Old folks. Show people fake good money to see this movie. When they
go out to a theater, they want cold sod. That's little hoopcorn and
no monsters. In the Projection Booth, Everyone for ten podcasting isn't boring off.
Hey, folks, welcome to a special episode of The Projection Booth.
I't my host Mike White. This episode is a little different. We are
talking about a movie that has yet to be I'm talking with producer Anne Branstein
all about the documentary The Girl Who Would Be King, which she is currently
working on. It is about and Beats, who is one of her best
friends, one of Eve's best friends, and Anne is the creator or was
the creator of square Pegs. She passed away two years ago and Eve is
now in the midst of making a documentary about Anne. You get to hear
about Eve and Anne in this episode, and I hope it. What's your
appetite for what The Girl Who Would Be King is going to be all about?
If you want to keep up on the production, I suggest you go
over to Eve Branstein Productions dot com where you can hopefully find out more about
it, and of course I will keep you up to date as well.
As we move forward with the production. Thank you so much for listening,
and I hope you enjoy the interview. Can you tell me about your background
because you've done so many interesting thanks. Professionally, I came to Los Angeles
after being a theater director in New York around nineteen seventy nine, and I
went to work with Norman Lear pretty much as my introduction to the community here.
It was an excellent opportunity and I was lucky also, and I then
became a filmmaker through the AFI program and an alumni of AFI's program. I
made a few of my young films there, but Lop, Skip and Jump.
I became the head of casting phenomenon As companies, speaking of the movies
and the TV shows, and was a great opportunity, great career. It
wasn't really what I was set out to do. I wanted to be in
directing. I was doing at its theater director. Now being a filmmaker through
a FI and wishing and hoping to be a filmmaker. But I still loved
television. I fell deeply and madly in love with TV. The way you
could start something and finished something like that they come up with an idea and
shoot it. It was to meet the miracle and reading while movies years and
years. So I worked with television for a long time, and then I
graduated into what I wanted to do at the Leader Companies and I became a
producer and I produced a series a few pilots, but found me a series
of one another year at CBS called Er Now My jo It's not the R.
But I introduced George Clooney to the world in the first R, which
started Elliott Gould and Unchata Farrell and Mary McDonald great cast, and it was
based on a show I had seen in Chicago called er Anyway. Later on
George wand up on another R and so it was the beginning up a friendship
and working with George Anyway. I wrote a book called The Actor or a
Practical Guy to a Professional Career, and then I started just producing and writing.
Then I met up what I had done, though it was not a
few pilots, and then I was invited to go over to Castle Rock.
Now. It didn't go right away because obviously the guys who started Castle Rock
used to be all part of normal Lia then days it was Columbia Television or
whatever. So I had to wait a year and I went off to be
joined them as a producer and she loaned Behold and Beat. So I had
met in nineteen eighty one when I cast her series Square Pegs, and I
was in awe of her. She was an amazing character of what a character
she was? Oh wish Anyway, I loved working on Square Pegs, but
now I jumped the gun on that because that's a very important place for you
to edit as a filmmaker. Go back and pick up an and and I
became friends in during the Square Pegs era. She was astounding brilliant and I
was in all of her background. She had just come from SNL, which
I was a fan of, and then we had her fabulous time and the
show didn't last much more than a year. And then I went to Castlemock
and sure enough I had optioned a project called Julie Brown The Show. Now,
in what I'm seeing press release recently, they have the wrong showdown.
It was Julie Brown the Show, which was a TV pilot that we did
and cast a Walk asked me to see if I would join forces with Anne
Beats, and so that's when our partnership we became a company basically through that
association and we produced this phenomenal pilot. You can see some pieces of it
on YouTube, but it was head of its time. It was a show
within the show. Having done in my casting career, I think one of
the most unique open shows was a show called Fernwood Tonight. And because Fernwood
Tonight was such a unique show, I stole some of my best ideas from
it, which was to do that same kind of dead pan we're doing a
show, and Julie was a show within the show. Julie Brown the show.
