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Speaker 1: Hello, it's Alec Baldwin. We're going to rebroadcast an episode

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Speaker 1: from our archives. This week you'll hear my conversation with

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Speaker 1: Russ Tamblin, one of the stars of the original West

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Speaker 1: Side Story. We'll have new episodes of Here's the Thing

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Speaker 1: beginning March fifteenth. Until then, enjoy my talk with Russ Tamblin.

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

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Speaker 1: My guest today is Russ Tamblin. In a long and

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Speaker 1: varied career, he's been a child actor and acrobat and

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Speaker 1: MGM studio star who ditched the whole scene to become

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Speaker 1: a painter. After that, he was a successful choreographer and

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Speaker 1: then one of the stars of Twin Peaks. But you

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Speaker 1: probably know him as Riff, hard bitten, vulnerable and leader

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Speaker 1: of the Jets. When you're a jan, you're agin all

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Speaker 1: the way from your first single rent to your last

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Speaker 1: West Side Stories. Riff in nineteen sixty one was the

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Speaker 1: culmination of a long string of classic teen roles. He

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Speaker 1: was Elizabeth Taylor's little brother and father of the bride,

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Speaker 1: and the younger version of King Saul in cecil b

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Speaker 1: de Mills Sampson and Delilah. His breakthrough role for MGM

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Speaker 1: was the youngest of the namesake brothers in Seven Brides

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Speaker 1: for Seven Brothers, directed by the legendary Stanley Donnin, fresh

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Speaker 1: off Singing in the Rain, and you can't recount Russ

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Speaker 1: Tamblin's career without mentioning the long string of young Tufts

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Speaker 1: before Riff, the young gun slingers, the future criminals, and

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Speaker 1: the good for nothing Tony Baker, who's really an undercover

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Speaker 1: cop in the now classic anti marijuana b movie High

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Speaker 1: School Confidential. Hey up, look, don't be a dry kitten.

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Speaker 1: We don't want to get caught with a reefer again.

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Speaker 1: Had enough of the okay and all of that jazz.

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Speaker 1: I'll get my kicks out of you these days. However,

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Speaker 1: he keeps it classy. You got your martini. This is

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Speaker 1: like so old Hollywood said, as they come to my

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Speaker 1: podcast and I get here and they're like, he's in there.

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Speaker 1: He's having a martini. Yeah, well that'll help me to

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Speaker 1: yak and yak a little. Tamblin spent his earliest years

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Speaker 1: in the middle class Inglewood neighborhood of Los Angeles. Son

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Speaker 1: of a chorus girl and what he calls a Broadway

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Speaker 1: song and dance man who came West to seek fame

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Speaker 1: and fortune. The family arrived just in time for the Depression.

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Speaker 1: Eddie Tamblin made a few movies, though, a good thing

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Speaker 1: for his son's future and for American cinema. That's where

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Speaker 1: I really got turned on. I think when I was

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Speaker 1: living in Englewood, one of his old movies was playing

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Speaker 1: a theater there. So I went to see him and

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Speaker 1: I saw him up on the screen and he was

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Speaker 1: just like, you do you know that? Oh my god,

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Speaker 1: I want to be there. And my father said no,

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Speaker 1: oh no. Um, my father did not want me to

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Speaker 1: be in show business. So what did he want you

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Speaker 1: to do? Well? He didn't care if he was not

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Speaker 1: doing that well at that point it was in the thirties.

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Speaker 1: He didn't wanted to end up like him. He had

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Speaker 1: a hot dog stand. He sold hot dogs. We had

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Speaker 1: dinner that we used to go and eat hot dogs

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Speaker 1: and his hot dog stand. And why didn't you stay away?

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Speaker 1: Meaning when he said I don't want you to do this,

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Speaker 1: why did you persist? Um? There was a theater in Englewood.

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Speaker 1: I was about ten years old, and I used to

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Speaker 1: go to the Saturday morning matinees with all the other

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Speaker 1: little kids, and it was filled with kids yelling and

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Speaker 1: screaming because of seeing my father. I would get so

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Speaker 1: excited and run up on the stage and I would

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Speaker 1: just like jump around and go into a and I

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Speaker 1: wasn't really dancing, but I would jump around and make

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Speaker 1: all the kids laugh, and they were roaring, and I'd

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Speaker 1: see that the owner of the theater come running down

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Speaker 1: the island. I had leap off the theater and I

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Speaker 1: was very very fast, so I could all into the

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Speaker 1: seats and disappear, and he couldn't find me. And I

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Speaker 1: came again. It was maybe like the second or third

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Speaker 1: time Saturday morning. He was waiting for me backstage, and

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Speaker 1: I got up on the stage and he came out

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Speaker 1: and he grabbed me by the arm, took me back

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Speaker 1: in his office and called my mother. And my mother

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Speaker 1: knew that, uh, my father did not want me to

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Speaker 1: be in show business, so she secretly started me in

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Speaker 1: tap dancing lessons. At How old were you? I was

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Speaker 1: about nine. You're a little kid, nine or ten. What

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Speaker 1: was it about your mom? Was your mom in the business, Oh? Yeah,

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Speaker 1: she was a show girl. That's where my mother and

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Speaker 1: father on Broadway. That's where they met at the road show,

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Speaker 1: one of the shows, and she was in the line

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Speaker 1: and she um, she was only like sixteen or seventeen.

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Speaker 1: She lied to because she wanted to be in the show.

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Speaker 1: I think my mother had my older brother when she

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Speaker 1: was seventeen and had me when she was eighteen. How

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Speaker 1: many kids in your family? Two brothers, an older brother

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Speaker 1: who passed away and a younger brother who has a

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Speaker 1: group called the Standals and rock and roll group. And

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Speaker 1: he's still around and still doing concerts. And uh, he

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Speaker 1: deaf now, but he goes out, doesn't anything, and he

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Speaker 1: yells all over. But when you come and you start

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Speaker 1: making films, your first film as the Boy with the

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Speaker 1: Green Hair, isn't that Dean Stockwell? Yeah, that was Dean.

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Speaker 1: We became friends, and I think that's when I was

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Speaker 1: like nine or nine or ten. How do they find

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Speaker 1: you then to be in a film? Oh? I did

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Speaker 1: a play at the corn at theater. The first thing

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Speaker 1: I did was a play directed by Lloyd Bridges called

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Speaker 1: The Stone Jungle, and I had a great part in

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Speaker 1: it and a end up getting killed in it, and

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Speaker 1: and it was killed a nine year old boy in

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Speaker 1: this play. Oh yeah. It was at Kids that go

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Speaker 1: to a rock quarry and uh, there were good actors

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Speaker 1: in it. A talent scout came and then he brought

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Speaker 1: me over to audition for a couple of parts. And

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Speaker 1: the boy with green hair, Joseph Flosi, I think, directed it,

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Speaker 1: and uh introduced me to him, and Uh, I tried

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Speaker 1: out for a couple of parts and didn't get anything,

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Speaker 1: And finally they just said, would you like to be

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Speaker 1: one of the kids in it? So I said yeah,

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Speaker 1: and so I became one of the background and kids

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Speaker 1: in it. And that was my first movie. You know,

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Speaker 1: I always think of young people working in films, and

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Speaker 1: we have all kinds of protections now when we have

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Speaker 1: all kinds of laws and rules with the Union to

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Speaker 1: protect young people and tutors and how many hours they

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Speaker 1: can work. But when you were a kid, what was

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Speaker 1: that like? How did they treat you? Were they affectionate?

