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Speaker 1: This is Alec Baldwin and you're listening to Here's the Thing.

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Speaker 1: Actress Elaine Stritch has been performing for nearly seventy years.

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Speaker 1: No matter the medium, she brings her characters to life

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Speaker 1: with a playful ferocity that naturally leads to scene stealing performances.

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Speaker 1: Despite her enviable career in film and television, Elaine Stritch

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Speaker 1: is a self professed Broadway baby. A big break came

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Speaker 1: in nineteen fifty when she was hired to understudy ethel

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Speaker 1: Merman in Irving Berlin's musical Call Me Madam. She scared

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Speaker 1: me to death. She's a tough When I got to

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Speaker 1: the end of Call Me Madam, it was mine. It

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Speaker 1: is not so surprising that you feel very strange. Elaine

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Speaker 1: Stritch remained on stage for much of the fifties and sixties,

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Speaker 1: playing such iconic roles is Martha and Who's Afraid of

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Speaker 1: Virginia Woolf both Vera and Mame in the musical Mame

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Speaker 1: and Amanda in Private Lives by Noel Coward. In venties,

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Speaker 1: she originated what was arguably the role of her career,

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Speaker 1: the acerbic Joanne in Stephen Sondheim's Company and Here's to

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Speaker 1: the Girl who Just Watch Aren't the Best? In a

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Speaker 1: TV documentary about the cast recording of that production, we

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Speaker 1: meet Elaine's toughest critic, herself. Here she is listening to

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Speaker 1: a take of that song she made famous, Ladies Who

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Speaker 1: Lunch Rong, And of course I'm smoking a nice cigarette

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Speaker 1: which helps the situation. Yeah, just to be clear, that's

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Speaker 1: Elaine yelling at the sound of her own voice. That

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Speaker 1: was over forty years ago. But Elaine Stritch has continued

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Speaker 1: to hold herself to impossibly high standards, and she stayed busy,

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Speaker 1: at least until recently. Earlier this year, she announced that

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Speaker 1: she was leaving New York for her home state of Michigan.

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Speaker 1: In April, at Elaine Stritch performed her last cabaret show

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Speaker 1: at the Carlisle Hotel. About a month ago, I really said,

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Speaker 1: I'm I want out of here. I want out of

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Speaker 1: New York. I don't I shouldn't live in New York anymore.

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Speaker 1: It's not for me anymore. It's too fast for me.

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Speaker 1: Or no, it's not too fast. And I changed my

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Speaker 1: mind about that. It's not this. It's not that it's

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Speaker 1: just not for me. This is this is New York

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Speaker 1: Taxi low and it's dinner and tonight and tomorrow and

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Speaker 1: and I can't handle it anyway, because I'm not interested

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Speaker 1: in handling. You just don't want you could do it.

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Speaker 1: You just don't want to do it. Doesn't give me

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Speaker 1: any satisfaction. I don't go home and say, I guess

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Speaker 1: I told them so about a month ago. It had

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Speaker 1: been an idea, and then a month ago you went,

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Speaker 1: I'm doing it. I called up my nephew, who is

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Speaker 1: a great buddy of mine in Birmingham, Michigan, and I said,

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Speaker 1: I'm coming home. What do you think you're going to

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Speaker 1: do there? Oh, you have no idea. I'm just saying

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Speaker 1: a very active life. First of all, nothing. I'm really

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Speaker 1: going to do nothing. I'm gonna wake up and go

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Speaker 1: back to bed and go back to bed. That's exactly right.

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Speaker 1: I want to do it. I want to sleep a lot.

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Speaker 1: What's wrong with us? I would like to wake up

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Speaker 1: and have my oat meal and read the paper and

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Speaker 1: go right back to you, right back to be until

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Speaker 1: about noon. So you're gonna go there and do nothing?

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Speaker 1: And I like to go to dinner. I like to

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Speaker 1: meet my nieces, my nephew's, my cousin's, my you know

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Speaker 1: your relations there by way of who you're two sisters?

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Speaker 1: Your two sisters I had two sisters, were three sisters.

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Speaker 1: I was the baby and they kids in bedroom Detroit.

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Speaker 1: You were in like what Bloomfield Hills or yeah, yeah,

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Speaker 1: yeah yeah your dad. But your dad was someone not

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Speaker 1: in the car business. Daddy was, well, yes he was.

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Speaker 1: He was the BF good ridch rubber. He was in

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Speaker 1: the time. My mother called it the g DBF good

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Speaker 1: Rich Rubber. You got it. What are your two sisters?

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Speaker 1: What kind of lives did they have? No show business?

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Speaker 1: Very very chic, very normal. Normal. Georgine had four kids

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Speaker 1: and Sally had three seven seven guys running around and

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Speaker 1: they're all crazy about me. Why shouldn't I go home?

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Speaker 1: There's nothing to tie me here. It's not the same

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Speaker 1: My career tied me here. I talk career, I talk

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Speaker 1: I part and play and plan and plan and make plan.

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Speaker 1: What am I doing next? What am I going next?

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Speaker 1: And when you get off that merry ground, it gets

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Speaker 1: you get a different stop. What to stop? It is

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Speaker 1: the merry go around broke down? Why do you say

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Speaker 1: that you could keep working but you don't want to? No,

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Speaker 1: I don't want to find parts and look for him,

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Speaker 1: and and and I said the other night, when is

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Speaker 1: pretend going to end? Right? Slowly but surely, alex Is

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Speaker 1: I'm starting to say I don't want to pretend anymore.

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Speaker 1: I want to get up in the morning and I

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Speaker 1: want it to be real. I don't want to I

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Speaker 1: can't believe you're saying this, because it's so I am.

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Speaker 1: It's so much. Maybe as a result of my getting older.

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Speaker 1: I turned fifty a couple of weeks ago, and my

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Speaker 1: wife I got married again, and my wife we're having

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Speaker 1: a baby. And because of all this stuff, I realized

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Speaker 1: I want to be me for change. I want to

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Speaker 1: wake up and I want to say my words and

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Speaker 1: have my thought or not say anything. It's such a

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Speaker 1: self involvement. This, it is. It is. Why do you

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Speaker 1: think you've lasted this long? You know what talent is?

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Speaker 1: Why have you lasted all this time because you're talented?

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Speaker 1: Certainly isn't because people think you're an easy time of it?

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Speaker 1: Because I have to accomplish something in that department almost

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Speaker 1: every day of my life. I have to You've never

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Speaker 1: stopped trying to prove yourself. That's the key, isn't it. No,

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Speaker 1: I got to go and do that part in that soap,

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Speaker 1: in that smoke, I don't care what it is. Or

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Speaker 1: I'm with an old coward on the West End, or

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Speaker 1: I'm with how Prince on Broadway. I'm with all the big, big, big,

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Speaker 1: big shots, and they're directing me well and guiding me well.

