1
00:00:00,200 --> 00:00:04,600
Speaker 1: Now here's a highlight from Coast to Coast AM on iHeartRadio.

2
00:00:05,040 --> 00:00:07,520
Speaker 2: Welcome back to Coast to Coast George Nori with you

3
00:00:07,560 --> 00:00:10,200
Speaker 2: along with March's decree. Mark, I didn't know that you

4
00:00:10,240 --> 00:00:11,879
Speaker 2: were such an accomplished singer.

5
00:00:13,960 --> 00:00:16,440
Speaker 3: Just for you, George. That's the only time when when

6
00:00:16,760 --> 00:00:18,720
Speaker 3: you and Tom came to me and said we want

7
00:00:18,720 --> 00:00:22,000
Speaker 3: our song for Christmas. I chose the Great Classic by

8
00:00:22,040 --> 00:00:26,520
Speaker 3: Tom Larra and it was great fun to do. But

9
00:00:26,520 --> 00:00:28,920
Speaker 3: but most of my time I'm writing and producing and directing,

10
00:00:28,960 --> 00:00:32,440
Speaker 3: as you know, and it's really fun. You know, it's funny.

11
00:00:32,479 --> 00:00:34,479
Speaker 3: It's so wonderful that my own studio, full of all

12
00:00:34,520 --> 00:00:37,160
Speaker 3: these spaceship props and all these things, all these things,

13
00:00:37,600 --> 00:00:41,360
Speaker 3: and my fans from you know, have basically financed me

14
00:00:41,440 --> 00:00:45,480
Speaker 3: four million dollars to date, and I'm raising another twenty

15
00:00:45,479 --> 00:00:47,560
Speaker 3: million to make the five pilots we're going to be making.

16
00:00:47,640 --> 00:00:51,720
Speaker 3: So between cloud funding and selling investment shares, it's gone wonderfully.

17
00:00:51,760 --> 00:00:58,040
Speaker 3: I mean, people really want to see positive, hopeful future stories,

18
00:00:58,120 --> 00:01:00,000
Speaker 3: you know, stories that say we can reach a crossbound

19
00:01:00,040 --> 00:01:03,240
Speaker 3: he's embarrassed, a world worth living in. And you know,

20
00:01:03,280 --> 00:01:06,520
Speaker 3: when you talk about Rod Stirling, Rod was not a fatalist.

21
00:01:06,600 --> 00:01:09,520
Speaker 3: He was he was he loved humanity. He had hope

22
00:01:09,520 --> 00:01:13,240
Speaker 3: for humanity. The darker episodes of Twilight Zone, he's given

23
00:01:13,319 --> 00:01:16,400
Speaker 3: cautionary tales like monsters are do on Maple Street or

24
00:01:16,720 --> 00:01:18,640
Speaker 3: or the after the bomb stories. He did, you know,

25
00:01:18,959 --> 00:01:22,160
Speaker 3: because he had hope for humanity, just like Geen Roddenberry

26
00:01:22,200 --> 00:01:25,080
Speaker 3: on Star Trek. These were these were great, great men

27
00:01:25,120 --> 00:01:29,560
Speaker 3: with vision. And to celebrate Rod's hundred's birthday tonight with

28
00:01:29,640 --> 00:01:32,400
Speaker 3: you is this is the best thing I think I

29
00:01:32,440 --> 00:01:34,960
Speaker 3: could be doing on christ It's a Christmas gift to me, George,

30
00:01:35,120 --> 00:01:36,479
Speaker 3: to be spending this time with you.

31
00:01:37,680 --> 00:01:40,400
Speaker 2: Did he know that he had health issues before he

32
00:01:40,480 --> 00:01:43,360
Speaker 2: passed on.

33
00:01:42,080 --> 00:01:44,640
Speaker 3: Only towards the very end. You know, he was a

34
00:01:45,080 --> 00:01:49,880
Speaker 3: four packa day smoker. He lived very intensely and uh,

35
00:01:49,920 --> 00:01:52,840
Speaker 3: and then his heart started to fail, and you know,

36
00:01:52,880 --> 00:01:55,480
Speaker 3: he had open heart surgery and and and died as

37
00:01:55,520 --> 00:01:57,760
Speaker 3: a result of the open heart surgery. So it was

38
00:01:57,880 --> 00:02:00,440
Speaker 3: very tragic. I think probably nowadays, with all the events

39
00:02:00,440 --> 00:02:02,560
Speaker 3: and the surgery, they probably could have saved him and

40
00:02:02,560 --> 00:02:04,760
Speaker 3: certainly he would have known to stop smoking. You know,

41
00:02:04,760 --> 00:02:06,360
Speaker 3: people often asked me if I could go back in

42
00:02:06,400 --> 00:02:09,440
Speaker 3: time and ask Rod serving a question. What would I ask?

