1 00:00:03,320 --> 00:00:06,040 Speaker 1: This is Alec Baldwin and you were listening to Here's 2 00:00:06,080 --> 00:00:09,800 Speaker 1: the thing, My chance to talk with artists, policy makers 3 00:00:09,840 --> 00:00:14,240 Speaker 1: and performers, to hear their stories. What inspires their creations, 4 00:00:14,320 --> 00:00:18,920 Speaker 1: what decisions change their careers, what relationships influenced their work. 5 00:00:19,560 --> 00:00:24,000 Speaker 1: My guest today is actress and comedian Sandra Bernhardt. Her 6 00:00:24,000 --> 00:00:27,600 Speaker 1: father was a proctologist and her mother an abstract artist, 7 00:00:27,800 --> 00:00:32,600 Speaker 1: and that combination formed her worldview for many Sandra Bernhard 8 00:00:32,680 --> 00:00:36,000 Speaker 1: is a comedian and she began her career at comedy 9 00:00:36,040 --> 00:00:39,120 Speaker 1: clubs in l A in the nineteen seventies. Soon she 10 00:00:39,200 --> 00:00:41,920 Speaker 1: caught the attention of the likes of Paul Mooney, who 11 00:00:41,960 --> 00:00:47,440 Speaker 1: became a comedy mentor. She calls herself a postmodern entertainer, 12 00:00:47,960 --> 00:00:51,600 Speaker 1: but you should never underestimate Sandra Bernhardt's career as a 13 00:00:51,680 --> 00:00:57,520 Speaker 1: legit actress. In her three breakout role in Martin Scorsese 14 00:00:57,680 --> 00:01:00,880 Speaker 1: is The King of Comedy, Bernhardt held her own opposite 15 00:01:00,920 --> 00:01:04,760 Speaker 1: Robert de Niro and Jerry Lewis. Bernhardt says she never 16 00:01:04,840 --> 00:01:08,360 Speaker 1: wanted to settle for just telling jokes. She always wanted more, 17 00:01:08,640 --> 00:01:13,120 Speaker 1: a bigger stage, a louder voice, a wider audience. Born 18 00:01:13,240 --> 00:01:17,280 Speaker 1: in Flint, Michigan. Sandra Bernhard was raised in a conservative 19 00:01:17,319 --> 00:01:21,560 Speaker 1: Jewish family. She moved to Scottsdale, Arizona, and spent eight 20 00:01:21,600 --> 00:01:24,240 Speaker 1: months on a kibbutz out of high school. She moved 21 00:01:24,280 --> 00:01:27,040 Speaker 1: to l A in nineteen seventy four at age nineteen 22 00:01:27,400 --> 00:01:31,399 Speaker 1: and enrolled in beauty school. My entire higher education costs 23 00:01:31,440 --> 00:01:34,400 Speaker 1: three hundred and forty dollars. My dad wrote a check 24 00:01:34,440 --> 00:01:36,679 Speaker 1: and left town. I was like, you got off easy, 25 00:01:36,920 --> 00:01:39,600 Speaker 1: my dear dad. And then I was on my own. 26 00:01:39,680 --> 00:01:41,959 Speaker 1: I got I got a couple of jobs, and then 27 00:01:42,000 --> 00:01:44,920 Speaker 1: I landed on my feet at three one North Cannon 28 00:01:45,040 --> 00:01:48,760 Speaker 1: Drive at c C I a si a hair salon. 29 00:01:48,800 --> 00:01:51,680 Speaker 1: That was the name of one of the Um hair 30 00:01:51,720 --> 00:01:54,520 Speaker 1: guys who owned the salon. And I was there for 31 00:01:54,560 --> 00:01:56,760 Speaker 1: five and a half years, and I and I a 32 00:01:56,840 --> 00:02:00,280 Speaker 1: year later, I started performing at night at clubs. What 33 00:02:00,360 --> 00:02:04,120 Speaker 1: was the Jewish identity thing for you? You're growing up 34 00:02:04,120 --> 00:02:08,840 Speaker 1: in Flint and you moved to Um and you've up 35 00:02:08,880 --> 00:02:11,880 Speaker 1: in a very conservative Jewish household. So was it understood 36 00:02:11,919 --> 00:02:13,720 Speaker 1: you'd go do the kibbutzing at some point go to 37 00:02:13,760 --> 00:02:16,160 Speaker 1: Israel for si No no no I had. I just 38 00:02:16,200 --> 00:02:19,040 Speaker 1: had tons of family who when they left Russia, they 39 00:02:19,080 --> 00:02:23,400 Speaker 1: went to Israel and we came to America. So my 40 00:02:23,480 --> 00:02:26,200 Speaker 1: brothers had all gone to work on kibbutzim and in 41 00:02:26,280 --> 00:02:28,760 Speaker 1: the seventies was like it was a great fun thing 42 00:02:28,800 --> 00:02:33,560 Speaker 1: to do after high school. And they welcomed everybody's you know, help, 43 00:02:33,840 --> 00:02:35,800 Speaker 1: and they didn't pay you anything, but they fed you 44 00:02:35,840 --> 00:02:37,600 Speaker 1: in clothes. You and what did you do? What were 45 00:02:37,600 --> 00:02:41,040 Speaker 1: you doing? I did several things. I worked picking um, 46 00:02:41,080 --> 00:02:44,200 Speaker 1: grapefruits and oranges, and then my main job was working 47 00:02:44,200 --> 00:02:47,760 Speaker 1: in the slaughterhouse. It's called the mashta, and I was 48 00:02:48,000 --> 00:02:50,640 Speaker 1: on the line, the assembly line with chickens come down. 49 00:02:51,200 --> 00:02:53,840 Speaker 1: Everybody took out different parts. My main thing was pulling 50 00:02:53,840 --> 00:02:58,960 Speaker 1: out the oh, the lungs. Actually I vacuumed lungs out 51 00:02:59,000 --> 00:03:03,840 Speaker 1: of chickens. I know, you look at me, lengths of that. Yeah, 52 00:03:04,080 --> 00:03:07,959 Speaker 1: picking fruit, something very clean and wholesome and sweet, and 53 00:03:08,000 --> 00:03:10,200 Speaker 1: then ripping the lungs out of vacuuming out of do 54 00:03:10,240 --> 00:03:11,640 Speaker 1: you just did what they asked you to do. And if, 55 00:03:11,680 --> 00:03:13,520 Speaker 1: of course, if you were if that was something that 56 00:03:13,639 --> 00:03:15,880 Speaker 1: was you know, not comfortable for you, they wouldn't force 57 00:03:15,919 --> 00:03:19,000 Speaker 1: you to do it. You work like from seven to 58 00:03:19,200 --> 00:03:21,680 Speaker 1: like twelve, and then you have the afternoons off and 59 00:03:21,720 --> 00:03:23,519 Speaker 1: you'd stay up late and hang out with all the 60 00:03:23,560 --> 00:03:26,160 Speaker 1: other kids from all over the world, and you get 61 00:03:26,200 --> 00:03:29,200 Speaker 1: to know people and have fun, and you know, it 62 00:03:29,280 --> 00:03:33,079 Speaker 1: was like an international experience. It was incredible. Working yourself 63 00:03:33,080 --> 00:03:34,920 Speaker 1: to death. No no, no, no no, because you're one of 64 00:03:34,920 --> 00:03:37,160 Speaker 1: the great Cavellas of all time. In my mind, I 65 00:03:37,200 --> 00:03:39,640 Speaker 1: going to see you. They're turned into somebody going how 66 00:03:39,720 --> 00:03:42,080 Speaker 1: much longer have I have to go? Have to vacuum 67 00:03:42,080 --> 00:03:44,880 Speaker 1: out these lungs. I mean I never complained. I'm a worker. 68 00:03:44,920 --> 00:03:46,720 Speaker 1: I like to work, and when I have to do it, 69 00:03:46,760 --> 00:03:49,960 Speaker 1: I do it. I like I like manual labor. Yeah, 70 00:03:50,000 --> 00:03:52,920 Speaker 1: I like to clean. I like to do laundry. I 71 00:03:53,000 --> 00:03:55,800 Speaker 1: like to wash dishes. So I mean, if everything the 72 00:03:55,840 --> 00:03:57,680 Speaker 1: bottom fell out, I'd be fine. I think that is 73 00:03:57,680 --> 00:03:59,920 Speaker 1: why do you think you like? I'm taking seriously, you like, Manu, 74 00:04:00,000 --> 00:04:02,760 Speaker 1: what is it about? Because it's it's it's freeing, you know, 75 00:04:02,960 --> 00:04:04,680 Speaker 1: it's and nobody is there to tell you to do it. 76 00:04:04,840 --> 00:04:07,560 Speaker 1: You know, if you're doing something right, you know, if 77 00:04:07,560 --> 00:04:10,400 Speaker 1: you're cleaning a toilet or you know, a shower or 78 00:04:10,440 --> 00:04:12,520 Speaker 1: a sink, or or washing a dish, and drawing it. 79 00:04:12,560 --> 00:04:14,960 Speaker 1: I mean, it's just it's it's liberating. You're doing a 80 00:04:15,000 --> 00:04:18,160 Speaker 1: load of laundry and it does it's it's it's meditative. 81 00:04:18,520 --> 00:04:21,120 Speaker 1: It's funny you say that because my wife is constantly 82 00:04:21,400 --> 00:04:25,479 Speaker 1: uh badgering me, because we'll have dinner and we'll cook dinner, 83 00:04:25,560 --> 00:04:27,400 Speaker 1: or even if we order food in and played it 84 00:04:27,440 --> 00:04:30,400 Speaker 1: for everybody and eat uh here in the city or 85 00:04:30,400 --> 00:04:32,160 Speaker 1: out on Long Island where we live. And when we're done, 86 00:04:32,200 --> 00:04:34,599 Speaker 1: I'll say to everybody, get out of this room, take 87 00:04:34,640 --> 00:04:36,400 Speaker 1: your wine bottles in your glasses, and go in the 88 00:04:36,400 --> 00:04:38,479 Speaker 1: other room. And I want to be left completely alone 89 00:04:38,520 --> 00:04:40,479 Speaker 1: here to clean this kitchen. And there's a tremendous sense 90 00:04:40,520 --> 00:04:43,600 Speaker 1: of compersixation when it's over in the kitchens gleaming and 91 00:04:43,640 --> 00:04:46,040 Speaker 1: all the dishes are put away, and I feel what 92 00:04:46,080 --> 00:04:48,920 Speaker 1: a people who need to occupy themselves that way. I 93 00:04:49,080 --> 00:04:50,680 Speaker 1: take your mind off there. I think it's I think 94 00:04:50,720 --> 00:04:54,880 Speaker 1: it's an escape from you know, the intellectual and I 95 00:04:55,560 --> 00:04:58,279 Speaker 1: go beta, I don't think so much. I'm just gonna relax. 