Later on, Gary Shandling did Saintlier and stayed on forever. But the
concept of doing that sort of satirical sitcom was something had Anne and I worked
on for that, and then we were invited to go over to Stephen J.
Cannell's company as a team. We've found up finding out we worked really
well together. We started a company called B Girls Productions, and we went
to the Cannel Company to be the head of their comedy department, and we
got tons of scorps for them, and we had I think we did a
couple of pilots and this went on and on. We had an amazing association
and so from that point on, life keeps growing. We kept doing things
on and off for many years and worked on in several TV movies, and
then we did a John Waters show that we also directed called John Waters Presents
Movies That Will Corrupt You, and we spent time with John and we did
so many things. It was a great forty years. Forty years. When
it comes to the Julie Brown Show, was that just the name of the
character or was it one of the many Julie Browns let us out there?
It was the Julie Brown what they called Uptown. She was the redhead who
did earth Girls Are Easy, clever comedian and good singer. So the show
was about her having her own show. It was like a musical talk show.
And we had a light band on stage which was built on these guys
that I knew, the Sales Brothers. It was Soupy's sons who eventually were
our garage man, including Brian Ray who was now Paul mccartey's guitar player,
and the Sales Boys, And it was supposed to be a garage band,
so we had quote the garage on stage and they played her on and off
and played some of her songs and had a live audience and it was goofy
and then she had a backstage light which was chaotic as you could imagine,
and that was a very cute pilot. I said some pieces of it on
YouTube that you can see, but that was that Jutney Brown. And now
she's doing an ongoing character that she created at one point called Medusa, which
is a spoof a Madonna. And the recent stuff she's doing, if you
check it out, is hilarious because she's Madonna who is now an elder based
on some of the humor that Madonna is trying to change your image. But
anyway, I don't really want to get into that too much, but it's
very funny. She's very funny, and again you can see that stuff.
I've never really talked to a casting person, and I'm so curious, what
is your what's your modus operanda? How do you figure out who's going to
be good for stuff? Because I know, like you said, you worked
with Castle Rock, You've casted so many things that I love, like Spinal
Tap or sure Thing, just great films. How do you start off?
I came out here to be a filmmaker and I needed a job and I
got this job in casting by accident. I needed a job. Someone offered
me an opportunity to work at was then tat Tandem Productions, the old TV
company, and I didn't want to take the gig. At first. I
thought it was to be like a quirk in the casting department meeting, I
fill out contracts and then I go down to the set and I get people
sign their contract. It was all like simple contracts. They were all day
players stuff. Even if you were movie starting, you had to sign a
cheap contract. So I was there for three days and it was really a
crazy scene. There were actors coming and going, and there was a show
called Fernwood Tonight which held not aired yet, and they were putting together characters
that could do improp and could create reality in this sort of heightened state.
