March 25, 2025 • 54 mins
Big Brother Alec is back to talk about working with legendary actors, Anthony Hopkins, Jack Lemon, Robert DeNiro, tell us who his favorite directors are, and answers the question, did he almost play Batman?? And also tells us what his One Bad Movie is.
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Speaker 1 (00:00):
But the paven never rose to meet my feet before
all at once?
Speaker 2 (00:07):
Am I several stories high?
Speaker 1 (00:13):
I'm on the street.
Speaker 2 (00:16):
Where you live. What are we doing now?
Speaker 1 (00:22):
I mean, I think anyone can tell I'm singing a
huge Broadway it song. Okay except me, exactly exactly. This
is going to be gold for you. Man.
Speaker 2 (00:33):
You don't know any of this.
Speaker 1 (00:34):
Here we go.
Speaker 2 (00:36):
What was that from, sir?
Speaker 1 (00:37):
Why I'm on the street where you live? It's a
Louis Shore Dan, It's not My Fair Lady, It's not
I have to look it up. I'm blitter, really blank.
I know where its from, but I'm from blank saying
pretty good guy. No, no, I can't think you can
say again.
Speaker 3 (00:51):
Stephen's a singer.
Speaker 1 (00:52):
I'm well aware of that.
Speaker 2 (00:54):
He's a singer.
Speaker 1 (00:56):
In the future.
Speaker 3 (00:57):
You are where when I just think if.
Speaker 2 (01:01):
What's his name? David Hasselhoff.
Speaker 1 (01:04):
He is a huge My Fair Lady Louis Jodae with
Rex Harrison and Audrey Hepburn. Wow, famous movie My Fair Lady,
which Julie Andrews did on Broadway and they didn't hire
her for the movie and she was.
Speaker 2 (01:18):
Sissy. We're back one bad movie. Took a little break.
Thanks for the Sandwiches on what the fuck.
Speaker 1 (01:25):
Are you doing? That's awful? And action? I said action?
Speaker 2 (01:35):
Can we cut?
Speaker 1 (01:36):
No? Ready and action?
Speaker 2 (01:38):
Hey everybody, I'm Steve Baldwin. Welcome back to One Bad Movie.
We're here today with Alec Baldwin, big brother and bigger
sister Elizabeth Baldwin. We're gonna have a lot of fun today.
We're calling this the One Bad Movie at Home edition. Welcome.
That's good.
Speaker 1 (01:52):
Split the uprights guy was fantastic and fantastic ad.
Speaker 2 (02:03):
Breaking those bad lips.
Speaker 4 (02:05):
It's so bad, it's good. Guilty manners this son, this,
it's so bad, it's one bad.
Speaker 2 (02:21):
What you have for lunch?
Speaker 1 (02:22):
Guy? I had a late breakfast. We went Toilwicks. All right,
I had a great.
Speaker 2 (02:28):
Any more questions for sister?
Speaker 1 (02:30):
Not right at the moment? Right? Can hit me with
a quick decad. We'll do it real quick.
Speaker 2 (02:37):
Say again, hit me with a quick what deaf co hosts?
Speaker 3 (02:41):
So that mean hit you with the death the role
of I'm telling you what that means.
Speaker 2 (02:47):
Yeah, he's going a bad movie.
Speaker 3 (02:49):
Right, but he wants to go through some things that
he wants to go through with.
Speaker 1 (02:53):
You go with the list, We go with what we
just talked about you're the person who goes over something,
and then I can macho, let's talk about that and
you welcome.
Speaker 2 (03:02):
Back and gentlemen to one bad movie. I'm Steve Baldwin.
Here was Big Brother and Sissy. But yes, you mentioned
after talking about many different films and categories, my question
now is uh social justice films?
Speaker 1 (03:21):
Right, it's one category, like you know, a gentleman's agreement.
Uh not just you know the biopics like Malcolm X.
I love that movie mocking Bird. It's obviously a legendary
movie on the waterfront of social drama. Brilliant. Yeah, So,
I mean those movies are if they're well made. I
(03:43):
mean if there isn't a movie in the world that
is a more an opportunity for them to not have
that level of success because it's really very dry. But
you have to Inherit the Wind as another one. Similarly,
a lot of court room activity. Inherit the Wind is
mostly court room activity. But you look at Mockingbird and
(04:04):
you think, my god, this could have gone the other
way and been just another movie that wasn't very memorable.
And the way they did it and the pacing editing
is such an enormous part of a movie. How much
do you let it live and breathe and wait, and
how much do you pace it up and go on?
Speaker 2 (04:19):
Next?
Speaker 1 (04:19):
Information? New information in the audiences with you go next, next, next?
When do you drive it? When do you slow down?
Like music, it's literally like there are you know, there
were very peppy versions. I'm you know, I'm struggling to
think of the term in classical music before you get
to the adagio when you slow everything down and let
(04:40):
everybody kind of recover. And a mocking Bird is just
like one of the one of the best edited films
I've ever seen in my life. And of course it
has that. I watched the Betting credit scenes of the
cigar box with the toys and the marble and everything,
and I cry every time. I wrote wow, and that
music one of the most beautiful opening title scores of
(05:02):
all time. So I love that. I love Waterfront is waterfront?
You know, we always say about Hitchcock a different category,
but Hitchcock, you know, well, Hitchcock always says.
Speaker 3 (05:14):
What was his opening or is closing?
Speaker 2 (05:15):
I remember that.
Speaker 1 (05:16):
Well, Hitchcock had many lines about his ouvra, and one
of them was, you know, your guys sitting on a
bench and all of a sudden the bench blows up
and people are shocked and they're horrified, and a bomb
goes off. He goes But for me, what I want
is I want to show that there's a bomb under
the bench, and then we see however behaves, and we
the audience know there's a bomb there. What are they
(05:37):
gonna do? So hitchcock Suspense was Hitchcock's term, and he
made all these great suspense films were even when you
think about movies where terrifying killers are a part of
it in the sense of like Scream and Freddy Krueger
and all those things which have their audience. But with
Hitchcock was always like Tony Perkins never raises his voice
(06:00):
once in the movie, not on camera and yelling at
his mother's corpse, you know, mother, what have you done?
He's talking to me and then he throws her voice, Yeah,
I won't have you talk to me that way, or
whatever the dialogue is. But on camera Perkins never gets
belligerent or he just is there, you know, very you know,
(06:22):
That's what's terrifying about him. And Perkins was such a
great actor. I really love Tony Perkins and another Hitchcock
is like, my favorite Hitchcock is you know, different things
like Strangers on a Train. Hitchcock was a genius with
his cameraman. That scene where Robert Walker was choking the
woman and killing Farley Granger's wife and they go down.
(06:44):
He's choking her down, and the glasses have fallen on
the ground, and you see reflected in the glasses him
going down toward the glasses choking the girl.
Speaker 2 (06:52):
Iconic shot.
Speaker 1 (06:54):
Yeah, the window. I like rear Window. I like ver Ago,
But my favorites are Notorious, Psycho A, Strangers on a
Train I like. I mean, I like a lot of Hitchcock.
I love a Frenzy that one of his latter late
later films, you know, Frenzy Quinny kills that woman in
the end.
Speaker 2 (07:14):
The Birds. I love the Birds. Yeah, Birds may be
my favorite, very bold, bold movie, but I mean friends,
but the Birds.
Speaker 1 (07:21):
Maybe he takes his tie pin out that loosens his tie,
is going to attack this woman and she's horrified, and
he says a line before he kills every woman. He says, Babs,
you're my kind of woman, And the door camera goes
out the door down the hallway out on the streets,
people walking by, the idea being that the most horrible
things are happening inside that door. They aren't even aware
(07:43):
of it. This guy's gonna murder this woman after he
rapes her. I suppose horrifying movie for Hitchcock, but Hitchcock
relied on great actor by Northwest.
Speaker 5 (07:52):
Can I ask a question, Yeah, of all your movies,
what has turned out to be the most hitchcocky.
Speaker 1 (07:57):
In Oh God, I wouldn't. I wouldn't ever uh assume
anything like that. I would say, you know, when you do.
I have never done suspense films are really good. You
know thrillers. Well, I mean like I did the movie Malice,
but I don't think that's well, well I don't, I don't.
I don't agree.
Speaker 2 (08:17):
But I think the Needle in the Haystack.
Speaker 1 (08:20):
The only movie I found that was close to that
and could have been more so, was when we did
The Edge, which was originally called Bookworm. And the director
Lee Tamahoy, who had done the the about the native
Maori in New Zealand, he was a Maori. I think
he did this film once Were Warriors, which is a
(08:43):
great film, and then he did Mulholland Drive or something
with Daniel was in and and Nick Nolty, and then
he did Mulholland Falls rather and then he come into
the movie with us and anything he didn't understand and
mam it's script. He was a KEI we so we'd say, ah, well,
you know there's nine here, you and David stuck in
(09:05):
the woods, and you do go on and on a bit.
I thought we lose that line. And I was like, okay,
he goes page fourteen. You do tend to go on
a bit here, David goes on a bit there. I
thought we cut those four speeches, and I thought, well,
the way that David does go on a bit is
the very reason I'm here. That's why I'm here, is
what he wrote it. We didn't make the movie. We're
(09:25):
gonna We're gonna shoot the script, and I'm rather fond
of the script, and he just cut any So they
wound up making it more adventure film. The bear and
this and that. So rather than being psychological nuttiness, like
the two of us are going a little bit, you know.
Speaker 3 (09:39):
That was fascinating, notle Oh my.
Speaker 1 (09:41):
God, I was the most thrilling thing because Tony.
Speaker 3 (09:43):
Was just stars come out.
Speaker 2 (09:45):
Yes, Any thoughts on the new Beetlejuice.
Speaker 1 (09:54):
I went to take my kids to see it. You did, Yeah,
my kids wonder us. We saw it twice. Oh wow,
like fellas, Please don't make me watch this movie, the
showing some alien had seen let's go see Alien Romulus, don't.
They've seen sections of it online, but not the whole thing, maybe,
(10:16):
which they want to see. But I think that the
old Beatle Juice was more charming. It was much more innocent,
and there was no and the Beetlejuice now is very
grim and a lot of like effects. And what's her name,
the gorgeous woman Monica God bless you, Yes, Monica bless you.
Speaker 2 (10:36):
My memory shot this morning.
Speaker 1 (10:38):
But Monica Balucci, who's always been this like, like inconceivably
gorgeous woman. She's one of the most beautiful women in movies.
And she she was married to what's his name who
she got divorced from him and her husband and now
she's with Tim. I think they're together. And uh, and
then of course Tim turns her into Wednesday Adams, you know,
(10:59):
count to three, and she's wearing black dresses, stitches down
her face, and I'm like, here's the most beautiful woman
in the world right now, or one of them. And
Tim's turned her into you know his you know, Debbie
scissor Hands or whatever, and yeah, so but I thought
there's good things. I love Keaton, he's great. He was
fun then he's fun. Now Andonah, who looks the same.
(11:22):
She almost looks the same, and we're Knowna's so ravishingly
beautiful and good. She's telling she knows how to play
That kind of movie you do is you pull back
even more than you imagine. And like Gina, when Gina
did the movie with me, I couldn't even see Gina
doing anything, and then we watch it on the movie
and little things she would do with her eyes or
whatever to not compete with effects and so for the
(11:44):
makeup and just play it the smartest you can. And
Jeffrey Jones wasn't there obviously, or Glenn Shaddocks. But Catherine O'Hara,
who I love. She's funny. I watched that old Dao
scene yea with my kids. I showed them that scene
and she's so funny, and that scene with all of
(12:06):
her dancing, and she's really funny. I mean, she's just
incredibly funny. I loved her in all the movies she
did with Chris gats.
Speaker 2 (12:14):
Did the boys have fun with it? The kids, Yeah,
they loved it.
Speaker 1 (12:17):
If a woman comes out of a bunch of boxes
and reassembles her body and snaps her leg on and
her arm on and she doing all this horsh all,
the kids think that's the greatest thing in the world.
Speaker 2 (12:27):
You know.
Speaker 1 (12:27):
All they want is violence and transformers smashing through skyscrapers.
And you know, I mean, we would watch a movie
and someone would do horrible thing to someone in a movie,
like a Deadpool type in with us, like lots of
violent action, and I'd look at my kids and I go,
you realize, if you did that, you'd be dead, right,
like if you did that in real life. So only
(12:49):
in the movies that they do all this stupid crap,
but they don't die. They get thrown off the top
of a building and they smash it on the ground.
Then they get up and like, ahh, I'm like, you'd
be like a pizza on the ground.
Speaker 3 (13:01):
You have to explain that to them.
Speaker 1 (13:03):
Believe, well, movies now rely a bit too much on that.
