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Speaker 1: All right, this is it. This is the Iron wrap

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Speaker 1: for podcast and I'm in here with my man G.

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Speaker 1: Moody special super guest, a fixture of the Iron wrapp Podcast.

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Speaker 1: I have to say I'm a little nervous. We're about

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Speaker 1: to interview the great, underrated and sometimes underappreciated Danny I

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Speaker 1: l O, who has been exposed to my impressions. I

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Speaker 1: have no idea what his his impression is going to

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Speaker 1: be of my impressions. I am going to tell you

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Speaker 1: that one of my main goals of this interview, actually

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Speaker 1: my main goal, other than to get a great interview,

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Speaker 1: is to possibly get Danny i Llo to do his

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Speaker 1: famous scene with me from Do the Right Thing But

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Speaker 1: where I played Danny I Llo and he plays Mookie

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Speaker 1: played by Spike Lee. So we're gonna bring him in soon.

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Speaker 1: And uh, this is a big one for the Iron

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Speaker 1: Rapp Reporp podcast. It's a big one for the Iron

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Speaker 1: Rapp Coorp podcast fans. And what could I say this

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Speaker 1: this guy means, Uh, he's somebody who I really have,

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Speaker 1: I've stolen a lot from. He's influenced me as as

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Speaker 1: an actor. Um inspired me. Uh. I just think he's

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Speaker 1: just one of these, you know, sort of treasures that

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Speaker 1: that sometimes gets overlooked and forgotten about. And and he

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Speaker 1: he just he's a great actor and he you know,

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Speaker 1: his work really inspired has inspired me, continue us to

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Speaker 1: inspire me. And specifically I'll talk about it on the show.

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Speaker 1: But his his neutral to eighty miles per hour back

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Speaker 1: to neutral. Like one of the things that he does

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Speaker 1: really good is he'll be talking to you and he'll say, oh,

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Speaker 1: look at you. You got on your jeans and you

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Speaker 1: think you're fucking big, fucking time moody. And then he'll

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Speaker 1: bring back bring it back down and he'll be like,

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Speaker 1: but it's nice to meet you. That's that's that's his things.

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Speaker 1: That's one of his things. That's just that's just great.

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Speaker 1: So anyway, we're about to bring him in and I'm excited.

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Speaker 1: I'm a little nervous, and we're gonna get to it.

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Speaker 1: We love them, alright, Danny? Is that that Mike is

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Speaker 1: good for Danny? Right there? One? Two or three full

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Speaker 1: or five, six, seven, eight nine? You want headphones? No,

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Speaker 1: I don't want to. You know, I don't like headphones. Cursing.

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Speaker 1: I don't do that. No, you con curse Danny something

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Speaker 1: I have incursed, accepted motion pictures. You know. I spoke

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Speaker 1: to Ricky. Did I speak to him? Yes? I said,

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Speaker 1: rick did I have a curse in the house? He said, no,

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Speaker 1: you never did that. I never hit my kids either.

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Speaker 1: Being a New York guy from the streets, you would

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Speaker 1: think that I was a hitter, but I never touched

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Speaker 1: any of my sons. I yelled a lot to yell

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Speaker 1: at you. Yelling. That reminds me. You know what Bobby

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Speaker 1: and there Owns told me. Nobody in the show business

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Speaker 1: or anywhere else says the word funk like you do.

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Speaker 1: And it sounds like a ballet. No, absolutely, it's it's

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Speaker 1: it's like ballet like. Well, let me just wait. So

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Speaker 1: you you have you been exposed to my impression of you. Well,

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Speaker 1: it had me roaring this morning when I got up,

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Speaker 1: and as a matter of fact, Sandy Cole and my

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Speaker 1: wife heard it and was hysterical. And she's not a

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Speaker 1: person to be, you know, reacting to that kind of thing,

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Speaker 1: but she was hysteric. Everyone who's heard it. But it

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Speaker 1: isn't so much that it's me saying, it's you saying

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Speaker 1: your interpretation. I mean. And of course I text you

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Speaker 1: and I said to you, if this is meant to

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Speaker 1: embarrass me, I would be very unhappy. Listen, and you

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Speaker 1: must have thought there was a mafia threat. It was

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Speaker 1: a little threat. I got nervous because let me just

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Speaker 1: let me just preface this by saying this. You are,

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Speaker 1: you have been and you still are. Literally before I

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Speaker 1: started acting, and then when I started acting, no no, no, no, no,

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Speaker 1: no bullshit, You've been one of my favorites. And and

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Speaker 1: and you know, I mean, your work over the span

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Speaker 1: of time and and sometimes even in Godfather, you know,

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Speaker 1: just your your your voice, like your your use of

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Speaker 1: your voice, your quote unquote instrument, even when I first

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Speaker 1: heard you talking down the hallway when I was approached,

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Speaker 1: Like your voice is so distinct and it's such an instrument,

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Speaker 1: and it's such a tool. I mean, And and it's

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Speaker 1: specifically the impression, the impression is is comes out of

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Speaker 1: it's it's it's not like a whole Danny I yell

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Speaker 1: of impression. It's really an impression of some of the

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Speaker 1: characters you've done, specifically sald and also twenty ninth Street

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Speaker 1: favorite movie. Actually that's a really underrated I love that movie.

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Speaker 1: My license played up my jaguash nine Streets. So that's

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Speaker 1: how much it And it isn't so much that it

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Speaker 1: impressed me that much as emotion picture, but it's very

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Speaker 1: much like my life. The character. It felt like emotional

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Speaker 1: levels of that character. Not that I'm a loser, close

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Speaker 1: in that he's somewhat of a loser, but I'm not

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Speaker 1: a loser. I never saw myself that right, But emotionally no,

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Speaker 1: I got it in the relationship with my father and

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Speaker 1: son had the three sons of course, and uh it's

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Speaker 1: it's a really good film and and you know, and

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Speaker 1: I feel like it did well when it came out,

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Speaker 1: but not as well as it should have. I mean,

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Speaker 1: I remember I went to the theater and so at

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Speaker 1: twice I was so moved by it, you know, like

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Speaker 1: the whole up and down. You know, if you haven't

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Speaker 1: seen the film, it's with Anthony LaPaglia and plenty of

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Speaker 1: other people, and it's really like the Father and Son

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Speaker 1: and twenty nine Streets. It's a good film. I'm sure

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Speaker 1: it's on iTunes and it's everywhere. You can't get it.

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Speaker 1: You can't buy it because they had limited the prints

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Speaker 1: for some odd reason. Not on like it's not on iTunes,

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Speaker 1: it's iTunes, but it Colosier. It's tremendous amount of money.

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Speaker 1: It's on a bay church eight hundred dollars. Some people say, well,

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Speaker 1: you can purchase from me. It's a great movie, but

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Speaker 1: it ain't terrible significant, Well it's it's it's a it's

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Speaker 1: a really really good film kind of overlooked. And then

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Speaker 1: I wanted to because I had all my twenty nine

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Speaker 1: street lines that you did for a long time. This

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Speaker 1: is before I was doing a podcast. But like I

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Speaker 1: would just do them. I would, you know, like play

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Speaker 1: around with them. I've stolen from you, Danny, like if

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Speaker 1: I went over my my work as an actor, like

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Speaker 1: I've stolen gestures, I've stolen inflections from you. There's another

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Speaker 1: I want to get into specific soon and and and uh,

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Speaker 1: but there's another great underrated performance. I don't think the

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Speaker 1: movie is that good. The expectations were so high, which

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Speaker 1: is Harlem Nights, but your character and that I used

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Speaker 1: to do your impression of that. When I don't have

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Speaker 1: it all that, I'm a little nervous. But like when

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Speaker 1: you went. You you what I think you you great

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Speaker 1: amongst you know things. But as an actor specifically, I

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Speaker 1: think something that that's specific and and and only as

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Speaker 1: as a Danny Aello thing is you go from neutral

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Speaker 1: to eighties seven miles per hour back to neutral in

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Speaker 1: a beat. That's the thing I think that you have

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Speaker 1: that like is really unique that you do, and I

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Speaker 1: think that fans really get it. So me doing my

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Speaker 1: Danny I Hello impression, I would like the neutral would

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Speaker 1: be like you came in here, you got your guys

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Speaker 1: in here, Like you want to take a fucking shot

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Speaker 1: at me, You want to take a shot, take a shot.

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Speaker 1: So that would be like my Danny so so so

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Speaker 1: so just know like when I'm doing the impression, it's

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Speaker 1: totally out of love. The only other person, the only

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Speaker 1: other actor that I do an impression of is de Niro.

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Speaker 1: It's not as good as yours, I don't think, and

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Speaker 1: and and sometimes I do specifically rocky impressions, but your

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Speaker 1: impression because the emotion of it, and and for the

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Speaker 1: when when I did the pazingis when he got drafted

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Speaker 1: by the Knicks, it was just I was just playing

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Speaker 1: around and it was like became like this viral thing,

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Speaker 1: and you know, the impression was like, how would Danny Ilo,

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Speaker 1: because I know you're a Knicks, how did he react

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Speaker 1: to this guy Porzingis? And what's his name? Pezingis? And

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Speaker 1: where the fun is going to be? Great? I want

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Speaker 1: to hear what you're saying. No, no, but I mean,

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Speaker 1: I mean, you know so anyway, So so that's where

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Speaker 1: the origins of the of the Danny Ilo impression come from.

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Speaker 1: And then I do, what what? What? How would Dan

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Speaker 1: Danny Ielo would be a great football coach? Danielo should

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Speaker 1: be the coach of the Knicks. And why isn't you

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Speaker 1: know if Danny Eelo was the coach and the Knicks,

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Speaker 1: what would he be saying when they're losing in a row?

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Speaker 1: So it's it's all in great, it's a great refund

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Speaker 1: and great respected a tweet that said Danny Iello should

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Speaker 1: be the coach of the US one of the US

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Speaker 1: Open players that just came out recently. That was me said,

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Speaker 1: because you know tennis viral, it's all over the place.

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Speaker 1: Tennis would because you know tennis, they don't have coaches

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Speaker 1: on the sideline. Imagine Serena Williams. Okay, you coach her.

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Speaker 1: She's about to lose her, her, her her chance to win,

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Speaker 1: the to to win the she did with Fence. The

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Speaker 1: girl will just be all right. You come out the

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Speaker 1: end of the sixth set, you know, towards to the

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Speaker 1: end of the third set, she's down to breaks. You go,

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Speaker 1: what the fuck are you doing? You're blowing in, You're

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Speaker 1: fucking around this for the title. You're in New York.

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Speaker 1: Go out there and do what you need to do.

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Speaker 1: You a fucking Serena. We didn't see that one. We

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Speaker 1: saw the male thing. The kid walk wrink or something.

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Speaker 1: He played. This kid, the black kid he played. He

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Speaker 1: was terrific fun being out there. I have That's the

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Speaker 1: first time I've ever gone to the US, and I

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Speaker 1: loved it. I truly enjoyed it. An amazing the hitting

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Speaker 1: shots on Hunt in five miles an hour. I'm saying,

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Speaker 1: how the hell do they return that? And they do?

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Speaker 1: It was an amazing thing to see. And I see Murray,

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Speaker 1: you know, the English kid, he's outside warming up. I'm

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Speaker 1: going home. I see him and I said, Murray Dannyello

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Speaker 1: New York. I said, oh yeah, Danny's Oh it's so glad.

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Speaker 1: I said, you're gonna win kids, I go home and

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Speaker 1: he lose it. I feel I put the I feel

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Speaker 1: terrible about that, really I do, man, I feel really responsible.

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Speaker 1: But in holem nights there's not a black kid that

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Speaker 1: doesn't walk over to me and go, you know, I'm

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Speaker 1: in a vault and I'm I can't breathe, so I

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Speaker 1: take short breaths. And there was a pot that red.

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Speaker 1: What you just did. It reminded me of because we

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Speaker 1: were speaking and as the character, and there was Eddie

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Speaker 1: Murphy and he was there with oh god, my friend

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Speaker 1: who was the other one? The great want I want

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Speaker 1: to hear about. We'll get into the greatest bit in

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Speaker 1: the world. And uh, louis what what read? What we

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Speaker 1: we're talking about? Eddie Murphy? Now, when I held out, guys,

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Speaker 1: you're coming here, you give me a breaking my balls

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Speaker 1: a little bit. And I'm living in a fubble. I'm

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Speaker 1: living in the fucking hubble, and you guys are walking

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Speaker 1: around with fucking cadillacs and lollipops in your mouth. Here

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Speaker 1: the fuck that's what you're talking about. Absolutely, that was

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Speaker 1: the line right there, walking around with your fancy suits

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Speaker 1: and I'm living in a fucking ten percent will be

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Speaker 1: nice for us. That's my cup. What's that about? A week?

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Speaker 1: And that was? That? Was that? I mean that that

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Speaker 1: was one of the highlights of that film. I mean,

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Speaker 1: there's moments in it, but your performance in that. I

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Speaker 1: just want to say one more thing about the impression.

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Speaker 1: You're here with your friend Louie. And in one of

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Speaker 1: my this is in one of my impressions, I refer

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Speaker 1: to a guy named Louis off camera, go Louie, who

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Speaker 1: the fund did they just draft? And it's so funny

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Speaker 1: that actually has a guy named Louie. W I just

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Speaker 1: assumed that was a possibility half Irish efforts, half Irish

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Speaker 1: effort time, But he said, Louis nenetheless all right. So

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Speaker 1: so all right, all right, So I'm I'm all. I was.

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Speaker 1: I was very nervous and excited about it about meeting you.

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Speaker 1: I met you once. I don't know if you remember

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Speaker 1: in passing. I think it was on you were I

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Speaker 1: was actually doing a Woody Allen film and and you

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Speaker 1: had come by and say hello. It was really briefly

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Speaker 1: and I really this is when uh you know, like

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Speaker 1: I I said hello and and kept it moving because

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Speaker 1: I was kind of like, oh my God, there's Danny

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Speaker 1: Yellow so like so it's I thank you so much

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Speaker 1: for you know, you remind me of who A said moment.

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Speaker 1: I'll just take it out. I lost my son Danny

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Speaker 1: ILove the third. You know it's a big stunt coordinator.

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Speaker 1: I think I worked with him one time. Did you

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Speaker 1: ever look at yourself and look at him at the

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Speaker 1: same time, I say, my same face. He has less

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Speaker 1: head than you because he shaved right down to the

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Speaker 1: He's a great, great kid. He did all the three

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Speaker 1: hundred films yea, and he worked in many of my films. Uh,

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Speaker 1: and we missed him terribly. But the point is I

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Speaker 1: liked you from the beginning, and I had to do

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Speaker 1: even before I met you or had any idea who

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Speaker 1: you were. When I saw you, I said, Jesus, this

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Speaker 1: kid looks like my son Danny My wrong, Louis, I

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Speaker 1: swear to gud. I'll take a picture out later and

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Speaker 1: show it too. I appreciate those who wish to check

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Speaker 1: on the internet. Pick out Danny I Yellow the Third

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Speaker 1: and check them out with Michael Rappaport. You'll see they

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Speaker 1: look very much like Well. I appreciate that, but I

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Speaker 1: didn't know you were like six five, I'm six three. Yeah,

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Speaker 1: I'm I'm yeah, I'm six four, depends on the sneakers.

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Speaker 1: And you look told me, I'm shocked. I don't like

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Speaker 1: people being told in me. You know, no, I'm trust me, Danny.

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Speaker 1: You don't have to be intimidate. I'm intimidated by you.

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Speaker 1: I know you're a banger, and I know your history.

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Speaker 1: I'm sure you do. How can I ask you? How

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Speaker 1: old are you now? I don't want to say at

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Speaker 1: eighty two two? Yeah? Are you to a girl for

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Speaker 1: sixty years? My wife, Sandy? Are you eighty two years

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Speaker 1: old to June three? Holy shit, you're in excellent. I'm

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Speaker 1: in pretty good shape, man. No, you're in fantastic. Seeing

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Speaker 1: people look at me and they say you're eighty two.

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Speaker 1: But you know, for the longest period of time I said,

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Speaker 1: I don't want to admit you age because I lied.

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Speaker 1: But you great and your mind is obviously sharp, and

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Speaker 1: you look like you could throw like a like a

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Speaker 1: right no right hook. Okay, so so your left hook

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Speaker 1: is the one. To be careful. All right, I'm gonna

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Speaker 1: stay on this side. Man. I'm a major banker. Let

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Speaker 1: me tell you this. I got about one minute of

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Speaker 1: great activity. I can throw punchers. After that, I'm a

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00:15:31,840 --> 00:15:33,800
Speaker 1: fucking dead man. I gotta run like a son of

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Speaker 1: a bitch. Right, Well, that's all. But if you throw

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Speaker 1: the right waring and if I hit the guy, he's

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Speaker 1: going to sleep. I don't give a funk who he is.

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Speaker 1: That could be Mike Tyson, who I love deally. He's

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Speaker 1: going to sleep, and Mike knows trust me, I'm not

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Speaker 1: driving with you. That's I know. I know if I hit,

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Speaker 1: he's gonna go. If he don't go, I got serious.

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Speaker 1: That's why Louis Bolton there is around problem that he

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00:15:52,920 --> 00:15:55,200
Speaker 1: can't hit for ship. But Louie's missing a fucking tooth

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Speaker 1: day Like what happened? I knocked it out. He sucked

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Speaker 1: around me. Performance was a cluster, all right, all right,

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Speaker 1: So let me let me get into some specifics. First

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Speaker 1: of all, you gave me some CDs because I know

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Speaker 1: you sing, and you do like like essentially like a

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Speaker 1: lounge act, like like like a singing act. It's maybe

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Speaker 1: a little bit more than that. Yeah, there's something we

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Speaker 1: talk about the acting, which is tell stories and don't

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00:16:21,120 --> 00:16:23,320
Speaker 1: really do too much of that because I'm never sure

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Speaker 1: Mike when I go into perform if they had to

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00:16:25,280 --> 00:16:27,800
Speaker 1: watch me because I was an acting I'm sure that's

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00:16:27,800 --> 00:16:30,320
Speaker 1: the reason they come originally. But I don't talk too

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Speaker 1: much about the acting unless they ask a question. I

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Speaker 1: talk a little bit about my life and how I

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00:16:34,400 --> 00:16:37,200
Speaker 1: got into singing and so forth in acting, but it's

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Speaker 1: really a wild act I do. I do blues and

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Speaker 1: Blues is great because I've done all the standards. Bobby

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Speaker 1: Darren Frank's not all that bullshit, and it's nice, and

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Speaker 1: I grew up to that, but it doesn't move me.

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00:16:47,880 --> 00:16:51,120
Speaker 1: What moves me is blues blues. You can hit notes

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Speaker 1: that that stink, that that are terrible, that you can't hit,

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Speaker 1: but they sound beautiful. Sometimes it's about the soulfulness attached

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Speaker 1: to it. You're attached to it and out and and

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00:17:01,400 --> 00:17:03,560
Speaker 1: it really inspires the ship out of you when you're

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Speaker 1: on the stage singing. I liked the thing because all

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Speaker 1: of my life I wanted to and my mother wanted

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Speaker 1: me to. I never had the bulls to do it.

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Speaker 1: Ten years ago, a guy walks over to me, let's

325
00:17:13,359 --> 00:17:17,040
Speaker 1: do never sung before? Only in the streets of New York.

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00:17:17,160 --> 00:17:19,119
Speaker 1: You know, I was one of those, you know, in

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00:17:19,160 --> 00:17:21,440
Speaker 1: the backyard with a bunch of friends and sing with

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Speaker 1: a group. Never by myself. I was fourteen years old,

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Speaker 1: well going on fourteen, living in Manhattan with my mother.

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Speaker 1: I didn't have the father. Then it was seven children,

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Speaker 1: and my mother thought I was a great sing All

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Speaker 1: mothers think Italian boys are singing. I wasn't a singer,

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Speaker 1: you know, I certainly no Pavaratti. But she loved the

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Speaker 1: way I sung, so she set up with an uncle

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00:17:41,240 --> 00:17:43,520
Speaker 1: in audition with the author god Free Show. Now, the

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00:17:43,560 --> 00:17:46,280
Speaker 1: other god Free Show was tantamount to what American idol

337
00:17:46,359 --> 00:17:49,040
Speaker 1: is today. It was a big show. And I'm when

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00:17:49,080 --> 00:17:51,880
Speaker 1: I'm sitting in the vestibute with my mom and I'm

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00:17:51,920 --> 00:17:54,840
Speaker 1: hearing names called, which, of course my name will be

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00:17:54,840 --> 00:17:59,359
Speaker 1: called shortly. I'm anticipating this, and I'm terrified, and I

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00:17:59,400 --> 00:18:00,760
Speaker 1: say to my mother, the mama, I have to go

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00:18:00,800 --> 00:18:04,119
Speaker 1: to the bathroom. Mike. I swear to God, I left

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00:18:04,119 --> 00:18:06,080
Speaker 1: the place, got on the plane on the train and

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00:18:06,119 --> 00:18:07,920
Speaker 1: went home. And you left your mother, dare. I was

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00:18:07,960 --> 00:18:10,560
Speaker 1: a left that Mamma came later because she wasn't upset

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00:18:10,600 --> 00:18:13,120
Speaker 1: because she knew, but she had to get out of there.

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00:18:13,160 --> 00:18:15,080
Speaker 1: I had to get out. I could not do it

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Speaker 1: in all those years until I was seventy years old.

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00:18:18,480 --> 00:18:21,000
Speaker 1: That's the next time of audition. Are you serious? And

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00:18:21,040 --> 00:18:23,000
Speaker 1: I sing in motion pictures and all of it. I've

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Speaker 1: been doing that. But when you do it in the movie,

352
00:18:25,800 --> 00:18:28,760
Speaker 1: either you got a mask, you're you're doing takes, and

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00:18:29,040 --> 00:18:30,960
Speaker 1: I don't give a funk if I mess up, or

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00:18:31,040 --> 00:18:33,640
Speaker 1: don't mess up because I can cut it and say

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00:18:33,640 --> 00:18:37,200
Speaker 1: a cut on a live stage. When you're working as

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00:18:37,320 --> 00:18:40,760
Speaker 1: Danny Hello, it's terrifying. Do you get really nervous? Well

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00:18:40,800 --> 00:18:42,560
Speaker 1: not now. Now I get up and I if they

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00:18:42,560 --> 00:18:44,480
Speaker 1: don't like me, I say fuck you. I don't say it,

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00:18:44,680 --> 00:18:46,080
Speaker 1: you know, I don't say it to them, but in

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00:18:46,080 --> 00:18:47,960
Speaker 1: my head I say, funck you. If you don't like me,

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00:18:48,000 --> 00:18:51,840
Speaker 1: that's your focus. I'm great, you know whatever. But now

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Speaker 1: they do, and I have the courage now to do it.

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00:18:54,800 --> 00:18:56,640
Speaker 1: I did not have it before. I know. People look

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00:18:56,680 --> 00:18:59,199
Speaker 1: at you, what are you silly? You've done ninety movies.

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00:18:59,320 --> 00:19:02,520
Speaker 1: You're it all so different And it's not a skill

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00:19:02,560 --> 00:19:05,040
Speaker 1: you've been working on for however many years you've been acting,

367
00:19:05,040 --> 00:19:07,520
Speaker 1: no idea. We were sung in the place last night

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00:19:07,560 --> 00:19:10,359
Speaker 1: to serve club in Neuroschelle. We worked at a big place.

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00:19:10,400 --> 00:19:12,959
Speaker 1: It was sold out. It was a cancer benefit. I

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00:19:13,000 --> 00:19:14,520
Speaker 1: opened up. They didn't know what the hell I would

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00:19:14,520 --> 00:19:16,600
Speaker 1: do in the committee. Of course, my knees through it.

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00:19:17,119 --> 00:19:19,360
Speaker 1: My niece put the whole thing together and she did

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00:19:19,400 --> 00:19:21,680
Speaker 1: wonderfully and it sold out. But she never had a

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Speaker 1: committee of people helping that. She just wanted to do

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Speaker 1: something for the cancer people because my mom my sister

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00:19:27,600 --> 00:19:29,880
Speaker 1: had died, so she sets it up. But they didn't

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00:19:29,880 --> 00:19:32,640
Speaker 1: know anything about singing groups and so forth. They brought

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00:19:32,640 --> 00:19:36,200
Speaker 1: a DJ out to set up sound. I said, I said,

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00:19:36,200 --> 00:19:38,720
Speaker 1: you can't do a DJ. We need sound with my

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00:19:38,800 --> 00:19:41,800
Speaker 1: whole bands in my right, Louis, I walk out on

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Speaker 1: the stage. The place is sold out, but there's a

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00:19:45,200 --> 00:19:49,080
Speaker 1: hundred yard blank dance floor with no people in front

383
00:19:49,160 --> 00:19:51,639
Speaker 1: of me. I had to work an hour and a

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00:19:51,680 --> 00:19:54,679
Speaker 1: half on the on the floor, walking from one end

385
00:19:54,680 --> 00:19:56,199
Speaker 1: of the thing. That's all I did was walk. I

386
00:19:56,200 --> 00:19:59,320
Speaker 1: looked like a rootster running around the place and I

387
00:19:59,359 --> 00:20:02,159
Speaker 1: and it killed me because she didn't know about the cancer.

388
00:20:02,200 --> 00:20:05,080
Speaker 1: Thing was a wonderful thing, and I get thrilled when

389
00:20:05,080 --> 00:20:08,240
Speaker 1: I had the opportunity to sing and perform special blues.

390
00:20:08,720 --> 00:20:13,480
Speaker 1: Have you ever done uh, significant voiceover stuff. You just

391
00:20:13,520 --> 00:20:16,159
Speaker 1: want an Emmy, you know, I want an Emmy for

392
00:20:16,760 --> 00:20:20,680
Speaker 1: Yes Network. Oh, I did the the Yankee thing about

393
00:20:20,960 --> 00:20:25,159
Speaker 1: congratulating himselves, and for some reason I went there. I

394
00:20:25,240 --> 00:20:28,720
Speaker 1: was presenting for I was presenting for the Emmy is that?

395
00:20:28,800 --> 00:20:30,520
Speaker 1: And I saw I presented six of them and I

396
00:20:30,600 --> 00:20:33,240
Speaker 1: left the place. So I go to yes Neck the

397
00:20:33,280 --> 00:20:35,440
Speaker 1: next day because we want to talk about something about

398
00:20:35,480 --> 00:20:39,239
Speaker 1: celebrity tastemakers. And he said, Danny, why did you go?

399
00:20:39,400 --> 00:20:41,680
Speaker 1: I said, what do you mean, Well, you presented, then

400
00:20:41,680 --> 00:20:44,280
Speaker 1: you left. I said, of course I was finished. He said, Danny,

401
00:20:44,440 --> 00:20:46,600
Speaker 1: you aren't the jere Emmy. I said, one emmy? What

402
00:20:46,720 --> 00:20:49,200
Speaker 1: the fun emmy? They said, you want an Emmy for

403
00:20:49,240 --> 00:20:51,879
Speaker 1: a voiceover. So I've done a lot of voices. I

404
00:20:51,920 --> 00:20:54,080
Speaker 1: also did the rat pack. I did a four hour

405
00:20:54,680 --> 00:20:58,400
Speaker 1: rat pack thing Franks and all of them. I've done

406
00:20:58,440 --> 00:21:00,760
Speaker 1: so many. Because your voice is so it's so I

407
00:21:00,760 --> 00:21:02,560
Speaker 1: mean and and and it's for I mean to be

408
00:21:02,640 --> 00:21:05,440
Speaker 1: eighty two in your voice is like it's just like

409
00:21:05,480 --> 00:21:08,600
Speaker 1: it's so strong. I love I love listening to it.

410
00:21:08,680 --> 00:21:11,960
Speaker 1: You have a great voice. Some people something when you're

411
00:21:11,960 --> 00:21:13,840
Speaker 1: walking on the street. If they don't see my face

412
00:21:13,920 --> 00:21:16,200
Speaker 1: right away to hear the voice, and they said, Danny, Yeah,

413
00:21:16,200 --> 00:21:17,720
Speaker 1: I heard you down the horror was like I knew

414
00:21:17,800 --> 00:21:20,199
Speaker 1: Danny was. I mean, it's so it's just distinct and

415
00:21:20,240 --> 00:21:24,640
Speaker 1: it's basy, and it's New York and it's just it's iconic. Yeah.

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00:21:24,640 --> 00:21:28,399
Speaker 1: Iron Wrapper podcast is sponsored by mac Weldon. Mac Weldon

417
00:21:28,520 --> 00:21:31,919
Speaker 1: is a New York City based company that lives and

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Speaker 1: shop online on or on your mobile phone and check

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Speaker 1: out in less than a minute. Mac Weldon wants you

423
00:21:51,240 --> 00:21:53,720
Speaker 1: to be comfortable and look good. It's perfect for the

424
00:21:53,760 --> 00:21:56,520
Speaker 1: guy going for a run or the guy on the run.