And there was Martin mull and Fred Willard were ready on board, and Norman
was still looking for more talent for it. But the place was a mess
with it, and the gal who was the casting director, it was on
the verge of like really a breakdown serious. She was overwhelmed because I had
a history of knowing what I was doing with actors. She asked me to
work on the filming or the taping was taped in another room and I did
it. I loved it. It was like I don't have to do a
desk job. I'll go do this. It was great, and so that
was like I think I started on a Tuesday. Now comes Friday, it's
before Memorial Day weekend. She has a meeting with Alan Sick normally or everybody
in a room to have a conference because over the weekend they're going to have
actors coming in all weekend to try doing shit with Martin and Fred. She
comes back. Her name was Cheryl and she had just done the children's What
she did she put together the mouse to tears at that year. She came
back in and she said, just what we renounced. We were all sitting
around a few other assistance. I just quit and she points to me and
she said, well, I recommended you for the job. Wow. I
go what. I have no idea what this means. Within a few minutes,
the phone rings and it was Alberton, who was about VP under Norman
saying, Ive, we'd like to see you over here at the Extecutive acuses
that we were at a small studio space. It was a TV Studio and
I walked across the lot, going heck, and I go in this room
and there's Norman Lear. It was my hero, right He's in the room
and some are these other executives, and Alan said, oh, I became
very good friends with and they tell me what I'm gonna do. I'm going
to take over. We're going to give you a raise, and they go
on and we'll talk to you after the weekend because we need you here all
weekend to help make sure this goes well. And then we'll talk about maybe
giving you an opportunity to stay at a certain level and we'll bring someone else
in. So I went, okay, here we go, and I rolled
up my sleeves. I spent the entire weekend doing what they needed pain Tuesday
morning, it called in again and they go, we've decided you're really good
at this and you should take the job, and they another race. I
was now the head this show. Away was the casting. That's how I
got into casting. It's almost as good as Lana Turner at the counter at
Schwabs. I felt like I was like a star, or so I got
a star was born anyway, and that's how it got into casting, and
I figured the show and then it went on and on. I became a
vice president there. I started developing shows for them. It was a home
that very few people had been fortune to work it because Norman was very and
the company itself reflected this desire to really have a good time making shows and
have quality. And I used to call it the Montessori School of broadcasting.
It was like playschool, but you were doing great stock and we did so
many good shows. And yes I did spinal tapped during that era. And
when the company expanded, they opened, they became own the company as well,
and that was the That's how I got into casting. It was one
of those fortuitous moments. But you got to be ready and you have to
say yes. That's like my advice to people when they say what do I
do? I go, just keep going and take all kinds of jobs.
Don't go, oh, I can only do this. That's something I'd find
very There was a legitimacy to that. I didn't take that path. That's
for some people, it's not it wasn't for me. I didn't come from
the background that gave me that much. I would say privilege. I didn't
feel privileged enough to say, oh, I only want to write, Oh
I only want to act, or you know what, I didn't ever want
to act, but I only want to direct. You have some people who
are committed to that. I didn't feel privileged enough for that kind of idea,
So I've always switched off in my career towards I'm making more sense in
it because I'm older now and I see the path I've been on, which
is where I wound up now is exactly based on what I just said.
I went where the door was open, and I gained other strengths so that
now I am i mentally involved in production and in directing, and I can
be more selective about where I want to put my time and energy. So
you said you worked with A and Beats for forty years? What was that
working relationship? Like? Good? It was a good, really very I
missed her very much. Yeah, I missed her very much. It's only
two years. I'm actually having dinner with her daughter tonight. Anne was one
of a calling. There was a very many people I could say She's one
of a card. She was remarkably funny, really smart, whip smart and
unique. Her ideas and her takes on things, and her humor and her
kindness. She was very kind. When she cared about you, you really
felt close and good. She was very much the other side too, with
certain and she's also remembered for her what I called quickly since she could be
tough. She'd be very tough and bitter bitter sweet she was. She had
those moments. But if you were in her circle, she was a lamb,
but she could be a lion out there. She had to be.
She was. She was exceptional and that she had the nerve, if you
will, to get into a business that there were no other women at the
table literally, and I always admired that she had that I had a too,
obviously based on the choices I was making, But she just moved right
into it. And when she was working and her first gig was that was
prominent. She was a very exceptional student as a child. She like got
into college at sixteen and went on to Swinton McGill. Her mom has Canadian
status, so she went to a Canadian school. And then she was with
Michelle Chaquette, who was a writer, and he got invited to come down
to the National Lampoon and as Anne says, I got into the comedy business
the same way that Katherine the Great became the Queen on my Back. So
she had many very interesting lovers. And then she got to the National Lampoon.
She was the only woman at first and then added sound. She did
tremendous work there, which we about to explore in our movie. She did
some really great ads, she did a lot of writing for them, and
in the interim she decided that it was there was not enough women involved,
and she wanted to do something about women's humor. She had a real conviction
that women were funny, not just recently. They didn't just become funny the
last fifteen years or ten years in history. And she put her book together
called Tinners, which is a very famous cover where it just shows the girl's
moves in a sweater. But and Lynn Goldsmith, the fabulous photographer to Dad,
and she was one of the females in Anne's life that she promoted.
