Speaker 1: Hello, and welcome to Montecito after Sunset. My name is Christy,
and today we are breaking down episode seven of this
fabulous audio soap opera with no due respect. Joining me
now is the creator and executive producer of Monacito.
Speaker 2: Grant Rudder.
Speaker 1: Hello, Grant, always good to see you.
Speaker 2: Hi, Christy, thanks for having me.
Speaker 1: Thank you for being here, and we are also so
happy to have joining us today a Daytime Emmy Award
winner and very beloved soap opera star, writer and producer.
She is the creator of Venice, the series, and of
course the matriarch of Monacito as the voice of Helena
Granville Blasco. Welcome to the show, Crystal Chappelle.
Speaker 2: Thank you so much for having me.
Speaker 3: It's nice to meet you you too.
Speaker 1: We are so happy to put a face to the voice.
Of course, Helena is sort of the driving force, it
seems Montecito since episode one. So happy to break it
down a little bit with you. So let's jump into
this big episode. This is the one where we hear
from everyone in the cast. We get a lot of
Helena every week, and we love that, and we get
to see how she's interacting with everyone else. This week
we have that Granville Family dysfunctional brunch. I really enjoyed
this one, Crystal and Grant because we got a lot
of juicy backstory here. So as a listener, I was like,
oh ooh, ooh. I listened twice because I had to
get all.
Speaker 2: The good stuff. We see that they are the type
of family that makes a lot of comments. You know,
they're those kind of people that you know, just jims
and jabs, and you know, it's not really a warm
and cozy family, even though Helena is trying to be
this gracious grandmother with the pancakes and you know, talking
with her grandchild, and it's just not the reality.
Speaker 1: Well, Crystal, when you look at a script for a
scene like this, do you look for something that you
can relate to in the character or the family or
how would you approach this?
Speaker 3: Well, Sadly, I think a lot of families are like
where you really don't say what's on your mind. It's
usually over pancakes or you know, it comes out in
different ways, you know, typical family stuff. Really it's just
sort of heightened and dressed up a little bit better.
Speaker 1: Yeah, you know, well, in jumping into a scene like this,
you're used to being on set with full wardrobe, at
a crew, a lot of expectation, and in this one,
I imagine it's just you at home or in a
booth somewhere. How do you kind of get into character.
Speaker 3: I think the thing that I had to figure out
was not to rely too heavily on my script, like
to really kind of be off as much as possible,
but just to have it as a reference, because you
need to know where you're going with the character. And
then once you get in with the other actors and
you start bouncing off each other, it just sort of
and Grant knows what he wants, his team knows what
they want, so we just kind of got this really
in the moment. Direction of this is the structure of
the scenes, the structure of the show. And yeah, I
mean everyone was just sort of banging off of each other.
It was really awesome.
Speaker 2: Crystal, I'm curious. I have a question for you as
an actress, not having the movement, you know, knowing where
the camera moving crossing through the set, does that impact anything?
Does that make a difference for you? That's really a
good question.
Speaker 3: Sometimes the moves and working in daytime don't help you, know,
they just need movement for the sake of movement, which
makes sense, right, But no, it was all.
Speaker 1: Coming from inside. I didn't feel the need to move.
Speaker 3: It was all right, and the voice and the feelings right.
Speaker 2: So, but that's a really play that way well.
Speaker 1: And Helena has such deep relationships, of course with everyone
on the show, since a lot of them are family,
and she's the one who kind of points out that
Deacon and Diego are not very different from each other, right,
there really is more similar than different, and Grant when
you were writing this scene and kind of what was
important to get across about the relations and ships.
Speaker 2: Well, in this family, the daddy issues run deep, and
this was them on display for the first time. We
see the three generations and the fractured relationships. I really
wanted to show more than anything. Well, there's a lot
of things about to show, but really Bradley and how
he just does not connect at all with Deacon. There's
no real respect there. He doesn't get him like, it's
just this. There's also a lack of empathy from Bradley.
And then this is the opposite with Helena, who's almost
too involved, really rooting for her son, and that's that's
his support. But Diego, he doesn't really connect with any
of these people because it's all about his mother and
that bond and it's something called a trauma bond or whatever.
But we have to remember that Diego was raised by
a narcissist, So that's a whole other layer to you know,
as you are as a kid and how you view
the world and your parents and your family. And obviously
Helene Mina is not speaking up the Granville family to
her son very well, you know what I mean. Like,
so he's not connected to these people unfortunately, but it's
for a lack of trying.
Speaker 1: Well, and and everything came together in the episode as
well as we see kind of two dysfunctional families, two
different scenes, but they're really playing off of each other.
What was the objective when you were writing this episode, Grant?
Where were you looking to take the story for? What
were you what message were you trying to get across
to the audience.
Speaker 2: Well, it's interesting you asked that because these later episodes.
