Speaker 1: Hey, there're Fana Ritos. Welcome back to how Rude Tana Ritos.
Speaker 1: We've talked a lot about how we were a family
Speaker 1: on Full House, but we aren't just referring to our
Speaker 1: cast members. Our family also includes our wonderful, hard working crew.
Speaker 1: Our guest today was an integral part of our crew
Speaker 1: on both Full House and Fuller House. Larry Blumenthal was
Speaker 1: one of our camera operators, and a very talented one
Speaker 1: at that. He is also an incredible composer and director
Speaker 1: of photography. He has known Jody and me since we
Speaker 1: were little kids just trying to hit our marks on
Speaker 1: the stage, and today we are so lucky to get
Speaker 1: to sit down and talk with him about his career,
Speaker 1: his memories from Stage twenty four, and so much more.
Speaker 2: Welcome Larry, It's so good to see you. Andrea. Oh
Speaker 2: my god, you're beautiful.
Speaker 1: I know I am so.
Speaker 3: I have to say, Larry, I saw him. Gosh, when
Speaker 3: was it now earlier or late? Was it late last
Speaker 3: year or early this year? Time has gone by so holy?
Speaker 1: I know.
Speaker 3: Hi. Larry drove all the way from New Mexico I
Speaker 3: did to come and see one of his best friends, Susan,
Speaker 3: who wrote a play that and I'm working with her
Speaker 3: on producing it. But Larry drove to see us do
Speaker 3: a reading of it in OHI drove all the way
Speaker 3: out and it was absolutely wonderful. And yeah, so it was.
Speaker 3: It was great.
Speaker 2: You were absolutely one. Oh my god, thank You're not
Speaker 2: used to seeing you in a more dramatic role, so
Speaker 2: to speak.
Speaker 3: Thank you. It was just yeah. I mean to have
Speaker 3: people you know that we've known for this long. I mean,
Speaker 3: that's the recurring theme I think of every guest that
Speaker 3: has come on the show is how much they absolutely
Speaker 3: loved working on full and Fuller House and what a
Speaker 3: completely unique experience it was.
Speaker 2: And I to take over the show for any reason whatsoever.
Speaker 2: But a little tidbit, just so you know, before Fuller
Speaker 2: House started, years before, back when John and you guys
Speaker 2: everybody was trying to get revived, I was in touch,
Speaker 2: not daily, but damn near daily. It must have felt
Speaker 2: like it for Bob. And I'm talking about Bob ahead. Yeah,
Speaker 2: And I said, Bob, if that show ever happened, I
Speaker 2: don't care what I'm doing, call me, let me know.
Speaker 2: I want to be on it. And I don't care
Speaker 2: if I'm doing a film in Borneo or somewhere. I said,
Speaker 2: I will, I will come running. And sure enough, when
Speaker 2: the first season happened, he called me up at home
Speaker 2: and he's said, Larry, I want to tell you it's
Speaker 2: a go. It's happening, and we haven't we haven't even
Speaker 2: hired a producer yet, so you'll get a call. And
Speaker 2: the funny call was I think the first producer first
Speaker 2: season was Steve Sandel.
Speaker 3: Yeah.
Speaker 2: Yeah, he calls me because boy, you know some people,
Speaker 2: don't you, And I said, I said why? He said, well,
Speaker 2: I've been hired to work on Fuller House. And the
Speaker 2: first call I was to make was to you, You're
Speaker 2: already hired, so and I said, okay, perfect, under what
Speaker 2: guys is well, Greg is still available? Said well, that's
Speaker 2: fine because it could have been either way, right as
Speaker 2: or cameraman. I didn't care. I told Bob, I just
Speaker 2: don't care. And Greg is so good at what he does,
Speaker 2: Oh my gosh.
Speaker 3: Greg Heshaw, who was our DP on Fuller House, who
Speaker 3: is also an incredibly lovely human and a dear, dear friend.