43
00:02:09,520 --> 00:02:10,880
Speaker 3: And I asked and say, well, I don't think i'd

44
00:02:10,880 --> 00:02:12,919
Speaker 3: asked a question. I just tell him to stop smoking.

45
00:02:13,400 --> 00:02:15,919
Speaker 3: And you know, because we would love to have Rod

46
00:02:15,960 --> 00:02:18,720
Speaker 3: with us even now. I mean, Kirk Douglas made it

47
00:02:18,760 --> 00:02:21,200
Speaker 3: past one hundred and it would have been wonderful if

48
00:02:21,280 --> 00:02:22,079
Speaker 3: Rod could have two.

49
00:02:22,639 --> 00:02:24,840
Speaker 2: How many years did Twilight Zone run?

50
00:02:25,720 --> 00:02:28,960
Speaker 3: It ran five seasons. Four of those seasons were half

51
00:02:28,960 --> 00:02:32,399
Speaker 3: hour episodes and then one season was eighteen hour long

52
00:02:32,440 --> 00:02:36,640
Speaker 3: episodes the fourth season, and it was just there wasn't

53
00:02:36,639 --> 00:02:39,760
Speaker 3: anything like it on TV then or now. And it's

54
00:02:39,760 --> 00:02:43,480
Speaker 3: the greatest looking black and white show ever made, great writing,

55
00:02:43,520 --> 00:02:46,919
Speaker 3: great acting, great composers, Bernard Herman, Jerry Goldsmith, I mean,

56
00:02:47,280 --> 00:02:50,480
Speaker 3: just the top people working in film and TV. It

57
00:02:50,560 --> 00:02:52,600
Speaker 3: was the writing of the Tractor. It was Rod's writing

58
00:02:52,639 --> 00:02:53,959
Speaker 3: that it all started with that.

59
00:02:55,000 --> 00:02:57,480
Speaker 2: I was watching It's a Wonderful Life, which I try

60
00:02:57,480 --> 00:03:00,760
Speaker 2: to do every year, one of the classics, and that's

61
00:03:00,800 --> 00:03:04,760
Speaker 2: black and white too. There's something weird and special about

62
00:03:04,800 --> 00:03:06,359
Speaker 2: black and white, is there?

63
00:03:06,480 --> 00:03:09,839
Speaker 3: Yeah? Yeah, yeah. It just puts it in a puts

64
00:03:09,840 --> 00:03:12,120
Speaker 3: you in a certain frame of mind. It's just it

65
00:03:12,200 --> 00:03:15,240
Speaker 3: takes you to a place, and you know, people try

66
00:03:15,280 --> 00:03:18,280
Speaker 3: and colorize these things, but I really loved really great

67
00:03:18,440 --> 00:03:20,720
Speaker 3: black and white photography. You know George Clemens, who was

68
00:03:20,760 --> 00:03:23,640
Speaker 3: the great cinematographer on Twilight Zone. He went an Emmy

69
00:03:23,639 --> 00:03:26,560
Speaker 3: for Twilight Zone, but he'd been a cameraman on everything

70
00:03:26,600 --> 00:03:29,519
Speaker 3: from Blood and Sand with Rudolph Valentino to Richer Verdu

71
00:03:29,560 --> 00:03:31,640
Speaker 3: with Chaplain. I mean, this guy came up through the

72
00:03:31,680 --> 00:03:34,240
Speaker 3: great Golden era of Hollywood. And when you look at

73
00:03:34,280 --> 00:03:38,160
Speaker 3: Twilights and you just see how spectacularly it's filmed, it's

74
00:03:38,200 --> 00:03:40,680
Speaker 3: just miraculous. I think it's the most beautiful television show

75
00:03:40,760 --> 00:03:41,200
Speaker 3: ever shot.

76
00:03:42,040 --> 00:03:44,680
Speaker 2: What was one of your favorite Twilight Zone episodes?

