Hey, they're Fana Ritos.
Welcome back to an all new episode of How Rude Tanner Ritos. Today, we're interviewing a crew member who worked with us through Full House and Fuller House. It's Patty Mustari or Patti Pasarelli as Jodi and I know her. Patti is a script supervisor. And for those of you who don't know what this job entails, boy are you in for a treat. Script supervisors are an essential part of any film or TV crew. They have one of the hardest jobs on the set because it involves continuity.
So we're very excited to talk to Patty, who can give us an in depth look at her job and her time on full and Fuller House. Let's welcome Patty.
Here we go.
Ah, Oh my gosh, that's so cute and.
And oh yes, she's got the people cover, she's got the joke. Oh my gosh, yes, you guys know you that's so funny. Oh yay, you came prepared. I appreciate that.
I have pictures all of it.
Oh my gosh, amazing, this is gonna be fantastic.
So I'm gonna start like.
This right, that's so awesome and what a cool background. Where are you? Are you on set right now?
No? But hold not a set?
Oh, there we go? Oh, yay, there we go. Can't you got the Fuller House beach towel. That's amazing. Love of your merch, all of the wrap gifts.
Yay.
Well, welcome Patty to the show. We're so glad to have you.
Thank you. I'm happy to be here.
Yay.
I know, I'm I was trying to figure out the last time we saw each other. I know you and I fun fat. I don't know if Jody knows this. Oh yeah, Jody knows this. Patty and I have the same birthday. Yes, yes, so I saw you. It was like kind of during the COVID times and you were driving out in my area and so you came by my house.
Third, right, yeah, July third.
Very good, Jody, Yes, she's very good.
She's Oh no, I'm I was.
I said that, and I was like, God, if I'm wrong, I this is going to be bad. But I think I was mostly so, yeah.
I'm not even sure about my birthday. You know, it's been a long time, but.
I would always love on the Fuller set, they would roll out a cake for my birthday and I'm like, no, this is it's me and Patty. Come on, let's let's cut this cake together. Because it was just fun, fun sharing a birthday with you for all of those years.
Okay, so let's talk about how I met you too, Jody. I did how to google this stuff because I had I'm like, I don't know.
I'm like, I know, right, yeah, if I'm not reminded of it, it's uh, it's like it ned to happen.
Yeah. So Jodie was five, Andrea was eleven. Okay, and Dave Coolier and I were the same age, right, Bob was a little older and John was younger. So a bunch of twenty year olds making a TV show will go wrong.
Oh yeah, right, yes, in the eighties when you put it that way, yeah, they puts it into perspective.
Oh yeah, no, yeah, I mean I like Patty was one of the crew, you know what I mean? I just I always Patty, Patty Passarelli, Chatty.
That's how I always know you, Patty.
So, just as a quick background, Patty was the script supervisor on Full House the original the pilots one through three, including the pilot, and then she was the script supervisor through the entirety of Fuller House.
You have your you have.
She got a So they used to give us binders, like actual, like nice hardcover ones that had like, you know, sort of material on it or whatever, three ring binders that said full House on them, and it had your name, and that was where you kept all.
Of your scripts I made.
I mean, we didn't get him as kids, but like all of the crew and stuff. I believe you guys on set got that.
Yeah, well, so that that's how ancient this is nineteen eighty seven. I'm writing down things about like remember this, remember that. Try to just look the part, pretend you know what you're doing, Patty, because it's like.
Is that, wait, that's what you wrote in that?
Oh no. But basically this is stuff like because I when I was a film script supervisor, then Tom Miller and Bobboyett approached me and said, hey, there's a show called full House. Marilyn Bagley was going back to doing Perfect Strangers, and I was training to be a script supervisor. I was working on film shows non you know, non union whatever, plus being in the office as a writer's assistant. So I was so primed ready for my moment. And they go, okay, So here's the thing. Can you be
on set on Friday? Sure? And it's a tape show and I went.
Yeah, oh absolutely, I know tape tape right, like four cameras and there's tape instead of film, and which is a whole different genre, by the way.
But you're going to be in the union, be there in your show. You know. You start training with Marilyn Bagley, which I need and look the part don't let them see you sweat, and by Monday it was my show. So that's episode two of Full House September I think ish nineteen eighty seven, and that's when I meet you lovely ladies and later but you know, so Jodie's five, I'm not five. I'm twenty eight or I don't even know. Asked, well, if.
You if you and Dave were the same age. Dave was what twenty four?