Anne always broke women around, and she always believed that women were funny and
that they had a sense of humor and they were smart, and she was
a trailblazer in that sense. And so she was with Michael Johnny Hue and
her became boyfriend and girlfriend, and there's a movie. I don't think you're
seeing a movie about the lampoon and about the Kenny. Oh yes, yeah?
Was it like stone crazy. It's got like a whole bunch of adjectives.
Natasha Leone played Anne in the movie, and I and Anne met with
her and everything, and so Ann said she was great. She said,
the only thing that I don't get is why she's smoking. I never smoked.
So yeah, she had a persona that you could hang up entern On,
you could say, look, here's a light for women. And so
she went from the ash Lampoon. Michael O'Donoghue was invited by Lord Michael,
come on over to this new show I'm doing well Saturday Night Live. And
he said, I'm going to bring my girlfriend. She's brilliant. Hit her
about her already, so he said, fantastic. So Anne winds up now
at SNL and she was the girl in the room again. This time she
was partnered with Rosie Schuster, who was Lauren's wife and was a writer My
joy. I don't want to I don't want to make that her title.
She was a writer who was married to Lord Michaels and by the way,
the daughter of a comedy duo called Wayne and Schuster. They were comedy duo,
so Schuster was Rosie's daddy, so she came from a comedy background and
anyway, so she worked with Anne and they did five years together on Saturday
Night Live, got the Emmy and the whole thing, and then Anne wrote
this and finished Hitters by the way. In fact, she's turned down doing
SNL at first because she said, I'm doing this book called Titters. Anyway.
Obviously she put time into that, but it took the gig. I'm
sorry, she really almost said no. But in the meantime she wrote a
personal pilot called square Picks, and it's basically about her early middle school years,
meaning because she was so advanced educationally, she was like a little nerdy
girl who thought everybody else was fabulous. And the show again and of its
time. I say that John Hughes must have seen it, because after that
he did well his movies, including Breakfast Club and Pretty in Pink. It
was suddenly teenagers could be a little bit less than perfect, and the story
was about those outsiders. And then later, of course there is Creaks and
Geeese. But Anne again did something that was so original that you saw kids
and plus the production dynamics on that. The music track was some of the
hippest music you could find. She had the waitresses do the theme song.
She had de vo on. She had a vision that nobody was doing in
television, and that was at CBS, and she got a year and then
they canceled it. It's a little bit of a cult thing now, but
we had a great time to know and so that's we originated our relationship around
that, and then onward. She had a bunch of Broadway stuff too.
She was a bookwriter for the Leader of the Pack, and then she did
Guilda's show, The One Woman Chokie Guilda and Odd as an El. She
and Rosie really did a lot of Guilds material and they created the Nerves and
refrigerator repair Man. I did a lot of their stuff, and Ann again
continued to write on her own and then I met her, and then what
else can I say? She was a fabulous friend. I loved working with
her. We laughed a lot, and we kind of our journey as writers
was really how I feel we should live our lives. Worked hard, but
we had fun and we decided to make writing not only We made it an
opportunity to do things that most people probably don't do well they do. We
used to go on vacation and write. We used to go we'd rent a
hotel room for the weekend and go downstairs and use the pool, and one
of us would sit at what was said that an old fashioned computer. One
of us would sit up the computer writing, the other one was in the
pool swimming and giving throwing ideas out. So we had this original way of
working. We so it was fun. It was great, and we worked.
Sometimes I was on the board, sometimes she was on the board.
