Fish's Call Sheet - Jeremy Armstrong - Property Master

Jeremy M. Armstrong is an iconic Property Master who work has been featured of Roseanne, The Conners, Entourage, The Larry David Show, and many more. We celebrate his hard work, and how props often shape the shows, movies, and memorable scenes we love.  Together we dive behind the scenes of the entertainment industry as Jeremy  shares his perspective, business insights, and what it takes to build a legacy in our industry. 

From Jeremey Armstrong's role in production, to the responsibilities of a Property Master, revealing what is a prop, and how the business is changing with technology. Join us as we look behind the curtain of film and television production.

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Transcript

Michael Fishman: All right, you ready to start this?

Jeremy Armstrong: Yeah, baby, let's go.

Michael Fishman: This is "Fish's Call Sheet." This is our very official first one and I picked kinda the perfect place to start. So, the concept of the show is that this is where we share the behind the scenes view of the entertainment industry and we celebrate the people who make production possible. And I couldn't think of a better way to start this then to have Jeremy Armstrong who is, wow. Like, how long have we known each other? Since 1988?

Jeremy Armstrong: Yeah, '88.

Michael Fishman: So--

Jeremy Armstrong: One episode one.

Michael Fishman: What's your official job title?

Jeremy Armstrong: My official title is the Property Master.

Michael Fishman: Property Master, okay. So, for people who don't know, what do people think a property master does?

Jeremy Armstrong: A property master, probably what people would think with, not in the relation to television would be hustling property, renting property, I don't know . Some weird bondage property master . But in our thing it's, I deal with whatever the actors touch.

Michael Fishman: Right.

Jeremy Armstrong: And the gray area is the actors may sit on a chair or a sofa but that's set dressing. I deal much more intimately with the actors and what they touch. Computers, watches, rings, food, stuff like that.

Michael Fishman: Well, so I always laugh 'cause I always think a good prop master is like somewhere between Q in "James Bond," and like Red from "Shawshank Redemption." Like, you can get anything for you . It's just a matter of time.

Jeremy Armstrong: Yeah, exactly.

Michael Fishman: Right?

Jeremy Armstrong: It's if you need anything, you go to the prop master because he's, he knows a guy.

Michael Fishman: Yeah, he knows a guy who knows a guy and he'll make sure--

Jeremy Armstrong: I know a guy. Yeah, I know a guy that could do that.

Michael Fishman: Yeah and you always have the best tech. Like, I think that's the biggest thing--

Jeremy Armstrong: That's right. The cell phones, I'm not sure how we did the show back in the early 90s when we didn't have internet to source things. The expectation now is a lot more because of the Internet, but we also have choices, too. Instead of going in settling on one thing or a choice of two things, I can choose from 100 things and get exactly what I want, what I kinda want, what I think they might want and another one and we're good. And get it delivered overnight for free and it's delivered.

Michael Fishman: And if they don't like it, a lot of it you can send back. In the old days it was like,

Jeremy Armstrong: Exactly.

Michael Fishman: oh, I'm stuck with it .

Jeremy Armstrong: No, yeah, exactly, no. So, it's fun. The technology is changing and that's where me as a prop master, I have the most fun with it because I love the new technology. I love the things we're doing with phones to create fake calls coming in, fake texts, doing web pages,

Michael Fishman: That's amazing.

Jeremy Armstrong: stuff like that. It's now, it's no longer, the prop business isn't caught up with the technology yet. We're really in front of it, at least on the "Roseanne" show we are and "The Conners." We don't have our phones face down when there's a call coming in and they just pick up the phone. We actually trigger phone calls, we trigger texts. So, we try to do things so the actor is never having to force act. We want to give the ability to stay in character and do everything real. And it's just those little things that in my professional opinion that just, it's a thing that helps an actors do what they're doing and not have to think about, "Oh okay, I'm pretending that phone's ringing." The phone really rings for them.

Michael Fishman: It's amazing 'cause I think it adds an element of authenticity because you're not waiting

Jeremy Armstrong: Exactly.

Michael Fishman:  on a phone call. The phone rings when it's supposed to. You interact, it lights up the way it's supposed to. So, it doesn't take a audience member out of suspension and disbelief because you're not going, "Well, whenever anybody calls me, "my phone lights up and here he is in this movie."

Jeremy Armstrong: Right. It immediately someone in the audience is like, "Oh, that's fake."

Michael Fishman: Yeah.

Jeremy Armstrong: "The phone didn't "even light up when it rang."

Michael Fishman: That's one of the awesome things. You've always, Jeremy, done kind of this like cutting edge, been ahead of technology. I think, so obviously that's one of your passions for your job and it makes a big difference.

Jeremy Armstrong: 100%. Well, and also as a prop master, I'm out building, creating, shopping, getting the show ready to be shot so I don't get to do what I used to love to do the most, was beyond set with the actors and getting to hang out with the actors as much as I do. And through the technology aspect of it, I get to do what I love, interact with you guys and talk you through it and help you through scenes and it just puts me back in the place that I love to be, that I can't be because now I'm running the department. So.

Michael Fishman: Yeah, right. How long have you been in the entertainment industry?

Jeremy Armstrong: Whew! Well, I've been in longer than you've been alive.

Michael Fishman: That's true.

Jeremy Armstrong: Well, close. No, actually no. I mean, I was in, I started my first show ever was the first season of "A Different World," the "Cosby" spinoff with Lisa Bonet and I believe that was in probably 1988. So, '88, then I left to do the pilot of "Roseanne," and then we did the first season of "Roseanne" that same year.

Michael Fishman Yeah.

Jeremy Armstrong: So, I mean it was, yeah, probably what, 30 somethin' years? Gosh, I can't, I mean, 'cause I still feel and act as immature as I did at 18. So, I mean I can't be--

Michael Fishman: Well, we still had fun, right ?

Jeremy Armstrong: Yeah. So, I can't believe it's been that long but the--

Michael Fishman: Yeah, we still go out and mess around and play catch and act well,

Jeremy Armstrong: Oh, yeah.

Michael Fishman: we just, the next day feel it a little more .

Jeremy Armstrong: Yeah, yeah, exactly, you feel it, and my beard now has grays in it, so .

Michael Fishman: Yeah, well, look what you guys did to me.

Jeremy Armstrong: Oh, we did to you!

Michael Fishman: Yeah, or maybe I did to you.

Jeremy Armstrong: Hey, you own a few of these buddy.

Michael Fishman:Yeah, I'm sure I do . That's the thing--

Jeremy Armstrong: Hey, I like the Godzilla in the background. All right.