Well was John? John was? John was twenty four. Dave was baby twenty probably twenty eight, twenty nine. No, they weren't close to thirty. It took them a couple years to get to the third They were babies.
When did Danny have his thirtieth birthday? Wasn't that season one that he or maybe not.
No, that he had his thirtieth birthday party. No that was was it?
No?
Maybe not? I don't know, let's ask me. I'm totally imagining things, but I'm.
Pretty sure it's that late twenties, late in the twenties, mid late twenties.
Okay, yeah, it's.
I think we're like either twenty seven twenty something like that, and Dave will know. But anyway, yeah, so when I have a birthday, then Dave has a birthday. I did his podcast, right, yeah, an he goes, Okay, so, Patty, there's this thing I'm doing and would you be on And I go, Dave, I hate being on camera? Like, is this a camera thing? Can I just be like, I don't know behind this this is where I live or behind a script or something. No, no, no, you have
to be on camera. Will be gray, You'll be great. You'll be great. You'll be great, And I'm like, I'm not great, but I'll do it.
Okay. I love you.
I love you, you, you and all of them.
Oh guys, you you do. You're fantastic, Like you are so good on camera. I know how much you don't want to be on camera, so I appreciate you coming out of your comfort zone today.
And being patty.
Let me tell you you have the hair to be on camera. Okay, you have the amazing hair.
Your hair is killer. You've always had great hair. Throw that hair off, my friend.
Okay, I've got my three strands wrapped up in a little bun right here.
Yours looks gorgeous, So more of the hair off.
Do you remember signing this? Yes?
Yes, the signed signed shirt?
Yes?
How right?
I love it?
I said, the how rude shirt? Oh my gosh, yes, So go down memory lane?
Is that okay?
Yeah, let's go for it.
I have props.
Bring your props.
May not be the most fun because we have to be robots and we have to just deliver the information.
You can you tell our audience a little bit about what a script supervisor does, because I have a feeling a lot of people don't know. My best friend, Emma is also a script supervisor, and I have so much respect for them because they literally keep an eye on every.
Single thing that's happening.
So, yeah, can you just give us a quick synopsis of what a script supervisor does? Yeah?
So, say, we have props in people's hands, so I will I keep the master script. I'm working with the producer, the writers, the cast, the director, the creative team on set, both you know a ways. So I'm doing editors notes, I'm doing props, what hand, what to which one? Whatever just so happens to be. Yeah, pull our.
House cups love it.
So I pulled those because of course less of me more props.
So but yeah, yeah, like if some but I have something in the right hand, you know, and again you'd do a second take and sometimes you'd go to pick it up with your left and you'd hear Patty go right hand, right hand, Ody, Tony right now.
But that here's the thing. I wasn't saying it to the kids. Guess who I was saying it to Kilts, Bob, Dave John, the Bad Boys.
Yeah, yes, yeah, I believe it.
So I believe offscript? Can we I think we know who is off script? The five year old, the eleven year old, the ten year old, and then who wasn't the twenty eight year old, twenty four year old than the thirty year old.
I mean, to be fair on fuller, the thirty something year old was definitely not off.
Script by you know, some of the time. Either, that's true, Okay, here. Here's I have that picture hanging in my room.
I love that picture. It's a picture of us picture, one of the cast photos that was done. It's just such a great, warm, true family photo. And what it's an early uh picture? I want to say probably beginning of season two.
That looks like early season two. Yeah, Michelle, aren't baby baby?
Yeah, that's like season two, I think. And I think that's the outfit I wore for like first day of kindergarten or something.
But anyway, yeah, that it was an early thing.
You said, I love you Joy.
Oh that's so sweet.
There's proof.
Yep, you to love me again. We still do.
But so you as a script supervisor keep an eye on everything and the editor's notes and just all manner of things. But you were also you did that for Fuller the original or for full House the original show, and then you also came back for Fuller House, which to have you there as script supervisor again and like and also to have Joel be directing or you know, it was there were moments where it was like, did we go back in time?
It felt like like left. It felt like I've been watching Severance.
It felt like Severns where like the elevator closes and then it opens back up and you have no record, like and nothing happened in between, and you're just there again and you're like, oh yeah, we're just here together again like it was.
It was crazy, I know, yeah, this is a true story.
You may not know this, but I'm I'm living in Colorado because I had I worked a bunch of shows, including friends, including like you know, all the big shows get.
Step by step, but uh, I did Mary Kay Nashley's show to a Kind.
