How Rude, Tanneritos!It’s time to learn even more about one of TV’s most prolific and charismatic directors, Joel Zwick!
Welcome back to How Rude Tana Rito's. This is the second part of our interview with one of our favorite directors, joel's Wick. He started full house with us from the very beginning, and he was certainly a huge part in making the show what it is today. Here's our friend, Joel's Wick. Yeah, my first memory of you is was the Stacey Q episode where I'm playing the keyboard and John is teaching Candace how to play the guitar and I was faking it on the on the keyboard and I remember. I remember because I was so scared of you, because you were yelling about something and I was like, I can't mess this up. I cannot disappoint Joel. It's my very first memory of you ten years old.
A mean and memory. I love that a lot.
Essentially, whatever you were like, Joel was like he would like freak out about you. You were just high intensity. You were like like you didn't you knew that, Like he's not really mad, he's just like he's just loud and like, ah, you know, And that was just Joel.
That's essentially you got.
Us moving, You got things done with you very efficiently.
Matter of fact, we went down in the last couple of years, we were down to four day shoots.
Yeah basically, well yeah, well you had four day shoots for quite a while there for the last.
We're waiting on five day shoots. But you know, it was very interesting and we got a chance to send all of your people off to real schools. And has had some problems. I don't know that you did necessary, but remember Candice was being made fun of at the school because she was, oh she was a star on TV or whatever that. Oh yeah, and I remember the one scene I remember was Candace was being got invited by some boy to senior prom a prom in high.
School and is this it is you talking on the show or in real life?
I'm real life, Okay, I'm real And so basically this guy comes to pick her up, he has to pick her up on the set.
No, that was Andrea. Oh yeah that was me. I'm like this, yeah, no, this was that was was the one that was her senior prom.
That was my high school boyfriend Ben, And yeah that was you guys rearranged the whole schedule that night to tape my scenes to shoot me out.
But that wasn't that.
There's a one where she was coming also, and she gave her an entrance in her beautiful gown down the staircase. As this boy is standing there watching her come down the stairs, and myself, Staymers and Saggot are standing there with our arms crossed, staring at.
Him, just staring at him.
This guy had to know that there'd be no fooling around with can that's hysterical.
I don't know. Yeah, I don't remember. I don't, I don't.
Yeah, you would first reading of the pilot, Jody, that was blew us all away. You at four and a half maybe could sit there at the table and read the script with the adults as fast as they could read it. That blew our minds that she was added as.
A read Yeah, we had when we had John on, he was like, I went out and I almost quit.
John. Yeah, you know they had funny things like there was a thing that the writers used to do this thing upstairs. We're on one side they make a whiteboard, and one side to be the line as written by the writers, then on the other side to be the line as performed by John Stamos.
Yes, yes, because you know what I blame I blame him for my ability to just never quite get it right, but always sort of be line adjacent. It's just it'sjacent. Jason.
He'd go out, he's the line with something like, Okay, see you guys later, and by the time he performed it was, well, I'm thinking right now that maybe I'll go to I'm not sure where I'm going to go.
But wherever I will see you.
All of a sudden he brought it into an entire event and they would put that up on the top. You know, we had some funny things. I remember every once in a while in a script that we were doing, they'd have a stage direction which they specifically write in bold black things saying Joel, please, we would love to see this stage as we've written it. Because essentially we just did what we wanted to do, and of the time nobody was complaining because we were doing it right. But it was. It was a remarkable thing. And having my kids there and being able to do a show with kids. So therefore, when I came onto Full House, I never had any thoughts or problems about having to work with children because I had children. Yeah, so it seemed to be something that could be done. When I found out that basically I had everybody else taking care of the children. I had Brian, Adria and I had all kinds of things, ads with cake and care.
Yeah, it was. It was a real like sort of village family thing and we all worked together. And that's one of the things Andrew and I talk about all the time and with all the guests and stuff, is everyone talks about what a just what a great collection of people it was, and how everyone really.
