Good People, Cool Things
Good People, Cool Things

Episode 46 · 1 year ago

Working in TV, Writing Plays, and Hollywood Inside Stories with Billy Van Zandt


Billy Van Zandt has been writing plays, TV shows, and films for nearly half a century. So, naturally, he’s got a few stories to tell about Hollywood. Luckily, he was taking notes along the way and has put his finest moments into his new book. 

GET IN THE CAR, JANE! Adventures in the TV Wasteland is a behind the scenes memoir of Emmy-nominated writer/producer Billy Van Zandt and his years making America’s favorite (and not so favorite) sitcoms.

Welcome to good people, cool things, the podcast featuring conversations with entrepreneurs, writers, musicians and other creatives.I'm your host, Joey held, and today's guest is emmy nominated writer andproducer Billy van Zandt, who is the author of getting the car, Jane, Adventures in the TV wasteland and writer of more than twenty five plays alongsidehis partner, Jane Millmore. And we're talking about all different types of entertainmenthere. We're going through billy's playwriting career, his time in Hollywood. He's gotstories about Lucille Ball, Martin, Lawrence, Don rickles, Dorothy Lamoreand just so much more, working on new heart, the worst show he'sever worked on. If you're not rolling with laughter throughout this episode, Idon't know what's to tell you, because billy is very funny and he's gotso many great stories. And of course, recommend checking out get in the carJane Adventures in the TV wasteland for so many fantastic stories. It's partbehind the scenes gossip, Part Textbook, all truth, and it is suchan entertaining read. Definitely check it out and while you're at it, whynot check out the good people, cool things. Merch shot. There's lotsof comfy items for you, from hoodies to hats and everything in between.Mean so you can look stylish while you're getting your laughter on reading a veryentertaining book. But for now sit back, relax and enjoy the conversation with billy. Let's say someone hasn't heard of billy vans, and what is yourelevator pitch for them, and what kind of elevator are we on while you'regiving this pitch? Well, my elevator pitch of me is I'm a veryI'm a hard working, hard working guy from New Jersey. That's pretty muchof what is at the yell had the moment the elevators going down, Ithink, but I've been a bit of the top, so it's okay.I think you're the first person to be we're going down on the elevator.So way to mix it up there. Well, I plan on going backup, don't but right now the world shut down, so I don't havemuch of a choice that. Yeah, that is a very good point thatI I can imagine the Hollywood world. I mean, yeah, like what'sbeen going on for the last year? What have you been up to?Well, I've been doing a lot of podcast just talking about my book andI've been having lunch across the pool with my kids because we don't get tooclose, and I go for a lot of hikes with my dogs and andTheresa and I cook a lot and we binge watch a lot of TV likeeverybody else. So that's been that's life and life in Hollywood this year.But the the restaurants just closed up again. There were a couple restaurants. Youknow you can't. It's easy to do it out here because the weatheris so nice and you're far away from each other, but they even closethose up right before thanksgiving. So it's been interesting. I've done a lotof reorganizing of my office and done a lot of scanning of old files andthat kind of stuff. So that part was that part was productive. Igot to say, do you have any office reorganization tips, because I Iknow personally mine is a mess, so I'd love any tips. Number one, you scan everything and then throw it all out. That's one. Numbertwo, the only thing that matters are photographs. Everything else is garbage.As scan those photographs for the longest time, I all I have family photos thatare scanned that on disks back in New Jersey and copies of them outhere. So if anything happens on either coast, were covered. And otherthan that, the stuff that you think... so priceless your kids are goingto throw out anyway. So you might as looking now exactly cut out themiddle bath exactly now. You you mentioned that you've been talking about your bookget in the Car Jain. Yeah, what was the the impetus behind writingthat? I know obviously you've got lots of great stories, but why?Why Now? For this book? It started with my my son's who hadno constant one day they asked me what it was I actually did when Iproduced a TV show, because I they didn't, they weren't part of thatprocess where they know my plays, because they would come to the theater andit's sit to rehearsals and they'd see that whole process. But when it cameto the TV shows, they didn't quite get all the things that went intoit. So I started writing it for them and unluckily for me, Ihad kept journals on all the TV shows that I either wrote or produced orcreated, and I had those two reference so every chapter in the book isa different TV show that we worked on, Bob Newhart, Martin Lawrence, theWayne's brothers, on ricles, of the whole bunch of things and andluckily, thanks to those journals I it all came back to me and Ihad some you know, they filled the funny stories, basically of things Iwould tell at dinner parties. They get a laugh, you know, andso it's part gossipy and also, throughout the course of the book, alittle bit at a time, you learn what an executive producer of a Sitcomdoes and you know, I don't hit people over the head with it,but you get a taste of all the obstacles you have to jump through toget a show on the air, the people you have to deal with,the Egos you have to deal with and how how it works, schedule Works, and I've talked to a lot of students, college students, a