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00:00 (cash register dings)
00:02 - What we did early on, I think I'd just gotten to Australia
00:05 and we'd just finished casting the kids,
00:07 and the director and I thought it would be really fun
00:10 to have them start a sibling text chain.
00:13 And so the four Delaney kids started a sibling text chain
00:16 that they became the Delaney sibs.
00:19 - Oh, that's cool.
00:19 - Then I think, I wanna say that Annette and Sam
00:22 got wind of it and wanted to be a part of it,
00:24 but the kids were like, "Ah, we gotta let mom and dad in."
00:27 So I think they wound up with two text chains,
00:29 one with mom and dad and one without.
00:31 And they kind of blossomed as a family.
00:33 (upbeat music)
00:36 - Remember how much you guys loved s'mores
00:40 when you were little?
00:41 I was thinking later tonight it would be fun.
00:43 - I can't stand it yet.
00:44 - Tonight we--
00:45 - Oh, I thought this was, we were just doing daytime.
00:47 - I know, but it's a whole day thing.
00:48 - We should do it another time.
00:49 - No, we're gonna do this.
00:50 - It's a whole day thing.
00:51 - Yeah, it's like this, then tennis, then--
00:53 - No.
00:54 - Okay, fine.
00:57 We'll do it another time.
00:58 (upbeat music)
01:00 - Hey, did you do those exercises
01:02 so you wouldn't get blood clots on the plane?
01:03 - Of course.
01:04 - Nope.
01:05 - And free wifi on the plane was nice.
01:09 I used the opportunity to do a little sleuthing.
01:11 Claire, still seeing that guy?
01:15 - Yeah, I think it's serious.
01:18 I think it's great.
01:21 We're divorced, so.
01:22 - Not yet.
01:23 - Well, I'm seeing someone.
01:27 - Oh.
01:27 - Ooh.
01:28 - Oh.
01:29 - Yeah, yeah, yeah.
01:30 It's incredible.
01:31 She's intelligent and successful and very attractive.
01:35 - She play tennis?
01:36 - No, not really.
01:38 - Claire loved tennis.
01:41 She was perfect.
01:42 - She's married to her dad, so.
01:45 - It's not her fault she's not at this table today.
01:48 - Okay.
01:49 - Welcome to Behind the Lens.
01:52 Today, she is a very accomplished playwright
01:55 and writer, executive producer, showrunner.
01:58 Her current project is on Peacock,
02:01 Apples Never Fall from the Leon Moriarty,
02:04 a bestselling novel.
02:06 Please welcome Melanie Marnich.
02:08 Welcome to the Behind the Lens here.
02:11 - Oh, I'm so excited to be here.
02:12 So excited to meet you.
02:14 I'm very honored to be in this chair.
02:16 Thank you.
02:17 - Well, thank you for coming in.
02:18 And I have to say, I am not a fan of binging.
02:22 I don't binge.
02:23 I like to watch an episode and then talk about it
02:26 with people and then see it the next week
02:28 and feel like everybody's doing it.
02:30 I binged Apples Never Fall.
02:33 - Oh, thank you for that.
02:34 Thank you.
02:35 - Yeah, I mean, it's really well constructed
02:36 in that way too.
02:37 But let's talk about it here.
02:40 You've done so many shows.
02:41 I should mention them.
02:42 You've worked on Big Love, The Big C, The OA.
02:46 I mentioned all of the plays.
02:48 You're a very accomplished playwright.
02:49 Been produced by Manhattan Theater, all of them.
02:52 Also you have, if this isn't enough,
02:55 Murder at the End of the World.
02:57 - Yes, yes.
02:58 - For which you are nominated for a Writers Guild Award.
03:01 And that's also this year,
03:03 you're kind of competing against yourself.
03:06 - I am indeed.
03:06 I am indeed.
03:08 Yeah, yeah.
03:09 - And then The Affair you did and so many things.
03:12 But what about Apples Never Fall?
03:14 Leanne Moriarty, obviously very hot right now,
03:17 Big Little Lies and all of that.
03:19 Did you read the book or something?
03:20 Did you just say, I gotta get this made?
03:22 Or how did it happen?
03:23 - Yeah.
03:24 I had been on, I had a great good fortune
03:27 of being kind of on a run of shows.
03:29 I had been working really, really steadily.
03:31 And I wrapped one and I remember telling my agent,
03:34 like, okay, that was great.
03:36 That was a great run.
