WEBVTT 1 00:00:05.040 --> 00:00:11.240 Old folks. Show people fake good money to see this movie. When they 2 00:00:11.279 --> 00:00:15.000 go out to a theater, they want cold sod. That's little hoopcorn and 3 00:00:15.119 --> 00:00:20.839 no monsters. In the Projection Booth, Everyone for ten podcasting isn't boring off. 4 00:00:40.600 --> 00:00:43.039 Hey, folks, welcome to a special episode of The Projection Booth. 5 00:00:43.039 --> 00:00:46.159 I't my host Mike White. This episode is a little different. We are 6 00:00:46.200 --> 00:00:51.240 talking about a movie that has yet to be I'm talking with producer Anne Branstein 7 00:00:51.719 --> 00:00:56.039 all about the documentary The Girl Who Would Be King, which she is currently 8 00:00:56.079 --> 00:01:00.600 working on. It is about and Beats, who is one of her best 9 00:01:00.679 --> 00:01:06.359 friends, one of Eve's best friends, and Anne is the creator or was 10 00:01:06.400 --> 00:01:11.719 the creator of square Pegs. She passed away two years ago and Eve is 11 00:01:11.799 --> 00:01:15.319 now in the midst of making a documentary about Anne. You get to hear 12 00:01:15.359 --> 00:01:21.319 about Eve and Anne in this episode, and I hope it. What's your 13 00:01:21.359 --> 00:01:26.400 appetite for what The Girl Who Would Be King is going to be all about? 14 00:01:26.879 --> 00:01:29.439 If you want to keep up on the production, I suggest you go 15 00:01:29.480 --> 00:01:34.519 over to Eve Branstein Productions dot com where you can hopefully find out more about 16 00:01:34.560 --> 00:01:37.079 it, and of course I will keep you up to date as well. 17 00:01:37.120 --> 00:01:41.359 As we move forward with the production. Thank you so much for listening, 18 00:01:41.400 --> 00:01:44.920 and I hope you enjoy the interview. Can you tell me about your background 19 00:01:44.959 --> 00:01:49.640 because you've done so many interesting thanks. Professionally, I came to Los Angeles 20 00:01:49.760 --> 00:01:56.000 after being a theater director in New York around nineteen seventy nine, and I 21 00:01:56.079 --> 00:02:01.079 went to work with Norman Lear pretty much as my introduction to the community here. 22 00:02:01.120 --> 00:02:06.560 It was an excellent opportunity and I was lucky also, and I then 23 00:02:06.719 --> 00:02:10.840 became a filmmaker through the AFI program and an alumni of AFI's program. I 24 00:02:10.879 --> 00:02:15.919 made a few of my young films there, but Lop, Skip and Jump. 25 00:02:15.960 --> 00:02:20.599 I became the head of casting phenomenon As companies, speaking of the movies 26 00:02:20.680 --> 00:02:23.840 and the TV shows, and was a great opportunity, great career. It 27 00:02:23.879 --> 00:02:28.000 wasn't really what I was set out to do. I wanted to be in 28 00:02:28.039 --> 00:02:31.199 directing. I was doing at its theater director. Now being a filmmaker through 29 00:02:31.240 --> 00:02:36.919 a FI and wishing and hoping to be a filmmaker. But I still loved 30 00:02:36.919 --> 00:02:39.719 television. I fell deeply and madly in love with TV. The way you 31 00:02:39.759 --> 00:02:44.919 could start something and finished something like that they come up with an idea and 32 00:02:45.039 --> 00:02:49.639 shoot it. It was to meet the miracle and reading while movies years and 33 00:02:49.719 --> 00:02:53.120 years. So I worked with television for a long time, and then I 34 00:02:53.120 --> 00:02:59.199 graduated into what I wanted to do at the Leader Companies and I became a 35 00:02:59.240 --> 00:03:05.759 producer and I produced a series a few pilots, but found me a series 36 00:03:05.759 --> 00:03:08.960 of one another year at CBS called Er Now My jo It's not the R. 37 00:03:09.439 --> 00:03:15.159 But I introduced George Clooney to the world in the first R, which 38 00:03:15.199 --> 00:03:22.599 started Elliott Gould and Unchata Farrell and Mary McDonald great cast, and it was 39 00:03:22.639 --> 00:03:27.439 based on a show I had seen in Chicago called er Anyway. Later on 40 00:03:28.000 --> 00:03:32.479 George wand up on another R and so it was the beginning up a friendship 41 00:03:32.479 --> 00:03:38.080 and working with George Anyway. I wrote a book called The Actor or a 42 00:03:38.159 --> 00:03:45.479 Practical Guy to a Professional Career, and then I started just producing and writing. 43 00:03:45.800 --> 00:03:47.639 Then I met up what I had done, though it was not a 44 00:03:47.680 --> 00:03:53.680 few pilots, and then I was invited to go over to Castle Rock. 45 00:03:53.120 --> 00:03:58.599 Now. It didn't go right away because obviously the guys who started Castle Rock 46 00:03:58.759 --> 00:04:02.039 used to be all part of normal Lia then days it was Columbia Television or 47 00:04:02.039 --> 00:04:04.599 whatever. So I had to wait a year and I went off to be 48 00:04:05.120 --> 00:04:10.800 joined them as a producer and she loaned Behold and Beat. So I had 49 00:04:10.800 --> 00:04:16.120 met in nineteen eighty one when I cast her series Square Pegs, and I 50 00:04:16.279 --> 00:04:19.800 was in awe of her. She was an amazing character of what a character 51 00:04:19.920 --> 00:04:25.680 she was? Oh wish Anyway, I loved working on Square Pegs, but 52 00:04:25.759 --> 00:04:29.680 now I jumped the gun on that because that's a very important place for you 53 00:04:29.759 --> 00:04:34.040 to edit as a filmmaker. Go back and pick up an and and I 54 00:04:34.079 --> 00:04:41.920 became friends in during the Square Pegs era. She was astounding brilliant and I 55 00:04:42.079 --> 00:04:45.279 was in all of her background. She had just come from SNL, which 56 00:04:45.279 --> 00:04:48.120 I was a fan of, and then we had her fabulous time and the 57 00:04:48.160 --> 00:04:54.360 show didn't last much more than a year. And then I went to Castlemock 58 00:04:54.800 --> 00:05:00.360 and sure enough I had optioned a project called Julie Brown The Show. Now, 59 00:05:00.399 --> 00:05:03.279 in what I'm seeing press release recently, they have the wrong showdown. 