November 5, 2024 • 53 mins
The sequel we've all been waiting for! The conversation gets even wilder as Bronson Pinchot tells Stephen never-before-heard stories from behind the scenes of Risky Business, his inspiration for his most famous character from Beverly Hills Cop and finally answers what is his one bad movie.
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Speaker 1 (00:00):
I used to be with Amy Heckerling years ago, and
Amy Heckerling wrote a movie about twelve thirteen years ago
with uh that Paul Rudd's character, and it was heavily
based on me.
Speaker 2 (00:12):
It was obvious, so obvious.
Speaker 1 (00:15):
And then there was a little bit she wanted me
to play just for fun, just for it. So this
is the line you could never write. My agent called
me and said, did you read it? I said yeah,
and she said I know what you're thinking. I said, yeah,
what's that? And she said, you want to play you,
but you can't play you because Paul Rudd is you.
(00:37):
Just parse that for a second. I didn't want to
play me because it was me at thirty. But I said,
say that again and she said, I know that when
you read the script, you recognize that that character was you,
and you probably want to be you, but you can't
be you because Paul Rudd is you. And I said,
that is literally genius. That's like a high coup. I
(00:59):
can't believe you said that. Say it one more time
and it was profound and I said, no, that's not
what I was thinking. What I was thinking is that
the little role she wants me to play is that
niece is nothing.
Speaker 2 (01:10):
I don't want to do it.
Speaker 1 (01:12):
I wasn't thinking. I was actually it's actually nicely written,
and Paul would be great in it. I never saw
the movie, but that would be lovely and it's a
lovely complimentary, you know.
Speaker 2 (01:20):
Portrait to me. But no, that's not what I was thinking.
Speaker 1 (01:22):
But thank you for saying that, because in what other
business would somebody say.
Speaker 2 (01:27):
Stephen, you can't be you. Paul Rudd is you. I
know you want to be you, but you can't be
you because.
Speaker 3 (01:32):
Paul probably the most crystalline example of art imitating life.
Speaker 1 (01:40):
Yeah yeah, yeah, I mean it was yourself. You can't
be you because somebody else is being you. I know
you want to be you.
Speaker 2 (01:51):
I remember the first time I ever played myself.
Speaker 1 (01:53):
It was on this Pamela Anderson show called VIP Right,
and I was playing Bronson Pinchot. It never aired because
there was it rained on the set and uh, everybody's
saying on the walkies, screw it now, the that fire
chief is going to come and get in our faces.
Speaker 2 (02:13):
I hope he slips and dies. He heard it, so
he closed the thing.
Speaker 1 (02:16):
He closed it down, and I had to get on
a plane and go to Europe, so that yes, on
an open mic they said it. He was like, okay, yeah, yeah,
you don't like me and you But anyway, I was
playing myself and the very first take of the very
first time, I was.
Speaker 3 (02:29):
Like, what do I do? It was?
Speaker 1 (02:33):
I was too I was, you know, in my forties.
I was like choked, like what what does that mean?
It never would have occurred to me to do nothing,
because it said in the script Bronson pincho and then
Bronson Pinchot said something and I didn't know what to
do and I so happy it didn't air.
Speaker 2 (02:49):
I completely choked.
Speaker 3 (02:51):
I was.
Speaker 1 (02:51):
I was, I was like, what, Like what if I
do it wrong?
Speaker 3 (02:57):
Right?
Speaker 1 (02:57):
But of course you can't do it if you're if
you're you, if you're you, you can't you can do
no wrong. But it was but that there you go,
because when it was finally me in my house and
I would come down in my pajamas and the director
would say, okay, just cut for one second.
Speaker 2 (03:13):
You know, you're in your pajamas and I go, yeah,
I he'd.
Speaker 1 (03:16):
Say, and you know, your hair looks a little bit
like Elsa Lanchester and Pride of Frankenstein do with.
Speaker 3 (03:29):
Trading those bad lips. It's so bad, it's good. It's
twa guilty lassness. This sun it's so bad, it's good bad.
Or we didn't watch my sex scene in Zebra Lounge.
Speaker 1 (03:49):
Oh no, I need some I need I need lotion
for that.
Speaker 3 (03:52):
Okay, look at him take that in.
Speaker 1 (03:56):
That was that was of the best tastes I've ever seen.
I need lotion for that. Okay, okay, way way in,
you went a mile back into your Sarahbellum. I just
said the first thing that came to my head, and
you just time traveled.
Speaker 3 (04:12):
That was so much fun. You you like went in
because I had this plan. Oh yeah, but it went
like that. But I think you might respect this. It
went like this. There's what I remember of when I
first saw you. Yeah, and then there's what I've seen
(04:32):
because I remember sn L and different stuff, you know
what I mean.
Speaker 2 (04:35):
Just just yeah, you know what I mean, the scrap book.
Speaker 3 (04:37):
But now I got a fangirl just quickly. Because all
the other layers or frequencies that you operate in in
your life, you know, acting coach, you know, uh, a
voiceover artist, different thing, yeah, you know, but all that
stuff you're you're you're more complex. I think, oh yeah, right,
(05:01):
I think did people see you? Oh yeah, you know
that fascinates me. But here's why I'm going to land
the plane the first time I ever saw you with
Eddie Murphy.
Speaker 2 (05:10):
Yeah okay.
Speaker 3 (05:13):
And I'm going to be an ass to make a
point because I'm already getting in trouble with this podcast
because I'm like saying I'm not supposed to say, because
it's just I'm really being honest about my opinion about
stuff because I've been around for thirty five that's what
people love. Well, I'm I'm just being me now and
I'm a grandpa. And so so that said, I remember
you performing if that's an okay word used in your character,
(05:36):
and I remember you were, So I don't want to say.
It's interesting what you said previously about what you said
about the acting coach thing, where you say, oh, I
kind of lean more towards kind of finding it in
its authenticity improvisationally in the exploration because when I watched it,
(05:58):
when I watched that's where I'm going. So what I watched,
Serge the very fight, the first time you ever see
this thing, if you know acting and I know acting,
it was fascinating to watch even it's a comedy, right,
So how Eddie's playing off of you in that ping
pong response thing, however organic that is, however improvisational it is,
(06:19):
it doesn't matter. You were so locked. I'm getting chills,
my hair on my arms standing enough, dude, you were locked.
You were so doing it. It was funny to watch
Eddie go like this, like what they kept in the
movie when he was out of character, because you were
so in character. That's powerful, bro so for me as
(06:43):
an actor for that character to be overlooked, in my opinion,
from what you had to do. I kissed your d
in Macy's window just now to make a point, But
to make a point I want young people to hear
from you now and say, look, I did this, I
focused on this. This is what I did. And if
(07:04):
and if that's as simple as the funny guy would before,
oh yes, But process for this is as simple as Steven.
It's my imagination. I'm a kid in the sandbox and
I just play and and and and Luckily, hopefully I'm
gonna work with people who are gonna catch what I
do when I throw my brilliance. Great. If that's been
your whole career, which I doubt. I think there's some
work that happened. So I just want to hear that
(07:29):
from you, Like, what do you do now when you
want to perform as a character, to get into a
place of that focus of that thing.
Speaker 2 (07:41):
Oh.
Speaker 1 (07:41):
I was describing it to somebody just the other day
because I was on set and I had to see
somebody on the floor that had been I just walked
into the room and this person was murdered and I
had to react to several different ways because it's a
murder mystery. So we had to shoot three different versions,
one where I discovered him and didn't know who had
(08:04):
murdered him, and one where I had murdered him, and
one where I didn't know what had happened. And you know,
there's a million and it's.
Speaker 2 (08:13):
A very stylish show.
Speaker 1 (08:14):
There's shafts of life coming through the Venetian blinds, and
there's this, and there's that. Now, when I was twenty five,
I remember myself saying, Okay, I don't I can't see
any anybody. I don't want to see anything, so I
need black drapes so I don't see anything but that body, okay,
And if anybody you know makes a sound, im gonna
have to do another take, and I had all the
(08:36):
going on.
Speaker 3 (08:36):
That was your process then, No, it.
Speaker 1 (08:38):
Was my profit process, kind of like a couple of
years in right, And I just did it in one
take and the director said, okay, wonderful. Now do one
where you're the murderer. And I did another one I
want to take and somebody said, how do you do that?
Because how do you do that? And I said, oh,
it's simple. I'm in a I'm in a in the podcast,
(09:02):
and there's some bright lights, and there's somebody I know
for yours that I like, and there's always been going on,
and I have to focus on this bottle. So instead
of pretending that there's no distractions, I just imagine that
this bottle is my mother's and she drank from it,
and it's just been discovered, and that means that her
lips touched that, and and her she's in there, and
(09:24):
so now I'm just gonna be with this bottle and it.
Speaker 2 (09:26):
All goes away.
Speaker 3 (09:28):
It used to be I.
Speaker 2 (09:28):
Wanted it to go away and somebody else to take
it away.
Speaker 3 (09:32):
Can I ask you a question? Yeah, okay, So would
you say that your talent is to do with your
own singular imagination. Yeah right, but.
Speaker 2 (09:45):
As it's.
Speaker 3 (09:48):
But it's not the same bronze and hold on. I
played McManus and the usual suspects. So I had a character,
I had a backstory, and he was this and he
did that, and he worked with Benizio's character, and I
had all of that for my own self self. You know.
Then get to the words and say the words and
my process.
Speaker 1 (10:09):
But serge, oh, he was my makeup artist.
Speaker 3 (10:15):
Cheap. I did a cheapy movie.
Speaker 1 (10:18):
In the Caribbean called Last Resort. I think lost Resources.
I want that and my makeup artists, we have to
find out who the makeup artist would come into the
room and she wore sunglasses and she had a cowboy
hat and she was Israeli.
Speaker 2 (10:34):
She had no bones, she was just all cartilage.
Speaker 1 (10:37):
She had sunglasses and she made her own T shirt
with these little like everything was slit and turned out
a bead.
Speaker 2 (10:42):
And she was this character.
Speaker 1 (10:45):
And she would come in with sunglasses and started my
makeup and I'd say, hold on, let's say it.
Speaker 2 (10:50):
Hold on, how can you see.
Speaker 1 (10:54):
How can you see what color I am if you're
wearing sunglasses while you put on my makeup?
Speaker 3 (11:05):
And she said she said.
Speaker 2 (11:07):
She didn't even stop. She said, shut up, don't be stupid.
Speaker 1 (11:10):
She just kept doing it, and I was like, I
do not like this attitude. And her hands were like
we're like this, and she just was she'd had no
cartilage and she just she just is gonna be her way.
And then another day she ordered some eggs and they
didn't come very soon.
Speaker 2 (11:24):
We were all having a lessons.
Speaker 1 (11:25):
She said she she's awful and I thought, owtful. That's
because that's the way the word looks. And she was
just sulky and didn't care and she was all so
I started with her, and it was.
Speaker 2 (11:37):
Lily and I. They couldn't find anybody.
Speaker 1 (11:41):
The character was American, character was not foreign, right, and
they said, we can't find anyone. Started with awful. Yeah,
started with awful. They couldn't find anybody. And I said,
you know, I'll tell you why. I think you can't
find anyone. Because it's nineteen eighty four. That was the year,
and the character was written as a generic gay shop
(12:01):
boy who Eddie would come in and smack around, not physically,
but like, you know, insulting. He said, that's probably why,
and they said, well, do you have an idea. I said,
just give me like a couple of days. So I
was walking around looking at looking at and also and
I heard Lily's voice, so that I'm gonna start with Lily.
Speaker 2 (12:19):
She started with Lily.
Speaker 3 (12:21):
But I didn't.
Speaker 1 (12:21):
I end up really playing her. I used her accent
on her body, her cartilaginous body. But then he actually
was he actually was not her. She wasn't friendly like that.
The friendliness and the playfulness just developed because because of
the way Eddie was looking at man, I wanted.
Speaker 2 (12:38):
To win him over.
Speaker 1 (12:39):
But anyway, that was the improv.
Speaker 2 (12:41):
That was the improv.
Speaker 1 (12:42):
But but that is just because I so what I
do quite often, especially now, is I come in with
zero game plans zero, and I just keep saying what's missing,
what's missing? So sometimes I go, all right, everything's missing
because you suck. And then sometimes I'm like, oh, that's fun.
(13:07):
Like she's just like I'm just feeling my way and
I see this other actor. He looked at me like
I kind of scared her, So okay, like I can
be a little bit like whatever I did to scare
her all those two was a tiny bit more.
Speaker 2 (13:19):
And so now that.
Speaker 1 (13:20):
I have a little credibility which I didn't have when
I was twenty five. I don't It doesn't scare h
when if I come in with no game plan and
I'm just like, Okay, so I'm playing this character who's
sixty five and dressed like he's four in these shorts,
so that could be fun. So maybe I'll sit like
this and even be weirder, and then I just kind
of play with it and then you'll discover it. I
(13:46):
was doing a series called The Chilling Adventures of Sabrina.