To a Kind here boo more crops.
Oh yeah, yeah, right, very it's a cute, very cute picture of Ashley and Mary Kate so at level.
Yeah, but yeah, so I got to do the wonderful thing is that getting that first break to become a writer's assistant with you know, Bill Bickley and Michael Lauren. I had met them on the Love Boat. That was the training ground for me to learn script supervising. I'd worked with the script supervisor who was I believe in her eighties. She had done the Shirley Temple movies. So she was like the real deal. She was an amazing woman.
She and I got to be very close. We would go to lunch and she would let me come practice on the set. I would bring my my you know, my script. And I remember Ted Lange saying to me, so, Patty, which hand did I have the origin? And I thought, that's a thing I have to know and I will
never forget it. And we're talking about that's probably in gosh before it is probably like nineteen eighty five or something I don't recall, but anyway, those are the moments in script supervising where you're just trying to like, I know, I have to take the notes. I know I have
to like watch for dialogue. And there's different shifting priorities depending on the needs of the cast, depending on the needs of that particular episode, what the scene is, with the pages, with the whatever the lines are, so you're multitasking at all levels.
And yeah, and I need almost like an idetic memory, like you know what I mean to be able to be like that doesn't look.
Right, that doesn't look right. And also what did he say? So if, like on Full House, if the guy started to add lib, well, that's not a bad thing. Sometimes a play on words or something that happens organically in the moment and being maybe a better line or maybe a better choice and maybe a great ault or whatever. I'm writing those things down as quickly as possible. So I work with you know, stand up comedians like Jimmy Fox, Marlon Wayans. Oh gosh, I mean, I don't know. I've
been doing this since nineteen eighty one. I got in the business. I got in the Union in eighty seven, amazing and all that. So Miller Boyette for fifteen years never had to look for work.
I had right the Miller.
If you were in a Miller Boyett show, Bob Boyette and Tom Miller who produced so many hit TV shows and were executive producers, like if you were in that family. Again, it was the time the era of like network TV, and you know, producers that had just these in house things, and you would go from show to show and write for here and direct here, and it was kind of like little mini studio systems almost.
You know.
It was like everyone had kind of their people that they really like to work with.
It was great, and it really did create a family. And it's not just I know that it's a phrase that a lot of shows may adopt, but I have to say it might be the sign of the times. It was the people involved, it was the cast, it was the warmth that we created, the bond that we created. And I have to say it started the day that I started on that set. It was on a Monday, and here I am. I have the big ship to steer. I have kids that don't do continuity. I barely know
my job. I don't know tape. And there's Joel's wig going we have turtles and bads.
Yeah, and Joel's yelling at everyone right right, And all I know is is that means I have to say something or do something or whatever.
And Patty stop laughing. You're just encouraging them. And it's like we'd be in the booth and He's like, we have turtles and beds. Just tell them we have to do they have to read the script. Tell tell John, tell Bob, tell Dave. Stop messing around. We have turtles and bags, we have audience, we have people, and you're and you're setting a bag example for the the girls and the kids and all that. I'm like, yeah, you are, that's right, Joel, they are. But he goes, why are you laughing?
I go because it's funny, funny.
We'd turtles and bags dude, they're all listening to you.
No, no, they were never listening to Bob.
It was chaos, controlled chaos. And then the kids would come on and we'd go, oh, someone knows the lines, actually knows what the scenes are. We're not just like talking about their hair and girls and dates and like, oh my gosh, the girl. The boys were funny, but I have to say, the boys, okay, John, Dave and Bob, that's shot. We're all like, they're like brothers.
Yeah, and you guys all kind of grew up together, you know, in varying ways we all did.
Yeah, And I I wasn't a mom, but I became protective of the kids. I have on every show I've particularly on Full House because here comes Jody's she's off books, she's amazing, she's like, can have fun. She's listening to boys, and I'm like, like, guys, okay, see them. You're saying things that they shouldn't hear, so chill out. That's what I became mom. And they're like, ooh, here's a part of Patty and.
We don't know you remember our moms would sit in the bleachers for run throughs and rehearsals and then they stand up and be like bomb, right, Dave.
They started going off on their inappropriate tangents.
Right right. So sometimes if you know, they're busy doing whatever, and I happen to be on the set and we're rehearsing just before the cameras come, and you know, I don't know how much your audience knows, but there are three days of rehearsal and we're doing run throughs, and I've got the master script and we're changing lines, and I put that into my script and it goes. My script goes to the writers of Franklin, the producers, et cetera.
