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Speaker 1: But the paven never rose to meet my feet before

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Speaker 1: all at once?

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Speaker 2: Am I several stories high?

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Speaker 1: I'm on the street.

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Speaker 2: Where you live. What are we doing now?

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Speaker 1: I mean, I think anyone can tell I'm singing a

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Speaker 1: huge Broadway it song. Okay except me, exactly exactly. This

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Speaker 1: is going to be gold for you. Man.

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Speaker 2: You don't know any of this.

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Speaker 1: Here we go.

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Speaker 2: What was that from, sir?

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Speaker 1: Why I'm on the street where you live? It's a

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Speaker 1: Louis Shore Dan, It's not My Fair Lady, It's not

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Speaker 1: I have to look it up. I'm blitter, really blank.

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Speaker 1: I know where its from, but I'm from blank saying

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Speaker 1: pretty good guy. No, no, I can't think you can

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Speaker 1: say again.

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Speaker 3: Stephen's a singer.

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Speaker 1: I'm well aware of that.

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Speaker 2: He's a singer.

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Speaker 1: In the future.

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Speaker 3: You are where when I just think if.

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Speaker 2: What's his name? David Hasselhoff.

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Speaker 1: He is a huge My Fair Lady Louis Jodae with

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Speaker 1: Rex Harrison and Audrey Hepburn. Wow, famous movie My Fair Lady,

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Speaker 1: which Julie Andrews did on Broadway and they didn't hire

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Speaker 1: her for the movie and she was.

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Speaker 2: Sissy. We're back one bad movie. Took a little break.

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Speaker 2: Thanks for the Sandwiches on what the fuck.

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Speaker 1: Are you doing? That's awful? And action? I said action?

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Speaker 2: Can we cut?

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Speaker 1: No? Ready and action?

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Speaker 2: Hey everybody, I'm Steve Baldwin. Welcome back to One Bad Movie.

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Speaker 2: We're here today with Alec Baldwin, big brother and bigger

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Speaker 2: sister Elizabeth Baldwin. We're gonna have a lot of fun today.

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Speaker 2: We're calling this the One Bad Movie at Home edition. Welcome.

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Speaker 2: That's good.

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Speaker 1: Split the uprights guy was fantastic and fantastic ad.

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Speaker 2: Breaking those bad lips.

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Speaker 4: It's so bad, it's good. Guilty manners this son, this,

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Speaker 4: it's so bad, it's one bad.

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Speaker 2: What you have for lunch?

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Speaker 1: Guy? I had a late breakfast. We went Toilwicks. All right,

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Speaker 1: I had a great.

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Speaker 2: Any more questions for sister?

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Speaker 1: Not right at the moment? Right? Can hit me with

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Speaker 1: a quick decad. We'll do it real quick.

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Speaker 2: Say again, hit me with a quick what deaf co hosts?

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Speaker 3: So that mean hit you with the death the role

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Speaker 3: of I'm telling you what that means.

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Speaker 2: Yeah, he's going a bad movie.

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Speaker 3: Right, but he wants to go through some things that

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Speaker 3: he wants to go through with.

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Speaker 1: You go with the list, We go with what we

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Speaker 1: just talked about you're the person who goes over something,

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Speaker 1: and then I can macho, let's talk about that and

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Speaker 1: you welcome.

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Speaker 2: Back and gentlemen to one bad movie. I'm Steve Baldwin.

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Speaker 2: Here was Big Brother and Sissy. But yes, you mentioned

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Speaker 2: after talking about many different films and categories, my question

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Speaker 2: now is uh social justice films?

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Speaker 1: Right, it's one category, like you know, a gentleman's agreement.

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Speaker 1: Uh not just you know the biopics like Malcolm X.

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Speaker 1: I love that movie mocking Bird. It's obviously a legendary

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Speaker 1: movie on the waterfront of social drama. Brilliant. Yeah, So,

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Speaker 1: I mean those movies are if they're well made. I

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Speaker 1: mean if there isn't a movie in the world that

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Speaker 1: is a more an opportunity for them to not have

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Speaker 1: that level of success because it's really very dry. But

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Speaker 1: you have to Inherit the Wind as another one. Similarly,

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Speaker 1: a lot of court room activity. Inherit the Wind is

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Speaker 1: mostly court room activity. But you look at Mockingbird and

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Speaker 1: you think, my god, this could have gone the other

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Speaker 1: way and been just another movie that wasn't very memorable.

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Speaker 1: And the way they did it and the pacing editing

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Speaker 1: is such an enormous part of a movie. How much

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Speaker 1: do you let it live and breathe and wait, and

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Speaker 1: how much do you pace it up and go on?

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Speaker 2: Next?

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Speaker 1: Information? New information in the audiences with you go next, next, next?

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Speaker 1: When do you drive it? When do you slow down?

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Speaker 1: Like music, it's literally like there are you know, there

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Speaker 1: were very peppy versions. I'm you know, I'm struggling to

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Speaker 1: think of the term in classical music before you get

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Speaker 1: to the adagio when you slow everything down and let

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Speaker 1: everybody kind of recover. And a mocking Bird is just

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Speaker 1: like one of the one of the best edited films

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Speaker 1: I've ever seen in my life. And of course it

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Speaker 1: has that. I watched the Betting credit scenes of the

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Speaker 1: cigar box with the toys and the marble and everything,

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Speaker 1: and I cry every time. I wrote wow, and that

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Speaker 1: music one of the most beautiful opening title scores of

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Speaker 1: all time. So I love that. I love Waterfront is waterfront?

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Speaker 1: You know, we always say about Hitchcock a different category,

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Speaker 1: but Hitchcock, you know, well, Hitchcock always says.

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Speaker 3: What was his opening or is closing?

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Speaker 2: I remember that.

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Speaker 1: Well, Hitchcock had many lines about his ouvra, and one

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Speaker 1: of them was, you know, your guys sitting on a

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Speaker 1: bench and all of a sudden the bench blows up

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Speaker 1: and people are shocked and they're horrified, and a bomb

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Speaker 1: goes off. He goes But for me, what I want

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Speaker 1: is I want to show that there's a bomb under

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Speaker 1: the bench, and then we see however behaves, and we

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Speaker 1: the audience know there's a bomb there. What are they

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Speaker 1: gonna do? So hitchcock Suspense was Hitchcock's term, and he

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Speaker 1: made all these great suspense films were even when you

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Speaker 1: think about movies where terrifying killers are a part of

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Speaker 1: it in the sense of like Scream and Freddy Krueger

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Speaker 1: and all those things which have their audience. But with

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Speaker 1: Hitchcock was always like Tony Perkins never raises his voice

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Speaker 1: once in the movie, not on camera and yelling at

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Speaker 1: his mother's corpse, you know, mother, what have you done?

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Speaker 1: He's talking to me and then he throws her voice, Yeah,

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Speaker 1: I won't have you talk to me that way, or

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Speaker 1: whatever the dialogue is. But on camera Perkins never gets

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Speaker 1: belligerent or he just is there, you know, very you know,

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Speaker 1: That's what's terrifying about him. And Perkins was such a

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Speaker 1: great actor. I really love Tony Perkins and another Hitchcock

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Speaker 1: is like, my favorite Hitchcock is you know, different things

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Speaker 1: like Strangers on a Train. Hitchcock was a genius with

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Speaker 1: his cameraman. That scene where Robert Walker was choking the

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Speaker 1: woman and killing Farley Granger's wife and they go down.

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Speaker 1: He's choking her down, and the glasses have fallen on

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Speaker 1: the ground, and you see reflected in the glasses him

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Speaker 1: going down toward the glasses choking the girl.

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Speaker 2: Iconic shot.

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Speaker 1: Yeah, the window. I like rear Window. I like ver Ago,

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Speaker 1: But my favorites are Notorious, Psycho A, Strangers on a

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Speaker 1: Train I like. I mean, I like a lot of Hitchcock.

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Speaker 1: I love a Frenzy that one of his latter late

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Speaker 1: later films, you know, Frenzy Quinny kills that woman in

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Speaker 1: the end.

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Speaker 2: The Birds. I love the Birds. Yeah, Birds may be

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Speaker 2: my favorite, very bold, bold movie, but I mean friends,

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Speaker 2: but the Birds.

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Speaker 1: Maybe he takes his tie pin out that loosens his tie,

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Speaker 1: is going to attack this woman and she's horrified, and

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Speaker 1: he says a line before he kills every woman. He says, Babs,

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Speaker 1: you're my kind of woman, And the door camera goes

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Speaker 1: out the door down the hallway out on the streets,

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Speaker 1: people walking by, the idea being that the most horrible

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Speaker 1: things are happening inside that door. They aren't even aware

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Speaker 1: of it. This guy's gonna murder this woman after he

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Speaker 1: rapes her. I suppose horrifying movie for Hitchcock, but Hitchcock

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Speaker 1: relied on great actor by Northwest.

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Speaker 5: Can I ask a question, Yeah, of all your movies,

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Speaker 5: what has turned out to be the most hitchcocky.

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Speaker 1: In Oh God, I wouldn't. I wouldn't ever uh assume

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Speaker 1: anything like that. I would say, you know, when you do.

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Speaker 1: I have never done suspense films are really good. You

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Speaker 1: know thrillers. Well, I mean like I did the movie Malice,

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Speaker 1: but I don't think that's well, well I don't, I don't.

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Speaker 1: I don't agree.

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Speaker 2: But I think the Needle in the Haystack.

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Speaker 1: The only movie I found that was close to that

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Speaker 1: and could have been more so, was when we did

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Speaker 1: The Edge, which was originally called Bookworm. And the director

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Speaker 1: Lee Tamahoy, who had done the the about the native

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Speaker 1: Maori in New Zealand, he was a Maori. I think

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Speaker 1: he did this film once Were Warriors, which is a

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Speaker 1: great film, and then he did Mulholland Drive or something

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Speaker 1: with Daniel was in and and Nick Nolty, and then

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Speaker 1: he did Mulholland Falls rather and then he come into

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Speaker 1: the movie with us and anything he didn't understand and

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Speaker 1: mam it's script. He was a KEI we so we'd say, ah, well,

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Speaker 1: you know there's nine here, you and David stuck in

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Speaker 1: the woods, and you do go on and on a bit.

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Speaker 1: I thought we lose that line. And I was like, okay,

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Speaker 1: he goes page fourteen. You do tend to go on

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Speaker 1: a bit here, David goes on a bit there. I

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Speaker 1: thought we cut those four speeches, and I thought, well,

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Speaker 1: the way that David does go on a bit is

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Speaker 1: the very reason I'm here. That's why I'm here, is

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Speaker 1: what he wrote it. We didn't make the movie. We're

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Speaker 1: gonna We're gonna shoot the script, and I'm rather fond

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Speaker 1: of the script, and he just cut any So they

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Speaker 1: wound up making it more adventure film. The bear and

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Speaker 1: this and that. So rather than being psychological nuttiness, like

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Speaker 1: the two of us are going a little bit, you know.

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Speaker 3: That was fascinating, notle Oh my.

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Speaker 1: God, I was the most thrilling thing because Tony.

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Speaker 3: Was just stars come out.

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Speaker 2: Yes, Any thoughts on the new Beetlejuice.

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Speaker 1: I went to take my kids to see it. You did, Yeah,

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Speaker 1: my kids wonder us. We saw it twice. Oh wow,

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Speaker 1: like fellas, Please don't make me watch this movie, the

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Speaker 1: showing some alien had seen let's go see Alien Romulus, don't.

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Speaker 1: They've seen sections of it online, but not the whole thing, maybe,

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Speaker 1: which they want to see. But I think that the

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Speaker 1: old Beatle Juice was more charming. It was much more innocent,

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Speaker 1: and there was no and the Beetlejuice now is very

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Speaker 1: grim and a lot of like effects. And what's her name,

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Speaker 1: the gorgeous woman Monica God bless you, Yes, Monica bless you.

