Introducing: Boneheads

Summary

Episode Summary: "Introducing: Boneheads" on Fail Better with David Duchovny

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Introduction

In the episode titled "Introducing: Boneheads," released on December 24, 2024, Fail Better with David Duchovny, hosted by Lemonada Media, delves into the creation and legacy of the iconic TV series Bones. The episode features an engaging conversation with Emily Deschanel, Carla Gallo, and Josh Mankiewicz, who co-host the companion podcast Boneheads. This discussion not only revisits the beloved series but also explores themes of failure, resilience, and growth within the entertainment industry.

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Introducing Boneheads Podcast

[02:33] Josh Mankiewicz:
Josh introduces Boneheads, a podcast where Emily Deschanel and Carla Gallo, both cast members of Bones and real-life best friends, re-watch and discuss all 246 episodes of the series. They embark on a journey to laugh, cry, and cringe as they revisit their younger selves and relive the glory of Bones. In this episode, they are joined by Hart Hanson, the creator of Bones, providing insider insights into the show's inception and evolution.

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Behind the Scenes of Bones

[07:37] Carla Gallo:
Carla shares her admiration for Hart Hanson, highlighting his extensive work in both Canadian and American television, including shows like Judging Amy, Joan of Arcadia, and Backstrom. She emphasizes Hart's versatility and his contributions to literature with his novels Driver and Seminariania, describing them as "fun, quirky, interesting characters solving a mystery" set against the backdrop of Los Angeles.

[08:11] Emily Deschanel:
Emily recounts her transition from Canadian television, discussing her involvement with the show Traders and the challenges of breaking into the American TV market. She expresses her reluctance to take on roles perceived as "too old" but ultimately embraces the opportunity to create something meaningful in the U.S. entertainment landscape.

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Casting and Character Development

[10:09] Josh Mankiewicz:
Josh narrates his audition process for the role of Booth, sharing anecdotes about his deep voice and theatrical background. He reflects on the initial perceptions of his character's demeanor, noting a comment he once read: “I don't like that show Bones. The lead actress sounds like she's yelling all the time. Really?” This sparks a discussion about character portrayal and audience perception.

[14:15] Emily Deschanel:
Emily emphasizes the importance of authentic character development, stating, "Sometimes character descriptions have nothing to do with what you're after. They are for actor, studio, or the network vanity." She elaborates on how Bones aimed to stay true to Kathy Reichs' books while creating distinctive characters suitable for television.

[24:15] Josh Mankiewicz:
Josh reflects on his initial skepticism about character descriptions, asserting, "Don't they describe every character? But it was more specific." This highlights the tension between creative vision and external expectations, a recurring theme in the episode.

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Production Challenges and Resilience

[47:02] Emily Deschanel:
Emily shares a personal story about a tense interaction with director Greg Yutanis during the pilot's production. She admits to moments of self-doubt and stress, revealing how the pressure of being a showrunner can lead to emotional vulnerabilities. "If I could go back in time, I wouldn't do that. I wouldn't do that," she confesses, underscoring the episode's central theme of failing better.

[65:35] Josh Mankiewicz:
Josh divulges his own struggles with stress and panic during the show's early days, recounting how he had to navigate personal challenges while maintaining professionalism on set. This candid discussion serves to humanize the cast members, illustrating that failure and setbacks are integral to personal and professional growth.

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Memorable Episodes and Fan Engagement

[73:08] Emily Deschanel:
Emily details her favorite episodes, particularly the first Christmas episode, praising its emotional depth and storytelling prowess. She describes a poignant plot where Brennan must confront unfinished business from the past, blending sadness with beauty. This episode exemplifies the show's ability to balance procedural elements with heartfelt narratives.

[75:00] Carla Gallo:
Carla reminisces about guest stars and special episodes, including crossovers with The Simpsons. These creative integrations not only enriched the show's universe but also fostered a loyal and passionate fan base. "Fans would find all of them. They found the Ember thing," she notes, highlighting the interactive relationship between the show and its audience.

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Reflections on Failure and Growth

Throughout the episode, Emily, Carla, and Josh intertwine their experiences from Bones with the overarching philosophy of embracing failure as a pathway to improvement. They discuss how setbacks during production led to stronger character development and more resilient teamwork. This aligns seamlessly with the podcast's mission to redefine failure and encourage growth through adversity.

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Notable Quotes

• Emily Deschanel [14:15]:
  "Sometimes character descriptions have nothing to do with what you're after. They are for actor, studio, or the network vanity."

• Josh Mankiewicz [24:15]:
  "I realized, like, you probably laughed because I was similar to Brennan and that I'm just, like, blurting out something that's not the..."

• Emily Deschanel [35:25]:
  "It's a completely unthe..."

• Emily Deschanel [53:28]:
  "We have a deep, deep bench. So it wasn't all on David and Emily to be Brennan and Booth and have that one romance."

• Josh Mankiewicz [65:35]:
  "I took it as, like, they don't think I'm professional."

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Conclusion

"Introducing: Boneheads" offers a heartfelt exploration of Bones from the perspectives of its cast and creator. By candidly discussing their triumphs and tribulations, Emily Deschanel, Carla Gallo, and Josh Mankiewicz embody the podcast's theme of failing better. Their stories serve as a testament to the resilience required in the entertainment industry and the transformative power of embracing and learning from failure.

Listeners are left with a deeper appreciation for the complexities of television production and the personal growth that arises from overcoming challenges. This episode not only honors the legacy of Bones but also inspires audiences to view failure as an opportunity for growth and connection.

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Follow-Up

For those interested in delving deeper into the making of Bones and exploring its behind-the-scenes dynamics, tune into future episodes of Boneheads on your preferred podcast platform. Engage with Emily, Carla, and Josh as they continue to celebrate and analyze the moments that made Bones a beloved series.

Transcript

[Emily Deschanel]

They called it the happiest place on the high desert, home to a tight knit group of 30 somethings who like to party.

[Carla Gallo]

It starts as a Playboy Channel fantasy.

[Emily Deschanel]

But this is real life where passion.

[Josh Mankiewicz]

Leads to murder and a killer seeks.

[Emily Deschanel]

God's help with the COVID up.

[Josh Mankiewicz]

I'm Josh Mankiewicz and this is Deadly.

[Hart Hanson]

Mirage, an all new podcast from Dateline.

[Emily Deschanel]

Listen to new episodes for free each.

[Hart Hanson]

Week wherever you get your podcasts.

[Josh Mankiewicz]

Hi, I'm Reshmi Sajani, founder of Girls who Code. Look, I'd consider myself a pretty successful adult woman. I've written books, founded two successful nonprofits, and I'm raising two incredible kids. But here's the thing. I still wake up wondering, is this it? And if the best years are yet to come, when's that going to start? Join me on My so Called Midlife, my new podcast with Lemonada Media where we're building a playbook for navigating midlife one episode at a time. Each week, I'll chat with extraordinary guests who've transformed their midlife crisis into opportunities for growth and newfound purpose. At some point, we all ask ourselves, is there more to life? I'm here to discover how to thrive in my second act, right alongside you. My so Called Midlife is out now, wherever you get your podcasts. Lemonade.

[Hart Hanson]

Hey, Fail better listeners. We're taking a break for the holidays and we hope you are too. If you're filling that extra time with podcasts, there's one you should check out. Boneheads Emily Deschanel and Carla Gallo are not only Bones cast members, but real life best friends. And they'll be re watching all 246 episodes episodes of Bones, Fox TV's longest running drama series. Join Emily, Carla and guests each week to laugh, cry and cringe as they revisit their younger selves and relive the glory of Bones. In the episode you're about to hear, Emily and Carla are joined by none other than the creator of Bones himself, Hart Hansen, a good friend of mine. Get the insider scoop as Hart dives into everything that brought the iconic show to life. Yes, including the I can be a duck scene from the pilot. After you listen, search for Boneheads wherever you get your podcasts. You can also find a link in the show Notes that will take you there. Enjoy. Boneheads.

[Josh Mankiewicz]

Do you want me to move it closer? I know. I also was like looking the first time. I'm not loud enough heart. Everyone's always telling me to be quiet. I'm like so. This is shocking. Your voice carries shocking I know David. David Boreano would be like, I couldn't hear. He'd be, like, two feet from me. I could not hear what he said. Sometimes, and they tell him to be louder, and they'd tell me, can you be quiet? I was like, oh, okay. I've never heard another actor before.

[Carla Gallo]

Well, your voice is deep.

[Josh Mankiewicz]

It's deep, but it's projects. I'm theatrically trained, but we didn't need that for doing tv. I could have mumbled it.

[Emily Deschanel]

It worked for us.

[Josh Mankiewicz]

Okay.

[Emily Deschanel]

Brennan was clear and direct.

[Josh Mankiewicz]

Yeah. Well, as she could communicate, I one time read something where someone's like, I don't like that show Bones. The lead actress sounds like she's yelling all the time. Really?

[Emily Deschanel]

And of course, that's what you remember.

[Josh Mankiewicz]

Second Valid.

[Emily Deschanel]

Sometimes she was on the move or shouting across a rotting corpse.

[Carla Gallo]

Yes.

[Josh Mankiewicz]

People needed to hear about the dead body and what happened.

[Carla Gallo]

Hi, I'm Carla Gallo.

[Josh Mankiewicz]

And I'm Emily Deschanel.

[Carla Gallo]

And this is Boneheads.

[Josh Mankiewicz]

How's it going? Good.

[Carla Gallo]

I know you had an encounter.

[Josh Mankiewicz]

I've had so many encounters in the last few weeks. I have seen on purpose and not on purpose or just by happenstance. I've seen so many Bones people.

[Carla Gallo]

I know. I mean, I've heard, like, you've. You've dangled the carrot, but I actually haven't heard the stories, and so I would like to hear them.

[Josh Mankiewicz]

Well, sometimes it's just like, I went to lunch with people. I went to lunch with Eugene, Bird, Ignacio. I went to lunch with Michaela. Of course. Just like, I'm lunching.

