Patrick Labyorteaux, Back with "Andy" Garvey

Alison has back  Patrick Labyorteaux, Aka "Andy" Garvey

Episode Transcript

Speaker 1 (00:02):
At the applause the applause, am I dressed up because
it's New Year's Eve.

Speaker 2 (00:18):
It's New Year's Eve? Is it actually say? I'm totally
pre taping. I'm totally free taping this, but it's New
Year's Eve now, and I dressed.

Speaker 3 (00:26):
Up because it's it's New Year's Eve now, or as
I like says if somewhere all right, Well, Hi, I
am Alison Oringerm and this is the Alison Aringham Show.

Speaker 2 (00:37):
And some of you may know me as evil Nellie Elsen.

Speaker 3 (00:41):
But luckily tonight I have Ellis and Argham and this
is the Alison Ingraham Show. And here on the Allison
Ingham Show, we like to talk about things that make
us feel good, the movies and the TV shows that
made us feel good and the people who made them
and people who are doing things now to make the
world a better and more interesting place.

Speaker 2 (00:58):
And I have one of the oh so you know
I I was like, yeah, Pue of my friends on.

Speaker 3 (01:04):
Was like, and he's been on the show before, and
but it's awesome because when he was on the show before,
he was just starting, just starting his online acting workshop
and a bunch of stuff, and now it is all
exploded into like successful stuff which we left. We left,
and he's hilarious and it's New Year's okay, So I

(01:24):
did his show and now he's doing my show and
it's all very complicated, Patrick Lamberto, big, thank.

Speaker 4 (01:32):
You, thank you. Yeah, your your studio.

Speaker 1 (01:35):
Hoo.

Speaker 4 (01:36):
This is far larger than.

Speaker 2 (01:37):
Funny Ark, very very raucous, very raucous.

Speaker 3 (01:41):
And so yeah, so we have Nellie Elson and Andy
Garvey in the house again.

Speaker 4 (01:46):
Right, cheating this time no cheating.

Speaker 3 (01:50):
So wait, so we pre tape one, which will be
your New Year's e show where you interview me.

Speaker 5 (01:55):
Yes, this is like a double double or Marvel team
up on my news show.

Speaker 4 (02:01):
And here I am on your New Year's Eve show.

Speaker 2 (02:03):
So what time does your New Year's Eve show go on?

Speaker 5 (02:06):
We have we go live or not live, we go
We publish at twelve oh one in the morning, so
New York twelve thirty one, twelve oh one, like right
in the morning, so you get it when you wake up,
basically you get it.

Speaker 2 (02:22):
Oh and then I'll go at five as you're getting
dressed to go out to the party.

Speaker 4 (02:27):
You can watch just talk about us all.

Speaker 2 (02:29):
Day long, all day. It is an all day Ellison,
Andy Garvey, Nellie Elson, Verathon. Yes, so this is fun.
So yeah, the.

Speaker 3 (02:38):
Last time I had you on, you were just starting
your whole online acting school Actors Workshop think him a jigger,
and I think you had one student and I think
you got a second one because somebody watched the show
and called you exactly.

Speaker 2 (02:55):
You were like, awesome, it worked. You now have multiple classes.
You were like, hey, I'm booked.

Speaker 3 (03:00):
Done, man, I got classes, I got you got you
got classes, you got people.

Speaker 2 (03:04):
What happened?

Speaker 5 (03:05):
Uh, well, it just I you know, the whole idea
of getting into all the different social medias was to
advertise the school working Actors School dot com and uh
it seemed to have worked out well.

Speaker 4 (03:20):
People got a hold of it. People understand it. You know.
The idea.

Speaker 5 (03:23):
What I love about it is it's online. Obviously. The
whole idea is you can and I do. We have
a youth class. It's one of my favorite classes for kids,
and we have a kid from Connecticut, San Diego, Colorado,
and Seattle in one class and they're all amazing and
you would just never be able to do that.

Speaker 4 (03:43):
You know. I came up with this slogan, as one does.

Speaker 5 (03:46):
You don't have to be in Hollywood to train in Hollywood,
and it literally is true, and especially now where we're
all sending in our auditions anyways, it's almost like you
don't you have to be in Hollywood to work in Hollywood,
you know, to be on Earth, yeah, and have a phone,

(04:08):
and it's pretty cool. And so yeah, now we've expanded.
We have a master's class on Monday, we have a
youth class on Tuesdays, and we have an adult acting
class on Wednesdays, and then I fill out the rest
of the time with one on ones where it's just
like if you want to deal with a particular scene
you're working on or audition, or you just want a

(04:28):
private class.

Speaker 4 (04:29):
And you don't want to have the dynamic of other people.
The one on ones are are great.

Speaker 5 (04:35):
But I like the classes as far as a teacher
to an actor. I think working with other actors when
you're watching, you learn a lot more because you can
see quietly in your own private place, Oh I make
that mistake, I see what it looks like now, or
oh I never thought of that.

Speaker 4 (04:51):
I'm going to try that, and so you just get
it causes a lot more synapsies to fire.

Speaker 3 (05:01):
I've always liked when I've taken classes even online with
a group, even when I've my French lessons that I've
taken because they've taken them in the room and then
I took them online.

Speaker 2 (05:10):
But there was a bunch of.

Speaker 3 (05:11):
People from all over LA all logged in and it
was great because we could have a little conversation.

Speaker 2 (05:18):
They'd break us into groups to.

Speaker 3 (05:19):
Work on things. And there we were and it was great.
We met all these people and I'd go, God, your
living room is great.

Speaker 2 (05:25):
Where do you live? That is awesome?

Speaker 3 (05:26):
And we and it was lovely and we developed relationships
and you and you also could sit there and go, wow, Okay,
she did not pronounce that word, right, that's the tough one.

Speaker 2 (05:36):
That's the one. That's the one. We all s grew up.

Speaker 3 (05:38):
Okay, let's say, and you knew and then if you
felt you were terrible, the other people in the room
were like, no, that wasn't that bad. And then you
see them screw up and you go, okay, I'm when
you're all by yourself, and that's problem is now pandemic
and post pandemic, we're.

Speaker 2 (05:52):
All alone a lot. We all got stuck to it.

Speaker 3 (05:55):
Like suddenly, the auditions became online Hi, the interviews hull
here we all are online. Everything came online. You wound
up getting talked about being in your head. So the classes,
if they're too much one on one.

Speaker 2 (06:08):
You kind of go, I have no idea if anybody.

Speaker 3 (06:10):
Else likes what I'm doing or if this works with
the diff where an.

Speaker 5 (06:13):
Actor, you know when you're when you're when you're sending
in an audition. The worst part of the new world
of sending in auditions is there's no feedback. You don't
even get the general feedback of a change in breath
or seeing them spark up to something you're doing, or
a laugh. You're working alone, and I guess the benefit, well,
it is a benefit. You can do your scene until

(06:35):
that's exactly the way that you want it, so that
you know you're giving them the performance that you want
to give. But there's no feedback and it's so frustrating.

Speaker 2 (06:45):
And they won't even call to your agent.

Speaker 3 (06:48):
You know, if I get the agent calls mine, she
calls and goes well, and just to even get anybody
on the phone to go, yes, we saw it, yeah, yeah,
we liked it. It's like a huge ordeal to even
get that out.