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Speaker 1: And I'm I'm. You would approve you belong there with them, yes,

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Speaker 1: And I'm being directed in the way of the big shots,

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Speaker 1: and I'm doing fine. I'm doing fine. I'm I'm, I'm

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Speaker 1: doing fine. But you but there's a point, I'm assuming

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Speaker 1: when did you feel that you're in the room and

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Speaker 1: all of a sudden it's like, I don't need anybody's advice.

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Speaker 1: I know what I want to do. Here's what I do.

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Speaker 1: Was there a time you remember in your life when

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Speaker 1: that changed? I got self satisfied about the parts that

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Speaker 1: I played. For example, well, like I was the I

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Speaker 1: was the funny, kind of offbeat girl. I wasn't. I

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Speaker 1: was never the romantic lead. I wasn't good that kind

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Speaker 1: of looking girl in the movies. I couldn't be that

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Speaker 1: kind of looking girl I was. Well, you could, you

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Speaker 1: could have been look spised, but you just don't want

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Speaker 1: to play it becauseose we're dull parts. Well, yeah, they

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Speaker 1: weren't as good at parts, But I you're a sassier woman,

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Speaker 1: and you played those parts. But I didn't want to

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Speaker 1: be eve Arden. I really didn't. Okay, Okay, that's a

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Speaker 1: good point. Why. Well, because I don't want to be

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Speaker 1: a funny girl that's just cracking wise cracks, or staying

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Speaker 1: up with the you know, with the rollers in her hair,

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Speaker 1: or driving the car while the two leaves make out

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Speaker 1: in the back of the car. You don't want to

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Speaker 1: be that. No, what did you? What did you? I

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Speaker 1: don't want them to make up in the right? What

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Speaker 1: did you sprinkle on top of what might have been

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Speaker 1: eve Arden for you, which it very easily could have been.

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Speaker 1: What did you sprinkle on top of that to make

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Speaker 1: sure that it wasn't eve Arden? What do you do

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Speaker 1: that Eve Arden didn't do. I get dramatic or frightened

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Speaker 1: or reel about something or pain. Yeah, there's a pain.

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Speaker 1: It's not in Arden's work. Something dramatic happens to me

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Speaker 1: in the course of a comedy, right, I don't know.

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Speaker 1: But were always that way? What was I always? What way?

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Speaker 1: Complicating things with the pain of your existence? This thing

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Speaker 1: you tap into. Did you do when you were very young?

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Speaker 1: I think so. I think I did. Were you the

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Speaker 1: complicated one? Oh? I think so. I mean there's very

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Speaker 1: often I would hear around our house where is he lane?

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Speaker 1: And then my mother was and they say oh, and

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Speaker 1: I'd say right here. They were worried about you. Yeah,

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Speaker 1: everybody was worried about me, because when I wasn't accountable,

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Speaker 1: I was. I scared him and I didn't mean to.

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Speaker 1: When did performing begin? For he was a were performer

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Speaker 1: As a child, I was laughing. I was born laughing.

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Speaker 1: And you were funny. Oh god, I was funny. I

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Speaker 1: really was funny, and I made everybody laugh and I

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Speaker 1: wasn't conscious of it. I want to tell you something.

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Speaker 1: I'd love to tell you a line from my life

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Speaker 1: to see if you get this, and I'm going to

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Speaker 1: tell it to you. My mother and dad, as a

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Speaker 1: present to me when I was six years old, took

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Speaker 1: me to Niagara Falls, which was very close to Birmingham, Michigan.

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Speaker 1: And I kept hearing about this, and I was going

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Speaker 1: to wear my new pink coat and hat and I

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Speaker 1: was going to Niagara Falls. And I kept hearing it,

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Speaker 1: and you know Christmas morning, Christmas morning, whatever it was,

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Speaker 1: and and I never said a word. I just sat

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Speaker 1: in the backseat and I just waited. They pulled up

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Speaker 1: Alec to the parking lot in Niagara Falls, and here

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Speaker 1: we are. We're here, Landy, We're here, Come on, get out.

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Speaker 1: And it was just me, Mom and dad. So the

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Speaker 1: two sisters, the old your sisters, you know, the hell

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Speaker 1: with them. And I got very teary eyed and pulled

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Speaker 1: my mother back from the car and said, Mama, what

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Speaker 1: what We're going to go see Niagara Fall? And I

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Speaker 1: asked her if Niagara Falls had a baby? And to

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Speaker 1: me and to my mother and my father, it was

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Speaker 1: one of the most extraordinary dramatic lines of all time.

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Speaker 1: All I was interested in is did this woman Niagara

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Speaker 1: Falls have a baby? Because then I could play with her.

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Speaker 1: And it was the I think, an absolute proof of

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Speaker 1: how lonely and sad I was as a kid. I

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Speaker 1: didn't know what the hell artistic was all out. I

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Speaker 1: really didn't. I knew I had to express myself. I

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Speaker 1: knew I had to express myself, and that's all there

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Speaker 1: was to it. So when you left Michigan, when you

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Speaker 1: left home, you lived at home in Michigan. Your family

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Speaker 1: lived in Michigan until you left home. Did you go

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Speaker 1: to college? No, I didn't go to college, which I

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Speaker 1: graduated from high school where Sacred Heart Convent. You went

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Speaker 1: to a convent. I went to a convent the soccerquer

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Speaker 1: highly educational, big scholastic, scooby doo. You went there for

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Speaker 1: what twelve years? That was your high school? When you

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Speaker 1: left there? Where'd you go to Deshen Residents which was

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Speaker 1: also the soccer cur but it was a residence finishing

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Speaker 1: school for what it was like, um after school stuff,

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Speaker 1: you know, Like I'm trying to think of one of

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Speaker 1: the courses that we took, current events, isn't that? I

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Speaker 1: guess how long were you there? Uh? Two years? Two

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Speaker 1: years after and I went out and majored in dramatics

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Speaker 1: at the new school in Greenwich Village. The finishing school

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Speaker 1: was in the city when you were back in Michigan,

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Speaker 1: Greenwich Village. Slim in New York and you went to

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Speaker 1: finish your school in New York absolutely on ninety one

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Speaker 1: and fifth Avenue. Oh my god, yeah, and I uh,

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Speaker 1: I took these three courses at the school, which is fine.

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Speaker 1: I had a roommate from Chicago who was majoring in journalism,

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Speaker 1: and we were all very sophisticated broads. You went to

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Speaker 1: New School for drama. That was your first acting exposure.