96 00:04:58,320 --> 00:05:01,040 Speaker 1: It's relaxing. It is. It's totally like focused on that. 97 00:05:01,440 --> 00:05:04,240 Speaker 1: It's a freeing experience. You come back from and you 98 00:05:04,279 --> 00:05:10,600 Speaker 1: go to l A harmony. How do they influence you? Well, 99 00:05:10,960 --> 00:05:13,680 Speaker 1: they believed in me, and they thought I was the 100 00:05:13,680 --> 00:05:16,200 Speaker 1: funniest thing they'd ever seen. And you know, I just 101 00:05:16,200 --> 00:05:20,280 Speaker 1: thought I was adorable and fresh and crazy, and you know, 102 00:05:20,480 --> 00:05:23,839 Speaker 1: nobody had seen a five ft ten, you know, nineteen 103 00:05:23,920 --> 00:05:27,600 Speaker 1: year old, you know, wearing a Safari jacket, Safari short, 104 00:05:27,720 --> 00:05:31,440 Speaker 1: some lace up espadrill's a little hat, you know, just 105 00:05:31,520 --> 00:05:36,000 Speaker 1: full of like vim and vigor and pissing vinegar. And 106 00:05:36,040 --> 00:05:37,720 Speaker 1: I was just like, I was like a wild, a 107 00:05:37,800 --> 00:05:39,880 Speaker 1: wild card. What's the first club you got? You did 108 00:05:39,920 --> 00:05:43,080 Speaker 1: open mic? This was at the Little Club in Beverly Hills. 109 00:05:43,160 --> 00:05:45,160 Speaker 1: They had opened mic on Monday night. Is also where 110 00:05:45,200 --> 00:05:47,680 Speaker 1: Joan Rivers used to break in her new material back 111 00:05:47,680 --> 00:05:49,960 Speaker 1: in the day. So I got up and I did 112 00:05:50,000 --> 00:05:53,720 Speaker 1: my first joke, I'm I'm a medium. I understand you're 113 00:05:53,720 --> 00:05:57,520 Speaker 1: a small you're an extra large. Um. That was my 114 00:05:57,560 --> 00:05:59,960 Speaker 1: first joke, and then it just kind of went out 115 00:06:00,000 --> 00:06:02,680 Speaker 1: from there. And then I started incorporating my singing, you know, 116 00:06:02,720 --> 00:06:04,400 Speaker 1: which was really my first love. I really wanted to 117 00:06:04,440 --> 00:06:06,719 Speaker 1: be I really wanted to be another Bette Midler. I 118 00:06:06,720 --> 00:06:11,719 Speaker 1: wanted to be like a wild singing edgy, crazy entertainer, 119 00:06:11,760 --> 00:06:15,599 Speaker 1: a post modern entertainer, which I became in my own way. 120 00:06:16,320 --> 00:06:18,839 Speaker 1: I did at least a year of you know, the 121 00:06:19,000 --> 00:06:24,080 Speaker 1: little club or UM Rusty's Bagel. This guy named Rusty Blitz. 122 00:06:24,279 --> 00:06:26,839 Speaker 1: He was actually had a little part in UM Young 123 00:06:26,920 --> 00:06:30,440 Speaker 1: Frankenstein and he had a little storefront where he had 124 00:06:30,440 --> 00:06:33,520 Speaker 1: served bagels and you'd get up and do your five minutes. 125 00:06:33,520 --> 00:06:35,320 Speaker 1: So there were a lot, lots and lots of little 126 00:06:35,360 --> 00:06:37,839 Speaker 1: clubs like that. And then within a year I started 127 00:06:37,880 --> 00:06:41,960 Speaker 1: going to UM the Improv and the Comedy Store, and 128 00:06:42,240 --> 00:06:44,880 Speaker 1: UM that's where you know, I started getting my chops together, 129 00:06:45,600 --> 00:06:48,320 Speaker 1: and um, you know, and I started getting I did 130 00:06:48,320 --> 00:06:51,400 Speaker 1: the Richard Pryor TV show because of Paul Mooney. He 131 00:06:51,440 --> 00:06:55,920 Speaker 1: did a short lived show on NBC, last six episodes. 132 00:06:56,400 --> 00:06:58,679 Speaker 1: Well you know, it was sketches. I was a regular 133 00:06:59,120 --> 00:07:02,680 Speaker 1: and you can see it. It's disavailable. People come up 134 00:07:02,760 --> 00:07:04,880 Speaker 1: quite often and say, oh, well, you you know a 135 00:07:05,000 --> 00:07:08,359 Speaker 1: durable that we did a roast. We roasted Richard. I 136 00:07:08,400 --> 00:07:10,880 Speaker 1: was one of the people who roasted him. So that 137 00:07:11,000 --> 00:07:13,480 Speaker 1: was like that, you know, again, just thrown into like 138 00:07:13,560 --> 00:07:17,160 Speaker 1: this major situation, and I just, you know, you just 139 00:07:17,240 --> 00:07:19,240 Speaker 1: learned how to stand on your own two feet. You know. 140 00:07:19,440 --> 00:07:22,760 Speaker 1: It didn't really involve acting school or you know, I 141 00:07:22,840 --> 00:07:26,320 Speaker 1: never really studied anything formally. It was just all my 142 00:07:26,440 --> 00:07:31,040 Speaker 1: sort of you know, fascination and imagination that you know, 143 00:07:31,120 --> 00:07:34,200 Speaker 1: carried me through at every different juncture. But when you're 144 00:07:34,200 --> 00:07:37,240 Speaker 1: with someone like Prior and you're young, described to me, 145 00:07:38,000 --> 00:07:40,440 Speaker 1: is Prior calling all the shots with some producer, writer, 146 00:07:40,520 --> 00:07:43,200 Speaker 1: director to know it was. It was Bert Sugarman, I 147 00:07:43,200 --> 00:07:46,120 Speaker 1: think was the executive producer, which was I don't know, 148 00:07:46,160 --> 00:07:48,560 Speaker 1: it was just sort of like incongruous, you know, some 149 00:07:48,600 --> 00:07:50,880 Speaker 1: of the people involved with it. But Paul Mooney was 150 00:07:50,920 --> 00:07:53,720 Speaker 1: the head writer, UM Robin Williams. It was his first 151 00:07:54,000 --> 00:07:56,600 Speaker 1: big gig. It was like a lot of people that 152 00:07:56,840 --> 00:08:01,880 Speaker 1: familiar faces, um now and so Paul would write little 153 00:08:01,880 --> 00:08:03,360 Speaker 1: parts for us or a little you know in the 154 00:08:03,360 --> 00:08:07,520 Speaker 1: sketches and we just did it. And Prior was just 155 00:08:07,560 --> 00:08:10,880 Speaker 1: like beyond. He would just stand there and like laugh 156 00:08:10,920 --> 00:08:13,480 Speaker 1: at everybody. You know. He he was a fish out 157 00:08:13,480 --> 00:08:16,040 Speaker 1: of water. He didn't like that format at all. He 158 00:08:16,080 --> 00:08:19,880 Speaker 1: didn't like being under the thumb of NBC or being censored, 159 00:08:20,560 --> 00:08:23,000 Speaker 1: you know. So that's why it only lasted for six 160 00:08:23,040 --> 00:08:27,360 Speaker 1: shows that I can't do this no more. This is 161 00:08:27,440 --> 00:08:30,400 Speaker 1: this is the sad news. Prior is very bottled up. 162 00:08:30,400 --> 00:08:34,199 Speaker 1: You wouldn't see much emotion from Richard Pryor. It was 163 00:08:34,240 --> 00:08:36,680 Speaker 1: all done in you know, the dressing room. But he 164 00:08:36,760 --> 00:08:39,640 Speaker 1: was very supportive of yea and always he just he 165 00:08:39,840 --> 00:08:43,320 Speaker 1: loved to laugh at at young up and coming entertainment 166 00:08:43,440 --> 00:08:47,320 Speaker 1: and totally not threatened, no need to control. If he 167 00:08:47,360 --> 00:08:49,880 Speaker 1: had a suggestion, he would whisper it to Paul. It 168 00:08:49,960 --> 00:08:55,760 Speaker 1: was very all, very subtle. And then what happens after that, Well, 169 00:08:55,800 --> 00:08:58,840 Speaker 1: you know, I'm just performing during the day, I'm doing gigs. 170 00:08:59,240 --> 00:09:01,760 Speaker 1: You know, I'm all not how would you see your 171 00:09:01,800 --> 00:09:06,080 Speaker 1: performances are changing? Well, they opened a room at a 172 00:09:06,120 --> 00:09:09,760 Speaker 1: comedy story called the Belly Room, which was for only 173 00:09:09,840 --> 00:09:14,800 Speaker 1: women performers. So it was the woman who owned it, 174 00:09:15,120 --> 00:09:18,600 Speaker 1: Mitzy Shore, who's still around barely. She was very like 175 00:09:18,760 --> 00:09:21,400 Speaker 1: she was. She was like a segregationist, you know, she 176 00:09:21,480 --> 00:09:23,679 Speaker 1: separated the men from the women, and she loved the men, 177 00:09:23,800 --> 00:09:26,160 Speaker 1: she didn't like the women. She didn't think women really 178 00:09:26,200 --> 00:09:30,000 Speaker 1: belonged in comedy. And it was now very strange. So 179 00:09:30,080 --> 00:09:32,080 Speaker 1: but I got a lot of confidence in this Belly 180 00:09:32,160 --> 00:09:34,600 Speaker 1: Room because people came to see women and they weren't 181 00:09:34,679 --> 00:09:38,040 Speaker 1: expecting you to do male driven comedy, and it was 182 00:09:38,080 --> 00:09:40,920 Speaker 1: just different. So it freed me up to to do 183 00:09:41,000 --> 00:09:44,840 Speaker 1: what I did, which was very completely postfeminist. I refused 184 00:09:44,840 --> 00:09:48,160 Speaker 1: to be self deprecating and nobody had done that yet, No, 185 00:09:48,160 --> 00:09:52,600 Speaker 1: no woman comedian performer hadn't done something where she was like, oh, 186 00:09:52,640 --> 00:09:55,760 Speaker 1: you know, I'm so ugly or this roun that and single. 