Speaker 4 (07:00):
Satyn do the abyss you don't even write.

Speaker 3 (07:03):
And sometimes if she knows them, she's like, okay, I
got them to call me back and go, Yes, they
actually watched it and they liked it.

Speaker 2 (07:09):
But again nothing now. Of course, the other scary thing as.

Speaker 3 (07:13):
You shoid you can do it as many times as
you need to.

Speaker 2 (07:16):
Well, that can be a dangerous trap to fall into.

Speaker 3 (07:20):
Do Yeah, you're not in your head the thirty seven take, Well,
that was great, I'll send that in.

Speaker 2 (07:23):
And what are you going to do if you get
the job?

Speaker 5 (07:27):
Well, and here's the thing though, the reality, right, executive,
you don't know, but I have a student I won't.

Speaker 4 (07:34):
Yeah, I haven't given anything away.

Speaker 5 (07:35):
I have a student who does exactly that, does too
many takes and sends it in, obsesses over it and
it becomes something that is in an actor's head. Okay,
if I just do this one last thing, then I'll
be hired. And it's not like that as a producer.
In fact, we fought we found one of our one

(07:58):
of our main cast members for the See Dad Run
from a self tape, but at that time it was
because he was in New York and we've brought him
out and we physically auditioned him and we brought him
in the room. But from the self tape, the reality
is and this was the best acting lesson I ever learned,
and here it is for free. I learned it as
a producer. It doesn't matter what you do in the

(08:21):
audition process. If you walk in and the people think
that you're the character, then they're either on your side.

Speaker 4 (08:28):
Or they're not on your side.

Speaker 5 (08:29):
And as a producer, someone would walk in and go, oh,
this guy looks great, and you're you're watching him and
you're like, okay, great, bring him back, or someone walks
in and you're just like, no, he's not right, and
it has nothing to do with you.

Speaker 2 (08:42):
It has to be too brilliant. You could be Meryl
freaking Streep.

Speaker 3 (08:46):
But if the goat, she doesn't look like the people
we tired to play her parents and her sister, and
it's in the movie and it's right.

Speaker 2 (08:54):
You got there.

Speaker 4 (08:55):
I'll share a name.

Speaker 5 (08:56):
We I brought in Andy Dick, who is one of
my favorite of all time. I know he's personally has
issues and that's.

Speaker 2 (09:04):
A second too.

Speaker 5 (09:06):
As a performer, I find him hysterical bringing him in
and he came in to read for us and his
performance was wonderful.

Speaker 4 (09:16):
He was hysterical. But as then as a producer.

Speaker 5 (09:19):
We thought of our two leads that he was going
to be working with, and we're like, but they're not
going to match up as far as level. And so
again the actor came in and killed it. But it
had nothing to He didn't get the job because it
had nothing to do with his talent, and so as
an actor, going back to that, it's really really an

(09:40):
amazing lesson to learn because for all of us who
are doing those self tapes over and over again, sometimes
that first take with the energy and the.

Speaker 4 (09:51):
Looking for the lines or whatever, sometimes it's a disaster.
I get it. But sometimes if you get through the take.

Speaker 5 (09:56):
And you like it and you go, oh, that's good,
the reality of making it exponentially better and changing it
into a job getting interview doesn't work like that.

Speaker 3 (10:06):
No, I think you're torturing yourself unnecessarily because one thing
is also you get actually because you get more into
your head and more, you torture yourself, and then the
final product is probably kind of unnatural and you're probably
a little more real.

Speaker 2 (10:18):
Maybe in the first.

Speaker 3 (10:18):
One, I know, I finally doing stuff by myself was like,
this is a nightmare. So I would go to one
of the many fine services in our city where for
a tiny fee and a very tiny fee to place
up about a nice man will set up the camera
and really nice lighting and he will read it with
you and actually read it with you well. And so
that you have and the great part is there is

(10:40):
someone there. So you do like two takes and they go, well,
I don't know what the hell else you are planning
on doing.

Speaker 2 (10:47):
If you want to, we could do it. You still
have time in the thirty minutes you booked. But you
do know that those two takes were totally like completely fine,
and you go, great, send them and you get because
there's someone there to go stop, step away from the camera.
You are done.

Speaker 5 (11:01):
Yeah, And unfortunately, as the as the older actor, you know,
as as us older actors, that's what you got when
you audition with the casting director. You got that interaction
with a human being. And you're not spending any no
matter how little it is, any money to audition for
a part. You might spend gas. You might be saving
money on driving, if you know, it's like now that
we don't drive to Santa Monica on Friday at five o'clock.

Speaker 3 (11:24):
Oh my god, Oh my god, park right now. The
Screen Actors Guild, to their credit, the was it the
Meryl Streep Studio, blah blah blah. They have a place
that you can book an appointment for free, say for free,
where you can come in and they have a reader
and you can go tape your audition so you don't
actually have to pay the thirty bucks of the twenty

(11:45):
nine ninety nine or the ten dollars or the fifty
dollars are wherever the hell you're going in LA. That's
so there is that, thank god, because paying the audition
seems wrong somehow ethically, even though I've done it. The
young one, I was at a sad workshop, another free thing.

Speaker 2 (11:59):
I love free sag stuff. I go my union. Just wait,
there's free stuff.

Speaker 3 (12:02):
I feel like getting my nickels worth somehow if I
take a workshop or a class or.

Speaker 2 (12:06):
Go to a thing.

Speaker 3 (12:07):
A guy, I got something out of the way, dude,
So I go to everything. And they had a workshop
and they had a couple of casting people and a
couple of directors, and they said, the tape stuff is
driving us insane. We used to be able to audition
this many people, but now it's tapes.

Speaker 2 (12:22):
We go, oh, we can see more.

Speaker 3 (12:23):
Yes, but now this means everyone is sending a taste
of like eight million videos.

Speaker 2 (12:28):
How do we watch the more? She said? We feel
bad because we're watching five seconds of Going next, and
you know by guy.

Speaker 3 (12:33):
Did some better, she said, But what's really making us
nuts is some of you people doing the thirty seven
takes it home until it's perfect.

Speaker 2 (12:40):
Okay, so we got a take. It was brilliant. We
hired the guy.

Speaker 3 (12:45):
He shows up on set. He can't do it in
one take, two takes. We were being really cool where
we didn't expect people to be all one take wonders.

Speaker 2 (12:54):
We were cool. Around the seventh take, we realized and
then we had talked with them. He needed like thirty
seven takes to do anything, because that's why he'd done
it at home. He did took like a million takes,
and they're like, yikes, wow, we don't know how many
times this person did this to get this in the room.
We know that once they can do it feedback, they.

Speaker 5 (13:13):
Can do That's exactly it. They'll always give you that cake.
Try it like this. And I always tell my students,
if you ever get feedback. That means they like you
and they want to see if you take directions or
if you're malleable, if you have some skill, and that's
something that you just again don't.

Speaker 3 (13:28):
Get with with you don't get so yeah, they said,
we get these people and they need all those takes.

Speaker 2 (13:32):
They can't do it in two or three takes. So
we're like, yikes, what have we done?

Speaker 3 (13:36):
And she said, and I've also I also had the
experience where we get someone, we didn't get to meet them,
We hired them based on performance. But now I'm stuck
on location in the middle of nowhere in New Zealand
or Brazil for three months with someone I can't stand.

