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Transcript

The Muppets Mayhem: Backstage Pass - "Fortunate Son" with Stephanie D'Abruzzo (Tina Teeth) & David Bizzaro (Gerald Teeth) · Muppet Fan Podcasts with ToughPigs.com

• 0:06
  Hello and welcome to the Muppets.
• 0:08
  Mayhem backstage pass the unofficial Companion podcast to
• 0:12
  The Muppets Mayhem presented by topics.com.
• 0:15
  This is the podcast where we tore through every episode of
• 0:17
  The Muppets Mayhem to uncover behind-the-scenes stories,
• 0:20
  Easter eggs and more with The Talented cast and crew helped
• 0:23
  put the series together. I'm your host dedicated may head
• 0:27
  Johannes today, we're talking about Ax6 Fortunate Son in which
• 0:32
  dr. Teeth gets a mother a father and
• 0:34
  an all-new origin story this week.
• 0:37
  We've got a whole bunch of fantastic guests first up.
• 0:40
  He's the co-creator and executive producer of The
• 0:42
  Muppets Mayhem. Please welcome Jeff, York's back
• 0:44
  to the podcast. Hello, Jeff.
• 0:45
  Hello, thanks for having me back next.
• 0:56
  He's another co-creator and executive producer as well as
• 0:59
  the Electric Mayhem. It in hot tub, enthusiasts, dr.
• 1:01
  Teeth please welcome Bill Beretta back to the podcast
• 1:04
  taebel. Next guest is a puppeteer.
• 1:14
  Who's performed alongside Oscar, the Grouch, The Flaming Lips and
• 1:17
  Michelle Obama on The Muppets made him.
• 1:20
  He's dr. Teeths monosyllabic.
• 1:22
  Dad. Gerald teeth.
• 1:23
  Please welcome. David Pizarro to the podcast.
• 1:26
  Hey David. Thank you.
• 1:29
  We're doing here. This is our oh, I'm awake and
• 1:36
  last but certainly not least a performer.
• 1:38
  Best known for Kate monster on Avenue Q, Prairie, Dawn, on
• 1:41
  Sesame Street. And now dr.
• 1:43
  Teeth Mom. Tina teeth on The Muppets
• 1:45
  Mayhem. Please welcome Stephanie to
• 1:47
  bruise. Oh to the podcast.
• 1:48
  Hi Stephanie. Oh nice to see all of you.
• 1:57
  So nice to hear all of you. So Cited to dive into dr.
• 2:01
  Teeth some secret origin here with all of you, Stephanie and
• 2:06
  David, let's start with talking a little bit about about how you
• 2:08
  got these roles was there. An audition process.
• 2:11
  How did you first hear about the characters?
• 2:13
  Tell me everything. The whole wheat?
• 2:16
  Are they white? What kind of roles are they?
• 2:19
  Oh, I like a nice seated grain. Yeah, if these characters were
• 2:25
  roles if these characters were rules, if Tina and Gerald were
• 2:29
  rolls sourdough, what kind of rolls with it?
• 2:31
  Okay, sourdough. A nice, Mmm.
• 2:35
  Yeah man. A nice dense sourdough.
• 2:39
  I can't think of it. Now, the role that's got the
• 2:43
  Nutella and the cinnamon. And it's rolled up, and you can
• 2:46
  buy it at a corner table command like a bug.
• 2:49
  It's a bob Gerald's, like a bobcat, you know, just dance,
• 2:55
  doesn't doesn't wiggle a lot. But when you cut right in there,
• 2:58
  just like the sweetest most favoritest thing he could get.
• 3:01
  Yeah, very good. That's good answer.
• 3:03
  Yeah, it's okay. Yeah, immediately detail.
• 3:08
  But it's okay because it was a delicious derailment or so.
• 3:12
  Stephanie, let's start with you. Did you did you get a phone
• 3:14
  call? An email.
• 3:16
  What do you know about this role that you are auditioning for
• 3:18
  it's funny. I got an email with a quote.
• 3:21
  I remember it was an audition opportunity with Muppets.
• 3:26
  Not the name of the show, not anything about it and audition
• 3:30
  opportunity who do I go through. And when it comes to, you know,
• 3:34
  Muppets and puppetry stuff, I don't go through agent so just
• 3:38
  said, send whatever materials just directly to me and then I
• 3:42
  got the materials for the for The characters.
• 3:45
  And yeah, so, you know, self tape and they didn't want us to
• 3:50
  do it as puppets. It was just as yourself be on
• 3:53
  camera, perform though. The role and which was fun.
• 3:58
  It cause I it's one less thing to think about, you know, when
• 4:02
  you don't have to Puppeteer and you're sort of embodying, it
• 4:05
  yourself. You're really then it becomes
• 4:08
  okay. I can really focus on what vocal
• 4:11
  characteristics. Am I going to do?
• 4:12
  What intensity am I going to do? And the words to the, the
• 4:18
  monologue that I the sides that I got for Tina, it was a, it was
• 4:24
  a, it was a, it was a pretty long.
• 4:25
  It was, it was, it was a lot of words, so I want to get those
• 4:28
  right. It was great, though.
• 4:31
  It was mentioned in its say, it was Tina teeth.
• 4:33
  It was dr. Teeth bomb.
• 4:34
  Yeah, it it. I got a, I got a drawing, a
• 4:39
  brief description, but only that first, Table scene, which is
• 4:47
  very long different from what's on the air, but a little longer
• 4:50
  a little more involved, no context.
• 4:53
  I wasn't sure if I was actually at cavity con.
• 4:56
  I didn't know where I was. When I got the sides.
• 4:59
  It was a little out of context. You know.
• 5:01
  I remember we always wanted to come to cavity con.
• 5:03
  I thought it was there especially since I was throwing
• 5:07
  toss and Beignets, I was supposed to throw the Beignets
• 5:11
  and throw the floss and gas. Not knowing where I was not
• 5:17
  knowing the context of that it was Thomas on thanks.
• 5:22
  But yeah. So that's how I did that.
• 5:24
  So for that audition since you were as yourself on camera, did
• 5:29
  you dress up for the part that you actually have like, no place
• 5:32
  that you were throwing nothing like that?
• 5:33
  You just didn't know tree clothes?
• 5:34
  No primed, all right. I just mind our, you know I
• 5:38
  don't like to do that too much. I think the only time a prop
• 5:40
  ever works when you're doing self tape so I could be wrong
• 5:42
  and I think a lot of actors have N't opinions about this a phone.
• 5:48
  You know, if you're on the phone it's probably good to have a
• 5:50
  phone as a prop but I think anything else miming is probably
• 5:55
  the best way to go. It's just one less thing to
• 5:57
  worry about. Yeah.
• 5:59
  A little of you who has any type of or any kind of material in
• 6:03
  your hand, you get closer to the character.
• 6:06
  Nothing held a held. That's why you are who you are.
• 6:10
  I'm saying, right? When you're when you're a
• 6:12
  puppeteer you can't get To Method with these things because
• 6:16
  you think about how many times we gotta go back and forth
• 6:19
  between things, you know, especially back in the day.
• 6:24
  Sometimes, if someone was doing multiple characters at once,
• 6:27
  they'd be throwing one voice and puppeteering another, while
• 6:29
  someone else is catching it, you can't get to Method about that.
• 6:32
  You can't say, okay, stop. Because I need to think about
• 6:35
  mmm, you know. And that's not to crap on method
• 6:40
  or anything like that. It's just puppetry, you kind of
• 6:43
  don't have the time. So did not make sense and also
• 6:47
  its pharaohs puppets aren't made of felt.
• 6:50
  Ah, it's not something you want to yell at the TV.
• 6:53
  Whenever you hear that said in relationship to like oh these
• 6:58
  characters made of felt and the Muppets deeply felt they're not
• 7:02
  made of felt that's a rant for another person.
• 7:06
  Realize it was such a hot but no it's just it's just that you
• 7:10
  know actually Actually, they're made now not of Antron please.
• 7:18
  But I mean, I love police is what they're needing to hear
• 7:24
  about David's experience auditioning too because we never
• 7:27
  really got to talk about our audition experiences, the
• 7:30
  audition we have that were. Yeah yeah and what's funny is I
• 7:35
  was just on Melrose and Bill pulled up and was like, hey you
• 7:38
  want to be in a show? And I went up and I got the
• 7:41
  part. It is, this is crazy.
• 7:42
  It's like God, you got it. He's telling lies, he's lying
• 7:47
  sigh. I pathological.
• 7:51
  So, I was, I was actually, I was shooting waffles and mochi, and
• 7:55
  we were doing our stage days in the kitchen and restaurant.
• 7:58
  And I got the same emails you did Stephanie, it was an email.
• 8:01
  That was like, Hey, There is a muppet opportunity.
• 8:04
  Are you interested? You have an agent?
• 8:06
  And I said, no, but yes, and then I got the same thing.
• 8:12
  I got a side which was his A boutique on monologue with an
• 8:17
  additional. I think there was a yep in
• 8:19
  there. It was I think one or two pages
• 8:21
  and yeah they're requested. They like you don't get a puppet
• 8:25
  which was great because I was on set and I didn't have a puppet
• 8:27
  and I had to shoot it in between scenes and so I like I didn't
• 8:33
  want to tell anybody what was happening because I don't want
• 8:35
  to jinx it. Cause I was like oh no I don't I
• 8:37
  don't want to like add any extra nerves to like what I'm doing.
• 8:41
  And I just don't want to talk about this.
• 8:43
  And so I ran away. Dressing room.
• 8:45
  And I set up my iPad and I had the script there and I just
• 8:48
  like, did take after take after take after take and I wasn't
• 8:54
  sure. I don't normally do this.
• 8:55
  When I'm auditioning for a character.
• 8:56
  I don't usually offer more than one sort of take on the
• 9:02
  character. But I had done, I did three that
• 9:06
  I thought were interesting. And I was like, you know, who
• 9:10
  cares? I'm going to send these three
• 9:11
  and at least there's like an option of Like oh well, you
• 9:15
  know, this is more towards what we like or we can play.
• 9:19
  I thought maybe that might be the case and so I sent those
• 9:22
  three different options in and then I just waited nervously,
• 9:29
  hoping that I would get asked to come in.
• 9:32
  And when I got asked, it was, it was cool.
• 9:35
  I think I'd gotten back home after shooting, Michael had
• 9:39
  called, my son, had just been born and Michael was like Hey
• 9:45
  you know it's so funny he's kind of dry when you talk to him on
• 9:48
  the phone he's like, hey so I just wanted to thank you for
• 9:52
  coming and taking the time to audition - Time by.
• 9:55
  Yeah, yeah, yeah and sorry. I didn't clarify.
• 9:57
  Yeah. So Michael Stein box telling me
• 9:59
  this and I'm like, okay so I didn't get it.
• 10:01
  I like what are they called me to tell me this?
• 10:03
  Usually they just say nothing and leave you hanging like what
• 10:06
  a sweet guy Michael his to call and then he goes.
• 10:09
  Yeah. So uh You want to congratulate
• 10:12
  you. So welcome to the Muppet family.
• 10:14
  You know, you're gonna play Gerald.
• 10:15
  I was like, oh my God. Okay, and I told him I like
• 10:18
  Michael next time lead with, like we want you to come on
• 10:21
  board, I really have a little bit of excitement about the
• 10:24
  whole thing, you know, wake up. Well, I think, I think he was
• 10:27
  just trying to like, you know, be kind and professional.
• 10:30
  And I also made just been nervous getting the call and
• 10:34
  thinking that, you know, as we do as artists were not good
• 10:37
  enough. But yeah, I got to ask to Come
• 10:41
  out. And it was a I've been telling
• 10:44
  people. It's, it was a dream come true
• 10:46
  that I didn't know that I had when it happened.
• 10:49
  It was a long, wait between auditions and finding out to oh
• 10:53
  yeah I just assumed I just assumed.
• 10:55
  Okay. Well you know three and a half
• 10:57
  weeks have gone by. Oh wow.
• 10:58
  Isn't that long? Yeah.
• 11:00
  Between the time I submitted in the time I first got the call
• 11:02
  from Michael. You're so wrapped up in
• 11:05
  everything writing. Yeah we were writing and but the
• 11:08
  flip side for us, we just listened to your Oceans.
• 11:11
  So, I don't know if you hold a Leo tape but we just listened I
• 11:15
  think there was a an instinct that some of us might know where
• 11:19
  you guys were and that might affect it.
• 11:21
  I see. So let's just listen to the
• 11:23
  voices of these characters. And well, good game faces were
• 11:26
  ridiculous. We want to see the audition tape
• 11:31
  release. Yeah.
• 11:33
  Yeah. I think I even was like going
• 11:35
  like like that. And one of my takes because I
• 11:38
  was imagining right years on the job for the draw.
• 11:41
  Dying. Yeah, from the drawing that I
• 11:42
  looked at it, sort of goes back to, you know, what bill has said
• 11:45
  about being dr. Teeth, you know where so much of
• 11:47
  it comes from his mouth from his teeth like Jim, you know?
• 11:52
  Yeah, yeah bill. Yeah, you told me that story
• 11:55
  once and when I was auditioning that was one of the things that
• 11:58
  I was considering was I've heard from you, and other voice
• 12:01
  actors, how changing the structure of your face will
• 12:06
  affect the sound of the character trait.
• 12:09
  And I think someone, Might have been used to having actually
• 12:12
  talking about how difficult that can be as a puppeteer,
• 12:15
  especially when you're sitting down performing a character, it
• 12:18
  change your feelings, you're having to like, shorten your
• 12:21
  vocal cords and so right, because washed another dance.
• 12:24
  Yeah, interesting. Not just your job.
