S3E2: "Only You" with Jim Charleston

Summary

Northern Disclosure – S3E2: “Only You” with Jim Charleston

Evergreen Podcasts – September 16, 2025

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Overview

In this episode of Northern Disclosure, hosts Rob Morrow and Janine Turner reunite to revisit “Only You,” a classic episode from the beloved ‘90s series Northern Exposure. Joining them is special guest Jim Charleston, who served first as assistant director and later as director on several episodes of the show. Together, they reminisce about on-set stories, the nuances of TV production, and the enduring quirks and charms of Cicely, Alaska. The discussion offers a heartfelt, insider’s look at how the iconic show came together, from cast chemistry to the unsung heroes behind the scenes.

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Main Themes & Purpose

• Deep Dive into “Only You”: Dissecting the plot and performances in the episode.
• Behind-the-Scenes Insights: Sharing production anecdotes on everything from scheduling and set design to wrangling extras and animals.
• The Role of the First Assistant Director: Spotlight on Jim Charleston’s vital role in shaping the mood and success of Northern Exposure.
• Celebrating the Legacy: Reflecting on the relationships, serendipity, and artistry that have ensured the show’s lasting appeal.

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Key Discussion Points and Insights

Intro & Banter [03:00–05:00]

• Rob and Janine open with warm banter about the weather, audience feedback, and the pleasure of reconnecting with cast and crew.
• Standout Quote:
  “He was the first face you saw, and he went out of his way to make sure we all had what we needed... Jim was just a great, great leader.” —Rob [03:18]

Episode Synopsis & Cast Reflections [04:00–07:15]

• Recap of “Only You”: Written by Ellen Herman, directed by Bill d’Elia. Maurice is angered by an unflattering photo, Maggie faces evidence of aging, and Joel investigates Chris’s “animal magnetism.”
• Rob and Janine reminisce about specific scenes—especially Maggie’s eye exam and their playful, improvised exchanges.
• Notable Moment:
  Janine recounts getting her first gray hair around the time of this episode, paralleling Maggie’s storyline.
  “I literally became like Maggie... my mother never had gray hair, her father never had gray hair. There must be something wrong with me!” —Janine [08:09]

Chemistry & Parallels with Real Life [09:11–10:34]

• Hosts discuss synchronicity between actors’ real lives and their characters, including career and personal growth.
• Rob describes the casting process as almost fated:
  “There’s definitely a kind of synchronicity to a lot of jobs I end up on, certainly on Northern Exposure.” [09:27]

Favorite Scenes & Thematic Depth [11:27–14:38]

• Janine’s favorite: Emotional confrontation between John Cullum (Holling) and Barry Corbin (Maurice)—praised for lighting and understated emotion.
• The opening long dolly shot of Chris (John Corbett) walking through town and greeting admirers stands out for its fluidity and energy.
• Memorable Reflection:
  “People say the devil’s in the details. I say God is in the details.” —Janine [13:27]

The Role of the AD – Jim Charleston Joins [15:32–23:15]

• Jim describes the AD’s job: coordinating everything from schedules to extras to ensuring smooth operations without losing composure.
• The “sergeant” analogy:
  “I always said that the AD was the sergeant.” —Jim [16:12]
• Details about timetable negotiation, call sheets, and how actors would lobby for later call times or days off.
• Funny Moment:
  Rob admits to negotiating makeup time down to “eight minutes” by the end of the series.
  [22:43]

From Assistant Director to Director [25:22–29:48]

• Jim’s path: Started as AD, then moved to directing six episodes, learning through “osmosis”—on-set exposure to directors and production challenges.
• Insights into continuity, blocking extras, and avoiding continuity errors with background actors.

The Art of the Dolly Shot [47:30–50:25]

• Technical breakdown of the signature dolly shots on Northern Exposure's main street, and the transition to Steadicam use.
• The physicality and coordination required by grips like J.C. and George San Pietro.
• Notable Quote:
  “It’s a real ballet.” —Rob [12:54], referring to orchestrating extras and timing movement.

Iconic Moments & Episode Structure [29:49–46:57]

• The Rashomon homage—retelling events from multiple perspectives—highlighted as a thematic device.
• The “Flinging the Piano” story (from another episode, “Burning Down the House”):
  Jim describes building a real trebuchet, flying an expert from England, and directing actor reactions with only a broom as a reference. Extras collected piano pieces as souvenirs. “The reactions were all great, and then... when we actually did fling the piano, everyone’s reactions were five times bigger.” —Jim [43:41]

The Culture of Respect on Set [35:59–36:12]

• Contrast between Jim’s calm management and other, more authoritarian ADs.
• Hosts’ Appreciation:
  “I think the first AD is the one who sets the tone... and you just set the tone incredibly beautifully.” —Janine [35:59]

John Cullum Anecdote [31:45–34:03]

• Jim shares a moving story: John Cullum sang “The Impossible Dream” over the phone to his mother-in-law in the hospital, exemplifying Cullum’s generosity both on and off set.

Set Design & Artistic Choices [42:18–43:59]

• Janine points out set details that enrich the show’s world, like the Matisse painting in Chris’s trailer, reinforcing character themes visually.

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Notable Quotes & Memorable Moments

• Janine on Aging:
  “Oh, thank you. And the line, ‘I’m not 30. I’m not even close to 30. I’m 29.’” [06:10]
• Jim on Teamwork:
  “The dedication, the talent that the actors and energy and professionalism brought to the show were such a gift... would not have been the same show.” [28:13]
• Rob on Love’s Subjectivity:
  “Love is in the eye of the beholder. Love looks not with the eyes but with the mind, and therefore is winged Cupid painted blind.” (quoting Shakespeare) [52:00]
• John Cullum’s Song:
  “Wouldn’t you know it, he breaks into song and sings The Impossible Dream.” —Jim [33:15]

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Time-Stamped Highlights

| Timestamp | Segment/Topic | |------------|---------------------------------------------------------------------------------------| | 03:00–04:00| Rob and Janine introduce Jim Charleston | | 04:00–07:15| “Only You” recap and on-screen chemistry | | 07:29–09:11| Janine’s “gray hair” story and real-life parallels | | 11:27–12:03| Favorite scenes: John Cullum & Barry Corbin | | 12:20–12:54| Long dolly shot discussion | | 15:32–16:12| Jim Charleston on the role of the AD | | 20:29–21:40| Organizing set logistics in the pre-computer era | | 22:43–23:15| Rob’s call-time negotiations and breakfast stories | | 25:22–29:48| Jim’s journey from AD to director, maintaining continuity and learning storytelling | | 31:45–34:03| Jim recounts John Cullum’s kindness and “The Impossible Dream” | | 35:59–36:12| Janine applauds Jim’s positive set presence | | 42:18–43:59| Art direction: Matisse painting and visual storytelling | | 47:30–50:25| Dolly shots: grip, camera crew, and choreography | | 51:33–52:11| Chris Stevens sums up the episode with Shakespearean wisdom |

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Conclusion & Closing Thoughts

Rob and Janine conclude by expressing gratitude for Jim Charleston’s pivotal contributions—his calm authority, skill, and respect—marking him as central to the magic behind Northern Exposure. Personal memories and behind-the-curtain tales intertwine with thematic reflections, leaving listeners with a richer understanding of both “Only You” and the vibrant community that brought Cicely to life.