anyaspiring writers, and they fall found it pretty helpful. But it wasn't myintention to make it that. It was really just to tell a bunch offunny stories. We'll definitely succeeded on both fronts, I think, and itis this a common thing for people to do that, to keep journals whilethey're working on a show, or is that just something you always just hadan interest in? I never I don't know why I started it. Inever kept a journal growing up. I never kept a journal other than theTV shows, and I think I started it because it was such a brandnew thing to me and it was happening so fast I wanted to write downstuff that happened during the week. So on the weekend, if I talkedanybody back home, I'd have I could reference something, you know, andand then I just it just I just started doing it after every show,anytime we'd have, you know, you have a fight with somebody at thenetwork, I'd start writing again and and anything that I couldn't remember. Mywriting partner, Jane Milmore, she mean she remembered everything, you know,like a steel trap. So she helped me along on this too, andshe just passed away in February, but I was she was she was aroundwhen I finished the book and she helped me edit it and she picked thepictures for the book. So, you know, it ended up being anice tribute to her, which I didn't intend it to be when we started. It was just a book about the TV shows, but luckily I getto pay my respects to her in the book too. Yeah, absolutely.And can you talk a little bit about working with the writing partner, becauseyou and Jane were do I have it right? Forty forty six years together. Forty six years together. We met when I was negative ten years oldand we met in high school. She was at a we're both in highschools in New Jersey where I grew up, and we met at a competent dramacompetition at a local theater. She was doing a scene with her school, I was doing a scene from my school and that producer put us togetherin a Neil Simon Comedy Star spangled girl the following summer and we toured thataround for two years and then we started... immediately and then we broke upwhen we dated, and we broke up a ridiculous amount of times until weboth realized, you know what, let's just not do this again. Sowe stayed stayed friends and and forty six years we work together, all withoutmissing one single day of work, despite the fact that we broke up andyou know, all that stuff went on. But working with a partner has beenfantastic. You have to have the right partner. Otherwise it's just twopeople fighting over who gets the type of the last word. And with Janeand me, she brought out the best of me. I brought out thebest in her. She is. She was funny off the top of herhead. I have to work at it, you know. I structure everything andthink things through and then I come up with the de you know,the the great stuff. Anything off at top of James Head was usually theright thing that went into the script. And and she watched my back alot because I don't enjoy. I'm sure they're very nice people, but Idon't enjoy dealing with the studios in the networks. I don't like it.To me it's like just you hired me to be the creative first and justleave me alone. And that's sort of my attitude. And Jane would alwaystake those phone calls and for the most part, if we had an egoon the set, she would be the one down. They're taking care ofit. Well, I would run the writers room, so we said,you know, she did a little of this, I did a lot ofthat. She took care of the the costumes and the makeup and the hair. I took care of the props and the set and and it was likeit was a great team. And I would say the key to a goodwriting partner in comedy is to find somebody you think is funnier than you areand have them think the same thing of you and then keep trying to makethem laugh. That's pretty much the gist of how it makes a good team. I like that. It's nice and simple. Yeah, yeah, andwe had fun. I we had every even the things that I complained aboutin the book. We ultimately had fun in everything we've done. I don'tfeel like it really work the day in my life. Well, I I'lltake that back. There a couple shows that felt like I worked a lot, but for the most part, between the theater for all my plays andthe the TV shows, it's just been fun. I'm proud of this andashamed of this at the same time. I've never worked outside of show business. I've been very lucky in I was either writing and running at Children's TheaterCompany when I was in high school, or just are acting in a coupleof films or also be directing somebody else's play, and so I always didlike three things at once. So if one thing doesn't work out, youhave the other two to go to, you know, so keep them busy. Name and game exactly? And do you have a favorite out of thethree between TV, film and Broadway or plays, or are they all?We all have their perks. I usually like the one I'm not doing atthe time. That's the one. But the I'm I'm most at home onstage because we we wrote the plays for ourselves as actors and and we wouldperform them and then we tore them around or them in New York, allthat stuff, and that's where I felt the most at home. And also, you know, my very healthy ego would say that when you're in thetheater, nobody's telling you what to do. Systems, so you know, youcome out to t you work on TV. First Time I worked ona TV show, Sam Bobrick was my boss and he aims to playwright murderat the Howard Johnson's and a bunch of other shows, and he set medown and he said your playwright and I said yeah, he said, letme tell you how it works in TV. In the theater, you are thetop of the pyramid. Everybody works to please you. Welcome to television. You are a first draft and people are going to do whatever they wantwith your script and the sooner you get...