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Speaker 1: And well? It was okay except for for Cecil b

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Speaker 1: the mill. Working for the mill was Samson and Delilah. Yeah.

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Speaker 1: How old are you then? About ten? I think I

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Speaker 1: was ten years old. I played King Saul as a boy.

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Speaker 1: You did four movies and this you do boy with

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Speaker 1: the green hair, Rain of Terror, Kid from Cleveland. Your

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Speaker 1: fourth movie is Samson and Delilah. I mean, I'm a

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Speaker 1: sap for those epic movies. And it's de Mill obviously,

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Speaker 1: so you see the other directors, they might have been

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Speaker 1: a little more coddling and a little warmer to you.

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Speaker 1: What was the mill like? The Mill was like like

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Speaker 1: you would expect. He wore short pants, I guess, with

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Speaker 1: high socks. He had a stick the voice of God.

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Speaker 1: Samson and Delilah, Um was the Mill? So that was?

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Speaker 1: That was what was general? Yeah, And when I went

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Speaker 1: in for the audition, I auditioned with a paramount actor

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Speaker 1: and it was this room. Um, I remember it was

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Speaker 1: a room and there was like a big window, one

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Speaker 1: way mirror. And when I finished the scene, the doors

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Speaker 1: came bursting open and out came the Mill with his

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Speaker 1: entourage and he said, you got the part, my boy,

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Speaker 1: And uh that was That was a big one for him.

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Speaker 1: You get to spend any time with Victor maturege. You

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Speaker 1: get to meet the adults much. What was he like?

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Speaker 1: He was funnier than hell. Oh, my guard, he was wild.

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Speaker 1: People told me some I wouldn't even repeat the stories

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Speaker 1: I've been told about him. I've heard some pretty He

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Speaker 1: came in with a black eye one time, and you know,

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Speaker 1: and they had to put makeup on his eye. And

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Speaker 1: I asked him, I said, Jesus, like, how the hell

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Speaker 1: did you get that? He says, I went home last

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Speaker 1: night and my wife punched me in the eye. And

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Speaker 1: I said, what's that for? You said, that's for what

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Speaker 1: you're gonna do. He was very mischievous. He moved signs

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Speaker 1: so that people would drive the wrong way, and you know,

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Speaker 1: he was crazy. Oh yeah. And then one of the

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Speaker 1: things was was Hetty Lamar, and I thought she was

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Speaker 1: gorgeous in it. I remember sitting in her dressing room

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Speaker 1: one time and mature. I never forget this. His dog

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Speaker 1: was with him, and the dog came into the dressing

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Speaker 1: room and he went over and started to lick Hetty

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Speaker 1: Lamar's legs and he says, get away from there. If

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Speaker 1: I can't do that, you can't do it. Hetty Lamar,

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Speaker 1: Oh my god. She took me to lunch one time.

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Speaker 1: At on the lunch you would like to go to lunch?

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Speaker 1: He said, yeah, you know, so I went to lunch

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Speaker 1: with Hetty and she said, oh, let's stop by this stage.

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Speaker 1: I want you to see something you'll you'll like. So

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Speaker 1: we go into the stage and it was Dean Martin

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Speaker 1: and Jerry Lewis's first movie, My Friend Irma, and everybody

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Speaker 1: was just in hysterics. Jerry was smoking a cigarette and

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Speaker 1: he got a bunch of ashes under the end of

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Speaker 1: the cigarette, and at one moment he reached down an

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Speaker 1: unzipped pants and flashes and everybody was just cracking up.

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Speaker 1: He was like that constantly, I'm gonna steal that. I love.

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Speaker 1: That is then a good one. Now you know, you

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Speaker 1: know these movies Boy with the Green Hair, Sampson and

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Speaker 1: the Live these are straight dramas. But then you get

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Speaker 1: to do Seven Brides, And had you done much you know,

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Speaker 1: your mother wanted you to learn how to tap dance.

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Speaker 1: Had you done much hoofing, and you were much into

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Speaker 1: the musical world on stage. Well, let me explain to

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Speaker 1: you how I got it. To tell me, Okay, I

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Speaker 1: did a movie at Warner Brothers called Retreat Hell. Joseph H.

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Speaker 1: Lewis directed it and I played a young marine in it.

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Speaker 1: And I had worked for him before in uh one

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Speaker 1: of his classic film, The Wall Movies. Um, it was

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Speaker 1: a class crazy. I think we're on a game show here,

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Speaker 1: and it was. It had one of the classic bank

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Speaker 1: robbery scenes in it. I don't know if you ever

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Speaker 1: saw it, but it was. It was the best. The

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Speaker 1: King brothers came and said, hey, I'm sorry, Joe, you

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Speaker 1: gotta shoot this in like a couple of hours. We

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Speaker 1: don't have the time. We have the money broke, so

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Speaker 1: he didn't know what to do, so he just stuck

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Speaker 1: a camera in the back seat of the car and

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Speaker 1: shot over the back of their heads and they actually

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Speaker 1: drove to the bank all in one take, and he

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Speaker 1: parked the car that kept the camera in there and

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Speaker 1: showed him going in and then finally he came out

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Speaker 1: and there was like a policeman that they kept joked

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Speaker 1: in the car and they drove. It was all one shot,

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Speaker 1: and they said that was one of the best bankrupt

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Speaker 1: It was by accident. So he took the film that

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Speaker 1: I did, Retreat Hell, which was a Korean war film,

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Speaker 1: and he showed it to MGM, and I guess MGM

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Speaker 1: was looking for actors to sign at the time, so

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Speaker 1: they signed me under contract and the first movie I

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Speaker 1: did there was Take the high Ground. I played a

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Speaker 1: comedy character in it. And it was a basic training

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Speaker 1: movie where Richard Woodmark teaches us all how to and

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Speaker 1: Carl mull and teach us how to become good soldiers,

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Speaker 1: which was great, and uh simn Brides came up. It

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Speaker 1: was like the next film there, and Michael Kidd told

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Speaker 1: the studio that he wanted all the six brothers to

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Speaker 1: be great dancers. And the studio said, wait a minute,

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Speaker 1: we have actors under contract here. So I'll tell you what.

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Speaker 1: You can have four great dancers and two actors that

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Speaker 1: are under contract. And I was one of the actors

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Speaker 1: that was under contract. And the other actor was Jeff

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Speaker 1: Richards who was a base ball player before he became

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Speaker 1: an actor who hated dancers. He's one of the brothers.