Make believe you watch Marvel films. I mean, I watched
the film. I don't want to name what it is,
and it's not a bad movie, but it was a
movie I watched, and I'm sitting there going it's like
some guy comes out of a tomb in an underground
city below Central Park and he comes out into the
middle of Central Pluck and he's like, and after this
(13:24):
whole build up and this whole kind of birthing of
his I've been returning to his throne. And he's like,
I have the power. And then twenty minutes later, they
go into an underground ice cave in the Arctic and
they go down into the frozen chamber and they crack
that open and the guy rises up through the slush
icy water and says, I have the power. I'm like, well,
(13:47):
I'm confused, but I'm like, well, which one has the power?
I want to be clear, what's the story here. There's
a story about two of you have the power and
you're gonna get him up. But I mean all the writing,
the screen direction, right, I mean, I'm I'm not There
are our Marvel movies that I can stomach, but I mean,
(14:10):
I mean, that's not my kind of movie, you know.
I mean like, for example, you saw in films in
the nineties eventually were like everyone's coming from behind a
car or a concrete pillar in a parking garage and
there's no screen direction, right or you see it's this
guy going boom boom, go back, and then you see
the cement guy's behind a car boom boom. Ducktown bang
(14:30):
bang the bulletin. So you have no idea where anybody
is and you don't care. The art of screen direction
has been erased from films where you watch Carlito's Way
and they're in the Grand Central Station, you know exactly
wherever he's walking up the elevator as the pachino's going
down the escalator and paying down with the gun and
all that stuff to Palmer did and also in uh,
(14:52):
The Untouchables, the baby Carriage, Andy Garcia, all that stuff.
I mean that that's screen direction, which is a lost art.
So we said Hitchcock's social dramas and comedies. Yeah, so
I love The Fortune Cookie Gives as Billy Wilder, very
underappreciated movie, and I just love that movie because there's
(15:12):
a moral and the characters are very rich. When when
Jack Lemon's wife comes back to take care of him.
He's injured his neck and he's pretending he's sick. The scenes,
all the scenes have just enough of that nutty, characterized
acting that Wilder was known for. So when the doctor
has the monocle, he goes, in the early days, we
(15:34):
would throw the man into a snake pit and lives,
and he goes, what what? And he goes, We'll throw
the man into a snake pit. And what would happen
if he was really injured? Then he would be bidden
by the snake and dye anually climb out of the pit.
We knew he was a liar, and he goes, and
the guy he goes, but a guy would get if
(15:55):
he was for really get put by the snake and
I'm making this up and die and he goes. But
at least we have found an honest man. And I
mean all the scrap Walter Matthow Walter Mathow, yes, and
the ending of that movie when he decides to just
throw it all the way the I forget the the
black actor who played Boom Boom Jackson, the running back
(16:18):
that knocks him over, But that movie and then of
course Mad Mad, Mad, Mad World. I love because it's
Stanley Kramer, who did such a guide. He's like, he's
like Spielberg and Scorsese with such a broad arc of
his films. You know, here's Scorsese who did I mean
a Spielberg who I am I'm an endless admirer of
for that reason alone, to do Schindler's List and Jurassic
(16:42):
Park and Munich, which is my favorite Spielberg movie is Munich.
The acting is so great. I love Eric Banner.
Speaker 2 (16:49):
And that this next one take your time with please,
because I think you really love Victor Victoria. Why do
you love Victor Victoria?
Speaker 1 (16:58):
Bit I love Julie. I've met her a few times.
I adored Julie.
Speaker 2 (17:03):
And you give me more than that you met her like.
Speaker 1 (17:06):
I'm not finished. Actually, oh sorry, I love Julie. And
when and when I've had the opportunity to meet these people,
and when I met the ones from that generation, I mean,
when I met Kirk Douglas, I almost fainted. I mean,
he was just He's my hero. He's like one of
the great movie star actors both of all time. I
bumped into Burt Lancaster on an elevator once. He never
(17:28):
looked at me, but he could see me. You're me
and I'm him, and he could see me staring at
him going and he's literally, I'm not swear to God.
I swear to God what I got from He was
like like, go ahead, dig me here, I am in
the elevator with you, and enjoy it because we only
have three flows left to go. I'm just staring at.
Speaker 2 (17:50):
Him going right.
Speaker 1 (17:52):
Burt, Yeah, yeah, yeah, you know all the people who
have a strisand everybody I met at that pinnacle, Bob
and Al and Nicholson and all them, you know, great stars. Yeah,
I met Moreno Howe Sullivan or o'haro, the uh Dustin
Hoffin I interviewed for the uh Uh. I mean when
(18:15):
you talk to them, all you hear is their lines
from their movies. Did DCM Film Festival and we interviewed
Dustin and when I'm with him, all I hear.
Speaker 2 (18:24):
Is I was a beefsteak tomato.
Speaker 1 (18:27):
He says too in Putsie. Oh my god. Michael Dorsey
was his character and the director who played the role
of his agent, who did Three Days of the Condor.
Speaker 2 (18:41):
It'll come to me.
Speaker 1 (18:41):
I'm gonna shift gears. Let me just finish. So Victor
Victoria Blake Edwards. Now no one knows how to shoot
and stage. And you know, of course, the melee in
the restaurant when she says there's a bug in her
food and uh, and setting the town the music and
the mixing the music is gonna get a bit lower
(19:03):
when you want people to really get pulled in. And
so in that scene when they're having the melee and
the French cafe and he goes outside and you don't
hear a thing. You just see through the windows of
the restaurant, people throwing tables and everybody flying back, and
when people watching each other, you're totally silent, and you
look inside and they're all murdering each other. And then
later on when you're in the club, Leslie and Warren plays,
(19:26):
the girl is and Jim Gardner's great. Everybody's great, and
Leslie and Warren plays. And when she says to Robert Preston,
she's like you queen, and he's like, well, we prefer
the word gay. He suys, and she goes, I know
a woman that could probably change you. He goes, I
(19:47):
was about to say the same thing to you.
Speaker 2 (19:48):
He says.
Speaker 1 (19:50):
Robert Preston has the greatest comedy lines, and he is
the greatest. I loved it was music man. Obviously, I
worship Robert Preston. And in Victor Victoria it was the
shining moment of his career. Funny when he's he's a
so he sings, he is, you know, but he's so
elegant and so charming and so resonating and so funny, funny.
Speaker 2 (20:13):
He's great. I love Victor Victoria, so shifting gears. I
mean love hearing the Elevator story. So of everybody you've
worked with that are legends.
Speaker 1 (20:29):
Oh the people I have worked with, the most famous people.
George Scott, Yeah, George Scott, say again, who else George Scott?
George Scott did Malice, Connery did Hunt for Red October,
worked with al on Looking for Richard, his movie that
he directed, worked on Good Shepherd with Bob, worked with
(20:52):
Marty on you know, small parts on the Aviator and
the one in Boston. Yes, Departed, The Departed, Yeah, the Departed.
Speaker 2 (21:07):
I'm really bad.
Speaker 1 (21:08):
Hung out with Nicholson and chatted with him about movies
because he was Lauren's house guest in the summertime. Lauren
is another legend.
Speaker 2 (21:17):
She was there, I was.
Speaker 1 (21:18):
There, She was there almost Nicholson would watch us play tennis.
He'd be sitting there watching us in a chair playing tennis,
and I go, I walk up to go, don't you
have something else you can do with your with your time?
You want to watch us losers play tennis? He goes,
I'm a big sports not alec and right now you're
the only game in town. And he watch us play tennis.
Speaker 2 (21:42):
He's a prince.
Speaker 1 (21:44):
Tony My my favorite experience was with Tony, because all
of them is different, like when you're with directors. Well,
Connery was very kind to me, very he was very kind.
Speaker 2 (21:54):
I was I recently told the Connery story, what Conny
story about how they would roll and they would come
to step to his mark and the standard would step
out of the way. I remember they would already be
rolling before he had to hit his mark to say
his line.
Speaker 1 (22:08):
Oh well, he was very interesting because he had been sick.
He had a throat condition which may have been throwed cancer.
We weren't privy to that information. And he finally was
said to know to them. They cast him and he
said no, he couldn't do the movie, so they went
to someone else. I won't name who. It was, I
don't want to embarrass people. But then when Connery's agent
called back and said he's feeling better, he's okay. Maybe
(22:28):
he didn't have what they feared he'd have and have
to have these treatments. So they said, they said he's available,
so they had to get the other guy out of there.
And that guy was going to do another project. I
won't say what it was or what his role was,
but he was going to direct something and they said
to him, what were the dates? You said, you can't
shoot with us because you got to go do that
other project. And he told him the dates and they went, oh,
(22:50):
we have to change our schedule and move to those dates.
Speaker 2 (22:51):
We're so sorry, and.
Speaker 1 (22:53):
They shoved, which is exactly what they did to me.
So they shoved him over the side. I should have
taken that as a lesson as a warning. But the
point is that Shawn Sean comes in and he says,
I can't do my Sean thing. But he comes in
and they tell Yan Debant, which is one of the
last films Yon dpt he went on to direct from
Speed was his first movie.
Speaker 2 (23:13):
I think.
Speaker 1 (23:13):
But Jesus, you got to come with me everywhere. I
got to come meet to dinner tonight. So the he does.
He went on to become a director, so Yan Sean.
They were told no smoke, you can't. Yon wanted to
smoke up the set as much as possible, and he's like,
no smoke, Yanni, no smoke, and they and Sean was
(23:33):
very and when he came in he'd done his wardrobe
tests and make up tests, really old school, and they
did those back then.
Speaker 2 (23:39):
In the eighties.
Speaker 1 (23:40):
It was A eighty nine and Sean shows up for
the first day of shooting with me on the submarine
and he walks in and I literally my heart stopped.
I like, I said, look at this guy. He looks
like fifty million dollars stacked and he's the best looking
guy I've ever seen in my life. He's tall, he's fit.
They put the hair piece on him because he has
no hair, the steel crew cut on his head. He
(24:02):
looked like a billion dollars, I said. And I literally
said to myself, I'm so no one's They're never gonna
cut to me in this movie. They're gonna be like
Alex Backshawan Sean Sean, Alex Sean Sean, And I thought,
this is just murder you know what I mean, but.
Speaker 2 (24:19):
Much pretty good screen time.
Speaker 1 (24:22):
No, but I mean I love Sean, I loved everybody.
James Earl Jones was in the Sam Neil, Peter Firth,
Tim Curry, Legend, Courtney Vance, Scott Glenn. I know I'm
leaving out some people. I'll never forget. When John said
to me, we're going to do the transfer from like
in a judgment at Nuremberg, they went into Maximilian Shell's
(24:43):
mouth and he switches to English as a conceit that
we want you to understand the film in English. So
he's said, there going when's black and Nudson, Fundson, Dunson, Hudson, Fundson,
Nuts and Wudson, which of course is the whole reason
we are here today. And they transferred to English as
a conceit to the audience that he's journal and we're
gonna switch to English. And everybody thought, well, that's the
stupidest thing in the world, but it worked. So John
(25:05):
does the same thing with Peter Firth. Firth was like
the most amazing actor alive. You know, he was great.
Did Amadeis on Broadway? Did Equus on Broadway? They're coming
into me, He's like, not Ski but it's let's give
what's let's give what's skins, and of course Kamander the
thing you must remember above all else. And there come
(25:27):
an he memorized like two pages of Russian, or like
a page of Russian, or like three meaty paragraphs, and
he said it just flaws. So I'm sitting there looking
at him, going, look at this guy, these English bastards.
He's the one that shown breaks his neck in the room.
That security officer that cast alone along with Glengarry was like,
(25:47):
and you're in the room and you're.
Speaker 2 (25:48):
Going stop boy. Yeah one because my last question, yes,
is about Glengarry go and Ross. Yes. Yes, So for
all the young people out there that are inspired to
be in the movie business. I heard a story, and
I've never talked to you about this, that you prepared
(26:10):
your work for Glengarry Glenn Ross, which is one scene, correct,
one monologue, right, However, you'd like just tell the story
of that preparation, how you did it. I heard you
didn't meet the guys before. Was there we rehearsed before?
Had it rehearsed it? I didn't know my lines perfectly,
so I ad did you have on camera? I mean,
(26:31):
rather rehearsals with the director interaction or was it.
Speaker 1 (26:33):
Just yet We're on the set with the DP. The
DP of Glengarry, Glenn Ross was one of my probably
three favorite dps I worked with. And that's saying a lot,
because I worked with a lot of a great dep.
I worked with ball House Sun Working Girl. I worked
with tak Fujamoto on Miami Blues. I know Demi's guy.
(26:53):
Although Demi didn't direct, he produced Attack was the DP.
I worked with mccalpine on The Edge. I worked with
so many of them, I mean, I can't remember them.
