1 00:00:06,920 --> 00:00:09,959 Speaker 1: This is Alec Baldwin and you're listening to. Here's the thing, 2 00:00:10,640 --> 00:00:15,920 Speaker 1: My chance to talk with artists, policymakers and performers, to 3 00:00:16,000 --> 00:00:19,920 Speaker 1: hear their stories. What inspired their creations, what decisions changed 4 00:00:19,960 --> 00:00:30,000 Speaker 1: their careers, what relationships influenced their work. Julie Andrews. There's 5 00:00:30,040 --> 00:00:33,960 Speaker 1: a genuine look of surprise on Julie Andrew's face when 6 00:00:34,000 --> 00:00:36,879 Speaker 1: she hears her name called. She did not expect to 7 00:00:36,880 --> 00:00:40,479 Speaker 1: win the Oscar for Best Actress for Mary Poppins. She 8 00:00:40,560 --> 00:00:43,080 Speaker 1: takes a moment to collect herself and makes her way 9 00:00:43,120 --> 00:00:47,080 Speaker 1: to the stage. I know you Americans, famous to your hospitality, 10 00:00:47,120 --> 00:00:52,640 Speaker 1: but this is really ridiculous. The year was This milestone 11 00:00:52,720 --> 00:00:56,640 Speaker 1: came early in Julie Andrew's career. She followed that extraordinary 12 00:00:56,680 --> 00:01:02,840 Speaker 1: success with another one When the Beast Ings. When I'm 13 00:01:02,920 --> 00:01:09,000 Speaker 1: feeling sad, simply remember my cater of things, and then 14 00:01:09,080 --> 00:01:17,679 Speaker 1: I don't feel so. Julie Andrews has performed in dozens 15 00:01:17,720 --> 00:01:21,120 Speaker 1: of film, stage and television roles, but it was those 16 00:01:21,160 --> 00:01:25,080 Speaker 1: two Nanni's Mary and Maria who captured our hearts and 17 00:01:25,280 --> 00:01:29,640 Speaker 1: transformed her life. Today, she'll tell us what happened before, during, 18 00:01:29,880 --> 00:01:33,600 Speaker 1: and after those performances. So let's start at the very beginning, 19 00:01:33,920 --> 00:01:37,319 Speaker 1: a very good place to start. When I was about seven, 20 00:01:37,840 --> 00:01:42,160 Speaker 1: my mother had remarried and my stepfather was a fine tenor. 21 00:01:43,040 --> 00:01:48,639 Speaker 1: My school had closed due to the escalation of World 22 00:01:48,640 --> 00:01:52,440 Speaker 1: War two, and everything was shut down. And I would 23 00:01:52,480 --> 00:01:56,080 Speaker 1: imagine that partly because I was underfoot a lot and home, 24 00:01:56,800 --> 00:02:01,080 Speaker 1: but secondly, maybe in an attempt to get a little 25 00:02:01,120 --> 00:02:04,760 Speaker 1: closer to this new step daughter that was not very 26 00:02:04,800 --> 00:02:08,640 Speaker 1: fond of him, he decided to just, for no reason 27 00:02:08,680 --> 00:02:11,520 Speaker 1: at all, just give me some singing lessons. And to 28 00:02:11,639 --> 00:02:17,680 Speaker 1: my mother and stepfather's surprise, I had this freak very strong, 29 00:02:18,360 --> 00:02:22,639 Speaker 1: very very huge, ranged voice. It was very thin and white, 30 00:02:23,280 --> 00:02:25,120 Speaker 1: but I could do all the history on it, so 31 00:02:25,160 --> 00:02:28,000 Speaker 1: I could do anything. I hated those singing lessons because 32 00:02:28,000 --> 00:02:31,960 Speaker 1: it was a stepfather with him, he was your instructor. Well, 33 00:02:32,120 --> 00:02:34,360 Speaker 1: he gave me some scales and a few things like that, 34 00:02:34,440 --> 00:02:39,160 Speaker 1: but very quickly after that he found a phenomenal teacher 35 00:02:39,280 --> 00:02:44,919 Speaker 1: of a lady that was dramatic soprano, who was as 36 00:02:45,040 --> 00:02:49,040 Speaker 1: wide as she was short, and was as loving and decent, 37 00:02:49,240 --> 00:02:52,400 Speaker 1: and until she died, which was in her somewhere in 38 00:02:52,440 --> 00:02:57,360 Speaker 1: her nineties, had the most beautiful pitched voice and could 39 00:02:57,400 --> 00:03:01,600 Speaker 1: still sing. And she gave me the found dation that that, 40 00:03:02,440 --> 00:03:07,160 Speaker 1: in other words, hang onto your words, enunciate because they'll 41 00:03:07,200 --> 00:03:09,440 Speaker 1: pull the song through for you, and all of that. 42 00:03:10,000 --> 00:03:16,200 Speaker 1: And was she someone who you maintained any kind of contact. No, No, 43 00:03:16,320 --> 00:03:20,799 Speaker 1: she was my teacher for most of her remaining life. 44 00:03:21,240 --> 00:03:25,400 Speaker 1: I've worked with other people since, but that lady was, oh, 45 00:03:25,440 --> 00:03:29,320 Speaker 1: my teacher. She prepared me for my Fair Lady and 46 00:03:30,440 --> 00:03:36,200 Speaker 1: became successful. Yes, she always wished, I think that I 47 00:03:36,200 --> 00:03:40,320 Speaker 1: could become a light opera singer or or an opera singer. 48 00:03:40,440 --> 00:03:44,080 Speaker 1: And I knew, in spite of her ambition for me, 49 00:03:44,680 --> 00:03:46,840 Speaker 1: that I didn't have the voice for it. It was 50 00:03:46,880 --> 00:03:49,160 Speaker 1: too light a voice and as I say, it was 51 00:03:49,200 --> 00:03:52,080 Speaker 1: a little white and sound. So I didn't have the 52 00:03:52,200 --> 00:03:56,920 Speaker 1: chops for opera maybe light opera. And I have recorded 53 00:03:56,920 --> 00:04:00,520 Speaker 1: a couple of old recordings of like where as Marie 54 00:04:00,680 --> 00:04:02,920 Speaker 1: and I've sung things from The Merry Widow and stuff 55 00:04:02,960 --> 00:04:06,240 Speaker 1: like that. But when the world opened up because I 56 00:04:06,280 --> 00:04:09,680 Speaker 1: was in musicals, I realized that I had found the 57 00:04:09,720 --> 00:04:13,640 Speaker 1: exact wait for my voice, that I had found the 58 00:04:13,720 --> 00:04:16,359 Speaker 1: right thing. Did you study acting as well at the 59 00:04:16,360 --> 00:04:20,279 Speaker 1: same time. Well, my mother occasionally put me with the 60 00:04:20,320 --> 00:04:23,840 Speaker 1: teacher that was local from my hometown, and I was 61 00:04:25,520 --> 00:04:28,400 Speaker 1: awful and mortified because I knew I was at warfful 62 00:04:28,520 --> 00:04:33,160 Speaker 1: And actually most of my training until very much later 63 00:04:33,200 --> 00:04:35,800 Speaker 1: in my life when I got a coach for films 64 00:04:35,839 --> 00:04:39,320 Speaker 1: and things like that, most of it was just doing 65 00:04:39,360 --> 00:04:42,120 Speaker 1: it and learning, and thank god it was Broadway first. 66 00:04:42,240 --> 00:04:46,520 Speaker 1: No no formal acting training. My background was Vaudeville. I 67 00:04:46,600 --> 00:04:48,880 Speaker 1: was from the wrong side of the tracks. I envied 68 00:04:48,880 --> 00:04:54,280 Speaker 1: all those legitimate actors like Gilgood and Olivier and so 69 00:04:54,320 --> 00:04:57,960 Speaker 1: many of them that that just managed and were terrific. 70 00:04:58,000 --> 00:05:00,320 Speaker 1: And here I was. All I knew were how to 71 00:05:00,360 --> 00:05:03,880 Speaker 1: belt out a song all around England when you were 72 00:05:03,920 --> 00:05:08,599 Speaker 1: doing this vaudeville work in London, musical all over the England, 73 00:05:08,720 --> 00:05:11,159 Speaker 1: all over England before you headed to Broadway. Did you 74 00:05:11,200 --> 00:05:13,880 Speaker 1: bump up against those people, the gil Goods? And yes 75 00:05:14,000 --> 00:05:18,280 Speaker 1: I did, but more the people I really bumped up 76 00:05:18,279 --> 00:05:23,200 Speaker 1: against were the great comedians of the day from England. 77 00:05:23,440 --> 00:05:27,359 Speaker 1: I mean, I learned so much just watching and being 78 00:05:27,400 --> 00:05:32,840 Speaker 1: in those rather lunatic reviews. All you know, and and 79 00:05:33,040 --> 00:05:35,120 Speaker 1: as I say, you know one week in each town, 80 00:05:35,279 --> 00:05:38,760 Speaker 1: but you considered yourself a singer. Yes, not an actress 81 00:05:38,800 --> 00:05:40,640 Speaker 1: first and foremost a singer. You were a singer. And 82 00:05:40,680 --> 00:05:43,680 Speaker 1: then do you think that changed? Well, much much later. 83 00:05:44,120 --> 00:05:48,400 Speaker 1: I realized that actually singing is for me all about 84 00:05:48,440 --> 00:05:51,679 Speaker 1: the lyrics, and then if you really care about the lyrics, 85 00:05:51,800 --> 00:05:55,760 Speaker 1: then singing is all about acting. But that didn't come 86 00:05:55,960 --> 00:05:59,839 Speaker 1: till in my mid twenties. Sometimes you did The boy 87 00:06:00,000 --> 00:06:05,960 Speaker 1: Friend when you were how old? It opened the day 88 00:06:06,000 --> 00:06:11,240 Speaker 1: after I turned and who directed The Boyfriend a lady, 89 00:06:11,279 --> 00:06:14,160 Speaker 1: an English lady called Vida Hope, who had done it 90 00:06:14,200 --> 00:06:17,440 Speaker 1: in London. Because it came from London, I was asked 91 00:06:17,440 --> 00:06:20,200 Speaker 1: to come to Broadway and I didn't think i'd want to, 92 00:06:20,360 --> 00:06:23,880 Speaker 1: and I was very very nervous about you know, I 93 00:06:23,880 --> 00:06:26,760 Speaker 1: had a terrible separation anxiety because of all my touring, 94 00:06:26,839 --> 00:06:30,080 Speaker 1: from your mother, from my mother and family in general, 95 00:06:30,120 --> 00:06:36,000 Speaker 1: and my brothers. But my dad, my real dad, said, honey, 96 00:06:36,160 --> 00:06:38,880 Speaker 1: you know what you're going for could last two weeks 97 00:06:39,200 --> 00:06:41,640 Speaker 1: and they wanted me to sign a contract for two years, 98 00:06:42,480 --> 00:06:47,000 Speaker 1: and I said eventually, thanks to my dad, who he 99 00:06:47,080 --> 00:06:48,960 Speaker 1: said later it took him all the courage in the 100 00:06:48,960 --> 00:06:51,880 Speaker 1: world to tell me to go because his heart was 101 00:06:51,920 --> 00:06:54,800 Speaker 1: aching in terms of his nerves for me and what 102 00:06:54,880 --> 00:06:57,359 Speaker 1: was I What was I going to do? But he 103 00:06:57,720 --> 00:07:00,560 Speaker 1: encouraged me to take it because it would open my head. 104 00:07:00,680 --> 00:07:03,279 Speaker 1: And did this woman? Was she helpful to you? The director? Yes, 105 00:07:03,320 --> 00:07:07,280 Speaker 1: she was not well she was, but she was very 106 00:07:07,320 --> 00:07:10,320 Speaker 1: busy putting on the show. And everybody else seemed to know. 107 00:07:10,400 --> 00:07:13,680 Speaker 1: You know, the boyfriends all about being very even said 108 00:07:13,720 --> 00:07:16,000 Speaker 1: in the twenties, and all the ladies of the show 109 00:07:16,040 --> 00:07:18,600 Speaker 1: seemed to know how to be very camp and very funny. 