77
00:03:45,520 --> 00:03:48,360
Speaker 3: Oh gosh, Well, you know I love Walking Distance, which

78
00:03:48,400 --> 00:03:51,600
Speaker 3: is Rod's farewell to his father. You know, his dad

79
00:03:51,640 --> 00:03:54,400
Speaker 3: died when Rod was overseas in World War Two and

80
00:03:54,440 --> 00:03:56,280
Speaker 3: he wasn't able to come to the funeral. And so

81
00:03:56,400 --> 00:03:59,360
Speaker 3: this is a twilights On episode where an executive walks

82
00:03:59,400 --> 00:04:01,840
Speaker 3: back his hometown. He finds himself in the past of

83
00:04:01,920 --> 00:04:04,520
Speaker 3: his boyhood and he wants to stay there, and his

84
00:04:04,520 --> 00:04:05,920
Speaker 3: father is to tell him that he has to go

85
00:04:06,640 --> 00:04:09,480
Speaker 3: back to his time and find happiness. There. But that

86
00:04:09,560 --> 00:04:12,600
Speaker 3: was really Rod finally having a goodbye to his father,

87
00:04:12,880 --> 00:04:14,560
Speaker 3: to have that last moment with his father that he

88
00:04:14,680 --> 00:04:17,440
Speaker 3: so longed for. And so that's a great episode. But

89
00:04:17,480 --> 00:04:19,960
Speaker 3: there's so many. I mean, I think any Twilights On

90
00:04:20,000 --> 00:04:22,320
Speaker 3: episode are going to get value from a nightmare twenty

91
00:04:22,360 --> 00:04:24,719
Speaker 3: thousand feet, the Grimlin on a wing, or that great

92
00:04:24,800 --> 00:04:27,120
Speaker 3: villain on the episode with wishing people to the cornfield.

93
00:04:27,200 --> 00:04:29,080
Speaker 3: I mean, it's funny because when Bill and I are

94
00:04:29,080 --> 00:04:31,760
Speaker 3: working together on space Command, Bill he'll say, oh, be careful,

95
00:04:31,839 --> 00:04:34,560
Speaker 3: I'll wish you to the cornfield. You know it's and

96
00:04:35,279 --> 00:04:35,920
Speaker 3: he can do it.

97
00:04:37,080 --> 00:04:40,400
Speaker 2: What of mine? You as you well know, to serve man.

98
00:04:41,200 --> 00:04:46,440
Speaker 3: Yes, Yes, a great episode and it's wonderful. Richard Keel,

99
00:04:46,520 --> 00:04:48,920
Speaker 3: who later played the character Jaws, the villain Jaws of

100
00:04:48,960 --> 00:04:51,839
Speaker 3: the James Bond movies, played all of the aliens in

101
00:04:51,880 --> 00:04:55,120
Speaker 3: that film in that episode and he was great and

102
00:04:55,240 --> 00:04:57,680
Speaker 3: has one of the great greatest, you know, swist endings

103
00:04:57,680 --> 00:04:59,600
Speaker 3: of any Twilights One episode.

104
00:05:00,320 --> 00:05:02,760
Speaker 2: What were they called Cannamites or something like that.

105
00:05:03,240 --> 00:05:05,960
Speaker 3: Cannabis. Yeah, I think it's a play on Cannibal. And

106
00:05:06,440 --> 00:05:09,800
Speaker 3: it's Damon Knight, who was a great short story writer

107
00:05:10,080 --> 00:05:13,440
Speaker 3: and who instantly bought my first short story. He wrote

108
00:05:13,480 --> 00:05:16,200
Speaker 3: that short that that story when he was when his

109
00:05:16,240 --> 00:05:18,560
Speaker 3: wife was out with another man, and Rod read the

110
00:05:18,600 --> 00:05:20,880
Speaker 3: story and bought it and adapted it to Twilight Zone.

111
00:05:20,960 --> 00:05:25,599
Speaker 3: So I interviewed Damon when I wrote the Twilight Zone companion.

112
00:05:26,040 --> 00:05:30,279
Speaker 2: Mark Hollywood is going through a tremendous metamorphosis these days.

113
00:05:30,279 --> 00:05:31,000
Speaker 2: What's happening?

114
00:05:31,920 --> 00:05:35,839
Speaker 3: Yes, Well, you know, I think it's a mixture of

115
00:05:35,880 --> 00:05:40,080
Speaker 3: different different elements. You know. I think that in some

116
00:05:40,160 --> 00:05:43,200
Speaker 3: cases Hollywood, you go to movies and they're like the

117
00:05:43,240 --> 00:05:45,120
Speaker 3: same old thing, the same old thing. It's hard to

118
00:05:45,160 --> 00:05:48,120
Speaker 3: see something that's original. Every now and then you find something.