They talk about what they want to adopt from the run throughs, and I notate the changes in stage direction, the changes in dialogue, any notes that we have, the director may have, the cast may have in terms of maybe this could work better, and here's an idea, this could be an alt whatever. So I'm writing all this down. That's why I have arthritis kids. Okay, at my age, this is what I but I'm still doing it. I'm I'm semi retired now, but uh yeah, I just work this week.
You keep getting sucked back in. You keep saying you're retired about these businesses. You're like, no, no, I'm done.
Wait, I have one more in me, you know, yeah, serious, Like.
The call goes and then like this cast members can be ond like dang it.
Okay, yes, okay, I'll go right four hours on the freeway, can hardly wait, let's go.
Let's speaks to your talent and your personality, like everybody just wants to around on set because you're so good at what you do.
You're so professional, but you're also you're.
Patty, like you're everyone's friend, and so like, no wonder they keep roping you back into this business.
You'll never retire fully Patty, you just can't. Nobody will let you. Yeah, I'm sorry, you're in it.
Well if you guys do fullest house. Okay, let's book this before I become ninety, right, can we agree on that? Right now?
One more time we really got with we have a limited window now.
Yeah, hey they're folks.
It's TJ.
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So you said you take notes from the editor. What notes are he I've always wondered this, What notes is he telling you? Is he telling you like, oh, the take one was better than take two? Or is he telling you cut this part because we're long on?
Like?
What notes do the editors give you?
So it's not really I'm not taking notes from the editor. I am taking notes for the editor for the editor. Okay, So I'm taking my notes that I'm taking on rehearsal days. So whether okay, in the beginning, there was a production meeting than a read. So that's the first time we've all gotten together. And now we're taking what's written on the page and putting it to life. Right, So production meeting, the crew, all the department heads talk about the necessities
of that particular episode. Then the cast comes in. I time the reading so that we can have an understanding of or a generalization for are we long? We have a format time on the show, So say like it's twenty one minutes, forty five seconds or whatever it is. I know that ahead of time, so when I go to time the reading, I let once we finish the read and the network gives their notes and so forth, I'll let the producers know. Not Jeff Franklin, Bob Boyette,
Tom Miller and whoever. Whatever show I'm doing, I just did it this past week. This is how long we are. If there's a dance number, we could tighten up. So I'm trying to visualize and give an estimate because as a script supervisor, you don't get to be wrong. You have to be a robot, so I can be. In fact, it's starting to seep into my personality because I've spent more waking hours on a sound stage than I have in real life.
Truly, I believe it. I believe it.
I'm the nightmare that it. If someone says, oh yeah, yeah, like in real life, yeah I told you to, I go no, actually you didn't. You said you were wearing this, you had an apple in your right hand, and they're like, oh gosh.
Oh yeah, because you can't turn it off.
I can't turn it off. It's who I become you know, so I remember, I remember of visualization, and I'm a photographer and I do art now, so because it's a
visual medium. So anyway, so some of those things have crept into my my time now that I have time besides just reading scripts, being on stage and so forth, I'm starting to do other things, which is really fun because you can use my organization and visual skills towards a new medium that is fun and different and exercise a different part in my brain.
Yeah, those skills apply, but just to a completely different medium.
Oh that's so cool.
Fun.
And then I can turn it back on. When someone says, can you come and be at Warner Brothers at eight in the morning, I go, yeah, I can, And then I do that. I turned her back on.
And I called her right, not me.
It's that skill set. And then then once they say rap that, I go back to being an idiot. You know, at the.
Aage, what is as an actor?
I've always wondered, what is something we can do to make your job easier? Because I'm sure, I'm sure, I've sure a lot of actors out there that do things that you're just like, oh my god. I have told them fifty times to pick up the cup with their right hand or whatever.
Is there something in particular.
That's particularly challenging for your job that you're like, if I could just get the actors to do this, it would make my job so much easier.
Well, okay, so the funny thing about full House is that everybody had the chops to do all of it. You all just had it. And I have to use Jodi and Candice from the beginning, and the babies to a large extent. And then did you come on? Like halfway through Andrew, did you come in?
I was in season one.
I did five episodes of season one, so I came on I think episode three of season one.
So by the time episode three I had a feeling for like who was good with props, who was good with dialogue? Who just messed around all the time? The boys? Yeah, I'm sure not anybody else. The boys decided that once they got comfortable, less about the work and more about playtime, which you know, to be fair, was part of the work because they became brothers, they became the bond.