03:37 I need to catch my breath.
03:38 I need to hear myself think for just a minute.
03:40 Give me a few weeks.
03:41 And because she's a great agent,
03:43 she didn't exactly listen to me.
03:45 And I had maybe a week or two.
03:47 And she said, I'm gonna send you The Galleys for a book.
03:52 - Yeah.
03:53 - A Leanne Moriarty book.
03:53 And you're gonna read it.
03:54 It's great.
03:55 And I was like, okay, go ahead, go ahead.
03:57 She sends me The Galleys and I dove in.
04:00 And of course, Leanne Moriarty's brilliant.
04:02 I had been a fan prior, but I just,
04:05 I started turning the pages on this one.
04:07 And it was, I was laughing.
04:10 I was terrified.
04:11 You know, it had everything right away.
04:13 Plus it had like these really heavy duty themes.
04:17 I felt if something can be harrowing,
04:19 funny and have these themes, that's in my wheelhouse.
04:22 - Really interesting too.
04:23 And it's a tricky thing to adapt
04:27 because they're so structurally, it's very,
04:32 I just watch it and I go like, whoa,
04:34 this is like, if they don't do this just right,
04:37 you're gonna be lost.
04:38 - Yeah, yeah.
04:39 I think we walked, like it was like,
04:40 we'd take it to that line, you know, take it to that line.
04:43 And it was really trying to honor the energy from that book.
04:46 - Yeah.
04:47 - Because the book has what I call just like
04:49 this incredible page turner energy.
04:50 It just, it's quite fleet that way.
04:53 But then so much of it is also internal.
04:55 - Right.
04:56 - So like when I first started reading the guys,
04:57 I was like, no problem, this'll be easy.
04:59 And then I got the project, I'm like,
05:01 oh my God, this is gonna be so hard.
05:03 And so it's like, how do you take all that richness
05:05 and say, how do I turn this into dramatic action,
05:09 you know, on screen?
05:11 And then, you know, with that,
05:12 how do I keep this moving in the same sort of
05:15 page turnery spirit that the book did?
05:18 - Yeah.
05:18 - You know, and so, yeah, thank you for bringing that up.
05:20 We worked really hard at that, on that in the writer's room
05:23 'cause it was, you know, it was narrative,
05:25 it was character development, character revelation,
05:28 an investigation to timelines,
05:32 six different points of view, you know, it was a lot.
05:35 So it was like, you know,
05:36 like this fine, fine braiding all the time.
05:39 And the question we'd always ask ourselves is like, okay,
05:42 we broke this episode, we broke this act,
05:44 whatever it might be, now what is the Apple's version of it?
05:48 And that had to have like a sense of surprise, twist,
05:52 and that sort of fleetness, you know,
05:54 like making sure we're getting out of a scene,
05:56 an act on a bounce in a sense,
06:00 like that takes you right into the next thing.
06:02 'Cause I really, I don't take audiences' attention
06:05 for granted, you know, you need to earn it and keep it.
06:08 And so it's like, how do you structure something?
06:09 And then the cast, I mean, you can,
06:11 I would watch any of them, you know, read the phone book,
06:14 but like they were incredible also with keeping scenes
06:19 and moments both sort of propulsive and grounded, you know,
06:23 so it was like juggling all of that.
06:25 - No, it's really good.
06:26 And the structure of it,
06:27 this of course is about a tennis family.
06:31 They are formerly the tennis club,
06:33 and Annette Bening obviously and Sam Neill,
06:36 married and very big in the tennis world.
06:40 And then their four now growing kids
06:42 all sort of grew up in this world in West Palm Beach
06:47 and very much in that milieu.
06:50 And each character here has its own episode.
06:53 The episodes start,
06:54 and the name of it is the name of the character that way,
06:57 which was important to get the characters into this story
07:02 as much as the mystery of what happens too.
07:05 - Absolutely, absolutely.
07:06 I think, you know, it was so fun.
07:08 And part of what you mean to the book
07:09 and then figuring out like how to adapt it, you know,
07:13 and had to do with, okay, it's this incredible mystery
07:17 about what happens to this woman.
07:18 - Yeah, where did she go?
07:19 - What happened to her?
07:20 What happened?
07:21 - Did he kill her?
07:22 - Exactly, exactly.
07:24 Dear Sam Neill, is he a murderer?
07:26 But also that is the Trojan horse.
07:30 It is the mechanism by which we deliver
07:34 the deep character stories.
