Speaker 1: I'm Alec Baldwin and you're listening to Here's the Thing,
Speaker 1: don't tell me not to live, just sitting put up.
Speaker 1: There really are no words to describe the talent, the career,
Speaker 1: the woman that is Barbara streisand don't tell me. Streisand
Speaker 1: burst on the scene in nineteen sixty four with Funny
Speaker 1: Girl on Broadway, right when it felt like the Suburbs
Speaker 1: and McCarthy is m might go on forever, the Beatles
Speaker 1: show up on the Ed Sullivan Show, and on Broadway
Speaker 1: along comes this phenomenon, this totally new, unusually gorgeous, nakedly
Speaker 1: ambitious Jewish girl from Brooklyn in close, so wildly bright,
Speaker 1: they blow out your new color TV weather on the
Speaker 1: Rose of Ship Affection. She kept her name, she kept
Speaker 1: her nose, she kept that access it. She could not
Speaker 1: be more different from what wasp culture told women they
Speaker 1: should be. New York is just full of unusual and
Speaker 1: interesting girls who are starting out in show business, but
Speaker 1: few of them have the style as early as this
Speaker 1: young lady. She's nineteen years old, her name is Barbara
Speaker 1: streisand and then she gets on stage. She's grounded, she's powerful,
Speaker 1: and she's got the greatest voice America has ever heard
Speaker 1: water than a mile. Over the following years, we also
Speaker 1: learn she's a great actress. Here she is trying to
Speaker 1: win Redford's love in the way we were sure. I
Speaker 1: make waves. I mean, you have to, and I'll keep
Speaker 1: making them until your every wonderful thing you should be
Speaker 1: and will be. You'll never find anyone as good for
Speaker 1: you as I am. To believe in you as much
Speaker 1: as I do, I love you as much. Well not
Speaker 1: why striisand develops a reputation for being difficult and for
Speaker 1: being a bit of a recluse. She gets married, divorced,
Speaker 1: has a kid, but all the while she just keeps
Speaker 1: getting better and more famous until she's this unique character
Speaker 1: in American culture, a megastar on her own terms. Since
Speaker 1: we first met in we become friends. We talked at
Speaker 1: her home in southern California. By the way, Stella, do
Speaker 1: me a favor. Take the clock and make sure it works,
Speaker 1: like because it needs batteries or wounder. Okay, thank you
Speaker 1: so much. You walk around the house and you have
Speaker 1: you just that just goes. How is this not taken
Speaker 1: care of? You? See? To work for somebody like you
Speaker 1: or me? You have to understand the artist's temperament. People
Speaker 1: don't see that the time is wrong. Well, I wasn't
Speaker 1: going to start with this, but I'll ask you. But
Speaker 1: I'll ask you because that instinctive I for detail and
Speaker 1: just thinking all the time about I want this, I
Speaker 1: want this, I want this. Is that what naturally propelled
Speaker 1: you into directing films? Well? That, yes, that And also
Speaker 1: it was something that happened during the way we were
Speaker 1: where two scenes were cut out that were intrinsic to
Speaker 1: the value of the story. And it made me so
Speaker 1: crazy that they couldn't see that that propelled you into
Speaker 1: direct and me into it. I couldn't understand it. And
Speaker 1: it's hard to carrel with a you know, a hit movie.
Speaker 1: I don't know if it was a hit at the time.
Speaker 1: Tell you the truth, it's grown to say it was.
Speaker 1: Warren Beatty said to me once, is it. Until you
Speaker 1: take ultimate responsibility and you're willing to direct the movie,
Speaker 1: you're gonna be constantly frustrated. And he said you must
Speaker 1: Can said that it was so delicious and it's like,
Speaker 1: you know, when you finally have the power to control
Speaker 1: your work, you you get very humble in a sense
Speaker 1: it's like I wanted to give power away to other
Speaker 1: people as well. You know, I would say to my standing,
Speaker 1: you run that course with the cameraman, this is the shot,
Speaker 1: but I want you to be able to tell me
Speaker 1: where to stand. In other words, it's a feeling of
Speaker 1: such gratitude where you you never have to raise your
Speaker 1: voice because everybody's finally listening. You don't have to get
Speaker 1: angry about anything they weren't listening before. Sometimes well, sometimes
Speaker 1: when I would say things as just an actress, like
Speaker 1: this is what I'm telling you, this story the way
Speaker 1: we were it went on deaf ears. You know, they
Speaker 1: didn't agree with me whatever, But when you see something
Speaker 1: so clearly, um, that's wrong to me or what could
Speaker 1: be right? Or see. I had such a great time
Speaker 1: directing Ental because I did it in England and in Czechoslovakia.
Speaker 1: In England they're not afraid of women, powerful women, strong
Speaker 1: women because they had a queen. They have a queen
Speaker 1: and at the time they had the Prime Minister who
Speaker 1: was Margaret Thatcher. So I was shocked at the respect
Speaker 1: that I had as a first time director. I couldn't
Speaker 1: believe it. Um and the crew was so kind and
Speaker 1: just It was the most wonderful experience, I must say,
Speaker 1: And even the the Czechoslovakian government was wonderful to me
Speaker 1: because I needed Jews to be in the synagogue and
Speaker 1: pray and so for then, you know, was during communist times,
Speaker 1: and they went to the Jewish community, thank God, and
Speaker 1: had them come so I didn't have to teach them
Speaker 1: how to be Jewish. You know, how did some real Jews?
Speaker 1: Was an Italians dressed as Jews in New York where
Speaker 1: they have to say, well, how do you stand in
Speaker 1: a synagogue and how do you pray? And it was
Speaker 1: it was wonderful. And also well you know when you
Speaker 1: have extras in Czechoslovakia, then they didn't give them lunch,
Speaker 1: so the people would come with like bags of their lunch,
Speaker 1: which broke my heart. So I would, you know, give
Speaker 1: them our food, which we never had vegetables. We had
Speaker 1: to send to London or France or Italy to get
Speaker 1: vegetables because you know, their food diet was like hot chalk.
Speaker 1: I loved it, of course, bread and butter and hot
Speaker 1: chocolate in the morning with whipped creams and kids. What
Speaker 1: was that? Heaven? And I wanted to be thinner, but well,
Speaker 1: and every day I would not every day, but every
Speaker 1: few days I would bring in past these, you know,
Speaker 1: with that delicious dough in the meat inside, and we'd
Speaker 1: always have the most delicious teas that I'd bring in
Speaker 1: those cream like doughnuts shaped like a hot dog from
Speaker 1: Whimpy's and you know, eat this delicious cream with the donuts.
Speaker 1: Oh my god. It was so good time. And they
Speaker 1: it was very sweet because the whole crew wrote a letter.
