1
00:00:00,080 --> 00:00:03,240
Speaker 1: This is Alec Baldwin and you're listening to Here's the Thing.

2
00:00:04,240 --> 00:00:06,400
Speaker 1: Can you hear me? If I call you Drew by mistake,

3
00:00:06,480 --> 00:00:10,600
Speaker 1: you'll cut that out if you call me Drew by mistake.

4
00:00:12,440 --> 00:00:16,000
Speaker 1: Robert Osborne has been hosting Turner Classic Movies for the

5
00:00:16,040 --> 00:00:20,239
Speaker 1: past eighteen years. Drew Barrymore is his co pilot. This year,

6
00:00:20,600 --> 00:00:22,919
Speaker 1: I had joined him for three years and I'm still

7
00:00:22,960 --> 00:00:26,720
Speaker 1: waiting to be asked back. At Turner Classic Movies, Bob

8
00:00:26,720 --> 00:00:30,040
Speaker 1: Osborne plays the role of ambassador to a bygone era

9
00:00:30,440 --> 00:00:33,600
Speaker 1: that he's helped make more popular now than ever. The

10
00:00:33,680 --> 00:00:35,640
Speaker 1: journey he took to get there could have made a

11
00:00:35,680 --> 00:00:39,280
Speaker 1: classic movie itself. Small town kid falls in love with

12
00:00:39,320 --> 00:00:42,640
Speaker 1: the movies, and with nothing but instincts and charm, finds

13
00:00:42,680 --> 00:00:46,960
Speaker 1: himself thrust into an incredible adventure and osborne story. The

14
00:00:47,040 --> 00:00:50,479
Speaker 1: players are legendary, the backdrop is epic, and the plot

15
00:00:50,479 --> 00:00:53,120
Speaker 1: twists will make you say that could only happen in

16
00:00:53,159 --> 00:00:57,320
Speaker 1: the movies and Robert Osborne's odyssey. The detours are numerous,

17
00:00:57,360 --> 00:01:01,279
Speaker 1: but hardly incidental. You'll be glad he leaves nothing on

18
00:01:01,320 --> 00:01:04,039
Speaker 1: the editing room floor. I grew up in a small

19
00:01:04,080 --> 00:01:06,280
Speaker 1: town where I went to the movies a lot and

20
00:01:06,319 --> 00:01:08,640
Speaker 1: fell in love with all these people also fell in

21
00:01:08,680 --> 00:01:10,960
Speaker 1: love with the movie business. So all I saw were

22
00:01:11,000 --> 00:01:12,880
Speaker 1: actors on the screen. So I thought, well, that's what

23
00:01:12,920 --> 00:01:14,399
Speaker 1: I have to be if I want to be a

24
00:01:14,400 --> 00:01:16,680
Speaker 1: part of the movie business. Nobody then was talking about

25
00:01:17,080 --> 00:01:20,640
Speaker 1: film editors. There were no film schools talking about directing,

26
00:01:20,920 --> 00:01:23,200
Speaker 1: you know, any of that kind of stuff. I decidedn't

27
00:01:23,200 --> 00:01:25,080
Speaker 1: want to be an actor, and so I was doing

28
00:01:25,160 --> 00:01:27,360
Speaker 1: Did your parents say about that that was fine as

29
00:01:27,400 --> 00:01:31,720
Speaker 1: long as I got an education, Yeah, they were. They were.

30
00:01:31,959 --> 00:01:33,960
Speaker 1: They were ti people that said, you know, be practical,

31
00:01:34,040 --> 00:01:36,280
Speaker 1: get an education and something you can make a living at.

32
00:01:36,600 --> 00:01:38,240
Speaker 1: But do what you want to do, at least try

33
00:01:38,280 --> 00:01:40,399
Speaker 1: it and then if it doesn't work out and move

34
00:01:40,480 --> 00:01:43,839
Speaker 1: to something else. So I started doing a little theater

35
00:01:43,840 --> 00:01:46,119
Speaker 1: work in Seattle, and one of the plays I did

36
00:01:46,160 --> 00:01:49,040
Speaker 1: was a play called Knight mus Fall with Jane Darwell.

37
00:01:49,400 --> 00:01:51,840
Speaker 1: Jane Darwell and is the lady you would know this

38
00:01:52,120 --> 00:01:53,960
Speaker 1: who played Henry Fond his mother in the Grapes of

39
00:01:54,640 --> 00:01:56,720
Speaker 1: and won the Oscar for it. And she's the one

40
00:01:56,760 --> 00:01:59,040
Speaker 1: that said, you know, when you get finished with this,

41
00:01:59,160 --> 00:02:01,200
Speaker 1: what are you gonna do when you finish your She

42
00:02:01,240 --> 00:02:04,840
Speaker 1: came up to Washington to a regional theater. Yes, and

43
00:02:04,920 --> 00:02:07,040
Speaker 1: so I said, well, I'm going to go to New

44
00:02:07,080 --> 00:02:09,919
Speaker 1: York and she said, no, you have more of a California. Look,

45
00:02:09,960 --> 00:02:12,400
Speaker 1: you should come to California. And she said you can

46
00:02:12,440 --> 00:02:15,880
Speaker 1: stay at my house. She had a staff and all

47
00:02:15,880 --> 00:02:17,480
Speaker 1: of that kind of stuff. They lived down in the valley,

48
00:02:17,800 --> 00:02:19,680
Speaker 1: and she said, you can at least get your feet

49
00:02:19,720 --> 00:02:22,040
Speaker 1: on the ground there. I'll introduce you to an agent.

50
00:02:22,280 --> 00:02:24,800
Speaker 1: She said, I think you do very well. So I did.

51
00:02:25,120 --> 00:02:27,160
Speaker 1: Dave was Jane Darwell and her family at her house

52
00:02:27,680 --> 00:02:31,960
Speaker 1: on Ethel Avenue in the San Fernando Valley. Yes, introduced

53
00:02:31,960 --> 00:02:34,560
Speaker 1: me to an agent with m c A. In those days,

54
00:02:35,160 --> 00:02:37,560
Speaker 1: if you could really walk and talk at the same time,

55
00:02:37,600 --> 00:02:41,000
Speaker 1: you could get a contract of the studio. That first one.

56
00:02:41,040 --> 00:02:42,600
Speaker 1: He took me to his Fox and they said, we

57
00:02:42,639 --> 00:02:44,600
Speaker 1: want you to be under contract. So I was there

58
00:02:44,639 --> 00:02:46,640
Speaker 1: for like six months. And during that period of time,

59
00:02:47,520 --> 00:02:51,120
Speaker 1: I did a television show which was a western. That

60
00:02:51,400 --> 00:02:53,959
Speaker 1: of all, I was doing a little theater group. This

61
00:02:54,040 --> 00:02:56,200
Speaker 1: is a convoluted story, but I'm going to get to

62
00:02:56,240 --> 00:02:59,000
Speaker 1: where I'm going. And it was a theater group run

63
00:02:59,000 --> 00:03:01,280
Speaker 1: by an actor named Frank this letter. So I was

64
00:03:01,320 --> 00:03:04,280
Speaker 1: doing some impros in the class and one of his

65
00:03:04,360 --> 00:03:07,040
Speaker 1: friends came to it and I was Paul Henrid, you

66
00:03:07,080 --> 00:03:10,120
Speaker 1: know with the two cigarettes with names. So Paul Henriid

67
00:03:10,280 --> 00:03:14,040
Speaker 1: was saying, well, I'm directing a western, got a part

68
00:03:14,080 --> 00:03:15,960
Speaker 1: coming up. I think you'd be right for I want

69
00:03:16,000 --> 00:03:18,120
Speaker 1: you to come over and read for it next week. So,

70
00:03:18,840 --> 00:03:20,520
Speaker 1: you know, I was kind of new to all of this,

71
00:03:20,600 --> 00:03:23,040
Speaker 1: and I thought, you know, I went to California and

72
00:03:23,080 --> 00:03:25,680
Speaker 1: I got a contract right away and got a part

73
00:03:25,720 --> 00:03:27,640
Speaker 1: in a TV thing right away. I thought this is

74
00:03:28,720 --> 00:03:31,760
Speaker 1: kind of easy. So anyway, I did the TV show

75
00:03:32,600 --> 00:03:35,240
Speaker 1: and I had the lead in it for this one episode.

76
00:03:35,680 --> 00:03:39,800
Speaker 1: The stage that we shot an outdoor sequence for this

77
00:03:39,880 --> 00:03:43,080
Speaker 1: western on was where Paul Henry made the Spanish main,

78
00:03:43,640 --> 00:03:46,160
Speaker 1: which meant there was also the sound stage where Fred

79
00:03:46,200 --> 00:03:48,200
Speaker 1: and g injured at all their big dance numbers. So

80
00:03:48,280 --> 00:03:50,840
Speaker 1: that was kind of thrilling to me. Didn't mean anything

81
00:03:50,840 --> 00:03:55,440
Speaker 1: to anybody else in the day, Fred who So anyway,

82
00:03:55,440 --> 00:03:57,240
Speaker 1: I went back the next day to thank the casting

83
00:03:57,280 --> 00:03:59,839
Speaker 1: man and the people that had put me in this thing.

84
00:04:00,040 --> 00:04:04,280
Speaker 1: For the Californians. There was this wonderful man Milt Lewis,

85
00:04:04,320 --> 00:04:07,360
Speaker 1: who had used to be a talent scout of Paramount Studios.

