January 10, 2023 • 33 mins
On the third episode of Table for Two, host Bruce Bozzi breaks his own rules and sets up shop at a three-top. The occasion? Drinks with George Clooney and Julia Roberts, who've lately spent a lot of time together—too much, the sarcastic duo might argue—doing press for their recent film, Ticket to Paradise. Installed in a suite at the Beverly Hills Four Seasons, George and Julia talk intimately about things that matter, like George's mullet and not wearing pants to an interview. In between ribbing each other, George and Julia also demonstrate that they didn't get this far simply by messing around. They tell Bruce about their acting influences, Julia's baggage claim run-in with Audrey Hepburn, George's friendship with Paul Newman and Gregory Peck, and their long history of working together. Hear a preview of the episode below, and subscribe wherever you listen to podcasts.
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Episode Transcript
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Speaker 1 (00:06):
I moved to a street called Arnaz Drive, and I
was a young guy twenty three, had been working at
NBC in New York and decided I wanted to come
to Hollywood and I wanted to become an actor. And
today I'm at the Four Seasons. In the Four Seasons
hotel is literally three blocks from where I was. And
in that period of my life, in the early nineties,
for me, I was ringing checks at the Palm restaurant,
(00:29):
which was working for my dad. I was going out
on commercial auditions. I was a shitty actor at that time.
Julia Roberts was hitting with Pretty Woman, George Clooney was
hitting with the R and I was a schlump. And
here I am today sitting at the Four Seasons waiting
to have drinks with Georgia Julia, George Clooney, thank you
(00:53):
for me. Georgia. Julia arrived with a posse of publicists
and assistants because they have spent the entire day promoting
their new movie, Ticket to Paradise. Has to do an interviews, nothing,
it would be filmed or anything. Right, No, I want
to take a selfie. But just as fast as the
(01:14):
storm of celebrity rolls into room two. Ten of the
four seasons, it rolls out again and I find myself
with a couple of old friends catching up over drivers
years drink. I'm drinking Rush. So this is a super
exciting day and just goes to show you you never
(01:35):
know what's going to happen when you pull up a chair.
I'm Bruce Bozzy and this is my podcast, Table for two. Okay, guys,
so welcome to Table for two. But it's table for
so when you want to have lunch your drinks with
(01:56):
Jury Roberts, sometimes you get George clearly when I get stuck,
I think it's on your shoulders. So today has been
all about your movie. And I don't know much about junkets,
but how you holding up incredibly well? And I think
for a couple of reasons that are unique. One, we
(02:17):
get to be together, which anytime, anytime you're with a
friend conversing, it's always just nicer. But you know, this
movie is so much about us and our friendship, our chemistry,
that to be able to promote it, which is what
the junk it is together is really fun. And that
(02:39):
we're actually not sitting in front of a computer screen
talking to people who are who knows where, probably without
pants on, right, I mean I'm not wearing pants. Yeah,
because we're on the radio is exactly. The radio is
the radio. It's fun to do a junket with Julie
also because I think people are shocked at how much
(03:00):
ship we still we will give each other. And I
think that's always fun too, because they're always like, oh,
I know there's a couple more than a couple, but
a few times today where somebody's like, is that okay?
The next question? Really like stopped dead in their tracks,
like super uncomfortable. Well, I mean that brings up a
question for me because you know, there's such chemistry between
(03:20):
you guys, and you know, we've seen it a multitude
of times in the movies, and there's you know, famous pairs,
you know like Um Turner on Hooch, Turner on Hoog,
Steve Martin and John Candy, Um we have no you know,
Clark Gable and Cladette we have a staring run. What's like,
(03:40):
what's chemistry? And how does that you? You like remember
Drew Barmore and Adam Sandler that they're really good. Yeah.
You know it's like when people ask, you know what
makes someone a movie start. You know, I don't really
I don't know what that is like, I recognize it
when I see it. I think chemistry in general is
one of those things where you go, I only recognize
(04:01):
it when I see it. I don't know how you
can describe it, because you know, you can do something
that doesn't work with people that you're really good friends with.
How does that feel like when that happens. I don't know.
I've never had that happen. We'll take that question. See,
(04:21):
this is what's been going on today, and we're all friends,
but people that don't know us were like that funny
am I supposed to Shame on you, George. I will
say this though, I only I think, like maybe last
week when somebody sent me something about our collective movies together,
(04:43):
said to me, I've never really thought of us as
seen as this pair and it brought me so much
joy and job security. I thought, okay, now we're talking,
but it really did bring me so much joy to
think that people see us as like a move be pairing. Right,
So for this particular movie, is it like I'll do
(05:05):
that movie if Julia is going to do it, well,
I'm not going to do it that it was absolutely
what we said. Literally, we first texted each other and
just said have you read it? And then both of
us are like, I'll only do it if you do it.
And I remember distinctly talking to Brian and saying, I
really just don't know how it works if it's not George, right,
I just not to say. I mean in a great
(05:25):
script and very funny. Obviously we made it, But for me,
the whole idea of that relationship and a divorced couple
and all that stuff, it really just the how well
we know each other and the history that we have together.
Like you said, the day you think that they have
the country thinks we actually are divorced. That's probably true,
(05:46):
I did. That takes a lot of the explaining in
the beginning off so that you can jump right into
the being rotten Another's sort of like when you don't
see a friend for a long time that you love
and you just jump right back into it like only
a day has gone by. So does that mean there's
going to be more couplings job security? I really hope.
So I'd be shocked if there wouldn't be. Well, what's
(06:12):
the process now for you to to get yourself in
front of the camera at this point in your life.
What has to jump for you to be like, Okay,
I'm gonna do this. I'm gonna work now, because you
know how, but the decades of doing your job, how
hard it is, many many, several decades, honest to god.
The one thing that's clear, and I learned decades ago,
(06:38):
was if the script doesn't work, that you can't do it,
and the story and then it's the director. I think
probably is the next thing that if we were looking
at something we've redescript, go, it's good, who's directing it? Okay?
And then that would be the conversation that I both
of us would have. I have, Yes, I completely agree
with that. And for me, I feel like from the
(06:59):
very big in even back when I really shouldn't have
been saying no to anything because I needed the work
and I needed the money, and um, I would read
a script and I just would feel it in my bones,
Yes I want to do this. No, I don't want
to do this. And only one time that I'm not
listened to my no, I don't want to do this,
and I did it and it was not it was
(07:21):
a mistake. Um it was a It was a personal
mistake because I didn't just go for the only time
with my instinct. Right to you, George, when you talked
about directors. So when you're working on a film like
Ticket to Paradise, are you actually sort of thinking that's
a shitty you know that it should go this way
from your experience. Are you've going like that should kind
(07:42):
of look like you can't you can't be second guessing
the director. You have to come before you take the job.