I was playing the principal, and there were all these
young girls and I called him into my office and
they were all not all girls. One of them was
a was A was a non binary human being. So
they were all there and I kept thinking, what what
is he? What's SOI villainous about him? I couldn't imagine.
I couldn't imagine. And then there was a scene. There
(14:07):
was a moment where I said, and then we're going
to like trash this book, Lolita, We're going to get
rid of it. And I thought he likes young girls,
so I just started to look at them like yeah,
and the director came in and said, Okay, you found something.
Speaker 2 (14:19):
Don't do anymore. But I love it.
Speaker 1 (14:22):
I just was like, what, I know, he's supposed to
be an ass, but why what is it? And I
just started to play the scene. I was like, well,
you'll find it, and I did. I was like, yum,
oh that's so inappropriate. You can just like love young
girls and that's why they're in your office. And then
and so it was, and he goes, it's so sick, Bronson,
do not.
Speaker 2 (14:41):
Play any more of it.
Speaker 1 (14:43):
But but wow, because it didn't say it in the.
Speaker 2 (14:46):
Scrib I said, what's what's the problem with the guy?
What's so bad about him?
Speaker 1 (14:48):
He said, you know, he's just energy, He's just but
that I found it by by just running over the
word lolita, and I was like, oh, yes, okay, so
there is so I'm.
Speaker 3 (14:59):
This is what was the girl's name with the first
word again, Liz? What was it? Lily? Is that the
girl's name with the makeup artistan? Yeah?
Speaker 1 (15:08):
And then later on I did a movie with her,
another movie with her, and by that time I had
said in several interviews that it was based on Lily
ben Yayere. And there she was and she was like no, no,
She was like, you're so brilliant, And I said, well,
thank you. You know, I started I based on you.
She goes, I know, and she was and it was great,
(15:30):
you know, there she was.
Speaker 3 (15:31):
You don't realize there was a little no cartilage even
in the performance.
Speaker 1 (15:36):
Yeah, yeah, no, I started with her. She was the
flower of the cake. I didn't use the same icing,
but she was the base.
Speaker 3 (15:44):
Was there anyone else? Yes?
Speaker 1 (15:45):
There was a guy who sold me my first car,
my very first car, and he was also was Raeli.
And when I was driving off, he also had no bones.
But as I was driving off, he said, remember unleaded.
Speaker 2 (16:02):
For unleaded, and I was like, unleaded. That is delightful. Unleaded,
remember unleaded?
Speaker 1 (16:09):
Like that was the basis, Just like say the words
kind of the way they look and kind of have
no bones.
Speaker 3 (16:15):
Just just get rid of your bones. That's amazing.
Speaker 1 (16:18):
And sometimes it works and sometimes it doesn't.
Speaker 3 (16:22):
Uh uh. In character creation, it is like when we
were kids and you were playing with army men. It
is that childlike kind of very similitude. When you're little,
you hear you.
Speaker 1 (16:38):
Hear the suggestion in your head and you don't think
anything of it. It's when you get to be thirty
and the whisper says, you know, sit in a funny way,
and then you go into I don't care right now.
Speaker 3 (16:49):
Is there's a lot of young people who just heard
from you that here's kind of this you know twister
where I heard this and my hand landed on blue circle. Yeah,
and then I heard that and my foot landed on
(17:10):
yellow square and I heard you know what I mean.
It's just so cool that you're pros because I do
that similarly in my own where I go, Okay, who's
the guy what pops into my head? Okay, yeah, yeah, yeah,
maybe he was in shin Faine. You know when I
did usual sus I had shin Faine on my knuckles.
No one asked me a word about it. One reporter
(17:31):
doing a press Chunkert was like, yeah, I know, if
you have shin Faine on your knuckles, there is the
character mcnas. I've said there going thank you so much
for you know. The thing is, it just goes.
Speaker 1 (17:41):
It's like, it's great when they don't notice because they're
taking the whole gestalt of the character instead of the
little bitty bits.
Speaker 4 (17:48):
Right.
Speaker 1 (17:48):
The other thing, I know that you've had this experience
as you get older at the beginning you're like, I
just want to hear the whisper. I don't want to
hear anything else. Nowadays, a director will come.
Speaker 2 (17:59):
Up and go, okay, so I love everything that's going on.
What if he's just a little.
Speaker 1 (18:08):
Bit sneakier On the show I'm doing now, which is
a murder mystery.
Speaker 2 (18:12):
My wonderful director who I love, will come.
Speaker 1 (18:15):
In and she's just a little sprite and she'll go, Ronnie,
it's really good. Could you be more murdery? And I'm like,
oh god, yes and murdery and then she goes with
any other actor. I would have tried to come up
with a more grown up word, but I knew you
would like it.
Speaker 3 (18:33):
Do I like it?
Speaker 1 (18:35):
And then I do it more murdery and she's like,
oh god, that was a murdery yeah.
Speaker 2 (18:39):
Yeah, And so it's like we're kids playing.
Speaker 1 (18:41):
But the nice thing about getting older is that the
little the little whisper can come from her head too.
And when I was younger, I was like, he has
to be just mine, otherwise it's inauthentic. And now you know,
there's there's everyone. As I say to young actors, and
I'm like, you have a lovely sieve up here, it
(19:01):
will sive out the crap. So if somebody comes up
and says you're gonna do You're gonna you're gonna play Bronson,
Pinchow and Steven Baldwin. Okay, but I want you to
play Bronson as a drug addict. If that's a crappy
idea and it doesn't go with what you're doing, you
just it just gets sivved out. You can say, oh,
(19:22):
maybe he means bronze is kind of uninhibited, like it'll
there's a lovely natural sieve. And you know, when we're young,
we think that, uh, a direction that feels a little
clunky is gonna hurt what we're doing. But it turns
out there's this amazing you know, like finer than than
the than the civiews for Tea leaves.
Speaker 2 (19:42):
That just it's like it's just sives it out.
Speaker 3 (19:44):
It's okay, listen, I remember your scenes in those films,
and and of course you've won many Emmys.
Speaker 1 (19:54):
Correct, No, not a one I was nominated.
Speaker 3 (19:57):
Okay, so that's what I read. Forgive me. But even there,
over a pretty significant arc of three and a half decades.
Speaker 1 (20:09):
Four you've done forty two years close enough, not even
not so not close.
Speaker 2 (20:16):
I'm just kidding.
Speaker 3 (20:17):
I was off by seven years. That's good for the
youngest Baldwin.
Speaker 2 (20:21):
That was really funny.
Speaker 3 (20:24):
But I just think you play certain roles in certain
performances in certain films and they pop and people remember them. Yeah,
it's unavoidable. But I'm just saying that for me, your
character in those films is the most memorable. I really
will say that without you, you know, and you know,
(20:44):
coming up, we watched certain people certain people. So in
other words, I have this weird little filing cabinet in
my mind of actors and performances like Jonathan Lithgal. You're
in the Jonathan Lithgow league with me, and that's a compliment.
Speaker 2 (20:59):
Thank you, Because he's He's wonderful nobody.
Speaker 3 (21:02):
He's better than de Niro, He's better than Puccinos.
Speaker 2 (21:06):
He's also fearless.
Speaker 3 (21:07):
They can never do what he can.
Speaker 1 (21:09):
He's also fearless and a gentleman, which is a rare,
Such a gentleman. He's such an old fashioned gentleman.
Speaker 3 (21:16):
Ex brilliant emotor.
Speaker 1 (21:20):
You know what's great also is he doesn't because this
is something I was taught and I really believe in.
I it's not necessary, but it's sure is wonderful when
they're like, like, you don't have to show the work,
and you don't have to pat yourself on the back,
and you don't have to be like I'm weird, you know,
like it's just like it's what we do. So you
have your little pack and has your oil paints, and
(21:40):
you paint a picture and then you peck it up
and go to go to dinner.
Speaker 2 (21:44):
There are some people that are like actory all day long.
Speaker 1 (21:46):
One of the things I used to go to the
catered lunch at audible dot Com in New York and
there's all these narrators and I finally started to sit
with my back to the room because they would come
up and do the narrator voice, which I can't. So
they come up and you're sitting there and you're like,
this is pretty good or arugula. And then somebody comes
up and this is a woman, by the way, or
(22:07):
it could be a man, but in this case is
the woman, and they'll go.
Speaker 4 (22:10):
Stephen, I absolutely adore your audio work, and I think
you're doing your audio voice and I'm not interested. Why
don't you talk to me about your vagina candle? I mean,
it's like, what are you doing? And they do their
they do their narrative voice. I'm like, I don't want
your narrative voice. I personally have a voice that sounds
(22:30):
like a mosquito, but I can use it in different ways.
I'm not gonna do my acting voice all day for
you and impress you. It's like, stop, you know.
Speaker 3 (22:39):
I'm so sorry. And what exactly does a mosquito's voice
sound like anything?
Speaker 1 (22:45):
Yeah? Like hi, Hi, Stephen. You know, it's just like,
it's just like a mosquito. When you're camping and there's
a mosquito and you're just about to go to sleep
and there's a mosquito that goes.
Speaker 3 (22:56):
I'm here, you won't forget me. You we're not going
to sleep now.
Speaker 1 (23:02):
But you know, there's those people that we know them
and we're not we're not of that tribe, but they're
you're on a set with them and they're like, you're
playing a character named Dufus, and they never don't call
you dufus. It's like, dude, you don't need to do that.
It really is when they say rolling, that's whine. But
(23:22):
I really, really, and I've worked with people that that
you know and then their character doesn't like you, so
they treat like shit for twelve weeks.
Speaker 2 (23:29):
Don't do that. Let's just have some.
Speaker 3 (23:31):
Pizza and then myself and my trailer, I just with
those folks. I just go up.
Speaker 1 (23:36):
I'll tell you who's cured me of that forever. I
was doing a movie called The Langeleres where I was
a demented killer demented, and I was thirty, like young,
early thirties, and I was really locked in my trailer nobody, please.
Speaker 2 (23:50):
Don't let anyone near me.
Speaker 1 (23:52):
It was right after Perfect Strangers. So I'm like, I don't,
I can't, I can't. So all of a sudden, nobody
knows how. And I saw the ad go this little
tiny grandma and her great granddaughter who was two or three.
They came up to me. I was under the wing
of a plane, and they went, could we take a picture?
Speaker 2 (24:12):
And I looked at them for.
Speaker 1 (24:13):
A second, and I saw the ad behind them going
please don't kill me, and I went, aren't.
Speaker 2 (24:18):
You scared of all this blood? I was covered with blood?
Speaker 1 (24:21):
And they said no, And then I don't know how
they got through the barricades, and then they went away,
and I thought, well, you're certainly not gonna yell at
like a little granny and a granddaughter, and now you're
just just fine in the scene. So that's interesting. So
I forgot about it, and then I was like, you know,
the barricades. Then they came back. I don't know how
they got through. Maybe they might not have even been
real people. They might have just been sent from heaven.
(24:42):
They might have been apparitions to knock me. So they
came back like two days later and they said, now
will you sign it?
Speaker 2 (24:48):
And I said, of course I will.
Speaker 3 (24:50):
And then they went away.
Speaker 1 (24:52):
Maybe they weren't even real. And after that I would
just horse around all the time and then I'd be
the murderer.
Speaker 3 (24:57):
And that they cured.
Speaker 1 (24:58):
Me that that little girl who's forty and her grandma
who's now in heaven, they just showed up once I
didn't one hundred percent get the message. And then they
came back and they knocked it out of me permanently.
I was like, if you can, obviously you're not going
to yell at them, and obviously you just got right
back to your work, so apparently you don't need all that.
(25:20):
And I just stopped a little little teeny girl who's
like forty now they didn't even register, like why why
wouldn't you go talk to him? That's Balki, And so
they didn't, and I was like, okay, done, I get it,
Thank you Universe. First telegram didn't quite get it. Second
telegram fine, and uh to the point that there's a
(25:40):
fantastic actor in it, blonde guy, David Morse, you know,
David Morse, David Morse, very well, stunning actor, and he's
in it. And he had been with me for you know,
six weeks until I had this epiphany, and he was,
you know, really into my process and everything, and then
all of a sudden I was like, mister goofball. And
I said to him once he was looking at me,
(26:01):
and I said, you know, David, you remind me of
when it was still possible to go into up into
the Statue of Liberty. You remind me of like there's
two fun people looking out of the eyes of the
Statue of Liberty, and you're the Statue of Liberty, but
there's a couple of fun people in there. And he said,
you remind me of my brother. And I'm going to
have to ask you to stop looking inside me and
(26:23):
being goofy, because I want to just like, that's too
weird that you know, and he said, and he was
so kind. He goes, I'm just gonna you remind me
way too much of my brother. You're too insightful, and
you're being very goofy.
Speaker 2 (26:34):
So can I ask.