60 00:05:03.680 --> 00:05:10.120 It was Julie Brown the Show, which was a TV pilot that we did 61 00:05:10.680 --> 00:05:14.120 and cast a Walk asked me to see if I would join forces with Anne 62 00:05:14.160 --> 00:05:18.199 Beats, and so that's when our partnership we became a company basically through that 63 00:05:18.360 --> 00:05:24.279 association and we produced this phenomenal pilot. You can see some pieces of it 64 00:05:24.360 --> 00:05:28.800 on YouTube, but it was head of its time. It was a show 65 00:05:28.839 --> 00:05:32.160 within the show. Having done in my casting career, I think one of 66 00:05:32.199 --> 00:05:39.279 the most unique open shows was a show called Fernwood Tonight. And because Fernwood 67 00:05:39.279 --> 00:05:44.120 Tonight was such a unique show, I stole some of my best ideas from 68 00:05:44.160 --> 00:05:47.439 it, which was to do that same kind of dead pan we're doing a 69 00:05:47.480 --> 00:05:51.519 show, and Julie was a show within the show. Julie Brown the show. 70 00:05:53.079 --> 00:05:57.759 Later on, Gary Shandling did Saintlier and stayed on forever. But the 71 00:05:57.879 --> 00:06:04.560 concept of doing that sort of satirical sitcom was something had Anne and I worked 72 00:06:04.600 --> 00:06:09.959 on for that, and then we were invited to go over to Stephen J. 73 00:06:10.120 --> 00:06:14.439 Cannell's company as a team. We've found up finding out we worked really 74 00:06:14.439 --> 00:06:17.680 well together. We started a company called B Girls Productions, and we went 75 00:06:17.720 --> 00:06:21.199 to the Cannel Company to be the head of their comedy department, and we 76 00:06:21.279 --> 00:06:26.079 got tons of scorps for them, and we had I think we did a 77 00:06:26.120 --> 00:06:30.800 couple of pilots and this went on and on. We had an amazing association 78 00:06:30.360 --> 00:06:35.519 and so from that point on, life keeps growing. We kept doing things 79 00:06:35.519 --> 00:06:41.839 on and off for many years and worked on in several TV movies, and 80 00:06:41.879 --> 00:06:47.600 then we did a John Waters show that we also directed called John Waters Presents 81 00:06:48.319 --> 00:06:54.480 Movies That Will Corrupt You, and we spent time with John and we did 82 00:06:54.600 --> 00:06:58.959 so many things. It was a great forty years. Forty years. When 83 00:06:59.000 --> 00:07:01.680 it comes to the Julie Brown Show, was that just the name of the 84 00:07:01.759 --> 00:07:05.680 character or was it one of the many Julie Browns let us out there? 85 00:07:06.120 --> 00:07:12.959 It was the Julie Brown what they called Uptown. She was the redhead who 86 00:07:13.000 --> 00:07:18.600 did earth Girls Are Easy, clever comedian and good singer. So the show 87 00:07:18.680 --> 00:07:23.279 was about her having her own show. It was like a musical talk show. 88 00:07:23.360 --> 00:07:27.800 And we had a light band on stage which was built on these guys 89 00:07:27.800 --> 00:07:31.240 that I knew, the Sales Brothers. It was Soupy's sons who eventually were 90 00:07:31.240 --> 00:07:35.959 our garage man, including Brian Ray who was now Paul mccartey's guitar player, 91 00:07:38.319 --> 00:07:41.600 and the Sales Boys, And it was supposed to be a garage band, 92 00:07:42.040 --> 00:07:46.319 so we had quote the garage on stage and they played her on and off 93 00:07:46.360 --> 00:07:50.600 and played some of her songs and had a live audience and it was goofy 94 00:07:50.639 --> 00:07:56.279 and then she had a backstage light which was chaotic as you could imagine, 95 00:07:56.319 --> 00:07:59.240 and that was a very cute pilot. I said some pieces of it on 96 00:07:59.240 --> 00:08:03.399 YouTube that you can see, but that was that Jutney Brown. And now 97 00:08:03.439 --> 00:08:07.040 she's doing an ongoing character that she created at one point called Medusa, which 98 00:08:07.160 --> 00:08:11.560 is a spoof a Madonna. And the recent stuff she's doing, if you 99 00:08:11.720 --> 00:08:20.000 check it out, is hilarious because she's Madonna who is now an elder based 100 00:08:20.040 --> 00:08:22.959 on some of the humor that Madonna is trying to change your image. But 101 00:08:24.040 --> 00:08:26.839 anyway, I don't really want to get into that too much, but it's 102 00:08:26.920 --> 00:08:31.000 very funny. She's very funny, and again you can see that stuff. 103 00:08:31.360 --> 00:08:35.159 I've never really talked to a casting person, and I'm so curious, what 104 00:08:35.440 --> 00:08:39.399 is your what's your modus operanda? How do you figure out who's going to 105 00:08:39.480 --> 00:08:41.320 be good for stuff? Because I know, like you said, you worked 106 00:08:41.320 --> 00:08:46.919 with Castle Rock, You've casted so many things that I love, like Spinal 107 00:08:46.039 --> 00:08:50.919 Tap or sure Thing, just great films. How do you start off? 108 00:08:52.200 --> 00:08:56.879 I came out here to be a filmmaker and I needed a job and I 109 00:08:56.919 --> 00:09:01.200 got this job in casting by accident. I needed a job. Someone offered 110 00:09:01.240 --> 00:09:05.759 me an opportunity to work at was then tat Tandem Productions, the old TV 111 00:09:05.919 --> 00:09:09.360 company, and I didn't want to take the gig. At first. I 112 00:09:09.399 --> 00:09:13.960 thought it was to be like a quirk in the casting department meeting, I 113 00:09:15.000 --> 00:09:18.159 fill out contracts and then I go down to the set and I get people 114 00:09:18.240 --> 00:09:22.799 sign their contract. It was all like simple contracts. They were all day 115 00:09:22.879 --> 00:09:26.320 players stuff. Even if you were movie starting, you had to sign a 116 00:09:26.399 --> 00:09:30.600 cheap contract. So I was there for three days and it was really a 117 00:09:30.759 --> 00:09:33.279 crazy scene. There were actors coming and going, and there was a show 118 00:09:33.279 --> 00:09:39.360 called Fernwood Tonight which held not aired yet, and they were putting together characters 119 00:09:39.399 --> 00:09:46.200 that could do improp and could create reality in this sort of heightened state. 