You can do all of that. You like, I don't
know I've seen these films, or I don't know about
or you check it. I just want to do this.
Guy does seventy takes of walking in the door. You go,
I don't really want to work like that. And their
directors like that know that, Yeah, lots of them where
(08:02):
you just go and there's directors that yell and scream.
I've worked with one or two and I've always said,
I'll never do that again. So you do all that
vetting before you get there, and once you get in
there and start to work, Um, you gotta let you
know the idea that you can go. You could put
the camera over there and shoot. I mean there were
a couple of moments on the set where the weather
(08:23):
for it it started raining and there was no chance
that it wasn't going to rain all day, and they
were trying to figure out do we wait or do
we not? And then it's like, you know my experiences
shoot it in the rain. Now it was so great,
and George was like, let's just shoot it in the rain,
because there came a point where you realize this is
a monsoon now the rain, so time is going by,
(08:46):
our window of opportunity is leaving us. And George was like,
let's just shoot it in the rain. We'll just shoot
it in the rain. And then when they finally agree
to shoot in the rain, and all these very correct
wardrobe people come out with water bottles, two sprits us
to make us look and Georgie's like, it's raining and
he just went outside got red. And I was like, okay,
(09:07):
this is your But in general, once you've signed off
on a job, right, you got to do your job
and we have to have faith in all, which we did.
And you know, you don't want to second guess him
and undercut him because you know, you know, Julia or
I on a set, we can really undercut a director,
and when you do that, it makes all the other actors,
(09:30):
who are you know, two three, four five on the
call sheet? Um, it oftentimes makes them treat that director
poorly as well, right, or just question like who do
I look to for what's right? And especially you know,
we're working with very good actors, but much younger. They
have less experience than we do. And I think it
(09:52):
was nice as time went by and we all really
got to spend so much time together. And you hear
other actors talking about, like some of the experiences they've
had with people who are in the positions of more
power and just saying it's just not fun. It's just
you see people with the power and they're kind of
throwing it around and and you kind of forget, like, oh, yeah,
(10:15):
we could be big fat jerks. Yeah that would be horrible,
but why would we be. I enjoyed the Yeah, welcome
(10:41):
back to my conversation with Julia Roberts and George Clooney
on Table for two. You know, something that I've always
loved about these two is that they really make you
forget that they are the Julia Roberts and George Clooney.
But of course That makes sense because those weren't always
household names. There was a time when George was a
struggling television actor and Julie you was praying for commercial gig.
(11:02):
So let's get back into it and hear about when
the tides started to shift in their careers. You've talked
to Julia mentioned a little bit about going with your
gut at a time when you shouldn't have even said
no to jobs. Right. It feels like with actors specifically,
there's a long time in one's career where you're you're
asking for work for validation, and then it doesn't flip
(11:25):
for a lot of people, but it flipped, and then
now you're in a different position. When did that happen
for you? And how did that feel? And how did
you how did that affect you making choices in the business. Well, I,
for one, I am so grateful for all of the
jobs that I wanted more than life itself that I
didn't get to do. I think about the commercials, I
(11:48):
think about the TV shows and I was like, oh God,
it was so close. How did I not get that job?
And I am so grateful now, so grateful because you
would have done them. And she wouldn't have had the career, yeah,
or you know, there would just be a document of
time that you don't want following you around or whatever
it is. And I just feel like she's pointing at
(12:10):
my career. Right. It's kind of like, you know, when
you think about mullet, it wasn't you know, it was
such a fully realized mullet, like it was commitment, and
I applaud you for that, thank you, And the mullet
is making a comeback. I was going to say, even worse,
it is making you comeback. It makes me sad. It's
like fully making a comeback. I have two teenage boys.
(12:34):
Finn doesn't, but Henry has a quasi mullet that actually
is pretty cool. I'll show you a picture. It's Danny
cut his hair. He was like, Dad, I want a
mullet and I was like, I said, Danny, I was like,
don't go full medium mullet. You know, when I think
about Georgia Julia, I think of how successful they've both been,
(12:56):
but it's so important to remember then, in order to
get to that six, both of them had to endure
failure first. But they're better for it, and they have
the careers that they do because of it. I mean,
as actors, aren't we like innately insecure and we suffered
from impostor syndrome and all that kind of stuff. So
even what someone else would say, this is the point
in George's career when he made it, like, that's when
(13:18):
it all turned. That's he probably has different feelings about it,
he being him being you sitting right here next time. Well,
I do that different for this, but only that. Um,
I failed in so many shows. You know. It was
on seven series before you Are and thirteen pilots, and
so I was almost successful a bunch. And by the way,
(13:41):
when you're an actor and you're on a series, you're
beating the odds by billions. So I felt like I
was successful, but I felt like I was sort of
a journeyman. I was stuck in doing some pretty bad
television along the way. I was bad, and I'm not
blaming them. Um. And then I finally and then e
R hit and he R was any million people week.
(14:02):
It was the most popular show ever. I watched it.
It was Thursday nights and it changed overnight, like a
week later, two weeks later, I guess we're in the
cover of news week. And so all of a sudden,
we walked down the streets in New York and everyone
not only recognized, but they knew our names, our actual name.
(14:23):
And I remember walking with Benny, who you know, my
buddy Benny and I just were walking to New York George,
and I was like, and I looked at Benny as
that I just got famous. And you know, it's a funny.
That's that bug light that you chase in a way
that you once you get there, it's like oops. But
it's because it's just because it's because of all the
other things that come around with the loss of privacy
(14:44):
and the responsibility, but your mentality is still you're working
and a struggling actor. And it was that way for
a while. So I took jobs along those lines with
the with the show, I took films that I got
an offer it okay, you know, oh my god, I'm
doing I want to do it, even to the point
of the one I was a joke about Batman, which
(15:06):
is a terrible fill my bad in it, but I
was thrilled when it was over the moon You're a
Batman and then and it's a big flop and that's okay,
But you know what. It taught that moment, that minute
of failure, and failures are real. That's where you learn.
You don't learn in success. And the minute I failed
and I realized, oh, I'm gonna be held responsible for
(15:28):
the movies, not for my performance anymore, but for the
films themselves. They get made because of making him on
my back. And so from then on my choices were
about screenplay and director. And the next three films for
me and I held out for other films were out
of Side three Kings and oh brother were Art Thou
and so it was all three of those. It was like,
(15:50):
that's like, oh, I get it. I'm gonna be held responsible.