A nominal collection of people. And I remember there's some interests I remember, like I remember there was supposed to be some scene where you're all coming downstairs into the kitchen. Okay, and Kuyer, who has an Dave.
He would just start trap us upstairs.
To trap you up there and fought and I saw him tar calf before I even said action charge planning for their lives.
Yeah, we would. Yeah, it was Dave's form of torture to all of us. And he was hilarious. Was like a twelve year old boy.
Worse than that, maybe eleven year old boy. I don't think twelve years old, It's.
True, twelve years Dad might have a little more maturity.
More matury grown in already. But you know, we did have some problems with the fact that you did have was between Sagot and Koh. Yeah, you had people with questionable ability to mind their mouths.
I mean, I you know, I as an adult, I now completely understand that predicament because sometimes it comes out they're just the kids are just you don't see them. They're behind you, and you're like, look, I made a joke and it.
Was sometimes they there and it just comes out because the joke.
Is it's sometimes you just Something was.
Early on I called it the March of the Mothers, where there was where something that that had had no This was something like Saggot had done. Saggo hads come up with something really questionable, and basically it was in a break and all of a sudden I was watched out there and I saw the three mothers at that time, along with Mary Kate, Nashley's mother, she was there too, marching down to Saggot's dressing room to let him know that that kind of behavior was not.
Acceptable, that we've got to talk to him. Yeah, the March of the mother somebody's got to do it. Yeah.
The other thing that was pretty funny it was that we had the Great A Burrow Show, which the bureau fell in love.
H Yes, we've talked, uh Peppermill. Uh, we've told a story many times about the donkey that really loved John Stamos. Okay, fine, everyone everybody loves John Stamos.
The lead to then the Donkey was this, So the donkey would come out stage and initially, unless you don't know, if the donkey would have a hard on that would be about two feet long and hang on to the ground and where.
They have to top it with a stick to make it go away.
And then so the twins are there staring at this thing, and everybody's trying to get them not to touch it. So basically doing all this is going on, and finally I come down. I talked to the train and I said, this is ridiculous. Why is it that every time this, uh this, this bureau comes on stage it has an erection? And he says, I think it's you. I said, what do you mean, you think it's me. I think there's something that he smells in you that's making him turned on. I said, you're telling me that I turn on the dunky.
He said I think.
So, So I said okay, and I left the stage, and sure enough, there were no more erections.
Wait wait, I turned on the turned off. All of this time, the legend has been that it was John John John Clare John has claimed that this changes everything.
Joel, it was John, but he didn't see John as a sexual item. He saw John is perhaps somebody to marry or somebody were.
You were just a boy to a Burrow toy, if you will.
We had some that would occur on a set where you had an awful lot of children running around.
And you came back and directed a few episodes of Fuller House as well.
I did two episodes What was that?
Like?
How was that? To come back?
And I loved coming back because the growth of the of the of you people as actors was insane to watch, you know, and yet the same relationship was still existing, and that was really cool. And I love some of the ex I loved Andrea's husband was here, very really good.
I have a story.
I got to ask you a question, idea, you know, I'm trying to figure out. I understand that that Andrew Barbara in the show held you uh took care of your child? She basically yes, she was.
She was okay.
Now that for you obviously could not you could not get pregnant yourself. You deposited eggs now, was it this boyfriend that that actually uh joined you in the egg thing?
Who's the sperm?
It's well, it's so I'm going to explain I V F right now. So here's what I have.
Was basically Jamie's wife, was I so I have, So.
Basically it was Kimmy was just Kimmy was just the She was just just the oven sperm ye, no meat, yeah, but not. Yeah, but it would have been weird because it was her brother. It's my Jimmy, Jimmy, Jimmy Gibblers, Jimmy Gibblers sperm, which is everyone now how you know how made babies? But those two and then and then Kimmy was just the vessel that carried, which is actually relatively common for family members or people to Yeah, but yeah, it was No, it was not. It was not I was sperm.