Next episode preview: “Oi, Wilderness!” with the show’s Emmy-winning cinematographer.

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Northern Disclosure is produced by Evergreen Podcasts.
Hosts: Rob Morrow & Janine Turner
Guest: Jim Charleston

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Transcript

[Jim Charleston]

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[Rob]

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[Jim Charleston]

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[Jeanine Turner]

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[Rob]

Well, hi there. Welcome back to Northern Disclosure, the podcast that follows the. The ups and downs, the ins and outs, the joys and sad experiences, all the experiences of the making of Northern Exposure. My co host here is the beautiful Jeanine Turner. Look at her, looking so fresh and blonde and I love this look. It's a good look.

[Jeanine Turner]

You like my glasses, don't you, Rob?

[Rob]

I do like your glasses. You look very professional. How you doing?

[Jeanine Turner]

I'm fine. Oh, you know, showing up.

[Rob]

Yeah. How is it? Is it hot down there in Texas?

[Jeanine Turner]

It's been hot, but we're starting to. We have, we've had rain in August. This never happens. So we're all joking that it's the government seeding clouds.

[Rob]

There you go.

[Jeanine Turner]

You've heard of that, right, Rob?

[Rob]

I have. I don't think there's much to it.

[Jeanine Turner]

But, but we never have rain in August. So I'm, I'm like, okay, cool.

[Rob]

Well, give us. Send, send us some up here. So you know, I'll just say any. If you're listening to. You can also watch the. We can watch us on, on the Northern disclosure channel on YouTube. So you have a choice how you want to, to take this in. And we, we love that you're here. We get such great comments and feedback from, from all of you. So thanks for listening and thanks for sending your, your thoughts and your, and your opinions and we really appreciate it and this has been a lot of fun for both of us and getting to connect with old friends and, and people we work this case. We have. Today's guest is Jim Charleston who started as an assistant director on the show and was just such a great presence. Don't you think you remember him?

[Jeanine Turner]

Absolutely. Jim Charleston. That just his name. I want to smile because he was the first assistant director and they really set the mood for the show. The directors like action, but it's the first, the first assistant director that is right there by the camera all the time. Make sure, make sure all the actors are there and, and even the way they say. And when, you know, quiet on the set, if they do it in a bizarre way as an actor, you're pulled out of the scene. And Jim Charleston was just, he was a brilliant director, of course, but he was wonderful as a first assistant director as well. Just his, his charm, his humor. I loved him. Loved him.

[Rob]

He was always a presence when you walked on the set. He was the first face you saw, and he went out of his way to make sure we all had what we needed, you know, and, and took care of us as well as everyone else. I mean, the, the, the ad is the constant. They are, they are. They set the tone. And, and Jim was just a great, great leader. And then as I, he became a director like, like many people got their break directing on Northern Exposure, and he went on to have an impressive career that I'll talk about in a minute, but is there anything you want to talk about the episode before I share the little synopsis here?

[Jeanine Turner]

Oh, well, I have lots to share about the episode, but do you. I mean, not like 30 minutes worth, but do you, do you want to. Do you want to start with the synopsis or do you.

[Rob]

Sure.

[Jeanine Turner]

Okay.

[Rob]

Okay. So, you know, what I noticed is there's. I have two. I have a really long. Even longer than last week's, but. So I won't do that one. But then there's a short one. So I'm going to do the short one. So in this episode titled Only you, Right. Which was. Was written by Ellen Herman, who I think didn't. I don't know if she had wrote any other episodes. And it was directed by the great Bill d', Elia, who directed many episodes of the show and was a. Just a. Is a great guy and went on to have an impressive career as a partner with, with David Kelly and, and I just have fun. Great memories of Bill and always, always made, you know, great television. And in this case, he did it again. This episode titled Only you. Maurice is upset when Holling takes a picture of him that he feels is unflattering. When Maggie's eyesight proves problematic, she believes this is a sign of aging. Joel wants to know the secret to Chris's animal magnet. Animal magnetism with all women except the one that Chr wants to attract. So, you know, I. You're the looks on your face. Janine, when, when the. The optometrist who was played by Caitlyn Clark, who I thought gave a lovely performance.

[Jeanine Turner]

She did.

[Rob]

She. The looks on your face as she's telling you that you have. What is it? Pro prepia. Right.

[Jeanine Turner]

Which is something like that. Well, yeah, not exactly. Press, press, press, press.

[Rob]

Bia presbyopia.

[Jeanine Turner]

Yeah. Because I'm like that.

[Rob]

Like. Which means you're. You're basically. Eyes are getting old, but the looks on your face were so each one, it just gradated. And you just. The idea that. That she was, you know, saying that you were getting old and that you were aging, you know, as we all do, no matter what age we are. But it was really precious.

[Jeanine Turner]

Oh, thank you. And the line, you know, I'm not 30. I'm not even close to 30. I'm 29.

[Rob]

Right.

[Jeanine Turner]

But I have, you know, people like to hear the behind the scenes stories about the show and whatnot. And I remember this show. I remember everything about it and how sweet it was. And you had some excellent looks as well. Excellent scenes. Trying to figure out what the magic was with Chris. But I have to say, when I'm skipping because I want to come back to my behind the scenes story. But that scene between us at the end was really fun. When we're back to back.

[Rob]

So good. I love that too. It was really funny. And then I. You end up with my glasses. And I have this feeling that it was. We improvised that. I don't know why. I know, I know. You take them in the scene. But then at the end, I kind of think you somehow we. We added that.

[Jeanine Turner]

And the look on your face when you gave it back to me and said, you know, I said something. You're like, you're such a narcissist or something. You give it back to me like you hate men. And I said, oh, thanks, Fleischmann.

[Rob]

Right.

[Jeanine Turner]

And then you had a wonderful look where you turned back around. You had that little sort of. I can't believe I just said that to her. And she's okay with it, but.

[Rob]

Right.

[Jeanine Turner]

But there was just such an electricity between the two of us. But the behind the scenes story is that. Gosh, what was Lynn Quinn? What was her name?

[Rob]

Who are we talking about?

[Jeanine Turner]

The very first hairstylist who did all it. Why am I blank? She's gonna hate me.

[Rob]

Joni.

[Jeanine Turner]

No, Joni was makeup. Well.

[Rob]

Oh, Brian, Brianna.

[Jeanine Turner]

Thank you. Bryn. Bryn.

[Rob]

Brynn. We got there.

[Jeanine Turner]

We got there.