110 00:07:18,920 --> 00:07:21,200 Speaker 1: I had not a clue because I didn't know. I've 111 00:07:21,200 --> 00:07:23,520 Speaker 1: never been to acting school or anything like that. So 112 00:07:23,560 --> 00:07:27,000 Speaker 1: I tried emirating them for a while. And then what 113 00:07:27,320 --> 00:07:31,480 Speaker 1: really turned the tide was the producer of the show. 114 00:07:31,520 --> 00:07:34,120 Speaker 1: Did you ever meet Si Fuer and Ernie Martin? Do 115 00:07:34,200 --> 00:07:39,720 Speaker 1: you know? Well? They did can Can and silk stockings 116 00:07:39,720 --> 00:07:42,280 Speaker 1: on board away, I mean as producers. But s I 117 00:07:42,520 --> 00:07:49,120 Speaker 1: had this wonderful pont chanfeur dismissing everybody and getting in 118 00:07:49,160 --> 00:07:53,320 Speaker 1: and directing it himself. And anyway, the night before we opened, 119 00:07:54,280 --> 00:07:58,640 Speaker 1: I was trying everything each preview night, seeing what am 120 00:07:58,640 --> 00:08:00,880 Speaker 1: I supposed to be doing here? And he took me 121 00:08:00,920 --> 00:08:06,720 Speaker 1: out to the alleyway behind the shoe Bert and the 122 00:08:06,760 --> 00:08:12,960 Speaker 1: im Imperial and the Royal theaters. Anyway, he we sat 123 00:08:13,040 --> 00:08:16,960 Speaker 1: on the steps on the iron steps in in that 124 00:08:17,000 --> 00:08:19,520 Speaker 1: alley and he said, you know you were terrible last 125 00:08:19,600 --> 00:08:23,120 Speaker 1: night And I said, yes, I did, I know I was. 126 00:08:23,760 --> 00:08:30,800 Speaker 1: And he said, um, you have the possibility of becoming 127 00:08:30,880 --> 00:08:34,640 Speaker 1: quite good and big star tomorrow if you do as 128 00:08:34,640 --> 00:08:37,840 Speaker 1: I tell you, and you must follow every single thing 129 00:08:37,880 --> 00:08:40,520 Speaker 1: I tell you. And I was so looking for that, 130 00:08:41,400 --> 00:08:44,080 Speaker 1: you know, rope to hang onto? He said, I want 131 00:08:44,080 --> 00:08:48,360 Speaker 1: you to play Polly Brown as if your life depended 132 00:08:48,440 --> 00:08:50,280 Speaker 1: on it. He said, when he breaks your heart, I 133 00:08:50,320 --> 00:08:53,240 Speaker 1: want you to feel it and be it. Forget what 134 00:08:53,280 --> 00:08:58,640 Speaker 1: everybody else is doing, Forget camp be real, best lesson 135 00:08:58,679 --> 00:09:01,840 Speaker 1: I ever had. And because it was, it made sense 136 00:09:02,360 --> 00:09:05,840 Speaker 1: in my belly somewhere. I made it as real as 137 00:09:05,880 --> 00:09:09,800 Speaker 1: I could on opening night, and it indeed made all 138 00:09:09,800 --> 00:09:15,280 Speaker 1: the difference. And then the next project, obviously is who 139 00:09:15,400 --> 00:09:20,360 Speaker 1: directed that production? Mass Heart the great Heart himself was 140 00:09:20,360 --> 00:09:22,560 Speaker 1: the director? Oh yes, And what was it like for you? 141 00:09:22,600 --> 00:09:25,120 Speaker 1: I mean, to the extent you're going to describe? Number one? 142 00:09:25,200 --> 00:09:28,160 Speaker 1: Where was hard in his career then? And where was 143 00:09:28,240 --> 00:09:32,000 Speaker 1: Rex in his career. Oh my god, Rex was well. 144 00:09:32,080 --> 00:09:34,520 Speaker 1: Rex was just known everywhere and had done a lot 145 00:09:34,600 --> 00:09:37,400 Speaker 1: of movies and and was he was a star, big 146 00:09:37,440 --> 00:09:42,439 Speaker 1: star and also difficult, no doubt about it. I mean, 147 00:09:42,480 --> 00:09:44,920 Speaker 1: eventually we did become great friends, but it took a 148 00:09:44,960 --> 00:09:48,840 Speaker 1: long time, and he was so fed up with this 149 00:09:49,160 --> 00:09:51,600 Speaker 1: little argeneue that didn't know what the hell she was doing. 150 00:09:52,120 --> 00:09:57,040 Speaker 1: I knew somewhere, deep deep down that if somebody would 151 00:09:57,080 --> 00:09:59,160 Speaker 1: just spend a little time or pay attention that I 152 00:09:59,240 --> 00:10:02,079 Speaker 1: knew I yearned to do, but I didn't know how 153 00:10:02,080 --> 00:10:05,120 Speaker 1: to bring it out, Alec. So when they hired you, 154 00:10:05,320 --> 00:10:08,960 Speaker 1: what do you think that, Julie Andrew? Yeah, well the 155 00:10:09,080 --> 00:10:11,439 Speaker 1: Boyfriend was a huge success, and it was a one time. 156 00:10:12,080 --> 00:10:14,559 Speaker 1: You know. I was very big on Broadway for one year, 157 00:10:14,600 --> 00:10:19,439 Speaker 1: and then I was platform Briend, and then I auditioned 158 00:10:19,559 --> 00:10:23,720 Speaker 1: for Learner and Low, particularly Alan Jay Learner who wrote 159 00:10:24,679 --> 00:10:28,600 Speaker 1: My Fair Lady, and Low wrote the music, and they 160 00:10:28,720 --> 00:10:32,160 Speaker 1: worked with me a little bit, but it really was 161 00:10:32,600 --> 00:10:35,160 Speaker 1: Moss who made me a lasa little and what he 162 00:10:35,240 --> 00:10:40,120 Speaker 1: did Rex was demanding, wanted all the attention. He'd never 163 00:10:40,160 --> 00:10:43,240 Speaker 1: done a musical before, and I had never acted before, 164 00:10:43,280 --> 00:10:45,560 Speaker 1: So which one did he deal with well, of course 165 00:10:45,559 --> 00:10:48,440 Speaker 1: he dealt with Rex, who was the big, big star. 166 00:10:49,400 --> 00:10:52,160 Speaker 1: Eventually he got around to me and he dismissed the 167 00:10:52,440 --> 00:10:58,320 Speaker 1: entire company for one long weekend and I remember driving 168 00:10:58,360 --> 00:11:01,880 Speaker 1: down to the rehearsal and thinking, this is a little 169 00:11:01,880 --> 00:11:04,120 Speaker 1: bit like going to the dentist. I may feel better 170 00:11:04,160 --> 00:11:11,040 Speaker 1: when I'm finished, but it's agony going. And he for 171 00:11:11,040 --> 00:11:16,319 Speaker 1: forty eight hours, just he bullied, he cajoled, He showed me. 172 00:11:16,480 --> 00:11:21,200 Speaker 1: He yelled from the orchestra, stalls you, No, not that way. 173 00:11:21,200 --> 00:11:24,080 Speaker 1: You're playing it like a like a schoolgirl, you know, 174 00:11:24,559 --> 00:11:27,840 Speaker 1: get it to get down and dirty. And I actually 175 00:11:27,960 --> 00:11:33,440 Speaker 1: threw him. Found Eliza Doolittle and from then on I 176 00:11:33,679 --> 00:11:37,160 Speaker 1: worked and worked and worked, and gradually from performing it 177 00:11:37,200 --> 00:11:40,920 Speaker 1: as you know every night, it gradually became embedded in me. 178 00:11:40,960 --> 00:11:43,599 Speaker 1: And I think I probably by the time, you know, 179 00:11:43,640 --> 00:11:46,959 Speaker 1: a few months with past and it was a huge hit. 180 00:11:47,559 --> 00:11:50,439 Speaker 1: I was definitely feeling that I could be Eliza. When 181 00:11:50,480 --> 00:11:54,440 Speaker 1: did you feel you one had one Rex over? Probably 182 00:11:55,400 --> 00:11:58,280 Speaker 1: there's a good question. Probably not till the London production. 183 00:11:59,120 --> 00:12:03,440 Speaker 1: He was difficult himself, and I think he meant well. 184 00:12:03,480 --> 00:12:07,199 Speaker 1: He was just very short and short tempered and not 185 00:12:07,400 --> 00:12:12,360 Speaker 1: known for being full of generosity, attacked and generosity. Now, 186 00:12:13,120 --> 00:12:17,080 Speaker 1: what I learned on stage with him was unbelievable. For example, 187 00:12:18,600 --> 00:12:24,160 Speaker 1: he had this amazing knack. He wasn't musical, but he 188 00:12:24,200 --> 00:12:28,000 Speaker 1: had a musical ear, not only for the music, but 189 00:12:28,240 --> 00:12:31,240 Speaker 1: for where the audience was that night. So, for instance, 190 00:12:31,280 --> 00:12:33,560 Speaker 1: if somebody would cough, let me say, he was saying, 191 00:12:33,559 --> 00:12:36,840 Speaker 1: you know, Eliza, you shouldn't you shouldn't do so and 192 00:12:36,840 --> 00:12:40,599 Speaker 1: so and so and so, he'd repeat the line instinctively 193 00:12:40,800 --> 00:12:44,000 Speaker 1: because corporate, because he knew it hadn't been heard correct, 194 00:12:44,040 --> 00:12:47,679 Speaker 1: you know fully. So just to stand and watch him, 195 00:12:47,679 --> 00:12:51,160 Speaker 1: I completely sometimes forgot who I was supposed to be. Now, 196 00:12:51,240 --> 00:12:53,880 Speaker 1: when the heart says to you, you're playing it like 197 00:12:53,880 --> 00:12:56,720 Speaker 1: a little schoolgirl, you've got to get down and dirty. 