So there was a moment of that I could point
to that said it. The career change was the are
and there was a moment which taught me how to
change that trajectory, and that was Batman for yourself. Yeah,
and you also did something with that which was I
(16:13):
think unique, becoming a television big television start and they're
becoming a movie star, which didn't really happen. It seemed
like it was box. Well. It's funny because it goes
in cycles, right, Because Clin east Wood was a TV star,
and he was a giant movie There are a few
guys that did it um, but then it became impossible
and they really shut down the door. And there were
(16:33):
guys like David Caruso and guys who left TV shows
to have a big film group, and they really made
it almost impossible to do. And it's changed considerably now,
don't you think I feel like that that's not now.
People don't look at different difference the way that they
just because there's so much more expansive TV with yeah,
because it's both people are allowed to kind of do
(16:54):
what they want. But I think for you, I can't
imagine what it would be like becoming why wildly famous
on a TV show, when you're in people's homes, when
people can sit in their slippers, they know you personally, yeah,
because you come to their house every week, and that
kind of fame. And remember this isn't just small TV.
This is I can't felt I got. I was on
(17:18):
a plane with a big movie star and we got off.
The plane was flying somewhere and they were like, you know,
oh my god, and they're all staying back, you know,
from the star, and then they see me. It's like
George and they grab you because they've seen you in
their in their house, and they've got a remote and
they can make you talk or not talk. And your
and your tiny compared to you know, in a big
(17:40):
movie star, so you really are personally there. You know,
they know you personally, and so there was a different
kind of energy and what people won't remember. But up
until Perfect Storm, which was the year I left the
show when my contract was up. Up until then and
I had like three Kings and a brother and Out
of Side and some other film. Up until that moment,
(18:02):
it was just every article was like he's not gonna
make it. Every art, every single piece, every question was
like he doesn't have it. In fact, there were directors
to quit um Sydney Pollock quit he was going to
direct Out of Sight, and he quit because he said,
he's not a movie star about me when I got
(18:25):
the job now and that happened to with a couple
of directors. I worked with Sydney later in Michael Clayton,
and I walked over and I said, hey, man, you
just listen, you know alright. I loved him, I really
loved him, and I didn't hold it against him at
the time. But the narrative was very different, and it
(18:47):
was a hard thing to cross over at that moment.
But there's divine intervention right there, because you end up
with Stephen and the movie is so great, and it's
so good that movie. Oh my god, I watch it
and I've watched more than once, which I can't say
for any of my movies. Yes, you you one myself.
(19:07):
I rediscovered I find every time I watched it, I go, God,
so good it's good. Don, Don was so good. Everybody
in the way it's cut everything and enjoyed. You know what.
The other thing was Stephen was coming off of three
not very or two, I guess, not fair, like The
Underneath and the movies that no one saw and weren't
really you know, it certainly weren't received well after having
(19:28):
such a great start. So we were both when we
met for this, and I was already attached, and then
we went over Danny DeVito was a producer, and we
went over Michael, you know, the Stacey shared Michael Jabers,
and there was that moment where, you know, I looked
at him and he looked at me, and we both
needed a success. We were both up against it, and
(19:50):
there's something really good about having your back against the wall, Stephen,
you know. And if you ask Steven the you know,
his best film, he'd put that as one of his
best films. You know. I think he put Rock abits
in Traffic, which is that that he made one after
the other in the same year. Yeah, yeah, that's insane. Yeah.
I remember when he was he wanted to ask Jules
(20:11):
is now wife out. We were doing Oceans, we were
in I think we were in New Jersey then and
he's like, I want to ask her out, but I
don't think so. And that was the morning that he
was nominated for directing both films Rock and Traffic, And
I said, Stephen, now listen to me. This beautiful water
(20:33):
it's today that is so fun. Welcome back to Table
(20:59):
for two. As my conversation with Julia Roberts and George
Clooney wanders some story to story, I'm reminded that even
big time actors can get star struck about those who
came before them. Do you ever think about some movie
star in the past no longer exists that you would
have loved to have worked with, well worked with I
(21:20):
don't know, but I mean to have met, to have
shared time with, I would say Katherine Hepburn. I mean,
she's the ultimate um Audrey Hepburn, who I did meet
one time, which was other where did you meet her? Okay,
say you've probably heard the story a thousand years ago.
(21:42):
But once upon a time I was in Europe with
friends and it just so happened that we went on
an Audrey Hepburn movie marathon, binge for like a long weekend.
Where are you? What part of you? I was in
London and flying back to America and I get on
the plane and get myself situated. Now, me on an
(22:03):
airplane is about five seconds of buckling my seatbelt and
you know, eleven and a half hours of sleeping. And
I get on the plane and I get all you know,
situated and stuff. And I'm sitting there and there's and
I was in first class, very very fancy, and not
(22:25):
a lot of people in first class. And I look
over so I'm sitting in the window seats. There's a
seat next to me, and there's middle section, and then
over there is Audrey had Burn. Wow. And I honestly
it's like, am I making this up? Is she really? There?
Is you? And I just like you, like I didn't
(22:46):
know what to do with myself anyway. I was beside myself,
beside myself, and I should I talk to her show
and I talk to her. I can't talk to her.
I can't talk to her, and talking to her go Hi,
I'm an actor and I just love you. And I
just didn't know what to do. So I did fall asleep.
And then when I wake up, when the wheels touched
the ground, which is my emma can do that, well,
(23:07):
thank you, and I think, Okay, there's long lines at customs.
I will pull myself together, put a piece of get
on my mouth and say hello, Well she doesn't have
an American passport. She's somewhere else. She's in the other line.
And I missed my chance. My chance is over. And
(23:27):
I'm so disappointed in myself and really disappointed. And I
go downstairs because this was back in the day when
I checked a bag, and I go down to baggage
claim and I get my bag and as I turn
around because you know, the guy takes your ticket and
looks at the thing standing right in front of me
with her check bag is Audrey Hepp And she turns
(23:48):
to me and she goes, you're wonderful and hugs me.
And he's just like I said, she has no idea.
She has no idea what is happening to my entire
life right now? And I had to call my friends
and like so every movie there was charay, she's right there.
I just could not, well, what a cool story. And
(24:10):
like yet again timing it wasn't meant to be on
the plane, That's what it was. Meant so magnificent and
unbeknownst to any of us at the time, she was
unwell and she was given a Screen Actors Guild Lifetime
Achievement Award and back in the day when they were
these kind of smaller things whatever, and she wrote me
(24:33):
a letter and asked me to receive it on her behalf.
