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Speaker 1: This is Alec Baldwin and you're listening to Here's the thing,

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Speaker 1: My chance to talk with artists, policy makers and performers

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Speaker 1: to hear their stories. What inspires their creations, what decisions

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Speaker 1: change their careers, what relationships influenced their work. My guest

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Speaker 1: today is Carol Burnett. What brings you to terra? You

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Speaker 1: you fix and you start it? I love you that

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Speaker 1: that that gown is gorgeous. Thank you, Stan Wind and

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Speaker 1: I just couldn't resist. That's Carol as Starlett O'Hara making

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Speaker 1: a grand entrance wearing a set of curtains as a

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Speaker 1: dress with the rod still attached. Harvey Corman is smitten

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Speaker 1: as Captain Ratt Butler in this Gone with the Wind

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Speaker 1: parody on the Carol Burnett Show. The chemistry between the

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Speaker 1: players on this show Burnett, Corman and also Vicky Lawrence,

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Speaker 1: Tim Conway and Lyle Wagoner is legendary. The show ran

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Speaker 1: for eleven seasons. The first five seasons have been recently

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Speaker 1: released on DVD. They haven't been seen since airing over

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Speaker 1: forty years ago. It is incredible and you see them

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Speaker 1: and it's the first time we did the soap opera takeoff.

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Speaker 1: The first time, you know, Vicky and her when we

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Speaker 1: started out, and we were pretty raw, pretty braw. We're

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Speaker 1: gonna get to that because when I watched the show,

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Speaker 1: I saw so many little tells and so many little

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Speaker 1: things about how you guys crack each other up. Obviously

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Speaker 1: there's there's things you guys do to each other and

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Speaker 1: you can just see you almost with joy and almost

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Speaker 1: loathing that they're like, you're kind of torturing. It's like

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Speaker 1: getting the giggles in church. Yes, you know. But Alex,

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Speaker 1: when we started the show, uh, I wanted to do

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Speaker 1: it as a live show. We couldn't really do it

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Speaker 1: live because the studio, which I love that studio because

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Speaker 1: it was like a TV City TV City, uh Studio

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Speaker 1: thirty three, which is like a little theater. You know,

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Speaker 1: it's like senium and the seats are down. It's not

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Speaker 1: like the teared things that you have, you know when

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Speaker 1: when other shows, you know, and so I loved that,

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Speaker 1: but we couldn't There were no flies in the theater.

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Speaker 1: By that I mean where you could fly the scenery

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Speaker 1: in and out and really do a live show. But

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Speaker 1: I wanted it to go fast because we had a

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Speaker 1: studio audience there and I couldn't stand to keep them waiting,

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Speaker 1: because if they get bored and sit there for a

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Speaker 1: long time while we take our time changing clothes and

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Speaker 1: so forth, we lose them. So we lose that energy

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Speaker 1: and enthusiasm that that you get when an audience is hot.

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Speaker 1: So I would have a bet with the stage hands

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Speaker 1: that I could do a skin out change faster than

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Speaker 1: they could move that sofa across the rough. And also

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Speaker 1: I didn't want um. I didn't want to stop and

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Speaker 1: do pick ups something went wrong. I figured unless the

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Speaker 1: scenery fell down and knocked us out in ahead, I

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Speaker 1: wanted to keep going. So when somebody would add lib

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Speaker 1: or do a bit that we had not done before,

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Speaker 1: we never broke up on purpose ever. Ever, I just well,

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Speaker 1: let's it was understood that you would add lib. It

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Speaker 1: was understood that that was well. We never said it.

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Speaker 1: It just started happening, so we just let it go.

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Speaker 1: Who was the bad boy in church? Usually? Do you

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Speaker 1: have comedy insurance? Yes? Yeah, because Harvey was trying to

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Speaker 1: put him on and then Tim came up and topped him.

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Speaker 1: I don't suppose you have comedy insurance down there, do you? Yeah?

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Speaker 1: It was brilliant. I don't believe when you watch this shows.

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Speaker 1: When you watch these shows, you're lost episodes. So that

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Speaker 1: audiences from our show understand that it was sixty seven

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Speaker 1: through seventy. Those eleven years and the first five years

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Speaker 1: of the show you're referring to as the lost episodes.

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Speaker 1: And when you see so this is the crowd young,

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Speaker 1: and you see over eleven years people get older. Harvey

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Speaker 1: has a nice kind of auburn color to his hair,

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Speaker 1: and then Harvey has like a steel color to his hair,

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Speaker 1: and Vicky grows older, and everybody, not in any bad way,

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Speaker 1: but everybody in eleven years is a long time. You

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Speaker 1: don't see that on TV. But I will say with

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Speaker 1: all sincerity that I don't think you'd have to go

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Speaker 1: to Fred ash Stare and Gene Kelly in my mind

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Speaker 1: to find someone who is as trim and fit and

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Speaker 1: lithe as you on stage. You never had to exercise

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Speaker 1: a day in your life. The show was your workout.

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Speaker 1: The things you do when you're scissoring your way across

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Speaker 1: the floor during the fire scene because you think the

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Speaker 1: fire is happening. I look at you, and oh my god,

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Speaker 1: look at this woman. What she's doing to herself was

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Speaker 1: it physically as demanding as it seemed, I never felt that. No,

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Speaker 1: I'm just in it. Well, you know, the the adrenaline

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Speaker 1: starts pumping when you're performing and everything. And I'm really

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Speaker 1: not that live. I mean, I I still can't touch

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Speaker 1: my toes without bending my knees. I'm not that good.

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Speaker 1: But I was able to do a lot of stunts

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Speaker 1: and things like that. I don't know. I just threw

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Speaker 1: myself into it. You don't think about it when you're

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Speaker 1: doing it. And I never hurt myself. I got a

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Speaker 1: few bruises here and there once in a while, but

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Speaker 1: I never broke a bone jumping out of windows, falling downstairs,

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Speaker 1: crashing through doors with burn metals exactly. Yeah, and that

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Speaker 1: and and there you do that exit with Burt medals.

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Speaker 1: I mean, I always joke with people and say, when

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Speaker 1: I was young, and I was younger, I was pretty fit.

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Speaker 1: I said, now I'm older, and I probably could do

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Speaker 1: some of those things again. But it's more my doubts

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Speaker 1: or my more of my concerns about it. I say

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Speaker 1: to somebody, like, in my real life, I might not

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Speaker 1: be as physically engaged as I was, But if you

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Speaker 1: pay me a couple of million dollars. I can still

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Speaker 1: run down the street with a gun in my head.

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Speaker 1: It's always funny I can do what if the characters

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Speaker 1: doing that? You know that I'm saving a baby from

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Speaker 1: climbing into a well. I totally agree. And uh, in fact,

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Speaker 1: I never knew sometimes how I was going to do

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Speaker 1: a character until I got into the outfit. Interesting, I've

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Speaker 1: worked from the outside in. You know some actors worked

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Speaker 1: from the inside out. I Uh, there were lots of

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Speaker 1: times I had no idea what I was going to

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Speaker 1: do until I went into the costume fitting and saw

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Speaker 1: what Bob Mackie had created for me. How did that

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Speaker 1: union with him and that collaboration with him begin? Where

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Speaker 1: did you first meet Bob? Well when we were getting

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Speaker 1: ready to do the show, and we said, you know,

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Speaker 1: costuming is going to be really important because the costume

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Speaker 1: designer isn't going to just design for me. That costume

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Speaker 1: designer is going to design for every everybody you see

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Speaker 1: on the screen, dancers, singers, guest stars, rep company. Everything

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Speaker 1: you see has to be coordinated by the one person.