Sometimes ideas. Then we would fashion it and then we would refine it,
and then we would put it down and I would look at it. We'd
always work on a connecting computer and I would read it, or she'd hand
me it and I'd look and then we'd fix it. And that's how we
worked. We worked very much. Our minds were very hooked up. Was
really a very It was such an easy way to write for me. The
only thing that she used to bother me about was my grammar wasn't so great
or my spelling. Her dad was a teacher, so whenever she was correcting
stuff. I would go and her father's name was Pat, I'd say,
oh Pat beats a spear. Yeah. I know her family. I know
her sister, her nieces, and of course I was around for her when
she brought Jailean home, and she was a great mom. Great I think
that was her greatest production. It was your daughter getsy Woman. You mentioned
the movie. Can you talk a little bit about what you're planning on doing
and why now? She got two years ago very suddenly. I was literally
texting was from the day before, and it sounded like there was no reason
to be concerned. She had a sciatica condition that kept her bedridden sort of
speak. She couldn't move very easily. So we had a few laughs.
But I'm not going to mention them here. Maybe it'll be movie. I
don't know. But I got a folklo at one thirty in the morning from
her daughter, and I was in New York and this happened in La and
she lives. She lived up the street from me. We lived on Dokki,
up the street from each other anyway, so the past thing was very
intense for me. We had just finished writing another project, which the association
with solaris who was doing this movie, came from Aunt. She brought me
into meet with the Claris group on a project. We were doing it all
Funny Boys, which is about the early days on National lamp Room, about
the girl who comes to New York in a suit and a little suitcase and
walks into Laham. I'd say I described it as a show that when Madman
ended on Madison Avenue there was a new man coming. Instead of a suit,
tie and a hat, they wore jeans, a T shirt and a
baseball cap. And instead of Martinis, sex, drugs, rock and ball.
Anyway, she and I'm in the same category of that era, although
many experiences were different in terms of where I was working. I was doing
theater, she was doing SNL. We managed to put together a show about
a woman coming to a comedy show which was going to be basically The Lampoon,
and then Michael Bull, who is involved in this project through his company,
optioned it and we finished writing up a very intense, very almost complete
scripted I think a lot for the show and two weeks. That was two
weeks, and then she died two weeks later, and it was very sudden,
and so it's two years ago. To answer you a question a little
better is why now? Why not? I think this is a good time
to reflect on who she was. It's a little bit of time. And
by the way, hear her in my head going, come on, let's
do this. She loved being and beats. It's not like she wasn't planning
for a legacy. She was. I don't mean that like superficially, but
she knew somewhere that she signed every single book she ever bought or was got
with her name. Who does that unless some day somebody's gonna make a movie
about you. It wasn't because she was afraid that someone's gonna steal it.
I was like, there were things that I knew about her that she was
establishing her name and her value and I hope that this allows that. And
also her daughter didn't get to spend enough time with her mom. She was
only eighteen at the debt, and it's time for also, I think for
everybody to get a taste of what this woman was. And I want to
do it. Michael brought it up and I said, yeah, I'm in.
I want to do it, and I also want to protect who she
is. And a few years ago there was a cover story. I think
it was this Vanity Fair and it said women are funny. You can look
back one up too. It's that cover where it's Tina and by Amy and
a bunch of other comedians and they were doing this whole article about how women
are finally funny, and Anne a week or the next issue wrote excuse me
short a letter to the editor which they published. That's also part of it.
I'm going to try to pull that from the archives for this where she
said, excuse me, when did women start to be funny? And then
she berated them for saying it without mentioning the Four Ladies, the Four Fathers,
the four Mothers of comedy, that there were women who were funny,
and one of the other things that Anne and I worked on. So in
terms of why do I want to do it, I also hope that some
of the other archival materials that she created, and certainly a lot with me,
a lot we can look at and take it avantage of. And there
was another project that I hope we'll follow this one. It's called The Girl
in the Room, which is interesting because the movie's title now is The Girl
who Wouldn't Be King? The Girl in the Room was done as an example
of women in comedy through have time, and we did get some formidable interviews.
She and I did one, but I don't know how much we can
use that, but we can use Phillis Diller, Joan Rivers, Penny Marshall
as just examples of some of the people we interviewed and got on tape.