Originally I wanted to do twelve, and I had mapped
out twelve, and then twelve felt too much. It felt
too indulgent, it felt unnecessary, It felt like we were
kind of like looking for to kind of have a
little padding, and I wanted all these scenes to really
count and matter. So the episode seven, which we're discussing here,
really was the first one where it was like, okay,
like how are we going to crunch in what we
want for? Like the what what needs to happen? Who
do we need to see interact? So we had to
see the Granville family interact. We had to have that
scene which I want to get into with Vincent and Crystal,
Helena and Bradley, you know, with the hedge. We had
to see what one more time of Bethany Gina really
trying to make it make her point to Mina, like hey,
can you please stop feeding my brother alcohol? She has
to ask the question, you know, like he now she
knows the influence that Mina has over him. She has
been learning this, so now this is her trying to
have an adult conversation, which we know does not go
anywhere and never will. That was really the idea of
this episode was to get us to this breaking point
which is coming up. We only have three episodes left
and everything's going to really really take off. It's really
about Okay, now we've set everything where it needs to
be to blow it up. That's the idea.
Speaker 1: Yeah, well, and you mentioned Helena and Bradley's dynamic. Of course,
that is an overarching theme throughout the show. What was
important about this theater or what was it that you
wanted to get across?
Speaker 2: You said, well, their marriage. This is just the two
of them were one on one scene. You know, they're
having this discussion and it goes back to Deacon. Of course,
there's always these family dynamics. It's always the people in
the family that are creating the trouble. And that's how
Bradley views that. He calls me to a fox in
front of his wife, you know, is showing, you know,
kind of a different side to Bradley versus how he
met him as a you know, corporate chairman of the board.
But yeah, I wanted Bradley to be problematic. I wanted
to show that these two have their own three dimensional
marriage and Helena really, really is is loyal to this man.
She've views this as her soulmate and she's had to
put up with a lot to keep him in her
life and to keep this marriage together. They will find
out that they've been married twice and then they've got
their problems, but it's all about Deacon really and Nina
and Mina. Yeah, well it is.
Speaker 1: And so Crystal, what are your thoughts on Helena's position
kind of at this point. Did this scene stand out
to you as something where she needed to really be
a certain way or have there been other scenes on
the show that really stand out in your mind that
were pivotal in recording or that seemed really important to you.
Speaker 3: I think what's meaningful in this scene is that you
see these two really talking about their relationship. You know,
why Bradley would talk about Mina in the way that
he does, and you know, whatever this connect and why
does he defend her so much?
Speaker 2: What is going on?
Speaker 3: She knows something's there, and she probably knows what it is.
But there's a reason why she married them a second time.
She wants this thing to work. Doesn't matter how dysfunctional
it might be. That's just what she wants.
Speaker 1: Why.
Speaker 2: I don't know, Grit, Yeah, I mean that's her man,
and that's hersility. She's been through hell in her life,
if she's had some health issues in the past, And
it's all about our own personal kind of control of
what we want and you know, she wants her family
to stick together, and that's her cross for sure. I
shoul we had time for more scenes between the two
of them, because there's so much backstory that's in this
head and in notes for these two characters are Braley
and Helena, So do you have them. We'll have more
scenes with them in the next episode. In eight I
wanted to get so much deeper with them, so there's
so much short unpacks still, so I'm hoping that we
can get deeper into their dynamic because there's just a
lot there.
Speaker 1: Crystal. When you're thinking about developing a character, are you
filling in any blanks that aren't there yet in the story,
or are you putting a little bit of yourself into
Helena or what you think Helena should be.
Speaker 3: I think it's sometimes better not to know everything in
the backstory because things can change. There's that, but I think,
you know, for me, just I just look at the
character on the page and go, well, what's driving this person?
And I think there are a lot of women out
there who stick it out for whatever their reasons. It's
not always healthy, but that's a part of the function
in the dynamic of family. Sometimes I just try to
live the character's life, and then I learned a long
time ago to walk away from fictional dysfunction.
Speaker 2: But I knowing the stories you've played, Crystal, I can imagine.
Speaker 1: It's fun being in it.
Speaker 2: I mean, that's the thing.
Speaker 3: There's a reason why I do it, because it's so
much fun, you know, just to be somebody else. But no,
I just sort of do my thing, and I figure
i'll get corrections or direction or something if I'm way off.
Speaker 2: Yeah.
Speaker 1: Well, and you've played a ton of memorable characters. How
do you feel like Helena holds up? Do you enjoy
being Helena or how do you feel when you compare
her to some of your other characters.
Speaker 3: Well, you know, I've reached that age where I get
to play these kind of matriarchs. For a long time,
it was, you know, leading lady kind of stuff.
Speaker 1: It's fun being a.
Speaker 3: Little older and a little wiser and being able to
kind of grasp a role like this.
Speaker 2: So I appreciate it.
Speaker 3: It's like, I can imagine what she looks like, I
can imagine what she's been through, and I think just
as a woman, you know, being matriarch of my own.
Speaker 1: Family, you're just trying to you do try to keep
it all.
Speaker 3: Together, and it's the day to day and women are
amazing and what they're capable of doing.