425
00:21:56,600 --> 00:21:59,040
Speaker 1: Used the promo code rapp report R A p A

426
00:21:59,240 --> 00:22:03,080
Speaker 1: p O R for twenty percent off you get off

427
00:22:03,119 --> 00:22:06,159
Speaker 1: your mack Weldon underwear. Check it out mac Weldon. M

428
00:22:06,240 --> 00:22:10,280
Speaker 1: A C K W E L d O N. Trust me,

429
00:22:10,320 --> 00:22:13,600
Speaker 1: I'm wearing my mack Weldon right now as I speak

430
00:22:13,640 --> 00:22:17,159
Speaker 1: to you, the people. All right, I'm gonna throw some

431
00:22:17,240 --> 00:22:21,800
Speaker 1: questions out, Okay, all right, these are because I can't

432
00:22:21,840 --> 00:22:27,359
Speaker 1: ask you everything. Uh, the the improvisation you work there

433
00:22:27,480 --> 00:22:30,760
Speaker 1: as as as a bouncer essentially, which at the improv

434
00:22:30,840 --> 00:22:32,600
Speaker 1: in those days was it what years was it? Because

435
00:22:32,600 --> 00:22:36,080
Speaker 1: the im probably so this is it. It's Hell's kitchen

436
00:22:36,160 --> 00:22:37,760
Speaker 1: over there was a zoo right like it was just

437
00:22:37,840 --> 00:22:41,240
Speaker 1: the generator. It really wasn't bad that neighborhood. I would

438
00:22:41,280 --> 00:22:43,639
Speaker 1: say to you, probably a little safer then than it

439
00:22:43,760 --> 00:22:46,480
Speaker 1: is now. Really, with the exception of during the day

440
00:22:46,520 --> 00:22:49,080
Speaker 1: of course it's so populated with pedestrians walking up and

441
00:22:49,119 --> 00:22:51,560
Speaker 1: down the street. People look like and so there's a

442
00:22:51,600 --> 00:22:55,480
Speaker 1: protection so many people. But then it was wonderful. I

443
00:22:55,520 --> 00:22:57,119
Speaker 1: used to go out at three o'clock in the morning

444
00:22:57,160 --> 00:22:59,880
Speaker 1: after we finished work, never a problem. We'd all jump

445
00:22:59,880 --> 00:23:02,560
Speaker 1: in a bagel truck and go to the brasserie on

446
00:23:02,600 --> 00:23:04,600
Speaker 1: the East side and we'd stay up until about six

447
00:23:04,640 --> 00:23:07,440
Speaker 1: in the morning. That was my life. Then. The improvisation

448
00:23:07,480 --> 00:23:10,280
Speaker 1: was a lifesaver for me because I was an uneducated kid.

449
00:23:10,640 --> 00:23:13,200
Speaker 1: I never had, you know, went into a place and

450
00:23:13,240 --> 00:23:15,280
Speaker 1: say I'm educated to do this job. So I was

451
00:23:15,320 --> 00:23:17,360
Speaker 1: doing menial kinds of jobs, and I did a lot

452
00:23:17,400 --> 00:23:20,040
Speaker 1: of stealing and so forth. I grew to be the

453
00:23:20,080 --> 00:23:24,400
Speaker 1: president of Local Division twelve oh two of the Amalgamated

454
00:23:24,440 --> 00:23:27,320
Speaker 1: Transit Union. I held a job well. I was in

455
00:23:27,359 --> 00:23:30,520
Speaker 1: Greyhound for ten years. So my life was that I

456
00:23:30,600 --> 00:23:33,119
Speaker 1: lose a job as a result of a wildcat strike.

457
00:23:33,200 --> 00:23:36,040
Speaker 1: But before becoming president, I was this guy. May I

458
00:23:36,080 --> 00:23:38,240
Speaker 1: have your attention please? On platform number three a coach

459
00:23:38,240 --> 00:23:42,640
Speaker 1: for Philadelphia, Chester, Wilmington's Dova, Seaford law Or Salisbury, Princess

460
00:23:42,720 --> 00:23:45,520
Speaker 1: and Pokemoke City Kip the Peak Beach Little Creek in Norfolk.

461
00:23:45,840 --> 00:23:49,000
Speaker 1: This coach connects in a Jersey city of the Mount Clair, Denville, Dover,

462
00:23:49,080 --> 00:23:52,320
Speaker 1: Bud Lake, Cackets Down Stralesberg Mound, Polkono to behind this

463
00:23:52,400 --> 00:23:58,000
Speaker 1: Grant Wilkesburry, Clark, some At Nicholson, Holstead, Great Ben, Binghamton Court, Lenithaca, Geneva, Cannon, Daga,

464
00:23:58,280 --> 00:24:01,120
Speaker 1: pitcht In to wander Waverley on my corning, bat Batavia,

465
00:24:01,160 --> 00:24:05,160
Speaker 1: Harnel and Mount Marris. I was the public address announcer

466
00:24:05,200 --> 00:24:07,400
Speaker 1: at the Port of Authority for a long period of time.

467
00:24:08,080 --> 00:24:11,239
Speaker 1: I became the union president. I wanted to supervision. I

468
00:24:11,280 --> 00:24:14,280
Speaker 1: lose my job as a resultable wildcats strike. I knew

469
00:24:14,320 --> 00:24:17,400
Speaker 1: Bud Friedman because I played ball in the Broadway show

470
00:24:17,440 --> 00:24:19,639
Speaker 1: like I was an next Apple. He gave me a

471
00:24:19,760 --> 00:24:22,760
Speaker 1: job because he figured I was what what do you

472
00:24:22,800 --> 00:24:25,080
Speaker 1: call those guys? You were a banker? I was. I

473
00:24:25,160 --> 00:24:27,520
Speaker 1: was a switshit and I banged shots into the trees.

474
00:24:27,920 --> 00:24:30,199
Speaker 1: They gave me the goddamn job. Okay, so you were

475
00:24:30,240 --> 00:24:32,760
Speaker 1: just a bouncer at the improvisation, which for people don't

476
00:24:32,800 --> 00:24:35,760
Speaker 1: know it's it's one of the first, and it's definitely,

477
00:24:35,760 --> 00:24:38,879
Speaker 1: to me, one of the most iconic comedy. It doesn't

478
00:24:38,880 --> 00:24:40,879
Speaker 1: exist in New York anymore, but it's still in l A.

479
00:24:41,320 --> 00:24:43,920
Speaker 1: And so the improv in the Comedy Store to two

480
00:24:43,920 --> 00:24:46,000
Speaker 1: of the first, and then everyone everyone came through that,

481
00:24:46,080 --> 00:24:49,120
Speaker 1: Richie Priborly, everyone that we're talking about have come through there.

482
00:24:49,160 --> 00:24:51,520
Speaker 1: And I witnessed that, you know, something about that I

483
00:24:51,560 --> 00:24:53,800
Speaker 1: wanted to be. I didn't know what I wanted to

484
00:24:53,800 --> 00:24:56,080
Speaker 1: be when I was there. I was hired as a bouncer.

485
00:24:56,119 --> 00:24:58,600
Speaker 1: He recognized my talent that he made me a bouncer.

486
00:24:58,880 --> 00:25:01,840
Speaker 1: But I observed that watching people perform, and I said, Wow,

487
00:25:01,840 --> 00:25:04,080
Speaker 1: he's gotta be bright to do that ship to get

488
00:25:04,160 --> 00:25:06,199
Speaker 1: up there and try to make people laugh, and that

489
00:25:06,280 --> 00:25:09,480
Speaker 1: they don't laugh. It's like a terrible bomb. That's something

490
00:25:09,520 --> 00:25:11,520
Speaker 1: I don't want to do. Maybe I can do it,

491
00:25:11,520 --> 00:25:14,119
Speaker 1: but I doubt it very much. But I admired them

492
00:25:14,200 --> 00:25:18,680
Speaker 1: so much. To watch comedians perform, it was wonderful, should

493
00:25:18,680 --> 00:25:21,520
Speaker 1: I say, in education for me because I wasn't sure

494
00:25:21,600 --> 00:25:23,520
Speaker 1: what I was going to do with my life. So

495
00:25:23,720 --> 00:25:26,440
Speaker 1: Bud said to me one day, look, we're gonna upgrade

496
00:25:26,480 --> 00:25:28,800
Speaker 1: your job a little bit. When I'm not available, I

497
00:25:28,840 --> 00:25:30,840
Speaker 1: want you to get up in MC so I get

498
00:25:30,920 --> 00:25:32,080
Speaker 1: up in them. So I don't know what the funk

499
00:25:32,119 --> 00:25:33,639
Speaker 1: I was doing. I would announce, you know, if a

500
00:25:33,680 --> 00:25:35,520
Speaker 1: person was talking to the audience, I wanted to punch

501
00:25:35,600 --> 00:25:37,720
Speaker 1: the ship out of him. That's the kind of education

502
00:25:37,760 --> 00:25:40,480
Speaker 1: I had, is in terms of of getting up in

503
00:25:40,640 --> 00:25:43,480
Speaker 1: m seeing but in them seeing. People would come over me.

504
00:25:43,520 --> 00:25:45,600
Speaker 1: One guy comes over to me, he said, big comedy writer.

505
00:25:45,720 --> 00:25:48,320
Speaker 1: He says to me, you know your bow your bow blights?

506
00:25:48,400 --> 00:25:50,320
Speaker 1: I said, my bow blights? What the fund does that mean?

507
00:25:50,359 --> 00:25:53,080
Speaker 1: He said, well, there are some people who do things

508
00:25:53,119 --> 00:25:56,280
Speaker 1: for the public, but they both don't light your bull blights.

509
00:25:56,320 --> 00:25:57,680
Speaker 1: But I didn't know what the funk I was doing,

510
00:25:57,880 --> 00:25:59,919
Speaker 1: Like yeah, I was saying, how many are you? I

511
00:26:00,000 --> 00:26:02,840
Speaker 1: would say, and I introduced that now his mic rappaport.

512
00:26:02,880 --> 00:26:05,600
Speaker 1: That's all I was doing. But I learned something about

513
00:26:05,680 --> 00:26:08,320
Speaker 1: being before an audience. Then a guy by name of

514
00:26:08,359 --> 00:26:11,240
Speaker 1: Lewis LaRusso, the second neophyte right and never did ship

515
00:26:11,359 --> 00:26:14,040
Speaker 1: in his life, would right at the bar. He said, Danny,

516
00:26:15,200 --> 00:26:17,119
Speaker 1: I have a script for the stage. I'd love you

517
00:26:17,160 --> 00:26:18,560
Speaker 1: to do it. I said, why are you asking me?

518
00:26:18,560 --> 00:26:21,440
Speaker 1: I'm not an actor. He says to me, yes, you, well,

519
00:26:21,480 --> 00:26:24,320
Speaker 1: you just don't know it now. You literally, at this point,

520
00:26:24,320 --> 00:26:27,440
Speaker 1: you're not even thinking about being a You're thinking about

521
00:26:27,440 --> 00:26:29,920
Speaker 1: being a father, taking care of your family and and

522
00:26:29,960 --> 00:26:32,760
Speaker 1: figuring out a way to do that. And when you

523
00:26:32,760 --> 00:26:34,560
Speaker 1: when you went to the impropers of Bouncy, you're not.

524
00:26:34,640 --> 00:26:37,359
Speaker 1: It's not even a thought. And at the point, never

525
00:26:37,400 --> 00:26:39,359
Speaker 1: in my life that I ever think of acting acting.

526
00:26:39,359 --> 00:26:42,040
Speaker 1: To me, it was like people on Mars, which was California,

527
00:26:42,080 --> 00:26:44,080
Speaker 1: because I had never been there. You're just a working

528
00:26:44,080 --> 00:26:46,560
Speaker 1: guy in New York, and a hard working guy or

529
00:26:46,600 --> 00:26:49,320
Speaker 1: a thief. I've done some thievery things too. I stole.

530
00:26:49,359 --> 00:26:51,639
Speaker 1: I did ship, but I did it not to It

531
00:26:51,800 --> 00:26:56,040
Speaker 1: wasn't for self outgrandizement. It wasn't for me. It was necessity.

532
00:26:56,160 --> 00:26:58,880
Speaker 1: I had the kids. And I'm not justifying it because

533
00:26:58,920 --> 00:27:01,240
Speaker 1: I put myself down on for that is what the fund?

534
00:27:01,280 --> 00:27:03,520
Speaker 1: Did you do? There was something else you could have done? Well,

535
00:27:03,800 --> 00:27:05,920
Speaker 1: I didn't find anything else I could do except that

536
00:27:06,040 --> 00:27:08,360
Speaker 1: was a pool shooter. But you know, and I made

537
00:27:08,400 --> 00:27:10,520
Speaker 1: a lot of money shooting pool and when that wasn't working,

538
00:27:10,560 --> 00:27:13,840
Speaker 1: I went out to supplement my income by stealing. And

539
00:27:13,880 --> 00:27:15,600
Speaker 1: what did I do? Had I see? I broke into

540
00:27:15,600 --> 00:27:19,560
Speaker 1: places that weren't open. We go upstairs and we'd find safes.

541
00:27:19,800 --> 00:27:22,720
Speaker 1: We look for safe, empty safe. We didn't have open

542
00:27:22,760 --> 00:27:24,640
Speaker 1: the fucking stay. If I tried to open the safe

543
00:27:24,680 --> 00:27:26,800
Speaker 1: with tumblers, I'd be there for four and a half years.

544
00:27:27,240 --> 00:27:30,040
Speaker 1: If if the fucking safe was light enough, we picked

545
00:27:30,040 --> 00:27:32,520
Speaker 1: the safe up. We took it to a window upstairs,

546
00:27:32,840 --> 00:27:35,240
Speaker 1: throw it out the fucking window. If it opened, down said,

547
00:27:35,280 --> 00:27:38,400
Speaker 1: we did it. If it did. If it didn't open, Michael,

548
00:27:38,480 --> 00:27:41,359
Speaker 1: as God is my witness, well God probably was my

549
00:27:41,440 --> 00:27:44,520
Speaker 1: witness when it hit the ground. If it didn't open

550
00:27:44,560 --> 00:27:46,679
Speaker 1: when we went down, we would take it to a

551
00:27:46,760 --> 00:27:48,919
Speaker 1: junk guard. I get my friend the Eddie's car. We

552
00:27:49,000 --> 00:27:50,880
Speaker 1: put it in the back, taking the junk and beat

553
00:27:50,880 --> 00:27:52,800
Speaker 1: the ship out of the thing for about two days

554
00:27:53,119 --> 00:27:56,879
Speaker 1: until it opened. The most we ever got was about

555
00:27:56,920 --> 00:28:00,320
Speaker 1: thirty five hollis, are you serious? And then we robbed.

556
00:28:00,400 --> 00:28:03,680
Speaker 1: We used to climb in skylights and short buildings. There

557
00:28:03,760 --> 00:28:06,720
Speaker 1: was on Whitlock Avenue there was a bowling alley where

558
00:28:06,720 --> 00:28:08,680
Speaker 1: we all hung. And in the bowling alley they had

559
00:28:08,680 --> 00:28:11,119
Speaker 1: pool rooms. I used to hustle in that pool room.

560
00:28:11,240 --> 00:28:13,960
Speaker 1: We robbed the fucking place Eddie would go down. Now

561
00:28:14,400 --> 00:28:17,040
Speaker 1: we come down on a rope. Okay, you got a

562
00:28:17,119 --> 00:28:19,560
Speaker 1: visualize this ship. There's a pool table. We can't go

563
00:28:19,640 --> 00:28:22,920
Speaker 1: to the floor. We go on the pool table. All right.

564
00:28:23,400 --> 00:28:25,439
Speaker 1: There's no money in a register, we know that. But

565
00:28:25,480 --> 00:28:28,679
Speaker 1: there are machines, the cigarette machines. That's solo machine. We

566
00:28:28,800 --> 00:28:31,520
Speaker 1: break them up and take out Nichols quarters. I paid

567
00:28:31,640 --> 00:28:34,760
Speaker 1: rent for six months on Nichols and quarters and Zandi.

568
00:28:35,320 --> 00:28:38,440
Speaker 1: Where you're getting this money? I'm hustling pool Now. The

569
00:28:38,520 --> 00:28:41,000
Speaker 1: next day we go back after dumping the place, we

570
00:28:41,080 --> 00:28:44,200
Speaker 1: go back to shoot pool because we're a hustle on

571
00:28:44,240 --> 00:28:51,680
Speaker 1: the fucking green felt, you understand. In the Prince, my

572
00:28:51,840 --> 00:28:55,480
Speaker 1: fucking fun prints are on the table, me and Eddie

573
00:28:56,000 --> 00:28:58,720
Speaker 1: that we were like great fucking thieves of up. When

574
00:28:58,720 --> 00:29:01,240
Speaker 1: any brains came in, he say, what the funk that's

575
00:29:01,280 --> 00:29:05,040
Speaker 1: your foot size. That's what we did. I wanted. That's

576
00:29:05,080 --> 00:29:08,680
Speaker 1: a great story. This is This is my impression of

577
00:29:08,840 --> 00:29:12,080
Speaker 1: Danny and Eddie breaking the safe after they threw it

578
00:29:12,080 --> 00:29:15,080
Speaker 1: down in the Junk'll Eddie get the fucking sledge him?

579
00:29:15,440 --> 00:29:18,240
Speaker 1: I don't have it. Where's the fucking sledge? Him? Give

580
00:29:18,240 --> 00:29:22,040
Speaker 1: me the fucking thing. I'll break this fucking thing open,

581
00:29:22,560 --> 00:29:26,160
Speaker 1: you cock sucker. Kick the fucking thing, Eddie. I bust

582
00:29:26,200 --> 00:29:29,479
Speaker 1: the mind for you. Bust did your fucking foot How

583
00:29:29,560 --> 00:29:33,880
Speaker 1: much is in it? Edie? Dirty five dollars? We did

584
00:29:33,920 --> 00:29:40,440
Speaker 1: all this for dirty five fucking dollars, you cocksucker Eddie.

585
00:29:42,240 --> 00:29:44,840
Speaker 1: That's a great story, but that was one that's a

586
00:29:44,880 --> 00:29:49,360
Speaker 1: great such a few, I mean, that's such crazy things.

587
00:29:49,360 --> 00:29:52,640
Speaker 1: That credit wearing bakeries. And they always closed as we

588
00:29:52,680 --> 00:29:54,400
Speaker 1: always went in because we don't want to come to

589
00:29:54,480 --> 00:29:57,640
Speaker 1: head to head with anyone. We saw cops cooping, you

590
00:29:57,640 --> 00:29:59,960
Speaker 1: know the term cooping. They're sitting in the car relaxing,

591
00:30:00,040 --> 00:30:04,560
Speaker 1: having a sandwich parked right outside with spotlight, what the

592
00:30:04,680 --> 00:30:07,360
Speaker 1: lights wearing on? That it would be right in front

593
00:30:07,360 --> 00:30:09,400
Speaker 1: of us and we would be in the store behind

594
00:30:09,440 --> 00:30:12,320
Speaker 1: the counter looking at the cubs. Now, if I got busted,

595
00:30:12,320 --> 00:30:14,560
Speaker 1: then it was gone. That was just gone. I mean

596
00:30:14,560 --> 00:30:17,280
Speaker 1: I never got busted, So I think, you know, I'm

597
00:30:17,280 --> 00:30:20,720
Speaker 1: so gratified and knowing that you know, I did such

598
00:30:20,800 --> 00:30:23,640
Speaker 1: bad things. I never heard anyone. I thought. I was

599
00:30:23,680 --> 00:30:25,800
Speaker 1: trying to justify. Why am I doing this? Ship I'm

600
00:30:25,840 --> 00:30:28,040
Speaker 1: a great you know, I'm a good guy. I don't

601
00:30:28,080 --> 00:30:30,760
Speaker 1: do this. Then I made the excuse, and it was

602
00:30:30,840 --> 00:30:33,280
Speaker 1: a legitimate excuse. I want to put food in the table.

603
00:30:33,280 --> 00:30:34,640
Speaker 1: I want to pay my rent. I don't want to

604
00:30:34,640 --> 00:30:37,800
Speaker 1: sufferup course, all my life, I always worried being an

605
00:30:37,880 --> 00:30:41,600
Speaker 1: uneducated kid when I had the children. Right away Sandy

606
00:30:41,600 --> 00:30:44,200
Speaker 1: and I got married, as you know, very young. How

607
00:30:44,200 --> 00:30:46,760
Speaker 1: am I going to support once the reality of having

608
00:30:46,880 --> 00:30:49,800
Speaker 1: children came in? How am I going to work? When

609
00:30:49,800 --> 00:30:51,680
Speaker 1: am I going to get a job? How am I

610
00:30:51,720 --> 00:30:54,640
Speaker 1: going to support these kids? All my life, nightmares at

611
00:30:54,720 --> 00:30:59,360
Speaker 1: my young life of thinking we're gonna be homeless, We're

612
00:30:59,360 --> 00:31:02,360
Speaker 1: gonna be home, How am I going to stay from

613
00:31:02,360 --> 00:31:04,840
Speaker 1: being homeless? Now it wasn't so much about me because

614
00:31:05,160 --> 00:31:06,840
Speaker 1: I can live in a quarter a day. I didn't

615
00:31:06,880 --> 00:31:09,160
Speaker 1: give a funk because I was a tough kid. I

616
00:31:09,200 --> 00:31:11,600
Speaker 1: didn't care. I could live in a corner. But the

617
00:31:11,720 --> 00:31:16,040
Speaker 1: responsibilities suddenly of having four children eventually and my wife

618
00:31:16,960 --> 00:31:21,120
Speaker 1: and wanting to do the right thing. Frightening experience when

619
00:31:21,160 --> 00:31:24,280
Speaker 1: you can't support them the way they you know, the

620
00:31:24,320 --> 00:31:27,080
Speaker 1: way I feel they should be supported. Fortunately, in my

621
00:31:27,120 --> 00:31:31,120
Speaker 1: life things that occurred that made it possible, with no education,

622
00:31:31,160 --> 00:31:33,400
Speaker 1: to be able to get lucky enough for this guy

623
00:31:33,440 --> 00:31:36,440
Speaker 1: Lularusso I took his play and you know what he

624
00:31:36,480 --> 00:31:38,320
Speaker 1: did for me. Michael, you're an actor, and you know

625
00:31:39,560 --> 00:31:43,320
Speaker 1: how many guys. Meets an unknown writer who's never done

626
00:31:43,320 --> 00:31:50,040
Speaker 1: ship and he writes me three plays, Knockout, Lamp, Post Reunion,

627
00:31:50,200 --> 00:31:53,040
Speaker 1: and Wheelbarrow Close. He wrote all three and all three,

628
00:31:53,680 --> 00:31:58,880
Speaker 1: all of them started off off off off off Broadway,

629
00:31:59,000 --> 00:32:02,480
Speaker 1: and the place called that churchild Playhouse. It was a

630
00:32:02,520 --> 00:32:04,840
Speaker 1: converted church. We don't even to this day know if

631
00:32:04,880 --> 00:32:07,520
Speaker 1: it was a church. Were pade noise from the you know,

632
00:32:07,640 --> 00:32:11,040
Speaker 1: from the steam, and yet people would come in sixties

633
00:32:11,160 --> 00:32:14,760
Speaker 1: seventy people each one of those plays we had back

634
00:32:14,800 --> 00:32:19,560
Speaker 1: as auditions. They all went to Broadway. I start in

635
00:32:19,640 --> 00:32:21,720
Speaker 1: each one of them. And this is what six This

636
00:32:21,880 --> 00:32:25,640
Speaker 1: was in sev seventy two, seventy up to seventy five.

637
00:32:26,240 --> 00:32:28,320
Speaker 1: A lot of people don't know I started my life

638
00:32:28,400 --> 00:32:31,680
Speaker 1: as a theater actor. But I did not know what

639
00:32:31,720 --> 00:32:33,560
Speaker 1: I was doing. I didn't even know if I could

640
00:32:33,600 --> 00:32:37,200
Speaker 1: remember a word right. I went in somehow instinct Well,

641
00:32:37,280 --> 00:32:41,440
Speaker 1: someone started the instinct. You know, Michael, you're a natural actor.

642
00:32:41,640 --> 00:32:44,640
Speaker 1: I'm saying, no, no, no, not study same as you.

643
00:32:44,800 --> 00:32:46,720
Speaker 1: Well here, when Woody Allen came over to me and

644
00:32:46,760 --> 00:32:48,320
Speaker 1: said the New York Time, what do you used to say?

645
00:32:48,360 --> 00:32:50,040
Speaker 1: He said to me once he used to try and

646
00:32:50,800 --> 00:32:53,160
Speaker 1: say things to me to make me feel good about myself,

647
00:32:53,160 --> 00:32:55,480
Speaker 1: because he knew I was someone unsure about my acting.

648
00:32:56,360 --> 00:32:59,040
Speaker 1: He said, Danny Hello, not to me personally, to the Times,

649
00:32:59,160 --> 00:33:02,440
Speaker 1: is one of the sixth greatest actors in this world.

650
00:33:03,200 --> 00:33:06,800
Speaker 1: He mentioned Marlon Brando, forgive me for what I'm saying, No, no, no,

651
00:33:06,960 --> 00:33:10,320
Speaker 1: Bobby dou Val, Dustin Hoffin, Robert de Niro, and who's

652
00:33:10,320 --> 00:33:13,600
Speaker 1: al Pacino? And Danny Illo, and he said, and not

653
00:33:13,680 --> 00:33:17,640
Speaker 1: necessarily in that order. When we were working, he would

654
00:33:17,800 --> 00:33:20,280
Speaker 1: say to me things. Oh god, all the films that

655
00:33:20,320 --> 00:33:22,560
Speaker 1: you did with him, Well, I did Purple rosof Cairo

656
00:33:22,720 --> 00:33:25,040
Speaker 1: with him. I did. I was supposed to do Broadway

657
00:33:25,080 --> 00:33:27,080
Speaker 1: Danny Rose, but the funk, you know, he gave it

658
00:33:27,080 --> 00:33:30,280
Speaker 1: to somebody else. I'm non actor, but he does that ship,

659
00:33:30,360 --> 00:33:35,600
Speaker 1: you know, that little dude cutsucker, you motherfucker. That was

660
00:33:35,680 --> 00:33:38,360
Speaker 1: one of your best fucking films and you give it

661
00:33:38,400 --> 00:33:43,880
Speaker 1: to that fuck you sort of a bitch. I hope

662
00:33:43,880 --> 00:33:49,920
Speaker 1: they know that the people listening day no anyway goes,

663
00:33:50,000 --> 00:33:52,160
Speaker 1: so go ahead. And I did so much with him,

664
00:33:52,160 --> 00:33:55,200
Speaker 1: But he's a little strange guy. Little guys for some reason,

665
00:33:55,200 --> 00:33:59,080
Speaker 1: they've always been strange. Mart scro you know. Yeah. And

666
00:33:59,240 --> 00:34:01,080
Speaker 1: well I'm not a great fan of his except for

667
00:34:01,160 --> 00:34:03,760
Speaker 1: his directory left. He's a terrific director, but in the

668
00:34:03,800 --> 00:34:06,480
Speaker 1: personal level, which I don't know, I thought maybe I

669
00:34:06,480 --> 00:34:09,640
Speaker 1: didn't do any of his films because I was too tall. No,

670
00:34:12,120 --> 00:34:14,000
Speaker 1: it ain't over for you when it ain't over for him. No,

671
00:34:14,120 --> 00:34:15,520
Speaker 1: I don't want I don't want to. I'm doing a

672
00:34:15,560 --> 00:34:17,359
Speaker 1: lot of ship, you know, without him, and I don't

673
00:34:17,360 --> 00:34:20,160
Speaker 1: I feel if you read my book, I only know

674
00:34:20,200 --> 00:34:22,439
Speaker 1: who I am when I am somebody else you'll find

675
00:34:22,440 --> 00:34:24,520
Speaker 1: out exactly how I feel about him. I don't cut

676
00:34:24,600 --> 00:34:27,040
Speaker 1: him in a bad way. I just state that it's

677
00:34:27,120 --> 00:34:30,440
Speaker 1: unfortunately that a great director like that didn't paint me

678
00:34:30,520 --> 00:34:32,640
Speaker 1: with one of his brushes. Yeah. I got up at

679
00:34:32,640 --> 00:34:34,920
Speaker 1: the Academy Awards. There's a weird thing that happened. I

680
00:34:34,960 --> 00:34:37,680
Speaker 1: was nominated for Academy Award. Denzel wanted, as you know,

681
00:34:37,760 --> 00:34:41,120
Speaker 1: the following year I presented and what movie do they

682
00:34:41,160 --> 00:34:44,560
Speaker 1: give me to present? Good Fellas? And what do I

683
00:34:44,600 --> 00:34:47,880
Speaker 1: say in the stage? I'm the only Italian American in

684
00:34:47,920 --> 00:34:50,799
Speaker 1: this country that's not in this film, which gave up

685
00:34:50,840 --> 00:34:53,680
Speaker 1: an idea of knowing the guy never chose me Until

686
00:34:53,840 --> 00:34:56,640
Speaker 1: recently I thought, really, well, maybe he thought it was

687
00:34:56,680 --> 00:34:58,520
Speaker 1: a violent guy. Maybe he thought it was tough on

688
00:34:58,680 --> 00:35:01,040
Speaker 1: you know, on a set. Maybe I was dangerous is

689
00:35:01,160 --> 00:35:03,560
Speaker 1: so maybe you know I didn't use I think you

690
00:35:03,640 --> 00:35:05,399
Speaker 1: know that. Yeah, yeah, yeah, I'm one of the most

691
00:35:05,440 --> 00:35:07,920
Speaker 1: anti drug cats that you'll love and meeting, okay, and

692
00:35:08,880 --> 00:35:11,880
Speaker 1: I have no tolerance and they know it, and I

693
00:35:12,000 --> 00:35:15,239
Speaker 1: voiced it my opinion constantly. Now I don't know if

694
00:35:15,280 --> 00:35:18,759
Speaker 1: that's a reason, because uh, I don't think that would

695
00:35:18,800 --> 00:35:20,799
Speaker 1: be a reason with Mardi. But the point is I

696
00:35:20,920 --> 00:35:24,120
Speaker 1: tried desperately to find out for a long why hasn't

697
00:35:24,160 --> 00:35:26,719
Speaker 1: they called me? And then it's sort of eased up

698
00:35:26,760 --> 00:35:29,080
Speaker 1: a little bit when I realized that Pacino never worked

699
00:35:29,080 --> 00:35:33,200
Speaker 1: with him either, which was shocking to me. I assumed

700
00:35:33,200 --> 00:35:35,280
Speaker 1: that everyone else had worked with him in the industry,

701
00:35:35,280 --> 00:35:38,439
Speaker 1: but I didn't. But still because he wanted because he's

702
00:35:38,480 --> 00:35:41,520
Speaker 1: so great, I I it's it's as an actor, it's

703
00:35:41,560 --> 00:35:44,360
Speaker 1: like there's certain people. First of all, it makes sense

704
00:35:44,520 --> 00:35:48,239
Speaker 1: Danny a la Martin Scorsesey movie. I understand. I mean,

705
00:35:48,280 --> 00:35:51,839
Speaker 1: because he is, he's so special. He's New York. I'm

706
00:35:51,880 --> 00:35:55,480
Speaker 1: New York, The Narrows New York two. You look like

707
00:35:55,520 --> 00:35:57,759
Speaker 1: you got about thirty more years of acting to throw

708
00:35:57,840 --> 00:36:01,200
Speaker 1: some punches. But the point is, if when I'm not

709
00:36:01,239 --> 00:36:03,560
Speaker 1: so listening to the book, it's been out since October,

710
00:36:03,600 --> 00:36:06,600
Speaker 1: but I'm gonna I'm gonna listen, you can't solicten about

711
00:36:06,640 --> 00:36:08,920
Speaker 1: my life. I solicit everything on here, Danny. And if

712
00:36:08,920 --> 00:36:11,719
Speaker 1: you read the book, you're gonna be doing interpretation ship.

