Speaker 1: Hey, everybody, this is Robert Hayes and you're listening to
the Surely you Can't Be Serious podcast. When I was
a little boy, he's brob me so much joy and
the music kick but like nothing today. Say the world
went insane, but that's when surely you came indeed be
joy in that same all the way.
Speaker 2: Say there's a time to scene, say we won't cross
the streets.
Speaker 1: Surely this can be the best there is.
Speaker 3: Say to my rocket queen, come back against the recon scene.
Speaker 1: Surely you can. You can't be serious?
Speaker 4: All right, guys, thanks for coming back for part two
of our interview with mister Robert Hayes, star of the
Airplane movies, And in case you missed the interview last week,
check it out. This actually happened during our interview.
Speaker 1: Peter Graves after he threw the script down so that
the biggest piece of garbage I've ever written that I've
ever read, and his daughters said, Dad, but they're really
talking about this is gonna be funny. You got to
read it again. The agent said, Peter, there's buzz about this.
You got to read it. So he said, okay, whoa
Julie Hagy.
Speaker 2: Go ahead, answer, yeah, go ahead and answer Julie.
Speaker 4: All right, guys, That actually is actress Julie Haggerty, who
called right in the middle of our interview, just purely
by chance and because we were talking to mister Robert
Hayes at the time, he was nice enough to put
her on speakerphone and we actually got to speak with
her a little.
Speaker 1: Bit as well.
Speaker 4: It was super cool. We were so stoked. So please
enjoy part two of our interview with mister Robert Hayes
with a little bonus conversation with Miss Julie Haggerty.
Speaker 1: Thanks, guys, Can I put you on speaker real quick?
I'm gonna put you on speaker Okay. I'm with Dean
Jason on their podcast and we're talking about you right now.
Oh my gosh, what a day.
Speaker 5: Hi Julie, Hello everybody.
Speaker 3: Oh my gosh. We love you.
Speaker 1: Oh I love.
Speaker 5: You guys, and I love that Bobby.
Speaker 1: We actually we prepared this. I told her to give
us a call, give me a they're getting, they're getting
two for the price of one. We're talking about the
upcoming shows that we're doing.
Speaker 5: Oh wonderful. I know that's what I call it, because
we're going to be seeing each other in just a
few days.
Speaker 2: Yes, yeah, so you guys about the live tour, tell
us about it.
Speaker 1: Yeah, yeah, we're going to be showing the film and
beyond tour around the country showing the film. Julie and
I are going to come out afterwards. Dan Pasternak is
our moderator. He's done lots of stuff for Turner Classics
and TNT, He's produced a bunch of stuff. Teach his film.
He knows all about it, and then we do questions
from the audience, and then afterwards we do a little
meet and greet and take pictures with people and having
a lot of fun. It's just a lot of fun.
That's fantastic.
Speaker 2: Well, you guys are so personal, personable and wonderful. I
don't know how anybody would want to miss the opportunity
to go see it.
Speaker 1: Are you in the camera? Do you remember how many
shows that you have?
Speaker 2: I know that I looked at the website and there
was a whole list on the tour. I saw Wisconsin
on there. But there's there's probably two dozen, maybe shows
that you guys are going to do.
Speaker 1: Yeah, this first round of them is I think there's
ten or twelve on there. I think I've counted him.
Speaker 5: Like, yeah, happened either. But there's it's a whole page.
And it's just gonna be so much fun to hang
out with Bob and meet all the people and and
I don't know, I'm just I'm uh, I'm very excited.
Speaker 4: It's gonna be so fun.
Speaker 3: Yeah.
Speaker 2: So for everybody who's listening to this right now, if
you're interested in the show, it is I believe that.
The website is Airplane Live Tour dot com, right and
you can go on there see where your closest city
is and go watch one of the greatest movies ever made,
and then talk to a couple of the integral Yeah,
and hang out.
Speaker 3: Hang out with you guys.
Speaker 4: Wow, it's so weird. You're you're on the Surely you
Can't Be Serious podcasts.
Speaker 1: You know what the name of this podcast is, Julie.
It's called Surely you Can't Be Serious. He started it
seven years ago.
Speaker 5: Wow, that's and where are you guys?
Speaker 4: We're in Oklahoma?
Speaker 1: Yeah, Norman Oklahoma the home and that's right.
Speaker 5: Oh wow, oh wow. He's one of the all time greats.
Speaker 4: Yeah, he's a favorite son here for sure.
Speaker 1: Yeah.
Speaker 4: Maybe you guys will pass through Dallas or something where
we could come see you guys.
Speaker 1: We were hoping, we we were. I guess they're trying
to figure out if we're going to do it. We
had Dallas and Houston and Austin all kind of in
there for a while. But they're they've got to negotiate,
and a lot of people want to use the venues.
So you got to negotiate and see who was there first,
who's offering the most money. He was get the most
kicked back. You know, he's most under the table. Wow.
