Speaker 1: Oh he is, folks, it's showtime.
Speaker 2: People say, good money to see this movie.
Speaker 3: When they go out to a theater, they want cold sodas,
Speaker 3: hot popcorn, and no monsters in the protection booth.
Speaker 2: Everyone for tend. Podcasting isn't boring.
Speaker 4: Don it off.
Speaker 1: Hiram Jaffi's world is just like yours, a little unreal.
Speaker 3: No, you're listening to that nooise.
Speaker 1: Move some people think is about movie.
Speaker 3: Like I'm setting something into motion.
Speaker 5: Dolly is something I don't understand.
Speaker 6: Some people think Moved is about the system breaking down.
Speaker 3: Your larger care's no respect for anything.
Speaker 7: Some people think Move is about today's plastic culture.
Speaker 3: What is that? It was? To me? We believe in
Speaker 3: a philosophy of joy and laughter, not in self recrimination
Speaker 3: and rebuke. No shit.
Speaker 4: Some people think Moved is about the battle of the sexiest.
Speaker 3: Doctor.
Speaker 8: I don't think my husband understands me.
Speaker 3: Is your wife so nice?
Speaker 9: Dream?
Speaker 3: Oh Jewish rega, isn't that disgusting?
Speaker 10: I don't know what it is.
Speaker 3: I haven't made love to Dolly in month's.
Speaker 11: God, I think you really are going craggers.
Speaker 3: Look and you're better tell me you love me or something. Hey,
Speaker 3: look that you've got green paste potsol over your chest.
Speaker 3: You've even got it on you. Oh that's kinky. You're
Speaker 3: gonna try something funny.
Speaker 6: I mt when we start picking up weird balls, I
Speaker 6: come for you.
Speaker 1: Some people think Move is just an entertaining comedy.
Speaker 3: Who is this that?
Speaker 5: Some people think Move is more than that?
Speaker 2: Damn it, I don't need this.
Speaker 7: In short, some people think, and some people don't, and some.
Speaker 1: People just move.
Speaker 2: Move the movie with a.
Speaker 7: Message, Welcome to the Projection booth.
Speaker 5: I'm your host. Mike White joined me once again as
Speaker 5: mister mike'sullivant.
Speaker 2: Hey, it's great to be back again. The last time
Speaker 2: we talked was when we talked about the Finks, and
Speaker 2: that was like over four years ago, so it's great
Speaker 2: to be back on the podcast.
Speaker 5: Got another winner for you, Mike, Always a winner with me.
Speaker 3: Yeah yeah.
Speaker 5: Also back in the booth is Miss Emily and Travia.
Speaker 11: Hey, Hey, good to be best.
Speaker 5: Our month of looking at rare, lost or underseen films
Speaker 5: continues with one from Stuart Rosenberg nineteen seventies.
Speaker 3: Move.
Speaker 5: The film stars Elliott Gould as Hiram Jaffy and uptight
Speaker 5: Zero Astrian who's about to make him move with his
Speaker 5: wife Dally, played by Paul Apprentis, he embarks on White
Speaker 5: Might be a fantasy about a girl played by Genevieve
Speaker 5: Waite while navigating New York in the late nineteen sixties.
Speaker 5: This film was unavailable for decades, so though it can
Speaker 5: now be found on the twentieth Century Fox Archive label,
Speaker 5: I think that it's mostly readily available as a bootleg
Speaker 5: transfer from a sixteen millimeter archive print which emids some nudity.
Speaker 5: I think it might actually be a TV version of it. Ironically,
Speaker 5: it's a friend of mine who's been on the show
Speaker 5: before who did that transfer, and he will remain nameless,
Speaker 5: but that's probably the version that you've seen. So Emily,
Speaker 5: was this the first time watch for you? Seeing move?
Speaker 5: And what did you think?
Speaker 3: Ma'am?
Speaker 11: So one percent of first time watch? And I did
Speaker 11: not get any nudity, So I don't know who I
Speaker 11: should be mad about it, or that I knew nothing
Speaker 11: about it going in. And within the first five minutes
Speaker 11: there was a lot of Oh, this is really relevant
Speaker 11: and there are things I connect to here. I am
Speaker 11: in the middle of moving. I used to live in
Speaker 11: New York City and I was a dog walker for
Speaker 11: a period of time back when I was a young
Speaker 11: woman in my twenties I have, thankfully. That is just
Speaker 11: about where the similarities end between me and Elliott Gould.
Speaker 11: I'm not quite as hairy, and I don't if I
Speaker 11: was married to Paul the Prentice, I think I would
Speaker 11: treat her a little better. But we'll get into all
Speaker 11: those details, I'm sure, and might come about yourself.
Speaker 2: I found out about Move it was the very first
Speaker 2: issue of Shock Cinema I ever picked up, which I
Speaker 2: think was issue eleven, and that movie is always intertwined
Speaker 2: with like Shock Cinema and myself and Steve ripped that
Speaker 2: movie apart. So it was when did I see that?
Speaker 2: About ninety seven? So I've been avoiding this movie close
Speaker 2: to thirty years. And the only reason I sat down
Speaker 2: and watch is because you ask you want to go on?
Speaker 2: The objection we talk about it is I'm not sure,
Speaker 2: But that's only way I ever watched it. And it
Speaker 2: was actually better than I expected, not good, but better
Speaker 2: than I expected.
Speaker 5: I saw this film years and years ago. I saw
Speaker 5: it on that questionable transfer, and I'm like just now
Speaker 5: seeing the decent print of it, that twenty century fox
Speaker 5: but out when I put this on the list. I
Speaker 5: did not know that this had ever been available, And
Speaker 5: I have a search on eBay for Elliott Gould, which
Speaker 5: is weird. Flex like, I've been trying to work out
Speaker 5: this your Yeah, I've been trying to work on the
Speaker 5: book about Ellie Gould since twenty ten, twenty eleven, right
Speaker 5: around at the same time that I started up this show. Yeah,
Speaker 5: just I'm constantly checking for things. And then it was
Speaker 5: only a month ago that I started to see move
Speaker 5: On DVD come up on those searches, and I thought,
Speaker 5: for sure, this is just a bootleg, but no, it's legit.
Speaker 5: This is a real thing. They actually did put this out.
Speaker 5: So goes against this month of hard to find films
Speaker 5: because now you can buy it. You can get it
Speaker 5: right on Amazon, but when you go out and you
Speaker 5: look for it, you can still just find tons of
Speaker 5: people selling bootlegs of it. It's difficult to even find
Speaker 5: the link for the real deal. And then, like I said,
Speaker 5: I hadn't seen the non sixteen print of it, And
Speaker 5: so when I read about this movie and was reading
Speaker 5: about oh yeah, then Elliott Gould to mention this woman
Speaker 5: with three breasts, I'm just like, what, what are you
Speaker 5: talking about. And then last night when I was rewatching it,
Speaker 5: and he comes into his apartment and there's his neighbor
Speaker 5: lady there Andrey I think her name is, and there's
Speaker 5: a weird cut, and I was like, Oh, that's probably
Speaker 5: where the nudity is. He's probably seeing her with three breasts,
Speaker 5: but instead it's just her from like the neck up.
Speaker 5: I'm not sure what all else we're missing. I know
Speaker 5: somebody talked about some Paul Apprentice boobage as well, but
Speaker 5: I'm more concerned about Paul Apprentice's false eyelashes an eye
Speaker 5: makeup more than anything else.
Speaker 11: In the bath job No last I guess they that
Speaker 11: must be some pretty good glue that you put on
Speaker 11: for that kind of thing. But it's impressive. Now that
Speaker 11: you say that about the editing for nudity, I feel
Speaker 11: like that also makes the version I saw it gives
Speaker 11: it a little bit of a pass on some things
Speaker 11: because the pacing, and I think this is probably the
Speaker 11: biggest issue the film has, because there's things I really
Speaker 11: like about it. It's different, it's weird. It is a
Speaker 11: movie that when it I think when you get to
Speaker 11: that final scene, it makes you want to go back
Speaker 11: and rewatch it with a completely different view of what
Speaker 11: you're actually seeing. But throughout I think there's this issue
Speaker 11: of tone and pace and understanding exactly what you're supposed to.
Speaker 11: It's not even just oh, what's real? What's fantasy?
Speaker 1: Is this fun?
Speaker 11: He shouldn't be left figure? Is this going onlong?
Speaker 3: Is that?
Speaker 11: Is it intentional?
Speaker 3: Too?
Speaker 11: And some of that now I wonder some of it
Speaker 11: could have just been a lot of editing choices that
Speaker 11: had to get made because of Mpalea and such.
Speaker 2: My issue with the film was I could never tell
Speaker 2: if we're supposed to be gold side or we're supposed
Speaker 2: to consider him an asshole and a joke. It seems
Speaker 2: like the film can never like that one scene with
Speaker 2: him and Jenevieve Wait where they're having like this, the film,
Speaker 2: I feel like film thinks it's a deep conversation, but
Speaker 2: it's just two like insufferable morons born lay deep thoughts,
Speaker 2: two like college kids just try and impress each other.
Speaker 2: And actually that's the one part where I'm just like,
Speaker 2: I think I hate this movie. I was on the
Speaker 2: fence and then that scene I was just like, oh, christ.
Speaker 11: I think that's a really good point. And that was definitely.
Speaker 11: In the beginning of the film. The problem I had
Speaker 11: with it was just this very basic and part of
Speaker 11: it is knowing, Okay, it's nineteen seventy, so it's these
Speaker 11: are the movies we're making, right, We're making movies about
Speaker 11: like men going through midlife crisis, and that's gonna always happen,
Speaker 11: but it's going to evolve a little differently. And it's
Speaker 11: something that I know. For me coming to a movie
Speaker 11: like this, immediately I'm like, dude, you're married to Paul Apprentice,
Speaker 11: who awesome, who is funny, who is sexy, who is gorgeous,
Speaker 11: who seems to be able to handle you like, you
Speaker 11: have a good apartment, you have a dog. There's a
Speaker 11: lot about it that you're just like, oh, insufferable in
Speaker 11: terms of this sort of I don't I'm not gonna
Speaker 11: feel bad for you or feel good when you're now
Speaker 11: maybe cheating on your wife. But I feel and I
Speaker 11: don't know that the movie gave it that support or
Speaker 11: if it just in my brain. I had to make
Speaker 11: the decision that no, we're not supposed to I think
Speaker 11: I at least for me, it never felt like I'm
Speaker 11: supposed to feel bad for him, and root for him
Speaker 11: to get there. It felt more like, oh, no, we
Speaker 11: know he even he knows that he's ridiculous for feeling
Speaker 11: all these things that he's He looks at his wife
Speaker 11: and he knows, I don't dessert like I don't. I
Speaker 11: can't have sex with you. That's my problem, not you know,
Speaker 11: I'm not yours. And I think once you, like the
Speaker 11: audience member, make the decision that the film isn't on
Speaker 11: his side necessarily, it's much more enjoyable.
Speaker 5: Yeah, yeah, I can see that, and yeah, I can
Speaker 5: agree with you that. I think somewhere inside of himself,
Speaker 5: he does know that he's being ridiculous. He does know
Speaker 5: that he's just such a martyr for so much of
Speaker 5: this and just going through this midlife crisis. And she
Speaker 5: wants to have a baby. I don't want to have
Speaker 5: a baby. There's no way that I'm ready to have
Speaker 5: a baby. And pry my best to get these plays
Speaker 5: sold and no one is buying my work, and instead
Speaker 5: I have to write pornography is what his profession is.
Speaker 5: It took me a while to figure that one out.
Speaker 11: Yeah, they don't make that easy. It's a guess no.
Speaker 5: And that also gives us one of the big clues
Speaker 5: towards the end, when you're talking about the Genevieve Weight
Speaker 5: scene where it's Paul Apprentice Dolly reading a story and
Speaker 5: reading a line about do you know anything about electricity?
Speaker 5: And then in the next scene Genevieve Weight comes up
Speaker 5: and says the exact same line. I was like, Oh, okay,
Speaker 5: we are in this because yeah, there's no line to
Speaker 5: tell us when we're moving from reality to fantasy. Sometimes
Speaker 5: no line when it comes to moving backwards and forwards
Speaker 5: in time. Boom, were back at his wedding, and then boom,
Speaker 5: we're out of that, and there's no real signal, no
Speaker 5: change in the way that the film looks.
Speaker 11: There's no visual cue, there's no sound cue, and it
Speaker 11: feels like a mistake on the part of the movie
Speaker 11: because I think that also, like the reading through some
Speaker 11: of the reviews, it was definitely something that turned a
Speaker 11: lot of viewers off. There's an element of that I
Speaker 11: feel like, had it, I don't know how it could
Speaker 11: have been done. I don't think that decision was necessarily
Speaker 11: the wrong decision. I think you could have done this
Speaker 11: entire movie still with you never really know what's real
Speaker 11: and what's not but it's done in a way where
Speaker 11: it's not so abrupt when it pulls back into I
Speaker 11: guess that didn't happen, but we're moving on to the
Speaker 11: next scene, keep going. So it's just odd choice. And
Speaker 11: I know there was something I guess that Elliott could
Speaker 11: talked about both in an interview and then from other
Speaker 11: things that you can read on It was that it
Speaker 11: felt like, as it Stuart Rosenberg as the director, that
Speaker 11: he didn't fully come to this as a comedy with
Speaker 11: his mind made of how he wanted to do it.
