1 00:00:03,120 --> 00:00:06,560 Speaker 1: I'm Alec Baldwin and you're listening to Here's the thing. 2 00:00:07,720 --> 00:00:12,000 Speaker 1: The genius who shot the dark, evocative interiors of The 3 00:00:12,080 --> 00:00:16,119 Speaker 1: Cone Brothers Blood Simple also created the city scape of 4 00:00:16,200 --> 00:00:20,360 Speaker 1: Big and the intimacy of When Harry Met Sally. That 5 00:00:20,520 --> 00:00:25,120 Speaker 1: cinematographer is Barry Sonnenfeld, who, as if to show off, 6 00:00:25,640 --> 00:00:29,760 Speaker 1: followed up When Harry Met Sally with genre defining images 7 00:00:29,800 --> 00:00:36,360 Speaker 1: of terror and claustrophobia in Misery. Then that same cinematographer 8 00:00:36,479 --> 00:00:41,160 Speaker 1: left cinematography and became one of the most successful directors 9 00:00:41,479 --> 00:00:46,879 Speaker 1: in Hollywood. The year after Misery, Sonnenfeld's directorial debut, The 10 00:00:46,920 --> 00:00:52,479 Speaker 1: Adams Family, was released, two huge box office success. Sonnenfeld 11 00:00:52,600 --> 00:00:56,440 Speaker 1: went on to direct the brilliant mob comedy Get Shorty, 12 00:00:56,560 --> 00:01:00,800 Speaker 1: The Men in Black Trilogy, and Some Wonderful TV. His 13 00:01:00,960 --> 00:01:05,080 Speaker 1: triumph in two different jobs on set is rare in Hollywood, 14 00:01:05,520 --> 00:01:09,000 Speaker 1: especially when you consider how very different the roles of 15 00:01:09,120 --> 00:01:14,640 Speaker 1: director and cinematographer are supposed to be. I called myself 16 00:01:14,840 --> 00:01:18,160 Speaker 1: not a cinematographer, not a DP. I called myself the 17 00:01:18,240 --> 00:01:21,440 Speaker 1: friend of the director. So I would just as easily 18 00:01:21,560 --> 00:01:25,160 Speaker 1: talk to a director about an actor's energy. You know how, 19 00:01:25,240 --> 00:01:29,160 Speaker 1: after lunch they're always uh the first takes are always 20 00:01:29,200 --> 00:01:32,399 Speaker 1: too slow because everyone's eating lunch and all that. Or 21 00:01:32,480 --> 00:01:34,200 Speaker 1: I would say, you know, I would think about how 22 00:01:34,240 --> 00:01:37,319 Speaker 1: it was going to edit. So I was never just 23 00:01:37,520 --> 00:01:41,640 Speaker 1: a cameraman. And some people really like that. Who's an example. 24 00:01:41,680 --> 00:01:43,880 Speaker 1: Who's an example of one that did like that? Okay, 25 00:01:43,959 --> 00:01:48,840 Speaker 1: Danny de Vito, the Coen Brothers, not Penny Marshall? Uh? 26 00:01:49,000 --> 00:01:52,280 Speaker 1: Rob did? Rob Reiner? Did? I heard you wouldn interview? Said? 27 00:01:52,320 --> 00:01:54,400 Speaker 1: Penny said she was. She wanted to fire you. But 28 00:01:54,600 --> 00:01:58,320 Speaker 1: so who was it that said don't fire you? Danny? Yeah? Yeah, yeah. 29 00:01:58,400 --> 00:02:02,520 Speaker 1: The second week of I'm Big every morning, Penny started 30 00:02:02,560 --> 00:02:05,160 Speaker 1: today with a dozen white castles and a carton and 31 00:02:05,280 --> 00:02:10,080 Speaker 1: Marlborough cigarettes. And so the second Monday of shooting, she 32 00:02:10,200 --> 00:02:12,320 Speaker 1: came up to me at seven am with the white 33 00:02:12,320 --> 00:02:15,600 Speaker 1: castle in her mouth and said, I tried to fire you, 34 00:02:15,760 --> 00:02:18,919 Speaker 1: but they wouldn't let me. I said, who wouldn't let you, Penny? 35 00:02:18,960 --> 00:02:21,720 Speaker 1: They wouldn't let me. She says, I called Danny because 36 00:02:21,720 --> 00:02:25,560 Speaker 1: she was friends with Danny through uh what's his name, 37 00:02:25,639 --> 00:02:29,280 Speaker 1: Jim Brooks, you know that that group. And she said, 38 00:02:29,680 --> 00:02:32,600 Speaker 1: I asked Danny if you were good, and uh, he 39 00:02:32,720 --> 00:02:36,000 Speaker 1: said you are, but I don't think so. So that 40 00:02:36,160 --> 00:02:39,720 Speaker 1: was how we got God. Yes, she really didn't like 41 00:02:39,760 --> 00:02:43,919 Speaker 1: she was vigorously honest, Penny. She was very honest, but 42 00:02:44,160 --> 00:02:48,240 Speaker 1: she she hit her honesty in mumbling. She was a 43 00:02:48,320 --> 00:02:50,919 Speaker 1: genius in mumbling, so that if you wanted to hear 44 00:02:50,960 --> 00:02:53,560 Speaker 1: what she said, you did. But if you didn't want 45 00:02:53,560 --> 00:02:55,960 Speaker 1: to hear, you could pretend you just didn't hear her, 46 00:02:56,080 --> 00:02:59,560 Speaker 1: which is what four year old children do you do? 47 00:02:59,639 --> 00:03:02,480 Speaker 1: Bloods Simple is that the brothers first movie, the first 48 00:03:02,919 --> 00:03:06,360 Speaker 1: did you know run away? That they had the recipe? Yes, 49 00:03:06,480 --> 00:03:09,160 Speaker 1: but don't forget. It was my first day on the 50 00:03:09,520 --> 00:03:12,600 Speaker 1: feature film set. Also, I had never shot anything before. 51 00:03:12,840 --> 00:03:17,239 Speaker 1: Why did they hire you? Okay? Joel and I were 52 00:03:17,280 --> 00:03:20,400 Speaker 1: at the same party. It was a party that was 53 00:03:21,160 --> 00:03:26,760 Speaker 1: specifically people from Dairy Anne, Connecticut. All their parents owned 54 00:03:27,400 --> 00:03:30,840 Speaker 1: coal mines in Pennsylvania and islands in the Caribbean. And 55 00:03:30,840 --> 00:03:33,040 Speaker 1: there were two Jews at the party, Me and Joel. 56 00:03:33,120 --> 00:03:35,120 Speaker 1: We didn't know each other at film school or anything 57 00:03:35,160 --> 00:03:38,480 Speaker 1: like that, and we kind of smelled each other across 58 00:03:38,480 --> 00:03:42,360 Speaker 1: the room and we started to talk. And Joel and Ethan, 59 00:03:43,240 --> 00:03:46,840 Speaker 1: his brother, had written the script for Blood Simple, and 60 00:03:46,880 --> 00:03:49,200 Speaker 1: they were going to shoot a trailer as if it 61 00:03:49,240 --> 00:03:52,080 Speaker 1: were a finished movie and then show it to dentists 62 00:03:52,080 --> 00:03:56,800 Speaker 1: and doctors and investment clubs, because if you see a trailer, 63 00:03:56,880 --> 00:03:59,240 Speaker 1: you can say, yeah, that looks like a real movie. 64 00:03:59,680 --> 00:04:01,960 Speaker 1: So also they were going to shoot a trailer and 65 00:04:01,960 --> 00:04:04,080 Speaker 1: then use a trailer to raise money. And I said, 66 00:04:04,280 --> 00:04:08,040 Speaker 1: I own a camera, and Joel said, you're hired. So 67 00:04:08,160 --> 00:04:12,360 Speaker 1: I shot their trailer. Before there was video, there was 68 00:04:12,440 --> 00:04:15,160 Speaker 1: sixteen millimeter, which was the cheaper way to go and 69 00:04:15,200 --> 00:04:17,320 Speaker 1: set a thirty five. And when I got out of 70 00:04:17,360 --> 00:04:20,800 Speaker 1: graduate film school, I figured if I bought a used 71 00:04:21,040 --> 00:04:26,200 Speaker 1: sixteen millimeter camera, I could call myself a cameraman without 72 00:04:26,200 --> 00:04:29,320 Speaker 1: being a dilettante, because I actually had a camera. You know, 73 00:04:29,400 --> 00:04:32,359 Speaker 1: the Vietnam cameras is sixteen millimeter cameras that looked like 74 00:04:32,520 --> 00:04:35,760 Speaker 1: Mickey Mouse with the big around cylinder. So I owned 75 00:04:36,400 --> 00:04:40,000 Speaker 1: used one of those, and so Joel and Ethan and 76 00:04:40,040 --> 00:04:43,080 Speaker 1: I spent the year raising the money for Blood Simple, 77 00:04:43,200 --> 00:04:45,320 Speaker 1: and then we went down to Austin and shot it. 78 00:04:45,400 --> 00:04:46,960 Speaker 1: And the first day on the set was the first 79 00:04:47,040 --> 00:04:50,039 Speaker 1: day Joel Ethan or I had ever been on a 80 00:04:50,080 --> 00:04:54,880 Speaker 1: movie set. But you would go into film school with 81 00:04:54,960 --> 00:04:58,279 Speaker 1: an eye to spending three years without having to be 82 00:04:58,320 --> 00:05:01,359 Speaker 1: in the job market. I had no interested in film. 83 00:05:01,400 --> 00:05:04,520 Speaker 1: I just thought if I was in graduate school, I 84 00:05:04,560 --> 00:05:07,520 Speaker 1: didn't have to look for a job killing time. I 85 00:05:07,560 --> 00:05:11,080 Speaker 1: really wanted to be a still photographer. But but but 86 00:05:11,120 --> 00:05:13,039 Speaker 1: I'm want to get back to this thing about the Collins. 