• 12:27
  Sounds hard. Just as I'm noticing throughout
• 12:30
  this entire podcast, it sounds really difficult to be a
• 12:33
  puppeteer. Did each of you already have
• 12:36
  like a New Orleans accent in your repertoire?
• 12:38
  Did you have to learn how to do that for this role?
• 12:41
  I kind of did a little bit, my father-in-law lived in New
• 12:46
  Orleans for some time and so I have a sense of it and I also
• 12:50
  just love Southern Accents. The first accent, I really
• 12:55
  worked on as a young actor, was a Georgian accent and I just
• 12:59
  fell in love with the sound and the rhythm of it and I've lived
• 13:04
  for many years in Oklahoma and there's it's a very specific
• 13:07
  different type of southern accent and so, When I knew I had
• 13:13
  the role, the first thing I did was buy some audio on the yet
• 13:18
  accent, which is specific to a certain part of Louisiana.
• 13:21
  And I knew, I wouldn't be speaking a lot, you know, but I
• 13:24
  knew that when I did I didn't want someone from New Orleans to
• 13:29
  go. That's that's a accent from
• 13:31
  Atlanta. Like that's not nor lhans
• 13:34
  because the yet accent is like so specific to just Northern New
• 13:37
  Orleans that people if they hear it.
• 13:40
  And if If it hits right, you know, they'll know.
• 13:42
  Oh that they're from that part of town.
• 13:44
  They're not from Southern New Orleans, which the northern part
• 13:48
  I think, is where more of the Southern e musicality side of
• 13:52
  that come from. So I thought that's to work on.
• 13:55
  So yeah, that's what I did is I sort of, you know, I was doing a
• 14:01
  combo platter that was also and I don't want to say this, it's
• 14:06
  going to come out wrong but Muppet forgivable, If that makes
• 14:12
  sense, you know, there's a leeway that you get with Muppet
• 14:16
  characters when you're doing dialects.
• 14:18
  But also with Tina, the intensity came first And the
• 14:23
  accent came second. So it became less about I'm
• 14:28
  doing, I'm putting in Orleans in front of it.
• 14:30
  It was more about her intensity and then it was layered on top
• 14:35
  of that. But yeah, II wasn't a studious
• 14:39
  as Bizarro as I. And I'm I'm I'm, you know,
• 14:43
  Chagrin because I love dialects and I, you know, yeah, they're
• 14:47
  huge differences. It's not just the South it is.
• 14:52
  Ain't a civil war dialect. It's just, it's a, it region by
• 14:56
  region, state by state. But yeah, you know, you know,
• 15:00
  enough to, to, to make it work for that character.
• 15:05
  So, you're sort of creating something that's specific to her
• 15:09
  and so that's how I approached that.
• 15:12
  Sure. Yeah.
• 15:13
  Well as far as we know, she's from she's from right outside,
• 15:15
  New Orleans, where she has a very specific accents from that
• 15:19
  specific region. You can't complain.
• 15:21
  That's how people talk there. Yeah, well also, you know, there
• 15:25
  are people like I grew up in Pittsburgh and there's a very
• 15:29
  specific Pittsburgh dialect, right?
• 15:31
  But there are variations within that dialect and some people
• 15:35
  have it heavier than others. Some people there's only a shade
• 15:38
  of it even people who live there their whole life and some people
• 15:41
  it's really, really thick. So even among people who are in
• 15:46
  one specific place, there's all sorts of variation, there's no
• 15:51
  such thing as a blanket. Dialect.
• 15:53
  Absolutely. I was when you and I were
• 15:55
  talking when we first met up in La, we were forcing the puppets.
• 16:01
  We were talking about that about our characters and how they
• 16:03
  relate to different things. And one of the things I thought
• 16:08
  of when you were saying that about how you were going to
• 16:10
  approach the focal, the vocalization of the character, I
• 16:14
  thought about my father-in-law and I was like, oh yeah, you
• 16:16
  know, he is from the East Coast but lived in Louisiana, Anna for
• 16:23
  like 15 years and then now has lived in Texas for another 20
• 16:28
  and when you listen to him you can't quite tell exactly where
• 16:32
  he's from, you know, you know that he's Southern you can't
• 16:35
  quite place it like and also he's got a funny voice like he's
• 16:38
  six foot three with a big mustache and he talks like this
• 16:42
  and yeah, that's all right, that's okay.
• 16:45
  But, you know, it's really better to wind your extension
• 16:47
  cable like this because it unravels in a much more
• 16:50
  efficient way. Now, you Seating management and
• 16:53
  then he talks about, but great voice and quite, you know, place
• 16:58
  what southern he is. And so and also what you did
• 17:00
  with Tina was wonderful like you did with Gerald was wonderful.
• 17:04
  So everybody's wonderful. We're all wonderful, right,
• 17:09
  let's talk about this episode. We can really get into how
• 17:11
  wonderful everyone did the episode starts with our cold.
• 17:14
  Open the band's driving down the road at night, in the van, the
• 17:17
  van breaks down, and when the van breaks down, the band gets
• 17:20
  down, and they jump out. A singing.
• 17:23
  It's Only Rock and Roll by The Rolling Stones.
• 17:25
  Great song, very Mayhem isang and then they are interrupted by
• 17:30
  highway patrolman. Cedric, Yarbrough, best known
• 17:33
  for playing a police officer on Reno 911.
• 17:36
  I don't know if it comes across on screen, but he represents the
• 17:39
  paradise city police department. Oh, I didn't notice that where
• 17:47
  you would see a police car but the car I don't know whenever we
• 17:51
  could Yeah. Well, we know now what's weird
• 17:54
  is I did? I did ask that question to
• 17:56
  myself, when I watched him on screen, when I was watching
• 17:58
  episode, I was like, what's it? I literally like I'm running and
• 18:01
  I was like, what city is this cop from?
• 18:03
  I noticed guy from I was going to ask because his name on his
• 18:06
  badges axle and I thought, oh, that would be a Guns and Roses
• 18:10
  reference. There you go.
• 18:12
  Now officer accent from Paradise hits.
• 18:13
  Wow, I like that. That's a pretty good.
• 18:17
  This might actually be the place to talk about the lens flares,
• 18:20
  though. I'm just trying to think of the
• 18:26
  future episodes. We still have, this might be the
• 18:29
  most lens flare e could be. Yeah, we've discussed before.
• 18:33
  This was the original opening of episode 1 of the of track 1, if
• 18:38
  you will but then Disney saw it in there.
• 18:41
  Just like we want to make this bigger so we might have moving
• 18:44
  it here but we did edit it first and it was part of track one.
• 18:49
  And so one of the things that I kind of thought from the
• 18:51
  beginning, just the a of the show visually when the Mayhem
• 18:55
  plays, they should just pursue the screen, they should change
• 18:58
  the look of the show, they should illuminate.
• 19:01
  There should be lens flares, you know, like it should just
• 19:04
  change, you know, our view and it was tough to capture,
• 19:11
  certainly in real time and so it just became my.
• 19:16
  My thing in post-production, we have to get these lens flares
• 19:20
  and I was a broken record. I was like, These purchase pack
• 19:24
  of these overlays and trailer cutting.
• 19:27
  I would always throw in these lens flares, you know, just to
• 19:29
  make it look fresh and new and but here, it's their music, you
• 19:33
  know, literally, you know, blinding Illuminating, the
• 19:35
  screen at all. So I just wanted there to be
• 19:37
  colored whenever they played even more common.
• 19:39
  And so, yeah, I was a broken record and everyone made fun of
• 19:42
  me to divide because they're, you know, we're just like fight
• 19:47
  their anamorphic, they ripped the crossover characters faces
• 19:51
  and bills. Like okay, okay, I like biting
• 19:53
  them as they sing, so much work that went into these where were
• 20:00
  masking amount so that they sort of dissipate over characters
• 20:03
  faces or they're going a little higher than their heads or.
• 20:06
  Yeah. This was found a nice balance of
• 20:09
  it all. Wow.
• 20:11
  So the lens flares, the 7th character for the sense that
• 20:13
  they are going to do lens flares.
• 20:18
  They're gonna go way overboard with it.
• 20:21
  I mean, that's, that's the We waited to make it work, so I
• 20:24
  appreciate it. Bill disagrees, but about that
• 20:28
  necessarily. But I think we found the right
• 20:30
  bout. You know, if it's worth it, I
• 20:33
  didn't really notice the lens flares, so mission accomplished
• 20:37
  because I think if I noticed it, then it would have been too
• 20:40
  much. Yeah, it was probably enough to
• 20:42
  like make it look cool without it.
• 20:44
  Who? Look at those lens flares?
• 20:45
  Oh no, I thought there could have been more if you ever
• 20:51
  decide to do a pigs in space. A series that that would be the
• 20:53
  time to like really go overboard with lens flares.
• 20:56
  Like just blind us with them. All right.
• 20:59
  Yeah, I think my favorite place that we use them is the
• 21:03
  backyard. The first time they play in the
• 21:04
  backyard at the pool. I thought that looked really
• 21:07
  really good. Yeah I think that one is
• 21:09
  actually a combination of what we laid in in post but also also
• 21:13
  impose station say that our VFX company dip it right?
• 21:17
  I was a combination. Oh that wasn't cool.
• 21:21
  So that seemed with the the Mayhem singing, the song ends
• 21:24
  with you see the long line of cards going all the way down the
• 21:26
  highway. That's the joke just Little bow
• 21:28
  on that as we dig into the first scene of the episode.
• 21:34
  This one starts with a previously, on Muppets Mayhem,
• 21:36
  which is this, the only episode that has that.
• 21:39
  I mean, it was obviously a really big, we have it under 10
• 21:42
  previous episode. Oh, is it on tape?
• 21:43
  Mmm. Oh yeah.
• 21:44
  Sorry, Jeff. You're right.
• 21:45
  Sorry. Sorry.
• 21:48
  Well, a little bit on or where mood Falls.
• 21:51
  We do an audio recap for just right but we don't say exactly
• 21:56
  yeah literally and to have lips. Be the one to say, previously,
• 21:59
  I'm up. Its Mayhem is also a nice
• 22:01
  little. Hmm.
• 22:02
  Very cute. I see what you're doing.
• 22:04
  We weren't sure if it was gonna be clear, but, but to Peter's
• 22:08
  craft, I'm cheating here in the closed captioning.
• 22:12
  Yeah, right. Well, either way, we're so
• 22:17
  trained to listen for, like, previously on Full House.
• 22:20
  Like I feel like the then intonation of how you say it.
• 22:23
  He like Swedish Chef could have said it and we would have no
• 22:25
  edema saying, you know, exactly. That was the fun of it.
• 22:28
  Exactly CSO dr. Teeth parents are there, they're
• 22:32
  at the door, they're ready to bring their son home.
• 22:35
  And as you mentioned earlier, Stephanie Tina has brought
• 22:39
  Beignets from New Orleans for everyone and you just don't stop
• 22:44
  talking. You're just going and going and
• 22:45
  going that must have been an exhaustive.
• 22:47
  There used to be more. There used to be more though,
• 22:50
  those were Café Du Monde Beignets has been years in, New
• 22:53
  Orleans. Yeah.
• 22:55
  Wow. There's a lot of that, I
• 22:57
  believe. It was I think I can still
• 22:59
  remember this. I believe it was.
• 23:03
  We got the award. So so we figured perfect time
• 23:05
  and we come accept the award visit Junior and get him to
• 23:07
  finally move back home and take over dental practice.
• 23:09
  Like you promised us, he break his mother's heart into a
• 23:11
  million pieces. Ain't that right Joe help?
• 23:14
  Yeah. I realize I still remember
• 23:16
  because I was the audition that was just because I and I knew if
• 23:22
  I was going to do something I needed to memorize.
• 23:25
  Yeah. And I'm glad that I did because
• 23:28
  do That singer of walking around that table I had to yeah, boy,
• 23:33
  that was a challenge. Yeah, we worked out the scene,
• 23:35
  but it was, but anyway. Yes.
• 23:37
  So, those, those were originally Café Du Monde Beignets.
• 23:40
  That's right. If you must have had a second
• 23:42
  puppets here there, because like you said, you're walking around
• 23:44
  the table. You've got all this dialogue and
• 23:46
  you're handing out Beignets at the same time.
• 23:50
  Well, I was supposed to have someone with me, but I decided
• 23:54
  at the last minute and I felt so bad.
• 23:56
  I made production, wait to get this rig.
• 23:58
  Big going because it was going to be too much to have two
• 24:00
  people going on, this really tight path.
• 24:04
  So I had the shop rigged, it where the bag was are matured in
• 24:08
  her hand and that was just me. Pulling out a beignet that was
• 24:13
  attached to her hand, putting it down and keeping it below frame,
• 24:18
  pretending that I was getting another one out of the bag and
• 24:21
  bringing up said attached beignet again, that was going to
• 24:25
  be the most effective quickest. Safest really way to do it.
• 24:30
  So we weren't tripping on each other because there was not a
• 24:32
  lot of space. Once you got the the puppeteers
• 24:36
  who were at the table and the, you know, the clearance around.
• 24:40
  So it was just me and that wound up being the most effective way
• 24:45
  to do it. Wow, that's good.
• 24:47
  Puppetry magic didn't even notice.
• 24:49
  Well, that's, that, that was the best thing I was able to ask
• 24:52
  Kimmy, you know. Wait, we can dip this below
• 24:54
  frame, right? We don't have to actually see
• 24:57
  this. Go from empty-handed to full
• 25:00
  handed, right? We can we can fake this, right?
• 25:02
  Because man, then you don't notice and I'm sorry if I ruined
• 25:05
  the illusion of so many. No, but I have a, we've been in
• 25:09
  the run to didn't want to have to cut.