Speaker 1: That's one of my prize possessions, I must say, And
Speaker 1: they wrote this letter to the newspapers and it said
Speaker 1: that you know, Ms try said something like Ms try
Speaker 1: sand never raises her voice and has a smile for
Speaker 1: us every day, and it's like not the stories we've
Speaker 1: heard about her, and no newspaper would publish it, but
Speaker 1: it figures it's like Hillary Clinton, as you said, the
Speaker 1: upside of that experience where the entele was working in
Speaker 1: a culture where the power of women was just accepted.
Speaker 1: And I'm best fall and to say the least about
Speaker 1: what happened here, not just because this guy won, but
Speaker 1: I really do think misogyny and well, in four I
Speaker 1: did get some sort of award from Women in Film
Speaker 1: directing Yental and a lot of my speech was about
Speaker 1: women against women, because the reviews of Gente from women
Speaker 1: were vicious, you know. In other words, they didn't even
Speaker 1: talk about this celebration of womanhood, that a woman could
Speaker 1: not only you know, make dinner and have babies, but
Speaker 1: she could have an intellect, she could want to study,
Speaker 1: be something more, do what men do, do what men do?
Speaker 1: Just equality, you know. So to read a review that
Speaker 1: said her she wore a design in the New York Times,
Speaker 1: she wore a designer amica. Now everything, every piece of
Speaker 1: clothing in that movie was authentic. That same year there
Speaker 1: was the film directed by Ingmar Bergmann Fanny and Alexander.
Speaker 1: They wore the same yamica, but nobody attacked that film.
Speaker 1: I love detail, so I would, you know, For years,
Speaker 1: I would do research about Polish Jews, about these Jews,
Speaker 1: that Jews everything, the Evil Institute in New York um
Speaker 1: talking to scholars studying Talmud, just to bring that, because
Speaker 1: I do believe that when you study like that and
Speaker 1: do the research, you don't have to act that It's
Speaker 1: like the camera picks up the truth, even just behind
Speaker 1: your eyes, in the sound of your voice, whatever it
Speaker 1: is mine. You know. I had this wonderful shot, I
Speaker 1: thought as it cuts from a chicken coop to me
Speaker 1: sitting behind the bars up separated from the men in
Speaker 1: the shool, and that shot was attacked by this woman critic,
Speaker 1: Janet Maslin. Her name was now she could attack my
Speaker 1: lip syncer. That's true. I'm a terrible lip sinker. I
Speaker 1: can't do it because when I did movies like Funny
Speaker 1: Girl or Hello Dolly, you know, they record the soundtrack
Speaker 1: three months before you shoot, and I have to be
Speaker 1: in the moment as an actor, I don't know how
Speaker 1: I'm going to feel when I actually perform it. So
Speaker 1: that's why when I did the movie Star Is Born,
Speaker 1: it's all real, it's all um. I had alic I
Speaker 1: did not want. I needed to be free, to be
Speaker 1: in the moment, So we recorded on the spot. What
Speaker 1: do you call that live? It was all live. And
Speaker 1: then what I would do is um, because I had
Speaker 1: final cut on that movie, I could control those things. UM.
Speaker 1: We would shoot the close ups first, so where the
Speaker 1: performance really counted, and then I would just choose it
Speaker 1: right on the spot, okay, I think, and I would
Speaker 1: do about one to four takes. You know all these
Speaker 1: stories about me, like I do millions of takes, most
Speaker 1: of them are false. And so let's say I would
Speaker 1: take take three, you know, and then move the cameras
Speaker 1: back to do the wider shot that because you didn't
Speaker 1: have to see me close, you know, not doing the
Speaker 1: lip sync. Good. I did a documentary film about Can.
Speaker 1: It's ostensibly about Can and Ryan Gosling. We corner him
Speaker 1: at at an hotel I think I saw it, this
Speaker 1: thing called Seduced and abandoned, and we get Gosling at
Speaker 1: the Beverly Hills Hotel or the bel Air Hotel. I
Speaker 1: should say, any long story short is he has this
Speaker 1: beautiful explication of how agonizing it is to shoot films,
Speaker 1: and just in that kind of Arthur Murray by numbers way,
Speaker 1: we have to shoot a match to this and match
Speaker 1: to this. It can't be fresh and it's painful. No,
Speaker 1: And that's why I love long takes, because I think
Speaker 1: I'm from the theater and where you had to do
Speaker 1: a whole show, right, So I don't like pieces. I mean,
Speaker 1: the fun of directing to me is designing the shot,
Speaker 1: the camera, accommodating the actors. So the actors there's a
Speaker 1: lot of scenes in entle that you can see like this.
Speaker 1: They're all in one move practically. In other words, we
Speaker 1: come in through a door and I'm in the foreground,
Speaker 1: let's say, But he who's following me, the my lead
Speaker 1: actor who was Mandy Patinkin at the time, and he
Speaker 1: still is but um, you know, we see him standing there,
Speaker 1: and then he comes forward and I sit down. He
Speaker 1: becomes he's standing up, but the camera never moved, but
Speaker 1: you see everything. Then the camera moves as we're together,
Speaker 1: but it doesn't cut. And then he has you know,
Speaker 1: when when he leaves me, you see him go out
Speaker 1: the door. He slams the door and the camera moves
Speaker 1: in a little bit. As I'm thinking about it, that's
Speaker 1: the scene. But it's what's fun about that is that
Speaker 1: we're all on our toes. You can't make a mistake.
Speaker 1: And most of these shots that I do that there's
Speaker 1: no coverage. That the greatest one of the very little
Speaker 1: coverage the actors played the scene in the frame. Now, now,
Speaker 1: in the time that you made films, the many years
Speaker 1: you've made films, successful acting and not directing, successful as
Speaker 1: a director and producer, and all those things, were there
Speaker 1: people that you wanted to work with with the people.
Speaker 1: You sat there a guy, I'd love to make a
Speaker 1: film with that person, because you've been in such a
Speaker 1: privileged place and I had all these people available to
Speaker 1: Was there a director that you dreamed of working with
Speaker 1: you didn't get to work with? Well Ing Mark Bergman
Speaker 1: is a person that contacted me to do a remake
Speaker 1: of The Merry Widow. And I was so excited, you know,
Speaker 1: and I came to um Sweden and we embraced and
Speaker 1: it was this wonderful embrace, you know. I mean he,
Speaker 1: I can't explain what that what that's like. It's was
Speaker 1: just he he sort of understood me, and I understood
Speaker 1: him without any words. And the first act of that
Speaker 1: screenplay was fantastic, I mean very body uh kind of shocking.