Speaker 1 (26:36):
You, like as a friend, to just now keep your
distance for the rest of the movie.
Speaker 3 (26:40):
So I I bistically and respectfully.
Speaker 1 (26:44):
Yet it was so great and he was so David.
So anyway for the rest of the movie, I did
because I love the way he asked me.
Speaker 2 (26:51):
And I got sent.
Speaker 3 (26:52):
And the very last.
Speaker 1 (26:53):
Day we were shooting way out on a tarmac. And
on the very last day they said, hold on, can
you hold on one second? Somebody wants to see you,
And this golf cart comes up. Now we were shooting
way out on a tarmac, this golf cart because I
and it's David in drag with the mustache, in drag
as a nurse, just to show me that he just
loved goofiness.
Speaker 2 (27:13):
But not for that movie.
Speaker 1 (27:15):
Right, It just breaks my heart to even remember how
how wonderful it is because.
Speaker 2 (27:20):
He did it the right way.
Speaker 1 (27:22):
You know, we will give anyone the we're actors, We'll
give anyone the shirts off our backs. But don't don't
say hey, keep your distance, goofball, just say it's just
it's great, but I need so.
Speaker 2 (27:33):
Then he comes in drag to the set in.
Speaker 1 (27:36):
Nurses and a nurse off it with nylons, just to
make me laugh and to make me know that he
got me right. And and then this little granddaughter and
the granny and they knock, they knocked it right out of.
Speaker 3 (27:50):
It.
Speaker 2 (27:50):
Just I was just like.
Speaker 1 (27:51):
They're from they're literally messengers. They're saying, don't waste your time.
You don't need it, you don't need anything. Once you
know what you're doing, you can pop in, you can
pop out. And it was such a gift because I
never I've never done I don't do any prep nowadays none.
I used to do how to be an hour and
a half in Pitch Dark and it's done. I get it.
(28:13):
I don't need it. I guess it's kind of just.
But this that little girl, wherever she is, I love it.
Speaker 4 (28:19):
Yeah.
Speaker 1 (28:25):
I think the one bad movie would have to be
from a place of darkness, unless it's Kung Fu and Titties.
Speaker 3 (28:32):
I'm sorry once again, kung Fu and Titties. Is that
a title?
Speaker 2 (28:35):
Yeah, I don't even know what it's about.
Speaker 1 (28:38):
They just asked me if I would do it for
a few thousand dollars in cash, and I said yeah.
And I remember they did do kung fu in the movie. No,
they wrapped garbage bags around my legs.
Speaker 3 (28:46):
I don't remember why.
Speaker 1 (28:47):
I was a homeless guy who was also possibly an Indian.
I don't remember anything about it except that the heat
went off and it was really cold, and I had
garbage bags around my left.
Speaker 2 (28:57):
But it was called kung Fu and Titties. And I
don't think you're gonna find a worst movie.
Speaker 3 (29:03):
Is it? Is it on YouTube?
Speaker 2 (29:04):
I have no idea. You played a character called the beaver.
There you go.
Speaker 1 (29:09):
I don't remember anything about it. I don't remember if
I have if I had garbage.
Speaker 3 (29:13):
I don't think your one bad movie.
Speaker 2 (29:15):
Is from a place of darkness.
Speaker 3 (29:17):
No, kung Fu and titties.
Speaker 1 (29:19):
Well, I don't even know what it probably is, but
it But but the second the second second place goes
to from a place of darkness.
Speaker 3 (29:27):
Wonderful and it could that could be reversed. That's the
experience here. We're trying to get to the bottom of
what's the third one I gave you?
Speaker 2 (29:36):
Strike.
Speaker 3 (29:38):
Oh, is that bad?
Speaker 2 (29:40):
I've never seen it.
Speaker 1 (29:45):
Here's twice in one interview.
Speaker 3 (29:47):
He's like, kind of crowned two freaking victories. Here here,
here's good.
Speaker 1 (29:52):
Let me say, oh, is that that's kind of a bad.
Speaker 3 (29:56):
Movie because it's so bad?
Speaker 1 (29:59):
Is it?
Speaker 2 (30:00):
I've never seen it?
Speaker 1 (30:00):
Well, I was told this potentially. But here's the story
of the Strike. I didn't read the script. I was
up in the country doing that renovation show. I was
so out of touch with showbiz. I didn't have an agent,
and I was recording audiobooks in my house and I
said to the audio engineer, I don't know what these
(30:22):
people want, but you deal with them.
Speaker 2 (30:24):
And so here was this. It was the Strike. But
it gets better.
Speaker 1 (30:27):
So he's got this nine inch beard, and he used
to like before he started to do books with me,
he would like deliver weed, you know, before it was legal.
And so he's like, he want you to do I said,
all right, So I went out. I never read the script.
I just read my scenes and I would say to
the director, Oh, so the director's cuban, and he goes,
(30:47):
you are the peapot, and I said, I know what pivot.
He meant that even though the part wasn't that big.
I was the pivot of all the characters. I was
where that the story pivot is right. So the script
was the script was a little bit awkward, and I
said to him, you want, I think you want to
trust me to just let me just improvise it. Let
(31:10):
me just make my own words up.
Speaker 2 (31:12):
Okay.
Speaker 1 (31:13):
So because it was it was like, you know, it's
like written like in the idiom of a guy.
Speaker 3 (31:19):
That in you're coaching class. Now you tell the kids
that they should read the script. Yes, just because you
have to. You have to know how to do it
before you know how to undo it.
Speaker 1 (31:29):
So anyway, I'm doing this movie with Pabot, and the
woman playing the lead role, she said to me, you know,
I don't know if you're now you're kind of good
in this. I said, yeah, well, I don't have an agent.
Then she said, oh, I could get you an agent
in five five seconds with like one daily. I said,
do it, and she did. So that's how I got
(31:50):
my manager. And after I got my manager, I moved
back here to take care of my mother.
Speaker 2 (31:55):
And the manager said to get me work right and left.
And then there's an agent came.
Speaker 1 (31:58):
To see me as something and he said, I would
never have believed that was you because it was so good.
I was singing, and what.
Speaker 3 (32:04):
Year was that? Please me?
Speaker 1 (32:08):
Six seven years ago? And so I said, oh, I'm
so good that you couldn't believe it. How am I
so good that you would represent me? And he goes, oh, oh, yes,
So that's how it happened. It happened from a movie
called The Strike that I never read. I just lived
my way through it. And I remember there was a
guy playing my best friend in it. And he said
(32:28):
to me one day, because how random actors are, he goes,
he was a lovely guy, and he said. We were
waiting to make an entrance, and he said, have you
ever seen one of those porn movies where somebody and
then she has to She's like, how come they don't wretch?
And then we walked on and I hope that scenees
(32:49):
in it because I'm I'm laughing so hard and it
tells you that it is better than any other beat
of like that. We're best friends. He just said that
to me. He really wanted to know. He wasn't trying
to make me laugh. It was like they don't gag
in rich. Then we walked on. I was like, that
is the most amazing, Like it's such a gift. You
just said that to me because you're kind of bored
and the kind of like, I just it just came
(33:11):
to you. And I'm dying as we come on, and
I guess we're supposed to have just had lunch.
Speaker 2 (33:15):
I never read it, so I don't know all I haven't.
Speaker 3 (33:18):
We're almost done.
Speaker 1 (33:20):
Almost I have a please go to So you've played
Sara's actually five times now.
Speaker 3 (33:25):
Four no three.
Speaker 1 (33:27):
I was in Cop one, sat out Cop two, did
Cop three, and this is Cop.
Speaker 2 (33:31):
Four, so I'm in three of four. But you didn't
do the pilot that they pilot. Yeah, there was. They
tried to reboot it with Brandon T. Jackson. You've never
heard of that.
Speaker 1 (33:40):
Wow, Wow, it's in your IMDb credits. Well you know
it's like, oh that's the Wikipedia. Oh wow, that must
be I remember my mother saying to me once she
I went home and she was kind.
Speaker 2 (33:51):
Of like ticked off, and I go, what's wrong.
Speaker 1 (33:53):
She goes, the next time you get engaged to be married,
maybe you'll tell your own mother. And I said, I'm
not engaged, and she goes, well, your aunt saw it
on Wikipedia, and I said, oh, well, maybe she needs
a mental douche.
Speaker 2 (34:08):
Because it's not the Bible.
Speaker 3 (34:11):
She was like mad that. I was like, I'm not.
She didn't even understand that Wikipedia works, which is people
can add it. They can add whatever they want any
almost anyone can.
Speaker 1 (34:18):
IMDb is supposed to be a little bit more rigid
or like, it's still I.
Speaker 2 (34:22):
Didn't even read that stuff.
Speaker 1 (34:23):
I mean, first of all, I don't even remember what
I've done, because it's only what you're doing right now
that matters. And you know, you can be like you
can be Dame Judy Dench and if you're having a
bad day, then you're having a bad day, right You're
just literally every day is an audition. I don't know
if you remember, but you know, once I was out
(34:43):
of my period where I was offer only, I felt
so injured that I had to audition.
Speaker 2 (34:47):
But it's like, yeah, but every day is an audition.
Speaker 1 (34:49):
Every day you go in and you do your big
scene and it's like you can see people literally thinking, God,
damn it, he's good, or you can see them thinking
when's he going to.
Speaker 2 (34:59):
Pull out the good stuff?
Speaker 1 (35:00):
You can see it, So every day is an audition.
Every day of your entire career, every every performance of
a play, every take, every everything.
Speaker 2 (35:08):
You know, it's all an audition.
Speaker 1 (35:10):
And if you if you're if you're B plus and
you want to be a plus ash the best you
got that day, then your B plus.
Speaker 5 (35:18):
That's just who you are. I have a cornball question. Yeah, yes,
And this is kind of like my m Night Shalaman
talent here, stay with me. He is I can read people.
What's his name?
Speaker 3 (35:31):
I could M Night Shandel.
Speaker 2 (35:32):
No, but you can't have a name M.
Speaker 1 (35:34):
It's okay unless you're anti M.
Speaker 2 (35:38):
And he's so good.
Speaker 3 (35:42):
Yeah, so I could read people a little bit. Yeah,
if you haven't already written some stuff. And I don't
mean you with a pen or clicking your fingers, I
mean you sitting with almost like a sonographer who's a
writer who records it and just sits with you in talks.
(36:07):
Because I think, my friend, if you start taking some
of these.
Speaker 5 (36:13):
Nuggets you mean, autobiographical, no, whatever you want, that you
have a very unique gift of really well.
Speaker 3 (36:22):
I think your imagination is very special, and I think
if you applied it to storytelling, creating your own original
Bronson stories for whatever reason, I think you should explore that.
Oh right, because I understand the process. I just explained
I wrote two books. I can't write a book to
save my ass. I can spell Massapequa because it's where
(36:46):
I'm from. Okay, but that's about it.
Speaker 2 (36:49):
Yeah, where is it in New England? In New England?
Speaker 3 (36:54):
No, that's the southern shore of Long Island New York
South Shore? Are they one? The fifty yard line of
Long Islands, straight south on the Great South Bay. It's
called Oh that said. I'm not a writer. I can't
write a screenplay, but I can create ideas. I can
create a concept. Like right now, I'm writing something that
(37:16):
we may do in India that's very similar to Beverly
Hills Cop actually in just the baseline, you know, fish
out of water scenario, you know, two law enforcement guys
fish out of water. There's been many of those films.
I just was talking to the writer. We're almost done
with the treatment. You know, I want that thing. I
(37:39):
must have that thing Bronson. And I'm talking to the
writer and I go, you know, like when Bronson was
in the movie and he would he did and the
cup like you know when Mail Gibson does the point
but by the time it's over, he's already got the
gun in the guy's face. So you can't stop to
wonder why that three stooges bit worked. Same with Bronson.
When Bronson does something and in the performance, it's like
(38:01):
it's a little bit of this roller coaster that is
not the big fast one. It's the CREEPI or slow
one when you were a little kid. The way it's
it's really fun. As I'm right, you know, talking to
this writer, I'm saying this, This idea of doing this
concept now but set in Mumbai should be just like
(38:22):
it felt back when those movies told these stories that
there was a zaniness to the action comedy, but there
was this authenticity where the characters loved each other at
the end, you know what I mean, they cared for
each other. Now there is no character. There's this I
don't know. I never that's the next interview.
Speaker 1 (38:43):
I think I saw The Favorite with Olivia Coleman and
what was that like seven eight years ago? Oh boy,
I never go because I can't stand to be disappointed.
Did you see that movie? The it was all about
World War two and the like the nineteen no, no, no,
(39:04):
it was uh, it was just one word. It was
like the amazing battle that was like that.
Speaker 3 (39:10):
Let me ask you a question, what could you ever
do this, like live on a stage with film students?
Speaker 1 (39:16):
Of course, wouldn't that be I'll tell you what I
just did. That hurt my heart. We did the fortieth
anniversary screening and Q and a of risky business and
it was unfortunately moderated by somebody who I swear to
talk like this, And this was the question he had
for Rebecca the morning.
