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Speaker 1: He's a legendary actor that has touched generations. Robert Dovey

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Speaker 1: joins me. He gives his advice on this award season,

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Speaker 1: the future of the Bond franchise, and did you know

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Speaker 1: there was a connection between Frank Sinatra and a major

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Speaker 1: Bond villain The Royal Grande Show. Come on, welcome to

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Speaker 1: a Arroyo Grande. If you'd like to subscribe to the show,

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Speaker 1: please do. We love to hear from you as well.

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Speaker 1: Drop those comments below and you can go to Raymondroyo

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Speaker 1: dot com if you'd like to support the show. Robert

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Speaker 1: dove is with me today, the legendary actor, singer, director

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Speaker 1: from Goonies to Diehard to his recording career. We discuss

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Speaker 1: it all as well as the awards season, and boyd

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Speaker 1: does he have some thoughts. Here's my interview with Robert

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Speaker 1: dove I want to talk about the Academy Awards this

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Speaker 1: year and really in the last few years. I know.

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Speaker 1: Wake up, Dobby, you're an Academy voter. I am. We

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Speaker 1: need you to vote. Last year, I'll ask you what

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Speaker 1: one best picture last year at the Academy Awards. Oh

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Speaker 1: my god, I'm embarrassed. Don't embarrass me, No, nobody knows. Nobody.

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Speaker 1: I've literally asked this of about ten people this week,

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Speaker 1: three of them Academy voters. They do not know. It

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Speaker 1: was anora about the process, A young girl. Yeah, who

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Speaker 1: rush around with the Russian? The Russian. Yeah. Nobody saw

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Speaker 1: this movie, right? I did? I know? You saw it

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Speaker 1: because you get the DV deal they send you. No, No,

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Speaker 1: we have an Academy screening. America didn't see it. The

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Speaker 1: world didn't see this movie. I mean, well, the mistake

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Speaker 1: they made. Now it's ten used to be five and

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Speaker 1: the all Americans and then they had the foreign entries.

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Speaker 1: Ten is overwhelming from all over the world. So you

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Speaker 1: can't how do you how do you gauge? Yeah, it's like,

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Speaker 1: let's have globalism in the Academy Awards, the American Academy

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Speaker 1: Awards an art form. I'm all for having a foreign

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Speaker 1: They should go back to the five and only American films,

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Speaker 1: only American films, and then have their foreign categories the

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Speaker 1: best Foreign Film. Right, that's great to have and then

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Speaker 1: to have if they want to really break it down,

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Speaker 1: an action genre, a woke genre, a conservative genre. Let's

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Speaker 1: break it down the way America is broken down, but

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Speaker 1: I don't. I'm not wild about that. They did that

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Speaker 1: at the Golden Globes where they're now doing it, you know,

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Speaker 1: kind of the mass Audience Award and then best Picture

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Speaker 1: stop stop. The mass audience award should be the best picture,

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Speaker 1: right right, you would think, yeah, but a look, everything

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Speaker 1: has an agenda and I'm not in the hierarchy of

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Speaker 1: the board of governors or whatever. You know. It's just

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Speaker 1: it is a good organization. It does a lot of things,

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Speaker 1: and I'm part of it. How to be part of it,

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Speaker 1: but it's you know, I think ten films to get nominated,

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Speaker 1: and it just became again a globalized version of what

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Speaker 1: it is. You know, I don't think what else should

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Speaker 1: be changed? What about those quotas for you have to

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Speaker 1: have a certain number of minorities that started years ago.

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Speaker 1: You don't count as a minority if you're if you're conservative,

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Speaker 1: you should. I thought Italian or Italian. You know. Look,

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Speaker 1: I was not unable to do Blood in Blood Out

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Speaker 1: with Taylor Hackford because I wasn't Hispanic, but I was Hispanic.

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Speaker 1: I'm an Italian. I mean, there's where is the you know,

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Speaker 1: Eddie almost plays Italians and you go see it plays Italians, right,

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Speaker 1: I couldn't play this guy that was the head of

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Speaker 1: the law on the movement because I wasn't. Who knows

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Speaker 1: if I'm not Spanish. My family was on the ships

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Speaker 1: with Columbus da Ves with an accent over the eye.

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Speaker 1: Oh maybe you are Spanish, so there might be something

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Speaker 1: in there you don't know. But why should you have

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Speaker 1: to submit a blood test to play a character? I mean,

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Speaker 1: you know, if you can play it. I have no Palestinian,

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Speaker 1: but I played the Palestinian. I just did a film

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Speaker 1: where you played a Jewish leader who rescued what three

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Speaker 1: hundred year olds from Auschwitz. It's yeah, Bardiob, beautiful movie,

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Speaker 1: thank you away, beautiful perfection. Yeah, thank you. I'm proud

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Speaker 1: of that film. It's a great film. It's a beautiful film,

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Speaker 1: and it should have gotten more attention than it did.

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Speaker 1: It was produced by a ninety year old Holocaust survivor

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Speaker 1: who lived in that town of Bardiob. Wow, you said

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Speaker 1: you were blacklisted and that there's an ongoing blacklist. Really

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Speaker 1: since your support a President Trump and what twenty fifteen,

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Speaker 1: is that ongoing to some extent, Yes, it's still ongoing,

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Speaker 1: but I think it's it might be lightening up. I

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Speaker 1: think I don't know, and it's among certain elements of

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Speaker 1: the industry. In other words, you'll never know exactly where

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Speaker 1: the button gets pushed, but there'll be you know, many

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Speaker 1: times my manager will say, hey, they're interested in you this,

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Speaker 1: interested in you for this, and then we're waiting for

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Speaker 1: an offer, and then he goes they said, sorry, it's

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Speaker 1: not going to work out. So what happened was what

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Speaker 1: we suspect is it goes up the flagpole to somebody

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Speaker 1: and then all of a sudden it gets wiped out.

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Speaker 1: But it absolutely is because there's no reason for it.

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Speaker 1: You know, there's no other how many projects in the

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Speaker 1: last two years, say, do you think you've lost to this? Oh,

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Speaker 1: you can't tell. You don't know. No, there's no way

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Speaker 1: of knowing. There's no way of really gauging that because

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Speaker 1: because some offers you didn't even hear about. You don't

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Speaker 1: even hear about, you know what I mean. Did executives

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Speaker 1: approach you during the last election about Kamala Harris, something

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Speaker 1: about Kamala Harris that if you came out and supported

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Speaker 1: Kamala Harris. Yes, yes, yes, yes, that happened. Also in

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Speaker 1: twenty to fifteen, twenty sixteen. No. In twenty sixteen, some

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Speaker 1: execs came to me and said, hey, if you now

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Speaker 1: support so and so, name your ticket. And that happened

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Speaker 1: twice two different elections. Wow. Yeah, it's a good time

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Speaker 1: for you if you want to you know, I says,

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Speaker 1: why would I do that? Yeah, he says, name your ticket,

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Speaker 1: Why do you feel you have to be so outspoken?

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Speaker 1: I know you get upset with the closeted conservatives out

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Speaker 1: there who have beliefs but won't say anything. I do

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Speaker 1: because if they and there's some powerful ones, and if

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Speaker 1: they did come forward, if they had the courage to

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Speaker 1: come forward, it would help many others that are closeted.

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Speaker 1: And the reason why, for instance, I'm doing this comic

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Speaker 1: con right now, I can't tell you the amount of

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Speaker 1: people that come up to me go I follow you

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Speaker 1: on X thank you so much. You're one of the

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Speaker 1: few people. And so there are people like that, Raymond,

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Speaker 1: that I feel that I knew growing up. Remember as

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Speaker 1: we were fans of Sinatra if he liked someone, you

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Speaker 1: had a little bit of influence because of your respect

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Speaker 1: for him and connection and his connection to him and

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Speaker 1: his outspokenness. So celebrities do have even though they want

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Speaker 1: to say celebrities have no, they do. They have some

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Speaker 1: kind of effect in the younger generation, in people that

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Speaker 1: are influenced. And I felt that. I says, if I'm

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Speaker 1: going to keep myself quiet, then there's going to be

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Speaker 1: people out there that are going to feel even more isolated.

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Speaker 1: And that's why do you think celebrities, I mean, this

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Speaker 1: is my take. Tell me if you agree with this.

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Speaker 1: Celebrities normalize things in the wider culture. Whatever it is.

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Speaker 1: Could be a lifestyle, could be a drink, could be

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Speaker 1: a facial treatment, could be political point of view. Yes,

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Speaker 1: you will, because you loom so large in the culture.

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Speaker 1: If you say it, it hits differently and wider than

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Speaker 1: if the grosser on the corner of the guy who's

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Speaker 1: making shoes says, yeah, you have a bigger platform. You know,

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Speaker 1: you have people that say him and I followed you

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Speaker 1: since I was a kid. You were the first film

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Speaker 1: I watched in the movie theater, whether it's a Goonies

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Speaker 1: or Bond or Diehard or anything else. Right, So there's

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Speaker 1: a connection emotionally to people's childhoods and then their family experience. Now,

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Speaker 1: some artists will tell me, and I've had them tell me, look,

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Speaker 1: I don't want to disturb that art and their reaction

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Speaker 1: to it by bringing my personal views, my politics into it.

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Speaker 1: You don't feel that way, No, I understand it. I

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Speaker 1: understand because sometimes you'll get a feedback. Man, I was

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Speaker 1: a great fan of you. As I'm so disappointed, I says,

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Speaker 1: I'm sorry you're disappointed. I says, it doesn't change my work.

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Speaker 1: And I don't think anyone, you know, as looking as

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Speaker 1: opposite ends of the spectrum as I am. To Robert

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Speaker 1: de Niro, I'll go see a film that he's in.

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Speaker 1: I won't not go and see a film. I may

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Speaker 1: sit there and go, ah. You know, I got all

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Speaker 1: me out of my own frustration. But you know, for instance,

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Speaker 1: over the holiday, my daughter showed me my older daughter.

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Speaker 1: She says, Dad, we got to watch this movie. It

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Speaker 1: was everybody's fine. I don't know if you've ever seen it.

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Speaker 1: I haven't watch it with your kids. It's a very

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Speaker 1: it's an older film, but it's a terrific message and

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Speaker 1: very very He's terrific in it, and I'm watching that.

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Speaker 1: I gotta got to forgive him, you know what I mean,

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Speaker 1: because this supersedes well, you see, but this goes to

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Speaker 1: the point of some of those other artists who tell me,

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Speaker 1: I mean, you go into a DeNiro film and you're like,

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Speaker 1: it's hard for you to watch him because you know

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Speaker 1: the politics. Yeah, well there is a there's always that

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Speaker 1: little bit of, you know, a disappointment because there's such

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Speaker 1: a vehement, seemingly unjustified response, as many of them are.

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Speaker 1: You know, it's a knee jerk reaction of this TDS syndrome.

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Speaker 1: And do you worry that your fans might have the

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Speaker 1: same reactions some of them, some of them they see you.

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Speaker 1: But I answered them back on that, I go, I'm

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Speaker 1: sorry you are feeling like that, I says, I hope

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Speaker 1: it doesn't affect the future. The thing that people may

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Speaker 1: not know, well most of them now know it, but

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Speaker 1: because they knew you was an actor first, they didn't

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Speaker 1: realize you studied music at Julliard Opera. You said, Lawrence

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Speaker 1: and Florence Gobi. You sang really up until in your

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Speaker 1: early life. You won music competitions in New York up

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Speaker 1: until at fifteen, and then what happened? What happened at fifteen? No,

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Speaker 1: well fifteen, it was actually after fifteen. But at fifteen

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Speaker 1: I got I was the Raymond J. Bar Beauty Wards

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Speaker 1: for the most promising athlete on the Eastern Seaboard. I

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Speaker 1: was singing, acting, winning awards all over the place. Right

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Speaker 1: after the football season, I got very ill. They thought

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Speaker 1: it was pleurisy. Huh. So the doctor was giving me antibiotics.

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Speaker 1: I was home, was right during the holidays, and I

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Speaker 1: stayed sick through the time, and I wasn't getting better.

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Speaker 1: And I was home, home and home, and from like

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Speaker 1: two hundred and thirty five pounds to one hundred and

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Speaker 1: ninety then one hundred and seventy. And my uncle comes over.

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Speaker 1: He says, Mary, you got to tell my mother's name

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Speaker 1: was married. You got to take him to the hospital.

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Speaker 1: Something's wrong. Of course, we did go to the emergency

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Speaker 1: room and they admitted me and they tried to find

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Speaker 1: out what was wrong. Now, at that time, there was

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Speaker 1: a man named Joey Lamonino. Oh blind, Yeah, tire blew

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Speaker 1: up in his face when he was younger. Yeah, three

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Speaker 1: nerves were cut his optic nerves were cut and he

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Speaker 1: would go to Sanga Giovanni Ratunda in Fojia, Italy to

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Speaker 1: go to confession with Padre Pio, and when Padrapio blessed him,

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Speaker 1: he was almost knocked over by the smell of roses,

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Speaker 1: and Podrapio said to him at that time, you will

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Speaker 1: receive new sight. And Joey then became a proponent of

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Speaker 1: Padra Pio and would do these prayer meetings the rosaries

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Speaker 1: on Fatima Gara Bendel at the time and also Padra Pillo.

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Speaker 1: So he was a family friend because we would go that.

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Speaker 1: My mother was head of conference. Turned before that, I

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Speaker 1: met Joey Jonalmond and I knew him. Oh wait till

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Speaker 1: you hear this. Wow, you did know. I met him,

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Speaker 1: but I didn't know this story. No, no, So Joey,

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Speaker 1: I told my mom, couldn't he pray for me? I'm

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Speaker 1: in the hospital. They don't know what I have and

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Speaker 1: I'm how old are you not? Sixteen seventeen, fifteen sixty

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Speaker 1: around that age, And all of a sudden, a telegram

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Speaker 1: pray blessings I'm no doctor from Padrapillo because they didn't

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Speaker 1: know what I had, and a pair of rosary beads

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Speaker 1: blessed by him. I prayed on them. My mother dreamt

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Speaker 1: up his mass, Pardrapillo's mass, and a week later, Saturday morning,

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Speaker 1: I'm sitting up in bed for the first time, and

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Speaker 1: the doctor Eugene Tyche and Huntington Hospital, Long Island, says

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Speaker 1: to my mother, Mary, if you told me his son

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Speaker 1: would be in this shape a week ago, I'd say,

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Speaker 1: only a miracle. And this was He had no idea

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Speaker 1: about Pardrapillo. Wow, he had no idea about the intercession.

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Speaker 1: What did you have? They thought it was some autoimmune thing.