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Speaker 2: My memory shot this morning.

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Speaker 1: But Monica Balucci, who's always been this like, like inconceivably

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Speaker 1: gorgeous woman. She's one of the most beautiful women in movies.

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Speaker 1: And she she was married to what's his name who

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Speaker 1: she got divorced from him and her husband and now

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Speaker 1: she's with Tim. I think they're together. And uh, and

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Speaker 1: then of course Tim turns her into Wednesday Adams, you know,

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Speaker 1: count to three, and she's wearing black dresses, stitches down

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Speaker 1: her face, and I'm like, here's the most beautiful woman

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Speaker 1: in the world right now, or one of them. And

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Speaker 1: Tim's turned her into you know his you know, Debbie

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Speaker 1: scissor Hands or whatever, and yeah, so but I thought

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Speaker 1: there's good things. I love Keaton, he's great. He was

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Speaker 1: fun then he's fun. Now Andonah, who looks the same.

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Speaker 1: She almost looks the same, and we're Knowna's so ravishingly

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Speaker 1: beautiful and good. She's telling she knows how to play

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Speaker 1: That kind of movie you do is you pull back

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Speaker 1: even more than you imagine. And like Gina, when Gina

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Speaker 1: did the movie with me, I couldn't even see Gina

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Speaker 1: doing anything, and then we watch it on the movie

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Speaker 1: and little things she would do with her eyes or

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Speaker 1: whatever to not compete with effects and so for the

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Speaker 1: makeup and just play it the smartest you can. And

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Speaker 1: Jeffrey Jones wasn't there obviously, or Glenn Shaddocks. But Catherine O'Hara,

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Speaker 1: who I love. She's funny. I watched that old Dao

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Speaker 1: scene yea with my kids. I showed them that scene

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Speaker 1: and she's so funny, and that scene with all of

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Speaker 1: her dancing, and she's really funny. I mean, she's just

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Speaker 1: incredibly funny. I loved her in all the movies she

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Speaker 1: did with Chris gats.

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Speaker 2: Did the boys have fun with it? The kids, Yeah,

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Speaker 2: they loved it.

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Speaker 1: If a woman comes out of a bunch of boxes

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Speaker 1: and reassembles her body and snaps her leg on and

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Speaker 1: her arm on and she doing all this horsh all,

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Speaker 1: the kids think that's the greatest thing in the world.

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Speaker 2: You know.

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Speaker 1: All they want is violence and transformers smashing through skyscrapers.

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Speaker 1: And you know, I mean, we would watch a movie

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Speaker 1: and someone would do horrible thing to someone in a movie,

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Speaker 1: like a Deadpool type in with us, like lots of

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Speaker 1: violent action, and I'd look at my kids and I go,

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Speaker 1: you realize, if you did that, you'd be dead, right,

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Speaker 1: like if you did that in real life. So only

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Speaker 1: in the movies that they do all this stupid crap,

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Speaker 1: but they don't die. They get thrown off the top

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Speaker 1: of a building and they smash it on the ground.

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Speaker 1: Then they get up and like, ahh, I'm like, you'd

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Speaker 1: be like a pizza on the ground.

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Speaker 3: You have to explain that to them.

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Speaker 1: Believe, well, movies now rely a bit too much on that.

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Speaker 1: Make believe you watch Marvel films. I mean, I watched

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Speaker 1: the film. I don't want to name what it is,

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Speaker 1: and it's not a bad movie, but it was a

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Speaker 1: movie I watched, and I'm sitting there going it's like

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Speaker 1: some guy comes out of a tomb in an underground

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Speaker 1: city below Central Park and he comes out into the

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Speaker 1: middle of Central Pluck and he's like, and after this

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Speaker 1: whole build up and this whole kind of birthing of

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Speaker 1: his I've been returning to his throne. And he's like,

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Speaker 1: I have the power. And then twenty minutes later, they

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Speaker 1: go into an underground ice cave in the Arctic and

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Speaker 1: they go down into the frozen chamber and they crack

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Speaker 1: that open and the guy rises up through the slush

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Speaker 1: icy water and says, I have the power. I'm like, well,

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Speaker 1: I'm confused, but I'm like, well, which one has the power?

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Speaker 1: I want to be clear, what's the story here. There's

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Speaker 1: a story about two of you have the power and

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Speaker 1: you're gonna get him up. But I mean all the writing,

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Speaker 1: the screen direction, right, I mean, I'm I'm not There

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Speaker 1: are our Marvel movies that I can stomach, but I mean,

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Speaker 1: I mean, that's not my kind of movie, you know.

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Speaker 1: I mean like, for example, you saw in films in

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Speaker 1: the nineties eventually were like everyone's coming from behind a

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Speaker 1: car or a concrete pillar in a parking garage and

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Speaker 1: there's no screen direction, right or you see it's this

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Speaker 1: guy going boom boom, go back, and then you see

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Speaker 1: the cement guy's behind a car boom boom. Ducktown bang

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Speaker 1: bang the bulletin. So you have no idea where anybody

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Speaker 1: is and you don't care. The art of screen direction

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Speaker 1: has been erased from films where you watch Carlito's Way

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Speaker 1: and they're in the Grand Central Station, you know exactly

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Speaker 1: wherever he's walking up the elevator as the pachino's going

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Speaker 1: down the escalator and paying down with the gun and

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Speaker 1: all that stuff to Palmer did and also in uh,

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Speaker 1: The Untouchables, the baby Carriage, Andy Garcia, all that stuff.

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Speaker 1: I mean that that's screen direction, which is a lost art.

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Speaker 1: So we said Hitchcock's social dramas and comedies. Yeah, so

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Speaker 1: I love The Fortune Cookie Gives as Billy Wilder, very

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Speaker 1: underappreciated movie, and I just love that movie because there's

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Speaker 1: a moral and the characters are very rich. When when

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Speaker 1: Jack Lemon's wife comes back to take care of him.

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Speaker 1: He's injured his neck and he's pretending he's sick. The scenes,

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Speaker 1: all the scenes have just enough of that nutty, characterized

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Speaker 1: acting that Wilder was known for. So when the doctor

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Speaker 1: has the monocle, he goes, in the early days, we

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Speaker 1: would throw the man into a snake pit and lives,

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Speaker 1: and he goes, what what? And he goes, We'll throw

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Speaker 1: the man into a snake pit. And what would happen

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Speaker 1: if he was really injured? Then he would be bidden

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Speaker 1: by the snake and dye anually climb out of the pit.

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Speaker 1: We knew he was a liar, and he goes, and

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Speaker 1: the guy he goes, but a guy would get if

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Speaker 1: he was for really get put by the snake and

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Speaker 1: I'm making this up and die and he goes. But

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Speaker 1: at least we have found an honest man. And I

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Speaker 1: mean all the scrap Walter Matthow Walter Mathow, yes, and

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Speaker 1: the ending of that movie when he decides to just

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Speaker 1: throw it all the way the I forget the the

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Speaker 1: black actor who played Boom Boom Jackson, the running back

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Speaker 1: that knocks him over, But that movie and then of

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Speaker 1: course Mad Mad, Mad, Mad World. I love because it's

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Speaker 1: Stanley Kramer, who did such a guide. He's like, he's

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Speaker 1: like Spielberg and Scorsese with such a broad arc of

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Speaker 1: his films. You know, here's Scorsese who did I mean

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Speaker 1: a Spielberg who I am I'm an endless admirer of

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Speaker 1: for that reason alone, to do Schindler's List and Jurassic

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Speaker 1: Park and Munich, which is my favorite Spielberg movie is Munich.

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Speaker 1: The acting is so great. I love Eric Banner.

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Speaker 2: And that this next one take your time with please,

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Speaker 2: because I think you really love Victor Victoria. Why do

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Speaker 2: you love Victor Victoria?

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Speaker 1: Bit I love Julie. I've met her a few times.

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Speaker 1: I adored Julie.

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Speaker 2: And you give me more than that you met her like.

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Speaker 1: I'm not finished. Actually, oh sorry, I love Julie. And

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Speaker 1: when and when I've had the opportunity to meet these people,

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Speaker 1: and when I met the ones from that generation, I mean,

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Speaker 1: when I met Kirk Douglas, I almost fainted. I mean,

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Speaker 1: he was just He's my hero. He's like one of

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Speaker 1: the great movie star actors both of all time. I

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Speaker 1: bumped into Burt Lancaster on an elevator once. He never

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Speaker 1: looked at me, but he could see me. You're me

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Speaker 1: and I'm him, and he could see me staring at

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Speaker 1: him going and he's literally, I'm not swear to God.

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Speaker 1: I swear to God what I got from He was

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Speaker 1: like like, go ahead, dig me here, I am in

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Speaker 1: the elevator with you, and enjoy it because we only

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Speaker 1: have three flows left to go. I'm just staring at.

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Speaker 2: Him going right.

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Speaker 1: Burt, Yeah, yeah, yeah, you know all the people who

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Speaker 1: have a strisand everybody I met at that pinnacle, Bob

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Speaker 1: and Al and Nicholson and all them, you know, great stars. Yeah,

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Speaker 1: I met Moreno Howe Sullivan or o'haro, the uh Dustin

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Speaker 1: Hoffin I interviewed for the uh Uh. I mean when

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Speaker 1: you talk to them, all you hear is their lines

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Speaker 1: from their movies. Did DCM Film Festival and we interviewed

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Speaker 1: Dustin and when I'm with him, all I hear.

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Speaker 2: Is I was a beefsteak tomato.

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Speaker 1: He says too in Putsie. Oh my god. Michael Dorsey

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Speaker 1: was his character and the director who played the role

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Speaker 1: of his agent, who did Three Days of the Condor.

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Speaker 2: It'll come to me.

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Speaker 1: I'm gonna shift gears. Let me just finish. So Victor

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Speaker 1: Victoria Blake Edwards. Now no one knows how to shoot

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Speaker 1: and stage. And you know, of course, the melee in

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Speaker 1: the restaurant when she says there's a bug in her

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Speaker 1: food and uh, and setting the town the music and

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Speaker 1: the mixing the music is gonna get a bit lower

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Speaker 1: when you want people to really get pulled in. And

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Speaker 1: so in that scene when they're having the melee and

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Speaker 1: the French cafe and he goes outside and you don't

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Speaker 1: hear a thing. You just see through the windows of

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Speaker 1: the restaurant, people throwing tables and everybody flying back, and

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Speaker 1: when people watching each other, you're totally silent, and you

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Speaker 1: look inside and they're all murdering each other. And then

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Speaker 1: later on when you're in the club, Leslie and Warren plays,

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Speaker 1: the girl is and Jim Gardner's great. Everybody's great, and

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Speaker 1: Leslie and Warren plays. And when she says to Robert Preston,

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Speaker 1: she's like you queen, and he's like, well, we prefer

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Speaker 1: the word gay. He suys, and she goes, I know

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Speaker 1: a woman that could probably change you. He goes, I

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Speaker 1: was about to say the same thing to you.

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Speaker 2: He says.

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Speaker 1: Robert Preston has the greatest comedy lines, and he is

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Speaker 1: the greatest. I loved it was music man. Obviously, I

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Speaker 1: worship Robert Preston. And in Victor Victoria it was the

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Speaker 1: shining moment of his career. Funny when he's he's a

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Speaker 1: so he sings, he is, you know, but he's so

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Speaker 1: elegant and so charming and so resonating and so funny, funny.

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Speaker 2: He's great. I love Victor Victoria, so shifting gears. I

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Speaker 2: mean love hearing the Elevator story. So of everybody you've

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Speaker 2: worked with that are legends.

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Speaker 1: Oh the people I have worked with, the most famous people.