Speaker 1: I loved it, you know. So then and when I
Speaker 1: have letters now, I forget things until I have to
Speaker 1: go into my archives and look at this stuff letters
Speaker 1: from him and notes that I wrote back to him
Speaker 1: talking about this film and what happened the second act?
Speaker 1: You know, he says we're going to be collaborators. And
Speaker 1: the second act was not very good. I thought it
Speaker 1: was like like jevas Amadeus. I'm sure you're The first
Speaker 1: act was extraordinary to me in the movie, and the
Speaker 1: second act was, I don't know, just somehow repetitious. It
Speaker 1: It didn't go far enough in the story, you know.
Speaker 1: And that's the way I felt about this. And all
Speaker 1: of a sudden it was gone. The collaboration was over.
Speaker 1: We never made the film, and I couldn't quite believe it.
Speaker 1: I mean, the fact that I didn't like certain things
Speaker 1: in the second act did he liked? Well, he never
Speaker 1: defended it. It was like, you know, I think that's
Speaker 1: right and so but I would have loved to work
Speaker 1: with Berto Lucci and Scriss. You know what I did.
Speaker 1: I realized this now and looking back at my life,
Speaker 1: I turned down. Alice doesn't live here anymore, and I
Speaker 1: you know why I turned it down. I didn't at
Speaker 1: that point. I didn't realize who Marty Scorsese was number one.
Speaker 1: Any movie I turned down I regret only because they
Speaker 1: weren't attached to directors. I was off for Julia and
Speaker 1: you know there was no director. James part Yeah, and
Speaker 1: literally in Hellman came to my house and said, how
Speaker 1: could you have not played me? You're Jewish? I'm Jewish.
Speaker 1: You should have played me, I said. I was editing
Speaker 1: A star was born, and so I was in the
Speaker 1: middle of having to finish that movie. But and I
Speaker 1: didn't know Fred Zinneman was going to be the director.
Speaker 1: I turned down Cabaret because I didn't like the show.
Speaker 1: I didn't know Bob Fosse was going to be the director.
Speaker 1: I would have done it just for Bob Fosse. He
Speaker 1: was attached to Funny Girl before Jerry Robbins. Even I
Speaker 1: loved him, but he didn't get along with Race Stark.
Speaker 1: But Alice doesn't live here anymore. It was the part
Speaker 1: of a if a girl who couldn't sing. She was
Speaker 1: like a bar piano player of him. I remember thinking,
Speaker 1: I don't know if I could do that, because people
Speaker 1: associate me with being a good singer, and so are
Speaker 1: they gonna believe me as a singer. And that's why
Speaker 1: one of the reasons I played a crappy, you know,
Speaker 1: untalented a singer songwriter in that movie was a flop
Speaker 1: what was it called? Again? All Night Long? Because it
Speaker 1: was an interesting challenge, and I never forgot the fact
Speaker 1: that I should have played Alice doesn't live here anymore.
Speaker 1: Isn't that funny? And I played this kind of ditzy
Speaker 1: person who I was basing it on a friend of
Speaker 1: mine who actually was so ditzy that she you know,
Speaker 1: the phrase up the creek. She was leaving my other
Speaker 1: house that has a stream, that place I lived before
Speaker 1: in Malibu, and she actually drove up the creek, you know,
Speaker 1: And so I used her. That's why she was very blond,
Speaker 1: and I kind of used her as my prototype for
Speaker 1: that character. But if I had done, Alice doesn't live
Speaker 1: here anymore. Everything is meant to be, Isn't What I
Speaker 1: love is when you talk about your career, you genuinely
Speaker 1: mentioned these things, and for me, I have to do
Speaker 1: the gag version of that to I'll be on the
Speaker 1: set of a film and I'll say, He'll say, to me,
Speaker 1: when you were a young actor, did you ever do
Speaker 1: a scene in the movie that was kind of like, go, oh, yeah,
Speaker 1: I said, I had an amazing scene in The Godfather.
Speaker 1: I mean I had a scene it was incredible in
Speaker 1: The card Father. And you're lying to of course. And
Speaker 1: when I was the Grandfather was made, I was thirteen
Speaker 1: years old, and they'll sit there for him and go,
Speaker 1: how old was he win the god because you're a
Speaker 1: good actor, so they believe what you're saying, the actor,
Speaker 1: I'm foolish or whatever. It was something I was going
Speaker 1: to tell. You know, I turned down a lot of
Speaker 1: films because I was lazy. I'm basically I'm a dichotomy here,
Speaker 1: lazy and um, I don't know what the word is,
Speaker 1: restless restless? May yeah, like wanting to create a soup
Speaker 1: about you, it would be called the Lazy and the Restless.
Speaker 1: I'm joking. Oh no, that's a very good time and
Speaker 1: the exactly exactly. I love to take a vacation and
Speaker 1: do nothing. I like to have no appointments. And I
Speaker 1: think that's a condition in my mind of people who
Speaker 1: have tremendous not so much financial success, but creative success.
Speaker 1: I mean, there's a famous actress who I won't name. Wait,
Speaker 1: you know what, do you want to take a sip
Speaker 1: of soup on your Do you want soup to I'll
Speaker 1: have a soup? I mean we kind of say no. Well,
Speaker 1: I mean this is a I'm irish. It's bad luck
Speaker 1: to say no to soup? Is that in Ireland? I
Speaker 1: just made that up? Oh just put that over here.
Speaker 1: Oh see, I just brought this table from the back
Speaker 1: and we need another table maybe over here. Because this
Speaker 1: is me so soup. Don't worry about me. I mean,
Speaker 1: in other words, people know we eat right, so if
Speaker 1: they hear it's okay, good, good, good good, because I
Speaker 1: always like to eat. Oh really know you know you
Speaker 1: won't mm hmmm. That is delicious, isn't it unhealthy? Um?
Speaker 1: What we're talking about restless and lazy. To be clear,
Speaker 1: lazy was her word, not mine. I'd never called Barbara
Speaker 1: streisand lazy. One of the many artists Barbara Streisand has
Speaker 1: worked with is a legend in his own right. Tony Bennett.
Speaker 1: Like Barbara, Tony has a team behind him making sure
Speaker 1: his brand is as strong as his voice. Leading that
Speaker 1: team for Tony Bennett is his son Danny. His dad
Speaker 1: seemed to expect it of him. At the age of twelve.
Speaker 1: He would come to me and go like, oh, I
Speaker 1: got this thing, and but the dog, what do you
Speaker 1: think he didn't delineate? And you know what I mean,
Speaker 1: you know, it's like I guess you know, at the
Speaker 1: turn of the century, kids at twelve and thirteen, we're
Speaker 1: working in the field. My interview with Danny Bennett is
Speaker 1: at Here's the Thing, Dot Org. This is Alec Baldwin
Speaker 1: and you're listening to Here's the Thing. Barbara Streisand had
Speaker 1: pretty straightforward ambitions when she was starting out. And when
Speaker 1: I would talk to McCartney about the Beatles, he said
Speaker 1: to me, is it was hard work. Later on when
Speaker 1: they gain creative control of their material and it's like anybody,
Speaker 1: then they take a year to do another album. But
Speaker 1: in the beginning they really worked like dogs, you know.