86
00:04:07,920 --> 00:04:10,080
Speaker 1: He was in the office and I thanked him, and

87
00:04:10,240 --> 00:04:12,600
Speaker 1: he said, well, do you have an appointment for the

88
00:04:13,000 --> 00:04:15,920
Speaker 1: Lucy Ball auditions? And I said, no, I don't know

89
00:04:15,960 --> 00:04:18,760
Speaker 1: about any Lucier Ball auditions. And he said, well, yeah,

90
00:04:18,800 --> 00:04:22,080
Speaker 1: she's putting a contract group together and so she's going

91
00:04:22,120 --> 00:04:24,520
Speaker 1: to have these auditions and I think there next week,

92
00:04:24,920 --> 00:04:26,479
Speaker 1: but I'm not sure. But let me call up to

93
00:04:26,520 --> 00:04:29,160
Speaker 1: her office and find out. Instead of a secretary answering

94
00:04:29,279 --> 00:04:33,320
Speaker 1: Lucy answer and he said, I got this guy down here,

95
00:04:33,680 --> 00:04:35,120
Speaker 1: and I thought he might be a good bet for

96
00:04:35,160 --> 00:04:38,000
Speaker 1: your contract people. So she obviously said, well I'm not

97
00:04:38,040 --> 00:04:40,240
Speaker 1: doing anything, send him up right now. So I went

98
00:04:40,279 --> 00:04:43,080
Speaker 1: up to this office. There she was. Now I have

99
00:04:43,160 --> 00:04:46,159
Speaker 1: to tell you I was impressed by her, but I

100
00:04:46,200 --> 00:04:48,120
Speaker 1: didn't see a lot of I Love Lucy because when

101
00:04:48,160 --> 00:04:50,880
Speaker 1: that was really hitting its peak, I was in college

102
00:04:51,360 --> 00:04:53,600
Speaker 1: and I was studying. I had a study hall, I

103
00:04:53,680 --> 00:04:56,880
Speaker 1: wasn't didn't watch TV, and I loved the movies. If

104
00:04:56,920 --> 00:04:58,599
Speaker 1: it had been a Lana Turner had met or somebody,

105
00:04:58,600 --> 00:05:00,120
Speaker 1: I wouldn't have been able to talk. But it was

106
00:05:00,200 --> 00:05:02,880
Speaker 1: Lucia Ball, and she was impressed that I'm into college

107
00:05:02,920 --> 00:05:05,520
Speaker 1: because she hadn't any finished high school. This I got

108
00:05:05,600 --> 00:05:08,039
Speaker 1: to know about her later. But also she was impressed

109
00:05:08,080 --> 00:05:10,240
Speaker 1: by the fact I was living at Jane Darwell's house

110
00:05:10,279 --> 00:05:13,760
Speaker 1: because I had asked her in our conversation who some

111
00:05:13,800 --> 00:05:16,279
Speaker 1: of her favorite leading men were, and she said, leading

112
00:05:16,360 --> 00:05:17,640
Speaker 1: me in didn't mean that much to me. I like

113
00:05:17,720 --> 00:05:20,520
Speaker 1: working with talented people, but it was the character actors

114
00:05:20,560 --> 00:05:22,560
Speaker 1: I love, she said. I loved like Edward Evert Horton,

115
00:05:22,640 --> 00:05:25,560
Speaker 1: and I loved Harpo Marx, and I love Donald meek Well.

116
00:05:25,600 --> 00:05:28,160
Speaker 1: I knew all those people were. And she was impressed

117
00:05:28,200 --> 00:05:30,800
Speaker 1: by that because at that time, nobody knew who those

118
00:05:30,800 --> 00:05:33,520
Speaker 1: people were. There was no nostalgia, nobody cared. So it's

119
00:05:33,560 --> 00:05:36,520
Speaker 1: interesting how at that point in your life, the passion

120
00:05:36,600 --> 00:05:40,560
Speaker 1: you had, curiosity you had that you've turned into a career.

121
00:05:42,000 --> 00:05:44,080
Speaker 1: The roots of it were you were just impressing a

122
00:05:44,160 --> 00:05:46,600
Speaker 1: smaller circle of people with that knowledge. When you're there

123
00:05:47,080 --> 00:05:50,479
Speaker 1: and Lucia Ball is going God, I loved Jane Darnwerd. Yes.

124
00:05:51,720 --> 00:05:53,680
Speaker 1: So she had said, is there any film on you?

125
00:05:53,720 --> 00:05:55,560
Speaker 1: And I said, well, I just did this thing with

126
00:05:55,560 --> 00:05:58,880
Speaker 1: Paul Henry, and I've also done a test with Diane Baker,

127
00:05:59,560 --> 00:06:02,239
Speaker 1: and so she called over to Fox. Can I see

128
00:06:02,279 --> 00:06:05,919
Speaker 1: the Diane Baker test? Lucille Ball, how soon can you

129
00:06:05,960 --> 00:06:09,000
Speaker 1: send it over? Lucy was somebody that the minute she

130
00:06:09,160 --> 00:06:11,599
Speaker 1: wanted something, she did it. She hung up the phone.

131
00:06:11,640 --> 00:06:13,080
Speaker 1: She said, they're going to send it over. It'll be

132
00:06:13,120 --> 00:06:14,960
Speaker 1: here in about half an hour. So we kept talking.

133
00:06:15,720 --> 00:06:19,320
Speaker 1: The test was made for Diane, not for me, so

134
00:06:19,480 --> 00:06:21,800
Speaker 1: there was a lot of the back of me. So

135
00:06:21,960 --> 00:06:25,279
Speaker 1: when it was over, Lucy didn't really say anything. She's

136
00:06:25,320 --> 00:06:27,080
Speaker 1: just thanked me for coming by, and I thought, well,

137
00:06:27,520 --> 00:06:29,200
Speaker 1: she wasn't that impressed, but at least I got to

138
00:06:29,200 --> 00:06:32,039
Speaker 1: spend some time with Lucille Ball. Like a week later,

139
00:06:32,480 --> 00:06:38,200
Speaker 1: a message comes on my voice, Uh, you're an absolutely

140
00:06:38,240 --> 00:06:42,080
Speaker 1: answering service. Called Lucille Ball's office right away. Here's the number.

141
00:06:42,080 --> 00:06:47,000
Speaker 1: Hello Ray nine calling answer phone. Yes, I called the

142
00:06:47,080 --> 00:06:49,280
Speaker 1: number and the second he said, well, Lucille Ball wants

143
00:06:49,279 --> 00:06:51,760
Speaker 1: you to come to dinner on Friday night if you're

144
00:06:51,760 --> 00:06:55,840
Speaker 1: available and meet DESI. I thought, well that's interesting. So

145
00:06:56,000 --> 00:06:59,720
Speaker 1: I go to Lucy's house at Friday night. There's no Desi,

146
00:07:00,040 --> 00:07:05,720
Speaker 1: but there's Lucy there's Janet Gayner, There's Joseph Cotton, there's

147
00:07:05,760 --> 00:07:10,640
Speaker 1: Kay Thompson, Chuck Walters, Charles Walters, the director Roger Eden's,

148
00:07:11,240 --> 00:07:13,720
Speaker 1: and a couple of other people, and her sister Cleo

149
00:07:13,960 --> 00:07:16,280
Speaker 1: who was actually her cousin but raised as her sister,

150
00:07:16,720 --> 00:07:20,560
Speaker 1: and me after the dinner, and they were all chatting

151
00:07:20,600 --> 00:07:23,640
Speaker 1: and laughing, and all of the drinking drinking, not Lucy.

152
00:07:23,720 --> 00:07:26,920
Speaker 1: Lucy wasn't no drinker at that point. She she learned

153
00:07:26,960 --> 00:07:28,680
Speaker 1: how to drink a little bit later on, but not

154
00:07:28,800 --> 00:07:31,160
Speaker 1: at that point. So we went in the living room

155
00:07:31,480 --> 00:07:38,680
Speaker 1: and where on Roxbury, right next door to Jack Benny exactly,

156
00:07:39,040 --> 00:07:41,400
Speaker 1: and just down the street from Ira Gershwin and around

157
00:07:41,400 --> 00:07:48,520
Speaker 1: the corner front. So anyway, after dinner we went in

158
00:07:48,520 --> 00:07:51,760
Speaker 1: the living room. She pushes the button and the painting

159
00:07:51,800 --> 00:07:54,800
Speaker 1: goes up, puts another button, the screen comes down, and

160
00:07:54,840 --> 00:07:57,360
Speaker 1: I'm thinking, did you ever believe that you would ever

161
00:07:57,360 --> 00:07:58,640
Speaker 1: be And then I thought, no, wait a minute, I

162
00:07:58,640 --> 00:08:02,520
Speaker 1: always knew I was going to be here. I remember

163
00:08:02,640 --> 00:08:05,640
Speaker 1: that thought. I first started to say automatically, did you

164
00:08:05,680 --> 00:08:08,640
Speaker 1: ever think God and that was the beginning for you? Yeah?

165
00:08:08,720 --> 00:08:11,160
Speaker 1: And I thought, no, I always knew I was going

166
00:08:11,200 --> 00:08:14,000
Speaker 1: to be with people like this, and I relaxed. Then

167
00:08:14,200 --> 00:08:16,320
Speaker 1: I really relaxed as I thought, no, this is where

168
00:08:16,680 --> 00:08:19,960
Speaker 1: you're supposed to be. Yeah, and when you love this

169
00:08:20,000 --> 00:08:22,400
Speaker 1: is where I'm supposed to be. Where. What do you

170
00:08:22,400 --> 00:08:26,880
Speaker 1: remember Funny Face, which was which was about three years old?

171
00:08:27,240 --> 00:08:31,280
Speaker 1: That what? No, But what was great about it was

172
00:08:31,680 --> 00:08:34,160
Speaker 1: there's a part in Funny Face when Kate Thompson and

173
00:08:34,160 --> 00:08:36,080
Speaker 1: Andrew Hepburn get up and do a number called on

174
00:08:36,160 --> 00:08:39,480
Speaker 1: how to Be Lovely Together. Kay Thompson got up by

175
00:08:39,480 --> 00:08:41,800
Speaker 1: the screen and did the number. So and it was,

176
00:08:41,880 --> 00:08:43,920
Speaker 1: you know, fun watch the movie. The movie was over,

177
00:08:44,320 --> 00:08:48,160
Speaker 1: everybody starts to go, so I think, well, I'm supposed

178
00:08:48,160 --> 00:08:50,520
Speaker 1: to go to I still don't know quite why I'm here,

179
00:08:51,160 --> 00:08:53,480
Speaker 1: And it certainly wasn't Lucy was saying, you know, stay

180
00:08:53,520 --> 00:08:56,040
Speaker 1: around a little boy or anything like that. Wasn't that.

