1 00:00:02,120 --> 00:00:05,120 Speaker 1: This is Alec Baldwin and you're listening to. Here's the thing, 2 00:00:05,840 --> 00:00:11,080 Speaker 1: My chance to talk with artists, policymakers and performers, to 3 00:00:11,160 --> 00:00:15,120 Speaker 1: hear their stories. What inspired their creations, what decisions changed 4 00:00:15,160 --> 00:00:25,200 Speaker 1: their careers, what relationships influenced their work. Julie Andrews. There's 5 00:00:25,239 --> 00:00:29,160 Speaker 1: a genuine look of surprise on Julie Andrew's face when 6 00:00:29,160 --> 00:00:32,040 Speaker 1: she hears her name called. She did not expect to 7 00:00:32,080 --> 00:00:35,680 Speaker 1: win the Oscar for Best Actress for Mary Poppins. She 8 00:00:35,760 --> 00:00:38,280 Speaker 1: takes a moment to collect herself and makes her way 9 00:00:38,280 --> 00:00:42,280 Speaker 1: to the stage. I know you Americans, famous to your hospitality, 10 00:00:42,320 --> 00:00:47,839 Speaker 1: but this is really ridiculous. The year was This milestone 11 00:00:47,920 --> 00:00:51,839 Speaker 1: came early in Julie Andrew's career. She followed that extraordinary 12 00:00:51,840 --> 00:00:57,120 Speaker 1: success with another one, The Dog Bites When the Beasts. 13 00:00:57,560 --> 00:01:03,920 Speaker 1: When I'm feeling sad, simply remember my cater things and 14 00:01:03,960 --> 00:01:12,039 Speaker 1: then I don't feel so. Julie Andrews has performed in 15 00:01:12,160 --> 00:01:15,880 Speaker 1: dozens of film, stage and television roles, but it was 16 00:01:16,040 --> 00:01:19,679 Speaker 1: those two Nanni's Mary and Maria who captured our hearts 17 00:01:20,120 --> 00:01:24,839 Speaker 1: and transformed her life. Today, she'll tell us what happened before, during, 18 00:01:25,080 --> 00:01:28,760 Speaker 1: and after those performances. So let's start at the very beginning, 19 00:01:29,120 --> 00:01:32,520 Speaker 1: a very good place to start. When I was about seven, 20 00:01:33,000 --> 00:01:37,360 Speaker 1: my mother had remarried and my stepfather was a fine tenor. 21 00:01:38,200 --> 00:01:43,759 Speaker 1: My school had closed due to the escalation of World 22 00:01:43,840 --> 00:01:47,680 Speaker 1: War two, and everything was shut down. And I would 23 00:01:47,680 --> 00:01:51,280 Speaker 1: imagine that partly because I was underfoot a lot and home, 24 00:01:51,960 --> 00:01:56,240 Speaker 1: but secondly, maybe in an attempt to get a little 25 00:01:56,280 --> 00:01:59,920 Speaker 1: closer to this new step daughter that was not very 26 00:02:00,000 --> 00:02:03,840 Speaker 1: fond of him, he decided to just, for no reason 27 00:02:03,840 --> 00:02:06,720 Speaker 1: at all, just give me some singing lessons. And to 28 00:02:06,840 --> 00:02:12,840 Speaker 1: my mother and stepfather's surprise, I had this freak very strong, 29 00:02:13,560 --> 00:02:17,840 Speaker 1: very very huge, ranged voice. It was very thin and white, 30 00:02:18,440 --> 00:02:20,280 Speaker 1: but I could do all the history on it, so 31 00:02:20,360 --> 00:02:23,200 Speaker 1: I could do anything. I hated those singing lessons because 32 00:02:23,200 --> 00:02:27,160 Speaker 1: it was a stepfather with him, he was your instructor. Well, 33 00:02:27,320 --> 00:02:29,560 Speaker 1: he gave me some scales and a few things like that, 34 00:02:29,600 --> 00:02:34,360 Speaker 1: but very quickly after that he found a phenomenal teacher 35 00:02:34,440 --> 00:02:40,119 Speaker 1: of a lady that was dramatic soprano, who was as 36 00:02:40,240 --> 00:02:44,200 Speaker 1: wide as she was short, and was as loving and decent, 37 00:02:44,440 --> 00:02:47,600 Speaker 1: and until she died, which was in her somewhere in 38 00:02:47,639 --> 00:02:52,560 Speaker 1: her nineties, had the most beautiful pitched voice and could 39 00:02:52,600 --> 00:02:56,760 Speaker 1: still sing. And she gave me the foundation that that, 40 00:02:57,639 --> 00:03:01,919 Speaker 1: in other words, hang onto your words, um enunciate because 41 00:03:02,000 --> 00:03:04,680 Speaker 1: they'll pull the song through for you, and all of that. 42 00:03:05,200 --> 00:03:11,360 Speaker 1: And was she someone who you maintained any kind of contact. No, No, 43 00:03:11,480 --> 00:03:16,000 Speaker 1: she was my teacher for most of her remaining life. 44 00:03:16,440 --> 00:03:20,560 Speaker 1: I've worked with other people since, but that lady was, oh, 45 00:03:20,600 --> 00:03:24,520 Speaker 1: my teacher. She prepared me for my Fair Lady and 46 00:03:25,639 --> 00:03:31,360 Speaker 1: became successful. Yes, she always wished, I think that I 47 00:03:31,400 --> 00:03:35,520 Speaker 1: could become a light opera singer or or an opera singer. 48 00:03:35,600 --> 00:03:39,280 Speaker 1: And I knew, in spite of her ambition for me, 49 00:03:39,840 --> 00:03:42,000 Speaker 1: that I didn't have the voice for it. It was 50 00:03:42,080 --> 00:03:44,360 Speaker 1: too light a voice and as I say, it was 51 00:03:44,400 --> 00:03:47,280 Speaker 1: a little white and sound. So I didn't have the 52 00:03:47,360 --> 00:03:52,119 Speaker 1: chops for opera maybe light opera. And I have recorded 53 00:03:52,120 --> 00:03:55,960 Speaker 1: a couple of old recordings of like Rose Marie, and 54 00:03:56,000 --> 00:03:58,520 Speaker 1: I've sung things from The Merry Widow and stuff like that. 55 00:03:58,960 --> 00:04:02,360 Speaker 1: But when the world opened up because I was in musicals, 56 00:04:02,840 --> 00:04:07,440 Speaker 1: I realized that I had found the exact wait for 57 00:04:07,600 --> 00:04:09,880 Speaker 1: my voice, that I had found the right thing. Did 58 00:04:09,920 --> 00:04:13,360 Speaker 1: you study acting as well at the same time, Well, 59 00:04:13,400 --> 00:04:16,279 Speaker 1: my mother occasionally put me with the teacher that was 60 00:04:16,360 --> 00:04:22,160 Speaker 1: local from my hometown, and I was awful and mortified 61 00:04:22,200 --> 00:04:25,360 Speaker 1: because I knew I was at warfful And actually most 62 00:04:25,440 --> 00:04:28,960 Speaker 1: of my training until very much later in my life 63 00:04:29,200 --> 00:04:31,719 Speaker 1: when I got a coach for films and things like that, 64 00:04:32,360 --> 00:04:35,640 Speaker 1: most of it was just doing it and learning, and 65 00:04:35,680 --> 00:04:38,839 Speaker 1: thank god it was Broadway first. No no formal acting training. 66 00:04:39,720 --> 00:04:42,720 Speaker 1: My background was Vaudeville. I was from the wrong side 67 00:04:42,720 --> 00:04:45,840 Speaker 1: of the tracks. I envied all those legitimate actors like 68 00:04:46,520 --> 00:04:50,560 Speaker 1: Gilgood and Olivier and so many of them that that 69 00:04:50,800 --> 00:04:54,120 Speaker 1: just managed and were terrific. And here I was. All 70 00:04:54,120 --> 00:04:57,240 Speaker 1: I knew was how to belt out a song all 71 00:04:57,279 --> 00:05:00,760 Speaker 1: around England when you were doing this a ville work 72 00:05:01,200 --> 00:05:04,599 Speaker 1: in London, musical all over the England, all over England 73 00:05:04,600 --> 00:05:07,039 Speaker 1: before you headed to Broadway. Did you bump up against 74 00:05:07,080 --> 00:05:09,640 Speaker 1: those people, the gil Goods and the Yes, I did, 75 00:05:09,760 --> 00:05:14,200 Speaker 1: But more the people I really bummed up against were 76 00:05:15,080 --> 00:05:18,880 Speaker 1: the great comedians of the day from England. I mean, 77 00:05:18,960 --> 00:05:23,039 Speaker 1: I learned so much just watching and being in those 78 00:05:24,279 --> 00:05:28,680 Speaker 1: rather lunatic reviews. All you know and and as I say, 79 00:05:28,880 --> 00:05:31,240 Speaker 1: you know one week in each town, but you considered 80 00:05:31,240 --> 00:05:34,720 Speaker 1: yourself a singer, yes, not an actress first and foremost 81 00:05:34,720 --> 00:05:36,520 Speaker 1: a singer. You were a singer. And then what do 82 00:05:36,520 --> 00:05:40,120 Speaker 1: you think that changed? Well, much much later. I realized 83 00:05:40,160 --> 00:05:44,240 Speaker 1: that actually singing is for me all about the lyrics, 84 00:05:44,320 --> 00:05:47,360 Speaker 1: and then if you really care about the lyrics, then 85 00:05:47,560 --> 00:05:51,360 Speaker 1: singing is all about acting. But that didn't come till 86 00:05:52,240 --> 00:05:55,520 Speaker 1: in my mid twenties. Sometimes you did The Boyfriend when 87 00:05:55,560 --> 00:06:01,680 Speaker 1: you were how old? It opened the day after I 88 00:06:01,760 --> 00:06:06,880 Speaker 1: turned and who directed The Boyfriend? A lady, an English 89 00:06:06,960 --> 00:06:09,960 Speaker 1: lady called Vita Hope, who had done it in London. 