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Speaker 1: George Scott, Yeah, George Scott, say again, who else George Scott?

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Speaker 1: George Scott did Malice, Connery did Hunt for Red October,

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Speaker 1: worked with al on Looking for Richard, his movie that

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Speaker 1: he directed, worked on Good Shepherd with Bob, worked with

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Speaker 1: Marty on you know, small parts on the Aviator and

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Speaker 1: the one in Boston. Yes, Departed, The Departed, Yeah, the Departed.

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Speaker 2: I'm really bad.

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Speaker 1: Hung out with Nicholson and chatted with him about movies

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Speaker 1: because he was Lauren's house guest in the summertime. Lauren

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Speaker 1: is another legend.

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Speaker 2: She was there, I was.

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00:21:18,440 --> 00:21:24,000
Speaker 1: There, She was there almost Nicholson would watch us play tennis.

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Speaker 1: He'd be sitting there watching us in a chair playing tennis,

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Speaker 1: and I go, I walk up to go, don't you

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Speaker 1: have something else you can do with your with your time?

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Speaker 1: You want to watch us losers play tennis? He goes,

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Speaker 1: I'm a big sports not alec and right now you're

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Speaker 1: the only game in town. And he watch us play tennis.

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Speaker 2: He's a prince.

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Speaker 1: Tony My my favorite experience was with Tony, because all

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Speaker 1: of them is different, like when you're with directors. Well,

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Speaker 1: Connery was very kind to me, very he was very kind.

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Speaker 2: I was I recently told the Connery story, what Conny

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00:21:57,000 --> 00:21:59,879
Speaker 2: story about how they would roll and they would come

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Speaker 2: to step to his mark and the standard would step

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Speaker 2: out of the way. I remember they would already be

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Speaker 2: rolling before he had to hit his mark to say

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Speaker 2: his line.

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Speaker 1: Oh well, he was very interesting because he had been sick.

408
00:22:12,880 --> 00:22:15,399
Speaker 1: He had a throat condition which may have been throwed cancer.

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00:22:15,440 --> 00:22:18,840
Speaker 1: We weren't privy to that information. And he finally was

410
00:22:18,880 --> 00:22:20,399
Speaker 1: said to know to them. They cast him and he

411
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Speaker 1: said no, he couldn't do the movie, so they went

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Speaker 1: to someone else. I won't name who. It was, I

413
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Speaker 1: don't want to embarrass people. But then when Connery's agent

414
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Speaker 1: called back and said he's feeling better, he's okay. Maybe

415
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Speaker 1: he didn't have what they feared he'd have and have

416
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Speaker 1: to have these treatments. So they said, they said he's available,

417
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Speaker 1: so they had to get the other guy out of there.

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Speaker 1: And that guy was going to do another project. I

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Speaker 1: won't say what it was or what his role was,

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Speaker 1: but he was going to direct something and they said

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Speaker 1: to him, what were the dates? You said, you can't

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Speaker 1: shoot with us because you got to go do that

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Speaker 1: other project. And he told him the dates and they went, oh,

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Speaker 1: we have to change our schedule and move to those dates.

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Speaker 2: We're so sorry, and.

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Speaker 1: They shoved, which is exactly what they did to me.

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Speaker 1: So they shoved him over the side. I should have

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Speaker 1: taken that as a lesson as a warning. But the

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00:22:59,040 --> 00:23:01,880
Speaker 1: point is that Shawn Sean comes in and he says,

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Speaker 1: I can't do my Sean thing. But he comes in

431
00:23:04,080 --> 00:23:06,040
Speaker 1: and they tell Yan Debant, which is one of the

432
00:23:06,080 --> 00:23:09,679
Speaker 1: last films Yon dpt he went on to direct from

433
00:23:10,920 --> 00:23:13,040
Speaker 1: Speed was his first movie.

434
00:23:13,119 --> 00:23:13,440
Speaker 2: I think.

435
00:23:13,480 --> 00:23:16,680
Speaker 1: But Jesus, you got to come with me everywhere. I

436
00:23:16,800 --> 00:23:20,360
Speaker 1: got to come meet to dinner tonight. So the he does.

437
00:23:20,400 --> 00:23:23,640
Speaker 1: He went on to become a director, so Yan Sean.

438
00:23:23,680 --> 00:23:25,520
Speaker 1: They were told no smoke, you can't. Yon wanted to

439
00:23:25,560 --> 00:23:28,560
Speaker 1: smoke up the set as much as possible, and he's like,

440
00:23:28,640 --> 00:23:33,359
Speaker 1: no smoke, Yanni, no smoke, and they and Sean was

441
00:23:33,520 --> 00:23:36,560
Speaker 1: very and when he came in he'd done his wardrobe

442
00:23:36,600 --> 00:23:38,800
Speaker 1: tests and make up tests, really old school, and they

443
00:23:38,800 --> 00:23:39,640
Speaker 1: did those back then.

444
00:23:39,560 --> 00:23:40,040
Speaker 2: In the eighties.

445
00:23:40,080 --> 00:23:43,199
Speaker 1: It was A eighty nine and Sean shows up for

446
00:23:43,240 --> 00:23:46,200
Speaker 1: the first day of shooting with me on the submarine

447
00:23:46,600 --> 00:23:48,639
Speaker 1: and he walks in and I literally my heart stopped.

448
00:23:48,680 --> 00:23:51,040
Speaker 1: I like, I said, look at this guy. He looks

449
00:23:51,119 --> 00:23:54,200
Speaker 1: like fifty million dollars stacked and he's the best looking

450
00:23:54,200 --> 00:23:57,560
Speaker 1: guy I've ever seen in my life. He's tall, he's fit.

451
00:23:57,920 --> 00:23:59,479
Speaker 1: They put the hair piece on him because he has

452
00:23:59,480 --> 00:24:02,480
Speaker 1: no hair, the steel crew cut on his head. He

453
00:24:02,560 --> 00:24:05,560
Speaker 1: looked like a billion dollars, I said. And I literally

454
00:24:05,600 --> 00:24:09,120
Speaker 1: said to myself, I'm so no one's They're never gonna

455
00:24:09,119 --> 00:24:11,359
Speaker 1: cut to me in this movie. They're gonna be like

456
00:24:11,760 --> 00:24:17,960
Speaker 1: Alex Backshawan Sean Sean, Alex Sean Sean, And I thought,

457
00:24:17,960 --> 00:24:19,680
Speaker 1: this is just murder you know what I mean, but.

458
00:24:19,960 --> 00:24:21,120
Speaker 2: Much pretty good screen time.

459
00:24:22,000 --> 00:24:24,080
Speaker 1: No, but I mean I love Sean, I loved everybody.

460
00:24:24,160 --> 00:24:28,600
Speaker 1: James Earl Jones was in the Sam Neil, Peter Firth,

461
00:24:29,920 --> 00:24:34,879
Speaker 1: Tim Curry, Legend, Courtney Vance, Scott Glenn. I know I'm

462
00:24:34,960 --> 00:24:37,560
Speaker 1: leaving out some people. I'll never forget. When John said

463
00:24:37,560 --> 00:24:40,240
Speaker 1: to me, we're going to do the transfer from like

464
00:24:40,320 --> 00:24:43,600
Speaker 1: in a judgment at Nuremberg, they went into Maximilian Shell's

465
00:24:43,640 --> 00:24:46,520
Speaker 1: mouth and he switches to English as a conceit that

466
00:24:46,560 --> 00:24:48,840
Speaker 1: we want you to understand the film in English. So

467
00:24:48,880 --> 00:24:52,959
Speaker 1: he's said, there going when's black and Nudson, Fundson, Dunson, Hudson, Fundson,

468
00:24:53,040 --> 00:24:55,639
Speaker 1: Nuts and Wudson, which of course is the whole reason

469
00:24:55,840 --> 00:24:58,480
Speaker 1: we are here today. And they transferred to English as

470
00:24:58,520 --> 00:25:00,680
Speaker 1: a conceit to the audience that he's journal and we're

471
00:25:00,680 --> 00:25:02,840
Speaker 1: gonna switch to English. And everybody thought, well, that's the

472
00:25:02,880 --> 00:25:05,440
Speaker 1: stupidest thing in the world, but it worked. So John

473
00:25:05,520 --> 00:25:07,480
Speaker 1: does the same thing with Peter Firth. Firth was like

474
00:25:08,000 --> 00:25:10,880
Speaker 1: the most amazing actor alive. You know, he was great.

475
00:25:11,680 --> 00:25:17,360
Speaker 1: Did Amadeis on Broadway? Did Equus on Broadway? They're coming

476
00:25:17,359 --> 00:25:19,280
Speaker 1: into me, He's like, not Ski but it's let's give

477
00:25:19,359 --> 00:25:24,439
Speaker 1: what's let's give what's skins, and of course Kamander the

478
00:25:24,480 --> 00:25:26,919
Speaker 1: thing you must remember above all else. And there come

479
00:25:27,000 --> 00:25:29,840
Speaker 1: an he memorized like two pages of Russian, or like

480
00:25:29,840 --> 00:25:33,000
Speaker 1: a page of Russian, or like three meaty paragraphs, and

481
00:25:33,040 --> 00:25:34,720
Speaker 1: he said it just flaws. So I'm sitting there looking

482
00:25:34,720 --> 00:25:39,400
Speaker 1: at him, going, look at this guy, these English bastards.

483
00:25:40,320 --> 00:25:42,840
Speaker 1: He's the one that shown breaks his neck in the room.

484
00:25:42,880 --> 00:25:47,159
Speaker 1: That security officer that cast alone along with Glengarry was like,

485
00:25:47,280 --> 00:25:48,399
Speaker 1: and you're in the room and you're.

486
00:25:48,240 --> 00:25:53,200
Speaker 2: Going stop boy. Yeah one because my last question, yes,

487
00:25:53,720 --> 00:25:59,280
Speaker 2: is about Glengarry go and Ross. Yes. Yes, So for

488
00:25:59,400 --> 00:26:01,960
Speaker 2: all the young people out there that are inspired to

489
00:26:02,000 --> 00:26:06,960
Speaker 2: be in the movie business. I heard a story, and

490
00:26:06,960 --> 00:26:10,240
Speaker 2: I've never talked to you about this, that you prepared

491
00:26:10,720 --> 00:26:15,080
Speaker 2: your work for Glengarry Glenn Ross, which is one scene, correct,

492
00:26:15,440 --> 00:26:19,560
Speaker 2: one monologue, right, However, you'd like just tell the story

493
00:26:19,600 --> 00:26:22,920
Speaker 2: of that preparation, how you did it. I heard you

494
00:26:22,960 --> 00:26:26,359
Speaker 2: didn't meet the guys before. Was there we rehearsed before?

495
00:26:26,600 --> 00:26:28,880
Speaker 2: Had it rehearsed it? I didn't know my lines perfectly,

496
00:26:28,960 --> 00:26:31,320
Speaker 2: so I ad did you have on camera? I mean,

497
00:26:31,440 --> 00:26:33,760
Speaker 2: rather rehearsals with the director interaction or was it.

498
00:26:33,720 --> 00:26:35,840
Speaker 1: Just yet We're on the set with the DP. The

499
00:26:36,160 --> 00:26:38,960
Speaker 1: DP of Glengarry, Glenn Ross was one of my probably

500
00:26:39,040 --> 00:26:41,560
Speaker 1: three favorite dps I worked with. And that's saying a lot,

501
00:26:41,560 --> 00:26:43,280
Speaker 1: because I worked with a lot of a great dep.

502
00:26:43,480 --> 00:26:46,639
Speaker 1: I worked with ball House Sun Working Girl. I worked

503
00:26:46,640 --> 00:26:53,160
Speaker 1: with tak Fujamoto on Miami Blues. I know Demi's guy.

