the level that you did.

Speaker 1 (28:10):
What is that like when it comes to basic living,
When you've got that kind of fame where you're a
household name, everybody knows you, every girl wants you, guys
want to be you.

Speaker 2 (28:21):
Pretty much just on a whole nother leg.

Speaker 4 (28:23):
And yeah, Bob I mean, you own the magazines at
this point, and.

Speaker 1 (28:26):
It seems like it's the greatest thing in the world.
But have somebody who had a little bit of a taste.
I couldn't imagine what it would be like to be
in your shoes. What is just everyday life like when
you're dealing with something like that.

Speaker 3 (28:36):
Yeah, I mean it was wild, you know. I mean
I I somehow had an appreciation for it, but I
don't think you can ever appreciate it enough, you know.
You know, so I looked, I mean it was it
was Look, I'm super competitive, right, So it felt good
to be successful because I enjoyed the success, you know,
and I felt grateful that I could do that. I
never lost sight of that. I but you know, but

(28:57):
then there were times where, you know, you would be
offered these opportunities and you know, going here or going
there for examinant amount of money or whatever, and you'd
be like, oh, man, I just I can't do it.
I need I need I need. I need a weekend. Man,
need a weekend, you know, right, you know I'm supposed
to go see I'm supposed to go see the Rock
with my friends this weekend. I'm not going to that,
to that auto show They're gonna pay me all this money,

(29:18):
you know, and and that kind of stuff. I wish
I had embraced more because I shied away from a
lot of the things and I didn't really lean into
the character, like outside of playing him on TV. You know,
so look there there is major opportunities to you know,
for clothing lines and these kind of things. I shied
away from a lot of that because I was always

(29:38):
aware of like, well after that, I kind of want
to be able to do other things, you know. So
you know, so I lean in a Joey Russo, but
he was nothing like me, so I didn't want to
like play him forever. They wanted to spin Joy Russo
off into his own show. I didn't do that. You know.
So these kind of things you go back and you're like, well,
what if I had really full fledged just like leaned
in on all that, I don't know where it would

(29:58):
have get, you know, taken me or gone. There was
no social media, so you know, you know, there wasn't
a way to see the return on that stuff right away. Today,
if something like that happened, I mean, my goodness, you
could build an empire at about thirty seconds, you know.
You know for us, well, there was a sort of
a sort of a loop back, right. You did something

(30:19):
and you didn't realize how big it was until like
a month or two later, and all of a sudden
you'd be out and everyone be yelling the line you
said or something this happened. You're like, wow, people are
really following my every move, you know, but you had
no idea really until that would happen. So but for
a period of time, you know, we had twenty four
hour security. I traveled private. I mean, we had full
security detail over the world. It was you know, it

(30:39):
was really wild. I mean we would go into a
record store I'll never forget, you know, whether it was
Manhattan or wherever it was, and all of a sudden
it be five, ten, fifteen, twenty five hundred, one thousand
people and they'd have to close the store basically everywhere
it went. I mean, they shut down a Field Schwartz
for us when we would go in there, and you know,
in New York. So things like that, you knew that
you started to really a certain level of fame. When

(31:02):
when your security deal will call them all ahead of
the time and they'd be like okay, uh if he
wants to go to you know whatever, the new H
and M. At the time, I remember that it just
opened up. It was really big and Zara, you know,
and like that's on the second floor. We'll close from
they would you know the store like numbers right, so
they'd be like, we're gonna close from P two to
Z one and they literally cleared it out and we

(31:24):
would go in there and I do my shopping and
with my family and then we go and then they
let the people go back. It is wild. So something
like that is like crazy. You know.

Speaker 5 (31:34):
That's what I was gonna ask you too, because I
know we we did talk a little bit about it
with Andy when you know when he started to like
obviously just fold into the mix. You know, yeah, at
that point where was like how was your I mean,
because I'm a mom now I've got two kids, and
I'm going to tell you how.

Speaker 4 (31:54):
Do you how do you?

Speaker 5 (31:56):
Like, how does a mom do that? Like help help
you push you and then like wrangle the little like
I mean, oh my gosh, Like I just it's like,
how was your mom doing that?