181
00:08:56,679 --> 00:08:59,120
Speaker 1: So we got to the front door. Thank you Lucy

182
00:08:59,160 --> 00:09:00,640
Speaker 1: for the evening. She said, well, have you signed the

183
00:09:00,679 --> 00:09:03,720
Speaker 1: papers yet? And I said what papers? I want you

184
00:09:03,720 --> 00:09:11,319
Speaker 1: another contract? And I said, well, nobody, we're doing business,

185
00:09:11,360 --> 00:09:15,160
Speaker 1: you idiot. Nobody's ever mentioned anything about a contract or anything.

186
00:09:15,160 --> 00:09:18,559
Speaker 1: And she said give them an address tomorrow and signed

187
00:09:18,600 --> 00:09:24,240
Speaker 1: the papers. Anyone. So I was under contract then to Desilu,

188
00:09:24,640 --> 00:09:26,680
Speaker 1: and so that was for two years. That The great

189
00:09:26,679 --> 00:09:31,680
Speaker 1: thing about it was is that someone television. It didn't

190
00:09:31,720 --> 00:09:34,520
Speaker 1: pay us much money at all, but it was like

191
00:09:34,559 --> 00:09:38,520
Speaker 1: a master class for me because there were about twelve

192
00:09:38,559 --> 00:09:40,360
Speaker 1: of us under contract, but there were three of us

193
00:09:40,400 --> 00:09:43,760
Speaker 1: who were really interested in the business, and she kind

194
00:09:43,760 --> 00:09:46,000
Speaker 1: of recognized that right away and took us under her wing.

195
00:09:46,320 --> 00:09:48,640
Speaker 1: That's when I first met Bettie Davis. Bettie Davis came

196
00:09:48,679 --> 00:09:50,719
Speaker 1: to l A in a play called The World of

197
00:09:50,800 --> 00:09:53,440
Speaker 1: Carl Sandberg. So she took us to the play and

198
00:09:53,440 --> 00:09:56,360
Speaker 1: then took us backstage afterwards to meet Betty Davis and

199
00:09:56,440 --> 00:09:58,680
Speaker 1: Vivian Lee. Came a duel of Angels, and so she

200
00:09:58,880 --> 00:10:01,920
Speaker 1: went backstage and set a little vivianly. It took us

201
00:10:02,000 --> 00:10:04,880
Speaker 1: with her anytime there was somebody like that, Noel Coward

202
00:10:05,040 --> 00:10:08,840
Speaker 1: or Marlene Dietrich, she would take us there pick up

203
00:10:08,880 --> 00:10:11,600
Speaker 1: the tabs because again she knew she wasn't paying enough

204
00:10:11,640 --> 00:10:14,160
Speaker 1: money to keep for us to be able to do that.

205
00:10:14,720 --> 00:10:17,960
Speaker 1: So we got this terrific education. And she also now

206
00:10:18,040 --> 00:10:21,240
Speaker 1: DESI at this point was womanizing. He wasn't around much,

207
00:10:21,840 --> 00:10:26,000
Speaker 1: so she would get movies that we wanted to see

208
00:10:26,080 --> 00:10:28,920
Speaker 1: or hadn't seen because they weren't that accessible in those days,

209
00:10:29,000 --> 00:10:31,960
Speaker 1: and run them at her house. Or she would show

210
00:10:32,040 --> 00:10:35,360
Speaker 1: us I Love Lucy's show. She'd done bad ones and

211
00:10:35,440 --> 00:10:38,000
Speaker 1: show us why they didn't work, then show us a

212
00:10:38,000 --> 00:10:41,800
Speaker 1: good one and why it did work. She also the

213
00:10:41,840 --> 00:10:43,840
Speaker 1: first day any of us were in a contract there

214
00:10:44,120 --> 00:10:46,520
Speaker 1: and we first met, she arrived. She'd just gone to

215
00:10:46,559 --> 00:10:50,080
Speaker 1: a bank which was right around the corner from Desilu,

216
00:10:50,400 --> 00:10:54,880
Speaker 1: and she got twelve savings accounts that she opened, put

217
00:10:54,920 --> 00:10:57,840
Speaker 1: like fifty dollars in, and she gave us in each

218
00:10:57,880 --> 00:10:59,760
Speaker 1: of our names, gave us the books, and she said,

219
00:11:00,520 --> 00:11:03,160
Speaker 1: every week you have to put something away. And we were,

220
00:11:03,280 --> 00:11:05,920
Speaker 1: as I say, making very little money, and say, Lucy,

221
00:11:06,360 --> 00:11:08,840
Speaker 1: you know we don't barely enough to to live on.

222
00:11:09,160 --> 00:11:12,079
Speaker 1: She said, it can be only five dollars, but every

223
00:11:12,120 --> 00:11:15,360
Speaker 1: week put something away. You won't miss it. It'll add up.

224
00:11:15,800 --> 00:11:19,360
Speaker 1: Very maternal, and she said, no matter what the thing

225
00:11:19,400 --> 00:11:22,360
Speaker 1: you must do is have enough money that you don't

226
00:11:22,360 --> 00:11:25,840
Speaker 1: have to make decisions based on money. For a kid

227
00:11:25,920 --> 00:11:29,959
Speaker 1: from Colfax, Washington, this was just invaluable. I've been to college,

228
00:11:29,960 --> 00:11:32,560
Speaker 1: but I never had these kind of life lessons. In

229
00:11:32,600 --> 00:11:34,640
Speaker 1: the course of it, she meant, my folks, and she

230
00:11:35,160 --> 00:11:37,880
Speaker 1: got to know me. She said to me early on,

231
00:11:38,520 --> 00:11:40,600
Speaker 1: you can do this as an actor, but she said,

232
00:11:41,600 --> 00:11:43,400
Speaker 1: and I think you could do well, but it's not

233
00:11:43,440 --> 00:11:46,360
Speaker 1: gonna make you happy. This is not the right line

234
00:11:46,400 --> 00:11:49,840
Speaker 1: of work for you. And she said, you love old films,

235
00:11:49,880 --> 00:11:52,840
Speaker 1: you love history, you love everything about the business. And

236
00:11:52,880 --> 00:11:56,320
Speaker 1: you're a journalist and major in college. We have enough actors.

237
00:11:56,360 --> 00:11:58,920
Speaker 1: You should write about movies. And the first thing you

238
00:11:58,960 --> 00:12:01,120
Speaker 1: should do is write a book. Who said this to you, Lucy?

239
00:12:01,640 --> 00:12:03,320
Speaker 1: She said, it doesn't even have to be a good book.

240
00:12:03,360 --> 00:12:06,199
Speaker 1: But find a subject about the movies that nobody's done

241
00:12:06,760 --> 00:12:09,480
Speaker 1: and write a book about it. And I said why,

242
00:12:09,760 --> 00:12:11,959
Speaker 1: She said, if you write a book, it shows you

243
00:12:11,960 --> 00:12:14,600
Speaker 1: have to discipline to sit down and do that. Yes,

244
00:12:14,600 --> 00:12:16,600
Speaker 1: I did. What book? It was a book about the Oscars?

245
00:12:16,800 --> 00:12:21,040
Speaker 1: Is this the book right here? Oh my god? Yeah, academy.

246
00:12:21,280 --> 00:12:27,320
Speaker 1: I want our listeners to know that stunned expression. I

247
00:12:27,360 --> 00:12:32,440
Speaker 1: show a copy of the book that he and yes,

248
00:12:32,520 --> 00:12:35,080
Speaker 1: there he was. No wonder you were getting in an

249
00:12:35,080 --> 00:12:37,480
Speaker 1: animal of these parties back then, that kind of picture

250
00:12:37,520 --> 00:12:39,199
Speaker 1: in this book. Let me just mention to our listeners.

251
00:12:39,200 --> 00:12:40,880
Speaker 1: There's a picture in this book. It's on page seven,

252
00:12:40,920 --> 00:12:44,679
Speaker 1: by the way of Academy Awards Illustrated written by Robert Osbourne,

253
00:12:44,679 --> 00:12:47,880
Speaker 1: with the forward by Betty Davis, Hollywood and the Oscars

254
00:12:48,320 --> 00:12:51,559
Speaker 1: thirty seven years of film History and didn't it is

255
00:12:51,600 --> 00:12:56,160
Speaker 1: a picture of Robert Osbourne circa six or so. Who

256
00:12:56,240 --> 00:12:58,720
Speaker 1: is it you look like? Here? Well? I always got

257
00:12:59,280 --> 00:13:02,560
Speaker 1: tagged that I looked like Robert Wagner. Yeah, and there's

258
00:13:02,559 --> 00:13:05,280
Speaker 1: somebody else you looked like will come to me. So

259
00:13:05,360 --> 00:13:08,920
Speaker 1: now you're a writer. So now it's an early sixties.

260
00:13:08,960 --> 00:13:12,240
Speaker 1: Still you're a writer. And so I would do anything

261
00:13:12,280 --> 00:13:16,000
Speaker 1: I could to pay my rent. The Desilue days were over,

262
00:13:16,120 --> 00:13:19,000
Speaker 1: Lucy had gone to New York to do Wildcat on stage.