Speaker 2: So I got to know, Julie, what's the story that
you always tell about Robert or Bobby? I guess what's
the story you always tell people about Bobby whenever you're
whenever you're asked.
Speaker 5: What, Well, just like when he would show up to work, Uh, well,
he always showed up. But you always knew that he
was on the soundstage because you would hear him getting closer.
But there were just waves of laughter, so you could say, oh,
they're laughing over and makeup Bobs there surf because people
are laughing. He just would bring joy to you know, everybody.
Speaker 1: Wow, I was paying off my bets. They were laughing
because they said I thought you'd never do it.
Speaker 5: No, he's he's uh, he's uh my favorite leading man.
Speaker 4: Oh my gosh, well that's high praise.
Speaker 5: Yeah, you know, that was my first movie, and I
just he just kind of took me under his wing.
He was doing Angie at the time, and uh, you know,
so he would run from the Angie over and then
do airplane all on a day.
Speaker 1: Wow, the last two weeks.
Speaker 5: Yeah, it's just you know, and as scared as I was,
Bob just always made you feel safe and happy and uh,
you know, just I didn't even know about where you
were supposed to stand, or being in somebody's light or
any of that stuff.
Speaker 4: Bob just moved me around.
Speaker 5: Stand there.
Speaker 1: It was my first film too, but I was so cocky.
I just acted like I knew.
Speaker 3: He was dead striking.
Speaker 1: I was acting.
Speaker 5: Oh okay, okay, no, there isn't a cocky bone in
your body.
Speaker 1: Okay, okay, well listen, I'll call you back, call me back.
Speaker 5: And it was nice to visit with you guys. Oh,
I'm driving in California and people are honking at me.
Speaker 4: So wonderful speaking with you. What a wonderful surprise.
Speaker 3: I hope you had a wonderful trip. I heard you
were traveling.
Speaker 4: Yes, so we were.
Speaker 5: In Uh yeah, we were in Spain and I just
got home and uh just looking forward to seeing Bob
and doing his tour and meeting all the people. And
I got to meet you guys over the phone, and
so wow, wonderful.
Speaker 1: What a day, what a day.
Speaker 5: Well, thanks for letting me crash. And uh, I'll talk
to you.
Speaker 1: Perfectly, okay, c bye, I will talk. I'll call you afterwards. Uh,
I love you, okay, bye bye, love you, Bye.
Speaker 4: Bye, Julie, bye bye.
Speaker 1: Oh my gosh, that's her voice, that's her.
Speaker 3: She doesn't put it exactly the same. Yeah, just exactly.
Speaker 1: When we were behind that we did a scene right
behind the cockpit and we're, you know, going back and
forth and they said action and I think, uh she
had the first line, I think, and she screwed it
up and they said cut and she said, I'm sorry.
I said, no, no, Julie, don't worry about it. That's okay,
that's okay, Okay, we're gonna go again. She said, I'm sorry.
I said, don't worry about it. If you got the line,
did you give her the line? Yep, we're all set. Okay, okay,
are you ready? I'm sorry, yeah, no, know go. So
what I was we like, you know, at the time,
I'm doing Angie, but I was also going back and
forth the last two weeks of it doing it, and
and what I used to do on Angie, uh was
we'd have a kid come on and he's just got
one little small scene and he's so nervous and he's
so scared enough tight, and I would he would blow
a line and then they'd say, kt, okay, let's go again.
We'd go again, ready and action, and then I'd blow
the line and then I'd say, look to me, you
did this, and he'd he'd go like that, and then
he realized I was joking. Then he would laugh. Everybody
was laughing, and then he was relaxed, and then he
get the line again and I'd say, okay, I got
my eye on you, you know, and then he would laugh.
And then we'd do the scene and he's comfortable. And
I was thinking about that, Gee, I wonder if I
should do that or not. And they said action and
she did her line, and I just did it and
kind of blew the line. And I think it's because
I was thinking about should I or shouldn't I, and
I blew the line and she said I'm sorry, and
I said, no, no, Julie, it was Bob. It wasn't you.
I'm sorry. That's great. It's the sweetest thing on the planet. Yeah.
Speaker 3: Wow.
Speaker 1: Anyway, what a surprise that was. That was fun surprise
that was.
Speaker 3: Yeah, that made time good enough time. Yeah, I'm going
to just go.
Speaker 2: I'm just going to go sit by myself and just
think about how blessed I am.
Speaker 3: Incredible.
Speaker 2: So I I've got We've got so many questions, and
I don't want to take up more of your time,
but I just two things that I want to talk about.
Tell me about your first meeting with the boys and
and what that experience was like. And then I also
I just want to Kat's Eye is one of one
of our favorites from when we were younger guys, and
I would just be curious about a little bit of
a story behind making that movie.
Speaker 1: Well with with Airplane with the Boys, my agent, Arnie
Soloway was my agent. He was he was one of
the clients Embroidered. They were doing needle Point and they
made a pillow that had a heart on it, and
it was it said hustler with a heart. And he
was the typical New York Jewish agent, you know, Brooklyn guy.