Was I was not was my?
It was my? It was it was and it was Yes, it was Jimmy and Stepf's baby carried Timmy, cooked by, married by Kimmy, carried by Kimmy.
Okay, so I got that story right. Yes, I was looking that to be it, and I was right. I just didn't realize it was your.
Yeah, well, because otherwise it becomes a game of thrones and really dark there between Jimmy and Kimmy. Yeah, that's that's the version.
I have a good story to one last story about full House that I remember because it was specific to me. We're doing a classroom scene and Michelle must have been oh four and a half years old, maybe five years old by that point, and we're doing this classroom scene and I think Mary Ashley is up first, and she does the scene and she's writing, I'm going, okay. Now we do another scene in the classroom, except this time it's Mary Kate is playing the role and Mary Kate is writing with her left hand. Oh oh god, she's a lefty. And then Mary Kate bit the bullet and she she she worked writing it with her right hand. And we played as few scenes as we possibly could in classrooms again where now citated anybody writing. And I realized at that point they were not identical twins. They were basically, you know, they were fraternal twins.
You know, they didn't like well to me anyway, they looked different. They looked close enough, but I definitely always.
Close enough so that nobody in the of our crew had any idea who was actually in the scene, which.
Unless they were right, because.
They have a wonderful picture with me with Mary Kate. I think it's Mary Kate a little kiss on the lips, and the girls don't know who it was, but they believe that the only one who would have done it would be Mary Katey.
Yeah, you just so many wonderful, amazing memories like what a what a journey? Uh, yes, your story has been And I you know, I loved what you were saying too, like I didn't really have goals. I just kind of said yes to opportunities.
Again.
I find that to be like to be like, okay, I want to do something like put yourself in a direction, but then just kind of say yes to the things that the doors that open and see where it takes you.
Right, Because my feeling is once again with connections. The door and me open and it may be some step on the road, and in that step there might be producer that's interesting, they may be a star that's interesting, and all of a sudden, the next time they get a show, you're finding stuff moving with them and then moving moving there and of course, if you have goals, at some point you may actually realize that by the end of this journey you hit your goal. But I never had goals, so it is never concerned to me. I didn't know what the options were. I just I just learned that just take the job, see what you can do, and maybe if they like you, you'll work again and maybe you know whatever. Yeah, you never tried not to be liked. I always tried to be efficient and productive for the for the actors usually like me because.
I let them act.
I honestly that the basic if you could get everybody, including the crew and the cameramen and everybody, to be the best they can be, and the best way you can make them be the best they can be is not tell them what to do. If you're telling everybody what to do, then there all of a sudden camera oppers are saying, is that what you want? Okay, that's what you got, And then all of a sudden he tell you that you know something. If I just open it up a little bit, I've got so and so in the background and look at that shot. But when you let them do their work, all of a sudden they find values. You never even dream when I'm with Jeffrey ju who was my director of photography on Big Factory Wedding. I remember going up to him first day and I said, listen, if this movie looks like what I have in what I see in my head, you have failed me. I said, this better not look like what I have in my head. This better be something that you get input in and start to help me develop.
And it's sure enough, it helps.
Yeah, all of a sudden he realizes he has a role. So people wanted his opinion.
Yeah, Oh, a good director of photography is key. It really just makes all of the difference in terms of yet now. And for those people that are listening that maybe don't know what a director of photography does. They're the ones that are typically in film and stuff, and they go on TV as well, but the director kind of has a little more control of shots on TV. But they usually are you know, the ones really planning out the shots and the lighting and you know, working with the director as far as what a scene or a shot.
Is going to learn and basically you know, and they would try to get me off a set every time they had to do a lighting set up because I was always in the way.
Well, yeah, that's always the thing, right, you know, I need fifteen get out of my way. I need we've got grips, I.