Speaker 1: And for you, I'm wondering at the beginning when you
Speaker 1: do Broadway, are you out there and you're just so
Speaker 1: pumped and excited and you're young, and everyone's glorifying you
Speaker 1: and loving what you're putting out there, and you really
Speaker 1: love you said, they're going, I don't want to do
Speaker 1: this show eight times a week? Like what happened to
Speaker 1: you in the beginning? Were you excited and game in
Speaker 1: the In the beginning, I wanted to prove myself. I
Speaker 1: wanted to prove to my mother that I could be
Speaker 1: a success. You know. It comes from that. It's like
Speaker 1: really deep. It's deep and quiet. It's not loud, by
Speaker 1: the way, It's not what makes Sammy run it's quiet,
Speaker 1: it really is um. But again you can feel that passion,
Speaker 1: you can feel that need to be seen somehow, because
Speaker 1: I wasn't seen much by my I didn't I lost
Speaker 1: my father. How were you? Your dad passed away fifteen
Speaker 1: months But my mother said that after he died, I
Speaker 1: would climb up on the window waiting for him to
Speaker 1: come home, because I used to do that, I guess
Speaker 1: as a baby, and wait for him and he would
Speaker 1: come home. And in a sense, I've idolized my father
Speaker 1: because he was a PhD. He was a teacher, which
Speaker 1: I so respect teachers, and he wrote poems, and he
Speaker 1: was artistic, and he was an athlete as well as
Speaker 1: a a debater, you know, and and he was in
Speaker 1: part of French dramatics and English literature. And I didn't
Speaker 1: read his thesis until many years later because me as
Speaker 1: an actress when I was sixteen, I was fascinated by
Speaker 1: Eleanora Dusa and Sarah Bernhardt, wanting to be an actress.
Speaker 1: And my father's books were tied up in the basement
Speaker 1: of our Brooklyn apartment, Mark Twain, Charles Dickens, all the
Speaker 1: great novels I read, Uh, what do you call it?
Speaker 1: Nancy Drew mysteries. I read movie magazines, you know, and
Speaker 1: dream that someday maybe I could be famous. Do you
Speaker 1: have that dream? Then when you're here, I would have
Speaker 1: my kind of coffee ice cream briers and sit in
Speaker 1: my bed and dream, go to the movies sometimes on
Speaker 1: a Saturday afternoon, the Lowise Kings where they had the
Speaker 1: greatest ice cream, and we also, well, yeah, you're you're
Speaker 1: you're like me. Somebody'll say what was the best part
Speaker 1: of the summer. I'd say, what is this restaurant that
Speaker 1: has the best coffee ice cream with chocolate covered handelnuts?
Speaker 1: But watching who in the on screen? If to the
Speaker 1: extent you want to say, we call somebody watched with Visio, Yeah,
Speaker 1: that's it. I want to do something like that. Not
Speaker 1: Doris Day. I mean it was well, I loved Marjorie
Speaker 1: Morning Star because I knew the summer places in where
Speaker 1: I was sent to camp in the Catskills, or my
Speaker 1: mother and stepfather when they came to visit me. I
Speaker 1: didn't know my mother was married, and I said, I'm
Speaker 1: going home from here. What do you mean you didn't
Speaker 1: know your mother got married? She never told me. So
Speaker 1: he was a boyfriend for a while. I guess he
Speaker 1: was around. No, I never met him before, but when
Speaker 1: I insisted, see, I was as I was a strong kid.
Speaker 1: So my mother came to visit me with the stranger,
Speaker 1: and I said, I'm going home. I'm not staying here
Speaker 1: another day longer, so we have to pack me up.
Speaker 1: I think I was seven and a half maybe, So
Speaker 1: for a long time of your youth you were raised
Speaker 1: by him. He was on the scene when I go home.
Speaker 1: Then he's in your life. He's in my life, the stranger.
Speaker 1: How did he handle you? Didn't like me, he didn't
Speaker 1: like you. Why it's exactly right. Was the connection with
Speaker 1: him such as it was, because the connection with your
Speaker 1: mother also was a bit thinner than you might have
Speaker 1: liked compared to your feelings for your father. I grew
Speaker 1: up in a house where my dad was my idol.
Speaker 1: I idolized my ad and my mom, my older sister
Speaker 1: and I we were her lieutenants, chores, chores, and your
Speaker 1: mom didn't push him or cajole him or try to
Speaker 1: get him to never your your relationship with your mom
Speaker 1: was a little less than it was your feeling towards
Speaker 1: your father, well or you head over heels in love
Speaker 1: with your mother? No, no, no, no. I I felt
Speaker 1: that she didn't know me. She didn't know could she.
Speaker 1: I don't think my mother knows me either, But I've
Speaker 1: seen now in my life. She couldn't. She wasn't capable.
Speaker 1: My mother never said to me, my mother's alive. And
Speaker 1: I wrote this in my book. She never once said
Speaker 1: to me, what's it like to be you? When you
Speaker 1: get up there and do that? And what do you enjoy?
Speaker 1: But to understand me? And and I'm her son, I'm
Speaker 1: her oldest son. And where was the conversation about when
Speaker 1: I go through in my life and my career, My
Speaker 1: mother never heard nothing about that. My mother's love was
Speaker 1: shown through food she would bring me when I was
Speaker 1: a young actress, you know. And I moved away from
Speaker 1: home when I was sixteen, from Brooklyn to New York.
Speaker 1: Got an apartment right next to me. I graduated high
Speaker 1: school at uh sixteen erasmus. Yeah, I graduated in three
Speaker 1: and a half years so I could. I doubled my
Speaker 1: science and math, which I loved. I love those subjects.