And his shirt was always unbuttoned down to the middle
of his belly. He had gold chains hanging on and
always was out in the sun. Always looked like a
coffee bean, you know he was. And he was, yeah, well, Bobby, baby,
you know that kind of guy I got. I got
a role to go to read for and I went,
wait a minute, this isn't me. It was just like
a It was that character, you know, with all that stuff.
And he said, hey, just go in and be me.
But he uh he had a new agent come in
named Beth Voyq and she had worked with Howard Coach
and uh so she she came into the agency and
uh she called Howard up and said, Howard, you guys
are still looking for your ted Striker. He says, yeah,
we're looking at him. I got him, and he said,
we'll bring him by. So, you know, I got the picture,
resume and everything and took it over. But you know,
brought me in. So I go in and I meet
Howard in his office and the boys were there, and
so we met and we all liked each other. We
all got along and and and then they had me
read and they liked my reading, and they said, okay, great,
well let's uh, let's go testament. They had Julie and
they wanted Julie and this, and they had been everywhere.
They've been in New York and Dallas, Chicago, Detroit, the Seattle, Minnesota, Minneapolis.
I mean they've been everywhere, all over LA and they
just couldn't find the right Ted Striker and Bruce Jenner
when Caitlyn was Bruce Jenner wanted to The joke David
has is that Bruce came in twice to read for
Ted and came in a third time to read for Julie's.
But I don't know how true that is. But a
lot of people, you know, big people wanted to get
in that there was an actress, that big actress, Sigourney
Weaver maybe or somebody like that, got dressed out in
the hole way different. Yeah, forty these forties stewardess outfit everything,
came in and read. It was like, Wow, this is
someone's really committed. But she started telling them, Okay, I'm
not going to say that line and I'm not gonna
say a line, this one has to be changed to
this and this, and they all were kind of looking
at each other and they're thinking, okay, well, thank you
very much. Yeah boy yeah, like oh gosh, because that's
the thing. Those lines they had rewritten, rewritten, rewritten, and
there was no improv that was that was them. So
that was a disaster. I think they escaped from having
someone come in and change everything. So they got Julie.
Julie just seemed perfect, but they didn't have Ted, and
they thought, well, this has got possibilities. We like, you know,
we like him. Let's see what it looks like. The
studio wanted to test three people, three couples, and so
they put Julie and me together. I just always figured
I was really lucky that I got to test with
Julie and she felt that way about me, and but
I guess that was their plan. And so they did
the three couples and the word came back. They liked
my spit take you know when uh uh you know,
how how's uh you know, how's what's his name? Oh zip? Yeah,
he died that morning and then you see the spit
take go, And they said they liked my spit take
so anyway, they so they cast me and then they
came over. They were on the other side of PARAMOUNTA
and they came over when we were rehearsing Angie the
scene and they got my attention. Went back behind the
big cyclorama and the wall. There's a space about three
feet or so, and we huddled back there and they said, okay,
well that's it. You're the one we want you. And
it was like whoa. So it's like the little kids
jumping up and down and excited. And said, okay, well,
I just uh, you better get back to work. And
we got to get to work, so we'll talk soon.
And they said great, and so I left. And as
they're leaving and they're walking across the parking lot, Jim said.
He turned to the boys, the other two, and he said,
you know, maybe we should take a look at this Angie.
We've never we never looked at it.
Speaker 5: Wow.
Speaker 1: They went and they got a copy of you know,
one of the episodes or a few of them, and
they looked at it and they said, oh god, what
have we done. That's a totally different thing. That's aha slapstick,
you know, and it's it's uh it's yuck, yak yak.
The audience applause signs. You know, you're playing, you're standing
in the sunlight. You've got five shadows, you know, because
of all the light. Right, So it's just they thought,
oh geez. And then they we got on the set
and after the first day they said, oh, it's good.
It's all working good. So wow. That was That was
the way that happened. Beth used to come over in
the set because she was so excited that it all
worked out, and she'd come over for like the first
out in a week or so, and every time she'd
come in the set, they'd run up towards say thank you,
thank you, thank you, thank you.
Speaker 3: Great. Oh.
Speaker 1: I liked hearing that. That was good nice, But it
was then it just kind of, you know, we just
kept and and their whole idea. I was. I was
thinking about that the other day. Someone asked me about that.
I was thinking about it. When I was in Grossmont.
I started developing this thing in my mind. When you're
young actor, you're a sponge and you just soak up everything.