713
00:36:11,800 --> 00:36:15,120
Speaker 1: In that book, you're gonna learn about my argument, Lauren.

714
00:36:15,160 --> 00:36:18,200
Speaker 1: But cale you're going to go out of you when

715
00:36:18,239 --> 00:36:21,279
Speaker 1: you read that you will go out of you be

716
00:36:21,320 --> 00:36:24,480
Speaker 1: a interpretation good? Something have you done books on? Like

717
00:36:24,520 --> 00:36:26,480
Speaker 1: if you did the audio book of it? I have

718
00:36:26,480 --> 00:36:28,480
Speaker 1: an audio and you you do the reading. I do

719
00:36:28,560 --> 00:36:31,479
Speaker 1: the reading myself, and it's bad. The audiobook is the best.

720
00:36:31,480 --> 00:36:34,520
Speaker 1: I'm sure. I'm sure you might be able to if

721
00:36:34,520 --> 00:36:39,399
Speaker 1: you wished to even broadcast some of it little pieces. Absolutely,

722
00:36:39,400 --> 00:36:43,360
Speaker 1: it'll give you about a month's worth. Because when I

723
00:36:43,400 --> 00:36:45,880
Speaker 1: do my my impression, like I feel like like I

724
00:36:45,920 --> 00:36:48,399
Speaker 1: don't think I breathe properly, so it's like I feel

725
00:36:48,400 --> 00:36:50,399
Speaker 1: like I'm gonna bust a blood vessel in my head

726
00:36:50,640 --> 00:36:52,680
Speaker 1: because I'll do it with him. Sometimes he's like, let's

727
00:36:52,760 --> 00:36:54,680
Speaker 1: keep going. I go, I gotta, I have to. I

728
00:36:54,800 --> 00:36:56,839
Speaker 1: have to take a break because they said, I'm like,

729
00:36:57,120 --> 00:37:00,239
Speaker 1: I haven't had oxygen in my head. But you you

730
00:37:00,280 --> 00:37:04,480
Speaker 1: have to know because it is the My responsibility with

731
00:37:04,520 --> 00:37:06,759
Speaker 1: the book and the voiceover is not so much to

732
00:37:06,840 --> 00:37:09,520
Speaker 1: act it. They are little scenes are do in subtle ways,

733
00:37:09,560 --> 00:37:12,480
Speaker 1: so you'll see them more subtle, Danny. But the situations

734
00:37:12,520 --> 00:37:16,000
Speaker 1: that I'm reading lacious, so you might not get the

735
00:37:16,040 --> 00:37:19,080
Speaker 1: true reading from me. You're saying, no, I understand, because

736
00:37:19,080 --> 00:37:20,960
Speaker 1: I have to be articulate enough for the audience can

737
00:37:21,080 --> 00:37:23,560
Speaker 1: be screaming the scene. I could do what you do

738
00:37:23,560 --> 00:37:25,840
Speaker 1: it it's short. There was your first But when you

739
00:37:26,160 --> 00:37:29,000
Speaker 1: when you hear this, you're gonna in my right, you'll

740
00:37:29,040 --> 00:37:33,000
Speaker 1: go out of my mind. I'm sure, crazy crazy ship boy.

741
00:37:33,040 --> 00:37:35,520
Speaker 1: What I want to say, what do you work with him?

742
00:37:35,560 --> 00:37:37,839
Speaker 1: I work with him. Go and to tell me about

743
00:37:37,880 --> 00:37:39,560
Speaker 1: what kind of guy? What he is? Great? You know,

744
00:37:39,600 --> 00:37:41,359
Speaker 1: he's a great guy and so for but working with him,

745
00:37:41,400 --> 00:37:43,440
Speaker 1: everyone wants to work on We all work cheap. I

746
00:37:43,480 --> 00:37:45,560
Speaker 1: think I made fifty tho dollars and I'm a guy

747
00:37:45,560 --> 00:37:47,560
Speaker 1: that was making a million dollars a movie seven And

748
00:37:48,600 --> 00:37:51,440
Speaker 1: I'm not blowing wings, you know that. But I went

749
00:37:51,480 --> 00:37:54,040
Speaker 1: with him because most guys work with him because they

750
00:37:54,120 --> 00:37:57,080
Speaker 1: wish to work with him. We became relatively close on

751
00:37:57,120 --> 00:37:59,680
Speaker 1: the set. We would play ball with each other. He'd

752
00:37:59,680 --> 00:38:01,759
Speaker 1: pitched to me, you know, we we throw the ball

753
00:38:01,800 --> 00:38:05,759
Speaker 1: back and forth. We got pictures with us throwing punch

754
00:38:05,880 --> 00:38:09,319
Speaker 1: is not really tround playing, And so I'm thinking this

755
00:38:09,360 --> 00:38:11,840
Speaker 1: guy's my friend. Then you bump into him on the

756
00:38:11,880 --> 00:38:14,280
Speaker 1: fucking street. He looks at you like, who the fuck

757
00:38:14,440 --> 00:38:16,600
Speaker 1: is this? What are you who are you? You know

758
00:38:16,719 --> 00:38:19,640
Speaker 1: something like that. It is the most the strangest thing

759
00:38:19,680 --> 00:38:21,719
Speaker 1: because when I be and it hurts your feelings in

760
00:38:21,760 --> 00:38:24,600
Speaker 1: a way, because if I be friends somebody, I don't

761
00:38:24,600 --> 00:38:26,719
Speaker 1: be friends many people. I have maybe four or five

762
00:38:26,760 --> 00:38:30,040
Speaker 1: people in my life I got trust. So I'm befriending

763
00:38:30,040 --> 00:38:32,880
Speaker 1: this guy and not because he's a fucking director whatever.

764
00:38:33,239 --> 00:38:34,680
Speaker 1: You know, if I work with my work, he's a

765
00:38:34,719 --> 00:38:38,799
Speaker 1: New York guy. He's a New York guy, and he's

766
00:38:38,800 --> 00:38:41,200
Speaker 1: got a good sense like he's I think. I think.

767
00:38:41,280 --> 00:38:43,239
Speaker 1: My my thing with with what I think and that

768
00:38:43,440 --> 00:38:47,279
Speaker 1: people and actors get confused by, is that I think

769
00:38:47,560 --> 00:38:51,000
Speaker 1: instinctively and who he is. I think if he's a

770
00:38:51,080 --> 00:38:54,319
Speaker 1: very shy he's a reserve shy guy. But you know,

771
00:38:54,360 --> 00:38:56,319
Speaker 1: when you're working with him, you connect with him and

772
00:38:56,320 --> 00:38:58,520
Speaker 1: you I'm sure you could. You're you're you're in the

773
00:38:58,560 --> 00:39:02,680
Speaker 1: same age, and you're both New Yorker's, true New Yorkers. Sports.

774
00:39:02,719 --> 00:39:05,239
Speaker 1: He loves sports, he does. But I think who he is,

775
00:39:05,280 --> 00:39:08,080
Speaker 1: he's like kind of an introverted, shy guy, and we

776
00:39:08,239 --> 00:39:10,480
Speaker 1: sort of get we fall in love with the persona

777
00:39:10,520 --> 00:39:13,200
Speaker 1: and in the real season we portrayed, but that's not

778
00:39:13,280 --> 00:39:15,279
Speaker 1: really who he is. No, it isn't really because but

779
00:39:15,360 --> 00:39:17,719
Speaker 1: I'm thinking that's who he got you. When I'm with him,

780
00:39:17,760 --> 00:39:19,920
Speaker 1: this is the guy, he says, Look, this is this

781
00:39:19,960 --> 00:39:22,440
Speaker 1: guy is like me. Yeah. I did radio days as

782
00:39:22,480 --> 00:39:24,719
Speaker 1: you know, I said, I did Purple Rose Up. Ye,

783
00:39:25,200 --> 00:39:27,680
Speaker 1: I also did. I did a play with him at

784
00:39:27,760 --> 00:39:30,520
Speaker 1: Lincoln Center as well. So I thought, man, me and

785
00:39:30,560 --> 00:39:33,480
Speaker 1: this guy are tight. And then he says to me

786
00:39:33,560 --> 00:39:38,280
Speaker 1: one day, Michael, now you know how important this is. Danny.

787
00:39:38,640 --> 00:39:42,239
Speaker 1: You are my ace in the hole? Now what does

788
00:39:42,280 --> 00:39:43,800
Speaker 1: that mean to me? Ason A hold? He is a

789
00:39:43,880 --> 00:39:46,520
Speaker 1: very secure statement, telling me I'm a asan a hole

790
00:39:46,719 --> 00:39:49,680
Speaker 1: and how that came about. He was ready to do

791
00:39:51,040 --> 00:39:54,680
Speaker 1: Danny Broadway Danny right when he hits me that you

792
00:39:54,719 --> 00:39:58,480
Speaker 1: were gonna be I'm the guy. He doesn't know that.

793
00:39:58,520 --> 00:40:00,840
Speaker 1: I saying, I have a auditioned, not on audition for

794
00:40:00,920 --> 00:40:02,880
Speaker 1: pause even then, and you had already worked with that.

795
00:40:02,960 --> 00:40:06,160
Speaker 1: He only auditioned. He listened to my voice and he said, wow,

796
00:40:06,239 --> 00:40:10,160
Speaker 1: he can sing. I'm thinking, remember but the words he

797
00:40:10,280 --> 00:40:12,040
Speaker 1: used you're my ace and hold he never said it

798
00:40:12,120 --> 00:40:16,520
Speaker 1: your paul I got you. So my interpretation, oh solid. Now, Bobby,

799
00:40:16,640 --> 00:40:21,160
Speaker 1: his producer, the great cinematographer of begging him every day. Danny,

800
00:40:21,200 --> 00:40:24,800
Speaker 1: I Hello, Danny, I hello, no problem. You know the cinematographer,

801
00:40:24,800 --> 00:40:27,160
Speaker 1: Gordon Willis. He likes you to hit the mark, want

802
00:40:27,200 --> 00:40:28,520
Speaker 1: you to hit him money, don't give a ship how

803
00:40:28,560 --> 00:40:30,799
Speaker 1: you act. He doesn't care about art. He just wants

804
00:40:30,840 --> 00:40:33,799
Speaker 1: to know that his pictures look good. Danny hits his mark.

805
00:40:33,920 --> 00:40:36,680
Speaker 1: This guy's you know anyone else that wouldn't be Let's

806
00:40:36,719 --> 00:40:40,799
Speaker 1: do Danny. I'm waiting and waiting. Brian Hamill, you know

807
00:40:40,840 --> 00:40:43,960
Speaker 1: the great stuff. Hamill's brother and he's one of my

808
00:40:44,000 --> 00:40:46,600
Speaker 1: dearest friends. He called me up two weeks later and

809
00:40:46,600 --> 00:40:48,520
Speaker 1: he says, Danny, I'm sorry I said what he said.

810
00:40:48,520 --> 00:40:51,480
Speaker 1: He gave the part to this guy who's a contained group.

811
00:40:51,600 --> 00:40:54,040
Speaker 1: He wrote his own Italian songs. The guy's not an

812
00:40:54,040 --> 00:40:55,920
Speaker 1: active but he gave him the role. I went in

813
00:40:56,000 --> 00:41:00,200
Speaker 1: my room for two weeks and sulk did everything, with

814
00:41:00,280 --> 00:41:04,120
Speaker 1: the exception of crying. I was devastating because I knew

815
00:41:04,239 --> 00:41:07,520
Speaker 1: it was a pot, it was an Academy award. This

816
00:41:07,560 --> 00:41:09,160
Speaker 1: guy didn't get it because he didn't know what the

817
00:41:09,160 --> 00:41:11,640
Speaker 1: fun was. He was all right now, he was good,

818
00:41:11,680 --> 00:41:14,000
Speaker 1: but he wasn't great. It was a great part. He

819
00:41:14,120 --> 00:41:16,240
Speaker 1: I mean, the movie's great, that's one of my favorite

820
00:41:16,680 --> 00:41:19,360
Speaker 1: And he says this just at the end. Brian Hamill

821
00:41:19,560 --> 00:41:21,480
Speaker 1: is on a set with him two weeks later, and

822
00:41:21,520 --> 00:41:23,680
Speaker 1: what he had to know? It says, how's Danny? And

823
00:41:23,760 --> 00:41:29,200
Speaker 1: Brian says, very disappointed, not knowing what the funk he means.

824
00:41:29,239 --> 00:41:32,680
Speaker 1: What he says, disappointed? What are you for? What? He

825
00:41:32,719 --> 00:41:35,640
Speaker 1: didn't get the pot? Then he works all the time.

826
00:41:36,920 --> 00:41:39,160
Speaker 1: He thought he could he could say that Danny works

827
00:41:39,160 --> 00:41:41,359
Speaker 1: all the time and that this meant nothing to me.

828
00:41:41,400 --> 00:41:44,880
Speaker 1: It meant everything I understand, and it just killed me.

829
00:41:44,920 --> 00:41:46,799
Speaker 1: I write about it in the book. But again I say,

830
00:41:46,840 --> 00:41:50,800
Speaker 1: he never offered it to me. No, it made me think,

831
00:41:51,120 --> 00:41:53,759
Speaker 1: I I I understand, and I mean, you know, and

832
00:41:53,800 --> 00:41:56,960
Speaker 1: I find it crazy as I get older and and

833
00:41:56,960 --> 00:41:59,080
Speaker 1: and I don't know what you must have been like,

834
00:41:59,200 --> 00:42:02,239
Speaker 1: what that must have been. You must have been fifty

835
00:42:01,000 --> 00:42:04,359
Speaker 1: or but with Dan Broye Dani Rosen must have been

836
00:42:04,400 --> 00:42:07,799
Speaker 1: my fifty. You must have been a little younger, but

837
00:42:07,840 --> 00:42:10,879
Speaker 1: as a grown man. And I mean every actor could

838
00:42:10,880 --> 00:42:13,920
Speaker 1: attest this as a grown man, even eighty eighty two

839
00:42:13,960 --> 00:42:16,239
Speaker 1: years old. You're eighty two. Now I'm forty five years old,

840
00:42:16,640 --> 00:42:20,320
Speaker 1: Like what you the disappointments. I mean, it gets less

841
00:42:20,400 --> 00:42:22,280
Speaker 1: because you get more used to it and you process

842
00:42:22,320 --> 00:42:25,799
Speaker 1: it differently. But it's like every single time you don't

843
00:42:25,800 --> 00:42:29,239
Speaker 1: get the thing you want. It's still to this day, right,

844
00:42:29,360 --> 00:42:31,680
Speaker 1: it's still in a way hurts. It doesn't hurt as

845
00:42:31,760 --> 00:42:34,040
Speaker 1: much as when you're younger because you have you process

846
00:42:34,080 --> 00:42:36,320
Speaker 1: it different than you've done a lot. You can't be great,

847
00:42:36,360 --> 00:42:38,720
Speaker 1: but it's still like this that it's like that reject.

848
00:42:38,800 --> 00:42:41,360
Speaker 1: It's like going up to a pretty girl and asking

849
00:42:41,360 --> 00:42:42,960
Speaker 1: her for a number and she looks at you like

850
00:42:43,000 --> 00:42:45,360
Speaker 1: you're crazy? Or can I dance with you? And she

851
00:42:46,080 --> 00:42:50,680
Speaker 1: but it's it's still lingers and with you brought up

852
00:42:50,719 --> 00:42:52,960
Speaker 1: the girl that I never asked a girl to dance

853
00:42:53,040 --> 00:42:55,719
Speaker 1: at any school dance that we went to because I

854
00:42:55,719 --> 00:42:59,600
Speaker 1: couldn't hear us say just in case, right, I punched

855
00:42:59,600 --> 00:43:02,359
Speaker 1: through the bag saying what if she says no? And

856
00:43:02,400 --> 00:43:05,640
Speaker 1: if I thought she's going to say no, I fucking

857
00:43:05,640 --> 00:43:07,880
Speaker 1: don't ask. I'll stand in the fucking corner and do

858
00:43:08,000 --> 00:43:11,319
Speaker 1: absolutely nothing. Right, But it actually killed me. Another thing

859
00:43:11,360 --> 00:43:13,480
Speaker 1: about what you're a natural actor. Now, I don't mean

860
00:43:13,480 --> 00:43:15,799
Speaker 1: that as an instant I appreciate. He used to call

861
00:43:15,920 --> 00:43:19,120
Speaker 1: me a natural actor, and I considered it a fucking

862
00:43:19,200 --> 00:43:22,000
Speaker 1: insult because if you didn't have all the skills, and

863
00:43:22,040 --> 00:43:25,880
Speaker 1: you don't exactly say I'm a natural, luck, you're telling me, oh,

864
00:43:25,960 --> 00:43:29,560
Speaker 1: I'm instinctive. Only I am a instinctive. I learned my

865
00:43:29,719 --> 00:43:32,640
Speaker 1: craft in a natural sort of way. But when you

866
00:43:32,800 --> 00:43:35,160
Speaker 1: say that I'm a natural, I think he's telling me

867
00:43:35,200 --> 00:43:38,719
Speaker 1: I'm untrained. I'm a lucky motherfucker. Excuse my language of

868
00:43:38,880 --> 00:43:43,200
Speaker 1: using that, but I am Michael. I'm telling you, I

869
00:43:43,360 --> 00:43:47,080
Speaker 1: understand I resented being called a natural. Now at this

870
00:43:47,160 --> 00:43:50,239
Speaker 1: age and going through everything that I've been through, I

871
00:43:50,280 --> 00:43:52,279
Speaker 1: love them when they say natural because I know it

872
00:43:52,360 --> 00:43:55,000
Speaker 1: comes with a lot of work, and also the instinct

873
00:43:55,040 --> 00:43:57,640
Speaker 1: which I use even to this absolutely, and I mean

874
00:43:57,680 --> 00:44:00,200
Speaker 1: and and and the you know, they're they're you know

875
00:44:00,200 --> 00:44:03,000
Speaker 1: what the thing is is that you know, sometimes I think,

876
00:44:03,440 --> 00:44:06,000
Speaker 1: you know, like I'll have I have my little my

877
00:44:06,080 --> 00:44:10,720
Speaker 1: little you know, beef for whatever with you know, foreign actors.

878
00:44:10,760 --> 00:44:13,640
Speaker 1: You know, they'll come over and play New Yorkers and

879
00:44:13,640 --> 00:44:17,040
Speaker 1: and but when there's parts to play British people, they're

880
00:44:17,080 --> 00:44:19,520
Speaker 1: not even thinking about it. They're not considered not that

881
00:44:19,560 --> 00:44:21,400
Speaker 1: we'd ever be able, not that I'd be not that

882
00:44:21,480 --> 00:44:24,160
Speaker 1: Michael Rappaport and Daniello would be the best people to

883
00:44:24,239 --> 00:44:29,880
Speaker 1: play two Brits. Okay, but who's the great? Can you imagine?

884
00:44:30,480 --> 00:44:32,439
Speaker 1: But but but you know, like because they're like, oh,

885
00:44:32,600 --> 00:44:35,000
Speaker 1: he went to this school, he went to the Juilliard

886
00:44:35,000 --> 00:44:37,160
Speaker 1: list and he's British, And what the fucking do I

887
00:44:37,239 --> 00:44:39,359
Speaker 1: could hear he sounds like he's fucking British. I don't

888
00:44:39,400 --> 00:44:41,000
Speaker 1: care what you know for the most part. I mean,

889
00:44:41,000 --> 00:44:43,759
Speaker 1: it's been done well at times, but I understand like

890
00:44:43,800 --> 00:44:47,880
Speaker 1: that you because you acting can be taken so seriously

891
00:44:47,920 --> 00:44:49,840
Speaker 1: and it's like, you know, it's almost like we're the

892
00:44:49,880 --> 00:44:53,000
Speaker 1: tennis Like the Williams sisters. They weren't trained, they didn't

893
00:44:53,000 --> 00:44:56,040
Speaker 1: go to these fancy schools. They're kicking everybody's ass. I mean,

894
00:44:56,080 --> 00:44:59,600
Speaker 1: everybody gets there differently. Like de Niro, he's method guy,

895
00:44:59,680 --> 00:45:01,720
Speaker 1: and like he's sort of you know, and Marlon Brandon.

896
00:45:01,760 --> 00:45:03,359
Speaker 1: You hear about the method and the method and they

897
00:45:03,360 --> 00:45:06,120
Speaker 1: went to the school. But the result to the result,

898
00:45:06,200 --> 00:45:08,440
Speaker 1: and the fans don't give a ship. But we we

899
00:45:08,600 --> 00:45:11,600
Speaker 1: you developed these insecurities because you're around these ads. But

900
00:45:11,640 --> 00:45:14,880
Speaker 1: what he's he's not like a trained director. He's a

901
00:45:15,000 --> 00:45:17,440
Speaker 1: natural writer. You do know he's a minimalist. When I

902
00:45:18,120 --> 00:45:20,480
Speaker 1: the directors, they are not quite as a minimal as head.

903
00:45:20,520 --> 00:45:22,120
Speaker 1: What does what he do with us? He comes out

904
00:45:22,120 --> 00:45:24,440
Speaker 1: and be a little less angry, right, be a little happier.

905
00:45:24,719 --> 00:45:28,799
Speaker 1: That is that's his intellectual, so to speak, approach, and

906
00:45:28,880 --> 00:45:32,000
Speaker 1: it does work. So it's very simple messages, not something

907
00:45:32,040 --> 00:45:35,000
Speaker 1: over an actor's head. He's just very simple and off.

908
00:45:35,000 --> 00:45:37,120
Speaker 1: And he doesn't say that damn work. He just firs

909
00:45:37,160 --> 00:45:42,759
Speaker 1: you because here is a fire. He'll send you over here.

910
00:45:42,840 --> 00:45:46,320
Speaker 1: The movie September, he cast the whole thing maveren O'Sullivan,

911
00:45:46,360 --> 00:45:49,719
Speaker 1: which is they shot it right shot two weeks. The

912
00:45:49,760 --> 00:45:53,600
Speaker 1: only guy there who wasn't Chris walking that he made

913
00:45:53,600 --> 00:45:56,399
Speaker 1: it back walking. He comes out. He fired the whole

914
00:45:56,440 --> 00:45:58,880
Speaker 1: fucking cast up the two weeks they've been doing their characters,

915
00:45:59,480 --> 00:46:02,919
Speaker 1: and Ris is doing this character. He fired. Everyone walks

916
00:46:02,920 --> 00:46:05,440
Speaker 1: over to Chris said, Chris, look, I love you, just

917
00:46:05,640 --> 00:46:08,160
Speaker 1: to give me a different interpretation of the character that

918
00:46:08,280 --> 00:46:11,760
Speaker 1: you've established in Chris said Wood. He I've already given

919
00:46:11,800 --> 00:46:13,640
Speaker 1: you the character in the manner in which I saw

920
00:46:13,680 --> 00:46:17,960
Speaker 1: he should be shown the way I want to present him.

921
00:46:18,080 --> 00:46:20,000
Speaker 1: I don't want the job. And he walked off the movie.

922
00:46:20,440 --> 00:46:22,520
Speaker 1: So he didn't come back. No, he abit early went

923
00:46:22,600 --> 00:46:24,680
Speaker 1: on his own because of what had happened. But he

924
00:46:24,840 --> 00:46:27,560
Speaker 1: fired his mother in law, me, his mother, he fired

925
00:46:27,600 --> 00:46:30,640
Speaker 1: the whole goddam. You never know. Then I shoot a

926
00:46:30,680 --> 00:46:33,799
Speaker 1: scene and Purple Rose of Cairo. I'm sitting down. I

927
00:46:33,840 --> 00:46:35,840
Speaker 1: want my road. I'll give me my meat loaf. You

928
00:46:35,840 --> 00:46:39,040
Speaker 1: know what a great scene it was? Like, I loved it.

929
00:46:39,080 --> 00:46:40,680
Speaker 1: I just love to see me and me at the

930
00:46:40,719 --> 00:46:44,200
Speaker 1: table gelling at each other. I come back a couple

931
00:46:44,239 --> 00:46:46,600
Speaker 1: of days later and I find out the scene was cut.

932
00:46:46,640 --> 00:46:48,360
Speaker 1: He walks over and said, I want you to redo

933
00:46:48,400 --> 00:46:50,640
Speaker 1: the scene. Now the scene I thought it was terrific,

934
00:46:50,680 --> 00:46:53,919
Speaker 1: but he thought it was too much like street clot

935
00:46:54,000 --> 00:46:57,040
Speaker 1: named DESI the Malon Brando scene when he was yelling.

936
00:46:57,200 --> 00:47:00,319
Speaker 1: He said he needed more human, So we went back

937
00:47:00,360 --> 00:47:02,319
Speaker 1: and redid it. Now. Who talked him? And he has

938
00:47:02,400 --> 00:47:06,319
Speaker 1: six people that he trusts immensely, and he they sit

939
00:47:06,360 --> 00:47:08,879
Speaker 1: in the screening room, they go through the stuff with him.

940
00:47:09,239 --> 00:47:11,719
Speaker 1: They make suggestions as to what should be done or not.

941
00:47:12,320 --> 00:47:15,000
Speaker 1: So apparently they made suggestions to him. I think it

942
00:47:15,000 --> 00:47:17,000
Speaker 1: should be cut and done in a different way. We

943
00:47:17,040 --> 00:47:20,319
Speaker 1: redid it. It was great, but not as good as

944
00:47:20,320 --> 00:47:22,600
Speaker 1: we originally had done it. But that's the kind of

945
00:47:22,640 --> 00:47:25,520
Speaker 1: guy he is, and he'll talk to you. You'll love him.

946
00:47:25,560 --> 00:47:27,680
Speaker 1: He's a little Guy's not dangerous. You can knock him

947
00:47:27,719 --> 00:47:29,960
Speaker 1: on his ask with a fucking pinky, you know, but

948
00:47:30,400 --> 00:47:34,080
Speaker 1: that's not the point. Well, he's you know what is five?

949
00:47:34,120 --> 00:47:38,480
Speaker 1: One who's bigger standing up? No him? Who do you think,

950
00:47:38,520 --> 00:47:41,400
Speaker 1: in their prime would win in a fight? Spiker would? He? Like?

951
00:47:41,480 --> 00:47:44,440
Speaker 1: In there? They're both forty, they're both forty, they're in shape.

952
00:47:44,600 --> 00:47:46,719
Speaker 1: Like if you had to bed the house, Spike, do

953
00:47:46,719 --> 00:47:50,120
Speaker 1: you think Spike young Spike Lee would beat the young wody? Yeah, yeah,

954
00:47:50,120 --> 00:47:52,920
Speaker 1: I think Spike would. Yeah, I think Spike. Do you

955
00:47:52,960 --> 00:47:55,440
Speaker 1: like Spike? I like Spike. Yeah. We got along quite good.

956
00:47:55,480 --> 00:47:58,000
Speaker 1: We had our little problems once in a while. I've

957
00:47:58,040 --> 00:48:00,000
Speaker 1: had some some stuff with him. To everybody, I think

958
00:48:00,080 --> 00:48:02,959
Speaker 1: everybody that loves Spike always there. There's always some things.

959
00:48:02,960 --> 00:48:04,960
Speaker 1: But I like I love way way good friends. And

960
00:48:05,080 --> 00:48:06,759
Speaker 1: for the longest period of time he was begging me

961
00:48:06,800 --> 00:48:08,600
Speaker 1: to do that. I said, I'm not doing that. That's

962
00:48:08,640 --> 00:48:11,000
Speaker 1: tanned them out to a black man doing watermelon. Then

963
00:48:11,320 --> 00:48:13,480
Speaker 1: you put a damn cap on my goddamn head. You

964
00:48:13,520 --> 00:48:15,759
Speaker 1: made me flip pieces. That's what it said. At the

965
00:48:15,760 --> 00:48:18,560
Speaker 1: beginning of the script, I was in Canada shooting the

966
00:48:18,640 --> 00:48:20,680
Speaker 1: last done. I sent it back to me. I said, Spike,

967
00:48:20,719 --> 00:48:23,040
Speaker 1: I love you, but there's no way I'm doing the

968
00:48:23,120 --> 00:48:25,640
Speaker 1: right thing, do the right thing. So then we we.

