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Speaker 1: There's no upside to optimism. Under promise, over deliver.

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Speaker 2: That's where you like to live.

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Speaker 1: That's where I like to live. Under the radar.

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Speaker 2: Hey, welcome to Off the Cup, where we have great

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Speaker 2: conversations with fascinating people, and we've some mental health talk

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Speaker 2: in as well. So speaking of as an anxious person,

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Speaker 2: I struggle with anxiety. As you know, I've learned. There's

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Speaker 2: a thing I do and others who struggle with anxiety

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Speaker 2: they do it too. It's so funny. Maybe you do

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Speaker 2: this too. I rewatch the same movies and shows over

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Speaker 2: and over again. In fact, I rarely see new movies

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Speaker 2: or TV shows because not knowing what is going to

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Speaker 2: happen makes me anxious. So on my phone and my

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Speaker 2: iPad my computer, I have a bunch of movies and

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Speaker 2: shows that I'll watch over and over again when I'm bored,

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Speaker 2: when I'm trying to fall asleep, or when I just

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Speaker 2: need to feel less anxious. These movies, these rewatchables include,

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Speaker 2: but are not limited too, When Harry Met Sally, Apollo thirteen,

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Speaker 2: The American President, Back to the Future, Contact, Big Dead,

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Speaker 2: Poet Society, A Few Good Men, Men in Black, The

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Speaker 2: Post Quiz Show, Shattered Glass. These are my rewatchables, and

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Speaker 2: they have given me so much comfort over the years.

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Speaker 2: My next guest has made a number of my rewatchables

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Speaker 2: and probably a lot of yours. And I just read

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Speaker 2: his latest book, Best Possible Place, Worst Possible Time, and

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Speaker 2: it is full of so many Hollywood stories of how

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Speaker 2: these movies got made or didn't get made, casting changes,

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Speaker 2: budget blow ups, all the backstories, all the tea. They're

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Speaker 2: so good because I love Hollywood stories. He's a producer, director, cinematographer.

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Speaker 2: You may know his work. Maybe maybe you've heard of

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Speaker 2: some of these films. Men in Black, a TV series

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Speaker 2: called Pushing Daisies, Get Shorty, Misery, a little film called

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Speaker 2: Miller Crossing, Raising Arizona, The Adams Family, and so many more.

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Speaker 2: Verry Soundfeld, Welcome to Off the Cup.

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Speaker 1: Heh, how are you this morning?

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Speaker 2: You know, I'm fine, but I'm good because I just

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Speaker 2: watched one of my rewatchables. I feel very good. I

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Speaker 2: feel very calm, very centered. So you corrected my memory.

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Speaker 2: I thought we'd met at Bill Maher. We did not.

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Speaker 2: Where did we meet, Barry?

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Speaker 1: We met at Andy Cohen's show, where you and miss

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Speaker 1: McCain and Andy spent the entire evening talking about some

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Speaker 1: housewive show at some point, and I was a bartender

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Speaker 1: and I didn't even get the right drink. But anyway,

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Speaker 1: you two and Andy were just going on and on

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Speaker 1: about and Andy looked at me and said, you don't

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Speaker 1: have an fing clue what I'm talking about to you?

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Speaker 1: Not a clue. It was quite an hour listening to

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Speaker 1: the three of you. Yeah, it was fun.

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Speaker 2: I'm so embarrassed that that's where we met, because I mean,

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Speaker 2: I love my Bravo, I love my housewives. But you know,

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Speaker 2: if there were ever a conversation, I'd want Barry Sonenfeld

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Speaker 2: to overhear me having about the Housewives.

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Speaker 1: Now you knew you were way too there. You were

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Speaker 1: quite good.

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Speaker 2: You were very I have a PhD in Bravo. I

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Speaker 2: want you to know. Okay, I'm a scholar. I'm a scholar.

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Speaker 2: But listen, No, it was a pleasure meeting you. And

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Speaker 2: I'm such a fan and movies are just such an

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Speaker 2: escape for me, and so many people escape from politics,

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Speaker 2: escape from the news, but also just stress and anxiety.

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Speaker 2: What does it feel like to hear that your work

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Speaker 2: hasn't just entertained people, but in many cases helped with

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Speaker 2: their mental health.

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Speaker 1: Well, by the way, I have some other recommendations, few

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Speaker 1: for sleeping. I I listened to boring books as Stanley,

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Speaker 1: not Stanley Tucci. I'm Tony Schlou But yes, reads The

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Speaker 1: History of Mathematics.

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Speaker 2: Oh that's very sleepy.

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Speaker 1: It's not only really boring and so b now, but

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Speaker 1: it's terribly written on purpose and I've yet to get

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Speaker 1: through it. And it's forty five minutes long and I've

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Speaker 1: yet to get through it. So try check it out.

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Speaker 2: Okay, Well, you know what's funny. Jeff Bridges gave me

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Speaker 2: an album Vinyl that is a sleep album that he made.

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Speaker 1: But vinyls no good. It gets to that and you

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Speaker 1: just hit a needle scratching for the rest of it.

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Speaker 1: Yeah you think.

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Speaker 2: But it's one of the most bizarre and cool things

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Speaker 2: that I own, is this album from Jeff Bridges. But

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Speaker 2: I want to get into all the stories you tell

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Speaker 2: in the book. We're not going to get into the

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Speaker 2: mall because there's not enough time, but believe me, I

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Speaker 2: would if we could. But first talk to me about

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Speaker 2: the title Best the Place, Worst Possible Time.

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Speaker 1: Well, it's a little bit scatological, as you know.

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Speaker 2: Trigger warning, trigger warning.

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Speaker 1: Trigger warning. If you don't like poop talk, well, it's

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Speaker 1: not that it's maybe it's not scatological. It's anyway. Here

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Speaker 1: it is. It's two in the morning. It's often two

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Speaker 1: in the morning. We're on the set of Men in

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Speaker 1: Black two. I'm sitting on my saddle because I direct

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Speaker 1: from a saddle, because that way I can feel manly

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Speaker 1: and feel like I'm doing manly work. So I direct

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Speaker 1: from a saddle. Next to me is Will Smith. And

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Speaker 1: then there's an empty chair where arrives Tommy Lee Jones

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Speaker 1: because he's been told we're almost ready to shoot. And

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Speaker 1: just because I'm bored, just because I've gotten I need

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Speaker 1: to fill the silences. I say to Tommy Lee Jones, Tommy,

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Speaker 1: tell me why life is like a tampon? And Tommy,

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Speaker 1: not knowing I'm going to ask him that question. I mean,

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Speaker 1: I didn't know I was going to ask him. Now question,

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Speaker 1: says to me with no hesitation, Arry, life is like

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Speaker 1: a tampon. You're always in the best possible place at

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Speaker 1: the worst possible time. Will and I fall. Will falls

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Speaker 1: off his chair. I follow off my saddle to me

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Speaker 1: sort of like an idiot, savant of just like idiots.

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Speaker 1: I was going to call the book for a long time.

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Speaker 1: I was going to call it idiots in charge. But

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Speaker 1: I wasn't sure I one hundred percent delivered on that promise,

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Speaker 1: so I changed the name to this obscure like you're

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Speaker 1: on page two eighty before you find out why it's

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Speaker 1: called that name. Yeah, it's so good.

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Speaker 2: So I like to start interviews this way. What kind

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Speaker 2: of kid were you?

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Speaker 1: Oh? I was an only child of Jewish persuasion. I

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Speaker 1: had two narcissistic parents. My mother spent most of her

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Speaker 1: time once she got home teaching art at PS one

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Speaker 1: seventy three, Manhattan, lying on her bed with a wet

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Speaker 1: towel over her face. She was the chapter chairman of

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Speaker 1: the local UFT United Federation of Teachers, so she was

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Speaker 1: always on the phone crying about someone being mean to her.

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Speaker 1: I was profoundly thin. I weighed sixty pounds when I

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Speaker 1: was Bob Mitford in a church because my synagogue sold

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Speaker 1: my synagogue before the week before as Bob Mitford, so

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Speaker 1: we had no place to get bar misfid, so we

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Speaker 1: asked the local church. They said, yes, the rabbi and

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Speaker 1: decanter are hanging burlap bags over Jesus. Yes, I weighed

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Speaker 1: one hundred and eight pounds all through my draft years

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Speaker 1: until I turned thirty, and the day turned thirty, I

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Speaker 1: gained about eighty pounds. So I was a isolated child.

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Speaker 3: Yeah.

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Speaker 2: Yeah, and you eventually go to film school. When did

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Speaker 2: you know you wanted to make movies and TV shows?

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Speaker 1: It was really a lack of anything better to do.

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Speaker 1: I graduated NYU with a degree in political science because

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Speaker 1: those classes met only Mondays, Wednesdays, and Thursday, so if

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Speaker 1: I had to go to NYU three days a week.

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Speaker 1: I only went to NYU because my mother said that

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Speaker 1: if I went away to sleep away school others call

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Speaker 1: it college, she would commit suicide. So I believed her

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Speaker 1: until I was a senior, and then I decided to

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Speaker 1: leave NYU. I spent my senior year at Hampshire and

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Speaker 1: I figured two birds, one stone. I get to go

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Speaker 1: away to college and my mother commits suicide and then

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Speaker 1: she were an eggs.

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Speaker 2: Yeah she didn't mean it.

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Speaker 1: Well, I wish I had known that three years earlier.

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Speaker 1: I could have gotten out of the house.

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Speaker 2: Oh thank god, this is so inappropriate. I love it.

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Speaker 1: Okay, so you were just getting started.

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Speaker 2: Oh we are just getting started. Sir, you graduate, I

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Speaker 2: think you know where I'm going to go with this.

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Speaker 2: Your first in the film industry is.

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Speaker 1: In porn, but behind the camera. So here's the deal.

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Speaker 1: I get out of NYU graduate film school. I think

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Speaker 1: I have an ability to be a cameraman. I know

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Speaker 1: how to light. I always wanted to be a still photographer,

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Speaker 1: so I knew my way around around lenses and how

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Speaker 1: to tell a story with a camera. So when I graduated,

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Speaker 1: and why you graduate film school and this is pre video,

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Speaker 1: this is when all independent movies and industrials were shot

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Speaker 1: on sixteen milimeter. I bought a use sixteen milimeter camera

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Speaker 1: with a friend of mine, thinking if I owned a camera,

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Speaker 1: I could call myself a cameraman without feeling like a dilettante.

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Speaker 1: So I have this camera. My partner in owning this

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Speaker 1: used camera, no support producer. He gets us nine days

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Speaker 1: of work shooting nine feature films, one a day. And

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Speaker 1: you know, as I write my first book, there's a

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Speaker 1: very very long chapter in the first book called an

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Speaker 1: Actress Short a cumshot behind in in my first book

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Speaker 1: where on the last day of filming I was when

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Speaker 1: a double in search goes horribly wrong, and we can

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Speaker 1: cut this out. I am covered in human excrement when

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Speaker 1: a fountain of liquefied foamy fegal matter shoots out of

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Speaker 1: this woman's rectum. But anyway, we can move on. So

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Speaker 1: I graduate film school. My first job was in pornos.