Speaker 3 (39:35):
Does he talk like this?
Speaker 1 (39:35):
And because the question was so tacky, it literally literally
gutted me like a deer. So, Rebecca, I suppose you
know that this week and Tom Cruise is opening in
the latest installment of Mission, then, and what does it
(39:58):
feel like to be opening Nothing?
Speaker 2 (40:03):
Well?
Speaker 1 (40:03):
Tom is an interneh word for word, and he spoke
so slowly that you could feel the creeping toward you.
Speaker 3 (40:16):
And it was like, but did he literally say how
does it feel to be opening in Nothing?
Speaker 1 (40:20):
Just about I'm telling you you can ask anybody that
was there and the thing that I did. There's a
whole audience there and we're all dying. It's like, dude,
so I just did this? He was like, where that
light is and I just went like, I just did
the biggest theatrical take. Is all I could do for Rebecca.
(40:41):
To her credit, she said, well, I don't know.
Speaker 2 (40:44):
Maybe I should have jumped out of more airplanes, right?
Speaker 3 (40:47):
Did she say that?
Speaker 1 (40:48):
Could? That's the word for word. But the thing of
it is, it's like, dude, shut up, we don't need
you moderating. The other thing that happened was that all
the good stories were not told because all all the
good stories are politically incorrect. Like the time they were
shooting the sex scene and I crept up in between
the flats and watched them and then got caught. I
(41:10):
could not tell that story because no one asked. I
climbed up, you know, in between the flats, in between
the furniture pads, and watched them. And Rebecca had had
some white wine to get in the mood.
Speaker 3 (41:24):
I told her this.
Speaker 2 (41:24):
I told her it's been forty years. I was like,
can we still be friends? And she said, what did
you do?
Speaker 1 (41:31):
It was a closed set and I crept on with
Shara Denaesy that played her buddy in it, and I
said in shera and I crept up and we watched.
And then when you were taking off your underwear. You
kind of stumbled and then we were laughing.
Speaker 2 (41:44):
So her we got caught and.
Speaker 1 (41:46):
She said, well, I guess it's been forty years. I
guess I can forgive you since I never knew. And
it was like, you have to that's me be foury years.
Speaker 3 (41:52):
But anyway, did you see them naked?
Speaker 1 (41:54):
No?
Speaker 3 (41:55):
But anyway, did you see Tom's butt? No?
Speaker 1 (42:00):
He was he was out of the shots. She was,
I don't know where he was. But all the good
stories were all edited, so they would say, so, how
did you get this part so and so? And I
would think, oh, well, and of course it was like,
well there was I had some good buzz. It's like, Naydan,
you did this. And all the good stories were untellable,
(42:25):
and the questions were from this guy, tell me Steve,
then what like having a blue shirt.
Speaker 2 (42:32):
I was like, dude, shut up and die.
Speaker 1 (42:35):
And the questions were terrible and the answers were were
so denuded of so I was like, this is the
first I'll never do another one. Of course, they'll I'll
be dead by the fiftieth one. But why are we
doing this when all the good questions are not being asked?
And all the answers are just bleached of content, like
(42:56):
this isn't fun. It's been forty years, you should be
able to tell. But the stuff that really went on,
that story that wasn't.
Speaker 2 (43:02):
Told, well, we'll have to get on stage. No, this
is all juicy.
Speaker 1 (43:09):
I mean it's all it was a movie about. You know,
there was all these beautiful prostitutes and they were I
don't know why, but they sectioned them off. We were
literally like I was twenty three, Tom was twenty. So
they sectioned them off in this tenth of furniture pads
and they were just in there doing the wildest stuff.
And that was the tip of the iceberg that was
(43:29):
during the filming. Yeah, and then there was this nice
young actor who was playing the most innocent of all
I think he was I think he was seventeen or
something at the time.
Speaker 3 (43:39):
Business.
Speaker 1 (43:41):
It was the young guy, Raphael Sabarge and he's he
was playing the young the youngest, the most innocent looking
of all of us kids.
Speaker 2 (43:47):
And he was Now I'll tell you later real quick.
Speaker 1 (43:51):
So how long were you guys watching How long were
you there before you got caught watching the sex scene?
Speaker 2 (43:55):
Twenty five minutes?
Speaker 1 (43:56):
Oh wow, and and the thing is, I was laughing
so hard because I couldn't believe. First of all, we
sneaked down and that was fun, but then she had
high heels on it, and she's taking off all her clothes,
and then when the underwear got down to her ankles,
she was supposed to like get it off elegantly, but
she kind of slipped because you can't. I myself, I'm
(44:17):
proud to say now I'm ashamed to say that I've
never been loopy on white wine and high heels naked.
I mean, it's it's to try. But she just, you know,
she kind of and and I love Rebecca. She's so
wonderful in that movie, and so I find it. I
finally came clean to her and she's so she's like
(44:37):
for real. I said, that's so funny, I know, and
she you know. But the thing that was great is
I always say to people like, I don't really know
what my religion is, but if I had to worship anything,
it would be time, because time really does solve everything.
Speaker 2 (44:52):
So she looked at me and she was like, for real, bro,
I said, yeah, she goes.
Speaker 1 (44:59):
Forty years and I can't even like rev up, like
getting mad long ago was this forty years that you
were having this conversation with her, oh, you know, five
months ago or something.
Speaker 2 (45:09):
And she looks fabulous. She does she's a you know.
I'll tell you.
Speaker 1 (45:14):
The other thing I learned about Rebecca is you must
know this too, that however good looking you are, the
camera does a final focus.
Speaker 2 (45:25):
It adds five percent to what you have. So people
that are just.
Speaker 1 (45:31):
Amazing looking in the room, they go a little out there.
They're like fruit that's overripe. Rebecca in person was a
beautiful woman, but there was something and then the camera
just went. And so when you would look at her,
she'd be talking to her and then you'd, you know,
someone would say, hey, you want to see what's going
They didn't have video play back then, you know, but
they would one to look in the in the lens
(45:52):
and it was like, who's this vision? Because the camera
just finishes you. And if you start out amazing, it's
a it's like you know, when there's too much sugar
in your coffee, it's it just goes. It has to
do that one thing. And she was the most extraordinary
example I ever saw of that, because she was a
riveting woman in person, but on screen it was like,
(46:12):
what is happening with these eyes and these cheek ones
and these lips.
Speaker 3 (46:16):
And this.
Speaker 2 (46:18):
Other world like she had another world equality in it.
Speaker 3 (46:20):
And that was.
Speaker 2 (46:23):
But she really had the Jena se Kua r.
Speaker 1 (46:26):
She was amazing and and mysterious, so mysterious. She was
so mysterious in a great way. So was Patricia on
to a mess. It's like I can't figure her out,
but the camera understood her. You will find this eccentric.
(46:46):
But I wish I was intimidated by you when we
worked on that movie all those years ago. I wish
I'd known you were fun. I didn't know you were fun.
I thought I thought you were kind of a chic movie.
Speaker 3 (46:56):
It's stutter you're meeting me now, But I wish I
had it better.
Speaker 1 (47:01):
We might have It looks like you would be fun,
but I didn't.
Speaker 3 (47:04):
I I could.
Speaker 1 (47:06):
I you just a little glossy and a little bit
a little bit like you know, famous famousy And I, uh,
it's a it's funny because I can see you in
my mind's eye how you are that?
Speaker 2 (47:16):
And I remember I never really spoke to you much.
Speaker 3 (47:19):
If all, you and I are on similar parallels now,
I've been kind of out of the mainstream, kind of
haven't had an agent, you know, blah blah blah, blah blah.
In the last fifteen twenty years, I've kind of worked
doing charity stuff, charity media, creating documentaries like paying bills,
(47:40):
doing this, you know, living a little bit well. I
wanted to get my kids married, which which all worked
out fabulously. But but all of that said, I just
think it's and there's no other way to say it
other than to just say it, which is, I think
it's a fascinating time in Hollywood with when somebody like
you can have to come back into the normalcy of
(48:04):
this matrix of the industry. Uh, in the process that
you did, I just I mean, it's a miracle anything
ever gets done, you know what I mean? But you
just again, no, no, I'm having this.
Speaker 1 (48:19):
Let me finish, ok, Steve, Steve, are you telling me
that you need to finish?
Speaker 2 (48:24):
And that's fucked up?
Speaker 1 (48:25):
Well, because this is my show, I know, I know,
I'm just kidding.
Speaker 3 (48:29):
What my point is?
Speaker 2 (48:31):
I never have a point.
Speaker 3 (48:32):
Please, you gotta take your class, by the way, yeah,
because it would be pointless. Sorry. Anyway, hopefully the last time.
Speaker 1 (48:41):
You do have and you always have had since you
were like the first done thinking the most mischievous eyes
that ever were mischievous.
Speaker 2 (48:50):
In anybody's head. They look mischievous before you even get mischievous.
Speaker 1 (48:54):
And it's so funny to see that you really are
incredibly mischievous. Go ahead, uh for so mischievous you look
like that decided that he wasn't going to deliver presence,
just presence, that.
Speaker 3 (49:11):
Is literally what you because we really didn't get your
chicken in rest.
Speaker 2 (49:16):
Wow, that's funny.
Speaker 3 (49:18):
Do you know? Do you that would be funny?
Speaker 1 (49:20):
Do you? I think all the time on sets and
like people will come up and go, okay, hold on,
and I'm like, we had polaroids for continuity in the eighties.
We had polaroids and you couldn't see anything because they're
all blown out.
Speaker 2 (49:33):
They're just they're useless.
Speaker 3 (49:34):
Next year, each quarter of next year, you and I
should agree to take like three days and make a
short film.
Speaker 2 (49:47):
Oh done.
Speaker 3 (49:48):
We should do four short films next year. Yes, where
you conceptualize and listen to me, dude, I will go
full blown pee wee herman with you.
Speaker 1 (49:58):
All right, I've got my first one at me in
the movie I like that, and I caught that. But
I'll tell you what. The first one is two pieces
of lnt in Madonna's ass crack, and we're just we're
just two pieces of lint in her ass crack.
Speaker 2 (50:09):
And and it's backstage.
Speaker 1 (50:11):
That would be very right after the show, so we're
sticky to each other.
Speaker 3 (50:17):
I never thought of that. That would be a great improv.
Speaker 1 (50:20):
I mean, and we're just we're just we're just stuck
to each other, and we're like, God Almighty, and.
Speaker 3 (50:26):
We're gonna make.
Speaker 1 (50:29):
I have to peet and I have to get out
of this light. Man. This is like being on the Mars.
It's like being on Mars, you know, and Mars.
Speaker 2 (50:40):
Ends up looking like Chatsworth. Isn't that weird?
Speaker 1 (50:43):
Like when they finally got the rover up there and
they're showing it and they're.
Speaker 3 (50:47):
Like woo, and I'm.
Speaker 1 (50:49):
Like, that just looks like the rocky part of Chatsworth.
That's literally what what you see from the one eighteen
Orange Dirt and Rocks. Oh, it was really really fun.
Thirty years in the making.
Speaker 3 (51:02):
What is the what is the.
Speaker 1 (51:04):
Year of that movie? Because it had to be at
least there's more than jury.
Speaker 4 (51:08):
Yeah.
Speaker 3 (51:08):
Four had to be more like, oh no, no, no way.
Speaker 1 (51:15):
I got married and Necker came out in ninety five.
Speaker 3 (51:20):
I love it. You can't remember your toast pincho.
Speaker 1 (51:25):
Do you want to do you wanna fly?
Speaker 3 (51:27):
Yeah? Buddy?
Speaker 1 (51:28):
Do you want to plug the new Beverly Hills cop
Beverly Hills cop axel F is the name of it.
It is not Beverly Hills cop for it's Axial Beverly
Hills cop axual F.
Speaker 3 (51:38):
Oh wow, on.
Speaker 2 (51:40):
What like on a screen near you?
Speaker 3 (51:43):
Can I bless you right now? Okay? Because because I
did this with one other persons, Johnny, paying attention, John John,
Do you know who Taron Manning is? Taron Manning. She's
a musician that became an actor. And I had some
wordrobe that I acquired for hosting this program, like Lonely Ghost.
(52:09):
I like wearing Lonely Ghost. I just like the Lonely Ghost.
But this other company called Reconstruct takes clothing like your shorts,
and they'll take the shorts and like on here, they'll
take another piece of colony and put like a lining
on it, so they redesign existing clothing. So I would
(52:29):
like to give you the second the second time I'm
doing this uh uh camo kimono, so don't move, don't
move or go pee and then I'm going to give
you a camo. Thank you very much, Sprouts and Fitcho,
(52:57):
thank you for being on one.
Speaker 5 (53:00):
It's it's twisted tampam thing, the.
Speaker 3 (53:03):
Richa saxam guilty pleasures.
