WEBVTT - Illeana Douglas

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<v Speaker 1>The Craig Ferguson Fancy Rascals Stand Up to Her continues

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<v Speaker 1>throughout twenty twenty four. For a full list of dates

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<v Speaker 1>and tickets, go to the Craig Ferguson Show dot com

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<v Speaker 1>slash tour. See you out there, the Greig Ferguson show

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<v Speaker 1>dot com slash Tour. My name is Craig Ferguson. The

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<v Speaker 1>name of this podcast is Joy. I talk to interest

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<v Speaker 1>in people about what brings them happiness. Ileana Douglas is

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<v Speaker 1>a movie star. She's Hollywood royalty, and she's hilarious, and

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<v Speaker 1>she has low self esteem, as you're about to find out.

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<v Speaker 1>She's also written an amazing book, a really interesting book

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<v Speaker 1>called Connecticut in the movies. I don't listened to this. Well,

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<v Speaker 1>I'm going to put the headphones on because I like

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<v Speaker 1>them on. I'm swallowing and you can swallow. It's okay,

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<v Speaker 1>don't don't you see?

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<v Speaker 2>I needed to ask permission?

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<v Speaker 1>Why is your self esteem so low? There's no reason

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<v Speaker 1>for your self esteem it be so low. But I

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<v Speaker 1>think that comes from when you were a kid, right, probably.

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<v Speaker 2>But it's funny when in my first book, I Marlon

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<v Speaker 2>Brando pointed pointed that he said that to me, should

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<v Speaker 2>you be so insecure?

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<v Speaker 1>Well, and if Marlon Brando says to you, why you insecure?

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<v Speaker 1>Then you should.

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<v Speaker 2>Yeah, at a certain point, can you change it?

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<v Speaker 1>I think you can.

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<v Speaker 2>The only time I went to I'm I'm not big

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<v Speaker 2>on doctors. Yeah, and I remember going to this doctor

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<v Speaker 2>and he said, you should really try not to be

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<v Speaker 2>so self deprecating, right, you know, because it's it signals

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<v Speaker 2>to people that you know you have low self esteem.

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<v Speaker 1>It gives it gives them permission, I think, to to

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<v Speaker 1>you know, to join in.

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<v Speaker 3>I don't know that's true, but I don't know. I mean,

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<v Speaker 3>I get it. Look any what is the opposite to

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<v Speaker 3>be like a blowhard?

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<v Speaker 1>I mean, we all like, I am so awesome, look

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<v Speaker 1>at me.

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<v Speaker 2>Right, And I don't like the humble brag That is

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<v Speaker 2>sicker than the I hate the It's like I'm honored too.

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<v Speaker 1>Yeah, I'm so humble, so humbled. I'm hur win this Oscar.

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<v Speaker 1>You're like, I know, you're fucking no. Like if you

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<v Speaker 1>were humbled to win an Oscar, you didn't even you

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<v Speaker 1>wouldn't even put your name forward to be in contention

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<v Speaker 1>for an Oscar. Shut up.

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<v Speaker 2>By the way, I have to totally interrupt. I didn't bring

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<v Speaker 2>the picture, but you know, I have a picture of

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<v Speaker 2>you and I in my office of us when I

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<v Speaker 2>was on your show. Right, we were talking. I think

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<v Speaker 2>I was trying to learn how to play the guitar

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<v Speaker 2>or something. I don't know, but anyway, you're miming playing

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<v Speaker 2>the guitar. You were doing some bit then and I

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<v Speaker 2>my head is thrown back with laughter and it's one

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<v Speaker 2>of my favorite images and I always I see in

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<v Speaker 2>my office.

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<v Speaker 1>I think you know that sense of joy. It is

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<v Speaker 1>a sense of joy. Seeuse you were asking me about

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<v Speaker 1>podcast before we turn to me. She yes, and you

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<v Speaker 1>were talking about podcasting and what did I like it?

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<v Speaker 1>And I do like it because there's no money in it,

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<v Speaker 1>so that so that's good. It keeps yeah, keeps you humble. Yes,

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<v Speaker 1>so should I win an oscart there's nothing I've done then, uh,

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<v Speaker 1>you know it will keep me centered. But also there

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<v Speaker 1>is no pressure for me to talk to anybody I

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<v Speaker 1>don't want to talk to. That's was great about it.

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<v Speaker 1>That's that's what you're paying for. And I wanted to

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<v Speaker 1>talk to you because of the because I started to

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<v Speaker 1>notice on your social media when I was still on

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<v Speaker 1>the social media. I don't do it at all now

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<v Speaker 1>because there's there's a I pay these guys and they

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<v Speaker 1>do it. I'm like, now social media is over because

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<v Speaker 1>now you don't have them.

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<v Speaker 2>Although I like everything else, it's self cannibalizing and it's

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<v Speaker 2>ruining itself.

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<v Speaker 1>Of course. I mean it's nuts.

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<v Speaker 2>It's like cinerama.

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<v Speaker 1>Talk to me about cinerama. What do you mean cinerama,

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<v Speaker 1>the cinema chain or cinerama.

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<v Speaker 2>I guess it as a metaphor that, you know, like

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<v Speaker 2>everything that's it's created with good you know, to be

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<v Speaker 2>something good and snappy and fun and entertaining, and then

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<v Speaker 2>it gets ruined by you know, uh yeah exactly. And

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<v Speaker 2>they tried to turn every movie into you know, as

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<v Speaker 2>opposed to certain movies that some movies didn't need to

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<v Speaker 2>be in cineramic form. That's what I meant. You know

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<v Speaker 2>what every reference I make is from from movies.

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<v Speaker 1>I speak of you as like movie royalty, though you're

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<v Speaker 1>like you're like you're like a movie star, movie star,

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<v Speaker 1>Like no matter what you do in your life from

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<v Speaker 1>now until the end of your life, yes, you'll always

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<v Speaker 1>be a movie star. Do you You get that right?

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<v Speaker 1>That's your thing.

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<v Speaker 2>Could I get a title for that, like.

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<v Speaker 1>Lady Lady Dame Late.

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<v Speaker 2>No, well, in my case would be Lady Lighty l Douglass. Fine, okay,

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<v Speaker 2>except yeah, I accept.

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<v Speaker 1>I think that because we were talking about movies before

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<v Speaker 1>we turned the machine on as well, and yes, talking

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<v Speaker 1>about like the movies. A lot of movies that you're

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<v Speaker 1>in that I love, and the movies that I love

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<v Speaker 1>that you love are movies where not a lot of

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<v Speaker 1>stuff happens. You know, some people they do a thing,

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<v Speaker 1>they have something to eat, they talk to each other,

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<v Speaker 1>and yes, maybe make some decisions, go to a place.

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<v Speaker 2>Yeah, like the Alexander Payne film Fantastic.

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<v Speaker 1>You know that that movie he did? Was was it?

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<v Speaker 1>Reys Witherspoon Election. That's a great movie. Isn't that a

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<v Speaker 1>great movie?

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<v Speaker 2>Everything he does is great.

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<v Speaker 1>Yeah, I know he's a pretty talented guy. Did you

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<v Speaker 1>do a movie with him?

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<v Speaker 2>I was almost in that movie, actually, but I was

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<v Speaker 2>doing something else. I was supposed to play the I think,

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<v Speaker 2>the wife of Matthew Broderick. I mean, I don't want

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<v Speaker 2>to say I was supposed to, not true, but I was.

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<v Speaker 1>I was off you were. Yeah, it was funny because

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<v Speaker 1>Matthew Broadrick Wasshing has ass and that movie is one

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<v Speaker 1>of the great screen performance He's great, Like he really

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<v Speaker 1>wins his ass properly in that shriff scene.

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<v Speaker 2>Yeah.

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<v Speaker 1>And I said to Sarah Jessica, I loved that. I

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<v Speaker 1>don't know Matthew Broderick, but I was working with her

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<v Speaker 1>and I said, you know when your husband watches his

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<v Speaker 1>ass in that movie, Alex and that's one of the

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<v Speaker 1>greatest performances I've ever seen. And she said, he's so

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<v Speaker 1>proud of that shot, Like that's so great because I

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<v Speaker 1>spotted it. I'm like, that's really good. Whatever he's doing there,

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<v Speaker 1>it's really good.

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<v Speaker 2>That's funny. Well, actors love that when you pick up

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<v Speaker 2>on some.

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<v Speaker 1>Little well some little things. That's a business. Well, let

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<v Speaker 1>me talk to you then about the ice skating movie,

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<v Speaker 1>Like when you ice skate in that movie? Yes, oh my,

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<v Speaker 1>did you did you know how to ice skate? Because

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<v Speaker 1>you like, did you grow up in Connecticut?

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<v Speaker 2>I grew up there, and so I knew how to skate.

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<v Speaker 2>I didn't know how to trick skate. So I once

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<v Speaker 2>I got the part, which was to.

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<v Speaker 1>Die for we should say the name of to die For?

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<v Speaker 2>Yeah, once I I went in an audition. You know,

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<v Speaker 2>I'm pretty much walked around the room and second position

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<v Speaker 2>like I it's sort of like acts, yeah, skating all

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<v Speaker 2>my life, you know, doing all the Yeah. Once I

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<v Speaker 2>got the part, I quickly went to New York right

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<v Speaker 2>down the street down on I think it's twelfth Avenue

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<v Speaker 2>and there's a skating rink there.

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<v Speaker 1>You went through an intense skating.

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<v Speaker 2>Yes, I did, and which most of which unfortunately ended

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<v Speaker 2>up on the cutting room floor because Gus Finsen said

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<v Speaker 2>it was too jarring.

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<v Speaker 1>And well, you know, so I think he's probably right.

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<v Speaker 1>I mean, he's pretty clever guy.

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<v Speaker 2>And he's disappointing.

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<v Speaker 1>Yeah. But here's the thing though, when you do that

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<v Speaker 1>little spin at the end of the movie, Yes, I'm like,

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<v Speaker 1>oh my god, that's it's as good as Matthew Broderick

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<v Speaker 1>washing his ass Italy right. Well, it's like, oh my god,

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<v Speaker 1>that's fantastic.

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<v Speaker 2>And I also got to throw in some I think

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<v Speaker 2>that's the first time I really really got the add

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<v Speaker 2>lib and they I thought, you know, to me because

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<v Speaker 2>I wasn't sophisticated enough. That was just me kidding around.

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<v Speaker 2>And then when I saw the movie, I was like,

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<v Speaker 2>oh my god, Oh wow, really but yeah, the you

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<v Speaker 2>know four letters begins with say, yeah that was yeah,

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<v Speaker 2>I threw in you did that? Yeah, I threw in great,

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<v Speaker 2>I threw in things here and there.

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<v Speaker 1>See, now you create something like that. I'm going to

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<v Speaker 1>talk to you about your book in a minute because

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<v Speaker 1>it's quite kind of quite interesting to me because I

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<v Speaker 1>know that you started as a stand up right, like

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<v Speaker 1>right the beginning. Yes, And I always think of your

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<v Speaker 1>your energy. There's a you know, the actress Uta Lember right,

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<v Speaker 1>uh huh. She said something that I think is the

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<v Speaker 1>trick of stand up is the way I understand it,

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<v Speaker 1>which is this is that? And she was talking about

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<v Speaker 1>acting and she said the trick of acting is to

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<v Speaker 1>create the illusion of spontaneity. And I'm like, that's that's

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<v Speaker 1>what stand up is to me because like you know,

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<v Speaker 1>you do fifty shows over a period of a tour,

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<v Speaker 1>like Show forty eight, you're telling the same joke, but

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<v Speaker 1>the audience has to see feel like I'm just here right, yeah,

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<v Speaker 1>I just I just thought of this. So when you

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<v Speaker 1>started doing stand up, did you write it down like

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<v Speaker 1>an actor? Did you write it and learn it?

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<v Speaker 2>And yes, it was total desperation. It was simply because

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<v Speaker 2>I had no money and I couldn't get any acting jobs.

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<v Speaker 2>And I saw a sign at stand Up New York

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<v Speaker 2>that if you won this contest you got fifty bucks.

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<v Speaker 2>So fifty bucks seemed.

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<v Speaker 1>That's still a big payday for a lot of time,

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<v Speaker 1>a lot. That's what you get for a podcast. By

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<v Speaker 1>the way, you should think about it. No pair episode,

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<v Speaker 1>but you know throughout the year you'll get fook.

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<v Speaker 2>But I, uh so, yeah I did, and I and

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<v Speaker 2>so I threw together stuff. I used to do my

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<v Speaker 2>jokes for my roommate and he would always say, that's

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<v Speaker 2>not funny, that's not funny. He would critique everything I did.

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<v Speaker 2>And then he also said something to me which I

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<v Speaker 2>never understood, but I always took as a compliment. He goes,

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<v Speaker 2>it's not funny, but I find myself laughing.

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<v Speaker 1>That's great.

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<v Speaker 2>So I thought that was interesting. So I had no idea.

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<v Speaker 2>It was very crude. I didn't know what I was doing.

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<v Speaker 2>I just would throw together enough for twenty minutes. You know.

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<v Speaker 2>They told me that for the first time I went up.

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<v Speaker 2>They said, you only need ten minutes. Ten minutes.

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<v Speaker 1>Yeah, that suddenly a lot of time when you're starting though.

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<v Speaker 2>Yeah, So the good and bad was writing the jokes

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<v Speaker 2>was really easy. I did not like I know it

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<v Speaker 2>sounds stupid, but I didn't like the lifestyle I found

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<v Speaker 2>it to be. To walk over to stand up New

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<v Speaker 2>York at ten o'clock at night.

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<v Speaker 1>Yeah, you know you like to be in bad.

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<v Speaker 2>Slew but myself and I was very scared. So i'd

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<v Speaker 2>have you know, ten coca colas.

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<v Speaker 1>Yeah, you know, and then you can't sleep all night.

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<v Speaker 2>And you can't sleep, and then you have to drink

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<v Speaker 2>to bring yourself down. And then, as I said, like

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<v Speaker 2>there was there was people that were doing stand up

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<v Speaker 2>that were you know, professional people like Kevin Neal and

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<v Speaker 2>j Moore. I saw actually David people like that. And

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<v Speaker 2>then they'd all say, okay, now we're going down to

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<v Speaker 2>the comedy cellar and I want to go to bell

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<v Speaker 2>I have to do this again. So I had no

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<v Speaker 2>so is this ying and yang where people were saying,

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<v Speaker 2>you know, I immediately had people who wanted to work

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<v Speaker 2>with me and set me up and.

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<v Speaker 1>Well you have that quality. See, there's that ineffable quality

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<v Speaker 1>that you have, which is interesting because I think probably

0:11:26.559 --> 0:11:28.800
<v Speaker 1>you're looses. See I'm analyzing you know, right, thank you,

0:11:28.920 --> 0:11:31.560
<v Speaker 1>But see this. Did you ever get therapy? Did you

0:11:31.559 --> 0:11:32.520
<v Speaker 1>ever have therapy? No?

0:11:32.640 --> 0:11:36.200
<v Speaker 2>It never. I almost called my first book, I had

0:11:37.160 --> 0:11:40.360
<v Speaker 2>a therapist. I went to a therapist because I was

0:11:40.400 --> 0:11:43.920
<v Speaker 2>getting out of this, you know, bad situation, and so

0:11:44.000 --> 0:11:45.960
<v Speaker 2>I finally was like, well maybe I'll go to therapy.

0:11:46.320 --> 0:11:49.840
<v Speaker 2>And I was telling him some things about, you know,

0:11:50.000 --> 0:11:52.760
<v Speaker 2>my life, and he leaned in and he said, now

0:11:52.760 --> 0:11:55.880
<v Speaker 2>I have to ask you, Ileana, are you making these

0:11:55.880 --> 0:12:03.839
<v Speaker 2>things up? And I said no, why would I make

0:12:03.880 --> 0:12:07.280
<v Speaker 2>it up? I mean, well, I guess because it seemed.

0:12:07.160 --> 0:12:10.880
<v Speaker 1>Well, your life is, well, let's talk a little bible.

0:12:11.000 --> 0:12:15.920
<v Speaker 1>And your grandfather was a movie star, right, Yes, Melvin Douglas.

0:12:15.960 --> 0:12:20.040
<v Speaker 1>Melvin Douglas is a big movie star. And yes, your

0:12:20.080 --> 0:12:24.000
<v Speaker 1>mom was Your mom wasn't in the movies? Your mom

0:12:24.120 --> 0:12:24.360
<v Speaker 1>and art?

0:12:24.559 --> 0:12:28.040
<v Speaker 2>No, my parents grew up. My father was a teacher,

0:12:28.120 --> 0:12:32.120
<v Speaker 2>my mom was a librarian, and they had left New

0:12:32.200 --> 0:12:36.640
<v Speaker 2>York City. Actually that you know, we grew up in Connecticut.

0:12:36.200 --> 0:12:38.200
<v Speaker 1>Right, which is we will go onto the year book

0:12:38.240 --> 0:12:41.440
<v Speaker 1>Connecticut and the movies because it's fascinating and huge and

0:12:41.520 --> 0:12:44.120
<v Speaker 1>much bigger a subject than I thought. It was, like's

0:12:44.400 --> 0:12:48.480
<v Speaker 1>like an independent movie. Where's happening exactly? And then you go, wow,

0:12:48.520 --> 0:12:50.800
<v Speaker 1>actually a lot. I know, all right, your mom and

0:12:50.840 --> 0:12:52.520
<v Speaker 1>died and they moved to Connecticut.

