Stan Zimmerman, Writer, Producer & Director

Gary Interviews Stan Zimmerman, Writer, Producer & Director on this weeks episode

Episode Transcript

Speaker 1 (00:21):
My guest today is the brilliant Stan Zimmerman. He's one
of the writers behind The Golden Girls, Roseanne, and The
Gilmore Girls. With a career spanning in television, theater, and film,
Stan has shaped some of the most iconic moments in entertainment.
His directing credits include the hit web series Skirt Chasers

(00:43):
and the viral sensation Silver Foxes. On stage, he's brought
powerful stories to life, from revivals of Gemni to the
diary of Anne Frank. His memoir The Girls From Golden
to Gilmore captures his credible journey. But Stan isn't slowing down.
He's still making waves as a writer, director, and producer.

(01:07):
Don't go away, I'll be right back with Stan. Hello, Stan,
and welcome to the show.

Speaker 2 (01:14):
Thank you for having me.

Speaker 1 (01:15):
Good. You know your career has long and exhausting, but
you know, I think you worked with some of the
most iconic people, which is a feat in itself.

Speaker 2 (01:28):
And you've interviewed many and I've interviewed many of them.

Speaker 1 (01:32):
What was the catalyst? I know you grew up in Michigan,
in the suburbs of Michigan ten Mile.

Speaker 2 (01:38):
If you know the movie eight Mile, right, it's just
a little bit wider.

Speaker 1 (01:41):
And what was the I mean, when you were a kid,
were you watching TV.

Speaker 2 (01:47):
Or I was obsessed with television.

Speaker 1 (01:49):
Really.

Speaker 2 (01:49):
I memorized the TV guide, okay, and I became like
a human t VO for my family. So I would
figure out which shows each person would like, and I
would scream it's on and they would come running, and
they trusted me completely, like, you don't want to watch
this one. My brother you like Lost in Space that
was his jam or Superman, and my sister, you know,
was probably cartoons or something like that.

Speaker 1 (02:10):
So I know you were in New York first, and
then you came out to Los Angeles with your co
writer that.

Speaker 2 (02:17):
You, Jim Burg, and I came out first. He was
not quite ready yet, oh okay. He had a boyfriend
in an apartment with exposed brick. And I was just
sick of being poor New York and I was working
in casting and I had just always dreamed of coming
to Hollywood. When I was thirteen, my parents said for
our bar mitzvahs, each one of the kids got to

(02:39):
choose to go anywhere in the world. Where did I choose?

Speaker 1 (02:43):
Los Angeles?

Speaker 2 (02:43):
Hollywood? Crazy? Right? But I just always had it in
my sights. I had a weekly Variety subscriptions into my
house when I was a kid, and I would memorize
every Broadway show and what theater it was at. I
was obsessed. I actually created my own TV network in
my bedroom at twelve years old, and I programmed seven
days a week of TV shows. And of course I

(03:05):
gave Lily Tomlin her own weekly variety show because she's
super talented, and got the chance to tell her that
I had done that. She was very grateful.

Speaker 1 (03:15):
You know, as you're you know, moving along the way,
what was the one catalyst of the person you said
that is what I want to do?

Speaker 2 (03:28):
You know?

Speaker 1 (03:28):
You know some people, if they're an actor, they say
it was you know, Denniero, it was Scorsesey Or was
there anyone that you knew that I would love to
have a career like that?

Speaker 2 (03:39):
No, buddy, a combination of people. Lily Toman was somebody
I thought I was going to be an actor. And
then I started auditioning out of NYU in New York,
and I was so nervous. My face literally was shaking
an auditions. So I thought, maybe that's not my path.
I was very imaginative but I didn't think I could
be a writer because I wasn't a re But I

(04:01):
loved the Dick Van Dyke Show, and I thought, oh,
I love that there's can sit around with a woman
with a cute little black bow in her hair and
just eat and drink and make each other laugh. So
I thought that could be fun. I love theater, So
I've kind of took all those that combination and started
into a pot and created me good.

Speaker 1 (04:20):
Was there any kind of spiritual let's say, throughway or
almost a segment in your life that you felt this
was epiphany? You know, some people hit bottom, some people
you know, they think this is not what it really
looks to be for me now? Or what was what

(04:42):
was the spiritual growth? Because I know as you go
in Hollywood you get a lot of awakenings with people
hopefully yes and things like.

