Speaker 1: Hello, and welcome to you Monacito. After sunset, you are
entering a world of dissection. I am Christy, Welcome. If
you found us here, it's probably because you love soap
operas or audiobooks podcasts, you are in the right place.
Montecito is a brand new audio soap opera that you
are going to love it.
Speaker 2: If you hadn't listened to episode one yet.
Speaker 1: Go on over and listen to that, because we are
going behind the scenes of the premiere episode with executive
story editor Andrew Pemberton Fowler and creator and executive producer
of Monasito Grant Runner.
Speaker 2: I want to take a moment and praise the both
of you.
Speaker 1: Congratulate you on creating what is truly revolutionary, a whole
new way to entertain people.
Speaker 2: It is really clear why this is creating so much buzz.
Speaker 1: The characters are unforgettable, the drama is explosive, and I
am just so excited to get a little bit more
scoop of what was all going down behind the unions.
When you first started telling me Grant about this project
that you were doing, I was a little confused.
Speaker 2: I thought, but were you going to tell a story
with no video? But then I had a.
Speaker 1: Little preview at the first episode, and within the first
I think ten seconds, you are immersed in the story.
Speaker 2: You are right there on location.
Speaker 1: With the stars, and it just thrust you into this
world a mona Seito.
Speaker 2: Immediately I'm popping on the elevator. How did you do that?
How did you thrust me into this world so expertly?
Speaker 3: Creating an immersive environment was obviously a one for us.
We didn't want to lose anyone with where am I
as who's entering the room like, it was very important
that really builds it out without overdoing it, but that
there were little cues and things to let people know,
like there's elevator sounds and there's some footsteps, and it
was really important to me make sure that we didn't
lose anyone, but also that the production value was elevated
where because yes, there's a connotation of what is this
Is it just people talking into a microphone. But if
people can read a book or listen to an audiobook
and imagine and enjoy through those two mediums, they can
connect with Montecito.
Speaker 2: Absolutely, and you've done such a great job of that.
Speaker 1: What I really want to know is what kind of
direction did you give to the cast.
Speaker 2: This is an awesome a list cast.
Speaker 1: You have a lot of Emmy winners here, people who
are huge names in the world of daytime. What did
you say to them to get these incredible performances out
of that?
Speaker 4: I think one thing that we worked on before we
had the cast was how do we want to structure character?
So we had a lot of everything was built into
the script, so footsteps, approaching, sound effects, intonation, how we
want to line read in, how we thought the characters
would behave. So by the time we got to production
and the cast had those scripts, they just ran to
the moon. So it really was something where because we
did so much work on the back end, getting them
to these wonderful performances was almost effortless, but granted a
wonderful job directing them during the sessions.
Speaker 3: It was an interesting experience to get back my director's
hat back on after a while. This is my background
and I enjoyed it so much, but it had been
a minute since I really had directed talent in the
acting world. I direct a lot of voice talent, but
as far as scene work goes, it was really like
restrengthening a muscle that you hadn't used in a while.
Really enjoyed that. I will add to Andrews's earlier answer
that none of these characters were written for a specific actor.
We did a lot of work on character development and
making sure that these were well rounded people know it
was perfect. Deacon has different quotes that he says in
his scenes, and we tried to really add little characteristics
that can differentiate the characters. And then it was finding
the right match with talent. Daytime TV is just full
of incredible actors. I never once did I stray out
of that mindset of wanting to capitalize on these very
talented actors and their audiences that are so loyal and
just so hungry for content.
Speaker 4: Yeah, and now we're in a I would almost say
a renaissance with Beyond the Gates. Now we have Montecito.
There are other shows that are firing on all cylinders,
so it's really an interesting time for Montecito too debut.
And one little behind the scenes to bit. Those quotes
for Deacon came out of nowhere. I was sitting there
writing the dialogue for episode one and I was like,
he quotes dead people. I mean, that was like Seneca Shakespeare.
It just seemed to fit his morose attitude when he's
talking to during the party scene, and it really just
started with me. He's talking to her and he says
tomorrow and tomorrow because just thinking about another project, another hotel,
another opening party. One does it end? And then I
just threw them all into the script. I think one
or two had to get cut, but throughout the season.
But yeah, we tried to get as much in there.
And then there's a little surprise with the quotes. I
won't give it away. It's later in the series. It
was a lot of fun to write and also to
find character because you start with this. Grant came to
me he had his long story where he wanted to
go in the season, so we had to break it
down into episodes. So he had to break that down
into ten outlines, and then from those ten outlines you
have to write ten scripts. So it was a really
interesting journey just to see his initial idea, his initial
story through what everyone is hearing now. So it's been
a wild ride for us.
Speaker 2: I can only imagine. It's not like an incredible amount
of work, but was totally worth it. And let's talk
a little bit about the women in Deacon's life.
Speaker 1: Who he's talking to with all these quote Helena and Nina.
Holy moly, I am so into this dynamic between the
two of them. It's like they're both blaming each other
for Deacon being a hot mess. They're both terrible people,
but also I don't dislike either one of them. There
must have been a lot of thought put into what
the dynamic would be between these two women.
Speaker 3: So I love writing arguments because it's just something I
guess I grew up at an argumentative household. I love
like the little jabs, but also like when someone's standing
in one position so strongly and the other is so
not not going to move. And these are two women
that represent very strong viewpoints and see nothing the same.
And you have a protective mother, and then you have
a narcissist who basically is living on.
Speaker 2: Top and she's not going to be knocked down. So
they're writing for a narcissist.
Speaker 3: Is a I mean enjoyable and it's it's like an
embarrassment of riches because and narcissist reacts different in all
situations and with all different types of people and family dynamics.
Andrew and I did a ton of research to write
a true narcissist.