Speaker 5 (53:07):
This suner soon it's.
Speaker 3 (53:09):
So bad, it's good, the one bad, the only sugar
I used to be with Amy Heckerling years ago, and
Amy Heckerling wrote a movie about twelve thirteen years ago
with uh that Paul Rudd's character, and it was heavily
based on me.
Speaker 2 (00:12):
It was obvious, so obvious.
Speaker 1 (00:15):
And then there was a little bit she wanted me
to play just for fun, just for it. So this
is the line you could never write. My agent called
me and said, did you read it? I said yeah,
and she said I know what you're thinking. I said, yeah,
what's that? And she said, you want to play you,
but you can't play you because Paul Rudd is you.
(00:37):
Just parse that for a second. I didn't want to
play me because it was me at thirty. But I said,
say that again and she said, I know that when
you read the script, you recognize that that character was you,
and you probably want to be you, but you can't
be you because Paul Rudd is you. And I said,
that is literally genius. That's like a high coup. I
(00:59):
can't believe you said that. Say it one more time
and it was profound and I said, no, that's not
what I was thinking. What I was thinking is that
the little role she wants me to play is that
niece is nothing.
Speaker 2 (01:10):
I don't want to do it.
Speaker 1 (01:12):
I wasn't thinking. I was actually it's actually nicely written,
and Paul would be great in it. I never saw
the movie, but that would be lovely and it's a
lovely complimentary, you know.
Speaker 2 (01:20):
Portrait to me. But no, that's not what I was thinking.
Speaker 1 (01:22):
But thank you for saying that, because in what other
business would somebody say.
Speaker 2 (01:27):
Stephen, you can't be you. Paul Rudd is you. I
know you want to be you, but you can't be
you because.
Speaker 3 (01:32):
Paul probably the most crystalline example of art imitating life.
Speaker 1 (01:40):
Yeah yeah, yeah, I mean it was yourself. You can't
be you because somebody else is being you. I know
you want to be you.
Speaker 2 (01:51):
I remember the first time I ever played myself.
Speaker 1 (01:53):
It was on this Pamela Anderson show called VIP Right,
and I was playing Bronson Pinchot. It never aired because
there was it rained on the set and uh, everybody's
saying on the walkies, screw it now, the that fire
chief is going to come and get in our faces.
Speaker 2 (02:13):
I hope he slips and dies. He heard it, so
he closed the thing.
Speaker 1 (02:16):
He closed it down, and I had to get on
a plane and go to Europe, so that yes, on
an open mic they said it. He was like, okay, yeah, yeah,
you don't like me and you But anyway, I was
playing myself and the very first take of the very
first time, I was.
Speaker 3 (02:29):
Like, what do I do? It was?
Speaker 1 (02:33):
I was too I was, you know, in my forties.
I was like choked, like what what does that mean?
It never would have occurred to me to do nothing,
because it said in the script Bronson pincho and then
Bronson Pinchot said something and I didn't know what to
do and I so happy it didn't air.
Speaker 2 (02:49):
I completely choked.
Speaker 3 (02:51):
I was.
Speaker 1 (02:51):
I was, I was like, what, Like what if I
do it wrong?
Speaker 3 (02:57):
Right?
Speaker 1 (02:57):
But of course you can't do it if you're if
you're you, if you're you, you can't you can do
no wrong. But it was but that there you go,
because when it was finally me in my house and
I would come down in my pajamas and the director
would say, okay, just cut for one second.
Speaker 2 (03:13):
You know, you're in your pajamas and I go, yeah,
I he'd.
Speaker 1 (03:16):
Say, and you know, your hair looks a little bit
like Elsa Lanchester and Pride of Frankenstein do with.
Speaker 3 (03:29):
Trading those bad lips. It's so bad, it's good. It's
twa guilty lassness. This sun it's so bad, it's good bad.
Or we didn't watch my sex scene in Zebra Lounge.
Speaker 1 (03:49):
Oh no, I need some I need I need lotion
for that.
Speaker 3 (03:52):
Okay, look at him take that in.
Speaker 1 (03:56):
That was that was of the best tastes I've ever seen.
I need lotion for that. Okay, okay, way way in,
you went a mile back into your Sarahbellum. I just
said the first thing that came to my head, and
you just time traveled.
Speaker 3 (04:12):
That was so much fun. You you like went in
because I had this plan. Oh yeah, but it went
like that. But I think you might respect this. It
went like this. There's what I remember of when I
first saw you. Yeah, and then there's what I've seen
(04:32):
because I remember sn L and different stuff, you know
what I mean.
Speaker 2 (04:35):
Just just yeah, you know what I mean, the scrap book.
Speaker 3 (04:37):
But now I got a fangirl just quickly. Because all
the other layers or frequencies that you operate in in
your life, you know, acting coach, you know, uh, a
voiceover artist, different thing, yeah, you know, but all that
stuff you're you're you're more complex. I think, oh yeah, right,
(05:01):
I think did people see you? Oh yeah, you know
that fascinates me. But here's why I'm going to land
the plane the first time I ever saw you with
Eddie Murphy.
Speaker 2 (05:10):
Yeah okay.
Speaker 3 (05:13):
And I'm going to be an ass to make a
point because I'm already getting in trouble with this podcast
because I'm like saying I'm not supposed to say, because
it's just I'm really being honest about my opinion about
stuff because I've been around for thirty five that's what
people love. Well, I'm I'm just being me now and
I'm a grandpa. And so so that said, I remember
you performing if that's an okay word used in your character,
(05:36):
and I remember you were, So I don't want to say.
It's interesting what you said previously about what you said
about the acting coach thing, where you say, oh, I
kind of lean more towards kind of finding it in
its authenticity improvisationally in the exploration because when I watched it,
(05:58):
when I watched that's where I'm going. So what I watched,
Serge the very fight, the first time you ever see
this thing, if you know acting and I know acting,
it was fascinating to watch even it's a comedy, right,
So how Eddie's playing off of you in that ping
pong response thing, however organic that is, however improvisational it is,
(06:19):
it doesn't matter. You were so locked. I'm getting chills,
my hair on my arms standing enough, dude, you were locked.
You were so doing it. It was funny to watch
Eddie go like this, like what they kept in the
movie when he was out of character, because you were
so in character. That's powerful, bro so for me as
(06:43):
an actor for that character to be overlooked, in my opinion,
from what you had to do. I kissed your d
in Macy's window just now to make a point, But
to make a point I want young people to hear
from you now and say, look, I did this, I
focused on this. This is what I did. And if
(07:04):
and if that's as simple as the funny guy would before,
oh yes, But process for this is as simple as Steven.
It's my imagination. I'm a kid in the sandbox and
I just play and and and and Luckily, hopefully I'm
gonna work with people who are gonna catch what I
do when I throw my brilliance. Great. If that's been
your whole career, which I doubt. I think there's some
work that happened. So I just want to hear that
(07:29):
from you, Like, what do you do now when you
want to perform as a character, to get into a
place of that focus of that thing.
Speaker 2 (07:41):
Oh.
Speaker 1 (07:41):
I was describing it to somebody just the other day
because I was on set and I had to see
somebody on the floor that had been I just walked
into the room and this person was murdered and I
had to react to several different ways because it's a
murder mystery. So we had to shoot three different versions,
one where I discovered him and didn't know who had
(08:04):
murdered him, and one where I had murdered him, and
one where I didn't know what had happened. And you know,
there's a million and it's.
Speaker 2 (08:13):
A very stylish show.
Speaker 1 (08:14):
There's shafts of life coming through the Venetian blinds, and
there's this, and there's that. Now, when I was twenty five,
I remember myself saying, Okay, I don't I can't see
any anybody. I don't want to see anything, so I
need black drapes so I don't see anything but that body, okay,
And if anybody you know makes a sound, im gonna
have to do another take, and I had all the
(08:36):
going on.
Speaker 3 (08:36):
That was your process then, No, it.
Speaker 1 (08:38):
Was my profit process, kind of like a couple of
years in right, And I just did it in one
take and the director said, okay, wonderful. Now do one
where you're the murderer. And I did another one I
want to take and somebody said, how do you do that?
Because how do you do that? And I said, oh,
it's simple. I'm in a I'm in a in the podcast,
(09:02):
and there's some bright lights, and there's somebody I know
for yours that I like, and there's always been going on,
and I have to focus on this bottle. So instead
of pretending that there's no distractions, I just imagine that
this bottle is my mother's and she drank from it,
and it's just been discovered, and that means that her
lips touched that, and and her she's in there, and
(09:24):
so now I'm just gonna be with this bottle and it.
Speaker 2 (09:26):
All goes away.
Speaker 3 (09:28):
It used to be I.
Speaker 2 (09:28):
Wanted it to go away and somebody else to take
it away.
Speaker 3 (09:32):
Can I ask you a question? Yeah, okay, So would
you say that your talent is to do with your
own singular imagination. Yeah right, but.
Speaker 2 (09:45):
As it's.
Speaker 3 (09:48):
But it's not the same bronze and hold on. I
played McManus and the usual suspects. So I had a character,
I had a backstory, and he was this and he
did that, and he worked with Benizio's character, and I
had all of that for my own self self. You know.
Then get to the words and say the words and
my process.
Speaker 1 (10:09):
But serge, oh, he was my makeup artist.
Speaker 3 (10:15):
Cheap. I did a cheapy movie.
Speaker 1 (10:18):
In the Caribbean called Last Resort. I think lost Resources.
I want that and my makeup artists, we have to
find out who the makeup artist would come into the
room and she wore sunglasses and she had a cowboy
hat and she was Israeli.
Speaker 2 (10:34):
She had no bones, she was just all cartilage.
Speaker 1 (10:37):
She had sunglasses and she made her own T shirt
with these little like everything was slit and turned out
a bead.
Speaker 2 (10:42):
And she was this character.
Speaker 1 (10:45):
And she would come in with sunglasses and started my
makeup and I'd say, hold on, let's say it.
Speaker 2 (10:50):
Hold on, how can you see.
Speaker 1 (10:54):
How can you see what color I am if you're
wearing sunglasses while you put on my makeup?
Speaker 3 (11:05):
And she said she said.
Speaker 2 (11:07):
She didn't even stop. She said, shut up, don't be stupid.
Speaker 1 (11:10):
She just kept doing it, and I was like, I
do not like this attitude. And her hands were like
we're like this, and she just was she'd had no
cartilage and she just she just is gonna be her way.
And then another day she ordered some eggs and they
didn't come very soon.
Speaker 2 (11:24):
We were all having a lessons.
Speaker 1 (11:25):
She said she she's awful and I thought, owtful. That's
because that's the way the word looks. And she was
just sulky and didn't care and she was all so
I started with her, and it was.
Speaker 2 (11:37):
Lily and I. They couldn't find anybody.
Speaker 1 (11:41):
The character was American, character was not foreign, right, and
they said, we can't find anyone. Started with awful. Yeah,
started with awful. They couldn't find anybody. And I said,
you know, I'll tell you why. I think you can't
find anyone. Because it's nineteen eighty four. That was the year,
and the character was written as a generic gay shop
(12:01):
boy who Eddie would come in and smack around, not physically,
but like, you know, insulting. He said, that's probably why,
and they said, well, do you have an idea. I said,
just give me like a couple of days. So I
was walking around looking at looking at and also and
I heard Lily's voice, so that I'm gonna start with Lily.
Speaker 2 (12:19):
She started with Lily.
Speaker 3 (12:21):
But I didn't.
Speaker 1 (12:21):
I end up really playing her. I used her accent
on her body, her cartilaginous body. But then he actually
was he actually was not her. She wasn't friendly like that.
The friendliness and the playfulness just developed because because of
the way Eddie was looking at man, I wanted.
Speaker 2 (12:38):
To win him over.
Speaker 1 (12:39):
But anyway, that was the improv.
Speaker 2 (12:41):
That was the improv.
Speaker 1 (12:42):
But but that is just because I so what I
do quite often, especially now, is I come in with
zero game plans zero, and I just keep saying what's missing,
what's missing? So sometimes I go, all right, everything's missing
because you suck. And then sometimes I'm like, oh, that's fun.
(13:07):
Like she's just like I'm just feeling my way and
I see this other actor. He looked at me like
I kind of scared her, So okay, like I can
be a little bit like whatever I did to scare
her all those two was a tiny bit more.
Speaker 2 (13:19):
And so now that.
Speaker 1 (13:20):
I have a little credibility which I didn't have when
I was twenty five. I don't It doesn't scare h
when if I come in with no game plan and
I'm just like, Okay, so I'm playing this character who's
sixty five and dressed like he's four in these shorts,
so that could be fun. So maybe I'll sit like
this and even be weirder, and then I just kind
of play with it and then you'll discover it. I
(13:46):
was doing a series called The Chilling Adventures of Sabrina.