119
00:05:48,480 --> 00:05:51,919
Speaker 3: But also it's so easy now for people to shoot

120
00:05:51,960 --> 00:05:54,919
Speaker 3: their own films, to shoot their own TV shows and movies.

121
00:05:55,040 --> 00:05:56,560
Speaker 3: I mean, I have my own channel on YouTube that

122
00:05:56,640 --> 00:05:59,840
Speaker 3: reaches around the world. I have millions of views of

123
00:06:00,000 --> 00:06:03,760
Speaker 3: one hundred thousand subscribers, and I think people if you

124
00:06:03,800 --> 00:06:05,919
Speaker 3: want to have your own voice, and it's exactly what

125
00:06:06,000 --> 00:06:08,960
Speaker 3: Rod was talking about back in the fifties. He's created

126
00:06:08,960 --> 00:06:11,680
Speaker 3: twilights on too avoid censorship. If he were here now,

127
00:06:11,720 --> 00:06:14,159
Speaker 3: he'd probably be wounding kickstarter campaigns. He'd be doing what

128
00:06:14,200 --> 00:06:16,880
Speaker 3: I was doing because I have total freedom now. But

129
00:06:17,320 --> 00:06:19,480
Speaker 3: I have no interest in working for the studios and

130
00:06:19,520 --> 00:06:24,719
Speaker 3: the networks because I don't need their guidance quote unquote

131
00:06:24,960 --> 00:06:28,920
Speaker 3: to make my work a disaster. I can make it

132
00:06:28,960 --> 00:06:30,720
Speaker 3: the way I want it. I can cast who I want.

133
00:06:31,120 --> 00:06:34,880
Speaker 3: It's very easy. It's total artistic control, which I really

134
00:06:34,920 --> 00:06:35,440
Speaker 3: love having.

135
00:06:35,839 --> 00:06:37,880
Speaker 2: And you could do it cheaper, can't you?

136
00:06:38,279 --> 00:06:41,719
Speaker 3: Yes? Much cheaper? Yes, what costs the studios millions, we

137
00:06:41,720 --> 00:06:45,080
Speaker 3: can do for hundreds of thousands of dollars. And you know,

138
00:06:45,320 --> 00:06:47,160
Speaker 3: and the fun part is one thing I learned from

139
00:06:47,240 --> 00:06:50,880
Speaker 3: Rod that was so invaluable. He shot twilights under the MGM,

140
00:06:50,920 --> 00:06:54,000
Speaker 3: and he had access to every prop, every costume, every set,

141
00:06:54,080 --> 00:06:58,400
Speaker 3: everything at MGM ever made. So you'll see tons of

142
00:06:58,440 --> 00:07:00,720
Speaker 3: stuff from Forbidden Planet in Twilight Zone, or you'll see

143
00:07:00,720 --> 00:07:03,040
Speaker 3: them shooting an episode on the Andy Hardy Street on

144
00:07:03,080 --> 00:07:05,440
Speaker 3: the MGM back lot. So I did the same thing

145
00:07:05,440 --> 00:07:09,080
Speaker 3: when I was at Sliders on the Universal lot, and

146
00:07:09,120 --> 00:07:12,000
Speaker 3: now that I'm doing Space Command. Whenever a big budget

147
00:07:12,000 --> 00:07:15,520
Speaker 3: science switch and TV show movie ends, a lot of

148
00:07:15,520 --> 00:07:18,480
Speaker 3: those props and costumes and sets come on the market,

149
00:07:18,480 --> 00:07:20,480
Speaker 3: come up for auction. I can buy them penny's on

150
00:07:20,520 --> 00:07:23,120
Speaker 3: the dollar. So that's added to what we design and

151
00:07:23,120 --> 00:07:27,520
Speaker 3: build from scratch, and it is a much more production value.

152
00:07:27,800 --> 00:07:31,200
Speaker 3: And so if you go on my three sound stages,

153
00:07:31,440 --> 00:07:34,040
Speaker 3: you see, you know, we have like thirty space suits

154
00:07:34,080 --> 00:07:37,200
Speaker 3: like from the original Twilight Zone and from Prometheus. We've

155
00:07:37,280 --> 00:07:40,240
Speaker 3: sets from the you know, Andrews game, and all sorts

156
00:07:40,280 --> 00:07:43,120
Speaker 3: of movies and TV shows. It's just it's like a museum.