But I worked with Steve Burham on The Shadow, who
did all of.
Speaker 2 (27:10):
Those movies with UH, Casualties of War. He did all
the movies with what's his name, but just tell the story.
Speaker 1 (27:19):
Who directed Diploma? Burrham did all the movies with Diploma
and Juan Ruiz and Chia was the name of the
Spanish guy who did Glengarry and he was just amazing.
He's from that whole Oh. I worked with John Told
when we did Uh. It's complicated. Oh, Johnnah, the only
one of two men to win back to back Oscars.
He won for Brave Heart and A River runs through it.
(27:40):
Or Legends of the Fall. One of those two. He
won the Oscar twice in a row, and I worked
with him. He was They're all the same, the good ones.
They're all very monastic, very quiet, very inside. And you
look at me and go and and and and the
greatest dps knew if you didn't have I shouldn't say this,
but if you didn't have a good relationship with a director,
(28:02):
well the director you could the crew can see that
you're not standing in a corner talking about the scenes
and laughing and enjoying each other's conversation. If the director
is somebody who has difficulty connecting with the cast in
some way, then the DP can look at you. I mean,
I've had not a lot, maybe two or three or
four of these where they'll go and maybe only once
where they look at you and it takes over, and
they'll look at you and go and I'll go, I
(28:26):
need to go again. He's signaling me to go again,
and I'll go, and I'll do it again, and you
look at me and go. They're watching you a different way. Well,
they're not vain because they didn't write this stuff. So
I told would do that. Some other guys would do that.
I really enjoyed that. But and Shea. We rehearse with
(28:47):
Jamie Foley and Shea and the whole cast, and I
didn't know all my lines. And I came back and
when I came back, they're all at like the coffee wagon,
and I come walking in and they see me and
they're all going.
Speaker 2 (29:00):
A guy walking.
Speaker 1 (29:00):
All the fun ends and they're like, oh, assholes here,
and now we got to do this today. And we
took us a day and a half a day, maybe
two days or like the better part of two days.
And I was like, I loved all these guys and
I didn't want to do the scene and be a dasshole.
But I'll never be. One of my greatest films is Batten.
I love Batton. I love George Scott loved him. He
did Malice, and I worshiped George's got worshiped and even
(29:26):
supporting roles like the hustler. He gave it everything he
had and I loved in the film that he directed
with his wife. I'll look it up. I'm gonna drive.
I got to look it up, but I want to
just do look it up. I know this movie like
the back of my hand. Did you find it love?
Speaker 2 (29:43):
He's looking George C. Scott directed film The Savage.
Speaker 1 (29:47):
Is Loose All the greatest movies ever made. Him and
his wife are on an island at the turn of
the last century. It's like nineteen oh two, and they
were in an expeditionary force of academics that crashes and
they get marooned on the island, him, his wife and
their little young son, little boys running around. He's like
(30:08):
seven years old, and the father's teaching him how to
hunt and how to survive. And the wife's like, ooh,
you know, aha, whatever the name is. Trisia van Derverver's
boy is gorgeous, gorgeous. Well, she's like, why must he
done all these ohful He's about to hunt bobcats and
trap them in snares, and he's like, one day and
I'll be gone. We're going to be dead. One day
you and I won't be here, will be gone. He'll
(30:30):
be left alone. You have to be able to defend
for himself and take care of himself to be teaching
him all these things survivalism. And the movie has so
many wonderful elements. So then the kid goes running away
playfully and the things dissolve down into the footprints, and
then they dissolve back up, but the footprints are bigger
and bigger, and they catch him. Now he's twenty one
years old and his mother is the only woman on
(30:51):
the island. Oh and ooh where it goes? Ooh, where
it goes. It's an insane but great great so Glen
(31:13):
Gary rehearsing, and then we come back and we were paton,
have we got the George's got bad? So why say
to Jamie? I'm He's like, you know, you're doing good
or whatever? And I go and he says he doesn't
remember saying this to me. I think, but I remember.
And if he didn't say it to me, somebody did.
But I think it was him, because Jamie is a
very smart guy. And he said this was like that
scene in Patten when he slaps the soldier in the tent.
(31:35):
Did you call yourself a soldier? You disgrace the place
of honor these other men wounded in battle. And he
says this stuff to the he smacks the kid across
the head and then he has to apologize to him
in front of the entire unit. Later on, a great
scene in the movie Great of him being, you know,
dressed down that way, this great hero, this great macho monster.
(31:57):
And he goes, it's like that this not you call
yourself a soldier, you call yourself a salesman. You're doing
this for their own good. You're doing this for their
own This is your job to make sure they don't
stay in the foxhole and piss their pants or whatever.
He goes, they gotta go, we gotta go. We're gotta
go to battle. And I'm sitting there going and as
many as he says, like the old Popeye episodes when
(32:19):
you drink eat the spinach, and also that all the
power would shoot into his arms, I'm sitting there with him.
He goes, it's for their own good. I said there,
I'm like, and I go out there and I'm like,
you know you you, I'm like, I'm like, get up,
ed Harris. He was gonna punch me, and I was.
Speaker 2 (32:35):
Like, go ahead, and what young actors want to know.
Speaker 1 (32:38):
I'm making this up. And it's like that I don't
know that, but you can tell. But nobody and it
was somebody who, like you could see he really played
it like he was gonna he's a tough guy.
Speaker 2 (32:47):
But the day of shooting your stuff. Yes, that was
the day You're about to go through the door the
step onto with your first line in a room of legends.
Speaker 1 (32:59):
Yeah, who I met there in the verse, A.
Speaker 2 (33:01):
Little intimidating guy. So I think, to your credit, a
lot of people say that you really knocked it out
of the park.
Speaker 1 (33:07):
Well, I mean, I I don't think about that. I
just think about it.
Speaker 2 (33:10):
I'm here to tell you, but I'm telling you I
consider your performance in the film to be quite dominant
in a room full of legends. So people people love.
Speaker 1 (33:22):
H Come on, so well, I got you Glenn Gary
right here, Daniel I would say, I got you, dress,
I got you Jamie right here, and Daniel would hold
I got you. I I don't, Oh, yes, of course.
(33:47):
But I mean I'm always nervous when i'm shooting because
it's permanent. You know, when you do a play it
doesn't go well, You're like, oh, tomorrow, I'm gonna do this,
and you and you hone it, and you hone it
and you have you know, sometimes scores if it's not successful,
and or hundred of opportunities to change it, play with it,
do it differently. Blah blah blah, blah blah. As long
as it's reasonable. You don't want to just, you know,
all take all your clothes off in the scene if
(34:09):
it's not called for, but you might. But the uh
the uh the but movies is like, we don't got
to get it. Now. They're gonna point a camera into
a space in the air and you're gonna step in
front of it, and you got to do it. I
do it now and this and that stress is always
with me. I never smoke unless I'm shooting. When I'm shooting,
(34:31):
I'm like.
Speaker 3 (34:33):
You know, but you love that stress to some degree.
Speaker 2 (34:35):
I used to not anymore.
Speaker 1 (34:38):
But anyway, so Glenn Gary, people go on and on
about that. But it's like I called Mamont and I said,
you won the Pulleitzer Prize for this play, and you
felt you needed to change something because my character isn't
in the play. I said, you won the Pulletzer and
he said, well, well he talks like this. You said, well, I, uh,
(34:59):
the these guys are not criminals. They're not criminals by nature,
and I wanted to add something to ratchet up the
pressure on them more so they would commit a crime.
And that's why I built the Blake scene in there,
and I was like interesting. I was like, wow, okay,
so we go do the scene and uh and Lemon oh.
Speaker 2 (35:23):
I've never even met him. Who mammott Oh, he'd pinion
down on the ground and really sorry, he'd pined down
to the ground.
Speaker 1 (35:31):
I can't keep repeating these lines. Was a ball player,
you're you're you're hearing loss is a comedy killer. It's
a ball player, mammott Is would say with mammontt is tough.
He'd throw you on the ground and rape you.
Speaker 2 (35:44):
Wow.
Speaker 1 (35:45):
One last question, because we're getting close to two thirty.
Speaker 5 (35:47):
I have a question flying in hot Let's bring it
back to Beetlejuice. This huge hit movie comes out right
and Tim Burton's a hot director, and all of a
sudden it's announced he's doing Batman. And then it's announced
Michael Keaton plays Batman. Did you feel like, what the
hell how because you seem like such a natural Bruce
Wayne Batman type.
Speaker 1 (36:04):
Well, back then, he said, he told my ex wife
Kim was in Batman, and she talked to him and
he said, I wasn't casting Batman. The guy at the square, jawl,
the suit, whatever he goes, I don't cast he goes.
I was casting Bruce Wayne, and I wanted to get
a guy who seemed like he was you could understand
him being more troubled. He goes something like, you know,
(36:28):
I don't believe that Alec has any problems at all,
you know what I mean, in his life, And that
was what somebody said about Julia Roberts. They wanted Julia
Roberts to do Prelude to a Kiss, and the director
said to me, he goes, he goes, I think the
character of Rita needs to be taken care of by
your character, by Peter, and he goes. And there's nothing
(36:49):
about Julie Julia Roberts that leads me to believe she
needs to be taken care of at all. She can
take good care of herself. She's very tough and resilient.
And so they got Meg, which was tough because not
that Meg wasn't wonderful, but Mary Louise had done the
play with me, and we were hoping they would catch
Mary Louise because it was really her role, you know,
but Beetlejuice a batman my ex wife, and it was
(37:13):
something was said along those lines were like he wanted
Keaton because he was a much more in his vision
of who Bruce Wayne is and thought I looked at
her and I was like, well, I could play that.
I could do that. I don't have to be I
could have problems. I could externalize my problems. But yeah,
so I always thought about it. I thought, oh, I'd
love to have played Batman. But it seems like it's
(37:34):
been a tough part for people, Like a lot of people,
it's like a sticky problem for them because it's like,
you know more Keaton played it, and everybody since Val Kilmer,
Clooney Ben it hasn't done anything for them other than
giving them a paycheck. No one's sitting there going, oh,
I've got to watch that movie, you know. So I
(37:56):
think Keaton scored in the first film, which was very naive,
you know, but when you watch that first film, that's
what you have to have is great nutty actors. You know,
this town needs an enema, you know, you need lines
like that in the movie and make it fun and
action and all. The Batman movie since it had been like.
(38:17):
The one I liked is Christian Bale. Him.
Speaker 2 (38:19):
I liked, I liked him. He's a great actor. He's
a great.
Speaker 5 (38:22):
Actor because he nailed the Bruce Wayne part, which I
thought you would have just like.
Speaker 1 (38:27):
Yeah, no, Christian Bale, I mean, I'm like, he was perfect.
I loved him. And then what's his name? We played Baine,
Tom Hardy. They were great. It was a good I
like that one. I mean violent, very violent. But I
like one more one more question for Beth. Question for
you by the way, hello, pup, Now all right.
Speaker 2 (38:46):
Just just just go ahead.
Speaker 5 (38:54):
This is called One Bad Movie, Beth. Which movie from
each of your brothers? Do you think it's a steam?
Speaker 3 (39:03):
I did not like? Is it l a Confidential?
Speaker 1 (39:09):
I wasn't in that?
Speaker 2 (39:10):
Which is the one?
Speaker 3 (39:10):
Okay, okay, okay, No that's not which? Which Which is
the movie you did with Kim?
Speaker 2 (39:20):
The Getaway?
Speaker 3 (39:21):
The Getaway?
Speaker 1 (39:22):
You didn't like that? No, The guy who was the
cameraman were having a sex scene and Kim and I
are completely naked on the bed of a backled you
can really see very much, and we're doing it. And
the guy's name was I'll never forget his name was
Jimmy Moreau, and he was operating the steady cam and
Jimmy Road would come in and reveal us and we're
having sex, and we're kissing, and when she's on top
of me, and he's going like this with the camera
(39:43):
and whatever he's doing, and he goes and puts in
he's a born again Christian, and he goes and puts
the camera on the stand in the corner and stands
in the corner like almost as to catch his breath
or he's praying to Christ to forgive him for making
this movie with us, And Kim would put her robe
on Welcome to Jimmy, Are you a Jimmy? Because he
would be like, you know, standing in like like recovering
(40:05):
from having to watch us naked simulating sex. You didn't
like that movie, No, No, you have something in common
with Jimmy Murrow.
Speaker 3 (40:11):
It's gross. So to see your brother be with his
the real person that the person is with to see them.
Speaker 1 (40:18):
There were a lot of things wrong with that movie.
But I like making the movie fun. So we did
the movie. We did the movie. I was supposed to
do the movie with Sharon Stone, and I said, I
only want to make I wanted to only wanted to
make the movie with Kim because I wanted to get
her off the thing where she had lost her lawsuits
so that was the first job she did after I
wanted to I wanted to get out of the house
and go work, which is the thing she enjoys most.
