WEBVTT - A Visit to Barbra's Place 0:00:00.280 --> 0:00:03.520 I'm Alec Baldwin and you're listening to Here's the Thing, 0:00:10.039 --> 0:00:12.959 don't tell me not to live, just sitting put up. 0:00:13.200 --> 0:00:17.639 There really are no words to describe the talent, the career, 0:00:17.840 --> 0:00:23.600 the woman that is Barbara streisand don't tell me. Streisand 0:00:23.720 --> 0:00:26.720 burst on the scene in nineteen sixty four with Funny 0:00:26.760 --> 0:00:30.920 Girl on Broadway, right when it felt like the Suburbs 0:00:30.920 --> 0:00:34.080 and McCarthy is m might go on forever, the Beatles 0:00:34.200 --> 0:00:37.040 show up on the Ed Sullivan Show, and on Broadway 0:00:37.080 --> 0:00:42.559 along comes this phenomenon, this totally new, unusually gorgeous, nakedly 0:00:42.680 --> 0:00:47.240 ambitious Jewish girl from Brooklyn in close, so wildly bright, 0:00:47.640 --> 0:00:50.960 they blow out your new color TV weather on the 0:00:51.200 --> 0:00:57.800 Rose of Ship Affection. She kept her name, she kept 0:00:57.800 --> 0:01:01.200 her nose, she kept that access it. She could not 0:01:01.440 --> 0:01:05.040 be more different from what wasp culture told women they 0:01:05.040 --> 0:01:08.319 should be. New York is just full of unusual and 0:01:08.400 --> 0:01:10.679 interesting girls who are starting out in show business, but 0:01:10.760 --> 0:01:14.520 few of them have the style as early as this 0:01:14.600 --> 0:01:17.040 young lady. She's nineteen years old, her name is Barbara 0:01:17.120 --> 0:01:23.880 streisand and then she gets on stage. She's grounded, she's powerful, 0:01:24.120 --> 0:01:27.760 and she's got the greatest voice America has ever heard 0:01:34.240 --> 0:01:40.000 water than a mile. Over the following years, we also 0:01:40.160 --> 0:01:43.240 learn she's a great actress. Here she is trying to 0:01:43.280 --> 0:01:47.200 win Redford's love in the way we were sure. I 0:01:47.240 --> 0:01:49.080 make waves. I mean, you have to, and I'll keep 0:01:49.080 --> 0:01:51.320 making them until your every wonderful thing you should be 0:01:51.520 --> 0:01:53.960 and will be. You'll never find anyone as good for 0:01:54.000 --> 0:01:55.640 you as I am. To believe in you as much 0:01:55.680 --> 0:01:58.400 as I do, I love you as much. Well not 0:01:58.560 --> 0:02:04.120 why striisand develops a reputation for being difficult and for 0:02:04.240 --> 0:02:07.480 being a bit of a recluse. She gets married, divorced, 0:02:07.560 --> 0:02:10.639 has a kid, but all the while she just keeps 0:02:10.639 --> 0:02:15.280 getting better and more famous until she's this unique character 0:02:15.400 --> 0:02:20.080 in American culture, a megastar on her own terms. Since 0:02:20.080 --> 0:02:24.280 we first met in we become friends. We talked at 0:02:24.280 --> 0:02:32.480 her home in southern California. By the way, Stella, do 0:02:32.600 --> 0:02:36.720 me a favor. Take the clock and make sure it works, 0:02:36.760 --> 0:02:41.080 like because it needs batteries or wounder. Okay, thank you 0:02:41.200 --> 0:02:45.400 so much. You walk around the house and you have 0:02:45.760 --> 0:02:49.760 you just that just goes. How is this not taken 0:02:49.760 --> 0:02:53.560 care of? You? See? To work for somebody like you 0:02:53.680 --> 0:02:58.799 or me? You have to understand the artist's temperament. People 0:02:58.840 --> 0:03:01.320 don't see that the time is wrong. Well, I wasn't 0:03:01.320 --> 0:03:03.840 going to start with this, but I'll ask you. But 0:03:03.880 --> 0:03:09.600 I'll ask you because that instinctive I for detail and 0:03:09.720 --> 0:03:11.560 just thinking all the time about I want this, I 0:03:11.600 --> 0:03:14.560 want this, I want this. Is that what naturally propelled 0:03:14.600 --> 0:03:19.359 you into directing films? Well? That, yes, that And also 0:03:19.960 --> 0:03:22.280 it was something that happened during the way we were 0:03:23.280 --> 0:03:27.919 where two scenes were cut out that were intrinsic to 0:03:28.200 --> 0:03:33.320 the value of the story. And it made me so 0:03:33.400 --> 0:03:38.840 crazy that they couldn't see that that propelled you into 0:03:38.880 --> 0:03:41.840 direct and me into it. I couldn't understand it. And 0:03:41.880 --> 0:03:44.640 it's hard to carrel with a you know, a hit movie. 