0:12:52.720 --> 0:12:55.120
<v Speaker 2>Yes, and it was we had a very kind of

0:12:55.160 --> 0:13:01.200
<v Speaker 2>bohemian upbringing hippies, which did not really are with you know,

0:13:01.320 --> 0:13:05.280
<v Speaker 2>preppy Connecticut. So that was always a challenge. So I

0:13:05.320 --> 0:13:07.520
<v Speaker 2>couldn't wait to get out of Connecticut to go to

0:13:07.600 --> 0:13:12.280
<v Speaker 2>New York. But in the I spent just an unbelievable

0:13:12.280 --> 0:13:15.280
<v Speaker 2>amount of time with both my with my Italian grandparents

0:13:15.280 --> 0:13:18.679
<v Speaker 2>and queens who's you know who. I was with them

0:13:18.679 --> 0:13:20.800
<v Speaker 2>when I was when I was a child, and then

0:13:20.800 --> 0:13:22.800
<v Speaker 2>I would spend the summers there. So I'd split the

0:13:22.880 --> 0:13:28.400
<v Speaker 2>summers between queens queens in Connecticut. No, and that my grandfather,

0:13:28.480 --> 0:13:30.439
<v Speaker 2>Melvin Douglass on the Upper West Side.

0:13:30.559 --> 0:13:31.200
<v Speaker 1>Oh my god.

0:13:31.360 --> 0:13:34.960
<v Speaker 2>It was like uptown downtown. This is where I made

0:13:35.000 --> 0:13:41.000
<v Speaker 2>actually a fascinating I made a revelation about entertainment business.

0:13:41.040 --> 0:13:43.800
<v Speaker 2>Poor people go to the movies, rich people go to

0:13:43.840 --> 0:13:46.200
<v Speaker 2>the theater. I don't know what that means, but it

0:13:46.280 --> 0:13:46.720
<v Speaker 2>is true.

0:13:47.440 --> 0:13:51.440
<v Speaker 1>That is probably true. Yeah, Like when I'm in New York.

0:13:51.520 --> 0:13:53.520
<v Speaker 1>I went to the opera last week. I'm going to

0:13:53.520 --> 0:13:56.880
<v Speaker 1>the Oprah. I'm not a guy that goes to the opera.

0:13:56.920 --> 0:13:58.360
<v Speaker 1>I went to the opera and there were people there

0:13:58.480 --> 0:14:01.360
<v Speaker 1>that I was like, yeah, no, much better than me. Yeah,

0:14:01.400 --> 0:14:02.800
<v Speaker 1>but you are a little bit so with me.

0:14:03.400 --> 0:14:07.120
<v Speaker 2>But that was very heady, both in you know, being

0:14:07.120 --> 0:14:10.880
<v Speaker 2>around all the New Yorkers. Yeah, suited me well for

0:14:11.280 --> 0:14:13.920
<v Speaker 2>later on for films like Goodfellas, because I knew that

0:14:14.040 --> 0:14:16.280
<v Speaker 2>world completely.

0:14:16.000 --> 0:14:17.800
<v Speaker 1>Right, that's the queen's thing, right.

0:14:17.720 --> 0:14:21.440
<v Speaker 2>Completely right, and you know, go to the back of

0:14:21.480 --> 0:14:24.240
<v Speaker 2>the car and open the trunk and pick out whatever

0:14:24.280 --> 0:14:26.680
<v Speaker 2>you want and just fell off the truck. And you know,

0:14:26.880 --> 0:14:29.840
<v Speaker 2>that was very colorful and fun. And then at my

0:14:29.960 --> 0:14:34.000
<v Speaker 2>grandfather's it was you know, playwrights like Robert Anderson and

0:14:34.040 --> 0:14:36.040
<v Speaker 2>he was friends with Myrta Lly and so it was

0:14:36.440 --> 0:14:38.320
<v Speaker 2>it was very intellection.

0:14:38.120 --> 0:14:41.480
<v Speaker 1>Very that's very kind of heady atmosphere.

0:14:41.440 --> 0:14:42.160
<v Speaker 2>Very very heady.

0:14:42.920 --> 0:14:44.760
<v Speaker 1>Is that what meant you? You think that's why you

0:14:44.760 --> 0:14:45.600
<v Speaker 1>fell in love with movies?

0:14:45.720 --> 0:14:49.000
<v Speaker 2>Totally totally because it was. And then I would have

0:14:49.080 --> 0:14:51.560
<v Speaker 2>to go back to Connecticut and being a poor hippie

0:14:51.600 --> 0:14:53.840
<v Speaker 2>and then I was like, okay, I do. First of all,

0:14:53.880 --> 0:14:54.640
<v Speaker 2>the food.

0:14:54.480 --> 0:14:57.880
<v Speaker 1>Was always yeah, happy food never was grown.

0:14:57.960 --> 0:15:00.720
<v Speaker 2>Now, the food it was always in my grandfather well,

0:15:00.720 --> 0:15:03.280
<v Speaker 2>that was where I first discovered, you know, hoggin' dus

0:15:03.480 --> 0:15:08.840
<v Speaker 2>ice cream and ordering food. I Uh, when I grew up,

0:15:08.920 --> 0:15:11.120
<v Speaker 2>you know, wherever we would go out to a restaurant,

0:15:11.160 --> 0:15:13.360
<v Speaker 2>people would make a big fuss about him. We would

0:15:13.360 --> 0:15:16.320
<v Speaker 2>always he would We would go to these restaurants like Sardi's,

0:15:16.320 --> 0:15:19.000
<v Speaker 2>and I remember the portions were enormous. And then later

0:15:19.080 --> 0:15:21.280
<v Speaker 2>on when I was doing movies and i'd go to

0:15:21.360 --> 0:15:24.760
<v Speaker 2>these places, the portions were very small. Yeah, And I realized, oh,

0:15:24.800 --> 0:15:25.520
<v Speaker 2>it's because.

0:15:25.280 --> 0:15:29.320
<v Speaker 1>He's he's Melvin Douglas. And also people got in the cocaine,

0:15:29.800 --> 0:15:32.400
<v Speaker 1>and when you get into cocaine, you don't need as

0:15:32.480 --> 0:15:37.120
<v Speaker 1>much food, so like like the big portions at Sardis.

0:15:37.120 --> 0:15:39.200
<v Speaker 1>And then if you're going to a restaurant, some guests

0:15:39.240 --> 0:15:42.880
<v Speaker 1>and like when you're older, we're talking about late eighties

0:15:42.960 --> 0:15:46.000
<v Speaker 1>and mid nineties, that kind of thing. Yeah, everybody's high.

0:15:46.040 --> 0:15:47.720
<v Speaker 1>You're not. You're getting you know.

0:15:47.800 --> 0:15:49.760
<v Speaker 2>I never understood that. I was like, boy, that guy's

0:15:49.760 --> 0:15:50.760
<v Speaker 2>got a crazy temper.

0:15:51.840 --> 0:15:54.880
<v Speaker 1>He is talking. Does he talk soa Did you ever?

0:15:55.040 --> 0:15:56.720
<v Speaker 1>Did you ever get drawn into that world at all?

0:15:56.840 --> 0:15:59.240
<v Speaker 2>Because I think of you as a very kind of No,

0:15:59.440 --> 0:16:02.720
<v Speaker 2>it wasn't you know again it's not my thing is

0:16:02.880 --> 0:16:07.040
<v Speaker 2>really movies. I remember being excited though, the first time

0:16:07.080 --> 0:16:09.240
<v Speaker 2>when I went to La and this is you know,

0:16:09.240 --> 0:16:12.160
<v Speaker 2>when I was dating Martin Scorsese and I went to

0:16:12.240 --> 0:16:16.760
<v Speaker 2>a party and Richard Perry, the record producer, he came

0:16:16.840 --> 0:16:18.960
<v Speaker 2>up to me and he was, you know, chatting me up.

0:16:19.000 --> 0:16:21.520
<v Speaker 2>And for me, of course, it was immediately drawn in

0:16:21.560 --> 0:16:24.760
<v Speaker 2>my childhood. Oh my god, he's the name on the

0:16:24.840 --> 0:16:27.440
<v Speaker 2>back of the Nielsen. That's how I knew him, right,

0:16:28.520 --> 0:16:31.560
<v Speaker 2>Richard Perry Nilsen, you know. And he said, you know,

0:16:31.600 --> 0:16:34.240
<v Speaker 2>there's a party later on at Jack's house and this

0:16:34.280 --> 0:16:36.760
<v Speaker 2>person is going to be there, and you know, I

0:16:36.880 --> 0:16:40.640
<v Speaker 2>laughed because again when you say drawn into this world,

0:16:40.960 --> 0:16:45.160
<v Speaker 2>I'd read about this world in magazines and stuff, never dreaming,

0:16:45.160 --> 0:16:46.960
<v Speaker 2>of course i'd be a part of it. But I

0:16:47.040 --> 0:16:49.480
<v Speaker 2>wasn't ever like, yeah, that's what I want to do,

0:16:49.640 --> 0:16:54.120
<v Speaker 2>is go do blow with Jack. I always I put

0:16:54.200 --> 0:16:57.440
<v Speaker 2>them on and I had read about these people in magazines. Therefore,

0:16:57.480 --> 0:17:00.680
<v Speaker 2>how could they possibly How could I interact with that?

0:17:00.920 --> 0:17:04.760
<v Speaker 1>But I had the exact same feeling when I went

0:17:04.800 --> 0:17:08.600
<v Speaker 1>to Hollywood and getting it and actually you were part

0:17:08.680 --> 0:17:12.080
<v Speaker 1>of my kind of like I can't believe. Like I remember,

0:17:12.119 --> 0:17:13.680
<v Speaker 1>like maybe the first time, maybe we were on the

0:17:13.760 --> 0:17:17.520
<v Speaker 1>Drew Carey Show or at Kathy Kenny's house in the

0:17:17.560 --> 0:17:19.719
<v Speaker 1>Hills or something like that, and we were and I

0:17:19.760 --> 0:17:24.680
<v Speaker 1>was talking to you, and I was like, I can't believe, swirt.

0:17:24.520 --> 0:17:27.160
<v Speaker 2>But that I was a fan of yours. I'd seen

0:17:27.160 --> 0:17:28.200
<v Speaker 2>your a fan of.

0:17:28.160 --> 0:17:30.639
<v Speaker 1>Yours as well. But that was the But that's the

0:17:30.760 --> 0:17:33.879
<v Speaker 1>weird thing that when you because that happened to me

0:17:34.000 --> 0:17:36.959
<v Speaker 1>quite a lot, particularly doing Late Night. Yeah, because if

0:17:37.000 --> 0:17:40.720
<v Speaker 1>you do a show like that, you meet everybody and

0:17:40.800 --> 0:17:42.520
<v Speaker 1>some some of them are great, and some of them

0:17:42.520 --> 0:17:45.000
<v Speaker 1>are douchebags, and you don't really know what you're going

0:17:45.000 --> 0:17:48.879
<v Speaker 1>to get. Some people became friends, and other people you're like,

0:17:48.920 --> 0:17:51.280
<v Speaker 1>oh God, I can't believe that guy's such an asshole. Yeah.

0:17:51.960 --> 0:17:54.520
<v Speaker 1>When you were dating Marty, though, you're kind of in

0:17:54.560 --> 0:17:57.439
<v Speaker 1>a world which is like that's right in the center

0:17:57.520 --> 0:18:01.399
<v Speaker 1>of it. And and particularly around directors, I've noticed that

0:18:01.440 --> 0:18:05.840
<v Speaker 1>people behave very strangely around film directors, Like film directors

0:18:05.880 --> 0:18:09.000
<v Speaker 1>behave strangely anyway, because they're all fucking maglomaniacs and they

0:18:09.040 --> 0:18:11.439
<v Speaker 1>think that it's unshanging, like all of them even the

0:18:11.520 --> 0:18:14.520
<v Speaker 1>nice guys. They're all assholes, even the nice ones of assholes,

0:18:14.760 --> 0:18:16.919
<v Speaker 1>and they would admit to it. I think they're self aware.

0:18:17.200 --> 0:18:20.879
<v Speaker 1>But and if they're not, I don't care. But but

0:18:21.119 --> 0:18:23.280
<v Speaker 1>people in Hollywood, and I think I've even been going it.

0:18:23.359 --> 0:18:25.760
<v Speaker 1>I know I've been going in this like around the director.

0:18:25.840 --> 0:18:28.480
<v Speaker 1>You're always kind of like he might put me in

0:18:28.600 --> 0:18:29.040
<v Speaker 1>the mood.

0:18:30.880 --> 0:18:33.960
<v Speaker 2>Well, you see, it's funny you say that, because see

0:18:34.040 --> 0:18:37.520
<v Speaker 2>I again, I always I always hit this poll. My

0:18:37.520 --> 0:18:40.200
<v Speaker 2>grandfather always wanted me to be a writer. I'd write

0:18:40.240 --> 0:18:42.400
<v Speaker 2>him these letters. Again, I was out of my mind,

0:18:42.560 --> 0:18:46.240
<v Speaker 2>you're right, or reading about you know, the Algonquin Circle

0:18:46.320 --> 0:18:48.800
<v Speaker 2>and pretending in my mind, you know, I was like

0:18:48.840 --> 0:18:52.080
<v Speaker 2>Dorothy Parker and stuff. So when I went to New

0:18:52.160 --> 0:18:54.400
<v Speaker 2>York and I was working for this film publicist named

0:18:54.400 --> 0:18:59.200
<v Speaker 2>Peggy Siegel. I one of the prerequisites for the job

0:18:59.440 --> 0:19:03.040
<v Speaker 2>is you did tell anybody you were an actor, because

0:19:03.080 --> 0:19:06.520
<v Speaker 2>they would never hire you. Right, You just lie and say, oh,

0:19:06.520 --> 0:19:08.000
<v Speaker 2>I just got out of Wesleyan.

0:19:07.720 --> 0:19:10.840
<v Speaker 1>And I really want to be a publicist. That's what

0:19:10.840 --> 0:19:14.040
<v Speaker 1>I've as to exactly. And in the office, this was

0:19:14.119 --> 0:19:17.560
<v Speaker 1>like the first trick I learned. Everybody always wanted to

0:19:17.560 --> 0:19:20.600
<v Speaker 1>be with the actors like they if we were doing junkets,

0:19:20.640 --> 0:19:23.199
<v Speaker 1>they wanted to be with Kevin Costner. They wanted to

0:19:23.240 --> 0:19:26.720
<v Speaker 1>be with you know, DINNERO or Harry Olwis or wherever.

0:19:27.119 --> 0:19:28.560
<v Speaker 1>I always wanted to be with a director.

0:19:28.640 --> 0:19:30.720
<v Speaker 2>Now I don't know why I did, but I just

0:19:30.800 --> 0:19:33.679
<v Speaker 2>knew sort of that's where the action was going to be.

0:19:33.880 --> 0:19:35.840
<v Speaker 2>And yes, in the back of my mind, I was like,

0:19:36.000 --> 0:19:37.960
<v Speaker 2>one of these people's going, it's put me in a movie.

0:19:38.000 --> 0:19:40.520
<v Speaker 2>It's going to discover Yeah, of course I have it.

0:19:41.040 --> 0:19:41.760
<v Speaker 2>I think that's okay.

0:19:41.800 --> 0:19:45.400
<v Speaker 1>I think that's fairly it's fairly kind of sweet, almost,

0:19:45.400 --> 0:19:49.240
<v Speaker 1>particularly in someone. I mean that's also why, you know,

0:19:50.080 --> 0:19:52.840
<v Speaker 1>bad people pray on the on the ambitions of young

0:19:52.880 --> 0:19:55.520
<v Speaker 1>people that want to get in movies because they're like, yeah, ah,

0:19:55.640 --> 0:19:56.879
<v Speaker 1>so you want to be in a movie. I mean,

0:19:56.960 --> 0:19:58.440
<v Speaker 1>I don't over that shit, but.

0:19:58.359 --> 0:20:01.960
<v Speaker 2>I taste something interesting when after working, you know, I

0:20:02.040 --> 0:20:04.600
<v Speaker 2>Brian de Palmer, we didn't work with Marty he was

0:20:05.160 --> 0:20:07.920
<v Speaker 2>down the hall. I met him later, but I worked

0:20:07.960 --> 0:20:12.320
<v Speaker 2>with Brian de Palmer, Norman Jewison, Rob Reiner, Barry Levinson

0:20:12.800 --> 0:20:14.800
<v Speaker 2>was like, I know, it's like loyalty.

0:20:14.840 --> 0:20:16.040
<v Speaker 1>Though I mean these people are.

0:20:17.760 --> 0:20:19.439
<v Speaker 2>And I would get on the phone, you know, and

0:20:19.480 --> 0:20:22.200
<v Speaker 2>part of my job was to invite people to the premiere,

0:20:22.320 --> 0:20:25.280
<v Speaker 2>so I would always look for people that basically I

0:20:25.359 --> 0:20:29.480
<v Speaker 2>just wanted to be like jose Mancowitz, you know Betty.