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Speaker 1: There was a muscle biopsy that said he may have

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Speaker 1: had some, but they don't. Back then, you had vocal

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Speaker 1: problems as well, right, that was because of the strain.

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Speaker 1: I was a baritone with the heart of a tanner.

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Speaker 1: I had to be. But the testaturrah. You can hit

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Speaker 1: the high note, but you can't stay up there in

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Speaker 1: the testah, you know. And so I was going into

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Speaker 1: these tanner arias pushing it, and I pushed it. I

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Speaker 1: strained the vocal court. So anyway, that was the curing

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Speaker 1: of partipa. Wow, and that that. But but the vocal

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Speaker 1: cord thing came little after that, And what was that

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Speaker 1: to the turn to acting, as I was always wanted.

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Speaker 1: I went to Hopstow on a drama scholarship and and

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Speaker 1: then I just made the full turn to just well,

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Speaker 1: let me do. My strategy was opera singers don't make

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Speaker 1: a lot of money. It's difficult to kind of like

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Speaker 1: go into the opera world, right right, I'll become a

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Speaker 1: movie star and then I'll do the opera. I'll stock everybody.

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Speaker 1: That was. That was the that was, That was the

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Speaker 1: thought process. And then when Sinatra died, well, I directed

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Speaker 1: a film called The Dukes You saw commentary myself, Marian Margolis,

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Speaker 1: Peter Bugdanovic, and won nine awards, and I sang it

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Speaker 1: was about a dou wop group that pulled the hest

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Speaker 1: of difficult I think were the only film that had

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Speaker 1: ashes for ash Wednesday. In the movie, people go what

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Speaker 1: do you have? Because it's ash Wednesay? And you know

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Speaker 1: what I mean. I thought that the dichotomy of these

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Speaker 1: guys with ashes talking about a heist would be a

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Speaker 1: fun fun It was yeah, very Copula of you, you know,

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Speaker 1: the baptism and the white family out of the Godfather.

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Speaker 1: I thought a lighter touch, but the same idea. So

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Speaker 1: then I did in a Sinatra. I did covers, right,

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Speaker 1: But I want to I want to go back a

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Speaker 1: little bit. I want to go back to the to

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Speaker 1: the nineteen seventies. You're working in a restaurant. You're a

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Speaker 1: waiter in a restaurant, fia Ellos, fiar Ellos, and you

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Speaker 1: get cast in a movie with Frank Sinatra. Contract on Cherish.

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Speaker 1: Tell me about, first of all, the first time you

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Speaker 1: met him, because I know probably on the wall of

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Speaker 1: the Dobby household was the Pope and Sinatra. Solutely all

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Speaker 1: Italian families. I always say there were two figures in

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Speaker 1: an Italian family of Pope and Sinatra, and not necessarily

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Speaker 1: in that order. And then for a few years he

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Speaker 1: had Pope Francis. Yeah, that's right. Tell me what did

289
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Speaker 1: you what was that moment like when you first met Sinatra?

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Speaker 1: Do you remember it well? You know, I got fired

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Speaker 1: from the waiters job. Yeah, tell me that. Yeah. I

292
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Speaker 1: was working as a way to making enough money to

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Speaker 1: do my singing lessons, my acting. That was at the

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Speaker 1: Active Studio. And then I was studying with Stella Adva

295
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Speaker 1: and she said for three years, I just want you

296
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Speaker 1: to study the class. So I had the full after

297
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Speaker 1: going to Hobstra right and I was happy. And finally

298
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Speaker 1: the end of three years happened with Stella and I

299
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Speaker 1: got fired from the waiters job. I went in one

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Speaker 1: day and the guy says, you didn't turn in all

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Speaker 1: your checks the other night ago of course I did.

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Speaker 1: I'm very fastidious about that, and I had been bragging

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Speaker 1: about how much I made in tips. I didn't know

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Speaker 1: how to fudge. Guys fudged. I guess, yeah, you know

305
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Speaker 1: what I mean. They did. I had no idea how

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Speaker 1: to do anything anyway. I was shocked. He goes, look

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Speaker 1: at your drawer. I went in. I'm a lefty. The

308
00:17:52,560 --> 00:17:56,000
Speaker 1: writing was slanted to the right, different patent. I says,

309
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Speaker 1: this isn't mine. He goes, I gotta let you go. No.

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Speaker 1: I didn't know what that moment to either say what

311
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Speaker 1: will it cost to keep my Maybe he wanted payola.

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Speaker 1: I don't know. I was just stunned. I left, and

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Speaker 1: I had I was freelancing with an agent More Schwartz

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Speaker 1: and Barry Morse was my agent who became a huge

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Speaker 1: casting director for theater. And I said to Barry Sinatra

316
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Speaker 1: his mother was His favorite book was Contract on Cherry Street.

317
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Speaker 1: His first film in about nine years eight years, and

318
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Speaker 1: I says, did you ever put me up for this?

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Speaker 1: Because the word was on the street. I knew people

320
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Speaker 1: going up for it, but I wasn't because we tried.

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Speaker 1: But Sinatra's using all his old friends. I go, oh,

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Speaker 1: and finally, I just on my own. I says, where's

323
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Speaker 1: the office? On a whim, he says, it's Fifth Avenue,

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Speaker 1: next to Tiffany. I'm going to go up there. He goes,

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Speaker 1: go ahead, What do you have to lose? He could

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Speaker 1: have said, what are you crazy? You don't go. I

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Speaker 1: go up to the office and the guard. I go

328
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Speaker 1: Cherry Street. He goes third floor. I go to the

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Speaker 1: third floor. The door is opened. I go, excuse me.

330
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Speaker 1: I hate to intrude my understand you're casting for Cherry Street.

331
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Speaker 1: There's a woman sitting on the desk. One behind the desk.

332
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Speaker 1: I says, I heard it's all cast and they looked

333
00:19:07,520 --> 00:19:10,760
Speaker 1: at me, not quite. Do you have a picture and resume?

334
00:19:10,840 --> 00:19:13,400
Speaker 1: I says, I didn't want to be that presumptuous. He says,

335
00:19:13,400 --> 00:19:16,680
Speaker 1: bring one tomorrow or what I said. Screw that. I

336
00:19:16,760 --> 00:19:19,200
Speaker 1: went ran to the agent, which was ten minutes away.

337
00:19:19,560 --> 00:19:24,640
Speaker 1: In the fifties, yeah, come back. Fifteen twenty minutes later,

338
00:19:25,400 --> 00:19:28,879
Speaker 1: go up, go third floor. They're in different positions and

339
00:19:29,000 --> 00:19:31,360
Speaker 1: go why wait, and they laughed. I gave it to them.

340
00:19:31,400 --> 00:19:35,359
Speaker 1: This was a Thursday. That Friday. The next day we

341
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Speaker 1: had to have a pocket full of quarters. I don't

342
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Speaker 1: know if you ever had that, huh. There were no

343
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Speaker 1: for the cell phones. So you could get phones. You

344
00:19:41,800 --> 00:19:44,359
Speaker 1: had to go active phone one eight hundred, actiphone, something

345
00:19:44,440 --> 00:19:47,239
Speaker 1: like that. Message service, message service. So I call up.

346
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Speaker 1: They go call up Columbia right away. Robert, Yes, come

347
00:19:50,760 --> 00:19:54,120
Speaker 1: and pick up a script. I go, okay, I come there,

348
00:19:54,600 --> 00:19:58,280
Speaker 1: pick up the script. Eddie Earnhalt wrote the script. They

349
00:19:58,359 --> 00:20:01,919
Speaker 1: go read these scenes, come back, go to the park study.

350
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Speaker 1: Come back at six o'clock tonight. I read the scenes,

351
00:20:05,600 --> 00:20:08,280
Speaker 1: the characters throughout the whole thing. The sonatas brothers Mickey

352
00:20:08,320 --> 00:20:10,920
Speaker 1: and Tommy sonatas Jay Black from Jay and the American

353
00:20:10,960 --> 00:20:15,400
Speaker 1: wound up playing the other brother. I come back six o'clock.

354
00:20:15,960 --> 00:20:19,960
Speaker 1: Billy Graham Sinatra, Rene Valenti. Billy Graham was a director,

355
00:20:20,560 --> 00:20:22,880
Speaker 1: not the evangelist, not the evangelist. He was a guy.

356
00:20:22,960 --> 00:20:25,320
Speaker 1: He was a trumpet player, actually, Billy and also a

357
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Speaker 1: great director and you Benson and the casting and I

358
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Speaker 1: do the thing, and you know, Sinatra and I leave

359
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Speaker 1: the office. As I'm leaving, the door opens up. There

360
00:20:37,080 --> 00:20:39,680
Speaker 1: don't go yet. Two things either they want you to

361
00:20:39,720 --> 00:20:44,240
Speaker 1: read another character or they have a direction. She comes

362
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Speaker 1: out five minutes, she goes, what are you doing this summer?

363
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Speaker 1: I go, you tell me, She goes, it's ninety nine

364
00:20:48,760 --> 00:20:53,239
Speaker 1: percent yours. Well, choir your agent Monday they did, and

365
00:20:53,280 --> 00:20:55,080
Speaker 1: that was it. That was it. I got thirty five

366
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Speaker 1: hundred dollars a week. Wow. For three months. I never

367
00:20:59,200 --> 00:21:01,919
Speaker 1: was on a plane. They flew me to California to

368
00:21:01,960 --> 00:21:03,919
Speaker 1: do pickup shots for ten days, put me up at

369
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Speaker 1: the Beverly Hills Hotel, and Frank took a liking to me.

370
00:21:07,680 --> 00:21:10,639
Speaker 1: Tell me about that moment. I know a lot of

371
00:21:10,680 --> 00:21:12,840
Speaker 1: people may not know the Sinatra had. He was a

372
00:21:12,840 --> 00:21:15,520
Speaker 1: four sub spabe, he was a fourceps baby, and he

373
00:21:15,680 --> 00:21:17,919
Speaker 1: had these deep scars. I think it was on the

374
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Speaker 1: right side of his face, right on the right side

375
00:21:20,119 --> 00:21:22,359
Speaker 1: of his face, and in certain shots you see it. Yes,

376
00:21:23,160 --> 00:21:26,000
Speaker 1: he saw scars on YouTube and said what he says,

377
00:21:26,000 --> 00:21:29,080
Speaker 1: don't let those body you have force ups baby go Yeah,

378
00:21:29,320 --> 00:21:31,960
Speaker 1: he goes, don't let those things body with him as decorations.

379
00:21:34,000 --> 00:21:35,760
Speaker 1: And years later he got rid of his and he

380
00:21:36,880 --> 00:21:40,720
Speaker 1: has the barbera and he hated it because he always

381
00:21:40,760 --> 00:21:46,440
Speaker 1: got like a little nerve. Yeah from the plastic. Yeah,

382
00:21:46,480 --> 00:21:49,200
Speaker 1: from taking it away. Wow, he got a little thing.

383
00:21:49,960 --> 00:21:51,760
Speaker 1: But yeah, that's what he told me. And he also

384
00:21:52,440 --> 00:21:54,879
Speaker 1: Harry Guardino was in the film who did a lot

385
00:21:54,880 --> 00:21:57,560
Speaker 1: of films with Eastwood and ye did a play with

386
00:21:57,600 --> 00:22:00,960
Speaker 1: Lauren Bacall. One of the funniest men alive. Harry. You

387
00:22:00,960 --> 00:22:03,959
Speaker 1: would have loved to interview him. He was hysterical the

388
00:22:04,040 --> 00:22:09,280
Speaker 1: stories he had with Sinatra and Jilly, and I told

389
00:22:09,320 --> 00:22:12,560
Speaker 1: the story about getting fired from the restaurant to Harry Gargina.

390
00:22:12,600 --> 00:22:15,880
Speaker 1: Harry's in the movie with him. Yeah. About a month

391
00:22:15,920 --> 00:22:18,320
Speaker 1: and a half later, Harry goes, come on, the old

392
00:22:18,320 --> 00:22:19,719
Speaker 1: man wants to take us to dinner. Now we need

393
00:22:19,760 --> 00:22:23,359
Speaker 1: to go to Patsy's. Yeah, at one hundred and seventeenth Ye,

394
00:22:23,600 --> 00:22:28,040
Speaker 1: the pizzeria or Patsy's fifty sixth the restaurant, Yeah, the

395
00:22:28,119 --> 00:22:31,160
Speaker 1: two places. Because he was with Patsy's in the forties.

396
00:22:31,200 --> 00:22:32,760
Speaker 1: They used to give him soup and bread when he

397
00:22:32,800 --> 00:22:34,960
Speaker 1: had no money. Wow. And he was on the skids,

398
00:22:35,119 --> 00:22:38,919
Speaker 1: and he always remembered that and the great restaurant and

399
00:22:38,960 --> 00:22:41,560
Speaker 1: the great pizza the other place. So now what happens

400
00:22:41,600 --> 00:22:45,160
Speaker 1: is we're driving and it was Martin Gables and the car,

401
00:22:45,240 --> 00:22:49,200
Speaker 1: Gillie Rizzo, Frank, Harry, and this other guy well I

402
00:22:49,240 --> 00:22:52,399
Speaker 1: didn't know. We go up, we turn around and we

403
00:22:52,600 --> 00:22:55,800
Speaker 1: pulled right in front of the restaurant. I look at Harry,

404
00:22:56,280 --> 00:22:58,440
Speaker 1: I look at Frank. I look at Harry. I look

405
00:22:58,480 --> 00:23:01,240
Speaker 1: at Frank. Frank, go's come on, let's go eat place

406
00:23:01,280 --> 00:23:04,560
Speaker 1: that was fired from. I go in there with Sinatra.

407
00:23:06,640 --> 00:23:10,439
Speaker 1: What white. The guy was like this up against the

408
00:23:10,600 --> 00:23:13,480
Speaker 1: you know, looking at the and we come into the

409
00:23:13,560 --> 00:23:15,840
Speaker 1: room and he goes like this, he sees Sinatra, he

410
00:23:15,880 --> 00:23:17,560
Speaker 1: sees this one. He says that he sees the other guy.

411
00:23:17,560 --> 00:23:21,800
Speaker 1: He sees me. He goes he turns right now. The

412
00:23:21,840 --> 00:23:24,760
Speaker 1: guy that we were with sits down at the table

413
00:23:26,040 --> 00:23:28,840
Speaker 1: with us. We're ordering. The guy goes up right back,

414
00:23:28,880 --> 00:23:32,280
Speaker 1: he leaves the table, comes back five minutes later, puts

415
00:23:32,320 --> 00:23:33,960
Speaker 1: an envelope in front of me. I go, what's this?