969
00:48:25,840 --> 00:48:28,560
Speaker 1: He took me Yankee Games, he took me Nick Games. Incidentally,

970
00:48:28,560 --> 00:48:31,239
Speaker 1: I'm not a Knick fan. I used to be. I'm

971
00:48:31,440 --> 00:48:33,799
Speaker 1: I was a Net fan, but now since I got

972
00:48:33,840 --> 00:48:36,239
Speaker 1: rid of Cala Perry, I don't like any of the

973
00:48:36,320 --> 00:48:39,920
Speaker 1: Fox One of my favorite team was always Boston Celtics

974
00:48:39,920 --> 00:48:42,680
Speaker 1: because the Larry Bird, he's a white man that don't jump,

975
00:48:42,800 --> 00:48:44,480
Speaker 1: is one of the greatest players ever that he was

976
00:48:44,520 --> 00:48:47,360
Speaker 1: out there banging with and and me and Spike. We

977
00:48:47,440 --> 00:48:49,520
Speaker 1: talked about this ship all the time, and we'd argue

978
00:48:49,560 --> 00:48:51,719
Speaker 1: for the say, Michael Jordan, I'm saying, you know, the

979
00:48:51,719 --> 00:48:54,640
Speaker 1: same ship that went in, but Larry Bird, Michael Jordan,

980
00:48:54,880 --> 00:48:57,479
Speaker 1: Larry Bird, you know, And for the same reasons I said,

981
00:48:57,520 --> 00:48:59,960
Speaker 1: you like him. I'm sure he's great, but he's also black.

982
00:49:00,040 --> 00:49:03,560
Speaker 1: Guy like him he's great because he's white and yeah,

983
00:49:03,600 --> 00:49:05,839
Speaker 1: we got we need something. And is he not one

984
00:49:05,880 --> 00:49:09,040
Speaker 1: of the greatest fun I'm talking about Larry for him,

985
00:49:09,080 --> 00:49:12,879
Speaker 1: Magic Johnson, Michael and and birth those are the guys. Yeah,

986
00:49:13,480 --> 00:49:16,560
Speaker 1: but uh, what what was you know? We were talking

987
00:49:16,719 --> 00:49:18,399
Speaker 1: or I want to get to do the right things.

988
00:49:18,440 --> 00:49:21,239
Speaker 1: So we were talking. Are we here? Were want to

989
00:49:21,239 --> 00:49:22,800
Speaker 1: talk to you us? So tell me some of the

990
00:49:22,840 --> 00:49:25,000
Speaker 1: people that came through the Improv at that time. I

991
00:49:25,080 --> 00:49:26,759
Speaker 1: want to go back to the improv and then talk

992
00:49:26,840 --> 00:49:29,360
Speaker 1: to me specifically because I know you you had a

993
00:49:29,400 --> 00:49:32,840
Speaker 1: relationship with him, but with Richard Pryor and what was

994
00:49:32,920 --> 00:49:34,719
Speaker 1: he like? Did you have any idea he was going

995
00:49:34,760 --> 00:49:36,520
Speaker 1: to turn out to be as great as he did

996
00:49:36,880 --> 00:49:39,440
Speaker 1: in seventy He was pretty hot. He was doing the

997
00:49:39,520 --> 00:49:41,520
Speaker 1: downtown clubs. Once in a while. He would come up

998
00:49:41,520 --> 00:49:44,640
Speaker 1: to us at the Improv. We became so friendly Richie

999
00:49:44,680 --> 00:49:46,360
Speaker 1: and I mean I wouldn't not the intimate We were

1000
00:49:46,440 --> 00:49:48,520
Speaker 1: hug and friends and things like that, but we interpreted

1001
00:49:48,640 --> 00:49:51,239
Speaker 1: each other as a friendship. He was going to be

1002
00:49:51,520 --> 00:49:54,960
Speaker 1: the godfather my daughter Stacy when she was born. I mean,

1003
00:49:55,000 --> 00:49:56,640
Speaker 1: that's how close. And then he was out of town.

1004
00:49:56,719 --> 00:49:59,160
Speaker 1: I was out of town. That simply didn't happen. I

1005
00:49:59,280 --> 00:50:02,319
Speaker 1: love Richie. She was a great, great comedian. And god

1006
00:50:02,440 --> 00:50:04,640
Speaker 1: knows how many women this guy is humped. I mean

1007
00:50:04,719 --> 00:50:07,600
Speaker 1: he is. And he went through some damaging times. And

1008
00:50:07,840 --> 00:50:09,960
Speaker 1: you know, I saw him the first the last time

1009
00:50:10,040 --> 00:50:11,800
Speaker 1: I saw him when we were doing Hollow Nights. He

1010
00:50:11,880 --> 00:50:14,720
Speaker 1: was not well. You knew that he was almost wheel

1011
00:50:15,080 --> 00:50:17,520
Speaker 1: chair you know ready, I mean it was gonna happen,

1012
00:50:17,920 --> 00:50:19,800
Speaker 1: but he hadn't. He had his sense, you know, he

1013
00:50:19,920 --> 00:50:22,480
Speaker 1: had that that brilliant mind. He was great in Hollow

1014
00:50:22,560 --> 00:50:25,160
Speaker 1: n you know, but you knew that was a tremendous

1015
00:50:25,200 --> 00:50:28,320
Speaker 1: amount of trouble. Richie didn't come in that often. But

1016
00:50:28,480 --> 00:50:31,239
Speaker 1: David Brenner was one of my best friends. They were

1017
00:50:31,400 --> 00:50:36,880
Speaker 1: unnamed guys, Movin Brabman guys that Rodney Dangerfield before you

1018
00:50:37,080 --> 00:50:39,960
Speaker 1: and Rodney Dangerville. You know, Michael, what he did for me,

1019
00:50:40,280 --> 00:50:42,680
Speaker 1: nobody knew what the fund is it? Danny, I hello,

1020
00:50:42,800 --> 00:50:45,080
Speaker 1: I just started to act. He would go on the

1021
00:50:45,200 --> 00:50:47,160
Speaker 1: stage or on the MERV Griffin show, and who would

1022
00:50:47,200 --> 00:50:50,000
Speaker 1: you talk about? He talked about me in a way.

1023
00:50:50,080 --> 00:50:53,040
Speaker 1: The things that you're doing the interpretations of me. No

1024
00:50:53,120 --> 00:50:54,800
Speaker 1: one knew who the funk I was? When he was

1025
00:50:54,880 --> 00:50:57,759
Speaker 1: doing what he would say, Danny I Yellow. This guy

1026
00:50:57,920 --> 00:51:00,520
Speaker 1: takes me to throgs Neck, where he says his family lives.

1027
00:51:00,920 --> 00:51:03,239
Speaker 1: He said, I'm looking out over the ocean and the

1028
00:51:03,360 --> 00:51:06,040
Speaker 1: most glamorous fucking thing I've ever seen in my life

1029
00:51:06,080 --> 00:51:12,360
Speaker 1: as a floating fucking ti voting when my mother and

1030
00:51:12,520 --> 00:51:15,080
Speaker 1: my family I didn't live. That's funny, but he would

1031
00:51:15,160 --> 00:51:17,439
Speaker 1: and he would attach me to a job. He said,

1032
00:51:17,480 --> 00:51:20,880
Speaker 1: I'm in the car with Danny I Yellow, and you

1033
00:51:21,239 --> 00:51:23,600
Speaker 1: know you're you're not just saying they don't even know

1034
00:51:23,640 --> 00:51:27,719
Speaker 1: who I'm just he said, improvisation. He's a bouncer of

1035
00:51:27,760 --> 00:51:31,240
Speaker 1: the improvisation becoming an actor. Don't know what the funk anyway? Whatever,

1036
00:51:31,320 --> 00:51:34,560
Speaker 1: And he's talking, and he was just He would say,

1037
00:51:34,600 --> 00:51:36,880
Speaker 1: I'm in the car with him and I'm driving him,

1038
00:51:36,960 --> 00:51:39,279
Speaker 1: and he's given me directions out of hit to get

1039
00:51:39,360 --> 00:51:41,879
Speaker 1: to tie a beach well you know where he said,

1040
00:51:41,880 --> 00:51:44,040
Speaker 1: a flat tie or whatever. And he said, make a

1041
00:51:44,080 --> 00:51:46,440
Speaker 1: straight right. He said, what the fund is a straight right?

1042
00:51:46,800 --> 00:51:49,560
Speaker 1: Those that's the terminology. I usually make a straight left here,

1043
00:51:49,640 --> 00:51:52,640
Speaker 1: what's the straight left? But he would constantly make fun

1044
00:51:52,760 --> 00:51:55,719
Speaker 1: But he initially was one of the guys that put

1045
00:51:55,840 --> 00:51:58,439
Speaker 1: my name out there, because when I started to do things,

1046
00:51:59,000 --> 00:52:01,400
Speaker 1: people were putting to gather the fact that he talked

1047
00:52:01,440 --> 00:52:04,000
Speaker 1: about me. So I blame him a lot. Now, Bud

1048
00:52:04,160 --> 00:52:08,200
Speaker 1: Friedman the single most important person next to Louis LaRusso,

1049
00:52:08,320 --> 00:52:11,880
Speaker 1: the second who wrote the place. It was Louis. There

1050
00:52:11,960 --> 00:52:15,759
Speaker 1: was Bud Friedman, the propriet of the improvisation, and uh

1051
00:52:15,960 --> 00:52:18,520
Speaker 1: and and the guy that the guy that I mentioned,

1052
00:52:18,600 --> 00:52:21,560
Speaker 1: I mean, and and Rodney. They were so helpful to me,

1053
00:52:21,640 --> 00:52:23,800
Speaker 1: but again very shy. I didn't know what I was

1054
00:52:23,880 --> 00:52:25,960
Speaker 1: doing until the guy come over to me and say,

1055
00:52:26,120 --> 00:52:28,960
Speaker 1: you know your bow blights. And then Louis Luiso comes

1056
00:52:29,000 --> 00:52:30,520
Speaker 1: over and said, do a play. I'm not an act.

1057
00:52:30,600 --> 00:52:33,080
Speaker 1: He said, yes, you are. You just don't know it yet.

1058
00:52:33,400 --> 00:52:36,680
Speaker 1: Now Brenna. Brenna was a guy who was working with

1059
00:52:36,760 --> 00:52:39,640
Speaker 1: a guy by name of Sonny Fox. He was producing

1060
00:52:39,719 --> 00:52:42,120
Speaker 1: the show with Sonny Fox. He was a television producer.

1061
00:52:42,160 --> 00:52:45,800
Speaker 1: That's what David did. He came from Philadelphia. He walks in.

1062
00:52:46,440 --> 00:52:49,600
Speaker 1: He was the most together comedian I've ever met. Together.

1063
00:52:49,840 --> 00:52:52,040
Speaker 1: He would we go up to the apartment and they

1064
00:52:52,080 --> 00:52:55,839
Speaker 1: would have these draws and he would open the drawers, indexes,

1065
00:52:56,800 --> 00:52:59,200
Speaker 1: lot of decks card you'll see a date on a date.

1066
00:52:59,600 --> 00:53:01,960
Speaker 1: He will the jokes that he told, and he will

1067
00:53:02,000 --> 00:53:04,680
Speaker 1: define for you the reaction of each each joke, the

1068
00:53:04,840 --> 00:53:07,920
Speaker 1: time of day, it was every set, that was every

1069
00:53:07,960 --> 00:53:11,120
Speaker 1: study ever did he the reaction he got, how the

1070
00:53:11,239 --> 00:53:13,360
Speaker 1: line was stated. It was the most incredible thing that

1071
00:53:13,400 --> 00:53:16,960
Speaker 1: I had ever seen here. Bud Friedman hated him as

1072
00:53:17,000 --> 00:53:19,719
Speaker 1: a comedian. He would come over to me and say

1073
00:53:19,840 --> 00:53:23,240
Speaker 1: to me, he goes on two o'clock in the morning

1074
00:53:23,360 --> 00:53:25,840
Speaker 1: and not sooner. He never breaks the cast, you know,

1075
00:53:25,880 --> 00:53:28,120
Speaker 1: And they put him in. Oh yeah, I got you,

1076
00:53:28,200 --> 00:53:30,160
Speaker 1: but I got you know, buzz of gem and I

1077
00:53:30,320 --> 00:53:32,839
Speaker 1: like me, and I'm I'm like him. I'll do ship

1078
00:53:33,160 --> 00:53:35,719
Speaker 1: because I think it's right. When he Bud wasn't there.

1079
00:53:36,160 --> 00:53:38,800
Speaker 1: I put David on Prime Time and he was killing

1080
00:53:39,280 --> 00:53:41,840
Speaker 1: and he loved David. He just did not like his

1081
00:53:41,960 --> 00:53:45,719
Speaker 1: comedy routine. Bob Klein would walk in when Bob Klein

1082
00:53:45,800 --> 00:53:48,120
Speaker 1: came a Robert Klein famous. He was one of the

1083
00:53:48,200 --> 00:53:50,680
Speaker 1: famous guys that Bette Midler would come in chat saying,

1084
00:53:51,320 --> 00:53:53,800
Speaker 1: but Bob would come in and whatever the order was,

1085
00:53:53,960 --> 00:53:57,239
Speaker 1: maybe we had five comedians. We had an order. Bob

1086
00:53:57,360 --> 00:53:58,879
Speaker 1: was the only one who can come in and break

1087
00:53:58,920 --> 00:54:00,840
Speaker 1: the order. He goes right to the top, and then

1088
00:54:00,880 --> 00:54:02,920
Speaker 1: he comes and he goes to the top. Bett Midler,

1089
00:54:03,600 --> 00:54:05,799
Speaker 1: we had a group called the Untouchables. I was one

1090
00:54:05,840 --> 00:54:07,879
Speaker 1: of them. This is one of the things that I did.

1091
00:54:08,640 --> 00:54:11,360
Speaker 1: She would do her Manhattan and all these songs that

1092
00:54:11,880 --> 00:54:14,480
Speaker 1: she was famous at that she just began because she

1093
00:54:14,600 --> 00:54:17,360
Speaker 1: was doing Fiddler on the Roof, playing on Broadway, and

1094
00:54:17,480 --> 00:54:19,200
Speaker 1: she would come in. Bud was handling, one of the

1095
00:54:19,440 --> 00:54:22,560
Speaker 1: few people he handled. She would come in and we

1096
00:54:22,640 --> 00:54:26,759
Speaker 1: would sing behind Buddy Hughes, this black dude. Myself and

1097
00:54:26,840 --> 00:54:29,880
Speaker 1: Buddy Mantilla would sing bullshit behind it. We don't know what.

1098
00:54:29,960 --> 00:54:32,520
Speaker 1: We were the background singers for Robert Klein, who does

1099
00:54:32,640 --> 00:54:35,640
Speaker 1: improv songs. We would go behind him and Bet Midler

1100
00:54:36,080 --> 00:54:37,600
Speaker 1: and who knew that Bett was going to be what

1101
00:54:37,719 --> 00:54:42,040
Speaker 1: she's That's the stuff where you wish there was a video.

1102
00:54:42,080 --> 00:54:45,040
Speaker 1: You wish they had cell falls ship they got. And

1103
00:54:45,120 --> 00:54:48,720
Speaker 1: then one guy never gets any credit whatsoever, a black

1104
00:54:48,800 --> 00:54:51,360
Speaker 1: fellow by a great guy the name of Raymond Johnson.

1105
00:54:51,440 --> 00:54:53,680
Speaker 1: Everywhere I go in my book and everything, I mentioned

1106
00:54:53,760 --> 00:54:57,160
Speaker 1: his name because he disappeared when he was playing piano

1107
00:54:57,280 --> 00:55:00,760
Speaker 1: company singers and comedians who needed him, and they've mentioned

1108
00:55:00,800 --> 00:55:02,799
Speaker 1: his name and that's all you ever heard about him,

1109
00:55:03,200 --> 00:55:05,000
Speaker 1: you know what I mean. It was like he disappeared

1110
00:55:05,320 --> 00:55:07,800
Speaker 1: because he was the guy playing the music. And I

1111
00:55:07,840 --> 00:55:10,799
Speaker 1: always thought of Ray Johnson. He's such He's so much

1112
00:55:10,880 --> 00:55:14,360
Speaker 1: more important than just playing to god damn piano and

1113
00:55:14,520 --> 00:55:16,480
Speaker 1: having no personality with the people. I be talking to

1114
00:55:16,600 --> 00:55:21,000
Speaker 1: the people, just doing this, and he was great. Raymond Chun.

1115
00:55:21,640 --> 00:55:22,960
Speaker 1: I just want you to know, in the case, Ray

1116
00:55:23,080 --> 00:55:25,719
Speaker 1: is still alive. Let's let's take it. Let's take a

1117
00:55:26,160 --> 00:55:29,080
Speaker 1: stand up for a second. Alright. This episode is brought

1118
00:55:29,120 --> 00:55:32,200
Speaker 1: to you by square Space. Start building a dope b

1119
00:55:32,200 --> 00:55:35,160
Speaker 1: ass website today at square space dot com and if

1120
00:55:35,200 --> 00:55:37,160
Speaker 1: you went to the promo code rapp report r A

1121
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Speaker 1: p A p O r T A check out, you

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Speaker 1: get ten percent off. Square Space has a state of

1123
00:55:42,360 --> 00:55:46,000
Speaker 1: the art technology to ensure security and stability, so your

1124
00:55:46,120 --> 00:55:51,040
Speaker 1: online information and your online presence is safe and secure. Millions,

1125
00:55:51,320 --> 00:55:55,120
Speaker 1: literally millions of people are already using square Space. It's

1126
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Speaker 1: just eight dollars a month and you get a free

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Speaker 1: domain if you sign up for a year. Start your

1128
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Speaker 1: free trial today, with no credit card need. If you

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00:56:00,840 --> 00:56:02,680
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1130
00:56:02,719 --> 00:56:05,280
Speaker 1: squarespace dot com and make sure you use the promo

1131
00:56:05,360 --> 00:56:09,759
Speaker 1: called wrap Report and save. Every single person needs an

1132
00:56:09,880 --> 00:56:13,080
Speaker 1: online present. It's two thousand and fifteen. Go to squarespace

1133
00:56:13,200 --> 00:56:15,080
Speaker 1: dot com. Check it out. We use it at the

1134
00:56:15,120 --> 00:56:18,279
Speaker 1: Iron wrap Port podcast. I trusted It's safe, secure, they

1135
00:56:18,320 --> 00:56:21,880
Speaker 1: got stated the art technology. Check it out. Now. My

1136
00:56:21,960 --> 00:56:24,040
Speaker 1: career is pretty solid. I'm doing Capone. I don't know

1137
00:56:24,080 --> 00:56:26,479
Speaker 1: if you know that. It's a big musical. We're gonna

1138
00:56:26,480 --> 00:56:28,799
Speaker 1: be doing that. I'm off at two Broadway shows. One

1139
00:56:28,920 --> 00:56:30,800
Speaker 1: is uh, I don't know if you know who Alan

1140
00:56:30,880 --> 00:56:33,400
Speaker 1: Freed is. Yeah, of course. Well I'm playing Mars leaving

1141
00:56:34,360 --> 00:56:37,399
Speaker 1: Mars Levies and it's a huge fucking that's another play.

1142
00:56:37,480 --> 00:56:40,360
Speaker 1: When is that coming? That's on its way here? Because

1143
00:56:40,360 --> 00:56:45,680
Speaker 1: those musicals are huge. Yeah, but they offer me things

1144
00:56:45,760 --> 00:56:49,719
Speaker 1: television series now and I'm saying, Michael's doing this, He's

1145
00:56:49,800 --> 00:56:52,840
Speaker 1: using motherfucker und the thing you're making me, people of

1146
00:56:52,960 --> 00:56:56,920
Speaker 1: Saint Danny. I hello, fucking tweets. Here's why it sends

1147
00:56:57,000 --> 00:57:01,440
Speaker 1: me to Tweetsweets. They love you. I didn't even know that,

1148
00:57:02,000 --> 00:57:04,960
Speaker 1: but you don't know. You no communication with them. I

1149
00:57:05,000 --> 00:57:07,520
Speaker 1: don't go tweet. No, I have no Facebook. I'm not

1150
00:57:07,600 --> 00:57:11,440
Speaker 1: the social man. How could you not love Danny A. Yello? No, no,

1151
00:57:11,600 --> 00:57:14,960
Speaker 1: I listen, you might not love Danny Yello. But if

1152
00:57:15,040 --> 00:57:17,840
Speaker 1: you you might not know or be familiar with Danniello.

1153
00:57:17,880 --> 00:57:20,520
Speaker 1: But anybody, you're never gonna hear somebody say I don't

1154
00:57:20,600 --> 00:57:23,040
Speaker 1: love Danny A. Yellow. He's fucking Danny Yelle. I mean,

1155
00:57:23,480 --> 00:57:25,720
Speaker 1: you're you're beloved. I mean some of the actors I

1156
00:57:25,880 --> 00:57:27,680
Speaker 1: used to work with, he said I had that pot.

1157
00:57:28,600 --> 00:57:31,480
Speaker 1: Of course, of course there's always that. But I'm saying

1158
00:57:31,520 --> 00:57:33,520
Speaker 1: the fans, you're like a guy that like, you know,

1159
00:57:33,800 --> 00:57:36,640
Speaker 1: everybody loves so all right, so let me let me

1160
00:57:36,720 --> 00:57:38,040
Speaker 1: all right, I want to because I don't want to

1161
00:57:38,120 --> 00:57:40,720
Speaker 1: keep you forever. I don't Whatever you want, we'll go

1162
00:57:40,920 --> 00:57:44,320
Speaker 1: whenever you just okay, okay, So so So talk to

1163
00:57:44,400 --> 00:57:49,240
Speaker 1: me about so so your first film and and at

1164
00:57:49,320 --> 00:57:52,280
Speaker 1: that at the time, who was Robert de Niro in

1165
00:57:52,440 --> 00:57:55,120
Speaker 1: terms of the acting world. Was he a good actor?

1166
00:57:55,320 --> 00:57:57,800
Speaker 1: Was he? You know, like on the car he wasn't

1167
00:57:57,800 --> 00:57:59,800
Speaker 1: who he is now. He wasn't iconic, like did you

1168
00:58:00,000 --> 00:58:02,200
Speaker 1: oh he what had he done. He already shot Main

1169
00:58:02,280 --> 00:58:04,800
Speaker 1: Street okay, and he did Bloody Mama with Shelley went

1170
00:58:04,880 --> 00:58:07,640
Speaker 1: to he he did Godfather too. No, not yet. They

1171
00:58:07,680 --> 00:58:10,320
Speaker 1: came out right after this, okay, so he did mean okay,

1172
00:58:10,360 --> 00:58:13,960
Speaker 1: so he did John Hancock, he directed bang the drum

1173
00:58:14,040 --> 00:58:17,040
Speaker 1: slowe okay, and I I saw him in a gang

1174
00:58:17,160 --> 00:58:20,920
Speaker 1: that couldn't shoot straight Bobby. Bobby was playing a priest

1175
00:58:21,000 --> 00:58:24,440
Speaker 1: who wrote a bicycle, had an Italian accent, and he

1176
00:58:24,520 --> 00:58:26,400
Speaker 1: was playing the priest. I thought the guy was from Italy.

1177
00:58:26,840 --> 00:58:29,080
Speaker 1: So when John Hancock gives me the role, how did

1178
00:58:29,120 --> 00:58:30,960
Speaker 1: I get the role? Someone at the improv said they're

1179
00:58:31,120 --> 00:58:33,600
Speaker 1: doing a baseball picture. So I went over there and

1180
00:58:35,240 --> 00:58:37,160
Speaker 1: figure I didn't get the pot because you know, he

1181
00:58:37,240 --> 00:58:38,840
Speaker 1: saw me hit the fucking ball, and he said, you

1182
00:58:38,920 --> 00:58:40,680
Speaker 1: got the pot. I said, hold my playing. You're playing

1183
00:58:40,720 --> 00:58:44,120
Speaker 1: horse Bird. Now. Horse Bird in the book itself was

1184
00:58:44,200 --> 00:58:47,240
Speaker 1: a relief picture, which meant I couldn't be on the field.

1185
00:58:47,360 --> 00:58:49,160
Speaker 1: I would have to be in the bullpen. So John

1186
00:58:49,240 --> 00:58:51,800
Speaker 1: Hancock saw me playing. He said, no, no, you're playing

1187
00:58:51,840 --> 00:58:54,880
Speaker 1: first Space. So I played. I. I played first Space,

1188
00:58:55,120 --> 00:58:57,600
Speaker 1: which would put me, you know, on the fields often

1189
00:58:57,960 --> 00:59:00,120
Speaker 1: right to use the fact that you can play and

1190
00:59:00,240 --> 00:59:02,960
Speaker 1: you could act. I said, who's playing the catch up?

1191
00:59:03,040 --> 00:59:06,840
Speaker 1: Mike Morialty's playing the picture and Bobby is playing the catchy.

1192
00:59:06,840 --> 00:59:09,040
Speaker 1: He said Bobby, I said, Bobby's from Italy, But how

1193
00:59:09,120 --> 00:59:10,400
Speaker 1: the funk are you going to get a catcher, a

1194
00:59:10,480 --> 00:59:13,520
Speaker 1: Southern catcher from Italy? Because I saw the guy that

1195
00:59:13,560 --> 00:59:17,600
Speaker 1: couldn't shoot. I just he was because Main Street didn't

1196
00:59:17,600 --> 00:59:19,840
Speaker 1: come out yet, so I had no fucking idea who

1197
00:59:19,920 --> 00:59:22,760
Speaker 1: he was. And what happens is uh I say that

1198
00:59:22,880 --> 00:59:25,440
Speaker 1: John Hincock, the narrow, isn't he from Italy? Said no?

1199
00:59:25,760 --> 00:59:28,200
Speaker 1: So that's when Bobby and I met. We became fast

1200
00:59:28,280 --> 00:59:30,520
Speaker 1: friends because he threw a fucking ball like this. He

1201
00:59:30,520 --> 00:59:32,520
Speaker 1: couldn't throw. I can't say like a lady because the

1202
00:59:32,600 --> 00:59:34,840
Speaker 1: ladies throve better than we do now. But at the time,

1203
00:59:34,920 --> 00:59:37,560
Speaker 1: the ladies threw at their elbow attached to their ribs.

1204
00:59:37,920 --> 00:59:40,240
Speaker 1: He couldn't throw a ball of his fucking life depends,

1205
00:59:40,840 --> 00:59:44,040
Speaker 1: but he knows that we joked about and uh I

1206
00:59:44,160 --> 00:59:46,920
Speaker 1: worked with him many, many hours, and I was nervous

1207
00:59:46,960 --> 00:59:48,959
Speaker 1: because I had about eight lines in the whole movie,

1208
00:59:49,040 --> 00:59:51,120
Speaker 1: you know what I mean. And it's the first first movie,

1209
00:59:51,240 --> 00:59:54,000
Speaker 1: so you're like freaked out, no idea, what you don't know? Blocking?

1210
00:59:54,200 --> 00:59:57,840
Speaker 1: Or the reverse was like, you're going bucking football. You

1211
00:59:57,920 --> 01:00:00,120
Speaker 1: know you're gonna throw a fucking line A block got

1212
01:00:00,200 --> 01:00:02,640
Speaker 1: close body blood. I had no fucking eyea. I'm sitting

1213
01:00:02,680 --> 01:00:04,200
Speaker 1: in the corner. I got my uniform on, like a

1214
01:00:04,240 --> 01:00:06,360
Speaker 1: half of Paul. I was let to say something I

1215
01:00:06,440 --> 01:00:11,080
Speaker 1: got Now you see these things now the political correct

1216
01:00:11,280 --> 01:00:16,840
Speaker 1: throw in person. But that was about I'm talking about

1217
01:00:16,880 --> 01:00:21,000
Speaker 1: a cigarette, right. So what happens is, h I'm in

1218
01:00:21,040 --> 01:00:24,200
Speaker 1: the corner, I have my uniform on, mumbling, trying to

1219
01:00:24,280 --> 01:00:27,320
Speaker 1: figure out how to say eight lines. Okay. Now, a

1220
01:00:27,400 --> 01:00:29,280
Speaker 1: lot of people like, who don't know what we do?

1221
01:00:29,480 --> 01:00:31,720
Speaker 1: Michael said, well, what's the big deal? You know? Well,

1222
01:00:31,760 --> 01:00:34,080
Speaker 1: for me, I'm going on the screen and I have

1223
01:00:34,160 --> 01:00:36,240
Speaker 1: a major role. Even though it was on the eight lines.

1224
01:00:36,280 --> 01:00:37,960
Speaker 1: You don't know what. You've never done it. It's a

1225
01:00:38,040 --> 01:00:40,600
Speaker 1: total foreign environment. It's like, but I did the stage,

1226
01:00:40,720 --> 01:00:46,800
Speaker 1: not the film. It's different, idea, it's a whole thing. Absolutely.