187 00:09:57,320 --> 00:09:58,959 Speaker 1: And I was really young, so it wasn't like I 188 00:09:59,000 --> 00:10:01,080 Speaker 1: didn't feel like, what am I? Why would I do that? 189 00:10:01,200 --> 00:10:05,360 Speaker 1: You know, I'm I'm hot, you know. Yeah, that was 190 00:10:05,400 --> 00:10:08,559 Speaker 1: my attitude. And of course I was always nervous, but 191 00:10:08,640 --> 00:10:11,480 Speaker 1: like everybody starting out, but I covered it up by 192 00:10:11,520 --> 00:10:17,479 Speaker 1: being this sort of character, you know, the super areadite, sophisticated, groovy, 193 00:10:17,679 --> 00:10:22,200 Speaker 1: swinging you know, uh huh yeah, all over it. So 194 00:10:22,800 --> 00:10:26,160 Speaker 1: that's that was the direction I kept going in, and 195 00:10:26,200 --> 00:10:28,640 Speaker 1: I did. I did a couple of little movies, little parts, 196 00:10:28,679 --> 00:10:33,559 Speaker 1: little bit, little of this, and then I auditioned for um, 197 00:10:33,640 --> 00:10:37,559 Speaker 1: The King of Comedy, UM the Robert Your Jerry Lewis 198 00:10:37,559 --> 00:10:40,720 Speaker 1: Martin Scorsese vehicle, along with a lot of other people. 199 00:10:41,280 --> 00:10:42,920 Speaker 1: And you know, at that point I was like, I 200 00:10:42,960 --> 00:10:44,920 Speaker 1: didn't even think about it. I just did it. They 201 00:10:44,920 --> 00:10:48,920 Speaker 1: wanted somebody who could improvise, which I did, and after 202 00:10:49,040 --> 00:10:52,240 Speaker 1: like about a month or two of auditioning, several several 203 00:10:52,280 --> 00:10:56,320 Speaker 1: auditions for a different levels, um, I got the part. 204 00:10:56,440 --> 00:10:58,520 Speaker 1: And that was, you know, a game changer for me. 205 00:10:59,400 --> 00:11:01,280 Speaker 1: And after that, I I didn't have to perform at 206 00:11:01,320 --> 00:11:04,560 Speaker 1: the comedy clubs anymore. I would I would miss that. No, 207 00:11:04,720 --> 00:11:06,280 Speaker 1: I didn't. I never wanted to go back to the 208 00:11:06,280 --> 00:11:09,120 Speaker 1: comedy club because I didn't like that scene. You didn't 209 00:11:09,320 --> 00:11:13,880 Speaker 1: know that wasn't That wasn't for Sandy. Now then I 210 00:11:13,880 --> 00:11:17,160 Speaker 1: could start, you know, playing rock and roll clubs and 211 00:11:17,200 --> 00:11:20,480 Speaker 1: doing concerts and like that. Even if it's just like 212 00:11:20,880 --> 00:11:23,880 Speaker 1: a rock and roll club, it has a different connotation 213 00:11:23,920 --> 00:11:25,760 Speaker 1: because then I have my band and I could sing 214 00:11:25,880 --> 00:11:28,200 Speaker 1: and do all the things that I do, because I 215 00:11:28,240 --> 00:11:31,040 Speaker 1: wanted to do a whole performance, a whole evening, not 216 00:11:31,160 --> 00:11:37,120 Speaker 1: just like you say that. Scorsese and the people involved 217 00:11:37,160 --> 00:11:40,960 Speaker 1: with the film. I guess auditions several people for quite 218 00:11:41,000 --> 00:11:44,040 Speaker 1: a while to get down to casting you, What was 219 00:11:44,080 --> 00:11:45,800 Speaker 1: your interaction with him? Did he work with you a lot? 220 00:11:45,840 --> 00:11:46,959 Speaker 1: Did you go in and see him a lot? And 221 00:11:46,960 --> 00:11:48,760 Speaker 1: working material with him a lot. Yeah. Well, I mean 222 00:11:49,000 --> 00:11:52,040 Speaker 1: my initial audition was for Siskorm and the casting person 223 00:11:52,800 --> 00:11:56,360 Speaker 1: and she was like visibly stunned by me, and I 224 00:11:56,440 --> 00:11:58,360 Speaker 1: didn't know what that meant, but she's, I think Marty 225 00:11:58,480 --> 00:12:01,000 Speaker 1: needs to see you. She had me back the next 226 00:12:01,080 --> 00:12:04,439 Speaker 1: day and and and Deborah Winger was driving a Volkswagen. 227 00:12:04,440 --> 00:12:06,600 Speaker 1: And I had known Debora Winger because she was a 228 00:12:06,640 --> 00:12:09,760 Speaker 1: waitress at the improv and she said, Sandy, it's me Debbie, 229 00:12:09,760 --> 00:12:11,199 Speaker 1: and I look, I said, I'm like, yeah, hi, Tim. 230 00:12:11,440 --> 00:12:12,760 Speaker 1: So then I got nervous and I thought, was she 231 00:12:12,840 --> 00:12:15,160 Speaker 1: must be up for the film too. I'm sure she was. 232 00:12:15,800 --> 00:12:19,000 Speaker 1: It was up at the um Chateau Marmont. That was 233 00:12:19,040 --> 00:12:21,120 Speaker 1: all the all the auditions in l A were at 234 00:12:21,120 --> 00:12:23,040 Speaker 1: the chateau. So the next day I went back and 235 00:12:23,080 --> 00:12:26,679 Speaker 1: I read for Marty and he loved it, and then 236 00:12:26,720 --> 00:12:29,840 Speaker 1: he brought me back to read for him and Bobby 237 00:12:29,880 --> 00:12:33,520 Speaker 1: de Niro and yeah, they just kept and then they 238 00:12:33,520 --> 00:12:36,040 Speaker 1: came to see me perform at the Comedy Store and 239 00:12:36,559 --> 00:12:40,360 Speaker 1: Richard belzer Um did a little improv with me, which 240 00:12:40,400 --> 00:12:42,760 Speaker 1: was really sweet because then they could see how I 241 00:12:42,840 --> 00:12:46,440 Speaker 1: interacted like with somebody who was you know, sort of 242 00:12:46,480 --> 00:12:49,080 Speaker 1: like the movie was going to be, and they loved that. 243 00:12:49,360 --> 00:12:51,160 Speaker 1: And then I didn't hear from anybody for a month. 244 00:12:51,960 --> 00:12:55,120 Speaker 1: And then they flew me to New York and I 245 00:12:55,160 --> 00:12:57,400 Speaker 1: stayed at the Mayflower Hotel, which is now you know 246 00:12:57,559 --> 00:13:03,080 Speaker 1: that bigot. Where was all happening to me? Biddle Barrows 247 00:13:03,200 --> 00:13:07,200 Speaker 1: was her name, Yes, madam, Yes, I don't know that 248 00:13:07,240 --> 00:13:09,640 Speaker 1: from I don't have her business card in my well. 249 00:13:09,640 --> 00:13:12,240 Speaker 1: But the hotel a lot was happening, I can tell 250 00:13:12,280 --> 00:13:15,120 Speaker 1: you that much. I mean every action. Remember that they 251 00:13:15,120 --> 00:13:17,360 Speaker 1: sold the contents of the hotel. They tore down the hotel, 252 00:13:17,840 --> 00:13:19,480 Speaker 1: and before they did, they offered people a chance to 253 00:13:19,480 --> 00:13:21,640 Speaker 1: come in and buy the contents. They sold like an 254 00:13:21,720 --> 00:13:24,880 Speaker 1: estate auction, the drapery and the furniture. It was the 255 00:13:24,880 --> 00:13:26,440 Speaker 1: worst stuff in the world. I mean, it was like 256 00:13:26,640 --> 00:13:30,200 Speaker 1: from you know, from from a million years ago, but 257 00:13:30,320 --> 00:13:31,760 Speaker 1: it was it was a fun place to be. And 258 00:13:31,760 --> 00:13:33,319 Speaker 1: then that was the audition where I was going to 259 00:13:33,480 --> 00:13:39,160 Speaker 1: read with um Jerry Lewis. Now, yeah, what was that like? Oh? 260 00:13:39,480 --> 00:13:42,400 Speaker 1: I think it was great, but I was that That 261 00:13:42,480 --> 00:13:44,000 Speaker 1: was the only time I was really nervous in the 262 00:13:44,000 --> 00:13:48,480 Speaker 1: whole audition process because of Erry Lewis, and he's an 263 00:13:48,480 --> 00:13:53,280 Speaker 1: intimidating yeah figure, you know, and when I met him, 264 00:13:53,280 --> 00:13:55,160 Speaker 1: he's kind of a no nonsense guy. Well he's no 265 00:13:55,160 --> 00:13:58,120 Speaker 1: nonsense and he knows everything. You know, he's like the 266 00:13:58,200 --> 00:14:03,320 Speaker 1: no at all. But it's interesting how you Um, I 267 00:14:03,320 --> 00:14:05,520 Speaker 1: don't consider myself a comedian, but I've done a lot 268 00:14:05,559 --> 00:14:10,040 Speaker 1: of comedian comedy programming and I'm around these eighth degree 269 00:14:10,120 --> 00:14:14,280 Speaker 1: black belt comedy people, and some of them are it's 270 00:14:14,280 --> 00:14:17,800 Speaker 1: almost inconceivably dry and very droll when you meet them 271 00:14:17,800 --> 00:14:21,320 Speaker 1: in person and their own persona a couple I'm thinking 272 00:14:21,320 --> 00:14:24,640 Speaker 1: of is very ANTIQ and very nutty and silly, and 273 00:14:24,640 --> 00:14:26,840 Speaker 1: then you see them backstage and they're like, you know, 274 00:14:27,360 --> 00:14:30,280 Speaker 1: you think that you're talking to a politician, Yeah, the 275 00:14:30,320 --> 00:14:32,200 Speaker 1: Prime Minister of England and you were not going to 276 00:14:32,280 --> 00:14:34,880 Speaker 1: state visit or something. They're very proper and buttoned up 277 00:14:35,360 --> 00:14:38,600 Speaker 1: and no jokes would have and he strikes me that way. 278 00:14:38,600 --> 00:14:43,400 Speaker 1: He's pompous, imperious, very imperious. What I think, Well, yeah, 279 00:14:43,400 --> 00:14:45,880 Speaker 1: I mean it's clear everything has been said that there 280 00:14:45,960 --> 00:14:48,320 Speaker 1: is to say about Jerry Lewis something until now. I mean, 281 00:14:48,320 --> 00:14:51,560 Speaker 1: he's still he's still unbelievable he's still that same person. 