416
00:23:34,040 --> 00:23:36,840
Speaker 1: He goes open it. He goes at your severance pay.

417
00:23:38,200 --> 00:23:41,520
Speaker 1: That guy was a major guy. That was running restaurants

418
00:23:41,600 --> 00:23:46,120
Speaker 1: in New York City? How's that a collector? Did Sinatra

419
00:23:46,160 --> 00:23:49,320
Speaker 1: ever say anything about it to you? They just laughed. Yeah,

420
00:23:49,359 --> 00:23:52,760
Speaker 1: they knew what they were doing. How much interaction did

421
00:23:52,800 --> 00:23:54,960
Speaker 1: you have with him? Quite a bit? Well, he never

422
00:23:54,960 --> 00:23:58,120
Speaker 1: told him you were a singer? No, why not because

423
00:23:58,280 --> 00:24:01,280
Speaker 1: it wasn't my Come on, you know what I thought

424
00:24:01,280 --> 00:24:03,800
Speaker 1: that He told everyone that wanted to sing used to

425
00:24:03,840 --> 00:24:06,760
Speaker 1: go to Gilly's. That's what happened with Harry. Harry was

426
00:24:06,800 --> 00:24:09,560
Speaker 1: trying to get his attention, had Jilly's, and he put

427
00:24:10,040 --> 00:24:13,720
Speaker 1: a waiter's jacket on backwards and kept bothering Sinatra like

428
00:24:13,800 --> 00:24:16,320
Speaker 1: cleaning the ashtray, doing until Sinatra looked up and said,

429
00:24:16,320 --> 00:24:18,399
Speaker 1: what hell you do? And saw him like that like

430
00:24:18,400 --> 00:24:21,200
Speaker 1: a monkey had He started to laugh and then took

431
00:24:21,280 --> 00:24:24,800
Speaker 1: him to Palm to the Fountain Blue that night, Wow,

432
00:24:24,960 --> 00:24:29,679
Speaker 1: and had Harry Guardino sing my protege. Harry Guardino and

433
00:24:29,800 --> 00:24:32,960
Speaker 1: Sinatra had a long table of people and then they

434
00:24:33,840 --> 00:24:36,280
Speaker 1: it was funny. He had him. He had the wardrobe

435
00:24:36,320 --> 00:24:39,679
Speaker 1: come to the hotel because Harry left he had no clothes,

436
00:24:40,119 --> 00:24:42,800
Speaker 1: you know. And when Harry sang, the lights came back

437
00:24:42,840 --> 00:24:45,200
Speaker 1: up and the whole table the Sinatra was gone. Oh

438
00:24:45,520 --> 00:24:48,639
Speaker 1: they walked out on Guardino. So Guardina goes and sits

439
00:24:48,680 --> 00:24:53,280
Speaker 1: down at this table nobody's there, and he orders champagne.

440
00:24:53,359 --> 00:24:55,920
Speaker 1: He orders his until a guy comes like this. He goes,

441
00:24:56,359 --> 00:24:59,639
Speaker 1: Frank waants you back upstairs, and he goes, yeah, I'm busy.

442
00:25:00,480 --> 00:25:03,480
Speaker 1: Another guy he wanted to he didn't go. They lifted

443
00:25:03,520 --> 00:25:05,800
Speaker 1: him up by the chair and checked him out, carried

444
00:25:05,800 --> 00:25:08,080
Speaker 1: it up. So those guys had a blast, but he

445
00:25:08,240 --> 00:25:11,280
Speaker 1: was great. A week before Jilly died, I was close

446
00:25:11,359 --> 00:25:14,200
Speaker 1: to Jilly as well. And the Jilli Rizzo tell people

447
00:25:14,200 --> 00:25:16,840
Speaker 1: who Jilly Rizzo is, who don't know. He was Sinatra's

448
00:25:16,920 --> 00:25:20,880
Speaker 1: really brother aide de camp. Yeah, he called him a brother.

449
00:25:21,359 --> 00:25:23,760
Speaker 1: It was his brother. It was brother. And I was

450
00:25:23,760 --> 00:25:25,840
Speaker 1: close to all those guys, and they liked the stuff

451
00:25:25,880 --> 00:25:29,359
Speaker 1: I played, you know what I mean, And they Frank

452
00:25:29,520 --> 00:25:32,800
Speaker 1: and Frank was close to Kubby Brockley, Ah, who is

453
00:25:32,800 --> 00:25:35,480
Speaker 1: the producer of All the Bonds, which I did, which

454
00:25:35,480 --> 00:25:38,000
Speaker 1: we're going to talk about that connection coming up. I

455
00:25:38,000 --> 00:25:43,240
Speaker 1: didn't realize there was a connection between uh Franz Sanchez,

456
00:25:43,280 --> 00:25:46,160
Speaker 1: whom you played in that Bond movie, and Frank Sinatra.

457
00:25:46,200 --> 00:25:47,720
Speaker 1: We're going to get to that, But I want to

458
00:25:47,720 --> 00:25:49,919
Speaker 1: go back for a moment. You mentioned you studied with

459
00:25:49,960 --> 00:25:54,000
Speaker 1: Stella Adler that period, you also studied with Lee Strasberg.

460
00:25:54,200 --> 00:25:56,640
Speaker 1: I'm in the active studio now, this is like studying.

461
00:25:56,680 --> 00:25:59,359
Speaker 1: Just so people understand, this would be like studying with

462
00:25:59,480 --> 00:26:02,720
Speaker 1: Drake and Kendrick Lamar. I mean these people were feuding

463
00:26:02,760 --> 00:26:05,520
Speaker 1: their entire career. Yes, and they were two of the

464
00:26:05,600 --> 00:26:09,880
Speaker 1: greatest kind of apostles of American acting and teachers at

465
00:26:09,920 --> 00:26:12,000
Speaker 1: the time. What did you learn from each of them

466
00:26:12,000 --> 00:26:13,960
Speaker 1: and how did you use it in your work? Well,

467
00:26:13,960 --> 00:26:16,920
Speaker 1: first off, they were all part of the Group Theater.

468
00:26:17,600 --> 00:26:22,160
Speaker 1: Lee Strasburg, Shall Crawford and Harold Klerman started the Group Theater,

469
00:26:22,200 --> 00:26:24,960
Speaker 1: of which Stella was a part of, and her brother Luther.

470
00:26:25,680 --> 00:26:28,440
Speaker 1: Stella came from an acting family the Yiddish theater. Her father,

471
00:26:28,520 --> 00:26:31,800
Speaker 1: Jacob M. Sarah At were the greatest. Oh no, they

472
00:26:31,800 --> 00:26:35,000
Speaker 1: were the royalty of Yiddish. Yiddish theater brought the classics

473
00:26:35,040 --> 00:26:39,359
Speaker 1: Telstoy Shakespeare for the first time to the Yiddish theater. Anyway,

474
00:26:39,440 --> 00:26:42,600
Speaker 1: so Stella was already a Broadway star and they were

475
00:26:42,680 --> 00:26:45,439
Speaker 1: teaching Santaslavsky the Moscow Art theater had come to New

476
00:26:45,520 --> 00:26:52,080
Speaker 1: York and they saw this Santaslavsky stuff and revolutionized their

477
00:26:52,119 --> 00:26:56,080
Speaker 1: thinking on acting. And Ospenskaya came to the new school

478
00:26:56,119 --> 00:26:59,919
Speaker 1: in Boloslavsky and they all proponents of the Moscow Art

479
00:27:00,040 --> 00:27:03,040
Speaker 1: Theater and they started to work together and they started

480
00:27:03,080 --> 00:27:07,160
Speaker 1: putting this. Lee was putting the books that Sanislavsky had

481
00:27:07,160 --> 00:27:11,120
Speaker 1: had at that time into play with sense memory, emotional

482
00:27:11,160 --> 00:27:15,160
Speaker 1: recall and other things to break down habitual behavior and

483
00:27:15,200 --> 00:27:18,280
Speaker 1: the declamatory style of acting that they used to have

484
00:27:18,400 --> 00:27:21,760
Speaker 1: back then. Gwendoline, let's have lunch. It was that and

485
00:27:21,800 --> 00:27:24,440
Speaker 1: they were breaking that down. And I group theater because

486
00:27:24,480 --> 00:27:30,600
Speaker 1: that's what Santaslavsky did. He watched Selvini, great Italian actor Lusa,

487
00:27:31,320 --> 00:27:35,080
Speaker 1: and he analyzed what they did, and then he created

488
00:27:35,080 --> 00:27:41,080
Speaker 1: this technique method. This technique, the Sanslavsky method. Now it

489
00:27:41,200 --> 00:27:48,119
Speaker 1: was getting actors emotionally upset, the emotional recall and Stella didn't,

490
00:27:48,359 --> 00:27:52,480
Speaker 1: which required them to go into their personal memories and

491
00:27:52,560 --> 00:27:56,600
Speaker 1: pick at the scabs and wove those moments and then

492
00:27:57,240 --> 00:27:59,639
Speaker 1: relive them through this terrect through the character. And you

493
00:27:59,680 --> 00:28:03,640
Speaker 1: weren't connecting you would in a scene, but you were

494
00:28:03,640 --> 00:28:08,280
Speaker 1: connecting to something else, not to the part. Ah Stella

495
00:28:08,359 --> 00:28:12,879
Speaker 1: and Harold Cleerman had gone to Paris and they met

496
00:28:12,920 --> 00:28:15,960
Speaker 1: with Santaslavsky. This is nineteen thirty in the mid thirties

497
00:28:16,400 --> 00:28:19,359
Speaker 1: two three something, yeah, yeah, and they met with Santaslovski

498
00:28:20,400 --> 00:28:24,200
Speaker 1: and Santaslavski they were at a park and Sella is

499
00:28:24,240 --> 00:28:28,520
Speaker 1: a tall, beautiful blonde at the time, and Sanaslavski is

500
00:28:28,600 --> 00:28:31,400
Speaker 1: talking and the whole time Stella didn't say anything. She says,

501
00:28:31,440 --> 00:28:33,120
Speaker 1: I had to think of what to say. I wanted

502
00:28:33,200 --> 00:28:35,359
Speaker 1: to say the right thing. And he goes, well you

503
00:28:35,359 --> 00:28:38,240
Speaker 1: you haven't said anything. You a beautiful young lady. He goes,

504
00:28:38,280 --> 00:28:40,080
Speaker 1: I used to hate acting. I used to love acting.

505
00:28:40,120 --> 00:28:42,960
Speaker 1: You've made me hated and took him at back. He says,

506
00:28:42,960 --> 00:28:44,760
Speaker 1: why are they what are they teaching you? What are

507
00:28:44,800 --> 00:28:48,080
Speaker 1: they saying? And she told him. He goes, no, that's

508
00:28:48,120 --> 00:28:53,760
Speaker 1: based on my early work. Sanaslavsky had moved away from that,

509
00:28:53,880 --> 00:28:56,800
Speaker 1: but the books hadn't come to the stage yet. That

510
00:28:56,960 --> 00:28:59,320
Speaker 1: work hasn't come to the state yet. And what it

511
00:28:59,400 --> 00:29:05,040
Speaker 1: all sprang from was Michael Chekhov. Anton Tchekhov's nephew here

512
00:29:05,640 --> 00:29:09,479
Speaker 1: and Michael Tchekhov had done an exercise and emotional recall

513
00:29:09,520 --> 00:29:12,840
Speaker 1: for Stanislavsky at the Moscow Art Theater about his father's

514
00:29:12,880 --> 00:29:17,800
Speaker 1: death and cried over the dead corpse. And after the

515
00:29:17,880 --> 00:29:21,120
Speaker 1: exercise Stanislavsky said, this is the epitome of my emotional

516
00:29:21,160 --> 00:29:24,080
Speaker 1: recall technique. This is brilliant. A week, lady, he found

517
00:29:24,120 --> 00:29:28,880
Speaker 1: out Cheko's father didn't die. It was all imagined. All

518
00:29:28,920 --> 00:29:31,520
Speaker 1: that the truth is in the imagination. And that was

519
00:29:31,560 --> 00:29:36,120
Speaker 1: the split. Lee left Strasberg, who was the American. He

520
00:29:36,280 --> 00:29:40,320
Speaker 1: kept the old method, the emotional recalling, picking at the wounds.

521
00:29:41,000 --> 00:29:43,800
Speaker 1: Stella Adler went more to the imagination and building the

522
00:29:43,800 --> 00:29:47,880
Speaker 1: background and characters. Yes, and your imagination, building that emotional

523
00:29:48,400 --> 00:29:51,200
Speaker 1: connection to that, because it's already in your blood memory,

524
00:29:51,960 --> 00:29:54,960
Speaker 1: she says, it will trigger it without having to go

525
00:29:55,080 --> 00:29:58,840
Speaker 1: to access it. Now, there are certain elements of Lee

526
00:29:59,080 --> 00:30:02,520
Speaker 1: was a great analys He didn't so much as do

527
00:30:02,760 --> 00:30:05,960
Speaker 1: a lot of those exercises at the actor's studio. He

528
00:30:06,040 --> 00:30:07,840
Speaker 1: did that in the private work where they would work

529
00:30:07,840 --> 00:30:12,680
Speaker 1: on sense memory. But it all helped with the imagination anyway.

530
00:30:13,240 --> 00:30:15,560
Speaker 1: It all had some kind of into and they feud,

531
00:30:15,640 --> 00:30:18,160
Speaker 1: but they got together, and then Lee later on did

532
00:30:18,240 --> 00:30:21,720
Speaker 1: come into the imagination. He brought more of that work in. Yes,

533
00:30:21,840 --> 00:30:25,120
Speaker 1: and Stella Adler, whom my study was, Yes, she was incredible.

534
00:30:25,160 --> 00:30:27,600
Speaker 1: I mean she was amazing. She was an incredible kind

535
00:30:27,640 --> 00:30:30,960
Speaker 1: of visionary and because she was a real actor, she

536
00:30:31,160 --> 00:30:34,600
Speaker 1: really acted. At least Strasburg hadn't really acted. No, I

537
00:30:34,640 --> 00:30:38,360
Speaker 1: mean no, no, Stella was. But he was good. Lee was.

538
00:30:38,440 --> 00:30:40,960
Speaker 1: You know, he was very analytically. He was an analyst.