And she wrote a speech and asked me to recite
the speech and Gregory Peck it and it was just
just my whole life. I just thought, what is happening
right now? Gregory peck is, I'm sort of the proxy
(24:53):
for Audrey Heppern, what is going on? And I read
this beautiful speech that she'd written. I mean, it was
I kind of forget that even happened to me because
it was so it just sounds like fiction, like, oh
so I'm on this plane, you know, I mean it
just it sounds like a made up story that all happened.
(25:13):
I love that. And she was, you know, I mean,
honest to God, when you look at like the epitome
of class class. She just was so elegant. And she
was elegant from Roman Holiday on. It was she started there.
She didn't have the mullet ears, you know, just started
with the ballet answer and just went and you and
a Seth and all that. I mean, amazing. Mr. Cluded,
(25:36):
You have somebody, Well, I have guys that I like.
For instance, I think that as an actor the guy
that moved me the most would always be Spencer Tracy
because I couldn't I couldn't take my eye off him anything.
So I loved him. You know. In the newer method actors,
I really loved the first one which people overlook often,
(25:59):
which was Monty clip before before Brandon, before jamesing his
money clip and if you watched, like he and lizbe
Taylor were place in the sun. Yeah, I don't think
there's two sexier people, and I don't think there's a
more beautiful sort of told tragic love story. There's that
shot where you just see her eyes over his shoulder
when he says, there's so much I wish I could
(26:21):
tell you, because tell mama, and you're like, I'll tell
your mama. I remember hearing a story that there was
a line in it that he says to her where
he says, I love you always, and he said I
love you always. I didn't know. It was just a
little just him kind of. But that's another example of
(26:41):
people that their friendship I think allowed them to really
be comfortable. She stuck up from later when he was Yeah.
Two other actors that that had a huge impact on
me in my life, which was I was friends with
Paul Newman and I was friends with Greveryback, and those
(27:03):
two men, first of all about the two most elegant
movie stars you could ever mean. But they were also
crazy funny and you know, had wicked sense of humor.
Newman played pranks on me and and and but they
also they were citizens of the world in a way
that I loved. They were the examples that I look
(27:25):
at and say, well, that's those are the people that
you aimed for, you know, and that that there that
light in the sky. But you look at it mean,
I think it's really clear that the two of you
sit in those seats with the younger generation of actors.
You talked about the sort of generosity of your work,
(27:45):
your generosity of spirit when you're with people, but you
also use your celebrity in such a powerful give back way.
Did you just know when that moment was to start
to use your voice? I can you know remember in
the nineties, you know, seeing you, watching you, watching you,
when did you kind of I was very young when
Julia was famous. I was a child watching her in
(28:08):
the theater. I remember those days when I came in
my covered wagon. Yeah. But you know, I think that
I think that we were always, you know, speaking up.
It's just that no one was necessarily listening until sort
of other things happened in life. Because I grew up
in the sixties and seventies, which is, if you weren't
(28:31):
talking about the civil rights movement, or the women's rights movement,
or the Vietnam you know, or the drug counter culture
or any of that stuff, you weren't having some opinion
and talking and defending some ideas, you weren't part of
the society. But don't you also think that being the
child of a journalist, you have a great like inside
track to really knowing everything that's going on in a
(28:53):
way that maybe some of the kids in your community
wouldn't have well probably understood. Also, my father, there's thing,
was always about challenging people, you know. So I remember
in a Catholic school and getting kicked out and I
think fifth grade for a week because I had written
a piece about Doubting Thomas and Dowdy Thomas was the
(29:14):
guy who said, I want to put my hand in
the wound to you said that Jesus rose again, I
want to put my finger in the wound or I
don't believe you. And he was, you know, sent away.
And I wrote a piece because they asked us to
write a piece about the Bible, and I wrote a
piece saying that doubting Thomas was a reporter and that
he was the you know, the most informed because he
(29:34):
said I'm in but I need some proof that gets
you in trouble in the Catholic school and suspended for
seventy My father was very proud of the fact that
I was kicked out. So I think I had a
great advantage because my father was always about asking questions
and not taking things a face value. So what gives
(29:55):
you hope today? What is as we sort of you know,
head towards the world following part? You know, it gives
me hope. Yeah, every time I'm around young people, you know,
when we were doing the marks for our lives, it
gave me incredible hope. I stand there and go they
they don't look at this and say this is the
status quo. They look at and go, you know, why
(30:16):
can't this be fucking changed? And I go, yeah, you're right,
because I fall into it at times where I'll go, well,
this is the best available, you know, this is the
best thing we can do now. And the truth of
the matter is it's right to reach, it's right to
push in a way that, um, I suppose that my
(30:37):
younger self would have. I could talk to Juliam George Browers.
And the fact that we're in a hotel room and
not a restaurant means there's no check to come or
meal to finish. So if it really could go on forever,
but these are people with a lot of commitments and
I gotta let them go. Well, I have to just
fan out. I love you both so much. I have
(30:59):
had the pleasure of really spending significant intimate moments intimate meaning.
Let me just say it this way. Oh okay, so um.
The people who don't know Bruce have to understand two things.
One is he's built like something Michelangelo's card out of
a piece of marble. True, this is true. I can.
(31:20):
I can. Number one and number two, he's the first
person to show you that at every party, at every dinner,
take it, take a shirt off, shirt comes off like
before dessert. Off comes Thelude to dessert. And I can't
tell you how many events parties I've been to where
the shirt comes off. And I remember one at our wedding,
(31:40):
Matt Damon pulls your shirt off, and I'm like, what
are you doing you? Bruce is here, put your shirt
back off, and this will harm me? And it well,
first of all, your wedding was epic. Yeah, I didn't
think about the moment when I left your wedding in
my tuxedo without a shirt on, and all of us
that and there was and now it's a trend. Now
(32:02):
jeans are showing up on red carpets with jackets on
and no shirt. He started. I just gotta say thank
you so much for joining me on Table for Two.
I love you both so much. I can fan out.
I love you. I love you, George Clooney, Thank you,
Thank you, brother. Thanks. Table for You with Bruce Bozzy
(32:24):
is produced by I Heart Radio seven three seven Park
and Air may Our. Executive producers are Bruce Bozzy, Jonathan Hoss,
Dressler and Nathan King. Table for Two is edited and
written by Tina Mullen and researched and written by Bridget
arsenalt Our sound engineers are Emil B. Klein, Paul Bowman
and Melyssa Midcalf. Table for Two is l A. Production
(32:45):
team is Danielle Romo and Lorraine Duraz. Our music supervisor
is Randall poster Our talent booking is by James Harkin.