263
00:13:19,480 --> 00:13:23,720
Speaker 1: I was also realizing that I've done all that I

264
00:13:23,800 --> 00:13:25,199
Speaker 1: can wanted to do. I did a you know, a

265
00:13:25,240 --> 00:13:28,080
Speaker 1: couple of years of summerstock touring in a play with

266
00:13:28,160 --> 00:13:31,120
Speaker 1: Robert Cummings. Do you think you clearly make a choice

267
00:13:31,160 --> 00:13:32,880
Speaker 1: at this point in your life where the choice made

268
00:13:32,920 --> 00:13:34,920
Speaker 1: for you? Well, the choice was kind of made for

269
00:13:35,000 --> 00:13:38,000
Speaker 1: me because I was not getting parts like night mus

270
00:13:38,000 --> 00:13:40,559
Speaker 1: Fall that I love doing. I did a soap opera

271
00:13:40,600 --> 00:13:43,320
Speaker 1: for a couple of years called The Young Married's. I

272
00:13:43,360 --> 00:13:45,480
Speaker 1: was always in a suit with the tie and with

273
00:13:45,559 --> 00:13:49,520
Speaker 1: a briefcase, helping the plot along. But it wasn't interesting,

274
00:13:49,720 --> 00:13:53,120
Speaker 1: and I wasn't interesting. Did a lot of commercials. I thought,

275
00:13:53,200 --> 00:13:54,440
Speaker 1: you know, if this is the best I can do

276
00:13:54,559 --> 00:13:56,960
Speaker 1: at this point, I gotta get out of this altogether,

277
00:13:57,240 --> 00:14:00,960
Speaker 1: because I would look at a part and at George

278
00:14:00,960 --> 00:14:03,160
Speaker 1: Bopard could do this so much better than I can,

279
00:14:03,679 --> 00:14:06,199
Speaker 1: or Tony Perkins would be great in this, better than

280
00:14:06,240 --> 00:14:09,559
Speaker 1: I would be. Yeah, and it was on stage struck.

281
00:14:10,559 --> 00:14:14,160
Speaker 1: So then the next phase came with Olivi to Havelin.

282
00:14:15,160 --> 00:14:17,360
Speaker 1: I did an interview with her for an in flight magazine.

283
00:14:17,640 --> 00:14:19,200
Speaker 1: They were not paying me anything, but it was a

284
00:14:19,240 --> 00:14:21,240
Speaker 1: way to get free tickets to screening. It seems to

285
00:14:21,240 --> 00:14:24,000
Speaker 1: be the rule in your life. I wasn't getting paid enough,

286
00:14:24,200 --> 00:14:26,160
Speaker 1: so I'm gonna moonlight as go ahead. I got a

287
00:14:26,200 --> 00:14:28,880
Speaker 1: set so I could get free tickets to see movies.

288
00:14:29,160 --> 00:14:31,200
Speaker 1: So I wrote reviews for this magazine and they would

289
00:14:31,200 --> 00:14:33,960
Speaker 1: ask me occasionally to write a interview or something, so

290
00:14:34,160 --> 00:14:36,760
Speaker 1: LEVI to have one was doing a movie called Airport

291
00:14:36,840 --> 00:14:39,600
Speaker 1: seventy seven. I did an interview with her. We got

292
00:14:39,640 --> 00:14:41,360
Speaker 1: along very well. At the interview. I had a lot

293
00:14:41,400 --> 00:14:44,880
Speaker 1: of champagne courtesy of Universal Pictures. When it was over,

294
00:14:45,840 --> 00:14:48,880
Speaker 1: I felt very comfortable with her, and she said we

295
00:14:48,960 --> 00:14:51,640
Speaker 1: must stay in touch. So she sent me a note.

296
00:14:51,720 --> 00:14:54,720
Speaker 1: She said, I'm gonna be coming to Los Angeles in March.

297
00:14:55,480 --> 00:14:59,120
Speaker 1: At that time, I will take you out for champagne. Okay,

298
00:14:59,160 --> 00:15:02,440
Speaker 1: time goes by. Betty Davis was being honored by the

299
00:15:02,480 --> 00:15:05,040
Speaker 1: a f I. I'd only met her briefly when she

300
00:15:05,080 --> 00:15:07,720
Speaker 1: did the forward from my book, so I didn't really

301
00:15:07,720 --> 00:15:10,640
Speaker 1: know her. But I also knew the industry that I

302
00:15:10,720 --> 00:15:13,720
Speaker 1: loved was coming to an end. Jimmy Cagney would be there,

303
00:15:14,080 --> 00:15:16,640
Speaker 1: Fredis Stare would be there, Barish Nakoff. I mean, all

304
00:15:16,680 --> 00:15:20,080
Speaker 1: these different people, the old and the new. So I thought,

305
00:15:20,480 --> 00:15:22,440
Speaker 1: I gotta go to that. But I really can't afford

306
00:15:22,440 --> 00:15:26,480
Speaker 1: to go to that. So John Springer's pr company was

307
00:15:26,560 --> 00:15:29,560
Speaker 1: handling it. I knew a guy, an actor named Ray

308
00:15:29,600 --> 00:15:32,920
Speaker 1: Strickland who now worked for John Springer. So I called

309
00:15:33,000 --> 00:15:35,680
Speaker 1: him and I said, look, I gotta go to this thing.

310
00:15:35,840 --> 00:15:38,480
Speaker 1: Is there any way you could sneak me in? And

311
00:15:38,520 --> 00:15:40,720
Speaker 1: he said, well, I can't get you a place at

312
00:15:40,720 --> 00:15:43,240
Speaker 1: the dinner, but go out and rent a tuxedo and

313
00:15:43,320 --> 00:15:46,200
Speaker 1: I will sneak you in through the kitchen. Great, that's

314
00:15:46,200 --> 00:15:48,200
Speaker 1: all I want. One day I went out and I

315
00:15:48,240 --> 00:15:50,960
Speaker 1: rented a tuxedo, and when I got back there was

316
00:15:51,000 --> 00:15:54,040
Speaker 1: a phone message from Oliver to Havelin. So I thought, ah,

317
00:15:54,200 --> 00:15:56,600
Speaker 1: she's come to go to the Betty Davis thing. She's

318
00:15:56,640 --> 00:15:59,920
Speaker 1: calling to ask when we could add bottle champagne or something.

319
00:16:00,480 --> 00:16:02,280
Speaker 1: So I called her back and she's the first thing

320
00:16:02,360 --> 00:16:05,160
Speaker 1: she said was I have a proposition for you, and

321
00:16:05,200 --> 00:16:09,000
Speaker 1: it's not an indecent one. There's an event for Betty

322
00:16:09,080 --> 00:16:12,400
Speaker 1: Davis on Tuesday night. Would you escort me to it?

323
00:16:13,720 --> 00:16:15,600
Speaker 1: So I was so stunned because here I just gone

324
00:16:15,640 --> 00:16:17,800
Speaker 1: out to rent a tuxedo to sneak into the kitchen.

325
00:16:18,240 --> 00:16:23,520
Speaker 1: She took my non response for hesitation doubts, and so

326
00:16:23,640 --> 00:16:26,040
Speaker 1: she said, well, we'll be sitting with Betty at the

327
00:16:26,040 --> 00:16:28,320
Speaker 1: head table, and I think you'll have a good time.

328
00:16:28,880 --> 00:16:31,360
Speaker 1: So I thought, oh my god. So I called Tom

329
00:16:31,440 --> 00:16:34,680
Speaker 1: Jones quickly and said, look, Olivia has asked me to

330
00:16:34,760 --> 00:16:36,760
Speaker 1: this thing. I've got to get a car. I can't

331
00:16:36,760 --> 00:16:40,400
Speaker 1: take her my Volkswagen. Is there any way Disney through Disney,

332
00:16:40,440 --> 00:16:43,240
Speaker 1: you can get me a car, and he said absolutely,

333
00:16:43,520 --> 00:16:46,120
Speaker 1: so I went in style. We went to this event

334
00:16:46,600 --> 00:16:49,560
Speaker 1: they introduced Betty Davis. She walks in there playing the

335
00:16:49,560 --> 00:16:52,840
Speaker 1: theme from Now Voyager and she's waving to everybody. She

336
00:16:52,920 --> 00:16:55,200
Speaker 1: comes up on the stage and write at the first

337
00:16:55,360 --> 00:16:58,120
Speaker 1: people she runs into, there's Paul Henry and his wife.

338
00:16:58,520 --> 00:17:00,640
Speaker 1: So of course she goes over and says alone. The

339
00:17:00,720 --> 00:17:04,639
Speaker 1: next one to her is Joseph Manquitz and his wife.

340
00:17:04,920 --> 00:17:07,600
Speaker 1: And I'm thinking, oh my god. Now I'm sitting just

341
00:17:08,040 --> 00:17:11,840
Speaker 1: two steps to her. Left. Next to her is Olivia

342
00:17:12,119 --> 00:17:15,320
Speaker 1: and then me. She knows everybody else on the diet.

343
00:17:15,640 --> 00:17:18,560
Speaker 1: She's not somebody that's gonna kiss this strange person. What

344
00:17:18,600 --> 00:17:22,280
Speaker 1: do I do? So she comes and there's Bob Wagner

345
00:17:22,400 --> 00:17:25,639
Speaker 1: and Natalie, so she kisses all of that and she

346
00:17:26,480 --> 00:17:29,760
Speaker 1: and she's about ready to sit, but Olivia, in a

347
00:17:29,800 --> 00:17:34,320
Speaker 1: great flurry of theatricality, goes Betty and throws her arms out,

348
00:17:34,400 --> 00:17:36,560
Speaker 1: so it pulls Betty to this side of the table.

349
00:17:38,320 --> 00:17:40,760
Speaker 1: So I think, what the hell can I do? All

350
00:17:40,760 --> 00:17:42,119
Speaker 1: I can think I have to do is I quickly

351
00:17:42,119 --> 00:17:44,480
Speaker 1: took her hand and kissed her hands when they cut

352
00:17:44,520 --> 00:17:49,160
Speaker 1: it and edited it. They show her entering, and they

353
00:17:49,359 --> 00:17:52,679
Speaker 1: show her up on the stage greeted by Olivia and

354
00:17:52,720 --> 00:17:56,879
Speaker 1: then this gallant man kissing her hand. And for years after,

355
00:17:56,960 --> 00:17:59,439
Speaker 1: whenever they would do recaps at the beginning of the

356
00:17:59,520 --> 00:18:02,159
Speaker 1: f I trade, the always showed Betty Davis and this

357
00:18:02,200 --> 00:18:06,159
Speaker 1: guy the beer can amongst the cut crystal in his

358
00:18:06,240 --> 00:18:15,879
Speaker 1: own mind. This is Alec Baldwin and you're listening to

359
00:18:16,000 --> 00:18:23,280
Speaker 1: here's the thing more in a minute. This is Alec

360
00:18:23,320 --> 00:18:26,879
Speaker 1: Baldwin and I'm talking with Robert Osborne, host of Turner

361
00:18:26,920 --> 00:18:32,040
Speaker 1: Classic Movies. We pick up our story after Osborne has

362
00:18:32,040 --> 00:18:35,600
Speaker 1: been discovered if you will at a tribute to Betty Davis,

363
00:18:36,000 --> 00:18:38,760
Speaker 1: Olivia to havelland is still in town and has been

364
00:18:38,800 --> 00:18:42,080
Speaker 1: asked to appear on the Dinah Shore Show to Haviland.