Speaker 2 (04:50):
That, or you don't and you end up at Betty Ford.
But for me, luckily, my writing partner Jim Berg, was
a very spiritual person and he introduced me to spiritual reality.
And I didn't know anything about that. And I kind
of came from New York thinking you had to be,
you know, kind of bitchy and witty and dark. It's
like you can be all that anti spiritual at the

(05:11):
same time. It was also during the height of the
AIDS crisis, but he introduced me to people like Louise
Hay and we would I got all of her books
and that changed my life. You know, doors opening, doors closing,
So we would all go to those. And then the
early days of Mary Anne Williamson, a group of friends
we would go down to. I guess it was like

(05:32):
in a church on hollywoods. Yes, we would go.

Speaker 1 (05:37):
There was the Episcopalian church.

Speaker 2 (05:39):
It was some church of note, and then we would
all go out to dinner and just discuss like what
we just had heard. And I had never really heard that.
And then honestly, Shirley McClain taught me a lot, and
I was like the idea that we could all have
different ideas and it's okay, right, that you don't have
to be right or wrong if you believe that you

(06:01):
believe that, And I had never it just cracked my
head open to acceptance of all people and thoughts.

Speaker 1 (06:08):
Well, I think we're all free to believe whatever we want.

Speaker 2 (06:11):
But as long as it's not hurting other people exactly
exactly there's a line there because right today there's so
much about cruelty and hurting other people, and that's where
we have to stand up.

Speaker 1 (06:21):
It was really, I mean, I think I think that
time was. I mean, I had the pleasure to or
the opportunity to interview Louise Hay because my first book
was with them, Hey House but and Shirley maclain. So
it was like these iconic people and you know they're
not here any well, Surely is here, but Louise isn't.

(06:41):
But you know, it was just.

Speaker 2 (06:43):
You're not sure about Mary and Williams.

Speaker 1 (06:44):
Well we're not sure, we won't go.

Speaker 2 (06:48):
I'm sure you did as people do.

Speaker 1 (06:50):
And so you know, as far as the storytelling in
your work, do you ever use what you learned in
your healing?

Speaker 2 (06:59):
Of course, I'm And it just seeps into everything when
people talk about Because I've written so many different genres
and type of shows and plays and movies and TV,
the one commonality is heart. People tell me there's just
how you feel my heart in each piece. And I
think that that is because of my spirituality may awaken

(07:20):
in coming to California and still keeping the bite of
my humor, but also just being open to all kinds
of new people in my life.

Speaker 1 (07:31):
Did you find that when you first started that there
was a you know, every time you sold something, there
was a confidence builder. But was it always your mission
that you were putting work out at a high frequency
and not necessarily everybody buys it.

Speaker 2 (07:50):
Yeah. I think it was my Midwest upbringing of just
working really hard and the idea that my parents instilled
in me, if you work hard, you will succeed. So
my writing partner just was into this creative visualization. I
didn't realize I was doing it before I knew what
the name of it was. When I was a kid,

(08:10):
I pictured myself just being successful. There was not an option.
And I was thinking about this the other day as
I was looking out on my window of my house
in the Hollywood Hills, and it's just I look out
in the canyon and the lights twinkle as the sun sets,
all the lights come on. When I was doing a
science project, I don't know, maybe third fourth grade. I

(08:31):
didn't care about science at all, but I wanted to
make a diorama and what I made was hills with
lights coming on as a sunset. It's like the beginning
of Spielberg will be right exactly whatever. I saw that
vision and then I'm getting chills. Now it's just freezing
cold in here. But I must have visualized that, and

(08:51):
I created that house, and I would tell my little sister,
is I'm tucking her to bed? You know, one day
I'm going to have a mansion in the Hollywood Hills.
It's not a mansion, but it's you know, it's nice house.
I think that's important to have that idea. And there
wasn't anybody that was going to get in the way
of that idea. It just I don't know where I
had that odd sense of confidence.

Speaker 1 (09:12):
Well, you already started your network when you were twelve.

Speaker 2 (09:15):
Yes, you know.

Speaker 1 (09:16):
It's similar when I spoke to Belinda Carlisle, she said,
when I was twelve, I would come home and I
had a box and I would say, I'm going to
be an international rock star, rock star, rock star. She
had leaves, rocks and all this stuff. But look what happened.
So I think it's predestined in some ways. So what
you did was your living your and I think, you know,

(09:37):
when we all have an intention, or we have that
let's say visualization of this is what I want to do,
you attract it in some way. If you're open to
it without having stress or anxiety or fear, it comes.

