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Speaker 1: Our Way with yours truly Paul Anka and my buddy

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Speaker 1: Skip Bronson, is a production of iHeartRadio. Hi, folks, this

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Speaker 1: is Paul Anka.

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Speaker 2: And my name is Skip Bronson. We've been friends for

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Speaker 2: decades and we've decided to let you in on our

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Speaker 2: late night phone calls by starting a new podcast.

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Speaker 1: And welcome to Our Way. We'd like you to meet

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Speaker 1: some real good friends of ours.

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Speaker 2: You're leaders in entertainment and.

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Speaker 1: Sports, innovators in business and technology, and even a sitting

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Speaker 1: president or two.

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Speaker 2: Join us as we ask the questions they've not been

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Speaker 2: asked before. Tell it like it is, and even sing

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Speaker 2: a song or two.

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Speaker 1: This is our podcast and we'll be doing it our way.

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Speaker 3: It's our mythology. You know. It's like Tom Hanks happy

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Speaker 3: to say I worked on this movie. You've got mail,

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Speaker 3: you know Tom, And he says, everybody learns and god bother.

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Speaker 3: It's just it's so true. These things become touchstones for

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Speaker 3: all of our ethics and humanity.

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Speaker 1: Ula Hey, I had her for you all day. What's

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Speaker 1: going on? I think we all need addressed after this

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Speaker 1: last weekend. I mean Milwaukee.

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Speaker 4: Hello, oh boy, oh boy, exhausting, exhausting. Oh it's sort

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Speaker 4: of calvinized everyone in the country trying to figure out

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Speaker 4: what what's the next move and when and where and

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Speaker 4: who and Yeah, anyway, this week coming up one of

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Speaker 4: our really good friends, Billy Gerber, who's just a blast.

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Speaker 1: You know, I love Billy. I go way back with him.

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Speaker 1: You know, his dad was something else.

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Speaker 4: And you spent about five months living at our guest

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Speaker 4: house while he was up and Aspen. We just couldn't

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Speaker 4: get enough of him. When he left, we didn't want

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Speaker 4: to leave. Literally, you know, usually he got a house guest,

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Speaker 4: it's like, oh my god, learn leave one of the

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Speaker 4: fish a weekend. Yeah, with this guy, we didn't want

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Speaker 4: to leave at all. Now he bought a place around

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Speaker 4: the corner, so we get to see him, but we

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Speaker 4: don't have to change the sheets for him, but we

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Speaker 4: get to see him all the time.

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Speaker 1: But what a great story, you know, skip because his

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Speaker 1: dad and Norman Weiss.

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Speaker 4: Was my agent.

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Speaker 1: But you know, he's in the music I remember and

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Speaker 1: he was like really gung ho. He was like a

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Speaker 1: drummer and all that, and then he evolved in the

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Speaker 1: motion pictures and then of course of course Clint Eastwood.

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Speaker 1: But he's just he's remained so real. You know, he's

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Speaker 1: not one of these Hollywood creatures. All to respect, it

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Speaker 1: was ever listening. But he's just such a natural, beautiful

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Speaker 1: human being and can tell a story. You know, he's

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Speaker 1: got some great He's done some great films. Forget the stories.

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Speaker 1: Way he rattles up the film is this guy? I

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Speaker 1: mean right to what Star is Born?

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Speaker 4: Yeah, and all those Clint Eastwuit movies. I mean brand Tarino,

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Speaker 4: how great was that? I mean, he did so many

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Speaker 4: films and Clint loves him, everybody loves him. Billy's just

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Speaker 4: he's just great, and he's he's a fitness freak. I mean,

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Speaker 4: the guy doesn't have an ounce of body fat on him,

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Speaker 4: and he gets something.

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Speaker 2: You know.

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Speaker 1: He rides with my son in law. Yeah, my son

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Speaker 1: in law is like a Tour de Frost Championship bike rider,

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Speaker 1: and every time he comes over here, Billy's always with

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Speaker 1: them and they'll go miles and miles all over this

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Speaker 1: on the bikes.

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Speaker 4: But Billy, he's part of this Beverly Hills posse. I

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Speaker 4: mean Casey Wasserman, John Sykes, Zaslov when he's out here,

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Speaker 4: you know, Grooman of course, when he's here, we're all

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Speaker 4: hanging together and Jim Burkas and we just have a blast.

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Speaker 4: Billy he's the wrangler, you know, Billy O'll call up

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Speaker 4: and say this one's here, this one's there. And then

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Speaker 4: of course with David Geffen, I mean, David and I

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Speaker 4: just you know, we love Billy, so that's fun. We

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Speaker 4: go over to Geffen's house and have lunch, just the

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Speaker 4: three of us, great storytelling, and well it makes it easy.

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Speaker 1: I mean, look, we've been doing this, you know, we've

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Speaker 1: put in our first inning. But everybody we've had on

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Speaker 1: there's always been a great vibe because we know them.

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Speaker 1: But Billy is going to be really special, and I'm

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Speaker 1: looking forward to it because you know, I haven't we

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Speaker 1: run into I don't see him as much as you do,

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Speaker 1: but with our past, and every time I do, we

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Speaker 1: just start rattling it all off. And I'm just really

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Speaker 1: proud to have known him from his dad and to

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Speaker 1: see how he's evolved. I think, you know, his pop's

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Speaker 1: looking down at him. I'm sure he's very proud because

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Speaker 1: he's done a really good job of his life.

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Speaker 4: And you know, when we went to your show here

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Speaker 4: in Beverly Hills, he was just ecstatic and and you

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Speaker 4: remember we went backstage after and he was just I mean, Billy,

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Speaker 4: you know, he's seen everybody, every act, everything, and he

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Speaker 4: was so knocked out by your show. He's a very

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Speaker 4: you know, the word is authentic. I mean, he's a

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Speaker 4: very authentic guy. He's up for anything any time I

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Speaker 4: give my heart time because you know, when we screen films,

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Speaker 4: he's sort of like the curator, and every time the

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Speaker 4: milk movie is good, we go Billy to come up

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Speaker 4: with this one, and then he.

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Speaker 1: Always called me telling me this was no good, that

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Speaker 1: was no good. Billy brought this over, but that was

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Speaker 1: so good.

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Speaker 4: Yeah, he somehow manages to bind you know, because he's

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Speaker 4: a filmmaker, so he manages to find something about it

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Speaker 4: that's so good. But we have so much fun with

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Speaker 4: him all the time. He's great. I was saying the

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Speaker 4: other day, we look at the great collection of guests

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Speaker 4: that we've had on this podcast, and a lot of

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Speaker 4: them are people that you know that I don't know,

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Speaker 4: and others are people that I know that you don't know.

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Speaker 4: But this is the guy that we both know, so

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Speaker 4: this is gonna be fun. We went to a wedding

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Speaker 4: in Jamaica and he's just look at this fruit. Look

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Speaker 4: at the fruit that we can get here. You know,

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Speaker 4: he's so enthusiastic about everything. I'm like, Billy, it's a melon.

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Speaker 4: What's not that something he got that excited about? Or

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Speaker 4: get up early in the morning, you go run twenty

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Speaker 4: eight miles then come back.

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Speaker 1: Was he a runner?

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Speaker 4: Oh my god? Is he a runner? Oh yeah, he's

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Speaker 4: just full on, full on car carrying athlete.

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Speaker 1: Good for him. Well, I'm looking forward to it. Yeah,

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Speaker 1: we're got fun with him. Okay, So I guess we're

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Speaker 1: gonna get ready for August and we'll talk soon and

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Speaker 1: we'll go to a new restaurant this time.

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Speaker 4: By the way, I wrote your note this morning. If

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Speaker 4: you remember, if you look at your phone, I wrote

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Speaker 4: you at four four. I got up at four him,

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Speaker 4: which is right about the time you go to bed.

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Speaker 4: So I wrote you. I got in touch with you

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Speaker 4: at three exactly. You can't make it up. You can't

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Speaker 4: make it up two different time different That's why it works.

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Speaker 4: It works, right.

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Speaker 1: Whatever I can tell you what goes on the three,

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Speaker 1: you tell me, we'll go running up. We got it covered.

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Speaker 4: If we can both, we got the whole blood.

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Speaker 1: We have a whole void in our life.

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Speaker 4: We got the whole twenty four hours covered between us. Yeah.

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Speaker 1: Man, so so you sent me something. I'll check it

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Speaker 1: out tonight.

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Speaker 4: Talk to.

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Speaker 3: Billy. This is too good. I feel like I've been

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Speaker 3: living with you all week because I've been listening to

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Speaker 3: everything that I missed, from RJ to Clive, etc.

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Speaker 1: Well, if you like that, you like bullshit, You're gonna

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Speaker 1: love chocolate because you're the best.

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Speaker 2: Either way, Which daughter did you pick up at the

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Speaker 2: airport Georgia?

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Speaker 3: The twenty two year old recent graduate of Wesleyan University.

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Speaker 2: Doesn't matter how many daughters you have, and you have

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Speaker 2: many can't catch up to the guy up on the

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Speaker 2: screen here.

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Speaker 3: Nobody can on any level.

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Speaker 1: He's listen, He's part of my family, back to his dad,

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Speaker 1: all the way up to my daughter, all of us.

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Speaker 1: I mean, he's part of my life.

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Speaker 2: You know.

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Speaker 1: His dad was an amazing guy and he used to

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Speaker 1: always brag about his son.

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Speaker 2: You know.

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Speaker 1: Good to see you, Billy.

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Speaker 3: You know, Paul, it's interesting you'd never introduced me to

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Speaker 3: any of your daughters till I was married.

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Speaker 1: I'm a smart guy.

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Speaker 3: Yeah, I was like, there's five of them.

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Speaker 1: Wow, take your pic.

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Speaker 3: Oh, wait, I remember Lance Armstrong and I just sitting

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Speaker 3: back talking about how wonderful Anne was. I mean, I

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Speaker 3: think both of us would have been happy to marry her,

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Speaker 3: you know.

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Speaker 1: Yeah, well there was a point where you could have,

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Speaker 1: but you know I had DIBs on that.

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Speaker 3: Yeah, So, Billy, if do bike in this heat, it's

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Speaker 3: not that hot here, thank goodness. I mean it's actually

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Speaker 3: been quite pleasant. So yes, I can.

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Speaker 1: Oh you can you have? Or you can?

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Speaker 3: I mean it's been eighty you know, eighty tops, eighty

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Speaker 3: one tops, so it's not that big a deal. I mean,

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Speaker 3: the guy's doing the Twitter France right now. It's you know,

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Speaker 3: ninety plus degrees out there in the south of France.

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Speaker 3: It's crazy to.

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Speaker 1: You, don't that's true.

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Speaker 3: I do. But they get paid.

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Speaker 1: We can arrange something.

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Speaker 4: Bill.

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Speaker 1: So this guy a skipped did you know? He started music?

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Speaker 1: That was his thing. He was like one of us,

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Speaker 1: one of my guys way back.

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Speaker 3: I'm still drum and I just have a new band, Paul.

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Speaker 3: I won't make you listen to us because we still suck.

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Speaker 3: But you know, a bunch of dads and a mom

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Speaker 3: from school from the baby school got together and started

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Speaker 3: like a garage band, and that's been fun. It's going

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Speaker 3: to get on the traps again, you know. But you know,

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Speaker 3: I was looking forward to this conversation obviously with two

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Speaker 3: of my idols. You know. I was listening to you

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Speaker 3: guys with our J the other day talking and you know,

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Speaker 3: one of my other favorite podcasters, I mean he's not

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Speaker 3: Paul and Skip, but Scott Galloway is writing a book

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Speaker 3: now on male masculinity. He talks a lot about the

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Speaker 3: lack of male French. And it was so wonderful to

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Speaker 3: listen to the three of you, to you guys in

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Speaker 3: RJ and just the outpouring of affection for each other

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Speaker 3: and the history and just the loving, you know, feelings.

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Speaker 5: It was.

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Speaker 3: It's wonderful to hear, you know, not that many people

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Speaker 3: relate to other guys on that level. It's a testament

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Speaker 3: to your guys' friendships and your heart. You know, got

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Speaker 3: big hearts, you.

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Speaker 1: Know, Billy. I try to tell my son Ethan, you know,

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Speaker 1: I've got this nineteen year old I say, you know,

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Speaker 1: all of you young people have no idea and Skip's

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Speaker 1: heard me do my wrap on it. People don't really

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Speaker 1: embrace the value of what real friendship is today they

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Speaker 1: should teach it in school. But when you've got real

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Speaker 1: friends and you understand what it is, man, are you lucky?

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Speaker 1: And Skip and I this is you know, since we started,

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Speaker 1: it's everybody that we know, and they're all, you know,

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Speaker 1: friends in a different variety. But friendship is so important.

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Speaker 1: I don't think people really embrace it the way we

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Speaker 1: did years ago.

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Speaker 3: As our favorite golf hustler Rudy Durant said, friendship is

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Speaker 3: serious business.

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Speaker 2: Billy and I. You know, since I since I got

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Speaker 2: out to California, I've got a great group of friends,

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Speaker 2: but not not any that are closer than Billy and Billy, Thankfully,

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Speaker 2: when he was living up in Aspen, he would before

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Speaker 2: he had his place here, he would stay in our

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Speaker 2: caest house and it was like the greatest thing of

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Speaker 2: all time until Larry David started calling him Skips Leon.

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Speaker 3: Yeah. And you know it's interesting too because I stayed

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Speaker 3: there for months before you guys even noticed I was there,

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Speaker 3: which was great. I'm in the screening room, I'm in

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Speaker 3: the kitchen.

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Speaker 1: They don't even know I'm Jerry Moss and Herbie Albert.

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Speaker 1: I admired those guys, you know, and I know you

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Speaker 1: had your journey with them. How cool were they?

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Speaker 3: Yeah? As cool as a guess. I ran into her

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Speaker 3: my best my favorite Herb Albert store. You know, I've

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Speaker 3: known him since I'm nine years old. Is Roy booked

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Speaker 3: their book t Herb in the Tijuana Brass. And the first

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Speaker 3: thing when I moved out to live in cal Cornia,

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Speaker 3: the first weekend I was here, my dad took me

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Speaker 3: to had to cover a Herb date at the Greek

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Speaker 3: And that was literally the first my first weekend here.

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Speaker 3: But cut two years later and I've gone to I've been,

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Speaker 3: you know, all these different things, a concert promoter, a drummer,

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Speaker 3: a record company executive, a manager, And now I'm at

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Speaker 3: Warner Brothers and I'm a vice president of something at

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Speaker 3: Warner Brothers, and you know, feel I'm pretty accomplished. I'm

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Speaker 3: in I'm renting a house in mal a little bit

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Speaker 3: with some friends and I walk into that Trencus Market

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Speaker 3: and there's Herbie and I'm like, Herb, how are you

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Speaker 3: doing now? And I think he's going to, you know,

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Speaker 3: be impressed with my film career or something, and he's like, hey, Billy,

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Speaker 3: Hey Billy, you're still playing drums. And I thought that's

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Speaker 3: the night. I mean, that's just the coolest thing. Like

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Speaker 3: this guy's just relating to me as a musician. He

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Speaker 3: could care less about the other stuff. Are you playing drums?

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Speaker 3: You having fun making music? It was so cool.

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Speaker 1: Herbie's still out there. He still works.

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Speaker 3: I mean he works, and Lonnie is gazing, and he

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Speaker 3: scolps and he gives, he gives away money like you

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Speaker 3: can't believe. I mean, there's just whole schools. This guy

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Speaker 3: in Dow's he's he's incredible, and and UCLA, you know,

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Speaker 3: they have a whole music school there. He's he's an

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Speaker 3: amazing dude. He was my role model. You know. I

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Speaker 3: was playing drums, you know, and all these lousy bands

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Speaker 3: and I thought, you know, luckily because of my father,

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Speaker 3: I knew what a lousy band was when I heard it,

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Speaker 3: and knew it had no future. And because my dad

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Speaker 3: was a lousy trumpet player, and I know what happened

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Speaker 3: to him, and you know, so although it did keep

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Speaker 3: him out of D Day, but I literally had this

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Speaker 3: epiphany like, well, I'm going to be like Herb Albert.

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Speaker 3: I'm going to be a musician that are a record,

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Speaker 3: going to make records, to make other people's records, And

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Speaker 3: that was the first Aha moment I ever had professionally,

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Speaker 3: was thinking about Herbie and wanting to get into music

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Speaker 3: so that I could eventually, you know, control my destiny

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Speaker 3: as a musician. Didn't end up going that way. Things

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Speaker 3: happened because of Herb Albert that I even, you know,

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Speaker 3: went and got a real job.

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Speaker 1: Tell me, tell me your favorite drummer, Billy, and then

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Speaker 1: I want to know your favorite drum solo rock rock?

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Speaker 1: Who was it, Buddy Rich?

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Speaker 3: There's Ringo Ringo first, Really you said rock drummer. Yeah, yeah,

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Speaker 3: Ringo Ringo.

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Speaker 1: Not bonhom not Bonham.

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Speaker 3: Bottom comes later, but you know, there's Ringo and then

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Speaker 3: you know everybody else, and you go back, you listen

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Speaker 3: to all those records and Ringos that he's the he's

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Speaker 3: the trailblazer, he's the innovator, He's he's the man. But

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Speaker 3: Love Bottom, you know, love Ginger Baker.

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Speaker 1: Bottom solo to me is classic, just the beginning of.

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Speaker 3: Rock and roll. Bottom, you know, which, by the way,

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Speaker 3: I just kind of had a couple of months ago.

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Speaker 3: It's a Chuck Berry riff that he turned into a

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Speaker 3: drum intro for rock and roll.

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Speaker 1: Yeah, they were all influenced by Chuck.

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Speaker 3: It's a Chuck Berry riff.

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Speaker 1: Yeah, well they all lifted from Chuck. Beatles everybody. He

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Speaker 1: was the guy.

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Speaker 3: Yeah, he was the guy. But I mean, drummer wise,

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Speaker 3: you know, I can go on forever. I mean I

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Speaker 3: had dinner at a it was at a dinner party

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Speaker 3: with Ron Burkle's the other night, and Jim Keltner was there,

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Speaker 3: and you know, you would have thought, I mean I didn't.

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Speaker 3: I didn't let the guy alone for a minute. Poor guy.

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Speaker 3: I just geeked out.

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Speaker 1: Yeah, he was on a couple of my records.

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Speaker 3: Yeah, he's cool.

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Speaker 2: Jordan's into music, and Jordan's into drummers and the whole bit.

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Speaker 6: I interviewed Keltner last week. Actually, he was on a

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Speaker 6: panel I was hosting for the mind Games reissue that's

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Speaker 6: coming out.

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Speaker 1: Oh that's cool.

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Speaker 3: I just listened to a whole Elliott Mint's interview on yeah,

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Speaker 3: on the Beatles Channel. Yeah, very cool talking about that.

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Speaker 2: Oh that re issue is incredible.

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Speaker 4: Yeah.

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Speaker 6: And Keltner obviously, I mean he told some amazing stories

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Speaker 6: about going way back with John and Yolk, all the

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Speaker 6: way back to you know, going out of Tittenhurst and

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Speaker 6: do an imagine out there and so cool.

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Speaker 3: I just listened to I just watched They did a

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Speaker 3: documentary on Nicky Hopkins and Nicky was talking about not

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Speaker 3: being being able to play on How Do You Sleep?

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Speaker 3: He just said, I can't do it. I can't do

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Speaker 3: it too nasty. Yeah, yeah, I just I can't. I

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Speaker 3: can't start burying Paul like that. I just I'm out

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Speaker 3: as some other piano player.

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Speaker 2: When we were at that house that you were living

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Speaker 2: in for a while, it was Elvis's house, it was

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Speaker 2: a picture of your dad, right, I wasn't their picture

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Speaker 2: of dad on the wall.

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Speaker 3: There was Oh yeah, no, there's a there's a couple.

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Speaker 3: But there's an artist named Neil Specter, right, and he

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Speaker 3: did kind of like a he did a portrait, not

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Speaker 3: a portune, but he hit this picture of my dad

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Speaker 3: that he did some treatment on and we all have

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Speaker 3: them up in our houses. It says Hollywood agent under

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Speaker 3: my dad. And funny enough, he really wasn't a Hollywood

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Speaker 3: guy at all. He wasn't in the movie business much.

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Speaker 3: But you know, if a client, you know, I mean,

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Speaker 3: when Diane Carroll started doing Dynasty and stuff like that,

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Speaker 3: he he was involved in that. But he wasn't really

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Speaker 3: a Hollywood guy. I mean, he was a Vegas guy.

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Speaker 3: That was that was his first love. You know, Paul knows.

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Speaker 1: He's very close to Normy Weiss, who was my dear

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Speaker 1: friend and associate for years. He and Normy were buddies.

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Speaker 3: And Normi's my godfather. I'm actually William Norman Gerber. But

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Speaker 3: Paul should tell the Beatles story, because you know, Norman

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Speaker 3: and my father got a ton of credit for bringing

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Speaker 3: the Beatles to America and putting him on the Element Show.

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Speaker 3: But it was the guy on the they suggested one

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Speaker 3: of them get their asses over to London and sign

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Speaker 3: this band.

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Speaker 1: I've told that story, I think a couple of times, right, guys.