90 00:06:10,000 --> 00:06:12,920 Speaker 1: Because it came from London, I was asked to come 91 00:06:12,960 --> 00:06:15,720 Speaker 1: to Broadway and I didn't think i'd want to, and 92 00:06:15,760 --> 00:06:19,200 Speaker 1: I was very, very nervous about you know, I had 93 00:06:19,200 --> 00:06:22,200 Speaker 1: a terrible separation anxiety because of all my touring from 94 00:06:22,200 --> 00:06:25,360 Speaker 1: your mother, from my mother and family in general, and 95 00:06:25,440 --> 00:06:31,200 Speaker 1: my brothers. But my dad, my real dad, said, honey, 96 00:06:31,360 --> 00:06:34,080 Speaker 1: you know what you're going for could last two weeks 97 00:06:34,400 --> 00:06:36,840 Speaker 1: and they wanted me to sign a contract for two years, 98 00:06:37,640 --> 00:06:42,159 Speaker 1: and I said eventually, thanks to my dad, who he 99 00:06:42,240 --> 00:06:44,120 Speaker 1: said later it took him all the courage in the 100 00:06:44,160 --> 00:06:47,040 Speaker 1: world to tell me to go because his heart was 101 00:06:47,080 --> 00:06:50,000 Speaker 1: aching in terms of his nerves for me and what 102 00:06:50,040 --> 00:06:52,560 Speaker 1: was I What was I going to do? But he 103 00:06:52,920 --> 00:06:55,320 Speaker 1: encouraged me to take it because it would open up 104 00:06:55,320 --> 00:06:57,440 Speaker 1: my head. And did this woman? Was she helpful to you? 105 00:06:57,480 --> 00:07:01,880 Speaker 1: The director? Yes, she was not well she was, but 106 00:07:01,960 --> 00:07:04,680 Speaker 1: she was very busy putting on the show. And everybody 107 00:07:04,720 --> 00:07:06,799 Speaker 1: else seemed to know, you know, the boyfriends all about 108 00:07:06,839 --> 00:07:10,240 Speaker 1: being very there, even said in the twenties, and all 109 00:07:10,280 --> 00:07:11,960 Speaker 1: the ladies of the show seemed to know how to 110 00:07:11,960 --> 00:07:14,680 Speaker 1: be very camp and very funny. I had not a 111 00:07:14,680 --> 00:07:17,200 Speaker 1: clue because I didn't know. I've never been to acting 112 00:07:17,200 --> 00:07:20,000 Speaker 1: school or anything like that. So I tried emirating them 113 00:07:20,000 --> 00:07:23,760 Speaker 1: for a while. And then what really turned the tide 114 00:07:24,640 --> 00:07:27,400 Speaker 1: was the producer of the show. Did you ever meet 115 00:07:27,440 --> 00:07:31,720 Speaker 1: Si Fuer and Ernie Martin? Do you know? Well? They 116 00:07:31,800 --> 00:07:35,640 Speaker 1: did Can Can and Silk Stockings on Broadway, I mean 117 00:07:35,680 --> 00:07:40,840 Speaker 1: as producers. But c I had this wonderful pont Chanfur 118 00:07:42,720 --> 00:07:46,280 Speaker 1: dismissing everybody and getting in and directing it himself. And anyway, 119 00:07:46,520 --> 00:07:51,679 Speaker 1: the night before we opened, I was trying everything each 120 00:07:51,920 --> 00:07:54,960 Speaker 1: preview night, seeing what am I supposed to be doing here? 121 00:07:55,400 --> 00:07:59,720 Speaker 1: And he took me out to the alleyway behind the 122 00:08:00,040 --> 00:08:06,440 Speaker 1: Hubert and the im Imperial and the Royal theaters. Anyway, 123 00:08:07,600 --> 00:08:11,160 Speaker 1: he we sat on the steps on the iron steps 124 00:08:11,560 --> 00:08:13,840 Speaker 1: in in that alley and he said, you know you 125 00:08:13,880 --> 00:08:16,880 Speaker 1: were terrible last night And I said, yes, I did, 126 00:08:17,240 --> 00:08:23,040 Speaker 1: I know I was. And he said, um, you have 127 00:08:23,280 --> 00:08:28,280 Speaker 1: the possibility of becoming quite good and a big star 128 00:08:28,440 --> 00:08:30,760 Speaker 1: tomorrow if you do as I tell you, and you 129 00:08:30,920 --> 00:08:34,200 Speaker 1: must follow every single thing I tell you. And I 130 00:08:34,280 --> 00:08:38,160 Speaker 1: was so looking for that, you know, rope to hang onto? 131 00:08:38,559 --> 00:08:40,920 Speaker 1: He said, I want you to play Polly Brown as 132 00:08:41,000 --> 00:08:44,440 Speaker 1: if your life depended on it. He said, when he 133 00:08:44,480 --> 00:08:46,920 Speaker 1: breaks your heart, I want you to feel it and 134 00:08:47,040 --> 00:08:50,760 Speaker 1: be it. Forget what everybody else is doing, Forget camp 135 00:08:51,559 --> 00:08:55,560 Speaker 1: be real, best lesson I ever had. And because it was, 136 00:08:56,040 --> 00:09:00,480 Speaker 1: it made sense in my belly somewhere. I made us 137 00:09:00,520 --> 00:09:03,480 Speaker 1: as real as I could on opening night, and it 138 00:09:04,040 --> 00:09:07,560 Speaker 1: indeed made all the difference. And then the next project, 139 00:09:07,600 --> 00:09:13,920 Speaker 1: obviously is who directed that production? Mass Heart, the great 140 00:09:14,600 --> 00:09:17,040 Speaker 1: Heart himself was the director? Oh yes, And what was 141 00:09:17,080 --> 00:09:18,679 Speaker 1: it like for you? I mean, to the extent you're 142 00:09:18,679 --> 00:09:21,520 Speaker 1: going to describe? Number one? Where was hard in his 143 00:09:21,679 --> 00:09:24,640 Speaker 1: career then? And where was Rex in his career. Oh 144 00:09:24,640 --> 00:09:28,840 Speaker 1: my god, Rex was well. Rex was just known everywhere 145 00:09:28,880 --> 00:09:31,280 Speaker 1: and had done a lot of movies and and was 146 00:09:31,440 --> 00:09:36,560 Speaker 1: he was a star, big star, and also difficult, no 147 00:09:36,679 --> 00:09:39,360 Speaker 1: doubt about it. I mean, eventually we did become great friends, 148 00:09:39,400 --> 00:09:43,000 Speaker 1: but it took a long time, and he was so 149 00:09:43,120 --> 00:09:45,840 Speaker 1: fed up with this little argeneue that didn't know what 150 00:09:45,880 --> 00:09:49,640 Speaker 1: the hell she was doing. I knew somewhere, deep deep 151 00:09:49,679 --> 00:09:53,280 Speaker 1: down that if somebody would just spend a little time 152 00:09:53,360 --> 00:09:56,400 Speaker 1: or pay attention, that I knew what I yearned to do, 153 00:09:56,559 --> 00:09:58,480 Speaker 1: but I didn't know how to bring it out. Alec. 154 00:09:59,080 --> 00:10:03,120 Speaker 1: So when they hire, do you what do you think? Uli? 155 00:10:03,200 --> 00:10:05,680 Speaker 1: And yeah, well the Boyfriend was a huge success, and 156 00:10:05,720 --> 00:10:08,360 Speaker 1: it was a one time, you know. I was very 157 00:10:08,400 --> 00:10:10,319 Speaker 1: big on Broadway for one year and then I was 158 00:10:10,520 --> 00:10:17,440 Speaker 1: platform and then I auditioned for Learner and Low, particularly 159 00:10:17,440 --> 00:10:20,920 Speaker 1: Alan Jay Learner who wrote My Fair Lady, and Low 160 00:10:21,000 --> 00:10:25,320 Speaker 1: wrote the music, and they worked with me a little bit, 161 00:10:25,960 --> 00:10:29,319 Speaker 1: but it really was Moss who made me a lasa 162 00:10:29,360 --> 00:10:33,840 Speaker 1: do little. And what he did Rex was demanding, wanted 163 00:10:33,960 --> 00:10:37,040 Speaker 1: all the attention. He'd never done a musical before, and 164 00:10:37,120 --> 00:10:39,360 Speaker 1: I had never acted before, So which one did he 165 00:10:39,480 --> 00:10:42,080 Speaker 1: deal with? Well? Of course he dealt with Rex, who 166 00:10:42,160 --> 00:10:45,840 Speaker 1: was the big, big star. Eventually he got around to 167 00:10:45,920 --> 00:10:51,280 Speaker 1: me and he dismissed the entire company for one long weekend, 168 00:10:51,640 --> 00:10:56,400 Speaker 1: and I remember driving down to the rehearsal and thinking, 169 00:10:56,480 --> 00:10:58,280 Speaker 1: this is a little bit like going to the dentist. 170 00:10:58,360 --> 00:11:02,160 Speaker 1: I may feel better when I'm finished, but it's agony going. 171 00:11:03,080 --> 00:11:10,479 Speaker 1: And he for forty eight hours, just he bullied, he cajoled, 172 00:11:10,559 --> 00:11:15,599 Speaker 1: He showed me. He yelled from the orchestra, stalls you, no, 173 00:11:15,880 --> 00:11:19,000 Speaker 1: not that way. You're playing it like a like a schoolgirl, 174 00:11:19,080 --> 00:11:22,240 Speaker 1: you know, get it. We get down and dirty. And 175 00:11:22,320 --> 00:11:27,319 Speaker 1: I actually threw him. Found Eliza Doolittle and from then 176 00:11:27,400 --> 00:11:31,760 Speaker 1: on I worked and worked and worked, and gradually from 177 00:11:31,760 --> 00:11:35,360 Speaker 1: performing it as you know, every night, it gradually became 178 00:11:35,400 --> 00:11:37,960 Speaker 1: embedded in me. And I think I probably by the time, 179 00:11:38,640 --> 00:11:41,280 Speaker 1: you know, a few months would past and it was 180 00:11:41,320 --> 00:11:44,680 Speaker 1: a huge hit. I was definitely feeling that I could 181 00:11:44,679 --> 00:11:47,480 Speaker 1: be Eliza. When did you feel you one had one 182 00:11:47,520 --> 00:11:52,280 Speaker 1: Rex over? Probably that's a good question. Probably not till 183 00:11:52,320 --> 00:11:57,960 Speaker 1: the London production. He was difficult himself, and I think 184 00:11:58,040 --> 00:12:00,760 Speaker 1: he meant well. He was just very short and short 185 00:12:00,800 --> 00:12:06,520 Speaker 1: tempered and not known for being full of generosity attacked 186 00:12:06,520 --> 00:12:10,640 Speaker 1: and generosity. Now, what I learned on stage with him 187 00:12:10,720 --> 00:12:17,160 Speaker 1: was unbelievable. For example, he had this amazing knack. He 188 00:12:17,320 --> 00:12:21,360 Speaker 1: wasn't musical, but he had a musical ear, not only 189 00:12:21,440 --> 00:12:25,800 Speaker 1: for the music, but for where the audience was that night. So, 190 00:12:25,880 --> 00:12:28,400 Speaker 1: for instance, if somebody would cough, let me say, he 191 00:12:28,440 --> 00:12:31,720 Speaker 1: was saying, you know, Eliza, you shouldn't you shouldn't do 192 00:12:31,760 --> 00:12:33,880 Speaker 1: so and so and so and so. He'd repeat the 193 00:12:34,000 --> 00:12:38,560 Speaker 1: line instinctively because corporate, because he knew it hadn't been 194 00:12:38,600 --> 00:12:42,400 Speaker 1: heard correct, you know fully. So just to stand and 195 00:12:42,400 --> 00:12:45,160 Speaker 1: watch him, I completely sometimes forgot who I was supposed 196 00:12:45,200 --> 00:12:48,560 Speaker 1: to be. Now, when the heart says to you, you're 197 00:12:48,559 --> 00:12:50,640 Speaker 1: playing it like a little school girl, you've got to 198 00:12:50,640 --> 00:12:53,440 Speaker 1: get down and dirty. That becomes a theme in some 199 00:12:53,559 --> 00:12:56,880 Speaker 1: of your work, doesn't it. But more than one man 200 00:12:57,080 --> 00:13:00,480 Speaker 1: has said something along those lines. Well, I do have 201 00:13:00,520 --> 00:13:07,199 Speaker 1: a very squeaky green image, but I don't think you can. Well, 202 00:13:07,240 --> 00:13:10,040 Speaker 1: I think that's simply because if you think about it, Alec, 203 00:13:10,720 --> 00:13:14,959 Speaker 1: here's some Mary Poppins, and followed pretty quickly by the 204 00:13:15,040 --> 00:13:19,720 Speaker 1: Sound of Music, two hugely iconic films about pennies of 205 00:13:19,720 --> 00:13:23,480 Speaker 1: all things, and they're so successful that people only remember 206 00:13:23,559 --> 00:13:26,440 Speaker 1: the things that that are the most successful. You know, 207 00:13:26,520 --> 00:13:29,200 Speaker 1: if you think of someone like Clark Gable, you think 208 00:13:29,200 --> 00:13:32,439 Speaker 1: of Gone with the Winds, and you forget the other things. 