I was playing the principal, and there were all these
young girls and I called him into my office and
they were all not all girls. One of them was
a was A was a non binary human being. So
they were all there and I kept thinking, what what
is he? What's SOI villainous about him? I couldn't imagine.
I couldn't imagine. And then there was a scene. There
(14:07):
was a moment where I said, and then we're going
to like trash this book, Lolita, We're going to get
rid of it. And I thought he likes young girls,
so I just started to look at them like yeah,
and the director came in and said, Okay, you found something.
Speaker 2 (14:19):
Don't do anymore. But I love it.
Speaker 1 (14:22):
I just was like, what, I know, he's supposed to
be an ass, but why what is it? And I
just started to play the scene. I was like, well,
you'll find it, and I did. I was like, yum,
oh that's so inappropriate. You can just like love young
girls and that's why they're in your office. And then
and so it was, and he goes, it's so sick, Bronson,
do not.
Speaker 2 (14:41):
Play any more of it.
Speaker 1 (14:43):
But but wow, because it didn't say it in the.
Speaker 2 (14:46):
Scrib I said, what's what's the problem with the guy?
What's so bad about him?
Speaker 1 (14:48):
He said, you know, he's just energy, He's just but
that I found it by by just running over the
word lolita, and I was like, oh, yes, okay, so
there is so I'm.
Speaker 3 (14:59):
This is what was the girl's name with the first
word again, Liz? What was it? Lily? Is that the
girl's name with the makeup artistan? Yeah?
Speaker 1 (15:08):
And then later on I did a movie with her,
another movie with her, and by that time I had
said in several interviews that it was based on Lily
ben Yayere. And there she was and she was like no, no,
She was like, you're so brilliant, And I said, well,
thank you. You know, I started I based on you.
She goes, I know, and she was and it was great,
(15:30):
you know, there she was.
Speaker 3 (15:31):
You don't realize there was a little no cartilage even
in the performance.
Speaker 1 (15:36):
Yeah, yeah, no, I started with her. She was the
flower of the cake. I didn't use the same icing,
but she was the base.
Speaker 3 (15:44):
Was there anyone else? Yes?
Speaker 1 (15:45):
There was a guy who sold me my first car,
my very first car, and he was also was Raeli.
And when I was driving off, he also had no bones.
But as I was driving off, he said, remember unleaded.
Speaker 2 (16:02):
For unleaded, and I was like, unleaded. That is delightful. Unleaded,
remember unleaded?
Speaker 1 (16:09):
Like that was the basis, Just like say the words
kind of the way they look and kind of have
no bones.
Speaker 3 (16:15):
Just just get rid of your bones. That's amazing.
Speaker 1 (16:18):
And sometimes it works and sometimes it doesn't.
Speaker 3 (16:22):
Uh uh. In character creation, it is like when we
were kids and you were playing with army men. It
is that childlike kind of very similitude. When you're little,
you hear you.
Speaker 1 (16:38):
Hear the suggestion in your head and you don't think
anything of it. It's when you get to be thirty
and the whisper says, you know, sit in a funny way,
and then you go into I don't care right now.
Speaker 3 (16:49):
Is there's a lot of young people who just heard
from you that here's kind of this you know twister
where I heard this and my hand landed on blue circle. Yeah,
and then I heard that and my foot landed on
(17:10):
yellow square and I heard you know what I mean.
It's just so cool that you're pros because I do
that similarly in my own where I go, Okay, who's
the guy what pops into my head? Okay, yeah, yeah, yeah,
maybe he was in shin Faine. You know when I
did usual sus I had shin Faine on my knuckles.
No one asked me a word about it. One reporter
(17:31):
doing a press Chunkert was like, yeah, I know, if
you have shin Faine on your knuckles, there is the
character mcnas. I've said there going thank you so much
for you know. The thing is, it just goes.
Speaker 1 (17:41):
It's like, it's great when they don't notice because they're
taking the whole gestalt of the character instead of the
little bitty bits.
Speaker 4 (17:48):
Right.
Speaker 1 (17:48):
The other thing, I know that you've had this experience
as you get older at the beginning you're like, I
just want to hear the whisper. I don't want to
hear anything else. Nowadays, a director will come.
Speaker 2 (17:59):
Up and go, okay, so I love everything that's going on.
What if he's just a little.
Speaker 1 (18:08):
Bit sneakier On the show I'm doing now, which is
a murder mystery.
Speaker 2 (18:12):
My wonderful director who I love, will come.
Speaker 1 (18:15):
In and she's just a little sprite and she'll go, Ronnie,
it's really good. Could you be more murdery? And I'm like,
oh god, yes and murdery and then she goes with
any other actor. I would have tried to come up
with a more grown up word, but I knew you
would like it.
Speaker 3 (18:33):
Do I like it?
Speaker 1 (18:35):
And then I do it more murdery and she's like,
oh god, that was a murdery yeah.
Speaker 2 (18:39):
Yeah, And so it's like we're kids playing.
Speaker 1 (18:41):
But the nice thing about getting older is that the
little the little whisper can come from her head too.
And when I was younger, I was like, he has
to be just mine, otherwise it's inauthentic. And now you know,
there's there's everyone. As I say to young actors, and
I'm like, you have a lovely sieve up here, it
(19:01):
will sive out the crap. So if somebody comes up
and says you're gonna do You're gonna you're gonna play Bronson,
Pinchow and Steven Baldwin. Okay, but I want you to
play Bronson as a drug addict. If that's a crappy
idea and it doesn't go with what you're doing, you
just it just gets sivved out. You can say, oh,
(19:22):
maybe he means bronze is kind of uninhibited, like it'll
there's a lovely natural sieve. And you know, when we're young,
we think that, uh, a direction that feels a little
clunky is gonna hurt what we're doing. But it turns
out there's this amazing you know, like finer than than
the than the civiews for Tea leaves.
Speaker 2 (19:42):
That just it's like it's just sives it out.
Speaker 3 (19:44):
It's okay, listen, I remember your scenes in those films,
and and of course you've won many Emmys.
Speaker 1 (19:54):
Correct, No, not a one I was nominated.
Speaker 3 (19:57):
Okay, so that's what I read. Forgive me. But even there,
over a pretty significant arc of three and a half decades.
Speaker 1 (20:09):
Four you've done forty two years close enough, not even
not so not close.
Speaker 2 (20:16):
I'm just kidding.
Speaker 3 (20:17):
I was off by seven years. That's good for the
youngest Baldwin.
Speaker 2 (20:21):
That was really funny.
Speaker 3 (20:24):
But I just think you play certain roles in certain
performances in certain films and they pop and people remember them. Yeah,
it's unavoidable. But I'm just saying that for me, your
character in those films is the most memorable. I really
will say that without you, you know, and you know,
(20:44):
coming up, we watched certain people certain people. So in
other words, I have this weird little filing cabinet in
my mind of actors and performances like Jonathan Lithgal. You're
in the Jonathan Lithgow league with me, and that's a compliment.
Speaker 2 (20:59):
Thank you, Because he's He's wonderful nobody.
Speaker 3 (21:02):
He's better than de Niro, He's better than Puccinos.
Speaker 2 (21:06):
He's also fearless.
Speaker 3 (21:07):
They can never do what he can.
Speaker 1 (21:09):
He's also fearless and a gentleman, which is a rare,
Such a gentleman. He's such an old fashioned gentleman.
Speaker 3 (21:16):
Ex brilliant emotor.
Speaker 1 (21:20):
You know what's great also is he doesn't because this
is something I was taught and I really believe in.
I it's not necessary, but it's sure is wonderful when
they're like, like, you don't have to show the work,
and you don't have to pat yourself on the back,
and you don't have to be like I'm weird, you know,
like it's just like it's what we do. So you
have your little pack and has your oil paints, and
(21:40):
you paint a picture and then you peck it up
and go to go to dinner.
Speaker 2 (21:44):
There are some people that are like actory all day long.
Speaker 1 (21:46):
One of the things I used to go to the
catered lunch at audible dot Com in New York and
there's all these narrators and I finally started to sit
with my back to the room because they would come
up and do the narrator voice, which I can't. So
they come up and you're sitting there and you're like,
this is pretty good or arugula. And then somebody comes
up and this is a woman, by the way, or
(22:07):
it could be a man, but in this case is
the woman, and they'll go.
Speaker 4 (22:10):
Stephen, I absolutely adore your audio work, and I think
you're doing your audio voice and I'm not interested. Why
don't you talk to me about your vagina candle? I mean,
it's like, what are you doing? And they do their
they do their narrative voice. I'm like, I don't want
your narrative voice. I personally have a voice that sounds
(22:30):
like a mosquito, but I can use it in different ways.
I'm not gonna do my acting voice all day for
you and impress you. It's like, stop, you know.
Speaker 3 (22:39):
I'm so sorry. And what exactly does a mosquito's voice
sound like anything?
Speaker 1 (22:45):
Yeah? Like hi, Hi, Stephen. You know, it's just like,
it's just like a mosquito. When you're camping and there's
a mosquito and you're just about to go to sleep
and there's a mosquito that goes.
Speaker 3 (22:56):
I'm here, you won't forget me. You we're not going
to sleep now.
Speaker 1 (23:02):
But you know, there's those people that we know them
and we're not we're not of that tribe, but they're
you're on a set with them and they're like, you're
playing a character named Dufus, and they never don't call
you dufus. It's like, dude, you don't need to do that.
It really is when they say rolling, that's whine. But
(23:22):
I really, really, and I've worked with people that that
you know and then their character doesn't like you, so
they treat like shit for twelve weeks.
Speaker 2 (23:29):
Don't do that. Let's just have some.
Speaker 3 (23:31):
Pizza and then myself and my trailer, I just with
those folks. I just go up.
Speaker 1 (23:36):
I'll tell you who's cured me of that forever. I
was doing a movie called The Langeleres where I was
a demented killer demented, and I was thirty, like young,
early thirties, and I was really locked in my trailer nobody, please.
Speaker 2 (23:50):
Don't let anyone near me.
Speaker 1 (23:52):
It was right after Perfect Strangers. So I'm like, I don't,
I can't, I can't. So all of a sudden, nobody
knows how. And I saw the ad go this little
tiny grandma and her great granddaughter who was two or three.
They came up to me. I was under the wing
of a plane, and they went, could we take a picture?
Speaker 2 (24:12):
And I looked at them for.
Speaker 1 (24:13):
A second, and I saw the ad behind them going
please don't kill me, and I went, aren't.
Speaker 2 (24:18):
You scared of all this blood? I was covered with blood?
Speaker 1 (24:21):
And they said no, And then I don't know how
they got through the barricades, and then they went away,
and I thought, well, you're certainly not gonna yell at
like a little granny and a granddaughter, and now you're
just just fine in the scene. So that's interesting. So
I forgot about it, and then I was like, you know,
the barricades. Then they came back. I don't know how
they got through. Maybe they might not have even been
real people. They might have just been sent from heaven.
(24:42):
They might have been apparitions to knock me. So they
came back like two days later and they said, now
will you sign it?
Speaker 2 (24:48):
And I said, of course I will.
Speaker 3 (24:50):
And then they went away.
Speaker 1 (24:52):
Maybe they weren't even real. And after that I would
just horse around all the time and then I'd be
the murderer.
Speaker 3 (24:57):
And that they cured.
Speaker 1 (24:58):
Me that that little girl who's forty and her grandma
who's now in heaven, they just showed up once I
didn't one hundred percent get the message. And then they
came back and they knocked it out of me permanently.
I was like, if you can, obviously you're not going
to yell at them, and obviously you just got right
back to your work, so apparently you don't need all that.
(25:20):
And I just stopped a little little teeny girl who's
like forty now they didn't even register, like why why
wouldn't you go talk to him? That's Balki, And so
they didn't, and I was like, okay, done, I get it,
Thank you Universe. First telegram didn't quite get it. Second
telegram fine, and uh to the point that there's a
(25:40):
fantastic actor in it, blonde guy, David Morse, you know,
David Morse, David Morse, very well, stunning actor, and he's
in it. And he had been with me for you know,
six weeks until I had this epiphany, and he was,
you know, really into my process and everything, and then
all of a sudden I was like, mister goofball. And
I said to him once he was looking at me,
(26:01):
and I said, you know, David, you remind me of
when it was still possible to go into up into
the Statue of Liberty. You remind me of like there's
two fun people looking out of the eyes of the
Statue of Liberty, and you're the Statue of Liberty, but
there's a couple of fun people in there. And he said,
you remind me of my brother. And I'm going to
have to ask you to stop looking inside me and
(26:23):
being goofy, because I want to just like, that's too
weird that you know, and he said, and he was
so kind. He goes, I'm just gonna you remind me
way too much of my brother. You're too insightful, and
you're being very goofy.
Speaker 2 (26:34):
So can I ask.
Speaker 1 (26:36):
You, like as a friend, to just now keep your
distance for the rest of the movie.
Speaker 3 (26:40):
So I I bistically and respectfully.