198 00:12:57,000 --> 00:12:59,400 Speaker 1: That becomes a theme in some of your work, doesn't it. 199 00:13:00,400 --> 00:13:04,760 Speaker 1: More than one man has said something along those lines. Well, 200 00:13:04,840 --> 00:13:07,560 Speaker 1: I do have a very squeaky green image, but I 201 00:13:07,600 --> 00:13:13,080 Speaker 1: don't think you can. Yeah, well, I think that's simply 202 00:13:13,160 --> 00:13:17,840 Speaker 1: because if you think about it, Alec, here's some Mary Poppins, 203 00:13:17,920 --> 00:13:21,240 Speaker 1: and followed pretty quickly by the Sound of Music, two 204 00:13:21,520 --> 00:13:26,120 Speaker 1: hugely iconic films about Nanny's of all things, and they're 205 00:13:26,160 --> 00:13:29,679 Speaker 1: so successful that people only remember the things that that 206 00:13:29,800 --> 00:13:31,920 Speaker 1: are the most successful. You know, if you think of 207 00:13:31,960 --> 00:13:35,239 Speaker 1: someone like Clark Gable, you think of Gone with the Winds, 208 00:13:35,320 --> 00:13:38,880 Speaker 1: and you forget the other things. And I knew, I 209 00:13:38,920 --> 00:13:42,080 Speaker 1: think because of all those Vaudeville years. There was a 210 00:13:42,120 --> 00:13:44,320 Speaker 1: lot of down and dirty in Vaudeville. I mean, the 211 00:13:44,360 --> 00:13:49,559 Speaker 1: comedians were blue and body and it was a tough existence. 212 00:13:49,640 --> 00:13:53,800 Speaker 1: It wasn't a fairy land by any means. It wasn't 213 00:13:53,800 --> 00:13:59,839 Speaker 1: a fairy tale when you're raised during the wartime and 214 00:14:00,040 --> 00:14:05,040 Speaker 1: your career in music halls is during the wartime. And uh, 215 00:14:05,080 --> 00:14:06,680 Speaker 1: and you and I have this in common, where you 216 00:14:06,679 --> 00:14:10,199 Speaker 1: grew up in a very financially strapped, very strapped the 217 00:14:10,280 --> 00:14:14,079 Speaker 1: money pressures constantly. Things begin to change for you after 218 00:14:14,480 --> 00:14:18,840 Speaker 1: my fair lady, a lot. And do you find that 219 00:14:18,840 --> 00:14:22,080 Speaker 1: that was painful for you? Know? I tell you what. 220 00:14:22,360 --> 00:14:26,240 Speaker 1: First of all, what immediately springs to mind is that 221 00:14:26,320 --> 00:14:29,080 Speaker 1: I ached that I couldn't bring every member of my 222 00:14:29,120 --> 00:14:32,120 Speaker 1: family with me. Did you feel that too? Well? I 223 00:14:32,160 --> 00:14:34,280 Speaker 1: wanted to help as many people as I could, Yeah, 224 00:14:34,560 --> 00:14:38,000 Speaker 1: and still do, but but to change the way my 225 00:14:38,080 --> 00:14:41,840 Speaker 1: life had been changed miraculously it seemed I wanted to 226 00:14:41,880 --> 00:14:44,080 Speaker 1: do that for the entire family and make them feel 227 00:14:44,160 --> 00:14:46,520 Speaker 1: better and be better. But when you do My Fair 228 00:14:46,600 --> 00:14:48,640 Speaker 1: Lady on Broadway, than you went to London. After that, 229 00:14:49,600 --> 00:14:53,000 Speaker 1: you're married at the time I was married. During the 230 00:14:53,120 --> 00:14:56,280 Speaker 1: London production, you got you got married when you went back, 231 00:14:57,000 --> 00:14:58,480 Speaker 1: when I went back to when you went back to 232 00:14:58,880 --> 00:15:01,440 Speaker 1: so you're back home, you're married. And then what happens. 233 00:15:02,240 --> 00:15:06,280 Speaker 1: Um what happened was that right after I had finished 234 00:15:06,280 --> 00:15:09,160 Speaker 1: in London and I was about as you know, I 235 00:15:09,200 --> 00:15:11,640 Speaker 1: did three and a half years in My Fair Lady, 236 00:15:11,920 --> 00:15:15,760 Speaker 1: and that's a marathon to on Broadway and eighteen months 237 00:15:15,800 --> 00:15:20,040 Speaker 1: in London, and that is an alan Jay Learners said 238 00:15:20,880 --> 00:15:23,920 Speaker 1: that he thinks that an actress can learn more by 239 00:15:23,960 --> 00:15:28,240 Speaker 1: playing one role in a long run than by playing many, 240 00:15:28,280 --> 00:15:32,160 Speaker 1: many roles in repertoire. Well. The thing being, he said, 241 00:15:32,200 --> 00:15:35,840 Speaker 1: you test every night with the same role, whether you 242 00:15:35,880 --> 00:15:37,520 Speaker 1: can get a laugh, or whether you can do it 243 00:15:37,560 --> 00:15:40,920 Speaker 1: better or and he was pretty right about that. I 244 00:15:40,960 --> 00:15:43,840 Speaker 1: didn't think it would be right, but it was. You know, 245 00:15:43,920 --> 00:15:45,880 Speaker 1: you'd know if it didn't work one night, and then 246 00:15:45,880 --> 00:15:47,640 Speaker 1: you'd work on it and work on it and try, 247 00:15:48,040 --> 00:15:50,720 Speaker 1: and you found out everything you needed to find out 248 00:15:50,760 --> 00:15:53,960 Speaker 1: about how to play, I mean, in a long run, 249 00:15:54,000 --> 00:15:57,440 Speaker 1: how to play with an audience when it's raining outside, 250 00:15:57,560 --> 00:15:59,840 Speaker 1: or when you're leading man has got a terrible coal, 251 00:16:00,080 --> 00:16:02,680 Speaker 1: or when it's up to you to take up the 252 00:16:02,720 --> 00:16:05,880 Speaker 1: reins for a night or two because he's feeling down, 253 00:16:06,080 --> 00:16:09,560 Speaker 1: or when an understudy goes on, or I mean just 254 00:16:09,720 --> 00:16:12,800 Speaker 1: about every situation in the theater in the long run, 255 00:16:12,880 --> 00:16:16,840 Speaker 1: you you experience. But when I think, one of the 256 00:16:16,880 --> 00:16:20,440 Speaker 1: first things that I felt, just to digress for a moment, 257 00:16:20,600 --> 00:16:23,920 Speaker 1: was the relief of knowing that at some point in 258 00:16:23,960 --> 00:16:29,160 Speaker 1: my life, probably during my Fair Lady in London, I 259 00:16:29,240 --> 00:16:32,280 Speaker 1: realized that I probably would never have to go back 260 00:16:32,560 --> 00:16:36,960 Speaker 1: to vaudeville again. I mean landladies and touring and endless, 261 00:16:37,000 --> 00:16:39,480 Speaker 1: I mean with the terrible digs that one had when 262 00:16:39,480 --> 00:16:44,560 Speaker 1: one was touring around endless, touring in very tacky shows. 263 00:16:45,120 --> 00:16:48,480 Speaker 1: And I knew I could do something better. But the 264 00:16:48,560 --> 00:16:51,560 Speaker 1: voice held me up for so long, the freaky voice 265 00:16:51,560 --> 00:16:56,200 Speaker 1: that I had, And then, as I say, gradually, gradually 266 00:16:56,200 --> 00:17:00,880 Speaker 1: the voice became less white and more vibe because I 267 00:17:00,920 --> 00:17:03,560 Speaker 1: was growing up and all of that, And as I say, 268 00:17:03,600 --> 00:17:07,920 Speaker 1: I found my level when it came to musicals. What's 269 00:17:07,960 --> 00:17:10,399 Speaker 1: your parents view at that point? Where does that begin 270 00:17:10,400 --> 00:17:15,840 Speaker 1: to change? Now you're something? Yeah? How did they handle that? 271 00:17:16,119 --> 00:17:23,080 Speaker 1: It was very complicated because stepfather was an alcoholic. Mom 272 00:17:23,160 --> 00:17:29,000 Speaker 1: was just she was a very warm, passionate lady. But 273 00:17:29,480 --> 00:17:31,320 Speaker 1: on the one hand she was thrilled for me, and 274 00:17:31,359 --> 00:17:33,480 Speaker 1: on the other it was always, you know, don't you 275 00:17:33,560 --> 00:17:35,560 Speaker 1: dare show off? And don't you dare do this? And 276 00:17:35,600 --> 00:17:37,480 Speaker 1: then the next minute it was I want you to 277 00:17:37,520 --> 00:17:40,000 Speaker 1: wear your fur coat to the pub tonight, you know 278 00:17:40,840 --> 00:17:45,240 Speaker 1: that kind of thing. And but really, about a year 279 00:17:45,280 --> 00:17:48,879 Speaker 1: after Fair Lady, I was asked to do Camelot and 280 00:17:48,920 --> 00:17:52,240 Speaker 1: I knew I was going to do Camelot in New York, 281 00:17:52,320 --> 00:17:55,200 Speaker 1: in New York, and were you looking forward to going 282 00:17:55,240 --> 00:17:59,520 Speaker 1: back to New York? It was when I got there 283 00:17:59,560 --> 00:18:03,000 Speaker 1: it was better. I'm not sure that going there, I 284 00:18:03,040 --> 00:18:06,159 Speaker 1: mean again, it meant leaving family. And also because I 285 00:18:06,160 --> 00:18:09,880 Speaker 1: do love my home country. I love England, Oh my god. Yeah, 286 00:18:09,960 --> 00:18:14,280 Speaker 1: And I feel this is so corny. I feel this huge. 287 00:18:15,080 --> 00:18:18,720 Speaker 1: I feel it's my job too to be the one 288 00:18:18,960 --> 00:18:21,520 Speaker 1: one that is the hands across the water. I want 289 00:18:21,560 --> 00:18:23,440 Speaker 1: to bring England to America and I want to bring 290 00:18:23,480 --> 00:18:27,679 Speaker 1: America to the English somewhere mid Atlantic. We we we 291 00:18:27,760 --> 00:18:31,159 Speaker 1: can split the difference. But it felt very important to 292 00:18:31,640 --> 00:18:35,000 Speaker 1: speak for my country. And also because the Americans have 293 00:18:35,119 --> 00:18:38,160 Speaker 1: been so generous to me for so long. We were 294 00:18:38,320 --> 00:18:40,640 Speaker 1: in this timeline that we're tracking, it's about to get 295 00:18:40,640 --> 00:18:43,600 Speaker 1: a lot more generous. So you go do camels Well wait, 296 00:18:43,720 --> 00:18:45,960 Speaker 1: but then I felt that I needed to explain that 297 00:18:46,119 --> 00:18:48,840 Speaker 1: to the British, and it's say, look how wonderful they are, 298 00:18:48,920 --> 00:18:54,159 Speaker 1: you know, because the British can be a bit snobby anyway, 299 00:18:54,680 --> 00:18:56,720 Speaker 1: as I say, I do love my country, and leaving 300 00:18:57,080 --> 00:19:00,400 Speaker 1: mostly leaving it because of my family issues which were 301 00:19:00,400 --> 00:19:04,440 Speaker 1: difficult and complicated, and then going back once I got back, 302 00:19:04,640 --> 00:19:08,200 Speaker 1: Camelot was a joy with Richard Burton. And that wasn't 303 00:19:08,200 --> 00:19:11,480 Speaker 1: three and a half years, No, it was eighteen months. 