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Speaker 1: But then what happened is I am at a party

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Speaker 1: one night where everyone in the party was from Darien, Connecticut.

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Speaker 1: They were all wasps, and there were two Jews at

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Speaker 1: the party, Me and this other toll guy that looked

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Speaker 1: like Howard Stern but wasn't. And we kind of sniffed

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Speaker 1: each other out and we started to talk. That was

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Speaker 1: Joel Cohen and I was Barry Sunenfeld, and so we

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Speaker 1: were talking about films, and he told me that he

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Speaker 1: and his brother Ethan had just written a script called

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Speaker 1: Blood Simple, and we're going to shoot a sixteen milimeter

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Speaker 1: trailer as if it were a finished film, and bring

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Speaker 1: that trailer and a projector around to you know, dental

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Speaker 1: investment clubs and doctor investment clubs and lawyer investment clubs

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Speaker 1: and try to raise his seven hundred and fifty grand

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Speaker 1: to make the actual movie. I said to Joel, I

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Speaker 1: had a camera. Joel said you're hired. A year later,

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Speaker 1: we raised the seven fifty. And this I tell you

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Speaker 1: people just to figure out what they want to do

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Speaker 1: in life and go right to there. Don't work your

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Speaker 1: way up. So the first day on the set of

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Speaker 1: Blood Simple was the first ay Joel, Ethan or I

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Speaker 1: had ever been on a movie set. Joel was never

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Speaker 1: an assistant director or PA and Ethan was a statistical

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Speaker 1: typist at Macy's and I had been shooting industrials amazing.

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Speaker 2: I want to know, though, what did your mom say

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Speaker 2: about your first work.

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Speaker 1: Mom didn't know about it at the time. I think

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Speaker 1: she probably when she found out, was very proud of

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Speaker 1: me because I was doing I was an artist.

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Speaker 2: Yeah, yeah, yes, Okay. You've been very open in this book,

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Speaker 2: in the previous book about your highs and lows and

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Speaker 2: sometimes your miserable experiences making movies. Yes, would you say

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Speaker 2: your career has been mostly highs or lows?

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Speaker 1: Well, the making of the movies are always almost always lows.

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Speaker 1: That's just tremendous pressure. There are a couple exceptions. Get

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Speaker 1: Shorty was perfection. We had a great script. I knew

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Speaker 1: Danny DeVito because I had shot throw Mama from the train,

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Speaker 1: for him. And then when I read Get Shorty, I

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Speaker 1: called Danny, and Danny bought the book for me and

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Speaker 1: produced it and played Shorty appropriate and so. But with

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Speaker 1: a few exceptions, you never have enough days. The actors

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Speaker 1: are late, the effects budget the way they're supposed to.

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Speaker 1: You're always over budget. Get Shorty.

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Speaker 2: It's reading reading all your vignettes. You know, you really

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Speaker 2: do get a sense of like the technical parts of

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Speaker 2: making movies. We just see the actors, right, I mean,

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Speaker 2: you know, we think of making movies as the actors.

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Speaker 2: But there's just so much bullshit and work work, actual

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Speaker 2: work that goes into it. Are you Are you an

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Speaker 2: anxious person?

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Speaker 1: Like?

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Speaker 2: What are you like on set?

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Speaker 1: Am I an anxious person? Do you want to answer

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Speaker 1: that one for me? Yeah? I want to make assumptions, Barry,

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Speaker 1: that's a good journalist. Don't make assumptions very good. Yes,

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Speaker 1: I'm anxious. I also lose the ability to communicate. You know,

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Speaker 1: I'll say sentences that don't make any sense. But but

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Speaker 1: the actors know what I want, which is basically for

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Speaker 1: them all to talk faster. If you talk faster, here's

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Speaker 1: the secret. When actors talk fast, it takes away their

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Speaker 1: ability to act, and you never want to see acting.

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Speaker 1: You just want to see reality. You know, I hate

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Speaker 1: when people emote and you know, act talking fast et

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Speaker 1: they don't have time to act, and then their performance

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Speaker 1: seems realer and better.

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Speaker 2: You've said that Tommy Lee Jones is one of the

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Speaker 2: best people you know who can speak quickly but articulately.

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Speaker 1: Yes, his Yeah, such a beautiful lilt to his voice,

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Speaker 1: and he speaks quickly but finishes words with tea with

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Speaker 1: a t sound. Yeah, he's great. However, let me tell

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Speaker 1: you about the first day of ever working with Tommy.

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Speaker 2: Yes, go ahead.

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Speaker 1: Tommy had never been on a comedy before, so he

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Speaker 1: didn't know how to act in comedy. So it's the

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Speaker 1: first day of shooting. Will Smith came in a couple

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Speaker 1: weeks later because he was finishing up Independence Day, So

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Speaker 1: just me and Tommy and so first day of shooting, Tommy,

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Speaker 1: who's playing this MiB agent, is talking to an illegal

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Speaker 1: alien from another galaxy who's speaking in an alien language

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Speaker 1: with subtitles, and he's got these hands and flippers and

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Speaker 1: a big nose. And Tommy's line in the script is

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Speaker 1: that's enough. Mikey. The only name is Mikey that's enough. Mikey,

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Speaker 1: put up your hands and all your flippers. Right, that's

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Speaker 1: the line. Put up your hands and all your flippers.

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Speaker 1: Tommy says, first take, first day. That's enough, Mikey, put

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Speaker 1: up your hands and all your flippers.

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Speaker 2: But I'm bum, but I'm bum.

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Speaker 1: Yeah, Hey, Tommy, I think it's going to be funnier

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Speaker 1: if you don't acknowledge that and all your flippers is funny.

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Speaker 1: Let the audience find that joke for you with just

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Speaker 1: government issue. You do this every day. They're always flippers

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Speaker 1: or paddles or whatever. Tommy looks at me with such

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Speaker 1: hatred that I thought he was going to kill me

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Speaker 1: with his looks. So now every day, for twenty weeks,

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Speaker 1: I have to sit on him and not let him

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Speaker 1: be funny. And for every day Tommy is staring at

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Speaker 1: me as if I should be dead. His agent calls

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Speaker 1: me and says, you don't want Tommy to be funny?

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Speaker 1: I explained, All comedy duos have the straight man and

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Speaker 1: the funny man. Yeah, funny woman, you know, Gracie Allen,

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Speaker 1: George Burns, Jerry Lewis, Dean Martin. You can go on

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Speaker 1: and on and on. You don't want two funny people

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Speaker 1: in your movie. Luckily, Tommy eventually sees a finished movie

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Speaker 1: because he's about to do press and God love him.

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Speaker 1: All the reporters say to Tommy, how did you get

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Speaker 1: to be so funny? And Tommy's reply is stand next

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Speaker 1: to Will Smith and do whatever Barry Senenfeld tells you to.

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Speaker 1: So it all ended up really nicely perfection.

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Speaker 2: And since we're on Men in Black, this blows my mind.

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Speaker 2: Spielberg wanted Clint Eastwood and Chris O'Donnell. Yeah, in these roles.

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Speaker 2: Does Chris o'donald know how you got Chris o'donald off

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Speaker 2: this picture?

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Speaker 1: Uh, he probably does now because I've I've occasionally told

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Speaker 1: the story.

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Speaker 2: But please us.

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Speaker 1: O'donald is a great actor, oh, adorable and adorable. And

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Speaker 1: I shot I shot a new ending to a movie

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Speaker 1: he was in called Men Don't Leave, directed by Paul Brickman,

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Speaker 1: that no one saw about it as a great movie. Uh,

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Speaker 1: it was. It was not that he wouldn't have been

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Speaker 1: good in the part. It was that my wife told

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Speaker 1: me it should be Will Smith. So that was so

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Speaker 1: when Sweety said, listened to Smith, it's Sweety listened to Sweetie.

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Speaker 1: As you know, from the book. Yes, and by the way,

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Speaker 1: I I picked Tommy Lee Jones and she picked will

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Speaker 1: Will Smith, So now I've got it. Clint dropped out early,

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Speaker 1: so that became a non issue, but Spielberg had me

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Speaker 1: go to dinner with Chris o'donald and convinced Chris to

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Speaker 1: be in the movie. Chris says to me, you know,

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Speaker 1: I think there are a lot of plot issues, and

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Speaker 1: you know it's not that funny, and I've been offered

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Speaker 1: this other movie with Stallone. What should I do? And

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Speaker 1: I said, the script's never going to get better. I

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Speaker 1: don't know how to make it better. And I think

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Speaker 1: you're right about everything you're saying, and I don't think

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Speaker 1: it will get better. You should not you should not

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Speaker 1: do that. I didn't even say it. I just helped him.

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Speaker 1: And of course the next day he dropped out of

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Speaker 1: the the movie some music.

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Speaker 2: And Tommy Lee Jones and Rip Torn did not get along.

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Speaker 2: Is that right?

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Speaker 1: No? No, they're both Texans. But Rip was kind of

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Speaker 1: certifiably insane a little bit. He just was he couldn't

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Speaker 1: have any extras moving even behind him because he could

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Speaker 1: sense their presence. And I was trying to explain they

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Speaker 1: have to be extras. You know, you're men in Black Headquarters.

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Speaker 2: Yeah, this.

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Speaker 1: Busy plays and so again Will's first day in the

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Speaker 1: fiction of the movie, He's being shown men in Black Headquarters.

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Speaker 1: He sees a big board where we see who the

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Speaker 1: aliens are, you know, Spielberg, Lucas, al Roker, Yeah, and

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Speaker 1: uh and Rip then has and Tommy is taking Will out,

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Speaker 1: and Rip turns to Tommy and says, hey, k, the

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Speaker 1: line has written. It's always about as written versus as spoken.

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Speaker 1: The line has written, is kay, give the kids some

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Speaker 1: fire power, meaning a gun? Yes, right, So there's Rip

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Speaker 1: from Texas, but doesn't have the same diction. Tommy has says, hey, Kay,

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Speaker 1: give the kids some far parror cut? Hey, Rip, can

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Speaker 1: you say fire power? That's what I'm saying, God, damn it. Okay, right, okay,

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Speaker 1: let's let's see one more. Hey, do the kids some

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Speaker 1: far parr cut? Hey? Rip? Really enunciate? This goes on.

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Speaker 2: Yeah.

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Speaker 1: Eventually, as I'm saying to Rip, hey, Rip, why don't

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Speaker 1: you just say, hey, Kay, give the kid a weapon, right,

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Speaker 1: Tommy is saying that Will, Will someone tell that poor

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Speaker 1: bastard to say give the kids a gun. So we

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Speaker 1: both had the same idea, but far Parror was not

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Speaker 1: going to go over well with Rip. Also, he had

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Speaker 1: a problem later, an issue with the word the void.