87 00:05:13,320 --> 00:05:15,560 Speaker 1: So so it's the first day on the set for 88 00:05:15,600 --> 00:05:18,400 Speaker 1: all three of you. You're down there in Austin. When 89 00:05:18,400 --> 00:05:20,880 Speaker 1: you went into that process the first time and he 90 00:05:20,920 --> 00:05:23,119 Speaker 1: came out the other end, what changed for you because 91 00:05:23,120 --> 00:05:26,080 Speaker 1: you kept going, yes, I must say everything changed. You 92 00:05:26,120 --> 00:05:30,400 Speaker 1: have to Blood Simple. Uh. It got great reviews, critical 93 00:05:31,000 --> 00:05:35,200 Speaker 1: cult hit. Uh Rea Pearlman, Danny's wife went into labor 94 00:05:35,240 --> 00:05:38,560 Speaker 1: while watching Blood Simple. Danny told me years later, and 95 00:05:38,680 --> 00:05:43,000 Speaker 1: suddenly I was a real cameraman. In fact, Janet Maslin, 96 00:05:43,040 --> 00:05:46,119 Speaker 1: who wrote the review in The New York Times, said 97 00:05:46,200 --> 00:05:50,400 Speaker 1: that the Cohen brothers were going to be huge successes, 98 00:05:50,920 --> 00:05:53,840 Speaker 1: and she particularly the whole last paragraph is about my 99 00:05:53,960 --> 00:05:57,760 Speaker 1: cinematography and it mentions me by name, and it was shocking. 100 00:05:58,120 --> 00:06:02,080 Speaker 1: It was just phenomenal, as because Raising Arizona when that 101 00:06:02,160 --> 00:06:04,800 Speaker 1: came out. This is back in the days when I 102 00:06:04,880 --> 00:06:08,640 Speaker 1: used to read Sine asked magazine and Premier, which was 103 00:06:08,720 --> 00:06:11,159 Speaker 1: kind of fair with the people magazine of the movie business. 104 00:06:11,640 --> 00:06:15,720 Speaker 1: They talked about blankie cam. Yes, there was a blank acam. 105 00:06:15,920 --> 00:06:18,680 Speaker 1: There was a shaky cam. The blank acam was me 106 00:06:19,440 --> 00:06:22,359 Speaker 1: laying on a blanket holding a camera as I was 107 00:06:22,520 --> 00:06:26,479 Speaker 1: directed to the dog that's right chasing them. That's bike 108 00:06:26,520 --> 00:06:30,680 Speaker 1: Acamville was laying on the blanket being pulled towards, hurtling 109 00:06:30,680 --> 00:06:33,320 Speaker 1: towards the victim that's right in the scene. And you 110 00:06:33,360 --> 00:06:35,800 Speaker 1: are the POV of the dom the POV you know, 111 00:06:36,480 --> 00:06:40,279 Speaker 1: Spinney cam with the camera. Yes, yeah, when Nick cages 112 00:06:40,440 --> 00:06:43,440 Speaker 1: sort of, we put Nick on this device and put 113 00:06:43,520 --> 00:06:45,960 Speaker 1: mounted the camera to his back and spun him around, 114 00:06:46,000 --> 00:06:50,040 Speaker 1: him around. Uh. Shaky cam is camera mounted on a 115 00:06:50,240 --> 00:06:52,920 Speaker 1: two by twelve with me at one end, in Joel 116 00:06:53,000 --> 00:06:57,560 Speaker 1: Cohen on the other end, and us running. Because it's 117 00:06:57,600 --> 00:07:00,960 Speaker 1: so long two by twelve, we could run up to 118 00:07:01,240 --> 00:07:05,479 Speaker 1: and then lift the board up over a fountain, a car, 119 00:07:05,680 --> 00:07:09,640 Speaker 1: up a ladder, through a window into Florence. Arizona's a math. 120 00:07:10,400 --> 00:07:13,920 Speaker 1: So we did all these. His idea of both Sam 121 00:07:14,040 --> 00:07:18,520 Speaker 1: Raimie's idea. Sam Raimie used to shaking camel lot on 122 00:07:18,600 --> 00:07:21,680 Speaker 1: his first Evil Dead, and Joel was the assistant editor 123 00:07:22,280 --> 00:07:24,760 Speaker 1: on Evil Dead. But you know what, I always say 124 00:07:24,760 --> 00:07:28,240 Speaker 1: that right now, we could have shot Raising Arizona with 125 00:07:28,360 --> 00:07:31,480 Speaker 1: modern equipment for ten times a budget and it wouldn't 126 00:07:31,520 --> 00:07:33,760 Speaker 1: look any different, right, not as good to tell you 127 00:07:33,800 --> 00:07:37,560 Speaker 1: the truth. Necessity, the mother is a mother. Um, when 128 00:07:37,600 --> 00:07:40,440 Speaker 1: you're on the set with these people, how much do 129 00:07:40,520 --> 00:07:43,480 Speaker 1: they know about lenses shooting do they? And which do 130 00:07:43,520 --> 00:07:47,680 Speaker 1: you prefer? The knowledgeable director in terms of cinema or 131 00:07:47,720 --> 00:07:49,280 Speaker 1: someone who to students you would say, what do you 132 00:07:49,320 --> 00:07:53,480 Speaker 1: want to do? You want someone who has strong opinions 133 00:07:53,520 --> 00:07:56,040 Speaker 1: because then you know that they know what they're doing. 134 00:07:56,560 --> 00:07:59,119 Speaker 1: You don't want someone who says, do whatever you want 135 00:07:59,360 --> 00:08:03,920 Speaker 1: you really do. Penny truly didn't know lenses. So I 136 00:08:03,920 --> 00:08:05,960 Speaker 1: would say, you know, we'll start on the rug and 137 00:08:06,080 --> 00:08:08,680 Speaker 1: Tom's feet will come in and we'll boom back, and 138 00:08:08,680 --> 00:08:12,560 Speaker 1: then we'll discover that he's no longer a boy. Great, 139 00:08:12,760 --> 00:08:15,800 Speaker 1: and then we I line up the shot, show Penny 140 00:08:15,840 --> 00:08:18,200 Speaker 1: the shot and she goes, I see his feet, but 141 00:08:18,360 --> 00:08:21,720 Speaker 1: where's his head? I said, well, you know, we'll reveal 142 00:08:21,920 --> 00:08:23,520 Speaker 1: what She would say, well, yeah, but I want to 143 00:08:23,520 --> 00:08:26,680 Speaker 1: see his feet and his head and you go right, 144 00:08:26,720 --> 00:08:29,400 Speaker 1: but then you're wide because if you're seeing his feet 145 00:08:29,440 --> 00:08:32,360 Speaker 1: and his head, he's six ft tall. And she'd go, 146 00:08:33,000 --> 00:08:35,600 Speaker 1: I don't understand what you're doing, but would let me 147 00:08:35,640 --> 00:08:38,720 Speaker 1: do it? And it was. It was a nightmare, really was, 148 00:08:38,880 --> 00:08:42,160 Speaker 1: and I didn't enjoy the experience, even though I got 149 00:08:42,200 --> 00:08:45,719 Speaker 1: to put the camera wherever I wanted. Was hit, huge hit, 150 00:08:45,840 --> 00:08:48,800 Speaker 1: and it was the fourth movie after you know, it 151 00:08:48,880 --> 00:08:52,880 Speaker 1: was eighteen again with Judge Reinhold. There was oh god, 152 00:08:53,000 --> 00:08:56,480 Speaker 1: there were a series of movies about body switching comedies 153 00:08:56,840 --> 00:08:59,240 Speaker 1: that came out right before us, and we were the 154 00:08:59,280 --> 00:09:01,160 Speaker 1: fourth one. And we assume the movie was going to 155 00:09:01,240 --> 00:09:06,800 Speaker 1: be uncuttable because it was. It was really hard. He 156 00:09:07,000 --> 00:09:10,480 Speaker 1: was great, and we really enjoyed working together. I think 157 00:09:10,520 --> 00:09:14,880 Speaker 1: it got a little bit um tends at the very 158 00:09:15,120 --> 00:09:18,640 Speaker 1: end of misery. I'll tell you why. Rob was always 159 00:09:18,640 --> 00:09:23,079 Speaker 1: saying I should direct, and I kept saying I had 160 00:09:23,120 --> 00:09:26,040 Speaker 1: no interest in directing, but I really you know, Kathy 161 00:09:26,080 --> 00:09:29,560 Speaker 1: Bates and I loved each other. Every every morning we 162 00:09:29,679 --> 00:09:32,880 Speaker 1: would meet and she would say, hey, son, and felt 163 00:09:32,920 --> 00:09:35,320 Speaker 1: f you, and I'd go, f you, Kathy, And you know, 164 00:09:35,440 --> 00:09:38,720 Speaker 1: it was that kind of relationship when and we both 165 00:09:38,800 --> 00:09:42,040 Speaker 1: and everyone hated Jimmy con Rob and I hated Jimmy 166 00:09:42,160 --> 00:09:45,160 Speaker 1: so much that when one day Jimmy said, Hey, Rob, 167 00:09:45,160 --> 00:09:48,800 Speaker 1: how far do you want me to crawl? And Rob 168 00:09:48,880 --> 00:09:51,120 Speaker 1: said to me back, how far should he crawl? And 169 