209 00:13:32,440 --> 00:13:36,240 Speaker 1: And I knew, I think because of all those Vaudeville years. 210 00:13:36,800 --> 00:13:39,119 Speaker 1: There was a lot of down and dirty in Vaudeville. 211 00:13:39,160 --> 00:13:43,000 Speaker 1: I mean, the comedians were blue and body, and it 212 00:13:43,080 --> 00:13:47,120 Speaker 1: was a tough existence. It wasn't a fairy land by 213 00:13:47,160 --> 00:13:51,800 Speaker 1: any means. It wasn't a fairy tale when you're raised 214 00:13:53,480 --> 00:13:57,560 Speaker 1: during the wartime, and your career in music halls is 215 00:13:57,679 --> 00:14:01,120 Speaker 1: during the wartime, And and you and I have this 216 00:14:01,200 --> 00:14:03,600 Speaker 1: in common, where you grew up in a very financially strapped, 217 00:14:04,160 --> 00:14:08,679 Speaker 1: very strapped the money pressures constantly. Things begin to change 218 00:14:08,679 --> 00:14:12,600 Speaker 1: for you after my fair lady, a lot. And do 219 00:14:12,720 --> 00:14:16,599 Speaker 1: you find that that was painful for you? Know? I 220 00:14:16,679 --> 00:14:20,120 Speaker 1: tell you what. First of all, what what immediately springs 221 00:14:20,120 --> 00:14:23,440 Speaker 1: to mind is that I ached that I couldn't bring 222 00:14:23,480 --> 00:14:26,280 Speaker 1: every member of my family with me. Did you feel 223 00:14:26,320 --> 00:14:28,560 Speaker 1: that too? Well? I wanted to help as many people 224 00:14:28,560 --> 00:14:31,840 Speaker 1: as I could, Yeah, and still do, but but to 225 00:14:31,920 --> 00:14:35,480 Speaker 1: change the way my life had been changed miraculously, it 226 00:14:35,520 --> 00:14:38,400 Speaker 1: seemed I wanted to do that for the entire family 227 00:14:38,440 --> 00:14:40,960 Speaker 1: and make them feel better and be better. But when 228 00:14:41,000 --> 00:14:42,920 Speaker 1: you do My Fair Lady on Broadway, than you went 229 00:14:42,960 --> 00:14:46,520 Speaker 1: to London. After that, you're married at the time I 230 00:14:46,600 --> 00:14:50,240 Speaker 1: was married. During the London production, you got you got 231 00:14:50,280 --> 00:14:53,200 Speaker 1: married when you went back, when I went back, when 232 00:14:53,240 --> 00:14:55,880 Speaker 1: you went back, so you're back home, you're married. And 233 00:14:55,920 --> 00:15:00,680 Speaker 1: then what happens. Um, what happened was that right after 234 00:15:00,800 --> 00:15:04,160 Speaker 1: I'd finished in London and I was about, as you know, 235 00:15:04,240 --> 00:15:06,840 Speaker 1: I did three and a half years in My Fair Lady, 236 00:15:07,120 --> 00:15:11,000 Speaker 1: and that's a marathon too on Broadway and eighteen months 237 00:15:11,000 --> 00:15:15,200 Speaker 1: in London, and that is an alan Jay Learners said 238 00:15:16,080 --> 00:15:19,080 Speaker 1: that he thinks that an actress can learn more by 239 00:15:19,120 --> 00:15:23,400 Speaker 1: playing one role in a long run than by playing many, 240 00:15:23,440 --> 00:15:27,320 Speaker 1: many roles in repertoire. Well, the thing being, he said, 241 00:15:27,360 --> 00:15:31,040 Speaker 1: you test every night with the same role, whether you 242 00:15:31,080 --> 00:15:32,680 Speaker 1: can get a laugh, or whether you can do it 243 00:15:32,720 --> 00:15:36,119 Speaker 1: better or and he was pretty right about that. I 244 00:15:36,160 --> 00:15:39,040 Speaker 1: didn't think it would be right, but it was. You know, 245 00:15:39,120 --> 00:15:41,040 Speaker 1: you'd know if it didn't work one night, and then 246 00:15:41,080 --> 00:15:42,840 Speaker 1: you'd work on it and work on it and try, 247 00:15:43,200 --> 00:15:45,880 Speaker 1: and you found out everything you needed to find out 248 00:15:45,920 --> 00:15:49,120 Speaker 1: about how to play, I mean, in a long run, 249 00:15:49,160 --> 00:15:52,640 Speaker 1: how to play with an audience when it's raining outside, 250 00:15:52,760 --> 00:15:55,120 Speaker 1: or when you're leading man has got a terrible cold, 251 00:15:55,240 --> 00:15:57,880 Speaker 1: or when it's up to you to take up the 252 00:15:57,920 --> 00:16:01,040 Speaker 1: reins for a night or two because he's feeling down, 253 00:16:01,240 --> 00:16:04,760 Speaker 1: or when an understudy goes on, or I mean just 254 00:16:04,920 --> 00:16:08,000 Speaker 1: about every situation in the theater in the long run, 255 00:16:08,080 --> 00:16:12,000 Speaker 1: you you experience. But when I think, one of the 256 00:16:12,040 --> 00:16:15,600 Speaker 1: first things that I felt, just to digress for a moment, 257 00:16:15,760 --> 00:16:19,080 Speaker 1: was the relief of knowing that at some point in 258 00:16:19,120 --> 00:16:24,400 Speaker 1: my life, probably during my Fair Lady in London, I 259 00:16:24,440 --> 00:16:27,440 Speaker 1: realized that I probably would never have to go back 260 00:16:27,720 --> 00:16:32,160 Speaker 1: to vaudeville again. I mean landladies and touring and endless, 261 00:16:32,200 --> 00:16:34,680 Speaker 1: I mean with the terrible digs that one had when 262 00:16:34,680 --> 00:16:39,720 Speaker 1: one was touring around one endless, touring in very tacky shows. 263 00:16:40,280 --> 00:16:43,640 Speaker 1: And I knew I could do something better. But the 264 00:16:43,720 --> 00:16:46,760 Speaker 1: voice held me up for so long, the freaky voice 265 00:16:46,760 --> 00:16:51,360 Speaker 1: that I had. And then, as I say, gradually, gradually 266 00:16:51,400 --> 00:16:56,040 Speaker 1: the voice became less white and more vibrant because I 267 00:16:56,120 --> 00:16:58,720 Speaker 1: was growing up and all of that, and as I say, 268 00:16:58,800 --> 00:17:03,120 Speaker 1: I found my level when it came to musicals. What's 269 00:17:03,120 --> 00:17:05,560 Speaker 1: your parents view at that point? Where does that begin 270 00:17:05,600 --> 00:17:11,040 Speaker 1: to change? Now you're something? Yeah? How did they handle that? 271 00:17:11,320 --> 00:17:18,240 Speaker 1: It was very complicated because stepfather was an alcoholic. Mom 272 00:17:18,359 --> 00:17:24,760 Speaker 1: was She was a very warm, passionate lady. But on 273 00:17:24,840 --> 00:17:26,600 Speaker 1: the one hand she was thrilled for me, and on 274 00:17:26,680 --> 00:17:28,960 Speaker 1: the other it was always, you know, don't you dare 275 00:17:28,960 --> 00:17:30,960 Speaker 1: show off and don't you dare do this? And then 276 00:17:31,000 --> 00:17:32,880 Speaker 1: the next minute it was I want you to wear 277 00:17:32,960 --> 00:17:36,119 Speaker 1: your fur coat to the pub tonight, you know that 278 00:17:36,280 --> 00:17:40,720 Speaker 1: kind of thing. And but really, about a year after 279 00:17:40,800 --> 00:17:44,159 Speaker 1: Fair Lady, I was asked to do Camelot and I 280 00:17:44,240 --> 00:17:47,440 Speaker 1: knew I was going to do Camelot in New York, 281 00:17:47,520 --> 00:17:50,400 Speaker 1: in New York, and were you looking forward to going 282 00:17:50,440 --> 00:17:54,720 Speaker 1: back to New York? It was when I got there 283 00:17:54,760 --> 00:17:58,199 Speaker 1: it was better. I'm not sure that going there, I 284 00:17:58,240 --> 00:18:01,320 Speaker 1: mean again, it meant leaving family. And also because I 285 00:18:01,359 --> 00:18:05,040 Speaker 1: do love my home country. I love England, Oh my god. Yeah, 286 00:18:05,160 --> 00:18:08,199 Speaker 1: And I feel this is so corny. I feel this 287 00:18:09,119 --> 00:18:13,439 Speaker 1: huge um. I feel it's my job too to be 288 00:18:13,560 --> 00:18:16,280 Speaker 1: the woman one that is the hands across the water. 289 00:18:16,359 --> 00:18:18,360 Speaker 1: I want to bring England to America, and I want 290 00:18:18,400 --> 00:18:21,800 Speaker 1: to bring America to the English somewhere mid Atlantic. We 291 00:18:21,800 --> 00:18:25,600 Speaker 1: we we can split the difference. But it felt very 292 00:18:25,680 --> 00:18:29,600 Speaker 1: important to speak for my country. And also because the 293 00:18:29,600 --> 00:18:32,680 Speaker 1: Americans have been so generous to me for so long. 294 00:18:32,880 --> 00:18:35,560 Speaker 1: We were in this timeline that we're tracking, it's about 295 00:18:35,600 --> 00:18:38,240 Speaker 1: to get a lot more generous. So you go do Camelots. 296 00:18:38,359 --> 00:18:40,359 Speaker 1: Well wait, but then I felt that I needed to 297 00:18:40,400 --> 00:18:43,240 Speaker 1: explain that to the British, and it's say, look how 298 00:18:43,240 --> 00:18:46,359 Speaker 1: wonderful they are, you know, because the British can be 299 00:18:46,440 --> 00:18:50,560 Speaker 1: a bit snobby. So anyway, as I say, I do 300 00:18:50,640 --> 00:18:53,679 Speaker 1: love my country, and leaving mostly leaving it because of 301 00:18:53,680 --> 00:18:57,719 Speaker 1: my family issues which were difficult and complicated. Um, and 302 00:18:57,760 --> 00:19:00,400 Speaker 1: then going back once I got back, m a lot 303 00:19:00,440 --> 00:19:03,520 Speaker 1: was a joy with Richard Burton. And that wasn't three 304 00:19:03,560 --> 00:19:07,399 Speaker 1: and a half years, No, it was eighteen months. Another longest. 