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Speaker 1: He didn't want to say the word devoid for some reason,

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Speaker 1: so that became an issue.

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Speaker 2: But it worked out amazing. I want to go back

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Speaker 2: to Big. Yeah, Honey, Marshall hires you to be the DP.

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Speaker 2: And this also blows my mind. Barry Diller, chairman of

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Speaker 2: twentieth Century at the time, wanted Tom Hanks for the

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Speaker 2: lead Josh Baskin. Penny Marshall, Barry wanted, wanted whom She's

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Speaker 2: not wrong.

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Speaker 1: I'm gonna explain to.

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Speaker 2: You she's for sure wrong. But go ahead, go ahead,

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Speaker 2: don't tell us all who she wanted for this movie.

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Speaker 1: She wanted Robert de Niro, And in fact, I just

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Speaker 1: read two days ago an interview with de Niro talking

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Speaker 1: about how he was offered Big by Penny Marshall. But

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Speaker 1: in any case, here's the thing.

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Speaker 2: Tell me how this would have worked.

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Speaker 1: Okay, Tom Hanks is a child playing a child. Yes,

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Speaker 1: Tom Hanks is a youthful childlike yes, the actor Tom Hanks, right,

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Speaker 1: So Tom Hanks is there's no stretch there. He's brilliant.

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Speaker 1: In the movie. We became good friends. I mean, we

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Speaker 1: really got along so well, and he was brilliant in

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Speaker 1: it and incredibly funny. But you've got a kid playing

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Speaker 1: a kid. Yeah, Nero playing a kid and suddenly being

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Speaker 1: in that body might have been a disaster, or might

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Speaker 1: have been really amazing. May not have been funny, it

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Speaker 1: might have been a drama. But you know, I shot

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Speaker 1: the last two weeks of Goodfellas, and the last night

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Speaker 1: I was I overlapped the other DP Michael Ballhouse one

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Speaker 1: night so I could see how Michael was lighting. So

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Speaker 1: my first night alone with Marty and de Niro, it

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Speaker 1: was de Niro's last night of shooting. All night long,

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Speaker 1: I'm sitting behind Marty and De Niro. They're in the

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Speaker 1: front looking at the monitor, and then behind them is

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Speaker 1: me looking at the monitor, and De Niro keeps tapping,

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Speaker 1: Scorsese whispering in his ear, and then they both turn

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Speaker 1: around and look at me and start to laugh hysterically

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Speaker 1: all night long, and seeing De Niro and Scorsese laughing

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Speaker 1: is really disconcerting. It's just really awful. The night ends.

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Speaker 1: The next day, it was de Niro's last night. I

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Speaker 1: say this, Scorsese Hey, were you and and de Niro

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Speaker 1: laughing at me all last night? And without any hesitation,

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Speaker 1: Marty goes, yeah, I go well, why, he goes, well,

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Speaker 1: look at you. That's all I said. Oh my god,

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Speaker 1: thanks Marty.

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Speaker 2: Yeah, that'll mess with your head a little. Yeah, well, listen,

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Speaker 2: Big is a perfect movie. From where I sit, it's perfect,

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Speaker 2: right right, And it would have been an interesting thought

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Speaker 2: experiment maybe to see someone like de Niro playing Josh Baskin.

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Speaker 2: But I can't imagine. I can't imagine it any other way.

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Speaker 2: But that's just wild to me.

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Speaker 1: No, nor can I.

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Speaker 4: No.

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Speaker 2: Let's talk about when Harry met Sally, one of my

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Speaker 2: all time favorite movies. You're also dep on that, and

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Speaker 2: and you talk about this in the book, the scene

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Speaker 2: where Harry and Sally sleep with each other for the

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Speaker 2: first time and then they separate, and then they call

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Speaker 2: their best friends Bruno Kirby and Carrie Fisher. And you

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Speaker 2: have these like four boxes or three boxes maybe three boxes, right,

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Speaker 2: three boxes? Yeah, how do you get that to work?

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Speaker 1: Well? The hard part was Rob wanted to show the

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Speaker 1: whole scene as a trip tick. On the left side Billy,

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Speaker 1: the right side, Bruno and Carrie, who are sleeping together.

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Speaker 1: They'reright lovers and Meg on the other side of the frame.

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Speaker 1: So in order to have that trip tick play out

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Speaker 1: in real time without anyone cutting into a close up

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Speaker 1: or anything, that means that that three or four pages

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Speaker 1: of dialogue has to play perfectly in one take. It's

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Speaker 1: like a theater. It's like live theater. They're right cutting

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Speaker 1: away from it. So I set up we had three

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Speaker 1: different sets on the same stage, and we had three cameras,

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Speaker 1: and Rob had this big monitor where he could see

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Speaker 1: the trip tick. But because anyone who screwed up, you'd

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Speaker 1: have to start all over again, because you can just

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Speaker 1: pop in. It took us like it took us eight hours.

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Speaker 1: It took us like seventy three seventy four takes to

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Speaker 1: get it, and then on the last take you knew

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Speaker 1: you had it. I need to talk what happened.

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Speaker 2: Harry came over the last night Sally last night because

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Speaker 2: I was upset that Joe was getting there, and before

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Speaker 2: I knew it, we were kissing.

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Speaker 1: We did it. In fact, that stage, which was called

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Speaker 1: three eight at Zoatrop, I shot that scene when from

430
00:26:37,840 --> 00:26:41,680
Speaker 1: when Harry met Sally, I shot throw Mama from the train.

431
00:26:41,880 --> 00:26:46,520
Speaker 1: I shot Adam's Family, and I shot one other movie,

432
00:26:46,840 --> 00:26:50,399
Speaker 1: oh and and Misery, all on that same stage. And

433
00:26:50,480 --> 00:26:54,240
Speaker 1: I said to Sweetie, does LA have more than one stage?

434
00:26:54,880 --> 00:26:57,800
Speaker 1: At one point all the movies I've done in La

435
00:26:57,920 --> 00:27:01,560
Speaker 1: were on the same stage. Yeah, it was.

436
00:27:02,000 --> 00:27:03,240
Speaker 2: It was the barried Stonefeld.

437
00:27:04,040 --> 00:27:06,920
Speaker 1: Yeah, there should be a plaque.

438
00:27:07,720 --> 00:27:09,439
Speaker 2: I'm gonna say this to you. I hope it doesn't

439
00:27:09,520 --> 00:27:12,000
Speaker 2: bother you. But like Nora Efron's my role model. I

440
00:27:12,040 --> 00:27:14,240
Speaker 2: love her so much. And if anyone else listening, does

441
00:27:14,320 --> 00:27:17,920
Speaker 2: please watch everything as copy the documentary. It's so good.

442
00:27:18,160 --> 00:27:20,040
Speaker 2: But she did not like you Berry, did she?

443
00:27:21,320 --> 00:27:26,359
Speaker 1: Now she didn't? You know, Noura is incredibly talented, is

444
00:27:26,440 --> 00:27:30,480
Speaker 1: a lovely woman, has an amazing husband, had an amazing husband.

445
00:27:30,640 --> 00:27:34,560
Speaker 1: He's no longer with us, Nick Pledge, who wrote Goodfellows,

446
00:27:34,560 --> 00:27:38,800
Speaker 1: by the way. But Noara thought I was a little too.

447
00:27:39,880 --> 00:27:44,639
Speaker 1: I didn't take myself seriously. Oh uh huh. The thing is,

448
00:27:45,040 --> 00:27:48,480
Speaker 1: I don't take myself seriously, but I take my work seriously. Yeah,

449
00:27:48,520 --> 00:27:54,080
Speaker 1: and I just can't be full of myself. So as

450
00:27:54,160 --> 00:27:58,359
Speaker 1: a joke, no I was lining up an insert of

451
00:27:59,280 --> 00:28:02,120
Speaker 1: the scene you were just telling you about before they

452
00:28:02,119 --> 00:28:05,000
Speaker 1: have the phone call Billy sleeps with Meg. So I

453
00:28:05,040 --> 00:28:09,080
Speaker 1: shot an insert of Billy looking at her digital clock

454
00:28:09,200 --> 00:28:11,520
Speaker 1: and that you know, it was like four am and

455
00:28:11,720 --> 00:28:17,040
Speaker 1: he still couldn't leave and all that. So as a joke, no,

456
00:28:17,840 --> 00:28:22,119
Speaker 1: I say to Rob, Hey, Rob, should we do a

457
00:28:22,240 --> 00:28:24,680
Speaker 1: Dutch tilt, which means put the camera like at an

458
00:28:24,960 --> 00:28:28,920
Speaker 1: arcane angle? Should we put do a Dutch tilt so

459
00:28:29,080 --> 00:28:31,680
Speaker 1: it could feel like we're making a good Dard movie.

460
00:28:32,119 --> 00:28:35,120
Speaker 1: I've never seen a good Dard movie. Yeah. I don't

461
00:28:35,119 --> 00:28:38,320
Speaker 1: even know how to pronounce his name properly. But Nora

462
00:28:38,600 --> 00:28:42,640
Speaker 1: from across the room, sitting next to Rob at Video Village, says,

463
00:28:43,280 --> 00:28:47,600
Speaker 1: will you please save us all the film school bullshit?

464
00:28:48,720 --> 00:28:52,160
Speaker 1: So I had to say, hey, Nora, it was a judge.

465
00:28:52,280 --> 00:28:54,360
Speaker 2: Yeah, yeah, okay, yeah.

466
00:28:54,240 --> 00:28:58,560
Speaker 1: Right, yeah, but she's she's so talented and so acerbic

467
00:28:58,720 --> 00:28:59,360
Speaker 1: and smart.

468
00:28:59,600 --> 00:29:04,960
Speaker 2: Yeah yeah, yeah, you mentioned misery James Kahn. Tell me

469
00:29:05,000 --> 00:29:07,600
Speaker 2: about your Vietnam moment with James Kahn.

470
00:29:08,760 --> 00:29:12,800
Speaker 1: There's more Rob's Vietnam moment. Okay, I just I just

471
00:29:13,160 --> 00:29:15,640
Speaker 1: let him know he was having a Vietnam moment.

472
00:29:15,800 --> 00:29:17,280
Speaker 2: Yes, all right.

473
00:29:17,320 --> 00:29:21,120
Speaker 1: So here's the thing. It took Rob a long time

474
00:29:21,160 --> 00:29:24,280
Speaker 1: to get both an actor and actress. It's so amazing

475
00:29:24,320 --> 00:29:26,920
Speaker 1: when you see these movies and you think, wait, it

476
00:29:27,000 --> 00:29:30,480
Speaker 1: was hard to get someone in those roles. But Rob

477
00:29:30,560 --> 00:29:34,760
Speaker 1: had wanted Bette Midler for the lead in Misery, and

478
00:29:34,800 --> 00:29:40,440
Speaker 1: when she eventually passed, I actually had recommended Kathy Bates.