Speaker 1: Were desperate to get out of Brooklyn. I was desperate
Speaker 1: to be an actress, to get away from real life,
Speaker 1: not a singer and actress, an actress, oh yeah. And
Speaker 1: my my singing was when I was five and six
Speaker 1: and seven on the stoop in Brooklyn with the girls,
Speaker 1: you know, singing and harmonizing. That was my singing. But
Speaker 1: my love was wanting to be an actress. And so
Speaker 1: that's when I went to the library Street Library and
Speaker 1: read the plays of these great actresses, you know, and
Speaker 1: I wanted to be a classical actress. So part of
Speaker 1: me still feels like a failure, you know. When I
Speaker 1: wanted to do I wanted to play after I was
Speaker 1: well known. I wanted to play the two Cleopatra's, the
Speaker 1: one uh Caesar and Cleopatra and Anthony and Cleopatrick. Right,
Speaker 1: so one is a child fourteen years old who I
Speaker 1: thought it should be Orson Wells or Marlon Brando, fat,
Speaker 1: you know, and then I would be even little well fed,
Speaker 1: yes um, and hiding you know from this man, and
Speaker 1: then play the woman Cleopatra. And the television stations I
Speaker 1: wanted to do it on TV, they say, well, is
Speaker 1: it going to be a musical? I mean, you're gonna
Speaker 1: add music. It's like they can't see that you could
Speaker 1: do both I mean, though you have to do the
Speaker 1: music with the you know, absolutely awful feeling. I wanted
Speaker 1: to play Romeo and Juliet, and I got to do
Speaker 1: it finally for Lee Strassburg at the Studio, and it's
Speaker 1: one of my I can't find the letter that they
Speaker 1: wrote me too. Well that's a whole long story, but uh,
Speaker 1: to invite you to join the studio. Yeah. But when
Speaker 1: I first auditioned for the studio, I was fifteen and
Speaker 1: I was doing it with another guy who asked me
Speaker 1: to just be in it. But they wrote me a
Speaker 1: letter to say, do your own audition, and then when
Speaker 1: I did, they found out I was fifteen and they
Speaker 1: said come back when you're you know, eighteen. It's probably
Speaker 1: a nice way of saying no, but um. So that's
Speaker 1: why it was terrible. When I was in on Broadway,
Speaker 1: I wrote on my play bill, I am not a
Speaker 1: member of the Actor's Studio, because all the actors who
Speaker 1: were would say a member of the actors studio, and
Speaker 1: I was piste off at them, you know, um, but
Speaker 1: that was interesting. I did some of my best work
Speaker 1: then when I was fifteen and six and I played media,
Speaker 1: you know, and did that great Aria after she killed
Speaker 1: her kids. And you know, she says a line like
Speaker 1: you know something about this wound in the middle of myself.
Speaker 1: What a brilliant line. I mean, I am a woman
Speaker 1: and I with this wound in the middle of myself. Um.
Speaker 1: I was good then, And do you see what you're saying?
Speaker 1: This wound in the middle of myself? At the actor's studio,
Speaker 1: you know that was that was for um? Just I
Speaker 1: did it in class? That scene from media? Where was
Speaker 1: your class? You know what I would do? Then? I
Speaker 1: would um I had another name, so I wanted I
Speaker 1: didn't want to miss anything. So I went to two
Speaker 1: different acting classes and gave a different name in one,
Speaker 1: and then I used to to make money. You've got
Speaker 1: four dollars and five cents. It was to be an
Speaker 1: usher in the theater. So I would love to go
Speaker 1: see the plays. But in a sense, I didn't have
Speaker 1: enough money to see all the play So I I
Speaker 1: became an usher in the theater so I could see
Speaker 1: the play. But meanwhile, I was sixteen seventeen, that kind
Speaker 1: of age. I knew that I would be famous because
Speaker 1: I would hide my head so they wouldn't see me
Speaker 1: at my face showing them to their seats because I thought,
Speaker 1: you know, when I become famous, they're going to recognize
Speaker 1: me as the girl who showed them to their seats.
Speaker 1: So how do you figure that that? That's something I
Speaker 1: can't explain you. Really, there's a part of you that
Speaker 1: knew you would end up doing what you did. And
Speaker 1: I don't, you know. And my mother didn't believe in me.
Speaker 1: She's she kept telling me, do what your father did.
Speaker 1: Become a teacher. You get you know, you get time off,
Speaker 1: you get vacations, free vacations, summers. Yeah, learn to type.
Speaker 1: And that's when I let my nails grow along, so
Speaker 1: I couldn't type. I believe me. I wish I could type.
Speaker 1: Now I have to dictate everything into it French cooking
Speaker 1: with your mother? Did she eventually come around? I mean,
Speaker 1: how could she not come around with everything you've done.
Speaker 1: I think I was really just trying to prove to
Speaker 1: her that I I could be famous. By the way,
Speaker 1: as soon as I became famous, I didn't like it.
Speaker 1: I don't like fame. I don't like stardom. I only
Speaker 1: like the work, the creative work. That's all I like.
Speaker 1: And you turned at that. So and Lisa didn't fake
Speaker 1: it hat, sir, I guess I didn't make it. With
Speaker 1: no formal voice training and no money to kick start
Speaker 1: a career, streisand relied on raw talent to build herself
Speaker 1: up and the wiles of a man who happened to
Speaker 1: hear her at a small Greenwich village club called the
Speaker 1: bon Soir. Martyrlickman was a music manager and almost as
Speaker 1: young and hungry as Barbara herself. He used his slim
Speaker 1: Rolodex and razors sharp pr instincts to help build Barbara's
Speaker 1: image into what it is today. Drama don't bring around
Speaker 1: a car. I met Marty at the Bonsa when he
Speaker 1: came one night. I was nineteen, and he saw me
Speaker 1: as the first act, the opening act, and said, if
Speaker 1: you ever need me, kid, I was. I was kept
Speaker 1: over at the Bonsa many times, but then I couldn't
Speaker 1: get a job. Finally I got a job, and they
Speaker 1: were paying me something like seventy five dollars a week
Speaker 1: or a hundred dollars a hundred dollars a week. But
Speaker 1: I could eat, you know, so if people wanted me
Speaker 1: to sit down, I would order a baked potato, you know,
Speaker 1: sour cream and chives and the butter, but I couldn't
Speaker 1: make a living. I really needed more. So I called
Speaker 1: Marty and I said, you know, is there any way
Speaker 1: you could get me a hundred and fifty dollars a week?
Speaker 1: Marty told me many years later that he actually paid
Speaker 1: the dollars because they wouldn't go for the the the rays.
Speaker 1: That's why he's such a great person. Invested. He invested
Speaker 1: in me. Yeah, you've been with him now for how long?
Speaker 1: It's like, well, we separated for a while for a
Speaker 1: few years. He didn't get along with. The man in
Speaker 1: my life at the time was John Peters. I've read
Speaker 1: this story before, something like that. But then, believe me,
Speaker 1: we got back as soon as I could. So that
Speaker 1: period is over fifty years. But if you take out them,
Speaker 1: what does he do for you now? What does he
Speaker 1: provide for you? What does he provide for you? Now?
Speaker 1: You trust him everything? He reads scripts, you know, and
Speaker 1: my full on manager. Today is his birthday, by the way,
Speaker 1: he's eight years old. Happy birthday, Martyr. I was watching these,
Speaker 1: um you know, not just old Cabot shows where uh
Speaker 1: famous actors would come on. Is it a spring roll?