I could see Henry Fonda and Jimmy Stewart do and
all the you know, little things that Cooper would do
and and carry Grant and you know all these and
other some of the other actors too, but you soak
it all up and then you kind of try to
do it like them, so you're emulating them and it's
not right yet, but you're you're starting that process. And
then as you when you're doing theater every night, you're
doing it again and again and again and again and
and then and Matt and Ay's Wednesdays and Saturdays and Sundays,
and so you got nine shows a week to do
these things, and you know, ah, you start making it
your own, you know, right, and then and then it
becomes like that's not Ry Fondas, that's yours, you know,
And that's not Jimmy's, That's that's yours. But uh. I
also I did mister Roberts, which was one of my
favorite that I'd always wanted to do that role, and
and I did it on NBC Live, the big event
to where you feel it and the cameras are on
and it's going live across the country and delayed for the
West coast, but in the Midwest and the East, it's
all live. And Josh Logan, who wrote it, co wrote
it and directed the play and came in and did
the film. Was technically advisor with us, so it was
you know, Charles Derning was and Kevin Bacon was Pulver.
I mean, it was quite a big thing. Hal Hessem
was doc and he was terrific it William Powell's role,
so uh. And then I got to do it again
at my home at the Globe Theater, and so you
do over and over and I heard some I think
it was the stage manager told me as people were
milling out of the theater because of the time, maybe just
the way I talk, And part of it is is
because of the years that I lived in Nebraska growing
up too, which is where Fonda is from. And yeah,
you know, when you're talking like that, he had a
thing where he I'm not sure that's what I want
to do, but it's all that. It's got that sing
songy kind of thing, and I kind of have some
of that in my voice. And somebody walked out of
a theater and there's a big navy town, so you know,
they walk out and they're old guys and they all
know the Fonda era and they say, well, he doesn't
look like Fonda, but he sure sounded like him. I'm
not trying to do that, but you just eventually become
your own version of it. Of all of that that
Castle role, of so many different ingredients, so many different actors,
and all that kind of blends and stews up into
what you become, know fantastic for cats. I it was
it was in uh was it North Carolina? I think,
And it was during the Olympics, in eighty four Olympics,
I think in La Yeah.
Speaker 3: Yeah.
Speaker 1: Freddie Heitz was my He was my stunt double on that,
and I had him you know, like football, when you
get all suited up and then you're seeing each other,
you know, pop each other like that and get you
all hit and the way. And I had to do
the scene going around the ledge. I wanted him to
really really get me all shaken up. And then at
the end when I come tumbling back in and I'm
covered and sweat and I'm just the pigeon has already
pecked away. I just wiped out, and I wanted to
really be it just really rattled and exhausted and everything.
And so he was doing that and I really thrust
myself into him and it kind of went off center.
Just a little so his hand. It was all me doing,
you know, I made that mistake. He got me right
there on the sternum and right at the rib and
it kind of separated. It just sort of like a
crack rib, the same feeling as that, but it was
like whoa, and when ahead and I did the scene,
and then on the lunch break, I went to the
dock and they did an X ray and then I
came back and the very next scene back after lunch
was the scene after I's he's blown the trumpet behind
me and I turned around, whoa, and I'd slide down
that big curve thing and land on the ledge and
the ledge was right across where that crack was.
Speaker 4: Yeah.
Speaker 1: So they're looking at Daily and say, God, yeah, you
really really looking like you're really showing the stuff. And
I said, I am, but gosh, that was a really
it was a neat thing. Kenny McMillan was wonderful to
work with. It was such a great actor. And Jimmy
Woods was in the first section of Allan King and
Jimmy Woods. Jimmy Woods one of the best actors of
his generation. I think he is good. I hated all
the stuff that happened to him, and I loved seeing,
you know, him being able to claw out of the abyss,
and that was his whole idea. The Oppenheimer that came
from his idea and his script I think originally was
actually I think they invited him up on stage when
they got the award for that, so that was really
cool to see. But he's just great. And little miss Barrymore,
who had known since she was the tiny little thing
before I think before what was the alien, yeah, before et.
My friend had written a script that was like an
airplane version of Hamlet. Okay, so instead of you know,
doing like stabbing the guy in the back, you'd slap
a kick me sign on him, you know, uh when
m King is sitting there and he's got his legs
crossed Hamlet and sneak up and put matches in his
shoe and light hotwood. So it's just silly, silly stuff.
And my friend wrote it and I directed it at
the Variety Arts Theater and in the beginning we had
an interview with the translator. The translator was Ildeco Jade,
who is little Barrymore's her mom. That's her her mom.
Speaker 3: Yeah, okay, yeah, yeah, yeah.
Speaker 1: So so so, gosh, why can't I think of her?
Speaker 5: Drew?
Speaker 1: Drew? God, So Drew is all arounding around and I'd say,
come on, Drew, sit down, sit down here, get up here,
sit on my lap, and so, okay, can let's run
that again. And I were sitting there on my lap
or running all around and getting her to sit down,
and uh, and then she does the breast of that.
Her career is pretty remarkable. So I was kind of fun.
But yeah, oh my god, I've just been really lucky.
Talking with some friends about that, buddy, just I don't know,
a few years ago we were talking about it, said, God,
were we lucky that time period that we got to
work in. It was just all so much fun. It
was just all the stuff. It was great now, you know.