Michael Fishman: Yeah.

Jeremy Armstrong: I recognize him.

Michael Fishman: Well, you gotta keep some things close.

Jeremy Armstrong: For sure and picture of Quinnie up there, I like that too.

Michael Fishman: Yeah, that's--

Jeremy Armstrong: I still hold onto mine as well.

Michael Fishman: Yeah, it's one of those things, makin' sure you pay homage to the right people and keepin' track of where you come from.

Jeremy Armstrong: 100%, I can't agree with you more.

- Property masters, one of those things that people outside of this business kinda have no idea, right?

Jeremy Armstrong: Right.

- Okay. So, what was the moment that you knew you wanted to be in the entertainment industry?

Jeremy Armstrong: Huh. Well, I kinda, it was just, I didn't have anything else going really to start with and a neighbor said, "Hey, well, I'm working on the show, "why don't you get into this show?" And my first day, because I had worked since I was 15 and a half in movie theaters, ice cream stores. So, I had a real good work ethic, but I just was kinda, I didn't like school. I hated that, I didn't like being forced to do that. So, I got this job as a PA on "A Different World," and I came home day one and I'm like, "This is the greatest."

- Yeah.

Jeremy Armstrong: "This business is amazing, I wanna be in it. "I don't know in what capacity," and being a PA is great right now, delivering scripts and copying them. And I took Lisa Bonet home my first day of work and I was freaking out . I fell in love with it at that point, and it's been ever since. Everything, movies, single camera, sitcoms, which I love. And yeah, it's just, it works for me, it works for my life. It works for my personality and I just love it. It just kinda happened. It's one of those things where a sliding door, who knows if I did something else where I would be right now. I certainly wouldn't be sitting in my house talking to you. So I mean, I feel like I'm exactly where I should be.

- Well, that's how I always felt. I always felt from the very beginning that everything about this thing was magical and I loved all the people and I loved what we get to do and I love that every day is different. Even when the first show ended and I was doing other stuff and working from project to project and even when I found myself out of this business, I always knew, man, I wanted to be in this business. I mean, I've done a little bit of everything. I even have a little bit of props that my record, but I'm nowhere, I'm not in the Jeremy Armstrong category.

Jeremy Armstrong: Hey Fish, send me your resume, I'll take a look.

- Okay, okay . .

Jeremy Armstrong: We'll always have you on my crew, buddy.

- Well I'll tell you right now, you made an impact on my life. And so, when you say the sliding doors thing, I always think to myself, where would I be? Not just without having this opportunity but without the people that really kinda shaped my life. The people who came in and have made this impact. I mean we're lookin' at, what were we, 32 years of knowing each other?

Jeremy Armstrong: Yeah, no, for sure, for sure. For sure.

- So, you--

Jeremy Armstrong: And it's true. The last two years of the "Roseanne" show, was when we really started bonding over fantasy baseball, fantasy football, all of that stuff, and that's when you really started to become a grownup, those last two years, 'cause you were a kid and you were having fun and you had to do your schooling as you did the last few years, but you grew into same things we liked. And so, that was super

- Yeah, passion.

Jeremy Armstrong: super fun.

- It's a beautiful small world where you get to work with all of these incredible people, and it really is about building relationships and treatin' people the right way and having the right interactions and the right people on a set make every day enjoyable and make the set work.

Jeremy Armstrong: Agreed, but there's also, coming from doing so many different shows, projects and movies, stuff, there's all, you spend a ton of time with people and you come to a place where the show's ending and everyone's like, "Oh, we're gonna keep in touch, "we're gonna do this, that, we're," and you truly believe it at that time, but you never do because you're onto a new project where you're doin' another 60 hour a week thing, blah, blah, blah. But there are these anomaly shows that have changed you, have molded you maybe because you're younger and you grow up with this, whatever it is, our show, "Roseanne" to "The Conners," it is an, it's not like a normal show. It's like going to work with family.

- Yeah.

Jeremy Armstrong: And it is, I mean, for a few of us that are original people, it really has made a difference and it's a different vibe on that set. And it's just, it's so refreshing and it's so easy to work and it's nice to know, 'cause I mean, it's nice to know that you have some sort of voice. If you have an opinion on something or you think something could be better, you can bring it up and you know that it will be heard and not just, "Yeah, yeah, yeah, yeah, whatever. "Just get what we want." They appreciate your professionalism

- Yeah.

Jeremy Armstrong: and your ideas. So, and that doesn't happen a lot. So, I mean, it's an amazing place to be and it's, and you'll never find it again like that. I know in my, I mean I'm 52 now and I'll continue to work but it will never be like this.

- So, you come across these things once or twice in your life where you're in the right place with the right people at the right time.

Jeremy Armstrong: Yeah.

- And I think it's amazing 'cause like, for me in particular I held onto so many of you because you were so instrumental but there's that gap, right? You try so hard to stay connected but people have to work. People have families and they're working 60 hours a week and you miss each other calling and your schedule can be crazy, especially if you work single camera or a movie, right? Like, the nice part about being on a multi-cam is our schedule's at least a little more focused.

Jeremy Armstrong: Yes, for sure, for sure. You can, you can have a life outside of work as well, which is nice.

- It's special. It really is special.

Jeremy Armstrong: It is.

- And funny things like from our side, like when people go and watch "The Conners," from what you do that I always laugh is like look at the "Lock 'Em Up Magazine," or look at the newspapers.

Jeremy Armstrong: Exactly.

- All of the little touches that you put in, but they're all connected to all of us.

Jeremy Armstrong: Of course. Those are my little, what I call Easter eggs. I'll never just give you a "Lock 'Em Up Magazine" or a newspaper or a computer screen that doesn't have a little Easter egg hidden in there for you to give ya a little chuckle, to keep it real but fun and keep it fresh. I mean, a lotta people are minimalists, they just, "Oh, you need a newspaper? "Here's some newspaper." But I like to have some fun with it. If there's a momentous occasion in someone's life, their kids are doing something or got accepted to school or as I did with my nephews and they're becoming professional baseball players, all those little things and let's look back on this in 20 years and be like, "Oh, hey look! "That re-run there. "Remember, that's when you got drafted "to the big leagues." And I think everyone appreciates and I spread it out so everyone on the crew and cast and whatever we can do, we work everyone in so you they fun with it. Look, you're used to being on the screen, but when I put a set dressers face on a magazine and they're on the show, it's a big deal. It's like, it's memorable 'cause they'll probably never have or never will again. So, I like to be able to, provide them, plus it's easier.