0:03:45.560 --> 0:03:47.160 I don't know if it was a hit at the time. 0:03:47.320 --> 0:03:49.280 Tell you the truth, it's grown to say it was. 0:03:51.720 --> 0:03:54.440 Warren Beatty said to me once, is it. Until you 0:03:54.440 --> 0:03:57.040 take ultimate responsibility and you're willing to direct the movie, 0:03:57.080 --> 0:03:59.280 you're gonna be constantly frustrated. And he said you must 0:03:59.720 --> 0:04:04.120 Can said that it was so delicious and it's like, 0:04:04.520 --> 0:04:09.360 you know, when you finally have the power to control 0:04:09.440 --> 0:04:14.600 your work, you you get very humble in a sense 0:04:14.800 --> 0:04:18.080 it's like I wanted to give power away to other 0:04:18.120 --> 0:04:20.560 people as well. You know, I would say to my standing, 0:04:21.240 --> 0:04:26.040 you run that course with the cameraman, this is the shot, 0:04:26.120 --> 0:04:28.000 but I want you to be able to tell me 0:04:28.040 --> 0:04:31.800 where to stand. In other words, it's a feeling of 0:04:31.800 --> 0:04:36.800 such gratitude where you you never have to raise your 0:04:36.880 --> 0:04:42.880 voice because everybody's finally listening. You don't have to get 0:04:42.920 --> 0:04:47.279 angry about anything they weren't listening before. Sometimes well, sometimes 0:04:47.279 --> 0:04:49.600 when I would say things as just an actress, like 0:04:49.680 --> 0:04:52.640 this is what I'm telling you, this story the way 0:04:52.680 --> 0:04:57.200 we were it went on deaf ears. You know, they 0:04:57.200 --> 0:05:00.720 didn't agree with me whatever, But when you see something 0:05:00.839 --> 0:05:06.279 so clearly, um, that's wrong to me or what could 0:05:06.320 --> 0:05:09.800 be right? Or see. I had such a great time 0:05:09.839 --> 0:05:14.760 directing Ental because I did it in England and in Czechoslovakia. 0:05:15.120 --> 0:05:19.880 In England they're not afraid of women, powerful women, strong 0:05:19.960 --> 0:05:23.279 women because they had a queen. They have a queen 0:05:24.000 --> 0:05:26.680 and at the time they had the Prime Minister who 0:05:26.760 --> 0:05:32.280 was Margaret Thatcher. So I was shocked at the respect 0:05:32.360 --> 0:05:35.719 that I had as a first time director. I couldn't 0:05:35.720 --> 0:05:41.680 believe it. Um and the crew was so kind and 0:05:42.640 --> 0:05:46.800 just It was the most wonderful experience, I must say, 0:05:49.000 --> 0:05:52.760 And even the the Czechoslovakian government was wonderful to me 0:05:52.800 --> 0:05:56.720 because I needed Jews to be in the synagogue and 0:05:56.839 --> 0:06:01.560 pray and so for then, you know, was during communist times, 0:06:01.839 --> 0:06:05.000 and they went to the Jewish community, thank God, and 0:06:05.200 --> 0:06:07.000 had them come so I didn't have to teach them 0:06:07.040 --> 0:06:11.440 how to be Jewish. You know, how did some real Jews? 0:06:11.720 --> 0:06:15.320 Was an Italians dressed as Jews in New York where 0:06:15.320 --> 0:06:16.680 they have to say, well, how do you stand in 0:06:16.760 --> 0:06:20.120 a synagogue and how do you pray? And it was 0:06:20.279 --> 0:06:24.000 it was wonderful. And also well you know when you 0:06:24.040 --> 0:06:28.400 have extras in Czechoslovakia, then they didn't give them lunch, 0:06:28.480 --> 0:06:31.599 so the people would come with like bags of their lunch, 0:06:32.120 --> 0:06:36.599 which broke my heart. So I would, you know, give 0:06:36.680 --> 0:06:39.720 them our food, which we never had vegetables. We had 0:06:39.720 --> 0:06:42.760 to send to London or France or Italy to get 0:06:42.839 --> 0:06:46.800 vegetables because you know, their food diet was like hot chalk. 