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Speaker 1: So um we had seen um Alison Wonderland on television.

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Speaker 1: I remember Carol Channing was the Queen of Diamonds or

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Speaker 1: Hearts or something like that, but fantastic, wonderful costuming. And

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Speaker 1: then I'd seen Mizzy Keener I think it was in Vegas,

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Speaker 1: and aside from the gorgeous gowns she wore, she also

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Speaker 1: did a lot of fall down humor and you know,

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Speaker 1: fat suits and crazy outfits and so forth. And the

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Speaker 1: common denominator was Bob Mackie, and we said, you know,

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Speaker 1: we've got to meet Bob Mackie and see if maybe,

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Speaker 1: you know, he would be the one. So we got

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Speaker 1: in touch with him and he came over to her

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Speaker 1: house bing bong. I opened the door and there stood

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Speaker 1: this guy that looked like he was twelve years old,

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Speaker 1: just fresh and adorable, and he came in. He was

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Speaker 1: about twenty four five years old, and he we just

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Speaker 1: liked him right away. We knew he had the talent.

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Speaker 1: So we hired him right then on the spot. And

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Speaker 1: it was one of the best decisions. You see me,

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Speaker 1: who was we my husband? To talk about your husband, well, Joe,

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Speaker 1: Joe Hamilton's was the producer of the Gary Moore Show.

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Speaker 1: That's where we met. And so when I was going

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Speaker 1: to do my show, of course he was going to

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Speaker 1: be the producer. So we were, and you were on Broadway.

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Speaker 1: I had been, and then we moved to California. For

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Speaker 1: moving to California, well, I ready, I was raised there. Yeah,

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Speaker 1: I was raised in your grandmother in Hollywood. I didn't

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Speaker 1: know that. I'm I know you grew up in San Antonio. No,

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Speaker 1: I grew up I was seven years old. And then

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Speaker 1: we left and moved to Hollywood at a granny's house.

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Speaker 1: That's right. We're in Hollywood, a one room apartment, one

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Speaker 1: block north of Hollywood Boulevard, the one that Now this

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Speaker 1: is what you pulled on your ear? Yeah, that was

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Speaker 1: hello to her? Yes, yes, And where was she at

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Speaker 1: the end of her life, still in California? Was still

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Speaker 1: in California? Did she come and see? Well, she she

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Speaker 1: died before I got my show, but she had seen

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Speaker 1: me do the Gary Moore Show, in the had Sullivan

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Speaker 1: Show and so forth. And you accomplished. Yeah. Well, at

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Speaker 1: first when I got the chance to go to New

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Speaker 1: York from California, because I wanted to be on Broadway,

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Speaker 1: I wanted to be ethel Merman, Mary Martin, you know that.

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Speaker 1: And she was not for it. She said, you're bloodstooth

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Speaker 1: it and you'll be dead in a week in New York.

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Speaker 1: Why do you think she said that she didn't want

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Speaker 1: me to go. She was trying to talk to you

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Speaker 1: out of it. Yeah, she didn't want to lose you.

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Speaker 1: Correct to show business. Correct is the sodom and gomra.

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Speaker 1: She just didn't want me to be away from her. Yeah,

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Speaker 1: to leave her. But when I got my first show,

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Speaker 1: it was a Paul Winchell Kitty TV show, I auditioned

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Speaker 1: and I got a gig on that, and I called

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Speaker 1: Nanny and I said, Nanny, I'm going to be on

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Speaker 1: Paul Winchell Show Saturday. And she said, well, say hello

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Speaker 1: to me and said, Nanny, I don't think they're gonna

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Speaker 1: let me say so. We uh, we figured out I'd

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Speaker 1: pull my ear, which meant hi, Nanny, I love you,

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Speaker 1: and then lay or when I got successful at Mannheim, Nanny,

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Speaker 1: I love you. Your checks on the way and when

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Speaker 1: you when you go. How would you describe when you're

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Speaker 1: on Gary Moore show. You're one of a company, Yes,

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Speaker 1: and you come to Los Angeles to do your show

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Speaker 1: and you're part of a company, But you're not just

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Speaker 1: part of a company. You're the star of the show.

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Speaker 1: With your show, however, But I remember Gary Moore and

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Speaker 1: I learned a lot from him. He was so wonderful

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Speaker 1: and it was his show, The Gary Moore Show, and

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Speaker 1: it was very popular, variety comedy variety show. And Derward

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Speaker 1: Kirby was a sidekick Gerward and me and Mary and

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Speaker 1: Lauren were the second bananas, but he never treated us

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Speaker 1: as second bananas. For instance, Alex, we would come in

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Speaker 1: on a Monday to read the script for that week,

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Speaker 1: and he'd look at it and he said, and he'd

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Speaker 1: have a joke or something. He said, you know, I

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Speaker 1: can't I can't give this joke to Durward he can

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Speaker 1: do it better than me. Or give this line to Carol.

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Speaker 1: She she can't say it funnier than I can't. So

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Speaker 1: it was a true rep company, and that's what I

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Speaker 1: learned about my show. He set a true you know,

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Speaker 1: so his name was on it, but we were a

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Speaker 1: true rep company. My name was, you know, the head

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Speaker 1: of it. We were a true rep company. Because when

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Speaker 1: that happens and you don't want to hog it, you know, uh,

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Speaker 1: the show gets better. You give it to Tim, you

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Speaker 1: give it to who's got yeah, and and do it

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Speaker 1: you know, Oh, you know, years ago when I was

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Speaker 1: doing the Gary Moore Show. One of the guests that

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Speaker 1: week one week was ed Wynn, you know, the old

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Speaker 1: wonderful Vaudevillian comedian. And so we were sitting around lunch

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Speaker 1: one day and he was regaling us with stories and stuff,

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Speaker 1: and he said he started to talk about the difference

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Speaker 1: between a comic and a comedic actor, and Gary said,

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Speaker 1: what is it? He said, well, a comic says funny

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Speaker 1: things like Bob Hope. A comedic actor like Jack Benny

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Speaker 1: says things funny. Well that good. So Joe, your husband

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Speaker 1: and you you get out to l A, you start

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Speaker 1: to do the show. Who's in charge creatively? Who's the

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Speaker 1: final word creatively? We both you and your husband. Yeah,

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Speaker 1: we've done cast the show. Where did you find them? Well,

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Speaker 1: Harvey was on the Danny Kay Show. Danny had a

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Speaker 1: comedy variety show and Harvey was his How many years

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Speaker 1: did show run? You know, I don't know, fine, something

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Speaker 1: like yeah more than two right, And he was going

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Speaker 1: to go off the air. And we had seen his

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Speaker 1: show and love the show, and we said this, Harvey

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Speaker 1: Corman is just sense. It's like Carl Reiner to Sid

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Speaker 1: Caesar and Art Carney to Jackie Gleeson. You know, we

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Speaker 1: wanted to get a rep company. We said, oh my god,

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Speaker 1: and Danny's show was going off the air when we

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Speaker 1: were going on. We said, let's get Harvey Corman. So

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Speaker 1: that's what we did. I practically attacked him in a

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Speaker 1: parking lot at CBS. I think we had already called

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Speaker 1: his agent, but I I ran into him. Not I

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Speaker 1: wasn't in a car, but I ran into him in

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Speaker 1: the parking lot at CBS, and I just grabbed, you

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Speaker 1: gotta be on my show. You gotta be on it.