07:35 You know, so it was like,
07:36 how do you use a procedural element in a sense
07:39 to keep cracking open the characters?
07:41 - Right.
07:41 - You know, and that was really fun to do.
07:43 - Why did you change the setting from the book,
07:46 which was set in Australia to West Palm Beach,
07:51 since you shot in Australia?
07:53 (laughing)
07:54 It's sort of an interesting thing, but.
07:57 - Yeah, I set it in West Palm, couple reasons.
08:00 I was like, well, I know West Palm a little bit.
08:02 I had spent some time there back in my theater life,
08:05 my playwright life.
08:05 So I worked there and I really loved it.
08:08 And I loved its proximity to Palm Beach.
08:10 Like it was really fascinating culturally, geographically.
08:15 I also love that it's the seat
08:16 of so much professional tennis training
08:18 down there in South Florida.
08:19 It's like, it just makes sense.
08:20 So it was like, I know that world a bit.
08:22 I think it's gorgeous.
08:23 I love it.
08:24 And it makes sense in terms of the tennis.
08:26 You know, I know that versus,
08:28 I think the book is set in Sydney or suburbs of Sydney.
08:30 Didn't know that, you know, didn't know that.
08:32 And it was really important to me
08:33 to be able to infuse the sense of the place,
08:36 you know, into the story.
08:38 It wasn't randomly set in West Palm.
08:40 I felt like it was important to me
08:42 that the family lived in West Palm and not Palm.
08:45 - Oh, okay. - You know?
08:46 Like they didn't make it there.
08:47 - Yeah. - They didn't make it.
08:49 And they could see it.
08:50 They could run an errand and see
08:52 the place they never made it to.
08:54 What it can mean to me geographically, socioeconomically,
08:57 in terms of this family, it will matter.
08:59 The place matters in a way that I didn't know
09:02 how to translate that same thing to, you know,
09:04 Sydney necessarily.
09:06 And then yes, ironically, the call comes in
09:09 or it's like, "Great, you're shooting this in the Gold Coast."
09:12 You're like, "Okay."
09:13 (laughing)
09:14 And it looks like Florida, it looks like Florida, sort of.
09:17 You know, we had to do a lot of work to make it so,
09:19 and thank goodness we had the crews over there
09:20 and the artists to make that translation,
09:23 you know, make it look good.
09:26 And it's beautiful anyway, but it's, yeah, that was ironic.
09:29 - I loved it also for the tennis milieu.
09:32 My father was a tennis pro.
09:34 - Oh my God.
09:35 - And I grew up on tennis courts.
09:37 He was trying to force me into tennis
09:39 and I'm sitting here so you see it, that didn't work out.
09:43 But yeah, I totally feel the authenticity of this
09:48 and that world and, you know,
09:50 and that is an interesting world to examine.
09:52 - It is and it's, you know, I really wanted it also to live,
09:56 you know, to the why it was part of it.
09:59 Tennis there is part of the culture
10:01 and success in tennis is part of the culture in that area.
10:04 And that Stan, sure he lost Harry Haddad,
10:07 but they ran this very successful tennis academy.
10:10 That would matter.
10:11 He would be able to carry himself with a certain pride.
10:13 He would be known to a certain degree.
10:15 And then, uh-oh, his wife goes missing
10:17 and he's suspect number one.
10:19 That's quite a fall from grace in that world.
10:22 - I want people to see it,
10:23 but I also assume that many have,
10:26 but I thought the way you make it like,
10:28 oh, he really did.
10:30 There's a key scene here where you really feel like
10:33 with the, you're hearing the recording of a fight
10:36 and you really feel like he did it.
10:40 And, you know, and then how it all is unraveled
10:43 is really ingenious and really interesting, I thought.
10:47 - Oh, thank you for that.
10:48 Yeah, that was the, the Stan Delaney needle
10:52 was a very delicate and fun one to thread, you know,
10:54 'cause it was like, he had to be pillar of the community,
10:56 this great coach, this great father, and also a man.
11:01 I can see that in him.
11:02 - A little darkness there.
11:03 - Yeah, yeah.
11:04 And obviously Sam Neill is brilliant.
11:07 He's really an actor. - Oh, he's exceptional.
11:08 To have Sam Neill and Annette Bening.
11:11 Annette Bening doing her first television anything
11:14 in 20 years and her first limited series ever
11:18 is pretty extraordinary.