And then we complained about, now, look at all the
junk you got to go through and wear a mask
and make sure you got all the you know. And
I remember sitting on a set when I was like
in my twenties, just starting out, and another guy and
we both had you know, bit parts, and there were
two old guys sitting over near us, and they were
probably listening to us. We're all excited about that I
got that, and then they just turned to each other
and they say, God, I remember when it used to
be great, you know, like and they were really old.
They were like fifty fifty five, right, and they were
talking about when they were in their twenties and thirties
and how great it was. And then as I was
doing this, my friend were talking about that, and god, yeah,
it was so great. And I thought, you know, my
son has done a few films. Now he's mainly in music,
but he's done a few films, and he's probably thinking
how great it is. I think it's terrible. All the
rigid structure's weird. There's something kind of cold about it,
and the video stuffs, and you don't have the old camera,
the old you know, film breaking and right, oh got
we got we gotta dust thing in the Atlanza. Dudes,
shoot it again, you know, Oh, don't open up the magazine. Oh,
you know, and excitement of making movies. So I don't know,
very very very lucky. Everyone's lucky at their own times.
I guess I was gonna say, I'm curious to your opinion.
Speaker 2: You've been you know, you've been in the industry for
a long time, and there definitely has been a change.
Speaker 3: I mean we talk about it all the time.
Speaker 2: That's why we go we cover the movies that were
that were going on in the eighties and the nineties,
because that we feel like was the end of the
era and that when you know, when the two thousands
came along, something happened, something changed, and you would you would.
I mean, We've looked at summer releases over twenty years
and you would just have I mean just movie after
movie after movie coming out in the same month that
we're all just brilliant movies. And now it seems like
we're lucky to get one or two a year. And
so what do you what's your opinion on it?
Speaker 1: What happened? No, No, it's I don't know exactly. I
think a lot of it is the corporate structure. It's
like when the Golden Age of Hollywood, they say that
was the greatest year in the history of Hollywood. It
was nineteen thirty nine. All of the films that came out,
the films that came out that were never nominated even
would be hands down Oscar winners. That's how incredible that
whole thing was. Jimmy Stewart for one of my if
not my all time favorite, one of my absolute all
time favorite films. Mister Smith goes to Washington and he
didn't get that. That was unbelievable, unbelievable, and then he
gets it. I think it was the next year, was
it when he got it for Hepburn carry Grant. They
redid it with Grace Kelly and Ben Crosby, and then
Frank Sinatra played the role that Jimmy Stewart played the photographer,
and the writer was a woman was a writer, and
they came out to Long Island and it was the
big wedding and the rich girl marrying the guy and
you know, gets back together with bing or in that
case Carrie Grant in the first case that she had
been married to and then they wind up getting back
married again. But I can't it's a famous thing, and
that anyway, that's what he gets. He gets the Supporting
Actor for that. You should have got an Academy Award
for mister Smith. But anyway, that was that was they
call it the Golden Age. Then that was the greatest
year in the history of Hollywood. Then you have a
whole thing through the fifties where you had Marlon Brando
and James Dean and that rebellious thing and John Garfield
in the late forties into the fifties, and that was
a more of a you know, the the anti hero
kind of you know, and get more grit, even though
their wardrobe oftentimes looked very dry cleaned. And then you have,
speaking of that, you go into the sixties where they
show the cowboys and the Pioneers, and instead of having
Roy Rogers hat that's so perfectly buffed and his fringe
is all combed out and you know, everything is dry
clean and perfect for every scene, you have them looking
like they've just been blowing their nose for the past
couple of months in their shirt and wiping their hands
on it, grit under their fingernails, and so it became
like hyper realistic. You know, we're going to get so
grimy that you can smell it from the theater, you know. Yeah,
And so then it became that became and also that's
when they started noticing lens flares, which were always considered defects.
So you'd have the sun would make a big flare
across the lens, and that brings attention to the fact
that you've got a camera and it's making a flare,
and it's like, that's a no no, that's a big
no no. But all of a sudden in the sixties
that became, well, man, it's really cool. I guess maybe
it's a little acid left over from last night. That's
really cool. And so that's what. All of a sudden,
you got all these things. And then they do the
drawing little lines on the glass and putting it in front,
and the light would hit it and then it would
just have a little star bursts all over, you know,
and you get a little light glinting off your tooth
and you put that on and you have a star
going off the tooth. So all these things kind of
started changing it. And then and then it got into
the video when you had all of the old soap
operas which were so cold and stark, and it was
that video you didn't have the warmth of a film,
you know. The film emulsion just had this real great
feel to it. The black and white even had that.
It was just so you know, soft, the textures to everything,
and the soap operas were just cut. It's just a
frozen chunk of ice that you etch out the image, right.
And then they started you know the process of making
the plugins, and you make plugins that you can put
in the computer too. There was a process they had
when they started shooting the sitcoms with the the video
and once it's all done, completely done, even have the
titles on it, everything, they pass it through this whole
process with the software in the computer that would give
it that warm tone, soft kind of feel of films.