Special thanks to Amy Sugarman, Uni Share, Kevin Euvane, Bobby Bauer,
Alison Cantor Ray and For more podcasts from my Heart Radio,
visit the I Heart Radio app, Apple podcast, or wherever
(33:06):
you listen to your favorite shows. H
I moved to a street called Arnaz Drive, and I
was a young guy twenty three, had been working at
NBC in New York and decided I wanted to come
to Hollywood and I wanted to become an actor. And
today I'm at the Four Seasons. In the Four Seasons
hotel is literally three blocks from where I was. And
in that period of my life, in the early nineties,
for me, I was ringing checks at the Palm restaurant,
(00:29):
which was working for my dad. I was going out
on commercial auditions. I was a shitty actor at that time.
Julia Roberts was hitting with Pretty Woman, George Clooney was
hitting with the R and I was a schlump. And
here I am today sitting at the Four Seasons waiting
to have drinks with Georgia Julia, George Clooney, thank you
(00:53):
for me. Georgia. Julia arrived with a posse of publicists
and assistants because they have spent the entire day promoting
their new movie, Ticket to Paradise. Has to do an interviews, nothing,
it would be filmed or anything. Right, No, I want
to take a selfie. But just as fast as the
(01:14):
storm of celebrity rolls into room two. Ten of the
four seasons, it rolls out again and I find myself
with a couple of old friends catching up over drivers
years drink. I'm drinking Rush. So this is a super
exciting day and just goes to show you you never
(01:35):
know what's going to happen when you pull up a chair.
I'm Bruce Bozzy and this is my podcast, Table for two. Okay, guys,
so welcome to Table for two. But it's table for
so when you want to have lunch your drinks with
(01:56):
Jury Roberts, sometimes you get George clearly when I get stuck,
I think it's on your shoulders. So today has been
all about your movie. And I don't know much about junkets,
but how you holding up incredibly well? And I think
for a couple of reasons that are unique. One, we
(02:17):
get to be together, which anytime, anytime you're with a
friend conversing, it's always just nicer. But you know, this
movie is so much about us and our friendship, our chemistry,
that to be able to promote it, which is what
the junk it is together is really fun. And that
(02:39):
we're actually not sitting in front of a computer screen
talking to people who are who knows where, probably without
pants on, right, I mean I'm not wearing pants. Yeah,
because we're on the radio is exactly. The radio is
the radio. It's fun to do a junket with Julie
also because I think people are shocked at how much
(03:00):
ship we still we will give each other. And I
think that's always fun too, because they're always like, oh,
I know there's a couple more than a couple, but
a few times today where somebody's like, is that okay?
The next question? Really like stopped dead in their tracks,
like super uncomfortable. Well, I mean that brings up a
question for me because you know, there's such chemistry between
(03:20):
you guys, and you know, we've seen it a multitude
of times in the movies, and there's you know, famous pairs,
you know like Um Turner on Hooch, Turner on Hoog,
Steve Martin and John Candy, Um we have no you know,
Clark Gable and Cladette we have a staring run. What's like,
(03:40):
what's chemistry? And how does that you? You like remember
Drew Barmore and Adam Sandler that they're really good. Yeah.
You know it's like when people ask, you know what
makes someone a movie start. You know, I don't really
I don't know what that is like, I recognize it
when I see it. I think chemistry in general is
one of those things where you go, I only recognize
(04:01):
it when I see it. I don't know how you
can describe it, because you know, you can do something
that doesn't work with people that you're really good friends with.
How does that feel like when that happens. I don't know.
I've never had that happen. We'll take that question. See,
(04:21):
this is what's been going on today, and we're all friends,
but people that don't know us were like that funny
am I supposed to Shame on you, George. I will
say this though, I only I think, like maybe last
week when somebody sent me something about our collective movies together,
(04:43):
said to me, I've never really thought of us as
seen as this pair and it brought me so much
joy and job security. I thought, okay, now we're talking,
but it really did bring me so much joy to
think that people see us as like a move be pairing. Right,
So for this particular movie, is it like I'll do
(05:05):
that movie if Julia is going to do it, well,
I'm not going to do it that it was absolutely
what we said. Literally, we first texted each other and
just said have you read it? And then both of
us are like, I'll only do it if you do it.
And I remember distinctly talking to Brian and saying, I
really just don't know how it works if it's not George, right,
I just not to say. I mean in a great
(05:25):
script and very funny. Obviously we made it, But for me,
the whole idea of that relationship and a divorced couple
and all that stuff, it really just the how well
we know each other and the history that we have together.
Like you said, the day you think that they have
the country thinks we actually are divorced. That's probably true,
(05:46):
I did. That takes a lot of the explaining in
the beginning off so that you can jump right into
the being rotten Another's sort of like when you don't
see a friend for a long time that you love
and you just jump right back into it like only
a day has gone by. So does that mean there's
going to be more couplings job security? I really hope.
So I'd be shocked if there wouldn't be. Well, what's
(06:12):
the process now for you to to get yourself in
front of the camera at this point in your life.
What has to jump for you to be like, Okay,
I'm gonna do this. I'm gonna work now, because you
know how, but the decades of doing your job, how
hard it is, many many, several decades, honest to god.
The one thing that's clear, and I learned decades ago,
(06:38):
was if the script doesn't work, that you can't do it,
and the story and then it's the director. I think
probably is the next thing that if we were looking
at something we've redescript, go, it's good, who's directing it? Okay?
And then that would be the conversation that I both
of us would have. I have, Yes, I completely agree
with that. And for me, I feel like from the
(06:59):
very big in even back when I really shouldn't have
been saying no to anything because I needed the work
and I needed the money, and um, I would read
a script and I just would feel it in my bones,
Yes I want to do this. No, I don't want
to do this. And only one time that I'm not
listened to my no, I don't want to do this,
and I did it and it was not it was
(07:21):
a mistake. Um it was a It was a personal
mistake because I didn't just go for the only time
with my instinct. Right to you, George, when you talked
about directors. So when you're working on a film like
Ticket to Paradise, are you actually sort of thinking that's
a shitty you know that it should go this way
from your experience. Are you've going like that should kind
(07:42):
of look like you can't you can't be second guessing
the director. You have to come before you take the job.
You can do all of that. You like, I don't
know I've seen these films, or I don't know about
or you check it. I just want to do this.
Guy does seventy takes of walking in the door. You go,
I don't really want to work like that. And their
directors like that know that, Yeah, lots of them where
(08:02):
you just go and there's directors that yell and scream.