Speaker 11: And I guess what they always say about comedy, it's
Speaker 11: about choice, right you just you commit to this is
Speaker 11: our sense of humor. This is how we're conveying it.
Speaker 11: And it's it's hard to know who understood what the
Speaker 11: like the line was for where the comedy was. So
Speaker 11: it just makes it strange, which I dig as it
Speaker 11: kind of this is unlike anything, but it also means
Speaker 11: it doesn't quite.
Speaker 2: Work, Mike. I know, as I actually was looking at
Speaker 2: the Goodreads reviews of this today and I know this
Speaker 2: you're you're one of them for the So how different
Speaker 2: does I should have read the book? I didn't read
Speaker 2: the book? How different is the book from the movie.
Speaker 2: Does it have the sort of fantasy sequences in the book?
Speaker 2: Is that an element in that.
Speaker 5: It has been probably decades since I've read it. I
Speaker 5: started rereading it the other night, and it just feels
Speaker 5: very much like this movie. So much of this opening
Speaker 5: scene you're like, oh, yeah, not the necessarily him getting
Speaker 5: run over by the steamroller and every The effect that
Speaker 5: I really like is right at the beginning, when everyone's
Speaker 5: moving backwards but he's moving forwards. That kind of stuff
Speaker 5: isn't in there.
Speaker 11: Yeah, I love that. That's such a great way to
Speaker 11: start a movie.
Speaker 5: It is. It's really nice. It's so European. That's the
Speaker 5: thing about this film. It's just that, like you, I
Speaker 5: dig the idea of moving back and forth in time
Speaker 5: and the fantasy the reality. We've talked about night Porter
Speaker 5: or The Conformist or these movies where you just kind
Speaker 5: of don't have this sense of time. I can't remember
Speaker 5: the Italian editor's name that would do that so well.
Speaker 5: I think he even worked on like The Passenger, some
Speaker 5: Antonioni stuff. But yeah, as far as going back to
Speaker 5: the book, I think it's pretty darn similar to it.
Speaker 5: But yeah, I didn't have a chance to make my
Speaker 5: way all the way through. I tried to dig it
Speaker 5: out the other night. I found that I've got it
Speaker 5: on hard cover. Tried to grab that, and then I remember, oh, yeah,
Speaker 5: you also have it on paperback. So I'm an complete
Speaker 5: idiot when it comes to having multiple copies of things.
Speaker 5: So I started reading that paperback the other day, the
Speaker 5: one with Golden Prentice on the cover, So that was nice.
Speaker 5: But yeah, the hardcover is definitely different design and everything,
Speaker 5: and yeah, real tragic story about the writer.
Speaker 11: It's easy, I think, to always read into a If
Speaker 11: a man writes a novel about a man having a
Speaker 11: mid life crisis, it's very hard not to read into
Speaker 11: that as Okay, let's make sense, this is what he
Speaker 11: was going through. And I did not get a chance
Speaker 11: to read a novel, So I don't know how much
Speaker 11: of that comes through. It certainly adds an element of
Speaker 11: weight to it, because you don't I don't. I never
Speaker 11: felt Hiram was suicidal or was He was suffering definitely
Speaker 11: from probably depression, anxiety and other things that are just there,
Speaker 11: but in a very kind of common man of his
Speaker 11: age in New York kind of way. But then when
Speaker 11: you have that added knowledge of the author's very set
Speaker 11: bad end, it does reframe it a little bit.
Speaker 5: He died. I don't remember how soon after this he
Speaker 5: committed suicide. I should say, not just died, but.
Speaker 2: It was a year after the movie came out. It
Speaker 2: was seventy one.
Speaker 3: Yeah.
Speaker 5: I don't imagine that the bad reviews in the movie
Speaker 5: probably helped them out either.
Speaker 11: Because it had to be a very personal thing for
Speaker 11: if you're a novelist and you've written a novel that
Speaker 11: is maybe close to your life. I don't know, but
Speaker 11: it feels like it is such an interior this the
Speaker 11: movie is so interior, right. This is a man going
Speaker 11: through a whole lot of mental gymnastics and worries of
Speaker 11: here's my life and I am unhappy and I am this,
Speaker 11: and I'm not ready for this, and I'm not ready
Speaker 11: to be a father, and I'm not ready to move
Speaker 11: it three blocks down? So then do you have that then
Speaker 11: put on screen and then released? From what I understand,
Speaker 11: very bad press can't be a good feeling.
Speaker 5: No, And it felt a little bit like some of
Speaker 5: the critics were lying in wait for this. As far
Speaker 5: as we are tired of Elliott Gould and I was like,
Speaker 5: get ready, folks, because Gould's only made like a handful
Speaker 5: of films at this point is his career. You're going
Speaker 5: to get a whole lot more Gould here coming forward,
Speaker 5: and some of these are going to be a lot
Speaker 5: worse than this movie.
Speaker 11: So what do you think that is? As far as
Speaker 11: him just being such a success in a mold that
Speaker 11: was not typical that he doesn't look he didn't look
Speaker 11: like a leading man of that time, but it's that
Speaker 11: era where you have him and Dustin Hoffmann and other
Speaker 11: guys that were not go would not have been matinee
Speaker 11: Idols ten years earlier. Was it just a matter of
Speaker 11: the press just waiting for a failure? Was it that
Speaker 11: kind of thing that happens still today? Certainly feels like.
Speaker 5: It because I remember Gene Siskel's review was something like,
Speaker 5: I'm tired of seeing Elliott Gould. And it wasn't even
Speaker 5: I'm tired of seeing Elliott Gould play this type of character.
Speaker 5: It was just I'm tired of Elliott Gould. I was like,
Speaker 5: holy shit, Gean.
Speaker 2: It'd be so mean, how because at that point it
Speaker 2: was what it was first, It was like Knight the
Speaker 2: Rayed Minsky is the Free Chin. Then it was like
Speaker 2: Bob and cheryld' ed Nallie. Then was Mash before this
Speaker 2: was it earlier in the year. So there's just how
Speaker 2: could you be tired of someone after just three movies?
Speaker 5: Plus there was also Getting Straight.
Speaker 2: Oh that's right, yeah, yeah.
Speaker 5: And so yeah, in nineteen seventy he had four movies
Speaker 5: come out. He had I Love My Wife, Move, Getting Straight,
Speaker 5: and Mash and in.
Speaker 11: The opposite or was he still married to Barbra Streisand
Speaker 11: at this time.
Speaker 5: No, I think that was over by this point. I
Speaker 5: think that was over before Bob and Ted, Bob and
Speaker 5: Perrel and Ted Analyis. But I'm not sure I think
Speaker 5: that ended in sixty eight because.
Speaker 11: I wonder how much and the different era obviously, but
Speaker 11: there was still Page six and there was still the
Speaker 11: gossip columns magazine on all those things that it should
Speaker 11: come with being a movie star as opposed to being
Speaker 11: just an actor. And I wonder how much of that
Speaker 11: fed into it, because that's certainly still true today of
Speaker 11: if you don't like a celebrity for the way they
Speaker 11: dressed on the red carpet, then you're just waiting for
Speaker 11: them to make a flop because it makes gives you
Speaker 11: that shiten for it that so many were laying in
Speaker 11: wait with.
Speaker 5: Yeah, like me and Timothy Shallamage one.
Speaker 11: Day, just wait for it.
Speaker 2: For years, I thought this was like the Matilda era,
Speaker 2: like the Whiffs era, when it was like the career
Speaker 2: was laying the downswing. A year after this, didn't he
Speaker 2: do like a Burger movie. So many times I've said
Speaker 2: this guy had like a tribolt to ask taste for projects,
Speaker 2: like an almost self destructive face for projects. But this
Speaker 2: was during a period where it was just like every
Speaker 2: other pretty much every movie. He was like knocking it
Speaker 2: out of the barn.
Speaker 5: Yes seventy one, you've got the Touch, which you mentioned,
Speaker 5: and then you've got Little Murders seventy three, you've got
Speaker 5: the long Goodbye that he still has yet to do,
Speaker 5: California Split and Let's Together. Real good one back that
Speaker 5: I liked. I like Capricorn one. I really love The
Speaker 5: Silent Partner. But yeah, there's some uneven stuff in there,
Speaker 5: like a Bridge too Far. I'm not real hot on
Speaker 5: Harry and Walter go to New York. Not my favorite thing,
Speaker 5: but they're all interesting though, And they're interesting also in
Speaker 5: that way that you were talking about Emily when it
Speaker 5: comes to just what an atypical leading man he was,
Speaker 5: and especially in this movie where he's stripping down to
Speaker 5: the buff and just nothing is hidden and you get
Speaker 5: to see all that back air, which I don't know
Speaker 5: if that was like a thing back then or not,
Speaker 5: but I know now it's just like.
Speaker 12: I well, remember right, the bur Reynolds playboys around the
Speaker 12: real playgirls around this time, and then that was probably
Speaker 12: another part of it was And I mean, this was
Speaker 12: not my era, so I can't speak to him, but
Speaker 12: my understanding is he was like a raging sex symbol
Speaker 12: at the time.
Speaker 11: This happens every couple of years, you know what the
Speaker 11: mainstream determined sexy changes. But I think you had this
Speaker 11: moment of no, we like women like a man who
Speaker 11: looks like a man who looks maybe looks like their husband,
Speaker 11: who maybe looks like a man they actually are going
Speaker 11: to meet in real life. Whether he leaned into that
Speaker 11: or whether just the everything leaned into it for him.
Speaker 11: There's that too, like Gene Siskel, who is also by
Speaker 11: no means a conventionally attractive man who now sees a
Speaker 11: fellow conventionally not expected the attractive man being defined as
Speaker 11: that and is there like that bitterness of why not?
Speaker 11: Is that a thing that happened and I think it
Speaker 11: still happens today with leading men and women.
Speaker 5: Yeah, you're right. It was just a strange era because
Speaker 5: you know, even his best friend, Donald Sutherland not conventionally attractive.
Speaker 11: But incredibly sexy, and everybody understood it. And you couldn't
Speaker 11: explain it because you put you could take a guy
Speaker 11: that looks like him and put him next to him
Speaker 11: and it didn't work. But yeah, it was this time
Speaker 11: period where I think, again, it's the seventies, it's the
Speaker 11: late sixties. It's minds are expanding in a lot of
Speaker 11: different ways, but that feels very specific to this and
Speaker 11: that this movie is presents doesn't present him as I
Speaker 11: think he is very sexual in the movie, but also
Speaker 11: he is not having sex. He is saying he is
Speaker 11: having trouble having sex with his wife, who is a knockout,
Speaker 11: that he is seemingly very obsessed with it but also
Speaker 11: can't get it up. It was more than once during
Speaker 11: the movie. It wasn't just positioning him as this lithario.
Speaker 11: It was very much about this man who has sex
Speaker 11: and doesn't it's not working right, now and that sort
Speaker 11: of I think rawness maybe is something that can be alienating.
Speaker 11: If it's if you don't want to buy into it,
Speaker 11: then yeah, maybe he is uncomfortable to watch or not
Speaker 11: something you enjoy seeing. But there's another side to it
Speaker 11: that's very appealing because you're seeing somebody very raw and
Speaker 11: honest and naked in different ways, both literally and figuratively.
Speaker 5: And I don't know when it was necessarily okay to
Speaker 5: be very Jewish because there was so many years. You
Speaker 5: think of so many stars from like the thirties to forties,
Speaker 5: the fifties where they had to change their name and
Speaker 5: it's just that's way too Jewish sounding, can't do it.
Speaker 5: But he is very Jewish, and to the point where,
Speaker 5: yes he claims to be Zoroastrian in this film, but
Speaker 5: later on he's just, you know, I'm Jewish. And the
Speaker 5: cut to the wedding ceremony where he can't break that glass,
Speaker 5: just trying his best, and that was a nice little
Speaker 5: cameo in there from what's the Gentleman's Name Henry the
Speaker 5: guy that played Henry Blake in the mash movie very
Speaker 5: different Henry Blake from McClean Stevenson, but that was really
Speaker 5: nice to see him show up and hear just that
Speaker 5: tiny little role.
Speaker 11: Did you think that was a dream or do you
Speaker 11: think that was really his wedding?
Speaker 5: That felt real to me, just though I don't know
Speaker 5: Roger Bowen is the gentleman's name. I don't know if
Speaker 5: the breaking of the glass was real or not. And
Speaker 5: then also so I'm guessing, or there's Joe silver Is
Speaker 5: in this movie as a character named Oscar, and we
Speaker 5: see him a few times, and we see him in
Speaker 5: that wedding scene, and I want to say, we see
Speaker 5: him in Dragon that wedding scene, and then we see
Speaker 5: him in Drag at the party. I think that's supposed
Speaker 5: to be his brother in this movie.
Speaker 2: It's confusing because Oscar is playing this he could be
Speaker 2: his mother too, like he they're playing it like it,
Speaker 2: but it's just like, I don't I want to dress this.