00:09:51,160 --> 00:09:57,040 Speaker 1: I literally spit on the floor and I said to 170 00:09:57,160 --> 00:10:01,360 Speaker 1: their and Rob said, crawled to the loogie Jimmy, Yes, 171 00:10:01,760 --> 00:10:06,000 Speaker 1: curl to the lugi Jimmy so uh so. And then 172 00:10:06,040 --> 00:10:09,160 Speaker 1: at the very end the last two weeks of Miseries, 173 00:10:09,280 --> 00:10:13,920 Speaker 1: when when I told Rob I might become a director, 174 00:10:13,960 --> 00:10:18,040 Speaker 1: I think the last two weeks, suddenly my friend of 175 00:10:18,080 --> 00:10:22,880 Speaker 1: the director thing became a oh, Barry thinks he's a 176 00:10:22,960 --> 00:10:28,160 Speaker 1: director thing. It was it was Barry's changed. And at 177 00:10:28,200 --> 00:10:30,440 Speaker 1: the end of Misery we didn't talk to each other 178 00:10:30,480 --> 00:10:33,040 Speaker 1: for a couple of years. And then Sweetie and I 179 00:10:33,080 --> 00:10:36,920 Speaker 1: were Mr Chows in Beverly Hills name dropping thing, and 180 00:10:37,120 --> 00:10:41,000 Speaker 1: um I saw Robin Michelle eating a couple of tables away, 181 00:10:41,080 --> 00:10:43,200 Speaker 1: and I went up and I said, Hey, should we 182 00:10:43,240 --> 00:10:47,440 Speaker 1: be friends again? And Rob said absolutely, and just like that, 183 00:10:47,640 --> 00:10:50,520 Speaker 1: and Sweetie was nervous, what's going to happen? I said, 184 00:10:50,720 --> 00:10:55,000 Speaker 1: but you know what? Yeah, And it was like that 185 00:10:55,240 --> 00:10:57,400 Speaker 1: who are actors you worked with? Who when you were 186 00:10:57,400 --> 00:10:59,920 Speaker 1: shooting with him as a director or DP that you went, 187 00:11:00,040 --> 00:11:03,000 Speaker 1: oh my god, what a great opportunity. This is Kathy Bates, 188 00:11:03,600 --> 00:11:06,560 Speaker 1: Kathy Bates and Misery. In fact, Kathy was my idea. 189 00:11:06,720 --> 00:11:10,240 Speaker 1: Rob wanted Bette Midler for the role and I said, 190 00:11:10,280 --> 00:11:13,480 Speaker 1: you know what, maybe, but you should see Kathy. I 191 00:11:13,520 --> 00:11:16,480 Speaker 1: had seen her in Night Mother on Broadway and she 192 00:11:16,600 --> 00:11:21,680 Speaker 1: was extraordinary and Rob hired her. So Cathy was. Kathy 193 00:11:21,800 --> 00:11:24,720 Speaker 1: was one of those actors that until the take, no 194 00:11:24,760 --> 00:11:28,200 Speaker 1: matter how if she was supposed to cry or be furious, 195 00:11:28,480 --> 00:11:31,560 Speaker 1: would just joke around. There was no method acting, there 196 00:11:31,640 --> 00:11:34,080 Speaker 1: was nothing. We just goof around and then it would 197 00:11:34,080 --> 00:11:36,120 Speaker 1: be action. Turn it on and then turn it on. 198 00:11:36,160 --> 00:11:39,920 Speaker 1: And here Shirley McClain was like that, but I don't 199 00:11:39,960 --> 00:11:42,920 Speaker 1: mean playful and silly. But Meryl was somebody that access 200 00:11:43,000 --> 00:11:46,680 Speaker 1: is what she wants to access very handily for the 201 00:11:46,720 --> 00:11:52,040 Speaker 1: most part. So Kathy was great. Um when as a DP, 202 00:11:52,440 --> 00:11:55,400 Speaker 1: you know, it's it's interesting because as a d P, 203 00:11:57,240 --> 00:12:01,640 Speaker 1: I never really got actors and I never really understood 204 00:12:01,679 --> 00:12:04,480 Speaker 1: what they needed. And I always felt they were a 205 00:12:04,480 --> 00:12:07,280 Speaker 1: little bit of the enemy because they would rehearse looking 206 00:12:07,320 --> 00:12:10,360 Speaker 1: this way, so you'd light with the key light being, 207 00:12:10,679 --> 00:12:12,439 Speaker 1: you know, to the left, and then they would come 208 00:12:12,440 --> 00:12:15,120 Speaker 1: in and shoot it and they would do something totally different. 209 00:12:15,800 --> 00:12:18,959 Speaker 1: So I remember one night on when Harry met Sally, 210 00:12:19,679 --> 00:12:22,440 Speaker 1: we had a very long walk and talk on West Broadway. 211 00:12:22,440 --> 00:12:25,760 Speaker 1: It was probably a hundred yards, and we laid track 212 00:12:25,800 --> 00:12:29,640 Speaker 1: because I never liked steadicam endless track. We had a 213 00:12:29,679 --> 00:12:33,600 Speaker 1: two and ten ft lighting condor, really huge set up, 214 00:12:34,000 --> 00:12:39,160 Speaker 1: and it was Bruno, Carrie, Billy and Meg and it's 215 00:12:39,200 --> 00:12:42,559 Speaker 1: a four shot with no coverage. And during the rehearsals 216 00:12:42,559 --> 00:12:46,040 Speaker 1: they didn't know their lines, so they're talking slowly and 217 00:12:46,600 --> 00:12:49,080 Speaker 1: but now they go to hair and makeup, they've learned 218 00:12:49,120 --> 00:12:52,280 Speaker 1: their lines, and now they're racing through it and they're 219 00:12:52,320 --> 00:12:56,600 Speaker 1: going eighty feet past where I'm lit. And I remember 220 00:12:56,600 --> 00:12:58,760 Speaker 1: going to Rob and I said, hey, Rob, you know 221 00:12:58,800 --> 00:13:01,959 Speaker 1: they're they've got a up here and hit their mark. 222 00:13:02,080 --> 00:13:05,280 Speaker 1: And Rob would try to get Meg to hit her 223 00:13:05,320 --> 00:13:08,240 Speaker 1: mark and it never worked, and I realized, here's what 224 00:13:08,400 --> 00:13:10,960 Speaker 1: to do. So instead of saying to Meg, can you 225 00:13:11,040 --> 00:13:13,560 Speaker 1: really hit that mark? I said, hey, Meg, stop wherever 226 00:13:13,679 --> 00:13:18,400 Speaker 1: you want. If you happen to stop here, your lit beautifully, 227 00:13:18,800 --> 00:13:21,160 Speaker 1: and then she would stop there every time, so I 228 00:13:21,200 --> 00:13:25,079 Speaker 1: had to make it give her reason why she wanted 229 00:13:25,120 --> 00:13:27,480 Speaker 1: to stop there, as opposed to why I needed her 230 00:13:27,520 --> 00:13:30,120 Speaker 1: to say. That's incredibly significant to me because I always 231 00:13:30,160 --> 00:13:33,760 Speaker 1: prided myself what I called my triangulation with the camera. 232 00:13:34,440 --> 00:13:36,640 Speaker 1: The joke version is I put my hands on the 233 00:13:36,679 --> 00:13:38,760 Speaker 1: shoulders of the guy and be like, now, Bob, listen 234 00:13:38,800 --> 00:13:40,240 Speaker 1: to me, and I jerked him out of my lights 235 00:13:40,640 --> 00:13:42,800 Speaker 1: right right, Bob, You've got to listen to me. You've 236 00:13:42,800 --> 00:13:45,600 Speaker 1: gotta understand, and you might him over, you know whatever 237 00:13:45,640 --> 00:13:48,199 Speaker 1: I would do to a comedy to get the shot 238 00:13:48,240 --> 00:13:51,280 Speaker 1: that's right. At what point do you begin to really 239 00:13:51,480 --> 00:13:54,600 Speaker 1: burn with the passion if you will to direct? I 240 00:13:54,760 --> 00:13:58,720 Speaker 1: had no passion to direct. I was in l A 241 00:13:59,040 --> 00:14:02,920 Speaker 1: finishing the color timing on Misery, which ended up being 242 00:14:02,920 --> 00:14:05,480 Speaker 1: the last movie. No, no, I'm sorry. The last two 243 00:14:05,480 --> 00:14:08,360 Speaker 1: weeks of shooting, I remember now and Sweedie and I 244 00:14:08,480 --> 00:14:12,400 Speaker 1: were at the Four Seasons Hotel on Doheny watching the 245 00:14:12,440 --> 00:14:17,280 Speaker 1: Indianapolis five in bed and the phone rang and the 246 00:14:17,320 --> 00:14:19,760 Speaker 1: front dusk said, Scott Ruden has just dropped off a 247 00:14:19,800 --> 00:14:22,320 Speaker 1: script for you. He wants you to read. Read it. 248 00:14:22,360 --> 00:14:25,360 Speaker 1: And meet him at in two hours. That hugoes, I 249 00:14:25,360 --> 00:14:27,360 Speaker 1: don't know if you ever eat. Of course, to Hugo 250 00:14:27,520 --> 00:14:29,600 Speaker 1: all the time in West Hollywood, the pasta with the 251 00:14:29,600 --> 00:14:35,960 Speaker 1: scrambled eggs. So and there was this nose saying, read this, 252 00:14:36,080 --> 00:14:39,000 Speaker 1: I want you to direct it. It was Adams family. 