I've worked with one or two and I've always said,
I'll never do that again. So you do all that
vetting before you get there, and once you get in
there and start to work, Um, you gotta let you
know the idea that you can go. You could put
the camera over there and shoot. I mean there were
a couple of moments on the set where the weather
(08:23):
for it it started raining and there was no chance
that it wasn't going to rain all day, and they
were trying to figure out do we wait or do
we not? And then it's like, you know my experiences
shoot it in the rain. Now it was so great,
and George was like, let's just shoot it in the rain,
because there came a point where you realize this is
a monsoon now the rain, so time is going by,
(08:46):
our window of opportunity is leaving us. And George was like,
let's just shoot it in the rain. We'll just shoot
it in the rain. And then when they finally agree
to shoot in the rain, and all these very correct
wardrobe people come out with water bottles, two sprits us
to make us look and Georgie's like, it's raining and
he just went outside got red. And I was like, okay,
(09:07):
this is your But in general, once you've signed off
on a job, right, you got to do your job
and we have to have faith in all, which we did.
And you know, you don't want to second guess him
and undercut him because you know, you know, Julia or
I on a set, we can really undercut a director,
and when you do that, it makes all the other actors,
(09:30):
who are you know, two three, four five on the
call sheet? Um, it oftentimes makes them treat that director
poorly as well, right, or just question like who do
I look to for what's right? And especially you know,
we're working with very good actors, but much younger. They
have less experience than we do. And I think it
(09:52):
was nice as time went by and we all really
got to spend so much time together. And you hear
other actors talking about, like some of the experiences they've
had with people who are in the positions of more
power and just saying it's just not fun. It's just
you see people with the power and they're kind of
throwing it around and and you kind of forget, like, oh, yeah,
(10:15):
we could be big fat jerks. Yeah that would be horrible,
but why would we be. I enjoyed the Yeah, welcome
(10:41):
back to my conversation with Julia Roberts and George Clooney
on Table for two. You know, something that I've always
loved about these two is that they really make you
forget that they are the Julia Roberts and George Clooney.
But of course That makes sense because those weren't always
household names. There was a time when George was a
struggling television actor and Julie you was praying for commercial gig.
(11:02):
So let's get back into it and hear about when
the tides started to shift in their careers. You've talked
to Julia mentioned a little bit about going with your
gut at a time when you shouldn't have even said
no to jobs. Right. It feels like with actors specifically,
there's a long time in one's career where you're you're
asking for work for validation, and then it doesn't flip
(11:25):
for a lot of people, but it flipped, and then
now you're in a different position. When did that happen
for you? And how did that feel? And how did
you how did that affect you making choices in the business. Well, I,
for one, I am so grateful for all of the
jobs that I wanted more than life itself that I
didn't get to do. I think about the commercials, I
(11:48):
think about the TV shows and I was like, oh God,
it was so close. How did I not get that job?
And I am so grateful now, so grateful because you
would have done them. And she wouldn't have had the career, yeah,
or you know, there would just be a document of
time that you don't want following you around or whatever
it is. And I just feel like she's pointing at
(12:10):
my career. Right. It's kind of like, you know, when
you think about mullet, it wasn't you know, it was
such a fully realized mullet, like it was commitment, and
I applaud you for that, thank you, And the mullet
is making a comeback. I was going to say, even worse,
it is making you comeback. It makes me sad. It's
like fully making a comeback. I have two teenage boys.
(12:34):
Finn doesn't, but Henry has a quasi mullet that actually
is pretty cool. I'll show you a picture. It's Danny
cut his hair. He was like, Dad, I want a
mullet and I was like, I said, Danny, I was like,
don't go full medium mullet. You know, when I think
about Georgia Julia, I think of how successful they've both been,
(12:56):
but it's so important to remember then, in order to
get to that six, both of them had to endure
failure first. But they're better for it, and they have
the careers that they do because of it. I mean,
as actors, aren't we like innately insecure and we suffered
from impostor syndrome and all that kind of stuff. So
even what someone else would say, this is the point
in George's career when he made it, like, that's when
(13:18):
it all turned. That's he probably has different feelings about it,
he being him being you sitting right here next time. Well,
I do that different for this, but only that. Um,
I failed in so many shows. You know. It was
on seven series before you Are and thirteen pilots, and
so I was almost successful a bunch. And by the way,
(13:41):
when you're an actor and you're on a series, you're
beating the odds by billions. So I felt like I
was successful, but I felt like I was sort of
a journeyman. I was stuck in doing some pretty bad
television along the way. I was bad, and I'm not
blaming them. Um. And then I finally and then e
R hit and he R was any million people week.
(14:02):
It was the most popular show ever. I watched it.
It was Thursday nights and it changed overnight, like a
week later, two weeks later, I guess we're in the
cover of news week. And so all of a sudden,
we walked down the streets in New York and everyone
not only recognized, but they knew our names, our actual name.
(14:23):
And I remember walking with Benny, who you know, my
buddy Benny and I just were walking to New York George,
and I was like, and I looked at Benny as
that I just got famous. And you know, it's a funny.
That's that bug light that you chase in a way
that you once you get there, it's like oops. But
it's because it's just because it's because of all the
other things that come around with the loss of privacy
(14:44):
and the responsibility, but your mentality is still you're working
and a struggling actor. And it was that way for
a while. So I took jobs along those lines with
the with the show, I took films that I got
an offer it okay, you know, oh my god, I'm
doing I want to do it, even to the point
of the one I was a joke about Batman, which
(15:06):
is a terrible fill my bad in it, but I
was thrilled when it was over the moon You're a
Batman and then and it's a big flop and that's okay,
But you know what. It taught that moment, that minute
of failure, and failures are real. That's where you learn.
You don't learn in success. And the minute I failed
and I realized, oh, I'm gonna be held responsible for
(15:28):
the movies, not for my performance anymore, but for the
films themselves. They get made because of making him on
my back. And so from then on my choices were
about screenplay and director. And the next three films for
me and I held out for other films were out
of Side three Kings and oh brother were Art Thou
and so it was all three of those. It was like,
(15:50):
that's like, oh, I get it. I'm gonna be held responsible.
So there was a moment of that I could point
to that said it. The career change was the are
and there was a moment which taught me how to
change that trajectory, and that was Batman for yourself. Yeah,
and you also did something with that which was I
(16:13):
think unique, becoming a television big television start and they're
becoming a movie star, which didn't really happen. It seemed
like it was box. Well. It's funny because it goes
in cycles, right, Because Clin east Wood was a TV star,
and he was a giant movie There are a few
guys that did it um, but then it became impossible
and they really shut down the door. And there were
(16:33):
guys like David Caruso and guys who left TV shows
to have a big film group, and they really made
it almost impossible to do. And it's changed considerably now,
don't you think I feel like that that's not now.