(40:41):
Kim loves to shoot, She loves making a movie. That's
her whole life. Anything else other Listen, we need to
ask you. Go ahead, oh, Stephen, same question for Steven.
Speaker 2 (40:51):
You hate a film of mine. You think it's a
steam and pile of dumb.
Speaker 3 (40:56):
I probably don't remember that. I didn't really like just
like with this, the sex part, with the threesome, I
don't think any of that.
Speaker 1 (41:06):
Is in that way in that section of movies of yours.
You're kind of a dung beetle. If you like rolling
a ball of dung down Hollywood Boulevard, you.
Speaker 3 (41:16):
You just don't like.
Speaker 1 (41:19):
Dung beetle productions like that. With a picture of you
as a beetle with a chunk of boop in front
of the always taking over, You're pushing, I'm in, let's
do it, and I'm standing far away with my eye
on the watch, going.
Speaker 2 (41:35):
Yeah, are we done?
Speaker 3 (41:36):
You're still doing that? You're still doing that?
Speaker 1 (41:39):
Two things?
Speaker 2 (41:40):
Are we done?
Speaker 3 (41:42):
Two things?
Speaker 2 (41:42):
Two things?
Speaker 5 (41:43):
Of all the legends that you worked with, who gave
you the best advice, life advice, movie advice, acting advice.
Speaker 1 (41:47):
There's a couple of them, and it's it's it's a
little vaguer more like an acting ideas that you that
you can use in your work about economizing and taking
away and taking doing it simpler and simpler and simpler,
or not being loud or forceful or obvious.
Speaker 2 (42:09):
Or what have you.
Speaker 1 (42:11):
But I'll never forget. I did this show, Not's Landing,
And the man that came in in the end of
the show to play my father was this wonderful, very
well known method actor named Albert I mean, a character
actor named Albert Salmi sa l am I, and he
taught at Gonzaga University up in near Tacoma or whatever
it is up there in Oregon near the Idaho Panantel.
(42:34):
I think Albert Salmi played my father, my father who
had abandoned our family and came back into my life
as I was a young man, and Salmi was sitting
in a chair and everyone had left the set to
go do something in the grips and things where they
were resetting the shot, and the cast had left to
go to there. They had bungalows on the stages they
(42:54):
had old fashioned like because we shot at stage twenty
six at MGM where they did Wizard of O. The
yellow brick road set was there, so not Slandings principal
set was there, their principal stage, and they had these
big wooden old wooden on wheels like circus carts, but
they were like big cabanas for the cat that was
(43:14):
their dressing room. They're beautiful and old, and they'd all go.
They don't say, Okay, we're gonna cut and we're gonna
be relight and we'll come get you boom. Everybody would
leave except some of the crew. And Albert Sellmy sat
there reading the La Times or whatever, and I sat
there and he goes, he goes, are you gonna stick around?
Speaker 2 (43:31):
I go yeah. He goes, that's good. That's good. He goes.
Speaker 1 (43:33):
Don't leave the set. Never leave the set. That's that's
where it's happening. So don't go to your trailer, don't
make phone calls. You get a newspaper, sit in the
corner there and just stay always stay connected to the set.
Speaker 2 (43:43):
That's interesting. WHOA.
Speaker 1 (43:45):
That was like the most amazing thing, one of the
most amazing Somebody told.
Speaker 2 (43:49):
Me best advice I ever got was Mike Binder and
what was that. I was working on a movie with him,
and I just was I wasn't struggling to try to
get a certain and take of a moment, but I
just was trying to do it so many different ways,
which is one kind of idea of how to do that.
(44:10):
And Mike Vander comes up to me. He goes, hey,
that was great. You know you're doing so great, and uh,
you just can we try just one my way? And
I'm like, yeah, man, go ahead. He's like, he goes,
I want you to just say the words. Don't act,
just say the words. I'll never forget. I'll never forget.
(44:31):
He was a stand up comic directing a movie like
one of his first films, And I'm like, what movie
Crossing the Bridge with Jason Gedrick and Josh Charleston, which
was a story from Mike's growing up in Michigan, and
pushed his movie to the next year.
Speaker 1 (44:46):
Say again, I'm not doing his movie that fall gotta
push the next year. But you remind me of so
I do The Departed, No, I do The Good Shepherd
with Bob and I'm there with Natt in front of me,
and de Niro was talking to Bob. I forgot Bob Richardson,
one of the greatest legendary cinematographers in history, Bob Richardson
and Jimmy Whittaker who did The Cooler Great DP. But
(45:11):
he would talk to Bob first. They said, cut and Bob,
go talk to Bob, but talk to Bob then dinner
would finally come around and say, you're very good, Alec,
you're very good. Now I want you to do it again,
and do it slower, slower. And when he talks, you
don't care. You don't care. You're very good, Alec, you
(45:36):
you are very good, but do it slower and whatever
he says, you don't care, talk quietly, well, quietly slower, okay,
all right? And I'm sitting there going and you realize
that that's how those guys. You know, everything is such
an economy, you know, I mean, look at Paccino, who
(46:00):
everybody went nuts trying to make sure the Coppola did
not cast him in The Godfather. They said, don't you
we want this and this and Warren Baty and this
and this and movie stars and they're like, want to
take paramount? I mean, who's more star wars In Paramount
and Pachina. When you watch The Godfather, can I be
a jerk?
Speaker 2 (46:21):
Is there a greatest American director? No?
Speaker 1 (46:27):
Okay, there's such a range of films. I mean, obviously
tough dramas. If I had to say who I felt
was the greatest in terms of the the the the power,
forget about the style. So there's scars Case and Coppola,
and there's DePalma, and there's uh, you know, all these
other people who've made I mean, I'm naming, I'm just
(46:49):
scratching the surface. But if I was to say the
person who I think has had the greatest impact on
the movie business, and I'm only choosing him because he
is a director and writer, celebrated writer, You're that's just Woody,
is it?
Speaker 2 (47:08):
Because Woody in his own thing is a hitchcock, you
know what I mean? In suspense, it's hitchcock. In writer,
director comedy, it's Woody. Yes or no.
Speaker 1 (47:21):
Blake Edwards is a great director. What's his name? Director?
Who directed Days? He was in it shot the Who
No No, No No. Was gonna say Kuber. But he's
not really American anymore. On the record, He's a brit
but I'm saying, no, the guy that was in Eyes,
White Shot, who was in Tots, he's a director.
Speaker 2 (47:47):
I forgot.
Speaker 1 (47:47):
I forgot Spielberg. I would see the two. I would
see the three greatest Sydney Pollack, Sidney Pollack who did
Three Days of the Contract. Pollock, I would put up there.
He's a great director. But I would say that, Uh,
it's tough because I would say couple didn't make that
many movies, but he made great films, obviously. But I
(48:08):
like Coppola a lot. I love Copla films. But I'd
say Woody, Marty Spielberg. Those three are like a like
a triptick, because Spielberg has made every kind of movie
you could possibly imagine.
Speaker 2 (48:19):
Beth, who's your favorite American? You talk to her?
Speaker 1 (48:23):
Were you going?
Speaker 2 (48:24):
Where are you going?
Speaker 1 (48:24):
Let's bath. I want to just say one thing, which
is that it's interesting when you talk about films and
I've taught acting, you know, here and there, and then
like it's a big deal to me, and it's never
something I'm like, you know, seeking to do, because it
makes me a little uncomfortable to tell young actors this
(48:47):
and this opinion and the age difference is part of that. However,
I think you want to do good work, and I
forget about you know, Marvel movies and things where it's
very technical. But if you want to do good work
and give good performances, you've got to work in the theater.
Speaker 2 (49:03):
You got to work in the theater.
Speaker 1 (49:04):
You've got you really learn how to act in the theater,
to do everything from start to finish, and do it again.
Then again you understand, you learn how to break down material,
and you work with great actors. I mean in the
movie business, of course, you can work with great actors,
whether it's a chance. You can work with people who
are you know, starting out, they're engreews, they're leading men,
(49:25):
they're not that complicated. And then you go into the
theater and it's like I've done plays where, with very
few exceptions, everybody was a fantastic actor in the company.
They were great actors, experienced, you know, really really all
range of productions they've done and places they'd studied and
so forth, and they were wonderful.
Speaker 2 (49:44):
The cast of.
Speaker 1 (49:46):
I did twentieth Century the Hector MacArthur playing on Broadway.
I did the Joe Warton play Loot, I did the
Joe Orton play entertaining, mister Sloan.
Speaker 2 (49:55):
I did street Guard named Desire.
Speaker 1 (49:57):
And you work on that material with those kinds of
people and those kinds of directors, and you walk away
improved immensely.
Speaker 2 (50:04):
Absolutely. Yeah, well, big brother, thank you, You've already blessed
us with incredible wisdom. I have one question, what is
your one bad movie?
Speaker 1 (50:19):
I did a movie. I know the answer, Okay. I
did a movie where my face, me and Danny Glover
were two floating miasmas. We were too floating heads in
the air above these people were like locked into a
and drawn, it was called. And I was paid by
(50:41):
these people who I liked a law of the producers
were wonderful people and I really adored them, and they
had me do this movie. And the director was this
lovely guy, and I was lovely Italian guy, and all
of them smoking their balls off over there, and we'd
be there and literally my character would be like the
floating menacing overlord, and they're all trying to make their
(51:03):
way through a maze. They're all like hot, sexy young
people were all gonna jump on each other in the
in the in the cove or the cave or whatever.
And I'm floating up there, and I'm like, you know,
and no way, Yeah, I know. I'm swear to God,
I'm making this up. I don't remember the dialogue conveniently,
but i'd sit there and go I'd be like, you've.
Speaker 2 (51:20):
Served me well.
Speaker 1 (51:22):
Proceed to level five, and they go to the next
level of the game. You've served me well, proceed to
level nine. My head's floating on like of this misty
creature the Wizard of Oz on the screen. I'm like,
you know, and it was like, I remember, proceed to
level nineteen. I remember when how do I proceed to
(51:43):
the parking lot and get out of here? The idea was,
the idea was, I remember the Lovely People. I never
met Glover. He was a floating head too, so they
got him and you know, fucking they got him up
in Kwanga or something. But the point is is that
I saw this movie and I said, I said to
my wife, I was like, that's it. I said, this
(52:05):
is the worst movie. It'll never be worse than this.
Proceed to level five and drawn and drawn, Yeah, that's
the worst. And I have a couple of other duds
too that we're not really.
Speaker 2 (52:21):
Do you even know the name of your character in
the film. Well, should we look it up? I don't
know King Andrew, yes, King Overlord and King Philosophers or
whatever it was. I don't know. Adam.
Speaker 1 (52:34):
Yeah, we've got Andron there. I'm Adam. I guess that's
Adam and Eve. Oh God, how clever. It's me Adam.
Speaker 2 (52:46):
Yeah, anything else on and.
Speaker 1 (52:49):
Alec Baldwin as Adam at the screening. You'll go to
a screening and you really literally hear people go like, no,
one's everyone's going, wow, this is rough.
Speaker 2 (53:01):
Remember my old picture Dead Weekend, written and directed by
Amos Poe.
Speaker 1 (53:06):
Remember I remember the name? Yes, I remember you doing.
Speaker 2 (53:10):
What did you do?
Speaker 1 (53:11):
Last Exit to Brooklyn?
Speaker 2 (53:13):
Brilliant?
Speaker 1 (53:14):
What was the director?
Speaker 2 (53:15):
Again? It was of Last Exit?
Speaker 1 (53:17):
Yeah?
Speaker 2 (53:18):
Was uhh Uli Edel?
Speaker 1 (53:22):
Who's Uli Edel? Was the director that was named Uli Edel?
Speaker 2 (53:26):
Uly Edel? No, But it was based on the book
by Hubert Selby Junior.
Speaker 1 (53:32):
Yes, Gobby Selby. Last Exit to Brooklyn. Stephen Lang starred
with Alexis Arkett, Stephen Lang, Jennifer, Jason Lee Ert Young,
Alexis Ket, Peter Dobson. I did uh marrying Stephen Baldwin.
Ricky Lake, who directed the movie edel, I don't.
Speaker 2 (53:55):
Think so produced by Barrent. You're right. I apologize. I apologize.
I thought it was somebody else. You know. I know
all that I got fired from casualties of war. They
paid me. I came home. I did left so, he
remembers that, Thank you so much. Sam.
Speaker 1 (54:14):
Hey, I got your casualties of war right here, right here,
all right. I have to call my wife.
Speaker 2 (54:27):
But you know what bad.
Speaker 4 (54:32):
Treating those batlets.
Speaker 5 (54:34):
It's so bad.
Speaker 2 (54:35):
It's good, damn.