[Rob]

Bear with us. It was only 70 years ago.

[Jeanine Turner]

But Bryn created the haircut and whatnot. And I was in the. And I, you know, I was twin.

[Rob]

Oh, I Didn't realize that Brynn created the haircut.

[Jeanine Turner]

Yeah, well, I had cut my hair short. It was short, probably kind of like this. But she went in and made it sort of the boyish haircut. So the haircut was the. Maggie was really something that she created.

[Rob]

Ah.

[Jeanine Turner]

And so one day I'm sitting in the chair and she goes, oh. And of course, I was 27, and I wanted to have children, and I still wasn't married, and I'd been this career girl my whole life, and my mother never supposedly. I won't give the story away. So I'm sitting there in the chair and she says, oh, literally the day I've been waiting for. And I said, what's that? And she said, you have a gray hair. But I. I literally became like, Maggie.

[Rob]

But that's so funny on that app, on that episode.

[Jeanine Turner]

No, I don't know that it was on that episode, but she was there the first. It was. But it was around that time, I was like, what? I have a gray hair? Oh, my gosh. My mother never had gray hair. Her father never had gray hair. There must be something wrong with me. And I'm never going to be able to have children. I'm. I'm maturing prematurely. So I had just had that exact same sort of experience on the set. And I don't know if it was before or after this particular scene, but definitely parallels.

[Rob]

That's funny.

[Jeanine Turner]

Well, yeah. Well, for a woman, you know, it's like. I thought it was prematurely aging.

[Rob]

I always love those things that were parallel to the. To the show. They just always. I'm always fascinated by that. You know, sometimes.

[Jeanine Turner]

Sometimes I think they're listening.

[Rob]

I think there's that. I think they are sometimes listening, but. But sometimes it's just. It's just like fate. Like, somehow, like, sometimes I get cast in things, in projects that have some mirror aspect of my life, or even if they don't, I'm always fascinated by, like, why did I end up on this particular job? Because usually there's some deeper thing that I can. Some strain of either something I'm going through or something I need to learn or something I need to experience. I can't quite explain it, but there's. There's definitely a kind of synchronicity to a lot of jobs I end up up on, certainly on Northern Exposure.

[Jeanine Turner]

Well, and a catharsis. And I think that's also. You hear a lot about what you. What you put out into with your energy, you know, sort of what you draw to yourself.

[Rob]

Exactly. I guess that's part of it. Yeah, I guess that's a big part of it.

[Jeanine Turner]

We sort of manifest it in a way, and if only we could tap into that. The way Leonardo. I won't say DiCaprio, but, you know, the painter, Leonardo da Vinci. Thank you. I'm having a hard time today. I'll say the first name, Leonardo da Vinci, but in regard to the show.

[Rob]

Leonardo DiCaprio, too, though, I mean, that guy's interesting. I. I find his career fascinatingly. You know, it's like he's made such great choices, you know, and built. And built it and built it. You know, it's a very tricky thing, the choices you make lead you. You know, and. And he just is so smart with the. From the very beginning. I love his career.

[Jeanine Turner]

And there are also moments in his work where you just. Just go, oh, great moment.

[Rob]

Absolutely.

[Jeanine Turner]

The. The one where. Here I go again. Quinn Quint, Quentin Tarantino. I got that one on my own today. Quentin Tarantino, the last movie he did with him, and there was a scene where he dunked his head in the ice in the makeup room. And there's the way he did that ice scene I thought was really wonderful. But in regard to this show, do you know what my favorite scene was?

[Rob]

Let me guess. Your favorite scene. No, I don't know.

[Jeanine Turner]

Okay. It was between John Colum and Barry Corbin at the end of the show when John Colum walked into Barry's house. First. First. We had Frank Prinzy with us now, and I absolutely loved his lighting, but the lighting on John Cullum's face and the kind of emotional level behind his eyes when he was coming to plead with him and said, you have always been my best friend. His performance in that, I thought was just tour de force.

[Rob]

Yeah.

[Jeanine Turner]

John Column.

[Rob]

Yeah. Beautiful.

[Jeanine Turner]

That was a beautiful scene. Really carried. So I thought that was pretty wonderful. I also like the opening scene, which had great camera work, which we can talk about with Jim. You know, the. There's a long dolly all the way through the town. When you're walking with John Corbett and all the girls are saying hello to him.

[Rob]

That was a cool. That was. That went on forever.

[Jeanine Turner]

Forever.

[Rob]

It was one long shot. Yeah, we always did them, those long dolly shots on that street.

[Jeanine Turner]

And. And.

[Rob]

And it creates a great energy, you know, I think it just feels. Feels like you're really in the world. Yeah. And then there's movement, too. And it was so. Well, that was a hard. I mean, it's a good one. You're right. It's a Good one to talk to Jim about, because although he, he was not the AD on this show, we should point out on this episode. Yeah, but, but the ad, he has.

[Jeanine Turner]

So much experience, he'll, he'll, he'll know what those dolly shots down the street were like for sure.

[Rob]

Right. Because the AD is responsible for making sure all those extras, all those girls walking by are timed exactly at the right moment that they walk in. It looks like they've been walking, you know, and they. It's a, it's, it's, it's a real ballet.

[Jeanine Turner]

And the sets, I even noticed they had like a nail place up that they never had before. And there was this one scene when John Corbett, toward the end, is talking to the, you know, ophthalmologist one last time, and behind him was a pickup truck with hay in it and a little dog.

[Rob]

I too, cat.

[Jeanine Turner]

People say the devil's in the details. I say God is in the details.

[Rob]

Yeah, yeah. I mean, that was, that was, you know, and, you know, an Gordon, who we're going to have, who was our animal wrangler, we're going to have her in September on the show. She can talk about that, stuff like that. Because I can. I, you know, I watch those details more than, than I think normal people would because that's what interests me, you know, like, what's going on, all the little things in the background and, and all, like, I could see the dog looking off camera and I assume Anne was kind of standing there with like a piece of meat going, like, holding it, just, you know.

[Jeanine Turner]

Yeah, but it was sweet. It was just sweet. Oh, and that, and that picture when. And I thought Cynthia did a great job too. What a fun role for her because every time she came in, in that whole Tylenol scenario, she was beautiful and she was into one and then she was, you know, call him. And then she was into Barry Corbin and then at the end when she was exhausted, and then Dave shows up. Dave's just right there.

[Rob]

But, you know, it's, it's, it's a riff on, On Rashomon, the movie, the great classic movie, where each story is. Has a different perspective. You know, it's like, you know, in Rashomon, there's four different stories and everyone has a different take on it.

[Jeanine Turner]

Well, isn't that true to life? That's very true.

[Rob]

It's so true to life. Yeah, it was a great little homage to that. So I think without further ado, I'll bring in Jim. Yeah.

[Jeanine Turner]

Yes, let's do.