157
00:07:43,360 --> 00:07:47,320
Speaker 3: But it also allows us to work very, very effectively,

158
00:07:47,720 --> 00:07:50,880
Speaker 3: and it's just a sheer joy. And we're having a party, George,

159
00:07:50,920 --> 00:07:54,440
Speaker 3: January first, to our studio and any of your coast

160
00:07:54,480 --> 00:07:57,440
Speaker 3: to Post team is certainly welcome, including you and Tom

161
00:07:57,480 --> 00:08:00,760
Speaker 3: and everybody of course. And it's just such a joy

162
00:08:00,800 --> 00:08:03,280
Speaker 3: to be able to share all of this with everyone.

163
00:08:03,360 --> 00:08:06,160
Speaker 3: You know, And I love I love making television. It's

164
00:08:06,160 --> 00:08:07,320
Speaker 3: my favorite art form.

165
00:08:07,640 --> 00:08:09,680
Speaker 2: Well, you should check in with us because we're going

166
00:08:09,760 --> 00:08:11,960
Speaker 2: to be on the air January first, Mark. You know,

167
00:08:12,040 --> 00:08:15,000
Speaker 2: we work all the holidays.

168
00:08:14,400 --> 00:08:14,840
Speaker 1: My friend.

169
00:08:15,680 --> 00:08:18,160
Speaker 3: Well, you're you're just a hard working man, George, and

170
00:08:18,240 --> 00:08:20,720
Speaker 3: you you're you're the best, and that's why you've lasted

171
00:08:21,160 --> 00:08:24,840
Speaker 3: so long. You know. It's a quality doesn't always rise

172
00:08:24,880 --> 00:08:27,000
Speaker 3: to the top, but I always celebrate it when it does.

173
00:08:28,040 --> 00:08:29,920
Speaker 2: What are your thoughts on streaming?

174
00:08:30,240 --> 00:08:30,400
Speaker 3: What?

175
00:08:30,520 --> 00:08:32,360
Speaker 2: What where are you headed with that?

176
00:08:33,040 --> 00:08:36,280
Speaker 3: Well, the challenge, of course is finding finding quality. There's

177
00:08:36,320 --> 00:08:39,360
Speaker 3: so much of everything, you know, there's infinite channels, you know,

178
00:08:39,640 --> 00:08:42,199
Speaker 3: and so that's a problem. The good part is that

179
00:08:42,240 --> 00:08:43,800
Speaker 3: you can watch whatever you want to see whenever you

180
00:08:43,800 --> 00:08:47,360
Speaker 3: want to see it. But there's just such a such

181
00:08:47,400 --> 00:08:50,920
Speaker 3: an enormous amount of content being made that to find

182
00:08:51,000 --> 00:08:55,000
Speaker 3: the quality things is hard, and so you really have

183
00:08:55,040 --> 00:08:57,480
Speaker 3: to know who to listen to and who's guidance to seek,

184
00:08:58,040 --> 00:09:00,520
Speaker 3: uh and and not just watch anything that comes on

185
00:09:00,520 --> 00:09:02,880
Speaker 3: because your mind will turn to mush, you know. So

186
00:09:03,800 --> 00:09:06,439
Speaker 3: it's you know, it's very fun to have my own

187
00:09:06,480 --> 00:09:09,800
Speaker 3: YouTube channel, mister sci Fi, because I can sort of

188
00:09:09,840 --> 00:09:12,040
Speaker 3: talk about twilights when I can talk about Star Trek,

189
00:09:12,080 --> 00:09:14,559
Speaker 3: I can share different episodes of TV that I've written

190
00:09:14,600 --> 00:09:17,920
Speaker 3: in the past or that I'm doing now. It's but

191
00:09:18,080 --> 00:09:20,880
Speaker 3: you know, my favorite network, frankly is YouTube because so

192
00:09:20,920 --> 00:09:24,320
Speaker 3: many old TV movies and rarities are on YouTube. You

193
00:09:24,360 --> 00:09:26,400
Speaker 3: can find things that you never thought you'd see again,

194
00:09:26,840 --> 00:09:31,240
Speaker 3: and I love that aspect of it. But Netflix, i

195
00:09:31,280 --> 00:09:33,800
Speaker 3: think has some of the quality, has gone down and

196
00:09:33,880 --> 00:09:36,240
Speaker 3: a lot of you know, there's a lot of shows

197
00:09:36,240 --> 00:09:37,840
Speaker 3: where I watch and I just go, boy, they really

198
00:09:37,920 --> 00:09:40,800
Speaker 3: dropped the ball on that one. And I think it's