305 00:19:08,280 --> 00:19:10,960 Speaker 1: He did it for a year and then he went 306 00:19:10,960 --> 00:19:13,719 Speaker 1: off to do it Cleopatra. Yeah he did it. I 307 00:19:13,720 --> 00:19:16,560 Speaker 1: think it was a year. I was left behind. The 308 00:19:16,600 --> 00:19:20,240 Speaker 1: shows are here, not at first. This is what's so interesting. 309 00:19:20,359 --> 00:19:24,040 Speaker 1: Coming after My Fair Lady written by Learner and Lowe 310 00:19:24,160 --> 00:19:28,439 Speaker 1: who wrote My Fair Lady, the world expected another My 311 00:19:28,520 --> 00:19:33,200 Speaker 1: Fair Lady, and because Alan was not very well. Alan 312 00:19:33,320 --> 00:19:36,639 Speaker 1: Jay Lerner and Moss was not very well. He always 313 00:19:36,640 --> 00:19:43,160 Speaker 1: had heart problems and there just wasn't nothing quite went right, 314 00:19:43,200 --> 00:19:44,840 Speaker 1: and we didn't have enough time to work on it, 315 00:19:44,920 --> 00:19:49,040 Speaker 1: and so on, and we opened on Broadway to Richard 316 00:19:49,119 --> 00:19:51,520 Speaker 1: got us through. I think Richard Burton, you know, everybody 317 00:19:51,560 --> 00:19:54,520 Speaker 1: we were. We had a solid booking for at least 318 00:19:54,560 --> 00:19:57,359 Speaker 1: three months or six months because of Richard, and it 319 00:19:57,440 --> 00:20:00,840 Speaker 1: was a glorious looking show, but it did have floors. 320 00:20:01,800 --> 00:20:04,040 Speaker 1: Moss said, I'm going to go and I'm going to 321 00:20:04,840 --> 00:20:09,680 Speaker 1: take a vacation, but I will come back, as did Alan, 322 00:20:10,119 --> 00:20:12,399 Speaker 1: And they came back as they promised in three months 323 00:20:13,119 --> 00:20:17,160 Speaker 1: and reworked the show, at which time we went onto 324 00:20:17,200 --> 00:20:21,480 Speaker 1: the Ed Sullivan Show. And in those days, said Sullivan 325 00:20:21,640 --> 00:20:24,199 Speaker 1: was huge, as you know, he brought the Beatles and 326 00:20:24,359 --> 00:20:28,720 Speaker 1: so many people to prominence in America. And what they 327 00:20:28,840 --> 00:20:32,199 Speaker 1: did instead of just having us on his show, he 328 00:20:32,240 --> 00:20:36,399 Speaker 1: did a complete excerpt from Camelot. Yeah, I think it 329 00:20:36,520 --> 00:20:40,359 Speaker 1: was at the instigation of Alan and Moss, but we 330 00:20:40,440 --> 00:20:42,800 Speaker 1: did the first act, which was like a little mini 331 00:20:42,840 --> 00:20:46,240 Speaker 1: play all by itself, the following morning after the Ed 332 00:20:46,240 --> 00:20:49,760 Speaker 1: Sullivan Show. The cues around the block, whereas if we'd 333 00:20:49,800 --> 00:20:52,359 Speaker 1: been a standing room only hit. And from then on 334 00:20:53,320 --> 00:20:56,720 Speaker 1: Camelot became a hit. When Camelots over, Where do you 335 00:20:56,760 --> 00:21:03,600 Speaker 1: go to Hollywood? Because because Walt Disney came to see 336 00:21:04,119 --> 00:21:07,320 Speaker 1: I mean, in between I did television shows and my 337 00:21:07,440 --> 00:21:11,080 Speaker 1: Wonderful Fun shows with Carol Burnett and things like that. 338 00:21:11,560 --> 00:21:18,679 Speaker 1: But basically chronologically, Walt Disney was advised to come and 339 00:21:19,040 --> 00:21:21,720 Speaker 1: see Camelot because there was a girl in it that 340 00:21:22,000 --> 00:21:25,160 Speaker 1: might be good for Mary Poppins, none of which I knew. 341 00:21:25,440 --> 00:21:30,239 Speaker 1: And that he came backstage to say hello, I just 342 00:21:30,280 --> 00:21:32,280 Speaker 1: thought he was being very civil, that he was going 343 00:21:32,320 --> 00:21:34,199 Speaker 1: to say hello to me and to Richard and that 344 00:21:34,240 --> 00:21:36,800 Speaker 1: would be that. And you know, everybody knew Walt Disney 345 00:21:36,840 --> 00:21:39,720 Speaker 1: was in the audience, but he came, and he's chatted 346 00:21:39,760 --> 00:21:42,160 Speaker 1: in my dressing room with me and with Tony Walton, 347 00:21:42,640 --> 00:21:46,440 Speaker 1: my then husband, and he said, I wonder how you'd 348 00:21:46,440 --> 00:21:49,280 Speaker 1: feel if you came out to Hollywood, you know, hear 349 00:21:49,320 --> 00:21:52,159 Speaker 1: the songs and see the drawings that we've done story 350 00:21:52,280 --> 00:21:56,800 Speaker 1: boarding as they called it, for Mary Poppins. And with 351 00:21:57,560 --> 00:22:01,280 Speaker 1: huge regret, I said, oh, mister Disney, I would love 352 00:22:01,359 --> 00:22:03,560 Speaker 1: to what I have to tell you that I'm three 353 00:22:03,560 --> 00:22:06,600 Speaker 1: months pregnant, and he said, well, that's all right, we'll wait. 354 00:22:06,800 --> 00:22:09,320 Speaker 1: And of course I did not know the pre production 355 00:22:09,520 --> 00:22:12,320 Speaker 1: and all of those. I mean, it's endless in a 356 00:22:12,400 --> 00:22:15,560 Speaker 1: fairly big movie, as you know. So we went on out. 357 00:22:16,440 --> 00:22:21,840 Speaker 1: Disney was delightful and spoiled us both wonderfully. Hearing the 358 00:22:21,960 --> 00:22:28,359 Speaker 1: songs for Mary Poppins, it instantly evoked those vaudeville days, 359 00:22:28,440 --> 00:22:32,600 Speaker 1: the rumpty tomb kind of quality of jolly holiday familiar 360 00:22:32,600 --> 00:22:35,240 Speaker 1: to you, Arry, and I knew I could embrace it. 361 00:22:35,880 --> 00:22:38,200 Speaker 1: Not only that, but he had Tony on the spot 362 00:22:38,240 --> 00:22:42,760 Speaker 1: when he saw his portfolio, and he commissioned Tony to 363 00:22:42,840 --> 00:22:46,800 Speaker 1: do all the costumes for the movie, which is incredible 364 00:22:46,800 --> 00:22:50,600 Speaker 1: if you think about it, and the sets for Cherry 365 00:22:50,680 --> 00:22:56,240 Speaker 1: Tree Lane and the interior of the Bank's household. And 366 00:22:56,320 --> 00:22:59,880 Speaker 1: Tony got nominated for an Academy Award first time out, 367 00:23:00,000 --> 00:23:05,840 Speaker 1: first film. Amazing that it was Walt's talent too, He 368 00:23:05,960 --> 00:23:09,760 Speaker 1: had such a talent for spotting talent in a way. 369 00:23:10,240 --> 00:23:14,159 Speaker 1: What was representation for you like back then? Which is 370 00:23:14,160 --> 00:23:17,680 Speaker 1: an odd question, meaning he had British agents? Did you 371 00:23:17,720 --> 00:23:21,879 Speaker 1: finally Hollywood agent from handling your career? Well? From the 372 00:23:21,920 --> 00:23:25,080 Speaker 1: time I was about thirteen and starting off in show 373 00:23:25,119 --> 00:23:30,320 Speaker 1: business in England. I was handled by an American gentleman 374 00:23:30,640 --> 00:23:34,119 Speaker 1: who lived in England and who had kind of made 375 00:23:34,119 --> 00:23:37,800 Speaker 1: his bass in England. He was a good agent, but 376 00:23:38,600 --> 00:23:41,560 Speaker 1: his name was Charlie Tucker, and he was a very 377 00:23:41,640 --> 00:23:47,320 Speaker 1: kindly nice guy. And all through my teens and all 378 00:23:47,480 --> 00:23:53,199 Speaker 1: through um My fell lady and boyfriend and Camelot, I 379 00:23:53,280 --> 00:23:56,359 Speaker 1: was represented by him. But there came a time when 380 00:23:57,960 --> 00:24:01,280 Speaker 1: well one or two things caused of falling out between us, 381 00:24:01,320 --> 00:24:05,160 Speaker 1: and then I when I went to Hollywood, ultimately, probably 382 00:24:05,200 --> 00:24:09,320 Speaker 1: around the time of the Sound of Music, I did 383 00:24:09,520 --> 00:24:11,920 Speaker 1: change my age. When you're out there, it does help 384 00:24:11,920 --> 00:24:14,520 Speaker 1: to have a native He was so used to the 385 00:24:14,560 --> 00:24:17,480 Speaker 1: English scene, and you're right, it does help to have 386 00:24:17,520 --> 00:24:20,240 Speaker 1: a native there. You go out there and you start 387 00:24:20,280 --> 00:24:25,520 Speaker 1: shooting when your daughter's how old, She's only like three 388 00:24:25,640 --> 00:24:28,440 Speaker 1: or four months old. When we began rehearsals, and we 389 00:24:28,520 --> 00:24:30,960 Speaker 1: in California, in California on the back lot of the 390 00:24:31,000 --> 00:24:35,440 Speaker 1: Disney who directs the film, Robert Stevenson, and one of 391 00:24:35,480 --> 00:24:42,320 Speaker 1: the good true Disney h stable of direct table of directors. 392 00:24:42,320 --> 00:24:43,840 Speaker 1: That's a very nice way to put it. And how 393 00:24:43,840 --> 00:24:46,680 Speaker 1: did he compare to your other experiences in the theater. Well, 394 00:24:46,760 --> 00:24:50,879 Speaker 1: it was film technical, very different, and he taught me 395 00:24:50,920 --> 00:24:55,720 Speaker 1: a greatly, was very patient and and I quickly, you know, 396 00:24:55,720 --> 00:24:59,080 Speaker 1: I very soon realized the patients that's needed to make 397 00:24:59,080 --> 00:25:02,679 Speaker 1: a movie. And you'd sit around for ages, particularly with 398 00:25:02,720 --> 00:25:06,200 Speaker 1: Mary Poppins, because all of those special effects took such 399 00:25:06,200 --> 00:25:08,720 Speaker 1: a long time to set up, you know. And did 400 00:25:08,760 --> 00:25:11,360 Speaker 1: you begin as as many people do, I think, who 401 00:25:11,440 --> 00:25:15,359 Speaker 1: have the success you've had, did you begin to, you know, 402 00:25:15,440 --> 00:25:18,159 Speaker 1: kind of feel your way towards your own relationship with 403 00:25:18,200 --> 00:25:22,000 Speaker 1: the camera. Yes, well, at first I was very well 404 00:25:22,040 --> 00:25:24,560 Speaker 1: guided and very well looked after, and I always have been, 405 00:25:24,600 --> 00:25:27,879 Speaker 1: to be truthful. Robert Wise was with a great mentor 406 00:25:27,920 --> 00:25:30,880 Speaker 1: in that respect. But the man who taught me about lenses, 407 00:25:31,040 --> 00:25:35,320 Speaker 1: and I wish I had paid even more attention a 408 00:25:35,400 --> 00:25:38,080 Speaker 1: dumb girl that I was at the time, was Hitchcock. 