0:06:46.920 --> 0:06:49.280 I loved it, of course, bread and butter and hot 0:06:49.360 --> 0:06:53.600 chocolate in the morning with whipped creams and kids. What 0:06:53.760 --> 0:06:57.040 was that? Heaven? And I wanted to be thinner, but well, 0:06:57.640 --> 0:06:59.520 and every day I would not every day, but every 0:06:59.560 --> 0:07:01.919 few days I would bring in past these, you know, 0:07:02.760 --> 0:07:06.039 with that delicious dough in the meat inside, and we'd 0:07:06.040 --> 0:07:08.479 always have the most delicious teas that I'd bring in 0:07:09.040 --> 0:07:12.920 those cream like doughnuts shaped like a hot dog from 0:07:12.920 --> 0:07:17.280 Whimpy's and you know, eat this delicious cream with the donuts. 0:07:17.280 --> 0:07:20.800 Oh my god. It was so good time. And they 0:07:21.160 --> 0:07:24.480 it was very sweet because the whole crew wrote a letter. 0:07:25.400 --> 0:07:28.720 That's one of my prize possessions, I must say, And 0:07:28.760 --> 0:07:33.240 they wrote this letter to the newspapers and it said 0:07:33.280 --> 0:07:35.720 that you know, Ms try said something like Ms try 0:07:35.800 --> 0:07:40.240 sand never raises her voice and has a smile for 0:07:40.320 --> 0:07:43.240 us every day, and it's like not the stories we've 0:07:43.240 --> 0:07:49.920 heard about her, and no newspaper would publish it, but 0:07:50.040 --> 0:07:53.360 it figures it's like Hillary Clinton, as you said, the 0:07:53.480 --> 0:07:56.200 upside of that experience where the entele was working in 0:07:56.240 --> 0:07:59.080 a culture where the power of women was just accepted. 0:07:59.200 --> 0:08:01.560 And I'm best fall and to say the least about 0:08:01.560 --> 0:08:03.560 what happened here, not just because this guy won, but 0:08:03.640 --> 0:08:08.640 I really do think misogyny and well, in four I 0:08:08.680 --> 0:08:13.320 did get some sort of award from Women in Film 0:08:13.480 --> 0:08:18.160 directing Yental and a lot of my speech was about 0:08:18.720 --> 0:08:25.080 women against women, because the reviews of Gente from women 0:08:26.040 --> 0:08:30.720 were vicious, you know. In other words, they didn't even 0:08:30.760 --> 0:08:36.439 talk about this celebration of womanhood, that a woman could 0:08:36.480 --> 0:08:40.640 not only you know, make dinner and have babies, but 0:08:40.840 --> 0:08:44.520 she could have an intellect, she could want to study, 0:08:44.640 --> 0:08:49.160 be something more, do what men do, do what men do? 0:08:49.280 --> 0:08:54.760 Just equality, you know. So to read a review that 0:08:54.960 --> 0:08:58.520 said her she wore a design in the New York Times, 0:08:58.640 --> 0:09:02.360 she wore a designer amica. Now everything, every piece of 0:09:02.400 --> 0:09:06.680 clothing in that movie was authentic. That same year there 0:09:06.760 --> 0:09:10.280 was the film directed by Ingmar Bergmann Fanny and Alexander. 0:09:10.559 --> 0:09:14.400 They wore the same yamica, but nobody attacked that film. 0:09:14.440 --> 0:09:18.200 I love detail, so I would, you know, For years, 0:09:18.240 --> 0:09:22.640 I would do research about Polish Jews, about these Jews, 0:09:22.760 --> 0:09:27.920 that Jews everything, the Evil Institute in New York um 0:09:28.160 --> 0:09:33.240 talking to scholars studying Talmud, just to bring that, because 0:09:33.280 --> 0:09:36.400 I do believe that when you study like that and 0:09:36.440 --> 0:09:40.320 do the research, you don't have to act that It's 0:09:40.360 --> 0:09:44.800 like the camera picks up the truth, even just behind 0:09:44.840 --> 0:09:47.840 your eyes, in the sound of your voice, whatever it 0:09:47.960 --> 0:09:52.679 is mine. You know. I had this wonderful shot, I 0:09:52.760 --> 0:09:55.680 thought as it cuts from a chicken coop to me 0:09:55.800 --> 0:09:58.840 sitting behind the bars up separated from the men in 0:09:58.880 --> 0:10:04.120 the