199
00:09:40,800 --> 00:09:42,720
Speaker 3: because they're just making them too fast. They're not putting

200
00:09:42,760 --> 00:09:45,160
Speaker 3: enough their heart and soul into it. You really have

201
00:09:45,280 --> 00:09:47,920
Speaker 3: to treat it like an art form as Stirling did,

202
00:09:47,920 --> 00:09:51,199
Speaker 3: as Ray Bradbury did. You know all of our favorites

203
00:09:51,320 --> 00:09:54,240
Speaker 3: and you know when you put quality and you know

204
00:09:54,360 --> 00:09:56,360
Speaker 3: it laughs. Many of the shows I wrote in my

205
00:09:56,400 --> 00:09:59,400
Speaker 3: twenties and thirties and forties and fifties people are still

206
00:09:59,400 --> 00:10:02,280
Speaker 3: watching now and loving. And it was funny. I was,

207
00:10:02,360 --> 00:10:05,040
Speaker 3: I was out the other day and a homeless guy

208
00:10:05,280 --> 00:10:10,199
Speaker 3: complimented me on the Deep Space nine episode. I wrote, Yes,

209
00:10:10,280 --> 00:10:11,920
Speaker 3: he said that far be all the Stars, that was

210
00:10:11,920 --> 00:10:15,360
Speaker 3: a great episode. It's like, wow, you know, I could

211
00:10:15,400 --> 00:10:19,600
Speaker 3: thank you very much. Yeah. Yeah, But I love the

212
00:10:19,600 --> 00:10:22,760
Speaker 3: reach of television that reaches millions of people in their homes,

213
00:10:22,800 --> 00:10:27,360
Speaker 3: and it has an intimacy that the big, big budget

214
00:10:27,360 --> 00:10:30,960
Speaker 3: movies don't have. Really that the man, I've been so blessed,

215
00:10:31,000 --> 00:10:32,920
Speaker 3: you know, I've known so many wonderful people and I

216
00:10:33,040 --> 00:10:35,480
Speaker 3: worked with so many great people. I mean, you know

217
00:10:35,520 --> 00:10:37,880
Speaker 3: George the case, so many of the Michelle Nichols before

218
00:10:37,920 --> 00:10:40,360
Speaker 3: she died. I met her when I was ten when

219
00:10:40,360 --> 00:10:43,240
Speaker 3: the Original Star Trek was on the air, and I

220
00:10:43,240 --> 00:10:45,760
Speaker 3: got gone the set of the Original Star Trek and

221
00:10:45,760 --> 00:10:48,880
Speaker 3: and fifty years later I got to film her in

222
00:10:48,920 --> 00:10:51,800
Speaker 3: a scene in the Space Command just before her passing.

223
00:10:51,840 --> 00:10:54,319
Speaker 3: And so I brought the scrap book I kept when

224
00:10:54,360 --> 00:10:57,640
Speaker 3: I was ten, with the photos and letters she'd written

225
00:10:57,679 --> 00:11:01,920
Speaker 3: to me, and we sat years later flipping through the

226
00:11:02,080 --> 00:11:04,720
Speaker 3: scrap book on you know, on my show, on my

227
00:11:04,800 --> 00:11:08,520
Speaker 3: shooting day. So that was just a miracle, wonderful, just

228
00:11:08,520 --> 00:11:09,640
Speaker 3: just just such a gift.

229
00:11:10,120 --> 00:11:13,040
Speaker 2: Russell Crow send me a Merry Christmas text today. What

230
00:11:13,160 --> 00:11:13,839
Speaker 2: a class guy.

231
00:11:14,880 --> 00:11:18,520
Speaker 3: Yes, yes, and I'm glad he's having like a resurgence,

232
00:11:18,559 --> 00:11:21,319
Speaker 3: so things like The Pope's Exorcist and so forth. He's

233
00:11:21,360 --> 00:11:24,760
Speaker 3: a very strong actor. And you know, I'm I'm glad

234
00:11:24,800 --> 00:11:28,079
Speaker 3: that he sent you, sent you that message. It's there's

235
00:11:28,080 --> 00:11:29,640
Speaker 3: a lot of really good people in Hollywood. You know,

236
00:11:29,679 --> 00:11:32,560
Speaker 3: Hollywood gets slammed for start of being a dog dog place,

237
00:11:32,640 --> 00:11:35,640
Speaker 3: but that's not been my experience. You know. It's like

238
00:11:35,720 --> 00:11:38,320
Speaker 3: there's a lot of really good hearted people here. But

239
00:11:38,600 --> 00:11:41,559
Speaker 3: you know, there's there's a lot of the bad kind too,

240
00:11:41,559 --> 00:11:43,400
Speaker 3: and those are the ones that get all the press attention,

241
00:11:43,760 --> 00:11:46,000
Speaker 3: you know when they're when they're misbehaving. But you can

242
00:11:46,040 --> 00:11:50,559
Speaker 3: find wonderful friends and loyal people and honorable people. And

243
00:11:50,679 --> 00:11:53,720
Speaker 3: I've worked with many, many, many of those kinds, and

244
00:11:53,800 --> 00:11:55,559
Speaker 3: it's it's just been a blessed life.