304 00:19:11,520 --> 00:19:15,320 Speaker 1: Another longest. No, he did it for a year and 305 00:19:15,320 --> 00:19:18,040 Speaker 1: then he went off to do it Cleopatra. Yeah, he 306 00:19:18,080 --> 00:19:19,919 Speaker 1: did it. I think it was a year I was 307 00:19:20,000 --> 00:19:24,000 Speaker 1: left behind. The shows are here, not at first. This 308 00:19:24,080 --> 00:19:27,720 Speaker 1: is what's so interesting. Coming after My Fair Lady written 309 00:19:27,720 --> 00:19:30,919 Speaker 1: by Learner and Lowe who wrote My Fair Lady, the 310 00:19:31,000 --> 00:19:36,800 Speaker 1: world expected another My Fair Lady, and because Alan was 311 00:19:36,880 --> 00:19:40,560 Speaker 1: not very well Alan Jay Lerner, and Moss was not 312 00:19:40,680 --> 00:19:45,680 Speaker 1: very well. He always had heart problems. There just wasn't 313 00:19:45,720 --> 00:19:49,040 Speaker 1: nothing quite went right, and we didn't have enough time 314 00:19:49,080 --> 00:19:51,360 Speaker 1: to work on it and so on, and we opened 315 00:19:51,359 --> 00:19:55,520 Speaker 1: on Broadway to Richard got us through. I think Richard Burton, 316 00:19:55,600 --> 00:19:58,760 Speaker 1: you know, everybody we were. We had a solid booking 317 00:19:58,760 --> 00:20:01,479 Speaker 1: for at least three months, six months because of Richard, 318 00:20:01,920 --> 00:20:04,960 Speaker 1: and it was a glorious looking show, but it did 319 00:20:05,000 --> 00:20:08,480 Speaker 1: have floors. Moss said, I'm going to go and I'm 320 00:20:08,480 --> 00:20:12,800 Speaker 1: going to take a vacation, but I will come back, 321 00:20:12,920 --> 00:20:16,480 Speaker 1: as did Alan, And they came back as they promised 322 00:20:16,480 --> 00:20:21,159 Speaker 1: in three months and reworked the show, at which time 323 00:20:21,240 --> 00:20:25,280 Speaker 1: we went onto the Ed Sullivan Show. And in those 324 00:20:25,359 --> 00:20:28,359 Speaker 1: days Ed Sullivan was huge, as you know. He brought 325 00:20:28,359 --> 00:20:31,800 Speaker 1: the Beatles and so many people to prominence in America. 326 00:20:32,400 --> 00:20:36,399 Speaker 1: And what they did instead of just having us on 327 00:20:36,480 --> 00:20:40,880 Speaker 1: his show, he did a complete excerpt from Camelot. Yeah, 328 00:20:40,880 --> 00:20:44,399 Speaker 1: I think it was at the instigation of Alan and Moss, 329 00:20:44,880 --> 00:20:47,080 Speaker 1: but we did the first act, which was like a 330 00:20:47,119 --> 00:20:50,639 Speaker 1: little mini play all by itself, the following morning after 331 00:20:50,800 --> 00:20:54,159 Speaker 1: the Ed Sullivan Show. The cues around the block whereas 332 00:20:54,200 --> 00:20:56,760 Speaker 1: if we'd been a standing Romanly hit, and from then 333 00:20:56,880 --> 00:21:01,399 Speaker 1: on Camelot became a hit. When Camelots over, where do 334 00:21:01,440 --> 00:21:08,080 Speaker 1: you go to Hollywood? Because because Walt Disney came to 335 00:21:08,160 --> 00:21:11,520 Speaker 1: see I mean, in between I did television shows and 336 00:21:12,040 --> 00:21:15,920 Speaker 1: my Wonderful Fun shows with Carol Burnett and things like that. 337 00:21:16,359 --> 00:21:23,520 Speaker 1: But basically chronologically, Walt Disney was advised to come and 338 00:21:23,840 --> 00:21:26,560 Speaker 1: see Camelot because there was a girl in it that 339 00:21:26,800 --> 00:21:30,000 Speaker 1: might be good for Mary Poppins, none of which I knew. 340 00:21:30,240 --> 00:21:35,040 Speaker 1: And that he came backstage to say hello, I just 341 00:21:35,080 --> 00:21:37,080 Speaker 1: thought he was being very civil, that he was going 342 00:21:37,119 --> 00:21:39,000 Speaker 1: to say hello to me and to Richard and that 343 00:21:39,040 --> 00:21:41,560 Speaker 1: would be that. And you know, everybody knew Walt Disney 344 00:21:41,640 --> 00:21:44,520 Speaker 1: was in the audience, but he came, and he's chatted 345 00:21:44,560 --> 00:21:46,960 Speaker 1: in my dressing room with me and with Tony Walton, 346 00:21:47,440 --> 00:21:51,240 Speaker 1: my then husband, and he said, I wonder how you'd 347 00:21:51,240 --> 00:21:54,080 Speaker 1: feel if you came out to Hollywood, you know, hear 348 00:21:54,119 --> 00:21:57,000 Speaker 1: the songs and see the drawings that we've done story 349 00:21:57,080 --> 00:22:01,600 Speaker 1: boarding as they called it, for Mary Poppins. And with 350 00:22:02,400 --> 00:22:06,200 Speaker 1: huge regret, I said, oh, Mr Disney, I would love to, 351 00:22:06,280 --> 00:22:09,160 Speaker 1: but I have to tell you that I'm three months pregnant, 352 00:22:09,720 --> 00:22:11,679 Speaker 1: and he said, well, that's all right, we'll wait. And 353 00:22:11,720 --> 00:22:14,520 Speaker 1: of course I did not know the pre production and 354 00:22:15,000 --> 00:22:17,520 Speaker 1: all of those. I mean, it's endless in a fairly 355 00:22:17,520 --> 00:22:20,359 Speaker 1: big movie, as you know. So we went on out. 356 00:22:21,280 --> 00:22:26,679 Speaker 1: Disney was delightful and spoiled us both wonderfully. Hearing the 357 00:22:26,760 --> 00:22:33,160 Speaker 1: songs for Mary Poppins, it instantly evoked those vaudeville days, 358 00:22:33,240 --> 00:22:37,400 Speaker 1: the rumpty tomb kind of quality of jolly holiday familiar 359 00:22:37,440 --> 00:22:40,040 Speaker 1: to you Berry, and I knew I could embrace it. 360 00:22:40,680 --> 00:22:43,000 Speaker 1: Not only that, but he had Tony on the spot 361 00:22:43,040 --> 00:22:47,560 Speaker 1: when he saw his portfolio, and he commissioned Tony to 362 00:22:47,640 --> 00:22:51,600 Speaker 1: do all the costumes for the movie, which is incredible 363 00:22:51,640 --> 00:22:55,399 Speaker 1: if you think about it, and the sets for Cherry 364 00:22:55,480 --> 00:23:00,679 Speaker 1: Tree Lane and the interior of the banks. How Hold 365 00:23:00,880 --> 00:23:04,720 Speaker 1: and Tony got nominated for an Academy Award, first time out, 366 00:23:04,760 --> 00:23:10,960 Speaker 1: first film, amazing. It was Walt's talent too, He had 367 00:23:11,080 --> 00:23:15,080 Speaker 1: such a talent for spotting talent in a way. What 368 00:23:15,720 --> 00:23:19,080 Speaker 1: was representation for you like back then? Which is an 369 00:23:19,119 --> 00:23:22,800 Speaker 1: odd question, meaning he had British agents. Did your finally 370 00:23:23,240 --> 00:23:26,960 Speaker 1: Hollywood agent from handling your career? Well? From the time 371 00:23:27,000 --> 00:23:30,320 Speaker 1: I was about thirteen and starting off in show business 372 00:23:30,320 --> 00:23:35,680 Speaker 1: in England. I was handled by an American gentleman who 373 00:23:35,880 --> 00:23:39,000 Speaker 1: lived in England and who had kind of made his 374 00:23:39,080 --> 00:23:43,480 Speaker 1: bass in England. He was a good agent, but his 375 00:23:43,560 --> 00:23:47,040 Speaker 1: name was Charlie Tucker, and he was a very kindly 376 00:23:48,680 --> 00:23:52,600 Speaker 1: nice guy. And all through my teens and all through 377 00:23:53,880 --> 00:23:58,159 Speaker 1: um My fell lady and boyfriend and Camelot, I was 378 00:23:58,240 --> 00:24:03,680 Speaker 1: represented by him. But came a time when well, one 379 00:24:03,720 --> 00:24:06,240 Speaker 1: of two things caused of falling out between us, and 380 00:24:06,280 --> 00:24:10,400 Speaker 1: then I when I went to Hollywood, ultimately probably around 381 00:24:10,400 --> 00:24:14,720 Speaker 1: the time of the Sound of Music, I did change 382 00:24:15,080 --> 00:24:16,840 Speaker 1: my age. When you're out there, it does help to 383 00:24:16,840 --> 00:24:20,560 Speaker 1: have a native He was so used to the English scene, 384 00:24:20,680 --> 00:24:23,359 Speaker 1: and you're right, it does help to have a native there. 385 00:24:23,359 --> 00:24:26,719 Speaker 1: You go out there and you start shooting when your 386 00:24:26,800 --> 00:24:30,880 Speaker 1: daughter's how old. She's only like three or four months 387 00:24:30,920 --> 00:24:34,080 Speaker 1: old when we began rehearsals, and we in California, in 388 00:24:34,119 --> 00:24:36,639 Speaker 1: California on the back lot of the Disney who directs 389 00:24:36,680 --> 00:24:41,359 Speaker 1: the film, Robert Stevenson and one of the good true 390 00:24:42,560 --> 00:24:47,359 Speaker 1: Disney h stable of direct table of directors. That's a 391 00:24:47,440 --> 00:24:48,879 Speaker 1: very nice way to put it. And how did he 392 00:24:48,920 --> 00:24:51,639 Speaker 1: compare to your other experiences in the theater. Well, it 393 00:24:51,760 --> 00:24:56,320 Speaker 1: was film technical, very different, and he taught me a greatly, 394 00:24:56,480 --> 00:25:00,639 Speaker 1: was very patient and and I clear, you know, I 395 00:25:00,760 --> 00:25:04,359 Speaker 1: very soon realized the patients that's needed to make a movie. 396 00:25:04,840 --> 00:25:08,280 Speaker 1: And you'd sit around for ages, particularly with Mary Poppins, 397 00:25:08,280 --> 00:25:11,520 Speaker 1: because all of those special effects took such a long 398 00:25:11,560 --> 00:25:14,000 Speaker 1: time to set up, you know. And did you begin 399 00:25:14,280 --> 00:25:16,480 Speaker 1: as as many people do, I think, who have the 400 00:25:16,520 --> 00:25:20,400 Speaker 1: success you've had, did you begin to, you know, kind 401 00:25:20,400 --> 00:25:25,560 Speaker 1: of feel your way towards your own relationship with the camera. Yes, well, 402 00:25:25,600 --> 00:25:27,880 Speaker 1: at first I was very well guided and very well 403 00:25:27,920 --> 00:25:30,120 Speaker 1: looked after, and I always have been, to be truthful. 