Speaker 3 (32:08):
Yeah? I don't I don't know. I mean, you know,
back in the day, when she was taking me for
those commercial auditions that first year. I mean I was
just barely five and that was one you know, so
he was in a stroller, I mean, and she's taking
us both to Trenton on the train, and I mean
it was crazy, crazy, cry gosh.

Speaker 4 (32:25):
Yeah, now that's a rock star lifestyle.

Speaker 3 (32:27):
Didn't mean I like it is wild. Andy was just
a natural, you know. I think Matt sort of farted
a little more. I don't know if he really loved
it as much. I think he understood it and appreciate it.
I don't know if he loved it as much he
does now.

Speaker 5 (32:38):
I like he talked about that to us like I
was kind of he said he was shyer.

Speaker 4 (32:43):
He was not.

Speaker 5 (32:45):
He was not really like one to like jump in.
And then he said, and then my little I liked
my reptiles.

Speaker 2 (32:50):
I liked my animals like that was more my thing.

Speaker 3 (32:53):
And I would be on set and his the highlight
of his day was my dad, when he was off
of work, would take him to Griffith Park and they'd
search for lizards and that was that's.

Speaker 4 (33:00):
Oh my gosh.

Speaker 3 (33:02):
I remember coming home after the set one day and
he'd have those little those little cameleon cages and whatever
new little lizards that they caught that day. He would
have him in there and he would want to show
me and the rocks and all these things. I was like,
oh man.

Speaker 1 (33:15):
You know, having getting to know Matt as well as
I have, and working with him as much as they
paired us up and all that kind of stuff. I
think the happiest I still see him to this day
is when he's talking about his animals.

Speaker 3 (33:23):
Dude, he spends The guy goes out in the morning
and still to this day, spends hours. Like you don't
you were lucky if you get him before noon, because
he's prooning and feeding and watering and building. He's built
new cages outside of his house. He's got three new cages.
He's Look at these babies. Are beautiful, aren't they. I'm like,
they're great. They're really great. You know. He talks about
him like, yeah, like a collector would talk about art.

(33:46):
You look at those pans. Are they gorgeous? Oh? No,
it's true. Whereas Andy was like full on, like.

Speaker 4 (33:53):
Let me go, let me go, mom, let me go,
let me go.

Speaker 3 (33:56):
Put me and he was and he was a juggernaut
and still is. You know, he's a wild guy, you know.
So he was rare and to go and had a
personality larger than life. I mean he had a belly
laugh at like literally eighteen months. That was like a man,
like a grown man. You know.

Speaker 1 (34:20):
It's so funny because I'm one of three brothers myself.
How far apart are you and Andy?

Speaker 3 (34:26):
Andy and I are almost twelve years apart. Twelve years apart,
all right, and Matt and I are like three years
and seven months.

Speaker 1 (34:32):
Okay, yeah, so I'm eight year I'm in I'm the
Andy of my family, that's right. So my young eight
years from my oldest brother and five years in the middle,
so they're three years apart as well. So the dynamic yeah, yeah,
dynamics are very are very similar.

Speaker 2 (34:46):
Also.

Speaker 1 (34:46):
I just there's a lot of you can see a
lot of the I was telling Sabrina that if ever
there were three guys that had a right to maybe
be egotistical assholes, it would be the three of you,
and you never were, And it always came it comes
down to how you're raised. I mean, at the end
of the day, we've all known people that we've grown

(35:07):
up with that have been in this industry that either
didn't make it through that, you know, unfortunately aren't here
with us anymore to bad pass all that stuff. And
it almost always comes down to the family structure that
you have around you as you're doing this incredible business
of show.

Speaker 2 (35:23):
And that was one of the things. Your family was
an incredible family.

Speaker 1 (35:26):
And they kept you, guys, being humble and happy.

Speaker 2 (35:30):
Did they did.

Speaker 3 (35:31):
There was a really accountability, you know, we never the
work never really it was that never really superseded like
your behavior, you know, as in like the house. You know,
I still got grounded. And I mean even when I was,
I'll never forget, you know, I was on blossom and
I hadn't quite driven yet. It was like the second
season of the show, and show exploded and I exploded.