shool, and that shot was attacked by this woman critic, 0:10:05.600 --> 0:10:08.520 Janet Maslin. Her name was now she could attack my 0:10:08.600 --> 0:10:12.160 lip syncer. That's true. I'm a terrible lip sinker. I 0:10:12.200 --> 0:10:15.760 can't do it because when I did movies like Funny 0:10:15.760 --> 0:10:18.400 Girl or Hello Dolly, you know, they record the soundtrack 0:10:18.520 --> 0:10:21.640 three months before you shoot, and I have to be 0:10:21.720 --> 0:10:24.280 in the moment as an actor, I don't know how 0:10:24.320 --> 0:10:27.480 I'm going to feel when I actually perform it. So 0:10:27.520 --> 0:10:30.320 that's why when I did the movie Star Is Born, 0:10:30.960 --> 0:10:34.720 it's all real, it's all um. I had alic I 0:10:34.760 --> 0:10:37.760 did not want. I needed to be free, to be 0:10:37.840 --> 0:10:40.440 in the moment, So we recorded on the spot. What 0:10:40.520 --> 0:10:43.560 do you call that live? It was all live. And 0:10:43.640 --> 0:10:47.480 then what I would do is um, because I had 0:10:47.520 --> 0:10:52.560 final cut on that movie, I could control those things. UM. 0:10:52.640 --> 0:10:55.240 We would shoot the close ups first, so where the 0:10:55.280 --> 0:10:58.360 performance really counted, and then I would just choose it 0:10:58.480 --> 0:11:00.600 right on the spot, okay, I think, and I would 0:11:00.600 --> 0:11:03.679 do about one to four takes. You know all these 0:11:03.720 --> 0:11:06.440 stories about me, like I do millions of takes, most 0:11:06.480 --> 0:11:09.440 of them are false. And so let's say I would 0:11:09.440 --> 0:11:13.920 take take three, you know, and then move the cameras 0:11:13.960 --> 0:11:17.040 back to do the wider shot that because you didn't 0:11:17.040 --> 0:11:19.800 have to see me close, you know, not doing the 0:11:19.840 --> 0:11:24.160 lip sync. Good. I did a documentary film about Can. 0:11:24.200 --> 0:11:27.920 It's ostensibly about Can and Ryan Gosling. We corner him 0:11:27.960 --> 0:11:30.080 at at an hotel I think I saw it, this 0:11:30.080 --> 0:11:34.040 thing called Seduced and abandoned, and we get Gosling at 0:11:34.080 --> 0:11:37.120 the Beverly Hills Hotel or the bel Air Hotel. I 0:11:37.160 --> 0:11:39.760 should say, any long story short is he has this 0:11:39.800 --> 0:11:42.960 beautiful explication of how agonizing it is to shoot films, 0:11:43.000 --> 0:11:46.160 and just in that kind of Arthur Murray by numbers way, 0:11:46.200 --> 0:11:47.920 we have to shoot a match to this and match 0:11:47.960 --> 0:11:50.959 to this. It can't be fresh and it's painful. No, 0:11:51.200 --> 0:11:54.040 And that's why I love long takes, because I think 0:11:54.080 --> 0:11:55.840 I'm from the theater and where you had to do 0:11:55.880 --> 0:11:59.520 a whole show, right, So I don't like pieces. I mean, 0:12:00.400 --> 0:12:04.640 the fun of directing to me is designing the shot, 0:12:04.960 --> 0:12:10.000 the camera, accommodating the actors. So the actors there's a 0:12:10.080 --> 0:12:12.280 lot of scenes in entle that you can see like this. 0:12:12.400 --> 0:12:16.959 They're all in one move practically. In other words, we 0:12:17.120 --> 0:12:21.640 come in through a door and I'm in the foreground, 0:12:21.720 --> 0:12:25.200 let's say, But he who's following me, the my lead 0:12:25.240 --> 0:12:29.280 actor who was Mandy Patinkin at the time, and he 0:12:29.360 --> 0:12:34.200 still is but um, you know, we see him standing there, 0:12:34.240 --> 0:12:37.640 and then he comes forward and I sit down. He 0:12:37.800 --> 0:12:41.080 becomes he's standing up, but the camera never moved, but 0:12:41.240 --> 0:12:45.000 you see everything. Then the camera moves as we're together, 0:12:45.040 --> 0:12:47.960 but it doesn't cut. And then he has you know, 0:12:47.960 --> 0:12:50.680 when when he leaves me, you see him go out 0:12:50.720 --> 0:12:53.480 the door. He slams the door and the camera moves 0:12:53.480 --> 0:12:56.680 in a little bit. As I'm thinking about it, that's 0:12:56.720 --> 0:13:00.880 the scene. But it's what's fun about that is that 0:13:01.120 --> 0:13:03.960 we're all on our toes. You can't make a mistake. 