Made a sizzle and hopefully someday that could be a very big project for us.
Be happened. I have another partner on that, and we never got
to finish it, so to speak. So after Anne's finishing Square Pegs,
along comes a whole bunch of about the women produced her as because she was
the first of that level she had. She ran her room, she was
up showrunner, which is rare. She ran her show, and then later
we worked on the Stephanie Miller show together. She ran that show. So
she's always been a showrunner, which is phenomenal for a woman. Susan Harris
of course follows in that she came on after designing Women name escapes me,
but it was that was a coin too. But anyway, there are women,
and now you've seen many women who are showrunners. It's an avalanche finally
not an avilet, but a little more down the mountain or up the mountain?
Right, how do you even approach doing this documentary on obviously one of
your best friends, you're a working partner of so many years. To take
somebody's life and try to condense it down into an hour and a half two
hours, we have to figure out. And I think we're talking about this
a lot, which is like your question why now and why? And it's
about her legacy as an original an og and she was that and also coming
from what the era was, What is it that takes a little girl who
wants to be the king she didn't want to be the sideline storyline? And
she has a funny backstory, and there's some very funny stories about her as
a young woman that are being inspiring and entertaining. The thing about doing something
that i'm documentaries to me and I do them now. This is my pleasure
and I am more of a passion for it than scripted, is that I
want to entertain. So my approach to this and I think I mentioned it
to my ar leagues on this, and I really feel that this is a
unique place for storytelling. Is not chance to do a documentary. I would
like to do a memoir for her, like she always wanted to write her
memoirs. And she has some several pages and I'm hoping, with johnie Lene's
help, we're going to get a hold of these pages. They were in
her computer. Obviously she was in her years to come. She was planning
on doing her memoir And I don't think I've just finished a feature that's out
now getting distribution deals and all that. And that was the same approach I
had on the Lost Weekend A love story was I wanted to do mate Pang's
memoir of that time versus just document I wanted a story to go on.
So for me, the story of Anne is this character who came up in
an era when girls were the right clothes and a girdle. You wore girdle,
and women were like subservient. They were second. They were second and
you. The way you got into the business was on your back, so
to speak. But the whole vision of your future as a young girl was
yeah, maybe you'd get a job as a school teacher. But the idea
was you were going to find your mate and have children and live a very
traditional story or life and here she was. She had the nerve not to
just do it that way and create I think a world that women can have
been too. Now they don't think about it anymore. They know they're going
to be scriptwriters, they're going to be producers, they're directors, anything goes
cinematographers in the industry. And then, of course, I think now there
are more women doctors than there are men. I think I'm not sure,
maybe not the specialty, but you know what I'm saying, it's like the
door opened now. She wasn't in other fields barre in comedy. I think
she gave an army the idea that it could happen to others. But she
also was a very loyal woman to other women. She hired most of her
staffs who always have women on it. It was very important to engage in
that. I really like that distinction of memoir versus documentary. That's very crucial.
I think that's going to be my thing. I think that's what I
want to do. I want to do memoirs. I like that approach.
I liked hearing, and we have a lot of footage. She speaks a
lot. She did a lot of interviews, so we can really allow her
to live in this film as well as tell about it. And I don't
have a final saying on if we're going to have another outside narrator. We
might, but I'm more inclined to let the story tell itself when I did
last Weekend, there is there are no except for the except for Julian Lennon.