Speaker 2: Beautiful friend, old friend of mine. I've known Greg for
Speaker 2: almost fifty years.
Speaker 3: Wow.
Speaker 2: And I started in the business with him. Really and
Speaker 2: make the story short, which it is not.
Speaker 3: Now this is that's what the body is your episode. Yeah,
Speaker 3: this is your moment.
Speaker 1: Larry, this is your spotlight.
Speaker 3: Yes, this is it.
Speaker 2: I'm gonna make me cry. No, But seriously, the beautiful
Speaker 2: thing was that I knew I was getting toward the
Speaker 2: end of my cycle. I retired one year after we finished.
Speaker 2: I did one season of out Matched and then that
Speaker 2: was it. COVID came. I said, okay, I'm done, so
Speaker 2: but my whole thought and I even talked to Kelly Sanderfer,
Speaker 2: who was a producer on the show as well, and
Speaker 2: I said, what do you think, Kelly, after this is done,
Speaker 2: it's whatever it's going to do. I said, I don't
Speaker 2: care if it does ten years, I'm on. But he said,
Speaker 2: would you really go that long? And I said yes, absolutely,
Speaker 2: And he said, but you know, maybe if we get lucky,
Speaker 2: we get five, and then if we do, then then
Speaker 2: I'll be I'll be a happy camper. I've really it
Speaker 2: would be the perfect way to close out my are
Speaker 2: called film shooting, you know, cinematography career, because I do
Speaker 2: a lot of other things. But it was like going
Speaker 2: home those last five years and being with especially you
Speaker 2: gals you don't even know, and of course Bob God
Speaker 2: Blessing and Evan you know your friend Bump Sag. It
Speaker 2: just all of that, you know. I just, uh, it
Speaker 2: was you couldn't write a book, better finish out something,
Speaker 2: you know, so thank you. When I got the call
Speaker 2: and you guys suggested I show up, I said, I
Speaker 2: know I'm going to do is sit here and work
Speaker 2: bragg and praise about the show because it was its
Speaker 2: family it always has been. And uh, and all the
Speaker 2: crew people that would come on occasional as occasional replacements
Speaker 2: and so forth, most of them, not all of themause,
Speaker 2: some people are just you know, whatever they are, but
Speaker 2: most of them. How do I get on the show permanently?
Speaker 2: I said, good luck?
Speaker 3: Yeah, there really really was. And it's I'm always so
Speaker 3: honored that we have not only the legacy like with
Speaker 3: our fans, but the legacy with our crew and with
Speaker 3: people in this business who have seen the ins and
Speaker 3: outs and what, you know, what this business can be.
Speaker 3: And sometimes it's a grind, and sometimes it's not very fun.
Speaker 3: And sometimes the people you work with aren't aren't family.
Speaker 3: And that's you have a job and you're like Okay, cool,
Speaker 3: I go. I love like what I do, but it's
Speaker 3: not that. And and the hours, the hours of the grind.
Speaker 2: People don't realize that we're we're always hurrying up and waiting.
Speaker 3: And right right, the least glamorous.
Speaker 2: Time, a hurry for everything.
Speaker 3: Yes, right, we have to go now. An hour and
Speaker 3: a half later, well, we needed to fix something right now,
Speaker 3: a light went out.
Speaker 2: Boy, when we're when we're live, when we're we're running,
Speaker 2: and you guys are on, and you are on, and
Speaker 2: and the and and as as the funnel, I always
Speaker 2: thought to myself as the channel or channel or channeling
Speaker 2: the energy, you know, through that lens and it's going
Speaker 2: to go out to all those millions of people. And
Speaker 2: what a great honor that that is to think about
Speaker 2: that and anticipate. And I was always considered a pretty
Speaker 2: good camera operator as well as other things. One of
Speaker 2: the best. Yeah, and so how how you know, Josuick
Speaker 2: wrote about me in his book, you know, so that
Speaker 2: was honored for that, and I just my thought was
Speaker 2: that it's it's not about doing the work, it's anticipating
Speaker 2: and being part of what you were all doing. So
Speaker 2: aware of every little nuance of your facial you know,
Speaker 2: just there's little motions and first Jody I knew like
Speaker 2: the back of my hand. She was four and a half.