- Yeah, I love it.

Jeremy Armstrong: It's easier for me for clearance . Let's face it.

- Well, I love it. I would love to talk about that part of it, 'cause to me, I think that's where this started for me is wanting to celebrate all of you who, 'cause you guys don't just do the minimum, you don't just kind of walked through it. And I've worked in enough places and worked in enough departments that I had watched people walk through it, and those people exist in the world,

Jeremy Armstrong: Yeah, oh, yeah.

- For me, this is an opportunity to highlight kind of those Easter eggs, the beautiful moments, the passion of the people who really make the passion of the project work, and I think it makes a project stand out. It makes it show up.

Jeremy Armstrong: 100%. It does, it does. People watch this and hear about these Easter eggs, go to "The Conners" and watch a couple episodes and you'll see little nuggets everywhere.

- Yeah, you better pause things 'cause that's what I do. I spend as much time going through and pausing and saying, "Okay, whose family's there? "What's on this? "Okay, who was on that week's "Lock 'Em Up" or who, right? In the newspaper.

Jeremy Armstrong: Oh, yeah. I get calls after an episode, someone would call me and be like, "Dude, was that you on that magazine cover ?"

- Yeah.

Jeremy Armstrong: I'm like, "Yeah, it was. "I didn't even remember that it was that episode but yeah."

- That's the love and I think you can see it.

Jeremy Armstrong: A ton.

- You talked about your first job. What is the most memorable project other than this one? 'Cause we've talked about this. What is another project that stands out?

Jeremy Armstrong: I'll tell you, other than obviously my first job, which was "A Different World," which kinda molded me and then this growing up with you guys and kinda coming into my own on this show, the first show that pops into my mind is "Entourage." "Entourage" being because every week it was a massive sports star on, we had Tom Brady, we'd have Phil Mickelson, we'd have, I mean, I caddied Phil Mickelson for three days.

- That's awesome.

Jeremy Armstrong: I was the only one allowed to carry his clubs and we were at Trump National Golf Course and we had three holes and he's giving me little tricks of how to do this and I'm holding his lefty putter he won the Masters with and I'm just like, what's happening?

- Right.

Jeremy Armstrong: And they're paying me? This is the greatest! And he's showing me trick shots and I mean, it's those little things that in "Entourage" it would happen every episode. I mean, it was hard work. It was all location. We'd do three, maybe four locations a day and do 70 hours a week.

- Oo.

Jeremy Armstrong: But you're hanging out with Tom Brady asking him about when he won the Super Bowl MVP and with Mark Wahlberg. I mean, it was incredible. I would have to say that was a real highlight. You fan boy over Leo DiCaprio when he comes to set and you're just like, "Oh my God, "that's Jack from "Titanic."

- See, I can totally relate because even growin' up on the show, I worked on the technical side on "Sport Science." I got to throw passes to Jerry Rice.

Jeremy Armstrong: No, that's pretty amazing.

- On that show I was working, doing props and set design and stuff and they're like, "We need somebody to throw passes to Jerry Rice. "Anybody throw?" I'm like, I threw up, "I'm throwing." I'm like, "What do I do?" And it's even just the people who show up.

Jeremy Armstrong: Well, that was Leo. He was just comin' to see Kevin Connolly and just showed up and he's like, oh, we're at the W pool with 150 bikini clad women and I was staring at Leo . I don't understand it. I was single at the time .

- For me, you pinch yourself. I think on our show sometimes you look up and what are considered guest stars or whatever, who were there for a week and you look over, it's another legend.

Jeremy Armstrong: Oh, yeah. Well, on the original that was our thing. We started that, bringing out big name people every episode. Bruce Willis, Tony Curtis we had. We had, I mean everyone, Sharon Stone, but I mean, it was pretty amazing.

- All right, now what's the strangest thing you've seen on a set without gettin' anybody in trouble? We gotta keep some stuff to ourselves.

Jeremy Armstrong: I understand, I understand. The strangest thing I've ever seen.

- Yeah, what are some strange things? Like, what are like, you work in props. I know you get strange requests.

Jeremy Armstrong: Well, I mean, yeah. I mean one , one sleepless weekend, there was a request for a prop that we had to have a birthday cake that was a bowling alley and the bowling alley roof was on fire and the, a firetruck has to squirt chocolate sauce to put the fire out. And this is on the weekend to shoot on Monday. And then, yeah, and then just to add to the pain, they said, "Then we need the girl "to just come in and put her hands "in it and just destroy it," which means we need five of 'em.

- Right .

Jeremy Armstrong: Once I figure out how we could possibly do this giant... So, I mean, and I did a lot of Disney shows, so I worked with a lotta kids stuff where there's always a gag. I mean, it's a good bootcamp but it's hell on wheels prop wise. That was a pretty crazy one. We made it work, believe it or not . Somehow or another we always--

- And that's the thing, you always make it work.

Jeremy Armstrong: Yeah.

- And on a moment's notice. So, when I gave the example at the beginning of like a cross between Q from "James Bond" and Red who's

Jeremy Armstrong: Exactly.

- got a guy who can get it, whatever you need.

Jeremy Armstrong: Exactly.

- And I always used to laugh, on the writing side because I've worked on the technical side, whenever somebody throws out an idea like that, I'm always like, "Oh, oh, like hold on." 'Cause I'm like, on the crew's side, I used to joke, we don't have a magic wand. Like, there are limits to what you can get.

Jeremy Armstrong: But it's a double edged sword because you work, like when I work with Bruce and all of them and if you give them enough confidence in yourself, you almost create more havoc for yourself because they're like, "Oh yeah, Jeremy, no problem. "He'll be able to work this out," and oh, remember we did a robot. They decided to have a robot. There was no prep to it. We needed a Walmart robot to be built

- Awesome.

Jeremy Armstrong: that would move around and it's like, okay, it's gonna cost some cash but we'll do it.

- The amazing part is within hours, you have this remote control thing that you can send around set that was everything they asked for and more.

Jeremy Armstrong: Yeah, it turned out great. I mean, that was one of my greatest, in such short time and keeping the budget relatively in check, it was one of my greatest successes for real just because that thing could have been a $30,000 prop turning it over and in two days basically so we could rehearse with it. I wanted to show the network that, to make sure everybody liked it. So, it was like I got the script on Sunday night. Oh no, on Friday night and there's a robot in it and I need to have this robot working by, what is that Wednesday?

- Yeah.