...over that, the better you'll be. And it took me two three years to get past the fact if somebodywanted to change you know, is literally happen on new heart our first series. The executive producer took one of our scripts and somebody, one of thecharacters, entered saying, you know, hi or something, and the executiveproducer who changed it to hello, and I throw it like why is thatbetter than what I have? You know, but you learn that when you're ona writing staff, if you're not the boss, if you're on awriting staff, your job is to imitate the writing of that boss, ofthe creator of the show. That's your whole job. You may think you'refunnier than they are, you may think they're doing a terrible job, youmay think they're brilliant, doesn't matter. You have to imitate their writing style. So every episode looks like it came from the same computer. And andthen when you get your own show, you do things though you want,and then you have a whole writing staff of people rolling their eyes at thethings you're page in their strips, you know stuff. There's nothing. Youget used to. It was. It was weird for me at first becauseeverybody had different titles, supervising, producer, Co producer, writing, you know, editor, story editor, and it took me, you know,took me a little while to realize, oh, that's just their roll writers, they just have different names. The only people on the show that theexecutive producers, the boss produced by is the guy in charge of the moneyand the crew, and everybody else that you see with a producer title isa writer, staff writer. Outside of that initial sort of learning period ofright like whoever's in charge, did you find you were able to do thatpretty quickly on the shows you worked on, or were some kind of a steeperlearning curve to kind of hit that style? It was pretty easy atfirst, only because we had just come from the theater and we I don'tknow how many planes we'd had at that point. Maybe ten plays published then, probably not that many. But but after writing a twohour play, writingtwenty two minutes of a Sitcom script was nothing for us. You know,we would they would give you two weeks to write a first raft we doit in two days and spend the rest of the time playing basketball outside o'toff and there were. There was one particular show. I go about this. I go through this pretty detailed in the in the book. A showthat I hated working on, and with reason, and I couldn't imitate thewriting of the boss because the boss didn't know what she was doing at alland we had a big staff of people and one by one everybody would getfired. Every Saturday somebody knew would be fired, but they wouldn't replace thesepeople. It would just get a smaller and smaller and smaller writing staff tillat the end it was Jane and me, Bruce Ferber, who ended up runninghome improvement, and then the boss, and it was torture and Jane andI quit that show. We walked out after nine episodes. I couldn'ttake it anymore. I didn't like the way they treated actors and like theassembly line feel of working on the show and it took me, took mea couple months after I left that show to remember why I liked writing.You know so, but you know the flip side of that. You knowit worked for Bob Newhart and every day is it's like a party with yourfamily and I loved everybody on that show. I would have done that show forever. Same with the Don rickles Richard Lewis show. We did Jamie theCurtis as they were for the for the bumps in the road, and thenweren't that many. It's a two or three tops. For remember long,forty six years I've been doing this. Every other time has been fun.My attitude always been life is too short. If I'm not going to have agood time, I don't want to do it. I think that's agood attitude to have generally in most things in life. Yeah, and that'sa very solid success rate. Only have in two or three sort of majorpens along the way. Yeah, they and and and I'll put up theme fair. I'll put up with difficult people if what they're giving you isbrilliance. You know, Martin Lawrence was... hard to work with, butI'm glad I did it. I thought. I thought everything he did was prettypretty great. It was rough to go through it, but the workthat he did I thought was quite good. Elane stretched Broadway, you know legend. She came to work with us on a show with Andrew dice clayand Cathy moriarity and you know everybody who said you can't, she's a painin the neck. You can use her, you can't. Well, she wasbrilliant. So I was happy. I was happy to do that.And and yeah, and then if somebody, you know somebody, rubbed you thewrong way, you don't hire them again. It's real simple. ButI usually, we usually have a company of people I've worked with probably forforty years, actors, when we do our plays, and I write specificallyfor them, whether they do the roll or not. I like to hearthe voice of whoever I hear in my head, you know, and andwe just have so much fun. It's just