504
00:26:53,800 --> 00:26:56,320
Speaker 1: Although Demi didn't direct, he produced Attack was the DP.

505
00:26:57,080 --> 00:27:01,879
Speaker 1: I worked with mccalpine on The Edge. I worked with

506
00:27:03,480 --> 00:27:05,520
Speaker 1: so many of them, I mean, I can't remember them.

507
00:27:06,040 --> 00:27:10,000
Speaker 1: But I worked with Steve Burham on The Shadow, who

508
00:27:10,000 --> 00:27:10,480
Speaker 1: did all of.

509
00:27:10,400 --> 00:27:15,239
Speaker 2: Those movies with UH, Casualties of War. He did all

510
00:27:15,240 --> 00:27:17,879
Speaker 2: the movies with what's his name, but just tell the story.

511
00:27:19,000 --> 00:27:22,200
Speaker 1: Who directed Diploma? Burrham did all the movies with Diploma

512
00:27:22,760 --> 00:27:25,080
Speaker 1: and Juan Ruiz and Chia was the name of the

513
00:27:25,119 --> 00:27:28,360
Speaker 1: Spanish guy who did Glengarry and he was just amazing.

514
00:27:28,480 --> 00:27:30,600
Speaker 1: He's from that whole Oh. I worked with John Told

515
00:27:30,680 --> 00:27:33,879
Speaker 1: when we did Uh. It's complicated. Oh, Johnnah, the only

516
00:27:34,119 --> 00:27:36,600
Speaker 1: one of two men to win back to back Oscars.

517
00:27:37,119 --> 00:27:40,280
Speaker 1: He won for Brave Heart and A River runs through it.

518
00:27:40,440 --> 00:27:42,639
Speaker 1: Or Legends of the Fall. One of those two. He

519
00:27:42,680 --> 00:27:44,920
Speaker 1: won the Oscar twice in a row, and I worked

520
00:27:44,920 --> 00:27:46,600
Speaker 1: with him. He was They're all the same, the good ones.

521
00:27:46,640 --> 00:27:52,240
Speaker 1: They're all very monastic, very quiet, very inside. And you

522
00:27:52,320 --> 00:27:54,600
Speaker 1: look at me and go and and and and the

523
00:27:54,640 --> 00:27:59,680
Speaker 1: greatest dps knew if you didn't have I shouldn't say this,

524
00:27:59,840 --> 00:28:02,240
Speaker 1: but if you didn't have a good relationship with a director,

525
00:28:02,840 --> 00:28:04,879
Speaker 1: well the director you could the crew can see that

526
00:28:04,920 --> 00:28:07,840
Speaker 1: you're not standing in a corner talking about the scenes

527
00:28:07,840 --> 00:28:11,000
Speaker 1: and laughing and enjoying each other's conversation. If the director

528
00:28:11,040 --> 00:28:13,800
Speaker 1: is somebody who has difficulty connecting with the cast in

529
00:28:13,880 --> 00:28:16,359
Speaker 1: some way, then the DP can look at you. I mean,

530
00:28:16,400 --> 00:28:18,399
Speaker 1: I've had not a lot, maybe two or three or

531
00:28:18,400 --> 00:28:20,720
Speaker 1: four of these where they'll go and maybe only once

532
00:28:20,760 --> 00:28:22,320
Speaker 1: where they look at you and it takes over, and

533
00:28:22,320 --> 00:28:26,720
Speaker 1: they'll look at you and go and I'll go, I

534
00:28:26,760 --> 00:28:29,760
Speaker 1: need to go again. He's signaling me to go again,

535
00:28:31,240 --> 00:28:33,480
Speaker 1: and I'll go, and I'll do it again, and you

536
00:28:33,560 --> 00:28:38,280
Speaker 1: look at me and go. They're watching you a different way. Well,

537
00:28:38,280 --> 00:28:40,880
Speaker 1: they're not vain because they didn't write this stuff. So

538
00:28:41,080 --> 00:28:43,239
Speaker 1: I told would do that. Some other guys would do that.

539
00:28:43,280 --> 00:28:47,880
Speaker 1: I really enjoyed that. But and Shea. We rehearse with

540
00:28:47,960 --> 00:28:50,480
Speaker 1: Jamie Foley and Shea and the whole cast, and I

541
00:28:50,480 --> 00:28:52,120
Speaker 1: didn't know all my lines. And I came back and

542
00:28:52,120 --> 00:28:55,000
Speaker 1: when I came back, they're all at like the coffee wagon,

543
00:28:55,320 --> 00:28:56,880
Speaker 1: and I come walking in and they see me and

544
00:28:56,880 --> 00:28:57,520
Speaker 1: they're all going.

545
00:29:00,040 --> 00:29:00,640
Speaker 2: A guy walking.

546
00:29:00,760 --> 00:29:03,800
Speaker 1: All the fun ends and they're like, oh, assholes here,

547
00:29:03,840 --> 00:29:05,880
Speaker 1: and now we got to do this today. And we

548
00:29:05,920 --> 00:29:08,080
Speaker 1: took us a day and a half a day, maybe

549
00:29:08,080 --> 00:29:11,000
Speaker 1: two days or like the better part of two days.

550
00:29:11,040 --> 00:29:13,640
Speaker 1: And I was like, I loved all these guys and

551
00:29:13,680 --> 00:29:16,120
Speaker 1: I didn't want to do the scene and be a dasshole.

552
00:29:16,440 --> 00:29:18,480
Speaker 1: But I'll never be. One of my greatest films is Batten.

553
00:29:18,640 --> 00:29:20,640
Speaker 1: I love Batton. I love George Scott loved him. He

554
00:29:20,680 --> 00:29:26,320
Speaker 1: did Malice, and I worshiped George's got worshiped and even

555
00:29:26,440 --> 00:29:29,200
Speaker 1: supporting roles like the hustler. He gave it everything he

556
00:29:29,240 --> 00:29:32,560
Speaker 1: had and I loved in the film that he directed

557
00:29:32,760 --> 00:29:35,600
Speaker 1: with his wife. I'll look it up. I'm gonna drive.

558
00:29:36,760 --> 00:29:37,920
Speaker 1: I got to look it up, but I want to

559
00:29:37,960 --> 00:29:40,720
Speaker 1: just do look it up. I know this movie like

560
00:29:40,760 --> 00:29:43,080
Speaker 1: the back of my hand. Did you find it love?

561
00:29:43,840 --> 00:29:47,760
Speaker 2: He's looking George C. Scott directed film The Savage.

562
00:29:47,400 --> 00:29:53,120
Speaker 1: Is Loose All the greatest movies ever made. Him and

563
00:29:53,160 --> 00:29:55,800
Speaker 1: his wife are on an island at the turn of

564
00:29:55,840 --> 00:29:58,920
Speaker 1: the last century. It's like nineteen oh two, and they

565
00:29:58,920 --> 00:30:02,640
Speaker 1: were in an expeditionary force of academics that crashes and

566
00:30:02,680 --> 00:30:05,600
Speaker 1: they get marooned on the island, him, his wife and

567
00:30:05,640 --> 00:30:08,480
Speaker 1: their little young son, little boys running around. He's like

568
00:30:08,520 --> 00:30:10,920
Speaker 1: seven years old, and the father's teaching him how to

569
00:30:11,000 --> 00:30:13,160
Speaker 1: hunt and how to survive. And the wife's like, ooh,

570
00:30:13,640 --> 00:30:15,800
Speaker 1: you know, aha, whatever the name is. Trisia van Derverver's

571
00:30:15,840 --> 00:30:18,680
Speaker 1: boy is gorgeous, gorgeous. Well, she's like, why must he

572
00:30:18,800 --> 00:30:21,800
Speaker 1: done all these ohful He's about to hunt bobcats and

573
00:30:21,840 --> 00:30:24,960
Speaker 1: trap them in snares, and he's like, one day and

574
00:30:25,080 --> 00:30:28,200
Speaker 1: I'll be gone. We're going to be dead. One day

575
00:30:28,240 --> 00:30:30,400
Speaker 1: you and I won't be here, will be gone. He'll

576
00:30:30,440 --> 00:30:32,800
Speaker 1: be left alone. You have to be able to defend

577
00:30:32,840 --> 00:30:34,480
Speaker 1: for himself and take care of himself to be teaching

578
00:30:34,560 --> 00:30:37,600
Speaker 1: him all these things survivalism. And the movie has so

579
00:30:37,600 --> 00:30:40,000
Speaker 1: many wonderful elements. So then the the kid goes running

580
00:30:40,040 --> 00:30:44,400
Speaker 1: away playfully and the things dissolve down into the footprints,

581
00:30:44,640 --> 00:30:46,520
Speaker 1: and then they dissolve back up, but the footprints are

582
00:30:46,520 --> 00:30:48,680
Speaker 1: bigger and bigger, and they catch him. Now he's twenty

583
00:30:48,760 --> 00:30:51,240
Speaker 1: one years old and his mother is the only woman

584
00:30:51,320 --> 00:30:56,200
Speaker 1: on the island. Oh and ooh where it goes? Ooh,

585
00:30:56,320 --> 00:31:09,840
Speaker 1: where it goes. It's an insane but great great so

586
00:31:12,800 --> 00:31:16,320
Speaker 1: Glen Gary rehearsing, and then we come back and we

587
00:31:16,320 --> 00:31:18,800
Speaker 1: were paton, have we got the George's got bad? So

588
00:31:18,840 --> 00:31:20,720
Speaker 1: why say to Jamie? I'm He's like, you know, you're

589
00:31:20,720 --> 00:31:22,760
Speaker 1: doing good or whatever? And I go and he says

590
00:31:22,760 --> 00:31:25,040
Speaker 1: he doesn't remember saying this to me. I think, but

591
00:31:25,160 --> 00:31:27,240
Speaker 1: I remember. And if he didn't say it to me,

592
00:31:27,320 --> 00:31:29,520
Speaker 1: somebody did. But I think it was him, because Jamie

593
00:31:29,560 --> 00:31:32,160
Speaker 1: is a very smart guy. And he said this was

594
00:31:32,200 --> 00:31:34,520
Speaker 1: like that scene in Patten when he slaps the soldier

595
00:31:34,560 --> 00:31:37,960
Speaker 1: in the tent. Did you call yourself a soldier? You

596
00:31:38,040 --> 00:31:41,400
Speaker 1: disgrace the place of honor these other men wounded in battle.

597
00:31:42,360 --> 00:31:44,080
Speaker 1: And he says this stuff to the he smacks the

598
00:31:44,160 --> 00:31:46,960
Speaker 1: kid across the head and then he has to apologize

599
00:31:46,960 --> 00:31:48,600
Speaker 1: to him in front of the entire unit. Later on,

600
00:31:49,720 --> 00:31:51,800
Speaker 1: a great scene in the movie Great of him being,

601
00:31:52,240 --> 00:31:54,920
Speaker 1: you know, dressed down that way, this great hero, this

602
00:31:55,080 --> 00:32:00,520
Speaker 1: great macho monster. And he goes, it's like that this

603
00:32:00,640 --> 00:32:03,560
Speaker 1: not you call yourself a soldier, you call yourself a salesman.

604
00:32:03,720 --> 00:32:06,840
Speaker 1: You're doing this for their own good. You're doing this

605
00:32:06,920 --> 00:32:09,320
Speaker 1: for their own This is your job to make sure

606
00:32:09,400 --> 00:32:11,800
Speaker 1: they don't stay in the foxhole and piss their pants

607
00:32:11,840 --> 00:32:13,560
Speaker 1: or whatever. He goes, they gotta go, we gotta go.