Speaker 2: So yeah, so you know, and and it just it's
Speaker 2: an amazing thing when you you finally become part of
Speaker 2: that ballet. It's for me, it's all music anyway. Yeah,
Speaker 2: usual are all as well.
Speaker 3: What a beautiful way to look at camera. You know,
Speaker 3: camera department and camera operators as being the funnel of
Speaker 3: that energy. And it's true, like you know, you as
Speaker 3: a camera operator, you have to know not only just
Speaker 3: what shots you need two shots or this or that,
Speaker 3: but like it's it is about capturing you know, who's
Speaker 3: gonna like being on someone's face when you know they're
Speaker 3: going to have a good reaction, or including them in
Speaker 3: a shot when you know it's gonna be worth it
Speaker 3: for their little you know, one little moment in a
Speaker 3: just that capturing of energy and like funneling it out
Speaker 3: to people. What I've never thought of it that way,
Speaker 3: And that's I love that, Jadie.
Speaker 2: That's really good what you just brought up. And I
Speaker 2: had a young camera operator that I was teaching things too,
Speaker 2: and they were met I was mentoring and I sat
Speaker 2: down and I said, look, here's the real the real job.
Speaker 2: It's not what you're seeing in the picture. It's not
Speaker 2: what's in the frame. It's something else. And that's something
Speaker 2: else that goes like this. Your girlfriend comes into the
Speaker 2: room and she sits down next to you, and she goes,
Speaker 2: I need to talk to you. What are you gonna do.
Speaker 2: You're gonna look out here, You're gonna think what. She's
Speaker 2: gonna say, what's up? What's hitting? What you know? You're
Speaker 2: gonna give her one hundred percent attention. Right then that's
Speaker 2: the job because when you start and you say action
Speaker 2: and you guys are about to do your thing, it's
Speaker 2: in my mind it's like that switch goes on and
Speaker 2: it's like the equipment isn't there anymore. I'm reaching it and
Speaker 2: I'm holding left hand, right hand to whatever the extremities
Speaker 2: of the frame ak and it's like a big hug,
Speaker 2: and I'm listening for everything. And that's exactly what I
Speaker 2: was always doing trying to do.
Speaker 1: I love the way you describe this like this is
Speaker 1: just so beautiful, The way you describe it so vividly
Speaker 1: and so sensory, like this is you're not just operating machinery.
Speaker 1: It is a very sensory experience.
Speaker 2: I love this well completely. The equipment's just the the
Speaker 2: garbage that we've somehow invented to allow us to to
Speaker 2: take off of the Golden Globe stage you know, upstage,
Speaker 2: downstage left, right, whatever, and and channel and put that
Speaker 2: out to millions of people later. Yeah, and now it's
Speaker 2: a beautiful thing. I mean, I go on Netflix and
Speaker 2: I see what we did those last five years, and oh,
Speaker 2: it's so beautiful and it's so clear. It's like, are
Speaker 2: right there. Yeah, And I have a hard time watching
Speaker 2: because you know, there's a lot of memories and we
Speaker 2: lost people. Yeah, you know, and there's some people that
Speaker 2: I love very much and I'll never see them again. Yeah,
Speaker 2: you know, it's just hard hard for me to watch it. Yeah,
Speaker 2: but yeah, you have to look at it. So did
Speaker 2: we do that? Wow?