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Speaker 1: What do you think about it when you first I

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Speaker 1: loved it. I sat next to Marlon Brando. That was

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Speaker 1: didn't hurt at all. I don't get you through class. Yeah,

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Speaker 1: Walter Mattha was on the other side of me at

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Speaker 1: the New School. Yeah, we had a very stellar cast.

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Speaker 1: I was getting along fine and having the most fun

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Speaker 1: I've ever had in my what's the first job you

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Speaker 1: ever got? Well, first of all, I was at the

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Speaker 1: studio theater at the New School and we had our

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Speaker 1: own theater and Piscatter directed and Stella Adler directed, and

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Speaker 1: we had all those Stanislavski people. We had more fun, Alex.

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Speaker 1: You couldn't believe it. It was Stella like as a director,

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Speaker 1: heaven she was what made her so very insight, all

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Speaker 1: this kind of dramatics, you know, Laine and Malon and

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Speaker 1: Wolf and you do it. She screamed her head off

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Speaker 1: at us. She was crazy woman, absolutely divine. And when

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Speaker 1: you left that program, what was your first job? Job?

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Speaker 1: Summer stock, Westport, Connecticut, Do you remember what you did? Yeah, um,

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Speaker 1: Craig's wife. I think I did. And people let me say,

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Speaker 1: years ago, they go, what show did you too? And

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Speaker 1: your name a show people have just never heard of.

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Speaker 1: They go, Craig Craig's wife, would you play the saucy nurse?

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Speaker 1: Would you play? I played the aunt, the ant that

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Speaker 1: visited and told craig wife she was full of ship.

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Speaker 1: You started as an aunt, and you're going to finish

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Speaker 1: as an ant. That you're going Now you're an aunt.

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Speaker 1: That's your next that's your that's your role. Now you're

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Speaker 1: an aunt. They're not allowed to call me in because

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Speaker 1: it's so boring. They call me Toddlane because my mother

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Speaker 1: is French. I think they were going to call you

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Speaker 1: lady stretch. I would have them call you her highness.

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Speaker 1: But I just had the most wonderful time in dramatic school.

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Speaker 1: And then what about your first job, Douglas? I did

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Speaker 1: my first play with Kirk Douglas Craig's Um. Wait a minute,

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Speaker 1: wait a minute, I'll tell you in a minute. You

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Speaker 1: and Kirk Douglas, you're on a stage in New York.

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Speaker 1: And also, where is my black bag? Alec Hunter? I

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Speaker 1: need I need orange juice. Hunter, come in place. Can

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Speaker 1: we send Hunter in here plays with the provisions. Hunter

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Speaker 1: Ryan Herdlika, who accompanied Elaine to the studio, came through

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Speaker 1: the door juice in hand. I need some orange juice.

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Speaker 1: Beanies is kicking up, Hunter, My good man, hunters here.

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Speaker 1: All's right with the world. Okay, Well, how about a glass. Yes,

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Speaker 1: that's a clean water. We'll get him a clean we'll go,

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Speaker 1: We'll go get a clean all right, it's all right

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Speaker 1: if you just empty that glass, it's heaven. I need

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Speaker 1: some orange juice. You know that I'm diabetic. Yes, of

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Speaker 1: course I need. The world knows by now, the world.

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Speaker 1: It's okay. You know what I cooded other day. The

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Speaker 1: line of my father's it really is so naughty and

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Speaker 1: just so much fun. Here's looking up your old address.

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Speaker 1: Isn't it a great line? And he said it with

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Speaker 1: no he used that was it. That's right? All right,

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Speaker 1: I'm going to drink this being the oranges now, so

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Speaker 1: we don't have some event here. That's cool, okay, alright,

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Speaker 1: So now that you've had your orange juice and your

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Speaker 1: brain freezes over, Kirk Douglas, what was the show? Do

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Speaker 1: you remember? Now? Woman bites dog that orange juice it's

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Speaker 1: a miracle. Elck, sir, I want to be a case

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Speaker 1: of that orange juice. It's dog, woman bites dog. What

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Speaker 1: did you play in that? If you say his girlfriend

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Speaker 1: but he lived with I didn't even know what that

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Speaker 1: phrase meant. You were a floozy? Well, no, I wasn't.

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Speaker 1: I just but I lived with him and I wasn't

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Speaker 1: married to him. I didn't know what that meant. What

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Speaker 1: do you remember about Kirk Douglas. Oh my god, I

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Speaker 1: loved him, Oh god, I loved him. And what an actor.

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Speaker 1: And he's one of the few men who was as

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Speaker 1: great an actor as he was a star. He was

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Speaker 1: a great actor. He was a great actor. He was

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Speaker 1: a great actor. I loved him, and he loved me.

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Speaker 1: He flipped over me. I've known him for years, and

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Speaker 1: he took me halfway away for the weekend, and then

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Speaker 1: I discovered that I shouldn't go. He took you half

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Speaker 1: way away to Palm Springs and then I said I

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Speaker 1: shouldn't be going. So what did you hit like? I

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Speaker 1: don't know. We were halfway to Palm Beach, Palm Springs things.

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Speaker 1: So you're driving east, we were driving for the weekend,

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Speaker 1: and you decide you didn't want to. Well, I said,

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Speaker 1: I'm getting nervous, because what do you want me to

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Speaker 1: do when we get up here? Oh, Elaine? He knew

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Speaker 1: I was a virgin, so he was ing with that.

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Speaker 1: So what was the first leading role you had on Broadway?

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Speaker 1: Big roll? Take more orangs you so you can remember

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Speaker 1: the big part, big big part I had was Angel

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Speaker 1: the Wings, which was a review, hardest thing in the

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Speaker 1: world to do a review, and that kind of review,

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Speaker 1: like New Faces, was like Leonard Sulman's sketches, And I

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Speaker 1: was the big busted you know, girl in the in

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Speaker 1: the bedroom. I was the I was the piece on

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Speaker 1: the side. Yeah, where are you? Isn't amazing you with

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Speaker 1: this virginal You went to suck or cur and you

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Speaker 1: went to finishing school, and as soon as you're out,

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Speaker 1: God is just tempting you. He's taking Marlon Brando on

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Speaker 1: one side of you, and Kirk Douglas is reven up

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Speaker 1: the convertable to take you to Palm Springs, and you're

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Speaker 1: the flu he here and the piece on the side,

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Speaker 1: the bust defend the towel. But what I was really

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Speaker 1: doing is learning my lines to the play or to

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Speaker 1: the television or to the I was really loving acting.

