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Stars Hollow Journal: Clint Howard Goes Gilmore · I Am All In with Scott Patterson

• 0:00
  Speaker 1: I am all in again.
• 0:09
  Speaker 2: Oh I do. I am all in again with Scott
• 0:19
  Speaker 2: Patterson and iHeartRadio podcast.
• 0:23
  Speaker 1: Clint Howard Is.
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  Speaker 3: You know him from many, many, many films and TV shows.
• 0:31
  Speaker 3: Welcome to the podcast. I've just met you today, and
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  Speaker 3: tell us your impressions, Clint, of this experience. Were you
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  Speaker 3: aware of gilmour Nation and how vibrant it is?
• 0:48
  Speaker 4: No, I had no idea about the effect that your
• 0:52
  Speaker 4: show had on vast numbers of the public. And it
• 0:57
  Speaker 4: is a testament to the writers, to the creative people,
• 1:02
  Speaker 4: and to the performers that something was created that magically resonates.
• 1:11
  Speaker 4: It happens. You're not the first show, but you got it.
• 1:15
  Speaker 4: I take my hat off to you that you're a
• 1:18
  Speaker 4: part of something that you know and it's not fake.
• 1:22
  Speaker 4: This is not something that's been manufactured. This was a
• 1:25
  Speaker 4: fan driven situation. Fan vibes, not corporate vibes. The corporations
• 1:30
  Speaker 4: have taken to it. Everybody wants to make a bug,
• 1:35
  Speaker 4: but listen it. You know, hats off and it's happened
• 1:39
  Speaker 4: a few times. I mean, you know, Star Trek, there
• 1:42
  Speaker 4: you go. Star Trek was a show that was on
• 1:45
  Speaker 4: for two years and it kind of was somewhat forgotten,
• 1:49
  Speaker 4: but it had a loyal fan base.
• 1:50
  Speaker 3: That's really where people don't they forget that that show
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  Speaker 3: was not on very long.
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  Speaker 4: No, they it was. There was an attempt to cancel
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  Speaker 4: it the first season, right, apparently I was you know,
• 2:01
  Speaker 4: I was little, right, I was on that show.
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  Speaker 1: And you've been in the business since you were a
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  Speaker 1: very small child.
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  Speaker 4: I've been in the business over sixty four years.
• 2:09
  Speaker 1: Unbelievable. Yeah, I'm sixty six. When did you get your
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  Speaker 1: SAG card?
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  Speaker 4: I got to think I got my SAG card in
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  Speaker 4: nineteen sixty five because when when you were little, you
• 2:19
  Speaker 4: didn't need to join SAG. So I have a very
• 2:22
  Speaker 4: well you didn't know. When I was two, I signed
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  Speaker 4: a SAD contract. But because I was basically a baby,
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  Speaker 4: right I asked my dad, though, did I act in diapers?
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  Speaker 4: And he said no, I was potty trained by the
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  Speaker 4: time I became a professional actor, which is something that
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  Speaker 4: a lot of actors can't really make that claim.
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  Speaker 1: True.
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  Speaker 4: I knew you were going on, but it's and it's
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  Speaker 4: really nice. It's really nice that you as an actor.
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  Speaker 4: I know a lot of actors can have the attitude
• 3:01
  Speaker 4: that they sort of will turn their back on this
• 3:03
  Speaker 4: or create some sort of egotistical reason why you don't
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  Speaker 4: want to participate in something like this. But listen, I
• 3:12
  Speaker 4: guess I'll just give you my experience and maybe you
• 3:15
  Speaker 4: can share yours, because this is you know, as you,
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  Speaker 4: as we get older, roaming into the dinosaur age, it
• 3:23
  Speaker 4: begins to affect you, affects me that God, I have
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  Speaker 4: had an effect. What I did as an actor has
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  Speaker 4: had a profound effect on society. And I don't throw
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  Speaker 4: my arm out patting myself on the back, but it's just,
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  Speaker 4: you know, thank you God, and I appreciate being here,
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  Speaker 4: and I hope I can live up to people's expectations,
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  Speaker 4: you know, and carry on. It's just, you know, for
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  Speaker 4: a long time, when I was little, I didn't care.