Work to do, money coming in. But essentially we had built a very strong relationship. And since it was the same system, it was a single against a single, a two shot against the two shot, overs crossed, two against one three, It was all the same mathematics.
You know, by the way, all of those things that Joelja said are all different references to shots in movies and yeah av n TV. Well yeah, on film. Basically you do.
Have to know and your choices are made. You have two people in a scene. Now do you want to shoot them in singles, one single against the other single, or do you want to put them closer together and shoot it as a two shot. Now, my belief in most actors' beliefs, is that in a two shot, with the person making the joke in the person responding to the joke, is the place you want to be. So the actors can time it themselves. And I remember I was working on with the Twin Boys on the thing that they're on a ship or something.
That the Cole and Dylan sprouse from right that's right, that's right, sweet life.
And basically so, they were doing a scene in a hallway and I remember going up to him. I said, guys, I have a question for you. How do you see the scene? Do you see the scene in a two shot? You just see it in singles? And they both said, oh, two shot. I said, good, then stand closer together. I walked away, and they learned a big lesson that they could control if you know, unless somebody specifically wants, and that you can controls an actor.
Do you want to be close to somebody?
You want to be far away because it changes the nature of acting distance amazing, And an argument between two people.
Across the room from each other is one argument.
Put those exact same words together and stick those people face to face.
And you got a different argument. Yes, no, completely.
Well, And I think some like there's so much of that too that comes from your theater background, because so much of like, so much of blocking in theater is so specifically intentional to create mood and space and relationship. And yeah, it's I feel like that really came in to play a lot. You know, when I directed my episode of Fuller House, I met with you and you had given me the book that you wrote on sitcom directing, which was super helpful. I mean again, a lot of it was stuff that I'd sort of absorbed over the years, but it was also like, oh right, okay, this you know again the connective tissue. Make sure you've got you know, jokes in a two shot, all that kind of stuff. But I just remember meeting you. You and I went to arts deli. Of course, we went to a deli, and you gave me the book and you were like, I believe in you. I absolutely one hundred percent know you could do it, and you like hyped me up in such a way, and that really, like that was a huge thing, and it made such a difference in.
Feeling like com pat Yeah.
Yeah, like you and Rich Correll both said like, you can do it, you can do it, And I have such admiration, I mean again, with all of the things that you've done when you guys you know, were like, you can do this and gave me all the tips and the tools, and like, you know, I just it was a really cool experience to be able to like come back to somebody who has known you your whole life.
And then again did the same thing with Danielle Karp, who I know is one of your producers. Yes, yes, I had her on Girl Meets World for quite a few episodes there, and then I meet with her because she was very interested. She was always hanging around watching what the hell I was doing when she was not in scenes. And she was also enough of a bright a brighten of a young lady that you knew that if she set her mind to doing something, oh, he was going to get it done. And yes he did. Indeed, she did, you know. But he also watched. She shadowed me and watched what I was doing and tried to catch up and question me why you didn't that?
Why do you do that?
And I said, well, the actor wanted to do that. She said, oh, really, that's it. The actor wanted to do that, because yeah, the system that I emerged from from theater to some degree was basically that.
Oh yeah.
There was a director who worked for the Second City in Chicago. Eventually he run the g Geffen Theater. We were all at a big conference together and he said something that I thought was brilliant. He said, when I do a play or anything, I put a little cone over each of the actors and I don't go into that cone until the actor comes out of the cone and tells me they got a problem, they got something they think they could do, and why my job with the cones is to move the cones around and to stage the best possibilities for the scene. And once the actors got their words down and they got the movement down, all of a sudden they come out of their cones and I find out, you know, I don't have to be at the table for this scene. I could be up at the cabinet and I can get something and bring it down to the table and I can pour, and all of a sudden, you go, that's brilliant.
We'll do that, of course, So that was the system that came up with it.
