General Questions | S1E2 "Purple Giraffe"

Summary

How We Made Your Mother: Episode S1E2 "Purple Giraffe" Summary

Released April 3, 2025

In the second episode of "How We Made Your Mother," hosts Josh Radnor and Craig Thomas delve into a wide array of questions from fans, offering behind-the-scenes insights into the creation and enduring legacy of the beloved sitcom "How I Met Your Mother" (HIMYM). Titled "Purple Giraffe," this episode serves as a comprehensive Q&A session, addressing topics ranging from on-screen chemistry and wardrobe choices to fan theories and the symbolic significance of recurring sets.

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1. Chemistry Between Ted and Robin

Timestamp: [00:30] – [04:07]

The episode kicks off with a deep dive into the on-screen chemistry between Josh Radnor (Ted Mosby) and Cobie Smulders (Robin Scherbatsky). Alec Lev brings forward questions from listeners, including Raven X Moon and Da Superboil, who are eager to understand how Radnor and Smulders developed such a compelling dynamic early in the series.

Craig Thomas emphasizes the organic nature of their chemistry:

"Kobe and I never once had a conversation about your chemistry, you're killing the chemistry. [...] We got cast because we have a thing between us that is alchemical and mysterious and just works when we're on screen together." [02:28]

Radnor adds humorously:

"Great decision not to ever talk about jinxed it." [03:59]

This approach fostered a natural and authentic relationship on-screen, contributing significantly to the show's success.

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2. The Acting Process and Emotional Responses

Timestamp: [04:07] – [05:10]

Navigating the intricacies of acting, Craig shares an anecdote about Emma Stone and Jeff Daniels to illustrate the separation between an actor's emotional experience and the audience's perception:

"It's like, don't worry about it. It's not your job. The audience's job." [04:31]

This perspective underscores the professionalism and dedication required to convey authentic emotions without becoming personally entangled in the characters' experiences.

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3. The Role of Callbacks and Writing Techniques

Timestamp: [05:10] – [07:24]

A pivotal discussion centers on the show's masterful use of callbacks—repeating jokes or themes throughout episodes to create a cohesive and engaging narrative. Lev references the bar scene from the series finale, prompting Radnor to explain the spontaneous nature of these callbacks:

"Callbacks come when you're hanging out with a group of people and somebody sparks and realizes this kind of echoes this earlier thing, and you bring it back." [05:50]

Thomas adds that a collective "hive mind" within the writers' room facilitated these recurring elements, enhancing the show's interconnected storytelling.

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4. The Symbolic Significance of the Roof

Timestamp: [16:45] – [20:26]

A significant portion of the episode is dedicated to exploring the importance of the rooftop set—a central locale in HIMYM. Radnor explains the creative intent behind making the roof a "character" in its own right:

"There's something magical about being in a roof in New York City. [...] The roof has to be a character, a recurring character." [17:16]

Thomas concurs, highlighting how the rooftop symbolizes the characters' youth and the enchanting essence of New York City:

"Ted howls at the heavens and makes it rain. That's the leaping, you know, from roof." [19:04]

The rooftop serves as a metaphorical space where pivotal moments and memories are forged, reinforcing its integral role in the narrative.

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5. Wardrobe Choices and Character Development

Timestamp: [23:10] – [27:17]

Listener Stephanie Goldstone's question about character wardrobes prompts a discussion on how clothing choices reflect and influence character personas. Thomas contrasts his own and Radnor's styles, noting Ted's "professorial" look with structured blazers:

"Ted has a classic look that never goes out of style season to season." [25:34]

Radnor humorously reminisces about the practicality of changing outfits on set:

"They became like a locker room. [...] We were walking with us we guys would just be disrobing and it was good that we needed that." [27:06]

These sartorial decisions not only define the characters' aesthetics but also subtly convey their personalities and growth throughout the series.

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6. The Purple vs. Yellow Theory

Timestamp: [28:30] – [36:36]

One of the most intriguing segments addresses the fan-driven "Purple vs. Yellow Theory." Although neither host was initially aware of the theory, they acknowledge its role in how fans interpret the show's color symbolism.

Craig Thomas summarizes Claude’s explanation of the theory:

"Yellow is consistently associated with... she carries a yellow umbrella... purple blue tones are frequently associated with Robin." [34:09]

Radnor reflects on the subconscious use of color in storytelling:

"We were very big on color coding characters. [...] destiny, when we think about destiny or fate, we're always looking back and putting some spins on some things." [35:13]

Both hosts express appreciation for the theory, recognizing it as a testament to the show's intricate attention to detail and the depth of fan engagement.

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7. Anecdotes on Casting and Guest Actors

Timestamp: [20:48] – [23:23]

Addressing questions about guest characters like Carlos, the hosts share experiences related to casting and the challenges of fitting guest actors into tightly edited episodes. Thomas recounts working with Jon Bernthal and the inevitable cutting of scenes due to time constraints:

"We had to chop out a bunch of the stuff we shot with him. No fault of him." [22:28]

Radnor praises Bernthal's career growth, illustrating the lasting impact of guest roles and the camaraderie among actors.

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8. Personal Stories and Behind-the-Scenes Insights

Timestamp: [09:16] – [19:04]

Throughout the episode, Radnor and Thomas interweave personal anecdotes, such as their favorite dips reminiscent of their mothers' recipes and humorous exchanges about destination weddings. These stories humanize the hosts and provide listeners with a glimpse into the genuine friendships that underpin the show's creation.