282 00:14:52,400 --> 00:14:55,080 Speaker 1: And he hadn't really worked with a woman like me before, 283 00:14:55,120 --> 00:14:57,840 Speaker 1: he don't, you know, he used people like Stella Stella 284 00:14:57,880 --> 00:15:01,000 Speaker 1: Steven's sour name is sort of like, you know, foil 285 00:15:01,080 --> 00:15:03,560 Speaker 1: a foil. You know, women weren't there to actually hold 286 00:15:03,560 --> 00:15:06,760 Speaker 1: their own there, Margaret Dumont and that woman from the 287 00:15:06,920 --> 00:15:10,760 Speaker 1: from the Mark Brother the Foil exactly. But when you're 288 00:15:10,800 --> 00:15:14,040 Speaker 1: there with him, um, you know, that's Marty in and 289 00:15:14,080 --> 00:15:16,360 Speaker 1: around in Raging Bullet came out a little bit before that, 290 00:15:16,440 --> 00:15:17,560 Speaker 1: just a couple of years before they get in like 291 00:15:17,680 --> 00:15:21,360 Speaker 1: nineteen or something. You know, that's Marty right, questing at 292 00:15:21,360 --> 00:15:23,680 Speaker 1: the peak of his power, making this film with you. 293 00:15:24,520 --> 00:15:29,520 Speaker 1: And I'm wondering, does de Niro and Marty obviously have 294 00:15:29,680 --> 00:15:31,960 Speaker 1: and I can't even define it, their own legendary kind 295 00:15:31,960 --> 00:15:33,520 Speaker 1: of battery between the two of them and how they 296 00:15:33,600 --> 00:15:36,640 Speaker 1: work and the unspoken and the spoken and so forth. 297 00:15:38,040 --> 00:15:40,600 Speaker 1: But I wanted to someone like Lewis to see defer 298 00:15:40,920 --> 00:15:44,160 Speaker 1: to Scor says he discussed. He didn't know Scor says 299 00:15:44,160 --> 00:15:45,560 Speaker 1: he deferred to him. He wanted he had to do 300 00:15:46,320 --> 00:15:50,040 Speaker 1: very self directing, yeah, self tracking, but also Marty would 301 00:15:50,080 --> 00:15:52,440 Speaker 1: like I guess, humor him in a certain way and 302 00:15:52,520 --> 00:15:55,800 Speaker 1: say well what do you think about this scene? And 303 00:15:55,800 --> 00:15:58,320 Speaker 1: and to be handled a certain Yeah. So Jerry was 304 00:15:58,440 --> 00:16:02,160 Speaker 1: made to feel like he was his expertise, he was 305 00:16:02,200 --> 00:16:06,640 Speaker 1: the eminence, perfectly said. But the scenes, and I mean, 306 00:16:06,720 --> 00:16:10,560 Speaker 1: I've been in films before with people and some of 307 00:16:10,600 --> 00:16:14,000 Speaker 1: it this um dichotomy with them, I don't want to 308 00:16:14,000 --> 00:16:18,760 Speaker 1: say tension, but some of that relationship with them resulted 309 00:16:18,760 --> 00:16:22,040 Speaker 1: in a really good film for Stage Place, and sometimes 310 00:16:22,040 --> 00:16:24,680 Speaker 1: it didn't. People always say, oh, you you this kind 311 00:16:24,680 --> 00:16:27,520 Speaker 1: of crackle that you create. There's a magic that happens, 312 00:16:27,520 --> 00:16:30,040 Speaker 1: and there's something that happens that's palpable on screen. I 313 00:16:30,040 --> 00:16:33,480 Speaker 1: don't always buy that. However, you and he, it is 314 00:16:33,600 --> 00:16:37,800 Speaker 1: mesmerizing you and he on screen together. I can't think 315 00:16:37,840 --> 00:16:39,800 Speaker 1: of who's going to break a glass and shove the 316 00:16:39,880 --> 00:16:44,560 Speaker 1: jagget edge? Whose neck first? Yes, well that's you know. 317 00:16:44,760 --> 00:16:46,720 Speaker 1: That was because I just stayed in the moment, and 318 00:16:46,760 --> 00:16:51,360 Speaker 1: as intimidated as I was, didn't. I didn't. I didn't relent. 319 00:16:51,880 --> 00:16:54,400 Speaker 1: I held my ground, which you know, was he expecting 320 00:16:54,400 --> 00:16:55,840 Speaker 1: you to relent? You think? Was he expecting you to 321 00:16:55,880 --> 00:17:00,160 Speaker 1: kind of break down? Maybe weaker on the film need 322 00:17:00,160 --> 00:17:04,639 Speaker 1: you to Be and that, and then that kept rising 323 00:17:04,680 --> 00:17:09,480 Speaker 1: the temperature, you know, for him. I was respectful and 324 00:17:09,640 --> 00:17:13,159 Speaker 1: slightly in awe of Jerry Lewis. You're in a movie 325 00:17:13,320 --> 00:17:16,040 Speaker 1: and you more than with your own. I mean, you 326 00:17:16,080 --> 00:17:18,720 Speaker 1: were right up there delivering the goods in the film 327 00:17:18,760 --> 00:17:24,400 Speaker 1: with Robert de Niro and Jerry Lewis in this quirky, 328 00:17:24,560 --> 00:17:27,120 Speaker 1: weird movie that everybody loves I know who no knows 329 00:17:27,160 --> 00:17:30,160 Speaker 1: that movie and loves you in it, and the weirdness 330 00:17:30,160 --> 00:17:32,160 Speaker 1: of it, you know, you and him, everybody all taped 331 00:17:32,240 --> 00:17:34,320 Speaker 1: up and everything in the way you had all that done. 332 00:17:35,119 --> 00:17:37,159 Speaker 1: Uh what happens after that? I mean, does everything just 333 00:17:37,680 --> 00:17:40,240 Speaker 1: change for you? Well, it did change for me. But 334 00:17:40,359 --> 00:17:42,080 Speaker 1: at the same time, I don't know if I was 335 00:17:42,480 --> 00:17:45,600 Speaker 1: savvy enough at that time to like things were different. 336 00:17:45,680 --> 00:17:48,800 Speaker 1: I mean, now you're like every young actors are like 337 00:17:48,840 --> 00:17:50,920 Speaker 1: they they're plugged in like that. You know, they've got 338 00:17:50,960 --> 00:17:54,280 Speaker 1: their machinery all ready to go. I got a team, 339 00:17:54,359 --> 00:17:56,080 Speaker 1: and back then it was just sort of more like, Wow, 340 00:17:56,080 --> 00:17:58,280 Speaker 1: I just did this great movie. But now I want 341 00:17:58,280 --> 00:17:59,639 Speaker 1: to kind of just go out in the road and 342 00:17:59,640 --> 00:18:03,119 Speaker 1: do my shows and you know things, Yeah, things, of course, 343 00:18:03,400 --> 00:18:07,399 Speaker 1: we're at a different level, you know. But looking back, 344 00:18:07,640 --> 00:18:09,840 Speaker 1: had had it been now, I guess I probably would 345 00:18:09,880 --> 00:18:14,399 Speaker 1: have been more craven in a certain wors. Yeah, but 346 00:18:14,480 --> 00:18:17,640 Speaker 1: I feel like I feel like young actors are they're 347 00:18:17,720 --> 00:18:20,280 Speaker 1: just so like everything is just like a machine, like 348 00:18:20,280 --> 00:18:22,960 Speaker 1: I said, a machinery, Like somebody grabs you, and there's 349 00:18:23,040 --> 00:18:25,840 Speaker 1: you know, there's the public system, and there's the agent, 350 00:18:25,880 --> 00:18:28,840 Speaker 1: and there's the manager, and then there's the handler, and 351 00:18:28,840 --> 00:18:31,520 Speaker 1: then there's you know, and everybody's just like kept, you know, 352 00:18:31,960 --> 00:18:34,880 Speaker 1: in a certain sort of position where they're not really 353 00:18:34,960 --> 00:18:38,919 Speaker 1: free to like move and be like totally outrageous or groovy. 354 00:18:38,960 --> 00:18:42,000 Speaker 1: You know. Well, I think that there's certainly people who 355 00:18:42,600 --> 00:18:45,480 Speaker 1: in my life, to myself included who and this is 356 00:18:45,520 --> 00:18:47,879 Speaker 1: a big swing here. I don't don't necessarily think you're 357 00:18:47,880 --> 00:18:50,560 Speaker 1: gonna mind agree, but I tend to think that years ago, 358 00:18:50,600 --> 00:18:52,520 Speaker 1: when I was first making films, and I don't mean 359 00:18:52,560 --> 00:18:55,160 Speaker 1: small parts and films in the eighties, but playing lead 360 00:18:55,240 --> 00:18:57,880 Speaker 1: roles in films in the nineties, You do a movie 361 00:18:58,119 --> 00:19:01,880 Speaker 1: and it was over. Yes, you shared about I want 362 00:19:01,880 --> 00:19:03,119 Speaker 1: to go on the road and do my show and 363 00:19:03,119 --> 00:19:05,320 Speaker 1: what have you. But I had much more faith in 364 00:19:05,400 --> 00:19:08,760 Speaker 1: providence about what was going to happen. I kind of 365 00:19:08,840 --> 00:19:10,359 Speaker 1: lead back and I go, well, I'm gonna go do 366 00:19:10,400 --> 00:19:12,840 Speaker 1: a play. I'm gonna go do this. And I thought, well, 367 00:19:12,880 --> 00:19:15,600 Speaker 1: only a fool thinks you can really manage this whole 368 00:19:15,640 --> 00:19:18,840 Speaker 1: thing and make yourself successful. That's that's luck. And I 369 00:19:18,880 --> 00:19:20,960 Speaker 1: get a script sent to me, and I would evaluate 370 00:19:21,000 --> 00:19:23,920 Speaker 1: the script based on the instincts I had, and I've 371 00:19:23,920 --> 00:19:25,800 Speaker 1: been scripted and I go, I don't think this is 372 00:19:25,920 --> 00:19:28,359 Speaker 1: very interesting. And my agents would call me up and go, hey, man, 373 00:19:29,280 --> 00:19:32,040 Speaker 1: you need to come in here and read the script again. 