404 00:25:30,600 --> 00:25:33,480 Speaker 1: Robert Wise was with a great mentor in that respect. 405 00:25:33,760 --> 00:25:36,600 Speaker 1: But the man who taught me about lenses, and I 406 00:25:36,640 --> 00:25:41,320 Speaker 1: wish I had paid even more attention a dumb girl 407 00:25:41,359 --> 00:25:43,920 Speaker 1: that I was at the time, was Hitchcock. I said, 408 00:25:43,960 --> 00:25:47,880 Speaker 1: you know, I know very little about lenses in my British, vague, 409 00:25:47,920 --> 00:25:50,960 Speaker 1: innocent way, very green. And he said, you don't know 410 00:25:51,000 --> 00:25:55,040 Speaker 1: about lenses, and you're a woman, Come with me, And 411 00:25:55,080 --> 00:25:59,560 Speaker 1: he spent forty minutes on on drawing and showing me 412 00:26:00,320 --> 00:26:03,000 Speaker 1: that this would this lens would make my nose grow 413 00:26:03,200 --> 00:26:05,960 Speaker 1: much longer than it should, and that a lady should 414 00:26:05,960 --> 00:26:10,080 Speaker 1: never be shot with anything but a whatever. Yeah, that's right, 415 00:26:10,200 --> 00:26:12,760 Speaker 1: or thirty five maybe you know something like that. Now 416 00:26:13,280 --> 00:26:16,399 Speaker 1: when you so you do Mary Poppins, How long did 417 00:26:16,480 --> 00:26:20,719 Speaker 1: it take you? When Los Angeles? For months and months? 418 00:26:21,000 --> 00:26:23,560 Speaker 1: Quite a long time. And then there's all the post 419 00:26:23,560 --> 00:26:26,719 Speaker 1: production and looping and things like that. But then Dick 420 00:26:26,800 --> 00:26:29,280 Speaker 1: always the person cast in the film. Yes, he was 421 00:26:29,320 --> 00:26:32,520 Speaker 1: always because he was a big star of them, huge yes. Yeah, 422 00:26:32,680 --> 00:26:37,440 Speaker 1: and dear just darling because it had that vaudeville thing. 423 00:26:37,480 --> 00:26:40,280 Speaker 1: We were both able to literally kind of kick up 424 00:26:40,280 --> 00:26:43,680 Speaker 1: our heels and have fun together. And um, he knew 425 00:26:43,720 --> 00:26:47,040 Speaker 1: his accent was just appalling as a cockney. But I 426 00:26:47,080 --> 00:26:49,440 Speaker 1: could empathize with that because mine was when I went 427 00:26:49,480 --> 00:26:51,639 Speaker 1: out to do Fair Lady, and I had to be 428 00:26:51,680 --> 00:26:55,280 Speaker 1: a cock me and I wasn't very good, but I 429 00:26:55,359 --> 00:27:02,320 Speaker 1: learned in rehearsals for My Fair Lady. Her co star 430 00:27:02,440 --> 00:27:05,600 Speaker 1: Rex Harrison said of Andrew's quote, if that girl is 431 00:27:05,640 --> 00:27:09,080 Speaker 1: here on Monday giving the same goddamn performance, I am 432 00:27:09,080 --> 00:27:12,840 Speaker 1: out of the show unquote. Yet, when Harrison accepted his 433 00:27:12,880 --> 00:27:16,400 Speaker 1: Academy Award for the film version, he professed his deep 434 00:27:16,480 --> 00:27:20,200 Speaker 1: love to both Audrey Hepburn and Andrews, calling them two 435 00:27:20,480 --> 00:27:44,199 Speaker 1: fair ladies. This is Alec Baldwin and you're listening to 436 00:27:44,320 --> 00:27:48,639 Speaker 1: Here's the Thing. Julie Andrews may be known the world 437 00:27:48,680 --> 00:27:52,720 Speaker 1: over for her portrayal of two very proper Nanni's opposite 438 00:27:52,760 --> 00:27:55,800 Speaker 1: Christopher Plummer in the Sound of Music and Dick Van 439 00:27:55,880 --> 00:27:59,840 Speaker 1: Dyke in Mary Poppins, but her films aren't all so wholesome. 440 00:28:00,400 --> 00:28:03,840 Speaker 1: With her second husband, director Blake Edwards, she made films 441 00:28:03,840 --> 00:28:07,159 Speaker 1: like Victor Victoria, but even early on she did a 442 00:28:07,200 --> 00:28:10,440 Speaker 1: film that challenged her squeaky clean image. Seems I don't 443 00:28:10,440 --> 00:28:13,639 Speaker 1: mind making enough to a scoundrel, but I think I 444 00:28:13,680 --> 00:28:17,360 Speaker 1: think it Inmorl to Marry One. The Americanization of Emily 445 00:28:17,640 --> 00:28:20,840 Speaker 1: was a comedic war drama and also a love story. 446 00:28:21,280 --> 00:28:24,800 Speaker 1: Although I've always felt that I wasn't the perfect girl 447 00:28:24,880 --> 00:28:27,920 Speaker 1: for that role, I am so glad that I made 448 00:28:27,920 --> 00:28:31,320 Speaker 1: that movie because it did stop to some degree that 449 00:28:31,520 --> 00:28:35,000 Speaker 1: very Sacharin image that I was getting in Americanization of Emily. 450 00:28:35,040 --> 00:28:37,920 Speaker 1: So there's no music, and you're not this squeaky clean woman. 451 00:28:38,120 --> 00:28:41,760 Speaker 1: You're a woman well trying to be you're you are 452 00:28:41,880 --> 00:28:44,640 Speaker 1: take my word for your woman, and you're a glamorous 453 00:28:44,800 --> 00:28:47,920 Speaker 1: leading lady in this wonderful film with Jim Garner. Did 454 00:28:47,920 --> 00:28:49,960 Speaker 1: you find you were just as comfortable? Did you miss 455 00:28:50,000 --> 00:28:53,239 Speaker 1: the music? Did you think? I didn't miss it? But 456 00:28:53,280 --> 00:28:55,960 Speaker 1: I have to say that ultimately, the music in the 457 00:28:56,080 --> 00:29:00,400 Speaker 1: musical makes to me a vast different I mean, I 458 00:29:00,440 --> 00:29:03,720 Speaker 1: made many musicals after that, and the joy of doing 459 00:29:03,960 --> 00:29:07,480 Speaker 1: the film with music on screen is just well, it's 460 00:29:07,920 --> 00:29:11,800 Speaker 1: you're filled. I mean, think of it. You know, whenever 461 00:29:11,840 --> 00:29:15,600 Speaker 1: there's a a huge orchestration and a wonderful song, you're 462 00:29:15,640 --> 00:29:18,520 Speaker 1: just filled. I don't sing, and I don't do musicals, 463 00:29:18,560 --> 00:29:20,880 Speaker 1: but i'd say with with comedy, people say, what's the difference, 464 00:29:20,920 --> 00:29:23,680 Speaker 1: I say, well, and I would imagine it's the same 465 00:29:23,720 --> 00:29:27,800 Speaker 1: with the musical, where a musical or a comedy it's 466 00:29:27,880 --> 00:29:33,640 Speaker 1: fun and that a drama is challenging. Blake used to 467 00:29:33,680 --> 00:29:36,480 Speaker 1: say that that doing a comedy is far harder than 468 00:29:36,520 --> 00:29:40,480 Speaker 1: doing a huge dramatic role because you never know if 469 00:29:40,520 --> 00:29:42,880 Speaker 1: people will think it funny. But that's speaking from his 470 00:29:43,000 --> 00:29:44,680 Speaker 1: riotous point of view as well as well as being 471 00:29:44,680 --> 00:29:47,400 Speaker 1: a direct So when you're done with americanization of Emily, 472 00:29:47,400 --> 00:29:50,840 Speaker 1: where do you go then to the sound of music? 473 00:29:51,360 --> 00:29:54,560 Speaker 1: You come back to do sound of music? And when 474 00:29:54,600 --> 00:29:58,480 Speaker 1: does the Oscar for Mary Poppins coming before? During the 475 00:29:58,520 --> 00:30:01,080 Speaker 1: sound of musical? So you're shooting sound of music. Yes, 476 00:30:01,240 --> 00:30:03,240 Speaker 1: you're shooting the next movie. It's going to be the 477 00:30:03,240 --> 00:30:07,440 Speaker 1: next big in your career. And you win the Oscar. 478 00:30:07,480 --> 00:30:10,200 Speaker 1: And when you win the Oscar, give us just one 479 00:30:10,800 --> 00:30:14,720 Speaker 1: sense of how you felt when you want Actually I felt, 480 00:30:15,600 --> 00:30:17,320 Speaker 1: you know, how old were you when you won an 481 00:30:17,320 --> 00:30:22,040 Speaker 1: Academy award? Oh god, you had to ask a young woman, 482 00:30:22,240 --> 00:30:27,720 Speaker 1: maybe thirty? I honestly don't know. Was I by my calculation, 483 00:30:28,760 --> 00:30:31,080 Speaker 1: thank you not even thirty years old? And you win 484 00:30:31,120 --> 00:30:34,560 Speaker 1: an Academy then, which was which was hard? Back then? Well, 485 00:30:34,840 --> 00:30:38,760 Speaker 1: here's the thing, I felt somewhat unworthy of it, and 486 00:30:38,800 --> 00:30:43,280 Speaker 1: I'll tell you why, because there was such a sort 487 00:30:43,320 --> 00:30:47,400 Speaker 1: of building outrage that I hadn't gotten the part of 488 00:30:47,440 --> 00:30:51,520 Speaker 1: my fair lady on film that I thought my Oscar 489 00:30:51,680 --> 00:30:54,200 Speaker 1: was a token of you know, our poor kid, Well, 490 00:30:54,280 --> 00:30:58,200 Speaker 1: let's give her the oscar. It was compensatory, exactly, and 491 00:30:58,400 --> 00:31:00,840 Speaker 1: I felt it was almost really killers and I didn't 492 00:31:00,960 --> 00:31:03,240 Speaker 1: show it for many years. So when you went back 493 00:31:03,240 --> 00:31:09,480 Speaker 1: to the set of the Sound of Music. Remember, I'm 494 00:31:09,520 --> 00:31:12,880 Speaker 1: just curious if everybody you know, if you get a 495 00:31:12,880 --> 00:31:16,760 Speaker 1: bigger trailer that you went to change. No, I don't 496 00:31:16,760 --> 00:31:20,720 Speaker 1: think so good things change for you. Well from then on, 497 00:31:21,400 --> 00:31:27,440 Speaker 1: with the success of Poppins and particularly after the Sound 498 00:31:27,440 --> 00:31:30,360 Speaker 1: of Music was made, then it was probably one of 499 00:31:30,360 --> 00:31:33,240 Speaker 1: the busiest times in my life because then, as you 500 00:31:33,280 --> 00:31:37,560 Speaker 1: well know, Alec, then you get the press agent and 501 00:31:37,600 --> 00:31:39,440 Speaker 1: you get a manager, and you get this and you 502 00:31:39,520 --> 00:31:44,200 Speaker 1: get that, and everybody wants to know a piece about 503 00:31:44,280 --> 00:31:48,920 Speaker 1: you very often, not not always certainly, but from my 504 00:31:49,280 --> 00:31:53,000 Speaker 1: vantage point, musicals are shot a certain way, with a 505 00:31:53,120 --> 00:31:57,040 Speaker 1: kind of kinetic energy to the camera and so forth. 