1227
01:00:46,880 --> 01:00:49,800
Speaker 1: Now I'm over there and I'm mumbling, and who walks

1228
01:00:49,840 --> 01:00:52,680
Speaker 1: over to me? The Great Vince and Gardenia, who was

1229
01:00:52,840 --> 01:00:54,880
Speaker 1: not a mentor but pretty close to it. I love

1230
01:00:55,000 --> 01:00:59,080
Speaker 1: them dearly, much older than me, but trained, wonderful actor.

1231
01:01:00,000 --> 01:01:03,480
Speaker 1: What's a matter of kid, I said, Well, Mr Latinia, I,

1232
01:01:04,920 --> 01:01:07,400
Speaker 1: I'm having great difficulty here. Well what do you mean that? Well,

1233
01:01:08,040 --> 01:01:10,240
Speaker 1: you know, I'm not quite you how to do the lines?

1234
01:01:11,040 --> 01:01:13,160
Speaker 1: You know, I know it's forever if I if I

1235
01:01:13,240 --> 01:01:15,720
Speaker 1: do let's say, let's say I do lines and and

1236
01:01:15,800 --> 01:01:17,480
Speaker 1: I'm not happy with the lines, and I suck with

1237
01:01:17,560 --> 01:01:18,880
Speaker 1: the lines, and I go to the movie and I

1238
01:01:18,920 --> 01:01:22,080
Speaker 1: see the movie fifty times. I'm I'm gonna suck fifty times.

1239
01:01:22,680 --> 01:01:24,360
Speaker 1: He looks at me and he says, don't worry, kids,

1240
01:01:24,720 --> 01:01:29,120
Speaker 1: you're probably never going to work again anyway. I swear

1241
01:01:29,240 --> 01:01:33,200
Speaker 1: to God. But we became. I mean, that's funny. We

1242
01:01:33,400 --> 01:01:35,400
Speaker 1: leave Bang the drums slowly, Bobby, you know, we go

1243
01:01:35,520 --> 01:01:38,360
Speaker 1: back home. I'm living in a project on two Straight

1244
01:01:38,360 --> 01:01:40,200
Speaker 1: and Bro, that's where I lived with my wife and kids.

1245
01:01:40,360 --> 01:01:45,040
Speaker 1: And I lived in the project. Bobby comes home with me.

1246
01:01:47,160 --> 01:01:49,640
Speaker 1: We're in the house now. Bobby is a non talkative,

1247
01:01:49,720 --> 01:01:55,160
Speaker 1: fucking guy, and even even less less. He was interviewed

1248
01:01:55,200 --> 01:01:58,560
Speaker 1: by Dick Schapp and, uh, when we're doing bang the

1249
01:01:58,600 --> 01:02:00,760
Speaker 1: drum slowly, Dick Shap was a big yes, of course,

1250
01:02:01,360 --> 01:02:07,200
Speaker 1: television guy. He interviewed me, Vince his his his. His

1251
01:02:07,400 --> 01:02:12,400
Speaker 1: interview with Dick Shap was so incommunicative that when they

1252
01:02:12,480 --> 01:02:15,280
Speaker 1: showed three of us, they didn't show him, so we

1253
01:02:15,360 --> 01:02:17,880
Speaker 1: knew then he had difficulty doing it. Was he just

1254
01:02:18,080 --> 01:02:19,840
Speaker 1: was your at the time, he was like, he's just

1255
01:02:19,920 --> 01:02:23,560
Speaker 1: a quiet because this side of himself totally inside, totally

1256
01:02:23,640 --> 01:02:27,360
Speaker 1: inside the character when he's working, totally inside, but that character.

1257
01:02:27,440 --> 01:02:30,120
Speaker 1: Even when he left the screen, when he went outside

1258
01:02:30,160 --> 01:02:33,040
Speaker 1: of shooting, he remained whether it was with the character

1259
01:02:33,200 --> 01:02:37,240
Speaker 1: or not, or just a private, private mosent, never communicate,

1260
01:02:37,440 --> 01:02:40,040
Speaker 1: just goes home with me. I got my kids running

1261
01:02:40,040 --> 01:02:42,040
Speaker 1: all over the house. You know. It's the fucking projects.

1262
01:02:42,080 --> 01:02:45,000
Speaker 1: That's where I'm living on the fourth floor, two Street,

1263
01:02:45,040 --> 01:02:48,160
Speaker 1: Marble Hill. So he's we're sitting there. Are you ready

1264
01:02:48,200 --> 01:02:49,800
Speaker 1: for this, Mike, there's going to blow your mind now.

1265
01:02:49,920 --> 01:02:52,400
Speaker 1: I want you guys ready, You're gonna need this one.

1266
01:02:53,000 --> 01:02:54,800
Speaker 1: He looks and he's not saying the fucking word. He

1267
01:02:54,840 --> 01:02:57,320
Speaker 1: slept over that night in the couch. My kids, crazy

1268
01:02:57,400 --> 01:02:59,600
Speaker 1: little boys. At the time, they're taking his watch off

1269
01:03:00,040 --> 01:03:02,280
Speaker 1: and ship with him. It was like he was an

1270
01:03:02,360 --> 01:03:04,680
Speaker 1: uncle or something. He's sitting at the table saying nothing.

1271
01:03:05,080 --> 01:03:08,160
Speaker 1: Sandy's feeding us. I think Mcaroni's what is Jewish girl

1272
01:03:08,360 --> 01:03:11,960
Speaker 1: cooks macaronis, and uh, he's not saying that. I look

1273
01:03:12,000 --> 01:03:15,480
Speaker 1: over and I said, you're talking to me. I said, well,

1274
01:03:15,480 --> 01:03:18,680
Speaker 1: you must be talking to there's nobody else here. And

1275
01:03:18,920 --> 01:03:22,480
Speaker 1: then six months later, Sandy and I go see taxi

1276
01:03:22,600 --> 01:03:25,440
Speaker 1: driver and she's in the front row. Sandy loved to

1277
01:03:25,480 --> 01:03:27,160
Speaker 1: sit in the front row. She looks something. She says

1278
01:03:27,240 --> 01:03:29,200
Speaker 1: after he said, you're talking to me. You must be

1279
01:03:29,280 --> 01:03:32,120
Speaker 1: talking to me. There's nobody else here. My wife yells out,

1280
01:03:32,520 --> 01:03:35,480
Speaker 1: he's doing you Are you serious? Not sure? I'm now

1281
01:03:35,600 --> 01:03:38,120
Speaker 1: keep in mind, I'm not saying that I communicated that

1282
01:03:38,200 --> 01:03:41,160
Speaker 1: to him. What do you do? I watched people. I'm

1283
01:03:41,200 --> 01:03:44,360
Speaker 1: a boy. I pick and choose things that I want

1284
01:03:44,400 --> 01:03:47,840
Speaker 1: to do, a walk, a hunchback, different things that people

1285
01:03:47,840 --> 01:03:51,280
Speaker 1: are doing. Bobby might have collected that from someone else.

1286
01:03:51,320 --> 01:03:53,240
Speaker 1: So I don't know, because it was streets, Like I said,

1287
01:03:53,280 --> 01:03:55,120
Speaker 1: that ship all and you're talking to me, Well, you

1288
01:03:55,200 --> 01:03:58,120
Speaker 1: must be talking there's nobody else here. And that now

1289
01:03:59,280 --> 01:04:02,440
Speaker 1: the god for them. Now, when I'm doing with Francis Coppola,

1290
01:04:02,640 --> 01:04:05,520
Speaker 1: I just want to just things that you never heard before.

1291
01:04:05,560 --> 01:04:08,320
Speaker 1: It would be interesting give it to me. All over

1292
01:04:08,400 --> 01:04:11,000
Speaker 1: the internet people ask this question how they know it.

1293
01:04:11,760 --> 01:04:15,280
Speaker 1: I'm doing Godfather too. I'm intimidated. I'm working with a

1294
01:04:15,360 --> 01:04:18,880
Speaker 1: major guy again, small pot Tony Rossatto, Mine Karini was

1295
01:04:18,960 --> 01:04:23,800
Speaker 1: my Rosato brother. I had the Godfather. The Godfather was

1296
01:04:23,960 --> 01:04:27,200
Speaker 1: a monster huge. So I wanted to play Sonny. You

1297
01:04:27,240 --> 01:04:29,720
Speaker 1: know Sonny, uh, the guy that was paid by Jimmy

1298
01:04:30,480 --> 01:04:32,560
Speaker 1: con I couldn't play it because I wasn't known. Nobody

1299
01:04:32,640 --> 01:04:35,040
Speaker 1: knew me. But but I mean so it was. It

1300
01:04:35,120 --> 01:04:36,920
Speaker 1: was a month and now they're doing part two. They

1301
01:04:37,680 --> 01:04:39,800
Speaker 1: and how did you get that part? Did you just

1302
01:04:39,880 --> 01:04:42,600
Speaker 1: call me? He brought me in? You just audition I

1303
01:04:42,720 --> 01:04:46,320
Speaker 1: didn't audition. I don't know. I never auditioned. Does that

1304
01:04:46,520 --> 01:04:49,360
Speaker 1: Even then, I didn't give a fuck. If I walked

1305
01:04:49,400 --> 01:04:52,000
Speaker 1: away from Gone with the Wind, you just didn't feel

1306
01:04:52,040 --> 01:04:54,120
Speaker 1: comfortable like you were. That was the only not that

1307
01:04:54,240 --> 01:04:56,880
Speaker 1: I had an ego. Fuck my ego. I couldn't take

1308
01:04:57,280 --> 01:05:00,600
Speaker 1: the girl dance well you dancing at me? But so

1309
01:05:00,720 --> 01:05:03,320
Speaker 1: you would need said no, I would meet you. See

1310
01:05:03,640 --> 01:05:06,160
Speaker 1: if I'm directing you, Michael, I am never going to

1311
01:05:06,200 --> 01:05:08,120
Speaker 1: give you a reading. Reading is a bullshit? Why are

1312
01:05:08,120 --> 01:05:11,560
Speaker 1: they bullshit? Because directors are trying to find out in

1313
01:05:11,720 --> 01:05:15,040
Speaker 1: terms of what the interpretation of characterists. Right, they're using

1314
01:05:15,120 --> 01:05:19,080
Speaker 1: what you're you, They're using you, and they put you

1315
01:05:19,200 --> 01:05:21,080
Speaker 1: on tape and they go home and they watch that

1316
01:05:21,200 --> 01:05:24,120
Speaker 1: tape and out of that they decide not necessarily who

1317
01:05:24,160 --> 01:05:28,720
Speaker 1: that guy is, but who that characterization. That's who the character. Okay,

1318
01:05:29,520 --> 01:05:32,280
Speaker 1: so I I hated doing even at the time. You

1319
01:05:32,520 --> 01:05:35,520
Speaker 1: just would like you just were uncomfortable doing before even

1320
01:05:35,600 --> 01:05:38,640
Speaker 1: had been well, it was that I didn't want to

1321
01:05:38,720 --> 01:05:40,600
Speaker 1: do it. There are little things that I probably did

1322
01:05:40,680 --> 01:05:43,520
Speaker 1: it with but later completely knocked it off because of

1323
01:05:43,760 --> 01:05:47,520
Speaker 1: Madri Scorsese's casting person, who brought me down to a

1324
01:05:47,640 --> 01:05:52,760
Speaker 1: movie and I volunteered. I was named I was. I

1325
01:05:52,960 --> 01:05:56,040
Speaker 1: was pretty well known actor at the time, and a

1326
01:05:56,120 --> 01:05:58,840
Speaker 1: lot of actors were volunteering just to be with Marty.

1327
01:05:59,760 --> 01:06:02,360
Speaker 1: I went there and was volunteering to do a pot

1328
01:06:02,480 --> 01:06:05,720
Speaker 1: that had no lines a bartender in which film and

1329
01:06:05,800 --> 01:06:08,280
Speaker 1: I didn't get it about last night was at the time,

1330
01:06:08,600 --> 01:06:10,880
Speaker 1: and they didn't give me the part. That's when the

1331
01:06:11,560 --> 01:06:15,320
Speaker 1: That's why I wanted to break his fucking head excuse. Okay,

1332
01:06:15,600 --> 01:06:18,960
Speaker 1: how the fund could I be offering this prick a

1333
01:06:19,120 --> 01:06:21,240
Speaker 1: fucking no line thing that I would do with him,

1334
01:06:21,280 --> 01:06:23,160
Speaker 1: because you know, I wanted to be in the family

1335
01:06:23,640 --> 01:06:26,120
Speaker 1: and he fun He didn't personally turn me down, and

1336
01:06:26,200 --> 01:06:27,800
Speaker 1: he didn't even get it. No, I didn't get it.

1337
01:06:27,880 --> 01:06:31,080
Speaker 1: And it turns out to be down the road. You'll

1338
01:06:31,120 --> 01:06:33,640
Speaker 1: hear it. When we started continue to talk here. Down

1339
01:06:33,720 --> 01:06:36,320
Speaker 1: the road, he did something to me again indirectly that

1340
01:06:36,440 --> 01:06:39,560
Speaker 1: person to person through Bobby de Niro, where I wanted

1341
01:06:39,600 --> 01:06:42,280
Speaker 1: to rip his fucking head off, but it didn't That

1342
01:06:42,320 --> 01:06:44,919
Speaker 1: what we're talking about. Before that, Wait, we were talking

1343
01:06:47,040 --> 01:06:51,040
Speaker 1: Godfather too. Okay, Bob Godfather two were working right. We're

1344
01:06:51,080 --> 01:06:53,880
Speaker 1: in the Bard Mulberry Street. Oh Man will work with

1345
01:06:54,000 --> 01:06:56,560
Speaker 1: some of the biggest guys. Francis Coppler. Wow, this guy

1346
01:06:56,640 --> 01:06:59,880
Speaker 1: he did god follow This guy is amazing. I'm there

1347
01:07:00,280 --> 01:07:02,240
Speaker 1: and he said, what I want you to do? Michael

1348
01:07:02,320 --> 01:07:06,440
Speaker 1: Gazo is playing pantagily. I want you come in Careita,

1349
01:07:06,520 --> 01:07:08,800
Speaker 1: your brother will come in. He will just you know,

1350
01:07:08,960 --> 01:07:11,960
Speaker 1: distract him at the bar. You will come behind and

1351
01:07:12,040 --> 01:07:15,280
Speaker 1: put a garat around Michael Gazo Piantangioli's neck, which is

1352
01:07:15,320 --> 01:07:17,640
Speaker 1: a metal. What is it? It was that it was

1353
01:07:18,160 --> 01:07:21,080
Speaker 1: like a metal yet they call it a garage. It's

1354
01:07:21,120 --> 01:07:29,840
Speaker 1: not metal, it's it's hardcore, cable whatever. Yeah, they said

1355
01:07:29,880 --> 01:07:32,600
Speaker 1: to garage your garat him. That's the turn might he used,

1356
01:07:33,120 --> 01:07:36,240
Speaker 1: And I said, all right, now, no lines, no lines.

1357
01:07:36,880 --> 01:07:39,560
Speaker 1: We're rehearsing the scene. And I come in from the side.

1358
01:07:40,160 --> 01:07:41,920
Speaker 1: If you remember the scene, you know what the hat.

1359
01:07:41,960 --> 01:07:43,640
Speaker 1: I look like a jerk of if I come over,

1360
01:07:43,920 --> 01:07:46,920
Speaker 1: look good. I come behind him. I throw the garage

1361
01:07:46,960 --> 01:07:50,840
Speaker 1: on him, tightened, and I said, no lines. And I'm

1362
01:07:50,880 --> 01:07:53,040
Speaker 1: sitting there because being a fucking pain, and he has

1363
01:07:53,160 --> 01:07:55,480
Speaker 1: talking like I am. I feel there's gotta be a

1364
01:07:55,560 --> 01:07:57,880
Speaker 1: fucking line here. I can't kill a guy in that.

1365
01:07:58,080 --> 01:08:00,960
Speaker 1: Have a fucking line. It's gonna be a Sionara things.

1366
01:08:01,040 --> 01:08:06,320
Speaker 1: Something in the rehearsal, I said, Michael Coleon. He says, hello, now, Michael,

1367
01:08:06,360 --> 01:08:08,720
Speaker 1: trust me. When I said, I had no fucking idea

1368
01:08:08,800 --> 01:08:11,440
Speaker 1: what I was saying. It didn't make sense to me.

1369
01:08:11,600 --> 01:08:14,880
Speaker 1: It just blurted out of my fuck Michael Collon, he says, hello,

1370
01:08:15,720 --> 01:08:18,080
Speaker 1: I strangled him. I take him off the boot I saw,

1371
01:08:18,240 --> 01:08:21,200
Speaker 1: dragging him back to a phone booth, and I don't

1372
01:08:21,280 --> 01:08:23,519
Speaker 1: kill him because the cop comes in. And the cop

1373
01:08:23,600 --> 01:08:25,400
Speaker 1: comes and I run out of the thing. He yells

1374
01:08:25,439 --> 01:08:28,560
Speaker 1: out to my brother, yells Angelo Anthony. He says to me,

1375
01:08:28,640 --> 01:08:31,000
Speaker 1: I come running out. I throw a cross body block

1376
01:08:31,040 --> 01:08:33,280
Speaker 1: at the coup and I say to the guy behind

1377
01:08:33,280 --> 01:08:36,080
Speaker 1: the buck, you open your mouth, I'll blow your fucking

1378
01:08:36,160 --> 01:08:39,280
Speaker 1: and then we go out with the gunfight. That was it. Now,

1379
01:08:39,800 --> 01:08:43,400
Speaker 1: Francis said, what did you say when I set the line? Now,

1380
01:08:43,520 --> 01:08:45,599
Speaker 1: I'm really intoim, and I'm saying, because you think you're

1381
01:08:45,640 --> 01:08:47,880
Speaker 1: in trouble. Yes, I said, because I didn't know. I

1382
01:08:47,960 --> 01:08:50,439
Speaker 1: didn't work with get it And I said, I I

1383
01:08:51,000 --> 01:08:55,519
Speaker 1: I think, I said Michael Coleon. He says hello, He said,

1384
01:08:55,560 --> 01:08:58,240
Speaker 1: good keep it in. And that was it. One of

1385
01:08:58,320 --> 01:09:01,719
Speaker 1: the fucking lines that every one the internet keeps asking Daddy,

1386
01:09:01,800 --> 01:09:04,599
Speaker 1: I was the one that through that line. But Mike,

1387
01:09:04,640 --> 01:09:06,800
Speaker 1: I write a lot of my ship and only one

1388
01:09:07,040 --> 01:09:09,719
Speaker 1: being asked to do so. But one of the only

1389
01:09:09,920 --> 01:09:12,760
Speaker 1: times it might be I'm not one of the things

1390
01:09:12,840 --> 01:09:15,280
Speaker 1: we do with the Iron Rapport podcast. We don't fact check,

1391
01:09:15,720 --> 01:09:17,680
Speaker 1: pride ourselves on that, which means you could just say

1392
01:09:17,680 --> 01:09:22,320
Speaker 1: anything good. But but I think that might be the

1393
01:09:22,560 --> 01:09:25,519
Speaker 1: only funck in that movie, because there's not a lot

1394
01:09:25,600 --> 01:09:28,080
Speaker 1: of cursing in that movie. Yeah, I mean, we have

1395
01:09:28,200 --> 01:09:30,040
Speaker 1: to check that. But because it's not it's not like

1396
01:09:30,400 --> 01:09:33,479
Speaker 1: someone I want to be. It was muffled. There was

1397
01:09:33,560 --> 01:09:35,800
Speaker 1: a muffled sound and you might be not to be

1398
01:09:35,920 --> 01:09:38,320
Speaker 1: able to know you could hear it. And I said,

1399
01:09:38,400 --> 01:09:40,360
Speaker 1: you open, I'll blow you up. I don't know if

1400
01:09:40,760 --> 01:09:43,920
Speaker 1: you can. But but the thing is is that because

1401
01:09:43,960 --> 01:09:45,479
Speaker 1: that movie, it's not like it wasn't one of the

1402
01:09:45,560 --> 01:09:49,040
Speaker 1: modern films. And it wasn't even like main streetspeare. It

1403
01:09:49,120 --> 01:09:51,240
Speaker 1: was like, it wasn't a lot of funk. This fun

1404
01:09:51,520 --> 01:09:53,680
Speaker 1: it was. It wasn't his street as some of the

1405
01:09:53,720 --> 01:09:58,400
Speaker 1: other time. So I mean, and and honestly, I when

1406
01:09:58,479 --> 01:10:00,080
Speaker 1: I first saw that movie, and I saw and I

1407
01:10:00,160 --> 01:10:01,599
Speaker 1: was a kid, I didn't know what I was watching.

1408
01:10:01,880 --> 01:10:04,400
Speaker 1: And then you know, when I started becoming a movie lover,

1409
01:10:04,840 --> 01:10:06,759
Speaker 1: I and I had and this is in the nineties,

1410
01:10:06,800 --> 01:10:11,160
Speaker 1: so this is definitely you know, post Moonstruck, post do

1411
01:10:11,280 --> 01:10:13,919
Speaker 1: the right thing. And I went back in unity everybody's

1412
01:10:13,960 --> 01:10:17,720
Speaker 1: watched The Godfather and because the film was so darkly lit,

1413
01:10:19,439 --> 01:10:22,000
Speaker 1: go this that way, and and in that film, because

1414
01:10:22,040 --> 01:10:24,960
Speaker 1: you you really couldn't see anybody's facing that team. You

1415
01:10:25,160 --> 01:10:27,800
Speaker 1: come in through so quick. I only knew. I was like,

1416
01:10:27,920 --> 01:10:30,519
Speaker 1: that's Danny Aello. This is thirty years after the film

1417
01:10:30,560 --> 01:10:32,799
Speaker 1: came out, twenty some years after because of the voice

1418
01:10:33,880 --> 01:10:36,080
Speaker 1: and then but and then I saw, you know so

1419
01:10:36,320 --> 01:10:38,680
Speaker 1: so I mean that's an iconic film. I mean, like

1420
01:10:38,800 --> 01:10:40,760
Speaker 1: at the time, like being in a part of that

1421
01:10:40,880 --> 01:10:46,200
Speaker 1: film that's like a special thing. And Moonstruck that was

1422
01:10:46,240 --> 01:10:47,960
Speaker 1: a whole other level. And I hate it because I

1423
01:10:48,000 --> 01:10:50,720
Speaker 1: played such a wimp. I said that the director. I said,

1424
01:10:50,720 --> 01:10:52,880
Speaker 1: oh god, I said, I hate it. He said, what

1425
01:10:52,920 --> 01:10:54,640
Speaker 1: are you talking about. I said, oh my god, I

1426
01:10:54,720 --> 01:10:57,559
Speaker 1: can't go in my neighborhood. That's not me. I'm a schmuck.

1427
01:10:57,640 --> 01:11:00,200
Speaker 1: I played this wimpy guy. But it turned out to

1428
01:11:00,240 --> 01:11:02,439
Speaker 1: be something that was great for me because it allowed

1429
01:11:02,560 --> 01:11:05,160
Speaker 1: the people that you know in Hollywood and so forth

1430
01:11:05,240 --> 01:11:08,839
Speaker 1: to know that I could do situation humor. And apparently

1431
01:11:09,000 --> 01:11:11,760
Speaker 1: I saw to make bigger money after that movie. I mean,

1432
01:11:11,800 --> 01:11:13,840
Speaker 1: that's a big film. It's an iconic movie as well.

1433
01:11:13,960 --> 01:11:16,679
Speaker 1: What was what was? What were have any memories of share?

1434
01:11:16,960 --> 01:11:19,160
Speaker 1: She was? She cool? I loved that she was cool.

1435
01:11:19,360 --> 01:11:21,680
Speaker 1: I loved that when she was not the public persona.

1436
01:11:21,840 --> 01:11:24,400
Speaker 1: And I didn't dislike her when she was in public,

1437
01:11:24,479 --> 01:11:26,479
Speaker 1: And it isn't that because I knew that was a game.

1438
01:11:27,040 --> 01:11:29,200
Speaker 1: But when you got her undressed, so to speak, not

1439
01:11:29,320 --> 01:11:33,479
Speaker 1: undressed in terms of undressed, meaning that the regular person,

1440
01:11:33,640 --> 01:11:36,680
Speaker 1: nothing on her face, just her head down. And how

1441
01:11:36,720 --> 01:11:40,599
Speaker 1: do I judge that? Because Sandy Cohen, my wife doesn't

1442
01:11:40,680 --> 01:11:43,120
Speaker 1: love anybody, not maybe not even me, I don't know,

1443
01:11:43,280 --> 01:11:45,840
Speaker 1: but she fell madly in love with you because she

1444
01:11:46,120 --> 01:11:48,960
Speaker 1: met shere as she truly is. Then we're invited to

1445
01:11:49,040 --> 01:11:53,040
Speaker 1: see Share in Atlantic City after the movie. I'm going

1446
01:11:53,120 --> 01:11:57,160
Speaker 1: and I see shares as. I was so humiliated, I said,

1447
01:11:57,200 --> 01:11:58,760
Speaker 1: because I didn't even know how to react to it.

1448
01:11:58,880 --> 01:12:01,360
Speaker 1: Sandy said, oh my god, he's almost her ass was

1449
01:12:01,479 --> 01:12:04,040
Speaker 1: on the stage right. She had this sheer thing on

1450
01:12:04,160 --> 01:12:06,360
Speaker 1: what you can see edan. I was so embarrassed. But

1451
01:12:06,520 --> 01:12:09,559
Speaker 1: that's not her, that's her, that's her, that's her persona,

1452
01:12:09,640 --> 01:12:13,240
Speaker 1: that's her character. She's a great. Okay, that's good to

1453
01:12:13,320 --> 01:12:16,040
Speaker 1: know for your people out there who love shit love

1454
01:12:16,120 --> 01:12:19,559
Speaker 1: her because there's two sides. As the public true, that's

1455
01:12:19,600 --> 01:12:23,479
Speaker 1: what the mask is. And then when she's unmasked, she's gorgeous.

1456
01:12:23,560 --> 01:12:25,920
Speaker 1: She's just a great girl. Okay, that's good to know,

1457
01:12:26,439 --> 01:12:29,760
Speaker 1: all right, do the right thing? So so, so, talk

1458
01:12:29,840 --> 01:12:33,720
Speaker 1: to me about so you said you were reluctant to

1459
01:12:33,760 --> 01:12:36,600
Speaker 1: take the role. You throw it with stereotypical and and

1460
01:12:36,840 --> 01:12:39,200
Speaker 1: and you know, talk to me about the making of

1461
01:12:39,280 --> 01:12:40,840
Speaker 1: that film. I mean, I've read a lot about it.

1462
01:12:40,920 --> 01:12:44,720
Speaker 1: It's been well documented. I've seen interviews you talk about it.

1463
01:12:45,040 --> 01:12:46,920
Speaker 1: But like, talk to me about like, did you have

1464
01:12:47,360 --> 01:12:50,280
Speaker 1: any idea? I mean, I guess you never know. You

1465
01:12:50,360 --> 01:12:52,160
Speaker 1: never know if something's gonna be good great, And you

1466
01:12:52,240 --> 01:12:54,679
Speaker 1: can certainly say, well, people are gonna still be discussing

1467
01:12:54,760 --> 01:12:57,120
Speaker 1: this film and this character later. And then I think

1468
01:12:57,200 --> 01:13:00,200
Speaker 1: that you know this it's crazy because at the time

1469
01:13:00,240 --> 01:13:02,400
Speaker 1: it struck a chord because of the craziness and the

1470
01:13:02,560 --> 01:13:06,000
Speaker 1: race and the tone and and and the crazy thing

1471
01:13:06,080 --> 01:13:07,559
Speaker 1: now for me about do the Right Thing. And one

1472
01:13:07,560 --> 01:13:09,680
Speaker 1: of the great things about it, it's because of all

1473
01:13:09,720 --> 01:13:12,120
Speaker 1: the craziness and it's still the brutality with the cops

1474
01:13:12,160 --> 01:13:14,439
Speaker 1: and the James Blake getting chased in the cop You know,

1475
01:13:14,800 --> 01:13:17,720
Speaker 1: it's still relevant to themes and we want to push

1476
01:13:17,800 --> 01:13:20,680
Speaker 1: them underneath. Uh, you know, it's and it's gotten better.

1477
01:13:20,720 --> 01:13:23,439
Speaker 1: And obviously in ways it has gotten better. But in general,

1478
01:13:23,800 --> 01:13:26,280
Speaker 1: if you when you see James Blake standing there texting

1479
01:13:26,320 --> 01:13:27,840
Speaker 1: on Times square one is the way to the U

1480
01:13:28,000 --> 01:13:30,360
Speaker 1: s open get thrown down. So so talk to me

1481
01:13:30,400 --> 01:13:33,000
Speaker 1: about what you remember about do the right thing, what

1482
01:13:33,200 --> 01:13:35,400
Speaker 1: you liked it, which what what you didn't like about it?

1483
01:13:35,720 --> 01:13:37,519
Speaker 1: You know, I know some of it was written, some

1484
01:13:37,640 --> 01:13:39,400
Speaker 1: of it wasn't written. And at the end of this,

1485
01:13:39,520 --> 01:13:42,280
Speaker 1: I'm gonna ask you and I brought sides because I

1486
01:13:42,439 --> 01:13:45,280
Speaker 1: feel like the day after scene after they burnt you

1487
01:13:45,479 --> 01:13:48,479
Speaker 1: to the fucking ground, when they burned South, I'm gonna

1488
01:13:48,520 --> 01:13:50,040
Speaker 1: ask you, and I have the script the week of

1489
01:13:50,080 --> 01:13:52,960
Speaker 1: rehearse it. I wanted to see if you would do

1490
01:13:53,479 --> 01:13:56,800
Speaker 1: that scene with me. But you play Mooky. Now you

1491
01:13:56,840 --> 01:13:59,439
Speaker 1: could play Mooky as Danny Aelo and I played Danny Alo.