Speaker 2: Probably it's a bit delicate because I think in some
Speaker 2: ways the movie is playing this as a joke. But
Speaker 2: I don't know, you know, and I couldn't tell like
Speaker 2: what they were going for that if it was like
Speaker 2: a genuine character, if it was just a joke. But
Speaker 2: because why do the bit where astors like mother or him.
Speaker 2: I don't want to put this the wrong way. I
Speaker 2: just I didn't. I couldn't wrap my mind around.
Speaker 5: This is definitely that end of the sixties era where
Speaker 5: it's look at how wild everything is. You've got the
Speaker 5: wild party in here and all these strange characters. And
Speaker 5: I think I wrote in my notes like I'm waiting
Speaker 5: for Joe Bucker, Stanley Sweetheart to show up in this
Speaker 5: scene because they would fit into this party for sure.
Speaker 11: I was hoping it was going to turn into like
Speaker 11: Sweet Charity and have a whole dance sequence. But alas,
Speaker 11: because it opens. Yeah, I love the opening of this movie.
Speaker 11: I will always immediately click with a movie that has
Speaker 11: its own theme songs, and so as soon as those.
Speaker 11: But it's a very catchy song. It's been in my
Speaker 11: head all day. It starts playing, and it's a great
Speaker 11: sequence for the whole opening credit sequence. It's very literal.
Speaker 11: It is repeated throughout the film, and I would have
Speaker 11: taken a whole dawn sequence to it.
Speaker 5: But what can you Yeah, I know that stupid theme
Speaker 5: song that got stuck in my head the first time
Speaker 5: I watched this movie.
Speaker 11: Ye all day, I've been singing it.
Speaker 5: Oh yeah, it's so freaking catchy. Thank you Marvin Hamlish
Speaker 5: for that one.
Speaker 11: I was excited to see the name of the credits too.
Speaker 5: Yeah, he was on top of the world for you.
Speaker 11: I was there and that I can always only ever
Speaker 11: think of the line from Role Models of the kid
Speaker 11: who played McK loving in super Bad when on a
Speaker 11: rand she said, and why does everybody saying you look
Speaker 11: like I got on? Marvin Emlish? The fuck Marvin Hamlish.
Speaker 11: It's always in my head whenever I hear the name,
Speaker 11: I just think, who the fuck is Marlin? Marvin Hamlish.
Speaker 5: I'm not sure again with that party sequence, how much
Speaker 5: of that is supposed to be real either. Yeah, because
Speaker 5: there's the moment when he looks at the frog legs
Speaker 5: and then suddenly imagine as all of these frogs just
Speaker 5: scurbing around, I'm like, oh, okay, that are you freaking out?
Speaker 5: Did you take something? Are you dosed right now?
Speaker 11: I think you could probably make a very real argument
Speaker 11: that really nothing that we see does happen. That it
Speaker 11: is him waking up one day, going to work with
Speaker 11: the dogs, and that's just about it. And then by
Speaker 11: the next day he has played phone tag with his
Speaker 11: wife and he shows up and they're moved, and that's
Speaker 11: it because so many of the little weird things that
Speaker 11: happened that seem catastrophic, or there's stuff being stolen, or
Speaker 11: the gunfight in the hallway, and all of these like
Speaker 11: very big, the affair with the blonde, all these things
Speaker 11: that really seemed to like, you know, at the end
Speaker 11: of the day, he comes home and there's his wife
Speaker 11: and she like, oh, we miss I was with the doctors.
Speaker 11: Oh okay, and they move on, and there's something to
Speaker 11: it of all of that being a fantasy. And I
Speaker 11: don't know if it he's more powerful that way or not,
Speaker 11: if the idea that this entire time it's been him
Speaker 11: just running away from his own because the end, I
Speaker 11: guess we're spoiling correct on. So the first scene there's
Speaker 11: a little bit of a conversation about her wanting a
Speaker 11: baby and him just just immediately, no, why do women
Speaker 11: do that? I'm out of here, And it really doesn't
Speaker 11: literally come up again in the entire movie, right, there's
Speaker 11: no real obvious tellings that this is ultimately going to
Speaker 11: be him finding out that he's going to be a dad,
Speaker 11: and that last scene he does and as he knows it.
Speaker 11: In the last scene, right, he sits down, he looks
Speaker 11: at his wife and he says, oh, so, how for
Speaker 11: how long are you? And he's okay with it, And
Speaker 11: this entire movie has maybe I think you can very
Speaker 11: much interpret it as him coming to terms with I
Speaker 11: am changing my life and this is I thought, moving
Speaker 11: two blocks is the biggest thing I can do. No, actually,
Speaker 11: I'm going to raise a child now.
Speaker 5: The only other real reference to that is when he's
Speaker 5: out on the street and you see that diaper truck
Speaker 5: go by and you're like, oh, okay, So it's like
Speaker 5: haunting him.
Speaker 11: Through that in mind. Yeah.
Speaker 3: Yeah.
Speaker 2: The sceneries on the horse of the cop, I feel
Speaker 2: like that was fantasy because one time I asked the
Speaker 2: cop like it at his forced and he told me no, oh.
Speaker 11: In this day the Terrible dog Walker. As a former
Speaker 11: dog walker, you hold onto your dogs, you hold onto
Speaker 11: those leashes. You don't let them run around in Central
Speaker 11: Park and hope they come back to you. I was
Speaker 11: not happy with his dog walking abilities.
Speaker 5: Yeah, And I think that's also part of his problem,
Speaker 5: is that he's not selling his plays, which I imagine
Speaker 5: that's a Joel Lieber thing right there. As far as
Speaker 5: the struggles of being a raid and also the struggles.
Speaker 5: So he did have books that were published one posthumously,
Speaker 5: but being a writer, it's not making a ton of money.
Speaker 5: And I think that one of Hiram's problems is that
Speaker 5: he's not the breadwinner in this family. And I guess
Speaker 5: that it's Dolly that's the breadwinner by her being the
Speaker 5: secretary to the psychiatrist. And yeah, she does use that
Speaker 5: psychiatrist language on him all the time. But I know
Speaker 5: it's very easy to get into that. My mom was
Speaker 5: a social worker, so I spent a lot of years saying, so,
Speaker 5: how does that make you feel?
Speaker 11: It's also the seventies, it's the era when people were
Speaker 11: started talking like that.
Speaker 5: Anyway, there is so much just nineteen sixty seventies, that
Speaker 5: kind of liminal space between the two decades where it's
Speaker 5: what the hell are we doing here? What is happening here?
Speaker 5: Trying to get our lives together. It is really interesting
Speaker 5: that he's got so many different types of people around
Speaker 5: him like that they actually have, and god forbid, I
Speaker 5: think it's an actual Indian person playing an Indian character.
Speaker 5: It's not just Peter Seller's in brown face or something.
Speaker 5: And then to have an interracial couple with Andrea and
Speaker 5: I can't remember Ron O'Neill's character's name, but to have
Speaker 5: them right downstairs and it's like they're not hiding.
Speaker 11: That it's New York City's that is the reality of it.
Speaker 5: I love it. Yeah, and then his landlord at the
Speaker 5: new place is definitely Latino and his wife is as well,
Speaker 5: And yeah, it's very New York melting pot kind of thing.
Speaker 5: Because then when we get Genevieve Waite later on, who
Speaker 5: I think is one hundred percent fantasy, but her kind
Speaker 5: of British South African type accent comes through, and then
Speaker 5: I think it disappears for a minute and then it
Speaker 5: comes back.
Speaker 11: At one point, I was trying to figure that out
Speaker 11: because I didn't realize it first that she was British,
Speaker 11: and then she wasn't. And I don't know if that
Speaker 11: was pure acting choice or if it was her covering
Speaker 11: an accent and do a different taket at each time,
Speaker 11: But it works in a way because you just adds
Speaker 11: into the right. She is pure fantasy, and so everything
Speaker 11: about her should be a bit exaggerated and inconsistent.
Speaker 2: I can ask you, is this the first recorded incident
Speaker 2: of the gag where a psychiatrist falls asleep while the
Speaker 2: patient talks about the problems.
Speaker 5: All joke, Briar, that's a really good question. And yeah,
Speaker 5: I'm not sure because it feels like it's got to
Speaker 5: be old as psychiatry itself. I'm trying to think back
Speaker 5: to a symphony and slang because I think he, the
Speaker 5: main character in that goes to a psychiatrist, but I
Speaker 5: can't remember if he falls asleep or if he just
Speaker 5: realizes that the guy's crazy great summer prescription or something, because.
Speaker 2: Yeah, how to be a New Yorker cartoon, you had
Speaker 2: to start life as a New Yorker cartoon.
Speaker 11: That makes sense.
Speaker 5: Yeah, I mean it really does feel like something that
Speaker 5: also that Woody Allen would be saying at the exact
Speaker 5: same time, and went to day Ellis in the Him
Speaker 5: to Sleep, I.
Speaker 11: Was telling him about my dreams, and then I realized
Speaker 11: he was dreaming himself. I don't do a very good
Speaker 11: witty Ellen.
Speaker 5: Neither do I. And then also even his the guy
Speaker 5: that takes over his apartment who played what was it
Speaker 5: Sarah no Jones right on the Star Trek. That's the
Speaker 5: only thing right that's him from but he is obviously
Speaker 5: gay and they don't make a big deal about it,
Speaker 5: and it just feels like you said, this is New York,
Speaker 5: this is.
Speaker 11: This would be New York, New York today, but it
Speaker 11: certainly was New York in nineteen seventy.
Speaker 5: It's all DEI. We just have to put a stop
Speaker 5: to it.
Speaker 11: Yes, obviously, Yeah.
Speaker 5: And I just feel bad for Paul Apprentice in this
Speaker 5: whole movie, the whole time, because he is just so unhinged.
Speaker 11: She's an angel. I am a heterosexual woman, and I
Speaker 11: think she is just the sexiest creature in this movie.
Speaker 11: And I've always loved her Steppard Wives. She's both great
Speaker 11: in it and she is somebody that he is one
Speaker 11: of those actors that you can tell is just a
Speaker 11: hoot should be around. I remember on Stepford Wives DVD
Speaker 11: there's a couple of interviews with her and you just
Speaker 11: you want to be in the room with her talking
Speaker 11: about film, because she is funny, she is smart, she's
Speaker 11: very insightful, and in this movie, you're just like, are
Speaker 11: you okay with this? If you're okay with this, then
Speaker 11: it's fine. You seem to be amused by it, but
Speaker 11: you know that you can do better. If you want
Speaker 11: to right.
Speaker 5: You might want to hit up your boss for some
Speaker 5: prosac which I don't think existed, so at least maybe
Speaker 5: some lithium at this.
Speaker 11: Point, something going ether? Who knows?
Speaker 5: Yeah the ether or yeah not.
Speaker 11: Also, I realized something that I had never a connection
Speaker 11: I never made before, is how has nobody ever pared
Speaker 11: paul Apprentice and Paulina Poorzakova together in like a buddy
Speaker 11: comedy or something, because they are I think, around the
Speaker 11: same age. They are both these like tall, beautiful brunettes
Speaker 11: who have a very similar way of speaking and could
Speaker 11: play sisters so well in something but dream projects for
Speaker 11: one day. Keep that in mind, everybody.
Speaker 5: And Gould acted with her sister in California Split, but
Speaker 5: I think I want to say her sister ended up
Speaker 5: committing suicide. She had a lot of problems. Sorry, to
Speaker 5: bring down the conversation.
Speaker 11: We should talk about the dogs.
Speaker 5: You should talk about the dogs, and then I want
Speaker 5: to talk about the harassing calls from the mover. But yeah,
Speaker 5: do you want to talk about Murphy? The incredible Saint Bernard.
Speaker 11: Murphy is a perfect, beautiful creature. I love something I love.
Speaker 11: It's a very small choice in this movie and I
Speaker 11: feel like it happens more than once, where other characters
Speaker 11: keep referring to the dog that he and it's just
Speaker 11: this tiny thing that like can eagerly demonstrate whether the
Speaker 11: person you're talking to cares about dogs or not if
Speaker 11: they just if you think, oh, it's actually a girl, Okay,
Speaker 11: he can't do that. It just immediately tells you something about, Oh, okay,
Speaker 11: you're one of those people who doesn't actually care about
Speaker 11: all the details of my precious perfect Saint Bernard.
Speaker 5: Misgendering is the thing people love to do.
Speaker 3: It.
Speaker 11: Yeah, but she's a good girl.
Speaker 5: She's a very good girl, better than those other dogs
Speaker 5: that he has to take to his apartment to try
Speaker 5: to chase away the quote unquote robber.
Speaker 11: He's a dog trainer also, and that's who No, this guy.
Speaker 11: I don't know what they're paying him, but I would
Speaker 11: not give him good Business Bureau reviews. He is clearly
Speaker 11: also training the dogs, and I don't trust that at all.
Speaker 11: He's also using them as like guard dogs and lying
Speaker 11: to the owners, and I find that not respectable to
Speaker 11: the dog walking profession.
Speaker 5: Yeah, showing up at their house at eight o'clock at
Speaker 5: night to take him for a one of his.