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Speaker 1: So we got him and Tim, well, Tim was it

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Speaker 1: a regular at the get go. He yeah. We had

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Speaker 1: him on maybe twice a month or something until duh,

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Speaker 1: finally the penny dropped him. We hired him in the

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Speaker 1: ninth year for every single week. I mean, was he

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Speaker 1: had He was it something you just hadn't considered. He

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Speaker 1: wasn't available, he didn't want to sign on. Well, he

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Speaker 1: had done a couple of other shows in the meantime

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Speaker 1: he did. He had a variety show that didn't work,

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Speaker 1: and he had a comedy western that was filmed, which

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Speaker 1: was a big mistake because Tim needs to be in

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Speaker 1: front of an audience. You know, I have a funny

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Speaker 1: story about his can's elation for this one. It's a

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Speaker 1: funny s cancelation story i've ever heard. He was doing

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Speaker 1: this show called Wrango and it was he was inept

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Speaker 1: cowboy and it was filmed and so, and it was

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Speaker 1: not very good. So he's in the motor home after

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Speaker 1: they've done one scene one day and he's changing and

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Speaker 1: putting on his boots and stuff like that, and there's

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Speaker 1: a knock on the door and it was an underling

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Speaker 1: actually from ABC, who was sent to tell him that

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Speaker 1: the show was canceled. But he was nervous and he said,

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Speaker 1: I'm uh warn't Warren Tart or somebody from ABC MI MI,

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Speaker 1: Mr Conrad and Tim said why how are you? What?

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Speaker 1: What can I do for you? And the guy said, uh,

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Speaker 1: stop doing this. You can pack up your dressing room.

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Speaker 1: He just didn't. He he took off his boots and

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Speaker 1: went home. In fact, every show he'd done only ran

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Speaker 1: about thirteen weeks because that was an arm then and

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Speaker 1: then it was canceled. So at one point he had

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Speaker 1: a license plate that said thirteen weeks. But what a genius?

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Speaker 1: Who was the woman you're in a sketch, and I

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Speaker 1: was maybe one of them, the one with the French

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Speaker 1: revolutionary sketchy. She was. She was on our show nineteen times.

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Speaker 1: She was. She's still with us. Nanny's about she's in

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Speaker 1: her nineties and she was wonderful to work with, absolutely wonderful.

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Speaker 1: You you are you see you're talking to someone who

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Speaker 1: you know. Back then show business with show business, he

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Speaker 1: did Broadway that you did, uh sitcoms and variety shows

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Speaker 1: like yours, the old great variety shows that you don't

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Speaker 1: see as much anymore. You did game shows, passwords there

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Speaker 1: passed Alan Luddon. Yes, you saw you saw Geene Rayburn

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Speaker 1: with that antenna like microphone match game. Richard Dawson was

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Speaker 1: smash my gosh. And who was the one that was

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Speaker 1: Klugman's wife Brett Brett Summers those people because you knew

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Speaker 1: they all had like a flask, they were having a drink.

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Speaker 1: It was a party. Well they did that with Hollywood Square,

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Speaker 1: Hollywood Square and everybody would get Snucker exactly. We would

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Speaker 1: do Paul lind in my house to harass my mother.

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Speaker 1: I had a childhood that was just immersed. It was

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Speaker 1: just a wash in this comedy. I watched you, I

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Speaker 1: watched Gleeson, I watched Alan Funt. I mean, I'm a

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Speaker 1: kid born in nine, grew up in the sixties watching TV,

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Speaker 1: pretty much a bandon TV after that. And then I

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Speaker 1: go and I go to acting school, and of course

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Speaker 1: everyone wants to do O'Neil and check Off and Ibsen,

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Speaker 1: and we all want to plumb the depths of our soul,

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Speaker 1: and rightfully so. But then I do a sitcom and

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Speaker 1: I realized I'm stealing from all those people. And I

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Speaker 1: saw and no one more than Corman, no one more

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Speaker 1: than And he is so talented. He was one is

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Speaker 1: timing and his tone he could when he did still

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Speaker 1: Zachary Scott in Mildred Farce. You know, unbelievable, how he

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Speaker 1: smarmie he was, and he channeled Clark Gable. I mean,

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Speaker 1: I swear he didn't know how he was. He was

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Speaker 1: so nervous that week when we were going to do

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Speaker 1: Went with the Wind, uh, and he said, I can't

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Speaker 1: do Gable. But the minute he got into the drag,

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Speaker 1: he became again what I was talking about. He became

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Speaker 1: custom lead the way, yeah, and the wig and the

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Speaker 1: and the mustache and the whole outfit. And everything. He

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Speaker 1: became Clark Gable. The show is, of course. I mean

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Speaker 1: I want to talk about it in terms of not

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Speaker 1: how things have changed, because I think people beat that

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Speaker 1: to death a little bit. But I mean, you're a

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Speaker 1: woman at your show, and did everybody uh treat you

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Speaker 1: the way you wanted to be treated? Back then? It

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Speaker 1: was all like yeah, yeah, sure, honey, put Joe on

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Speaker 1: the phone. That's about right. Well, I it was my

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Speaker 1: doing too, you know. I in that era there the

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Speaker 1: only one who really would speak up was Lucy. She

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Speaker 1: was very strong. But it's not in my nature to

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Speaker 1: take over confront or anything. You know, like if if

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Speaker 1: a sketch wasn't working or something, instead of like Gleason

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Speaker 1: or Sid would say, let's look, guys, the stinks now,

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Speaker 1: come on, you gotta fix it. But but you know

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Speaker 1: they would do that. I would say, I'd call the

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Speaker 1: writers down into the rehearsal hall and I'd say, you know, guys, um,

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Speaker 1: I'm not doing this too well. Do you think maybe

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Speaker 1: you could help me out with a different line here there?

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Speaker 1: Because you know, otherwise I would have been a bit

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Speaker 1: in their you know. And yeah, and I wired the writers.

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Speaker 1: How many writers did you have Well, we had about

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Speaker 1: seven for the comedy, and we had three special material

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Speaker 1: writers who did all the original music and songs and

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Speaker 1: medley and finales and so a music department, right, and

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Speaker 1: uh so that was fine, but I would have a saying.