Speaker 4: And the thing about Mina, and I'll get to Helena,
but the thing about Mina is that since nothing is
ever her fault, you just really can play with the
beat and the moment everything she says, every moment where
she's reacting to what someone's saying to her, So you're
always turning her. She's never staying still, even though the
character's in a scene with Helena, with Deacon, with JJ,
but that character, she's it's like a spin top. She's
always moving, it's always changing. But with Helena, we have
Crystal Chappelle playing her, and she just added so much
depth and gravitas to that role. She's very steady. She's
a rock for Deacon for the show. Actually, she's probably
the only same character we have.
Speaker 1: I don't want to hear about saying people anyway, She's
the most ground whatever.
Speaker 3: These are characters that have lived in my head for
over a decade. So these are people like I know,
I feel like more than some people of my own family.
I've spent so much time thinking about them and how
they would react to things, and what their life is
and how they feel about things, and it's just Tanre's
point of hearing someone like Crystal and the other actors
read this dialogue, these are now like voices. It's clasy
to say they've come to life, but it's really like.
Speaker 2: Now it's real.
Speaker 3: Now there's something actually here other than what's a here
and what's on the Google doc.
Speaker 4: And I think one reason why we were able to
give them these interior lives and why they seem to
just be alive the minute we meet them is because
when I was talking to Grant, I said, we need
to start this story from what happened yesterday, because these
people are having a life. What did they do up
until the moment we meet them? So when the elevator opens,
we're stepping into real life. It's like you walk into
someone's home and they're already having dinner, they're talking to
each other.
Speaker 2: That makes so much sense after hearing the first couple episodes.
Speaker 1: Because I did, I felt just a few minutes in
like I already knew everything about these people, and then
I was so invested in their lives. And I know
you both personally, and I can't telp but think that
you're so good at this because I know you both
grew up watching and loving soap operas, so are we
going to see any of those classic soap opera tropes?
Speaker 3: Even though it is a audio first medium, there are
still plenty of tropes in the story and dramatic moments
and music. It builds to things. What can I say,
there's a level of bitchiness that is fully maintained. So yes,
soap tropes throughout, but measured, We're not. This is not
a comedy we have. I like to think these scripts
are quite balanced, and there's some really soft and very
tender moments relationships, and then there are just some caddy
back and forth snipe thing that I live for in soaps.
So I like to think that we're giving the audience
a nice balance that Andrew and I grew up watching
the soaps that we watched, so let's hope that the
listener feels the same.
Speaker 4: And I will say one thing, sorry, Christy, that we
always kept in mind with all of these scenes and
all of these characters, no matter if it's high drama
or it's a quiet moment, they all have hopes and
dreams and wishes, and they all want something. So I
think sometimes Grant and I would talk and we've not
pull ourselves or the story back, but stay grounded in
what does this person actually want? What are they hoping for?
What are they desiring? Even if someone's being histrionic, but
why are they acting that way? If you can answer that,
even if the audience doesn't know, but if you can
relate that to an actor, and then it just gives
it a little more realness in a soap opera.
Speaker 1: Yeah, Like, even Geo's entrance just felt very like classic
soap opera, Like I was watching Days of Our Lives
for something that has been around and been being loved
for decades, and I think fans can really appreciate that
because it's what they expect a little bit.
Speaker 3: Yeah, I want to talk about that moment with Geo's
entrance because I was heavily involved in the sound design.
I played with a little bit of reverb and flattening
out the background music and really punching in on this
moment from Menes's perspective where she's growing shaded Helena and
she looks up and she sees someone and it's like
a double take, and that is a huge game changing
moment for her that will have a ripple effects through
the end of episode ten. So that had to be
a moment to grab the listener's attention. This entrance means something.
Speaker 1: And there's just there's so much chaos in episode one,
but it all happened in one place.
Speaker 2: It goes down in real time.
Speaker 1: It's like the episode is just under twenty minutes, and
it feels like we go for about twenty minutes of
these people's lives. So what is next for Geo and
Deacon and what does that all mean for me?
Speaker 4: Now?
Speaker 2: To tease me for episode two, guys.
Speaker 4: Oh, we pick up where we left off, and I
think you will. We're going on a little journey. We're
not staying at the hotel, That's all I'll say. But
there will be pay all, so no one will be disappointed.
I'm in the soap op for message board, so I'll
find out if you are.
Speaker 2: Yeah, that's I love that celebrities never admit that they
read the reddit.
Speaker 4: Yeah.
Speaker 3: Now, there's plenty to come with those two. It's a
journey and it's going to be a full story arc
of these ten episodes. We really took this kind of
super couple I guess you could say, a leading kind
of relationship romance, and we modernized it with it being
a same sex couple and one of these men are
married to a woman, then how does that happen in
twenty twenty five? So there's a lot to unpack.
Speaker 1: Get ready, I am, I'm so ready, But I feel
like now I have a little bit better understanding of
all this all came together and how it became to
be so incredibly good. And I want to invite everybody
who's watching to submit their questions. We're gonna be breaking
down every episode of Montecito. You can do that here
on YouTube in the common section, or do not forget
to follow up on Facebook?
Speaker 2: Do that there, Grant Where can everybody follow you and
keep up with you at?
Speaker 3: You can find me on Instagram. That's the best place
at its Grants France. Shout out to my old podcast, Andrew.
Speaker 2: I'm sure everyone would love to connect with you. How
can they do that?
Speaker 4: You're gonna find me on Instagram as well at Andrew
four twenty eighty three. I'm not a pothead. It's my
birthday and it's too late to change it now.
Speaker 1: This was so much fun and I want to thank
you all for joining us on Montecito.
Speaker 2: After sunset, We'll see you next time