Speaker 3: We really did? And we And it's funny you mentioned
Speaker 3: the belt. You said, you know that we're all sort
Speaker 3: of a part of the ballet, And all of a sudden,
Speaker 3: what came to my mind was Andrea in the rat
Speaker 3: costume in the Nutcracker episode the Nutcracker Ballet, and again,
Speaker 3: like the brilliant little in between moments that weren't lines,
Speaker 3: that weren't you know, it was just it was your face,
Speaker 3: it was your you know, and like, oh my god,
Speaker 3: the brilliant, brilliant moments that were captured of that. It was,
Speaker 3: you know, so ridiculous but so funny and and yeah,
Speaker 3: like that ballet of that we're all you know. And again,
Speaker 3: that's what I love about this business is watching every
Speaker 3: department hume along in its little groove and create this
Speaker 3: thing that you see that you know, when you're watching,
Speaker 3: it looks effortless and like it just happened and someone
Speaker 3: and you're just getting a window into it, when you know,
Speaker 3: really it took two hundred and fifty people to pull
Speaker 3: one zene off.
Speaker 2: Seriously. Another thing that I especially loved about this particular cast,
Speaker 2: you know, especially you through gals, and of course the
Speaker 2: guys as well. You know, there were such veterans in
Speaker 2: all ways. But what really made living there so wonderful
Speaker 2: for those five years, I have to say, is the
Speaker 2: the whole process where everyone is doing their thing, like
Speaker 2: you said, all the different parts. But yet we've had
Speaker 2: really great directors and we had some that were really
Speaker 2: you know, it's good, you know, whatever you know, and
Speaker 2: you could feel the difference. You could feel the disjointedness
Speaker 2: when things aren't flowing. But it didn't matter once the
Speaker 2: actual show was on and the audience is there and
Speaker 2: we're rolling. You all made it seem like there was
Speaker 2: no director that you were the directors you were. You
Speaker 2: were like the symbiotic parts of a larger body that
Speaker 2: we had the beautiful opportunity to be a part of
Speaker 2: watching and listening to. Well, I'll never forget that, but
Speaker 2: there's always to me. Don't worry. I know this rehearsal sucking,
Speaker 2: you have this, This directors an idiot, because once once
Speaker 2: we get there, okay, it won't matter because you know
Speaker 2: the Candice and and Jodie and Andrew, they don't they
Speaker 2: don't care. They'll just don't. They're gonna do what they're
Speaker 2: gonna do anyway, right bottom line.
Speaker 3: And you know, well that's true. You know it was funny.
Speaker 3: I do remember so many times, even like blocking and stuff,
Speaker 3: where it was like, you know, rehearsal day, but we'd
Speaker 3: just come in and it was like we'd start sometimes
Speaker 3: doing the scene and I don't know, if it was
Speaker 3: rich that would kind of go I don't just see
Speaker 3: what you do. But Sender would do that sometimes too,
Speaker 3: unless there was something very specific. But it was so
Speaker 3: interesting to realize, like even as I was reading the
Speaker 3: script before we would even get on stage, like I
Speaker 3: saw exactly how the action was going to play, because
Speaker 3: it was like being in your own house, so you
Speaker 3: like knew, and you know, half the time we would
Speaker 3: be doing rehearsal and it was like we just sort
Speaker 3: of did whatever we did in the scene and then
Speaker 3: it was like, well, yeah, that works. Everyone got to
Speaker 3: where they needed to be and got to the prop
Speaker 3: that they needed to get to and crossed when they
Speaker 3: needed to do, and for the most part, it was
Speaker 3: we just sort of had that sense of it, like
Speaker 3: we knew when we should cross when we should you know,
Speaker 3: it's like a senate yet.
Speaker 2: Yeah, yeah, I really believe that great actors on a
Speaker 2: great working set that's a good one that is identifiable
Speaker 2: and well known to the public at large. This set
Speaker 2: itself has a muscle memory, Oh definitely. And then that
Speaker 2: works for the cameras too, you know. I mean, you know, okay,
Speaker 2: I don't know how many times in my particular case,
Speaker 2: the technical coordinator or the directory go you're already there.
Speaker 2: You know, Yeah, it's obvious.