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Speaker 1: I loved it. I loved pretending. I just loved it.

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Speaker 1: Was being somebody other than I was was my idea

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Speaker 1: of a good time? Was part of that process for you?

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Speaker 1: Learning from people you work with, it you admire. Did

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Speaker 1: you look at other people and say, because I've had that,

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Speaker 1: I mean, I'm not going to say I had it

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Speaker 1: well like Merman? When you worked with Merman, did you

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Speaker 1: learn from Merman? Did you did you know you didn't?

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Speaker 1: I did her part right. I did her There's no

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Speaker 1: question everybody loved everybody, but I know how to do that.

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Speaker 1: And I was so frightened and so terrified, and I

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Speaker 1: was so good in it. Did you feel that she

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Speaker 1: was of that type where just Mermin as Mermaid, she

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Speaker 1: goes out into stuff. She made, you know so long.

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Speaker 1: She'd say goodbye to me from the wings on my

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Speaker 1: opening night and then go sit in the first row.

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Speaker 1: She scared me to death. When I got to the

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Speaker 1: end of call Me Madam, it was mine? You felt that? Well?

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Speaker 1: When do you think you became you? The moment I

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Speaker 1: started to rehearse Mermaid's part, I was doing the new Mermaid,

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Speaker 1: the new everything. That's when you became you. So doing

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Speaker 1: the piece doing Call Me Madam is when you felt

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Speaker 1: things changed for you, You felt you were You're not

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Speaker 1: necessarily now everything I did, everything I did was you know.

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Speaker 1: But when you do a show Elaine Stretch at Liberty,

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Speaker 1: when you do a show that as a memoir of

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Speaker 1: your career, oh yeah, and it is enormously successful, When

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Speaker 1: did you think in your life, when did you reach

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Speaker 1: a point in your life that you felt you were

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Speaker 1: someone who could write a memoir about your life, that

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Speaker 1: you thought it was interesting enough. When did you cross

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Speaker 1: the line and say, yeah, I was convinced by this

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Speaker 1: producer who said, who saw me perform at a Judy

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Speaker 1: Garland special at Carnegie Hall? And what I did was

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Speaker 1: tells Judy Garland stories And I told her was a

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Speaker 1: tribute to Judy. She's gone by this, yeah, and oh boy,

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Speaker 1: I really did know her very well. From where did

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Speaker 1: you first meet her? Party? At a party someplace I

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Speaker 1: don't know. And I loved her. So when I tried

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Speaker 1: out one of my stories on Judy Garland, I mean

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Speaker 1: she tried out one of hers, I said, Judy, I've

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Speaker 1: got an idea, and I sincerely did. I said, I've

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Speaker 1: got a great idea. Why don't we tour Maime, I

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Speaker 1: said to Judy Ghan and she SAIDs divine. She said

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Speaker 1: that sounds great. I said, but here's the good idea, Judy.

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Speaker 1: When I do meme, I go to bed early, and

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Speaker 1: when you do me, you go to bed early, and

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Speaker 1: then the other one does vera. She wan to switch

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Speaker 1: on and off. She bought that idea. She's listening now

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Speaker 1: and she's saying okay, okay, okay, and she's counting up

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Speaker 1: the songs, what songs she has? What you know? And

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Speaker 1: after this long pause she looks at me and said,

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Speaker 1: what about Matteni's And I thought it was one of

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Speaker 1: the on these things I ever heard in my whole life.

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Speaker 1: That Judy Garland wanted to know what about mannis? That's

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Speaker 1: how she carefully. She wanted her her career planned so

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Speaker 1: she could be able to get loaded when she wanted to.

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Speaker 1: And you know it was her way of treating a

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Speaker 1: very serious discuss. So you did a tribute thing where

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Speaker 1: you told stories about her. And that's when someone pitched

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Speaker 1: the idea to you of doing a memoir of your career.

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Speaker 1: That's right, what vaguely said, you tell a story to

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Speaker 1: an audience the like of which I have never heard.

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Speaker 1: That's true. I was that the opening night at the Public,

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Speaker 1: when that Liberty opened at the Public, and everyone who

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Speaker 1: was had a pulse in New York. Everyone who was

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Speaker 1: alive that night came to that opening at the Public.

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Speaker 1: Everybody in the theater came. They went crazy, They went crazy.

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Speaker 1: It's lovely, God, it's lovely. Success is lovely. It's so hard,

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Speaker 1: and it's such hard work, but it's so gratifying. What's

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Speaker 1: the hardest thing about it for you? What's been the

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Speaker 1: hardest thing? Do you find it hard to fear? The

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Speaker 1: fear of what that you won't be able to perform,

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Speaker 1: the fear that I'm just going to forget and I'm

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Speaker 1: gonna not not so much forget. But it's the fear.

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Speaker 1: It's the fear. And that was when I was not

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Speaker 1: drinking at all, and I didn't drink anything to get

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Speaker 1: my talent out, but all my life I had. Have

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Speaker 1: you ever done a show, I'm sure you've done countless shows.

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Speaker 1: You ever done a show where you're sitting backstage thinking

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Speaker 1: what am I doing here? How did I get myself

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Speaker 1: into this? Or were you always engaged by what you

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Speaker 1: were doing. I was always engaged always. You never took

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Speaker 1: I was leading up to it or coming down, you know,

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Speaker 1: I I was trying to get it behind. You never

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Speaker 1: regretted doing anything? Never? No, Wow, that's incredible. No, I

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Speaker 1: never never regretted doing anything on the stage. You never

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Speaker 1: How was that possible? Because I just one every time

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Speaker 1: I walked out there, you know, that old expression of

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Speaker 1: that I own the stage. Elaine Stritch has never regretted

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Speaker 1: anything she's done on stage, but there are many who

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Speaker 1: regret not seeing her one woman show, Elaine Stretch at

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Speaker 1: Liberty on Broadway in two thousand two. News Week called

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Speaker 1: it abiding hilarious, even touching tour de force tour of

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Speaker 1: Stritch's career and life. In a minute, Stretch tells me

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Speaker 1: a secret and very personal moment she had on stage

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Speaker 1: during the run of Who's Afraid of Virginia Wolf? This

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Speaker 1: is Here's the Thing by Alec Baldwin. In the past

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Speaker 1: twenty years, TV and film have introduced Elaine Stretch to

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Speaker 1: a new audience. She garnered Emmy's for her performances in

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Speaker 1: Law and Order and in Thirty Rock, where she played

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Speaker 1: Mike Charagor's mother, The Irascible Colleen donahe well, wo whoa, whoa, whoa?