And now that's just kind of like, you know, the
quality of videos is pretty remarkable now, but it's still real.
It can be crisper than film ever was you so
all of those things and they've affected the I think
they've affected the acting, They've affected the directing, and you
have really brilliant performances now, and you have a lot
of stuff that's like, how the hell are they getting
away with this? Is this is so bad? And they
wanted me to come and do a guest spot on
a TV show and I looked at an episode of
the thing. I went, I can't are you kidding? This
thing is so bad. It is so bad. And they said,
but this is one of the highest rated shows on TV.
I said, man, that is a big problem. That's a
huge problem for everybody. If this is the best you got.
Oh man, Oh my god. So so it's just god.
I love old movies. I mean, I just love old
movies and the black and whites and the film noirs
and and and I love seeing black and whites as
black and whites. When Turner started colorizing things, and people
would tell me yeah, but they went back and they
researched it, and they found out what the actual colors were. Well,
my buddy's his uncle Teddy just I mean, he's got
a lot of family in theater since the eighteen hundreds,
big family stuff. And also his mom's his mom's cousin.
I guess his mom's mother's sisters daughters. I'd be her cousin.
So his first cousin, once removed, was a woman. She
had gone off. The cousin had gone off and married
this guy in Tijuana and they had a review and
their daughter had become sort of the star of the review.
And she came up when she was young to Hollywood
and started working. But she was sixteen, I think some
of the Andy Hardy movies, and she changed her last
name Cansino to Their name was Haworth, and she changed
it to Hayworth be to Hayworth was. That's kind of
part of his family. Well, Teddy Haworth, his uncle Teddy
was a production designer and he did The Wild One
with Marlon Brando. Yeah, he won the Academy Award for
Marty remember that John Conry Ernie borgnine, No, Marney Marnie
was with Sean Connery. Marty was the old you know,
the big fat Italian guy. Hey Marty, what do you
want to do? I don't know, Sally, what do you
want to do? I don't know what do you want?
Speaker 5: I mean?
Speaker 1: It was just that slight life in New York. But
he won the Academy Award for that, and he won
the Academy Award for Cyanara with Marlon Brando and Red
Buttons and over in Japan, that whole thing. He was
nominated five times, maybe sometimes he said. The first thing
he would ask when the producer came with, you know,
they said, here's the film we want to do. The
very first thing he would ask is as a production designer,
was is it you're going to shoot it in color?
Black and white? Because if it's in color, you've got
a color scheme that you're going to use. If it's
black and white, you choose all the colors for the
graduations of color of grays on the gray scale. So
if they say, well we found out what the real
color was, well that was the key to the gray scale.
It's supposed to be in black and white. So what
you've just done is taken them Onna Lisa and say, well,
we found out that you actually had a big booger
hanging out her nose, and we put it out there
because it's cool, you know, It's yeah. I just despise
that kind of stuff. And so I love I love
those old films. They're just so great, authentic.
Speaker 3: You know.
Speaker 4: I was talking to d just the other day about
one of your old movies and I hate to keep
you keep.
Speaker 3: Going, but.
Speaker 1: Shove it. You're getting old.
Speaker 4: Take this job and shove It was an early HBO
classic for me that I used to love to watch,
and I watched it the other day and I made
a remark to Dee. I'm like, you know, the amount
of beautiful women that he got to kiss in this
movie was unbelievableber Hershey young.
Speaker 1: Oh gorgeous. And I got to work with Art Carney,
who is alleged to me he's the greatest of all time.
He was just amazing And I loved that and and
uh and also I got to work with a character
actor that It was funny because he was just one
of the guys working down in the beer factory. But
I'd go over to him and I try to engage
him in conversation, but he was just kind of like
just you know, it's very kind, very nice guy. But
and he talked a little bit. But that was Royal Dano.
Do you remember Royal Dano. He used to play Lincoln.
He had that face played Lincoln. He was on a
lot of the rifle Man episode. Yeah, he was on Smoke. Oh.
He was wonderful.
Speaker 3: Yes.
Speaker 1: And his son came up to me at an event.
It was a Surfer's healing event down at the Beach
uh for autistic kids. My friend started and his son
was there and he came up to me and introduced
himself and said, yeah, my dad was an actor and
I think he would work with him, Royal Dane. You know,
I was looting to take this job. Oh my god,
I love Royal dan Oh And he said really and
I said, oh god, yeah, he was one of my favorites.
They said, wow, really, that was so cute. It was
really really neat. But I mean that's uh. I even
got a Barbara Hershey story that I can't tell you.
Speaker 2: It was, Oh, if I take off the if I
hit the record the off record button, can you tell
us that?
Speaker 1: Yeah? Oh yeah, well I suppose I could if I
if but but yeah, it was she was. She was
really neat. She was really really neat. She was a
wonderful lady and a wonderful actress. Gosh, she's she's really amazing.
But well, tell me when you going to push the
mute or whatever.