365
00:18:42,160 --> 00:18:45,760
Speaker 1: Is excited, yet hesitant. Turns out Osborne had hit it

366
00:18:45,760 --> 00:18:49,159
Speaker 1: off with Dinah Shore's producer Fred Tatters Shore, as he

367
00:18:49,200 --> 00:18:52,600
Speaker 1: always seemed to be back then, Robert Osborne is once

368
00:18:52,640 --> 00:18:56,480
Speaker 1: again in the right place at the right time. So

369
00:18:56,640 --> 00:19:00,440
Speaker 1: I'm thinking this is where my all about the aspect

370
00:19:00,480 --> 00:19:04,560
Speaker 1: comes in. Is I'm thinking, yes, my invac was coming

371
00:19:04,560 --> 00:19:07,520
Speaker 1: through Fred Tad a short said, you're a really interesting guy.

372
00:19:07,520 --> 00:19:09,040
Speaker 1: I'd love to have you come on the show sometime

373
00:19:09,040 --> 00:19:11,160
Speaker 1: if we get ever find a police to fit you in.

374
00:19:11,280 --> 00:19:15,879
Speaker 1: So I'm thinking Olivia's won an Oscar. I wrote a

375
00:19:15,880 --> 00:19:20,160
Speaker 1: book about the Oscars, so I called I didn't see

376
00:19:20,160 --> 00:19:22,800
Speaker 1: anything that. I called Ray Strickland and I said, who

377
00:19:22,880 --> 00:19:26,080
Speaker 1: else do you have in your office has won Oscars?

378
00:19:26,119 --> 00:19:28,560
Speaker 1: And he said, well, we have Shelly Winners, we have

379
00:19:28,600 --> 00:19:31,879
Speaker 1: Shirley Jones, we have a Maori sat And I explained

380
00:19:31,920 --> 00:19:34,040
Speaker 1: this to him. I said, Fred tad as Shore is

381
00:19:34,119 --> 00:19:37,639
Speaker 1: looking for a subject that Olivia could be on, and

382
00:19:37,680 --> 00:19:40,639
Speaker 1: I'm just going to throw out that, you know, maybe

383
00:19:40,680 --> 00:19:43,600
Speaker 1: an Oscar show. And you could also mention me, because

384
00:19:43,600 --> 00:19:45,440
Speaker 1: he did mention if he ever found a place I

385
00:19:45,440 --> 00:19:47,880
Speaker 1: could fit in. So it was done and we did

386
00:19:47,920 --> 00:19:51,240
Speaker 1: the show. I'm with some very heavy hitters, all these ladies,

387
00:19:51,800 --> 00:19:53,520
Speaker 1: and they had a lot to talk about, so I

388
00:19:53,560 --> 00:19:57,479
Speaker 1: didn't say much, but I had one great moment. Shelly

389
00:19:57,480 --> 00:20:00,600
Speaker 1: Winners was sitting next to me and I said, and Dinah,

390
00:20:00,920 --> 00:20:04,320
Speaker 1: being a consummate hostess, start talking about in my book

391
00:20:04,400 --> 00:20:06,040
Speaker 1: and I said, you know the reason I wrote that book.

392
00:20:06,040 --> 00:20:09,280
Speaker 1: One reason, It's because of Shelley Winters and Shelly really,

393
00:20:09,600 --> 00:20:12,280
Speaker 1: I said yes, because I've seen you on so many

394
00:20:12,320 --> 00:20:15,640
Speaker 1: talk shows talking about your Oscar nomination for the movie

395
00:20:15,640 --> 00:20:19,280
Speaker 1: A Double Life with Ronald Coleman was her big breakthrough part.

396
00:20:19,840 --> 00:20:22,520
Speaker 1: I said, you always talk about the year nomination and

397
00:20:22,560 --> 00:20:26,960
Speaker 1: I said, it's very easy to find out who won Oscars,

398
00:20:27,000 --> 00:20:29,800
Speaker 1: but there's no list anywhere of people who were nominated.

399
00:20:30,240 --> 00:20:32,840
Speaker 1: And when I started doing the research, I found out

400
00:20:33,280 --> 00:20:36,120
Speaker 1: you weren't nominated for that movie. And she said what well,

401
00:20:36,720 --> 00:20:39,000
Speaker 1: and she she just had a fit. I said no,

402
00:20:39,280 --> 00:20:42,280
Speaker 1: and I listed the ones who were nominated. It made

403
00:20:42,320 --> 00:20:46,480
Speaker 1: a really wonderful television moment. Dina liked that and fed

404
00:20:46,560 --> 00:20:51,120
Speaker 1: DAT like that. So they said, why don't you come

405
00:20:51,160 --> 00:20:54,080
Speaker 1: back and do some entertainment things for us? And so

406
00:20:54,119 --> 00:20:56,880
Speaker 1: I started doing that. Out of that, an old friend

407
00:20:56,880 --> 00:20:59,239
Speaker 1: of mine who worked for the Hollywood Reporter, where I've

408
00:20:59,280 --> 00:21:01,440
Speaker 1: been trying to get in as a writer the beginning

409
00:21:01,440 --> 00:21:04,720
Speaker 1: of the Hollywood Yeah, called and she said, I always

410
00:21:04,720 --> 00:21:06,680
Speaker 1: wonder what happened to you, And you've written a book.

411
00:21:06,680 --> 00:21:08,760
Speaker 1: I said, yeah, it's not a new book. It's been

412
00:21:08,800 --> 00:21:10,560
Speaker 1: out a couple of years. And she said, well, send

413
00:21:10,600 --> 00:21:12,720
Speaker 1: it and we'll review it. I said, it's been reviewed

414
00:21:12,720 --> 00:21:15,520
Speaker 1: by the Hollywood Reporter. Well, I'd like to see it anyway.

415
00:21:15,840 --> 00:21:19,119
Speaker 1: Margie Wooster at name was probably still is. So I

416
00:21:19,160 --> 00:21:20,920
Speaker 1: sent her a copy of the book and she said, well,

417
00:21:21,720 --> 00:21:23,879
Speaker 1: it's a terrific book, and would you ever like to

418
00:21:23,880 --> 00:21:26,280
Speaker 1: write for the Hollywood Reporter. I said, I've been trying

419
00:21:26,280 --> 00:21:28,960
Speaker 1: to do that, Margie for you know ten years now.

420
00:21:29,000 --> 00:21:32,760
Speaker 1: Why one of your gifts is handling obviously these powerful

421
00:21:32,800 --> 00:21:35,240
Speaker 1: personalities and doing it very elegantly on TV. Why didn't

422
00:21:35,280 --> 00:21:36,479
Speaker 1: you want to stay with TV? Why do you want

423
00:21:36,520 --> 00:21:38,879
Speaker 1: to go right for the paper? Well, the TV was

424
00:21:38,960 --> 00:21:42,040
Speaker 1: just one shot, and the Hollywood Reporter at that point

425
00:21:42,160 --> 00:21:44,960
Speaker 1: was very important. That's the point when the reporter and

426
00:21:45,000 --> 00:21:48,800
Speaker 1: I like a variety. Yeah, that's a steady it's a

427
00:21:48,840 --> 00:21:52,640
Speaker 1: steady job. It's also the great thing, a big deal.

428
00:21:52,680 --> 00:21:55,160
Speaker 1: There were two trade papers. That's where you got. Everybody

429
00:21:55,160 --> 00:21:58,840
Speaker 1: got there their entertainment. There was no cable. And it

430
00:21:58,880 --> 00:22:02,119
Speaker 1: was also never it never had to do like everything

431
00:22:02,119 --> 00:22:04,480
Speaker 1: else in Hollywood, whether or not what you were doing

432
00:22:04,520 --> 00:22:07,159
Speaker 1: was successful or not. The Hollywood Reporter was always in.

433
00:22:07,240 --> 00:22:09,680
Speaker 1: You always got great tables anywhere, you always got great

434
00:22:09,680 --> 00:22:14,920
Speaker 1: seats at screenings. You always got treated. Well, yeah, I said,

435
00:22:15,000 --> 00:22:16,800
Speaker 1: I'd love to. So you said, well, she set me

436
00:22:16,880 --> 00:22:19,399
Speaker 1: up with that point with the lady who ran the

437
00:22:19,440 --> 00:22:23,480
Speaker 1: Hollywood Reporter, teach you Wokers and Miles. So this is

438
00:22:23,520 --> 00:22:26,920
Speaker 1: like nineteen seventies seven. You go to work for the reporters.

439
00:22:27,040 --> 00:22:30,480
Speaker 1: So no, no, I get the interview with teaching Wokerson Miles.

440
00:22:30,720 --> 00:22:32,520
Speaker 1: It was obviously a courtesy call, and I could tell

441
00:22:32,560 --> 00:22:35,000
Speaker 1: I hadn't made no impression at all. So I called

442
00:22:35,080 --> 00:22:36,720
Speaker 1: Marchie and I thanked her, but I said, you know,

443
00:22:36,960 --> 00:22:39,360
Speaker 1: I teach you didn't even see me. She said, well,

444
00:22:39,800 --> 00:22:41,879
Speaker 1: I'll figure some other way. Then she called me and

445
00:22:41,920 --> 00:22:44,760
Speaker 1: she said, look, what are you doing and she gave

446
00:22:44,800 --> 00:22:47,200
Speaker 1: me some dates and I said, well, I'm working in

447
00:22:47,280 --> 00:22:49,919
Speaker 1: the box office of the Greek Theater and she said, well,

448
00:22:49,960 --> 00:22:52,760
Speaker 1: can you get off for this two week period? Thank Grant,

449
00:22:52,800 --> 00:22:56,840
Speaker 1: who writes the main column Rambling Reporter, is staying in

450
00:22:56,920 --> 00:22:59,919
Speaker 1: vacation and they've asked me to write the column for him.