539
00:30:41,000 --> 00:30:42,680
Speaker 1: I always thought of him more as a I never

540
00:30:42,840 --> 00:30:45,320
Speaker 1: I never met him, but I always saw him as

541
00:30:45,360 --> 00:30:48,560
Speaker 1: more of an analyst than a practitioner. Yes, tell me

542
00:30:48,600 --> 00:30:51,800
Speaker 1: about you played Jake Fortelly and Goonies. People love you

543
00:30:51,880 --> 00:30:56,360
Speaker 1: in that role. Yes, the role on paper isn't exactly

544
00:30:57,320 --> 00:30:59,920
Speaker 1: what you brought to the screen. Tell me how that

545
00:31:00,200 --> 00:31:05,000
Speaker 1: training helped shape that character, including the music that you

546
00:31:05,120 --> 00:31:10,120
Speaker 1: brought to it. Yes, well, everything helps shape stuff. I

547
00:31:10,160 --> 00:31:12,080
Speaker 1: had done a lot of Shakespeare, a lot of plays

548
00:31:12,120 --> 00:31:15,480
Speaker 1: at Hopstra, then in New York, and then working with Stella,

549
00:31:15,600 --> 00:31:18,640
Speaker 1: working with the classics, you know, doing great scenes, breaking

550
00:31:18,680 --> 00:31:21,600
Speaker 1: that stuff down. But again, what you do is you

551
00:31:22,040 --> 00:31:25,040
Speaker 1: read a script and it was a terrific piece. I

552
00:31:25,080 --> 00:31:28,160
Speaker 1: was supposed to do Rambo Part two. Actually at that

553
00:31:28,320 --> 00:31:33,680
Speaker 1: time I was signed to do First Blood too, and

554
00:31:33,720 --> 00:31:37,200
Speaker 1: the agent called up and said, Spielberg and Donna want

555
00:31:37,200 --> 00:31:39,360
Speaker 1: to meet you. They're doing this project. What's it called Goonies?

556
00:31:39,920 --> 00:31:44,120
Speaker 1: What's the goonies? Goonies? I says, I'm doing Rambo two.

557
00:31:44,840 --> 00:31:47,880
Speaker 1: Would sly, Yeah, you know what I mean? He goes, yeah,

558
00:31:48,160 --> 00:31:50,000
Speaker 1: Well with Spielberg and Donna, I said, we yeah, they're

559
00:31:50,000 --> 00:31:52,200
Speaker 1: g said well, here read the script. They want to

560
00:31:52,240 --> 00:31:54,960
Speaker 1: take a meeting, and I did, and I took the meeting.

561
00:31:54,960 --> 00:31:58,360
Speaker 1: They says, go ahead, do that. You may be able

562
00:31:58,400 --> 00:32:02,000
Speaker 1: to work the dates out. And I figured, that's great

563
00:32:02,520 --> 00:32:06,760
Speaker 1: kids film with Spielbert. Remember what's the lie won two punch?

564
00:32:06,880 --> 00:32:08,800
Speaker 1: This is Hollywood man, and you know what I mean,

565
00:32:08,960 --> 00:32:12,720
Speaker 1: You've arrived. Yeah. It happened actually before that, when Blake

566
00:32:12,800 --> 00:32:15,520
Speaker 1: Edwards called me up to douce Kansas City Jazz with

567
00:32:15,520 --> 00:32:18,880
Speaker 1: Clint Eastward and Burt Reynolds and then got fired from that.

568
00:32:19,800 --> 00:32:23,440
Speaker 1: Why Clinton, he had a falling out. Clint took over

569
00:32:23,480 --> 00:32:26,400
Speaker 1: the picture changed my character who was the bad guy,

570
00:32:26,480 --> 00:32:29,280
Speaker 1: the major bad guy against Bert, and Clinton made the

571
00:32:29,320 --> 00:32:32,920
Speaker 1: two older guys and they changed. They did, and blake'script

572
00:32:33,040 --> 00:32:35,800
Speaker 1: was great. And Blake had seen me do Gangster chronicles,

573
00:32:36,400 --> 00:32:39,080
Speaker 1: and he said he called me and agent says, Blake

574
00:32:39,120 --> 00:32:41,720
Speaker 1: wants to meet you. I went to his office. He goes,

575
00:32:41,760 --> 00:32:45,920
Speaker 1: I'm lying in bed in Switzerland with Mary Poppins. We're

576
00:32:45,960 --> 00:32:49,040
Speaker 1: watching TV and this actor comes on screen and we

577
00:32:49,120 --> 00:32:52,160
Speaker 1: both sit up in bed. You were that actor, He says,

578
00:32:52,160 --> 00:32:54,440
Speaker 1: You're terrific. He says, I want you to play the

579
00:32:54,440 --> 00:32:56,360
Speaker 1: bad guy in this swim I'm doing with Clinton Bert.

580
00:32:56,440 --> 00:32:58,840
Speaker 1: I want a young guy going after these two guys,

581
00:32:58,880 --> 00:33:02,760
Speaker 1: going after this younger a guy blah blah blah blah blah,

582
00:33:02,800 --> 00:33:05,680
Speaker 1: and that was Kansas City Jazz and I got signed

583
00:33:05,680 --> 00:33:09,400
Speaker 1: to play this character, pay a play. Then Blake left

584
00:33:09,440 --> 00:33:13,680
Speaker 1: the project and Clint took it over. And I think

585
00:33:13,760 --> 00:33:16,440
Speaker 1: Joe Stinson rewrote the script. Who wrote Sudden Impact and

586
00:33:16,520 --> 00:33:20,240
Speaker 1: you were out. Well, I had to pay a play,

587
00:33:20,280 --> 00:33:23,720
Speaker 1: but they made my guy two older guys. But they said,

588
00:33:23,720 --> 00:33:25,920
Speaker 1: well there's this other character, Nino you could play that's

589
00:33:25,920 --> 00:33:28,160
Speaker 1: throughout same pay same. I said, I don't want to

590
00:33:28,160 --> 00:33:31,200
Speaker 1: do it. I said, anyway, I wound up doing it.

591
00:33:31,200 --> 00:33:34,520
Speaker 1: They said, Warner Brothers, Clint Bert, how bad could it be? Well,

592
00:33:34,560 --> 00:33:37,480
Speaker 1: that's right, why not you know, keep the relationship and

593
00:33:37,520 --> 00:33:39,760
Speaker 1: you're getting the paid. So you meet with Spielberg about

594
00:33:39,840 --> 00:33:42,720
Speaker 1: Jake for telling me. Yeah, and they put me and

595
00:33:42,800 --> 00:33:48,680
Speaker 1: Joey Pantaleono together and it was magic, our symbiotic We

596
00:33:48,720 --> 00:33:51,120
Speaker 1: had done from here to eternity together. Oh so you

597
00:33:51,160 --> 00:33:53,800
Speaker 1: all had worked together, worked together. We were friends and

598
00:33:53,800 --> 00:33:55,440
Speaker 1: I knew. And we also did a heart to heart

599
00:33:55,520 --> 00:34:00,280
Speaker 1: together with the Wagner and Sephanie Stephanie Powers. We had

600
00:34:00,280 --> 00:34:02,160
Speaker 1: all of it. But they put us together and we

601
00:34:02,200 --> 00:34:06,080
Speaker 1: were just magic on screen. And that's so that relationship

602
00:34:06,120 --> 00:34:09,640
Speaker 1: was already there two brothers bickering and they were open

603
00:34:09,680 --> 00:34:13,000
Speaker 1: to having you adjust the characters. Well, yeah, well it

604
00:34:13,080 --> 00:34:16,319
Speaker 1: was Dick John donnad was the director. Stephen did all

605
00:34:16,320 --> 00:34:21,240
Speaker 1: the second unit shooting for three months and Donna goes.

606
00:34:21,760 --> 00:34:24,120
Speaker 1: I said to that there was a scene, the first

607
00:34:24,160 --> 00:34:28,720
Speaker 1: scene where I feed Sloth and I have the food

608
00:34:28,800 --> 00:34:31,600
Speaker 1: for Sloth, and I figured, I'm in the Kids film.

609
00:34:31,600 --> 00:34:35,560
Speaker 1: I'm playing this Jake for Telly guy. How do I

610
00:34:35,600 --> 00:34:40,040
Speaker 1: emerge Pirate ships pirates Kids? Yeah? How do I you know?

611
00:34:40,360 --> 00:34:42,799
Speaker 1: You think what you appearance? Yeah? What am I going

612
00:34:42,880 --> 00:34:44,799
Speaker 1: to do? I mean, besides I break out of jail

613
00:34:44,840 --> 00:34:47,319
Speaker 1: and do all of that stuff, which was great, And

614
00:34:47,360 --> 00:34:51,320
Speaker 1: I go, ah, he's a frustrated sinner, he's an artist,

615
00:34:51,840 --> 00:34:55,600
Speaker 1: his mother is suppressive. And I did this whole backstory

616
00:34:55,640 --> 00:34:58,840
Speaker 1: that I'm the big kid, but I'm misunderstood. And I

617
00:34:58,920 --> 00:35:01,960
Speaker 1: have this dream because in the script and that led me.

618
00:35:02,200 --> 00:35:04,160
Speaker 1: There was a line when I come back with these,

619
00:35:04,680 --> 00:35:06,759
Speaker 1: I go, how am I supposed to print with the

620
00:35:06,840 --> 00:35:10,560
Speaker 1: Smithsonian piece of garbage? The counterfeit? But I says, how

621
00:35:10,560 --> 00:35:14,080
Speaker 1: am I supposed to create? So I led it into

622
00:35:14,120 --> 00:35:17,000
Speaker 1: that that became here, that became. And then I said

623
00:35:17,040 --> 00:35:19,919
Speaker 1: to Donner, I says, I'm lying the food down. It's silver.

624
00:35:20,040 --> 00:35:24,080
Speaker 1: Now what if you know how they say sing for

625
00:35:24,160 --> 00:35:26,960
Speaker 1: your supper? How about sloth has to listen to me

626
00:35:27,680 --> 00:35:29,600
Speaker 1: for his supper or he doesn't get it, or he

627
00:35:29,640 --> 00:35:34,279
Speaker 1: doesn't get it. He goes, what do you mean? And

628
00:35:34,400 --> 00:35:39,080
Speaker 1: I start singing Una vodiva Laghi, mom Ma, yove yobi.

629
00:35:39,560 --> 00:35:42,840
Speaker 1: I says. At that point I told Jama two start screaming.

630
00:35:45,360 --> 00:35:47,480
Speaker 1: I go, oh, you're just like Mama. See look at

631
00:35:47,480 --> 00:35:48,880
Speaker 1: the feast I made you. And now I throw the

632
00:35:48,920 --> 00:35:51,319
Speaker 1: food at him, and you just like Mama. And France

633
00:35:51,400 --> 00:35:55,640
Speaker 1: and then and they loved it and Steven then was

634
00:35:55,680 --> 00:35:57,759
Speaker 1: doing the second Union shot when Chunk comes to the

635
00:35:57,800 --> 00:36:03,520
Speaker 1: car and Stephen goes, Chuck goes, but he goes, I

636
00:36:03,520 --> 00:36:06,600
Speaker 1: want you to start singing something, but don't pick anything.

637
00:36:06,600 --> 00:36:10,640
Speaker 1: We have to pay for something in the public domain. Yeah.

638
00:36:10,640 --> 00:36:13,239
Speaker 1: So I did something for Madam Butterfly, a take on that.

639
00:36:13,880 --> 00:36:17,520
Speaker 1: But everybody asked me to sing all these gooney conventions

640
00:36:17,520 --> 00:36:20,120
Speaker 1: they all want to hear. Isn't that hilarious? Do you

641
00:36:20,160 --> 00:36:23,440
Speaker 1: think I read somewhere you're concerned about there's talk of

642
00:36:23,920 --> 00:36:26,279
Speaker 1: a gy sequel. Yeah, I don't know. How what do

643
00:36:26,320 --> 00:36:28,400
Speaker 1: you do bring Josh Brolin back? Now? What do you

644
00:36:28,680 --> 00:36:30,759
Speaker 1: all the guys? I'm sure would do it. Everybody would

645
00:36:30,800 --> 00:36:33,959
Speaker 1: come back. I'm sure would you. But you're worried about

646
00:36:34,000 --> 00:36:37,080
Speaker 1: your participants. Well because I'm you know, because of your politics.

647
00:36:37,160 --> 00:36:40,600
Speaker 1: Yeah yeah, yeah, you never know, you never know where

648
00:36:40,640 --> 00:36:44,440
Speaker 1: would that come from the studio or I mean the politics. Yeah, Oh,

649
00:36:44,480 --> 00:36:46,319
Speaker 1: I don't know, you never you just I know what's

650
00:36:46,360 --> 00:36:49,839
Speaker 1: happened before. Yeah, so you're just concerned that it could be,

651
00:36:50,960 --> 00:36:53,840
Speaker 1: you know, an overriding thing. But you're such an iconic

652
00:36:53,920 --> 00:36:58,160
Speaker 1: part of that that story in that film. I mean,

653
00:36:58,200 --> 00:37:00,680
Speaker 1: I don't know how you I know who? But they

654
00:37:00,680 --> 00:37:03,840
Speaker 1: want after Goonies. They wanted to do it for Telly's

655
00:37:03,840 --> 00:37:06,680
Speaker 1: spinoff with me and Joey really yeah, and then they

656
00:37:07,040 --> 00:37:09,200
Speaker 1: wanted me to come in to meet Chris Columbus on

657
00:37:09,560 --> 00:37:12,840
Speaker 1: Home Alone. But I and I said, but I did that.

658
00:37:13,239 --> 00:37:15,560
Speaker 1: You know, yeah, you'd already done that. I've done the

659
00:37:15,640 --> 00:37:18,320
Speaker 1: character and yeah, and who thought Home Alone was going to?

660
00:37:18,360 --> 00:37:20,000
Speaker 1: And you want to give Joe Pesci a shot? I

661
00:37:20,000 --> 00:37:22,640
Speaker 1: know that's what you were saying, Joey Pesh and Daniel Stern,

662
00:37:23,560 --> 00:37:25,560
Speaker 1: you know, tell me. I want to talk for a

663
00:37:25,560 --> 00:37:29,319
Speaker 1: moment about that. The other great character when you ask

664
00:37:29,440 --> 00:37:34,040
Speaker 1: people about Bond villains, Franz Sanchez Loan's large in License

665
00:37:34,120 --> 00:37:37,759
Speaker 1: to Kill. Yes, I mean that first of all, How

666
00:37:37,760 --> 00:37:40,959
Speaker 1: does it feel looking back on that to be part

667
00:37:41,000 --> 00:37:44,600
Speaker 1: of that legacy if you will? Yeah, it's you know,

668
00:37:44,640 --> 00:37:47,439
Speaker 1: when I was young growing up Raymond, and we used

669
00:37:47,480 --> 00:37:49,320
Speaker 1: to go to the theater to watch the Bond films.