479
00:29:40,440 --> 00:29:42,720
Speaker 1: I had seen her A Night Mother on Broadway and

480
00:29:42,920 --> 00:29:46,160
Speaker 1: she was fantastic. Yep, and he met Kathy and Kathy

481
00:29:46,200 --> 00:29:49,680
Speaker 1: got the role. Warren Batty passed or all these actors

482
00:29:49,680 --> 00:29:52,720
Speaker 1: that Warren Batty passes on everything, I've got Warren Batty

483
00:29:52,800 --> 00:29:59,000
Speaker 1: passing stories on Get Shorty. But anyway, hires Jimmy Kahn

484
00:29:59,200 --> 00:30:02,479
Speaker 1: the single word first actor to ever be forced to

485
00:30:02,520 --> 00:30:06,920
Speaker 1: spend eighty pages lying in bed doing nothing because the

486
00:30:06,960 --> 00:30:11,640
Speaker 1: man cannot sit still. Yeah yeah, he's just out of control,

487
00:30:12,080 --> 00:30:14,640
Speaker 1: needs to fidget and move and all that. So we're

488
00:30:14,640 --> 00:30:17,320
Speaker 1: shooting the first day. It's it's the first day also,

489
00:30:17,400 --> 00:30:21,760
Speaker 1: isn't it? On Misery? And it's a really easy scene.

490
00:30:21,760 --> 00:30:24,960
Speaker 1: We're up in Lake Tahoe. We were in the cabin.

491
00:30:25,080 --> 00:30:28,640
Speaker 1: Jimmy's got to finish typing the end, pull out the

492
00:30:28,680 --> 00:30:31,720
Speaker 1: piece of paper, put it on top of other manuscript pages,

493
00:30:32,480 --> 00:30:35,959
Speaker 1: light a strike anywhere match and we gave him flint

494
00:30:36,320 --> 00:30:39,480
Speaker 1: on his thumb so he could light it easily. And

495
00:30:39,520 --> 00:30:42,600
Speaker 1: then he opens up glass a bottle of champagne. Yeah,

496
00:30:42,840 --> 00:30:46,960
Speaker 1: six setups, no dialogue, piece of cake. We should be

497
00:30:47,040 --> 00:30:51,200
Speaker 1: done with that scene in three hours, but Jimmy cannot

498
00:30:51,240 --> 00:30:55,080
Speaker 1: stand still. He's dobbining like he's at temple or something.

499
00:30:55,120 --> 00:30:59,800
Speaker 1: He's moving, he's doing, he's shifting. At lunch, six hours

500
00:30:59,840 --> 00:31:02,440
Speaker 1: in to the day, we still haven't gotten a scene

501
00:31:02,440 --> 00:31:05,760
Speaker 1: that should take us three hours. I eat lunch it

502
00:31:05,880 --> 00:31:10,080
Speaker 1: Rob every day in this camper. We sit down this silence,

503
00:31:10,440 --> 00:31:17,000
Speaker 1: and I say to Rob, hey, Rob, remember Vietnam. And

504
00:31:17,120 --> 00:31:19,360
Speaker 1: Rob starts to laugh because he knows where I'm going

505
00:31:19,400 --> 00:31:23,080
Speaker 1: with this. He's with his wife Michelle, and I said, no, seriously,

506
00:31:23,600 --> 00:31:26,600
Speaker 1: get out now, get out before it's too late. The

507
00:31:26,720 --> 00:31:30,080
Speaker 1: longer you're here leaving, the helicopters are leaving, and you're

508
00:31:30,080 --> 00:31:32,640
Speaker 1: going to be stuck with this guy for sixty days

509
00:31:32,640 --> 00:31:37,560
Speaker 1: of filming. Get out now. Of course he couldn't get out.

510
00:31:38,080 --> 00:31:41,120
Speaker 1: It would take weeks. So Jimmy got through it. But man,

511
00:31:42,120 --> 00:31:44,360
Speaker 1: it was tough, and Rob and I were so mean

512
00:31:44,440 --> 00:31:48,760
Speaker 1: to Jimmy for you. Yeah, well you know we were.

513
00:31:48,920 --> 00:31:51,960
Speaker 1: Now you know. Weeks later, we're now on set. Jimmy's

514
00:31:52,000 --> 00:31:55,160
Speaker 1: in bed and there's is show where Rob where Rob

515
00:31:55,240 --> 00:31:59,440
Speaker 1: has Jimmy crawling out of bed and then crawling towards

516
00:31:59,440 --> 00:32:01,920
Speaker 1: the door, and the camera's going to dolly back with Jimmy.

517
00:32:02,320 --> 00:32:05,480
Speaker 1: Jimmy says from the bed, he says, hey, Bath, how

518
00:32:05,560 --> 00:32:07,920
Speaker 1: far do you want me to crawl? And this is

519
00:32:07,960 --> 00:32:10,960
Speaker 1: like a week eleven out of twelve, so we're fed up.

520
00:32:11,360 --> 00:32:14,680
Speaker 1: So I and this is very unprofessional. Normally you take

521
00:32:14,680 --> 00:32:17,760
Speaker 1: a piece of green or red tape, put it on

522
00:32:17,800 --> 00:32:21,880
Speaker 1: the floor and say crawl to the mark, Jimmy. But

523
00:32:21,920 --> 00:32:25,479
Speaker 1: instead he said how far should I crawl? And I

524
00:32:25,480 --> 00:32:31,480
Speaker 1: went and spit on the floor, which as horrible as

525
00:32:31,520 --> 00:32:37,520
Speaker 1: that is. Rob Reiner says, crawl to the loogie Jimmy.

526
00:32:38,320 --> 00:32:48,880
Speaker 4: Okay, yes, yeah, what I can.

527
00:32:49,160 --> 00:33:03,479
Speaker 2: Eyes are so good, These stories are so good. So

528
00:33:03,640 --> 00:33:05,800
Speaker 2: Rob tries to push you into directing, but you don't

529
00:33:05,800 --> 00:33:09,360
Speaker 2: want to until family.

530
00:33:10,320 --> 00:33:13,520
Speaker 1: Yeah. I was not looking to be a director. I

531
00:33:13,640 --> 00:33:17,240
Speaker 1: was very happy being a cameraman. I made, you know,

532
00:33:17,280 --> 00:33:23,120
Speaker 1: I was sought after. I enjoyed the experience of, you know,

533
00:33:23,600 --> 00:33:26,720
Speaker 1: having manly men pick up big, heavy lights and do

534
00:33:26,800 --> 00:33:28,800
Speaker 1: what I tell him to you know, it was fun.

535
00:33:30,240 --> 00:33:34,040
Speaker 1: And then I'm finishing misery. Sweetie and I are at

536
00:33:34,040 --> 00:33:37,200
Speaker 1: the Four Seasons Hotel on Delheiney. I'm sure you know

537
00:33:37,240 --> 00:33:41,360
Speaker 1: it well in LA and yes, And I get a

538
00:33:41,400 --> 00:33:43,840
Speaker 1: call from the front desk there's a package for me.

539
00:33:43,880 --> 00:33:47,640
Speaker 1: I go downstairs. There's an envelope. Scott Ruden, the producer,

540
00:33:48,080 --> 00:33:51,520
Speaker 1: has sent me the script for Adams Family and says,

541
00:33:51,920 --> 00:33:54,280
Speaker 1: read this in two hours. Little did he know I'm

542
00:33:54,280 --> 00:33:57,000
Speaker 1: incapable of reading anything in two hours. Read this in

543
00:33:57,040 --> 00:33:59,920
Speaker 1: two hours and meet me at this restaurant called Hugo

544
00:34:00,600 --> 00:34:04,920
Speaker 1: for lunch. I want you to direct this. Literally, I'm

545
00:34:04,920 --> 00:34:07,920
Speaker 1: not looking to be a director. Even with directors like

546
00:34:07,960 --> 00:34:10,200
Speaker 1: Penny Marshall. I never was saying I could do a

547
00:34:10,239 --> 00:34:13,920
Speaker 1: better job than she could, and that was a nightmare.

548
00:34:14,000 --> 00:34:18,000
Speaker 1: But in any case, I meet Scott two hours later

549
00:34:18,040 --> 00:34:20,600
Speaker 1: and I say why meet and he says, well, I

550
00:34:20,640 --> 00:34:24,000
Speaker 1: went to Terry Gilliam and Tim Burton, and when all

551
00:34:24,000 --> 00:34:26,960
Speaker 1: the good directors passed, I thought I'd take a chance

552
00:34:27,040 --> 00:34:33,799
Speaker 1: with you, which I loved. I love no expectations. Well,

553
00:34:33,840 --> 00:34:38,520
Speaker 1: the opening of my my epilogue is there's no upside

554
00:34:38,800 --> 00:34:44,399
Speaker 1: to optimism under promise over delivered. That's and that's where

555
00:34:44,400 --> 00:34:46,799
Speaker 1: you like to live. That's where I like to live

556
00:34:47,000 --> 00:34:52,399
Speaker 1: under the radar. So I said, all right, Scott, if

557
00:34:52,440 --> 00:34:55,520
Speaker 1: you can get me a job directing Adam's Family, sure,

558
00:34:56,360 --> 00:35:01,040
Speaker 1: and he did. But what's weird is if it wasn movie,

559
00:35:01,080 --> 00:35:03,719
Speaker 1: I should have been the director on it was the

560
00:35:03,760 --> 00:35:07,680
Speaker 1: Adams Family because I grew up loving those Charles Adams drawings,

561
00:35:08,239 --> 00:35:12,360
Speaker 1: and Charles Adams drawings are a very visual and B

562
00:35:13,000 --> 00:35:15,880
Speaker 1: he makes the audience figure out where the joke is.

563
00:35:16,480 --> 00:35:19,400
Speaker 1: They're not like punchline jokes, you know, they're not like

564
00:35:19,480 --> 00:35:25,080
Speaker 1: punchline little sentences at the bottom there specific to those characters.

565
00:35:25,080 --> 00:35:28,680
Speaker 1: And I love those Charles Adams cartoons and I was

566
00:35:28,840 --> 00:35:33,759
Speaker 1: very faithful in shooting the movie to his cartoons.

567
00:35:33,800 --> 00:35:36,360
Speaker 2: Actually, yes, And it was a huge success.

568
00:35:37,400 --> 00:35:40,760
Speaker 1: Yeah, that's the amazing thing. It was a big success.

569
00:35:40,480 --> 00:35:42,600
Speaker 2: Huge success. And then you go to do the sequel,

570
00:35:42,760 --> 00:35:47,680
Speaker 2: but another movie is in the offing at the same.

571
00:35:47,440 --> 00:35:49,359
Speaker 1: You're in my book. You read my.

572
00:35:49,400 --> 00:35:52,080
Speaker 2: Book, Barry. I showed you all the dogs.

573
00:35:52,120 --> 00:35:55,360
Speaker 1: I know, I know, but you could have had and

574
00:35:55,400 --> 00:35:59,320
Speaker 1: you could add an assistant dog here pages. I'm kidding, Okay,

575
00:35:59,400 --> 00:36:02,200
Speaker 1: Barry I'm so impressed.