Speaker 3: I saw, right, what do you got something new, something
Speaker 3: else gonna happen, right right.
Speaker 1: We were a well oiled machine. And I always felt
Speaker 1: bad for those directors that would cut, like the one
Speaker 1: off directors, because right.
Speaker 3: Right, because they'd come in and we were like like
Speaker 3: we were a family, you know, yeah, we're like we
Speaker 3: we are out of control, out of hand, and best
Speaker 3: of luck corralling us. And but but at the same time, like,
Speaker 3: don't worry, we'll get it done. Like it looks you
Speaker 3: we're all over the planet. Well, don't worry, we'll be fine.
Speaker 1: Come Friday night, It'll all the magic.
Speaker 3: I'm happy, Yeah, it will have Yeah. I where though
Speaker 3: every Friday night we would go out for intros and
Speaker 3: at that moment I would go, oh no, I don't
Speaker 3: know what I'm doing, like and it was every show,
Speaker 3: no matter what, I would just be like, it's gone.
Speaker 3: I don't know what happened. It was like like my
Speaker 3: brain would go totally blank. We'd be getting ready before
Speaker 3: Gwen would be there, we'd be running lines whatever, and
Speaker 3: then we would start and it was like, oh, oh no,
Speaker 3: there it is like and it just like clicked on
Speaker 3: and it would go and you're like, oh, oh, this
Speaker 3: is fine. But every show I felt like, no matter what,
Speaker 3: you have that moment where you're like, I can't do this.
Speaker 2: You who No, No, it's it's almost overwhelming. I mean
Speaker 2: it's the same thing. I mean I was, you know,
Speaker 2: I know this is not a good habit, but I
Speaker 2: was one of those people that never took notes. Oh
Speaker 2: people always take notes. And they'd go over and they'd
Speaker 2: look and there's nothing on my pad, and I go,
Speaker 2: I'm watching the rehearsal. I'm watching what they do. And
Speaker 2: if I'm not identically watching and aware of where they're going,
Speaker 2: and then we're not dancing. Yeah, right, we have to
Speaker 2: dance together. And because they might do a different step,
Speaker 2: they might go somewhere else, or.
Speaker 3: Something they might cross slightly earlier, or something like, I
Speaker 3: need to know what the what it's about. Sure, Clarry,
Speaker 3: you are legendary in truly in this business. You have
Speaker 3: been a camera operator well over forty years, and I
Speaker 3: just I just love hearing all the stuff that you
Speaker 3: have created, and you know, not to mention you're composing,
Speaker 3: which I have been raving about, and your you know,
Speaker 3: your art and your activism and you know all of
Speaker 3: the things that you do that I just you know,
Speaker 3: I love you for. But but what was it for
Speaker 3: you that like like going way way back? What was
Speaker 3: it that made you go, this is what I want
Speaker 3: to do, This is how I want to create art
Speaker 3: in the world.
Speaker 2: This is funny, it's actually true. Two things. When I
Speaker 2: was very young, I loved bloney and I would take
Speaker 2: a little hole out of the very center of it
Speaker 2: and I called it record meet and Mom would go
Speaker 2: so well, I got to buy some more record meat
Speaker 2: for Larry because I could put it on my finger
Speaker 2: and i'd spin it now. And then secondly, when I
Speaker 2: started to learn to read, which is probably about five
Speaker 2: or six years old, I was early early I'm reading
Speaker 2: compared to most kids. I saw a movie and it
Speaker 2: was about the Lumier brothers, believe it or not. And
Speaker 2: it was an old I think Walter Pigeon or somebody
Speaker 2: like that was and I don't even remember the name
Speaker 2: of the film. And in it, I saw that his
Speaker 2: girlfriend or wife or somebody came over to him and
Speaker 2: took a book and she had put dots in the
Speaker 2: sides of the page with a cat and a stick
Speaker 2: for your lady with a umbrella trying to hit the
Speaker 2: and she flipped the pages to make the end flipped.