11:20 And boy, does she capture the complexity of joy
11:23 of this woman, wife, mother, business person,
11:27 wants to run the tennis world for them too,
11:30 and all of that.
11:32 And then suddenly just drops out, disappears.
11:35 - Disappears.
11:36 And I mean, Annette, those two people
11:38 that had the Delaney family, I mean,
11:40 they also became a family, which was really fun.
11:42 You know, it's like--
11:43 - They did, you mean the actors?
11:44 - Yeah, it was adorable. - Oh yeah.
11:46 How did you make them a family though?
11:48 - They, they're extraordinary humans.
11:51 So, you know, our first casting was Annette,
11:53 and then Sam, and then the kids.
11:56 And what we did early on,
11:58 I think I'd just gotten to Australia,
11:59 and we'd just finished casting the kids.
12:01 And the director and I thought it'd be really fun
12:05 to have them start a sibling text chain.
12:08 And so the four Delaney kids started a sibling text chain
12:12 that they became the Delaney sibs.
12:14 - Oh, that's cool.
12:15 - Then I think, I wanna say that Annette and Sam
12:17 got wind of it and wanted to be a part of it,
12:19 but the kids were like,
12:20 ah, we gotta let mom and dad in.
12:22 So I think they wound up with two text chains,
12:24 one with mom and dad and one without.
12:25 - Oh, that's funny.
12:26 - And they kind of blossomed as a family.
12:28 And so I think you see it in the performances
12:31 that are extraordinary from the start,
12:33 but as the show goes on, as the episodes go on,
12:35 they enter each scene even more and more lived in
12:39 as a family because they are really carrying
12:42 the history of the family in their bones
12:43 and the dynamic they created together as actors, as friends,
12:48 also just makes it come so much more alive.
12:51 - How did Annette succumb to your inquiry here
12:56 about doing this?
12:57 Because she's very careful.
12:59 She sat in this chair.
13:01 I've talked to her.
13:01 She actually talked a little bit about this show.
13:03 She said, yeah, you know, the strike, it stopped it.
13:06 We have to go back.
13:06 We haven't finished it yet.
13:07 It's got an air date, all this stuff.
13:09 - Oh, so you talked to her before we wrapped.
13:10 - Yeah.
13:11 - Oh, interesting.
13:13 I could not have asked for a better partner.
13:15 She's an incredible artist.
13:16 She's absolutely brilliant.
13:17 She brings such integrity to the process.
13:21 I mean, this woman does her work, you know,
13:23 and she was all in from the start.
13:25 We had one call, she talked to David Heyman once,
13:28 and then she and I had-
13:30 - David Heyman's a producer.
13:31 - Producer on it.
13:32 He's the one that got the rights to the book.
13:34 And then she called me and we just talked it through.
13:38 You know, I told her how I saw Joy.
13:40 I told her how I saw the show.
13:41 I told her how I saw her character's trajectory
13:43 and what it meant and the themes that I wanted to explore.
13:46 I think we had the pilot written,
13:48 and I can't remember if I had any more episodes.
13:50 We just had a wonderful conversation
13:53 in which I felt like I could hear her.
13:57 She asked questions from like inside of Joy,
13:59 which was really interesting.
14:00 She really got in her skin
14:02 and asked these brilliant questions,
14:04 many of which I had answers to.
14:06 And so I'm always like,
14:07 "Oh, that's a really interesting question
14:09 "because you're looking at this
14:10 "literally through Joy's eyes."
14:12 I hadn't seen it like that.
14:14 And so the conversation was also very illuminating.
14:16 - So how do you decide what is deserving
14:20 of seven hours of television versus a two-hour movie
14:23 where you could squeeze it all in one way or another too?
14:26 As Hollywood has done for decades
14:29 on these kinds of best-selling books.
14:31 - And sometimes you see something,
14:31 you're like, "Oh, that could have been shorter,"
14:33 or, "Oh, that should have been longer."
14:34 It's really hard.
14:35 It's really hard.
14:36 This, ironically, I think I started out
14:40 with a good even number.
14:41 I was like, "Oh, it's gonna be eight episodes."
14:43 And then as I was working on it structurally,
14:47 I was like, "Wait a sec."
14:49 If we had an episode, it was the Delaney's,
14:51 and let's say each of the characters,
14:53 "That's seven episodes."
14:55 And eight, a little ear can go out of the tire
14:59 if I go to eight.
15:00 But if it's seven, I know what that is.
15:02 - How would you do that with the titles?