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Speaker 1: I said, let's go visit our brothers with the rehearsing.

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Speaker 1: And he says, oh Jesus, do I have to go

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Speaker 1: over there and talk to all those fags. Oh God, yeah,

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Speaker 1: that's how we felt. Yeah, So we go over there

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Speaker 1: and Michael Kidd came up to me and he said,

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Speaker 1: somebody told me you're a tumbler, that you're an acrobat.

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Speaker 1: I did a backflip for him right on the spot.

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Speaker 1: He says, oh my god, we'll use it in the number.

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Speaker 1: And I said, no, wait a minute. I'm not dancing

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Speaker 1: with Jack dem Woss from New York City Ballet and

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Speaker 1: Mathematics and Mark Platt. And I've never had any dance

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Speaker 1: traging except for the tap dancing. I said, I can't dance.

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Speaker 1: He said, look, this is just square dancing. All you

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Speaker 1: gotta do is lift your legs. So we do this

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Speaker 1: number called Going Courting Jennie Powell trying to make gentleman

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Speaker 1: out of us, teaching everybody how to dance, and uh

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Speaker 1: to get a really professional dancer to look awkward, it's

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Speaker 1: hard to do because they automatically stand up in the

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Speaker 1: fifth position. So Michael had had the choice of either

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Speaker 1: putting me way in back of these great dancers. I

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Speaker 1: ended up in front of all the dancers, looking awkward,

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Speaker 1: just going crazy, jumping around and then flipping up and

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Speaker 1: falling down on the floor and saying keep your dancing,

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Speaker 1: you know. That was the end of the number. That

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Speaker 1: number was just made for me because I was learning

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Speaker 1: how to go in Courton. Going Courton was the number.

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Speaker 1: And then of course the other big number was the

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Speaker 1: Barn Dance number. We were dancing on planks and stuff

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Speaker 1: like that. That was up my alley because I could

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Speaker 1: do flips. I always get the impression that those films

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Speaker 1: it was a lot of work. Yes, it was all

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Speaker 1: one take. There were no cuts in it. How was Donna?

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Speaker 1: I'm a big admirer of his film, you are I

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Speaker 1: thought he was overrated? Yeah, well we had to shoot

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Speaker 1: a bunch of stuff over again that he did. In

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Speaker 1: that they put snow on everybody's faces and it just

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Speaker 1: looked like they forgot to put makeup on in certain places.

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Speaker 1: And I know he's done some good films, but it

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Speaker 1: was really Michael films. Other people you think made him

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Speaker 1: look good. Yeah, other people made him again. And Gene Kelly,

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Speaker 1: you know, he was a friend of Gene Kelly's. When

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Speaker 1: we had finished the Barn Dance number and it was

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Speaker 1: pretty well choreographed and everything, we came back from lunch

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Speaker 1: and Stanley came on the stage with Gene Kelly and said,

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Speaker 1: I want you all to run through the whole number

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Speaker 1: from top to bottom for Gene. So we we did.

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Speaker 1: He was wonderful. He just said, hey, guys, all I

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Speaker 1: can tell you is there's nothing else for you to do,

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Speaker 1: but cut yourself in bleed. We'll be back in a minute.

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Speaker 1: Let me just say this, beyond the music, beyond Bernstein,

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Speaker 1: who I worship. When I think of West Side Story,

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Speaker 1: I think of a young Natalie Wood. And the other

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Speaker 1: thing I remember is that you're not the male lead

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Speaker 1: in the show. And yet, and I'm not guessing you

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Speaker 1: pop off that screen man like ten million dollars end

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Speaker 1: to end, you kind of Sergeant Krupkey. You gotta understand,

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Speaker 1: it's just not bring an up that gets us out

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Speaker 1: of hand. Our mother's all a junkies, Our father's all

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Speaker 1: a drunks. Golly naturally, un j officer, you got old swagger.

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Speaker 1: You become one of the stars of the film. Was

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Speaker 1: that Robert Wise's intention? Or did that just happen in

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Speaker 1: the cut of the film? It um, it was weird.

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Speaker 1: I was in the Army when um uh and on

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Speaker 1: tour for Tom Thumb when I went to New York

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Speaker 1: and I saw West Side Story and I said, oh

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Speaker 1: my god, I want to do this. I bought the album,

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Speaker 1: took it back to UH to Oklahoma where I was

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Speaker 1: at fort So how long are you in the army?

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Speaker 1: For two years? You didn't have to go overseas on

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Speaker 1: Oklahoma the whole time, and I fucked up what yeah,

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Speaker 1: that's a good question, shooting blanks at a sign that

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Speaker 1: said I am the enemy, you know, I mean the

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Speaker 1: last thirty days, I took leave and did a simmer

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Speaker 1: Roun in Arizona with Glenn Ford, and then I had

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Speaker 1: to go back to the Army finish it up. And

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Speaker 1: I drove back and what happened was is I went

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Speaker 1: over to United Artists where they were shooting, and I

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Speaker 1: auditioned as Tony. And I even auditioned with with Mickey Callan,

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Speaker 1: who played Riff on Broadway. He played by part on Broadway.

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Speaker 1: I auditioned with several girls, Anna Murrial Baghetti, Uh, with

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Speaker 1: several actresses that were they were up for the part

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Speaker 1: of Maria. And and I had the same agent as

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Speaker 1: as Robert Wise, so I had a really close connection,

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Speaker 1: you know, and I kept checking, well, how's it going.

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Speaker 1: They picked Tony said not yet, Bob isn't sure what

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Speaker 1: he he's not sure yet. But finally he called me

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Speaker 1: and he said, well, I'm sorry, but they picked Richard

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Speaker 1: Bamer to play the part of Tony. But they said Richard, Yeah,

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Speaker 1: I had no idea who he was. And they said,

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Speaker 1: but they've offered you the role. They've offered you the

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Speaker 1: role of Riff, and I said Riff. I said no, no, no, no.

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Speaker 1: He said, you don't want to do it, and I said, yes,

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Speaker 1: I do want to do it. You know, it's like

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Speaker 1: really really quick. I said, I really want to be

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Speaker 1: in this film, but I said, I don't think I

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Speaker 1: can handle the dancing is like incredibly difficult for Riff.

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Speaker 1: But am I glad I didn't do it. I mean,

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Speaker 1: it's not a good part, Tony. But when they offered

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Speaker 1: me the part of Riff, they wanted to see me

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Speaker 1: both Bob and Jerry Robbins. So I go to the

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Speaker 1: studio and I go in to see them and they're

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Speaker 1: both sitting there and the first thing that Jerry says

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Speaker 1: to me, he says, now, Russ. He says, I've seen

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Speaker 1: your musical Seven Rides and The Fastest Gonna Live, where

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Speaker 1: you dance on shovels. And he says, on all your films,

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Speaker 1: even comedies, you do tumbling. But I kept to tell

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Speaker 1: you right now, there'll be no tumbling in this movie,

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Speaker 1: will be none. And he said, you're gonna have to

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Speaker 1: do straight dancing. That's the way the part is for riff.