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Speaker 1: I'd walk into the writer's room. Ernie Rosen was our

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Speaker 1: head writer, and I said, you know, I'd love to

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Speaker 1: do Mildred Pierce. Can we do Mildred Pierce someday? Or

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Speaker 1: I want to do Postman Always Rings twice, Double Indemnity,

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Speaker 1: African Queen Love Story, all of those you got, Well,

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Speaker 1: we never did that. Let me go back and do

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Speaker 1: that one, you know. And so they would do that.

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Speaker 1: But I did dream a sketch once. I dreamed can

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Speaker 1: you say it on the air? Sure it was. I

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Speaker 1: dreamed it, and we put it on the air. I

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Speaker 1: was in a shower, I mean the door covered me,

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Speaker 1: you know, and the water was coming down and I

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Speaker 1: was getting wet and washing and I'm singing, well on

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Speaker 1: the moment I wake up, dream a little dream of you,

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Speaker 1: and I'm singing. The band is playing so forth, and

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Speaker 1: then I turned the water off, get a towel, kind

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Speaker 1: of dry off, wrap it around myself, opened the door

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Speaker 1: exit and the camera pans in and there are three

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Speaker 1: musicians in tuxedos playing ringing wet your there. It worked,

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Speaker 1: It was very funny. So you had those writers, and

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Speaker 1: how much writing did you do? Didn't expand over the years,

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Speaker 1: but you became more confident. How about this? Not about this?

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Speaker 1: We wrote on our feet. When we get the sketch,

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Speaker 1: we'd start to rehearse and Harvey would say, you know,

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Speaker 1: can I just feel like saying this instead of that?

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Speaker 1: So we do it. I would do it tim so forth,

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Speaker 1: and I have to compliment our writers. They never complained.

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Speaker 1: They came down and if it was funny and working,

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Speaker 1: they said, great, keep it in. Carol tells a story

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Speaker 1: about her friend Lucy All addressing the writers of The

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Speaker 1: Lucy Show. When the pilot wasn't working. Lucy wasn't afraid

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Speaker 1: to speak her mind. She told her kid, that's when

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Speaker 1: they put the S on the end of my last name.

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Speaker 1: Explore the here's the thing archives. I talked with Kristin Wigg,

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Speaker 1: who early on preferred her scenes unscripted for some reason.

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Speaker 1: It was less scary to me than having words in

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Speaker 1: front of me, because I think when you're handed a script.

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Speaker 1: You know that you're supposed to do it in a

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Speaker 1: certain way. People will think like, how is she reading this?

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Speaker 1: But when you're improvising, there's nothing to compare it to

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Speaker 1: and you can do Take a listen at Here's the Thing,

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Speaker 1: Dot Org. This is Alec Baldwin, and you were listening

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Speaker 1: to Here's the Thing. The Carol Burnett Show was an

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Speaker 1: ensemble show that welcomed the biggest stars of television and

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Speaker 1: film as its guests. Burt Reynolds, Jerry Lewis, Phillis Diller,

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Speaker 1: the Jackson Five Share. Everyone wanted to work with Carol.

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Speaker 1: That was what we talked about, you know, the get go.

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Speaker 1: I said, you know, aside from having a rep company,

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Speaker 1: I want to have guest starts, but I don't want

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Speaker 1: to have a guest star stay, like a Steve Lawrence

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Speaker 1: who would come on and just sing a song and

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Speaker 1: maybe we'd see him next in the finale. I wanted

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Speaker 1: to integrate everybody into the show so many times, I

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Speaker 1: mean almost every sketch, Almost every guest star we had,

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Speaker 1: we put in sketches, so they were throughout the show.

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Speaker 1: Remember the company? Yeah, correct, And so that's certainly what

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Speaker 1: Bert was without naming names when people came out? Were

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Speaker 1: some better than others? What did you do when they

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Speaker 1: came on? Did you just kind of diminish their role

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Speaker 1: the show? No, they were all pretty good, but some

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Speaker 1: were you guys, that fabulous h Steve Lawrence is one

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Speaker 1: of the funniest human beings in the world and hysterical,

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Speaker 1: and he was one of my favorite sketch performers. We

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Speaker 1: did Postman Always Drinks twice, we did African Queen together,

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Speaker 1: we did Double Indemnity together, we did um uh from

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Speaker 1: Here to Eternity together, I mean. And he was brilliant.

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Speaker 1: And so when we first went into syndication many years ago,

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Speaker 1: we had to cut all the music out, so it

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Speaker 1: was only a half hour in syndication of the sketches

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Speaker 1: because of cost of clarences and all of that. So Steve,

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Speaker 1: of course all of his music was cut out and

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Speaker 1: so forth. By one time he during this time, he

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Speaker 1: and Edie were in an airport one day and these

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Speaker 1: teenage girls ran up to him and said, you're that

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Speaker 1: funny guy on the Brunette Show. And he used to say,

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Speaker 1: if you're long cut my song, don't cut the sketch

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Speaker 1: cut my song. I can sing anytime. Yeah, but I

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Speaker 1: can't do this anytime. Who were some of the other

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Speaker 1: ones that came on that you ken Berry wonderful one,

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Speaker 1: but saying dance he was in Crush, Well he's he's

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Speaker 1: a great dancer, great huffer, and he sings and he's funny.

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Speaker 1: He was adorable, and so we used him a lot.

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Speaker 1: Bernadette Peters was the first. She was a kid. She

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Speaker 1: was the first person we asked, we signed. She wasn't

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Speaker 1: on on our very first show, but she was the

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Speaker 1: first person we asked to be on our show. Someone

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Speaker 1: that surprised you. Oh gosh, I didn't remember who was

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Speaker 1: a movie star. Maybe they came on and surprised you.

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Speaker 1: Betty Grabel. No, we had Betty on because I was

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Speaker 1: raised in the forties and so you know, she was

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Speaker 1: my favorite movie star and so I was thrilled when

425
00:24:34,320 --> 00:24:38,320
Speaker 1: we got her on the show. She was funny, very

426
00:24:38,920 --> 00:24:43,080
Speaker 1: very sharp, funny, wonderful sense of humor. And at the

427
00:24:43,119 --> 00:24:45,639
Speaker 1: same time on that show was Martha Ray. So we

428
00:24:45,720 --> 00:24:48,440
Speaker 1: had Betty Grabel and Martha Ray. And that was the

429
00:24:48,520 --> 00:24:50,560
Speaker 1: first time we ever did the soap opera as The

430
00:24:50,600 --> 00:24:54,479
Speaker 1: Stomach Turns, and it was they were in it. Uh,

431
00:24:54,680 --> 00:25:00,720
Speaker 1: your show plays during a time of incredible politic upheaval

432
00:25:01,080 --> 00:25:04,400
Speaker 1: in the country, the late sixties in the early seventies.

433
00:25:04,480 --> 00:25:09,520
Speaker 1: It doesn't get anymore tumultuous, pretty heavy. And was that

434
00:25:09,680 --> 00:25:12,240
Speaker 1: something that you cast an eye toward or did you

435
00:25:12,359 --> 00:25:15,399
Speaker 1: decide to ignore it completely? Well, I don't know if

436
00:25:15,480 --> 00:25:18,399
Speaker 1: it was a decision to ignore it, but we we

437
00:25:18,560 --> 00:25:22,680
Speaker 1: just didn't do it. Nothing political, No, because I don't know.