576
00:36:01,760 --> 00:36:04,160
Speaker 2: Journalist I highlight. Wow.

577
00:36:05,120 --> 00:36:07,880
Speaker 1: Oh geez, period, I need to get you another book.

578
00:36:08,760 --> 00:36:11,040
Speaker 2: Well, yeah, you do, because I've already promised this one

579
00:36:11,360 --> 00:36:17,279
Speaker 2: to my DP at my news show. But uh, of

580
00:36:17,320 --> 00:36:20,759
Speaker 2: course I've read it. Okay, let me tell me about

581
00:36:20,760 --> 00:36:23,960
Speaker 2: the film that's in the offing as you're contemplating making

582
00:36:24,120 --> 00:36:25,360
Speaker 2: Adam's Family Values.

583
00:36:26,960 --> 00:36:31,520
Speaker 1: Okay, So I'm finishing Adam This Family by the way,

584
00:36:31,520 --> 00:36:35,920
Speaker 1: we started at Orion. Orion goes bankrupt, we're so to Paramount.

585
00:36:36,200 --> 00:36:39,360
Speaker 1: A new head comes in at Paramount looks at the

586
00:36:39,400 --> 00:36:44,200
Speaker 1: same footage the previous headed scene when he bought it

587
00:36:44,280 --> 00:36:47,759
Speaker 1: from Orion. The new head comes in and says, this

588
00:36:47,800 --> 00:36:50,799
Speaker 1: movie is uncutable and unreleasable. So the whole time I'm

589
00:36:50,840 --> 00:36:53,640
Speaker 1: finishing the movie at Paramount, I have a studio head

590
00:36:53,640 --> 00:36:58,400
Speaker 1: who hates my project right so so much so that

591
00:36:58,480 --> 00:37:02,080
Speaker 1: when I was done shooting, the president of the studio,

592
00:37:02,160 --> 00:37:05,200
Speaker 1: not to chairman, Gary Lukazy, takes me to launch on

593
00:37:05,239 --> 00:37:09,040
Speaker 1: the Paramount lot and says, look, don't wait ten weeks

594
00:37:09,080 --> 00:37:11,600
Speaker 1: to show me the movie. I know the director's guild

595
00:37:11,640 --> 00:37:14,960
Speaker 1: gives you ten weeks. I'm your buddy, show me the movie.

596
00:37:15,000 --> 00:37:15,200
Speaker 3: Now.

597
00:37:15,520 --> 00:37:17,480
Speaker 1: I said, no, you're the enemy. I'm not going to

598
00:37:17,520 --> 00:37:21,400
Speaker 1: show you the movie. He says, Oh, come on, I said, Gary,

599
00:37:21,719 --> 00:37:24,040
Speaker 1: it's a mess. You know, I just finished shooting. I

600
00:37:24,040 --> 00:37:26,440
Speaker 1: gotta cut it. I gotta add music, even for you

601
00:37:26,520 --> 00:37:29,680
Speaker 1: to see it with all your knowledge about movies. All right,

602
00:37:29,800 --> 00:37:33,200
Speaker 1: So Gary says, And I'm going to answer your question.

603
00:37:33,239 --> 00:37:37,320
Speaker 1: I swear. Gary says, if you won't show me the movie,

604
00:37:37,400 --> 00:37:40,720
Speaker 1: at least tell me what it's like. So I say,

605
00:37:42,320 --> 00:37:48,200
Speaker 1: Adam's Family is like a much sadder version of Sophie's Choice.

606
00:37:48,400 --> 00:37:51,760
Speaker 1: And I leave. I go. I finished my cop salad.

607
00:37:51,840 --> 00:37:54,399
Speaker 1: I go back to my office on the Paramount Lot.

608
00:37:54,640 --> 00:37:58,319
Speaker 1: My phone's ringing. It's Scott Ruden schmuck. Did you just

609
00:37:58,360 --> 00:38:03,200
Speaker 1: tell Gary Lukesey Adam's Family is a sadder version of

610
00:38:03,280 --> 00:38:07,120
Speaker 1: Sophie's Choice? I said, no. Why did you tell him?

611
00:38:07,560 --> 00:38:11,480
Speaker 1: I told him it was a much sadder version of something. Well,

612
00:38:11,520 --> 00:38:15,239
Speaker 1: call him back. Tell him it's good, Scott. He's looked

613
00:38:15,280 --> 00:38:17,600
Speaker 1: at Daly's every day. Does he think I could turn

614
00:38:17,640 --> 00:38:20,759
Speaker 1: Adam's family into a sadder Just call him back? So

615
00:38:20,800 --> 00:38:23,759
Speaker 1: I called Gary back. I explained, this actually a very

616
00:38:23,800 --> 00:38:27,120
Speaker 1: funny movie. He equally is willing to buy into that

617
00:38:27,200 --> 00:38:29,680
Speaker 1: as much as he was willing to buy into a

618
00:38:29,760 --> 00:38:33,480
Speaker 1: Saturn version. Now it's Ted. Weeks later, they see the movie.

619
00:38:34,000 --> 00:38:37,000
Speaker 1: Even though Stanley still hates it, everyone else at Paramount

620
00:38:37,080 --> 00:38:40,600
Speaker 1: loves it, and Gary, wanting me to do another movie

621
00:38:40,920 --> 00:38:44,560
Speaker 1: at Paramount, says, I have a book I want you

622
00:38:44,600 --> 00:38:49,480
Speaker 1: to read. The producer has done eight different scripts with

623
00:38:49,760 --> 00:38:52,359
Speaker 1: six different writers. None of them are any good. I'm

624
00:38:52,400 --> 00:38:54,680
Speaker 1: not even going to show you any scripts. I'm just

625
00:38:54,719 --> 00:38:57,399
Speaker 1: going to show you the book. Read the book, tell

626
00:38:57,440 --> 00:39:00,560
Speaker 1: me what you think the book is Farrest Gum In

627
00:39:00,680 --> 00:39:06,040
Speaker 1: Forrest Gump, the lead Forrest Gump is sort of a big, powerful,

628
00:39:06,400 --> 00:39:10,799
Speaker 1: overweight kind of guy. So I said to Gary, I

629
00:39:10,840 --> 00:39:13,520
Speaker 1: know how to make this movie. Make him a runner

630
00:39:13,680 --> 00:39:19,160
Speaker 1: instead of a heavy guy, and have Hanks to it.

631
00:39:19,239 --> 00:39:21,720
Speaker 1: And I can send it to Hanks because of shooting

632
00:39:21,719 --> 00:39:24,279
Speaker 1: Big we were friends. I send Tom the book, but

633
00:39:24,400 --> 00:39:28,000
Speaker 1: I say, you probably won't want to do this because

634
00:39:28,080 --> 00:39:32,040
Speaker 1: it's another man child role. It's not unlike Josh Baskin

635
00:39:32,160 --> 00:39:37,719
Speaker 1: and that he's an adult but has childlike knowledge. But

636
00:39:37,880 --> 00:39:40,879
Speaker 1: Tom loves it. So now I've got Tom that comes

637
00:39:40,960 --> 00:39:45,400
Speaker 1: on the producer and I hire Eric Roth who writes

638
00:39:45,440 --> 00:39:51,200
Speaker 1: an amazing script. But now Gary lu Casey is replaced

639
00:39:51,280 --> 00:39:56,000
Speaker 1: by Sherry Lansing. Serry now decides she wants to make

640
00:39:56,040 --> 00:39:59,040
Speaker 1: Adam's Family Values. So I have a choice. I either

641
00:39:59,080 --> 00:40:02,239
Speaker 1: do Adam's Family or Gump. I say, I want to

642
00:40:02,280 --> 00:40:04,919
Speaker 1: do both, and I have to do Adam Semley first

643
00:40:04,920 --> 00:40:08,880
Speaker 1: because the kids, Jimmy Weakman and Christina Ricchie are getting older.

644
00:40:09,920 --> 00:40:13,520
Speaker 1: Sherry says, great, you can do both. Because she didn't

645
00:40:13,560 --> 00:40:16,200
Speaker 1: really believe in Gump anyway, and I have a feeling

646
00:40:16,520 --> 00:40:19,839
Speaker 1: she almost wished she hadn't made it until it came out.

647
00:40:19,920 --> 00:40:22,360
Speaker 1: I mean she kept stealing money from the shot and

648
00:40:22,960 --> 00:40:26,720
Speaker 1: taking money away from that show, etcetera, etcetera. So Cherry

649
00:40:26,760 --> 00:40:28,520
Speaker 1: is willing to wait for us to do both, but

650
00:40:29,000 --> 00:40:33,359
Speaker 1: the producer when the finerman isn't and Wendy is right,

651
00:40:34,040 --> 00:40:36,920
Speaker 1: Tom could get hit by a bus, Tom could change

652
00:40:36,960 --> 00:40:39,600
Speaker 1: his mind, a similar movie could come out and do

653
00:40:39,680 --> 00:40:42,680
Speaker 1: no business, and then Paramount doesn't want to make Gump.

654
00:40:42,719 --> 00:40:45,919
Speaker 1: So her issue is strike when the iron is hot.

655
00:40:45,960 --> 00:40:50,120
Speaker 1: I have the script. I've got Tom Hanks. My mistake

656
00:40:50,239 --> 00:40:53,799
Speaker 1: was not that I left Gump. My mistake was at

657
00:40:53,800 --> 00:40:56,839
Speaker 1: my agent at the time. I fired him after this

658
00:40:57,080 --> 00:40:59,640
Speaker 1: didn't get me a producing credit on it, which I

659
00:40:59,640 --> 00:41:03,160
Speaker 1: should had. I got the biggest actor and I got

660
00:41:03,160 --> 00:41:07,239
Speaker 1: a great script. That's what a producer does. So that's

661
00:41:07,280 --> 00:41:08,120
Speaker 1: where I went wrong.

662
00:41:09,040 --> 00:41:10,239
Speaker 2: What'd you think of Forrest Gump?

663
00:41:10,680 --> 00:41:14,080
Speaker 1: Right? I couldn't watch it for years? And then Danny

664
00:41:14,080 --> 00:41:16,520
Speaker 1: DeVito is having a Christmas party and I ran into

665
00:41:16,560 --> 00:41:21,719
Speaker 1: Marty Breast, a famous director. He directed Midnight Run and

666
00:41:21,800 --> 00:41:26,600
Speaker 1: Beverly Hills Copped and War Games, and I said, Marty,

667
00:41:26,760 --> 00:41:30,640
Speaker 1: you're someone who left projects close to when it got

668
00:41:30,640 --> 00:41:33,320
Speaker 1: started because he got fired off of War Games. I said,

669
00:41:34,000 --> 00:41:36,040
Speaker 1: how did you feel when the movie came out? And

670
00:41:36,239 --> 00:41:39,600
Speaker 1: was his success? And Marty said, have you seen the movie?