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Speaker 1: But yeah, you know I saw the Beatles, and I

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Speaker 1: think I might have told you. You know, I was

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Speaker 1: in Paris and hanging out there and loving it and

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Speaker 1: got married there. But I worked the Olympia Theater, which

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Speaker 1: was the Classic theater, and I went to see a

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Speaker 1: friend of mine who was headlining over there, and I

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Speaker 1: was very impressed, obviously with Paris, and I was taking

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Speaker 1: it all in and I was sitting there and you know,

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Speaker 1: waiting for my friend on the second half and ladies

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Speaker 1: and gentlemen, please welcome from non bets. And these guys

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Speaker 1: walked out. I'm looking what Beatles? You know, you remember

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Speaker 1: it was who knew from Beatles. We dominated the charts.

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Speaker 1: Nothing was happening, but these Beatles. These guys come on

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Speaker 1: and I said, ship that's wild, you know. So I

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Speaker 1: met him. They came to see my show. I you know,

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Speaker 1: I got to know them, hung out in London. But

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Speaker 1: you know, it wasn't the media driven society back then.

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Speaker 1: It was all telegrams and phone calls when they work.

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Speaker 1: And I came back to normany who. He and Sid

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Speaker 1: Bernstein were my agents, and I said, hey, guys, this

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Speaker 1: guys the Beatles, and listen to these records I got.

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Speaker 1: And the enormo said, what the fuck? What do you

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Speaker 1: mean Beatles? You know he was pushing me and Frankie

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Speaker 1: Avalon and we're fucking Beatles. I said, I'm telling you,

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Speaker 1: these guys are amazing. I kept hounding them and hounding

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Speaker 1: them and hounding them every time. I would go to

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Speaker 1: London and come back to New York, back and forth,

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Speaker 1: and finally, as you said, Billy whatever moved them. They

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Speaker 1: went over and saw Epstein. They signed him and brought

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Speaker 1: them over on at Sullivan show. That was the first show.

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Speaker 3: And you know, it was Sandy Gallan who they sent

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Speaker 3: down because he had a friend at ED Sullivan and

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Speaker 3: they were like, Sandy, don't you have some friend that

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Speaker 3: works at ED Sullivan and sayings like yeah, They're like good,

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Speaker 3: go down there, get the Beatles book and don't come

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Speaker 3: back till they have a slot on the Ed Elevant show.

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Speaker 3: And he went down there and he.

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Speaker 1: He was my agent two then he'd be booked an

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Speaker 1: all password. What's my line? He was my guy and

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Speaker 1: uh and I think he introduced and ran into Geffen

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Speaker 1: because he and Geffen I think go way back and

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Speaker 1: defen want. I think the one big mistake I th

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Speaker 1: they made in my life, among many, was Geffen wanted

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Speaker 1: to manage me. I was already tired with her Ringfeld

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Speaker 1: and I looked back and I've even said it to

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Speaker 1: David because he's brilliantly navigated himself to the top of

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Speaker 1: the hill. Sure has What happened was the Beatles broke

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Speaker 1: it wide open because back then nobody paid attention to

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Speaker 1: us but our fans. You know, Madison Avenue had not

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Speaker 1: embraced it. Parents didn't like us, you know, it was

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Speaker 1: just in a infancy stage. And as soon as the

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Speaker 1: Beatles hit and Madison Avenue jumped off, it opened up

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Speaker 1: the business. I was thrilled. It took it to a

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Speaker 1: new level. Those guys really changed everything. And interesting I

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Speaker 1: tell the story, you know, because I lived in London

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Speaker 1: also and recorded over there. I was there when this

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Speaker 1: guy showed up, this guitar player, and he was featured

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Speaker 1: in a small club on the East End of London.

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Speaker 1: And every guitar player as it evolved out of the fifties,

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Speaker 1: you know, they were all copying Chuck and everybody. They're

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Speaker 1: all at this gig and this guy started.

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Speaker 3: To play I think it was it was it at

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Speaker 3: the Ronnie Scott's.

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Speaker 1: Or might have been that was that was a jazz

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Speaker 1: that was a jazz pack. I forget the name might

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Speaker 1: have been, but the guy's name was Jimmy Hendrix. And

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Speaker 1: every guitar player the way he played and edited, they

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Speaker 1: were there, they couldn't believe what they were seeing. You

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Speaker 1: saw the change with Clapton with Get to Do.

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Speaker 3: Yeah, no, no, that's a famous night that they all

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Speaker 3: talk about that they all left going we're doomed. None

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Speaker 3: of us can play like this.

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Speaker 5: Guy, Paul.

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Speaker 2: You mentioned David Geffens. So David, Billy and I are

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Speaker 2: very very close friends, and Billy and I love David.

435
00:21:29,320 --> 00:21:32,199
Speaker 2: But you know, David never brags about anything that he

436
00:21:32,280 --> 00:21:34,320
Speaker 2: did in the past. Doesn't brag about it. He's not.

437
00:21:35,119 --> 00:21:37,680
Speaker 2: It's amazing when you think of all the lives he

438
00:21:37,840 --> 00:21:40,119
Speaker 2: touched and all the things he's done in the industry,

439
00:21:40,320 --> 00:21:42,480
Speaker 2: and yet he doesn't talk about himself.

440
00:21:42,119 --> 00:21:45,199
Speaker 3: Which is sort of no, you gotta you gotta, you

441
00:21:45,240 --> 00:21:47,000
Speaker 3: gotta yank it out of him. You know, you got

442
00:21:47,000 --> 00:21:48,760
Speaker 3: a yank like, David, come on, did you know?

443
00:21:48,880 --> 00:21:49,080
Speaker 2: You know?

444
00:21:49,240 --> 00:21:50,679
Speaker 3: Did you know this one or that one? And then

445
00:21:50,680 --> 00:21:53,000
Speaker 3: he'll tell you some story and you're like, what you

446
00:21:53,080 --> 00:21:55,520
Speaker 3: were there? I mean, you know, it's just it's always

447
00:21:55,600 --> 00:21:57,679
Speaker 3: one of those kind of things. But when I was

448
00:21:57,680 --> 00:22:00,280
Speaker 3: listening to Clive's interview that he did with and he

449
00:22:00,320 --> 00:22:02,600
Speaker 3: was talking about them doing that concert of you know,

450
00:22:02,880 --> 00:22:05,359
Speaker 3: kind of all the acts that he had worked with,

451
00:22:05,400 --> 00:22:08,040
Speaker 3: I thought, that's a very nice thing. And he's worked

452
00:22:08,080 --> 00:22:10,280
Speaker 3: with some great acts, but can you imagine if they

453
00:22:10,320 --> 00:22:16,159
Speaker 3: did that for David Geffen it would be a monumental, monumental.

454
00:22:16,200 --> 00:22:19,680
Speaker 2: His seventieth birthday party. Remember you know we had credit.

455
00:22:19,359 --> 00:22:23,320
Speaker 3: Turn Yeah, but that was great when with the Broadway stuff.

456
00:22:23,359 --> 00:22:27,000
Speaker 3: But I mean, you know, Jackson probably just analysts, you know,

457
00:22:27,640 --> 00:22:30,359
Speaker 3: handless great music from he taught. He signed, told me

458
00:22:30,440 --> 00:22:33,000
Speaker 3: signed Jesse Collin Young and the Young Buds when he

459
00:22:33,040 --> 00:22:35,240
Speaker 3: was still in the mail room. He found them and

460
00:22:35,280 --> 00:22:36,840
Speaker 3: he had to get some agent to go with him

461
00:22:36,840 --> 00:22:38,760
Speaker 3: because he wasn't allowed to sign anybody yet.

462
00:22:38,880 --> 00:22:41,679
Speaker 1: You know William Morris, right, yeah.

463
00:22:41,520 --> 00:22:44,800
Speaker 3: I mean he was that prescient about music.

464
00:22:44,840 --> 00:22:46,399
Speaker 1: Oh yeah, he was totally into music.

465
00:22:46,560 --> 00:22:50,600
Speaker 2: And he's by the way, Paul, he's the greatest consumer

466
00:22:51,520 --> 00:22:54,800
Speaker 2: of content that billion billion I left. But all the

467
00:22:54,880 --> 00:22:56,560
Speaker 2: time we'll call it David. It'll be on his boat

468
00:22:56,600 --> 00:22:59,280
Speaker 2: or it'll be where everyone will say, hey, David, I

469
00:22:59,480 --> 00:23:02,399
Speaker 2: just so this film is it just won't be out

470
00:23:02,440 --> 00:23:05,760
Speaker 2: in theaters until tomorrow. Saw I. Oh, you know, but

471
00:23:06,160 --> 00:23:09,760
Speaker 2: there's a soundtrack. There's the soundtrack is part of it. Yeah,

472
00:23:09,760 --> 00:23:14,000
Speaker 2: I heard it right, he's ahead anything that's no.

473
00:23:14,080 --> 00:23:16,200
Speaker 3: But I say, he's seen stuff before it gets made.

474
00:23:16,560 --> 00:23:18,000
Speaker 3: Just an amazing thing.

475
00:23:18,080 --> 00:23:19,879
Speaker 1: It's tough too, there's so much stuff out there. I

476
00:23:19,880 --> 00:23:22,320
Speaker 1: don't have everybody keeps track of it years ago. At

477
00:23:22,400 --> 00:23:25,120
Speaker 1: least you had a pulse of everything in a week

478
00:23:25,240 --> 00:23:28,760
Speaker 1: years ago. Today, I mean bands I hear, I've never

479
00:23:28,760 --> 00:23:31,800
Speaker 1: heard them before. People, it's amazing. You can't keep track

480
00:23:31,840 --> 00:23:33,119
Speaker 1: of everything. It's scary.

481
00:23:33,280 --> 00:23:37,680
Speaker 3: People forget. You know. Top forty radio was very diverse.

482
00:23:38,000 --> 00:23:40,119
Speaker 3: You know, people here Top forty they think it's just

483
00:23:40,160 --> 00:23:42,800
Speaker 3: a bunch of popkits. But when we were listening to

484
00:23:42,880 --> 00:23:46,879
Speaker 3: KHJ in the sixties, they went from the Temptations to

485
00:23:47,000 --> 00:23:51,320
Speaker 3: the Stones, to the Supremes, to Jimmy Hendrix to the Rascals.

486
00:23:51,359 --> 00:23:54,080
Speaker 3: That I mean, it just played the great songs. That

487
00:23:54,240 --> 00:23:56,040
Speaker 3: was it. Top forties, Top forty.

488
00:23:56,119 --> 00:23:58,840
Speaker 1: You know, when did you make the leap from music

489
00:23:58,880 --> 00:23:59,399
Speaker 1: to movies?

490
00:23:59,440 --> 00:24:03,080
Speaker 3: Really well, in the eighties, I was, you know, I've been.

491
00:24:03,280 --> 00:24:06,600
Speaker 3: You know. Geffen got me a gig with Elliott Roberts

492
00:24:06,640 --> 00:24:09,080
Speaker 3: in nineteen just the end of nineteen seventy nine. He

493
00:24:09,119 --> 00:24:12,160
Speaker 3: introduced me to Elliott and David and I had become

494
00:24:12,280 --> 00:24:15,520
Speaker 3: very close first through my dad because they were agents together.

495
00:24:15,600 --> 00:24:18,240
Speaker 3: And then I ran into him at a concert, actually

496
00:24:18,280 --> 00:24:21,440
Speaker 3: a foreigner concert, and we went to lunch over there

497
00:24:21,480 --> 00:24:24,040
Speaker 3: with a mutual friend and he and I just you know,

498
00:24:24,200 --> 00:24:27,280
Speaker 3: he's been such a guiding light for me ever since then.

499
00:24:27,359 --> 00:24:29,679
Speaker 3: But so I was working with Elliott and then I

500
00:24:29,800 --> 00:24:35,440
Speaker 3: started my own little shop after that, And because films

501
00:24:35,840 --> 00:24:40,000
Speaker 3: started becoming very music driven. If you think about John Hughes,

502
00:24:40,359 --> 00:24:42,960
Speaker 3: Breakfast Club and Footloose, and you know, a lot of

503
00:24:42,960 --> 00:24:46,119
Speaker 3: those films, the soundtracks were making as much money as

504
00:24:46,119 --> 00:24:48,399
Speaker 3: the movies are, in some cases more money. You know,

505
00:24:48,600 --> 00:24:51,200
Speaker 3: Saturday Night Fever. I mean the money that Stigwin made

506
00:24:51,200 --> 00:24:55,560
Speaker 3: on Greece and Saturday Fever was incredible. So the studios

507
00:24:55,640 --> 00:24:57,000
Speaker 3: kind of went a little, you know, they kind of

508
00:24:57,040 --> 00:25:00,280
Speaker 3: pivoted to, Okay, well what's going on in muse that

509
00:25:00,520 --> 00:25:03,520
Speaker 3: we can use over here, And we collaborated on a

510
00:25:03,520 --> 00:25:06,320
Speaker 3: few soundtracks and I started meeting some of the studios,

511
00:25:06,840 --> 00:25:11,240
Speaker 3: and honestly, I looking back, I see how there are

512
00:25:11,320 --> 00:25:14,720
Speaker 3: some moments in my life that were where I was

513
00:25:14,920 --> 00:25:17,359
Speaker 3: very film driven. But I didn't go to film school.

514
00:25:18,320 --> 00:25:20,359
Speaker 3: I had thought about it at one point and I

515
00:25:20,400 --> 00:25:22,760
Speaker 3: thought that'd be cool, but I was just obsessed with

516
00:25:22,840 --> 00:25:25,800
Speaker 3: drumming and didn't end up doing it. But you know,

517
00:25:26,000 --> 00:25:29,480
Speaker 3: just serendipitously, as a kid, when i'd stay home from school,

518
00:25:29,520 --> 00:25:32,480
Speaker 3: which I didn't like going to I'd be watching these

519
00:25:32,480 --> 00:25:35,000
Speaker 3: classic movie channels. There was the one on Channel five

520
00:25:35,040 --> 00:25:36,479
Speaker 3: in LA I think it was probably I don't even

521
00:25:36,520 --> 00:25:38,320
Speaker 3: know if it was. I think it was UHF and

522
00:25:38,680 --> 00:25:42,359
Speaker 3: they would just play Billy Wilder films and john Ford

523
00:25:42,400 --> 00:25:45,040
Speaker 3: films and you know, on and on, and I ended

524
00:25:45,119 --> 00:25:47,399
Speaker 3: up seeing all these great movies and it really, you know,

525
00:25:47,640 --> 00:25:51,000
Speaker 3: like sense that boulevard. It really resonated with me. So

526
00:25:51,880 --> 00:25:55,119
Speaker 3: all of a sudden, after doing these soundtracks and things,

527
00:25:55,800 --> 00:25:58,080
Speaker 3: some of the executives at the studios asked me, you know,

528
00:25:58,280 --> 00:26:01,280
Speaker 3: did I want to produce or do things? And I

529
00:26:01,280 --> 00:26:04,160
Speaker 3: brought a couple of projects in and they we got

530
00:26:04,160 --> 00:26:06,359
Speaker 3: them set up, and you know, in the movie business,

531
00:26:06,400 --> 00:26:08,000
Speaker 3: to bring a project in and they buy it all

532
00:26:08,000 --> 00:26:09,639
Speaker 3: of a sudden, your producer, whether you know what the

533
00:26:09,640 --> 00:26:13,240
Speaker 3: hell you're doing or not. And I didn't, but I

534
00:26:13,359 --> 00:26:17,919
Speaker 3: struck up these relationships which resulted in Warner Brothers asking

535
00:26:17,960 --> 00:26:20,400
Speaker 3: me to come over and be a full time executive

536
00:26:20,480 --> 00:26:24,040
Speaker 3: in the production department, and you know, and I wasn't

537
00:26:24,040 --> 00:26:26,119
Speaker 3: going to do it until David Geffn called me and

538
00:26:26,720 --> 00:26:29,120
Speaker 3: asked me, what kind of schmuck am I to turn

539
00:26:29,200 --> 00:26:31,480
Speaker 3: down Warner Brothers And I was like, oh, I guess

540
00:26:31,520 --> 00:26:33,800
Speaker 3: you're right, you know, I guess I better do this,

541
00:26:34,280 --> 00:26:37,280
Speaker 3: and you know, and I did, and it was it

542
00:26:37,320 --> 00:26:39,520
Speaker 3: was great experience. It was a time you know in

543
00:26:39,560 --> 00:26:41,720
Speaker 3: the music. I mean, I you know, like you guys,

544
00:26:41,760 --> 00:26:43,480
Speaker 3: I don't like to talk about how great it used

545
00:26:43,480 --> 00:26:45,199
Speaker 3: to be. I mean, I think it's great now. But

546
00:26:46,400 --> 00:26:48,960
Speaker 3: you know, this was a period when the movie business

547
00:26:49,040 --> 00:26:51,439
Speaker 3: was kind of the best business in the world, and

548
00:26:51,520 --> 00:26:53,880
Speaker 3: everybody wanted to be in it, and you made these

549
00:26:53,920 --> 00:26:57,440
Speaker 3: amazing movies, and you got Academy Awards, and there's Clint Eastwood,

550
00:26:57,440 --> 00:27:00,439
Speaker 3: and there's George Miller, and there's George Cooper, Stanley Kubrick

551
00:27:00,480 --> 00:27:02,159
Speaker 3: in this one and that one. You know, I mean,

552
00:27:02,200 --> 00:27:04,600
Speaker 3: I'm hanging out with Alan Pecoola and I mean, it

553
00:27:04,640 --> 00:27:07,280
Speaker 3: was it was just an extraordinary It was the end

554
00:27:07,400 --> 00:27:10,440
Speaker 3: of a real error with Bob Daily and Terry Summel,

555
00:27:11,119 --> 00:27:14,280
Speaker 3: Michael Eisner and you know, all the all the people

556
00:27:14,320 --> 00:27:17,960
Speaker 3: who really were these grown ups at Grand Studios and

557
00:27:18,119 --> 00:27:21,800
Speaker 3: took responsibility for stuff and let let people, you know,

558
00:27:22,840 --> 00:27:25,639
Speaker 3: why their freak flag a little bit make crazy movies.

559
00:27:25,680 --> 00:27:29,280
Speaker 3: I mean, I made you know, La Confidential and Reversal

560
00:27:29,359 --> 00:27:33,120
Speaker 3: of Fortune and JFK and Natural Born Killers. I mean,

561
00:27:33,240 --> 00:27:36,360
Speaker 3: just why Yeah, I got to work on amazing movies,

562
00:27:36,400 --> 00:27:39,920
Speaker 3: and you know that obviously has I mean, people still

563
00:27:39,920 --> 00:27:44,960
Speaker 3: make some amazing movies, but it's not really the mainstream anymore.

564
00:27:45,000 --> 00:27:47,919
Speaker 3: The mainstream turned into partly because of our you know,

565
00:27:47,960 --> 00:27:50,439
Speaker 3: Batman movie originally in eighty nine, but you know, it's

566
00:27:50,480 --> 00:27:53,320
Speaker 3: turned into a very tent pull driven business.

567
00:27:53,640 --> 00:27:55,600
Speaker 1: So Bill, I think you made a point lightly, but

568
00:27:56,600 --> 00:27:58,080
Speaker 1: do you agree with me. I don't think it's a

569
00:27:58,119 --> 00:28:01,879
Speaker 1: business anymore. I don't think the motion picture business is

570
00:28:01,920 --> 00:28:03,520
Speaker 1: a business anymore, not like it was.

571
00:28:03,600 --> 00:28:06,840
Speaker 3: It's not a business, well not. It's not entrepreneurial anymore,

572
00:28:07,040 --> 00:28:09,440
Speaker 3: that's for sure. It's it's just like the car business

573
00:28:09,560 --> 00:28:12,439
Speaker 3: or any other big business. Then you have to, you know,

574
00:28:12,480 --> 00:28:15,000
Speaker 3: deliver certain numbers, and you have to, you know, make

575
00:28:15,080 --> 00:28:19,320
Speaker 3: certain parts of the company, you know, really work in tandem.

576
00:28:19,680 --> 00:28:22,880
Speaker 3: You know. I just remember all these meetings of Bob

577
00:28:22,920 --> 00:28:25,640
Speaker 3: and Terry where you'd be pitching a movie you wanted

578
00:28:25,680 --> 00:28:28,000
Speaker 3: to make, and they'd be like, do you think it

579
00:28:28,000 --> 00:28:30,600
Speaker 3: could win an Academy Award? I mean, I don't think

580
00:28:30,600 --> 00:28:33,560
Speaker 3: anybody has that conversation anymore. I don't they don't care

581
00:28:33,600 --> 00:28:34,960
Speaker 3: about winning an Academy Award.

582
00:28:35,280 --> 00:28:37,119
Speaker 1: But isn't it Billy, I think a lot of the

583
00:28:37,280 --> 00:28:40,760
Speaker 1: you look at the the awareness and how important stars

584
00:28:40,760 --> 00:28:43,000
Speaker 1: are in film is not like yesterday. But I think

585
00:28:43,040 --> 00:28:46,360
Speaker 1: it is important because it's all about winning that Academy

586
00:28:46,400 --> 00:28:48,800
Speaker 1: Award today. Isn't that?