[Carla Gallo]

You're lunching.

[Josh Mankiewicz]

I'm a lady who lunches.

[Carla Gallo]

Yeah.

[Josh Mankiewicz]

And then I ran into Steven Nathan.

[Carla Gallo]

You did?

[Josh Mankiewicz]

At the doctor's office.

[Carla Gallo]

Oh, that's kind of cute.

[Josh Mankiewicz]

I love the doctor's. We have the same doctor.

[Carla Gallo]

Is that a coincidence? Did you know that?

[Josh Mankiewicz]

Coincidence? No, I didn't know that. He went to my same doctor.

[Emily Deschanel]

Really?

[Josh Mankiewicz]

Yeah.

[Carla Gallo]

How is he?

[Josh Mankiewicz]

He seems great. And we were planning to get together, and then he could. He was gonna be out of town, and so we have to plan another time. But Steven Nathan, for people who are listening. And it's not just a conversation between us, which I forget sometimes. Steven Nathan was a longtime Bones producer and then became the showrunner when Hart went off to do other things. So he's a writer, producer, and just lots of fun. And then I went to Indianapolis for a film festival, and as I was driving from the airport, I was like, I don't. I literally said out loud to, like, the Uber driver, like, I don't know anybody who lives in Indianapolis. But then after it came out of my mouth, I was like, wait, I think Mike Rosso lives in Indiana.

[Carla Gallo]

Okay.

[Josh Mankiewicz]

Mike Grosso was our law enforcement consultant on the show and taught us, you know, how to be safe with firearms. What protocol would be. Worked more with David, obviously, than with me. But he was great. We got to have dinner and reminisce and chat, and he would love to come on the podcast, so.

[Carla Gallo]

Oh, that's great.

[Josh Mankiewicz]

And I talked to TJ on the phone, like, two days ago. Yeah, I have to talk to you about that. Yeah, Yeah. I mean, it's really. I'm texting with tomorrow. I mean, you know, I'm always in contact with people, but.

[Carla Gallo]

And did you tell every single one of them that they have to come on?

[Josh Mankiewicz]

Of course I did. But, you know, people like Eugene and Ignacio, they don't come in till later, like you.

[Carla Gallo]

Yeah, yeah, that's true. I know.

[Josh Mankiewicz]

I mean, we could figure out ways of just. I know. Part of me is like, chat. Cause that'd be fun. And I don't wanna wait, like, a full couple seasons. No, but killing us to come as soon as possible.

[Carla Gallo]

Asap.

[Josh Mankiewicz]

Asap. So this episode we have Hart Hanson, who is the creator of Bones and the showrunner for many years. Before Bones, he worked on several shows both in Canada and Hollywood. We'll talk about this, including Trait Cupid, Judging Amy and Joan of Arcadia. He went on to create the Bone spinoff series the Finder and the crime comedy drama Backstrom, starring Rainn Wilson. Hart also has written two novels. The first one is called the Driver, and the newest one that came out this year is called the Seminarian. I enjoyed both of them very much. They're like fun, quirky, interesting characters solving a mystery. And Los Angeles is the backdrop to both of them. They're real love letters to la. And you'll kind of hear in this interview with Hart how much a boy from Canada loved coming to Los Angeles, where, you know, they make entertainment happen. Without further ado.

[Carla Gallo]

Yeah. Hard. Handsome.

[Josh Mankiewicz]

Here he is. Will you tell us how you got involved in. Well, you'd worked on Judging Amy. Was that the thing you worked on right before?

[Emily Deschanel]

No, I worked in Canada on a whole bunch of TV shows. And then I created a show up in Canada called Traders, which was about the exciting world of high finance on Canada's Wall street, which is called Bay Street.

[Carla Gallo]

I didn't know they had a one. I didn't know we're learning.

[Emily Deschanel]

I was working on Traders and We'd won the Canadian Emmy, the Gemini like four times in a row. And I was going up the fourth time to get it. And there was not a bounce of joy in my step. I was going, really? Are we the best TV show? We have 1.8 million viewers. And we were up against er, if you remember that show, and it had 8 million Canadian viewers. So a third of the population I was gonna have to get it. And I had said to. We don't have studios up there, but we had a huge production company and this guy I loved working with at Atlantis, I said I wanted more people to watch our show. I was a little bummed, I guess just four years in or, you know, midlife crowd, I don't know. And he said, oh, in that case you're going to have to go to the States because we just can't put two or three million dollars into a show. Our budget was going to be $800,000 Canadian, which was about $600,000American for an hour long show. And, and that is when a, an American agent came to me. Matt Solo at ICM came and said, would you be interested in being Canadian? This is not the way he put it. This is what I said. A Canadian figurehead in an office collecting money and just don't bother anyone and just sit there so that we can. So that the American companies can get some tax breaks because one of the executive producers is Canadian. It's a very common thing. It was a very common thing. Okay, but I had no interest.

[Josh Mankiewicz]

Wait, so he asked you to do that? And you said.

[Emily Deschanel]

And I said, I don't have any interest in that. I said, but I wouldn't mind seeing if I could come down to LA and maybe have the experience of being on an American TV show. And he said, no, you're way too old. And may I ask how old? 39.

[Josh Mankiewicz]

Oh no.

[Carla Gallo]

Are you serious?

[Emily Deschanel]

And yeah, and he's like, you're too old. Come down. I was a newbie. Like none of my credits would mean anything. So it's just like, like a 22 year old kid.

[Josh Mankiewicz]

Okay, so you met with people in LA.

[Carla Gallo]

Okay.

[Emily Deschanel]

I had a whole bunch of general meetings and I had some job offers. Low level.

[Josh Mankiewicz]

Low level.

[Emily Deschanel]

I didn't think we would live here. I didn't think we would thrive here. I just wanted the experience. Yeah. To wander around and see what America like. Because I learned everything from American media, like most people do, about what it's like to be in show business in Hollywood. And I just wanted to be in it.

[Josh Mankiewicz]

Like.

[Carla Gallo]

Yeah.

[Emily Deschanel]

To have some stories.

[Josh Mankiewicz]

Yeah. And go back to Canada and be like, you guys. Oh.

[Emily Deschanel]

Oh, you can't. Before we left, we had a dinner party with everyone who says, you'll be back in a year with your tail between your legs because it's scary and mean. Someone said, very poetic. Great writer. Said to me, the water is deep, the currents are swift, and there are monsters in the water. And I thought, wow, this I gotta see.

[Josh Mankiewicz]

You know what?

[Carla Gallo]

Not wrong.

[Emily Deschanel]

Not wrong.

[Josh Mankiewicz]

Not wrong.

[Carla Gallo]

It's just about whether you can stick it out.

[Emily Deschanel]

Yeah. You know, and if you're lucky, the monsters aren't. Yes. Yeah. And then I was. I was working on Judging Amy when part of my overall deal was to write a pilot. So here's a real fast version of the. Of the Bones.

[Josh Mankiewicz]

Doesn't have to be fast, but.

[Emily Deschanel]

Well, it should be because I was hooked up with a big, famous lawyer and was going to do a law show based on this big famous lawyer.

[Josh Mankiewicz]

Is this the show you bailed on?

[Emily Deschanel]

I bailed on it. I was informed by the big famous lawyer that I would be sharing credit for creating the show with a beautiful young associate at his law firm for no reason. And I just went, I'm out. Because it just. Whatever their thing was, it stinks a little bit.

[Josh Mankiewicz]

Not just a little bit.

[Emily Deschanel]

Yeah. So then I owed them a project fast. And I felt really bad. They paid me lots of money. I was raised up in the television world with the idea that you must pay back your investors for the sake of other people. Writers. Never mind the investors. But they're not going to invest. It's just how I was. It's in my DNA.

[Josh Mankiewicz]

If you don't do it, then they're going to be less likely to do it for somebody else.

[Emily Deschanel]

If you just lose money for people, they won't invest in other people. So you're hurting other people in your community, other creative people in your community. So it's just a. That might be a Canadian thing. Those production companies operated so leanly. It's like, we got to make money on this or, you know, we're. We're screwed.

[Josh Mankiewicz]

Done.

[Emily Deschanel]

Yeah. So they said, we've got this project based on Kathy Reichs, a procedural. Barry Josephson had a pod there, and he had the rights to this. Did I want to meet with Barry Josephson? I did want to meet with Barry Josephson because I'd Googled him and. But I had no interest in doing a procedural. But what Barry had the rights to was a documentary about Kathy Reichs.

[Carla Gallo]

The novel is that something that exists?

[Emily Deschanel]

Yes. It was an A and E documentary.

[Josh Mankiewicz]

I've never seen it.

[Carla Gallo]

You've never seen it?

[Josh Mankiewicz]

I've never seen it. And so I'm so curious, like. So you had. So. Yeah. And to. Barry Josephson is a producer and mogul and all that, but. And he got the rights to the documentary.

[Emily Deschanel]

Documentary.

[Josh Mankiewicz]

Not like a short documentary. Right. It's like 45 minutes.

[Emily Deschanel]

Yes, correct.

[Josh Mankiewicz]

And one book. Was that right?

[Emily Deschanel]

Yes.

[Carla Gallo]

Oh, okay.

[Josh Mankiewicz]

And then I want to understand how you went down.

[Emily Deschanel]

I didn't know we had the rights to the book. I only thought we had a right.

[Josh Mankiewicz]

And that's where all the confusion lay. Because talking to Kathy and talking to you, I mean, over years, I've, you know, you have conversations, but her understanding and your understanding, like, I remember you, I think you told me, don't read the books. Because it's not about the books.

[Emily Deschanel]

Not about the books.

[Hart Hanson]

Yeah.

[Josh Mankiewicz]

And you don't want that to. Just the characters. So the people who have not read the books. Temperance Brennan is the character in the books, but she's different than in the show.