253 00:14:39,440 --> 00:14:42,320 Speaker 1: That's right, I read it. It wasn't very good. I 254 00:14:42,400 --> 00:14:45,440 Speaker 1: said to Sweetie, this isn't good. She says, you'll make 255 00:14:45,480 --> 00:14:48,520 Speaker 1: it better. Scott will make it better. I had known 256 00:14:48,560 --> 00:14:50,640 Speaker 1: Scott a little bit, and this is why he wanted 257 00:14:50,680 --> 00:14:54,080 Speaker 1: me to direct it. He went to Terry Gilliam and 258 00:14:54,160 --> 00:14:57,840 Speaker 1: Tim Burton and they both passed on Adam's family. Scott 259 00:14:57,920 --> 00:15:02,280 Speaker 1: told me at lunch he would rather have of visual stylist. 260 00:15:02,440 --> 00:15:05,760 Speaker 1: And he was ahead of Paramount Productions when I shot 261 00:15:05,880 --> 00:15:10,720 Speaker 1: Big and and Raising Arizona, so he knew I could 262 00:15:11,040 --> 00:15:13,880 Speaker 1: could shoot and had a very specific point of view, 263 00:15:13,880 --> 00:15:16,280 Speaker 1: like you were saying that the camera can be sort 264 00:15:16,280 --> 00:15:19,280 Speaker 1: of a character in the show, you know. So he said, 265 00:15:19,720 --> 00:15:22,400 Speaker 1: all the good directors passed, so I figured I'd give 266 00:15:22,440 --> 00:15:26,920 Speaker 1: you a chance. But which is all? That's right. I've 267 00:15:26,920 --> 00:15:30,160 Speaker 1: been there before now. I directed one movie. I hated 268 00:15:30,160 --> 00:15:33,040 Speaker 1: every minute of it. I hated it. Here's what I did. 269 00:15:33,640 --> 00:15:36,440 Speaker 1: I looked at and you you mentioned him earlier, but 270 00:15:36,640 --> 00:15:39,360 Speaker 1: I looked at what Jan da Bant did. Gordon Willis 271 00:15:39,400 --> 00:15:43,760 Speaker 1: shot a movie called Windows, Bill Freaker shot Legend of 272 00:15:43,800 --> 00:15:48,000 Speaker 1: the Lone Ranger. These are all famous dps. John Alonzo 273 00:15:48,040 --> 00:15:51,520 Speaker 1: who had shut Chinatown, and Farewell, My Lovely Great Cameraman 274 00:15:52,080 --> 00:15:55,440 Speaker 1: shot f M. None of them directed a second movie. 275 00:15:55,520 --> 00:15:59,000 Speaker 1: And the reason was they all moved up their camera 276 00:15:59,080 --> 00:16:02,680 Speaker 1: operator d P, which means they didn't want to give 277 00:16:02,760 --> 00:16:06,440 Speaker 1: up the camera, right, So by just not hiring a 278 00:16:06,440 --> 00:16:08,920 Speaker 1: good cameraman, they would still be in charge of the camera. 279 00:16:09,000 --> 00:16:11,000 Speaker 1: They didn't do for a d d P what a 280 00:16:11,120 --> 00:16:14,000 Speaker 1: director had done for that. That's right, that's right. So 281 00:16:14,040 --> 00:16:17,040 Speaker 1: what I did is I said, I need the greatest 282 00:16:17,120 --> 00:16:21,360 Speaker 1: cameraman I can find, so I'll never say, shouldn't at 283 00:16:21,440 --> 00:16:26,240 Speaker 1: ten k go over there? So I hired a really great, 284 00:16:26,440 --> 00:16:31,240 Speaker 1: cranky guy named Owen Roisman, who shot you know, um 285 00:16:31,280 --> 00:16:35,640 Speaker 1: oh Tutsi and millions of many, many great films. And 286 00:16:35,680 --> 00:16:37,920 Speaker 1: I said to and I said, look, I'll never get 287 00:16:38,000 --> 00:16:41,000 Speaker 1: involved in your lighting. I just want you to agree 288 00:16:41,040 --> 00:16:44,320 Speaker 1: to a couple of things. One is I want Angelica Euston, 289 00:16:44,360 --> 00:16:47,600 Speaker 1: who played more Tisha, to have her own motivated light. 290 00:16:47,720 --> 00:16:50,080 Speaker 1: I don't care if she's standing right by the window, 291 00:16:50,600 --> 00:16:53,720 Speaker 1: that's not where the light should come from. She's in 292 00:16:53,800 --> 00:16:56,880 Speaker 1: another zip code. She should look like a herral. So 293 00:16:57,080 --> 00:17:00,320 Speaker 1: Owen loved the idea, and I said, and I would 294 00:17:00,320 --> 00:17:02,680 Speaker 1: like to design the shots because I know how I'm 295 00:17:02,680 --> 00:17:04,959 Speaker 1: going to edit it. And he said, makes it easier 296 00:17:05,000 --> 00:17:08,640 Speaker 1: for me. So to this day, from Adam's family, through 297 00:17:08,680 --> 00:17:12,080 Speaker 1: a series of unfortunate events, whenever I say cut, check 298 00:17:12,160 --> 00:17:14,359 Speaker 1: the gate, even though there's no longer a gate to 299 00:17:14,480 --> 00:17:18,119 Speaker 1: check the cameras has enhanced me the viewfinder and I 300 00:17:18,200 --> 00:17:22,880 Speaker 1: line up the next shot. The thing is, when you're there, 301 00:17:22,960 --> 00:17:25,560 Speaker 1: you're first film with Ruden, when you're in pre production 302 00:17:25,600 --> 00:17:27,560 Speaker 1: making the film, does he defer to you when you 303 00:17:27,640 --> 00:17:30,239 Speaker 1: wanted Raoul Julia, and you wanted this one and this 304 00:17:30,280 --> 00:17:34,399 Speaker 1: one and this one. Okay, so we agreed on Raoul 305 00:17:34,560 --> 00:17:38,639 Speaker 1: and Angelica. We totally disagreed on Wednesday. I really wanted 306 00:17:38,720 --> 00:17:42,480 Speaker 1: Christina Ricci and he wanted this other girl who had 307 00:17:42,600 --> 00:17:46,440 Speaker 1: hyper thyroid eyes that looked more like raw Julia. And 308 00:17:46,520 --> 00:17:50,480 Speaker 1: luckily David Reuben, who is a casting agent, agreed with me. 309 00:17:50,960 --> 00:17:53,880 Speaker 1: But here's how I doubt it. Ruden Ruden. I love 310 00:17:53,960 --> 00:17:56,040 Speaker 1: Here's my quote about Ruden. I love him and I 311 00:17:56,040 --> 00:17:59,600 Speaker 1: wish he were dead. Um uh, you know Nick and 312 00:17:59,640 --> 00:18:05,359 Speaker 1: tonys in him. Of course. I saw Robert Benton eating 313 00:18:05,359 --> 00:18:08,320 Speaker 1: dinner with his wife Sally, and I knew that he 314 00:18:08,359 --> 00:18:11,000 Speaker 1: was flying the next day with Scott Ruden to London 315 00:18:11,080 --> 00:18:13,800 Speaker 1: for Nobody's school. And I went up to Benton. I 316 00:18:13,840 --> 00:18:16,280 Speaker 1: had never met him before. They were both at Nick 317 00:18:16,320 --> 00:18:18,800 Speaker 1: and we were finishing dinner at nick Cantons. They were 318 00:18:18,840 --> 00:18:22,359 Speaker 1: studying a great guy, lovely, and I went up to 319 00:18:22,440 --> 00:18:23,960 Speaker 1: him and I said, excuse me, you don't know me. 320 00:18:24,040 --> 00:18:25,919 Speaker 1: My name is Barry's son and fell I just wanted 321 00:18:26,040 --> 00:18:27,760 Speaker 1: you to know that I know you're flying to London 322 00:18:27,800 --> 00:18:30,280 Speaker 1: tomorrow with Scott Ruten. I just wanted to tell you that, 323 00:18:30,800 --> 00:18:34,240 Speaker 1: even though you're brilliant director Places in the Heart, Cramer 324 00:18:34,359 --> 00:18:37,119 Speaker 1: Versus Cramer, all these movies, I so want your plane 325 00:18:37,680 --> 00:18:41,080 Speaker 1: to go down in a flaming wreck where you survived, 326 00:18:41,119 --> 00:18:44,680 Speaker 1: but Scott Rutten dies. And literally he looked at me 327 00:18:44,800 --> 00:18:48,480 Speaker 1: and said, sit down, young man, and what's you're sweetie? 328 00:18:48,480 --> 00:18:52,720 Speaker 1: Oh welcome, And we became friends for decades, so Ruden 329 00:18:53,000 --> 00:18:59,400 Speaker 1: was Ruten was very difficult, very brilliant. He really didn't 330 00:18:59,400 --> 00:19:04,199 Speaker 1: care about the lodgect. He didn't understand shooting visually. I 331 00:19:04,240 --> 00:19:06,480 Speaker 1: remember there was a setup that I wanted to play 332 00:19:06,480 --> 00:19:10,000 Speaker 1: in a Master because sometimes if you look at screwball 333 00:19:10,040 --> 00:19:17,240 Speaker 1: comedies like His Girl Friday Sturgis comedy plays in the Master, right, 334 00:19:17,280 --> 00:19:20,840 Speaker 1: you see action and reaction in the same shot. Right, yeah, 335 00:19:21,240 --> 00:19:22,840 Speaker 1: let me have to hear her throw in a magazine. 