(35:53):
And when I was able to get my car, I
wasn't able to buy a car. I had to drive
the family car. You know. I bought my own car,
but my parents let me get it at sixteen. I
had to drive the family minivan to them all for
eight months to prove I could drive, be responsible. And
then when I even when I got my car, you know,
and I was so happy, and I was having to
order it speck it out and do what I wanted
if I got grounded, I mean if I was a

(36:13):
little disrespectful. You know, I never really did anything else,
but I had a mouth, you know, I just couldn't
control being disrespectful. So and literally my parents would just
go yeah, keys, so you know, and I'd have to
give my I was grounded every weekend, like for weeks,
you know, I would lose my privileges for the weekend.
I'd be like, this is crazy, you know. I mean,
this is crazy, you know, and no one would ever
know it. I would go through these autograph signings and

(36:34):
literally like ten, fifteen, twenty thousand people be there and
I was grounded. They didn't know that, but I was.
I could work, but I couldn't do any with my friends.

Speaker 1 (36:42):
You can go to your autograph signing and then you're
coming right back here afterward.

Speaker 3 (36:46):
Because that's like because that's like your future, you know.
That was like my work.

Speaker 6 (36:49):
Right.

Speaker 3 (36:49):
So there was always separation of like the business in
the personal life, right, And I think that relationship I
never really can I never convoluted the two, and I
think that's what kept the perspective correct, right, because you
weren't allowed to get away with things, no matter what
your fame was or lack thereof too on the other
side of things, right, it didn't. It wasn't a precipice
as the kind of person that I was, right, So
I think that helped a lot. And look the disappointment.

(37:12):
You know, I've always been a guy of faith, so
you got to rebound. There's been a lot of it.
I mean there's been a lot, as you guys know.
I mean, come on, I mean this is like, you know,
there's so many things you want to do and you
just don't get them. I mean, you know, and then
you see other guys, other girls getting them, and you're
going like what, why why do they get them? You know,
it doesn't make any sense. Or they do a terrible
job and you're like, wow, now I feel even worse
because they were terrible in that part, you know, you know,

(37:35):
but it's just what do you What are you going
to do? It's like celebrate the know is what our
family motto always was. Your yes will come, your time
will come, You're on your plan.

Speaker 5 (37:47):
I mean I feel like what I really want to
know is the transition, like you talked about, like you've
had some transitions throughout the career. How was it when
it came from it being just kind of you and
your different shows to then we bring in brotherly love
and they're grouping you guys as now a whole unity.

(38:09):
Where How did that transition come about with you?

Speaker 3 (38:12):
You know, you guys. I mean, look, it was coming
off of Blossom. I was basically able to do whatever
I wanted, you know, so you know, it was always
about family for us, So you know, you felt this
sort of innate poll to sort of include the brothers
and do something together, you know, so we put a
show together and we did that. I mean, there wasn't

(38:33):
really I think in retrospective, I had thought about things,
you know, you think about all the different scenarios or
how you could play it or what you could do,
but I didn't even at that time. Again, I wasn't
stepping back far enough. So I was inside just like,
you know, what, we should do a show with your brothers,
and my family was saying that, and I was like,
you know what, that'd be great, Let's do it, you know,
And it was literally just as simple as that. You know.

Speaker 5 (38:54):
Wow, we weren't because though you were like someone like
the Kardashians before the car Ardashians were the Kardashians. I mean,
you guys are like, let's make this a family affair
and just like to blow it up. Because I remember,
like the when you guys came together, just like the
magnitude of what the three of you brought as a

(39:16):
unit like was explosive. It was insane, It really was real.
I mean, it just blew up everything to a whole
new level for you guys, it was amazing.

Speaker 3 (39:25):
Yeah.

Speaker 1 (39:25):
But that being said, I've got to ask, because again,
coming from the same kind of family dynamic, is it
tough constantly working with your brothers.

Speaker 4 (39:32):
I can't even imagine.