587
00:28:48,960 --> 00:28:52,400
Speaker 3: I don't, drily, I don't. I don't think an Academy

588
00:28:52,400 --> 00:28:55,480
Speaker 3: Award moves the needle. I think it's partly our fault

589
00:28:55,480 --> 00:28:58,680
Speaker 3: in the film business that we've been kind of paying

590
00:28:58,760 --> 00:29:02,680
Speaker 3: extra attention to more obscure movies. So when people, if

591
00:29:02,720 --> 00:29:04,680
Speaker 3: they even to an end to watch the Academy Awards,

592
00:29:04,720 --> 00:29:06,560
Speaker 3: the odds are they probably haven't seen most of the

593
00:29:06,600 --> 00:29:09,600
Speaker 3: movies that are nominated, and that's been a real issue

594
00:29:09,600 --> 00:29:11,720
Speaker 3: for the Academy to try to make it more relevant

595
00:29:11,840 --> 00:29:15,360
Speaker 3: include more of the big hits. You know, there's just

596
00:29:15,360 --> 00:29:17,200
Speaker 3: because it's big doesn't mean it's bad. I mean, I've

597
00:29:17,240 --> 00:29:20,280
Speaker 3: seen great movies. I mean I thought Barbie was a

598
00:29:20,280 --> 00:29:23,760
Speaker 3: great movie. Openhearm was a great movie. You know, Deadpool?

599
00:29:23,840 --> 00:29:25,640
Speaker 3: To me is I mean you can make a great

600
00:29:25,680 --> 00:29:28,400
Speaker 3: movie that does. I mean, look, Star is Born. Just

601
00:29:28,440 --> 00:29:30,480
Speaker 3: to flex a little bit, we did a half a

602
00:29:30,560 --> 00:29:32,240
Speaker 3: billion dollars. It's a great movie, you.

603
00:29:32,160 --> 00:29:34,000
Speaker 1: Know, flex it was really a good movie.

604
00:29:34,080 --> 00:29:37,120
Speaker 3: Joker did a billion dollars. It's a brilliant movie, you know.

605
00:29:37,240 --> 00:29:39,360
Speaker 2: So you know what, Paul Billion and I Billy comes

606
00:29:39,360 --> 00:29:43,360
Speaker 2: over like pretty much every weekend we watch movies. I

607
00:29:43,400 --> 00:29:46,240
Speaker 2: have to hate to say, if we watched ten films

608
00:29:46,240 --> 00:29:50,440
Speaker 2: over ten weeks, we go by the sort of the

609
00:29:50,480 --> 00:29:53,200
Speaker 2: defining thing for us is would we recommend it? Like

610
00:29:53,240 --> 00:29:55,440
Speaker 2: what I call you and say, hey, Billion, I started

611
00:29:55,440 --> 00:29:57,680
Speaker 2: this movie, you have to see it. I have to

612
00:29:57,720 --> 00:30:00,640
Speaker 2: say eight out of ten? You just wouldn't do that.

613
00:30:01,320 --> 00:30:04,200
Speaker 2: And yet you turn on you know, you watch these

614
00:30:04,280 --> 00:30:08,240
Speaker 2: various series on television, right and an Apple TV or

615
00:30:08,240 --> 00:30:11,120
Speaker 2: a Netflix or whatever. There's some great series on like

616
00:30:11,240 --> 00:30:16,240
Speaker 2: Reversalfortion right now, unbelievable series, everybody loving it. But was

617
00:30:16,280 --> 00:30:18,600
Speaker 2: it fair to say, Billy most of the films that

618
00:30:18,640 --> 00:30:22,280
Speaker 2: we watch, and Billy is the curator, right, I'll call Billy,

619
00:30:22,440 --> 00:30:24,520
Speaker 2: I'll say what films should we get for this weekend?

620
00:30:24,920 --> 00:30:26,760
Speaker 2: And Billy will say, well, let's get this one in

621
00:30:26,760 --> 00:30:29,880
Speaker 2: this one, because sometimes we'll get two. And my batting

622
00:30:30,320 --> 00:30:32,320
Speaker 2: average is that about right about eight out of ten

623
00:30:32,360 --> 00:30:32,920
Speaker 2: or in that film?

624
00:30:32,960 --> 00:30:36,920
Speaker 3: So that we would recommend, I mean unfortunately, yeah.

625
00:30:37,000 --> 00:30:37,200
Speaker 4: Yeah.

626
00:30:37,240 --> 00:30:38,840
Speaker 3: But here's the thing, you know, and I had this.

627
00:30:39,400 --> 00:30:42,360
Speaker 3: I had this debate with my ex wife, my ben

628
00:30:42,440 --> 00:30:45,880
Speaker 3: wife years ago, and you know, the movie business was

629
00:30:45,920 --> 00:30:48,400
Speaker 3: putting the kids through private school. But she one day

630
00:30:48,480 --> 00:30:50,720
Speaker 3: said to me, you know, TV is so much better

631
00:30:50,800 --> 00:30:53,840
Speaker 3: than movies. And I went, okay, well, here's the difference.

632
00:30:53,960 --> 00:30:56,520
Speaker 3: You know, first of all, you're in your house, you

633
00:30:56,560 --> 00:31:00,000
Speaker 3: don't have to leave to watch TV. Show doesn't cost anything.

634
00:31:00,240 --> 00:31:02,280
Speaker 3: You know, at that point, there wasn't even I mean,

635
00:31:02,280 --> 00:31:06,120
Speaker 3: there was Netflix, but you know she was watching I mean,

636
00:31:06,120 --> 00:31:08,320
Speaker 3: we were all watching twenty four and things like that.

637
00:31:08,640 --> 00:31:11,760
Speaker 3: But my point where it was the degree of difficulty,

638
00:31:11,880 --> 00:31:14,760
Speaker 3: you know, like the Olympics, whatever, the you know, the

639
00:31:14,840 --> 00:31:17,480
Speaker 3: high jump or whatever, to get somebody off their couch

640
00:31:18,440 --> 00:31:22,440
Speaker 3: in their car to a movie theater, to park, babysitter,

641
00:31:22,520 --> 00:31:26,560
Speaker 3: da da, it's expensive proposition, and you have to make

642
00:31:26,640 --> 00:31:29,440
Speaker 3: something so compelling that people have to go see it,

643
00:31:29,520 --> 00:31:32,240
Speaker 3: which I'm happy to say this summer, people do seem

644
00:31:32,280 --> 00:31:34,400
Speaker 3: to be going to see a lot of pictures. But

645
00:31:34,800 --> 00:31:37,520
Speaker 3: when you're watching TV and let's say a show is

646
00:31:37,560 --> 00:31:40,120
Speaker 3: eight episodes or it's twelve episodes, or the old days,

647
00:31:40,160 --> 00:31:43,520
Speaker 3: it was twenty two episodes. Not every episode was great,

648
00:31:43,600 --> 00:31:47,280
Speaker 3: but because you didn't have to do much to watch

649
00:31:47,320 --> 00:31:49,760
Speaker 3: the next episode. And it happens to me all the time.

650
00:31:49,800 --> 00:31:52,760
Speaker 3: We're all even like Baby Reindeer, you know, like the

651
00:31:52,800 --> 00:31:54,440
Speaker 3: first one, you're kind of like, what's going on in

652
00:31:54,520 --> 00:31:57,560
Speaker 3: the second one, and then it just starts getting so good.

653
00:31:57,600 --> 00:32:02,080
Speaker 3: You can't believe how talented this filmmaker is. By the end,

654
00:32:02,120 --> 00:32:04,600
Speaker 3: you're just you know, same with Ripley, You're just your

655
00:32:04,640 --> 00:32:06,840
Speaker 3: mind is blown by the end. But you know, if

656
00:32:06,880 --> 00:32:08,760
Speaker 3: it were a movie and you were watching that first

657
00:32:08,880 --> 00:32:11,640
Speaker 3: or second episode, you might have been like, why did

658
00:32:11,680 --> 00:32:14,120
Speaker 3: we come here? You know, whereas you know with TV,

659
00:32:14,240 --> 00:32:18,000
Speaker 3: you've got you've got people's patients, you know, going for you.

660
00:32:18,160 --> 00:32:20,320
Speaker 2: But whether it's breaking bad or I mean for me,

661
00:32:20,400 --> 00:32:23,800
Speaker 2: the only benefit of COVID was I actually rewatched all

662
00:32:23,880 --> 00:32:27,480
Speaker 2: those Sopranos, starting with you know, episode one, season one,

663
00:32:27,640 --> 00:32:28,440
Speaker 2: all the way through.

664
00:32:28,960 --> 00:32:29,720
Speaker 3: I mean, incredible.

665
00:32:30,000 --> 00:32:32,920
Speaker 2: That's as good as you know, better than anything I've

666
00:32:32,960 --> 00:32:33,800
Speaker 2: seen on the movie.

667
00:32:34,000 --> 00:32:35,480
Speaker 3: No, that's as good as it gets. It's you know,

668
00:32:35,560 --> 00:32:41,200
Speaker 3: Peter Rice, who ran Fox and incredibly accomplished executive, he said,

669
00:32:41,280 --> 00:32:44,440
Speaker 3: you know, He was somebody that had been h you know,

670
00:32:45,200 --> 00:32:48,960
Speaker 3: kind of cajoling me about getting into television way back when.

671
00:32:49,360 --> 00:32:52,200
Speaker 3: He and I said, you know, yeah, kind of a

672
00:32:52,240 --> 00:32:54,600
Speaker 3: movie guy. And he said, yeah, but if there's a

673
00:32:54,640 --> 00:32:56,840
Speaker 3: movie you love, like The Godfather, you get to do

674
00:32:56,880 --> 00:33:00,000
Speaker 3: it for fifty hours. And I was like, yeah, you're right,

675
00:33:00,120 --> 00:33:02,000
Speaker 3: that's kind of and that's what's I mean in my mind.

676
00:33:02,040 --> 00:33:05,280
Speaker 3: Sopranos was kind of you know, David Chase going, I'm

677
00:33:05,320 --> 00:33:07,800
Speaker 3: gonna take I'm gonna take ideas like The Godfriend. I'm

678
00:33:07,800 --> 00:33:10,440
Speaker 3: gonna do it for fifty hours, you know, and people

679
00:33:10,480 --> 00:33:10,880
Speaker 3: loved it.

680
00:33:11,360 --> 00:33:13,520
Speaker 2: Is Peter Rice, the guy who introduces me to it

681
00:33:13,600 --> 00:33:16,520
Speaker 2: Casey Wasserman's party, Yeah, live.

682
00:33:16,480 --> 00:33:20,200
Speaker 3: Movies exactly, featuring the character playing your wife.

683
00:33:20,440 --> 00:33:20,640
Speaker 2: Yeah.

684
00:33:20,840 --> 00:33:21,680
Speaker 1: True.

685
00:33:22,320 --> 00:33:24,720
Speaker 2: I'm looking forward to seeing it. So what is he

686
00:33:24,720 --> 00:33:28,640
Speaker 2: He's a Is he a studio producer? Peter ris or

687
00:33:28,720 --> 00:33:31,000
Speaker 2: is independent producers?

688
00:33:31,320 --> 00:33:33,520
Speaker 3: He's doing it on his own at the moment, but

689
00:33:34,520 --> 00:33:36,440
Speaker 3: I mean he's been offered every job in town. He's

690
00:33:36,440 --> 00:33:39,360
Speaker 3: super talented. But I think he's just got his own

691
00:33:39,360 --> 00:33:42,680
Speaker 3: shop now and producing that movie's doing with a twenty four,

692
00:33:42,720 --> 00:33:45,280
Speaker 3: I believe, and I'm sure he's got stuff around town.

693
00:33:45,960 --> 00:33:47,120
Speaker 3: It's very well respected.

694
00:33:47,240 --> 00:33:49,400
Speaker 2: And how did you start? How did you get started?

695
00:33:49,440 --> 00:33:52,040
Speaker 2: Because he did so many projects with Clint Eastwood? How

696
00:33:52,080 --> 00:33:53,400
Speaker 2: did that come about?

697
00:33:53,760 --> 00:33:57,960
Speaker 3: Joe Hyms, the legendary publicity guy who I just told

698
00:33:57,960 --> 00:33:59,840
Speaker 3: this story about him the other day. You know, he

699
00:34:00,000 --> 00:34:04,400
Speaker 3: he was a beat reporter for some non existent or

700
00:34:04,560 --> 00:34:08,239
Speaker 3: cease to be existent newspaper in New York and he

701
00:34:08,400 --> 00:34:12,120
Speaker 3: was covering a raid on a gay party, you know,

702
00:34:12,200 --> 00:34:14,560
Speaker 3: which people like to do in those days. And so

703
00:34:14,600 --> 00:34:17,239
Speaker 3: he walked in and he caught this movie star in

704
00:34:17,280 --> 00:34:20,439
Speaker 3: a compromising position. And he went to work the next

705
00:34:20,520 --> 00:34:22,719
Speaker 3: day and MGM was on the phone offering of a

706
00:34:22,800 --> 00:34:25,640
Speaker 3: job so that he would never publish the story that

707
00:34:25,680 --> 00:34:28,320
Speaker 3: he had come upon at this party. And so he

708
00:34:28,360 --> 00:34:30,880
Speaker 3: goes to work at MGM. And he was a guy,

709
00:34:30,920 --> 00:34:34,839
Speaker 3: I mean, he's such an amazing guy. Anyway, so he

710
00:34:34,880 --> 00:34:37,439
Speaker 3: goes he goes to work at MGM and they go, yeah,

711
00:34:37,440 --> 00:34:41,520
Speaker 3: you understand articles and press that we're gonna you're going

712
00:34:41,600 --> 00:34:43,560
Speaker 3: to be a unit public system. So they send him

713
00:34:43,600 --> 00:34:47,359
Speaker 3: on his first gig, which was on the waterfront, and

714
00:34:47,719 --> 00:34:50,160
Speaker 3: so you know, Brando loves him, they all love him,

715
00:34:50,880 --> 00:34:54,040
Speaker 3: and he gets back movie raps and they're like, Okay,

716
00:34:54,120 --> 00:34:55,839
Speaker 3: people liked you, We're gonna send you on another one.

717
00:34:55,840 --> 00:34:58,600
Speaker 3: And he goes, you know, okay, great the next his

718
00:34:58,640 --> 00:35:01,520
Speaker 3: second job is from here to eternity. I mean, that's

719
00:35:01,560 --> 00:35:05,319
Speaker 3: how this guy starts in the movie business. Anyway, when

720
00:35:05,320 --> 00:35:08,080
Speaker 3: I got to Warm eighty six, I ran into Joe.

721
00:35:08,200 --> 00:35:09,960
Speaker 3: He knew my mom from New York. They were all

722
00:35:10,000 --> 00:35:13,200
Speaker 3: friends with these Gray advertising guys like Pickkarp and everyone

723
00:35:13,200 --> 00:35:17,000
Speaker 3: in Sandy Rise of back et cetera. And so he

724
00:35:17,080 --> 00:35:18,719
Speaker 3: just took me under his wing and he said, you know,

725
00:35:19,160 --> 00:35:21,560
Speaker 3: I'm going to take you down to see Clint because

726
00:35:21,600 --> 00:35:23,879
Speaker 3: you know you're into music. He's in the music. Were

727
00:35:23,920 --> 00:35:27,839
Speaker 3: both musicians, and he said, I want Clint to meet

728
00:35:27,840 --> 00:35:30,040
Speaker 3: some young people, like he's enough with Bob and Terry

729
00:35:30,160 --> 00:35:32,520
Speaker 3: used to know some young people at the studio. So

730
00:35:32,760 --> 00:35:36,200
Speaker 3: I go down. Clint was finishing Bird. He actually had

731
00:35:36,280 --> 00:35:41,760
Speaker 3: Charlie Parker's you know, the living members of Charlie Parker's

732
00:35:41,800 --> 00:35:46,080
Speaker 3: band were doing the music for Bird. And so, you know,

733
00:35:46,360 --> 00:35:48,279
Speaker 3: I walk into the studio on the lot and there's

734
00:35:48,320 --> 00:35:50,879
Speaker 3: Clint that Anyway, he and I started talking and then

735
00:35:50,960 --> 00:35:54,920
Speaker 3: Joe took us all to a movie festival in Utah

736
00:35:55,000 --> 00:35:58,680
Speaker 3: and wasn't yet, it wasn't called Sun Dance yet, And

737
00:35:59,320 --> 00:36:02,040
Speaker 3: you know, Clint, we just hit it off and we

738
00:36:03,520 --> 00:36:09,360
Speaker 3: struck up this amazing friendship that's been so powerful in

739
00:36:09,400 --> 00:36:12,279
Speaker 3: my life. I mean, I I mean, it's just an

740
00:36:12,320 --> 00:36:15,160
Speaker 3: extraordinary I was talking to Pam Abdey and mikel Luca

741
00:36:15,160 --> 00:36:17,360
Speaker 3: about this a few weeks ago because Clint came and

742
00:36:17,360 --> 00:36:20,000
Speaker 3: did A and A, Q and A with them before

743
00:36:20,040 --> 00:36:22,799
Speaker 3: a movie they wanted to show at the studio. And

744
00:36:24,480 --> 00:36:26,439
Speaker 3: there's never a time I'm with him that I don't

745
00:36:26,680 --> 00:36:29,560
Speaker 3: get something. I mean, Paul knows him forever. I mean

746
00:36:29,840 --> 00:36:33,960
Speaker 3: just he's just so humble, but he's so knowledgeable, and

747
00:36:34,000 --> 00:36:37,520
Speaker 3: he's so wise, and he's just such an incredible guy,

748
00:36:38,239 --> 00:36:41,480
Speaker 3: and you know, it's just it's a pleasure to know him.

749
00:36:41,520 --> 00:36:44,080
Speaker 3: And that's that's how I met him. And then I

750
00:36:44,120 --> 00:36:48,319
Speaker 3: found this script that Charlie Sheen had given me called

751
00:36:48,320 --> 00:36:52,200
Speaker 3: The Rookie that Charlie controlled, and I asked Terry Semmel

752
00:36:52,239 --> 00:36:54,040
Speaker 3: because Charlie said, you know, I want to do this

753
00:36:54,080 --> 00:36:55,439
Speaker 3: at Clint East. But I said, well, then you should

754
00:36:55,480 --> 00:36:58,000
Speaker 3: give it to me, because he basically does all his

755
00:36:58,120 --> 00:37:00,720
Speaker 3: movies at Warner Brothers, and so I called Terry Simmel

756
00:37:00,760 --> 00:37:02,719
Speaker 3: and I gave him the script and Terry said yeah,

757
00:37:02,760 --> 00:37:04,759
Speaker 3: and he sent it to Clint and you know, a

758
00:37:04,840 --> 00:37:07,200
Speaker 3: week later, because that's how Clint works, yes or no,

759
00:37:07,760 --> 00:37:09,399
Speaker 3: you know, it's not like I'll get back to you

760
00:37:09,560 --> 00:37:12,520
Speaker 3: or maybe after this. You know, he just reads something,

761
00:37:12,560 --> 00:37:15,640
Speaker 3: he goes and shoots. It's it's the most incredible you know,

762
00:37:15,719 --> 00:37:18,080
Speaker 3: yeah Spielberg about it. It's one of the most remarkable

763
00:37:18,160 --> 00:37:21,920
Speaker 3: ways of making movies anybody we've ever seen anyway, And

764
00:37:21,960 --> 00:37:23,960
Speaker 3: so he said, yes, the rookie, and everybody kind of went,

765
00:37:25,360 --> 00:37:27,960
Speaker 3: you know, who are you? And I was like, just

766
00:37:28,040 --> 00:37:30,320
Speaker 3: you know, doing my job, and you know, they couldn't

767
00:37:30,320 --> 00:37:32,400
Speaker 3: believe I came up with a script that Clint would do.

768
00:37:32,440 --> 00:37:34,600
Speaker 3: And then you know, next thing, you know, we're all

769
00:37:34,600 --> 00:37:37,200
Speaker 3: in cann together and we're here and we're in Scotland

770
00:37:37,200 --> 00:37:39,600
Speaker 3: and we're with Steve Ross and it's just been quite

771
00:37:39,600 --> 00:37:41,600
Speaker 3: a ride knowing him. And I was so happy to

772
00:37:41,600 --> 00:37:46,480
Speaker 3: see him for weeks ago on the lot and he's

773
00:37:46,480 --> 00:37:50,440
Speaker 3: an extraordinary man. And I saw some director had a

774
00:37:50,480 --> 00:37:52,680
Speaker 3: trucker hat on in a picture. I saw this a

775
00:37:52,680 --> 00:37:55,239
Speaker 3: few years ago, and it just said, what would Clint do?

776
00:37:55,960 --> 00:37:58,080
Speaker 3: And I always think, you know, when I see when

777
00:37:58,120 --> 00:38:00,279
Speaker 3: I'm on a set, my own or somebody else says,

778
00:38:00,320 --> 00:38:05,279
Speaker 3: I see what's going on. And I think everybody who

779
00:38:05,320 --> 00:38:08,040
Speaker 3: wants to be in film should find any job they

780
00:38:08,080 --> 00:38:10,759
Speaker 3: can get on a clean Eastwood movie. So you know

781
00:38:10,800 --> 00:38:13,080
Speaker 3: how to do it because he knows how to do

782
00:38:13,160 --> 00:38:16,960
Speaker 3: it better than anybody. The set is calm, he doesn't

783
00:38:17,000 --> 00:38:20,520
Speaker 3: spend a penny more than he needs to. Everybody, I mean,

784
00:38:20,520 --> 00:38:23,239
Speaker 3: he gets online for food like everybody else. Is just

785
00:38:23,280 --> 00:38:26,000
Speaker 3: an incredible work ethic, you know.