Speaker 4 (54:39):
Said guilty madness, this understood.
Speaker 5 (54:44):
It's so bad.
Speaker 2 (54:45):
It's good. One bad
But the paven never rose to meet my feet before
all at once?
Speaker 2 (00:07):
Am I several stories high?
Speaker 1 (00:13):
I'm on the street.
Speaker 2 (00:16):
Where you live. What are we doing now?
Speaker 1 (00:22):
I mean, I think anyone can tell I'm singing a
huge Broadway it song. Okay except me, exactly exactly. This
is going to be gold for you. Man.
Speaker 2 (00:33):
You don't know any of this.
Speaker 1 (00:34):
Here we go.
Speaker 2 (00:36):
What was that from, sir?
Speaker 1 (00:37):
Why I'm on the street where you live? It's a
Louis Shore Dan, It's not My Fair Lady, It's not
I have to look it up. I'm blitter, really blank.
I know where its from, but I'm from blank saying
pretty good guy. No, no, I can't think you can
say again.
Speaker 3 (00:51):
Stephen's a singer.
Speaker 1 (00:52):
I'm well aware of that.
Speaker 2 (00:54):
He's a singer.
Speaker 1 (00:56):
In the future.
Speaker 3 (00:57):
You are where when I just think if.
Speaker 2 (01:01):
What's his name? David Hasselhoff.
Speaker 1 (01:04):
He is a huge My Fair Lady Louis Jodae with
Rex Harrison and Audrey Hepburn. Wow, famous movie My Fair Lady,
which Julie Andrews did on Broadway and they didn't hire
her for the movie and she was.
Speaker 2 (01:18):
Sissy. We're back one bad movie. Took a little break.
Thanks for the Sandwiches on what the fuck.
Speaker 1 (01:25):
Are you doing? That's awful? And action? I said action?
Speaker 2 (01:35):
Can we cut?
Speaker 1 (01:36):
No? Ready and action?
Speaker 2 (01:38):
Hey everybody, I'm Steve Baldwin. Welcome back to One Bad Movie.
We're here today with Alec Baldwin, big brother and bigger
sister Elizabeth Baldwin. We're gonna have a lot of fun today.
We're calling this the One Bad Movie at Home edition. Welcome.
That's good.
Speaker 1 (01:52):
Split the uprights guy was fantastic and fantastic ad.
Speaker 2 (02:03):
Breaking those bad lips.
Speaker 4 (02:05):
It's so bad, it's good. Guilty manners this son, this,
it's so bad, it's one bad.
Speaker 2 (02:21):
What you have for lunch?
Speaker 1 (02:22):
Guy? I had a late breakfast. We went Toilwicks. All right,
I had a great.
Speaker 2 (02:28):
Any more questions for sister?
Speaker 1 (02:30):
Not right at the moment? Right? Can hit me with
a quick decad. We'll do it real quick.
Speaker 2 (02:37):
Say again, hit me with a quick what deaf co hosts?
Speaker 3 (02:41):
So that mean hit you with the death the role
of I'm telling you what that means.
Speaker 2 (02:47):
Yeah, he's going a bad movie.
Speaker 3 (02:49):
Right, but he wants to go through some things that
he wants to go through with.
Speaker 1 (02:53):
You go with the list, We go with what we
just talked about you're the person who goes over something,
and then I can macho, let's talk about that and
you welcome.
Speaker 2 (03:02):
Back and gentlemen to one bad movie. I'm Steve Baldwin.
Here was Big Brother and Sissy. But yes, you mentioned
after talking about many different films and categories, my question
now is uh social justice films?
Speaker 1 (03:21):
Right, it's one category, like you know, a gentleman's agreement.
Uh not just you know the biopics like Malcolm X.
I love that movie mocking Bird. It's obviously a legendary
movie on the waterfront of social drama. Brilliant. Yeah, So,
I mean those movies are if they're well made. I
(03:43):
mean if there isn't a movie in the world that
is a more an opportunity for them to not have
that level of success because it's really very dry. But
you have to Inherit the Wind as another one. Similarly,
a lot of court room activity. Inherit the Wind is
mostly court room activity. But you look at Mockingbird and
(04:04):
you think, my god, this could have gone the other
way and been just another movie that wasn't very memorable.
And the way they did it and the pacing editing
is such an enormous part of a movie. How much
do you let it live and breathe and wait, and
how much do you pace it up and go on?
Speaker 2 (04:19):
Next?
Speaker 1 (04:19):
Information? New information in the audiences with you go next, next, next?
When do you drive it? When do you slow down?
Like music, it's literally like there are you know, there
were very peppy versions. I'm you know, I'm struggling to
think of the term in classical music before you get
to the adagio when you slow everything down and let
(04:40):
everybody kind of recover. And a mocking Bird is just
like one of the one of the best edited films
I've ever seen in my life. And of course it
has that. I watched the Betting credit scenes of the
cigar box with the toys and the marble and everything,
and I cry every time. I wrote wow, and that
music one of the most beautiful opening title scores of
(05:02):
all time. So I love that. I love Waterfront is waterfront?
You know, we always say about Hitchcock a different category,
but Hitchcock, you know, well, Hitchcock always says.
Speaker 3 (05:14):
What was his opening or is closing?
Speaker 2 (05:15):
I remember that.
Speaker 1 (05:16):
Well, Hitchcock had many lines about his ouvra, and one
of them was, you know, your guys sitting on a
bench and all of a sudden the bench blows up
and people are shocked and they're horrified, and a bomb
goes off. He goes But for me, what I want
is I want to show that there's a bomb under
the bench, and then we see however behaves, and we
the audience know there's a bomb there. What are they
(05:37):
gonna do? So hitchcock Suspense was Hitchcock's term, and he
made all these great suspense films were even when you
think about movies where terrifying killers are a part of
it in the sense of like Scream and Freddy Krueger
and all those things which have their audience. But with
Hitchcock was always like Tony Perkins never raises his voice
(06:00):
once in the movie, not on camera and yelling at
his mother's corpse, you know, mother, what have you done?
He's talking to me and then he throws her voice, Yeah,
I won't have you talk to me that way, or
whatever the dialogue is. But on camera Perkins never gets
belligerent or he just is there, you know, very you know,
(06:22):
That's what's terrifying about him. And Perkins was such a
great actor. I really love Tony Perkins and another Hitchcock
is like, my favorite Hitchcock is you know, different things
like Strangers on a Train. Hitchcock was a genius with
his cameraman. That scene where Robert Walker was choking the
woman and killing Farley Granger's wife and they go down.
(06:44):
He's choking her down, and the glasses have fallen on
the ground, and you see reflected in the glasses him
going down toward the glasses choking the girl.
Speaker 2 (06:52):
Iconic shot.
Speaker 1 (06:54):
Yeah, the window. I like rear Window. I like ver Ago,
But my favorites are Notorious, Psycho A, Strangers on a
Train I like. I mean, I like a lot of Hitchcock.
I love a Frenzy that one of his latter late
later films, you know, Frenzy Quinny kills that woman in
the end.
Speaker 2 (07:14):
The Birds. I love the Birds. Yeah, Birds may be
my favorite, very bold, bold movie, but I mean friends,
but the Birds.
Speaker 1 (07:21):
Maybe he takes his tie pin out that loosens his tie,
is going to attack this woman and she's horrified, and
he says a line before he kills every woman. He says, Babs,
you're my kind of woman, And the door camera goes
out the door down the hallway out on the streets,
people walking by, the idea being that the most horrible
things are happening inside that door. They aren't even aware
(07:43):
of it. This guy's gonna murder this woman after he
rapes her. I suppose horrifying movie for Hitchcock, but Hitchcock
relied on great actor by Northwest.
Speaker 5 (07:52):
Can I ask a question, Yeah, of all your movies,
what has turned out to be the most hitchcocky.
Speaker 1 (07:57):
In Oh God, I wouldn't. I wouldn't ever uh assume
anything like that. I would say, you know, when you do.
I have never done suspense films are really good. You
know thrillers. Well, I mean like I did the movie Malice,
but I don't think that's well, well I don't, I don't.
I don't agree.
Speaker 2 (08:17):
But I think the Needle in the Haystack.
Speaker 1 (08:20):
The only movie I found that was close to that
and could have been more so, was when we did
The Edge, which was originally called Bookworm. And the director
Lee Tamahoy, who had done the the about the native
Maori in New Zealand, he was a Maori. I think
he did this film once Were Warriors, which is a
(08:43):
great film, and then he did Mulholland Drive or something
with Daniel was in and and Nick Nolty, and then
he did Mulholland Falls rather and then he come into
the movie with us and anything he didn't understand and
mam it's script. He was a KEI we so we'd say, ah, well,
you know there's nine here, you and David stuck in
(09:05):
the woods, and you do go on and on a bit.
I thought we lose that line. And I was like, okay,
he goes page fourteen. You do tend to go on
a bit here, David goes on a bit there. I
thought we cut those four speeches, and I thought, well,
the way that David does go on a bit is
the very reason I'm here. That's why I'm here, is
what he wrote it. We didn't make the movie. We're
(09:25):
gonna We're gonna shoot the script, and I'm rather fond
of the script, and he just cut any So they
wound up making it more adventure film. The bear and
this and that. So rather than being psychological nuttiness, like
the two of us are going a little bit, you know.
Speaker 3 (09:39):
That was fascinating, notle Oh my.
Speaker 1 (09:41):
God, I was the most thrilling thing because Tony.
Speaker 3 (09:43):
Was just stars come out.
Speaker 2 (09:45):
Yes, Any thoughts on the new Beetlejuice.
Speaker 1 (09:54):
I went to take my kids to see it. You did, Yeah,
my kids wonder us. We saw it twice. Oh wow,
like fellas, Please don't make me watch this movie, the
showing some alien had seen let's go see Alien Romulus, don't.
They've seen sections of it online, but not the whole thing, maybe,
(10:16):
which they want to see. But I think that the
old Beatle Juice was more charming. It was much more innocent,
and there was no and the Beetlejuice now is very
grim and a lot of like effects. And what's her name,
the gorgeous woman Monica God bless you, Yes, Monica bless you.
Speaker 2 (10:36):
My memory shot this morning.
Speaker 1 (10:38):
But Monica Balucci, who's always been this like, like inconceivably
gorgeous woman. She's one of the most beautiful women in movies.
And she she was married to what's his name who
she got divorced from him and her husband and now
she's with Tim. I think they're together. And uh, and
then of course Tim turns her into Wednesday Adams, you know,
(10:59):
count to three, and she's wearing black dresses, stitches down
her face, and I'm like, here's the most beautiful woman
in the world right now, or one of them. And
Tim's turned her into you know his you know, Debbie
scissor Hands or whatever, and yeah, so but I thought
there's good things. I love Keaton, he's great. He was
fun then he's fun. Now Andonah, who looks the same.
(11:22):
She almost looks the same, and we're Knowna's so ravishingly
beautiful and good. She's telling she knows how to play
That kind of movie you do is you pull back
even more than you imagine. And like Gina, when Gina
did the movie with me, I couldn't even see Gina
doing anything, and then we watch it on the movie
and little things she would do with her eyes or
whatever to not compete with effects and so for the
(11:44):
makeup and just play it the smartest you can. And
Jeffrey Jones wasn't there obviously, or Glenn Shaddocks. But Catherine O'Hara,
who I love. She's funny. I watched that old Dao
scene yea with my kids. I showed them that scene
and she's so funny, and that scene with all of
(12:06):
her dancing, and she's really funny. I mean, she's just
incredibly funny. I loved her in all the movies she
did with Chris gats.
Speaker 2 (12:14):
Did the boys have fun with it? The kids, Yeah,
they loved it.
Speaker 1 (12:17):
If a woman comes out of a bunch of boxes
and reassembles her body and snaps her leg on and
her arm on and she doing all this horsh all,
the kids think that's the greatest thing in the world.
Speaker 2 (12:27):
You know.
Speaker 1 (12:27):
All they want is violence and transformers smashing through skyscrapers.
And you know, I mean, we would watch a movie
and someone would do horrible thing to someone in a movie,
like a Deadpool type in with us, like lots of
violent action, and I'd look at my kids and I go,
you realize, if you did that, you'd be dead, right,
like if you did that in real life. So only
(12:49):
in the movies that they do all this stupid crap,
but they don't die. They get thrown off the top
of a building and they smash it on the ground.
Then they get up and like, ahh, I'm like, you'd
be like a pizza on the ground.
Speaker 3 (13:01):
You have to explain that to them.
Speaker 1 (13:03):
Believe, well, movies now rely a bit too much on that.