245
00:11:56,080 --> 00:11:58,800
Speaker 2: Mark who was asleep at the wheel at Blockbuster. At

246
00:11:58,840 --> 00:12:03,600
Speaker 2: one point, they were dominant in the DVD rentals. They

247
00:12:03,679 --> 00:12:06,640
Speaker 2: captured the market, They had hundreds of stores all over

248
00:12:06,679 --> 00:12:10,840
Speaker 2: the country. Somebody there slipped up when streaming came in

249
00:12:11,320 --> 00:12:14,640
Speaker 2: because they entirely Millet missed the whole thing. How could

250
00:12:14,640 --> 00:12:15,240
Speaker 2: you do that?

251
00:12:15,720 --> 00:12:18,080
Speaker 3: Well, we on Netflix started as just like you know,

252
00:12:18,200 --> 00:12:22,360
Speaker 3: video rental, they mail you DBDs and they were smart

253
00:12:22,400 --> 00:12:24,600
Speaker 3: enough to get into streaming ride at the beginning before

254
00:12:24,600 --> 00:12:27,920
Speaker 3: people knew what it was. But yes, Blockbuster absolutely dropped

255
00:12:27,920 --> 00:12:29,559
Speaker 3: the ball. So a lot of people have nostalgia for

256
00:12:29,679 --> 00:12:33,800
Speaker 3: Blockbuster and maybe someday come back again. You know, what's

257
00:12:33,840 --> 00:12:36,880
Speaker 3: old is new again. But yeah, they definitely missed out

258
00:12:36,920 --> 00:12:40,360
Speaker 3: on the coming technology. And it's every few years it changes,

259
00:12:40,400 --> 00:12:42,240
Speaker 3: it changes, it changes. It needs to be on top

260
00:12:42,280 --> 00:12:44,920
Speaker 3: of that. You know, it's I shoot digitally, I edit

261
00:12:45,440 --> 00:12:48,720
Speaker 3: on a Mac. You know, it's you really have to

262
00:12:48,760 --> 00:12:52,559
Speaker 3: know what the new technologies are. Otherwise it becomes impossible.

263
00:12:53,520 --> 00:12:56,199
Speaker 2: It really does, it really does. And how's the pool

264
00:12:56,240 --> 00:12:57,880
Speaker 2: of talent in LA for you?

265
00:12:58,720 --> 00:13:01,600
Speaker 3: Fabulous great thing. If I can say to my friends,

266
00:13:01,640 --> 00:13:04,200
Speaker 3: these actors like Doug Jones and Robert Poccardo and Bill

267
00:13:04,280 --> 00:13:06,760
Speaker 3: Mummy and all of them, I can basically say, our

268
00:13:06,800 --> 00:13:08,720
Speaker 3: studio is here in La. So when you were done

269
00:13:08,720 --> 00:13:12,760
Speaker 3: shooting this whatever series or whatever movie you're shooting in,

270
00:13:12,840 --> 00:13:15,840
Speaker 3: you know, in Toronto or Atlanta or Bangkok or wherever,

271
00:13:16,160 --> 00:13:17,160
Speaker 3: you can come back.

272
00:13:17,000 --> 00:13:17,920
Speaker 2: Home to LA.

273
00:13:18,040 --> 00:13:20,280
Speaker 3: You can sleep in your own bed. We can shoot

274
00:13:20,280 --> 00:13:24,000
Speaker 3: for two three days and that's it, you know. So

275
00:13:24,480 --> 00:13:27,240
Speaker 3: I work with their schedules. Because I was standing sets,

276
00:13:27,800 --> 00:13:31,560
Speaker 3: I can. I can do that. And even Ethan McDowell

277
00:13:31,640 --> 00:13:33,680
Speaker 3: has been playing the lead in Space Command. He's he

278
00:13:33,800 --> 00:13:36,080
Speaker 3: was in a regular and Walking Dead. Recently he just

279
00:13:36,120 --> 00:13:39,800
Speaker 3: shot the you know, a show for HBO. I mean

280
00:13:40,120 --> 00:13:43,240
Speaker 3: he's busy, but every time we call upon him, you know,

281
00:13:43,600 --> 00:13:46,240
Speaker 3: he flies in from New York and we rock and roll.