Speaker 2: I was like five at that time, and I saw that,
Speaker 2: and I asked my dad to go gat some three
Speaker 2: by five cards to give me a big deck, and
Speaker 2: I drew pictures for hours, and I made a big
Speaker 2: flip image of a rocket taking on. That was my
Speaker 2: first movie. That's where it started. And so you don't
Speaker 2: know what things are going to come at you that
Speaker 2: you are just just grab you, you know. My mother
Speaker 2: also had an ultra ultra sensitive hearing, and she couldn't
Speaker 2: read a note of music, but she was always good
Speaker 2: at at playing piano by ear. She had very good
Speaker 2: tonal acuity, which I didn't know as a child that
Speaker 2: I had that too. It's not perfect pitch. It's called
Speaker 2: relative pitch. Perfect pitch is something you can have if
Speaker 2: you enhance it by the time you're five, but if
Speaker 2: you're fifter five, it goes away. Generally speaking, it goes away.
Speaker 2: Almost everybody can do it if you are caught soon
Speaker 2: enough and if you're trained well enough. I think there's
Speaker 2: something like forty or fifty phonemes that are in the
Speaker 2: English language, and they're all the same ones that may
Speaker 2: call it, you know, they all those sounds and put
Speaker 2: in different order. Those forty or fifty sounds create our
Speaker 2: words that we understand. But in some areas, like in
Speaker 2: certain areas of China and so forth, they have like
Speaker 2: two hundred and fifty they have four hundred phone memes,
Speaker 2: so it's not just eh, it's all mean something else.
Speaker 2: We don't have that in our language. So the problem
Speaker 2: is as our kids grow older and get to become
Speaker 2: five or six years old, all of that starts to
Speaker 2: go away, right, You.
Speaker 3: Lose the ability to hear those distinct sounds in yeah,
Speaker 3: and also the almost the exact tongue placement of like
Speaker 3: like some languages that are very they have like a
Speaker 3: this is my weird little ad d linguist moment, but
Speaker 3: like they call it like a glottal stop where it's
Speaker 3: kind of that thing in the back of your throat,
Speaker 3: like a lot of Vietnamese things like that becomes very
Speaker 3: hard to do, almost perfectly, because you don't learn how
Speaker 3: to like position your tongue and your soft palate in
Speaker 3: the correct way, and so as your mouth forms you
Speaker 3: lose that ability anyway, random little side note, but but yeah,
Speaker 3: it like that is I mean the language and art
Speaker 3: and all of that like that, that was the thing
Speaker 3: that you wanted to do and tell stories and be
Speaker 3: able to like express to the world.
Speaker 2: Right absolutely, And so for me the visual thing and
Speaker 2: the sensing of sound and rhythms and such. I was
Speaker 2: usually left home my folks. I could go out on
Speaker 2: the evenings and I would take care of my little
Speaker 2: brother was seven years younger. So we had a back
Speaker 2: in those days. Weren't even stereo, but it was a hi
Speaker 2: fi system. We had a local channel that had almost
Speaker 2: no advertising on it at all. It was all classical music.
Speaker 2: That's what I would turn on to listen to and
Speaker 2: just lie on the living room floor underneath that hi
Speaker 2: fi just to kind of have have my fright. You know,
Speaker 2: your kids are young, they're scared of things, and I
Speaker 2: felt like, well it was here, I'm calm and everything's good.
Speaker 2: So all of those things kind of blended together to
Speaker 2: create this media, this desire to observe, and then the
Speaker 2: next thing that happens. I've discovered the great films of
Speaker 2: David Lean and the great films of Hitchcock, and of
Speaker 2: course many many others. I mean, certainly uh, we could
Speaker 2: go on and on. But the way that I learned
Speaker 2: how some directors liked the way that we get performers
Speaker 2: to come up with what it is they had in
Speaker 2: their mind for their film. It was always extremely interesting
Speaker 2: to me that whole directorial approach. Some are just dictatorial,
Speaker 2: just do it this way, don't want to ask you no,
Speaker 2: no no. That's sort of the way Hitchcock was, whereas Lean,
Speaker 2: he would try to infuse a reaction into his actors
Speaker 2: and get them to respond, but usually by some other
Speaker 2: vicarious thing. An example, I don't need to take up
Speaker 2: on your space.