0:20:29.520 --> 0:20:31.440
<v Speaker 4>You know Betty Cobb did an at F Green and

0:20:31.720 --> 0:20:35.680
<v Speaker 4>that's great. The goal successful. That would have made it successful, yes,

0:20:35.720 --> 0:20:37.560
<v Speaker 4>because a part of me never dreamed I'd be in

0:20:37.600 --> 0:20:39.480
<v Speaker 4>show business. But I thought, well, I at least want

0:20:39.480 --> 0:20:42.920
<v Speaker 4>to meet these people that I idolized. But later on

0:20:43.880 --> 0:20:47.199
<v Speaker 4>when I finally cracked through, and this is sort of

0:20:47.200 --> 0:20:51.240
<v Speaker 4>in the book too, Frank Perry, the director who shared

0:20:51.320 --> 0:20:54.040
<v Speaker 4>we shared offices with, was the one who find he

0:20:54.119 --> 0:20:57.600
<v Speaker 4>put me in a movie and people were shocked and

0:20:57.720 --> 0:21:00.679
<v Speaker 4>almost disappointed that I was going to be an actor

0:21:01.040 --> 0:21:03.080
<v Speaker 4>because they thought I had so much, which I thought

0:21:03.119 --> 0:21:06.040
<v Speaker 4>was an interesting stigma, Like there was like, well, you

0:21:06.080 --> 0:21:09.720
<v Speaker 4>had so much, we'd hire ambitions for you to simply

0:21:09.760 --> 0:21:10.719
<v Speaker 4>be an actor.

0:21:14.040 --> 0:21:17.200
<v Speaker 1>The Craig Ferguson Fancy Rascals stand up to her continues

0:21:17.240 --> 0:21:21.280
<v Speaker 1>throughout the United States in twenty twenty four. For a

0:21:21.320 --> 0:21:23.600
<v Speaker 1>full list of dates and tickets, go to The Craig

0:21:23.680 --> 0:21:27.320
<v Speaker 1>ferguson show dot Com slash tour say you have there

0:21:31.880 --> 0:21:34.720
<v Speaker 1>if you're in movies, like if you do movies. It's

0:21:34.760 --> 0:21:37.600
<v Speaker 1>also it's like when you're in Hollywood. There are people

0:21:37.640 --> 0:21:40.040
<v Speaker 1>have who have an idea who are on the outside,

0:21:40.119 --> 0:21:42.120
<v Speaker 1>and people who have an idea on the inside. That's

0:21:42.160 --> 0:21:46.120
<v Speaker 1>whenever I hear people say, you know, the Hollywood elite

0:21:46.440 --> 0:21:48.960
<v Speaker 1>or there's a kind of conspiracy in Hollywood, I'm thinking,

0:21:49.160 --> 0:21:52.480
<v Speaker 1>you know nothing about Hollywood. First of all, everybody in

0:21:52.520 --> 0:21:55.240
<v Speaker 1>Hollywood doesn't you know, there's no conspiracy. They don't trust

0:21:55.280 --> 0:21:59.520
<v Speaker 1>each other. That's crazy. It's theyn't get together and make

0:21:59.560 --> 0:22:01.439
<v Speaker 1>a plan, and they could hardly get together and make

0:22:01.440 --> 0:22:04.880
<v Speaker 1>a fucking movie. And then the idea of the Hollywood

0:22:04.880 --> 0:22:08.800
<v Speaker 1>delete you go, well, you know that changes very quickly.

0:22:08.840 --> 0:22:12.120
<v Speaker 1>You can be Holywood delete on Thursday and be a

0:22:12.160 --> 0:22:15.280
<v Speaker 1>fucking bum on Monday of the following week, depending on

0:22:15.680 --> 0:22:17.399
<v Speaker 1>how the books of His Returns go.

0:22:18.040 --> 0:22:19.080
<v Speaker 2>I saw it firsthand.

0:22:19.280 --> 0:22:20.280
<v Speaker 1>Oh yeah, yeah.

0:22:20.320 --> 0:22:23.400
<v Speaker 2>I mean there were so many stories in my first

0:22:23.400 --> 0:22:26.399
<v Speaker 2>book I couldn't get to. So when I have another,

0:22:27.080 --> 0:22:30.520
<v Speaker 2>you know thing that I'm working on with stories, and

0:22:30.560 --> 0:22:32.840
<v Speaker 2>when we again, like when we were working with Brian

0:22:32.880 --> 0:22:35.400
<v Speaker 2>de Palmer. He was doing The Untouchables. This was sort

0:22:35.440 --> 0:22:38.720
<v Speaker 2>of again a you know, more of a low point

0:22:38.840 --> 0:22:41.359
<v Speaker 2>in his career, and they were very concerned that and

0:22:41.560 --> 0:22:44.120
<v Speaker 2>Untouchables was, you know, not going to be a success.

0:22:44.200 --> 0:22:46.440
<v Speaker 1>It's crazy, it's crazy to think of that.

0:22:46.640 --> 0:22:48.800
<v Speaker 2>So that again, that's why I love being with directors,

0:22:48.800 --> 0:22:51.000
<v Speaker 2>because you were in the thick of things and talking

0:22:51.000 --> 0:22:53.119
<v Speaker 2>to reviewers and trying to find out how everything was

0:22:53.160 --> 0:22:56.840
<v Speaker 2>going to be. And I remember then the how nervous

0:22:56.840 --> 0:22:58.679
<v Speaker 2>he was, and he almost wasn't even going to come

0:22:58.720 --> 0:23:01.920
<v Speaker 2>to the premiere, and there was all this drama associated

0:23:01.960 --> 0:23:03.680
<v Speaker 2>because he thought it was going to be a huge failure.

0:23:04.000 --> 0:23:08.879
<v Speaker 2>And then cut to the opening and it was. It

0:23:09.000 --> 0:23:14.080
<v Speaker 2>was just like a gigantic, excess huge fund and over

0:23:14.400 --> 0:23:17.199
<v Speaker 2>and in the you know, the doors opened and we

0:23:17.280 --> 0:23:20.960
<v Speaker 2>never got to see the movies, by the way, would

0:23:20.960 --> 0:23:25.920
<v Speaker 2>always be outside like comforting someone or but anyway, the

0:23:26.000 --> 0:23:27.919
<v Speaker 2>doors burst open. It was a huge hit and he

0:23:28.040 --> 0:23:29.840
<v Speaker 2>was back on top, you know.

0:23:29.960 --> 0:23:31.520
<v Speaker 1>So it's very exciting.

0:23:31.760 --> 0:23:34.600
<v Speaker 2>Or you'd see the opposite, which I saw with Frank Perry,

0:23:34.600 --> 0:23:37.880
<v Speaker 2>and that was I saw that the Little Movie Put

0:23:37.880 --> 0:23:42.120
<v Speaker 2>Me In which was Hello again. At the premiere, he

0:23:42.160 --> 0:23:45.240
<v Speaker 2>actually made an announcement that he was not going to

0:23:45.240 --> 0:23:47.840
<v Speaker 2>be staying for the movie, so if anybody had anything

0:23:47.880 --> 0:23:51.640
<v Speaker 2>negative to say, it was dire. Like literally right before

0:23:51.680 --> 0:23:54.440
<v Speaker 2>the movie, he said, I will not be staying, so

0:23:54.680 --> 0:23:58.080
<v Speaker 2>you won't have to worry about being polite or anything

0:23:58.119 --> 0:24:00.840
<v Speaker 2>like that. And he literally walked up the eye and

0:24:00.920 --> 0:24:02.919
<v Speaker 2>out the door. And so I said, but do you

0:24:02.960 --> 0:24:04.760
<v Speaker 2>think that sets you up a little bit? If you

0:24:04.800 --> 0:24:06.800
<v Speaker 2>do that, it's like low self esteem, you know. I mean,

0:24:06.840 --> 0:24:10.240
<v Speaker 2>it's like people is given the audience permission to well.

0:24:10.640 --> 0:24:13.520
<v Speaker 2>Because again I didn't see. We didn't have internet then,

0:24:13.760 --> 0:24:17.760
<v Speaker 2>and I didn't understand see even for me and I

0:24:17.800 --> 0:24:19.959
<v Speaker 2>write a little bit about this. You know, Frank Perry,

0:24:20.000 --> 0:24:23.640
<v Speaker 2>in my mind, I only knew him from he did

0:24:23.640 --> 0:24:27.160
<v Speaker 2>a movie with us, Compromising Positions, and then he had

0:24:27.160 --> 0:24:29.840
<v Speaker 2>done Mommy Dearest, and then now he's doing Hello again.

0:24:30.320 --> 0:24:32.800
<v Speaker 2>So I thought he was like middle of the road,

0:24:33.880 --> 0:24:39.480
<v Speaker 2>you know, Hollywood director. I had no idea of until

0:24:39.520 --> 0:24:41.880
<v Speaker 2>we became friends and he gave me these movies from

0:24:41.960 --> 0:24:45.680
<v Speaker 2>the sixties, you know, the Swimmer Diary of them, out House,

0:24:46.760 --> 0:24:52.240
<v Speaker 2>David Lisa. Yeah. That then it made sense to me

0:24:52.840 --> 0:24:55.959
<v Speaker 2>that he had made he had come on the scene,

0:24:56.160 --> 0:24:59.959
<v Speaker 2>you know, like a Paul Mazerski doing all these artists.

0:25:00.800 --> 0:25:03.080
<v Speaker 2>He was like the next you know, and then and

0:25:03.119 --> 0:25:06.600
<v Speaker 2>then now he was, you know, doing shit and Shelley

0:25:06.720 --> 0:25:09.040
<v Speaker 2>Long comedy vehicles.

0:25:09.200 --> 0:25:12.840
<v Speaker 1>Yeah, I think though that, I mean it's I had

0:25:12.840 --> 0:25:17.879
<v Speaker 1>a conversation with Quentin Tarantino about this because I had

0:25:17.920 --> 0:25:20.919
<v Speaker 1>direct I directed one movie and I hated it. I

0:25:21.000 --> 0:25:24.480
<v Speaker 1>hated the experience. The movie was shit. I wrote the movie.

0:25:24.520 --> 0:25:26.679
<v Speaker 1>I'm in the movie that was That was my biggest

0:25:26.680 --> 0:25:29.840
<v Speaker 1>mistake was putting me in the movie. But and I

0:25:29.880 --> 0:25:32.440
<v Speaker 1>don't like the movie. And I said to him, how

0:25:32.480 --> 0:25:35.720
<v Speaker 1>can that happen? And he said to me, did you

0:25:35.800 --> 0:25:38.000
<v Speaker 1>have an idea in your head with the movie? Did

0:25:38.040 --> 0:25:39.399
<v Speaker 1>you know how it was going to look? And I

0:25:39.440 --> 0:25:43.240
<v Speaker 1>was like no, And he said, well, I don't know

0:25:43.240 --> 0:25:45.040
<v Speaker 1>how you could make a movie without knowing that.

0:25:45.320 --> 0:25:45.639
<v Speaker 2>Yeah.

0:25:45.640 --> 0:25:49.080
<v Speaker 1>But he also said that, and he's been very public

0:25:49.080 --> 0:25:51.480
<v Speaker 1>about this, He'll make ten movies and he won't make anymore. Right,

0:25:52.119 --> 0:25:55.840
<v Speaker 1>And I think that movies are not really like books

0:25:55.960 --> 0:25:58.080
<v Speaker 1>or like anything else. I think you can make a

0:25:58.200 --> 0:26:02.760
<v Speaker 1>finite amount of movies. And then like even Kubrick at

0:26:02.800 --> 0:26:03.720
<v Speaker 1>the end, eyes White.

0:26:03.520 --> 0:26:06.480
<v Speaker 2>Shirt come on yeah, being repetitive.

0:26:06.600 --> 0:26:08.879
<v Speaker 1>Yeah, and you're kind of like if you get anything

0:26:08.920 --> 0:26:11.359
<v Speaker 1>really to say, you know, or is there any do

0:26:11.400 --> 0:26:13.600
<v Speaker 1>you really love it or do you just love being around?

0:26:14.359 --> 0:26:16.399
<v Speaker 1>Because you know how addictive it has being on a

0:26:16.440 --> 0:26:19.160
<v Speaker 1>movie set and the feeling of it and the and

0:26:19.200 --> 0:26:21.800
<v Speaker 1>the like good movies, bad movies. You don't know, nobody

0:26:21.880 --> 0:26:23.920
<v Speaker 1>knows when you're making it. If you like you're doing

0:26:23.960 --> 0:26:27.240
<v Speaker 1>the reverse angle on you talking to Nicole Kidman, you

0:26:27.240 --> 0:26:28.560
<v Speaker 1>don't know if the movie is going to be good

0:26:28.640 --> 0:26:31.320
<v Speaker 1>or not right, like, it doesn't you don't know. I mean,

0:26:31.320 --> 0:26:32.680
<v Speaker 1>you hope, you hope.

0:26:32.840 --> 0:26:35.240
<v Speaker 2>But there's only been a couple of times where yes,

0:26:35.480 --> 0:26:38.399
<v Speaker 2>where and when you say, I'm seeing it in my

0:26:38.640 --> 0:26:41.800
<v Speaker 2>mind and oftentimes I've come to the set and I

0:26:41.960 --> 0:26:46.480
<v Speaker 2>have a preconceived idea of grandeur in the head and

0:26:46.520 --> 0:26:49.000
<v Speaker 2>then they go really going to try to get this

0:26:49.040 --> 0:26:49.800
<v Speaker 2>before lunch?

0:26:49.960 --> 0:26:53.320
<v Speaker 1>Yeah, Yeah, and you got like like all of your thoughts.

0:26:53.359 --> 0:26:54.560
<v Speaker 1>It's like, we don't have time for that.

0:26:54.720 --> 0:26:57.440
<v Speaker 2>Yeah, we're just putting We're just gonna put this bench down,

0:26:57.560 --> 0:27:02.280
<v Speaker 2>and you know, and that's pretty much the worst thing

0:27:02.320 --> 0:27:04.479
<v Speaker 2>that you know, when you do your best and your

0:27:04.600 --> 0:27:07.120
<v Speaker 2>pro but that's when your heart sinks a little bit.

0:27:07.240 --> 0:27:09.200
<v Speaker 1>Well, here's I want to lead you into the book

0:27:09.240 --> 0:27:13.440
<v Speaker 1>a little bit. Because after that movie that I'm talking about, yes,

0:27:13.640 --> 0:27:16.880
<v Speaker 1>that I went, I can't make it. I don't want

0:27:16.880 --> 0:27:18.679
<v Speaker 1>to ever make another movie. I don't even want to

0:27:18.720 --> 0:27:21.320
<v Speaker 1>be around movies. I hate movies now. And I thought

0:27:21.320 --> 0:27:22.920
<v Speaker 1>the only antidote for this is to write a book.

0:27:22.960 --> 0:27:26.119
<v Speaker 1>So I wrote a novel after that because it was

0:27:26.640 --> 0:27:29.000
<v Speaker 1>I didn't have to talk to anyone, and all the

0:27:29.040 --> 0:27:31.600
<v Speaker 1>grandeur ideas I could have, I would just put them

0:27:31.640 --> 0:27:34.119
<v Speaker 1>down in there they were. And I set out to

0:27:34.119 --> 0:27:37.120
<v Speaker 1>write a book that was unfilmable. That was the only

0:27:37.200 --> 0:27:41.680
<v Speaker 1>task I set myself was unfilmable. Now you we were

0:27:41.680 --> 0:27:44.000
<v Speaker 1>talking about because this book, Connecticut and the Movies is

0:27:44.000 --> 0:27:47.720
<v Speaker 1>all about movies and movies show in Connecticut and the

0:27:47.760 --> 0:27:51.240
<v Speaker 1>history movies of Connecticut, and about romantic sex comedies in

0:27:51.280 --> 0:27:55.720
<v Speaker 1>Connecticut and how house design is influenced by movies in Connecticut,

0:27:55.760 --> 0:27:58.879
<v Speaker 1>and like this massive subject. But was it with a

0:27:58.920 --> 0:28:01.800
<v Speaker 1>disillusion about movies that you went to it? Was it

0:28:01.800 --> 0:28:02.680
<v Speaker 1>the same kind of thing?

0:28:03.280 --> 0:28:06.200
<v Speaker 2>No? I mean I always love movies, even bad movies.

0:28:06.280 --> 0:28:08.800
<v Speaker 2>That's why I wanted to do an entire chapter on

0:28:08.880 --> 0:28:13.119
<v Speaker 2>sex comedies because nobody's ever taken them seriously, you know,

0:28:13.200 --> 0:28:14.760
<v Speaker 2>they just say, oh, they're out of date and you

0:28:14.800 --> 0:28:17.919
<v Speaker 2>can't look at them, and they're sexist, and everybody's taking

0:28:17.960 --> 0:28:20.840
<v Speaker 2>bands of dreaming and drinking. Well, maybe they should be

0:28:20.920 --> 0:28:21.920
<v Speaker 2>seriously existing.

0:28:21.960 --> 0:28:24.320
<v Speaker 1>I think we could use a little more bands and.