Speaker 3 (39:33):
You know. Look, I mean there are there are challenges,
but there are benefits too, right, So so you know,
at the end of the day, you got each other's backs, right,
So there's a lot of there's there's unconditional love there,
you know. I think some of the lines get blurred
a little bit with like sort of those respect boundaries
in a professional situation, where like, you know, if you're

(39:55):
having a disagreement, you might not say certain things so
easily to somebody that isn't related to you, Right. I
think we've all been guilty that at times. I'm the
least offended, you know, offender when it comes to that. Uh,
you know, I've always been sort of the pacifier a
lot of a little a little bit, but you know so,
so look pros and cons. Pros far away to cons,

(40:16):
you know. Uh, And we really do enjoy spending time together.
That's the other thing is that we have a great
time together. We all do genuinely get along. If we
didn't get along and weren't and weren't like really really
really great friends, forget it, you know, because yeah, you
know whether those those those testing times either, you know so,
but yeah, but yeah, it was. There's always challenges, you know,

(40:37):
I mean even even even doing the podcast together.

Speaker 2 (40:39):
I mean earning that, you know, I was.

Speaker 5 (40:41):
Just gonna I was just gonna say. I think that's
one of my favorite things about Your Guys' podcast is
like for a viewer, who I mean, you know, I
know you, I know Matt a little bit. I don't
know Andy at all, but I I grew up watching
the three of you guys together on TV. But I
love with the podcast that it shows like the chemistry

(41:03):
you guys had on TV was really so easy because
the way you guys interact on your podcast and how
much you just seem like you guys literally like love
each other and hang would like truly hang out whether
you had a podcast or not. So it's like we
might as well freaking do a podcast anyway, like you
know what I mean, Like you totally get that. And
I think that is one of my favorite parts about

(41:24):
your Guys' podcast that you guys put on.

Speaker 3 (41:26):
Well, I appreciate that, you know, that is that is
the truth. That's that's exactly right, you know, And yeah,
I mean it's it's been challenging getting that. I mean,
you know, it's such a weird thing, right, We're all
doing these podcasts, and I mean you got to do
social media skits and this is like for me, this
is like, you know, you do something one way for
thirty nine forty years and all of a sudden, like
I know, oh yeah, it doesn't works that way anymore.

(41:48):
Now it's the whole new world, right, you still.

Speaker 4 (41:49):
Got to learn what and then yeah.

Speaker 1 (41:51):
It's it's changing your entire game plan halfway through the
super Bowl because you're not winning the game anymore.

Speaker 2 (41:58):
And it's like, wait a second, you've got I could
do it well in some ways, it's exactly right. Yeah,
But in some ways it's good for us.

Speaker 1 (42:04):
I mean, it's like we are in a business, especially
when we were coming up eighties nineties, where you needed
someone to give you permission to do your job. Now
we've got options to where it's like, Okay, I'm gonna
do this on my own. That being said, you do
kind of look at yourself and you're like, yeah, but
the old ways were pretty damn great. Right, There's no

(42:26):
sitcom anymore, for God's sakes, there's no real family entertainment anymore.
For God's sakes, there's no There are good and bad
parts about being a monoculture. But one of the great
parts about being a monoculture was the waiting for Thursday
to then go watch Seinfeld or Friends or Blossom or
Boy Soil or whatever. And it's just sense that something

(42:47):
an entire generation of people are missing out on.

Speaker 3 (42:50):
Now they're totally missing out on it. I appreciate being
able to sort of come up with your own stuff
and do something, give something to try if you want to,
and get it right to the people. That's kind of cool. Yeah,
But I do miss the structure, and it was really
it was a brilliant system that they had set up,
which is that you would have your reps because you
still need them.

Speaker 6 (43:06):
Right and somehow, and and and you know, and you
would get auditions and you'd go in and it would
be a visual experience and you could give your your
your take on whatever character you were going to go play,
and there would be magic in the.

Speaker 3 (43:19):
Room or not, and then you would know. And then
you go out another one and yours would be the
one you would get, and then you could go work
and you do your job, and if the opportunity lent itself, well,
then you could do more than one. You could produce
it and maybe even direct the too. Right. And now
it's just like, I mean, still the top one of
one percent can still do that.

Speaker 2 (43:35):
Yeah, if you're one of eight people.