[Rob]

We're Gonna bring in Jim Charleston, who, you know, was, as we said, just an incredible presence on our show and, and was able to follow his dream and become a director and went on to have an incredible career. He directed eight episodes of a show called the District. He directed Touched by an Angel. He directed a show called Birds of Prey, Star Trek, Nash Bridge, Nash Bridges, the Don Johnson show. He did 26 episodes. So I could say somewhat that we are responsible for his career. You owe what we get our percentage of. But Jim, you earned it yourself. How you, how you doing?

[Jim Charleston]

Oh, I'm doing great. I'm doing great. I didn't want to. You guys were so kind. I really appreciate your kind words.

[Rob]

Well, we mean it.

[Jeanine Turner]

Oh, yeah, it's so wonderful to have you here, Jim. It just warms my heart, makes me smile. I just think that you're just a consummate professional man. You never lost your cool. You knew what you were doing. Professional everything. The clocks, you know, the trains ran on time, but you had this funny kind of low key, calm energy about you, which was just it, it was. I mean, the first AD is sort of like the general, you know, you're the general of the show, the directors in general.

[Jim Charleston]

I always said that the AD was the sergeant, so, you know.

[Jeanine Turner]

Oh, there you go. Okay.

[Rob]

But Jim, what, what was your background? You, you, you grew up in Seattle where we shot the show. And is that how you ended up on it, because you were there?

[Jim Charleston]

No, no. I worked on a low budget movie in 1976 called Joyride as a PA production assistant. They paid me $75 a week and that was a seven day week. And I had a pickup truck. So I think they couldn't have rented the pickup truck for $75 a week. So those were LA producers. And of course after my experience of working on that, I wanted to go to LA and continue this wonderful ride. And they told me, you know, don't do it, there's not enough work, just stay up in Seattle. Of course I got in my truck and drove down to Los Angeles about a year later. I had to save up some money. And then I worked for both of those producers again over the next couple years as a PA and then as a second ad and then one. One of the ads I'd worked for a guy named Rick Wallace was pretty, got in pretty tight with Steven Bochco. So I used to go visit Hill Street Blues and sit on the sidelines and watch because I love so much.

[Rob]

Great set, great show to watch.

[Jim Charleston]

It really was. And eventually Rick moved up to director and as he was the ad and it opened up a spot for the second second ad which is below the first ad of course. And believe it or not, they hired me.

[Rob]

Can you tell us what the what the actual how do you describe what an AD does?

[Jeanine Turner]

Well and it'd be interesting also to describe second AD first AD second second.

[Jim Charleston]

Sure. I worked with Stephen Gyllenhaal on a film up here in Seattle and his description of the Assist I love Stephen Gyllenh.

[Rob]

What a great guy. What a great director. That's Jake and Maggie's dad, by the way.

[Jim Charleston]

Correct? Correct. Anyway, he would say or he said once the ad his job is to inform the crew of the director's vision. Another in other words, you know, just the the AD knew what the director had talked about and wanted to accomplish and you were his sort of right hand person to help it, you know, come to fruition. So.

[Jeanine Turner]

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[Rob]

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[Jeanine Turner]

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[Rob]

You know, what I found fascinating is for the audience, you know, the, the AD gets the script, you know, a week or two in advance of the shooting, and they have to break it down, they have to schedule it. They have to find out who they need, how many extras, how many what, the prop, you know, they, they, they organize the entire production. Right?

[Jim Charleston]

Absolutely. Yeah. I mean, by location, by day or night, you know, you have to have your, you have to make sure you don't run out of daylight by the. By Friday because you went, you know, you went late. So you have to always think of that. Of course, the weather, it's kind of like a farmer. We, you know, we made our, our lives were around the weather, so we had to keep a good eye on that. Also on Northern, this is before computers, we would break down every scene, would get a page, a piece of paper with cast locations, day, night, page count, how big, long the scene was going to be. And then you had to sort of sort them out on the floor to figure out what the order would be. And of course, now computers, there's, there's scheduling software which makes it all a bunch easier, but it's, it's changed quite a bit.

[Jeanine Turner]

It also, you have to figure out call times for actors and makeup chairs and how long is it going to be for the, you know, which star and get everybody in. And that, that's a big, big part of it, making sure everybody's ready on.

[Rob]

Time and also deal with the lobbying. Like, we would lobby Jim, you know, like, you know, Janine would have a call time of, you know, usually much earlier than me. And I, you know, I would negotiate how early I could, you know, how late I could come. So, you know, if he would have me originally coming in at 6:30, you know, to be in makeup by at 7, and I'd be like, well, I don't need to be here at 6. I don't need a half an hour to go to breakfast. So let me just get here at like 5 to 7 and go right into makeup. And then he'd have me on the set at 8 and I'd be like, well, Jim, I only have like seven minutes of. I would, you know, work out how much time it took to do my hair and makeup. And by the end of that show, I was like eight minutes in, in the whole works. So I'd be like, so I don't really have to get here till like 7:30. And you'd be like, all right, come at 7:15. And we wouldn't. You would compromise.

[Jeanine Turner]

And, and I would say too, that I never, I never had a breakfast. My, you know, I guess time was allotted to come in for breakfast according to the union. But my breakfast was always in the makeup chair.

[Jim Charleston]

Right, right, right.

[Jeanine Turner]

What do you want us to bring you?

[Jim Charleston]

You have to have the actor there when you need them or you're in deep doo doo. But you also don't want to bring your actors in too early and they sit around and think you don't respect them. So it was always, you know, sort of an art thing to try to figure out, okay, blah, blah, it's okay.

[Rob]

Especially on a TV show because all our, you know, we're. We never. We're just constantly working. And so every minute, I mean, if you can get a extra in bed at home, it's just a blessing. And, and, you know, and you did it so gracefully because you had every actor coming to you, whispering in your ear for whatever. Can you get me Friday off? Can you get me Monday off?

[Jim Charleston]

You know, yes, Barry did go to a lot of rodeos. Matt Odella would come and say, barry can't work Tuesday. He's got a rodeo like, okay. And then he go back and rework the schedule.

[Rob]

You know, I do remember walking into your office and it's coming back to me just seeing you on the floor, just like looking at all this insanity.

[Jim Charleston]

So the second AD Second assistant director basically is the one that takes the assistant director schedule and makes out the call sheets and also the production reports. And he's also the one that actually knocks on the, the actor's door of their dressing room and says, we're ready for you. He's also helps coordinate all the extras and gives them some direction of what to do and also locks up the. The set so that people don't wander in accidentally to the shot. So, you know, it can get pretty complicated sometimes, you know, when you're shooting, you know, downtown in a city and you've got people standing around or street folks that are not going to listen to you if you say, please, can you wait three minutes to walk across?

[Jeanine Turner]

You know, someone starts the lawnmower or a chainsaw or.