Make believe you watch Marvel films. I mean, I watched
the film. I don't want to name what it is,
and it's not a bad movie, but it was a
movie I watched, and I'm sitting there going it's like
some guy comes out of a tomb in an underground
city below Central Park and he comes out into the
middle of Central Pluck and he's like, and after this
(13:24):
whole build up and this whole kind of birthing of
his I've been returning to his throne. And he's like,
I have the power. And then twenty minutes later, they
go into an underground ice cave in the Arctic and
they go down into the frozen chamber and they crack
that open and the guy rises up through the slush
icy water and says, I have the power. I'm like, well,
(13:47):
I'm confused, but I'm like, well, which one has the power?
I want to be clear, what's the story here. There's
a story about two of you have the power and
you're gonna get him up. But I mean all the writing,
the screen direction, right, I mean, I'm I'm not There
are our Marvel movies that I can stomach, but I mean,
(14:10):
I mean, that's not my kind of movie, you know.
I mean like, for example, you saw in films in
the nineties eventually were like everyone's coming from behind a
car or a concrete pillar in a parking garage and
there's no screen direction, right or you see it's this
guy going boom boom, go back, and then you see
the cement guy's behind a car boom boom. Ducktown bang
(14:30):
bang the bulletin. So you have no idea where anybody
is and you don't care. The art of screen direction
has been erased from films where you watch Carlito's Way
and they're in the Grand Central Station, you know exactly
wherever he's walking up the elevator as the pachino's going
down the escalator and paying down with the gun and
all that stuff to Palmer did and also in uh,
(14:52):
The Untouchables, the baby Carriage, Andy Garcia, all that stuff.
I mean that that's screen direction, which is a lost art.
So we said Hitchcock's social dramas and comedies. Yeah, so
I love The Fortune Cookie Gives as Billy Wilder, very
underappreciated movie, and I just love that movie because there's
(15:12):
a moral and the characters are very rich. When when
Jack Lemon's wife comes back to take care of him.
He's injured his neck and he's pretending he's sick. The scenes,
all the scenes have just enough of that nutty, characterized
acting that Wilder was known for. So when the doctor
has the monocle, he goes, in the early days, we
(15:34):
would throw the man into a snake pit and lives,
and he goes, what what? And he goes, We'll throw
the man into a snake pit. And what would happen
if he was really injured? Then he would be bidden
by the snake and dye anually climb out of the pit.
We knew he was a liar, and he goes, and
the guy he goes, but a guy would get if
(15:55):
he was for really get put by the snake and
I'm making this up and die and he goes. But
at least we have found an honest man. And I
mean all the scrap Walter Matthow Walter Mathow, yes, and
the ending of that movie when he decides to just
throw it all the way the I forget the the
black actor who played Boom Boom Jackson, the running back
(16:18):
that knocks him over, But that movie and then of
course Mad Mad, Mad, Mad World. I love because it's
Stanley Kramer, who did such a guide. He's like, he's
like Spielberg and Scorsese with such a broad arc of
his films. You know, here's Scorsese who did I mean
a Spielberg who I am I'm an endless admirer of
for that reason alone, to do Schindler's List and Jurassic
(16:42):
Park and Munich, which is my favorite Spielberg movie is Munich.
The acting is so great. I love Eric Banner.
Speaker 2 (16:49):
And that this next one take your time with please,
because I think you really love Victor Victoria. Why do
you love Victor Victoria?
Speaker 1 (16:58):
Bit I love Julie. I've met her a few times.
I adored Julie.
Speaker 2 (17:03):
And you give me more than that you met her like.
Speaker 1 (17:06):
I'm not finished. Actually, oh sorry, I love Julie. And
when and when I've had the opportunity to meet these people,
and when I met the ones from that generation, I mean,
when I met Kirk Douglas, I almost fainted. I mean,
he was just He's my hero. He's like one of
the great movie star actors both of all time. I
bumped into Burt Lancaster on an elevator once. He never
(17:28):
looked at me, but he could see me. You're me
and I'm him, and he could see me staring at
him going and he's literally, I'm not swear to God.
I swear to God what I got from He was
like like, go ahead, dig me here, I am in
the elevator with you, and enjoy it because we only
have three flows left to go. I'm just staring at.
Speaker 2 (17:50):
Him going right.
Speaker 1 (17:52):
Burt, Yeah, yeah, yeah, you know all the people who
have a strisand everybody I met at that pinnacle, Bob
and Al and Nicholson and all them, you know, great stars. Yeah,
I met Moreno Howe Sullivan or o'haro, the uh Dustin
Hoffin I interviewed for the uh Uh. I mean when
(18:15):
you talk to them, all you hear is their lines
from their movies. Did DCM Film Festival and we interviewed
Dustin and when I'm with him, all I hear.
Speaker 2 (18:24):
Is I was a beefsteak tomato.
Speaker 1 (18:27):
He says too in Putsie. Oh my god. Michael Dorsey
was his character and the director who played the role
of his agent, who did Three Days of the Condor.
Speaker 2 (18:41):
It'll come to me.
Speaker 1 (18:41):
I'm gonna shift gears. Let me just finish. So Victor
Victoria Blake Edwards. Now no one knows how to shoot
and stage. And you know, of course, the melee in
the restaurant when she says there's a bug in her
food and uh, and setting the town the music and
the mixing the music is gonna get a bit lower
(19:03):
when you want people to really get pulled in. And
so in that scene when they're having the melee and
the French cafe and he goes outside and you don't
hear a thing. You just see through the windows of
the restaurant, people throwing tables and everybody flying back, and
when people watching each other, you're totally silent, and you
look inside and they're all murdering each other. And then
later on when you're in the club, Leslie and Warren plays,
(19:26):
the girl is and Jim Gardner's great. Everybody's great, and
Leslie and Warren plays. And when she says to Robert Preston,
she's like you queen, and he's like, well, we prefer
the word gay. He suys, and she goes, I know
a woman that could probably change you. He goes, I
(19:47):
was about to say the same thing to you.
Speaker 2 (19:48):
He says.
Speaker 1 (19:50):
Robert Preston has the greatest comedy lines, and he is
the greatest. I loved it was music man. Obviously, I
worship Robert Preston. And in Victor Victoria it was the
shining moment of his career. Funny when he's he's a
so he sings, he is, you know, but he's so
elegant and so charming and so resonating and so funny, funny.
Speaker 2 (20:13):
He's great. I love Victor Victoria, so shifting gears. I
mean love hearing the Elevator story. So of everybody you've
worked with that are legends.
Speaker 1 (20:29):
Oh the people I have worked with, the most famous people.
George Scott, Yeah, George Scott, say again, who else George Scott?
George Scott did Malice, Connery did Hunt for Red October,
worked with al on Looking for Richard, his movie that
he directed, worked on Good Shepherd with Bob, worked with
(20:52):
Marty on you know, small parts on the Aviator and
the one in Boston. Yes, Departed, The Departed, Yeah, the Departed.
Speaker 2 (21:07):
I'm really bad.
Speaker 1 (21:08):
Hung out with Nicholson and chatted with him about movies
because he was Lauren's house guest in the summertime. Lauren
is another legend.
Speaker 2 (21:17):
She was there, I was.
Speaker 1 (21:18):
There, She was there almost Nicholson would watch us play tennis.
He'd be sitting there watching us in a chair playing tennis,
and I go, I walk up to go, don't you
have something else you can do with your with your time?
You want to watch us losers play tennis? He goes,
I'm a big sports not alec and right now you're
the only game in town. And he watch us play tennis.
Speaker 2 (21:42):
He's a prince.
Speaker 1 (21:44):
Tony My my favorite experience was with Tony, because all
of them is different, like when you're with directors. Well,
Connery was very kind to me, very he was very kind.
Speaker 2 (21:54):
I was I recently told the Connery story, what Conny
story about how they would roll and they would come
to step to his mark and the standard would step
out of the way. I remember they would already be
rolling before he had to hit his mark to say
his line.
Speaker 1 (22:08):
Oh well, he was very interesting because he had been sick.
He had a throat condition which may have been throwed cancer.
We weren't privy to that information. And he finally was
said to know to them. They cast him and he
said no, he couldn't do the movie, so they went
to someone else. I won't name who. It was, I
don't want to embarrass people. But then when Connery's agent
called back and said he's feeling better, he's okay. Maybe
(22:28):
he didn't have what they feared he'd have and have
to have these treatments. So they said, they said he's available,
so they had to get the other guy out of there.
And that guy was going to do another project. I
won't say what it was or what his role was,
but he was going to direct something and they said
to him, what were the dates? You said, you can't
shoot with us because you got to go do that
other project. And he told him the dates and they went, oh,
(22:50):
we have to change our schedule and move to those dates.
Speaker 2 (22:51):
We're so sorry, and.
Speaker 1 (22:53):
They shoved, which is exactly what they did to me.
So they shoved him over the side. I should have
taken that as a lesson as a warning. But the
point is that Shawn Sean comes in and he says,
I can't do my Sean thing. But he comes in
and they tell Yan Debant, which is one of the
last films Yon dpt he went on to direct from
Speed was his first movie.
Speaker 2 (23:13):
I think.
Speaker 1 (23:13):
But Jesus, you got to come with me everywhere. I
got to come meet to dinner tonight. So the he does.
He went on to become a director, so Yan Sean.
They were told no smoke, you can't. Yon wanted to
smoke up the set as much as possible, and he's like,
no smoke, Yanni, no smoke, and they and Sean was
(23:33):
very and when he came in he'd done his wardrobe
tests and make up tests, really old school, and they
did those back then.
Speaker 2 (23:39):
In the eighties.
Speaker 1 (23:40):
It was A eighty nine and Sean shows up for
the first day of shooting with me on the submarine
and he walks in and I literally my heart stopped.
I like, I said, look at this guy. He looks
like fifty million dollars stacked and he's the best looking
guy I've ever seen in my life. He's tall, he's fit.
They put the hair piece on him because he has
no hair, the steel crew cut on his head. He
(24:02):
looked like a billion dollars, I said. And I literally
said to myself, I'm so no one's They're never gonna
cut to me in this movie. They're gonna be like
Alex Backshawan Sean Sean, Alex Sean Sean, And I thought,
this is just murder you know what I mean, but.
Speaker 2 (24:19):
Much pretty good screen time.
Speaker 1 (24:22):
No, but I mean I love Sean, I loved everybody.
James Earl Jones was in the Sam Neil, Peter Firth,
Tim Curry, Legend, Courtney Vance, Scott Glenn. I know I'm
leaving out some people. I'll never forget. When John said
to me, we're going to do the transfer from like
in a judgment at Nuremberg, they went into Maximilian Shell's
(24:43):
mouth and he switches to English as a conceit that
we want you to understand the film in English. So
he's said, there going when's black and Nudson, Fundson, Dunson, Hudson, Fundson,
Nuts and Wudson, which of course is the whole reason
we are here today. And they transferred to English as
a conceit to the audience that he's journal and we're
gonna switch to English. And everybody thought, well, that's the
stupidest thing in the world, but it worked. So John
(25:05):
does the same thing with Peter Firth. Firth was like
the most amazing actor alive. You know, he was great.
Did Amadeis on Broadway? Did Equus on Broadway? They're coming
into me, He's like, not Ski but it's let's give
what's let's give what's skins, and of course Kamander the
thing you must remember above all else. And there come
(25:27):
an he memorized like two pages of Russian, or like
a page of Russian, or like three meaty paragraphs, and
he said it just flaws. So I'm sitting there looking
at him, going, look at this guy, these English bastards.
He's the one that shown breaks his neck in the room.
That security officer that cast alone along with Glengarry was like,
(25:47):
and you're in the room and you're.
Speaker 2 (25:48):
Going stop boy. Yeah one because my last question, yes,
is about Glengarry go and Ross. Yes. Yes, So for
all the young people out there that are inspired to
be in the movie business. I heard a story, and
I've never talked to you about this, that you prepared
(26:10):
your work for Glengarry Glenn Ross, which is one scene, correct,
one monologue, right, However, you'd like just tell the story
of that preparation, how you did it. I heard you
didn't meet the guys before. Was there we rehearsed before?
Had it rehearsed it? I didn't know my lines perfectly,
so I ad did you have on camera? I mean,
(26:31):
rather rehearsals with the director interaction or was it.
Speaker 1 (26:33):
Just yet We're on the set with the DP. The
DP of Glengarry, Glenn Ross was one of my probably
three favorite dps I worked with. And that's saying a lot,
because I worked with a lot of a great dep.
I worked with ball House Sun Working Girl. I worked
with tak Fujamoto on Miami Blues. I know Demi's guy.
(26:53):
Although Demi didn't direct, he produced Attack was the DP.
I worked with mccalpine on The Edge. I worked with
so many of them, I mean, I can't remember them.
But I worked with Steve Burham on The Shadow, who
did all of.
Speaker 2 (27:10):
Those movies with UH, Casualties of War. He did all
the movies with what's his name, but just tell the story.