671
00:41:39,840 --> 00:41:42,320
Speaker 1: He asked me in a very rabbinical way, and I said, no,

672
00:41:42,400 --> 00:41:46,120
Speaker 1: I can't. I can't watch Gomp. Yeah, he said, see

673
00:41:46,160 --> 00:41:50,160
Speaker 1: the movie. Only then can the healing begin. So I

674
00:41:50,239 --> 00:41:55,880
Speaker 1: rented Goump on VHS, saw the movie and I say,

675
00:41:56,040 --> 00:41:58,759
Speaker 1: in the book, it's not the movie I would have made.

676
00:41:59,000 --> 00:42:01,759
Speaker 1: For one thing, maybe it would have been better, maybe

677
00:42:01,760 --> 00:42:03,319
Speaker 1: it would have been worse. It would have been an

678
00:42:03,320 --> 00:42:05,200
Speaker 1: hour shorter, is what I said.

679
00:42:05,440 --> 00:42:19,080
Speaker 2: Yes, get Shorty, Gene Hackman and John Travolta could not

680
00:42:19,239 --> 00:42:25,040
Speaker 2: have been more different, right, event Yeah, I mean in

681
00:42:25,160 --> 00:42:28,759
Speaker 2: preparation and attitude, in all the things. Right.

682
00:42:29,480 --> 00:42:36,759
Speaker 1: Yeah. So John loved being a movie star. I'm not

683
00:42:36,800 --> 00:42:39,720
Speaker 1: sure how much he loved acting, but he loved being

684
00:42:39,800 --> 00:42:40,680
Speaker 1: a movie star.

685
00:42:40,920 --> 00:42:41,200
Speaker 2: Yeah.

686
00:42:41,400 --> 00:42:45,960
Speaker 1: Gene Hackman loved acting and hated being a movie star. Right,

687
00:42:46,040 --> 00:42:48,399
Speaker 1: So it's starting from that dichotomy, right.

688
00:42:48,800 --> 00:42:49,080
Speaker 2: Yeah.

689
00:42:49,880 --> 00:42:54,759
Speaker 1: Once again, it's the first day of shooting and we

690
00:42:54,800 --> 00:42:58,080
Speaker 1: have an eight page scene, which is unheard of, especially

691
00:42:58,120 --> 00:43:01,680
Speaker 1: on the first day. Usually you on a feature between

692
00:43:01,719 --> 00:43:05,359
Speaker 1: two and three pages a day of script. But I

693
00:43:05,360 --> 00:43:08,120
Speaker 1: felt that there was no blocking. There's no other actors.

694
00:43:08,120 --> 00:43:11,640
Speaker 1: Who was just two guys basically sitting across from each other.

695
00:43:12,200 --> 00:43:13,960
Speaker 1: Once you were lit, you were kind of lit for

696
00:43:14,000 --> 00:43:15,680
Speaker 1: the day. So I thought we could get it done.

697
00:43:15,800 --> 00:43:18,680
Speaker 1: And since it was the first day, they had weeks

698
00:43:18,680 --> 00:43:25,000
Speaker 1: to memorize theoretical, you shoot it. That was my thought. Yeah,

699
00:43:26,120 --> 00:43:30,319
Speaker 1: Travolta says to Gene, they've just met, So Gene, why

700
00:43:30,320 --> 00:43:32,480
Speaker 1: did you do this weekend? And Jeane says, well, with

701
00:43:32,640 --> 00:43:35,719
Speaker 1: eight fucking pages of dialogue to learn, I pretty much

702
00:43:36,040 --> 00:43:40,040
Speaker 1: fucking did nothing except learned the eight fucking pages. John

703
00:43:40,080 --> 00:43:44,799
Speaker 1: Travolta says, that's a waste of a weekend. So I know,

704
00:43:45,400 --> 00:43:48,920
Speaker 1: I know I'm in trouble now. I know John probably

705
00:43:48,960 --> 00:43:51,760
Speaker 1: has not looked at the script since he made his deal,

706
00:43:52,680 --> 00:43:57,120
Speaker 1: and Jane is getting angrier and angry. I could really

707
00:43:57,160 --> 00:44:00,000
Speaker 1: sense this because John is not coming in with his lunge.

708
00:44:00,160 --> 00:44:02,680
Speaker 1: So there's no pace, there's no energy to the scene.

709
00:44:03,080 --> 00:44:06,719
Speaker 1: And especially in comedies, you want everyone to talk fast.

710
00:44:06,800 --> 00:44:09,359
Speaker 1: You want everyone to step on each other's lines. Right,

711
00:44:09,480 --> 00:44:11,480
Speaker 1: you know you look at like pushing Baby or his

712
00:44:11,560 --> 00:44:15,360
Speaker 1: grip bringing up Baby, or his girl Friday or any

713
00:44:15,480 --> 00:44:19,320
Speaker 1: Preston Sturgist movie. Those actors are just talking fast. Yeah,

714
00:44:19,520 --> 00:44:23,319
Speaker 1: and that's my thing. So Gene is not. I can

715
00:44:23,360 --> 00:44:26,640
Speaker 1: tell he's not happy. We have to reload the camera.

716
00:44:26,840 --> 00:44:29,160
Speaker 1: I go, I get up off my saddle because I

717
00:44:29,200 --> 00:44:33,640
Speaker 1: also direct from the camera. I go back to video village.

718
00:44:33,680 --> 00:44:35,719
Speaker 1: My wife is one of the producers. I said, how

719
00:44:35,760 --> 00:44:37,839
Speaker 1: great has hackmened? Because it's the first sage. She goes,

720
00:44:38,280 --> 00:44:43,160
Speaker 1: He's fantastic. Okay, great, we're reloaded. I go back. I say, hey, Gene,

721
00:44:43,280 --> 00:44:46,760
Speaker 1: stand up one line earlier on mistake anyway, roll camera

722
00:44:47,520 --> 00:44:50,960
Speaker 1: camera starts to roll. Gene instead of saying his line, says,

723
00:44:51,600 --> 00:44:55,160
Speaker 1: cut the fucking camera. Just cut the fucking camera. Got

724
00:44:56,320 --> 00:44:58,799
Speaker 1: you don't have a fucking clue what you're doing. You

725
00:44:59,080 --> 00:45:02,480
Speaker 1: have no idea what you're doing. You'll ask anyone for advice,

726
00:45:02,480 --> 00:45:06,040
Speaker 1: You'll ask your wife when I should stand up? Obviously, Yeah, right,

727
00:45:07,080 --> 00:45:10,239
Speaker 1: you're you really don't have a fucking clue. So I

728
00:45:10,320 --> 00:45:13,400
Speaker 1: say to the first assistant director, find out if the

729
00:45:13,480 --> 00:45:17,200
Speaker 1: caterer is ready for lunch. The assistant director says, ready

730
00:45:17,200 --> 00:45:20,600
Speaker 1: for lunch. It's ten in the morning, right. I go, okay, everybody,

731
00:45:21,239 --> 00:45:25,960
Speaker 1: that's lunch. Because I got to deal with this. Everyone disperses.

732
00:45:26,080 --> 00:45:28,680
Speaker 1: I go up to Gene and I say, hey, Gene,

733
00:45:30,000 --> 00:45:32,400
Speaker 1: if you need to yell at me for the next

734
00:45:32,440 --> 00:45:36,279
Speaker 1: twelve weeks, go ahead. He goes, what the fuck are

735
00:45:36,280 --> 00:45:38,799
Speaker 1: you talking about? I go, you're not mad at me.

736
00:45:39,520 --> 00:45:41,960
Speaker 1: You know my wife didn't tell me when you should

737
00:45:42,040 --> 00:45:45,439
Speaker 1: stand up. You're mad at John. But you can't yell

738
00:45:45,480 --> 00:45:47,600
Speaker 1: at John because you got to work with him for

739
00:45:47,680 --> 00:45:51,279
Speaker 1: the next twelve weeks on camera. But you got to

740
00:45:51,320 --> 00:45:54,680
Speaker 1: yell at someone because that's who you are. So yell

741
00:45:54,800 --> 00:45:57,200
Speaker 1: at me, and it's like being a parent. You got

742
00:45:57,239 --> 00:46:00,239
Speaker 1: to figure out what works for each kid, and in

743
00:46:00,239 --> 00:46:03,880
Speaker 1: that case, Jean had to yell and gene for twelve weeks,

744
00:46:04,440 --> 00:46:07,360
Speaker 1: yelled at me because John never learned his lines.

745
00:46:07,719 --> 00:46:10,160
Speaker 2: Yeah, you had to have Q cards, right, you had

746
00:46:10,160 --> 00:46:10,880
Speaker 2: to have Q cards.

747
00:46:10,920 --> 00:46:13,520
Speaker 1: We then had to have have Q cards for John.

748
00:46:13,600 --> 00:46:16,920
Speaker 1: But let's let's say this. He won the Golden Globe.

749
00:46:17,040 --> 00:46:20,840
Speaker 1: He was great in a movie. Thanks to me and

750
00:46:20,880 --> 00:46:24,239
Speaker 1: the editor. He was great in a movie. And so

751
00:46:24,920 --> 00:46:26,680
Speaker 1: who looks stupid now, right?

752
00:46:27,840 --> 00:46:32,520
Speaker 2: Yes, much thanks to you and the editor. Okay, so

753
00:46:32,880 --> 00:46:35,959
Speaker 2: let's get back to Men and Men in Black. Tell

754
00:46:36,000 --> 00:46:39,520
Speaker 2: me about the roaches and the ASPCA.

755
00:46:40,880 --> 00:46:44,239
Speaker 1: So the end of the first Men in Black as

756
00:46:44,400 --> 00:46:47,240
Speaker 1: Will needing to figure out a way to keep Edgar,

757
00:46:47,719 --> 00:46:50,680
Speaker 1: who had been played by Vincent Danafio but is now

758
00:46:50,719 --> 00:46:54,000
Speaker 1: a giant CG bug, to keep him on the planet.

759
00:46:54,040 --> 00:46:56,960
Speaker 1: Tommy Lee Jones has been swallowed by Edgar and has

760
00:46:56,960 --> 00:46:58,799
Speaker 1: been told to keep him on the planet. So we

761
00:46:58,880 --> 00:47:02,000
Speaker 1: came up with the idea, because Edgar is a bug,

762
00:47:02,719 --> 00:47:05,239
Speaker 1: that we had this big dumpster, and we had a

763
00:47:05,320 --> 00:47:08,360
Speaker 1: riding area, and Will was going to kick that rotting

764
00:47:08,440 --> 00:47:12,920
Speaker 1: area the dumpster and hundreds of big roaches would come out,

765
00:47:13,200 --> 00:47:16,960
Speaker 1: whereupon will would fake kill the roaches by stepping on them,

766
00:47:16,960 --> 00:47:20,520
Speaker 1: but we would take mustard packets under his foot. So

767
00:47:20,640 --> 00:47:23,359
Speaker 1: but he did that, you'd see yellow stuff switch out.