120 00:09:46.799 --> 00:09:52.240 And there was Martin mull and Fred Willard were ready on board, and Norman 121 00:09:52.360 --> 00:09:56.519 was still looking for more talent for it. But the place was a mess 122 00:09:56.639 --> 00:10:00.360 with it, and the gal who was the casting director, it was on 123 00:10:00.399 --> 00:10:05.519 the verge of like really a breakdown serious. She was overwhelmed because I had 124 00:10:05.559 --> 00:10:07.519 a history of knowing what I was doing with actors. She asked me to 125 00:10:07.600 --> 00:10:13.399 work on the filming or the taping was taped in another room and I did 126 00:10:13.399 --> 00:10:15.399 it. I loved it. It was like I don't have to do a 127 00:10:15.440 --> 00:10:18.360 desk job. I'll go do this. It was great, and so that 128 00:10:18.519 --> 00:10:20.559 was like I think I started on a Tuesday. Now comes Friday, it's 129 00:10:20.600 --> 00:10:26.600 before Memorial Day weekend. She has a meeting with Alan Sick normally or everybody 130 00:10:26.639 --> 00:10:31.080 in a room to have a conference because over the weekend they're going to have 131 00:10:31.159 --> 00:10:37.840 actors coming in all weekend to try doing shit with Martin and Fred. She 132 00:10:37.960 --> 00:10:41.759 comes back. Her name was Cheryl and she had just done the children's What 133 00:10:41.879 --> 00:10:46.440 she did she put together the mouse to tears at that year. She came 134 00:10:46.480 --> 00:10:50.159 back in and she said, just what we renounced. We were all sitting 135 00:10:50.200 --> 00:10:54.200 around a few other assistance. I just quit and she points to me and 136 00:10:54.240 --> 00:10:58.279 she said, well, I recommended you for the job. Wow. I 137 00:10:58.399 --> 00:11:03.240 go what. I have no idea what this means. Within a few minutes, 138 00:11:03.240 --> 00:11:07.519 the phone rings and it was Alberton, who was about VP under Norman 139 00:11:09.240 --> 00:11:11.679 saying, Ive, we'd like to see you over here at the Extecutive acuses 140 00:11:11.720 --> 00:11:16.399 that we were at a small studio space. It was a TV Studio and 141 00:11:16.480 --> 00:11:20.159 I walked across the lot, going heck, and I go in this room 142 00:11:20.279 --> 00:11:24.200 and there's Norman Lear. It was my hero, right He's in the room 143 00:11:24.279 --> 00:11:28.440 and some are these other executives, and Alan said, oh, I became 144 00:11:28.559 --> 00:11:31.200 very good friends with and they tell me what I'm gonna do. I'm going 145 00:11:31.240 --> 00:11:35.240 to take over. We're going to give you a raise, and they go 146 00:11:35.279 --> 00:11:39.720 on and we'll talk to you after the weekend because we need you here all 147 00:11:39.759 --> 00:11:43.720 weekend to help make sure this goes well. And then we'll talk about maybe 148 00:11:43.840 --> 00:11:48.360 giving you an opportunity to stay at a certain level and we'll bring someone else 149 00:11:48.399 --> 00:11:50.720 in. So I went, okay, here we go, and I rolled 150 00:11:50.799 --> 00:11:54.759 up my sleeves. I spent the entire weekend doing what they needed pain Tuesday 151 00:11:54.840 --> 00:11:58.960 morning, it called in again and they go, we've decided you're really good 152 00:12:00.159 --> 00:12:03.320 at this and you should take the job, and they another race. I 153 00:12:03.519 --> 00:12:07.039 was now the head this show. Away was the casting. That's how I 154 00:12:07.120 --> 00:12:13.679 got into casting. It's almost as good as Lana Turner at the counter at 155 00:12:13.759 --> 00:12:18.639 Schwabs. I felt like I was like a star, or so I got 156 00:12:18.679 --> 00:12:22.039 a star was born anyway, and that's how it got into casting, and 157 00:12:22.200 --> 00:12:24.679 I figured the show and then it went on and on. I became a 158 00:12:24.799 --> 00:12:28.720 vice president there. I started developing shows for them. It was a home 159 00:12:30.480 --> 00:12:35.200 that very few people had been fortune to work it because Norman was very and 160 00:12:35.320 --> 00:12:41.840 the company itself reflected this desire to really have a good time making shows and 161 00:12:41.960 --> 00:12:46.679 have quality. And I used to call it the Montessori School of broadcasting. 162 00:12:48.080 --> 00:12:52.440 It was like playschool, but you were doing great stock and we did so 163 00:12:52.519 --> 00:12:56.519 many good shows. And yes I did spinal tapped during that era. And 164 00:12:56.639 --> 00:13:01.159 when the company expanded, they opened, they became own the company as well, 165 00:13:01.679 --> 00:13:05.679 and that was the That's how I got into casting. It was one 166 00:13:05.720 --> 00:13:09.120 of those fortuitous moments. But you got to be ready and you have to 167 00:13:09.200 --> 00:13:15.399 say yes. That's like my advice to people when they say what do I 168 00:13:15.440 --> 00:13:20.399 do? I go, just keep going and take all kinds of jobs. 169 00:13:20.440 --> 00:13:24.159 Don't go, oh, I can only do this. That's something I'd find 170 00:13:24.039 --> 00:13:28.679 very There was a legitimacy to that. I didn't take that path. That's 171 00:13:28.720 --> 00:13:31.320 for some people, it's not it wasn't for me. I didn't come from 172 00:13:31.320 --> 00:13:37.440 the background that gave me that much. I would say privilege. I didn't 173 00:13:37.480 --> 00:13:41.399 feel privileged enough to say, oh, I only want to write, Oh 174 00:13:41.480 --> 00:13:43.960 I only want to act, or you know what, I didn't ever want 175 00:13:43.960 --> 00:13:48.240 to act, but I only want to direct. You have some people who 176 00:13:48.600 --> 00:13:52.799 are committed to that. I didn't feel privileged enough for that kind of idea, 177 00:13:52.960 --> 00:13:56.720 So I've always switched off in my career towards I'm making more sense in 178 00:13:56.799 --> 00:14:01.519 it because I'm older now and I see the path I've been on, which 179 00:14:01.559 --> 00:14:05.080 is where I wound up now is exactly based on what I just said. 180 00:14:05.480 --> 00:14:11.080 I went where the door was open, and I gained other strengths so that 181 00:14:11.120 --> 00:14:16.039 now I am i mentally involved in production and in directing, and I can 182 00:14:16.159 --> 00:14:20.480 be more selective about where I want to put my time and energy. So 183 00:14:20.559 --> 00:14:24.279 you said you worked with A and Beats for forty years? What was that 184 00:14:24.360 --> 00:14:28.840 working relationship? Like? Good? It was a good, really very I 185 00:14:28.960 --> 00:14:33.080 missed her very much. Yeah, I missed her very much. It's only 186 00:14:33.120 --> 00:14:37.200 two years. I'm actually having dinner with her daughter tonight. Anne was one 187 00:14:37.200 --> 00:14:39.759 of a calling. There