336 00:19:23,000 --> 00:19:25,240 Speaker 1: My favorite line in the Marks Brothers movie when Crouse 337 00:19:25,240 --> 00:19:28,040 Speaker 1: she gets thrown into a bathroom. But in any case, 338 00:19:28,200 --> 00:19:30,840 Speaker 1: um so I set up the shot and it only 339 00:19:30,880 --> 00:19:36,720 Speaker 1: worked without inserts or close ups, because like Charles Adams's cartoons, 340 00:19:37,240 --> 00:19:40,280 Speaker 1: you want the audience to find a joke, right. You 341 00:19:40,280 --> 00:19:42,199 Speaker 1: don't want to say, here's the punch line in a 342 00:19:42,240 --> 00:19:46,520 Speaker 1: close up, and Ruden insisted I cover it. I said, okay, well, 343 00:19:46,560 --> 00:19:48,760 Speaker 1: let me get the master perfect so I don't have 344 00:19:48,880 --> 00:19:52,480 Speaker 1: to have the coverage. And I got it perfect, and 345 00:19:52,480 --> 00:19:54,200 Speaker 1: then I moved in for a close up and he said, 346 00:19:54,200 --> 00:19:55,720 Speaker 1: what are you doing. I said, well, you want me 347 00:19:55,800 --> 00:19:58,199 Speaker 1: to cover it? He said, no, it's perfect. So he 348 00:19:58,359 --> 00:20:02,040 Speaker 1: just has to be proved to show him, And the 349 00:20:02,119 --> 00:20:04,720 Speaker 1: secret to working with Ruden is to out juvenile him. 350 00:20:04,840 --> 00:20:07,919 Speaker 1: So when we had a fight in pre production, I 351 00:20:07,920 --> 00:20:11,479 Speaker 1: would remove all of his couches cushions and build a 352 00:20:11,480 --> 00:20:15,479 Speaker 1: fort and crawl into the fort, close the last pillow 353 00:20:15,640 --> 00:20:17,920 Speaker 1: and yell, I can't hear you. I'm in the fort. 354 00:20:18,000 --> 00:20:22,400 Speaker 1: And what was great about Scott is he totally accepted 355 00:20:22,840 --> 00:20:25,840 Speaker 1: the sanctity of the fort. He would never pick up 356 00:20:25,840 --> 00:20:29,280 Speaker 1: a pillow and say, schmuck, there is no fort. He screamed, 357 00:20:29,320 --> 00:20:31,760 Speaker 1: get out of the fort. But he would never just 358 00:20:31,800 --> 00:20:35,520 Speaker 1: pick up. He respected the fort. And eventually you say, 359 00:20:35,560 --> 00:20:38,160 Speaker 1: all right, fine, just get out. We'll talk about it. 360 00:20:38,640 --> 00:20:41,320 Speaker 1: I just worshiped Raoul. I mean, was he everything that 361 00:20:41,400 --> 00:20:45,600 Speaker 1: I thought he was? Yes? He was. He loved being alive, 362 00:20:45,920 --> 00:20:50,560 Speaker 1: he loved himself, he loved acting, he loved women. I 363 00:20:51,240 --> 00:20:55,120 Speaker 1: remember asking him we were having dinner one night, uh 364 00:20:55,200 --> 00:20:57,439 Speaker 1: in l A, and I said, would you ever direct? 365 00:20:57,480 --> 00:20:59,560 Speaker 1: And he said, why would I want to direct? I'm 366 00:20:59,560 --> 00:21:02,879 Speaker 1: gonna act and he meant it. And I remember on 367 00:21:03,000 --> 00:21:06,080 Speaker 1: Adam's Family Values, this is scene where Raoul is really 368 00:21:06,119 --> 00:21:10,320 Speaker 1: angry and he's throwing darts and lurches holding the dartboard 369 00:21:10,400 --> 00:21:13,560 Speaker 1: and moving it around because Raoul is so angry he's missed. 370 00:21:13,600 --> 00:21:16,800 Speaker 1: You know, he's not throwing it right, So Lurch is 371 00:21:16,840 --> 00:21:19,840 Speaker 1: like holding it up and he keeps getting bull's eyes 372 00:21:19,840 --> 00:21:23,399 Speaker 1: but it's knocking off of walls and we we rehearse it, 373 00:21:23,480 --> 00:21:27,439 Speaker 1: and Raoul said, very let me ask you a question. 374 00:21:27,720 --> 00:21:34,440 Speaker 1: You know, Gomez is a perfect marksman. Even if he's angry, 375 00:21:34,880 --> 00:21:37,080 Speaker 1: he would hit or drunk, he would hit a bull's 376 00:21:37,080 --> 00:21:40,680 Speaker 1: eye every time. He wouldn't bang off from walls and lambs, 377 00:21:40,720 --> 00:21:43,960 Speaker 1: and Lurch wouldn't have to. This is Gomez. Gomez doesn't 378 00:21:44,000 --> 00:21:48,000 Speaker 1: need that. And I go, well, here's the thing, Raoul, 379 00:21:48,520 --> 00:21:50,720 Speaker 1: and he said, right, the thing is, it's not funny, 380 00:21:50,960 --> 00:21:53,479 Speaker 1: so let's keep going. So he wanted me to know 381 00:21:53,520 --> 00:21:56,439 Speaker 1: that what we were doing was wrong, and that he 382 00:21:56,560 --> 00:21:58,480 Speaker 1: was so smart he knew it was wrong, but then 383 00:21:58,480 --> 00:22:02,120 Speaker 1: he was okay with it. So he was fantastic. When 384 00:22:02,160 --> 00:22:07,119 Speaker 1: I see that film Joan Cusack, I mean, who in 385 00:22:07,160 --> 00:22:10,879 Speaker 1: the world is funnier than Joan Cusack. No, nobody, And 386 00:22:10,960 --> 00:22:14,720 Speaker 1: I said to John, because Joan has an amazingly hideous laugh. 387 00:22:14,800 --> 00:22:18,080 Speaker 1: It's like a cackle. And I said to her, and 388 00:22:18,160 --> 00:22:21,200 Speaker 1: she was single at the time. I said, someday someone 389 00:22:21,359 --> 00:22:23,760 Speaker 1: is going to fall in love with you because of 390 00:22:23,840 --> 00:22:26,480 Speaker 1: that laugh, and once they marry you, they're going to 391 00:22:26,640 --> 00:22:31,080 Speaker 1: hate you because of that laugh. She was so game 392 00:22:31,200 --> 00:22:35,800 Speaker 1: and so winning, and her whole Malibu Barbie speeches brilliant. 393 00:22:35,880 --> 00:22:40,040 Speaker 1: And my favorite moment is, Uh, Joan blows up her 394 00:22:40,040 --> 00:22:42,840 Speaker 1: house to kill faster, and there's a close up of 395 00:22:42,880 --> 00:22:47,000 Speaker 1: her sort of weeping, and without any cut, she goes 396 00:22:47,040 --> 00:22:51,960 Speaker 1: from weeping to my favorite scene, which says, off, sir, 397 00:22:52,400 --> 00:22:54,960 Speaker 1: my husband was in the house. That's right, and she 398 00:22:55,000 --> 00:22:57,480 Speaker 1: does the laugh. Then she comes out of the car. Help. 399 00:22:59,520 --> 00:23:02,520 Speaker 1: I of that movie. I love I love, love love 400 00:23:02,560 --> 00:23:08,320 Speaker 1: that movie. Another Hollywood double threat is the man Stanley Kubrick, 401 00:23:08,440 --> 00:23:12,919 Speaker 1: persuaded to leave a promising acting career and work behind 402 00:23:12,960 --> 00:23:17,280 Speaker 1: the scenes instead Leon the Tally as a favor to 403 00:23:17,400 --> 00:23:21,320 Speaker 1: Kubrick after his star turn in Barry Linden. The Tally 404 00:23:21,440 --> 00:23:24,800 Speaker 1: was doing some casting work and locations scouting for The Shining. 405 00:23:25,320 --> 00:23:28,800 Speaker 1: The master director was pleased. Towards the very end, just 406 00:23:28,880 --> 00:23:32,400 Speaker 1: before we came home, he rang me and uh, and 407 00:23:32,440 --> 00:23:35,359 Speaker 1: he said, what are you planning on doing after you 408 00:23:35,440 --> 00:23:39,040 Speaker 1: finished here? And I said I don't know. He said, okay, 409 00:23:39,119 --> 00:23:42,080 Speaker 1: then you're coming to London, now, is it? I mean 410 00:23:42,320 --> 00:23:47,040 Speaker 1: suddenly I I'd got a job. You can get a 411 00:23:47,119 --> 00:23:50,360 Speaker 1: link to my full interview with Leon the Tally and 412 00:23:50,480 --> 00:23:53,360 Speaker 1: the man who made the documentary about him by texting 413 00:23:53,560 --> 00:23:57,320 Speaker 1: the Tally that's v I T A L I to 414 00:23:57,600 --> 00:24:04,199 Speaker 1: seven zero one zero one. Barry Sonnenfeld gets personal coming up. 415 00:24:16,840 --> 00:24:20,400 Speaker 1: I'm Alec Baldwin and this is here's the thing. Now 416 00:24:20,640 --> 00:24:25,119 Speaker 1: back to my conversation with director Barry Sonnenfeld. You're a 417 00:24:25,119 --> 00:24:27,840 Speaker 1: funny guy, and I'm wondering when you did which I 418 00:24:27,880 --> 00:24:30,119 Speaker 1: actually liked to meet, even though there were some mixed 419 00:24:30,160 --> 00:24:32,959 Speaker 1: reviews and you had mixed success with Wild Wild West. 420 00:24:33,520 --> 00:24:37,639 Speaker 1: I liked Wild Wild West. I know I did. I 421 00:24:37,680 --> 00:24:39,320 Speaker 1: mean when I movie came out of watching and I go, 422 00:24:39,359 --> 00:24:41,240 Speaker 1: there's a lot of good things in this movie. What 423 00:24:41,280 --> 00:24:43,639 Speaker 1: was it like for you working with His Royal Highness 424 00:24:43,680 --> 00:24:50,120 Speaker 1: Kevin Klein. Here's the challenge with Kevin. You need one 425 00:24:50,160 --> 00:24:52,879 Speaker 1: straight man and one funny man. You need Gracie Allen 426 00:24:53,240 --> 00:24:56,879 Speaker 1: and George Burns. You don't want to Gracey Allen's so 427 00:24:57,680 --> 00:25:00,879 Speaker 1: Will Smith. Will was very much on board with that theory. 