• 25:11
  We wanted to have a run of you moving through, you know, which
• 25:14
  it worked. Great.
• 25:15
  Yeah, absolutely. Routing ruining the puppetry
• 25:18
  magic is not a thing, especially for anyone listening to this
• 25:21
  podcast. Like we want to know, all the
• 25:23
  secrets you want to know how the magic worked and so, so David
• 25:28
  you, you have such a monologue in this scene or do you have a
• 25:32
  whole word to say it was that whole we're agreeing for you
• 25:36
  that, you don't have to memorize a lot or was it challenging that
• 25:38
  you're like I have to convey so much through one syllable It
• 25:44
  wasn't the the challenge with with Gerald in those scenes was
• 25:48
  not so much conveying everything through though.
• 25:52
  The one phrase, it was more complementing.
• 25:57
  What you saw on frame and trying to trying to perform life in
• 26:05
  him, with still trying to keep him like keeping him alive.
• 26:08
  I guess what? I'm trying to say was the
• 26:10
  difficult part trying to show that he was thinking Or in a
• 26:13
  moment or in his own moment, in his own mind, while there's
• 26:16
  other stuff happening and being able to clock in when he needs
• 26:20
  to say agree with his wife, after she's said what she said.
• 26:28
  Yeah, but Yeah, I mean I'm sorry I whenever I talk about stuff
• 26:34
  like that, my brain goes to that moment and I could just
• 26:37
  visualize that whole Space when we were in there together.
• 26:41
  And the hardest thing is really just this is totally true.
• 26:44
  The hardest thing in those moments is performing around
• 26:47
  people who are a million times better than you and hoping that
• 26:51
  you do well, I'm not even kidding.
• 26:53
  I'm like I was sitting there and I just like the guy there was
• 26:56
  someone who was assist didn't need to assist me but he was
• 26:58
  assisting me and He's you know been doing it longer than I have
• 27:03
  and even then I was like I just I need to make sure that I'm I'm
• 27:07
  doing this character Justice and that I'm performing and doing
• 27:11
  all the right stuff that all these beautiful people have
• 27:13
  taught me over the years. Can I just say that's the fun?
• 27:16
  It's like I me personally I prefer reactionary characters I
• 27:21
  would rather be a character that lives in and reacts to what's
• 27:25
  happening then driving scenes you know that's just my
• 27:29
  preference and I think it's more fun because then Then you're
• 27:31
  thinking of all, how do I like you said David keeping it alive.
• 27:35
  But, you know, so I thought, you know, without, if I was great, I
• 27:40
  just felt like he was there and present and, you know, and, and,
• 27:44
  and had this like, you know, like me react every when he hurt
• 27:48
  whenever he heard his voice. All you need to know, was yep.
• 27:52
  Yeah, yeah, yeah. That was, yeah, it wasn't like,
• 27:55
  you don't have to go too deep, you know, it's like, yeah.
• 27:59
  And I tried to do deadpans. So well.
• 28:02
  I'm better than humans do, so you can so much fun with that.
• 28:06
  Sorry, I interrupted you, your back right quick.
• 28:07
  Little thing. When we were thinking about
• 28:09
  these characters, we didn't want them to be like, like Milhouse's
• 28:13
  parents from The Simpsons where they look exactly alike.
• 28:17
  Yeah, and so, one of our original ideas was that one of
• 28:20
  them would be blue and one of them would be yellow, that's
• 28:24
  great. That's cute.
• 28:26
  He ever certain like limitations I suppose.
• 28:28
  I think the character design is amazing and they do look
• 28:31
  Different enough and their parts do add up to make teeth.
• 28:34
  But yeah, it would have been if they deal with something a bit
• 28:36
  of a thinker, I think. Yeah.
• 28:37
  And not just the visuals because yeah, you're right.
• 28:40
  Like Gerald has the, the big jaw and Tina's, got the, the orange
• 28:43
  hair and all that it took to do, visually makes, but also like we
• 28:46
  learned immediately like dr. Teeth obviously picked up a lot
• 28:50
  of the way that he speaks from Tina and you know, a lot of I
• 28:54
  think the more like we will learn much later like a the more
• 28:58
  emotional and Soulful part of him.
• 29:00
  Probably comes from his dad. So like, you can see how those
• 29:02
  two characters, really merge to create dr.
• 29:05
  Teeth interesting about, you know, teeth following his
• 29:08
  mother's personality when he's speaking and talking, we we
• 29:15
  later found that we needed Tina to have a little bit of.
• 29:21
  Do you want to talk about it? Steph the laughs.
• 29:24
  That was already a bill. When we were in a looping
• 29:27
  session and we just thought that the Brighton her, A up a little
• 29:31
  more so she didn't feel so like see it strong kind of bossy
• 29:35
  coming through and we just played with that idea of like
• 29:39
  the teeth laughs and Tina's left for similar in that way.
• 29:41
  They're like haha you know and then when Steph went with him
• 29:45
  and she has her versions so it just tied them together.
• 29:48
  I think even more, which was sweet.
• 29:50
  Yeah. Yeah.
• 29:52
  No. It was a good call was a good
• 29:53
  call to make. We put Stephanie through the
• 29:55
  ringer in terms of ADR and this scene was reworked a number of
• 30:01
  times. Really hard time and there was
• 30:03
  in the edit room and just trying to make it work and try and get
• 30:05
  the information across and trying to get there faster.
• 30:08
  And so you know with puppets we have the advantage and
• 30:12
  disadvantage of rewriting because they're just mouths.
• 30:15
  Moving in a certain way, you know that's disrespectful.
• 30:18
  But it did give us an advantage to do this third rewrite.
• 30:22
  And we went back to Stephanie so many times to just be like,
• 30:26
  actually. Now the scene is this, I really
• 30:29
  appreciate your patience with me on that.
• 30:30
  I hope Hope that what I did in the initial, I hope what I did
• 30:34
  in the initial performance didn't come off badly.
• 30:39
  No, no, what? See that's not it.
• 30:40
  We the thing is that we wrote it with her driving like that,
• 30:45
  right? Which is exactly, you nail
• 30:47
  exactly what I think we wrote and believe she should be.
• 30:51
  But what we didn't realize is, we didn't give her a place to
• 30:54
  go, right? So, so she could still be light
• 30:59
  and and strong. In the beginning, we needed her
• 31:03
  to get to the place where it was more Stern like in the dental
• 31:06
  office and in the right, the flashbacks, right?
• 31:10
  So I think we did you a disservice by having her the
• 31:13
  same in that first scene, she just needed you to lighten her
• 31:16
  up, which is what you did. And we did an ADR, but I feel
• 31:19
  like it works, you know? And it gave her that kind of,
• 31:24
  I'm just here, I'm going to say what's on my mind, it was a
• 31:28
  really good call. I'm glad we were able to squeeze
• 31:30
  that in off. Camera, but we would sit there.
• 31:32
  The editing room. We were just like, okay, well, I
• 31:34
  think they're enough flaps here, and this is a larger flap here
• 31:37
  to make this work or work. And then we just hand it off to
• 31:41
  you. You guys doing.
• 31:43
  It's a hard job. You guys had such a hard job on
• 31:45
  that regard. I'm so sorry.
• 31:47
  No, it was all their stuff. That's the thing.
• 31:49
  It's we didn't, we didn't. Yeah, we didn't have some of
• 31:52
  these things. We are covered enough, you know,
• 31:54
  clearly you will see and, you know, bizarros talking about
• 31:58
  working with you being overwhelmed by the people in the
• 32:00
  room. And I'm talking about, oh God,
• 32:03
  did I mess up? Is, you know, this is, these are
• 32:05
  the insecurities that we all have actually, you know, both of
• 32:10
  us being invited to this, a game party was was, you know, it was
• 32:17
  rarefied air, really. I mean, I had not spoken, a
• 32:21
  classic Muppet character, I've assisted on a couple of things,
• 32:26
  but I'd never done with, you know, I know all the guys, When
• 32:32
  I got there I felt like I said this to a couple of the guys.
• 32:35
  I felt like, you know how when you're in college and your
• 32:39
  friend from high school is at the other college and they come
• 32:42
  visit you over a weekend. I felt like the visiting friend
• 32:48
  because I knew everyone but it was not high school and it was
• 32:51
  not the same school and there is other stuff going on that I was
• 32:55
  so it was great but that was kind of that I had that same
• 33:00
  feeling. David at?
• 33:01
  Yeah, I'm not regard. My wife asked me how it was
• 33:05
  going when I was down there and I was like, I feel like it's
• 33:08
  that Thanksgiving year or I've just been invited to the adult
• 33:11
  table and I'm just trying to keep up with the conversations.
• 33:17
  Well, yeah, it doesn't feel like that pressure over there.
• 33:19
  No, that's not the feel-good. They don't, I feel that way
• 33:23
  around Dave. You know, like I said, we all
• 33:25
  have our levels. Yeah.
• 33:26
  Yeah. Where we are.
• 33:28
  You know? And yeah it's It just runs
• 33:32
  through it. I think.
• 33:32
  Oh totally well, I'm sure like with you Bill you know Leslie
• 33:36
  and Peter have been my teachers for years and friends you know
• 33:41
  and conferences and so to then be working with them on such a
• 33:48
  Amazing Project. You're just all of a sudden.
• 33:49
  You're like, okay now I'm next to you you know, not not at his
• 33:52
  level at all by any means but just like, oh my God.
• 33:54
  Now I'm working with you. I'm no longer just texting you
• 33:58
  like so interested is so interesting.
• 34:01
  We don't think about it in the moment.
• 34:02
  We don't think of it when we're working.
• 34:04
  You know. I mean, in my mind I feel like
• 34:06
  it's just we're all there to make that scene work together.
• 34:10
  Yeah. It's that's really enjoy
• 34:13
  definitely had to. I've just even you know just
• 34:16
  coming onto the said someone had a question and they're like well
• 34:18
  let's bring them one of you know Jeff or whatever and have walked
• 34:21
  on there and it was so intimidated just to see all the
• 34:24
  formula. And now the crew just looked at
• 34:27
  my opinion on something. Okay, mr.
• 34:32
  Answers. What you got?
• 34:33
  Yeah, no I think it was, I love bill so much and I don't get to
• 34:41
  work with Bill very much in any capacity.
• 34:43
  So for me it was like I know whether or not this was true
• 34:48
  bill. I'm reasonably sure you were a
• 34:52
  huge part as to why I even got invited to audition for this.
• 34:57
  So I mean, I just knew it was in your, I know.
• 35:01
  As in your your wheelhouse. You know I could hear you
• 35:05
  already again. Like even with less I said this
• 35:07
  about Leslie no. Seriously I could hear this and
• 35:11
  I you were my kind of first where I would go oh that's good.
• 35:16
  If I had to, if I had to, you know, ask somebody to come and
• 35:18
  play but it has been a long time that we've got, but it's true.
• 35:21
  Yeah. And so I just felt like, well I
• 35:24
  better not suck because I want to work with Bill again because
• 35:28
  I really like working with Bill and I do and all The guys, but
• 35:31
  at least, you know, Peter and Matt and Eric, I get to see on
• 35:34
  Sesame Street Rodman. I work with all the time.
• 35:38
  It'd be like me going to Sesame, it's the same feeling, you know,
• 35:41
  when we always loved having you with us at Sesame, to let
• 35:44
  something like going to do like Elmo's dad or something, it was
• 35:47
  very like, oh my God, there's a whole thing that's happening
• 35:50
  here. This is, this is, this is a
• 35:52
  world that I'm stepping into. That's, you know, that I'm not
• 35:55
  used to in the Dynamics in the way everything works, you know?
• 35:58
  And that's true. It's just natural to that, I
• 36:00
  think. People, we all feel that way.
• 36:02
  When you came to Sesame was like, Santa Claus is coming to
• 36:04
  town, you know, it's right. And at number one of many,
• 36:15
  number one. Yeah.
• 36:16
  No, get wrasses. This is how the podcast works.
• 36:19
  But hey, let's, let's get back into this.
• 36:22
  We're still at the, the dinner table here at the shack.
• 36:31
  You guys have a moment here. You say well, hello, Floyd
• 36:34
  pepper and he goes. I am gonna have to unpack that
• 36:39
  throughout this episode Vogel, and he does not get a big head.
• 36:44
  That was my favorite part too, just like speak unspoken words.
• 36:49
  Uh-huh, what you said, deadpan, Muppets.
• 36:53
  You know, there's its you say a lot with that unmoving face, you
• 36:58
  know, in a way that humans can't and you look Beignet and put it
• 37:02
  in the bag. Yeah.
• 37:06
  When my wife saw that she was like, ooh boo.
• 37:08
  There's a lot there. She was like, wow yeah, we get
• 37:11
  to work right away. Yeah.
• 37:12
  And we need two of them, you know.
• 37:14
  There's a gotta earn a beignet big turns out.
• 37:18
  They are here because they want to retire.
• 37:20
  They want dr. Teeth to come home and take over
• 37:21
  the dental practice, and stop wasting his time with all this
• 37:24
  music nonsense, because it turns out dr.
• 37:27
  T is a real doctor. We learned that he is.
• 37:31
  A musical healer of hearts and souls but also a fully licensed
• 37:34
  and accredited dentist. It seems obvious in retrospect.
• 37:40
  I feel like there must have been something in the past that has
• 37:42
  but has made dr. Teeth a dentist specifically but
• 37:47
  was this always the case from day one that or did you have
• 37:50
  other ideas for what his background would be?