Speaker 11: Clients is a sex worker and she's in the middle
Speaker 11: of work and he comes and says, I'll just I'll
Speaker 11: take your dog off your hands for a few No,
Speaker 11: I know it's before we could like text somebody and
Speaker 11: say hey, can I come over? But Phil the error
Speaker 11: when you ring doorbells, which is very strange.
Speaker 5: Yeah, and that one dog just absolutely terrifies that poor
Speaker 5: woman in the hallway. When he's picking up the second dog,
Speaker 5: She's just there with her lip quivering and crying. I'm like, oh,
Speaker 5: this is awful. You are such a bad person.
Speaker 11: No, he's not doing anything to diffuse the situation. He's
Speaker 11: a bad dog walker.
Speaker 6: I know.
Speaker 11: I said I was okay with him, but maybe I
Speaker 11: really didn't like this character.
Speaker 2: The way I saw his character as if Franz cough.
Speaker 2: Because the trial was filtered through like a middle aged
Speaker 2: man who has to eat too long at the cheesecake
Speaker 2: factory death.
Speaker 5: I like, it's true, there is a little Kafka to this,
Speaker 5: especially with the guy who keeps calling and taunting him
Speaker 5: and saying he's the mover, and also implying that he
Speaker 5: had sex with a prentice too. I tried out your wife,
Speaker 5: what I don't know if that's the same guy that's
Speaker 5: the cop, but it sounds like the same voice to me.
Speaker 5: But you've got so many good character actors in this
Speaker 5: and especially these older guys with the great voices.
Speaker 11: The woman, right, the woman who's married to the mover
Speaker 11: with the she's doing something again, this is there's small
Speaker 11: choices in this movie that are really great. When you
Speaker 11: see her and you never quite see her face and
Speaker 11: you just see you hear her voice grasp thee and
Speaker 11: what is she doing. She is fixing a run in
Speaker 11: her stocking with fear nail polish, which is just such
Speaker 11: a cheap thing that you have to do sometimes, but
Speaker 11: it just tells you a lot about this woman in
Speaker 11: his tiny little moment. And again it's weird, you don't
Speaker 11: it isn't real. But also what is it saying about
Speaker 11: him that this is the thing he's conjuring to make
Speaker 11: excuses for why he can't just move three blocks down?
Speaker 3: All right?
Speaker 11: There's got to be this big operation against him, that
Speaker 11: the movers are run by a psychopaths who abuses his
Speaker 11: wife and the cops are after him, and just these
Speaker 11: very elaborate scenarios to explain why just living light in
Speaker 11: New York City in nineteen seventy is impossible, right, It's
Speaker 11: you just you can't be who you want to be
Speaker 11: because everybody's out to get you in this bizarre city,
Speaker 11: when really it's just probably the movie's got the laid
Speaker 11: because the elevator wasn't working in the first building, so
Speaker 11: they're going to be late. And the reality is when
Speaker 11: you're moving from one apartment with another, Yeah, you're supposed
Speaker 11: to be out in the day, and because the next
Speaker 11: guy's moving in and you're moving there, and now this
Speaker 11: is a big complication. Like the offkindness about it, I
Speaker 11: think is very true. I guess I just wish it
Speaker 11: was all a little tighter or all a little clearer
Speaker 11: the movie wanted to do with that, because I think
Speaker 11: I did a lot of work as I watched it
Speaker 11: and justifying where I thought, why this decision and why
Speaker 11: this scene and why that choice. And I like what
Speaker 11: I came up with. But I don't know that everybody
Speaker 11: owes it to this movie to do that.
Speaker 2: What I find so weird about this movies because this
Speaker 2: was made during the with it era and they get
Speaker 2: this guy who's it. He's like a I don't want
Speaker 2: to see it. Get young novelist, but he's tapping into
Speaker 2: some kind of zeitgeist, whether it's the Phil Rod zeitgeist
Speaker 2: or something else. They're going for something different, they're going
Speaker 2: for something cool. So who do they get to punch
Speaker 2: up the script? They get a guy who writes to
Speaker 2: the Carroll Burnett showing Mad Magazine. It's such a weird choice.
Speaker 2: It's this guy who had a few years later, was
Speaker 2: I think ready for a bop Ope special. It's like,
Speaker 2: what why did we go with Stanley Hart? There had
Speaker 2: to be a like maybe a young Michael o'donnie. Maybe
Speaker 2: it Doug Kenny, someone from the Harvard Lampoon, like somebody
Speaker 2: could help Burce Lanch, Brucelle. I would take Bruce fll Lanch.
Speaker 2: He could do like Solid Zingers. I love brucell Lanch.
Speaker 2: It's such an odd choice. Stanley Hart's Yeah.
Speaker 5: I actually tracked him down and spoke with him for
Speaker 5: all of a minute, and I was trying to get
Speaker 5: him to talk about making this movie and working on
Speaker 5: this movie. It's just like it was so many years ago.
Speaker 5: I have no idea. All right, great, thank you, thank you. Yeah,
Speaker 5: and you'll hear an interview I did with Paul Apprentice
Speaker 5: in a little bit, and it's maybe it was ten
Speaker 5: minutes long. So she also didn't have a whole lot
Speaker 5: of memories of it because it was at this point
Speaker 5: fifty five years old. But I think I spoke with
Speaker 5: her probably five years ago.
Speaker 11: Fifty five years and it's nineteen seventy. Everybody was doing
Speaker 11: a lot of driff.
Speaker 5: Talking about the guy who was moving them. I was
Speaker 5: so shocked to see that original trailer and that it
Speaker 5: ends with the disembodied hand of the mover coming out
Speaker 5: and flipping the bird at the very end of the
Speaker 5: of the trailer. I'm like, oh my god. And there's
Speaker 5: like boobs like crazy in the trailer as well, and I'm.
Speaker 11: Just like the Red Band trailer in nineteen seventy.
Speaker 5: Nineteen seventy, I was like, Wow, Okay, I guess we're
Speaker 5: really going for the appealing to the youth market or
Speaker 5: something here. So yeah, that middle finger was cut out
Speaker 5: of the version that I was watching that you guys watched.
Speaker 5: And then it's funny that you mentioned Doug Kenny because
Speaker 5: I was I just watched Funny Farm for the first time,
Speaker 5: and that whole beginning is all about the movers. They
Speaker 5: can't find the place, and this they're gonna turn down
Speaker 5: here and we're gonna yell at these movers when they
Speaker 5: show up. And I think this movie handles that situation
Speaker 5: way better than Funny Farm did.
Speaker 2: But I get apologics to you. To Mike, I know
Speaker 2: you have a Chevy Chase podcast. I haven't listened to it.
Speaker 2: Oh they keeping yet, And I love whenever I do
Speaker 2: an interview with anyone for Shock Cinema, they work with
Speaker 2: Chevy Chase. I always try to get a Chevy Chase story.
Speaker 2: I never do. I never do, but I keep forgetting.
Speaker 2: You have that podcast. I need to listen to it.
Speaker 2: I fucking love Chevy Chase.
Speaker 5: You know, I don't know if you'll love my podcast.
Speaker 11: Then He's like the reverse of John Candy, where whenever
Speaker 11: you hear an actor describe working with John Candy, no
Speaker 11: matter what, whether they worked on like with him for
Speaker 11: twenty movies or in a scene for five minutes, everybody
Speaker 11: has nothing, but they stop the interview and they're like,
Speaker 11: I have to tell you how he saved my life
Speaker 11: Like this, he made everybody he touched better. And the
Speaker 11: reverse of everybody who's ever with the Chevy Chase is, Oh,
Speaker 11: you mean that an asshole. There's always a story.
Speaker 5: Always a story. Yeah, I'm kind of like that. But
Speaker 5: with Peter Falk, where I'm just like, tell me your
Speaker 5: Peter Falk story. I know we worked on Colombo like
Speaker 5: thirty five, forty five, fifty five years ago, but please
Speaker 5: tell me your Peter Falk story. And to a person,
Speaker 5: it's almost always Oh, he was so great to work with.
Speaker 5: He's s such an actor's actor, and he was just
Speaker 5: would run lines with me before our scene, and I
Speaker 5: was just like John Ashton was in one scene in
Speaker 5: a Colombo episode and he's oh, he was so great.
Speaker 5: He was running lines with me and all of it.
Speaker 5: I'm like, yeah, that's wonderful.
Speaker 11: But Mike, he's an eight. He's a literal angel. You've
Speaker 11: seen Wings of Desire. He is an angel that he's
Speaker 11: he's that him playing himself in that movie because he
Speaker 11: is actually that.
Speaker 5: All right, Yeah, no, fair enough, I give it to you.
Speaker 3: Yeah.
Speaker 5: I currently, as we're recording this, I do have the
Speaker 5: uncut version going on right now, and it is amazing
Speaker 5: how much may be. Yeah, so many boobs, a lot
Speaker 5: of butts as well. They even have a shot of
Speaker 5: the woman that he's talking to, the one from the
Speaker 5: moving company, and she's sitting there completely naked. At one
Speaker 5: point you just see her like from the side, because yeah,
Speaker 5: she's very fragmented. You never really get a clear shot
Speaker 5: of her face. And then there's even a fantasy sequence
Speaker 5: where he's like pumping iron and fighting with her and stuff,
Speaker 5: and again you see her from I guess maybe you
Speaker 5: do see a face in that scene, but for a
Speaker 5: while you just see her from the neck down.
Speaker 11: It makes sense because this is a sex comedy without sex,
Speaker 11: and that's what I think of most sex comedies as
Speaker 11: being it's often a lot of nudity, it's often a
Speaker 11: lot of like innuendo and everything, but also often the
Speaker 11: characters don't actually ever have sex in it, and that's this.
Speaker 11: Maybe he has the fantasy where he does with the
Speaker 11: blonde at the end, but so much of this movie
Speaker 11: is about him being horny but him not being able
Speaker 11: to have sex. And then to get to the end,
Speaker 11: and there is a moment where he says, if I
Speaker 11: haven't had sex with my wife in months, So when
Speaker 11: you get to the end and it's like, how far
Speaker 11: along are you two months? Is that too? Is that
Speaker 11: because oh is it yours?
Speaker 5: Stet I would think of the same thing when you were.
Speaker 11: Saying months, I feel like it. He usually needs more
Speaker 11: than two. You'll know very quickly if that baby is
Speaker 11: his based on what's on that back.
Speaker 5: I love that the psychiatrist is played by the same
Speaker 5: guy who runs the tuna company from Mister Mom. Graham Jarvis,
Speaker 5: Graham Jarvis, Yeah, Graham. That was nice. I barely recognize
Speaker 5: me so young in this movie. I thought a little
Speaker 5: bit of Superman the movie when it came to him
Speaker 5: short changing the blind guy and the way that dog
Speaker 5: is barking at him when it comes to that, and again,
Speaker 5: I'm like, you should be way better.
Speaker 2: With dogs, don't walker.
Speaker 11: There are times in my life when I look and
Speaker 11: I'm like, I graduated college and I couldn't find a job,
Speaker 11: so I was dog walker. And what did that mean?
Speaker 11: That meant every day I woke up and I put
Speaker 11: on sweatpants, and I exercised all day, and I was
Speaker 11: outside in beautiful weather and I was playing with dogs,
Speaker 11: and that was my day. I was tan, I was fit,
Speaker 11: and I was playing with dogs all day long. That's
Speaker 11: a privilege. And you know what this lets somebody here's
Speaker 11: my dog. Shake them. No, they need to earn that
Speaker 11: privilege and you need to trust them with it. And
Speaker 11: I do not trust Elliot Goold with a dog.
Speaker 5: The one real genuine laugh I had while I was
Speaker 5: watching this was when he turns on the shower and
Speaker 5: then he eventually opens up the curtain to get in
Speaker 5: and it's all of the stuff in the tub. Then
Speaker 5: he literally breaks the fourth wall signals to the camera
Speaker 5: come closer, and then he starts talking about how all
Speaker 5: of his life is in these boxes. And I'm personally,
Speaker 5: I'm just like, good, you need to part with your past.
Speaker 5: You are way too fucked up and you need to
Speaker 5: do something, dude, to get out of this.
Speaker 11: And I think, and that's what happens, right he goes
Speaker 11: to the cops. He thinks that he decide the movers
Speaker 11: have stolen his stuff, and then while talking to the copy,
Speaker 11: comes to that realization of you know what, maybe that's okay,
Speaker 11: let it go. Let me. All I need is my
Speaker 11: wife and my dog and the baby I'm about to have,
Speaker 11: and okay, let's do it. And so this movie ends
Speaker 11: in a really pleasing, hopeful way where I was like
Speaker 11: oddly moved by the end of it. Even though I
Speaker 11: had such a hard time understanding what I was supposed
Speaker 11: to feel throughout it, I really love the ending and
Speaker 11: I tried didn't get to rewatch the whole thing, but
Speaker 11: I jumped around a little bit and I made sure
Speaker 11: I just got to that last scene again, and I did.
Speaker 11: I found it a really beautiful way to close a
Speaker 11: very uneven film.
Speaker 2: The one line that made me a laugh, it's the
Speaker 2: only line that made me laugh, is when Goole says,
Speaker 2: I don't mean to be unpleasant. Also, I like when
Speaker 2: I quoted now that was odd.