[Emily Deschanel]

She's substantially older, works in a different place.

[Josh Mankiewicz]

Yes.

[Carla Gallo]

So is Brennan more Kathy Reich's than she is Temperance Brennan of the books?

[Emily Deschanel]

Yes.

[Carla Gallo]

Okay.

[Josh Mankiewicz]

Yeah. It was more that I went from just what was on the page. And of course, I was so excited to meet Kathy. And we'll talk to her, too.

[Emily Deschanel]

You have to.

[Josh Mankiewicz]

We are. She's in Africa right now.

[Emily Deschanel]

Yeah.

[Josh Mankiewicz]

So I'm talking. We'll talk to her later.

[Carla Gallo]

But it's fitting.

[Josh Mankiewicz]

Yes.

[Carla Gallo]

Yeah.

[Josh Mankiewicz]

Of course.

[Emily Deschanel]

Kathy started out as to me as a slight irritation and became one of my favorite people in the world over the course of things. Totally due to her, by the way.

[Josh Mankiewicz]

You get to know her more. She's like. I think when I first met her, I hugged her. And I'll talk to her about this, too, because I don't think I've ever discussed it, but she was. I don't think she liked me hugging her. And now, you know, I was young, whatever. I was fairly young. I was like, late 20s. And I had grown up in an environment where you hug people.

[Carla Gallo]

You need to apologize for your hug.

[Josh Mankiewicz]

That's a lovely thing. You just said it to her. At the same time, I also, you know, I have several friends and know people who do not like me unless it's by someone whom they are very close with. And so I totally understand that. That's kind of a weird, jarring thing to hug someone when you meet them, and I recognize that now. And I think Kathy, she won't. Probably doesn't even remember. Or maybe she does. I don't know.

[Emily Deschanel]

She probably remembers what you were wearing.

[Josh Mankiewicz]

Some real chunky necklaces, some very strong necklaces. You could see them face I forgotten about the necklaces.

[Emily Deschanel]

We called them the Spinstone necklaces.

[Josh Mankiewicz]

More with Hart Hansen after this quick ad break.

[Hart Hanson]

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[Hart Hanson]

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[Josh Mankiewicz]

Well, we've rewatched. We've rewatched some of these. Yeah, we've rewatched some of these and we got to see that. Like there's some belt buckles. There's display like there's there's an Angela belt buckle in maybe the second or third episode that was very.

[Carla Gallo]

I think I made a note about buckle. I did. I made some costume notes. There are some costume. I always talk to Mikayla about when I first I think it might have been the episode where I started. She at that time had her lab coat, had a little. Oh, she had the embellishments.

[Josh Mankiewicz]

She had like, like a. Oh my God.

[Emily Deschanel]

Some flair. Some flair.

[Carla Gallo]

Is like mortified. She's like I can't believe that I wore that. Like I just can't believe that's what I wore.

[Josh Mankiewicz]

I mean it was of the time though too. Certain things were kind of of the time and certain things were supposed to. I mean speaking of costumes, we're jumping all over the place and I think that's fine. But I remember after the pilot. First of all, I was somebody who's always cast as like 35, since I was 23 when I started auditioning. And so I always was like trying to look older. Cause I'd be like testing for part that was 35 and you're the youngest person testing for it. I'm like, but I want this. And put my hair in a, like a French twist or whatever and go with a suit on. But I remember, you know, they dressed me in some like very kind of like suits that were like for older people. Like, I would never wear this stuff. Like the pilot for. I'm talking about specifically the pilot.

[Emily Deschanel]

Yeah.

[Josh Mankiewicz]

Where I was like wearing these scarves. It was like a professor, like a 50 year old professor or something.

[Emily Deschanel]

Yeah.

[Josh Mankiewicz]

And I remember like, I remember my publicist and my manager like all had conversations like behind my back maybe with you guys or something. They told me about how the characters should wear cooler clothes. And I was like, really? That's so interesting.

[Carla Gallo]

Like by episode two, you're in this nice flowy skirt. That was.

[Josh Mankiewicz]

Oh, that was after the conversation, I think.

[Carla Gallo]

Oh, interesting. Cause I really clocked that. Cause it's very different from where you later, I thought.

[Josh Mankiewicz]

I think they're just trying to figure out what the hell my I should be wearing and who she is. And. And I mean, I remember like wearing these things and being like, oh yeah, I would never wear this. But I'm playing this part that is like an established person and like, you.

[Carla Gallo]

Know, but that is hard in the beginning of a show where you. I think like shows are still trying to figure out who the. I mean, it must be so crazy as you're writing it and you're like.

[Josh Mankiewicz]

We'Re sort of figuring out who she.

[Carla Gallo]

Is and who she makes it, like who she becomes.

[Emily Deschanel]

And then there was the age of the actress. That was a. I didn't give a.

[Josh Mankiewicz]

Shit because what were you, 20?

[Carla Gallo]

20 something when I was hiring.

[Emily Deschanel]

So she was supposed to have a double doctorate.

[Josh Mankiewicz]

Oh, I didn't care.

[Emily Deschanel]

I don't care. She's a genius.

[Carla Gallo]

Yeah, she's a genius.

[Emily Deschanel]

And there's a bunch of reasons I didn't care. And one was, oh, thank God she's here to save us. Like, there's no show without this woman.

[Josh Mankiewicz]

No, come on.

[Emily Deschanel]

No, no.

[Carla Gallo]

We talked about this a little bit as I watched the pilot. I really, I was able to step back and we just talked about this and have this awareness of like, my God, you have this script and you have to find the actress for this role and what is required of that role is like, this is not. I went in for a lot of like, Kevin James wife on the sitcom. There's. And there were lines of us for this role that. That is the needle in the haystack to find the woman who can play that.

[Emily Deschanel]

That's great.

[Josh Mankiewicz]

Disagree, but.

[Emily Deschanel]

Okay, I'll tell you exactly why you had to play someone on the spectrum who was going to blurt. Not blurt, say the truth about the way she saw things and be a genius and yet somehow be warm and vulnerable beneath that.

[Josh Mankiewicz]

Yeah, it seems contradictory. And I was just telling Carla about how when I went in for the audition, and I wanna talk about how you wrote the pilot, but we could just talk about this right now. But when I went in for the audition slash, meeting that I remember, like, this is in between a meeting and an audition. Why can't I just audition? But anyway, I got there and I remember I made some. I don't know how much you remember about that meeting and that, like, weird.

[Emily Deschanel]

The fact that I remember it at all is amazing.

[Josh Mankiewicz]

Yeah, well, you probably met with so many people too, during that time. But I remember I made some comment and I remember you laughing at it. And now I have about the contradiction.

[Carla Gallo]

Of the character being like, oh, she's like, yeah, like, can't relate to people. But it was like, wants to be in a relationship. Like something that is relatable.

[Josh Mankiewicz]

Like something that was like the contradictions. And I said, don't they describe every character? But it was more specific. I think I made a joke of how every character is described as, like, strong but vulnerable or something. I made some joke, but I was. But I realized, like, you probably laughed because it was like the character. People don't come in and say to a writer, well, aren't all characters described like that?

[Carla Gallo]

Yeah, like, oh, you've written this contradictory.

[Emily Deschanel]

There's a whole bunch of reasons. That's a funny statement. One is sometimes character descriptions have nothing to do with what you're after. They are for actor, studio or the network vanity. They are for studio assurance.

[Carla Gallo]

This is like a nightmare for me to hear, by the way. But it is the explanation of what we're just talking about, where we were just saying sometimes you get the material and the description doesn't match. And then you're at this weird crossroads of like, I'm trying to satisfy this description. I made a self tape.

[Josh Mankiewicz]

This description doesn't match the dialogue. And you're trying to. To fit the description into the dialogue and it, like, doesn't work. And then you are terrible.

[Carla Gallo]

And then I'm like, I'm worried about you. And I'm like, well, I don't. Which one is she? Is she. Is she detached or is she. I'm worried about you. I'm, you know, like, contradictory.

[Josh Mankiewicz]

All of it.

[Carla Gallo]

Yeah. Yeah.

[Josh Mankiewicz]

They want all of it, but it's interesting.

[Emily Deschanel]

Or they don't.

[Josh Mankiewicz]

Or they don't. They don't know what they want, honestly.

[Emily Deschanel]

So when someone says blah, blah, blah, blah about a character, it's like, oh, good, let's. Let's talk about this a little bit.

[Josh Mankiewicz]

And so when I came in and said, hey, every character's described like this, you didn't laugh because I was similar to Brennan and that I'm just, like, blurting out something that's, like, not the.

[Emily Deschanel]

Most appropriate because the answer's yes, but we are serious.

[Carla Gallo]

Like, she really is all these things.

[Emily Deschanel]

And you have to play the role.

[Josh Mankiewicz]

I think I was probably trying to ask, like, what do you want? Like, where every character's kind of described in this way? So what do you.

[Emily Deschanel]

Later, not too long later, you were upset in their true meaning of the word not. Not. You were agitated about. You said, why is she being so mean? And I said, she is not mean. She hasn't got a mean bone in her body. She is telling the truth as she. There's no she. Sometimes it's a difficult thing to say to an actor. Sometimes there's no subtext here, and sometimes there's subtext which is involuntary to the character.

[Josh Mankiewicz]

Subconscious.

[Emily Deschanel]

Subconscious. They don't even know subconscious. And I can think of that a million times. You did that, where you said one thing and you meant it, but the implications, like. But the implication was underneath that you were. Had another.

[Josh Mankiewicz]

There's something else going on.

[Emily Deschanel]

Something else going on. And I've said this a million times behind your back and to people. I've never seen anyone else do that. I've never seen it in a feature film. I've never seen.

[Josh Mankiewicz]

You're the only person. I'm the only actor who does anything like that. I don't even understand what we're talking.

[Carla Gallo]

About that you're saying because you're so thoroughly that.

[Josh Mankiewicz]

Because you're. It.