608
00:32:14,520 --> 00:32:16,600
Speaker 1: We're gotta go to battle. And I'm sitting there going

609
00:32:16,640 --> 00:32:18,400
Speaker 1: and as many as he says, like the old Popeye

610
00:32:18,480 --> 00:32:20,560
Speaker 1: episodes when you drink eat the spinach, and also that

611
00:32:20,600 --> 00:32:22,800
Speaker 1: all the power would shoot into his arms, I'm sitting

612
00:32:22,840 --> 00:32:24,360
Speaker 1: there with him. He goes, it's for their own good.

613
00:32:24,360 --> 00:32:28,000
Speaker 1: I said there, I'm like, and I go out there

614
00:32:28,040 --> 00:32:31,760
Speaker 1: and I'm like, you know you you, I'm like, I'm like,

615
00:32:31,840 --> 00:32:34,960
Speaker 1: get up, ed Harris. He was gonna punch me, and

616
00:32:35,040 --> 00:32:35,280
Speaker 1: I was.

617
00:32:35,200 --> 00:32:38,160
Speaker 2: Like, go ahead, and what young actors want to know.

618
00:32:38,040 --> 00:32:39,760
Speaker 1: I'm making this up. And it's like that I don't

619
00:32:39,760 --> 00:32:42,239
Speaker 1: know that, but you can tell. But nobody and it

620
00:32:42,280 --> 00:32:43,880
Speaker 1: was somebody who like you could see he really played

621
00:32:43,920 --> 00:32:46,920
Speaker 1: it like he was gonna he's a tough guy.

622
00:32:47,320 --> 00:32:51,720
Speaker 2: But the day of shooting your stuff. Yes, that was

623
00:32:51,760 --> 00:32:54,760
Speaker 2: the day You're about to go through the door the

624
00:32:55,080 --> 00:32:59,800
Speaker 2: step onto with your first line in a room of legends. Yeah.

625
00:33:00,200 --> 00:33:01,160
Speaker 1: Who I met there in the verse, A.

626
00:33:01,160 --> 00:33:04,160
Speaker 2: Little intimidating guy. So I think, to your credit, a

627
00:33:04,160 --> 00:33:06,520
Speaker 2: lot of people say that you really knocked it out

628
00:33:06,520 --> 00:33:06,960
Speaker 2: of the park.

629
00:33:07,280 --> 00:33:08,920
Speaker 1: Well, I mean, I I don't think about that. I

630
00:33:09,000 --> 00:33:09,480
Speaker 1: just think about it.

631
00:33:10,160 --> 00:33:12,120
Speaker 2: I'm here to tell you, but I'm telling you I

632
00:33:12,200 --> 00:33:16,800
Speaker 2: consider your performance in the film to be quite dominant

633
00:33:17,280 --> 00:33:21,040
Speaker 2: in a room full of legends. So people people love.

634
00:33:22,600 --> 00:33:30,360
Speaker 1: H Come on, so well, I got you Glen Gary

635
00:33:30,480 --> 00:33:34,440
Speaker 1: right here, Daniel I would say, I got you, dress,

636
00:33:34,920 --> 00:33:39,120
Speaker 1: I got you Jamie right here, and Daniel would hold

637
00:33:39,640 --> 00:33:47,280
Speaker 1: I got you. I I don't, oh, yes, of course.

638
00:33:47,280 --> 00:33:49,280
Speaker 1: But I mean I'm always nervous when i'm shooting because

639
00:33:49,520 --> 00:33:51,760
Speaker 1: it's permanent. You know, when you do a play it

640
00:33:51,760 --> 00:33:53,440
Speaker 1: doesn't go well, You're like, oh, tomorrow, I'm going to

641
00:33:53,480 --> 00:33:54,880
Speaker 1: do this and you and you hone it, and you

642
00:33:54,960 --> 00:33:58,480
Speaker 1: hone it and you have you know, sometimes scores if

643
00:33:58,520 --> 00:34:02,040
Speaker 1: it's not successful, and or hundred of opportunities to change it,

644
00:34:02,120 --> 00:34:04,520
Speaker 1: play with it, do it differently. Blah blah blah, blah blah.

645
00:34:04,640 --> 00:34:06,400
Speaker 1: As long as it's reasonable. You don't want to just,

646
00:34:06,600 --> 00:34:08,360
Speaker 1: you know, all take all your clothes off in the

647
00:34:08,360 --> 00:34:11,440
Speaker 1: scene if it's not called for, but you might. But

648
00:34:11,880 --> 00:34:17,680
Speaker 1: the uh the uh the but movies is like, we

649
00:34:17,760 --> 00:34:20,759
Speaker 1: don't got to get it. Now. They're gonna point a

650
00:34:20,800 --> 00:34:23,239
Speaker 1: camera into a space in the air and you're gonna

651
00:34:23,239 --> 00:34:24,680
Speaker 1: step in front of it, and you got to do it.

652
00:34:25,239 --> 00:34:28,160
Speaker 1: I do it now and this and that stress is

653
00:34:28,239 --> 00:34:31,279
Speaker 1: always with me. I never smoke unless I'm shooting. When

654
00:34:31,280 --> 00:34:32,120
Speaker 1: I'm shooting, I'm like.

655
00:34:33,040 --> 00:34:35,600
Speaker 3: You know, but you love that stress to some degree.

656
00:34:35,800 --> 00:34:36,960
Speaker 2: I used to not anymore.

657
00:34:38,520 --> 00:34:41,239
Speaker 1: But anyway, so Glenn Gary, people go on and on

658
00:34:41,320 --> 00:34:44,319
Speaker 1: about that. But it's like I called Mammon and I said,

659
00:34:44,440 --> 00:34:49,120
Speaker 1: you won the Pulleitzer Prize for this play, and you

660
00:34:49,120 --> 00:34:52,040
Speaker 1: felt you needed to change something because my character isn't

661
00:34:52,080 --> 00:34:54,040
Speaker 1: in the play. I said, you won the Pulletzer and

662
00:34:54,080 --> 00:34:59,440
Speaker 1: he said, well, well he talks like this. You said, well, I, uh,

663
00:34:59,480 --> 00:35:05,280
Speaker 1: the these guys are not criminals. They're not criminals by nature,

664
00:35:05,320 --> 00:35:08,359
Speaker 1: and I wanted to add something to ratchet up the

665
00:35:08,400 --> 00:35:10,839
Speaker 1: pressure on them more so they would commit a crime.

666
00:35:10,920 --> 00:35:12,839
Speaker 1: And that's why I built the Blake scene in there,

667
00:35:12,840 --> 00:35:15,400
Speaker 1: and I was like interesting. I was like, wow, okay,

668
00:35:15,480 --> 00:35:19,800
Speaker 1: so we go do the scene and uh and Lemon oh.

669
00:35:23,280 --> 00:35:26,600
Speaker 2: I've never even met him. Who mammott Oh, he'd pinion

670
00:35:26,680 --> 00:35:30,480
Speaker 2: down on the ground and really sorry, he'd pined down

671
00:35:30,520 --> 00:35:31,120
Speaker 2: to the ground.

672
00:35:31,280 --> 00:35:33,600
Speaker 1: I can't keep repeating these lines. Was a ball player,

673
00:35:33,800 --> 00:35:37,359
Speaker 1: you're you're you're hearing loss is a comedy killer. It's

674
00:35:37,640 --> 00:35:42,200
Speaker 1: a ball player, mammott Is would say with mammontt is tough.

675
00:35:42,320 --> 00:35:44,080
Speaker 1: He'd throw you on the ground and rape you.

676
00:35:44,120 --> 00:35:44,359
Speaker 2: Wow.

677
00:35:45,080 --> 00:35:47,200
Speaker 1: One last question, because we're getting close to two thirty.

678
00:35:47,000 --> 00:35:50,160
Speaker 5: I have a question flying in hot Let's bring it

679
00:35:50,200 --> 00:35:53,000
Speaker 5: back to Beetlejuice. This huge hit movie comes out right

680
00:35:53,440 --> 00:35:55,200
Speaker 5: and Tim Burton's a hot director, and all of a

681
00:35:55,239 --> 00:35:58,480
Speaker 5: sudden it's announced he's doing Batman. And then it's announced

682
00:35:58,520 --> 00:36:00,719
Speaker 5: Michael Keaton plays Batman. Did you feel like, what the

683
00:36:00,760 --> 00:36:03,240
Speaker 5: hell how because you seem like such a natural Bruce

684
00:36:03,280 --> 00:36:04,200
Speaker 5: Wayne Batman type.

685
00:36:04,920 --> 00:36:09,160
Speaker 1: Well, back then, he said, he told my ex wife

686
00:36:09,280 --> 00:36:12,200
Speaker 1: Kim was in Batman, and she talked to him and

687
00:36:12,200 --> 00:36:16,040
Speaker 1: he said, I wasn't casting Batman. The guy at the square, jawl,

688
00:36:16,080 --> 00:36:17,759
Speaker 1: the suit, whatever he goes, I don't cast he goes.

689
00:36:17,760 --> 00:36:20,120
Speaker 1: I was casting Bruce Wayne, and I wanted to get

690
00:36:20,120 --> 00:36:24,000
Speaker 1: a guy who seemed like he was you could understand

691
00:36:24,040 --> 00:36:28,000
Speaker 1: him being more troubled. He goes something like, you know,

692
00:36:28,080 --> 00:36:30,200
Speaker 1: I don't believe that Alec has any problems at all,

693
00:36:30,800 --> 00:36:32,920
Speaker 1: you know what I mean, in his life, And that

694
00:36:33,040 --> 00:36:37,160
Speaker 1: was what somebody said about Julia Roberts. They wanted Julia

695
00:36:37,280 --> 00:36:42,080
Speaker 1: Roberts to do Prelude to a Kiss, and the director

696
00:36:42,120 --> 00:36:43,759
Speaker 1: said to me, he goes, he goes, I think the

697
00:36:43,880 --> 00:36:46,960
Speaker 1: character of Rita needs to be taken care of by

698
00:36:47,000 --> 00:36:49,640
Speaker 1: your character, by Peter, and he goes. And there's nothing

699
00:36:49,680 --> 00:36:52,719
Speaker 1: about Julie Julia Roberts that leads me to believe she

700
00:36:52,800 --> 00:36:55,440
Speaker 1: needs to be taken care of at all. She can

701
00:36:55,480 --> 00:36:59,280
Speaker 1: take good care of herself. She's very tough and resilient.

702
00:36:59,320 --> 00:37:02,560
Speaker 1: And so they got Meg, which was tough because not

703
00:37:02,640 --> 00:37:04,800
Speaker 1: that Meg wasn't wonderful, but Mary Louise had done the

704
00:37:04,800 --> 00:37:06,399
Speaker 1: play with me, and we were hoping they would catch

705
00:37:06,400 --> 00:37:08,839
Speaker 1: Mary Louise because it was really her role, you know,

706
00:37:08,880 --> 00:37:13,520
Speaker 1: but Beetlejuice a batman my ex wife, and it was

707
00:37:13,560 --> 00:37:15,960
Speaker 1: something was said along those lines were like he wanted

708
00:37:16,040 --> 00:37:18,840
Speaker 1: Keaton because he was a much more in his vision

709
00:37:18,840 --> 00:37:23,040
Speaker 1: of who Bruce Wayne is and thought I looked at

710
00:37:23,040 --> 00:37:25,080
Speaker 1: her and I was like, well, I could play that.