Speaker 2 (13:51):
And she said, we don't know.

Speaker 3 (13:54):
If we have people in the room, we can at
least get some idea, have a conversation, get a vibe
that maybe I don't want to be trapped in a
bunch of mubble homes in a motel room in you know, Yugoslavia.

Speaker 5 (14:05):
For well, I had a friend who was a casting
director and her first go to was to talk to
her assistant outside and find out how they were in
the waiting room, how they treated people, how they acted
when they walked in versus because obviously a casting director
is going to get the best version of yourself hopefully and.

Speaker 2 (14:23):
Going to get the worst. They'll be terrible out in
the room. They're mean to the other actors. They're like,
I'm hanging hang, and I hate that. These people suck.
I don't really want to be in this. Hi, how
are you?

Speaker 4 (14:32):
Yeah? Yeah?

Speaker 3 (14:33):
Oh yeah, Oh god the spies and they said yeah,
they said, it's driving mets, they said, but they said,
the studios they won't pay for the space.

Speaker 2 (14:40):
They said, they won't give us.

Speaker 3 (14:41):
The little room, run a lot in an office and
a guy with a camera.

Speaker 2 (14:45):
They won't let us do that. And then okay, we
got to go rent space. Oh what are we going
to do?

Speaker 3 (14:49):
A hotel room? Nobody wants to come to. That's like
what they said.

Speaker 2 (14:53):
It's awful.

Speaker 3 (14:54):
We got to like write a place is an hotel room,
so it don't creep people out. And but the studio
won't pay for anything. If to like go out of
our budget. If we want to see anybody in person,
there's a nightmare. And she said yeah. Between the closet
terrible person and the thirty seven take guy, they said,
we would prefer to go back to live auditions big time.

Speaker 2 (15:14):
It's painful for everyone these things.

Speaker 5 (15:18):
Yeah, it is a you know, look, you and I
have been in the business long enough to have remembered
all the different eras of this.

Speaker 4 (15:25):
I remember auditioning before they had video cameras, where you.

Speaker 5 (15:28):
Literally just they had a stack of eight x ten's
on the table and they were taking notes because they
couldn't refer back to a videotape. And then we started
auditioning on videotape, and then it was a different thing.
But yeah, I mean it's there's been a whole progression
of how this is. Hopefully we will get back to

(15:50):
a more analog version of it. And again it goes
back to the money. They don't want to pay the
casting directors a proper budget to do their job. Was
a joke anyways, because if you've ever been in an
audition in Hollywood, you're always sitting on a broken chair.
And there was you know, maybe at a sparklet's jug
for some water, and that was it. I mean, it

(16:11):
wasn't like we were walking into some posh you know,
the offices.

Speaker 2 (16:16):
It wasn't Gaitered no. But yeah, I think I think
maybe the advice I would give someone, have to go
with the first take and just give it up, because
what are you really going to do? You really get
a torture yourself. They're either going to get it or
they're not. It's the type then I would go.

Speaker 5 (16:34):
There's been some times if I'm doing a scene, I've
had a couple of auditions where they want to see
the whole.

Speaker 4 (16:42):
Progression of the character that's changed too.

Speaker 5 (16:44):
At the very beginning. They would have you do forty
pages and you're like, oh my god. But there was
one interview where it was very emotional and on the
first take I liked it, and you know, as an actor,
I'm kind of afraid to like engage on these type
of things because it's very emotional. And it was on
the third take when it kind of clicked in and

(17:06):
it was sort of like I connected. But that's something
like when you're hitting a baseball or a golf ball,
when you hear that ping and you know that you've
hit it out of the ballpark. You know, it's not
like a it's not a granular thing of like, oh,
I should have gone.

Speaker 4 (17:19):
Up on that last line and then I would get
the job.

Speaker 5 (17:22):
But like when you really connect to the material, and
you know, I got emotional because of the material and
it felt right.

Speaker 4 (17:29):
That's different. But yeah, I mean it really is sort
of a numbers game. I do voiceover, and on voiceover
it's even worse. Which it's been like.

Speaker 5 (17:37):
This for a long time where I called my agent
ones and I said, how many people? Honestly, how many
people are auditioning for this role? And it was a
big role and he says probably about three hundred. And
it's like, as as anyone, how do you go? Oh,
fifty four was good, three was good?

Speaker 4 (17:55):
Was good? Better?

Speaker 5 (17:58):
Right, And it's like it just becomes a flood. And
I don't know the numbers. You probably do, you're very
good at it. But there's like over one hundred thousand
actors in the guild and then there's millions of people
that want to be an actor.

Speaker 3 (18:13):
One hundred and ninety one and two seventy six. I
think it's between those two. I mean, yeah, right, how
and wow, drive yourself and say, now, of course we
go back to the old audition ways.

Speaker 2 (18:25):
Okay, there you go. First, take the infamous audition story.

Speaker 3 (18:29):
That I tell over in our little house where I
came in, they had all the pages, was like, you know,
we're going to recite the entire frickin' episode cons and
it's for producers. It's Michael, the guys and I do
the thing and they say do it again? Can you
do it again? And I said, what do you want
me to change? And they said, just read the thing
about the house again. In this case, it wasn't like
change it.

Speaker 2 (18:47):
It was was that lightning struck.

Speaker 3 (18:51):
This is a small she seems I looked younger than
I was. They're going tiny, small, younger.

Speaker 4 (18:57):
You looked younger, then that's interesting.

Speaker 2 (19:00):
Yeah, I was twelve and probably looked nine. I was
teeny and so.

Speaker 3 (19:05):
Small China doll person sitting on the couch just came
in and did this really funny thing?

Speaker 2 (19:10):
Was that a flat? Did you do that on purpose?
So they're like, do it again? And died lavic And
then that was it. So talk about first instinct. And
then my father said, don't look at the pages, don't
rehearse it again, just go do that. And that worked.
That was the thing that was the thing they wanted.
What was it?

Speaker 3 (19:27):
Dean Butler or Orlando said that someone told them, oh,
you're reading for Michael Land and don't act right, he.

Speaker 2 (19:34):
Said, what what? I just got out of school, got
a degree in that. He's like, no, don't let him
catch you acting. No act it, don't do any acting.
And if you do, don't let him see you. He's like, wait,
what are you even talking about? What does that even mean?

Speaker 3 (19:44):
He's like, and yeah, it's like the less is more school,
And I'm sorry, how did you get the part on
the loss a ken out?

Speaker 5 (19:52):
You're you know, I have two I have two more
key roles in my in my career, and both of
them went down prettymum. Much the same with a Little House.
I get, as we all did when we were kids.
If you're picked up by your mom, then you have
an audition after school. After school, so you get out
of school and if there's mom, you know, then you

(20:13):
know you're going on an audition. And she took me
to Paramount and it was a Wednesday. No, it was
a Thursday. So Wednesday, I'd watched the Bunny episode of
Little House, one of your big, huge episodes, right, Bunny
in the Race, and I was a big fan of
the show. And so I get picked up on Thursday
and mom says, you have an audition for a little house,

(20:33):
and back then that's all you knew. There was no internet, email,
there was no anything. You just were going to Susie
Sickman's office. They were going to audition you. You'd get there,
there'd be some scripts pages and you'd read those and
that was it.