• 3:58
  Speaker 4: In fact, I really didn't want to talk about my
• 4:01
  Speaker 4: career when I was a kid. But now I look
• 4:04
  Speaker 4: in people's eyes and I see they grew up. I mean, look,
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  Speaker 4: there's generations of you. They grew up with you, they
• 4:11
  Speaker 4: grew up with me, and now they get to experience us,
• 4:15
  Speaker 4: and I appreciate it, and you know, God bless them.
• 4:19
  Speaker 1: Yeah.
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  Speaker 4: Yeah, did you always embrace being a Gilmore girl? I
• 4:24
  Speaker 4: mean and you're not a Gilmore girl, but I don't
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  Speaker 4: think I.
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  Speaker 3: Was originally written as a Gilmore girl, but they changed
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  Speaker 3: their minds and made it a Gilmore guy.
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  Speaker 4: No, I mean, after you did the show for a
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  Speaker 4: few years.
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  Speaker 1: Well, okay, here's the thing.
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  Speaker 3: You I didn't get into this profession until, you know,
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  Speaker 3: my late twenties. I didn't even started studying until I
• 4:48
  Speaker 3: was twenty five, twenty six, So I had to play ketchup.
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  Speaker 1: I was in New York.
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  Speaker 3: I was, you know, really studying my brains out because
• 4:57
  Speaker 3: I knew that I had, you know, not the skill
• 5:02
  Speaker 3: set that all of these people in this class have,
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  Speaker 3: you know, and I had.
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  Speaker 1: I had to really work my butt off.
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  Speaker 3: And so, you know, thirteen fourteen, fifteen years later, I
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  Speaker 3: get this break of this show and I'm forty one.
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  Speaker 3: So I'd already lived an entire life and gone through
• 5:21
  Speaker 3: so much. I'd been you know, I mean, it's all
• 5:25
  Speaker 3: coming about out in the memoir, but you know what
• 5:27
  Speaker 3: I'm saying, it's like i'd been divorced, I'd been through
• 5:30
  Speaker 3: hell and back, I'd been through this, I'd been through that.
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  Speaker 3: I'd been through a career that you know didn't pan out,
• 5:36
  Speaker 3: and all this kind of stuff. I had to reinvent myself.
• 5:39
  Speaker 3: So getting this was like this stroke of luck. And
• 5:44
  Speaker 3: I knew it at the time.
• 5:45
  Speaker 1: You knew it. As soon as I got it, I said, wow.
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  Speaker 4: Episode three, Yeah, was it cooking? Oh yeah, so you
• 5:53
  Speaker 4: knew you guys the vibe, Oh yeah. Did you love
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  Speaker 4: your showrunner?
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  Speaker 1: Yeah? Oh god, yeah, oh god. Yeah. We were just
• 6:01
  Speaker 1: like because we're all sort of most of.
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  Speaker 3: This cast is like New York trained theater trained, and
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  Speaker 3: and like monster actors, right A level actors, and and
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  Speaker 3: you had to bring your a game every day. And
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  Speaker 3: and I thrived being in that environment because that that
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  Speaker 3: was a New York theater.
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  Speaker 1: That was it.
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  Speaker 3: Man, if you didn't have the chops, you were getting
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  Speaker 3: tossed out the door.
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  Speaker 4: Well, okay, it was.
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  Speaker 3: It was a gladiator mentality men women. I mean, my god,
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  Speaker 3: the women were tougher than the men.
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  Speaker 4: Now, not to name names, and I don't expect.
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  Speaker 1: Right, a lot of names.
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  Speaker 4: If you had that gladiator mentality, if you if you
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  Speaker 4: had your New York actor shoes on, right, there had
• 6:41
  Speaker 4: to have been California knuckleheads in the show.
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  Speaker 1: By my response, that is true.
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  Speaker 5: So you're.
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  Speaker 4: You're dusting off your a chops.
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  Speaker 5: You're getting ready to do this material and you look
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  Speaker 5: over your active part and you just go, oh my god,
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  Speaker 5: this person is throwing up or sucking the oxygen out
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  Speaker 5: of the scene.