Was that all of that made it.
It made it hard for George Wick and every other director.
Joel makes it hard for Joel's wick and I love Joel, you know what I mean, Yes, and he has mellowed out in his ow age, but Joel, Joel made it hard for Joel, so you know, it didn't take much. And it was the combination of those four people was hilarious to watch because, yeah, Joel was like, we have to do it right now, and those were three people who were like, we're gonna, We're going to get there, We'll get there.
It's like a sitcom inside of a sitcom, rightcom watching exactly so.
It could be its own podcast for sure. Just the cameras and it's like, oh my gosh, that's what really happened. But that's the fun thing about my job. I have to say. The thing that really attracted me towards wanting to be in that particular position was, you know, originally we were the secretaries of the set. That's just what it was. The women were high heels and they wore dresses and they looked like you know, secretaries. They just took them from the office, placed them on the set
and they took notes. Is it called stenograph what was the.
What was Yeah, I believe like a stenosopher like those all like yeah, I scnographed the like it takes it in like shorthand official shortthand, which is there is like a whole.
Language that you have to learn a short end.
Yeah, so that's what they used to do. And so there's some like pictures of you know, the beginning when they would be working with the cast or they were off next to the director and everybody was wearing suits and it was very polite and everybody said sir and all that kind of things. By the time we jumped on, it was more casual. I got, I got to wear jeans. I went, okay, I wanted. I want the job where I can wear jeans. I want the job where I can laugh.
I can.
I love the fact that we later did travel. We went to Hawaii, we went to Maui, we went to Oahu on step by step. We went to Florida pull our house. We went to Tokyo, which, oh the coolest.
Right right, I get we have we have traveled a little bit of the world together.
Because sitcoms don't usually get to do that.
No, oh, it's it's it's scary just going across the street, like much less across the ocean, like never leave the set that's the same.
That's what they say sitcoms don't.
Leave the studio. Yeah, the of a sitcom is don't take it out of the set because then everything falls apart.
Yeah. True. So so anyway, I don't know if that the answers all your questions, but I have really fun pictures that I don't think you too have seen it.
Yeah, I want to see.
Let's see Jeff's notes talk about So this was on Fuller but when Fuller wrapped, Jeff would always take notes like next to me, Jeff Franklin, producer and I don't know if your audience knows all the names, but I'm executive producer. The reason all of this exists is because of this guy, Jeff Franklin created the show. And I'm from what I understand now that I know the backstory. Spending time more time with Jeff in Tokyo, I've got time to add ask him. I go, how did you
do it? How did you shop this this show? And he said it was hard. So many passed. I couldn't believe it came full house, fuller house, they passed, they passed by.
I mean, yeah, thank.
You said yes, And Miller Boyette, was you know so behind it, and they tried to get on as many of the original crew as they could, well most of them probably had long retired. But I went, I'll do it, I'll do it. Pick me, pick me, pick me. So that's how I got on that. But these are Jeff's notes, some of the notes that he would jot down during shooting.
And you know, okay, we read I can't read his handwriting. What does it say?
Like?
Can you can you decide?
I could never. He'd be like, okay, Patty, here, can you write that down? And go I can barely see. Are you sure you're not a doctor?
Co rest in peace?
I don't know.
He's probably so he's writing notes for you or writing notes to himself.
So he would be we would be standing. There's a bank of monitors, the script advisors here, Jeff would be next to me or the director depending on Sometimes Jeff would direct, and then the executive producers and so forth, and then the network behind us and all that. So he would be so focused. See Jeff is also wearing lots of different hats at the same time he's executive producing.
He's thinking in terms of actors, the relationships, what's happening on camera, what's happening technically, what's happening on each take every time we roll. There's a myriad of things that he's thinking about. He's also writing alts. He's thinking about new lines, new story punches. And then in front of the audience, you know, between take one and take two,
take two, take three, whatever we corral together. I'm listening and he's telling his team, meaning the dialog coach, the script supervisor, the first A. D. So forth, some of his pitches for how we might change the scene, the dialogue, the action, make it funny, faster, maybe an alt. This is something the network would like, maybe we should take this joke out. It's a little racy, Let's give him another choice or whatever. That's done as quickly as humanly possible.
It's like it's like a NFL sideline huddle. Like you're in front of an audience. You're you know, you've got limited time, and yeah, it's the huddle, and you're like, wait, what about this?