670
00:37:50,640 --> 00:37:55,560
Speaker 1: Albert R. Broccoli presents and you heard that I was

671
00:37:55,600 --> 00:38:00,439
Speaker 1: a young kid. Broccoli was from a story of where

672
00:38:00,440 --> 00:38:03,200
Speaker 1: I was born, grew up in sag Harbor where my family.

673
00:38:04,040 --> 00:38:07,840
Speaker 1: I says, what a connection? Right then? Years later, I

674
00:38:08,000 --> 00:38:11,040
Speaker 1: my Cafe Roma in Beverly Hills and his daughter, Tina Banta,

675
00:38:12,040 --> 00:38:15,719
Speaker 1: lovely girl, was a huge fan of Gooni's and she

676
00:38:15,800 --> 00:38:18,880
Speaker 1: knew of my history of a story. He says, my

677
00:38:18,960 --> 00:38:21,600
Speaker 1: dad would love to meet you. Love you, you should

678
00:38:21,640 --> 00:38:25,840
Speaker 1: meet him. Yeah, I'd love to you kidding, And we

679
00:38:25,880 --> 00:38:29,240
Speaker 1: had dinner at the Bistro Gardens with her and Dana,

680
00:38:29,719 --> 00:38:34,600
Speaker 1: Cubby's wife, and Cubby and we had a wonderful time meeting,

681
00:38:35,080 --> 00:38:36,759
Speaker 1: and he wound up managing me. So we did a

682
00:38:36,800 --> 00:38:40,360
Speaker 1: project he was always forward thinking, called Terrorist on Trial

683
00:38:40,400 --> 00:38:43,440
Speaker 1: the United States of America versus Salem Ajamie. I remember

684
00:38:43,480 --> 00:38:46,320
Speaker 1: that you played the terrorists. I played a Palestinian kidnapped

685
00:38:46,320 --> 00:38:48,520
Speaker 1: by the United States government to stand trial for acts

686
00:38:48,520 --> 00:38:52,400
Speaker 1: of terrorism. Alan Dershowitz was the technical advisor. Sam Mortiston

687
00:38:52,440 --> 00:38:55,440
Speaker 1: played the prosecutor pre law and order, and Ron Liebman,

688
00:38:55,440 --> 00:38:59,880
Speaker 1: who had one oscars, played the defense attorney based on Dershowitz,

689
00:39:00,239 --> 00:39:03,960
Speaker 1: and I got amazing reviews. It was on the La

690
00:39:04,080 --> 00:39:08,400
Speaker 1: Times cover calendar section all over the place New York Times,

691
00:39:09,239 --> 00:39:13,560
Speaker 1: and Richard Maybaum called up Kubby Brockley and says, put

692
00:39:13,560 --> 00:39:15,360
Speaker 1: on Channel two because it was a three hour special

693
00:39:15,719 --> 00:39:18,239
Speaker 1: for CBS. He said, I got it on. He goes,

694
00:39:18,320 --> 00:39:20,319
Speaker 1: there's the next Bond villain. He goes, I think so too.

695
00:39:20,640 --> 00:39:23,040
Speaker 1: They called me in the next day. They says, we're

696
00:39:23,040 --> 00:39:25,120
Speaker 1: writing it right now. You're going to be the next

697
00:39:25,120 --> 00:39:28,359
Speaker 1: Bond villain. And that's how it happened. And they wrote

698
00:39:28,400 --> 00:39:30,560
Speaker 1: it for you. Yeah, they wrote it with me and

699
00:39:30,600 --> 00:39:33,840
Speaker 1: mind Michael Wilson, because there was a writer strike. Kubby's

700
00:39:33,840 --> 00:39:38,040
Speaker 1: step son was right hand to him and Barbara, who

701
00:39:38,600 --> 00:39:42,920
Speaker 1: have since now sold the franchise to Amazon. But it

702
00:39:43,000 --> 00:39:46,640
Speaker 1: was a wonderful, epic time and it was what a crew.

703
00:39:47,040 --> 00:39:49,399
Speaker 1: The people had worked together for so often. Okay, now

704
00:39:49,440 --> 00:39:53,120
Speaker 1: tell me about the Frank Sinatra connection here, because Kubby

705
00:39:53,160 --> 00:39:55,680
Speaker 1: Broccoli was close to Sinatra, you had worked with him

706
00:39:55,719 --> 00:40:00,680
Speaker 1: and were close to him. How does Frank Sinatra figure

707
00:40:00,760 --> 00:40:03,439
Speaker 1: in to a Bond Villain. There was a man named

708
00:40:03,440 --> 00:40:06,799
Speaker 1: Sidney Korshak. Ever heard of him, No, there's a book

709
00:40:06,800 --> 00:40:11,120
Speaker 1: about him. Most powerful man in Hollywood. Sidney Korshak was

710
00:40:11,160 --> 00:40:14,840
Speaker 1: a lawyer for people in Chicago, very powerful people. But

711
00:40:14,880 --> 00:40:25,400
Speaker 1: Sidney Korshak, Sid Scheinberg, Lou Wassaman, paramount. They shuddered with

712
00:40:25,600 --> 00:40:29,080
Speaker 1: Sydney when he called Orschak was one of the most

713
00:40:29,120 --> 00:40:31,400
Speaker 1: powerful men in Hollywood. I knew him and his wife

714
00:40:31,440 --> 00:40:34,640
Speaker 1: b They were friends with Cubby because he would handle

715
00:40:34,680 --> 00:40:37,719
Speaker 1: problems all over the world. We were with unions and

716
00:40:37,760 --> 00:40:41,240
Speaker 1: other issues, teamsters and all kinds of stuff. And Sydney

717
00:40:41,360 --> 00:40:43,640
Speaker 1: was a friend of the Sinatras as well. So I

718
00:40:43,680 --> 00:40:50,239
Speaker 1: would have lunch with Frank, Sydney and Sinatra. Now, when

719
00:40:50,280 --> 00:40:52,880
Speaker 1: they were doing the Bond thing, Cubby said, you're going

720
00:40:52,920 --> 00:40:54,239
Speaker 1: to hear a lot of things on the street. I'm

721
00:40:54,280 --> 00:40:55,759
Speaker 1: gonna get a lot of pressure, but you're going to

722
00:40:55,800 --> 00:40:58,120
Speaker 1: be the guy and we'll make it as press, you know.

723
00:40:59,040 --> 00:41:01,759
Speaker 1: And they were doing the pressure stuff, and they were

724
00:41:01,800 --> 00:41:05,160
Speaker 1: doing this and doing that, and and and Frank Chris

725
00:41:05,280 --> 00:41:08,200
Speaker 1: is smoo them go with the Italian kid, the good kid.

726
00:41:09,360 --> 00:41:11,640
Speaker 1: I mean, that was already but it was that that

727
00:41:11,760 --> 00:41:13,640
Speaker 1: was a fun input thing, you know what I mean.

728
00:41:14,239 --> 00:41:17,960
Speaker 1: And so Franz Sanchez. They always wanted Frank to sing

729
00:41:18,000 --> 00:41:20,759
Speaker 1: a song or to play a villain. Oh, and he

730
00:41:20,760 --> 00:41:22,960
Speaker 1: would never do it. And he didn't do it. So

731
00:41:23,040 --> 00:41:26,600
Speaker 1: fran Sanchez is Frank Sinatra. That's how they got the

732
00:41:26,680 --> 00:41:30,280
Speaker 1: name fran Sanchez. Frank Sanchez is an homage with the FS.

733
00:41:30,360 --> 00:41:32,680
Speaker 1: When I saw it, I thought, now it makes sense.

734
00:41:32,840 --> 00:41:37,040
Speaker 1: He also has a kind of there's a dominating swagger

735
00:41:37,080 --> 00:41:40,320
Speaker 1: about that guy that has the he's got the DNA

736
00:41:40,400 --> 00:41:42,480
Speaker 1: of Sinatra in him. I had I had to do

737
00:41:42,560 --> 00:41:44,960
Speaker 1: something that was I wanted to do. Of course, you're

738
00:41:44,960 --> 00:41:47,160
Speaker 1: doing a Bond villain, so I wanted to do. We

739
00:41:47,280 --> 00:41:50,560
Speaker 1: had gone. Me and Timothy talked to Kubby and John Glenn,

740
00:41:50,600 --> 00:41:55,000
Speaker 1: the director who's a terrific person, and in Concino Reale

741
00:41:55,520 --> 00:41:58,520
Speaker 1: Ian Fleming maps out that Bond and the villain the

742
00:41:58,560 --> 00:42:03,160
Speaker 1: mirror images of each other. So it was Timothy play's

743
00:42:04,080 --> 00:42:08,360
Speaker 1: Bond more like the bad guy, and I'm being charming

744
00:42:08,480 --> 00:42:11,680
Speaker 1: like Bond with the quips until you throw people, to

745
00:42:12,160 --> 00:42:15,839
Speaker 1: throw people to the show, which Sinatra I hope didn't do. No, no, no,

746
00:42:15,920 --> 00:42:17,880
Speaker 1: he never threw Joey Bishop in with the show. No no,

747
00:42:18,160 --> 00:42:21,920
Speaker 1: he metaphorically, maybe, but not if you asked Don Rickles.

748
00:42:22,480 --> 00:42:25,120
Speaker 1: I talked to Jimmy boom Butts. He said, everything's okay.

749
00:42:25,480 --> 00:42:29,440
Speaker 1: Tony Vascalini, those names that Don Rickles made up. I

750
00:42:29,520 --> 00:42:32,680
Speaker 1: opened him in Vegas. I know you opened for Rickles.

751
00:42:32,960 --> 00:42:38,400
Speaker 1: His last four shows Wow, standing, unbelievable, unbelievable. He was

752
00:42:38,440 --> 00:42:40,200
Speaker 1: a legend. I want to talk about that part of

753
00:42:40,239 --> 00:42:43,440
Speaker 1: your career in a minute. But while we're talking about

754
00:42:43,440 --> 00:42:47,120
Speaker 1: this drug cartel lord you played in the Bond movie Friends,

755
00:42:48,000 --> 00:42:53,560
Speaker 1: Centre Sanchez. If fran Sanchez heard that the president of

756
00:42:53,600 --> 00:42:58,080
Speaker 1: the United States was about to begin a land invasion

757
00:42:58,120 --> 00:43:01,759
Speaker 1: of his territory and he had just taken down a

758
00:43:01,880 --> 00:43:06,520
Speaker 1: fellow president of another in another country, how do you

759
00:43:06,560 --> 00:43:12,799
Speaker 1: think Frands would react? It would be rather interesting, rather,

760
00:43:13,120 --> 00:43:16,920
Speaker 1: you know, that's a nice premise. How would someone react

761
00:43:16,960 --> 00:43:19,520
Speaker 1: like that? I think how they're reacting now, some of them,

762
00:43:20,239 --> 00:43:22,879
Speaker 1: you know, they're wondering, Okay, how do we get out

763
00:43:22,920 --> 00:43:25,719
Speaker 1: of this jam? How do we get out of this jam?

764
00:43:25,760 --> 00:43:28,520
Speaker 1: Because up until then it didn't happen, although we did

765
00:43:28,520 --> 00:43:32,160
Speaker 1: get Noriego at the time, and I did meet Pablo Escobar?

766
00:43:32,360 --> 00:43:35,640
Speaker 1: You did Did you take any of that meeting into

767
00:43:35,680 --> 00:43:37,839
Speaker 1: the character? I met him after? Oh, you met him after?

768
00:43:38,040 --> 00:43:41,200
Speaker 1: I did a film in the Amazon rainforest in nineteen

769
00:43:41,320 --> 00:43:44,400
Speaker 1: ninety with a finished director Mika Koutismocky, and I do

770
00:43:44,480 --> 00:43:48,719
Speaker 1: this film and I'm at the hotel. I think it's

771
00:43:48,760 --> 00:43:54,920
Speaker 1: called Tropical in Manaos with rubber barons built this amazing hotel.

772
00:43:55,440 --> 00:43:58,600
Speaker 1: The wood and the detail of this hotel. And I'm

773
00:43:58,600 --> 00:44:00,920
Speaker 1: sitting in the big luncheon room after being with the

774
00:44:01,000 --> 00:44:04,080
Speaker 1: Yano Mummy Indians in the jungle and shooting because it

775
00:44:04,120 --> 00:44:09,640
Speaker 1: was about the guard impos the gold diggers, and two

776
00:44:09,719 --> 00:44:12,920
Speaker 1: guys approached me, and a long story short, I wound

777
00:44:12,960 --> 00:44:16,239
Speaker 1: up meeting Pablo Escobar and he goes, I saw the

778
00:44:16,239 --> 00:44:19,120
Speaker 1: film because it had just opened up. He goes, you know,

779
00:44:20,040 --> 00:44:27,239
Speaker 1: among other things. He goes, loyalty is more important to

780
00:44:27,280 --> 00:44:32,080
Speaker 1: me the money, that's right, And then he goes, When

781
00:44:32,120 --> 00:44:36,919
Speaker 1: I was younger, I tried to buy a discotheque. Yes,

782
00:44:37,880 --> 00:44:40,959
Speaker 1: I offered them good money. They denied me. I offered

783
00:44:41,000 --> 00:44:44,880
Speaker 1: them double. They didn't triple the money. I built the

784
00:44:44,920 --> 00:44:48,319
Speaker 1: exact same thing across the street through the tee and

785
00:44:48,440 --> 00:44:51,200
Speaker 1: charged no one for drinks or entrance, and I put

786
00:44:51,239 --> 00:44:53,799
Speaker 1: them out of business. They should have sold it to me.

787
00:44:54,080 --> 00:44:59,080
Speaker 1: This is my personality. This is But that's high praise

788
00:44:59,120 --> 00:45:02,560
Speaker 1: from Pablo s You got it right, yeah, I mean

789
00:45:02,560 --> 00:45:06,560
Speaker 1: you got the type of Do you have any advice

790
00:45:07,600 --> 00:45:14,279
Speaker 1: to the new Bond producers as they embrace this franchise Bond,

791
00:45:15,080 --> 00:45:20,760
Speaker 1: James Bond, keep him, keep him Bond. Don't go woke.

792
00:45:22,200 --> 00:45:27,319
Speaker 1: Don't go woke, go truth, keep the the legacy of

793
00:45:27,400 --> 00:45:32,200
Speaker 1: Kubby Broccli and Dana Brockley. You don't need to go woke.