786
00:38:26,920 --> 00:38:27,200
Speaker 4: Yeah.

787
00:38:27,640 --> 00:38:31,560
Speaker 1: Skip. He was my neighbor up in Carmel, as Billy mentioned,

788
00:38:31,600 --> 00:38:33,719
Speaker 1: and I knew him all those years up there. His

789
00:38:33,760 --> 00:38:36,080
Speaker 1: family very close. I grew up with my girls. But

790
00:38:36,640 --> 00:38:41,040
Speaker 1: one of the great things he asked me to do

791
00:38:41,080 --> 00:38:43,160
Speaker 1: a party or something he was doing up there, and

792
00:38:43,160 --> 00:38:46,239
Speaker 1: I said, well, look, I got my way and I'll

793
00:38:46,320 --> 00:38:48,879
Speaker 1: change the words, which I started doing years ago. I said,

794
00:38:48,880 --> 00:38:50,319
Speaker 1: but I'll only do it if you'll sing with me.

795
00:38:51,840 --> 00:38:54,279
Speaker 1: You want me to sing with you? I said yeah,

796
00:38:54,320 --> 00:39:00,680
Speaker 1: I said it'll be great. Listen, just trust me, all right, Okay,

797
00:39:01,560 --> 00:39:03,360
Speaker 1: So he said, well, come on, we'll go up on

798
00:39:03,400 --> 00:39:06,040
Speaker 1: the warners plane, I go over. I meet him at

799
00:39:06,040 --> 00:39:09,000
Speaker 1: bird Bank and he walked. He walked on the plane,

800
00:39:09,000 --> 00:39:13,360
Speaker 1: carrying his own suit. The tie was hanging around the hangar.

801
00:39:13,840 --> 00:39:16,000
Speaker 1: And we get on, you know, and I'm convincing him

802
00:39:16,000 --> 00:39:19,240
Speaker 1: he's got anyway. We get up there, he sings, he's

803
00:39:19,400 --> 00:39:22,480
Speaker 1: great and everybody loves him. And he said, you know,

804
00:39:22,600 --> 00:39:26,520
Speaker 1: I'm thinking running for mayor. I don't like the bullshit

805
00:39:26,680 --> 00:39:32,120
Speaker 1: that's going on in town. This is Carmeal. I gotta

806
00:39:33,840 --> 00:39:37,360
Speaker 1: I gotta give a speech from the steps of the

807
00:39:37,520 --> 00:39:42,279
Speaker 1: town hall there. I said, you know the way I

808
00:39:42,320 --> 00:39:45,360
Speaker 1: love you, madly man. You got your thing, but nobody's

809
00:39:45,360 --> 00:39:48,160
Speaker 1: gonna fucking hear you the way you talk. You're so cool,

810
00:39:48,200 --> 00:39:50,480
Speaker 1: you know. And I said, you're gonna have like two

811
00:39:50,600 --> 00:39:53,920
Speaker 1: hundred whatever's going to show up on the sideway's all right,

812
00:39:54,040 --> 00:39:56,439
Speaker 1: you know. I'm just gonna do what I do. And

813
00:39:56,560 --> 00:39:59,000
Speaker 1: I said, no plane. You know what I'm gonna do.

814
00:39:59,280 --> 00:40:02,480
Speaker 1: I'm gonna pay I'm gonna I know the sound company

815
00:40:03,200 --> 00:40:07,319
Speaker 1: San Francisco, and I'm gonna truck some equipment down and

816
00:40:07,360 --> 00:40:10,319
Speaker 1: we're gonna put the speakers on the stairs. Bring get

817
00:40:10,400 --> 00:40:13,160
Speaker 1: a microphone, and you're gonna talk to the people, and

818
00:40:13,200 --> 00:40:17,520
Speaker 1: you're gonna become mayor anyway. Fade out, faye. They bring

819
00:40:17,520 --> 00:40:20,000
Speaker 1: the equipment. He gets up there and he starts talking

820
00:40:20,120 --> 00:40:25,480
Speaker 1: on the microphone. Everybody could hear. Right, he gets elected mayor.

821
00:40:25,960 --> 00:40:28,839
Speaker 1: But he's just the most lovable and as you say,

822
00:40:28,880 --> 00:40:32,440
Speaker 1: you know, there are guys like that that are wired

823
00:40:32,560 --> 00:40:35,600
Speaker 1: like that. They're like that all the time, no matter what,

824
00:40:35,840 --> 00:40:37,120
Speaker 1: you know, it's like that. We had him on a

825
00:40:37,120 --> 00:40:42,000
Speaker 1: few weeks ago. Carlos slim, Right, Carlos is exactly in

826
00:40:42,080 --> 00:40:45,319
Speaker 1: business the way Clint is. But Clint is, how's he doing?

827
00:40:45,360 --> 00:40:45,520
Speaker 4: Man?

828
00:40:45,600 --> 00:40:47,200
Speaker 1: Is he doing that project in Africans?

829
00:40:47,440 --> 00:40:47,640
Speaker 4: Ago?

830
00:40:48,040 --> 00:40:49,200
Speaker 1: Did he go to Africa to do it?

831
00:40:49,840 --> 00:40:49,920
Speaker 2: No?

832
00:40:50,000 --> 00:40:52,760
Speaker 3: He just did one. He just shot one in Georgia.

833
00:40:53,120 --> 00:40:56,600
Speaker 3: I think it's called Jury number juror number two something

834
00:40:56,600 --> 00:40:59,640
Speaker 3: like that or three. And it's a courtroom drama and

835
00:40:59,680 --> 00:41:02,279
Speaker 3: he's shot. He knocks him ount in Georgia. He loves

836
00:41:02,320 --> 00:41:05,040
Speaker 3: working there. He's got a gusted down the road. You know,

837
00:41:05,160 --> 00:41:07,600
Speaker 3: hey just hit a couple and he was down there,

838
00:41:07,719 --> 00:41:10,520
Speaker 3: you know, but he uh so, he just finished that.

839
00:41:10,680 --> 00:41:13,920
Speaker 3: But he seems great. He seems I mean, he was

840
00:41:13,960 --> 00:41:14,960
Speaker 3: looking for his next movie.

841
00:41:15,200 --> 00:41:17,239
Speaker 1: Just had a birthday, right, Billy didn't have.

842
00:41:17,200 --> 00:41:20,560
Speaker 3: Just ninety four and he's still and now he's looking

843
00:41:20,600 --> 00:41:22,920
Speaker 3: for his next film. You know, he's a gangster. He

844
00:41:23,040 --> 00:41:23,760
Speaker 3: just doesn't stop.

845
00:41:23,920 --> 00:41:25,279
Speaker 2: But you know what, I didn't know him at all,

846
00:41:25,440 --> 00:41:29,520
Speaker 2: never met him. But when Bud Yorkin was toward the

847
00:41:29,600 --> 00:41:32,120
Speaker 2: end of his life, you know Bud's wife, Cynthia, who

848
00:41:32,160 --> 00:41:34,399
Speaker 2: was just extraordinary. The way she took care of him,

849
00:41:34,400 --> 00:41:37,160
Speaker 2: it was amazing. But she would invite people to come

850
00:41:37,200 --> 00:41:39,840
Speaker 2: over and you know, to go there to have dinner

851
00:41:39,880 --> 00:41:42,279
Speaker 2: with Bud. And Bud didn't even know where he was.

852
00:41:42,480 --> 00:41:45,640
Speaker 2: I mean, but he was, you know, all dressed up.

853
00:41:45,680 --> 00:41:49,480
Speaker 2: And one night Clint, Clint came over and he sat

854
00:41:49,560 --> 00:41:53,240
Speaker 2: there and just talked to Bud. It was the most

855
00:41:53,600 --> 00:41:57,279
Speaker 2: extraordinary thing head and ever sitting there watching It's just

856
00:41:57,320 --> 00:42:00,239
Speaker 2: like we were sitting like this and you know, you

857
00:42:00,280 --> 00:42:03,040
Speaker 2: couldn't tell it, but couldn't understand anything was going on

858
00:42:03,200 --> 00:42:06,680
Speaker 2: because but he was just staring at Clint sort of

859
00:42:06,719 --> 00:42:09,600
Speaker 2: like to do I know this guy? And Clint was

860
00:42:09,640 --> 00:42:14,560
Speaker 2: so kind and so just thoughtful, and he just said, bug,

861
00:42:14,640 --> 00:42:16,840
Speaker 2: you remember that time when we were in Sun Valley,

862
00:42:16,880 --> 00:42:19,399
Speaker 2: Idaho and you were driving the car and he just

863
00:42:19,760 --> 00:42:23,720
Speaker 2: went on for like three quarters of that.

864
00:42:23,719 --> 00:42:26,200
Speaker 3: That's a lot when you know he's not a talker.

865
00:42:26,480 --> 00:42:29,480
Speaker 3: He is not a talker, you know. I mean, you

866
00:42:29,480 --> 00:42:31,200
Speaker 3: could get him going, you know, you hit on the

867
00:42:31,239 --> 00:42:33,640
Speaker 3: right topics and stuff like that, but he's not a

868
00:42:33,680 --> 00:42:36,040
Speaker 3: guy that needs to hear his own voice at all,

869
00:42:36,560 --> 00:42:38,480
Speaker 3: at all. He just doesn't have that.

870
00:42:39,600 --> 00:42:41,000
Speaker 2: He was just doing this for a friend.

871
00:42:41,200 --> 00:42:44,080
Speaker 3: Yeah, that's that's that's my point. He just you know,

872
00:42:44,280 --> 00:42:47,719
Speaker 3: when I've had, you know, moments in my life that

873
00:42:47,760 --> 00:42:51,959
Speaker 3: were less than joyous, Clint was one of the first

874
00:42:51,960 --> 00:42:54,040
Speaker 3: phone calls I would I would always get, you know,

875
00:42:54,280 --> 00:42:57,279
Speaker 3: when when stuff got tough, you know.

876
00:42:57,560 --> 00:43:00,680
Speaker 1: Speaking of a tough billy. You know, you look at

877
00:43:00,719 --> 00:43:05,279
Speaker 1: the litany of the great films and how tough when

878
00:43:05,280 --> 00:43:08,759
Speaker 1: you look at The Godfather and how he fucked to

879
00:43:08,880 --> 00:43:11,239
Speaker 1: keep that film together in a town where they eat

880
00:43:11,280 --> 00:43:15,040
Speaker 1: their dead, but the battle that he went through to

881
00:43:15,080 --> 00:43:18,360
Speaker 1: make such a great film. What was your toughest challenge

882
00:43:18,400 --> 00:43:20,839
Speaker 1: in making a film? I always love those stories. Were

883
00:43:20,840 --> 00:43:22,160
Speaker 1: you stick with your conviction?

884
00:43:22,840 --> 00:43:26,480
Speaker 3: What was the toughest I mean, I gotta say Starsborn

885
00:43:26,680 --> 00:43:31,400
Speaker 3: was really hard to get made. Once we were shooting,

886
00:43:31,880 --> 00:43:38,040
Speaker 3: it was great, you know, and Bradley Cooper wasn't. I mean,

887
00:43:38,120 --> 00:43:41,400
Speaker 3: you know, the guy hadn't directed a school play, I

888
00:43:41,400 --> 00:43:44,799
Speaker 3: mean up to this point, and he just, I mean,

889
00:43:45,239 --> 00:43:49,240
Speaker 3: all of a sudden, he just turned into this brilliant

890
00:43:49,239 --> 00:43:53,000
Speaker 3: filmmaker and singer. We all knew he was a brilliant actor.

891
00:43:53,120 --> 00:43:57,840
Speaker 3: But the eleven years up to that point when it

892
00:43:57,920 --> 00:44:03,040
Speaker 3: wasn't Bradley Cooper and Lady Gaga and everybody else, there

893
00:44:03,080 --> 00:44:08,520
Speaker 3: were so many twists and turns and movies falling apart

894
00:44:08,680 --> 00:44:11,920
Speaker 3: and coming back together. And this actor and this actress.

895
00:44:11,920 --> 00:44:14,760
Speaker 3: I mean, it was rough, and there were so many

896
00:44:14,840 --> 00:44:18,520
Speaker 3: different versions of the film, and there were many times

897
00:44:18,560 --> 00:44:21,520
Speaker 3: I just thought all all was lost. But you know,

898
00:44:21,640 --> 00:44:24,360
Speaker 3: it's a miracle, more now than ever. But it's a

899
00:44:24,400 --> 00:44:26,879
Speaker 3: miracle that anything gets made. I mean, the way these

900
00:44:26,920 --> 00:44:30,880
Speaker 3: things have to either get independently financed or work their

901
00:44:30,920 --> 00:44:35,200
Speaker 3: way through the studio system, it's it's you heard even

902
00:44:35,440 --> 00:44:37,400
Speaker 3: r J was talking about it, you know, like he

903
00:44:37,480 --> 00:44:39,560
Speaker 3: had a script and said he needed eight and the

904
00:44:39,560 --> 00:44:41,759
Speaker 3: guy said, can you do it for six? And you know,

905
00:44:42,080 --> 00:44:45,920
Speaker 3: it's it's really tough. I mean, you know, people call me, hey,

906
00:44:45,920 --> 00:44:47,759
Speaker 3: can you read the script? And a lot of times

907
00:44:47,800 --> 00:44:49,840
Speaker 3: I mean, I try to read everything I can, because

908
00:44:50,960 --> 00:44:53,560
Speaker 3: like Brandtorino came to me that way, just out of nowhere,

909
00:44:53,600 --> 00:44:57,360
Speaker 3: and I hadn't just read it, I wouldn't have worked on,

910
00:44:57,600 --> 00:45:00,200
Speaker 3: you know, one of my favorite movies I've ever worked,

911
00:45:00,320 --> 00:45:02,640
Speaker 3: ever seen for that matter, you know, So you got

912
00:45:02,680 --> 00:45:06,040
Speaker 3: to read this stuff. But I'm working my butt off

913
00:45:06,280 --> 00:45:08,560
Speaker 3: trying to get stuff made. I mean, it's a lot

914
00:45:08,600 --> 00:45:10,960
Speaker 3: of work, and it's very hard, and you have to

915
00:45:10,960 --> 00:45:15,959
Speaker 3: stay passionate year after year after year to actually see

916
00:45:16,000 --> 00:45:19,560
Speaker 3: anything through to fruition. But that's the gig, you know.

917
00:45:19,640 --> 00:45:22,040
Speaker 3: I mean, you guys remember Kirk Douglas and The Bad

918
00:45:22,080 --> 00:45:24,440
Speaker 3: and the Beautiful. I mean, it's the way it works.

919
00:45:24,560 --> 00:45:27,640
Speaker 3: You just he would have to persevere. I mean luckily,

920
00:45:28,200 --> 00:45:31,080
Speaker 3: you know, I'm an endurance athlete, so I trained for

921
00:45:31,160 --> 00:45:33,919
Speaker 3: this every day. You know, I trained with this every day.

922
00:45:34,600 --> 00:45:35,480
Speaker 1: That's our business.

923
00:45:35,920 --> 00:45:38,919
Speaker 2: On the Star is Born? How many iterations were there?

924
00:45:38,960 --> 00:45:39,120
Speaker 4: Was it?

925
00:45:39,320 --> 00:45:40,960
Speaker 2: Four of that film?

926
00:45:41,200 --> 00:45:44,839
Speaker 3: Oh yeah, we made the fourth. It's actually there was

927
00:45:44,920 --> 00:45:47,880
Speaker 3: one before the title of Stars Born, called What Price

928
00:45:47,920 --> 00:45:52,319
Speaker 3: Hollywood Constant Bennett That was quite fantastic. But yeah, then

929
00:45:52,360 --> 00:45:59,480
Speaker 3: there was Janet Gayner, Judy Garland, Barbistroisa and Lady Gaga

930
00:46:00,040 --> 00:46:02,200
Speaker 3: all great. They're all great. You know, people said to me,

931
00:46:02,840 --> 00:46:06,160
Speaker 3: you know why, you know, why did you let him

932
00:46:06,200 --> 00:46:08,840
Speaker 3: die at the end, because hey, I'm a schmuck. You know,

933
00:46:08,880 --> 00:46:11,040
Speaker 3: I had no sequel. But you know, I was like,

934
00:46:11,840 --> 00:46:14,240
Speaker 3: what am I gonna do? I mean, it's that four remake.

935
00:46:14,400 --> 00:46:17,799
Speaker 3: I mean, the guy dies, it's the story. Trust me.

936
00:46:17,800 --> 00:46:19,600
Speaker 3: I would love to have kept him alive. And her

937
00:46:19,640 --> 00:46:21,960
Speaker 3: have a kid and they're a trio something. I don't know.

938
00:46:22,040 --> 00:46:24,880
Speaker 1: But you nailed it, man, you know, you nailed it.

939
00:46:24,960 --> 00:46:27,480
Speaker 3: We did. We did. It's a good team nailed it.

940
00:46:27,560 --> 00:46:30,680
Speaker 1: And the music was great. And she was great.

941
00:46:30,800 --> 00:46:34,160
Speaker 3: You know, he was incredible. Yeah, she was incredible. He

942
00:46:34,200 --> 00:46:34,800
Speaker 3: was incredible.

943
00:46:34,800 --> 00:46:37,080
Speaker 1: I mean he just you know, oh, he's I love Bradley.

944
00:46:37,200 --> 00:46:37,680
Speaker 1: He's great.

945
00:46:37,960 --> 00:46:39,839
Speaker 3: He's you know, he just sent me. He just sent

946
00:46:39,880 --> 00:46:43,120
Speaker 3: me a video. He went up on he went on

947
00:46:43,120 --> 00:46:47,040
Speaker 3: on stage with Eddie Vedder and sang, uh, you know

948
00:46:47,120 --> 00:46:49,320
Speaker 3: this song from the movie that Jason is Isbel wrote

949
00:46:49,560 --> 00:46:53,600
Speaker 3: and he he's singing with Eddie Vedder and holding his

950
00:46:53,640 --> 00:46:56,279
Speaker 3: own just incredible, incredible stuff. Guy.

951
00:46:56,680 --> 00:46:59,560
Speaker 2: Yeah, how about her? How was she to work with?

952
00:46:59,600 --> 00:46:59,799
Speaker 5: God?

953
00:47:00,360 --> 00:47:02,880
Speaker 3: She was incredible. You know, she man, and you know,

954
00:47:03,040 --> 00:47:05,040
Speaker 3: she gave us a lot of material. I mean when

955
00:47:05,080 --> 00:47:09,160
Speaker 3: she told Eric Roth and Will Fetters and Bradley and

956
00:47:09,280 --> 00:47:11,400
Speaker 3: you know, even Andrew Dice Clay. You know, when she

957
00:47:11,440 --> 00:47:13,719
Speaker 3: started talking about her own life and her struggle and

958
00:47:14,360 --> 00:47:18,279
Speaker 3: you know, the intense chauvinism and the music business, a

959
00:47:18,280 --> 00:47:20,120
Speaker 3: lot of that made its way into the story and

960
00:47:20,160 --> 00:47:24,040
Speaker 3: it was it was great narrative and she just she

961
00:47:24,120 --> 00:47:24,640
Speaker 3: crushed it.

962
00:47:25,040 --> 00:47:27,680
Speaker 1: Well. She rules like a lot of women today, the

963
00:47:27,719 --> 00:47:29,920
Speaker 1: strength of women today and the star power and their

964
00:47:29,960 --> 00:47:33,839
Speaker 1: contribution for music and in film deservedly.

965
00:47:33,960 --> 00:47:36,719
Speaker 3: So, man, I'm with you. You knew my mom, you

966
00:47:36,719 --> 00:47:40,800
Speaker 3: know she was no pushover. But you know, we started

967
00:47:40,840 --> 00:47:43,479
Speaker 3: shooting right after we started shooting Stars Born, right after

968
00:47:43,760 --> 00:47:49,520
Speaker 3: Lady Gaga headlined her her first weekend at Coachella, because

969
00:47:49,560 --> 00:47:53,360
Speaker 3: she actually headlined the festival right when we started shooting,

970
00:47:53,880 --> 00:47:56,080
Speaker 3: and which was great for us because I already had

971
00:47:56,080 --> 00:47:58,480
Speaker 3: made a deal with AEG to use the grounds of

972
00:47:58,520 --> 00:48:00,360
Speaker 3: the stage and all that stuff. So this is just,

973
00:48:00,520 --> 00:48:02,719
Speaker 3: you know, really smooth the way for us to do

974
00:48:02,760 --> 00:48:05,080
Speaker 3: what we needed to do there. But I stuck around

975
00:48:05,200 --> 00:48:09,040
Speaker 3: to see her show. She comes out in this leather jacket.

976
00:48:09,120 --> 00:48:12,719
Speaker 3: She's up on top of the you know, of the

977
00:48:12,800 --> 00:48:15,279
Speaker 3: lighting gate, and she starts singing, and I was like,

978
00:48:15,360 --> 00:48:18,160
Speaker 3: holy shit. I mean it was like Mick Jagger. You know,

979
00:48:18,280 --> 00:48:21,880
Speaker 3: she just was was killing it. She's she's a force.

980
00:48:22,120 --> 00:48:22,800
Speaker 3: She's a force.