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Speaker 1: This must be the one. Uh Phoebe welcome? No, no, no, welcome, mother,

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Speaker 1: this is not pee, this is not Phoebe. Well, why

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Speaker 1: the hell not? I mean, just perfect. I ended up

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Speaker 1: liking Tina Fey an awful law and very quietly all

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Speaker 1: by myself. Did you enjoy doing the show? No, you

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Speaker 1: didn't know why. I didn't have any fun with with comedy.

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Speaker 1: I did with you for a while, but then it

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Speaker 1: got a little bit too routine for me and I

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Speaker 1: wasn't challenged. I didn't have a challenge with it. But

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Speaker 1: I mean I was fine, but u oh, I don't know,

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Speaker 1: Alexi just wasn't. Would you think TV is not your No?

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Speaker 1: I think TV is fine with me. I nothing's nothing's

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Speaker 1: wrong with it. I love TV, I love comedy. I

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00:28:05,200 --> 00:28:09,440
Speaker 1: loved working with you. It was almost like we need

422
00:28:09,560 --> 00:28:14,920
Speaker 1: It was something that I did two weeks ago at

423
00:28:14,960 --> 00:28:20,960
Speaker 1: the Carlisle when they said challenged me to do a

424
00:28:21,080 --> 00:28:24,800
Speaker 1: show and just go out there and do a show

425
00:28:25,280 --> 00:28:29,199
Speaker 1: for an hour and a half. And I accepted the

426
00:28:29,320 --> 00:28:32,240
Speaker 1: challenge and did it. And how did it? I didn't

427
00:28:32,280 --> 00:28:37,440
Speaker 1: have any rehearsal or anything how did it go? Fantastic?

428
00:28:38,320 --> 00:28:43,760
Speaker 1: And Warren Baby people like Warren and and it came

429
00:28:44,160 --> 00:28:47,800
Speaker 1: I adore both of them. And he said, I've got

430
00:28:47,800 --> 00:28:53,840
Speaker 1: to get three cameras on this. This is terrifying. You

431
00:28:53,880 --> 00:28:57,200
Speaker 1: know the fact that I did it with no rehearses.

432
00:28:58,720 --> 00:29:01,280
Speaker 1: Winged it exactly. It's a good way of putting it.

433
00:29:02,840 --> 00:29:06,920
Speaker 1: But you don't want to wing it anymore. It's so hard,

434
00:29:07,240 --> 00:29:12,000
Speaker 1: My god, is there any place you can perform if

435
00:29:12,080 --> 00:29:17,720
Speaker 1: you have a notion? If you're sitting there in Birmingham, Michigan,

436
00:29:17,800 --> 00:29:19,200
Speaker 1: and you decide you want to get up and you

437
00:29:19,240 --> 00:29:22,360
Speaker 1: want to do a show, you want to do an

438
00:29:22,360 --> 00:29:27,000
Speaker 1: hour and a half, like you are their facilities there

439
00:29:27,000 --> 00:29:29,200
Speaker 1: that you're dialed into the you can go. I go

440
00:29:29,280 --> 00:29:33,480
Speaker 1: up to ann Arbor and I rehearse it. But I

441
00:29:33,520 --> 00:29:36,400
Speaker 1: wouldn't I just say, here's what I'm gonna do. I'm

442
00:29:36,400 --> 00:29:38,960
Speaker 1: going to learn three songs. I have to learn them

443
00:29:39,000 --> 00:29:41,680
Speaker 1: sort of. And if I go up in the lyrics,

444
00:29:41,720 --> 00:29:45,680
Speaker 1: it doesn't matter who's your piano player, your company, and

445
00:29:46,680 --> 00:29:50,640
Speaker 1: he's feeding you the lyrics all the time. Well, he amusingly,

446
00:29:51,600 --> 00:29:54,120
Speaker 1: that's part of the act. Well, I've never heard a

447
00:29:54,200 --> 00:29:57,800
Speaker 1: laugh like this but the other night when I said, Rob,

448
00:29:58,320 --> 00:30:03,680
Speaker 1: what is that and I'm out of control, I don't

449
00:30:03,760 --> 00:30:08,400
Speaker 1: know that's what it is, and he was and I

450
00:30:09,280 --> 00:30:14,080
Speaker 1: was hit, you know, like I said, okay, but I

451
00:30:14,080 --> 00:30:16,680
Speaker 1: mean we got to start over then, don't we? Alec

452
00:30:16,840 --> 00:30:20,640
Speaker 1: I mean Rob? And he said yes. So we went

453
00:30:20,720 --> 00:30:23,200
Speaker 1: to a new song and I sang it straight through

454
00:30:23,240 --> 00:30:26,960
Speaker 1: with no mistakes, and they went crazy. I sang a

455
00:30:27,000 --> 00:30:31,840
Speaker 1: Sunheim song. Um, everybody says don't. Everybody says don'tbody says don't.

456
00:30:31,920 --> 00:30:36,560
Speaker 1: It is said right that song. God, it just goes

457
00:30:36,640 --> 00:30:40,800
Speaker 1: so fast and furiously, and then they went nuts. I mean,

458
00:30:40,800 --> 00:30:44,640
Speaker 1: when you do know something by heart, they really go

459
00:30:45,240 --> 00:30:50,560
Speaker 1: give him one. Yeah, that's it, that's it. So we did.

460
00:30:50,720 --> 00:30:53,640
Speaker 1: So we with the with the the Are you okay? Yeah?

461
00:30:53,800 --> 00:30:56,000
Speaker 1: I think so. Um, did you ever want to do

462
00:30:56,320 --> 00:30:59,880
Speaker 1: a drama in your later years? I mean in the

463
00:31:00,120 --> 00:31:06,440
Speaker 1: last years, I was just cut out for it, cut

464
00:31:06,480 --> 00:31:10,120
Speaker 1: out for it. Were what's the less drama you did

465
00:31:10,600 --> 00:31:20,280
Speaker 1: on stage? Edward All be Um lady from Dubuq No No, No,

466
00:31:20,480 --> 00:31:24,520
Speaker 1: Three twelve Women No. I was asked to do that.

467
00:31:24,760 --> 00:31:28,440
Speaker 1: I didn't do it. It's too much to learn. M

468
00:31:31,520 --> 00:31:36,479
Speaker 1: A delicate Ballot, one of the best players ever written

469
00:31:36,520 --> 00:31:39,640
Speaker 1: in the whole world, and also a play for me.

470
00:31:40,320 --> 00:31:41,840
Speaker 1: What did you like about the part? What did you

471
00:31:41,880 --> 00:31:51,320
Speaker 1: like about it? Was very quiet and very subtle, subtle,

472
00:31:51,480 --> 00:31:56,640
Speaker 1: like forget about it and just and I just went

473
00:31:56,680 --> 00:31:59,440
Speaker 1: about my business on that stage and I did everything.

