Jeff Franklin Biography
Jeff Franklin is an American producer, screenwriter, and director. He is best known for being the creator of the television series Full House, as well as other sitcoms, such as the spin-off Fuller House,Hangin’ with Mr. Cooper and also Malcolm & Eddie.
Jeff Franklin Age
Jeff was born on January 21, 1955 in Inglewood, California. He is 68 years old as of 2023.
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Jeff Franklin Full House
Jeff started his television career as a writer and producer for Laverne & Shirley and Bosom Buddies. He pitched his own show to ABC called “House of Comics” which featured three comics living together.
ABC was looking for a family sitcom, so Franklin added children and the idea evolved into the show Full House, which ran on the ABC network from 1987 to 1995.
Jeff Franklin Fuller House
Netflix announced on April 20, 2015, the streaming service would pick-up thirteen episodes of Fuller House, a sequel to Full House.
It also announced Jeff would oversee the production along with Robert L. Boyett and Thomas L. Miller. The thirteen 13 episodes of the first season premiered on February 26, 2016. In 2017 the series, which has been a major hit for Netflix was in its fifth season.
Jeff was fired from Fuller House in February 2018,after complaints about verbally abusive and vulgar language in the writers’ room and on the set of the series.
Jeff Franklin Net Worth
He has an estimated net worth of $200 million as of 2023.
Jeff Franklin Personal| Life Jeff Franklin Gay
Franklin is not a gay since she had dated only women though he has kept his love life away from public.
Jeff bought 10050 Cielo Drive in 1994, site of the Tate murders in 1969. The French country-style home was eventually demolished and replaced by a mansion designed by architect Richard Landry. He listed for sale another house designed by Landry in the Hollywood Hills for US$30 million in 2014 .
Jeff Franklin Movies
- 1985: Just One of the Guys (co-writer [with Dennis Feldman])
- 1987: Summer School (screenwriter)
- 1999: Love Stinks (writer, director)
- 1999: Stuart Little (executive producer)
Jeff Franklin Tv Shows
- 1979: The Bad News Bears (screenwriter)
- 1979–81: Laverne & Shirley (screenwriter)
- 1982: Bosom Buddies (producer)
- 1984: Young Hearts (movie; screenwriter)
- 1987: It’s Garry Shandling’s Show (producer)
- 1989: Wally and the Valentines (movie; writer, executive producer)
- 1987–92: Full House (creator; executive producer seasons 1-5)
- 1997: Head Over Heels (creator; executive producer)
- 1994–97: High Tide (co-creator)
- 1992–97: Hangin’ with Mr. Cooper (creator; executive producer)
- 1996–99: Malcolm & Eddie (TV) (executive producer)
- 2010: Love That Girl! (executive producer)
- 2011: The Last Resort (movie; executive producer, writer, director)
- 2016–present: Fuller House (creator; executive producer seasons 1-4)
Franklin Interview
Jeff Talks Biggest “Challenge,” Inside Jokes and Possible Michelle Return
You’ve said the first episode is a big homage to the original series. In the grander scheme of the first season, how do you balance those nods to Full House and also establishing new recurring gags?
We do a lot of it in the first episode and then sporadically throughout the next 12. The first one is sort of a different animal. We’re reintroducing all the old characters. Then we’re having a big reunion.
We’re introducing the premise of the new series so there’s a lot to do there and it’s much longer than a traditional episode, also. If you put commercials into it, it would be an hour long.
Once we get through that first one, then we settle into a show that’s primarily about the three girls and their kids and next generation and then we see the original three dads and Aunt Becky now and then.
There are lots of fun surprises that harken back to the original show, but the first episode is full of them and so we don’t do that anywhere near as much in other episodes. We sprinkle them in here and there.
Was there ever a thought of waiting to have them come back and focusing on the new characters in the first episode so as not to alienate new viewers who may not have watched the original?
Most people have watched Full House and will get the jokes. For those that don’t get them, they’ll miss a couple jokes here and there, but I think there’s still enough to hang onto there and once, hopefully, they get interested and start watching the other shows, then it becomes its own thing by episode two.
What was the ideal audience that you had in your head when you were writing these episodes?
There’s three generations of Full House fans. It has a huge audience of children, teens and then there’s the moms and dads who grew up watching the show that now have kids of their own and there’s even a grandparent generation.
The show’s been on for 30 years so we’re trying to entertain everyone, and that’s challenging. That was the most difficult part of the last show, Full House, and about this one too. We’re trying to make a show that adults can watch and laugh at and enjoy, at the same time that kids are being entertained. So that’s always been the challenge of this particular show.
With these three characters and picking up so many years later, was there one character that was the most difficult to navigate how they got from the original finale to now?
It’s 20 years so it’s not like we had to worry about what happened 20 years ago in 1995 to explain where they are now. They were kids, they were in high school or junior high school or grammar school, but obviously there were hard decisions to be made about each of these characters.
There was no blueprint for what they would become as adults. I know all these actresses really well. They’ve been part of my life in a very close way for 29 years and that informed some of what I did. Just knowing them as people and how they turned out kind of gave me a little bit of a guideline.
It’s particularly interesting with Kimmy, since she started out as supporting. How was it fleshing out that character?
Kimmy was the hardest because she’s such a quirky, oddball goof as a supporting character. To take that persona and turn into a fully-rounded adult character who’s not one-note at all, not that Kimmy was one-note necessarily back in the day, but that took the most sort of back and forth.
The premise switches up that of the original where now it’s three women raising children together instead of three men. Was there ever an early iteration of the idea where it was Michelle helping to raise the kids instead of Kimmy?
Obviously, I knew Michelle was not going to be a permanent character unless I recast the role and that was not something that i really was thinking about, so my hope was just that it’s great that we had Kimmy and we could bring her in and it would still be three women. My hope is that we would see Michelle from time to time as we see the other characters.
You’ve said the door is open for Mary-Kate and Ashley Olsen to appear in a season two, but how confident do you feel that they’ll actually appear?
I’m hopeful.
Have you sent them the episodes or anything like that?
I haven’t. I think they’re going to watch them on Netflix like anyone else. Everybody’s going to see them for the first time completely finished on Netflix because that way we have one more person watching Netflix.
The original show was on for eight seasons and covered a lot of topics. How concerned are you about overlap?
We are going to cover some of the same ground, and we’ll do it in a slightly different way. But a lot of the themes are the same. It’s three people coming together to form a new kind of family, to help each other through a difficult time and so there are some similarities, but we’ve got different people going through it.
Steve comes back for Fuller House, but D.J. is still mourning the loss of her husband at the onset. How do you navigate that relationship?
I don’t want to give too much away at this point. D.J. makes a decision that she’s ready to date again, and thus begins her dating life.
On the new show, D.J.’s middle son has shades of Danny. Knowing how the dynamic of the first show worked and that you were going to lose some characters, how did that influence you creating these new characters?
I started with an idea of what I thought the characters might be, but once we cast them, they changed. That always happens once you bring an actor into a role. It starts to reflect who they are and so we shaded the characters to reflect who our actors are.
How often will we see the original series stars like John Stamos and Bob Saget and how organic are their returns to the show?
I mean they’re all busy so we’re hoping to see each of them in a couple episodes. Some where we see all of them and some where we see them individually throughout each batch of 13 [episodes], if we get to do more seasons, which I fully expect we will.