981
00:48:33,719 --> 00:48:36,480
Speaker 2: When we were talking earlier about films and now challenging

982
00:48:36,719 --> 00:48:40,479
Speaker 2: can be defined. You know some good ones like what's

983
00:48:40,880 --> 00:48:43,839
Speaker 2: if you're doing a short list of your favorites, where

984
00:48:43,880 --> 00:48:44,600
Speaker 2: would you go with that?

985
00:48:45,440 --> 00:48:50,799
Speaker 3: Well, I mean, you know, Sunset Boulevard is meaningful, The

986
00:48:50,840 --> 00:48:54,480
Speaker 3: godfathers me. I mean, mine's not that different than anybody

987
00:48:54,680 --> 00:48:57,839
Speaker 3: who really loves films. You know, some like it hot.

988
00:48:57,920 --> 00:49:00,200
Speaker 3: You know, we all love you know, Billy Wilder and

989
00:49:00,719 --> 00:49:05,080
Speaker 3: David Lean and David Lean, my god, Sam Spiegel, you know,

990
00:49:05,560 --> 00:49:08,760
Speaker 3: and Clint you know. I mean I just remember watching

991
00:49:08,800 --> 00:49:11,080
Speaker 3: the Spaghetti Westerns. I mean, my dad would take us

992
00:49:11,080 --> 00:49:12,960
Speaker 3: to the drive in all the time. I see those

993
00:49:13,000 --> 00:49:16,239
Speaker 3: movies and you know, getting and then twenty years later

994
00:49:16,280 --> 00:49:17,839
Speaker 3: to be able to talk to Clint about how they

995
00:49:17,880 --> 00:49:20,759
Speaker 3: were made was such a such a great experience. But

996
00:49:21,280 --> 00:49:24,359
Speaker 3: I really love movies. I'm of the I mean, I'm

997
00:49:24,400 --> 00:49:28,759
Speaker 3: of one of the generations who see that as you know,

998
00:49:28,880 --> 00:49:32,880
Speaker 3: a national pastime of going into a theater, the lights

999
00:49:32,920 --> 00:49:39,160
Speaker 3: coming down, the previews, and then magic, if you know,

1000
00:49:39,320 --> 00:49:43,479
Speaker 3: when it's magic. Not always magical, but that moment when

1001
00:49:44,080 --> 00:49:49,520
Speaker 3: George Lucas or Steven Spielberg or James Gray or David

1002
00:49:49,560 --> 00:49:54,800
Speaker 3: Fincher or Chris Nolan or Richard link Letter or Oliver

1003
00:49:54,920 --> 00:49:58,879
Speaker 3: Stone or Bradley Cooper, you know, takes you into this

1004
00:49:59,080 --> 00:50:04,480
Speaker 3: world and you're there and you're just experiencing such a

1005
00:50:04,520 --> 00:50:07,720
Speaker 3: gift that you know, you could argue it's the French

1006
00:50:07,800 --> 00:50:12,120
Speaker 3: or the Americans, whoever invented this thing. It's it's our mythology.

1007
00:50:12,360 --> 00:50:15,239
Speaker 3: You know. It's like Tom Hanks, I'm happy to say

1008
00:50:15,280 --> 00:50:17,359
Speaker 3: I worked on this movie You've Got Mail. You know

1009
00:50:17,400 --> 00:50:22,360
Speaker 3: Tom Hanks turns and he says, you know, he learns

1010
00:50:22,400 --> 00:50:25,839
Speaker 3: in the Godfather. It's just it's so true. These things

1011
00:50:25,880 --> 00:50:31,640
Speaker 3: become touchstones for all of our ethics and humanity. And

1012
00:50:31,760 --> 00:50:35,440
Speaker 3: you know, I think about you know, Miracle on thirty

1013
00:50:35,440 --> 00:50:38,799
Speaker 3: fourth Street or you know, it's a wonderful life, and

1014
00:50:38,840 --> 00:50:41,319
Speaker 3: you know, just these things are you don't you don't,

1015
00:50:41,440 --> 00:50:45,400
Speaker 3: I mean, you just never forget those type of lessons.

1016
00:50:45,320 --> 00:50:48,040
Speaker 1: You know, the great magic you know you mentioned all

1017
00:50:48,080 --> 00:50:50,400
Speaker 1: those films because I look at everything as a musician.

1018
00:50:52,000 --> 00:50:54,560
Speaker 1: But turn the sound off and just watch some of

1019
00:50:54,600 --> 00:50:57,359
Speaker 1: the great films and then turn it back on and

1020
00:50:57,400 --> 00:51:01,960
Speaker 1: see what a real composer does with a score and

1021
00:51:02,040 --> 00:51:05,919
Speaker 1: where they take a film. The magic of Enil Morricone,

1022
00:51:06,840 --> 00:51:10,520
Speaker 1: all those guys. Yeah, I marvel at how And you

1023
00:51:10,560 --> 00:51:15,080
Speaker 1: know that the unsung heroes they with all those guys

1024
00:51:15,120 --> 00:51:18,279
Speaker 1: and they put those notes on that paper. You know,

1025
00:51:18,400 --> 00:51:21,319
Speaker 1: I look at it say I'm nothing without them. But

1026
00:51:21,360 --> 00:51:23,279
Speaker 1: you look at a great film and you've got a

1027
00:51:23,320 --> 00:51:26,719
Speaker 1: great score, and it clicks. Some of those guys know

1028
00:51:26,800 --> 00:51:28,520
Speaker 1: the film better than the director.

1029
00:51:28,840 --> 00:51:33,719
Speaker 3: The other thing, when you know, whether it's Bohemian Rhapsody

1030
00:51:34,120 --> 00:51:41,040
Speaker 3: or it's Dreams. There are moments when I'm watching a

1031
00:51:41,080 --> 00:51:45,560
Speaker 3: film music driven, it works like it worked in the

1032
00:51:45,560 --> 00:51:47,560
Speaker 3: Stars Born't for people, you know, they thought they were

1033
00:51:47,600 --> 00:51:50,280
Speaker 3: the rock concert. You know, even the Taylor Swift movie,

1034
00:51:50,480 --> 00:51:54,160
Speaker 3: even though it's a concert film, it's a film. And

1035
00:51:54,160 --> 00:51:59,040
Speaker 3: and when it works, you know, when when Loving Mercy,

1036
00:51:59,080 --> 00:52:01,040
Speaker 3: for example, you know the Each Boys film that Bill

1037
00:52:01,080 --> 00:52:04,800
Speaker 3: pull I'd made, It's like when you see starting to work.

1038
00:52:04,920 --> 00:52:09,520
Speaker 3: You know the commitments, you know, and the groove is there, Paul,

1039
00:52:09,800 --> 00:52:12,080
Speaker 3: and you just sit You're sitting in your seat and

1040
00:52:12,080 --> 00:52:15,319
Speaker 3: you're like it transports you. You know, it's just the

1041
00:52:15,360 --> 00:52:18,279
Speaker 3: most incredible thing. I mean, for me, like, you know,

1042
00:52:18,440 --> 00:52:23,520
Speaker 3: my reason for everything was a Hard Day's Night. You know,

1043
00:52:23,680 --> 00:52:28,319
Speaker 3: I was eight or nine and babysitting was my mom

1044
00:52:28,360 --> 00:52:30,120
Speaker 3: getting some guy to take us to the Hard Day's Night.

1045
00:52:30,200 --> 00:52:33,239
Speaker 3: That's how she got rid of us. And I've seen

1046
00:52:33,239 --> 00:52:35,480
Speaker 3: the movie one hundred and fifty times and it never

1047
00:52:35,520 --> 00:52:39,000
Speaker 3: gets dull. But for me, you know, Hard Day's Night,

1048
00:52:39,440 --> 00:52:44,040
Speaker 3: nice little yeah, the Knick and Bocker for me when

1049
00:52:44,160 --> 00:52:49,440
Speaker 3: they start playing, and it just it just changed the

1050
00:52:49,480 --> 00:52:52,600
Speaker 3: trajectory of my life. That was everything for me, you know.

1051
00:52:52,880 --> 00:52:55,640
Speaker 3: And so I guess I secretly always wanted to make

1052
00:52:55,960 --> 00:52:58,359
Speaker 3: films that had a lot of music in them, and

1053
00:52:59,040 --> 00:53:01,920
Speaker 3: unfortunately I've been able to to do some of that.

1054
00:53:02,080 --> 00:53:03,680
Speaker 1: But was that dick Lester excuse me?

1055
00:53:03,719 --> 00:53:06,200
Speaker 3: Ability was he did ye Leicester? Yeah he did that,

1056
00:53:06,360 --> 00:53:07,320
Speaker 3: and hell.

1057
00:53:07,320 --> 00:53:11,720
Speaker 1: Yeah he called us. I did a film called Lonely

1058
00:53:11,760 --> 00:53:15,080
Speaker 1: Boy with the Canadian National Filmboard counter and he called

1059
00:53:15,160 --> 00:53:19,200
Speaker 1: us and used that film that I produced with him

1060
00:53:19,239 --> 00:53:23,160
Speaker 1: as the model for Hard Day's Night. We won awards

1061
00:53:23,200 --> 00:53:25,680
Speaker 1: all over the world with this film called Lonely Boy,

1062
00:53:26,080 --> 00:53:29,959
Speaker 1: remember now, which is now the core of a documentary

1063
00:53:29,960 --> 00:53:32,600
Speaker 1: that they're doing on me. But I remember Lester called

1064
00:53:32,640 --> 00:53:35,120
Speaker 1: and he said, I love that film you guys did,

1065
00:53:35,200 --> 00:53:37,680
Speaker 1: and I want to see it. And whatever he did,

1066
00:53:37,719 --> 00:53:40,279
Speaker 1: he got that cinema verte kind of look from what

1067
00:53:40,280 --> 00:53:42,400
Speaker 1: we did with Lonely Boy, because that was the first

1068
00:53:42,440 --> 00:53:43,759
Speaker 1: film on a on a pop star.

1069
00:53:43,920 --> 00:53:44,080
Speaker 4: You know.

1070
00:53:45,560 --> 00:53:49,200
Speaker 3: Yeah, no, I mean it's a great They're both great films.

1071
00:53:50,200 --> 00:53:53,720
Speaker 3: But you know, Skip was asking how I got into movies.

1072
00:53:55,200 --> 00:53:57,000
Speaker 3: You know, I told you how, But the fact is

1073
00:53:57,040 --> 00:53:59,920
Speaker 3: I still didn't know anything about movies and I was

1074
00:54:00,719 --> 00:54:05,160
Speaker 3: trusted with this enviable job at Warner Brooks and Paul

1075
00:54:05,200 --> 00:54:07,920
Speaker 3: I think you'll appreciate that. The only I mean, I

1076
00:54:07,960 --> 00:54:10,280
Speaker 3: started reading everything in sight. I mean I was reading

1077
00:54:10,360 --> 00:54:13,919
Speaker 3: literally between twenty five script peek, you know.

1078
00:54:14,120 --> 00:54:14,440
Speaker 2: And.

1079
00:54:15,840 --> 00:54:17,759
Speaker 3: And I just I had I didn't want to be

1080
00:54:17,800 --> 00:54:19,880
Speaker 3: a dummy. I wanted to know what all these smart

1081
00:54:19,960 --> 00:54:22,080
Speaker 3: other you know, these movie executives were talking about and

1082
00:54:22,120 --> 00:54:24,880
Speaker 3: understand what they were talking. So I'm reading everything. But

1083
00:54:25,480 --> 00:54:29,000
Speaker 3: at the end of the day, it's like Dick Clark,

1084
00:54:29,760 --> 00:54:32,640
Speaker 3: it moves you or it. Yeah, there's a lot of

1085
00:54:32,640 --> 00:54:36,800
Speaker 3: technical craft aspects to making movies, but the way I

1086
00:54:36,840 --> 00:54:41,680
Speaker 3: decided to do my job was as a musician, like

1087
00:54:42,520 --> 00:54:45,359
Speaker 3: feeling it or I'm not feeling it. I even would

1088
00:54:45,440 --> 00:54:49,040
Speaker 3: talk to these writers about, you know, how the movie

1089
00:54:49,200 --> 00:54:52,920
Speaker 3: was being or you know, not as musically but narratively,

1090
00:54:52,960 --> 00:54:55,799
Speaker 3: how it's being orchestrated. When do you build and when

1091
00:54:55,800 --> 00:54:57,839
Speaker 3: do you get quiet and when do you go? You know,

1092
00:54:57,880 --> 00:55:00,360
Speaker 3: when we were working on the original Twister movie and

1093
00:55:00,360 --> 00:55:03,719
Speaker 3: there's a sequel coming out, I guess this weekend original

1094
00:55:04,360 --> 00:55:08,640
Speaker 3: backscript Michael Crichton and his wife at the time, and

1095
00:55:08,640 --> 00:55:11,120
Speaker 3: and it was, you know, great script. When it was

1096
00:55:11,200 --> 00:55:17,000
Speaker 3: done and we were editing, when Jandbant finally showed this

1097
00:55:17,000 --> 00:55:21,799
Speaker 3: this early cut to Spielberg, who was the producer, he

1098
00:55:23,040 --> 00:55:27,759
Speaker 3: gave everyone these amazing notes and the biggest one was

1099
00:55:27,800 --> 00:55:31,799
Speaker 3: that the movie started here, and it started with this

1100
00:55:32,480 --> 00:55:36,239
Speaker 3: twister that like took everything apart and you really had

1101
00:55:36,280 --> 00:55:39,319
Speaker 3: nowhere to go. And it was Steven Spielberg that so like,

1102
00:55:39,719 --> 00:55:44,719
Speaker 3: let's save that, Let's earn the big twister, you know

1103
00:55:44,960 --> 00:55:52,040
Speaker 3: in the third act. And it was like you know, yeah, yeah,

1104
00:55:52,040 --> 00:55:54,680
Speaker 3: and Bill get there, you know, don't just hit everybody bang,

1105
00:55:54,719 --> 00:55:56,120
Speaker 3: where are you gonna? What are you gonna do? You

1106
00:55:56,120 --> 00:55:57,239
Speaker 3: know you can't follow it.

1107
00:56:08,400 --> 00:56:11,319
Speaker 2: So Paul mentioned the documentary. You've done a bunch, but

1108
00:56:13,200 --> 00:56:14,359
Speaker 2: so what are you working on now?

1109
00:56:14,880 --> 00:56:19,360
Speaker 3: Well, we have a documentary on Elizabeth Taylor that comes

1110
00:56:19,360 --> 00:56:20,720
Speaker 3: out next month on HBO.

1111
00:56:20,840 --> 00:56:21,680
Speaker 1: That's whoa.

1112
00:56:22,040 --> 00:56:22,799
Speaker 5: It's incredible.

1113
00:56:22,880 --> 00:56:25,600
Speaker 3: I mean, Paul, you probably have some good I know

1114
00:56:25,600 --> 00:56:27,360
Speaker 3: you got good Eddie Fisher stories.

1115
00:56:28,160 --> 00:56:32,600
Speaker 1: I've been in her company a few times. Listen. I

1116
00:56:32,680 --> 00:56:35,040
Speaker 1: was over doing a Tom Joe. We'll get to it, Billy,

1117
00:56:35,080 --> 00:56:37,279
Speaker 1: because I'm interested in what you're doing. I'm overdoing a

1118
00:56:37,360 --> 00:56:40,880
Speaker 1: Tom Jones special. And I'd written She's a Lady for him,

1119
00:56:40,880 --> 00:56:43,880
Speaker 1: and I'm staying at the Dorchester Hotel, which was the

1120
00:56:43,920 --> 00:56:45,080
Speaker 1: place way back when.

1121
00:56:45,200 --> 00:56:47,160
Speaker 3: How many people can say I just throw out, yeah,

1122
00:56:47,160 --> 00:56:48,279
Speaker 3: I wrote she's a lady for him.

1123
00:56:48,280 --> 00:56:49,440
Speaker 5: Anyway, yeah, anyway.

1124
00:56:49,600 --> 00:56:52,520
Speaker 1: So so and I drive home and it was way

1125
00:56:52,520 --> 00:56:54,719
Speaker 1: out of Pinewood or one of those places. And I

1126
00:56:54,760 --> 00:56:57,520
Speaker 1: get home at the Dorchester and had all those great sweets.

1127
00:56:57,520 --> 00:56:59,600
Speaker 1: I'm sure you've stayed at the hotel up on tell

1128
00:56:59,680 --> 00:57:02,000
Speaker 1: Us about one o'clock and I'm tired, and you know,

1129
00:57:02,000 --> 00:57:04,040
Speaker 1: I had the butler service and all of that. So

1130
00:57:04,160 --> 00:57:06,480
Speaker 1: I called for the butler and he shows up. I'll

1131
00:57:07,000 --> 00:57:08,840
Speaker 1: decked out. You said, what can we do for you,

1132
00:57:08,880 --> 00:57:12,120
Speaker 1: miss Dongle. I said, well, little some eggs, and you know,

1133
00:57:12,600 --> 00:57:15,280
Speaker 1: he said, well that's wonderful, but if you do it mine,

1134
00:57:15,320 --> 00:57:18,960
Speaker 1: we're we were running a little bit late and we

1135
00:57:19,080 --> 00:57:22,720
Speaker 1: have to take care of miss Elizabeth Taylor next door. First,

1136
00:57:23,080 --> 00:57:24,720
Speaker 1: I said, well that's fine. I'm just jump in the

1137
00:57:24,720 --> 00:57:26,800
Speaker 1: shower and whenever you get here, you take care of

1138
00:57:27,400 --> 00:57:29,400
Speaker 1: So jump in the shower and I'm getting out and

1139
00:57:29,400 --> 00:57:31,520
Speaker 1: I'm wiping off the doorbell rings after I'll let the

1140
00:57:31,520 --> 00:57:33,800
Speaker 1: waiter is. So I go to the door. I'm nothing

1141
00:57:33,840 --> 00:57:36,440
Speaker 1: to look at anyway. I gotta tell wrap them molomy.

1142
00:57:36,520 --> 00:57:41,000
Speaker 1: I'm five four. I looked like a camel just licked

1143
00:57:41,040 --> 00:57:43,520
Speaker 1: me all over. And I opened the door for the waiter.

1144
00:57:43,720 --> 00:57:43,919
Speaker 4: Right.

1145
00:57:44,280 --> 00:57:46,400
Speaker 1: I helped the door for the way, and Elizabeth Taylor

1146
00:57:46,480 --> 00:57:52,400
Speaker 1: is standing there in a neglige with two cats. I

1147
00:57:52,400 --> 00:57:54,560
Speaker 1: don't know if I said, I love your pussy, so

1148
00:57:54,640 --> 00:57:56,880
Speaker 1: your cats, I don't know what I said, but she

1149
00:57:57,040 --> 00:58:00,920
Speaker 1: starts talking to me. You know, there's there's all of us,

1150
00:58:01,000 --> 00:58:04,040
Speaker 1: no matter what we think of ourselves and our egos.

1151
00:58:04,080 --> 00:58:11,360
Speaker 1: You'll meet that one person in your lifetime where that

1152
00:58:11,560 --> 00:58:14,520
Speaker 1: was the one for me. And I looked at her

1153
00:58:14,560 --> 00:58:17,800
Speaker 1: and she was so sweet and those eyes and said,

1154
00:58:18,080 --> 00:58:20,080
Speaker 1: you know, I want to say, I want to thank

1155
00:58:20,120 --> 00:58:23,000
Speaker 1: you so much for telling the waiter to take care

1156
00:58:23,040 --> 00:58:25,760
Speaker 1: of me. First. You know, Richard's out of town and

1157
00:58:25,800 --> 00:58:29,520
Speaker 1: I'm alone, and I don't know what, but that was

1158
00:58:29,600 --> 00:58:32,600
Speaker 1: my outing with Elizabeth Taylor. Well, of course I saw

1159
00:58:32,640 --> 00:58:35,880
Speaker 1: our way after that, but I'll never forget that moment

1160
00:58:35,960 --> 00:58:38,280
Speaker 1: in that hotel and her and those two cats, because

1161
00:58:38,320 --> 00:58:41,840
Speaker 1: she loved animals. That was their whole thing. She loved animals.

1162
00:58:42,640 --> 00:58:45,000
Speaker 3: I only met her a couple of times with at

1163
00:58:45,000 --> 00:58:50,120
Speaker 3: Sandy Allen's house. But Carol bear Seger, who's an old friend.

1164
00:58:49,920 --> 00:58:51,640
Speaker 1: Er, yeah, backrack put me.

1165
00:58:51,880 --> 00:58:53,640
Speaker 3: You know, she's the one that made this all happen.