Speaker 3 (43:38):
But unless you know, unless you're a legend like like
the goat of all time, Tom Cruise or Bratt Pitter
something like this, or if you're a modern like legend
as I call them, like the Timothy Charlamagne or the
or the Zendias or something like this. But unless you're
put up into that top one of one percent, and
they probably will be there forever. I don't know. Oh,

(44:00):
but they're put in that category. There is no top
five percent. And that's kind of where everybody feasted that
was really good at their job and did well. Right,
that's where you were, as where I was. But the
top one of one is untouchable. The five percent has
been obliterated. That that five through through two is obliterated
to now where you just have to I don't know,
pay your own way, do your thing, do everything, do

(44:22):
anything and everything, and also create it, produce it, find
a way to market it, find it with It's a
wild phenomenon. What's happened. It's exhausting at times, it is,
it's it's invigorating at times, and that sort of balances
sort of our lives, you know.

Speaker 5 (44:37):
Well, the idea of like you know, oh going viral,
it's like the smallest things goes viral.

Speaker 4 (44:46):
Like there's a you can't even you can't even predict it.

Speaker 5 (44:49):
It's not always like, oh, if you did something like
this really well, it'll go viral.

Speaker 2 (44:54):
It's like, but it also if it's good or bad.

Speaker 4 (44:58):
That's what I mean, what I mean, that's my.

Speaker 3 (45:01):
Wagest problem with it. Horrifying to me, that's my biggest problem.

Speaker 2 (45:04):
Yeah, it truly is there.

Speaker 1 (45:06):
Used to be the kind of tongue in cheek joke was, well,
there is no bad publicity. When everybody knew there really was,
you didn't want to.

Speaker 2 (45:14):
Be this person. Now there really is no such thing
as bad publicity. It's just being famous.

Speaker 1 (45:20):
And it's like that's yes, it takes all the craft
out of it. It takes all the talent out of it, it.

Speaker 3 (45:25):
Takes joy out of it.

Speaker 1 (45:26):
It's just it doesn't matter anymore. Just go be famous.
And none of us who were pure entertainers wanted to
be famous. We wanted to entertain that.

Speaker 4 (45:36):
You don't love the work. We love the set life,
We love the creation.

Speaker 3 (45:42):
Being, being creative, being successful. Yeah, the same was not
something you thought about you that was that that byproduct
just in a way. Okay, cool, and now I can
do this even longer, you know, that's all. But it
was not the reason for we're doing it. We weren't
trying to get noticed. You were just trying to.

Speaker 1 (46:00):
Work that all the priorities have shifted famous. The most
important talent isn't even on the list anymore.

Speaker 3 (46:06):
It's not yeah, and it's really you.

Speaker 5 (46:08):
Know, we did have a little bit of it as
far as like like I remember, you know, being a
Cheetah girl, like I wasn't in I wasn't getting spots on,
like being in like US Weekly or People magazine, Like
they weren't really you know, it was like tiger beating
like that they can'nger magazines, right, which was fine because
that's where that was where our pool was. Then when

(46:29):
I got on Dancing with the Stars and then people
started calling and and us, we like that was a shift,
and people were like, aren't you excited? And I'm like,
I mean yeah, because for me, it was like the
Cheetah Girls were getting more noticed, which meant we were
going to keep doing.

Speaker 4 (46:47):
Our marathon that we were on. You know, it was
like that was the point of.

Speaker 5 (46:51):
It was to get and why I wanted to do
Dancing with Stars was to get notoriety so that was
going to continue our work and that we were going
to keep doing what we loved to do, not because
more people, not because of the the fame.

Speaker 4 (47:04):
Right, Such a different thing.

Speaker 3 (47:06):
Versus just allowed you to do more work.

Speaker 5 (47:08):
Yes, and those magazines sort of started to bring it,
but it's nothing like like social media now, it's a
totally different beast nothing.

Speaker 2 (47:18):
Okay, Well, last question, right, you're here, sure.

Speaker 1 (47:23):
Any chance of another Lawrence Brothers dcom esque family style
movie you're all so damn good at it is?

Speaker 2 (47:31):
There is there you know a chance we get to
see another one?