Speaker 5: All right, we're gonna take a break and we'll be
Speaker 5: back with a very brief talk with yourself, Paul Apprentice,
Speaker 5: and another chat with Elliott goul And we'll be back
Speaker 5: with both of those right after these brief messages.
Speaker 9: Step into the gallery, dear friends, for Horrors, Nightmares, and
Speaker 9: spooky Tales. This is the Midnight Viewing Podcast, and we
Speaker 9: like to discuss the frightening world of television horror anthologies,
Speaker 9: from Rod Serling's Night Gallery to Tales from the Dark
Speaker 9: Side to Hammerhouse of Horror and more. Father Malone, Chris Stashu,
Speaker 9: and Mike White will be your docents during this midnight
Speaker 9: viewing available wherever you download your podcasts from Weirdingwaymedia dot com.
Speaker 3: You're listening to the Projection Booth podcast dig It.
Speaker 5: What do you remember about the film. This was still
Speaker 5: fairly early in your career. You've done a lot of
Speaker 5: television before this, right, Well.
Speaker 8: I did movies for a while because I was under
Speaker 8: contract to MGM. And I don't know if this was
Speaker 8: after my husband and I did our series or not.
Speaker 8: I did a series with my husband.
Speaker 5: Was that he and She?
Speaker 10: Yeah, uh huh?
Speaker 8: And I don't know was Move after that?
Speaker 5: I think it was. I think He and She was
Speaker 5: like sixty seven to sixty eight, and Move, I want
Speaker 5: to say, came out in nineteen seventy.
Speaker 8: Yes, that that very well could have been. I hardly
Speaker 8: remember a thing except I know Genevieve. I think she
Speaker 8: called me out here and she well later this was
Speaker 8: after the movie. I think she called and said if
Speaker 8: she could rent my apartment in New York. And that
Speaker 8: was one thing that I remember. And Elliott was just,
Speaker 8: you know, wonderful.
Speaker 10: It was fun.
Speaker 8: We did go naked and get into a pool together,
Speaker 8: so that was fun.
Speaker 10: I mean a tub.
Speaker 8: Elliott is just a wonderful person. He's so in the present.
Speaker 8: If you talk to him, there's no you know, he
Speaker 8: doesn't leave you in a conversation, and he's always right
Speaker 8: with you whatever you're talking about. He has a real
Speaker 8: gift for being with people, he really does. He's a
Speaker 8: wonderful fellow, very sweet. Yeah, so that was.
Speaker 10: Fun, but yeah, it was. It was those kind of couple's.
Speaker 8: Angst kind of movies, wasn't it.
Speaker 10: That was kind of There was kind of a flew
Speaker 10: of those for a while. Yeah, it was. It was fun.
Speaker 8: But I remember the fellow, didn't he? Am I wrong about.
Speaker 5: The author that he he committed suicide? I believe, Yeah, he.
Speaker 8: Did, didn't he? I don't know's whatever his was going
Speaker 8: on in his mind he got in the script, which
Speaker 8: is probably the sixties, the drugs and things like that. Yeah,
Speaker 8: you know, the drugs and the divorces and no marriage
Speaker 8: or whatever that kind of.
Speaker 10: Was in the air.
Speaker 5: Did you meet the writer Joel Lieber?
Speaker 8: I think I did meet him, Yes, I just well,
Speaker 8: I think actually I might be wrong about this.
Speaker 10: You'd actually have to.
Speaker 8: Check with my husband, but I think he came up
Speaker 8: to our apartment when we were on West end, and
Speaker 8: he had been out in the rain and he handed
Speaker 8: that script to us. Now, that may be something that
Speaker 8: I have remembered about, not Joel, but it seems to
Speaker 8: me that's what happened. And I can't remember. I think
Speaker 8: we were living in New York. Then, you know that
Speaker 8: I was able to It was filmed in New York,
Speaker 8: wasn't it.
Speaker 5: Yeah, it was very much a New York story.
Speaker 10: Yeah.
Speaker 8: The director, Stuart used to live down the street from
Speaker 8: me here in California, but he no longer lives in
Speaker 8: that same house. Yeah, it was just one of those
Speaker 8: kinds of movies of that time. I wish I could
Speaker 8: remember more things to tell you.
Speaker 5: Well, hey, you know, it was only what forty four
Speaker 5: years ago?
Speaker 8: So wasn't it? My god, almighty, you're kidding me. You
Speaker 8: weren't kidding me. That's before I had children. Oh my goodness, gracious. Well,
Speaker 8: we see Elliott once in a while too out here. Yeah,
Speaker 8: but it's always nice, Uh huh, it's always nice. Gee, whiz,
Speaker 8: has it.
Speaker 10: Been that long?
Speaker 8: I can't get over how wonderful it is when you
Speaker 8: reach your seventies. I'm seventy six, and I can't get
Speaker 8: over how fantastic it is. I had no idea it
Speaker 8: was going to be so wonderful, that's the truth. And
Speaker 8: I had the good fortune of being in movies for
Speaker 8: a little while there, so that was fun. But it's
Speaker 8: just wonderful you begin to claim your life, do you
Speaker 8: know what I mean, and to see it as what
Speaker 8: you did, which is a really interesting thing.
Speaker 10: So that never makes me feel bad.
Speaker 8: It's just an amazing kind of you know, it's kind
Speaker 8: of an astonishing thing that that occurred.
Speaker 10: But it's not a.
Speaker 8: Sound sad thing at all, not at all.
Speaker 10: It's wonderful to have been in the movies.
Speaker 3: Yeah.
Speaker 5: Sometimes I'll talk to people and they'll just be like,
Speaker 5: why are you asking me about this movie? This was
Speaker 5: so many years.
Speaker 8: Oh no, I think it's just some sort of a
Speaker 8: miracle that had happened at all. I really do. Yeah,
Speaker 8: it's just amazing and I just was able to enjoy
Speaker 8: that movie career as you know, a way to be.
Speaker 8: I think we're all kind of defining ourselves as we
Speaker 8: grow up and you know, get into stuff like marriage
Speaker 8: and career and stuff like that. So it just helps
Speaker 8: you get to know yourself a little bit better and
Speaker 8: to be you know, what more charitable because you're more
Speaker 8: human something like that.
Speaker 10: I don't know. But no, no, that doesn't make me
Speaker 10: feel bead at all.
Speaker 3: Yeah.
Speaker 5: I was curious. You've been in so many different types
Speaker 5: of films. When people recognize you for stuff with your
Speaker 5: movie career, what do they tend to gravitate to.
Speaker 8: It's sort of different things. Some have seen the movie
Speaker 8: with Rock Hudson, or some have seen The Black Marvel
Speaker 8: I played a cop with that was Joseph Wambaugh and
Speaker 8: some people. And Where the Boys Are it's been done again,
Speaker 8: but some people have seen the original and some people
Speaker 8: think of I know because my son was three months
Speaker 8: old and now he's forty.
Speaker 10: Stepford wise, that was.
Speaker 8: An interesting one. Yeah, uh huh, that was an interesting
Speaker 8: one for people to think about. Oh and let's see
Speaker 8: we did Catch twenty two because that's the people who
Speaker 8: are interested in that, you know, remember that movie. Yeah,
Speaker 8: that's what they think about. And you know, my friend
Speaker 8: Delores Hart, she was in Where the Boys Are and
Speaker 8: she is a mother superior in Bethlehem, Connecticut. So as
Speaker 8: long as I've been married, which is fifty two years,
Speaker 8: she's been in the monastery. She's a mother superior there.
Speaker 8: So yeah, it's so life has got all kinds of
Speaker 8: things to offer you, and to be having had been
Speaker 8: in the movies is one of them.
Speaker 10: Is just a lot of fun. Yeah, it just is
Speaker 10: a lot of fun. And people do think of those
Speaker 10: of where the boys are and you know, man's favorite
Speaker 10: sport and things like that. Yeah, they really do.
Speaker 8: What's New pussy Cat if you're kind of New York.
Speaker 10: Or you think of that because it's a Woody Allen movie.
Speaker 5: Yeah, I tend to gravitate to the parallax view.
Speaker 8: Yeah, I got wiped out in the first five minutes.
Speaker 8: But it was an excellent part and a lovely fun time.
Speaker 5: And I'm actually a big fan of Saturday the fourteenth.
Speaker 8: Well, you know what, I broke my arm when we
Speaker 8: were doing that. So in a lot of scenes my
Speaker 8: arm is up either I'm holding my arm is you know,
Speaker 8: up at an angle like a broken arm, and I'm
Speaker 8: either holding the groceries or holding a coat or something
Speaker 8: like that. And then there's this scene where it's walking
Speaker 8: in sleepwalking and only one arm is up. That was
Speaker 8: fun because they use that.
Speaker 10: Kind of fog stuff, you know. Oh gosh, Yeah, that
Speaker 10: was fun.
Speaker 8: We were very surprised if people like them. Oh, yeah,
Speaker 8: we've got a poster from that, so our kids have seen.
Speaker 8: You know, we've got posters from some of our stuff.
Speaker 8: It's all right, that's all right, Wally, it's okay.
Speaker 10: So anyway, Yeah, that's fun. Oh I'm glad. Thank you.
Speaker 8: It was interesting because very recently I talked to Julie
Speaker 8: Corman and she and her husband Roger Corman, produced that.
Speaker 8: So yeah, so we have our poster that, which is fun.
Speaker 5: Well, I won't blabor you with any more questions about
Speaker 5: move because I don't know if there's anything else you
Speaker 5: might remember from that shoot.
Speaker 8: I don't think so, but that she said was enjoyable,
Speaker 8: and nice bathtub and the nice friends on the set,
Speaker 8: things like that.
Speaker 5: And there's that big dog in that movie too, wasn't there.
Speaker 8: Yes, I remember because I've got my little dog here,
Speaker 8: and I.
Speaker 10: Remembered that little dog and a big dog. That's right.
Speaker 3: Yeah.
Speaker 5: Well, hey, thank you so much foranknight.
Speaker 10: This has been great, Okay, and thank you so much.
Speaker 10: Enjoyed talking.
Speaker 5: In nineteen seventy that was a crazy year for you.
Speaker 5: You were doing so much stuff all at one time.
Speaker 3: It felt like, I mean, the first movie that I
Speaker 3: had participated in as an actor. I was called The
Speaker 3: Confession and it starred Ginger Rogers and Raymond Land and
Speaker 3: we made it on the Island of Jamaica. That's the
Speaker 3: first movie that I did. Then the second movie that
Speaker 3: I did was The Night They Rated Mintzki's That was
Speaker 3: with Jason Robarts and Griff Ecklund and berg Lar and
Speaker 3: a great cast. It was directed by William Freakkim I
Speaker 3: believe it was produced by the York and Lear of
Speaker 3: a Norman Lear. He's a sequential. And then the third
Speaker 3: film was Bob and Carolyn Ted and Alice with Natalie
Speaker 3: Wood and Robert Cope and Diane Cannon, which was the
Speaker 3: first film that Olemassurski directed, and he and his partner
Speaker 3: Larry Tucker wrote it and it was produced by Mike Frankovich.
Speaker 3: It was a very popular film and actually Diane Cannon
Speaker 3: and I were each nominated for Academy Awards for Supporting
Speaker 3: Actors for that picture. And then the fourth picture I
Speaker 3: did was mash Of which was quite popular, and that
Speaker 3: was directed by the great Robert Altman, and it's the
Speaker 3: first time we met and the first time I worked
Speaker 3: with Bob and it's when I first met Donald Sutherland,
Speaker 3: who was a great mate. Also Robert Duvall, and oh
Speaker 3: we had Oh my goodness, there were the two of us,
Speaker 3: and then the girls of course, Sally Hailer meant Joanna Fluke.
Speaker 3: That was an amazing experience. And then I believe the
Speaker 3: next picture, I believe it was moved. Is that and
Speaker 3: that that's what we're talking about, right right?
Speaker 5: Yeah, I wasn't sure if getting straight was next or
Speaker 5: move was next.
Speaker 3: Oh, oh, you are right, you are right, you are
Speaker 3: absolutely right. Let me take another bite of this delicious
Speaker 3: piece of bread and butter that I had behave. That
Speaker 3: I auditioned for entitled A Way of Life, written by
Speaker 3: Murray Shiska, and I was fired. I'd never been fired before.
Speaker 3: It was shocking to me. And then I was asked
Speaker 3: to meet Robert Altman and he asked me in mash
Speaker 3: and what he said to me is, how how would
Speaker 3: you like to play the American Southerner? And I said,
Speaker 3: all I want to do is work because I had
Speaker 3: to read it first. He wanted me to read it.