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  Speaker 1: Jesus. Yeah, it didn't happen a lot here. It didn't
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  Speaker 1: happen a lot on Gilmore Girl. Okay, I went on
• 7:19
  Speaker 1: and did other shows and that happened.
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  Speaker 4: But the crew, so the casting gods, the casting gods
• 7:25
  Speaker 4: of the Gilmore Girls came down and kissed it.
• 7:28
  Speaker 3: The casting absolutely, so absolutely absolutely yes.
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  Speaker 1: I mean.
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  Speaker 3: It was a very competitive environment and if you weren't
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  Speaker 3: great in rehearsal, you were going to get chewed up.
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  Speaker 3: If you didn't come with ideas, and if you didn't
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  Speaker 3: have a command of the craft and couldn't counter what
• 7:54
  Speaker 3: a director was trying to communicate, if it didn't feel
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  Speaker 3: or you know, you know the line. You know what
• 8:00
  Speaker 3: I'm talking about.
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  Speaker 1: I do know.
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  Speaker 4: And this is you were Gilmore Girls. Was done when
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  Speaker 4: the director of a television show had some juice and
• 8:08
  Speaker 4: wasn't just a traffic cop exactly.
• 8:11
  Speaker 1: You had the Kenny or Tagas of the world.
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  Speaker 3: Yeah, you had the Jamie Babbitts, you had all these
• 8:16
  Speaker 3: great directors coming in who really knew their stuff.
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  Speaker 4: Right, so the showrunner didn't have to be there moving
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  Speaker 4: the emotional pieces around the table. It was the director
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  Speaker 4: was the one director.
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  Speaker 1: Right guy.
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  Speaker 4: But the director got prepped. Yeah, you know for sure?
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  Speaker 4: How many directors did you guys run through? Was there
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  Speaker 4: five or six a year?
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  Speaker 3: Uh? Maybe more than that? Yeah, yeah, it was twenty
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  Speaker 3: two episodes. I think we probably had six or seven eight,
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  Speaker 3: you know, something like Kenny Ortega would do two or
• 8:51
  Speaker 3: three you know, yeah, yeah, I'd say six or seven yeah,
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  Speaker 3: per year, and they'd recycle them through. Television's fun to do,
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  Speaker 3: I uh, you know in this kind of show, it
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  Speaker 3: is fun. Uh Like the single camera like the single
• 9:10
  Speaker 3: camera half hour not so much fun because you think,
• 9:14
  Speaker 3: because it's a half hour show, it's going to take
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  Speaker 3: half as long to do, And it's exactly the same
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  Speaker 3: amount of time to do a single camera half hour
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  Speaker 3: as it is to do an hour.
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  Speaker 4: Well a half hour a half hour sitcom.
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  Speaker 1: Mm hmm, that's easy.
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  Speaker 4: Well, yeah, but there's if you've got if you've got
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  Speaker 4: six or seven actors in your show, right that you
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  Speaker 4: know there's going to be a guy that has two
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  Speaker 4: jokes or one joke. I wouldn't turn a sitcom one time,
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  Speaker 4: and I would look at the pages come Monday morning
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  Speaker 4: and looking, oh man, I got one joke right. The
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  Speaker 4: joke they gave me was was rubbing my head and
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  Speaker 4: tapping my stomach, you know, And that was the Googi joke.
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  Speaker 4: That was a googi joke. I came in and I
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  Speaker 4: got my moment to do that joke where I was
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  Speaker 4: rubbing my head and patting my stomach and then hopefully
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  Speaker 4: the audience would give me a little bit of a
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  Speaker 4: laugh and I'd go off stage.
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  Speaker 3: It's my week's work right in front of a live audience. Yeah, yeah, brilliant.