For instance, Radnor shares his fondness for his mother's holiday dip:

"Sour cream with French onion soup mix stirred in. [...] It was my mother's Finest culinary moments." [09:02]

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Conclusion

In "Purple Giraffe," Josh Radnor and Craig Thomas offer an engaging and multifaceted exploration of "How I Met Your Mother," addressing fan questions with honesty, humor, and heartfelt reflections. From dissecting on-screen chemistry and storytelling techniques to unraveling fan theories and sharing personal stories, the episode encapsulates the essence of HIMYM's enduring appeal. Whether you're a longtime fan or new to the show, this episode provides valuable insights into the magic that made HIMYM a cultural touchstone.

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Notable Quotes:

• Craig Thomas: "We got cast because we have a thing between us that is alchemical and mysterious and just works when we're on screen together." [02:28]

• Josh Radnor: "Great decision not to ever talk about jinxed it." [03:59]

• Craig Thomas: "Callbacks come when you're hanging out with a group of people and somebody sparks and realizes this kind of echoes this earlier thing, and you bring it back." [05:50]

• Craig Thomas: "The roof has to be a character, a recurring character." [17:16]

• Josh Radnor: "We were very big on color coding characters." [35:13]

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For More Information:

• Website: howwemadeyourmother.com
• Subscribe to Host's Substacks:
  • Josh Radnor's Muse Letters
  • Craig Thomas's Published Prose
  • My Dead Father Society
• Support the Show: Visit the "Make a Difference" tab on the website to contribute to congenital heart disease research.
• Follow on Social Media: Engage with the community through Instagram and other platforms as mentioned in the podcast.

Transcript

[Josh Radnor]

Foreign.

[Craig Thomas]

Hello, and welcome to another bonus episode of how we made your mother that we like to call general questions. General General questions. I'm here with my friend Craig Thomas. Hello, Craig.

[Josh Radnor]

Hello. Hi.

[Craig Thomas]

And our friend Alec Lev. Hello, Alec.

[Alec Lev]

Hi. Hi. So many.

[Craig Thomas]

Are we loaded up with some general questions about purple giraffe episode two.

[Alec Lev]

We are. So many questions. Hundreds of questions. Keep them coming on Instagram. They're really amazing. And thank you, by the way, to our Instagrammers, who really stuck to questions about Purple giraffe, which is.

[Josh Radnor]

That's the best. Yeah, it needs to be about the episode that's we've discovered.

[Alec Lev]

I'm going to bunch a few together here. But, Josh, this is basically about you and Kobi. We touched upon it on the episode, but people really want to hear about this. So Raven X Moon and Da Superboil ask about this as well as many other people. I'll read Raven X Moons. In terms of your chemistry with Cobie Smulders, this episode really solidifies Ted and Robin's dynamic. How did you and Kobe develop that on screen chemistry so early on? What was that like? And a lot of people also asked, like, what was like to kiss her. Didn't you just meet her? And stuff like that.

[Craig Thomas]

So sometimes people ask questions about. About being an actor that are like, I know that if you don't do it, those are the questions that would first occur to you, like, how do you remember all those lines?

[Alec Lev]

Right.

[Craig Thomas]

But doing it, it's kind of like asking an accountant, like, how do you. How do you do all that math? It's like, it's literally the job. Like, it's actually the job. So Kobe and I never once had a. If you have a conversation about your chemistry, you're killing the chemistry. Like, it's an unspoken. That you trust. We got cast because we have a thing between us that is alchemical and mysterious and just works when we're on screen together. I always felt like we were acting, but I also felt like we were just trying to get as truthfully under the characters as we could. We never once had a talk about it, and I think that was appropriate. I think that was right. We shouldn't be talking about that.

[Josh Radnor]

Great decision not to ever talk about jinxed it.

[Craig Thomas]

I was like, if this isn't working, I assume they'll tell us. But it seemed to be working. I think you have to trust that you were cast. Well, you know. Yeah, sometimes. Sometimes I actually, you know, at this stage of my career, I get offers for things, but every once in a While you. You. If you want something and they don't. They don't think you're right for it, you go in and you read for it. And sometimes I really like that because I want to let people know they hired the right person. Like, I mean, I would prefer offers out there, anyone listening, but. But sometimes you want to go in and. And make sure that you're in a project that wants you and that you're the right guy for the role. You're the right actor for the role. So I just trusted that I was right for the role. I knew Kobe was right for her role. And I think we were just trying to be as honest as we could. I don't think there was much that went into it. I mean, also, kissing another actor is also feels curiously like just another day's work. Like, I don't mean to. I like, you're. You're. You're. You're really kissing. Like, you're not fake kissing, but you're. You know, I adore. At that time, it was her new boyfriend and now her longtime husband, Taryn. It's like you don't have any illusions that you're actually going through these things. You're really doing a job. And I know that sounds kind of unsexy and maybe disappointing to people, but it's just the truth. You just. You just do it, and. And you. You. You laugh in between, and you move on with it.

[Josh Radnor]

You know, here's your proof that it did, in fact, work. We milked it for nine fucking years. So it did. The dynamic did work. Just in case you're.