374 00:19:32,119 --> 00:19:34,359 Speaker 1: In my office, I have a special lamp I have 375 00:19:34,440 --> 00:19:37,240 Speaker 1: on my desk and we're gonna put that on the script. 376 00:19:37,840 --> 00:19:39,960 Speaker 1: And the lamp is a lamp that projects onto each 377 00:19:40,000 --> 00:19:42,000 Speaker 1: page the amount of money you're going to be paid 378 00:19:42,000 --> 00:19:45,680 Speaker 1: for this movie, because it's some millions of done. And 379 00:19:45,760 --> 00:19:48,760 Speaker 1: now I feel like people have bought so many young 380 00:19:48,880 --> 00:19:50,880 Speaker 1: people have they're making movies they don't want to make. 381 00:19:50,960 --> 00:19:52,520 Speaker 1: They're making you they don't even know if they want 382 00:19:52,520 --> 00:19:55,159 Speaker 1: to make, but they've been sold on the idea that 383 00:19:55,200 --> 00:19:57,560 Speaker 1: this is the movie they should be doing to stiff 384 00:19:57,560 --> 00:20:00,200 Speaker 1: in their career. Right. Well, Also there's there's a many 385 00:20:00,200 --> 00:20:03,760 Speaker 1: films now that you know, the big you know, um, 386 00:20:03,800 --> 00:20:07,720 Speaker 1: either sci fi or you know, or the superhero. It's 387 00:20:07,760 --> 00:20:10,720 Speaker 1: just it's a different time. It will never be what 388 00:20:10,880 --> 00:20:13,239 Speaker 1: it was in the eighties and nineties. Let's face it, though, 389 00:20:13,320 --> 00:20:15,320 Speaker 1: you and I we chopped one of our hands off 390 00:20:15,359 --> 00:20:17,240 Speaker 1: to be in one of these Marvel movies. You know, 391 00:20:17,440 --> 00:20:19,280 Speaker 1: I think and I think we'd both be great. I 392 00:20:19,520 --> 00:20:23,880 Speaker 1: think I'd be a great kind of evil. Um. So yeah. 393 00:20:23,920 --> 00:20:25,679 Speaker 1: So then I after that, you know, I did did 394 00:20:25,720 --> 00:20:28,040 Speaker 1: a little bit television, I did a little bit of film, 395 00:20:28,080 --> 00:20:30,520 Speaker 1: and then I did a lot of performing, and then 396 00:20:30,600 --> 00:20:32,800 Speaker 1: I sort of, you know, really broke out as a 397 00:20:32,800 --> 00:20:35,760 Speaker 1: live performer. I did my first one woman show here 398 00:20:35,800 --> 00:20:39,800 Speaker 1: in New York without You I'm Nothing, which was legendary 399 00:20:39,960 --> 00:20:43,439 Speaker 1: and became an actual film, not like a special, but 400 00:20:43,520 --> 00:20:46,560 Speaker 1: we made it into a film that was quite interesting 401 00:20:46,600 --> 00:20:49,080 Speaker 1: and you can still see it um and it was 402 00:20:49,240 --> 00:20:52,439 Speaker 1: sort of like a breakthrough performance film that a lot 403 00:20:52,480 --> 00:20:55,960 Speaker 1: of people try to emulate and copy because it was 404 00:20:55,840 --> 00:20:58,840 Speaker 1: it wasn't just a well. I was collaborating at the 405 00:20:58,840 --> 00:21:02,520 Speaker 1: time with this um, this artist named John Boskovic. He 406 00:21:02,560 --> 00:21:06,240 Speaker 1: had directed the show, the live show, and then somebody 407 00:21:06,240 --> 00:21:08,399 Speaker 1: gave him, gave us some money for him to direct 408 00:21:08,440 --> 00:21:11,040 Speaker 1: the movie. And Nick Rogue, who I had done a 409 00:21:11,040 --> 00:21:14,040 Speaker 1: film with called Track twenty nine, he was the executive 410 00:21:14,040 --> 00:21:15,840 Speaker 1: producer and he just sat on the set and kind 411 00:21:15,880 --> 00:21:19,080 Speaker 1: of oversaw, you know, the shots and everything, and we 412 00:21:19,160 --> 00:21:22,760 Speaker 1: turned it into this sort of like um, very very 413 00:21:22,880 --> 00:21:27,439 Speaker 1: crazy commentary on performance films. It was sort of like, 414 00:21:27,560 --> 00:21:31,399 Speaker 1: you know, kind of went in on itself and nobody 415 00:21:31,440 --> 00:21:33,840 Speaker 1: had ever seen anything like it, and so that kind 416 00:21:33,840 --> 00:21:36,520 Speaker 1: of established me in a whole other way too, and that, 417 00:21:36,720 --> 00:21:39,439 Speaker 1: you know, that was a great stepping stone for me 418 00:21:39,480 --> 00:21:43,320 Speaker 1: in terms of like being you know, an iconic live performer, 419 00:21:43,840 --> 00:21:46,240 Speaker 1: and that's kept me going throughout the years when other 420 00:21:46,280 --> 00:21:53,080 Speaker 1: things weren't happening coming up. Bernhard talks activism and empathy 421 00:21:53,440 --> 00:21:55,680 Speaker 1: and why she never wanted to be the poster girl 422 00:21:56,000 --> 00:22:02,679 Speaker 1: for just one cause. Explore the Here's the Thing archives 423 00:22:03,080 --> 00:22:06,479 Speaker 1: where you can hear my conversation with another iconic New 424 00:22:06,600 --> 00:22:09,760 Speaker 1: York artist. I was an attention getter, but I didn't 425 00:22:09,800 --> 00:22:13,080 Speaker 1: want to be Eve Arden. I really didn't. Okay, Okay, 426 00:22:13,080 --> 00:22:16,080 Speaker 1: that's a good point. Why Well, because I don't want 427 00:22:16,119 --> 00:22:21,159 Speaker 1: to be a funny girl. That's just cracking wise cracks 428 00:22:21,280 --> 00:22:25,240 Speaker 1: or staying up with the you know, with the rollers 429 00:22:25,280 --> 00:22:28,560 Speaker 1: in her hair. Take a listen to Elaine stretch a 430 00:22:28,760 --> 00:22:41,720 Speaker 1: Here's the Thing, dot Org. This is Alec Baldwin and 431 00:22:41,760 --> 00:22:45,719 Speaker 1: you're listening to Here's the Thing. Sandra Bernhardt got her 432 00:22:45,760 --> 00:22:49,240 Speaker 1: start in comedy clubs in the nineties seventies, but she 433 00:22:49,359 --> 00:22:53,000 Speaker 1: quickly moved on to television and movies, and today she 434 00:22:53,080 --> 00:22:57,600 Speaker 1: still performs live regularly. She doesn't prefer one form over 435 00:22:57,640 --> 00:23:00,520 Speaker 1: the other. Well, I think everything feeds for the other. 436 00:23:00,640 --> 00:23:02,320 Speaker 1: I mean, you know, if you're not if you're not 437 00:23:02,359 --> 00:23:05,840 Speaker 1: on television, you're not doing films, it doesn't support your 438 00:23:05,920 --> 00:23:08,480 Speaker 1: live performing. You've got to have a certain amount of exposure. 439 00:23:08,520 --> 00:23:10,159 Speaker 1: And it's also good to mix it up and be 440 00:23:10,240 --> 00:23:14,040 Speaker 1: collaborative and not always depending on your own you know, 441 00:23:14,160 --> 00:23:16,760 Speaker 1: creative source, which sometimes you need a break from that 442 00:23:17,160 --> 00:23:19,120 Speaker 1: because you can't I mean, you know, writing a show, 443 00:23:19,280 --> 00:23:23,280 Speaker 1: writing material, it's it's it's it's a big undertaking. You 444 00:23:23,280 --> 00:23:25,440 Speaker 1: can't always. I witnessed that other people I did. I 445 00:23:25,480 --> 00:23:27,120 Speaker 1: didn't do it, but when I worked with Tina even 446 00:23:27,560 --> 00:23:31,360 Speaker 1: witness you know, yeah, yeah, I'm sure that, I'm sure 447 00:23:31,400 --> 00:23:33,560 Speaker 1: that show is I mean that's a whole different ball game. 448 00:23:33,760 --> 00:23:36,080 Speaker 1: That was you know, it was her producing, end righting, 449 00:23:36,560 --> 00:23:41,119 Speaker 1: writing and starring. Yeah, I'm sure, but but you know great, 450 00:23:41,520 --> 00:23:44,000 Speaker 1: you know the results were great for her and for everybody. 451 00:23:44,119 --> 00:23:49,400 Speaker 1: In the end. You left l A. And when you left, 452 00:23:49,640 --> 00:23:51,320 Speaker 1: you moved to New York. That was weird. Never I 453 00:23:51,320 --> 00:23:54,199 Speaker 1: mean for for years I just went back and I 454 00:23:54,240 --> 00:23:55,920 Speaker 1: kept I kept a house out in l A in 455 00:23:55,960 --> 00:23:57,920 Speaker 1: the valley. You got your first home here. We're in 456 00:23:57,960 --> 00:24:02,800 Speaker 1: the valley North Hollywood, like Blex, between Kling and Clump 457 00:24:03,040 --> 00:24:06,600 Speaker 1: off of Riverside, my little Spanish bungalow that I bought 458 00:24:07,040 --> 00:24:12,879 Speaker 1: six for like just about I lived in the valley. 