Speaker 1 (27:19):
Who directed Diploma? Burrham did all the movies with Diploma
and Juan Ruiz and Chia was the name of the
Spanish guy who did Glengarry and he was just amazing.
He's from that whole Oh. I worked with John Told
when we did Uh. It's complicated. Oh, Johnnah, the only
one of two men to win back to back Oscars.
He won for Brave Heart and A River runs through it.
(27:40):
Or Legends of the Fall. One of those two. He
won the Oscar twice in a row, and I worked
with him. He was They're all the same, the good ones.
They're all very monastic, very quiet, very inside. And you
look at me and go and and and and the
greatest dps knew if you didn't have I shouldn't say this,
but if you didn't have a good relationship with a director,
(28:02):
well the director you could the crew can see that
you're not standing in a corner talking about the scenes
and laughing and enjoying each other's conversation. If the director
is somebody who has difficulty connecting with the cast in
some way, then the DP can look at you. I mean,
I've had not a lot, maybe two or three or
four of these where they'll go and maybe only once
where they look at you and it takes over, and
they'll look at you and go and I'll go, I
(28:26):
need to go again. He's signaling me to go again,
and I'll go, and I'll do it again, and you
look at me and go. They're watching you a different way. Well,
they're not vain because they didn't write this stuff. So
I told would do that. Some other guys would do that.
I really enjoyed that. But and Shea. We rehearse with
(28:47):
Jamie Foley and Shea and the whole cast, and I
didn't know all my lines. And I came back and
when I came back, they're all at like the coffee wagon,
and I come walking in and they see me and
they're all going.
Speaker 2 (29:00):
A guy walking.
Speaker 1 (29:00):
All the fun ends and they're like, oh, assholes here,
and now we got to do this today. And we
took us a day and a half a day, maybe
two days or like the better part of two days.
And I was like, I loved all these guys and
I didn't want to do the scene and be a dasshole.
But I'll never be. One of my greatest films is Batten.
I love Batton. I love George Scott loved him. He
did Malice, and I worshiped George's got worshiped and even
(29:26):
supporting roles like the hustler. He gave it everything he
had and I loved in the film that he directed
with his wife. I'll look it up. I'm gonna drive.
I got to look it up, but I want to
just do look it up. I know this movie like
the back of my hand. Did you find it love?
Speaker 2 (29:43):
He's looking George C. Scott directed film The Savage.
Speaker 1 (29:47):
Is Loose All the greatest movies ever made. Him and
his wife are on an island at the turn of
the last century. It's like nineteen oh two, and they
were in an expeditionary force of academics that crashes and
they get marooned on the island, him, his wife and
their little young son, little boys running around. He's like
(30:08):
seven years old, and the father's teaching him how to
hunt and how to survive. And the wife's like, ooh,
you know, aha, whatever the name is. Trisia van Derverver's
boy is gorgeous, gorgeous. Well, she's like, why must he
done all these ohful He's about to hunt bobcats and
trap them in snares, and he's like, one day and
I'll be gone. We're going to be dead. One day
you and I won't be here, will be gone. He'll
(30:30):
be left alone. You have to be able to defend
for himself and take care of himself to be teaching
him all these things survivalism. And the movie has so
many wonderful elements. So then the kid goes running away
playfully and the things dissolve down into the footprints, and
then they dissolve back up, but the footprints are bigger
and bigger, and they catch him. Now he's twenty one
years old and his mother is the only woman on
(30:51):
the island. Oh and ooh where it goes? Ooh, where
it goes. It's an insane but great great so Glen
(31:13):
Gary rehearsing, and then we come back and we were paton,
have we got the George's got bad? So why say
to Jamie? I'm He's like, you know, you're doing good
or whatever? And I go and he says he doesn't
remember saying this to me. I think, but I remember.
And if he didn't say it to me, somebody did.
But I think it was him, because Jamie is a
very smart guy. And he said this was like that
scene in Patten when he slaps the soldier in the tent.
(31:35):
Did you call yourself a soldier? You disgrace the place
of honor these other men wounded in battle. And he
says this stuff to the he smacks the kid across
the head and then he has to apologize to him
in front of the entire unit. Later on, a great
scene in the movie Great of him being, you know,
dressed down that way, this great hero, this great macho monster.
(31:57):
And he goes, it's like that this not you call
yourself a soldier, you call yourself a salesman. You're doing
this for their own good. You're doing this for their
own This is your job to make sure they don't
stay in the foxhole and piss their pants or whatever.
He goes, they gotta go, we gotta go. We're gotta
go to battle. And I'm sitting there going and as
many as he says, like the old Popeye episodes when
(32:19):
you drink eat the spinach, and also that all the
power would shoot into his arms, I'm sitting there with him.
He goes, it's for their own good. I said there,
I'm like, and I go out there and I'm like,
you know you you, I'm like, I'm like, get up,
ed Harris. He was gonna punch me, and I was.
Speaker 2 (32:35):
Like, go ahead, and what young actors want to know.
Speaker 1 (32:38):
I'm making this up. And it's like that I don't
know that, but you can tell. But nobody and it
was somebody who, like you could see he really played
it like he was gonna he's a tough guy.
Speaker 2 (32:47):
But the day of shooting your stuff. Yes, that was
the day You're about to go through the door the
step onto with your first line in a room of legends.
Speaker 1 (32:59):
Yeah, who I met there in the verse, A.
Speaker 2 (33:01):
Little intimidating guy. So I think, to your credit, a
lot of people say that you really knocked it out
of the park.
Speaker 1 (33:07):
Well, I mean, I I don't think about that. I
just think about it.
Speaker 2 (33:10):
I'm here to tell you, but I'm telling you I
consider your performance in the film to be quite dominant
in a room full of legends. So people people love.
Speaker 1 (33:22):
H Come on, so well, I got you Glenn Gary
right here, Daniel I would say, I got you, dress,
I got you Jamie right here, and Daniel would hold
I got you. I I don't, Oh, yes, of course.
(33:47):
But I mean I'm always nervous when i'm shooting because
it's permanent. You know, when you do a play it
doesn't go well, You're like, oh, tomorrow, I'm gonna do this,
and you and you hone it, and you hone it
and you have you know, sometimes scores if it's not successful,
and or hundred of opportunities to change it, play with it,
do it differently. Blah blah blah, blah blah. As long
as it's reasonable. You don't want to just, you know,
all take all your clothes off in the scene if
(34:09):
it's not called for, but you might. But the uh
the uh the but movies is like, we don't got
to get it. Now. They're gonna point a camera into
a space in the air and you're gonna step in
front of it, and you got to do it. I
do it now and this and that stress is always
with me. I never smoke unless I'm shooting. When I'm shooting,
(34:31):
I'm like.
Speaker 3 (34:33):
You know, but you love that stress to some degree.
Speaker 2 (34:35):
I used to not anymore.
Speaker 1 (34:38):
But anyway, so Glenn Gary, people go on and on
about that. But it's like I called Mamont and I said,
you won the Pulleitzer Prize for this play, and you
felt you needed to change something because my character isn't
in the play. I said, you won the Pulletzer and
he said, well, well he talks like this. You said, well, I, uh,
(34:59):
the these guys are not criminals. They're not criminals by nature,
and I wanted to add something to ratchet up the
pressure on them more so they would commit a crime.
And that's why I built the Blake scene in there,
and I was like interesting. I was like, wow, okay,
so we go do the scene and uh and Lemon oh.
Speaker 2 (35:23):
I've never even met him. Who mammott Oh, he'd pinion
down on the ground and really sorry, he'd pined down
to the ground.
Speaker 1 (35:31):
I can't keep repeating these lines. Was a ball player,
you're you're you're hearing loss is a comedy killer. It's
a ball player, mammott Is would say with mammontt is tough.
He'd throw you on the ground and rape you.
Speaker 2 (35:44):
Wow.
Speaker 1 (35:45):
One last question, because we're getting close to two thirty.
Speaker 5 (35:47):
I have a question flying in hot Let's bring it
back to Beetlejuice. This huge hit movie comes out right
and Tim Burton's a hot director, and all of a
sudden it's announced he's doing Batman. And then it's announced
Michael Keaton plays Batman. Did you feel like, what the
hell how because you seem like such a natural Bruce
Wayne Batman type.
Speaker 1 (36:04):
Well, back then, he said, he told my ex wife
Kim was in Batman, and she talked to him and
he said, I wasn't casting Batman. The guy at the square, jawl,
the suit, whatever he goes, I don't cast he goes.
I was casting Bruce Wayne, and I wanted to get
a guy who seemed like he was you could understand
him being more troubled. He goes something like, you know,
(36:28):
I don't believe that Alec has any problems at all,
you know what I mean, in his life, And that
was what somebody said about Julia Roberts. They wanted Julia
Roberts to do Prelude to a Kiss, and the director
said to me, he goes, he goes, I think the
character of Rita needs to be taken care of by
your character, by Peter, and he goes. And there's nothing
(36:49):
about Julie Julia Roberts that leads me to believe she
needs to be taken care of at all. She can
take good care of herself. She's very tough and resilient.
And so they got Meg, which was tough because not
that Meg wasn't wonderful, but Mary Louise had done the
play with me, and we were hoping they would catch
Mary Louise because it was really her role, you know,
but Beetlejuice a batman my ex wife, and it was
(37:13):
something was said along those lines were like he wanted
Keaton because he was a much more in his vision
of who Bruce Wayne is and thought I looked at
her and I was like, well, I could play that.
I could do that. I don't have to be I
could have problems. I could externalize my problems. But yeah,
so I always thought about it. I thought, oh, I'd
love to have played Batman. But it seems like it's
(37:34):
been a tough part for people, Like a lot of people,
it's like a sticky problem for them because it's like,
you know more Keaton played it, and everybody since Val Kilmer,
Clooney Ben it hasn't done anything for them other than
giving them a paycheck. No one's sitting there going, oh,
I've got to watch that movie, you know. So I
(37:56):
think Keaton scored in the first film, which was very naive,
you know, but when you watch that first film, that's
what you have to have is great nutty actors. You know,
this town needs an enema, you know, you need lines
like that in the movie and make it fun and
action and all. The Batman movie since it had been like.
(38:17):
The one I liked is Christian Bale. Him.
Speaker 2 (38:19):
I liked, I liked him. He's a great actor. He's
a great.
Speaker 5 (38:22):
Actor because he nailed the Bruce Wayne part, which I
thought you would have just like.
Speaker 1 (38:27):
Yeah, no, Christian Bale, I mean, I'm like, he was perfect.
I loved him. And then what's his name? We played Baine,
Tom Hardy. They were great. It was a good I
like that one. I mean violent, very violent. But I
like one more one more question for Beth. Question for
you by the way, hello, pup, Now all right.
Speaker 2 (38:46):
Just just just go ahead.
Speaker 5 (38:54):
This is called One Bad Movie, Beth. Which movie from
each of your brothers? Do you think it's a steam?
Speaker 3 (39:03):
I did not like? Is it l a Confidential?
Speaker 1 (39:09):
I wasn't in that?
Speaker 2 (39:10):
Which is the one?
Speaker 3 (39:10):
Okay, okay, okay, No that's not which? Which Which is
the movie you did with Kim?
Speaker 2 (39:20):
The Getaway?
Speaker 3 (39:21):
The Getaway?
Speaker 1 (39:22):
You didn't like that? No, The guy who was the
cameraman were having a sex scene and Kim and I
are completely naked on the bed of a backled you
can really see very much, and we're doing it. And
the guy's name was I'll never forget his name was
Jimmy Moreau, and he was operating the steady cam and
Jimmy Road would come in and reveal us and we're
having sex, and we're kissing, and when she's on top
of me, and he's going like this with the camera
(39:43):
and whatever he's doing, and he goes and puts in
he's a born again Christian, and he goes and puts
the camera on the stand in the corner and stands
in the corner like almost as to catch his breath
or he's praying to Christ to forgive him for making
this movie with us, And Kim would put her robe
on Welcome to Jimmy, Are you a Jimmy? Because he
would be like, you know, standing in like like recovering
(40:05):
from having to watch us naked simulating sex. You didn't
like that movie, No, No, you have something in common
with Jimmy Murrow.
Speaker 3 (40:11):
It's gross. So to see your brother be with his
the real person that the person is with to see them.
Speaker 1 (40:18):
There were a lot of things wrong with that movie.
But I like making the movie fun. So we did
the movie. We did the movie. I was supposed to
do the movie with Sharon Stone, and I said, I
only want to make I wanted to only wanted to
make the movie with Kim because I wanted to get
her off the thing where she had lost her lawsuits
so that was the first job she did after I
wanted to I wanted to get out of the house
and go work, which is the thing she enjoys most.