506 00:31:57,800 --> 00:32:00,440 Speaker 1: And what I love and what I always he's noticed 507 00:32:00,440 --> 00:32:02,720 Speaker 1: about Sound of Music when I see it periodically, is 508 00:32:02,720 --> 00:32:06,400 Speaker 1: that Robert why shout like a drama. Yeah, it's beautiful shot. 509 00:32:06,640 --> 00:32:09,040 Speaker 1: It's one of the most beautiful. It's one of Yeah, 510 00:32:09,080 --> 00:32:11,800 Speaker 1: it is one of the last of the really great 511 00:32:12,400 --> 00:32:16,800 Speaker 1: Hollywood musicals. The technicians, the people who built it, the people. 512 00:32:16,800 --> 00:32:20,720 Speaker 1: It's like Seven Brides, I mean beautiful photography. Yes, exactly. 513 00:32:21,080 --> 00:32:27,320 Speaker 1: What was wise like? He was kind patient, endlessly patient. 514 00:32:28,040 --> 00:32:31,960 Speaker 1: He had a watch a fob watch, which he took 515 00:32:31,960 --> 00:32:35,760 Speaker 1: out and rubbed like one of those stones that you were, 516 00:32:36,080 --> 00:32:39,240 Speaker 1: you know, like a stone that's comforting. But he taught 517 00:32:39,280 --> 00:32:42,080 Speaker 1: me a lot, taught me to be still on film, 518 00:32:42,240 --> 00:32:46,600 Speaker 1: because you know, when you're quiet, yes, and hugely in 519 00:32:46,680 --> 00:32:50,920 Speaker 1: close up, if your eyes are darting from your descience 520 00:32:51,000 --> 00:32:53,000 Speaker 1: come to you. Well, I don't know about that, but 521 00:32:53,040 --> 00:32:57,160 Speaker 1: he did say, just chill down in a way, you know, 522 00:32:57,240 --> 00:33:03,400 Speaker 1: And and he was not chilled down, be still. And 523 00:33:03,760 --> 00:33:07,520 Speaker 1: but then he let me also do the things that 524 00:33:07,600 --> 00:33:10,600 Speaker 1: I felt I wanted to do, like the thrill or 525 00:33:10,640 --> 00:33:14,160 Speaker 1: the excitement, or the fact that Captain Montrap wanted me 526 00:33:14,200 --> 00:33:17,040 Speaker 1: to stay and that that kind of just bubbles up 527 00:33:17,080 --> 00:33:19,200 Speaker 1: and he let that happen. There is such a bad 528 00:33:19,280 --> 00:33:24,720 Speaker 1: boy quality to Chris. He's such a bad because he's 529 00:33:24,760 --> 00:33:28,800 Speaker 1: so bad, but he's the greatest. I worshiped Chris, and 530 00:33:28,840 --> 00:33:31,520 Speaker 1: I did a television movie with him. I'll never forget. 531 00:33:31,560 --> 00:33:34,760 Speaker 1: I go see him do king Lear at Lincoln Center 532 00:33:34,800 --> 00:33:36,720 Speaker 1: and a bunch of us go downstairs to his dressing 533 00:33:36,760 --> 00:33:38,240 Speaker 1: room and he's in the big star dressing room at 534 00:33:38,240 --> 00:33:40,880 Speaker 1: Lincoln Cider and we're waiting in this ante room and 535 00:33:40,920 --> 00:33:42,920 Speaker 1: he comes out, his hair slicked back. He just took 536 00:33:42,920 --> 00:33:45,360 Speaker 1: a shower at the the bathrobe on and he has 537 00:33:45,360 --> 00:33:47,240 Speaker 1: a little cravat around his neck. And he walks up 538 00:33:47,240 --> 00:33:49,880 Speaker 1: to us and he's just done lear for three hours. 539 00:33:50,040 --> 00:33:51,200 Speaker 1: And he walks up to us just like he had 540 00:33:51,200 --> 00:33:55,400 Speaker 1: been playing tennis. He said, anyone like a sherry. It 541 00:33:55,520 --> 00:33:57,120 Speaker 1: was all like, now we're gonna have a party in 542 00:33:57,120 --> 00:34:00,840 Speaker 1: my dressing. He is just incorageable. He is. And you know, 543 00:34:01,040 --> 00:34:04,280 Speaker 1: for a long time he put down the Sound of Music. 544 00:34:04,440 --> 00:34:08,319 Speaker 1: He thought that he was doing something that he shouldn't 545 00:34:08,320 --> 00:34:14,000 Speaker 1: be doing. But later he really acknowledges what it means 546 00:34:14,040 --> 00:34:16,440 Speaker 1: to people. Well, yes, not only that, but what it 547 00:34:16,480 --> 00:34:19,640 Speaker 1: meant not to his career, but to him as a 548 00:34:19,719 --> 00:34:22,040 Speaker 1: human being. He realized that he could give so much 549 00:34:22,080 --> 00:34:25,440 Speaker 1: pleasure that you know, and that's a huge, huge lesson. 550 00:34:25,760 --> 00:34:28,000 Speaker 1: Do you have a favorite musical number from Sound of Music? 551 00:34:30,360 --> 00:34:33,920 Speaker 1: That's hard. I do have a song that's my favorite, 552 00:34:33,920 --> 00:34:38,680 Speaker 1: but it wasn't mine. It was Edelweiss. I'll tell you why. 553 00:34:39,080 --> 00:34:43,839 Speaker 1: Richard Rogers had this phenomenal gift for writing, utter simplicity. 554 00:34:44,160 --> 00:34:46,319 Speaker 1: Think of, oh what a beautiful morning, you know, da 555 00:34:46,400 --> 00:34:48,680 Speaker 1: da da da da dad. He um, now reverse it 556 00:34:48,840 --> 00:34:52,960 Speaker 1: da da da da da da m you know, totally simple, 557 00:34:53,040 --> 00:34:55,840 Speaker 1: but with a wonderful lyric, it becomes a magical song. 558 00:34:56,080 --> 00:34:58,400 Speaker 1: And oh what a beautiful morning was like that, and 559 00:34:58,600 --> 00:35:02,560 Speaker 1: Aedelweiss was like that, utterly simple, And I suddenly realized 560 00:35:02,560 --> 00:35:07,800 Speaker 1: that it's about anybody's homeland, not just about Austria's. Austria 561 00:35:07,880 --> 00:35:10,399 Speaker 1: being the homeland for this particular movie must have done 562 00:35:10,440 --> 00:35:13,440 Speaker 1: something good. Is my favorite? Is it? Really? It was 563 00:35:13,480 --> 00:35:16,520 Speaker 1: one of the last songs that were written and I 564 00:35:16,560 --> 00:35:20,719 Speaker 1: think beautifully photographed moment and oh yeah, and that that 565 00:35:20,920 --> 00:35:24,480 Speaker 1: is phenomenal. It's my favorite. Yeah, Oh my god, I 566 00:35:24,520 --> 00:35:26,719 Speaker 1: wish I had hours and hours to tell you something 567 00:35:27,000 --> 00:35:29,200 Speaker 1: because because we get the love story and the singing 568 00:35:29,600 --> 00:35:32,920 Speaker 1: in your films. Yes, where in this period of time 569 00:35:33,600 --> 00:35:40,120 Speaker 1: does your first marriage end? Probably what film or afterward film, 570 00:35:40,239 --> 00:35:42,719 Speaker 1: towards the middle of the sound of music, sound of 571 00:35:42,760 --> 00:35:45,600 Speaker 1: music that affect your work on the film. It made 572 00:35:45,600 --> 00:35:48,560 Speaker 1: me very sad, very sad, because I didn't want it. 573 00:35:49,800 --> 00:35:51,719 Speaker 1: It's interesting. I only ask it because it's interesting how 574 00:35:51,760 --> 00:35:54,400 Speaker 1: you see you're watching the film and this is what 575 00:35:54,480 --> 00:35:59,520 Speaker 1: that person is going through location and being lonely, and 576 00:35:59,640 --> 00:36:02,640 Speaker 1: but also you know, and I had my beautiful daughter 577 00:36:02,680 --> 00:36:05,160 Speaker 1: and what was I doing for her? And all of that. 578 00:36:05,480 --> 00:36:08,239 Speaker 1: It wasn't that there was anybody else or anything like that. 579 00:36:08,280 --> 00:36:11,040 Speaker 1: It was just it was just Tony and I would 580 00:36:11,080 --> 00:36:15,319 Speaker 1: have remained, thank God friends to this day. He is 581 00:36:15,360 --> 00:36:19,120 Speaker 1: my one of my dearest friends and always will be. 582 00:36:19,280 --> 00:36:20,880 Speaker 1: And we both feel that way. It's just the same 583 00:36:20,920 --> 00:36:23,319 Speaker 1: thing about here, does he of course? I mean, he's 584 00:36:23,480 --> 00:36:28,719 Speaker 1: so amazingly talented. Now what was it like to work 585 00:36:28,719 --> 00:36:32,640 Speaker 1: with Hitchcock? You've been dying together? Because people always say 586 00:36:32,640 --> 00:36:34,600 Speaker 1: to me, you know, well, what is something in your 587 00:36:34,640 --> 00:36:37,279 Speaker 1: career that you that excites you? When I say, not 588 00:36:37,360 --> 00:36:39,480 Speaker 1: a whole lot in terms of making movies, because what 589 00:36:39,560 --> 00:36:42,279 Speaker 1: I wanted to do. You know, if if I had 590 00:36:42,280 --> 00:36:45,280 Speaker 1: a wish, I'd rather make a movie with Bogard or Hitchcock. 591 00:36:45,680 --> 00:36:47,960 Speaker 1: You know that that kind of thing. Hitchcock was lovely. 