Jeremy Armstrong: Run through. And I needed it a little earlier so I could learn how to run it 'cause I like to run those things. I don't like to bring someone else in. Again, it keeps me relevant and keeps me in the action, which I like. It kinda puts a little more stress on me because I should probably just let a robot guy do it so if something breaks down, it's on him not me .

- Right. I do think though, and at least for me speaking as the actor now, I think that we love that you do that and that you're hands on though, because for us we have trust with you.

Jeremy Armstrong: Right. Well that's one of the reasons I like to do it, too. You're familiar with me, you trust me, you know I'm gonna do everything in my power to make it right for you, not for me.

- You understand the tone of the show, and what's going on 'cause that's the other thing. Sometimes on the crew's side you can bring somebody in and they just kinda do things in their own way or are not used to what's goin' on and it can be a bit of a nightmare, right? 'Cause you--

Jeremy Armstrong: Well, right, in our area, there's ebbs and flows. When you wanna go in and hand someone something or try to fix something or you just know from being around enough to just let it be and it'll be fine.

- Right.

Jeremy Armstrong: Walk away

- Face it when the time comes.

Jeremy Armstrong: a better time to go, exactly. So, and some people are just a little too excited and wanna just jump in and get in in the action and it only comes with years of experience, but you see all what's happening before it even happens. It's what I call prop spidey sense.

- Its' like that.

Jeremy Armstrong: Oh you know what? We'll probably get a, they're probably gonna ask for this because of this. So, let's make sure we have a couple of these because I have a feeling they're gonna say, "Oh no, that's not gonna work. "Let's go with this." And we have it and nine times out of 10 that spidey sense is right on the mark, so.

- Well, that's the thing. That's one of the things about you that's so remarkable is it's not just giving them what they want or what they ask for. It's you do it and then a lot of times it's not even them. They love it. They got what they wanted and then the network comes in last minute or somebody else comes in,

Jeremy Armstrong: Oh yeah.

- somebody else who has a voice and says, "Oh, it's too big, it's too green, it's too whatever."

Jeremy Armstrong: Oh, yeah.

- And that's where we turn to you, we look at Jeremy. Jeremy just pops out with three others or one. This is a little smaller or ...

Jeremy Armstrong: Here's a red one and here's a blue one. You guys pick.

- Right. Watching projects, I think if you sit back and you watch any television show or any movie and you look at how many things an actor touches over the course of a scene, a show, a project, that you can manage all of that stuff all at the same time and be ahead and then still engaging in personal and, it's a real testament to who you are. It's one of the things that they admire about you.

Jeremy Armstrong: Right, but it's also, I mean I can't do it all. My crew is paramount and they're the greatest and if you don't have a great crew, that's where you have some real holes where stuff can fall through, 'cause I can't do everything. I can't be there all the time. So, you need to find a nice flow. You need to find the right people that you can work with that understand your style, that you understand their style. And look, you need self-starters in this business is what I've found. You can't possibly tell everyone everything they need to do. They need to know, they need to anticipate, they need to think ahead and that's what makes a good prop team. And when you don't have people, people that are just waiting like, "What should I do?" That doesn't work for me. I need you to come in and hit the ground running and just look at the call sheet and know what's goin' on and let's go. And of course I'll help ya, I'll give my, ultimately it's the look I have to sign my name to. So, I'll give my little notes on what I think. I think this would be better if you had it here or filled with this or whatever. But I need them to start the process without me spoonfeeding them. And we do that on this "Conner" show. So, it's great.

- T. and Susan and then all of the side people who come in 'cause depending on the week, sometimes you need more bodies. I think that's the other part people don't realize is crews go up and kinda shrink down depending on, you have your core.

Jeremy Armstrong: For sure.

Jeremy Armstrong: A human being can only do so much, and especially when we're doing it for like run-throughs when we're not even taping where we're doing essentially the full show nonstop for writers, for executives, for the network, it's fast paced. Everything has to flow. So, some shows you just can't do it with your normal crew. You need extra people there, especially when there's a lot of food. If there's a food scene and a lot of background extras, you need to have a person that just deals with that. So I mean, yeah, there are a lot of elements and it's an interesting thing. I think what you're doing here is good because you're gonna open up, you're gonna pull the curtain back a little bit and see what the wizard's doin' back there.

- That's always been my passion, too. I mean, I was lucky I worked with so many really talented people and people who were willing to tell me what they did and were willing to let me look over their shoulder and dive through all their stuff

Jeremy Armstrong: That's true.

- and invade their space when I was young. And then as you become older, like you said, we have so many things in common and I just remember there were times when I worked on the technical side of things where I would think, okay, how did Jeremy do these things? Or how did members of the crew that really worked well, what were the things that they would go to? And I remember "Sport Science," I ordered a buncha extra equipment and they looked at me like I was crazy and then they didn't like shoulder pads for one of the things and we had backups and they didn't like one of the balls. We actually got a couple college balls to pull off some of the things quicker because it was hard with all the moving pieces and everything with all the equipment on, or I bought different shoulder pads so I could wire 'em different with different equipment. Everybody's like, "Oh, you're spending too much money." I'm like, "No, I'm spending a little more now "with planning knowing

Jeremy Armstrong: Right, exactly.

- "that on the day you're gonna rescue something, right?

Jeremy Armstrong: Exactly.

- Which is what happens all the time.

Jeremy Armstrong:All the time. And look, you can get anything done and buy anything, but if you do have to do it fast, it costs triple, maybe more. So, and if you do a little pre-prep on that, it saves you A, a ton of heart attacks and B, it ultimately saves the production money.

- [Michael] Yeah.

Jeremy Armstrong: And time. Look, when you have 100 people on payroll, every minute is a lotta money, and I don't ever want that whole production waiting on the Prop Department ever. I don't care what's happening. I don't care if they just requested a pink bunny. I don't want them waiting on me to get the pink bunny. I want something there that they can work until I get the pink bunny.

- Yeah. I think one other area that we haven't talked about that I think people would find interesting is food, right?

Jeremy Armstrong: Oo. Food on the Prop Department.

- Food is a big thing and--

Jeremy Armstrong: A big thing.

- And you guys do such a masterful job. Susan and T. in your department, you guys have combined this ability to get whatever the look is, but also to adhere to everybody's specialty diet now.

Jeremy Armstrong: Which we do have a lot in this day and age. It's changed a lot in 30 years. It used to be, "Yeah, whatever as long as it's warm. "Hopefully it's somewhat warm." Now it's vegan, gluten free, vegetarian, no dairy . It's like we have our hands full on our show there.

- "I'm a vegan but I don't eat nuts, "but I do eat," right?

Jeremy Armstrong: Oh, yeah.