People don't look at different difference the way that they
just because there's so much more expansive TV with yeah,
because it's both people are allowed to kind of do
(16:54):
what they want. But I think for you, I can't
imagine what it would be like becoming why wildly famous
on a TV show, when you're in people's homes, when
people can sit in their slippers, they know you personally, yeah,
because you come to their house every week, and that
kind of fame. And remember this isn't just small TV.
This is I can't felt I got. I was on
(17:18):
a plane with a big movie star and we got off.
The plane was flying somewhere and they were like, you know,
oh my god, and they're all staying back, you know,
from the star, and then they see me. It's like
George and they grab you because they've seen you in
their in their house, and they've got a remote and
they can make you talk or not talk. And your
and your tiny compared to you know, in a big
(17:40):
movie star, so you really are personally there. You know,
they know you personally, and so there was a different
kind of energy and what people won't remember. But up
until Perfect Storm, which was the year I left the
show when my contract was up. Up until then and
I had like three Kings and a brother and Out
of Side and some other film. Up until that moment,
(18:02):
it was just every article was like he's not gonna
make it. Every art, every single piece, every question was
like he doesn't have it. In fact, there were directors
to quit um Sydney Pollock quit he was going to
direct Out of Sight, and he quit because he said,
he's not a movie star about me when I got
(18:25):
the job now and that happened to with a couple
of directors. I worked with Sydney later in Michael Clayton,
and I walked over and I said, hey, man, you
just listen, you know alright. I loved him, I really
loved him, and I didn't hold it against him at
the time. But the narrative was very different, and it
(18:47):
was a hard thing to cross over at that moment.
But there's divine intervention right there, because you end up
with Stephen and the movie is so great, and it's
so good that movie. Oh my god, I watch it
and I've watched more than once, which I can't say
for any of my movies. Yes, you you one myself.
(19:07):
I rediscovered I find every time I watched it, I go, God,
so good it's good. Don, Don was so good. Everybody
in the way it's cut everything and enjoyed. You know what.
The other thing was Stephen was coming off of three
not very or two, I guess, not fair, like The
Underneath and the movies that no one saw and weren't
really you know, it certainly weren't received well after having
(19:28):
such a great start. So we were both when we
met for this, and I was already attached, and then
we went over Danny DeVito was a producer, and we
went over Michael, you know, the Stacey shared Michael Jabers,
and there was that moment where, you know, I looked
at him and he looked at me, and we both
needed a success. We were both up against it, and
(19:50):
there's something really good about having your back against the wall, Stephen,
you know. And if you ask Steven the you know,
his best film, he'd put that as one of his
best films. You know. I think he put Rock abits
in Traffic, which is that that he made one after
the other in the same year. Yeah, yeah, that's insane. Yeah.
I remember when he was he wanted to ask Jules
(20:11):
is now wife out. We were doing Oceans, we were
in I think we were in New Jersey then and
he's like, I want to ask her out, but I
don't think so. And that was the morning that he
was nominated for directing both films Rock and Traffic, And
I said, Stephen, now listen to me. This beautiful water
(20:33):
it's today that is so fun. Welcome back to Table
(20:59):
for two. As my conversation with Julia Roberts and George
Clooney wanders some story to story, I'm reminded that even
big time actors can get star struck about those who
came before them. Do you ever think about some movie
star in the past no longer exists that you would
have loved to have worked with, well worked with I
(21:20):
don't know, but I mean to have met, to have
shared time with, I would say Katherine Hepburn. I mean,
she's the ultimate um Audrey Hepburn, who I did meet
one time, which was other where did you meet her? Okay,
say you've probably heard the story a thousand years ago.
(21:42):
But once upon a time I was in Europe with
friends and it just so happened that we went on
an Audrey Hepburn movie marathon, binge for like a long weekend.
Where are you? What part of you? I was in
London and flying back to America and I get on
the plane and get myself situated. Now, me on an
(22:03):
airplane is about five seconds of buckling my seatbelt and
you know, eleven and a half hours of sleeping. And
I get on the plane and I get all you know,
situated and stuff. And I'm sitting there and there's and
I was in first class, very very fancy, and not
(22:25):
a lot of people in first class. And I look
over so I'm sitting in the window seats. There's a
seat next to me, and there's middle section, and then
over there is Audrey had Burn. Wow. And I honestly
it's like, am I making this up? Is she really? There?
Is you? And I just like you, like I didn't
(22:46):
know what to do with myself anyway. I was beside myself,
beside myself, and I should I talk to her show
and I talk to her. I can't talk to her.
I can't talk to her, and talking to her go Hi,
I'm an actor and I just love you. And I
just didn't know what to do. So I did fall asleep.
And then when I wake up, when the wheels touched
the ground, which is my emma can do that, well,
(23:07):
thank you, and I think, Okay, there's long lines at customs.
I will pull myself together, put a piece of get
on my mouth and say hello, Well she doesn't have
an American passport. She's somewhere else. She's in the other line.
And I missed my chance. My chance is over. And
(23:27):
I'm so disappointed in myself and really disappointed. And I
go downstairs because this was back in the day when
I checked a bag, and I go down to baggage
claim and I get my bag and as I turn
around because you know, the guy takes your ticket and
looks at the thing standing right in front of me
with her check bag is Audrey Hepp And she turns
(23:48):
to me and she goes, you're wonderful and hugs me.
And he's just like I said, she has no idea.
She has no idea what is happening to my entire
life right now? And I had to call my friends
and like so every movie there was charay, she's right there.
I just could not, well, what a cool story. And
(24:10):
like yet again timing it wasn't meant to be on
the plane, That's what it was. Meant so magnificent and
unbeknownst to any of us at the time, she was
unwell and she was given a Screen Actors Guild Lifetime
Achievement Award and back in the day when they were
these kind of smaller things whatever, and she wrote me
(24:33):
a letter and asked me to receive it on her behalf.
And she wrote a speech and asked me to recite
the speech and Gregory Peck it and it was just
just my whole life. I just thought, what is happening
right now? Gregory peck is, I'm sort of the proxy
(24:53):
for Audrey Heppern, what is going on? And I read
this beautiful speech that she'd written. I mean, it was
I kind of forget that even happened to me because
it was so it just sounds like fiction, like, oh
so I'm on this plane, you know, I mean it
just it sounds like a made up story that all happened.