• 37:54
  This was something that Jeff and okay, you want to see ya and I
• 37:58
  just when we started on this thing we were thinking of
• 38:00
  backstories. This popped into our heads and
• 38:03
  again you're right. It seems very obvious so maybe
• 38:05
  not a great idea but it's yeah, it just seemed right and on
• 38:10
  idea. And of course, we have to pitch
• 38:12
  it to Bill and he's just like, yeah, I mean, because it's more
• 38:15
  than just his job. It's you know, there's all this
• 38:18
  back story because family and yeah so much because do with it.
• 38:23
  And I think I think the fact that it is so obvious is a good
• 38:25
  thing because I think it's like, you know lay into it.
• 38:29
  Sometimes you just have to lay on the things right did and
• 38:33
  people go. Yeah.
• 38:34
  Okay, I can go with that. You don't have to think about
• 38:37
  it. It makes sense.
• 38:38
  You know, it's a but I think what we did was we took that
• 38:42
  idea and then we found a great way to kind of create the
• 38:47
  backstory with Floyd and his parents, you know, that was the
• 38:51
  fun part of that snot. Just that kitty you do with
• 38:53
  Dentistry total, right and it's emotion cavity Khan come on,
• 38:57
  Jeff throughout cavity cause I mean like, you know, it just it
• 39:01
  took on a whole everything sort of falls into place.
• 39:04
  And I also I want to point out. I did say it's obvious in
• 39:07
  retrospect because that's the best kind of obvious where you
• 39:10
  go. Oh, of course he is and not like
• 39:13
  there's no there's no expectation of like well
• 39:15
  someday, we're going to find out like that's my been in my head
• 39:17
  Canon for 30 years. So it's not once you set it.
• 39:20
  It's obvious that it's true. So I And like that, that can
• 39:23
  then you go, okay, what are you going to write?
• 39:25
  And then you say, well what are they going to do with it?
• 39:27
  Let's see what they do and I think we found a fun way to you
• 39:30
  to tell us. Yeah, it's also something we can
• 39:33
  all relate especially being in the Arts, in some way, having
• 39:36
  parents, who are just like doing what not?
• 39:39
  Yeah, yeah, and the path is so singer, folks.
• 39:42
  It's a tale as old as time, but it just it's such a nonlinear
• 39:47
  business and there's a whole generation that is just like
• 39:50
  know this, you do this, you go here, this happens.
• 39:52
  Next and it's constantly a struggle and even when you have
• 39:55
  a success like, okay, what's next is right, but how are you
• 39:59
  going to pay your bills? Yeah.
• 40:00
  Well, as I was, you know, doing Muppets tonight or whatever was
• 40:05
  happening and it's some characters and stuff, my father
• 40:08
  would go with us, he still doing that acting huh.
• 40:13
  Yeah, yeah, yeah. My my father said to me once
• 40:17
  he's like David, you're never going to make money in puppetry.
• 40:20
  Very cool. I hope when I was starting to
• 40:21
  like she's like Just do something else.
• 40:23
  My dad is a artist full-time. Fine, Art painter, and he was
• 40:28
  like, you're not gonna make any money puppetry.
• 40:29
  Don't do that. You're not gonna go anywhere
• 40:30
  with of all the on. Yeah, yeah.
• 40:33
  And then once I started doing things, I was like, Hey, Dad
• 40:36
  look, it's it's kind of working. But yeah, it's a such a
• 40:41
  relatable story because I was so honest and it doesn't feel
• 40:45
  shoehorned like that's what I loved about it.
• 40:47
  When I found out it didn't feel like you were just going he's an
• 40:50
  honorary doctor of This because he played a concert somewhere,
• 40:54
  you know, it felt earned. And I really like that.
• 40:58
  And I just, I mean, I know we're going to get to it really soon,
• 41:01
  but young teeth. Ah, yeah, that's the next scene
• 41:04
  here. We get our dr.
• 41:06
  Teeth flashback, I think Stephanie has a crush on him,
• 41:09
  and she's got a voice. So sweet.
• 41:12
  So sweet. So it's such a sweet, sweet
• 41:17
  performance, absolutely. So when we see dr.
• 41:21
  Teeth, he has no business There's he's got his glasses but
• 41:24
  there's no Tintin. His glasses.
• 41:26
  He doesn't have gold tooth yet, he's wearing a letterman jacket
• 41:29
  that has a goal of that has a tooth on the, on the breast.
• 41:33
  And most importantly he does not seem happy.
• 41:37
  And his parents are working out of a white school bus, place it
• 41:41
  on the side of a bus. Yeah, so, yeah, he's okay.
• 41:46
  It hurts him. I don't know if you can hear it,
• 41:48
  but it hurts a little, he's kind of gone.
• 41:50
  Yeah, yeah, yeah. He's due to flossing.
• 41:53
  Yeah, he doesn't. Like it is parents are working
• 41:57
  out of a white school bus called the Molar Express.
• 42:00
  It's got a giant to on the roof. That's a great, a great visual.
• 42:04
  This episode was written by our writer had a Friedman and the
• 42:09
  first draft had that and we were just, I think all of us like,
• 42:12
  ah, yeah, it's good stuff is great.
• 42:15
  The Molar Express should have sued Spielberg.
• 42:19
  Sudha retroactively, we should sue him for making a movie.
• 42:22
  This came before. That was the biggest.
• 42:24
  That was a Mecca suited more Polar Express.
• 42:26
  Sorry. Sorry wrong direction.
• 42:28
  So we'll see. We'll see Tom Hanks, we'll just
• 42:30
  make sure he hears someone playing guitar and he looks over
• 42:38
  and there's a music store. It's called a root.
• 42:41
  The original Jerry's Tunes, which is an obvious reference to
• 42:45
  Jerry Nelson. The original performer for
• 42:47
  Floyd, it says Tablished yeah 1934 which was the year Jerry
• 42:52
  Nelson was born. Hmm and we go in and we see
• 42:57
  young Floyd he's got like a spotty mustache just starting to
• 43:01
  come in. He's wearing glasses over his
• 43:05
  eyes which I think a lot of people are talking about on
• 43:07
  social media. That we fought his eyes were
• 43:09
  sunglasses but now he's wearing glasses over to the sunglasses.
• 43:13
  Like yeah yeah, yeah he's playing this blues riff on his
• 43:17
  guitar. Dr. Teeth grabs a harmonica off
• 43:21
  the shelf and he starts playing. They're jamming together and
• 43:25
  Tina runs in catches them and she tells him that yet
• 43:30
  harmonicas going to blow the enamel right off his teeth.
• 43:33
  But this was, this is the whole moment.
• 43:34
  This is where everything started with dr.
• 43:35
  Teeth and Floyd meeting for the first time and like, what a
• 43:37
  great interaction between these two characters that we felt like
• 43:41
  we've known for so long. And yet, here they are meeting
• 43:44
  for the first time. Wonderful guy just say one
• 43:46
  little thing. Do you guys?
• 43:48
  Sentence. That Floyd is a little bit older
• 43:52
  than teeth at all. Did you get badly?
• 43:54
  Oh, God, solutely. Because that's Jim and Jerry,
• 43:56
  right? Yeah, yeah.
• 43:58
  I thought that way to especially, because you'll
• 44:00
  Floyd's got a real job, real quote, unquote, real job and dr.
• 44:05
  Teeth is not yet in school. You know.
• 44:09
  That's a little nebulous of what part of time to squeeze in.
• 44:14
  Oh, I think I think East High School, High School.
• 44:18
  Sorry. You're right.
• 44:18
  I said school, I meant dental school.
• 44:20
  Yes. Oh, dental school.
• 44:22
  Yeah. Sorry Joe.
• 44:23
  Yeah. But I think they're like, like,
• 44:25
  Jim and Jerry were there like, two years apart, you know, it's
• 44:28
  just just worked perfectly. Yeah, that's nice.
• 44:33
  Well, especially I feel like I've always just assumed that
• 44:35
  dr. Teeth is older than Floyd, you
• 44:37
  know, we see them as adults, I don't know why, I assume that I
• 44:39
  know, but there's no reason that to be.
• 44:42
  I did too. Yeah, I did too.
• 44:44
  But I like the idea that Floyd was actually the older one who
• 44:47
  influences teeth. Like a bit of nerdiness about
• 44:53
  Floyd from that same if I'm remembering correctly.
• 44:58
  When I when I went to go visit the Muppet shop when we were on
• 45:04
  set, I went and I was talking to Jane good nick back there and
• 45:10
  just kind of picking her brain because she is amazing Stories.
• 45:12
  And she's an amazing person. But she said that the Floyd that
• 45:16
  they were using was an older Floyd The and is a bit smaller
• 45:20
  than the original, or that the region.
• 45:22
  But the the Floyd they use now well because it's more to the
• 45:26
  size of Jerry's hand. And so knowing that from that
• 45:30
  scene is really cool because we're in Jerry's, Tunes?
• 45:33
  Yeah. Actually.
• 45:34
  Puppet. That Jerry had used wood.
• 45:38
  It is sort of a younger version of, right?
• 45:42
  And so, wow, I heard that I was just like this is really
• 45:45
  special. Oh, that's his special.
• 45:47
  Wow. Oh, I'm glad you got that story.
• 45:48
  That's real nice. How could he did a great job of
• 45:52
  creating their youth? You know.
• 45:53
  I love the little details of their little mustache.
• 45:57
  Yeah. Well and especially and we'll
• 45:58
  see this in a few minutes but we'll see them at several stages
• 46:02
  in their in their life growing up and it's so subtle.
• 46:04
  Like I kind of forgot that they aren't actually aging like
• 46:09
  they're, they're just different public bills like I thought for
• 46:12
  a minute it's like well yeah. So he yeah.
• 46:14
  Cruise his moustache in a bit. No, that's a, that's a new
• 46:17
  mustache. That's Not how puppets work.
• 46:19
  Sweet, sweet, sweet, young teeth, Babyface no teeth out
• 46:25
  voice. Innocent told voice that choice.
• 46:28
  Bill, your choices were just so perfect because not just about
• 46:34
  the youth and the Innocence, but then that explains why he didn't
• 46:41
  just run off and become a musician.
• 46:43
  Right away. You know, his journey took a few
• 46:48
  Years of, you know, coincidentally running into
• 46:52
  Floyd running into this Gua. He doesn't even really, you
• 46:55
  know, this guy. Yeah, music guy.
• 46:59
  So, the choice of if, if teeth had been any wiser or or, you
• 47:07
  know, he was, he was conflicted because he he's a good boy.
• 47:12
  All right, listen to his mama, he's doing.
• 47:17
  What's doing, what's right? Right.
• 47:18
  And, um, and and it comes from that that sweetness, right?
• 47:24
  Just that Purity that, that you bring to it.
• 47:27
  He's got his, you know, he says he goes to the ghost of the
• 47:30
  clubs and sneaks in, that's as bad as it gets.
• 47:33
  No, he keeps in the, in the window.
• 47:38
  Yeah, but it's free. That's great.
• 47:41
  So, that's actually, that's something I got from Louis.
• 47:44
  Prima, Louis Prima. As a kid, used to go and peek
• 47:47
  into the club. Then watch Louis Armstrong and
• 47:50
  all those people play but because he couldn't do it damn
• 47:54
  these right. It was nice to see your
• 47:56
  restraint in the performance to you in that younger music shop
• 47:59
  scene with the character like he dr.
• 48:02
  Teeth hasn't quite found his voice yet literally and he's you
• 48:06
  see you not performing as big as you would with, you know, older
• 48:12
  teeth. I felt like when I saw you
• 48:14
  performing him because you just like there's a lot of restraint
• 48:16
  and very Eric intention, like there's I get nerdy about
• 48:23
  certain performance moves that people make.
• 48:25
  And in that movie in the, there's a moment where you're
• 48:28
  about to leave and you kind of go.
• 48:30
  Yeah. Like you kind of just gently nod
• 48:31
  your head as you look away because you know, you're
• 48:34
  accepting that you have to leave and you're kind of letting him
• 48:37
  know, just through your, you know, movement, like, all right,
• 48:40
  well, thanks, you know. That's what you do, you know,
• 48:43
  within an hour in a, in an honest moment.
• 48:45
  So that that moment was just so yeah, it is.
• 48:48
  In pure and honest and it was really loved.
• 48:51
  You lovely to see chemistry with Matt to.
• 48:54
  Yeah, it's gorgeous. But but what had just occurred
• 48:58
  to me is the purity of your performance tells a story in
• 49:02
  that moment that you don't really think about in that
• 49:05
  moment you think okay he stays on the dentist track, he becomes
• 49:10
  Gerald, he goes the music, track, he becomes team.
• 49:13
  That's interesting. Whoo.
• 49:15
  Yeah you know that's interesting and that's where it's clear.
• 49:18
  Here. Mmm, and that music shop thing.
• 49:20
  He's, he's almost yelping. Yeah.
• 49:24
  You know what I mean? Yeah, yeah, well, so it's just
• 49:27
  the gorgeous, gorgeous Choice. Whether that was intentional or
• 49:31
  just subliminal subconscious, I was just trying to make him as
• 49:35
  uncomfortable as possible. I don't think he's comfortable
• 49:37
  in his skin. That's what I was trying to do
• 49:40
  is that this thing that just hit him in the face.
• 49:43
  You know, this idea that music came out of his mouth for the
• 49:46
  first time like that, you know, it was Firsts.
• 49:49
  And I think it doesn't know what to do with it, because he's just
• 49:52
  a kid and then his mom he just says, uh, uh, you know, come on,
• 49:57
  let's go stop playing around, you know, that's going to ruin
• 49:59
  your teeth. Let's yeah.
• 50:01
  Yeah, one of the lines that I miss I think it was an early
• 50:05
  draft. I don't even know.
• 50:06
  I don't think you shot it but it was it maybe in the table read
• 50:09
  Draft when she was tossing the floss from the molar expressed
• 50:12
  to the kids and she says, you know, get some more free
• 50:14
  samples. The kids are loving it.