768
00:47:23,400 --> 00:47:26,960
Speaker 1: In any case, that's the plan. So we hire a

769
00:47:27,080 --> 00:47:30,359
Speaker 1: roach wrangler because there are such things in Hollywood. Who

770
00:47:30,400 --> 00:47:36,400
Speaker 1: brings three hundred giant cockroaches giant water bugs, which means

771
00:47:37,080 --> 00:47:42,480
Speaker 1: that the ASPCA has to come to protect the water bugs.

772
00:47:43,239 --> 00:47:49,840
Speaker 1: So that's wild. And I say to the guy, just like, really, cockerroaches,

773
00:47:49,880 --> 00:47:54,400
Speaker 1: we've got to worry about cockroaches. He goes, if you

774
00:47:54,400 --> 00:47:59,560
Speaker 1: don't worry about cockroaches, and you won't worry about spiders, snakes, dogs, cats,

775
00:47:59,600 --> 00:48:02,960
Speaker 1: And then I said cats, who cares about cass And

776
00:48:03,040 --> 00:48:07,080
Speaker 1: that got them. That's not You can't joke at ASPA

777
00:48:07,320 --> 00:48:12,680
Speaker 1: people about animals. You can't. You just can't. They don't

778
00:48:12,680 --> 00:48:16,600
Speaker 1: have a sense of humor for that particular errors. Yes,

779
00:48:17,239 --> 00:48:22,600
Speaker 1: So after each take we had to count roaches to

780
00:48:22,640 --> 00:48:25,319
Speaker 1: make sure that we still had three hundreds. So that's

781
00:48:26,080 --> 00:48:28,640
Speaker 1: a while between takes, Oh my god. But then at

782
00:48:28,680 --> 00:48:31,000
Speaker 1: the end of the day, when we were done with

783
00:48:31,080 --> 00:48:35,320
Speaker 1: the roaches and done shooting, the guy gave us permission

784
00:48:35,400 --> 00:48:40,319
Speaker 1: to fumigate the stage in case any roaches did get out,

785
00:48:40,400 --> 00:48:43,239
Speaker 1: which sort of defeats the whole protecting the roaches. So

786
00:48:43,520 --> 00:48:46,200
Speaker 1: I don't know, but it worked for them and it

787
00:48:46,320 --> 00:48:46,799
Speaker 1: worked for me.

788
00:48:46,880 --> 00:48:50,880
Speaker 2: Therefore, Yeah, and then you go, you go to Wild

789
00:48:50,920 --> 00:48:53,239
Speaker 2: Wild West, which was not your favorite experience.

790
00:48:53,600 --> 00:48:58,560
Speaker 1: No. No, here's the thing that Will Smith always says,

791
00:48:58,880 --> 00:49:04,440
Speaker 1: don't give some one responsibility without giving them power. So

792
00:49:04,520 --> 00:49:08,360
Speaker 1: I had the responsibility to bring Wild Wild West in

793
00:49:08,440 --> 00:49:11,319
Speaker 1: on budget and schedule, but not the power to do

794
00:49:11,440 --> 00:49:15,640
Speaker 1: that because I had a handful of a producer named

795
00:49:16,040 --> 00:49:21,080
Speaker 1: John Peters, who was a big time producer at Warner Brothers.

796
00:49:21,080 --> 00:49:26,520
Speaker 1: He was, you know, Barbara Streisan's hair dresser originally. And anyway,

797
00:49:27,080 --> 00:49:34,120
Speaker 1: John insisted on the stupid, stupid, stupid Will Smith and

798
00:49:34,239 --> 00:49:36,759
Speaker 1: dragscene that Will didn't want to do. I didn't want

799
00:49:36,800 --> 00:49:40,319
Speaker 1: to shoot. It takes you out of the movie. Here's

800
00:49:40,360 --> 00:49:44,759
Speaker 1: the thing about action adventure comedies. They're really hard to

801
00:49:44,800 --> 00:49:48,560
Speaker 1: make because often the action, if it's too real, screws

802
00:49:48,640 --> 00:49:51,680
Speaker 1: up the comedy right. And then if the comedy is

803
00:49:51,719 --> 00:49:55,279
Speaker 1: too funny, you don't believe the action and you don't

804
00:49:55,320 --> 00:49:58,520
Speaker 1: believe they're in danger. So it's a really hard thing

805
00:49:58,560 --> 00:50:01,279
Speaker 1: to pull off, and I really didn't pulled off in

806
00:50:01,440 --> 00:50:05,560
Speaker 1: Wild Wild West. Plus, unlike Men in Black, where Will

807
00:50:05,640 --> 00:50:10,799
Speaker 1: and Tommy had such profound chemistry, they loved each other,

808
00:50:10,960 --> 00:50:15,040
Speaker 1: loved working together. Will thought Tommy was the most hilarious

809
00:50:15,080 --> 00:50:17,400
Speaker 1: person he ever met. Once they got Tommy did not

810
00:50:17,480 --> 00:50:22,120
Speaker 1: be funny. Yeah, Tommy loved Will. But on Wild Wild West,

811
00:50:22,360 --> 00:50:25,440
Speaker 1: Will Smith and Kevin Klein had zero chemistry. There was

812
00:50:25,480 --> 00:50:28,360
Speaker 1: nothing there, and the audience could sense that. Plus, I

813
00:50:28,400 --> 00:50:31,600
Speaker 1: made the Spider way too big. There are so many

814
00:50:31,600 --> 00:50:34,839
Speaker 1: things wrong with that, the mechanical Spider. We're wrong with

815
00:50:34,840 --> 00:50:37,520
Speaker 1: that movie, and I apologize to all those out there.

816
00:50:38,280 --> 00:50:42,640
Speaker 1: I could have done better. In retrospect, I think.

817
00:50:42,880 --> 00:50:44,640
Speaker 2: I think you've got a lot of projects that more

818
00:50:44,680 --> 00:50:45,400
Speaker 2: than made up for it.

819
00:50:45,480 --> 00:50:48,560
Speaker 1: Barry, Let's see, Okay.

820
00:50:49,120 --> 00:50:53,200
Speaker 2: Thank you, all right, we're gonna do a lightning round. Okay,

821
00:50:59,320 --> 00:51:02,399
Speaker 2: you are a plain crash survivor. Yes, do you think

822
00:51:02,440 --> 00:51:04,280
Speaker 2: about that every time you get on a plane.

823
00:51:05,760 --> 00:51:09,000
Speaker 1: Until I survived a plane crash, I viewed every time

824
00:51:09,000 --> 00:51:12,800
Speaker 1: I got off an airplane as a failed suicide attempt.

825
00:51:13,040 --> 00:51:18,640
Speaker 1: I hated flying. However, I know it's supposed to be

826
00:51:18,719 --> 00:51:22,960
Speaker 1: a lightning round. However, after the plane crash. I became

827
00:51:23,000 --> 00:51:25,440
Speaker 1: a better flyer because the fear of dying in a

828
00:51:25,440 --> 00:51:29,080
Speaker 1: plane crash is worrying what's going to feel like? What

829
00:51:29,160 --> 00:51:31,720
Speaker 1: are you going to feel like from fourteen thousand feet

830
00:51:31,920 --> 00:51:34,160
Speaker 1: when you know you're going to die? Are you going

831
00:51:34,239 --> 00:51:37,160
Speaker 1: to weep? Is not going to come out of your nose?

832
00:51:37,239 --> 00:51:40,000
Speaker 1: Are you going to wail? Are you going to think

833
00:51:40,040 --> 00:51:42,319
Speaker 1: of all the things you should have done differently? It

834
00:51:42,360 --> 00:51:45,600
Speaker 1: turns out because at fourteen thousand feet I knew my

835
00:51:45,640 --> 00:51:50,440
Speaker 1: plane was going to crash or claxtons and all sorts

836
00:51:50,480 --> 00:51:53,640
Speaker 1: of sounds from the thing, and we were nose diving

837
00:51:53,680 --> 00:51:57,799
Speaker 1: and shaking. All I did, and this was in a

838
00:51:57,840 --> 00:52:00,880
Speaker 1: private corporate jette. I crossed my arms, I put my

839
00:52:00,920 --> 00:52:03,000
Speaker 1: feet up on the seat in front of me, and

840
00:52:03,080 --> 00:52:07,919
Speaker 1: I tried different line readings of and now I die.

841
00:52:08,400 --> 00:52:12,920
Speaker 1: I went and now I die, And then I would

842
00:52:12,920 --> 00:52:17,160
Speaker 1: try and now I die, and then I would try,

843
00:52:17,239 --> 00:52:21,360
Speaker 1: and now I went to all of them. Eventually we

844
00:52:21,480 --> 00:52:26,520
Speaker 1: hit the ground. We destroy five parked airplanes. We go

845
00:52:26,960 --> 00:52:31,000
Speaker 1: into the parking lot, We destroy a Dodge Ram pickup truck.

846
00:52:31,120 --> 00:52:34,480
Speaker 1: We come to a stop. I see there are three

847
00:52:34,480 --> 00:52:37,680
Speaker 1: out of control people. Pilot called pilot flight attendant. They

848
00:52:37,719 --> 00:52:41,000
Speaker 1: can't open the door because there's a pine tree in

849
00:52:41,360 --> 00:52:43,799
Speaker 1: the way of the door opening. They run past me,

850
00:52:44,200 --> 00:52:46,000
Speaker 1: run out the back, and jump out of the plane,

851
00:52:46,080 --> 00:52:47,400
Speaker 1: leaving me on the plane alone.

852
00:52:48,440 --> 00:52:49,120
Speaker 2: God.

853
00:52:50,680 --> 00:52:53,920
Speaker 1: So, now the fire department is there because they think

854
00:52:53,920 --> 00:52:56,040
Speaker 1: the plane's going to and the plane is now in

855
00:52:56,080 --> 00:52:58,520
Speaker 1: the parking lot. It's not even on the tarmac or anything.

856
00:52:58,960 --> 00:52:59,080
Speaker 4: Uh.

857
00:52:59,520 --> 00:53:02,480
Speaker 1: All the fire there yelling at me to jump, but

858
00:53:02,560 --> 00:53:05,440
Speaker 1: I'm afraid of heights, and this was like three feet

859
00:53:05,480 --> 00:53:08,520
Speaker 1: off the ground. I know what I was, and so

860
00:53:08,560 --> 00:53:11,760
Speaker 1: I say, OK, it's easy for you to say jump,

861
00:53:12,320 --> 00:53:14,960
Speaker 1: but who's going to catch me? And then they made

862
00:53:14,960 --> 00:53:19,320
Speaker 1: the mistake. Instead of getting specific, which always works, they said,

863
00:53:19,480 --> 00:53:22,239
Speaker 1: it doesn't matter, just get off the plane. Never say

864
00:53:22,280 --> 00:53:25,840
Speaker 1: it doesn't matter, just someone should just say me right. Yeah, yeah,

865
00:53:25,840 --> 00:53:28,000
Speaker 1: So I said, you the one with the big mustache,

866
00:53:28,040 --> 00:53:30,440
Speaker 1: because they all have mustaches, You with the big muscle,

867
00:53:30,600 --> 00:53:33,239
Speaker 1: you're catching me, He says, I don't give a fuck,

868
00:53:33,400 --> 00:53:35,600
Speaker 1: just get off the plane. But basically I put my

869
00:53:35,719 --> 00:53:38,600
Speaker 1: arms around his shoulders and I just swing it to him.