451
00:23:00,480 --> 00:23:02,800
Speaker 1: And she said, I'll tell them I will, and then

452
00:23:02,880 --> 00:23:04,680
Speaker 1: at the last minute I'll tell him I can't for

453
00:23:04,800 --> 00:23:07,639
Speaker 1: some reason. I'll recommend you do it. They'll have to

454
00:23:07,680 --> 00:23:10,080
Speaker 1: get somebody to do it. This is your life story

455
00:23:11,200 --> 00:23:14,280
Speaker 1: through the kitchen, and then Olivia calls you don't have

456
00:23:14,320 --> 00:23:15,879
Speaker 1: to go through the kitchen. Well, there's a lot of

457
00:23:16,000 --> 00:23:20,520
Speaker 1: struggle in there beforehand, but once it started, once it

458
00:23:20,640 --> 00:23:23,000
Speaker 1: started going, it really started. But this is a great

459
00:23:23,000 --> 00:23:26,280
Speaker 1: opportunity for you. Yeah. So I got called in. I

460
00:23:26,359 --> 00:23:29,240
Speaker 1: had stories ready. I've been doing it for about three days.

461
00:23:29,560 --> 00:23:32,159
Speaker 1: I'm a call from teaching WI Chris and Miles, and

462
00:23:32,359 --> 00:23:35,080
Speaker 1: she said, do you work for us? And I said no,

463
00:23:35,359 --> 00:23:37,600
Speaker 1: I don't, but I'm just coming in to help out.

464
00:23:37,680 --> 00:23:40,240
Speaker 1: She said, would you like to work for us? And

465
00:23:40,359 --> 00:23:42,760
Speaker 1: I said yes I would. She said, well, you've got

466
00:23:42,840 --> 00:23:46,240
Speaker 1: a job. I said, well, I've got another job right now.

467
00:23:47,040 --> 00:23:48,320
Speaker 1: I don't think I told her it was a Greek

468
00:23:48,320 --> 00:23:50,840
Speaker 1: theater box office. She said, well, when you finish that,

469
00:23:51,200 --> 00:23:52,920
Speaker 1: come here. What date would that be? So I gave

470
00:23:52,960 --> 00:23:54,800
Speaker 1: her a date. She said, on that day you show

471
00:23:54,880 --> 00:24:00,479
Speaker 1: up for work. So on that date I showed up

472
00:24:00,480 --> 00:24:02,840
Speaker 1: for work. The editors said, well, I don't have any

473
00:24:02,960 --> 00:24:06,360
Speaker 1: room for you in here, so just kind of wander

474
00:24:06,480 --> 00:24:09,320
Speaker 1: around and get to know the paper. When she comes back,

475
00:24:09,720 --> 00:24:11,600
Speaker 1: we'll ask her what she plans for you. To do.

476
00:24:12,160 --> 00:24:15,800
Speaker 1: Just before she came back Marjorie, who wrote a column

477
00:24:16,280 --> 00:24:19,159
Speaker 1: called on Location where you go visit film sets for

478
00:24:19,240 --> 00:24:21,919
Speaker 1: the paper. She got in a fight at the paper

479
00:24:22,520 --> 00:24:25,280
Speaker 1: and she quit. And when she was going out the door,

480
00:24:25,359 --> 00:24:28,840
Speaker 1: they said, what are we gonna do your columns? Do

481
00:24:29,160 --> 00:24:30,920
Speaker 1: you have to have a column for tomorrow? She said,

482
00:24:31,480 --> 00:24:33,720
Speaker 1: have Osborne do it. He's not doing any anything around.

483
00:24:33,720 --> 00:24:36,000
Speaker 1: And isn't it amazing how people who don't know these

484
00:24:36,080 --> 00:24:39,000
Speaker 1: kinds of businesses, like the newspaper business, how it's really true?

485
00:24:39,040 --> 00:24:41,720
Speaker 1: How do you become the drama critic? You're writing the

486
00:24:41,800 --> 00:24:45,000
Speaker 1: gardening column and the drama critic drops dead at his typewriter,

487
00:24:45,080 --> 00:24:47,960
Speaker 1: and like Osborne, get over here, and and so that's

488
00:24:47,960 --> 00:24:50,320
Speaker 1: exactly what's right here. So all of a sudden, I

489
00:24:50,480 --> 00:24:53,560
Speaker 1: wasn't writing for the in the editorial department. I had

490
00:24:53,600 --> 00:24:56,680
Speaker 1: a column. How do you feel about that? I loved it,

491
00:24:57,240 --> 00:24:59,359
Speaker 1: except I don't think I was very good at it,

492
00:24:59,359 --> 00:25:02,280
Speaker 1: because I take you what it really is supposed to

493
00:25:02,320 --> 00:25:06,720
Speaker 1: be a gossip column, or at least have inside dirt.

494
00:25:07,240 --> 00:25:10,919
Speaker 1: And I never felt comfortable intruding upon people to want

495
00:25:10,960 --> 00:25:13,440
Speaker 1: to keep a secret, because I think secrets are important

496
00:25:13,480 --> 00:25:17,160
Speaker 1: to have you're very discreet. I've been around you many

497
00:25:17,240 --> 00:25:19,880
Speaker 1: many hours, and you're never seen. So there's a story

498
00:25:19,920 --> 00:25:23,119
Speaker 1: that so and so you never get into that, and

499
00:25:23,320 --> 00:25:25,080
Speaker 1: so that was problematic for you and writing that com

500
00:25:28,680 --> 00:25:31,640
Speaker 1: it's it's so. I'd worked for during one period during

501
00:25:31,760 --> 00:25:34,560
Speaker 1: for a PR firm, and for a while rock Hudson

502
00:25:34,640 --> 00:25:36,320
Speaker 1: was a client of ours, so I knew him well,

503
00:25:36,920 --> 00:25:39,800
Speaker 1: and so I knew when he got AIDS that he

504
00:25:39,840 --> 00:25:44,800
Speaker 1: had AIDS, but I would not write about that. At

505
00:25:44,840 --> 00:25:47,320
Speaker 1: that time. I was also doing the evening news because

506
00:25:47,320 --> 00:25:50,600
Speaker 1: all TV stations at one point had entertainment reporters. The

507
00:25:50,720 --> 00:25:53,440
Speaker 1: lady who a wonderful lady, Marsha Brandwin, who was the

508
00:25:53,840 --> 00:25:55,800
Speaker 1: kind of news head there, and I got in a

509
00:25:55,880 --> 00:25:58,719
Speaker 1: big argument that she knew I knew about rock Hudson,

510
00:25:58,920 --> 00:26:00,760
Speaker 1: and she said you have to go on the air

511
00:26:00,880 --> 00:26:03,600
Speaker 1: with that, and I said, no, he doesn't want that. Know,

512
00:26:04,160 --> 00:26:06,560
Speaker 1: this is a very sick man and he's an actor.

513
00:26:06,720 --> 00:26:09,320
Speaker 1: I said, if it was the president that affects all

514
00:26:09,359 --> 00:26:12,280
Speaker 1: of us in this country, he's an actor. So I

515
00:26:12,440 --> 00:26:15,080
Speaker 1: wasn't that good at that. I mean, I think I

516
00:26:15,160 --> 00:26:17,439
Speaker 1: wrote a lively column and an interesting one. How long

517
00:26:17,480 --> 00:26:22,440
Speaker 1: did you write the column for Oh Boy forbet years,

518
00:26:22,600 --> 00:26:24,800
Speaker 1: so you're doing the Reporter. It's twenty years of the Reporter.

519
00:26:24,840 --> 00:26:27,960
Speaker 1: And then what okay? Then the CBS Morning program in

520
00:26:28,000 --> 00:26:30,960
Speaker 1: New York asked me if I do entertainment reports at

521
00:26:31,040 --> 00:26:33,560
Speaker 1: night in Los Angeles that could be put on the

522
00:26:33,640 --> 00:26:36,920
Speaker 1: air on a new CBS morning program and the next day.

523
00:26:37,280 --> 00:26:39,000
Speaker 1: I'd always wanted to live in New York, so I said,

524
00:26:39,760 --> 00:26:41,639
Speaker 1: what if I did them live in New York. The

525
00:26:41,680 --> 00:26:43,560
Speaker 1: minute I got to New York, I thought, I can't

526
00:26:43,560 --> 00:26:45,840
Speaker 1: ever go back. What about New York appeal to you?

527
00:26:46,359 --> 00:26:48,159
Speaker 1: More serious? To you know? Every time I was in

528
00:26:48,200 --> 00:26:51,399
Speaker 1: New York, I felt alive. I saw people reading books,

529
00:26:51,440 --> 00:26:53,840
Speaker 1: and I saw there was so much activity going on

530
00:26:55,000 --> 00:26:58,040
Speaker 1: already leave. Yes, And it was also cars and you

531
00:26:58,119 --> 00:27:00,800
Speaker 1: only you had to drive to gettywhere on the New

532
00:27:00,880 --> 00:27:02,600
Speaker 1: York you're on the street, you run into somebody and

533
00:27:02,640 --> 00:27:04,399
Speaker 1: you go have a drink with them. I mean, I

534
00:27:04,520 --> 00:27:07,399
Speaker 1: loved all that. That's when Dorothy Lamore came to town

535
00:27:07,560 --> 00:27:10,520
Speaker 1: and she said, look, they're honoring Jimmy Stewart. I'm gonna

536
00:27:10,600 --> 00:27:12,560
Speaker 1: come back for two days. We were always going to

537
00:27:12,640 --> 00:27:14,800
Speaker 1: have dinner in l A. We never did. Why don't

538
00:27:14,840 --> 00:27:17,920
Speaker 1: you take me to the Jimmy Stewart Thing. I have

539
00:27:18,040 --> 00:27:20,080
Speaker 1: the tickets and everything, and then we'll finally have that

540
00:27:20,119 --> 00:27:24,080
Speaker 1: dinner the next night. So I said, where would you

541
00:27:24,160 --> 00:27:26,520
Speaker 1: like to have the dinner and she said, well at

542
00:27:26,920 --> 00:27:29,840
Speaker 1: one when I was a star. That's about the only

543
00:27:29,920 --> 00:27:32,240
Speaker 1: place that's still in New York that was around when

544
00:27:32,560 --> 00:27:34,720
Speaker 1: when I used to come to New York. So I

545
00:27:34,800 --> 00:27:37,320
Speaker 1: took out the Jimmy Stewart thing and that night she said, look,

546
00:27:37,320 --> 00:27:40,639
Speaker 1: I got a problem. I'm doing some promotional work for AMC,

547
00:27:41,400 --> 00:27:43,720
Speaker 1: and the people at AMC want to take me to dinner.