Speaker 2 (09:52):
Well, then we came up with this philosophy. I just
call it taking fear off the table. So I was
in a car going to some with the great actress
Swoosie Kurtz. She was guesting did an ark onized sitcom
I was doing, and I was her date or plus
one or the person that held her purse while she
did the step and repeat line basically, and she said,

(10:15):
how do you do it week after week on a sitcom?
I'm like, how do you do it? You're in Tony
Award winning shows and she was talking about being on
House It Believes the Lincoln Center, and she said she
didn't know what she was doing until the day before
it opened. But she says, how do you every week?
You have to figure it out? And I just said
to her, we decided a long time ago take fear
off the table. We know when we start that week,

(10:36):
we have a fresh script. At the end of the week,
it's going to be a brilliant script. But some people
like to live through that fear in the tussle and
all that. I think that's why people say, why are
you always so calm because I'm not living. I don't
enjoy what that feeling of fear.

Speaker 1 (10:54):
Well, it's also you bring that to a set or
with your actors.

Speaker 2 (10:58):
You set the tone the person top if that's the time.

Speaker 1 (11:01):
If the director is all stressed and nervous, the actors.

Speaker 2 (11:04):
And the showrunners and whoever we are because we're running.
When you're the top person, it seeps down into all
the different categories.

Speaker 1 (11:13):
When you worked on the Golden Girls, and I know
you have thousands of stories about different shows, but those
women were pros. And what was that like, your first
let's say script that you sold. When you run through
in the camera, blocking and watching it come to life,

(11:35):
that was probably a big wow moment.

Speaker 2 (11:38):
Yes, we had been briefly on a TV show that
didn't last long, but luckily Golden Girls wasn't our first
foray into it. We had written a freelance episode we
had to go and pitch ideas. They bought when we
wrote it, and then we handed in the first draft
and they were like, oh my god, these guys are
really really good. Let's get them on staff. So right
away we were thrown into it. But being there and

(12:00):
seeing our script at the table read and looking at
who was reading our script. It was freaking Maud and
Sue and Nivin, you know, and Rue McClanahan and I'd
just seen the Stallghetti on Broadway and Torch Song Trilogy.
I was like, they're reading our words and people are
laughing at our words, like how did we get here?
So it was it was extremely exciting. I didn't know

(12:22):
till years later that I guess b Arthur had seen
us come in the room and we looked like we
were twelve, and she was like, you know, I'm not
even going to attempt to do her voice, but you
know it's very low. But who are these kids writing
for us? Like how are they going to know? And
then she opened it up and go, oh, no, they know.
I think it's because of my acting experience and with

(12:42):
acting they said just just sit and listen and watch people.
So to be in tune with that, and I think
also being gay and being kind of an outsider in society,
we were not really felt like we were in the
center of it. So I kind of got to watch
how everybody reacted and then you know, like when you
could pick your spot in the classroom, I always I

(13:03):
like to be near the door so I could leave,
but in back so I could watch kind of everybody
and take it all in excellent.

Speaker 1 (13:10):
As far as your intuition, do you trust a lot
of that in your work when you're writing something or
is it just basically you're feeling something and you said,
you know what, I need to explore that or does
it just come to you? Do you meditate, do you
do some kind of exercise?

Speaker 2 (13:29):
It comes with water. Oddly with water, I don't know why,
either washing dishes or like swimming in the pool. So
sometimes in my writing, partner will get stuck on something.
He says, I'm going to leave you go swimming, and
I'll get in the pool, and then all of a
sudden I'll be texting him at the side of the pool. Oh,
I figured it out. There's something very calming about warm

(13:52):
water that just kind of centers me. But I also
think it's just pushing away all the hazarai enough if
you're Yiddish or not, but different, pushing away all the
noise and just going to what you feel and what
you see. And I've just had always the sense of
and ideas always were popping in my head and the

(14:15):
more you do it, the more you trust, like, oh,
that seems to be working out, or people are responding
to it, or people are laughing. You know, if you
analyze it too much, sometimes they just stop and go,
why is that funny? Why are you laughing? I don't
why do we make that guttural sound. It's just I've
just always known how to put words in a certain order. Well.

Speaker 1 (14:34):
I think you also understand the voices of the actors
when you have someone in mind, or it just flows
when it's on.