What about this?
There's writers thrown out jokes and you know, and you're changing it on the fly, which is part of the fun I think of the audience show totally.
Yeah, is that it is. There is that live have to go now sort of element to it.
Yeah, and that's the part that that say camera episodic and feature relax it only exists in the multicam or man. So that's the fun I get. So that's why I chose that format. I was. I was always thinking I was going to do feature. I'm gonna do episodic, I'm gonna travel, I'm gonna work hard, I'm gonna work forever. And then I went, wait, sitcoms. I only have to work these many days, these many hours. Get to travel, have fun, laugh all day, and work with a live
audience and a cast I love. Sign me up and I'll never leave. And I never did. I'm still there.
So it's I mean, I always say sitcom life is such a great gig.
What was such a great gig in this business for so many years? Because yeah, it was.
You really did build a team, a family, like you were with these people nine months out of the year. Yeah, But oh my gosh, what got you in? What made you want to get into scriptureprovising?
You know, I was just I think the easiest thing for me at first was ruling out what I didn't want to do. I didn't want to be stuffed in because I had been a writer's assistant and I did enjoy working with you know, being in the writer's room and hearing how ideas go from nothing to something. They build. Another writer comes up with another angle. The executive producer
then corrals the best ideas. I'm typing them as fast as possible, or back in the day, writing them on it right, and then they we go and type the script. These days, it's all you know, monitors and digital lighting. I'm on an iPad. I went from writing typing things on selectric typewriters now I'm iPad you know, of course, yes, yeah, So that our industry evolved as well, especially when Kobe came along the multiicam. I was working on series with Jimmie Foxx for Netflix and we were one of, if
not the first show coming back during COVID. So we went down on March thirteenth and they said, leave your stuff, we'll be back in a couple of weeks.
Right, cut too, smash cut, smash cut to the end of.
June, and so I get that call. It's like, okay, we're going to start, but I'm thinking, okay, I bet you anything, Netflix is going to want to be green,
meaning a green set will be without scripts. So that's you know, that was the idea because we didn't know if Remember that was a thing where during COVID people didn't want to touch things and they didn't want to like share surfaces and whatever, and of course the networks and the studios just wanted to keep everybody safe and keep their cast safe and keep in business and keeping and all that. So let's all try to do what we can to make that happen and to keep all
of us employed. So that's what we did. So I learned. I went from pen and paper script supervisor to learning iPad and you know, there's a couple other in my genre that do it, but that was more of a thing for the episodic and the feature script supervisors. They are really good at it, but they also do a different format. Our notes look different from their notes. So I've done I've done features in between when things got slow, but my bread and butter has been the multi camera sitcoms,
so that's what I know best. It was easier for me to adopt. Netflix was very happy that I did so proactively, and then we started the end of June, and it was like, okay, tracker watches Ppe testing at home, filling out all this stuff, you know, everything on the internet. We need to do health checks and take your temperature and all that. And as that evolved as well. So I had done. I had done three years back to
back on those shows wearing Ppe frantic. It was a lot wearing six layers and lexiglass on my podium.
Right, wow, fun kids. Yeah, I can only imagine trying to hear alone. You're like, what what was the joke? What did you say?
Yeah? So you know, And I felt bad for the actors because all they know is that now they've got like iPads in their hands. Now some actors they want scripts in their hands.
Yeah, I need paper. I have to touch it.
I am tactileed if it's I don't use a script iPad because if I do, it does not soak into my brain.
Something about the touching of the paper. Same.
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So I went I had a full house script. I don't, but I did keep a friend's script.
Awesome, Oh cool? Which one? Which? Which episode?
It's well? I was I did season seven. It's called the one with Ross's Library book and it oh okay, episode ten of season seven.
And I think I was in it.
Oh what?
I have to go back and watch this.
I think I'm in the cutting I'm on the cutting room floor. But okay' back because that's what happens.
Right.
We were shooting a scene where Joey is doing I don't know, he's blowing it. He's doing commercial or something. He doesn't use it either, exaggerating. I don't recall. I I don't watch TV because it's like going to work. I mean, I watch just maybe some features, and I go to a movie and I want to see like on the big screen and stuff like that. But for the most part, I don't watch a lot of sitcoms. But I yeah, I think I noticed that. I don't think I'm in this. But they needed a script supervisor.
They were doing shooting a film crew and it was the director of the script supervisor, and I can't remember something. He goes, Patty, get in there, it'll be great again. Get on camera, You'll be great. I'm like, I don't. So I'm on this side for a reason. I could just like this girl, I'm not.