was a very many people I could say She's one 188 00:14:39.799 --> 00:14:46.279 of a card. She was remarkably funny, really smart, whip smart and 189 00:14:46.919 --> 00:14:52.559 unique. Her ideas and her takes on things, and her humor and her 190 00:14:52.639 --> 00:14:56.799 kindness. She was very kind. When she cared about you, you really 191 00:14:56.799 --> 00:15:01.360 felt close and good. She was very much the other side too, with 192 00:15:01.480 --> 00:15:07.759 certain and she's also remembered for her what I called quickly since she could be 193 00:15:07.799 --> 00:15:11.840 tough. She'd be very tough and bitter bitter sweet she was. She had 194 00:15:11.840 --> 00:15:16.159 those moments. But if you were in her circle, she was a lamb, 195 00:15:16.559 --> 00:15:20.879 but she could be a lion out there. She had to be. 196 00:15:20.480 --> 00:15:24.840 She was. She was exceptional and that she had the nerve, if you 197 00:15:24.879 --> 00:15:30.519 will, to get into a business that there were no other women at the 198 00:15:30.559 --> 00:15:35.000 table literally, and I always admired that she had that I had a too, 199 00:15:35.039 --> 00:15:39.679 obviously based on the choices I was making, But she just moved right 200 00:15:39.720 --> 00:15:43.279 into it. And when she was working and her first gig was that was 201 00:15:43.360 --> 00:15:46.759 prominent. She was a very exceptional student as a child. She like got 202 00:15:46.759 --> 00:15:52.399 into college at sixteen and went on to Swinton McGill. Her mom has Canadian 203 00:15:52.519 --> 00:15:58.399 status, so she went to a Canadian school. And then she was with 204 00:15:58.440 --> 00:16:02.440 Michelle Chaquette, who was a writer, and he got invited to come down 205 00:16:02.480 --> 00:16:07.440 to the National Lampoon and as Anne says, I got into the comedy business 206 00:16:07.759 --> 00:16:15.879 the same way that Katherine the Great became the Queen on my Back. So 207 00:16:15.000 --> 00:16:19.559 she had many very interesting lovers. And then she got to the National Lampoon. 208 00:16:19.679 --> 00:16:23.519 She was the only woman at first and then added sound. She did 209 00:16:23.600 --> 00:16:27.480 tremendous work there, which we about to explore in our movie. She did 210 00:16:27.559 --> 00:16:30.799 some really great ads, she did a lot of writing for them, and 211 00:16:32.000 --> 00:16:34.720 in the interim she decided that it was there was not enough women involved, 212 00:16:36.120 --> 00:16:40.080 and she wanted to do something about women's humor. She had a real conviction 213 00:16:40.159 --> 00:16:45.759 that women were funny, not just recently. They didn't just become funny the 214 00:16:45.960 --> 00:16:51.120 last fifteen years or ten years in history. And she put her book together 215 00:16:51.399 --> 00:16:55.960 called Tinners, which is a very famous cover where it just shows the girl's 216 00:16:56.000 --> 00:17:00.000 moves in a sweater. But and Lynn Goldsmith, the fabulous photographer to Dad, 217 00:17:00.080 --> 00:17:04.240 and she was one of the females in Anne's life that she promoted. 218 00:17:04.319 --> 00:17:08.799 Anne always broke women around, and she always believed that women were funny and 219 00:17:10.160 --> 00:17:14.200 that they had a sense of humor and they were smart, and she was 220 00:17:14.240 --> 00:17:18.039 a trailblazer in that sense. And so she was with Michael Johnny Hue and 221 00:17:18.079 --> 00:17:22.799 her became boyfriend and girlfriend, and there's a movie. I don't think you're 222 00:17:22.799 --> 00:17:26.279 seeing a movie about the lampoon and about the Kenny. Oh yes, yeah? 223 00:17:26.920 --> 00:17:30.599 Was it like stone crazy. It's got like a whole bunch of adjectives. 224 00:17:32.039 --> 00:17:36.279 Natasha Leone played Anne in the movie, and I and Anne met with 225 00:17:36.400 --> 00:17:38.279 her and everything, and so Ann said she was great. She said, 226 00:17:38.759 --> 00:17:42.759 the only thing that I don't get is why she's smoking. I never smoked. 227 00:17:45.279 --> 00:17:49.519 So yeah, she had a persona that you could hang up entern On, 228 00:17:49.599 --> 00:17:52.759 you could say, look, here's a light for women. And so 229 00:17:52.960 --> 00:17:59.880 she went from the ash Lampoon. Michael O'Donoghue was invited by Lord Michael, 230 00:18:00.200 --> 00:18:04.200 come on over to this new show I'm doing well Saturday Night Live. And 231 00:18:04.440 --> 00:18:07.960 he said, I'm going to bring my girlfriend. She's brilliant. Hit her 232 00:18:07.960 --> 00:18:12.000 about her already, so he said, fantastic. So Anne winds up now 233 00:18:12.359 --> 00:18:18.359 at SNL and she was the girl in the room again. This time she 234 00:18:18.559 --> 00:18:23.359 was partnered with Rosie Schuster, who was Lauren's wife and was a writer My 235 00:18:23.559 --> 00:18:26.759 joy. I don't want to I don't want to make that her title. 236 00:18:27.079 --> 00:18:30.640 She was a writer who was married to Lord Michaels and by the way, 237 00:18:30.680 --> 00:18:36.839 the daughter of a comedy duo called Wayne and Schuster. They were comedy duo, 238 00:18:37.480 --> 00:18:41.680 so Schuster was Rosie's daddy, so she came from a comedy background and 239 00:18:41.960 --> 00:18:47.880 anyway, so she worked with Anne and they did five years together on Saturday 240 00:18:47.960 --> 00:18:51.559 Night Live, got the Emmy and the whole thing, and then Anne wrote 241 00:18:51.640 --> 00:18:55.079 this and finished Hitters by the way. In fact, she's turned down doing 242 00:18:55.319 --> 00:18:59.240 SNL at first because she said, I'm doing this book called Titters. Anyway. 