fun and doing the plays isnothing more than nothing less than fun all the time. Have you ever writtenfor someone who ends up with another role in the same production, or hasthat never happened? Huh, let's say no either either. Well, someof our some of our shows are so old I've seen productions of somebody whoplayed a younger role playing the older guys role. But like our first playwith love, sex in the IRS, which is a pretty broad farce andwe wrote it in one thousand nine hundred and seventy nine and now when Isee productions of it, because it gets done in summer stock and regional theaterall over the place, it's a period piece that they said in the sand it's like what was wasn't that? When I did it it was justthe show. But in one of the guys who played our our younger leadin that in the original production, he ended up playing the janitor in inanother production of it when about thirty years later. I like that coming fullcircle. Yeah, yeah, you kind of touched on this a little bit, but I always like asking people about their worst gigs. I but sinceyou've sort of dove into a little bit, how about what's like one of theworst shows you've you've put on like a play. My plays are allgood. It's the TV shows. The worst TV show was a show callednurses. You know it don't ran and ran three years to which just blewmy mind and I just didn't care for the way it was run. Therewas no respect for anybody on the lot. That I could tell case and point, and I tell the story this is the week before I quit theshow because I couldn't take this kind of stuff anymore. It was a showthat catered to an older audience. So I suggested that, you know,why don't we bring in some old mgm movie stars to play the guest ourspots, because that's the audience to you know, and they said, oh, that's great, and I said the script we just wrote has an olderlady in it. I just saw Dorothy Lamore in a play and doing aStephen Sondheim play down in Long Beach. Why don't we bring her into playthe grandmother? And they said, oh, that's a great idea and they calledher up and she said, I'd never auditioned for anything in my life, not even my paramount contract, but if you really want me that bad, I'll be happy to commit and meet with you. And she came inat a retirement big Gold Rolls Royce pulls up, she steps out, shecomes into the waiting room where there are thirty other women reading for the samerole. I went crazy, I went nuts. I said you got otherpeople coming in and they said yeah, if she wants to, you know, she wants to work in this town.

Is the way it's done. Soshe came in to read, which was embarrassing to make somebody like thatread and I was our you know, I was already waiting to hear thegood story. It's about working with Bob Hope and being crosby and all theroad pictures and all this other stuff. So she comes in and she wasnervous, you know, she had never read for anybody before and she's verysweet. And as she walked out, the door wasn't even closed and oneof the bosses says now we can do better, bring the next one in. I said you're not going to cast her, and he said No.So what are you going to say to her? He said, I don'tcome, I call on her. You don't call everybody it doesn't get ajob. That Sumed up what I was working with and I didn't like thatat all. And since then, but I learned a lesson there. Sincethen I have never, and when I'm running my own show, I neverbring in an established actor to audition. You know, there's a reason thatthey were big are big and I treat them with respect and I would neverdo that again. Never. Yeah, I think the way you do itas reasonably recent. Yeah, yeah, yeah, we had fun and Idid the Don rickles show. We brought you know, we brought in allthe people. One of the perks of being the boss, when you're thecreator the show, is I got to bring in all the people I grewup watching on TV, you know. So I brought in Kate Ballard fromthe mother's a lot to do a role and she thanked me for bringing herback to television. We brought in Alvi Moore, who is tank Kimble ongreen acres for another show, and it was just it was crazy fun justwatching these guys, you know, get back at it. I brought inhunts hall from the back Owery Boys. He pulled him out of retirement.I thought, Oh, he'd be funny as the pretel seller on the street, Bonner, and so it's great. It was one of the one ofthe only perks really you get of when you're running your own show. That'sfantastic. And your your last I production with Jane or your last collaboration.It's the boomer boys musical. Yeah, that started the the the guy wrotethe music for it. Waylon Picard, lives out in Vegas and we workwith them. While a long while ago he was a musical director from mymy then wife, Adrian Barbow's nightclub act and I produce an album that hedid for her and he called us out of the blue and he said I'vegot an idea for a show. I want to do the changes that mengo through when they hit a certain age and we'll do it