(40:41):
Kim loves to shoot, She loves making a movie. That's
her whole life. Anything else other Listen, we need to
ask you. Go ahead, oh, Stephen, same question for Steven.
Speaker 2 (40:51):
You hate a film of mine. You think it's a
steam and pile of dumb.
Speaker 3 (40:56):
I probably don't remember that. I didn't really like just
like with this, the sex part, with the threesome, I
don't think any of that.
Speaker 1 (41:06):
Is in that way in that section of movies of yours.
You're kind of a dung beetle. If you like rolling
a ball of dung down Hollywood Boulevard, you.
Speaker 3 (41:16):
You just don't like.
Speaker 1 (41:19):
Dung beetle productions like that. With a picture of you
as a beetle with a chunk of boop in front
of the always taking over, You're pushing, I'm in, let's
do it, and I'm standing far away with my eye
on the watch, going.
Speaker 2 (41:35):
Yeah, are we done?
Speaker 3 (41:36):
You're still doing that? You're still doing that?
Speaker 1 (41:39):
Two things?
Speaker 2 (41:40):
Are we done?
Speaker 3 (41:42):
Two things?
Speaker 2 (41:42):
Two things?
Speaker 5 (41:43):
Of all the legends that you worked with, who gave
you the best advice, life advice, movie advice, acting advice.
Speaker 1 (41:47):
There's a couple of them, and it's it's it's a
little vaguer more like an acting ideas that you that
you can use in your work about economizing and taking
away and taking doing it simpler and simpler and simpler,
or not being loud or forceful or obvious.
Speaker 2 (42:09):
Or what have you.
Speaker 1 (42:11):
But I'll never forget. I did this show, Not's Landing,
And the man that came in in the end of
the show to play my father was this wonderful, very
well known method actor named Albert I mean, a character
actor named Albert Salmi sa l am I, and he
taught at Gonzaga University up in near Tacoma or whatever
it is up there in Oregon near the Idaho Panantel.
(42:34):
I think Albert Salmi played my father, my father who
had abandoned our family and came back into my life
as I was a young man, and Salmi was sitting
in a chair and everyone had left the set to
go do something in the grips and things where they
were resetting the shot, and the cast had left to
go to there. They had bungalows on the stages they
(42:54):
had old fashioned like because we shot at stage twenty
six at MGM where they did Wizard of O. The
yellow brick road set was there, so not Slandings principal
set was there, their principal stage, and they had these
big wooden old wooden on wheels like circus carts, but
they were like big cabanas for the cat that was
(43:14):
their dressing room. They're beautiful and old, and they'd all go.
They don't say, Okay, we're gonna cut and we're gonna
be relight and we'll come get you boom. Everybody would
leave except some of the crew. And Albert Sellmy sat
there reading the La Times or whatever, and I sat
there and he goes, he goes, are you gonna stick around?
Speaker 2 (43:31):
I go yeah. He goes, that's good. That's good. He goes.
Speaker 1 (43:33):
Don't leave the set. Never leave the set. That's that's
where it's happening. So don't go to your trailer, don't
make phone calls. You get a newspaper, sit in the
corner there and just stay always stay connected to the set.
Speaker 2 (43:43):
That's interesting. WHOA.
Speaker 1 (43:45):
That was like the most amazing thing, one of the
most amazing Somebody told.
Speaker 2 (43:49):
Me best advice I ever got was Mike Binder and
what was that. I was working on a movie with him,
and I just was I wasn't struggling to try to
get a certain and take of a moment, but I
just was trying to do it so many different ways,
which is one kind of idea of how to do that.
(44:10):
And Mike Vander comes up to me. He goes, hey,
that was great. You know you're doing so great, and uh,
you just can we try just one my way? And
I'm like, yeah, man, go ahead. He's like, he goes,
I want you to just say the words. Don't act,
just say the words. I'll never forget. I'll never forget.
(44:31):
He was a stand up comic directing a movie like
one of his first films, And I'm like, what movie
Crossing the Bridge with Jason Gedrick and Josh Charleston, which
was a story from Mike's growing up in Michigan, and
pushed his movie to the next year.
Speaker 1 (44:46):
Say again, I'm not doing his movie that fall gotta
push the next year. But you remind me of so
I do The Departed, No, I do The Good Shepherd
with Bob and I'm there with Natt in front of me,
and de Niro was talking to Bob. I forgot Bob Richardson,
one of the greatest legendary cinematographers in history, Bob Richardson
and Jimmy Whittaker who did The Cooler Great DP. But
(45:11):
he would talk to Bob first. They said, cut and Bob,
go talk to Bob, but talk to Bob then dinner
would finally come around and say, you're very good, Alec,
you're very good. Now I want you to do it again,
and do it slower, slower. And when he talks, you
don't care. You don't care. You're very good, Alec, you
(45:36):
you are very good, but do it slower and whatever
he says, you don't care, talk quietly, well, quietly slower, okay,
all right? And I'm sitting there going and you realize
that that's how those guys. You know, everything is such
an economy, you know, I mean, look at Paccino, who
(46:00):
everybody went nuts trying to make sure the Coppola did
not cast him in The Godfather. They said, don't you
we want this and this and Warren Baty and this
and this and movie stars and they're like, want to
take paramount? I mean, who's more star wars In Paramount
and Pachina. When you watch The Godfather, can I be
a jerk?
Speaker 2 (46:21):
Is there a greatest American director? No?
Speaker 1 (46:27):
Okay, there's such a range of films. I mean, obviously
tough dramas. If I had to say who I felt
was the greatest in terms of the the the the power,
forget about the style. So there's scars Case and Coppola,
and there's DePalma, and there's uh, you know, all these
other people who've made I mean, I'm naming, I'm just
(46:49):
scratching the surface. But if I was to say the
person who I think has had the greatest impact on
the movie business, and I'm only choosing him because he
is a director and writer, celebrated writer, You're that's just Woody,
is it?
Speaker 2 (47:08):
Because Woody in his own thing is a hitchcock, you
know what I mean? In suspense, it's hitchcock. In writer,
director comedy, it's Woody. Yes or no.
Speaker 1 (47:21):
Blake Edwards is a great director. What's his name? Director?
Who directed Days? He was in it shot the Who
No No, No No. Was gonna say Kuber. But he's
not really American anymore. On the record, He's a brit
but I'm saying, no, the guy that was in Eyes,
White Shot, who was in Tots, he's a director.
Speaker 2 (47:47):
I forgot.
Speaker 1 (47:47):
I forgot Spielberg. I would see the two. I would
see the three greatest Sydney Pollack, Sidney Pollack who did
Three Days of the Contract. Pollock, I would put up there.
He's a great director. But I would say that, Uh,
it's tough because I would say couple didn't make that
many movies, but he made great films, obviously. But I
(48:08):
like Coppola a lot. I love Copla films. But I'd
say Woody, Marty Spielberg. Those three are like a like
a triptick, because Spielberg has made every kind of movie
you could possibly imagine.
Speaker 2 (48:19):
Beth, who's your favorite American? You talk to her?
Speaker 1 (48:23):
Were you going?
Speaker 2 (48:24):
Where are you going?
Speaker 1 (48:24):
Let's bath. I want to just say one thing, which
is that it's interesting when you talk about films and
I've taught acting, you know, here and there, and then
like it's a big deal to me, and it's never
something I'm like, you know, seeking to do, because it
makes me a little uncomfortable to tell young actors this
(48:47):
and this opinion and the age difference is part of that. However,
I think you want to do good work, and I
forget about you know, Marvel movies and things where it's
very technical. But if you want to do good work
and give good performances, you've got to work in the theater.
Speaker 2 (49:03):
You got to work in the theater.
Speaker 1 (49:04):
You've got you really learn how to act in the theater,
to do everything from start to finish, and do it again.
Then again you understand, you learn how to break down material,
and you work with great actors. I mean in the
movie business, of course, you can work with great actors,
whether it's a chance. You can work with people who
are you know, starting out, they're engreews, they're leading men,
(49:25):
they're not that complicated. And then you go into the
theater and it's like I've done plays where, with very
few exceptions, everybody was a fantastic actor in the company.
They were great actors, experienced, you know, really really all
range of productions they've done and places they'd studied and
so forth, and they were wonderful.
Speaker 2 (49:44):
The cast of.
Speaker 1 (49:46):
I did twentieth Century the Hector MacArthur playing on Broadway.
I did the Joe Warton play Loot, I did the
Joe Orton play entertaining, mister Sloan.
Speaker 2 (49:55):
I did street Guard named Desire.
Speaker 1 (49:57):
And you work on that material with those kinds of
people and those kinds of directors, and you walk away
improved immensely.
Speaker 2 (50:04):
Absolutely. Yeah, well, big brother, thank you, You've already blessed
us with incredible wisdom. I have one question, what is
your one bad movie?
Speaker 1 (50:19):
I did a movie. I know the answer, Okay. I
did a movie where my face, me and Danny Glover
were two floating miasmas. We were too floating heads in
the air above these people were like locked into a
and drawn, it was called. And I was paid by
(50:41):
these people who I liked a law of the producers
were wonderful people and I really adored them, and they
had me do this movie. And the director was this
lovely guy, and I was lovely Italian guy, and all
of them smoking their balls off over there, and we'd
be there and literally my character would be like the
floating menacing overlord, and they're all trying to make their
(51:03):
way through a maze. They're all like hot, sexy young
people were all gonna jump on each other in the
in the in the cove or the cave or whatever.
And I'm floating up there, and I'm like, you know,
and no way, Yeah, I know. I'm swear to God,
I'm making this up. I don't remember the dialogue conveniently,
but i'd sit there and go I'd be like, you've.
Speaker 2 (51:20):
Served me well.
Speaker 1 (51:22):
Proceed to level five, and they go to the next
level of the game. You've served me well, proceed to
level nine. My head's floating on like of this misty
creature the Wizard of Oz on the screen. I'm like,
you know, and it was like, I remember, proceed to
level nineteen. I remember when how do I proceed to
(51:43):
the parking lot and get out of here? The idea was,
the idea was, I remember the Lovely People. I never
met Glover. He was a floating head too, so they
got him and you know, fucking they got him up
in Kwanga or something. But the point is is that
I saw this movie and I said, I said to
my wife, I was like, that's it. I said, this
(52:05):
is the worst movie. It'll never be worse than this.
Proceed to level five and drawn and drawn, Yeah, that's
the worst. And I have a couple of other duds
too that we're not really.
Speaker 2 (52:21):
Do you even know the name of your character in
the film. Well, should we look it up? I don't
know King Andrew, yes, King Overlord and King Philosophers or
whatever it was. I don't know. Adam.
Speaker 1 (52:34):
Yeah, we've got Andron there. I'm Adam. I guess that's
Adam and Eve. Oh God, how clever. It's me Adam.
Speaker 2 (52:46):
Yeah, anything else on and.
Speaker 1 (52:49):
Alec Baldwin as Adam at the screening. You'll go to
a screening and you really literally hear people go like, no,
one's everyone's going, wow, this is rough.
Speaker 2 (53:01):
Remember my old picture Dead Weekend, written and directed by
Amos Poe.
Speaker 1 (53:06):
Remember I remember the name? Yes, I remember you doing.
Speaker 2 (53:10):
What did you do?
Speaker 1 (53:11):
Last Exit to Brooklyn?
Speaker 2 (53:13):
Brilliant?
Speaker 1 (53:14):
What was the director?
Speaker 2 (53:15):
Again? It was of Last Exit?
Speaker 1 (53:17):
Yeah?
Speaker 2 (53:18):
Was uhh Uli Edel?
Speaker 1 (53:22):
Who's Uli Edel? Was the director that was named Uli Edel?
Speaker 2 (53:26):
Uly Edel? No, But it was based on the book
by Hubert Selby Junior.
Speaker 1 (53:32):
Yes, Gobby Selby. Last Exit to Brooklyn. Stephen Lang starred
with Alexis Arkett, Stephen Lang, Jennifer, Jason Lee Ert Young,
Alexis Ket, Peter Dobson. I did uh marrying Stephen Baldwin.
Ricky Lake, who directed the movie edel, I don't.
Speaker 2 (53:55):
Think so produced by Barrent. You're right. I apologize. I apologize.
I thought it was somebody else. You know. I know
all that I got fired from casualties of war. They
paid me. I came home. I did left so, he
remembers that, Thank you so much. Sam.
Speaker 1 (54:14):
Hey, I got your casualties of war right here, right here,
all right. I have to call my wife.
Speaker 2 (54:27):
But you know what bad.
Speaker 4 (54:32):
Treating those batlets.
Speaker 5 (54:34):
It's so bad.
Speaker 2 (54:35):
It's good, damn.
Speaker 4 (54:39):
Said guilty madness, this understood.
Speaker 5 (54:44):
It's so bad.
Speaker 2 (54:45):
It's good. One bad
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