794
00:45:33,760 --> 00:45:36,279
Speaker 1: Is that? Does that worry you that they might go woke? Yeah,

795
00:45:36,400 --> 00:45:39,840
Speaker 1: there's words of passion, there's words of that. There's a

796
00:45:39,960 --> 00:45:42,840
Speaker 1: reason why it was created by Iani Fleming. Create a

797
00:45:42,840 --> 00:45:45,880
Speaker 1: different show. Okay, I want to talk about you playing

798
00:45:45,920 --> 00:45:47,840
Speaker 1: the other side of the law. When you played FBI

799
00:45:47,960 --> 00:45:51,000
Speaker 1: agent Johnson in Diehard Heard and also Bailey Malone and

800
00:45:51,040 --> 00:45:55,239
Speaker 1: Profile right Jahnson, you played both sides of this thing.

801
00:45:55,640 --> 00:45:58,879
Speaker 1: Always tell me about Johnson though that role, I mean

802
00:45:58,920 --> 00:46:03,120
Speaker 1: another iconic. It's I mean, it's an incredible thing to

803
00:46:03,120 --> 00:46:06,719
Speaker 1: be part of one hit. You've been part of multiple hits. Yeah,

804
00:46:06,719 --> 00:46:09,440
Speaker 1: thank God. Tell me about that that film? Do you

805
00:46:09,719 --> 00:46:12,239
Speaker 1: do you have any memory of working on it? And

806
00:46:12,680 --> 00:46:16,040
Speaker 1: exactly well, I was. I did row deal with Schwarzenegger

807
00:46:16,520 --> 00:46:19,600
Speaker 1: and we became good friends. And then Joel Silver was

808
00:46:19,680 --> 00:46:23,360
Speaker 1: very close to Arnold Predator and the other films Commando,

809
00:46:24,080 --> 00:46:26,200
Speaker 1: and then Joel liked my acting and started putting me

810
00:46:26,239 --> 00:46:29,040
Speaker 1: in films and he called me up and I had

811
00:46:29,040 --> 00:46:32,120
Speaker 1: done the Bond film. I knew that was in the can,

812
00:46:33,160 --> 00:46:36,560
Speaker 1: and he goes, I got something for you, die Hard. Now,

813
00:46:36,600 --> 00:46:40,600
Speaker 1: Bruce Willis at the time, God love him, didn't have

814
00:46:40,640 --> 00:46:46,480
Speaker 1: a hit. Who was die Hard with? And Sinatra really

815
00:46:46,520 --> 00:46:49,080
Speaker 1: had the rights to that book? You know, no had

816
00:46:49,080 --> 00:46:51,200
Speaker 1: the rights to that. In Dirty Harry, I did not

817
00:46:51,440 --> 00:46:54,120
Speaker 1: know that. John Millius had a meeting with Frank at

818
00:46:54,120 --> 00:46:57,839
Speaker 1: Warner Brothers to convince him to play Dirty Harry. And

819
00:46:57,880 --> 00:47:01,160
Speaker 1: he goes and here's your gun. And Frank gets the

820
00:47:01,160 --> 00:47:03,279
Speaker 1: gun and he goes like this. He goes, it's it's

821
00:47:03,320 --> 00:47:08,440
Speaker 1: too big for my hands and handed it back. He

822
00:47:08,480 --> 00:47:10,560
Speaker 1: would have been a bad dirty hair right anyway, that was,

823
00:47:10,640 --> 00:47:13,160
Speaker 1: but he had the rights to these books. Wow, Frank

824
00:47:13,160 --> 00:47:15,880
Speaker 1: had the rights to a lot of stuff anyway. So

825
00:47:15,920 --> 00:47:18,680
Speaker 1: what happens is Joe says, I got to and it's

826
00:47:18,719 --> 00:47:20,759
Speaker 1: this agent and I read it and go, yeah, all right,

827
00:47:20,760 --> 00:47:24,600
Speaker 1: it's not it's I didn't know, and I go, I'll

828
00:47:24,600 --> 00:47:26,080
Speaker 1: do it, but I don't want any billing. I was

829
00:47:26,120 --> 00:47:27,960
Speaker 1: like feeling my own so I was stupid. I says,

830
00:47:28,000 --> 00:47:29,440
Speaker 1: don't know billing. He says, what, No, you got to

831
00:47:29,440 --> 00:47:31,840
Speaker 1: have good billing. I said, Joel, I don't want billing.

832
00:47:32,560 --> 00:47:33,840
Speaker 1: I'll do it, but you got to pay me and

833
00:47:33,880 --> 00:47:37,239
Speaker 1: i'll you know. He paid me good. And then after

834
00:47:37,280 --> 00:47:38,879
Speaker 1: the film comes out he calls me up. He goes,

835
00:47:38,920 --> 00:47:41,480
Speaker 1: you sure don't want billing, I said, Joel, I told you.

836
00:47:41,520 --> 00:47:43,480
Speaker 1: I love you man. He goes, but I got to

837
00:47:43,480 --> 00:47:45,279
Speaker 1: put you at the end. I go, okay, so you

838
00:47:45,280 --> 00:47:48,319
Speaker 1: can get residuals. I says, yeah, fine, because I was

839
00:47:48,320 --> 00:47:50,960
Speaker 1: trying to do like a star turn cameo where you

840
00:47:51,000 --> 00:47:54,520
Speaker 1: show up and nobody. Oh. I had an inflated ego

841
00:47:54,640 --> 00:47:57,960
Speaker 1: at that time. A little bit you've gotten over that

842
00:47:58,239 --> 00:48:00,640
Speaker 1: I did. I have. Okay, I'll have a bit of

843
00:48:00,640 --> 00:48:04,320
Speaker 1: an ego. I know, we all do. It's part of

844
00:48:04,360 --> 00:48:06,400
Speaker 1: the it's part of the deal, part of our sickness.

845
00:48:06,560 --> 00:48:09,399
Speaker 1: That's right. Oh fun. Anyway, So I do the thing

846
00:48:10,120 --> 00:48:14,759
Speaker 1: and I'm watching die Hard for the first time at

847
00:48:15,160 --> 00:48:18,560
Speaker 1: twentieth Century Fox, first screening with Arnold. Oh, Arnold comes

848
00:48:18,560 --> 00:48:20,279
Speaker 1: with you. Yeah, he says, come on, we're gonna go

849
00:48:20,280 --> 00:48:23,680
Speaker 1: see this movie. Yeah. Here, it's fantastic that you're in

850
00:48:24,560 --> 00:48:27,800
Speaker 1: and we're watching the film, and it's like, because Arnold's

851
00:48:27,800 --> 00:48:29,440
Speaker 1: a real film fan, you know he was, And he's

852
00:48:29,480 --> 00:48:31,720
Speaker 1: watching the film, and we're watching the movie and watching

853
00:48:32,200 --> 00:48:35,799
Speaker 1: I come on screen. Who's in charge? Not anymore? He goes,

854
00:48:36,560 --> 00:48:39,800
Speaker 1: this is fantastic. You look great. Yeah, this is great.

855
00:48:39,880 --> 00:48:43,400
Speaker 1: It's great year and he's watching it, and he's watching it.

856
00:48:43,480 --> 00:48:53,200
Speaker 1: He oh, what are you doing here? What's wrong? Would

857
00:48:53,200 --> 00:48:55,080
Speaker 1: you look at you made him a jerk? Yeah? What happened?

858
00:48:55,360 --> 00:48:57,880
Speaker 1: I go, Arnold, it's the script, it's the character. He

859
00:48:57,960 --> 00:49:00,400
Speaker 1: thought I was coming in to save the day. I

860
00:49:00,480 --> 00:49:04,880
Speaker 1: was happy for that, because the character becomes a foil.

861
00:49:05,080 --> 00:49:08,319
Speaker 1: He was. It was upset the idiot. Well you played

862
00:49:08,440 --> 00:49:13,480
Speaker 1: like this? So Arnold was not a fan of die Hard. No,

863
00:49:13,560 --> 00:49:15,279
Speaker 1: he loved it. Oh he loved the movie. Just not

864
00:49:15,360 --> 00:49:17,319
Speaker 1: your role. Yeah yeah, he just we made fun of

865
00:49:17,320 --> 00:49:19,879
Speaker 1: that role. Okay, settle this for us. Every year, this

866
00:49:19,960 --> 00:49:24,280
Speaker 1: comes up every darned year. Is die Hard a Christmas movie?

867
00:49:24,400 --> 00:49:29,680
Speaker 1: All right? For many many years I rejected that premise

868
00:49:30,320 --> 00:49:33,319
Speaker 1: until I put this on a couple of years ago.

869
00:49:34,800 --> 00:49:37,640
Speaker 1: Die Hard is a Christmas Movie? Went to the can

870
00:49:37,840 --> 00:49:40,600
Speaker 1: that went viral on acts over a few million views.

871
00:49:42,120 --> 00:49:45,759
Speaker 1: And what happened was I had gone to London, the

872
00:49:45,960 --> 00:49:49,440
Speaker 1: London action film festival and me and John Macturnham were guests.

873
00:49:50,000 --> 00:49:51,880
Speaker 1: They asked me to sing a couple of songs. Okay,

874
00:49:52,000 --> 00:49:54,000
Speaker 1: so I sang a couple of Christmas songs like let

875
00:49:54,000 --> 00:49:56,400
Speaker 1: It Snow and like that, and I go and I

876
00:49:56,400 --> 00:49:58,640
Speaker 1: hope New York City Christmas, which we play at home

877
00:49:58,640 --> 00:50:01,760
Speaker 1: everyh oh yeah, oh yeah. That should have been a classic,

878
00:50:01,760 --> 00:50:03,600
Speaker 1: but it didn't. Know. I sang that and a few

879
00:50:03,600 --> 00:50:07,120
Speaker 1: other things. And at the end of that, I go, listen, guys,

880
00:50:07,239 --> 00:50:09,160
Speaker 1: just to and we had a full audience of a

881
00:50:09,200 --> 00:50:13,200
Speaker 1: couple of thousand. I says, just to dispel everything, Diehard

882
00:50:13,360 --> 00:50:16,040
Speaker 1: is a Christmas movie. So sing along. And then we

883
00:50:16,080 --> 00:50:19,279
Speaker 1: sang and everybody cheered and loved that. So I then say,

884
00:50:19,280 --> 00:50:20,759
Speaker 1: why do you say that, Why do you say it

885
00:50:20,840 --> 00:50:23,080
Speaker 1: is a Christmas moment? Well, now I do, because, well,

886
00:50:23,080 --> 00:50:26,960
Speaker 1: first off, when you look at it, sett in Christmas,

887
00:50:27,480 --> 00:50:29,960
Speaker 1: the music is being played through the whole thing, a

888
00:50:30,040 --> 00:50:36,640
Speaker 1: Christmas tributed songs, songs. And then you had John McClain barefoot, bleeding,

889
00:50:38,200 --> 00:50:43,320
Speaker 1: sacrificing himself. There was a Christ, a shadow of Christ

890
00:50:44,200 --> 00:50:46,960
Speaker 1: in the character. You know, you could say that it's

891
00:50:47,000 --> 00:50:49,839
Speaker 1: not it's a wonderful life, it's not going my way,

892
00:50:50,120 --> 00:50:52,120
Speaker 1: it's not you know what I mean, but it has

893
00:50:52,160 --> 00:50:54,080
Speaker 1: it has elements of that, and it's redemptive to the

894
00:50:54,280 --> 00:50:58,680
Speaker 1: redemptive at the end. And the people people love the film.

895
00:50:58,840 --> 00:51:01,680
Speaker 1: People love the film. I mean, it's crazy. It's all

896
00:51:01,680 --> 00:51:04,440
Speaker 1: these years later, it's incredible. It's still I mean because

897
00:51:04,480 --> 00:51:07,799
Speaker 1: people it's a movie proving that it's a Christmas film.

898
00:51:07,960 --> 00:51:12,239
Speaker 1: They watch it every year several times, right right, I mean,

899
00:51:12,280 --> 00:51:14,680
Speaker 1: who does that? You know? I mean, that's becomes part

900
00:51:14,680 --> 00:51:17,680
Speaker 1: of the cannon of Christmas. Do these when you play

901
00:51:17,680 --> 00:51:23,880
Speaker 1: these dark characters, okay, these killers, these these drug cartel leaders,

902
00:51:24,800 --> 00:51:27,600
Speaker 1: does it ever seep into your life? I read something

903
00:51:27,640 --> 00:51:30,120
Speaker 1: with the Stranger Things actor who's playing the villain there

904
00:51:30,160 --> 00:51:34,240
Speaker 1: and they had to go to therapy because it's gotten

905
00:51:34,280 --> 00:51:39,799
Speaker 1: into his life. Do you ever feel that? Have you?

906
00:51:39,800 --> 00:51:43,880
Speaker 1: You kind of like take a good sauna and steam

907
00:51:44,160 --> 00:51:46,840
Speaker 1: to get it out. But you know, you're playing a

908
00:51:46,920 --> 00:51:50,680
Speaker 1: character and it's in the imagination and you're staring up

909
00:51:50,719 --> 00:51:55,640
Speaker 1: things and everything is part of us. Everything is in us.

910
00:51:56,760 --> 00:51:58,759
Speaker 1: I don't care who you are, whether you're killing an

911
00:51:58,800 --> 00:52:03,360
Speaker 1: ant or killing a human in a film. You know,

912
00:52:03,400 --> 00:52:07,520
Speaker 1: there's instincts and you we're fighting that as human beings,

913
00:52:07,520 --> 00:52:12,239
Speaker 1: the redemptiveness of our own souls. So, and I never

914
00:52:12,320 --> 00:52:15,400
Speaker 1: go into the character going this guy is villainous, he's bad.

915
00:52:16,440 --> 00:52:19,680
Speaker 1: I don't do that. I go this guy has an action,

916
00:52:19,920 --> 00:52:22,880
Speaker 1: Let the audience decide, and I'm going to justify for

917
00:52:22,960 --> 00:52:27,279
Speaker 1: myself how he comes across. And that's I think makes

918
00:52:27,320 --> 00:52:29,600
Speaker 1: the characters believable to some people. Yeah, you find a

919
00:52:29,640 --> 00:52:33,480
Speaker 1: human justification for each of his actions, no matter how dark,

920
00:52:33,520 --> 00:52:37,040
Speaker 1: ideous or horrible. I mean, which is classic Adler technique.

921
00:52:37,080 --> 00:52:39,680
Speaker 1: We should tell people. Yes, you know, she would say,

922
00:52:39,800 --> 00:52:42,600
Speaker 1: you can't just do something. You have to internally justify

923
00:52:42,640 --> 00:52:44,840
Speaker 1: and find a reason for it that fits in that character.

924
00:52:45,160 --> 00:52:48,040
Speaker 1: So he's okay doing it. Yes, whether the public or

925
00:52:48,080 --> 00:52:50,799
Speaker 1: anywhere to watch it, yes, they can justify or judge it.