0:28:24.280 --> 0:28:29.159
<v Speaker 2>Alcohol, all these pills that don't exist. Yeah, I know,

0:28:29.680 --> 0:28:34.159
<v Speaker 2>but it was It was a way to make a statement,

0:28:34.440 --> 0:28:36.439
<v Speaker 2>which I always like to do. I always like to

0:28:36.480 --> 0:28:41.280
<v Speaker 2>shine a light on movies where you know, Blue Velvet

0:28:41.680 --> 0:28:45.160
<v Speaker 2>is a movie about dark suburbia, right right, But you

0:28:45.160 --> 0:28:49.520
<v Speaker 2>wouldn't have Blue Velvet without the Swimmer without and in

0:28:49.560 --> 0:28:52.720
<v Speaker 2>my opinion, it all comes from a lot of these

0:28:52.800 --> 0:28:57.760
<v Speaker 2>ideas were set in Connecticut, and writers, the greatest writers

0:28:57.880 --> 0:29:02.280
<v Speaker 2>of the twentieth century. Eugene O'Neil wrote in Connecticut, Arthur Miller,

0:29:02.560 --> 0:29:06.120
<v Speaker 2>Lillian Hillman, Scott Fitzgerald, you know, on and on and on.

0:29:06.360 --> 0:29:10.440
<v Speaker 2>Many actors, Meryl Street, Paul Newman, you know, Katherine Hepburn.

0:29:10.880 --> 0:29:14.880
<v Speaker 2>They chose a lifestyle to live in Connecticut. And so

0:29:15.200 --> 0:29:21.520
<v Speaker 2>I felt my thesis was how much that Connecticut had

0:29:21.520 --> 0:29:24.200
<v Speaker 2>to influenced the culture of movies, and yet there was

0:29:24.320 --> 0:29:28.880
<v Speaker 2>absolutely no credit or no tie to that, and so

0:29:29.000 --> 0:29:31.800
<v Speaker 2>I thought, well, if I do this massive.

0:29:31.400 --> 0:29:34.280
<v Speaker 1>Book, yeah, and it is. I mean, it's very comprehensive,

0:29:34.320 --> 0:29:38.520
<v Speaker 1>and it's a much bigger subject than I would first think,

0:29:38.760 --> 0:29:41.440
<v Speaker 1>because I remember coming across it and like on your

0:29:41.600 --> 0:29:44.680
<v Speaker 1>Instagram or Twitter or something and going, I don't know

0:29:44.680 --> 0:29:47.160
<v Speaker 1>how you can do a whole book on that. And

0:29:47.200 --> 0:29:48.920
<v Speaker 1>now I'm looking at the book, I'm like, oh my god,

0:29:49.000 --> 0:29:49.720
<v Speaker 1>I had no idea.

0:29:50.400 --> 0:29:54.000
<v Speaker 2>Yes, it's you know, just to give you a tiny

0:29:54.080 --> 0:29:58.680
<v Speaker 2>little example, somebody like Katherine Hepburn who was from Connecticut

0:29:58.720 --> 0:30:03.880
<v Speaker 2>and she basically is the representative brand of Connecticut. And

0:30:03.920 --> 0:30:06.720
<v Speaker 2>whenever you see a Rich arras in a movie, they're

0:30:06.760 --> 0:30:08.640
<v Speaker 2>playing Catherine Hepburn pretty much.

0:30:08.720 --> 0:30:11.120
<v Speaker 1>Yeah, did you know women like that growing up?

0:30:11.480 --> 0:30:15.560
<v Speaker 2>Yes, place there's still a little look at me in

0:30:15.640 --> 0:30:16.320
<v Speaker 2>my LLB.

0:30:16.720 --> 0:30:19.880
<v Speaker 1>You know, you got a whiff of it yourself.

0:30:19.600 --> 0:30:23.200
<v Speaker 2>Ready to garden. No, but that you know, they're free spirited,

0:30:23.280 --> 0:30:26.680
<v Speaker 2>they wear pants, they can you know, they can garden,

0:30:26.760 --> 0:30:29.320
<v Speaker 2>they go swim in the ice water. But on the

0:30:29.360 --> 0:30:34.520
<v Speaker 2>other hand, they're very intelligent. And so I wanted to

0:30:35.440 --> 0:30:41.000
<v Speaker 2>identify Connecticut with all of these qualities and both light

0:30:41.080 --> 0:30:44.120
<v Speaker 2>and dark, you know, because Connecticut is a place in

0:30:44.160 --> 0:30:48.240
<v Speaker 2>the thirties and forties of transformation. Like Christmas in Connecticut.

0:30:49.000 --> 0:30:50.680
<v Speaker 2>You get out of the rat race, you go to

0:30:50.680 --> 0:30:53.040
<v Speaker 2>Connecticut and discover who you are.

0:30:54.200 --> 0:30:57.080
<v Speaker 1>Is it Is it still that or is it more

0:30:57.240 --> 0:30:58.560
<v Speaker 1>suburban New York? Now?

0:30:58.760 --> 0:31:02.760
<v Speaker 2>Well, now it still is that, but it's been bastardized

0:31:03.000 --> 0:31:07.360
<v Speaker 2>in a series of you know, Hallmark movies right where

0:31:07.360 --> 0:31:12.520
<v Speaker 2>it's gone completely over the top. But what happened, which

0:31:12.560 --> 0:31:16.640
<v Speaker 2>is what I chronicle, is that by the nineteen fifties

0:31:16.960 --> 0:31:20.560
<v Speaker 2>you start to get movies. So with mister Blandings built

0:31:20.600 --> 0:31:24.360
<v Speaker 2>a stream house, we created this myth of suburbia of

0:31:25.160 --> 0:31:28.239
<v Speaker 2>it's not only suburban living, it's the right kind of

0:31:28.280 --> 0:31:30.840
<v Speaker 2>suburban living. It's getting out of New York, but it's

0:31:30.880 --> 0:31:33.400
<v Speaker 2>living in the right neighborhood in New York. And how

0:31:33.440 --> 0:31:38.080
<v Speaker 2>important that is America. But what's interesting about these films

0:31:38.160 --> 0:31:40.719
<v Speaker 2>is that once they get there, you get a series

0:31:40.760 --> 0:31:44.520
<v Speaker 2>of movies like Gentlemen's Agreement, Man in the Gray Flannel Suit,

0:31:44.960 --> 0:31:49.760
<v Speaker 2>which are now all about the deconstruction of suburbia, and

0:31:49.800 --> 0:31:52.080
<v Speaker 2>they start to get darker and darker and darker.

0:31:52.160 --> 0:31:57.080
<v Speaker 1>Kind of the Swimmer with existential angst, and it's like, yes.

0:31:57.480 --> 0:32:01.440
<v Speaker 2>Right, the values, so everything we were right and we

0:32:01.520 --> 0:32:06.640
<v Speaker 2>got everybody there. Now it starts to get deconstructed. You

0:32:06.720 --> 0:32:11.640
<v Speaker 2>have these really weird sex comedies now where women are

0:32:11.840 --> 0:32:15.040
<v Speaker 2>left alone while their husbands are commuting and having affairs

0:32:15.240 --> 0:32:18.440
<v Speaker 2>and all this dark. And then it culminates with The

0:32:18.440 --> 0:32:19.080
<v Speaker 2>Stafford Wife.

0:32:19.120 --> 0:32:21.120
<v Speaker 1>I was going to say, that's what I guess to write,

0:32:21.160 --> 0:32:23.880
<v Speaker 1>Miss Stafford wise, very dark film.

0:32:24.600 --> 0:32:28.640
<v Speaker 2>It's unbelievably dark. And from that moment on, which was

0:32:28.680 --> 0:32:33.160
<v Speaker 2>my thesis of what I was thinking about, literally, from

0:32:33.160 --> 0:32:37.120
<v Speaker 2>The Stafford Wives on, Now you signal to an audience

0:32:37.280 --> 0:32:39.640
<v Speaker 2>if you want to show something really bad is going

0:32:39.680 --> 0:32:44.160
<v Speaker 2>to happen to a couple they go to Connecticut. It's

0:32:44.360 --> 0:32:47.120
<v Speaker 2>you know, now the house and the white picket fence.

0:32:47.560 --> 0:32:51.440
<v Speaker 2>There's something very bad. You know, there's something evil in

0:32:51.480 --> 0:32:52.120
<v Speaker 2>that house.

0:32:52.680 --> 0:32:55.480
<v Speaker 1>That's kind of weird. I wonder why that happened.

0:32:55.600 --> 0:32:58.760
<v Speaker 2>Well, I try to explain that it's in the.

0:32:59.720 --> 0:33:01.800
<v Speaker 1>Did you come up with any conclusions? Do you think?

0:33:02.080 --> 0:33:06.560
<v Speaker 2>I think that it becomes a convenient scapegoat again and

0:33:06.640 --> 0:33:11.400
<v Speaker 2>again and again, because you don't. You can't, just just

0:33:11.440 --> 0:33:14.800
<v Speaker 2>as we have the stereotype about the Midwest, right, it's

0:33:14.920 --> 0:33:19.400
<v Speaker 2>like go to American values. California is too, like fruits

0:33:19.400 --> 0:33:24.160
<v Speaker 2>and nuts, but it's it's somehow believable to make it Connecticut.

0:33:24.240 --> 0:33:28.040
<v Speaker 2>I'll give you a little short example in the movie

0:33:28.160 --> 0:33:31.680
<v Speaker 2>Rope in Alfred Hitchcock, which is based on Leopold and

0:33:31.760 --> 0:33:35.480
<v Speaker 2>Low murder case. And they were two college students from Yale.

0:33:36.200 --> 0:33:39.400
<v Speaker 2>So Alfred Hitchcock decides to place the movie not in

0:33:39.480 --> 0:33:43.760
<v Speaker 2>Chicago but in a fictional town called Medford, which was

0:33:43.800 --> 0:33:49.920
<v Speaker 2>actually Danbury, Connecticut. And so he changes the location and

0:33:50.760 --> 0:33:54.239
<v Speaker 2>somehow makes that more sinister. If the if they're if

0:33:54.240 --> 0:33:56.880
<v Speaker 2>they're from Connecticut, you know, so I.

0:33:56.880 --> 0:33:59.960
<v Speaker 1>Think it's maybe the I mean Stanford wise, that is well,

0:34:00.160 --> 0:34:03.440
<v Speaker 1>that air of respectability, like everything's respectable, everything's fine. But

0:34:03.520 --> 0:34:07.840
<v Speaker 1>yet underneath it the you know, the ben's a dream

0:34:07.840 --> 0:34:10.920
<v Speaker 1>and alcohol. Right, it can't be this, it can't be

0:34:10.960 --> 0:34:12.960
<v Speaker 1>that good. There's something got to be something wrong. There's

0:34:13.000 --> 0:34:14.399
<v Speaker 1>got to be something horrible here.

0:34:14.600 --> 0:34:16.759
<v Speaker 2>Yeah, And some of it has to do with a

0:34:16.800 --> 0:34:22.000
<v Speaker 2>lot of the New Yorkers that were doing plays on

0:34:22.120 --> 0:34:27.759
<v Speaker 2>Broadway and moving to Connecticut may have been satirizing the

0:34:27.880 --> 0:34:30.200
<v Speaker 2>very culture that they were living in.

0:34:30.360 --> 0:34:33.920
<v Speaker 1>Maybe I had an impulse once that I think is

0:34:34.000 --> 0:34:36.800
<v Speaker 1>very similar. I've been sober for a very long time.

0:34:37.160 --> 0:34:41.239
<v Speaker 1>And when I first went to first started working in Hollywood,

0:34:41.440 --> 0:34:46.040
<v Speaker 1>and early in the mid nineties mid nineties, I was

0:34:46.080 --> 0:34:49.399
<v Speaker 1>doing a show at Disney and I had a meeting

0:34:49.440 --> 0:34:52.520
<v Speaker 1>at Disney and the Disney law in the valley. And

0:34:52.600 --> 0:34:54.760
<v Speaker 1>I got there and the meeting was at some office

0:34:54.760 --> 0:34:56.440
<v Speaker 1>the other side of the law and it was Disney

0:34:56.480 --> 0:35:00.760
<v Speaker 1>Family Day, right, So all the Disney employees, all the

0:35:00.840 --> 0:35:03.440
<v Speaker 1>people who worked in the offices and the crews and

0:35:03.480 --> 0:35:05.600
<v Speaker 1>all that stuff. There was a little kind of like

0:35:05.680 --> 0:35:09.719
<v Speaker 1>funfair setup and everyone has found this beautiful suburban the

0:35:09.760 --> 0:35:11.839
<v Speaker 1>sun was shining, all the little kids all in their

0:35:11.840 --> 0:35:14.719
<v Speaker 1>little outfits, and the little Bounty castle and it was

0:35:14.760 --> 0:35:16.919
<v Speaker 1>all sweet and stuff. And I had to walk through

0:35:16.960 --> 0:35:19.120
<v Speaker 1>all of that before I had my own kids, to

0:35:19.120 --> 0:35:21.720
<v Speaker 1>walk through all of that to get to the office

0:35:21.840 --> 0:35:24.319
<v Speaker 1>on the other side where I was having lunch with

0:35:24.400 --> 0:35:29.520
<v Speaker 1>some Disney executive about some saccerin project. Halfway through the funfair,

0:35:30.040 --> 0:35:33.399
<v Speaker 1>I so much wanted to have black Tar heroin that

0:35:33.480 --> 0:35:37.640
<v Speaker 1>I've never I was like, I gotta have something bad.

0:35:38.120 --> 0:35:41.360
<v Speaker 1>This is driving me crazy. Now I think that's probably

0:35:41.360 --> 0:35:45.319
<v Speaker 1>says a little bit about me. But also the sweetness

0:35:45.400 --> 0:35:48.120
<v Speaker 1>and the and the the lightness of it made me

0:35:49.440 --> 0:35:52.040
<v Speaker 1>almost like I wanted, I wanted something to balance it.

0:35:52.320 --> 0:35:55.279
<v Speaker 1>I wonder if that's the same thing with Connecticut that

0:35:55.400 --> 0:35:58.880
<v Speaker 1>it was, that it was idealized and then you know,

0:35:58.960 --> 0:36:00.520
<v Speaker 1>it's like, I know, well.

0:36:00.360 --> 0:36:05.480
<v Speaker 2>There's you know, there's roots in real Puritanism. And remember

0:36:05.960 --> 0:36:09.279
<v Speaker 2>they were burning witches in Connecticut before Boston. Yeah, that's

0:36:09.280 --> 0:36:11.000
<v Speaker 2>another thing. We don't get enough.

0:36:11.080 --> 0:36:11.800
<v Speaker 1>Question started it.

0:36:12.960 --> 0:36:13.800
<v Speaker 2>We were the ones.

0:36:13.960 --> 0:36:15.239
<v Speaker 1>Yeah, and so.

0:36:16.920 --> 0:36:19.880
<v Speaker 2>What the Stepford Wives, you know, and I read the book.

0:36:20.520 --> 0:36:24.960
<v Speaker 2>He says it's about conformity, which is true. In Connecticut.

0:36:25.040 --> 0:36:29.040
<v Speaker 2>There's a great sense of you know, conformity. That's not

0:36:29.200 --> 0:36:33.320
<v Speaker 2>what the Stepford Wives ended up being. It's like, again

0:36:33.400 --> 0:36:35.840
<v Speaker 2>it was me. It's sort of being down on everybody.

0:36:35.920 --> 0:36:39.320
<v Speaker 2>It's down on housewives, down on suburbia. But there is

0:36:40.200 --> 0:36:43.279
<v Speaker 2>what I thought was interesting in Connecticut and which I

0:36:43.480 --> 0:36:47.440
<v Speaker 2>fought all my life, is this fierce need to be independent,

0:36:48.000 --> 0:36:51.680
<v Speaker 2>but also this fierce need to conform, right, you know,

0:36:52.120 --> 0:36:56.120
<v Speaker 2>and you if you speak up, people say, well, you know, stop,

0:36:56.200 --> 0:37:01.359
<v Speaker 2>you're meddling, you know, And it's still there. It's still there.

0:37:01.440 --> 0:37:05.840
<v Speaker 2>A little bit, you know that they don't like, you know,

0:37:06.239 --> 0:37:09.640
<v Speaker 2>people to speak up so much. They have a quiet

0:37:10.120 --> 0:37:12.880
<v Speaker 2>you know, old money doesn't talk about their money, right,

0:37:13.440 --> 0:37:16.799
<v Speaker 2>you know. So all of these roots have found their

0:37:16.880 --> 0:37:20.960
<v Speaker 2>way into some of these movies. But then there's example

0:37:21.040 --> 0:37:25.440
<v Speaker 2>after example of things that are are really important that

0:37:25.560 --> 0:37:30.160
<v Speaker 2>nobody knows about. Like Thirgod Marshall try to a case

0:37:30.400 --> 0:37:33.840
<v Speaker 2>with the NAACP in the nineteen forties and won the

0:37:33.920 --> 0:37:36.200
<v Speaker 2>case and it sort of put him on the map. Well,

0:37:36.239 --> 0:37:42.000
<v Speaker 2>that happened in Connecticut, So there's always that, As I said,

0:37:42.040 --> 0:37:45.560
<v Speaker 2>that light and dark that I think is interesting about

0:37:45.560 --> 0:37:45.919
<v Speaker 2>the state.

0:37:46.080 --> 0:37:48.840
<v Speaker 1>And you were drawn back there after living for a

0:37:48.880 --> 0:37:50.319
<v Speaker 1>long time in La.