• 50:16
  Yeah, muttering under your breath With you, just throw in
• 50:19
  things. That's great,
• 50:33
  that's great. Like young person phrase of
• 50:35
  defiance and you're just throwing stuff at people.
• 50:38
  Yeah. Bullying also saying it to
• 50:39
  yourself. Like Mom, can't hear that.
• 50:41
  I do this. So dr.
• 50:46
  Keith snaps out of this flashback and he shouts.
• 50:48
  Something about crawdads and he runs off turns out that this
• 50:52
  happens every decade or so is parents come to town and they
• 50:56
  asked him to come take over the family practice and the band
• 50:58
  just has to wait for dr. Teeth to cycle through this,
• 51:01
  emotional Rejuvenation Journey. I'm going to I'm going to very
• 51:05
  quickly, go through some of the phases that he's going through
• 51:07
  In This Moment. He phase one is he's going to go
• 51:11
  fishing for crawdads and making a delicious gumbo which sounds
• 51:13
  great Phase 2 is creative malaise which animal
• 51:17
  misinterpret says Creative mayonnaise.
• 51:19
  That got a big laugh out of me. And we also see dr.
• 51:24
  Teeth like, depressed lying on his keyboard, just repeating,
• 51:26
  why over and over again. Phase 3 is musical self-doubts.
• 51:32
  He can't even ding the dang triangle, and he hits the, it's
• 51:36
  a triangle, that makes a thunk. That's great.
• 51:38
  I love that, that run of Faces in that, in the studio, is so
• 51:43
  funny faces for is explosive Rebellion.
• 51:48
  Goes on a big rant. I don't need you.
• 51:50
  I don't need my parents. I don't even need triangles
• 51:53
  here. Objectifies shapes of all kinds.
• 51:55
  Even the rhombus here's a fun little fact when he throws the
• 52:00
  triangle or the dang. If you will.
• 52:02
  That's when it hits. That's the one time it's
• 52:05
  actually a note and played. Oh great.
• 52:09
  Yeah, everything else. Is that muted?
• 52:11
  Weird. He can't hit it.
• 52:13
  That's what phase 5 is explosive.
• 52:18
  Regrets. He hugs and apologizes to Zoot
• 52:20
  for saying, you didn't need them.
• 52:22
  And phase. Six is my favorite.
• 52:24
  It's a very abrupt flashback. And just as Floyd is saying that
• 52:27
  we get a flashback editing joke. I, I route I rewound, my, my
• 52:34
  video so I can watch that three times in a row because I thought
• 52:36
  that was hysterical. The timing.
• 52:37
  This is real good kudos to the editor, Jeff, whoever I wasn't
• 52:43
  the editor, but I was nearly the editor, you're near the other
• 52:46
  Kudos yelling. I mean it was badly written as
• 52:50
  an idiot in the script as an Abrupt, a flashback.
• 52:54
  Yeah, that's bad. Yeah.
• 52:56
  And in that flashback, we see dr.
• 52:58
  Teeth graduating from dental academy.
• 53:01
  Now, there's a banner in the background.
• 53:03
  It says that the dental academy was founded in 1938 and we had
• 53:07
  just seen a year reference on Jerry's Tunes.
• 53:10
  I was looking up to see what the significance between 1938 was.
• 53:13
  The only thing I could come up with was it was the year, Geri
• 53:15
  Jewell was born, the Muppet writer, but Was it just a random
• 53:19
  number or was that they're actually reference or somebody
• 53:21
  probably cleverly added something?
• 53:23
  I don't know. I didn't pick that or a Jeff.
• 53:26
  Do you know that one? I don't probably do things not a
• 53:29
  good. Yeah, could be.
• 53:31
  All right, let's go really could be yet.
• 53:32
  Yeah, it could be a Arts, are, you know, our art department and
• 53:38
  props. Everybody were so amazing and
• 53:41
  thinking of things and exploring, and finding fame or
• 53:44
  things, absolute will go to cavity con later.
• 53:46
  But you'll see just all Stuff like yeah we wrote jokes, they
• 53:50
  wrote better jokes like they just it's all there.
• 53:54
  They just love details. Sure.
• 53:56
  Yeah and I mean I want to give some props to the the costumers
• 54:01
  for these characters to because even in this scene dr.
• 54:03
  Tyson is beautiful cap, and gown, and it's like, you know,
• 54:06
  the guy it's not it could have been the kind of been like a
• 54:08
  poncho, we wouldn't have blink twice but it's, you know, real
• 54:11
  graduation gum or yeah with the embroidery and all that and Tina
• 54:16
  teeth is wearing like, Kind of this like suit like dress.
• 54:20
  And she's got a gold necklace with a tooth on it.
• 54:24
  A gold tooth. And Gerald is wearing this great
• 54:26
  baby, blue suit with your second.
• 54:30
  I seersucker. Thank you.
• 54:31
  I knew there was a word for it. I couldn't ya how to Google
• 54:33
  that. Yeah, these costumes are great
• 54:36
  and we again we see them for what a minute maybe and that's
• 54:40
  it. What's the period?
• 54:41
  You know, they between cut everything that hole.
• 54:44
  You could you buy that? That's, that's the period.
• 54:47
  I mean look at the card. Out there and yeah everybody
• 54:50
  around them it's really well done.
• 54:53
  Absolutely those poor background.
• 54:55
  People was one of the hottest days they're wearing graduation
• 54:58
  robes over there. Are sixty three piece suits back
• 55:01
  there. I saw you speaking of which, so
• 55:04
  if we're placing this in the 60s and then the other stuff takes
• 55:07
  place in modern day. Does that make dr.
• 55:09
  Teeth parents like 100 years old.
• 55:11
  Probably, there was a wrinkle in time for vampires.
• 55:16
  I believe. We said the teeth are I mostly
• 55:18
  fangs, they've been okay. If you don't Back to the Future,
• 55:22
  just compressed everything in time that film existing just
• 55:27
  made everything just you know, without anybody knowing as make
• 55:31
  us friends s in Mecca's, we're onto the Vegas's.
• 55:35
  I will do it together guys, we could do it.
• 55:39
  I like the term s + Ms. Abacus, think we think about eras, you
• 55:44
  know, like periods of time and playthings a but I don't think
• 55:46
  we have to tie a necessary. The characters to a specific
• 55:50
  age. Although in our minds in our
• 55:53
  back stories, in our minds, it's there.
• 55:55
  But I don't think you could say that Tina and Gerald or 100
• 55:59
  years old. And look, we, they're, they're
• 56:02
  talking about return older. They're his parents, you know?
• 56:05
  If they're, if they either way like they deserved it, you know,
• 56:08
  they probably been working for ya, 80 years.
• 56:11
  I think it's creative license. You can call your attention to
• 56:13
  it or not. Yeah, no, of course.
• 56:15
  Yeah, look at me. Simpsons, you have to do the
• 56:16
  same thing with the Simpsons, you know?
• 56:18
  All any any long-term franchise characters?
• 56:22
  You can't get too precious with, right?
• 56:24
  Yeah. Yeah, well, and I mean, of
• 56:25
  course, I'm bringing this up as a joke because like we hear, you
• 56:27
  know, when Matt Vogel is performing, Kermit the Frog
• 56:30
  talking about that time that he worked with Jimmy Dean or not,
• 56:33
  Jimmy Dean, but you know, someone from like the, you know,
• 56:35
  the 50s or 60s, or something like that.
• 56:37
  And it's like, not only are we putting a date on.
• 56:40
  I'm Kermit but we're putting a date on Matt's experience with
• 56:45
  the like none of it makes any sense.
• 56:46
  We just have to roll with it and this is something that we've
• 56:48
  gotten used to as Muppet fans but it's a vampires and well
• 56:53
  there's one one month and vampire but he's not on the
• 56:55
  show. But yeah.
• 56:57
  But also it's just it's something that we like to poke
• 56:59
  fun at, you know, it's something that we like to talk to think
• 57:01
  about like, wait a minute like exactly.
• 57:04
  How long has Robin been six years old?
• 57:07
  You know what I mean? It's a vampire so because he's a
• 57:11
  vampire, he's a vampire frog. Right?
• 57:14
  So dr. Teeth, here's that.
• 57:17
  That guitar riff again and he sees Floyd, he's busking on a
• 57:20
  park bench, and his mustache has grown in.
• 57:23
  He lost the glasses, and now he's wearing an army jacket and
• 57:28
  dr. Keith calls him, Sarge, which is
• 57:31
  the origin of the full name of Sergeant, Floyd pepper that we
• 57:35
  are used to, from the old Muppet Show, and Floyd reveals that Was
• 57:39
  dishonorably discharged from West Point for turning Taps into
• 57:42
  a jazz Odyssey. So I love the fact that not only
• 57:46
  did you confirm dr. Teeth as a doctor, but you have
• 57:49
  also confirmed that Sergeant Floyd pepper while.
• 57:52
  Not actually a sergeant does have a background in the arms
• 57:55
  forces. So, yeah.
• 57:58
  And it's a nice balance to you didn't have to write a whole
• 58:00
  backstory about like, okay. So Floyd must have been in the
• 58:03
  Army for X number of years. To get to the point of Sergeant,
• 58:05
  like forget it because everybody makes we do have it.
• 58:08
  Do you have it? Maybe he didn't have to be in
• 58:12
  the Army for a long time. Maybe it's like Sergeant York
• 58:15
  where he just shot a bunch of Germans and they gave and they
• 58:18
  and they promoted him. Oh yeah.
• 58:22
  Floyd you shot enough German? Yeah, here's a promotion.
• 58:25
  Yeah. In what is it Catch-22?
• 58:29
  There's major major, which they just gave him the title because
• 58:32
  it's like, that's your name. We'll just it's too confusing
• 58:34
  that you're not a major, which make you a major and he's yeah.
• 58:38
  Not at all. Prepared for that.
• 58:40
  But yeah, so they jammed together.
• 58:41
  Once again the teeth parents catch him.
• 58:44
  Once again, they disapprove, this is going to keep on going
• 58:47
  until we get these crazy kids together.
• 58:50
  When the Polar Express the Hornets, it doesn't say 22.
• 58:53
  It says 22. Yes.
• 58:55
  No does it? Yes, that's absolutely.
• 58:59
  That's hysterical. I did not think about that.
• 59:03
  Who's performing The Tooth, whose voice is that?
• 59:07
  Who's an ADR session person? I'm James L Jones, I thought
• 59:10
  that it wasn't it. When Morgan Freeman was on set
• 59:15
  your like to just say tooth tooth really quick into this
• 59:17
  microphone. It was someone in our loop loop
• 59:21
  group. Yeah, great back in present-day
• 59:26
  dr. Teeth is in the midst of phase
• 59:28
  seven which is manic Prosperity, he's jamming on the keyboards,
• 59:33
  which is great, which is, by the way.
• 59:35
  Brilliant Forming by Alice did Janine, O2L scene is doing the
• 59:43
  so good. Yeah, we don't talk about this
• 59:47
  too much throughout throughout the episode.
• 59:48
  There's a runner where animal is continually reminding Moog that
• 59:53
  he also has a thing for Nora. And we hear animal say Nora over
• 59:57
  and over and over and over again throughout this episode to the
• 1:00:00
  point where it gets its funny and then it gets annoying and
• 1:00:03
  then it Loops back to funny by the last few I was Like that
• 1:00:07
  guy. Say it's a one more time.
• 1:00:09
  There it is. I love be scenes.
• 1:00:12
  I just think Tasha's so endearing, you know.
• 1:00:15
  Yeah. And when he goes on his liberal
• 1:00:16
  runs of just being uncomfortable.
• 1:00:19
  Just when he's face-to-face with this, you know, monosyllabic.
• 1:00:22
  You know, little creature animal, you know?
• 1:00:25
  Yeah. Just he keeps going and animal
• 1:00:27
  just just says Nora. Yeah, one more.
• 1:00:30
  Yeah. It's got to drive it home.
• 1:00:31
  Yeah. So Natasha such as sweet.
• 1:00:34
  Sweet guy. I can't imagine that in the rule
• 1:00:38
  and the hands of any other actor.
• 1:00:39
  I really I can't. Okay, so like perfect.
• 1:00:42
  Yep. Nora Hannah and Janice are
• 1:00:45
  together. They're wearing Spa masks and
• 1:00:48
  Northern Han are comparing Tina teeth to their mom.
• 1:00:51
  There's a lot more story there that we're not getting in the
• 1:00:53
  season. Hopefully, there's a season 2
• 1:00:55
  will hear more about what the drama with their mother is and
• 1:01:00
  Janice warns them about phase eight, which is romantic
• 1:01:03
  impulsivity. And we see dr.
• 1:01:06
  Teeth bursting into pennies office, interrupting her, hot
• 1:01:08
  wing time, and he gets on one knee and proposes to her.
• 1:01:14
  Thankfully Penny's been around dr.
• 1:01:17
  Teeth for a long time so she is aware that this is the sort of
• 1:01:20
  thing that happens when his parents are in town.
• 1:01:23
  And so thankfully we don't get into the whole like oh no,
• 1:01:25
  they're engaged. Now they have to be not engaged.
• 1:01:28
  She gets it right away but also dr.
• 1:01:31
  Keith is wearing this amazing. Psychedelic suit that I wanted
• 1:01:34
  to pass. That's another really good
• 1:01:36
  outfit in this in this episode. Yeah.
• 1:01:39
  Yeah, it's beautiful. I love seeing full body Penny
• 1:01:44
  to. I love seeing pennies legs lat.
• 1:01:47
  Great legs. Yeah, yeah.