Speaker 1 (26:44):
Yet it was so great and he was so David.
So anyway for the rest of the movie, I did
because I love the way he asked me.
Speaker 2 (26:51):
And I got sent.
Speaker 3 (26:52):
And the very last.
Speaker 1 (26:53):
Day we were shooting way out on a tarmac. And
on the very last day they said, hold on, can
you hold on one second? Somebody wants to see you,
And this golf cart comes up. Now we were shooting
way out on a tarmac, this golf cart because I
and it's David in drag with the mustache, in drag
as a nurse, just to show me that he just
loved goofiness.
Speaker 2 (27:13):
But not for that movie.
Speaker 1 (27:15):
Right, It just breaks my heart to even remember how
how wonderful it is because.
Speaker 2 (27:20):
He did it the right way.
Speaker 1 (27:22):
You know, we will give anyone the we're actors, We'll
give anyone the shirts off our backs. But don't don't
say hey, keep your distance, goofball, just say it's just
it's great, but I need so.
Speaker 2 (27:33):
Then he comes in drag to the set in.
Speaker 1 (27:36):
Nurses and a nurse off it with nylons, just to
make me laugh and to make me know that he
got me right. And and then this little granddaughter and
the granny and they knock, they knocked it right out of.
Speaker 3 (27:50):
It.
Speaker 2 (27:50):
Just I was just like.
Speaker 1 (27:51):
They're from they're literally messengers. They're saying, don't waste your time.
You don't need it, you don't need anything. Once you
know what you're doing, you can pop in, you can
pop out. And it was such a gift because I
never I've never done I don't do any prep nowadays none.
I used to do how to be an hour and
a half in Pitch Dark and it's done. I get it.
(28:13):
I don't need it. I guess it's kind of just.
But this that little girl, wherever she is, I love it.
Speaker 4 (28:19):
Yeah.
Speaker 1 (28:25):
I think the one bad movie would have to be
from a place of darkness, unless it's Kung Fu and Titties.
Speaker 3 (28:32):
I'm sorry once again, kung Fu and Titties. Is that
a title?
Speaker 2 (28:35):
Yeah, I don't even know what it's about.
Speaker 1 (28:38):
They just asked me if I would do it for
a few thousand dollars in cash, and I said yeah.
And I remember they did do kung fu in the movie. No,
they wrapped garbage bags around my legs.
Speaker 3 (28:46):
I don't remember why.
Speaker 1 (28:47):
I was a homeless guy who was also possibly an Indian.
I don't remember anything about it except that the heat
went off and it was really cold, and I had
garbage bags around my left.
Speaker 2 (28:57):
But it was called kung Fu and Titties. And I
don't think you're gonna find a worst movie.
Speaker 3 (29:03):
Is it? Is it on YouTube?
Speaker 2 (29:04):
I have no idea. You played a character called the beaver.
There you go.
Speaker 1 (29:09):
I don't remember anything about it. I don't remember if
I have if I had garbage.
Speaker 3 (29:13):
I don't think your one bad movie.
Speaker 2 (29:15):
Is from a place of darkness.
Speaker 3 (29:17):
No, kung Fu and titties.
Speaker 1 (29:19):
Well, I don't even know what it probably is, but
it But but the second the second second place goes
to from a place of darkness.
Speaker 3 (29:27):
Wonderful and it could that could be reversed. That's the
experience here. We're trying to get to the bottom of
what's the third one I gave you?
Speaker 2 (29:36):
Strike.
Speaker 3 (29:38):
Oh, is that bad?
Speaker 2 (29:40):
I've never seen it.
Speaker 1 (29:45):
Here's twice in one interview.
Speaker 3 (29:47):
He's like, kind of crowned two freaking victories. Here here,
here's good.
Speaker 1 (29:52):
Let me say, oh, is that that's kind of a bad.
Speaker 3 (29:56):
Movie because it's so bad?
Speaker 1 (29:59):
Is it?
Speaker 2 (30:00):
I've never seen it?
Speaker 1 (30:00):
Well, I was told this potentially. But here's the story
of the Strike. I didn't read the script. I was
up in the country doing that renovation show. I was
so out of touch with showbiz. I didn't have an agent,
and I was recording audiobooks in my house and I
said to the audio engineer, I don't know what these
(30:22):
people want, but you deal with them.
Speaker 2 (30:24):
And so here was this. It was the Strike. But
it gets better.
Speaker 1 (30:27):
So he's got this nine inch beard, and he used
to like before he started to do books with me,
he would like deliver weed, you know, before it was legal.
And so he's like, he want you to do I said,
all right, So I went out. I never read the script.
I just read my scenes and I would say to
the director, Oh, so the director's cuban, and he goes,
(30:47):
you are the peapot, and I said, I know what pivot.
He meant that even though the part wasn't that big.
I was the pivot of all the characters. I was
where that the story pivot is right. So the script
was the script was a little bit awkward, and I
said to him, you want, I think you want to
trust me to just let me just improvise it. Let
(31:10):
me just make my own words up.
Speaker 2 (31:12):
Okay.
Speaker 1 (31:13):
So because it was it was like, you know, it's
like written like in the idiom of a guy.
Speaker 3 (31:19):
That in you're coaching class. Now you tell the kids
that they should read the script. Yes, just because you
have to. You have to know how to do it
before you know how to undo it.
Speaker 1 (31:29):
So anyway, I'm doing this movie with Pabot, and the
woman playing the lead role, she said to me, you know,
I don't know if you're now you're kind of good
in this. I said, yeah, well, I don't have an agent.
Then she said, oh, I could get you an agent
in five five seconds with like one daily. I said,
do it, and she did. So that's how I got
(31:50):
my manager. And after I got my manager, I moved
back here to take care of my mother.
Speaker 2 (31:55):
And the manager said to get me work right and left.
And then there's an agent came.
Speaker 1 (31:58):
To see me as something and he said, I would
never have believed that was you because it was so good.
I was singing, and what.
Speaker 3 (32:04):
Year was that? Please me?
Speaker 1 (32:08):
Six seven years ago? And so I said, oh, I'm
so good that you couldn't believe it. How am I
so good that you would represent me? And he goes, oh, oh, yes,
So that's how it happened. It happened from a movie
called The Strike that I never read. I just lived
my way through it. And I remember there was a
guy playing my best friend in it. And he said
(32:28):
to me one day, because how random actors are, he goes,
he was a lovely guy, and he said. We were
waiting to make an entrance, and he said, have you
ever seen one of those porn movies where somebody and
then she has to She's like, how come they don't wretch?
And then we walked on and I hope that scenees
(32:49):
in it because I'm I'm laughing so hard and it
tells you that it is better than any other beat
of like that. We're best friends. He just said that
to me. He really wanted to know. He wasn't trying
to make me laugh. It was like they don't gag
in rich. Then we walked on. I was like, that
is the most amazing, Like it's such a gift. You
just said that to me because you're kind of bored
and the kind of like, I just it just came
(33:11):
to you. And I'm dying as we come on, and
I guess we're supposed to have just had lunch.
Speaker 2 (33:15):
I never read it, so I don't know all I haven't.
Speaker 3 (33:18):
We're almost done.
Speaker 1 (33:20):
Almost I have a please go to So you've played
Sara's actually five times now.
Speaker 3 (33:25):
Four no three.
Speaker 1 (33:27):
I was in Cop one, sat out Cop two, did
Cop three, and this is Cop.
Speaker 2 (33:31):
Four, so I'm in three of four. But you didn't
do the pilot that they pilot. Yeah, there was. They
tried to reboot it with Brandon T. Jackson. You've never
heard of that.
Speaker 1 (33:40):
Wow, Wow, it's in your IMDb credits. Well you know
it's like, oh that's the Wikipedia. Oh wow, that must
be I remember my mother saying to me once she
I went home and she was kind.
Speaker 2 (33:51):
Of like ticked off, and I go, what's wrong.
Speaker 1 (33:53):
She goes, the next time you get engaged to be married,
maybe you'll tell your own mother. And I said, I'm
not engaged, and she goes, well, your aunt saw it
on Wikipedia, and I said, oh, well, maybe she needs
a mental douche.
Speaker 2 (34:08):
Because it's not the Bible.
Speaker 3 (34:11):
She was like mad that. I was like, I'm not.
She didn't even understand that Wikipedia works, which is people
can add it. They can add whatever they want any
almost anyone can.
Speaker 1 (34:18):
IMDb is supposed to be a little bit more rigid
or like, it's still I.
Speaker 2 (34:22):
Didn't even read that stuff.
Speaker 1 (34:23):
I mean, first of all, I don't even remember what
I've done, because it's only what you're doing right now
that matters. And you know, you can be like you
can be Dame Judy Dench and if you're having a
bad day, then you're having a bad day, right You're
just literally every day is an audition. I don't know
if you remember, but you know, once I was out
(34:43):
of my period where I was offer only, I felt
so injured that I had to audition.
Speaker 2 (34:47):
But it's like, yeah, but every day is an audition.
Speaker 1 (34:49):
Every day you go in and you do your big
scene and it's like you can see people literally thinking, God,
damn it, he's good, or you can see them thinking
when's he going to.
Speaker 2 (34:59):
Pull out the good stuff?
Speaker 1 (35:00):
You can see it, So every day is an audition.
Every day of your entire career, every every performance of
a play, every take, every everything.
Speaker 2 (35:08):
You know, it's all an audition.
Speaker 1 (35:10):
And if you if you're if you're B plus and
you want to be a plus ash the best you
got that day, then your B plus.
Speaker 5 (35:18):
That's just who you are. I have a cornball question. Yeah, yes,
And this is kind of like my m Night Shalaman
talent here, stay with me. He is I can read people.
What's his name?
Speaker 3 (35:31):
I could M Night Shandel.
Speaker 2 (35:32):
No, but you can't have a name M.
Speaker 1 (35:34):
It's okay unless you're anti M.
Speaker 2 (35:38):
And he's so good.
Speaker 3 (35:42):
Yeah, so I could read people a little bit. Yeah,
if you haven't already written some stuff. And I don't
mean you with a pen or clicking your fingers, I
mean you sitting with almost like a sonographer who's a
writer who records it and just sits with you in talks.
(36:07):
Because I think, my friend, if you start taking some
of these.
Speaker 5 (36:13):
Nuggets you mean, autobiographical, no, whatever you want, that you
have a very unique gift of really well.
Speaker 3 (36:22):
I think your imagination is very special, and I think
if you applied it to storytelling, creating your own original
Bronson stories for whatever reason, I think you should explore that.
Oh right, because I understand the process. I just explained
I wrote two books. I can't write a book to
save my ass. I can spell Massapequa because it's where
(36:46):
I'm from. Okay, but that's about it.
Speaker 2 (36:49):
Yeah, where is it in New England? In New England?
Speaker 3 (36:54):
No, that's the southern shore of Long Island New York
South Shore? Are they one? The fifty yard line of
Long Islands, straight south on the Great South Bay. It's
called Oh that said. I'm not a writer. I can't
write a screenplay, but I can create ideas. I can
create a concept. Like right now, I'm writing something that
(37:16):
we may do in India that's very similar to Beverly
Hills Cop actually in just the baseline, you know, fish
out of water scenario, you know, two law enforcement guys
fish out of water. There's been many of those films.
I just was talking to the writer. We're almost done
with the treatment. You know, I want that thing. I
(37:39):
must have that thing Bronson. And I'm talking to the
writer and I go, you know, like when Bronson was
in the movie and he would he did and the
cup like you know when Mail Gibson does the point
but by the time it's over, he's already got the
gun in the guy's face. So you can't stop to
wonder why that three stooges bit worked. Same with Bronson.
When Bronson does something and in the performance, it's like
(38:01):
it's a little bit of this roller coaster that is
not the big fast one. It's the CREEPI or slow
one when you were a little kid. The way it's
it's really fun. As I'm right, you know, talking to
this writer, I'm saying this, This idea of doing this
concept now but set in Mumbai should be just like
(38:22):
it felt back when those movies told these stories that
there was a zaniness to the action comedy, but there
was this authenticity where the characters loved each other at
the end, you know what I mean, they cared for
each other. Now there is no character. There's this I
don't know. I never that's the next interview.
Speaker 1 (38:43):
I think I saw The Favorite with Olivia Coleman and
what was that like seven eight years ago? Oh boy,
I never go because I can't stand to be disappointed.
Did you see that movie? The it was all about
World War two and the like the nineteen no, no, no,
(39:04):
it was uh, it was just one word. It was
like the amazing battle that was like that.
Speaker 3 (39:10):
Let me ask you a question, what could you ever
do this, like live on a stage with film students?
Speaker 1 (39:16):
Of course, wouldn't that be I'll tell you what I
just did. That hurt my heart. We did the fortieth
anniversary screening and Q and a of risky business and
it was unfortunately moderated by somebody who I swear to
talk like this, And this was the question he had
for Rebecca the morning.