[Carla Gallo]

The melding. I mean, like, she said, I'm literal. I know I'm very literal. And they're like, well, yeah, that's right.

[Reshmi Sajani]

You are.

[Josh Mankiewicz]

I mean, like, some of.

[Carla Gallo]

Yes, obviously, eventually I think they became this, like, amalgamation. But I can watch this and kind of pull back and see that script and then know they find you for this, and they're just like, yeah, well.

[Josh Mankiewicz]

I watch it now, and I'm like, oh, I'm so happy that this is the show. This is the part that I got to play for so long, too. Cause, you know, when you're. You know, I was in the middle of pilot season, so I. Like, we were talking about how, like, I didn't even go to the studio test.

[Carla Gallo]

She chose a different test.

[Josh Mankiewicz]

She went to a different.

[Carla Gallo]

I remember that.

[Emily Deschanel]

Oh.

[Hart Hanson]

Oh.

[Emily Deschanel]

And then I had a rock. I forget who. Maybe it was. Barry said, don't worry.

[Josh Mankiewicz]

Oh, I literally went to another table and it got canceled.

[Emily Deschanel]

Yeah.

[Josh Mankiewicz]

But wait, is it. Don't worry.

[Carla Gallo]

Like, she'll, like, she'll be back. Like, we'll get her.

[Emily Deschanel]

I don't know. Sometimes it was like, the Canadian can't read that. Maybe it was just like, don't panic or something.

[Carla Gallo]

So when you. Was it her? You knew it was her. You knew it was her.

[Josh Mankiewicz]

Like, it's okay if you say.

[Carla Gallo]

Feel free to, like, if you're positive.

[Emily Deschanel]

I suspected it was her. I suspected it was her. I knew in my heart it was her. And then she proved it. David was being challenging, and he simply advanced on Emily during a line, and he came at her like a wall. He came at her like a wall, and she stepped into him as Brennan. And it's still.

[Josh Mankiewicz]

I know.

[Carla Gallo]

Amazing to watch it happen live in front of me.

[Emily Deschanel]

And in fact, the minute that at the end. At the end, David said, that's our girl. David said that, and I didn't have to. And he had another opinion before, and I should ask him sometime. I wondered if he advanced on you.

[Josh Mankiewicz]

I'll ask him to test her.

[Emily Deschanel]

Yeah, maybe. But God bless him, he's. That guy has very good instincts, obviously. Yeah. And I didn't even have to, because once he said that because I had my. I won't talk. This is her. I'm sick of being tired of, like, them 3 million of this character. That character.

[Carla Gallo]

Yeah, that makes sense.

[Josh Mankiewicz]

And.

[Carla Gallo]

And I feel like I saw. That was another note that I made in watching. It was like, you. I mean, I wish I could pull it up and say it, but, like, you. You are just in step with him, you know, and that then just. Just where he. There's this bunch of lines, and it might. It might be in, like, the second episode. Not the first episode. I don't know. But he says something where you guys are in the car, and he's like, you know, you wait in the car and you just look at him, and he goes, okay, okay. You walk behind me, and you look at him, and he's like, okay, you know, whatever. But he was like, yeah, this is it right here. This woman is.

[Josh Mankiewicz]

You don't even have.

[Carla Gallo]

You're just. And you believe. It's a look. Just a look. And that's the whole story there, right? It's like, nah, we are matched. Like, I'm not walking behind you. I'm not waiting in the car. And like, that's so great. Cause, I mean.

[Josh Mankiewicz]

But that's why I love the character so much. Like, I was saying how, like, when I got the script, I loved the dialogue and, like, the back and forth between the characters so much. And I like that the. The relationship between them. But I. I loved how strong she was. But I almost appreciated even more now looking back and, like, this is the part that I needed to play. She was so strong. I think it also helps, too, in that. And I think I mentioned this before to you, Carla, that, like, I had not watched Buffy or Angel. I was not somebody who. I knew who he was. Remember, there was, like, a. He went to a gym I worked out on, and someone said, you know who came to the gym the other day? And I was like, who? Like, Dave Boreanas. And I was like, who is that? I didn't know who it was. And, like, from Angel. From Buffy. And I was like, oh. The word was that he brought a football and was running on the treadmill with a football.

[Emily Deschanel]

I can see that.

[Josh Mankiewicz]

Yeah.

[Emily Deschanel]

Can't you?

[Carla Gallo]

I'm sure it's true.

[Josh Mankiewicz]

That's what my memory. Something about a football. I'm not sure he was running on the treadmill, but I think that's what they said.

[Carla Gallo]

But that does help. I think that definitely helps.

[Josh Mankiewicz]

I think it helps you help because it was not intimidated. I mean, I was intimidated, but I wasn't as intimidated as I could have been. Yeah, but wait. Let's go back to life. How did you go about. Oh, what were we gonna say?

[Carla Gallo]

Let's say I love that because I can visualize it just of, like, that. Him, you stepping up and just going, yes.

[Josh Mankiewicz]

Like, I thought it was that I got him to stand up and he stood up.

[Emily Deschanel]

Remember, we were at his chair, or somebody told me that is the.

[Josh Mankiewicz]

No, but I probably did the same thing you're talking about. I don't really. I remember the room.

[Emily Deschanel]

This is my memory, but I remember the room.

[Josh Mankiewicz]

I probably did that, too. But someone said he stood up, and he didn't stand up for other people. Or something like that.

[Emily Deschanel]

This sounds also very.

[Josh Mankiewicz]

We had. It was a scene when we're driving and then I get out of the car.

[Emily Deschanel]

He got excited.

[Josh Mankiewicz]

Yeah, yeah, yeah.

[Carla Gallo]

And you had not done a work session with him, had she?

[Josh Mankiewicz]

Had she never met him before? No.

[Carla Gallo]

So in the test, is the. Is the first time you guys are.

[Josh Mankiewicz]

That's the first time I met him.

[Carla Gallo]

Are you serious? Are you serious?

[Josh Mankiewicz]

Serious?

[Carla Gallo]

Because evil and I have like. Usually we would have a. You know, like.

[Josh Mankiewicz]

Oh, yeah, like Jay Baruchell on them. Yeah.

[Carla Gallo]

Like we did. We did work sessions and things like that and then. But just on undeclared. And that one in particular, like, we were testing and the girls were testing individually and they happened to hold him in the room for my second scene. And I don't think they had done that. Or maybe they had. I don't know, till the other woman had come in. But it's why. I know it's why I got it. Because he and I together, like, you know. Cause you're testing on your own for your character. But I guess they probably had said, okay, let's like, see them together. And the whole room changed when he was in that room. Their love for him was so, you know, was palpable. And then he and I to get it just like I knew in that moment that, like, I got it because I was. I could feel the room. But I've tested.

[Josh Mankiewicz]

I never felt that I got the something.

[Carla Gallo]

I mean, I don't know that I was like, that's mine. But I. But it.

[Josh Mankiewicz]

But it felt. It was like. You felt like. Yeah, but there's something special.

[Carla Gallo]

Never since have I tested. I don't. I don't think with. I mean, maybe on. Like, I've done chemistry, read things that were on camera and used. Da, da, da. But usually when I. When I test, it's me and a reader and.

[Emily Deschanel]

And.

[Carla Gallo]

And that's.

[Josh Mankiewicz]

It's hard.

[Carla Gallo]

I mean, you know, because that chemistry, that thing that was happening with them, you know, you can't duplicate that.

[Emily Deschanel]

I'm not sure studios and that networks look specifically for chemistry. And of course they should.

[Josh Mankiewicz]

They have to.

[Emily Deschanel]

They have a whole list of things they look for that can be seen separately. But.

[Josh Mankiewicz]

Right, but you have to see. I mean, you don't have to. But I think the whole cast had great chemistry. Like, well, wait, let's go back. I want to hear about. How did you go about writing something that was like, based on Kathy but sort of has. But has the same character name as the book and sort of like, how did you establish. And you said that you had no interest in doing a crime show.

[Emily Deschanel]

No interest.

[Josh Mankiewicz]

What made you change your mind? And how did. Were you able to make a show that was a crime show in a way that you felt good and that you wanted to.

[Emily Deschanel]

I got an idea watching Kathy, she. You may have noticed she doesn't go like this when she speaks. She speaks in fully formed sentences.

[Josh Mankiewicz]

Yes.

[Emily Deschanel]

Relatively quickly. Something that you may recall. I remember. I don't know if you remember this, but I pitched that to you. I said, I'm so sorry, but we kind of need this character to. Not everyone else can stop and think about things. And poor Brennan has to, like. It comes out like a.

[Josh Mankiewicz]

It's a very specific way of speaking that isn't really natural to many people. Certainly was not natural to me.

[Emily Deschanel]

It's a completely unthe. The only other person who had to do anything approaching that was tj. TJ And TJ had a little advantage not to take anything away from him, which is. He got to put all sorts of sauce on what he was saying. He was excited about it and, like, it was erotic to him or whatever it was. He got to do that. And Brennan was, much of the time was explaining.

[Josh Mankiewicz]

He added some things, but it wasn't as much like tj, but you have to make it. It's not the same sauce.

[Emily Deschanel]

I was writing, I remember for a year just feeling like, how am I doing this to these people? How did they get. You punch me? Because the other. I guess watching Kathy in this documentary, and to me it felt like she was a 40s actress in the modern world with a bunch of shambling professors and things. She was. And she's blonde and perfect posture and doesn't hesitate and stuff. And that's when I. And the other show I had always just admired for the musicality of the dialogue was Gilmore Girls. And it went like stink. Gilmore girls scripts are 10 pages long.

[Josh Mankiewicz]

No, they're ins. They're very, very long. Because if you watch that especially, I feel like after it's been on, like now, basically, if you watch that now, it's. It's insane how fast they talk.

[Emily Deschanel]

Insane. And they had their excuse, their conceit reason was all that caffeine. They were always, like, pumping caffeine into the room. Ours was. These are super brainiacs.