Speaker 3: If you haven't passed this trapper John character, I've got
Speaker 3: what you need for it. I got the Jews, I've
Speaker 3: got the energy and uh, and so he cast me
Speaker 3: here and here we are, Oh my god. And then
Speaker 3: what we're here to talk about? Well, I think was
Speaker 3: the next picture was my next picture Moved, Move. Oh
Speaker 3: my god. It was interesting. Move in my home. Believe
Speaker 3: we did it in New York. Stuart Rosenberg directed it,
Speaker 3: and he had directed cool Land Luke. I think he
Speaker 3: directed cool Land Luke before Move, and he had directed
Speaker 3: Murder and Corporate Murderers Incorporated, which was the first time
Speaker 3: that I actually saw Peter Falk, who was incredible. They
Speaker 3: hired me. The producer was Pander S. Sperman and oh by,
Speaker 3: the cameraman was Bill Daniels. I've got a smile on
Speaker 3: my face. It was a difficult picture. It didn't work
Speaker 3: because they thought they had a comedy different and it
Speaker 3: was funny, but it was about someone struggling or balance
Speaker 3: in the environment and balance in the world. Benjamin's wife,
Speaker 3: Paula Paula Brentis play my wife in it. And then
Speaker 3: some of it was like fantasy and you don't necessarily
Speaker 3: know what's real and what's fantasy. And as this wonderful
Speaker 3: South African artist actress Genevieve Waite, who had been married
Speaker 3: to John Phillips from The Mamas and the Papas. She
Speaker 3: was in it, and there were other wonderful elements in it,
Speaker 3: and that's what we're going to talk about.
Speaker 5: They always say did not work with children or animals,
Speaker 5: but you had a lot of animals in there, especially
Speaker 5: that huge Saint Bernard.
Speaker 3: She wasn't an animal, she was a huge Saint Bernard.
Speaker 3: She was a dog we had. I played Hiram Jackie,
Speaker 3: a guy I'd have to watch it and read it again.
Speaker 3: Iron Jackie would be. It was a dog walker and
Speaker 3: he a very Virgil fantasy life of being that his
Speaker 3: real life was rather suppressed. And that's the character that
Speaker 3: I played. And there's a great, great, great character star
Speaker 3: in it by the name of Davy Burns, David Burns,
Speaker 3: and he played the doorman I think to the apartment
Speaker 3: house that I lived in, and I think David Burns
Speaker 3: was originally in the first stage production of Hello Dolly,
Speaker 3: and he was just great. And also the guy who
Speaker 3: played my brother, I think his name was Silver, Joe Silver,
Speaker 3: and he was great. And there was a lot of
Speaker 3: dogs in it because I was a dog walker and it.
Speaker 5: Was nice to see ron O'Neill show up in there
Speaker 5: and just that small, small role. But he was great
Speaker 5: in it.
Speaker 3: I mean, he's an African American star, and we got it.
Speaker 3: I was all in New York and on the Upper
Speaker 3: West Side. That had a great meaning to me since
Speaker 3: I'm a New Yorker.
Speaker 5: Yeah, I really like the street scenes and just to
Speaker 5: capture New York City in late sixties, nineteen seventy it
Speaker 5: looked fantastic.
Speaker 3: And I told you that Bill Daniels was our cinematographer,
Speaker 3: and I was told that he was Greta Garbo's favorite.
Speaker 3: He was from really vintage and he was just it's
Speaker 3: so amazing to work with artists like that. There was
Speaker 3: only one Bill Daniels, just like there was only one
Speaker 3: Greta Garbo.
Speaker 5: You also shared a lot of scenes with John Larch
Speaker 5: as that mounted policeman.
Speaker 3: And the horse, the amounted policeman. He made me a
Speaker 3: little nervous. I had to ride on his horse, and
Speaker 3: I remember I wore a sweater and they have also
Speaker 3: read I also had a life a very prototypical moccasy
Speaker 3: on my feet. John Large he was the interesting My
Speaker 3: mother knew him. I think my mother liked.
Speaker 5: Him What was it like working with paul A Prentiss?
Speaker 3: Oh? Great, she's brilliant. I loved working with her. And
Speaker 3: they took some quite a few photographs of the three
Speaker 3: of us fall up, Donaviev and me having a bath
Speaker 3: and that rather provocative. But it was very comfortable and
Speaker 3: charming and it was great working with Paula an Enipiev.
Speaker 5: Did you have to strip down completely for that painting scene?
Speaker 3: Yes, I don't mind. I mean I'm not when I
Speaker 3: said or mind. I trust the people I work with,
Speaker 3: so for hire them to be painting and to strip down,
Speaker 3: I also would have to look at the picture again
Speaker 3: because invariably each shot brings me back to what we
Speaker 3: were doing each shot, even no matter how long it takes.
Speaker 3: This picture was made more than fifty years ago and
Speaker 3: it didn't quite work. It was a bit abstract, but
Speaker 3: here we are talking about it and there was something
Speaker 3: good natured about it. Also, Alan and Marin Bergman, and
Speaker 3: I think David Shire may have done some lyrics, wrote
Speaker 3: in no oh no, no. I think it was Marvin
Speaker 3: Hablish with the Bergman's wrote original music and lyrics for
Speaker 3: this picture. I know Alan Arkin, who's not in it.
Speaker 3: He liked it a lot.
Speaker 5: Yeah, I've seen some people compare it to Little Murderers.
Speaker 3: Well because to the streets of New York. But we
Speaker 3: are going for a comedy, going for amusement. Little Murders,
Speaker 3: the script by Jules Piper was had been a play,
Speaker 3: and I missed Jules Piper, who's reaching has recently departed us.
Speaker 3: But we shot the picture in the same vicinity of
Speaker 3: New York as both pictures. But I'm happy to hear
Speaker 3: that that was at a top. I mean, it's always now,
Speaker 3: it's always now. I'm grateful for the success of The
Speaker 3: Long Goodbye and having endured a great deal of criticism
Speaker 3: and now is accepted somewhat as a bit of a masterpiece,
Speaker 3: because it really means a lot to me. Each one
Speaker 3: of us is a masterpiece, is only one of us,
Speaker 3: one of each of us.
Speaker 5: I was curious what was Stuart Rosenberg like to work with.
Speaker 3: He was quite good and quite experience experienced, and later
Speaker 3: on when he was doing a film with Paul Newman,
Speaker 3: who was divined, he was one of false directors and
Speaker 3: Stuart Rosenberg, I don't know if it was the right
Speaker 3: picture for him. I think he ambitious to take it
Speaker 3: on in relation to his sense of humor. I do
Speaker 3: know that the producers brought in a comedy writer, and
Speaker 3: like I said, I'm not a comedian and I didn't
Speaker 3: need a comedy writer. And for a picture that is
Speaker 3: so out there, like move is such an amazing thing.
Speaker 3: You realize we're moving all the time as we speak,
Speaker 3: this moving. That's something. Stuart Rosenberg was nice. He liked me.
Speaker 3: I went to see an Easy Writer with him when
Speaker 3: we were in production and an Easy Writer was being presented,
Speaker 3: and Stuart said to me he wished that he would
Speaker 3: have made Easy Writer. That's easy. He's you know, easy
Speaker 3: Writer was a sensation and made a lot of money.
Speaker 3: This is a business. And now I recall that guy
Speaker 3: Ron O'Neil there with a gorgeous woman, right, I love
Speaker 3: like women, gorgeous women. Who doesn't in the scene in
Speaker 3: the picture, yeah.
Speaker 5: I'm trying to I think that's Gary Bean g A
Speaker 5: R R.
Speaker 3: I E oh, yeah, she was beautiful. Also, I got
Speaker 3: a son or two moved And that scene where everybody's
Speaker 3: walking backwards and I'm walking forwards, is that the way
Speaker 3: it is? They put the film backwards in the camera,
Speaker 3: so I'm walking backwards and everybody's walking forwards. And then
Speaker 3: when they developed the film, it's the opposite. It looks
Speaker 3: like everybody's walking backward and I'm walking forwards. But I
Speaker 3: didn't quite feel that that was accomplished. The funny thing
Speaker 3: is that what we shot at that seems on forty
Speaker 3: second Street, and you probably could see it on Broadway
Speaker 3: between forty second and forty third on a Saturday, and
Speaker 3: there was a playoff baseball game between the Baltimore Oreos,
Speaker 3: whoever was playing, and another champion a ship, a qualified team,
Speaker 3: and my father and his friends, the Greensteins, they came
Speaker 3: to the said and I said, whatever you do, don't
Speaker 3: look at me, because we're running backwards. And when we
Speaker 3: developed the film, it'll show something peculiar and we're doing
Speaker 3: everything backwards. And my father couldn't help himself. He looked
Speaker 3: at me and the film. You know, I should be pleaded.
Speaker 3: I didn't think earlier today, an hour an hour and
Speaker 3: a half ago, when we spoke and you asked me
Speaker 3: about talking about the film, I had no a dream
Speaker 3: that we'd be talking about this. And it's more than
Speaker 3: my work. Hiram Jaffie, what a character. And women, the women,
Speaker 3: the women. Oh yeah, I had a plant. I liked
Speaker 3: my plans. I loved education. Oh.
Speaker 5: I was asking about Joel Lieber if you had met him,
Speaker 5: what was he like.
Speaker 3: I guess he was a lot like Iram Jaffe. I
Speaker 3: think he must have written a script and then they
Speaker 3: had other writers. But I remember when they had I
Speaker 3: touched on this. Pat McCormick said it was a great
Speaker 3: comic mind come in and I said, I don't need
Speaker 3: eat comedians to tell me what's funny. I mean, just
Speaker 3: have to be here. So like being stuck in the
Speaker 3: tar in New York and that, and we rehearsed a
Speaker 3: little bit, which was pretty funny, as if I understood
Speaker 3: what I was doing. Hiram Jaffe didn't understand what he
Speaker 3: was doing. He was just walking Brogson, trying to participate
Speaker 3: in a life that he was living backwards. You can
Speaker 3: know what you're doing, that doesn't mean you understand it,
Speaker 3: because there is nothing more peculiar than life itself. That's
Speaker 3: what it was about about life, in our creation of
Speaker 3: the world and what life is. So I look at
Speaker 3: it again, at it again. Through the process of getting
Speaker 3: from nineteen seventy to here in twenty twenty five is
Speaker 3: Michelangelo Antonioni, who I don't think is with us, but
Speaker 3: he made pictures that resemble to me move.
Speaker 5: That period of time at the end of the seventies
Speaker 5: or end of the sixties, I should say, going into
Speaker 5: the seventies felt like there was a lot of uncertainty
Speaker 5: in the world.
Speaker 3: Is there more uncertainty than there is now? There isn't
Speaker 3: a bigger ego in space than the human And that's
Speaker 3: Joe Leeber's sons well, because they came to visit me
Speaker 3: in the West Village where I live at the eight
Speaker 3: Morton Street. What a place. And then of course I've
Speaker 3: befriended John Balucci when I started to appear on Saturday
Speaker 3: Night Lives, John Delucci and I understood one another. That
Speaker 3: didn't mean we understood ourselves. We understood one another, which
Speaker 3: is pretty amazing to understand your there has to be
Speaker 3: another to understand yourself, because what we are on this level,
Speaker 3: we're all the same. And he moved to Morton Street,
Speaker 3: but I'd already gone because I could really really give
Speaker 3: him the balance that I had earned and could express
Speaker 3: in my relationship with people. And that's part of what
Speaker 3: it was about now to get back to John Large,
Speaker 3: and you have a character that is a policeman an
Speaker 3: authority figure. That was pretty funny. I mean I didn't
Speaker 3: think it was so funny. It's terrifying and it's uncomfortable.
Speaker 5: Yeah, you mentioned Saturday Night Live, and yeah, you were
Speaker 5: on there. I think you're what what do they call it,
Speaker 5: like the five times Club or the six times Club,
Speaker 5: because you were like one of the most frequent guests.
Speaker 3: I'm a fine a five timer, but I believe I
Speaker 3: may have posted it six times.
Speaker 5: I imagine that was a pretty wild time back then.
Speaker 3: Pretty wild time right now, I mean a time it
Speaker 3: always now. Back then, what was my age? Oh my goodness,
Speaker 3: it's so amazing. Then to be able to participate in movies,
Speaker 3: you know, and the stories, and then having the opportunity
Speaker 3: to work with really grew some really great artists and
Speaker 3: technicians and crafts men. I was great. I was invited
Speaker 3: to do the fiftieth anniversary of Saturday Night Lot, but
Speaker 3: I've got work that I'm doing. Plus I'm still recuperating
Speaker 3: from having had COVID, which is quite interesting, I mean
Speaker 3: interesting in relation to what we are and how we interrelate.
Speaker 3: Some of the most interesting all I've ever met. I've
Speaker 3: been in a fog about but we love one another.
Speaker 5: So I know you said you're working on the Lincoln Lawyer.
Speaker 5: Do you have anything else that you're working on? Are
Speaker 5: you going to be I heard that there was supposed
Speaker 5: to be another Oceans film.
Speaker 3: Oh yeah, but I can't do that one. I think
Speaker 3: I heard that that Clooney is fabulous in a good
Speaker 3: Night in Good Luck where he plays Edward Rmorrow. I
Speaker 3: know he's always interested in that, and I hear he's
Speaker 3: terrific on stage with that. And Coney and I have
Speaker 3: been friends for thirty eight years.
Speaker 5: Yeah, because he was in that the Er show that
Speaker 5: you did before he did his R show.
Speaker 3: I got on the air and then we brought him
Speaker 3: in and we met and we worked together. He's a
Speaker 3: great guy. I want to see pictures of his twins
Speaker 3: now in the present.