[Craig Thomas]

I'll tell you a funny story that I read. I read this great story. It was an interview with Emma Stone in, I don't know, Vanity Fair or something. And she's a younger actress. I think it was before she had kind of had her maybe big breakthroughs or whatever with Easy A or whatever, but she was doing a movie with Jeff Bridges, and she. Not Jeff Bridges, Jeff Daniels. And she had to cry. She thought she had to cry in this scene, and she couldn't cry. She couldn't get the tears. So he saw her afterwards, and she was devastated. She was so upset. I blew it. What's wrong? I didn't do it. I didn't cry. And he said, emma, you're not supposed to cry. The audience is supposed to cry. They're gonna put some strings on the scene, and everyone will cry. Like, don't worry about it. It's not your job. It's the audience's job. And I kind of feel that way about, like, romantic scenes. And so it's like, yeah, I throw myself into it and I'm doing my best. But you're the one that has the emotional responses, the audience more almost than me. I hope that's not devastating to people to take away some of the mystique, but that's it.

[Alec Lev]

Tallyriwi asks Craig. I love how the ending bar scene of the episode Rewind a Date Night was called back in the series finale. Not much of a spoiler. It's a line. The show was masterful at callbacks. How did you keep track of things that you referenced that you were to later bring back in future episodes?

[Josh Radnor]

I think it's what Josh just said about kissing. You sort of have to not overthink it and not force it. I think those things come to you in the moment organically, like calling back a joke with a friend in a conversation. And you go, that feels right. Let's do it. We didn't have some file that was like, we should call all these things back. Let's keep a running list. It's like if it came to you in the moment, because a writer's room is, you know, is an improv game, right? You're in this room with all these people trying to go line by line. Especially when you're punching up the script. The script is on a comp. Bunch of computer screens around a table. You're looking at the lines all together. You're kind of riffing in character, right? You're kind of trying to think of what this character might say. And you need people who can kind of inhabit that and call that stuff out in real time. Obviously, there's also the writing by yourself in a room part of the process, too. But I think those callbacks come when you're hanging out with a group of people and somebody sparks and realizes this kind of echoes this earlier thing, and you bring it back. And I think it's, again, something you almost don't want to pull too many threads of. It always feels like a gift when you think of a really good callback, because it's kind of a free joke, because it's kind of already the joke you set up. But if the best callbacks twist it a little bit or reframe it in some way. And this episode Purple Draft is. It's all callbacks, because, again, it is this kind of Groundhog Day structure where you're kind of reliving the same party, although the party gets worse and worse and worse. But that's True of Groundhog Day, too. So it's great. I feel like Ted had this. Maybe an episode we should do. This would be an interesting statistic. Is this the highest rate of Ted saying the same line over and over and over? Because Ted has to say. Ted says. So that was Robin. Ted says. There's a bunch of repeat lines and callbacks, and they get funnier and funnier the more times they happen. And this episode was a great example of that. And I think it just. The form. The form dictated it. The three parties dictated callbacks.

[Craig Thomas]

Would you also say, Craig, like, you have a writer's room, you also have, like, writers assistants who are, like, jotting down everything and keeping track. Like, you have a kind of hive mind. Right. Like, that's.

[Josh Radnor]

Yeah.

[Craig Thomas]

It's bigger than just your brain.

[Josh Radnor]

Yeah. And that's. I feel like I can't say that enough times on this podcast just how brilliant our writing staff was and our writers, assistants or script coordinator. Like, everybody. Everybody was. There was a mind meld. It was a hive mind. And people would throw stuff out. And also, like, you guys on the stage would think of things. Pam Freeman would think of stuff as a director. And, like, what if we echo back this moment? Like, you have a big safety net. You have a lot of layers of people who can think of those moments, too, and help out and everybody. There was such an immersive feeling to the creative team behind How I Met yout Mother was a really. We were all sharing the same delusion in the greatest possible way. We were all, like, living in that universe, feeling like we were. We were part of it. And those callbacks just come. Those great moments come back organically in that setting.

[Alec Lev]

There are a lot of questions, and you can take them as you will. That, of course. Want to hear a little bit about your real life and how it connects to characters or story or theme. Like andrenash777. Who'd like to know your favorite kind of dip?

[Josh Radnor]

Ted does.

[Craig Thomas]

Talk about it.

[Josh Radnor]

My favorite kind of diploma.

[Craig Thomas]

I mean, probably. My mom makes this. She used to make it for, I think, Thanksgiving. But, like, that spinach artichoke thing, which is mostly cheese.

[Josh Radnor]

That's a good one.

[Craig Thomas]

With some Triscuits. Come on.

[Josh Radnor]

Oh, yeah. Oh, yeah.

[Craig Thomas]

That's delicious.

[Josh Radnor]

That is delicious.

[Alec Lev]

Oh, yeah.

[Craig Thomas]

Final answer.

[Josh Radnor]

Oh, no. For me, my mother would make for holidays, sour cream with French onion soup mix stirred in. And that with a couple carrots and maybe a couple Triscuits, was heaven on earth. It may have been. It's my mother's Finest culinary moments.

[Craig Thomas]

You know what? We both referenced our mothers.

[Josh Radnor]

We did. Oh, my God. It's thematic.

[Alec Lev]

Let me do an easy one for you, Josh. Again, imagine people who don't know the way TV shows are made. Jessica wallacexox would like to know what you are drinking at the bar, assuming it is not actually beer.

[Craig Thomas]

So when it was bottles of beer, it was always water, because they were like. You couldn't see, you know, they were either green bottles or brown bottles. So it was. It was almost always water. And then the fake beer was fake beer. Right? Like, wasn't it just, like, fake beer?

[Josh Radnor]

You tell me. I kind of. I'm actually.