438
00:25:22,840 --> 00:25:26,040
Speaker 1: I'm a clown and I just wanted to I'm gonna

439
00:25:26,040 --> 00:25:28,200
Speaker 1: ask you about it. I just want Betty Belly laughs.

440
00:25:28,680 --> 00:25:31,159
Speaker 1: That's what I wanted, you know, like a Sid Caesar.

441
00:25:32,000 --> 00:25:34,840
Speaker 1: You know, I loved his show, and so that's really

442
00:25:34,920 --> 00:25:37,560
Speaker 1: consider yourself a comic or comic, a comedic actor, comedic

443
00:25:37,640 --> 00:25:40,840
Speaker 1: at it not because for you that range I want

444
00:25:40,880 --> 00:25:44,480
Speaker 1: to get back to the Vietnam era thing, but for you,

445
00:25:44,960 --> 00:25:47,679
Speaker 1: you see you come in and of course the wardrobe

446
00:25:47,880 --> 00:25:51,160
Speaker 1: and the wig and the eyebrows make it in mildred

447
00:25:51,240 --> 00:25:54,119
Speaker 1: fierce the moment you walk in. But also you have

448
00:25:54,920 --> 00:25:59,240
Speaker 1: that core of Joan oozing out of you when you

449
00:25:59,359 --> 00:26:02,720
Speaker 1: walk on. I just then you dump out of it

450
00:26:02,760 --> 00:26:05,639
Speaker 1: and you can you can go from one extreme to

451
00:26:05,760 --> 00:26:08,680
Speaker 1: the other and then you're a clown and then you're

452
00:26:08,720 --> 00:26:12,359
Speaker 1: doing voices and you're the character's collapsing and you know,

453
00:26:12,520 --> 00:26:18,520
Speaker 1: in the family sketch, Unie and Mama and Ed you know, sorry, sorry,

454
00:26:18,880 --> 00:26:21,360
Speaker 1: well we did. We did about thirty five of those.

455
00:26:21,760 --> 00:26:24,200
Speaker 1: And one time we had Maggie Smith on the show

456
00:26:24,720 --> 00:26:28,879
Speaker 1: and uh so the sketch was with the family. Maggie

457
00:26:28,960 --> 00:26:32,760
Speaker 1: Smith was a school teacher and she called Unice and

458
00:26:33,200 --> 00:26:36,400
Speaker 1: uh Ed and Mama and to talk about the fact

459
00:26:36,440 --> 00:26:40,920
Speaker 1: that unison ed son was a bully. Bubba was you

460
00:26:41,040 --> 00:26:43,240
Speaker 1: never saw him, but was a Bubba in school and

461
00:26:43,359 --> 00:26:45,639
Speaker 1: she wanted to discuss it with us. Well, during the

462
00:26:45,800 --> 00:26:50,600
Speaker 1: course of the sketch, she discovers why poor Bubba is

463
00:26:50,680 --> 00:26:55,320
Speaker 1: that way. It's because of this horribly dysfunctional family. Right. So,

464
00:26:55,520 --> 00:26:58,240
Speaker 1: I don't know whose idea was in rehearsal. Might have

465
00:26:58,280 --> 00:27:01,600
Speaker 1: been Harvey's, might have been mine, I don't Uh. We decided,

466
00:27:01,680 --> 00:27:05,919
Speaker 1: just as an acting experiment, let's not do it as

467
00:27:06,000 --> 00:27:09,800
Speaker 1: these characters. Let's do this sketch as if it's a

468
00:27:10,200 --> 00:27:13,720
Speaker 1: it's a one act and so we did it. We

469
00:27:13,800 --> 00:27:16,840
Speaker 1: didn't go over the top with the screeching and all

470
00:27:16,920 --> 00:27:19,920
Speaker 1: of that. We did it very straight. Now, those sketches

471
00:27:20,160 --> 00:27:23,320
Speaker 1: never had jokes in them. They were all about character.

472
00:27:23,760 --> 00:27:29,320
Speaker 1: So when we did that, it was devastating. It was

473
00:27:29,760 --> 00:27:34,280
Speaker 1: like doing a very serious one act when when Eunice

474
00:27:34,400 --> 00:27:40,720
Speaker 1: is trying to defend her role as a mother, it

475
00:27:40,880 --> 00:27:43,560
Speaker 1: was very very serious. So that was really great writing.

476
00:27:43,640 --> 00:27:47,080
Speaker 1: And then we topped it off with the way we

477
00:27:47,520 --> 00:27:51,720
Speaker 1: talked in all of that. Yeah, and then it became funny.

478
00:27:52,080 --> 00:27:54,560
Speaker 1: It was a great piece of writing and a great

479
00:27:54,640 --> 00:27:57,680
Speaker 1: acting experiment. We just did it in rehearsal to go

480
00:27:57,800 --> 00:28:02,640
Speaker 1: back to that period, so your own uh politics didn't

481
00:28:02,720 --> 00:28:05,479
Speaker 1: enter into the show or your husband's and you were

482
00:28:05,520 --> 00:28:08,800
Speaker 1: better off for that. I think so, because now you know,

483
00:28:08,880 --> 00:28:11,520
Speaker 1: when we're seeing stuff it holds up even though it

484
00:28:11,560 --> 00:28:15,440
Speaker 1: was forty years old because it's not topical, you know.

485
00:28:15,560 --> 00:28:17,520
Speaker 1: So in a way that that was a blessing. We

486
00:28:17,600 --> 00:28:20,400
Speaker 1: almost didn't get on the air because CBS didn't want

487
00:28:20,520 --> 00:28:25,040
Speaker 1: us explain that they didn't want what me to do

488
00:28:25,119 --> 00:28:27,560
Speaker 1: a variety show. They didn't want a variety show. They

489
00:28:27,560 --> 00:28:32,000
Speaker 1: didn't want you, they didn't want me to do it. Well,

490
00:28:32,119 --> 00:28:34,720
Speaker 1: what happened was when I left the Gary Moore Show,

491
00:28:34,800 --> 00:28:38,600
Speaker 1: I signed a ten year contract with CBS, and there

492
00:28:38,680 --> 00:28:41,600
Speaker 1: was a strange clause in the first five years of

493
00:28:41,680 --> 00:28:46,960
Speaker 1: the kind was that if I wanted to do an

494
00:28:47,040 --> 00:28:49,800
Speaker 1: hour long variety show, all I had to do was

495
00:28:49,880 --> 00:28:53,000
Speaker 1: push the button, and CBS would have to put on

496
00:28:53,480 --> 00:28:57,520
Speaker 1: thirty one hour pay or play variety shows with me.