Speaker 4 (20:45):
You'd sign in with your name you're a talent agent,
and your full social security written out on a future good.

Speaker 3 (20:54):
We're all of the people wandering in and out, from
the janitor to the actors to the guy we're philling
this part. Let's get them read yours old, the security
number and your name right exactly.

Speaker 5 (21:03):
It's just like, I can't believe we did that anyway.
So I go to Paramount. I read for Susie. She goes, okay, great,
hold on, we're gonna take you up to seem Valley.
They put all of us kids into a truck, drove
us out and the freeway wasn't built yet, so stop.

Speaker 3 (21:22):
It just stopped when it stopped in the middle of nowhere,
and you got it and went.

Speaker 5 (21:26):
I guess I go this way right and and side story,
that's where they shot all of chips because it was
a closed freeway, so they'd have this whole area where
they could shoot chips at that time. But so would
they drive us up to a little to see me valley?
And it was It reminded me remember the movie The
Andramaa Strain. Yes, where there's this great line where they

(21:48):
build this Richard bowl.

Speaker 2 (21:50):
Mister Olson is in a drama strangth Oh.

Speaker 4 (21:53):
That's right, that's.

Speaker 5 (21:56):
It.

Speaker 2 (21:56):
So there you go.

Speaker 5 (21:57):
So the whole idea of the Andramaa Strain is there's
like this huge government facility buried deep in the middle
of nowhere, and as they're driving, you just think they're
driving like on a farm. And one of the guys
is going they must have brought in a lot of
heavy equipment to hide all of the construction, and you're like,
what is he talking about?

Speaker 4 (22:16):
Because everything was built below ground, but everything looked normal.
It was hidden.

Speaker 5 (22:20):
Well that's how I felt when I was driving up
to the little house, because.

Speaker 4 (22:23):
It was like driving in the middle.

Speaker 5 (22:25):
Of the California mountains. There's no one there. You go
up this windy road and then you come up to
this one little hill and I just kept thinking to myself,
they must have brought up a lot of heavy equipment
to hide all The movie people and you drive past
the little house, you drive past the garvy house until
you get to base camp, which is like at this
barn and I had, Yeah, they had the honey wagons there,

(22:48):
they had catering there, and that's where they had us
actors wait and then they said, okay, you're ready to
go read and so then they walk us down the
hill and it's the hill behind the mill watermill, right
where she pushes you down the hill in the wheelchair.
And so we're walking down that hill and you see
when you walk down the hill, Oh there's Walnut Grove

(23:09):
and it's full glory.

Speaker 4 (23:12):
I'm describing it to you like you've never been there, but.

Speaker 3 (23:15):
It's mind blowing because yeah, well you come down the hill,
there's nothing. There's honeywag it's in a bar, which I
believe is the barn used in the first Men in Black.

Speaker 2 (23:23):
The bar was using a lot of stuffs the Men
in Black Alien barn. And so then you come down
but there's nothing. There's nothing. There's the trailers and where
you eat lunch, and.

Speaker 3 (23:30):
Then you're coming down you go o the mill and
then you do. You come down there's trees obscure and
you walk out.

Speaker 2 (23:37):
Wallet Crab, and.

Speaker 5 (23:39):
So I walk out and I'm in the middle of
Walnut Grove and I'm looking around and in the middle
of Walnut Grove is the big oak tree and there
was Michael land And dressed as paw. And it was
so weird because it was like, again, like every studio
back lot is designed so that once you're in the
middle of the set, you can't see anyone, so you
can shoot the camera wherever you want.

Speaker 4 (24:00):
But now we're literally in the middle of.

Speaker 5 (24:02):
The California Mountains. You're not seeing anything. If you didn't
see the errant plane go by, you would swear you're
in the eighteen eighties. And then I turn around and
there's Michael land And under the walnut tree or the
oak tree, and I'm like, holy shit, this is crazy.
And they go okay, And so they kept us by
the mill and then each kid would go up and

(24:23):
meet with Michael Landon and read I tell this story.
And it's like, people don't understand what the weird thing
about Michael Landon was is he was a star of
unparalleled like luminance. He was Michael Landen from fifty feet away,
his chair, his tan, his muscles, his smile, his energy.
Everything was like it screened star. But the closer you'd

(24:46):
get to him, the more like it was like he
was your best buddy.

Speaker 4 (24:49):
It was weird.

Speaker 5 (24:50):
It was like how he could make that happen. So
I went in, I read, I came back, the other
kids read. Then he gathered everybody and I happened to
be standing next to him, and he had his hand
on my should and he.

Speaker 4 (25:00):
Goes, okay, everybody. It was a Thursday.

Speaker 5 (25:03):
He goes, okay, we're gonna we're gonna think about all
this and we'll let you guys know.

Speaker 4 (25:06):
And everyone said thank you. And I looked up and.

Speaker 5 (25:08):
I said thank you, and he yields out on my shoulder.
He leans down and goes, you stay here, and so
I'm like, oh, this is good. This is probably a
positive idea.

Speaker 2 (25:18):
That's what it's.

Speaker 4 (25:20):
Everybody walks back up the hill.

Speaker 5 (25:21):
I stand there and he goes, well, you got it, kiddo,
And I was thrilled. But it was like my investment
in being on a TV show for a little house
had been three or four hours. I had been in
school like four hours ago, and in my head because
I was a character actor kid who continually continuously went

(25:43):
up for different parts.

Speaker 4 (25:45):
This was a guest star.

Speaker 5 (25:47):
No one told me what it was, because again you're
a kid, and no one's telling you anything, and it
was happening so quick, and they go, okay, well.

Speaker 2 (25:56):
A wardrobe that happened to every Charlotte Stewart didn't know
that it was.

Speaker 3 (26:00):
It's the regular Miss Beeatle thing. She thought it was
a one off because she had played the teacher on
Banana and gun Smoke and every show she'd come in
and do the schoolmarm thing. And she came in, she
didn't even know she got there, and everyone's in the
schoolmarm dragon. She said, I was in a Tyedye T shirt.

Speaker 2 (26:14):
She did no idea what.

Speaker 3 (26:15):
The heck was happening, and she said, I thought it
was one episode. So she went in, she kills it,
and then they go, no, it's like four years because
you're the teacher has being She had no idea what she.

Speaker 2 (26:24):
Gotten herself into. Yeah, they didn't tell if.

Speaker 5 (26:25):
They didn't tell her exactly and that's exactly what happened
to me. So that was Thursday. So Wednesday I watched
the episode. Thursday I auditioned. They put me on ward
of Thursday night, they said, Okay, be back here at
seven thirty. Actually be back at uh yeah, Paramount. I
started working Paramount at seven thirty on a Friday. So
now Wednesday, I'm a fan of the show. Friday, I'm

(26:48):
in the barn set with Missy, Melissa, Sue, Robin and
Rachel and myself, you know, reacting to a bunch.

Speaker 4 (26:56):
Of wolves because it was the episode Wolves.

Speaker 5 (26:59):
Yeah, where they're attacking us. And again my parents, no
one had told me. I was with an agent by
the name of Iris Burton, who is a famous, like
just this famous crazy seventies kid agent.