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Speaker 1: And I said, all right, I'll that's what he told me.

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Speaker 1: And I was so Jerome Robbins was fired because he

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Speaker 1: was taken too long. We were doing shots in New York,

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Speaker 1: going like dancing down two blocks, you know, and and

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Speaker 1: then of the West sideway. Then then he would come

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Speaker 1: back and get this and he would say that was fine,

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Speaker 1: and Robert Wise he would say that was terrific, that

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Speaker 1: was great. Printed We're all done, And Jerry said, no, no no, no,

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Speaker 1: I'd like to do one more, but I would like

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Speaker 1: all the dancers to do it on the other foot.

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Speaker 1: So Jerry so Robbins was the choreographer, not the director.

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Speaker 1: Robbins well the co director, but but they had an

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Speaker 1: agreement that Bob Wise would would do the dramatic scenes

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Speaker 1: and and uh Robin Robins would numbers. So do it

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Speaker 1: on the other foot. Now you may not know what

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Speaker 1: that means. That means instead of stepping on the left

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Speaker 1: and kicking to the right, you gotta step on the

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Speaker 1: right kick to the left, you gotta do with the

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Speaker 1: other way. And so every all these dancers are walking

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Speaker 1: around crazy. So we were there in New York for

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Speaker 1: Oh my God. We are there for a month late,

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Speaker 1: and by the time he got back to l A,

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Speaker 1: they closed the production down. They said that's it. He

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Speaker 1: had it in his option that if it didn't work

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Speaker 1: out for a certain amount of time that he could

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Speaker 1: be let go. He was just gone. By the time

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Speaker 1: we came back to work, he was gone. And all

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Speaker 1: the dancers were like depressed. They've been complaining the whole time,

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Speaker 1: complaining about how all they'd rather have Jerry Robins and complaining, Yeah,

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Speaker 1: it's not like calling them names or anything. There was

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Speaker 1: there's a book written his biography is Dancing with the Devil,

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Speaker 1: you know. So, I mean, he just was a prick.

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Speaker 1: So it was until after he was fired that, uh,

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Speaker 1: one of his assistants, Tony Mordente, married Rivera, you know

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Speaker 1: Tony and Tony took over. So Tony said, let's put

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Speaker 1: some tumbling back in the in the in the film,

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Speaker 1: Let's put some So that's when I in the dance

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Speaker 1: Hall number. I did the round off back with a

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Speaker 1: full twist, kept dancing and everything. And so later on

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Speaker 1: Jerry Robins had a show called Jerome Robbins Broadway, and

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Speaker 1: the kid that was playing Riff did a flip on

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Speaker 1: the stage and I saw that and almost had a

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Speaker 1: heart attack. I turned to Buy, I said, did you

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Speaker 1: see that? So I couldn't wait to get back to stage,

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Speaker 1: you know. And I met him and he was so

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Speaker 1: happy to meet me, and I said, now I gotta

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Speaker 1: ask you. How were you able to do a flip

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Speaker 1: on the stage? He says, that was part of the audition,

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Speaker 1: So I give myself a pat on the back for that.

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Speaker 1: Were you ever seriously injured doing the work You've done

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Speaker 1: only once in a Wonderful World of Brothers Grim, which

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Speaker 1: was in cinerama, So it was hard to do. And

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Speaker 1: I had to down a hill and jump over the

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Speaker 1: camera and I think I hit the top of the

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Speaker 1: camera and cut like Tom Cruise and mission impossible. Yeah,

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Speaker 1: did you know when you were doing the movie what

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Speaker 1: the movie was going to be? Did you know? I

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Speaker 1: knew I was doing a classic movie, but I didn't

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Speaker 1: know that it was going to end up history history

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Speaker 1: and as big as it was, it's an epic film.

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Speaker 1: And there's a lot of big stars, so like Glenn Ford,

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Speaker 1: there's like tons of them that are big stars that

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Speaker 1: have never really had an epic film. You know that

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Speaker 1: they could hang their shirt on a big movie. I mean,

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Speaker 1: you take Georgia Carris, you know, think what else has

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Speaker 1: he done? West Side Story is his premier. Because of that,

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Speaker 1: we got to go to Grummin's Chinese and get our

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Speaker 1: hands and feet as it should cement, you know, which

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Speaker 1: was pretty pretty much of a trip. Actor dancer West

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Speaker 1: Side Story star Russ Tamblin. Another Here's the Thing guest

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Speaker 1: who came up through the old Lywood studio system is

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Speaker 1: Robert Osborne, who, before he was the host of Turner

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Speaker 1: Classic Movies, was a member of Lucille Ball's stable of

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Speaker 1: actors at Desilu Studios in the nineties. It didn't pay

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Speaker 1: us much money at all, but it was like a

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Speaker 1: masterclass for me because Lucy took us under her wing.

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Speaker 1: Now DESI at this point was womanizing. He wasn't around much,

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Speaker 1: so she would show us I love Lucy shows she'd

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Speaker 1: done bad ones and show us why they didn't work,

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Speaker 1: then show us a good one and why it did work.

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Speaker 1: Wanting to share with something. The rest of my interview

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Speaker 1: with Robert Osborne is in our archives that Here's the Thing.

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Speaker 1: Dot Org Tamblin talks life after riff coming up. This

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Speaker 1: is Alec Baldwin. Your listen to Here's the Thing, and

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Speaker 1: we're back with my guest, Russ Tamblin West Side Story,

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Speaker 1: director Robert Wise made a surprising choice to follow up

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Speaker 1: his musical mega hit. It was a genre film co

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Speaker 1: starring Julie Harris and Claire Bloom, a supernatural horror project

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Speaker 1: called The Haunting. Tamblint decided to join the cast, but

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Speaker 1: it took some convincing. I don't even think I wanted

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Speaker 1: to do it at the beginning, because I was the

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Speaker 1: one person in The Haunting that that wasn't one of

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Speaker 1: the strange people that had some sort of psychological damage damage,

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Speaker 1: you know. I was just a guy that was going

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Speaker 1: to inherit. The house turned it down at first, to

426
00:23:39,119 --> 00:23:42,000
Speaker 1: tell you the truth, but then MGM said, you know,

427
00:23:42,119 --> 00:23:45,280
Speaker 1: Bob really wants you, and unfortunately we're gonna have to

428
00:23:45,320 --> 00:23:47,280
Speaker 1: put you on what is it where they where you

429
00:23:47,280 --> 00:23:49,639
Speaker 1: don't get paid for a bunch of months, you know,

430
00:23:49,680 --> 00:23:52,440
Speaker 1: And so I said, well, the third Salary, maybe you'll

431
00:23:52,440 --> 00:23:55,679
Speaker 1: read the script again. So I decided to do it,

432
00:23:55,720 --> 00:23:58,560
Speaker 1: and I was in the South of France then doing

