Dan Fogelman

No. No. I wish I could say they were. So wait, tell us about this camp.

there were people who dressed up like clowns at the morning assembly. I'm trying to remember that part. A lot of clowns today. It wasn't like I went to a clown camp.

there were people who dressed up like clowns at the morning assembly. I'm trying to remember that part. A lot of clowns today. It wasn't like I went to a clown camp.

there were people who dressed up like clowns at the morning assembly. I'm trying to remember that part. A lot of clowns today. It wasn't like I went to a clown camp.

There's a lot of Matrix-style repercussions to Lester Stallone being in the episode. We talked about it a lot and just went with it. Yeah, just went with it. When we did that episode, I got to go to Sly's house to woo him. We got an entry point through Milo. Basically, I think he agreed to do it because he loved Milo, even though he wasn't going to really have scenes with him in it.

There's a lot of Matrix-style repercussions to Lester Stallone being in the episode. We talked about it a lot and just went with it. Yeah, just went with it. When we did that episode, I got to go to Sly's house to woo him. We got an entry point through Milo. Basically, I think he agreed to do it because he loved Milo, even though he wasn't going to really have scenes with him in it.

There's a lot of Matrix-style repercussions to Lester Stallone being in the episode. We talked about it a lot and just went with it. Yeah, just went with it. When we did that episode, I got to go to Sly's house to woo him. We got an entry point through Milo. Basically, I think he agreed to do it because he loved Milo, even though he wasn't going to really have scenes with him in it.

And his whole family and like kind of support stuff at his house as I was walking in was a really big deal because they were all watching This Is Us at the time. And I think they, it was unclear that how familiar he was with the show, but I think he wanted to do it to like make his family happy. And it was like a very cool meeting of like driving up to Sylvester Stallone's house.

And his whole family and like kind of support stuff at his house as I was walking in was a really big deal because they were all watching This Is Us at the time. And I think they, it was unclear that how familiar he was with the show, but I think he wanted to do it to like make his family happy. And it was like a very cool meeting of like driving up to Sylvester Stallone's house.

And his whole family and like kind of support stuff at his house as I was walking in was a really big deal because they were all watching This Is Us at the time. And I think they, it was unclear that how familiar he was with the show, but I think he wanted to do it to like make his family happy. And it was like a very cool meeting of like driving up to Sylvester Stallone's house.

It was like sitting in the house, like talking to him about doing This Is Us was like really cool. That was a really cool moment.

It was like sitting in the house, like talking to him about doing This Is Us was like really cool. That was a really cool moment.

It was like sitting in the house, like talking to him about doing This Is Us was like really cool. That was a really cool moment.

I miss the show, and I miss doing that show. I mean, it was so soulfully deep and important to me that... You know, like there's a difference between taking a scene in another project and say, here's something intimate from my life or my life experience. And I want that to frame a scene in the show. It's like something I always try and do.

I miss the show, and I miss doing that show. I mean, it was so soulfully deep and important to me that... You know, like there's a difference between taking a scene in another project and say, here's something intimate from my life or my life experience. And I want that to frame a scene in the show. It's like something I always try and do.

I miss the show, and I miss doing that show. I mean, it was so soulfully deep and important to me that... You know, like there's a difference between taking a scene in another project and say, here's something intimate from my life or my life experience. And I want that to frame a scene in the show. It's like something I always try and do.

When you're actually able to say, here's something intimate from my life. And then I'm going to actually execute that directly into a show without like, not just the themes of it or the exploration, but like. I'm gonna like take this episode we just did and like every single character's exploring like immediate grief in a very different way, right?

When you're actually able to say, here's something intimate from my life. And then I'm going to actually execute that directly into a show without like, not just the themes of it or the exploration, but like. I'm gonna like take this episode we just did and like every single character's exploring like immediate grief in a very different way, right?

When you're actually able to say, here's something intimate from my life. And then I'm going to actually execute that directly into a show without like, not just the themes of it or the exploration, but like. I'm gonna like take this episode we just did and like every single character's exploring like immediate grief in a very different way, right?

And that was like all the things I've gone through at multiple like losses in my life. And I was like, oh, I'm gonna be able to do it directly, like in a hospital scene with a family. And so I missed that. Is it cathartic? It did it at the time. I think in retrospect, I rarely look back at the show. This morning I was rushing here and I wanted to like reorient myself to the episode.