- Look, again, sometimes it's an allergy, sometimes whatever it is but people don't think about it, but that could change the course of everything if you get it wrong.

Jeremy Armstrong: Oh, for sure. And I take great pride in making sure if one of my actors is a vegan that I have options of great, warm, yummy vegan food, where I'll go like, "Sarah," I say, "Well, where do you like? "What restaurants do you like," and I'll go, it may take more time and a little more money, but that's what I like to do to make her feel comfortable and happy that she's got food she really likes. She doesn't have to take a little nibble and just, 'cause you see that in the show.

- Yeah.

Jeremy Armstrong: You see someone's not eating their food that's right in front of 'em that more than likely they just think it's crap. And I don't care. I'll do the extra work to make it look and feel and just be a better situation. It's just what I do. It's what I do. You know what?

- Always.

Jeremy Armstrong: I hate food scenes, I'm not gonna lie. I'd rather do a poker scene than a dinner scene but, and hey, I have to give you a hat's off that you always, I mean, Michael is the hidden fifth prop master on the show. Every time he's in a scene where there's anything going, he keeps all the other actors in line. He's resetting stuff for us. He's always helping. So, I mean, and that's unique. That's never happened. There's never been an actor helpin' out the prop guys, at least that I've seen. So, I mean, we really appreciate it

- I love you guys.

Jeremy Armstrong: and no, we know, we love you too, and it's a great thing that you are aware of it. A lotta actors don't even think about it, and you're aware that, "Oh no, this card's got in here because dah, dah, dah, dah," and that's what we're thinking but once we set the, for instance a poker scene and we walk away, well, without a hawk eye like you, people are just fussin' around thinking about their lines, moving things around so the continuity always somewhat can sway a little, but when you're on set it doesn't sway, it stays straight. "Oh no, no, you can't move that, that's gotta... " I see you, I appreciate you.

- Oh, no. It is my pleasure 'cause I respect what you do so much, and I think that's the thing for me is I always try across the board to be respectful of what everybody does. And I love to be able to help to make, if I can make one little portion of it easier, you got a million things to do in a day. I mean, we just talked about it. You're touchin' everything, movin' everything, keepin' track of everything, makin' wishes come true, right?

Jeremy Armstrong: Trying.

- Yeah, so I love it. It's my pleasure.

Jeremy Armstrong: Like I said, I'll put you in any time, coach.

- Okay , well, I'm always ready.

Jeremy Armstrong: All right.

- All right--

Jeremy Armstrong: Bring a tool belt.

- I'ma pick on you.

Jeremy Armstrong: All right.

- What's the dream now? What's the dream after you've been in this business for so long? What's the project that you haven't done that you wanna do or the thing you really wanna do going forward?

Jeremy Armstrong: Honestly, at this point in my career at 52 and in 30 some odd years, I think I'd like to do another 10 year job, a sitcom. Something where you build a new idea from the ground.

- Right.

Jeremy Armstrong: Learn these actors, grow with these actors and create a experience that I've experienced on the "Rosanne" and "Conners" and create that for another whole generation where there, everyone that does a big show like "Everybody Loves Raymond," any show that has any significance in modern culture and something like that where they take it and in 20 years they say, "Oh, I worked on "Roseanne." And everybody's like, "Oh wow, really, "Roseanne?" "That was," you know? It's a impactful name. I would like to do that one more time before I retire.

- All right. So, I'ma pick on you 'cause when I create shows, you're on the top of my list.

Jeremy Armstrong: Hey, I told you, if I'm not gettin' the call ...

- That's okay. You've been--

Jeremy Armstrong: I'm gonna do my own call sheet show and it's gonna be a little toned differently.

- Okay. Okay . Well it's funny, I should probably clarify 'cause you and I know what a call sheet is.

Jeremy Armstrong: Oh yeah, that'd probably be a good idea.

- But a call sheet is basically a rundown of what's planned for that day and when everybody's supposed to be there, who's supposed to be there, what time and kind of a layout of the day. It never totally goes the way they call sheet says.

Jeremy Armstrong: Right, well now call sheet, the word call is what time you're supposed to be there. That's what call me. So, the basis of the thing, it's a call sheet. What time are you supposed to be here? Every crew member has a time to come in. Every actor has a time to come in. On this it shows what we're doing in the day, but fundamentally it's about when you show up to work.

- Yeah, 'cause anything can happen. And one of the things I love about it is it's the same across the board, 'cause everybody's on the call sheet.

Jeremy Armstrong: And listen the call sheets are really important that people forget about because call sheets are the things that are paramount in certain actors getting into the union.

- Yup.

Jeremy Armstrong: Certain crew members that aren't in the union yet, they have to get a certain amount of days and the days are calculated by the call sheets. So, the call sheets are a very important piece of paper that go kind of, you don't realize what a call sheet means to some people. It's like, it's there proof of purchase basically. So, it's an important thing. And the second ADs, they pull out their hair making a call sheet every day. It's not the easiest thing 'cause the schedule is always changing and then the calls all change for certain people. So, it's not to be neglected and it's not to be appreciated because it's a major ordeal.

- Yeah.

Jeremy Armstrong: I'm glad I don't have to make the call sheet, trust me.

- Yeah, me too. I did it one time and I was like, this is a nightmare.

Jeremy Armstrong: Oh, God.

- It's kind of like, my goal for this show is it's an under the radar thing that all of us in the business, no one looked for every day, but that the rest of the world may not know, but it's a simple concept with a much deeper meaning.

Jeremy Armstrong:- For sure, for sure.

- What's the project that you wish you could go back to knowing what you know now?

Jeremy Armstrong: I mean, I hate to sound like a broken record, but I'd love to go back to "Roseanne" and start it all over. I mean, I'm so young that I wasn't thinking career. I wasn't thinking what was happening tomorrow or what happened the day before. I was just in the moment and it was fun and the show so huge at that time. We had no competition. It was only ABC, NBC, CBS and there was no HBOs, there wasn't even, I don't think Channel 11 yet, FOX, or it was like local news only or whatever. But I mean, we were had huge numbers and it was massive and we partied like it was massive and we, the rules were different in Hollywood back then.

- Yeah.