433
00:23:58,600 --> 00:24:01,000
Speaker 1: some other movie when he offered it mean, so I

434
00:24:01,040 --> 00:24:06,040
Speaker 1: flew back to England and uh, and that's where we

435
00:24:06,080 --> 00:24:08,439
Speaker 1: did the Haunting. And we did it just in this

436
00:24:08,520 --> 00:24:14,120
Speaker 1: amazing place which was in Stratford upon Avon, and they

437
00:24:14,119 --> 00:24:17,399
Speaker 1: found this house that had been It was actually like

438
00:24:17,440 --> 00:24:22,560
Speaker 1: a big manner that had been haunted for you know,

439
00:24:23,119 --> 00:24:26,560
Speaker 1: hundreds of years, and it was all run down and

440
00:24:26,600 --> 00:24:29,840
Speaker 1: there were weeds growing everywhere and uh, it was an

441
00:24:29,920 --> 00:24:34,600
Speaker 1: incredible place. So it was it was quite amazing. So

442
00:24:34,640 --> 00:24:38,040
Speaker 1: what was the set of that on the Haunting? It

443
00:24:38,080 --> 00:24:40,640
Speaker 1: was incredible. I mean a lot of it was shot

444
00:24:40,640 --> 00:24:44,200
Speaker 1: at Elstree. The the interior of the house was shot

445
00:24:44,240 --> 00:24:47,400
Speaker 1: at Elstree where they could really really work it out

446
00:24:47,440 --> 00:24:52,080
Speaker 1: better when we mainly use the outside of the hotel

447
00:24:52,840 --> 00:24:57,560
Speaker 1: uh for um for shooting the openings and everything. But

448
00:24:57,640 --> 00:25:00,679
Speaker 1: I had this experience one night and we were staying

449
00:25:00,680 --> 00:25:02,879
Speaker 1: there the night. We only stayed there one night, and

450
00:25:03,000 --> 00:25:05,280
Speaker 1: my bedroom was right above where they were shooting, where

451
00:25:05,280 --> 00:25:08,520
Speaker 1: the entrance was. So there were arc lights and they

452
00:25:08,520 --> 00:25:12,000
Speaker 1: were shooting out front and I wasn't working then and

453
00:25:12,000 --> 00:25:14,280
Speaker 1: and these lights kept coming on and I could hear

454
00:25:14,320 --> 00:25:17,080
Speaker 1: the noise and ah, ship, I'm gonna go just take

455
00:25:17,080 --> 00:25:18,959
Speaker 1: a walk in the back and see there was supposed

456
00:25:19,000 --> 00:25:22,280
Speaker 1: to have been a ghost in the back, and uh,

457
00:25:22,600 --> 00:25:24,520
Speaker 1: there was like a path that went up and there

458
00:25:24,560 --> 00:25:26,600
Speaker 1: was a little graveyard up there, and there was like

459
00:25:26,640 --> 00:25:30,879
Speaker 1: a eight year old that was murdered, and so I

460
00:25:30,920 --> 00:25:32,960
Speaker 1: decided I'd walk up there. And they say, well, that's

461
00:25:32,960 --> 00:25:35,720
Speaker 1: where you where the ghost is, you know, so and

462
00:25:35,800 --> 00:25:37,879
Speaker 1: I was said, I'd love to see a ghost. I

463
00:25:37,920 --> 00:25:40,720
Speaker 1: thought that would be really really cool. So I go

464
00:25:40,800 --> 00:25:44,080
Speaker 1: out the back and it was pitch dark. I couldn't

465
00:25:44,080 --> 00:25:47,399
Speaker 1: see a thing. So I had to walk backwards because

466
00:25:47,400 --> 00:25:49,520
Speaker 1: the arc lights from the other side of the building

467
00:25:49,800 --> 00:25:52,960
Speaker 1: were lighting up the stone path, so I could walk

468
00:25:53,040 --> 00:25:55,520
Speaker 1: backwards and see where I was where I was going.

469
00:25:55,880 --> 00:25:57,800
Speaker 1: I got up to a certain point and all of

470
00:25:57,880 --> 00:26:00,520
Speaker 1: a sudden, I felt like somebody put a brick of

471
00:26:00,560 --> 00:26:02,880
Speaker 1: ice on the back of my neck. I swear to God,

472
00:26:03,560 --> 00:26:06,520
Speaker 1: I never told anybody that, never told any of the

473
00:26:06,560 --> 00:26:09,240
Speaker 1: cast I'm getting the exclusive And I said, you know what,

474
00:26:09,720 --> 00:26:12,320
Speaker 1: if I turn around right now, I'm going to see

475
00:26:12,320 --> 00:26:15,399
Speaker 1: a ghost. I mean I felt that really strongly. Because

476
00:26:15,400 --> 00:26:17,800
Speaker 1: of that, it was like freezing right in the back

477
00:26:17,840 --> 00:26:21,400
Speaker 1: of my neck. So instead I just high tailed it. Back.

478
00:26:21,920 --> 00:26:23,760
Speaker 1: I went to bed, and I thought, and you could

479
00:26:23,760 --> 00:26:27,399
Speaker 1: really run back. I can't. I can't tell anybody about

480
00:26:27,440 --> 00:26:30,359
Speaker 1: this ever, and I didn't didn't tell anyone. I was

481
00:26:30,400 --> 00:26:32,159
Speaker 1: in my house on Long Island. Someone told me that

482
00:26:32,200 --> 00:26:34,440
Speaker 1: my house had a ghost. And one night I'm laying

483
00:26:34,440 --> 00:26:36,400
Speaker 1: in bed and I hear these voices in my house.

484
00:26:36,440 --> 00:26:38,200
Speaker 1: I swear to God, I heard people talking and heard

485
00:26:38,200 --> 00:26:41,560
Speaker 1: a woman like raising her voice, and I listened to it.

486
00:26:41,640 --> 00:26:43,399
Speaker 1: And I listened to it. It's two in the morning.

487
00:26:43,440 --> 00:26:45,280
Speaker 1: It's three in the morning, and I'm insomnia. I have

488
00:26:45,320 --> 00:26:47,720
Speaker 1: bed in zomnia. And I jumped out of my bed.