0:37:50.840 --> 0:37:53.520
<v Speaker 2>Yes, I was living in LA and again just being

0:37:53.560 --> 0:37:56.920
<v Speaker 2>in show business, you know, you just you really couldn't

0:37:57.320 --> 0:38:01.320
<v Speaker 2>at that time pre COVID wanted to be in the movies,

0:38:01.560 --> 0:38:04.879
<v Speaker 2>you know, in TV you had to live in la

0:38:05.040 --> 0:38:08.000
<v Speaker 2>And there was a lot of things I was working on.

0:38:08.719 --> 0:38:12.000
<v Speaker 2>But then when COVID happened and it was like Domino's

0:38:12.040 --> 0:38:16.640
<v Speaker 2>and I saw myself not being employed for a year

0:38:17.040 --> 0:38:20.600
<v Speaker 2>maybe you know even more, that's when I started to think, well,

0:38:20.640 --> 0:38:22.760
<v Speaker 2>I started writing the book and it was an organic

0:38:22.880 --> 0:38:27.239
<v Speaker 2>process of the more I was reading about actor after

0:38:27.400 --> 0:38:30.279
<v Speaker 2>actor after like, well it was good enough for you,

0:38:30.400 --> 0:38:33.279
<v Speaker 2>Gene O'Neil, you wrote here, and oh look at this

0:38:33.520 --> 0:38:37.200
<v Speaker 2>Richard Woodmark. He left Hollywood and became a Mark. He

0:38:37.360 --> 0:38:38.680
<v Speaker 2>became a gentleman farmer.

0:38:38.800 --> 0:38:39.279
<v Speaker 1>Did he really?

0:38:39.360 --> 0:38:42.080
<v Speaker 2>Yeah? You couldn't get him off of his farm. So

0:38:42.280 --> 0:38:44.759
<v Speaker 2>I started to be Richard produced.

0:38:44.840 --> 0:38:48.000
<v Speaker 1>Just to digress just a second, I've always I'm trying

0:38:48.000 --> 0:38:50.279
<v Speaker 1>to figure out what is the movie he dives off

0:38:50.320 --> 0:38:53.400
<v Speaker 1>the pirate boat with a knife in his teeth. Do

0:38:53.440 --> 0:38:57.000
<v Speaker 1>you remember that movie? I kind of remember Richard Woodmark.

0:38:57.280 --> 0:38:59.640
<v Speaker 1>He's got a knife in his hindeth and he dives

0:38:59.680 --> 0:39:01.799
<v Speaker 1>off the and I'm like, I'd see that's the way,

0:39:02.080 --> 0:39:04.680
<v Speaker 1>that's the way to live. So he lived Hollywood, Yes,

0:39:05.080 --> 0:39:06.600
<v Speaker 1>and moved back to Connecticut.

0:39:06.680 --> 0:39:10.960
<v Speaker 2>Yes. I visited his grave. Yeah, and was gentleman farmer

0:39:11.280 --> 0:39:15.120
<v Speaker 2>and lived with his wife, who was a writer, owned

0:39:15.719 --> 0:39:19.399
<v Speaker 2>and got involved with it. You know at all tracks.

0:39:19.280 --> 0:39:21.880
<v Speaker 1>Poone Newman did the same thing that Pony Yuman went back.

0:39:21.800 --> 0:39:25.200
<v Speaker 2>And right after they did. I'm telling you time and again.

0:39:25.480 --> 0:39:28.279
<v Speaker 2>You know it was something I thought, But then as

0:39:28.320 --> 0:39:30.520
<v Speaker 2>I was right, I was like, yeah, Paul knew. They

0:39:30.600 --> 0:39:32.879
<v Speaker 2>did rally around the flag boys, and then they moved

0:39:32.880 --> 0:39:35.480
<v Speaker 2>to Connecticut and Ili Cauzann did a movie here and

0:39:35.560 --> 0:39:38.680
<v Speaker 2>then he moved to Connecticut. You know people who worked here.

0:39:39.560 --> 0:39:43.480
<v Speaker 2>There was something about there was a poll for them

0:39:43.640 --> 0:39:46.960
<v Speaker 2>to move there, and happened again and again and again.

0:39:47.400 --> 0:39:52.000
<v Speaker 2>But yeah, Richard Woodmark had a big, big farm and didn't.

0:39:52.560 --> 0:39:55.080
<v Speaker 2>It was very hard apparently for him to leave the farm.

0:39:55.520 --> 0:39:59.080
<v Speaker 2>And his neighbor was Arthur Miller, and they and William

0:39:59.120 --> 0:40:02.320
<v Speaker 2>Styron the right, uh, and they got involved later on

0:40:02.440 --> 0:40:05.320
<v Speaker 2>there's a chapter on true crime, and they got involved

0:40:05.840 --> 0:40:10.520
<v Speaker 2>helping exonerate boy who had been accused of killing his mother.

0:40:10.719 --> 0:40:14.480
<v Speaker 2>Is a very very famous case murder case in Connecticut. Wow,

0:40:14.760 --> 0:40:17.360
<v Speaker 2>Peter Riley case. Did you know that the wood the

0:40:17.480 --> 0:40:20.680
<v Speaker 2>wood chipper you know the in Fargo Christ Well, that

0:40:20.880 --> 0:40:23.520
<v Speaker 2>is based on a murder that happened in Connecticut.

0:40:23.680 --> 0:40:28.800
<v Speaker 1>That is so. But you started burning witches, you started

0:40:29.160 --> 0:40:35.480
<v Speaker 1>woodchipper murders, right, All the innovation in grizzly Murder comes

0:40:35.520 --> 0:40:39.120
<v Speaker 1>from Connecticut. So then I guess maybe that might explain

0:40:39.200 --> 0:40:42.399
<v Speaker 1>the idea of when it became the suburban ideal. Yes,

0:40:42.600 --> 0:40:46.480
<v Speaker 1>underneath the suburban ideal is that this is where they

0:40:46.560 --> 0:40:49.000
<v Speaker 1>burned the witches, this is where the this is where

0:40:49.120 --> 0:40:55.200
<v Speaker 1>these Puritans came from. England landed here because the restrictive

0:40:55.280 --> 0:41:02.919
<v Speaker 1>practices of religion weren't restrictive enough for a place where

0:41:02.960 --> 0:41:06.040
<v Speaker 1>it was more restrictive, they could be more restrictive than

0:41:06.080 --> 0:41:09.480
<v Speaker 1>the easygoing England of the Middle Ages. Yes, I mean

0:41:09.560 --> 0:41:12.120
<v Speaker 1>that it's crazy though. I mean it's it's a real

0:41:12.200 --> 0:41:14.279
<v Speaker 1>and it's fast when you think about it, a couple

0:41:14.280 --> 0:41:14.959
<v Speaker 1>of hundred years.

0:41:15.120 --> 0:41:17.479
<v Speaker 2>Yeah, and it also probably has something to do again

0:41:17.560 --> 0:41:21.120
<v Speaker 2>with the landscape. You know, it's not easy. You know,

0:41:21.239 --> 0:41:22.040
<v Speaker 2>it's cold and.

0:41:22.600 --> 0:41:26.840
<v Speaker 1>Cold, and it was before you know, modern convenience, be

0:41:27.080 --> 0:41:28.319
<v Speaker 1>really hard living there.

0:41:28.640 --> 0:41:31.040
<v Speaker 2>Yeah. Well they first they had to get and I

0:41:31.120 --> 0:41:34.320
<v Speaker 2>go into some detail on that too. One of the

0:41:34.400 --> 0:41:37.120
<v Speaker 2>most fun chapters for me is this movie called Parish

0:41:37.280 --> 0:41:40.239
<v Speaker 2>from nineteen sixty one. Right, it's a Warner Brothers movie

0:41:40.320 --> 0:41:44.520
<v Speaker 2>by director I Love Delmer Daves. He did Three Tender Yuma.

0:41:45.080 --> 0:41:47.600
<v Speaker 1>Oh that's a great movie. Yeah. Yeah.

0:41:47.800 --> 0:41:51.799
<v Speaker 2>He was primarily known for westerns, but he developed heart

0:41:51.880 --> 0:41:56.640
<v Speaker 2>problems and then he believe he went into like romance movies,

0:41:56.719 --> 0:41:59.600
<v Speaker 2>which is really strange. So he did a summer place.

0:42:00.280 --> 0:42:04.000
<v Speaker 2>He used Troy Donahue again and again. So he did

0:42:04.080 --> 0:42:08.520
<v Speaker 2>this movie called Parish, which was based on a novel.

0:42:08.760 --> 0:42:11.960
<v Speaker 2>It's sort of like dynasty in the tobacco fields of Connecticut.

0:42:12.080 --> 0:42:16.400
<v Speaker 2>That's another thing. Connecticut was very famous, believe it or not,

0:42:16.680 --> 0:42:23.360
<v Speaker 2>Shade tobacco was considered the finest tobacco leaves for cigars,

0:42:23.600 --> 0:42:29.680
<v Speaker 2>which they I go into details. So this movie is

0:42:29.920 --> 0:42:33.680
<v Speaker 2>this is what's so broad about this subject. So he

0:42:33.800 --> 0:42:36.319
<v Speaker 2>comes to Connecticut to work on the script. He gets

0:42:36.480 --> 0:42:42.520
<v Speaker 2>fully involved, immersed in the tobacco, like, learning everything about

0:42:42.640 --> 0:42:45.560
<v Speaker 2>tobacco and the farm, making them work on the farm.

0:42:45.719 --> 0:42:49.080
<v Speaker 2>And I talked with this actress at Connie Stevens about

0:42:49.120 --> 0:42:51.360
<v Speaker 2>you know, they were of course they were immersed in

0:42:51.960 --> 0:42:54.719
<v Speaker 2>you know, Connecticut and living here and going to all least.

0:42:54.960 --> 0:42:58.279
<v Speaker 2>So the movie is a travelogue of Connecticut. But in

0:42:58.400 --> 0:43:01.320
<v Speaker 2>writing about the film, I had to go all the

0:43:01.360 --> 0:43:04.840
<v Speaker 2>way back to the Native Americans who were, you know,

0:43:05.000 --> 0:43:09.120
<v Speaker 2>harvesting tobacco and stupidly told the English people about it,

0:43:09.200 --> 0:43:11.640
<v Speaker 2>and of course they pushed them all out. But it

0:43:11.800 --> 0:43:15.640
<v Speaker 2>has so the movie is so that one film for me,

0:43:16.440 --> 0:43:19.120
<v Speaker 2>it's about the collapse of the studio system, because it

0:43:19.239 --> 0:43:20.960
<v Speaker 2>was the end of Warner Brothers, to the end of

0:43:21.000 --> 0:43:23.520
<v Speaker 2>the era, and people like Troy Donahue and their career

0:43:23.719 --> 0:43:27.480
<v Speaker 2>was ending. It's the last film of Claudete Colbert, who

0:43:27.600 --> 0:43:29.759
<v Speaker 2>was driven to the set every day in a limousine

0:43:30.440 --> 0:43:34.359
<v Speaker 2>from New York. These young rebels, you know, Cottie Steeve,

0:43:34.480 --> 0:43:38.640
<v Speaker 2>theyre running around Connecticut and going out drinking, and they

0:43:38.680 --> 0:43:41.040
<v Speaker 2>were friends with all the extra you know, because they

0:43:41.120 --> 0:43:45.120
<v Speaker 2>hired all these local high school studies at this place.

0:43:45.400 --> 0:43:49.000
<v Speaker 2>There was some boys school in a girls' school, Loomis Chafey, Windsor.

0:43:49.880 --> 0:43:52.240
<v Speaker 2>It's part of the mythology that I would meet people

0:43:52.440 --> 0:43:54.320
<v Speaker 2>I was an extra in Parish.

0:43:54.120 --> 0:43:55.799
<v Speaker 1>Oh right, of course, because they still be there.

0:43:55.960 --> 0:43:58.920
<v Speaker 2>I were working on the time tobacco fields. And then

0:43:58.960 --> 0:44:01.480
<v Speaker 2>it's also about the end of the glamour of Connecticut,

0:44:02.120 --> 0:44:05.239
<v Speaker 2>because it's about this the end of this dynasty, of

0:44:05.320 --> 0:44:09.120
<v Speaker 2>this tobacco dynasty. At the same time it was the

0:44:09.400 --> 0:44:11.719
<v Speaker 2>end of There was a place that they shot at

0:44:11.840 --> 0:44:16.480
<v Speaker 2>called TerraMar in Old Sabrook, And when I delivered the book,

0:44:16.520 --> 0:44:18.880
<v Speaker 2>they actually thought I had made an error because I

0:44:19.280 --> 0:44:22.719
<v Speaker 2>called it a Bowtel, and they corrected it to be

0:44:22.800 --> 0:44:25.480
<v Speaker 2>a hotel, and I said, no, it was a Bowtel.

0:44:25.800 --> 0:44:27.640
<v Speaker 2>Yachts would pull up.

0:44:28.320 --> 0:44:29.680
<v Speaker 1>A boatl.

0:44:30.880 --> 0:44:34.160
<v Speaker 2>I never even heard me neither. Yeah, that yachts would

0:44:34.200 --> 0:44:36.439
<v Speaker 2>pull up from the Long Island Sound. They would dine

0:44:36.600 --> 0:44:39.920
<v Speaker 2>and dance and listen to a musical act whatever, get

0:44:40.000 --> 0:44:42.520
<v Speaker 2>back on the boat. See, I feel like it's all

0:44:42.640 --> 0:44:43.479
<v Speaker 2>in that one movie.

0:44:43.719 --> 0:44:46.080
<v Speaker 1>Isn't that bad? That like would not be more? Is

0:44:46.120 --> 0:44:47.840
<v Speaker 1>that how you live now? You'd take your boat to

0:44:47.920 --> 0:44:51.239
<v Speaker 1>the Bowtel hotel and you wear fancy outfits and listen

0:44:51.360 --> 0:44:52.320
<v Speaker 1>to a band.

0:44:52.520 --> 0:44:54.600
<v Speaker 2>And well, that's what I love about the movie because

0:44:54.640 --> 0:44:59.920
<v Speaker 2>it captures That's what I say, this last gasp of glamour.

0:45:01.520 --> 0:45:03.520
<v Speaker 1>It's it's not like that night because you lived there. No,

0:45:03.600 --> 0:45:04.360
<v Speaker 1>what's your life like?

0:45:04.440 --> 0:45:04.480
<v Speaker 2>No?

0:45:04.640 --> 0:45:06.960
<v Speaker 1>Then is it rural? Do you have chickens?

0:45:07.000 --> 0:45:11.000
<v Speaker 2>Lot of gardening? No? It's well, as I wrote, I'm

0:45:11.320 --> 0:45:15.600
<v Speaker 2>in the book, I'm Missus Blandings. I'm supervising a restoration

0:45:15.800 --> 0:45:18.960
<v Speaker 2>of an eighteen ten farmhouse which was kind of let

0:45:19.120 --> 0:45:21.960
<v Speaker 2>go for a very long time. So I'm on phase three.

0:45:22.560 --> 0:45:24.440
<v Speaker 1>So a lot of it is how many phases there?

0:45:25.400 --> 0:45:30.120
<v Speaker 2>I'm hoping three, I'm hoping. I'm hoping four is the ending,

0:45:30.400 --> 0:45:35.040
<v Speaker 2>but that I'll probably collapse, you know after that. But no,

0:45:35.320 --> 0:45:37.560
<v Speaker 2>it was a ground up, like from the you know,

0:45:38.360 --> 0:45:38.960
<v Speaker 2>fixing them.

0:45:39.200 --> 0:45:42.600
<v Speaker 1>So this was like a movement of a valley pre COVID,

0:45:42.680 --> 0:45:43.680
<v Speaker 1>after during COVID.

0:45:44.120 --> 0:45:44.720
<v Speaker 2>During COVID.

0:45:44.920 --> 0:45:45.520
<v Speaker 1>Right, I'm done.

0:45:45.840 --> 0:45:49.239
<v Speaker 2>Yeah, just I found the house and my real estate

0:45:49.680 --> 0:45:52.160
<v Speaker 2>just said, you know, oh it just needs a little

0:45:52.200 --> 0:45:54.480
<v Speaker 2>love and you know, and then I moved in and

0:45:54.560 --> 0:45:59.360
<v Speaker 2>of course so it was so much worse, but I'm committed.

0:45:59.440 --> 0:46:01.960
<v Speaker 2>That's the one good thing about you know, being an actor.

0:46:02.520 --> 0:46:04.839
<v Speaker 2>When things were really bad, I used to just walk

0:46:04.880 --> 0:46:07.239
<v Speaker 2>outside and say, you can do this. You're directing a

0:46:07.320 --> 0:46:09.480
<v Speaker 2>movie and you've got all these people and you have

0:46:09.560 --> 0:46:11.520
<v Speaker 2>to tell them what to do. And but I mean

0:46:11.560 --> 0:46:14.560
<v Speaker 2>I learned firsthand again just dealing with all the different

0:46:14.640 --> 0:46:17.960
<v Speaker 2>contractors and personalities. I was like, wow, there's still a

0:46:18.000 --> 0:46:22.560
<v Speaker 2>lot of this old Connecticut. Every cliche that is in landings, yes,

0:46:23.120 --> 0:46:28.160
<v Speaker 2>is really still true about people you know? Yep, nope.