497
00:28:58,520 --> 00:29:01,280
Speaker 1: So hobably, what they called up the Burnett clause, which

498
00:29:01,320 --> 00:29:05,080
Speaker 1: means that's never happening again. That's true. And so I thought,

499
00:29:05,640 --> 00:29:08,400
Speaker 1: you know, I'm not gonna never you. I would never

500
00:29:08,480 --> 00:29:11,920
Speaker 1: exercise that clause. Well, five years, we're almost up. There

501
00:29:12,000 --> 00:29:15,560
Speaker 1: was a week left and I hadn't been working, and

502
00:29:15,920 --> 00:29:17,960
Speaker 1: we were we just bought a house, or put a

503
00:29:18,080 --> 00:29:21,320
Speaker 1: down payment on a house in California. We had two

504
00:29:21,440 --> 00:29:23,959
Speaker 1: little babies, and Joe and I looked at each other.

505
00:29:24,040 --> 00:29:27,120
Speaker 1: He said, yeah, we'd better push that button. It was

506
00:29:27,320 --> 00:29:30,560
Speaker 1: the last week. There were a lot of between Christmas

507
00:29:30,600 --> 00:29:33,720
Speaker 1: and New Year's. So I called. We were in California

508
00:29:33,760 --> 00:29:36,920
Speaker 1: and I called the Vice president here. I said hi.

509
00:29:37,240 --> 00:29:40,560
Speaker 1: He said, oh, Merry Christmas, Happy New Year. How are you.

510
00:29:40,680 --> 00:29:43,560
Speaker 1: I said, well, I'm calling to push that button, and

511
00:29:43,680 --> 00:29:46,480
Speaker 1: he'd totally forgotten. He had no idea what I was

512
00:29:46,560 --> 00:29:49,120
Speaker 1: talking about. And then they called me back the next day.

513
00:29:49,160 --> 00:29:53,080
Speaker 1: He said, Carol, you know it's not for gals. For comedy,

514
00:29:53,200 --> 00:29:57,200
Speaker 1: variety is a man's game. They wanted me to do

515
00:29:57,280 --> 00:30:01,040
Speaker 1: a sitcom where I would play Agnes, and I said,

516
00:30:01,080 --> 00:30:03,280
Speaker 1: I don't want to be the same person week after week.

517
00:30:03,360 --> 00:30:05,560
Speaker 1: I want to I want to do this, And they

518
00:30:05,760 --> 00:30:08,880
Speaker 1: had to put us on the air otherwise I wouldn't

519
00:30:08,880 --> 00:30:12,160
Speaker 1: be sitting here talking to you about this. Now, you

520
00:30:12,840 --> 00:30:15,680
Speaker 1: partnered with your then husband. You didn't stay married to him.

521
00:30:16,000 --> 00:30:18,600
Speaker 1: We were married for almost twenty years, right, and you

522
00:30:18,640 --> 00:30:21,200
Speaker 1: got divorced. But but during the time you were married,

523
00:30:21,840 --> 00:30:23,520
Speaker 1: that was a good thing. We were doing the show. Yeah,

524
00:30:23,520 --> 00:30:25,480
Speaker 1: you're doing the show, and you're doing a show with

525
00:30:25,560 --> 00:30:28,960
Speaker 1: your husband, day in, day out with your husband. See,

526
00:30:29,000 --> 00:30:30,960
Speaker 1: I love that idea. And some people think that's anathema

527
00:30:31,040 --> 00:30:33,760
Speaker 1: to them. They never want to do that. Well, like, well,

528
00:30:34,480 --> 00:30:36,240
Speaker 1: I kind of like the extent you want to say.

529
00:30:36,320 --> 00:30:39,680
Speaker 1: I let him be the boss. He protected you. Yeah,

530
00:30:39,800 --> 00:30:42,080
Speaker 1: he totally protected me, and you know I could just

531
00:30:42,200 --> 00:30:45,120
Speaker 1: come in and have fun, right, he let you. He

532
00:30:45,240 --> 00:30:48,120
Speaker 1: worked with the writers and the this and that. You know,

533
00:30:48,240 --> 00:30:50,040
Speaker 1: the time that I would work with the writers was

534
00:30:50,120 --> 00:30:53,480
Speaker 1: when we were staging it and that's when I do

535
00:30:53,520 --> 00:30:56,040
Speaker 1: you think you were funny? Yes? Did you crack him up?

536
00:30:57,000 --> 00:30:59,600
Speaker 1: I'm not really that way in person, as they say

537
00:30:59,720 --> 00:31:02,240
Speaker 1: in real life. Don't you love that term in what

538
00:31:02,440 --> 00:31:05,360
Speaker 1: somebody like in real life? I'm very kind of quiet.

539
00:31:05,600 --> 00:31:08,440
Speaker 1: And and was he honey, Yeah, he had a great

540
00:31:08,480 --> 00:31:10,400
Speaker 1: sense of he yeah, he was. He wasn't a performer

541
00:31:10,440 --> 00:31:14,480
Speaker 1: in anyway. Well, he actually was a member of the Skylarks,

542
00:31:15,320 --> 00:31:21,080
Speaker 1: which was a okay, the Skylarks was a great musical

543
00:31:21,240 --> 00:31:25,080
Speaker 1: group like the High Lows, and you know, and uh

544
00:31:25,160 --> 00:31:29,000
Speaker 1: he started out writing special material music material for the

545
00:31:29,040 --> 00:31:33,360
Speaker 1: Dinah Shore Show years ago. You know, your show was

546
00:31:33,400 --> 00:31:36,120
Speaker 1: done in a different era in terms of standards and practices.

547
00:31:36,960 --> 00:31:39,720
Speaker 1: What was that like? Did you sit there sometimes they go,

548
00:31:40,600 --> 00:31:44,000
Speaker 1: Now we they left us alone, They left you alone.

549
00:31:44,080 --> 00:31:46,640
Speaker 1: We had when you stick that sword in Harvey Corman's crotch?

550
00:31:46,680 --> 00:31:49,080
Speaker 1: What did they say about that? It was an accident?

551
00:31:51,120 --> 00:31:54,760
Speaker 1: Was it an accident? You? Oh? You know one time

552
00:31:54,840 --> 00:31:58,560
Speaker 1: though we were doing we had this wonderful censor, sat

553
00:31:59,320 --> 00:32:01,680
Speaker 1: Charlie pett John, God bless him. And he was a

554
00:32:01,760 --> 00:32:05,200
Speaker 1: who We just loved him anyway. He never bothered with anything.

555
00:32:05,320 --> 00:32:07,400
Speaker 1: So Harvey and I were doing a sketch where I

556
00:32:07,520 --> 00:32:11,240
Speaker 1: was a nudist and I was being interviewed by him

557
00:32:11,640 --> 00:32:13,920
Speaker 1: like Edward R. Murrow, you know, and I'm behind a

558
00:32:14,040 --> 00:32:16,920
Speaker 1: fence that says keep out, and I'm bare shoulder and

559
00:32:17,240 --> 00:32:19,840
Speaker 1: you know, I'm leaning on the fence bare legs with

560
00:32:20,120 --> 00:32:23,200
Speaker 1: high top sneakers on. So it was jokes about a

561
00:32:23,280 --> 00:32:27,720
Speaker 1: nudist colony, right. So one of the lines was Harvey said,

562
00:32:28,120 --> 00:32:30,760
Speaker 1: so tell me how how do you new this? What

563
00:32:31,040 --> 00:32:34,400
Speaker 1: do you do for recreation? And my line, well, we

564
00:32:34,520 --> 00:32:37,719
Speaker 1: have dances every Saturday night, you know. And he said, oh,

565
00:32:37,840 --> 00:32:39,800
Speaker 1: how do you new this dance? And my line was

566
00:32:40,080 --> 00:32:44,280
Speaker 1: very carefully well for some reason the higher ups Charlie

567
00:32:44,640 --> 00:32:48,400
Speaker 1: didn't mind that line. They said, no, that's too too suggestive.