Speaker 3 (47:34):
Yeah? I mean, look, you know we we we did
these two Christmas movies, right, which just did really well.
We did Mistletoe Mix Up, which ended up being a
little movie that we put together and did ourselves, and
then we we sold to Amazon and ended up being
their number one Christmas movie for twenty twenty one, which
is crazy because that wow, yeah, there was a time
when it was above Chris Pratt's movie really that big,

(47:54):
that big, like that big battle movie that he did
over there. And and so we did the sequel to it,
and we did a different We didn't go Amazon. We
did we did our own way, and it did really well.
It's called Merry Christmas that came out this past Christmas.
And there is there is a third one that we're
putting together now, which is like a sort of like
an adventure holiday thing. Okay, so look, you know we

(48:18):
actually have a believe it or not, a script that
that Andy sort of spearheaded. But it's really good. Which
is a sequel, a true sequel to Horse Sense, right,
because Jumping Ship was, but it didn't have anything to
just talked about, didn't have anything to do with the ranch, right,
So this one is a true sequel. It is great.
I don't know, you know, it's great. I mean, we

(48:40):
had preliminary discussions at Disney. They just aren't they just
that's not the company they are anymore.

Speaker 2 (48:45):
You know, it's all tent Pole now.

Speaker 4 (48:48):
Yeah, surely, like.

Speaker 5 (48:50):
All the people that we all worked with at the Channel,
there's very few of them left, even not you know,
they've all evolved and moved on to different things. So
it is like, you know, they weren't around when Horse
Sense did so well to where they get why it
makes sense to do a sequel. They weren't around for that.

Speaker 3 (49:09):
No, No, so you know, look, yes, there's always possibility
of it, you know. You know, we're working on a
new kind of iteration of a TV show together too,
so you know, we'll see where that goes. There. There's
it's really it's really it's really funny, really funny, amazing
and very unexpected, you know, but so yeah, we're working
on it. Man. We got hopefully we got a graphic
novel that we're working on.

Speaker 2 (49:30):
So okay, wow, we're fans over here.

Speaker 3 (49:33):
You know.

Speaker 2 (49:33):
If we do on fans you've got you know, we're fans.
So we're we're hoping to see more.

Speaker 3 (49:37):
We're friends, man, We're more than fans.

Speaker 2 (49:39):
We are we are we are ye.

Speaker 5 (49:48):
My last question is if the casting director of Dancing
with the Stars called you again and said, listen, we're
going for All Star season number two?

Speaker 4 (49:57):
Are you coming back? Would you do it?

Speaker 7 (50:00):
I would do it because yeah, because because that season
that we did was so huge, because of the competition
level on that on that season, you know, I mean
it spurned the tours and did everything that year, you know,
and and getting to the finals there with Emmett and
Mario and I and everything.

Speaker 4 (50:18):
It was.

Speaker 3 (50:18):
You know, it was.

Speaker 4 (50:19):
Super because you guys your season was epic.

Speaker 3 (50:21):
It really was pretty powerful. So you know, I don't know,
it'd be fun, knowing what I know now, it would
be fun to do it, you know, And the fact
that even in my ripe old age, I could still
do it, you.

Speaker 4 (50:31):
Know, you for sure, Oh my first.

Speaker 3 (50:34):
I can do it.

Speaker 1 (50:34):
Man, You're in better shape now than I've ever been
in my life, So don't worry.

Speaker 2 (50:38):
You're you're good. You're good.

Speaker 3 (50:40):
I just watched an interview with Tom Cruise and uh,
I mean, my goodness, if that's the benchmark in sixty
three or whatever, it is, like, wow, dude, is that.

Speaker 1 (50:48):
Dude is I mean, he's a whole other thing. Though
he's the true movie star, he's the whole whole other thing.

Speaker 3 (50:54):
Greatest, hands down, your career as a movie star, male
or female ever.

Speaker 2 (51:00):
Couldn't disagree with you.

Speaker 3 (51:00):
I think we're seeing Michael Jordan, you know, like we
really are seeing it. We're living through. Nobody over forty
years is going to be able to put together and
stay relevant that kind of career like he's.

Speaker 2 (51:11):
It's incredible.

Speaker 3 (51:12):
So anyway, but yeah, I would definitely do it. And
you know who knows?

Speaker 4 (51:16):
Yeah, yeah, good?

Speaker 1 (51:16):
All right, last question, when we do jumping ship, any
chance we can get the three of you back.

Speaker 3 (51:22):
To I mean, I don't see why not?