282
00:13:46,280 --> 00:13:48,640
Speaker 3: It's in fact, we're about to shoot a scene. Way

283
00:13:48,679 --> 00:13:51,520
Speaker 3: flies into a Rex spaceship in a space suit in

284
00:13:51,559 --> 00:13:55,400
Speaker 3: a weightless atmosphere and saves his son who's been injured

285
00:13:55,440 --> 00:13:57,880
Speaker 3: and knocked unconscious. And that's going to be this big

286
00:13:57,920 --> 00:14:01,160
Speaker 3: special effects thing and huge fun, huge fun.

287
00:14:01,640 --> 00:14:03,640
Speaker 2: How did you conceive of Space Command?

288
00:14:03,720 --> 00:14:07,120
Speaker 3: Mark? I noticed a few years ago that a lot

289
00:14:07,120 --> 00:14:10,200
Speaker 3: of science fiction was very negative and very just topic

290
00:14:10,240 --> 00:14:12,880
Speaker 3: and very bleak, basically giving a message the future is

291
00:14:12,920 --> 00:14:14,640
Speaker 3: going to be terrible and there's nothing we can do

292
00:14:14,679 --> 00:14:18,440
Speaker 3: about it. And I thought it was a terribly disempowering message.

293
00:14:18,600 --> 00:14:20,360
Speaker 3: And I wanted to create a show that would say,

294
00:14:20,760 --> 00:14:22,640
Speaker 3: you know, we can do better, we can be better,

295
00:14:22,680 --> 00:14:24,560
Speaker 3: we can make a future that's worth living in for

296
00:14:24,600 --> 00:14:28,800
Speaker 3: our children and grandchildren. It's not the moment you give

297
00:14:28,880 --> 00:14:31,840
Speaker 3: up power, the moment you say, well nothing, I can't

298
00:14:31,840 --> 00:14:34,440
Speaker 3: do anything. It becomes a self fulfilling prophecy. But if

299
00:14:34,480 --> 00:14:37,920
Speaker 3: you come together with a good heart and compassion and action,

300
00:14:38,360 --> 00:14:40,800
Speaker 3: you can make the world something worth living in. So

301
00:14:41,520 --> 00:14:45,040
Speaker 3: I wanted to inspire people like the original start to

302
00:14:45,080 --> 00:14:47,160
Speaker 3: conspire me when I was a kid, so I didn't

303
00:14:47,200 --> 00:14:49,120
Speaker 3: want to trust the networks, so the studios not to

304
00:14:49,120 --> 00:14:51,400
Speaker 3: cut me off at pilot or wreck it. So I

305
00:14:51,520 --> 00:14:53,920
Speaker 3: just reached out to my fans, and as I say,

306
00:14:53,920 --> 00:14:56,240
Speaker 3: they stepped up so far with over four million dollars,

307
00:14:56,440 --> 00:14:58,320
Speaker 3: and that's allowed me to have my own studio and

308
00:14:58,320 --> 00:15:01,760
Speaker 3: shoot the first seven eight hours of Space Command, and

309
00:15:02,240 --> 00:15:04,960
Speaker 3: now the future we're doing and on and on. You know,

310
00:15:05,040 --> 00:15:09,720
Speaker 3: it's just it's limitless, and many of my investors have bought.

311
00:15:09,880 --> 00:15:12,200
Speaker 3: You know, I sold shares at seventy five hundred bucks

312
00:15:12,240 --> 00:15:15,040
Speaker 3: each because I figured that's enough that regular people could

313
00:15:15,040 --> 00:15:18,920
Speaker 3: afford it. But many people by multiple shares, and they

314
00:15:19,000 --> 00:15:22,800
Speaker 3: just they love being part of something positive, and I

315
00:15:22,840 --> 00:15:23,240
Speaker 3: do too.

316
00:15:23,720 --> 00:15:27,000
Speaker 1: Listen to more Coast to Coast AM every weeknight at

317
00:15:27,040 --> 00:15:29,880
Speaker 1: one a m. Eastern and go to Coast to coastam

318
00:15:30,000 --> 00:15:31,080
Speaker 1: dot com for more