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  Speaker 3: That's my dream job. That is that Like in the business,
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  Speaker 3: that's the dream job is to do. It is to
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  Speaker 3: rehearse five days, nine to five, have a life, film
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  Speaker 3: Friday nights. You know that's a long day because you
• 10:20
  Speaker 3: come in two o'clock rehearsal Rightever, then you film at
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  Speaker 3: six or seven or whatever. You go for a couple
• 10:25
  Speaker 3: hours and then you get and then every fourth week
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  Speaker 3: you're off. Yeah it's a beautiful schedule. Yeah, but listen
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  Speaker 3: what you guys did. The creativity is daily, the daily
• 10:36
  Speaker 3: invention of story and product, And I say product, but
• 10:42
  Speaker 3: it's you know, when you're playing, when you're creating, it
• 10:46
  Speaker 3: ends up being a product because it is.
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  Speaker 4: It's show business. We're not show amateur. It's a business, right,
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  Speaker 4: but you do your work and what gets created is
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  Speaker 4: something that's effective.
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  Speaker 3: I always felt, and this was our attitude in New
• 11:01
  Speaker 3: York when we were studying and doing theater, that we
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  Speaker 3: none of us would ever do television because it's going
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  Speaker 3: to corrupt your craft, right, No way, because you are
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  Speaker 3: not meant to do that many performances. That's too much acting.
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  Speaker 3: That turns it into that you have to compromise everything
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  Speaker 3: in order to get through a season.
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  Speaker 4: Now, when's the last time you did a stage play?
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  Speaker 1: Oh god, I mean late eighties?
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  Speaker 4: Wow?
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  Speaker 3: So yeah, okay, but I almost you know, I got
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  Speaker 3: an offer to do one fifteen years ago in New York,
• 11:35
  Speaker 3: and I got a pilot and it was NBC. Thing
• 11:38
  Speaker 3: was going to be a big deal. It turned out
• 11:40
  Speaker 3: to be a nothing burger. But but I I was
• 11:45
  Speaker 3: going to do that, but I couldn't do it. And
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  Speaker 3: then I was going to do Chicago on Broadway, and
• 11:51
  Speaker 3: then something came up and I couldn't do that.
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  Speaker 4: You a song and dance.
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  Speaker 1: Man, No, not at all.
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  Speaker 4: So you were going to be in Chicago as a
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  Speaker 4: non song and dance I was.
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  Speaker 3: I was going to, yes, going to pull it off
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  Speaker 3: because I can. I'm pretty good on my feet. Yeah,
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  Speaker 3: as it turns out, As it turns out, not so
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  Speaker 3: much anymore. You know, I can top him. But the theater,
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  Speaker 3: And that's something my dad, Rance Howard, that's how his
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  Speaker 3: first dream was, I mean his theater. He was on
• 12:15
  Speaker 3: mister robertson Broadway right that he always told us that
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  Speaker 3: it was.
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  Speaker 4: You know, it's such a beautiful thing that that you know,
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  Speaker 4: you know, I don't get it in front of a
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  Speaker 4: live audience and when you're doing a television show, but
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  Speaker 4: on the stage there is a connection between the performer
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  Speaker 4: and the audience that my dad used to say a
• 12:36
  Speaker 4: silly word. It's not silly. He would call it orgasmic
• 12:40
  Speaker 4: that But well, my dad was kind of a kook.
• 12:42
  Speaker 4: He was kind of eccentric.
• 12:43
  Speaker 1: But no, that's a perfect way to describe it.
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  Speaker 4: Yeah. Now, I'll tell you what.
• 12:46
  Speaker 3: There's nothing more vital than live theater when it's done well, yeah,
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  Speaker 3: there is nothing that can come.
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  Speaker 1: Close to it.
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  Speaker 4: And I've been in you know. You know, I've been
• 12:55
  Speaker 4: in the business a long time. I've never done a
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  Speaker 4: stage play. Really, Oh wow, I would love to. So
• 13:01
  Speaker 4: that's an experience you I know have, I know, just
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  Speaker 4: but again, I've been I've been in line to do
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  Speaker 4: stage plays. I've been at table readings, and I've been
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  Speaker 4: in rehearsal of stage plays. But then I've gotten real jobs.
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  Speaker 1: Right, Yeah, you have to take that.
• 13:16
  Speaker 4: You got to take the job. When your agent says
• 13:18
  Speaker 4: you have an opportunity to be in a movie with
• 13:19
  Speaker 4: Adam Sander called water Boy.