[Josh Mankiewicz]

Yeah. Yeah.

[Emily Deschanel]

And they're really smart. They don't want to waste any time.

[Josh Mankiewicz]

And they have a murderer to catch.

[Emily Deschanel]

They have a murderer to catch. And God bless Greg Yitanis. In our first meeting we're talking about finding a director for the pilot. And I said, do you think the script needs to be cut? Because it was long.

[Josh Mankiewicz]

Do you remember? I don't even remember.

[Emily Deschanel]

64 to 66 pages.

[Josh Mankiewicz]

Oh, really? Was it. I think it's like 56 is usually like 54.

[Emily Deschanel]

56.

[Josh Mankiewicz]

Yeah. 54 to 56 is like an average.

[Emily Deschanel]

Yeah.

[Josh Mankiewicz]

For people who don't know, our show.

[Emily Deschanel]

Got shorter as the commercial got longer over our 12 years. And. And he went, no, no, don't cut a thing. Don't cut a thing. This is like a. A 40s movie with it where even. And it was funny how many times you, for fun, fooling around or something between scenes, would talk in kind of a mid Atlantic yop.

[Josh Mankiewicz]

Oh, yeah.

[Emily Deschanel]

Yes. And it was like. I just thought, okay, we only need a few people to get. Booth does not have to talk like a 40s like the thin man, but he can talk like Spencer Tracy.

[Josh Mankiewicz]

Right.

[Emily Deschanel]

Or one of those guys. And everyone else had their. You know, Eric was very good at speed talking, so was T.J. and then that. That's. But that made everybody speed up a little bit. And Greg kept everything on the move. I could have kissed him on the lips for the I Can be a duck sequence.

[Josh Mankiewicz]

Oh, yeah.

[Emily Deschanel]

Because I think that's what sold our series is that sequence where for once, he's walking and I'm running after. You're running after him.

[Josh Mankiewicz]

And I remember I took my shoes off. It wasn't planned. It was hard for me to walk on the grass with the heels, so I took them off and I started running after him.

[Emily Deschanel]

And it was a perfect example of that thing I was talking about, that quality that is so hard. When she was saying I can be a duck, she meant it. But she conveyed her desire to be that person, to be out with that hop and the shoes off and everything. It was just a free. So she was both, you know, spectrumy and. And joyous and like, oh, God, thank you. I think that got us. I. I've never asked Gail Berman, but I. I feel like that's one of the sequences that God has put on the air.

[Carla Gallo]

We'll be right back with more from Hart Hann Foreign.

[Reshmi Sajani]

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[Hart Hanson]

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[Josh Mankiewicz]

Do you have any memories of the pilot? I hope you have some memories of the pilot.

[Emily Deschanel]

Yeah.

[Josh Mankiewicz]

What are your favorite memories of the pilot? Any memories of the pilot?

[Emily Deschanel]

Well, I, I have, I have every kind of memory you can have about the pilot.

[Josh Mankiewicz]

Positive, negative, angry.

[Emily Deschanel]

I don't remember being angry. I don't remember being angry. But you, everyone says I'm such a nice man and you know, I'm a crank.

[Josh Mankiewicz]

You know, I'm, I know you're nice and a crank. You're two, two things at the same time.

[Carla Gallo]

I know you as a cr. I feel offended.

[Emily Deschanel]

I had one.

[Josh Mankiewicz]

Well, you're mostly like a joyous person, I feel like who finds humor in most things in life. I feel like you can find things funny that other people wouldn't find funny.

[Emily Deschanel]

To my detriment sometimes.

[Josh Mankiewicz]

But you enjoy life. But, and then we in turn enjoy it as well because we can, you know, laugh as well.

[Emily Deschanel]

I, I, I had one, I don't know if you were aware or not, I had one moment of tenseness with Greg Yatanus.

[Josh Mankiewicz]

I don't know.

[Emily Deschanel]

In the pilot, I didn't even know it was simp. There's a moment in the pilot where Brennan takes down the Homeland Security guy in the airport and in the airport. And I asked him, what is our out of this scene? What am I cutting? Just because I couldn't see it. I'm not a great editor. I'm never gonna be a director. But I couldn't. I couldn't see. So I really just wanted him to explain to me what he thought it would be. And he either couldn't or wouldn't and was angry at me.

[Josh Mankiewicz]

Did he think you were doubting him or something? And that's why.

[Emily Deschanel]

I don't know. He probably doesn't even remember. It was not a confrontation. I was unsatisfied in the moment. And then when we got there, I remember saying to the editor, do we have an out on this scene? What is it? And we had to fuss. So I wasn't 1000% wrong, but I also wasn't right. You know, it didn't matter.

[Josh Mankiewicz]

It didn't matter that much.

[Emily Deschanel]

Yeah, you cut right to me in. That guy knows exactly what he's doing.

[Josh Mankiewicz]

Yeah.

[Emily Deschanel]

Greg Yutanis knows he's a great director, and I should not have questioned. Questioned him.

[Josh Mankiewicz]

But you have every right. You're the showrunner. I mean, I think it's good, but I guess sometimes.

[Emily Deschanel]

Shut up.

[Josh Mankiewicz]

We don't necessarily have to question, but it's like getting the information. Well, I know it's complicated, Right. Because it's like, it's your show, and it's usually you want to make sure that it's done right and it has the best chance of being the best it can be. Right.

[Emily Deschanel]

But you have to also watch out that you're not saying, well, I can demand this, and I demand to be told because I'm the show.

[Josh Mankiewicz]

And you're questioning their abilities to do the job, too, which is complicated. Like, you also just need to hire the person and then trust that they're going to do the right job. And I think that that's huge.

[Emily Deschanel]

If I could go back in time, I wouldn't do that. I wouldn't do that. We were tired, you know, it was.

[Josh Mankiewicz]

I mean, that sounds like a pretty minor thing. I've experienced much more tense situations.

[Emily Deschanel]

Oh, yeah. And by the way, that is not a fulcrum scene. It's not a. It's just a. It's a storytelling scene. It's not one of the. Like, oh, my God, the twist of.

[Carla Gallo]

The pilots are so crazy, because everything that's riding on and what you have to accomplish in a pilot in terms of storytelling and introducing characters and. And what, you know, forever. It's the question, like when you're. I mean, I know when you're trying to pitch even a script or what is the arc. You know, what is the.

[Josh Mankiewicz]

What is the.

[Carla Gallo]

And so all this is sort of trying to be told in this episode. And then on top of that, just the business aspect of it, you are trying to sell it. So it also had better be, you know, purchase worthy, you know.

[Emily Deschanel]

Oh, and there's all sorts of studio and network people hanging around. And it's a very weird. It's a weird thing we were in extremely good hands with.

[Josh Mankiewicz]

And it takes twice as long to shoot or we were given twice as long as a normal episode to shoot the pilot, which was kind of at least standard at that time.

[Emily Deschanel]

Well, we had weird location. We.

[Josh Mankiewicz]

Yeah. Carla didn't realize that that lab was a location.

[Carla Gallo]

I watched the, you know, I Foundenberg. Oh, okay.

[Josh Mankiewicz]

I was saying it's part of where the shuttle is. Is it?

[Carla Gallo]

That's not that building. Oh, okay. Cause I watched the pilot.

[Josh Mankiewicz]

The shuttle's like over there.

[Carla Gallo]

And I made a note of like. Like, I was kind of like, are you people crazy? You built that set for a pilot? Are you insane? She was like, no, it was actually a real place. And I was like, then the idea that you then had to replicate it is also kind of insane.

[Josh Mankiewicz]

What did that cost? It was the large.

[Emily Deschanel]

So much money. Barry wouldn't tell me. Barry wouldn't tell me how much it cost. And how would you not know?

[Josh Mankiewicz]

How would you not have that access to that information?

[Emily Deschanel]

I would have to go digging for.

[Josh Mankiewicz]

Oh, so you wouldn't have access to the whole budget of the show.

[Emily Deschanel]

Absolutely would. But sometimes things don't appear in the column that they end up on purpose. One of the things I line producers very often will say, do you really want to know? And it's. I usually take that as a sign. No, I don't.

[Josh Mankiewicz]

Don't.

[Emily Deschanel]

Somebody's moving money around. We're stealing from the costume budget in six episodes, and we're launching. Lying here. And all that matters is what happens at the end. And it took several years for us to be able to say to Bruce Margolis, rest in peace, Bruce Margolis.

[Josh Mankiewicz]

Bruce Margolis.

[Emily Deschanel]

Trust us. We. At the end of the season, we will be within 10% of the budget.

[Josh Mankiewicz]

Yeah. Yeah. Okay. So when you made the pilot. Okay, I have so many questions. My mind is going a mile a minute. What were the Challenges of making the pilot and getting it made in the first place. And then I'm so curious, like, what are. What. Okay, tell me that. And then I have so many questions.

[Emily Deschanel]

This is where we owe Barry Josephson. He. I later found out that Barry. I mean, I'm glad he did it, but, you know, hey, he would say, Hart's gonna walk off the project if you don't give him the slab the way he wants. Just invoking me and saying, I don't even know where Hart is. He's so upset right now that he said that after some casting, it's just absolutely not true. But it worked for us in every.

[Josh Mankiewicz]

He cast Emily Deschanel as Brennan. He was gonna walk.

[Emily Deschanel]

Barry twisted arms.

[Josh Mankiewicz]

He did what he needed to do to make it.

[Emily Deschanel]

And he was an excellent, excellent producer to get us the largest set that they had ever built in the 20th. And that huge stage.

[Josh Mankiewicz]

It was such an amazing.

[Carla Gallo]

So upon pickup.

[Emily Deschanel]

This is upon pickup.

[Josh Mankiewicz]

Pickup, yeah.

[Carla Gallo]

Yeah, Right.

[Josh Mankiewicz]

The pilot we shot at that. At the California Science center, or the science. What.