870
00:53:38,880 --> 00:53:40,319
Speaker 1: Oh my god, I know we all run away and

871
00:53:40,360 --> 00:53:42,839
Speaker 1: the plane didn't explode, So I am now a better

872
00:53:42,920 --> 00:53:46,040
Speaker 1: flyer because of my plane crash. That answered the first

873
00:53:46,120 --> 00:53:47,200
Speaker 1: lightning round question.

874
00:53:47,440 --> 00:53:50,279
Speaker 2: No, it's so good. Though I didn't survive a plane crash,

875
00:53:50,360 --> 00:53:52,200
Speaker 2: but I was in a plane that lost hydraulics and

876
00:53:52,239 --> 00:53:54,120
Speaker 2: we had an emergency landing and it was not fine.

877
00:53:54,200 --> 00:53:54,399
Speaker 1: Right.

878
00:53:55,120 --> 00:53:57,920
Speaker 2: But what it did for me psychologically was saying, Okay,

879
00:53:57,920 --> 00:54:00,640
Speaker 2: what are the odds of that happening again? Oh, no,

880
00:54:00,719 --> 00:54:02,480
Speaker 2: it happen something happening again.

881
00:54:02,640 --> 00:54:08,719
Speaker 1: Right, that's the wrong attitude. Yeah, you don't understand. Again,

882
00:54:09,280 --> 00:54:12,719
Speaker 1: here's the thing. You are so not Jewish, so you

883
00:54:12,800 --> 00:54:17,800
Speaker 1: don't So you don't understand the concept of the cunnor herah,

884
00:54:18,239 --> 00:54:22,279
Speaker 1: the cunnor her Yes, is the Jews know this?

885
00:54:22,880 --> 00:54:23,040
Speaker 2: Yes?

886
00:54:23,320 --> 00:54:27,840
Speaker 1: Never ever ever say get any better?

887
00:54:28,040 --> 00:54:29,719
Speaker 2: Yeah, because the God hears that.

888
00:54:29,800 --> 00:54:33,000
Speaker 1: And says, watch this schmuck, and then yes, you get

889
00:54:33,080 --> 00:54:34,280
Speaker 1: you know, thyroid cancer.

890
00:54:34,520 --> 00:54:37,920
Speaker 2: I made that I do know about the Kunha. Not

891
00:54:37,960 --> 00:54:39,880
Speaker 2: only did I have a long time Jewish boyfriend, I

892
00:54:39,880 --> 00:54:42,479
Speaker 2: also have a master's degree in religion, Barry, So don't

893
00:54:42,520 --> 00:54:43,920
Speaker 2: tell me what I do and don't know.

894
00:54:45,200 --> 00:54:47,560
Speaker 1: I am so impressed.

895
00:54:48,520 --> 00:54:51,000
Speaker 2: See that's a conversation. I wish you would overheard me

896
00:54:51,120 --> 00:54:56,320
Speaker 2: talking about scholarly you know about religion and not housewives.

897
00:54:56,760 --> 00:54:58,759
Speaker 1: Did you did you enjoy studying?

898
00:54:59,360 --> 00:55:02,560
Speaker 2: I did. I went to NYU for my master's and

899
00:55:03,640 --> 00:55:08,560
Speaker 2: I studied my dissertation, I compared the devotional practices of

900
00:55:08,600 --> 00:55:12,480
Speaker 2: the religious faithful with the devotional practices of sports fans,

901
00:55:13,200 --> 00:55:16,520
Speaker 2: and it so interesting. Yeah, because I'm a big baseball

902
00:55:16,560 --> 00:55:21,000
Speaker 2: fan as well, right, and sort of the crossover connections

903
00:55:21,040 --> 00:55:27,840
Speaker 2: of like miracles, pilgrimage, sacred spaces.

904
00:55:27,360 --> 00:55:29,360
Speaker 1: Where you put your hat one.

905
00:55:29,239 --> 00:55:32,920
Speaker 2: Hundred percent, like I won't change my socks because you know,

906
00:55:32,960 --> 00:55:35,640
Speaker 2: the Mets kept winning with it, you know, all the stuff.

907
00:55:35,680 --> 00:55:38,799
Speaker 2: There's so much the hay geography, there's so much overlap,

908
00:55:38,840 --> 00:55:41,080
Speaker 2: and they speak to different parts of your brain and

909
00:55:41,120 --> 00:55:44,680
Speaker 2: your body, but they really accomplish similar things. You want

910
00:55:44,680 --> 00:55:46,440
Speaker 2: to commune, You want to be with people who like

911
00:55:46,480 --> 00:55:49,440
Speaker 2: the same the same things you like. You want to

912
00:55:49,480 --> 00:55:55,600
Speaker 2: worship the faith part of religion and sports fandom. I

913
00:55:55,600 --> 00:55:58,040
Speaker 2: mean so yeah, so I loved it. To answer your question, love,

914
00:55:58,120 --> 00:56:02,480
Speaker 2: what a great idea, what a great Yeah. I've toyed

915
00:56:02,560 --> 00:56:04,960
Speaker 2: with turning it into something, but I don't know what. Yeah,

916
00:56:05,120 --> 00:56:07,759
Speaker 2: I don't know. Okay, when you watch a movie, are

917
00:56:07,800 --> 00:56:09,719
Speaker 2: you able to just watch a movie or are you

918
00:56:09,800 --> 00:56:12,440
Speaker 2: looking at the lighting and blocking and the choices that

919
00:56:12,520 --> 00:56:14,200
Speaker 2: other dps and directors have made.

920
00:56:14,920 --> 00:56:17,000
Speaker 1: Not looking at the lighting or the blocking. What I

921
00:56:17,040 --> 00:56:18,880
Speaker 1: do do is I have my wife sit next to

922
00:56:18,880 --> 00:56:22,319
Speaker 1: me on this saw on my left side, holding my

923
00:56:22,480 --> 00:56:27,080
Speaker 1: hand down on the armrest, so I can't gesticulate to

924
00:56:27,160 --> 00:56:31,239
Speaker 1: the screen to get the actors to talk fast. So

925
00:56:31,360 --> 00:56:35,400
Speaker 1: for me, it's about pates and it just drives me crazy.

926
00:56:35,480 --> 00:56:39,480
Speaker 1: How slow most streaming television shows are.

927
00:56:39,760 --> 00:56:44,680
Speaker 2: Yes, yes, I agree, I agree. This is a quiz.

928
00:56:46,040 --> 00:56:48,560
Speaker 2: In nineteen eighty four, you're the cinematographer of an after

929
00:56:48,640 --> 00:56:52,120
Speaker 2: school special. It wins a Daytime Emmy for cinematography. What

930
00:56:52,200 --> 00:56:52,720
Speaker 2: was it called?

931
00:56:53,280 --> 00:56:56,759
Speaker 1: It was called out of Sight. No it was no,

932
00:56:57,000 --> 00:56:59,600
Speaker 1: it was called No, it wasn't. It was called out

933
00:56:59,600 --> 00:57:03,600
Speaker 1: of there you go. I was directed by Jeffrey Horner Day,

934
00:57:03,840 --> 00:57:07,799
Speaker 1: who was the choreographer on Flash Dance Out of Set.

935
00:57:08,120 --> 00:57:09,960
Speaker 2: Yeah, and it's about a dancer, right that?

936
00:57:09,960 --> 00:57:10,960
Speaker 1: It is about a danswer.

937
00:57:11,360 --> 00:57:16,200
Speaker 2: Amazing? Which of your projects are you most proud of?

938
00:57:16,920 --> 00:57:20,959
Speaker 2: Get shorty great film? Okay, this is the final question.

939
00:57:21,040 --> 00:57:25,440
Speaker 2: It's very important to me spiritually and culturally. When is

940
00:57:25,480 --> 00:57:26,600
Speaker 2: it iced coffee? Season.

941
00:57:29,240 --> 00:57:31,280
Speaker 1: Honestly, it's always ice coffee.

942
00:57:31,560 --> 00:57:34,520
Speaker 2: That's the correct answer. That's the correct answer. You're round good,

943
00:57:34,760 --> 00:57:36,200
Speaker 2: you're around me, the correct answer.

944
00:57:37,520 --> 00:57:38,040
Speaker 1: Excellent.

945
00:57:38,520 --> 00:57:39,440
Speaker 2: I knew I liked you.

946
00:57:39,920 --> 00:57:42,560
Speaker 1: Yeah, I knew I liked you too, Barry.

947
00:57:42,600 --> 00:57:45,720
Speaker 2: This was so much fun, truly, truly, so much fun.

948
00:57:45,720 --> 00:57:46,439
Speaker 2: Thank you so much.

949
00:57:46,760 --> 00:57:48,800
Speaker 1: Oh for me too, Thank you so much. What a

950
00:57:48,840 --> 00:57:50,360
Speaker 1: pleasure to do this. Thank you.

951
00:57:50,600 --> 00:57:56,000
Speaker 2: I loved it. Next week on Off the Cup, my

952
00:57:56,160 --> 00:57:58,240
Speaker 2: friend Shep Rose joins.

953
00:57:58,040 --> 00:58:02,280
Speaker 3: Us, it was so crazy and so interesting, and so

954
00:58:03,080 --> 00:58:06,280
Speaker 3: we're not in Kansas anymore, and first day at camp

955
00:58:06,440 --> 00:58:09,240
Speaker 3: for school or what have you. There's a bunch of

956
00:58:09,280 --> 00:58:14,400
Speaker 3: people thrown together about to embark on this crazily spiritual journey,

957
00:58:14,440 --> 00:58:16,160
Speaker 3: and nobody knows what to expect.

958
00:58:18,320 --> 00:58:20,560
Speaker 2: Off the Cup is a production of iHeart Podcasts as

959
00:58:20,600 --> 00:58:23,560
Speaker 2: part of the Recent Choice Network. I'm your host Si Cupp.

960
00:58:24,040 --> 00:58:27,200
Speaker 2: Editing and sound designed by Derek Clements. Our executive producers

961
00:58:27,200 --> 00:58:30,680
Speaker 2: are Meet Scie Cup, Lauren Hanson, and Lindsay Hoffman. If

962
00:58:30,680 --> 00:58:33,200
Speaker 2: you like Off the Cup, please rate and review wherever

963
00:58:33,240 --> 00:58:36,320
Speaker 2: you get your podcasts, follow or subscribe for new episodes

964
00:58:36,360 --> 00:58:37,040
Speaker 2: every Wednesday,