15:03 Because you've got the four kids, the two parents,
15:06 and of course, we haven't talked about the mystery woman,
15:09 Savannah, who comes into their lives.
15:12 - She does, yes.
15:13 Fox in the henhouse, as we say.
15:15 Fox in the hen.
15:16 So yeah, I mean, it was-- - So that's seven.
15:17 - That was sort of a process,
15:19 and I wish I could say, I was like,
15:20 "Oh, that's how that should work."
15:21 That was a process.
15:22 And then figuring out which characters,
15:25 what episode was a process,
15:26 and what purpose each, it's like,
15:30 it wasn't just each person should get an episode,
15:32 but what do we learn emotionally about that character
15:35 that then takes us to the next character,
15:36 then that take, like very kind of lily-padding our way
15:39 across the seven.
15:42 So I was really glad to reduce it to seven from eight,
15:45 because then it just felt like content's under pressure,
15:48 and that required a certain alacrity.
15:50 - Yeah, this is for Peacock,
15:52 which is a relatively new entity.
15:54 That's obviously NBC.
15:56 But how are they to work with?
15:58 - Amazing.
16:00 They were so supportive from the start.
16:01 I feel like they were dream partners.
16:03 The studio was great.
16:04 Everybody was great.
16:06 So it was, Peacock was wonderful.
16:08 They had great execs, and we just felt,
16:10 and I felt support from the get.
16:12 - Yeah.
16:13 You've done so many.
16:14 I mentioned "Murder at the End of the World,"
16:16 which is the end of the world.
16:17 In this case, it's Iceland.
16:19 (laughing)
16:20 - It's cold.
16:21 - But another mystery, you know,
16:23 and a lot of, you know,
16:25 kind of a classic one in a lot of ways.
16:27 - Yeah, yeah.
16:28 With Britton Zoll, who I worked with
16:30 on the first season of "The OA."
16:31 - Yes, right.
16:32 - So they're just fabulous partners in crime.
16:36 - Yeah.
16:37 - No pun intended, literally partners in crime.
16:38 - Yeah, so what about that one?
16:40 That one came on before this.
16:42 - Yeah.
16:43 - But, yeah.
16:44 - Yeah, I am thrilled for that show's success as well.
16:46 I mean, they, you know,
16:47 I didn't go to Iceland with them.
16:48 They went and, you know, produced the whole thing
16:50 and shot it, and they did an incredible job.
16:52 I think I'm really proud of that one too.
16:54 You know, it's, talk about a different world.
16:56 Yeah.
16:57 - I know.
16:58 How did you merge from,
16:59 you did all these plays,
17:01 you've written several plays and things like that,
17:03 and then all of a sudden you wind up with television.
17:06 Was that always the plan?
17:08 You wanted to move into another medium?
17:10 'Cause you were very successful as a playwright.
17:13 - I love theater.
17:14 I still love theater.
17:14 (laughing)
17:15 Yeah, you know, it's funny.
17:17 At a certain point in my playwriting career,
17:19 I felt like my writing was wanting
17:21 something slightly different.
17:23 I don't know how else to explain it.
17:24 I felt like, huh, I wonder what this would be like
17:27 in a car driving, you know?
17:29 I felt the need to kind of widen my world that way,
17:32 my storytelling.
17:33 So I was like, TV,
17:35 I hadn't really thought of TV prior to that.
17:38 I was like, well, TV could be interesting,
17:39 and I started like, okay,
17:41 maybe I should figure out how to write a pilot.
17:43 And then around that time, I switched agents,
17:46 and I wound up at the time moving to William Morris,
17:49 and had a brilliant theater agent there
17:53 who I had talked to about,
17:55 kind of like, huh, I should explore this TV thing.
17:58 She took the liberty at one point
18:00 of giving one of my plays to a TV agent in LA.
18:05 And that TV agent,
18:07 I don't think I even knew this was happening,
18:10 gave it to the creators of Big Love.
18:12 And so I was hired off of a play onto Big Love,
18:15 and it happened both intentionally and then surprisingly,
18:19 as things do, you know?
18:20 - Oh, that's cool.
18:21 - Yeah, yeah, I was really, you know, very fortunate.
18:24 - Did you not win a Golden Globe for that,
18:26 or something like that?
18:27 That was a big show.
18:29 - Yeah, I know I was nominated for a Writer's,
18:32 yeah, I was nominated for a Writer's Guild Award.