Speaker 3: You're not at all. This is like this, this was
Speaker 3: the question that we asked this. We love we love
Speaker 3: have like we're so excited to learn from the people
Speaker 3: that we grew up around. And it's so much fun
Speaker 3: to interview people because we're like, tell us everything you
Speaker 3: know and what inspired you. It's great.
Speaker 2: You humble me and you embarrassed people. Gosh, well, this
Speaker 2: is a great story. And I I saw an interview
Speaker 2: or I read it somewhere, but it was from David
Speaker 2: Lean himself back when he was alive, and he was
Speaker 2: talking about doctor Chevago Ohmarsharif Ohmarsharif goes to this hyphalutin
Speaker 2: Tsarist party on the second or third floor, and Laura's
Speaker 2: there and all the other characters are in there, and
Speaker 2: all these people and they're all, you know, dancing around
Speaker 2: in great music and food and drink and I'll be merried, wealthy. Meanwhile,
Speaker 2: down on the streets, one of the very first demonstrations
Speaker 2: by the Bolsheviks is about to happen, and unbeknownst to him,
Speaker 2: doctor Zavago oh marsha Eve goes out on the balcony
Speaker 2: just gets mayor because he's not real happy with the
Speaker 2: environment that he's under or in. And as he's going
Speaker 2: out there, the the Bolsheviks are beginning to with the peaceful,
Speaker 2: peaceful you know, down the street with signs and the
Speaker 2: whole thing, and the guards, the Tsar's guards go on
Speaker 2: and start just killing them, just wipes them out. I
Speaker 2: don't remember that particular scene. The reason this scene was
Speaker 2: so extraordinary because you never really see any violence. You
Speaker 2: don't see the blood thirsty side of it. What you
Speaker 2: see is all in the reactions of the close up
Speaker 2: of Omar Sharif's face. Now, how does a director get
Speaker 2: that huge scene with all that that all that it
Speaker 2: has to express politically and every otherwise. In a close
Speaker 2: up on one new actor his face, how does he
Speaker 2: not well, this is what he did. He didn't tell
Speaker 2: Omar what the scene was about, and the camerades is ready.
Speaker 2: This is what I want you to do. You walk
Speaker 2: out on the balcony. You look out and you see
Speaker 2: the most beautiful woman you've ever seen in your life,
Speaker 2: and you're you're amazed by her, and you're a little
Speaker 2: bit shy because you don't want to tip off it.
Speaker 2: You're kind of staring at her. But then she does
Speaker 2: some things that you just you can't not watch, and
Speaker 2: it's so overwhelming you almost but just before you do,
Speaker 2: you stop yourself, and then it builds up again, and
Speaker 2: then you stop yourself, but you're always on the crest
Speaker 2: of it. That's what I want you to do in
Speaker 2: the scene. That's what he did.
Speaker 3: Wow, Agony and ecstasy, right, yeah, yeah, that makes sense, right,
Speaker 3: And and what a fitting emotional tone or exactly that
Speaker 3: the joy and the fear and the all of it, like.
Speaker 2: The brilliance of that thing to to give a tool
Speaker 2: to the actor. But just you know, just's just try
Speaker 2: this to see if this works. Unbelievable genius. So anyways,
Speaker 2: those kinds of things as I was growing up and
Speaker 2: and watching these films, and you know, watching Kubrick's films,
Speaker 2: and just you know, the the the the breadth of
Speaker 2: filmmaking in every respect of it, the visual spectacle. I
Speaker 2: was a cinerama freak. I love Ultrapana vision. I loved
Speaker 2: all the three D stuff. I went crazy on.