711
00:37:25,320 --> 00:37:26,880
Speaker 1: I could do that. I don't have to be I

712
00:37:26,920 --> 00:37:31,239
Speaker 1: could have problems. I could externalize my problems. But yeah,

713
00:37:31,280 --> 00:37:32,759
Speaker 1: so I always thought about it. I thought, oh, I'd

714
00:37:32,760 --> 00:37:34,839
Speaker 1: love to have played Batman. But it seems like it's

715
00:37:34,840 --> 00:37:37,279
Speaker 1: been a tough part for people, Like a lot of people,

716
00:37:37,400 --> 00:37:42,480
Speaker 1: it's like a sticky problem for them because it's like,

717
00:37:42,960 --> 00:37:47,600
Speaker 1: you know more Keaton played it, and everybody since Val Kilmer,

718
00:37:47,719 --> 00:37:51,000
Speaker 1: Clooney Ben it hasn't done anything for them other than

719
00:37:51,040 --> 00:37:53,640
Speaker 1: giving them a paycheck. No one's sitting there going, oh,

720
00:37:53,680 --> 00:37:56,239
Speaker 1: I've got to watch that movie, you know. So I

721
00:37:56,239 --> 00:37:58,960
Speaker 1: think Keaton scored in the first film, which was very naive,

722
00:38:00,000 --> 00:38:01,799
Speaker 1: you know, but when you watch that first film, that's

723
00:38:01,840 --> 00:38:06,440
Speaker 1: what you have to have is great nutty actors. You know,

724
00:38:06,560 --> 00:38:10,240
Speaker 1: this town needs an enema, you know, you need lines

725
00:38:10,360 --> 00:38:13,919
Speaker 1: like that in the movie and make it fun and

726
00:38:14,120 --> 00:38:17,279
Speaker 1: action and all. The Batman movie since it had been like.

727
00:38:17,880 --> 00:38:19,359
Speaker 1: The one I liked is Christian Bale. Him.

728
00:38:19,400 --> 00:38:22,359
Speaker 2: I liked, I liked him. He's a great actor. He's

729
00:38:22,400 --> 00:38:22,880
Speaker 2: a great.

730
00:38:22,719 --> 00:38:25,920
Speaker 5: Actor because he nailed the Bruce Wayne part, which I

731
00:38:25,920 --> 00:38:27,520
Speaker 5: thought you would have just like.

732
00:38:27,520 --> 00:38:29,560
Speaker 1: Yeah, no, Christian Bale, I mean, I'm like, he was perfect.

733
00:38:29,600 --> 00:38:31,560
Speaker 1: I loved him. And then what's his name? We played Baine,

734
00:38:32,239 --> 00:38:35,600
Speaker 1: Tom Hardy. They were great. It was a good I

735
00:38:35,640 --> 00:38:38,080
Speaker 1: like that one. I mean violent, very violent. But I

736
00:38:38,160 --> 00:38:42,000
Speaker 1: like one more one more question for Beth. Question for

737
00:38:42,000 --> 00:38:44,000
Speaker 1: you by the way, hello, pup, Now all right.

738
00:38:46,400 --> 00:38:53,600
Speaker 2: Just just just go ahead.

739
00:38:54,120 --> 00:38:57,080
Speaker 5: This is called One Bad Movie, Beth. Which movie from

740
00:38:57,120 --> 00:39:03,200
Speaker 5: each of your brothers? Do you think it's a steam?

741
00:39:03,320 --> 00:39:08,399
Speaker 3: I did not like? Is it l a Confidential?

742
00:39:09,080 --> 00:39:09,960
Speaker 1: I wasn't in that?

743
00:39:10,120 --> 00:39:10,719
Speaker 2: Which is the one?

744
00:39:10,760 --> 00:39:18,880
Speaker 3: Okay, okay, okay, No that's not which? Which Which is

745
00:39:18,920 --> 00:39:20,200
Speaker 3: the movie you did with Kim?

746
00:39:20,640 --> 00:39:21,240
Speaker 2: The Getaway?

747
00:39:21,360 --> 00:39:21,960
Speaker 3: The Getaway?

748
00:39:22,120 --> 00:39:24,759
Speaker 1: You didn't like that? No, The guy who was the

749
00:39:24,760 --> 00:39:27,360
Speaker 1: cameraman were having a sex scene and Kim and I

750
00:39:27,440 --> 00:39:29,759
Speaker 1: are completely naked on the bed of a backled you

751
00:39:29,760 --> 00:39:31,880
Speaker 1: can really see very much, and we're doing it. And

752
00:39:31,920 --> 00:39:33,480
Speaker 1: the guy's name was I'll never forget his name was

753
00:39:33,520 --> 00:39:36,279
Speaker 1: Jimmy Moreau, and he was operating the steady cam and

754
00:39:36,360 --> 00:39:38,799
Speaker 1: Jimmy Road would come in and reveal us and we're

755
00:39:38,800 --> 00:39:41,040
Speaker 1: having sex, and we're kissing, and when she's on top

756
00:39:41,040 --> 00:39:42,920
Speaker 1: of me, and he's going like this with the camera

757
00:39:43,280 --> 00:39:45,239
Speaker 1: and whatever he's doing, and he goes and puts in

758
00:39:45,320 --> 00:39:47,400
Speaker 1: he's a born again Christian, and he goes and puts

759
00:39:47,400 --> 00:39:49,600
Speaker 1: the camera on the stand in the corner and stands

760
00:39:49,600 --> 00:39:51,440
Speaker 1: in the corner like almost as to catch his breath

761
00:39:52,239 --> 00:39:54,399
Speaker 1: or he's praying to Christ to forgive him for making

762
00:39:54,440 --> 00:39:57,279
Speaker 1: this movie with us, And Kim would put her robe

763
00:39:57,280 --> 00:40:02,480
Speaker 1: on Welcome to Jimmy, Are you a Jimmy? Because he

764
00:40:02,520 --> 00:40:05,480
Speaker 1: would be like, you know, standing in like like recovering

765
00:40:05,480 --> 00:40:08,520
Speaker 1: from having to watch us naked simulating sex. You didn't

766
00:40:08,560 --> 00:40:11,080
Speaker 1: like that movie, No, No, you have something in common

767
00:40:11,120 --> 00:40:11,840
Speaker 1: with Jimmy Murrow.

768
00:40:11,880 --> 00:40:14,120
Speaker 3: It's gross. So to see your brother be with his

769
00:40:15,600 --> 00:40:18,279
Speaker 3: the real person that the person is with to see them.

770
00:40:18,320 --> 00:40:19,840
Speaker 1: There were a lot of things wrong with that movie.

771
00:40:19,840 --> 00:40:22,080
Speaker 1: But I like making the movie fun. So we did

772
00:40:22,080 --> 00:40:24,120
Speaker 1: the movie. We did the movie. I was supposed to

773
00:40:24,160 --> 00:40:26,680
Speaker 1: do the movie with Sharon Stone, and I said, I

774
00:40:26,680 --> 00:40:28,319
Speaker 1: only want to make I wanted to only wanted to

775
00:40:28,320 --> 00:40:29,799
Speaker 1: make the movie with Kim because I wanted to get

776
00:40:29,800 --> 00:40:32,680
Speaker 1: her off the thing where she had lost her lawsuits

777
00:40:33,040 --> 00:40:35,480
Speaker 1: so that was the first job she did after I

778
00:40:35,560 --> 00:40:37,480
Speaker 1: wanted to I wanted to get out of the house

779
00:40:37,480 --> 00:40:39,560
Speaker 1: and go work, which is the thing she enjoys most.

780
00:40:41,120 --> 00:40:43,120
Speaker 1: Kim loves to shoot, She loves making a movie. That's

781
00:40:43,120 --> 00:40:48,520
Speaker 1: her whole life. Anything else other Listen, we need to

782
00:40:48,600 --> 00:40:51,080
Speaker 1: ask you. Go ahead, oh, Stephen, same question for Steven.

783
00:40:51,320 --> 00:40:53,960
Speaker 2: You hate a film of mine. You think it's a

784
00:40:54,160 --> 00:40:56,160
Speaker 2: steam and pile of dumb.

785
00:40:56,400 --> 00:41:01,319
Speaker 3: I probably don't remember that. I didn't really like just

786
00:41:01,400 --> 00:41:05,239
Speaker 3: like with this, the sex part, with the threesome, I

787
00:41:05,280 --> 00:41:06,319
Speaker 3: don't think any of that.

788
00:41:06,360 --> 00:41:09,440
Speaker 1: Is in that way in that section of movies of yours.

789
00:41:09,760 --> 00:41:12,040
Speaker 1: You're kind of a dung beetle. If you like rolling

790
00:41:12,080 --> 00:41:15,520
Speaker 1: a ball of dung down Hollywood Boulevard, you.

791
00:41:16,160 --> 00:41:16,920
Speaker 3: You just don't like.

792
00:41:19,120 --> 00:41:23,680
Speaker 1: Dung beetle productions like that. With a picture of you

793
00:41:23,719 --> 00:41:25,799
Speaker 1: as a beetle with a chunk of boop in front

794
00:41:25,800 --> 00:41:31,600
Speaker 1: of the always taking over, You're pushing, I'm in, let's

795
00:41:31,600 --> 00:41:33,759
Speaker 1: do it, and I'm standing far away with my eye

796
00:41:33,760 --> 00:41:34,800
Speaker 1: on the watch, going.

797
00:41:35,280 --> 00:41:36,840
Speaker 2: Yeah, are we done?

798
00:41:36,880 --> 00:41:38,960
Speaker 3: You're still doing that? You're still doing that?

799
00:41:39,400 --> 00:41:39,920
Speaker 1: Two things?

800
00:41:40,040 --> 00:41:41,400
Speaker 2: Are we done?

801
00:41:42,040 --> 00:41:42,560
Speaker 3: Two things?

802
00:41:42,560 --> 00:41:43,000
Speaker 2: Two things?

803
00:41:43,320 --> 00:41:44,799
Speaker 5: Of all the legends that you worked with, who gave

804
00:41:44,840 --> 00:41:47,400
Speaker 5: you the best advice, life advice, movie advice, acting advice.

805
00:41:47,960 --> 00:41:52,360
Speaker 1: There's a couple of them, and it's it's it's a

806
00:41:52,360 --> 00:41:59,160
Speaker 1: little vaguer more like an acting ideas that you that

807
00:41:59,239 --> 00:42:02,560
Speaker 1: you can use in your work about economizing and taking

808
00:42:02,600 --> 00:42:04,960
Speaker 1: away and taking doing it simpler and simpler and simpler,

809
00:42:05,040 --> 00:42:10,200
Speaker 1: or not being loud or forceful or obvious.

810
00:42:09,760 --> 00:42:10,239
Speaker 2: Or what have you.

811
00:42:11,040 --> 00:42:13,640
Speaker 1: But I'll never forget. I did this show, Not's Landing,

812
00:42:14,320 --> 00:42:15,880
Speaker 1: And the man that came in in the end of

813
00:42:15,920 --> 00:42:18,839
Speaker 1: the show to play my father was this wonderful, very

814
00:42:18,840 --> 00:42:22,160
Speaker 1: well known method actor named Albert I mean, a character

815
00:42:22,200 --> 00:42:25,640
Speaker 1: actor named Albert Salmi sa l am I, and he

816
00:42:25,760 --> 00:42:29,520
Speaker 1: taught at Gonzaga University up in near Tacoma or whatever

817
00:42:29,520 --> 00:42:34,360
Speaker 1: it is up there in Oregon near the Idaho Panantel.