Jeremy Armstrong: A lot's changed since then and I was just a long haired 19 year old on this massive hit show and we had softball teams where we'd play against other shows and it was like, it was not just a job, it was a lifestyle. Everything revolved around that. We would do trips to Vegas. It was like it was, when work ended, the "Roseanne" show didn't end. It continued on in some different format and that's what I would love to do again. That's what I miss the most and we have an element of that back on, granted there's only probably 10 of us from the original show, 15 with writers and actors, but it's still there and we all feel it and I think the way the show's done, everyone that's new to the show on the crew feels it also 'cause they, they're all accepted like their family from old school. I mean, they may not have been there, but because that's the vibe that we've kinda built on the set, it's contagious. It's just a different feel. It's a flow I've never felt before in a show.

- Yeah.

Jeremy Armstrong: Real, real calm and we get it done and we put out a good product, a great product. I mean, that the shows are written so great with such, and keeping in the true "Roseanne" form, we deal with issues that no other sit-com will deal with in a serious way, a poignant way, and we still make fun of it.

- Yeah.

Jeremy Armstrong: And that's a hard line to walk and I don't know how they write 'cause I couldn't do that, but they do it consistently and that's what makes it so unique as well.

- Yeah, I agree.

Jeremy Armstrong: I mean, I should.

- Yeah, I mean, and that's the thing is, that's the special part. The special part is what you get to do, that's why I always said like, when they asked me about coming back, this is one of those shows where you're willing to come back because there's so much left to do, but also 'cause you get to do the darkest, most serious topic and then you get to find something funny or joyful about it, or you become the joke while you're dealing with something tough.

Jeremy Armstrong: Yeah, oh yeah. No one's off limits. That's the beauty of it.

- Yeah, and I love that. And I think, and kinda that's how we are a little bit off camera too, is we've always been like,

Jeremy Armstrong: Oh, yeah.

- we tackle things with humor and we've dealt with everything. That's for me too, is I wanna start shows like that. A 10 year show because what you do is people meet their spouse on the show.

Jeremy Armstrong: 100%.

- We lose people along the way and we lose loved ones and we share stories and people meet new people and meet new partners and people go and leave the show and start new careers. You watch them kinda change media in their own way, right? So, you've watched this breeding ground of creativity.

Jeremy Armstrong: But you need, unfortunately in television, the attention spans of the network and people are so short that it's such a, what do they call it? A pink whale or whatever, to get a show that lasts for 10 years. So, I mean, you need a show to have some years built into it before that really, truly starts to happen do you know? So, it's hard. It's really hard to get to that point but they're out there. I mean look at "Big Bang." They did 13 years.

- Yeah.

Jeremy Armstrong: So, they're out there. We can do it. We just need to get lucky. You gotta get lucky and you gotta, fire's gotta happen. You gotta have the perfect storm, the right writers, the right actors, the right time for people to wanna watch it.

- I think it's the right production, the right crew, everything. I think they all come together at the right time.

Jeremy Armstrong: Agreed. The right people show up and it makes it special. The details make it special.

- For sure. I mean, there's some shows I've done I think are great and they don't do anything, and it shows that I thought that I, pilots I've done that I thought were terrible, which I won't mention were big hits. They were big hits. So I mean, I don't know.

Jeremy Armstrong: I know.

- I figured out that I'm a good prop master, I'm not a good network controller .

Jeremy Armstrong: Well, it's funny too, 'cause sometimes you work on a project and there's so much talent or it's so great, but it's the wrong time or whatever it is, like it just doesn't go. And then later you're like, how did we not go?

- Exactly, exactly. I'll never know. But they have their little, their method I guess. I mean TV's still on, but I mean, the ratings, it's so diluted now, we will never see the ratings like we were doin' back in the good ol' days. I mean--

Jeremy Armstrong: No, I mean, we were averaging, I think something I read the other day said we were averaging 23,000,000 people or 24,000,000 people a week.

- God, I even thought it was more than that.

Jeremy Armstrong: Well, that's what I'm saying, but I'm saying as an average along the way, right?

- Okay, all right. Okay.

Jeremy Armstrong: So in our height, close to 30,000,000.

- Yeah, 35, maybe even 40,000,000 some. That's crazy.

Jeremy Armstrong: And those numbers are insane especially for now. I mean, there's just so many more options and places,

- Yeah, it's impossible, yeah.

- and it's changed a lot. We joke with ABC because I started so young. I'm almost like the youngest dinosaur because I remember what the business was like 30, 35 years ago.

Jeremy Armstrong: Well, yeah. I mean, I remember the ah ha moment for me growing up in this business was I was always, all the old timers, the old time union guys like, "Ah, look at you, you're so young. "This is great. This is the guy," and I didn't care what that meant. And, and then all of a sudden, I'm not the young guy anymore.

 That's right.

Jeremy Armstrong: I feel like I'm the young guy but there's these little pipsqueaks runnin' around that I call young blood .

- Yeah.

Jeremy Armstrong: I'm like, wow. I've actually grown up in this business. I'm not the young guy. I mean, I'll give 'em a run for their money, trust me. I might be older than them but yeah, I mean at some point you transition from the young guy to the old guy or not the old guy but the middle of the road dude.

- Well, the experienced guy.

Jeremy Armstrong: The experienced guy, right?

- Experienced guy. We'll go with the experienced guy.

Jeremy Armstrong: I mean, because I came in so young, I get to be extremely experienced at this age and still have all my wits about, I'm not one of those crusty old time union guy. Give me some time. I'm sure I could get to it , but not yet.

- Well, the hope is for you to get two or three more really great longterm jobs.

Jeremy Armstrong: Two would be great .

- And to keep you that happy guy who goes the older experienced guy who never becomes crusty.

Jeremy Armstrong: Well, I don't know. Let's see, what am I? 52. Yeah, I guess I gotta get to about 65.

- Okay.

Jeremy Armstrong: 65, I wanna be 65, healthy and then I wanna grab my wife and I wanna travel the world. I mean, we still are doing it now, but I would like to have no ties, and enjoy it until I enjoy the next thing, whatever that is.

- My dream, if I could make it all work is to be one of the reasons that you get to retire and go do that.

Jeremy Armstrong: Hey buddy, I love it.

- And then to get postcards. I want postcards as you're travelin' the world, tell me where I'm supposed to be going.

Jeremy Armstrong: You get me on that 10 year show, I'll send you postcards with the croissant of the day or whatever .

- Okay. You ready for the rapid fire that I ask everybody at the end?

Jeremy Armstrong: Let's go, baby. Let's go.

- What's the first thing you look for on a call sheet?

Jeremy Armstrong: What's the first thing? I guess just my call time.

- Okay.

Jeremy Armstrong: I mean, it's not a great thing, but that's it if you want realism.

- Yeah. Okay, what's the last thing you wanna see on a call sheet?

Jeremy Armstrong: 12 people food scene. That's mad.