568
00:32:48,800 --> 00:32:52,480
Speaker 1: Come up with something else. Are you ready? So this

569
00:32:52,640 --> 00:32:54,160
Speaker 1: is what we came up with, and this is what

570
00:32:54,280 --> 00:32:56,400
Speaker 1: went on the air. Uh So, what do you do

571
00:32:56,520 --> 00:32:59,680
Speaker 1: what we have dances every Saturday night? Well, how do

572
00:32:59,760 --> 00:33:05,840
Speaker 1: you it? A stance? Cheek to cheek and they left

573
00:33:06,680 --> 00:33:09,920
Speaker 1: and that was funnier. You know, there's material that gets

574
00:33:10,360 --> 00:33:15,840
Speaker 1: uh um revived and it comes up and none more

575
00:33:15,920 --> 00:33:20,560
Speaker 1: so than Annie and you are the miss Hannighan as

576
00:33:20,600 --> 00:33:23,080
Speaker 1: far as I'm concerned, Thank you. And who directed that film?

577
00:33:23,400 --> 00:33:27,440
Speaker 1: John Houston? Was that like for you? Well, it's very funny. Um,

578
00:33:27,680 --> 00:33:34,800
Speaker 1: you know he was not really uh into musicals, right, Yeah.

579
00:33:34,920 --> 00:33:38,320
Speaker 1: I have a theory. Race Start produced it, okay, and

580
00:33:38,480 --> 00:33:41,440
Speaker 1: I have a theory. Race Start never liked to get

581
00:33:41,480 --> 00:33:45,280
Speaker 1: a no out of anybody. I think this is all

582
00:33:45,360 --> 00:33:49,280
Speaker 1: in my mind that Ray called John Houston to play

583
00:33:49,600 --> 00:33:54,760
Speaker 1: Daddy Warbucks. That's my theory. And because he would have

584
00:33:54,840 --> 00:33:59,480
Speaker 1: been wonderful daddy, and uh, he didn't. Mr Houston didn't

585
00:33:59,520 --> 00:34:02,120
Speaker 1: want to do it. So Ray, not wanting to get

586
00:34:02,160 --> 00:34:05,400
Speaker 1: a no, said well then how about directing it? That's

587
00:34:05,480 --> 00:34:08,920
Speaker 1: my theory, you know. But Henny did the movie. Finny

588
00:34:09,000 --> 00:34:12,360
Speaker 1: did the movie. Yeah, and Tim Curry and Bernadette Peters.

589
00:34:12,440 --> 00:34:15,880
Speaker 1: We were the villains, the three villains, and uh, I

590
00:34:16,040 --> 00:34:20,239
Speaker 1: love doing it. I loved doing uh. And something that

591
00:34:20,360 --> 00:34:24,640
Speaker 1: was just great fun was we would sing live. I

592
00:34:24,800 --> 00:34:29,400
Speaker 1: sang Little Girls live. It was not prerecorded. The orchestra

593
00:34:29,600 --> 00:34:34,919
Speaker 1: was previously was not. They would play and I sang

594
00:34:35,000 --> 00:34:37,040
Speaker 1: they played a track and you sang when I sang

595
00:34:37,120 --> 00:34:39,880
Speaker 1: live and great number you and him doing are you

596
00:34:40,000 --> 00:34:44,960
Speaker 1: doing that? And him doing easy streets two takes. I said, print,

597
00:34:45,360 --> 00:34:47,960
Speaker 1: that's it. Yeah, he knew what he wanted, had the

598
00:34:48,080 --> 00:34:51,200
Speaker 1: right people. One of the funniest pieces of direction I

599
00:34:51,280 --> 00:34:54,239
Speaker 1: ever got was when I went to him and I said, uh,

600
00:34:55,239 --> 00:34:56,839
Speaker 1: I talked to him. I said, you know, I think

601
00:34:56,960 --> 00:35:03,160
Speaker 1: she should drink, because she's really drink. I mean that

602
00:35:03,360 --> 00:35:07,000
Speaker 1: she should have a little you know, you know, uh,

603
00:35:07,280 --> 00:35:10,080
Speaker 1: knock him back every so often because she's miserable, you know,

604
00:35:10,239 --> 00:35:12,799
Speaker 1: and Ncy's kids and so forth. So the only kind

605
00:35:12,840 --> 00:35:15,520
Speaker 1: of solace she gets is to knock them back a

606
00:35:15,600 --> 00:35:17,960
Speaker 1: little bit, you know. And so he said, well that's

607
00:35:17,960 --> 00:35:20,520
Speaker 1: a very good idea, dare Yes, that's good. And so

608
00:35:20,719 --> 00:35:22,840
Speaker 1: I said, okay, so I'm not gonna play her drunk,

609
00:35:22,960 --> 00:35:24,560
Speaker 1: but I'm gonna play her like she you know, she

610
00:35:24,680 --> 00:35:28,960
Speaker 1: kind of she needs one. As the first scene was

611
00:35:29,200 --> 00:35:33,120
Speaker 1: with Hannighan and um the secretary who was coming in

612
00:35:33,520 --> 00:35:37,520
Speaker 1: to get to get Annie, you know, And so I said,

613
00:35:38,360 --> 00:35:42,960
Speaker 1: Mr He called me John, Dear, Mr John, how do

614
00:35:43,080 --> 00:35:44,759
Speaker 1: you see this? How do you want me to do?

615
00:35:44,960 --> 00:35:52,279
Speaker 1: He said? He said, just cavort, Dear. I had we finished, uh,

616
00:35:52,680 --> 00:35:55,520
Speaker 1: we wrapped. But what they did they made a big mistake.

617
00:35:56,200 --> 00:36:02,160
Speaker 1: They filmed Easy Street with four dancers and singers on

618
00:36:02,280 --> 00:36:06,759
Speaker 1: the Easy Street with Monkey Grinder and we would jump

619
00:36:06,840 --> 00:36:10,920
Speaker 1: on on fire escapes and jump all. It just was overkill.

620
00:36:11,400 --> 00:36:14,040
Speaker 1: At that time, they spent a million dollars on that

621
00:36:14,160 --> 00:36:17,040
Speaker 1: one number. It took a week to shoot, and Tim

622
00:36:17,120 --> 00:36:21,040
Speaker 1: and Bernardette I said, this is just it should just

623
00:36:21,160 --> 00:36:24,000
Speaker 1: be the three villains in the orphanage because that's the

624
00:36:24,040 --> 00:36:26,320
Speaker 1: way it was in the original, and they are killing

625
00:36:26,560 --> 00:36:30,279
Speaker 1: this song. So but okay, So it wrapped. So I

626
00:36:30,360 --> 00:36:36,600
Speaker 1: went back to Honolulu and I had um a procedure

627
00:36:36,880 --> 00:36:41,120
Speaker 1: done on my chin. I had always wanted a bit

628
00:36:41,160 --> 00:36:44,640
Speaker 1: because I had a weak chin. And so this oral surgeon,

629
00:36:46,040 --> 00:36:48,799
Speaker 1: no no, he pulled it somehow. He pulled this out

630
00:36:48,880 --> 00:36:53,040
Speaker 1: three millimetersn't have the full John Delorian implant. No, no implant.