Speaker 4 (27:16):
Right.

Speaker 5 (27:16):
Her son Barry was in Saturday Night Fever and she
had all the big TV stars of the you know,
but she wouldn't talk to you as a kid.

Speaker 4 (27:25):
It was just weird.

Speaker 5 (27:26):
It was like, so my parents were kind of finding out,
but I wasn't finding out. Meanwhile, I'm sitting next to
Melissa Gilbert Missy Missy as I mean, we could talk
about later. But the stories about Melissa so Anderson were
absolutely true. She was just like the Wall of China
or you know, like the Iron Curtain. She was like
she would smile and then that was it. You knew

(27:46):
that you weren't talking to her. But Melissa, on the
other hand, I started asking all these questions about you know,
a little house and like and then this, and then
when you found the Confederate money, and then when the
bunny and the race.

Speaker 4 (27:56):
She goes, look, dude, you're on the show. Just chill out.
I'll answer, but like, slow it down at the end
of it.

Speaker 5 (28:04):
At the end of the episode, you know, here I am,
I'm saying goodbye. I'm shaking hands and being the good
little actor saying goodbye to everybody. And Miles the ad goes,
what are you talking about? Mcgoona hand he'd give you
started calling me mcgoona hand. That was yeah, my nickname
from Miles. He gave all the kids and nicknames and
so magoona han.

Speaker 4 (28:25):
Where are you going?

Speaker 5 (28:26):
And I'm like, well, there's a pleasure working with you.
And he goes, well, here's the script. I go, what
are you talking about? He goes, for the next episode.
You're in the next episode here?

Speaker 2 (28:33):
Now, yeah, that's you live there? Now, you live here,
now there own You're not going up. But wait, you
left that just okay, So this is a weird thing again.
The kid actors and the bizarre things for children.

Speaker 3 (28:47):
You were in school, you left school, your mom pick
a member, no cell phone, so nobody could call you
at school. Tell you had an auditions, like did you
walk out of school? I'm gonna go somewhere else, but
I guess I'm not.

Speaker 2 (28:56):
And you get it. So you go to the audition,
and normally that's a set time period process. You go
to the audition, you do the audition, you.

Speaker 3 (29:03):
Get back in the car, you go home. You have
milk and cookies into the back.

Speaker 2 (29:06):
So instead you got it.

Speaker 3 (29:09):
Look where you went to the new Paramount and then
Seami Valley is far away from Paramount. It's not down
the road. It's a long way and of traffic. And
remember there was no the one eighteen didn't go anywhere.

Speaker 2 (29:22):
It's almost an hour. It's a long freaking way. So
you're in a van with stranger and you go do
you're mean kidnapped?

Speaker 3 (29:29):
And then they keep you basically, and then you wind
up at Paramount and they're like, yo, you're you living?

Speaker 2 (29:34):
You You were like Shanghaide, what was it you were
kidnapped into this role?

Speaker 4 (29:41):
Yeah, we had our mobs.

Speaker 5 (29:42):
But again, when you think about it, even when we
were quote unquote in civilization at Paramount or MGM.

Speaker 4 (29:48):
There was the set phone, not a set phone. It
was the set phone.

Speaker 5 (29:53):
If you wanted to call the stage, you had one phone.
There's maybe a guy answering it. Or if you're a kid,
you can't wait for phone to ring and you answer
at stage fifteen, you know where you're answering the phone
and then you could get a hold of I mean,
you could call it Michael there. Michael would come to
the phone. Rare, but yeah, it was everybody's phone. So, yeah,

(30:14):
we're up in Seemi Valley and there's no set phone.
There was there was, you know, Greg will Aban was
that his name, Greg Gary Gary Gary. Yeah, he would,
he would just they would have him go and drive
to the nearest phone.

Speaker 4 (30:27):
They had a phone down the hill somewhere.

Speaker 3 (30:29):
The house that's the caretaker's house for now, it's like
the location Scout office. When you come down there and
you meet with and I take you up that weird
little house at the bottom of the hill that was
where the phone was.

Speaker 5 (30:40):
There was a weird time where obviously now we're just
talking like old people where you didn't have a connections
with people, but you assumed that everyone was fine just
because of the pace and schedule of the world. At
that point, it was like, oh, well they're on location,
I'll talk to them tonight or.

Speaker 2 (30:58):
Tomorrow or not.

Speaker 1 (31:00):
Yeah.

Speaker 2 (31:01):
Yeah, it was really weird to be I mean people
talk about that.

Speaker 3 (31:04):
God when we were kids, we went out, we came
back when the street lamps went on.

Speaker 2 (31:07):
I mean it in show it was similar. You were
cut off and didn't see me.

Speaker 3 (31:10):
We were totally cut off in an electricity fense is
like nothing.

Speaker 2 (31:13):
And it was very, very, very weird. Now you enjoyed
being a little house. This is something we all talk about.

Speaker 3 (31:18):
That for child actors, especially when you are like a
Journeyman character actor kid, which is like, but I was
doing un till I got it.

Speaker 2 (31:26):
It's like trying to keep getting jobs.

Speaker 3 (31:28):
Oh no, you're gonna turn twelve, thirteen, fourteen, then you're
gonna be cut off of the kneecaps because they're going
to hire eighteen year olds to play and you're gonna
be dead in the water and what are you gonna
do and all.

Speaker 2 (31:38):
But to get a series where you stay put for
like the.

Speaker 3 (31:41):
Most awkward years if your adolescents is gold. And to
get on a series where people are like nice to
you and not horrible, super duper. So for most child actors,
getting a little house in the prairie was like winning
the lottery.

Speaker 4 (31:55):
Yeah, that's what it felt like.

Speaker 5 (31:58):
It was also because of like I'd just explained the
fact that I didn't. It was a rolling understanding of
the fact that I was going to be on the
show more than once, and then I'm on it, and
then later on a year later and the season following
they added Albert, who was played by my brother, but
prior to that he had played Michael Land and so

(32:18):
it was sort of like Matt had done an episode
and now I was doing episodes. But for me, it
was never which later on you would have later on
I would experience when you go to audition for something
and they have all the stress of like, I could
be on this show for ten years.

Speaker 4 (32:34):
I could you know, this could be a life changing event.

Speaker 5 (32:37):
There's a lot of stress that never happened with the
little house and then the people there, as you well know,
literally how many people on this show.

Speaker 4 (32:46):
Alone have said, oh, the set was like a family,
everything was.

Speaker 5 (32:50):
What but literally it was there were just four or
five families that did Little House. There was Michael, he
had all his kids on the show.

Speaker 4 (32:58):
There was me and my brother. There was Melissa and Jonathan.

Speaker 5 (33:02):
You were joking at an email you were like the
only one that wasn't related to someone on the show.

Speaker 2 (33:07):
You had all the twins. You had all the twins.
Then you had Leslie Landon and Mike Junior, and you
had you and your brother. You had Melissa and her brother.
You had the eighty seven sets of twins, like I'm
like I was related to each other.

Speaker 3 (33:18):
And then being la a lot of people's parents were divorced,
and then a whole bunch of.

Speaker 2 (33:23):
Other people were adopted. And I remember at one point
me and Nannie Mary sitting there and going, I.