Speaker 2 (14:43):
Of people not as actors. I'm just very attuned and
take in people's how they feel. I'm very sensitive about that.
So I think that I'm always watching and looking and
seeing and observing and writing and taking notes. And you know,
people my family say, watch what you say in front
of him, because somehow it'll end up somewhere.

Speaker 1 (15:05):
What places in the world have a let's say, a core,
let's sa a power spot for you when you visit.

Speaker 2 (15:14):
There, sunsets? I know it's so romantic, so I'm like
on the dating game, but warm nights and sunsets. I
used to have a place down in Laguna on the water,
and I would just go and sit on this rock
and watch the sunset. When my parents were getting a divorce,
we were set to go on a family trip to Aruba,
and my mother said, I'm not going. She didn't want

(15:36):
to be around my father, and I would leave my
brother and my father and I went and I just
go by myself and just sit on the sand and
look at the sunset. And then I was at I
guess that year in Temple, we had an art class
and they said, do a religious painting, and I painted

(15:57):
me sitting out on a beach watching a sunset. And
they're like, that's not religious, and I said, yes it is.
I'm praying sitting there. They didn't understand at that time
that what that spiritual that you can pray anywhere, you know,
And I was so young and that concept wasn't really
in my sphere at the time, or must have been
because that felt godly or worldly or whatever. You know,

(16:20):
you want to pray to.

Speaker 1 (16:22):
What was the most you know, sometimes when you come
to Hollywood, you meet your idol, or you meet someone
who was that person that either shocked you or you were.

Speaker 2 (16:37):
You don't have enough time for those for you.

Speaker 1 (16:39):
Or the person that you said I really loved that
person when I met them.

Speaker 2 (16:44):
There have been so many, but obviously meeting Lily Tomlin
in person. And then we wrote a movie and we
wrote it for her and people are like, well, you're
not You can't get it to her. She's like a
huge movie star. And we're like, oh no, we're going
to get it to her. So we hired a messenger
and to drop it off at the stage door where
she was doing signs for Intelligent Life. Oh it was

(17:06):
a show before that, appearing Nightly or something. And two
weeks later our agent called and says, why is Lily
Talmlan on my call sheet? Like, well, we might have
done something oops, And she wanted to do the movie
and it never got made, but we became friendly and
we worked on development with her, and so it was
my childhood idol. You know. When she came through Detroit,

(17:30):
I said to my mother, I have to go meet her,
and she came and she signed my record and I
showed her that later. I just think she's brilliant. So
that was still. Norman Lear was a big one, and
I just as a kid watching his shows, I had
not seen people talking about what was happening in the
world in a comedy that was a new thing. I

(17:53):
think that's what gravitated me towards shows like Roseanne. It
was the moment, but he was.

Speaker 1 (17:58):
He was ahead of his song as far as to
fall in the family, I mean, all the critical acclaim.
If you look now, it's topics that really are still.

Speaker 2 (18:08):
Still in the zeitgeist. Yeah. So I just figured I
was getting old, he was getting old. I'm just never
going to meet him. And then finally, maybe three four
years ago, someone said I'm going to a screening of
a movie he made. Do you want to come. I
was in the car and all the way on the
West Side, I was like, I'm meeting him and I
got to talk to him about working with b Arthur.

(18:28):
I mean that was amazing.

Speaker 1 (18:30):
I think when you meet people up close and you
really have conversations that are privy or outside of a
group of a lot of people like pr people, it's
so much more relaxed. Like I remember when I first
came to Hollywood, I was in a dressing room with
Jill Ireland and her husband his name can I think

(18:55):
of his name? Jill Ireland and Charles Bronson, and so
they were chatting with me because I was with Terry
garr and Raul Julia. I was one from the heart
and they just hung out with me for an hour
and then they had they said, you want a sandwich
because they ordered So it was just like wow, it

(19:16):
was just really magical when you see that, And so
I think that's really.

Speaker 2 (19:22):
They're just people people. When you're on the outside, you
can feel like not and correct. You know when people
talk about my book and they go, well, you do
a lot of name dropping, I said, but that's how
I worked with correct. I can't say I worked with
Sally McGillicutty in the accounting. I worked with you know,
Lily or I had a meeting with Jane Fonda or

(19:44):
you know countless other people that I got to work.
So the book is really a it's a Valentine's to
my mother, really, who is my my biggest inspiration and
my biggest cheerleader.

Speaker 1 (19:57):
So I love that you broke it down into episod
of Rosanne and Gilmore. And so, so what was.