Speaker 2 (51:24):
Why not?

Speaker 3 (51:24):
Why not?

Speaker 4 (51:25):
Yeah?

Speaker 2 (51:27):
Yeah?

Speaker 3 (51:27):
Why not? Why not? Yeah? That'd that'd be fun so much?

Speaker 4 (51:31):
This was so fun is Oh my gosh, I couldn't.

Speaker 5 (51:35):
I cannot believe all of the things you were talking
about with this, just like laundry list of the amazing
things you have gotten to do over the course of
your career. Congratulations, like so well earned and oh wow,
what a ride.

Speaker 3 (51:49):
What I still have yet to play Batman. So that's
all that's on my bucket list.

Speaker 2 (51:54):
It's fun. I gotta tell you. I know, dude, I know.

Speaker 3 (51:57):
Dude, I know.

Speaker 2 (51:58):
I'm telling you.

Speaker 3 (51:59):
I've always dreamed I've been seeing that. I was like, Okay,
we've got to bring back to Michael Keaty Bruce Wayne.
That's what I want to see in the movies. And
uh and you know, I know I can do that.
But but that, to me, is that humility, that self
deprecation as Bruce Wayne, I think is the key to Batman.
And I think that's a lot of what these these
on screen Batman's for me have been missing. I appreciate

(52:20):
the physicality, I appreciate the routing, but to me, what
I find most engaging is the interpretation of Bruce Wayne.
And I think that, to me has been what's missing
in my mind in the Batman in in these newer versions,
I just I'm not feeling it.

Speaker 2 (52:33):
I'm not one of the best vendors that have ever
played Batman. Realized two things.

Speaker 1 (52:37):
One that Bruce Wayne and Batman are two completely different characters,
and two that Bruce Wayne is the mask.

Speaker 3 (52:43):
App Absolutely, that's it.

Speaker 2 (52:45):
Those are the two things that people game.

Speaker 3 (52:47):
Kills because those that very first Batman movie. And we
could talk about this for hours, but that, to me,
where you fall in love with Batman is when Bruce
Wayne is making fun of himself. Yeah, that's when he's
putting on that, like you said, the mask and being that, Yeah,
it's a great room. I actually haven't never eaten in
this room.

Speaker 2 (53:04):
Yeah, I mean jan exactly.

Speaker 3 (53:08):
That to me is where you go. I'm looking for
this guy. I want this guy to win no matter what.
It's not the Kate Crusader, it's not the car, it's
not any of that. It's Bruce Wayne. And that to
me has really been missing in soul these movies.

Speaker 2 (53:21):
You know, I agree.

Speaker 3 (53:21):
So anyway, man, I pray about that every night, So
one day maybe it'll come true. I know, you know,
I know you've done it really, really, really well. But
you know, I'm excited about you know, maybe.

Speaker 1 (53:31):
I've always told people album a great Batman. If it's
just my voice and you don't have to wedge me
into the suit, then I'm fine, dude.

Speaker 2 (53:38):
You'd be able to.

Speaker 1 (53:38):
We just saw we just saw you in the tank top,
so you'd be you'd be fine as batman.

Speaker 2 (53:43):
I'm telling you do it.

Speaker 3 (53:44):
Thanks man. I appreciate you guys.

Speaker 4 (53:47):
So yeah, yeah, congratulations.

Speaker 2 (53:49):
And everything, and we can't wait to see all your
future stuff.

Speaker 3 (53:51):
Appreciate you guys. All right, maybe we'll talk soon. We'll
do the jumping ship one for sure, my guys.

Speaker 1 (53:59):
By I mean man, he's I mean, you talk about
careers and there there, you know, were exactly the same age,
he and I and we kind of came up together,
but he was just working at a different level, you know.

Speaker 2 (54:18):
He started he's four or five years old.

Speaker 1 (54:20):
When you're five, six, seven years old, and you do
My best year when I was coming up and I
was considered very hot, I did three national commercials and
I did like two guest spots when I was in
New York. He did like fifty or sixty national commercials.

Speaker 4 (54:37):
In the two were you when you were doing when
you did that?

Speaker 5 (54:40):
Around what age?