What you guys do.
So anyway, it went really quickly. But so here's an example. Because this is aired, it doesn't matter. I'm very protective about you know there's copyrights. I'll notice on every script there's a copy, right, yeah, okay, that's supposed to be honored, and that has not.
Wait are we?
So are we?
We're all we're going to jail out. We're going to jail let's already aired. I know it was twenties today.
Yeah, I know people like on eBay like might sell their scripts and stuff. I'm just too old school. I wouldn't do it because I honored like the actors. I honored the director and the producers and this is their property. It's Noline. So anyway, but this say, this is c K five camera master. There was a second past coverage and these are some things.
So that's this is so cool right here? I remember the lines, yeah, I remember your penmanship, right, yes, the lines always fascinated to me. I'm like, what are all these what are these lines mean? So that's each pass? Okay, that's so cool.
So I think this is the episode I was in that ended up the floor, which is fine with me, Okay, it's all good. But this one says like this would be Now this is pen and paper before COVID and know right, IP had but five camera pickup masters so now we did a pick up halfway through the scene, and this would have said why we did it best
cross for head librarians? So why I try to indicate for the editor what was good, bad, better, different about the previous take, so that he knows, Okay, I'm looking for a better cross for the librarian or whatever, or don't use the second half of this take because our executive producer Jeff Franklin doesn't like the camera work, or it was better in the take before, or use the alt whatever. So I'm supplying the editor with that information. Every time we change a line, I'm notating that as
well as fast as possibble. That's the right and if an actor comes up to me, that's my priority. So if Sam Elliott comes up to me and says, hey, Patty, I want to like the lines, which he rarely did gives he's a genius, I'm like, yeah, that's what I'm doing. I'm stopping everything i'm doing and I'm going to go into the set and run lines. Or he might have a question for me that's private, you know, continuity or whatever it is. It doesn't matter. I'm just using him
as an example. But yeah, every actor needs something different. We have a different relationship. Some actors don't need to talk to their script supervisors and prefer not to, and that's fine. Some executive producers we have, we have very close relationships and they with Miller Boy at shows. They
learn to trust me. And we would sometimes do an extra take because I said, we don't have this line, and I know you're going to care when we go into editing, and thank god it was right because we're in gold time and you know, everybody's making big money and there better be a reason. It's like, sometimes the discussion about whether we do another take or not takes longer than actually shooting it really quickly to take some.
Thing they're arguing always takes longer than the actual doing. I tell my kids that all the time.
So, yeah, it just my my job, fluctuoice because it depends on my relationship, my working relationship with the cast, the actors, I'm sorry, the cast, the writers, the crew and so forth, and the necessities of that particular episode, and that's it. So I function in that world. That's that's my skill set. That's why I chose it.
So you leaved with Jimmy Burrows, Chuck Laurie Jeff Franklin, Who's the easiest to work with, who's the hardest to work with?
Do they have like quirks?
I feel like Jimmy Burrows is like super easygoing and Chuck Laurie is just out there.
But that's having never met them or worked with them. That's just my random opinions.
So well, so I when I was learning the multicam format, going from you know, training on Love Boat to being a writer's assistant and now wanting to learn that that genre, I trained with Gabrielle James who did Tears, and that was Jimmy's show. So I can't say like I worked with him because Gabby that was Gabby's She was Jimmy's script supervisor. As I am for many directors. They I'm their first call, you know, it's all.
That, and that's yeah, you get you get a very good sort of relationship. My friend Emma works all the time with certain directors because it's just you know, they just they work well together.
Exactly, and we make their lives easier and they can count on us. We have an understanding. They know to trust when I say things, when I when I don't say things, everything's fine and when I say things, I only say I'm respectfully in the most diplomatic way, understand the relationship between the director, the actors, the the creator, and then there's a script supervisor. I'm just delivering information. That's it. I don't have an opinion. I don't overstep
my bounds. I stay in my lane and that's really important. So but anyway, I love it. It's the way my brain works. So I want to I don't want to like say ones more difficult. Each one is in their position because they should be. They earned it. There are no showrunners that I know of, or any executive producers, anybody that wrote a script and was able to sell it and get a cast and get it on the air, and here we are on stage twenty four. Well they earned it.
Yeah.
Yeah, So I can't say I enjoy every different kind of show that I do and every kind of cast I work with, whether they be a listers or brand new kids that just step by step brand new, because I've never done anything.