1492
01:13:59,520 --> 01:14:02,360
Speaker 1: So this it becomes no longer about Danny Aelle and

1493
01:14:02,439 --> 01:14:05,080
Speaker 1: Spike Lee. It becomes all Danny a Yellow, which I

1494
01:14:05,240 --> 01:14:08,200
Speaker 1: think to me, I notice you're choosing. Of course you

1495
01:14:08,280 --> 01:14:11,080
Speaker 1: know who wrote the same who tell me? Okay, So

1496
01:14:11,280 --> 01:14:14,000
Speaker 1: the scene it is that we're talking about at the

1497
01:14:14,080 --> 01:14:16,600
Speaker 1: last time I built this place. But but that's not

1498
01:14:16,680 --> 01:14:18,680
Speaker 1: the one you're choosing, of course, it's the one I

1499
01:14:19,720 --> 01:14:22,759
Speaker 1: was writing. So so, so let's talk about that scene.

1500
01:14:23,000 --> 01:14:25,360
Speaker 1: But the plot that I had written was the plot

1501
01:14:25,439 --> 01:14:27,760
Speaker 1: that you're going to play, right, I'm playing sal Yeah,

1502
01:14:27,800 --> 01:14:31,040
Speaker 1: they're playing Mookie. Right, I'm gonna play Milky now right,

1503
01:14:31,160 --> 01:14:35,439
Speaker 1: you're playing and we can rehearse it. I wrote the

1504
01:14:35,520 --> 01:14:37,559
Speaker 1: line and I even I even highlighted him like we're

1505
01:14:37,600 --> 01:14:41,080
Speaker 1: really on the set because because but I'm I'm I've

1506
01:14:41,080 --> 01:14:45,280
Speaker 1: been I've been gearing up to do this scene for

1507
01:14:45,560 --> 01:14:48,479
Speaker 1: for years. So so, so talk to me about that

1508
01:14:48,560 --> 01:14:51,080
Speaker 1: film and like you know, like you know, you know,

1509
01:14:51,720 --> 01:14:53,760
Speaker 1: just the whole thing, like the experience, like what you

1510
01:14:53,840 --> 01:14:56,360
Speaker 1: thought of it, the environment, um and then it's just

1511
01:14:56,520 --> 01:14:58,720
Speaker 1: the the the the Academy Award of it, and sort

1512
01:14:58,760 --> 01:15:01,519
Speaker 1: of the the pression that it's lost because it's it's

1513
01:15:01,600 --> 01:15:04,560
Speaker 1: definitely to me, it's Spike's best film and it's a

1514
01:15:04,680 --> 01:15:06,840
Speaker 1: landmark film. It goes Down is one of the top

1515
01:15:06,920 --> 01:15:09,680
Speaker 1: one films ever made. So so, so, did you have

1516
01:15:09,760 --> 01:15:11,320
Speaker 1: any idea it was going to be there? With the

1517
01:15:11,439 --> 01:15:15,679
Speaker 1: script itself? Great? Was it good? Did it get better?

1518
01:15:15,920 --> 01:15:18,920
Speaker 1: I mean, there's everything is in sync in that film.

1519
01:15:19,080 --> 01:15:21,519
Speaker 1: You know, like everything is just sort of perfect. Yeah. Well,

1520
01:15:22,640 --> 01:15:25,760
Speaker 1: well he's first of all, with good friends. Politically we

1521
01:15:25,920 --> 01:15:27,920
Speaker 1: stand in different areas. You know, he knows that, and

1522
01:15:28,000 --> 01:15:29,960
Speaker 1: I know that. But that cloes to show you can

1523
01:15:30,040 --> 01:15:32,720
Speaker 1: be with liberal and conservative in the same room and

1524
01:15:32,760 --> 01:15:34,560
Speaker 1: they can still love each other. Even you gotta be

1525
01:15:34,600 --> 01:15:37,360
Speaker 1: able to express a different And I said to him

1526
01:15:37,360 --> 01:15:40,040
Speaker 1: at the beginning, I said, look, I said, this character

1527
01:15:40,120 --> 01:15:41,920
Speaker 1: has written. Now, there's no way I can do it

1528
01:15:42,000 --> 01:15:44,240
Speaker 1: because it was tantamount to what I had mentioned before,

1529
01:15:44,360 --> 01:15:50,120
Speaker 1: which was what stereotypically did write stereotypical because even the

1530
01:15:50,200 --> 01:15:53,160
Speaker 1: physicality of the character described in the script, he wore

1531
01:15:53,200 --> 01:15:58,479
Speaker 1: a cat interpret him flipping pieces in the air. I said, well, god, look,

1532
01:15:58,520 --> 01:16:01,040
Speaker 1: I was off at a three million dollar commercial, okay,

1533
01:16:01,520 --> 01:16:04,280
Speaker 1: to do for McDonald's. This was way back, to do

1534
01:16:04,400 --> 01:16:07,400
Speaker 1: a trial balloon on Pizza's being made. I turned it

1535
01:16:07,479 --> 01:16:11,639
Speaker 1: down because they wanted me with a hat, you know, pizza,

1536
01:16:11,840 --> 01:16:13,639
Speaker 1: and I turned it down. Not at least my agent

1537
01:16:13,680 --> 01:16:15,200
Speaker 1: said it was three million. I don't know if it

1538
01:16:15,280 --> 01:16:16,880
Speaker 1: was truly that, but it was a lot of money

1539
01:16:17,360 --> 01:16:20,519
Speaker 1: and I turned it down. So I, Daniello, as your agent,

1540
01:16:20,800 --> 01:16:24,240
Speaker 1: you wanna fucking blow three million dollars. This is Danny

1541
01:16:24,280 --> 01:16:28,000
Speaker 1: Eello's agent as Danielle Richard. This is Richard Astor as

1542
01:16:28,080 --> 01:16:32,880
Speaker 1: Danny Yellow talking to daniel three fucking million dollars. Put

1543
01:16:33,040 --> 01:16:37,400
Speaker 1: the fucking pizza hat and tow the fucking pizza round,

1544
01:16:37,840 --> 01:16:44,200
Speaker 1: you dumb cock sucker, you Michael. I could do it,

1545
01:16:44,320 --> 01:16:46,920
Speaker 1: sorry all day. I could go all day doing it.

1546
01:16:47,080 --> 01:16:50,200
Speaker 1: We had he we and we went out quite a bit.

1547
01:16:50,320 --> 01:16:53,400
Speaker 1: And how that came about Madonna. We had just finished

1548
01:16:53,439 --> 01:16:56,040
Speaker 1: doing uh the movie and I'm Madonna is doing a

1549
01:16:56,200 --> 01:16:59,360
Speaker 1: party in New York City and I had already done

1550
01:16:59,439 --> 01:17:02,760
Speaker 1: with her uh poppet on preach of I didn't want

1551
01:17:02,760 --> 01:17:05,960
Speaker 1: to do I did it only because my daughter begged

1552
01:17:06,000 --> 01:17:07,640
Speaker 1: me to do it. She loved Madonna. I didn't know

1553
01:17:07,680 --> 01:17:10,920
Speaker 1: who the funk madonnad was, but we did it. And uh,

1554
01:17:11,120 --> 01:17:13,639
Speaker 1: she was throwing the party. A little guy was sitting

1555
01:17:14,439 --> 01:17:16,760
Speaker 1: in like a vestibule, not in the main room. I

1556
01:17:16,880 --> 01:17:18,600
Speaker 1: was on my way out. I stayed ten minutes. The

1557
01:17:18,680 --> 01:17:20,600
Speaker 1: noise was driving me nuts. I'm walking out and this

1558
01:17:20,680 --> 01:17:22,599
Speaker 1: little guy say, can I talk to you? Duced of course,

1559
01:17:23,360 --> 01:17:25,680
Speaker 1: he said, jeez, I wish you'd read my script. I

1560
01:17:25,720 --> 01:17:28,040
Speaker 1: have a part I'd like you to play. So he

1561
01:17:28,120 --> 01:17:30,920
Speaker 1: spoke about the Narrow. Now we found out later that

1562
01:17:31,000 --> 01:17:32,920
Speaker 1: the Narrow was not the one who suggested me. At

1563
01:17:33,000 --> 01:17:37,240
Speaker 1: least that's someone else. I think he suggested someone else,

1564
01:17:37,280 --> 01:17:40,439
Speaker 1: but he didn't want them. The kid didn't want to

1565
01:17:40,479 --> 01:17:43,080
Speaker 1: Spike didn't want them, and we were going out. I said, well,

1566
01:17:43,120 --> 01:17:44,920
Speaker 1: look I I can't read it now, I'll give you

1567
01:17:45,080 --> 01:17:48,240
Speaker 1: my agent's number. You call him because I'm going out

1568
01:17:48,280 --> 01:17:50,840
Speaker 1: of town, going to Canada, do lest On. So you

1569
01:17:50,840 --> 01:17:53,320
Speaker 1: don't know who spiked who the fun he is? You know,

1570
01:17:53,600 --> 01:17:55,760
Speaker 1: he's just a kid, who's your weak kid which I

1571
01:17:55,800 --> 01:17:58,080
Speaker 1: always stop and talk to if I can, you know,

1572
01:17:58,240 --> 01:18:00,360
Speaker 1: inspire him in some way. But he's just I'm kid.

1573
01:18:00,400 --> 01:18:04,600
Speaker 1: I'm doing a movie, a little you know, very you know, professor,

1574
01:18:04,600 --> 01:18:07,200
Speaker 1: a real you know what the glasses on looking set.

1575
01:18:07,320 --> 01:18:09,599
Speaker 1: Nice kid. He said, I have the script. I said,

1576
01:18:09,600 --> 01:18:11,360
Speaker 1: we'll send it to the agent. We'll talk, he said.

1577
01:18:11,400 --> 01:18:13,559
Speaker 1: He gave me a rundown very briefly, and I left.

1578
01:18:13,680 --> 01:18:16,439
Speaker 1: I was kind to him, and he to me, I'm

1579
01:18:16,479 --> 01:18:18,840
Speaker 1: in Canada. I got a script. He calls me up

1580
01:18:18,880 --> 01:18:21,200
Speaker 1: in Canada. Apparently got the numbers somewhere and said, dude,

1581
01:18:21,200 --> 01:18:23,639
Speaker 1: you get the script style, I said. Called Spike called

1582
01:18:23,680 --> 01:18:26,120
Speaker 1: me Danny. I said, what script? He said, I sent

1583
01:18:26,200 --> 01:18:27,880
Speaker 1: you a script, but anyway, he didn't put enough fucking

1584
01:18:27,960 --> 01:18:31,160
Speaker 1: postage on it. It goes to the fucking border and

1585
01:18:31,200 --> 01:18:34,080
Speaker 1: don't come. I'm telling you the truth. We left like

1586
01:18:34,160 --> 01:18:36,040
Speaker 1: a savage about it. Finally I read it and I

1587
01:18:36,160 --> 01:18:39,080
Speaker 1: said to him, Spike, I can't do this, and I

1588
01:18:39,200 --> 01:18:41,680
Speaker 1: mentioned the reasons why. So now we go back to

1589
01:18:41,800 --> 01:18:44,840
Speaker 1: New York. He doesn't stop. He keeps calling me, calling.

1590
01:18:44,880 --> 01:18:46,800
Speaker 1: He takes me to a Nick game. It takes me

1591
01:18:46,880 --> 01:18:49,360
Speaker 1: to the Yankee game. We're at the Yank game. We're

1592
01:18:49,400 --> 01:18:51,600
Speaker 1: talking and talking and talking. I said, look, this is

1593
01:18:51,640 --> 01:18:54,640
Speaker 1: what I need. I don't have to write anything, but

1594
01:18:54,760 --> 01:18:57,640
Speaker 1: I need significant input. I know who the character is,

1595
01:18:57,720 --> 01:18:59,840
Speaker 1: I said, Spike, maybe you don't. The way it's written,

1596
01:19:00,320 --> 01:19:03,000
Speaker 1: that's not who I'm going to play. If you allow

1597
01:19:03,160 --> 01:19:06,519
Speaker 1: me to have significant input, I would consider doing it.

1598
01:19:07,479 --> 01:19:10,000
Speaker 1: You got it? Now, lo and behold I find out

1599
01:19:10,120 --> 01:19:16,120
Speaker 1: what Spike he allows his actors to to create. I

1600
01:19:16,240 --> 01:19:18,439
Speaker 1: mean to do a lot of their own personal passona

1601
01:19:18,439 --> 01:19:20,559
Speaker 1: of who they are and put it into the script.

1602
01:19:20,880 --> 01:19:23,200
Speaker 1: He did it with Robin. He did it with everyone

1603
01:19:23,280 --> 01:19:25,759
Speaker 1: in the script. I mean all the kids who became stars,

1604
01:19:26,600 --> 01:19:32,920
Speaker 1: Samuel Jackson, Roei, every one of them utilized a lot

1605
01:19:33,000 --> 01:19:34,519
Speaker 1: of their own He had, you know, he gave you

1606
01:19:34,520 --> 01:19:37,360
Speaker 1: a little nest there of certain things to say, and

1607
01:19:37,479 --> 01:19:40,000
Speaker 1: then a lot of them improved and did improv. But

1608
01:19:41,120 --> 01:19:47,000
Speaker 1: all of the improvs were accepted prior to shooting. And

1609
01:19:47,040 --> 01:19:50,559
Speaker 1: then we get put into that when you see improv

1610
01:19:50,680 --> 01:19:52,120
Speaker 1: a lot of times now if you work with the

1611
01:19:52,400 --> 01:19:55,040
Speaker 1: other guy, Robert you know, the guy who did Nashville

1612
01:19:55,120 --> 01:19:58,479
Speaker 1: for God's sake, Oh yeah, he throws it against the wall.

1613
01:19:58,520 --> 01:20:01,000
Speaker 1: Whatever stick sticks. I mean, you say, whatever the funk

1614
01:20:01,040 --> 01:20:03,240
Speaker 1: you say? People a lot of times when when when

1615
01:20:03,320 --> 01:20:05,559
Speaker 1: when people say improv, they think it's a free for all,

1616
01:20:05,600 --> 01:20:09,520
Speaker 1: and you can't. So you'd rehearse stuff, and he ultimately

1617
01:20:09,560 --> 01:20:12,240
Speaker 1: would make the choice as to what stays, what does,

1618
01:20:12,280 --> 01:20:14,160
Speaker 1: and so for all intents, so when you get said,

1619
01:20:14,200 --> 01:20:16,760
Speaker 1: it's already do the world done. He wrote it right,

1620
01:20:17,000 --> 01:20:18,640
Speaker 1: It's as if he had written it. So no one

1621
01:20:18,760 --> 01:20:21,320
Speaker 1: can say, hey, I want to write in criticals, that's bullshit.

1622
01:20:21,840 --> 01:20:24,559
Speaker 1: He allowed you to develop out of you know, words

1623
01:20:24,640 --> 01:20:27,479
Speaker 1: that you could put in that he found acceptable it's

1624
01:20:27,520 --> 01:20:29,400
Speaker 1: like he's writing and I'm a ghost guy, you know

1625
01:20:29,479 --> 01:20:32,000
Speaker 1: what I mean, And that he allowed us to do.

1626
01:20:32,360 --> 01:20:34,439
Speaker 1: And when he said to me, you've got it, You've

1627
01:20:34,479 --> 01:20:37,360
Speaker 1: got it now there that speech that what you're gonna

1628
01:20:37,400 --> 01:20:41,360
Speaker 1: do later came about as a result of this. He's

1629
01:20:41,520 --> 01:20:44,360
Speaker 1: we're rehearsing and he says something like, well, what are

1630
01:20:44,400 --> 01:20:46,400
Speaker 1: you bullshitting the bus? How you're gonna get the money

1631
01:20:46,479 --> 01:20:49,840
Speaker 1: back from insurance? Now we're just rehearsing. I said to fight,

1632
01:20:49,920 --> 01:20:53,640
Speaker 1: what the funk you kidding? We're in Vietnam. He you

1633
01:20:53,720 --> 01:20:57,200
Speaker 1: can't get insurance of Vietnam? Are you serious? I said,

1634
01:20:57,280 --> 01:21:00,639
Speaker 1: this fucking guy will reopen the store on his own money.

1635
01:21:00,760 --> 01:21:03,599
Speaker 1: No one's going to give him money to reopen. He's dead,

1636
01:21:03,760 --> 01:21:06,600
Speaker 1: he's got nothing happening. Ain't no insurance company going to

1637
01:21:06,680 --> 01:21:10,000
Speaker 1: give him money? Spikes. Oh no. He didn't want to

1638
01:21:10,040 --> 01:21:12,400
Speaker 1: hear that ship, but I said, so I put it

1639
01:21:12,479 --> 01:21:16,000
Speaker 1: in the way of speaking where I said I couldn't say.

1640
01:21:16,040 --> 01:21:18,280
Speaker 1: He didn't want me to say, no insurance company will

1641
01:21:18,280 --> 01:21:21,080
Speaker 1: give This is Vietnam, he wanted. And what I said,

1642
01:21:21,360 --> 01:21:24,840
Speaker 1: that area, that area, what I said, this ain't about money.

1643
01:21:25,280 --> 01:21:27,840
Speaker 1: This is about this fucking place. I built it with

1644
01:21:27,960 --> 01:21:31,360
Speaker 1: my bare fucking hands, Every light socket, every piece of

1645
01:21:31,439 --> 01:21:34,880
Speaker 1: fucking town me with these hands. That's what the funk

1646
01:21:34,960 --> 01:21:37,920
Speaker 1: I did. Those are the I wrote all that ship.

1647
01:21:38,439 --> 01:21:40,720
Speaker 1: So he said, good, keep it in, keep it in.

1648
01:21:41,240 --> 01:21:44,519
Speaker 1: But it was it all started with insurance, I said, Spikey,

1649
01:21:44,640 --> 01:21:47,439
Speaker 1: gotta understand all those people in bed style as star

1650
01:21:47,479 --> 01:21:50,240
Speaker 1: as they can't get insurance, they can't. They can get

1651
01:21:50,280 --> 01:21:52,519
Speaker 1: it if you're willing to pay your life, you know,

1652
01:21:52,680 --> 01:21:55,240
Speaker 1: to get it. So that's where we were. The only

1653
01:21:55,479 --> 01:21:57,639
Speaker 1: the little argument that we had as we're going along,

1654
01:21:57,840 --> 01:22:00,640
Speaker 1: as he wanted me remember the time I'm gonna they

1655
01:22:00,760 --> 01:22:03,680
Speaker 1: dragged me over the county after I rip up a

1656
01:22:03,840 --> 01:22:13,400
Speaker 1: radio just killed your fucking that you can't write, that's

1657
01:22:13,400 --> 01:22:16,920
Speaker 1: gotta be but also accepted that it was that improv beforehand,

1658
01:22:16,960 --> 01:22:18,680
Speaker 1: or did you get that on this I mean, maybe

1659
01:22:18,720 --> 01:22:20,640
Speaker 1: you don't remember that happened right now. I remember all

1660
01:22:20,680 --> 01:22:23,040
Speaker 1: that you Yeah, And the thing I just said, I'm

1661
01:22:23,040 --> 01:22:24,640
Speaker 1: sitting with him and he's telling me how we're going

1662
01:22:24,720 --> 01:22:27,200
Speaker 1: to do the boss scene, the scene when I'm coming

1663
01:22:27,240 --> 01:22:30,559
Speaker 1: over the top. Suddenly I'm seeing the storyboard. I never

1664
01:22:30,600 --> 01:22:33,679
Speaker 1: saw it before. Okay, for the for the stunt, the story,

1665
01:22:33,960 --> 01:22:37,240
Speaker 1: the story, the storyboard for that particulars thing. My son

1666
01:22:37,400 --> 01:22:40,840
Speaker 1: is playing me. He's dragged over the counter, and what

1667
01:22:40,920 --> 01:22:44,000
Speaker 1: do I see in the storyboard. I see a guy

1668
01:22:44,200 --> 01:22:48,439
Speaker 1: being dragged on the top of the table with bottles

1669
01:22:48,479 --> 01:22:51,680
Speaker 1: bouncing off his fucking head. I never saw it. We

1670
01:22:51,760 --> 01:22:54,400
Speaker 1: never discussed. I said, Spike, if you think I'm doing that,

1671
01:22:54,520 --> 01:22:57,200
Speaker 1: I'm out of this fucking movie. I said, that's fucking

1672
01:22:57,280 --> 01:22:59,800
Speaker 1: comedy time in the Rockies, and I'm not fucking doing it.

1673
01:22:59,840 --> 01:23:02,599
Speaker 1: He said, I said, I'm just not doing it. He said,

1674
01:23:02,800 --> 01:23:05,640
Speaker 1: bottles bouncing off my fucking it. Now, Spike intermitted that

1675
01:23:05,760 --> 01:23:10,000
Speaker 1: as meaning that I wanted to be soft treated nicely. No,

1676
01:23:10,200 --> 01:23:13,599
Speaker 1: I wanted to be viciously taken off over the counter.

1677
01:23:13,680 --> 01:23:16,639
Speaker 1: I wanted to be a vicious not about stupid bottles

1678
01:23:17,280 --> 01:23:20,680
Speaker 1: my head. That's ridiculous. It's it's a cowboy movie. So

1679
01:23:21,479 --> 01:23:23,320
Speaker 1: we did it where he dragged me over the counter,

1680
01:23:24,200 --> 01:23:27,400
Speaker 1: and unfortunately, my my boy who passed away, Danny was

1681
01:23:27,439 --> 01:23:30,000
Speaker 1: the one who went over on the side. Now, something

1682
01:23:30,160 --> 01:23:34,320
Speaker 1: terrible happened there. Danny goes over the side and he's

1683
01:23:34,360 --> 01:23:36,719
Speaker 1: on the floor. Okay, he's on the ground, and everyone's

1684
01:23:36,720 --> 01:23:39,120
Speaker 1: on top of him. The only time it was me

1685
01:23:39,320 --> 01:23:41,040
Speaker 1: is when the camera was in close and you saw

1686
01:23:41,160 --> 01:23:44,960
Speaker 1: my face. Otherwise it was Danny, one of the actors

1687
01:23:46,560 --> 01:23:52,759
Speaker 1: spit and my son Danny's face. Okay, watch the movie.

1688
01:23:53,200 --> 01:23:55,000
Speaker 1: I'm not going to tell you who the fucking offer.

1689
01:23:55,600 --> 01:23:59,160
Speaker 1: I wanted to rip his fucking head off. He spit

1690
01:23:59,280 --> 01:24:01,479
Speaker 1: on my son, but we couldn't tell for you. And

1691
01:24:01,560 --> 01:24:04,519
Speaker 1: also when we're standing up, I got punched in the back.

1692
01:24:04,720 --> 01:24:06,920
Speaker 1: Someone had been a knuckled thing and I had a

1693
01:24:07,040 --> 01:24:10,360
Speaker 1: pain and my goddamn kidney forever. We don't know if

1694
01:24:10,439 --> 01:24:12,400
Speaker 1: that was the guy that did it, but we know

1695
01:24:12,520 --> 01:24:14,800
Speaker 1: the guy who spit up my son. I go to

1696
01:24:14,840 --> 01:24:16,880
Speaker 1: see the movie and Aaron is bigger than ship. You

1697
01:24:16,920 --> 01:24:20,439
Speaker 1: see him spitting. Danny cut jumped up, he said, they stopped.

1698
01:24:20,720 --> 01:24:23,600
Speaker 1: Cut cut the scene. He jump you cut almost there

1699
01:24:23,680 --> 01:24:25,759
Speaker 1: was almost a riot in the place because he started

1700
01:24:25,760 --> 01:24:27,640
Speaker 1: to get tense. Yeah, I got really tense. But it

1701
01:24:27,760 --> 01:24:29,479
Speaker 1: was a tense scene. As you know, fire and all

1702
01:24:29,560 --> 01:24:32,160
Speaker 1: over the place. Wind is broken. But it was one

1703
01:24:32,200 --> 01:24:35,599
Speaker 1: of the nicest shoots I've really ever been on. Ozzie Davis,

1704
01:24:36,479 --> 01:24:40,479
Speaker 1: his wife Ruby. I mean the way, the way Azzi

1705
01:24:40,640 --> 01:24:43,719
Speaker 1: treated my two sons. You know, my son Rick played

1706
01:24:43,720 --> 01:24:46,360
Speaker 1: the guy who killed radio around him he strangled, and

1707
01:24:46,439 --> 01:24:49,400
Speaker 1: he was the cop and Danny was the stunt coordinator

1708
01:24:49,439 --> 01:24:52,880
Speaker 1: for the show, and all all that Azzi would ever

1709
01:24:52,960 --> 01:24:56,559
Speaker 1: say to me. And we didn't have tampers. We were

1710
01:24:56,600 --> 01:25:00,800
Speaker 1: working out of a school. We had curtains operating us.

1711
01:25:01,200 --> 01:25:02,680
Speaker 1: And it was a great you know, there was no

1712
01:25:02,960 --> 01:25:05,400
Speaker 1: no money. We got all short money. We all like

1713
01:25:05,560 --> 01:25:07,720
Speaker 1: it was like a labor of love. All did it

1714
01:25:07,800 --> 01:25:11,160
Speaker 1: for that reason. And he would talk to me each day.

1715
01:25:11,520 --> 01:25:14,439
Speaker 1: He'd come over to me and say, my god, Danny,

1716
01:25:14,880 --> 01:25:19,080
Speaker 1: he's spoken like biblically, your sons are such a you

1717
01:25:19,360 --> 01:25:22,760
Speaker 1: did some job of these young men. And he made

1718
01:25:22,840 --> 01:25:24,920
Speaker 1: me feel so good. I told Danny and Rickey they

1719
01:25:25,000 --> 01:25:29,639
Speaker 1: loved him. He was such a beautiful, beautiful man. Now, Finn,

1720
01:25:29,760 --> 01:25:32,200
Speaker 1: the movie is finished. I thought it was a piece

1721
01:25:32,240 --> 01:25:35,320
Speaker 1: of ship. Now, but when you saw her just doing it,

1722
01:25:35,479 --> 01:25:37,559
Speaker 1: you just had I never thought doing it. I said,

1723
01:25:37,640 --> 01:25:39,240
Speaker 1: this movie, where the fund is it going? I'm not

1724
01:25:39,400 --> 01:25:41,400
Speaker 1: hearing people the street. I grew up in the street.

1725
01:25:41,439 --> 01:25:43,800
Speaker 1: I lived in black neighbors. Did you know that I

1726
01:25:43,920 --> 01:25:46,479
Speaker 1: was born to prospect Evin and Wilkins. Evian Boston wrote,

1727
01:25:46,560 --> 01:25:48,960
Speaker 1: that's where I lived, so there were bordering lines. I

1728
01:25:49,040 --> 01:25:52,120
Speaker 1: remember black guys lived in my neighbor I'm talking about

1729
01:25:52,439 --> 01:25:56,000
Speaker 1: I'm talking about the late forties. I'm talking about the fifties.

1730
01:25:56,320 --> 01:25:58,720
Speaker 1: I grew up in that neighbor, so I knew the

1731
01:25:58,840 --> 01:26:01,680
Speaker 1: communication that we had. Black kids used to come over

1732
01:26:01,760 --> 01:26:03,960
Speaker 1: my house to eat. There was no prejudice standard there was.

1733
01:26:04,439 --> 01:26:06,719
Speaker 1: It was the prejudice I have. Would you owe you jew? Fuck?

1734
01:26:06,800 --> 01:26:09,599
Speaker 1: Oh you guinea bastard, Oh you spick son of a bit?

1735
01:26:09,680 --> 01:26:11,920
Speaker 1: Oh you black? That's what we did. We cut if

1736
01:26:12,080 --> 01:26:14,120
Speaker 1: we played the dozens, you know, the dozens are, of

1737
01:26:14,240 --> 01:26:16,800
Speaker 1: course the one you couldn't get to a guy. You see.

1738
01:26:16,880 --> 01:26:19,559
Speaker 1: My problem was I was a dumb fuck, and if

1739
01:26:19,600 --> 01:26:22,519
Speaker 1: a guy verbally abused me, I didn't have a handle it.

1740
01:26:22,560 --> 01:26:25,240
Speaker 1: So I broke his fucking joy. I became very physical.

1741
01:26:25,520 --> 01:26:27,280
Speaker 1: That's how I was. You weren't good at it, doesn't

1742
01:26:27,320 --> 01:26:31,320
Speaker 1: know I wasn't good at You know what that created

1743
01:26:31,400 --> 01:26:35,000
Speaker 1: in me? I had to go to the dictionary, Michael,

1744
01:26:35,000 --> 01:26:39,240
Speaker 1: I'm telling you straight though. Four words a day I

1745
01:26:39,280 --> 01:26:43,559
Speaker 1: would memorize, just to try and become a little more articular.