[Carla Gallo]

But then to build it in its entirety, really. I mean, having seen the pilot, those. All those little elements were in the stage.

[Emily Deschanel]

And so we got this set that we shot. Incredible. Yes. We were inside so many days per shoot, but we had a great set.

[Carla Gallo]

You had a great set.

[Emily Deschanel]

And if it had been me left alone to do that, our set would have looked like what labs actually look like.

[Josh Mankiewicz]

Yeah.

[Emily Deschanel]

And we'd have been off the air.

[Josh Mankiewicz]

In six months to look at.

[Emily Deschanel]

No.

[Josh Mankiewicz]

Yes.

[Carla Gallo]

Visually, that's what we were just talking about. Is that, like, other, you know, sort of medical or procedural shows. It's like. It's pretty sterile. And this is so visually stunning, that framework and all the, you know, the platform. And then I was thinking that, like, hall, where the walk and talks would happen, like, a lot under those, like, steel, you know, girdles, you know.

[Josh Mankiewicz]

Yeah.

[Emily Deschanel]

All those things. I just remember telling Barry, you can't have a garden hanging above the forensic platform with plants in it with what.

[Josh Mankiewicz]

Looked like marijuana leaves.

[Emily Deschanel]

At some point I was just going, no, this is stupid. And I was being cranky and everything. And he said, heart, let me have this. Let me have the set. I've earned this. Let me have it. And it was like, what are you going to do when someone says that? It's like, okay, fine. And no one ever said in a review, what the hell are those plants doing?

[Josh Mankiewicz]

No one ever did. They could say things, but they never.

[Carla Gallo]

People saying they. Why do you think the show was such a Sensation like, you know. Cause it's so, so unusual. There's a handful of shows that lasted as long as this one. What do you think it is? And it had such a fan, such a devoted fan base, and people who we've talked about, people who were like, I was going through a hard time. And that's the show that I. Da, da, da. What do you think it is about the show? Why did it resonate?

[Emily Deschanel]

I think it's the cliche answer is the characters. I think that we became invest in. We had a deep, deep bench. So it wasn't all on David and Emily to be Brennan and Booth and have that one romance. Although that was the iron backbone of our show. It was a rom com, and it was the iron backbone of the show. But then we had a perfect couple. You know, once they got together, Hodgins and Angela, they were perfect. It would be like I had this argument with writers and everybody all the time. Time is.

[Carla Gallo]

No trying to give them.

[Emily Deschanel]

We're not going to give them big. No one's going to cheat.

[Carla Gallo]

Right?

[Josh Mankiewicz]

Right.

[Emily Deschanel]

There's not going to be anything. There's no angst.

[Josh Mankiewicz]

I don't think anyone ever cheated. That's like a hard thing to do. We cheated.

[Emily Deschanel]

The cheating. We do things like, oh, guess what? Angela's married. We cheated, but she didn't want to be married. And. And when we went from poor Zach going off and replaced him with a revolving door of interns, that really, really helped us in the lab so that we could stay on budget and make a show.

[Josh Mankiewicz]

Oh, really?

[Emily Deschanel]

We couldn't go out more.

[Carla Gallo]

I mean, it makes sense.

[Emily Deschanel]

Oh, my God. Sometimes the things. This is horrible. But sometimes, you know, there were years when they were going, should we bring back Bones or not? And they're going, oh, look at the return. It's the end.

[Josh Mankiewicz]

Because we didn't.

[Emily Deschanel]

It's business. And we were very. I was.

[Carla Gallo]

That's so crazy. I would never think. To me, that's so. Like, we used to make jokes. We'd be like, well, they decided not to have donuts at breakfast this week and, like, have both interns here. Like, you know, we'd make a joke, like, about, like, you know, it was sort of like, but you. But you kind of were like, it's inconsequential, you know, like, we didn't think that, like, in terms of, like, it's funny to me to think that even that would affect a budget to have lost a series. Right. And bring in recurring.

[Josh Mankiewicz]

But we had another series regular that came in soon after. So it wasn't right. So we still had.

[Emily Deschanel]

We replaced Goodman.

[Josh Mankiewicz]

Yes. No, but I mean, we had John Francis Daly come in after Zack was gone.

[Emily Deschanel]

We were budgeted for that character with Stephen Fry, but Stephen couldn't do it just be there that much. So that was within our. Our forecasting budget. That character, the revolving interns were.

[Carla Gallo]

That's so interesting.

[Josh Mankiewicz]

Yeah, I know they serve different purposes, but I know that, like, if you. But there's series regulars.

[Carla Gallo]

You never know.

[Josh Mankiewicz]

The.

[Carla Gallo]

It's so funny to not know. You know, they're just even that business of it.

[Josh Mankiewicz]

Yeah.

[Carla Gallo]

Like, where you're like, well, it serves the story. Cause it's a fresh face. You know, you're like, no, it saved. It's a money. It was a great money saver.

[Josh Mankiewicz]

You know, like, it's so funny.

[Emily Deschanel]

Both those things are true. It was like, how. Here's what happened. You realize, oh, my God, the gold in this series is Brennan and Booth out in the field. We weren't designed for that. We were designed for Booth to be out in the field and Brennan to be on the stage as a main character. But then it was like, oh, there's so much out there. So now how are we going to still shoot?

[Josh Mankiewicz]

Oh.

[Carla Gallo]

Cause she's not there half the time. Right, right, right.

[Emily Deschanel]

On the lab without a main character, without one of the two. You know, the two main characters. And that's why we needed these. Thank you, interns. Carla cycling through with their stories, bringing with them stories and leaving again. We really needed. We needed that. We needed Brennan to be interacting with those people in a way she couldn't with just one person who, again, bad initial design or faulty initial design was going to be the one person more on the spectrum than Brennan was. So that we were. It would doubled up stories. It just. It wasn't going to work. We had to open it up with Zach. Yeah. Like, so.

[Josh Mankiewicz]

Right. That makes sense.

[Emily Deschanel]

When I did the math, it's the thing that sucks about being showrunner, Frank, is you did the math, Went, oh, my God. I. I don't. I don't know how to do this and keep Zach. Yeah, same with Goodman. It was. He did a good job. He was very good. But I stupidly designed someone without a function in the lab, aside from being the box.

[Josh Mankiewicz]

Right. He was the boss. And I think. Yeah. And I.

[Carla Gallo]

Relationship wise, but it's like, fit.

[Josh Mankiewicz]

Also, Brennan never took it serious. Like, the character inherently kind of does. It doesn't care what the boss says.

[Carla Gallo]

Right, Right.

[Emily Deschanel]

So. So now we needed a Boss who was also a coroner who do the meat side. And that. That was rep. We had to do that. We had to do that. So when you're doing. You're sitting at home doing the math of how do we keep this going?

[Hart Hanson]

And.

[Emily Deschanel]

And it's real people's real livelihoods. It's awful.

[Josh Mankiewicz]

Well, that kind of segues into the fact that I like showrunners are writers. But usually being a writer doesn't make you a good showrunner. But I always think that you're such a good showrunner because for many reasons, you're obviously such a talented writer. But you also had these other skills which were being able to change something at the last minute. I saw. You have to change something. Like for instance, if one intern wasn't available, like literally last minute be totally rewritten and it would be. Carlisle wasn't available and someone else had to come. Eugene had to come in or whatever. Vice versa. You could be so flat. You were so flexible. And so, you know, we had to.

[Emily Deschanel]

Be flexible with those actors. They had to be able to get out or in at the drop of a hat. Because we had super good actors. Yeah.

[Josh Mankiewicz]

And they could get other jobs.

[Emily Deschanel]

They could get other jobs. So you couldn't say, no, no, we're. For us to have you guys back these wonderful. Really? I.

[Josh Mankiewicz]

That was a trade off.

[Emily Deschanel]

That was a trade off. It's like, okay, let's make this as easy as we can for the actor who is coming in to save our ass every few weeks and trying to be. Trying to be fair to how much room they got and what. And you couldn't just plug one. They were such characters. You couldn't just plug in and say, okay, give them the dialogue. It's now.

[Josh Mankiewicz]

Wait, no.

[Carla Gallo]

Their plot lines were so different.

[Josh Mankiewicz]

The best time was when Joel David Moore got plugged in last minute into an episode that was like. We talked. It was like a cross. Not a crossover, but a promotion essentially for the movie Avatar. Joel David Moore is in the movie Avatar. And the plot was that they went to camp out to see Avatar. The most amazing thing. Totally like, what the hell? Like another act. It was supposed to be a different intern and it got switched out and we. We had to do the Avatar thing and we. It's kind of a funny weird.

[Emily Deschanel]

Such good corporate citizens trying to get them to like us. The abused child. Like when they wanted to do this. Remember the Simpsons crossover?

[Josh Mankiewicz]

Well, we did the Stewie cross, like the family job. That was amazing. Thought of how to do it. Oh, yes. The Simpsons crossover.

[Emily Deschanel]

Simpsons crossover came from there. Stewie one came from. From us.

[Josh Mankiewicz]

Stewie came from us. That was brilliant. That was.

[Carla Gallo]

What's the Simpsons cruise over?

[Emily Deschanel]

Do you remember what it was? An anniversary. If they could just put. They wanted every show to put in little Easter eggs for the Simpsons. So like we had a scene where they're talking seriously about something and it's Homer's head is the X ray.

[Josh Mankiewicz]

Yes.

[Emily Deschanel]

So there was.

[Josh Mankiewicz]

And Dan Castellanetta. Homer's voice. Like you could. You probably wouldn't notice it if you weren't looking. But it was really for Simpsons nuts to look for.

[Emily Deschanel]

Okay.

[Carla Gallo]

To find.

[Emily Deschanel]

And then I found. No one did that. We. Good old.

[Carla Gallo]

What you were the only ones.

[Josh Mankiewicz]

Fans are not going to be like, I'm gonna watch Bones. Unless they're fans of Bones already. Probably. Yeah.