My job is simply just to get an organic staging of some kind. The actors will correct it as soon as they they're doing.
And I, you know, I that's definitely something. As we came back and did fuller that, I think we've really understood more. And you know, I remember so many times we'd be like, all right, we're just gonna run it, and like we'd have a rough idea of like who enters here? Who but you? And Rich and so many of our directors, you know, usually would just kind of let us, like, you guys know what you need to do, what the relationships are, where you want to go, If I need you to be in a certain spot, they would let us know. But it was it just gave such a more natural flow to very much.
So you find that point, By that point, you knew the staging, you knew where you had to be. My job was initially to set where you sit at the table, because in every life people have their spots at the table and they don't improvente every time they.
Crossed to the table.
Saggot is the head of the table, and stay Wish is with Lauri and everybody's there, you know, So basically other than that for the most part, and you had to stay in the set with directing. You couldn't all of a sudden under into another set. But essentially that was it, and then you people just did your job. You knew it by that point, knew it better than I did. But you know, but that's the key. The key is to give the power to the people who need the power. And in TV, the director is not the man who needs the power. It doesn't but even when I did long form, some long form, I did some love boats or stuff at some point towards the end of my TV sitcom life, and uh, even there, essentially that was that needed to be stage because you're moving all over a boat. I mean right in the arbitrary but essentially the same thing you still had.
Well, it wasn't a multi cam sickom. It's you've got, you've got.
I've got I've got to be able to shoot this, and I've got to be able to carry things and move things and try to keep the thing tight. And there's kind of and although some scenes were essentially two people's scenes, which is, you know, I don't care if it's a movie or anything, it's a sitcom scene and you know, or even three scene or standard things. But when you get into major staging things, because you're on a boat of crying out.
Lite right, whenever you're adding in background, everything is going to take ten times as long and be fifteen times as frustrating.
Oh yo, that's why I had an ad for the last five or six years. Rosario Rovetta and Roseta was the single best extra stager I ever run into in my life. What he could do in terms of organization of staging was remarkable, and the fact he was so damn good that he never got the chance to direct much because they needed him as the A D. Yeah, will up his A D responsibility by letting him direct. Say we get one or two episodes a year and have to A D the rest of it. So now I was in New York doing you know, the og and shows like right.
Yeah, finding a good ad on, especially on days like that when you have it's yeah, because I didn't.
I didn't even schedule. He just gave me the schedule.
And yeah. Well Keith, Keith Richmond was the ad on Full House for a lot of it. And it's funny we were I was watching one of the uh watching one of the episodes. Oh, I think one of the ones we're going to talk about. Andrea and Keith's daughter was in it. Also.
Oh yeah, yeah, yes, that's true.
Yes, Allison was also. Uh she along with Jamie and Hillary were really holding it down for the stuff schoolmates.
No, no question about that, that we were in control of that kind of stuff.
You know.
I mean we did it on Fuller. You know, we had a cloud and we're like, hey, let's throw our kids in there, and then she did it once and we're like, I'm good. Actually this is really long and kind of boring.
Yeah. No.
But the trap, obviously is that Jamie wanted to become an actor, and he's a pretty damn good actor.
The problem is just a lousy type.
He's he's kind of good looking but not really the leading man, and he's not funny and stupid looking enough to be the best friend clown. So he was stuck in a no win position in terms of the ability to do television where the characters have to be clearly marked out for the most part. So but he did some good theater work here, and he's not teaching good acting. He teaches good and he's on a teaching acting. I love that, very pleased that he got We got him out of the desire to actually still be an actor. I mean, God put a choice in life.
Apparently that's something that uh, you know, do you use Wickman? Just try and really you're like, should I shouldn't? I I don't know, I'm terrible at it. Maybe maybe not?
What the hell he can't? Right?
Yeah, exactly.