631
00:36:53,640 --> 00:36:55,680
Speaker 1: So anyway, so I had a little more of a chin,

632
00:36:55,840 --> 00:36:58,480
Speaker 1: which I felt it was good. It wasn't Kirk Douglas.

633
00:36:58,600 --> 00:37:00,440
Speaker 1: It was just a little more of a chin, okay.

634
00:37:00,719 --> 00:37:04,279
Speaker 1: So I had that done by this oral surgeon in Honolulu.

635
00:37:04,400 --> 00:37:08,160
Speaker 1: Now two months later, uh, I get a call from

636
00:37:08,239 --> 00:37:11,520
Speaker 1: Ray Start. We're gonna re shoot the Easy Street number.

637
00:37:12,520 --> 00:37:15,160
Speaker 1: I said, well, that's great. I said, but great. You know,

638
00:37:15,360 --> 00:37:19,640
Speaker 1: now I have a chin and he said, oh, and

639
00:37:19,719 --> 00:37:21,359
Speaker 1: I explained it to him and he's, oh, with all

640
00:37:21,440 --> 00:37:24,719
Speaker 1: that Hannigan drag, you Are'm not gonna gonna worry about it. Also,

641
00:37:24,800 --> 00:37:26,520
Speaker 1: it's not going to be picture to picture. It'll be

642
00:37:26,680 --> 00:37:29,160
Speaker 1: a totally separate thing. So but we're just going to

643
00:37:29,239 --> 00:37:30,800
Speaker 1: do it with the three of you in the orphanage

644
00:37:30,840 --> 00:37:33,279
Speaker 1: and it is great. So we all flew back and

645
00:37:33,440 --> 00:37:36,600
Speaker 1: we report to work and there's John Houston sitting here

646
00:37:36,600 --> 00:37:40,520
Speaker 1: and so forth, and we're gonna shoot it. And he said, well,

647
00:37:40,800 --> 00:37:42,480
Speaker 1: this is what I want to do. He said, I

648
00:37:42,520 --> 00:37:46,520
Speaker 1: would like to take it from when Carol ran into

649
00:37:46,640 --> 00:37:50,399
Speaker 1: the closet to get Annie's locket when she comes back out,

650
00:37:51,120 --> 00:37:53,960
Speaker 1: that's where we'll pick it up. And I thought, oh,

651
00:37:54,440 --> 00:37:56,600
Speaker 1: So I went up and I said, Mr Hugh called

652
00:37:56,640 --> 00:38:01,840
Speaker 1: me John, Mr Houston, Uh, two months ago, when I

653
00:38:01,960 --> 00:38:09,680
Speaker 1: ran into the closet, I didn't have a chin exactly.

654
00:38:10,000 --> 00:38:11,800
Speaker 1: Now you're picking up where I come out of the

655
00:38:11,840 --> 00:38:14,200
Speaker 1: closet and I have a chin. I just thought I

656
00:38:14,239 --> 00:38:17,480
Speaker 1: would call that to your attention. And here is what

657
00:38:17,640 --> 00:38:21,759
Speaker 1: he said. He thought and thought, and he said, oh, well, well,

658
00:38:21,840 --> 00:38:27,640
Speaker 1: dear than just come out looking determined. Is that a

659
00:38:27,680 --> 00:38:31,120
Speaker 1: great piece of direction? I remember that. That's clever. Um.

660
00:38:31,520 --> 00:38:33,920
Speaker 1: I want to say this. You know who you are

661
00:38:34,400 --> 00:38:38,560
Speaker 1: to all of us who grew up watching TV then,

662
00:38:39,800 --> 00:38:41,960
Speaker 1: and I can say to you from the bottom of

663
00:38:42,040 --> 00:38:44,960
Speaker 1: my heart and without equivocation, what people think it was

664
00:38:45,080 --> 00:38:46,800
Speaker 1: they think of you, when they think of you was

665
00:38:47,080 --> 00:38:49,399
Speaker 1: You're the most talented woman that was ever on TV.

666
00:38:50,400 --> 00:38:52,640
Speaker 1: You're the most talented woman that was ever on TV.

667
00:38:52,800 --> 00:38:55,480
Speaker 1: You really are. Because there's a lot of people who

668
00:38:55,600 --> 00:38:59,440
Speaker 1: are like you, and they did some things that were great,

669
00:39:00,200 --> 00:39:03,000
Speaker 1: but none of them did as much as you did

670
00:39:03,200 --> 00:39:07,120
Speaker 1: as well as you did, and had the warmth and

671
00:39:07,239 --> 00:39:10,480
Speaker 1: the sweetness and the nut and the insanity. I mean,

672
00:39:10,520 --> 00:39:12,719
Speaker 1: I'm assuming there's some therapists out there who must know

673
00:39:12,880 --> 00:39:15,560
Speaker 1: something about you out there in Beverly Hills. You won't

674
00:39:15,560 --> 00:39:20,080
Speaker 1: get into that, but you are the most talented woman

675
00:39:20,160 --> 00:39:22,680
Speaker 1: that was ever on TV ever. Excuse me, I've got

676
00:39:22,760 --> 00:39:28,160
Speaker 1: to go now and buy a bigger hat. Just look determined,

677
00:39:28,280 --> 00:39:31,560
Speaker 1: Just look to just look determined today. Just Cavort, just

678
00:39:31,840 --> 00:39:36,200
Speaker 1: Cavort out there in New York. I'm so glad we

679
00:39:36,719 --> 00:39:43,560
Speaker 1: had this time together, just to have a laugh. Horse.

680
00:39:46,719 --> 00:39:49,520
Speaker 1: If you've seen the Carol Burnett Show, then you recognize

681
00:39:49,560 --> 00:39:53,160
Speaker 1: this tune. Carol ended her show each week singing this

682
00:39:53,320 --> 00:39:56,920
Speaker 1: song that her former husband and then producer wrote for her.

683
00:40:00,080 --> 00:40:05,240
Speaker 1: So the Screen Actors Guild will bestow the two thousand

684
00:40:05,320 --> 00:40:09,719
Speaker 1: fifteen Life Achievement Award upon Carol Burnett early next year.

685
00:40:10,239 --> 00:40:13,680
Speaker 1: Dream this is Alec Baldwin. You're listening to Here's the

686
00:40:13,760 --> 00:40:19,000
Speaker 1: thing at a time. Four things you have to do.

687
00:40:22,719 --> 00:40:28,160
Speaker 1: But the time I like the best is any evening

688
00:40:31,239 --> 00:40:36,080
Speaker 1: I can spend a monde. You