• 13:21
  Speaker 1: Yeah you gotta take the job.
• 13:23
  Speaker 4: The little eight run off Broadway Equity Waivers show in
• 13:28
  Speaker 4: Santa Monica doesn't quite seem so attractive.
• 13:34
  Speaker 3: Yeah, no, you you have to take the job. You've
• 13:37
  Speaker 3: got to do it. What we do, We're professional actors.
• 13:41
  Speaker 1: That's what we do.
• 13:49
  Speaker 6: Are you a Gilmore Girls fan looking for the perfect
• 13:52
  Speaker 6: holiday gift? Well we smell SnO. Come behind the scenes
• 13:57
  Speaker 6: the stars Hollow Luke himself, Patterson interviews Matt Zuker who
• 14:02
  Speaker 6: played Logan, Emily Caroroda who played Missus Cam, and so
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  Speaker 6: is streaming starting December twenty second at five pm Pacific
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  Speaker 6: time for nineteen ninety nine and with your purchase you
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• 14:40
  Speaker 3: I think the reason Gilmour ended and it didn't have
• 14:44
  Speaker 3: to end, you know, it did not have to end
• 14:46
  Speaker 3: because the advertisers were putting a lot of pressure on
• 14:51
  Speaker 3: Warner Brothers to bring the show back for multiple seasons
• 14:54
  Speaker 3: after its initial run after the seven years, well six.
• 14:58
  Speaker 1: Years and then one more year. But Amy and Dan.
• 15:01
  Speaker 3: Left the show because they didn't offer them a long
• 15:03
  Speaker 3: term deal. So they got insulted and they left. And
• 15:08
  Speaker 3: the prob you know, the season seven product was pretty
• 15:11
  Speaker 3: damn good, but it just wasn't one through six. You know,
• 15:15
  Speaker 3: it didn't have that special It didn't pop the way
• 15:19
  Speaker 3: you know it used to a little bit. But you know,
• 15:22
  Speaker 3: I watched season seven a couple of times now, and
• 15:25
  Speaker 3: I think there's some great episodes.
• 15:27
  Speaker 1: In there, don't you guys.
• 15:28
  Speaker 3: I mean season seven is in his you know, people
• 15:31
  Speaker 3: really trash season seven, but there's some gold in there.
• 15:33
  Speaker 1: There's some real gold.
• 15:34
  Speaker 3: I think though David Rosenthal's team did a fantastic job.
• 15:38
  Speaker 3: I mean, try mimicking all of those unique voices right
• 15:43
  Speaker 3: at coming in from the outside. I mean, he was
• 15:45
  Speaker 3: an insider because he was on the writing staff. But
• 15:47
  Speaker 3: still I think he did a great job. My hats
• 15:49
  Speaker 3: off to him, because that's an impossible two sets of
• 15:53
  Speaker 3: shoes that you have to fill. Did a great job.
• 15:56
  Speaker 3: But anyway, so tell us a little bit more about
• 16:01
  Speaker 3: your journey and when you when you got your big
• 16:04
  Speaker 3: break in Hollywood.
• 16:07
  Speaker 4: I got my big break when I was born to
• 16:09
  Speaker 4: Ransom gen Howard, uh, you know, being being in the
• 16:14
  Speaker 4: situation I was in, and by osmosis, I was learning
• 16:18
  Speaker 4: how to be in the business. My dad was just
• 16:20
  Speaker 4: this wonderful child, actor, human being, whisperer that you know,
• 16:25
  Speaker 4: I could listen, I would I would cry now if
• 16:29
  Speaker 4: I got if I got too thoughtful about the impact
• 16:32
  Speaker 4: my dad had on me. But you know, I don't
• 16:36
  Speaker 4: remember when my big break came, I was I guess
• 16:39
  Speaker 4: you know. I did an episode of Bonanza when I
• 16:43
  Speaker 4: was five. That was a pretty effective episode. I was
• 16:47
  Speaker 4: a little kid that was in search of God and
• 16:50
  Speaker 4: it was you know, I don't want to go into
• 16:53
  Speaker 4: the details of the story that beats of the story,
• 16:55
  Speaker 4: but it was a really good episode. And then I
• 16:57
  Speaker 4: do have vague memories of auditioning for the TV series
• 17:01
  Speaker 4: gentle beIN where I was the boy and the bear
• 17:05
  Speaker 4: and on the during the audia, it wasn't it was
• 17:09
  Speaker 4: a screen test. The bear was starting to act up.