[Craig Thomas]

I don't even remember. We need to get to the baker on the show. Was it fake beer?

[Josh Radnor]

Was it like.

[Craig Thomas]

I think the wine was grape juice. I mean, the only time we had real booze was at the close of the pilot. We drank champagne to celebrate. But the rest of the time, I mean, we were in the middle of work days all the time. Like, no one was.

[Josh Radnor]

It would have gone very, very poorly.

[Craig Thomas]

It would have gone badly. We were already too anarchic, you know?

[Josh Radnor]

Yeah.

[Craig Thomas]

And I wrote you this little ditty to sing to you in New York City. Craig, I'm wondering if you could help me out with something.

[Josh Radnor]

I would love to help. What is it?

[Craig Thomas]

Yeah, I just. I need to talk this through with a friend. I have a bit of a dilemm. I've been invited to a destination wedding.

[Josh Radnor]

Oh, boy.

[Craig Thomas]

You know what I'm saying?

[Josh Radnor]

Yeah. Yeah.

[Craig Thomas]

Where it's like. And it's that perilous moment where you're like, if I travel to. In this case, it's Paris. They're getting married in Paris.

[Josh Radnor]

Ugh. The worst.

[Craig Thomas]

I know.

[Josh Radnor]

I see your problem.

[Craig Thomas]

I know. But it's the kind of thing where it's like, if. If I kind of orient my summer plans around going to this wedding in Paris with Jordana.

[Josh Radnor]

Yeah.

[Craig Thomas]

I love this guy, by the way. I just want to say, Ian, if you're listening, I love you. I want to be there. But it's also like, a destination wedding is such a big ask.

[Josh Radnor]

It's a huge ask. It becomes a weird friendship test. I know. You just said you reassured Ian in the middle of this conversation. Very natural conversation we're having. And he knows you love him, but it is a friendship test.

[Craig Thomas]

It is a friendship test because it's like, I want this guy to. I want to stay in his life. I want him to stay in my life. And it also feels like if you go to the wedding in Paris. You are saying, I believe in you, I believe in this friendship, I believe in this marriage. But also, when you don't go, you're not saying the opposite of those things you're saying. Do you know what I'm saying?

[Josh Radnor]

Or are you.

[Craig Thomas]

Or are. Don't listen to him.

[Josh Radnor]

Don't listen to me, Ian.

[Craig Thomas]

I got one foot in Paris this summer and one foot out. What do you think you spent some time in. In the.

[Josh Radnor]

Oh, my God, Paris is my favorite. I've lived there for three months. One time. You gotta go. You should go.

[Craig Thomas]

I should go.

[Josh Radnor]

Show Ian the love. Show Ian the love. Show the belief in love. Look at what we were, a TV show about love.

[Craig Thomas]

If we go, we're going to link it towards some other Europe time that we haven't quite determined. What.

[Josh Radnor]

Well, we are all big fans of France. Alec, did you also spend some time recently?

[Craig Thomas]

We forgot. This is why we don't ask him about this.

[Josh Radnor]

We should not ever talk to Alec. He only speaks French. Even if it's not related. Even if we haven't brought up France, he just, just launches in. Do you. Okay, where were you? Could you say it in English? Where you were in France?

[Alec Lev]

Just. I stopped through Paris and I could tell you after 12 hours there, recommend.

[Craig Thomas]

Yeah, yeah, yeah, solid. When I think about that area of the world, I only want to go to Greek isles. Like, that's the thing where I want to sit on a beat. I want to go to tavernas. I want to have a local family, cook me meals, olives, anchovies. You know what I'm saying?

[Josh Radnor]

Like, yeah, yeah, I thought you meant you want a family there like you wanted.

[Craig Thomas]

No, no, I want to have. I want to have a second family in Greece. I've talked it through. I've talked it through with Jordana.

[Josh Radnor]

The only trip I want. She's cool with it.

[Craig Thomas]

She's fine with it. She's fine with it.

[Josh Radnor]

Well, during all these travels, guys, during all these travels, what's happening to your place back home?

[Craig Thomas]

It'll just be sitting here, you know.

[Josh Radnor]

Just sitting there doing nothing. Alec.

[Alec Lev]

Oh, it sat here. It was lonely. It was lonely.

[Craig Thomas]

We just burn in piles of cash just doing nothing.

[Josh Radnor]

You're wasting a huge opportunity. While you're away, both of your guys homes will be empty doing nothing. Right?

[Craig Thomas]

Yeah.

[Josh Radnor]

You could host your place on Airbnb.com and make some extra cash.

[Alec Lev]

Oh, sacre bleu.

[Josh Radnor]

I tell you, you could have been making money. You could have been making money to pay for these. These Glamorous trips. Your home could be worth more than you think. Find out how [e-mail] host.

[Alec Lev]

This is a matter one, underscore generic underscore asks, was there any difference between the mood in filming the pilot and the mood filming this episode? 2. Purple Giraffe. I always imagine that's the kind of real pilot. Since the show's been picked up at this point, we talked a little bit on the full episode about how you as a person were sort of handling this. Do you remember? Can you feel what it was like being on that set together of like, oh, we're doing it. We're doing this show.

[Craig Thomas]

I think. I think when you're shooting the pilot, you're like, this might just be a great week we all spend together.

[Josh Radnor]

Yep. Yep.

[Craig Thomas]

Like, just one week of our lives. That's kind of fun. And then maybe we'll run into each other years later or work together again once the show is picked up and you're like, okay, they want 13. We'll see how this goes. There's at least the feeling that you can breathe a little deeper, that you. That you can settle in with these people a little. Like, okay, it's gonna be a couple months at the very least. So I don't know. What do you think, Craig?