as a comedyreview. It'll be hilariously funny. What do you think? And I said, well, I don't know, I don't really do stuff that other peoplesuggest and James said we're going to do it. I said, why arewe going to do it? She said, I'd rather write about it then hereyou complain about it all the time. So we did. We wrote it'ssuch a fun show. It's four guys, so it was like sortof like the rat pack for guys, for friends, talking and singing aboutthe changes that men go through when they hit a certain age. And theresponse has been fantastic. We toward it for the country, toward the countryfor probably two and a half years before the pandemic hit. So we're waiting, waiting for a vaccine so we can get back out on the road againand and and I'll enjoy going back out on the road with that. Firstof all, the fun show. Two of the two of the four guysthat I do it with I've been friends with forever, one actually from likekindergarten class, believe it or not. And and it's also the last thingthat Jane and I did together. So it's almost a continuation of where wewere. So it's I don't you know, it's been a very weird, surrealyear of mourning her death and not being able to have a funeral andjust the whole thing's weird. But it'll feel like, you know, we'restill back in it once once we get back in on the road again.Have you seen any kind of you mentioned... you've been kind of binging onNetflix, but as far as like the live theater experience, that's a littlemore hard to recreate virtually. But have you seen any good examples or peopledoing things were like, oh, that's kind of cool. I saw I'veseen a couple of very good zoom readings, I guess can call them, butthey really have to be directed. It's not just a matter of everybodytalks when your line comes they need to be directed. You need to see, you know, one guy handing handing a prop off camera and then theguy on the in the other box picking up the same prop and it's sortof all flows together. It's kind of fun. I saw a good TimPinkney play. I can't remember the title. A couple of our shows have beendone on the zoom. You've got hate mail, which really was setup for who knew was set up for a zoom call. If it's fivepeople. It's a story of one of Jaan's divorces told through emails. Soyou have on stage when you do it live, there are five actors atfive desks with IPADS and laptops and you're reading and emailing each other, andso that fit perfectly into a zoom call. Seen that a couple of different productionsof that. That was kind of fun. But I've also enjoyed thedon't even know what it is. Maybe it's Broadwaycom or one of those things, seeing a lot of London plays that they record and they get to seeplays that you never got to see. So I'm enjoying that and I justI think I hope we get back to I hope we get back to livetheater soon, because so itchy to get back on stage. I hope sotoo. It is it is just like there have been some great efforts,virtually, and some, you know, some great productions. But yeah,there's just nothing like it. It's it's so, yeah, yeah, andI don't know what they're going to do in terms of when I saw therewas a sixty minutes episode on right when the pandemic hit and had been recorded, you know, months prior so. This is before anybody knew any ofthis, and it took place in Japan and it showed people going to thetheater and every single person in the audience had a mask on. And littledid we know, that's we know, hello, that's where West we're goingto be. But it was just normal for them. That's what they do. So I thought, well, okay, we got a shot at this.And Yeah, they what well, but what a lot of theaters arestarting to do, and I don't think it's going to work, frankly,is they're taking out like every other seat in their theater. And I likethe idea of trying to get open again, but I really don't know how atheater survives on fifty percent of the capacity. You know, most theatersa hundred percent capacity. Plus sponsors too came to stay open. You knowso, but you know, we'll get there. We'll get there and maytake longer than I want, but we'll get back there. Yeah, Ithink there's. I mean I never can count out the creativity of people toto get, yeah, the content out there. Yeah, even if itis a little while before we're we're back in theater, it's there's, there'salways way. It's had and I'm enjoying the like what's the name of thething below studio fifty four once something called but all the nightclub performers, theycan do virtual concerts. Those are kind of those are fun to watch.Just I'm in a piano player, but who cares? Yeah, absolutely.I remember seeing at the start of the pandemic Erica by do doing bedroom concertsand kind of did like a choose your own adventure where I, whoever waswatching, would vote between like, Oh, where should I go next, likethis room and play this song or this room and play this song?I look, that's pretty cool. That's cool. That's cool. Yeah,yeah, and I and you know,...