Speaker 3 (33:29):
Think, maybe the only person here who can tell you
with some accuracy where both of my parents are at
this moment.

Speaker 2 (33:37):
Nobody here could, like, where are your parents? I have
no idea.

Speaker 4 (33:42):
That's funny.

Speaker 5 (33:43):
I just I just put up a TikTok about working
with Catherine McGregor and not knowing it was her, and
I put in a scene from the Little House where
from the Little House got them all from a little House,
where you know, you get your you get your your
right and so it's a picture of me and you.
It's like I'm behind you and you're reacting to your

(34:04):
mom giving you this restaurant. The worst background of is
one of the extra kids, right, So I get a
message on the TikTok comments from Johnny Musselman's kid.

Speaker 4 (34:15):
Who's like, I was in it.

Speaker 5 (34:16):
I could see myself. It was like that Johnny Musselman
was our dute. He did the cashers right, And so
all the crew members had their kids be the extras.
So it was like the families were there, and so
there would be a.

Speaker 3 (34:31):
Guy, all the crew, the grips of the electricians, and
the crew's children were in the chep actu.

Speaker 2 (34:37):
So like people would say, did the kids act up? No,
you're sitting in the schoolroom.

Speaker 3 (34:41):
Maybe you're an extra, have a small part, but your
dad is standing there hanging the lights. Seriously, what are
you going to do? And the children were all the
crew members children were there. It just it was after
and then you had people to guess or you had okay.
Sean Penn's dad directed a couple episodes, so suddenly Sean
Peen's in the show, just hanging out as blonde kid

(35:03):
number three.

Speaker 2 (35:04):
But he's in the show. It was very bizarre.

Speaker 4 (35:07):
Yeah, it was.

Speaker 5 (35:08):
And also again the old person biased. I won't say
it was better back then, but I will say it was.

Speaker 4 (35:15):
Way better back then.

Speaker 2 (35:16):
And it was.

Speaker 5 (35:19):
Like when you would audition for something again, when you're
there inside the room, you walk into a room filled
with kids that looked just like you.

Speaker 4 (35:27):
Right.

Speaker 5 (35:27):
First of all, nowadays that's completely different in a room
or not a room, because everyone can audition for everything
and that's great, But at the time, it was just
sort of like you knew all the kids that looked
like you in Hollywood, and so there were a lot
of kids like Stephen Manly or Todd Bridges or.

Speaker 4 (35:45):
The people or the Richards call the Richards.

Speaker 3 (35:49):
Sisters, the Shay brothers, the almost.

Speaker 4 (35:53):
All these kids you knew from auditions were it would
come in and be on the show.

Speaker 5 (35:59):
And so you'd see these friends like Ike and allies
them and we're both on the show, and it's like
these were people that I hung out with, and it
was sort of like Ike specifically, if you have meaning,
I know you know I can have done it. Ike
has a real thing for Little House because it was
like one of the things where he was like, man,
if I could only get on Little House, I need
a regular gig, And it was like, dude, he's like twelve,

(36:22):
you know. But it was that feeling like you're saying of,
you know, wanting that regular, that regular thing. And the
thing with Little House was for whatever reason, you know,
I guess Clint Eastwood still does it.

Speaker 4 (36:33):
There was a time in movie or TV where people
figured it out.

Speaker 5 (36:38):
Michael Landam would shoot from seven thirty to five every day,
and in five days there was an episode, and we
did twenty four twenty six episodes.

Speaker 4 (36:46):
And maybe throwing a TV movie.

Speaker 5 (36:47):
Michael all right, Meanwhile, like while we're having steak in lobster,
he's writing the next script.

Speaker 4 (36:52):
On you know, on a on a pad, and he
was making TV like it was going like it was hotcakes.

Speaker 5 (36:59):
And nowadays do a TV show and it's like, we
did eight of them and we're gonna be down for
three years while we figure out and break the next season.

Speaker 4 (37:06):
It wasn't like that.

Speaker 5 (37:08):
So there was this idea of you got really good
at doing stuff because you did it every day all day,
but then it ended. It wasn't like a stressful thing.
That's one of the things I loved about little House.

Speaker 2 (37:21):
It was like the pace with it.

Speaker 3 (37:23):
You weren't because I remember what was like the episode,
the whole thing of Perceval and the marriage thing. He
comes bounding into makeup one morning and he goes, you're
getting married, and like runs out of the room and
I'm like, I beg your pardon, what is this announcement?

Speaker 2 (37:37):
And I go, who's going to marry Nellie Eilson? And
then he comes down me okay, okay, okay, so your
garas is getting married and it's really graty. It's a
little short guy, but he won't take anything off of anybody.

Speaker 3 (37:46):
And he tells missus also, and he runs away and
then he comes because oh oh oh, and he's Jewish
and then he runs.

Speaker 2 (37:51):
Away like what is happening?

Speaker 3 (37:54):
And then I come leave and it was you know,
MGM where we had the blocks of the wooden dressing
rooms in the building. Yeah, And I go by and
there's his room and the door's open and he's got
a big yellow legal pad depends on that's the left
hand thing, and he's furiously scribbling away, and I went,
you're writing this right now, aren't you? Yes, Yes, I am,
I said you're writing, you were like running it into

(38:15):
athletic as the ideas game it in the process of
writing this as I speak, Yet, aren't.

Speaker 2 (38:21):
We shooting this? When are we shooting this three four
weeks or something? Ridiculous? I said, really to be done
by then.

Speaker 3 (38:29):
It was, But there was this pace, like he had
that thing because he had all the guys from Bonanza, like,
let's all try to get home for dinner. Let's get
home at a little B hour, Let's not go into
crazy overtime. Let's like, we'll start ridiculously. Really, I mean
there were times in the early days. I was there
at four and five, but we'll start stupid early. Get
the great like at the beautiful sun coming up, and

(38:49):
then get the hell out of there.

Speaker 2 (38:51):
And I was like great, But it was like next, next,
and moving on, moving on, moving on, Like he knew
what he was doing, he knew exactly what.

Speaker 5 (38:57):
I would walk into a set, he'd go, Okay, it's
something like this, and then we creep over and that
was it, and the crew knew exactly what he wanted.

Speaker 4 (39:04):
And back in that day again, they had we had film.

Speaker 5 (39:08):
Stock that was really slow, so we needed lots of light.
The cameras were really heavy, so we needed big, heavy dollies.
Everything that we did on Little House you can do
with you know, a panel light and an iPhone as
far as lighting and as far as shooting and get
pretty close to the quality. But back then, just because
the technology was different, you had this big crew, but

(39:29):
they knew exactly what to do. And then later when
I was always on the show Jag and our DP
one an Emmy.

Speaker 4 (39:35):
He is a beautiful DP.

Speaker 5 (39:37):
But you know, Teddy Voightlander one Emmys and Teddy Voitlander
and Buzzy Box and all these guys knew how to light,
but they would do it so economically. But this guy
on Jag, you know, I would be there and they're like,
what's going on and goes, well, we're lighting, and I'm like, yeah,
but it's been like four hours.

Speaker 4 (39:51):
That wasn't That wasn't the way it was.

Speaker 2 (39:54):
And maybe took it back and they go next, next movie.