Nobody a present day is visible until what I call the fifact or the
last act, and then you see what seventy looks like instead of seeing a
bunch of seventy year old people talk about John Lennon. We interviewed like Alice
Cooper. We kept ten minut the dark. There's a lot of voiceovers from
people we identify them, but I didn't want it to be seen. I
thought it would be challenging to stay with the story so that you were with
the time it was going on, versus interrupting it. But that's my own
taste. I like it. I got that I was inspired by the Amy
Winehouse film, which was like definitely a biography, but it was very You
didn't see anybody except her father. Everybody else was voiceovers, and I like
that approach. I like the storytelling, and I also, like I said,
the memoir of it that it feels like you get intimate and you feel
what was that person going through and what was it like for them? And
I know that I made it something Everything was great, But the truth is
Anne had a lot of women who go through the life that he experienced a
certain loneliness and a certain how do you get through this? Sometimes you want
to have a partner, Sometimes you do want sort of traditions, and then
you've made a choice. Right. It seems to be something where we can
now have documentaries that are being or films I should say, that are being
narrated by the subject, which is great, and sometimes it works really well,
and other times you get those creepy things like the fake Anthony Bourdain voice
that was AI generated. I think it's being the person so close to her
and she's not here to tell it. I feel like I know how to
create what I call the emotional truths of her in a way that just documenting
her life through archives and telling that obviously the chronological story of a life can't
be done. I hope for that. That's what I hope for, is
that I can talk about how certain things crushed her and that she kept going
you know what I mean, something about her will and something about yeah,
something I identify with two. You go on a path in life, you
don't know where you're going to wind up. And her death was a big
wake up call for me. Wait, huh, We're supposed to give biild
ladies together, right, I'm supposed to be doing what they did at the
end of Missus maidstil. We're supposed to be watching TV in two cities lapping.
Hence it changed me a bit. It's it. Oh yeah, it
almost sounds like you you lost an arm or something because she was such a
part of you. Yeah, I don't know. I find writing very hard
right now. It's I'm so used to writing with a partner that a little
frozen. I don't know. It'll may come back, I'm hopeful, but
if it doesn't, it's okay. I've got a lot of I am working
on my own memoments. I'm not going to wait. I'm not gonna wait
for someone else to write it, so to speak. But yeah, it's
great and I'm very happy that I get to talk about her. It makes
me feel better. It does. It's bizarre, would you indulge me?
And whether happier or said, can you tell me one of your favorite and
beat stories. We were very close and we have monosyllabic names, Right and
Eve. Everybody mixed us up. Everybody they call her Eve and me Ann.
So she was coming to my house one day to work. She knocks
on that door. I go to the door and I go, who's there?
She goes and it's Eve. She called herself me and she called me
her and I went and this is insane. I'm opened the doors and they
just got this in reverse. Even she confused herself. But that was one
by another time, I would say one of my happiest, our funniest members.
We just did silly shit. The BBC came to interview us to see
how we write a television show, and we were sitting on opposite es of
tables with our computers working, and they were filming us. Hey, we
call it hey shoot our feet We see our feet dancing. And then one
time after we did a pilot production, we went to his frienchial restaurant and
we got drunk. We did a lot of drinking together and we danced on
the table so good. She always what used to bring that up? Remember
we danced on this table. I was a good memory, Miss Brandin,
thank you so much for this. I hope we can do this again sometime.
This was such a pleasure. I'll see you on the red carpet.
He blockers up, knockers, knockers on, ladies, get your lockers up.
Hey, hey, come on there, girls, go those stories back
and get your knockers on. Small on they come on there, you on
your lady there get no shower backing snocker zone. Here we go. Now,
doesn't that make your navel tinkle? Repreciating? Your knocker's not gonna Oh
come on, girls, you're looking wonderful. This will go through. You
wanna be very, very vibrant. You're gonna try They come on there your
shouldies backing its own. There we go. We're about to start on my
chumping offers were ladies get up and much through the room and then knockers.
Helld hi have me to breathe movie that we have something to give in the
world today. Are you ready? Don't come in some some much chump the
knockers ladies? What when holding ladies, you're not my change? Come on,
it's easy thing to know. I bet when you go home you're my
try throw your living rooms. Were your knockers held high? Can you look
out what your husband and say, Look, George, my knockers are up.
Come catch me. Yes? Were you working girls who go back into
the office of boy. I want you to do me a little tape.
I want you to throw your shoulders back, get your nackers up, big
smile on your face, and your boss will look at you and say,
damn, Beatrice got her knock hers up. Oh yes, here's to it.