Speaker 1: Is it meet? I think this one is a vegetarian
Speaker 1: or are you a vegetarian? Well, I don't. I don't
Speaker 1: need beef. Does there eat the light one? Yeah? I
Speaker 1: think it's chicken? Is it not good? I remember I
Speaker 1: was sitting in your apartment years ago. I've a very
Speaker 1: hungry one work and Sis Corman was there and you
Speaker 1: were going to do Princes of Tis, and I came
Speaker 1: to meet with you. I remember print sometimes and your
Speaker 1: woman who took care of your apartment, came in and
Speaker 1: you said, you said, yeah, I'll eat a little something.
Speaker 1: I could eat a little something. I could eat little something.
Speaker 1: And she would to bring us some crude to tay,
Speaker 1: or crackers or whatever, some spreads. You looked at me
Speaker 1: and you said, oh god, I gotta you know, I'm
Speaker 1: gonna get ready to do a movie and I love
Speaker 1: to eat. And I said to you, I go, if
Speaker 1: we do this movie together, I'm gonna hire us a chef.
Speaker 1: I'll pay for it, and this chef will come down
Speaker 1: and we're gonna eat whatever that we want. That's why
Speaker 1: I loved you. And you look at you look at
Speaker 1: were like, wow, we could be I always just forget about,
Speaker 1: you know, driving ourselves crazy with all that. Let's go
Speaker 1: down and make the movie have a good and we
Speaker 1: feel like eating, we eat, and we don't feel like eating,
Speaker 1: we don't eat. We don't have to go a great idea.
Speaker 1: And the new cast what's his name in the nick
Speaker 1: I'm kidding, yes, because he had to be a white
Speaker 1: looking Southerner. You know what I mean. You're very New York.
Speaker 1: I love that movie, did you now? Watching those old
Speaker 1: you know, cabots, and on comes Brando and on comes
Speaker 1: this one and that one from that generation of Bella
Speaker 1: Fonte when he was young and all that civil rights activism.
Speaker 1: Were you active then as well? I was supporting Bella
Speaker 1: Aps for Congress in like nineteen seventy nine, seventy I
Speaker 1: even supported Mayo Lindsay, who was a Republican, because I
Speaker 1: liked him. I liked the way he spoke. You know,
Speaker 1: I thought he was a leader. He was a leader,
Speaker 1: and he was fair and he was believed in justice,
Speaker 1: and I just liked him. He was also adorable looking. Um.
Speaker 1: So you know, it's like, you know what happened when
Speaker 1: I sang in Houston, by the way before the storm.
Speaker 1: I invited the Bushes President H. W. Bush. I mean,
Speaker 1: um forty one and Barbara Bush to come to my concert.
Speaker 1: And they came and I gave him socks because I
Speaker 1: heard he collect socks. And they came backstage and she
Speaker 1: brought me a pin and I gave her something and
Speaker 1: they were just so lovely. You know, he had dignity.
Speaker 1: He had great dignity, and she was an advocate for
Speaker 1: women's rights. I like good people. That's why I can't
Speaker 1: quite understand what's happened to this country. And it all
Speaker 1: it goes back to women, to women against women. Yesterday
Speaker 1: I was watching Hillary being interviewed by somebody and the
Speaker 1: first question was so rude by the woman. Well, how
Speaker 1: do you know that the Democrat that's even want you around?
Speaker 1: When I when she was running, there were three women
Speaker 1: who interviewed her as well, and they were so the
Speaker 1: faces scrunched up, you know, on television, going well so
Speaker 1: are you trustworthy? Are you not trustworthy? I mean, they
Speaker 1: would like shockingly rude attitudes. And I told her chief
Speaker 1: of staff, you know, I think you should be interviewed
Speaker 1: by men. They're going to be nicer to her than
Speaker 1: the women of white women voted for Donald Trump. Now,
Speaker 1: how do you figure that? I saw her on the
Speaker 1: view this morning, and I think I would have said
Speaker 1: if he was in my space like that. I don't
Speaker 1: think you have to call him a creep, but you
Speaker 1: could say, you know, you're gonna get your own time,
Speaker 1: They're gonna they're going to ask you a question, and
Speaker 1: would you like me to stand behind you in the shot?
Speaker 1: I don't think so. So if if you don't mind,
Speaker 1: can you If she did that to him, I used
Speaker 1: that phrase and appended to a lot of things if
Speaker 1: she had done that to him, if she had said
Speaker 1: that about him. So you sing at Clinton's inauguration, you're
Speaker 1: close to Clinton. The old Clinton years and the nineties
Speaker 1: they were great, and they were great. They were great.
Speaker 1: Coming up Barbara Streisand and I go deep into progressive
Speaker 1: politics and ice cream. This is Alec Baldwin and you're
Speaker 1: listening to here is the thing. For Barbara Streisand, of
Speaker 1: politics has always been a priority. She spoke out in
Speaker 1: support of Bella Abzug during abs first congressional campaign in
Speaker 1: and she has remained politically active since. Streisand was a
Speaker 1: major supporter of Hillary Clinton, even after Clinton voted for
Speaker 1: the war in Iraq. You have to remember this because
Speaker 1: I've discussed this with her and m President Clinton. She
Speaker 1: at the time thought that Bush would keep his word.
Speaker 1: Bush and they were supposed to go to the u N.
Speaker 1: They were supposed to have weapons inspectors um make sure
Speaker 1: that there was you know, nothing there that that wasn't done.
Speaker 1: We had weapons inspectors because I used to talk to
Speaker 1: Scott Ritter, who was a weapons inspector there for seven years,
Speaker 1: and he said, there are no weapons left and if
Speaker 1: there were any chemical weapons, they have a shelf life there.
Speaker 1: They don't work, That's what we saw. But they weren't
Speaker 1: even allowed to even complete anything. They certainly never went
Speaker 1: to the u N. And all of a sudden, you
Speaker 1: know where there were in a war. Without picking someone
Speaker 1: in a current menu of candidates, I mean there are
Speaker 1: two women that come to mind, Kamela Harris here from California,
Speaker 1: where a lot of people are talking about her and
Speaker 1: how gleaming she seems right now as a candidate, and
Speaker 1: of course Elizabeth Warren. But without picking anybody individually, what
Speaker 1: do you think we need to run in to be Trump?
Speaker 1: What kind of person you think is going to take
Speaker 1: forget about man or woman, is gonna be a person
Speaker 1: who does water, who says what who says the truth?
Speaker 1: Truth is everything? I mean, that's what kills me. I
Speaker 1: love the truth. I love the power of the truth.