• 1:01:49
  Well, so that was the most uncomfortable position I've ever
• 1:01:52
  been in. I was writing in the hand and
• 1:01:57
  the the pile of wings next to her had to move to cover my
• 1:02:02
  head, I could not reach up into the hand and get my how he's
• 1:02:08
  bent in half and you could still see a woman.
• 1:02:12
  Yeah. God about that.
• 1:02:14
  Yeah, it was fun. I was so happy to get to do it
• 1:02:16
  though. Sorry David.
• 1:02:17
  You were going to say no. I was actually going to bring up
• 1:02:20
  that and because I anytime that I wasn't performing, if I could,
• 1:02:25
  I would sneak on set and hide somewhere, so I could watch
• 1:02:28
  everybody work because that's if there any younger puppeteers
• 1:02:31
  listening. If you're ever able to be on set
• 1:02:33
  and you can be very quiet and respectful, watch what everybody
• 1:02:36
  else is doing because that's the best place to get that sort of
• 1:02:40
  Education, you won't see it anywhere else.
• 1:02:42
  Help you feel like you had to sneak onto the set.
• 1:02:47
  That's how I felt, you know, like I was saying earlier, I
• 1:02:49
  feel like a little kid. I was like, okay, well, I'm not
• 1:02:54
  here, but I would go, and I would like sit and in the scene,
• 1:02:58
  where, you know, dr. Teeth barges in, I'm like, I
• 1:03:01
  literally right behind the door frame sitting staring across the
• 1:03:05
  way the directors monitor, you can't see me and I was going to,
• 1:03:10
  I was going to tell that story. You were just said, Stephanie
• 1:03:12
  About how like or throw it to you about how like difficult
• 1:03:15
  that was and I watched you guys work and and you and Bill and
• 1:03:19
  Leslie talk about how to figure out how to get you in a position
• 1:03:22
  where you could perform and get that beat across and then great,
• 1:03:28
  it looks really good. It looks so good.
• 1:03:32
  I love wings and then Bill watching you, my abs again, nerd
• 1:03:36
  for great manipulation moments bill when you're when you had
• 1:03:41
  dr. Teeth Up from one knee.
• 1:03:43
  Oh, it's beautiful. Like, seeing the weight shift
• 1:03:47
  from one leg to another and him get up.
• 1:03:49
  Like, it doesn't seem like a lot.
• 1:03:51
  And when you watch it, you're like, I was just telling someone
• 1:03:53
  yesterday, when you watch it, you're like, oh yeah, he's just
• 1:03:54
  getting up. But people often forget that
• 1:03:57
  like, there isn't actually any legs under there.
• 1:03:59
  There's no floor and as a performer, we have to like,
• 1:04:02
  figure out how to make them get up and you could have very
• 1:04:06
  easily just had them go straight up which is what a lot of people
• 1:04:09
  do. They'll just go.
• 1:04:09
  Yep, he's up now. But instead, you see Him turn
• 1:04:13
  and shift you here until wish. Yeah.
• 1:04:15
  Well and it really sells so maybe and maybe this is
• 1:04:18
  something. I don't know if puppeteers
• 1:04:20
  you're listening, but I tend to move the puppet with my body as
• 1:04:27
  well, because I did get up there, right?
• 1:04:30
  I had to get up off of a stool, you did.
• 1:04:33
  That's right. Higher to go to Lily, right in
• 1:04:36
  the camera, goes up with him so it was about me doing it as
• 1:04:41
  well. That I think added to I can.
• 1:04:43
  So I'm I'm not trying to do it all here.
• 1:04:46
  I'm kind of doing it with myself so that helps sometimes.
• 1:04:50
  Yeah and I wouldn't have known that.
• 1:04:53
  Had I not been hiding behind a door frame watching you because
• 1:04:56
  the first time I watched you on the Monitor and I was like, that
• 1:04:59
  is gorgeous. How is he doing that?
• 1:05:01
  And then I got into position where I could see you doing it.
• 1:05:03
  I like, oh, he's really getting up moving through and really
• 1:05:08
  getting up, which is driving grunting.
• 1:05:10
  Yeah, yeah. Yeah, he's not the not, the
• 1:05:14
  youngster he wants was so in the scene Nora is inspiring dr.
• 1:05:22
  Teeth to finally stand up to his parents, but when she gets back
• 1:05:25
  to the shack lips Floyd and Janice are waiting for her, with
• 1:05:29
  these disapproving, looks their arms crossed, it turns out the
• 1:05:32
  process always ends with teeth telling his parents.
• 1:05:34
  No. But it will only happen if he
• 1:05:37
  does the whole process and now nor has ruined everything.
• 1:05:42
  And we're getting another flashback.
• 1:05:44
  But dr. Teeth is not there to give it
• 1:05:46
  because this one is Floyd's flashback.
• 1:05:49
  We see dr. Teeth is a dentist, he's playing
• 1:05:52
  with a set of Dentures bill. You say, I don't think you've
• 1:05:56
  been brushing Eugene to one of the pairs of Dentures.
• 1:06:00
  That's got to be a reference to your brother Jean.
• 1:06:01
  Is that right? Yeah, there's quite a few
• 1:06:05
  characters that have been named Eugene over the years, so I just
• 1:06:07
  keep adding them. There's there's Behemoth who's
• 1:06:10
  I, can't clean Jean. Now, there was a, there was a
• 1:06:14
  guy who was playing a trombone that Alan Chapman didn't like
• 1:06:17
  letters to Santa or something named Jean.
• 1:06:19
  And they Orchestra pit there is Eugene the Wild dog from the
• 1:06:23
  animal show and I think this is the latest Eugene Dentures.
• 1:06:29
  Wow. Well, and because of that
• 1:06:31
  pattern is the only reason that we Notice it now, it's like up
• 1:06:34
  there's another Eugene and then, do you know what that is Nina?
• 1:06:38
  Yeah. Right.
• 1:06:39
  That's right. He's drawn you in his book so
• 1:06:42
  you know, yeah I want to throw up something.
• 1:06:47
  You know one of the things that I thought was very cool was
• 1:06:50
  growing in these flashbacks, it just felt so appropriate for
• 1:06:54
  this band and their history on the road Odin, whatever they've
• 1:06:59
  done in history that they would have literal flashbacks.
• 1:07:03
  You know, so I thought that was a really fun thing that first
• 1:07:06
  teeth one, you know, for him to be like flashback, you know, I
• 1:07:10
  needed that in there. The other cool thing about the
• 1:07:12
  flashbacks and it's very subtle but it's a really fun thing that
• 1:07:15
  we threw in. You hear their instrument for
• 1:07:18
  each of these characters. You hear that in the in teeths
• 1:07:22
  you hear the harmonica and it gets sort of twist it around.
• 1:07:26
  As the frame is literally twisting in.
• 1:07:28
  Floyds you hear the bass and then you here.
• 1:07:33
  You know, what's coming up with Zoo?
• 1:07:35
  You'll hear the saxophone also nice as it's going.
• 1:07:39
  Nice. Floyd has seems to have
• 1:07:43
  accidentally wandered into the teeth.
• 1:07:45
  Family dental, practice, dr. Teeth offers to take a look
• 1:07:49
  under the hood, and he goes, I see the problem.
• 1:07:51
  You ain't got no teeth. It's a good puppet, puppet,
• 1:07:54
  joke. Some people got to eat.
• 1:07:55
  Some people don't. Yeah, and it's true.
• 1:08:00
  It is true. So true for humans as well.
• 1:08:01
  I suppose they Jam together once again.
• 1:08:05
  Tina teeth once again walks in on them.
• 1:08:08
  I also love. I noticed she's wearing these
• 1:08:10
  great toothbrush. Earrings.
• 1:08:12
  She's got good style. All of her earrings are so good.
• 1:08:17
  Yeah, they change, right? Shut up different.
• 1:08:19
  Yeah. And In This Moment, dr.
• 1:08:23
  Teeth promises that he'll finally take over the family
• 1:08:26
  practice, but He doesn't say when and so he and Floyd scoot
• 1:08:32
  out the door, they steal the bus and oh sorry.
• 1:08:35
  Before that he takes the gold floss case.
• 1:08:39
  That was a gift from his mom on his graduation day and he sticks
• 1:08:43
  in his mouth and that is the origin of his gold tooth.
• 1:08:47
  Nice. So we get an order, a grand it.
• 1:08:53
  That's right. Yeah.
• 1:08:54
  Yeah. So it's a cap.
• 1:08:55
  It's been a cap all this time. Yeah.
• 1:08:58
  He's since I think said you know it's all melted down from the
• 1:09:02
  all the gold record. Yeah.
• 1:09:03
  So but we know that's not true because there's a good cover
• 1:09:07
  story for The Tonight Show. Yeah, you know.
• 1:09:12
  That's right. It's those parents wouldn't find
• 1:09:13
  him he's, you know. Yeah.
• 1:09:15
  That's right. He's on the Run.
• 1:09:16
  Run with that story, Carson. Yeah, let's take a boy.
• 1:09:20
  He's got a gold tooth. He's got a beard.
• 1:09:22
  No, no we just don't talk about him as what we do.
• 1:09:29
  We were turned to present day. Everyone's back from the
• 1:09:31
  flashback except for Zoots, he is still in the flashback
• 1:09:35
  conducting. A barbershop quartet of singing
• 1:09:36
  Dentures, wonderful, wonderful, moments, singing about teeth.
• 1:09:40
  Love it. Yeah.
• 1:09:42
  Alright, let's talk about cavity con.
• 1:09:43
  We're now a cavity con which I Have been too many comic book
• 1:09:48
  conventions in my life. There's so many little specifics
• 1:09:51
  when you see cons on TV shows and movies about like
• 1:09:55
  specifically the when you call like the the scaffolding that
• 1:09:59
  keeps everything up. It's a very specific kind of
• 1:10:01
  scaffolding of the specific. Kind of banner you recognize it.
• 1:10:04
  Immediately as a convention, there's a giant tooth mascot
• 1:10:09
  people getting their photo taken with kind of looks like a lady's
• 1:10:11
  wearing a cape, is he a superhero?
• 1:10:13
  Yeah. Does he have a name?
• 1:10:15
  I assume he has a name name on the day and yeah, that sounds
• 1:10:22
  about right. Oh, cuz we're I think in an
• 1:10:25
  early draft, there was a there was like a gag with him.
• 1:10:29
  Well, there is and I think I wasn't there because he kept
• 1:10:32
  saying I really wanted to do it but she really wanted to see
• 1:10:35
  what someone's nephew was in toothy.
• 1:10:40
  We had a cameo, we had written. Yes, I remember that the table
• 1:10:44
  read or the open it. That's how cavity comments start
• 1:10:48
  and I believe that's his nephew, right?
• 1:10:49
  Doesn't call them out. Maybe he'd that tape.
• 1:10:53
  I think that that sounds right, because I think it was like, you
• 1:10:57
  know, Nathan, what are you doing?
• 1:10:58
  Yeah, over here, right? Yeah, yeah, sometimes I know you
• 1:11:03
  probably can't say, but I'm so curious who that was who that
• 1:11:05
  celebrity was it was a great. We had to I don't know what we
• 1:11:11
  could say except that they played a famous dentist, so it
• 1:11:16
  would have been very appropriate.
• 1:11:18
  Yeah, quasi Muppet related, so. Alright, famous right.
• 1:11:23
  Dentist, dr. Ronald, you know, he's a famous
• 1:11:26
  in movies in movies. I should say.
• 1:11:28
  Yeah. Oh okay.
• 1:11:31
  Well now I'm gonna guess you a lesson.
• 1:11:33
  We learned the hard way is you don't write for guest actors and
• 1:11:38
  cameos. That you don't have yet have
• 1:11:41
  right, right. Because some of them are very
• 1:11:44
  busy, shooting their own series on Hulu.
• 1:11:48
  I would assume sure or on tour, right?
• 1:11:51
  Or on tour after 12, it after covid, starts to subside.
• 1:11:54
  Everybody tends to go out and have your life against.
• 1:11:58
  Aha. Timing was just perfect.
• 1:12:00
  That would have been great, but that's okay.
• 1:12:03
  We still got toothy tooth. He's in there.
• 1:12:05
  We see booths for things like toothpaste and I Tried to pause
• 1:12:10
  and zoom a little bit to see, was there any any gags there
• 1:12:13
  with the different booths? There is so many there are tons.
• 1:12:17
  I mean, we just have lists upon lists of all these silly
• 1:12:20
  products and their great again, Russian department just made
• 1:12:24
  amazing ones. Yeah, but yeah, it wasn't there
• 1:12:26
  like Dentures for dogs or something.
• 1:12:29
  Yeah. Like there was we spent like an
• 1:12:32
  hour walking around. Just looking at all the booze at
• 1:12:35
  the convention at? Yeah, they were so funny.
• 1:12:38
  I didn't because That was my very first day of shooting, I
• 1:12:41
  was so overwhelmed, I was freaking out a little bit
• 1:12:47
  because I didn't know the crew. We were on a location.
• 1:12:52
  I didn't know where I should be where I was supposed to be what
• 1:12:56
  I needed to do, you know? So I everybody else was like
• 1:13:02
  yeah, let's go get some toothpaste.
• 1:13:03
  Let's look at let's get pictures with toothy and of like Pine
• 1:13:07
  because I didn't do any of that. It was the nerdiest girl in
• 1:13:11
  school. Yeah.
• 1:13:13
  So I probably didn't either Steph you and I were busy to be
• 1:13:18
  moving around. Doing yeah.
• 1:13:19
  Y'all were working. We are some work going on.
• 1:13:24
  But Bill, I remember you were so great.
• 1:13:26
  All the time. You were always looking out.
• 1:13:29
  I mean, you didn't have a moment to do anything but work because
• 1:13:33
  you are the one saying, hey, okay.