[Josh Radnor]

Yeah, I mean, my mind goes immediately to, like, should we put up posters in the office? Should I bring in family members? Yeah.

[Craig Thomas]

How much do I move in?

[Josh Radnor]

How much do I put in this desk? How comfortable do we get? And I think there was a little bit of that. There was trying to figure that out. A pilot is inherently not that it might just be a week. Like Josh said, we knew we had 13 of them. We know we had one plus 12. And so you're trying to believe it's going to go and go and go, and you're trying to sort of invest in. Like you're trying to feather this nest, that the intention is to spend at least 100 episodes and it turned out to be more than double that. But I remember that it's a dance. It's a dance. How do I act like these are my people? Are these my people for the next decade of my life, or are these gonna become my family? Do I let myself.

[Craig Thomas]

I mean, in that way, do I.

[Josh Radnor]

Trust fall into that?

[Craig Thomas]

It's like a relationship. It's like, okay, I'm excited about this relationship. I don't wanna get too excited about. Could blow up in my face. It could be taken away from me immediately. So you're trying to Be judicious with your emotions. I think in some ways it's a hope test.

[Josh Radnor]

It's kind of like the Shawshank Redemption. Like the philosophical. Is hope a good thing or not? Can you allow yourself to hope? And I remember feeling very full of hope and very excited. And yet there's that neurotic part of my brain. It's like, don't lean into it too much. It could all disappear. But mostly I remember feeling like this feels right. This feels exciting to go.

[Alec Lev]

A lot of people would love to hear about the roof in many ways. Underscore less way and swirling memes. By the way, shout out to swarthy Memes, who does a huge account on. On Instagram.

[Craig Thomas]

Great.

[Josh Radnor]

On Instagram. And follow that if you're a Himym fan. Yeah, that's a great one. They've been really supportive of the show.

[Alec Lev]

And Matteo aaa, they want to hear all about the. The roof. Did. Did either of you have something you'd equate to the roof? What was the inspiration for the roof? And did you ever do anything crazy for someone like Ted did for Robin? I know we're getting sort of personal questions here, but does that spark any. Anything this. This nutty idea of this special place, the roof, and why you chose that as a New Yorker, perhaps? Rooftop, please.

[Josh Radnor]

Yeah, I mean, for the choice from a writing perspective was we wanted it to feel like New York. We thought of that rooftop set as like a go to, like a semi regular set. So we really sweated, like, we really like. And again, our dp, our cinematographer, and our set designer, Steve Olson, we said, we're gonna be here a lot, spend some time on this. Really, you need to design this. This is going to be a regular place that we go. And it was. Because we've all been to those rooftop parties in our 20s, we wanted it to feel like you're up on the. You go up on the roof in New York City and things just feel magical. It just does. There's something that happens. It's like you've climbed through some portal into some other place. And there's something magical about being in a roof in New York City. It doesn't matter where. If it's a fancy building, if it's the exact opposite. There's something about being a roof in New York that is so evocative of your youth and your 20s in New York. And we couldn't get to that roof fast enough. If we could have got it in the pilot, we would have got there. But episode two, we're like, we are getting to that roof in these parties.

[Craig Thomas]

There's also something about living in New York. Like, any sort of roof space is, like, really fancy and luxurious. There's chimneys and air conditioning units up there that are loud and annoying. I remember, I think it was Seth Meyers, like, last special where he talked about, like, we have a nice New York apartment. If you're not from New York, you come over and you go, this is a nice apartment. If you are from New York, you come over, go, this is a great apartment. You know, there's like, the standards of, like. So we have outdoor space. Like, if our outdoor space in Ohio would be not that impressive, but in New York, it's quite lovely. And I think, like, it's a very. It was a very specific New York rooftop where it's like, you gotta climb out on the fire escape. Like, it's not.

[Josh Radnor]

It's a little bit dangerous to get up there.

[Craig Thomas]

Yeah, it feels a little bit like.

[Josh Radnor]

But once you're there, if you're too.

[Craig Thomas]

Drunk on that roof, you gotta be real careful.

[Josh Radnor]

Yes.

[Craig Thomas]

It's so true.

[Josh Radnor]

There's danger. It's a little gritty. There's a little danger, but it's magic. And I remember it being very important to us. Like, you have to see sky. We wanted that feeling of seeing sky because out the window of the hero apartment of, like. Of Dead and Marshall and Lily is you see a building across the way. Because we didn't want it to be like, you know, there was always that thing of, like, how could they afford that apartment on Friends? You know, you see, with that, like, great view out the window of sky, we thought, this is. We'll go realistic. Carter and I lived in an apartment in 75th street when we used to ride for Dave Letterman. You looked out the windows and you saw buildings. It was not high up, it was not fancy. We said, let's go for that move. And Steve Olson wanted to do that too. He was like, they live in an apartment that just looks out at buildings. So he said, but we need sky. We need to see skyline. We need that magic New York City rom com skyline. So he said, if there's just buildings out the window of the apartment, the roof has to be. The rooftop has to be a character, a recurring character.

[Craig Thomas]

And the roof becomes an important playing ground. You know, that's where Ted howls at the heavens and makes it rain. That's the leaping, you know, from roof.

[Josh Radnor]

To roof, whatever that. Yeah, yeah, the leap. In the finale, they're up on the roof, like, that roof is such a character in the show and so much of so many of their memories take place up there.