548
00:27:43,760 --> 00:27:44,960
Speaker 1: And the only night I can do with us to

549
00:27:45,040 --> 00:27:46,960
Speaker 1: night we were going to go to one. Would you

550
00:27:47,040 --> 00:27:50,920
Speaker 1: mind if very nice guy Brad Siegel and a publicity

551
00:27:51,000 --> 00:27:54,200
Speaker 1: guy with him, Jim Wiss, if they joined us? And

552
00:27:54,280 --> 00:27:56,240
Speaker 1: I said no, not at all. And we all just

553
00:27:56,320 --> 00:27:59,000
Speaker 1: sat around and at her favorite table and we talked

554
00:27:59,080 --> 00:28:02,120
Speaker 1: and told stories and all of that. And soon after

555
00:28:02,160 --> 00:28:04,040
Speaker 1: Brad called me and he said, you know a lot

556
00:28:04,080 --> 00:28:06,320
Speaker 1: about movies and I said, yeah, I guess I do.

557
00:28:07,080 --> 00:28:09,480
Speaker 1: And he said, well, we're going to get rid of

558
00:28:09,560 --> 00:28:11,320
Speaker 1: our afternoon guy at a MC. I'd love you to

559
00:28:11,359 --> 00:28:13,720
Speaker 1: come and be the afternoon guy. This was a big

560
00:28:13,800 --> 00:28:16,680
Speaker 1: deal and I thought it's perfect for me. Everything was,

561
00:28:16,840 --> 00:28:20,640
Speaker 1: negotiations were underway, and then all of a sudden he called.

562
00:28:20,720 --> 00:28:23,480
Speaker 1: He said, Uh, I'm I'm not going to be here.

563
00:28:23,560 --> 00:28:25,760
Speaker 1: I'm leaving. I'm gonna go to work for Ted Turner

564
00:28:25,800 --> 00:28:28,680
Speaker 1: in Atlanta. But you're in good hands. Everything will be fine.

565
00:28:29,080 --> 00:28:31,320
Speaker 1: And I was really disappointed because I like Brad Sigal

566
00:28:31,400 --> 00:28:34,400
Speaker 1: a lot. And Uh. A couple of months went by

567
00:28:35,080 --> 00:28:36,600
Speaker 1: and then he called and he said, Hey, have you

568
00:28:36,680 --> 00:28:38,800
Speaker 1: signed with the AMC thing yet? And I thought he

569
00:28:38,920 --> 00:28:40,760
Speaker 1: was badgering me to say. I said no, no, but

570
00:28:40,840 --> 00:28:43,000
Speaker 1: I got the papers all do He said, well don't.

571
00:28:43,440 --> 00:28:45,840
Speaker 1: Ted's gonna start his own movie channel and I want

572
00:28:45,880 --> 00:28:48,120
Speaker 1: you to be the head guy. He said, I just

573
00:28:48,240 --> 00:28:51,920
Speaker 1: want to tell you. If you come with TCM, you'll

574
00:28:51,920 --> 00:28:55,560
Speaker 1: start with only six million viewers. If you go with AMC,

575
00:28:55,720 --> 00:28:58,680
Speaker 1: you'll have sixty million. If you come with t C M,

576
00:28:58,720 --> 00:29:00,760
Speaker 1: you're gonna have to come to Atlanta at once a month.

577
00:29:01,240 --> 00:29:03,440
Speaker 1: If you go with a MC, you can work in

578
00:29:03,520 --> 00:29:07,000
Speaker 1: New York. But the library, he said, if you come

579
00:29:07,040 --> 00:29:10,600
Speaker 1: with TCM, you're gonna have the MGM library, the archaeo library,

580
00:29:10,720 --> 00:29:13,920
Speaker 1: the Warner Brothers Library and all of that, and so

581
00:29:14,200 --> 00:29:16,600
Speaker 1: there was really no choice that that was what year

582
00:29:17,200 --> 00:29:21,080
Speaker 1: that was like nineteen four, So we're coming up on

583
00:29:21,160 --> 00:29:24,560
Speaker 1: eighteen years now. You you you've been there. They launched

584
00:29:24,720 --> 00:29:27,880
Speaker 1: TCM with you as the hood ornament, so to speak

585
00:29:28,280 --> 00:29:30,320
Speaker 1: of that vehicle. Now, the thing is is that in

586
00:29:30,440 --> 00:29:34,680
Speaker 1: that ensuing time, AMC completely changed. They got out of

587
00:29:34,720 --> 00:29:36,880
Speaker 1: the classic mom this is now they're just another movie channel.

588
00:29:37,240 --> 00:29:41,200
Speaker 1: I mean, you became the impromater if you will, Classic film.

589
00:29:41,280 --> 00:29:43,040
Speaker 1: How did you feel about that? Well, I felt very

590
00:29:43,080 --> 00:29:45,440
Speaker 1: good about it. I was confused why they gave up

591
00:29:45,480 --> 00:29:48,480
Speaker 1: on that, but but you know, any people wanted to

592
00:29:48,520 --> 00:29:52,360
Speaker 1: cancel their subscriptions to the game that the problem was,

593
00:29:53,000 --> 00:29:55,600
Speaker 1: you know, they didn't have their product. Turner owned the product,

594
00:29:56,160 --> 00:29:58,400
Speaker 1: so they had to spend money to get their product.

595
00:29:58,640 --> 00:30:00,720
Speaker 1: It was also called American Movie clas six mean you

596
00:30:00,800 --> 00:30:03,800
Speaker 1: can't show European films. You know, we have a franchise

597
00:30:03,840 --> 00:30:06,080
Speaker 1: in it where we show nothing but European films at

598
00:30:06,440 --> 00:30:08,440
Speaker 1: certain hours of the day. Now let me say this,

599
00:30:08,680 --> 00:30:11,920
Speaker 1: I'm a huge classic movie junkie, and it may not

600
00:30:12,080 --> 00:30:15,480
Speaker 1: be every style in every period. You know, you when

601
00:30:15,520 --> 00:30:17,880
Speaker 1: we compared our lists and everything. Because people don't realize

602
00:30:17,880 --> 00:30:21,560
Speaker 1: how it works. They'd send to me, here's the films

603
00:30:21,600 --> 00:30:23,840
Speaker 1: that are not preferred, but here's the ones we were

604
00:30:24,000 --> 00:30:25,440
Speaker 1: likely not want to show because they've been in the

605
00:30:25,560 --> 00:30:28,000
Speaker 1: rotational not the last twelve months. So they give me

606
00:30:28,080 --> 00:30:30,040
Speaker 1: a list and they say, if you can choose from

607
00:30:30,120 --> 00:30:32,640
Speaker 1: this list, and here's our list that we own, and

608
00:30:32,760 --> 00:30:34,520
Speaker 1: if you can stick with that, great, but if you

609
00:30:34,560 --> 00:30:36,000
Speaker 1: want to deviate, we'll see if we can get it.

610
00:30:36,280 --> 00:30:38,080
Speaker 1: And and the main reason for that is so that

611
00:30:38,120 --> 00:30:43,480
Speaker 1: we're not showing Sunset Boulevard every year. And I totally

612
00:30:43,560 --> 00:30:46,000
Speaker 1: understand their methodology. So they would send me the list

613
00:30:46,600 --> 00:30:48,240
Speaker 1: and they say, you know, you pick thirty and Bob

614
00:30:48,320 --> 00:30:49,920
Speaker 1: picks thirty, and then you guys will call it together

615
00:30:49,920 --> 00:30:51,240
Speaker 1: and come up with, you know, a list of joint

616
00:30:51,280 --> 00:30:53,840
Speaker 1: list of thirty and you pick something. I'd say to myself,

617
00:30:53,840 --> 00:30:56,120
Speaker 1: why don't really you know, I'm not wild about that movie,

618
00:30:56,160 --> 00:30:59,000
Speaker 1: you know, Random Harvest. I liked, but it wasn't crazy

619
00:30:59,000 --> 00:31:01,920
Speaker 1: about it. But I learned from you what makes that

620
00:31:02,000 --> 00:31:03,680
Speaker 1: a classic film because of how it fits into that

621
00:31:03,760 --> 00:31:06,920
Speaker 1: whole line of Hollywood filmmaking. But I want to go

622
00:31:07,000 --> 00:31:09,200
Speaker 1: back to something you said, which is that you saw

623
00:31:09,960 --> 00:31:12,120
Speaker 1: that film business had changed, and you were in those

624
00:31:12,200 --> 00:31:14,720
Speaker 1: rooms with those people and you were their friend, and

625
00:31:14,800 --> 00:31:17,600
Speaker 1: then realism came. What was a movie you saw at

626
00:31:17,640 --> 00:31:19,120
Speaker 1: that period that you said to myself, my god, the

627
00:31:19,160 --> 00:31:22,600
Speaker 1: movies have changed. Well, Easy Rider. I happened to be

628
00:31:23,520 --> 00:31:27,080
Speaker 1: in London, a place I never went to very often,

629
00:31:27,480 --> 00:31:29,400
Speaker 1: but I happened to be at the Royal Court Theater

630
00:31:30,400 --> 00:31:33,720
Speaker 1: one night seeing a play. Alan Bates was in a play,

631
00:31:33,920 --> 00:31:36,360
Speaker 1: and in the row in front of me was Dennis Hopper,

632
00:31:36,600 --> 00:31:38,760
Speaker 1: who had just come back from I believe the can

633
00:31:38,920 --> 00:31:42,760
Speaker 1: Film Festival where they showed Easy Rider and it won

634
00:31:42,840 --> 00:31:45,600
Speaker 1: some awards, or maybe it was the Venice Film Fest whatever,

635
00:31:46,200 --> 00:31:49,080
Speaker 1: and they were talking about it, and I thought, the

636
00:31:49,200 --> 00:31:52,440
Speaker 1: way the papers were writing about that, I thought, this

637
00:31:52,680 --> 00:31:56,120
Speaker 1: is something very strange that that movie about a couple

638
00:31:56,160 --> 00:31:59,959
Speaker 1: of motorcycle guys on cycles and no smoking, a lot

639
00:32:00,000 --> 00:32:02,800
Speaker 1: out of grass and stories and no plot. And then

640
00:32:02,960 --> 00:32:05,520
Speaker 1: as that thing came out and became so popular, I thought,

641
00:32:06,160 --> 00:32:08,920
Speaker 1: you know, this is this is really a seminal change.