474
00:31:59,480 --> 00:32:03,880
Speaker 1: I drank too much, I talked too much. I I

475
00:32:03,920 --> 00:32:07,480
Speaker 1: did exactly as I pleased. I went upstairs when I

476
00:32:07,520 --> 00:32:10,920
Speaker 1: want him to go upstairs. I was absolutely all over

477
00:32:10,960 --> 00:32:15,680
Speaker 1: the place and not promising anything to anybody. It was unbelievable.

478
00:32:15,720 --> 00:32:22,280
Speaker 1: Who directed Jerry Gutierres, who is the best director with

479
00:32:22,960 --> 00:32:27,560
Speaker 1: aside from George Wolfe. The two of them were what

480
00:32:27,600 --> 00:32:30,880
Speaker 1: does it? No? No? No, help illuminate this for people,

481
00:32:30,920 --> 00:32:33,640
Speaker 1: because this, to me is a very important question for you,

482
00:32:33,680 --> 00:32:38,120
Speaker 1: and that is you're so self directed. You know you've

483
00:32:38,160 --> 00:32:40,640
Speaker 1: got the talent, you've got to feel good, but baby,

484
00:32:41,000 --> 00:32:44,160
Speaker 1: you got so many bullets in your chamber, it's not funny.

485
00:32:44,240 --> 00:32:46,480
Speaker 1: And you come out there you're loaded. And what does

486
00:32:46,480 --> 00:32:51,720
Speaker 1: the director do for you? How does the director help you? Oh,

487
00:32:51,800 --> 00:32:57,200
Speaker 1: he makes me feel comfortable about myself. For instance, George

488
00:32:57,240 --> 00:33:00,520
Speaker 1: Wolfe when he did my one woman show. He has

489
00:33:00,560 --> 00:33:03,160
Speaker 1: a way of laughing that he had. When he laughs,

490
00:33:03,240 --> 00:33:05,880
Speaker 1: he falls on the floor. He throws himself on the

491
00:33:05,920 --> 00:33:09,640
Speaker 1: floor because he's got to do that. He's got to go.

492
00:33:10,880 --> 00:33:14,760
Speaker 1: He goes crazy when he laughs, and he's laughing and

493
00:33:14,800 --> 00:33:18,560
Speaker 1: he's and that will make me listen to a director

494
00:33:18,680 --> 00:33:22,440
Speaker 1: that will that will tune me in. Isn't a nice one.

495
00:33:22,440 --> 00:33:25,880
Speaker 1: A director gives you confidence, Oh my god, I've worked

496
00:33:25,880 --> 00:33:28,040
Speaker 1: with so many of them. Were not that they undermined you,

497
00:33:28,080 --> 00:33:31,040
Speaker 1: but they certainly didn't give you any confidence. They they

498
00:33:31,040 --> 00:33:34,120
Speaker 1: almost resented the implication that they do that. They kind

499
00:33:34,120 --> 00:33:35,479
Speaker 1: of looked at you like, well, you're getting paid all

500
00:33:35,520 --> 00:33:36,760
Speaker 1: this money, you just get up there and do it.

501
00:33:36,760 --> 00:33:39,440
Speaker 1: I'm not I'm not here to help you know. They

502
00:33:39,480 --> 00:33:42,800
Speaker 1: don't help you at Oh there's no mentoring or care

503
00:33:42,960 --> 00:33:45,400
Speaker 1: or whatever. It's very very strange. But Wolf you loved,

504
00:33:45,400 --> 00:33:47,880
Speaker 1: and Gautier as you love. Oh God, Now tell me

505
00:33:47,960 --> 00:33:51,400
Speaker 1: about performers in the latter part of your career that

506
00:33:51,440 --> 00:33:53,920
Speaker 1: you worked with. It you love? Did you love Bernadette?

507
00:33:53,920 --> 00:33:58,600
Speaker 1: I am assuming you just love adored here and I

508
00:33:58,720 --> 00:34:02,440
Speaker 1: and I kind of ran her. I was her older sister,

509
00:34:02,640 --> 00:34:06,720
Speaker 1: her older everybody, and I made her laugh until she

510
00:34:06,920 --> 00:34:10,879
Speaker 1: just went crazy and vice versa. I want a little

511
00:34:10,880 --> 00:34:16,000
Speaker 1: more orange juice, Gang Hunter Hunter. That beeping sound we've

512
00:34:16,000 --> 00:34:19,200
Speaker 1: been hearing periodic? Is that a glucose meter? What's that?

513
00:34:19,239 --> 00:34:22,000
Speaker 1: What's that thing that went off? Where's mine? It's ducks

514
00:34:22,000 --> 00:34:27,640
Speaker 1: com it's telling us to enter the blood sugars. Oh

515
00:34:27,800 --> 00:34:32,080
Speaker 1: my god, I forgot all about them. We're done with

516
00:34:34,040 --> 00:34:36,880
Speaker 1: Oh are we? Okay? Do you want to take a

517
00:34:36,880 --> 00:34:41,239
Speaker 1: break and do it now? A minute? Go right? A hell?

518
00:34:41,280 --> 00:34:44,640
Speaker 1: Please do it now? We should wait. I wouldn't want

519
00:34:44,680 --> 00:34:46,640
Speaker 1: it in the post that you were hospitalized on my

520
00:34:46,719 --> 00:34:50,440
Speaker 1: account because Alec Baldwin refused to allow me to administer

521
00:34:50,520 --> 00:34:56,480
Speaker 1: my diabetes treatment. Oh boy, okay, this is right away.

522
00:34:56,520 --> 00:34:59,880
Speaker 1: I'm going to do it now. Okay, there we go.

523
00:35:02,200 --> 00:35:06,720
Speaker 1: I don't have my ladies and gentlemen. Okay, Elaine Stretch

524
00:35:07,000 --> 00:35:13,360
Speaker 1: and Hunter, the ever trusty Hunter are squeezing droplets of

525
00:35:13,400 --> 00:35:15,319
Speaker 1: her blood onto a device, so I know to tell

526
00:35:15,400 --> 00:35:24,400
Speaker 1: us that we've nearly killed her here, okay, okay, and

527
00:35:24,440 --> 00:35:27,000
Speaker 1: then it's done. And then and you want to keep

528
00:35:27,000 --> 00:35:30,680
Speaker 1: it at what number? It's not a matter of keeping.