...a lot of people don't know ifyou know Mary Neelie is, but she got us through the early part ofthe pandemic. She's an actress who simply filmed herself lip syncing to every Broadwaymusical with her own playing all the roles, directing it herself. It was justher and they're they're brilliantly funny because she's so earnest and what she's doing. And you know she's got a crappy wig on to play this role anda cloth on her head to play a nun in the sound of music.But they're funny as hell and you know that there's creativity right there and I'msure, I'm sure they've got deals going left and right for her now.And Sarah Cooperw did all the imitations of Donald Trump. You know people,people will make do when they have to. Yeah, and getting great mileage outof those old wigs too. Yeah, really, yeah, Sir, I'mglad you mentioned Sarah Cooper. She's I just like applaud, like Ican't even tell at this point what's what's real and what's a paradise. Soit's it's true, milk, that's true. We've been talking about lots of differentmemories and moments that you've had, but at the end of the episodeI always like to wrap up with the top three, and I think yourtop three Hollywood moments would just be fantastic to hear about. We can talkabout the good one, since we've covered the bad ones. Good, Ihope so. Top three Hollywood moments was be getting to meet and work withLucille Ball was number one. She's the reason I went into show business.I wanted to do the kind of comedy that she did. I learned fromher, learned timing, I learned how to structure a script from her writersand it's simply that show made me laugh more than anything else as a kidwatching that. But I finally got to work with her. That was absolutelynumber one and she turned out to be everything I wanted her to be.She was just fantastic. It was a master class watching her work and andwe got to be friendly for a couple of weeks. So that was thatwas number one for me. Number two was working with Don rickles, justthe sweetest guy in the world. We unfortunately for for us, we debutedthe show. It was don's last Sitcom, called Daddy dearist with Richard Lewis,and we premiered at the height of the beginning of political correctness and Don'swhole career is about plea politically incorrect. So we had a lot of fightswith the networks and the critics hated us. The audience is like us, butregardless, it was just the most fun I ever had on a show. Every day was just a party and I loved everybody working on it.We kept, I would say we kept that entire crew through a couple ofdifferent shows. Just I liked everybody on the crew. Got To work withRenee Taylor, who one of the first professional productions I did, is anactor. was in one of her plays. So we hired her to play Don'swife and that's the show where I pulled in hunts hall and Kate Ballardand all these other people that I grew up with and I would I wishthat show had run forever, and we should have, I think. Butand third be my third thing might be my off Broadway show, silent laughter. That was a silent this was one of those things where every time we'dgo to write a new play, was like, okay, what haven't wedone? Let's try this, let's try this, and if it scared meenough, it usually was the right choice that you know, let's try this. What? We never wrote a musical before. Who Cares, let's tryit. And so this silent laughter was a silent movie, silent slapstick movie, done live on stage with a big...