409 00:25:38,760 --> 00:25:40,760 Speaker 1: I said, you know, I know very little about lenses 410 00:25:40,800 --> 00:25:45,480 Speaker 1: in my British, vague, innocent way, very green. And he said, 411 00:25:45,520 --> 00:25:48,680 Speaker 1: you don't know about lenses, and you're a woman. Come 412 00:25:48,720 --> 00:25:53,880 Speaker 1: with me, and he spent forty minutes on on drawing 413 00:25:54,000 --> 00:25:57,440 Speaker 1: and showing me that this would this lens would make 414 00:25:57,440 --> 00:25:59,840 Speaker 1: my nose grow much longer than it should, and that 415 00:26:00,400 --> 00:26:04,880 Speaker 1: a lady should never be shot with anything but a whatever. Yeah, 416 00:26:04,920 --> 00:26:07,360 Speaker 1: that's right, Well thirty five maybe you know something like that. 417 00:26:07,800 --> 00:26:11,640 Speaker 1: Now when so you do Mary Poppins, How long did 418 00:26:11,640 --> 00:26:15,919 Speaker 1: it take you? When Los Angeles? For months and months? 419 00:26:16,160 --> 00:26:18,680 Speaker 1: Quite a long time. And then there's all the post 420 00:26:18,760 --> 00:26:21,720 Speaker 1: production and looping and things like that. But then very 421 00:26:21,760 --> 00:26:24,359 Speaker 1: Dick always the person cast in the film. Yes, he 422 00:26:24,440 --> 00:26:26,200 Speaker 1: was away because he was a big star of them, 423 00:26:26,560 --> 00:26:31,160 Speaker 1: huge yes. Yeah, and dear just darling because it had 424 00:26:31,200 --> 00:26:35,000 Speaker 1: that vaudeville thing. We were both able to literally kind 425 00:26:35,000 --> 00:26:38,320 Speaker 1: of kick up our heels and have fun together. And um, 426 00:26:38,359 --> 00:26:41,879 Speaker 1: he knew his accent was just appalling as a cockney. 427 00:26:41,920 --> 00:26:44,320 Speaker 1: But I could empathize with that because mine was when 428 00:26:44,359 --> 00:26:46,640 Speaker 1: I went out to do Fair Lady, and I had 429 00:26:46,680 --> 00:26:49,359 Speaker 1: to be a cockney and I wasn't very good, but 430 00:26:50,320 --> 00:26:57,159 Speaker 1: I learned in rehearsals for My Fair Lady. Her co 431 00:26:57,280 --> 00:27:00,800 Speaker 1: star Rex Harrison said of Andrew's quote, that girl is 432 00:27:00,840 --> 00:27:04,240 Speaker 1: here on Monday giving the same goddamn performance. I am 433 00:27:04,280 --> 00:27:08,040 Speaker 1: out of the show unquote. Yet, when Harrison accepted his 434 00:27:08,080 --> 00:27:11,600 Speaker 1: Academy Award for the film version. He professed his deep 435 00:27:11,640 --> 00:27:15,240 Speaker 1: love to both Audrey Hepburn and Andrews, calling them two 436 00:27:15,640 --> 00:27:39,359 Speaker 1: fair ladies. This is Alec Baldwin and you're listening to 437 00:27:39,480 --> 00:27:43,840 Speaker 1: Here's the Thing. Julie Andrews may be known the world 438 00:27:43,880 --> 00:27:47,920 Speaker 1: over for her portrayal of two very proper Nanni's Opposite 439 00:27:47,960 --> 00:27:51,000 Speaker 1: Christopher Plummer in the Sound of Music and Dick Van 440 00:27:51,080 --> 00:27:55,040 Speaker 1: Dyke and Mary Poppins, but her films aren't all so wholesome. 441 00:27:55,560 --> 00:27:59,040 Speaker 1: With her second husband, director Blake Edwards, she made films 442 00:27:59,040 --> 00:28:02,359 Speaker 1: like Victor Victoria, but even early on she did a 443 00:28:02,400 --> 00:28:05,640 Speaker 1: film that challenged her squeaky clean image. Seems I don't 444 00:28:05,640 --> 00:28:09,040 Speaker 1: mind making enough to a scoundrel, but I I think 445 00:28:09,040 --> 00:28:12,919 Speaker 1: it indmorrow to marry one. The Americanization of Emily was 446 00:28:13,000 --> 00:28:16,920 Speaker 1: a comedic war drama and also a love story. Although 447 00:28:17,200 --> 00:28:20,199 Speaker 1: I've always felt that I wasn't the perfect girl for 448 00:28:20,240 --> 00:28:23,239 Speaker 1: that role, I am so glad that I made that 449 00:28:23,280 --> 00:28:26,880 Speaker 1: movie because it did stop to some degree that very 450 00:28:26,960 --> 00:28:30,160 Speaker 1: Sacharin image that I was getting in Americanization of Emily. 451 00:28:30,200 --> 00:28:33,119 Speaker 1: So there's no music, and you're not this squeaky clean woman. 452 00:28:33,320 --> 00:28:36,960 Speaker 1: You're a woman well trying to be. You're you are, 453 00:28:37,080 --> 00:28:39,080 Speaker 1: take my word for you're a woman, and you're a 454 00:28:39,160 --> 00:28:42,600 Speaker 1: glamorous leading lady in this wonderful film with Jim Garner. 455 00:28:42,920 --> 00:28:44,880 Speaker 1: Did you find you were just as comfortable? Did you 456 00:28:44,920 --> 00:28:48,000 Speaker 1: miss the music? Did you think? I didn't miss it? 457 00:28:48,280 --> 00:28:51,080 Speaker 1: But I have to say that ultimately, the music in 458 00:28:51,120 --> 00:28:55,440 Speaker 1: a musical makes to me a vast difference. I mean, 459 00:28:55,480 --> 00:28:58,560 Speaker 1: I made many musicals after that, and the joy of 460 00:28:58,600 --> 00:29:02,360 Speaker 1: doing the film with music on screen is just well, 461 00:29:02,440 --> 00:29:05,560 Speaker 1: it's you're filled. I mean, think of it. You know, 462 00:29:06,480 --> 00:29:10,520 Speaker 1: whenever there's a a huge orchestration and a wonderful song, 463 00:29:10,600 --> 00:29:13,720 Speaker 1: you're just filled. I don't sing, and I don't do musicals, 464 00:29:13,720 --> 00:29:16,080 Speaker 1: but i'd say with with comedy, people say, what's the difference, 465 00:29:16,080 --> 00:29:18,880 Speaker 1: I say, well, and I would imagine it's the same 466 00:29:18,920 --> 00:29:23,360 Speaker 1: with the musical, where a musical or a comedy it's fun, 467 00:29:24,240 --> 00:29:29,120 Speaker 1: and then a drama is challenging. Blake used to say 468 00:29:29,160 --> 00:29:32,240 Speaker 1: that doing a comedy is far harder than doing a 469 00:29:32,320 --> 00:29:36,200 Speaker 1: huge dramatic role because you never know if people will 470 00:29:36,200 --> 00:29:38,760 Speaker 1: think it funny. But that's speaking from his rito's point 471 00:29:38,760 --> 00:29:40,280 Speaker 1: of view, as well as well as being a direct 472 00:29:40,520 --> 00:29:42,960 Speaker 1: So when you're done with americanization and Emily where you 473 00:29:43,000 --> 00:29:46,840 Speaker 1: go h then to the sound of music, you come 474 00:29:46,880 --> 00:29:50,080 Speaker 1: back to do sound of music? And when does the 475 00:29:50,120 --> 00:29:54,320 Speaker 1: Oscar for Mary Poppins coming before? During the sound of musical? 476 00:29:54,400 --> 00:29:57,200 Speaker 1: So you're shooting sound of music. Yes, you're shooting the 477 00:29:57,280 --> 00:29:59,920 Speaker 1: next movie. It's going to be the next big thing 478 00:30:00,080 --> 00:30:02,720 Speaker 1: stone in your career without you win the Oscar. And 479 00:30:02,760 --> 00:30:06,360 Speaker 1: when you win the Oscar, give us just one sense 480 00:30:06,440 --> 00:30:09,920 Speaker 1: of how you felt when you won. Actually I felt, 481 00:30:10,760 --> 00:30:12,520 Speaker 1: you know, how old were you when you won an 482 00:30:12,520 --> 00:30:17,240 Speaker 1: Academy award? Oh god, you had to ask a young woman, 483 00:30:17,400 --> 00:30:22,920 Speaker 1: maybe thirty? I honestly don't know. Was I by my calculation, 484 00:30:23,960 --> 00:30:26,280 Speaker 1: thank you not even thirty years old? And you win 485 00:30:26,320 --> 00:30:29,720 Speaker 1: an Academy back then, which was which was hard back then? Well, 486 00:30:30,040 --> 00:30:33,920 Speaker 1: here's the thing, I felt somewhat unworthy of it. And 487 00:30:33,960 --> 00:30:38,480 Speaker 1: I'll tell you why, because there was such a sort 488 00:30:38,480 --> 00:30:42,600 Speaker 1: of building outrage that I hadn't gotten the part of 489 00:30:42,600 --> 00:30:46,720 Speaker 1: my fair Lady on film that I thought my Oscar 490 00:30:46,840 --> 00:30:49,400 Speaker 1: was a token of you know, our poor kid, Well, 491 00:30:49,480 --> 00:30:52,719 Speaker 1: let's give her the oscar. There was compensatory commit exactly, 492 00:30:53,160 --> 00:30:56,080 Speaker 1: and I felt it was almost ridiculous, and I didn't 493 00:30:56,160 --> 00:30:58,400 Speaker 1: show it for many years. So when you went back 494 00:30:58,440 --> 00:31:04,760 Speaker 1: to the set of the Sound of Music, I'm just 495 00:31:05,000 --> 00:31:08,400 Speaker 1: curious if everybody, you know, if you had a bigger 496 00:31:08,440 --> 00:31:12,160 Speaker 1: trailer that you want to change. No, I don't think 497 00:31:12,160 --> 00:31:16,760 Speaker 1: so things change for you. Well from then on, with 498 00:31:17,760 --> 00:31:22,720 Speaker 1: the success of Poppins, and particularly after the Sound of 499 00:31:22,800 --> 00:31:25,640 Speaker 1: Music was made, then it was probably one of the 500 00:31:25,640 --> 00:31:29,440 Speaker 1: busiest times in my life because then, as you well know, Alec, 501 00:31:29,520 --> 00:31:33,760 Speaker 1: then you get the press agent, and you get a manager, 502 00:31:33,800 --> 00:31:36,600 Speaker 1: and you get this and you get that, and everybody 503 00:31:36,640 --> 00:31:41,840 Speaker 1: wants to know a piece about you very often, not 504 00:31:41,840 --> 00:31:46,680 Speaker 1: not always certainly, but from my vantage point, musicals are 505 00:31:46,760 --> 00:31:50,840 Speaker 1: shot a certain way, with a kind of kinetic energy 506 00:31:50,880 --> 00:31:54,160 Speaker 1: to the camera and so forth. And what I love 507 00:31:54,560 --> 00:31:56,760 Speaker 1: and what I always noticed about Sound of Music when 508 00:31:56,760 --> 00:31:58,920 Speaker 1: I see it periodically, is that Robert wy shot it 509 00:31:59,000 --> 00:32:02,160 Speaker 1: like a drama. Yeah, it's beautiful shop It's one of 510 00:32:02,160 --> 00:32:04,520 Speaker 1: the most beautiful. It's one of the Yeah, it is 511 00:32:04,560 --> 00:32:08,720 Speaker 1: one of the last of the really great Hollywood musicals. 