• 1:13:35
  We're going to set you guys up. We're going to sit on the stage
• 1:13:37
  behind the podium. Let's get monitors in here.
• 1:13:41
  What do you need? Like, you're asking me what do I
• 1:13:42
  need? You need to Camp charity and
• 1:13:44
  Apple box. What do you, you know?
• 1:13:46
  You think this is going to work. Okay, great.
• 1:13:48
  Let's you never, I never saw you like sip a beverage casually.
• 1:13:54
  I really concerned about your hydration at one point but that
• 1:13:58
  but that's just that's what I that's what I know.
• 1:14:02
  But you are also carrying the episode carrying the show there
• 1:14:06
  was so much. You just did it gracefully.
• 1:14:09
  And Care for everyone and I hold on your back.
• 1:14:12
  Like, Yoda is very well. What I was on his back like
• 1:14:15
  Yoda? He's literally carrying me.
• 1:14:17
  That's like, that's like, if if everybody doesn't have what they
• 1:14:20
  need and then it doesn't help all any of us, right?
• 1:14:23
  So that's all. I'm always just thinking about.
• 1:14:25
  How do we make sure everybody's got their stuff and what they
• 1:14:27
  need and how we are. We good here about right?
• 1:14:29
  Let's, you know, we all do it when we're you're being a good
• 1:14:31
  producer. Mmm.
• 1:14:33
  Yeah I don't really like you people.
• 1:14:34
  I just was very selfish. I just wanted to be from me for
• 1:14:37
  the yeah, it's good. Get a paycheck and that's what
• 1:14:40
  you're shooting for. So it's about the money.
• 1:14:42
  Yeah. All about the money and is it
• 1:14:45
  about Awards because in the seen Tina teeth and the teeth family
• 1:14:50
  are accepting the million Smiles award.
• 1:14:54
  Did you have something either in stuff in your head, Canon or
• 1:14:57
  David, or Jeff, and Bill in the script that why specifically,
• 1:15:03
  they're like, what do they do to accept this award to earn the
• 1:15:07
  award? Like they just they've been a
• 1:15:10
  dentist long enough than everyone, you know, the it's
• 1:15:12
  time for the yeah. You didn't you die?
• 1:15:14
  Yeah. Yeah.
• 1:15:16
  That's what the word maybe. Yeah.
• 1:15:19
  That's what I think in the back of.
• 1:15:21
  Yeah, okay. The back of our minds it was
• 1:15:23
  that they're just amazing dentists and they've probably
• 1:15:26
  been to every probably involved in every organization around the
• 1:15:30
  country. You know?
• 1:15:31
  They're well known that there are staff is very vocal.
• 1:15:34
  Yeah Tina's beshear's, the dentist are all just makes
• 1:15:37
  herself seen I know he knows the doctor and Gerald, you know,
• 1:15:43
  there are team, there is an assistant in general is.
• 1:15:47
  Yeah, he balances the books going back when I auditioned
• 1:15:50
  because I also saw the blurb for Gerald.
• 1:15:53
  I didn't see assistant in there. I assumed they were both
• 1:15:55
  dentists. I assumed they were both
• 1:15:57
  Partners. I never I never considered
• 1:16:00
  Gerald to be lesser. And anyway, I just thought
• 1:16:03
  that's his personality, you know?
• 1:16:06
  If it's just yeah. And I get what you're saying.
• 1:16:08
  I mean, I think that he handles the day-to-day, like he makes it
• 1:16:13
  happen. He's a man.
• 1:16:15
  Is a doctor who oppose your face of the business?
• 1:16:18
  Yeah. She and the doctor, of course,
• 1:16:20
  right. And he's, he's obviously
• 1:16:23
  supporting her. And everybody is, of course,
• 1:16:25
  like professionally as well. Yeah, anesthesiologist.
• 1:16:29
  I mean, it does all of yeah. He does it all the.
• 1:16:30
  All he does. All the other stuff.
• 1:16:32
  Yes. Right.
• 1:16:34
  Yeah. You didn't know that going in.
• 1:16:35
  I felt a little right silly that I wasn't aware of that.
• 1:16:39
  What was it was a cleaner. Maybe I guess that award could
• 1:16:41
  very well be a who, you know, you know, we've been
• 1:16:46
  glad-handing for a long time. It's our time, right?
• 1:16:48
  Happy head of the committee. That's right.
• 1:16:51
  She gave it to herself and it was whatever sell seats at the
• 1:16:54
  gala. Yeah.
• 1:16:56
  You gotta sell those dinner plates.
• 1:16:58
  You sell enough tickets. You know, you get enough
• 1:17:01
  sponsors. Yeah, yeah, it's a piece of art
• 1:17:06
  made by Bethany Barton, who's our Provost award is phenomenal.
• 1:17:12
  I think it's really not a shelf in Adams office.
• 1:17:15
  I remember there was a, there was an early line, there was an
• 1:17:18
  early line where she was accepting it from someone who
• 1:17:23
  ever The Cameo may have been, are there any?
• 1:17:25
  Remember, there's a stand and I remember there was a cloud.
• 1:17:27
  There's like that line. It's so heavy, right?
• 1:17:31
  And because of just the nature of a, we didn't have a presenter
• 1:17:34
  and be it had to be prominent. And see the podium was very
• 1:17:37
  deep. So we just had to place it.
• 1:17:40
  Mmm. That was going to be the best
• 1:17:41
  thing for everyone. Yeah.
• 1:17:43
  That was the only you having that having that false that that
• 1:17:47
  false modesty moment. All right.
• 1:17:50
  So heavy. Yeah.
• 1:17:52
  I think we even had, I think one point, we thought it was gonna
• 1:17:55
  be Bobby Moynihan, but something happened.
• 1:17:57
  He wasn't able to do it. So the Mayhem shows up Floyd is
• 1:18:02
  there with his guitars playing that same blues riff saying they
• 1:18:05
  should finish that song that they started.
• 1:18:07
  All those years ago, the Mayhem sing, the original song, Gotta
• 1:18:11
  Be and while they sing, we get more flashbacks, we see teeth
• 1:18:18
  and Floyd they're sitting out on lawn chairs, looking up at the
• 1:18:21
  stars. They're looking at the Aurora
• 1:18:24
  Borealis. Dr. Steve says so bright.
• 1:18:27
  It's probably shining down on Dad.
• 1:18:28
  Alice. And Floyd says, can you picture
• 1:18:30
  that and they share a moment. We just stole a song from Paul
• 1:18:34
  Williams. My favorite moment of that is
• 1:18:39
  Floyd's eyes, widening, just a tiny little bit.
• 1:18:43
  Yeah. Yeah, that's good stuff.
• 1:18:46
  Good. Puppet wrap.
• 1:18:47
  I love dr. Teeth little legs.
• 1:18:49
  Those are my favorite little tiny legs.
• 1:18:55
  We see them jamming in the bus and animal.
• 1:18:58
  Baby animal. Excuse me, joins in, he's
• 1:19:02
  keeping beat with two cans of beets and that's how they got
• 1:19:07
  their drummer, nice to see them all coming together and then we
• 1:19:10
  also see the entire band together.
• 1:19:12
  We've skipped a few steps, which I'm hoping that we'll see in a
• 1:19:15
  potential season 2 of how they pick up Janice lips Zoot but we
• 1:19:20
  see them all together. They're not painting the bus
• 1:19:22
  door knocking that giant tooth off the roof.
• 1:19:25
  Dr. T says, now that's what I call a root canal which was
• 1:19:28
  Great, grown worthy joke and we're getting a little tease
• 1:19:34
  that maybe we'll be seeing this bus again in the series, but not
• 1:19:39
  today, we'll come back to that after the song.
• 1:19:43
  Dr. Teeth admits. Okay, I made a promise to my
• 1:19:45
  parents and I'm going to keep it and Gerald David, you finally
• 1:19:48
  speak up, you say more than one word, you get a whole monologue.
• 1:19:52
  Yeah. He gets a whole monologue and
• 1:19:55
  like Stephanie said, that was our first day and Had I had not
• 1:19:59
  performed the character yet and so just like Stephanie I was
• 1:20:02
  super nervous. I was practicing the lines on my
• 1:20:06
  drive, from my hotel, the whole way.
• 1:20:08
  And when even when I got to set, there was really funny thing
• 1:20:13
  that happened. Actually I got to set and one of
• 1:20:16
  the one of the crew members saw me was like, oh, hey David.
• 1:20:19
  I like, yeah. Well you're playing Gerald Rags.
• 1:20:22
  Like yeah, we're so excited to see dr.
• 1:20:24
  Teeth Dad like, this is so cool. Excited to see you, perform.
• 1:20:26
  And man, this like whole Series like hinges on your monologue,
• 1:20:30
  right? And I'm just like I don't know
• 1:20:36
  who I was. I suddenly just like got tunnel
• 1:20:44
  vision and I went over to Jay and I like, Jane.
• 1:20:46
  She goes, she just hates. She knew, she just hands me.
• 1:20:48
  Gerald, you go downstairs, but goodbye and I ran away.
• 1:20:53
  And I just sat in front of a mirror and just performed that
• 1:20:56
  monologue until I felt like I really, oh, wow, didn't do it
• 1:20:59
  anymore. And yeah, I was petrified And I
• 1:21:06
  had never liked bill. You you've seen me perform in
• 1:21:12
  like a casual sense. You know, like not like in a
• 1:21:14
  real working sense. Yeah, laying around.
• 1:21:16
  This is my first time just playing yeah but I've never
• 1:21:20
  performed like that in a working environment with you and I
• 1:21:23
  hadn't done it with Stephanie or Leslie and I'm surrounded by all
• 1:21:27
  these people and I'm doing this monologue in front of you all.
• 1:21:29
  And after it was done, I still was nervous.
• 1:21:34
  I was terrified because I thought maybe I'd done it wrong
• 1:21:37
  and because there was so much to navigate, you know, we had
• 1:21:40
  Stephanie, you had Leslie next to you, helping you hand in your
• 1:21:44
  ward. Yeah, and I had Bradley next to
• 1:21:48
  me, assisting me Freeman and Bradley Freeman, which that was
• 1:21:53
  a cool moment. When I showed up on set, I said
• 1:21:55
  to him I was like you're my sister day.
• 1:21:56
  I was like how crazy is it that a couple of like Latino kids are
• 1:22:01
  performing? One character together on The
• 1:22:03
  Muppets like this is insane. Like this is such a cool moment.
• 1:22:05
  You're like, it's like, oh my God.
• 1:22:07
  I hadn't even thought of that like oh my God, this is so cool.
• 1:22:10
  We both just kind of like walked together to set and just kind of
• 1:22:12
  like reveled in that moment and then a good moment.
• 1:22:18
  I mean it's really is, you know, it's the moment where you know
• 1:22:20
  you're hoping that that this is you're going to get through to
• 1:22:24
  him, you know. And the dad just lays it out and
• 1:22:27
  Tina's just stuck. She becomes the up and you know
• 1:22:32
  Daddy's there to rescue his son. It's great.
• 1:22:35
  Yeah, I'm two things to point out in this machine.
• 1:22:39
  One thing is a lens, flares are gleaming sparkly white.
• 1:22:44
  They're coming off the tip of the giant teeth stage.
• 1:22:47
  Yeah so they weren't color and then also I don't want to get
• 1:22:52
  too far ahead but when Tina turns to Floyd and says you
• 1:22:57
  know, finally acknowledges him thankfully you know he says
• 1:23:01
  ma'am that bam is one of One of our board proud moments in the
• 1:23:05
  editing room, we rock the edit. We only had him opening his
• 1:23:09
  mouth once just going Mama and it goes so goes forwards and
• 1:23:14
  backwards. It was a rock.
• 1:23:17
  Yeah. Usually a rock is very
• 1:23:19
  noticeable. Yeah so it's like you know when
• 1:23:21
  Star Wars which is not as amusing.
• 1:23:24
  Yeah we're going back and forth. Yeah yeah there you go that's
• 1:23:30
  what we did. We go forward and backwards at
• 1:23:32
  to have his mouth open. And close so he could save me my
• 1:23:35
  um yeah that's great. Well darling that's cool.
• 1:23:38
  Didn't notice it. That shot a teeth catch in the
• 1:23:41
  harmonica and spinning around in my favorite show.
• 1:23:45
  That's another one that I think we had imagined differently and
• 1:23:50
  we saw that that was sent us that day.
• 1:23:52
  I think Kimmy Gatewood the director sent this she's like
• 1:23:54
  Hey we're still going to do that shot with the harmonica flying
• 1:23:58
  through the air is a separate shot.
• 1:24:00
  You would just see it spinning and you know she's like but what
• 1:24:02
  do you think of this? And when I No that yeah, that's
• 1:24:05
  it. That's good.
• 1:24:05
  That's great. Actually that was really hard
• 1:24:08
  because you catching it just right being able to get it in
• 1:24:11
  your mouth as the cameras swinging cameras swinging you're
• 1:24:14
  turning around on your role a to face the other direction.
• 1:24:17
  Yeah, and you've got someone with you Riley.
• 1:24:20
  Bradley Freeman, Brando you at Bradley with you.
• 1:24:22
  Okay, yeah, I know you. We did, you know, sometimes you
• 1:24:27
  wouldn't catch it or something would go wrong and catch ahead
• 1:24:30
  or, you know, there'd be a wobble and ahhs gorgeous bill.
• 1:24:34
  I was also on your back like Yoda.
• 1:24:36
  The only thing, I wish I wished, we had planned a little more
• 1:24:41
  ahead was that. As we spun around that the
• 1:24:45
  curtains opened. What we currently have is the
• 1:24:48
  curtain open Prix before that. Yep, right.