(25:13):
I love that. And she was, you know, I mean,
honest to God, when you look at like the epitome
of class class. She just was so elegant. And she
was elegant from Roman Holiday on. It was she started there.
She didn't have the mullet ears, you know, just started
with the ballet answer and just went and you and
a Seth and all that. I mean, amazing. Mr. Cluded,
(25:36):
You have somebody, Well, I have guys that I like.
For instance, I think that as an actor the guy
that moved me the most would always be Spencer Tracy
because I couldn't I couldn't take my eye off him anything.
So I loved him. You know. In the newer method actors,
I really loved the first one which people overlook often,
(25:59):
which was Monty clip before before Brandon, before jamesing his
money clip and if you watched, like he and lizbe
Taylor were place in the sun. Yeah, I don't think
there's two sexier people, and I don't think there's a
more beautiful sort of told tragic love story. There's that
shot where you just see her eyes over his shoulder
when he says, there's so much I wish I could
(26:21):
tell you, because tell mama, and you're like, I'll tell
your mama. I remember hearing a story that there was
a line in it that he says to her where
he says, I love you always, and he said I
love you always. I didn't know. It was just a
little just him kind of. But that's another example of
(26:41):
people that their friendship I think allowed them to really
be comfortable. She stuck up from later when he was Yeah.
Two other actors that that had a huge impact on
me in my life, which was I was friends with
Paul Newman and I was friends with Greveryback, and those
(27:03):
two men, first of all about the two most elegant
movie stars you could ever mean. But they were also
crazy funny and you know, had wicked sense of humor.
Newman played pranks on me and and and but they
also they were citizens of the world in a way
that I loved. They were the examples that I look
(27:25):
at and say, well, that's those are the people that
you aimed for, you know, and that that there that
light in the sky. But you look at it mean,
I think it's really clear that the two of you
sit in those seats with the younger generation of actors.
You talked about the sort of generosity of your work,
(27:45):
your generosity of spirit when you're with people, but you
also use your celebrity in such a powerful give back way.
Did you just know when that moment was to start
to use your voice? I can you know remember in
the nineties, you know, seeing you, watching you, watching you,
when did you kind of I was very young when
Julia was famous. I was a child watching her in
(28:08):
the theater. I remember those days when I came in
my covered wagon. Yeah. But you know, I think that
I think that we were always, you know, speaking up.
It's just that no one was necessarily listening until sort
of other things happened in life. Because I grew up
in the sixties and seventies, which is, if you weren't
(28:31):
talking about the civil rights movement, or the women's rights movement,
or the Vietnam you know, or the drug counter culture
or any of that stuff, you weren't having some opinion
and talking and defending some ideas, you weren't part of
the society. But don't you also think that being the
child of a journalist, you have a great like inside
track to really knowing everything that's going on in a
(28:53):
way that maybe some of the kids in your community
wouldn't have well probably understood. Also, my father, there's thing,
was always about challenging people, you know. So I remember
in a Catholic school and getting kicked out and I
think fifth grade for a week because I had written
a piece about Doubting Thomas and Dowdy Thomas was the
(29:14):
guy who said, I want to put my hand in
the wound to you said that Jesus rose again, I
want to put my finger in the wound or I
don't believe you. And he was, you know, sent away.
And I wrote a piece because they asked us to
write a piece about the Bible, and I wrote a
piece saying that doubting Thomas was a reporter and that
he was the you know, the most informed because he
(29:34):
said I'm in but I need some proof that gets
you in trouble in the Catholic school and suspended for
seventy My father was very proud of the fact that
I was kicked out. So I think I had a
great advantage because my father was always about asking questions
and not taking things a face value. So what gives
(29:55):
you hope today? What is as we sort of you know,
head towards the world following part? You know, it gives
me hope. Yeah, every time I'm around young people, you know,
when we were doing the marks for our lives, it
gave me incredible hope. I stand there and go they
they don't look at this and say this is the
status quo. They look at and go, you know, why
(30:16):
can't this be fucking changed? And I go, yeah, you're right,
because I fall into it at times where I'll go, well,
this is the best available, you know, this is the
best thing we can do now. And the truth of
the matter is it's right to reach, it's right to
push in a way that, um, I suppose that my
(30:37):
younger self would have. I could talk to Juliam George Browers.
And the fact that we're in a hotel room and
not a restaurant means there's no check to come or
meal to finish. So if it really could go on forever,
but these are people with a lot of commitments and
I gotta let them go. Well, I have to just
fan out. I love you both so much. I have
(30:59):
had the pleasure of really spending significant intimate moments intimate meaning.
Let me just say it this way. Oh okay, so um.
The people who don't know Bruce have to understand two things.
One is he's built like something Michelangelo's card out of
a piece of marble. True, this is true. I can.
(31:20):
I can. Number one and number two, he's the first
person to show you that at every party, at every dinner,
take it, take a shirt off, shirt comes off like
before dessert. Off comes Thelude to dessert. And I can't
tell you how many events parties I've been to where
the shirt comes off. And I remember one at our wedding,
(31:40):
Matt Damon pulls your shirt off, and I'm like, what
are you doing you? Bruce is here, put your shirt
back off, and this will harm me? And it well,
first of all, your wedding was epic. Yeah, I didn't
think about the moment when I left your wedding in
my tuxedo without a shirt on, and all of us
that and there was and now it's a trend. Now
(32:02):
jeans are showing up on red carpets with jackets on
and no shirt. He started. I just gotta say thank
you so much for joining me on Table for Two.
I love you both so much. I can fan out.
I love you. I love you, George Clooney, Thank you,
Thank you, brother. Thanks. Table for You with Bruce Bozzy
(32:24):
is produced by I Heart Radio seven three seven Park
and Air may Our. Executive producers are Bruce Bozzy, Jonathan Hoss,
Dressler and Nathan King. Table for Two is edited and
written by Tina Mullen and researched and written by Bridget
arsenalt Our sound engineers are Emil B. Klein, Paul Bowman
and Melyssa Midcalf. Table for Two is l A. Production
(32:45):
team is Danielle Romo and Lorraine Duraz. Our music supervisor
is Randall poster Our talent booking is by James Harkin.
Special thanks to Amy Sugarman, Uni Share, Kevin Euvane, Bobby Bauer,
Alison Cantor Ray and For more podcasts from my Heart Radio,
visit the I Heart Radio app, Apple podcast, or wherever
(33:06):
you listen to your favorite shows. H
Host
Bruce Bozzi
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