489
00:26:47,760 --> 00:26:49,520
Speaker 1: I swear to God, I jumped out of my bed

490
00:26:49,560 --> 00:26:52,160
Speaker 1: and I started screaming. I started screaming at the top

491
00:26:52,200 --> 00:26:54,720
Speaker 1: of my lungs. Come on, you want to funk with me,

492
00:26:55,119 --> 00:26:58,760
Speaker 1: Come on, show yourself. Don't you fucking hide from me,

493
00:26:58,920 --> 00:27:01,479
Speaker 1: Come on out and show me your face. I go

494
00:27:01,640 --> 00:27:03,800
Speaker 1: nuts in my bedroom of my house on This is

495
00:27:03,800 --> 00:27:07,560
Speaker 1: about twenty years ago. Anyway, very soon in the timeline

496
00:27:07,600 --> 00:27:12,000
Speaker 1: of the business, paint your wagon as a flop, Finnian's

497
00:27:12,119 --> 00:27:16,000
Speaker 1: Rainbow as a flop. And in that seem easy Rider

498
00:27:16,080 --> 00:27:18,320
Speaker 1: comes up and it's the death of the musical as

499
00:27:18,400 --> 00:27:21,080
Speaker 1: we know it in from Hollywood? How did you feel

500
00:27:21,160 --> 00:27:23,280
Speaker 1: during that period? You get to the late sixties and

501
00:27:23,359 --> 00:27:26,800
Speaker 1: everything becomes the countercultural thing in Nicholson and five Easy

502
00:27:26,840 --> 00:27:30,600
Speaker 1: Paces and all everything becomes a little more well. I

503
00:27:30,760 --> 00:27:35,040
Speaker 1: dropped out. I actually dropped out of show business. Uh,

504
00:27:35,280 --> 00:27:39,040
Speaker 1: moved to to Panga and uh and got into fine

505
00:27:39,160 --> 00:27:41,880
Speaker 1: art as opposed to how long did you do that?

506
00:27:42,080 --> 00:27:46,119
Speaker 1: Oh boy? I was out for years. For several years,

507
00:27:46,160 --> 00:27:48,960
Speaker 1: I did nothing. Uh. The last movie I did, I

508
00:27:49,000 --> 00:27:52,520
Speaker 1: think was The Long Ships, a movie with Sydney Portier

509
00:27:52,640 --> 00:27:57,920
Speaker 1: and wood Mark and and um. Then I dropped out

510
00:27:58,000 --> 00:27:59,879
Speaker 1: and I went I went up to to Panga and

511
00:28:00,000 --> 00:28:04,280
Speaker 1: on into I met an artist, Wallace Berman, I got

512
00:28:04,320 --> 00:28:09,080
Speaker 1: involved with like Alan Ginsburg and uh, Michael McClure, the

513
00:28:09,160 --> 00:28:13,240
Speaker 1: poet uh. And I got involved with a lot of

514
00:28:13,280 --> 00:28:16,720
Speaker 1: those people, and I got turned onto fine art as

515
00:28:16,760 --> 00:28:19,800
Speaker 1: opposed to the performing on. You've got quite a few

516
00:28:19,800 --> 00:28:23,119
Speaker 1: credits after them, Yeah, yeah, but they're b movies. I

517
00:28:23,160 --> 00:28:25,760
Speaker 1: did them just for some money so I can support myself.

518
00:28:25,920 --> 00:28:27,760
Speaker 1: But I didn't give a funk what I did. I

519
00:28:28,320 --> 00:28:30,360
Speaker 1: just did them, you know. I did him in there

520
00:28:30,520 --> 00:28:33,040
Speaker 1: and made up my own lines and a lot of them.

521
00:28:33,200 --> 00:28:36,400
Speaker 1: And Uh, they were happy to have you. Yeah, Oh,

522
00:28:36,440 --> 00:28:40,120
Speaker 1: they were thrilled to have me. But I did well

523
00:28:40,160 --> 00:28:43,080
Speaker 1: in the fine art. I did, had shows and I did.

524
00:28:43,200 --> 00:28:45,720
Speaker 1: We still doing that soul art well when I get

525
00:28:45,760 --> 00:28:47,640
Speaker 1: a chance. I've been writing my book for the last

526
00:28:47,640 --> 00:28:50,680
Speaker 1: twenty years, by the way, it's called Dance on the Edge.

527
00:28:51,280 --> 00:28:53,880
Speaker 1: When's it coming out early next year. We finished it

528
00:28:54,280 --> 00:28:57,239
Speaker 1: and Bonnie is is putting in all of photos. Now,

529
00:28:57,280 --> 00:29:00,320
Speaker 1: we got tons of photos that we're putting, I hope.

530
00:29:00,320 --> 00:29:02,600
Speaker 1: So I tell you one of the stories about west

531
00:29:02,640 --> 00:29:07,080
Speaker 1: Side Story. When um we finished And and I was

532
00:29:07,120 --> 00:29:10,680
Speaker 1: friends with Natalie and UH and r J. And they

533
00:29:10,720 --> 00:29:13,680
Speaker 1: came out to the beach house one time to have dinner.

534
00:29:13,680 --> 00:29:15,920
Speaker 1: And we had dinner and we were we were drinking

535
00:29:16,480 --> 00:29:20,560
Speaker 1: and UH and and Tony Bardente was came came to.

536
00:29:20,680 --> 00:29:22,760
Speaker 1: He was a friend of Natalie's. And so we're all

537
00:29:22,800 --> 00:29:25,320
Speaker 1: sitting around, We're having a few drinks, and I got

538
00:29:25,360 --> 00:29:27,600
Speaker 1: this crazy idea. It was just because I had done

539
00:29:27,600 --> 00:29:31,040
Speaker 1: it one time at Anthony Quinn's house up in ox

540
00:29:31,120 --> 00:29:33,160
Speaker 1: and Rd. He had a big ranch and I went

541
00:29:33,200 --> 00:29:36,200
Speaker 1: there and and we were out in the back and

542
00:29:36,280 --> 00:29:38,840
Speaker 1: he was barbecuing, and and he said, let's play. You

543
00:29:38,920 --> 00:29:41,480
Speaker 1: ask somebody a question and you have to tell the truth.

544
00:29:42,200 --> 00:29:44,160
Speaker 1: So I said, let's play that. So we started doing

545
00:29:44,200 --> 00:29:46,720
Speaker 1: it with Natalie and in r J. We went around

546
00:29:46,720 --> 00:29:49,280
Speaker 1: the room and I thought, well, I'm gonna liven it up.

547
00:29:49,280 --> 00:29:51,400
Speaker 1: So I thought for sure that I knew the answer

548
00:29:51,400 --> 00:29:54,520
Speaker 1: to this. So I said to Natalie. I said, Natalie,

549
00:29:55,200 --> 00:29:58,720
Speaker 1: and that if you had your choice of getting an

550
00:29:58,720 --> 00:30:02,560
Speaker 1: Academy Award for west Side story, get an Academy award,

551
00:30:02,920 --> 00:30:05,520
Speaker 1: But in order to get the Academy award, you would

552
00:30:05,560 --> 00:30:09,280
Speaker 1: have to divorce r J, you know? Or would you

553
00:30:09,400 --> 00:30:13,480
Speaker 1: rather keep your marriage with r J? You know? And

554
00:30:13,880 --> 00:30:16,920
Speaker 1: and so she thought about it for a second. She said,

555
00:30:17,400 --> 00:30:24,400
Speaker 1: I'll take the Academy. That's a true story. I was

556
00:30:24,480 --> 00:30:28,520
Speaker 1: so surprised. I mean, I thought, sure, did J nod?