[Jim Charleston]

Oh, yeah, a dog bark. I know. Yeah. I knew a girl that was an assistant director, 2nd AD who actually climbed over a fence in LA to try to get a dog to stop barking and she got mauled. She was okay. But, yeah, I was like you're trying too hard. You know, it's not your fault. You can't stop. You know, you want to be careful.

[Rob]

But Jim, tell me what. So did you watch the episode Only youy? The one that we were.

[Jim Charleston]

Yes, yes.

[Rob]

What'd you think? What'd you think? What did it make you think of?

[Jim Charleston]

Well, I immediately thought of the Jaws of Life episode, which I actually directed. Just so the audience knows, assistant director does every other episode because they prep an episode while one is being shot. And so I didn't actually work on this episode, but I enjoyed watching it. But as soon as I saw the Imobile, I thought of Jaws, of Life, which was the Dentist on Wheels.

[Rob]

Oh, that's right. Right.

[Jim Charleston]

Which was one of my episodes. What? I got to direct. I recently rewatched all of mine. I sound selfish, but I wanted to remember specific things.

[Rob]

Wait, how many did you direct?

[Jim Charleston]

Six.

[Rob]

Six directed six?

[Jim Charleston]

Yes.

[Rob]

I didn't know that. Why am I blanking? That's amazing.

[Jim Charleston]

Yeah, yeah, Huge. Mud and Blood, I, the Beholder, Baby Blues, Zarya, the Letter, and another one. I can't remember. Let's see. Anyway, what did you.

[Rob]

What did you learn from. How did you. What did you learn from Aideen that. That led you to directing? I mean, what. But it happens sometimes. But there's such different jobs.

[Jim Charleston]

Yeah, it's osmosis, I think. You know, you're around it and you don't even realize you're learning it. So on Hill Street Blues, I started out as a second second AD So we'd be on the set, we had a large cast, you know, hundreds of extras. And we all, the other AD And I assistant direct second AD we would try to figure out how many shots that we're going to have to be to do the scene. Because we wanted to save extras for different shots because you don't want to have, you know, a blonde haired guy behind an actor and then somehow he sneaks into another piece of coverage and that they're going to edit to cut to, and the same extra is behind that person. So we kind of like have pools of people we'd saves going. Well, let's see, there's going to have to be a shot of him, a shot of him, a shot of her, A and this and that. So let's, you know. So I think you just start thinking about how they're gonna, you know, cover the scene once you see the rehearsal.

[Jeanine Turner]

What about working with actors and tell us what you liked about this particular episode. What's. I mean, I know we had Frank Prinzey for the lighting at that point. And the third season was your first season, wasn't it?

[Jim Charleston]

No, no, I started the second season. Goodbye to all that with Stuart Margolin directing. That was my first.

[Jeanine Turner]

Yeah. Talk about working with actors and any memories that you have that may sort of of correlate with this show and also what stood. People love to hear about the actual episode. So tell us about your thoughts of the episode and what stood out to you.

[Jim Charleston]

Well, just recently watching again, I have to say that the dedication, the talent that the actors and energy and professionalism brought to the show were such a gift to the show because it couldn't have been done. I mean, it would have been, it wouldn't have been the same show without the dedication and talent and energy. I mean, you know, like you say you're, you know, you're up at early morning and you're working late at night and you guys always showed up, you know, and, and, and delivered. So as, as a, a director, of course, and as a crew member, I really appreciate the hard work that you guys put into it. And the crew work their butts off too. Let's. We know that, you know, 65 hour weeks, who knows, you know, out in the snow at 2 o' clock in the morning and you know, the other side of the mountains. I particularly enjoyed your story, Janine, with, you know, with, with the eye doctor and, and all of that. I personally felt that, that they didn't show the picture of Maurice very long and I think they kind of made a mountain out of a molehill in terms of the story. It didn't seem like, you know, that was really something that they could, I thought they could have found something else to be in disagreement about.

[Rob]

It's a good point. You're right. You're right. I think it didn't, it didn't seem like enough to warrant what happened.

[Jim Charleston]

Yeah, the, the picture looked like Barry. He wasn't, like his eyes weren't closed and, you know, it wasn't like he caught him yawning or something.

[Rob]

But you know, it's interesting, Jim, because I think thematically the whole episode is about the eye of the beholder and love and stuff. So you know how one person can look at a picture of themselves and think they look great and another person can say you look terrible or vice versa. So I guess that's the point.

[Jeanine Turner]

Subjectivism, subjectivism, you know, it's all subjective how you look at things. That's a good point, Rob. I think that's a really good point, because we'd also sort of seen that storyline before, you know, the friction and set. But I think they, maybe they settled it in this one. They finally came to terms with the whole deal. And then I thought, I thought John Cullum was once again just so simple and honest. Everything that he did and all the girls following him around and his obsession with the one that wouldn't. And Rob, your obsession with trying to figure it out scientifically. And Rob, I thought was so funny.

[Rob]

Money.

[Jeanine Turner]

And I don't know, correct me if I'm wrong, but Hal, you were so excited. He was impotent.

[Rob]

Really.

[Jeanine Turner]

This is great.

[Rob]

I think it was like he's so. He, he just wanted data, you know, he wanted to like. I think it also, you know, Joel's bored, I guess, so they could find some, you know, he, this would be his ticket out, I guess, if he could find some kind of breakthrough with pheromones.

[Jeanine Turner]

And, you know, there was a little, there was a little underlining there, like, oh, this is great.

[Rob]

Right?

[Jeanine Turner]

So funny.

[Jim Charleston]

Once again, you know, John Corbett, his energy and it's just so much fun.

[Rob]

To watch, watching those scenes, remembering how much I love those playing with Corbett. He just was such a fun presence. I mean, he just is such a fun presence.

[Jeanine Turner]

He is. But, but I'll, I'll go back and say when you and I have our scenes together, Rob, that I just kind of saw it from, from an objective point of view. There was just a spark, you know, when you and I had our scenes together.

[Jim Charleston]

This goes back to John Column. I got to tell you guys a story. So in. So I think it was. So was it Soulmates where he sang Ave Maria in the back of the church?

[Jeanine Turner]

Right. And they won an Emmy for that show, I think. Yeah.

[Jim Charleston]

That moment of John Column singing that, that just floored me. I just couldn't believe I was, I was in the room to hear that.

[Rob]

It's such a beautiful voice.

[Jim Charleston]

And a couple years later, my mother in law was. She loved. She called Love the character of Holling. Holly. Holly, I'm sorry. So, yeah, I'd say, yeah, John, call him. He's a really nice man. And he goes, oh, I love hauling. I just love hauling. And so that she would always talk about that. And so anyway, a year or two later, she's laying in a hospital bed and they're telling her that, you know, telling us that she may not make it through the night. And. And so I, I don't know. I got the idea. I called John and he got, came to the phone. And I said, you know, Lou is in. In hospital bed here, and could you just talk to her? Could you just say hi? And he says, of course, of course. So he gets on the phone with her and they're talking a little bit. And wouldn't you know it, he. He breaks into song and sings the Impossible Dream.