Speaker 1: You have to believe that person, and you have to
Speaker 1: believe they stand for what American values are supposed to mean,
Speaker 1: not like in the new Gingrich way of whatever that
Speaker 1: is American values, but to be for justice, to be
Speaker 1: for diversity, to be respectful, to accept change, to accept change.
Speaker 1: That in New York I'll never forget the Daily News.
Speaker 1: I mean, yes, this is a fact. I suppose when
Speaker 1: the when the census came out in or two thousand,
Speaker 1: you have ten years of the Daily News put on
Speaker 1: the cover that white New Yorkers were now the plurality
Speaker 1: that they were under, that the city had now become
Speaker 1: fifty one literally black, Asian, Hispanic, and so forth, that
Speaker 1: white New Yorkers and all five boroughs represented less than
Speaker 1: And I thought, well, that may be true, but what
Speaker 1: do you promoting when you write that? And that's going
Speaker 1: to happen in this country? White privilege as we understand it,
Speaker 1: and white people. I'm not saying we're gonna become Rhodesia,
Speaker 1: but it's I think that people who accept change what
Speaker 1: choice do you have but to accept change that this
Speaker 1: world we live in could become more and more diverse,
Speaker 1: you know, in terms of people's sexual identity and women
Speaker 1: in power and things like that. And I find that
Speaker 1: the Democrats, I mean, I'm very critical of them as well.
Speaker 1: The Democrats will say almost anything to get elected. I
Speaker 1: don't think so well. I think the Republicans will say
Speaker 1: anything together, Like there's a difference for Democrats almost anything.
Speaker 1: And the Republicans will say the Democrats are too nice,
Speaker 1: that's what, Yeah, they don't. I always wanted to run
Speaker 1: because I'm not very nice, and I wanted to be
Speaker 1: the you'd probably be a hit. Then I wanted to
Speaker 1: be the more two fisted Democrats. That's what That's what
Speaker 1: it should be. You have to say it like it
Speaker 1: is yourat You have to be tough. That's actually what
Speaker 1: I said when I first met Obama, I said, we
Speaker 1: did a fundraiser for him and it raised eleven million
Speaker 1: dollars that night, and um, I sat with him and
Speaker 1: I said, are you tough enough? That was my first
Speaker 1: question to him. Of course I'm tough, you know, but
Speaker 1: I mean, this is a terrible thing to say, but okay,
Speaker 1: and I know it can't be done. But when Russia
Speaker 1: was suspected of invading our democracy, I thought to myself,
Speaker 1: why aren't they postponing the election? How do you have
Speaker 1: an election now when Russia is hacking us? Don't we
Speaker 1: do it over? Don't we do it over? That's what
Speaker 1: I thought. And whenever I've said it to anybody, they go,
Speaker 1: you can't do that. Why not? It is we it
Speaker 1: is weird, and the result of the election, it is
Speaker 1: entirely false. But let it stand because to change it
Speaker 1: would be really the country couldn't happen. No, I mean,
Speaker 1: look at the difference. I'm going to write an article
Speaker 1: actually about this next week about the difference of America. Yeah,
Speaker 1: the difference in America. What it would be like if
Speaker 1: Hillary were president. Do you realize that women and girls
Speaker 1: could hold their head up high? She and Angela Merkel
Speaker 1: would be running a free world. To see the Woman,
Speaker 1: you know, Wonder Woman movie, it was fantastic because women
Speaker 1: were in charge. Women are nurturing, and women can be
Speaker 1: tough and make decisions that are based on compassion and wisdom.
Speaker 1: You know, even in the Jewish religion, women the Orthodox
Speaker 1: Jewish religion, which I am not. But men have to
Speaker 1: say certain prayers every day, but women have to say
Speaker 1: less prayers because they are closer to God, because they
Speaker 1: are creative. They they birth babies, they feed those babies,
Speaker 1: they nurtured them after. That makes them different. It does.
Speaker 1: My wife reminds me of that every day. Actually, well
Speaker 1: that's good, different now, but it is true. But I
Speaker 1: think what we're missing with Trump is compassion, kindness, respect
Speaker 1: When I when I like, as you said, is that
Speaker 1: we're missing honestly, and honesty is everything. Could we just
Speaker 1: be honest, We'll get through everything. We can't understand the news.
Speaker 1: It was like he was a farce. He was a
Speaker 1: disrespectful woman. But don't you see stress, stress is causing
Speaker 1: me to eat, you know more than I I'm gonna
Speaker 1: go pull on the side. I'm gonna do something cheese. Yeah, um,
Speaker 1: it's and it's you know. I found out that when
Speaker 1: you're stressed, you cortisol levels raising, and cortisol makes you
Speaker 1: gain weight. Yes, so I was. I was away with
Speaker 1: some friends for a week. I didn't read a book.
Speaker 1: I played games, which I played to fall asleep at
Speaker 1: night because I'm after looking at TV and reading the news,
Speaker 1: I I can't fall asleep, so I have to play backgammon,
Speaker 1: you know, and gin so I mean, it was such
Speaker 1: an interesting thing for you, who's a eater too. Every
Speaker 1: day we had bread and butter, you know, every day
Speaker 1: we ate pasta in Italy. Every day we had desserts
Speaker 1: with sugar. We gained nothing, maybe two hours. We just
Speaker 1: let it go, not having a wallow with her. I'll
Speaker 1: never forget Kathleen Turner and she said this on this show.
Speaker 1: She was one of my first guests. And I said
Speaker 1: to you, you were married to your husband Jay, you
Speaker 1: got divorces and you never got married again. I said,
Speaker 1: do you do do you miss that? Do you want
Speaker 1: to be with somebody? And she said, Alec, I put
Speaker 1: the key in the door of my apartment, and the
Speaker 1: thing that makes me most happy as I know that
Speaker 1: there's nobody on the other side of that door I
Speaker 1: walk in, I can do whatever I want to do.
Speaker 1: I don't have to ask anybody's permission. Ba. And she
Speaker 1: really was happy to be single. And you you don't
Speaker 1: like to be single, but I was for a long time.
Speaker 1: But no, I like looking forward to my husband coming home,
Speaker 1: and you know, we for him to so we could
Speaker 1: eat together. Yeah. Absolutely, And he enjoys food too. I
Speaker 1: mean we just take trips up to Santa barber just
Speaker 1: to get an ice cream cone from McConnell's, my favorite
Speaker 1: flavor Brazilian coffee, which they don't sell in points in
Speaker 1: the market. You have to go there or like now,
Speaker 1: I can't have it in my freezer because I'll eat
Speaker 1: the whole point. I just start with a little and
Speaker 1: a cone just you know, well it's melting around the
Speaker 1: edges and I'll just eat that part and just no,
Speaker 1: it's gone to me. There's that familiar sound. I'll be
Speaker 1: watching the news and it's like ten o'clock at night.