557
00:30:28,760 --> 00:30:32,200
Speaker 1: He pounded the table. He practically broke a bottle again,

558
00:30:32,280 --> 00:30:34,880
Speaker 1: he rang the back. And I was living at the beach,

559
00:30:34,920 --> 00:30:37,240
Speaker 1: out a beach, and he ran down to the beach

560
00:30:37,680 --> 00:30:40,240
Speaker 1: and Tony went to help him, and I was sitting

561
00:30:40,240 --> 00:30:42,920
Speaker 1: there with Nat. I said, Ned, why did you say that?

562
00:30:43,000 --> 00:30:45,320
Speaker 1: She said why? She said, well, I thought about it,

563
00:30:45,320 --> 00:30:47,440
Speaker 1: and I thought you know, it may be my only

564
00:30:47,560 --> 00:30:49,880
Speaker 1: chance to get an Academy award. I could always marry

565
00:30:50,080 --> 00:30:52,840
Speaker 1: r J again. But they came back up. And uh,

566
00:30:53,640 --> 00:30:56,400
Speaker 1: I thought about that story when you know, with that

567
00:30:56,480 --> 00:30:58,320
Speaker 1: big deal that they had on the yacht where she

568
00:30:58,760 --> 00:31:01,440
Speaker 1: drowned and they had a big fire. Yeah, and I

569
00:31:01,480 --> 00:31:03,239
Speaker 1: don't know what. He was very much in love with her.

570
00:31:03,240 --> 00:31:05,200
Speaker 1: You could tell he was a little he was he

571
00:31:05,560 --> 00:31:07,600
Speaker 1: was really possessed by. But my thing. I would go

572
00:31:07,680 --> 00:31:09,200
Speaker 1: to dinner with people in New York and I noticed

573
00:31:09,280 --> 00:31:11,719
Speaker 1: to play a game and I'd say, and my friends

574
00:31:11,720 --> 00:31:13,640
Speaker 1: back then, this is like ten fifteen years ago. They

575
00:31:13,640 --> 00:31:15,640
Speaker 1: were all ten years older than me. So I'm fifty,

576
00:31:15,680 --> 00:31:18,320
Speaker 1: they're sixty, they're seventy. And I'd have like, I went

577
00:31:18,360 --> 00:31:21,600
Speaker 1: with a friend of mine and his wife and two

578
00:31:21,640 --> 00:31:23,360
Speaker 1: couples that were friends of his. So I'm gonna table.

579
00:31:23,360 --> 00:31:25,000
Speaker 1: There's eight of us there. I'm the youngest one that

580
00:31:25,080 --> 00:31:27,320
Speaker 1: everybody's in their seventies. And I turned to this woman

581
00:31:27,320 --> 00:31:31,040
Speaker 1: who was very and Bancroft, kind of salty, savvy New

582
00:31:31,120 --> 00:31:34,240
Speaker 1: York dame. Uh. And I said to her, I said, uh,

583
00:31:35,480 --> 00:31:37,000
Speaker 1: And the game I played with him, do you want

584
00:31:37,040 --> 00:31:38,920
Speaker 1: to know your husband? Or your wife, your partner you're

585
00:31:38,920 --> 00:31:42,800
Speaker 1: married to in the next life when you die, will

586
00:31:42,880 --> 00:31:45,560
Speaker 1: you see them again? And the first person I turned

587
00:31:45,560 --> 00:31:47,600
Speaker 1: to with this woman who was like this and Bancroft type,

588
00:31:47,600 --> 00:31:50,880
Speaker 1: I said, you, Julia, you and Irving here, I said,

589
00:31:51,000 --> 00:31:52,840
Speaker 1: do you before I even opened my mouth, and she was,

590
00:31:52,920 --> 00:31:57,440
Speaker 1: oh God, no, my god. Forty years with him is enough.

591
00:31:58,920 --> 00:32:00,400
Speaker 1: You think I'm going to see him on the other

592
00:32:00,520 --> 00:32:05,120
Speaker 1: side for eternity? Oh christ, I thought, what an honest

593
00:32:05,240 --> 00:32:07,320
Speaker 1: thing to say in front of your husband that when

594
00:32:07,360 --> 00:32:09,560
Speaker 1: you're dead, they're I always obsessed about that, like, well,

595
00:32:09,560 --> 00:32:11,520
Speaker 1: I know my wife and my kids on the other side,

596
00:32:11,680 --> 00:32:15,280
Speaker 1: Will I see my dad? Blah blah blah real quickly, Um,

597
00:32:15,280 --> 00:32:18,240
Speaker 1: how do you get dialed into David Lynch and Twin Peaks?

598
00:32:18,360 --> 00:32:20,320
Speaker 1: How did you get pulled into that? I was living

599
00:32:20,360 --> 00:32:23,200
Speaker 1: with Dean Stockwell, and Dean and I were living up

600
00:32:23,200 --> 00:32:28,680
Speaker 1: in Laurel Canyon. I just divorced my second wife and

601
00:32:28,880 --> 00:32:32,239
Speaker 1: uh moved in with Dean, and that two of us

602
00:32:32,240 --> 00:32:34,520
Speaker 1: were living there. And then I went to do a

603
00:32:34,640 --> 00:32:39,320
Speaker 1: play and Dean and Dennis Hopper did Blue Velvet, and

604
00:32:39,400 --> 00:32:41,800
Speaker 1: so Dennis said he was gonna have a birthday party

605
00:32:41,840 --> 00:32:44,200
Speaker 1: for David Lynch. And and so I went with Dean

606
00:32:44,360 --> 00:32:48,960
Speaker 1: to Dennis's place and uh, and Lynch was getting cards

607
00:32:49,000 --> 00:32:51,760
Speaker 1: and gifts and stuff. And he opened up this one

608
00:32:51,800 --> 00:32:54,400
Speaker 1: card and it was a guy standing in the center

609
00:32:54,400 --> 00:32:56,680
Speaker 1: with these naked women around him, you know, with all

610
00:32:56,720 --> 00:32:59,880
Speaker 1: these naked women, and he sort of laughed and everybody

611
00:33:00,040 --> 00:33:01,520
Speaker 1: laft and it was like a funny thing, you know.

612
00:33:01,840 --> 00:33:04,160
Speaker 1: And I was standing next to him. He said, wouldn't

613
00:33:04,200 --> 00:33:06,240
Speaker 1: you love to be this guy? Is it funny like that?

614
00:33:06,680 --> 00:33:09,040
Speaker 1: And it was an opportunity and I said to him,

615
00:33:09,080 --> 00:33:11,520
Speaker 1: I said, what I would really loved, David, is to

616
00:33:11,560 --> 00:33:13,880
Speaker 1: work with you sometime. And he looked at me and

617
00:33:13,920 --> 00:33:17,280
Speaker 1: he said, the next project. I do the next project.