428 00:25:01,160 --> 00:25:04,680 Speaker 1: One straight man, one funny man and Kevin refused to 429 00:25:04,720 --> 00:25:07,480 Speaker 1: not be the funny guy. Will was supposed to be 430 00:25:07,480 --> 00:25:09,920 Speaker 1: the funny guy. Kevin was supposed to be the artemists, 431 00:25:10,119 --> 00:25:15,199 Speaker 1: the straight, straight ahead guy. So because Will knows the 432 00:25:15,200 --> 00:25:17,280 Speaker 1: way I like to work so well, after a week, 433 00:25:17,359 --> 00:25:19,720 Speaker 1: Will came up to me and said, hey, bas He 434 00:25:19,800 --> 00:25:22,240 Speaker 1: called me, bas Um, I think I'm going to have 435 00:25:22,320 --> 00:25:24,760 Speaker 1: to be the straight man and I said, I think 436 00:25:24,760 --> 00:25:27,920 Speaker 1: you are too. So that was one challenge. The other 437 00:25:28,000 --> 00:25:32,399 Speaker 1: challenge was that we had Kenneth Brana playing loveless. The 438 00:25:32,560 --> 00:25:37,160 Speaker 1: challenges that Kevin Klein and Kenneth Bruna both think they're 439 00:25:37,200 --> 00:25:44,639 Speaker 1: the greatest living Shakespearean actor. Therefore one of them they 440 00:25:44,680 --> 00:25:49,040 Speaker 1: have Shakespeare offs. They Kevin would literally come onto this 441 00:25:49,200 --> 00:25:52,600 Speaker 1: set saying a rose by any other, pardon me, though, 442 00:25:52,640 --> 00:25:55,280 Speaker 1: bleeding piece of earth, that I am meek and gentle 443 00:25:55,400 --> 00:25:58,720 Speaker 1: with these butchers. That would be Kevin. That would be Kevin. 444 00:25:58,760 --> 00:26:02,199 Speaker 1: So is a real challenge. There are things about that 445 00:26:02,240 --> 00:26:04,960 Speaker 1: movie I really like, but it was it was hard 446 00:26:05,040 --> 00:26:08,280 Speaker 1: because Kevin was difficult and Kevin felt he was slumming. 447 00:26:09,160 --> 00:26:11,199 Speaker 1: Kevin really didn't want to be there. He didn't want 448 00:26:11,240 --> 00:26:14,080 Speaker 1: to be in a comedy. That kind of comedy he's 449 00:26:14,119 --> 00:26:16,760 Speaker 1: a really great actor, and he's a really funny act. 450 00:26:16,880 --> 00:26:19,080 Speaker 1: Was he enthusiastic about the film in the beginning and 451 00:26:19,119 --> 00:26:21,359 Speaker 1: then he found that it was something else? Or no, 452 00:26:21,640 --> 00:26:23,840 Speaker 1: I think it was a paycheck. It was a paycheck. 453 00:26:24,080 --> 00:26:25,960 Speaker 1: It was and it was a big paycheck. And it 454 00:26:26,080 --> 00:26:28,359 Speaker 1: maybe the first time we ever and probably the last 455 00:26:28,359 --> 00:26:31,959 Speaker 1: time he ever got some sliver of gross. So they 456 00:26:32,000 --> 00:26:36,080 Speaker 1: thought that was going to like move him off. Um, 457 00:26:36,160 --> 00:26:39,240 Speaker 1: you and I have a profound thing in common. You 458 00:26:39,280 --> 00:26:41,240 Speaker 1: may not find it that profound, but I do, which 459 00:26:41,280 --> 00:26:45,679 Speaker 1: is that my grandfather who had no money but was 460 00:26:45,760 --> 00:26:48,919 Speaker 1: a philadelist and a new mismatist of a very you know, 461 00:26:49,040 --> 00:26:50,800 Speaker 1: certain level. He didn't have any money, but he would 462 00:26:50,800 --> 00:26:54,080 Speaker 1: find liberties and mercury duns and put him in the books. 463 00:26:54,080 --> 00:26:56,879 Speaker 1: And I had a big box, a couple of boxes 464 00:26:56,920 --> 00:27:01,119 Speaker 1: of these coins that my mother then sold and she 465 00:27:01,200 --> 00:27:03,520 Speaker 1: goes and she sells these things. And it was one 466 00:27:03,560 --> 00:27:06,639 Speaker 1: of the most painful moments of my life when my dad, 467 00:27:06,720 --> 00:27:10,760 Speaker 1: who his father had given me boxes the first date covers. 468 00:27:11,359 --> 00:27:13,680 Speaker 1: My grandfather traveled around because of what he wound up doing, 469 00:27:13,720 --> 00:27:16,240 Speaker 1: was he wound up being a consultant, a legal consultant, 470 00:27:16,240 --> 00:27:18,960 Speaker 1: to race tracks. He gave me a box of these 471 00:27:19,000 --> 00:27:21,600 Speaker 1: first date covers, but boxes of them. There were, there 472 00:27:21,600 --> 00:27:23,879 Speaker 1: were hundreds of them, and he collected these coins and 473 00:27:23,920 --> 00:27:26,120 Speaker 1: my mother sold all the coins. And then my dad 474 00:27:26,119 --> 00:27:28,040 Speaker 1: turned to me one day, I'll never forget with my dad. 475 00:27:28,600 --> 00:27:33,439 Speaker 1: He wanted to see I can't. I can't to this day, 476 00:27:33,480 --> 00:27:36,160 Speaker 1: I can't understand what he wanted to put me through 477 00:27:36,160 --> 00:27:37,760 Speaker 1: because it was a test to see what. I throw 478 00:27:37,840 --> 00:27:41,080 Speaker 1: my mother under the bus and they were estranged at 479 00:27:41,080 --> 00:27:42,919 Speaker 1: that point. And my father looked me and goes, that 480 00:27:43,040 --> 00:27:45,240 Speaker 1: box with all those coins that my father gave you, 481 00:27:45,400 --> 00:27:48,399 Speaker 1: that's still upstairs in your closet, isn't it. And like 482 00:27:48,440 --> 00:27:50,520 Speaker 1: a movie, like a horror movie, like a Hitchcock movie. 483 00:27:50,520 --> 00:27:54,760 Speaker 1: I was like, yeah, yeah, it's all there. Uh last 484 00:27:54,800 --> 00:27:56,719 Speaker 1: night looked it's all there. And he just stared at 485 00:27:56,720 --> 00:28:00,000 Speaker 1: me like, she got you too, She got you too. 486 00:28:00,119 --> 00:28:02,720 Speaker 1: You're lying to me, and I know what she's been doing. 487 00:28:02,760 --> 00:28:07,000 Speaker 1: And your parents sold your coin collection, right, my I 488 00:28:07,200 --> 00:28:10,600 Speaker 1: and you remember the coin collections, those books with that 489 00:28:10,880 --> 00:28:14,720 Speaker 1: semi circles so that the queen could Yeah, exactly, So 490 00:28:15,200 --> 00:28:17,399 Speaker 1: I had twenty two silver dollars they roll from the 491 00:28:17,440 --> 00:28:20,520 Speaker 1: eighteen hundreds. Each one was worth between twenty five and 492 00:28:20,560 --> 00:28:23,600 Speaker 1: fifty bucks. We had no electricity, so Dad took my 493 00:28:23,680 --> 00:28:26,960 Speaker 1: twenty two silver dollars, went to con Ed and used 494 00:28:27,000 --> 00:28:31,560 Speaker 1: them as dollars to get our electricity back on. But 495 00:28:31,680 --> 00:28:34,480 Speaker 1: of course it was always hey, where are my silver dollars? 496 00:28:34,560 --> 00:28:37,320 Speaker 1: I don't know. I think Raphael must have stolen them. 497 00:28:37,680 --> 00:28:41,080 Speaker 1: Raphael was my neighbor one flight below, my best friend 498 00:28:41,320 --> 00:28:45,240 Speaker 1: growing up, so there was a lot of weird stuff 499 00:28:45,280 --> 00:28:47,680 Speaker 1: like the same with me with my sister said I 500 00:28:47,760 --> 00:28:50,680 Speaker 1: want to borrow the ring that grandpa gave you I 501 00:28:50,760 --> 00:28:52,200 Speaker 1: was a teenager. I said, what do you mean. She 502 00:28:52,240 --> 00:28:54,560 Speaker 1: goes that gold signet ring that said HE or I 503 00:28:54,560 --> 00:28:56,880 Speaker 1: be not worth very much money, and she goes, I 504 00:28:56,960 --> 00:28:58,520 Speaker 1: want to wear it to my prom I said, you 505 00:28:58,560 --> 00:29:00,400 Speaker 1: want to wear my ring that she's is? Yeah, I 506 00:29:00,440 --> 00:29:03,280 Speaker 1: think it's a very beautiful ring. It's Grandpa's initials two 507 00:29:03,280 --> 00:29:04,800 Speaker 1: and I want to wear it. She comes back from 508 00:29:04,800 --> 00:29:09,479 Speaker 1: the from the prominx that she said, I lost a ring. Yeah, right, 509 00:29:09,560 --> 00:29:15,360 Speaker 1: But your family life is complicated. Everyone's family's life is complicated. 