Speaker 3: What's what's your favorite? What's one of your favorite movies?
Speaker 3: I don't know if you could pick one, but one
Speaker 3: of your there is one.
Speaker 2: There's one, but it's not really a film in the words,
Speaker 2: there's this this thing. And then all the great films
Speaker 2: might I think the greatest, one of the greatest films,
Speaker 2: for example, was Lawrence of Arabia is certainly one of
Speaker 2: the great ones. And there's many wonderful films. I mean,
Speaker 2: they just go on from but there's one that is
Speaker 2: so much higher than all the rest. It doesn't qualify
Speaker 2: as a film. And I told the maker of the
Speaker 2: film that personally, and he actually got a little tear
Speaker 2: in his eye. He was so moved by what I said.
Speaker 2: And it was Schinner's list, and I said, Steve, every
Speaker 2: human being before the age of seventeen. Should be required
Speaker 2: to see this before the embark upon becoming a human,
Speaker 2: that's my opinion. But it's so there's so much in
Speaker 2: it that even yeah today, it's so relevant. Yeah that
Speaker 2: it's overwhelming.
Speaker 3: Anyway, I love, yeah that I always like finding out,
Speaker 3: like what is what is the piece that moves you
Speaker 3: or makes you excited about working, you know in this business? Yea,
Speaker 3: and that that is I mean talk about of incredible cinema.
Speaker 2: And then here's other greatest film. I think Spielberg's greatest
Speaker 2: film was Empire of the Sun, the one about the
Speaker 2: little guy that was living amongst the type age Yeah, yeah,
Speaker 2: under Japanese control, and there was so much symbology and symbology.
Speaker 2: John Malkovich is in it and croud of ball.
Speaker 3: Oh he's so good.
Speaker 2: Of course, the score is amazing with all the Welsh
Speaker 2: influence and then the Asian music as well that John
Speaker 2: Williams incorporated in the whole thing. Unbelievably beautiful film.
Speaker 3: Well, that was part one of our interview with the
Speaker 3: amazing and wonderful Larry Blumenthal. And there are so many
Speaker 3: things to catch up on and pick his brain about,
Speaker 3: so we will be releasing part two of this interview
Speaker 3: on Friday, so stay tuned in the meantime. If you
Speaker 3: want to follow us on Instagram, you can find us
Speaker 3: at how Podcast send us a DM make sure you're
Speaker 3: following us on there. Also, you can send us an
Speaker 3: email at Howard Podcast at gmail dot com and make
Speaker 3: sure you're liking and subscribing to the podcast wherever you're
Speaker 3: listening to so that we can stay up in the charts,
Speaker 3: and also so that you can get all of the
Speaker 3: newest episodes as soon as they come out every week.
Speaker 3: So thank you so much for listening to this episode.
Speaker 3: We will be back next time with more And remember
Speaker 3: the house. No, damn it, damn it. I almost said
Speaker 3: the house is small, but the world world is full.
Speaker 3: And that's also true, but not what we're supposed to
Speaker 3: the world is small and the house is full. Why
Speaker 3: does that not say? Does that get your bracelet? Where's
Speaker 3: your bracelet? Jesus?
Speaker 2: That's off.
Speaker 3: The world is small but the house is full. Why
Speaker 3: does that sound weird today? It sounded right the first
Speaker 3: way you said it. The house is small but the
Speaker 3: world is full. No, you're right, that's not wild. But
Speaker 3: the world is small, but the house is full. I
Speaker 3: don't know what's happened, but somehow, I'm it doesn't sound
Speaker 3: right at all of the anytime we need bracelets and
Speaker 3: que cars, that's what we need, Jesus. But even I'm
Speaker 3: saying you correctly, I'm like, is that correct? I don't
Speaker 3: even know whatever. Next time, guys, tune in for part two,
Speaker 3: we'll be here still trying to figure out if what
Speaker 3: we're saying is true or correct