Speaker 2: I'm going to do it right now, and everybody else
who's watching is gonna be like, I'm sorry, I don't
get to know.
Speaker 3: But all right, I hit this.
Speaker 4: Thank you for sharing that wonderful, wonderful story.
Speaker 1: No, not spread out all over it.
Speaker 3: Right right, let's you have our word.
Speaker 2: That's great, Okay, I got I got one one last
question for you. Tell us about something that you love
that you feel like maybe flew under the radar a
little bit that you know you've got. I don't realize
we're talking about forty five years of work here, but
or maybe you know, back in your TP days, fifty
years of work here, but something that you just either
you were proud of it, loved doing it, loved the
final product whatever it might have been, that just didn't
see as much light to day as you wanted it to.
Speaker 1: Oh gosh, I'm well, airplane is always you know, I mean,
that's just the jewel in the ground kind of a thing.
But also and Angie, I really loved working with Donna
and that was all so much fun. Starman was probably
my number two, I mean, just because of the whole
thing and the way it came about, the way what we did.
We really had to fight for it. We had like
six or seven or more time slots. They kept moving
us around, you know, people were trying to find out
where the heck were we. It was a losing battle.
They actually told Bob Murick, who was a friend of mine.
Bob told me when they were at one of those
big you know that you were going to renew for
next year parties in New York. I think they haven't
And they said, the biggest mistake we made that year
was not renewing Starman. And then by then everyone's gone
and they're off doing other thing, so you can't get
everyone back again. And that was such a special show,
and I'm sorry that if they had picked it up
for one more season and actually gave it a chance
to where we could build the following and people knew
where it was and they actually told me, they said, well,
we promote the show right before you and then figure
they're going to stay on the channel. What about promoting us?
What the hell? It's like, Oh, well, this is what
we do. You know, go to another network if you
don't like it. You know why. I don't know it.
But that was just it was so so special. I
had letters from people. I had letters from a teacher
in New York that said every night when it was on,
she would tell the class, so when you go home
and you all watch that show, and then the next
day they'd come in and they would talk about it
because she said that it was so such a healthy
relationship with the father and son, and she was in
an inner city school where that didn't always happen, and
they used that and she said, I want you to
put that show back on, and I said, well, I
want the show back on too. I don't talk to me,
You've got to talk to the people of the network.
But that was just really, really, really special to me.
Another one that I did that was like you're talking
about under the Radar because it was such a small
little film. John Flynn directed it. It was called on
the one hand, it was called it had so many
different titles. Let me just see real quickly here, no problem.
Speaker 2: Robert Hayes is searching his own IMDb history.
Speaker 3: I can tell you how many times I've had to
stop the show and win a minute. I got to
look at Robert Hayes as I am.
Speaker 1: It was finally called Touched to, which I thought was
like a young boy. It was some sunny day. I
was in a mental institution and there's a girl in
there that was it was like developmental. It was. It
was like not being able to concentrate, not being able
to express yourself, like you just you want to and
you can't figure out why whatever's blocking you, emotional blocks,
and you get so frustrated that you can lash out.
And so they put me in this place. And it
wasn't like I was committed and I could leave, you know,
like any time you can pull me out. She and
I kind of Kathleen Beller was her name, and she
and I, well, we fell in like we were real
good friends cool. I felt like taking care of her,
and she felt like I was, you know, could take
care of her that she you know, and she was
very afraid. And I just left. One night, I left
and we filmed it in Princeton, I think was somewhere
in New Jersey. I left and I go to the
boardwalk in New Jersey. I go out to the boardwalk
and I'm wander around and I wind up getting a
job where they throw the ball and hit the target
at dunks the clown up in the in the thing.
And I got a job as the clown. And the
guy that was working there, he gets you know, he
taught me all the different things. And the problem is
several guys that did this in the past show up
needing some money. Hey Mick, can I have you know?
And they're all disfigured it kind of because there are
guys that don't like to be taunted like that. And
so after work they hunt you down and they beat
the crap out of you and so and that happened
to me, happens to me in the show. But what
happened in the course of that was it was like
a healing thing. It opened it up to me I
could express myself and I could be a wise acre,
and I could do all this. And you come up
with all these taunts, and you come up with them
and you write them down and you memorize them, and
it's like, oh, you know, hey, look at look at
the size of this one. When when you say I'm
gonna I'm gonna be around the house, you're around the
house like you never missed the meal, did you.
Speaker 5: You know?
Speaker 1: You're months like a golf course, eighteen holes in all green,
you know, these kinds of things, and you see the
guys and then you see those guys that were really
pissed and you focus in on them, and you know
they're gonna be the ones that come and beat me later.
But I go back and I get her and I
bring her back to the little place that I found
that I rant and I'm making enough money to just
be able to rent this tiny little thing, great little
location right on the canal. Kind of a thing. And
it was Working with John Flynn was so incredible for
me because we thought alike, and it was it was
the first time I ever had anyone He said, Okay, well,
I don't like to talk a lot, you know about
all this stuff, and you know, I just wanted to
just get out there and just do it. And I said,
well great, because I don't like to talk about either.