0:13:05.000 --> 0:13:06.920 And most of these shots that I do that there's 0:13:06.920 --> 0:13:12.360 no coverage. That the greatest one of the very little 0:13:12.400 --> 0:13:17.920 coverage the actors played the scene in the frame. Now, now, 0:13:18.080 --> 0:13:21.480 in the time that you made films, the many years 0:13:21.480 --> 0:13:27.160 you've made films, successful acting and not directing, successful as 0:13:27.160 --> 0:13:29.640 a director and producer, and all those things, were there 0:13:29.640 --> 0:13:32.240 people that you wanted to work with with the people. 0:13:32.280 --> 0:13:33.680 You sat there a guy, I'd love to make a 0:13:33.679 --> 0:13:35.280 film with that person, because you've been in such a 0:13:35.280 --> 0:13:39.240 privileged place and I had all these people available to 0:13:39.400 --> 0:13:41.160 Was there a director that you dreamed of working with 0:13:41.280 --> 0:13:44.200 you didn't get to work with? Well Ing Mark Bergman 0:13:44.640 --> 0:13:48.439 is a person that contacted me to do a remake 0:13:48.480 --> 0:13:51.520 of The Merry Widow. And I was so excited, you know, 0:13:51.600 --> 0:13:58.400 and I came to um Sweden and we embraced and 0:13:58.440 --> 0:14:01.920 it was this wonderful embrace, you know. I mean he, 0:14:03.200 --> 0:14:06.880 I can't explain what that what that's like. It's was 0:14:07.000 --> 0:14:12.040 just he he sort of understood me, and I understood 0:14:12.120 --> 0:14:16.160 him without any words. And the first act of that 0:14:16.240 --> 0:14:21.920 screenplay was fantastic, I mean very body uh kind of shocking. 0:14:22.040 --> 0:14:26.320 I loved it, you know. So then and when I 0:14:26.400 --> 0:14:29.400 have letters now, I forget things until I have to 0:14:29.440 --> 0:14:32.360 go into my archives and look at this stuff letters 0:14:32.440 --> 0:14:35.360 from him and notes that I wrote back to him 0:14:35.400 --> 0:14:40.440 talking about this film and what happened the second act? 0:14:40.840 --> 0:14:44.880 You know, he says we're going to be collaborators. And 0:14:44.920 --> 0:14:49.720 the second act was not very good. I thought it 0:14:49.840 --> 0:14:54.280 was like like jevas Amadeus. I'm sure you're The first 0:14:54.320 --> 0:14:56.800 act was extraordinary to me in the movie, and the 0:14:56.840 --> 0:15:04.200 second act was, I don't know, just somehow repetitious. It 0:15:04.200 --> 0:15:08.040 It didn't go far enough in the story, you know. 0:15:09.320 --> 0:15:11.240 And that's the way I felt about this. And all 0:15:11.240 --> 0:15:15.480 of a sudden it was gone. The collaboration was over. 0:15:16.640 --> 0:15:20.040 We never made the film, and I couldn't quite believe it. 0:15:20.120 --> 0:15:25.240 I mean, the fact that I didn't like certain things 0:15:25.280 --> 0:15:29.520 in the second act did he liked? Well, he never 0:15:29.560 --> 0:15:32.720 defended it. It was like, you know, I think that's 0:15:32.840 --> 0:15:35.840 right and so but I would have loved to work 0:15:35.920 --> 0:15:39.800 with Berto Lucci and Scriss. You know what I did. 0:15:39.840 --> 0:15:42.520 I realized this now and looking back at my life, 0:15:43.200 --> 0:15:47.440 I turned down. Alice doesn't live here anymore, and I 0:15:47.640 --> 0:15:49.800 you know why I turned it down. I didn't at 0:15:49.840 --> 0:15:54.560 that point. I didn't realize who Marty Scorsese was number one. 0:15:55.720 --> 0:15:59.920 Any movie I turned down I regret only because they 0:16:00.000 --> 0:16:06.440 weren't attached to directors. I was off for Julia and 0:16:07.960 --> 0:16:12.040 you know there was no director. James part Yeah, and 0:16:12.280 --> 0:16:15.480 literally in Hellman came to my house and said, how 0:16:15.520 --> 0:16:20.280 could you have not played me? You're Jewish? I'm Jewish. 