Oh yeah, step By you did a lot of you did many seasons.
Did all of them?
Step By you did all of the season. Oh wow, that's amazing.
The reason I left Full House, I did that's right here, you went to Full House and then I'm and Bob created Step by Step and they said, we want to take you off of Full House and I went.
And that heartbreak.
I owe you everything. So, yeah, my whole career is in your lap. Where do you want me to go? And they're like, we'd like you to take your skill set bring it to step by Step and we love the way you work with kids, and you know the dynamic is great and please, So I did. Of course, you know you jump off a pier, sure which one the steward right?
And yeah?
So I did seven seasons of that. Then I did To a Kind and I just don't remember.
Uh.
I did a bunch of stuff, and then I did Friends, and then I quit the business. Right to Colorado. I said, I'm never coming back, and then cut to I'm back.
You're back.
Well, eleven years.
You're back, and forth, you're back, You're fourth.
You know it did happen. So eleven years later, I'm divorced and I'm producing a show for the NBC affiliate called Coleram Company in Denver. And I did that for five years, and again a new skill set, but you know, script supervisors can do a lot of stuff because we happen to be in the action. We see how it works, and we you know, by the time you're forty something or whatever, you know, been on the set for twenty years.
So yeah, So anyway, Yeah, so I got a call to come back on a CBS show and can you fly out tonight. I'm like, yeah, I want to hook you up with the supervising producer and if everything goes great, the executives want to meet you. It's a CBS show. You'll be working in Studio City, and I went, oh, great, because that's where I was raised and I'd done shows there. So then on a Sunday I interviewed and I got the child so acting and on Monday I'm their script supervisor. And that's how fast it goes.
Yeah, it's basic.
I mean, that is definitely the thing about this business is that you realize you're like, oh, nothing, nothing, nothing, nothing, and now you're working tomorrow and by the way, it's in another country or something, you know what I mean, like, and that the nature of this business is just crazy like that. So the fact that you were with us as family on Full House, especially those first three years, was just so important and we've we have mentioned you so much to our audience.
They all know the legendary Patty Passarelli.
Patty Nay Passarelli a astory, but yeah, you are definitely someone that has come up in the original lore of the show for.
A very long time.
Again, it was so wonderful to like have all of you guys back with us on Fuller House and full House. And I know our audience has loved hearing all of your amazing stories about your incredible adventures in this business and your time with us on full and Fuller House, and we just were so glad that you were so glad you were able to make time for.
Us, and I appreciate you moving it to this week.
Poor Patty so she she was originally scheduled for last week to podcast, then we had to ratch that because I was supposed to be working. Then I got so sick I couldn't work. But she came to visit me on set and didn't know I was sick, and so she texted me and was like, where are you anyway, I'm glad I finally got to see you.
Patty. Thank you so so much for joining us, and we just it was so good to see your face.
It's great to see you too, and I'm so proud of who you've become, all of the things you've done, all of the gosh you have like a whole family now. You went from being five to like, oh my gosh, how is this possible? How is it possible? I'm as old as I am like it goes fast, and it's been a complete honor. It's been a pleasure.
And I missed both, missing the big, big giant hugs Patty.
And I'm going to try to get out to see your your exhibition at the Huntington Beach Art Center.
Oh yeah, where you have your paintings and your your photography. So that's running through the end of the month. I'm going to try to get out there and see it. Cool. Thank you so much, Patty. We love you, We love you.
Bye.
She is a joy.
All right.
This wraps up our interview with Patty Mustari Uh, Patti Pasarelli.
I just I have to say that because that was the guys just to.
Say it all the time, that was it was her little It was like how you say someone's full name as their name.
Like it just was. She will forever be Patti PASSERELLI.
Indeed, but learning about her jobs in this industry and how she got into it is just so cool. And she's been such a part of the the full House fuller House family lore tradition. I was so excited that we got to have her on.
So thank you guys so much for joining us.
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Of course, please do own it, girl. We are fabulous Alibaba Hotel, casino. See if he can do it, you can do it. It's true.
Well, thank you guys for joining us. And remember the world is small, but the house is full of fuller house memorabilia, just full, stuffed, full, so met there's beach towels, there's cups, so much pictures, there's there's there's folders.
Yeah, there's a lot. And and Patty's notes notes are everywhere.
Yeah yeah, just there's continuity notes all over the place, just rimming them.
Okay, guys, Bye,