243 00:18:59.440 --> 00:19:03.240 Obviously she put time into that, but it took the gig. I'm 244 00:19:03.359 --> 00:19:07.880 sorry, she really almost said no. But in the meantime she wrote a 245 00:19:07.079 --> 00:19:14.359 personal pilot called square Picks, and it's basically about her early middle school years, 246 00:19:14.799 --> 00:19:18.920 meaning because she was so advanced educationally, she was like a little nerdy 247 00:19:19.000 --> 00:19:25.680 girl who thought everybody else was fabulous. And the show again and of its 248 00:19:25.759 --> 00:19:30.279 time. I say that John Hughes must have seen it, because after that 249 00:19:30.559 --> 00:19:36.680 he did well his movies, including Breakfast Club and Pretty in Pink. It 250 00:19:36.920 --> 00:19:41.160 was suddenly teenagers could be a little bit less than perfect, and the story 251 00:19:41.480 --> 00:19:47.279 was about those outsiders. And then later, of course there is Creaks and 252 00:19:47.400 --> 00:19:52.839 Geeese. But Anne again did something that was so original that you saw kids 253 00:19:52.880 --> 00:19:57.319 and plus the production dynamics on that. The music track was some of the 254 00:19:57.440 --> 00:20:00.799 hippest music you could find. She had the waitresses do the theme song. 255 00:20:02.400 --> 00:20:07.279 She had de vo on. She had a vision that nobody was doing in 256 00:20:07.400 --> 00:20:11.720 television, and that was at CBS, and she got a year and then 257 00:20:11.799 --> 00:20:15.440 they canceled it. It's a little bit of a cult thing now, but 258 00:20:15.599 --> 00:20:19.440 we had a great time to know and so that's we originated our relationship around 259 00:20:19.480 --> 00:20:23.079 that, and then onward. She had a bunch of Broadway stuff too. 260 00:20:23.599 --> 00:20:27.640 She was a bookwriter for the Leader of the Pack, and then she did 261 00:20:27.720 --> 00:20:33.240 Guilda's show, The One Woman Chokie Guilda and Odd as an El. She 262 00:20:33.400 --> 00:20:37.519 and Rosie really did a lot of Guilds material and they created the Nerves and 263 00:20:38.319 --> 00:20:42.279 refrigerator repair Man. I did a lot of their stuff, and Ann again 264 00:20:42.880 --> 00:20:47.680 continued to write on her own and then I met her, and then what 265 00:20:47.839 --> 00:20:51.240 else can I say? She was a fabulous friend. I loved working with 266 00:20:51.359 --> 00:20:56.440 her. We laughed a lot, and we kind of our journey as writers 267 00:20:56.759 --> 00:21:00.480 was really how I feel we should live our lives. Worked hard, but 268 00:21:00.680 --> 00:21:07.480 we had fun and we decided to make writing not only We made it an 269 00:21:07.559 --> 00:21:11.839 opportunity to do things that most people probably don't do well they do. We 270 00:21:12.039 --> 00:21:15.640 used to go on vacation and write. We used to go we'd rent a 271 00:21:15.759 --> 00:21:21.160 hotel room for the weekend and go downstairs and use the pool, and one 272 00:21:21.200 --> 00:21:25.839 of us would sit at what was said that an old fashioned computer. One 273 00:21:25.880 --> 00:21:29.599 of us would sit up the computer writing, the other one was in the 274 00:21:29.799 --> 00:21:34.119 pool swimming and giving throwing ideas out. So we had this original way of 275 00:21:34.200 --> 00:21:37.960 working. We so it was fun. It was great, and we worked. 276 00:21:38.599 --> 00:21:41.720 Sometimes I was on the board, sometimes she was on the board. 277 00:21:41.839 --> 00:21:47.359 Sometimes ideas. Then we would fashion it and then we would refine it, 278 00:21:47.559 --> 00:21:49.240 and then we would put it down and I would look at it. We'd 279 00:21:49.240 --> 00:21:53.000 always work on a connecting computer and I would read it, or she'd hand 280 00:21:53.079 --> 00:21:56.079 me it and I'd look and then we'd fix it. And that's how we 281 00:21:56.279 --> 00:22:00.279 worked. We worked very much. Our minds were very hooked up. Was 282 00:22:00.359 --> 00:22:04.079 really a very It was such an easy way to write for me. The 283 00:22:04.200 --> 00:22:08.279 only thing that she used to bother me about was my grammar wasn't so great 284 00:22:08.599 --> 00:22:14.119 or my spelling. Her dad was a teacher, so whenever she was correcting 285 00:22:14.200 --> 00:22:17.200 stuff. I would go and her father's name was Pat, I'd say, 286 00:22:17.279 --> 00:22:22.319 oh Pat beats a spear. Yeah. I know her family. I know 287 00:22:22.400 --> 00:22:26.519 her sister, her nieces, and of course I was around for her when 288 00:22:26.720 --> 00:22:32.839 she brought Jailean home, and she was a great mom. Great I think 289 00:22:32.839 --> 00:22:36.839 that was her greatest production. It was your daughter getsy Woman. You mentioned 290 00:22:36.920 --> 00:22:40.960 the movie. Can you talk a little bit about what you're planning on doing 291 00:22:41.079 --> 00:22:45.519 and why now? She got two years ago very suddenly. I was literally 292 00:22:45.640 --> 00:22:48.640 texting was from the day before, and it sounded like there was no reason 293 00:22:48.680 --> 00:22:53.319 to be concerned. She had a sciatica condition that kept her bedridden sort of 294 00:22:53.359 --> 00:22:56.319 speak. She couldn't move very easily. So we had a few laughs. 295 00:22:56.359 --> 00:23:00.359 But I'm not going to mention them here. Maybe it'll be movie. I 296 00:23:00.440 --> 00:23:03.759 don't know. But I got a folklo at one thirty in the morning from 297 00:23:03.799 --> 00:23:07.599 her daughter, and I was in New York and this happened in La and 298 00:23:07.720 --> 00:23:11.599 she lives. She lived up the street from me. We lived on Dokki, 299 00:23:12.160 --> 00:23:18.880 up the street from each other anyway, so the past thing was very 300 00:23:18.440 --> 00:23:23.279 intense for me. We had just finished writing another project, which the association 301 00:23:23.319 --> 00:23:29.599 with solaris who was doing this movie, came from Aunt. She brought me 302 00:23:29.759 --> 00:23:33.279 into meet with the Claris group on a project. We were doing it all 303 00:23:33.720 --> 00:23:37.960 Funny Boys, which is about the early days on National lamp Room, about 304 00:23:38.000 --> 00:23:42.759 the girl who comes to New York in a suit and a little suitcase and 305 00:23:44.000 --> 00:23:48.720 walks into Laham. I'd say I described it as a show that when Madman 306 00:23:48.000 --> 00:23:52.559 ended on Madison Avenue there was a new man coming. Instead of a suit, 307 00:23:52.839 --> 00:23:56.279 tie and a hat, they wore jeans, a T shirt and a 308 00:23:56.319 --> 00:24:04.200 baseball cap. And instead of Martinis, sex, drugs, rock and ball. 309 00:24:04.240 --> 00:24:10.920 Anyway, she and I'm in the same category of that era, although 310 00:24:10.960 --> 00:24:15.279 many experiences were different in terms of where I was working. I was doing 311 00:24:15.400 --> 00:24:19.240 