18:34 - That's it, you were nominated the first time for that.
18:35 - Yeah, yeah, yeah, yeah.
18:37 And so that was an incredible show to come up on,
18:40 you know, that was great.
18:41 But that's how it happened.
18:42 I was happily in theater and kind of dabbling
18:44 and trying to figure out if I could be in TV,
18:46 and then a play got me hired in TV.
18:49 - So what is it that makes a writer?
18:51 - What?
18:52 Ooh, that's hard.
18:55 Oh my goodness, I mean, I think it's a combination
18:58 of blind faith, ego, insecurity, discipline,
19:03 and I don't think I couldn't not.
19:06 You know, I think there is that,
19:09 that always sounds so woo-woo,
19:10 but I don't think I could not.
19:13 And then you need to be both a business and an art,
19:16 and I think that's a real tricky thing,
19:18 but I think the more you kind of can embrace
19:20 the fact that they can live together in a wonderful way,
19:23 it becomes kind of magical.
19:25 But yeah, I think it is,
19:26 I think we ask ourselves that every day, don't we?
19:28 Like, what makes a writer?
19:29 But I think it's like, we kind of have to.
19:32 We kind of have to.
19:34 - So "Apples Never Fall" is very successful,
19:36 as was "Big Little Lies."
19:38 So she wrote the book "Big Little Lies,"
19:40 and there you have it, and then they want more.
19:42 And so then they did another "Big Little Lies."
19:45 - Yes, they did. - Okay.
19:46 - Will we have another "Apples Never Fall?"
19:48 - We haven't talked about it.
19:50 I don't know.
19:51 I don't know if Savannah will write again.
19:53 I don't know if the Delaney's,
19:55 something someone else will knock on their door.
19:57 At this point, it is a limited, limited series.
20:01 - It is really limited.
20:02 - It is a fulsome story told in full.
20:05 And I think Savannah entered the life
20:08 at a very special time for this to unfold.
20:11 You know, they're not, they are a regular family,
20:14 you know, in spite of everything.
20:17 So at this point, it is a completed.
20:20 - By the way, the actors that plays Savannah.
20:23 - Oh, she's so good, yes.
20:24 - Georgia. - Georgia Flood.
20:26 - Which I thought was a breaking news thing or something,
20:29 but it's a real person.
20:31 (laughing)
20:32 - A real, wonderful person. - Georgia Flood, yeah.
20:34 - Georgia Flood, yes.
20:34 - A really terrific actor.
20:36 - Absolutely, absolutely.
20:38 And hard to cast, because it had to be someone
20:41 who could convey an innocence,
20:44 like both a girl next door innocence.
20:46 You know, fallen on hard times,
20:48 you know, when she knocks on the door,
20:49 that you should feel for her,
20:50 while also being quite scared for Joy and Stan.
20:53 But someone who could convey that sort of innocence
20:56 and vulnerability, and then have that sort of thing
21:01 emerge in them over the course of time.
21:04 - Yeah, and be believable throughout it
21:07 as we learn more about her in very interesting ways.
21:11 So what is next for you then,
21:13 after you do all these things this season?
21:16 You know, you've got these two big shows here.
21:18 Of course, "The Affair" was a big one for you.
21:20 - Yep, great show.
21:22 I have two projects at two different studios,
21:25 and hopefully we can find homes for them.
21:27 And I'm in love with both of them,
21:29 so we'll see what happens.
21:30 - Do you like being a showrunner?
21:31 - Love it.
21:32 (laughing)
21:33 - Fastest answer you gave me today.
21:36 - Absolutely love it.
21:37 It is, it makes you use absolutely all of yourself,
21:41 you know, all of your skills.
21:42 I love being a leader, I love solving the problems,
21:44 I love having a vision that I can sweep other people up in.
21:48 I love having writers that are smarter than me
21:50 that can show me things I didn't think of.
21:52 I really love populating a room with brilliant people
21:56 from whom I learn.
21:57 And I love the feeling that something gets bigger
22:01 and better than you could make it yourself.
22:04 - Couldn't say it better.
22:05 Well, thank you so much for joining us
22:07 on Behind the Lens today.
22:09 And of course, it's "Apples Never Fall."
22:11 It's on Peacock, and we're gonna hear a lot more
22:15 from Melanie Marnich and your career as it moves along.
22:18 Thank you for coming in.
22:19 - Thank you for everything, I appreciate it.
22:21 (upbeat music)
22:23 (upbeat music)