510 00:29:15,440 --> 00:29:18,600 Speaker 1: I don't think you know my my theory, and my 511 00:29:18,640 --> 00:29:21,680 Speaker 1: wife hates me for saying this is that no one 512 00:29:21,760 --> 00:29:26,080 Speaker 1: asks to be born, and it's you'll never do a 513 00:29:26,120 --> 00:29:28,640 Speaker 1: good enough job as a parent, no matter how hard 514 00:29:28,680 --> 00:29:31,760 Speaker 1: you try. I'm okay, but I'm not great. My parents 515 00:29:31,800 --> 00:29:35,720 Speaker 1: were kind of lousy. They were good people, but terrible parents. 516 00:29:35,800 --> 00:29:40,000 Speaker 1: But uh so, I had my issues. You know, my 517 00:29:40,400 --> 00:29:43,320 Speaker 1: both my parents who are narcissistic. My father had a 518 00:29:43,320 --> 00:29:47,360 Speaker 1: lot of affairs. My mother was deeply depressed, would constantly 519 00:29:47,440 --> 00:29:50,320 Speaker 1: threaten suicide. You know, she's how many siblings you have? 520 00:29:50,840 --> 00:29:54,920 Speaker 1: Only child, Jewish? Only child? Not good? You know. The 521 00:29:55,600 --> 00:29:58,640 Speaker 1: title of the book Barry Senterfeld, Call Your Mother, is 522 00:29:58,720 --> 00:30:02,200 Speaker 1: based on the fact that I was at a Madison 523 00:30:02,200 --> 00:30:04,920 Speaker 1: Square garden at the first Peace concert. It was two 524 00:30:04,960 --> 00:30:07,440 Speaker 1: twenty in the morning. Jimmie Hendrix is warming up for 525 00:30:07,480 --> 00:30:10,720 Speaker 1: the second time, and over the p A system, as 526 00:30:10,800 --> 00:30:14,800 Speaker 1: Jimmy is about to start playing, comes the announcement Barry Son, 527 00:30:14,800 --> 00:30:21,600 Speaker 1: if I'll call your mother. And being the garden, you know, 528 00:30:21,680 --> 00:30:23,800 Speaker 1: they're very good at chanting. And I was in the 529 00:30:23,880 --> 00:30:29,000 Speaker 1: upper deck, you know, the blue seats. See here, Bady bad. 530 00:30:30,360 --> 00:30:32,520 Speaker 1: How old were you seventeen? I was a senior at 531 00:30:32,560 --> 00:30:35,040 Speaker 1: music in around high school and it was to twenty 532 00:30:35,080 --> 00:30:40,800 Speaker 1: in morning and that Washington Heights, and so I immediately 533 00:30:40,920 --> 00:30:43,800 Speaker 1: stand up, so everyone knows it's me. And I'm now 534 00:30:43,920 --> 00:30:47,160 Speaker 1: weeping because I know my father is dead, and that 535 00:30:47,200 --> 00:30:48,920 Speaker 1: means I'm going to be living with my mother for 536 00:30:48,960 --> 00:30:52,880 Speaker 1: the rest of my life because she can't function. Um, 537 00:30:53,200 --> 00:30:54,920 Speaker 1: So I get to the pay phone. I put in 538 00:30:54,960 --> 00:30:59,800 Speaker 1: the dime. I called Watsworth eighth. My mother is crying 539 00:31:00,080 --> 00:31:02,760 Speaker 1: because she thinks I'm dead because it's too twenty and 540 00:31:02,800 --> 00:31:06,720 Speaker 1: I promised i'd be home by two. Hi, Mom, who died? 541 00:31:07,160 --> 00:31:10,840 Speaker 1: I thought you died? Well, did they tell you the 542 00:31:10,840 --> 00:31:15,680 Speaker 1: concert was still going on? Yes, but they couldn't confirm 543 00:31:16,040 --> 00:31:18,600 Speaker 1: you were there in the garden, in the garden of 544 00:31:19,480 --> 00:31:23,680 Speaker 1: six your people. But my mother had this amazing strength 545 00:31:23,760 --> 00:31:26,640 Speaker 1: through weakness ability. I mean the fact that someone could 546 00:31:26,760 --> 00:31:31,000 Speaker 1: reach anyone at the garden and then convinced him that 547 00:31:31,040 --> 00:31:34,080 Speaker 1: it was so important they had to page me while 548 00:31:34,200 --> 00:31:38,120 Speaker 1: Jimmy Hendrix is about to play. That's pretty amazing. My 549 00:31:38,320 --> 00:31:40,680 Speaker 1: version of that quickly is that there was a neighbor 550 00:31:40,680 --> 00:31:42,720 Speaker 1: of ours. She was getting a degree in something and 551 00:31:42,760 --> 00:31:45,760 Speaker 1: she administered i Q test the children in the neighborhood. 552 00:31:46,000 --> 00:31:47,640 Speaker 1: She went to my mother, she said your son tested 553 00:31:47,640 --> 00:31:50,520 Speaker 1: at a genius level and for his age. I'm seven 554 00:31:50,560 --> 00:31:52,560 Speaker 1: years old, so what does that mean? I'm a genius. 555 00:31:52,600 --> 00:31:55,600 Speaker 1: I can pick out the not the yellow tennis ball 556 00:31:55,640 --> 00:31:59,320 Speaker 1: from the white tennis But later on I'm playing baseball. 557 00:31:59,360 --> 00:32:01,120 Speaker 1: This was the being of my existence. My O c 558 00:32:01,320 --> 00:32:04,000 Speaker 1: D two men on basse and the guy hits the 559 00:32:04,000 --> 00:32:06,640 Speaker 1: ball and I wake up when the ball goes flack 560 00:32:06,760 --> 00:32:08,640 Speaker 1: on the ground right next to me. And the guy 561 00:32:08,680 --> 00:32:11,160 Speaker 1: gets inside the park home run and they and they 562 00:32:11,200 --> 00:32:14,160 Speaker 1: take the lead, and I go trotting into the dugout 563 00:32:14,200 --> 00:32:16,600 Speaker 1: and the coach looks at me and goes, good job, Baldwin. 564 00:32:16,960 --> 00:32:18,640 Speaker 1: And my mother was in the leechers, and of course 565 00:32:18,640 --> 00:32:22,080 Speaker 1: she said, don't talk to him like that. He's a genius. 566 00:32:23,280 --> 00:32:25,040 Speaker 1: And the coach was like, oh, he's a genius. Or 567 00:32:25,560 --> 00:32:28,880 Speaker 1: here's my i Q story. My mother was a teacher. 568 00:32:29,120 --> 00:32:32,440 Speaker 1: She didn't want to lie about my i Q. So 569 00:32:32,560 --> 00:32:35,600 Speaker 1: she got an i Q test a week early, brought 570 00:32:35,640 --> 00:32:38,720 Speaker 1: it home, had Chuck Levy, who was a math expert 571 00:32:38,720 --> 00:32:41,520 Speaker 1: in this party, go over the test with me so 572 00:32:41,600 --> 00:32:44,720 Speaker 1: I could score a high mark so she could say 573 00:32:44,800 --> 00:32:48,000 Speaker 1: I was a genius without lying. So she cheatedn't actually 574 00:32:48,080 --> 00:32:51,240 Speaker 1: just got the i Q test a week early. And 575 00:32:51,320 --> 00:32:53,600 Speaker 1: by the way, given that I had the i Q 576 00:32:53,760 --> 00:32:56,600 Speaker 1: test a week early, it's not that great a number. 577 00:32:57,120 --> 00:32:59,640 Speaker 1: But but wait, do you have O C D also? 578 00:33:00,920 --> 00:33:04,520 Speaker 1: I have? Uh. Yeah, I'm someone who had times when 579 00:33:04,520 --> 00:33:07,760 Speaker 1: I'm stressed. You know, I always remember, like one critical 580 00:33:07,800 --> 00:33:10,240 Speaker 1: example in my my my wife Laria is always on 581 00:33:10,320 --> 00:33:12,440 Speaker 1: me about this is I'm the kind of person who, 582 00:33:12,520 --> 00:33:15,120 Speaker 1: like we'd be in the hallway getting ready to go 583 00:33:15,160 --> 00:33:17,480 Speaker 1: downstairs and the cars waiting to go to the airport, 584 00:33:17,880 --> 00:33:20,360 Speaker 1: and I'm rearranging the coins on the table in the 585 00:33:20,440 --> 00:33:23,040 Speaker 1: entry hall table making sure they're all neat in an order. 