[Rob]

Oh, my gosh. Amazing.

[Jeanine Turner]

Oh, my gosh.

[Jim Charleston]

My heart, even today is just so warm for that man to do that. And so I just wanted to not for. Not forget to tell that story.

[Jeanine Turner]

That is a beautiful story and that's representative of his. His beautiful heart. And I. I still think that that scene between. At the end of the show when he says, you've always been my best friend in. In. In Maurice's house was really, really special. But I worked with John Cullman, a Quantum Leap that was about that. And I watched him sing it on stage.

[Rob]

Wait, so he was singing. He had to sing that song in the. In the episode.

[Jeanine Turner]

It is from Manala Mangia, I believe. Right. And so I. It was a Quantum Leap sort of scene within a scene. And I was the actress in it, whatever my. And he was the lead. And so he got up there and sang that song and it was.

[Rob]

Oh, beautiful.

[Jeanine Turner]

Yeah. Oh, that's. Thank you for that story. We're still trying to get John on. We hope we can find a way to do that. But that's a beautiful, beautiful story. And Jim, I've got a funny, funny thing. Do you remember? I remember. I have so many memories. And this is like a twinkle in your eye. And we sort of touched on this before, but we would drive to Roslyn, Washington, which was our Sicily, through the Cascade Mountains. Every eight days or so. We'd stay there in this old sort of business office was sort of our converted hotel. It was kind of like a bed and breakfast you would consider today. And so we. We would be sitting in Ruth Ann's. I have a distinct memory in Ruthanne's store. And you. Whether it was closing or not, because I guess the pass would close if to bad weather, but it would be late and we needed to wrap. And you would always say, the pass is closing. The pass is closing. And it wasn't really closing. But you. That was just a thing that you would say. Do you remember that?

[Jim Charleston]

Oh, yeah. Oh, yeah, yeah. I'm a little embarrassed by it. But I did. I did pull that out probably too many times. And, you know, it was just part of my. Part of my shtick. You know, you. You guys had mentioned. You guys had mentioned how you thought, you know, my demeanor and. And stuff on set was a positive thing. I, I think the reason I'm. It's just who I am. But I, I felt so lucky to be there that I never would have, you know, violated that trust and, and friendship that everybody, you know, we had for each other. And I never really understood while yelling ads how that helped any.

[Rob]

Yeah, it was amazing. It's amazing. We. They do come. We had a couple, I think that came through that would. Yeah, it was such a juxtap, you know, comparing you to them, you know, them yelling at the crew or something just seems so unnecessary.

[Jeanine Turner]

Well, the, the first assistant director literally, I think sets the tone. You would think it would be the director, but, but it's. I think it's the first ad and you just set the tone incredibly beautifully.

[Rob]

Yeah. What you got? Any other anecdotes that come to mind? We'd like.

[Jim Charleston]

Well, you guys had already talked with. I saw Rob Thompson's podcast.

[Rob]

Yeah, he was a great guest. People loved him.

[Jim Charleston]

Rob was such a classy guy and still is. I had the honor of being his ad on spring break, which I believe was his first episode when he came. But he also directed Burning down the House, of course, where we had the trebuchet.

[Rob]

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[Jeanine Turner]

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[Rob]

Janine on. On spring break, right. Which we did. We talked to Rob Thompson about. I got an. I got a Facebook message from John Vrike after that episode aired. John Vrike was the local casting director in Seattle. And in that episode, Jim, if you remember, because you were there, they wanted to arrest us, you know, because we were running naked through the streets. But the thing that John wrote me. Was that the reason that when it aired that they didn't show our butts? I thought it was CBS just saying it's too far to go, even though they'd already shown butts on tv. It was because they negotiated. Universal had to negotiate with the town, the mayor and the. And one of the. The points that the mayor said if he. If he can allow us to come back to shoot was that. That it couldn't. They couldn't put on air us running through the town naked.

[Jeanine Turner]

Oh, that's kind of sweet, actually.

[Jim Charleston]

And I think it was. I think it was Chief Mike who. Who caught us. I don't think it was the mayor, I don't think.

[Rob]

No, I think. Oh, really? Well, he was out. I thought he was out. He was out there. He got involved.

[Jim Charleston]

Yeah. But I was also complicit in that because I. I was saying we should do it. Let's do it. Let's go. Let's take the clothes off. Let's go. And I, you know, we. I think so. Anyway, so, anyway, about the trebuchet. So I remember it was. There was an article in the New York Times about this guy in England that was flinging things in a field. And I don't know if it was commodes or what he was flinging, but they. But now we got the script, and we were going to have a trebuchet and. And fling the piano. And they're. I'm sitting there with everybody else in the room going, how are we going to do this? You know, Woody's there and Ken Berg, his construction coordinator and the producers.

[Rob]

So you're talking about. Let me just tell the audience. We're talking about the episode called. Was it called the Fling?

[Jeanine Turner]

It was called Burning down the House.

[Rob]

Burning down the house. Right. And so where. Where Chris, as a. One of his art projects, wants to fling something through the air. And at first I think they're gonna do a cow. And then that gets vetoed and events up. Angeli eventually ends up being a piano.

[Jeanine Turner]

Let's clarify that. It was a burnt piano from Maggie's house because her mother. Her mother burned her house down.

[Jim Charleston]

That's right. Yeah, that's right. That's right. Yeah. How are we going to do. How are we going to accomplish this? And I just thought about it and I spoke up. I said, I think you better get the guy over here. And that's what they did. They got the guy from England to fly over. Remember the fellow?

[Rob]

Yeah. His name was like John Wayne or something. It was like yeah, yeah, yeah.

[Jim Charleston]

And he, you know, basically supervised the building of this thing. And it was, you know, an amazing feat. I don't even know how we got it to. To Roslyn, you know, wherever it was that that set was. It wasn't Roslyn.

[Rob]

And mind you, it had to be done in, like, a week, 10 days. You know, there wasn't, like, a lot of prep.

[Jim Charleston]

Yeah. And that. And the main arm was 110ft long or something with the. With the lead thing at the end. And I don't even know how it showed up. But that was something that used to always happen, is we'd show up and there'd be this amazing set or something that they had made, and we just sort of went on and did our thing and, you know, we filmed it. But the work that goes into it is just amazing.

[Rob]

Yeah, we sing Woody Crocker's praises all the time. He's really, you know, big, big part of the success of the show.