theater, she was doing SNL. We managed to put together a show about 312 00:24:19.279 --> 00:24:25.359 a woman coming to a comedy show which was going to be basically The Lampoon, 313 00:24:25.599 --> 00:24:30.160 and then Michael Bull, who is involved in this project through his company, 314 00:24:30.640 --> 00:24:34.960 optioned it and we finished writing up a very intense, very almost complete 315 00:24:36.000 --> 00:24:41.319 scripted I think a lot for the show and two weeks. That was two 316 00:24:41.359 --> 00:24:45.359 weeks, and then she died two weeks later, and it was very sudden, 317 00:24:45.759 --> 00:24:48.920 and so it's two years ago. To answer you a question a little 318 00:24:48.960 --> 00:24:52.759 better is why now? Why not? I think this is a good time 319 00:24:52.839 --> 00:24:56.599 to reflect on who she was. It's a little bit of time. And 320 00:24:56.759 --> 00:25:00.519 by the way, hear her in my head going, come on, let's 321 00:25:00.519 --> 00:25:07.160 do this. She loved being and beats. It's not like she wasn't planning 322 00:25:07.279 --> 00:25:11.279 for a legacy. She was. I don't mean that like superficially, but 323 00:25:11.559 --> 00:25:18.359 she knew somewhere that she signed every single book she ever bought or was got 324 00:25:18.480 --> 00:25:22.319 with her name. Who does that unless some day somebody's gonna make a movie 325 00:25:22.400 --> 00:25:26.839 about you. It wasn't because she was afraid that someone's gonna steal it. 326 00:25:27.359 --> 00:25:33.400 I was like, there were things that I knew about her that she was 327 00:25:33.559 --> 00:25:37.160 establishing her name and her value and I hope that this allows that. And 328 00:25:37.359 --> 00:25:41.960 also her daughter didn't get to spend enough time with her mom. She was 329 00:25:42.000 --> 00:25:47.960 only eighteen at the debt, and it's time for also, I think for 330 00:25:48.680 --> 00:25:52.400 everybody to get a taste of what this woman was. And I want to 331 00:25:52.480 --> 00:25:56.519 do it. Michael brought it up and I said, yeah, I'm in. 332 00:25:56.680 --> 00:25:59.119 I want to do it, and I also want to protect who she 333 00:25:59.359 --> 00:26:03.559 is. And a few years ago there was a cover story. I think 334 00:26:03.680 --> 00:26:08.240 it was this Vanity Fair and it said women are funny. You can look 335 00:26:08.240 --> 00:26:14.079 back one up too. It's that cover where it's Tina and by Amy and 336 00:26:14.319 --> 00:26:18.759 a bunch of other comedians and they were doing this whole article about how women 337 00:26:18.799 --> 00:26:22.759 are finally funny, and Anne a week or the next issue wrote excuse me 338 00:26:22.839 --> 00:26:26.880 short a letter to the editor which they published. That's also part of it. 339 00:26:26.920 --> 00:26:30.279 I'm going to try to pull that from the archives for this where she 340 00:26:30.319 --> 00:26:33.640 said, excuse me, when did women start to be funny? And then 341 00:26:33.720 --> 00:26:40.039 she berated them for saying it without mentioning the Four Ladies, the Four Fathers, 342 00:26:40.119 --> 00:26:44.960 the four Mothers of comedy, that there were women who were funny, 343 00:26:45.359 --> 00:26:48.440 and one of the other things that Anne and I worked on. So in 344 00:26:48.640 --> 00:26:52.319 terms of why do I want to do it, I also hope that some 345 00:26:52.480 --> 00:26:56.079 of the other archival materials that she created, and certainly a lot with me, 346 00:26:56.319 --> 00:27:00.000 a lot we can look at and take it avantage of. And there 347 00:27:00.079 --> 00:27:03.440 was another project that I hope we'll follow this one. It's called The Girl 348 00:27:03.519 --> 00:27:07.720 in the Room, which is interesting because the movie's title now is The Girl 349 00:27:07.799 --> 00:27:14.039 who Wouldn't Be King? The Girl in the Room was done as an example 350 00:27:14.240 --> 00:27:18.039 of women in comedy through have time, and we did get some formidable interviews. 351 00:27:18.680 --> 00:27:21.759 She and I did one, but I don't know how much we can 352 00:27:21.880 --> 00:27:26.880 use that, but we can use Phillis Diller, Joan Rivers, Penny Marshall 353 00:27:26.960 --> 00:27:30.960 as just examples of some of the people we interviewed and got on tape. 354 00:27:30.319 --> 00:27:34.839 Made a sizzle and hopefully someday that could be a very big project for us. 355 00:27:36.720 --> 00:27:40.000 Be happened. I have another partner on that, and we never got 356 00:27:40.039 --> 00:27:45.000 to finish it, so to speak. So after Anne's finishing Square Pegs, 357 00:27:45.079 --> 00:27:48.079 along comes a whole bunch of about the women produced her as because she was 358 00:27:48.160 --> 00:27:52.440 the first of that level she had. She ran her room, she was 359 00:27:52.519 --> 00:27:56.759 up showrunner, which is rare. She ran her show, and then later 360 00:27:56.880 --> 00:28:00.039 we worked on the Stephanie Miller show together. She ran that show. So 361 00:28:00.279 --> 00:28:06.240 she's always been a showrunner, which is phenomenal for a woman. Susan Harris 362 00:28:06.359 --> 00:28:12.000 of course follows in that she came on after designing Women name escapes me, 363 00:28:12.519 --> 00:28:17.640 but it was that was a coin too. But anyway, there are women, 364 00:28:17.799 --> 00:28:22.359 and now you've seen many women who are showrunners. It's an avalanche finally 365 00:28:22.640 --> 00:28:26.400 not an avilet, but a little more down the mountain or up the mountain? 