• 1:24:52
  Right. So it's already open and I was,
• 1:24:54
  I don't know what, however, when the what happened?
• 1:24:57
  But yeah, the on the turn, I think, you know, was always
• 1:25:01
  imagined, they would have bought a, no, I don't know how I got
• 1:25:03
  changed me. It is a fun shot, there's so
• 1:25:06
  much going on that. I know what you mean.
• 1:25:09
  You know what can the planet, man swears?
• 1:25:11
  Come up? Still beautiful.
• 1:25:13
  Well up the lens flares were in there.
• 1:25:14
  That's really, that's all that matters, it's all anyone's
• 1:25:17
  talking about. Yeah, yeah.
• 1:25:20
  So back at the shack. Nora is making a track list for
• 1:25:23
  the new album. We've got the songs.
• 1:25:24
  We've already discussed in the series.
• 1:25:26
  Can you picture that Rockin Robin?
• 1:25:27
  Now, what I gotta be is on there and then there's a bunch of
• 1:25:30
  songs that don't end up being on the album, including Ying who
• 1:25:34
  brought the rock, marshmallow Hayes, the music made me do it,
• 1:25:38
  shake it up and what mama don't know.
• 1:25:43
  Jeff, what you're laughing at this was you have any comments
• 1:25:46
  on these fake song titles? I mean, just that we spent a
• 1:25:49
  good 15 minutes coming up with song titles that made us laugh.
• 1:25:53
  And I think that was sort of perfect world scenario, where we
• 1:25:57
  would have replaced them digitally with songs that were
• 1:25:59
  actually going to be on the album, but you have the budget
• 1:26:03
  in time. Hey, it's all right, sir.
• 1:26:06
  Anything can happen in the production process.
• 1:26:07
  That's why it's, that's why they're on index cards, index
• 1:26:10
  cards, and meant to be replaced. That's true.
• 1:26:13
  And season 2 album to, besides the basement tapes, we talked
• 1:26:17
  about it. Yeah.
• 1:26:19
  There was a, it was a scene that got caught there, which was we
• 1:26:23
  go back into, Nora's Nora has a flashback and goes to her being
• 1:26:28
  in school, as a little girl, and her teacher, what is it?
• 1:26:33
  Jeff, she the teachers, like, why aren't you, are you going to
• 1:26:36
  be in the school play? And she says, something like
• 1:26:38
  know, my mom wouldn't want me to be my mom, doesn't, it is from?
• 1:26:42
  I'm a singer, right? Right.
• 1:26:43
  You said your mother saying her and she's like, yeah, my mother
• 1:26:45
  just didn't want me to do it and she walks out, you know, so it
• 1:26:49
  just there was a different kind of, there's a little more
• 1:26:51
  different Dynamic there at the end and adapt.
• 1:26:53
  It didn't kind of work. Ultimately unfortunately for G
• 1:26:57
  actors who did the scene. The scene was great but it just
• 1:27:00
  it bumped. Moving forward, it just kind of
• 1:27:03
  slowed things down. It just didn't really kind of
• 1:27:05
  fit. The flow was also like a
• 1:27:07
  45-minute seen. Say fuck it was not even.
• 1:27:11
  Yeah. So later that night Nora is in
• 1:27:14
  the kitchen. This is notable because you
• 1:27:18
  know, she's turned this great scene with with mood where
• 1:27:20
  they're bonding over their tattoos.
• 1:27:22
  But what I want to talk about is she's eating cream cheese Stars
• 1:27:26
  cereal which was a real Swedish Chef themed cereal in the real
• 1:27:31
  world from epic 1988. I definitely ate the cereal in
• 1:27:36
  1988. I have fond memories of doing
• 1:27:39
  the puzzles and stuff on the back, you know, while watching
• 1:27:42
  my Saturday morning cartoons. Now, there's a male and you can
• 1:27:46
  get a Swedish Chef doll. Get some it.
• 1:27:49
  Yes, that is true. Yeah, there was a doll, and a
• 1:27:51
  mug, and a flashlight. You could have gotten their work
• 1:27:55
  without Stars branded. But yeah.
• 1:27:58
  What a great, what a great Easter egg love seeing that
• 1:28:02
  Muppet fans everywhere like probably Out there, pause
• 1:28:04
  buttons going. Oh my God, like doing the
• 1:28:06
  Leonardo DiCaprio thing pointing at the screen.
• 1:28:08
  I do love the tattoos. I do love that.
• 1:28:11
  That Lily actually really has one.
• 1:28:14
  Yeah, that's her tattoo, that's her job to.
• 1:28:16
  Why did you know that? Yeah.
• 1:28:18
  And we played off of that. When we found out that she had
• 1:28:20
  that. What stage did you find that
• 1:28:23
  out? How Bill?
• 1:28:25
  That's a good question. I think she had seen it or we
• 1:28:29
  saw it and I was Zoom call or something.
• 1:28:30
  And yeah, I think so and I was just here's what it was.
• 1:28:35
  Wow. And then when she told us I
• 1:28:38
  think somehow we ended up just applying and we said what's a
• 1:28:42
  connection that they have? We were looking for that thing.
• 1:28:46
  You know that they didn't realize they had yet and then we
• 1:28:49
  gave Taj his other Jeff. I think you came up with the
• 1:28:52
  other half, right? With me, I think auditioned.
• 1:28:56
  We had to audition tattoos and the tattoos.
• 1:28:59
  That's right. Yeah, we got different choices
• 1:29:01
  and then shockingly, we all had opinions.
• 1:29:04
  Yeah, well in Portage had to get a real tattoo, right?
• 1:29:09
  Yeah. It's dedication.
• 1:29:10
  You know, to the craft, which I respect, of course, but yeah,
• 1:29:14
  but our episode ends here with mu kind of confirming to himself
• 1:29:17
  that he does. In fact have a crush on Nora,
• 1:29:20
  and that is where episode This is Gonna Love This Disney plus
• 1:29:24
  is gonna love this and we will catch up again with the, the
• 1:29:29
  teeth family in a couple more episodes.
• 1:29:33
  But that's A little little spoiler for later on but that's
• 1:29:37
  that's it for you to Stephanie and David do you have any other
• 1:29:41
  memories of working on the show? Were you present for any other
• 1:29:44
  episodes, anything else that you want to share?
• 1:29:49
  We both did assisting on a couple of other episodes that
• 1:29:53
  were shot in this block. Yeah, they're shooting block
• 1:29:56
  style. So I think in our block, it was
• 1:29:58
  6 8 and 9. It definitely not seven but I
• 1:30:06
  think I did a lot of assisting on eight.
• 1:30:09
  Hmm. And then 0 and then one of the
• 1:30:11
  cold opens that I assisted it on which I think was originally
• 1:30:14
  going to be in six wound up in 10.
• 1:30:17
  Hmm. So I was I got to I got to be a
• 1:30:21
  teeth hands on the steering wheel.
• 1:30:23
  A couple of times made me happy. Well that's funny because she
• 1:30:27
  area front we have that little. Yeah, it's good times.
• 1:30:31
  No I mean I yeah I got to Right hand, Dave was Zoot.
• 1:30:35
  I got right hand, you know, I got to write an animal, I got
• 1:30:40
  the drum for animal briefly. That's, yeah.
• 1:30:45
  I those that's good times getting to get into work with my
• 1:30:48
  pals, you know. Yeah, really had a good time
• 1:30:51
  being out there with my friends. Yeah, it was a wonderful time.
• 1:30:55
  I like Stephanie said I, I also got to, you know, a cyst on
• 1:30:59
  different episodes. I don't remember which ones they
• 1:31:01
  were, but I remember, All the moments, like doing Animals feet
• 1:31:07
  for The Tick-Tock dances, which was so fun and doing assisting
• 1:31:13
  Zoot. And, you know, I'd never really
• 1:31:17
  talked to Dave before, and he kind of keeps at onset because
• 1:31:21
  it covid-19 of keeping our distances.
• 1:31:23
  And so I never really chatted with him.
• 1:31:24
  And then we were there, we were discussing, how to raise the
• 1:31:29
  lamp off of his head and there's this great photo of him.
• 1:31:33
  In a full green suit pointing at something and me just like
• 1:31:36
  going, uh-huh. It's like looking very like yes
• 1:31:40
  like very reverent and trying to really intensely focus on them
• 1:31:43
  telling me how to raise a lamp shade off his head you know but
• 1:31:48
  every every day was a challenge and you know I'm I'm really such
• 1:31:53
  a new guy to this this whole group and there's so much I
• 1:31:57
  still have to learn and whatnot and so every day was a
• 1:31:59
  challenge. You know, I've never done feet
• 1:32:01
  before for a full body. D, puppet like that and they're
• 1:32:04
  like, all right, we're going to koyuk me and Allison an Eric.
• 1:32:07
  Like, I we're going to choreograph this whole thing and
• 1:32:09
  I was like, cool. Wow.
• 1:32:11
  And then, here we go. And I had to like figure out
• 1:32:13
  what I was doing and it was so fun, but one of the things that
• 1:32:18
  kept me going was after my first day, I was freaking out and I
• 1:32:23
  went and talked to Matt and I, you know, I've worked with Matt
• 1:32:29
  on Sesame Street and I just went to him and I was like, I'm just
• 1:32:32
  freaking out, I like it. I'm doing and he did the exact
• 1:32:35
  right thing which was which is the right thing to do for any
• 1:32:37
  performer. Freaking out in my opinion, at
• 1:32:39
  least for me was we started making fun of each other and how
• 1:32:42
  bad we are. And I like you just sort of
• 1:32:44
  picking on each other like brothers and that was the best
• 1:32:47
  thing to shake me out of the moment.
• 1:32:49
  And for the rest of time that I would be on set, he would like
• 1:32:52
  pick on me and my favorite was he would just look at me and
• 1:32:56
  clap off time because there was a time I was trying to clap with
• 1:32:59
  Bill and I couldn't quite get it right in the moment and I was
• 1:33:02
  like, Is that what is happening? So, I just doing one hand and he
• 1:33:06
  would just look at me from across the room.
• 1:33:07
  Just go. You are this is a podcast, so we
• 1:33:14
  have to explain you or your client.
• 1:33:16
  Sorry. I'm, I'm and laughing.
• 1:33:17
  I'm yeah. And so, yeah, that every yeah,
• 1:33:23
  it was. He was so good at keeping me
• 1:33:25
  grounded, initiation, little bit of initiation there.
• 1:33:28
  David? Yeah, yeah, I loved it.
• 1:33:31
  I loved it. You guys were awesome.
• 1:33:33
  You exceeded our expectations in every wedding is very amazing.
• 1:33:38
  It Is so scary here as a fan hearing that we were going to be
• 1:33:43
  getting origin stories of these characters that had none that
• 1:33:47
  maybe we thought do. They really need them?
• 1:33:49
  Do we really want that to know more about them and then to get
• 1:33:52
  performances and get these great three-dimensional characters and
• 1:33:57
  a great story to go along with it.
• 1:33:59
  That goes yes this is absolutely like it fits in with the world.
• 1:34:02
  It makes the characters richer and makes the world richer I
• 1:34:06
  have. I have no complaints so thank
• 1:34:08
  you. All.
• 1:34:09
  For all the wonderful performances and contributions
• 1:34:12
  that you made to the teeth family and to dr.
• 1:34:14
  Dietz backstory, well, I have to say thank you to Jeff and Bill
• 1:34:19
  and Adam who's not here, but thank you for giving us the
• 1:34:24
  opportunity to play something new and original in this Muppet
• 1:34:29
  world. It's, it's staggering.
• 1:34:31
  It really hasn't happened in a while and for me to even have
• 1:34:36
  the chance to audition for something new.
• 1:34:39
  Alone get to do it. I was just as a huge gift for me
• 1:34:43
  truly you know, I would have been happy to come out and just
• 1:34:46
  right hand and that would have been a lot of fun.
• 1:34:48
  It wouldn't happen. Obviously if I wasn't out there
• 1:34:51
  to play a character but that would have been fine.
• 1:34:53
  But yeah to just get to do something and then to let me
• 1:34:56
  sink my teeth into it Jeff. Jeff you were so nice to me.
• 1:35:00
  I met you that first day because I was having trouble getting
• 1:35:03
  into. I think there was some rewriting
• 1:35:05
  our the scene had been Rewritten at the top of the scene and it
• 1:35:08
  wasn't Really working and I was trying to give it a little dribs
• 1:35:11
  and drabs and you came over and you were so nice and I just
• 1:35:15
  really appreciate and then you know, Bill being right next to
• 1:35:17
  me and all the support was just extra you guys aren't so good.
• 1:35:22
  So good. Yes.
• 1:35:24
  And Stephanie and David, thank you so much for being here on
• 1:35:27
  this podcast was such a joy to get to talk to both of you Bill
• 1:35:31
  and Jeff. Same.
• 1:35:32
  Think it was great having you here.
• 1:35:34
  I hope to see you both again next week.
• 1:35:36
  Thanks everyone for listening to my boots Mayhem backstage.
• 1:35:39
  S and we will see you all again soon, Goodbye To You.
• 1:35:43
  By The Muppets may have backstage passes brought to you
• 1:35:48
  by topics.com produced written and hosted by Johannes low, do
• 1:35:52
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• 1:35:54
  characters and elements are trademarks of the Muppet studio,
• 1:35:57
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• 1:35:59
  Katie Lynn, Miller than up its Mayhem and credits.
• 1:36:01
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• 1:36:04
  the Muppet studio Disney place in the entire map is Mayhem.
• 1:36:06
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• 1:36:09
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• 1:36:11
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• 1:36:09
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• 1:36:11
  Thanks for listening. And until next time rock on.