Speaker 1 (54:41):
I was eleven or no? I was eleven when I
started getting national commercials. In twelve when I was on Nickelodeon. Okay,
and so by that plan. He'd been working like seven
or eight years.

Speaker 4 (54:53):
And doing crazy, crazy thing crazy.

Speaker 1 (54:56):
But he was also he was He's one of the
original triple threats. I mean, when you're and you can
sing and tap dance and act at five years old,
you're in amazingly rarefied air. It's like Shirley Temple stuff.

Speaker 3 (55:09):
For sure.

Speaker 1 (55:11):
There's very few names on that list for your generation
of that talented at five or six years.

Speaker 5 (55:16):
Old and to jump into the industry and do it
right away like that versus like most like I had.
I feel like my journey was like very typical of
like you found a way in and then you started
getting the agent to like go, oh, I can also
do this, and then you're like, oh, you know, you
get a referral from that agent to help you get

(55:37):
that kind of agent whatever. You kind of like build
it versus like he just was like all in right
from the start, like I mean, wow, it's crazy, It's
that's unreal.

Speaker 1 (55:47):
And well, you talk about they would they would always
talk about back in the day, agents, managers, producers, directors.

Speaker 2 (55:52):
They'd always just well it yeah, and people.

Speaker 1 (55:55):
Say what is it and you'd go, I you can't
describe what I have an example. You just point at
certain people and you go that that's it.

Speaker 2 (56:03):
Yeah, And he was one of those guys. I mean
he was. He was one of those guys. He just
had it. And it's you know it when you see it.

Speaker 1 (56:11):
And all three of the Lawrence boys have it. They
really do, and uh man, build a better Dcon family.

Speaker 5 (56:18):
I love it because even the one that really didn't
want it, it's like, sorry, Mats, sorry, sorry bro, Okay,
you gotta do it anyway because not very many people
have this, so you're just gonna have to shit together
and do it.

Speaker 2 (56:31):
Didn't want to do it at all.

Speaker 4 (56:32):
Still there and.

Speaker 2 (56:34):
Movies and was just on Massinger.

Speaker 4 (56:36):
So it's like, seriously, I mean, oh my gosh.

Speaker 2 (56:39):
That's the guy in a family who didn't want to
be in the industry.

Speaker 4 (56:42):
Right, get out of here, crazy.

Speaker 1 (56:44):
Yeah, Lawrence boys say something for the rest of us.
It's it's kind of this is unfair, it really is.

Speaker 5 (56:49):
But we love you and and your sense was good, guys,
so you gotta go watch it.

Speaker 2 (56:55):
You got a good horse.

Speaker 1 (56:56):
Sense was good, it was and you know what, He's
absolutely right.

Speaker 2 (57:00):
It wasn't a kid's movie. It wasn't.

Speaker 1 (57:02):
It was just Family Entertainment, which is what Disney used
to do, and it was great and it was.

Speaker 4 (57:08):
Really shot like a fee beautiful.

Speaker 2 (57:10):
It was beautiful, beautiful.

Speaker 1 (57:12):
Yeah, Greg bamankannact. He'll be on that list when we
do our award show, he'll be on that list. We
can figure out names. Are they the d the Commis? No,
can't call them the commies, that's not allow it. Uh,
We'll we'll figure them out because nobody wants to win
a comedy.

Speaker 2 (57:26):
So we'll.

Speaker 4 (57:28):
Messages below with ideas for our awards show. Name messages
below on.

Speaker 5 (57:33):
The because Will likes to call it the Instagram machine,
the machine below.

Speaker 2 (57:37):
It's one of my favorites.

Speaker 1 (57:38):
Well, thank you everybody, and thank you Joey for joining
us for this Park Coopper episode. What an interview. We
could have made it a twenty part series and I'm
sure someday somebody will.

Speaker 2 (57:46):
But that's it.

Speaker 1 (57:47):
Don't forget to join us next time, as we are
going to be doing the Lizzie McGuire movie, which I
think is about a baseball player who takes steroids but
still wins the championship.

Speaker 2 (57:57):
No Mark McGuire, sorry, I keep mixing him up. Mark
McGuire so join us next time. And uh yeah, I
wish I had a

Speaker 1 (58:06):
Catchphrase to end it with, but I don't, so I'll
just say bye bye