459 00:24:13,960 --> 00:24:16,480 Speaker 1: I lived up above Taft High School and Woodland Hills 460 00:24:16,520 --> 00:24:19,520 Speaker 1: with my ex wife. I was there for ten years 461 00:24:19,520 --> 00:24:21,399 Speaker 1: and I was with my ex wife with her and 462 00:24:21,440 --> 00:24:26,359 Speaker 1: married to her, and then for but seven years. A 463 00:24:26,359 --> 00:24:29,040 Speaker 1: little bit after I was divorced, I went back there 464 00:24:29,080 --> 00:24:32,240 Speaker 1: and rented a house around the corner from them. So 465 00:24:32,359 --> 00:24:34,960 Speaker 1: if my daughter forgot something, which was very common, she 466 00:24:35,000 --> 00:24:37,239 Speaker 1: could go back home and get it. The valley has 467 00:24:37,320 --> 00:24:40,720 Speaker 1: its like do you like that? I love the valley. 468 00:24:41,040 --> 00:24:42,760 Speaker 1: What do you like about the valley? It feels like 469 00:24:42,800 --> 00:24:45,239 Speaker 1: you just somewhere else. I like the valley because it's 470 00:24:45,280 --> 00:24:47,439 Speaker 1: just unpretentious. Yeah, that's what I mean. It's not l A. 471 00:24:47,680 --> 00:24:49,480 Speaker 1: It's not you drive down the Bulevard and all that 472 00:24:49,520 --> 00:24:55,119 Speaker 1: shitty architecture. It's wonderful. You become comforted, Yeah, because you 473 00:24:55,119 --> 00:24:57,600 Speaker 1: don't feel like you have to come up, you know, 474 00:24:57,920 --> 00:25:00,119 Speaker 1: you know, to rise up to anything. There was a no, 475 00:25:00,200 --> 00:25:02,960 Speaker 1: there is no pretense in the valley. Let's do our valley. 476 00:25:03,040 --> 00:25:05,040 Speaker 1: Let's let's valley off right now. Where would you go? 477 00:25:05,119 --> 00:25:08,080 Speaker 1: Where would you go? Well? Back then, I mean, you 478 00:25:08,119 --> 00:25:14,840 Speaker 1: know there's Umjinkies for breakfast, the mainly breakfast place. Yeah, 479 00:25:14,880 --> 00:25:19,920 Speaker 1: breakfast places, pancakes on the boulevard over near and in 480 00:25:20,160 --> 00:25:25,640 Speaker 1: Roja for sushi over there, cold Water Canyon right. Well, 481 00:25:25,760 --> 00:25:27,639 Speaker 1: like New York, like any place but New York. You 482 00:25:27,640 --> 00:25:30,920 Speaker 1: can get quicker, you know, to you know, if you 483 00:25:30,920 --> 00:25:32,520 Speaker 1: want to go for Italian, there's you know, you can 484 00:25:32,520 --> 00:25:34,719 Speaker 1: go downtown, uptown, you can stay in Midtown. I mean, 485 00:25:34,720 --> 00:25:37,640 Speaker 1: there's a million places to go. But l A, it's like, 486 00:25:37,760 --> 00:25:40,960 Speaker 1: you know, it's a big schlap. Well, as my friend 487 00:25:41,040 --> 00:25:43,600 Speaker 1: Ken Paige told me, the great Ken Paige, who worked 488 00:25:43,600 --> 00:25:46,680 Speaker 1: on Broadway, Forever and cats and different shows like that 489 00:25:47,080 --> 00:25:50,440 Speaker 1: Ken page it to me, he said, uh. He said, 490 00:25:51,160 --> 00:25:54,520 Speaker 1: New York is a river and l A as a lake. 491 00:25:55,320 --> 00:25:56,959 Speaker 1: He said, in New York, you step out the door, 492 00:25:57,080 --> 00:25:59,159 Speaker 1: there's a current that pulls you in a certain direction. 493 00:25:59,160 --> 00:26:00,800 Speaker 1: You just go. If you walking down the street with 494 00:26:00,840 --> 00:26:03,680 Speaker 1: your friends smoking a cigarette down Columbus Avenue, you're doing 495 00:26:03,720 --> 00:26:07,520 Speaker 1: something and you certainly land much somewhere, he said. And 496 00:26:07,520 --> 00:26:09,760 Speaker 1: you'll land somewhere, he says, l A. You gotta put 497 00:26:09,800 --> 00:26:14,480 Speaker 1: your oars in the water and a son of a 498 00:26:14,560 --> 00:26:16,679 Speaker 1: gun to where you want to go. You have to 499 00:26:16,680 --> 00:26:20,720 Speaker 1: make plans, tests, friendships. Yes, so you know. So I 500 00:26:20,800 --> 00:26:24,119 Speaker 1: never really left l A until I guess until my 501 00:26:24,200 --> 00:26:27,040 Speaker 1: daughter was you know, five or six, and it was 502 00:26:27,200 --> 00:26:30,640 Speaker 1: school became more serious, and then we stayed here most 503 00:26:30,640 --> 00:26:36,320 Speaker 1: of the time. Now you're are you married? No? No, essentially, 504 00:26:36,400 --> 00:26:39,800 Speaker 1: But my girlfriend and I she's your partner. She's very 505 00:26:39,880 --> 00:26:42,960 Speaker 1: much so. And she's someone who, if I read her 506 00:26:43,320 --> 00:26:46,280 Speaker 1: bio correctly, she basically did one show. Did she do 507 00:26:46,320 --> 00:26:48,000 Speaker 1: the show with you? Does she continue to write or 508 00:26:48,040 --> 00:26:50,520 Speaker 1: she's not writing anymore? She writes, she know she's never written. 509 00:26:50,640 --> 00:26:54,240 Speaker 1: We've written, We've written scripted projects for a TV but 510 00:26:54,400 --> 00:26:56,600 Speaker 1: to no avail so far. But she worked with you, 511 00:26:56,880 --> 00:26:59,560 Speaker 1: didn't you know? Okay? I met her. I met her 512 00:26:59,560 --> 00:27:02,960 Speaker 1: when she was working at Harper Bazaar. She wrote a 513 00:27:03,000 --> 00:27:06,600 Speaker 1: show on IMDb. It's like the Sandra Bernhard Experience or something. No, 514 00:27:06,680 --> 00:27:08,840 Speaker 1: she that was my my short lived talk show on 515 00:27:08,960 --> 00:27:11,560 Speaker 1: any and she she was she was on it as 516 00:27:11,600 --> 00:27:14,320 Speaker 1: my side. She didn't know how the hell she ended 517 00:27:14,400 --> 00:27:16,879 Speaker 1: up there. She was like, if the show gets picked up, 518 00:27:16,880 --> 00:27:19,160 Speaker 1: I'm not doing this anymore. She's a very She's from St. Louis. 519 00:27:19,200 --> 00:27:22,320 Speaker 1: She's no nonsense. She's like, she's not she's not in it, 520 00:27:22,600 --> 00:27:25,200 Speaker 1: you know, for the for the fame or the attention. 521 00:27:25,600 --> 00:27:28,800 Speaker 1: She's just the opposite, which is so refreshing. You first 522 00:27:28,880 --> 00:27:32,200 Speaker 1: got your first home here when um, well, we bought 523 00:27:32,240 --> 00:27:35,920 Speaker 1: our place in two thousand in um West Chelsea. What's 524 00:27:36,080 --> 00:27:41,080 Speaker 1: changed for you about New York? Well, I mean it's 525 00:27:41,119 --> 00:27:43,800 Speaker 1: home now, for better or for worse. Since two thousand, 526 00:27:43,880 --> 00:27:48,240 Speaker 1: which is sixteen years ago. What's changed, um emotionally? Or 527 00:27:48,440 --> 00:27:51,560 Speaker 1: the city? Well, the city is you know, as as 528 00:27:51,600 --> 00:27:54,679 Speaker 1: we all know, it's become sort of a Hackney conversation. 529 00:27:54,800 --> 00:27:57,639 Speaker 1: Is not the city we all loved in the eighties 530 00:27:57,680 --> 00:28:01,040 Speaker 1: and nineties. I mean it's you know, start breaking. Yeah, 531 00:28:01,119 --> 00:28:05,600 Speaker 1: it's it's lost. It's um it's some core, you know, 532 00:28:05,640 --> 00:28:09,800 Speaker 1: it's lost its ability to to welcome people, um who 533 00:28:09,800 --> 00:28:12,480 Speaker 1: are just starting their careers. They can't. You can't afford 534 00:28:12,480 --> 00:28:15,480 Speaker 1: to live here. You know, years ago there were pockets 535 00:28:15,480 --> 00:28:19,959 Speaker 1: of communities of affordable housing which were very often u 536 00:28:20,119 --> 00:28:23,280 Speaker 1: utilized by artists. And the artistic community here seems to 537 00:28:23,280 --> 00:28:28,040 Speaker 1: have left slowly, whether it's visual artists, everybody's left. And 538 00:28:28,160 --> 00:28:30,240 Speaker 1: I mean and and you know, yeah, I guess some 539 00:28:30,280 --> 00:28:35,240 Speaker 1: people moved out to Brooklyn and Queens and but you know, 540 00:28:35,880 --> 00:28:38,480 Speaker 1: if you're starting out and you are like literally like 541 00:28:38,520 --> 00:28:40,479 Speaker 1: a visual artist, like a painter, I think people are 542 00:28:40,520 --> 00:28:42,560 Speaker 1: going all over the places. Are going to Detroit, They're 543 00:28:42,560 --> 00:28:45,640 Speaker 1: going to Pittsburgh, going down south. You you got to 544 00:28:45,680 --> 00:28:48,479 Speaker 1: go someplace where there's a community, but where you can 545 00:28:48,520 --> 00:28:51,440 Speaker 1: afford to have I mean, you can't. You gotta if 546 00:28:51,440 --> 00:28:54,640 Speaker 1: you're painting, you