512 00:32:08,760 --> 00:32:12,280 Speaker 1: The technicians, the people who built it, the people like 513 00:32:12,360 --> 00:32:16,560 Speaker 1: Seven Brides, I mean beautiful photography, yes, exactly. What was 514 00:32:16,600 --> 00:32:23,560 Speaker 1: wise like he was kind patient, endlessly patient. He had 515 00:32:23,600 --> 00:32:27,440 Speaker 1: a watch, a fob watch, which he took out and 516 00:32:27,960 --> 00:32:31,479 Speaker 1: rubbed like one of those stones that you were, you know, 517 00:32:31,560 --> 00:32:34,880 Speaker 1: like a stone that's comforting. But he taught me a lot, 518 00:32:35,120 --> 00:32:38,560 Speaker 1: taught me to be still on film, because you know, 519 00:32:38,640 --> 00:32:43,040 Speaker 1: when you're quiet, yes, and hugely in close up, if 520 00:32:43,120 --> 00:32:47,160 Speaker 1: your eyes are darting from yours come to you. Well, 521 00:32:47,200 --> 00:32:49,800 Speaker 1: I don't know about that, but he did say, just 522 00:32:50,960 --> 00:32:53,200 Speaker 1: chill down in a way, you know, and and he 523 00:32:53,320 --> 00:32:59,400 Speaker 1: was not chilled down, just be still. And but then 524 00:32:59,520 --> 00:33:03,400 Speaker 1: he let me also do the things that I felt 525 00:33:03,920 --> 00:33:06,480 Speaker 1: I wanted to do, like the thrill or the excitement, 526 00:33:06,600 --> 00:33:09,880 Speaker 1: or the fact that Captain Montrap wanted me to stay 527 00:33:10,040 --> 00:33:12,480 Speaker 1: and that that kind of just bubbles up and he 528 00:33:12,560 --> 00:33:15,320 Speaker 1: let that happen. There is such a bad boy quality 529 00:33:15,360 --> 00:33:19,720 Speaker 1: to Chris. Yeah, he's such a bad I mean because 530 00:33:19,760 --> 00:33:23,360 Speaker 1: he's so bad, but he's the greatest. I worshiped Chris, 531 00:33:23,880 --> 00:33:26,720 Speaker 1: and I did a television movie with him. I'll never forget. 532 00:33:26,720 --> 00:33:29,960 Speaker 1: I go see him do king Lear at Lincoln Center 533 00:33:30,000 --> 00:33:31,880 Speaker 1: and a bunch of us go downstairs to his dressing 534 00:33:31,960 --> 00:33:33,440 Speaker 1: room and he's in the big star dressing room at 535 00:33:33,440 --> 00:33:36,080 Speaker 1: Lincoln Center and we're waiting in this ante room and 536 00:33:36,120 --> 00:33:38,080 Speaker 1: he comes out his hair slicked back. He just took 537 00:33:38,120 --> 00:33:40,360 Speaker 1: a shower at he has a bathrobe on and he 538 00:33:40,400 --> 00:33:42,280 Speaker 1: has a little cravat around his neck. And he walks 539 00:33:42,320 --> 00:33:45,040 Speaker 1: up to him He's just done lear for three hours 540 00:33:44,320 --> 00:33:46,400 Speaker 1: and he walks up to us just like he had 541 00:33:46,400 --> 00:33:50,600 Speaker 1: been playing tennis. He said, anyone like a sherry. It 542 00:33:50,720 --> 00:33:52,240 Speaker 1: was all like, now we're gonna have a party in 543 00:33:52,320 --> 00:33:56,040 Speaker 1: my dressing. He is just incoorageable. He is. And you know, 544 00:33:56,240 --> 00:33:59,480 Speaker 1: for a long time he put down the Sound of Music. 545 00:33:59,560 --> 00:34:03,480 Speaker 1: He thought that he was doing something that he shouldn't 546 00:34:03,520 --> 00:34:09,200 Speaker 1: be doing. But later he really acknowledges what it means 547 00:34:09,239 --> 00:34:11,879 Speaker 1: to people. Well, yes, not only that, but what it meant, 548 00:34:12,239 --> 00:34:15,399 Speaker 1: not to his career, but to him as a human being. 549 00:34:15,440 --> 00:34:17,759 Speaker 1: He realized that he could give so much pleasure that 550 00:34:17,840 --> 00:34:21,160 Speaker 1: you know, and that's a huge, huge lesson. Do you 551 00:34:21,160 --> 00:34:26,120 Speaker 1: have a favorite musical number from Sound of Music? That's hard. 552 00:34:26,640 --> 00:34:29,359 Speaker 1: I do have a song that's my favorite, but it 553 00:34:29,440 --> 00:34:34,560 Speaker 1: wasn't mine. It was Edelweiss. I'll tell you why Richard 554 00:34:34,640 --> 00:34:39,640 Speaker 1: Rodgers had this phenomenal gift for writing, utter simplicity. Think of, 555 00:34:39,680 --> 00:34:41,839 Speaker 1: oh what a beautiful morning, you know, da da da 556 00:34:41,880 --> 00:34:44,400 Speaker 1: da da daddy um. Now reverse it da da da 557 00:34:44,480 --> 00:34:48,440 Speaker 1: da da da um. You know, totally simple, but with 558 00:34:48,480 --> 00:34:51,560 Speaker 1: a wonderful lyric, it becomes a magical song. And oh 559 00:34:51,600 --> 00:34:54,560 Speaker 1: what a beautiful morning was like that, and Edelweiss was 560 00:34:54,640 --> 00:34:58,040 Speaker 1: like that, utterly simple, and I suddenly realized that it's 561 00:34:58,080 --> 00:35:03,319 Speaker 1: about anybody's homeland, not just about Austria's. Austria being the 562 00:35:03,320 --> 00:35:06,239 Speaker 1: homeland for this particular movie must have done something good? 563 00:35:06,360 --> 00:35:08,880 Speaker 1: Is my favorite? Is it? Really? It was one of 564 00:35:08,920 --> 00:35:12,400 Speaker 1: the last songs that were written and I think, beautifully 565 00:35:12,400 --> 00:35:16,840 Speaker 1: photographed moment and oh yeah, and that that is phenomenal 566 00:35:17,000 --> 00:35:20,200 Speaker 1: my favorite. Yeah, Oh my god, I wish I had 567 00:35:20,320 --> 00:35:22,840 Speaker 1: hours and hours to tell you something because because we 568 00:35:22,880 --> 00:35:25,799 Speaker 1: get the love story and the singing in your films. Yes, 569 00:35:26,560 --> 00:35:30,160 Speaker 1: where in this period of time does your first marriage end? 570 00:35:31,840 --> 00:35:36,520 Speaker 1: Probably what film or afterward film, towards the middle of 571 00:35:37,000 --> 00:35:39,360 Speaker 1: the sound of musical music that affect your work in 572 00:35:39,400 --> 00:35:42,839 Speaker 1: the film. It made me very sad, very sad, because 573 00:35:42,880 --> 00:35:46,040 Speaker 1: I didn't want it. It's interesting. I only asked it 574 00:35:46,080 --> 00:35:49,080 Speaker 1: because it's interesting how you see, you're watching the film 575 00:35:49,120 --> 00:35:53,400 Speaker 1: and this is what that person is going through location 576 00:35:53,560 --> 00:35:56,920 Speaker 1: and being lonely, and but also you know, I had 577 00:35:56,920 --> 00:36:00,319 Speaker 1: my beautiful daughter, and what was I doing her of that? 578 00:36:00,680 --> 00:36:03,400 Speaker 1: It wasn't that there was anybody else or anything like that. 579 00:36:03,480 --> 00:36:06,160 Speaker 1: It was just it was just Tony and I woul 580 00:36:06,280 --> 00:36:10,480 Speaker 1: have remained, thank God friends to this day. He is 581 00:36:10,560 --> 00:36:14,319 Speaker 1: my one of my dearest friends and always will be. 582 00:36:14,480 --> 00:36:16,080 Speaker 1: And we both feel that way. This is the same 583 00:36:16,120 --> 00:36:18,520 Speaker 1: thing about you, does he? Of course? I mean, he's 584 00:36:18,640 --> 00:36:23,879 Speaker 1: so amazingly talented. Now what was it like to work 585 00:36:23,920 --> 00:36:27,839 Speaker 1: with Hitchcock? You've been dying together? Because people always say 586 00:36:27,840 --> 00:36:29,799 Speaker 1: to me, you know, well, what is something in your 587 00:36:29,840 --> 00:36:32,480 Speaker 1: career that you that excites you? When I say, not 588 00:36:32,520 --> 00:36:34,640 Speaker 1: a whole lot in terms of making movies, because what 589 00:36:34,719 --> 00:36:37,440 Speaker 1: I wanted to do. You know, if if I had 590 00:36:37,480 --> 00:36:40,480 Speaker 1: a wish, I'd rather make a movie with Bogard or Hitchcock. 591 00:36:40,960 --> 00:36:43,600 Speaker 1: Know that that kind of thing. Hitchcock was lovely. He 592 00:36:43,840 --> 00:36:49,520 Speaker 1: was a little dismissive of the script, a little dismissive 593 00:36:49,880 --> 00:36:52,279 Speaker 1: of his actors, because that was his reputation. It was 594 00:36:52,320 --> 00:36:58,839 Speaker 1: a little taciturn no no more. In Hitchcock's mind. He'd 595 00:36:58,880 --> 00:37:02,160 Speaker 1: already conceived, almost shot the film. So that's true that 596 00:37:02,760 --> 00:37:05,600 Speaker 1: the pre production to him was it was far more important, 597 00:37:05,600 --> 00:37:09,600 Speaker 1: and once he conceived his shots, he felt that the 598 00:37:09,640 --> 00:37:12,120 Speaker 1: rest was all just you know, the actors that will 599 00:37:12,160 --> 00:37:15,200 Speaker 1: do their thing and I know what I want. For him, 600 00:37:15,200 --> 00:37:21,440 Speaker 1: it was about audience manipulation and also you know, he 601 00:37:21,800 --> 00:37:25,319 Speaker 1: would say to me, come and look at what I've done. 602 00:37:25,320 --> 00:37:28,960 Speaker 1: I've made a Mandreal he would say, Montreal painting. And 603 00:37:29,040 --> 00:37:32,239 Speaker 1: he would make me look through the camera and indeed 604 00:37:32,880 --> 00:37:36,600 Speaker 1: the background and two faces very close together, and then 605 00:37:36,600 --> 00:37:42,080 Speaker 1: in the background this wonderful red white and pastel coloring. 