0:46:28.760 --> 0:46:32.440
<v Speaker 1>Yeah, it's funny that I see a lot of parallels

0:46:32.520 --> 0:46:34.839
<v Speaker 1>with Scotland. For me, there is obviously where I'm from.

0:46:34.920 --> 0:46:37.320
<v Speaker 1>But yeah, the whole idea of like in the movies,

0:46:37.360 --> 0:46:39.160
<v Speaker 1>it's portrayed a certain way and you go, well, it's

0:46:39.160 --> 0:46:40.799
<v Speaker 1>not really like that, and then you go there and well,

0:46:40.880 --> 0:46:44.040
<v Speaker 1>like kind of is like that, you know, and like

0:46:44.160 --> 0:46:46.719
<v Speaker 1>and all the different colors of it, from trainsport in

0:46:46.760 --> 0:46:49.120
<v Speaker 1>to local hero you know, it's like, you know, the

0:46:49.800 --> 0:46:53.520
<v Speaker 1>the awfulness of the some of the urban life and

0:46:54.400 --> 0:46:57.680
<v Speaker 1>the drug problems in the cities, and then the beauty

0:46:57.800 --> 0:47:00.200
<v Speaker 1>and the quiet of the countryside and the people were

0:47:00.280 --> 0:47:01.719
<v Speaker 1>quirky and funny. It's kind of true.

0:47:02.080 --> 0:47:05.839
<v Speaker 2>Yeah, and there's a lot of well there's a lot

0:47:05.880 --> 0:47:09.360
<v Speaker 2>of cheapness. People in Connecticut are very you know, thrifty

0:47:10.000 --> 0:47:13.520
<v Speaker 2>they call it. And there is a class system of very.

0:47:13.880 --> 0:47:16.799
<v Speaker 1>Now that's going to be imported from from the UK.

0:47:17.160 --> 0:47:19.560
<v Speaker 1>Surely that's got to be brought and from that's a

0:47:19.800 --> 0:47:22.880
<v Speaker 1>that's an old money thing. Class system. And you to

0:47:22.960 --> 0:47:24.920
<v Speaker 1>matter how much money you make, Well, there's.

0:47:24.760 --> 0:47:28.160
<v Speaker 2>Three classes, which is there's the working class, right, and

0:47:28.280 --> 0:47:31.600
<v Speaker 2>then there's the upper class. But the upper class what

0:47:31.760 --> 0:47:34.520
<v Speaker 2>everybody agrees on is everybody hates what the you know,

0:47:34.800 --> 0:47:38.880
<v Speaker 2>the bourgeoisie. That's what everybody hates, right, and that is

0:47:39.000 --> 0:47:44.560
<v Speaker 2>what the sixties comedies were all about. The bourgeoisie.

0:47:46.480 --> 0:47:48.080
<v Speaker 1>Are the cheese and the Sandwich.

0:47:48.440 --> 0:47:51.360
<v Speaker 2>Fact, people that moved in that were the you know,

0:47:51.520 --> 0:47:56.040
<v Speaker 2>the parking lot czars and not the old money and

0:47:56.200 --> 0:47:59.040
<v Speaker 2>academic you know, it's another area of Connecticut.

0:47:58.560 --> 0:48:05.520
<v Speaker 4>That of course, yeah, Yale, Yale and Wesleyan, Yeah, Trinity College.

0:48:05.560 --> 0:48:08.520
<v Speaker 1>I was always fascinated by. I remember doing a stand

0:48:08.600 --> 0:48:10.839
<v Speaker 1>up gig in Yale, and I was the first time

0:48:10.920 --> 0:48:12.399
<v Speaker 1>I thought this is going to be great. It's like, yeah,

0:48:12.520 --> 0:48:15.200
<v Speaker 1>Hogwarts and it's like going to Hogwarts, but it's like

0:48:15.360 --> 0:48:18.399
<v Speaker 1>if Hogwarts was in the middle of downtown Detroit. I mean,

0:48:18.560 --> 0:48:23.520
<v Speaker 1>it's like Jesus crazy, but it's like beautiful campus.

0:48:23.800 --> 0:48:24.280
<v Speaker 4>And then.

0:48:26.000 --> 0:48:29.520
<v Speaker 2>Woman like, oh my god, well that's that's that's always

0:48:29.600 --> 0:48:31.960
<v Speaker 2>kind of fast. That's what I'm It's fascinating me. And

0:48:32.120 --> 0:48:35.359
<v Speaker 2>yet what you only see in the movie is Yale, right,

0:48:35.880 --> 0:48:40.560
<v Speaker 2>you don't see the train station right outskirts and the

0:48:40.640 --> 0:48:44.279
<v Speaker 2>Italian And you know another thing about Connecticut that there's

0:48:45.120 --> 0:48:49.200
<v Speaker 2>a lot of, famously going back to the twenties and thirties, corruption,

0:48:49.640 --> 0:48:51.440
<v Speaker 2>political corruption specifically.

0:48:51.719 --> 0:48:53.280
<v Speaker 1>Yeah, I think I think that's everywhere.

0:48:53.280 --> 0:48:56.640
<v Speaker 2>Early I can't believe you're telling me that.

0:48:56.680 --> 0:48:59.919
<v Speaker 1>I don't think. I like, look, I know you guys

0:49:00.040 --> 0:49:02.799
<v Speaker 1>started witch burning, and I know you started bitting people

0:49:02.840 --> 0:49:06.520
<v Speaker 1>in Wood the Hamburger and the Hamburgers from Connecticut.

0:49:06.760 --> 0:49:10.799
<v Speaker 2>Yeah, stop it, Yes it is although people fight people. Yeah,

0:49:10.960 --> 0:49:13.719
<v Speaker 2>they're having fights about them. They said new Haven.

0:49:13.880 --> 0:49:16.400
<v Speaker 1>I heard the Hagis was from Connecticut.

0:49:16.640 --> 0:49:19.920
<v Speaker 2>Hagus. No, it couldn't be.

0:49:27.239 --> 0:49:29.160
<v Speaker 1>So you're biting them now? Will you ever go back

0:49:29.160 --> 0:49:29.839
<v Speaker 1>to la do you think?

0:49:29.920 --> 0:49:33.719
<v Speaker 2>No, I'll never go back. I never. It's interesting, I've

0:49:33.760 --> 0:49:36.680
<v Speaker 2>never I never returned to a place, you know, because

0:49:36.680 --> 0:49:38.960
<v Speaker 2>I was in New York and then I went to

0:49:39.239 --> 0:49:43.759
<v Speaker 2>l A. I never went back to New York, and

0:49:43.880 --> 0:49:46.800
<v Speaker 2>then now I'm in Connecticut. So I don't see myself.

0:49:47.800 --> 0:49:49.799
<v Speaker 2>First of all, I think a human being only has

0:49:49.840 --> 0:49:52.840
<v Speaker 2>a few moves in them. Remember when we used to

0:49:52.880 --> 0:49:55.480
<v Speaker 2>be by coastal. I was talking to a friend, you know,

0:49:55.600 --> 0:49:57.440
<v Speaker 2>like back when we started our careers, it was very

0:49:57.520 --> 0:49:57.880
<v Speaker 2>easy to.

0:49:57.880 --> 0:49:59.040
<v Speaker 1>Be on the airplane all the time.

0:49:59.160 --> 0:50:02.120
<v Speaker 2>Yeah, we could trap and we had a little place

0:50:02.200 --> 0:50:05.920
<v Speaker 2>in New York, a little crappy. Yeah that's all gone now.

0:50:06.120 --> 0:50:08.520
<v Speaker 1>So I think it's harder for younger people to make

0:50:08.640 --> 0:50:11.239
<v Speaker 1>the kind of money that supports that. Yeah, and then

0:50:11.280 --> 0:50:12.799
<v Speaker 1>they don't have to because a lot of it can

0:50:12.840 --> 0:50:15.439
<v Speaker 1>be done online. But I have a theory about New York,

0:50:15.640 --> 0:50:18.160
<v Speaker 1>which is this because I came to New York first

0:50:18.200 --> 0:50:20.680
<v Speaker 1>time when I was We're in New York City right now. Yes,

0:50:22.360 --> 0:50:23.920
<v Speaker 1>you and I are both in New York City. I

0:50:24.040 --> 0:50:25.920
<v Speaker 1>lived in LA for twenty three years. I don't know

0:50:25.960 --> 0:50:29.880
<v Speaker 1>how long you were there, fourteen fourteen, all right. See.

0:50:30.040 --> 0:50:31.919
<v Speaker 1>I first came here when I was thirteen years old,

0:50:32.280 --> 0:50:35.920
<v Speaker 1>nineteen seventy five, with my dad. And I think for

0:50:36.080 --> 0:50:38.279
<v Speaker 1>certain people, once you come to New York, no matter

0:50:38.360 --> 0:50:42.000
<v Speaker 1>where you fucking go, you're going to be New Yorker,

0:50:42.360 --> 0:50:42.759
<v Speaker 1>New York.

0:50:42.920 --> 0:50:43.719
<v Speaker 2>I think that's true.

0:50:43.880 --> 0:50:45.920
<v Speaker 1>And you can be in Connecticut as much as you

0:50:46.080 --> 0:50:48.239
<v Speaker 1>like and write, yeah, big books about Connecticut, but you've

0:50:48.440 --> 0:50:50.960
<v Speaker 1>kind of got out with the New York about you

0:50:51.040 --> 0:50:53.800
<v Speaker 1>all the time. And I hope I have the same myself.

0:50:54.120 --> 0:50:56.640
<v Speaker 1>It's like, yeah, I know, I was in LA for

0:50:56.680 --> 0:50:58.840
<v Speaker 1>a long time. Like even when I was doing the

0:50:58.920 --> 0:51:01.799
<v Speaker 1>Late night show, people go, man, you so in New York.

0:51:01.880 --> 0:51:07.279
<v Speaker 1>I'm like, no, the backdrops I fucking West Hollywood. Yeah.

0:51:08.000 --> 0:51:09.480
<v Speaker 2>People would say that to me, you know when I

0:51:09.600 --> 0:51:10.120
<v Speaker 2>was in LA.

0:51:10.320 --> 0:51:12.279
<v Speaker 1>Yeah, like how long are you here for it?

0:51:12.760 --> 0:51:15.399
<v Speaker 2>I live here right nobody believed that I live there.

0:51:15.719 --> 0:51:18.600
<v Speaker 1>I think it's a certain thing that if you connect

0:51:18.680 --> 0:51:21.560
<v Speaker 1>to New York City, you'll never you'll never uncouple from it.

0:51:21.840 --> 0:51:22.800
<v Speaker 1>It's kind of venue.

0:51:23.080 --> 0:51:25.200
<v Speaker 2>Well, do you think, especially when you come here when

0:51:25.239 --> 0:51:29.480
<v Speaker 2>you're younger and you're really you know, you're starving, and yeah,

0:51:29.600 --> 0:51:31.080
<v Speaker 2>I mean, none of that ever goes away.

0:51:31.160 --> 0:51:33.600
<v Speaker 1>You saw how I devoured my muffin. Well, you know,

0:51:33.760 --> 0:51:36.280
<v Speaker 1>it's like, you know, you're allowed to have a muffin.

0:51:36.320 --> 0:51:38.800
<v Speaker 1>It's all right, don't beat yourself up for having a muffin.

0:51:39.000 --> 0:51:43.000
<v Speaker 1>It's breakfast time. But I think that, I mean, I've

0:51:43.239 --> 0:51:45.160
<v Speaker 1>skimmed through the book and I haven't read it, but

0:51:45.400 --> 0:51:48.120
<v Speaker 1>I'm very happy for you, and I am going to

0:51:48.160 --> 0:51:51.200
<v Speaker 1>read it because I still read books, even though they're

0:51:51.239 --> 0:51:54.160
<v Speaker 1>longer than tweets. I'm happy for you that you've done this, though.

0:51:54.200 --> 0:51:55.359
<v Speaker 1>Are you happier now you think?

0:51:55.600 --> 0:51:59.880
<v Speaker 2>Yeah, very happy. I have obviously a few more books.

0:52:00.120 --> 0:52:02.480
<v Speaker 2>I love writing books for the same reason that you

0:52:02.640 --> 0:52:07.920
<v Speaker 2>said control. Yeah, it's my vision. Yeah, nobody's really interfering.

0:52:08.040 --> 0:52:10.720
<v Speaker 2>I got to choose the pictures. I had a vision

0:52:10.800 --> 0:52:13.719
<v Speaker 2>of a coffee table book. You know, I knew I

0:52:13.840 --> 0:52:15.840
<v Speaker 2>wanted it to be. There were certain things about my

0:52:15.960 --> 0:52:19.280
<v Speaker 2>first book that I was not you know, I didn't

0:52:19.360 --> 0:52:23.000
<v Speaker 2>have any creative control over it. And so this book

0:52:23.200 --> 0:52:25.200
<v Speaker 2>is I you know, I always feel like well, good

0:52:25.280 --> 0:52:27.600
<v Speaker 2>or bad, and it's been doing really well and people

0:52:27.719 --> 0:52:28.279
<v Speaker 2>love it, and.

0:52:28.400 --> 0:52:31.080
<v Speaker 1>So it's fascinating. It's a fascinating thing because I thought

0:52:31.400 --> 0:52:33.239
<v Speaker 1>at first, when I thought this is for people who

0:52:33.800 --> 0:52:36.919
<v Speaker 1>know and love and think about Connecticut, this is Connecticut people,

0:52:37.120 --> 0:52:39.880
<v Speaker 1>but it's not. It's way. It's about movies, yes, but

0:52:39.960 --> 0:52:43.560
<v Speaker 1>it's also about change, a personal change. I think that

0:52:43.640 --> 0:52:44.760
<v Speaker 1>you've gone through as well.

0:52:45.280 --> 0:52:47.680
<v Speaker 2>Right, because I mean I wouldn't have been able to

0:52:47.719 --> 0:52:50.719
<v Speaker 2>write about it, you know, without it started when I

0:52:50.800 --> 0:52:55.000
<v Speaker 2>wrote about the Swimmer. And again my own complicated relationship

0:52:55.080 --> 0:52:57.960
<v Speaker 2>with Connecticut because as you said, I spent people used

0:52:57.960 --> 0:53:00.839
<v Speaker 2>to always say call you know, you have a New

0:53:00.920 --> 0:53:03.680
<v Speaker 2>York accent, and I think again, just because I spent

0:53:03.760 --> 0:53:06.840
<v Speaker 2>so much time with my grandparents, so yeah, and I

0:53:06.880 --> 0:53:09.440
<v Speaker 2>couldn't wait to go to New York. So I felt

0:53:09.520 --> 0:53:12.760
<v Speaker 2>always like in New Yorker living in Connecticut. I certainly

0:53:12.920 --> 0:53:19.560
<v Speaker 2>was never accepted by any teachers, students, et cetera. You know,

0:53:19.680 --> 0:53:23.160
<v Speaker 2>growing up like you're not from here there definitely was

0:53:23.239 --> 0:53:26.200
<v Speaker 2>that vibe. That's kind of what's fun about being in

0:53:26.239 --> 0:53:29.319
<v Speaker 2>New York. Nobody really nobody here's where you're from, here where,

0:53:29.920 --> 0:53:34.040
<v Speaker 2>But in Connecticut, what road you live on? You live

0:53:34.080 --> 0:53:36.200
<v Speaker 2>on the right side of the tracks, the wrong side

0:53:36.200 --> 0:53:39.080
<v Speaker 2>of the tracks. And these play out in film after film,

0:53:39.160 --> 0:53:41.400
<v Speaker 2>even if it's a film like Mystic Pizza, you know

0:53:42.000 --> 0:53:45.719
<v Speaker 2>where they call them townies. And so I think it's

0:53:45.800 --> 0:53:49.280
<v Speaker 2>for people that love movies, obviously, because it's a hundred

0:53:49.400 --> 0:53:52.080
<v Speaker 2>movies and it's going back to the silent era and

0:53:52.960 --> 0:53:55.799
<v Speaker 2>seeing that d W. Griffiths was making movies in Connecticut.

0:53:56.200 --> 0:53:58.840
<v Speaker 2>You know, we know about New Jersey. So some of

0:53:58.920 --> 0:54:03.359
<v Speaker 2>it was again this blueprint to say, hey, we're here,

0:54:03.640 --> 0:54:07.239
<v Speaker 2>we need some cinematic recognition. But then it was also

0:54:07.360 --> 0:54:10.799
<v Speaker 2>to talk about the culture. Nobody's ever done a book

0:54:10.840 --> 0:54:15.320
<v Speaker 2>about these movies about dark suburbia. Yeah, and I you know,

0:54:15.960 --> 0:54:20.280
<v Speaker 2>I feel like it's a it's important because it reflects

0:54:20.320 --> 0:54:23.400
<v Speaker 2>the culture of all of America, yet it all played

0:54:23.440 --> 0:54:27.120
<v Speaker 2>out in Connecticut on these side. And also again you're

0:54:27.120 --> 0:54:29.920
<v Speaker 2>talking about the great artists of our century and why

0:54:30.000 --> 0:54:33.800
<v Speaker 2>did they all choose to live and work and write

0:54:34.320 --> 0:54:36.759
<v Speaker 2>in Connecticut. I find that fascinating.