[Emily Deschanel]

But I thought, well, that's fun.

[Josh Mankiewicz]

But yeah, I mean, well, why not? Why not?

[Emily Deschanel]

The, the, the.

[Josh Mankiewicz]

The Stewie thing was brilliant. You want to talk about that?

[Emily Deschanel]

Seth McFarlane came and did all those voices. Oh my gosh. I don't even remember the promos for the show as Stewie.

[Josh Mankiewicz]

That's nice.

[Emily Deschanel]

He was just like, what a prince.

[Josh Mankiewicz]

Yeah. That's awesome. I didn't know that in that show. Well, I mean, I guess I figured cuz he did the voice. It wasn't somebody else.

[Emily Deschanel]

We wanted Booth to have a. A, A. A terrible health issue that he could recover from.

[Carla Gallo]

Okay.

[Emily Deschanel]

And we did do.

[Josh Mankiewicz]

To have some humor to it.

[Emily Deschanel]

Yes. We. We would call them the weird shows. And that's what we like. We called them that to ourselves, the writers room and everything.

[Josh Mankiewicz]

But we also called them the weird.

[Emily Deschanel]

We call them the weird ones and we call them that to the studio and the network as well. We wanted. Come on, we've earned a weirdo.

[Carla Gallo]

Oh, you wanted one.

[Emily Deschanel]

So we did the one where Brennan was solving her own mystery, her own crime. Oh yes. She was seeing herself in the. And we did the one from the.

[Josh Mankiewicz]

Point of view of the skull and then the nightclub one. The nightclub one.

[Emily Deschanel]

One of my favorites. The movie. So we did.

[Josh Mankiewicz]

Is that what. That's where.

[Carla Gallo]

Cause sometimes we would do the ones that were like the big anniversary type episodes would be very. And so that's what that was a.

[Josh Mankiewicz]

Flashback into when Booth and Br. Brennan Mead was the hundredth episode. We did an episode where we named every single bone in the human body.

[Emily Deschanel]

Yes. Yeah. We played games and people found all of them. They found. We have nutty.

[Josh Mankiewicz]

Well, what do you mean they found them?

[Emily Deschanel]

They were airing the nutty magnificent bones. Fans would find the things that we do.

[Josh Mankiewicz]

Oh, they find the. They got obsessed with certain things. Like the ember thing.

[Emily Deschanel]

Yeah.447.

[Josh Mankiewicz]

I couldn't remember the number. I was thinking that this morning. I was like, heart will remember the number. Anyway, wait, when you did the show and it got picked up for a series, how long did you think it would last?

[Emily Deschanel]

I. I was not optimistic. I, I prayed that we would last till Christmas.

[Josh Mankiewicz]

Yeah.

[Carla Gallo]

Really?

[Emily Deschanel]

But yes, and, and we kind of alluded to. I, I was getting my ass kicked a lot in that first season, especially in the first half.

[Josh Mankiewicz]

What were the fights about? What were you. How are you getting your ass?

[Emily Deschanel]

I was being told by the studio and the network that the show should be more CSI and less of what we had going.

[Josh Mankiewicz]

But what. That's what makes our show unique. I think that's what they are show.

[Carla Gallo]

Us a lot less light hearted, much less character.

[Emily Deschanel]

Way more science and twists and turns.

[Carla Gallo]

That's funny because it is exactly what works about that. I mean, what is unique and what makes it unique?

[Josh Mankiewicz]

But do you remember having the conversation and I want to hear more in general about that, but it just makes me think of this. Do you remember having the conversation about kind of making my character a little more like likable? I say likable, but maybe it was more about making her more care more about the dead people and stuff. It was when, I don't know when we had that conversation. But we have so many things. There's so many memories at my birthday that first season. Do you remember that?

[Emily Deschanel]

Oh my God, I will never forget that. Indelible moments.

[Josh Mankiewicz]

That was the worst. But that's a whole. Well, we can talk about that.

[Emily Deschanel]

The head of the network turned to me and said, well, good luck.

[Josh Mankiewicz]

So, okay, the day of my birthday. So the day before my birthday. Hard. Had to have a conversation. And that must be the most hard thing to do is like having to have conversations that are basically not even your conversations. You had to have conversations that were from the studio to me about. I had been late one day because of a terrible accident. And I think, I mean I might have been late a little bit other days, but I was like 45 minutes late because of a terrible accident one day. And I think the studio saw that and saw maybe I was a few minutes late on. I didn't even realize that they saw.

[Emily Deschanel]

Oh, yes. Okay, it's coming back.

[Josh Mankiewicz]

Production report. Right. And then, and then I took it as like I need to be more prepare, like. But I had so much dialogue and we Were working insane hours, and I was so stressed out. And I responded with this constructive criticism with projectile tears. Oh, no. I don't know if my friend was visiting me at the time, and she's like, I've never seen tears shoot. Shoot out like they do in cartoons. I was, like, so vulnerable and sensitive. I was so underslept and stressed out. And so when we had that conversation, I was such a delicate flower that I could not handle. I took it as, like, they don't think I'm professional. And I wait, what was the other thing? And I'm late. Like, oh, it was a late thing. So I was like, I'm. I'm not. You know, I. You know, I wasn't always. And also, I would have, like, even when I knew my lines, I had no one helping me learn my lines at that time. We made that into, like, that's. My manager used that to be like, well, can you get her some help to learn these really hard lines when she's working, like, long hours? I would come home. Home and cry in a bathtub.

[Carla Gallo]

Oh, my God.

[Emily Deschanel]

Yeah.

[Josh Mankiewicz]

I'd come home and cry in a bathroom. So, so tired and so stressed. I didn't realize I was having, like, basically panic attacks. And I didn't even know what they were. Like, I would look around the room and think that everyone was, like, looking at me and wanting. And I couldn't think of the line in that moment because I was so tired. Even though I knew the lines and the room would start like. Like becoming, you know, tunnel vision. And I was just.

[Carla Gallo]

Did, you know?

[Josh Mankiewicz]

You know?

[Emily Deschanel]

I knew.

[Josh Mankiewicz]

What?

[Emily Deschanel]

I knew. I knew, I knew. I knew. I know what happens when the crushing job of being number one on the call sheet comes to people.

[Carla Gallo]

Yeah.

[Emily Deschanel]

And I'd been through it before. In this case, it was like, okay, someone has to talk to Emily about being late. And it was eventually, it's a long conversation, but I said, oh, no, no, I'll do it, because we're not going to have the studio do it. We're not going to have anyone go through management. No. Yeah, no, that's like, no, I will do it.

[Josh Mankiewicz]

I really appreciate direct conversations, and that's one thing that I don't like about other places where. Or my reps wanting to have. I'm like, no, I want to have the conversation with the people. But anyways, I appreciated that you had the conversation with me, but I'm sure it's like, a hard conversation. Those types of conversations are hard to have with people, you know, but also.

[Carla Gallo]

When you're delivering so much and being asked. So much is being asked of you, and then he has to talk to you about being late.

[Emily Deschanel]

Well, and the problem was, it was. If I'm remembering this correctly, I think I am. Because it's traumatic. It was like, I kind of don't agree this is a studio.

[Josh Mankiewicz]

Well, that's why. Because it's not your thing, so it's not your message, which is complicated and.

[Emily Deschanel]

Hard, but can you imagine having a studio executive come to talk to you about it or. So I said, no, I will talk to her.

[Josh Mankiewicz]

I'm so glad that it's a.

[Carla Gallo]

Protective of her. Yeah.

[Josh Mankiewicz]

But because I, I mean, I'm sorry that you had to deal with me having projectile tears, but thank God it was him. I mean, thank God I would have been like, I mean, a puddle if, if, If a studio exec came to talk to me about it.

[Emily Deschanel]

Ugh. I, I, I couldn't have lived with it.

[Josh Mankiewicz]

And then the next day was my birthday, so I and my friend was visiting. I remember. And we got picked up for the back nine on my birthday.

[Emily Deschanel]

Yeah.

[Josh Mankiewicz]

Which means that we got pick.

[Emily Deschanel]

Which can sound like horrible news if you're in a certain. No for anyone. If you're in a certain state of mind. I have to do nine more.

[Josh Mankiewicz]

Oh, really?

[Emily Deschanel]

It's not all. It doesn't come unadult. It's not, it's not unadulterated joy. It's like, oh, my God, I'm never gonna see my wife again.

[Josh Mankiewicz]

And to me, I would have been excited, but I mean, I still like doing the job. But when I got that, I felt like, okay, they're not on my side. The studio or the network or whatever. They don't think I'm professional is how I interpreted it. And then it was my birthday, and we got picked up from the back nine, and there's a whole surprise. My mom even came, and I don't know why. My mom never told anyone that. I hate being sung to, and I hate surprises for my birthday.

[Emily Deschanel]

You hate surprises.

[Josh Mankiewicz]

I hate surprises.

[Emily Deschanel]

Maybe now you don't. But you.

[Josh Mankiewicz]

No, I don't like surprises.

[Emily Deschanel]

Surprise. Emily.

[Josh Mankiewicz]

Yes.

[Emily Deschanel]

Don't surprise her.

[Josh Mankiewicz]

No, I didn't surprise me.

[Carla Gallo]

Surprises.

[Emily Deschanel]

Yeah.

[Josh Mankiewicz]

Like my. Yeah. So my husband and I will surprise each other for birthdays and things, but I have to try. Like, sometimes I'm like, well, what is. Like, I want to kind of know what it is beforehand. That's the only time I'm like, it.

[Emily Deschanel]

Can be a surprise.

[Carla Gallo]

As long as I know too Much of a surprise.

[Emily Deschanel]

Surprised. I don't like to be surprised by the surprise.

[Josh Mankiewicz]

By taking me to a psychic. And that didn't go well. Let me just say that. That he found on, like, Google, he's like, this is. I'm like.