1746
01:26:43,640 --> 01:26:47,000
Speaker 1: With the English language, because I knew that if I'm

1747
01:26:47,040 --> 01:26:50,000
Speaker 1: in an argument with a person who has the ability

1748
01:26:50,439 --> 01:26:53,640
Speaker 1: to undress me verbally, I wanted to be capable of

1749
01:26:53,800 --> 01:26:58,040
Speaker 1: doing that, responding in the way that I think is necessary,

1750
01:26:58,479 --> 01:27:01,000
Speaker 1: instead of having to hit the fun right. Sure, there

1751
01:27:01,080 --> 01:27:03,560
Speaker 1: was some self gratification by knocking a guy in his

1752
01:27:03,720 --> 01:27:05,960
Speaker 1: fucking assept he says something, you know, there was always

1753
01:27:06,000 --> 01:27:10,040
Speaker 1: that beautiful feeling, but still doing it verbally it's a

1754
01:27:10,120 --> 01:27:13,639
Speaker 1: lot better, absolutely and less harmless, absolutely what I mean.

1755
01:27:14,080 --> 01:27:16,240
Speaker 1: And well, anyway, we did it, and we did the

1756
01:27:16,320 --> 01:27:20,160
Speaker 1: movie and I'm in the I'm in uh, I forget

1757
01:27:20,240 --> 01:27:21,960
Speaker 1: the movie is on fifty four Street, that thing that

1758
01:27:22,040 --> 01:27:25,920
Speaker 1: that's a big This is the premier. So you hadn't

1759
01:27:25,920 --> 01:27:28,360
Speaker 1: seen the movie. I hadn't seen it. And I'm there

1760
01:27:28,360 --> 01:27:30,400
Speaker 1: and I'm watching it and it's a big deal to like,

1761
01:27:30,479 --> 01:27:33,760
Speaker 1: everybody's excited. It's just packed, and you know, and I'm

1762
01:27:33,840 --> 01:27:37,800
Speaker 1: watching and you know, the interpretation of it by many

1763
01:27:37,840 --> 01:27:40,840
Speaker 1: other critics and so forth, uh, some said I was

1764
01:27:40,920 --> 01:27:44,240
Speaker 1: a you know, racist. Others said I wasn't because I

1765
01:27:44,360 --> 01:27:46,840
Speaker 1: never interpreted my character as a racist, because I didn't

1766
01:27:46,840 --> 01:27:49,000
Speaker 1: see color at that time. Even because I grew up

1767
01:27:49,080 --> 01:27:52,400
Speaker 1: my experience. But if you spoke to Spike even now,

1768
01:27:53,000 --> 01:27:54,920
Speaker 1: Spike was, oh, he's a racist. I said, no, he

1769
01:27:55,000 --> 01:27:56,880
Speaker 1: isn't man, he isn't ready. If he's a racist, you

1770
01:27:57,160 --> 01:27:59,760
Speaker 1: still have that conversation. Absolutely would do. I said, this guy,

1771
01:28:00,000 --> 01:28:02,160
Speaker 1: this guy would reopen the place at his own cost.

1772
01:28:02,880 --> 01:28:05,200
Speaker 1: He loved the people. And in one little scene, I

1773
01:28:05,280 --> 01:28:07,519
Speaker 1: tried to say, these people that grew up on my food.

1774
01:28:07,640 --> 01:28:09,400
Speaker 1: And I used to think that was a corny line.

1775
01:28:10,000 --> 01:28:12,600
Speaker 1: Fifteen minutes before were shooting. Nine were rehearsing it, and

1776
01:28:12,680 --> 01:28:15,559
Speaker 1: Spike looks at me and I said, they grew up

1777
01:28:15,560 --> 01:28:18,640
Speaker 1: on my food. I said, Spike, is that bulls? I mean,

1778
01:28:18,720 --> 01:28:21,320
Speaker 1: it sounds silly to grew up on pizza. He said, no,

1779
01:28:21,560 --> 01:28:24,040
Speaker 1: keep it in. Turned out to be the most quoted

1780
01:28:24,120 --> 01:28:28,120
Speaker 1: line in every review anywhere. And I truly think that

1781
01:28:28,320 --> 01:28:30,800
Speaker 1: one line got me an Academy Award nomination because it

1782
01:28:30,960 --> 01:28:34,360
Speaker 1: humanizes them. These kids grew up, and these people grew up.

1783
01:28:34,400 --> 01:28:36,840
Speaker 1: I saw the grandfathers get older. I saw their mothers

1784
01:28:36,880 --> 01:28:39,360
Speaker 1: could turn into grand I saw the kids. You know,

1785
01:28:39,520 --> 01:28:42,120
Speaker 1: he he that those whole things that I developed. I

1786
01:28:42,200 --> 01:28:46,160
Speaker 1: even developed a little scene with his sister the little

1787
01:28:46,200 --> 01:28:48,000
Speaker 1: thing about we sit down where he says I was

1788
01:28:48,080 --> 01:28:50,479
Speaker 1: trying to do a number. It wasn't sexually. Was like

1789
01:28:50,560 --> 01:28:52,840
Speaker 1: a father and daughter thing, and that's what and I

1790
01:28:52,960 --> 01:28:55,280
Speaker 1: wanted it to be, and Spike wanted it to be

1791
01:28:55,920 --> 01:28:58,960
Speaker 1: like people would be ambiguous about it, are they is

1792
01:28:59,040 --> 01:29:02,040
Speaker 1: he wanting to of the fair with this kid or

1793
01:29:02,439 --> 01:29:05,120
Speaker 1: is it like a daughter? So that to me made

1794
01:29:05,200 --> 01:29:10,080
Speaker 1: my character less predictable. I didn't want him to be

1795
01:29:10,280 --> 01:29:12,880
Speaker 1: the predictable guy. I wanted him to be angry. I

1796
01:29:12,960 --> 01:29:15,639
Speaker 1: wanted him to be happy. I wanted him to be hated.

1797
01:29:15,720 --> 01:29:18,639
Speaker 1: I wanted him to be loved. I wanted people to say,

1798
01:29:18,720 --> 01:29:21,519
Speaker 1: what the funk is he? Is this guy a fucking

1799
01:29:21,640 --> 01:29:23,840
Speaker 1: race or isn't he right? Right? I think that's what

1800
01:29:23,960 --> 01:29:26,560
Speaker 1: we've accomplished. And I think that's the why that particular

1801
01:29:26,640 --> 01:29:30,200
Speaker 1: characters stepped out from the other characters, because the manner

1802
01:29:30,280 --> 01:29:33,760
Speaker 1: which he was defined, he was complex, you aren't sure,

1803
01:29:34,400 --> 01:29:36,880
Speaker 1: but people loved him. So I can only say from

1804
01:29:36,920 --> 01:29:40,600
Speaker 1: the reaction that I get even into this, and I

1805
01:29:40,680 --> 01:29:43,960
Speaker 1: saw the movie, I knew it wasn't real, Michael. It

1806
01:29:44,120 --> 01:29:47,200
Speaker 1: wasn't real because I grew up in the neighborhoods where

1807
01:29:47,240 --> 01:29:50,360
Speaker 1: ship was on the floor, drugs, people doing this, that's

1808
01:29:50,400 --> 01:29:55,280
Speaker 1: bad style less now, but it's a tremendous place to expect,

1809
01:29:55,360 --> 01:30:00,360
Speaker 1: a tremendously bad place to expect. People are actually living there.

1810
01:30:01,120 --> 01:30:03,519
Speaker 1: We used to walk down the street and we would

1811
01:30:03,520 --> 01:30:06,679
Speaker 1: step on coke files, needles. We had to be carefully

1812
01:30:06,760 --> 01:30:08,439
Speaker 1: said when you walk, that's how bad it was. But

1813
01:30:08,640 --> 01:30:12,840
Speaker 1: that street it looked pristine. It looked like the King's Castle.

1814
01:30:13,400 --> 01:30:15,600
Speaker 1: It looked gorgeous. It looked like a neighborhood that I

1815
01:30:15,640 --> 01:30:18,560
Speaker 1: would want to spend my life in growing up. But

1816
01:30:18,680 --> 01:30:21,320
Speaker 1: it wasn't that. So I didn't know that now. Of

1817
01:30:21,760 --> 01:30:25,880
Speaker 1: like I look at Godfather, Godfather's bullshit, that's that's that's

1818
01:30:25,920 --> 01:30:28,600
Speaker 1: fucking Shakespeare. I look at Do the Right Thing in

1819
01:30:28,680 --> 01:30:34,120
Speaker 1: the same manner fairy Tale. But it became required watching

1820
01:30:34,720 --> 01:30:39,000
Speaker 1: in every college throughout the United States, Europe and everywhere else.

1821
01:30:39,840 --> 01:30:42,000
Speaker 1: So it was that important the movie. I went to

1822
01:30:42,080 --> 01:30:44,920
Speaker 1: Spike one day and n some Mike. I just wanted

1823
01:30:44,920 --> 01:30:47,600
Speaker 1: to say. After I realized that he was it was

1824
01:30:47,680 --> 01:30:51,479
Speaker 1: his political point of view as opposed to reality, I

1825
01:30:51,640 --> 01:30:55,160
Speaker 1: accepted it. Then I accepted it. He wanted no drugs

1826
01:30:55,200 --> 01:30:57,559
Speaker 1: in the movie because he wanted people to be racist

1827
01:30:57,800 --> 01:31:01,000
Speaker 1: or not, not because of us that they were taking,

1828
01:31:01,520 --> 01:31:04,719
Speaker 1: but because that's where their heads were, right clear, without anything,

1829
01:31:05,320 --> 01:31:09,000
Speaker 1: you know, in any way affecting them. Adversely, it was

1830
01:31:09,160 --> 01:31:12,360
Speaker 1: just these people not being racist. So I thought that

1831
01:31:12,479 --> 01:31:15,960
Speaker 1: wasn't real. That's gonna be drugged. Understand. I saw the movie,

1832
01:31:15,960 --> 01:31:17,800
Speaker 1: and when I realized that, I said, holy sh it.

1833
01:31:17,840 --> 01:31:19,840
Speaker 1: And I went to him one day recently, right Louis,

1834
01:31:19,880 --> 01:31:24,200
Speaker 1: and I said, spite, I got nominated for an Academy award.

1835
01:31:25,000 --> 01:31:27,360
Speaker 1: You never find any unterview. You never say, Danny, I

1836
01:31:27,400 --> 01:31:29,960
Speaker 1: don't got nominated for the fucking Academy When I busted

1837
01:31:30,000 --> 01:31:31,960
Speaker 1: my balls and I got nominated, you never say. You

1838
01:31:32,040 --> 01:31:36,680
Speaker 1: know what he said to me, Danny Denzel Washington when

1839
01:31:36,680 --> 01:31:42,679
Speaker 1: the Academy Awards for Glory right and Miss Daisy want

1840
01:31:42,760 --> 01:31:45,120
Speaker 1: some Ship and so forth, the Best Picture or something.

1841
01:31:46,080 --> 01:31:48,439
Speaker 1: He looks at me and he says to me, we

1842
01:31:48,760 --> 01:31:50,840
Speaker 1: won the Academy Award. I saw, What do you mean?

1843
01:31:50,920 --> 01:31:54,640
Speaker 1: He said? We won? Who the fuck remembers drive him

1844
01:31:54,680 --> 01:31:59,360
Speaker 1: as Daisy? Who's talking about Glory two? Piece of ship movies? What?

1845
01:31:59,560 --> 01:32:03,439
Speaker 1: Twenty five years later and they're still talking about do

1846
01:32:03,600 --> 01:32:07,320
Speaker 1: the right thing? Absolutely, he said we won the Academy

1847
01:32:07,479 --> 01:32:09,840
Speaker 1: was I don't have to say you got nominated? Yeah, no,

1848
01:32:09,920 --> 01:32:12,679
Speaker 1: I did. Well, that's that's it's true. I mean time,

1849
01:32:12,920 --> 01:32:15,680
Speaker 1: time will tell on, you know, and especially in this

1850
01:32:15,880 --> 01:32:19,080
Speaker 1: modern era with the Twitter, everything's an instant classic and

1851
01:32:19,160 --> 01:32:22,719
Speaker 1: then you know it's nothing's a classic. A bottle of wine,

1852
01:32:23,600 --> 01:32:28,320
Speaker 1: ages and it looks like, you know, I feel like

1853
01:32:28,360 --> 01:32:31,760
Speaker 1: I'm talking to my out of him. We'll we'll, we'll go.

1854
01:32:31,880 --> 01:32:33,360
Speaker 1: We'll get a bunch of pictures and I want you

1855
01:32:33,479 --> 01:32:35,040
Speaker 1: to see it, a picture of Danny so you can

1856
01:32:35,080 --> 01:32:37,559
Speaker 1: see what I'm talking. I want to see. Well, I'm glad.

1857
01:32:37,600 --> 01:32:39,479
Speaker 1: I'm glad you're enjoying talking to him. I love it.

1858
01:32:39,520 --> 01:32:41,240
Speaker 1: What are your kidding? Weigh here from month? I don't

1859
01:32:41,280 --> 01:32:45,080
Speaker 1: give a funk. All right, so look here's your size. Okay,

1860
01:32:45,200 --> 01:32:47,320
Speaker 1: you probably have never read it from this point of view.

1861
01:32:47,720 --> 01:32:53,000
Speaker 1: Don't don't steal my line. Okay, you're you're I'm soud, Okay,

1862
01:32:53,040 --> 01:32:55,479
Speaker 1: I'm not. I don't want you trying to do my line. Don't.

1863
01:32:56,240 --> 01:32:58,679
Speaker 1: I'm ready to no, no, no, no, no, I'm gonna

1864
01:32:58,760 --> 01:33:00,920
Speaker 1: kick ass here. I know. On the thing is is

1865
01:33:01,000 --> 01:33:02,960
Speaker 1: I just don't want you thinking like, oh this, this

1866
01:33:03,160 --> 01:33:06,360
Speaker 1: is my time to shine. Yeah, this is like you

1867
01:33:07,600 --> 01:33:10,760
Speaker 1: what you want? Okay, so what do you want? I

1868
01:33:10,880 --> 01:33:13,280
Speaker 1: want my money. I want to get paid. You don't

1869
01:33:13,280 --> 01:33:16,519
Speaker 1: work here no more. I want my money. Your money

1870
01:33:16,560 --> 01:33:20,280
Speaker 1: couldn't begin to pay for that window you broke, motherfucker window.

1871
01:33:20,840 --> 01:33:24,280
Speaker 1: Readio Raheem is dead. I know he's dead. I was there.

1872
01:33:24,320 --> 01:33:27,439
Speaker 1: I remember he's dead because of his buddy. That cock

1873
01:33:27,640 --> 01:33:31,559
Speaker 1: sucker started this ship. He's responsible for that kid's death.

1874
01:33:31,840 --> 01:33:34,679
Speaker 1: And you stood there like a fuck and you watch

1875
01:33:34,800 --> 01:33:37,920
Speaker 1: them burn me down. Look, I also watched the cops

1876
01:33:38,080 --> 01:33:41,360
Speaker 1: murder radio Rahim. Look you'll get it all from the

1877
01:33:41,439 --> 01:33:44,560
Speaker 1: insurance anyway. Style. What the fund is wrong with you?

1878
01:33:45,040 --> 01:33:48,479
Speaker 1: They're saying about money. I could give a funk about money.

1879
01:33:49,479 --> 01:33:54,200
Speaker 1: You see this place. I built this fucking place with

1880
01:33:54,400 --> 01:33:58,960
Speaker 1: my bare fucking hands, every light, sucking every piece of

1881
01:33:59,080 --> 01:34:04,200
Speaker 1: tile with these fucking hands. You know what the funk

1882
01:34:04,280 --> 01:34:07,680
Speaker 1: that means? Yeah, means pay me my motherfucking money. That's

1883
01:34:07,720 --> 01:34:11,320
Speaker 1: what it means. Sal okay, mookie, how much do I

1884
01:34:11,400 --> 01:34:14,680
Speaker 1: aree you? My salary is two fitty two fitty a week.

1885
01:34:16,240 --> 01:34:23,200
Speaker 1: One that's two, that's three, that's four, that's five. You

1886
01:34:23,320 --> 01:34:28,559
Speaker 1: got five hundred dollars. You're a rich fucking man. Are

1887
01:34:28,600 --> 01:34:33,840
Speaker 1: you happy? You're happy he's got five hundred dollars. He's

1888
01:34:33,920 --> 01:34:38,439
Speaker 1: a big man. You're a rich fucking man. You never

1889
01:34:38,640 --> 01:34:43,280
Speaker 1: have any more trouble, not Mookie. He's fucking rich. The

1890
01:34:43,560 --> 01:34:46,560
Speaker 1: fuck are you yelling at? You're wealthy, Mookie, You're a

1891
01:34:46,680 --> 01:34:51,800
Speaker 1: real fucking rockefella. You got your fucking money. Now leave

1892
01:34:51,840 --> 01:34:58,000
Speaker 1: me alone. Michael, you should have the rule. No, you're

1893
01:34:58,040 --> 01:35:01,960
Speaker 1: better than me. That is my twenty years of practicing.

1894
01:35:02,840 --> 01:35:05,559
Speaker 1: But you were a good movie. Yeah, I'm all right.

1895
01:35:05,680 --> 01:35:08,120
Speaker 1: You know what the biggest problem would do the right

1896
01:35:08,160 --> 01:35:13,160
Speaker 1: thing is. You know, you should have played movie. You

1897
01:35:13,240 --> 01:35:15,759
Speaker 1: know they called me to Jackie Robinson of the Black Movies.

1898
01:35:15,840 --> 01:35:18,240
Speaker 1: You know, because I did holiday nights after that. It's

1899
01:35:18,240 --> 01:35:21,720
Speaker 1: not a worry, you know, but that was my I

1900
01:35:21,840 --> 01:35:27,920
Speaker 1: did practicing. Things gonna go viral. You're resurrecting me again, man,

1901
01:35:28,000 --> 01:35:30,400
Speaker 1: you don't need to be resurrected that. You hate the

1902
01:35:30,520 --> 01:35:34,480
Speaker 1: fact that you did that. I honestly, that was elation

1903
01:35:34,600 --> 01:35:36,920
Speaker 1: for me, the fact that you played around and let

1904
01:35:37,000 --> 01:35:40,120
Speaker 1: me do that. Because to me, now the scene is

1905
01:35:40,240 --> 01:35:43,839
Speaker 1: really at its best, because it's all Danny Iolo everything.

1906
01:35:43,920 --> 01:35:45,640
Speaker 1: So I can't even believe that you let me do

1907
01:35:45,760 --> 01:35:48,760
Speaker 1: they want to know something that hearing it like that

1908
01:35:48,960 --> 01:35:51,680
Speaker 1: because I never watched the movie, right, it brought back

1909
01:35:51,720 --> 01:35:55,680
Speaker 1: stras fucking memories to hear each line, because I was

1910
01:35:55,800 --> 01:35:58,640
Speaker 1: listening to the lines, and when I was sitting and

1911
01:35:58,760 --> 01:36:01,400
Speaker 1: writing those lines, that brought everything back, the moments that

1912
01:36:01,520 --> 01:36:03,360
Speaker 1: I was with Spike and how we were doing it

1913
01:36:04,160 --> 01:36:07,840
Speaker 1: standing out there in a fucking huh. It's just it

1914
01:36:07,960 --> 01:36:09,880
Speaker 1: brings back memories. It brings a tear to my eye.

1915
01:36:11,560 --> 01:36:14,800
Speaker 1: Years ago, Mikes, A long time ago, twenty five years.

1916
01:36:14,840 --> 01:36:17,000
Speaker 1: Where did all the time go? I want to tell

1917
01:36:17,040 --> 01:36:18,760
Speaker 1: you something about Eddie Murphy. You know what he did

1918
01:36:18,800 --> 01:36:23,479
Speaker 1: to me? Last shot of the day. We're twenty miles

1919
01:36:23,520 --> 01:36:26,439
Speaker 1: out of l A. We're shooting in a public toilet.

1920
01:36:26,880 --> 01:36:29,320
Speaker 1: All right. He comes over to me. We have everyone

1921
01:36:29,400 --> 01:36:32,840
Speaker 1: there catering vans up the st There must have been

1922
01:36:32,880 --> 01:36:35,920
Speaker 1: three hundred people, extras and so forth all around the

1923
01:36:36,000 --> 01:36:39,840
Speaker 1: place waiting outside. Comes over to me, see, Danny, looked, Danny,

1924
01:36:39,880 --> 01:36:43,320
Speaker 1: we're doing something ms without sound. I need you to

1925
01:36:43,400 --> 01:36:45,400
Speaker 1: sit on the toilet. Now, we're not actually going to

1926
01:36:45,439 --> 01:36:47,360
Speaker 1: see you sitting on the total going to close the door.

1927
01:36:47,640 --> 01:36:49,759
Speaker 1: All we're going to see your shins and your feet.

1928
01:36:50,400 --> 01:36:53,200
Speaker 1: So all I need from you imagine music, which we're

1929
01:36:53,200 --> 01:36:55,599
Speaker 1: going to pipe in later. Because we're doing the MS,

1930
01:36:55,680 --> 01:36:58,200
Speaker 1: no sound will pipe it in later. What I need

1931
01:36:58,280 --> 01:37:01,479
Speaker 1: from you is movement in your lay. For instance, we're

1932
01:37:01,520 --> 01:37:03,680
Speaker 1: gonna have music, So I want you dancing like he's

1933
01:37:03,680 --> 01:37:06,160
Speaker 1: sitting on the thing. I want your feet moving. You

1934
01:37:06,280 --> 01:37:09,040
Speaker 1: work with Milwaukee talkie because we can't get the camera

1935
01:37:09,160 --> 01:37:11,000
Speaker 1: in here. We can't, I can't. There's no room in

1936
01:37:11,040 --> 01:37:13,519
Speaker 1: this place. You know, he's sitting on the toilet. I said,

1937
01:37:13,520 --> 01:37:17,680
Speaker 1: all right, cool, his walkie talkie will communicate he's outside.

1938
01:37:18,120 --> 01:37:20,960
Speaker 1: I'm on the toilet. He says, all right, Danny, listen, uh,

1939
01:37:21,920 --> 01:37:24,479
Speaker 1: don't be fat. You know how to do Lindy Lindy,

1940
01:37:24,880 --> 01:37:26,360
Speaker 1: Lindy hoppy. I said, yeah, I can give you a

1941
01:37:26,479 --> 01:37:28,519
Speaker 1: leg movie. Sorry, give me, give me that leg. I'm

1942
01:37:28,520 --> 01:37:31,839
Speaker 1: moving my leg to Lindy action. He's all right, cat cut, Daniel,

1943
01:37:32,720 --> 01:37:34,479
Speaker 1: Now give me a little bit of a rum. But

1944
01:37:34,600 --> 01:37:35,760
Speaker 1: you know how to do a rumbo I said, you

1945
01:37:35,840 --> 01:37:37,880
Speaker 1: move your legs like a rumpau I'm moving my legs

1946
01:37:37,960 --> 01:37:40,800
Speaker 1: like a fucking rum. We keep talking. He says, all right,

1947
01:37:40,880 --> 01:37:43,439
Speaker 1: now a Fox shot, you know Fox, the old Fox move.

1948
01:37:43,479 --> 01:37:45,080
Speaker 1: You're like, I'm jumping with my legs, you know, on

1949
01:37:45,240 --> 01:37:48,120
Speaker 1: time with I am and anticipating the music being laid in.

1950
01:37:48,479 --> 01:37:50,800
Speaker 1: So I'm moving my legs. Say good. So it's a

1951
01:37:50,880 --> 01:37:53,840
Speaker 1: just a mint. I'll be right back there. Ten minutes expire,

1952
01:37:54,640 --> 01:37:57,120
Speaker 1: I'm waiting, and I'm waiting. I walk out of the

1953
01:37:57,200 --> 01:38:00,599
Speaker 1: fucking thing. I go out inside in the street. Every

1954
01:38:01,000 --> 01:38:06,160
Speaker 1: fuckingbody has gone, the whole fucking company, everything left. I'm

1955
01:38:06,200 --> 01:38:08,800
Speaker 1: the only guy in the public toilet in l A,

1956
01:38:09,000 --> 01:38:12,599
Speaker 1: twenty miles out of l A by myself. He set

1957
01:38:12,680 --> 01:38:15,720
Speaker 1: me up. That's funny, fun it's funny when you were there,

1958
01:38:15,840 --> 01:38:17,599
Speaker 1: Trust me, it wasn't funny at the time. I said,

1959
01:38:17,680 --> 01:38:22,360
Speaker 1: this cop sucker, this fucking Hamburger has got me. He's

1960
01:38:22,400 --> 01:38:25,760
Speaker 1: got me standing there. Fucking people know it's Danny I

1961
01:38:25,960 --> 01:38:28,679
Speaker 1: l and they paid this cracket. That's that's it. That's funny, dude.

1962
01:38:28,680 --> 01:38:31,120
Speaker 1: What what what you know? I did a movie with him,

1963
01:38:31,880 --> 01:38:35,400
Speaker 1: and I have to say, on straight up raw, just

1964
01:38:36,160 --> 01:38:39,200
Speaker 1: the word in true, in the true dictionary meaning of talent,

1965
01:38:40,240 --> 01:38:45,759
Speaker 1: was the most talented person. I mean dream a Dream

1966
01:38:46,040 --> 01:38:49,639
Speaker 1: Dream Dream Girl should on the Academy, there's no question.

1967
01:38:49,680 --> 01:38:51,599
Speaker 1: I mean we never said any like that. And Saturday

1968
01:38:51,640 --> 01:38:54,600
Speaker 1: Night Live any other fucking place. He was sensational and

1969
01:38:54,680 --> 01:38:56,960
Speaker 1: he was very disappointed. From what I hear. He didn't

1970
01:38:56,960 --> 01:38:59,400
Speaker 1: tell me personally that he didn't get it because he

1971
01:38:59,520 --> 01:39:01,720
Speaker 1: wants it. He should have never admit because you know

1972
01:39:01,840 --> 01:39:05,240
Speaker 1: he's sensitive. Guys, it's just you don't know that. But artists,

1973
01:39:05,720 --> 01:39:07,240
Speaker 1: it's just like we were talking about early, It's like,

1974
01:39:07,320 --> 01:39:10,640
Speaker 1: no matter like how many accolades, it's always gonna but

1975
01:39:10,800 --> 01:39:13,240
Speaker 1: just the talent level right at the level of talent

1976
01:39:13,320 --> 01:39:15,439
Speaker 1: there because we we saw him in Beverly Hills, Kyle,

1977
01:39:15,520 --> 01:39:17,680
Speaker 1: we saw him a lot of different things, but all

1978
01:39:17,760 --> 01:39:20,080
Speaker 1: of those things could have been interpreted as a Saturday

1979
01:39:20,160 --> 01:39:25,160
Speaker 1: Night riff. But not no, not not dream Girls. I

1980
01:39:25,280 --> 01:39:28,519
Speaker 1: mean that was James Brown kind of character came out

1981
01:39:28,560 --> 01:39:32,480
Speaker 1: of nowhere. And the fact that he sounded like goddamn

1982
01:39:32,560 --> 01:39:36,080
Speaker 1: saying that, and a character the way he was And drugs,

1983
01:39:36,200 --> 01:39:38,720
Speaker 1: I mean, he should have one and he didn't. And

1984
01:39:38,800 --> 01:39:42,120
Speaker 1: even those films like Norbit when he plays they were great,

1985
01:39:42,479 --> 01:39:44,880
Speaker 1: Yeah they are, they are. They showed his salad level.

1986
01:39:45,160 --> 01:39:47,679
Speaker 1: But they those no, but and all of those things

1987
01:39:48,080 --> 01:39:50,400
Speaker 1: that he did were great, but they could have been

1988
01:39:50,520 --> 01:39:54,360
Speaker 1: identified with skits that he did. But this to me

1989
01:39:54,840 --> 01:39:57,720
Speaker 1: was it was such a difficult role and he did

1990
01:39:57,800 --> 01:40:02,120
Speaker 1: it so well. Dancing movie it was great, and I

1991
01:40:02,240 --> 01:40:04,280
Speaker 1: was sad for him. I love He's a great guy.

1992
01:40:04,320 --> 01:40:07,080
Speaker 1: And I haven't seen him since. Yeah, I have not

1993
01:40:07,200 --> 01:40:09,240
Speaker 1: seen because you know that's we're actors. I see you

1994
01:40:09,360 --> 01:40:12,559
Speaker 1: in New York, we bump in, We do a fucking movie. Look,

1995
01:40:12,640 --> 01:40:15,439
Speaker 1: Bobby and I are great friends. The never excuse me.

1996
01:40:16,120 --> 01:40:18,240
Speaker 1: I see Bobby every five years, and a strange thing

1997
01:40:18,280 --> 01:40:20,479
Speaker 1: about that. When I see him, it's usually like we

1998
01:40:20,560 --> 01:40:23,200
Speaker 1: saw each other the day before. We forget all those

1999
01:40:23,280 --> 01:40:26,559
Speaker 1: five years have passed between us. Bobby looked My mother

2000
01:40:26,640 --> 01:40:28,880
Speaker 1: loved him. My sisters loved him because they always felt

2001
01:40:28,920 --> 01:40:31,880
Speaker 1: he looked like an eyellow, that there's something about him

2002
01:40:31,880 --> 01:40:33,800
Speaker 1: where he looks like a family. My mother used to

2003
01:40:33,880 --> 01:40:36,599
Speaker 1: tell me that all the time. I love Bobby. Bobby.

2004
01:40:36,680 --> 01:40:38,519
Speaker 1: Bobby is a great actor. But the thing I want

2005
01:40:38,560 --> 01:40:42,160
Speaker 1: to tell you about, Marty Uh, Bobby was over the

2006
01:40:42,200 --> 01:40:44,880
Speaker 1: house with bang the drum slowly at the my when

2007
01:40:44,920 --> 01:40:48,600
Speaker 1: I lived in the project and someone gave me a paramount.