- Right. Lotsa work. Lotsa chaos.

Jeremy Armstrong: Yes, man. Yeah.

- What's the one thing you wanna see when you get to craft service?

Jeremy Armstrong: The one thing I wanna see when I get the craft, oh, Thai food.

- Okay. Okay, I didn't know that.

Jeremy Armstrong: I want a big Thai food spread. Oh yeah, that makes my heart pitter patter.

- Okay. Now what do you hate to see? What's the one thing you get there and you're like, uh oh?

Jeremy Armstrong: A nice fresh box of sprinkled donuts 'cause I love 'em.

- And you're like, oh no.

Jeremy Armstrong: Yeah, now it's all my decisions I thought I had in the day are gone and now there's just one big decision . How do I walk away from this?

- Now, on a serious note.

Jeremy Armstrong: Okay.

- All right, Jeremy, how do you define success?

Jeremy Armstrong: How do I define success? I think success for me personally is a feeling of being in the moment, not just at work but just in general, feeling good about where I'm at, providing for my family. Yeah. That's a heavy, fast question.

- It is but I like it 'cause you know, man, I think a little deep.

Jeremy Armstrong: Oh yeah.

- But love what you said.

Jeremy Armstrong: It's being comfortable in the moment and not having any, I mean obviously normal worries, but feeling like you provide properly, that you provide for yourself properly and that you're just in a good place mentally. It's hard in this business and just in life in general to stay in a positive mind frame with everything that's going on now and even before this quarantine, there's a lot of, things that can freak you out and I think success for me is driven by being happy.

- Okay.

Jeremy Armstrong: I can feel happy and I can see my family smile and be happy and my parents be happy and then that is success to me. Whether I have no money or not or I have tons of it, it's about quality of life and that doesn't equate to money at all for me at least. Granted, I spend a ton of it, but it doesn't, that's not what defines my happiness.

- Right.

Jeremy Armstrong: My happiness is more on a spiritual, happiness through other people really for me, and for me if I see other people happy and content that makes me happy and that is success to me.

- All right, and how do you measure up to that definition?

Jeremy Armstrong: How do I measure up to it? I think, I have my moments where I question my own happiness sometimes, but when I look at it in totality, not in just day-by-day, I'm very happy with what's going on with my life, my family's life, my career. 30 years ago I didn't know what I wanted to do. 30 years later, I'm totally happy and love what I do and there's no rhyme or reason for it. I could've not been doing this at all. It just happened. It just, I fell into the right place and I took to it and I had the personality that kept me in the loop and I mean, I left for a couple years to go play music because I always wanted to challenge myself. I never wanted to take the status quo. I needed to push myself. I needed to try things. I mean, 'cause at 18 it's young to all of a sudden have your career and not move.

- Yeah.

Jeremy Armstrong: So, I challenged myself and we had good times in it and I dunno if you've ever seen any of my old band footage, but it's pretty comical . My ass down to...

- Well, it's on the request now.

Jeremy Armstrong: Oh, okay. I have some, I'll email you some video and you can put this

- Okay.

Jeremy Armstrong: at the end of the episode. B-roll.

- Okay, the one thing I'll say is, being completely honest, from my perspective, man, are you living up to your definition and it inspires me.

Jeremy Armstrong: Well I appreciate that, Mike. That means a lot from you. You're a humble dude, you're a good guy, I mean to the core. You're always there to help everyone out. And I mean, I think if you took a poll on our set of who's the most helpful, upbeat, like, team player, I think you get 95% of the votes, only because there's couple knuckleheads on this crew .

- There's some great people--

Jeremy Armstrong: Otherwise you'd get 100.

- Hey, that's a great compliment, I'll take it.

Jeremy Armstrong: And it's from my heart and it's true, and it's like no one understands it, that an actor will be so involved because they're not. And that's no disrespect to actors. They have a ton of things on their mind. They're in front of the camera, they're becoming someone they're not. It's normal, but it's really wild when one is so forthcoming and willing to help and so I mean, it's you're a unique dude for sure, and unique in a good way. So, I give you props on that for sure.

- That's maybe the best compliment I can get.

Jeremy Armstrong: It's the truth, man. It's very easy to say it. You don't even have to think about it. It just comes out 'cause it's so true, so.

- All right. So, what's the one thing you want on every set, Jeremy?

Jeremy Armstrong: The one thing I want on every set, I want flow. I want flow. I want flow where everybody knows what they're doing and everybody knows what everyone else is doing and no one's, gets in the way. There's no quick sand. It's like everybody, it's like a dance where everyone, when you see when we're shooting and makeup comes in and hair and set dressings there and we're resetting props and the actors and we're just like flying around, there's a flow, there's a flow, and when you're in that flow and everything's going, it's music to my ears.

- Perfect.

Jeremy Armstrong: It's a symphony, it is a symphony.

- I think that's the thing that makes it special workin' on a great project is get into flow and there's more periods of flow, right?

Jeremy Armstrong: Oh, yeah. It's almost a constant flow. I have guests in the audience, they come down and they'll say, "It's amazing what you guys do, "how there's so many people "and you guys are just everywhere doing this and this," and they can't understand it. And they have anxiety watching all the different things being reset while there's 100 people in the set, and then we go and do it and then it's a cut. Do it again or we're gonna start 30 seconds into the scene. So, you have to know where everything starts now 'cause the scene is halfway done. So, I mean, that flow man, that flow, not everybody has it. It's a unique thing to have. So, when it's there, boy, you feel it, you feel it. That's what I look after.

- Oh, and for an actor, I think that's one of the things that brings out the best in people is, like not having

Jeremy Armstrong: 100%.

- to worry about any of that chaos, knowing people have flow, flow, that's like a perfect, it's a perfect example.

Jeremy Armstrong: Flow can't we worked towards. Flow just happens. It's just some sets, there'll never be flow and everybody's good at what they do, and there's just not a flow. I can't explain when you fall into that flow mode, but it's happens more than it doesn't on our set, so, that's what makes it pretty, that's what I love to see on set more than anything. Except your handsome face of course.

- Okay, good job. Thanks for the plug. Check's in the mail .

Jeremy Armstrong: Check's in the mail, that's what I'm saying. 90064 this time.

- Okay . Okay, what's the one thing that you would eliminate then? You said flow is the thing you want. What's the thing you'd eliminate? 

Jeremy Armstrong: What would I eliminate without trying to be funny about it?

- You can be funny .