586 00:33:23,520 --> 00:33:25,640 Speaker 1: I'm always straightened. And it comes from and all of 587 00:33:25,680 --> 00:33:30,240 Speaker 1: that comes from coming from an unbelievably messy home in 588 00:33:30,360 --> 00:33:32,840 Speaker 1: my child In my book my memoir, I said, if 589 00:33:32,880 --> 00:33:34,840 Speaker 1: you came to my house when I was a child, 590 00:33:35,080 --> 00:33:36,640 Speaker 1: and you walked into the house, you would have thought 591 00:33:36,640 --> 00:33:39,360 Speaker 1: that the people were running an illegal laundrymat in the house, 592 00:33:39,720 --> 00:33:43,120 Speaker 1: because they were wicker and plastic baskets and laundry just 593 00:33:43,200 --> 00:33:45,480 Speaker 1: tumbling out of all them. Because my mother could never 594 00:33:45,560 --> 00:33:47,560 Speaker 1: keep up with all the laundry of having six kids 595 00:33:47,560 --> 00:33:51,480 Speaker 1: and no help. The house was in disarray all the time, 596 00:33:51,520 --> 00:33:54,480 Speaker 1: and that damaged me. And like, I'm obsessed with neatness 597 00:33:54,520 --> 00:33:57,840 Speaker 1: and cleanliness and I want my house clean and I 598 00:33:58,160 --> 00:34:01,160 Speaker 1: have to have everything in order. There's another three words 599 00:34:01,200 --> 00:34:04,880 Speaker 1: for why you might have O c D ahead unconscious 600 00:34:04,920 --> 00:34:08,360 Speaker 1: and our assistic rage. So you know that also brings 601 00:34:08,400 --> 00:34:13,879 Speaker 1: on O c D sciatica back pain. I'd rather not 602 00:34:14,000 --> 00:34:17,719 Speaker 1: get into CM of c M because because I'd rather 603 00:34:17,760 --> 00:34:19,479 Speaker 1: people read it in the book. I mean, there's there's 604 00:34:19,480 --> 00:34:22,040 Speaker 1: some tales in the book that are but what I 605 00:34:22,080 --> 00:34:26,880 Speaker 1: will say is, whatever the difficulties you had in your childhood, 606 00:34:26,920 --> 00:34:28,759 Speaker 1: and I encourage people to be because you go into 607 00:34:28,760 --> 00:34:31,719 Speaker 1: some pretty tough details about what happened to you. Are 608 00:34:32,160 --> 00:34:36,480 Speaker 1: that uncommon person who you let it roll off your back? 609 00:34:36,480 --> 00:34:38,080 Speaker 1: And like, what am I going to do about it? 610 00:34:38,600 --> 00:34:40,759 Speaker 1: Am I gonna let that ruin my life? You know? 611 00:34:40,880 --> 00:34:42,720 Speaker 1: Do you find that that's a part of your nature 612 00:34:42,760 --> 00:34:46,320 Speaker 1: that you walk away from difficulty pretty easily. I don't 613 00:34:46,320 --> 00:34:53,480 Speaker 1: walk away from difficulty easily. I ruminate, I relive stuff 614 00:34:53,640 --> 00:34:57,440 Speaker 1: until recently. Uh that you know, what we're telling you 615 00:34:57,440 --> 00:35:02,160 Speaker 1: about is sort of my parents let a my mother's 616 00:35:02,200 --> 00:35:04,319 Speaker 1: cousin who is a child molest to live with us 617 00:35:04,360 --> 00:35:07,120 Speaker 1: for a bunch of years knowing he was a child molester, 618 00:35:07,360 --> 00:35:15,000 Speaker 1: which is kind of horrific, But in that particular case, 619 00:35:15,160 --> 00:35:17,680 Speaker 1: I'm sure I'm a little screwed up because of it. 620 00:35:17,719 --> 00:35:23,960 Speaker 1: But it's happened, it's gone, it's past, and I've moved on. 621 00:35:24,239 --> 00:35:29,200 Speaker 1: And you know I I think that life is surreal, 622 00:35:29,480 --> 00:35:32,560 Speaker 1: and I have a very quirky attitude towards life. I 623 00:35:33,040 --> 00:35:36,879 Speaker 1: try to find comedy wherever I can, surrealness wherever I can. 624 00:35:37,640 --> 00:35:40,840 Speaker 1: I will say that because of my weird parents and 625 00:35:41,040 --> 00:35:44,360 Speaker 1: all the threats of suicide, and all the times we 626 00:35:44,400 --> 00:35:49,520 Speaker 1: didn't have electricity or rent money or louse the butcher money, 627 00:35:50,080 --> 00:35:53,640 Speaker 1: I'm a control freak. I get to the airport when 628 00:35:53,640 --> 00:35:55,640 Speaker 1: you were saying that the car is waiting for you 629 00:35:55,680 --> 00:35:59,920 Speaker 1: and you're rearranging. That made me so uncomfortable because I 630 00:36:00,080 --> 00:36:02,560 Speaker 1: know I would have already been at the airport four 631 00:36:02,600 --> 00:36:06,000 Speaker 1: hours while you were still arranging. Dime. I need to 632 00:36:06,040 --> 00:36:09,680 Speaker 1: get to the airport four or five hours early. I 633 00:36:09,760 --> 00:36:13,399 Speaker 1: say to my wife, look, take a different car. We'll 634 00:36:13,440 --> 00:36:15,440 Speaker 1: pay for new cars, but I just need to do this, 635 00:36:15,960 --> 00:36:18,440 Speaker 1: and so she'll say, all right, I'll do it. Because 636 00:36:18,480 --> 00:36:21,440 Speaker 1: you're either reading your iPad at home or at the 637 00:36:21,520 --> 00:36:24,839 Speaker 1: United Lounge. But if you're at at the airport, you're 638 00:36:24,840 --> 00:36:28,680 Speaker 1: not worried about you know, uh, three flat tires and 639 00:36:28,880 --> 00:36:31,400 Speaker 1: traffic on the l I E and all that stuff. 640 00:36:31,800 --> 00:36:36,680 Speaker 1: What are you working on now? Yeah? I loved I 641 00:36:36,719 --> 00:36:39,120 Speaker 1: did three years of a series of Unfortunate Events for 642 00:36:39,239 --> 00:36:42,920 Speaker 1: Netflix in Vancouver and it was the best experience of 643 00:36:42,960 --> 00:36:47,080 Speaker 1: my life. And I'm about to do something with your 644 00:36:47,200 --> 00:36:51,040 Speaker 1: good friend Lauren Michaels. Uh. He has his six part 645 00:36:51,640 --> 00:36:56,960 Speaker 1: series that's a musical for Apple and it looks like 646 00:36:57,000 --> 00:37:03,880 Speaker 1: I'll be directing those six episodes. So musical, musical, original material, 647 00:37:04,160 --> 00:37:08,840 Speaker 1: original material by this guy, Sinkle Paul, who has written 648 00:37:09,400 --> 00:37:13,000 Speaker 1: only million dollar animated movies every you know, uh, the 649 00:37:13,120 --> 00:37:17,640 Speaker 1: min Minions and Despicable Me and all the Secret Story 650 00:37:17,640 --> 00:37:21,160 Speaker 1: of Pets, all these movies. So um, this will be 651 00:37:21,200 --> 00:37:25,000 Speaker 1: like something really different from me. So we'll see um. 652 00:37:25,040 --> 00:37:27,719 Speaker 1: In your wife's career in the not for profit world, 653 00:37:27,760 --> 00:37:31,800 Speaker 1: she's listing on her the letter heads as Susan Ringo. Yes, 654 00:37:32,239 --> 00:37:34,319 Speaker 1: who gave her the name Sweetie? I did? I just 655 00:37:34,360 --> 00:37:37,600 Speaker 1: started to call her sweetie and uh, and I would 656 00:37:37,640 --> 00:37:40,560 Speaker 1: refer to her as Sweetie, and so grips and electrics 657 00:37:40,600 --> 00:37:44,040 Speaker 1: would say how Sweetie, and how Sweetie's uterus. She had 658 00:37:44,080 --> 00:37:46,960 Speaker 1: problems with stuff like that. And I was a very 659 00:37:47,080 --> 00:37:51,000 Speaker 1: unusual cameraman in that it was all about me. It 660 00:37:51,040 --> 00:37:53,840 Speaker 1: wasn't about the director, it wasn't about the actors on 661 00:37:53,960 --> 00:37:57,719 Speaker 1: the call sheet. The longer I was with without Sweetie, 662 00:37:57,719 --> 00:37:59,680 Speaker 1: when I was like in l a shooting, throw Mama 663 00:37:59,719 --> 00:38:02,400 Speaker 1: from the trained. The longer I was without her, the 664 00:38:02,480 --> 00:38:04,680 Speaker 1: crew would know I would be in a bad mood. 665 00:38:05,400 --> 00:38:08,319 Speaker 1: And when they heard that Sweetie was coming in a week, 666 00:38:08,640 --> 00:38:11,160 Speaker 1: there would be a picture of a car with Sweetie's head, 667 00:38:11,440 --> 00:38:13,640 Speaker 1: and the coo sheet every day had a map of 668 00:38:13,680 --> 00:38:17,480 Speaker 1: the United States and where Sweetie was driving from New 669 00:38:17,600 --> 00:38:20,600 Speaker 1: York because they were just knowing that as soon as 670 00:38:20,600 --> 00:38:25,399 Speaker 1: Sweetie arrived would be better. So that's who I am. 671 00:38:25,520 --> 00:38:32,319 Speaker 1: I'm an only child of Jewish persuasion. That was Barry Sonnenfeld. 672 00:38:32,880 --> 00:38:36,239 Speaker 1: His new memoir, in which he tells stories from his 673 00:38:36,320 --> 00:38:40,520 Speaker 1: most famous sets and explores his very messed up childhood, 674 00:38:41,000 --> 00:38:45,920 Speaker 1: is Barry Sonnenfeld, Call your mother available Now. I'm Alec 675 00:38:45,960 --> 00:39:02,560 Speaker 1: Baldwin and this is here's the thing. Who don't make 676 00:39:02,680 --> 00:39:02,719 Speaker 1: a