[Emily Deschanel]

And what we know is that that problem is systemic. It's not you. It's not number one on the call sheet. The system has to be set up so that these things don't happen. And the blame came on you, and maybe you felt that somewhere that it's unfair. What do you mean, be on time? How do we get. Is she spending too much time in hair and makeup? Are we. Yeah, well, wait a second. Yeah.

[Josh Mankiewicz]

I don't know. I don't think I had been late that much, by the way. I know the late thing could be that the makeup thing. That's what's hard, is, like, people who are not on set don't realize, too.

[Emily Deschanel]

That's right.

[Josh Mankiewicz]

Or like, And I've seen actresses or an actor being blamed for something that had to do with her costume having to be refitted because it didn't fit over her harness, for instance. And they gave her a lecture when she came to set. And I remember being like, okay, I want no part of this. You're giving someone a lecture about something that was not her department, nor also the costumes department. It's just things happen.

[Emily Deschanel]

Two things you hate are surprises and injustice.

[Carla Gallo]

Yes.

[Josh Mankiewicz]

Yes. That's very me.

[Carla Gallo]

I was just gonna say you came to my defense. I was gonna say you had learned, you know, by the time. Obviously, you've gone through all that stuff. And then there was something with me where there was, like, a rescheduling thing, but I hadn't been booked. And so then I.

[Josh Mankiewicz]

Like, something was when you gave birth.

[Carla Gallo]

Was that when it was.

[Josh Mankiewicz]

Yes. You had. You went into labor early. We shot. You were. You know, you were pregnant, and then we shot. And then you gave birth.

[Carla Gallo]

Yes.

[Josh Mankiewicz]

And then you had to.

[Emily Deschanel]

That night on set, practically.

[Josh Mankiewicz]

Did you get birth the night or you went into labor that night?

[Carla Gallo]

I went into labor that night. I gave birth the next day.

[Josh Mankiewicz]

Yeah, yeah, yeah. I did the same. Well, 12 hours after I left set, I. I went into labor.

[Carla Gallo]

It was like eight hours later for me. Yeah, it was the same. Yeah.

[Josh Mankiewicz]

Well, wait, but you.

[Carla Gallo]

But was that the one. But I feel like there was a different time when you. You. I remember because I don't. I don't think it was that same, because I think I would have been really defensive.

[Emily Deschanel]

Whoa.

[Carla Gallo]

But I remember a time when I came in and, like, you were like, oh, I heard you, like, you know, took another job or something. And I was like, I was never pinned for bones when I took that job. And you were like, wait, what? And you're like, I had heard that you, you know, were pinned and you took a different job. And I was like, no, I wasn't pinned. And you were like. And you, like, took out your phone.

[Josh Mankiewicz]

You were.

[Carla Gallo]

You were like.

[Josh Mankiewicz]

And I only, like. I do not like it when someone's blamed for.

[Emily Deschanel]

And it doesn't have to be you.

[Carla Gallo]

But I appreciate it if they blamed her, but that was the crazy double.

[Josh Mankiewicz]

Scheduling, and it wasn't her fault, by the way.

[Emily Deschanel]

That's number one on the call sheet.

[Carla Gallo]

Yeah, yeah, yeah.

[Emily Deschanel]

That's a total lifeguard. Number one on the call sheet.

[Josh Mankiewicz]

And I. Wait, do you have a favorite episode? Heart?

[Emily Deschanel]

I have a few. I. I liked the weird episodes very much. I loved the club episode. I loved the skull episode. Probably the show. My favorite episode is our first Christmas episode.

[Josh Mankiewicz]

Just because directed and everything.

[Emily Deschanel]

And we had our series. You know, I did just. I watched it for the first time since that first Christmas, this Christmas. And it was sweet, and I liked it because. I don't know if you even remember the plot. It was. A man had been killed who was gonna run off. A white guy in the 20s found in a fallout shelter who was supposed to run off with a black woman to the only place they could legally be together, which was Paris. And he was killed and left in that fallout shelter. And Brennan got for her Christmas, got to tell this ancient black woman that he had the tickets. He didn't leave her there. It was so sad, and it was so beautiful.

[Josh Mankiewicz]

But watching.

[Emily Deschanel]

And then the. The. Everybody's families coming to the Glass.

[Josh Mankiewicz]

Oh, yeah, I remember that.

[Emily Deschanel]

Except for yours, right? Everyone's families came and touched, and it was very. It was. It was fantastic. We found out that Booth had a kid and. And. And Zach's family. That's how we found out. He was just a little kid then. And Zach had a. A large family of large people, just.

[Josh Mankiewicz]

Like Eric Milligan has a large, large family.

[Emily Deschanel]

Yes. I'm sure we stole it from that. And he just didn't fit in with them. And. And Hodgins was, like, a supermodel. And wonderfully, Angela's dad was. Do you remember? She said, look, my dad's kind of famous. I don't want to talk about it. Billy Gibbons busy at this time of year.

[Josh Mankiewicz]

And I was like, people are gonna think he's Santa Claus.

[Emily Deschanel]

So. And then.

[Josh Mankiewicz]

And then Billy Gibbons was her, you know, did several episodes of Bones. Cyndi Lauper and Cyndi I like.

[Emily Deschanel]

I liked having people on the show. David Alan Grier.

[Josh Mankiewicz]

David Alan Greer is one of my favorite actors ever.

[Emily Deschanel]

You know, Betty White, the oldest intern.

[Josh Mankiewicz]

The oldest. She was so cute. I loved her so much.

[Carla Gallo]

Oh, she an intern.

[Josh Mankiewicz]

She was so funny. Oh, no. And there's a blooper of her talking about, like, she was supposed to talk about somebody else who was a great lover, but she said Brennan instead. She's like, brennan, what a great lover. Brennan, what a great lover.

[Emily Deschanel]

So the answer is no, I don't have a favorite, but I have a bunch of a few favorites.

[Josh Mankiewicz]

I love that we'll be watching that Christmas episode because that's a Greg Yutinus. And we're gonna talk to him, too.

[Emily Deschanel]

He'll be a great.

[Josh Mankiewicz]

He says he remembers a lot.

[Emily Deschanel]

He's another one of you people, has a huge brain and things stick in. It must be a lot I don't have.

[Josh Mankiewicz]

I feel like I remember a lot from season one. I feel like everything we've brought up, you remember and you remember things that.

[Emily Deschanel]

I remember, but I have to be reminded. Reminded of something to remember it, which is, you know, that's not remembering. It's being prodded.

[Josh Mankiewicz]

It's in there.

[Carla Gallo]

It's in there somewhere.

[Emily Deschanel]

Grandpa's in there somewhere.

[Carla Gallo]

He's still in there somewhere.

[Josh Mankiewicz]

Well, thank you, Har. Yeah.

[Carla Gallo]

Thank you.

[Josh Mankiewicz]

Thank you so much.

[Emily Deschanel]

Well, I would talk to you even without microphone. It's stuck in my face.

[Josh Mankiewicz]

I know. I would talk to you without a microphone and happily will do so. And I feel like I could still talk to you with a microphone or without for many hours.

[Emily Deschanel]

Yeah.

[Carla Gallo]

And I feel like I learned.

[Josh Mankiewicz]

I'm gonna call you next week.

[Emily Deschanel]

Yeah. Just live over there in Venice.

[Josh Mankiewicz]

Perfect.

[Carla Gallo]

That was so fun.

[Josh Mankiewicz]

That was fun. He's the best.

[Carla Gallo]

He's the nicest person I know. Sweetest person I know.

[Josh Mankiewicz]

He really is. And we'll have him back, hopefully. He said he'd come back.

[Carla Gallo]

Oh, he'll come back.

[Josh Mankiewicz]

He'll come back.

[Carla Gallo]

He'll come back.

[Josh Mankiewicz]

Talk. I mean, I feel like there's so.

[Carla Gallo]

Many things we didn't ask much to talk about. I feel like I need to hear about every other episode. Like, you know what I mean? I want to hear his overall.

[Josh Mankiewicz]

I asked him. So. I mean, I feel like I got so much information on me being cast and all of that, but I want to know information on so many other things.

[Carla Gallo]

Well, I think that's that was important information. But I do want to hear.

[Josh Mankiewicz]

I mean for me, I'm using this as like just a way to find out information. Why?

[Carla Gallo]

That's what this podcast is. That's what the podcast is. A way to you find. Way for you to find out why you got the job. No. But yeah, there's so much more to ask him.

[Josh Mankiewicz]

Thanks for coming and listening with us.

[Carla Gallo]

Thanks so much.

[Josh Mankiewicz]

See you next time.

[Carla Gallo]

Boneheads is a production of lemonada media and us. Our producer is Alex McGowan.

[Josh Mankiewicz]

Our engineers are Brian Castillo and Noah Smith. Our Senior Vice President of weekly content is Steve Nelson.

[Carla Gallo]

Our executive producers are Stephanie Whittles Wax, Jessica Cordova Kramer and us Emily Deschanel and Carla Gallo. Music by Doug Paisley.

[Josh Mankiewicz]

Special thanks to Allison Bresnik to stay up to date with us and submit your listener questions. Follow us on Instagram, boneheadspod and limonadamedia on all social channels.

[Carla Gallo]

Follow Boneheads wherever you get your podcasts or listen. Ad free on Amazon Music with your prime membership.

[Josh Mankiewicz]

Thanks so much for listening.

[Reshmi Sajani]

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[Carla Gallo]

Hi everyone, Gloria Rivera here, and we are back for another season of no One Is Coming to Save Us, a podcast about America's childcare crisis. This season, we're delving deep into five critical issues facing our country through the lens of child care, poverty, mental health, housing, climate change, and the public school system. By exploring these connections, we aim to highlight that child care is not an isolated issue, but one that influences all facets of American life.

[Josh Mankiewicz]

Season 4 of No1 Is Coming to.

[Carla Gallo]

Save Us is out now, wherever you get your podcasts.