So now I'm doing theater back to the theater and basically somewhere abound, the the epidemic, the whole pandemic, the pandemic where we lost two years of our lives. I decided that this was a good time to get the hell out of the business because I started to realize that I'm taking space for women who need to direct, for minorities who need to direct. And most of these people have worked with me, and I was the one who's keeping them out of directing. And I said, that's it, So it's over for me, and let these people move on and get a chance to because the world changed these last five years, the business check the world changed. Women are writing women's scripts that are being directed by women, that are decidedly point of view, strongly female, that no male could ever approximate. Because I do remember on Laverne and Surely my first show that Penny and Cindy would just be crazy saying, oh, girls, don't do this, this is not the way we would do this thing. We don't work like that, we don't think like that. And basically they get into a bit of a fight with the with with Davy, Doo, kleinb and a few of the other wonderful producers they had, but they were.
All men, you know.
So it's true, so very true.
And the difference in the quality of the shows is remarkable. It's remarkable the stories that get told.
That the stories.
There is no a male writer in the world would write those stories.
I know, Joel. I love you for that, Joel, thank you for say like, but seriously, because there are not there there There are not a lot of people in this business who are like, no, you know what, I did my thing, Like, it's time for the people that that were like under me, that maybe don't look like me or have different stories. So it's their time now. Like, I have such respect for that because that is exactly the attitude that we need and the and that we all have to you know, be telling the stories. And we all have our own different perspectives. And again I think that comes from being you know, you're starting in experimental theater. Theater is such a and such a melt pot and such a creative like pressure force of you know, just sort of acceptance and like whatever it is, just let it go, you know.
And once again this training of the actor like an athlete, because every time I hear any talk about athletes, about baseball players, about football players, basketball players. They talk that they all of a sudden in the zone. They found in the zone where all of a sudden they're not thinking about anything except the moment. And if you can get an athlete in the moment, and a good athlete, that's what you don't want the athlete thinking about shoot this to the left, to the triple. No, no, they can't just do it the instincts. So you're trying to build the instincts of basically which kids already automatically have, and you can hardly curb them of it. You know, you go to show to the airport and everybody's sitting around waiting for the to get online to go to the plane, and there'd be some four year old girl dancing right all by ourselves in the middle of the floor, and you go, oh my god, how one as that? You know, Yeah, enough, there were no boys doing that. Only the girls are out there in the middle of the floor doing their dancing. But yeah, it's been quite a trip, and I'm a lucky man. I lucked out big time. I hit the Golden years with the golden people at the golden time. So I can't com you.
You really did, you really did? And I mean, you are such a force, and I am so grateful that I got to grow up with you and around you, even you know the times of Disney World when I said I hated you, but no, I like, I you know, you and Andrew and I talk about this all the time, that just the really important, influential people who had incredible careers that like as kids, you know, we yeah, we had no idea when some of these people around us had done had like the impact that they'd had. It was just our family, and we love you for it. And I'm just I'm so it warms my heart that we still get to all be connected like this.
I think this is great that you're doing the pod. That's why as soon as I heard about this thing, that's where I kind of, yes, yes, we went to the pods. I didn't even know how to get onto a pod.
You did well, though you can zoom. Zooming is fine. That's about the extent of my technical ability most days anyway. So yeah, I just figured out how to get my lighting not looking terrible, like after a season and a half and then I finally, I don't know what happened, I just figured it out today. I was like, oh, wait, I need to bounce this off here. I need a director. Photography is what I need. Photography, I did, I did, I just got too. It's just too much direct light and I don't have a light over here. I need to fill. It's just so much.
No, but mom Andrew looks wonderful.
Thank you, yes she does. Thank you.
And Joel you you, I say too, Joel, you have not changed. You haven't changed at all. You really did thirty six, thirty seven years.
Who knows, you know?