926
00:52:50,840 --> 00:52:52,839
Speaker 1: But you're not doing it. You don't want to. And

927
00:52:52,960 --> 00:52:56,800
Speaker 1: so's but no Enxorcist movies for you. I read somewhere

928
00:52:56,840 --> 00:53:00,920
Speaker 1: when you were offered those kinds of movies, you shy away.

929
00:53:01,040 --> 00:53:06,480
Speaker 1: Why because there is a spiritual battle going on and

930
00:53:06,560 --> 00:53:09,399
Speaker 1: those films. The most terrifying movie episode as a kid

931
00:53:09,440 --> 00:53:12,640
Speaker 1: was Exorcist. Me and my cousin were in a theater,

932
00:53:12,800 --> 00:53:15,160
Speaker 1: And the only thing that saved us is we had

933
00:53:15,200 --> 00:53:19,880
Speaker 1: a predominantly black audience who was talking back at the screen.

934
00:53:21,280 --> 00:53:24,120
Speaker 1: You know, the lighten the mood. I mean, it just

935
00:53:24,239 --> 00:53:26,400
Speaker 1: made it. But it was terrifying. Went to bed with

936
00:53:26,480 --> 00:53:31,040
Speaker 1: our rosary beads because I did that film was terrifying. Yeah,

937
00:53:31,080 --> 00:53:35,440
Speaker 1: and you know, the demonic spirit is alive and well,

938
00:53:36,160 --> 00:53:38,319
Speaker 1: and I don't want that. I would not want to

939
00:53:38,320 --> 00:53:42,440
Speaker 1: conjure up. Wow, that's interesting. Tell me about I want

940
00:53:42,480 --> 00:53:45,839
Speaker 1: to go full circle here after your and your love

941
00:53:45,840 --> 00:53:50,600
Speaker 1: of music, your encounter with Sinatra. In twenty eleven, you

942
00:53:50,680 --> 00:53:55,040
Speaker 1: come out with Doffy Sink Sinatra, which is full beautiful

943
00:53:55,080 --> 00:53:58,920
Speaker 1: new orchestrations of many of Sinatra's hits. First of all,

944
00:53:58,960 --> 00:54:03,719
Speaker 1: why do the Robert Why not do a slate of

945
00:54:03,800 --> 00:54:08,040
Speaker 1: songs that in the style of Sinatra, but not his hits.

946
00:54:08,200 --> 00:54:11,880
Speaker 1: Did you worry that the comparison might be made. I

947
00:54:11,920 --> 00:54:15,760
Speaker 1: wanted the comparison because my thing was if I can

948
00:54:16,280 --> 00:54:20,319
Speaker 1: at least have some kind of how do you make

949
00:54:20,360 --> 00:54:23,120
Speaker 1: a bit of a footprint, How do you make a

950
00:54:23,160 --> 00:54:24,840
Speaker 1: bit of a footprint. So I said, let me do

951
00:54:24,920 --> 00:54:27,600
Speaker 1: the classics, and I had Phil Ramon produced the album.

952
00:54:28,320 --> 00:54:31,760
Speaker 1: Who had done stuff for Sinatra? Did the whole Duets album? Yeah,

953
00:54:31,800 --> 00:54:33,680
Speaker 1: and I was doing a thing because I wanted to

954
00:54:33,880 --> 00:54:40,239
Speaker 1: my connection to Sinatra. He was gone. And now the

955
00:54:40,280 --> 00:54:46,160
Speaker 1: next album I have is more obscure stuff. It's a

956
00:54:46,200 --> 00:54:48,280
Speaker 1: bunch of obscure thiess still part of the great American

957
00:54:48,320 --> 00:54:52,160
Speaker 1: song book. Oh yeah, yeah, which you called the Shakespeare

958
00:54:52,160 --> 00:54:55,680
Speaker 1: of America. I love that, the amalgam of the American experience.

959
00:54:56,480 --> 00:54:58,840
Speaker 1: It comes from the black jazz and jem blues artists,

960
00:54:59,719 --> 00:55:06,120
Speaker 1: the Irish, Scottish, Welsh, Lebanese, American, Indian, and then a

961
00:55:06,200 --> 00:55:09,000
Speaker 1: large portion from the sons and daughters of Jewish immigrants. Yeah,

962
00:55:09,200 --> 00:55:11,280
Speaker 1: and that's why it translates. But you needed the Italian

963
00:55:11,360 --> 00:55:14,680
Speaker 1: to sing it, and that's why it translates all over

964
00:55:14,719 --> 00:55:17,800
Speaker 1: the world. Is that the math? But you need to Italian.

965
00:55:17,920 --> 00:55:20,160
Speaker 1: You think, oh, you had Henry mess you had some

966
00:55:20,239 --> 00:55:22,799
Speaker 1: great Harry Warren. Oh yeah, it was Italian. Oh I

967
00:55:22,840 --> 00:55:27,080
Speaker 1: didn't know that Harry Warren was Italian. It was Italian. Wow,

968
00:55:28,640 --> 00:55:30,719
Speaker 1: I did not know that. Yeah. Yeah, So it was

969
00:55:30,719 --> 00:55:34,200
Speaker 1: Pete Fountain Clarinetus. Oh yeah, it was Louis Prima. Louis

970
00:55:34,239 --> 00:55:36,080
Speaker 1: Prima was well he's from here. I got the Louis

971
00:55:36,080 --> 00:55:39,080
Speaker 1: Prima Entertainer of the Year ward. Yeah, wow, when you

972
00:55:39,160 --> 00:55:41,520
Speaker 1: deserve Dina Martin gave it to me. I love it,

973
00:55:41,600 --> 00:55:43,000
Speaker 1: and presented it to me, and then we went to

974
00:55:43,080 --> 00:55:47,720
Speaker 1: Louis Tombstone, right, yeah, right in Metorie Cemetery. Yeah, yep, yeah,

975
00:55:47,760 --> 00:55:51,520
Speaker 1: I love that. Quincy Jones said of your album, your

976
00:55:51,560 --> 00:55:55,240
Speaker 1: Sinatra album, he captured the essence of old blue eyes.

977
00:55:55,520 --> 00:55:58,040
Speaker 1: Didn't do an impression. It captured that. How do you

978
00:55:58,120 --> 00:56:02,600
Speaker 1: balance that between to preserve your own style while paying

979
00:56:02,600 --> 00:56:05,040
Speaker 1: homage to this voice that got to be playing in

980
00:56:05,080 --> 00:56:07,440
Speaker 1: your head? Whenever I sing any of those songs, you

981
00:56:07,480 --> 00:56:12,040
Speaker 1: inevitably beautifully. Yeah, that's what you're hearing. You're hearing Sinatra

982
00:56:12,080 --> 00:56:14,759
Speaker 1: in your head. Yeah, you have. You can't help, you know,

983
00:56:14,840 --> 00:56:17,800
Speaker 1: because the purity of his tone. You know, he was

984
00:56:17,840 --> 00:56:21,800
Speaker 1: the first belcanto singer. Yeah, he wasn't a crooner because

985
00:56:21,800 --> 00:56:24,479
Speaker 1: he studied with the guy from the Metropolitan Opera, John

986
00:56:25,200 --> 00:56:27,920
Speaker 1: Maguire or somebody like this, some Irish drunk tenor, he

987
00:56:28,000 --> 00:56:35,440
Speaker 1: used to say. But he had the legato, the purity

988
00:56:35,520 --> 00:56:39,400
Speaker 1: of tone, and so and Bing Crosby too, who doesn't

989
00:56:39,440 --> 00:56:42,680
Speaker 1: have the legacy. He has the legacy, but doesn't have

990
00:56:42,880 --> 00:56:48,040
Speaker 1: the the popular Aside from White Christmas, his kind of

991
00:56:48,360 --> 00:56:52,680
Speaker 1: Going My Way had twelve Academy Award nominations, a bunch

992
00:56:52,719 --> 00:56:55,400
Speaker 1: of wins. Yeah, and his stuff is brilliant. He was

993
00:56:55,440 --> 00:56:59,719
Speaker 1: a brilliant jazz musician. But he just doesn't get the

994
00:56:59,719 --> 00:57:06,080
Speaker 1: the the mythical, the acclaim. You know, he didn't cling

995
00:57:06,200 --> 00:57:09,120
Speaker 1: somehow to the American like a guy like Seth McFarland,

996
00:57:09,520 --> 00:57:12,279
Speaker 1: who's a good singer. He should do a tribute to Bing.

997
00:57:13,040 --> 00:57:17,760
Speaker 1: He should leave Frank to us stallions, you know, I

998
00:57:17,800 --> 00:57:20,760
Speaker 1: mean Seth your Irish or whatever you are Scottish to

999
00:57:20,880 --> 00:57:24,040
Speaker 1: attribute to Big you had to by the Sinatra album

1000
00:57:24,080 --> 00:57:30,840
Speaker 1: you had a hog that to yourself. Arrangements, arrangements, they're beautiful,

1001
00:57:30,960 --> 00:57:34,880
Speaker 1: some of the kidding Gordon Jenkins, Don Costa and the

1002
00:57:34,960 --> 00:57:40,960
Speaker 1: Nelson Riddle, Billy May the best incredible self excel stortle. Yeah,

1003
00:57:41,520 --> 00:57:43,880
Speaker 1: tell me before we leave this topic of entertainment in

1004
00:57:43,920 --> 00:57:48,800
Speaker 1: the industry and go to the Royal Grande questionnaire. When

1005
00:57:48,800 --> 00:57:51,480
Speaker 1: you look at the Kennedy Center, Trump took over the

1006
00:57:51,560 --> 00:57:54,680
Speaker 1: Kennedy Center, they made a lot of changes. Artists have

1007
00:57:54,720 --> 00:58:00,360
Speaker 1: in recent days been boycotting or canceling performances. Your fought

1008
00:58:00,440 --> 00:58:04,560
Speaker 1: on that, Richard Grenell, I'm ready to do a concert

1009
00:58:04,600 --> 00:58:09,320
Speaker 1: at the Trump Kennedy Center. You understand, all right, I've

1010
00:58:09,360 --> 00:58:12,680
Speaker 1: done it all over the world. You know. My thought is,

1011
00:58:13,480 --> 00:58:17,640
Speaker 1: I don't know why they would cancel. It's unfortunate that

1012
00:58:17,800 --> 00:58:22,040
Speaker 1: politics has become that kind of Well, this is where

1013
00:58:22,080 --> 00:58:24,680
Speaker 1: I don't like the politics and the arts merging in

1014
00:58:24,720 --> 00:58:30,560
Speaker 1: the Maurager Robert, Yeah, they should be the arts sport.

1015
00:58:30,960 --> 00:58:35,320
Speaker 1: These should be politically neutral zones. Sadly they aren't, and

1016
00:58:35,360 --> 00:58:39,960
Speaker 1: the art becomes a vehicle for political station and statements.

1017
00:58:40,000 --> 00:58:41,640
Speaker 1: And I think the audience has had it up to

1018
00:58:41,680 --> 00:58:44,320
Speaker 1: here with it. I would hope so, I would hope so.

1019
00:58:44,360 --> 00:58:46,880
Speaker 1: I hope there would be blowback on that, But it

1020
00:58:46,880 --> 00:58:48,600
Speaker 1: seems to be like, you know, there's a lot of

1021
00:58:48,640 --> 00:58:52,439
Speaker 1: that aboy backslapping on that. Yeah, see he canceled out.

1022
00:58:52,640 --> 00:58:55,200
Speaker 1: We're going to do the same thing and maybe our set.

1023
00:58:55,800 --> 00:58:58,800
Speaker 1: I don't know. I don't know the justification for it. Okay,

1024
00:58:58,880 --> 00:59:01,760
Speaker 1: I want to You've interviewed You've interviewed more people than

1025
00:59:01,800 --> 00:59:05,480
Speaker 1: Dick hab It, Mike Wallace. I don't think so any

1026
00:59:05,520 --> 00:59:09,920
Speaker 1: of these guys. Yes, you have maybe thirty years, Robert

1027
00:59:09,960 --> 00:59:14,360
Speaker 1: thirty years, and you've interviewed everyone. I mean the iconic people.

1028
00:59:14,440 --> 00:59:17,720
Speaker 1: You've interviewed, from Popes to Jerry Lewis. Yeah, I mean

1029
00:59:18,880 --> 00:59:22,800
Speaker 1: well and many, many, many many in all Cross Streelds.

1030
00:59:22,840 --> 00:59:26,200
Speaker 1: It's just extraordinary. You were just with our pal sled alone.

1031
00:59:26,200 --> 00:59:29,600
Speaker 1: You're doing the next season of something. Yes, yes, yes,

1032
00:59:30,120 --> 00:59:32,800
Speaker 1: you can't talk about it. I haven't, but I don't

1033
00:59:32,840 --> 00:59:34,880
Speaker 1: know if there's nobody told me don't talk about it,

1034
00:59:35,280 --> 00:59:37,720
Speaker 1: you know, I just haven't because the character is getting

1035
00:59:37,720 --> 00:59:42,520
Speaker 1: introduced slowly, and it's a it's a great character, and

1036
00:59:42,920 --> 00:59:45,439
Speaker 1: I'm excited about I love the show. I'm a big

1037
00:59:45,440 --> 00:59:48,560
Speaker 1: fan of the show, big fan of Sly, as it

1038
00:59:48,600 --> 00:59:52,040
Speaker 1: has for years. People don't realize is really a writer.

1039
00:59:52,680 --> 00:59:55,680
Speaker 1: The first yeah, he's an artist. He's an artist. But

1040
00:59:55,720 --> 00:59:58,840
Speaker 1: the first time, the first time I went to Sly's house,

1041
01:00:00,160 --> 01:00:01,920
Speaker 1: his wife brought me in and he's at a little

1042
01:00:01,960 --> 01:00:07,760
Speaker 1: table writing on legal paper. He's amazing. So he takes

1043
01:00:07,760 --> 01:00:11,960
Speaker 1: a very very strong hand in shaping these script, paints

1044
01:00:12,080 --> 01:00:15,880
Speaker 1: these scripts. He paints the character. He had very specific

1045
01:00:15,960 --> 01:00:19,080
Speaker 1: ideas and he's just a he's just a huge talent

1046
01:00:19,120 --> 01:00:21,280
Speaker 1: and a great person. Did you have an interaction with

1047
01:00:21,360 --> 01:00:25,000
Speaker 1: the like shaping the character? No, not really, no, not

1048
01:00:25,040 --> 01:00:28,240
Speaker 1: really no. I mean I mentioned a few things to

1049
01:00:29,600 --> 01:00:33,240
Speaker 1: Joe Ricabunny and you know you can, you can, but

1050
01:00:33,320 --> 01:00:36,439
Speaker 1: it's just early on in the character and now things

1051
01:00:36,440 --> 01:00:39,120
Speaker 1: are happening. That's very, very fun. Okay, I'll tell you

1052
01:00:39,160 --> 01:00:43,880
Speaker 1: something off camera. Ok but you can stay tuned to Tulsa. Okay,

1053
01:00:43,920 --> 01:00:46,120
Speaker 1: I want to go to our Royal Grande. Question is yes,

1054
01:00:46,160 --> 01:00:50,280
Speaker 1: I ask everybody these questions. You ready, who is the

1055
01:00:50,280 --> 01:00:55,680
Speaker 1: person you most admire? Well, of course the man on

1056
01:00:55,840 --> 01:00:59,160
Speaker 1: the cross. Yeah, well he's a pretty good one. You know,

1057
01:00:59,280 --> 01:01:04,280
Speaker 1: who's the person most despised? At various times? It changes?