Speaker 1: I'd be eating a late night pint of ice cream,
Speaker 1: and then all of a sudden, I hear that unmistakable
Speaker 1: sound of the spoon scraping the bottom of the Okay,
Speaker 1: I go, oh my god, how did that happen? But
Speaker 1: how come your thin? How did you lose weight? I
Speaker 1: started sugar. Sugar was my nemesis. I'm pre diabetic and
Speaker 1: my numbers were tragic. And they said to me, you're
Speaker 1: gonna start shooting over and I said, and they said,
Speaker 1: you're gonna start having to shoot insulin. If you don't
Speaker 1: get with this, So I still uh do bad things
Speaker 1: of me now and but nowhere near. I mean, I
Speaker 1: was somebody that ate I was. I was truly I
Speaker 1: can say this without without hesitation. I was an ice
Speaker 1: cream addict, greaters having greaters ice cream sho. You have
Speaker 1: to look one day when you're cheating, you have to
Speaker 1: try mcconnald's. Do you like coffee, It's the greatest coffee.
Speaker 1: They were so sweet mcconnald's. Because when I did my
Speaker 1: last movie with Seth Rogan, I had to eat ice cream,
Speaker 1: so I said, I have to have the ice cream
Speaker 1: from Santa Barbara. But I had them try something that
Speaker 1: Will Writes used to do that went out of business.
Speaker 1: They had chocolate covered chocolate that sounded so Brooklyn. Chocolate
Speaker 1: covered chocolate covered almonds in the coffee ice cream. So
Speaker 1: I asked them to make that flavor. But now people
Speaker 1: develop nut allergies, so they hardly put nuts. You have allergies?
Speaker 1: What do we care about allergies that we don't have? No,
Speaker 1: we do care about them. But now I just read
Speaker 1: they discovered a drug that will take away nut allergies.
Speaker 1: Do you ever read the magazine called the Week. I
Speaker 1: love the Week, and I read an article in there
Speaker 1: that talked about as a drug now to take away
Speaker 1: not allergies. There was something I was going to tell you.
Speaker 1: Let's stop this for a second. I didn't do. I
Speaker 1: didn't do anything about climate change. It's so sad, you know.
Speaker 1: I'll tell you what happened, okay, in nine six that
Speaker 1: Chernobyl melted down in the Ukraine. This is how I
Speaker 1: got started with my foundation. That's why I did the
Speaker 1: One Voice Um concert in my backyard to raise money
Speaker 1: for Democratic senators and they won five out of the
Speaker 1: six of them one and the Senate became Democrat. So
Speaker 1: we were thrilled, and that money became my foundation. So
Speaker 1: the first chair I ever gave, you know where the
Speaker 1: chair is right, designated amount of Mind. Yeah, well, I
Speaker 1: gave it to study climate change. At that time, it
Speaker 1: was called global warming. But when I heard these stories
Speaker 1: about the the earth warming, it frightened me. So that
Speaker 1: that's why I started my foundation. And now you know,
Speaker 1: the Department of Energy, the State Department, even the EPA,
Speaker 1: the Environmental Protection Agency. This Trump administration don't believe in
Speaker 1: the science, so they've taken off vital information on their websites.
Speaker 1: Can you imagine this? You saw that and they strip
Speaker 1: all that out of their schools. We're not allowed to
Speaker 1: use the word climate change. They're pretending it doesn't exist. Well,
Speaker 1: we better go to the moon or figure out where
Speaker 1: to live, because you can't live like this as the
Speaker 1: streets I know, but that gives no hope to anybody,
Speaker 1: but the streets in Miami. The water is coming up
Speaker 1: through the sewers. I mean, please, why can't people? That's
Speaker 1: why people can do something about it, because people in
Speaker 1: numbers like these marches are very powerful. Right your congressman,
Speaker 1: Call your congressman right the White House stand outside in
Speaker 1: the front, you know, march something about doing something about
Speaker 1: climate change. My last question, you fraging into trouble because
Speaker 1: I want to take you to dinner and have the McConnell's.
Speaker 1: Wait if you want to come back now, I will.
Speaker 1: And that is when you sing, you know, people will
Speaker 1: hear your voice and they melts them. It really gets
Speaker 1: to them. You know, you're the greatest female vocalist of
Speaker 1: all time. Oh you're so sweet. I don't know other
Speaker 1: women who I love. I'm not dismissing them, but you're
Speaker 1: the greatest female vocalist ever. What a compliment. And when
Speaker 1: you go into the studio, when you go to record,
Speaker 1: I'm assuming there's a passion, there's a connection as a soul.
Speaker 1: I love recording because it's private and there it's just
Speaker 1: me and the music. You know, I could look like crap.
Speaker 1: I don't have to dress up. I don't have to
Speaker 1: put makeup on, and it's just it's just the sound
Speaker 1: and the musicians, the the the instruments and what I
Speaker 1: can hear and and say, oh, I could hear a
Speaker 1: string line here with a sound and I don't read music,
Speaker 1: but I'll have to go. You know that that note?
Speaker 1: What is it? I don't know, but it's that chord,
Speaker 1: that chord, you know. I mean, it's just that's fun.
Speaker 1: For me. What I like is the way I record
Speaker 1: as though I can't. I don't stop at all and
Speaker 1: do anything. I do the song. I like to sing
Speaker 1: the whole song because to me, I'm doing a part.
Speaker 1: I'm doing I'm thinking, I'm doing my work as an actress.
Speaker 1: And you tell them how you want to sing the song. Yeah,
Speaker 1: I think for example, like Zenne Bennett, there's that wonderful
Speaker 1: moment in Zenne Bennett. When Tony's with those two guys
Speaker 1: and they play the song is that wonderful moment in
Speaker 1: the film, And he sings the song and Tony goes, no,
Speaker 1: I want you to do it slower, slow it down,
Speaker 1: do it slower, and they slow it down. He goes, no, slower,
Speaker 1: I want you to slow it down and do it slower,
Speaker 1: really slow, and they slay slow and they're looking at
Speaker 1: each other like I don't think we should play this song,
Speaker 1: and so it's like, yeah, I really want you to
Speaker 1: do it slow, like really slow it down, like you know.
Speaker 1: Is he knows, of course? How he sign with me
Speaker 1: here right in this room. We did our duet here together,
Speaker 1: me and Tony right the singing you make you happy
Speaker 1: that you can do that? Um, yeah it does. I
Speaker 1: can hear things that I thought, oh shoot, I should
Speaker 1: have done that over it's not the right take, I
Speaker 1: mean whatever, But no, I liked when when we put
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