need space. You can't painting like you know, 547 00:28:54,760 --> 00:28:58,800 Speaker 1: one tiny little room and lived there too. Was The 548 00:28:58,840 --> 00:29:01,680 Speaker 1: city has changed, uh, in hand in hand obviously the 549 00:29:01,680 --> 00:29:03,360 Speaker 1: people who live here is changed. And it's like that's 550 00:29:03,400 --> 00:29:06,280 Speaker 1: what I find is that New Yorkers themselves. Yeah, well 551 00:29:06,320 --> 00:29:08,320 Speaker 1: there's still people, you know, there's still people that you 552 00:29:08,360 --> 00:29:11,840 Speaker 1: know had rent control, so there's still you know, there's 553 00:29:11,840 --> 00:29:14,000 Speaker 1: still a few of the old you know, the kind 554 00:29:14,000 --> 00:29:16,600 Speaker 1: of Woody Allen asked New Yorkers that you see that 555 00:29:16,640 --> 00:29:18,800 Speaker 1: you think, oh, they'd be great and Woody Allen film, 556 00:29:18,840 --> 00:29:21,760 Speaker 1: you know, like the older Jewish couple, or you know, 557 00:29:21,880 --> 00:29:25,680 Speaker 1: just the sort of you know, interesting, flamboyant people that 558 00:29:26,400 --> 00:29:29,560 Speaker 1: populated this city when I first used to come here, 559 00:29:29,800 --> 00:29:33,640 Speaker 1: you know, and now there ums of them, yeah, you know, 560 00:29:33,680 --> 00:29:36,640 Speaker 1: and every time one of them sort of leaves or dies, 561 00:29:36,720 --> 00:29:41,360 Speaker 1: you go, it's, you know, we're closer and closer to see. 562 00:29:41,440 --> 00:29:44,400 Speaker 1: It's a creative extension, you know, and and it's it's 563 00:29:44,480 --> 00:29:46,680 Speaker 1: it's you know, and yeah, I don't know. I still 564 00:29:46,920 --> 00:29:49,600 Speaker 1: prefer living here than l A at this point. I 565 00:29:49,680 --> 00:29:51,160 Speaker 1: love to go to l A. I like to spend 566 00:29:51,160 --> 00:29:53,360 Speaker 1: time there. I guess if they call me and said 567 00:29:53,360 --> 00:29:54,880 Speaker 1: you're gonna come do a TV show in l A, 568 00:29:54,880 --> 00:29:58,400 Speaker 1: I'd run as fast as I could because I want 569 00:29:58,400 --> 00:30:00,400 Speaker 1: to work. And I'd be fine because I have a 570 00:30:00,440 --> 00:30:02,520 Speaker 1: lot of friends out there too, and there's lots of 571 00:30:02,520 --> 00:30:06,120 Speaker 1: things about l A that I still love, but I 572 00:30:06,160 --> 00:30:08,440 Speaker 1: don't know. Everything is different, The world is different. We're 573 00:30:08,480 --> 00:30:13,360 Speaker 1: on the precipice of total craziness, you know, the the 574 00:30:13,400 --> 00:30:16,640 Speaker 1: band aid's been ripped off the wound the Republican Party. 575 00:30:16,680 --> 00:30:20,120 Speaker 1: We see what people, a big swath of people in 576 00:30:20,160 --> 00:30:24,080 Speaker 1: this country really feel. The racism, the fear, the xenophobia, 577 00:30:24,200 --> 00:30:28,040 Speaker 1: the misogyny, um on and on and on. The morning 578 00:30:28,240 --> 00:30:31,640 Speaker 1: for a way of life, this ending, that's that's been 579 00:30:31,680 --> 00:30:34,680 Speaker 1: American supremacy and the fact that we're going to go 580 00:30:34,760 --> 00:30:39,320 Speaker 1: into other countries and interfere with their lives, and we're 581 00:30:39,360 --> 00:30:41,880 Speaker 1: going to exert our military power in every corner of 582 00:30:41,880 --> 00:30:45,720 Speaker 1: the world to our advantage, to our standard of living, 583 00:30:46,120 --> 00:30:48,840 Speaker 1: to keep our standard of living. It isn't working anymore. 584 00:30:49,480 --> 00:30:51,760 Speaker 1: It's the time, plocks, It's the time of change, and 585 00:30:51,800 --> 00:30:54,160 Speaker 1: it's the time of you know, in a certain way, 586 00:30:54,200 --> 00:30:57,800 Speaker 1: of anarchy, you know, on both sides of the of 587 00:30:57,920 --> 00:31:00,960 Speaker 1: the of the aisle. And you're not sure how it's 588 00:31:00,960 --> 00:31:04,600 Speaker 1: gonna all shake down. Do you write every day? Are 589 00:31:04,640 --> 00:31:07,760 Speaker 1: you well? Especially now that I have my own radio 590 00:31:07,800 --> 00:31:14,080 Speaker 1: show on Andy Cohen got his own channel, it's called 591 00:31:14,160 --> 00:31:15,920 Speaker 1: Radio Andy, and he asked me if I would do 592 00:31:15,960 --> 00:31:18,280 Speaker 1: a show every day, and I said, yeah, I'll do 593 00:31:18,360 --> 00:31:20,680 Speaker 1: it because you know, I'm here in the city most 594 00:31:20,720 --> 00:31:22,840 Speaker 1: of the time or a lot of the time, and 595 00:31:23,200 --> 00:31:25,400 Speaker 1: I thought that would be fun. And it's really been great, 596 00:31:26,120 --> 00:31:28,600 Speaker 1: and it's really been, you know, very like I've been 597 00:31:28,600 --> 00:31:30,200 Speaker 1: to do a show every day, do a show five 598 00:31:30,280 --> 00:31:33,680 Speaker 1: days a week, live, live, twelve to one. Now, do 599 00:31:33,760 --> 00:31:37,320 Speaker 1: you find you've been very um, this is such a 600 00:31:37,360 --> 00:31:38,880 Speaker 1: tired way of putting this out the other way, but 601 00:31:39,080 --> 00:31:40,760 Speaker 1: you've been very supportive and very up front of the 602 00:31:40,840 --> 00:31:43,840 Speaker 1: LGBT community and your work. And do you find it's like, 603 00:31:43,880 --> 00:31:48,160 Speaker 1: are you glad you came? You came and I came out, 604 00:31:48,320 --> 00:31:52,400 Speaker 1: but you lived your life bisexually or whatever ever wait 605 00:31:52,520 --> 00:31:54,160 Speaker 1: at the time you did, or do you wish you 606 00:31:54,200 --> 00:31:56,800 Speaker 1: were here now? You don't know because I was never 607 00:31:56,880 --> 00:31:59,360 Speaker 1: It was never really about that for me. You didn't care. No, 608 00:32:00,200 --> 00:32:02,480 Speaker 1: of course I care, I can. I want, I want 609 00:32:02,560 --> 00:32:05,720 Speaker 1: rights for everybody. I want everybody who's unique to be 610 00:32:05,800 --> 00:32:09,560 Speaker 1: comfortable in that setting. So that was always my from 611 00:32:09,560 --> 00:32:12,360 Speaker 1: my point of view, like if you are a freak, 612 00:32:12,480 --> 00:32:15,880 Speaker 1: fly your freak flag and be comfortable and know that 613 00:32:15,920 --> 00:32:18,440 Speaker 1: you're gonna be fine because I can't always hold your 614 00:32:18,440 --> 00:32:20,680 Speaker 1: hand through it. Because I was of the belief in 615 00:32:21,040 --> 00:32:24,800 Speaker 1: the lgbt Q. The thing really blew up. It was 616 00:32:24,840 --> 00:32:26,920 Speaker 1: like kids, we all have to buck up, you know, 617 00:32:27,120 --> 00:32:29,560 Speaker 1: we all have to be soldiers, we all have to 618 00:32:29,560 --> 00:32:31,479 Speaker 1: be more. You were there, You like that you were 619 00:32:31,480 --> 00:32:33,640 Speaker 1: there for the fight, so to speak, No, because I 620 00:32:33,680 --> 00:32:36,920 Speaker 1: wasn't there for the fight. I mean now, I believe 621 00:32:36,920 --> 00:32:40,040 Speaker 1: that the fights an individual fight, and I'm not this 622 00:32:40,120 --> 00:32:42,160 Speaker 1: is this is like a whole, you know, this is 623 00:32:42,160 --> 00:32:44,800 Speaker 1: a very I'm just paring it down. Of course, I 624 00:32:44,880 --> 00:32:49,120 Speaker 1: stand in solidarity to everybody, you know, and that goes 625 00:32:49,160 --> 00:32:53,960 Speaker 1: for everybody who deserves support. But what I'm saying for 626 00:32:54,080 --> 00:32:57,960 Speaker 1: myself personally, I never needed that. I wasn't like, you know, 627 00:32:58,080 --> 00:33:00,960 Speaker 1: validate me except me. I'm I feel comfortable. I was 628 00:33:01,000 --> 00:33:04,120 Speaker 1: always comfortable in my own skin, and I liked who 629 00:33:04,160 --> 00:33:07,440 Speaker 1: I wasn't it was. I didn't define myself by my sexuality. 630 00:33:07,800 --> 00:33:12,120 Speaker 1: I defined myself by my desires and my imagination and 631 00:33:12,160 --> 00:33:15,320 Speaker 1: all the things that looked you know, like a buffet. 