642
00:32:09,320 --> 00:32:11,600
Speaker 1: Seminal change. But you know that was kind of on

643
00:32:11,720 --> 00:32:15,640
Speaker 1: its way from back in the late forties when Ingrid Bergmann.

644
00:32:16,080 --> 00:32:18,600
Speaker 1: The reasons she wanted to go do that something with

645
00:32:18,760 --> 00:32:22,080
Speaker 1: Roberto Rossellini. She had seen Open City and Python and

646
00:32:22,160 --> 00:32:24,680
Speaker 1: they were real. These were real people and real on

647
00:32:24,800 --> 00:32:27,080
Speaker 1: the street. So that was starting to come. But then

648
00:32:27,160 --> 00:32:30,239
Speaker 1: when Easy Rider came out and was so embraced by

649
00:32:30,280 --> 00:32:33,160
Speaker 1: this country, not just by foreign film attics or something

650
00:32:33,240 --> 00:32:35,200
Speaker 1: like that, I think that was a big turning. Did

651
00:32:35,240 --> 00:32:37,760
Speaker 1: you think that the Vietnam War was responsible for that change?

652
00:32:37,880 --> 00:32:41,080
Speaker 1: I think I think Kennedy being assassinated changed has changed

653
00:32:41,120 --> 00:32:45,200
Speaker 1: the world. That shot changed everything about America and made

654
00:32:45,200 --> 00:32:49,600
Speaker 1: a cynical and made people discontent angry. You know, for me,

655
00:32:49,880 --> 00:32:51,600
Speaker 1: when I was young, there was a man who when

656
00:32:51,640 --> 00:32:55,000
Speaker 1: you saw this man on TV, he was the movie business.

657
00:32:55,400 --> 00:32:57,120
Speaker 1: There's a man that would sit at a desk and

658
00:32:57,160 --> 00:32:58,760
Speaker 1: you get up from that desk and he talked to

659
00:32:58,800 --> 00:33:00,760
Speaker 1: the camera the movie was in. This man became the

660
00:33:00,960 --> 00:33:04,760
Speaker 1: emblem and that was Walt Disney. And to me, you

661
00:33:04,960 --> 00:33:07,720
Speaker 1: are the Walt Disney of your generation. You come on

662
00:33:07,840 --> 00:33:10,680
Speaker 1: TV and right away people because you have become so synonymous.

663
00:33:10,720 --> 00:33:13,920
Speaker 1: I mean, people just love you, they love your show,

664
00:33:14,000 --> 00:33:16,880
Speaker 1: and you mean the movie Businessant do you sense that

665
00:33:16,960 --> 00:33:18,880
Speaker 1: when you're out of the street with people. I get

666
00:33:18,920 --> 00:33:21,160
Speaker 1: a sense of that, but I honestly don't see it.

667
00:33:21,360 --> 00:33:22,960
Speaker 1: Who do you think you're talking to when you talk

668
00:33:23,040 --> 00:33:25,040
Speaker 1: to the camera, when you do the rat three people.

669
00:33:25,600 --> 00:33:27,880
Speaker 1: I talked to my aunt who lives on a farm,

670
00:33:28,320 --> 00:33:31,080
Speaker 1: who loves old movies, but doesn't know much about him.

671
00:33:31,360 --> 00:33:34,200
Speaker 1: But I also know that if I mentioned bell be Mayor,

672
00:33:34,280 --> 00:33:37,480
Speaker 1: I have to say, identify who he was. I can't

673
00:33:37,520 --> 00:33:41,560
Speaker 1: say Berta Lucci without explaining that he's a director, can't

674
00:33:41,560 --> 00:33:44,280
Speaker 1: be shorthand for my aunt. I also talked to a

675
00:33:44,440 --> 00:33:47,880
Speaker 1: guy that is now a young man, but he was

676
00:33:47,960 --> 00:33:50,880
Speaker 1: in his early twenties, worked for the Hollywood Reporter that

677
00:33:50,960 --> 00:33:53,040
Speaker 1: called me one time and said, you know, I just

678
00:33:53,120 --> 00:33:55,160
Speaker 1: saw this great movie the other night. I was wondering

679
00:33:55,200 --> 00:33:56,920
Speaker 1: if the lady in it made any of the movies.

680
00:33:56,920 --> 00:33:58,840
Speaker 1: I'd like to see some of those movies. And I said, well,

681
00:33:59,240 --> 00:34:01,200
Speaker 1: what's the was the movie that I didn't get the

682
00:34:01,280 --> 00:34:03,000
Speaker 1: name of it? Well, who's the actors? I don't know

683
00:34:03,040 --> 00:34:05,240
Speaker 1: what her name was? Will describe the movie to me?

684
00:34:05,520 --> 00:34:07,920
Speaker 1: He described, and it was guilded with three to Hayworth.

685
00:34:08,560 --> 00:34:12,320
Speaker 1: And so I'm also talking to him. He's interested in movies.

686
00:34:12,360 --> 00:34:14,480
Speaker 1: He wants to learn about movies and all of that.

687
00:34:14,960 --> 00:34:16,640
Speaker 1: And I'm also talking to a friend of mine who

688
00:34:16,719 --> 00:34:20,319
Speaker 1: died recently, called Robert Rosterman in Chicago, who knows as

689
00:34:20,400 --> 00:34:23,960
Speaker 1: much about movies as any of us know, and profession

690
00:34:24,239 --> 00:34:27,160
Speaker 1: he worked for years as a booker for twenty century Fox.

691
00:34:28,440 --> 00:34:31,120
Speaker 1: Kind of yeah, but he was a dedicated movie fan.

692
00:34:31,680 --> 00:34:34,399
Speaker 1: But I want to say something in each introduction that's

693
00:34:34,440 --> 00:34:37,640
Speaker 1: also going to be news to him. So I tried

694
00:34:37,719 --> 00:34:40,400
Speaker 1: to gear it for those three people, my aunt and

695
00:34:40,719 --> 00:34:44,880
Speaker 1: my friend John and Robert Rosterman, to cover all basses.

696
00:34:50,360 --> 00:34:55,880
Speaker 1: Robert Osborne, he turns eighty next month. Last year, I

697
00:34:55,960 --> 00:34:58,759
Speaker 1: went to a book party for Keith Richards. I found

698
00:34:58,840 --> 00:35:02,720
Speaker 1: myself seated directly opposite Richards and his wife Patty Hanson.

699
00:35:03,120 --> 00:35:05,239
Speaker 1: And long story short, as Patty Hanson says, we just

700
00:35:05,440 --> 00:35:08,399
Speaker 1: so love you, Alec, we love you on that TV show,

701
00:35:08,480 --> 00:35:11,160
Speaker 1: and I thought, oh good God. I go, Patty Hanson

702
00:35:11,200 --> 00:35:13,759
Speaker 1: to Keith Richard, don't watch the thirty Rock. This is preposterous.

703
00:35:13,800 --> 00:35:17,319
Speaker 1: She's just being so polite, and she says, what's that show?

704
00:35:17,480 --> 00:35:19,759
Speaker 1: She says, Keith, that show we watch every week? We

705
00:35:19,880 --> 00:35:23,120
Speaker 1: watch and Keith Richards looks at me and goes, we

706
00:35:23,239 --> 00:35:27,320
Speaker 1: watch you on Turn A Classic Movies Man every weekend.

707
00:35:27,640 --> 00:35:31,520
Speaker 1: It was so fantastic. We love that show, and I thought,

708
00:35:32,400 --> 00:35:39,359
Speaker 1: God damn it, Osborne has upstaged me again. You're one

709
00:35:39,400 --> 00:35:42,879
Speaker 1: of these guests that we're going to have back because

710
00:35:42,880 --> 00:35:45,200
Speaker 1: I want to talk about the movies themselves. Did you

711
00:35:45,320 --> 00:35:47,000
Speaker 1: have to promise me one thing? What is that? Did

712
00:35:47,040 --> 00:35:49,920
Speaker 1: you come back? Let me and do the essential because

713
00:35:49,960 --> 00:35:51,800
Speaker 1: I know you're trying to start a rumor that you

714
00:35:51,880 --> 00:35:55,719
Speaker 1: got fired or something I got fired, did not get

715
00:35:56,800 --> 00:35:58,880
Speaker 1: I'm like a weak sparring part of the year, not

716
00:35:59,239 --> 00:36:01,759
Speaker 1: for a second. God bless you for doing what you do.

717
00:36:01,880 --> 00:36:05,840
Speaker 1: You we'll see you soon. This is Alec Baldwin and

718
00:36:05,960 --> 00:36:07,719
Speaker 1: you're listening to Here's the thing