0:16:20.720 --> 0:16:24.080 You should have played me, I said. I was editing 0:16:24.160 --> 0:16:26.440 A star was born, and so I was in the 0:16:26.480 --> 0:16:30.600 middle of having to finish that movie. But and I 0:16:30.600 --> 0:16:33.080 didn't know Fred Zinneman was going to be the director. 0:16:33.680 --> 0:16:38.000 I turned down Cabaret because I didn't like the show. 0:16:38.960 --> 0:16:41.760 I didn't know Bob Fosse was going to be the director. 0:16:42.240 --> 0:16:44.360 I would have done it just for Bob Fosse. He 0:16:44.440 --> 0:16:49.360 was attached to Funny Girl before Jerry Robbins. Even I 0:16:49.400 --> 0:16:51.440 loved him, but he didn't get along with Race Stark. 0:16:51.760 --> 0:16:53.960 But Alice doesn't live here anymore. It was the part 0:16:54.000 --> 0:16:57.480 of a if a girl who couldn't sing. She was 0:16:57.520 --> 0:17:01.600 like a bar piano player of him. I remember thinking, 0:17:01.680 --> 0:17:03.760 I don't know if I could do that, because people 0:17:03.840 --> 0:17:07.359 associate me with being a good singer, and so are 0:17:07.400 --> 0:17:11.760 they gonna believe me as a singer. And that's why 0:17:11.920 --> 0:17:15.000 one of the reasons I played a crappy, you know, 0:17:15.200 --> 0:17:20.439 untalented a singer songwriter in that movie was a flop 0:17:20.520 --> 0:17:24.399 what was it called? Again? All Night Long? Because it 0:17:24.480 --> 0:17:27.160 was an interesting challenge, and I never forgot the fact 0:17:27.160 --> 0:17:30.080 that I should have played Alice doesn't live here anymore. 0:17:30.240 --> 0:17:33.439 Isn't that funny? And I played this kind of ditzy 0:17:33.800 --> 0:17:37.119 person who I was basing it on a friend of 0:17:37.160 --> 0:17:41.080 mine who actually was so ditzy that she you know, 0:17:41.160 --> 0:17:44.240 the phrase up the creek. She was leaving my other 0:17:44.320 --> 0:17:48.119 house that has a stream, that place I lived before 0:17:48.200 --> 0:17:53.600 in Malibu, and she actually drove up the creek, you know, 0:17:53.720 --> 0:17:55.919 And so I used her. That's why she was very blond, 0:17:56.560 --> 0:17:59.760 and I kind of used her as my prototype for 0:17:59.760 --> 0:18:03.240 that character. But if I had done, Alice doesn't live 0:18:03.240 --> 0:18:07.320 here anymore. Everything is meant to be, Isn't What I 0:18:07.320 --> 0:18:10.159 love is when you talk about your career, you genuinely 0:18:10.200 --> 0:18:12.239 mentioned these things, and for me, I have to do 0:18:12.320 --> 0:18:14.600 the gag version of that to I'll be on the 0:18:14.600 --> 0:18:16.199 set of a film and I'll say, He'll say, to me, 0:18:16.200 --> 0:18:17.600 when you were a young actor, did you ever do 0:18:17.600 --> 0:18:19.200 a scene in the movie that was kind of like, go, oh, yeah, 0:18:19.200 --> 0:18:21.840 I said, I had an amazing scene in The Godfather. 0:18:21.920 --> 0:18:23.440 I mean I had a scene it was incredible in 0:18:23.480 --> 0:18:26.040 The card Father. And you're lying to of course. And 0:18:26.080 --> 0:18:27.800 when I was the Grandfather was made, I was thirteen 0:18:27.840 --> 0:18:29.159 years old, and they'll sit there for him and go, 0:18:29.840 --> 0:18:31.720 how old was he win the god because you're a 0:18:31.720 --> 0:18:34.480 good actor, so they believe what you're saying, the actor, 0:18:34.520 --> 0:18:38.480 I'm foolish or whatever. It was something I was going 0:18:38.520 --> 0:18:42.639 to tell. You know, I turned down a lot of 0:18:42.680 --> 0:18:49.120 films because I was lazy. I'm basically I'm a dichotomy here, 0:18:49.680 --> 0:18:54.679 lazy and um, I don't know what the word is, 0:18:54.960 --> 0:19:00.800 restless restless? May yeah, like wanting to create a soup 0:19:00.840 --> 0:19:03.200 about you, it would be called the Lazy and the Restless. 