Speaker 2: Quite frankly, let me just give a shout out.
Speaker 1: To women out there.
Speaker 3: But yeah, Helena has got a lot on her blade
and she's doing the best she can to keep it
together and.
Speaker 1: Make it seem normal. I guess you know, it's just
let's pretend all this is normal.
Speaker 2: Yeah, that's it. I mean, I really do view like
as a writer, I view Helena as a leading lady,
as a main like. I don't view her as the
mother or the grandmother or you know, a voice of
reason or you know, the talk to a lot of
a lot of these older characters, they just be coming
to talk to, so they don't have any life of
their own on screen, and that's not what I want
to do with. Everyone has their own life and their
own experiences, and I just don't want anyone to just
be a chat to, you know. So there's so much
depth that can still come from Helena.
Speaker 1: Oh yeah, for sure. Crystal. You are a very busy woman.
I'm wondering what's the latest with Venice the series and
what else are you working on? You're always up to
a lot of good stuff.
Speaker 3: I'm not a good idle person, is what I tell people.
It's better that I stay busy for the sake of
all mankind. Just stay busy. I'm Venice season seven. We
released that at the end of February, and I'm working
on a special edition of Venice. Cool. It's a little
project that I have going. But I'm also I'm writing
a pilot right now, which has been interesting. These are
new characters for me, and so I'm rewriting a lot.
And yeah, I mean, I've been working with a team
at Warner Brothers and they just trying to learn as
I go. It's it's daunting and it's time consuming because
it started twenty two July. Oh wow, yeah, so believe
that it's us daunting and but that stand better now.
My things take so long to develop.
Speaker 1: But no, that's it.
Speaker 3: I mean, and my son's graduating and he's headed to
the Santa Cruz and the Falls. We're moving him up
this summer and we're officially empty nesters. And wow, I'm
headed to Portugal in October.
Speaker 2: I mean, we're just kind of like gonna go explore.
Speaker 1: That's so cool. Yeah, Well, and you know, it's it's
kind of a struggle for everybody creating content out there
now is the thing, and everybody in old school TV
land to you know, it really is a struggle. How
do you keep it going? How do you stay inspired?
How do you drudge through those times and you're just
rewriting it? It gets daunting? How do you keep it going?
Speaker 2: Tell me, I wish I love you.
Speaker 3: I wish I like smoking weed.
Speaker 2: I don't.
Speaker 3: I am so paranoid, but there's a part of like, oh,
I really wish. You know what, It's just discipline. I've
had to give myself hours of operation. I just basically
have to sit in front of my computer and type
something sorr, I take notes or I mean, I really
just but I make myself do it.
Speaker 1: And then sometimes one line might come out that's like,
oh that was a good day. Yes, small winds, right, well,
small things. But you know it's just I enjoy doing it.
Speaker 2: Yeah, I can read, you know. I find the best
way for me to create dialogue is in the shower.
These lines come to me, Yes, these lines and these
these arguments come to me. And worn about drawing the
little marker. They say, there's some natural thing about showering.
I don't know about being with water or whatever, but
they say that it brings creativity out. I don't know,
but it works for me.
Speaker 1: I like that.
Speaker 2: Weird, we have to try that one.
Speaker 1: What can we look forward to on the next episode
of Montecito.
Speaker 2: Well, I mentioned in episode eight there's other discussion with
Helena and Bradley, and I want people to pick less
attention to that one and what else is happening. Just
we're back in the boardroom and we're seeing Now we
mentioned this this Santa Barbara War revitalization project, and so
now with both teams, So you're going to have the Roman,
the Regalton team JJ and Bethany Gina, and then you're
going to have Deacon over here. It's kind of the
new bee in the space, both pitching the commission. So
we're not sitting through meetings at the episode, but it's
very carefully shown and it's you know, there's a little
bit of a result there. So we're seeing little bit
of the business side, and of course that crosses over
to a lot of personal elements as well.
Speaker 1: That's awesome. Well, we will absolutely be listening and we
go back and watch season seven of Venice the Series again, Crystal,
Where else can everybody keep up with you and check
you out?
Speaker 3: I am on ext Croy Sabatino and then everyone else.
It's Crystal Chapelle, Facebook, Instagram, TikTok, Open Book Productions or
Venice the Series all right, And if.
Speaker 1: People have guesses about where Monacito is going to and
they want to get spoilers, where can they reach out
to you at?
Speaker 2: Honestly, just comment on the YouTube channel because all engagement
is good engagement, That's right.
Speaker 1: And I have one big guest that I'm gonna be
chatting with everybody about online, So make sure to hit
us up over there, and you guys can submit your
questions for Montecito after Dark as well. Hit us up
on the Facebook page at Monacito series or leave a
comment here like Brandt said on YouTube, and make sure
that you are subscribed so that you never miss a
brand new episode of Montecito. Thank you Crystal so much
for hanging out with us. It was really fun. Thank
you love this and Grant we'll see you again soon.
Thank you all for watching another episode of Montecito after
Sunset