Speaker 2 (20:04):
A Brady Bunch movie?

Speaker 1 (20:05):
Brady Bunch movie. Oh yeah, I mean it's crazy, it's
almost like too much.

Speaker 2 (20:10):
I should leave right now. It's a lot of a
lot of a lot. Yeah, in a teeny little book.
But it's easy. You can read it little chapters and
it's a but the end, you know, not to get
too heavy. But I did not expect the ending to
be the passing of my mother and dealing with grief.

Speaker 1 (20:27):
Wow.

Speaker 2 (20:28):
But around that same time I got involved in directing
a play off Broadway using called hip prov using hypnotism
and improv, two things I was not aware of or
a big fan of. But an improv, you know, the
saying is yes and right, and it taught me and
I know you're big un yessing I'm going to live

(20:50):
the rest of my life yes and And between that
and my mother up there being my agent, I have
not stopped. I'm running all over the country doing things,
getting a publisher for that, getting that out there. I
think because I'm open to saying yes and.

Speaker 1 (21:05):
Well, I think when you're open to that frequency, you
create miracles. You know. I teach people the language of miracles.
Of course, in miracles, people you know, are so closed
to thinking sometimes that that could never happen, and when
it does, it's a miracle. But every moment, there's miracles
in all our lives. As far as what do you

(21:30):
what do you what's your what's your.

Speaker 2 (21:33):
Ritual that you do daily? Do you do espresso? Double
espresso is my ritual? Oh yeah, yeah, yeah, you kidding me.
And people think I'm a nut, but I run pretty
much five to seven days a week. I'm a big runner.
I used to run around like Hollywood and now just
run in my neighborhood, which is really difficult. But I

(21:53):
have good tunes and I just hope I do and
you have to keep changing them three months. No, I
know I should, but I know I'm not. It hurts
your knees. Yeah, I know there's gonna come a time
when my body's just gonna say stand stop, But I do.
I start my day with running. No, I don't like
to hike. I like running. I like that that boom

(22:15):
boom boom and the music and going to the music
and you know, thinking things out in your head or
not thinking. And then I like to end the day swimming. Okay,
so that's a lot of Yeah, So that's my meditation. Actually,
I have a swimming a pool machine where you push
a button and jets come at you. So but I
keep the water kind of warm, so it's very meditative

(22:35):
and I go in there, I do my little lap
sets and things in little crunches on the side, and
then I just look at the sky and the trees
and I it could be an hour and like, oh,
I think I better get out.

Speaker 1 (22:46):
I swam forever, Yeah, for the Olympics seven till twenty one,
so I've spent.

Speaker 2 (22:53):
Hours in the water. Yeah.

Speaker 1 (22:55):
So I haven't had the urge to go back. Okay,
but as ours, what's your favorite thing to do on
a Sunday?

Speaker 2 (23:05):
Not brunch? So I talk about that in my Suicide
Awareness play. One of the lines says, I hate brunch.
I don't want to go to brunch. I just want
to be home and just do my thing and hang
out and watch the day go and then maybe do
some work in the afternoon. I used to write seven
days a week. I would write during the week with
my main writing partner, and then write plays with a

(23:28):
different person on weekends. And then now we just have
a lot of plays out there that have been published,
and so I'm out in the world directing them or nice.
So that has all paid off all that hard work.
So I think it's a being a librin, being balanced
in a non neurotic way. So to take the time

(23:48):
to just live life and breathe and look at the world.
And I love listening to music and you know, watching
films and you know art museums and then again those
long walks on the beach at sunset.

Speaker 1 (24:01):
Okay, good. What does the soul mean to you?

Speaker 2 (24:08):
Well, I'm from Detroit, so I go into soul music
and I think those are kind of connected in a
weird way. I've just always been attracted to soul and
R and B music. There's just a thumping thing that
gets to my heart. And when I would, you know,
when the dance competitions that at bar Mitzvah's, I just

(24:28):
I like that music. I thought I would be a dancer,
but I started way too late. I did study with
Jeoffrey and got to do a show on Broadway briefly
with Rudolf and Reev, so that was very exciting. I
was more moving than dancing, but I was still on
that stage with him. So I think that's soul, is
just that something inside that's just who you are, that

(24:50):
you you. I think you change, obviously, I've become many
different persons, but my soul is still my soul. It's
still that little boy with the dream and the horror
and the caring about other people.

Speaker 1 (25:02):
If you could go back into time oh geez, yes,
and speak to someone yes that is no longer here.
Who would it be and what would you ask?