1166
00:58:53,680 --> 00:58:58,520
Speaker 3: You know. I made this Muhammad Ali two part documentary

1167
00:58:58,560 --> 00:59:02,360
Speaker 3: with this team with Glenn Zipper and Sean Stewart and

1168
00:59:02,600 --> 00:59:05,360
Speaker 3: you know the people we did and anyways, so Anton

1169
00:59:05,440 --> 00:59:08,320
Speaker 3: Flukela directed it. But yeah, we were done. It was

1170
00:59:08,360 --> 00:59:11,120
Speaker 3: a great experience. And I said, well, which seem, what's

1171
00:59:11,120 --> 00:59:15,320
Speaker 3: your dream documentary? You know, because not like you, Anka,

1172
00:59:15,400 --> 00:59:17,400
Speaker 3: But I've been around a while and know a lot

1173
00:59:17,440 --> 00:59:19,880
Speaker 3: of people. I figured I could come up with whatever

1174
00:59:19,920 --> 00:59:23,360
Speaker 3: he goes. Li was bit Taylor. I said, oh, let

1175
00:59:23,360 --> 00:59:27,200
Speaker 3: me call you right back. So I called Carol. I said, Carol,

1176
00:59:27,280 --> 00:59:28,920
Speaker 3: we want to do that or that. Next thing I know,

1177
00:59:28,960 --> 00:59:30,640
Speaker 3: I'm talking to the estate. Next thing, I know him

1178
00:59:30,640 --> 00:59:32,560
Speaker 3: in the office. Next thing you know, I'm making a deal.

1179
00:59:33,120 --> 00:59:37,480
Speaker 3: And she was incredible, and they stated are incredible people,

1180
00:59:37,560 --> 00:59:40,120
Speaker 3: and they do such a good job with her legacy.

1181
00:59:40,160 --> 00:59:43,440
Speaker 3: But they're they're great to work with. But yeah, that's

1182
00:59:43,080 --> 00:59:44,200
Speaker 3: how how that one happened.

1183
00:59:44,200 --> 00:59:44,480
Speaker 2: Anyway.

1184
00:59:44,480 --> 00:59:47,520
Speaker 3: It's on HBO August third. And by the way, I

1185
00:59:47,520 --> 00:59:52,000
Speaker 3: loved RJ's story about ending up after a night with

1186
00:59:52,040 --> 00:59:54,760
Speaker 3: her and Eddie ending up at the wrong hotel and

1187
00:59:54,800 --> 00:59:58,040
Speaker 3: getting in a fight with the receptionist and the guys

1188
00:59:58,120 --> 01:00:01,680
Speaker 3: like I'm sorry, mister Wagner, but you're not here and

1189
01:00:01,680 --> 01:00:04,000
Speaker 3: that's why we don't have a room for you. Anyway,

1190
01:00:04,840 --> 01:00:08,120
Speaker 3: So we get that. We just did this amazing documentary

1191
01:00:09,560 --> 01:00:12,920
Speaker 3: with a director named Dustin lance Black who won the

1192
01:00:12,960 --> 01:00:16,240
Speaker 3: Academy Award for writing Milk and he's an extraordinary talent,

1193
01:00:16,800 --> 01:00:21,840
Speaker 3: and we came together to do this story which you'll appreciate, Paul,

1194
01:00:22,160 --> 01:00:26,640
Speaker 3: because Epstein and everything, and it's about the queer origins

1195
01:00:27,120 --> 01:00:30,120
Speaker 3: of rock and roll. And it's a story people don't

1196
01:00:30,120 --> 01:00:32,400
Speaker 3: talk about. They don't talk about Larry Parnes. They don't

1197
01:00:32,440 --> 01:00:36,840
Speaker 3: talk about Epstein and Stigwood and Kit Lambert and this real,

1198
01:00:37,040 --> 01:00:41,240
Speaker 3: you know, incredible group of man and Vicky Wickham and

1199
01:00:41,520 --> 01:00:46,080
Speaker 3: also women who had this vision of what Rocket would be.

1200
01:00:46,160 --> 01:00:48,800
Speaker 3: You know, Brian Epstein. I mean if I walk in

1201
01:00:48,840 --> 01:00:51,040
Speaker 3: and see the Beatles at the Cavern, I don't know

1202
01:00:51,080 --> 01:00:53,560
Speaker 3: that I would have said, I'm going to put him

1203
01:00:53,560 --> 01:00:55,520
Speaker 3: in pr Carden suits and I'm going to cut their

1204
01:00:55,520 --> 01:00:58,320
Speaker 3: hair and I'm gonna put it. I mean, his vision

1205
01:00:58,760 --> 01:01:03,160
Speaker 3: turned them into this power, incredible quartet that took over

1206
01:01:03,200 --> 01:01:06,600
Speaker 3: the world, thank God. So anyway, so it's a story

1207
01:01:06,640 --> 01:01:10,240
Speaker 3: about that and the origins and and and and then

1208
01:01:10,280 --> 01:01:11,720
Speaker 3: you know, this is a great line in the in

1209
01:01:11,760 --> 01:01:14,000
Speaker 3: the movie where I think it's Jim Farber, who's a

1210
01:01:14,000 --> 01:01:16,240
Speaker 3: writer for The Guardian the New York Times says, you know,

1211
01:01:16,560 --> 01:01:20,360
Speaker 3: the thing about about Hollywood is you have gay men

1212
01:01:21,080 --> 01:01:25,760
Speaker 3: pretending to be straight to get roles and music, where

1213
01:01:25,760 --> 01:01:30,200
Speaker 3: you have straight men pretending to be gay records, you know,

1214
01:01:30,320 --> 01:01:33,360
Speaker 3: and you think about kiss or who you know, the

1215
01:01:33,440 --> 01:01:35,920
Speaker 3: makeup and the boots and this and then that, you know,

1216
01:01:36,000 --> 01:01:39,640
Speaker 3: and it's just such an interesting thought. Anyway, that's that's

1217
01:01:39,680 --> 01:01:42,919
Speaker 3: our next one. And then we have projects around town

1218
01:01:42,960 --> 01:01:46,120
Speaker 3: that we're what we're hustling our butts off to get

1219
01:01:46,120 --> 01:01:48,400
Speaker 3: made some really good stuff. I got to say, we're

1220
01:01:48,400 --> 01:01:51,720
Speaker 3: doing one at Hulu about the I call him the

1221
01:01:51,760 --> 01:01:54,040
Speaker 3: Rock and Roll made off. That guy Lou Pearlman who

1222
01:01:54,760 --> 01:01:56,680
Speaker 3: invented Backstreet Boys.

1223
01:01:56,280 --> 01:01:58,840
Speaker 1: Oh down in Miami, Florida, went to jail.

1224
01:01:58,960 --> 01:02:02,480
Speaker 3: Yeah, great story, Yeah Orlando, Yeah, backs you Boys and

1225
01:02:02,480 --> 01:02:05,400
Speaker 3: then sank and you know, stole five hundred million dollars.

1226
01:02:05,440 --> 01:02:08,200
Speaker 3: And it's like the producers, nobody understand. It's like you're six,

1227
01:02:08,400 --> 01:02:10,480
Speaker 3: like you're really good this, Why are you still ripping

1228
01:02:10,560 --> 01:02:12,360
Speaker 3: people off? He couldn't help himself.

1229
01:02:12,560 --> 01:02:14,720
Speaker 1: It couldn't help m He was a he was a

1230
01:02:14,960 --> 01:02:17,760
Speaker 1: you know, yeah, total thief. When he ripped those kids out,

1231
01:02:17,760 --> 01:02:20,080
Speaker 1: well he's gone, but that happened a lot.

1232
01:02:20,240 --> 01:02:22,600
Speaker 3: He ripped them off, He ripped his investors off.

1233
01:02:22,680 --> 01:02:25,240
Speaker 1: Yeah, even when I was growing up, you know, they're

1234
01:02:25,320 --> 01:02:27,360
Speaker 1: ripping us all off. You know, we were just happy

1235
01:02:27,360 --> 01:02:29,640
Speaker 1: to be where we were, but they were stealing from

1236
01:02:29,760 --> 01:02:32,560
Speaker 1: us in every way. All of those kids got ripped off,

1237
01:02:32,600 --> 01:02:35,720
Speaker 1: all of the big rhythm and blues acts which influenced us.

1238
01:02:35,800 --> 01:02:38,600
Speaker 1: They were all getting ripped Even Buddy Hawley, you know,

1239
01:02:38,880 --> 01:02:41,120
Speaker 1: became my friend and then we lost him. You know

1240
01:02:41,160 --> 01:02:42,360
Speaker 1: the reason he went on his own.

1241
01:02:42,480 --> 01:02:43,000
Speaker 3: I love yoursel.

1242
01:02:43,080 --> 01:02:45,440
Speaker 1: Yeah, he just you know, things went wrong and they

1243
01:02:45,480 --> 01:02:47,479
Speaker 1: were taking his money and he was on his own

1244
01:02:47,520 --> 01:02:49,040
Speaker 1: and you know the rest of that. But we're all

1245
01:02:49,080 --> 01:02:52,120
Speaker 1: getting ripped off. I mean, thank God for Irvingfeld and

1246
01:02:52,240 --> 01:02:55,160
Speaker 1: guys like Normie who were in my life at least

1247
01:02:55,440 --> 01:02:58,680
Speaker 1: you know I trusted, but uh, that's been going on forever,

1248
01:02:59,040 --> 01:02:59,280
Speaker 1: going on.

1249
01:02:59,400 --> 01:03:01,720
Speaker 3: He was, you know, skip and I went to Beverly

1250
01:03:01,800 --> 01:03:03,600
Speaker 3: Hills at the Saban. I think it was last year.

1251
01:03:04,160 --> 01:03:05,520
Speaker 3: And I don't know if I have any of your

1252
01:03:05,720 --> 01:03:09,080
Speaker 3: other guests had that experience, but I know they're a

1253
01:03:09,240 --> 01:03:13,040
Speaker 3: spry eighty two or whatever. And I've seen you with

1254
01:03:13,080 --> 01:03:14,680
Speaker 3: your shirt off, because I came to see you at

1255
01:03:14,720 --> 01:03:18,000
Speaker 3: Tahiti Beach last summer and you look amazing. But it

1256
01:03:18,120 --> 01:03:22,200
Speaker 3: was such an extraordinary evening. And you know, every lane

1257
01:03:22,240 --> 01:03:24,280
Speaker 3: in your life, you're still like a kid. It's an

1258
01:03:24,320 --> 01:03:27,600
Speaker 3: extraordinary thing. And people the way they should look at

1259
01:03:27,600 --> 01:03:31,280
Speaker 3: Clint directing, they should look at you, not just singing

1260
01:03:31,320 --> 01:03:33,280
Speaker 3: and writing, but the way you live your life. I

1261
01:03:33,320 --> 01:03:37,000
Speaker 3: mean you literally. And this is something I thought about

1262
01:03:37,000 --> 01:03:38,840
Speaker 3: a lot of you guests when I listened to whether

1263
01:03:39,920 --> 01:03:43,760
Speaker 3: I have or Steve when even our Jane away, no

1264
01:03:43,800 --> 01:03:49,640
Speaker 3: one is sitting around satisfied. They're all looking at the future.

1265
01:03:50,480 --> 01:03:54,480
Speaker 3: The future is bright. RJ is looking for a great script.

1266
01:03:55,000 --> 01:03:58,960
Speaker 3: You're writing great songs. And to watch you at the Saban,

1267
01:03:59,080 --> 01:04:02,000
Speaker 3: you taught you were sick as a dog. You told

1268
01:04:02,080 --> 01:04:05,440
Speaker 3: the Bobby that you told the Buddy Holliday story, which

1269
01:04:05,480 --> 01:04:08,480
Speaker 3: was great. But you're saying I'm looking there are there

1270
01:04:08,480 --> 01:04:11,320
Speaker 3: are eighty year olds, and I saw kids eight, nine,

1271
01:04:11,360 --> 01:04:14,320
Speaker 3: ten years old who knew the lyrics to your songs

1272
01:04:15,080 --> 01:04:18,840
Speaker 3: TikTok and that you know. I was just at the

1273
01:04:18,880 --> 01:04:21,400
Speaker 3: Rolling Stones. I didn't see any nine year olds who

1274
01:04:21,440 --> 01:04:24,400
Speaker 3: knew the words of Jumping Jack Flash. I did, and

1275
01:04:24,440 --> 01:04:29,320
Speaker 3: the Stones were great. But the span of your audience

1276
01:04:29,400 --> 01:04:32,680
Speaker 3: is extraordinary. But you know I've gotten You've always been

1277
01:04:32,720 --> 01:04:34,480
Speaker 3: such a great friend of my family, and I know

1278
01:04:34,560 --> 01:04:38,080
Speaker 3: you so well, and I've always has been in awe

1279
01:04:38,960 --> 01:04:40,919
Speaker 3: of the way you live your life. And then don't

1280
01:04:40,920 --> 01:04:44,200
Speaker 3: get me started about Skip, who's literally become like the

1281
01:04:44,240 --> 01:04:46,720
Speaker 3: heartbeat of Los Angeles and none of us do anything

1282
01:04:47,280 --> 01:04:51,640
Speaker 3: without checking with him first. But you know, as Paul says,

1283
01:04:51,640 --> 01:04:56,600
Speaker 3: the town's prior. But you know you are. You guys

1284
01:04:56,640 --> 01:04:59,920
Speaker 3: are incredible friends. But I wanted to say something about

1285
01:05:00,480 --> 01:05:03,840
Speaker 3: about seeing your show, and also for me, the lesson

1286
01:05:04,040 --> 01:05:06,520
Speaker 3: seeing the people like Clive Davis who doesn't even list

1287
01:05:06,640 --> 01:05:09,720
Speaker 3: mo or only listens to new music, and and and

1288
01:05:09,760 --> 01:05:13,760
Speaker 3: it's just it's just those people have to understand. You know,

1289
01:05:13,840 --> 01:05:16,680
Speaker 3: Clint East to it after a million Dollar Baby. You know,

1290
01:05:16,720 --> 01:05:19,360
Speaker 3: his mom had just passed away, and I called him.

1291
01:05:19,440 --> 01:05:21,120
Speaker 3: You know, he hadn't been down here for a while,

1292
01:05:21,120 --> 01:05:24,000
Speaker 3: he was up in Carmel, and Clint, I just got

1293
01:05:24,000 --> 01:05:26,200
Speaker 3: to say, I can't think of another filmmaker. I mean,

1294
01:05:26,200 --> 01:05:28,560
Speaker 3: he was seventy something at that point. I can't think

1295
01:05:28,600 --> 01:05:33,440
Speaker 3: of another filmmaker who is still who went into their

1296
01:05:33,480 --> 01:05:37,840
Speaker 3: seventies making relevant movies. I mean, he hadn't even done

1297
01:05:37,880 --> 01:05:41,880
Speaker 3: Grand Tino and Sniper yet, you know, he had just

1298
01:05:41,920 --> 01:05:44,240
Speaker 3: done a million Dollar Baby and mister River had been

1299
01:05:44,480 --> 01:05:47,160
Speaker 3: forgiven you know, he obviously made a zillion great movies.

1300
01:05:47,160 --> 01:05:51,160
Speaker 3: But you know, and I'm going on, you know, how

1301
01:05:51,160 --> 01:05:54,560
Speaker 3: great way he is and he goes, yeah, and he

1302
01:05:54,600 --> 01:05:57,520
Speaker 3: calls me biblos. That's another story from Santa Okay, great,

1303
01:05:57,640 --> 01:05:59,320
Speaker 3: but he calls you know and he says, you know,

1304
01:05:59,400 --> 01:06:01,959
Speaker 3: he goes, bibe. I got to tell you, I still

1305
01:06:01,960 --> 01:06:04,040
Speaker 3: don't think I've done my best work. And it was

1306
01:06:04,080 --> 01:06:06,960
Speaker 3: like it was like getting a hit over the head,

1307
01:06:07,280 --> 01:06:10,360
Speaker 3: you know, with a gong. I was like, that's the secret.

1308
01:06:10,600 --> 01:06:13,760
Speaker 3: That is a secret, you know, and that this guy

1309
01:06:13,800 --> 01:06:16,240
Speaker 3: gets up every morning going all right, how am I

1310
01:06:16,280 --> 01:06:17,640
Speaker 3: going to do it better? How am I going to

1311
01:06:17,720 --> 01:06:19,720
Speaker 3: do it great? And I know you're the same way.

1312
01:06:20,080 --> 01:06:22,600
Speaker 3: You're you know, writing and you're singing, you're going, you're

1313
01:06:22,600 --> 01:06:24,440
Speaker 3: talking about the dates, you're doing an aspect and then

1314
01:06:24,440 --> 01:06:27,160
Speaker 3: you go to Europe. I mean, it's just an extraordinary thing.

1315
01:06:27,160 --> 01:06:29,720
Speaker 3: And that's what life is for. It's for you got

1316
01:06:29,760 --> 01:06:30,360
Speaker 3: to eat it up.

1317
01:06:30,440 --> 01:06:33,400
Speaker 1: Well, you stand still, billy, You stand still and they

1318
01:06:33,400 --> 01:06:35,600
Speaker 1: throw dirt on you. That's it. You stand still, they

1319
01:06:35,600 --> 01:06:37,880
Speaker 1: throw dirt on you, and you got to keep thinking young,

1320
01:06:38,120 --> 01:06:40,280
Speaker 1: that's all keep going, you know.

1321
01:06:40,520 --> 01:06:42,600
Speaker 3: Yeah, I mean people say I want to retire and

1322
01:06:42,640 --> 01:06:45,880
Speaker 3: wherever like and do what? Do it? Every day?

1323
01:06:46,120 --> 01:06:48,080
Speaker 1: You know what, Billy, when somebody says to me. When

1324
01:06:48,080 --> 01:06:49,680
Speaker 1: somebody says to me, I'm going to retire, you know what,

1325
01:06:49,720 --> 01:06:51,880
Speaker 1: I say to them, you already.

1326
01:06:51,440 --> 01:06:54,000
Speaker 3: Have yeah, or you'll be dead in a month.

1327
01:06:54,240 --> 01:06:56,440
Speaker 1: Yeah. They read the books, they watch the TV, and

1328
01:06:56,440 --> 01:06:57,600
Speaker 1: then they're dead. You can't.

1329
01:06:57,680 --> 01:07:02,160
Speaker 2: You can't, generous time. But before you go, our producer Jordan,

1330
01:07:02,240 --> 01:07:05,720
Speaker 2: who's a music nut in a Beatles freak and who,

1331
01:07:05,800 --> 01:07:09,400
Speaker 2: by the way, when I heard chose somebody to produce

1332
01:07:09,480 --> 01:07:14,680
Speaker 2: the you know, the Paul McCartney podcast, they picked our boy,

1333
01:07:14,760 --> 01:07:18,520
Speaker 2: wanted to over here. I'm sure he had a question

1334
01:07:18,600 --> 01:07:22,200
Speaker 2: that you want to ask you before we go, So Jordan,

1335
01:07:22,440 --> 01:07:23,040
Speaker 2: take it away.

1336
01:07:23,400 --> 01:07:24,720
Speaker 6: Oh man, I mean, I don't want to talk to

1337
01:07:25,080 --> 01:07:28,000
Speaker 6: off about the Beatles, but I actually had another question

1338
01:07:28,040 --> 01:07:31,320
Speaker 6: for you, unrelated to the Beatles. I went to school

1339
01:07:31,320 --> 01:07:34,320
Speaker 6: for screenwriting, and the movie that made me want to

1340
01:07:34,360 --> 01:07:37,480
Speaker 6: be a writer, my Beatles on Sullivan moment was seeing

1341
01:07:37,520 --> 01:07:39,200
Speaker 6: The Odd Couple That script.

1342
01:07:39,440 --> 01:07:39,680
Speaker 3: To me.

1343
01:07:39,800 --> 01:07:41,720
Speaker 6: I was a little kid, and I just thought it

1344
01:07:41,760 --> 01:07:42,919
Speaker 6: was the funniest thing I'd ever seen.

1345
01:07:42,960 --> 01:07:45,520
Speaker 3: I thought Neil Simon was just a genius. You see

1346
01:07:45,560 --> 01:07:48,080
Speaker 3: the poster us wrong? Hang and you can't. I can't

1347
01:07:48,080 --> 01:07:48,680
Speaker 3: see the poster.

1348
01:07:48,760 --> 01:07:49,160
Speaker 5: It's right.

1349
01:07:49,400 --> 01:07:51,720
Speaker 3: I can't see it's on my wall anyway. So, yeah,

1350
01:07:51,760 --> 01:07:54,640
Speaker 3: you're reading an Odd Couple? The screenplay you or the

1351
01:07:54,680 --> 01:07:56,120
Speaker 3: play or the show? What did you read?

1352
01:07:56,640 --> 01:07:59,240
Speaker 6: I saw the movie with Walter Matthew and Jack Lemon,

1353
01:07:59,240 --> 01:08:01,200
Speaker 6: and then I got the big compilation of all Neil

1354
01:08:01,240 --> 01:08:03,520
Speaker 6: Simon's plays, and the Odd Couple to me is just

1355
01:08:03,560 --> 01:08:06,720
Speaker 6: that that's my personal creative big bang. And I know

1356
01:08:06,800 --> 01:08:10,560
Speaker 6: you have a very personal connection with that script, and

1357
01:08:10,600 --> 01:08:11,640
Speaker 6: I want to ask you about that.