[Jeanine Turner]

Yeah, we do. And I think that that was part of the. Well, the benevolent universe within the cast and crew, within itself, you know, was. Was how the magic that happened between the sets and the lights and the music and the crew and the. It was just. It was just this time capsule of everything sort of came together perfectly. But speaking of sets, I always look at the art direction and what Woody was doing, and there was. There was an. We keep forgetting there. I see in the credits, there was another actual. That were a man who worked with Woody, and I came like. It's like every other episode, kind of. We're always leaving his name out. But. But Woody, when you're in. In John Corbett's trailer, Chris, in the morning's trailer. And I looked behind there, and here he is naked all the time, or, you know, having all these girls, and he's putting on these clothes at the kind of kitchen table, behind on the wall, was the famous Matisse painting, like a print where they're all in a circle, naked, dancing. And I thought, oh, that's brilliant. Just to put that right there. I think it wasn't it.

[Rob]

I think you're. I know the. Yeah, I think I know the painting you're speaking of.

[Jeanine Turner]

Am I, like, completely wrong? Let me look that up.

[Rob]

That sounds right. They're dancing, right?

[Jeanine Turner]

Yeah.

[Rob]

In blue.

[Jeanine Turner]

But it might not be. Okay, I'll look it up while y' all continue on here.

[Jim Charleston]

Okay. So the day came to actually shoot the scene with the trebuchet and flinging the piano, and we're out in this field in eastern Washington. And, and the entire cast is there and a bunch of extras. And we have so much work to do and to accomplish in one day. We had to shoot the close ups, the coverage of the actors. Right. We could always come back and fling the piano some other day. So, like the pass is closing. I use, guys, we got to get all this or we can't fling the piano today. Come on, let's go. You know, so to vote it to motivate everybody to keep moving. And I, I, I doubt you guys remember this, but you had nothing to look at. So they held a broom behind the camera and then you watched the broom and that was, that was the piano flying in the air and then it crashes. And the reactions were all great, you know, oh, wow, you know, you guys are doing your thing. But later in the day, when we actually did fling the piano, yours and everybody else's reactions were five times bigger than anything we had filmed previous to that. All the extras ran up the field and grabbed pieces of the, you know, broken piano and.

[Rob]

That's right.

[Jim Charleston]

It was just a. Yeah. And then because it was so much fun, we said, because we had a second piano, let's do it again. We loaded up another piano.

[Rob]

Do you remember how many cameras were rolling by any chance on that?

[Jim Charleston]

Oh, I think we had about six. And then we also had one buried where we thought the piano might come close to landing. And they used that shot. That was a beautiful shot. Yeah.

[Rob]

And I remember, you know, I think part of the reason we had to shoot, I was going to, I left from there to go to host Saturday Night Live and that we had to get me out because I had to catch a plane, I guess, you know, so that's why I think you, we had to shoot, we had to shoot us out, the actors or something to get me on that.

[Jeanine Turner]

Oh, it was your fault.

[Jim Charleston]

No, we had to make sure, we had to make sure we got all the coverage because we could have come back with a second unit and film just the piano, but we didn't have.

[Jeanine Turner]

That's what's interesting that I don't think people really realize. Let's just say an actor has a scene where they're crying, right? They, they have to cry in the master. They have to cry in the shot. That's where the camera's over the shoulder. The same match the performance with tears or whatever it may be, whatever the performance is, then they have to do it again in the close up. So it's really interesting to watch actors when they're performing I always keep this in mind. Unless it's just one shot without any edits. Okay, then that was just one performance. But if there are many edits and that actor had to do that three or four, and then talk about. You may do six. Six takes. Do it six times per camera angle. So that's a lot of angle.

[Rob]

But don't you. You say like, I don't. If I have to be really emotional, I'm not gonna give it up on the wide shot and the. And the over my shoulders. I'm gonna wait.

[Jeanine Turner]

I don't. I would always try to go for it in every shot because then it gave me an idea of what I had to do. And when I was filming Cliffhanger, that scene with the horses, my gosh, we had like 22 different shots of. Of where I was. Had to be emotional. By the end of the night, I was just wiped out. But the. What also. But it's also the how inconsistent things are in the filming. You know, that to film the close up first before we'd even seen the real fling, and then the. The fling. That's it. Are you seeing you film the very last scene first and the very first scene last. Those are the little things that make. Make it, I think, incredibly challenging for the actor, for sure.

[Rob]

When. If you film out of order, sometimes I find it interesting. If I've. If I've shot something that is in chronology coming up later, but I've shot it first, it makes me then dial in the rest of my performance to meet that. So it's like there's little gifts even in the. I think you as a film actor, you have to learn how to take advantage of things as opposed to letting it get, you know, stifle you.

[Jeanine Turner]

Oh, yeah, no, it didn't stifle, but it was just. It's just a challenge. You have to think about it.

[Jim Charleston]

Yeah, yeah. And I think the. The scheduling of the episode or a film is. Is important that the AD tries to do things in continuity, if possible. Right. So you. You want to start with earlier scenes and. And hopefully finish with later scenes so that there's an arc, you know, that you don't ask the actor to do. You know, the big emotional ending scene on day one. If there's not a reason you have.

[Jeanine Turner]

To do that, talk about that dolly shot. Because in the opening of the show with Rob and Corbett, when they're doing that long, long, long walk and talk with all the girls stopping and saying, hello, hello, hello. That wasn't your show, but you did a Lot of those. I think the audience may be interested to know that, how that, you know how that works.

[Jim Charleston]

So the grip department is in charge of the dolly. That's a four wheeled or actually got more than four wheels because there's double wheels. It kind of hugs the pipe as it goes along the ground or the set and the grips. And that's where the camera is sitting on the mounts and the camera operator and focus puller at first assistant camera is. They're all sitting, both two guys are sitting on the dolly and seats and so they can adjust the focus and point the camera where it needs to be. And so they have to lay the track, the dolly track. It has to be level so they have all these. What do you call them?

[Rob]

Right. Wedges.

[Jim Charleston]

Wedges, exactly. Wedges under the track. And they, and they take very good care to make it all very level. And a lot of times the ground they're on is up, level, level. So it's, it takes a lot of work. Nowadays, you know, Steadicam became ubiquitous. I, they still use dolly track, of course, but a lot of that work now is done with the Steadicam where the camera operator is actually holding the whole unit and he's walking along and you know, he's, he's walking along and he steps onto a crane and the crane goes up in the air or vice versa. You know, it's pretty amazing.

[Jeanine Turner]

I still, I still prefer the old fashioned dolly shots and the, the long lenses and things of that nature. But I'm just thinking about how strong. I don't know what would be the crew member's name. They had to push the dolly.

[Rob]

If he's pushing jc.

[Jim Charleston]

Jc, yeah. And then George. We had George.

[Rob]

George San Pietro.

[Jim Charleston]

Yeah. Yeah. Yep.

[Jeanine Turner]

But they had to be strong to push the camera and to grown men.

[Jim Charleston]

And everything else they do.

[Rob]

And he would, I would always look at like, if we had to do like a lot of takes of a long dolly track, I'd always kind of catch eyes with J.C. or George and they, you could just see them like, oh, man. Because it'd be, you know, 90 degrees and they're pushing this thing and it's tricky. It may seem, you know, the dolly, the grip that's pushing the dolly, it's not just pushing something. You have to feather, it moves, you have to make it go. You have to start at the right speed and keep it at a consistent speed and stop at the right speed. It's not, it's not as easy as.