366 00:28:26.880 --> 00:28:33.240 Right, how do you even approach doing this documentary on obviously one of 367 00:28:33.319 --> 00:28:37.240 your best friends, you're a working partner of so many years. To take 368 00:28:37.279 --> 00:28:41.319 somebody's life and try to condense it down into an hour and a half two 369 00:28:41.400 --> 00:28:44.720 hours, we have to figure out. And I think we're talking about this 370 00:28:44.799 --> 00:28:48.079 a lot, which is like your question why now and why? And it's 371 00:28:48.119 --> 00:28:57.319 about her legacy as an original an og and she was that and also coming 372 00:28:57.440 --> 00:29:03.359 from what the era was, What is it that takes a little girl who 373 00:29:03.480 --> 00:29:07.440 wants to be the king she didn't want to be the sideline storyline? And 374 00:29:07.559 --> 00:29:12.319 she has a funny backstory, and there's some very funny stories about her as 375 00:29:12.319 --> 00:29:17.799 a young woman that are being inspiring and entertaining. The thing about doing something 376 00:29:18.079 --> 00:29:22.640 that i'm documentaries to me and I do them now. This is my pleasure 377 00:29:22.160 --> 00:29:26.440 and I am more of a passion for it than scripted, is that I 378 00:29:26.559 --> 00:29:30.720 want to entertain. So my approach to this and I think I mentioned it 379 00:29:30.839 --> 00:29:33.559 to my ar leagues on this, and I really feel that this is a 380 00:29:33.680 --> 00:29:40.680 unique place for storytelling. Is not chance to do a documentary. I would 381 00:29:40.759 --> 00:29:45.039 like to do a memoir for her, like she always wanted to write her 382 00:29:45.119 --> 00:29:48.400 memoirs. And she has some several pages and I'm hoping, with johnie Lene's 383 00:29:48.440 --> 00:29:51.799 help, we're going to get a hold of these pages. They were in 384 00:29:51.880 --> 00:29:56.759 her computer. Obviously she was in her years to come. She was planning 385 00:29:56.799 --> 00:30:02.559 on doing her memoir And I don't think I've just finished a feature that's out 386 00:30:02.680 --> 00:30:07.480 now getting distribution deals and all that. And that was the same approach I 387 00:30:07.640 --> 00:30:11.559 had on the Lost Weekend A love story was I wanted to do mate Pang's 388 00:30:11.680 --> 00:30:17.960 memoir of that time versus just document I wanted a story to go on. 389 00:30:18.400 --> 00:30:22.240 So for me, the story of Anne is this character who came up in 390 00:30:22.319 --> 00:30:26.720 an era when girls were the right clothes and a girdle. You wore girdle, 391 00:30:29.119 --> 00:30:33.799 and women were like subservient. They were second. They were second and 392 00:30:33.000 --> 00:30:36.440 you. The way you got into the business was on your back, so 393 00:30:36.640 --> 00:30:41.119 to speak. But the whole vision of your future as a young girl was 394 00:30:41.680 --> 00:30:44.720 yeah, maybe you'd get a job as a school teacher. But the idea 395 00:30:45.000 --> 00:30:48.839 was you were going to find your mate and have children and live a very 396 00:30:48.920 --> 00:30:55.480 traditional story or life and here she was. She had the nerve not to 397 00:30:55.680 --> 00:31:00.119 just do it that way and create I think a world that women can have 398 00:31:00.240 --> 00:31:03.359 been too. Now they don't think about it anymore. They know they're going 399 00:31:03.440 --> 00:31:07.920 to be scriptwriters, they're going to be producers, they're directors, anything goes 400 00:31:08.240 --> 00:31:14.200 cinematographers in the industry. And then, of course, I think now there 401 00:31:14.240 --> 00:31:18.039 are more women doctors than there are men. I think I'm not sure, 402 00:31:18.440 --> 00:31:22.240 maybe not the specialty, but you know what I'm saying, it's like the 403 00:31:22.400 --> 00:31:25.480 door opened now. She wasn't in other fields barre in comedy. I think 404 00:31:25.559 --> 00:31:30.720 she gave an army the idea that it could happen to others. But she 405 00:31:30.920 --> 00:31:34.960 also was a very loyal woman to other women. She hired most of her 406 00:31:36.039 --> 00:31:40.119 staffs who always have women on it. It was very important to engage in 407 00:31:40.240 --> 00:31:45.960 that. I really like that distinction of memoir versus documentary. That's very crucial. 408 00:31:45.480 --> 00:31:48.359 I think that's going to be my thing. I think that's what I 409 00:31:48.480 --> 00:31:52.640 want to do. I want to do memoirs. I like that approach. 410 00:31:52.759 --> 00:31:56.400 I liked hearing, and we have a lot of footage. She speaks a 411 00:31:56.480 --> 00:32:00.440 lot. She did a lot of interviews, so we can really allow her 412 00:32:00.559 --> 00:32:05.160 to live in this film as well as tell about it. And I don't 413 00:32:05.200 --> 00:32:07.920 have a final saying on if we're going to have another outside narrator. We 414 00:32:08.079 --> 00:32:14.119 might, but I'm more inclined to let the story tell itself when I did 415 00:32:14.240 --> 00:32:17.640 last Weekend, there is there are no except for the except for Julian Lennon. 416 00:32:19.279 --> 00:32:22.920 Nobody a present day is visible until what I call the fifact or the 417 00:32:23.039 --> 00:32:30.119 last act, and then you see what seventy looks like instead of seeing a 418 00:32:30.240 --> 00:32:36.240 bunch of seventy year old people talk about John Lennon. We interviewed like Alice 419 00:32:36.279 --> 00:32:40.759 Cooper. We kept ten minut the dark. There's a lot of voiceovers from 420 00:32:40.839 --> 00:32:44.640 people we identify them, but I didn't want it to be seen. I 421 00:32:44.720 --> 00:32:49.640 thought it would be challenging to stay with the story so that you were with 422 00:32:49.920 --> 00:32:53.480 the time it was going on, versus interrupting it. But that's my own 423 00:32:53.599 --> 00:32:58.319 taste. I like it. I got that I was inspired by the Amy 424 00:32:58.400 --> 00:33:02.480 Winehouse film, which was like definitely a biography, but it was very You 425 00:33:02.559 --> 00:33:07.079 didn't see anybody except her father. Everybody else was voiceovers, and I like 426 00:33:07.279 --> 00:33:10.440 that approach. I like the storytelling, and I also, like I said, 427 00:33:10.480 --> 00:33:15.160 the memoir of it that it feels like you get intimate and you feel 428 00:33:15.799 --> 00:33:20.119 what was that person going through and what was it like for them? And 429 00:33:20.440 --> 00:33:23.559 I know that I made it something Everything was great, But the truth is 430 00:33:23.640 --> 00:33:30.000 Anne had a lot of women who go through the life that he experienced a 431 00:33:30.119 --> 00:33:34.880 certain loneliness and a certain how do you get through this? Sometimes you want 432 00:33:34.920 --> 00:33:38.559 to have a partner, Sometimes you do want sort of traditions, and then 433 00:33:38.640 --> 00:33:43.319 you've made a choice. Right. It seems to be something where we can 434 00:33:43.480 --> 00:33:47.160 now have documentaries that are being or films I should