Speaker 3 (39:57):
So I go to do this movie in France with
the joomp Here Mochy, famous crazy French director known for
being absolutely out of his mind. And I get there
and the other actors and the crew are like worried
about me, Like you can be okay, and the good
he works at very crazy pace.

Speaker 2 (40:13):
It is just like insane.

Speaker 3 (40:14):
He's out of control and everything too is too fast
to it because they're French. You know, you have a
little coffee, then you have a little wine, then maybe
you make a movie and then you tek some more
wine and so like I mean, they we rolled in
around ten and then they served a meal and like
then we worked and I was like, okay, there is
fine by b and but then when he started, it
was like whoosh.

Speaker 2 (40:34):
This guy was great and he was he knew every angle.

Speaker 3 (40:37):
He would shoot the whole movie in like nine to
twelve days and then spend a couple of months editing.

Speaker 2 (40:41):
And that's how he made a movie. And he made
like go out as IMDb. It's like how many moviees
in the stents craking them out? And not everybody liked that.
And so I get there and we shot a scene
and as soon as it was done, it was like
two takes. He went perfect.

Speaker 3 (40:55):
And of course he had the advantage of digital and
a little monitor so he could really see it wait
for dailies, and so he was thrilled with the new technology.

Speaker 2 (41:03):
Work faster. So he's like moving on, and the camera
crew scurrying around.

Speaker 3 (41:07):
And they've got steady cams and something this and that
and they're going and so he says, are you okay?

Speaker 2 (41:12):
And I go, what, I'm fine? What are you talking about?

Speaker 5 (41:14):
This?

Speaker 2 (41:15):
It was great and he said, but but it's terrible.

Speaker 1 (41:17):
He works.

Speaker 3 (41:18):
He works so fast, it's so crazy. And I said,
apparently none of you have ever worked with Michael Landon.
And I thought the pace was totally normal and didn't.

Speaker 2 (41:28):
Notice that anything was wrong till anybody said anything, because
I was like, hey, now we do the next seat,
Let's get the whole thing. Took three days.

Speaker 5 (41:36):
I was in and out.

Speaker 2 (41:37):
Well.

Speaker 5 (41:37):
I was talking to I was talking to Dean Butler
on the Patrick labor Show with Patrick Labrateau. The Dean
Butler episode is up and you'll love it, and we
were talking about when you're Michael Landon. He was smart
enough to know that he was, you know, he was
the dude. He wrote, directed, produced, start in edited everything.

(42:02):
He did everything on the show. So he led by example.
He didn't have a big, huge trailer because he was
never in the trailer. Nowadays, you get these fifth wheel
trailers where people have a whole life in their trailer
and it takes them an hour and a half to
get out once they've been called this set, and it's
like wasted.

Speaker 4 (42:22):
So much time.

Speaker 5 (42:24):
So that when Michael was showing how to make a movie,
you know, that old cowboy version of we're here, let's
do it. And then you, as an actor, you always
knew you had to. I mean, first of all, kid
actors are a little bit different there. They're never ex
what's the word there, never extended the courtesy of having

(42:45):
any thing but the perfect read.

Speaker 4 (42:47):
As soon as you're on set, especially, you.

Speaker 5 (42:50):
Were always supposed to be ready and ready to go, like, hey,
your grandmother died. You're crying, and then you freak out
and you try to kill your sister action, and then
you're supposed to do that and then go back to
school and no one's supposed to like, you're not supposed
to have any time before or after to worry about it.
With Michael, he would come on set, he'd tell a joke,

(43:13):
say something that would get him canceled today, say action,
and then be crying and giving the best performance you've
ever seen a foot and a half away from you.

Speaker 4 (43:24):
And you're like, oh my god, this is amazing.

Speaker 5 (43:27):
He was so good at what he did that he
could demand from other people the reality of what you know,
that fast paced movie. We shot an episode every five days.
When I did Jag, we shot an episode every ten days.
And again, Jag is also another great example of Don Belisario.

Speaker 4 (43:47):
We did twenty four episodes a year. We got stuff done,
but it still was twice as long.

Speaker 2 (43:52):
So it took you ten days to do a JAG.
Because that's either I mean, love also love Jag.

Speaker 3 (43:57):
Okay, question, I always asked how many people thought the
severed leg was real, because that was like a thing.

Speaker 2 (44:02):
Do you still get any of.

Speaker 5 (44:05):
Yes, CBS released a press release saying that no, it
was not real, and I get it. I mean I
get it, but also, come on, it's sort of like
it's sort of like once I got braces, I had
to get braces as an adult, and they wrote that
into the show and so no one ever questioned that.

(44:29):
But when I get my leg blown off, they're like,
I'm so sorry to hear about your leg.

Speaker 4 (44:32):
I'm so glad they wrote it into the show. And
it's like, no, it doesn't I didn't lose I didn't
lose my leg, but yeah, with with Jag.

Speaker 5 (44:41):
It was nine to ten days depending and it was
here's something really freaky cool. I was talking to the
I always love talking to the camera guys because as
an actor, if you know your lens size, if you
know where you are, that changes your performance as far
as I'm concerned, because your energy level has to match
the frame size. If you're the smallest person in frame,

(45:04):
you got to be energy plus so that you're you know, noticed,
if you're there this close on you, then you got
to bring it down so you're not scaring the audience.
So I'm always talking to the camera guys. And I
was talking to Brian, our assistant, and he.

Speaker 4 (45:17):
Goes, uh, what do you guys use to shoot Little House?

Speaker 5 (45:20):
And I go, same camera, set up, Panavision, lenses and everything,
and they you know, you lease the bodies from Panavision
and the lenses and everything. He goes, oh, he went
to Panavision. He found out that the same body shot
Little House, the same camera. Literally, the same camera shot
Little House and shot us on JAG. So it's the
same physical camera that Michael and you know, Kenny Hunter

(45:44):
and all those guys used on our show.

Speaker 4 (45:46):
We used on JAG, which is just a weird camera
for fifty Yeah, he.

Speaker 5 (45:53):
Matched the serial numbers and he and you know, they
have a whole log of that camera shot what shows.

Speaker 2 (45:58):
Shoot my god? All right, So yeah, now you have
your own show that I was just on. So how
did that? How did you finally decide? Okay, that's it.
I got to have a podcast. I got to have
an interview show.

Speaker 4 (46:08):
It came about pretty fun. Where so a friend of mine,
who is that friend who is like always like you
should run for president, or you should at an ice
cream store or you know, it's like they just say stuff.

Speaker 5 (46:22):
She says to me, she goes, you should be on
TikTok and I'm like, I didn't know TikTok and she goes,
it's really easy. You just tell, you know, tell, just
get on camera and people people will follow you because
you're famous. And so I put up a couple of
my I wanted to advertise the school, and so I
put up a couple of my lectures on TikTok and.

Speaker 4 (46:42):
They, you know, like thirty views, forty views, and I'm like,
oh okay.

Speaker 5 (46:46):
And then I was telling this story about working with
a particular actor and it got one hundred views, and
so then I told a story about Carol Burnett and
it got like a lot of views, and it blew
up because of Carol Burnette, and I was like, Oh,
people like stories about other actors, right, So I started, Yeah,

(47:07):
I started telling stories about the people that I've worked with,
and it started me on this journey on TikTok and
that's where it kind of came about. And then the
same person said, you should start a podcast and talk
to the people that you tell the stories about about.