1058
01:01:04,840 --> 01:01:08,520
Speaker 1: You know, there's no consistent this person that that I

1059
01:01:08,720 --> 01:01:12,320
Speaker 1: know or in history or you know, it's it's yeah

1060
01:01:12,360 --> 01:01:15,120
Speaker 1: that ebbs and flows. It ebbs and flows. It could

1061
01:01:15,160 --> 01:01:20,920
Speaker 1: be it could be a spontaneous burst of dissatisfaction and

1062
01:01:22,560 --> 01:01:28,000
Speaker 1: so you have you have a moving Okay, what is

1063
01:01:28,040 --> 01:01:33,760
Speaker 1: your best feature, Robert Dovey, My best feature, I think compassion.

1064
01:01:34,600 --> 01:01:37,360
Speaker 1: M hmm, I think a sense of empathy. What's your

1065
01:01:37,400 --> 01:01:43,920
Speaker 1: worst feature? My lack of empathy. What do you fear

1066
01:01:45,040 --> 01:01:50,320
Speaker 1: that moment of the unknown of you fear death, You

1067
01:01:50,400 --> 01:01:55,320
Speaker 1: fear death of any of your kids and your family members. Yeah,

1068
01:01:55,800 --> 01:01:57,680
Speaker 1: you know what I mean, you fear. There's a bit

1069
01:01:57,680 --> 01:02:00,760
Speaker 1: of that. Even though I believe in that after life

1070
01:02:01,080 --> 01:02:04,720
Speaker 1: and everything else, the reality of that can be. You know,

1071
01:02:04,840 --> 01:02:07,240
Speaker 1: when you finally reached that moment, as you're getting closer

1072
01:02:07,240 --> 01:02:09,720
Speaker 1: to what it is, you start to think you're a

1073
01:02:09,720 --> 01:02:11,960
Speaker 1: young man yet, you know, But when you're seventy four

1074
01:02:12,040 --> 01:02:15,640
Speaker 1: years old, you start to think and see friends of

1075
01:02:15,680 --> 01:02:19,240
Speaker 1: yours and people you knew all of a sudden going

1076
01:02:19,280 --> 01:02:22,240
Speaker 1: by the wayside, and then you say, well, i'd be

1077
01:02:22,320 --> 01:02:25,320
Speaker 1: this kind of statistic, and there's a shuddering and then

1078
01:02:25,400 --> 01:02:32,400
Speaker 1: leaving the kid, you know, the kids un protected, and

1079
01:02:32,800 --> 01:02:37,120
Speaker 1: that's a scary moment. What is your favorite book and

1080
01:02:37,160 --> 01:02:39,920
Speaker 1: the last one you read? I mean, I had so

1081
01:02:40,040 --> 01:02:44,040
Speaker 1: many favorite books, and the last one I read I'm reading,

1082
01:02:44,120 --> 01:02:47,439
Speaker 1: you know again, Marcus Aurelius. Thing I had. Oh, you're

1083
01:02:47,600 --> 01:02:50,920
Speaker 1: diving into the stoics. Yeah, I like the stoics. I'm

1084
01:02:50,960 --> 01:02:54,280
Speaker 1: reading that about Marcus Aurelius. I had never really read

1085
01:02:54,360 --> 01:02:59,000
Speaker 1: him when I was younger. Interestingly, there's a resurgence in

1086
01:02:59,040 --> 01:03:03,320
Speaker 1: the Stoics. Yeah, yeah, and the Stoics were interesting, and

1087
01:03:03,400 --> 01:03:05,680
Speaker 1: I try to apply that, you know, besides the Bible

1088
01:03:06,040 --> 01:03:08,560
Speaker 1: and Christianity, you know what I mean, besides the obvious?

1089
01:03:09,160 --> 01:03:13,320
Speaker 1: What do you know that no one else knows a

1090
01:03:13,400 --> 01:03:20,120
Speaker 1: few things? Okay, yeah, you got to talk. You got

1091
01:03:20,120 --> 01:03:21,920
Speaker 1: to tell me. What do you know that no one

1092
01:03:21,920 --> 01:03:25,200
Speaker 1: else knows? That no one else knows? Well, that's a

1093
01:03:25,240 --> 01:03:26,920
Speaker 1: hard one because I don't want to explore well that

1094
01:03:26,960 --> 01:03:32,480
Speaker 1: most people don't know. Well, I don't know. I was

1095
01:03:32,560 --> 01:03:37,160
Speaker 1: cured by a miracle. And I was at Marlago the

1096
01:03:37,280 --> 01:03:43,440
Speaker 1: night of the election, and it was very exciting, and

1097
01:03:43,520 --> 01:03:48,040
Speaker 1: we know that we were wondering about a miracle when

1098
01:03:48,080 --> 01:03:53,439
Speaker 1: Trump was an assassination attempt with the president Trump, and

1099
01:03:53,560 --> 01:03:57,440
Speaker 1: I was at Marlago and there was the big ballroom

1100
01:03:57,440 --> 01:03:59,400
Speaker 1: where everybody was at, and then there was a quiet

1101
01:03:59,480 --> 01:04:02,000
Speaker 1: room that some of the big donors were at, and

1102
01:04:02,040 --> 01:04:04,160
Speaker 1: his old friends and some of the other politicals. So

1103
01:04:04,600 --> 01:04:06,600
Speaker 1: at a certain point I went into that room and

1104
01:04:06,640 --> 01:04:09,840
Speaker 1: people are introducing me to people and I go, ah,

1105
01:04:10,440 --> 01:04:13,040
Speaker 1: no are you, how are you Robert? And this is

1106
01:04:13,080 --> 01:04:14,400
Speaker 1: so and so, and this is so and so, and

1107
01:04:14,440 --> 01:04:20,439
Speaker 1: this is Anthony Lamon Gino And I go, who Anthony Lamagino? Wow?

1108
01:04:20,920 --> 01:04:23,600
Speaker 1: I go, were you related to Joey? He goes, Joey's

1109
01:04:23,600 --> 01:04:26,600
Speaker 1: my brother, five brothers. He was my closest brother. I go,

1110
01:04:26,880 --> 01:04:29,080
Speaker 1: I'm Robert Doaby. When I was younger, I was cured.

1111
01:04:29,600 --> 01:04:33,280
Speaker 1: Joey used to play and then this is his son,

1112
01:04:34,000 --> 01:04:40,920
Speaker 1: Joey's son. Oh my gosh. And it was because you're

1113
01:04:40,920 --> 01:04:43,440
Speaker 1: all wondering, was it a miracle that thing would happen

1114
01:04:43,480 --> 01:04:46,320
Speaker 1: that night and everything else, and the fact that the

1115
01:04:46,400 --> 01:04:50,720
Speaker 1: lamin Gino's were there and Joey's son was there was

1116
01:04:50,760 --> 01:04:56,200
Speaker 1: something that was very very interesting to me that nobody

1117
01:04:56,200 --> 01:05:00,120
Speaker 1: knows the power of miracles. That nobody knows. Yeah, I

1118
01:05:00,120 --> 01:05:04,080
Speaker 1: mean that's something. What's the greatest piece of advice you

1119
01:05:04,160 --> 01:05:10,000
Speaker 1: ever received? I was a young, a young kid in

1120
01:05:10,080 --> 01:05:13,840
Speaker 1: New York starting with Avid working doing the plays, doing this,

1121
01:05:13,960 --> 01:05:16,440
Speaker 1: doing that, taking the subway, and I didn't have money

1122
01:05:16,440 --> 01:05:19,360
Speaker 1: for the subway one day or I had enough, and

1123
01:05:19,400 --> 01:05:22,120
Speaker 1: I was absent minded, because you know you, back then

1124
01:05:22,160 --> 01:05:25,160
Speaker 1: it was safer, and I was riding the subway thinking

1125
01:05:25,200 --> 01:05:27,840
Speaker 1: of the scene I was doing, and I missed my

1126
01:05:27,920 --> 01:05:32,880
Speaker 1: stop and it was too far and I got off

1127
01:05:34,040 --> 01:05:36,880
Speaker 1: and I realized I didn't have enough money for another token.

1128
01:05:38,040 --> 01:05:41,280
Speaker 1: So I went to the guy at the gate at

1129
01:05:41,280 --> 01:05:46,280
Speaker 1: the Turnstilarium. I go, sir, older black guy, I go,

1130
01:05:46,400 --> 01:05:49,560
Speaker 1: I kind of like was daydreaming, and I went on,

1131
01:05:49,680 --> 01:05:52,000
Speaker 1: I made a big mistake and I didn't get off money. Stop.

1132
01:05:52,240 --> 01:05:54,080
Speaker 1: He says, do you mind if I just go back

1133
01:05:54,120 --> 01:05:57,840
Speaker 1: on me? And he looks at me. My boy, I'm

1134
01:05:57,880 --> 01:06:01,360
Speaker 1: fifty eight years old, and I never made a mistake

1135
01:06:01,400 --> 01:06:07,040
Speaker 1: I didn't pay for. It's a great bit of advice,

1136
01:06:07,600 --> 01:06:10,560
Speaker 1: and I remember that never made a mistake that I

1137
01:06:10,600 --> 01:06:14,680
Speaker 1: didn't pay for. It's more that true. Tell me your

1138
01:06:14,680 --> 01:06:20,240
Speaker 1: biggest regret, do you have one? Yeah, My biggest regret is, well,

1139
01:06:21,240 --> 01:06:26,560
Speaker 1: I don't think I was in the early days the best.

1140
01:06:26,760 --> 01:06:29,440
Speaker 1: I was so busy with my career that I neglected

1141
01:06:29,480 --> 01:06:34,000
Speaker 1: family in some aspects, traveling, you know, facing the monkey

1142
01:06:34,400 --> 01:06:37,080
Speaker 1: and facing the monkey's tale, and I think I could

1143
01:06:37,120 --> 01:06:40,080
Speaker 1: have done more for my children and stuff, and I didn't.

1144
01:06:40,080 --> 01:06:44,160
Speaker 1: Then also even with investments and stuff, you know, I didn't.

1145
01:06:44,200 --> 01:06:46,360
Speaker 1: I was making some good stuff, doing things and I

1146
01:06:46,360 --> 01:06:48,440
Speaker 1: could have and I didn't. So that was you know,

1147
01:06:48,440 --> 01:06:52,840
Speaker 1: those are mistakes. Yeah, and you know my parents died young,

1148
01:06:52,880 --> 01:06:55,240
Speaker 1: at fifty five and fifty four years old. I didn't

1149
01:06:55,280 --> 01:06:59,560
Speaker 1: know that my sister, my younger sister, was murdered at twenty. Yeah,

1150
01:06:59,640 --> 01:07:03,520
Speaker 1: you know, so those things, not having them around for

1151
01:07:03,560 --> 01:07:07,440
Speaker 1: a period of time to see they saw the beginning

1152
01:07:07,480 --> 01:07:13,000
Speaker 1: of it. Yeah. My mother died, was diagnosed the day

1153
01:07:13,040 --> 01:07:16,320
Speaker 1: I got Sinatra's film. She was diagnosed that week and

1154
01:07:16,360 --> 01:07:19,360
Speaker 1: then died by the time we finished filming. My dad

1155
01:07:19,400 --> 01:07:21,520
Speaker 1: saw it and then he died a year later after

1156
01:07:21,560 --> 01:07:24,120
Speaker 1: it came out, and he was all proud. But yeah,

1157
01:07:24,480 --> 01:07:27,600
Speaker 1: you know, so you never had to what happens when

1158
01:07:27,640 --> 01:07:32,600
Speaker 1: this is over? Robert, When what's over? Wife, I leave

1159
01:07:32,640 --> 01:07:40,280
Speaker 1: it to you. Oh God, I hope I make the

1160
01:07:40,400 --> 01:07:44,640
Speaker 1: paragates too. I hope I'm there with the Lord. I sweart.

1161
01:07:45,200 --> 01:07:49,240
Speaker 1: Robert tell me, always enjoyed me. I hope a man

1162
01:07:49,280 --> 01:07:53,960
Speaker 1: in the middle cross better better help us out. Here's

1163
01:07:54,000 --> 01:07:57,760
Speaker 1: the hole. I love that line early on where Frank

1164
01:07:57,760 --> 01:08:01,600
Speaker 1: Sinatra told Dobby where those it makes you who you are.

1165
01:08:02,040 --> 01:08:04,160
Speaker 1: I guess that's true of all of us, and we

1166
01:08:04,240 --> 01:08:06,720
Speaker 1: want to hide from those things. But at times it's

1167
01:08:06,760 --> 01:08:10,520
Speaker 1: the scars, the rough experiences that you survive that allow

1168
01:08:10,560 --> 01:08:13,520
Speaker 1: you to do the next thing. I'm glad Robert Dovey's

1169
01:08:13,560 --> 01:08:16,599
Speaker 1: continuing to do the next thing. Glad you're here as well.

1170
01:08:16,640 --> 01:08:20,360
Speaker 1: Why live a dry, narrow, constricted life when if you

1171
01:08:20,400 --> 01:08:23,240
Speaker 1: fill it with knowledge and wisdom, it can flow into

1172
01:08:23,240 --> 01:08:26,960
Speaker 1: a broad, thriving Arroyo Grande. Thanks for being here, check

1173
01:08:27,040 --> 01:08:29,360
Speaker 1: us out in the future. Go subscribe to the show

1174
01:08:29,600 --> 01:08:33,160
Speaker 1: and we'll see you next time. Arroyo Grande is produced

1175
01:08:33,160 --> 01:08:37,840
Speaker 1: in partnership with iHeart Podcasts and DP Studios. It's available

1176
01:08:38,000 --> 01:09:03,120
Speaker 1: on the iHeartRadio app or wherever you get your podcasts.