529
00:35:30,800 --> 00:35:35,359
Speaker 1: It's just entering them. What they are now? That are

530
00:35:35,440 --> 00:35:38,879
Speaker 1: two hours after I'd love to do mine too. While

531
00:35:38,920 --> 00:35:41,759
Speaker 1: we're at it, Let's have a let's have a prick

532
00:35:41,800 --> 00:35:44,560
Speaker 1: our finger and squeeze it on the glucose meter. Party

533
00:35:44,760 --> 00:35:51,080
Speaker 1: stop that, Alex, Listen, there's another BB. This is why

534
00:35:51,120 --> 00:35:53,520
Speaker 1: you're so glad we're not doing this on television because

535
00:35:53,560 --> 00:35:57,759
Speaker 1: to see this happening, it's really unsettling. And we've done

536
00:35:57,760 --> 00:36:01,279
Speaker 1: both of them. Now, done both of them. And what

537
00:36:01,840 --> 00:36:04,560
Speaker 1: number you have any where do you want to be?

538
00:36:05,560 --> 00:36:09,240
Speaker 1: Doesn't have to be That's fine, that's good, it's cool. Okay,

539
00:36:09,280 --> 00:36:12,920
Speaker 1: she's cool. Oh oh, I know what I wanted to

540
00:36:13,000 --> 00:36:15,600
Speaker 1: tell you. I want to tell him something that I

541
00:36:16,040 --> 00:36:20,040
Speaker 1: that I got the nerve to tell John to tourists. Now,

542
00:36:20,320 --> 00:36:23,000
Speaker 1: when you told John to touro what you wanted to

543
00:36:23,040 --> 00:36:25,120
Speaker 1: tell him, it's something that meant a lot to you,

544
00:36:25,120 --> 00:36:27,000
Speaker 1: Because we will edit that you called him to tourists.

545
00:36:28,000 --> 00:36:32,000
Speaker 1: A lot of people have. Alex Baldwin called John to tourists.

546
00:36:32,360 --> 00:36:34,600
Speaker 1: What did you want to tell John to? Trying to

547
00:36:34,640 --> 00:36:39,480
Speaker 1: tell somebody something about me and acting that sort of

548
00:36:39,960 --> 00:36:44,120
Speaker 1: I thought kind of represented something about me that I

549
00:36:44,160 --> 00:36:49,560
Speaker 1: had had courage to tell. And the thing was that I, Oh,

550
00:36:49,600 --> 00:36:52,279
Speaker 1: how can I tell you this. Will you tell me

551
00:36:52,320 --> 00:36:54,399
Speaker 1: that your secret and I'll tell you mine? All right?

552
00:36:54,800 --> 00:36:59,319
Speaker 1: My secret is is that? How can I put it

553
00:36:59,360 --> 00:37:06,839
Speaker 1: to you? Yeah? My secret is in Virginia Wolf. When

554
00:37:06,880 --> 00:37:12,560
Speaker 1: I was playing Virginia Wolf, I am sometimes I get

555
00:37:13,360 --> 00:37:17,840
Speaker 1: fuzzy when I'm telling a story. Now and it's we

556
00:37:17,960 --> 00:37:21,960
Speaker 1: had in comment go ahead. I wanted to tell something

557
00:37:22,120 --> 00:37:26,359
Speaker 1: intimate about myself to John about when he was interviewing me.

558
00:37:27,120 --> 00:37:31,680
Speaker 1: I told him that when I was doing Virginia Wolf,

559
00:37:32,440 --> 00:37:37,040
Speaker 1: and when George and Martha had their scene together and

560
00:37:37,160 --> 00:37:42,640
Speaker 1: George said, our son is dead. You know the big scene.

561
00:37:43,440 --> 00:37:48,000
Speaker 1: Our son, he yells in my faith is dead, and

562
00:37:48,320 --> 00:37:57,520
Speaker 1: I went no. At the height of my force, I

563
00:37:57,560 --> 00:38:02,160
Speaker 1: said no to him, and I had an orgasm for

564
00:38:02,200 --> 00:38:06,480
Speaker 1: the first time in my life. Yes, really, so, so

565
00:38:06,640 --> 00:38:12,600
Speaker 1: this is this is how important that moment was on

566
00:38:12,719 --> 00:38:15,680
Speaker 1: stage to me. This is unbelievable, you know. So it's

567
00:38:15,719 --> 00:38:18,920
Speaker 1: safe to say this is a very I'm not gonna

568
00:38:18,920 --> 00:38:20,759
Speaker 1: I'm gonna sound like I'm making a joke here, but

569
00:38:20,840 --> 00:38:23,720
Speaker 1: I'm only half making Honey. I just think it speaks

570
00:38:23,800 --> 00:38:27,520
Speaker 1: volumes about you, about what a real uh creature of

571
00:38:27,560 --> 00:38:29,919
Speaker 1: the theater? You want that the only time you ever

572
00:38:30,120 --> 00:38:33,759
Speaker 1: had an orgasm, was saying the words of a homosexual man.

573
00:38:33,920 --> 00:38:37,680
Speaker 1: I mean it this far from a heterosexual orgasm as

574
00:38:37,680 --> 00:38:40,560
Speaker 1: you could possibly No. I think I'll be very particular

575
00:38:40,560 --> 00:38:44,000
Speaker 1: about who he casts very Did you have a good

576
00:38:44,000 --> 00:38:50,120
Speaker 1: relationship with him? You're close. He's very tough, but he's

577
00:38:51,120 --> 00:38:55,399
Speaker 1: and he's very fond of me. I got two last

578
00:38:55,480 --> 00:38:57,440
Speaker 1: questions for you, and I want you to give me

579
00:38:57,480 --> 00:39:03,400
Speaker 1: a simple answer to this first question. I've met a

580
00:39:03,440 --> 00:39:05,880
Speaker 1: lot of people in this business, and I've worked with

581
00:39:05,920 --> 00:39:08,680
Speaker 1: a lot of people who were powerful. Julie Harris played

582
00:39:08,719 --> 00:39:11,319
Speaker 1: my mother on a TV series, and I work with

583
00:39:12,400 --> 00:39:15,160
Speaker 1: I work with some great people, you know, great great people.

584
00:39:15,200 --> 00:39:16,920
Speaker 1: So I'm not so great, but some great ones. And

585
00:39:16,960 --> 00:39:19,080
Speaker 1: you're one of the great ones I worked with you.

586
00:39:19,440 --> 00:39:23,520
Speaker 1: But just give me a yes or no if you're capable.