606 00:37:42,360 --> 00:37:44,640 Speaker 1: And he said, isn't that a Maundreal back And I said, yes, 607 00:37:44,680 --> 00:37:46,799 Speaker 1: indeed it is. Thank god, I knew what he was 608 00:37:46,800 --> 00:37:51,400 Speaker 1: talking about. Having been married to Tony Walton, he loved 609 00:37:51,560 --> 00:37:54,480 Speaker 1: doing things like that. That turned him on. And then 610 00:37:54,840 --> 00:37:57,200 Speaker 1: he did love his leading ladies. He did power was 611 00:37:57,200 --> 00:38:00,920 Speaker 1: he with Newman, very sweet, very sweet and and he 612 00:38:01,520 --> 00:38:04,080 Speaker 1: but but as far as the script was concerned, he said, 613 00:38:04,239 --> 00:38:06,680 Speaker 1: say anything you want, because we would say that's a 614 00:38:06,719 --> 00:38:09,120 Speaker 1: little bit. We'll say what you feel like. I don't care. 615 00:38:09,480 --> 00:38:12,600 Speaker 1: One felt somewhat abandoned by that. But this was late 616 00:38:12,640 --> 00:38:15,960 Speaker 1: in his career, very late, and when you think about 617 00:38:15,960 --> 00:38:21,640 Speaker 1: the early Hitchcock movies. They were written by phenomenal talents. 618 00:38:21,680 --> 00:38:24,320 Speaker 1: Some of you think of the Bergmann films or that 619 00:38:24,320 --> 00:38:27,080 Speaker 1: that he did, or just any of them, you know, 620 00:38:27,120 --> 00:38:30,480 Speaker 1: with Jimmy Stewart and so on. But this wasn't. This 621 00:38:30,680 --> 00:38:34,879 Speaker 1: wasn't as exciting a movie. But he was far far 622 00:38:35,000 --> 00:38:38,480 Speaker 1: more interested when I knew him, in making the audience 623 00:38:38,680 --> 00:38:41,600 Speaker 1: so scared and then suddenly laughing to work with for 624 00:38:41,640 --> 00:38:46,560 Speaker 1: you lovely, Yeah, Oh he was the he was. He 625 00:38:46,560 --> 00:38:49,000 Speaker 1: He coined a phrase about me which did my career 626 00:38:50,040 --> 00:38:53,200 Speaker 1: a great deal of good. He said, She's the last 627 00:38:53,239 --> 00:38:56,840 Speaker 1: of the really great broads, he said, and it's stuck, 628 00:38:56,920 --> 00:38:59,680 Speaker 1: Thank Heaven's And boy did that help at that time. 629 00:38:59,719 --> 00:39:01,560 Speaker 1: I can tell you, well, you and he have something 630 00:39:01,560 --> 00:39:05,000 Speaker 1: in common, which is that f after you become incredibly famous, 631 00:39:05,360 --> 00:39:08,480 Speaker 1: you don't stop seeking, you don't stop trying. You know. 632 00:39:08,520 --> 00:39:11,319 Speaker 1: Newman's greatest performance comes years later in his career when 633 00:39:11,320 --> 00:39:17,600 Speaker 1: he does to the Verdict. Where did you meet Blake? Um? Well, 634 00:39:17,640 --> 00:39:20,319 Speaker 1: we were ships that past in the night, ten years 635 00:39:20,360 --> 00:39:23,920 Speaker 1: before we really met, just at a party, that's all. 636 00:39:23,960 --> 00:39:29,960 Speaker 1: But truthfully, Um our first meeting was in the middle 637 00:39:30,120 --> 00:39:35,240 Speaker 1: of Sunset Boulevard on the Meridian. There was a gap 638 00:39:35,480 --> 00:39:39,160 Speaker 1: on Roxbury, and if you wanted to cross over to 639 00:39:39,200 --> 00:39:42,960 Speaker 1: go down Roxbury, then the traffic was bad. You had 640 00:39:42,960 --> 00:39:45,799 Speaker 1: to stop in the Meridian. And I found, as it 641 00:39:45,840 --> 00:39:48,279 Speaker 1: did Blake, that he was going one way and I 642 00:39:48,360 --> 00:39:54,400 Speaker 1: was going another, and that it happened with a fair 643 00:39:54,400 --> 00:39:56,719 Speaker 1: amount of regularity, that we always seem to stop in 644 00:39:56,760 --> 00:40:00,680 Speaker 1: the Meridian. And so one day after about third time 645 00:40:00,760 --> 00:40:03,279 Speaker 1: or the fourth time, he rolled down his window and 646 00:40:03,320 --> 00:40:08,120 Speaker 1: he said, are you going to where I just came from? 647 00:40:08,160 --> 00:40:11,120 Speaker 1: And he was in therapy and I was beginning my therapy, 648 00:40:11,239 --> 00:40:14,440 Speaker 1: and I said, yeah, I mean different analysts, but they 649 00:40:14,440 --> 00:40:17,439 Speaker 1: were all on rocks, were drive in those days. So 650 00:40:17,520 --> 00:40:22,160 Speaker 1: occasionally we would wave, because by now we knew who 651 00:40:22,200 --> 00:40:25,759 Speaker 1: he was. No, but then very yes, I guess I did. 652 00:40:26,920 --> 00:40:31,240 Speaker 1: I don't know. But very shortly afterwards, really comparatively shortly afterwards, 653 00:40:31,280 --> 00:40:34,320 Speaker 1: I got a phone call saying that Lake Edwards wanted 654 00:40:34,360 --> 00:40:36,839 Speaker 1: to come and see if I to pitch a film 655 00:40:36,840 --> 00:40:39,759 Speaker 1: and see if I'd be interested in it. There was 656 00:40:39,800 --> 00:40:43,640 Speaker 1: some dickering about did I wanted to just meet him 657 00:40:43,800 --> 00:40:47,680 Speaker 1: very in an abstract wade at the Beverly Hills Hotel 658 00:40:47,719 --> 00:40:50,600 Speaker 1: and just have a coffee, very formal, and he said, no, no, no, 659 00:40:50,640 --> 00:40:52,000 Speaker 1: I'll just come to you. It's not going to be 660 00:40:52,040 --> 00:40:55,120 Speaker 1: that long. And my family was staying with me at 661 00:40:55,160 --> 00:41:00,160 Speaker 1: the time. My mom and my stepfather were visiting. At 662 00:41:00,200 --> 00:41:03,439 Speaker 1: the end of the time that Blake and I spent 663 00:41:03,480 --> 00:41:05,360 Speaker 1: together that evening, when he came and told me the 664 00:41:05,400 --> 00:41:07,640 Speaker 1: story and asked if i'd like to do it, I 665 00:41:07,719 --> 00:41:09,919 Speaker 1: knew that I wished he would stay for supper. In fact, 666 00:41:09,960 --> 00:41:13,719 Speaker 1: I asked him to and he said I would love to. 667 00:41:14,080 --> 00:41:17,160 Speaker 1: And he told me afterwards that he really would have 668 00:41:17,280 --> 00:41:19,920 Speaker 1: loved to stay for supper, but he had an appointment 669 00:41:19,920 --> 00:41:21,520 Speaker 1: and he had to go to, probably a date. I 670 00:41:21,560 --> 00:41:24,760 Speaker 1: don't know, but I did ask him before he left. 671 00:41:25,360 --> 00:41:28,400 Speaker 1: I said, you must forgive me, but I've been so busy. 672 00:41:28,440 --> 00:41:31,439 Speaker 1: I'm not particularly with it in terms of what you've 673 00:41:31,480 --> 00:41:34,280 Speaker 1: been up too lately. And he said, oh, I finished 674 00:41:34,280 --> 00:41:36,920 Speaker 1: a film a little while ago, called What Did You 675 00:41:37,000 --> 00:41:39,800 Speaker 1: Do in the War? Daddy? And I'm having a preview 676 00:41:39,840 --> 00:41:42,160 Speaker 1: of it for some friends next Wednesday. Would you like 677 00:41:42,239 --> 00:41:46,000 Speaker 1: to come? And then I thought, oh, what do I do? 678 00:41:46,120 --> 00:41:48,719 Speaker 1: And I said, finally, yes, I'd like to thank you, 679 00:41:49,160 --> 00:41:54,080 Speaker 1: And apparently he said I laughed so hard during the movie. 680 00:41:54,200 --> 00:41:58,160 Speaker 1: He thought that's the girl for me. And it took 681 00:41:58,719 --> 00:42:01,560 Speaker 1: three almost four years before we were married, but we 682 00:42:01,840 --> 00:42:06,719 Speaker 1: began dating American then, different than British Man. That's an 683 00:42:06,760 --> 00:42:11,120 Speaker 1: interesting question. Yeah, of course they are. Yeah, a little 684 00:42:11,160 --> 00:42:18,080 Speaker 1: more worldly perhaps, or yeah they are I think so. 685 00:42:18,280 --> 00:42:21,720 Speaker 1: Really well, at least give the impression that way. Did 686 00:42:21,800 --> 00:42:23,840 Speaker 1: you find that he was really very keen on working 687 00:42:23,840 --> 00:42:25,279 Speaker 1: with you, He didn't want to work with anyone else 688 00:42:25,360 --> 00:42:30,000 Speaker 1: once he met you, it wasn't hard for him to 689 00:42:30,680 --> 00:42:34,080 Speaker 1: I think that might be true. I certainly he he 690 00:42:34,239 --> 00:42:37,560 Speaker 1: knew me so well, and he knew that way when 691 00:42:37,680 --> 00:42:39,239 Speaker 1: when they meet the woman in their lives, they're like, 692 00:42:39,400 --> 00:42:41,480 Speaker 1: they want you around. I mean, I'm so proud that 693 00:42:41,520 --> 00:42:45,200 Speaker 1: I did do seven films with him, and and some 694 00:42:45,360 --> 00:42:49,200 Speaker 1: of them were just such fun s. O B for instance, 695 00:42:49,320 --> 00:42:52,560 Speaker 1: was the most fun making a movie I think that 696 00:42:52,640 --> 00:42:58,600 Speaker 1: I've ever had because William dreston Richard Mulligan and it 697 00:42:58,760 --> 00:43:01,440 Speaker 1: was such a happy come a name and we happened 698 00:43:01,440 --> 00:43:03,280 Speaker 1: to shoot a lot of it on our own property, 699 00:43:03,320 --> 00:43:07,759 Speaker 1: believing or not. And um, but they'd come on the 700 00:43:07,840 --> 00:43:10,319 Speaker 1: days that they weren't called to the set, they'd come 701 00:43:10,400 --> 00:43:13,520 Speaker 1: down and it was like a phenomenal repertory company and 702 00:43:13,600 --> 00:43:16,279 Speaker 1: we just had a ball and it was bleak and 703 00:43:16,440 --> 00:43:19,759 Speaker 1: black and I was poking fun of myself a little 704 00:43:19,760 --> 00:43:22,919 Speaker 1: bit in my image and Blake they had been through 705 00:43:22,920 --> 00:43:26,440 Speaker 1: a huge bad time with Hollywood. He