592 00:36:48,239 --> 00:36:53,640 Speaker 1: He was a little dismissive of the script, a little 593 00:36:53,760 --> 00:36:56,920 Speaker 1: dismissive of his actors, because that was his reputation. It 594 00:36:57,040 --> 00:37:03,360 Speaker 1: was a little taciturn no no more. In Hitchcock's mind. 595 00:37:03,480 --> 00:37:06,480 Speaker 1: He'd already conceived and almost shot the film. So that's 596 00:37:06,480 --> 00:37:09,360 Speaker 1: true that the pre production to him was it was 597 00:37:09,480 --> 00:37:13,440 Speaker 1: far more important, and once he conceived his shots, he 598 00:37:13,880 --> 00:37:16,200 Speaker 1: felt that the rest was all just you know, the 599 00:37:16,239 --> 00:37:18,360 Speaker 1: actors that will do their thing and I know what 600 00:37:18,480 --> 00:37:23,799 Speaker 1: I want. For him, it was about audience manipulation and 601 00:37:23,920 --> 00:37:29,360 Speaker 1: also you know, he would say to me, come and 602 00:37:29,400 --> 00:37:31,360 Speaker 1: look at what I've done. I've made a Mandreal he 603 00:37:31,360 --> 00:37:34,400 Speaker 1: would say, a Montreal painting. And he would make me 604 00:37:34,480 --> 00:37:39,520 Speaker 1: look through the camera and indeed the background and two 605 00:37:39,600 --> 00:37:42,239 Speaker 1: faces very close together, and then in the background this 606 00:37:42,440 --> 00:37:47,879 Speaker 1: wonderful red white and pastel coloring. And he said, isn't 607 00:37:47,920 --> 00:37:50,120 Speaker 1: that a Montreal back? And I said, yes, indeed it is. 608 00:37:50,280 --> 00:37:52,880 Speaker 1: Thank god, I knew what he was talking about. Having 609 00:37:52,920 --> 00:37:57,399 Speaker 1: been married to Tony Walton, he loved doing things like that. 610 00:37:57,400 --> 00:38:00,520 Speaker 1: That turned him on. And then he did love his 611 00:38:00,640 --> 00:38:04,839 Speaker 1: leading ladies. He did Power with Newman, very sweet, very 612 00:38:04,880 --> 00:38:07,880 Speaker 1: sweet and he but but as far as the script 613 00:38:07,920 --> 00:38:10,560 Speaker 1: was concerned, he said, say anything you want, because we 614 00:38:10,600 --> 00:38:12,640 Speaker 1: would say that's a little bit, you know, We'll say 615 00:38:12,640 --> 00:38:14,840 Speaker 1: what do you feel like? I don't care. One felt 616 00:38:15,040 --> 00:38:18,200 Speaker 1: somewhat abandoned by that. But this was late in his career, 617 00:38:18,880 --> 00:38:22,040 Speaker 1: very late, and when you think about the early Hitchcock movies. 618 00:38:22,080 --> 00:38:27,160 Speaker 1: They were written by phenomenal talents. Some when you think 619 00:38:27,200 --> 00:38:29,840 Speaker 1: of the Bergmann films or that that he did, or 620 00:38:30,880 --> 00:38:32,799 Speaker 1: just any of them, you know, with Jimmy Stewart and 621 00:38:32,840 --> 00:38:37,360 Speaker 1: so on. But this wasn't. This wasn't as exciting a movie. 622 00:38:38,160 --> 00:38:42,080 Speaker 1: But he was far far more interested when I knew him, 623 00:38:42,120 --> 00:38:45,040 Speaker 1: in making the audience so scared and then suddenly laughing, 624 00:38:45,080 --> 00:38:48,800 Speaker 1: what like to work with for you? Lovely? Yeah? Oh 625 00:38:48,840 --> 00:38:52,280 Speaker 1: he was the he was. He He coined a phrase 626 00:38:52,320 --> 00:38:56,240 Speaker 1: about me which did my career a great deal of good. 627 00:38:56,719 --> 00:38:59,640 Speaker 1: He said, She's the last of the really great broads, 628 00:38:59,760 --> 00:39:03,440 Speaker 1: he said, and it's stuck, Thank Heaven's And boy did 629 00:39:03,480 --> 00:39:05,399 Speaker 1: that help at that time. I can tell you, well, 630 00:39:05,440 --> 00:39:07,480 Speaker 1: you and he have something in common, which is that 631 00:39:08,040 --> 00:39:11,440 Speaker 1: after you become incredibly famous, you don't stop seeking and 632 00:39:11,440 --> 00:39:14,799 Speaker 1: you don't stop trying. You know. Newman's greatest performance comes 633 00:39:14,880 --> 00:39:17,120 Speaker 1: years later in his career when he does to the Verdict. 634 00:39:17,840 --> 00:39:23,440 Speaker 1: Where did you meet Blake? Um? Well, we were ships 635 00:39:23,440 --> 00:39:26,640 Speaker 1: that past in the night, ten years before we really met, 636 00:39:27,239 --> 00:39:32,279 Speaker 1: just at a party, that's all. But truthfully, Um our 637 00:39:32,320 --> 00:39:37,960 Speaker 1: first meeting was in the middle of Sunset Boulevard, on 638 00:39:38,200 --> 00:39:42,200 Speaker 1: the Meridian. There was a gap on Roxbury, and if 639 00:39:42,239 --> 00:39:46,359 Speaker 1: you wanted to cross over to go down Roxbury, then 640 00:39:46,400 --> 00:39:48,880 Speaker 1: the traffic was bad. You had to stop in the Meridian. 641 00:39:49,320 --> 00:39:52,160 Speaker 1: And I found, as it did Blake, that he was 642 00:39:52,200 --> 00:39:56,440 Speaker 1: going one way and I was going another, and that 643 00:39:56,520 --> 00:40:00,480 Speaker 1: it happened with a fair amount of regular charity, that 644 00:40:00,520 --> 00:40:03,400 Speaker 1: we always seemed to stop in the Meridian. And so 645 00:40:03,520 --> 00:40:06,279 Speaker 1: one day after about the third time or the fourth time, 646 00:40:06,280 --> 00:40:09,600 Speaker 1: he rolled down his window and he said, are you 647 00:40:09,800 --> 00:40:13,400 Speaker 1: going to where I just came from? And he was 648 00:40:13,440 --> 00:40:17,640 Speaker 1: in therapy and I was beginning my therapy, and I said, yeah, 649 00:40:17,840 --> 00:40:20,360 Speaker 1: I mean different analysts, but they were all on Rocksbury 650 00:40:20,440 --> 00:40:23,960 Speaker 1: Drive in those days. So occasionally we would wave, because 651 00:40:24,000 --> 00:40:28,839 Speaker 1: by now we knew who he was. No, But then 652 00:40:29,040 --> 00:40:32,360 Speaker 1: very yes, I guess I did. I don't know what. 653 00:40:32,640 --> 00:40:36,400 Speaker 1: Very shortly afterwards, really comparatively shortly afterwards, I got a 654 00:40:36,400 --> 00:40:40,200 Speaker 1: phone call saying that Lake Edwards wanted to come and 655 00:40:40,239 --> 00:40:42,040 Speaker 1: see if I to pitch a film and see if 656 00:40:42,040 --> 00:40:45,680 Speaker 1: I'd be interested in it. There was some dickering about 657 00:40:45,800 --> 00:40:50,239 Speaker 1: did I wanted to just meet him? Very in an 658 00:40:50,239 --> 00:40:53,520 Speaker 1: abstract wade the Beverly Hills Hotel and just have a coffee, 659 00:40:53,840 --> 00:40:55,759 Speaker 1: very formal, and he said, no, no, no, I'll just 660 00:40:55,800 --> 00:40:57,320 Speaker 1: come to you. It's not going to be that long. 661 00:40:58,280 --> 00:41:00,400 Speaker 1: And my family was staying with me at time. My 662 00:41:00,480 --> 00:41:05,799 Speaker 1: mom and my stepfather were visiting. By the end of 663 00:41:05,880 --> 00:41:09,080 Speaker 1: the time that Blake and I spent together that evening 664 00:41:09,080 --> 00:41:10,839 Speaker 1: when he came and told me the story and asked 665 00:41:10,880 --> 00:41:13,120 Speaker 1: if I'd like to do it, I knew that I 666 00:41:13,160 --> 00:41:15,080 Speaker 1: wished he would stay for supper. In fact, I asked 667 00:41:15,160 --> 00:41:19,040 Speaker 1: him to and he said I would love to. And 668 00:41:19,160 --> 00:41:22,319 Speaker 1: he told me afterwards that he really would have loved 669 00:41:22,360 --> 00:41:24,840 Speaker 1: to stay for supper, but he had an appointment and 670 00:41:24,880 --> 00:41:26,680 Speaker 1: he had to go to, probably a date. I don't know, 671 00:41:27,400 --> 00:41:30,520 Speaker 1: but I did ask him before he left. I said, 672 00:41:30,560 --> 00:41:33,399 Speaker 1: you must forgive me, but I've been so busy. I'm 673 00:41:33,440 --> 00:41:36,480 Speaker 1: not particularly with it in terms of what you've been 674 00:41:36,960 --> 00:41:39,160 Speaker 1: up too lately. And he said, oh, I finished a 675 00:41:39,160 --> 00:41:41,920 Speaker 1: film a little while ago, called What Did You Do 676 00:41:41,960 --> 00:41:44,759 Speaker 1: in the War? Daddy? And I'm having a preview of 677 00:41:44,760 --> 00:41:47,399 Speaker 1: it for some friends next Wednesday. Would you like to come? 678 00:41:48,000 --> 00:41:51,040 Speaker 1: And then I thought, oh, what do I do? And 679 00:41:51,080 --> 00:41:54,040 Speaker 1: I said, finally yes, I'd like to thank you, And 680 00:41:54,080 --> 00:41:58,880 Speaker 1: apparently he said, I laughed so hard during the movie. 681 00:41:59,000 --> 00:42:03,000 Speaker 1: He thought that's the girl for me. And it took 682 00:42:03,560 --> 00:42:06,359 Speaker 1: three almost four years before we were married, but we 683 00:42:06,640 --> 00:42:11,399 Speaker 1: began dating. For American then, different than British Man. That's 684 00:42:11,400 --> 00:42:15,600 Speaker 1: an interesting question. Yeah, of course they are. Yeah, a 685 00:42:15,680 --> 00:42:22,440 Speaker 1: little more worldly perhaps, or yeah, they are American I 686 00:42:22,480 --> 00:42:25,600 Speaker 1: think so. Really, well, at least give the impression that way. 687 00:42:26,239 --> 00:42:28,319 Speaker 1: Did you find that he was really very keen on 688 00:42:28,400 --> 00:42:29,880 Speaker 1: working with you. He didn't want to work with anyone 689 00:42:29,880 --> 00:42:34,719 Speaker 1: else once he'd met you, It wasn't hard for him 690 00:42:34,719 --> 00:42:38,840 Speaker 1: to I think that might be true. I certainly he 691 00:42:38,840 --> 00:42:41,520 Speaker 1: he knew me so well, and he knew a lot 692 00:42:41,520 --> 00:42:42,920 Speaker 1: of men are that way, and then when they meet 693 00:42:42,960 --> 00:42:44,560 Speaker 1: the woman in their lives, they're like, they want you. 694 00:42:45,080 --> 00:42:48,160 Speaker 1: I mean, I'm so proud that I did do seven 695 00:42:48,200 --> 00:42:50,879 Speaker 1: films with him, and and some of them were just 696 00:42:51,600 --> 00:42:55,480 Speaker 1: such fun. S ob for instance, was the most fun 697 00:42:56,200 --> 00:42:58,560 Speaker 1: making a movie I think that I've ever had because 698 00:42:59,120 --> 00:43:05,239 Speaker 1: William Dreston Richard Mulligan and it was such a happy company. 