Speaker 5: I think in nineteen seventy you also did I Love
Speaker 5: My Wife.
Speaker 3: I did that one too, I Loved my Wife. That
Speaker 3: was David Walker, and that was Brenda Vaccaro, and also
Speaker 3: Angel Tompkins and the great Dabney Coleman was in Abney's
Speaker 3: Mill and it was directed by Mels Stewart and it's funny.
Speaker 3: It's not so funny, but it's humorous. The whole thing
Speaker 3: is humorous. It's humorous hour being here. I hope you
Speaker 3: if you recognize that is that Bob Aufman offered me
Speaker 3: McCabe and missus Miller, and I was committed to making
Speaker 3: I love my wife, and I felt I had to.
Speaker 3: It's such a significant relationship between two consenting adults, no
Speaker 3: matter what. And I couldn't. I couldn't do okay to
Speaker 3: missus Miller. But I can't have any regrets. Can you
Speaker 3: imagine as still being here and being able to talk
Speaker 3: about this time and having my faculty, My goodness, and
Speaker 3: I still have a little a little touch. You remind
Speaker 3: me a little touch of the COVID fog, just a
Speaker 3: little touch. It's okay, you know, I mean on music.
Speaker 3: I've got a lot of music with me, My goodness, gracious,
Speaker 3: and I'm so grateful.
Speaker 5: I was afraid for you when all of the fires
Speaker 5: were happening in La. Were you anywhere near that?
Speaker 3: My friend lost her whole home. I was living in
Speaker 3: her for four years. She lost everything. I lost some
Speaker 3: shirt since thoughts and a suit or something. But to
Speaker 3: be afraid to be aware, oh my, and we haven't
Speaker 3: talked for quite some time. We've talked several times, most
Speaker 3: likely I don't know what seven o'clock is, so when
Speaker 3: it's our invention, in that case, it is always seven o'clock.
Speaker 5: Just like it's always now that's the name.
Speaker 3: Of my sequel to The Longer By talked.
Speaker 5: About how that has kind of kept you in the
Speaker 5: public eye, and just like how people still really love
Speaker 5: The Longer Bye.
Speaker 3: Give me a break here, I mean the public eye.
Speaker 3: Let's see, in order to gain experience and knowledge. Will
Speaker 3: put it this way. The two things that saved my
Speaker 3: life besides my mother who bore me, was a movie
Speaker 3: camera and philosophy. And in the I think it was
Speaker 3: the third movie. I think it was the third movie.
Speaker 3: I don't know. I realized that the camera didn't give
Speaker 3: me problems. I gave me problem the camera who was
Speaker 3: my friend. It just reported what I did. It didn't lie.
Speaker 3: And so I'm so grateful, so grateful for everything, and
Speaker 3: to be able to talk with us like this. She wiz. Listen.
Speaker 3: I did a last year. I did a cruise. It
Speaker 3: was like a Disney cruise and it was also with
Speaker 3: you know, the movie channel Kim Novak was on it too,
Speaker 3: and she's still gorgeous. She's still amazing, amazing, And everything
Speaker 3: it is to share, everything is to share, and we
Speaker 3: have to be brave, we have to be courageous, and
Speaker 3: we must be honest.
Speaker 5: I have to say that the one movie that I
Speaker 5: wish more people would see of your filmography is California Split,
Speaker 5: which I know was big at the time, but I mean,
Speaker 5: I wish more people were familiar with that one because
Speaker 5: it is so good.
Speaker 3: It was never big. Come on, Joe go said Breman Walsh,
Speaker 3: the guy who wrote it, and the guy who I
Speaker 3: play in the movie, and a guy who plays the
Speaker 3: book maker in the movie. George Siegel played me. And
Speaker 3: then when we realized that Steve McQueen wouldn't be doing
Speaker 3: a picture, Altman called me, called me in Munich, Germany,
Speaker 3: and asked if I play the other guy, and I said,
Speaker 3: I'll play anyone you want, but it's not my picture.
Speaker 3: It's Joey's picture. And I played it. Oh, you can't
Speaker 3: say that. Who knows how long anything lasts, But right now,
Speaker 3: like you said, it's always now, California Split. She is.
Speaker 3: And the other day I was watching some movies that
Speaker 3: I hadn't seen, and two of them came on. One
Speaker 3: of them was Blood Simple, which was the Coen Brothers
Speaker 3: first film, and it's fabulous, and it's a film that
Speaker 3: Kareem Abdul Jabbar or depending on whatever, but that's his name,
Speaker 3: has said to me because he likes film. He loved
Speaker 3: that film. And then and then they showed what I said,
Speaker 3: the thirty nine Steps, which i'd never seen. Oh my god,
Speaker 3: I still haven't finished it. But I spent real time
Speaker 3: with Alfred Hitchcock. Alfred Hitchcock was everything. He was so funny,
Speaker 3: he was so brilliant, and he was such a genius.
Speaker 3: You know. I didn't get a chance to work with him,
Speaker 3: but I spent a lot of time communicating with him.
Speaker 5: If memory serves, you used to be really good friends
Speaker 5: with Groucho Marx too.
Speaker 3: I always will be really good friends with Groucho Marx.
Speaker 3: I'm a believer Graus Show is a part of us
Speaker 3: as our older brothers. Groucho gave me the best review
Speaker 3: I'll ever get. I was changing a light bulb over
Speaker 3: his bed and Groucho said to me, that's the best
Speaker 3: acting I've ever seen you do. I'll never get a
Speaker 3: better review than that.
Speaker 5: I can't imagine having conversations with them. And I also
Speaker 5: can't imagine having conversations with Kareem Abdul Jabbar. Every time
Speaker 5: I've seen him in interviews, he just strikes me as
Speaker 5: one of the most intelligent people I've seen.
Speaker 3: It's about Albert Einstein. Albert Einstein. I played Albert Einstein.
Speaker 3: I'm not to be able to look at it. I
Speaker 3: can give you the name of it because it was
Speaker 3: a series, and I've played one of the subjects who
Speaker 3: happened to be Albert Einstein, and so Einstein is quoted.
Speaker 3: I'll give you three that I recall. Einstein is quoted
Speaker 3: as having said, it's not that I'm so smart, It's
Speaker 3: just that I take more time with problems. That's one.
Speaker 3: Another one, mister Einstein was where the world piece is
Speaker 3: to be the scene of our personal hopes and wishes,
Speaker 3: where we face it as free beings, admiring, asking and observing.
Speaker 3: We entered the realm of art and science. And the
Speaker 3: last one that I know is, oh, let's see is oh?
Speaker 3: It is for us believing physicists, the distinction between past,
Speaker 3: present and future is only an illusion, even if a
Speaker 3: stubborn one. Again. It's always now, how well do you
Speaker 3: know in my Burgman picture?
Speaker 5: It's been a while since I've seen it, but I do.
Speaker 5: I saw it in college. One of my professors was
Speaker 5: writing a book about Bergmann Hugh Cohen and so are
Speaker 5: you showing us a lot of Bergmann films. That was
Speaker 5: the first time I saw it.
Speaker 3: Bergmann dismissed it. I think he was. He dismissed it.
Speaker 3: But the picture has been slowly gaining recognition because it's
Speaker 3: all about the woman. It has nothing to do about
Speaker 3: the man. It's all about the woman. And I was
Speaker 3: so privileged and so less to be able to meet
Speaker 3: him and work with him, and for him to want
Speaker 3: me to make this movie. So feel free to call
Speaker 3: me again. It seems to me that there's substance in
Speaker 3: our interview, and I appreciate it. Well.
Speaker 5: I appreciate you very much. I really always appreciate the
Speaker 5: time that you take to talk with me. So thank
Speaker 5: you so much for sharing with.
Speaker 3: Me my privilege. Thank you.
Speaker 5: All right, we're back when we were talking about move.
Speaker 5: It's so funny that you found my good Reads review,
Speaker 5: because I don't even remember believing that I know I
Speaker 5: read more of Joel Lieber's stuff. I have a whole shelf, sorry,
Speaker 5: I keep pointing to the court, and I have a
Speaker 5: whole shelf of just all Elliott Gould stuff. And I've
Speaker 5: got all these like lobby cards and posters and things
Speaker 5: like if I died tomorrow, they would think I was
Speaker 5: like some weird obsessed fan or something. Yeah, I remember
Speaker 5: liking his stuff. And I have to say that Move
Speaker 5: is a very easy book to read. It is pretty short, so,
Speaker 5: like I'll we were talking about earlier, a lot of
Speaker 5: this stuff is in that books. They didn't have to
Speaker 5: do a ton and then yeh to have liber adept
Speaker 5: at himself and then yeah, punch it up with stan Hart.
Speaker 5: And I want to say somebody else was involved on credited.
Speaker 5: I think Gould might mention that in the interview, but
Speaker 5: I'll have to go back and look. But yeah, I
Speaker 5: can't remember who. He said. Also was brought in to
Speaker 5: make some revisions as well, But yeah, it sticks pretty
Speaker 5: close from what I remember.
Speaker 11: What was the genesis of this movie ending up with
Speaker 11: the director it did?
Speaker 5: That's a really good question, because I would not have
Speaker 5: picked Stuart Rosenberg for this film.
Speaker 11: And I think a lot of people, wouldn't they, including
Speaker 11: those who watched it.
Speaker 2: Some of the pre press type for this is insane,
Speaker 2: like twentieth century Fox was calling it a dirty Barefoot
Speaker 2: in the Park, which I don't. How do you like?
Speaker 2: This is nothing like Barefoot in the Park?
Speaker 3: Does it?
Speaker 2: And it's sant Combarison.
Speaker 5: The couple in New York kind of thing like that's
Speaker 5: the only thing I can think of. Yeah, yeah, very different.
Speaker 5: I've seen a lot of Rosenberg's work, mostly like the
Speaker 5: Big Hits kind of thing I saw. Haven't gone back
Speaker 5: and watched all of the stuff he did with Paul Newman,
Speaker 5: because he and Newman really got along very well. I
Speaker 5: think they made three films four films together. WUSA seems
Speaker 5: like the one that I should be watching. I really
Speaker 5: liked The Laughing Policeman. That's one of those Walter Matthow
Speaker 5: films that I I just dig that a lot. And
Speaker 5: that's an interesting adaptation as well, because that's the Martin
Speaker 5: Beck character that Perwalu and Ma Scholl came up with,
Speaker 5: and he was in tons and tons of books and
Speaker 5: then they made tons of TV shows and TV movies
Speaker 5: over in Sweden, so it was an interesting transplant of
Speaker 5: a Swedish detective over to the US, and I think
Speaker 5: it takes place in San Francisco, so it's not even
Speaker 5: a New York story. It's a San Francisco story. And
Speaker 5: my gosh, you will never forget the name of the
Speaker 5: victim after you watch the film, Like how you won't
Speaker 5: ever forget this move song now it's with you forever,
Speaker 5: But you will remember the name of the victim. I'm
Speaker 5: not gonna say it, but they say it like a
Speaker 5: hundred times in the movie, so you're just like, Okay,
Speaker 5: whatever happened to Teresa Camariro or whatever.
Speaker 11: I was trying to figure out how old Rosenberg was
Speaker 11: when he made this, because I'm like, maybe that's it.
Speaker 11: Maybe he was just older than the material was weird
Speaker 11: the disconnect. But he was born in twenty seven. This
Speaker 11: was probably filmed in sixty nine, so he was what
Speaker 11: forty two forty three, which like forty three, So to me,
Speaker 11: that's young. It doesn't feel like he shouldn't have been
Speaker 11: of the age for it. It just seems like it
Speaker 11: just the humor just totally there's something that didn't quite work,
Speaker 11: And whether that was in the editing room or whether
Speaker 11: that was in filming. It sounds from the interviews I've
Speaker 11: read with Coool, it sounds like he felt it was
Speaker 11: during filming. I'm just not fully knowing the rhythm of
Speaker 11: a movie like this.
Speaker 2: Maybe there was like some degree of studio meddling because
Speaker 2: Pocket Money the comedy, but it's more almost like French
Speaker 2: New Waves. I don't know if that's the best description
Speaker 2: of it, but Pocket Money works a lot better. I
Speaker 2: think that maybe had to do with the Terrence Malick
Speaker 2: script with Pocket Money. I think Pocket Mone he works
Speaker 2: better as as like a character piece of a comedy
Speaker 2: than this does. And I think maybe Rosenberg had a
Speaker 2: little bit more freedom with that. And I also think
Speaker 2: like Rosenberg is one of those guys that isn't brought
Speaker 2: up with like seventies filmmate. Maybe not the greats, but
Speaker 2: this guy's better than I think most people realize. There's
Speaker 2: I was looking at his credits today, Mike mentioned laughing
Speaker 2: least man. Of course there's cool hand Luke, which was
Speaker 2: like the sixties. You look at it and like up
Speaker 2: until maybe WUSA, there's like solid if there's not outright classics,
Speaker 2: there's like very solid films. And I think that even
Speaker 2: led into the eighties. I think he's one of these
Speaker 2: guys that should be better recognized because he's there's so
Speaker 2: much good work there.
Speaker 11: I forgot that he did the Amityville Horror right.