[Jim Charleston]

Sound or crab that, you know. Yeah. And plus the focus is changing. It's. It's nothing like a dolly shot moving in on an actor's face during an emotional scene.

[Rob]

Yeah, it's great. Thanks. Steven Spielberg, like, you know, he always did, uses the dolly so well.

[Jeanine Turner]

You have to make sure the actors, when they say action, start at the same time that the dolly starts. And then the actor might forget their lines, or the sound comes in and says, we got a plane. Or that take didn't work, and you might get the perfect take. And then sound comes in and says, oh, that wasn't good for us.

[Rob]

Great choreography. Always.

[Jeanine Turner]

Yeah.

[Jim Charleston]

Or how about just a cloud? A cloud passes from the sun and they go, ah, you know, I'm sorry, guys. You know, I gotta go again, you.

[Rob]

Know, so I want to point out a couple things before we wind up, but I just want to. One of my favorite things in the episode is when I asked Cynthia Shelley, you know, to give me the recollection of her. The events between Maurice and Holling. And Cynthia just looks at me and says, my record collection.

[Jim Charleston]

Oh, that was perfect. Just. Yeah, and it just. That was great.

[Jeanine Turner]

Yeah, I had that great line, I'm not a cow. And he looking for the lankiest bull in the pasture.

[Rob]

Right, right.

[Jeanine Turner]

Yeah, that was a fun line.

[Rob]

So my. You know, Janine and I both talked about this before we came on the air, this great line when, of course, you know, Chris Stevens sums it all up on. On K Bear at the end. And, you know, he talks about the themes of the show, you know, which is basically, you know, love is in the eye of beholder. Love is not always, you know, rational or logical. But he sums it up with this great quote from Shakespeare, which love looks not with the eyes, but with the mind. And therefore is winged cupid painted blind. It's so great.

[Jeanine Turner]

That's great. Oh, and think about blind, too. It's about eyes blind. In the heart, blind. And then she was. She didn't love him because she was one. That's really, really. That's.

[Rob]

So, Jim, we have to wrap it up, but it's so good to see you. I think we have to get you back, especially when, now that you've done six of them, we'll bring you back for one you directed, and we'll give you a heads up so you could watch it. But it's just great to see your face and. And. And remember how, you know, just how you. You made that whole situation for so many of us really great, you know, on so many levels. Just as just on an energy level. And on a professionalism level and on a skill level. So I'm glad you're doing well. You look great.

[Jim Charleston]

Oh, thank you. You're so kind. Those. Those years on that show will never be forgotten by me.

[Jeanine Turner]

They'll never be forgotten by me either. And I just love you, Jim. I have a special place in my heart for you.

[Jim Charleston]

You always treat me very, very nice. I appreciate it.

[Jeanine Turner]

Good.

[Jim Charleston]

Both of you. Rob, remember we went to the Seahawk game?

[Rob]

Oh, yeah, yeah.

[Jim Charleston]

That was fun on the field.

[Rob]

I have pictures of that. And we were carrying cat. We had to. We had to act like we were photographers or something together.

[Jim Charleston]

Yeah, we have. We have one more minute.

[Rob]

Yeah.

[Jim Charleston]

Yeah. Okay. So real quick. Josh was coming up from la, and I knew.

[Rob]

And Josh Brand, the creator of the.

[Jim Charleston]

Show, co creator of the show, and the fellow that got you and I onto the field at the Old Kingdom was Corky truant. And I. I told Corky, I said, hey, the. Josh Brand is coming to Seattle. We got to get him to the game on Sunday. So, of course, it was easy. He. And he got the three passes. Me, Josh, and Rob Thompson all went down onto the field. And Josh loved it. You know, he was walking around having a blast, and he had this little plastic camera he got from the grocery store, and Joe Montana was playing for the Kansas City. Well, there's a cheese. I think he got traded to the Chiefs eventually. And he was there and sitting on the bench, and Josh wanted to get a shot of Joe Montana from the back so he could get really close. Well, there's a line around the field, and security is like, they're hawks, and if you cross that line, you're in big trouble. And Josh, did he trying to get a shot? You know, he's to trying going in, and the sheriffs grabbed him, and they were gonna. They were gonna throw him out of the place. And Corky saved the day and said, oh, hey, well, white's all right. I'll vouch for him. He didn't mean it. Blah, blah, blah. And they said, okay, fine. And so he got this big.

[Rob]

Oh, that's funny.

[Jim Charleston]

Yeah, yeah, that was. I remember that. That fondly well.

[Jeanine Turner]

And I was off riding my horse somewhere.

[Rob]

All the perks of showbiz. We got to go to a lot of cool things because we were on that show. All right, Janine. Well, good to see you.

[Jeanine Turner]

Okay. Yes, Jim, thank you, Rob, thank you. We're gonna wrap up the show today. We look forward to next week. It's. Oh, Will. Oi, oi. Wilderness. And our Emmy award winning.

[Rob]

You say that like, you say like, like a Texans girl.

[Jeanine Turner]

That's true. Well, it's oil wilderness.

[Rob]

There you go.

[Jeanine Turner]

And our Emmy Award winning cinematographer.

[Rob]

You have to say it like my mom would say it. My mom would say oi Wilderness.

[Jeanine Turner]

I. I did learn. I did learn learn to say oy.

[Rob]

They. There you go. That is better. You're right. Yeah.

[Jeanine Turner]

Okay. Okay, good. Well, we'll see you next week and then we're wrapping the show. And from o' Connell and Fleischman, you have a wonderful, wonderful week.

[Rob]

I just. I think it should be Fleischman, o'. Connell.

[Jeanine Turner]

In your dreams, Fleischman. Northern Disclosure is a production with Evergreen podcasts and executive produced by Paul Anderson.

[Jim Charleston]

And Scott McCarthy for Workhouse Media. Limu Emu and Doug.

[Rob]

Here we have the Limu Emu in.

[Jim Charleston]

Its natural habitat, helping people customize their.

[Rob]

Car insurance and save hundreds with Liberty Mutual.

[Jim Charleston]

Fascinating. It's accompanied by his natural ally, Doug.

[Jeanine Turner]

Uh, Limu is that guy with the binoculars watching us.

[Jim Charleston]

Cut the camera. They see us. Only pay for what you [e-mail] Liberty.

[Rob]

Liberty Liberty Savings Ferry Unwritten by Liberty.

[Jim Charleston]

Mutual Insurance Company and affiliates.

[Rob]

Excludes Massachusetts Trip Planner by Expedia. You were made to outdo your holiday.

[Jim Charleston]

Your hammocking and your pooling.

[Rob]

We were made to help organize the competition. Expedia made to travel.