0:54:36.800 --> 0:54:39.000
<v Speaker 1>And getting out of Hollywood it's a it's a it's

0:54:39.040 --> 0:54:41.120
<v Speaker 1>a getting out of the rat race. Well it's it's

0:54:41.320 --> 0:54:43.840
<v Speaker 1>more than the rat race Hollywood, because I found it.

0:54:43.920 --> 0:54:45.560
<v Speaker 1>I don't know about you. I found it quite hard

0:54:45.600 --> 0:54:50.680
<v Speaker 1>to leave. It's impossible. It's I didn't tell anybody, Yeah

0:54:50.719 --> 0:54:53.040
<v Speaker 1>you can't. And then when you when you if you

0:54:53.160 --> 0:54:55.040
<v Speaker 1>go to Alie to do some work or something, and

0:54:55.560 --> 0:54:57.640
<v Speaker 1>people like you laughed like I had. Someone said I

0:54:57.640 --> 0:55:00.160
<v Speaker 1>wouldn't say it was but someone who's very famous who

0:55:00.200 --> 0:55:03.120
<v Speaker 1>said to me, don't you get you still go to

0:55:03.160 --> 0:55:05.600
<v Speaker 1>Scotland and went yeah, and she said, don't you get

0:55:06.160 --> 0:55:11.000
<v Speaker 1>kind of bored? What do you mean what board look? Yeah,

0:55:11.400 --> 0:55:12.759
<v Speaker 1>like well you know what what do you do?

0:55:13.560 --> 0:55:16.239
<v Speaker 2>You see? I found l a boring, Yeah, because it's

0:55:16.480 --> 0:55:19.200
<v Speaker 2>it's a constant what are you up to? What do

0:55:19.280 --> 0:55:23.440
<v Speaker 2>you you know you're talking talk about for sure self esteem?

0:55:23.520 --> 0:55:25.560
<v Speaker 2>You know, it's just that meter is going all the

0:55:25.680 --> 0:55:28.840
<v Speaker 2>time of like, oh there's that producer who didn't hire me,

0:55:29.000 --> 0:55:30.160
<v Speaker 2>and yeah, that's.

0:55:30.040 --> 0:55:32.480
<v Speaker 1>What the stop that goes up and there I remember

0:55:32.600 --> 0:55:34.680
<v Speaker 1>talking to a friend of mine and we made a

0:55:34.920 --> 0:55:39.040
<v Speaker 1>film together and he he broke up with his his wife.

0:55:40.040 --> 0:55:42.040
<v Speaker 1>I remember saying that when when did you know? Because

0:55:42.040 --> 0:55:44.120
<v Speaker 1>he'd made another film, and he said, when did you

0:55:44.640 --> 0:55:47.160
<v Speaker 1>know that it was going south? Things were bad? And

0:55:47.200 --> 0:55:49.480
<v Speaker 1>he went kind of when I saw the box office

0:55:49.520 --> 0:55:56.000
<v Speaker 1>return Saturday morning for e God, like that body went yeah,

0:55:56.520 --> 0:55:57.040
<v Speaker 1>it's bad.

0:55:57.360 --> 0:55:59.600
<v Speaker 2>Yeah, there's a certain I mean, And I think that

0:56:00.120 --> 0:56:03.120
<v Speaker 2>COVID was definitely for so many people a reset button.

0:56:03.280 --> 0:56:06.239
<v Speaker 2>But I had a sense, maybe as an actor, you know,

0:56:06.239 --> 0:56:08.640
<v Speaker 2>I always think, you know, we're like the caribou looking

0:56:08.719 --> 0:56:12.440
<v Speaker 2>for the moss, like, okay, this this area. I just

0:56:12.520 --> 0:56:16.399
<v Speaker 2>had an epiphany that La was going to be done

0:56:16.480 --> 0:56:21.120
<v Speaker 2>as a city, you know, for now, and cities always

0:56:21.280 --> 0:56:22.960
<v Speaker 2>like I was in New York. I was in New

0:56:23.040 --> 0:56:25.960
<v Speaker 2>York in the eighties and it was the greatest.

0:56:25.719 --> 0:56:29.399
<v Speaker 1>I know, I remember, and you know I was here,

0:56:29.600 --> 0:56:32.040
<v Speaker 1>but it was wild and fid wild.

0:56:32.600 --> 0:56:35.200
<v Speaker 2>You know, you knew, you were like, oh, I'm in

0:56:35.280 --> 0:56:37.640
<v Speaker 2>the thick of things here. And then when I moved

0:56:37.680 --> 0:56:41.480
<v Speaker 2>to LA in the early nineties mid nineties, La was

0:56:41.640 --> 0:56:44.000
<v Speaker 2>like whoa, there were so many things going on in

0:56:44.200 --> 0:56:47.040
<v Speaker 2>LA and then and then New York sort of had

0:56:47.040 --> 0:56:52.440
<v Speaker 2>a dip. But I felt even before COVID that LA

0:56:52.680 --> 0:56:56.200
<v Speaker 2>was flatlining, that more and more of the production was

0:56:56.360 --> 0:56:59.480
<v Speaker 2>being out in Gardena. You know that I was driving

0:56:59.600 --> 0:57:01.560
<v Speaker 2>to hours to go.

0:57:02.080 --> 0:57:04.359
<v Speaker 1>Yeah, or you're going to Canada to make a movie,

0:57:04.520 --> 0:57:07.240
<v Speaker 1>or going to Canada or Atlanta or you know wherever

0:57:07.280 --> 0:57:09.200
<v Speaker 1>you're going to make films. Yeah, I remember all that

0:57:09.239 --> 0:57:11.320
<v Speaker 1>as well. Production was getting moved out of town. And

0:57:12.080 --> 0:57:14.239
<v Speaker 1>one of the reasons I took the job in late Night.

0:57:14.480 --> 0:57:17.920
<v Speaker 1>I was working on an independent movie in Winnipeg, Canada

0:57:18.600 --> 0:57:21.000
<v Speaker 1>when I got the call to go and do late Night.

0:57:21.080 --> 0:57:24.439
<v Speaker 1>And I was like, I had a young son. I'd

0:57:24.520 --> 0:57:27.040
<v Speaker 1>just been divorced and I had a little boy, and

0:57:27.160 --> 0:57:30.200
<v Speaker 1>I couldn't I had to look after him. I couldn't

0:57:30.240 --> 0:57:31.880
<v Speaker 1>leave town all the time. I couldn't keep bringing me.

0:57:31.960 --> 0:57:35.240
<v Speaker 1>He was about getting ready to start, you know, elementary school,

0:57:35.280 --> 0:57:37.280
<v Speaker 1>and I had to be there. And that this was

0:57:37.400 --> 0:57:39.920
<v Speaker 1>one of the few jobs doing late night was a

0:57:40.000 --> 0:57:43.160
<v Speaker 1>job that allowed me to be in town all the time.

0:57:43.200 --> 0:57:46.520
<v Speaker 1>And that's that's really kind of why I went, Yeah, Okay,

0:57:46.520 --> 0:57:49.520
<v Speaker 1>I'll go to shop. Fucking interested being a late night

0:57:50.120 --> 0:57:52.400
<v Speaker 1>a fuck? You know, I didn't go to fucking was

0:57:52.440 --> 0:57:54.160
<v Speaker 1>that school that I was going in Boston and stuff.

0:57:54.160 --> 0:57:54.960
<v Speaker 1>I didn't do all that.

0:57:55.240 --> 0:57:58.920
<v Speaker 2>Did you miss doing Drew Carey Show? Because I look back,

0:57:59.040 --> 0:58:02.800
<v Speaker 2>I never, I don't. I can't. Sometimes I'll see something, Yeah,

0:58:03.160 --> 0:58:05.920
<v Speaker 2>it's hard to look at anything because I you know,

0:58:06.040 --> 0:58:09.520
<v Speaker 2>it brings back. Some memories are fun. But I had

0:58:09.600 --> 0:58:12.840
<v Speaker 2>such fun memories of being on the Drew Carrey Show

0:58:12.840 --> 0:58:17.680
<v Speaker 2>because it just was wild and improvisational. And that's one

0:58:17.720 --> 0:58:20.560
<v Speaker 2>of my favorite memories was I remember it was like

0:58:20.840 --> 0:58:23.600
<v Speaker 2>maybe three o'clock in the morning and Drew like throughout

0:58:23.640 --> 0:58:26.840
<v Speaker 2>the script and somebody they came over with like lines

0:58:26.920 --> 0:58:27.960
<v Speaker 2>on a nasket.

0:58:27.720 --> 0:58:29.960
<v Speaker 1>All the time. It happened all the time. And it

0:58:30.120 --> 0:58:33.160
<v Speaker 1>was Bruce Helford who ran that show. Bruce and Drew

0:58:33.440 --> 0:58:37.480
<v Speaker 1>carry they created that environment, which was I don't even

0:58:37.480 --> 0:58:39.680
<v Speaker 1>know if you would get away with that now, don't

0:58:39.800 --> 0:58:40.200
<v Speaker 1>you don't know?

0:58:41.160 --> 0:58:44.880
<v Speaker 2>Yeah, cut to and I won't talk about comedy series

0:58:44.920 --> 0:58:47.160
<v Speaker 2>where oh they really want you on this, and then

0:58:47.480 --> 0:58:50.000
<v Speaker 2>you know, tried to say some yeah, Leanna, if you

0:58:50.040 --> 0:58:53.520
<v Speaker 2>could just stand here, and that's what LA was sort

0:58:53.520 --> 0:58:56.480
<v Speaker 2>of feeling, like, yeah, go very corporate and that's very

0:58:56.760 --> 0:59:02.400
<v Speaker 2>tough when you've had those sort of races, and I

0:59:02.480 --> 0:59:04.400
<v Speaker 2>don't think did you ever go to Largo? I used

0:59:04.440 --> 0:59:04.960
<v Speaker 2>to see Drew.

0:59:05.160 --> 0:59:06.840
<v Speaker 1>Yeah, yeah, I did it a couple of times ago.

0:59:06.960 --> 0:59:09.600
<v Speaker 1>I went to Largo. I was kind of fun yere

0:59:09.840 --> 0:59:10.520
<v Speaker 1>kind of place in.

0:59:10.600 --> 0:59:15.040
<v Speaker 2>My generation of the Yeah, comedians and music and fun

0:59:15.240 --> 0:59:19.640
<v Speaker 2>and and you began to feel like an elder statesman

0:59:19.880 --> 0:59:20.720
<v Speaker 2>even though you were.

0:59:20.880 --> 0:59:24.520
<v Speaker 3>Young, Like you know, well in my time, yeah, they

0:59:24.520 --> 0:59:27.280
<v Speaker 3>would have fun. Well it's that kind of thing.

0:59:27.360 --> 0:59:29.800
<v Speaker 1>Though. They have places now where you can go and

0:59:30.200 --> 0:59:33.200
<v Speaker 1>learn be a stand up comedian. I'm like, why the

0:59:33.320 --> 0:59:35.800
<v Speaker 1>fuck a would you want to be a stand up?

0:59:35.920 --> 0:59:36.120
<v Speaker 4>Right?

0:59:36.320 --> 0:59:39.840
<v Speaker 1>Stand up comedian is a job that you do desperation

0:59:40.000 --> 0:59:44.240
<v Speaker 1>because you can't do anything. And like, but kids are like, oh,

0:59:44.320 --> 0:59:47.760
<v Speaker 1>I want to work on my comedy. I'm like, I

0:59:47.880 --> 0:59:51.920
<v Speaker 1>don't understand you. And look, maybe it's good, maybe it's

0:59:52.000 --> 0:59:54.760
<v Speaker 1>better for them, but you know, they have like they

0:59:54.880 --> 0:59:57.160
<v Speaker 1>talk about their careers. Like I was in New York

0:59:57.400 --> 1:00:00.760
<v Speaker 1>in the eighties. Yeah, you're like, what I said, career

1:00:00.960 --> 1:00:04.600
<v Speaker 1>was probably in sports, right, So I worked on Wall Street.

1:00:04.960 --> 1:00:07.040
<v Speaker 1>You didn't talk about a career. It was like, yeah,

1:00:07.040 --> 1:00:09.760
<v Speaker 1>we're going to do this fucking wild thing and everyone's

1:00:09.760 --> 1:00:12.160
<v Speaker 1>going to paint themselves blue and we all run around

1:00:12.480 --> 1:00:15.720
<v Speaker 1>and shout you know, that's the play or that's the show,

1:00:16.360 --> 1:00:18.720
<v Speaker 1>and it's kind of he'll not make any money, but

1:00:18.760 --> 1:00:19.240
<v Speaker 1>we don't care.

1:00:19.520 --> 1:00:19.640
<v Speaker 2>Uh.

1:00:20.040 --> 1:00:23.440
<v Speaker 1>In fact, the idea of making money just never came out. No,

1:00:25.200 --> 1:00:28.400
<v Speaker 1>And maybe maybe that was dumb, but it was a

1:00:28.480 --> 1:00:29.320
<v Speaker 1>lot of fun.

1:00:29.720 --> 1:00:31.680
<v Speaker 2>Oh No, we were all yeah, we were all but

1:00:32.240 --> 1:00:36.000
<v Speaker 2>and that. So that's really hard if people if you

1:00:36.080 --> 1:00:38.720
<v Speaker 2>have a whole background in a career for you know,

1:00:38.800 --> 1:00:42.200
<v Speaker 2>we started out talking about today for where you were

1:00:42.280 --> 1:00:46.200
<v Speaker 2>literally hired based on the fact that you were your

1:00:46.320 --> 1:00:49.600
<v Speaker 2>input was wanted, you know, and when it was too much,

1:00:49.720 --> 1:00:50.400
<v Speaker 2>they'd say no, no.

1:00:50.480 --> 1:00:52.280
<v Speaker 1>No, bring it back a little bit.

1:00:52.480 --> 1:00:55.560
<v Speaker 2>Yeah. But so then to go all the way from

1:00:55.600 --> 1:00:58.280
<v Speaker 2>that to somebody hires you and they go, oh, we're

1:00:58.360 --> 1:01:00.480
<v Speaker 2>such huge fans of yours. And then and you're on

1:01:00.560 --> 1:01:04.040
<v Speaker 2>the set and you feel like, no, don't don't be used,

1:01:04.040 --> 1:01:08.880
<v Speaker 2>please don't, yeah, just stand there and and I had

1:01:08.920 --> 1:01:12.080
<v Speaker 2>a couple experiences like that where I just had some

1:01:12.440 --> 1:01:15.640
<v Speaker 2>very long, lonely walks to my trailers. You know.

1:01:16.240 --> 1:01:18.280
<v Speaker 1>I started to feel the same way towards the end

1:01:18.320 --> 1:01:21.280
<v Speaker 1>of Late Night because like when Dave was going yeah,

1:01:21.280 --> 1:01:23.920
<v Speaker 1>because Dave owned my time slot, so so if latterman

1:01:23.960 --> 1:01:26.920
<v Speaker 1>on your time. Nobody paid any attention to me. But

1:01:27.040 --> 1:01:29.440
<v Speaker 1>I knew that Dave was going to go, and I

1:01:29.560 --> 1:01:32.840
<v Speaker 1>started to get more and more help from executives and

1:01:33.400 --> 1:01:37.000
<v Speaker 1>advertising crossover stuff, and I'm like, yeah, you know what,

1:01:37.720 --> 1:01:40.360
<v Speaker 1>and yeah, I think it's time to go to the parties.

1:01:40.400 --> 1:01:43.440
<v Speaker 1>Getting a little fucking sloppy. And you know, there's a

1:01:43.480 --> 1:01:46.680
<v Speaker 1>lot of people turning up that aren't cool. Yeah, Like,

1:01:46.840 --> 1:01:49.480
<v Speaker 1>let Himan is fucking cool, you know. I mean he

1:01:49.560 --> 1:01:51.440
<v Speaker 1>can be an asshole sometimes, Dave, and he'd be the

1:01:51.480 --> 1:01:54.560
<v Speaker 1>first to admitute, but he's fucking cool. Well, and it

1:01:54.720 --> 1:01:56.160
<v Speaker 1>was cool to work like that.

1:01:56.440 --> 1:01:58.680
<v Speaker 2>You know, it used to be okay, you could, you

1:01:58.760 --> 1:02:01.280
<v Speaker 2>could be an ass Yeah, it's okay.

1:02:01.520 --> 1:02:04.360
<v Speaker 1>Yeah, we used to worry this whole.

1:02:07.120 --> 1:02:09.920
<v Speaker 2>You know, you're you're trying to make it's impossible.

1:02:10.960 --> 1:02:11.120
<v Speaker 3>You know.

1:02:11.720 --> 1:02:14.880
<v Speaker 1>Sometimes people are a little fucking picky. I was. This

1:02:14.960 --> 1:02:16.680
<v Speaker 1>is when I go, oh, this is not for me.