0:19:04.440 --> 0:19:08.600 I'm joking. Oh no, that's a very good time and 0:19:07.600 --> 0:19:13.600 the exactly exactly. I love to take a vacation and 0:19:13.640 --> 0:19:19.080 do nothing. I like to have no appointments. And I 0:19:19.080 --> 0:19:22.080 think that's a condition in my mind of people who 0:19:22.119 --> 0:19:26.640 have tremendous not so much financial success, but creative success. 0:19:26.760 --> 0:19:29.880 I mean, there's a famous actress who I won't name. Wait, 0:19:30.200 --> 0:19:32.120 you know what, do you want to take a sip 0:19:32.119 --> 0:19:35.640 of soup on your Do you want soup to I'll 0:19:35.640 --> 0:19:38.600 have a soup? I mean we kind of say no. Well, 0:19:38.640 --> 0:19:41.120 I mean this is a I'm irish. It's bad luck 0:19:41.200 --> 0:19:43.879 to say no to soup? Is that in Ireland? I 0:19:44.000 --> 0:19:47.920 just made that up? Oh just put that over here. 0:19:48.040 --> 0:19:51.080 Oh see, I just brought this table from the back 0:19:52.080 --> 0:19:54.919 and we need another table maybe over here. Because this 0:19:55.000 --> 0:19:57.159 is me so soup. Don't worry about me. I mean, 0:19:57.240 --> 0:20:00.959 in other words, people know we eat right, so if 0:20:01.000 --> 0:20:05.919 they hear it's okay, good, good, good good, because I 0:20:06.000 --> 0:20:09.080 always like to eat. Oh really know you know you 0:20:09.080 --> 0:20:16.439 won't mm hmmm. That is delicious, isn't it unhealthy? Um? 0:20:16.480 --> 0:20:25.639 What we're talking about restless and lazy. To be clear, 0:20:25.960 --> 0:20:29.879 lazy was her word, not mine. I'd never called Barbara 0:20:29.960 --> 0:20:34.240 streisand lazy. One of the many artists Barbara Streisand has 0:20:34.240 --> 0:20:37.960 worked with is a legend in his own right. Tony Bennett. 0:20:38.320 --> 0:20:41.639 Like Barbara, Tony has a team behind him making sure 0:20:41.680 --> 0:20:45.360 his brand is as strong as his voice. Leading that 0:20:45.440 --> 0:20:48.920 team for Tony Bennett is his son Danny. His dad 0:20:49.119 --> 0:20:52.320 seemed to expect it of him. At the age of twelve. 0:20:52.400 --> 0:20:54.080 He would come to me and go like, oh, I 0:20:54.119 --> 0:20:55.919 got this thing, and but the dog, what do you 0:20:55.920 --> 0:20:59.800 think he didn't delineate? And you know what I mean, 0:21:00.080 --> 0:21:02.080 you know, it's like I guess you know, at the 0:21:02.080 --> 0:21:04.640 turn of the century, kids at twelve and thirteen, we're 0:21:04.640 --> 0:21:08.280 working in the field. My interview with Danny Bennett is 0:21:08.359 --> 0:21:26.000 at Here's the Thing, Dot Org. This is Alec Baldwin 0:21:26.320 --> 0:21:32.280 and you're listening to Here's the Thing. Barbara Streisand had 0:21:32.560 --> 0:21:37.440 pretty straightforward ambitions when she was starting out. And when 0:21:37.440 --> 0:21:39.400 I would talk to McCartney about the Beatles, he said 0:21:39.400 --> 0:21:43.120 to me, is it was hard work. Later on when 0:21:43.160 --> 0:21:47.120 they gain creative control of their material and it's like anybody, 0:21:46.880 --> 0:21:49.040 then they take a year to do another album. But 0:21:49.160 --> 0:21:51.399 in the beginning they really worked like dogs, you know. 0:21:52.400 --> 0:21:54.760 And for you, I'm wondering at the beginning when you 0:21:54.840 --> 0:21:58.600 do Broadway, are you out there and you're just so 0:21:58.760 --> 0:22:02.679 pumped and excited and you're young, and everyone's glorifying you 0:22:02.800 --> 0:22:04.400 and loving what you're putting out there, and you really 0:22:04.440 --> 0:22:05.639 love you said, they're going, I don't want to do 0:22:05.720 --> 0:22:07.560 this show eight times a week? Like what happened to 0:22:07.600 --> 0:22:11.280 you in the beginning? Were you excited and game in 0:22:11.320 --> 0:22:14.879 the In the beginning, I wanted to prove myself. I 0:22:14.920 --> 0:22:17.040 wanted to prove to my mother that I could be 0:22:17.080 --> 0:22:19.879 a success. You know. It comes from that. It's like 0:22:20.000 --> 0:22:24.000 really