2008
01:40:49,160 --> 01:40:51,960
Speaker 1: They gave me a script and a book. Pete Savage

2009
01:40:52,040 --> 01:40:53,800
Speaker 1: was the man's name. He was a co writer of

2010
01:40:54,200 --> 01:40:57,760
Speaker 1: Raging Bull. And they grabbed me because they knew I

2011
01:40:57,800 --> 01:40:59,680
Speaker 1: had just done Bang the Drum SA. They didn't know

2012
01:40:59,800 --> 01:41:01,840
Speaker 1: me for man. I get called up the Paramount. I'm saying,

2013
01:41:01,880 --> 01:41:03,880
Speaker 1: holy sh it. They say they're doing the boxing film.

2014
01:41:03,920 --> 01:41:05,160
Speaker 1: I think I'm going to be in and I think

2015
01:41:05,200 --> 01:41:07,240
Speaker 1: they're asking me to do something. Am I going to

2016
01:41:07,320 --> 01:41:09,799
Speaker 1: play the fucking Raging Bull? You know? I was all excited,

2017
01:41:10,560 --> 01:41:12,759
Speaker 1: so naturally they were using me. I had no idea

2018
01:41:12,800 --> 01:41:15,400
Speaker 1: that I was being used. So I brought the book

2019
01:41:16,080 --> 01:41:18,320
Speaker 1: to my house because I knew Bobby was at the house.

2020
01:41:18,760 --> 01:41:20,120
Speaker 1: I said, Bobby, I don't know how to do this.

2021
01:41:20,240 --> 01:41:22,559
Speaker 1: I really don't know how to do this. People ask

2022
01:41:22,640 --> 01:41:24,320
Speaker 1: me to present this to you because they knew we

2023
01:41:24,360 --> 01:41:27,439
Speaker 1: were close. I'll apologize beforehand for doing this. I don't

2024
01:41:27,439 --> 01:41:29,720
Speaker 1: know if you're gonna be upset or anything, but I

2025
01:41:29,800 --> 01:41:31,400
Speaker 1: didn't know what to do. But I didn't want you

2026
01:41:31,479 --> 01:41:33,599
Speaker 1: to lose out. And I said to him, I said,

2027
01:41:34,040 --> 01:41:36,639
Speaker 1: the reason I'm giving you this book, if Rocky Massy,

2028
01:41:36,880 --> 01:41:41,680
Speaker 1: if Lucky Graziano's movie was being done. Somebody up there

2029
01:41:41,760 --> 01:41:44,120
Speaker 1: likes me. If it was being done today, they would

2030
01:41:44,120 --> 01:41:46,200
Speaker 1: ask you to do it, Robert, you would be perfect

2031
01:41:46,240 --> 01:41:49,080
Speaker 1: and you would kill This is tantamount to what that

2032
01:41:49,280 --> 01:41:52,240
Speaker 1: book was, He said, box. I don't box. I said, well,

2033
01:41:53,080 --> 01:41:55,880
Speaker 1: it's more of a character study than it is a

2034
01:41:55,960 --> 01:41:58,360
Speaker 1: boxing It's a boxing film, yes, but it's a carist

2035
01:41:58,560 --> 01:42:02,640
Speaker 1: attractive study. He took the book, all right, and he

2036
01:42:02,920 --> 01:42:05,760
Speaker 1: takes it to Italy with him because he's going to

2037
01:42:06,080 --> 01:42:08,960
Speaker 1: Italy to the turn of the century Italians he wants

2038
01:42:09,000 --> 01:42:11,280
Speaker 1: to talk to because he's about to do Godfather too,

2039
01:42:12,080 --> 01:42:15,240
Speaker 1: So he goes over there. Now keep in mind, Paramount,

2040
01:42:15,280 --> 01:42:19,320
Speaker 1: we're calling me every day, every day, inviting me, buying

2041
01:42:19,400 --> 01:42:24,719
Speaker 1: me lunch and everything. Suddenly Bobby's in Italy. I can't

2042
01:42:24,720 --> 01:42:27,120
Speaker 1: get into that fucking office. If I had a key,

2043
01:42:27,840 --> 01:42:30,400
Speaker 1: they didn't answer the phone. I'm talking about Paramount. So

2044
01:42:30,439 --> 01:42:33,600
Speaker 1: I knew something went down. And what went down was

2045
01:42:34,120 --> 01:42:38,240
Speaker 1: Bobby accepted it. He was working with De Laurentis at

2046
01:42:38,280 --> 01:42:40,760
Speaker 1: the time. Now Bobby comes back. They don't do it

2047
01:42:40,880 --> 01:42:44,000
Speaker 1: with Delrentis. A couple of years go by and they

2048
01:42:44,080 --> 01:42:48,920
Speaker 1: do it with Marty Scorsese and Winkler and the other

2049
01:42:49,680 --> 01:42:55,080
Speaker 1: and they decided to do it. I look at Bobby

2050
01:42:55,160 --> 01:42:57,519
Speaker 1: one day because no one's talking to me, and I

2051
01:42:57,600 --> 01:43:00,760
Speaker 1: said to him, Bobby might all right. I didn't even

2052
01:43:00,760 --> 01:43:02,519
Speaker 1: know what the funk I meant. I wanted to tell him,

2053
01:43:02,520 --> 01:43:05,040
Speaker 1: you're gonna get me something in this And I said,

2054
01:43:05,200 --> 01:43:07,080
Speaker 1: am I all right here? And he looked at me.

2055
01:43:07,200 --> 01:43:09,840
Speaker 1: Were on for We were in a upmover street uptown,

2056
01:43:09,880 --> 01:43:12,680
Speaker 1: the Italian neighborhood because turn of the century Italians. He

2057
01:43:12,720 --> 01:43:15,360
Speaker 1: wanted to know how the broken English was because he's

2058
01:43:15,360 --> 01:43:18,439
Speaker 1: studying his character, you know what I mean for Godfather

2059
01:43:18,520 --> 01:43:22,000
Speaker 1: to Okay, that's what when we took up there, just

2060
01:43:22,200 --> 01:43:24,280
Speaker 1: when we go back and I say to him, am

2061
01:43:24,320 --> 01:43:26,320
Speaker 1: I all right here? He said, yeah, yeah, you're all right.

2062
01:43:26,360 --> 01:43:28,000
Speaker 1: He wasn't sure what I was saying. He says, you're

2063
01:43:28,000 --> 01:43:31,240
Speaker 1: all right, lo and behold there now getting ready to

2064
01:43:31,280 --> 01:43:34,519
Speaker 1: shoot the movie. I'm called up to the office. I

2065
01:43:34,600 --> 01:43:36,599
Speaker 1: was a little freaking upset about the one might talk

2066
01:43:36,640 --> 01:43:38,439
Speaker 1: to you know. Bobby called me up. You're gonna play this.

2067
01:43:39,040 --> 01:43:42,960
Speaker 1: Bobby's sitting there to my left in front of me. Mardi,

2068
01:43:43,200 --> 01:43:46,040
Speaker 1: the little guy sitting to the right, and he looks

2069
01:43:46,080 --> 01:43:48,400
Speaker 1: at me and he says to me, you know, Danny

2070
01:43:48,439 --> 01:43:51,000
Speaker 1: were going to offer you a role. There are no lines,

2071
01:43:51,520 --> 01:43:55,280
Speaker 1: but it's throughout the movie. Now, keep in mind, Mike,

2072
01:43:55,360 --> 01:43:57,759
Speaker 1: I was hot at the time. I was doing Knockout

2073
01:43:57,800 --> 01:44:00,760
Speaker 1: on Broadway. I just finished the I was I was hot.

2074
01:44:00,840 --> 01:44:03,920
Speaker 1: I was talking about critics are saying this islon Brando.

2075
01:44:04,280 --> 01:44:06,760
Speaker 1: He's a natural the ship that I don't like. I'm

2076
01:44:06,760 --> 01:44:08,760
Speaker 1: all over the place and this guy's offered me a

2077
01:44:08,880 --> 01:44:11,240
Speaker 1: fucking pot that he knew I was going to turn down.

2078
01:44:11,760 --> 01:44:14,759
Speaker 1: And I got up and I said, but Bobby, Bobby's

2079
01:44:14,800 --> 01:44:16,840
Speaker 1: not the guy that interfered with the director. He just

2080
01:44:17,000 --> 01:44:18,880
Speaker 1: doesn't do that. You don't jump, and no, you give

2081
01:44:18,960 --> 01:44:22,040
Speaker 1: him something. My feeling is this little guy only had

2082
01:44:22,120 --> 01:44:24,400
Speaker 1: me up because Bobby said, you got to give him something,

2083
01:44:25,080 --> 01:44:27,559
Speaker 1: and what do you give me? I guess he felt

2084
01:44:27,640 --> 01:44:29,800
Speaker 1: that was the level of my fucking talent. But I

2085
01:44:29,840 --> 01:44:32,839
Speaker 1: don't speak. So what happens is I get up politely.

2086
01:44:32,960 --> 01:44:34,400
Speaker 1: I didn't get mad, and I said thank you, no,

2087
01:44:34,520 --> 01:44:39,479
Speaker 1: but I'd rather not, and I left. And since then,

2088
01:44:39,680 --> 01:44:42,439
Speaker 1: since I told you about the first movie, then this

2089
01:44:42,600 --> 01:44:45,240
Speaker 1: on top of it, and then my agent would submit

2090
01:44:45,360 --> 01:44:47,280
Speaker 1: my name to eight of his films, and I was

2091
01:44:47,439 --> 01:44:50,879
Speaker 1: not in one of them. And I was saying to myself,

2092
01:44:51,120 --> 01:44:56,920
Speaker 1: why does this little fuck not have me in any

2093
01:44:56,960 --> 01:45:00,160
Speaker 1: of his movies? Not anywhere I go when he he's

2094
01:45:00,200 --> 01:45:02,439
Speaker 1: in the area, he fucking walks on the other day,

2095
01:45:02,479 --> 01:45:04,240
Speaker 1: He's afraid I'm gonna knock the ship out of him.

2096
01:45:04,240 --> 01:45:06,040
Speaker 1: But I wouldn't because they locked me up for forty

2097
01:45:06,120 --> 01:45:09,400
Speaker 1: five years for hitting an immature A little funk anyway,

2098
01:45:10,000 --> 01:45:14,880
Speaker 1: A great director, great director. And it's sad that I'm

2099
01:45:14,920 --> 01:45:17,800
Speaker 1: admitting to you. I got it. I wanted to work

2100
01:45:17,960 --> 01:45:20,559
Speaker 1: with what I thought was great. I'm talking about why

2101
01:45:21,560 --> 01:45:23,960
Speaker 1: did he think I sucked? Did he think I was

2102
01:45:24,000 --> 01:45:27,519
Speaker 1: the worst fucking actor? I got ninety five awards all

2103
01:45:27,600 --> 01:45:30,040
Speaker 1: over the place, stage and everything. How can I not

2104
01:45:30,200 --> 01:45:33,040
Speaker 1: be in one of his bucking What the fun? Break

2105
01:45:33,160 --> 01:45:38,320
Speaker 1: your motherfucker off your fucking I can't be in one

2106
01:45:38,360 --> 01:45:41,720
Speaker 1: of his fucking movies. Exactly, Like, Look how you look

2107
01:45:41,800 --> 01:45:49,080
Speaker 1: like my son. I think they were working out from Knockout.

2108
01:45:49,280 --> 01:45:53,280
Speaker 1: That's my boy, Danny photo. Michael, you had you should

2109
01:45:53,280 --> 01:45:55,960
Speaker 1: have met this kid. You know you don't love that.

2110
01:45:56,120 --> 01:45:59,439
Speaker 1: That's you. That's you, man. You think I'm bullshit. You

2111
01:45:59,520 --> 01:46:06,320
Speaker 1: know that's crazy. That's why he was crazy. Wow, it's

2112
01:46:06,360 --> 01:46:10,639
Speaker 1: my boy, Michael. For those who don't know, check the internet.

2113
01:46:10,680 --> 01:46:13,400
Speaker 1: Pick up Danny Illo the thirds picture and you'll see

2114
01:46:13,439 --> 01:46:16,000
Speaker 1: what Mike Ravenport looks like. If you don't already know,

2115
01:46:16,520 --> 01:46:19,320
Speaker 1: he looks just like my son. And I must tell

2116
01:46:19,360 --> 01:46:21,840
Speaker 1: you this, this is very kind of significant to me

2117
01:46:21,920 --> 01:46:24,720
Speaker 1: because I never I never use a foul language in

2118
01:46:24,800 --> 01:46:27,640
Speaker 1: front of my son's or my daughter. And here I am.

2119
01:46:27,840 --> 01:46:31,000
Speaker 1: We're just having you know, I just want you. Whenever

2120
01:46:31,080 --> 01:46:34,120
Speaker 1: I'm cursing, remember it's someone outside of who I am,

2121
01:46:34,280 --> 01:46:36,360
Speaker 1: because if you read my book, you know my book

2122
01:46:36,439 --> 01:46:39,840
Speaker 1: says I only know who I am when I am

2123
01:46:40,800 --> 01:46:44,160
Speaker 1: somebody else. I'm not quite sure who that's somebody else's.

2124
01:46:44,560 --> 01:46:46,400
Speaker 1: I know who my characters are. You know what I mean,

2125
01:46:47,120 --> 01:46:49,519
Speaker 1: because I know the lions I want to say, but

2126
01:46:49,840 --> 01:46:53,600
Speaker 1: in life, I'm not quite sure. All Right, If you

2127
01:46:53,680 --> 01:46:56,840
Speaker 1: haven't played one week fantasy football, go to DraftKings dot

2128
01:46:56,880 --> 01:46:59,840
Speaker 1: com start playing one week fantasy football games, and you

2129
01:47:00,160 --> 01:47:03,719
Speaker 1: seriously have the chance to win millions of fucking dollars

2130
01:47:03,920 --> 01:47:08,080
Speaker 1: every single time you play one week fantasy football games.

2131
01:47:08,120 --> 01:47:09,920
Speaker 1: All Right, This means every week you could play as

2132
01:47:10,000 --> 01:47:12,280
Speaker 1: many games as you want, to create as many lineups

2133
01:47:12,360 --> 01:47:15,439
Speaker 1: as you want, and start turning your love of football

2134
01:47:15,920 --> 01:47:18,920
Speaker 1: too seriously, giving you the chance to win millions of dollars.

2135
01:47:19,000 --> 01:47:22,080
Speaker 1: Play responsibly, I make fun, I make life, But play responsibly,

2136
01:47:22,439 --> 01:47:25,040
Speaker 1: have fun. You never know. It's the luck of the draw.

2137
01:47:25,280 --> 01:47:27,760
Speaker 1: But if you go to draft Kings dot com, America's

2138
01:47:27,840 --> 01:47:30,400
Speaker 1: favorite one week fantasy football site, and use the promo

2139
01:47:30,520 --> 01:47:32,920
Speaker 1: colde Rapp Report r A p A p o r T,

2140
01:47:33,280 --> 01:47:36,040
Speaker 1: you get to start playing for free. Okay, check it out.

2141
01:47:36,200 --> 01:47:40,200
Speaker 1: I love it. So what are you up to now?

2142
01:47:40,560 --> 01:47:43,200
Speaker 1: What do you hope to keep doing? And and and

2143
01:47:43,320 --> 01:47:47,840
Speaker 1: and and asides from nabbing a real significant meaty park

2144
01:47:48,320 --> 01:47:53,160
Speaker 1: with with with Scorsese, Like, what excites you about acting? Now?

2145
01:47:53,240 --> 01:47:55,639
Speaker 1: Do you still when you're when you're doing something now,

2146
01:47:55,760 --> 01:47:57,920
Speaker 1: after all the work you've done, the good ones, the

2147
01:47:58,080 --> 01:48:01,400
Speaker 1: not good ones, the great ones, the fun they're not fun,

2148
01:48:01,640 --> 01:48:05,240
Speaker 1: do you still get the elation in between action and cut? Yes,

2149
01:48:05,280 --> 01:48:06,800
Speaker 1: I can't wait to get up in the morning because

2150
01:48:06,840 --> 01:48:08,840
Speaker 1: I know what I'm going to do is act, Because

2151
01:48:08,880 --> 01:48:11,880
Speaker 1: me the opportunity to be something outside of myself. Acting

2152
01:48:13,000 --> 01:48:15,960
Speaker 1: is a privilege that people should have the opportunity of having.

2153
01:48:16,040 --> 01:48:18,280
Speaker 1: I cannot tell you can go through life being yourself

2154
01:48:18,360 --> 01:48:22,080
Speaker 1: forever or whoever you are as yourself, but given an

2155
01:48:22,120 --> 01:48:24,600
Speaker 1: opportunity to become a doctor for the length of a

2156
01:48:24,680 --> 01:48:26,719
Speaker 1: movie or a lawyer for the length of a movie

2157
01:48:26,920 --> 01:48:28,639
Speaker 1: and not have to go to school for eight years

2158
01:48:28,680 --> 01:48:31,960
Speaker 1: as a wonderful, wonderful feeling. But more importantly about acting.

2159
01:48:32,080 --> 01:48:34,679
Speaker 1: For me, all the sad things that occur in my life,

2160
01:48:35,040 --> 01:48:39,679
Speaker 1: this is a great distraction. People look for distractions away

2161
01:48:39,720 --> 01:48:42,600
Speaker 1: from sadness. And when I I don't think that I

2162
01:48:42,720 --> 01:48:46,040
Speaker 1: could have survived my son passing away had I not

2163
01:48:46,240 --> 01:48:49,360
Speaker 1: been able to go right away to do capone into

2164
01:48:49,479 --> 01:48:52,600
Speaker 1: rehearsals and go to do The Shoemaker, which was the

2165
01:48:52,640 --> 01:48:55,760
Speaker 1: show I did off Broadway. And it means it means

2166
01:48:55,800 --> 01:48:57,600
Speaker 1: everything to me. And that's why, at the age of

2167
01:48:57,640 --> 01:49:00,360
Speaker 1: eighty two, I hope that as long as I can

2168
01:49:00,400 --> 01:49:02,080
Speaker 1: go on, I will as long as I'm not making

2169
01:49:02,120 --> 01:49:04,920
Speaker 1: a fool out of myself. If I feel that I'm

2170
01:49:05,040 --> 01:49:08,080
Speaker 1: I become a caricature of myself. Because the sadness is

2171
01:49:08,640 --> 01:49:11,200
Speaker 1: many actors in the acting field who get very well

2172
01:49:11,400 --> 01:49:15,439
Speaker 1: become caricatures without even knowing of themselves. And certainly that's

2173
01:49:15,479 --> 01:49:18,439
Speaker 1: not what they want to do. It's just that things happen.

2174
01:49:18,840 --> 01:49:21,040
Speaker 1: You're older, people look at you in a different way.

2175
01:49:21,400 --> 01:49:24,600
Speaker 1: I never want to be seen in that wave. It

2176
01:49:24,640 --> 01:49:26,479
Speaker 1: would it would kill me. I want to go out.

2177
01:49:27,200 --> 01:49:29,160
Speaker 1: I want to go out with a blaze of glory,

2178
01:49:29,280 --> 01:49:32,639
Speaker 1: saying I tried, even I never sold myself out. Still

2179
01:49:32,720 --> 01:49:35,439
Speaker 1: to this day, I will not accept the role unless

2180
01:49:35,560 --> 01:49:39,040
Speaker 1: I feel it's something that is special. You know, there

2181
01:49:39,080 --> 01:49:41,120
Speaker 1: are so many things. You know, Mike, you're an act

2182
01:49:41,160 --> 01:49:42,760
Speaker 1: that people know your name. They want to attach you

2183
01:49:42,840 --> 01:49:45,439
Speaker 1: the properties if you still mean something just so they

2184
01:49:45,479 --> 01:49:47,880
Speaker 1: can get money. If that's the reason you're asking me

2185
01:49:47,960 --> 01:49:49,840
Speaker 1: to do it, I don't do it. You said that

2186
01:49:50,160 --> 01:49:52,439
Speaker 1: that many people come over do a cameo. I don't

2187
01:49:52,439 --> 01:49:55,040
Speaker 1: do cameo. You're embarrassing the shift out of me. I

2188
01:49:55,080 --> 01:49:58,639
Speaker 1: don't do fucking cameos. And not that I'm above, it's

2189
01:49:58,680 --> 01:50:01,040
Speaker 1: just to me, I don't. I have to be honest

2190
01:50:01,080 --> 01:50:03,920
Speaker 1: set knowing I'm going to make a contribution in this

2191
01:50:04,120 --> 01:50:07,759
Speaker 1: movie or this stage, but now capone written by Robert Mitchell.

2192
01:50:08,439 --> 01:50:13,040
Speaker 1: Twenty two songs, all original songs. I can't tell you

2193
01:50:13,680 --> 01:50:16,880
Speaker 1: if I didn't have my mind filled with that every night. Right,

2194
01:50:17,400 --> 01:50:22,120
Speaker 1: I have seventy eight pages, lowly seventy eight pages. It's

2195
01:50:22,160 --> 01:50:25,840
Speaker 1: like the longest monologue. It's a one man show. And

2196
01:50:26,720 --> 01:50:29,360
Speaker 1: I say twenty two songs, and all songs that are

2197
01:50:29,400 --> 01:50:33,080
Speaker 1: not songs balladeer their songs like because I got syphilis.

2198
01:50:33,120 --> 01:50:35,439
Speaker 1: You hear the syphilis, and this is serious, this is silphilis.

2199
01:50:35,600 --> 01:50:37,800
Speaker 1: To say, no head calling, got the sniffles. Man, I'm

2200
01:50:37,840 --> 01:50:40,439
Speaker 1: delirious from all this siphilis all because some little miss

2201
01:50:40,479 --> 01:50:42,320
Speaker 1: would have an eye for this. Jumped in the sac kiss,

2202
01:50:42,360 --> 01:50:44,280
Speaker 1: kiss and see your latest list. Now, I can't take

2203
01:50:44,320 --> 01:50:46,719
Speaker 1: a piss. I can only reminisce. And you think it's hilarious.

2204
01:50:46,920 --> 01:50:49,760
Speaker 1: It's shipless overhead, laugh to your death. Why should you

2205
01:50:49,880 --> 01:50:52,120
Speaker 1: care my problem? Right? Well, maybe you care when all

2206
01:50:52,200 --> 01:50:54,200
Speaker 1: over the place are your brains when I break open

2207
01:50:54,240 --> 01:50:57,080
Speaker 1: your face, E don't forget you're talking to a guy

2208
01:50:57,160 --> 01:50:59,040
Speaker 1: with ain't all there? So what do I Because I

2209
01:50:59,080 --> 01:51:01,280
Speaker 1: got siphless lot of it. Man, I'm crazy with it.

2210
01:51:01,560 --> 01:51:04,000
Speaker 1: I'm wild with it. It's eating not me at my brain, man,

2211
01:51:04,080 --> 01:51:09,760
Speaker 1: it's driving me insane. Yes, I know God's work is mysterious.

2212
01:51:09,880 --> 01:51:12,840
Speaker 1: But this, this is ridiculous. So why me? Why the why?

2213
01:51:13,000 --> 01:51:15,880
Speaker 1: Gotta be simplest. That's one of the songs. That's great,

2214
01:51:15,920 --> 01:51:18,720
Speaker 1: they're old. It's tann amount to what I keep using

2215
01:51:18,800 --> 01:51:20,680
Speaker 1: that word. It's one of the ones I said. It's

2216
01:51:20,680 --> 01:51:25,160
Speaker 1: a good one. It's down the amount to Cellivan in Chicago.

2217
01:51:25,360 --> 01:51:28,400
Speaker 1: That kind of stuff. That's some of the beautiful sons.

2218
01:51:28,439 --> 01:51:32,600
Speaker 1: Sounds good. This is a wildcast. What you can play him? No,

2219
01:51:32,840 --> 01:51:34,880
Speaker 1: you're gonna you'll get to play what do I say?

2220
01:51:34,920 --> 01:51:37,160
Speaker 1: I'm trying to get other actors to do it. I'm

2221
01:51:37,160 --> 01:51:39,479
Speaker 1: gonna do it open on Broadway. I'm gonna do it

2222
01:51:39,600 --> 01:51:43,080
Speaker 1: for six months and then I want actors to grab it. Michael,

2223
01:51:43,880 --> 01:51:45,559
Speaker 1: I would love to do it. I don't know if

2224
01:51:45,600 --> 01:51:48,800
Speaker 1: I could. I mean, Danny, you don't have to say singing, man,

2225
01:51:48,880 --> 01:51:51,360
Speaker 1: I can't sing and have the shoulders a funk. Nobody

2226
01:51:51,479 --> 01:51:57,760
Speaker 1: can talk sing right right Well, listen. I can't tell

2227
01:51:57,800 --> 01:52:00,559
Speaker 1: you how much this means to me, to both pictures,

2228
01:52:00,760 --> 01:52:04,000
Speaker 1: but I I just for you to all these stories.

2229
01:52:04,280 --> 01:52:07,600
Speaker 1: The fans are gonna love them. Just know, just know

2230
01:52:07,840 --> 01:52:10,439
Speaker 1: that you are you are like people, that your your

2231
01:52:10,439 --> 01:52:14,040
Speaker 1: work is beloved it's it's you're, you're fantastic. To find

2232
01:52:14,080 --> 01:52:16,439
Speaker 1: out that you're eighty two in such great shape means

2233
01:52:16,680 --> 01:52:20,840
Speaker 1: I predict twenty more years of of of aello. At

2234
01:52:20,920 --> 01:52:24,479
Speaker 1: least I got to be a century many. No, you're

2235
01:52:24,600 --> 01:52:28,400
Speaker 1: you're in fantastic. Smoke. I don't drink. I never drank

2236
01:52:28,439 --> 01:52:32,000
Speaker 1: in my life. But you look good. I mean, no,

2237
01:52:32,200 --> 01:52:36,439
Speaker 1: you look you look good, You sound good, Your your

2238
01:52:36,479 --> 01:52:39,000
Speaker 1: faculties are here, and I'm just I'm just happy to

2239
01:52:39,120 --> 01:52:41,800
Speaker 1: see that because I'm such a fan of other people

2240
01:52:41,840 --> 01:52:44,320
Speaker 1: of fans. I'm glad that you are. You took the

2241
01:52:44,400 --> 01:52:46,000
Speaker 1: time to do this. I'm glad that you took time

2242
01:52:46,040 --> 01:52:49,720
Speaker 1: to have fun with how much I appreciate you. And uh,

2243
01:52:49,800 --> 01:52:52,320
Speaker 1: it's not that my career is over, but you're resurrected it. No,

2244
01:52:52,760 --> 01:52:55,479
Speaker 1: if I tell you getting I'm not on tweet, but

2245
01:52:55,600 --> 01:52:59,719
Speaker 1: I'll tell you hundreds and hundreds and hundreds of tweets.

2246
01:52:59,800 --> 01:53:03,920
Speaker 1: There's no resurrection. There's more a kerb. Yeah we made

2247
01:53:03,920 --> 01:53:09,439
Speaker 1: it a verb by way. Yeah, yeah, no we can.

2248
01:53:09,479 --> 01:53:12,040
Speaker 1: You can you do a Danny line, but one of

2249
01:53:12,120 --> 01:53:14,560
Speaker 1: my favorite Give it to me, give it to me.

2250
01:53:14,680 --> 01:53:16,760
Speaker 1: I don't have a pot to pissing row window to

2251
01:53:16,800 --> 01:53:19,439
Speaker 1: throw it out. All I got the fucking Floyd. Oh my,

2252
01:53:19,640 --> 01:53:24,680
Speaker 1: I'll do it is Dannylle. I'll do Dick Ritchie from

2253
01:53:24,760 --> 01:53:28,280
Speaker 1: True Romance as Danny a Ello. Danny Ello should have

2254
01:53:28,560 --> 01:53:32,400
Speaker 1: played Dick Ritchie and True Romance. I don't gotta put

2255
01:53:32,600 --> 01:53:36,320
Speaker 1: the pissing or a window to throw it out. All

2256
01:53:36,400 --> 01:53:40,880
Speaker 1: I got is fucking Floyd, you burn out cock suck?

2257
01:53:40,960 --> 01:53:47,720
Speaker 1: Are you you put smoking? Mother? Fuck? Are you? You know?

2258
01:53:47,840 --> 01:53:49,880
Speaker 1: That's the one thing with True Romance is that the

2259
01:53:49,960 --> 01:53:53,639
Speaker 1: wrong guy got the part. It should have been sucking Danny. Anyway.

2260
01:53:53,920 --> 01:53:55,839
Speaker 1: That's it. This is the I M Wrap War podcast.

2261
01:53:56,439 --> 01:53:59,559
Speaker 1: This is I can't I'm the elation. I feel elations.

2262
01:54:00,280 --> 01:54:04,880
Speaker 1: American Giant sponsors the Ian Rappaport Podcast. Go to American

2263
01:54:05,080 --> 01:54:09,480
Speaker 1: hyphen Giant dot com. Check it out, T shirts, sweatshirts,

2264
01:54:09,560 --> 01:54:17,120
Speaker 1: American made, American menu, really good quality soft rugged, hoodies, sweatpants,

2265
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Speaker 1: all of it. American Giant dot Com, American hyphen Giant

2266
01:54:21,600 --> 01:54:24,439
Speaker 1: dot Com. The slogan for American Giant that we created

2267
01:54:24,520 --> 01:54:28,800
Speaker 1: is American Giant Clothing Champion. Can't funk with this ship,

2268
01:54:28,920 --> 01:54:29,040
Speaker 1: tho