• 17:12
  Speaker 4: There was like five kids were being screen tested, and
• 17:15
  Speaker 4: I was like the last kid, and the bear was
• 17:18
  Speaker 4: just starting to get really antsy and moving back and forth,
• 17:22
  Speaker 4: and I grabbed him by the chain and I held
• 17:27
  Speaker 4: him close to me and I said, now you knock
• 17:28
  Speaker 4: it off and listen to me when I'm talking to you, Ben,
• 17:32
  Speaker 4: And that was an improvised you know, and that and
• 17:34
  Speaker 4: that got me the gig, and so that that solidified
• 17:40
  Speaker 4: me as being on as being on television. And then
• 17:45
  Speaker 4: you know, of course, you know my brother Ron. I've
• 17:49
  Speaker 4: said this a bunch. You know, he's a Hall of
• 17:51
  Speaker 4: Fame movie director. He was a wonderful creative talent on screen.
• 17:57
  Speaker 4: He's a better big brother than he is a movie director,
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  Speaker 4: you know. And so anyway, you know, I've been in
• 18:04
  Speaker 4: a good position. I haven't shot myself in the foot
• 18:09
  Speaker 4: too many times as an actor. I've got I've got
• 18:12
  Speaker 4: a few instances where I put my foot in my
• 18:14
  Speaker 4: mouth in really big ways. But somehow God has seen
• 18:18
  Speaker 4: to it that. Okay, I keep going along, keep working.
• 18:25
  Speaker 4: I'm getting ready with my wife Kat and a partner,
• 18:28
  Speaker 4: Norman Epstein. I'm getting ready to do a movie called
• 18:32
  Speaker 4: Another ice Cream Man. Because when I was about thirty
• 18:37
  Speaker 4: eight years old or something, I was in this be
• 18:39
  Speaker 4: horror movie in nineteen ninety four called ice Cream Man,
• 18:43
  Speaker 4: and it's become kind of a cult classic. And now
• 18:46
  Speaker 4: in twenty twenty six, we are going We've created this
• 18:50
  Speaker 4: film called Another ice Cream Man, and it's a horror film.
• 18:55
  Speaker 4: It's going to have a couple of homages to this
• 18:58
  Speaker 4: other film that I did in nineteen ninety four, but
• 19:00
  Speaker 4: it's a completely different plot. I'm going to co direct
• 19:03
  Speaker 4: the movie, uh, and it's for the audiences that know
• 19:07
  Speaker 4: about ice Cream Man. We are going to answer the
• 19:09
  Speaker 4: question what it takes for a guy to start putting
• 19:13
  Speaker 4: body parts in ice cream. Rock Rocky Road, you know,
• 19:17
  Speaker 4: Rocky Road is something that you know what makes that
• 19:21
  Speaker 4: crunchiness in Rocky Road? Nothing but bone marrow works really
• 19:26
  Speaker 4: really well. Grinandine plasma flavor, grinadine for my ice cream treats.
• 19:37
  Speaker 4: When you run out of grenadine, you just start using
• 19:40
  Speaker 4: real blood.
• 19:40
  Speaker 1: Uh huh.
• 19:41
  Speaker 4: Anyway, so that listen as as an older guy, I've
• 19:46
  Speaker 4: never directed a film before. I'm going to direct this film.
• 19:50
  Speaker 4: You're going to shoot it. Kat is my one of
• 19:52
  Speaker 4: my producing partners and the love of my life, but
• 19:54
  Speaker 4: a confidant and uh rafi our daughter. She's gonna be
• 19:58
  Speaker 4: in it. Oh nice created this wonderful role for her.