Speaker 4 (47:21):
The stories that you're telling. And I thought, okay, she
was right about the first thing.

Speaker 5 (47:25):
I probably you know, it's probably a good idea, but
it kept percolating in my head and I kept bugging you.

Speaker 4 (47:30):
I said, well, how do you do this? And how
do you do that? And how do you come about
doing this?

Speaker 5 (47:34):
And then I get a comment from the manager of
the rock band Poison, and he goes, we because I
told a story about my mom was in you know,
my mom Francis. My mom Francis was an actress and
she was in the video for the warrant video cherry.

Speaker 2 (47:53):
Pie, Oh my god, pot And so.

Speaker 5 (47:57):
They had like this old couple as Norman Rockwell's American
Splendor of American beauty or whatever. That one is American Gothic,
American Gothic, and so she was playing the old lady
in that.

Speaker 4 (48:09):
And so I'm telling this story, and that reminded me. Oh.

Speaker 5 (48:12):
I used to take singing lessons and the guy before
me was a horrible singer, but I was always listening
to him screeching, and he kept inviting me to come
see his band, and I would never go see the band.
And the band ended up being Motley Crue and it
ended up being Vince Neil, who couldn't sing, still can't sing,
but he's a huge rock star. And so I told
these stories and that I'm unabashed fan of hair metal.

(48:37):
So I get this comment from the manager of Poison
and he says, hey, we love your stories about the
bands from the eighties.

Speaker 4 (48:47):
What's your sizes? Can you you know?

Speaker 5 (48:49):
Do you want some swag? And I'm like, yeah, but
it would be great if I could, you know, interview.
I have a podcast and I'd love to interview one
of the band members.

Speaker 4 (48:57):
I didn't have a podcast, but he.

Speaker 5 (49:03):
And sure enough, he set me up with the drummer
Ricky Rockett, who's awesome and he gave a great interview,
and so now I have this interview with Ricky Rockett
for a show that didn't exist, and so I said, okay,
I've got to figure this out. And so that was
in like May of yeah, May of this year, twenty
four or last year, being that it's New Year's Eve.

Speaker 4 (49:28):
And so it took me a while to figure out all.

Speaker 5 (49:30):
The different things that I finally put together the Patrick
Labra Show with Patrick Laberteaux.

Speaker 4 (49:34):
And yes, it's a brand new invention. No one's ever
done it before.

Speaker 5 (49:39):
I talked to my friends and then I put it
on the internet and you know, like people can watch it,
and I fell in love with it, as you probably have,
because I'm talking all these people I haven't talked to,
and you get to talk about stuff that you don't
It's not like whenever you and I see each other,
we're sitting talking about this particular things. Fact in our

(50:01):
conversation sideways plug to our interview, I learned stuff about
you I'd never known before, because it's not stuff that
you sit around the set talking about. You're talking about
movies or bands or stuff that you know regular you
just regularly talk about. So I started this thing it
came across and it's growing, just like the school it

(50:23):
all started. It's all you wherever you go. It's on
Working Actors School on YouTube. Is the name of the channel.
The name of the show is the Patrick Labbers Show
with Patrick Labertoot guaranteed never to be spelled right.

Speaker 4 (50:34):
In any Google search, no matter I try it. So
just search a Working Actors School and it'll take you
to the YouTube stuff.

Speaker 5 (50:43):
And it's just it's a great fun time. I've got
a couple of great people. In fact, I was, this
is a great story that you'll appreciate.

Speaker 3 (50:54):
And I'm glad you did the plugs because we're get
into the part where you plug everything and you just did.

Speaker 4 (50:58):
So, oh okay, great.

Speaker 5 (50:59):
What was an amazing is that certainly the people that
I work with, and the one thing that I've kind
of been focusing on is the group that I work with,
because I figured it's the only thing that I can
offer that's different than what everyone else yourself or what
is that you're a great interviewer, but like, okay, it's
the interaction between people you know. And so I said,
why I know Carol Burnette. I worked with Calburnett. I

(51:20):
played her son, and I found her publicist email and
I'm like, on a random Saturday, I figure, well, I'll
start the process, find out how many people I have
to get turned down by to get, you know, to
try to get Carol on the show. I type the publicist. Hi,
I'm Patrick Labatau. I played Carol's son on this UNIS program.
I loved working with her. I have this show, would

(51:41):
love to have her on the show, Alison. She responded,
like in two hours and she says Carol. Then it
was like I couldn't get over it. So Carol Burnette,
if you're watching this un New Year's Eve, Carol Burnett
is on the seventh is the Is.

Speaker 4 (51:58):
She came on the show. She is amazing. Obviously she's
Carol Burnette's Carol Burnette.

Speaker 2 (52:04):
And I'm not surprised because she's Carol Burnette. She's like
Saint Carol Brenette.

Speaker 4 (52:07):
She's cool.

Speaker 5 (52:08):
And what I found so interesting about talking with someone
like Carol who yes, I've worked with her, but of
course i'm not. We're not in the same strata. It's
sort of like, yeah, we worked with Michael Lanna, but
we didn't drink whiskey with him.

Speaker 4 (52:23):
And hang out.

Speaker 5 (52:23):
It's not the same thing. But what I learned from
her was so amazing was she's just like you know,
it's like the thing in US magazine.

Speaker 4 (52:32):
She's just like us.

Speaker 5 (52:34):
She's still worried about performances, and she's going to work
again and all these different things.

Speaker 4 (52:38):
And it was She's amazing. It was an amazing interview.

Speaker 2 (52:42):
All right, we have to I am running out of time.
I am because it's going to be twenty twenty six
if I keep this up. This is so much fun.

Speaker 3 (52:51):
Okay, so I'll have to come on your show again.
You'll come on my show again. I'm trying to think
I actually know a couple of metal people. Maybe I
should send them over.

Speaker 2 (53:01):
I like hair band people.

Speaker 4 (53:02):
Should I say I'm a big fan big?

Speaker 2 (53:05):
Oh my god?

Speaker 4 (53:05):
Yes?

Speaker 2 (53:06):
All right, well you've plug it. The Patrick Laberteau Show.

Speaker 4 (53:10):
No Patrick labor Show. Show with Patrick Laberteau, the t
it's very smart.

Speaker 2 (53:18):
And the working actors there we go, Oh my god,
he's got mugs. I don't have mugs. I need mugs.
And the working actors acting school yep.

Speaker 4 (53:28):
Working actors. Yeah, the working actors what is it called
school dot com? And we have open classes.

Speaker 5 (53:36):
Classes are open, and it's a pay as you go
type of thing. You can't you don't worry about missing classes.

Speaker 4 (53:41):
It's super easy and so much.

Speaker 2 (53:44):
All right, thank you so much, and thank you for
coming in.

Speaker 4 (53:47):
Happy New Year, Happy too, Allison, and I didn't get to.

Speaker 2 (53:51):
Ask about meth Gator.

Speaker 3 (53:52):
I have to have you back, all right, Thank you
so much, Happy New Year.

Speaker 2 (53:58):
And I'm Alison Arkerman. This is the list an Argham show.

Speaker 4 (54:02):
I'm from my Way.

Speaker 2 (54:04):
All the plausil

Speaker 1 (54:09):
Hellos,