818
00:42:34,440 --> 00:42:38,040
Speaker 1: I think Albert Salmi played my father, my father who

819
00:42:38,040 --> 00:42:40,359
Speaker 1: had abandoned our family and came back into my life

820
00:42:41,520 --> 00:42:43,719
Speaker 1: as I was a young man, and Salmi was sitting

821
00:42:43,800 --> 00:42:46,359
Speaker 1: in a chair and everyone had left the set to

822
00:42:46,400 --> 00:42:48,759
Speaker 1: go do something in the grips and things where they

823
00:42:48,760 --> 00:42:51,600
Speaker 1: were resetting the shot, and the cast had left to

824
00:42:51,600 --> 00:42:54,920
Speaker 1: go to there. They had bungalows on the stages they

825
00:42:54,920 --> 00:42:57,560
Speaker 1: had old fashioned like because we shot at stage twenty

826
00:42:57,560 --> 00:43:00,600
Speaker 1: six at MGM where they did Wizard of O. The

827
00:43:00,640 --> 00:43:04,160
Speaker 1: yellow brick road set was there, so not Slandings principal

828
00:43:04,160 --> 00:43:06,839
Speaker 1: set was there, their principal stage, and they had these

829
00:43:06,880 --> 00:43:12,239
Speaker 1: big wooden old wooden on wheels like circus carts, but

830
00:43:12,320 --> 00:43:14,920
Speaker 1: they were like big cabanas for the cat that was

831
00:43:14,960 --> 00:43:19,000
Speaker 1: their dressing room. They're beautiful and old, and they'd all go.

832
00:43:19,160 --> 00:43:21,520
Speaker 1: They don't say, Okay, we're gonna cut and we're gonna

833
00:43:21,400 --> 00:43:23,919
Speaker 1: be relight and we'll come get you boom. Everybody would

834
00:43:24,000 --> 00:43:26,640
Speaker 1: leave except some of the crew. And Albert Sellmy sat

835
00:43:26,680 --> 00:43:29,239
Speaker 1: there reading the La Times or whatever, and I sat

836
00:43:29,239 --> 00:43:31,440
Speaker 1: there and he goes, he goes, are you gonna stick around?

837
00:43:31,680 --> 00:43:33,600
Speaker 2: I go yeah. He goes, that's good. That's good. He goes.

838
00:43:33,600 --> 00:43:35,960
Speaker 1: Don't leave the set. Never leave the set. That's that's

839
00:43:35,960 --> 00:43:38,520
Speaker 1: where it's happening. So don't go to your trailer, don't

840
00:43:38,520 --> 00:43:40,759
Speaker 1: make phone calls. You get a newspaper, sit in the

841
00:43:40,760 --> 00:43:42,959
Speaker 1: corner there and just stay always stay connected to the set.

842
00:43:43,280 --> 00:43:44,640
Speaker 2: That's interesting. WHOA.

843
00:43:45,640 --> 00:43:48,120
Speaker 1: That was like the most amazing thing, one of the

844
00:43:48,160 --> 00:43:49,440
Speaker 1: most amazing Somebody told.

845
00:43:49,320 --> 00:43:53,000
Speaker 2: Me best advice I ever got was Mike Binder and

846
00:43:53,040 --> 00:43:55,520
Speaker 2: what was that. I was working on a movie with him,

847
00:43:55,600 --> 00:43:59,359
Speaker 2: and I just was I wasn't struggling to try to

848
00:43:59,400 --> 00:44:03,160
Speaker 2: get a certain and take of a moment, but I

849
00:44:03,239 --> 00:44:05,360
Speaker 2: just was trying to do it so many different ways,

850
00:44:05,520 --> 00:44:08,520
Speaker 2: which is one kind of idea of how to do that.

851
00:44:10,200 --> 00:44:11,879
Speaker 2: And Mike Vander comes up to me. He goes, hey,

852
00:44:11,880 --> 00:44:15,040
Speaker 2: that was great. You know you're doing so great, and uh,

853
00:44:15,400 --> 00:44:17,520
Speaker 2: you just can we try just one my way? And

854
00:44:17,560 --> 00:44:21,319
Speaker 2: I'm like, yeah, man, go ahead. He's like, he goes,

855
00:44:21,360 --> 00:44:26,240
Speaker 2: I want you to just say the words. Don't act,

856
00:44:27,160 --> 00:44:31,120
Speaker 2: just say the words. I'll never forget. I'll never forget.

857
00:44:31,400 --> 00:44:33,719
Speaker 2: He was a stand up comic directing a movie like

858
00:44:33,760 --> 00:44:35,800
Speaker 2: one of his first films, And I'm like, what movie

859
00:44:36,760 --> 00:44:41,040
Speaker 2: Crossing the Bridge with Jason Gedrick and Josh Charleston, which

860
00:44:41,120 --> 00:44:45,319
Speaker 2: was a story from Mike's growing up in Michigan, and

861
00:44:45,560 --> 00:44:46,799
Speaker 2: pushed his movie to the next year.

862
00:44:46,960 --> 00:44:50,120
Speaker 1: Say again, I'm not doing his movie that fall gotta

863
00:44:50,120 --> 00:44:52,160
Speaker 1: push the next year. But you remind me of so

864
00:44:52,200 --> 00:44:56,120
Speaker 1: I do The Departed, No, I do The Good Shepherd

865
00:44:56,120 --> 00:44:58,239
Speaker 1: with Bob and I'm there with Natt in front of me,

866
00:44:58,440 --> 00:45:01,280
Speaker 1: and de Niro was talking to Bob. I forgot Bob Richardson,

867
00:45:01,600 --> 00:45:05,840
Speaker 1: one of the greatest legendary cinematographers in history, Bob Richardson

868
00:45:05,960 --> 00:45:10,600
Speaker 1: and Jimmy Whittaker who did The Cooler Great DP. But

869
00:45:11,200 --> 00:45:13,680
Speaker 1: he would talk to Bob first. They said, cut and Bob,

870
00:45:13,920 --> 00:45:16,640
Speaker 1: go talk to Bob, but talk to Bob then dinner

871
00:45:16,760 --> 00:45:21,560
Speaker 1: would finally come around and say, you're very good, Alec,

872
00:45:22,880 --> 00:45:25,600
Speaker 1: you're very good. Now I want you to do it again,

873
00:45:25,640 --> 00:45:29,600
Speaker 1: and do it slower, slower. And when he talks, you

874
00:45:29,640 --> 00:45:36,919
Speaker 1: don't care. You don't care. You're very good, Alec, you

875
00:45:36,920 --> 00:45:41,200
Speaker 1: you are very good, but do it slower and whatever

876
00:45:41,239 --> 00:45:47,840
Speaker 1: he says, you don't care, talk quietly, well, quietly slower, okay,

877
00:45:48,840 --> 00:45:52,600
Speaker 1: all right? And I'm sitting there going and you realize

878
00:45:52,960 --> 00:45:56,080
Speaker 1: that that's how those guys. You know, everything is such

879
00:45:56,120 --> 00:45:59,839
Speaker 1: an economy, you know, I mean, look at Paccino, who

880
00:46:00,040 --> 00:46:02,919
Speaker 1: everybody went nuts trying to make sure the Coppola did

881
00:46:03,080 --> 00:46:06,200
Speaker 1: not cast him in The Godfather. They said, don't you

882
00:46:06,760 --> 00:46:09,319
Speaker 1: we want this and this and Warren Baty and this

883
00:46:09,400 --> 00:46:11,680
Speaker 1: and this and movie stars and they're like, want to

884
00:46:11,719 --> 00:46:14,800
Speaker 1: take paramount? I mean, who's more star wars In Paramount

885
00:46:15,080 --> 00:46:19,759
Speaker 1: and Pachina. When you watch The Godfather, can I be

886
00:46:19,800 --> 00:46:20,240
Speaker 1: a jerk?

887
00:46:21,520 --> 00:46:27,160
Speaker 2: Is there a greatest American director? No?

888
00:46:27,239 --> 00:46:30,160
Speaker 1: Okay, there's such a range of films. I mean, obviously

889
00:46:30,239 --> 00:46:33,439
Speaker 1: tough dramas. If I had to say who I felt

890
00:46:33,520 --> 00:46:39,120
Speaker 1: was the greatest in terms of the the the the power,

891
00:46:39,560 --> 00:46:42,400
Speaker 1: forget about the style. So there's scars Case and Coppola,

892
00:46:42,520 --> 00:46:46,040
Speaker 1: and there's DePalma, and there's uh, you know, all these

893
00:46:46,080 --> 00:46:49,759
Speaker 1: other people who've made I mean, I'm naming, I'm just

894
00:46:49,800 --> 00:46:52,080
Speaker 1: scratching the surface. But if I was to say the

895
00:46:52,120 --> 00:46:55,120
Speaker 1: person who I think has had the greatest impact on

896
00:46:55,200 --> 00:46:58,960
Speaker 1: the movie business, and I'm only choosing him because he

897
00:46:59,160 --> 00:47:06,960
Speaker 1: is a director and writer, celebrated writer, You're that's just Woody,

898
00:47:07,160 --> 00:47:07,520
Speaker 1: is it?

899
00:47:08,040 --> 00:47:13,440
Speaker 2: Because Woody in his own thing is a hitchcock, you

900
00:47:13,520 --> 00:47:18,040
Speaker 2: know what I mean? In suspense, it's hitchcock. In writer,

901
00:47:18,200 --> 00:47:21,120
Speaker 2: director comedy, it's Woody. Yes or no.

902
00:47:21,280 --> 00:47:25,120
Speaker 1: Blake Edwards is a great director. What's his name? Director?

903
00:47:25,160 --> 00:47:32,279
Speaker 1: Who directed Days? He was in it shot the Who

904
00:47:34,520 --> 00:47:36,520
Speaker 1: No No, No No. Was gonna say Kuber. But he's

905
00:47:36,520 --> 00:47:39,040
Speaker 1: not really American anymore. On the record, He's a brit

906
00:47:39,239 --> 00:47:40,919
Speaker 1: but I'm saying, no, the guy that was in Eyes,

907
00:47:41,000 --> 00:47:45,360
Speaker 1: White Shot, who was in Tots, he's a director.

908
00:47:47,080 --> 00:47:47,600
Speaker 2: I forgot.

909
00:47:47,680 --> 00:47:52,000
Speaker 1: I forgot Spielberg. I would see the two. I would

910
00:47:52,040 --> 00:47:55,680
Speaker 1: see the three greatest Sydney Pollack, Sidney Pollack who did

911
00:47:55,719 --> 00:47:57,799
Speaker 1: Three Days of the Contract. Pollock, I would put up there.

912
00:47:57,840 --> 00:48:02,640
Speaker 1: He's a great director. But I would say that, Uh,

913
00:48:02,680 --> 00:48:06,279
Speaker 1: it's tough because I would say couple didn't make that

914
00:48:06,320 --> 00:48:08,680
Speaker 1: many movies, but he made great films, obviously. But I

915
00:48:08,760 --> 00:48:11,239
Speaker 1: like Coppola a lot. I love Copla films. But I'd

916
00:48:11,239 --> 00:48:15,279
Speaker 1: say Woody, Marty Spielberg. Those three are like a like

917
00:48:15,320 --> 00:48:18,680
Speaker 1: a triptick, because Spielberg has made every kind of movie

918
00:48:18,719 --> 00:48:19,680
Speaker 1: you could possibly imagine.

919
00:48:19,719 --> 00:48:22,640
Speaker 2: Beth, who's your favorite American? You talk to her?

920
00:48:23,200 --> 00:48:23,680
Speaker 1: Were you going?

921
00:48:24,000 --> 00:48:24,480
Speaker 2: Where are you going?

922
00:48:24,840 --> 00:48:34,120
Speaker 1: Let's bath. I want to just say one thing, which

923
00:48:34,160 --> 00:48:36,799
Speaker 1: is that it's interesting when you talk about films and

924
00:48:36,840 --> 00:48:38,920
Speaker 1: I've taught acting, you know, here and there, and then

925
00:48:39,160 --> 00:48:41,399
Speaker 1: like it's a big deal to me, and it's never

926
00:48:41,440 --> 00:48:44,239
Speaker 1: something I'm like, you know, seeking to do, because it

927
00:48:44,239 --> 00:48:47,640
Speaker 1: makes me a little uncomfortable to tell young actors this

928
00:48:47,760 --> 00:48:51,240
Speaker 1: and this opinion and the age difference is part of that. However,

929
00:48:53,200 --> 00:48:56,279
Speaker 1: I think you want to do good work, you know,

930
00:48:56,280 --> 00:48:59,359
Speaker 1: I forget about you know, Marvel movies and things where

931
00:48:59,360 --> 00:49:00,920
Speaker 1: it's very technical. But if you want to do good

932
00:49:00,920 --> 00:49:03,160
Speaker 1: work and give good performances, you've got to work in

933
00:49:03,200 --> 00:49:03,560
Speaker 1: the theater.