618
00:33:17,600 --> 00:33:19,960
Speaker 1: And it was it was like a year later that

619
00:33:20,200 --> 00:33:22,320
Speaker 1: I got a call from my agent and remember, David

620
00:33:22,400 --> 00:33:24,600
Speaker 1: Lynch wants to see you. And so I went in,

621
00:33:24,760 --> 00:33:28,000
Speaker 1: he remembered, and I went in to see him, and uh,

622
00:33:28,120 --> 00:33:30,400
Speaker 1: he said the part that and I'll never forget what

623
00:33:30,440 --> 00:33:32,520
Speaker 1: he said was. And I went home and told Bonnie

624
00:33:32,640 --> 00:33:34,640
Speaker 1: later what he said to me. Not the part I

625
00:33:34,640 --> 00:33:37,200
Speaker 1: want you to I'm thinking of you for that. The

626
00:33:37,240 --> 00:33:39,440
Speaker 1: part I want you to do in this film is

627
00:33:39,480 --> 00:33:43,320
Speaker 1: this eccentric character called Dr Jacobe. I want you to

628
00:33:43,360 --> 00:33:46,480
Speaker 1: do that in the film. So I went home and

629
00:33:46,480 --> 00:33:48,200
Speaker 1: I kept thinking about it all the way home. And

630
00:33:48,240 --> 00:33:50,240
Speaker 1: what he said. I didn't say, I want you to

631
00:33:50,280 --> 00:33:53,120
Speaker 1: audition or try out or I'm thinking of you the

632
00:33:53,200 --> 00:33:54,560
Speaker 1: part I want you to do. And I went on

633
00:33:54,640 --> 00:33:56,760
Speaker 1: when I told Bonnie and said, that's what he said.

634
00:33:57,200 --> 00:34:00,080
Speaker 1: So my agent called and said, yeah, he want you

635
00:34:00,200 --> 00:34:03,040
Speaker 1: to do it. Don't have a part yet written for

636
00:34:03,280 --> 00:34:06,520
Speaker 1: Dr Jacobe, but they wrote a scene in for the pilot,

637
00:34:06,880 --> 00:34:10,319
Speaker 1: and I decided to do something nuts. Dean told me

638
00:34:10,400 --> 00:34:12,760
Speaker 1: Dean had worked with him. He said, David loves something

639
00:34:12,800 --> 00:34:17,719
Speaker 1: that's out there, you know. So I decided to Uh,

640
00:34:17,840 --> 00:34:19,880
Speaker 1: I put air plugs in my ears. I figured it's

641
00:34:19,920 --> 00:34:23,040
Speaker 1: a psychiatrist. So when I get off the elevator in

642
00:34:23,080 --> 00:34:26,319
Speaker 1: the one scene and the agent Cooper says to me,

643
00:34:26,520 --> 00:34:31,120
Speaker 1: Agent Cooper, I said, Gary Cooper. And that was about

644
00:34:31,160 --> 00:34:33,560
Speaker 1: the only scene I had. But after the pilot, Lynch

645
00:34:33,680 --> 00:34:36,359
Speaker 1: loved it and so they picked it up and I'm

646
00:34:36,360 --> 00:34:38,440
Speaker 1: going to shoot it a year later. And that's when

647
00:34:38,440 --> 00:34:40,879
Speaker 1: I went to Venice and I wanted to find some

648
00:34:40,920 --> 00:34:44,360
Speaker 1: crazy glasses, so I narrowed it down to a blue

649
00:34:44,360 --> 00:34:47,440
Speaker 1: pear or a red pair, and then finally I stopped.

650
00:34:47,440 --> 00:34:49,440
Speaker 1: I was looking in the mirror and I said, oh

651
00:34:49,480 --> 00:34:51,680
Speaker 1: my god, that's it. So I had a pair of

652
00:34:51,719 --> 00:34:54,880
Speaker 1: glasses made with one red lens and one blue lens,

653
00:34:55,160 --> 00:34:59,520
Speaker 1: and that was my Jacoby showed him to Lynch. I said,

654
00:34:59,680 --> 00:35:02,799
Speaker 1: the lens affects the creative side of the eye. On

655
00:35:02,880 --> 00:35:05,480
Speaker 1: the logical side of the eye was a red lens

656
00:35:05,560 --> 00:35:07,719
Speaker 1: to give it some light. So I explained all this too,

657
00:35:07,800 --> 00:35:11,160
Speaker 1: and he says, I love it. But let's not tell

658
00:35:11,200 --> 00:35:14,560
Speaker 1: anybody why you're wearing those glasses. Let's keep it a secret.

659
00:35:14,840 --> 00:35:17,239
Speaker 1: He loves secrets. Let me just say this. Here's my

660
00:35:17,280 --> 00:35:21,120
Speaker 1: last quick question. Do everybody knows uh because you have

661
00:35:21,760 --> 00:35:25,440
Speaker 1: you now have a multi generational show business family. Uh

662
00:35:25,520 --> 00:35:28,520
Speaker 1: that you're Amber Tamblin's dad. Do you ever give her

663
00:35:28,560 --> 00:35:30,200
Speaker 1: any advice about the bis? Did she ever want any

664
00:35:30,239 --> 00:35:33,640
Speaker 1: advice for me about the biz? Uh? She did a

665
00:35:33,800 --> 00:35:37,319
Speaker 1: she did a soap opera General Hospital that she was on.

666
00:35:37,719 --> 00:35:40,200
Speaker 1: I wasn't working, so I used to take her. My

667
00:35:40,280 --> 00:35:43,239
Speaker 1: mother was taking her for a while, passed away. Then

668
00:35:43,280 --> 00:35:45,480
Speaker 1: I took her and I used to stand next to

669
00:35:45,520 --> 00:35:47,560
Speaker 1: the camera and when she would finish a scene. You

670
00:35:47,560 --> 00:35:50,200
Speaker 1: know in soap opera, the director is not there, directors

671
00:35:50,200 --> 00:35:52,879
Speaker 1: in the booth. Yeah. And I used to stand next

672
00:35:52,920 --> 00:35:54,840
Speaker 1: to the camera and when she would finish a scene,

673
00:35:55,000 --> 00:35:57,880
Speaker 1: the one piece of advices I gave her, whatever you do,

674
00:35:57,880 --> 00:36:02,160
Speaker 1: don't get caught acting. That's the main thing. Don't get

675
00:36:02,160 --> 00:36:04,160
Speaker 1: caught acting. That should be the name of your book,

676
00:36:04,280 --> 00:36:08,600
Speaker 1: Don't get caught acting. Russ Tamblin, thank you from the bottom.

677
00:36:08,640 --> 00:36:10,759
Speaker 1: Thank you. It's such an honor to be interviewed by

678
00:36:10,760 --> 00:36:17,120
Speaker 1: your preasure. Russ Tamblin on a rich, exciting life in

679
00:36:17,160 --> 00:36:20,440
Speaker 1: the movies him Alec Baldwin. Here's the Thing, as a

680
00:36:20,480 --> 00:36:23,920
Speaker 1: production of w NYC Studios,