[Craig Thomas]

It's great.

[Josh Radnor]

Yeah, Ted and Robin have so many great moments up there.

[Alec Lev]

Okay. A lot of people just wanted to mention, of course, Carlos. I'll say Kyle Valo too, mentioned, like Carlos. Look what he became. Just talk a little bit, Craig, about casting, about casting, about casting people who are there for a day or two and what the process of that is like.

[Josh Radnor]

Well, it's a funny process because you want to get someone great for this side part and you have this foolish optimism that the episode won't be wildly long and you'll keep all of their jokes in episode two of any show. You're just trying to sell the audience who these five characters are. And it's such a disservice to the other side actors in that episode, one of whom happens to be Jon Bernthal, who's gone on to have a huge career. And he's great. And we had to chop out a bunch of the stuff we shot with him. No fault of him. There was bits for Carlos. There were more things for Carlos in the episode. And the first cut of the episode was, you know, one third too long. It was, you know, 30 minutes. It should have been 20 minutes, basically. And Carlos had to suffer and lose a bunch of his jokes. And that is just. That is a really good example of one of many of how we were just finding the recipe for this thing still, right? A pilot. You have four days to shoot a pilot. And how much mother wince. We're in series. We shot these episodes in three days. Almost always the pilot, because it's a pilot and you're finding it. You want more time, you do four full days. This was us doing the first three day shoot. You got to get through that shoot that much faster. It's a day shorter than the pilot. And then you have to edit it and turn it around and post it and get it to be exactly the right time in a hurry. And we learned that lesson the hard way. And we learned it over and over again. The whole series. Every episode of this podcast, you will hear me say, I wish we had five extra minutes. We cut this thing. We cut that thing. We never fully learned the lesson. We always overshot. So we got a little better as we went. But that's so Jon Bernthal. Great. And he's wonderful. And apologies to him because we certainly had more good stuff of his. And we had to, of course, focus on our five characters.

[Craig Thomas]

And John was. I remember him back From New York. Even in la, we, I think, got out of school around the same year. And when you. When you get. When you have a good enough agent, you end up on this kind of audition circuit for all these shows, for all these movies, and you end up in the. These waiting rooms with your. The same guys who are like, in your class. I was in so many waiting rooms with John that we ended up having like lunch once or twice just because we were leaving at the same time. So when he came back on the show, I was like. He was like my old friend from my auditioning days.

[Josh Radnor]

I did not know that. I remember. Yeah.

[Craig Thomas]

Yeah. But it's so. It was so fun to see him and it's been so great to watch him, like, have such a killer career. He's a great actor.

[Josh Radnor]

No, I'm so happy for his career because he's really charismatic and interesting and of course, people found that over and over. And he's had a huge career since then. It's great.

[Alec Lev]

Josh, I was gonna say, are we gonna talk about acting process? But we've got 207 more of these to go, so I hope we do. I'm gonna tie this question into that, if I could. Stephanie Goldstone asks about the wardrobe choices of all the characters. She talks about Barney and his suits. We talked a little bit about suits in the last episode. And we'll talk more suits, I'm sure, in the future for you. Josh, can you talk a little bit about Ted's wardrobe, Ted's costume, and what that does for you as an actor, how much it influences you? Like, yeah, let's put it on. Or is like, oh, oh, it's this. Now I feel a new thing.

[Craig Thomas]

Yeah. I mean, it's interesting in a show that is set, you know, in the modern. I mean, it was. It's a flashback show, but it was like. It was. We were playing 2005 as 2005. Right. So I did notice that Ted's blazer had a real strong shoulder. Like a real structured kind of shoulder. I think, you know, I am a weird, strange. Like, I did this show Hunters on Amazon, and I was playing like a 1970s coked up movie star, Nazi hunter. And I WORE Outrageously cool, interesting, 70s wild clothes. But it was because I was in the character of that. Like, I could never pull off those clothes in my life. But I could as the character because I was playing Ted, who was more. He was like closer to me, like biographically and age wise. And even his sense of style, I never drifted that far from My own sense of style. However, I think I'm a little, like, sloppier than him. Like, I, I. He was more, like, buttoned up than me. Like, the, I mean, obviously, it's tv. It's always ironed or whatever, but, you know, he wore. He wore blazers. There was something always, like, professorial about his look. What's that line that, really. It was in the Mandy Moore episode. You'll remember this, Craig, where Barney has a thing like, Ted has a classic look that never goes out of style season to season. Or do you remember when he, like.

[Josh Radnor]

Talked about Ted' wardrobe? Yeah, yeah, yeah, we'll see it soon. I don't remember verbatim, but, yes, I like that line. Yeah, we'll get there.

[Craig Thomas]

But I think there was something. He's not the most adventurous guy when it comes to his sartorial choices. Is that the right word?

[Josh Radnor]

Very good word. Extra point.

[Craig Thomas]

Yeah. But I thought I, I, I, I never would wear something that I. That was out of the question that I would wear. Although sometimes you look back, you're like, that's a dated shirt.

[Josh Radnor]

Like, I see some. I'm gonna see them.

[Craig Thomas]

There was a phase where they were putting Lily and Robin in kind of, like, a lot of, like, satin tops that they kind of rebelled against. And then they were putting a lot of, like, Western shirts.

[Josh Radnor]

Like, sometimes, like, a Western thing.

[Craig Thomas]

There was a little Western thing going on.