Speaker 3 (39:35):
Does he talk like this?
Speaker 1 (39:35):
And because the question was so tacky, it literally literally
gutted me like a deer. So, Rebecca, I suppose you
know that this week and Tom Cruise is opening in
the latest installment of Mission, then, and what does it
(39:58):
feel like to be opening Nothing?
Speaker 2 (40:03):
Well?
Speaker 1 (40:03):
Tom is an interneh word for word, and he spoke
so slowly that you could feel the creeping toward you.
Speaker 3 (40:16):
And it was like, but did he literally say how
does it feel to be opening in Nothing?
Speaker 1 (40:20):
Just about I'm telling you you can ask anybody that
was there and the thing that I did. There's a
whole audience there and we're all dying. It's like, dude,
so I just did this? He was like, where that
light is and I just went like, I just did
the biggest theatrical take. Is all I could do for Rebecca.
(40:41):
To her credit, she said, well, I don't know.
Speaker 2 (40:44):
Maybe I should have jumped out of more airplanes, right?
Speaker 3 (40:47):
Did she say that?
Speaker 1 (40:48):
Could? That's the word for word. But the thing of
it is, it's like, dude, shut up, we don't need
you moderating. The other thing that happened was that all
the good stories were not told because all all the
good stories are politically incorrect. Like the time they were
shooting the sex scene and I crept up in between
the flats and watched them and then got caught. I
(41:10):
could not tell that story because no one asked. I
climbed up, you know, in between the flats, in between
the furniture pads, and watched them. And Rebecca had had
some white wine to get in the mood.
Speaker 3 (41:24):
I told her this.
Speaker 2 (41:24):
I told her it's been forty years. I was like,
can we still be friends? And she said, what did
you do?
Speaker 1 (41:31):
It was a closed set and I crept on with
Shara Denaesy that played her buddy in it, and I
said in shera and I crept up and we watched.
And then when you were taking off your underwear. You
kind of stumbled and then we were laughing.
Speaker 2 (41:44):
So her we got caught and.
Speaker 1 (41:46):
She said, well, I guess it's been forty years. I
guess I can forgive you since I never knew. And
it was like, you have to that's me be foury years.
Speaker 3 (41:52):
But anyway, did you see them naked?
Speaker 1 (41:54):
No?
Speaker 3 (41:55):
But anyway, did you see Tom's butt? No?
Speaker 1 (42:00):
He was he was out of the shots. She was,
I don't know where he was. But all the good
stories were all edited, so they would say, so, how
did you get this part so and so? And I
would think, oh, well, and of course it was like,
well there was I had some good buzz. It's like, Naydan,
you did this. And all the good stories were untellable,
(42:25):
and the questions were from this guy, tell me Steve,
then what like having a blue shirt.
Speaker 2 (42:32):
I was like, dude, shut up and die.
Speaker 1 (42:35):
And the questions were terrible and the answers were were
so denuded of so I was like, this is the
first I'll never do another one. Of course, they'll I'll
be dead by the fiftieth one. But why are we
doing this when all the good questions are not being asked?
And all the answers are just bleached of content, like
(42:56):
this isn't fun. It's been forty years, you should be
able to tell. But the stuff that really went on,
that story that wasn't.
Speaker 2 (43:02):
Told, well, we'll have to get on stage. No, this
is all juicy.
Speaker 1 (43:09):
I mean it's all it was a movie about. You know,
there was all these beautiful prostitutes and they were I
don't know why, but they sectioned them off. We were
literally like I was twenty three, Tom was twenty. So
they sectioned them off in this tenth of furniture pads
and they were just in there doing the wildest stuff.
And that was the tip of the iceberg that was
(43:29):
during the filming. Yeah, and then there was this nice
young actor who was playing the most innocent of all
I think he was I think he was seventeen or
something at the time.
Speaker 3 (43:39):
Business.
Speaker 1 (43:41):
It was the young guy, Raphael Sabarge and he's he
was playing the young the youngest, the most innocent looking
of all of us kids.
Speaker 2 (43:47):
And he was Now I'll tell you later real quick.
Speaker 1 (43:51):
So how long were you guys watching How long were
you there before you got caught watching the sex scene?
Speaker 2 (43:55):
Twenty five minutes?
Speaker 1 (43:56):
Oh wow, and and the thing is, I was laughing
so hard because I couldn't believe. First of all, we
sneaked down and that was fun, but then she had
high heels on it, and she's taking off all her clothes,
and then when the underwear got down to her ankles,
she was supposed to like get it off elegantly, but
she kind of slipped because you can't. I myself, I'm
(44:17):
proud to say now I'm ashamed to say that I've
never been loopy on white wine and high heels naked.
I mean, it's it's to try. But she just, you know,
she kind of and and I love Rebecca. She's so
wonderful in that movie, and so I find it. I
finally came clean to her and she's so she's like
(44:37):
for real. I said, that's so funny, I know, and
she you know. But the thing that was great is
I always say to people like, I don't really know
what my religion is, but if I had to worship anything,
it would be time, because time really does solve everything.
Speaker 2 (44:52):
So she looked at me and she was like, for real, bro,
I said, yeah, she goes.
Speaker 1 (44:59):
Forty years and I can't even like rev up, like
getting mad long ago was this forty years that you
were having this conversation with her, oh, you know, five
months ago or something.
Speaker 2 (45:09):
And she looks fabulous. She does she's a you know.
I'll tell you.
Speaker 1 (45:14):
The other thing I learned about Rebecca is you must
know this too, that however good looking you are, the
camera does a final focus.
Speaker 2 (45:25):
It adds five percent to what you have. So people
that are just.
Speaker 1 (45:31):
Amazing looking in the room, they go a little out there.
They're like fruit that's overripe. Rebecca in person was a
beautiful woman, but there was something and then the camera
just went. And so when you would look at her,
she'd be talking to her and then you'd, you know,
someone would say, hey, you want to see what's going
They didn't have video play back then, you know, but
they would one to look in the in the lens
(45:52):
and it was like, who's this vision? Because the camera
just finishes you. And if you start out amazing, it's
a it's like you know, when there's too much sugar
in your coffee, it's it just goes. It has to
do that one thing. And she was the most extraordinary
example I ever saw of that, because she was a
riveting woman in person, but on screen it was like,
(46:12):
what is happening with these eyes and these cheek ones
and these lips.
Speaker 3 (46:16):
And this.
Speaker 2 (46:18):
Other world like she had another world equality in it.
Speaker 3 (46:20):
And that was.
Speaker 2 (46:23):
But she really had the Jena se Kua r.
Speaker 1 (46:26):
She was amazing and and mysterious, so mysterious. She was
so mysterious in a great way. So was Patricia on
to a mess. It's like I can't figure her out,
but the camera understood her. You will find this eccentric.
(46:46):
But I wish I was intimidated by you when we
worked on that movie all those years ago. I wish
I'd known you were fun. I didn't know you were fun.
I thought I thought you were kind of a chic movie.
Speaker 3 (46:56):
It's stutter you're meeting me now, But I wish I
had it better.
Speaker 1 (47:01):
We might have It looks like you would be fun,
but I didn't.
Speaker 3 (47:04):
I I could.
Speaker 1 (47:06):
I you just a little glossy and a little bit
a little bit like you know, famous famousy And I, uh,
it's a it's funny because I can see you in
my mind's eye how you are that?
Speaker 2 (47:16):
And I remember I never really spoke to you much.
Speaker 3 (47:19):
If all, you and I are on similar parallels now,
I've been kind of out of the mainstream, kind of
haven't had an agent, you know, blah blah blah, blah blah.
In the last fifteen twenty years, I've kind of worked
doing charity stuff, charity media, creating documentaries like paying bills,
(47:40):
doing this, you know, living a little bit well. I
wanted to get my kids married, which which all worked
out fabulously. But but all of that said, I just
think it's and there's no other way to say it
other than to just say it, which is, I think
it's a fascinating time in Hollywood with when somebody like
you can have to come back into the normalcy of
(48:04):
this matrix of the industry. Uh, in the process that
you did, I just I mean, it's a miracle anything
ever gets done, you know what I mean? But you
just again, no, no, I'm having this.
Speaker 1 (48:19):
Let me finish, ok, Steve, Steve, are you telling me
that you need to finish?
Speaker 2 (48:24):
And that's fucked up?
Speaker 1 (48:25):
Well, because this is my show, I know, I know,
I'm just kidding.
Speaker 3 (48:29):
What my point is?
Speaker 2 (48:31):
I never have a point.
Speaker 3 (48:32):
Please, you gotta take your class, by the way, yeah,
because it would be pointless. Sorry. Anyway, hopefully the last time.
Speaker 1 (48:41):
You do have and you always have had since you
were like the first done thinking the most mischievous eyes
that ever were mischievous.
Speaker 2 (48:50):
In anybody's head. They look mischievous before you even get mischievous.
Speaker 1 (48:54):
And it's so funny to see that you really are
incredibly mischievous. Go ahead, uh for so mischievous you look
like that decided that he wasn't going to deliver presence,
just presence, that.
Speaker 3 (49:11):
Is literally what you because we really didn't get your
chicken in rest.
Speaker 2 (49:16):
Wow, that's funny.
Speaker 3 (49:18):
Do you know? Do you that would be funny?
Speaker 1 (49:20):
Do you? I think all the time on sets and
like people will come up and go, okay, hold on,
and I'm like, we had polaroids for continuity in the eighties.
We had polaroids and you couldn't see anything because they're
all blown out.
Speaker 2 (49:33):
They're just they're useless.
Speaker 3 (49:34):
Next year, each quarter of next year, you and I
should agree to take like three days and make a
short film.
Speaker 2 (49:47):
Oh done.
Speaker 3 (49:48):
We should do four short films next year. Yes, where
you conceptualize and listen to me, dude, I will go
full blown pee wee herman with you.
Speaker 1 (49:58):
All right, I've got my first one at me in
the movie I like that, and I caught that. But
I'll tell you what. The first one is two pieces
of lnt in Madonna's ass crack, and we're just we're
just two pieces of lint in her ass crack.
Speaker 2 (50:09):
And and it's backstage.
Speaker 1 (50:11):
That would be very right after the show, so we're
sticky to each other.
Speaker 3 (50:17):
I never thought of that. That would be a great improv.
Speaker 1 (50:20):
I mean, and we're just we're just we're just stuck
to each other, and we're like, God Almighty, and.
Speaker 3 (50:26):
We're gonna make.
Speaker 1 (50:29):
I have to peet and I have to get out
of this light. Man. This is like being on the Mars.
It's like being on Mars, you know, and Mars.
Speaker 2 (50:40):
Ends up looking like Chatsworth. Isn't that weird?
Speaker 1 (50:43):
Like when they finally got the rover up there and
they're showing it and they're.
Speaker 3 (50:47):
Like woo, and I'm.
Speaker 1 (50:49):
Like, that just looks like the rocky part of Chatsworth.
That's literally what what you see from the one eighteen
Orange Dirt and Rocks. Oh, it was really really fun.
Thirty years in the making.
Speaker 3 (51:02):
What is the what is the.
Speaker 1 (51:04):
Year of that movie? Because it had to be at
least there's more than jury.
Speaker 4 (51:08):
Yeah.
Speaker 3 (51:08):
Four had to be more like, oh no, no, no way.
Speaker 1 (51:15):
I got married and Necker came out in ninety five.
Speaker 3 (51:20):
I love it. You can't remember your toast pincho.
Speaker 1 (51:25):
Do you want to do you wanna fly?
Speaker 3 (51:27):
Yeah? Buddy?
Speaker 1 (51:28):
Do you want to plug the new Beverly Hills cop
Beverly Hills cop axel F is the name of it.
It is not Beverly Hills cop for it's Axial Beverly
Hills cop axual F.
Speaker 3 (51:38):
Oh wow, on.
Speaker 2 (51:40):
What like on a screen near you?
Speaker 3 (51:43):
Can I bless you right now? Okay? Because because I
did this with one other persons, Johnny, paying attention, John John,
Do you know who Taron Manning is? Taron Manning. She's
a musician that became an actor. And I had some
wordrobe that I acquired for hosting this program, like Lonely Ghost.
(52:09):
I like wearing Lonely Ghost. I just like the Lonely Ghost.
But this other company called Reconstruct takes clothing like your shorts,
and they'll take the shorts and like on here, they'll
take another piece of colony and put like a lining
on it, so they redesign existing clothing. So I would
(52:29):
like to give you the second the second time I'm
doing this uh uh camo kimono, so don't move, don't
move or go pee and then I'm going to give
you a camo. Thank you very much, Sprouts and Fitcho,
(52:57):
thank you for being on one.
Speaker 5 (53:00):
It's it's twisted tampam thing, the.
Speaker 3 (53:03):
Richa saxam guilty pleasures.
Speaker 5 (53:07):
This suner soon it's.
Speaker 3 (53:09):
So bad, it's good, the one bad, the only sugar
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