1358
01:08:11,720 --> 01:08:13,760
Speaker 3: Yeah, it'd be hard to be more personal than my

1359
01:08:13,880 --> 01:08:17,880
Speaker 3: connection to Odd Couple. But you know when my mom,

1360
01:08:18,439 --> 01:08:23,360
Speaker 3: Paul knows my parents were crazy. So the first time

1361
01:08:23,640 --> 01:08:26,760
Speaker 3: my mom, first of all, I got married, they got divorced,

1362
01:08:27,320 --> 01:08:30,960
Speaker 3: then they got married, moved to Vegas where Paul played

1363
01:08:30,960 --> 01:08:34,000
Speaker 3: the Sands Hotel, and you know, knew the whole story,

1364
01:08:34,080 --> 01:08:37,240
Speaker 3: Jack and Trotter, Belden cattleman, you know, the whole gang,

1365
01:08:37,840 --> 01:08:41,000
Speaker 3: Great Gang. By the way, was it Left Sets that

1366
01:08:41,160 --> 01:08:44,880
Speaker 3: you did? Paul? Was an ask listening to was the

1367
01:08:45,000 --> 01:08:48,000
Speaker 3: Left Sets? Anybody wants to be in entertainment needs to

1368
01:08:48,120 --> 01:08:52,040
Speaker 3: listen to that interview because it is a master's fucking

1369
01:08:52,200 --> 01:08:57,960
Speaker 3: class in showbiz. I mean, you explain every single the

1370
01:08:58,120 --> 01:09:03,920
Speaker 3: mob Paola and Roll movies. I mean, it's an extraordinary,

1371
01:09:04,160 --> 01:09:08,440
Speaker 3: extraordinary interview that I tell everybody about.

1372
01:09:08,200 --> 01:09:09,160
Speaker 1: And left a lot out.

1373
01:09:09,920 --> 01:09:12,519
Speaker 3: Then of course I call Paul does a rock and

1374
01:09:12,600 --> 01:09:16,599
Speaker 3: roll covers song covers album. I hear a black Hole

1375
01:09:16,760 --> 01:09:19,599
Speaker 3: Sun and I call him up and I'm like, dude,

1376
01:09:19,640 --> 01:09:21,840
Speaker 3: this record is incredible. Next thing, I know, I got

1377
01:09:21,880 --> 01:09:24,920
Speaker 3: the CDs, I've got the pressed whippings, I got the

1378
01:09:25,680 --> 01:09:29,640
Speaker 3: I mean, I'm like, he's CEO pop star. He's not

1379
01:09:29,800 --> 01:09:34,120
Speaker 3: just a He's CEO musician, you know, anyway like bon Jovi,

1380
01:09:34,280 --> 01:09:36,759
Speaker 3: same way bon Jovi like could run General Billy.

1381
01:09:36,800 --> 01:09:38,880
Speaker 1: Going back to odd Couple, Do you know where that

1382
01:09:38,960 --> 01:09:42,000
Speaker 1: came from? Who they copied? Of course, Dave Tebbott and

1383
01:09:42,080 --> 01:09:45,960
Speaker 1: Sammy Khan. The odd couple is Dave Odd, Dave Tibbott

1384
01:09:46,000 --> 01:09:46,760
Speaker 1: and Sammy Khan.

1385
01:09:47,160 --> 01:09:50,280
Speaker 3: Odd couple. No, no, no. Read Neil's book The Odd

1386
01:09:50,600 --> 01:09:54,080
Speaker 3: Jordan will Tatt. Here's what happened. So Lou Assaman moves

1387
01:09:54,120 --> 01:09:57,080
Speaker 3: my dad to first we're in New York, Vegas to

1388
01:09:57,160 --> 01:09:59,760
Speaker 3: New York. We're living in the century on Central Park West,

1389
01:09:59,760 --> 01:10:03,120
Speaker 3: and move, for whatever reason, moves my dad to LA

1390
01:10:03,439 --> 01:10:06,080
Speaker 3: and in those great offices you know that are by

1391
01:10:06,080 --> 01:10:09,839
Speaker 3: the seventy sixth station that was that was MCA, and

1392
01:10:09,920 --> 01:10:11,840
Speaker 3: that's where they had all the you know, that's where

1393
01:10:11,840 --> 01:10:13,760
Speaker 3: they got famous for all the antique.

1394
01:10:13,360 --> 01:10:17,280
Speaker 1: Antiques, the gray suits, the shirts that it was unbelievable.

1395
01:10:17,360 --> 01:10:19,439
Speaker 1: Those guys, it was they were ahead of their time,

1396
01:10:19,600 --> 01:10:20,440
Speaker 1: right yeah.

1397
01:10:20,720 --> 01:10:24,639
Speaker 3: So he's we're in LA and my mom, I don't

1398
01:10:24,680 --> 01:10:27,920
Speaker 3: know how long in La this happened, wasn't very long.

1399
01:10:28,600 --> 01:10:31,680
Speaker 3: My mom decides, not only does she not like La,

1400
01:10:31,840 --> 01:10:35,320
Speaker 3: she really doesn't like my father and she doesn't like driving.

1401
01:10:35,479 --> 01:10:37,120
Speaker 3: So she in that order.

1402
01:10:40,360 --> 01:10:43,919
Speaker 6: Neil Simon line, right there, those three things in that order.

1403
01:10:43,800 --> 01:10:46,800
Speaker 3: That's where you get it. So she picks us up

1404
01:10:46,840 --> 01:10:48,280
Speaker 3: and all of a sudden, we're back in the arch.

1405
01:10:48,400 --> 01:10:51,680
Speaker 3: We live on E. Sixty fifth Street. And you know,

1406
01:10:51,880 --> 01:10:54,600
Speaker 3: these guys didn't get paid a fort like you were saying, Paul.

1407
01:10:54,800 --> 01:10:57,000
Speaker 3: They were just happy to be in showbiz. I mean,

1408
01:10:57,120 --> 01:11:00,840
Speaker 3: my dad thought, you know, entertainers hung the moon. He

1409
01:11:01,560 --> 01:11:03,759
Speaker 3: wasn't in it to get rich. You know, the first

1410
01:11:03,760 --> 01:11:05,960
Speaker 3: guy that really figured out how to get Rich was Geffen.

1411
01:11:06,600 --> 01:11:11,840
Speaker 3: But anyway, so he needs a roommate. So his friend

1412
01:11:11,960 --> 01:11:15,280
Speaker 3: Danny Simon also just got thrown out of the house,

1413
01:11:15,680 --> 01:11:18,200
Speaker 3: and so they rent. It's not New York. They rent

1414
01:11:18,200 --> 01:11:23,200
Speaker 3: a house up on Beaumont and they're living together and

1415
01:11:23,280 --> 01:11:28,400
Speaker 3: everything's fine except my dad, who, as Paul knows, was

1416
01:11:28,600 --> 01:11:33,559
Speaker 3: a bit of a you know, lunatic. You know, he's

1417
01:11:33,600 --> 01:11:36,840
Speaker 3: having he's out with you know, this one and that one,

1418
01:11:36,920 --> 01:11:38,760
Speaker 3: and he's coming home at two in the morning, and

1419
01:11:39,160 --> 01:11:41,800
Speaker 3: you know, and Danny's cooking dinner and waiting for Roy.

1420
01:11:41,840 --> 01:11:44,240
Speaker 3: And Roy comes into two in the morning and Danny's like,

1421
01:11:44,960 --> 01:11:48,320
Speaker 3: where have you been? And my dad is appaulled. He's like,

1422
01:11:48,320 --> 01:11:50,000
Speaker 3: what are you? My mother? Play to me? Where I

1423
01:11:50,120 --> 01:11:52,880
Speaker 3: did you know? And this So this thing starts escalating,

1424
01:11:53,400 --> 01:11:57,320
Speaker 3: and Neil's hearing about this. Neil Simon's hearing about this,

1425
01:11:57,360 --> 01:11:59,880
Speaker 3: and he says, guys, you gotta let me write this,

1426
01:12:00,320 --> 01:12:02,679
Speaker 3: you gotta let me use this. This is the play,

1427
01:12:02,800 --> 01:12:04,760
Speaker 3: you know, And so he writes The Odd Couple. And

1428
01:12:04,760 --> 01:12:07,800
Speaker 3: if you read any of Neil's books, he says, thank

1429
01:12:07,840 --> 01:12:10,320
Speaker 3: you to Roy and Danny for the use of your life.

1430
01:12:10,800 --> 01:12:13,000
Speaker 3: So this has been something you know, I've been able

1431
01:12:13,080 --> 01:12:16,120
Speaker 3: to dine out on my whole life that my dad

1432
01:12:16,240 --> 01:12:21,040
Speaker 3: is the is the impetus and the inspiration for Oscar Madison,

1433
01:12:21,120 --> 01:12:24,120
Speaker 3: even though he wasn't that. You know, Neil obviously is

1434
01:12:24,160 --> 01:12:26,320
Speaker 3: a brilliant writer, and he made the guy lot, you know,

1435
01:12:26,400 --> 01:12:30,160
Speaker 3: made him what he was. But but cut to I

1436
01:12:30,240 --> 01:12:33,400
Speaker 3: make I buy this script aspectscript from John Davis called

1437
01:12:33,479 --> 01:12:38,839
Speaker 3: Grumpy Old Men in ninety one or something, and everybody

1438
01:12:38,880 --> 01:12:40,360
Speaker 3: liked it at the studio, you know, we wanted to

1439
01:12:40,400 --> 01:12:42,719
Speaker 3: do it. And so even though you would have thought

1440
01:12:43,280 --> 01:12:47,760
Speaker 3: Jack and Walter, I actually took two interesting shots. First, Paul,

1441
01:12:47,800 --> 01:12:52,320
Speaker 3: you'll appreciate this. I thought, what if I could reunite Barton?

1442
01:12:52,520 --> 01:12:57,200
Speaker 3: Oh wow? And I went, you know, I went to

1443
01:12:58,000 --> 01:13:01,519
Speaker 3: Dean and I went to Jerry. Neither of them had

1444
01:13:01,560 --> 01:13:04,120
Speaker 3: any interest in working. So that was that. But that

1445
01:13:04,240 --> 01:13:06,280
Speaker 3: was like if I could only I mean, my dad

1446
01:13:06,320 --> 01:13:08,040
Speaker 3: would be so proud of me, if I could reunite

1447
01:13:08,080 --> 01:13:08,639
Speaker 3: Martin Lewis.

1448
01:13:08,680 --> 01:13:08,840
Speaker 4: You know.

1449
01:13:10,080 --> 01:13:14,760
Speaker 3: I tried Redford and Newman about puschcasting and sudden that's kid,

1450
01:13:14,840 --> 01:13:18,200
Speaker 3: how perfect, you know, and those didn't work out. And

1451
01:13:18,240 --> 01:13:23,000
Speaker 3: then we got Jack because Fred Spector was just incredible.

1452
01:13:23,000 --> 01:13:24,600
Speaker 3: And he helped us put it together. And then we

1453
01:13:24,680 --> 01:13:28,519
Speaker 3: got Walter. And the reason I'm saying this is I

1454
01:13:28,520 --> 01:13:30,320
Speaker 3: get to the read through where you you know, where

1455
01:13:30,320 --> 01:13:32,080
Speaker 3: you have all the actors and you read through the

1456
01:13:32,080 --> 01:13:34,920
Speaker 3: script before you start shooting. And we're at the read

1457
01:13:35,000 --> 01:13:38,320
Speaker 3: through and I had never met Walter, and I introduced

1458
01:13:38,400 --> 01:13:42,120
Speaker 3: myself and he starts laughing about my dad and the

1459
01:13:42,120 --> 01:13:44,240
Speaker 3: hot teuble and everything, and he said, yeah, you know,

1460
01:13:44,840 --> 01:13:48,479
Speaker 3: I just did Roy. I just did Roy and it

1461
01:13:48,520 --> 01:13:50,920
Speaker 3: worked out great. And I was like, wow, this is

1462
01:13:50,960 --> 01:13:52,200
Speaker 3: just such a great day. You know.

1463
01:13:52,680 --> 01:13:56,479
Speaker 1: I love seeing Roy and Norman together. I mean, those two,

1464
01:13:56,520 --> 01:14:01,160
Speaker 1: what love there was there? Huh. Normany was so special.

1465
01:14:01,560 --> 01:14:03,799
Speaker 3: You know when they were on the road, you know, people,

1466
01:14:03,840 --> 01:14:06,439
Speaker 3: you know, people think that they had this amazing career.

1467
01:14:06,479 --> 01:14:08,280
Speaker 3: You know, when they started out, it was like Broadway

1468
01:14:08,360 --> 01:14:10,920
Speaker 3: Danny Rose. You know, they had a they had an

1469
01:14:10,960 --> 01:14:19,000
Speaker 3: exotic dancer, Theydquist. They could have gotten a refrigerated truck,

1470
01:14:19,080 --> 01:14:22,080
Speaker 3: they would have had a seal act you know. And

1471
01:14:22,080 --> 01:14:25,760
Speaker 3: and so one night there who knows where, you know,

1472
01:14:25,920 --> 01:14:31,040
Speaker 3: New Jersey, somewhere, and my dad goes to find Norman

1473
01:14:31,120 --> 01:14:34,120
Speaker 3: in the morning and he, you know, just you know,

1474
01:14:34,200 --> 01:14:38,439
Speaker 3: bursts into his room and no one's there, and the

1475
01:14:38,479 --> 01:14:45,360
Speaker 3: bed is red red, and my dad's convinced it's been murdered.

1476
01:14:47,120 --> 01:14:50,720
Speaker 3: And so he's walking all over Norman. Where are you?

1477
01:14:50,720 --> 01:14:50,920
Speaker 4: You know?

1478
01:14:51,760 --> 01:14:55,439
Speaker 3: Anyway, So he finally finds Norman and he's Normany. Okay,

1479
01:14:55,479 --> 01:14:58,639
Speaker 3: He's like, I'm fine. What what's wrong with you? He goes,

1480
01:14:58,800 --> 01:15:01,920
Speaker 3: I went in your room and blood everywhere. He goes, No, no,

1481
01:15:01,920 --> 01:15:04,559
Speaker 3: no no. Because I met this nice girl, I thought

1482
01:15:04,600 --> 01:15:07,439
Speaker 3: I would be some romantic and I covered the ben

1483
01:15:07,680 --> 01:15:08,920
Speaker 3: Rose paddles.

1484
01:15:08,560 --> 01:15:14,880
Speaker 1: And oh, Normany's a whole other trip. What a beautiful

1485
01:15:14,920 --> 01:15:18,160
Speaker 1: man he was, though, God, I love I took him all.

1486
01:15:18,000 --> 01:15:19,880
Speaker 3: Over the world with beautiful you know.

1487
01:15:20,120 --> 01:15:22,120
Speaker 1: You know I rebuilt that bookstore.

1488
01:15:21,600 --> 01:15:22,960
Speaker 3: For him, did you, Dolly?

1489
01:15:23,760 --> 01:15:27,840
Speaker 1: He had this play skip up in Utah Dolly's bookstore

1490
01:15:27,840 --> 01:15:31,120
Speaker 1: with his family. Anyway, long story, we had a great relationship.

1491
01:15:31,160 --> 01:15:33,160
Speaker 1: He was a buddy blah blah blah, and it burnt down.

1492
01:15:33,920 --> 01:15:35,760
Speaker 1: So I gave him the money to rebuild the place

1493
01:15:35,760 --> 01:15:38,519
Speaker 1: because he was so into books. I mean, Normany was

1494
01:15:39,520 --> 01:15:42,080
Speaker 1: so well read. But that bookstore meant everything to them.

1495
01:15:42,200 --> 01:15:44,599
Speaker 1: And I've got such great memories guys.

1496
01:15:44,640 --> 01:15:46,559
Speaker 3: Noo, you know in that movie I told you about that.

1497
01:15:46,600 --> 01:15:47,839
Speaker 3: We're doing that. We're just finishing.

1498
01:15:47,840 --> 01:15:48,000
Speaker 2: Now.

1499
01:15:48,120 --> 01:15:51,120
Speaker 3: What about the about the managers in England and everything?

1500
01:15:52,080 --> 01:15:57,400
Speaker 3: They found some footage of Epstein that the Masles shot

1501
01:15:57,720 --> 01:16:00,639
Speaker 3: that first time in America, you know, when they played

1502
01:16:00,720 --> 01:16:04,720
Speaker 3: DC and all that stuff. And they cut to this

1503
01:16:05,080 --> 01:16:08,080
Speaker 3: rainy day in the city, and and and and Brian.

1504
01:16:08,120 --> 01:16:11,240
Speaker 3: Epstein's in the back of this limo and he's talking away,

1505
01:16:11,240 --> 01:16:13,240
Speaker 3: and all of a sudden, the camera pans stood right,

1506
01:16:13,640 --> 01:16:16,439
Speaker 3: and there's Normy and it's just Norman and Epstein in

1507
01:16:16,479 --> 01:16:19,080
Speaker 3: the car and nor and Normy's telling him about the

1508
01:16:19,120 --> 01:16:21,599
Speaker 3: American TV business. I didn't even know the film existed.

1509
01:16:21,680 --> 01:16:25,120
Speaker 3: I'm seeing it. Wait, that's my god.

1510
01:16:25,240 --> 01:16:29,240
Speaker 1: Wow, what year? What year was that? Was it sixty four?

1511
01:16:29,400 --> 01:16:31,840
Speaker 1: Sixty three? The footage must have been sixty three or

1512
01:16:31,880 --> 01:16:33,519
Speaker 1: sixty sixty three.

1513
01:16:33,880 --> 01:16:36,559
Speaker 3: The end, it's early sixty four. It's when they went

1514
01:16:36,600 --> 01:16:37,800
Speaker 3: on the that's right.

1515
01:16:37,800 --> 01:16:42,519
Speaker 1: They came over. The Sultan said, that's wild, you know

1516
01:16:42,680 --> 01:16:46,000
Speaker 1: it was. It was so magical back then when you

1517
01:16:46,080 --> 01:16:50,800
Speaker 1: saw all of this in this infancy stage starting to blossom,

1518
01:16:51,520 --> 01:16:55,200
Speaker 1: and it was it was literally we were all pioneers,

1519
01:16:55,439 --> 01:16:58,479
Speaker 1: you know, England knew from nothing. My agents, you know,

1520
01:16:58,600 --> 01:17:02,320
Speaker 1: the Grades, Loan, Leslie, Lou and Leslie Gray built an

1521
01:17:02,360 --> 01:17:07,000
Speaker 1: empire and they started in one office in London and

1522
01:17:07,040 --> 01:17:10,080
Speaker 1: they were the only agents and they were my agents

1523
01:17:10,080 --> 01:17:12,840
Speaker 1: when I got there, and we were all like this

1524
01:17:13,040 --> 01:17:16,280
Speaker 1: group of guys just starting and hoping to flourish. And

1525
01:17:16,280 --> 01:17:18,040
Speaker 1: I'll never forget they took me to a bar because

1526
01:17:18,040 --> 01:17:20,280
Speaker 1: I needed a band. You know, back then, I traveled

1527
01:17:20,280 --> 01:17:22,640
Speaker 1: with the suitcase. My music was in the suitcase, and

1528
01:17:22,640 --> 01:17:25,439
Speaker 1: I was making five hundred bucks a week and loving

1529
01:17:25,479 --> 01:17:28,880
Speaker 1: it right, And they took me to this bar and

1530
01:17:28,920 --> 01:17:31,080
Speaker 1: they said, we got this guy you got to see.

1531
01:17:31,479 --> 01:17:32,920
Speaker 1: And we go and we look and I see these

1532
01:17:32,960 --> 01:17:36,479
Speaker 1: guys in yellow suits and pink suits and black suits

1533
01:17:36,520 --> 01:17:40,960
Speaker 1: and yellow suits. And it was called the John Barry Seven. Well,

1534
01:17:41,000 --> 01:17:43,080
Speaker 1: of course John Barry went on to be one of

1535
01:17:43,080 --> 01:17:46,759
Speaker 1: the you know, all the James Bond, all the Fills.

1536
01:17:46,960 --> 01:17:50,559
Speaker 1: That was my first orchestra. And the Grades were my agents,

1537
01:17:50,600 --> 01:17:54,559
Speaker 1: Lou and Leslie, and they had one room in London overhead.

1538
01:17:55,320 --> 01:17:59,200
Speaker 3: You know, I met when I was at Warner Brothers,

1539
01:17:59,240 --> 01:18:02,800
Speaker 3: a Bob Dallien London one time and he was so cool.

1540
01:18:02,840 --> 01:18:05,600
Speaker 3: I mean, I was like you're cirrh. I was like

1541
01:18:05,680 --> 01:18:07,960
Speaker 3: some presdent when we started talking.

1542
01:18:08,960 --> 01:18:13,080
Speaker 1: And he forgot eighteen night. I said, hey, is there

1543
01:18:13,080 --> 01:18:13,719
Speaker 1: any chicks?

1544
01:18:14,560 --> 01:18:14,760
Speaker 3: You know?

1545
01:18:15,080 --> 01:18:18,080
Speaker 1: I mean before I had hit records, I couldn't score

1546
01:18:18,160 --> 01:18:21,080
Speaker 1: with a pinball machine, you know, so I get that.

1547
01:18:21,080 --> 01:18:23,960
Speaker 1: I said, hey, miss a great faked, is there any chicks?

1548
01:18:24,120 --> 01:18:26,439
Speaker 1: He says, well, yes, you know, there's someone here. I'd

1549
01:18:26,560 --> 01:18:30,960
Speaker 1: like you to me. And he introduces me to this beautiful,

1550
01:18:31,400 --> 01:18:35,759
Speaker 1: beautiful creature and I brought her over to the United

1551
01:18:35,840 --> 01:18:39,360
Speaker 1: States and she lived with me. Her name was June Wilkinson.