632 00:33:15,440 --> 00:33:18,520 Speaker 1: I like a buffet. I don't like one dish. So 633 00:33:18,640 --> 00:33:22,360 Speaker 1: you know, sometimes I'm dating boys sometimes I was dating 634 00:33:22,400 --> 00:33:25,280 Speaker 1: girls when I first moved to l A. And then 635 00:33:25,320 --> 00:33:27,200 Speaker 1: over the years, I had you know, I had relationships, 636 00:33:27,200 --> 00:33:29,880 Speaker 1: but I was always just like, whatever I was into 637 00:33:29,920 --> 00:33:32,880 Speaker 1: my career, I wanted to have fun. So until I 638 00:33:32,920 --> 00:33:36,160 Speaker 1: met my my present um girlfriend, Sarah, who was amazing, 639 00:33:37,320 --> 00:33:39,240 Speaker 1: and she wouldn't take it any other way because she's 640 00:33:39,360 --> 00:33:41,400 Speaker 1: you know, she doesn't she doesn't take any prisoners, and 641 00:33:41,440 --> 00:33:45,160 Speaker 1: she shouldn't, um, but she's done so like she's like, 642 00:33:46,080 --> 00:33:48,000 Speaker 1: this is how it is, the world needs. Everybody needs 643 00:33:48,000 --> 00:33:50,960 Speaker 1: to buck up, get tough. So I've just never been 644 00:33:51,000 --> 00:33:53,080 Speaker 1: one to like, oh my god, let me hold your hand, 645 00:33:53,080 --> 00:33:56,400 Speaker 1: oh my baby, sweet. You know, it's like, and I 646 00:33:56,520 --> 00:34:00,000 Speaker 1: understand some people are born into circumstances. If you're transgender, 647 00:34:00,200 --> 00:34:02,360 Speaker 1: or you're you're you've been thrown out of your home 648 00:34:02,400 --> 00:34:04,960 Speaker 1: because you're gay. It is the worst possible thing in 649 00:34:05,000 --> 00:34:07,720 Speaker 1: the world. Of course, I have wells of empathy, and 650 00:34:07,760 --> 00:34:09,480 Speaker 1: I've done, you know, and I will do and I 651 00:34:09,560 --> 00:34:13,000 Speaker 1: have done benefits to raise money to be there, and 652 00:34:13,040 --> 00:34:16,759 Speaker 1: I'm a vocal spokesperson. But I also see people on 653 00:34:16,800 --> 00:34:18,680 Speaker 1: the train. I see, you know, people of color, I 654 00:34:18,719 --> 00:34:21,839 Speaker 1: see old people, I see all kinds of people. Who 655 00:34:21,880 --> 00:34:25,200 Speaker 1: are just barely hanging on. So my empathy is like 656 00:34:25,320 --> 00:34:27,200 Speaker 1: from one end of the rainbow to the next, and 657 00:34:27,239 --> 00:34:31,640 Speaker 1: it's never been specifically LGBT. It's like we're all in 658 00:34:31,680 --> 00:34:35,839 Speaker 1: this fucked up soup together and everybody who doesn't have 659 00:34:36,000 --> 00:34:39,160 Speaker 1: enough is suffering. So you've got to spread the shift 660 00:34:39,200 --> 00:34:41,839 Speaker 1: around and you've got to spread the empathy, and you've 661 00:34:41,840 --> 00:34:44,239 Speaker 1: got to also say to those who are a little 662 00:34:44,239 --> 00:34:46,640 Speaker 1: bit like take care of me, Like, Okay, you gotta 663 00:34:46,680 --> 00:34:48,839 Speaker 1: take care of yourself right now that I'll circle back 664 00:34:48,880 --> 00:34:51,000 Speaker 1: to you when I have time. I'm over here right 665 00:34:51,000 --> 00:34:53,520 Speaker 1: now trying to help you know, this person, because it's 666 00:34:53,520 --> 00:34:55,880 Speaker 1: just there's too much going on. What was it like 667 00:34:55,960 --> 00:34:59,080 Speaker 1: for you being a mom and raising your daughter amazing? Well, 668 00:34:59,080 --> 00:35:02,520 Speaker 1: you know, also we're it's a rarefied atmosphere. You know, 669 00:35:02,719 --> 00:35:05,279 Speaker 1: we have help, we have people that are there. You know, 670 00:35:05,360 --> 00:35:10,960 Speaker 1: we have a support system. Yeah, I got to keep working, 671 00:35:12,040 --> 00:35:16,080 Speaker 1: but um, it was it was a leap of faith 672 00:35:16,120 --> 00:35:17,520 Speaker 1: for me. I mean it wasn't like I was like 673 00:35:17,680 --> 00:35:19,080 Speaker 1: I didn't grow up thinking oh I've got to have 674 00:35:19,120 --> 00:35:21,160 Speaker 1: a kid. But suddenly, like when I was four days, 675 00:35:21,200 --> 00:35:22,719 Speaker 1: I think I just better do this because I think 676 00:35:22,760 --> 00:35:25,440 Speaker 1: I'm gonna regret it, and I would have regretted it. 677 00:35:25,520 --> 00:35:27,279 Speaker 1: And it's a work in progress. I mean, you know, 678 00:35:27,320 --> 00:35:29,600 Speaker 1: you have an older kid, and I'm sure that there 679 00:35:29,640 --> 00:35:32,520 Speaker 1: are times when she still calls on you and you're like, uh, 680 00:35:33,400 --> 00:35:36,160 Speaker 1: because you want you want, you want them to just 681 00:35:36,320 --> 00:35:38,279 Speaker 1: That's what I'm gonna do now from now on, when 682 00:35:38,320 --> 00:35:40,479 Speaker 1: Ireland calls me my daughter. If you're listening, i'm gonna 683 00:35:40,480 --> 00:35:43,600 Speaker 1: call her. After this is over, I'm gonna say Ireland 684 00:35:43,600 --> 00:35:52,279 Speaker 1: when you call to go. But sometimes, you know my daughter, yeah, exactly. 685 00:35:52,440 --> 00:35:54,279 Speaker 1: My daughter just started college, so I can't mean, of 686 00:35:54,320 --> 00:35:57,080 Speaker 1: course she's still a baby. She want to study, she 687 00:35:57,120 --> 00:36:00,279 Speaker 1: wants to write television, trants to write comedy. I don't 688 00:36:00,360 --> 00:36:02,400 Speaker 1: name the school, but if she go East Coast West 689 00:36:03,200 --> 00:36:06,560 Speaker 1: Liberal Arts, great college. She got in. She did it. 690 00:36:07,160 --> 00:36:12,160 Speaker 1: That's cool. So you know, I got no complaints. Now, um, 691 00:36:12,480 --> 00:36:14,160 Speaker 1: you ever thought about doing a drama, like a one 692 00:36:14,160 --> 00:36:17,040 Speaker 1: hour drama? Or is that too much work? I'm ready, honey, 693 00:36:17,080 --> 00:36:19,520 Speaker 1: while you got something in mind for me, call me up. 694 00:36:20,160 --> 00:36:22,520 Speaker 1: I think I do. Actually call me. I'm ready to 695 00:36:22,560 --> 00:36:25,800 Speaker 1: go to work, infancy. I'm ready to go to work tomorrow. 696 00:36:25,880 --> 00:36:31,080 Speaker 1: I'll work the long hours to York. Honey, hallelujah. I'll 697 00:36:31,160 --> 00:36:35,560 Speaker 1: be there. I'll be there with bells on. Speaking of 698 00:36:35,640 --> 00:36:38,360 Speaker 1: being there with bells on, you are at the sorting 699 00:36:38,440 --> 00:36:42,840 Speaker 1: room at the Wallace. It's called the Wallallis Annenberg Performing 700 00:36:42,960 --> 00:36:46,760 Speaker 1: Arts Center in Beverly Hills, December eighth night, two shows 701 00:36:46,800 --> 00:36:49,640 Speaker 1: a night, and then I'll be back here. It's called 702 00:36:49,680 --> 00:36:53,759 Speaker 1: Sandra Monica Boulevard, Coast to Coast. I'll get back in 703 00:36:53,800 --> 00:36:58,800 Speaker 1: my car, drive back to New York. Joe's Post, Joe's 704 00:37:00,160 --> 00:37:04,359 Speaker 1: Romance of It, Joe's Pub December twenty six through New 705 00:37:04,440 --> 00:37:09,239 Speaker 1: Year's Eve. It's My, My, My, My holiday tradition. Two 706 00:37:09,239 --> 00:37:12,880 Speaker 1: shows a night, twelve shows, six nights. I take no prisoners, 707 00:37:13,480 --> 00:37:16,440 Speaker 1: We kick ass. We have a ball. I collapse at 708 00:37:16,440 --> 00:37:19,120 Speaker 1: the end. And it's a new Year. I'm going to 709 00:37:19,239 --> 00:37:22,200 Speaker 1: ask my wife. Now here's a real thing I got 710 00:37:22,200 --> 00:37:24,080 Speaker 1: going on. My wife is what you would call a 711 00:37:24,160 --> 00:37:26,879 Speaker 1: queer dear. She's encrusted in gay man. All her friends 712 00:37:26,920 --> 00:37:29,880 Speaker 1: are gay man. So we're gonna bring a whole gang 713 00:37:29,920 --> 00:37:34,080 Speaker 1: of them. Yes, yes, coming the jockstraps. Is that what 714 00:37:34,080 --> 00:37:35,839 Speaker 1: people do they do? Is there like a thing? There 715 00:37:36,560 --> 00:37:38,719 Speaker 1: was a theme. Now there's no thing. Okay, I thought, 716 00:37:38,760 --> 00:37:40,520 Speaker 1: maybe it has a really cool now, But I like 717 00:37:40,640 --> 00:37:43,960 Speaker 1: if some drag queens still come dressed, you know, in 718 00:37:44,040 --> 00:37:45,680 Speaker 1: full regale, you know like they used to in the 719 00:37:45,680 --> 00:37:49,759 Speaker 1: old days to pay homage, maybe I'll pay homage. And 720 00:37:49,880 --> 00:37:51,120 Speaker 1: I don't think I want to see you in drag 721 00:37:51,320 --> 00:37:56,000 Speaker 1: want soon, like white cream colored nigh that I wouldn't mind. 722 00:37:56,280 --> 00:38:01,640 Speaker 1: Just don't, just don't wear a wig. Thank you then, um, 723 00:38:01,719 --> 00:38:04,880 Speaker 1: thank you. What a pleasure. Sorting room at the Wallace 724 00:38:04,920 --> 00:38:09,520 Speaker 1: Annenburg in Beverly Hills December and December through New Year's 725 00:38:09,560 --> 00:38:15,799 Speaker 1: Eva Joe's Pub, rocking, rolling, kicking ass, still loving it. 726 00:38:16,040 --> 00:38:17,719 Speaker 1: I'll see you on the set of your new show. 727 00:38:18,520 --> 00:38:28,200 Speaker 1: We're gonna be playing Prosecutors, Honey, Sandra Bernhard. She'll be 728 00:38:28,200 --> 00:38:32,759 Speaker 1: performing live later this year. This is Alec Baldwin and 729 00:38:32,800 --> 00:38:34,439 Speaker 1: you're listening to Here's the Thing.