• 20:02
  Speaker 4: There's kind of a who's on first scene that happens
• 20:04
  Speaker 4: with the neighborhood Karen, and she's she's a neighborhood kid
• 20:09
  Speaker 4: with a rock band, and all she wants to do
• 20:11
  Speaker 4: is buy ice cream. And all this neighborhood Karen wants
• 20:14
  Speaker 4: to do is climb up my tailpipe and tell me
• 20:16
  Speaker 4: how nasty my ice cream truck is.
• 20:18
  Speaker 3: There you go, all right, Well, that's a synopsis of
• 20:22
  Speaker 3: the upcoming of another ice cream ice cream man. Tell
• 20:27
  Speaker 3: us about forgive my ignorance, But have you worked with
• 20:31
  Speaker 3: your brother a few times? Tell what makes him a
• 20:35
  Speaker 3: great director? He was an actor, right, and he loves
• 20:39
  Speaker 3: to direct. He's always wanted to since he was sixteen
• 20:44
  Speaker 3: years old. He's wanted to be a director.
• 20:47
  Speaker 4: When he realized he probably wasn't going to be a
• 20:49
  Speaker 4: professional basketball player, he wanted to be a director.
• 20:53
  Speaker 1: That they came for me too. I realized it.
• 20:55
  Speaker 4: Yeah, just you know, short white guy, short short guys,
• 20:59
  Speaker 4: you know, with a vertical leap of about six inches,
• 21:01
  Speaker 4: just don't make the NBA. So he had the dream
• 21:04
  Speaker 4: of being a director and he worked really hard at
• 21:07
  Speaker 4: it and he ended up meeting the love of his
• 21:10
  Speaker 4: life when he was a junior in high school and
• 21:13
  Speaker 4: him and Cheryl created this team. Not only they had
• 21:17
  Speaker 4: four children, but she gave him the support so he
• 21:21
  Speaker 4: could go off and do what he really wanted to do.
• 21:23
  Speaker 4: And here's something about Ron. He directed his first movie
• 21:26
  Speaker 4: when he was twenty one or twenty two years old,
• 21:29
  Speaker 4: and it was a movie called Grand Theft Auto. And
• 21:31
  Speaker 4: then it was successful and he loved doing it and
• 21:34
  Speaker 4: he was off to the racist. Then he did a
• 21:35
  Speaker 4: movie called Night Shift. He did a couple of TV movies,
• 21:38
  Speaker 4: and then he did a movie called Splash that made
• 21:42
  Speaker 4: an impression. Ron went about ten years in his professional
• 21:48
  Speaker 4: career as a director without taking a vacation. Sure, every
• 21:53
  Speaker 4: day he was figuring out how to do his craft better.
• 22:00
  Speaker 4: And one thing that Ron told me along the way,
• 22:03
  Speaker 4: and this is probably after Movie twelve, he said, you know,
• 22:07
  Speaker 4: on every movie he picks one element of filmmaking and
• 22:12
  Speaker 4: in his mind he focuses on that one element and
• 22:15
  Speaker 4: he goes, I want to get better at that. You know,
• 22:19
  Speaker 4: backdraft it with special effects. He said, he had an
• 22:22
  Speaker 4: opportunity to do these wild, big special effects and he goes,
• 22:25
  Speaker 4: I'm going to get better at that. You know, he
• 22:28
  Speaker 4: wanted to get better at being an editor. So anyway,
• 22:31
  Speaker 4: he still had this thirst of wanting to get better
• 22:35
  Speaker 4: at what he does. And he's still doing it. He's
• 22:38
  Speaker 4: seventy one years old and he's just finishing a war
• 22:40
  Speaker 4: movie in Budapest.
• 22:42
  Speaker 3: Fantastic, Clint Howard, Thank you for stopping by.
• 22:47
  Speaker 4: Thank you.
• 22:48
  Speaker 1: We could talk all day.
• 22:50
  Speaker 3: It was great meeting you, great talking to you, and
• 22:53
  Speaker 3: you're welcome anytime on the podcast.
• 23:00
  Speaker 2: Lt dot.
• 23:24
  Speaker 3: Hey everybody, and don't forget follow us on Instagram at
• 23:27
  Speaker 3: i Am all In Podcast, and email us at Gilmore
• 23:31
  Speaker 3: at iHeartRadio dot com.