Speaker 5: Well, and then I remember I haven't seen Brewbaker in
Speaker 5: a long damn time. And I don't know if I've
Speaker 5: ever seen Pope of grantedch Village, but I think those
Speaker 5: were both pretty big when that came out in the
Speaker 5: early eighties. It was an odd choice. And then, yeah,
Speaker 5: I don't tend to think of him as a comic director.
Speaker 5: I haven't is the April Fools Is that just a
Speaker 5: funny title or is that supposed to be a comedy
Speaker 5: as well, because the poster looks a little project to me,
Speaker 5: but I'm not sure. It's just like the way Catherine
Speaker 5: Dednie does not look very happy in the poster, and
Speaker 5: Jack Lemon just seems creepy.
Speaker 11: But the quick description on Wikipedia is a romantic comedy.
Speaker 5: Okay, well, maybe I'll check that out, but it doesn't
Speaker 5: the poster doesn't bode well. I know not to judge.
Speaker 11: I tell you you want to have it a bel
Speaker 11: music by Halt Nice.
Speaker 5: The music for cool Head Luke is one of the
Speaker 5: best things ever, So maybe this guy just knew music
Speaker 5: very well.
Speaker 11: It can make or break a film. Look at Halloween.
Speaker 5: Then this is so strange. The poster campaign for Move
Speaker 5: just Ellie Gould trapped naked and a coke bottle that
Speaker 5: seemed to be the only image. Even the Italian poster
Speaker 5: for it was the same darn thing of him trapped
Speaker 5: in the coke bottle.
Speaker 11: Mike's not lying. It is a coke bottle with a
Speaker 11: Elliott Gould crouched in there. He's wearing shorts, so he's
Speaker 11: not He's not fully naked, but it's Move. And then
Speaker 11: it says it's kinky, and then underneath the bottle in
Speaker 11: parentheses it says it's pure goold.
Speaker 2: That's up.
Speaker 11: That's beautiful.
Speaker 2: Oh yeah, that is.
Speaker 11: Worthy of being framed on a wall right there.
Speaker 5: So that's got to be the name of his bog
Speaker 5: or his fragrance. Oh nice.
Speaker 11: He ever puts out a cologne line, pure gold, pure Gold.
Speaker 11: There were a few movies Are Seeing Things that I
Speaker 11: wondered if were influenced anyway by or just things that
Speaker 11: I thought of. One was actually LA's story, just in
Speaker 11: terms of how what that movie does with La as
Speaker 11: far as it being this somewhat absurd, very real, but
Speaker 11: this absurd element where a lot of the just daily
Speaker 11: interactions of going to dinner or making when he makes
Speaker 11: a dinner reservation in Ellie's story, when he's trying to
Speaker 11: get a reservation of this very fing the restaurant and
Speaker 11: the manager has him come in, and it's this fantasy
Speaker 11: sequence that seems to be real in the movie because
Speaker 11: there are consequences to it, but it's so elevated. Like
Speaker 11: that sort of thing reminded me a lot of Move
Speaker 11: and how the Mover interactions are the phone company. Right
Speaker 11: when he has the call with the phone company and
Speaker 11: he realizes he's by asking them to hold the line,
Speaker 11: he is putting the employee at the phone company the
Speaker 11: life fit risk because he has to go under a
Speaker 11: bit to do this and all of that. I was like, oh, yeah,
Speaker 11: that's I think something that drew me to this a
Speaker 11: little more of that sort of like slightly askew fantasy element,
Speaker 11: but I still wish it was just I understood where
Speaker 11: it fit in the movie a bit more in terms
Speaker 11: of tone, and then some of the New York stuff.
Speaker 11: I was thinking a lot about Broad City when I
Speaker 11: watched it because that show would do a lot of
Speaker 11: New York as this kind of occasionally magically gross place
Speaker 11: where there's some very bizarre things happening just under the surface,
Speaker 11: and Debt felt very much like Move. It was funny
Speaker 11: because I'm watching it and I felt like there should
Speaker 11: be more the era of it. But no, I think
Speaker 11: once in my head I got Ellie's story there, even
Speaker 11: though I think they are totally unrelated. It's just a
Speaker 11: certain essence of handling a city this way is what
Speaker 11: kind of stayed in my head with that. Honestly, I
Speaker 11: haven't seen enough Woody Allen movies to think probably feels
Speaker 11: like a lot of Woody Allen.
Speaker 2: I guess like Little Murders is a better version of.
Speaker 5: Move, Yeah, which a lot of people were comparing it
Speaker 5: to in the more like overall Gould retrospective kind of stuff.
Speaker 5: And it was only the next year. But when I
Speaker 5: brought that up to Gould himself, he was like, what
Speaker 5: not pure gold? I can see it too, Yeah, definitely,
Speaker 5: But like the image of him with all the blood
Speaker 5: on his shirt when he's in the subway car, it's
Speaker 5: just so different than what he looks like here with
Speaker 5: just green hain't splotches all over himself.
Speaker 11: Avocado green, no list.
Speaker 5: Yes exactly. Oh my god, this could only be the
Speaker 5: nineteen seventies, right very much? Yes, yes, yeah, I'm trying
Speaker 5: to think of another movie where our main character just
Speaker 5: keeps getting phone calls and like just taunting phone calls.
Speaker 5: I guess it kind of reminds me a little bit
Speaker 5: like Local Hero, when the psychiatrist would call up Burt
Speaker 5: Lancaster's character and just denigrate him on the phone, but
Speaker 5: that he knows who it is, Like this one, it's
Speaker 5: I guess he knows that it's the mover, but again,
Speaker 5: we never see the mover's face. It's always obscured.
Speaker 11: Somehow, I feel like I'm gonna wake up tomorrow with
Speaker 11: eight movies in my head of that one. But there's
Speaker 11: like a bunch of different directions. I think you could
Speaker 11: take what other movies are, like move In, and one
Speaker 11: of them is just like, yeah, the Harry guy that
Speaker 11: just can't seem to get has to book something, and
Speaker 11: every time he tries to get and do what he can't.
Speaker 11: I think movies about writers, which is something that I
Speaker 11: generally try to avoid because it's not that interesting to
Speaker 11: watch but is usually at this kind of guy, a man,
Speaker 11: heterosexual guy going through it and women are throwing themselves
Speaker 11: at him, but he's going through some things, so he's
Speaker 11: not ready for it, and I find those usually very insufferable.
Speaker 11: But I feel like there's definitely a movie like that
Speaker 11: that this very much can be compared to. I think
Speaker 11: the weirdness of this one makes it more interesting.
Speaker 2: But well, there's the Colin Farrell classic phone Boots where
Speaker 2: he gets true.
Speaker 11: That is true involves definitely.
Speaker 5: Or the beginning of Miracle Mile. Of course, there's like
Speaker 5: all of the killer movies, like Black Christmas or I
Speaker 5: don't know, I've never seen the Black Phone, but I imagine
Speaker 5: that has something to do with it as well, or
Speaker 5: like when a stranger calls all those things. But yeah,
Speaker 5: I'm trying to think of another movie where just like
Speaker 5: a regular person as being menaced by somebody calling him
Speaker 5: up and taunting him all the time.
Speaker 11: Something there, and I can't think of what it is.
Speaker 5: Maybe most these actors who I'm thinking of, Hey, I get.
Speaker 2: A second check Amanda hogging Kiss.
Speaker 11: Hey I'm looking for Amanda hogging Kiss. Why can't I
Speaker 11: find Amanda hogging Kiss?
Speaker 2: Rive your standards are too hard.
Speaker 11: Yet a spoh I have a find out who you are.
Speaker 11: I'm gonna shove a sausage down your throat and stick
Speaker 11: starving dogs in your butt.
Speaker 5: All right, we're going to take another break and play
Speaker 5: a preview for next week's show right after these brief messages.
Speaker 1: Lake Ship, a jew, Ontario.
Speaker 5: This will be the best summer of my life.
Speaker 1: Four friends on a vacation.
Speaker 6: Little learner fishing, good fishing on chip Ag. There used
Speaker 6: to be a lot more people come here for the fishing.
Speaker 1: Two Chinese investors.
Speaker 6: I may only have a grade six education, but I
Speaker 6: watch the news and I understand the importance of global
Speaker 6: trading partners. They're in the speech of the East. Your
Speaker 6: business will go nowhere.
Speaker 1: But one shady deal.
Speaker 3: I'm doing a great job. A man at the ministry
Speaker 3: tells me they're storing all the results in their main computer.
Speaker 1: A one eyed gas station attendant.
Speaker 5: I know Willie t better than the inside of my mouth.
Speaker 1: One psychotic pike.
Speaker 3: What a nucky creature.
Speaker 1: I'd you last many many deaths.
Speaker 3: If I was you, I wouldn't be taking any moonlight walks.
Speaker 12: They're safer inside until this thing gets started out and
Speaker 12: it will.
Speaker 1: Be Psycho Pike, the Fish with Attitude What.
Speaker 5: That's where. I will be back next week with a
Speaker 5: look at the lost Canadian film Psycho Piped. Until then,
Speaker 5: I want to thank my co host Mike and Emily. So, Mike,
Speaker 5: when's keeping you business there?
Speaker 2: Before we get into that, I just want to say,
Speaker 2: if you want to talk more about Elliott Gould, I'm
Speaker 2: like a wealth of knowledge about films like Matilda, Dead
Speaker 2: Men Don't Die, Hits his Cameo, and Busted with Corey Feldman.
Speaker 2: If you ever want to talk about these films, I'm
Speaker 2: more than happy and willing discussing with you on the podcast.
Speaker 5: Mike, I have so many interviews about the film Matilda.
Speaker 5: We definitely need to do an episode about that. And
Speaker 5: I'm being one hundred percent serious because I talked with
Speaker 5: Albert Ruddy, I talked with the man who's actually in
Speaker 5: the Matilda suit. I'm trying to remember who else I
Speaker 5: talked to from that movie because it feels like I
Speaker 5: had three interviews. And then I have a feeling that
Speaker 5: Elliott would love to talk about that one too.
Speaker 2: I would like to be involved with that should it
Speaker 2: ever happen. So absolutely, okay, let's make it happen. I'll
Speaker 2: put on the schedule for twenty twenty six, and this
Speaker 2: time we won't have to wait an entire other administration
Speaker 2: to get to it. Yeah, it's sound goody believe or not.
Speaker 2: I'm still writing. I'm in Shock Cinema number sixty five,
Speaker 2: trying to get material together for the issue sixty six,
Speaker 2: which I have no idea what's coming out sometime this
Speaker 2: year probably, And I recently got a copy of Sonic Sewer,
Speaker 2: that's Robin Bushy's a new music scene I used to
Speaker 2: do Cinema Sewer. I've got an article in that about
Speaker 2: Darryl Dragon aka the Captain from Captain and to Neil.
Speaker 2: But that's about it for me for now.
Speaker 5: But I'm just happy to still be writing, and Emily,
Speaker 5: how about yourself.
Speaker 11: When I'm not spending hours putting on and removing my
Speaker 11: false eyelashes, you can usually find me writing at Deadley
Speaker 11: Dollshouse dot com, where I just usually write about mostly bad,
Speaker 11: occasionally good movies. And then on the podcasting front, you
Speaker 11: can hear me at The Feminine Critique, which is the
Speaker 11: podcast I do with the Fantastic One and Only Christine
Speaker 11: Make Peace, where we cover movies. We did recently we
Speaker 11: actually did interviews with filmmakers, which is something we haven't
Speaker 11: done in a very long time, with filmmakers of an
Speaker 11: independent horror film called Bystanders. So that was very fun
Speaker 11: and you can always hear more of us just talking
Speaker 11: about loots.
Speaker 5: Thank you so much folks for being on the show.
Speaker 5: Thanks to everybody for listening. If you want to hear
Speaker 5: more of me shooting off my mouth, check out some
Speaker 5: of the other shows that I work on. They're all
Speaker 5: available at weirdingwaymedia dot com. Thanks especially to our Patreon community.
Speaker 5: If you want to join the community, visit patreon dot
Speaker 5: com slash Projection Booth. Every donation we get helps the
Speaker 5: Projection Booth take over the world.
Speaker 4: Woke up and found a bitch headlanded on my best.
Speaker 4: It brought a little message, that's all.
Speaker 3: It's sad.
Speaker 4: I stepped into the Best, A model was a flukes inside.
Speaker 4: There was outkay move, somebody rose, don't I pull in
Speaker 4: shades and a lot good door and night.
Speaker 13: It's come a drinking whole slip.
Speaker 3: What the wind? No?
Speaker 13: Who could be?
Speaker 4: They're trying to tell me something? I thought of yourself?
Speaker 13: What could do.
Speaker 5: I take a look at.
Speaker 13: That sky there, It is moved. Why did you right
Speaker 13: a move? Why did you a minute?
Speaker 3: Don't pull it?
Speaker 13: Shades and door at night coming through the keyhole slim
Speaker 13: many of the window good.
Speaker 4: They're trying to tell me something. I thought i'd do something.
Speaker 3: Walking do be good.
Speaker 9: I take a look at bad scy.
Speaker 13: There it is move.
Speaker 11: Why use your right name?
Speaker 3: Move?
Speaker 13: Clive got moon fell t