was the bad 706 00:43:26,480 --> 00:43:31,040 Speaker 1: boy of Hollywood and for a while he wanted nothing 707 00:43:31,040 --> 00:43:32,560 Speaker 1: to do with it. And that's when we went to 708 00:43:32,600 --> 00:43:36,480 Speaker 1: live in Switzerland for a while, and then he wrote 709 00:43:36,480 --> 00:43:41,640 Speaker 1: his demons out in this Now who wrote the screenplay 710 00:43:41,680 --> 00:43:47,960 Speaker 1: for Effective Victoria? Bake adapted from for the film for 711 00:43:48,000 --> 00:43:50,399 Speaker 1: the for the music, right, he want the screenplay for 712 00:43:50,440 --> 00:43:53,319 Speaker 1: the for the Yes he did. Now, when you do 713 00:43:53,360 --> 00:43:56,080 Speaker 1: the ones like Darling, Lily and and and even Esso, 714 00:43:56,160 --> 00:43:59,960 Speaker 1: b had a very mixed reception from people, when you're 715 00:44:00,000 --> 00:44:02,839 Speaker 1: only the ones that work, do you feel it? Because 716 00:44:02,880 --> 00:44:05,520 Speaker 1: because Victor Victoria is one of my favorite movies of 717 00:44:05,520 --> 00:44:11,160 Speaker 1: all time, Robert Preston m yeah, oh god. Well, having 718 00:44:11,160 --> 00:44:13,279 Speaker 1: worked with him also on S O B and then 719 00:44:13,360 --> 00:44:16,480 Speaker 1: to work with him in in Victor Victoria, he was 720 00:44:17,000 --> 00:44:22,160 Speaker 1: fabulous dark man. I mean troubled Preston really, but not 721 00:44:22,239 --> 00:44:24,480 Speaker 1: on the set, Oh my god, in his life, in 722 00:44:24,520 --> 00:44:27,440 Speaker 1: his personal life. I think when you were doing it, 723 00:44:27,480 --> 00:44:30,279 Speaker 1: did you know it was going to be successful? No, 724 00:44:30,440 --> 00:44:33,480 Speaker 1: you didn't know. You never know. I mean, can you 725 00:44:33,560 --> 00:44:36,560 Speaker 1: honestly say that you've made a movie that you know. No. 726 00:44:36,920 --> 00:44:38,759 Speaker 1: I did a movie once and I said to the 727 00:44:38,800 --> 00:44:41,160 Speaker 1: producer we were shooting, and I said, when's the movie 728 00:44:41,160 --> 00:44:43,160 Speaker 1: coming out? He said, we're going to release it for 729 00:44:43,239 --> 00:44:46,319 Speaker 1: Chris December before Christmas. I said, great, because then we'll 730 00:44:46,400 --> 00:44:49,080 Speaker 1: qualify for the nominations for this year because we're gonna 731 00:44:49,080 --> 00:44:54,800 Speaker 1: win everything actor, actress, director, screenplay, best Picture. What happened? 732 00:44:55,280 --> 00:44:57,840 Speaker 1: The thing was just like a just a just a 733 00:44:57,880 --> 00:45:00,360 Speaker 1: bird poop and a bird path, which was just plot. 734 00:45:00,520 --> 00:45:04,080 Speaker 1: I'll tell you something interesting. I had made three films 735 00:45:04,360 --> 00:45:08,160 Speaker 1: before any of them were released. I had done Barry 736 00:45:08,200 --> 00:45:11,719 Speaker 1: Poppin's Americanization of Emily and The Sound of Music. Not 737 00:45:12,160 --> 00:45:15,120 Speaker 1: one of them had yet to be released. They were 738 00:45:15,160 --> 00:45:17,720 Speaker 1: all stacked up, you know, and being in post production 739 00:45:17,760 --> 00:45:20,440 Speaker 1: and all of that. I was having a ball because 740 00:45:20,480 --> 00:45:24,240 Speaker 1: I was just playing at making movies, learning my craft 741 00:45:24,239 --> 00:45:27,560 Speaker 1: a little bit and having a wonderful time. But when 742 00:45:27,600 --> 00:45:29,759 Speaker 1: when you do the movie and the movie is a 743 00:45:29,800 --> 00:45:34,160 Speaker 1: big success, whose idea was it? Many years later to 744 00:45:34,200 --> 00:45:35,919 Speaker 1: take it to Broadway, and when you took that shot 745 00:45:35,920 --> 00:45:39,000 Speaker 1: of Broadway, you were thinking about Victor Victoria Victoria on 746 00:45:39,000 --> 00:45:42,399 Speaker 1: the stage. Whose idea was that Blake's? I mean, he 747 00:45:42,480 --> 00:45:45,920 Speaker 1: didn't make anything happen. He had that magic that said, 748 00:45:46,239 --> 00:45:48,920 Speaker 1: how did you feel about playing that? Party? Times terrified, 749 00:45:49,520 --> 00:45:52,040 Speaker 1: But more than anything, I remember driving out of the 750 00:45:52,080 --> 00:45:57,000 Speaker 1: city for a night, we looked back at New York 751 00:45:57,040 --> 00:45:59,920 Speaker 1: City and I said, Blake, do you realize with the 752 00:46:00,000 --> 00:46:04,880 Speaker 1: all those that skyline, we're hoping that what we're doing 753 00:46:05,000 --> 00:46:07,920 Speaker 1: is going to capture that city? He said, I know, 754 00:46:08,239 --> 00:46:11,799 Speaker 1: it's It's terrifying, isn't it. Yes, it is good. It did. 755 00:46:12,239 --> 00:46:15,720 Speaker 1: But the day that we opened, I began to get 756 00:46:16,200 --> 00:46:19,120 Speaker 1: so nervous and so frightened, and I blinked and got 757 00:46:19,200 --> 00:46:21,560 Speaker 1: quite tearful in the morning and I said, you know, 758 00:46:21,600 --> 00:46:25,600 Speaker 1: I'm really very scared about tonight. And he looked at 759 00:46:25,640 --> 00:46:27,319 Speaker 1: me as if I was an idiot, and he said, well, 760 00:46:28,080 --> 00:46:30,920 Speaker 1: did you expect to feel any other way, darling? And 761 00:46:30,960 --> 00:46:34,080 Speaker 1: I thought, well, no, I guess not. And he suddenly 762 00:46:34,120 --> 00:46:37,439 Speaker 1: made it all all right. You know. The thing about Blake, though, 763 00:46:37,520 --> 00:46:41,960 Speaker 1: is that he could turn adversity into good fortune. Always. 764 00:46:42,520 --> 00:46:46,920 Speaker 1: He lost his leading man on ten and then cast 765 00:46:47,000 --> 00:46:51,280 Speaker 1: of all improbable people Dudley Moore and I was cast 766 00:46:51,640 --> 00:46:55,200 Speaker 1: and I said, Blake, you know my height and Dudley's height. 767 00:46:55,680 --> 00:46:59,440 Speaker 1: Are you sure that we're going to be look romantic together? 768 00:46:59,440 --> 00:47:01,839 Speaker 1: Because it's okay if I'm not in the movie, I'm 769 00:47:01,840 --> 00:47:04,840 Speaker 1: your wife. I'm loving what you're doing. He said, Honey, 770 00:47:05,120 --> 00:47:08,439 Speaker 1: think of think of Frank Sinatra and Nava Gardner. Think 771 00:47:08,440 --> 00:47:12,799 Speaker 1: of Andre Preven and what was so attractive about him. 772 00:47:12,800 --> 00:47:16,520 Speaker 1: They're not huge people, but they're very attractive because they're 773 00:47:16,560 --> 00:47:21,200 Speaker 1: so damn right. And that gave me the motivation for 774 00:47:21,320 --> 00:47:27,120 Speaker 1: my character. When we talk about your career from the onset, 775 00:47:28,360 --> 00:47:30,680 Speaker 1: one of the things that I hear you say again 776 00:47:30,680 --> 00:47:32,719 Speaker 1: and again is how important your family has been to 777 00:47:32,760 --> 00:47:35,400 Speaker 1: you and how lucky I think. And you wanted to 778 00:47:35,400 --> 00:47:37,680 Speaker 1: go back to England and see your mom and your siblings, 779 00:47:37,680 --> 00:47:39,279 Speaker 1: and you would go back to England and you and 780 00:47:39,480 --> 00:47:41,759 Speaker 1: then they come out and you ship them to California 781 00:47:41,800 --> 00:47:44,319 Speaker 1: with you. And now family is a big part of 782 00:47:44,360 --> 00:47:47,799 Speaker 1: your life again. It is because always has been. But 783 00:47:48,120 --> 00:47:51,120 Speaker 1: now the latest of that is your book writing career 784 00:47:51,120 --> 00:47:57,799 Speaker 1: with your daughter Emma. We've had a wonderful writing collaboration 785 00:47:57,840 --> 00:48:02,439 Speaker 1: now for fifteen years, maybe seventeen years to date, we've 786 00:48:02,480 --> 00:48:09,480 Speaker 1: done books together and it's just ongoing and we are 787 00:48:09,560 --> 00:48:12,880 Speaker 1: so happy. Your daughters are pretty tough customer, do you 788 00:48:12,880 --> 00:48:15,879 Speaker 1: think so? She's very smart? Well, that's not tough. It's 789 00:48:15,960 --> 00:48:20,279 Speaker 1: just a good writing partner. She writes better than I do. 790 00:48:20,760 --> 00:48:23,600 Speaker 1: She's a much better writer than I am. And she 791 00:48:23,880 --> 00:48:28,840 Speaker 1: is smart, and she's got the biggest heart of anybody 792 00:48:28,880 --> 00:48:32,359 Speaker 1: I've ever met. She's it's just hugely generous, mind you. 793 00:48:32,719 --> 00:48:36,000 Speaker 1: I have to say I have four other kids as well, 794 00:48:36,040 --> 00:48:39,840 Speaker 1: but they're not all my Emma is my daughter with Tony, 795 00:48:39,880 --> 00:48:43,920 Speaker 1: but I have two stepchildren to adopt to children, and 796 00:48:43,960 --> 00:48:47,840 Speaker 1: we all at one point where we flung them all together, 797 00:48:48,000 --> 00:48:51,600 Speaker 1: and partially thanks to Emma, who was somewhere in the 798 00:48:51,600 --> 00:49:01,600 Speaker 1: middle there, it all worked. It has definitely worked. Julie 799 00:49:01,640 --> 00:49:05,080 Speaker 1: Andrews has made it through some challenging times. There's a 800 00:49:05,120 --> 00:49:07,680 Speaker 1: line in one of her children's books, The Last of 801 00:49:07,680 --> 00:49:11,840 Speaker 1: the Really Great Whangdoodles, that captures her approach. If you 802 00:49:11,920 --> 00:49:15,680 Speaker 1: remain calm in the midst of great chaos, the professor explains, 803 00:49:16,080 --> 00:49:19,920 Speaker 1: it is the surest guarantee that it will eventually subside. 804 00:49:21,520 --> 00:49:24,560 Speaker 1: This is Alec Baldwin and you're listening to here's the 805 00:49:24,600 --> 00:49:24,839 Speaker 1: Thing