Jeremy Armstrong: I think just negativity, just negativity. Someone that never, there are people that when something changes, they just get aggravated. They don't wanna do the extra work for it. It's like, oh, why can't we just, there's just negative people and there just happens to be negative people every now and then. And that's just, that's a flow killer.

- Yeah.

Jeremy Armstrong: That's 100% a flow killer. So, I mean I just like positive and, "Yeah, sure. "We'll get it done," or, "Yeah, let me look into it. "Let me see what we can do." That's what I like. The kind that like, "Oh no, I don't have it," or "Can't do that," that bums me out.

- Okay.

Jeremy Armstrong: Get rid of that.

- What's the best thing you've ever gotten from a project?

Jeremy Armstrong: The best thing I've ever gotten from a project?

- [Michael] Yeah, from workin' on somethin'. What's the best thing?

Jeremy Armstrong: I've gotten a legacy. People look back, like when I turn a resume in to get a job, and people look at my work and they're like, "Wow, you've done some amazing things," and that kinda defines you when you go in and you're looking for a new job, whereas you could have a buncha shows that no one knows about and yeah, you're still great and I'm sure you're a great prop master, but when you have shows that have made a difference in people's lives and generation, that they stick out and not just "Roseanne," even like "Entourage" and a few other shows I've done that people really identify with, "Larry Sanders Show" and it's like I'm trying to, you always ask yourself, when are you gonna leave? When you die are you just gone and that's it?

- Right.

- I mean, eventually all your friends and family will die, but is there something left behind? And so for me, working on a show that I know is gonna be around probably long after I'm gone, it means a lot to me to have my name in those credits even though they fly by and most people that if you're not looking for it, you don't see it but that's my little piece of history that I'm trying to leave that some other prop master somewhere down the line's like, "Who did this one?" And he's gonna pause it there and see Jeremy M. Armstrong, and I'm gonna say, "All right, I've done my job." I mean, because I'm not in front of the camera except if you look up my "Lock 'Em Ups." Maybe I need to start doin' more "Lock 'Em Ups" for my legacy .

- Hey, you definitely could be,

- They're all mine, they're all mine!

- in front of the camera.

- But yeah, so I think that's what it is. I'd like to be remembered as a good guy. Number one, a good family man and I work hard, but as hard as I work, I have equally as much fun as I work. Trust me, I'm having a ball. I'm not always working.

- Yeah. I think that's the nature of it, right? Is finding fun

- Yeah.

- in what you do and loving this legacy. My last two questions that I wanna ask everybody are, how do you want people who work with you to remember you? And I think you kinda answered is you wanna be that joyful guy. You wanna be that guy. You wanna be exactly who you've been for the last 30 years, Jeremy.

- Exactly, well, and ultimately that question is, I wanna be thought as authentic. And this is not a joke. It's not me doing something to try to just make the days fast. It's just who I am. And I've found that I maybe haven't always been that way, but I've found that that way works best for me, for the people around me and it helps more people than not by staying positive and being willing to do whatever you need for the project. If you love the project as much as I do, as much as you do, you'll do anything to make sure it's done right, even if it's not your job and that's important and that shows.

- Yeah, that's what I try to do every day. People ask me sometimes, "You're kind of retrospective and introspective," or "Man, that's a really good quote "or a really good thing you posted online," and I always laugh because what you just said, you're part of the reason why. I am a multitude of all of these wonderful people that I work with and I tried to take the best pieces and man, this was so perfect because it's exactly that. Authentic. I wanna be authentic. I want to do one or two things every day on a set that makes somebody else's day easier. That makes everybody's life easier. That makes something meaningful.

- It could be a laugh.

- Yeah, a laugh, a joke, a moment.

- Just a laugh.

- How are you? Checking in, a peek in

- 100%.

- when somebody's in the middle of doing, you just got that crazy request for the cake with the fire and chocolate syrup and I wanna peek in the door and be like, "Hey, how you doin'?"

- Exactly. And you don't know how much that potentially could help someone who's maybe having a horrible time with a sick parent or something and just someone saying, "Hey man, how you doin' today? "You all right? "If you need anything let me know." It's like, the extra step.

- And mean it. Just to be able to mean it.

- But be authentic about it and mean it. Exactly. Don't throw, I was doing a movie in Thailand and one of the most fascinating things I came away with was all the Thai people would ask you, how are you, not just as a pleasantry. They asked, how are you, 'cause they wanted to know how you are. It wasn't just like a fine answer that they're, "Hey, how you doin'? "Fine." They're like, "How are you?" They wanna hear about your day, they wanna know that you're okay, and that really stuck with me because how are you has kind of been diluted over just massive amounts of saying it when you don't really mean it. So, I try not to ever just come in and just say, how are you? Unless I really wanna know how you are. And you know what? It's interesting to hear about how people are when you take the time. People still amaze me and when they realize it's not just a pleasantry, it's a little shocking to them at first,

- Yes.

- but once they open up and tell you how they really are, it's pretty magical. So I, whoever's watching this, I encourage you when you say, how are you, hello, how are you, mean it, and see how

- Yeah, mean it.

- the answers change.

- What's your legacy? You want your loved ones to take from your life? I think you kinda touched on it but that's it, right?

- Yeah. Be authentic.

- Be authentic. I want the people in my life to learn from me in my authenticity. I want them to be proud of me. I think throughout my life I've always had a hunger to, I mean, in a good way to please people. I mean, I'm in a business of pleasing people. That's kind of my job and it goes into your personal life where you wanna be liked, but you wanna stay authentic. So, there's this fine line and we're in Hollywood where everything is so fake. The people are fake here. Growing up here and where I grew up, people were really fake and people were driven by money. I'm sure I was driven by money initially. The business pays pretty good and, but it doesn't define me the money. And as I've gotten older I've realized how much the money's nice because you get to live in a nice house and drive a nice car or whatever. But all those have no like, deep, deep meaning, and I found the deep meaning is my relationship with my wife, with our son, with my parents, my brother, my cousins, my friends. Those are the things that, it drives me. And as I get older, I wanna get to know these people on a different level as well. As I'm maturing, I want to mature with them and dig deeper into them and think a little less about work. And so, that's what my goal is. I'll let you know on the next episode .

- I love this. Thank you, Jeremy.

- It was great. No man, thank you. It's really fun and I think you're the perfect guy to pull the curtain back and shed a little light on us carny folk.

- Yeah, well, we're all in the carnival together, so.

- That's right. We always say we, one of my assistants, Mike Warga, we always said that the crew is just a buncha carny folk they all threw together that magically through all our different little interests and powers make these shows happen. So, we're just the carny folk here to work. Look at the call sheet and see when we come in.