...whirlitz or organ playing along with theactors. There is no dialog. It was in untitled cards above our headsand the whole show was in shades of black, gray and white. Itwas fascinating to do it. I was scared to death until on opening nightwas like anybody going to laugh at this thing and we got great reviews inthe New York Times and it was just it was such a joy to dothat. That was fun. That sounds simultaneously a blast to do but yeah, like you're saying, also terrify. Well, especially because the night beforewe had an audience. I had, you know, a couple of friendsat the audience and this one woman who had worked with first thirty years.At that point I get pulled me assignment. I don't know about this one billy, like, Oh God, okay, but we did it. We gotour laughs. So it was good clow and I would also say droppeddead the that was the first off roadway show I produced and that we wroteand then I did it out here. We did that forever we did thatin New York and then we did it out here in La and we hadfor the cast members from New York and then we had again meet met kidin the candy store. I had rose Marie for the Dick Fan Dyke show, donny most from happy days, who else was in the Barney Martin fromSeinfeld, and we just oh and and forgetting and a woman o became mywife, Adrian Barbot, and that one was so much fun, so muchfun, and thank God that was at the same time I was doing thatterrible show nurses. So I would do the TV show during the day andthen do the play at night, and thank God for that. Or wantto blow my brains at working on that TV? Yeah, good to keepyour Saturday a little bit. Yeah, yeah, exactly. Now, obviouslywith the pandemic, we don't we don't know what's what's coming up, butI assume you're not totally just binge watching Netflix and and eating across the pool. Do you have some ideas that are kind of percolating a little bit fortwo thousand and twenty one, twelve M to whenever we're back out. Theweird thing we're Jane got sick and she got stick out of the Bluesho nosymptoms, she just turned yellow overnight and the next day found out she hadpancreatic cancer, which blew our minds. But we thought it was a misdiagnosisbecause she was the healthiest thing you ever saw. And so for the fifteenmonths, and it was fifteen months that she fought that thing, we keptthinking it's missed, Miss Diagnos, phost it's, you know, don't one, they'll find something else. I'll try and different pills and right. Andwe work two three days a week the entire time because she consisted, shewanted to work. And so we have a bunch of half written projects sittingon shelves right now that I'm going to plan on finishing all of them anda couple couple screenplays and a couple of books I want to finish too.So yeah, I don't believe it's sitting around doing nothing at all. MyI have we got a great work ethic from my father. We I thinkwe listened a little too closely, because we don't we don't know how toturn it off and our family we just do stuff. I'll let me doa lot of stuff, but but I also to me, this is fun. I don't feel like I'm work when I don't feel like I'm working whenI'm working, you know. So I'm one of those people that wakes upand go straight to the computer and starts writing stuff. Yeah, I thinkthat's more fun than just sitting around it. Yeah, for sure. Yeah,could deal, will billy. Thank you so much for taking the timeto chat. I people want to learn more about all the stuff you've done. If they want to check out the book, where can they find you? Get in the car. Jayne Adventures in the TV waste land available onAmazon. It's available on Barnes and noble and if you go to my website, vans and Millmorecom, you can learn...

...all about all the coming shows whenwe have them, all the TV shows we've done, all the film's,all the all the plays, and I think they're actually selling hardcover. Theyare selling hardcover copies of the book on there too. And as for twitterand Instagram, I'm on there and have no idea what my handles are,so we'll just look me up. You'll figure it out. There's all.That's only one of me out there. We'll do some will do some Googleand we can add it in the show notes for you. Thank you great. I know I'm the same way with my passwords. For a lot ofthem I'm just like, if I ever get the automatic log out, I'llbe I'll be screwed for sure. I actually am ashamed to do this.I have a five page list of my passwords that I keep. Want tokeep one with my laptop, I keep one with my in my desk,so it's like and then it's my phone to thank God, they memorize you. You're a shamed by that. I think that's brilliant. I should juststart doing that. Well, it's fine until somebody robs your house and findyour past. That's true. That's true. You know, I've got to investin the what is it? The one password, or like last passout of its yeah, put some of my DNA in there and then that'sa little harder and harder to rob. It's true. Right, maybe fortwo thousand and twenty one that can be the project. It's get my pastpassword life in order and scan may murder. Scan all your stuff exactly exactly andthrow away all the all the junker, than everything at a photo. Keepthe photo. That's it. Well, that matters. Wonderful Really. Thankyou so much. This was fantastic. I had a great time and highlyrecommend your book to everyone listening. Thank you. This is a lotof fun. Enjoyed it absolutely and of course we got to end with aCorny joke. And okay, this, this will probably make you grown morethan laugh, but we'll say I all right, what's even better than TedDanson? I don't know what's better than Ted man Ted singing and dancing.All Right, I won't be stealing that's one of my shows, mother,but that's great. Thank you. Thank you for listening to good people coolthings. Always appreciate you checking out the show. If you're a fan andyou're listening on Apple Podcast, I'd appreciate a five star review or rating.Just head on over to your apple podcast at tap those five stars and leavea few kind words if you want. If not, the rating is totallyfine. And if you're listening on spotify, would love a subscription as well.Subscribing then you'll be notified any time a new episode comes to your devices. Thank you again for listening. Have a fantastic day.

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