deep. It's deep and quiet. It's not loud, by 0:22:24.000 --> 0:22:28.760 the way, It's not what makes Sammy run it's quiet, 0:22:28.840 --> 0:22:34.480 it really is um. But again you can feel that passion, 0:22:34.680 --> 0:22:39.240 you can feel that need to be seen somehow, because 0:22:39.280 --> 0:22:42.320 I wasn't seen much by my I didn't I lost 0:22:42.359 --> 0:22:45.120 my father. How were you? Your dad passed away fifteen 0:22:45.200 --> 0:22:49.639 months But my mother said that after he died, I 0:22:49.680 --> 0:22:52.919 would climb up on the window waiting for him to 0:22:53.000 --> 0:22:57.320 come home, because I used to do that, I guess 0:22:57.320 --> 0:22:59.040 as a baby, and wait for him and he would 0:22:59.080 --> 0:23:03.040 come home. And in a sense, I've idolized my father 0:23:03.160 --> 0:23:08.400 because he was a PhD. He was a teacher, which 0:23:08.400 --> 0:23:15.040 I so respect teachers, and he wrote poems, and he 0:23:15.160 --> 0:23:19.480 was artistic, and he was an athlete as well as 0:23:19.520 --> 0:23:23.000 a a debater, you know, and and he was in 0:23:23.119 --> 0:23:27.520 part of French dramatics and English literature. And I didn't 0:23:27.560 --> 0:23:32.879 read his thesis until many years later because me as 0:23:32.920 --> 0:23:35.960 an actress when I was sixteen, I was fascinated by 0:23:36.080 --> 0:23:40.920 Eleanora Dusa and Sarah Bernhardt, wanting to be an actress. 0:23:41.440 --> 0:23:44.480 And my father's books were tied up in the basement 0:23:44.520 --> 0:23:48.879 of our Brooklyn apartment, Mark Twain, Charles Dickens, all the 0:23:48.920 --> 0:23:52.479 great novels I read, Uh, what do you call it? 0:23:52.600 --> 0:23:58.159 Nancy Drew mysteries. I read movie magazines, you know, and 0:23:58.320 --> 0:24:03.399 dream that someday maybe I could be famous. Do you 0:24:03.440 --> 0:24:06.840 have that dream? Then when you're here, I would have 0:24:06.920 --> 0:24:10.639 my kind of coffee ice cream briers and sit in 0:24:10.720 --> 0:24:13.919 my bed and dream, go to the movies sometimes on 0:24:13.960 --> 0:24:17.080 a Saturday afternoon, the Lowise Kings where they had the 0:24:17.119 --> 0:24:22.760 greatest ice cream, and we also, well, yeah, you're you're 0:24:22.760 --> 0:24:24.960 you're like me. Somebody'll say what was the best part 0:24:24.960 --> 0:24:26.919 of the summer. I'd say, what is this restaurant that 0:24:27.000 --> 0:24:29.800 has the best coffee ice cream with chocolate covered handelnuts? 0:24:30.560 --> 0:24:33.720 But watching who in the on screen? If to the 0:24:33.760 --> 0:24:36.480 extent you want to say, we call somebody watched with Visio, Yeah, 0:24:36.480 --> 0:24:40.119 that's it. I want to do something like that. Not 0:24:40.320 --> 0:24:44.320 Doris Day. I mean it was well, I loved Marjorie 0:24:44.400 --> 0:24:49.840 Morning Star because I knew the summer places in where 0:24:49.840 --> 0:24:53.080 I was sent to camp in the Catskills, or my 0:24:53.200 --> 0:24:56.480 mother and stepfather when they came to visit me. I 0:24:56.480 --> 0:25:00.560 didn't know my mother was married, and I said, I'm 0:25:00.600 --> 0:25:02.400 going home from here. What do you mean you didn't 0:25:02.400 --> 0:25:05.760 know your mother got married? She never told me. So 0:25:06.000 --> 0:25:08.359 he was a boyfriend for a while. I guess he 0:25:08.440 --> 0:25:11.880 was around. No, I never met him before, but when 0:25:11.920 --> 0:25:15.120 I insisted, see, I was as I was a strong kid. 0:25:15.960 --> 0:25:18.399 So my mother came to visit me with the stranger, 0:25:18.920 --> 0:25:22.200 and I said, I'm going home. I'm not staying here 0:25:22.240 --> 0:25:24.960 another day longer, so we have to pack me up. 0:25:25.800 --> 0:25:28.639 I think I was seven and a half maybe, So 0:25:28.720 --> 0:25:30.720 for a long time of your youth you were raised 0:25:30.720 --> 0:25:32.960 by him. He was on the scene when I go home. 0:25:33.000 --> 0:25:36.480