1552
01:18:39,439 --> 01:18:42,880
Speaker 1: Remember June Wilkinson, the most well endowed, and then she

1553
01:18:42,920 --> 01:18:47,280
Speaker 1: married Dan Paserini. What a wonderful person she was. That

1554
01:18:47,479 --> 01:18:52,360
Speaker 1: was my first major squeeze, and lou and Leslie introduced me.

1555
01:18:52,960 --> 01:18:55,720
Speaker 1: That was my side dish for a lot of years.

1556
01:18:57,080 --> 01:19:00,240
Speaker 2: But that was your first. That was after Diana, right.

1557
01:19:00,120 --> 01:19:03,360
Speaker 1: Oh, well, no, we didn't swap spit. Diana was bullshit. No, no,

1558
01:19:03,960 --> 01:19:06,880
Speaker 1: she wouldn't even look at me. She had nothing to say.

1559
01:19:06,960 --> 01:19:11,000
Speaker 1: I wrote the songs I sang at their parties. Correct, Well, yeah,

1560
01:19:11,080 --> 01:19:13,080
Speaker 1: who knew, you know. I left with one hundred bucks.

1561
01:19:13,080 --> 01:19:14,880
Speaker 1: I got lucky and went home and she was all

1562
01:19:14,880 --> 01:19:19,839
Speaker 1: over me. I said, over, baby, I've been to France.

1563
01:19:19,880 --> 01:19:23,599
Speaker 1: I've been to Jetpan. I said, you missed the boat

1564
01:19:23,760 --> 01:19:25,920
Speaker 1: at the end of the bench. But you know she

1565
01:19:26,000 --> 01:19:28,639
Speaker 1: inspired me to write it. But but that was it.

1566
01:19:28,920 --> 01:19:31,360
Speaker 2: Well, Billy, this has been a blast, man. It's been

1567
01:19:31,400 --> 01:19:33,559
Speaker 2: so great and great for you to do this. And

1568
01:19:34,120 --> 01:19:35,960
Speaker 2: you know you're such a great, great friend.

1569
01:19:36,080 --> 01:19:38,599
Speaker 3: Throw from me to talk to you guys, to of

1570
01:19:38,600 --> 01:19:44,559
Speaker 3: my most incredible friends. And and the history we all have,

1571
01:19:44,720 --> 01:19:47,000
Speaker 3: I mean, Stip and I are. You know, we're just

1572
01:19:47,040 --> 01:19:49,720
Speaker 3: getting rolling, but we got some good stories already. We've

1573
01:19:49,720 --> 01:19:51,360
Speaker 3: only you know, we've been doing this for about five

1574
01:19:51,439 --> 01:19:55,000
Speaker 3: years now. And all you might you were, you just

1575
01:19:55,040 --> 01:19:55,839
Speaker 3: weren't in Vegas.

1576
01:19:55,880 --> 01:19:58,240
Speaker 1: They didn't make it to my brisk I'll give you

1577
01:19:58,240 --> 01:20:03,960
Speaker 1: an Edie Fisher story too. I missed that, poor Eddie.

1578
01:20:04,320 --> 01:20:06,920
Speaker 1: That's a whole other Sinnatra used to say, we're going

1579
01:20:06,960 --> 01:20:09,840
Speaker 1: to see Eddie and we'd go because he had bad time.

1580
01:20:10,200 --> 01:20:13,120
Speaker 1: He had a great voice, but he couldn't keep in time.

1581
01:20:13,240 --> 01:20:15,880
Speaker 1: You know, Frank loves to go over and the band

1582
01:20:15,920 --> 01:20:20,880
Speaker 1: leader was going crazy because it'd be every time Ray

1583
01:20:21,600 --> 01:20:23,800
Speaker 1: fucking the band would be wiped out. You just hear

1584
01:20:23,920 --> 01:20:27,800
Speaker 1: drums and Frank listen and that coolie can't keep the meter.

1585
01:20:29,439 --> 01:20:32,479
Speaker 1: He still loved to go, so poor Eddie. It was

1586
01:20:32,479 --> 01:20:33,799
Speaker 1: that crazy time back.

1587
01:20:33,640 --> 01:20:37,200
Speaker 3: Then, you know, when when they found that unearthed that

1588
01:20:37,200 --> 01:20:39,640
Speaker 3: that Rap Pack concert from sixty three. I think it

1589
01:20:39,680 --> 01:20:43,200
Speaker 3: was Saint Louis and you know, and Bob Daily knew

1590
01:20:43,240 --> 01:20:45,240
Speaker 3: what a nut I was for the Rap Pack because

1591
01:20:45,240 --> 01:20:47,439
Speaker 3: of growing up in Vegas and my father and all

1592
01:20:47,479 --> 01:20:50,240
Speaker 3: that stuff. So call he said, I got you something,

1593
01:20:50,320 --> 01:20:52,800
Speaker 3: Come on down. He hands me like two three three

1594
01:20:52,880 --> 01:20:56,320
Speaker 3: quarter inch videotapes. This is like an eighty something, eighty

1595
01:20:56,360 --> 01:21:00,280
Speaker 3: eight or and and I look and I'm like, oh

1596
01:21:00,320 --> 01:21:02,000
Speaker 3: my god, I just read about it, you know, because

1597
01:21:02,000 --> 01:21:03,519
Speaker 3: it just come out, and I think A and E

1598
01:21:03,640 --> 01:21:06,000
Speaker 3: or somebody were gonna show it. And I go home

1599
01:21:06,040 --> 01:21:07,960
Speaker 3: and I'm watching this thing. You know, it's like watching

1600
01:21:08,640 --> 01:21:11,240
Speaker 3: something biblical for me, you know, because I was so young,

1601
01:21:11,280 --> 01:21:13,400
Speaker 3: I didn't really know what was going on, you know,

1602
01:21:13,560 --> 01:21:17,040
Speaker 3: rap back, and I started watching this thing. It's extraordinary.

1603
01:21:17,080 --> 01:21:19,360
Speaker 3: You know, Sammy comes out. I mean you saw the

1604
01:21:19,360 --> 01:21:23,360
Speaker 3: show a million times and Sammy comes out and You're like,

1605
01:21:24,160 --> 01:21:26,559
Speaker 3: there's no one more talented than this guy. He's playing everything,

1606
01:21:26,760 --> 01:21:29,360
Speaker 3: singing everything, he's doing impressions. He's like, he's just the

1607
01:21:29,400 --> 01:21:33,080
Speaker 3: most insanely talented guy. And this big anyway, and then

1608
01:21:33,400 --> 01:21:37,479
Speaker 3: Dean comes out and you're like, can you make a

1609
01:21:37,520 --> 01:21:40,640
Speaker 3: more beautiful human being? You know, like the hair and

1610
01:21:40,720 --> 01:21:44,360
Speaker 3: the drink say, And he's doing you know more, and

1611
01:21:44,400 --> 01:21:47,000
Speaker 3: he's singing these songs and you're like, oh my god,

1612
01:21:47,040 --> 01:21:50,120
Speaker 3: this is mon is unbelievable. You know, this guy's unblievable.

1613
01:21:51,080 --> 01:21:55,439
Speaker 3: And then the chairman comes out and you go oh,

1614
01:21:55,640 --> 01:21:59,719
Speaker 3: and he starts doing his thing and he's looking at Quincy,

1615
01:22:00,080 --> 01:22:03,360
Speaker 3: who's conducting the count base the orchestra, and he does

1616
01:22:03,439 --> 01:22:06,920
Speaker 3: this set and you're like, I mean, I hadn't seen

1617
01:22:06,960 --> 01:22:10,960
Speaker 3: Frank Sinatra in nineteen sixty three when he's forty or

1618
01:22:11,000 --> 01:22:15,040
Speaker 3: whatever doing this, you know, and you're like, wow, I

1619
01:22:15,080 --> 01:22:19,240
Speaker 3: mean that's showmanship that you know, very few people, you know,

1620
01:22:19,520 --> 01:22:22,280
Speaker 3: you've managed to get to that point in your career,

1621
01:22:22,320 --> 01:22:24,400
Speaker 3: but like, not that many people do it, not that

1622
01:22:24,479 --> 01:22:28,240
Speaker 3: many people saw it. And so I see Quincy and

1623
01:22:28,360 --> 01:22:30,479
Speaker 3: I didn't even know Quincy's that old to have been there.

1624
01:22:30,520 --> 01:22:33,320
Speaker 3: And I call Quincy at home and I give him

1625
01:22:33,320 --> 01:22:35,760
Speaker 3: my little take on what I just saw like that.

1626
01:22:35,760 --> 01:22:38,000
Speaker 3: I'm just telling you guys, And I go, am, I

1627
01:22:38,040 --> 01:22:40,840
Speaker 3: Am I close? He goes, Oh, yeah, yeah, you're close.

1628
01:22:40,880 --> 01:22:44,679
Speaker 3: He goes, But Sinatra, Man, you can't imagine. He starts

1629
01:22:44,720 --> 01:22:49,280
Speaker 3: going on about Sinatra and you know, the being on

1630
01:22:49,320 --> 01:22:53,120
Speaker 3: the road with him and the fun and the stories

1631
01:22:53,280 --> 01:22:57,800
Speaker 3: and the laughs, and you know, I'd love to hear

1632
01:22:57,840 --> 01:23:01,120
Speaker 3: one stary look the only thing that but you know, Taylor,

1633
01:23:01,840 --> 01:23:05,200
Speaker 3: Taylor Swift. I'm so happy for kids today that they

1634
01:23:05,200 --> 01:23:09,240
Speaker 3: at least have somebody that they can be that gaga about,

1635
01:23:09,320 --> 01:23:11,960
Speaker 3: you know what I mean. It's like and she's got

1636
01:23:11,960 --> 01:23:14,880
Speaker 3: her version. You know, she goes into these towns, she

1637
01:23:15,080 --> 01:23:19,280
Speaker 3: helps everybody, you know, her crew to all make a

1638
01:23:19,320 --> 01:23:21,880
Speaker 3: lot of money. I mean, she's extraordinary and the way

1639
01:23:21,920 --> 01:23:25,840
Speaker 3: she inducts herself in her career. But like when, you know,

1640
01:23:25,880 --> 01:23:28,400
Speaker 3: when Barbie and Taylor Swift are all happening in the

1641
01:23:28,439 --> 01:23:30,920
Speaker 3: same time, and I was like, thank goodness. You know,

1642
01:23:31,000 --> 01:23:35,840
Speaker 3: these kids have something to really believe in and emulate

1643
01:23:35,960 --> 01:23:39,680
Speaker 3: and see these great you know, examples of humanity and

1644
01:23:39,800 --> 01:23:42,160
Speaker 3: humility and generosity and all that stuff. And you know,

1645
01:23:42,200 --> 01:23:44,000
Speaker 3: it's been a long time, but you know, the way

1646
01:23:44,040 --> 01:23:47,880
Speaker 3: these guys walk the earth, you know, Sinatra and everybody

1647
01:23:48,160 --> 01:23:49,880
Speaker 3: and Snatchra was the same way, you know, I mean

1648
01:23:49,920 --> 01:23:52,080
Speaker 3: he took care of everybody people. You know, people were

1649
01:23:52,120 --> 01:23:53,080
Speaker 3: fiercely loyal.

1650
01:23:53,120 --> 01:23:55,400
Speaker 1: Millions, minions. I mean, I could go on or on.

1651
01:23:55,720 --> 01:23:59,599
Speaker 1: You know a story about Dean which I heard early on,

1652
01:23:59,680 --> 01:24:01,880
Speaker 1: which kind of funny because a lot of people didn't

1653
01:24:01,920 --> 01:24:04,120
Speaker 1: know it. But he was everything you said. I mean,

1654
01:24:04,160 --> 01:24:07,400
Speaker 1: he had to it right. But you know he had

1655
01:24:07,400 --> 01:24:09,240
Speaker 1: his nose done because he used to be a dealer

1656
01:24:09,960 --> 01:24:13,160
Speaker 1: in Ohio. He was a boxer and whatever happened the

1657
01:24:13,200 --> 01:24:15,600
Speaker 1: nose didn't work for him for a while. Do you

1658
01:24:15,680 --> 01:24:17,679
Speaker 1: know who gave him the money to fix his nose?

1659
01:24:18,479 --> 01:24:24,280
Speaker 1: Lu Costello? Perfect lu Costello gave him twenty five thousand,

1660
01:24:25,200 --> 01:24:27,960
Speaker 1: like before he was Dean Martin to fix the nose.

1661
01:24:29,560 --> 01:24:32,840
Speaker 3: Cochett But I think, I think, well, I've been trying

1662
01:24:32,880 --> 01:24:35,160
Speaker 3: to make that movie for years, the Nick Tasha's book,

1663
01:24:35,160 --> 01:24:37,960
Speaker 3: and almost made it. Was Scorsese directing on My Way

1664
01:24:38,000 --> 01:24:39,960
Speaker 3: out of Warner Brothers, and that's why it never happened.

1665
01:24:39,960 --> 01:24:44,040
Speaker 1: Well, Marty wants to do he's a there's a Sinatra story,

1666
01:24:44,479 --> 01:24:47,800
Speaker 1: as you know, yes, but it's Sieva Gardner because I

1667
01:24:47,840 --> 01:24:50,120
Speaker 1: was talking to Ari about it. They wanted me to

1668
01:24:50,160 --> 01:24:52,439
Speaker 1: be a consultant on it. But the Dean thing. Just

1669
01:24:52,439 --> 01:24:55,599
Speaker 1: to finish the story, Lou gives him the money when

1670
01:24:55,600 --> 01:24:58,599
Speaker 1: he was nobody, twenty five grand, and then he sees

1671
01:24:58,640 --> 01:25:03,160
Speaker 1: them years a later at the place on Sunset where

1672
01:25:03,160 --> 01:25:06,640
Speaker 1: they all played Cyril Cyril's Zero, and it's Jerry and

1673
01:25:06,760 --> 01:25:09,559
Speaker 1: Dean and he runs into him after the show and

1674
01:25:09,600 --> 01:25:13,880
Speaker 1: he said to Dean, you're still only twenty five thousand dollars.

1675
01:25:14,120 --> 01:25:16,280
Speaker 3: By the way, I think that's the punchline. I think

1676
01:25:16,280 --> 01:25:18,439
Speaker 3: that's why they had to do the Saint Leuiski, because

1677
01:25:18,439 --> 01:25:21,160
Speaker 3: it was a makeup gig, because they oh.

1678
01:25:20,760 --> 01:25:23,240
Speaker 1: Oh oh, I made those I was in with them

1679
01:25:23,240 --> 01:25:26,880
Speaker 1: there Chicago. I went on listen when you hung with

1680
01:25:26,960 --> 01:25:29,840
Speaker 1: Sinatra and he says, we're going out, go home and

1681
01:25:29,840 --> 01:25:32,719
Speaker 1: get your passport, because you never know where you're gonna

1682
01:25:32,720 --> 01:25:35,479
Speaker 1: wind up. I started out with him in Philly one

1683
01:25:35,600 --> 01:25:37,439
Speaker 1: night and I thought I was going to New York.

1684
01:25:37,680 --> 01:25:40,080
Speaker 1: I didn't get home for five days. I wound up

1685
01:25:40,080 --> 01:25:44,320
Speaker 1: on a boat with him going up to Connecticut. He

1686
01:25:44,479 --> 01:25:47,360
Speaker 1: I mean, listen, I would have given the money back.

1687
01:25:47,479 --> 01:25:50,639
Speaker 1: The shit that I learned and the things. And I'm

1688
01:25:50,680 --> 01:25:53,120
Speaker 1: this kid only because I'm making money for the guys.

1689
01:25:53,160 --> 01:25:56,200
Speaker 1: And you know, I'm busting my ass. Did they embrace

1690
01:25:56,320 --> 01:26:00,280
Speaker 1: me and take me in? But the stuff you just can't,

1691
01:26:00,800 --> 01:26:03,080
Speaker 1: you don't, you can't learn it. You know, it's you

1692
01:26:03,200 --> 01:26:04,439
Speaker 1: hang with those guys now.

1693
01:26:04,640 --> 01:26:08,200
Speaker 3: You know, when I was very little, I for some reason,

1694
01:26:08,240 --> 01:26:11,000
Speaker 3: I have vivid memory and my dad throwing me in

1695
01:26:11,040 --> 01:26:14,600
Speaker 3: the car in Vegas and taking me down to the

1696
01:26:14,640 --> 01:26:19,240
Speaker 3: strip and there was a it was the remains of

1697
01:26:19,320 --> 01:26:22,360
Speaker 3: a of a big fire, you know, and and it

1698
01:26:22,439 --> 01:26:26,240
Speaker 3: turned out that the l Rancho had burnt to the ground,

1699
01:26:26,320 --> 01:26:31,800
Speaker 3: you know, Belding Cattleman's Hotel. And years later I was

1700
01:26:31,840 --> 01:26:34,000
Speaker 3: saying to my dad, you know, yeah, I remember when

1701
01:26:34,000 --> 01:26:35,679
Speaker 3: you took because actually, you know, my dad of course

1702
01:26:35,800 --> 01:26:37,880
Speaker 3: ended up with a slot machine somehow out of this

1703
01:26:37,960 --> 01:26:41,240
Speaker 3: excursion in the house. And I said to him, I

1704
01:26:41,240 --> 01:26:43,120
Speaker 3: remember when he took me down. And he goes, yeah,

1705
01:26:43,160 --> 01:26:45,920
Speaker 3: you know what happened. He goes, they called the that

1706
01:26:46,520 --> 01:26:48,479
Speaker 3: when you know, the thing was burning, They called the

1707
01:26:48,479 --> 01:26:50,599
Speaker 3: fire chief and they said, chief, you got to get

1708
01:26:50,640 --> 01:26:54,080
Speaker 3: down here. The l Ranchos burning to the ground. And

1709
01:26:54,160 --> 01:26:55,839
Speaker 3: the fire chief said, really, I thought.

1710
01:26:55,680 --> 01:27:00,280
Speaker 1: That was exactly they said to Ghettle on the day before.

1711
01:27:00,400 --> 01:27:03,400
Speaker 1: We're sorry to hear you about the hotel. They were

1712
01:27:03,479 --> 01:27:11,679
Speaker 1: burning stuff left and right all the time. God, hey, Billy,

1713
01:27:11,720 --> 01:27:15,599
Speaker 1: I gotta tell you, We've had some great, great moments

1714
01:27:15,600 --> 01:27:17,920
Speaker 1: with a lot of great friends. But I got to

1715
01:27:18,000 --> 01:27:22,320
Speaker 1: tell you this has been so special, man, really is.

1716
01:27:22,600 --> 01:27:25,639
Speaker 1: I mean, we could go on and on, but I'm

1717
01:27:25,680 --> 01:27:27,840
Speaker 1: so proud of you because you know, we go way

1718
01:27:27,880 --> 01:27:30,400
Speaker 1: back and obviously, but I gotta really thank you for

1719
01:27:30,880 --> 01:27:34,280
Speaker 1: giving us your time. We've I've had a wonderful, wonderful

1720
01:27:34,320 --> 01:27:36,240
Speaker 1: time with you today and I gotta thank you.

1721
01:27:36,360 --> 01:27:39,400
Speaker 3: I'm so look, it's going on my resume. You guys

1722
01:27:39,400 --> 01:27:42,920
Speaker 3: even ask me on the show. You know it's jay

1723
01:27:42,960 --> 01:27:44,639
Speaker 3: Ceris to start booking me out there.

1724
01:27:44,680 --> 01:27:47,479
Speaker 2: You know what I mean, you're the greatest, Billy. I

1725
01:27:47,520 --> 01:27:49,320
Speaker 2: don't want to talk to you again for at least.

1726
01:27:49,160 --> 01:27:54,280
Speaker 1: An hour, So he always says to me, how do

1727
01:27:54,320 --> 01:27:56,240
Speaker 1: you squeeze? How do you squeeze us? Both?

1728
01:27:56,280 --> 01:28:02,080
Speaker 3: Then, I hope there's a lot of young people listening

1729
01:28:02,120 --> 01:28:04,519
Speaker 3: and watching you guys, because there's a lot to learn

1730
01:28:04,680 --> 01:28:07,559
Speaker 3: and not that many places you can learn it anymore.

1731
01:28:07,640 --> 01:28:10,920
Speaker 2: Thanks love, Love, You Guys.

1732
01:28:17,240 --> 01:28:20,040
Speaker 1: Our Away with Paul Anka and Skip Bronson is a

1733
01:28:20,080 --> 01:28:22,000
Speaker 1: production of iHeartRadio.

1734
01:28:22,120 --> 01:28:27,080
Speaker 2: The show's executive producer is Jordan Runtog, with supervising producer

1735
01:28:27,120 --> 01:28:28,839
Speaker 2: and editor Marcy Depina.

1736
01:28:29,600 --> 01:28:33,799
Speaker 1: It was engineered by Todd Carlin and Graham Gibson, mixed

1737
01:28:33,800 --> 01:28:36,240
Speaker 1: and mastered by the wonderful Mary Do.

1738
01:28:37,080 --> 01:28:39,519
Speaker 2: If you like what you heard, please subscribe and leave

1739
01:28:39,600 --> 01:28:40,200
Speaker 2: us a review.

1740
01:28:40,960 --> 01:28:47,920
Speaker 1: For more podcasts on iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1741
01:28:48,080 --> 01:29:17,240
Speaker 1: or wherever you listen to your favorite showres inporting Pat