[Josh Radnor]

Like, I feel like in season two, there was a bunch of that.

[Craig Thomas]

It was season two shirts that are.

[Josh Radnor]

Kind of, like, bold, weird, like, designs down, like, one half of it.

[Craig Thomas]

Yeah. And I was always, okay, I'll trust them. But then I look back, and I was like, I think we're gonna.

[Josh Radnor]

I think there's gonna be some. Some tough moments coming up for us on this podcast, rewatching some of those. But some of, you know, you find.

[Craig Thomas]

You find you have so many clothing changes. So, like, me and Jason, like, we would wear the same pants for, like, a whole episode. Like, the same jeans and shoes. So we would just change out our shirts and put on, you know, like, we change on set. Like, you just start changing in front of everyone because you don't want to walk all the way back to your dressing room.

[Josh Radnor]

Siegel didn't go to his dressing room once, and Seagull never went to his dressing room.

[Craig Thomas]

It constantly changed in front of everyone.

[Josh Radnor]

Yeah, totally. It became very. Yeah, it was very much like a locker room.

[Craig Thomas]

No one batted an eye walking with me. And shirts.

[Josh Radnor]

No, it became so normal that you guys would just be disrobing and it was good that we needed that because we had so many fricking scenes and flashbacks and jump arounds. It's like, I'm not gonna change my pants for this one.

[Craig Thomas]

Jason always said in real life I.

[Josh Radnor]

Wear the same jeans.

[Craig Thomas]

Jason always said the most thing he was most impressed with by me was when we would wear suits or I had to put on a tie that I could put on a tie without a mirror like that. I could just put on the tie just standing there. And he was absolutely floored by it.

[Josh Radnor]

Oh, my God. That's really funny. It's really funny.

[Alec Lev]

Let me ask you about Jason and Ally or about Marshall and Lily. This is even more so, I'd say, than the first episode though, tied to it. I think both the first instant episodes gives you. They're giving you little flavors of these two. And it's a very different kind of television relationship that it's young but very established, you know. Now they'll go through their rocky times, but often they'd be the Sam and Diane character. They'd be the let's get these two together that you're starting with them. Not just kind of together, but deeply together, but very young. And also the show is very sexual and very filthy right from the beginning. But we're just getting hints of them. Can you talk a little bit about Marcel and Lily and where they were in the pilot? How are you starting to think about them here in episode two?

[Josh Radnor]

We liked the idea of showing a couple that really enjoyed each other. And it was not the Bickersons. It was not. They're going to be fighting. You're going to watch them having these marital spats, but then in the end they make up. Of course that happened. Things like that happen sometimes in the show. But we thought the default setting for these two is they love each other. They're partners in crime. They're going to go through stuff together. They're going to be on the same page a lot of the time. They're going to genuinely be amused and delighted by each other. Let's have the fuel for them be they have all of this history and they want Ted to catch up to them. They want Ted. They also. They want Ted to find the right person so they can double date. They want Ted to find the one for their own selfish reasons of having people to double date with. Because this was true. My wife and I got together very young and you couldn't find anyone to go out with on a double date because everyone's love life was in fucking Shambles because they were 25 and we'd been together since freshman year at Wesleyan, and it was really hard. We had. We. You rooted for couples to survive and last. Like, they seem cool. I hope they stay together. I want. I want them to be like our couple friends. And then it wouldn't happen.

[Craig Thomas]

There's something funny about when you become. When you. When you find the person you really want to be with. It's such a big thing that's been kind of solved. I don't know if that's the right word, but it's like, it's. It's one of the biggest choices you make, and you have all this energy that used to go into searching or, you know, even, like, your social energy is mostly predicated on maybe I'll meet someone. And then we meet someone, and you're like, it's 8:30. Let's get into bed and read. Like, that just happens very quickly. But there's something funny about the energy that it gets put into. Like, who can we set our friends up with? Like, for some reason, couples love. Like, Jordana and I do this. We're like, what about so and so? Like, you turn into these yenta matchmakers immediately when you. When you get married.

[Josh Radnor]

It's a zombie movie. Zombies want to make more zombies. That's not the most flattering thing I've ever said about couplehood, but you know what I mean. You want company?

[Craig Thomas]

Yeah.

[Josh Radnor]

And it's.

[Craig Thomas]

No, it's true. I also thought one of the great things. One of the great visual metaphors for Marshall and Lily was the no look. High five.

[Josh Radnor]

Oh, yeah.

[Craig Thomas]

Yeah.

[Josh Radnor]

It's a great. That is. That's a metaphor for the relationship. It's really true. Anytime we could write a joke where the joke implied shared history, like the. The bunk bed joke in the pilot or even guys bound that joke in purple giraffe. Guys, boundaries. I loved how you delivered that, Josh, because it was like, Ted has had to say. Ted has said guys, boundaries hundreds of times to them over the past six years of knowing them or however many years more.

[Craig Thomas]

Yeah.

[Josh Radnor]

And I love jokes that imply that history. And they are the parents. They are the parents. That the kids are grossed out, that the parents still like each other. Ted is the kid. All the other friends are the kids. And they're like, oh, God, I think our parents are still fucking. This is terrible. And it's like. But they love each other. God damn it. It's a good thing.