934
00:49:03,960 --> 00:49:04,919
Speaker 2: You got to work in the theater.

935
00:49:04,960 --> 00:49:08,560
Speaker 1: You've got you really learn how to act in the theater,

936
00:49:08,640 --> 00:49:12,160
Speaker 1: to do everything from start to finish, and do it again.

937
00:49:12,200 --> 00:49:15,160
Speaker 1: Then again you understand, you learn how to break down material,

938
00:49:15,320 --> 00:49:17,160
Speaker 1: and you work with great actors. I mean in the

939
00:49:17,200 --> 00:49:19,680
Speaker 1: movie business, of course, you can work with great actors,

940
00:49:20,239 --> 00:49:21,839
Speaker 1: whether it's a chance. You can work with people who

941
00:49:21,840 --> 00:49:24,960
Speaker 1: are you know, starting out, they're engreews, they're leading men,

942
00:49:25,000 --> 00:49:29,040
Speaker 1: they're not that complicated. And then you go into the

943
00:49:29,040 --> 00:49:31,839
Speaker 1: theater and it's like I've done plays where, with very

944
00:49:31,840 --> 00:49:34,920
Speaker 1: few exceptions, everybody was a fantastic actor in the company.

945
00:49:34,960 --> 00:49:38,759
Speaker 1: They were great actors, experienced, you know, really really all

946
00:49:39,080 --> 00:49:42,560
Speaker 1: range of productions they've done and places they'd studied and

947
00:49:42,640 --> 00:49:44,240
Speaker 1: so forth, and they were wonderful.

948
00:49:44,400 --> 00:49:44,920
Speaker 2: The cast of.

949
00:49:46,560 --> 00:49:49,480
Speaker 1: I did twentieth Century the Hector MacArthur playing on Broadway.

950
00:49:49,560 --> 00:49:52,920
Speaker 1: I did the Joe Warton play Loot, I did the

951
00:49:53,000 --> 00:49:55,760
Speaker 1: Joe Orton play entertaining, mister Sloan.

952
00:49:55,800 --> 00:49:57,560
Speaker 2: I did street Guard named Desire.

953
00:49:57,680 --> 00:50:00,000
Speaker 1: And you work on that material with those kinds of

954
00:50:00,040 --> 00:50:02,600
Speaker 1: people and those kinds of directors, and you walk away

955
00:50:03,160 --> 00:50:04,480
Speaker 1: improved immensely.

956
00:50:04,600 --> 00:50:08,520
Speaker 2: Absolutely. Yeah, well, big brother, thank you, You've already blessed

957
00:50:08,600 --> 00:50:12,920
Speaker 2: us with incredible wisdom. I have one question, what is

958
00:50:12,960 --> 00:50:18,919
Speaker 2: your one bad movie?

959
00:50:19,600 --> 00:50:24,080
Speaker 1: I did a movie. I know the answer, Okay. I

960
00:50:24,120 --> 00:50:27,920
Speaker 1: did a movie where my face, me and Danny Glover

961
00:50:28,400 --> 00:50:34,480
Speaker 1: were two floating miasmas. We were too floating heads in

962
00:50:34,560 --> 00:50:38,120
Speaker 1: the air above these people were like locked into a

963
00:50:38,280 --> 00:50:41,239
Speaker 1: and drawn, it was called. And I was paid by

964
00:50:41,280 --> 00:50:43,120
Speaker 1: these people who I liked a law of the producers

965
00:50:43,120 --> 00:50:45,920
Speaker 1: were wonderful people and I really adored them, and they

966
00:50:45,920 --> 00:50:48,600
Speaker 1: had me do this movie. And the director was this

967
00:50:48,640 --> 00:50:52,319
Speaker 1: lovely guy, and I was lovely Italian guy, and all

968
00:50:52,360 --> 00:50:56,839
Speaker 1: of them smoking their balls off over there, and we'd

969
00:50:56,880 --> 00:50:59,040
Speaker 1: be there and literally my character would be like the

970
00:50:59,040 --> 00:51:03,160
Speaker 1: floating menacing overlord, and they're all trying to make their

971
00:51:03,160 --> 00:51:05,359
Speaker 1: way through a maze. They're all like hot, sexy young

972
00:51:05,360 --> 00:51:07,520
Speaker 1: people were all gonna jump on each other in the

973
00:51:07,600 --> 00:51:09,560
Speaker 1: in the in the cove or the cave or whatever.

974
00:51:10,000 --> 00:51:11,799
Speaker 1: And I'm floating up there, and I'm like, you know,

975
00:51:12,120 --> 00:51:14,040
Speaker 1: and no way, Yeah, I know. I'm swear to God,

976
00:51:14,760 --> 00:51:17,560
Speaker 1: I'm making this up. I don't remember the dialogue conveniently,

977
00:51:18,000 --> 00:51:21,040
Speaker 1: but i'd sit there and go I'd be like, you've.

978
00:51:20,880 --> 00:51:21,640
Speaker 2: Served me well.

979
00:51:22,239 --> 00:51:25,719
Speaker 1: Proceed to level five, and they go to the next

980
00:51:25,760 --> 00:51:29,360
Speaker 1: level of the game. You've served me well, proceed to

981
00:51:29,440 --> 00:51:33,000
Speaker 1: level nine. My head's floating on like of this misty

982
00:51:33,080 --> 00:51:35,600
Speaker 1: creature the Wizard of Oz on the screen. I'm like,

983
00:51:35,640 --> 00:51:40,360
Speaker 1: you know, and it was like, I remember, proceed to

984
00:51:40,440 --> 00:51:43,480
Speaker 1: level nineteen. I remember when how do I proceed to

985
00:51:43,560 --> 00:51:46,480
Speaker 1: the parking lot and get out of here? The idea was,

986
00:51:46,760 --> 00:51:49,560
Speaker 1: the idea was, I remember the Lovely People. I never

987
00:51:49,600 --> 00:51:51,440
Speaker 1: met Glover. He was a floating head too, so they

988
00:51:51,440 --> 00:51:54,360
Speaker 1: got him and you know, fucking they got him up

989
00:51:54,400 --> 00:51:57,560
Speaker 1: in Kwanga or something. But the point is is that

990
00:51:59,880 --> 00:52:02,239
Speaker 1: I saw this movie and I said, I said to

991
00:52:02,320 --> 00:52:05,040
Speaker 1: my wife, I was like, that's it. I said, this

992
00:52:05,160 --> 00:52:08,600
Speaker 1: is the worst movie. It'll never be worse than this.

993
00:52:09,560 --> 00:52:18,239
Speaker 1: Proceed to level five and drawn and drawn, Yeah, that's

994
00:52:18,280 --> 00:52:20,080
Speaker 1: the worst. And I have a couple of other duds

995
00:52:20,120 --> 00:52:21,240
Speaker 1: too that we're not really.

996
00:52:21,480 --> 00:52:23,440
Speaker 2: Do you even know the name of your character in

997
00:52:23,480 --> 00:52:26,520
Speaker 2: the film. Well, should we look it up? I don't

998
00:52:26,560 --> 00:52:32,759
Speaker 2: know King Andrew, yes, King Overlord and King Philosophers or

999
00:52:32,800 --> 00:52:34,800
Speaker 2: whatever it was. I don't know. Adam.

1000
00:52:34,880 --> 00:52:40,239
Speaker 1: Yeah, we've got Andron there. I'm Adam. I guess that's

1001
00:52:40,280 --> 00:52:46,080
Speaker 1: Adam and Eve. Oh God, how clever. It's me Adam.

1002
00:52:46,840 --> 00:52:49,360
Speaker 2: Yeah, anything else on and.

1003
00:52:49,440 --> 00:52:52,120
Speaker 1: Alec Baldwin as Adam at the screening. You'll go to

1004
00:52:52,160 --> 00:52:57,920
Speaker 1: a screening and you really literally hear people go like, no,

1005
00:52:58,000 --> 00:53:01,120
Speaker 1: one's everyone's going, wow, this is rough.

1006
00:53:01,280 --> 00:53:05,080
Speaker 2: Remember my old picture Dead Weekend, written and directed by

1007
00:53:05,239 --> 00:53:06,040
Speaker 2: Amos Poe.

1008
00:53:06,360 --> 00:53:10,279
Speaker 1: Remember I remember the name? Yes, I remember you doing.

1009
00:53:10,680 --> 00:53:11,120
Speaker 2: What did you do?

1010
00:53:11,640 --> 00:53:12,920
Speaker 1: Last Exit to Brooklyn?

1011
00:53:13,360 --> 00:53:13,760
Speaker 2: Brilliant?

1012
00:53:14,320 --> 00:53:15,040
Speaker 1: What was the director?

1013
00:53:15,040 --> 00:53:17,640
Speaker 2: Again? It was of Last Exit?

1014
00:53:17,800 --> 00:53:18,000
Speaker 1: Yeah?

1015
00:53:18,840 --> 00:53:21,480
Speaker 2: Was uhh Uli Edel?

1016
00:53:22,520 --> 00:53:26,359
Speaker 1: Who's Uli Edel? Was the director that was named Uli Edel?

1017
00:53:26,640 --> 00:53:30,240
Speaker 2: Uly Edel? No, But it was based on the book

1018
00:53:30,920 --> 00:53:32,320
Speaker 2: by Hubert Selby Junior.

1019
00:53:32,320 --> 00:53:38,960
Speaker 1: Yes, Gobby Selby. Last Exit to Brooklyn. Stephen Lang starred

1020
00:53:39,600 --> 00:53:44,040
Speaker 1: with Alexis Arkett, Stephen Lang, Jennifer, Jason Lee Ert Young,

1021
00:53:44,840 --> 00:53:50,840
Speaker 1: Alexis Ket, Peter Dobson. I did uh marrying Stephen Baldwin.

1022
00:53:51,080 --> 00:53:55,920
Speaker 1: Ricky Lake, who directed the movie edel, I don't.

1023
00:53:55,760 --> 00:54:02,080
Speaker 2: Think so produced by Barrent. You're right. I apologize. I apologize.

1024
00:54:02,080 --> 00:54:04,200
Speaker 2: I thought it was somebody else. You know. I know

1025
00:54:04,280 --> 00:54:08,239
Speaker 2: all that I got fired from casualties of war. They

1026
00:54:08,360 --> 00:54:11,360
Speaker 2: paid me. I came home. I did left so, he

1027
00:54:11,520 --> 00:54:13,759
Speaker 2: remembers that, Thank you so much. Sam.

1028
00:54:14,239 --> 00:54:20,120
Speaker 1: Hey, I got your casualties of war right here, right here,

1029
00:54:21,239 --> 00:54:27,239
Speaker 1: all right. I have to call my wife.

1030
00:54:27,320 --> 00:54:29,760
Speaker 2: But you know what bad.

1031
00:54:32,280 --> 00:54:33,640
Speaker 4: Treating those batlets.

1032
00:54:34,000 --> 00:54:35,160
Speaker 5: It's so bad.

1033
00:54:35,360 --> 00:54:37,400
Speaker 2: It's good, damn.

1034
00:54:39,520 --> 00:54:43,600
Speaker 4: Said guilty madness, this understood.

1035
00:54:44,320 --> 00:54:45,120
Speaker 5: It's so bad.

1036
00:54:45,239 --> 00:54:46,640
Speaker 2: It's good. One bad