587
00:39:23,640 --> 00:39:26,759
Speaker 1: And that is, do you realize what you mean to

588
00:39:26,760 --> 00:39:28,719
Speaker 1: other people who were in this business, how much they

589
00:39:28,760 --> 00:39:30,640
Speaker 1: love you and how much they admire Do you know

590
00:39:32,880 --> 00:39:35,879
Speaker 1: I'm beginning to do you into the mic place. Don't

591
00:39:35,920 --> 00:39:38,760
Speaker 1: talk to you. I'm beginning to because in this business,

592
00:39:39,200 --> 00:39:42,120
Speaker 1: as you know, especially for people who themselves are very

593
00:39:42,160 --> 00:39:46,560
Speaker 1: talented and or successful, other talented people, that's like um

594
00:39:46,600 --> 00:39:50,160
Speaker 1: an aphrodisiac to them. Talent is the greatest aphrodisiac. And

595
00:39:50,200 --> 00:39:54,239
Speaker 1: everyone basically says, there's no one more talented than you.

596
00:39:54,239 --> 00:40:00,120
Speaker 1: You're an immensely, immensely incalculably talented woman and people, and

597
00:40:00,200 --> 00:40:03,080
Speaker 1: you're a gigantic pain in the ass. Sometimes you're a

598
00:40:03,200 --> 00:40:07,320
Speaker 1: legendary pain in the ass. You're a gigantic pain in

599
00:40:07,360 --> 00:40:11,799
Speaker 1: the ass. But people don't, you know, they joke about

600
00:40:11,800 --> 00:40:14,200
Speaker 1: that because they love you. And why do they love you?

601
00:40:14,520 --> 00:40:18,719
Speaker 1: Because you're so talented, you're so funny, you're whatever. Your

602
00:40:18,760 --> 00:40:21,640
Speaker 1: timing is impeccable. Now, what are you gonna miss about

603
00:40:21,640 --> 00:40:27,520
Speaker 1: New York? The personality of human beings in New York?

604
00:40:28,680 --> 00:40:36,799
Speaker 1: They are so opened and second, they're not watching what

605
00:40:36,840 --> 00:40:41,440
Speaker 1: they're doing. They're not you know, they're they're not watching

606
00:40:41,480 --> 00:40:44,799
Speaker 1: their language, they're not watching anything. They're just going through

607
00:40:44,920 --> 00:40:51,040
Speaker 1: life's day. What yeah, all right, fuck you, you know,

608
00:40:51,200 --> 00:40:57,279
Speaker 1: and everybody's and they're engaged by every day is an

609
00:40:57,280 --> 00:41:05,120
Speaker 1: event to New York. Elaine Stritch says she's going to

610
00:41:05,200 --> 00:41:07,640
Speaker 1: miss New Yorker's and I can tell you that we

611
00:41:07,680 --> 00:41:09,920
Speaker 1: will miss her too. But she's not out of the

612
00:41:09,960 --> 00:41:13,960
Speaker 1: spotlight just yet. Elaine Stritch Shoot Me, a documentary about

613
00:41:13,960 --> 00:41:17,319
Speaker 1: her life, which I helped to produce, recently premiered at

614
00:41:17,360 --> 00:41:20,360
Speaker 1: the Rebecca Film Festival. The film has been picked up

615
00:41:20,360 --> 00:41:26,200
Speaker 1: by Sundance Selects for a wider distribution. Are you there, Alex? Yeah, okay,

616
00:41:26,239 --> 00:41:28,160
Speaker 1: I can hear you, sweet, So you're in the kitchen.

617
00:41:28,440 --> 00:41:31,000
Speaker 1: I called Elaine up to ask her how the transition

618
00:41:31,080 --> 00:41:34,839
Speaker 1: was going from New York City to Birmingham, Michigan. I

619
00:41:34,880 --> 00:41:39,319
Speaker 1: did the right thing moving away from the Carlisle. You know,

620
00:41:39,680 --> 00:41:43,560
Speaker 1: you get hung up on perks. You live with perks,

621
00:41:44,200 --> 00:41:47,719
Speaker 1: and then your perks run out because you fall and

622
00:41:47,760 --> 00:41:50,040
Speaker 1: break your hip and you blah blah blah blah blah,

623
00:41:50,520 --> 00:41:55,120
Speaker 1: and then you have no um, you have no deal card.

624
00:41:55,480 --> 00:41:58,319
Speaker 1: You know what I mean. I'll go down and talk

625
00:41:58,400 --> 00:42:01,120
Speaker 1: to the audience for an hour every night, and you

626
00:42:01,160 --> 00:42:04,040
Speaker 1: give me my cleaning. Now, that would be a funny

627
00:42:04,120 --> 00:42:08,520
Speaker 1: TV show to have you be this famous broad, this

628
00:42:08,680 --> 00:42:14,120
Speaker 1: famous cabaret stage actress, award winning actress. And she moves.

629
00:42:14,239 --> 00:42:16,480
Speaker 1: Of course, it's a fish out of water story. She

630
00:42:16,680 --> 00:42:19,640
Speaker 1: moves back with the cousins and the nieces in Birmingham,

631
00:42:19,719 --> 00:42:22,360
Speaker 1: Michigan and what you're used to is bartering with people.

632
00:42:22,360 --> 00:42:25,200
Speaker 1: You're walking up to some dry cleaner there and saying,

633
00:42:25,200 --> 00:42:26,680
Speaker 1: we'll tell you what do I want you to clean?

634
00:42:26,719 --> 00:42:28,799
Speaker 1: My coach to me and I'll come sing at your

635
00:42:28,880 --> 00:42:33,160
Speaker 1: kids bar mitzvah. And they look at you like you

636
00:42:33,200 --> 00:42:37,640
Speaker 1: gotta screw loose, like you want to work. The guy

637
00:42:37,680 --> 00:42:47,480
Speaker 1: says that'll be sixty please, and the well listen, um,

638
00:42:47,880 --> 00:42:50,480
Speaker 1: I love it and I miss your humor, like, well,

639
00:42:50,480 --> 00:42:53,000
Speaker 1: listen to you. I'm not sure I want to work

640
00:42:53,040 --> 00:42:55,120
Speaker 1: with you again. Yeah, I definitely don't want to work

641
00:42:55,160 --> 00:42:57,000
Speaker 1: with you again. Definitely don't want to work with me.

642
00:42:57,120 --> 00:43:00,520
Speaker 1: I think we agree. Yeah, I've been Upstay, there's enough

643
00:43:00,920 --> 00:43:05,080
Speaker 1: leading ladies and men. Talk to you later. Goodbye, goodbye,

644
00:43:05,080 --> 00:43:10,960
Speaker 1: my darling, Bye bye. This is Alec Baldwin and you're

645
00:43:11,040 --> 00:43:12,560
Speaker 1: listening to here's the thing.