[Alec Lev]

Now, I have to say that the. By far, the. The most questions came in on something we, we touched on in the, in the, in the original episode, in the real episode, about this episode. But let's talk about a little bit more and I'll expand it out a bit. I'll give Flynn Hegney the question. This was the start of the purple versus Yellow theory. Can you explain it? So I'm sure you've heard this phrase before online, the purple versus Yellow theory, that this is a, that this is a thing. And you talked a little bit about in the episode we released a couple days ago, about the difference between the fans experience of the show and your experience of writing it and of creating it, and especially this many years on. I find this really interesting that it's. I don't wanna say. Of course it's okay. It's not just okay that the fans are creating a mythology or finding a mythology or asking important questions, but it's the whole, it's the whole point of it. It's the whole point of hanging the picture, the art on the wall. The artist doesn't get to hang out and tell people, no, no, no, it doesn't mean that it's this. Yeah, that's what they're there for. But can you talk. Everyone wants to know about it. Everyone wants to know the purple versus Yellow theory. But then expand that out to just how you were seeing things from the inside.

[Josh Radnor]

Can you lay out what this person's.

[Craig Thomas]

I don't know what this theory is.

[Josh Radnor]

Just I've heard some talk of it, but I don't, I don't know that I have my mind all the way around it.

[Alec Lev]

I think that actually that, that, that's an important thing. I don't either, but there are dozens, if not hundreds of questions that simply put it out that way, it's over and over. It's the purple versus Yellow theory. This is the beginning of the purple versus Yellow theory. So I guess this, that almost answers the question.

[Josh Radnor]

Well, I think we have to study up because I've heard it talked about and I think I've like looked into people's descriptions of it before. But it's definitely, it's definitely something people are retroactively putting on the show. I love it because I think that destiny, when we think about destiny or fate, we're always looking back and putting some spins on some things. Right? Some of it was actually things we made happen. Some of it was some magical spark in the universe. And I also think you write things and you don't fully know what they mean when you write them and you look back on it. And you're like, oh, there was a lot of examples of this one phenomenon happening or this color popping up. Or if you think about it, this color attracted this color and this thing didn't. This repelled. And like, there are these weird laws of physics that emerge that you don't necessarily intend as you're writing it, but there's something to it. It sounds very woo woo, but there is.

[Craig Thomas]

I know what you mean. Your brain, your subconscious is doing things you're not quite consciously aware of. But let me. I just asked Claude. Can I tell you what Claude said?

[Josh Radnor]

Please.

[Craig Thomas]

I said, what is the purple versus yellow theory for How I Met yout Mother Fans? Claude says, let me address this while keeping in mind it's a fan theory from How I Met yout Mother. The purple versus yellow theory relates to the color symbolism used throughout the series, particularly regarding the mother and Robin. Throughout the show, yellow is consistently associated with. She carries a yellow umbrella, has yellow buses in important scenes, and is often shown with yellow imagery. Meanwhile, purple blue tones are frequently associated with Robin. She often wears these colors and they appear in scenes focused on her relationship with Ted. Fans noticed this color coding and developed a theory that the show's creators deliberately used these colors to subtly hint at the series eventual ending. This color theory gained particular attention after the series finale as fans looked for clues. Okay, we won't go into that. I should note. Claud says I should note that while I strive to be accurate in my response, since this involves fan theories interpretations, this may have evolved in online communities. You might want to verify specific details with himyum fan communities or official sources. We're official sources, right, Craig?

[Josh Radnor]

We are. I think we count as official sources. We can. Well, we can verify that we weren't so clever as to think ahead of time. This will be this long game, this incredibly thought out long term plan. But certainly we were very big on color coding characters.

[Craig Thomas]

Well, in some ways this theory is a testament to all these other Easter eggs you put throughout the show because people like you really did bury a lot of interesting stuff in there to be kind of for people to make connections and have these aha moments around. So of course it would lead to them thinking, well, yeah, they color coded the two women.

[Josh Radnor]

Yeah, yeah. And we did. I mean, ultimately there was this kind of like yellow, bright, shiny thing that Ted was chasing through New York and seeing glimpses of it. And it was. And it was like that was her energy. And also Robin, who had a very different energy than a different kind of place in Ted's life and was these sort of different colors.

[Craig Thomas]

I would just say we endorse this theory. Like, I'm a fan of the theory. I like it. I just don't know.

[Josh Radnor]

I like this theory. I like how it emerged more subconsciously than as some big plan. But I think there is very much something to the theory.

[Craig Thomas]

I am guilty. Please acquit me. All sins are forgiven in New York City.

[Alec Lev]

How We Made youe Mother is hosted and executive produced by Josh Radner and Craig Thomas. The show was produced by me, Alec Lev and our co producer is Doug Matica. Our audio producer and mixer is Alex Reeves at Point of Blue Studios. Artwork by John Morrow. Please follow rate and review the show on Apple Podcasts or your podcast player of choice. It really does help the show. Our theme song is NYC by our own Josh Radner. Special thanks to Lola Kennedy and Elliot Connors. Visit how we madeyourmother.com to sign up for our Substack mailing list and for links to our social media. You can also click on the contact page to send us an email or a voice message. Your stories and questions are an important part of the show. Subscribe to Josh Radner's Muse letters on Substack, read Craig Thomas published [e-mail] and you can subscribe to My Dead Father Society, also on Substack, to learn about how you make a difference. This show's ongoing campaign to raise money for congenital heart disease research. Check out the Make a Difference tab at the top of our website. This episode was made possible by the support of Backyard Ventures Marketing provided by Tink Media. People will, in fact dance the real.

[Craig Thomas]

Question it just hit me. Am I in love with you or just New York City?