699 00:43:05,680 --> 00:43:07,319 Speaker 1: And we happened to shoot a lot of it on 700 00:43:07,320 --> 00:43:11,520 Speaker 1: our own property, believing or not, and um, but they'd 701 00:43:11,560 --> 00:43:14,600 Speaker 1: come on the days that they weren't called to the set. 702 00:43:14,680 --> 00:43:17,680 Speaker 1: They'd come down and it was like a phenomenal repertory 703 00:43:17,680 --> 00:43:20,080 Speaker 1: company and we just had a ball and it was 704 00:43:20,440 --> 00:43:24,200 Speaker 1: bleak and black and I was poking fun of myself 705 00:43:24,200 --> 00:43:27,319 Speaker 1: a little bit in my image and Blake they had 706 00:43:27,360 --> 00:43:30,799 Speaker 1: been through a huge bad time with Hollywood. He was 707 00:43:30,840 --> 00:43:34,319 Speaker 1: the bad boy of Hollywood and for a while he 708 00:43:35,160 --> 00:43:36,960 Speaker 1: wanted nothing to do with it. And that's when we 709 00:43:37,000 --> 00:43:40,000 Speaker 1: went to live in Switzerland for a while, and then 710 00:43:40,719 --> 00:43:45,960 Speaker 1: he wrote his demons out in this Now who wrote 711 00:43:45,960 --> 00:43:51,759 Speaker 1: the screenplay for Perfective Victoria? Bake the adapted from for 712 00:43:51,800 --> 00:43:54,480 Speaker 1: the film, for the for the musical, He want the 713 00:43:54,480 --> 00:43:57,920 Speaker 1: screenplay for the for the Yes he did. Now, when 714 00:43:57,920 --> 00:44:00,600 Speaker 1: you do the ones like Darling Lily and and even 715 00:44:00,719 --> 00:44:04,160 Speaker 1: S O B had a very mixed reception from people, 716 00:44:04,440 --> 00:44:06,960 Speaker 1: when you're doing the ones that work, do you feel it? 717 00:44:07,400 --> 00:44:10,200 Speaker 1: Because because Victor Victoria is one of my favorite movies 718 00:44:10,239 --> 00:44:15,600 Speaker 1: of all time. Robert Preston um, yeah, oh god. Well, 719 00:44:15,719 --> 00:44:17,960 Speaker 1: Having worked with him also on S O B and 720 00:44:18,160 --> 00:44:21,279 Speaker 1: to work with him in in Victor Victoria, he was 721 00:44:21,840 --> 00:44:26,960 Speaker 1: fabulous dark man. I mean troubled Preston really, but not 722 00:44:27,040 --> 00:44:30,239 Speaker 1: on the set in his life his personal life. I 723 00:44:30,239 --> 00:44:32,799 Speaker 1: think when you were doing it, did you know it 724 00:44:32,880 --> 00:44:36,719 Speaker 1: was going to be successful? No, you didn't know. You 725 00:44:36,880 --> 00:44:39,759 Speaker 1: never know. I mean, can you honestly say that you've 726 00:44:39,800 --> 00:44:42,120 Speaker 1: made a movie that you know. No. I did a 727 00:44:42,160 --> 00:44:45,040 Speaker 1: movie once and I said to the producer we were shooting, 728 00:44:45,040 --> 00:44:46,960 Speaker 1: and I said, when's the movie coming out? He said, 729 00:44:46,960 --> 00:44:49,600 Speaker 1: we're going to release it for Chris December before Christmas. 730 00:44:49,640 --> 00:44:52,560 Speaker 1: I said, great, because then we'll qualify for the nominations 731 00:44:52,600 --> 00:44:58,360 Speaker 1: for this year, because we're gonna win everything actor, actress, director, screenplay, 732 00:44:58,520 --> 00:45:00,960 Speaker 1: best Picture. What happened to the thing was just like 733 00:45:01,000 --> 00:45:03,879 Speaker 1: a just a just a bird poop and a bird 734 00:45:03,880 --> 00:45:07,200 Speaker 1: path which plot. I'll tell you something interesting. I had 735 00:45:07,280 --> 00:45:11,200 Speaker 1: made three films before any of them were released. I 736 00:45:11,200 --> 00:45:15,520 Speaker 1: had done Marry Poppins, Americanization of Emily, and The Sound 737 00:45:15,520 --> 00:45:19,600 Speaker 1: of Music. Not one of them had yet to be released. 738 00:45:19,640 --> 00:45:21,759 Speaker 1: They were all stacked up, you know, and being in 739 00:45:21,800 --> 00:45:24,480 Speaker 1: post production and all of that. I was having a 740 00:45:24,520 --> 00:45:28,560 Speaker 1: ball because I was just playing at making movies, learning 741 00:45:28,560 --> 00:45:31,759 Speaker 1: my craft a little bit and having a wonderful time. 742 00:45:32,000 --> 00:45:34,400 Speaker 1: But when when you do the movie and the movie 743 00:45:34,440 --> 00:45:38,799 Speaker 1: is a big success, whose idea was it? Many years later, 744 00:45:38,880 --> 00:45:40,480 Speaker 1: to take it to Broadway, and when you took that 745 00:45:40,480 --> 00:45:44,360 Speaker 1: shot of Broadway, you were thinking about Victoria on stage. 746 00:45:44,680 --> 00:45:47,759 Speaker 1: Whose idea was that Blake's? I mean, he didn't make 747 00:45:47,800 --> 00:45:51,399 Speaker 1: anything happen. He had that magic that said, how did 748 00:45:51,440 --> 00:45:54,719 Speaker 1: you feel about playing that party? Time? Terrified? But more 749 00:45:54,800 --> 00:45:58,080 Speaker 1: than anything, I remember driving out of the city for 750 00:45:59,080 --> 00:46:02,160 Speaker 1: a night, we looked back at New York City and 751 00:46:02,160 --> 00:46:05,680 Speaker 1: I said, Blake, do you realize with all those that 752 00:46:05,800 --> 00:46:10,200 Speaker 1: skyline we're hoping that what we're doing is going to 753 00:46:10,320 --> 00:46:14,080 Speaker 1: capture that city? He said, I know, it's it's terrifying, 754 00:46:14,120 --> 00:46:17,239 Speaker 1: it isn't it. Yes, it is good. It did. But 755 00:46:17,440 --> 00:46:21,160 Speaker 1: the day that we opened, I began to get so 756 00:46:21,320 --> 00:46:24,280 Speaker 1: nervous and so frightened, and I blinked and got quite 757 00:46:24,280 --> 00:46:26,800 Speaker 1: tearful in the morning, and I said, you know, I'm 758 00:46:27,320 --> 00:46:30,520 Speaker 1: really very scared about tonight. And he looked at me 759 00:46:30,560 --> 00:46:32,120 Speaker 1: as if I was an idiot, and he said, well, 760 00:46:32,880 --> 00:46:35,719 Speaker 1: did you expect to feel any other way, darling? And 761 00:46:35,760 --> 00:46:38,920 Speaker 1: I thought, well, no, I guess not. And he suddenly 762 00:46:38,960 --> 00:46:42,239 Speaker 1: made it all all right. You know. The thing about Blake, though, 763 00:46:42,320 --> 00:46:46,840 Speaker 1: is that he could turn adversity into good fortune always. 764 00:46:47,320 --> 00:46:51,720 Speaker 1: He lost his leading man on ten and then cast 765 00:46:51,800 --> 00:46:56,080 Speaker 1: of all improbable people, Dudley Moore and I was cast 766 00:46:56,480 --> 00:47:00,000 Speaker 1: and I said, Blake, you know my height and Dudley's high. 767 00:47:00,520 --> 00:47:03,359 Speaker 1: Are you sure that we're going to be um look 768 00:47:03,480 --> 00:47:06,040 Speaker 1: romantic together? Because it's okay if if I'm not in 769 00:47:06,040 --> 00:47:08,680 Speaker 1: the movie, I'm your wife. I'm loving what you're doing. 770 00:47:08,960 --> 00:47:12,200 Speaker 1: He said, Honey, think of think of Frank Sinatra and 771 00:47:12,280 --> 00:47:16,640 Speaker 1: Nava Gardner. Think of Andre Preven and what was so 772 00:47:16,680 --> 00:47:20,319 Speaker 1: attractive about him. They're not huge people, but they're very 773 00:47:20,360 --> 00:47:24,839 Speaker 1: attractive because they're so damn right. And that gave me 774 00:47:24,880 --> 00:47:29,879 Speaker 1: the motivation for my character. When we talk about your 775 00:47:29,960 --> 00:47:34,239 Speaker 1: career from the onset, one of the things that I 776 00:47:34,320 --> 00:47:36,680 Speaker 1: hear you say again and again is how important your 777 00:47:36,719 --> 00:47:39,520 Speaker 1: family has been to you and how lucky I think. 778 00:47:39,640 --> 00:47:41,319 Speaker 1: And you wanted to go back to England and see 779 00:47:41,360 --> 00:47:43,239 Speaker 1: your mom and your siblings, and you would go back 780 00:47:43,239 --> 00:47:45,080 Speaker 1: to England and you and then they come out and 781 00:47:45,160 --> 00:47:48,400 Speaker 1: you ship them to California with you. And now family 782 00:47:48,520 --> 00:47:50,279 Speaker 1: is a big part of your life again. It is 783 00:47:50,520 --> 00:47:54,400 Speaker 1: because always has been. But now the latest of that 784 00:47:54,520 --> 00:47:57,920 Speaker 1: is your book writing career with your daughter Emma. We've 785 00:47:58,000 --> 00:48:04,880 Speaker 1: had a wonderful writing collaboration now for fifteen years, maybe 786 00:48:05,040 --> 00:48:11,840 Speaker 1: seventeen years to date, we've done books together and it's 787 00:48:12,000 --> 00:48:16,160 Speaker 1: just ongoing and we are so happy. Your daughters are 788 00:48:16,200 --> 00:48:19,720 Speaker 1: pretty tough customer, do you think so? She's very smart? Well, 789 00:48:19,760 --> 00:48:23,960 Speaker 1: that's not tough. It's just a good writing partner. She 790 00:48:24,040 --> 00:48:27,040 Speaker 1: writes better than I do. She's a much better writer 791 00:48:27,080 --> 00:48:30,439 Speaker 1: than I am. And she is smart, and she's got 792 00:48:30,480 --> 00:48:35,040 Speaker 1: the biggest heart of anybody I've ever met. She's it's 793 00:48:35,120 --> 00:48:38,920 Speaker 1: just hugely generous, mind you. I have to say I 794 00:48:38,960 --> 00:48:41,920 Speaker 1: have four other kids as well, but they're not all 795 00:48:42,000 --> 00:48:45,680 Speaker 1: my Emma is my daughter with Tony, but I have 796 00:48:46,360 --> 00:48:49,960 Speaker 1: two stepchildren to adopt to children, and we all at 797 00:48:50,000 --> 00:48:54,719 Speaker 1: one point where we flung them all together, and partially 798 00:48:54,719 --> 00:48:57,000 Speaker 1: thanks to Emma, who was somewhere in the middle there, 799 00:48:57,320 --> 00:49:07,000 Speaker 1: it all worked. Ye, it has definitely worked. Julie Andrews 800 00:49:07,040 --> 00:49:10,200 Speaker 1: has made it through some challenging times. There's a line 801 00:49:10,239 --> 00:49:12,560 Speaker 1: in one of her children's books, The Last of the 802 00:49:12,600 --> 00:49:17,080 Speaker 1: Really Great Whangdoodles, that captures her approach. If you remain 803 00:49:17,200 --> 00:49:20,480 Speaker 1: calm in the midst of great chaos, the professor explains, 804 00:49:20,880 --> 00:49:24,759 Speaker 1: it is the surest guarantee that it will eventually subside. 805 00:49:25,800 --> 00:49:28,560 Speaker 1: This is Alec Baldwin and you're listening to here's the 806 00:49:28,640 --> 00:49:28,839 Speaker 1: Thing