I just liked it, get out and just do it.
And he said, oh good, okay. So we were stuck
in the hallway of that little set of that little
place that we were renting, in the hallway to go upstairs.
It was so tight. The camera was right there at
the halfway point stairwell, he was right next to it,
the camera operator was in there was so tight. We
filmed it and it wasn't right, and I felt it
wasn't right. And then I went back up, said let's
go again, and then he leaned. I said hey, Bob
and leaned out, and then I went down. I said yeah,
and I looked at him and he just went like
he was trying to think of something to tell me.
And I went and he said, and that was it. Whatever.
Nobody would know what we were talking about. But then
I just went up and it just unlocked one little
thing inside of me and I just did it and
it was just right. It felt right to me, and
he just went like that and that was it. We
moved on. So we'd go out and have dinner or
a bunch of us in the crew and everybody, and
you know, we'd have lots of guinness or whatever we're happening.
And he opened up one night after a few drinks.
He said, whenever I'm watching you, he says, I actually
whenever I'm shooting a scene, I don't watch you. I
watch everybody else. And I was thinking, is that a
compliment or is this like he just can't stand And
he said, it's only one other actor that I ever
that I did that with, and that was Robert Duvall,
because he did a film with Robert Duval And he said,
I always know that you guys are going to be
doing everything just right. I'm watching everybody else to figure
wait a minute, we got to do it. And I thought, man,
that's one of the highest compliments I ever had.
Speaker 5: Love it.
Speaker 1: And that movie some sunny day or Touched or whatever,
it wound up tied up with, you know, the producers
that were getting the money together and asking it from
their parents and their parents' friends and everyone they could,
and so it probably got all tied up anyway. I
don't think it's even available anymore. And I really loved it.
It was just a little tiny independent film that we
did that was just a real to me, a little
gem that I I always wanted to go find it,
see if I could just buy it and I would
have it and I could just Yeah. Yeah, I was
proud of the work. Yeah, I love it.
Speaker 3: We'll see if we can track it down. Yeah, that'd
be great.
Speaker 4: Okay, the only thing I would really like to hear
about one last thing, and if I can stretch it.
You were Tony Stark, I mean you were iron Man.
Tell me about that experience.
Speaker 1: That was really fun. I love doing the voiceover things.
It's a lot of fun. But it's actually it's such
a click it's really hard to get into it. And
there are people that act actors that just do that.
They don't really pursue being on camera. They're not as
comfortable with that. And they're very good. I mean, some
of these guys are just amazing for their voices and
what they can do, and so I really enjoyed that.
I had a lot of fun doing it. Some of
the most fun was when they say, Okay, now we
got a Mexican tug boat captain who wants to do that?
Speaker 3: One?
Speaker 1: I said, and then you're guy who is you know
is very so that was some of the most fun.
But but who's that my cost John John's last name.
He actually did the voice of iron Man before me,
and it was in it came out on VHS, that's
how old it was, Okay, and he was in Airplane two.
I think it was in the courtroom scene. Yeah, I
think it was in the courtroom scene with Perry Mason
as our chidg. Yeah. And when they asked him and
what's your impression of Ted Strikers And I'm sorry, I
don't do impressions.
Speaker 3: Yeah.
Speaker 1: Yeah, that's great and you would know him in a second.
He did so many things over the decades and decades
of a career and wonderful, wonderful actor with big, deep
voice kind of like Leslie's, you know, a big, deep,
mellifolous voice like that. But he did. He's the first
one that I know of that did did Iron Man
and it was fun. It was fun. And then doing
that in some of the other Superman or whatever, the
other shows, Spider Man where you had that same universe
of characters in the hull. Yeah, yeah, man, that was fun.
It was a lot of fun.
Speaker 4: Well, this has been a wonderful day. Thank you so
much for taking so much time with us.
Speaker 3: We're so grateful.
Speaker 1: I'm just checking real clothes to see if I did
my ted striker on you, and I think so. I've
seen little x's where the eyes used to be.
Speaker 4: No, no way. We're thrilled.
Speaker 1: Thank you so much.
Speaker 2: Eat it all up, absolutely well, Thank you everybody. This
has been an amazing experience. Please hit that follow button,
hit that subscribe button. Please check out the Airplane Livetour
dot com so that you can see when when Robert
Hayes and Julie Haggerty are going to be at a
theater near you talking to all of you about their
wonderful experiences making this movie. Robert, I can't tell you
thank you enough, really appreciate you.
Speaker 3: Thank you so much.
Speaker 1: It was great fun. This is great. I actually this
has got to be one of my This is the
longest one I think that I've done, and it's got
to be one of my favorites because we just had
so much fun with it, and that's really cool since
it's the name that it is. Yeah, and also the
fact that Julie just popped up that was amazing.
Speaker 3: Okay, thank you guys. We will see you guys next week.