So I have to say that at this particular point, as I look in the mirror and as I walk around, I've become my father. You know. I never thought that that was anything that even occurred to me, and all that, yeah, walking along and going oh my god. So when my father walked and I go, oh, it's gracious. Because my father with me the last four years of his life from eighty seven through ninety one.
So I really knew my father best as an old man.
Yeah, growing up, you didn't know much he worked or he didn't work, or he yelled at you or he didn't yell at you, but you didn't quite know who he was. But now I knew he was as an old man. So as I see myself plotting along, I go, oh god.
We all eventually become our parents, isn't that. I mean, I hear things coming out of my mouth all the time, and.
I'm like, oh, oh Jesus, No.
Sixteen year old me was like, I'll never yeah, and then uh huh ye yep, I know.
We all go there. But anyway, this is terrific.
It's been fun. We love it and it's so much fun getting to talk to everybody. I think I think Lenny Rips is gonna be a coming guest on the show.
Lenny still by line by line, probably the funniest man in Hollywood. He could write a joke line that nobody could come near. When Rips showed up with a line, everybody listened because he was really out.
Of his mind.
He was, I can't yeah, I can't wait for all of this. So thank you so much for joining us today, JR. Love you, and please tell your fam everyone that we said hello, and then send our love and send big hugs.
Yes, certainly we'll do that, Okay, absolutely, Hey, ladies, enjoy the specific day.
Thanks, we love you, Joel, Thanks Joel, Bye, I love you.
Okay, I'm leaving meeting. He says, leave meeting.
Oh my god, I don't think he is.
Last saw him and he's saying he's been saving it up. He's been saving it up.
No, that's always been Joel. He's you know what, Joel has probably severe ADHD. And that's why I was like, that was.
Joel's wick ride, but like what facet But yet he made sense like there was not ever a point where you were like on the edge of my sea, like oh no, this is like it was all like necessary information.
I was like, then you did what? Then you have no idea? Carry had no appreciation or not enough appreciation for him, That's what I'm saying, Like I had no I like I knew a little bit of Joel's story. I knew about like the La Mama Theater and kind of his background there and all that stuff.
But like no idea that right, do what group of He's a legend, is a legend, and what a great full social moment really is a legend he gets to mentor you being a director like I just I love that it gives me such warm fuzzies.
That's great. Well, Joel is truly one of a kind, and we absolutely loved getting to hear his stories from the show and really take a look at how much he's accomplished in his incredible career. I mean, some of the things I knew, some of the things I didn't. What an absolute rock star, legend, wonderful human love Joel. Uh. This interview was such a blast and we hope you enjoyed it as much as we did, and make sure that you are following us on socials. You can check us out on Instagram at how Rude Pod. No, Yes, yeah, yeah, how how Rude Pod podcast? Why have I all of a sudden blank how rude to?
I think it's how Rude podcast. Yes, it's how Rude podcast.
We produce All of a sudden, I was like, it's how podcast. Yeah, Mattie Howard Fast Howard podcasts were great. It's so we.
Haven't even gotten too the tagline yet.
This is awesome. Jesus is not going well. So yes, follow us on Instagram at how red Podcast. You can also make sure you subscribe and are oh my god, I can't tell I don't know what's not Do you want to do this? What is happening?
Joel?
I just see Joel left and you forgot how to how to talk?
Seriously, you did? I'm usually so great. Okay, let's I got this. I got this? Are you sure I can? I can? I call? You need the intro? I got the outro. I don't know what happened. It was just a little brain hit up. Okay, that's okay.
I believe in you.
Jody. You can thank you. Make sure you're following us on socials at how Rude Podcast. We're on Instagram. You can also like and subscribe to the podcast wherever you're listening to it so you can make sure and get all the newest episodes as soon as they come out. We are so glad that you joined us today and we're excited for you to join us next time on how Rude tanner Rito's and remember, the world is small, but the house is full. Well, at least she got one thing right right. We started off pretty crappy, but I managed to.
Save it at the end.
You saved it in the end.
Good job.