1:02:16.920 --> 1:02:18.400
<v Speaker 1>But this is how long ago it was. It was

1:02:18.560 --> 1:02:21.520
<v Speaker 1>somebody posted in a chat room like they got in

1:02:21.600 --> 1:02:24.800
<v Speaker 1>an elevator with me in Vegas, and I was very rude,

1:02:24.840 --> 1:02:28.080
<v Speaker 1>and I'm like, I never where the fuck am I route? Yeah,

1:02:28.200 --> 1:02:30.960
<v Speaker 1>what I did was apparently as I kept the brim

1:02:31.040 --> 1:02:33.920
<v Speaker 1>of my hat pulled down and I didn't say a word. Now,

1:02:34.000 --> 1:02:36.600
<v Speaker 1>you fucking tell me what's rude about that in an elevator.

1:02:36.760 --> 1:02:37.640
<v Speaker 2>But I don't know.

1:02:37.840 --> 1:02:39.800
<v Speaker 1>I guess I was meant to do fucking ten minutes

1:02:39.840 --> 1:02:42.160
<v Speaker 1>and ask her where she was from. I mean, it's crazy.

1:02:42.520 --> 1:02:45.720
<v Speaker 2>Listen, I you know my boss, would you know? They

1:02:46.000 --> 1:02:49.200
<v Speaker 2>we'd get things thrown at us and yell at us

1:02:49.440 --> 1:02:51.960
<v Speaker 2>and all sorts of and we didn't take any of it. Personally.

1:02:52.080 --> 1:02:55.160
<v Speaker 2>We were thrilled. I know that sounds ridiculous. We were

1:02:55.240 --> 1:02:57.080
<v Speaker 2>thrilled to be around all these people.

1:02:57.200 --> 1:02:59.720
<v Speaker 1>And it's kind of it's different values now maybe yeah,

1:02:59.720 --> 1:03:00.280
<v Speaker 1>it's better.

1:03:01.120 --> 1:03:05.280
<v Speaker 2>I don't sorry, it's not. It's impossible. You can't. I

1:03:05.400 --> 1:03:08.440
<v Speaker 2>mean this whole thing about he's very unlikable in a

1:03:08.720 --> 1:03:10.120
<v Speaker 2>toxic work environment.

1:03:10.320 --> 1:03:13.000
<v Speaker 1>No, that's it's impossible. It's like the number one thing

1:03:13.080 --> 1:03:14.840
<v Speaker 1>people ask to last night we're talking about this is

1:03:14.880 --> 1:03:17.320
<v Speaker 1>the number one thing people ask good But like it's

1:03:17.400 --> 1:03:19.240
<v Speaker 1>he a nice person. When you meet someone, you go,

1:03:19.720 --> 1:03:20.480
<v Speaker 1>how does that fuck it?

1:03:20.600 --> 1:03:20.640
<v Speaker 2>Like?

1:03:20.760 --> 1:03:22.880
<v Speaker 1>If you like, somebody will say to you, I don't

1:03:22.960 --> 1:03:26.280
<v Speaker 1>know this, gentleman, but say, somebody says, Ozzy Osbourne, is

1:03:26.320 --> 1:03:28.800
<v Speaker 1>he a nice guy? Like, does it fucking matter if

1:03:28.840 --> 1:03:31.400
<v Speaker 1>he's a nice guy, he's Ozzy Osbourne. I mean, I

1:03:31.440 --> 1:03:33.880
<v Speaker 1>suppose it mars to the people who are interacting with him.

1:03:33.960 --> 1:03:38.080
<v Speaker 2>But I would say, in thirty years of show business,

1:03:38.280 --> 1:03:41.360
<v Speaker 2>I have only worked with two people that are unlikable,

1:03:42.160 --> 1:03:46.360
<v Speaker 2>and then five hundred people that are eccentric. A lot

1:03:46.360 --> 1:03:48.640
<v Speaker 2>of people are or have a lot of fear, yeah,

1:03:49.080 --> 1:03:52.120
<v Speaker 2>or maybe going through something, you know I had when

1:03:52.200 --> 1:03:54.560
<v Speaker 2>I there was a very famous movie or who I

1:03:54.720 --> 1:03:57.280
<v Speaker 2>worked with and he had been a really big star

1:03:57.400 --> 1:03:59.840
<v Speaker 2>and now we were doing this like very low butch

1:04:00.800 --> 1:04:03.640
<v Speaker 2>movie the way it goes, you know, and he was

1:04:03.680 --> 1:04:07.040
<v Speaker 2>a little tense, you know, and he snapped at me

1:04:07.240 --> 1:04:09.480
<v Speaker 2>because I offered some help. I said, oh, maybe I

1:04:09.520 --> 1:04:12.240
<v Speaker 2>can help you out. Yeah, shut up, we aren't even

1:04:12.320 --> 1:04:16.360
<v Speaker 2>talking to you. And you know, I mean, like, you know,

1:04:16.680 --> 1:04:19.840
<v Speaker 2>can we have a little compassion for people? And two

1:04:19.920 --> 1:04:22.480
<v Speaker 2>hours later he said, I'm sorry I did that. I

1:04:22.880 --> 1:04:26.120
<v Speaker 2>was I was nervous and it's my first day and

1:04:26.240 --> 1:04:29.280
<v Speaker 2>I said, no problem. So, I mean we I find

1:04:29.360 --> 1:04:34.280
<v Speaker 2>it very challenging to always be keeping my personality.

1:04:34.600 --> 1:04:37.200
<v Speaker 1>It's fake ches It's fucking fake, is what it is.

1:04:37.320 --> 1:04:39.200
<v Speaker 1>That's the whole thing about it. There's this whole fucking

1:04:39.320 --> 1:04:42.560
<v Speaker 1>do you know what it is, It's fucking Connecticut suburbia.

1:04:42.840 --> 1:04:46.000
<v Speaker 1>It's this whole fucking idea that everyone is cool, and

1:04:46.080 --> 1:04:51.800
<v Speaker 1>then underneath it's this fucking dark resentment of fucking because

1:04:51.920 --> 1:04:55.920
<v Speaker 1>humans have emotions, and so to walk around and and

1:04:56.120 --> 1:04:59.240
<v Speaker 1>pretend that you don't have an emotion and you don't

1:04:59.520 --> 1:05:03.120
<v Speaker 1>you know, prejudices and you don't have to challenge yourself

1:05:03.200 --> 1:05:04.760
<v Speaker 1>for what you think. So fucking bullshit.

1:05:05.200 --> 1:05:08.720
<v Speaker 2>But I don't see any way out. I mean again,

1:05:08.760 --> 1:05:11.320
<v Speaker 2>that's one of the reasons I love doing And I'm

1:05:11.320 --> 1:05:14.400
<v Speaker 2>a student of show business. I always tell my friends

1:05:14.440 --> 1:05:17.280
<v Speaker 2>that feel like they aren't working or and I said,

1:05:17.400 --> 1:05:20.240
<v Speaker 2>you only need to look at show business. And I said,

1:05:20.320 --> 1:05:22.000
<v Speaker 2>you know, we may be in the part of our

1:05:22.160 --> 1:05:24.959
<v Speaker 2>careers where we're like Betty Davis and we're going around

1:05:25.000 --> 1:05:28.600
<v Speaker 2>the country reading from Carl Sandberg with like a cello

1:05:28.720 --> 1:05:29.400
<v Speaker 2>in the background.

1:05:29.640 --> 1:05:32.520
<v Speaker 1>Yes, I use Sean Connery is the same example as go.

1:05:32.720 --> 1:05:35.840
<v Speaker 1>You know, everyone has to do those Zardose years. Everyone's

1:05:35.880 --> 1:05:39.040
<v Speaker 1>going to get on the MANKINI at some point nothing, Yeah.

1:05:39.240 --> 1:05:42.520
<v Speaker 2>When I was moving to Connecticut, and like you said,

1:05:42.600 --> 1:05:45.600
<v Speaker 2>that fear of because there wasn't a single person that

1:05:45.760 --> 1:05:48.600
<v Speaker 2>was I stopped telling people that I was going to Connecticut.

1:05:48.680 --> 1:05:48.880
<v Speaker 1>Yeah.

1:05:48.880 --> 1:05:50.920
<v Speaker 2>They were like, you'll never work again, and you know,

1:05:51.480 --> 1:05:53.680
<v Speaker 2>but I looked and I said, yeah, at the end

1:05:53.720 --> 1:05:57.760
<v Speaker 2>of my when my grandfather's contract in nineteen fifty was

1:05:57.800 --> 1:06:02.800
<v Speaker 2>with MGM and they let everybody go fifty, he moved

1:06:02.880 --> 1:06:05.080
<v Speaker 2>to New York. He started to do theater, and he

1:06:05.240 --> 1:06:08.800
<v Speaker 2>started a whole secondary career as a you know, supporting

1:06:09.080 --> 1:06:12.840
<v Speaker 2>as a character actor. You know, when his first oscar

1:06:13.160 --> 1:06:16.120
<v Speaker 2>is when he was seventy, what his second oscar when

1:06:16.120 --> 1:06:19.720
<v Speaker 2>he was eighty one. So I always tell people you

1:06:19.920 --> 1:06:23.760
<v Speaker 2>have to look at show business and realize nothing is

1:06:24.120 --> 1:06:26.720
<v Speaker 2>you know, really everything is really kind of the same.

1:06:26.800 --> 1:06:28.520
<v Speaker 2>Poor Kerry Grant, you know, he died on.

1:06:28.600 --> 1:06:30.880
<v Speaker 1>The road, Yeah, davenpoor Iowa.

1:06:31.280 --> 1:06:35.000
<v Speaker 2>Yeah, Yeah, I mean that's that's probably what's gonna happen

1:06:35.040 --> 1:06:35.240
<v Speaker 2>to here.

1:06:35.600 --> 1:06:36.560
<v Speaker 1>Yeah, I would think, so.

1:06:38.280 --> 1:06:43.000
<v Speaker 2>You think, are you gonna I remember when I moved

1:06:43.000 --> 1:06:46.400
<v Speaker 2>into Connecticut, somebody, my neighbor came over and said, what

1:06:46.520 --> 1:06:47.800
<v Speaker 2>are you gonna do about plowing?

1:06:47.920 --> 1:06:51.320
<v Speaker 5>I was like, what he's like, I said, Oh my god,

1:06:51.400 --> 1:06:54.120
<v Speaker 5>that's right. You got you got to got to get

1:06:54.160 --> 1:06:56.960
<v Speaker 5>the plow guy. And there's when I went to Scotland.

1:06:57.080 --> 1:06:59.760
<v Speaker 5>I moved back to Scotland. A guy came over and

1:06:59.840 --> 1:07:00.800
<v Speaker 5>he said, what are you going to do with this?

1:07:01.160 --> 1:07:02.560
<v Speaker 5>Some fields in front of my house and he said,

1:07:02.560 --> 1:07:04.960
<v Speaker 5>you're going to put some sheep in there? And I went, no,

1:07:05.440 --> 1:07:06.240
<v Speaker 5>I don't like sheep.

1:07:06.280 --> 1:07:08.360
<v Speaker 1>He said you don't like sheep? I went, nah, I

1:07:08.400 --> 1:07:11.160
<v Speaker 1>don't fucking like them. There, big square, yellow teeth and

1:07:11.200 --> 1:07:13.080
<v Speaker 1>they can't really see your eyes. I don't like them.

1:07:13.600 --> 1:07:15.800
<v Speaker 1>And he said you can't. You've got to have sheep.

1:07:15.960 --> 1:07:18.920
<v Speaker 1>What you're going to do with the field? I'm like nothing.

1:07:19.400 --> 1:07:20.840
<v Speaker 1>I said, you can put your sheep in there for

1:07:20.920 --> 1:07:23.600
<v Speaker 1>a little while and he said Kada went no, they'll

1:07:23.600 --> 1:07:27.040
<v Speaker 1>be stupid. And then we went away. And about Tues

1:07:27.120 --> 1:07:30.040
<v Speaker 1>three weeks later, I saw some fucking sheep in my field.

1:07:30.720 --> 1:07:32.560
<v Speaker 1>So I called him up and went, is your sheep?

1:07:32.760 --> 1:07:35.240
<v Speaker 1>He went, yeah, you said I could put them there.

1:07:35.280 --> 1:07:37.200
<v Speaker 1>I went, I fucking never said you could put them there.

1:07:37.240 --> 1:07:38.840
<v Speaker 1>He said, well, I'll just keep them in there for

1:07:38.920 --> 1:07:41.200
<v Speaker 1>a while. It'll help keep your grass down. And I

1:07:41.320 --> 1:07:43.640
<v Speaker 1>said to him, okay, I'm an American now, so I'm

1:07:43.640 --> 1:07:45.440
<v Speaker 1>going to tell you what I'm going to happen. Starting

1:07:45.480 --> 1:07:47.560
<v Speaker 1>on Wednesday this week, I'm going to shoot one a

1:07:47.640 --> 1:07:51.000
<v Speaker 1>day until you get them out. And he went, oh right,

1:07:51.000 --> 1:07:53.120
<v Speaker 1>and he got them out on Tuesday. But they have

1:07:53.280 --> 1:07:57.320
<v Speaker 1>this law in Scotland that if someone keeps a sheep

1:07:57.400 --> 1:08:00.680
<v Speaker 1>in your field for over a year, then they have

1:08:00.800 --> 1:08:04.360
<v Speaker 1>grazing rights in that field. So if you let someone

1:08:04.480 --> 1:08:06.960
<v Speaker 1>graze the sheep in the field, they have to take

1:08:07.040 --> 1:08:09.200
<v Speaker 1>them off for a day. They call it a stalk off.

1:08:09.720 --> 1:08:11.480
<v Speaker 1>They have to take the sheep out so that they

1:08:11.520 --> 1:08:13.120
<v Speaker 1>don't have grazing rights for your field.

1:08:13.440 --> 1:08:13.920
<v Speaker 2>I love that.

1:08:14.320 --> 1:08:15.640
<v Speaker 1>Fucking drives me crazy.

1:08:15.920 --> 1:08:18.040
<v Speaker 2>I think that's hysterical. Do so did he win?

1:08:18.520 --> 1:08:20.599
<v Speaker 1>No, he didn't win. I totally get your fucking sheep

1:08:20.680 --> 1:08:22.439
<v Speaker 1>off my field. And I don't have any sheep in

1:08:22.479 --> 1:08:24.519
<v Speaker 1>the field. And it drives them all crazy because like

1:08:24.640 --> 1:08:26.800
<v Speaker 1>what you're doing in that field, I'm like nothing. The

1:08:26.880 --> 1:08:30.080
<v Speaker 1>whole idea of the field is it's a field. Nothing happens.

1:08:30.080 --> 1:08:31.920
<v Speaker 1>I'll let the grass grow and then it gets old

1:08:31.960 --> 1:08:34.160
<v Speaker 1>and it falls down, and like, well, you don't make

1:08:34.200 --> 1:08:36.599
<v Speaker 1>any money from that field. I went, that's right, I don't.

1:08:36.840 --> 1:08:39.599
<v Speaker 1>That's because I'm in fucking Davenport, Iowa. Don't stand out

1:08:39.760 --> 1:08:41.200
<v Speaker 1>to pay for that fucking field.

1:08:42.400 --> 1:08:45.720
<v Speaker 2>That's like anti sounds like anti Scottish somehow.

1:08:45.600 --> 1:08:47.920
<v Speaker 1>A little bit. Well, there's nobody more anti Scottish than

1:08:47.920 --> 1:08:48.599
<v Speaker 1>Scottish people.

1:08:48.880 --> 1:08:51.320
<v Speaker 2>Now, one thing I've noticed, which is sort of cornball,

1:08:51.640 --> 1:08:54.200
<v Speaker 2>one of my favorite things about living in Connecticut is

1:08:54.320 --> 1:08:58.000
<v Speaker 2>coming home. You know, I didn't have any joy landing

1:08:58.080 --> 1:09:00.599
<v Speaker 2>in the at Lax coming home.

1:09:00.760 --> 1:09:05.680
<v Speaker 1>I used to quite like Lendon and Ali Xfoll and

1:09:06.320 --> 1:09:08.200
<v Speaker 1>you know, that's big mess.

1:09:10.400 --> 1:09:13.960
<v Speaker 2>No more books, you know, every my whole culture. But

1:09:14.240 --> 1:09:16.920
<v Speaker 2>but there is a sense of fun of you know, like,

1:09:17.200 --> 1:09:20.200
<v Speaker 2>oh boy, the hokiness and my neighbors, and I know

1:09:20.320 --> 1:09:20.920
<v Speaker 2>all my neighbors.

1:09:21.520 --> 1:09:22.840
<v Speaker 1>It is kind of nice.

1:09:22.840 --> 1:09:26.320
<v Speaker 2>I have a book show on Wednesday at the Gate

1:09:26.520 --> 1:09:29.320
<v Speaker 2>in Old Saybrook, and you know, my Mason's going to

1:09:29.360 --> 1:09:33.679
<v Speaker 2>be there, and my carpenter and my electrician they're all coming.

1:09:33.760 --> 1:09:35.559
<v Speaker 1>Well, they're all very proud, They're.

1:09:35.400 --> 1:09:37.360
<v Speaker 2>All well, they all made it in the acknowledgement.

1:09:37.479 --> 1:09:41.320
<v Speaker 1>You know, we burned witches first, we gotta go get

1:09:41.400 --> 1:09:41.760
<v Speaker 1>out of here.

1:09:42.840 --> 1:09:44.160
<v Speaker 2>Great, I can finish my Muppet