Speaker 2 (25:14):
Oh, now, you're gonna make me cry. But I think
it would be my younger self, and I would ask
him to accept and love the way he looks and feels.
I guess I accept the way I felt. But I

(25:34):
walked around so many years thinking I was just the
ugliest person in the world, and I don't think that
was very healthy or helpful. And I think I still
carry a lot of that with me. And then I
look at pictures now and I go, oh, my god,
you were kind of cute. So and I've written about
that in some place, like why can't we accept the
way we look right now?

Speaker 1 (25:55):
Right?

Speaker 2 (25:55):
You know? I think that's kind of an interesting.

Speaker 1 (25:57):
I think part of our lesson in this life life
is to learn to love ourselves and accept ourselves no
matter what. And however that unfolds as an onion throughout
the years, we become I call it spiritual warriors, where
we actually go out into that world now and say
here we are, here's stan, you.

Speaker 2 (26:19):
Know, and That's why I've been doing a lot of teaching,
right with high school students or just acting classes and
audition workshops, you know, teaching something I couldn't do.

Speaker 1 (26:28):
It's great because you talk. I just spoke to a
bunch of actors the other night and it was twenty
one to twenty four, and you know, they don't have
that core of confidence about who they are. They're still
trying to I should be this, I should be that.

Speaker 2 (26:45):
No, I talk about them. Yes, I just have to be.

Speaker 1 (26:48):
The essence of you because that's what creates.

Speaker 2 (26:51):
That's what we want as a writer producer. I want
to know what makes you special, don't be with somebody else's.
I also talk about because I'm a visual person, and
I say walk towards success, and on the back wall,
really put the word success and walk towards it. What
gets in the way or who gets in the way?
Correct and talk to those people. It could be a teacher,

(27:11):
it could be a parent, most likely it's yourself. Correct
and say thank you for getting me here. Now, step aside.
I've got somewhere to go.

Speaker 1 (27:22):
When you leave this experience with you today, I'm going
to go hop skipping and jumping to trader Joe's get
my little food. Now, how do you want to be
remembered when you leave this this experience.

Speaker 2 (27:37):
Of life, of life? How do I want to what?
How do you want to be remembered?

Speaker 1 (27:43):
Stan Was?

Speaker 2 (27:46):
That's gonna be stan Is. Luckily, I'm so lucky to
be in a with my craft. I have things that live.
Golden Girls, oddly, those shows. It's a fortieth anniversary of
the premiere of Golden Girls. I was there season one,
and twenty five years of Gilmore Girls. Those shows live
on and are still touching people. So I'm so fortunate

(28:08):
to be a part of that that is going to
continue even if I'm not physically here, and that's very
powerful to know. Now.

Speaker 1 (28:17):
I know you have your writing retreat in Spain.

Speaker 2 (28:21):
Yes, I've done it in France for two years in
a fourteenth century castle. I'm just a mentor there. Someone
that else has started this retreat and this year it
will be in Spain in September, all right, that's what
part of Spain, near Barcelona, Girona. I don't know. I'm
just going and drinking a lot of wine and talking
about writing and myself and you will be talking about

(28:44):
you there. Yeah, yeah, thank you, Yes.

Speaker 1 (28:46):
All right, So what is the big dream still that
you haven't done yet that you want to do. It
could be climbing Mount Everest, it could be writing something,
It could be working with some one. What is the dream?

Speaker 2 (29:03):
Meryl Streep is obviously everybody's dream. I'd love to work
with her, but I would love to direct or have
won my plays on Broadway. I think that's still out there.
It's intended good. But more than that is traveling the
United States with my suicide awareness play and knowing that

(29:23):
I'm out there provoking discussion about the subject and saving
lives along the way, and and that has just kept
expanding into city after city after city with or without me.
So that's a goal. I just want that to get
bigger and bigger.

Speaker 1 (29:37):
Excellent. Well, thank you for spending this time with me.
I know we didn't get to a lot of core issue.

Speaker 2 (29:44):
What did we get to?

Speaker 1 (29:45):
But you know, I think the essence is it's just
about love. That's all there is.

Speaker 2 (29:54):
Like there's a song in there, but I'm not going
to sing it because I can't sing.

Speaker 1 (29:58):
Well, thank you for coming, you for fighting me, all right,
I'm Gary Quinn. Thank you for joining me. On another
episode of Ready Set Live until next time, Be well,