say, that are being 435 00:33:47.400 --> 00:33:52.960 narrated by the subject, which is great, and sometimes it works really well, 436 00:33:52.000 --> 00:33:57.440 and other times you get those creepy things like the fake Anthony Bourdain voice 437 00:33:58.079 --> 00:34:02.000 that was AI generated. I think it's being the person so close to her 438 00:34:04.319 --> 00:34:07.480 and she's not here to tell it. I feel like I know how to 439 00:34:07.559 --> 00:34:15.320 create what I call the emotional truths of her in a way that just documenting 440 00:34:15.400 --> 00:34:22.440 her life through archives and telling that obviously the chronological story of a life can't 441 00:34:22.480 --> 00:34:24.320 be done. I hope for that. That's what I hope for, is 442 00:34:24.400 --> 00:34:29.920 that I can talk about how certain things crushed her and that she kept going 443 00:34:30.280 --> 00:34:35.000 you know what I mean, something about her will and something about yeah, 444 00:34:35.199 --> 00:34:37.880 something I identify with two. You go on a path in life, you 445 00:34:37.920 --> 00:34:42.639 don't know where you're going to wind up. And her death was a big 446 00:34:42.760 --> 00:34:45.920 wake up call for me. Wait, huh, We're supposed to give biild 447 00:34:45.960 --> 00:34:50.880 ladies together, right, I'm supposed to be doing what they did at the 448 00:34:51.000 --> 00:34:53.920 end of Missus maidstil. We're supposed to be watching TV in two cities lapping. 449 00:34:54.480 --> 00:34:58.920 Hence it changed me a bit. It's it. Oh yeah, it 450 00:34:59.079 --> 00:35:01.679 almost sounds like you you lost an arm or something because she was such a 451 00:35:01.800 --> 00:35:07.159 part of you. Yeah, I don't know. I find writing very hard 452 00:35:07.280 --> 00:35:10.400 right now. It's I'm so used to writing with a partner that a little 453 00:35:10.480 --> 00:35:14.960 frozen. I don't know. It'll may come back, I'm hopeful, but 454 00:35:15.199 --> 00:35:19.679 if it doesn't, it's okay. I've got a lot of I am working 455 00:35:19.760 --> 00:35:23.039 on my own memoments. I'm not going to wait. I'm not gonna wait 456 00:35:23.599 --> 00:35:28.719 for someone else to write it, so to speak. But yeah, it's 457 00:35:28.800 --> 00:35:31.119 great and I'm very happy that I get to talk about her. It makes 458 00:35:31.159 --> 00:35:37.000 me feel better. It does. It's bizarre, would you indulge me? 459 00:35:37.320 --> 00:35:40.360 And whether happier or said, can you tell me one of your favorite and 460 00:35:40.559 --> 00:35:47.599 beat stories. We were very close and we have monosyllabic names, Right and 461 00:35:49.239 --> 00:35:53.400 Eve. Everybody mixed us up. Everybody they call her Eve and me Ann. 462 00:35:53.880 --> 00:35:58.679 So she was coming to my house one day to work. She knocks 463 00:35:58.719 --> 00:36:01.000 on that door. I go to the door and I go, who's there? 464 00:36:01.599 --> 00:36:08.360 She goes and it's Eve. She called herself me and she called me 465 00:36:08.559 --> 00:36:14.159 her and I went and this is insane. I'm opened the doors and they 466 00:36:14.280 --> 00:36:17.679 just got this in reverse. Even she confused herself. But that was one 467 00:36:17.760 --> 00:36:22.920 by another time, I would say one of my happiest, our funniest members. 468 00:36:22.880 --> 00:36:28.119 We just did silly shit. The BBC came to interview us to see 469 00:36:28.159 --> 00:36:31.480 how we write a television show, and we were sitting on opposite es of 470 00:36:31.559 --> 00:36:37.119 tables with our computers working, and they were filming us. Hey, we 471 00:36:37.360 --> 00:36:42.559 call it hey shoot our feet We see our feet dancing. And then one 472 00:36:42.679 --> 00:36:46.840 time after we did a pilot production, we went to his frienchial restaurant and 473 00:36:47.039 --> 00:36:52.039 we got drunk. We did a lot of drinking together and we danced on 474 00:36:52.119 --> 00:36:55.159 the table so good. She always what used to bring that up? Remember 475 00:36:55.360 --> 00:37:00.239 we danced on this table. I was a good memory, Miss Brandin, 476 00:37:00.320 --> 00:37:02.320 thank you so much for this. I hope we can do this again sometime. 477 00:37:02.400 --> 00:37:06.320 This was such a pleasure. I'll see you on the red carpet. 478 00:37:06.719 --> 00:37:21.079 He blockers up, knockers, knockers on, ladies, get your lockers up. 479 00:37:21.320 --> 00:37:25.559 Hey, hey, come on there, girls, go those stories back 480 00:37:25.599 --> 00:37:30.880 and get your knockers on. Small on they come on there, you on 481 00:37:30.039 --> 00:37:35.679 your lady there get no shower backing snocker zone. Here we go. Now, 482 00:37:35.760 --> 00:37:49.280 doesn't that make your navel tinkle? Repreciating? Your knocker's not gonna Oh 483 00:37:49.679 --> 00:37:52.360 come on, girls, you're looking wonderful. This will go through. You 484 00:37:52.400 --> 00:37:57.199 wanna be very, very vibrant. You're gonna try They come on there your 485 00:37:57.239 --> 00:38:02.840 shouldies backing its own. There we go. We're about to start on my 486 00:38:04.119 --> 00:38:08.440 chumping offers were ladies get up and much through the room and then knockers. 487 00:38:08.519 --> 00:38:13.280 Helld hi have me to breathe movie that we have something to give in the 488 00:38:13.360 --> 00:38:16.119 world today. Are you ready? Don't come in some some much chump the 489 00:38:16.280 --> 00:38:35.840 knockers ladies? What when holding ladies, you're not my change? Come on, 490 00:38:35.960 --> 00:38:37.559 it's easy thing to know. I bet when you go home you're my 491 00:38:37.679 --> 00:38:44.920 try throw your living rooms. Were your knockers held high? Can you look 492 00:38:44.960 --> 00:38:46.320 out what your husband and say, Look, George, my knockers are up. 493 00:38:46.360 --> 00:38:52.599 Come catch me. Yes? Were you working girls who go back into 494 00:38:52.639 --> 00:38:54.639 the office of boy. I want you to do me a little tape. 495 00:38:55.119 --> 00:39:00.159 I want you to throw your shoulders back, get your nackers up, big 496 00:39:00.199 --> 00:39:01.599 smile on your face, and your boss will look at you and say, 497 00:39:02.039 --> 00:39:31.800 damn, Beatrice got her knock hers up. Oh yes, here's to it.